Chabot College
Academic Program Review
Year Three of
Program Review Cycle
Theater
“Be More Alive”
Arts
November 2013
Rachel LePell
Final Forms, 1/18/13
Introduction
November 2013
(If necessary, skip to page 7 for standard forms)
Accomplishment I
Increased student success in completion of student pathways.
Accomplishment II
Re-established our “home” in “Stage One”
Need I
Additional staff:
Scene Shop foreman.
Promotions / Theater for Young Audiences
Need II
Website/print materials /visibility
Need III
Budget increases for production costs
Introduction (cont.)
Before jumping into the official documents, we want to remind you, dear readers, of some of the
basic tenets of Theater Arts at Chabot College. For the past 12 years, we have been including
information about our mission, our pedagogy, and our evolution as a thriving academic program
here at Chabot College. However, in all those years, lead faculty have never had a response to
this document, other than, “okay, got it.” Well, just in case…here’s some info from our
previous program reviews.
Description of the Unit
The Theater Arts Department at Chabot College is a vital, integral, and active participant
in the creation and maintenance of the cultural vibrancy of the college.
The Theater Arts Department is dedicated to educating the community college student as
a whole person with an emphasis on story-telling as key to the art of the theater: story-telling
has been and always will be central to the health and evolution of our culture, as our values, our
ideas, our very identities shape--and are shaped by-- the stories we tell in various forms.
Embedded in these stories, are always resonant and often timeless questions that demand
reflection, invite exploration, and invoke possible change. And so, our goals in theater are
often no less than this: we aim to change the audience, and we start by changing ourselves.
Theater Arts supports and produces original plays, as well as a more traditional season of
work. We produce Emerging Work, a series that is dedicated to developing new work; this is
linked to our dramatic writing course, which is the first stage in this process. We also produce
previously published plays (classics and contemporary work), small and large musicals, as well
as children’s shows and plays for teenagers. We have produced an average of 13 shows a year
for the past decade.
Theater Arts cultivates and practices creative work, while we simultaneously demanding
critical thinking. Sometimes these two activities appear to run counter to each other. But they
can be, and perhaps should be, merged in the mature artistic endeavor. Creativity is not void of
critical thought, and critical thought need not be void of creative expression.
Story-telling is not “child’s play.” In our classes and in our productions, we ask these
questions: What does the story mean? How is it being told? Why is it being told? Who’s
telling it and to whom is it intended? How do the lines, the actors’ choices, the lights, the set,
the costumes, the props, the very poster and program designs contribute to the audiences’
ability to receive this story in its fullness and complexity? Why bother telling this story?
What’s at stake if we fail to tell it? What does this story have to do with me, with others, with
the community in which I live? How does this story connect to other aspects of our lives, are
there analogies, metaphors, echoes of meaning?
We educate the whole person. We educate students in acting, writing, design, research,
technical theater, directing, and management. But moreover, we engage them in teambuilding and collaboration. Second to this is our commitment to critical thinking. We dp
not “train” actors in a particular school of acting, but emphasize the whole of playmaking, so
that when students leave our program, they are inspired and educated to make theater happen or
use the theater as a way of learning, a way of exploring ideas. Therefore, students in our
program practice all parts of theater. They may apply these skills to a theater program in a 4
year school, or they may apply these skills within their future jobs, or they may find a career in
the theater or a related field. Whatever their paths, these students will have a solid foundation
of practicing the art of theater, of story-telling; therefore, they may live deeper and more
enriched lives.
Part II Accomplishments
Our most important accomplishments for the past two years: (2011-2013)
Increasing our student success rates and completion of pathways in theater arts: we have
increased our transfer and/or training program placement by %100 since 2009. This is
due to the diligent efforts on the part of theater faculty to more clearly delineate options
for students, and by inviting specific schools and theater companies here to recruit
students. -- we now have an ongoing relationship to Pacific Conservatory of the
Performing Arts, a reputable training program and performance company located in
Southern California.
Re-establishing our “home” in “Stage One.” (2013)
Regulating and managing our new green room, dressing rooms, and lobby areas.
Printing our archival photos and displaying them appropriately
Keeping our CALLBOARD current with department information, including Pathways
documents.
Upgrading all of our front-of house procedures, including our ticket sales accounting
processes, and staffing needs.
Completing the AAT in Theater Arts
Completing our SLOs and being current in the cycle of assessment
Re-writing our curriculum to reflect the changes in the state-wide mandates having to do
with no repeatability in our performance courses. This was the development of 20 new
courses.
Establishment of an AA in Theater Arts.
Guest Artists to discuss future career paths for our students.
Establishment of a Wheel wherein students can complete the major in two years.
Development of additional acting classes to fill out our acting training curriculum.
The continuation of outstanding theater productions, including an increase in the number
and quality of the student original plays.
The expansion of our performance venues with shows in our rehearsal room, 1328.
The establishment of a student theater club, wherein students can produce their own
projects.
An increase in visibility due to doing performances for school audiences in the PAC.
Completion of SLOs for each course, the establishment of PLOs, and drafting an SLO
schedule.
Progress has been made on the assessment part of the loop: one of our most common
SLOs, the development of teamwork, has been assessed in two courses.
An increase by 200 percent in our number of students participating in the American
College Theater Festival Regional conference.
Table of Contents
Section A: What Progress Have We Made? .............................. 1
Section B: What Changes Do We Suggest? ................................ 2
Required Appendices:
A: Budget History .........................................................................................3
B1: Course Learning Outcomes Assessment Schedule .................................4
B2: “Closing the Loop” Assessment Reflections ..........................................5
C: Program Learning Outcomes....................................................................9
D: A Few Questions ...................................................................................11
E: New Initiatives ......................................................................................12
F1: New Faculty Requests ..........................................................................13
F2: Classified Staffing Requests ..................................................................14
F3: FTEF Requests ......................................................................................15
F4: Academic Learning Support Requests .................................................16
F5: Supplies and Services Requests ............................................................17
F6: Conference/Travel Requests ................................................................18
F7: Technology and Other Equipment Requests ........................................19
F8: Facilities Requests ................................................................................41
A. What Progress Have We Made?
Complete Appendices A (Budget History), B1 and B2 (CLO's), C (PLO's), and D (A few questions) prior to
writing your narrative. You should also review your most recent success, equity, course sequence,
and enrollment data at http://www.chabotcollege.edu/ProgramReview/Data2012.cfm.
In year one, you established goals and action plans for program improvement. This section asks
you to reflect on the progress you have made toward those goals. This analysis will be used by
the PRBC and Budget Committee to assess progress toward achievement of our Strategic Plan
and to inform future budget decisions. It will also be used by the SLOAC and Basic Skills
committees as input to their priority-setting process. In your narrative of two or less pages,
address the following questions:
What were your year one Program Review goals? A. What Progress Have We Made?
“whatever doesn’t kill you, makes you stronger.” (Neitzche)
___________________________________________________________________________

What were your year one Program Review goals?
The following is from our program review two years ago: Keep in mind two things– our
program review was improvised last year, as we had no supervisorial assistance a year ago.
Moreover, we have been consumed by four major obstacles/activities this past 12 months, that
are not fully represented in previous years’ Program Review Documents.
1. Our facilities have been offline, so scheduling of classes, shows, rehearsals, etc…has
been a great challenge. The completion dates have changed, adjustments have to made on
a constant basis. One could say that just “getting through our construction period” was
one of the goals this past 2 years. In addition to this, the actual construction plans have
needed several consultations, some with positive results, but mostly with negative results.
2. Our formal curriculum is being revised in order to deal with the issue of
repeatability. This has required many meetings within our area, as well as our division,
as well as with LPC, as well as with other disciplines across campus (i.e. P.E.)
3. Our dean was ineffectual in keeping us up to date with college needs and demands. One
of the crossroads listed from last year’s report (see below) seemed to be brainchild of his,
and it has led nowhere. It was, in retrospect, no “crossroad” at all. Moreover, it does not
appear that we followed “year one” guidelines: I remember asking specifically and
repeatedly for more guidance on the program review, since I am the one who manages its
completion, but this was never delivered. Thus, last year, we “punted.”
4. Like all of us, the panic of prop 30 put us in damage control as opposed to striving to
reach our goals: during that period, lead faculty (Dov Hassan and myself, Rachel
LePell) considered “exploding” our current program and “re-visioning” it from the
ground up, in order to keep up (in this case “down”) with the changes in state wide goals
for community college. This kind of conversation has borne plenty of fruit on which to
chew…however it is not “low hanging fruit,” believe me.
1
(From the TA Program Review 2012)
Theater Arts is at an important crossroad. We are in the process of evaluating the costs and
benefits of converting our program to a Vocational ed. Program. The discussions and prospects
of this are in the beginning stages, thus making this question have 2 possible answers.
IF we go in the direction of Vocational education, our goal would be to shore up our technical
theater courses and enrollments. We might also shift our acting classes from stage to film/digital
media projects. Our original student work program might become more focused on digital media
project scripts and less on traditional, live audience forms.
On the other hand, IF we go in the direction of a transfer/general education/traditional
curriculum, our program will continue to grow in the areas that we have been growing this past
5 years. We will continue to grow our enrollments and meet our mission goals of engaging each
student in the art form of story-telling (this is explained in our mission/vision of our program
review(attached). One area that may grow in the next five years is to use theater arts to better
prepare students for the job market by exploring interview skills, inter-personal skills,
collaboration skills, creative thinking skills (out of the box thinking), that are demanded in most
jobs and professions.
Short term (5 years)
We will have certificates for acting, technical theater, and dramatic writing.
We will increase the number of theater majors by five times.
We will have a thriving Theater for Young Audiences program that is integral to the curricula
of its various school audiences. We want to be a competitor with CTC and Theaterworks, which
are both touring companies that come to Chabot. The Theater for Young Audiences could
include extended outreach to local high schools to help produce theater projects inside their
schools, or have them participate in our programs.
In either direction, we plan on exploring on some alternative delivery methods, including a
few distant education courses, when appropriate (i.e. theater appreciation, dramatic writing, film
as art and communication).
In addition to this area of change, over the next five years we plan on continuing our connection
to the professional theater market by having working professionals on staff who can help
students find internships and other kinds of work as well.
___

Did you achieve those goals? Specifically describe your progress on the goals you set for
student learning, program learning, and Strategic Plan achievement.
As you can glean from the above, our goals did not address student learning, program learning,
or the college strategic plan. However, we are currently working on, discussing, and executing
these projects on a regular basis. So, in terms of last year’s goals in these areas? We failed. We
failed because they were not part of our list. But as of today, this is our progress:
2
Student learning – we have talked at length about our SLO for each course, and agreed to them,
in general. We also agreed that SLOs in our area are hard to define due to the nature of creative
expression, still…we press on.
Program learning -- We have been sharpening our focus of the program, with an emphasis on
teamwork/collaboration as a top Program goal. We have others as well, but these explorations
and collaborations have been quite productive between faculty members.
Strategic Plan Achievement – We are discussing how we can assist our students with the new
emphasis on moving through the college and “getting on” to whatever is next for them. We have
done the following:
Counselor/faculty/student receptions to look at career/transfer options.
Individual questions in each class in terms of areas of study and educational plans.
Exploring mentoring options for theater arts students
Exploring academic support – i.e. math and English tutoring for Theater students, either in house
or through the tutoring center.
Exploring how TA can more fully integrate some basic skills instruction into more of its courses,
to increase student success in other areas.
Revision of the TA curriculum to address “family” groupings, and repeatability issues
In terms of the goals from 2012 (see Program Review from 2012)
We have continued to make progress in increasing the number of theater majors, from 5ish to
89!
We have strengthened our connection to the professional theater market by hiring an
instructor who is an alum and is currently working in local professional theaters. Plus, some of
our students earn auditions, enrollments (PCPA), and other opportunities due to faculty
professional connections.
We obtained a FIPSE grant to explore and research Theater For Young Audience possibilities
in our service area. Linda Amayo-Hassan has been conducting this work, and she is our current
artistic lead on this project, as well as being an instructor in the department.

What are you most proud of?
We are most proud of the constant evolution of our department’s strengths, and the continued
success of our students. Because of the aforementioned “obstacles” alluded to in the
introduction to this document, we have been faced with more and more necessary
collaborations. The faculty (both full and part time) have really come together to face these
challenges square on, communicating often (once or twice weekly) to discuss all aspects of the
theater program, from where we are going to rehearse that afternoon, to what is the overall
philosophy of the program? Where has it been, where is it now, and where is it going in the
future. If you—dear committee members and administrators—ever worry that Theater Arts is
not working as a team in facing these changes coming down the pike, then you would be greatly
mistaken. We talk constantly, we agree, we disagree, but always with respect and integrity.
3
Our students are flourishing. Both in their theater students and often in their outside course work
as well. They bring each other “up,” motivate each other to excel and enjoy the building of a
creative community. We are growing our numbers of theater majors, and many of our theater
majors are succeeding to plan and execute their next steps. (transferring, working, etc…)

What challenges did you face that may have prevented achieving your goals?
Please see the introductory comments.

Cite relevant data in your narrative (e.g., efficiency, persistence, success, FT/PT faculty
ratios, CLO/PLO assessment results, external accreditation demands, etc.).
Our students in TA have high efficiency, persistence and success rates. Our FT/PT ratio could
always be improved, since there are so many program-driven needs that can only be met by fulltime faculty members (more later in the document). Our assessment results of SLO/PLOs is an
ongoing dialogue, but we are confident that our students are on track with academic and
workplace demands. We have exercised due diligence in terms of these new accountability
measures, and although we have severe resistance to the national movement as a whole, have
accepted our fate and look this adversity squarely in the face and continue to march forward.
___
B. What Changes Do We Suggest?
Given your experiences and student achievement results over the past year, what changes do
you suggest to your course/program improvement plan? What new initiatives might you begin to
support the achievement of our Strategic Plan goal? Do you have new ideas to improve student
learning? What are your specific, measurable goals? How will you achieve them? Would any of these
require collaboration with other disciplines or areas of the college? How will make that collaboration
occur?
__
We will continue defining our program goal of collaborative learning. We will look into various
forms of collaboration, identify them and perhaps work them more thoroughly into our SLOs for
each course. We will also look more carefully into our existing rubrics, insisting that our
program goals are reflected in those areas. We can always improve. But we are feeling satisfied
that our curriculum is serving our student needs, that our learning goals are on target and that our
faculty are feeling inspired and encouraged to meet these goals with creative solutions. We are,
by nature, creative, improvisatory people, and keeping our classrooms alive, playful, and full of
human interaction is part of our intrinsic pedagogy.
As far as new initiatives, we would like to see students receive strong counseling support (either
formally or “in”formally with peers) regarding the educational plans. Most of our students need
to develop a focused plan. Once they do this, we have found that their overall performance in
class and in the college improves. (this is kind of a “duh.”)
4
We’d also like other colleges and/or workplaces to meet with us regarding placement of future
students and/or employees. A kind “placement day” within our own area, or perhaps division.
We would encourage students to work on Time Management Skills, and if we could acquire
some resources to do this work, then we’d be willing and able to do so. Working in theater
requires many many hours, and thus managing time is a skill that theater artists Must develop.
Our faculty continue to hone these skills and many are qualified to “teach” a class or workshop
to students and staff all over campus.
Finally, and perhaps most important, we’d like to see how Theater Arts can enhance and
improve student success in other areas of college work, both social and academic.
Resources to work with students more intensively on how to apply their theater skills and
knowledge to other subject matter, how to use their creative instincts to better imagine
connections between ideas, and to improve their human compassion and capacity to make
friends, to make successful social contacts. People skills…
As far as new ideas to support student learning? Wow…any ideas on how to do your job better?
Is that the question? Wow…
Stay centered. Stay focused. Stay in the present. Stay passionate. Stay in love with your work.
Stay open to human connection. Stay open to creative and “new” approaches to subject matter.
Study your own processes, both in terms of teaching and in terms of creating art? See if there are
connections there? Explore ideas more deeply, practice practice practice…..play play play…
Be more at peace with the de-humanizing trends of education.
Be more at peace with the class divide in education
Be more at peace…?
Or fight the good fight…
Okay back to the task….support student learning – isn’t that what we do, isn’t that our
profession? Okay, back to the tast…smaller classes!!!!!! More places to hang out and learn from
each other….smaller, more cozy eateries, pubs, etc…Stop making us do this kind of thing and
pay us more for taking students on field trips, introducing them to larger ideas, larger places…
Measureable goals? We have our SLOs and PLOs…we will write more of these as necessary.
Specific, measureable goals in these “new ideas” above? Are students standing up straighter?
Are they breathing more deeply? Are they stopping to pause and wonder at the light? Are they
extending their hands to touch the leaf on the plant outside their classroom? Are they willing to
try some new food on the menu? Do they kiss people more often? Do they want to?
Yes, I suppose there are measurable, we will observe, question, and collect the data…but that
might prove to be somewhat intrusive.
Will it require collaboration with other disciplines and/or other areas? No, but it sure would be
more fun that way.
How will we make that collaboration occur? Finding people we want to work with in developing
cross curricular projects that increase student learning by increasing student living.
How does all of this occur? In a magic bubble, filled with idealistic teachers perhaps? In a
magic universe, populated with curious, idealistic, hard working, driven people?
5
Or with money? Duh.
Smaller classes, more contact hours, fewer meetings, etc…
6
Appendix A: Budget History and Impact
Audience: Budget Committee, PRBC, and Administrators
Purpose: This analysis describes your history of budget requests from the previous two years and
the impacts of funds received and needs that were not met. This history of documented need
can both support your narrative in Section A and provide additional information for Budget
Committee recommendations.
Instructions: Please provide the requested information, and fully explain the impact of the budget
decisions.
Category
2 Classified Staffing (# of positions)
Supplies & Services
Technology/Equipment
Other (program coordinator)
TOTAL
2011-12
Budget
Requested
1 (shop
foreman)
2011-12
Budget
Received
none
2012-13
Budget
Requested
1
2012-13
Budget
Received
None
2000.00
1500.00
5000.00
none
none
none
2000.00
1500.00
5000.00
none
1000.00
none
1. How has your investment of the budget monies you did receive improved student learning? When
you requested the funding, you provided a rationale. In this section, assess if the anticipated
positive impacts you projected have, in fact, been realized.
Yes, students have had safer tools to work with in shop and in the sound/lighting areas
2. What has been the impact of not receiving some of your requested funding? How has student
learning been impacted, or safety compromised, or enrollment or retention negatively impacted?
We have not the chance to offer students more in depth training in the scene shop and other areas of
technical expertise for theater arts, because of the few hours that just one of our faculty can provide at
this time.
We have lost 100 or more students due to the loss of our Children’s Theater Program, as well as
outreach to the community’s primary schools and youth organizations. We are trying to restore that
program to health with a coordinator who can do the administration of the project.
7
Appendix B1: Course Learning Outcomes Assessment Schedule
All courses must be assessed at least once every three years. Please complete this chart that
defines your assessment schedule.
ASSESSMENT SCHEDULE:
Spring 2013
Fall
2013
Spring
2014
Fall
2014
Spring
2015
Fall
2015
Spring
2016
Fall
2016
Spring
2017
Full
Assmt
Discuss
results
Report
Results
Courses:
Group 1:
Group 2:
Full Assmt
Discuss
TA
results
1,2,10,11,12
Report
Results
Full Assmt
Discuss
TA
results &
3,6,7,8,16,20 report
Group 3:
Full Assmt
Discuss
TA
results
30,47,48,50
Report
Results
Group 4:
Full
Assmt
TA 49,
new
courses
Discuss
results
&
report
8
Appendix B2: “Closing the Loop” Assessment Reflections
Course
Semester assessment data gathered
Number of sections offered in the semester
Number of sections assessed
Percentage of sections assessed
Semester held “Closing the Loop” discussion
Faculty members involved in “Closing the Loop” discussion
TA 10
Fall 2011
1
1
100
Sp12
Hassan and LePell
Form Instructions:
 Part I: CLO Data Reporting. For each CLO, obtain Class Achievement data in aggregate for all
sections assessed in eLumen.
 Part II: CLO Reflections. Based on student success reported in Part I, reflect on the individual
CLO.
 Part III: Course Reflection. In reviewing all the CLOs and your findings, reflect on the course as
a whole.
PART I: COURSE-LEVEL OUTCOMES – DATA RESULTS PLEASE OBTAIN THIS INFO
FROM THE ELUMEN DATA BASE FOR TA
CONSIDER THE COURSE-LEVEL OUTCOMES INDIVIDUALLY (THE
NUMBER OF CLOS WILL DIFFER BY COURSE)
Defined Target
Scores*
(CLO Goal)
Actual Scores**
(eLumen data)
(CLO) 1:
(CLO) 2:
(CLO) 3:
(CLO) 4:
 If more CLOs are listed for the course, add another row to the table.
* Defined Target Scores: What scores in eLumen from your students would indicate success for this
CLO? (Example: 75% of the class scored either 3 or 4)
**Actual scores: What is the actual percent of students that meet defined target based on the eLumen
data collected in this assessment cycle?
9
PART II: COURSE- LEVEL OUTCOME REFLECTIONS
A. COURSE-LEVEL OUTCOME (CLO) 1:
1. How do your current scores match with your above target for student success in this course
level outcome?
We are doing quite well with our targets of student success
2. Reflection: Based on the data gathered, and considering your teaching experiences and
your discussions with other faculty, what reflections and insights do you have?
We have predicted and tailored our curriculum accordingly
B. COURSE-LEVEL OUTCOME (CLO) 2:
1. How do your current scores match with your above target for student success in this course
level outcome?
We are right on target with our expected success and CLO analysis and creation
2. Reflection: Based on the data gathered, and considering your teaching experiences and
your discussions with other faculty, what reflections and insights do you have?
We are assessing our students accurately and giving them specific tools of the craft.
10
C. COURSE-LEVEL OUTCOME (CLO) 3:
1. How do your current scores match with your above target for student success in this course
level outcome?
Students are performing quite well in this area
2. Reflection: Based on the data gathered, and considering your teaching experiences and
your discussions with other faculty, what reflections and insights do you have?
Students continue to succeed when their student skills and time management skills are
adequate.
D. COURSE-LEVEL OUTCOME (CLO) 4:
1. How do your current scores match with your above target for student success in this course
level outcome?
We have created accurate rubrics and assessment techniques and the success rates
correlate well with the student success
2. Reflection: Based on the data gathered, and considering your teaching experiences and
your discussions with other faculty, what reflections and insights do you have?
When students show up in our acting classes and lit classes, they usually perform well on
the assessments.
E. COURSE-LEVEL OUTCOME (CLO) 5: ADD IF NEEDED.
N/ A
11
PART III: COURSE REFLECTIONS AND FUTURE PLANS
1. What changes were made to your course based on the previous assessment cycle, the prior
Closing the Loop reflections and other faculty discussions?
We are continuing to grow our “collaboration” focus in various courses.
2. Based on the current assessment and reflections, what course-level and programmatic
strengths have the assessment reflections revealed? What actions has your discipline
determined might be taken as a result of your reflections, discussions, and insights?
The assessments have not revealed any information that we have already observed as
skilled classroom educators. However, the data confirms that students who participate
fully in our curriculum usually acquire key skills, including improved collaborative abilities
and time management.
3. What is the nature of the planned actions (please check all that apply)?
 Curricular
 Pedagogical xxxx, just continue to emphasize the team building, listening and
cooperating skills
 Resource based
 Change to CLO or rubric
 Change to assessment methods
 Other:_________________________________________________________________
12
Appendix C: Program Learning Outcomes
Considering your feedback, findings, and/or information that has arisen from the course level
discussions, please reflect on each of your Program Level Outcomes.
Program: _______Theater Arts_________________________________________
 PLO #1:
Collaboration and Teamwork

PLO #2:
Creative Expression
 PLO #3:
Dev elopement of the whole person – personal interaction skills –“face time”
 PLO #4:
Concentration and critical thinking
What questions or investigations arose as a result of these reflections or discussions?
Explain:
We are contributing to the “basic skills” of the job market and future artists as well.
What program-level strengths have the assessment reflections revealed?
Strengths revealed:
We are spot on with the current movements in the field, both in the profession of the arts and
the paths in other higher education institutions
What actions has your discipline determined might be taken to enhance the learning of
students completing your program?
Actions planned:
Give them more support in making decisions about their futures. Counseling, peer counseling,
role models, guest speakers, planning and placement activities
Program: _____REPEAT???? n/a___________________________________________
 PLO #1:

PLO #2:

PLO #3:
13
 PLO #4:
What questions or investigations arose as a result of these reflections or discussions?
Explain:
What program-level strengths have the assessment reflections revealed?
Strengths revealed:
What actions has your discipline determined might be taken to enhance the learning of
students completing your program?
Actions planned:
14
Appendix D: A Few Questions
Please answer the following questions with "yes" or "no". For any questions answered "no",
please provide an explanation. No explanation is required for "yes" answers :-)
1. Have all of your course outlines been updated within the past five years? If no, identify the
course outlines you will update in the next curriculum cycle. Ed Code requires all course
outlines to be updated every six years. YES
2. Have all of your courses been offered within the past five years? If no, why should those
courses remain in our college catalog? NO, YES, they should remain IN catalogue
3. Do all of your courses have the required number of CLOs completed, with corresponding
rubrics? If no, identify the CLO work you still need to complete, and your timeline for
completing that work this semester. YES
4. Have you assessed all of your courses and completed "closing the loop" forms for all of your
courses within the past three years? If no, identify which courses still require this work, and
your timeline for completing that work this semester. YES (According to our last chart)
5. Have you developed and assessed PLOs for all of your programs? If no, identify programs which
still require this work, and your timeline to complete that work this semester. YES
6. If you have course sequences, is success in the first course a good predictor of success in the
subsequent course(s)? YES
7. Does successful completion of College-level Math and/or English correlate positively with
success in your courses? If not, explain why you think this may be. SOMETIMES -- but
sometimes students who approach our classes with a controlled and disciplined creativity may
not succeed as consistently in these basic courses. But most of the time, this is a correlary. So,
go ahead, get those bottlenecks going, eh?
8.
15
Appendix E: Proposal for New Initiatives (Complete for each new initiative)
Audience: Deans/Unit Administrators, PRBC, Foundation, Grants Committee, College Budget Committee
Purpose: A “New Initiative” is a new project or expansion of a current project that supports our Strategic
Plan. The project will require the support of additional and/or outside funding. The information you
provide will facilitate and focus the research and development process for finding both internal and
external funding.
How does your initiative address the college's Strategic Plan goal, or significantly improve student
learning?
Theater for Young Audiences – we are trying to expand the scope of our youth theater program in
myriad ways that would help outreach to the community, while simultaneously improve student
success. Students will become engaged in productions and with helping young people learn about
literature and ideas, thus making students into “ambassadors of learning” themselves. We need a
coordinator (administrative position) and an artistic director – could be the same person.
What is your specific goal and measurable outcome?
2 productions a year. 100 FTES, increased funding for Theater Arts (1000.00 revenues) Performance
skills for young(er) audiences, CLO developed accordingly.
What is your action plan to achieve your goal?
Explore college support
Target
Completion
Date
2014
Required Budget (Split out
personnel, supplies, other
categories)
none
Explore grants
2014-15
1000.00 personnel
Explore private underwriters
2015
1000.00 personnel
Activity (brief description)
How will you manage the personnel needs?
New Hires:
Faculty # of positions 1?
Classified staff # of positions X1?
Reassigning existing employee(s) to the project; employee(s) current workload will be:
Covered by overload or part-time employee(s)
Covered by hiring temporary replacement(s)xx
Other, explain
At the end of the project period, the proposed project will: be self supporting
Be completed (onetime only effort)
Require additional funding to continue and/or institutionalize the project
(obtained by/from):
Will the proposed project require facility modifications, additional space, or program relocation?
No
Yes, explain:
Maybe –additional performance space, perhaps
Will the proposed project involve subcontractors, collaborative partners, or cooperative agreements?
16
No
Yes, explain:
or theater organization (i.e. HARD)
Maybe – perhaps partnering with another institution (i.e.CSUEB)
Do you know of any grant funding sources that would meet the needs of the proposed project?
No
Yes, list potential funding sources: Not at this time, but I am sure there are some,
and Yvonne has helped point us in the right direction too. We would like the resources to WRITE the
grants.
17
Appendix F1: Full-Time Faculty/Adjunct Staffing Request(s) [Acct. Category
1000]
Audience: Faculty Prioritization Committee and Administrators
Purpose: Providing explanation and justification for new and replacement positions for full-time faculty
and adjuncts
Instructions: Please justify the need for your request. Discuss anticipated improvements in student
learning and contribution to the Strategic Plan goal. Cite evidence and data to support your request,
including enrollment management data (EM Summary by Term) for the most recent three years, student
success and retention data , and any other pertinent information. Data is available at
http://www.chabotcollege.edu/ProgramReview/Data2012.cfm .
1. Number of new faculty requested in this discipline: ___1_
2. If you are requesting more than one position, please rank order the positions.
Position
Description
1. Instructor – Theater for Young
Teaching and executing design projects, as well
Audiences/Design specialist
as administrating and directing the Theater for
Young Audiences program
2. Instructor – Technical Theater , Design,
Develop the technical theater program , design
Management.
an d stage management for future
employment opportunities for students both in
higher ed and the job market
3. Rationale for your proposal. Please use the enrollment management data. Additional data that will
strengthen your rationale include FTES trends over the last 5 years, persistence, FT/PT faculty ratios,
CLO and PLO assessment results and external accreditation demands.
I do not have this support at this time. If any of these are a REALITY, then this info will be gathered
4. Statements about the alignment with the strategic plan and your student learning goals are
required. Indicate here any information from advisory committees or outside accreditation reviews
that is pertinent to the proposal.
We are trying to equip students to leave Chabot with career and/or educational plans. Both of our new
positions would lean toward guiding students toward career opportunities in theater, as both categories
(children’s theater and design/tech/management )tend to have more job opportunities than actors,
writers, directors, etc…
Also, often we can’t get our students completing their AA or soon to be AAT in a more timely fashion
without offering these courses more often throughout the term. The reason that are not offered
currently is lack of funding for adjunct and/or full time faculty and/or classified help.
18
Appendix F2: Classified Staffing Request(s) including Student Assistants [Acct.
Category 2000]
Audience: Administrators, PRBC
Purpose: Providing explanation and justification for new and replacement positions for full-time and
part-time regular (permanent) classified professional positions (new, augmented and replacement
positions). Remember, student assistants are not to replace Classified Professional staff.
Instructions: Please justify the need for your request. Discuss anticipated improvements in student
learning and contribution to the Strategic Plan goal, safety, mandates, accreditation issues. Please cite
any evidence or data to support your request. If this position is categorically funded, include and
designate the funding source of new categorically-funded position where continuation is contingent
upon available funding.
1. Number of positions requested: ______
2. If you are requesting more than one position, please rank order the positions.
Position
Description
1. Shop Foreman
Oversee scene shop and costume shop
2. Production assistants
Assist in front of house/lobby coordination for
productions
3. Rationale for your proposal.
Our current facility for scene construction and costume construction are staffed at 20%. Both shops
need to be maintained in order for STUDENTS TO SAFELY LEARN the skills of building for theater
productions. They MUST have supervision in working with the dangerous equipment and instruction in
additional safety procedures.
Production Assistants for our front of house will help make THE BRAND NEW LOBBY area operable with
concessions, décor, ushers, that all compliment the public’s experience of seeing a show on this
campus.
4. Statements about the alignment with the strategic plan and program review are required. Indicate
here any information from advisory committees or outside accreditation reviews that is pertinent to
the proposal.
We have been asking for both a scene shop foreman and a children’s theater coordinator ever since these program
reviews came into being (8 years ago??roughly)
19
Appendix F3: FTEF Requests
Audience: Administrators, CEMC, PRBC
Purpose: To recommend changes in FTEF allocations for subsequent academic year and guide Deans and
CEMC in the allocation of FTEF to disciplines. For more information, see Article 29 (CEMC) of the Faculty
Contract.
Instructions: In the area below, please list your requested changes in course offerings (and
corresponding request in FTEF) and provide your rationale for these changes. Be sure to analyze
enrollment trends and other relevant data at
http://www.chabotcollege.edu/ProgramReview/Data2012.cfm .
1 course – acting I .20 Basic feeder course for our program. We used to run 6 Intro courses, we’re down to 3.
1 lab hour for Audition Techniques -- .075 additional coaching time for monologues
1 hour additional for Emerging Work -- .0.75 -- this class has become a production class, additional 40 hours or so
of production work at the end of the term.
Total: .35 About a third of one FTEF…
20
Appendix F4: Academic Learning Support Requests [Acct. Category 2000]
Audience: Administrators, PRBC, Learning Connection
Purpose: Providing explanation and justification for new and replacement student assistants (tutors,
learning assistants, lab assistants, supplemental instruction, etc.).
Instructions: Please justify the need for your request. Discuss anticipated improvements in student
learning and contribution to the Strategic Plan goal . Please cite any evidence or data to support your
request. If this position is categorically funded, include and designate the funding source of new
categorically-funded position where continuation is contingent upon available funding.
1. Number of positions requested: ______
2. If you are requesting more than one position, please rank order the positions.
Position
Description
1. Math tutor
Assist Theater students with transfer math
courses
2. English tutor
Assist theater students with eng. Comp skills
3. Shop assistants
Assist with safety measures and student success
in the scene shop/costume shop areas
4. House manager
Responsible for lobby requirements for shows
3. Rationale for your proposal based on your program review conclusions. Include anticipated impact
on student learning outcomes and alignment with the strategic plan goal. Indicate if this request is
for the same, more, or fewer academic learning support positions.
We are dedicated to providing excellent theater instruction as well as producing to notch shows for the
public community. These quality products intrinsically motivate our students to succeed and follow
their academic and professional goals. Without safe conditions for technical work in scenery and
costumes, the students’ worry will obliterate their abilities to learn. As for the tutors (above), many of
our students get held up by math and english competency issues. (more math than English, because
theater is fairly language-based and students usually IMPROVE their English skills when they are acting
in a show).
We want efficiency too – when students have MORE opportunities to perform, they will improve faster.
Faster means that they will matriculate faster as well.
21
Appendix F5: Supplies & Services Requests [Acct. Category 4000 and 5000]
Audience: Administrators, Budget Committee, PRBC
Purpose: To request funding for supplies and service, and to guide the Budget Committee in allocation of
funds.
Instructions: In the area below, please list both your current and requested budgets for categories 4000
and 5000 in priority order. Do NOT include conferences and travel, which are submitted on Appendix
M6. Justify your request and explain in detail any requested funds beyond those you received this year.
Please also look for opportunities to reduce spending, as funds are very limited.
Project or Items
Requested
Production materials
2012-13 Budget
Requested Received
$ 6000
5200
2013-14
Request
7000
Professional experts
(usually lighting,
costume, and sound
designers)
Royalties
6000
4200
7000
Our designers have not seen an
increase in pay in 18 years.
3000
600
3000
Misc. Fees
1200
none
1200
In order to do a musical, you have to
pay upwards of 3-4 thousand dollars in
royalties. As such, we have to pay
royalties for each published play we
produce. This is a law, and nonnegotiable.
These are reg fees to participate in our
KC/ACTF annual competition
22
Rationale
Inflation for lumber and materials
Appendix F6: Conference and Travel Requests [ Acct. Category 5000]
Audience: Staff Development Committee, Administrators, Budget Committee, PRBC
Purpose: To request funding for conference attendance, and to guide the Budget and Staff Development
Committees in allocation of funds.
Instructions: Please list specific conferences/training programs, including specific information on the
name of the conference and location. Note that the Staff Development Committee currently has no
budget, so this data is primarily intended to identify areas of need that could perhaps be fulfilled on
campus, and to establish a historical record of need. Your rationale should discuss student learning goals
and/or connection to the Strategic Plan goal.
Conference/Training
Program
Kennedy Center/ American
College Theater Festival
2013-14 Request
6000.00
Rationale
It is our ONLY competition and we participate in it
annually. It costs us entry fees per show (300.00
per show) , registration fees, $75 per student, and
housing fees of approx. 4000.00 since it is almost
always out of town.
23
Appendix F7: Technology and Other Equipment Requests [Acct. Category 6000]
Audience: Budget Committee, Technology Committee, Administrators
Purpose: To be read and responded to by Budget Committee and to inform priorities of the Technology
Committee.
Instructions: Please fill in the following as needed to justify your requests. If you're requesting classroom
technology, see http://www.chabotcollege.edu/audiovisual/Chabot%20College%20Standard.pdf for the
brands/model numbers that are our current standards. If requesting multiple pieces of equipment,
please rank order those requests. Include shipping cost and taxes in your request.
Please note: Equipment requests are for equipment whose unit cost exceeds $200. Items which are
less expensive should be requested as supplies. Software licenses should also be requested as
supplies.
Project or Items
Requested
2012-13 Budget
Requested Received
$
2013-14
Request
Rationale*
$
* Rationale should include discussion of impact on student learning, connection to our strategic plan
goal, impact on student enrollment, safety improvements, whether the equipment is new or
replacement, potential ongoing cost savings that the equipment may provide, ongoing costs of
equipment maintenance, associated training costs, and any other relevant information that you believe
the Budget Committee should consider.
24
Appendix F8: Facilities Requests
Audience: Facilities Committee, Administrators
Purpose: To be read and responded to by Facilities Committee.
Background: Following the completion of the 2012 Chabot College Facility Master Plan, the Facilities
Committee (FC) has begun the task of re-prioritizing Measure B Bond budgets to better align with current
needs. The FC has identified approximately $18M in budgets to be used to meet capital improvement
needs on the Chabot College campus. Discussion in the FC includes holding some funds for a year or two
to be used as match if and when the State again funds capital projects, and to fund smaller projects that
will directly assist our strategic goal. The FC has determined that although some of the college's greatest
needs involving new facilities cannot be met with this limited amount of funding, there are many smaller
pressing needs that could be addressed. The kinds of projects that can be legally funded with bond
dollars include the "repairing, constructing, acquiring, equipping of classrooms, labs, sites and facilities."
Do NOT use this form for equipment or supply requests.
Instructions: Please fill in the following as needed to justify your requests. If requesting more than one
facilities project, please rank order your requests.
Brief Title of Request (Project Name): The Box
Building/Location:
1300
Description of the facility project. Please be as specific as possible.
Small 99 seat , variable seating arrangement, black box theater, designed for lectures, intimate original
plays. 99 seats allows us to have a waiver from the performance unions, so we might be able to invite
artists to perform, many of whom might do so, because they are friends with our faculty members
here.
What educational programs or institutional purposes does this equipment support?
We need a small venue for student original plays, which are at the heart of our lively program—the
only community college in the Bay Area to offer a program of new plays, and the only college in the
East Bay to do so, including UCB.
Briefly describe how your request relates specifically to meeting the Strategic Plan Goal and to
enhancing student learning?
Live, intimate performance is integral to a comprehensive education, whether you are in the audience or on
stage. The space would provide lecture and reading opportunities as well productions of college shows. This
would free up Stage One for public use more often, and maximize our resources. It is a complicated project
and obviously, if it ever came to be a possibility, we would start from ground zero on it.
It is clear that this year’s report focuses on student learning and our strategic plan, but we have
some backlogged needs that didn’t find a home in this document so they are included here for
your reference.
25
Backlogged needs (from previous Program Reviews)
Equipment and technology:
We must maintain the safety and efficacy of our scene shop at all times. This means an ongoing
supply of tools, paint, maintenance costs, etc…Although we acquired some new tools last year,
we cannot ignore our ongoing need for maintenance, as well as our show supplies. We also need
to upgrade our technical booth with a laptop, projector, internet access and dual disk drives for
effective computer presentations that are becoming more integral to theater designs.
Our rehearsal space, room 1328, could more easily become a performance space if we can add
some lighting and sound equipment that would be more permanent. This would be an increase in
our maintenance and equipment supply budget, that may be combined with the PAC budget as
well. We are strongly considering transforming 1328 into a black box theater space, so as to
provide an intimate space for more experimental projects, such as student driven festivals of new
plays, and inter-departmental collaborations.
Facilities:
We need access to the TV/Film station during our class hours IF we are going more
vocational/commercial in our focus. Classes are dispersed around campus at this time. We
much prefer to have our classes held in the same general location (building 900, 1200) so as to
further build community among the students. A few of our classes are dispersed at this time.
Long term Vision (10 years)
Collaboration will be the key ingredient. We will have a vibrant season of traditional shows,
along with new plays and theater for young audiences.
We also have our technical theater program up and thriving with full enrollments in all of our
tech classes, so that students can design shows along with pursue their classroom training.
Also, our shows are more fully integrated to the curriculum here and elsewhere (feeder
schools) so that the shows can be used as teaching tools as well as art forms.
We will collaborate with the music department on musicals, and we’ll explore deeper
connections to other departments as well.
We’ll collaborate with Cal State East Bay on a project so that our faculty and students can learn
from each other. We will also have smooth articulation with SF State and SJ State .
Moreover, we look forward to developing plays that reflect our immediate cultural/socioeconomic/educational community, i.e. developing a new play about the struggles of the Afghan
community here in the East Bay.
We will also be a model for collaborative learning, because theater, at its heart is a
collaborative art form and we will inspire and instruct others – students as well as faculty and
staff—along this path. We have always known what it is like to “engage” our audiences…this is
one of the areas that our college must explore more fully in the 21st century. If we fail to engage
our students in lively and pertinent ways, then we might as well be replaced by monitors and
computers.
In 2022, we will continue to be story-tellers; storytelling will continue to be how our world
makes sense of itself.
And thus we will shape and be shaped by our evolving culture.
26
Backlogged Needs and documentation – 2012
Urgent budget concerns for 2012-2013 are a continuation from years past.
I:
II:
Grant for Children’s Theater: Our current program is on sabbatical. It simply cannot
run on the meager salary of one 3 hour class for the director of that show. We need to
figure out how we can increase the funding for the artistic director and fund a position
that will continue to build audiences as well as build relationships with local schools.
Approx. 10,000.00
A full-time classified staff position-- scene shop foreperson.
Rationale: Our current faculty member who runs the shop needs to be able to devote his
professional skills to building our program in innovative ways, such as building our
connection to a film program, developing curriculum, establishing a theater major,
writing grants, and serving on college committees. A shop foreman could instruct and
oversee students who are learning basic carpentry and other shop skills, as well as assist
in other technical aspects of theater productions, such as lighting a sound, two areas
where we are greatly deficient at this time. We have long been asking for such a position
and we know that the PAC staff support this request fully because their programs often
need the shop to be in top working condition to successfully mount the visiting
performances.
Approx. 60,000.00
III:
A 20% increase in our supplies and personnel budgets for 2010-2011.
Rationale: We have had to use our “co-curricular” money for Royalties and for supplies
as well; in order for us to produce A Children’s show, a large scale musical or play, and
two pieces in the fall, we must increase our supply budget to keep up with inflation and
demand. Our supply and personnel budget was slashed by 33% this year, and we
had to use our meager “savings” just to pay the construction bills.
Request: Supplies: 6600.00
Professional Experts: 7200.00
Royalties: 1200.00
III:
Increased marketing resources
Rationale: We need the resources for a high end brochure that will market both our
shows and our academic program. through the Chabot web pages or separately.
We need a box office that could sell tickets more readily for all of our events.
We need an electronic billboard that will advertise our shows to the public, along with the
PAC shows.
Approx. 50,000.00
IV:
Web presence for shows and department successes..
We need an on-call photographer who will document our program’s successes on a
continual basis. This would include brochure photos, productions photos, archival
photos, lobby photos. These photos could be easily uploaded to our electronic materials.
Approx. 2000.00
27
V:
Exploration of Distant Education Options
Rationale: We may want to increase our productivity by adding one or more online
classes, seeing as how this is becoming part of the waves of higher education.
300.00 stipends to get necessary training. Maybe this could come from a basic skills
resource of Title III funding.
28
29
Rationale: We may want to increase our productivity by adding one or more online
classes, seeing as how this is becoming part of the waves of higher education.
300.00 stipends to get necessary training. Maybe this could come from a basic skills
resource of Title III funding.
30
Our enrollment is way up in our production classes and we have lost one of our major threads
of production, Theater for Young Audiences (TYA.)
A) The position we want is a TYA Specialist/Director position, so that we may mount a fully
profitable children’s theater season.
B) Children’s theater has gone from 50 % enrollment to over 100% in the past five years.
(there is hard data for this)
C) We are emphasizing teamwork in our program; indeed, it is a PLO at this point and CYA
is a prime candidate for that skill, as many of the shows are ensemble-based in their
conception and their execution.
D) In addition, the position would include design, and there is a gaping hole in our full-time
technical theater area of costumes and props that could be a profit-generating source of
income for theater arts. We could be renting out costumes and props to outside entities
for vital dollars that could help produce the children’s shows.
E) The position would include public outreach, as we contact local schools for potential
audiences.
F) Raise funds for the execution of the shows, including writing grants and seeking outside
sources of support.
5. Statements about the alignment with the strategic plan and program review are required.
Indicate here any information from advisory committees or outside accreditation reviews
that is pertinent to the proposal. Children’s theater is important because it
a. Introduces children to performance and story telling
b. Cultivates future audiences and participants in the art of theater and other live
venues.
c. Is good community outreach.
d. Builds community.
e. Reinforces basic skills to our feeder schools.
f. Allows collaboration with local schools.
g. Grows transfer opportunities for our students b/c of collaborative efforts with
CSUEB and CSUSJ.
More info from 2012 Program Review
31
We need a Technical Director
a) Program Growth: Students are learning their various scene shop skills, but we have
increased our students in technical theater over the past five years. Currently, one of our
full time theater faculty is solely responsible for building and overseeing students in the
shop. His time is better spent in classroom/production work, as well as curriculum and
program development. This will increase enrollment, resources, and student success.
b) This is a safety issue.
1) We have students working with dangerous equipment and tools and they need
close supervision. We must have additional shop foremen and/or women so as
to assure all the safety measures are followed at all times. There is no wiggle
room on safety procedures in a scene shop.
c) Job description would include the following:
1. Keeping shop safe and organized
2. Maintaining shop tools
3. Leading building of sets
4. Leading painting of sets
5. Tracking budget for material and tool budgets
6. Translating design drawings into shop drawings
7. Purchasing materials
8. Installing sets in theater
9. Rigging sets
10. Hanging and focusing lights
11. Maintaining lighting equipments
12. Maintaining sound equipment
13. Working with the PAC staff on all of the above
5. Statements about the alignment with the strategic plan and program review are required.
Indicate here any information from advisory committees or outside accreditation reviews that
is pertinent to the proposal.
We are increasing our program’s enrollment each year, especially in technical theater.
Technical theater students are often prepared to go out into the workforce equipped
with various skills in painting, carpentry, basic, electrical, and sometimes basic sewing
and wardrobe skills. These are vocational skills with specific job applications, therefore
we are preparing our students for the workforce.
Theater is a cultural venue – we bring the public to our campus for plays and theatrical
projects, thus building more community here in our service area.
32
Appendix -- facilities updates from August 2013
From:
To:
CC:
Date:
Subject:
Rachel LePell
Catherine Powell; Janice Golojuch
Rachel LePell
8/22/2013 12:44 PM
Theater Arts facilities issues
Here's our list -- please take these needs seriously.
1. LOBBY -- building 1200
will we have control over the sliding doors?
2. Is there an alarm for these doors?
3. We need door stops for inside doors.
4. Can we handle climate control for public shows?
5. Can we remove the white gizmo thingy on the east wall up high? we need the space for photos.
BOX OFFICE
We need keys to the cabinets.
We need a cash drawer under the counter
climate control?
GREEN ROOM
Keys for the cabinets
Back door of green room -- we need pass codes for off hours. We don't want to call security every time.
Climate control.
SIGNAGE:
Outside sign -- "Stage One" on the marquis.
Stand alone signs for directions for the public.
Rachel LePell
Theater Arts Department
Playwright
Chabot College
25555 Hesperian Blvd. Hayward, CA 94545 (510) 723 6830
>>> Catherine Powell 8/22/2013 8:25 AM >>>
Hi all,
Please see email from Janice regarding input for our needs in the area of facilities.
thanks,
c
Catherine Powell
Administrative Assistant II
School of the Arts
Chabot College
25555 Hesperian Blvd
Hayward, CA 94545
510-723-6829
>>> Janice Golojuch 8/22/2013 7:39 AM >>>
Hi Catherine.
Could you forward this to the SOTO group for me.
Thanks.
Janice
33
SOTA Group,
The Facilities & Sustainability Committee would like to know if SOTA has any burning issues you would like presented
at our first meeting next Thursday, 8/29/13.
Here's our list -- please take these needs seriously.
34