From Talent Identification to Multidimensional Assessment: Toward new models of evaluation in dance education

Abstract

This paper describes new approaches to assessment in dance and dance education. The rst part examines assumptions behind traditional models of evaluation in academic and performing arts contexts. I consider whether it is useful to understand human ability as unitary or if it is meaningful to evaluate people according to a single dimension of competence, such as a general intelligence or a unique talent. I argue that pluralistic models of human intelligent performance-and 'intelligence-fair' assessments-more accurately portray the richness, multidimensionality, and diversity in human behaviour. The second part uses this theoretical meta-structure to de ne key requirements for multidimensional assessment. Recent approaches to assessment in dance are considered in light

Talent in sports. Some reflections about the search for future champions

“…Or in the words of Warburton (2002): "For assessment to tell the whole story, it must get beyond the one-shot-deal administration of a test. What we need are on-going assessments that allow repeated measures over time, so that the development of the person's knowledge and skill can be charted ".…”

“Dançar Dói, Mas Dói Mais Quando Estou Parada”: Reflexões Sobre O Corpo Na Dança

“…Continuando a reflexão e partilha sobre a significância do corpo na dança observamos, no espaço da formação de bailarinos, e na perspetiva de alguns autores (GLASSTONE, 1977;LAWSON, 1988;KASSING;JAY, 1998;WARBURTON, 2002, MINDEN, 2005, a importância que assume o corpo no que se refere aos requisitos mínimos necessários de coordenação e senso natural de ritmo mas, sobretudo, requisitos físicos adequados para prática da dança. Entre os mais importantes estão "umas costas fortes, direitas, e ainda com mobilidade; pés flexíveis; articulações móveis; um tendão de Aquiles flexível; pernas retas e a capacidade para girar as pernas livremente no encaixe do quadril aumentando assim a amplitude de movimento dos bailarinos" (GLASSTONE, 1977, p. 11, tradução nossa).…”

Assessing dance: A phenomonological study of formative assessment in dance education

“…Formative assessment can be seen as the use of judgement as it is intended to shape and improve the student´s proficiency (Sadler, 1989). Rubrics can be used to quantitatively evaluate complex performances and assist formative assessment (Warburton, 2010). According to Black and Wiliam (2009), evidence and decisions are connected in classroom practice:…”

“…It is recommended that a variety of methods for assessment in dance are used, for example, tools such as documentation of students´ performances, self-assessment and an evaluation of the teaching performance (Hernandez, 2013). Teachers' reflections are important in improving teaching practice (Warburton, 2010). Ross and Mitchell (1993) emphasise the importance of verbal communication between the teacher and the student to foster insights into the student's capacity to think about the art form.…”

“…In some cases, this might be useful and necessary with verbal or written assignments, and sometimes, this might also be able to express reflections through other modes, such as embodied actions. Teachers´ reflection is an important part of improving dance education (Warburton, 2010).…”