Provisionally approved Fall 2002 only June, 2002

CRAFTING ART

Level II

RATIONALE:  Artists imagine that which does not yet exist and bring their vision into an existence that can be perceived by others.  This process requires learning specific skills pertinent to that discipline of expression, as well as clarifying one’s own perceptions and priorities in order to direct use of those skills.  In this hands-on second level competency, students will develop their abilities within one artistic discipline.  With the understanding that artistic skill is most often the result of long effort that draws on the discoveries—both present and past—of others in the field, students will learn how to look critically at their own creative efforts.  Skills developed through studying an artistic discipline may enlarge or shift one’s approach to communication in all arenas.  For example, a labor activist may find work-related uses for acting skills; a youth worker may, after studying painting or design, decide to organize a community mural project.

COMPETENCY:  Can produce a body of art work in one creative discipline, and incorporate expert critique into further development of that work.

CRITERIA:

Within one artistic discipline:

1.      Demonstrate beginning proficiency by creating a body of work with specific attention to joining form and content to fulfill an intention of expression.

2.      Demonstrate the ability to incorporate expert critique into the development of your creative work.

3.      Identify one or more recognized artists or schools of art whose work has informed your own, explaining how your own work carries on or reacts to that tradition.

4.      Present your creative work to an audience of peers and reflect on the issues raised by that experience.

5.      Reflect on areas for further improvement regarding fundamental issues of the discipline.

STANDARDS:

1.      The body of artistic work may be from any traditional or emerging discipline of the literary, visual, musical, performing, or other arts.  Student and evaluator must reach agreement as to what constitutes an acceptable body of art work.

2.      Ability to incorporate expert critique may be demonstrated through reworking or revising a work-in-progress or through new work.

3.      Discussion of peer feedback may be written or oral.  It should include reflections on how the characteristics of the audience may have influenced its responses to the work, as well as what the student learned from the responses.

4.      In meeting Criterion 5, reflection may be written or oral.  The fundamental issues considered should include both better command of major elements of craft and the skills needed for effective public presentation.

EXAMPLES OF DEMONSTRATION:

1.      Prior Learning.  A student who has been performing as a professional singer/songwriter presents an evaluator with a performance tape and a 5-page commentary placing his songs in a musical tradition, evaluating the strengths and weaknesses of the various elements of his performance, and presenting a work plan for advancing his skills.

2.      Independent Study: As part of an independent project, a group of students under the supervision of a technical advisor create a 15-minute audiotape about housing issues in Jamaica Plain.  The students are responsible for all phases of production, including script, interviews, recording, and editing.  They play a rough cut for their advisor and for a neighborhood group of housing activists; each student writes a 5-page paper about how both critiques shaped their final edit.

3.      Course:  A student takes a course that addresses this competency..