ART Portfolio Instructions - NBPTSnbpts.org/.../ART...Portfolio_Instructions_FINAL.pdf · ART. Portfolio Instructions (For retake candidates who began the Certification process in

Early Adolescence through Young Adulthood ART

Portfolio Instructions (For retake candidates who began the Certification process in 2013-14 or earlier.)

Part 1 provides general instructions for preparing, developing, and submitting your portfolio entries.

Part 2 provides portfolio entry directions as well as cover sheets and forms you use to submit your portfolio entries.

PI-EAYA/ART-04 Prepared by Pearson for submission under contract with the National Board for Professional Teaching Standards®. © 2015 National Board for Professional Teaching Standards l All rights reserved.

PORTFOLIO INSTRUCTIONS Early Adolescence through Young Adulthood/Art

Contents

PART 1: GENERAL PORTFOLIO INSTRUCTIONS How to Use the Portfolio Instructions 1-1

Navigating the Portfolio Instructions Retake Candidates

Phase 1: Prepare

Locating and Using Important Resources Understanding the Portfolio Entries Following Policies and Guidelines Learning Portfolio-Related Terms

Phase 2: Develop

Writing about Teaching Recording Video Entries Analyzing Student Work Organizing Your Portfolio Components Managing Your Time

Phase 3: Submit

Avoiding the 4 Most Common Submission Errors

PART 2: ENTRY DIRECTIONS EAYA/Art Portfolio Entry Directions 2-1

Overview of Early Adolescence through Young Adulthood/Art Portfolio Entries Entry 1: A Portrait of Teaching over Time Entry 1 Cover Sheets Entry 2: Learning about Making Art Entry 2 Cover Sheets Entry 3: Learning to Study, Interpret, and Evaluate Art Entry 3 Cover Sheets Entry 4: Documented Accomplishments: Contributions to Student Learning Entry 4 Cover Sheets Electronic Submission at a Glance Student Release Form Adult Release Form

© 2015 National Board for Professional Teaching Standards | All rights reserved.

PORTFOLIO INSTRUCTIONS Early Adolescence through Young Adulthood/Art

Part 1: General Portfolio Instructions This resource is available on our website at www.boardcertifiedteachers.org/retake-candidates


http://boardcertifiedteachers.org/retake-candidates

Part 2: Portfolio Entry Directions

Part 2 provides instructions for developing and submitting your portfolio entries for the Early Adolescence through Young Adulthood/Art certificate area:

▪ EAYA/Art Portfolio Entry Directions contains detailed instructions fordeveloping each of four portfolio entries.

▪ EAYA/Art Electronic Submission at a Glance provides detailed instructionsfor assembling materials for submission.

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PORTFOLIO INSTRUCTIONS Part 2: Portfolio Entry Directions

Early Adolescence through Young Adulthood/Art Overview

EAYA/Art Portfolio Entry Directions This section contains the directions for developing each EAYA/Art portfolio entry and assembling it for submission. Entry directions include

▪ a list of the Standards that are the foundation for each entry;

▪ suggestions for planning your portfolio entries and choosing evidence of your teachingpractice;

▪ questions that must be answered as part of your Written Commentary;▪ an explanation of how to assemble and submit your portfolio entries.

Overview of Early Adolescence through Young Adulthood/Art Portfolio Entries

Following is a description of each entry. In addition to reading the entry directions, you may also wish to read “Part 1: General Portfolio Instructions.”

Entry 1

In the Early Adolescence through Young Adulthood/Art portfolio, the entry based on student work samples is “Entry 1: A Portrait of Teaching over Time.” In this entry, you demonstrate how you plan and develop sequenced instruction to further students’ growth in art and their understanding and attainment of an overarching art education goal, and how you assess student progress. You provide a photo storyboard containing 10 photographs taken during a period of instruction, a Written Commentary, and assessment materials.

Entry 2

In the Early Adolescence through Young Adulthood/Art portfolio, there are two entries based on video evidence, one of which is “Entry 2: Learning about Making Art.” In this entry, you demonstrate how you teach and monitor student learning about art-making processes. You also demonstrate how you involve students in the assessment of their own progress, and you demonstrate how you utilize space and resources to create a physical teaching area that supports the learning of art in a safe environment. You provide an 18-minute video recording that includes a 2-minute visual pan of the classroom and two 8-minute segments from one lesson that show you helping students learn about making art. You also provide a Written Commentary analyzing the video recording, and assessment materials.

Entry 3

“Entry 3: Learning to Study, Interpret, and Evaluate Art” is the other Early Adolescence through Young Adulthood/Art entry based on video evidence. In this entry, you demonstrate how you work with students to help them learn to study, interpret, and evaluate art. You also demonstrate how you assess student learning that resulted from the interactions seen on the video recording. You provide a 15-minute video recording of one lesson and Written Commentary analyzing the video recording. You also provide assessment materials.

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Early Adolescence through Young Adulthood/Art Overview

Entry 4

In the Early Adolescence through Young Adulthood/Art portfolio, the entry based on documented accomplishments is “Entry 4: Documented Accomplishments: Contributions to Student Learning.” In this entry, you illustrate your partnerships with students’ families and community, and your development as a learner and collaborator with other professionals, by submitting descriptions and documentation of your activities and accomplishments in those areas. Your description must make the connection between each accomplishment and its impact on student learning.

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Early Adolescence through Young Adulthood/Art Entry 1

Entry 1: A Portrait of Teaching over Time

In this entry, you demonstrate how you plan and develop sequenced instruction to further students’ growth in art and their understanding and attainment of an overarching art education goal, and how you assess student progress. You provide a photo storyboard containing 10 photographs taken during a period of instruction, a Written Commentary, and assessment materials.

Standards Measured by Entry 1 This entry focuses on the following Standards:

I. Goals of Art Education

II. Knowledge of Students as Learners

IV. Content of Art

V. Curriculum and Instruction

VI. Assessment, Evaluation, and Reflection on Student Learning

X. Reflective Practice

The following statements from the Standards provide some examples of accomplished teaching practice.

Accomplished Early Adolescence through Young Adulthood/Art teachers can clearly articulate goals that are unique to art education and goals that are related to but not unique to art. They observe and listen to students as they work, learn, and interact in a variety of settings. As their knowledge of students increases, teachers use it to determine the direction, approach, and content of their teaching. Learning more about their students enables them to design instruction to motivate students and meet their individual needs. They teach to the strengths of each student, building on individual accomplishments as a foundation for further progress.

Accomplished art teachers have a thorough knowledge of the content of the visual arts that extends to the perception, production, study, interpretation, and judgment of works of art, design and visual cultures, historical periods, and locations. They value a comprehensive approach to art education through the integration of art-making, art criticism, art history, and aesthetics.

Accomplished art teachers ▪ sequence learning so that short-term accomplishments occur periodically along the way,

gradually directing learners toward overarching, long-term expectations. ▪ know that students learn in many ways and that there are multiple pathways to success in

any given endeavor. ▪ demonstrate an understanding of curriculum theory through their ability to develop or

adapt, implement, evaluate, and revise curriculum for teaching visual arts to students ages 11–18+.

▪ know when and how to use various assessment methodologies to acquire informationabout student achievement and to improve instruction.

▪ are careful to employ a range of summative methods to address the different kinds ofinformation sought about student learning.

▪ thoughtfully evaluate student learning. The information they gather about the progress ofindividuals and the class as a whole allows them to evaluate the relative success of their practice in order to improve student learning.

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▪ distinguish themselves with their capacity for ongoing, objective self-examination; theiropenness to innovation; their willingness to experiment with new pedagogical approaches;and their readiness to change in order to strengthen and improve their teaching.

For the scoring rubrics and an explanation of how the rubrics are used to assess your portfolio entries, refer to the Early Adolescence through Young Adulthood/Art Scoring Guide for Candidates.

What Do I Need to Do? This entry captures evidence of your ability to select and justify an overarching art education goal that is appropriate for your students, to plan and implement sequenced instruction, and to assess students’ progress in order to help them understand the selected goal.

In this entry, you ▪ demonstrate how the design and actual practice of your art teaching over time furthers

student understanding and attainment of an overarching art education goal; ▪ select an overarching art education goal to feature in this entry and explain how your

instruction over time helps your students understand the selected goal.

The period of instruction must be no less than three weeks and no more than three months during the current school year and focus on what you do with one class during that time. Your submissions should represent your teaching of an instructional sequence that clearly links to an overarching art education goal.

For this entry, you must submit the following: ▪ Photo storyboard (10 photographs) that provides evidence of your teaching over time.

It shows how you work with your students to help them understand the overarching art education goal that you have chosen to feature in this entry. The photo storyboard is a series of 10 photographs taken during the featured period of instruction. Six of these photographs should represent three works each from two students. The other four should capture the context in which the student work was created by documenting other aspects of the instruction. The 10 photographs should be presented in the order in which they occur in the instructional sequence.

▪ Assessment materials (5 pages maximum) that show student responses (from thetwo students featured in the photo storyboard) to a summative assessment strategy that you used at the conclusion of the instructional sequence.

▪ Written Commentary (11 pages maximum) that provides an instructional context anddescribes, analyzes, evaluates, and reflects on both the student work and your teaching of the overarching art education goal selected for this period of instruction.

Read all directions for this entry before beginning to work on individual components. It can also help to have a colleague review your work. However, all of the work you submit as part of your response to any entry must be yours and yours alone. The written analyses and other components you submit must feature teaching that you did and work that you oversaw. For more detailed information, see “Ethics and Collaboration” in “Phase 1: Prepare” (in Part 1) and the National Board’s ethics policy.

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Detailed directions for developing each component follow. See “Entry 1 Cover Sheets” for a list of the forms required to assemble and submit your materials.

You must submit a photo storyboard, assessment materials, and a Written Commentary. If any component is missing, your response will not be scored.

The student work entry (1) and video recording entries (2 and 3) must be from different lessons and different units of instruction.

In this entry, choose an overarching art education goal and ten photographs of an instructional sequence spanning between three weeks and three months, six of which focus on two students selected for closer analysis. Show how you assess students' progress toward understanding of the goal.

Setting an Overarching Art Education Goal Before you can develop your entry components, you must select an important overarching art education goal. You should be able to describe why the goal is important and appropriate for your students. You should also explain how the design of your instruction contributes to students’ understanding of the goal. Choose a goal and an instructional sequence that are clearly related. This makes for a stronger response than one in which the connection between the goal and the instructional strategies and procedures is less obvious.

An overarching art education goal must meet at least one of the following criteria: ▪ It is based on clear conceptions of how art links students to human experience across

cultures, times, and places. ▪ It reflects how art education is a central component of an overall education program.

Caution: It is important to select a goal that is truly central to art education as defined by the criteria above. Avoid selecting an instructional sequence that is not clearly linked to the goal.

Assembling Photo Storyboards After you have selected your overarching art education goal, you must select two students to feature in the photo storyboard. The two students you select should represent different instructional challenges to you and draw on the range of student needs, interests, and abilities in your classroom. To facilitate your selection, you may want to select more than two students who meet these criteria from the class and begin to photograph and collect examples of their artwork over the course of the instructional period.

Consider carefully before selecting the two students whose work you feature. The focus of this entry is on your teaching practice, not on the level of student performance. While students who seem to excel in art do present an instructional challenge that is certainly worthy of inclusion in this response, you may find that other students offer you a better opportunity to demonstrate your contribution to the students’ artistic growth and understanding of the overarching art education goal. Their work should add clarity and richness to your written description of your approach to the development of the instructional sequence. It is a good idea to carefully read over the questions you will answer in the Written Commentary first to get an idea of the type of analysis the selected work should be able to support.

Note: Your response will be scored based on the quality of your analysis of the student work and the instructional sequence, not on the level of student performance.

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After you have collected photographs of the students’ work, you should select three photographs each from two students who best illustrate how the instructional sequence helped address student achievement of the overarching art education goal.

The three photographs for each student may show ▪ a single piece of student work at three stages, showing how the work or idea progressed

over the course of the instructional period; or ▪ different samples of work from the student. If you take this approach, you should be able

to trace the growth of the student’s understanding through the work samples.

Select four additional photographs that will help an assessor understand the structure and purpose of the entire instructional sequence. The photographs you select should be representative of the range of strategies and procedures you and your students engaged in during this instructional sequence. The photographs could show the following:

▪ examples of other student work

▪ students working with each other▪ you working with your students▪ instructional resources used during instruction▪ guest speakers, artists, and so on, working with students

For all 10 photographs, you must make annotations that provide a detailed description of the context of the photograph so that an assessor will be able to see and understand how the instructional sequence supports student learning of the overarching art education goal.

You must have the parents/guardians of all students you plan to include in the photo storyboard complete Student Release Forms. You must have any adults who appear in the photo storyboard (for example, teacher’s aides, parents, student teachers, or colleagues) sign an Adult Release Form.

Photo Storyboard Format Specifications

Your photo storyboard provides evidence of your teaching over time and illustrates how you work with your students to understand the overarching art education goal.

The materials you submit must meet the following requirements:

Photograph count

Submit no more than 10 photographs: ‚ Six photographs should represent student work from two students at three different

points in the instructional sequence. ‚ Four photographs should represent your or your students' involvement in a range of

activities that occurred during the instructional sequence. If you submit more than 10 photographs, only the first 10 will be viewed.

Format Photographs should be no smaller than 3" × 3" and no larger than 4" × 6".

Anonymity guidelines

If materials include names or other identifying information, show the student’s first name only; delete students’ last names, teachers’ names, or any identifying information about the students’ families from student work before you photocopy or photograph it.

Labeling Identify whether the photograph belongs to “Student A” or “Student B” in the appropriate place on the Storyboard form.

Annotate within the allotted space on each Storyboard form. The annotations may be handwritten or typed using single spacing and 12-point Times New Roman font.

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Assembly Insert each photograph to a single Storyboard form. You may position the photographs on the template in either a landscape or a portrait format.

DO NOT affix more than one photograph to each photo Storyboard form. A photo Storyboard form that contains a collage of photographs is not acceptable; each photograph used to create the collaged image will be viewed as a single photograph by assessors.

Organize the storyboards in an order that parallels the instructional sequence. Interweave the six student work photographs with the other four photographs in the order in which the work was produced.

Preparing Assessment Materials Select, develop, or modify a summative assessment related to the instructional sequence and overarching art education goal that you describe, analyze, and evaluate in the Written Commentary. There may be formative assessments that you use during the instructional sequence, but the focus of the assessment aspect of this entry is on summative assessment. You should carefully consider your assessment strategy before you begin the instruction on which your response will be based.

While not all assessment activities (e.g., a teacher-student discussion) will produce a written response, the strategy that you select for this entry must lead to assessments that can be examined by assessors. Dialogue that occurs between teacher and student about the art- making process or artwork is appropriate to include as a brief transcription. Charts, graphs, sketches, and transcriptions of teacher-student interviews or student conversations are examples of appropriate forms of assessment.

The assessment paired with the student artwork seen in the photo storyboard provides important information about your approach to assessment. Together they provide evidence of how you implemented your instruction, analyzed student work, and contributed to individual student understanding of an overarching art education goal.

The assessment materials you submit must meet the following criteria: ▪ be connected to the student work in the photo storyboard for Student A and Student B▪ represent a summative assessment strategy for both students given at the conclusion of

the instructional sequence▪ demonstrate how both students have progressed toward the overarching goal during the

instructional sequence▪ help you understand student progress and help you make informed decisions about further

instruction▪ include the storyboard, which may also include your transcriptions of brief conversations

or explanatory notes, and summative assessment responses for the two students featuredin the photo storyboard

▪ be no more than 5 pages in addition to teacher summative assessment responses, youmay include photocopies of procedures for students, an example of notes you used in astudent conference or a student-teacher interview in which you discussed a student’sartwork, student profile charts, or a list defining the assessment criteria

The materials you submit must accurately represent the assessments they are intended to illustrate. These materials may not include additional student artwork samples. However, if sketches (e.g., tracings, color swatches, line drawings) are used in response to the assessment, they may be included.

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Assessment Materials Format Specifications

Your assessment materials provide evidence of your summative assessment at the close of the instructional period.

▪ Group all assessment materials with the Summative Assessment Description Cover Sheet,which must be completely filled out with responses to both of the questions found there. Information that you supply on this cover sheet may be typed using the system default font, size, and spacing, or handwritten.

▪ Summative assessment materials (tools, instruments, or other appropriate forms ofassessment) for Students A and B.

▪ Any other relevant assessment materials that help in understanding this assessmentstrategy (e.g., procedures for students, notes used in a student conference, student profile chart, or a list of evaluation criteria).


Format for assessment materials

Materials must be no larger than 8.5" × 11". If submitting a smaller item (e.g., a photograph), you must photocopy it onto an 8.5" × 11" page or print a digitized image of that smaller item onto an 8.5" × 11" page. Several smaller items can be grouped on a single page (excluding Storyboard forms, which may only contain a single photograph).

Note: If an assessment material was created in a multimedia software program (such as PowerPoint presentation software or HyperStudio®), you may format up to six slides on one 8.5" × 11" sheet. Each sheet counts as 1 page toward your page total. Note: If an assessment material contains Web pages, each Web page printout (one 8.5" × 11" sheet) counts as 1 page toward your page total. Note: Do not reduce full-sized pages of assessment materials in order to fit more than one assessment material onto a single sheet of paper. Note: If assessment materials that are important for assessors to see are impractical to submit (e.g., overhead transparency or slide projections, writing on a chalkboard or whiteboard, software, three-dimensional objects), submit a student-made drawing, photocopy, digitized image, color photograph, or 1-page description of the material. (If you submit a description, it must be typed in double-spaced text with 1" margins on all sides using 12-point Times New Roman font.)

Make sure materials are legible, if appropriate, and completed by the student or students.


If materials include names or other identifying information, show the student’s first name only; delete students’ last names, teachers’ names, or any identifying information about the students’ families.

Labeling Place your candidate ID number in the upper right corner of all pages. Do not include your name.

Page count Submit no more than 5 pages in total of assessment materials. Additional pages will not be read.

Cover sheets do not count toward this total.

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Composing Written Commentary Organize your Written Commentary into sections under the following headings, which will direct assessors to the required information:

1. Instructional Context

2. Planning Instruction

3. Analysis of Instruction and Assessment

4. Reflection

Your Written Commentary must address the italicized questions provided below for each section. Statements in plain text that immediately follow an italicized question help you interpret the question. It is not necessary to include the italicized questions within the body of your response.

Your Written Commentary must be no longer than 11 typed pages. Suggested page lengths are included to help you make decisions about how much to write for each of the four sections. (See “Written Commentary Format Specifications” below for more detail.)

In your response, you analyze students’ progress toward attaining an overarching art education goal over time, explain how your analysis of student progress provides insight into your own instruction and how to improve it, and reflect on how your sequence of instructional strategies works to further student learning about art over time.


Provide the following information in addition to the context that you supply on the Contextual Information Sheet, which focuses on the school or district at large. In this section, address the following questions about your selected class:

▪ What is your school setting (e.g., elementary, middle, junior high, or high school, oralternative school)? What is your class size and what are the ages and grades of the students in the class featured in this entry? What is the subject matter of the class? (Example: 32 students in grade 9, ages 14 through 16, Art 1)

▪ What are the relevant characteristics of this class that influenced the selection of thisinstructional sequence (range of students’ abilities; requirements of exceptional needs students; ethnic, cultural, or linguistic diversity; heterogeneity of the class; personality of the class)? Give any other information that might help the assessors “see” this class.

▪ What are the relevant features of your teaching context that influenced the selection ofthis instructional sequence? This might include other realities of the social and physical teaching context (e.g., available resources, scheduling of classes, room allocation—own classroom, shared studio space, or art-on-a-cart) that are relevant to your response.

▪ What particular instructional challenges does the class chosen for this entry represent?What particular dynamics of the class does an assessor need to know to understand the sequence of instruction in the photo storyboard? This might include, but is not limited to, a description of your students’ skills, knowledge, and previous experiences that relates to your teaching.

Suggested total page length for Instructional Context: 2 pages

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This section focuses on your description and analysis of the selected goal and instructional sequence presented in the photo storyboard. In this section, address the following questions:

▪ What one overarching art education goal have you chosen to address in this instructionalsequence? Why is this goal important and appropriate for your students?

▪ What were your goals for the instructional sequence? How do they relate to theoverarching goal?

▪ How did you plan this instructional sequence to help students achieve the overarching arteducation goal? What was the nature and flow of activities planned for in this instructional sequence? What were your reasons for planning it this way?

Suggested total page length for Planning Instruction: 3 pages


Refer to the photo storyboard and the assessment materials to address the following questions. Cite photographs by specific number (photo 1, photo 2, etc.) when referring to the photo storyboard. Prepare a separate analysis for each student. Address each question in this section for Student A and Student B.

▪ What instructional challenge(s) are presented by each of the two students selected?

▪ Give specific examples of how the instructional sequence helped both students understandand make progress toward the overarching art education goal. Refer to the annotatedphotographs in the photo storyboard.

▪ For each of the two students selected, how do specific examples from the photostoryboard show student growth in achieving the overarching art education goal? Whatdoes the work tell you about any challenges or frustrations that the students may beexperiencing? Refer to the photographs specific to each student.

▪ What assessment strategy did you use at the conclusion of this instructional sequence togain insight into the students’ understanding of the goals for this period of instruction?What were your reasons for using this strategy? Why is it appropriate for students at thislevel? Refer to the assessment materials specific to each student.

▪ For each of the two students selected, what does your summative assessment tell youabout the students’ understanding of the goals for the instructional sequence?

▪ Did you have to make any unexpected changes to your planned instruction during thissequence? What prompted the change(s)? How did you modify your instruction toaccommodate those occasions?

▪ How will you use the assessment information to determine subsequent learningexperiences for these students? That is, how will the results of your assessment impactfuture teaching? How will you build on the progress that has been made? What are yournext steps?

Suggested total page length for Analysis of Instruction and Assessment: 4 pages

4. Reflection

In this section, use your overall evaluation of the instructional sequence to address the following questions:

▪ What in the instructional sequence worked well in advancing student learning? Givereasons for your choice. Cite specific evidence. Consider both the analysis of student progress and your analysis of the instructional sequence with respect to the selected overarching art education goal.

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▪ What would you do differently if you were given the opportunity to teach this particularsequence again with these students, and why?

▪ Would you change the assessment strategy? If you would change it, how? If not, why?

Suggested total page length for Reflection: 2 pages

Written Commentary Format Specifications

Your response will be scored based on the content of your analysis, but it is important to proofread your writing for spelling, mechanics, and usage.

Your response must be organized under these section headings (described in detail above):




4. Reflection

Your Written Commentary must also meet the following requirements: Language Write in English.

Format Type and double-space text. Do not use 24-point line spacing.

Use 12-point Times New Roman font. Do not use condensed or compressed fonts.

Materials will be submitted electronically as a Microsoft Word, Open Office or PDF

file. Page size must be 8.5" × 11" with 1" margins on all sides.

Make sure materials are legible.



Labeling Place your candidate ID number in the upper right corner of all pages. Do not include your name. If you are using a word-processing program, you can save time by creating a “header” that prints your candidate ID number on each page.

Page count Submit no more than 11 typed pages in total. If you submit a longer Written Commentary, only the first 11 pages will be read and scored.

For advice on developing your Written Commentary, see “Writing about Teaching” in “Phase 2: Develop” (in Part 1). For examples of appropriate line spacing and font formatting, see “Specifications: Written Materials” in “Phase 2: Develop” (in Part 1).

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Entry 1 Cover Sheets All cover sheets and forms required for this entry are listed in this section. To read and print these documents, you must install Adobe® Reader® software on your computer. You may download Adobe Reader for free by following the instructions provided on the Adobe Systems website (www.adobe.com).

As you prepare your portfolio, keep in mind some cover sheets contain directions that are not repeated elsewhere; follow these directions carefully.

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CONTEXTUAL INFORMATION SHEET

This form asks you to describe the broader context in which you teach: • If you teach in different schools that have different characteristics, and this entry features students from

more than one school, please complete a separate sheet for each school associated with this entry.• If a completed Contextual Information Sheet also pertains to another entry, submit it with that entry as

well.

In each entry, you are asked to provide specific information about the students in the class you have featured inthe entry. This is in addition to the information requested here. Please print clearly or type. (If you type, you mayuse the system default font, size, and spacing.) Limit your responses to the spaces provided below. For clarity,please avoid the use of acronyms.

1. Briefly identify• the type of school/program in which you teach and the grade/subject configuration (single grade,

departmentalized, interdisciplinary teams, etc.):

• the grade(s), age levels, number of students taught daily, average number in each class, and courses:Grades Age Levels Number of Students Average Number of Students in Each Class

Courses

2. What information about your teaching context do you believe would be important for assessors to know tounderstand your portfolio entries? Be brief and specific. Note: You might include details of any state ordistrict mandates, information regarding the type of community, and access to current technology.


Photo 1 STORYBOARD

Indicate if this is for: Student A ❏ or Student B ❏ or Teaching Context ❏

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Summative Assessment Description COVER SHEET

Type or write your responses to the questions contained in the box below in the spaces provided. Your typed responses must be single-spaced and in 12-point Times New Roman font.

1. Describe the assessment. What did you do? What did the students do?

2. Describe your evaluation criteria for this assessment.

Attach the following to this cover sheet: • Summative assessment materials (tools, instruments, or other

appropriate forms of assessment) for Students A and B • Any other relevant assessment materials that would help in

understanding this assessment strategy (e.g., procedures for students, notes used in a student conference, student profile chart, or a list of evaluation criteria)




Entry 2: Learning about Making Art In this entry, you demonstrate how you teach and monitor student learning about art-making processes. You also demonstrate how you involve students in the assessment of their own progress, and you demonstrate how you utilize space and resources to create a physical teaching area that supports the learning of art in a safe environment. You provide an 18-minute video recording that includes a 2-minute visual pan of the classroom and two 8-minute segments from one lesson that show you helping students learn about making art. You also provide a Written Commentary analyzing the video recording, and assessment materials.




III. Equity and Diversity

IV. Content of Art



VII. Instructional Resources and Technology

VIII. Learning Environments



Accomplished Early Adolescence through Young Adulthood/Art teachers hold high expectations that their students will be able to communicate ideas and feelings through the creation of works of art. Designed to meet the needs of their students, their goals are rigorous, fair, consistent, achievable, and developmentally appropriate.

Accomplished art teachers recognize that the goals of art education are most readily achieved when their teaching is attentive and responsive to student development, and they can articulate how these goals can be addressed in ways that are attuned to the developmental needs of students. They use their knowledge of students to determine the direction, approach, and content of their teaching.

Accomplished art teachers ▪ value and foster equity in their classrooms. The manner in which art educators establish a

climate of fairness is planned and purposeful. ▪ encourage all students to participate in learning experiences in ways that are

instructionally sound for them as individuals. ▪ have a thorough understanding of artistic processes, such as gathering information;

developing ideas or concepts; exploring options; planning, developing, and refining ideas; selecting and using art media and processes safely, effectively, and with technical proficiency; and evaluating or critiquing a finished product.

▪ consider multiple modes of learning in designing curriculum, different kinds of expression,varying learning styles, and other factors that affect student achievement.

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▪ have a clear sense of what best prepares students for future learning, anticipate whereand when students may have problems, know when guided demonstrations and carefullystructured explorations of materials are needed, and proceed accordingly. They alsoemploy a variety of instructional methods to provide opportunities for students to workindividually and in groups.

▪ help students learn to be active participants in assessing their own progress because theyknow that the ability to self-assess is an important element in fostering the growth ofindependent, lifelong learners. These teachers clearly communicate their expectations sostudents can judge how their work meets those criteria.

▪ encourage students to set high personal goals and teach them how to evaluate their ownpersonal progress toward these goals.

▪ create, select, and adapt a variety of resources, materials, and technologies that supportstudents as they learn in and through the visual arts.

▪ choose and design materials that reflect their concerns for student safety as well as for theapplicability to different content and learning and are adept at selecting suitable resourcesthat help meet their instructional goals.

▪ establish environments in which the value of art, art content, art values, individuals, andlearning are held in high regard. These teachers establish learning spaces that arephysically safe and create and modify spaces that invite student participation andaccomplishment and that are conducive to the effective management of learningexperiences, including safety in the routine distribution, storage, and maintenance oftools, equipment, media, and materials.

▪ participate in a wide range of reflective methods. In their quest to improve their practice,accomplished teachers avail themselves of many resources in analyzing theappropriateness and effectiveness of their teaching.


What Do I Need to Do? This entry captures evidence of your ability to use your knowledge of art content and early adolescence through young adulthood learners to inform your teaching strategies and selection of instructional resources to help your students understand how and why art is made.

In this entry, you ▪ demonstrate how you help your students learn about making art, and how you involve

students in the assessment of their own progress as they learn about making art; ▪ show how you foster an equitable learning climate that allows students to actively create

and respond to the visual arts in a healthy and safe environment.

The focus of this entry is on how you help students connect the making of art to a broader understanding of art gained through interpretation and evaluation in the context of how and why people make art. The focus on assessment in this entry is for you to demonstrate how you help students use formative assessment during the art-making process to assess and reflect on their own work or the work of their peers in order to increase their knowledge and application of art-making processes.

This entry differs from “Entry 3: Learning to Study, Interpret, and Evaluate Art,” in which the focus is on teaching students to interpret art through art criticism and discussion of the many issues affecting the study, interpretation, and evaluation of art.

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For this entry, you must submit the following: ▪ One video recording (18 minutes maximum) showing different parts of a single lesson

that demonstrates how you help students learn about making art. The video recording has three segments—a 2-minute pan and two 8-minute segments. Each segment should be continuous and unedited.

▪ Assessment materials (5 pages maximum) to show how you use student self- assessment or peer assessment to gain insight into students’ art-making processes seen on the video recording.

▪ Written Commentary (11 pages maximum) that provides a context for the lesson onthe video recording, analyzes your instruction on the video recording, and reflects on the lesson.



You must submit a video recording, assessment materials, and a Written Commentary. If any component is missing, your response will not be scored.


Recording Your Video Entry Video-record a lesson in which students are in the process of making art. The video recording should consist of one 2-minute segment scanning the classroom and two 8-minute segments showing you working with students as they learn about the making of art, and showing how you involve students in their own assessment.

Choose an occasion to record that shows the ways you help your students learn about making art, within the context of how and why people make art. You should select a lesson in which you and your students address work in progress, in contrast to work already completed. This lesson should feature students engaged in making art, working through any stage of the creative process.

Submit an 18-minute video recording with three segments that shows you and your students interacting during a single lesson in which students learn about making art. (See “Video Recording Format Specifications” for more detail.) The video segments should meet the following criteria:

▪ Segment 1 should consist of a slow pan of the room, no longer than 2 minutes, toshow the physical arrangement of your teaching area. If you share a teaching area with another teacher and teach from a cart, scan the cart and the area as you describe your teaching environment. You should operate the camera continuously, averaging about 15 seconds for each 45-degree turn as you swing the camera around the room. The pan should show evidence of how you ‚ deal with safety issues in your teaching area; ‚ make instructional resources available to students; ‚ organize the physical environment in a way that supports art instruction activities and

creative participation in the making of art.

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During the pan, speak into the camera microphone to describe the layout of the room and identify significant features in your teaching area. The pan may or may not include students.

▪ Segments 2 and 3 should last no longer than 8 minutes each and come from thesame lesson. Both segments should show you at work with your students, helping them learn about making art. The segments may be recorded over more than one day, but must be from the same lesson. Each segment should be continuous and unedited. The two segments, taken together, should show an assessor how you do the following: ‚ work with your whole class in helping students learn about making art ‚ work with students one on one as you monitor student work in progress ‚ work with students to develop their understanding and use of the creative process ‚ employ instructional resources to enhance student understanding of how and why art

is made, linking this understanding to the creative process ‚ foster an environment that accommodates art instruction and allows all students to

participate actively and creatively in the making of art

Critical analysis of work in progress is embedded in the making of art. However, the entire video recording should not be devoted to students at work on their own art. It is more revealing to use part or all of Segment 2 to show how you “set up” the featured lesson by demonstrating a new process or providing students with new information or stimuli. Segment 3 could show you circulating among your students, monitoring their progress, responding to their questions, and providing them with feedback. There are many ways to craft an effective lesson. The example given suggests only one response to this task.

Choose instructional resources that show how you use resources that extend beyond the art materials that students use in making art. Include resources to stimulate and push the limits of student thinking about art—for example, resources that provide exposure to the work of other artists, writings about art, or interactions with community artists. Refer to Standard VI for a more comprehensive discussion on instructional resources and technology. The resources should be evident in the video recording and should be described in the Written Commentary.

This entry provides opportunities for teachers whose classrooms focus only on art criticism and art history. In these classrooms, teachers may, for example, have students come to understand attributes of an artist’s work by having them make art as they imitate the artist’s techniques, use of media, or style. These classrooms may place differential emphasis on the study, interpretation, and production of art. Regardless of the classroom emphasis, the ability to help students connect art-making to an understanding of art gained through interpretation and evaluation is critical to a successful performance on this entry.

The aim of this entry is to examine how your students learn about the processes of making art and how you work with them to explore how and why people make art. It also examines the role of art in fostering an understanding of the human experience across cultures, times, and places. In other words, the emphasis should be on making art, not on the resulting artwork. This entry is not intended to showcase how much your students know about making art, nor is it intended to exhibit your students’ most elaborate work.

You must have the parents/guardians of all students you plan to include in the video recording complete Student Release Forms before you make any video recordings. You must have any adults who will appear in the video recording (for example, teacher’s aides, parents, student teachers, or colleagues) sign an Adult Release Form prior to recording.

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Video Recording Format Specifications

Your video recording must meet the following requirements: Formats Your video recordings must be submitted as an flv, asf, qt, mov, mpg, mpeg, avi, wmv,

mp4, or m4v file.

Compression Settings

The ePortfolio system has a 500 MB file size limit for each file that is uploaded. You must compress larger video files before submission. Please follow the instructions in the “Video Compression Guide”.

Length Submit a video recording that is no longer than 18 minutes. If you submit a longer video recording, only the first 18 minutes will be viewed and scored.

The video recording should have three segments: Segment 1: A 2-minute pan of the room in which you are teaching, during which you

describe the physical layout of your teaching area and discuss the health and safety precautions you have incorporated into your classroom.

Segments 2 and 3: These segments must be taken from two different times fromwithin the same lesson but, which may be recorded over more than one day. Each segment must be continuous and unedited, lasting no more than 8 minutes each.

Editing Make sure that each segment of your video recording is continuous and unedited. Caution: Stopping and restarting the camera or the sound during any segment will be regarded as editing. However, edits are allowed between segments 1 and 2 and between segments 2 and 3.

DO NOT stop and start the camera, except as specified in the entry directions.

DO NOT turn off the microphone during recording.

DO NOT add graphics, titles, or special effects (e.g., fade in/out).

Recording Use a camera angle that includes as many faces of the students in the class as possible. The video recording should show as much of the class as possible, but it is acceptable to focus on a particular student while he or she is talking, singing, or playing an instrument. You must be shown in the video as well.

Make sure that sound quality is good enough that the assessor can understand all of what you say, sing, or play and most of what students say, sing, or play.

Language Show conversations that occur in English unless you registered for World Languages (French or Spanish).

If a small portion of your video occurs in a language other than English and it is important that an assessor understand it, provide a brief description in the Written Commentary of what was communicated.

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Preparing Assessment Materials The use of student self-assessment or peer assessment that you include with this entry does not have to be captured on the video recording. However, the assessment must be used within the context of the art-making process featured on the video recording.

Include only assessment materials that relate directly to the instruction featured in the video recording you are submitting and that are referred to in the Written Commentary.

You must include one student’s response to the student self-assessment or peer assessment that you describe in the Written Commentary. In addition, you may include a photocopy or description of relevant materials that will help assessors understand how you use students’ assessment of their own work or the work of peers to further their understanding of how and why art is made. Other materials could be procedures given to the students, rubrics or scoring scales used, an art-making-process questionnaire, or other materials that would be helpful to understand your approach to student self-assessment or peer assessment.

While not all assessment activities (e.g., a class discussion) will produce a written response, the assessment strategies that you select for this entry must lead to assessments that can be examined by assessors. Dialogue that occurs between teacher and student or between student and student about the artwork seen on the video recording is appropriate to include as a short transcription. Charts, graphs, student assessment profiles, use of symbols, sketches, and checklists are examples of appropriate forms of assessment for this entry.

You may include up to 5 pages of assessment materials.


Group only one assessment material with each Assessment Material Cover Sheet. Include one student self-assessment or peer assessment. Provide copies of additional materials that will help assessors understand your approach to student self-assessment or peer assessment.

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Materials must be no larger than 8.5" × 11". If submitting a smaller item (e.g., a photograph), you must photocopy it onto an 8.5" x 11" page or print a digitized image of that smaller item onto an 8.5" x 11" page. Several smaller items can be grouped on a single page (excluding Storyboard forms, which may only contain a single photograph).

Note: If an assessment material was created in a multimedia software program (such as PowerPoint presentation software or HyperStudio®), you may format up to six slides on one 8.5" × 11" sheet. Each sheet counts as 1 page toward your page total. Note: If an assessment material contains Web pages, each Web page printout (one 8.5" × 11" sheet) counts as 1 page toward your page total. Note: Do not reduce full-sized pages of assessment materials in order to fit more than one assessment material onto a single sheet of paper. Note: If the assessment material that is important for assessors to see is impractical to submit or does not show up clearly in the video recording (e.g., overhead transparency or slide projections, writing on a chalkboard or whiteboard, software, three-dimensional objects), attach a drawing, photocopy, or 1-page description to the Assessment Material Cover Sheet. (If you submit a description, it must be typed in double-spaced text with 1" margins on all sides using 12-point Times New Roman font. )

Make sure materials are completely legible, if appropriate, and completed by the student or students.




Page count Submit no more than 5 pages in total of assessment materials. Additional pages will not be read. Cover sheets and translations do not count toward this total.



2. Planning and Teaching Analysis

3. Reflection


Your Written Commentary must be no longer than 11 typed pages. Suggested page lengths are included to help you make decisions about how much to write for each of the three sections. (See “Written Commentary Format Specifications” below for more detail.)

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The process of analyzing video recordings of one’s teaching can highlight flaws in how the learning experience was implemented. It can also lead to a new appreciation of successes that might otherwise have gone unnoticed. Throughout your response, be sure that you explicitly refer to events shown on the video recording.



▪ What is your school setting (e.g., preschool, elementary, middle, junior high, or highschool, or alternative school)? What is your class size, and what are the grades and ages of the students in the class featured in this entry? What is the subject matter of the class? (Example: 24 students in grade 3, ages 7 and 8, Art)

▪ What are the relevant characteristics of this class that influenced the selection of thisinstructional sequence (range of students’ abilities, exceptional needs students, ethnic and linguistic diversity, heterogeneity of the class, the personality of this class)? Give any other information that might help the assessor “see” this class.


▪ What particular instructional challenges does the class chosen for this entry represent?This might include, but is not limited to, a description of your students’ skills, knowledge, and previous experiences that relates to your teaching.



This information focuses on your description and analysis of the different parts of the single lesson shown on the video recording. When citing specific evidence, it may be helpful to assessors if you identify specific locations in the video recording by describing specific dialogue, events, and/or students (e.g., “the girl working on the abstract self-portrait”). In this section, address the following questions:

▪ What are the instructional goals for this particular lesson? Why are these goals appropriatefor your students?

▪ How did you use your knowledge of these students, as individuals and as earlyadolescence through young adulthood art learners, to enhance student learning in this lesson? Cite specific examples from the video recording.

▪ How do you ensure fairness, equity, and access for all students in your class? Cite aspecific example from the video recording.

▪ How did you use your knowledge of art content to enhance student learning about makingart in this lesson? Cite specific examples from the video recording.

▪ What instructional resources did you use during this lesson and why did you choose them?How did your use of these resources help students link these resources to their understanding of how and why art is made and their own art-making processes? Cite specific examples from the video recording that show you or your students interacting with these resources.

▪ How have you established and maintained a healthy and safe art-making environment?Cite specific examples from the video recording.

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▪ How have you fostered an equitable learning environment that is artistically inviting anddevelopmentally appropriate for your students and where they can participate actively andcreatively in the making of art? Cite specific examples from the video recording to supportyour response.

▪ What specific instructional strategies did you use in this lesson to promote studentlearning about making art? Cite specific examples from the video recording to supportyour response.

▪ What particular interactions with the entire class or individual students resulted in theiracquisition or reinforcement of art-making knowledge or skills? Be specific and useparticular moments in the video recording to support your response.

▪ What student or peer assessment strategy did you use in this lesson to help studentsreflect on their progress and move forward with new understandings about art-makingprocesses? What were your reasons for using this strategy? The use of the assessmentdoes not have to be captured on the video recording.

▪ What did students learn from the assessment of their own work or that of a peer abouthow and why art is made?

▪ What did you learn from the student assessment (of their own artwork or the work ofpeers)? How will you use that information as you continue to work with these students tohelp them understand how and why art is made?

Suggested total page length for Planning and Teaching Analysis: 7 pages

3. Reflection

In this section, address the following questions: ▪ How well were the goals of this lesson met? What is the evidence for your response?▪ How will this lesson influence future instruction? Future instruction might be for the entire

class or specific individuals.▪ What would you do differently if you had the opportunity to teach this lesson with a

different class? Why? If you would not change anything, explain why.







3. Reflection

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Page count Submit no more than 11 typed pages in total. If you submit a longer Written Commentary, only the first 11 pages will be read and scored.




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well.





Courses



CLASSROOM LAYOUT FORM (For Informational Purposes Only)

Please show the physical layout of the “classroom” (i.e., “setting in which t h e instruction took place”) as it appears in the video recording. This visual will provide assessors with a context for the video since the camera cannot capture the whole instruction area at once.

It is helpful to assessors for you to identify where particular students are located in the room by using the same student identifiers that you refer to in your Written Commentary (e.g., “the girl in the green sweater”).The sketch will not be scored.


Assessment Material COVER SHEET

How was the assessment material used in relation to the instruction seen on the video recording?

Attach to this cover sheet:

❏ One relevant assessment material. If the material being usedis larger than 8.5" x 11", if it is software, or if it is three- dimensional, attach a description, drawing, photocopy, digitized image, or a photograph to this cover sheet. In addition, if overhead transparencies or writing on the chalkboard or whiteboard are important for assessors to see but do not show up clearly on the video recording, attach a copy of the material.




Entry 3: Learning to Study, Interpret, and Evaluate Art In this entry, you demonstrate how you work with students to help them learn to study, interpret, and evaluate art. You also demonstrate how you assess student learning that resulted from the interactions seen on the video recording. You provide a 15-minute video recording of one lesson and a Written Commentary analyzing the video recording. You also provide assessment materials.




III. Equity and Diversity

IV. Content of Art



VII. Instructional Resources and Technology

VIII. Learning Environments



Accomplished Early Adolescence through Young Adulthood/Art teachers hold high expectations for achievement in relation to the goals and standards they set for all their students. These teachers assist students in appreciating alternative interpretations and understandings of works of art on multiple levels, recognizing and honoring diverse backgrounds and experiences students bring to their understandings.

Accomplished art teachers ▪ know that some adolescents comprehend images, create metaphors, and synthesize and

consolidate information while others need structure and sequence as they work to analyze and break down parts of a whole. Teachers observe students working individually and in groups, noting their strengths and work styles.

▪ encourage all students to participate in learning experiences in ways that areinstructionally sound for them as individual learners. In helping the students examine the roles and purposes of art, artifacts, and artists in diverse cultures, accomplished teachers generate learning experiences that foster respect for various customs.

▪ know that works of art are highly complex in their intrinsic content, in the extrinsiccharacteristics of the context in which they were created, and in the changing contexts that surround their study, interpretation, and evaluation. They know how the study, interpretation, and judgment of works of art are enriched and deepened when integrated approaches are taken.

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▪ organize their curriculum and the study of art, taking into account methods of inquiry,processes, and the products of art making. They also teach students how to study andinterpret works of art and how to evaluate their own artwork, the work of their peers, andworks of other artists. They broaden understanding by helping students develop arepertoire of questions to address issues raised by works of art, including cultural,historical, political, economic, and other artistic issues that may be represented oraddressed within a work.

▪ extend their definition of resources to encompass not only the materials they use invarious art-making processes but also a wide variety of other traditional materials, such astransparencies, slides, prints, books, journals, original works of art, Internet resources,CD-ROMs, and emerging technologies.

▪ assemble comprehensive and well-balanced sets of resources that will help students learnabout and become involved with art of different cultures, times, and places.

▪ establish environments in which the value of art, art content, art values, individuals, andlearning are held in high regard. Such environments are supportive, congenial, andpurposeful, contributing to the active engagement of students. They establishenvironments that create spaces for the emotional and intellectual involvement with art.For accomplished art teachers, every class and each individual learning experience provideopportunities for reflection, diagnosis, and improvement.


What Do I Need to Do? This entry is designed to capture authentic interactions among you and your students.

In this entry, you

▪ demonstrate your ability to facilitate students’ learning to study, interpret, and evaluateart;

▪ demonstrate your ability to strengthen students’ understanding of why and how art ismade through your knowledge of art content, your ability to create an equitable learningenvironment that fosters student interaction and engagement, your use of instructionalresources, and your ability to formally or informally assess student learning that resultedfrom teacher-to-student or student-to-student discussion(s).

The focus of this entry is to demonstrate how you teach students to study, interpret and/or evaluate art. You demonstrate how you help them develop questions, understandings, skills, and abilities with which to study art. Although this teaching may involve having the students make art and, therefore, production may play a role in the teaching highlighted in this entry, the main focus should be on how you teach students to approach, discuss, and respond to art.

This entry differs from “Entry 2: Learning about Making Art,” in which the focus is on teaching students about making art and connecting the making of art to a broader understanding of art gained through interpretation and evaluation in the context of how and why people make art.

For this entry, you must submit the following: ▪ One video recording (15 minutes maximum) taken from a single lesson that

demonstrates how you help students learn to study, interpret, and evaluate art. ▪ Assessment materials (5 pages maximum) to help assessors understand how you

formally or informally assessed student learning that resulted from the class discussion(s).

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▪ Written Commentary (11 pages maximum) that provides a context for the lesson onthe video recording, analyzes your instruction on the video recording, and reflects on thelesson.



You must submit a video recording, assessment materials, and a Written Commentary. If any component is missing, your response will not be scored.


Recording Your Video Entry Video-record a lesson in which students study, interpret, and evaluate art, and provide materials to show how you assess student learning using formal and informal assessment.

Choose an occasion to record that shows the ways you help your students interact with you and with each other when they are studying, interpreting, and/or evaluating art. You should demonstrate strategies that allow students to address issues that are raised by works of art— for example, form, meaning, media, tools and techniques, artist’s intent, viewer’s interpretation, role and function, and so on. Many aspects of interpretation and understanding might serve as the focus for a lesson. It is important to remember that you might be working with your students on multiple aspects of the study of art. You are not expected to show your work on all possible aspects in the time allotted to the video recording.

Submit a continuous and unedited video recording, no longer than 15 minutes, that shows you and your students interacting during a single lesson in which students learn to study, interpret, and/or evaluate art. (See “Video Recording Format Specifications” for more detail.) The video recording that you submit should show how you

▪ work with your students as they learn to study art;

▪ use your knowledge of art content to facilitate all students’ learning about art;▪ employ instructional resources to enhance students’ understanding of why and how art is

made;▪ use your knowledge of early adolescence through young adulthood learners in promoting

interactions about art;▪ foster an equitable, supportive, and purposeful environment where all individuals, art

content, and inquiry are held in high regard and where students are actively engaged inlearning to study, interpret, and/or evaluate art.

Choose instructional resources, including technology, that show how you use them to help students study, interpret, or evaluate art. To discuss art, students must have a focus for their inquiry. This focus will be evident not only from the discussion on the video recording but also from the instructional resources and technologies chosen to illuminate the topic or

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subject of the lesson. You might choose a work of art, a critical review of a work of art, or the students’ own artwork as the focus of a lesson on studying, interpreting, and evaluating art.

In this entry, you demonstrate your work with students as they learn to study, interpret, and evaluate works of art. You might be teaching students to think about works of art from the perspective of their own approach to art making. You may be teaching students to consider different art forms (e.g., painting, drawing, printmaking, textile design, costume design, video, performance art); forming processes (i.e., media, tools, and techniques); formal, sensory, or expressive qualities; ideational aspects; meaning; style; or subject matter. Or you might be helping students become familiar with aesthetics, theories of criticism, or philosophies of art, and the questions they pose about art and its significance. Another aspect of studying art you might feature in this entry is an understanding of the context in which a work is created, displayed, and classified, and the effects that context has on the artist, the work itself, and its influence and reputation over time. (Refer to Standard IV for a more extensive discussion on art content and Standard V for more on curriculum and instruction.)

This entry is not intended to showcase what you know about specific styles or works of art, nor is it intended to be a display of your own ability to interpret and evaluate art. Rather, it is designed to show how you help your students talk about art with you and with one another as they learn different ways to approach works of art and express their questions and responses to art. The focus of this entry is students’ exploration of approaches to the study of art with you and with one another. This means that the discourse on the video recording is a crucial element in the evidence used to evaluate this entry. The video segment you choose must show students talking about art. Therefore, do your best to set up your recording so that an assessor can see as many students as possible participating in the lesson.

You must have the parents/guardians of all students you plan to include in the video recording complete Student Release Forms before you make any video recordings. You must have any adults who will appear in the video recording (for example, teacher’s aides, parents, student teachers, or colleagues) sign an Adult Release Form prior to recording.

Video Recording Format Specifications Your video recording must meet the following requirements: Formats Your video recordings must be submitted as an flv, asf, qt, mov, mpg, mpeg, avi, wmv,

mp4, or m4v file.

Compression Settings

The ePortfolio system has a 500 MB file size limit for each file that is uploaded. You must compress larger video files before submission. Please follow the instructions in the “Video Compression Guide”.

Length Submit a video recording that is no longer than 15 minutes. If you submit a longer video recording, only the first 15 minutes will be viewed and scored.

Editing Make sure that your video recording is continuous and unedited. Caution: Stopping and restarting the camera or the sound is regarded as editing.

DO NOT stop and start the camera, except as specified in the entry directions.

DO NOT turn off the microphone during recording.

DO NOT add graphics, titles, or special effects (e.g., fade in/out).

Recording Use a camera angle that includes as many faces of the students in the class as possible. The video recording should show as much of the class as possible, but it is acceptable to focus on a particular student while he or she is talking, singing, or playing an instrument. You must be shown in the video as well.

Make sure that sound quality is good enough that the assessor can understand all of what you say, sing, or play and most of what students say, sing, or play.

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Language Show conversations that occur in English unless you registered for World Languages (French or Spanish).

If a small portion of your video occurs in a language other than English and it is important that an assessor understand it, provide a brief description in the Written Commentary of what was communicated.

For advice on recording your lesson, see “Recording Video Entries” in “Phase 2: Develop” (in Part 1). For more information on the use of languages other than English, see “Language Accommodations Policies” in “Phase 1: Prepare” (in Part 1).

Preparing Assessment Materials Include photocopies or descriptions of relevant materials that will help assessors understand how you assessed student learning as a result of the interactions observed on the video recording. The assessment might be informal or formal. Include only assessment materials that relate directly to the discussion(s) seen on the video recording you are submitting and that are referred to in the Written Commentary.

The assessment materials may include, but are not limited to, questionnaires, evaluation criteria, student profiles, graphs, charts, lists of student procedures to analyze a work of art, digitized images, photocopies of student work or artist reproductions, a glossary of terms, or a more formal assessment that you administered to the class. Overhead transparencies, slides, or writing on the chalkboard or whiteboard that are important for assessors to see may be included on the video recording. However, if these images are unclear, they may be included as one or more pages in your set of assessment materials, provided you do not exceed 5 pages.

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Assemble all assessment materials with the Assessment Materials Cover Sheet.



Materials must be no larger than 8.5" × 11". If submitting a smaller item (e.g., a photograph), you must photocopy it onto an 8.5" x 11" page or print a digitized image of that smaller item onto an 8.5" x 11" page. Several smaller items can be grouped on a single page ((excluding Storyboard forms, which may only contain a single photograph).

Note: If an assessment material was created in a multimedia software program (such as PowerPoint presentation software or HyperStudio®), you may format up to six slides on one 8.5" × 11" sheet. Each sheet counts as 1 page toward your page total. Note: If an assessment material contains Web pages, each Web page printout (one 8.5" × 11" sheet) counts as 1 page toward your page total. Note: Do not reduce full-sized pages of assessment materials in order to fit more than one assessment material onto a single sheet of paper. Note: If the assessment material that is important for assessors to see is impractical to submit or does not show up clearly on the video recording (e.g., original student artwork, a reproduction, overhead transparency or slide projections, writing on a chalkboard or whiteboard, software, three-dimensional objects), attach a drawing, photocopy, digitized image, color photograph, or 1-page description to the Assessment Materials Cover Sheet. (If you submit a description, it must be typed in double-spaced text with 1" margins on all sides using 12-point Times New Roman font.)





Page count Submit no more than 5 pages in total of assessment materials. Additional pages will not be read. Cover sheets and translations do not count toward this total.




3. Reflection


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Your Written Commentary must be no longer than 11 typed pages. Suggested page lengths are included to help you make decisions about how much to write for each of the three sections. (See “Written Commentary Format Specifications” for more detail.)

The process of analyzing video recordings of one’s teaching can highlight flaws in how the learning experience was implemented. It can also lead to a new appreciation of successes that might otherwise have gone unnoticed. Throughout your response, be sure that you explicitly refer to events shown on the video recording.



▪ What is your school setting (e.g., preschool, elementary, middle, junior high, alternativeschool)? What is your class size and what are the grades and ages of the students in the class featured in this entry? What is the subject matter of the class? (Example: 24 students in grade 3, ages 7 and 8, Art)

▪ What are the relevant characteristics of this class that influenced the selection of thisinstructional sequence (range of students’ abilities, exceptional needs students, ethnic and linguistic diversity, heterogeneity of the class, the personality of this class)? Give any other information that might help the assessor “see” this class.


▪ What particular instructional challenges does the class chosen for this entry represent?This might include, but is not limited to, a description of your students’ skills, knowledge, and previous experiences that relates to your teaching.



This information focuses on your description and analysis of the single lesson shown on the video recording. When citing specific evidence, it may be helpful to assessors if you identify specific locations in the video recording by describing specific dialogue, events, and/or students (e.g., “the girl in the black sweater”). In this section, address the following questions:

▪ What are the instructional goals for this particular lesson? Why are these goals appropriatefor your students?

▪ How did you use your knowledge of these students, as individuals and as earlyadolescence through young adulthood art learners, to enhance student learning in this lesson? Cite specific examples from the video recording.

▪ How do you ensure fairness, equity, and access for all students in your class? Cite aspecific example from the video recording.

▪ How did you use your knowledge of art content to enhance student learning aboutstudying, interpreting, and/or evaluating art? Cite specific examples from the video recording.

▪ What instructional resources and technologies did you use during this lesson and why didyou choose them? Cite specific examples from the video recording that show you or your students interacting with these resources and technologies.

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▪ How have you fostered a learning environment that is purposeful and supportive of yourstudents, encouraging active student participation in open dialogue about the description,analysis, or evaluation of art? Cite specific examples from the video recording.

▪ How did you engage students in meaningful discussion concerning the definition,description, or evaluation of art to further their understanding? Be specific and useparticular moments on the video recording to support your response. For example, explainwhere on the video recording the viewer can see and hear students engage in the kind ofdiscussion about art that you regard as an expression of their learning to study, interpret,and/or evaluate art.

▪ What is your analysis of the discussion(s) on the video recording? Cite specific exampleson the video recording that show students learning to study, interpret, or evaluate art.

▪ How did you assess the students’ learning that resulted from the discussion(s)? This maybe formal or informal assessment. Refer to the assessment materials that you aresubmitting.

▪ How will you use the information gathered from the assessment of the class discussion(s)?

Suggested total page length for Planning and Teaching Analysis: 7 pages

3. Reflection

This information focuses on your analysis of your practice and its implications for future teaching. In this section, address the following questions:

▪ How well were the goals of this lesson met? What is the evidence for your response?

▪ How will this lesson influence future instruction? Future instruction might be for the entireclass or specific individuals.

▪ What would you do differently if you had the opportunity to teach this lesson with adifferent class? Why? If you would not change anything, explain why.







3. Reflection









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Page count Submit no more than 11 typed pages in total. If you submit a longer Written

Commentary, only the first 11 pages will be read and scored.




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CLASSROOM LAYOUT FORM (For Informational Purposes Only)

Please show the physical layout of the “classroom” (i.e., “setting in which the instruction took place”) as it appears in the video recording. This visual will provide assessors with a context for the video since the camera cannot capture the whole instruction area a t once.

It is helpful to assessors for you to identify where particular students are located in the room by using the same student identifiers that you refer to in your Written Commentary (e.g., “the girl in the green sweater”).The sketch will not be scored.


Assessment Materials COVER SHEET

What is important to know about the assessment materials and how they are connected to what is shown on the video recording? How were the assessment materials used?

Attach to this cover sheet:

❏ Up to 5 pages of relevant assessment materials. If the materialbeing used is larger than 8.5" x 11", if it is software, or if it is three-dimensional, attach a description, drawing, photocopy, or photograph to this cover sheet. In addition, if overhead transparencies, slides, or writing on the chalkboard or whiteboard are important for assessors to see but do not show up clearly on the videotape, attach a copy of the material.


PORTFOLIO INSTRUCTIONS Part 2: Portfolio Entry Directions, Cover Sheets, and Forms


Entry 4: Documented Accomplishments: Contributions to Student Learning

In this entry, you illustrate your partnerships with students’ families and community, and your development as a learner and collaborator with other professionals, by submitting descriptions and documentation of your activities and accomplishments in those areas. Your description must make the connection between each accomplishment and its impact on student learning.


IX. Collaboration with Colleagues, Schools, Families, and Communities



Accomplished Early Adolescence through Young Adulthood/Art teachers ▪ see themselves as members of larger learning communities that extend beyond the

classroom. They collaborate with other teachers, provide instructional leadership, and work with administrators and teachers to develop programs and initiatives that address schoolwide goals.

▪ respect the role of families as the first teachers of their students. Learning about familybackgrounds and cultures helps teachers gain insight into parental expectation and aspiration for their students.

Accomplished art teachers ▪ see their responsibilities as professionals as including a commitment to their continuing

professional development as well as to that of their colleagues, their schools, and the field of art education. Joining with other art educators at the local, state, regional, and national levels, teachers strive to strengthen instructional practices and to design and implement new programs in art education.

▪ serve in multiple roles within learning communities, acting as providers of information,members of problem-solving teams, facilitators of student inquiry, researchers, writers, learners, and artists.

▪ are advocates for the visual arts and work with colleagues to influence policies that affectart education. Accomplished art teachers work to inform decision makers, administrators, and colleagues on the roles the arts can and should play in education for all students.

▪ cultivate family interest and support for art education.▪ foster two-way communication with families about their children’s accomplishments,

successes, and need for improvement, in some cases discussing the means for achievinghigher goals, and respond thoughtfully to families’ concerns. These teachers persistently,actively, and creatively seek to involve parents and guardians in the educational process.

▪ seek to broaden the definition of educational context, thereby opening doors of classroomsand schools.

▪ find ways to connect students to their artwork within the larger community throughexhibitions, programs, and field trips.

▪ realize the importance of connecting with schools of higher education, museums,businesses, art organizations, and artists.

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▪ seek meaningful partnerships, thereby building and maintaining ongoing support forquality art education for all students.

Accomplished visual arts teachers constantly strive to become masters of the profession. They view each year as a new opportunity to improve the quality of their own teaching practice and to enhance the knowledge and stature of the profession.

Accomplished teachers distinguish themselves with their capacity for ongoing, objective self-examination; their openness to innovation; their willingness to experiment with new pedagogical approaches; and their readiness to change in order to strengthen and improve their teaching.

Your response will be judged on the extent to which it provides clear, consistent, and convincing evidence of your ability to impact student learning through your work with families and the community, with colleagues and other professionals, and as a learner.


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What Do I Need to Do? This entry captures evidence of the way in which your role as a teacher is broader than your direct interaction with students in your classroom. In your role in your learning community, you work with students wherever learning takes place—be it classroom, resource room, library media center, studio, gymnasium, auditorium, workshop, outdoors, and so on. You also interact with members of the broader community to enhance and support student learning.

In this entry, you demonstrate your commitment to student learning, through your work with students’ families and

community and through your development as a learner and as a collaborator and/or leader;

your commitment, through evidence of your efforts to establish and maintain partnerships with students’ families and the community; through evidence of your growth as a learner; and through work that you do with other teachers at a local, state, or national level;

how what you do outside of the classroom (or beyond explicit student instruction) impacts student learning.

For this entry, you must submit the following: Description and Analysis (a combined total of 10 pages maximum for up to

8 activities or accomplishments). Each Description and Analysis must clearly and specifically describe why each accomplishment is significant in your teaching context and what impact each has had on student learning.

Documentation (a combined total of 16 pages maximum for all accomplishments) that supports the activities or accomplishments that you have chosen to describe. Documentation can take the form of artifact(s), a Communication Log, and/or Verification Form(s).

Reflective Summary (2 pages maximum) that reflects on the significance of your accomplishments taken together and your future plans to improve student learning.

Read all directions for this entry before beginning to work on the individual components of the entry.

You must demonstrate your work in each of three categories: 1. as partner with students’ families and community (current year)2. as learner (within the last five years)3. as collaborator and/or leader (within the last five years)

You may choose to demonstrate discrete accomplishments in each category, or you may address broader accomplishments that cut across multiple categories. While an accomplished response must contain evidence for all three categories, you may submit no more than 8 accomplishments. Your accomplishments must demonstrate an impact (direct or indirect) on student learning. Impact on student learning is meant in a broad sense. Your descriptions of your accomplishments must demonstrate to assessors why or how improved student learning is a likely result. Specific examples of impact, where appropriate, are helpful.

All of the work you submit as part of your response to any entry must be yours and yours alone. For more detailed information, see “Ethics and Collaboration” in “Phase 1: Prepare” (in Part 1) and the National Board’s ethics policy.

Detailed directions for developing each component follow. See “Entry 4 Cover Sheets” for a list of the forms required to package and submit your materials.

You must submit Description and Analysis, documentation, and a Reflective Summary. If any component is missing, your response will not be scored.

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© 2015 National Board for Professional Teac hing Standards | All rights reserved.



Writing Description and Analysis The Description and Analysis of each accomplishment should clearly and specifically explain what the accomplishment is and why it is significant in your teaching context, including how it has had an impact on student learning.

You are allowed to submit a maximum of 8 accomplishments and must describe them within a maximum of 10 pages of Description and Analysis.

Describe the accomplishments that you have chosen so that someone who does not know you or your teaching context can appreciate the significance and impact of what you have described. Explain acronyms used in your school or district, as they may not be familiar to assessors who work in different contexts.

Make your Description and Analysis specific because accomplishments often sound alike, and their actual significance in a particular place and time may not be clear just from their names or brief descriptions. You must describe what is important about these accomplishments— that is, tell what the accomplishment is, explain why it is significant, and describe how you know it impacts student learning. All parts of the description—what, why, and how—are important. Assessors should see a clear connection between the Description and Analysis and documentation and a clear connection between the accomplishment and student learning.

Dedicate each Description and Analysis to a single accomplishment. An accomplishment may be a single activity or event, or a set of related activities and events that are logically related to a unified goal or outcome. You may use as few or as many pages as you like for each description—whatever it takes to describe the accomplishment and explain its significance and impact on student learning—as long as the combined total number of pages for all Description and Analysis does not exceed 10 typed pages for up to 8 accomplishments.

You are not permitted to put several unrelated activities under a single accomplishment. If you do so, each activity will be counted as a separate accomplishment.

For each accomplishment you choose, you must write a Description and Analysis that answers EACH of the following questions. Provide this information in addition to the context that you supply on the Contextual Information Sheet, which focuses on the school or district at large.

What is the nature of this accomplishment? Be very specific. Remember that the assessor will know nothing about you or your teaching context.

Why is this accomplishment significant? To be significant, the accomplishment must be an important effort or achievement that demonstrates your work as a partner with students’ families and their community; as a learner; and as a collaborator and/or leader with colleagues or other professionals.

How has what you have described had an impact on students’ learning? You need to connect your accomplishment to the learning of your students or the students of your colleagues. Where appropriate, cite specific examples.

You must provide supporting documentation for each Description and Analysis. Details on how to choose your accomplishments or activities and the types of documentation you may submit are provided later in these entry directions.

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Description and Analysis Format Specifications

Your Description and Analysis must meet the following requirements: Language Write in English.

Format Type your responses on a separate sheet of paper. Double-space your text; do not use 24- point line spacing.


Materials will be submitted electronically as a Microsoft Word, Open Office or PDF file. Page size must be 8.5" × 11" with 1" margins on all sides.



Label to indicate the number of the accomplishment. Place a title at the top of the first page of each Description and Analysis, specifying the accomplishment number (e.g., “Accomplishment # 1 ”).

Page count In a Description and Analysis, a “full page” is a page that is more than 50% text; a “half page” is a page that is 50% or less text. Given these definitions, your Description and Analysis may be more than 10 pages if you choose to begin the Description and Analysis of each accomplishment on a separate page; however, you are not required to do so. It is permissible to provide the Description and Analysis of more than one accomplishment on a single page as long as you precede the Description and Analysis for each accomplishment with an identifier such as “Accomplishment #1”. Regardless, the total amount of text must not exceed 10 pages.

Submit no more than 10 pages in total.

For more information about writing your Description and Analysis, see “Writing about Teaching” in “Phase 2: Develop” (in Part 1).

For examples of appropriate line spacing and font formatting, see “Specifications: Formatting Written Materials” in “Phase 2: Develop” (in Part 1).

Collecting Documentation of Accomplishments

Choosing Your Accomplishments

Choose activities and accomplishments carefully, because the Standards on which this entry is based value those activities that have both significance in your teaching context and a positive impact on student learning.

The following procedures are designed to help you choose the most appropriate accomplishments:

With you and your teaching context in mind, read “Standards Measured by Entry 4” (at the beginning of this entry) and the scoring criteria provided in the Scoring Guide for Candidates.

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Think of all your activities and accomplishments that might be relevant to the Standards for this entry.

Carefully review the three categories of accomplishments for which you require documentation.

Begin to list your activities and accomplishments that seem relevant to the three categories and to meeting the Standards for this entry.

Consider all possible resources when writing your initial list: your files, professional colleagues, family, personnel folder, old calendars, previous years’ planning books, and so on.

Once your initial list is complete, think about what documentation you can provide to support your accomplishment.

When selecting your accomplishments, consider the following three categories of involvement that must be addressed:

1. Teacher as partner with students’ families and community: Provide evidence ofhow you value parents and other interested adults as partners in your students’development and education; how you facilitate ongoing, mutually beneficialinteractions between the students and the wider community; and how you foster two- way dialogue with parents and other interested adults. You also need to show howyour interactions impact student learning. (In the current year)

2. Teacher as learner: Provide evidence of how you have engaged in ongoingprofessional development strengthening your knowledge, skills, and abilities relevantto your teaching context (e.g., how you seek information on current theories andresearch—and their applications—through familiarity with professional literature;participate in and support professional organizations; or take advanced course workrelevant to your teaching and learning context). You also need to show how theseactivities impact student learning. (Within the last five years)

3. Teacher as collaborator and/or leader: Provide evidence that you have workedcollaboratively with colleagues and that you have shared your expertise in aleadership role with other educators to improve teaching and student learning withinthe school or in the wider professional community. (Within the last five years)

You do not have to have separate accomplishments for each of these categories; in fact, you may find that many of your accomplishments overlap the categories.

The Documented Accomplishments Categories Diagram below provides one way of thinking about how the three categories intersect and overlap. This diagram is not prescriptive, but it may help you think about your activities outside the classroom in as wide a manner as possible. For example, the category of teacher as learner might include documentation describing how you improved your understanding of teaching skills or your content knowledge in an area that you teach or how you sought to better understand your students. The diagram shows how the aspects of your work outside the classroom might overlap.

This diagram is meant to be an aid to identifying and categorizing the different kinds of activities in which you engage outside the classroom. It is also designed to show how you can submit one accomplishment that addresses more than one category.

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Remember, accomplishments relating to your work with students’ families and the community must come from the current year (i.e., for the 12 months preceding the opening of your ePortfolio submission window) AND accomplishments relating to your work as a learner and collaborator and/or leader must come from within the five years preceding the opening of your ePortfolio submission window. You are not required to cite accomplishments spanning all of the last five years, nor are you required to cite accomplishments for each individual year of the five-year period.

The Categories Chart

To help you make your final selections, we encourage you to use a Documented Accomplishments Categories Chart like the one that follows to track and organize your accomplishments and the related documentation. Write down the significance and impact of each accomplishment before you decide which activities and accomplishments to submit. Remember that the emphasis is on significance and impact, not on quantity. If you cannot complete the boxes on the chart for a particular accomplishment, it is probably not a good choice to submit for this entry.

This chart is organized into categories that help you think about the different areas in which you work outside the classroom to improve student learning. Your accomplishments might overlap more than one category.

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Documented Accomplishments Categories Chart

Category— Accomplishments that demonstrate . . .

Activity Significance Impact on Student Learning

Documentation

Your work with the families and community of your students (in current year)

Your development as a learner (within last five years)

Your work as a collaborator and/or leader (within last five years)

Some activities in which all teachers must engage may not make the best examples of accomplishments for this entry unless you perform them in a way or to a degree that makes them very effective in promoting students’ learning. For example, almost all teachers are required to attend an open house for parents each new school year. This is, of course, a form of communication with parents and caregivers. In and of itself, this activity shows little or no significant accomplishment or impact, because according to the Standards, it is both routine and required. However, if your contribution to the open-house night went beyond the routine, making it an effective avenue to engage parents about their child’s learning, you should make that very clear in your Description and Analysis.

Not everything you do outside the classroom is appropriate for this entry. For example, community volunteer work or personal interests are worthwhile endeavors, but for those activities to be valued in this entry, your involvement must have had an impact on student learning.

On the other hand, if you have been involved in an activity that has had great impact on student learning, you must discuss that impact and how it made a difference in student learning to provide the necessary evidence for an accomplished score. Assessors are trained not to make inferences in this area; you must clearly describe the impact on student learning.

Choosing Your Documentation Carefully select and organize the documentation for each accomplishment that you feature. Documentation is defined as evidence that verifies that you have done what you say you have done in the Description and Analysis. Assessors do not evaluate the documentation; they are looking only for a clear connection between documentation and your accomplishment. You are allowed to submit a maximum of 16 pages of documentation for this entry. Therefore, be selective and make each choice count.

The accomplishments you feature may involve a set of activities or events all related to a unified goal or outcome. Such complex accomplishments may require lengthy descriptions in which you detail all or most of the steps taken or activities in which you were engaged. It is not necessary to provide a specific piece of documentation for every part of a complex accomplishment as long as the documentation you choose to submit supports the overall picture painted by your Description and Analysis. For example, you may have attended multiple workshops addressing a single topic, such as classroom management or a new area of curriculum. You do not need to provide documentation that you attended each and every workshop. Because of page-number limitations, perhaps a better choice would be documentation of your attendance at one workshop, followed by documentation that shows your growth in understanding and the new skills you acquired over the course of prolonged study. You must submit documentation for each accomplishment, but you may choose the type of documentation that is best suited to that accomplishment and that most clearly

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communicates the nature of your accomplishment. There are three types of documentation that you can submit: artifact(s), Verification Form(s), and a communication log.

Artifacts

What they are These are documents produced by engaging in such activities as writing an article, developing a newsletter, receiving a letter from a parent, or presenting a workshop.

You may wish to provide documents that support descriptions of curricula, professional articles or other publications, workshops or presentations that you developed or conducted, grant proposal abstracts, or syllabi for professional classes you have taught.

Guidelines for use

For long artifacts, such as publications (e.g., an article or newsletter), you may submit the title page only.

For multiple artifacts such as correspondence with parents, one or two letters may suffice.

Confirm that your name and the date of the accomplishment appear on one of the pages of the artifact you are submitting to document an accomplishment. If they do not appear on the artifact, submit a Verification Form in addition to your artifact to strengthen your evidence.

Verification Forms

What they are These are forms completed by colleagues, parents, or others who comment on your description of an accomplishment and confirm its accuracy.

When they are required

You do not need to submit a Verification Form for every accomplishment. Generally, you would submit either an artifact or a Verification Form with each activity or accomplishment.

However, if your artifact does not provide enough of the required information (as described in “Documentation Format Specifications” below), submit both your artifact and a Verification Form to validate your activity or accomplishment.

Further, if you do not have an artifact at all—that is, if an activity or accomplishment does not leave a paper trail of supporting documents that you could photocopy and submit as documentation—you must submit a Verification Form to document your activity or accomplishment.

Guidelines for use

When you determine that you should submit a Verification Form, you must find someone who has firsthand knowledge of the accomplishment you are describing. Example: If you have mentored a new teacher in your school, your verifier would have firsthand knowledge of your work with that new teacher. The verifier need not be a supervisor or someone in authority in your school or district; for example, a parent or student could be a verifier.

Note: If a parent or student is a verifier, his or her last name should appear on the Verification Form.

A single verifier is sufficient for any one accomplishment. The same person may not verify more than one accomplishment per category.

Fill out the top section of the Verification Form prior to requesting that the verifier sign the form. Use the space provided to describe the accomplishment you have chosen to submit. You may type or handwrite this information on the form. If you type, you may single-space the text using 12-point Times New Roman font.

When you provide your verifier with the Verification Form, you must also provide the Verification Cover Letter. Please direct the verifier to read the cover letter (which asks the verifier to attest to the accuracy of your

description); read the top half of the form (which you have already completed); complete the bottom section of the form (including the date); return the form to you.

The Verification Cover Letter and Verification Form are provided in the “Cover Sheets” section.

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Communication Log

What this is This is a running log for the current school year in which you can briefly record pertinent information shared with or about students’ families at the time of the communication. It may be difficult to document some activities and accomplishments with an artifact or a Verification Form because of the nature of communications with families and others outside your classroom. A communication log provides one way to track your contacts with people outside the classroom concerning your students and their learning, and that shows you have gone above and beyond routine efforts to build communication.

See an example of a page from a completed communication log as well as a blank communication log below. You can use these as guides if you decide to create your own log.

A communication log includes each of the following pieces of information: dates of communication participants (delete last names to preserve confidentiality) descriptions of the nature of each contact, its purpose(s), and/or its outcome(s)

Each entry in a communication log can be short but must be specific. Assessors look for information regarding the variety of communications you make and the frequency with which you communicate with other people about your students. Be sure to record not just outgoing communications but those you receive from others who are significant in students’ lives.

Guidelines for use

A communication log is not mandatory, but we encourage you to submit a sampling of pages from one if you use one. Select pages that demonstrate the variety of communication you have with families and other parties.

Whether you submit originals or photocopies of your communication log pages, what you submit must be legible. If you are unable to make legible photocopies, you may transcribe the information from your communication log pages onto either the blank communication log provided or sheets that you create using the sample communication log as a model.

Cautions

You may not reduce full-size pages of text or images in order to fit more than 1 page of text/images onto a single page. For example, do not reduce 2 full pages of text in order to place both on a single page. Doing so would reduce the font to smaller than 12 point and make it difficult for assessors to read. If the print is so small that it cannot be read, that page will not be scored. If you submit pages in a reduced format, assessors will count that page as 2 pages.You may, however, place more than one small piece of documentation related to the same accomplishment on the same page. For example, if you wrote a journal article, you could reduce the title page and part of the first page of the article slightly in order to fit them on a single page.

Regardless of whether or not a piece of documentation has been reduced in size, if the text is illegible, assessors will not read it, and it will not count in your score.A curriculum vitae or résumé is not a good choice for documentation because it lacks descriptions to place the activities and accomplishments in context or to explain their significance. In addition, using a curriculum vitae or résumé would still require you to attach additional documentation in support of the particular accomplishments that you wished to highlight. Furthermore, the curriculum vitae or résumé itself would count as pages in your response.

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Sample of Communication Log

Datemm/dd/yy

Contact Type of Communication (telephone, written, e-mail, or in person)

Nature of Communication (reason for communication, outcome of communication)

3/6 Juan’s father Phone call Juan has been showing dramatic progress. Spoke with father to encourage his continued support.

3/10 Tara’s mother Phone call Tara’s mother called me with some concerns about Tara’s behavior at home. We discussed her incomplete class work. I suggested a reward system.

3/11 Felicia’s parents E-mail Felicia’s parents responded to my initial request to all parents for information about their children. Learned that Felicia loves science!

3/13 PTA president E-mail Sent draft agenda for Family Math Night; scheduled appointment to plan activities and determine materials that we need.

3/20 All parents Newsletter Sent newsletter home and invited parents to attend and assist with upcoming student performances—waiting for responses.

3/23 Justin’s mother In person Justin will be moving into my class. Met with Justin and his mother for a smooth transition. Will call home after two weeks to keep mother informed.

3/27 Rotary Club Phone call Contacted president regarding the group members’ Career Day visit to school.

4/1 Tara’s mother Phone call Tara’s mother called to inform me that Tara’s behavior has improved. I mentioned that Tara had turned in her completed class work.

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Communication Log

Date mm/dd/yy



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Documentation Format Specifications

Your documentation must meet the following requirements: Language For evidence in a language other than English or the target language, submit a separate

sheet that translates the documentation or verification. This separate sheet will not count toward the total page count for documentation.

Format Make sure documentation is no larger than 8.5" × 11". For larger materials or three- dimensional objects, submit photographs rather than the objects themselves.

Make sure documentation is legible. Multiple pages of evidence should not be reduced to one sheet unless the resulting font size is no smaller than 12 point, nor should small pieces of evidence from different Description and Analysis sets of activities and accomplishments be put on the same page.

Artifacts: Confirm that your name and the date of the accomplishment appear on one page of the artifact you are submitting as documentation for an accomplishment. Your artifact must show your name as evidence that you were responsible for or participated in the work and must show the date of the work. Artifacts not meeting these criteria may be submitted but must be accompanied by a Verification Form. Verification Forms: You may type or handwrite this information on the form. If you type, you may use the system default font, size, and spacing. Communications logs: This should be an accurate representation of your outreach with families and the community. Do not “cut and paste” random entries; instead, choose whole pages that best illustrate the interactive communication between you and your students, families, and others interested in students’ learning. Example: You can describe a communication that spans several weeks while submitting only a sample of this communication.


Note: These guidelines are designed to protect the identities of students and to ensure that assessors do not draw conclusions about your response based on ideas about where you teach:

Remove information that identifies you geographically. Do not use the last names of students and their families. Remove information, such as a parent’s last name, that identifies a third party.

Exceptions to anonymity guidelines

You must not remove information that identifies you from the artifact you submit, because assessors must know whose evidence they are evaluating.

Do not remove last names from Verification Forms of colleagues and others who have signed them. For example, if a parent signs a Verification Form, do not remove his or her last name.

Leave last names in place when an artifact is printed matter that is not confidential in nature. For example, do not remove last names from a newspaper article, a journal article, school-board letterhead, and similar documents.

It can be very difficult to remove all traces of school identity from an artifact, since the impact of many school-related documents is at least partly derived from the authority behind the institution. Therefore, it is acceptable to leave in school and institution identifiers if this information is significant.

Labeling Place your candidate ID number in the upper right corner of all pages.

Label to indicate the number of the accomplishment. It is critical that you label every page of documentation so that it is clearly identified as pertaining to a particular accomplishment. At the top of each page of documentation, write “Documentation for Accomplishment #_” and fill in the number of the accomplishment.

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Page count Submit no more than 16 pages in total. For this documentation, this means no more than 16 sheets of paper, whether or not each piece of paper has text and/or images on the entire page. Cover sheets do not count toward this total.

Preparing a Reflective Summary When you finish writing your Description and Analysis and collecting your documentation, critically review the materials and write a 2-page Reflective Summary. The summary should not restate your Description and Analysis; rather, it should analyze the effectiveness of your accomplishments. This is your opportunity to highlight the significance of your accomplishments as a whole and to reflect on them and their impact on student learning.

Respond to the following questions for your Reflective Summary. (It is not necessary to include the italicized questions within the body of your response.)

In your work outside of the classroom (beyond explicit student instruction), what was most effective in impacting student learning? Why?

Considering the patterns evident in all of your accomplishments taken together, what is your plan to further impact student learning in the future?

Reflective Summary Format Specifications

Your Reflective Summary must meet the following requirements: Language Write in English.

Format Type your responses on a separate sheet of paper. Double-space your text; do not use 24- point line spacing.


Materials will be submitted electronically as a Microsoft Word, Open Office or PDF file. Page size must be 8.5" × 11" with 1" margins on all sides.



Page count Submit no more than 2 typed pages in total.

For more information, see “Writing about Teaching” in “Phase 2: Develop” (in Part 1). For examples of appropriate line spacing and font formatting, see “Specifications: Formatting Written Materials” in “Phase 2: Develop” (in Part 1).

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Assembling Your Accomplishments and Reflective Summary When you have completed each Description and Analysis, gathered your documentation, and written the Reflective Summary, group the parts of your entry in three files:

Description and Analysis – 10 pages maximum for up to 8 accomplishments Documentation – 16 pages maximum, not counting cover sheets Reflective Summary – 2 pages maximum

Organize these materials within the Documentation file as outlined below so that assessors can easily see how the Description and Analysis and documentation fit together. Assessors are trained to score your entry by first reading the Description and Analysis of an accomplishment and then reviewing the documentation for that accomplishment.

Follow these guidelines to label, number, and insert cover sheets:

Labeling your Description and Analysis. You must label each Description and Analysis with a number that identifies which accomplishment you are describing. Place a title at the top of every page of each Description and Analysis, specifying the accomplishment number (e.g., “Accomplishment # 1”).

Labeling your documentation. It is also critical that you label every page of documentation so that it is clearly identified as pertaining to a particular accomplishment. At the top of each page of documentation, write “Documentation for Accomplishment # ” and fill in the number of the accomplishment.

Cover sheets. After you have assembled all of your documentation and numbered the pages, find the Accomplishment Cover Sheet located in the “Cover Sheets and Forms” section that follows the Entry 4 directions. Make multiple copies so that you have a cover sheet for each accomplishment, and number each cover sheet in the space provided. Then insert Accomplishment Cover Sheet #1 in front of the first page of documentation for your first accomplishment, followed by the page(s) of documentation for your first accomplishment. Place Accomplishment Cover Sheet #2 in front of the first page of documentation for your second accomplishment, followed by the page(s) of documentation for your second accomplishment, and so on for the rest of your accomplishments.

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Accomplishment COVER SHEET

Accomplishment #

Area of accomplishment

The checklist below is intended only to help you confirm for yourself that you have submitted accomplishments in all the categories. Assessors are trained to consider the substance of your accomplishments, not whether you have correctly labeled the ca tego ry .

This accomplishment reflects (check all that apply):

❏ Your work with your students’ families, showing ongoing, interactive, two-waycommunication (current year)

❏ Your work as a learner (within the last five years)

❏ Your work as a leader and collaborator at the local, state, and/or national level

(within the last five years)

Use this cover sheet as many times as needed.


VERIFICATION COVER LETTER

Dear Colleague:

The teacher whose name appears on the attached verification form is a participant in the assessment for certification by the National Board for Professional Teaching Standards®. The teacher has been asked to describe his or her accomplishments regarding the Standards for Family and Community Partnerships, Professional Partnerships, and Reflective Practice and to provide documentation of these accomplishments.

The teacher has identified you as someone personally knowledgeable about his or her accomplishments. We would appreciate your help in verifying the accuracy of the candidate’s description of the accomplishments being reported to the National Board. Please read the verification form, which the teacher has prepared. Return the form directly to the candidate. We may need to obtain additional information about these activities from you at a later time. Please call us at 1-800-22TEACH® if you have any questions.

Thank you for your assistance in this important effort.

National Board for Professional Teaching Standards


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VERIFICATION FORM Note: You may handwrite or type the information on this form. If you type, you may single-space the text using 12-point Times New Roman font. If you handwrite, the form must be digitized prior to entry submission.

To be completed by the candidate:

Candidate Name:

Below, briefly describe the accomplishment(s) being verified by the signer of the form. Explain what the accomplishment is, why it is significant, and how it has impacted student learning.

To be completed by the verifier after the candidate has completed the top section:

Is the candidate’s description of his or her activities accurate? Yes No don’t know

How do you know of these activities?

Signature: Date:

Name (please print):

Title or Position:

Phone Number: ( )

Address:

Please return this completed form directly to the candidate.


Communication Log This log may be used to track your contacts with various people outside the classroom concerning your students and their learning.

Date mm/dd/yy



Copyright © 2015 National Board for Professional Teaching Standards®. All rights reserved.

Documented Accomplishments Categories Chart Use this chart to help you think about the different areas in which you work outside the classroom to improve student learning. Your accomplishments might overlap more than one category.

Category– Accomplishments that

demonstrate… Activity Significance

Impact on Student Learning

Documentation

Your work with the families and community of your students

(in current year) Your development as a learner

(within last five years) Your work as a collaborator and/or leader

(within last five years)



Early Adolescence through Young Adulthood/Art Your Submission at a Glance for EAYA/Art

Your Electronic Submission at a Glance for EAYA/Art

The following chart provides an overview of the EAYA/Art portfolio contents—cover sheets, forms, and the materials you collect and/or prepare—as well as a list of the forms you keep for your records.

Enclosing complete and appropriate materials in the correct order is essential for the proper submission of your portfolio.

2-49


EAYA_ART_ESAAG_03Prepared by Pearson for submission under contract with the National Board for Professional Teaching Standards® © 2015 National Board for Professional Teaching Standards | All rights reserved.

Early Adolescence through Young Adulthood/ArtElectronic Submission at a Glance

Submit your evidence of accomplished teaching using the ePortfolio system (see the Guide to Electronic Submission). Use this chart to understand how to group your evidence and submit it electronically for the Early Adolescence through Young Adulthood/Art portfolio assessment.

Entry 1: Submit 4 files A Portrait of Teaching over Time

Entry 2: Submit 5 files Learning about Making Art

Entry 3: Submit 5 files Learning to Study, Interpret, and Evaluate Art

Entry 4: Submit 4 files Documented Accomplishments: Contributions to Student Learning

Retain for Your Records

Contextual Information Sheet(s) Written Commentary (11 pages max.) Photo Storyboards 1–10 (10 photographs, one on each storyboard) Summative Assessment Materials (5 pages max.—cover sheet does not count in page total) • Summative Assessment

Description Cover Sheet• Summative Assessment

Materials for Students A & B• Other assessment materials

Contextual Information Sheet(s) Written Commentary (11 pages max. for EAYA/Art) Assessment Materials • Assessment Materials Cover

Sheet• Assessment materials

(5 pages max. for EAYA/Art)Entry 2 Classroom Layout Form Video recording (18 minutes max.): Segment #1 (2 minutes max.), Segment #2 (8 minutes max.), and Segment #3 (8 minutes max.)

Contextual Information Sheet(s) Written Commentary (11 pages max. for EAYA/Art) Assessment Materials • Assessment Materials Cover

Sheet• Assessment materials

(5 pages max. for EAYA/Art)Entry 3 Classroom Layout Form Video recording (15 minutes max.)

Contextual Information Sheet(s) Description and analysis (10 pages max.) for up to 8 accomplishments Documentation (16 pages max., not counting cover sheets) • Accomplishment Cover Sheet

for each documentedaccomplishment

• Documents: Artifacts,Communication Log, and/orVerification Form(s)

Reflective Summary (2 pages max.)

• Student Release Forms • Adult Release Forms • Verification Cover Letter

Document. Submit as doc, docx, odt, or pdf file. Video recording. Submit as flv, asf, qt, mov, mpg, mpeg, avi, wmv, mp4, or m4v file.

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New Stamp

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New Stamp

STUDENT RELEASE FORM (to be completed either by the parents/legal guardians of minor students who are involved in this project

or by students who are more than 18 years of age and are involved in this project)

Dear Parent/Guardian:

I am a participant this school year in an assessment to certify teachers as outstanding practitioners in teaching. My participation in this assessment, which is being conducted by the National Board for Professional Teaching Standards® (NBPTS®), is voluntary. The primary purposes of this assessment are to enhance student learning and encourage excellence in teaching.

This assessment requires that I submit short audiovisual recordings and/or photographs of lessons being taught in your child’s class. Although the recordings/photographs will show or involve students, the primary focus is on my instruction, not on the students. In the course of this assessment, your child’s image and voice may be recorded on the video, and your child may be photographed, with the recordings/photographs then submitted to NBPTS. Also, as part of the assessment, I may be asked to submit samples of student work (Student Work) as evidence of teaching practice; that Student Work may include some of your child’s work. No student’s last name will appear on any materials that I submit as part of my assessment.

NBPTS has broad rights to use my Submissions (which include my written commentary sheets, instructional materials, essays, classroom plans, assignments, and comments, but which definition excludes Student Work) and I assign to NBPTS all of my rights in and to the Submissions. NBPTS also obtains certain rights with respect to the Student Work. Specifically, NBPTS may use my Submissions and the Student Work in any way it chooses consistent with the mission of NBPTS, which includes any activity deemed by NBPTS to further education. For instance, without limitation, in addition to uses related to my assessment by NBPTS and its third-party assessors, NBPTS may use and distribute the Submissions and Student Work, such as by posting in a password-protected online database, and grant others the same rights, for educational, research, and professional development purposes, and may use the Submissions and Student Work in NBPTS works and publications. NBPTS may receive fees from those to whom it grants rights related to the Submissions and Student Work. These uses may make my Submissions and the Student Work available for viewing by a broad range of individuals, educators, and students. By providing permission below, you are granting NBPTS a perpetual, irrevocable, royalty-free, and unrestricted license to use any Student Work by your child that I submit as part of my assessment, and to have and to use any copyright, rights of publicity, and other rights associated with any Student Work, and you are releasing NBPTS from all claims (including invasion of privacy) in connection with such use.

If you agree to your child’s participation in the activities as outlined above and NBPTS’s right to use the Submissions and Student Work in the manner described above, please sign the Permission Slip. I will retain this form documenting your permission, but may provide it to NBPTS upon request. If you do not consent to your child’s participation, your child will be out of view in making the recordings and photographs, and I will not include your child’s work in the Student Work I submit. Thank you very much.

Sincerely, (Candidate Signature)


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Student Release Form Permission Slip

Student Name:

School/Teacher:

Your Address:

I am the parent/legal guardian of the child named above. I have received and read your letter regarding a teacher assessment being conducted by the National Board for Professional Teaching Standards (NBPTS), and agree to the following:

D I DO give permission to you to record my child’s image and voice on video and take photographs as my child participates in a class conducted

at (Name of School)

by (Teacher’s Name)

and/or to provide NBPTS with copies of materials that my child may produce as part of classroom activities, all on the terms and conditions described above. No last names will appear on any materials submitted to NBPTS.

D I DO NOT give permission to you to record my child’s image or voice or to reproduce materials that my child may produce as part of classroom activities.

Signature of Parent or Guardian:

Date:

I am the student named above and am more than 18 years of age. I have read and understand the project description given above. I understand that my performance is not being evaluated by this project and that my last name will not appear on any materials that may be submitted.

D I DO give permission to you to record my image and voice on video and take photographs of me as I participate in a class conducted

at (Name of School)


and/or to provide NBPTS with copies of materials that I may produce as part of classroom activities, all on the terms and conditions described above.

D I DO NOT give permission to you to record my image or voice or to reproduce materials that I may produce as part of classroom activities.

Signature of Student:

Date: Date of Birth :


FORMULARIO DE AUTORIZACIÓN (para ser completado por padres o tutores de estudiantes menores que participen en este proyecto o por estudiantes mayores de

18 años y que participen en este proyecto)

Estimados padres/tutores: Este año escolar soy uno de los participantes en una evaluación para certificar a maestros como

educadores profesionales destacados. Mi participación en esta evaluación, llevada a cabo por el “National Board for Professional Teaching Standards®” (NBPTS®)/ Comité Nacional de Normas Profesionales para la Enseñanza, es voluntaria. Los objetivos principales de esta evaluación son mejorar el aprendizaje estudiantil y fomentar la excelencia en la enseñanza.

Esta evaluación requiere que yo entregue grabaciones audiovisuales cortas y/o fotografías de las lecciones que se enseñan en la clase de su hijo(a). Aunque las grabaciones o las fotografías mostrarán o incluirán a estudiantes, el enfoque principal será en mi práctica educativa, no en los estudiantes que puedan estar representados. Durante este proyecto, la imagen y la voz de su hijo(a) podrían ser grabadas en el vídeo, y se le podrían sacar unas fotos a su hijo(a), las cuales se entregarán al NBPTS. Además, como parte de la evaluación se me puede pedir que presente muestras del trabajo de los estudiantes (Trabajo Estudiantil) como evidencia de la práctica docente y ese Trabajo Estudiantil podría incluir algún trabajo de su hijo(a). Los apellidos de los estudiantes no aparecerán en ningún material que presente como parte de mi evaluación.

El NBPTS tiene amplios derechos para utilizar mis Entregas (las cuales incluyen mis comentarios escritos, materiales didácticos, ensayos, planes de lecciones, asignaciones y otro material cuya definición no cae en la categoría de Trabajo Estudiantil) y le asigno al NBPTS todos mis derechos en cuanto a estas Entregas. El NBPTS también obtiene ciertos derechos en respecto al Trabajo Estudiantil. En concreto, el NBPTS puede usar mis Entregas y el Trabajo Estudiantil en cualquier forma que elija en consonancia con la misión del NBPTS, la cual incluye cualquier actividad que se considere por el NBPTS como beneficiosa para promover la educación. Por ejemplo, sin limitaciones, además de los usos relacionados con mi evaluación por NBPTS y sus asesores externos, el NBPTS puede utilizar y distribuir las Entregas y el Trabajo Estudiantil mediante su publicación en una base de datos por Internet protegida con una contraseña y conceder a otros los mismos derechos con fines educativos, de investigación y desarrollo profesional, y puede utilizar las Entregas y el Trabajo Estudiantil en obras y publicaciones del NBPTS. El NBPTS puede recibir cuotas o aranceles de aquellos a quienes otorga los derechos relacionados con las Entregas y el Trabajo Estudiantil. Estos usos pueden hacer que mis Entregas y el Trabajo Estudiantil estén disponibles para ser consultados por diferentes individuos, educadores y estudiantes. Al dar su permiso abajo, usted otorga al NBPTS una licencia perpetua, irrevocable, sin regalías y sin restricciones para usar cualquier Trabajo Estudiantil llevado a cabo por su hijo(a) que entrego como parte de mi evaluación, además usted otorga el derecho de tener y de usar cualquier derecho de autor, de publicidad, y otros derechos asociados con cualquier Trabajo Estudiantil, y además libera al NBPTS de todas las reclamaciones (incluyendo la invasión de privacidad) en relación con tal uso.

Si está de acuerdo con la participación de su hijo(a) en las actividades descritas arriba y el derecho del NBPTS al uso de las Entregas y el Trabajo Estudiantil de la manera en que se describe arriba, por favor firme la hoja de autorización. Yo retendré este formulario para documentar su permiso, pero se me puede pedir su entrega al NBPTS. Si usted no da su consentimiento para que su hijo(a) participe, su hijo(a) no será incluido(a) cuando se hagan las grabaciones o se tomen las fotografías, y no incluiré el trabajo de su hijo(a) en el Trabajo Estudiantil que yo entregue. Muchas gracias.

Atentamente, (Firma del Candidato/ de la Candidata)


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Hoja de Autorización

Nombre del/de la estudiante:

Escuela/Maestro(a):

Su dirección:

Soy el padre/la madre/ el tutor/la tutora del/de la estudiante mencionado(a) arriba. He recibido y leído su carta acerca de una evaluación para maestros que está siendo conducida por el National Board for Professional Teaching Standards (NBPTS), y estoy de acuerdo con lo siguiente:

D SÍ, autorizo a que se graben la imagen y la voz de mi hijo(a) en videograbaciones y que saquen fotografías cuando mi hijo(a) participa en una clase guiada

en (nombre de la escuela)

por (nombre del maestro/de la maestra)

y/o que se le provea al NBPTS copias de materiales que mi hijo(a) pueda producir como parte de las actividades de clase, tal y como se expresa en los términos y condiciones descritos arriba. No aparecerán apellidos en ninguno de los materiales presentados a NBPTS.

D NO, no autorizo a que se graben ni la imagen ni la voz de mi hijo(a) o que se reproduzcan materiales que mi hijo(a) pueda producir como parte de sus actividades en la clase.

Firma del padre/de la madre, o del tutor/de la tutora:

Fecha:

Soy el estudiante/la estudiante mencionada arriba y soy mayor de 18 años de edad. He leído y entiendo la descripción del proyecto mencionado arriba. Entiendo que mi desempeño no está siendo evaluado en este proyecto y que mi apellido no se mencionará en ninguno de los materiales que puedan ser entregados.

D SÍ, autorizo a que se graben mi imagen y mi voz en videograbaciones y que me saquen fotos cuando participo en una clase guiada

en (nombre de la escuela)

por (nombre del maestro/de la maestra)

y/o que se le provea al NBPTS copias de materiales que yo pueda producir como parte de mis actividades en la clase, tal y como se expresa en los términos y condiciones descritos arriba.

D NO, no autorizo a que se me graben ni la imagen ni la voz en videograbaciones o que se reproduzcan materiales que yo pueda producir como parte de mis actividades en la clase.

Firma del/de la estudiante:

Fecha: Fecha de Nacimiento: / / MM DD AA


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ADULT RELEASE FORM (to be completed by non-students who are involved in this project)

Dear Sir or Madam: I am a participant this school year in an assessment to certify teachers as outstanding practitioners in teaching. My participation in this assessment, which is being conducted by the National Board for Professional Teaching Standards® (NBPTS®), is voluntary. The primary purposes of this assessment are to enhance student learning and encourage excellence in teaching.

This assessment requires that I submit short audiovisual recordings and/or photographs of lessons being taught in class. Although the recordings/photographs will show or involve students and others, the primary focus is on my instruction. In the course of this assessment, your image and voice may be recorded on the video, and you may be photographed, with the recordings/photographed then submitted to NBPTS.

No last name (other than mine) will appear on any materials that I submit (my Submissions). NBPTS has broad rights to use my Submissions and I assign to NBPTS all of my rights in and to the Submissions. Specifically, NBPTS owns and may use my Submissions in any way it chooses consistent with the mission of NBPTS, which includes any activity deemed by NBPTS to further education. For instance, without limitation, in addition to uses related to my assessment by NBPTS and its third-party assessors, NBPTS may use and distribute the Submissions, such as by posting in a password-protected online database, and grant others the same rights, for educational, research, and professional development purposes, and may use the Submissions in NBPTS works and publications. NBPTS may receive fees from those to whom it grants rights related to the Submissions. These uses may make my Submissions available for viewing by a broad range of individuals, educators, and students.

If you agree to participate in the activities as outlined above and to NBPTS’s right to use the Submissions on the terms and in the manner described above, please sign below. I will retain this form documenting your permission, but may provide it to NBPTS upon request.

Sincerely, (Candidate Signature)

Permission Slip

Name:

Address:

School/Teacher:

I am the person named above. I have received and read your letter regarding a teacher assessment being conducted by the National Board for Professional Teaching Standards (NBPTS) and agree to the following:

I DO give permission to you to record my image and voice on video and take photographs of me as a participant in a class conducted

at (Name of School)


as part of classroom activities, and for NBPTS to use any such recordings or photographs on the terms and conditions described above. No last names (other than the teacher’s) will appear on any materials submitted to NBPTS, and I waive any claims or rights that I may have with respect to such recordings or photographs.

I DO NOT give permission to you to record my image and voice as part of classroom activities.

Signature: Date:


Activity Planner Worksheet Use this worksheet to plan your time on each of the activities required to complete your portfolio entries.

ACTIVITY Month 1 Month 2 Month 3 Month 4 Month 5

Read the Standards and all of the portfolio directions. Use as a reference

Plan your calendar and timeline.

Get Student and Adult Release Forms signed, as needed.

Work on the practice activities in “Phase 2: Develop” (in Part 1).

Use your Communication Log for Documented Accomplishments.

Describe your accomplishments and collect documentation for Documented Accomplishments.

Video record classes, and collect student work samples.

Review your video recordings and student work samples.

Select your video recordings and draft your Written Commentaries for them.

Select your student work samples and draft your Written Commentary for them.

Do self-assessment of your entries.

Begin final drafts of your Written Commentaries.

Begin final draft of your Reflective Summary.

Complete final drafts of your Written Commentaries.

Complete final draft of your Reflective Summary.

Gather all materials for the four entries.

Prepare your portfolio and refer to the directions in “Phase 3: Submit” (in Part 1) for important information about organizing, uploading and submitting your portfolio electronically.


Entry Tracking Form This form may be used to keep a record of which students, lessons, and units of instruction you elect to feature in each classroom-based entry.

Your Entry Choices

Entry Unit

(must be three different units)

Lesson Dates Students Featured

Entry 1: (enter title here)




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© 2015 National Board for Professional Teaching Standards. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher.

The National Board for Professional Teaching Standards logo, National Board for Professional Teaching Standards, NBPTS, National Board Certified Teacher, NBCT, National Board Certification, Take One!, 1-800-22TEACH, Accomplished Teacher, and Profile of Professional Growth are registered trademarks or service marks of the National Board for Professional Teaching Standards. Other marks are trademarks or registered trademarks of their respective organizations.

The contents of this publication were developed in whole or in part under a grant from the U.S. Department of Education. However, those contents do not necessarily represent the policy of the Department of Education, and you should not assume endorsement by the federal government.

Prepared by Pearson for submission under contract with the National Board for Professional Teaching Standards®.

Pearson and its logo are trademarks, in the U.S. and/or other countries, of Pearson Education, Inc. or its affiliate(s).