3.1 Introduction-to-assessment

Assessment mechanisms engage students in identifying if learning has achieved intended skills and knowledge outlined by SQA learning criteria. Assessment positively impacts where feedback identifies mechanisms to support achievement and sustain attainment (Fontana, 1995). This chapter considers assessment strategies and valid, consistent and reliable application to ensure standardised and fair decisions on assessment levels in written and performance in SQA Dance Examinations.

3.2 Assessment-processes-and-products The process of learning Secondary dance meets many of National aims outlined by the Curriculum for Excellence (CfE), by inspiring appreciation, communication, creativity, literacy, problem-solving and leadership (Siddall, 2010). Three assessment types (Figure-63) are used to determine prior knowledge (Diagnostic), progression in vocational and life skills (Formative) and SQA vocational criteria (Summative).

Assessment is for learning (AifL) relies on diagnostic and formative assessment to map development in learning, life and employability skills (Figure-64).

This holistic approach if provided with feedback and opportunity for review will enhance the three skillsets examined in Summative SQA exams (Figure-65).

In secondary Dance, three elements (performance, choreography and appreciation) are assessed to provide a holistic understanding of students dance skills and understanding. These elements are examined in summative assessments of three outcomes (Dance performance, Group choreography and Written paper).

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3.3 Assessment-strategies3.3.1-Diagnostic-assessmentDiagnostic assessment is completed when first meeting a dance group to gain a clear understanding of pre-existing skills and attributes (Huhta, 2010). Diagnostic assessment is norm-referenced against skill level expected at that developmental stage. Results do not count towards the final grade but identify:

1. Gaps in current knowledge and skills2. Misunderstandings, general approaches, habits or thoughts.

An informal approach prevents assessment stress detracting from learning process but enables practitioners to adapt lesson plans or delivery and to address specific learning needs. Diagnostic assessment strategies include short descriptions, Likert scales or rubrics (section-3.4.3).

Diagnostic Assessment Examples Informal diagnostic assessment to identify skills and learning gaps in new classes:(a) XL dance for movement despite disability. (b) Contrasting skills in Higher and National 5 dance.

(a)-XL-dance-for-students-with, learning,-physical-and-behavioural-disabilities.Diagnostic assessment was completed informally at an initial meeting, but results contributed to a report on ‘Inclusion in Active Schools (Figure-66). This norm-referenced assessment highlighted physical, emotional and behavioural issues.

This diagnostic assessment showed three students required assistance with physical skills. This was met by cooperative teaching with pupil support. Lessons incorporated Laban’s actions, stimuli, partnering, group work and imagery to promote shape forming and essence of movement.

(b)-Contrasting-skills-in-Higher-and-National 5-dance.Informal diagnostic assessment (Figure-67) was completed at warm-up for a mixed National-5 and Higher Dance PE class to prepare a differentiated dance routine for dance skills unit within National PE qualification.

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Results show National-5 achieved lower in physical skills. There was less difference between cognitive and psychosocial skills. National-5 required training to perform technical choreography.3.3.2-Formative-assessment Formative assessment is completed to identify progress barriers or learning gaps during the learning process. Formative assessment followed by effective qualitive feedback and opportunity for revision raises attainment before summative assessment (Fuchs, et al. 1997). Feedback should focus on SQA assessment content and performance criteria to enable students to identify areas required to advance their learning (Crooks, 2001), 2010). Formative assessment raises attainment but particularly directs low attainers (Black & Williams, 2001).

(a)-Formal-formative-assessmentPrelims Dance faculties use formal formative assessment for prelims. Prelims follow SQA examination format, comprising one performance genre, choreography and written exam. Exams are invidulated and marked in school. Results provide evidence to set students in summative course award pathways (National-5/Higher).

Unit-Assessment Formal formative SQA Unit Assessments are unrelated to Summative Course Awards. Students restricted by elective pathways attempt individual Unit Assessments for credit at SQCF level-5 (National-5) or level-6 (Higher). Unit Assessment content, exam conditions and marking criteria are identical to Summative Course Award. In contrast, performances are recorded and graded in school (SQA, 2017, 2018) and there is no final written exam. SQA external assessors verify Unit Assessments. Students must be SEEMIS registered to gain credits.

Unit Assessment support packs (UASPs) contain information for achievement of course level in: Solo performance of tutor-prepared choreography based on SQA criteria. Completed for two dance

styles. Student-derived choreography and written choreography review.

(b)-Informal-formative-assessmentInformal formative assessment opportunities are extensive. Examples are divided into VARK’s learning styles for integration into lessons in technique and performance, choreography and theory (Fleming & Mills, 1992).

Formative-assessment-examplesFormative assessment strategies used in technical performance (Figure-68).In practical lessons, teachers select movement to perform in chosen dance styles and discuss similarities/differences. Video-clips may ignite discussion. Students are assessed on movement and style and receive feedback supporting self-assessments.

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The practical unit requires choreography for two dancers at National-5 and three dancers at Higher, excluding choreographer. Group projects are an important part of active student-centred learning. Some students naturally lead their group whilst others have excellent choreography but require development of communication skills. Formative assessment and feedback should be provided at six stages to nurture choreographic approaches and skills for learning, life and work.

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SQA question paper presents a format for dancers to demonstrate their knowledge and understanding without assessing kinaesthetic ability. Whilst teaching in practical classes will develop some of the skills needed for the written exam. Theory classes should provide focus on appropriate responses.

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(c)-Formative-peer-assessment-strategies-(Figure-71)Formative peer assessment is the process whereby students grade assignments during the learning process. Peer assessment encourages students to reflect on their learning by providing appropriate feedback. This is effective in technical, performance, choreography and written classes, where teacher sets the marking criteria based on SQA assessment criteria. The process improves student knowledge of success criteria and metacognition as well as directing students to internalise what effective work looks like (Wiliam, 2011). Checklists (Figure-74), provide quick and directed feedback if used in an environment with positive mindset.

There are many forms of peer assessment, including:• Groups assessing work of other groups• Individual students assessing the work of a group OR partner OR fellow group members.

Example: Peer-assessment-of-performance-skillsPartner assess each other on a check-list (Figure-71) after 3-4 lessons while performing a dance for assessment of technical solo. This is repeated at week 7-8.

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[Appendix-3A].

(d)-Formative-self-assessment-strategies-(Figure-73)Formative self-assessment actively involves students as agents of their learning. Self-evaluation could be written entries in students’ logbook or Likert scale or rubric following a practical task. Comments are more effective than grading for self-assessment due to cognitive processing involved in describing or explaining.

(e)-Formative-lesson-evaluation-strategies-(Figure-74)Students should feedback on the course they complete to allow sustainable improvement in dance teaching.

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3.4 Assessment-feedback

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Practitioners/peers provide general and individual feedback based SQA criteria based on formative assessment to decrease the zone of proximal learning (Fani & Farid, 2011). Feedback improves learning where students receive specific guidance on strengths and weaknesses, without any overall marks (Black & William, 2001). Students require further opportunities to develop skills and attributes based on formative assessment evidence prior to SQA summative assessment.

There-are-three-categories-of-formative-assessment-feedback.

3.4.1-Verbal-feedback-(Comments)Verbal comments relating to SQA learning criteria are often the most effective feedback as this provides students with description and personalised targets for progression. This requires teachers to have a clear understanding of assessment criteria and where students fall within this (Figure-75). Feedback should acknowledge performance and be constructive in its effect.

Verbal feedback comprises the teachers’ comments and initiation of voice.

Providing feedback which is prescriptive to SQA criteria and corrective will provide appropriate challenge. It is important to be succinct and specific.

This is particularly important in dance to incorporate initiation of voice to emphasise the count with emphasis in a musical barre or the type of movement.

Example:

For feedback to remain effective it should use dance terminology and verbs.

As dance is a discipline particularly focussed on aesthetics, it is important to provide praise for students’ accomplishments as this positive feedback encourages and supports self-esteem.

Providing all students with next steps promotes attainment and prevents most able from relaxing as they will attain and less-able students becoming swamped by unachieved criteria.

3.4.2-Physical-feedback-

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Effective feedback in Secondary Dance requires physically repositioning of body parts to guide the exercise or execution of the movement [Section-1]. To align with legal requirements, teachers must ask if they can adjust students. It is effective practice to talk through alterations to develop student understanding.

Becoming aware of body language and facial expressions ensures dance teachers avoid revealing thoughts as they observe students’ movement. Aligned and confident body language presents a persona which can deter mischief. Gestures including smile, nod or eye contact are quickly recognised as acknowledgement.

3.4.3-Written-feedback(a)-Check-lists

List of attributes or skills set on SQA criteria which the student or observing peers check off. Shows attribute/skill acquired but provides no explanation where skills are almost acquired or further developments. Checklists are effective if technical skills are broken down to identify exact elements lacking (Figure-76).

(b)-Rating-scale

SQA assessment criteria are divided into performance criteria for each exercise/sequence/choreography skill. Students’ performance is rated against these criteria in a scale from 1-4 (Figure-77). This improves on checklists as students understand how close they are to gaining the assessed quality but lack information on how to improve. Teachers should communicate criteria to students throughout lessons and respond to questions on how to improve or what constitutes a grade.

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(c)-Likert-scaleThe Likert scale resembles a rating scale except that numbers match with descriptive terms (Figure-78). For example: A Distinction B Commended C Apprentice D Beginner

This method is effective with verbal explanation or short notes to define reasons for skill level.

(d)-Rubrics

Rubrics provide a mechanism to assess against exam standards (Figure-79). Rubric contains SQA assessment criteria and markers indicate the degree the standard has been met and reasons for this selection (Pickett-&-Dodge, 2011).

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3.4.4-Marking-extended-formative-responsesGrading essays and extended response questions are more subjective than lower order questions where the precise answer is required. For written formative assessment feedback, highlight marking scheme criteria identified and knowledge gaps for continual improvement.

3.4.5-Learning-conversations-and-contractsTeachers hold learning conversations to ensure students understand their progression and areas for development. Dialogue should be thoughtful, reflective, focused mechanisms to achieve SQA learning criteria (Black& William, 2001). This discussion creates ownership of an individualised progress contract and where the student sets specific learning goals on 3 attributes one from performance, practical project at the start of term (Kassing & Jay, 2002). The teacher uses a Likert scale to assign current performance termed the ‘working grade’. A target grade is agreed between student-teacher. Progress is reviewed in the contract period. Target grades can be adjusted based on formative assessment. At the unit end, student-teacher discuss progress against targets before final independent SQA assessment (Figure-80).

3.5 Summative-assessment3.5.1-Summative-assessment-requirementsSummative assessment enables monitoring of educational outcomes, often for purposes of external accountability (Shepard, 2005).

These assessments consider learning processes (performance and choreography) and educational products (vocational attributes, choreography skills, expression of choreographic intent and professional artistry).

At National 5 and Higher levels, SQA provide criterion-based assessment outcomes and rubrics to assess benchmarks and criteria (SQA, 2017, 2018). These must be shared with candidates in class and emphasised during exam preparation in line with reasonable assistance. Marking for units and Course award are based on the same assessment criteria.

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3.5.2-Summative-assessment-proceduresSummative assessment methods for National 5/Higher Dance are set by delivery mechanism (Figure-82).

If students presented for Course Award are unsuccessful, free-standing units can only be awarded if students have been formally presented through SEMISS. Free-standing units are not required for Course Awards.

Assessment procedures require standardisation with valid, consistent and reliable approach [Appendix-3B].

3.5.3 Technical-solo-performanceStudents perform two live tutor-choreographed technical solos of 90-120 seconds in contrasting dance styles for the SQA visiting assessor. This creates opportunity to gather evidence of application and combination of technical and performance skills (Figure-83).

Practitioners choreograph and teach the dance solos, incorporating SQA derived criteria of style-specific steps and technical skills [Section-1]. Choreography should provide several opportunities to demonstrate skills. Practitioners provide rehearsals, feedback and ongoing support during preparation stages only.

This manual provides exemplar of Higher and National-5 dance solos marked against SQA rubrics to raise awareness of exam standards. Examples are provided at level-A and level-C with marking scheme and assessor commentary [Appendix-3C]. Positive marking was employed, marks were not deducted for minor error or omission.

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3.5.4-Practical-ActivityPractical activity assesses choreography creation and presentation for two or more dancers and application of problem-solving, critical-thinking and interpretation. Candidates develop self-reflective practice in a written a review of their choreography and choreography skills (Figure-84).

Section 2a: Choreography Dance students at National 5 and Higher create and display a dance in a chosen genre for two people, excluding self, lasting 90-120 seconds (Figure-85).

Choreography at a glanceAssessment requirements for choreography skills develop from National-5 to Higher (Figure-86).

This manual provides exemplar Higher and National-5 Choreography marked against SQA rubrics to raise awareness of exam standards. Examples are provided at level-A and level-C with marking scheme and assessor commentary [Appendix-3D].

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Section-2b:’Choreography-Review Choreography review requires students to reflect on their choreographic process and expand statements by describing or explaining reasoning for their decisions, effectiveness or solutions to problems encountered. Responses require descriptions with factual points, characteristics or features and explanations with evidence that clarify relationships.

For National 5 and Higher Dance, the written response assesses breadth of knowledge from across the course, depth of understanding, and application of this knowledge and understanding (SQA, 2017). Candidates produce an extended response which reviews the choreography they have created and their skills as a Choreographer (Figure-87).

Choreography-review-at-a-glanceStudents are assessed on review of 1-Planning, 2-Developement, 3-Choreography skills (Figure-88), with progression to complex structures,greater number of examples and theatre arts by Higher.

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Choreography review is completed under exam conditions and marked by External SQA-examiners. There is development in skill and detail required to progress from National-5 to Higher (Figure-89).

This manual provides exemplar Higher and National-5 Choreography Reviews marked against SQA rubrics to raise awareness of exam standards. Examples are provided with marking scheme and assessor commentary [Appendix-3E].

Assessment weighting of the choreography differs at National-5/Higher (Figure-90).

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3.5.5-Summative Question-paper The question paper is set and marked by the SQA and completed under exam conditions. All questions are compulsory and should be answered using dance terminology. Written responses draw on and apply a sample of all the skills, knowledge and understanding gained in the course (Figure-91).

The written assessment solidifies Dance in the Academic curriculum by assessing the presentation of information in written format. Examination procedure for the written assessment mirrors procedures used in other SQA examinations. The written paper is completed under SQA exam conditions in a hall/dance studio observed by trained invidulators and marked by an external examiner. Teachers should not be present, unless there are exceptional circumstances [Appendix-3A].

Written-question-paper-content At National 5 and Higher, students require ability to reflect on their performance and choreography and evaluate dynamic, spatial and relationship content of a chosen dance work. Higher students are also required to contrast two professional dance works, understand safe practice, theatre arts and personal, peer and professional performance (Figure-92).

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SQA specimen papers and marking schemes for National-5 and Higher Dance are available for download (SQA, 2017; 2018). 3.6 Monitoring-and-evaluation-of-summative-assessment3.6.1-Monitoring-and-evaluation- Following learning talks with students (Section 3.4.5), teachers write predicted grades based on formative assessment and set target grades with students. These grades are entered into the education-based computer program ‘SEEMiS’ as part of the formative reporting system (Figure-93).

3.6.2-Evaluation-of-individual/class-summative-assessmentTeachers review students’ summative SQA results to determine if components were as predicted, to evaluate teaching and learning in each exam component and to compare component marks to National averages.

The computer programme ‘CfE Machine’ (Wilson, 2011), is a secure and password protected site for review of exam results (Figure-94).

(a)-Results-MachineThe ‘Results Machine’ enables teachers to access grades and component marks for each of the three dance units (Figure-95). For classes or individuals, ‘Results Machine’ produces files of SQA Grades A-D and SQA Bands 1-9. Practitioners can compare mean National percentages to individual and class results to determine achievement level for each core component. This feedback can direct areas for development.

(b)-QI-machine‘QI machine’ enables practitioners to evaluate exam performance and write developmental evaluations based on quality indicators (Education Scotland, 2015) and class results (Figure-96).

(c)-CfE-MachineFor description of course components and presentation, CfE-machine can be utilised (Figure-97).

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3.6.2-Evaluation-of-faculty/school-summative-assessmentDigital media provides a mechanism to evaluate faculty and whole school performance in relation to summative assessment and achieving positive indicators outlined by HIGIOUS-4 (Education Scotland, 2015). This section considers assessment feedback through INSIGHT (scotxed), accessed with URL: https://insight.scotxed.net/

INSIGHT (scotxed) is an electronic monitoring programme which uses innovative computer-based assessments, to provide practitioners with quantitative feedback based on SQA results. INSIGHT allows practitioners to judge how well classes performed in SQA exams relative to a comparator school of similar socio-economic background and to National averages. This feedback is accessed through the secure INSIGHT website. Login requires the Glow username and password issued on appointment as a Scottish Secondary Teacher.

The dashboard displays bar graphs comparing SQA National-5 (SQCF-level-4) and Higher (SQCF-level-5) results of the practitioners’ school to comparator school, local authority and Nationally (Figure-98).

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By selecting the ‘Courses’ tab on INSIGHT, practitioners can choose age-stage and comparison factors (Figure-99).

Performance at each stage can be compared for an entire cohort with comparator schools and National results (Figure-100).

Figure-100:

INSIGHT is available to all Local Authorities. Resources can gain additional functions beyond INSIGHT core to compare summary responses and attitudes or summarise individual students (CEM, 2018).

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