DRAFT 101504 DRAFT 101004 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT Page 1 Higher Learning Commission Self-Study Questionnaire/Report for Academic Departments Academic Department: Theatre/Dance Department Individual(s) Completing the Questionnaire/Report: Marshall Anderson, chair BACKGROUND INFORMATION 1. Please list the majors (including emphasis areas), minors, and/or certificates offered by your department. Majors (and emphases): Theatre BA Theatre BFA: Performance Emphasis Theatre BFA: Design/Technology Emphasis Theatre BFA: Management/Promotion Emphasis Theatre BFA: Stage Management Emphasis Theatre BSE Minors: Theatre Theatre-Elementary/Secondary Dance Dance - Secondary Education Emphasis Certificates: 2. Fill in the data requested below relevant to enrollments and the number of graduates. Also, please estimate the percentage of student credit hours (SCH) your department’s curriculum serves relevant by both: 1) student level (e.g., freshmen, sophomores); and 2) majors, minors, interdisciplinary programs, and general education requirements. (Skip to Question #3. This information will be secured and filled in by the Campus Self-Study Coordinator) Spring 2003 Enrollment (Headcount) Fall 2003 Academic Year # of Majors # of Minors Spring 2004 Fall 1996 Fall 2004 Spring 1997 Spring 2005 Fall 1997 Spring 1998 Graduates (Majors& Minors) Fall 1998 Academic Year # of Majors # of Minors Spring 1999 AY 96-97 Fall 1999 AY 97-98 Spring 2000 AY 98-99 Fall 2000 AY 99-00 Spring 2001 AY 00-01 Fall 2001 AY 01-02 Spring 2002 AY 02-03 Fall 2002 AY 03-04 DRAFT 101504 DRAFT 101004 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT Page 2 AY 04-05 Seniors Total= 100% SCH Distribution Programmatic Purpose % of Student SCH Departmental Majors Departmental Minors Other Department Majors Interdisciplinary Programs General Education SCH Distribution Other Student Level % of Student SCH Total= 100% Freshmen Sophomore Junior 3. Overview and evaluate the adequacy of the human, physical, and fiscal resources your department deploys to serve students and meet other programmatic needs by addressing the questions below: Human Resources Evaluate the general adequacy of the human resources (i.e., the # of faculty and instructional staff and their skills) relative to the department’s ability to serve its student populations and achieve other programmatic goals. Do this by assigning a number between “1” (completely inadequate) to “9” (completely satisfies needs). 7 1-9 In a paragraph or two, discuss the human resources evaluation score you provided. Include, in particular, a discussion of unique strengths as well as important needs not being met or opportunities not being explored because of limitations. Currently, the Theatre/Dance Department staffing consists of the following: 5 Faculty including 2 full-time in performance, history and theory; 2 full-time in design/technology and one 75%-time in dance. Staffing also consists of 5 Academic Staff including one full-time in design/technology and technical direction; one 50%-time in dance; one 37.5%-time in performance; one 20%-time in arts management; and one 50%-time as costume shop manager. We also utilize the College Director of Public Events in regards to arts management students. We have one volunteer instructor in dance, as well as a guest artist hired each academic year. Currently, the chair is a 50%-time position, so a 50%-time academic staff position has been hired to cover the missed load. All of these people have terminal degrees or are working towards them, and are experts in their fields. Our strengths lie in this expertise and the ability to work closely, one-on-one, with all of our students. Currently, we are seeing a growth in our enrollements, which is beginning to put a strain on our class sizes. We are beginning to see the need to either 1.) limit the number of students in our program or 2.) increase the number of faculty and staff to deal with this increased number of students. Most all of the performance-type classes are at their limits in terms of enrollment and, often, students have had to wait to take certain classes, delaying their program progress. Either that, or we have had to increase class sizes, which has serious implications in terms of learning. We feel that increasing certain faculty line percentages would help to alleviate this problem. In particular, we would like to see the 37.5%-time performance position increased to at least a 75% -time position, if not a full-time position; also, we are feeling the need to increase the 75%-time dance position back to a full-time position, where it was before a faculty retirement in 1996. We are also concerned about the status of our Tap Dance classes. Currently, these are being serviced by a volunteer faculty member of a certain age. When she opts to "retire", we will be hard-pressed to find the funding to continue to be able to offer these DRAFT 101504 DRAFT 101004 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT Page 3 popular and well-enrolled classes. All of our people are good and are working to their full-potential and full-limits, so something will need to change in order for our program to grow and develop further. Physical Resources Evaluate the adequacy of the physical resources available to support the department’s ability to serve its student population and achieve programmatic goals by assigning a number between “1” (completely inadequate) to “9” (completely satisfies needs). Consider such issues as classroom space, office space, supporting technology, lab space to support research and/or instruction, etc. 7 1-9 In a paragraph or two, discuss the physical resource evaluation score you provided. Include, in particular, a discussion of unique strengths as well as important needs not being met or opportunities not being explored because of limitations. The Theatre/Dance Department is lucky to have very fine facilties. These include: Barnett Theatre; Hicklin Studio Theatre; the use of Kachel Center; scenic and costume shops; scenic, costume and lighting storage; the Orange Room department library; the Design Room with its computer lab; CA 11 classroom; a management/promotion workroom; and adequate faculty/staff and department offices with computer support. In most cases, these facilties are quite adequate for all of our needs. Both Barnett and Hicklin Theatres have been recently renovated and the Design Room has had a major upgrade in its computer lab. Our biggest need currently is for more rehearsal space. Actors, directors, and dancers have to share the Hicklin Studio Theatre for their rehearsals and that space is seriously over-booked. What time we have in the Kachel Center for dance rehearsals has to be shared with the Young Auditorium, with our classes and rehearsals having to be moved when the Auditorium needs the space. We definitely need a dedicated space for dance classes and rehearsals, so that the over-booking in these spaces can be alleviated. Especially since our dance minor is growing, this need for a dedicated dance space is vital. Fiscal Resources While recognizing that every academic department would benefit from a larger budget, evaluate the adequacy of fiscal resources allocated to the department to serve its student populations and achieve other programmatic goals by assigning a number between “1” (completely inadequate) to “9” (completely satisfies needs). 5-6 1-9 In a paragraph or two, discuss the fiscal resources evaluation score you provided. Include, in particular, a discussion of key expenses, and key needs not being met or opportunities not being explored because of fiscal limitations. Our GPR (General Purpose Revenue) budgets for the educational needs of our department have not significantly changed over the last decade. We are having to do more and more with same amount of funding. Since a large percentage of this budget has had to have been used for such things as the guest director salary (which used to come from Dean's money) and fees for the American College Theatre and Dance Festivals, there has been less and less available for classroom supplies, faculty travel, field trips and the general office supplies and student workers. Since the number of students being awarded workstudy monies has significantly decreased over the past years, more of this GPR money has also been needed to hire student workers in the department - all of which has greatly diminished the monies available for academic needs. Our SUFAC (Student University Fees Allocation Committee) funds have been rather stable over the past decade. WE have had a good relationship with SUFAC but the 2% increases that we have been DRAFT 101504 DRAFT 101004 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT Page 4 allowed don't go far enough to help with our rising production expenses. Roughly 40% of our production money comes from SUFAC, with the remainder coming from audience revenue. With the advent of Young Auditorium and its increased season, our audiences have not grown as much as we expected. It has been increasingly difficult for us to meet our revenue goals, all the while production costs have steadily been rising. Again, we have had to do more and more with less and less, while at the same time as trying to maintain our high standards of production. Budget constraints have often forced us to pick shows with smaller casts and lesser production needs, in order to make our budgets - at the same time our student numbers have grown, leaving us fewer options with which to "employ" these theatre/dance students. 4. In a paragraph or two, overview significant changes made in your department or its curriculum since 1996 (i.e., the last North Central Association Accreditation Visit). The following changes were made since 1996: 1. the addition of the Theatre BFA- Stage Management Emphasis 2. the Dance Minor has changed from a 24 unit degree to a 22 unit degree 3. Theatre 215 (Auditioning) changed from a 2 to a 3 unit class 4. Theatre 225 (Script Anaylsis) was added 5. Theatre 230 (Movement for the Actor) was added 6. Theatre 260 (Production Stage Management) was added 7. Theatre 307 (Theatre Management and Promotion) was deleted 8. Theatre 330 (Stage Movement and Mime) was deleted 9. Theatre 360 (Theatre Operations and Management) was deleted 10. Theatre 361 (Performance Arts Operations and Management) was added 11. Theatre 362 (Non-Profit Arts Management) was added 12. Theatre 363 (Applied Studies in Arts Marketing) was added 13. Theatre 364 (Issues in Arts Management) was added 14. Theatre 369 was changed from "American Minority Theatre" to "Multicultural Drama of the U.S". 15. Theatre 377 (Introduction to Playwriting) was added 16. Theatre 485 (Theatre Critique) was deleted 17. Dance 141 (Contemporary Dance Techniques I) changed from a 1 unit to a 2 unit class 18. Dance 144 (Jazz Dance) was deleted 19. Dance 200 (Production Practicum) became a 1 unit cource each semester 20. Dance 330 (Performance Art) was added 21. Dance 345 (Creative Dance for Children) was deleted 22. Dance 498 (Independent Study in Dance) was added In another paragraph or two, describe why these changes occurred. The changes in the Dance courses were mainly accomplished to mirror the needs of the current faculty and students and of the current Dance Minor program. There is a movement to try to increase the 2 unit techniques classes to 3 units, to allow for more adequate classtime. Most of the Theatre course changes were accomplished to follow the guidlelines for accreditation set forth by the National Association of Schools of Theatre (NAST), by which we are now accredited. For example, Theatre 485 (Theatre Critique )was dropped to be replaced by Theatre 225 (Script Analysis) and Theatre 330 (Stage Movement and Mime) was dropped to be replaced by Theatre 230 (Movement for the Actor). Theatre 260 (Production Stage Management) was added as a part of the the new BFA in Stage Management. Theatre 307 and 360 were removed to make way for Theatre 361, 362, 363, and 364 - all parts of the BFA in Management and Promotions, as well as the College minor of Arts Management. DRAFT 101504 DRAFT 101004 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT Page 5 MISSION & PLANNING 5. In a paragraph or two, describing any significant projects/initiatives that your department is planning or currently has underway, but has not yet completed. Since we have just been officially accredited by NAST, something towards which we have been working over the past decade, most of our curricular agenda has been achieved. There has been some talk about the creation of either 1.) a dance major (which would have significant staffing and curricular ramifications) or 2.) a Theatre BFA with a Dance Emphasis. Both of these options are in the very early discussion stages. The only other major project on our horizon is the previously mentioned need for a dedicated dance studio space. There has been discussion with the Dean and Associate Dean about the conversion of CA 11 into this studio space. We are currently "on the list" as far as state projects go, but nothing is certain at this point. 6. Below are five “core values” the University identifies as central to its purposes. Please evaluate the importance of each core value in terms of how each aligns with the purposes of your department (i.e., take a hypothetical 100 points and distribute them among the five values, with those values that align more closely to the purposes of your department receiving more points). Core Value Importance (100 points) Commitment to the pursuit of knowledge and understanding 20 Development of the individual 20 Personal and professional integrity 20 Commitment to serve 20 Commitment to develop a sense of community, respect for diversity, and global perspectives 20 Total= 100 points 7. Every academic department engages in planning. Review the list of variables below and evaluate the extent to which each of the following influences decision-making behind the planning process for your department as it relates to your curriculum (i.e., take a hypothetical 100 points and distribute them among the planning variables, with those variables playing a larger role in your planning process receiving more points). Planning Variables Importance (100 points) The mission of the University, college, and/or department 5 Academic assessment data/information relevant to student performance against learning outcomes 5 Other data/information gathered relevant to performance (e.g., Audit & Review feedback) 5 Societal/Cultural trends (e.g., changes in demographics, lifestyles, professions) 15 Campus trends (e.g., changes in university-initiated needs and demands) 10 Technology trends (e.g., technology developments that affect delivery of service) 10 Professional trends (e.g., changes evident at other universities/colleges) 10 Available human resources (e.g., # of employees, talents, etc.) within the unit 15 Available fiscal resources (e.g., budget, available and accessible $) 15 Available physical resources (e.g., space, existing technology, etc.) 10 Other: 0 Total= 100 points DRAFT 101504 DRAFT 101004 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT Page 6 8. Does your department have a mission statement? Yes X No If you answered “yes,” please list the mission statement here. Also, if your mission statement can be accessed on the web, please list the URL here. The mission of the UW-Whitewater Department of Theatre/Dance is to provide high quality undergraduate education for students of theatre and dance. This is achieved through extensive programs that emphasize learning both theory and practice of the craft through classroom and laboratory experiences, as well as productions. The Department serves the University's select missions of offering undergraduate programs and degrees in the arts, production, research, scholarship, and creative endeavor, and serving as a regional cultural and resource center. More specifically, the Department's mission is to serve the mission of the College of Arts and Communication, as well. If you answered “yes,” please describe how, if at all, this mission statement plays a role in your department’s planning and/or decision-making, particularly as it relates to the curriculum. In planning our programmatic and curricular needs, we always take into account this notion of balancing the theoretical with the practical, the classroom work with the production work. We are an undergraduate program, not a Theatre Conservatory, so our mission to provide this wide-range of opportunities is central to us. Production, research, and scholarship are all vital to our concerns. We also take our mission to be a cultural resource for the area very seriously - all of our production decisions are made in light of 1.) our students' educational needs, 2.) the educational needs of the UWW students in general, and 3.) the wants and needs of the larger community around us. STUDENT LEARNING & ASSESSMENT 9. List all the student learning outcomes for each of the majors (and emphases, if relevant), minors, and certificate programs that you identified in question #1. Please see attachment titled: Department of Theatre and Dance Content Goals 5-16-03 10. Complete the grid below by listing the majors, minors, and certificate programs from question #1 across the top row (and indicated by the example). Then, under each major, minor, and certificate program, place an “X” indicating which data collection methods are used to assess the extent to which the student learning outcomes are achieved (evidence that students know and can perform against the objectives). Mark, where relevant, both “direct assessment methods” (efforts that directly evaluate student performance) and “indirect assessment methods” (efforts that evaluate student performance based on perception of student, alumni, etc.). Assessment Method (Example) Theatre BA Theatre BFA Theatre BSE Theatre Dance Minor Crafts (Major) Minor Direct Assessment Curriculum-Embedded Exams/Tests X X X X X X Curriculum-Embedded Essays X X X X X Curriculum-Embedded Projects X X X X X Capstone Project Review X X X Portfolio Review X Reviews by External Evaluators X X X X X X (e.g., intern supervisors) DRAFT 101504 DRAFT 101004 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT Page 7 Placement Test Scores X Performance on Post-Bac. Exams (e.g., GRE, GMAT, CPA) Other (describe: student progress X X X reviews) Indirect Assessment Exit Interview/Questionnaire X X X X Advisory Board Alumni Survey Other (describe: peer feedback) X X X X X Please list specific data/information sets relevant to the department’s academic assessment efforts that the UW-W Self-Study Committees, and/or the Higher Learning Commission’s Visiting Accreditation Team can access to review/consult. • • Exit Interview Information for Majors (with minors soon to be added) • BFA Senior Project Self-Evaluation Papers • PRAXIS II Test Scores for BSE Students • 11. Indicate specific changes to the department’s operation or planning, if any, that have resulted from the collection and use of the data/information identified in the preceding question. Place a check in the appropriate box in the far right hand column for any of the following changes that have occurred. Programmatic Changes X Learning Outcomes (e.g., changes in what students should learn in the program) X Curriculum (e.g., revisions to sub-major, change in pre-requisites, addition of new courses, deletion or X combining of coursework, changes in existing course content, etc.) Scheduling (e.g., when courses are offered, etc.) X Departmental Procedure (e.g., changes in advising) X Instructional Methods (e.g., shift to hybrid courses) X Curriculum Delivery Methods (e.g., online programming) X Changes in Assessment Procedures (e.g., addition of specific assessments, creation of Advisory Board) Other: In a paragraph, discuss your department’s use of academic assessment data/information as chronicled in the table above. Discuss, in particular, how these changes have improved or stand to improve student learning. Through the use of program reviews written by the National Association of Schools of Theatre accreditation visitors, we have restructured how many of our classes are presented and how our curriculum should be structured - which classes are offered, how frequently, in what sequence, etc. Through the use of Exit Interview information, we have been able to see where we may be falling short in terms of student needs and where we have been accomplishing what we intended. We pay close attention to student advising needs and how we may better serve them. Since our BFA program has been growing, we are cognizant of trying to keep this program as high-quality as possible, with a "BFA from UWW" being equated with quality - so we listen closely to students and DRAFT 101504 DRAFT 101004 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT Page 8 what they feel they need to be getting out of the program and to whether we feel that they are meeting our learning outcomes. 12. In the box below, indicate the extent to which you think your department has fully implemented its academic assessment program, with 100% representing a fully-implemented program. Consider the extent to which the department has developed clearly stated learning outcomes, systematically collects data/information that informs the extent to which the outcomes are achieved, uses the data to make changes to the curriculum, etc. 75% to which academic assessment program is fully implemented If you’ve indicated a percentage other than 100%, please list actions that remain to be completed before implementation of the assessment process is complete. We have been quite good at developing clearly stated learning outcomes. We need to continue to finetune our collection methods of this data/information in terms of outcome achievement - we have made progress here with the Exit Interviews and Sophomore/Junior Reviews but we can continue to improve here as well. We also need to work on formalizing our system of actully USING this information that has been collected. If you’ve indicated a percentage less than 100%, what are the biggest obstacles to your department fully implementing its assessment program? Consider such items as: faculty and instructional staff involvement, time, budget, understanding of academic assessment and the process, etc. Our biggest obstacles in terms of implementing our assessment program are probably 1.) faculty/staff involvement in terms of time - our production calendar and it responsibilities are very heavy, leaving little extra time for what some perceive as "added University paperwork" - as stated earlier, many of our classes are bursting at the seams, leaving little extra time in faculty/staff workloads for more meetings and committees; and 2.) sometimes the need for this extra work on assessment with its (perceived) complicated and time-comsuming processes gets less than enthusiastic responses from a group that is already working at its full capabilities. 13. Describe any initiatives on behalf of your department (and its faculty) that have specifically promoted enhanced student understanding of issues related to diversity and inclusion. The creation of Theatre 369 (Multicultural Drama in the United States - formerly American Minority Theatre) came as a direct result of bringing diversity into our curriculum. In fact, in all of the Theatre History classes, as well as Dance Appreciation, we have worked to be more inclusive in terms of the people and societies studied. This is also true in terms of our play selection - whether it is types of plays or playwrights, or role possibilities or what we present to our audiences. We work hard to present a world that is not just "white - male - European". Individual instructors work to do this in their classes and the department, as a whole, strives to achieve this in the play selection and casting process. EXTERNAL CONSTITUENCIES 14. Describe in a paragraph or two your department’s relationships with constituencies external to the university (alums, employers or potential employers, advisory boards). What role, if any, have these groups played in (re)directing curriculum development specifically, and departmental planning generally? ALUMNI - we are starting to work more closely with our alumni in terms of getting feedback from them about their experiences at UWW. At this point, we are less concerned about alumni giving money than we are about getting their ideas and suggestions. We want them to help us make our program grow and to be stronger and be even more vital. DRAFT 101504 DRAFT 101004 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT Page 9 INTERNSHIPS - we are actively working on increasing our connections with area internships so that our students may make use of these as valuable learning experiences. This is particularly true in terms of theatre and arts management and theatre performance; we are working to make this true also for theatre design/technology and dance. AUDIENCE - since the production aspect of our program is so important and since the Theatre/Dance Department does not exist on its own, we always are taking our audiences into account. We are doing our work, preparing our students, and creating our productions FOR this audience - they are our reason for being! We are continually seeing how what we do affects this group and how what this group wants can affect our program. 15. Does your department generally, or faculty or student groups specifically, offer special programming (e.g., non-credit workshops) or provide services (e.g., consulting services, project support) for constituencies external to the university? Yes XXX No If “yes,” please provide a list of these initiatives and the constituencies they serve. • • As stated above, most all of our program production work is geared for our audience - we present our season both as an educational laboratory for our students AND as an entertainment venue for our audiences. We exist to serve this community at large! • Our department offers many free workshops for area schools and groups - workshops that bring knowledge to these groups, but which also let these groups know about our vital program. • We continue to host the Wisconsin High School Theatre Festival every other year. This Festival brings together around 2000 high school students, their teachers, family and friends for a three day gathering of one-acts plays, workshops and showcase productions. • We offer regularly-scheduled Centerstage Days, which allow interested area high school students the opportunity to come to visit us and see what our program is like. • We offer a separate Summeround Season, to provide cultural enrichment for the area during the summer months. • We offer a High School Theatre Camp each summer, to provide area students the opportunity to come to the campus and to experience an intense period of theatre instruction. • Our dance faculty and students work closely with the Whitewater Park and Recreation program in setting up and teaching many dance classes for young students. 16. Related to the preceding question, does the unit regularly collect data/information to evaluate how effectively it serves its constituency(ies)? (This might include surveys of constituencies.) Yes X No If “yes,” please list specific data/information sets that the UW-W Self-Study Committees, and/or the Higher Learning Commission’s Visiting Accreditation Team can access to review/consult. DRAFT 101504 DRAFT 101004 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT Page 10 • We sometimes have conducted rather informal audience surveys to see what kinds of productions they would like to see, how they would like to get tickets, payment methods, performance times and days, etc. • There is informal participant survey information from the High School Theatre Festivals about the Festival and how it was run, what was offered, etc. • Most of this information is more anecdotal, rather than in formal hard copy versions. • 17. Does your department offer any service-learning courses, or do any of your faculty use service-learning as a teaching method? Yes No ? If “yes,” please list specific courses and faculty. • I marked this questioningly as a NO since we don't officially offer courses that stress service- learning. Though, our entire program production process is geared towards this external constituency (our audience) - through our work, we sincerely hope that learning is going on, whether the audience be made up of area high school students (at our student matinees), UWW Whitewater students (who may be at our productions as a class requirement) or our general public (who view us as an entertainment opportunity). • • • • SELF-EVALUATION Strengths 18. List and prioritize no more than three primary strengths that have emerged in your department’s efforts to meet its mission, goals, or objectives. To identify these strengths, you may wish to consider: What does your department do very well? What good things do people say about your department? How has your department aided the campus in meetings its mission? In what ways has your department “gone beyond the call of duty?” After identifying each strength, specify supporting evidence that suggests that the statement is true. This may include data/information gathered relevant to departmental performance, trend data from the Office of the Registrar or Institutional Research, special recognition from external agencies, etc. 1. Specific Strength: We offer a very strong program of undergraduate education. • Supporting Evidence: Our enrollment numbers in terms of majors and minors have been increasing steadily over the past few years. We have had generally very positive responses DRAFT 101504 DRAFT 101004 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT Page 11 coming out of the student Exit Interview process. We have been accredited by the National Associations of Schools of Theatre. 2. Specific Strength:We offer a very strong range of productions for the viewing of all. • Supporting Evidence: We continue to show support from the College and the Dean, and from the University (especially in terms of SUFAC allocations). We continue to have very positive feedback from the American College Theatre Festival and the American College Dance Festival Association responders, sent here to view our work. All of our productions are "adjudicated" in terms of student work and many students have been sent on to the regional Festivals for further feedback. In the last five years, two of our Mainstage productions have been selected to perform at these regional American College Theatre Festivals and four pieces from our annual Dance Concert have been selected to be on Gala Concerts in the past five American College Dance Festivals. We are "competing" very favorably, when put up against other programs in the region - many of which have graduate programs. We also have a very loyal audience base - people for whom, the UWW Theatre/Dance Department means an excellent season of productions offered at a reasonable price! 3. Specific Strength: We offer strong services to the surrounding region. • Supporting Evidence: We are the main host for the Wisconsin High School Theatre Festival - the state commission wanted us to host it EVERY year, but we decided that we could only handle it every other year. This vote of confidence in us and our program and facilities makes us very proud of who we are and what we do. Our continued growth in terms of outside workshops and area schools wishing to use us as a resource points to the fact that we are considered a major cultural resource for southeastern Wisconsin. Concerns 19. List and prioritize no more than three primary concerns that have emerged in your department’s efforts to meet its mission, goals, or objectives. To identify these concerns, you may wish to consider: What could be improved? What is done poorly? What do we, as a department, avoid doing, even though we know it’s important? After identifying each concern, specify supporting evidence that suggests that the statement is true. This may include data/information gathered relevant to departmental performance, trend data available from the Registrar or Institutional Research, information gathered from accreditation visit, etc. Finally, identify one or more recommended actions to address the area of concern. This may include actions that your department has already underway, actions being planned, or preliminary thinking about how to address the area of concern. 1. Specific Concern: In many cases, we seem to be over-enrolled in some classes. We have many more students wishing/needing to take certain classes than we feel we can adequately service in a timely manner for these students. • Supporting Evidence: The number of our majors and minors needing to take certain classes has grown greatly in the past few years, while we have the same number of faculty/staff (and in some cases, slightly fewer) than we did in the past years. Many students have to wait to take certain classes because the class size needs to remain relatively small (especially in performance classes) in order to insure adequate instruction and in order for us to maintain our standards of DRAFT 101504 DRAFT 101004 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT Page 12 instruction and to meet our learnng outcomes. In some cases, this has meant either that we have had to increase class size (to the detriment of learning) or we have had to extend the time it may take to graduate for certain degree programs. • Recommended Actions: We are looking into the possibility of limiting the number of people allowed to enroll as majors and minors in Theatre/Dance Department programs. We are not certain if this is the right thing to do, but until we can get added faculty/staff to help alleviate this over-crowding, this may be the best and only alternative that we have. 2. Specific Concern: Our budgets for instructional materials, etc. have stayed stagnant over the past few years, while our budgets for production costs have risen slightly but nowhere near the cost- of-living increases and, in some cases, these budgetes have had to decrease, due to decreases in audience revenue and SUFAS support. Everything is costing more today and our budgets are not really adequately meeting all of our needs. • Supporting Evidence: Looking at our past GPR budgets, one can see how little they have changed over the past decade - whereas costs for everything have increased. In order to meet programmatic needs, we have had to cut down on many purchases and expenses, often to the detriment of classroom/instructional supplies and faculty/staff travel. • Recommended Actions: We are not certain how we can get more funding for instructional supplies and student workers, especially in light of the limited availability of workstudy for most of our students. We continue to pursue funding possibilities through corporate sponsorship of our productions but we have had relatively little success here. We continue to try to select seasons that we can realistically produce in manner of which we are proud, while still insuring the highest number of paying audience members in attendance. (This revenue income is very important to us, so we are quite concerned with the continued problems surfacing in terms of us using the University Ticket Services - these continued problems may cause serious patron discontent which may in turn cause a loss of revenue!) 3. Specific Concern: We have a serious lack of added rehearsal space for our actors, directors, choreographers and dancers. We need to have a dedicated classroom/rehearsal space for the dance program. • Supporting Evidence: Currently the Kachel Center and the Hicklin Studio Theatre are used for all dance, acting and directing classes. This means that they both are heavily booked throughout the school day for classes, with most added rehearsals happening in the evening. With the Kachel Center, it is not "our" space, so we have to "give it up" to the Young Auditorium whenever they need it, for whatever reason. The Hicklin Studio Theatre is also used for evening rehearsals for some of our mainstage productions, which further adds to its over-booking. Because of this, it is not uncommon for our students to have to wait until after 10pm to find an open time in the space during which to rehearse. Because of the above-mentioned large numbers of students in certain classes (for example, Introduction to Acting and Directing I), there is an immense need for rehearsal space, in order for these students to work on and complete their projects, to fulfill our learning outcomes. This lack of extra space is very serious. • Recommended Actions: We continue to work with Young Auditorium, through the Dean of the College of Arts and Communication, to make sure that the number of times that we must "give up" the Kachel Center is kept to a minimum. We really do need a dedicated dance classroom/rehearsal space and our best option at the present seems to be the conversion of the DRAFT 101504 DRAFT 101004 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT 101504 DRAFT Page 13 CA 11 classroom. This, of course, would cause other problems - mainly, trying to find a new space for the classes that are currently using CA 11. Also, finding the funding for such a change will be difficult. But if our mission to provide high quality undergraduate education in theatre and dance is to be met, we must have this extra space - otherwise, it will be increasingly difficult to achieve this mission with this serious lack of quality teaching space.
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