Chabot College
Program Review Report
2015 -2016
Year 1 of
Program Review Cycle
Theater Arts
Submitted on October 24th, 2014
Created by Dov Hassan and Rachel LePell
Table of Contents
___ Year 1
Section 1: Where We’ve Been
Section 2: Where We Are Now
Section 3: The Difference We Hope to Make
Required Appendices:
A: Budget History
B1: Course Learning Outcomes Assessment Schedule
B2: “Closing the Loop” Assessment Reflections
C: Program Learning Outcomes
D: A Few Questions
E: New Initiatives
F1: New Faculty Requests
F2: Classified Staffing Requests
F3: FTEF Requests
F4: Academic Learning Support Requests
F5: Supplies and Services Requests
F6: Conference/Travel Requests
F7: Technology and Other Equipment Requests
F8: Facilities
____ YEAR ONE
1. 1.
Where We’ve Been - Complete Appendix A (Budget History) prior to
writing your narrative. Limit your narrative to no more than one page. As you
enter a new Program Review cycle, reflect on your achievements over the last
few years. What did you want to accomplish? Describe how changes in
resources provided to your discipline or program have impacted your
achievements. What are you most proud of, and what do you want to continue to
improve?
The past three years for our Theater Department can be defined as a time of adapting to adversity.
Looking back, although we did accomplish much, as listed below, in some ways the great
accomplishment of the last three years was surviving a tough three year stretch.
The adversity of the past three years had three main components:
1. 1.
We were moved out of our teaching and performance spaces for a year and a half while
renovations took place.
2. 2.
One of our two full time faculty members went on a full year sabbatical.
3. 3.
Our usual budgets from the general funds and lottery, used to cover costs of supplies,
royalties and professional specialists, were greatly reduced.
We are proud of the fact that, in spite of these adversities, we were still able to achieve quite a lot,
including significant progress in clarifying pathways through the Theater Arts program for Chabot
students. During these past three years we:
•
Maintained most of our production schedule, even though we had to use alternate
spaces.
•
Developed and had approved an AAT in Theater Arts.
•
Increased the number of declared Theater Majors by some %800 (we currently have 81
declared majors).
•
Graduated 15 students with the relatively new AA in Theater Arts.
•
Greatly increased the number of students transferring to highly respected universities
and theater training programs.
•
Contributed in the design of and oversaw the construction of improvements in our
facility, including a new lobby, green room and improvements in our small theater, Stage 1.
•
Adapted appropriate courses to the step/family system. All courses were approved and
are now part of our regular curriculum.
•
Continued to take large groups of students to the American College Theater Festival.
•
•
One of our full time faculty, Rachel LePell, has twice been awarded the regional
award in faculty playwriting.
We have re-scheduled our course offerings so that our skill-based, training
courses, are in the mornings, while afternoons are reserved for production rehearsals.
The negative impact of loss of our space, faculty on sabbatical and large reductions in our budget have
been:
•
Suspending our thriving Theater for Young Audiences productions.
•
A significant reduction in production values for our mainstage shows.
•
An inability to focus on recruitment for our program.
Now that we are through that tough phase, we are ready to build on the successful aspects and remedy
the negative ones. Specifically, moving forward, we plan to:
•
Re-introduce and improve upon our Theater for Young Audiences course.
•
Build up our technical theater program in order to improve our production values and
production capabilities.
•
Pursue multiple paths for increasing our funding.
•
Increase our focus on recruitment.
In terms of the adversity we have worked through over the past three years, it is important to note that
two of the three points of difficulty have been stabilized – we are now comfortably back in our
remodeled theater and classroom space, and we have both of our full-time faculty members back on
board. However, the third piece, cuts to our budgets, has not been addressed. It is our hope that we can
not only attain a return to our previous levels of funding, but that we can attain some kind of stability in
those numbers. As you will see in the initiatives we are putting forward, to affect the changes we want
to make, we need to be able to plan 3, 4 and 5 years ahead. Having our budget be a mystery every year
makes this very hard to do.
2. Where We Are Now - Review success, equity, course sequence, and
enrollment data from the past three years at
http://www.chabotcollege.edu/ProgramReview/Data2014.asp
Please complete Appendices B1 and B2 (CLO's), C (PLO's), and D (A few
questions)before writing your narrative. Limit your narrative to two pages.
After review of your success and retention data, your enrollment trends, your
curriculum, and your CLO and PLO results, provide an overall reflection on your
program. Consider the following questions in your narrative, and cite relevant data (e.g.,
efficiency, persistence, success, CLO/PLO assessment results, external accreditation
demands, etc.):
• What are the trends in course success and retention rates (based on overall
results and CLO assessments) in your program? Do you see differences based
on gender and/or ethnicity? Between on-campus and online or hybrid online
courses? Provide comparison points (college-wide averages, history within
your program, statewide averages).
1. Success and persistence rates.
2. Distance education vs. face-to-face courses.
THEATER ARTS; WHERE WE ARE NOW
In viewing enrollment data, a number of interesting comparisons and trends are
worth noting. We did some statistical comparisons of how students in Theater Arts
courses do as compared to the whole college, as well as how Theater Arts students of
2007 to 2010 compare to Theater Arts students of 20011 to 2014.
Here are some findings:
•
Theater Arts students overall success rate in Theater Arts courses for
2011 to 2014 is 85%, as compared to 69% college wide over the same period. A
positive difference of 16%.
•
By ethnic group, each group also has a higher success rate than the
campus wide numbers, with the most marked difference being among African –
American students (75% success in THTR, 57% college – wide, a difference of
18%) and Latino students (84% success in THTR, 66% college- wide, a
difference of 18%).
•
Comparing success rates of gender among students taking Theater Arts
courses shows that there is both a very even number of Men and Women taking
Theater Arts courses, as well as a very even rate of success.
•
In comparing enrollment statistics of ’07 to ’10, we find success rates in
almost all of our courses have gone up, and in some courses by quite a lot. Of
note, THTR 2 where success rates jumped by 30%, from 60% to 90%.
•
Also of note, in terms of agragate numbers of students enrolled by
ethnicity, when comparing ’07/’10 to ‘11/14, most of the numbers stayed
somewhat level, but Latino enrollment jumped in Theater Arts courses by almost
100%, from 126 to 220.
Of these statistics, what I think is of particular importance is the trend upward in
success rates for our Theater Arts students, across all ethnic groups, over the past 6
years. It is hard to prove empirically, but this same 6 year span coincides with the
implementation of our AA in Theater Arts, as well as the development of new acting
curriculum specifically designed to help prepare students for next level. If it can be
assumed that these statistics and program changes are linked, clearly Theater Arts has
made significant strides in supporting the College Strategic Plan by clarifying pathways
in our program. We hope to do much more of the same in the next three year cycle, as
demonstrated in initiatives we are putting forward in this Program Review.
Also, I think it is important to again underscore out how strong the trend is in serving
more Latino students over the past 6 years. This, of course, reflects the general
population trend of the community and the college, but doubling the number
demonstrates we are connected to and participating in the trend. On an anecdotal note,
over the past 3 years we have had a large increase in the number of Theater Arts
students who have moved on to further study in Theater Arts at other institutions. We
currently have Latino students attending USC, Cal Arts and SF State as well as Pacific
Conservatory of the Performing Arts.
Currently we only have two courses being tracked as a progression. The number of
Theater 1 – Introduction to Acting students who matriculate to Theater 2 – Intermediate
Acting, is about 15%. The success rate of these students is high, about 92%.
Additionally, by ethnic group, comparison shows that a fairly even number of each
group moves from THTR 1 to THTR 2.
In the future, however, I would like for us to track how students from our various
acting courses, THTR 1, 2, 3, 6, 7, 8, do in progressing to our production courses,
THTR 5, 30 and 47. Statistically, it seems that when we get to our THTR 47 – College
Theater Acting course, which involves students being involved in a full scale theater
production, there is a significant shift in the demographics. Being a cast member in a
production is very important for a theater student, in terms of getting the kind of practical
experience that will help them at another institution or in the field. Statistics show that
where the ethnic make up of our skill-based acting classes (acting, movement, voice,
audition technique, etc.) is spread out pretty evenly among all ethnicities, when it comes
to our mainstage shows, the numbers skew significantly towards white students. A lot
could be said and studied as to why this is, but it is our desire to track this more fully
and see if there is way to even out those numbers.
Our review of CLOs and PLOs lead us to similar reflections that are shown in the
statistical analysis. Students in our theater courses do very well in fulfilling expectations
outlined in our outcomes. It feels to us that what we teach and how our students
respond to the material is very much in line. Our department goes through waves of
students who have more and less understanding and aptitude for the skills of acting,
directing, writing and set building. Currently, and I really mean no disrespect by this, I
would not describe our group as on the higher end of that spectrum. But, that said, one
thing we maintain at all times is a high level of respect, generosity of spirit and
collaboration among those participating in our theater courses and productions.
In Spring 2015 we will be implementing our first online course, THTR 10. So, as
of now, we don’t have any data to report or comparisons to make. But, by the end of this
cycle, we will know much more about this.
3. The Difference We Hope to Make - Review the Strategic Plan goal and key
strategies at
http://www.chabotcollege.edu/prbc/StrategicPlan/SP for PR.pdf prior to completing your
narrative. Please complete Appendices E (New Initiatives) and F1-8 (Resource Requests) to further detail
your narrative. Limit your narrative to three pages, and be very specific about what you hope to achieve,
why, and how. what initiatives are underway in your discipline or program, or could you begin, that
would support the achievement of our Strategic Plan goal? Over the next three years, what
improvements would you like to make to your program(s) 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 that
collaboration occur?
Chabot is in the process of creating our next Educational Master Plan which will last
between six and ten years (under discussion). Please include goals and vision for your
program(s) and the college under the “”The Difference We Hope to Make” section.
Educational Master Plans are generally large enough in scope to be flexible. They are
used in particular at the District Level to guide in facility and community planning.
(Program Review will not be the only way that we communicate our needs to the writing
team)
Within this Program Review we are articulating a number of initiatives of which some
are already underway, some that will be coming up very soon with some college support, and
some that are bigger ideas that may take years to accomplish. All of our initiatives, however,
fall within the overall goal, as articulated in the Strategic Plan, of increasing the clarity of our
pathways, increasing student’s abilities to be successful in our courses and overall program, and
increasing the ability for students to identify earlier and more quickly if Theater Arts is the right
pathway for them.
As a way of defining for ourselves how to accomplish this, and as a way of explaining the
reasoning behind our initiatives, we look at three distinct points on the timeline of a Chabot
Theater student –
Point 1; The pre-theater student. This could be someone in school from K thru 12th grade,
whose interest in Theater at Chabot will only be sparked by exposure to theater somewhere in
this age range, and an awareness of what Chabot College has to offer for theater students. This
could also be a current student at Chabot who discovers while already a college student, that
theater is right for them. Again, contact and awareness with and of the theater program is
critical for this connection to occur.
Point 2; Current Theater students. This involves making sure that we are offering courses in the
broad range of skills necessary to progress to further study or practice; mounting productions
that are varied in content and style; giving students the opportunity to experience their
performances being done for large audiences made up of members of their community.
Point 3; Building a bridge to the future. This involves giving students knowledge and contact
with and of the world beyond Chabot, both professional and academic.
In the section in this Program Review for New Initiatives we elaborate on four we would
like to focus on in the coming three year cycle. Here I would like to elaborate on how each of
those New Initiatives connects to the 3 points I have enumerated above:
Initiative #1 – Increased Marketing for SOTA; By increasing marketing for all of the arts, and for
Theater Arts in particular, we will make the good work we do here already known on a much
broader scale to the public. Currently, our marketing is 15 years behind. Which gives the
impression to the general public that everything about us is 15 years behind. Unfortunately, as
they say, perception is reality. If we can project an up to date, exciting, dynamic image of what
is going on in the arts at Chabot, we will attract the attention of possible future theater
students, envigorate and give pride to current theater students, and give people on the outside
of Chabot, who might be looking to hire Chabot theater students, or mentor them or give them
apprenticeships, a higher view of theater at Chabot.
Additionally, marketing will improve ticket sales to our productions, which will enable us to
raise our production values, produce musicals, and perform in the very large (1,500 seats)
Buffington Performing Arts Center.
Initiative # 2 – Produce a Musical every other year on the PAC stage; Musicals are the most
popular form of theatrical entertainment. If we are able to fund producing musicals it will give
our department a much greater appeal to future students, bring collaborative opportunities to
Theater Arts and Music, give current theater students the opportunity to work on the
extremely valuable skills learned from participating in a musical, which can be applied to their
approach to future training and work beyond Chabot.
Initiative #3 – Full Development of Theater for Young Audiences (TYA); The full development of
Theater for Young Audiences will take time. But the advantages of this part of our program are
rich and many. TYA is a great tool for outreach in to the community, helping bring attention to
the college and our department to local school kids K thru 12. For current students, these are
more opportunities to perform, but also the opportunity to connect with young people and to
give back to an enrich their community. For the students future, TYA can serve as a valuable
training tool For young theater artists starting out, working with young people in arts programs,
after school programs, school tours, etc., is some of the most available paid work opportunities
there are in the field.
Initiative #4 – Professional Guest Artist Series; In the past we have occasionally brought guests
in from various areas of the profession – playwights, actors, but if we can fund this, we can
make this a much more consistent event and bring in a wide variety of professionals who can
help our current students better understand the world ahead of them as well as potentially
help them make some connections for future internships, auditions, etc.
On the longer term scale, other ideas we are working with –
Chabot as well as reaching out to the larger community. We want to support instructors in
collaborating with faculty from other disciplines to create and/or produce plays that cross the
lines that ordinarily divide us. Why can’t the physics and astronomy department assist in a
production of Galileo, by Bertoldt Brecht, wherein the history department can plumb the
material as well?
Isn’t is possible to create a piece of theater that explores the lives of
Middle Eastern residents, struggling with identity and hardships in a new country? Why not
look at plays, either already written or to-be written that dig deep into the specific cultural
issues of many immigrant families. Theater is a tool and a window to learning and to living.
We’d like to see collaboration in the larger community to include shows with CSEB, as well
as the Hayward Arts Council, the Historical Society, the library and the department of Parks
and Recreation. We know we have the valuable resource of the Sun Gallery as well. The
theater program can reach many more young people in our schools, doing shows and offering
in class arts instruction. We are already using some grant opportunities for these projects and
hope to find more support from various sources.
Finally, we still have hopes for the construction of a 400 seat theater that would increase our
production values and revenues and options for musicals. And to include a studio black box
that would support our continuing emerging work program that cultivates the work of student
and faculty playwriting. Our new plays program can incorporate all of the possible
collaborations between departments and disciplines, as suggested above.
Chabot
performing arts could be at the center of Hayward’s cultural vibrancy.
•
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
Classified Staffing (# of positions)
Scene shop technician
2013-14
Budget
Requested
1
0
2013-14
Budget
Received
2014-15
Budget
Requested
1
0
2014-15
Budget
Received
a. 1.
Supplies:
Sets/costumes/props/lights
and sound
b. 2.
Royalties:
Technology/Equipment
Other Professional Specialists
TOTAL
7000.00
1000.00
8000.00
16,000.00
4000.00
500.00
4000.00
8000.00
8000.00
1000.00
10,000.00
19,000.00
3000
500.00
3000.00
6500.00
a. 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.
Students are able to participate in a show that has the professional design expertise that accompanies the product.
the impact of sets, lights, costumes and sound on the overall effectiveness of the show that they are in.
The
a. 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 are scrambling to have the professional design support that is necessary to mount fully realized stage productions.
because they are studying all aspects of putting on a production and how they all work together to create a whole. The
costume, a set, sound, lighting and props, gives the students the artistic support that creates confidence, competence
trust.Participating in a fully mounted production is key to student success, and the courses that students enroll
shows are like our “capstone” courses,
that incorporate the plethora of theater skills that they have been lear
Doing a show is like to playing a football game.
shows.
The team has to play in a game.
The theater students must b
Appendices BI and B2:
During 2013-2014, we did not complete our course assessments in Elumen
because one of our lead facultywas on sabbatical, and several personnel issues crowded our
department business. Also, we have had consistent concerns with the Elumen system, and some
of our data was missing in the aggregate reports during the year. It appeared as though the SLOAC
committee and the Elumen program has not been effective, and in fact, that the SLOAC committee was
disbanded in the spring of 2014. However, faculty have been continuously consulting on CLOs,
PLOs, and student success. In addition to this work, theater faculty have re-vised half of our
offerings to be “leveled” into families, in addition to completing our AAT degree and making
appropriate theater arts major adjustments as well.
Therefore, the following appendices are driven by faculty collaboration and meetings, more than the
Elumen data.
Appendix B1:
a.
Student Learning Outcomes Assessment Reporting Schedule
I. Course-Level Student Learning Outcomes & Assessment Reporting
(CLO-Closing the Loop).
A.
a.
Check One of
No CLO-CTL forms were completed during this PR year. No Appendix B2 needs to be
submitted with this Year’s Program Review. Note: All courses must be assessed once at
least once every three years.
XX Yes, CLO-CTL were completed for one or more courses during the current Year’s
Program Review. Complete Appendix B2 (CLO-CTL Form) for each course assessed this
year and include in this Program Review.
a. B. Calendar Instructions:
List all courses considered in this program review and indicate which year each course Closing
The Loop form was submitted in Program Review by marking submitted in the correct column.
Course
*List one course per line.
Add more rows as
needed.
Theater 1-8
This Year’s Program
Review
*CTL forms
must be included with
this PR.
Last Year’s Program
Review
Submitted
2-Years Prior
*Note: These
courses must be
assessed in the next PR
year.
Submitted
Theater 10-30
Theater 30-50
**
**
Appendix B2:
“Closing the Loop” Course-Level Assessment Reflections.
New Copy
TA 12 - Demonstrate respect for others - teamwork- and collaborationA General Rubric AssignmentAdd
A General Rubric
AssignmentAdd Add
Group - Oral devate about merits of a given film Ready
New CopyTHTR 12 - Compare and Contrast films of different genresTHTR 12 Compare and Contrast films of different
THTR 12 - Compare and Contrast films of different genres
Ready
New
Copy
TA 12 Analyze
films for
content and
form
A General
Rubric
New CopyTHTR 16 - Students will distinguish between a screenplay and a play for
the stage.
THTR 16 - Students will distinguish between a screenplay and a play for the stage.
Ready
New CopyTHTR 16 - Students will develop charactersTHTR 16 - Students will
develop characters
THTR 16 - Students will develop characters
Ready
New CopyTHTR 16 - Students will learn appropriate critique strategies.THTR 16
- Critique Strategies
THTR 16 - Students will learn appropriate critique strategies.
New CopyTHTR 2 - Students will demonstrate respect for others, teamworkA
General Rubric
THTR 2 - Students will demonstrate respect for others, teamwork
Acting Exercise i.e. "L.A. tag"
Ready
New CopyTHTR 2 - Demonstrate ability to analyze dramatic trext as appropriate
for the actor
THTR 2 - Demonstrate ability to analyze dramatic trext as appropriate for the actor
Ready
TA 2 Students
will
demonstrate
acting
principles in
complex
exercises,
complex
scene work
in character
building
New
Copy
A General
Rubric
New CopyTHTR 30 - Students will participate in the developmental process of a
new play--discussion and revision
THTR 30 - Students will participate in the developmental process of a new
play--discussion and revision
Ready
New CopyTA 30 - Demonstrate teamwork - respect for othersA General Rubric
TA 30 - Demonstrate teamwork - respect for others
Rehearse Play Ready
New
TA 30 -
A General
Copy
Students
will
sucessfully
collaborate
on
rehearsing
and
producing
an original
play
Rubric
THTR 47 - students will work on text analysisTHTR 47 - students will work on text
analysis
THTR 47 - students will work on text analysis
Ready
New CopyTHTR 47 - Students will be team players, part of creative ensemble.
THTR 47 - Students will be team players, part of creative ensemble.
Ready
New
Copy
THTR 47 Students
will create a
role for
performing
in a
production.
THTR 47 Study Skills
TA 10 - Demonstrate clear, visionary, co-operative communication skills and
teamworkA General Rubric AssignmentAdd A General Rubric
Discussion of plays Ready
New CopyTA 10 - Students will synthesize information gleaned from reading,
lecture, discussion and visual media regarding the definition of theater and in live
performance
TA 10 - Students will synthesize information gleaned from reading, lecture, discussion
and visual media regarding the definition of theater and in live performance
Reading Plays outloud - An American Play
Ready
New
Copy
TA 10 Demonstrat
e critical
thinking
skills in
response to
plays, read
and/or seen
A General
Rubric
Assignment
New CopyTA 1 - Student will demonstrate some of the basic principles of acting by
practicing and performing exercises, improvisations, and/or scence work
TA 1 - Student will demonstrate some of the basic principles of acting by practicing and
performing exercises, improvisations, and/or scence work
Acting exercise ie. mirror work
Ready
New CopyTA 1 - Student will demonstrate co-operation and communication in
variety of creative projects
TA 1 - Student will demonstrate co-operation and communication in variety of creative
projects
Acting exercise ie. mirror work
Ready
TA 1 Students
will
demonstrate
teamwork, a
responsibilit
A General
y toward
Rubric
others
including
being an
active-listen
ing audience
member
New
Copy
New CopyTHTR 48 - Students will build set pieces for current production(s) in
Theater Arts.
THTR 48 - Students will build set pieces for current production(s) in Theater Arts.
Ready
New
Copy
THTR 48 Students
will work in
the scene
shop in a
THTR 48 Student
Attitude
Assign
safe and
responsible
manner.
Course
Theater 1
Semester assessment data gathered
Fall 2012
Number of sections offered in the semester
4
Number of sections assessed
4
Percentage of sections assessed
100
Semester held “Closing the Loop” discussion
Spring 203
Faculty members involved in “Closing the Loop” discussion
Dov Hassan,
Rachel LePell
Form Instructions:
•
•
•
•
Complete a separate Appendix B2 form for each Course-Level assessment
reported in this Program Review. These courses should be listed in Appendix B1:
Student Learning Outcomes Assessment Reporting Schedule.
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
Consider The Course-Level Outcomes Individually
(the Number of CLOs will differ by course)
Defined Target
Scores* (CLO
Goal)
(CLO) 1:
Students will demonstrate concentration
and precision in physical expressions
100
Actual Scores**
(eLumen data)
(CLO) 2:
100
Students will practice physical and vocal techniques
utilized for beginning acting projects
(CLO) 3:
Students will analyze texts for scene
understanding of various plays
75-100
(CLO) 4:
Students will demonstate
collaboration and teamwork by active listening and
responding to others’ ideas and gestures in a
positive way, as well as incorporating others’
suggestions into their scenes and improvisations
100
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?
Part II: Course- level Outcome Reflections
a.
A.
Course-Level Outcome (CLO) 1:
a. 1. How do your current scores match with your above target for student success in this
course level outcome?
Very well
a. 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 accomplishing this CLO quite effectively
a. B.
Course-Level Outcome (CLO) 2:
a. 1. How do your current scores match with your above target for student success in this
course level outcome?
Very well
a. 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 accomplishing this CLO quite effectively.
C. Course-Level Outcome (CLO) 3:
a. 1. How do your current scores match with your above target for student success in this
course level outcome?
well
a. 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 still striving to make the text analysis portion of this course to have better overall
percentage of scores higher than they presently are.
We are experimenting with various methods of scene analysis,
teamwork and discussion.
and incorporating more
D. Course-Level Outcome (CLO) 4:
a. 1. How do your current scores match with your above target for student success in this
course level outcome?
Well
a. 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?
This is an area where we consistently excel. Our Theater One course results in high
levels of ensemble work, often with new discoveries for the students on how to work
physically, vocally, and emotionally with the rest of the class. They often believe that
the class as a whole becomes a “family” by the end of the semester.
We see this repeated in all the theater production courses as well.
E. Course-Level Outcome (CLO) 5:
Add if needed.
n/a
Part III: Course Reflections and Future Plans
a. 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 continuously strive to refine the discreet skills, identify/name them,
they are linked together over time.
and show how
a. 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?
Same answer as #1
a. 3.
•
•
•
•
•
•
What is the nature of the planned actions (please check all that apply)?
χ
Curricular
χ
Pedagogical………….XX
χ
Resource based
χ
Change to CLO or rubric
χ
Change to assessment methods
χ

Other:____________________________________________________________
_____
Appendix B2:
“Closing the Loop” Course-Level Assessment Reflections.
Course
Theater 2
Semester assessment data gathered
Fall 2012
Number of sections offered in the semester
2
Number of sections assessed
2
Percentage of sections assessed
100
Semester held “Closing the Loop” discussion
Spring 2013
Faculty members involved in “Closing the Loop” discussion
Dov Hassan,
Rachel LePell
Form Instructions:
•
•
•
•
Complete a separate Appendix B2 form for each Course-Level assessment
reported in this Program Review. These courses should be listed in Appendix B1:
Student Learning Outcomes Assessment Reporting Schedule.
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
Consider The Course-Level Outcomes Individually
(the Number of CLOs will differ by course)
Defined Target
Scores* (CLO
Goal)
(CLO) 1:
Students will demonstrate concentration
and precision in physical expressions
100
(CLO) 2:
Students will rehearse scenes
100
Actual Scores**
(eLumen data)
(CLO) 3:
Students will analyze texts for scene
understanding of various plays
75-100
(CLO) 4:
students will perform in a realistic
scene
100
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?
Part II: Course- level Outcome Reflections
a.
C.
Course-Level Outcome (CLO) 1:
a. 3. How do your current scores match with your above target for student success in this
course level outcome?
Very well
a. 4. 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 accomplishing this CLO quite effectively
a. D.
Course-Level Outcome (CLO) 2:
a. 3. How do your current scores match with your above target for student success in this
course level outcome?
Very well
a. 4. 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 accomplishing this CLO quite effectively.
C. Course-Level Outcome (CLO) 3:
a. 3. How do your current scores match with your above target for student success in this
course level outcome?
well
a. 4. 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 still striving to make the text analysis portion of this course to have better overall
percentage of scores higher than they presently are.
We are experimenting with various methods of scene analysis,
teamwork and discussion.
and incorporating more
D. Course-Level Outcome (CLO) 4:
a. 3. How do your current scores match with your above target for student success in this
course level outcome?
Well
a. 4. Reflection: Based on the data gathered, and considering your teaching experiences
and your discussions with other faculty, what reflections and insights do you have?
This is often the capstone of the class, and high percentages of students succeed.
E. Course-Level Outcome (CLO) 5:
Add if needed.
n/a
Part III: Course Reflections and Future Plans
a. 4. What changes were made to your course based on the previous assessment cycle, the
prior Closing the Loop reflections and other faculty discussions?
We continuously strive to refine the discreet skills, identify/name them,
they are linked together over time.
and show how
a. 5. 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?
Same answer as #1
a. 6.
•
•
•
•
•
•
What is the nature of the planned actions (please check all that apply)?
χ
Curricular
χ
Pedagogical………….XX
χ
Resource based
χ
Change to CLO or rubric
χ
Change to assessment methods
χ

Other:____________________________________________________________
_____
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:
Teamwork and collaboration:This is excellent program goal, as faculty develop and implement pedagogical
strategies to achieve it. This comes “naturally” to our work in theater, since each project in our discipline
requires working with other artists.
•
PLO #2:
Critical Thinking: This is also an excellent program goal, as, again, faculty refine their curricula and
pedagogy to strengthen these student skills. We are often exploring the intersections between the critical analysis
of material with the more instinctive, fresh, creative impulses used in response to dramatic material.
•
PLO #3:
Exploration of creativity and personal expression though the practice of theater skills.
Again, this is
excellent program goal, for the same reasons listed above. We know that students experience increased
self-confidence when encouraged to explore their creative ideas, and this confidence leads to myriad educational
goals, not the least is to complete their goals at Chabot and move into the next stage of their lives.
•
PLO #4:
N/A
What questions or investigations arose as a result of these reflections or discussions?
How can we increase our supply and personnel budget to be able to mount fully realized
productions? In other words,
how can we increase our production values?
How can we help theater students see more connections in both their other theater courses, as
well as in other areas of their education as well.
What program-level strengths have the assessment reflections revealed?
We engage our students in full and active ways,
them.
often resulting in life-changing choices for
What actions has your discipline determined might be taken to enhance the learning of
students completing your program?
We would like to expand our offering of large(r) productions, i.e. musicals, theater for young audiences,
large-scale plays.
We need to offer our students this more complete achievement of participating in
larger shows with high production values.
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 :-)
a. 1.
Have all of your course outlines been updated within the past five years?
YES
a. 2.
Have you deactivated all inactive courses? (courses that haven’t been taught in
five years or won’t be taught in three years should be deactivated)YES
a. 3.
Have all of your courses been offered within the past five years?
should those courses remain in our college catalog?YES
If no, why
a. 4.
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
a. 5.
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.NO, we
are going to finish30,47, and 50 in November 2014,
of 2014
and 3,6, 4,5 21 and 22
by May
a. 6.
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
a. 7.
If you have course sequences, is success in the first course a good predictor of
success in the subsequent course(s)?YES
a. 8.
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.YES/NO
Explanation: while our traditional lecture courses correlate will successful work in
college level English, many of our acting and production classes are not so easily
matched. While there is some serious crossover in analytical traditions, some of the
fundamentals of acting work involve more creative impulse and instinctive refinement,
which are rarely part of the traditional math and English curricula.
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.
NEW INITIATIVE #1: INCREASED MARKETING FOR
SOTA
How does your initiative address the college's Strategic Plan goal, or significantly improve student
learning?
Following is a statement from the AHSS division addressing the huge need for development of marketing for the arts at C
need and the proposed solution(s). It is also directly related to Strategic goal 3.g.
Faculty from all areas of the arts at Chabot agree that as an institution and, specifically, as a sub-division we call S
out of date in how we present ourselves to our students, to the college and to the public.
On our campus we regularly offer a wide range of courses in the visual arts, music and the performing arts. We ha
holds several exhibits every year, a music department that holds several concerts every year and a theater department th
theater productions every year.
Students have the opportunity to pursue AAs and AATs and certificates in most of these areas. We have students
schools around the country in each of these fields.
And yet, there is no cohesive way in which any of this information is communicated to the public.
Currently, every discipline, in regards to how it presents itself to the public, other than the general information of
website, is on its own.
In order to remedy this situation and bring ourselves up to date, we are choosing to create an ad hoc committee that will
following tasks:
•
Creating a web presence that is attractive and useful, that esthetically connects SOTA as a whole
•
Creating web presence for all disciplines in the arts that gives clear information on courses, stude
arts, events, faculty, archival materials and other essentials.
•
Developing online ticketing services for all appropriate events.
•
Developing branding, logos and market position.
•
Developing other marketing concepts, i.e., brochures, TV and radio presence, etc.
•
Identifying jobs and hiring necessary for executing these ideas.
•
Developing budget projections of funds needed for hiring Professional Specialists in order to exe
•
Identifying and pursuing funding to bring all ideas to fruition effectively and efficiently.
Putting these identified needs in place will enable us to:
•
Help us meet the College Strategic Plan by helping students better understand pathways in the a
•
•
Engender energy and enthusiasm among students, faculty and the community towards what we
Build a stronger understanding within our surrounding community of the vibrancy of artistic stud
that already exists on the Chabot campus.
•
Grow audiences for the art gallery, concerts and theater productions.
•
Increase enrollment and general interest in Chabot arts events across campus.
Hiring an Outreach Specialist to handle marketing for the arts at Chabot.
What is your specific goal and measurable outcome?
The measurable outcome will be more students in Middle Schools and High Schools identifying that they would like to stu
larger audiences for our shows, larger enrollment in our courses, more declared majors, more students transferring to 4
institutions.
What is your action plan to achieve your goal?
Activity (brief description)
An ad hoc committee has been formed in order to articulate
and address the needs.
Target
Completio
n Date
Fall 2016
Required Budget (Split out
personnel, supplies, other
categories)
Personnel: $6, 000 initially
For web development.
Level 34 pay for Outreach
Specialist ongoing for web
upkeep and further
marketing strategies.
How will you manage the personnel needs?
x
New Hires:
Faculty # of positions Classified staff # of positions
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)
Other, explain
At the end of the project period, the proposed project will:
Be completed (onetime only effort)
x 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?
x No
Yes, explain:
Will the proposed project involve subcontractors, collaborative partners, or cooperative agreements?
No
x Yes, explain: It is possible that contracting a marketing specialist will be necessary.
Do you know of any grant funding sources that would meet the needs of the proposed project?
No
Yes, list potential funding sources:
•
Appendix E:
initiative)
Proposal for New Initiatives (Complete for each new
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.
NEW INITIATIVE #2: PRODUCE MUSICALS EVERY
OTHER YEAR ON THE PAC STAGE.
How does your initiative address the college's Strategic Plan goal, or significantly improve student
learning?
Presenting musicals in the largest theater space between Oakland and San Jose would do many things that suppor
a. 1.
Musicals are very popular for theater going audiences. A much higher number of community members w
Chabot campus in order to see a musical than a non-musical. Giving students the opportunity to perform for a lar
extremely helpful in giving them tools necessary for moving forward academically and in the field.
b. 2.
Musicals will be a huge enticement to those middle school and high school students who already know th
college, live in surrounding communities and who are making up their mind as to where they want to study.
c. 3.
Create an opportunity for collaboration between Theater Arts and Music.
d. 4.
Pedagogically, the work involved in performing in and doing technical theater for a musical is of significan
Actors learn to be “big” and to fill space. On the technical side, the development of skills involved in doing a musi
technical elements not present in our other theater spaces (i.e., fly system, spot lights, orchestra pit) is also signif
students move through Chabot with almost no awareness of these basic technical elements. This knowledge gain
student’s confidence and knowledge as they pursue further education or work in the field.
What is your specific goal and measurable outcome?
Specific goal:
Large audiences from the college and surrounding communities attending shows
Students interested in musical theater participating in our program from surrounding feeder schools
Increased number of Chabot Theater students transferring to theater programs
What is your action plan to achieve your goal?
Activity (brief description)
Produce a musical in Spring 2016. If we aren’t quite ready for
the PAC, we will plan to do it in Stage1.
Target
Completio
n Date
Required Budget (Split out
personnel, supplies, other
categories)
April 2016
Royalties of about $7,000
Supplies of about $4,000
Additional professional
builders $2,000
Publicist $1,500
How will you manage the personnel needs?
x
New Hires:Publicist, builders
positions 3
Faculty
# of positions
Classified staff
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)
Other, explain
a.
Appendix E:
Proposal for New Initiatives (Complete for each new
# of
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.
NEW INITIATIVE #3: FULL DEVELOPMENT OF
THEATER FOR YOUNG AUDIENCES PROGRAM
How does your initiative address the college's Strategic Plan goal, or significantly improve student
learning?
This initiative would give students who are interested in teaching in K thru 12 levels experience and knowledge in being a
people and use theater as a teaching tool. This would create a new and well articulated pathway for current and potentia
program.
The full development of our Theater for Young Audiences program has many parts to it. Some of those parts are in place,
further development. To fully implement this program, based on the grant funded research done over the past three year
curriculum, supplies and staffing.
If fully created, this program would:
•
Offer a certificate in teaching theater to K thru 12 students
•
Have Chabot theater students creating theater with K thru 12 students in their schools
•
Have K thru 12 students regularly attending shows on the Chabot campus
•
Potentially offer a collaboration with Early Childhood Development as well as teacher accreditation degre
institutions
What is your specific goal and measurable outcome?
The goal is to have in place the courses needed in order to offer the certificate. The measurable outcome would be stude
What is your action plan to achieve your goal?
Activity (brief description)
Return of Theater for Young Audiences THTR 5 to our
offerings
Target
Completio
n Date
Required Budget (Split out
personnel, supplies, other
categories)
Spring
2015
Supplies: $500
Lighting Designer: $500
Sound Designer: $500
Set Designer: $1,000
Costume Designer: $1,000
Audience Coordinator:
$1,500
House Manager:$500
Pass through curriculum TYA THTR 62 – Creating Theater in
the Classroom, and offer fall 2015
Fall 2015
Outreach coordinator:
$1,000
Pass through curriculum TYA THTR 61 Social Issue Theater for
Young Audiences
Fall 2016
Outreach coordinator
$1,000
How will you manage the personnel needs?
x
New Hires:Outreach coordinator
# of positions 1
Faculty
# of positions
Classified staff
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)
Other, explain
•
Appendix E:
initiative)
Proposal for New Initiatives (Complete for each new
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.
NEW INITIATIVE #4: PROFESSIONAL ARTIST SERIES
How does your initiative address the college's Strategic Plan goal, or significantly improve student
learning?
This initiative would speak directly to Item 3h in the Strategic plan, which states the need to “…help students to determin
may be possible with that passion and what educational goals can lead to those careers”.
The idea is to, on a regular basis, bring in people from various areas of the acting profession and other connecting profess
Theater actors, film and television actors, playwrights, screenwriters, set designers, directors, etc.
What is your specific goal and measurable outcome?
The specific goal would be to have a minimum of 4 guests each academic year who could deliver some combination of lec
or teaching workshop.
What is your action plan to achieve your goal?
Target
Completio
n Date
Required Budget (Split out
personnel, supplies, other
categories)
Bring guests in as we can afford them. We will plan for one in
spring 2015
Spring
2015
$500 fee for guest
Reach out to potential guests as we see funds available.
Fall 2015
If a guest is coming up
from LA, we need to pay
air fare and board for one
night.
Activity (brief description)
$300.00 air fare
$500 -$1,000 for guest
artist.
How will you manage the personnel needs?
New Hires:
Faculty
# of positions
Classified staff
# of positions
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)
Other, explain
•
Appendix E:
initiative)
Proposal for New Initiatives (Complete for each new
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?
What is your specific goal and measurable outcome?
What is your action plan to achieve your goal?
Activity (brief description)
Target
Completio
n Date
Required Budget (Split out
personnel, supplies, other
categories)
How will you manage the personnel needs?
New Hires:
Faculty
# of positions
Classified staff
# of positions
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)
Other, explain
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/Data2013.cfm.
a. 1.
Number of new faculty requested in this discipline: ___
STAFFING REQUESTS (1000) FACULTY
Faculty (1000)
Position
Rationale for your proposal. Please use the enrollment management data. Data that will
strengthen your rationale include FTES trends over the last 5 years, FT/PT faculty ratios, recent
retirements in your division, total number of full time and part-time faculty in the division, total
number of students served by your division, FTEF in your division, CLO and PLO assessment results
and external accreditation demands.
a. 2.
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.
1.
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, and 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.
a. 1. Number of positions requested:
_____
STAFFING REQUESTS (2000) CLASSIFIED PROFESSIONALS
Classified Professional Staff (2000)
Position
Outreach Specialist
Outreach Specialist
STAFFING REQUESTS (2000) STUDENT ASSISTANTS
Student Assistants (2000)
Postion
Student Assistant
a. 2. Rationale for your proposal.
Each year we produce around 15 shows. There are many jobs involved in putting these shows on, many of which would b
student assistant to do. These include:
Working in the box office selling tickets
Stocking and selling concessions during shows
Hanging pictures and making other arrangements in the theater lobby
Keeping call board in greenroom up to date
Additionally, instructors often have to make many copies of scenes and other materials for acting classes. This could pote
student assistant.
Currently, all of these tasks are handled by faculty, without compensation.
a. 3. 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.
A critical aspect of all theater productions is the front of house. A Lobby that looks well appointed and taken care o
potential students and audience members view and evaluate the efficacy of our theater program. A student a
responsibilities helps the department achieve this aim, but it also gives that student understanding and skills in the im
house.
1.
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 athttp://www.chabotcollege.edu/ProgramReview/Data2013.cfm.
COURSE
CURRENT FTEF (2014-15)
ADDITIONAL FTEF NEEDED
CURRENT SECTIONS
ADDITIONAL SECTIONS
NEEDED
CURRENT STUDENT # SERVED
ADDITIONAL STUDENT # SERVED
0
.20
0
1
0
30
.20
.20
1
1
50
50
THTR 47
(summer, in
place of THTR
12 valued
at.27 FTEF)
THTR 47
(summer, in
place of THTR
12 valued
at.27 FTEF)
THTR 47
(summer, in
place of THTR
12 valued
at.27 FTEF)
Appendix F4:
.27
.13
0
1
0
40
.27
.13
0
1
0
40
.27
.13
0
1
0
40
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.
a. 1. Number of positions requested:
a. 2. If you are requesting more than one position, please rank order the positions.
Position
a. 1.
Professional Expert 2380 Lighting
Designer
a. 2.
Professional Expert 2380 Costume
Designer
a. 3.
Professional Expert 2380 Set Designer
a. 4.
Professional Expert 2380 Sound Designer
Description
A qualified professional who will design and buil
our productions
A qualified professional who will coordinate cost
productions
A qualified professional who will design the sets
productions
A qualified professional who will design and buil
our productions
a. 5.
Professional Expert 2380 Photographer
Designer
a. 6.
A qualified professional who will take necessary
of our productions
A qualified professional who will publicise all of o
Professional Expert 2380 Publicist
a. 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.
At the core of our program is our production oriented courses. These are Theater 5, 30 and 47. Each of the productions n
designers who need to be hired in.
The excitement and interest in participating in, as well as viewing, theater productions drives our enrollment.
We have roughly divided our department in to three main areas of study;
a. 1.
Skill development courses. These include all of courses in acting, voice, movement, playwrighting.
b. 2.
Production courses. These are courses where students have the opportunity to be involved in production
use the skills they are developing in the skill based courses. This includes the technical side of theater, where stud
carpentry, painting and other technical skill involved in putting on a theatrical production.
c. 3.
Academic courses. These are course taught in the traditional manner of “chalk and talk” where history an
Putting on a production that serves these purposes, that additionally matches the manner in which plays are produced in
and at 4 year schools where our students transfer, requires a full team of production experts.
All of the positions except for one have been requested and funded before through our professional expert budget and o
The position of Publicist, however, is a new request. Publicity had been handled through curriculum via a course called TH
Production Management. It has been determined that THTR 50 should no longer be offered. However, we still have a nee
for our productions. Having an audience to perform for is a critical aspect of learning to be a performer, and an audience
built without publicity.
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.
Sup
plies
Req
uest
s
[Acc
t.
Cate
gory
4000
]
Instructions:
1. There
should be a
separate line
item for
supplies
needed and
an amount.
For
items
purchased in
bulk, list the
unit cost and
provide the
total in the
"Amount"
column.
2. Make
sure you
include the
cost of tax
and shipping
for items
purchased.
Priority 1:
Are critical
requests
required to
sustain a
cost of tax
and shipping
for items
purchased.
Priority 1:
Are critical
requests
required to
sustain a
program (if
not acquired,
program may
be in peril) or
to meet
mandated
requirements
of local,
state or
federal
regulations or
those
regulations of
a accrediting
body for a
program.
Priority 2:
Are needed
requests that
will enhance
a program
but are not so
critical as to
jeopardize the
life of a
program if not
received in
the requested
academic
year.
Priority 3:
Are requests
that are
enhancemen
ts,
non-critical
resource
requests that
would be nice
to have and
would bring
additional
benefit to the
program.
2014-15
2015-16
Request
needed totals in all areas Request
Requested Received
Description
Building and costume
supplies for theater
productions
$7,000
Amount
Vend
or
Division/Unit
Priority #1
$10,000
vario
us
AHHS/Thea
ter Arts
YES
$4,400
Contracts and
Services Requests
[Acct. Category 5000]
Instructions:
1. There should be a
separate line item for each
Priority #2
Priority
contract or service.
2.
Travel costs should
be broken out and then
totaled (e.g., airfare,
mileage, hotel, etc.)
Priority 1: Are critical
requests required to sustain
a program (if not acquired,
program may be in peril) or to
meet mandated requirements of
local,
state or federal regulations or
those regulations of a
accrediting body for a program.
Priority 2: Are needed
requests that will enhance a
program but are not so critical
as to jeopardize the life of a
program if not received in the
requested academic year.
Priority 3: Are requests that
are enhancements,
non-critical resource
requests that would be nice to
have and would bring additional
benefit to the program.
augmentations only
Description
Amount
Vendor
Division/Unit
Priority #1
P
$500,
fee
Guest artist #1
$200
board
AHSS
Y
$300
travel
$500,
fee
$200
board
Guest artist #2
$300
travel
AHSS
Y
AHSS
Y
AHSS
Y
$500,
fee
$200
board
Guest artist #3
$300
travel
$500,
fee
$200
board
Guest artist #4
$300
travel
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.
Description
Amount
Vendor
Priority Priority Priority
Division/Dept
#1
#2
#3
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.
Instructions:
1. For each piece of equipment, there should be a separate line item for each piece and
an amount.
Please note: Equipment requests are for equipment whose unit cost exceeds
$200. Items which are less expensive should be requested as supplies.
also be requested as supplies.
Software licenses should
For bulk items, list the unit cost and provide the total in the "Amount" column.
2.
Make sure you include the cost of tax and shipping for items purchased.
Priority 1: Are critical requests required to sustain a program (if not acquired, program may be
in peril) or to meet mandated requirements of local,
state or federal regulations or those regulations of a accrediting body for a program.
Priority 2: Are needed requests that will enhance a program but are not so critical as to
jeopardize the life of a program if not received in the requested academic year.
Priority 3: Are requests that are enhancements, non-critical resource requests that would be
nice to have and would bring additional benefit to the program.
Description
Amount
Vendor
Division/Unit
Priority #1
P
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):
Building/Location:
Description of the facility project. Please be as specific as possible.
Theater complex that would include a 99 seat “Black Box” style theater, a 400 seat proscenium style theater and a large a
of storage for props, set pieces and costumes.
What educational programs or institutional purposes does this equipment support?
These facilities would support various programs across campus.
A 99 seat theater is perfect for small visiting lectures, demonstrations and workshops as well as performances. It is also in
keeping with one of the most in demand and relevant size theater spaces in use around the country.
A 400 seat house would be very useful as:
A concert hall for music
A middle sized performance space for theater productions
An appropriately sized space for visiting lecturers
A highly in demand sized space for various members of the community
The Storage area would solve a major problem that currently exists in the Performing Arts Center. Building 1300 was built
accommodate 2 theaters, a rehearsal room, a scene shop and a costume shop, but did not include in it’s design the very
important component of storage. This has lead to, over the years, a dramatic wasting of resources as set pieces, furniture
other supplies are essentially left to rot out in the elements.
Briefly describe how your request relates specifically to meeting the Strategic Plan Goal and to
enhancing student learning?
A performance complex of this nature would bring tremendous energy and excitement to Chabot from all surrounding co
Music and Theater students would want to come to Chabot because of the opportunity to perform in these new spaces.
The experience for students of performing in and building for spaces such as these would greatly enhance their learning b
them the opportunity to work in spaces that match those of Universities and the professional world.