Review of CSULA Theatre and Dance Departments

Reviewed by:

Dr. Jeffrey Koep, Professor of Theatre/Dean Emeritus, UNLV

Dr. John Mayer, Professor/Chair of Theatre, CSU Stanislaus

Dates of Visit:

Monday and Tuesday, February 21 and 22, 2017

Table of Contents

General Overview of Department 3

Evaluation of Program Quality 4 - 13

Commendations of Strengths, Innovations, and Unique Features 14/15

Opportunities for Improvement 16/17

Overall Recommendation to the Review 18

General Overview of Department

The focus of this report was on two of the three entities, theatre and dance, within the Department of Music, Theatre, and Dance at CSULA. The external reviewers were fortunate to interview members of all constituencies related to those areas including students, staff, faculty and administrators. This appeared to be the first meaningful external review since 2004. The department has an impressive history and continues to offer majors a positive and meaningful educational experience; however, the department is in strong need of redefining itself through a thorough internal planning process.

From the reviewer’s perspective, one of the first steps in this planning process is to separate the individual departments, so that music and theatre/dance become standalone departments, due to the unique needs of each individual area. The marriage of the two departments that occurred approximately 6 years ago has reaped few discernable benefits, and in fact, has probably hindered growth in the individual areas. The relentless changing of leadership both departmentally, as well as in upper administration, has further delayed important decision-making that might have helped the theatre/dance area to develop a consistent plan for moving forward. This time right now can be a meaningful moment in the development of these programs if all the interested parties get together to collectively shape the future directions of the department.

Evaluation of Program Quality

History, Mission, Goals, and Objectives:

The Department enjoys a rich history of delivering quality theatre education; however, changes in administrative/managerial roles over the past 14 years or so have led to inconsistency in terms of a unified pedagogical focus by the faculty. This appears to be due in large part to a lack of ongoing communication between all of the faculty members. During this review, one of the primary questions that seemed to be bubbling just beneath the surface was whether or not this was a venue for professional training, or rather a hub for a broader-based liberal arts education. In fact, during the initial orientation of the reviewers, CSULA administrators stated: “Theatre has a BFA program masquerading as a BA.” When this sentiment was shared with departmental faculty, the reviewers met with mixed reactions. Certain faculty felt that a true broad-based theatre education was not as strong as the pressure to prepare students for the profession, while others felt it was the opposite. This is clearly a primary question that must be answered in a viable planning process.

The faculty universally agreed that CSULA is ideally located geographically for a theatre program to thrive given its immediate access to the professional television, theatre, and film industry. The purview of the reviewers is not to dismantle and design a new department, but rather to observe and report.

The recent history of the department over the past 10 years or so, suggests that

4 this is a department caught in stasis resulting in limited growth and innovation.

The previous statement may seem damning - such is not the intent of the reviewers. Changes within the Department have occurred largely due to administration’s attempts to consolidate and reorganize. The result is that the faculty, justifiably at some times, has used as an excuse, or has blamed administration for the department’s lack of progress. Creating a Department of

Music, Theatre, and Dance in a merger that was never fully supported, completed, or accepted has left the Department void of any true planning processes that might/could result in a Mission Statement that speaks to CSULA’s unique programs in theatre and dance. The Mission of Theatre and Dance, as reported in the self-study under section 1.2a, is not a focused statement. Section

1.2, which states the Mission of Music, Theatre, and Dance is slightly more focused; however, the result is, as one faculty member put it, a series of courses that are offered but are not truly connected to any department mission or goals.

In short, faculty members teach courses with high quality for the most part, but rarely communicate as a synergistic group. The development of a mission statement and the resulting supporting documentation document is essential to breaking the logjam that has been created. Again, this moment in time can be an extraordinary opportunity for a clearly a multi-talented faculty and staff to recommit to a strong path for positive growth and change.

The goals and objectives, as written, are in keeping with best practices.

The difficulty is, as stated in the self-study: “Given the merger with Music, the

5 work of creating measurable goals and objectives, across three disciplines

(music, theatre and dance) has not been a priority task. Additionally, many in the

Theatre arts and Dance program have stated confusion about how to create any measurable goals and objectives in a program that includes all aspects of the disciplines: technical, performance, history, theory, and more.” (Page 4, Section

1.4.) Best Practices in all of higher education REQUIRE measures in all disciplines. For example, in Section 1.3 goals and objectives are listed discretely for each area. In the Design and Production area the Set, Costume, and Lighting

Design areas are listed. Close examination reveals that “design”, or the process of designing, is given little attention compared to the techniques of construction, etc. The skills acquired are marketable, if that is a goal, but students wishing to actually design, or pursue a graduate degree is design, will need more than technical skills and should include play analysis, basic of design, etc. The conclusion that “design” is lacking is due to what is presented in the self-study.

Interviews reveal there is a dearth of actual design faculty, full or adjunct. At present, there appears to be no full-time faculty dedicated to the design area as borne out by the fact that non-faculty designers are hired for actual productions.

The hiring of full-time tenure-track faculty design member(s) is a major priority for the theatre department moving forward.

This leads to a need that must be seriously discussed BY ALL FACULTY.

This year, 2016-2017, only two mainstage productions were produced by the

Department. The reviewers were told this was not the norm, but there appears

6 no agreement on how many productions the department will produce each year.

Season selection seems without a format that engages all faculty and appears to be built more by individuals who want to direct specific productions; whereas, a season planning process should best be developed through a process that places the development and education of students in theatre at the forefront.

Questions such as: “What periods do we need to introduce students to?” “What areas are lacking in our season?” “How do students in management areas learn to market a season?” are a few questions that need be addressed. The

“performed readings” organized by one faculty member that features professional actors and some students exposes students to dramatic literature and its interpretation through the spoken word, and provides a strong base that should be continued; however, the needs of the students for more actual production experience should fuel this ongoing project.

The M.A. in Theatre continues despite the retirement of a faculty member who championed the program. The program continues under the leadership of a faculty member from Dance. Here again, lack of a plan, agreed to by the faculty as whole seems, suffers from a lack of collaboration. How this degree fits into the scope of the ENTIRE is ambiguous. Simply put, there appears to be no common plan for the future of the M.A. What is its goal? Is it worth departmental resources moving forward?

The MFA, a shared program, received many positive comments, and appears to be poised for growth. How this program fits within the Theatre and

7 Dance program appears, from the self-study not to have been widely addressed.

Given the geographical location this can develop into a premiere program.

Theatre’s involvement seems a bit service-oriented at present, but the director of the MFA program certainly has an excellent plan for growth and quality, which is supported by the theatre chair and several faculty members. The entire faculty must address the nature of the ongoing relationship of the MFA program to the theatre department. This is important because future plans articulated by the

MFA director indicate an increase in students, which may prove difficult with so few performance/acting-based faculty in theatre. Again, the existing theatre faculty’s specializations do not match the needs of a thriving performance-based program. All issues mentioned in this section of the review can be addressed by and with present faculty; the key seems to be putting aside individual “silos,” a word much mentioned, and creating common “buy in” by the entire faculty.

Program Data: Enrollment Data & Impact of Enrollment Trends:

Actual enrollment has been a bit of a roller coaster. At the initial meeting very low number of majors were mentioned. The Chair informed the Reviewers that as of Fall 2016 the Department had over 150 students self-identifying as theatre majors. This is certainly a robust figure and if it can be sustained will lead to a solid core of majors that could be accommodated by the number of full-time faculty presently within the program, but the problem remains that the specializations of the departmental members do not mesh to provide an overall experience that an incoming major would need. A recruitment plan needs to be

8 developed to insure that growth comes in a manageable fashion. The program should target a realistic number for each entering class. This will allow the Chair to schedule course offerings and rotations in order to efficiently handle entering and current students.

As mentioned, the number of full-time faculty is sufficient, with support from an adjunct base, for servicing the current majors; however, loss of faculty through retirement, etc. has resulted in a lack of faculty in certain areas. The

Department needs to face this as a unit, and clearly and emphatically define the need for additional faculty to upper administration. The lack of instructors in the design and acting areas must be addressed. The sheer number of available adjuncts in the CSULA area can certainly be used to assist as a stopgap measure, but that is not a viable solution moving forward, because students need the advisement and mentoring of full-time faculty members who are present to support their educational journeys. At the same time dedicated, qualified adjunct faculty from the profession can assist in creating networks for the students to the professional marketplace. Faculty, as a whole, should assist in creating hiring priorities and plans. Although it is not likely CSULA has funds to create every requested position, the Reviewers urge a 5-year hiring plan. If growth plans for the MFA are enacted the additional faculty to teach in that program need to be considered.

Dance seems stable with 18 or so majors, but this is not enough to sustain a viable BA program. According to students, anyone who auditions for a Dance

9 recital is “cast,” which obviously does not reflect the real world of dance. Serious students majoring in dance need to feel pushed to do better to obtain positions in a concert. A recruiting plan to create a core of true majors needs to be discussed if the major is to continue; however there seems to be a fairly strong consensus that a minor in dance might be a more effective plan moving forward. This might allow for more class offerings that would induce students from other majors, who have a passion for dance, the opportunity to spend more time pursuing that interest. This could in turn lead to more FTE for the department. Specifically, classes in jazz, hip-hop, and musical theatre dance could positively augment the existing base of ballet and modern classes. The dance facilities a bright gem in the department and could more that handle this potential growth. Adjunct faculty could fill the gaps that might be created, because current faculty are already overextended, particularly with one faculty member presently overseeing the theatre M.A.

Curriculum and Instruction:

The current theatre curriculum, on paper, is strong. It is the actual implementation to accomplish common goals beyond the classroom that is needed. Which courses from the catalog curriculum should be bundled semester-to-semester to provide a coherent pathway to graduation that is most meaningful for majors? The present curriculum options address needs both professional and intellectual (educational) and is a base for a strong liberal arts program that could adapt to a BFA program with minor changes if so desired.

10 The faculty is capable of offering the curriculum listed and appears to be doing so rather well, but again, what are the needs of the students?

Retention is a bit low compared to other public universities nationally. The reviewers did not have sufficient information on CSULA’s retention goals, but typically, at a public university, without a serious entrance requirement for a BFA program, retention hovers around 50%.

The MA in Theatre is lacking. The one M.A. student we met stated they did not take a theatre graduate course their entire first year. The first year was dance theory and practice. This student appeared particularly “driven” and has been applying for admission to Ph.D. programs and has been accepted by some excellent programs. A lesser student might founder. If the program continues efforts should be made to work with the English Department on courses such as dramatic literature. At present the curriculum is not well defined.

Dance courses appear very well organized and instructed; however, with the major numbers do need seem to allow students to be fully engaged with peer groups in this major (i.e. with only 18 majors how many students could/would be enrolled in an upper division dance major “only” course?) Dance students also mentioned a lack of diversity in classes offered to prepare them for the “real” world. They cited the adjuncts as very helpful and excellent. Students were most complimentary of faculty in all areas. They respect the faculty and learn from them. Theatre students felt they received “..good experience in all areas” and especially noted the Performance Salon as an excellent experience with

11 great potential. The same students expressed with passion the absolute need for more performance opportunities.

Assessment and Program Learning Outcomes

PLO’s were listed on syllabi for all courses encountered. Students are also required to keep a journal of their learning experiences throughout their matriculation. The Department is considering a required Student Portfolio. Each performance-based class is constantly assessing students much as is common practice with music faculty during juries. In summary, do an excellent job of individually assessing and providing students with feedback.

Department Faculty

CSULA is fortunate to have an excellent faculty. It is a good mix of those whose work has been more professionally-based and those who have been more focused on academia. Unfortunately, this has also lead to a lack of tolerance from one group towards another. As with many faculty within theatre, they are willing to go well above and beyond in serving students, but often do so from their individual “silos.” They have an excellent skill set between them from acting to directing to technical areas to playwriting to theatre management and producing, albeit with a little too much emphasis on the latter. The wide-ranging set of skills and talent if collaboratively brought together could reap significant benefits for the department, particularly, since individually each are universally respected by their students. Internally; however, the faculty members have not to this point created a universal tolerance for each other, as they have each

12 pursued more individual interests. Their CVs and reports show most are involved in the correct professional or academic organizations and are respected in their fields and areas by persons beyond CSULA. All lauded CSULA as a good university with great potential. They like the location and students.

As opposed to many institutions the we have reviewed or been employed at faculty generally did not spend their time complaining about CSULA with the exception of turnover at higher levels and infrastructure problems.

Notable lacking was staff dedicated to theatre production. Apparently the technical director, etc. report and are managed by the Dean. There are models for this (University of Michigan for example.) but most programs of this size need dedicated staff in these areas as part of the teaching/production process. This is akin to Lab Supervisors/Instructors in the sciences. The Office staff was gracious and most efficient. It was mentioned the merger caused a breach in organizational structure.

Student Engagement, Outreach and Recruitment:

The faculty work to introduce students to the theatre profession and a life of learning beyond their CSULA education and the Department has a proud history with the Kennedy Center/American College Theatre Festival (KC/ACTF).

Dance is involved with the American College Dance Festival (ACDF). The

University Film and Video Association (UFVA) will be hosted at CSULA this year.

All are the premier organizations melding practice and academia.

Commendations of Strengths, Innovations, and Unique Features

The faculty and staff all reported that the number one strength of the program was the students. Clearly, a strong sense of devotion to the betterment of the student's overall experience was at the forefront of all consideration for how the department should best move forward. As one faculty member summed things up, "How can we best serve our students?" There was an almost parental affection, concern, and reverence for the students expressed; the faculty's passion for the well-being of their CSULA Theatre students was impressive. In our conversations with the students, many of whom were first- generation college students, it was clear that this faculty had had an impact on these students in a profound way; so much so, that the students were communicative about both their likes and their dislikes. They clearly had been empowered by their experience.

An oft-repeated strength and special attribute of the department was the campus location in Los Angeles, arguably, the entertainment capital of the world. The proximity of campus to the theatre/film/television industry and its myriad opportunities, high quality adjunct faculty, and numerous hands-on educational options was cited with both an acknowledgement of the relationship that already exists with the department; and further, with immense excitement for the huge untapped potential for what could be developed for students and the LA entertainment community.

14 Although only tangentially connected to the department, the MFA in

Television, Film, and Theatre was repeatedly brought up in conversation as one of the most successful programs with which the department was associated. The growth of the MFA over the past few years was cited as a model for how the theatre department might progress forward as it solidifies its identity.

The dance facilities were very impressive and offered majors in that area wonderful spaces in which to work.

The faculty are excellent but must commit to the principles of collaboration to truly begin to realize potential by working together and communicating.

Opportunities for Improvement

The CSULA Theatre and Dance programs could certainly become a leader in the LA region. They have an advantageous location, diverse student body, dedicated students, faculty numbers that if supplemented in areas noted are strong, facilities that are usable for training and education, and faculty with broad expertise in a variety of areas. These strengths are currently not being maximized due to individual faculty isolation and lack of communication.

They must develop a plan for the future. They must speak with candor and without fear of retaliation or “turf” invasion. They must work together.

Excuses such as administrative turn over are just that, excuses. Although new administrations may wish different formats in planning and may slightly change

CSULA goals, this should not prevent the Department from forging ahead. A strong plan for success will only be heralded by administration.

Decisions must be made in regard to the M.A. in Theatre and B.A. in

Dance. The reviewers feel the M.A. as currently operated should be placed on hiatus. The Dance B.A. should be examined as to its real potential for success compared to competitors. If excellence at the B.A. level cannot be achieved with current resources difficult decisions must be made.

Faculty must come to terms with the professional/liberal arts choice of focus. There are much smaller program that achieve both with excellence.

True listening and communication must occur.

16 All faculty must assess the MFA program and how it can contribute to overall success.

Areas of strength must be capitalized upon. A true SWAT analysis, conducted, perhaps, by an outside mediator may allow the Department forward trajectory.

There are truly many areas of opportunity. The Department can become a leader in theatre in the region with proper support from administration and breaking down of internal bridges.

The program needs to be separated from Music as an independent department with a dedicated staff member.

17 OVERALL RECOMMENDATION

*RECOMMEND REAFFIRMATION, BUT WITH SPECIFIC CONCERNS

FOR TRANSMITTAL TO THE PROGRAM.

The reviewers feel this is a valuable program. Further, we feel we have outlined issues the Department can, and should address.

1. Disposition of MA.

2. A discrete Department of Theatre and Dance.

3. Disposition of BA in Dance.

4. The department must create a new realistic 5-Year Plan addressing

needs and measurable goals.

5. Faculty must communicate as a whole on all suggestions.

California State University, Los Angeles Program Review Subcommittee

Summary Report on the Department, Theatre, and Dance Programs College of College of Arts and Letters California State University, Los Angeles

Degree Programs: Bachelor of Arts in Theatre Arts & Dance initiated in 1996 Option Theatre initiated in 1996 Option Dance initiated in 1996 Minor in Theatre Arts & Dance initiated in 1996 Master of Arts in Theatre initiated in 2003

Last Program Review Self Study Report was generated in FALL, 2004 May 2, 2017

This report is based on the following documents; self-study report prepared by the undergraduate and graduate program (2004), an external review dated 2/21-22-2017, responses to questions from the Program Review Subcommittee, and iterative meetings with the College Dean, Associate Dean and Department representatives to develop this document.

1 Overview of the Field

1. Mission, Goals, Objectives History & Mission

All parties involved in the program review process acknowledge the rich history and accomplishments of the Program.

Mission External reviewers, the Dean of the College, the Chair of the Department as well as the Program Review Subcommittee noted that the Department’s mission is in need of revision and clarification.

The External Reviewers’ report states:

The Mission of Theatre and Dance, as reported in the self-study under section 1.2a, is not a focused statement. Section 1.2, which states the Mission of Music, Theatre, and Dance is slightly more focused; however, the result is, as one faculty member put it, a series of courses that are offered but are not truly connected to any department mission or goals. In short, faculty members teach courses with high quality for the most part, but rarely communicate as a synergistic group. The development of a mission statement and the resulting supporting documentation document is essential to breaking the logjam that has been created.

Quality and Integrity of Degrees

The external reviewers noted the following issues that affect the quality and integrity of degrees in the program:

 The external reviewers stated in their report: “Theatre has a BFA program masquerading as a BA.”  Discussion between the Program Review Subcommittee, written responses to PRS questions and input from the Dean identified a lack of faculty with expertise to support an option in dance.  The MA program needs structure, organization, and coherence, while the MFA program has planning and coherence and appears poised to grow.

Goals and Objectives

The Self Study States:

The changes in the above goals and objectives are taken directly from course curriculum in the areas of performance, history, technical, theory, education and production. Given the merger with Music, the work of creating measurable goals and objectives, across three disciplines (music, theatre and dance) has not been a priority task. Additionally, many in the Theatre Arts

2 and Dance program have stated confusion about how to create any type of measurable goals and objectives in a program that includes all aspects of the disciplines: technical, performance, history, theory, and more. Learning in the performing arts is cumulative and extends years beyond the time in the degree program when students' preparation is augmented and challenged by real life practice. Creative thinking is not measurable because the very nature of creativity is to challenge and go beyond established paradigms for which there are no measurements: think outside the box means exactly that. However more objective aspects of performance training (history, theory, research, writing) are measurable in terms of critical thinking.

The External Study States:

The faculty universally agreed that CSULA is ideally located geographically for a theatre program to thrive given its immediate access to the professional television, theatre, and film industry.

Commendations To the Program: #1.1: The TAD department has developed and maintained relations with outside institutions that promote Theater and Dance

Affirmations To the Program: #1.1: The TAD department has develop a multitude of activities that are both multicultural and diverse

#1.1: To the Program, College, and University: That all faculty are committed to continuing their collegial work with administrators and staff to define the appropriate departmental and curricular structures to best serve Theatre Arts and Dance students.

Recommendations To the Program: #1.1: That the department include a specific date in its 5 year plan for revision of the Department mission. #1.2: That the Dance option be redesigned as a minor not a B.A. option. #1.3: That the department set clear goals and specific deadlines in their 5 year plan for redefining and redesigning the B.A. degree as a Liberal Arts degree (and interdisciplinary) degree that includes professional skills, conforms to EO 1071 and that aligns faculty expertise and hiring priorities to support the degree. #1.4: As the department redefines its degrees, a curriculum committee or working group should develop degree-appropriate learning outcomes for BA-level and MA-level proficiencies across production, technical, performance, theoretical, and historical domains of Theatre Arts. For the MFA curriculum redesign could strive to make degree requirements integrated and interdisciplinary rather than multidisciplinary so that students’ proficiencies combine knowledge and skills from multiple areas of theatre.

To the College and University:

3 #1.1: That the MA in Theatre Arts and Dance be discontinued.

Progress Related to Departmental Recommendations

The Program Review Subcommittee’s recommendations in June 2004 made 13 recommendations.

The Self Study described progress for each recommendation. In deliberations and communications with the Program Review Subcommittee and the College Dean and Associate Dean it was apparent to all that the issues identified in 2004 recommendations and the Department’s description of progress was acceptable to all, or the issues identified in recommendations were not as relevant after 13 years.

Recommendation 6 is still relevant in 2017. It focused on curriculum design and development of outcomes and the Department was encouraged to “begin a serious discussion about direction of the Department’s curriculum.” The description of progress focused on the difficulties meeting this recommendation due to merger and semester conversion.

The issues raised in relation to the Department’s description of it’s progress for Recommendation 6 are addressed in recommendations below.

2. Program Data

Recommendations To the Program: #2.1: Work with College and University on enrollment management, making use of university advising/database/dashboard resources. Specify enrollment management plans in the Department’s 5 year plan.

3. Program Curriculum

See recommendations for section 1,

In the self study the program acknowledges the need to communicate to students (and part-time faculty) a clear path through the Production and Design option. This matches with a similar point made by the external reviewers in relation to students’ movement through degree curricula in ways that will meet their needs.

The External Review states:

Which courses from the catalog curriculum should be bundled semester-to- semester to provide a coherent pathway to graduation that is most meaningful for majors?

Recommendations To the Program

4 #3.1: In addition to any revised degree roadmaps the Department develop explanations of degree pathways for the Department website, advising, and course syllabi.

4. Program Assessment

The external reviewers note that faculty in performance based classes are doing an excellent job of assessing PLOs in individual classes.

Commendations To the Program: #4.1: For distinction in student and alumni awards and achievements. #4.2: For excellent assessment in performance based classes.

Recommendations To the Program: #4.1: That as part of the Five Year plan, the Department create an assessment committee by the end of Fall Semester 2017 and an assessment plan by the end of the 2017-18 Academic Year. The assessment plan should include explanation of how part-time faculty will be included in use of assessment data to improve and/or revise course outcomes (e.g., hiring letters specify the requirement that students complete an embedded assignment that is part of the assessment plan; mechanism for sharing assessment data with part-time faculty, etc.). Identify faculty within the department to work with College Assessment Coordinators and to attend CETL workshops to develop distinct/coherent student learning outcomes for BA and MA degrees. #4.2: In the Department’s 5 year plan articulate how all tenure-track and tenured faculty department faculty (as well as adjunct faculty if appropriate/feasible) will participate, on a yearly basis, in direct assessment of student learning outcomes and use of assessment data to develop/revise courses and curriculum so that the results of assessment are shared and faculty work collectively to improve learning within the curriculum. #4.3: As part of the Department’s assessment plan, work with College Assessment Coordinators and CETL to create a more detailed curriculum map that specifies levels of competence/mastery for SLOs: e.g., “introduced,” “demonstrated,” “mastered.”

5. Faculty and Instruction

Provided in the self study is evidence of extensive service of TAD faculty both on and off campus. In addition, there is ample evidence of faculty involvement in many research, productions and creative endeavors.

The self study says:

5 our lower division courses, the Upper division elective courses must have Adjunct hires, which will require increased Budget allotments.

Currently there is only three PhD tenure-track faculty. One of these members has taught theatre and dance classes in the BA and in the MA levels. The other two members have taught theatre classes in the BA, MA, and some MFA classes. Another faculty hire with a PhD that could cross over into both disciplines of Theatre and Dance and would be ideal.

We are also in need of more faculty in the acting area in order to adequately cover the upper and lower division acting courses, the voice and movement courses and the some courses required for the M.F.A. With the new concentration in Design & Production, and the loss of a Design faculty to retirement, we are in need of full time Technical faculty mentors for the design & production area. All of these hires will hopefully be able to deliver our required courses, a variety of electives in the theatre and dance areas, teach the M.F.A. program and G.E. courses while at the same time growing the Theatre and Dance area into a healthy thriving degree program.

The lack of instructors in the design and acting areas must be addressed.

The external reviewers’ report says:

They have an excellent skill set between them from acting to directing to technical areas to playwriting to theatre management and producing, albeit with a little too much emphasis on the latter. The wide-ranging set of skills and talent if collaboratively brought together could reap significant benefits for the department, particularly, since individually each are universally respected by their students.

Commendations To the Program: #5.1: For faculty activity in research, presentations, publications and creative activities. In addition, faculty provide ample service both on and off campus.

Affirmations To the Program: #5.1: That the faculty of the Department as a whole are committed to students’ success.

Recommendations To the Program: #5.1: Consider how changing the dance option to a minor will result in a shift in faculty FTEs. #5.2: Within the Department’s 5 year plan, articulate a leadership succession plan (including development opportunities) for Chairs, Associate Chairs, and Program Directors.

To the College:

6 #5.1: Due to the new Design and Production option, new faculty are needed with technical expertise; these faculty could also be helpful in the MFA program.

6. Recruitment, Outreach and Alumni

The Self Study States:

Outreach should be reinstated from the University/ College level with staff support for contacting our feeder community colleges, High school tours, and reaching out to the local neighborhood communities for subscriptions. As the University SSP Academic advisors become more familiar with the various department programs and take on the full mantle of advisement for both GE and major information, our students will be better able to complete their programs in a timely manner. With the reduced major program units, recommendations from department faculty on the Free Elective courses will be influential in shaping the student’s career development. The University used to sponsor “Transfer days” at our local feeder Community Colleges: Pasadena Community College, Rio Hondo College, LA Valley College, El Camino College, East Los Angeles College, etc. Although faculty volunteered to attend these events, the University no longer sets up these outreach activities with the Community colleges and faculty do not have resources to do this themselves.

The External Study States:

Recruitment Plan A recruitment plan needs to be developed to insure that growth comes in a manageable fashion. The program should target a realistic number for each entering class. This will allow the Chair to schedule course offerings and rotations in order to efficiently handle entering and current students.

Alumni Council Dance seems stable with 18 or so majors, but this is not enough to sustain a viable BA program. According to students, anyone who auditions for a Dance recital is “cast,” which obviously does not reflect the real world of dance. Serious students majoring in dance need to feel pushed to do better to obtain positions in a concert. A recruiting plan to create a core of true majors needs to be discussed if the major is to continue “Program Recommendations” the Department notes the need to create an alumni council. The external reviewers also emphasized this recommendation.

Affirmations #6.1: That the Department recognizes the value/need for creating an Alumni Council #6.2: To the College: That the College recognizes the value/need to assist the Department to cultivate alumni and industry partnerships

7 Recommendations To the Program: #6.1: Within the Department’s 5 year plan articulate a plan for recruitment of undergraduate and graduate students. #6.2: In the Department’s 5 year plan articulate a plan and timeline for creating an alumni council. This should be addressed after year 1, after the department has addressed degree revision, and established and implemented an assessment committee.

Program Recommendations

There were 4 recommendations in section 7 of the Self Study focused on curriculum (Recommendation 7.1), students (Recommendation 7.2), faculty (Recommendation 7.3), and resources (7.4).

Within those recommendations the following recommendations that were directed to the College and the University are relevant given the changes to degrees in the recommendations in section 1 of this report above: namely discontinuation of the MA program; redesign of the Dance option to a minor and the redesign of a liberal arts BA.

Recommendations are as follows:

To the College and University:  Recommendation: Support for outreach to community colleges, high school tours, and neighborhood communities for subscriptions

To the College of Arts and Letters  Recommendation: upgrades for the Arena theatre and classroom technology support, especially the dressing rooms, makeup room, the costume shop laundry area, and the backstage areas of the Theatre building.

To the University  Recommendation: Support for funding for graduate conference attendance

8. Summary of Commendations and Recommendations

Commendations to the Program

#1.1: The TAD department has developed and maintained relations with outside institutions that promote Theater and Dance. #4.1: For distinction in student and alumni awards and achievements. #4.2: For excellent assessment in performance based classes. #5.1: For faculty activity in research, presentations, publications and creative activities. In addition, faculty provide ample service both on and off campus.

Affirmations to the Department

#1.1: The TAD department has develop a multitude of activities that are both multicultural and diverse. #1.2: To the Program, College, and University: That all faculty are committed to continuing their collegial work with administrators and staff to define the appropriate departmental and curricular structures to best serve Theatre Arts and Dance students. #5.1: That the faculty of the Department as a whole are committed to students’ success. #6.1: That the Department recognizes the value/need for creating an Alumni Council #6.2: To the College: That the College recognizes the value/need to assist the Department to cultivate alumni and industry partnerships

Recommendations to the Department

#1.1: That the department include a specific date in its 5 year plan for revision of the Department mission. #1.2: That the Dance option be redesigned as a minor not a B.A. option. #1.3: That the department set clear goals and specific deadlines in their 5 year plan for redefining and redesigning the B.A. degree as a Liberal Arts degree (and interdisciplinary) degree that includes professional skills, conforms to EO 1071 and that aligns faculty expertise and hiring priorities to support the degree. #1.4: As the department redefines its degrees, a curriculum committee or working group should develop degree-appropriate learning outcomes for BA-level and MA-level proficiencies across production, technical, performance, theoretical, and historical domains of Theatre Arts. For the MFA curriculum redesign could strive to make degree requirements integrated and interdisciplinary rather than multidisciplinary so that students’ proficiencies combine knowledge and skills from multiple areas of theatre. #2.1: Work with College and University on enrollment management, making use of university advising/database/dashboard resources. Specify enrollment management plans in the Department’s 5 year plan. #3.1: In addition to any revised degree roadmaps the Department develop explanations of degree pathways for the Department website, advising, and course syllabi. #4.1: That as part of the Five Year plan, the Department create an assessment committee by the end of Fall Semester 2017 and an assessment plan by the end of the 2017-18 Academic Year. The assessment plan should include explanation of how part- time faculty will be included in use of assessment data to improve and/or revise course outcomes (e.g., hiring letters specify the requirement that students complete an embedded assignment that is part of the assessment plan; mechanism for sharing assessment data with part-time faculty, etc.). Identify faculty within the department to work with College Assessment Coordinators and to attend CETL workshops to develop distinct/coherent student learning outcomes for BA and MA degrees. #4.2: In the Department’s 5 year plan articulate how all tenure-track and tenured faculty department faculty (as well as adjunct faculty if appropriate/feasible) will participate, on a yearly basis, in direct assessment of student learning outcomes and use of assessment data to develop/revise courses and curriculum so that the results of assessment are shared and faculty work collectively to improve learning within the curriculum.

9 #4.3: As part of the Department’s assessment plan, work with College Assessment Coordinators and CETL to create a more detailed curriculum map that specifies levels of competence/mastery for SLOs: e.g., “introduced,” “demonstrated,” “mastered.” #5.1: Consider how changing the dance option to a minor will result in a shift in faculty FTEs. #5.2: Within the Department’s 5 year plan, articulate a leadership succession plan (including development opportunities) for Chairs, Associate Chairs, and Program Directors. #6.1: Within the Department’s 5 year plan articulate a plan for recruitment of undergraduate and graduate students. #6.2: In the Department’s 5 year plan articulate a plan and timeline for creating an alumni council. This should be addressed after year 1, after the department has addressed degree revision, and established and implemented an assessment committee.

Recommendations to the College

#5.1: Due to the new Design and Production option, new faculty are needed with technical expertise; these faculty could also be helpful in the MFA program.

To the College and University:

#1.1: That the MA in Theatre Arts and Dance be discontinued.

10 Department of Music, Theatre, and Dance California State University, Los Angeles Theatre and Dance Programs

Last Program Review Self Study Report was generated in FALL, 2004

Prepared by: Faculty Committees in Theatre Arts and Dance, 2013 Revision – Professor Shiz Herrera, 2016

Dr. John M. Kennedy, Chair, 2013 Dr. Suzanne Regan, Interim Department Chair, 2016 Department of Music, Theatre, and Dance Theatre and Dance Programs

Submitted on October 11, 2013 Revised June, 2016

Dr. Peter McAllister Dean, College of Arts & Letters

VERIFICATION OF FACULTY REVIEW

Each full-time Theatre and Dance faculty member on duty in the Theatre and Dance program has been asked to sign the following statement:

By my signature below, I am verifying that I have had the opportunity to see and read the department’s Self-Study Report on the Theatre and Dance Programs that is being submitted to the University Program Review Subcommittee.

Signature Date

ii Table of Contents

Table of Contents iii

1.0 History, Mission, Goals, and Objectives 1

1.1 Overview of the field and department history 1 1.2 Mission 2 1.3 Goals and objectives 2 1.4 Changes in goals and objectives 4 1.5 Recommendations from last program review and actions taken by Program 5 2.0 Program Data 12

2.1 Enrollment data 12 2.2 Impact of enrollment trends 16 3.0 Curriculum and Instruction 17

3.1 Curriculum 17 3.2 Justification for greater than 180 units 18 3.3 Comparison with peer institutions 18 3.4 GE courses 19 3.5 Service courses 19 3.6 Credential or certificate programs 19 3.7 Opportunities for student research/scholarly/creative activity 19 3.8 Academic advising 20 3.9 Masters theses and projects 21 3.10 Innovations in the curriculum 21 4.0 Assessment of Program Student Learning Outcomes (SLOs) 22

4.1 Assessment Plan 23 4.2 List of Program level SLOs for each Program 23 4.3 Program SLO Assessment: Assessment methods 24 4.4 Faculty involvement in assessment 25 4.5 Further education of alumni 25 4.6 Student and alumni awards/achievements 25 4.7 GE Program SLO Assessment: Assessment methods 28 5.0 Department Faculty 30

5.1 Student opinion surveys 31 5.2 Trends in percent of courses taught by faculty rank 33 5.3 Faculty scholarly activities 33 5.4 Faculty Service to the University. 35 6.0 Student Engagement, Outreach and Recruitment 36

6.1 Description of activities 36 iii 6.2 Effectiveness of activities 37 7.0 Program Self-Recommendations 38

7.1 Curriculum 40 7.2 Students 40 7.3. Faculty. 41 7.4 Resources. 42 Appendix A. Reports from Previous Program Reviews 43

Appendix B. Students in the Major 52

Appendix C. Graduation and Persistence Rates 57

Appendix D. Faculty Utilization 62

Appendix E. Catalog Description of Each Program 63

Appendix F. Reviews from Departments on Service Courses 75

Appendix G. Masters Theses and Projects 76

Appendix H. Matrix of Courses and Instructional Modes 79

Appendix I. Assessment Plan(s) 87

Appendix J. Curriculum Map 88

Appendix K. Faculty Composition 94

Appendix L. Faculty Summary Vitae 99

Appendix M. Student Opinions of Faculty Instruction 131

Appendix N. Instructional Faculty Types 134

Appendix O. New Data 137

iv 1.0 History, Mission, Goals, and Objectives

INITIAL (1) EMERGING: DEVELOPED (3) HIGHLY Progress | Stage PROGESS DEVELOPED (4) Element MADE (2) History is History is incomplete, History is complete, History is complete, incomplete, omitting dates of with dates of with context and omitting dates of creation, and creation, and dates of creation, creation, and modification of some modification of and modification of modification of programs. programs. programs. programs. History, Mission, Program has not Program has Program has Program has Goals and created MGOs, established its own established its own established its own Objectives (MGOs) or MGOs are not set of MGOs that are set of MGOs that are set of MGOs that are (1.0) unique to the somewhat unique to unique to the both unique to the program. MGOs the program, but are program and that are program and are are not aligned not aligned with somewhat aligned aligned with college with college or college or university with college and and university university outcomes. university outcomes. outcomes. In outcomes. addition, they are stated in a clear, concise fashion. Program has Program has Program has Program has Responses to not implemented implemented some implemented most addressed recommendation recommendations. recommendations. recommendations or previous PR s nor explained incorporated them recommendations why. into its current five- year plan. .

1.1 Overview of the field and department history The faculty of the Theatre and Dance area of MTD are outstanding educators who combine their dedication as teachers with their lives as artists, scholars, and theatre professionals in the vibrant cultural life of Los Angeles and around the country. Students find an interdisciplinary environment that supports student-faculty interaction and collaboration and one that fosters partnerships with the venues and organizations that make Los Angeles a world capital of arts, entertainment and research.

The collaborations of theatre with dance and dance with music offers exciting opportunities for all disciplines, and a new in the interplay between these arts.

In years past, dance has regularly offered classes on ballet, modern, tap, and jazz. The dance area has also offered contemporary and cultural dance forms: Salsa, Hip-hop, Folkorico, and more recently Afro-Caribbean. With the loss of full-time faculty and reduced funding for adjuncts, the dance area has become more focused on modern, some ballet and choreography. Courses in dance history and theory provide essential foundations for performing and understanding dance in a liberal arts context. The new Semester Options in Performance, Design & Production, and Dance will have placement auditions for the dance classes and casting opportunities for our productions. Both theatre and dance do performances off campus that complement the campus events that showcase student performers, often in partnership with professional directors/choreographers. Technological innovations have contributed to our performances in lighting, sound, and scenic design. Tours to local schools, universities around the state, and in various Los Angeles venues provide students the chance to reach new and diverse audiences.

1 Theatre and Dance students participate in the American College Theatre Festival and the American College Dance Association. The College supports student travel and participation in conferences and workshops that supplement the courses and productions on campus and in venues around Los Angeles.

The new semester curriculum includes preparation in all aspects of theatre and dance, from technical areas to creation and performance, while insuring a firm understanding of the social, historical and theoretical contexts essential to a well-grounded liberal arts education. Interdisciplinary collaborations have strengthened our program by familiarizing students with other performance disciplines, from film and TV to opera and performance art. Students have benefited from connections to educational theatre companies, in such areas as health education and community based programming, such as the Cornerstone Theatre group, and internships with the LA Opera at the Music Center and the Hollywood Bowl. Other professional theatres in the Los Angeles area that have also provided student opportunities have been: The Actor’s Gang, Casa 0101, The Colony Theatre, East West Players , and the Pasadena Playhouse. The Los Angeles entertainment industry has established an initiative to recruit Cal State L.A. students for these many extraordinary opportunities.

1.2 Mission of the Department of Music, Theatre, and Dance Music, Theatre, and Dance is dedicated to cultivating excellence in faculty and students as artists, teachers, and/or scholars. Each Music, Theatre, and Dance performing arts discipline offers distinct undergraduate and graduate degree programs providing focused, dynamic instructions and encouraging cross-disciplinary alliances. Music, Theatre, and Dance foster a diverse, culturally relevant learning community that provides mentorship of accomplished and dedicated faculty. Music, Theatre, and Dance offer a unique opportunity for regional, national, and international students to live, study and work in Los Angeles, and to engage in intercultural exploration and creative collaborations.

1.2a Mission of the Theatre and Dance Programs: California State University’s Program in Theatre Arts and Dance offers a liberal arts degree along with innovative and wide-ranging production and performance opportunities that promote student learning within the creative process. The curriculum generates a collaborative learning environment that is diverse, inclusive, community-centered, and enriching. The program resides in the center of the entertainment industry, and offers students opportunities to engage with Los Angeles’ rich artistic community as well as across disciplines within the University.

1.3 Goals and objectives of the Theatre Arts and Dance program BA THEATRE ARTS AND DANCE THEATRE OPTION 1. Improve oral, written, and critical thinking skills. 2. Improve computer literacy through the required design classes. 3. Improve library skills by learning how to conduct research in theatre and performance. 4. Learn how to write about performances. 5. Learn how to put performance in a cultural, historical, and theoretical context. 6. Learn the history of theatre and performance in major western and non-western cultures. PERFORMANCE 1. Learn to be aware of and to perform and/or direct in at least six major genres of western performances. Such as, but not limited to: Contemporary Drama, Contemporary Comedy; Classical Drama, Classical Comedy; Postmodern Performance; Devised

2 2. Learn to be aware and to perform and/or direct in at least three cultural artistic traditions. Such as, but not limited to: Euro-centric, Asian-based, or indigenous performance practices. 3. Learn to be aware and to perform and/or direct in at least three acting theoretical traditions. Such as, but not limited to: Stanislavsky (and Boleslavsky), Hagen, Mamet – with elements of Meisner, Adler, Grotowski, “contemporary realism;” “physically-based performance;” (Grotowski, Commedia d’ell Arte, Body-Mind-Centering/Developmental). 4. Learn to select, analyze, incrementally organize, and prepare to rehearse a scene or a play. 5. Learn to block a script on paper and communicate effectively the directorial design to actors. 6. Learn (as an actor) how to audition competently within the professional market place: theatre, TV, film or dance.

DESIGN & PRODUCTION Technical: Learning outcomes in Scenic, Costume, and Lighting design courses have been developed to allow the student to acquire skills related to design and technical production. 1. Learn the basic tools and techniques of scenery and costume construction. 2. Learn basic drafting techniques for scenery and lighting plots. 3. Learn scenic and costume paint and dye techniques. 4. Learn the basic principles of design as well as understanding the historical aspects from ancient to modern times. 5. Learn scenic and costume rendering layouts as well as property plot layout and wardrobe plotting. 6. Learn scenery design including working drawings model making and perspective rendering. 7. Learn the theory and practice of lighting design, including basic electricity, optics, color, light plots, the use of lighting equipment and its control systems. Arts Management 1. Learn the history of arts management. 2. Learn the various functions of management in the arts. 3. Learn to be familiar with and how to create, utilize, or access incorporation of non-profit and profit organizations. Stage Management 1. Learn to create an understanding and appreciation for the practical function of theatre stage managers. 2. Develop a working knowledge of the research and tools used by professional stage manager. 3. Learn about unions, associations, contracts, and rules that govern the professional theatre. 4. Learn how to use the technology available to the professional stage manager.

DANCE OPTION 1. Improve oral, written, and critical thinking skills. 2. Learn how to conduct research in dance and performance. 3. Learn how to write about performances. 4. Learn how to put performance in a cultural, historical, or theoretical context. Multicultural Context 1. Gain understanding of historical and cultural dimensions of the dance arts. 2. Students will be able to analyze, discuss and write about the role and development of dance in past and present cultures throughout the world noting human diversity as it relates to dance and dancers. 3. Understand, articulate and write about artist/work of art/different dance forms and the effects of society on artwork and of artwork on society. Verbal and Written Aesthetic Evaluation 1. Learn to respond to, analyze, articulate and make judgments about artwork. 2. Students will critically assess the meaning of works of dance and performance of dancers based on the cultural and historical contexts of the dance and their aesthetic principles.

3 Technique/Artistic Perception 1. Learn to process, analyze and respond to sensory information through the language and skills unique to dance. 2. Demonstrate increased movement skills, concentration and physical control in performing movement for artistic expression. 3. Learn to discriminate and use a wide range in the use of time, space, and energy. 4. Learn to memorize and reproduce long movement sequences. Choreography/Creative Expression 1. Learn to use choreographic principles and processes to express perceptions, feelings, images, and thoughts through dance, working alone, with a partner, or in small groups. 2. Learn to manipulate the elements of dance, shape, space, time and energy, to create short studies that demonstrate development as well as a beginning, middle and end. 3. Learn to create and perform dance works of art showing proficiency in investigating complex thematic materials, universal themes, and incorporate simple dance performance elements, e.g., music, lighting, scenic design, costuming and analyzing how these will affect the performance of the work.

COMMUNITY OUTREACH 1.Students will have a heightened sense of community, cultural sensitivity and respect through community- based performances and teaching dance. 2. Students will have a heightened sense of commitment towards civic duty/community involvement as future teachers, performers, or workers in community agencies. 3. Students will have a heightened sense of the impact of their performing on community audience members.

MA THEATRE 1. Improve oral, written, and critical thinking skills. 2. Learn how to conduct advanced research in theatre and performance ranging from fieldwork to databases and web sites. 3. Learn the criteria and process of submitting articles for publication. 4. Learn the contemporary theorists, critics, and practitioners in performance. 5. Develop a vocabulary for describing diverse forms of performance. 6. Gain an understanding of the relationship between contemporary performance to that of other areas and cultures. 7. Learn how to contextualize performances. 8. Demonstrate the relationship of theory to practice in performance criticism. 9. Learn the relationship between performance and society. 10. Gain pedagogical experience.

1.4 Changes in goals and objectives The changes in the above goals and objectives are taken directly from course curriculum in the areas of performance, history, technical, theory, education and production. Given the merger with Music, the work of creating measurable goals and objectives, across three disciplines (music, theatre and dance) has not been a priority task. Additionally, many in the Theatre Arts and Dance program have stated confusion about how to create any type of measurable goals and objectives in a program that includes all aspects of the disciplines: technical, performance, history, theory, and more. Learning in the performing arts is cumulative and extends years beyond the time in the degree program when students' preparation is augmented and challenged by real life practice. Creative thinking is not measurable because the very nature of creativity is to challenge and go

4 beyond established paradigms for which there are no measurements: think outside the box means exactly that. However more objective aspects of performance training (history, theory, research, writing) are measurable in terms of critical thinking.

1.5 Recommendations from last program review and actions taken by Program October 26, 2004 From External Review Team – James De Paul, Chair, Department of Theatre California State University, Northridge Barbara Sellers-Young, Chair, Department of Theatre and Dance University of California, Davis

Recommendation 1: The hire of a technical director that would expand the expertise in the technical curriculum of the program. This individual would train people to enter the technical area of stage and film. This hire seems particularly appropriate as historically one of the strongest areas of the program has been in the area of technical theatre and there are many alumni in the area that could help place graduates from the program. This technical director could be a fulltime faculty or could have a split appointment of .33 faculty and .66 staff. In 2004, the faculty technical director position was removed. Previously this faculty position worked with the technical staff in training and supervising students. Full time faculty designers would often assist in the shops in the training of students. Theatre Arts & Dance area did hire a full-time staff technical director. Soon after, this position as well as the other technicians in costumes, lighting, and audio became part of the college dean’s staff. The technical director reports to the dean’s office and coordinates all activity in the college, and runs the scene shop at the same time. While an additional full time person in the technical area (audio) has allowed our students to receive better training on shop/stage equipment and safety regulations, the shift in supervision and duties has changed what the position was originally hired to accomplish. With the faculty hire of Anne McMills in 2009, she brought an expertise in technology and lighting. She upgraded our scenic and lighting stagecraft and design classes with the introduction of computer assisted drafting and design technology; and made significant progress in the recruitment, advisement and mentoring of students into the technical and design areas. However since her departure in 2013 there have not been any permanent hires for technical faculty. 2012, the full-time staff technical director as well as the other technicians in costumes, lighting, and audio became part of the college dean’s staff. However, the shop carpenter position has not been replaced nor the part-time costume technician position. All shop staff assist on the implementation of all Music, Theatre, and Dance productions and events as well as other college events and other university events as directed by the Dean of Arts & Letters. The staff technical director coordinates all performance activities in the College and supervises the other technical areas: scenery, costumes, lighting, and audio at the same time. With the low enrollment numbers of the Theatre and Dance areas it was understandable why the Dean’s office took over management/supervision of the technical staff, but this is creates a disconnect with the production area. And without any additional full-time faculty hires in the Design area it is difficult to create continuity and mentorship for our technical students. Meredith Greenburg’s mentors our student stage managers and a number of her students have been accepted in to Advanced degree programs/ other professional opportunities. This is proof of the positive outcomes of having a mentor. Part time faculty or Guest Artists for Design have filled some of this void in teaching, but there is no continuity and with the decrease in Adjunct funding and IRA allotments, it is making the continuation of the Design and Technology areas difficult.

Recommendation 2: The program bring prominent dance as well as theatre professionals to campus or people whose work represents a synergy of theatre and dance such as Mark Morris, Anne Bogart or Robert Wilson. We believe that this addition of dance or physical theatre professionals to the Presidential Performance Scholars program will help the program to develop the relationship between the theatre and dance.

In the past, the dance area has brought in prominent choreographers, who have offered free workshops open to all theatre and dance students. These artists have included: Jacques Heim and the Diavolo Dance Company, Nick Duran, Briana Bowie, Shauna Martinez, Holly Johnson, Roxanne Steinberg, Colette Brandenburg, Alexandria Yalj, Oguri and Rosanna Travarez. Although the Presidential Performance Scholars program was discontinued, we have brought these artists in to work in master class, workshop and performance with dance students and theatre students. For the annual Spring Dance Concerts outside professionals have been brought in to teach for the quarter and culminate in the concert. Although this opportunity has proven to be a wonderful opportunity for our students, both dance and technical students who have assisted on the lighting designs, our budget restraints have restricted the number of the elective classes we are able to offer. We are hoping for an increase in our part time dollars to be able to offer more elective courses and an increase in our Instructionally Related Activities allotments. With the addition of the International Day of Dance into the concert schedules, the Dance area has brought in students from our local Community Colleges or other Universities to participate in this concerts. This joint participation is a good recruitment tool from the Community Colleges and a networking opportunity for our current students.

Recommendation 3: The Department continues to explore the integrated MFA program in film/ television, and theatre and associated degree in Arts management. The latter would be enhanced by the development of the Segway Theatre Company. This recommendation is motivated by a combination of the professional expertise of faculty and the age of the current graduate students, some of whom have extensive professional backgrounds. The graduate students interests in arts management, acting, directing, and dramaturgy would be well served by an MFA. As a terminal degree, the MFA will give students who have returned to the university at mid-career a degree that will allow them to teach at all levels university, college, and community college or in the case of Arts management work in an increasingly significant field with its ties between the arts and the entertainment industry. (The Review team also noted that there is no MFA in Arts Management degree in California.) Undergraduate student involvement in a company Organized of alumni, graduate students, and talented undergraduate students would act as an internship program within the university. The Department of Theatre Arts and Dance and the Department of Television, Film and Media Studies launched the integrated TVFT M.F.A. degree program in the fall of 2008. The joint MFA degree program has suffered some administrative growing pains since there was never any dedicated faculty or facilities given to the program. Most faculty teach BA, MA and MFA classes from their primary departments. In the beginning a faculty member without any staff support, an executive committee that discussed issues, and two chairs that also needed to run their own departments did the programs’ administrative tasks. There is now a newly appointed faculty member as the director for the MFA program who is able to get some staff support from the College and there are regularly scheduled MFA faculty meetings to discuss curriculum, advisement, and other on going issues. There is no current option or degree in arts management. A certificate program had been proposed in Arts Management, but had difficulty moving forward due to objections from the College of Business

6 and Economics. We have a new option in Design & Production under the Semester Conversion for the TAD BA degree. The Arts Management classes can be used to shape the programs for those students wanting to go into this field and can be used as upper division electives.

There is a chartered student club, Students 4 Students, which supports student production work. Both undergraduate students as well as masters’ students in the M.A. and M.F.A. programs have had original as well as established work produced under the banner of Students 4 Students. Performances have been held in a variety of venues around campus.

Recommendation 4: The Department as it develops the Segway Theatre seeks corporate sponsorship for its productions and for fellowships for the students. With the change in leadership for the Department of Theatre Arts & Dance and the College of Arts and Letters, there have not been any activities for The Segway Theatre since 2003. At this time there is no anticipation for further development of this project.

Recommendation 5: The Review team was impressed by the new Luckman Center, but felt as a university based performance venue it was poorly articulated with the Theatre Arts and Dance and potentially with Music as well. The Review team thus recommends that the President appoint a committee consisting of members of the Center's administration and Chairs of the Departments or Performing Arts, with an additional faculty from the Dance emphasis or other relevant areas from music, to consider ways the Center can help the programs to develop their curriculum through master classes with visiting artists, showplace for specific departmental productions, and other ideas that could potentially merge from such a committee. With the change in leadership in the Department, the College of Arts & Letters, and now the University, the funding for continued support of our programs at the Luckman is uncertain. However we have continued to offer both theatre and dance programming in the Intimate theatre with the support of the university. Our faculty members do recommend the performances at the Luckman to our students and we have been allowed discounted student tickets. We also been fortunate to have some of their performing artists offer Master classes for our students.

Recommendation 6: We suggest that the Department of Theatre and Dance arrange a retreat where they will begin a serious discussion about the direction the Department's curriculum. An outside facilitator should moderate the initial meeting. The reasons for this outside facilitation are several. A facilitator will give the department an opportunity to put on the table any unexpressed conflicts. A facilitator will also permit the Chair of the Department to participate as a faculty member. Finally, a facilitator will help the Theatre and Dance Department to dialog and define their objectives as both a single and combined entity. Much time was spent on whether the university would be converting to semesters or stay with the quarter system. This conversion has been debated and discussed for the last five or six years. As it was never certain as to when this process of conversion might begin, the department had been hesitant to make any radical curricular revisions. The Theatre Arts & Dance Department did conduct a two-day retreat in during which we drafted a Mission Statement and discussed possible curriculum developments. In 2010, the department was forcibly merged with the music department and we spent almost a year in weekly meetings redeveloping a new MTD Mission Statement and all new ARTP documents, as well

7 as Departmental Policies and Procedures, Faculty Governance, Standing Committees, and more. We then changed Department Chairs, the first was the previous Dean, then the new Dean who acted as Interim Chair, and later appointed a new chair, who was later elected by the newly merged faculty. The daily needs of the two programs have taken priority over the completion of the TAD curriculum process. With the semester conversion the MTD department has spent the last year and half discussing and writing new curriculum. With a recent consultation visit from NAST (National Association for Schools of Theatre) in 2015 a recommendation was make to revisit the new Semester Programs and that a separate mission statement for Theatre and Dance be formulated. The new Theatre and Dance Mission Statement is located in section 1.2a. Late in Winter 2016, the Dean of Arts & Letters called a Retreat to discuss further revisions to our Semester Programs and other areas to move the program forward. The Revised Semester programs for Theatre and Dance have been submitted and accepted by the College Instructional Affairs Committee and has been forwarded to the University Educational Policy Committee.

Recommendation 7: The Review team suggests that there be two new hires in this area to shore up expertise in the technical and dance history/theory area. (Currently SanSan Kwan has taken over the history/theory area and while the Review team believes she is very qualified to teach these courses, she should not as a junior faculty be expected to provide the leadership in the dance area.) One of these faculty hires should be at the senior level and should be considered an associate chair of Theatre Arts and Dance. The latter is not a comment on the leadership provided by the current chair, which we find to be outstanding. The primary reason would be to give the hire the necessary authority to help the current dance faculty develop the curriculum. The second hire in this area would be in an area of dance, possibly, musical theatre dance, which the Review team understands has not been offered in several years and tap dance was identified in the self-study a one of those areas in need of being filled. Since the last Theatre Arts & Dance Program Review in 2004, the Department lost the following full- time faculty to retirement / Faculty Early Retirement Program and other university/private sector positions: DANCE: 1. Linda Kostalik, MFA (RETIRED Sp 2007) – Taught a variety of dance techniques: ballet/jazz, dance history, dance and theatre education classes, and general education courses. 2. Nancy Kupka, MA (FERP/ended in Sp 2014) – Taught ballet, dance education, and general education dance classes. 3. SanSan Kwan, Ph.D. – (left in Sp 2011) - Taught in the Dance Option: history, theory, ballet; in the Theatre Option: performance studies, and research & writing; in the MA in Theatre program: taught a variety of graduate courses including Asian Studies, and Graduate Research.

THEATRE: 1. Christopher Acebo, MFA (left Sp 2007) – scenic/costume designer – Taught stagecraft - scenery; design: scenery, costume; production support (designer); and general education classes. 2. Pamela Dunne, Ph.D. (FERP/ ended in Sp 2015) – Taught theatre for youth courses and theatre education classes. 3. Susan Mason, Ph.D. (FERP/ ended in Wtr 2016) – Taught theatre history, dramaturgy; in the MA in Theatre: headed the MA program in Theatre teaching a variety of graduate courses; and in the TVFT MFA program: taught dramatic structure and graduate research. 4. Shiz Herrera, MA (FERP/ will end in Sp 2019) – Has taught stagecraft: scenery/lighting/costumes; design: scenery/lighting/costumes, makeup; production support (designer), general education classes both lower and upper division, principal advisor for the Theatre and Dance options, serves as Associate Chair – Theatre for the Department of Music, Theatre, and Dance.

8 5. Anne McMills, MFA (hired in 2009/ left 2013) a technology faculty member with a video projection and lighting design background. Taught stagecraft: scenery/lighting; design: lighting, production support (designer); in the TVFT MFA program: taught technical courses. Developed a new curriculum for the new Design and Production Option and was recruiting prospective students for the technology area.

Besides Anne McMills our last hires have been: 1. James Hatfield, Ph.D., hired (2008) served as TAD Department Chairperson with stage direction, theatre history, and scenic/lighting design background. After completing his term as Chair in Theatre Arts and Dance, he teaches theatre history, performance research and writing, lower division GE courses; in the TVFT MFA program: teaches Graduate Research. 2. Seonagh Odhiambo, Ph.D. hired (2009) in the Dance Option: teaches dance education, dance history, theory, dance education, afro-caribbean dance courses; in the MA program: variety of graduate courses and now the MA advisor. She has taken on additional duties to recruit prospective dance students.

Current Faculty who had been primarily teaching in the undergraduate theatre program are now being stretched across several programs, BA, MA, MFA and General Education classes. There is no indication that there will be any tenure track technical or dance hires. The Department no longer has sufficient funds to hire appropriate adjuncts to teach elective courses, which will be problematic for the new Semester curriculum.

We are attempting to recuperate this loss by training graduate students in the MA and MFA programs to teach some of the lower division courses, but the funding for this training and hiring of graduate assistants and teaching assistants has been inconsistent, and currently we lack sufficiently trained graduate students to teach vital lower division Theater Option and Dance Option electives.

The Department spends funds on last-minute adjunct hires to cover these needed courses. This inconsistency is adversely affecting the overall pedagogy and learning outcomes of the program, as these adjuncts do not have an understanding of the particular overall programs goals and the particulars of our students and our campus. We have strived to maintain continuity with the adjuncts hires, but again this difficult with the reduction of our IRA allocation and Adjunct funding,

The merger with the Department of Music did not affect the Theatre or the Dance Option. However it does strain our IRA allotment as we have supported Music productions with hires for Designer / Directors and technical support in staff and student production crews. The Theatre Arts and Dance department submitted major MA program modification in 2003 and a BA program modification in 2007. Due to changes in Administration, the MA program modifications were not moved forward. The BA programs are now awaiting approval of the BA Semester revisions. The new Semester programs were submitted for the BA program with three new options: Performance, Design & Production, and Dance. The MA program in Theatre is still in need of an updated modification.

Recommendation 8: The Review team appreciates the history of the University’s relationship with the high school. However, the current situation with regards to the use of space is creating problems for the education of its students in Theatre and Dance. For example, the acting area has no designated space to teach courses in physical theatre, movement and voice. The dancers are not allowed by the current organization to move from class to rehearsal or to have adequate rehearsal space for classes in choreography. One potential solution would be for the Luckman center dance studios, which we understand are rarely used, be made available either to the high school or

9 university dance classes. Ultimately, the entire scheduling situation, which was described by faculty and students as a 'nightmare' and which hinders progress toward degree, would be eliminated if a solution could be found to the high school using University spaces. The High School is regulated to two dance studios in King Hall in the afternoon hours (1:30 – 4p). They have a theatre rehearsal space in the Fine Arts Building (FA 338) and have had arrangements with the Luckman for use of some spaces for classes. The University had a designated liaison staff member who works with our Associate Dean in scheduling of their semester courses within our quarter system. In Spring of 2013 the new LACHSA building opened – but it has limited classroom/ rehearsal spaces for theatre and dance classes. The College of Arts and Letters has now taken over the scheduling of LACHSA classes and spaces. We have gained back a few more afternoon sessions in the Dance Studios and are anticipating an improved relationship for both parties.

Recommendation 9: The Department incorporate into the production season a public review of each performance that encourages students and faculty and appropriate guests, to consider the production both as process and product. Beyond helping the students to develop a critical framework, the inclusion of the review within the production season will also provide a natural venue for integration of course material with productions. Individual students in the MA program have been mentored through providing dramaturgical support for some of our productions. In addition to research for directors and actors, this work enhances public/student understanding and appreciation of productions through program notes, lobby displays and study guides for faculty on and off campus sending students to production. A number of our productions in the past few years have included talkbacks and symposiums affording the public to speak with the artists. The American College Theatre Festival sends respondents to our productions and recently we have been opening these discussions to the public. As a rule there have not been surveys for audience members, although some Thesis Projects have developed surveys for their audiences that are included in their Project Reports.

Recommendation 10: The junior faculty work with a senior faculty member to facilitate the junior faculty's promotion and related retention. The Review team also recommends department consider revising its Personnel policies and procedures to include a Memorandum of Understanding between the Junior Faculty and the department that identifies specific goals, objectives and a creative plan of action each year they are pursuing tenure. The Memorandum of Understanding should be a flexible, living document that gives purpose and clarity for the junior faculty and clarifies the senior tenured faculty's expectations of the level of the creative, teaching and service aspirants need to successfully progress towards tenure. The University offers regular workshops for junior faculty in the ARTP process and the department has had designated senior faculty mentors. The union (CFA) MOU is a fluid document that changes quite frequently. And the University ARTP process changes yearly. However there has not been any formal mentorship from Department Chairs for this task, nor has there been any organization from the department administration for faculty mentorship.

Recommendation 11: The workload of two staff members Rosalie Rodriquez in the Theatre and Dance office and Bruce Zwinge in the costume shop be relieved by the addition of at least a .50 person in each area. These additional staff are justified in the growth of the number of the students within the program (107 undergraduate and 25 graduate students) and the organizational demands this makes on Ms. Rodriquez and Mr. Zwinge in their respective areas. With the reorganization of the departments, the college deans, and the change in organization of the production staff, the staffing positions have changed several times since the last program review. The new Music, Theatre, and Dance Department office staff consists of one Administrative Service

10 Coordinator, one Administrative Support Assistant, and two student assistants. The technical areas still resides under the College Dean. The Scene Shop Foreman position has not been filled and there have not been any hires for the Costume area. Student assistants and Casual Labor hires have supplemented the additional work force when needed.

Recommendation 12: An elevator be built between first and second floors of the scene shop area. Elevators for second floor classroom areas and to the scene shop have not been installed. Since our last review, a new hydraulic Orchestra Pit lift has been installed and it is used to move scenic pieces from the basement storage area to the first floor stage. It is our understanding that ADA elevators for the second floor will not be installed unless the Theatre Building undergoes a MAJOR renovation. The backstage areas, especially the Makeup and Dressing rooms, built in 1952, are deteriorating to the point of becoming a health and safety issue. The sliding doors for the overhead storage cupboards have fallen off their tracks have hit staff and faculty members and fortunately have not caused any major injuries. The scene shop has since removed the overhead sliding cupboard doors in the Makeup room. We are waiting for funds to have facilities renovate this area.

Recommendation13: The Department seek to create relationships with appropriate departments and facilities on campus to develop designated times and equipment that can be used by the faculty and students in the design area. The Department has acquired some power equipment replacements from the Art Department and successful collaborations between the two departments have had Art students using the large paint frame for scenic projects on recent productions. The fashion sewing labs are used for the Theatre Stagecraft costumes classes. We have also had Fashion Design Students collaborate with an offsite Dance production to create costumes for dance and the students have also re-designed some existing gowns for a Theatre production in the Intimate Theatre. We have also offered some of the MFA Fashion & Textile graduate students teaching opportunities. The lighting and scenic classes both in stagecraft and design utilizes the College computer labs for design assignments. The Department just acquired a new 3D printer for the scenic and stagecraft classes and we are opening the classes in Drafting for the Theatre to Art and Technology students.

11 2.0 Program Data

INITIAL (1) EMERGING: DEVELOPED (3) HIGHLY Progress | PROGESS DEVELOPED (4) Stage Element MADE (2) Some data are Data are reported Data are displayed in Data are displayed in reported but little and some tabular and graphical tabular and graphical analysis is evident. rudimentary analysis forms with analysis forms and analyzed Presentation Not all required is evident. Most of of the evident trends. in terms of both and elements are the required Most of the required internal and external Organization of present. elements are elements are forces. The evidence Program Data present. present. presented is used to (2.0) develop the 5-Year Plan. All required elements are present.

2.1 Enrollment data Present data that shows the # of degrees awarded (“Degree Granted by Ethnicity” selection, # of courses and sections taught, # freshmen and transfers into the major (see the “enrollment history” selection at the IR Program Planning Data Site. – Some information not available. You may wish to also request from IR your average class size in the undergraduate and graduate programs. – Some information not available

Degrees by Ethnicity F 2004 - Sp 2012 Total 130

Am Indian =1 Asian = 9

Asian = 9 Hisp = 23

Hisp = 23 Black = 19 Unk. = 38

White = 31

Internt'l = 9 Internt'l = 9 Black = 19

Unk. = 38 White = 31 Amer. Indian = 1

This data is taken from the Fall enrollment information. The Unknown ethnicity for our department is split between White / Hispanic.

12 Gender Ratio 80

60 BA Women BA Men 40 MA Women 20 MA Men 0 2004 2005 2006 2007 2008 2009 2010 2011 2012 Undergraduate ratios are nearly 2:1 for females to males. The Gender ratios for MA students are fairly even.

First time Freshmen to Cont'd Undergrd Enrollment

120

100

80 First Time Fresh man # 60 First Time Transfer #

40 First Time Post Bac # Cont'd Under grad # 20

Undergraduate enrollment levels had been increasing until 2007. Decrease began when University enrollment limits and fee increases implemented. Post Bac and Second BA degree students are not being accepted.

MA program Enrollment

25 20 15 Cont'd PBac # 10 New Grad # Cont'd Grad # 5 0 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 2011/12

13 Increase in MA enrollment due to Outreach by Dr. Mason. Decrease began when University enrollment limits and fee increases implemented in 2007.

6 yr MA Graduation Rates 2004-2010

Enrolled Major in Major Degrees Degrees Retention % Retention Degree changed in Awarded Program Others Fall 2004 5 5 0 0 0 5 100 1 Year 4 4 0 0 0 4 80 2 Year 0 0 0 1 0 1 20 3 Year 1 1 0 1 0 2 40 4 Year 0 0 0 1 0 1 20 5 Year 0 0 0 1 0 1 20 6 Year 0 0 0 1 0 1 20

6 yr MA Graduation Rates 2005-2011

Fall 2005 4 4 0 0 0 4 100 1 Year 2 2 0 0 0 2 50 2 Year 0 0 0 1 0 1 25 3 Year 0 0 0 2 0 2 50 4 Year 0 0 0 2 0 2 50 5 Year 0 0 0 2 0 2 50 6 Year 0 0 0 2 0 2 50

6 yr MA Graduation Rates 2006-2007

Fall 2006 3 3 0 0 0 3 100 1 Year 2 1 1 0 0 2 66.7 2 Year 1 1 0 0 0 1 33.3 No data for 2012 available at time of printing.

14 6 yr Retention & Graduation Rates Freshmen 2004 - 2010

6 Year % Retention

Retention 5 Year

Degrees Awarded 4 Year Others

Degrees Awarded 3 Year in Program

Major changed 2 Year

Major in Degree 1 Year Enrolled

Fall 2004

0 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 100

6 yr Rentention & Graduation Rates Freshmen 2005 - 2011

6 Year % Retention

5 Year Retention

4 Year Degrees Awarded Others

3 Year Degrees Awarded in Program

2 Year Major changed

1 Year Major within Degree Program

Fall 2005 Enrolled

0 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 100

15 The data/trends in first year retention for freshmen and transfer students, and six year graduation rate listed in Appendix C should be discussed here and in other relevant sections. Low six year graduation rates are a concern and programs should work to determine what factors are at play that result in low rates, for example, poor freshman retention. Retention averages 30% for BA and 67% for MA students. MA students use to complete the program in two – three years. In 2007 as the tuition costs increased, a number of our MA students have been forced to take fewer classes. The department has been creative in the course substitutions, including a number of the MFA offerings. Within the last three years, time to graduation has increased to nearly four years. Both Theatre and Dance option are included in the Undergraduate data. Most BA Theatre option students are able to complete their program in two to four years. With the loss of the Dance faculty and the number of the upper division courses on a two-year rotation, this has increased the time to graduation for most Dance option students to an additional one to two quarters beyond the four years. The first two years of enrollment are critical. It is important the students have adequate advisement to insure that proper course sequencing (roadmaps) is followed and that the students are not overwhelmed with the rigors of balancing the demands of college and personal life. Most of our students are on financial aid or have part time jobs to assist on tuition costs. Those students who have regular advisement have fewer problems reaching a timely rate to graduation.

2.2 Impact of enrollment trends Here you should discuss the adequacy of your faculty to provide quality instruction for students to satisfactorily achieve the Program Learning Outcomes. You can compare your enrollment data to that of other CSU system campuses at the following web site: Our program is unique in that it is the only combined Theatre Arts and Dance degree-offering program in the CSU system, but we have been advised that the accrediting body for theatre does not recognize this combination. They feel it is a “double major” and that the coursework does not support “theatre and dance”. With the semester conversion we have created three new options: Performance, Design & Technology, and Dance. The two theatre options have a common core and the dance option has a similar core, but not exact, which is acceptable in offering a combined degree. On the recommendations from the NAST (National Accredited Schools of Theatre) consultant in 2015, we have revised our Semester degree programs and reduced the unit requirements. The Dance area will be developing a program that will be accepted for an accreditation with the NASD (National Association of Schools of Dance). We have created new Student Learning Outcomes and have redefined our core for Performance and Design & Production with a separate but similar core for the Dance option. Hopefully this work will make our offerings more clear to students and be more attractive. It seems clear from looking at our graduates moving into the field and into further education, that we are offering quality instruction. Our program learning outcomes need to be clarified in order to really make comparisons.

16 3.0 Curriculum and Instruction INITIAL (1) EMERGING: DEVELOPED (3) HIGHLY Progress | PROGESS DEVELOPED (4) Stage Element MADE (2) Static, conservative Somewhat static Curriculum is mostly Innovative, dynamic curriculum curriculum may reflective of current curriculum is unreflective of reflect current practice in the reflective of current changes in the field. practice in the field discipline. Well- practice in the Stand-alone courses but is not planned program discipline. Well- are not integrated or developmental in incorporates planned program reflective of student design to reflect the capstone/culminating design reflects Curriculum and needs. No needs of students. service courses, students’ Instruction (3.0) capstone/culminating No although these are developmental or service learning capstone/culminating not necessarily (pedagogical) needs. courses. or service learning integrated into the Intentionally courses. curriculum. incorporates capstone/culminating events and service learning courses into the curriculum. Evidence does not Evidence Evidence Evidence Service and demonstrate that demonstrates that demonstrates that demonstrates that General instruction of these instruction of these instruction of these instruction of these courses fulfill the courses fulfills some courses fulfills most courses fulfills the Education outcomes and needs of the outcomes and of the outcomes and outcomes and needs Course of the stakeholder needs of the needs of the of the stakeholder Instruction programs. stakeholder stakeholder programs. programs. programs.

3.1 Curriculum In this section, describe the general structure of the curriculum - is there a core that must be completed before students can select from a wide variety of electives? The Bachelor of Arts degree in Theatre Arts and Dance is designed for students who plan to engage in careers that utilize skills in theatre and dance. A number of pre-requisites for upper division courses require completion of lower division classes

We have submitted a revised Semester program with reduced unit load of 53 units for the major. The Performance and Design & Production options are required to complete a 29 unit CORE. The Dance option will require 26 required units.

Both Theatre options require 14 units of Lower Division CORE classes comprised of 6 units of Stagecraft (Scenery & Properties, Lighting & Sound, and Costumes & Makeup); minimum 2 units of dance (Ballet or Contemporary); 3 units of Lower Division Production Participation; and 3 units of Acting.

The Upper Division has a 15 unit CORE is comprised of 6 units of the Development of World Theatre, 3 units of Performance Research & Writing, 3 units of Directing, and 3 units of Praxis: Theory & Practice in Performance.

The Performance option has an additional 24 units is comprised of 6 units of Acting (3 Lower Division and 3 Upper Division) and 3 units of Lower Division Vocal Technique with the additional 9 units to be selected from a

17 variety of courses such as Acting for the Camera, Playwriting, or Dramaturgy; plus 6 units of Upper Division Participation in Performance or Production.

The Design & Production option has an additional 24 units is comprised requires 3 units of Drafting for the Theatre, 3 units of the History of Styles, and 3 units of Stage Management, and 9 units from a variety of courses such as Costume, Scenery, or Lighting Design, Arts Management, or 3-D printing; plus 6 units of Upper Division Participation in Performance or Production, or Management or Design Practicum.

The Dance option requires 26 units of required courses. 8 units of Lower Division classes are comprised of 2 units of Stagecraft in Lighting & Sound, 3 units of Vocal Technique, 1 unit of Lower Division Production Participation, and 2 units of Choreography I. 18 units of Upper Division classes are comprised of 3 units of Contemporary African Dance, 3 units of Choreography II, 3 units of Performance Research & Writing, 3 units of Embodied Histories, 3 units of World Dance, and 3 units of Dance Theory.

An additional 27 units is comprised of 4 units of Ballet, 9 units of Contemporary Dance, 6 units of Upper Division Participation in Performance or Production, plus 8 units of electives to be selected from a variety of courses in Dance techniques, Choreography, Dance Movement & Identify, Contact Improvisation, or Experimental Dance.

Or, is the curriculum very structured that requires students to attain skills in lower division classes that will be necessary in upper division classes? Many of our lower division courses are preparatory for the upper division.

How aware are students of the structure? ALL BA Majors and Minors create an Individual Academic Program which list the sequence of courses required to complete their degree program. These IAPs will also include General Education courses. The University SSP Advisors will provide the main advisement with the career advisement provided by Faculty.

The MA program requires all students to see a Principal advisor upon admission and for any course substitutions on program.

What, if any, adjustments might be made to the curriculum so that students achieve the program outcomes, but the curriculum is streamlined? With semester conversion comes a complete study of our program and possible streamlining as well as reimagining.

3.2 Justification for greater than 180 units (qtrs)/ 120 semesters. For programs that exceed 180 units, a strong justification should be made, for example, accreditation requirements, etc. If your program exceeds 180 units and has free electives in the major, how those electives directly contribute to program outcomes should be explicitly described. Our program does not exceed 180 quarter units/ 120 semester units.

3.3 Comparison with peer institutions Is your curriculum novel and cutting edge or is it on par with that in peer programs? Are there programs whose features you would like to emulate, and how could you incorporate those features into your programs? Our program is on par with other Theatre and Dance programs in the CSU Systems.

3.4 GE courses How many GE courses does your Department/School/Division offer? DANC157 – Cross cultural Themes in Dance DANC/TA/TVF 210 – (cross listed) – Body and Identity in Dance, Theatre, Film TA/TVF/ENGL 240- (cross listed) – Film, Novel, Theatre TA 152 – Analysis of Drama and Theatre TA 314 – Staging Violence in World Theatre TA /TVF 380 (cross listed) Emotion in Theatre and Film TAD 316 – Theatre and Dance in 20th Century Urban Context

Semester Conversion: TA 1520 – Analysis of Drama and Theatre = C2 Lower Division TA 3140 – Staging Violence in World Theatre = Humanities Theme

Courses yet to be accepted for GE: DANC 1570 – Cross Cultural Themes in Dance = Lower Division DANC/TA 2100 – Body Identity in Theatre and Dance = Lower Division TA 3800 – Emotions in Theatre & Film = Theme

How have these courses evolved since their first proposal in terms of GE outcomes addressed and using high impact practices? Some have evolved into Online classes however assessment on the new Online classes has not been done.

3.5 Service courses How many service courses does your Department/School/Division offer? We no longer offer Service Courses.

What feedback did you receive from the degree programs they serve (Appendix F) and does this suggest any changes to content/pedagogy/scheduling? N/A

3.6 Credential or certificate programs Describe these programs and how they contribute to your degree programs or if they are stand-alone programs. The Program does not offer any Credential or Certificate programs.

3.7 Opportunities for student research/scholarly/creative activity How many undergraduate students in your programs performed research/ scholarly/creative activity in your Department/School/Division in the period of review? Students are encouraged to enter University Sponsored Research/Creative Activities competitions. There is some funding provided by the University for conference attendance. The Kennedy Center American College Theatre Festival (KCACTF) has opportunities for an Acting Scholarship competition and other areas of Design, Dramaturgy, and Playwriting. Within the last two years the Dance area has entered students in the American College Dance Festival (ACDF) as choreographers and dance participants.

Since our last review there have been 730 Dance and 1000 Theatre participants at the KCACTF and ACDF In recent years the TVFT MFA and MA students have also began to actively participate in the Acting/ Design/ Dramaturgy/Choreography competitions and opportunities that celebrate excellence in College theatre. We have also had a number of MA/ MFA students entering their papers at conferences. Dramaturgy also functions as engagement in the department and the greater university community by creating educational material for the production (lobby display, program notes, study guides for our students and for the teachers for our tour productions). We try to engage a graduate to act as a Dramaturg for all theatre productions

What types of products (papers, presentations, exhibits, performances, etc.) resulted from this high impact practice? (Refer to faculty summary vitae for this information) This Information is not found on Faculty Summary Vitae.

Forth coming Presentation: Southeast College Art Conference, North Carolina, and November 2013. Kymm Swank, MA.

Study Guide: “One Campus/One Book Study Guide” available on the University Library website, 2013 prepared by MA students: Kymm Swank & John Sanger.

Paper presentation: American Literature Conference, Boston, MA, 2013. Rena Heinrich and Kymm Swank, MA graduates.

Production Dramaturgs: Kymm Swank, MA. I am My Own Wife, Arena Theatre, 2013. Lauren Blair, MA graduate. Lie of the Mind, Luckman Intimate Theatre, and finalist in ACTF Dramaturg competition, 2013. Joshua Fleming, MA graduate. 12-1-A, State Playhouse, 2012. Christopher Goodson, MA graduate. Wondrous Tales of Old Japan, Theatre for Young Audience Tour, 2012, and also prepared the “Study Guide for Teachers.”

Off Campus Directing Projects: Flash theater installment for Playwrights' Arena, November 2012 based on the play Holy Chicken by Boni Alvarez, directed by Rena Heinrich, MA student.

Do your academic programs utilize other high impact practices such as learning communities, cohorted/linked courses or community engagement? Our current program does not have a formal learning cohort. Majors in the University Honors program have not been unable to stay on track with other TAD students enrolled in the same year. This is due to the special Honors classes are offered at time that are not compatible with our major courses.

However, based on the roadmaps, a number of students beginning their program will be in the same learning community with other TAD Majors taking many of the same classes, e.g., freshmen theatre option students all in Stagecraft and Acting classes in the same track; dance option taking Beginning Modern and Ballet classes in the same track.

3.8 Academic advising Briefly describe your Department’s academic advising plan and evidence for its effectiveness. Since our last review the Theatre Arts and Dance areas have had a number of faculty advising and have now gone to Principal Advisors for Undergraduate, MA, and Minor students. Within the last few years the University has hired Student Service Professionals who do the General Education Advising and do the initial advisement

20 at the student orientations. Once the new semester program / roadmaps have been completed, these advisors will be taking over the Major advising and department faculty will be doing career advising.

Streamlining our advisement process gives the students more consistency in advisement on courses loads and better management of their academic programs. All students are given a program sheet for their degree program and our Department advisors update their roadmaps on a regular basis. MA advisors are to update the CAAR prior to Grad Check. Once the Roadmaps for Semesters are uploaded to the MTD website the SSP advisors will be able to take on this task for our students and faculty advisors will be able to do career advisement on elective courses.

3.9 Masters theses and projects If your Department/School/Division offers Master’s Degrees, how many students wrote theses (listed in Appendix G) as opposed to taking comprehensive examinations? Is there evidence that student achievement of Program Student Learning Outcomes is different for these two paths to the Masters? Is there evidence that student achievement of Program Student Learning Outcomes is different for these two paths to the Masters? So few students opt to take comprehensive exams that it is difficult to make any comparison, however a primary outcome they share is the ability to apply theory to practice and to describe this adequately and engagingly in writing.

3.10 Innovations in the curriculum The following courses have been modified into Hybrid Online and Traditional teaching course or have embraced new technology for the design/technical aspects of the course.

Hybrid / Online Courses = Changes in these teaching modes have not been officially modified and assessment is still pending. TA 152 – Analysis of Drama and Theatre TA 446 - Directing II TAD 467 – Theories and Methods in Performance Studies TAD 468 –Performance and Social Change

Courses incorporating new technology since the last review = Course modifications have gone through curriculum process. TAD 131 – Scenery and Properties TAD 132 – Lighting and Sound TA 431/432 – Stage Scenery Design TA 434/435 – Stage Lighting Design TA 340 – Management Practicum

Some of the Semester courses will be evolving to Online.

21 4.0 Assessment of Program Student Learning Outcomes (SLOs)

INITIAL (1) EMERGING: DEVELOPED (3) HIGHLY DEVELOPED Progress | Stage Element PROGESS MADE (4) (2) Assessment of Student Learning (4.0) Student learning Student learning Student learning Student learning Student Learning outcomes vague outcomes are outcomes specific to outcomes specific to and not specific, program and program, detailed, Outcomes (SLOs) measurable. measurability measurable. and measurable. unclear. Courses or Courses listed and Courses are listed Courses listed and experiences listed may be linked to and are linked to linked to SLOs. but there are no SLOs, but no clear SLOs. Clear levels of Levels of learning links to SLOs. levels of learning learning are defined defined for SLOs at defined. for SLOs at all levels all levels (I, D, M) *. Curriculum/ (I, D, M) *. Some Clearly defined Program Mapping mapping evident. curriculum map with Program level defined levels. outcomes map to Program level college and outcomes map to institutional college and outcomes. institutional outcomes. Methods/measure Methods/measures Multiple methods and Multiple methods and s listed but are listed and linked to measures used and measures used & vague and not SLOs. Only indirect linked to SLOs. linked to outcomes. linked to SLOs. measures/methods Assessment at only 1 Assessment Methods not used (e.g. level of learning. performed at all Methods/ Measures specified. surveys). Indirect and direct levels (I, D, M) *. methods used. Authentic performance-based direct & indirect methods are used. Assessment is Identified faculty Faculty committee Faculty committee & assigned to a committee w/some and program faculty assessment core faculty limited communicate coordinator working group. administrative regularly. Admin communicate with Assessment Uses of support. Some support evident and program faculty, Infrastructure technology evidence of data evidence seen of connect to college identified. Lack of collection. Some regular data and institutional administrative use of technology. collection. Regular efforts. Admin NOT AT THIS TIME support. Very little use of technology support evident. data collection. seen. Regular data collection. Sophisticated use of technology evident. Some findings are Findings are Findings explained Current findings are presented, but explained, but not and available online, available online and are unavailable linked to SLOs or current and are linked to SLOs or Presentation and online or standards. Findings accessible and some standards. Graphs Publication of inaccessible/ are current, but not are linked to SLOs or are used to displays Findings vague/not accessible online. standards. Some patterns and trends. comprehensive. Some students are students are aware of Most students are Students are not aware of findings. findings aware of findings. aware of findings

22 Findings Findings regularly Findings discussed Findings widely discussed among discussed by among faculty, issues disseminated among faculty but no faculty and issues are identified and faculty. Faculty change made in are identified. changes are made to actively use and program. No Annual reports are program (e.g. promote findings and annual reports. sometimes seen. pedagogy, courses make changes for Use of Findings changed or added) program Annual reports seen. improvement. Annual reports consistently show all elements of assessment - especially “closing the loop”. *I = Initial/Introduced, D = Developed, M = Mastered

4.1 Assessment Plan In this section, you should describe what stage you have attained in your assessment plan and what changes you believe will be needed (if any) to improve student learning. As a newly merged entity of the Department of Music, Theatre and Dance, the Department does not have an assessment plan at this time. With the Semester conversion, all student-learning outcomes are being addressed which will lead to assessment of those new outcomes.

4.2 List of Program level SLOs for each Program BA THEATRE ARTS AND DANCE 1. Participate in the creation, analysis, and presentation of public performances. 2. Develop a structured approach to the use of languages in writing for and about performance. 3. Demonstrate knowledge and processes such as performing, playwriting, directing, design, management and technical operations related to stage productions. 4. Demonstrate knowledge of the historical and cultural dimensions of performance, including the works of leading playwrights, performers, choreographers, directors, and designers, past and present. 5. Examine, identify and apply contemporary theories and practices of performing arts. 6. Make informed assessments of quality in performance material and works. 7. Develop a clear understanding of the collaboration between performance, spectator and production. 8. Develop effective skills in verbal and visual communication. 9. Demonstrate competence in the skills necessary to produce performance at a professional level. 10. Demonstrate skills in current technologies as these relate to performance, communication and research.

MA THEATRE 1. Improve oral, written, and critical thinking skills. 2. Learn how to conduct advanced research in theatre and performance ranging from fieldwork to databases and web sites. 3. Learn the criteria and process of submitting articles for publication. 4. Learn the contemporary theorists, critics, and practitioners in theatre and performance. 5. Develop a vocabulary for describing diverse forms of theatre and performance. 6. Gain an understanding of the relationship between contemporary theatre and performance to that of other areas and cultures. 7. Learn how to contextualize theatre and performances. 8. Demonstrate the relationship of theory to practice in performance criticism. 9. Learn the relationship between theatre & performance and society. 10. Gain pedagogical experience.

4.3 Program SLO Assessment: Assessment methods Data for one key measure; Student satisfaction; and how results are used for improvement in the Academic Programs offered by the Department. Use the below table to address the items in section 4.3. The information in the Table below and in Appendix J indicates previous SLOs. Since Semester Conversion has begun (Fall 2013) the Theatre Arts and Dance faculty have revised their program learning outcomes but have yet to incorporate these newly created outcomes in the prescribed matrix/rubrics provided.

1. Indicate which Program 2. Describe the results: 3. Based on the results, 4. List the SLOs were assessed since (For example, how many what instructional, classes in the last Self Study and how students reached what programmatic, or your they were measured. Enter level of proficiency on the curricular improvements program each SLO into a separate SLOs assessed?) were made (If the findings where the row. indicated a need for SLO in 1 is changes)? addressed :

BACHELOR OF ARTS – THEATRE ARTS & DANCE:

1. The ability to think conceptually and See Not assessed N/A critically about text, performance, and Appendix J production.

2. An understanding of playwriting and production processes, aesthetic See properties of style, and the way these Not assessed N/A Appendix J shape and are shaped by artistic and cultural forces are shaped by artistic and cultural forces.

3. An acquaintance with a wide selection See of theatre repertory including the Not assessed N/A Appendix J principal eras, genres, and cultural sources.

4. The ability to develop and defend Not assessed N/A See informed judgments about theatre. Appendix J

MASTER OF ARTS – THEATRE ARTS:

Successful completion of seminars Changes in curriculum, instruction & 1. The ability to work with a broad range See and culminating project/report/ thesis; program reflect changes in the field of artistic and intellectual knowledge, Appendix J admission to PhD programs 90% and in the faculty skills, and perspectives.

2. Deepen understanding of the relationships among theatre Successful completion of seminars See Changes in curriculum, instruction & specializations such as performance, and culminating project/ report/thesis; Appendix J program reflect changes in the field direction, historical and theoretical admission to PhD and MFA programs and in the faculty analysis, design/ technology, and 90% playwriting, and for connecting theatre and other disciplines.

Not assessed N/A See 3. The ability to apply theory to practice. Appendix J

24 4.4 Faculty involvement in assessment Describe your Department/School/Division’s faculty involvement in assessment. Is there an assessment committee? Is assessment work performed by only one or two faculty members? Who reviews results and where are those results archived for future reference? The Department of Music, Theatre and Dance, does not have an assessment committee. Assessment has been the work of individual professors in their classes without a cumulative assessment plan. As such, and with the semester conversion and accreditation as a goal, the Theatre and Dance faculty are addressing these issues.

4.5 Further education of alumni Describe your Department/School/Division’s alumni’s pursuit of post graduate degrees as evidence for successful attainment of Program Outcomes. Put the achievements in the perspective of the total number of the Department/School/Division’s alumni. Of the 50 students who have completed the MA program since 2003, ten have gone on to PhD and MFA degree programs. About 95% of the MA students who wished to go on for terminal degrees were or have been accepted into these programs. Given that there are only thirty-six doctoral programs in theatre in the country, the six graduates we have placed in PhD programs is significant.

4.6 Student and alumni awards/achievements Describe your Department/School/Division’s alumni’s awards and achievements as evidence for successful attainment of Program outcomes. Put the achievements in perspective of the total number of Department/School/Division’s alumni.

Since the last program review the following students have completed an advanced degree and are all working professionals.

Sigrid Gilmer (BA-Theatre option) earned her MFA at Cal Arts (2005) in Writing for Performance. She has worked with Cornerstone Theater, Watts Village Theatre, and Clubbed Thumb’s Summerworks Festival in New York.

Shawn René Graham (BA-Theatre option) studied dramaturgy at American Repertory Theatre, and was Literary Associate at Hartford Stage Company. She lives in New York City where she works with writers and dancers.

José Casas (MA) received an MFA in creative writing/playwriting at Arizona State University, has won several playwriting awards, been produced at the John F Kennedy Center for the Performing Arts in Washington DC and has accepted a position of Professor of Playwriting at Michigan State University.

Anthony Fitzgerald (MA) completed his PhD at UCLA (2013) and is an Adjunct Professor working in the LA area.

Kulthida Maneerat (MA) earned her PhD. in Asian Theatre Studies at University of Hawaii, Manoa and is teaching at Chulalongkorn University in Thailand.

Carla Melo (MA) completed her PhD at UCLA and is on the faculty of Theatre teaching Theatre and Performance of the Americas at Arizona State University.

25 Jamie Taylor (MA) completed his PhD at Florida State and is Department Chair of Theatre at Rhode Island College.

BA Graduates

Yvette Alawerdjian (BA – Dance option) dances with Hae Kyung Lee and Dancers.

Katrina Alexy (BA – Theatre option) is a visual artist with work throughout California. She’s been artist in residence and guest artist at the Fowler Museum, Norton Simon, Metropolitan State Mental Hospital, Craft and Folk Art Museum. Her permanent public artworks can be seen in various parts of Los Angeles.

Debbie Sue Buck (BA -Theatre option) is Assistant Principal at Fernando R. Ledesma High School.

LaRika Clark (BA - Dance option) recently sold her first dance studio in Arizona.

Grant Cornish (Theatre option) is working as a stage technician in Los Angeles.

Aaronda Dent (BA -Theatre option) was the Production Office Intern for the L.A. Opera.

Demi Dustman (BA - Dance option) is working as a dancer with Euro Disney,

Ferlyn Fonseca (BA - Dance option) has started her own dance company: 3 Be3ts Dance Company.

Daiana Koren (BA - Dance option) is working in New York teaching dance to youngsters.

Mu Larsen (formerly Mary Tomlinson) (BA - Theatre option) has completed her Master's Degree in Traditional Chinese Medicine and her Acupuncture License at Yo San University of Traditional Chinese Medicine. She is a professional masseuse and acupuncturist in the Santa Monica area.

Lauri Lynch (BA - Theatre option) is an MFA student in Contemporary Performance at Naropa University.

Fiely Matias (BA – Dance Option) dances with Alvin Ailey Company and in musicals on Broadway.

Claudia Medina (BA - Dance option) teaches elementary school.

Amelia McKendry (BA - Dance option) is working at CBS Television station.

Leslie Moreno (BA - Theatre option) is a working actress in musical theatre.

Jeshanah Naranjo (BA - Theatre option) has stage managed in Los Angeles.

Chris Rivera (BA - Theatre option) is stage managing and working as a technician on various film projects in Los Angeles.

Keisha Ross (BA - Dance option) danced with Hae Kyung Lee and Dancers and works at The Music Center.

Eric Shani (BA - Theatre)) recently finished a feature film and is making a living as an actor in Los Angeles.

26 Yuki Uehara (BA - Theatre option) is a bilingual secretary at Toyota Motor Sales, U.S.A., Inc. and is a free lance Lighting Designer.

Crystal Villasana (Dance option) has worked as Stage Management Production Assistant for the Mark Taper Forum.

Dalia Vosylius (BA - Theatre option) is acting, most recently with Pacific Resident Theatre. She also teaches in Santa Monica and owns a line of t-shirts that spoofs the L.A. County restaurant grading system.

Jonathan Williams (BA - Theatre option) earned his equity card performing in CSULA’s equity production of “Eyes For Consuela.” He is a member of Son of Semele, an experimental theatre company in Los Angeles.

Stacey Wilson (BA - Dance option) is an AEA and AGMA Stage Manager. She has worked at the Taper, Luckman, and Geffen Theatres, and is currently on contract with the Los Angeles Opera

Michelle Zamora (BA - Theatre option) is a professional puppeteer working all over Los Angeles in theatre and film.

MA Graduates

Will Ahrens (MA) is a faculty member at Pasadena City College.

Brian Brophy (MA) completed his MFA in playwriting at UC Riverside and a Fulbright in India. He teaches in Los Angeles and is working on completing his PhD.

Jacey Erwin (MA) completed her PhD at UCLA and is teaching in several colleges and universities in Los Angeles.

Chen Fan (MA) is an account manager with Dutch company EMG in their Shanghai office.

Joshua Fleming (MA) is a faculty member at Pasadena City College.

Steven Forleo (MA) is Professor of English at the Community College of Rhode Island.

Lindsey Ginter (MA) teaches and works as an actor in film, television and stage.

Christopher Goodson (MA) is in he second year PhD program in Theatre at University of Washington.

Rena Heinrich (MA) accepted to PhD program at UC Santa Barbara beginning in Fall 2013.

Royce Heron (MA) is a faculty member at Glendale Community College.

Brad Lemack (MA) is owner and president of Lemack & Company Public Relations/Talent Management and Ingenuity Press USA. He’s an adjunct faculty member at Emerson College, Los Angeles Center and working on a new edition of his book “The Business of Acting” and a web series on the business of acting.

27 Jill Lincoln-Brennan (MA) had a recurring role, Gracie Jane, on “Boston Legal,” and has had recurring roles on “Desperate Housewives,” and “The Gilmore Girls.” She is in the feature, “Hancock.” She teaches acting at APU University.

Kristi Messer (MA) completed her PhD in Theatre in Education at NYU.

Heidi Miller (MA) is completing her dissertation for her PhD in Theatre and Performance Studies at UCLA.

Janet Miller (MA) is teaching at CSULA, Cerritos and LA Valley Colleges. She works as a director and choreographer in Los Angeles. Her choreography for “The Marvelous Wonderettes” won Los Angeles Drama Critics and Back Stage West Garland awards and is slated for Off Broadway.

Roxanna Sanchez (MA) is a resident playwright for East Los Angeles Repertory Theatre and teaching part- time.

Selene Santiago (MA) is a Directress/Producer/Writer, a co-founding Teatrista of Tongue in Chíc *and, a stage-art performance group and Managing Director of CASA 0101 in Boyle Heights.

Pervis Sawoski (MA) is Chair of Theatre Arts at Santa Monica College.

Evan Tamayo (MA) is an Actor/Teacher at Will Geer Theatricum Botanicum

4.7 GE Program SLO Assessment: Assessment methods Data for one key measure; Student satisfaction and; How results are used for improvement in the GE Program courses offered by the Department/School Division. Use the below table to address the items in section 4.7

1. Indicate which GE 2. Describe the 3. Based on the 4. List the SLOs were assessed results: (For results, what classes the since the last Self example, how many instructional, were GE SLO Study and how they students reached made? (If the listed in 1 were measured: what level of findings indicated is proficiency on the a need for addressed: SLOs assessed?) changes.) Theatre and Dance GE courses TA 152 provide students with exposure DANC157, to a myriad of creative DANC/TA/TVF approaches, methodologies, and 210 techniques, and experience in TATVF/ENGL 240 All classes require automatic attending live productions of the TA/TVF 380 essay writing in the beginning of performing arts. The goals of TA 314 each quarter. Most classes are TAD general education courses required to write Performance hone within the students the critiques. In addition to lectures fundamentals of retentive and group discussion there are reading; active listening; public also cohort learning groups and speaking in presentations; projects. dialogical interaction in class discussions; research, creative and critical writing; time management, and primary and secondary research approaches.

28 1. The ability to think, speak, Not Assessed N/A N/A and write clearly and effectively, and to communicate with precision, cogency, and rhetorical force

2. An informed acquaintance Not Assessed N/A N/A with the mathematical and experimental methods of the physical and biological sciences, and the historical and quantitative techniques needed for investigating the workings and developments of modern society.

3. An ability to address culture Not Assessed N/A N/A and history from a variety of perspectives.

4. Understanding of, and Not Assessed N/A N/A experience in thinking about, moral and ethical problems.

5. The ability to respect, Not Assessed N/A N/A understand, and evaluate work in a variety of disciplines

6. The capacity to explain and Not Assessed N/A N/A defend views effectively and rationally.

7. Understanding of and Not Assessed N/A N/A experience in one or more art forms other than theatre

29 5.0 Department Faculty

INITIAL (1) EMERGING: DEVELOPED (3) HIGHLY Progress | PROGESS MADE DEVELOPED (4) Stage Element (2) No evidence of Evidence for Evidence for There is a range of instructional instructional instructional evidence for excellence is excellence is scant excellence, is found instructional presented for many of the excellence. program faculty. Program faculty have A minority of program A majority of program Campus and Program a meager track faculty is engaged in faculty is engaged in professional peers for Faculty record in their record scholarship, scholarship, active engagement in Engagement in of professional research, and research, and publications and Educational achievement. creative activities as creative activities as scholarship generally Performance, evidenced by their evidenced by their recognize program Professional record of professional record of professional faculty. Achievement, achievement. achievement and and awards. Contributions Little evidence for A minority of faculty A majority of faculty The whole faculty (5.0) participation in participate in shared members participate participates actively shared governance governance and/or in shared governance in shared governance and service to the provide service to the or provide service to and provides service discipline and discipline and the discipline and to the discipline and contributions to the contributions to the contributions to the contributions to the greater community greater community. greater community greater community. are weak. Faculty distribution Faculty distribution Faculty distribution Faculty distribution across the fields of across the fields of across the fields of across the fields of the discipline is the discipline the discipline the discipline informed by historical informed by informed by informed by assignments without perceived curricular comparison to peer comparison to peer consideration of needs, not results of institutions or by institutions, evolving curricula. outcomes results of outcomes disciplinary trends assessment or a assessment. and results of review of peer outcomes institutions. assessment.

Faculty Temporary/adjunct Temporary/adjunct All upper All courses are Utilization faculty teach a large faculty teach a division/graduate taught by within a portion of courses significant portion of courses are taught by tenured/tenure track across the courses mostly in the tenured/tenure track faculty or highly Program (5.0) curriculum. lower division. faculty or highly qualified qualified Temporary/adjunct temporary/adjunct faculty current in the faculty current in the field. field. There is no evidence There is little Graduate teaching Graduate teaching for training of evidence for training associates (if utilized) associates (if utilized) graduate teaching of graduate teaching are trained before are well trained associates (if utilized) associates (if utilized) they can be the before they can be before they can be before they can be instructor of record. the instructor of the instructor of the instructor of record. record. record.

30 Here evidence is presented to determine the effectiveness of the faculty in all aspects of University life: instructional, scholarly activity and University service. If a Department Self Recommendation is for hiring more faculty, these sections (in conjunction with sections for curriculum and assessment) should provide evidence that the current faculty is lacking in important areas to achieve program SLOs.

As we move toward semester conversion and analyze the program outcomes, redefine the SLOs and its content, we will undoubtedly find the areas in which we are significantly lacking the faculty needed to deliver the material.

At first glance, it seems clear that we are lacking in instructors of dance techniques for the electives and required courses.

With the new concentration in Design & Production, and the loss of a Design faculty to retirement, we are in need of full time Technical faculty mentors for the design & production area.

All of these hires will hopefully be able to deliver our required courses, a variety of electives in the theatre and dance areas, teach the M.F.A. program and G.E. courses while at the same time growing the Theatre and Dance area into a healthy thriving degree program.

5.1 Student opinion surveys This section uses the information in Appendix L to describe student satisfaction with different aspects of the Department/School/Division’s instructional faculty. A brief discussion of the strong points and weaker areas should be present. SOP from FALL surveys 2004, 2005, 2006 – TAD Courses against College /University Data available is for TAD only – no separation by option. 1. The INSTRUCTOR clearly defined the course requirements. TAD has been below the college/ University mean 2. The SYLLABUS clearly outlined the course requirements and grading criteria. TAD has been below the college/ University mean 3.The INSTRUCTOR clearly presented the subject matter. TAD has been below the college/ University mean 4. The READING MATERIAL, including the textbook, served well the purpose of this course. TAD has averaged below the college/ University mean 5. The examination QUESTIONS were a good measure of the material presented in the course. TAD has been below the college/ University mean 6. The instructor ADMINISTERED and SUPERVISED the examinations appropriately. TAD has been below the college/ University mean

31 7. In general, INFORMATION about how well I was doing was readily available. TAD has been below the college/ University mean 8. In general, the INSTRUCTOR was ACCESSIBLE to provide requested help in the subject. TAD has been below the college/ University mean 9. The INSTRUCTOR INTERACTED with students in ways that were free of racial prejudice or discrimination. TAD has been below the college/ University mean 10. I would RECOMMEND this INSTRUCTOR to others. TAD has been below the college/ University mean 11. How would you rate the instructor's OVERALL TEACHING ABILITY? TAD has been below the college/ University mean

SOP from Fall surveys 2007, 2008, 2009, 2010, 2011 – SOP evaluation ratings were changed. 1. The course syllabus clearly stated course objectives, requirements, and grading criteria. TAD has averaged at the college/ University mean 2. The readings and assignments contributed to my understanding of the subject. TAD has averaged slightly above the college/ University mean 3. Exams, projects, papers, etc. were good measures of the course material. TAD has averaged slightly above the college/ University mean 4. The instructor provided timely feed back about my performance in the class. TAD has averaged slightly above the college/ University mean 5. The instructor clearly presented the subject matter. TAD has averaged slightly above the college/ University mean 6. The instructor was well prepared. TAD has averaged slightly above the college/ University mean 7. The instructor demonstrated knowledge of the subject matter. TAD has averaged slightly above the college/ University mean 8. The instructor was accessible to provide requested help in the subject. TAD has averaged slightly above the college/ University mean 9. The instructor was respectful and unbiased when interacting with the students. TAD has averaged slightly above the college/ University mean 10. The course contributed to my intellectual growth and/or helped me develop useful skills. TAD has averaged slightly above the college/ University mean 11. Overall the instructor was an effective teacher. TAD has averaged slightly above the college/ University mean

32 5.2 Trends in percent of courses taught by faculty rank This section uses the information in Appendix M to determine if the classes in the Department/School/Division are taught by appropriately qualified faculty. See the rubric element “Faculty Utilization” for evaluation criteria. A brief discussion to justify appointments or to request hires in areas may be present. Based on the data from Appendix H – Matrix of Courses and Instructional Modes and Appendix K – Faculty Composition, we will be in need of new faculty for the Dance Education and Service courses. Dance Elective courses are in need of instructors. These could be filled a new tenure-track hires or increase in budget for Adjunct/ Teaching Associate hires.

Theatre instructors as mentioned are stretched across General Education, Service courses, Major courses, MA classes, and MFA with the TVFT classes. Although more training with our graduate students will develop new Teaching Associates for our lower division courses, the Upper division elective courses must have Adjunct hires, which will require increased Budget allotments.

5.3 Faculty scholarly activities This section describes the activity of the Department/School/Division faculty as scholars over the past five years. Some note should be made of emerging areas that will require expertise or traditional core areas where expertise may be lacking. Evidence to support these arguments should be drawn from the summary vitae. Some updates have been added for the 2016 revision.

González, José Cruz: Professor of Theatre. Current Playwright-in-Residence to South Coast Repertory Theater Company and Childsplay, Associate Artist for Cornerstone Theater Company. Playwright commissions from South Coast Repertory (CA), Core Ensemble (FL), Metro Theater Company (MO), PCPA (CA), Childsplay (AZ), Dramatic Publishing (IL). Recent publications: Manzi (The Adventures of Young Cesar Chavez (Lion and Seagoat Press); Gasp, Farrah & Monster (Dramatic Publishing); Odysseus Cruz (Playscripts, Inc). Article: “Chasing the Sun” – American Theater Magazine. Literary/Theatre Consultant for: Center Theatre Group, Ecodrama Playwrights Festival, Write Now, Childsplay, and Native Voices at the Autry.

Graham, Paul Stuart: Professor of Theatre. Current General Manager for Los Angeles Theatre Center. Member of Theatre Communications Group, The Drama League, Association of Arts Administration Educators, Los Angeles Stage Alliance, Academy for New Musical Theatre, Los Angeles Speaker: 2011 Beverly Hills/ Hollywood NAACP 4th Annual Theatre Festival, Los Angeles Theatre Center, Los Angeles, CA “Careers in Arts Management: Leadership for the 21st Century Panelist: 2010 National Arts Marketing and Development Conference, Southern California Arts Marketers Conference, Millennium Biltmore Hotel, Los Angeles, CA “Making Pricing Decisions for the 21st Century”

Greenburg, Meredith J.: Professor of Theatre. Professional Stage Manager – member AEA, AGMA (Actors Equity Association, American Guild of Musical Artists) Current contracts with L.A. Opera, Los Angeles Philharmonic and Mattel, Inc. Professional mentor for the Stage Management Mentor Project through the United States Institute for Theatre Technology.

Hatfield, James A.: Professor of Theatre. Member on governing board of ATHE (Association for Theatre in Higher Education) Presentations: WACRA ACT 10 (World Association for Case Method Research & Application) Creative Teaching conference. 2007 ATHE and NAPAT (National Partners – American Theatre) 2010-12

Herrera, G. Shizuko: Professor Emeritus, Faculty Early Retirement Plan - current former board member for the Kennedy Center/American College Theatre Festival, Region 8, KCACTF Design Coordinator , Circuit 3; National Stage Management Fellowship Coordinator Region 8

Kane-Parry, Tanya: Professor of Theatre. Member of AGMA (American Guild of Musical Artists) and Association of Ibero- American University theatres Taught Viewpoints workshops at University of Uberlandia, Brazil. 2011 and at ImprovFest, Los Angeles for professional dancers and performers 2008-10 Assistant Director on productions with: Houston Grand Opera; Opera National De Bordeaux, France; Los Angeles Opera Artistic Director: Opera Del Espacio 2010 - current

Larkin, Theresa: Professor of Theatre. Performance Lecture/Workshop/Dialogue: “VISMS: A Paradigm of Performance Philosophy, Praxis, and Peaceful Artivism” for 19th Annual Pedagogy and Theatre of the Oppressed Conference. Miami University, 2013. Conference Presentation/Dialogue: 'Directing Culture, Conflict, and Compassion in 21st Century Theatre: The Art of Conceptualized Context and Compromise'. ACTF 2013, Los Angeles Theatre Center. 2013. Producing Artistic Director: The Artists’ Collective, A California Non-Profit Corporation: 1991 - Present.

Lee, Hae Kyung: Professor of Dance. Choreography: Entre La Lumiere, Tanzwoche Dresden Dance Festival, Dresden, Germany. 2012 Transformación, Korea International Dance Festival, Busan & Seoul, Korea. 2011 Odisea, Einrichtungszeiten im Theatrer Kleines Haus des Staatsschauspiel Dresden, Germany, 2010 Grants: 2012 - City of Los Angeles Department of Cultural Affairs Grant, 2010 - National Endowment for the Arts Grant

Mason, Susan Vaneta: Professor Emeritus of Theatre. Faculty Early Retirement Plan - current Fulbright lecturer: American Theatre, Tsuda College and Kyoritsu University, Tokyo Japan 2009. Articles and Conference Papers: "The Presence of Absence: What isn't the Apple Family Talking About?" American Literature Association, Boston 2013. “Regenerating Grace: Sweet and Sad and the Poetics of Noh.” Crossing Borders Conference. Flinders University, Australia 2012. “Milagros and Fields: José Cruz González’s Salinas Valley Plays” American Literature Assoc, San Francisco 2010. “Verfremdungseffekt in A Doll’s House.” International Ibsen Conference. Shanghai 2009.

Odhiambo, Seonagh: Professor of Dance. Forthcoming publications: (2014) “Art of Engagement: Dance, Movement and Identity,” Chapter in Hybrid Lives of Teaching Artists in Dance and Theatre Arts: A Critical Reader (Cambria Press) Invited Publications, Performances, Lectures: (March, 2012) Headline Event) Bodies of Water. Downstream: Reimaging Water. Emily Carr University: Vancouver, Canada. (Choreographer & Lecturer) Paper Presentations: (2011). "Dancing Water: Healing the LA River through Dance," Society of Dance History Scholars. Toronto, ON.

Rothman, Stephen: Professor of Theatre. Member Stage Directors and Choreographers (SDC), Directors Guild of America (DGA), Association of Theatrical Press Agents and Managers (ATPAM) Sabbatical – Directed BETRAYAL for the Florence International Theatre Company, Florence, Italy, 2008 Directed world premiere LEAP YEAR and ACCOMPLICE for Shakespeare and Company, 2012; THE ADVENTURES OF PINOCCHIO for Deaf West, 2011, and HAIR for University of Wisconsin, Madison, 2009.

34 5.4 Faculty Service to the University. This section summarizes the involvement of the faculty in serving the University. Evidence to support these arguments should be drawn from the summary vitae González, José Cruz College - Resource Allocation Advisory (RAAC), Retention, Tenure, Promotion Committee A Department - TVFT MFA Dramatic Writing Committee and TVFT MFA Lines/Budget Task Force, Mission, Vision and Strategic Planning Committee (Chair), RTP B Committee, TA/TVFT MFA Admissions and Candidacy Committee, TVFT MFA Dramatic Writing Admissions Subcommittee, Associate Chair, TAD, Operations Committee, Graduate Curriculum Committee, TAD Scheduling Committee, John Lion New Plays Festival Selection Committee, Search Committee for Chair of the Music, Theatre and Dance, RTP A Committee (Chair), MTD Faculty Affairs, Adjunct Applicant Review

Graham, Paul Department – Adjunct Applicant Review, RTP Committee B; TAD – Operations; IMFA - information/Publicity/Marketing Working Group: Paul Graham

Greenburg, Meredith University – Fiscal Policy Committee College - RTP B Department – TAD ISAC, TA/GA Applicant Review, MTD Faculty Affairs, Season Selection and Production Committees, Department RTP committees, Production Manager for Department of MTD and for the Theatre area of the M.F.A, MFA Production committee, MFA Projects committee, MFA Curriculum sub-committee for Production

Hatfield, Dr. James A University – Academic Senate 2011 – present, University Curricular, 2012 College - College Chair’s Council 2008-11, Curricular Committee 2008-10, Director of Production & Technical Services 2008-11 Department – Season 2008-11

Herrera, G. Shizuko University – Academic Senate, Academic Information Resources Comm, Fiscal Policy, Campus Physical Planning College - RTP A, RTP B Department - Associate Chair (MTD), RTP A, TAD ISAC, Scholarship

Kane-Parry, Tanya Department – Policies & Procedures

Larkin, Theresa University: Risk Management & Safety College: WASC Educational Effectiveness Department: Program Review Edit Subcommittee; Season/Production; MTD Mission Statement Subcommittee; MFA Acting Application Review; MFA Policy and Curriculum; Policies and Procedures; Curriculum; RTP A Chair / RTP B / Part-Time (Adjunct)

Lee, Hae Kyung Department – Adjunct Applicant Review, TA/GA Applicant Review, RTP B, MTD Faculty Affairs

Odhiambo, Dr. Seonagh University - University Student Union Board - Fall 2012; Institutional Learning Outcomes – MTD Liaison 2009-2010 College - Instructional and Student Affairs – current Department - MFA Curriculum Subcommittee – current, Scholarship

Rothman, Stephen University - Urban Studies Theme Coordinator College - ARTP A, ARTP B Department – ARTP A, ARTP B, MFA Program Acting Cohort Admissions, MFA Steering Committee, Policies & Procedures

6.0 Student Engagement, Outreach and Recruitment INITIAL (1) EMERGING: DEVELOPED (3) HIGHLY Progress | PROGESS DEVELOPED (4) Stage Element MADE (2) Almost no students Very few students Some program Large numbers of are involved in high- are involved in high- students are actively program students are impact activities impact activities engaged in high- actively engaged in (clubs, service (clubs, service impact activities high-impact activities Student learning, or research learning, or research (clubs, service (service learning, Engagement with faculty). with faculty). learning, internships, internships, research Program lacks Program lacks research with faculty, with faculty, or and Learning culminating culminating or learning learning Experiences experience that experience that communities). communities). (6.0) allows integrative allows integrative Program has a Program has a learning. learning. culminating culminating experience but it may experience that not allow integrative promotes integrative learning. learning.

6.1 Description of activities This section summarizes the types of engagement, outreach, recruitment and retention activities in which the Department/School/Division engages.

The University used to sponsor “Transfer days” at our local feeder Community Colleges: Pasadena Community College, Rio Hondo College, LA Valley College, El Camino College, East Los Angeles College, etc. Although faculty volunteered to attend these events, the University no longer sets up these outreach activities with the Community colleges and faculty do not have resources to do this themselves.

For the last several years students have been given the opportunity to engage in outside professional activities for majors and NON-majors. Students have been given tours of the Music Center, including: Mark Taper Forum, Ahmanson Theatre, the Dorothy Chandler Pavilion, and the Disney Concert Hall. They have met with stage managers, technical directors, artistic administrators and technicians in all of the venues.

Students have also worked alongside faculty on many outside productions, special events and Galas, including at the Hollywood Bowl as production assistants for summer Musicals, and as technicians and assistants for the Music Academy of the West Gala Cabaret production

November 2007: The L.A. Poverty Department’s (LAPD) collaborative creation and performance of UTOPIA/DISTOPIA included CSULA undergraduates students along with contemporary artists and homeless people living on Skid Row.

January 2010: Since the formation of the company of Opera del Espacio undergraduates, graduates and alumni of the Theatre and Dance programs have been actively involved in the creation of new performance work that has been presented at many locations in the L.A. area. The company has performed (March - April 2010) Downtown Art Walk and Brewery Art Walk – improvised dance and performance. (May - July 2011) Series at The Standard and Meet Me @ Metro II– new dance/performance. (April - Sept 2012) Cal State L.A., free performances; Bootleg Theatre (Silver lake); Cal Poly Pomona; Hollywood Fringe festival: -and a new environmental play: The Way of Water. Aug/Sept 2012) Meet Me @ Metro III – site-specific performances.

Winter Qtr 2012 – TA 402 – Children’s Theatre Tour – involved 22 students and performed at 5 Elementary Schools and at the new East Los Angeles Public Library. In total over 1500 children saw the production: Wondrous Tales of Old Japan.

Every year DANC 483 – University Dance Ensemble Tour – goes to local high schools and this year our students performed at Los Angeles City College and the Dance students from LACC came for a Dance Concert.

In 2016, we hosted the American College Dance Association Baja Regional Conference. It was well attended with over 450 faculty and students from 30 colleges/universities. Students were able to attend Four Adjudicated Concerts presenting 47 dances, three Informal Concerts presenting 27 dances, and participate in 83 technique/movement classes, plus three Master classes and two site-specific workshop/classes.

6.2 Effectiveness of activities This section summarizes the effectiveness of these activities. Data for overall recruitment can be found at the “Applicants by Ethnicity” button for the program at the Data Site for Program Planning. Retention data can be found at the same site. No Data on these activities.

37 7.0 Program Self-Recommendations

Here the program proposes recommendations for program improvement (increasing student learning, graduation rate, etc.) using the information provided above. Implementing these recommendations should be a significant part of the Five-Year Plan in the following section. Five Year Plan INITIAL (1) EMERGING: DEVELOPED (3) HIGHLY Progress | Stage PROGESS MADE DEVELOPED (4) Element (2) No student factors Student factors Some student factors Multiple student discussed in plan. mentioned but not based on trends are factors based on No documented used to inform described. trends are described planning in the planning. Limited Preliminary planning and used in planning. areas of planning in the areas in the areas of Specific plans in the Student Factors curriculum, of curriculum, curriculum, outreach, areas of curriculum, (including outreach, outreach, scheduling, scheduling and outreach, scheduling, SLOs) scheduling, and and student retention student retention are and retention are student retention. is documented. documented. discussed. Inadequately funded programs also show planning to meet students’ needs. No discussion of Limited discussion of Preliminary analysis Detailed analysis of resource adequacy of of adequacy of resource adequacy adequacy. No 5- resources; no resources for 5-yr for the 5-yr period. Resources yr planning for resource planning for period. Needs are Identify needs based resources. a 5-yr period. identified but not on program priorities based on program using data. priorities or data. No action plan or Partial action plan Preliminary action Full plan includes: timeline included. and brief timeline plan included. May specific actions or included. include revised changes to be taken Action Plan and curriculum, timeline (e.g. revision of for task, curriculum, timeline Timeline person/committee. for task, responsible, and person/committee cost). responsible, and cost). No discussion of Limited discussion of Discussion of faculty Explicit planning for faculty trends that faculty trends trends. Preliminary program affect program (program planning for program development based development; no development, development as on faculty Faculty Issues planning is recruitment, affected by faculty recruitment/ evident. retention) based on recruitment/retention/ retention/needs. anecdotal evidence. needs. Supporting data used in planning. No discussion of Limited discussion of Discussion of faculty Explicit planning for faculty trends that faculty trends trends. Preliminary program affect program (program planning for program development based development; no development, development as on faculty Faculty planning is recruitment, affected by faculty recruitment/ Utilization evident. retention) based on recruitment/retention/ retention/needs. within a anecdotal evidence needs. Supporting data used Program in planning Faculty Faculty distribution Faculty distribution Faculty distribution distribution across across the fields of across the fields of across the fields of the fields of the the discipline the discipline the discipline discipline is informed by informed by informed by

38 informed by perceived curricular comparison to peer comparison to peer historical needs, not results of institutions or by institutions, assignments outcomes results of outcomes disciplinary trends without assessment or a assessment. and results of consideration of review of peer outcomes evolving curricula. institutions. assessment. Temporary/adjunc Temporary/adjunct All upper All courses are t faculty teach a faculty teach a division/graduate taught by large fraction of significant fraction of courses are taught by tenured/tenure track courses across courses mostly in the tenured/tenure track faculty or highly the curriculum. lower division. faculty or highly qualified qualified temporary/adjunct temporary/adjunct faculty current in the faculty current in the field. field. There is no There is little Graduate teaching Graduate teaching evidence for evidence for training associates (if utilized) associates (if utilized) training of of graduate teaching are trained before are well trained graduate teaching associates (if utilized) they can be the before they can be associates (if before they can be instructor of record. the instructor of utilized) before the instructor of record. they can be the record. instructor of record. No assessment An assessment plan Assessment plan is Faculty are engaged plan in place. is evident, but in place and with continual Assessment does assessment does not assessment occurs implementation of the not occur on occur on regular somewhat regularly. assessment plan. regular basis. basis. Findings are Findings are Findings are Findings of sometimes reviewed. reviewed and some systematically assessment are One or two changes changes are made reviewed and Use of Evidence not reviewed or have been made to based on evidence. changes are made to analyzed. No program based on Little evidence that program based on changes are data/evidence. changes lead to data and evidence. made based on improved student There is evidence evidence. learning. that changes lead to improved student learning. Self-Study is Broader faculty input, Full participation of Faculty-driven compiled primarily but process is appropriate faculty; process; Faculty by program head compartmentalized; process collaborative committee organizes with limited faculty college at department level and implements the input. Faculty administrators with engagement of PR review process; attitude of PR provide feedback to college collaborative Faculty process is one of process. Culture administrators; involvement with Involvement in compliance. created by faculty culture of “by faculty, College and Self-Study that views PR for the use of faculty”. University process as a vehicle administrators; PR for process is an integral improvement/change. component of program’s operations. Report is self-reflective.

One of the purposes of Program Review is to develop plans for change and improvement in order to maintain leadership in the respective fields of academia. Therefore, each Department/School/Division will develop a plan that describes what the unit intends to do during the next five years. Development of this plan should benefit those units applying for new tenure-track positions or space by providing specific data to support these requests. The Five-Year Plan will address the recommendations and concerns identified in the Self- Study Report. The plan should take into account what the department has learned from its

39 outcomes assessment process. After receiving the external reviewer's report, the department should either amend the plan to comply with the recommendations of the external reviewers or explain why no amendment is necessary. In forming this plan, the program should address the following four areas (the questions are provided as guidelines): 7.1 Curriculum What curricular changes do you envisage during the next five years? What developments are likely to cause you to change the curriculum? A major BA Program Modification and an MA Program modification was submitted a few years back. But with the change in Administrations: Deans, Chairs, Department mergers, and semester conversions, the program modification was halted at the Associate Deans office. Currently the Theatre Arts and Dance curriculum committee has had discussions on a new Production and Management option. This would involve some changes in the program core. Course Modifications have been approved at the department level and have been forwarded and hoping for a timely approval from College and University committees. The Theatre area is also investigating NAST accreditation requirements. A NAST consultation visit occurred in 2015 and TAD considered much of his recommendations. Since then we have modified our initial Semester conversion programs from 68 down to 53 semester units. All Revised TAD programs (Performance, Design & Production, and Dance) have been accepted at the College level and have moved forward and are awaiting University approval. As we are modifying our Roadmaps, we are finding some course modifications will be needed, especially in our new option in Design & Production. Also with the loss of technical faculty and the non renewal of previous faculty lines, both Performance and Dance may also need some modification for continued success. The Dance area is also considering accreditation with the National Association of Schools of Dance and may need some modifications.

7.2 Students Do you see the number of majors increasing or decreasing during the next five years? Will those students be similar to those currently pursuing your major, or do you expect to serve different types of students? We are anticipating an increase in our technology-interested students. We have had a number of students who have proven ready to design or take on larger stage management assignments. A few students have taken the initiative to design/ stage-manage at outside professional venues, but there is a need for increase in adjunct funding or replacement of faculty lines. The Dance option enrollment will NOT increase unless there is increase in funding for new/replacement faculty lines. The MA enrollment will NOT increase unless there is increase in funding for new/replacement faculty lines. This increase will allow more classes to be offered and more active recruitment policies/activities are pursued.

Will career opportunities open to your graduates change during the next five years? How will your program adjust its curriculum and program practices to prepare students for those opportunities? A number of MA graduate students have been involved in dramaturgy. This is an anticipated area, which will open new opportunities for dramatic criticism, research on new work, and new play development. Opportunities exist to have dramaturges on every production. However the continued offering of the Dramaturgy class is in jeopardy without increased funding.

Do you expect your total enrollment to increase or decrease during the next five years?

40 Theatre and Dance enrollment will NOT increase unless there is increase in funding for new/replacement faculty lines. MA enrollment will NOT increase unless there is increase in funding for new/replacement faculty lines. Active recruitment must be implemented.

Are changes needed in the student learning outcomes? How will you assist students in attaining those goals during the next five years? Curricular design had evolved based on particular professors’ interests and areas of expertise. Some of those key faculty hires have moved on or retired since these curricular designs were implemented. The TAD program updated its Student Learning Outcomes for the Semester conversion. To better prepare our students to become citizens of the world, a professional portfolio training class is still needed and the continued use of technology into stagecraft and design classes.

What are your specific plans in the areas of curriculum change, outreach, scheduling, and retention to increase student enrollment? Outreach should be reinstated from the University/ College level with staff support for contacting our feeder community colleges, High school tours, and reaching out to the local neighborhood communities for subscriptions. As the University SSP Academic advisors become more familiar with the various department programs and take on the full mantle of advisement for both GE and major information, our students will be better able to complete their programs in a timely manner. With the reduced major program units, recommendations from department faculty on the Free Elective courses will be influential in shaping the student’s career development.

If your program has inadequate resources to serve your students, what are your plans to meet their needs? Due to the furloughs that occurred in 2007, the financial support in the CSU has dramatically reduced the progress of resource allocation. Technological innovations have been planned for and some retrofits have been implemented in the two main performing venues but other upgrades are needed for the Arena theatre and classroom technology support. With the loss of the faculty hire in Technology and other senior faculty due to retirement, the new option in Design & Production may have to be retooled to utilize the current faculty strengths. The additional Music programming needs, will require more technical staff support in the scenery and costume areas.

7.3 Faculty. What changes do you foresee for department faculty? What does the University need to do to maintain the current high quality of faculty? Do you anticipate that you will be requesting new regular faculty members? If so, what will be the basis for these requests? Recruitment of faculty has been according to the funds available for faculty hires. The new lines for faculty are not being added and the department is being diminished considerably in terms of pedagogical and production support, actual funding for faculty lines, and our graduation rates have been significantly affected due to the lack of core values in the training of the arts of theatre and dance, and the ability to offer courses within a timely manner, thereby facilitating student goals of graduating in a timely manner.

There is little plans for the replacement of retiring and transferring faculty. The Dance area has lost a faculty to retirement whose area was Dance Education and General Education. Funding restrictions have resulted in reduction of Adjunct faculty available to teach electives courses in both Dance and Theatre options. There

41 has been two Theatre FERP faculty, who have completed their contracts and another anticipated in the upcoming years. There have been no discussion on replacing these lines which cover: Theatre for Youth, Theatre Education, Development of World Theatre, Dramaturgy, Research and Writing for BA and MA, Stagecraft in Scenery, Lighting, Costumes and Makeup, Design for Costumes, Scenery and Lighting.

7.4 Resources. Will your current level of resources (staff, equipment, library resources, travel funds, etc.) be adequate to permit the maintenance or improvement of program quality during the next five years? Identify needs based upon program priorities. University funding for Graduate conference attendance is very limited and highly competitive. We will need more funding to offset costs for such events as more of our Graduate students have expressed interest in presenting papers and conference participation. We have requested IRA funds to cover travel costs for both theatre and dance conferences. Continued funding for Faculty Development must be maintained. We also need the completion of the renovations to the theatre building for upgrades, especially the dressing rooms, makeup room, and the costume shop laundry area. The backstage areas of the Theatre building are deteriorating to the point of becoming a health and safety issues. These concerns have been reported to the University but with no resolve at this time.

42 Appendix A. Reports from Previous Program Reviews

CALIFORNIA STATE UNIVERSITY, LOS ANGELES PROGRAM REVIEW SUBCOMMITTEE Summary Report of the Department of Theatre Arts and Dance Bachelor of Arts in Theatre Arts and Dance (modified in 1996) Option in Dance and Theatre Arts (modified in 1996) Minor in Theatre Arts and Dance (modified in 1996) Master of Arts in Theatre Arts (modified in 2003)

May 2005

This report is based on the Department's "Program Review Self-Study Document for the Department of Theatre Arts and Dance" dated September 2, 2004; the "Report of the External Reviewers" dated October 26, 2004; the Program Review Subcommittee 's "Questions for the Department of Theatre Arts and Dance" dated January 13, 2005; and the Department's "Response to Questions" dated February 1, 2005.

I. Overview of the Field Please refer to the Self-Study document for information regarding the overview of the field.

II. History of the Program Since the Last Program Review The Department' last program review was in 1999. The Department has responded to several of the recommendations from the last review. The following are the recommendations that were addressed and met:  The Department worked with the Dean to develop a plan to improve the research rigor and writing skills of its graduate students. The Department has implemented a three-member committee to read theses and projects with great care to insure that candidates meet the highest standard of academic scholarship.  The Department created a recruitment/staffing plan to meet the current full-time faculty needs at both the undergraduate and graduate levels, and submitted it for approval to the Dean. The Department has been very successful in developing a logistic plan to hire additional faculty over the past three years.

Efforts by the Department since the last program review to address the following recommendations have not fully materialized and/or have not been successfully addressed:  The Department continues to develop and implement programmatic assessment procedures. The Department has begun to examine the criteria of becoming accredited by the National Association for Schools of Theatre (NAST). The Department has developed an assessment planning committee that will review the standards to meet this accreditation board’s requirements. The Department still has not developed a systematic programmatic assessment procedure.  The Department should continue to monitor the impact of their "process," grading approach on the program. The Department continues to monitor the effects of the "process" grading and some faculty have modified their assessment techniques.

43  The University enters into discussion with the LACHSA to better accommodate the course and rehearsal facility requirements of the Department. A series of discussions took place immediately following the last self-study, but no progress has been achieved in this area. There have been countless meetings between LACHSA and the University, but no amiable solution has been achieved to address the afternoon rehearsal space.  A performance scheduling committee representing the LACH A and the department be formed that meets frequently and is responsible for scheduling of rehearsal and class room space, The Department Chair as well as the production manager meets to produce a yearly schedule with representative from the Dean's Office and the Music Department. The access to classrooms and performance space is still problematic with LACHSA.  The Department hires a shop technical director (faculty or staff position) and a front office/production manager (faculty or staff position) to coordinate the staging activities of the faculty Directors and Choreographers in order to improve the efficiency of performance planning and operations, The Department hired a faculty production manager and has been highly efficient in meeting the Department needs. Department still desperately needs a fulltime faculty technical director.  The University installs new electronic cIassrooms that include the specialized CAD. Multi Media and printing capabilities needed by the emerging curriculum for the Department. The University has not addressed this recommendation to the satisfaction of the Department. The Department strongly agrees with this recommendation and is hopeful that something can be done to address this concern.  The University should not consider the merger of Luckman and Department technical or business operations. The Luckman Center is a professional producing entity with professional unions. The Department is a professional training entity, which prepares students to work for professional organizations. At the current time, each entity has its own goals and objectives that are not congruent with each other.  The Department should seek the appropriate accreditation. The Department has indicated that this is not achievable at the current time. However, the Department is seeking NAST membership and eventually will review the standards necessary to achieve accreditation stature.

III. Program Goals and Objectives Mission statement: The faculty and staff of the Department of Theatre Arts and Dance are working professional and educators committed to providing the best and most complete educational experience for its students. The programs are based on the premise that training in the performing arts develops imagination, critical thinking, problem solving, and communication skills that prepare individuals for all fields. The programs are committed: 1. To developing an environment and programs which encourage student-faculty and faculty- faculty interactions as well as interaction with other departments and which always remain open to changing aesthetic, social, and educational need. 2. To developing curricula, which emphasize embodied practice, drawing on the strengths of both dance and theatre. 3. To developing a program, which crosses the narrow, traditional disciplinary boundaries within the academy and art world so that issues of cultural performance studies inform our thinking, our pedagogy, and our creation of public work.

44 4. To developing a program, which provides students with opportunities to work and interact with visiting professionals through workshops, special classes, residences and/or internships.

The programs are all committed to providing coherent and comprehensive B.A., M. A. and (eventually) M.F.A. curricula, which allow students to develop in the following areas:

1. Specific crafts/skills required or the artist (e.g., ballet, modem dance technique specific movement skills, voice training, acting, directing/choreography, design, etc.). 2. Process drama and/or dance skills, techniques of improvisation, theatre and drama for youth, art education, and outreach which allow students to use their artistic skill, imagination and reflexivity in venues other than traditional performance, and/or to become teachers themselves who actively use the arts in shaping and actualizing their pedagogy. 3. Practical skills which will allow the student/artist to create and produce his/her own work as an artist and an arts manager with an emphasis in developing expression of one's unique voice and/or style of performance, and the business acumen for self- promotion. 4. History, theory, literature, and criticism and their practical application in the development, evaluation, and practice of the performing arts today. The philosophy is that theatre and dance make a significant contribution to the development of each individual student as a person and as a responsible member of society.

The Department goals and objectives: 1. Curricular Goals 2. Multicultural, Intercultural Goals  The Department curricula will emphasize the training, development, and expression of the multicultural and intercultural artist free to explore genres from "classical" to "popular" to "experimental."  The Department will develop liaisons and possible exchanges with other institutions in specifications around the world, which share the Department vision of education and artistic development emphasizing inter-and multi-cultural performance.  The Department will develop opportunities for student and faculty creating new work, the creative revival of “classic" works so they speak to us today: and multi-lingual projects, which speak to diverse communities and constituencies. 3. Outreach Goals and Community outreach: The Department goal is to develop long-term relationships with specific schools, community organizations, and audiences in the surrounding area through touring project/productions, student/teacher internships, community service, and by bringing audiences to campus.  Professional outreach: The Department is committed to developing working relationships with area theatre companies, dance companies, and artists. 4. Production Program Goals

COMMENDATION:  The Department's MA Program has done very well in placing some of its students into excellent doctoral institutions; both the graduate and undergraduate programs have done well in advancing others into theatre and dance careers.

45 RECOMMENDATIONS: Primary Recommendation (The Department should seek assistance from an outside facilitator/mediator to accomplish these sets of recommendations. These recommendations should be submitted to the Dean of the College of Arts and Letters and the Program Review Subcommittee no later than November 10, 2005.)  The Department of Theatre Arts and Dance is recommended to develop a clear mission statement that defines the purpose of the Department.  The Department is recommended to develop measurable goals and objectives that relate to their mission statement.  The Department should develop its own five-year strategic plan that is integrated with the college's Strategic Plan (The plan should be submitted to the Dean of College of Art and Letters by the end of the academic year of 2006). The plan should address the following issues: a. Update of review of the Field b. Faculty recruitment/hiring c. Faculty development d. Technology e. Curriculum and Assessment of student advisement services f. Recruitment of students g. Retention of students h. Ranking of priorities for the Department i. Rationale and justification statements j .Sources of funding h. Timeline for action j. Individuals responsible for accomplishing goals Secondary Recommendation:  The Department should continue to participate in the design of the MFA Program in film, television, theatre, and explore the designing of a degree option in Arts Management (external review)

RECOMMENDATION TO COLLEGE:  College should assist the Department by providing funding for an outside facilitator/mediator in order to accomplish the development of a clear mission statement, which relates to the college mission statement.

IV. Curriculum Content and Structure The Department of Theatre Arts and Dance offers undergraduate programs leading to the Bachelor of Arts Degree in Theatre Arts and Dance, as well as a minor in Theatre Arts and Dance for student majoring in other fields. The Theatre Arts and Dance major includes options in Theatre Arts and Dance. The Department offers a Master of Arts Degree in Theatre Arts. The Department also participates in an Interdisciplinary Studies Minor in Multimedia that enables students to develop interactive, multimedia products.

1. Bachelor of Arts Degree in Theatre Arts and Dance is designed for students who plan to engage in careers that utilize skills in theatre and dance. The major requires a total of 99-quarter units, including Core and Option requirements. The core of 40-quarter units includes courses in theatre arts, dance, and combined theatre and dance. Each option (Theatre Arts or Dance) includes 59-quarter units in required course and electives.

46 2. Minor in Theatre Arts and Dance is designed for students interested in expanding their knowledge in using theatre and/or dance as it relates to their performing careers, technical theatre, history/theory, teaching or related fields in the Liberal Arts. 'The Theatre and Dance curriculum provides a variety of coursework for students preparing for practical performance careers as well as using theatre and/or dance in humanistic multicultural and/or educational setting. A total of 38-quarter unit are required.

3. Master of Arts Degree in Theatre Arts is designed for students who want to apply for PhD programs in theatre, for teachers in secondary education who want to expand their knowledge and experience in theatre, and for students who want to teach theatre in California Community colleges. The program, 45 quarter units, includes five required seminars and two blocks of electives from which students select courses in consultation with an Adviser: one block includes academic classes in Theatre, English, and Communication Studies, and one block includes activity classes in design, acting, children's theatre, and arts management. The capstone experience is the comprehensive exam, thesis, or project.

Besides these offerings, the Department is heavily involved in the general education program teaching two lower division (DANC 157 & TA 152) and three upper division (TA 314, TAD 316 & TA 380) courses.

COMMENDATION: The Department has developed an impressive program, the John Lion New Plays Festival and the Festival Anthology for producing and publishing one act plays written by students in its program.

RECOMMENDATION: Primary Recommendation: The Department is recommended to seek accreditation by NAST and NASD.

Secondary Recommendations: The Department of Theatre and Dance should arrange a retreat where the faculty could begin serious discussion: regarding the direction of the department's curriculum (external review). The Department should incorporate into the production season a public review of each performance that encourages students and faculty and appropriate guests, to consider the production both as process and product (external review).

RECOMMENDATION TO COLLEGE:  The College is recommended to provide assistance to the Department to meet the requirements for NAST and NASD accreditation.

RECOMMENDATION TO THE UNIVERSITY:  The University should appoint a committee consisting of members of the Luckman Center's administration and Chairs of the Departments of Performing Arts (music, theatre and dance with additional faculty from the dance emphasis or other related areas from music, to consider ways the Luckman Center can help the programs to develop their curriculum through master classes with visiting artists, showplace for specific departmental productions. and other ideas that could potentially merge from such a committee (external review).

47  The University should work with the College and Department in developing a working relationship with the Luckman Theatre Complex, to provide an internship for their current students.

V. Assessment of Student Outcomes The Department's Assessment Planning Committee consisted of Jose Cruz Gonzalez, Hae Kyung Lee, Shiz Herrera, and Susan Mason who presented their recommendations to the faculty at large. As such, the recommendations will be reviewed during the 2004/2005 academic year in order to produce a formal assessment plan. At this time the Department does not have an assessment plan.

RECOMMENDATIONS: Primary Recommendation: (should be submitted to the Dean of College of Arts and Letters by the end of March, 2006):  The Department i recommended to schedule regular faculty meetings to address the concerns of developing an adequate assessment procedure to measure learning outcomes of success of current undergraduate and graduate students.

Secondary Recommendation:  The Department is recommended to implement an assessment procedure, which will assess their undergraduate and graduate student outcomes on a regular systematic basis. VI. Faculty At the time of the self-study, the Department had 13 full-time faculty members (9 full professors and 4 assistant professors). Of the 13 full time faculty members, 9 are female and 4 are male. The ethnicity of the faculty is 9 are White, 2 are Latino, and 2 are Asian/Pacific Islander. Distribution of age for the 13 full-time faculty members: 2 are between 31 to 35 years of age, 1 is between 36 to 40 years of age, 2 are between 41 to 45 years of age, 2 are between 46 to 50 years of age and 6 are between 51 to 60 years of age.

COMMENDATIONS: Members of the Department have involved themselves in the rich theatrical life of Los Angeles and have thus contributed to enhancing the reputation of the Department and University. The Department has made some successful and impressive hires.

RECOMMENDATIONS:  Hire a technical director who would expand the expertise in the technical curriculum of the program (external review).  Hire a faculty member in dance (perhaps dance history/theory area), in a senior level position to be considered as an associate chair appointment in the Department of Theatre Arts and Dance. The primary reason for this hire is to provide the necessary authority to help the current dance faculty develop their curriculum (external review).  The Department should explore the addition of dance or physical theatre professional to the Presidential Performance Scholar Program to enhance the development of a relationship between theatre and dance (external review).  The Department is recommended to review the cohesiveness of the theatre faculty and dance faculty to ensure that the needs of each of these options are being met.

48 VIII. Student Body In the Fall of 2003, there were 104 undergraduate majors (average of 86.3 students per year over the past six years), and 30 students in the MA program (average of 25.5 students per year over the past six years). The majority of students enrolled in courses in the Department of Theatre Arts and Dance are women, undergraduate (70'%) and graduate 62%). The breakdown of ethnicity of undergraduate students enrolled in Department of Theatre Arts and Dance courses is Latino (31.7%), White Non- Hispanic (23 .5%), African American (2.4%), Other Citizen and Resident on-Citizen (14.2%), Asian-Pacific Islander (6.0%), and Visa plus undocumented resident alien. (3.2%). Among the graduates the ethnicity is broken down as follows: White Non-Hispanic (35.3%). Other Citizen and Resident on-Citizen (22.3%), African American (15.7%), Latino (15.7%), Visa plus undocumented non-resident aliens (7.1/%), and Asian/Pacific Islander (3.9%). While the Department and the High school of Performing Arts try to manage an extremely difficult schedule of limited dance studio availability (external review).

X. Outreach Activities The Department is an active participant in College Sponsored recruitment activities, at such area community college as: Pasadena Community College, Rio Hondo College, L.A. Valley College, EI Camino College, East LA College and the College of the Canyons. The Department sponsored an information booth at USITT (United States Institute for Technology and Theatre) to move the program recruitment efforts to a national level. The Department is very active in professional/community/outreach activity not related to recruitment, running the gamut from bringing the Kaiser Permanente Educational Theatre Tour project on campus to rehearse, to sponsoring visits by the Mark Taper Forum's Traveling Theatre program, to having it's students invited to see plays and opera productions at the Music Center in Downtown LA, followed by backstage discussion and visits. These activities have allowed in excess of 100 theatre arts and dance major to participate in professional and community-based activities in the greater Los Angeles area.

RECOMMENDATION: The Department has initiated a program of inviting distinguished visitors to campus to discuss their work in the theatrical and cinematic arts.

Xl. Departmental Governance The faculty in the Department of Theatre Arts and Dance have been involved in shared governance during this review period. The faculty have been involved in self-governance of their own program.

XII. Commendations  The Department's MA Program has done very well in placing some of its students into excellent doctoral institutions; both the graduate and undergraduate programs have done well in advancing others into theatre and dance careers. The Department has developed an impressive program, the John Lion New Play Festival and the Festival Anthology for producing and publishing one act plays written by students in its program.  Members of the Department have involved themselves in the rich theatrical life of Los Angeles and have thus contributed to enhancing the reputation of the Department and university.  The Department has made some successful and impressive hires.  The Department has initiated a program of inviting distinguished visitors to campus to discuss their work in the theatrical and cinematic arts.

XIII. Recommendations Recommendations to the Department: Primary Recommendations: (The Department should seek assistance from an outside facilitator/mediator to accomplish these list of recommendations.)  The Department of Theatre Arts and Dance is recommended to develop a clear mission statement that defines the purpose of the Department (to be submitted to the Dean of College of Arts and Letters and the Program Review Subcommittee no later than November 10, 2005).  The Department is recommended to develop measurable goals and objectives that relate to their mission statement (to be submitted to the Dean of College of Arts and Letters and the Program Review Subcommittee no later than November 10, 2005).  The Department should develop its own five-year strategic plan that is integrated with the College's strategic Plan (The plan should be submitted to the Dean of College of Arts and Letter by the end of the academic year of 2006). The plan should address the following issues: Update of Overview of the Field Faculty recruitment/hiring Faculty development Technology Curriculum f Assessment of student advisement services Recruitment of students Retention of students Ranking of priorities for the Department Rationale and justification statements Sources of funding Timeline for action Individuals responsible for accomplishing goals.

 The Department is recommended to seek accreditation by NAST and NASD.  The Department is recommended to schedule regular faculty meetings to address the concerns of developing an adequate assessment procedure to measure learning outcomes of Success of current undergraduate and graduate students (should be submitted to the Dean of College of Arts and Letters by the end ofMarch.2006).

Secondary Recommendations:  The Department should continue to participate in the design of the MFA Program into film, television, theatre, and explore the designing of a degree option in Art Management (external review).  The Department of Theatre and Dance should arrange a retreat where the faculty should begin serious discussions regarding the direction of the department's curriculum (external review).  The Department should incorporate into the production season a public review of each performance that encourages students and faculty and appropriate guests, to consider the production both as process and product (external review).  The Department is recommended to implement an assessment procedure, which will assess their student outcomes on a regular systematic basis.

50  Hire a technical director who would expand the expertise in the technical curriculum of the program (external review) .  Hire a faculty member in dance (perhaps dance history/theory area), in a senior level position to be considered as an associate chair appointment in the Department of Theatre Arts and Dance. The primary reason for this hire is to provide the necessary authority to help the current dance faculty develop their curriculum (external review).  The Department should explore the addition of dance or physical theatre professionals to the Presidential Performance scholars Program to enhance the development of a relationship between theatre and dance (external review).  The Department is recommended to review the cohesiveness of the theatre faculty and dance faculty to ensure that the needs of each of these options are being met.  The Department, as it develops a Segway Theatre, seeks corporate sponsorships for its productions and for fellowships for the students (external review).  The Department is recommended to continue working with LACHSA regarding all space (i.e., rehearsal, dance, and classroom space) on the CSULA campus. The Department is recommended to establish an Advisory Board that can assist in fund raising, recruitment of students, audience development and outreach, and network job development  Recommendations to the College:  The College should assist the Department by providing funding for an outside facilitator/ mediator in order to accomplish the development of a clear mission statement, which relates to the college mission statement.  The College is recommended to provide assistance to the Department to meet the requirements for NAST and NASD accreditation.

Recommendation to the University;  The University should appoint a committee consisting of members of the Luckman Center's administration and Chairs of the Departments of Performing Arts (music, theatre and dance) with additional faculty from the dance emphasis or other related areas from music to consider ways the Luckman Center can help the programs to develop their curriculum through master classes with visiting artists, showplace for specific departmental productions, and other ideas that could potentially merge from such a committee (external review).  The University should work with the College and Department in developing a working relationship with the Luckman Theatre Complex so as to provide an internship site for their current student.  The University should resolve problems of availability of dance studio on the university campus. At the current time the Luckman Center has dance studio that are rarely used while the Department and the High School of Performing Arts try to manage an extremely difficult schedule of limited dance studio availability (external review).

51 Appendix B. Students in the Major

Degrees by Ethnicity/Gender Academic Year Gender Asian Hisp Black White Internt'l Unk. Amer. Total Indian

Summer 2004 F 0 0 0 0 0 1 0 1 Summer 2004 M 0 1 0 0 0 0 0 1 FALL 2004 NO DATA Winter 2005 F 0 1 0 1 1 2 0 5 Spring 2005 F 0 1 3 1 0 3 0 8 Spring 2005 M 0 0 0 1 0 2 0 3

Summer 2005 M 0 0 1 0 0 0 0 1 Fall 2005 F 0 1 0 2 0 1 0 4 Fall 2005 M 0 0 0 1 0 0 0 1 Winter 2006 F 0 0 0 1 0 1 0 2 Winter 2006 M 0 0 0 0 0 2 0 2 Spring 2006 F 1 2 0 1 1 1 0 6 Spring 2006 M 0 0 0 0 1 1 0 2

Summer 2006 F 1 0 1 1 0 0 0 3 Summer 2006 M 0 0 0 2 0 0 0 2 Fall 2006 F 0 0 1 1 0 1 0 3 Winter 2007 F 0 0 1 0 0 1 0 2 Winter 2007 M 0 0 1 0 0 0 0 1 Spring 2007 F 0 2 0 1 0 0 0 3 Spring 2007 M 0 1 0 0 1 0 0 2

Summer 2007 M 0 1 0 0 0 0 0 1 Fall 2007 F 0 1 3 2 0 1 0 7 Fall 2007 M 0 0 0 0 0 1 0 1 Winter 2008 F 0 0 1 0 1 0 0 2 Winter 2008 M 0 0 0 1 0 0 0 1 Spring 2008 M 0 0 1 0 1 1 0 3

Sum 2008 No Data

52 Fall 2008 F 0 0 0 1 1 0 0 2 Winter 2009 F 0 1 0 1 0 1 0 3 Winter 2009 M 0 0 0 1 0 1 0 2 Spring 2009 F 1 2 1 1 0 0 0 5 Spring 2009 M 0 0 0 0 0 1 0 1

Summer 2010 F 0 0 0 0 0 2 0 2 Summer 2010 M 0 0 0 1 0 1 0 2 Fall 2010 F 2 2 0 2 1 1 0 8 Fall 2010 M 0 0 0 3 0 2 0 5 Winter 2011 F 0 0 0 0 0 1 0 1 Winter 2011 M 0 0 0 0 0 1 0 1 Spring 2011 F 2 2 3 0 0 4 0 11 Spring 2011 M 0 0 0 0 0 1 0 1

Summer 2011 F 0 0 0 1 0 1 0 2 Summer 2011 M 0 0 0 1 0 0 0 1 Fall 2011 F 0 2 0 0 0 0 0 2 Fall 2011 M 0 0 0 0 1 0 0 1 Winter 2012 F 0 0 0 0 0 1 0 1 Spring 2012 F 2 3 2 0 0 1 1 9 Spring 2012 M 0 0 0 3 0 0 0 3

TOTALS 9 23 19 31 9 38 1 130

BA Degrees by Ethnicity 2004 - 2012 AY 2004- Asian = 9 Hisp = Black = White = Internt'l = Unk. = Amer. Total 2012 23 19 31 9 38 Indian = 1 130

53 BA Degrees by Gender 2004 - 2012 Spring Spring Spring Spring Spring Spring Spring Spring Spring 2004 2005 2006 2007 2008 2009 2010 2011 2012 Women (N) 68 70 73 68 72 66 65 63 70 % Department 70.8 63.6 62.9 63.6 75 69.5 70.7 67.7 66 % College 66.6 66.3 67.1 66.4 65.4 64.1 64.1 61.8 61.2 % University 62.1 61.6 61.8 61.6 61.3 60.8 60.6 59.8 59.8

Men (N) 28 40 43 39 24 29 27 30 36 % Department 29.2 36.4 37.1 36.4 25 30.5 29.3 32.3 34 % College 33.4 33.7 32.9 33.6 34.6 35.9 35.9 38.2 38.8 % University 37.9 38.4 38.2 38.4 38.7 39.2 39.4 40.2 40.2

MA Degrees by Gender 2004 - 2012 Spring Spring Spring Spring Spring Spring Spring Spring Spring 2004 2005 2006 2007 2008 2009 2010 2011 2012 Women (N) 10 11 15 8 11 7 11 11 8 % Department 45.5 52.4 75 66.7 61.1 50 61.1 57.9 66.7 % College 54.7 57.7 58.2 61.1 61.5 57.5 54.1 53.6 56.9 % University 65.7 65.3 65.9 66 64.8 62.4 62.8 62.5 63.6

Men (N) 12 10 5 4 7 7 7 8 4 % Department 54.5 47.6 25 33.3 38.9 50 38.9 42.1 33.3 % College 45.3 42.3 41.8 38.9 38.5 42.5 45.9 46.4 43.1 % University 34.3 34.7 34.1 34 35.2 37.6 37.2 37.5 36.4

TOTALS Degrees by Gender 2004 - 2012 2004 2005 2006 2007 2008 2009 2010 2011 2012 BA Women 68 70 73 68 72 66 65 63 70 BA Men 28 40 43 39 24 29 27 30 36

MA Women 10 11 15 8 11 7 11 11 8 MA Men 12 10 5 4 7 7 7 8 4

54 First Time students Term First Time First Time First Time Cont'd Cont'd Post New Grad Cont'd Grad Total Freshman Transfer Post Bac Undergrad Bac # % # % # % # % # % # % # % # Fall 2003 15 11.54 15 11.54 2 1.54 71 54.62 3 2.31 6 4.62 18 13.85 130 Winter 2004 0 0 6 5.31 0 0 83 73.45 4 3.54 1 0.88 19 16.81 113 Spring 2004 2 1.69 8 6.78 1 0.85 81 68.64 4 3.39 2 1.69 20 16.95 118 2003/04 17 29 3 78 4 9 19 120 Fall 2004 15 13.16 22 15.6 0 0 75 53.19 3 2.13 6 4.26 20 14.18 141 Winter 2005 1 0.72 5 3.62 0 0 102 73.91 2 1.45 3 2.17 25 18.12 138 Spring 2005 0 0 4 3.05 0 0 106 80.92 0 0 0 0 21 16.03 131 2004/05 16 31 0 94 2 9 22 137 Fall 2005 18 13.24 18 13.24 1 0.74 80 58.82 0 0 4 2.94 15 11.03 136 Winter 2006 2 1.49 6 4.48 0 0 105 78.36 1 0.75 2 1.49 18 13.43 134 Spring 2006 0 0 6 4.41 0 0 109 80.15 1 0.74 2 1.47 18 13.24 136 2005/06 20 30 1 98 1 8 17 135 Fall 2006 26 17.57 17 11.49 1 0.68 88 59.46 2 1.35 4 2.7 10 6.76 148 Winter 2007 0 0 5 3.73 0 0 112 83.58 2 1.49 2 1.49 13 9.7 134 Spring 2007 0 0 4 3.36 0 0 101 84.87 2 1.68 2 1.68 10 8.4 0 2006/07 26 26 1 100 2 8 11 94 Fall 2007 21 17.07 17 13.82 0 0 64 52.03 1 0.81 7 5.69 13 10.57 123 Winter 2008 3 2.68 0 0 2 1.79 90 80.36 0 0 1 0.89 16 14.29 112 Spring 2008 0 0 5 5.49 0 0 84 92.31 2 2.2 0 0 0 0 91 2007/08 24 22 2 79 1 8 10 109 Fall 2008 16 13.79 17 14.66 1 0.86 63 54.31 1 0.86 4 3.45 14 12.07 116 Winter 2009 1 0.86 7 6.03 2 1.72 87 75 1 0.86 0 0 18 15.52 116 Spring 2009 0 0 3 3.23 0 0 89 95.7 1 1.08 0 0 0 0 93 2008/09 17 27 3 80 1 4 11 108 Fall 2009 20 16.39 11 9.02 1 0.82 68 55.74 1 0.82 9 7.38 12 9.84 122 Winter 2010 0 0 0 0 0 0 97 80.17 1 0.83 0 0 23 19.01 121 Spring 2010 0 0 0 0 0 0 88 98.88 1 1.12 0 0 0 0 89 2009/10 20 11 1 84 1 9 12 111 Fall 2010 16 13.45 14 11.76 0 0 68 57.14 1 0.84 3 2.52 17 14.29 119 Winter 2011 0 0 1 0.91 0 0 91 82.73 1 0.91 1 0.91 16 14.55 110 Spring 2011 1 1.12 0 0 0 0 87 97.75 1 1.12 0 0 0 0 89 2010/11 17 15 0 82 1 4 11 106

55 Term First Time First Time First Time Cont'd Cont'd Post New Grad Cont'd Grad Total Freshman Transfer PostBac Undergrad Bac # % # % # % # % # % # % # % # Fall 2011 26 20.63 7 5.56 0 0 76 60.32 0 0 4 3.17 13 10.32 126 Winter 2012 0 0 2 1.67 0 0 103 85.83 0 0 1 0.83 14 11.67 120 Spring 2012 0 0 3 2.86 0 0 102 97.14 0 0 0 0 0 0 105 2011/12 26 12 0 94 0 5 9 117

Term First Time First First Cont'd Cont'd New Cont'd Total Fresh man Time Time Under Post Grad Grad Department Transfer Post Bac grad Bac enrollment # # # # # # # # 2003/04 17 29 3 78 4 9 19 120 2004/05 16 31 0 94 2 9 22 137 2005/06 20 30 1 98 1 8 17 135 2006/07 26 26 1 100 2 8 11 94 2007/08 24 22 2 79 1 8 10 109 2008/09 17 27 3 80 1 4 11 108 2009/10 20 11 1 84 1 9 12 111 2010/11 17 15 0 82 1 4 11 106 2011/12 26 12 0 94 0 5 9 117

56 Appendix C. Graduation and Persistence Rates Department of Theater Arts & Dance First Time Transfers Retention and Graduation - By Degree Program(s) ('TAD BA') Note: Enrolled = Major in the same Degree Program(s) + Major changed Retention = Major in the same Degree Program(s) + Major changed + Cumulative Degrees Awarded Cohort Enrolled Major Major Cum Degrees Cum Cum % Cum Retention % Retention within changed Awarded within Degrees Degrees Degrees Degree Degree Awarded Awarded Awarded Program Program Others Fall 2004 22 22 22 0 0 0 0 0 22 100 1 Year 18 15 3 0 0 0 0 18 81.8 2 Year 13 10 3 1 0 1 4.5 14 63.6 3 Year 3 1 2 3 2 5 22.7 8 36.4 4 Year 1 0 1 5 3 8 36.4 9 40.9 5 Year 0 0 0 5 3 8 36.4 8 36.4 6 Year 0 0 0 5 3 8 36.4 8 36.4

Fall 2005 18 18 18 0 0 0 0 0 18 100 1 Year 13 11 2 0 0 0 0 13 72.2 2 Year 9 7 2 0 1 1 5.6 10 55.6 3 Year 5 3 2 3 1 4 22.2 9 50 4 Year 1 0 1 5 2 7 38.9 8 44.4 5 Year 0 0 0 6 3 9 50 9 50 6 Year 0 0 0 6 3 9 50 9 50

Fall 2006 26 26 26 0 0 0 0 0 26 100 1 Year 11 10 1 0 0 0 0 11 42.3 2 Year 9 4 5 0 0 0 0 9 34.6 3 Year 7 2 5 0 0 0 0 7 26.9 4 Year 7 2 5 0 1 1 3.8 8 30.8 5 Year 3 1 2 2 2 4 15.4 7 26.9 6 Year 1 0 1 3 2 5 19.2 6 23.1

57 Under Represented Minority First Time Freshmen Retention and Graduation Fall 2004 5 5 5 0 0 0 0 0 5 100 1 Year 4 4 0 0 0 0 0 4 80 2 Year 3 3 0 0 0 0 0 3 60 3 Year 0 0 0 1 0 1 20 1 20 4 Year 0 0 0 1 0 1 20 1 20 5 Year 0 0 0 1 0 1 20 1 20 6 Year 0 0 0 1 0 1 20 1 20

Fall 2005 8 8 8 0 0 0 0 0 8 100 1 Year - 6 6 0 0 0 0 0 6 75 2 Year - 3 2 1 0 0 0 0 3 37.5 3 Year - 2 0 2 0 0 0 0 2 25 4 Year - 1 1 0 0 0 0 0 1 12.5 5 Year - 1 1 0 0 1 1 12.5 2 25 6 Year - 1 0 1 0 1 1 12.5 2 25

Fall 2006 20 20 20 0 0 0 0 0 20 100 1 Year 10 9 1 0 0 0 0 10 50 2 Year 7 3 4 0 0 0 0 7 35 3 Year 6 2 4 0 0 0 0 6 30 4 Year 5 2 3 0 1 1 5 6 30 5 Year 2 1 1 2 1 3 15 5 25 6 Year 0 0 0 3 1 4 20 4 20

First Time Graduates Retention and Graduation - By Degree Program(s) ('TA MA') Note: Enrolled = Major in the same Degree Program(s) + Major Changed Retention = Major in the same Degree Program(s) + Major Changed + Cumulative Degrees Awarded(s) Cohort Enrolled Major Major Cum Degrees Cum Cum % Cum Retention % Retention within Changed Awarded within Degrees Degrees Degree Degree Awarded Awarded Degrees Program Program Others Awarded MA/ TA Fall 2004 1 1 1 0 0 0 0 0 1 100 1 Year 1 1 0 0 0 0 0 1 100

58 2 Year 0 0 0 1 0 1 100 1 100 3 Year 0 0 0 1 0 1 100 1 100 4 Year 0 0 0 1 0 1 100 1 100 5 Year 0 0 0 1 0 1 100 1 100 6 Year 0 0 0 1 0 1 100 1 100

MA/ TAD Fall 2004 5 5 5 0 0 0 0 0 5 100 1 Year 4 4 0 0 0 0 0 4 80 2 Year 0 0 0 1 0 1 20 1 20 3 Year 1 1 0 1 0 1 20 2 40 4 Year 0 0 0 1 0 1 20 1 20 5 Year 0 0 0 1 0 1 20 1 20 6 Year 0 0 0 1 0 1 20 1 20

MA/ TAD Fall 2005 4 4 4 0 0 0 0 0 4 100 1 Year 2 2 0 0 0 0 0 2 50 2 Year 0 0 0 1 0 1 25 1 25 3 Year 0 0 0 2 0 2 50 2 50 4 Year 0 0 0 2 0 2 50 2 50 5 Year 0 0 0 2 0 2 50 2 50 6 Year 0 0 0 2 0 2 50 2 50

MA/ TA Fall 2006 1 1 1 0 0 0 0 0 1 100 4 Year 0 0 0 1 0 1 100 1 100 5 Year 0 0 0 1 0 1 100 1 100 6 Year 0 0 0 1 0 1 100 1 100

MA/TAD Fall 2006 3 3 3 0 0 0 0 0 3 100 1 Year 2 1 1 0 0 0 0 2 66.7 2 Year 1 1 0 0 › 0 0 1 33.3

Number of BA Degrees Awarded 2005 - 2012

Data missing for some terms - inconsistent with Degrees by Ethnicity/Gender See new DATA – p 137 COMPLETION Option in Option in Dance Theatre Total by TOTAL AY TERM Dance Theatre Academic year BY AY Year Fall 05 1 1 2 Winter 06 2 1 3 Spring 06 6 2 9 4 2005/06 8 13 2005/06

Summer 06 2 2 4 Fall 06 1 1 2 Winter 07 1 1 2 Spring 07 5 2 9 6 2006/07 7 15 2006/07

Summer 07 1 1 2 Fall 07 7 3 10 Winter 08 2 1 3 Spring 08 4 14 5 2007/08 4 19 2007/08

Winter 09 1 1 Spring 09 3 2 4 2 2008/09 5 6 2008/09

Fall 09 1 1 2 Winter 10 1 1 Spring 10 6 5 7 7 2009/10 11 14 2009/10

Summer 10 2 2 Fall 10 6 2 8 Spring 11 3 9 4 2010/11 3 13 2010/11

Summer 11 1 1 Fall 2011 2 2 Winter 12 1 1 2 Spring 12 10 4 13 6 2011/12 14 19 2011/12

Total 65 34 99 99

Degrees Granted By Ethnicity - By Degree Program(s) TA MA / TAD MA Data missing for some terms - inconsistent with Degrees by Ethnicity/Gender Term Gender Asian Hispanic Black White Intern’l Unk American Total Indian

TA/ MA DEGREES BY GENDER 2004- 2012 Fall 2005 F 0 0 0 0 0 1 0 1 Fall 2006 F 0 0 0 1 0 0 0 1 Fall 2009 M 0 1 0 0 0 0 0 1 Fall 2010 F 1 0 0 1 1 0 0 3 Fall 2010 M 0 0 0 1 0 1 0 2 Fall 2011 M 0 0 0 0 1 0 0 1 Spring 2005 M 0 0 0 1 0 0 0 1 Spring 2010 F 0 0 0 0 0 1 0 1 Spring 2011 F 1 0 1 0 0 0 0 2 Summer 2006 M 0 0 0 1 0 0 0 1 Summer 2010 M 0 0 0 0 0 1 0 1 Summer 2011 F 0 0 0 0 0 1 0 1 Winter 2006 M 0 0 0 0 0 1 0 1 Winter 2009 F 0 0 0 1 0 1 0 2 Winter 2009 M 0 0 0 1 0 1 0 2 Winter 2010 M 0 1 1 0 0 0 0 2 Winter 2011 F 0 0 0 0 0 1 0 1 Winter 2011 M 0 0 0 0 0 1 0 1 TOTALS 2 2 2 7 2 10 0 25

TAD/ MA DEGREES BY GENDER 2004 - 2012 Fall 2003 F 0 0 0 0 1 0 0 1 Fall 2003 M 0 0 0 1 0 0 0 1 Winter 2005 F 0 1 0 0 0 0 0 1 Spring 2005 F 0 0 0 0 0 2 0 2 Spring 2005 M 0 0 0 0 0 1 0 1 Summer 2005 M 0 0 1 0 0 0 0 1 Fall 2005 M 0 0 0 1 0 0 0 1 Winter 2006 F 0 0 0 0 0 1 0 1 Winter 2006 M 0 0 0 0 0 1 0 1 Spring 2006 F 0 0 0 1 1 0 0 2 Spring 2006 M 0 0 0 0 1 0 0 1 Summer 2006 F 0 0 0 1 0 0 0 1 Fall 2006 F 0 0 0 0 0 1 0 1 Winter 2007 F 0 0 0 0 0 1 0 1 Winter 2008 F 0 0 0 0 1 0 0 1 Winter 2008 M 0 0 0 1 0 0 0 1 Fall 2008 F 0 0 0 1 1 0 0 2 Fall 2009 F 1 0 0 0 0 0 0 1 Spring 2010 M 0 0 0 1 0 0 0 1 Spring 2012 F 1 0 0 0 0 0 0 1 Spring 2012 M 0 0 0 1 0 0 0 1 TOTALS 2 1 1 8 5 7 0 24

61 Appendix D. Faculty Utilization

Lower Division Upper Division Undergraduate Total Graduate Graduate Total S/F S/F S/F S/F S/F DEPT FTES FTEF Ratio FTES FTEF Ratio FTES FTEF Ratio FTES FTEF Ratio FTES FTEF Ratio F 68.3 6.0 12.2 1.1 TAD 2010 128.1 4.9 26.1 11.4 196.4 10.9 18.0 11.1 208.6 12.0 17.4

F 167.7 4.5 85.2 6.9 6.0 0.7 TAD 2009 30.4 12.3 252.9 11.4 22.2 8.6 258.9 12.1 21.4

F 185.6 8.0 63.3 6.8 4.2 0.5 TAD 2008 23.2 9.3 248.9 14.8 16.8 8.4 253.1 15.3 16.5

F TAD 2007 156.8 12.1 12.9 119.7 15.2 7.9 276.5 27.4 10.1 7.9 1.7 4.5 284.4 29.1 9.8

F TAD 2006 138.0 5.9 23.4 133.0 12.8 10.4 271.0 18.7 14.5 2.6 0.8 3.3 273.6 19.6 14.0

F TA 2005 135.7 5.4 25.1 127.6 13.0 9.8 263.3 18.4 14.3 4.9 0.9 5.4 268.2 19.3 13.9

F TA 2004 142.7 4.7 30.6 134.1 10.4 12.9 276.7 15.0 18.4 6.0 1.7 3.6 282.7 16.7 17.0

Changes in Enrollment 2011/12 – TAD Department Merged with Music – no data for separate FTES/FTEF/SFR for TAD UNIVERSITY policies have restricted campus enrollments. Due to Budget cuts adjunct hires have been decreased which results in loss of course offerings. Faculty retirement and attrition have also decreased course offerings. Repeated student fee increases have also affected enrollment.

62 Appendix E. Catalog Description of Each Program

The information requested here can be obtained from the on-line catalog and reproduced here. This information is important as background for your curriculum section (3.0) and to familiarize the reviewers with the particulars of your academic program(s). This is the Current University Catalog description for the 68 unit programs. The Bachelor of Arts degree in Theatre Arts and Dance is designed for students who plan to engage in careers, which utilize skills in theatre and dance. Department policy requires that all undergraduate Theatre Arts and Dance majors make themselves available for participation in scheduled department productions. The total number of units required for the Bachelor of Arts degree in Theater Arts and Dance, is 120 units. Consult with an advisor for the specific number of units required in all areas of the degree including GE and free electives Requirements for the Major (68 units)

Each option in the major requires a total of 68 units, including core and option requirements.

Undergraduate Program - Option in Performance (68 units)

Lower Division Theatre Core Courses (15 units) Take all of the following courses: TA 1300 - Production Participation (1-2) (3 units) TA 1310 - Stagecraft - Scenery and Properties (2) TA 1320 - Introduction to Lighting and Sound (2) TA 1330 - Introduction to Costumes and Makeup (2) TA 1410 - Acting I (3) TA 1500 - Theatre Analysis (3)

Upper Division Theatre Core Courses (21 units) Take all of the following courses: TA 3110 - Development of World Theatre I (3) TA 3120 - Development of World Theatre II (3) TA 3390 - Stage Management (3) TA 3900 - Performance Research and Writing (3) TA 4390 - Arts Management (3) TA 4450 - Principles of Directing (3) TA 4670 - Praxis: Theory and Practice in Performance (3)

Performance Option students must take one semester of Contemporary Dance (minimum 2 units) Choose from the following courses: DANC 1400 - Contemporary Dance (2) DANC 2400 - Intermediate Contemporary Dance (2) DANC 3400 - Advanced Contemporary Dance (3)

Performance Option Required Courses (26 units) Take all of the following courses: TA 1420 - Acting II (3)

63 TA 2430 - Vocal Techniques for the Stage (3) DANC 2700 - Choreography I (2) TA 2760 - Introduction to Playwriting (3) TA 3000 - Production Participation (1-2) (6 units total) or TA 4100 - Performance Participation (1-2) (6 units total) also listed as DANC 4100 - Performance Participation (1-2) (6 units total)

TA 3410 - Acting III: Classical Acting (3) TA 3480 - Viewpoints (3) TA 4440 - Acting for Camera (3)

Electives (4 units) Select 4 units of any upper division TA course and/or any DANC course (other than TA or DANC GE courses) with advisor approval. Performance option students must fulfill three upper division department production/performance participations. This requirement is met through performance in, understudying, directing, dramaturgical work, stage management or assisting on a department production or by special assignment approved by the faculty. These participations will be validated with registration in TA 4100, DANC 4100 or TA 3000. Performance majors are required to attend the department general auditions in the fall and spring semester. Any student that does not attend will be ineligible for any performance activity that academic year.

Undergraduate Program - Option in Design & Production (68 units)

Design and Production option students must fulfill four upper division department production participations. This requirement is met through Technical, Production, Design or Assistant Design work, Prop Master, Painter, directing, dramaturgical work, stage management or assisting on a department production or by special assignment approved by the faculty. These assignments are validated with registration in TA 3000 and the Management/Design Practicum TA 4490 or TA 4500. Design and Production majors are required to attend the department portfolio review in the spring semester. Any student that does not attend will be ineligible for any production activity the following academic year.

64 TA 3900 - Performance Research and Writing (3) TA 4390 - Arts Management (3) TA 4450 - Principles of Directing (3) TA 4670 - Praxis: Theory and Practice in Performance (3)

Design & Production Option required Courses (22 units) Take all of the following courses: TA 1610 - Drafting for the Theatre (3) TA 1620 - History of Styles (3) TA 3000 - Production Participation (1-2) (3) TA 4260 - Costume Design (3) TA 4310 - Scenic Design (3) TA 4340 - Lighting Design (3) TA 4490 - Management Practicum (2) TA 4500 - Design Practicum (1-2)

Electives (8 units) Select 8 units from the following courses with advisor approval: TA 2760 - Introduction to Playwriting (3) TA 3000 - Production Participation (1-2) TA 4220 - Advanced Makeup Design (3) TA 4270 - Advanced Costume Design (3) TA 4320 - Advanced Scenic Design (3) TA 4350 - Advanced Lighting Design (3) TA 4370 - Introduction to 3D Printing (3) TA 4460 - Advanced Directing (3) TA 4490 - Management Practicum (2) TA 4500 - Design Practicum (1-2) TA 4540L - Selected Topics in Theatre Arts (1-3) or TA 4540P - Selected Topics in Theatre Arts (1-3) TA 4630 - Shakespearean Performance (3) TA 4750 - Dramaturgy (3) TA 4760 - Playwriting (3) TA 4761 - Playwriting: Adaptation (3) TA 4762 - Community-Based Theatre (3) TA 4810 - Devised Theatre (3) TA 4890 - Advanced Creative Workshop (1-2)

Design and Production Option Students Design and Production option students must fulfill four upper division department production participations. This requirement is met through Technical, Production, Design or Assistant Design work, Prop Master, Painter, directing, dramaturgical work, stage management or assisting on a department production or by special assignment approved by the faculty. These assignments are validated with registration in TA 3000 and the Management/Design Practicum TA 4490 or TA 4500. Design and Production majors are required to attend the department portfolio review in the spring semester. Any student that does not attend will be ineligible for any production activity the following academic year.

65 Undergraduate Program - Option in Dance (68 units)

Lower Division Required Courses (13 units) Take all of the following courses: TA 1300 - Production Participation (1-2) (1 unit) TA 1320 - Introduction to Lighting and Sound (2) MUS 1510 - Classical Music in Western Culture (3) TA 2430 - Vocal Techniques for the Stage (3) DANC 2500 - African Dance Traditions (2) DANC 2700 - Choreography I (2)

Upper Division Required Courses (33 units) TA 3480 - Viewpoints (3) DANC 3700 - Choreography II (3) TA 3900 - Performance Research and Writing (3) DANC 4100 - Performance Participation (1-2) (6 units total) DANC 4200 - Dance History - Antiquity Through Nineteenth Century (3) DANC 4210 - Embodied Histories: Dance in the Twentieth and Twenty-First Century (3) DANC 4300 - Choreographic Accompaniment (3) DANC 4400 - Theory and Analysis of Dance (3) DANC 4600 - Contact Improvisation (3) DANC 4700 - Experimental Dance (3)

Dance Option students are required to take one full year of Ballet (4 units) Students will be placed into the appropriate level upon entrance to the program Take 4 units of the following repeatable courses: DANC 1000 - Beginning Ballet (2) DANC 2000 - Intermediate Ballet (2)

Dance Option students are required to take a minimum of 12 units of Contemporary dance. Students will be placed into the appropriate level upon entrance to the program Take 12 units of the following repeatable courses: DANC 1400 - Contemporary Dance (2) DANC 2400 - Intermediate Contemporary Dance (2) DANC 3400 - Advanced Contemporary Dance (3)

Electives in Dance (6 units) (Select 6 units with advisor approval) DANC 1200 - Beginning Jazz Dance (2) DANC 1600 - Beginning Tap Dance (1) DANC 2000 - Intermediate Ballet (2) DANC 2200 - Intermediate Jazz Dance (2) DANC 2500 - African Dance Traditions (2) DANC 2540L - Special Topics in Dance (1-3) or DANC 2540P - Special Topics in Dance (1-3) DANC 2560 - Salsa and Contemporary Latin American Dance Practices (1) DANC 2700 - Choreography I (2) DANC 3000 - Advanced Ballet (1)

66 DANC 3200 - Advanced Jazz Dance (2) DANC 3500 - Contemporary African Dance (3) DANC 3700 - Choreography II (3) DANC 4000 - Creative Dance in the Elementary Classroom (3) DANC 4010 - Dance Techniques and Creativity in Elementary Education (3) DANC 4100 - Performance Participation (1-2) DANC 4350 - Dance Movement and Identity (3) DANC 4540L - Special Topics in Dance (1-3) or DANC 4540P - Special Topics in Dance (1-3) DANC 4700 - Experimental Dance (3) DANC 4780 - Choreography for Camera (2) TA 1300 - Production Participation (1-2) TA 1310 - Stagecraft - Scenery and Properties (2) TA 1330 - Introduction to Costumes and Makeup (2) TA 1410 - Acting I (3) TA 3000 - Production Participation (1-2) TA 3390 - Stage Management (3) TA 4260 - Costume Design (3) TA 4340 - Lighting Design (3) TA 4390 - Arts Management (3) TA 4490 - Management Practicum (2) TA 4500 - Design Practicum (1-2) TA 4540L - Selected Topics in Theatre Arts (1-3) or TA 4540P - Selected Topics in Theatre Arts (1-3) TA 4810 - Devised Theatre (3) TA 4890 - Advanced Creative Workshop (1-2)

Dance option students will fulfill three upper division department production participations. This requirement is met through performance in a department production or by special assignment approved by the faculty. These assignments are validated with registration in DANC 4100.

Theatre Arts and Dance Minor

The Theatre Arts and Dance Minor is designed for students interested in expanding their knowledge of theatre and/or dance. The Theatre and Dance curriculum provides a variety of coursework for students preparing for professional performance careers as well as using theatre and/or dance in humanistic, multicultural and/or educational settings. A total of 26 units are required. Requirements for the Minor (26 units)

Required Courses (6 Units)

TA 1300 - Production Participation (1-2) (1 unit) DANC 1400 - Contemporary Dance (2) TA 1410 - Acting I (3)

67 Electives (20 units)

Select courses, in consultation with a Department Adviser, to meet the goals for which the Minor is chosen. A minimum of 10 units must be taken in upper division courses in either TA or DANC.

Theatre Arts, M.A.

Admission to the Program Application must be made to both the Department of Music, Theatre and Dance and to the University. Forms for both and directions for submission may be obtained on the University and Department webpages. Applicants must submit a completed departmental application form with one copy of official transcripts from all colleges attended, three letters of recommendation, a statement of purpose for undertaking graduate studies, and an artistic resume and/or portfolio (if appropriate). All applicants must submit a writing sample illustrating their command of research and writing skills. Applications and supporting documentation must be received by the Department of Music, Theatre and Dance by two weeks after the University deadline set by Admissions. Official transcripts from all colleges attended must be sent to the Admissions Office in accordance with University admission deadlines. International students must submit TOEFL scores. Campus interview and visits with faculty are encouraged for all applicants seeking admission. In addition to University requirements for admission to graduate study, applicants must have a baccalaureate in theatre arts, dance, or performance studies from an accredited college or university with a minimum 3.0 average in the major, or have completed a baccalaureate in a related field with at least 16 semester units of approved upper division courses in one or more of these areas with a minimum 3.0 average. Of the 16 semester units, at least 6 semester units must be in theatre history, literature, and/or dance history courses and 4 semester units of upper division work in technical theatre. Deficiencies will be determined by the Graduate Advisor for the MA, and undergraduate coursework may be required.

Requirements for the Degree (30 units) A total of 30 units are required, with at least 15 in 5000-level courses.

Required Core (15 units) TA 5000 - Graduate Research in Performance (3) TA 5120 - Seminar in World Performance (3) TA 5410 - Seminar: Theories of Acting (3) TA 5700 - Seminar: Experimental Performance (3) TA 5740 - Theories in Performance (3)

Electives (12-15 units)* Select 12-15 units from 4000- and 5000-level courses in DANC, TA, and TVFT or from ART, COMS, ENGL, PHIL, LAS, MUS, PAS, TVF, and WOMN in consultation with an advisor. No more than 6 units outside TA, TVFT and DANC. *15 units are required for students who choose comprehensive examination option.

Comprehensive Examination (0 Units) or Thesis or Project ( 3 units) **TA 5960 Comprehensive Examination (0 units) TA 5990 Thesis or Project (3 units) The choice of comprehensive examination or thesis or project is to be made with advisor approval. **Students should expect to take the Comprehensive Examination (TA 5960) the semester they complete all course work on their program and must comply with college and departmental requirements.

68 This is the Purposed description for the 53 unit programs awaiting University approval. Approvals from both Department and College levels have been received.

The Bachelor of Arts degree in Theatre Arts and Dance is designed for students who plan to engage in careers, which utilize skills in theatre and dance. Department policy requires that all undergraduate Theatre Arts and Dance majors make themselves available for participation in scheduled department productions. The total number of units required for the Bachelor of Arts degree in Theater Arts and Dance, is 120 units. The Program requires that Theatre Arts and Dance majors with options in Performance and Design & Production take TA 1520 as their lower division GE C2 course. GE certified Transfer students without TA 1520 equivalent must take TA 1520 as a program entrance requirement within the first two semesters. Requirements for the Major 53 units.

Each option in the major requires a total of 53 units, including core and option requirements. Theatre Arts and Dance Majors are required to complete lower division department production participations. These assignments will be required as co-requisites to the 1310-1330 sequence and validated by registration in TA 1300. Performance and Design and Production majors will complete three lower division participations and Dance majors will complete one. Additional upper division production/performance participation is required from each option.

Undergraduate Program - Option in Performance (53 units) Lower Division Theatre Core Courses (14 units) Take all of the following courses: TA 1300 - Production Participation (1-2) (3 units) TA 1310 - Stagecraft - Scenery and Properties (2) TA 1320 - Introduction to Lighting and Sound (2) TA 1330 - Introduction to Costumes and Makeup (2) TA 1410 - Acting I (3)

Performance Option students must take one semester of Ballet or Contemporary Dance (minimum 2 units) Choose from the following courses: DANC 1400 - Contemporary Dance (2) DANC 2400 - Intermediate Contemporary Dance (2) DANC 3400 - Advanced Contemporary Dance (3) DANC 1000 – Beginning Ballet (2) DANC 2000 – Intermediate Ballet (2)

Upper Division Theatre Core Courses (15 units) Take all of the following courses: TA 3110 - Development of World Theatre I (3) TA 3120 - Development of World Theatre II (3) TA 3900 - Performance Research and Writing (3) TA 4450 - Principles of Directing (3) TA 4670 - Praxis: Theory and Practice in Performance (3)

Performance Option Required Courses (24 units) Take all of the following courses: TA 1420 - Acting II (3)

69 TA 2430 - Vocal Techniques for the Stage (3) TA 3410 - Acting III: Classical Acting (3) Take 9 units from the following courses (7 units must be in Upper Division coursework): DANC 2700 - Choreography I (2) TA 2760 - Introduction to Playwriting (3) TA 3390 - Stage Management (3) TA 3480 - Viewpoints (3) TA 4390 - Arts Management (3) TA 4420 – Acting Studio (2) TA 4440 - Acting for Camera (3) TA 4460 – Advanced Directing (3) TA 4540 L/P – Special Topics in Theatre (1-3) TA 4630 – Shakespearean Performance (3) TA 4750 – Dramaturgy (3) TA 4760 – Playwriting (3) TA 4761 – Playwriting: Adaptation (3) TA 4762 – Community Based Theatre (3) TA 4810 – Devised Theatre (3) TA 4890 – Advanced Creative Workshop (1-2)

Participation: Take 6 units from the following courses: TA 3000 - Production Participation (1-2) TA 4100 - Performance Participation (1-2) also listed as DANC 4100 - Performance Participation (1-2) TA 4490 – Management Practicum (1-2) TA 4500 – Design Practicum (1-2)

Performance option students must fulfill 6 units of upper division department production/performance participations. This requirement is met through performance in, understudying, directing, dramaturgical work, stage management or assisting on a department production or by special assignment approved by the faculty. These participations will be validated with registration in TA 4100, DANC 4100, TA 3000, TA 4490 or TA 4500. Performance majors are required to attend the department general auditions in the fall and spring semester. Any student that does not attend will be ineligible for any performance activity that academic year.

Undergraduate Program - Option in Design & Production (53 units) Lower Division Theatre Core Courses (14 units) Take all of the following courses: TA 1300 - Production Participation (1-2) (3 units) TA 1310 - Stagecraft - Scenery and Properties (2) TA 1320 - Introduction to Lighting and Sound (2) TA 1330 - Introduction to Costumes and Makeup (2) TA 1410 - Acting I (3)

Design & Production Option students must take one semester of either Ballet or Contemporary Dance (minimum 2 units)

70 Choose from the following courses: DANC 1400 - Contemporary Dance (2) DANC 2400 - Intermediate Contemporary Dance (2) DANC 3400 - Advanced Contemporary Dance (3) DANC 1000 – Beginning Ballet (2) DANC 2000 – Intermediate Ballet (2)

Design & Production Option required Courses (24 units) Take all of the following courses: TA 1610 - Drafting for the Theatre (3) TA 1620 - History of Styles (3) TA 3390 – Stage Management (3)

Take 9 units from the following courses TA 4260 - Costume Design (3) TA 4310 - Scenic Design (3) TA 4340 - Lighting Design (3) TA 4390 – Arts Management (3) TA 4220 – Advanced Makeup Design (3) TA 4270 – Advanced Costume Design (3) TA 4350 – Advanced Lighting Design (3) TA 4370 – Introduction to 3D printing (3) TA4540 L/P – Special Topics in Theatre (1-3)

Participation: Take 6 units from the following courses: TA 3000 - Production Participation (1-2) TA 4490 – Management Practicum (2) TA 4500 – Design Practicum (1-2)

Design and Production option students must fulfill 6 units of upper division department production participations. This requirement is met through Technical, Production, Design or Assistant Design work, Prop Master, Painter, directing, dramaturgical work, stage management or assisting on a department production or by special assignment approved by the faculty. These assignments are validated with registration in TA 3000 and the Management/Design Practicum TA 4490 or TA 4500. Design and Production majors are required to attend the department portfolio review in the spring semester. Any student that does not attend will be ineligible for any production activity the following academic year.

Undergraduate Program - Option in Dance (53 units) Lower Division Required Courses (8 units)

71 Take all of the following courses: TA 1300 - Production Participation (1-2) (1 unit) TA 1320 - Introduction to Lighting and Sound (2) TA 2430 - Vocal Techniques for the Stage (3) DANC 2700 - Choreography I (2)

Upper Division Required Courses (18 units) DANC 3500 – Contemporary African Dance (3) DANC 3700 - Choreography II (3) TA 3900 - Performance Research and Writing (3) DANC 4210 - Embodied Histories: Dance in the Twentieth and Twenty-First Century (3) DANC 4400 - Theory and Analysis of Dance (3) DANC 4770 – Moving Cultures: World Dance (3)

Dance Option students are required to take a minimum of 9 units of Contemporary dance (6 units must be in upper division DANC 3400) Students will be placed into the appropriate level upon entrance to the program Take 12 units of the following repeatable courses: DANC 1400 - Contemporary Dance (2) DANC 2400 - Intermediate Contemporary Dance (2) DANC 3400 - Advanced Contemporary Dance (3)

Participation: Take 6 units from the following courses: DANC 4100 – Performance Participation (1-2) also listed as TA 4100 – Performance Participation (1-2) TA 3000 - Production Participation (1-2)

Electives in Dance (8 units) (Select 8 units from the following courses. 2 units must be in Upper Division.) DANC 1200 - Beginning Jazz Dance (2) DANC 1600 - Beginning Tap Dance (1) DANC 2000 - Intermediate Ballet (2) DANC 2200 - Intermediate Jazz Dance (2) DANC 2500 - African Dance Traditions (2) DANC 2540L/P - Special Topics in Dance (1-3) DANC 2560 - Salsa and Contemporary Latin American Dance Practices (1) DANC 2700 - Choreography I (2) DANC 3000 - Advanced Ballet (1)

72 DANC 3200 - Advanced Jazz Dance (2) DANC 3500 - Contemporary African Dance (3) DANC 3700 - Choreography II (3) DANC 4000 - Creative Dance in the Elementary Classroom (3) DANC 4010 - Dance Techniques and Creativity in Elementary Education (3) DANC 4100 - Performance Participation (1-2) DANC 4350 - Dance Movement and Identity (3) DANC 4540L/P- Special Topics in Dance (1-3) DANC 4700 - Experimental Dance (3) DANC 4780 - Choreography for Camera (2) TA 1300 - Production Participation (1-2) TA 1310 - Stagecraft - Scenery and Properties (2) TA 1330 - Introduction to Costumes and Makeup (2) TA 1410 - Acting I (3) TA 3000 - Production Participation (1-2) TA 3390 - Stage Management (3) TA 4260 - Costume Design (3) TA 4340 - Lighting Design (3) TA 4390 - Arts Management (3) TA 4490 - Management Practicum (2) TA 4500 - Design Practicum (1-2) TA 4540L/P - Selected Topics in Theatre Arts (1-3) TA 4810 - Devised Theatre (3) TA 4890 - Advanced Creative Workshop (1-2)

Theatre Arts, M.A.

Requirements for the Degree (30 units)

A total of 30 units are required, with at least 15 in 5000-level courses.

Required Core (15 units)

TA 5000 - Graduate Research in Performance (3) TA 5120 - Seminar in World Performance (3) TA 5410 - Seminar: Theories of Acting (3) TA 5700 - Seminar: Experimental Performance (3) TA 5740 - Theories in Performance (3)

74 Appendix F. Reviews from Departments on Service Courses (regarding how your programs’ service courses meet their needs and outcomes).

In this section your program will report the results of a survey regarding the effectiveness of all service courses provided by your Department/School/Division (if any) to all Departments/School/Divisions. A sample of such a survey is provided – Your program should consider whether this survey asks the right questions and if not, modify it accordingly.

The Theatre Arts & Dance program sent out inquiries to the departments that include our service courses – but as of this writing No Replies have been received.

Sample Letter to Departments: Liberal Studies, Child Development

The Department of Theatre Arts & Dance provides the course indicated below as a service course to your Department/School/Division’s program(s). As part of the Program Review process we want to determine how well the course meets your expectations and serves the needs of your program. This form will be provided for each of the courses you use as a service course.

Using the following response format, circle the response that most clearly reflects your thinking. 1 = fully meets needs/expectations 2 = meets some needs/expectations 3 = doesn’t meet needs/expectations

COURSE TA 400, DANC 400, DANC 477

1. Course content meets your program needs. 1 2 3

2. The quality of the content meets your expectations. 1 2 3

3. The quality of delivery meets your expectations. 1 2 3

4. Sufficient sections of the course are offered on an annual basis. 1 2 3

5. Time of course offering varies to meet student needs. 1 2 3

Additional comments:

(Department/Division/School Chair/Director)

75 Appendix G. Masters Theses and Projects

In this section your program will report on the work completed by graduate students as Masters’ theses or projects. Please report theses and projects starting from the last Self Study to the present. Date Completed Student Name Thesis/Project Title 2003 Armstrong, Stephanie For Real: Afro-American female voices. 2003 Herold, Amber Talvi The Redlands Theatre Festival Apprentice Training Program. 2003 Switzer, Kathleen The Funk a one-act play and an analysis of the creation and production of the script. 2004 Czypinski, Daniel J. The Dead Class. 2004 Easton, Teryn L. Storybook Alive. 2005 Boucher, Tawna Behold, a one-act play, and an analysis of the creation of the script. 2005 DeBaldo, Bernard J. Five Crazy Ladies: an a cappella musical and an analysis of the writing of the libretto, lyrics, and music. 2005 Fitzgerald, Thomas Minstrel (yzing) America: minstrelsy as performance of imagined Blackness. 2005 Gill, Joe Machinal: a production study from process to execution. (Includes DVD). 2005 Lemack, Bradley Steven The influence and legacy of Yiddish theatre on popular entertainment(dvd/video) 2005 Miller, Heidi R. Video on stage: how Ubung and Alladeen combine video and live theatre to construct, destroy and complicate performances of identity. 2005 Quick, Stacey N. Raw & sober: Last Woman Standing. 2005 Santiago, Selene Vanessa Satire as political progressiveness in the Chicano/Latino community: a study of theatre production from socio-cultural consciousness to the stage. 2005 Savage, Myriam Dominique Spontaneous communities: the collective celebration in Playground re-scening This Property is Condemned by Tennessee Williams (Includes video disc) 2006 Brennan-Lincoln, Jill "Baptists Gone Bad and the Passing of a Peace Pipe by a Shoshone Princess" 2006 De Young, Cheryl Lynn Constructing the self or living a lie: writing Kudzu Daughters: a play in three acts. 2006 Fan, Chen From theater to daily life: modeling the Chinese ideals of "struggle" and "resistance" in Chinese model opera. 2006 Fiorillo, Steven The Best President: a children's play using workshop and drama as a teaching tool. 2006 Ginter, Lindsey Aurelian dreams, a drama and an analysis of the creation of the script. 2006 Hamel, Frederik "Servant of Two Masters": Arlecchino. 2006 Huff, Kimberly Aloha haole: the effects of colonialization and globalization on the hawaiian hula 2006 Rastegar, Roxana Translating The Interview from Persian to English 2007 Hong, Seyhee Creative drama and play production in english as a second language instruction 2007 Krawczeniuk, Vsevolod G. Acting out in high school: a guide to teaching acting in secondary schools 2007 Miller, Janet Elizabeth You're a Good Man, Charlie Brown: an alfresco performance 2008 Chionchio, Melissa M. Transgender representation 2008 Hawkins, Stephanie Performing Franca Rame: examining popular theatre 2008 Immel, Michael Manifest Destiny: a musical and an analysis of the creation of the text and lyrics 2008 Shea, Shannon Blue Dog Auction: intertwining theatre and fundraising 2009 Baez, Juan Jr. I'm Not Alone and an analysis of the creation of the script 2009 Chacon, Daniel RAPQUACHI: Chicano/Latino hip-hop theater in California 2009 Chen, Su Ling Using creative drama to teach a Chinese language class 2009 Diem, Paul Absent potential in the straight white male performing excessive stereotypes 2009 Herron, Royce Savage in Limbo: a collaboration in character development and costume design 2009 Rickard, Cory N Creating ritual using myth and symbol in a postmodern context 2009 Rodriguez, Aaref Ignacio The John Lion New Plays Festival Anthology 2008 project report 2009 Saman, Rania A guide into imagination: teaching creative dramatics to children 2010 Akkarasrisawad, Preeyasuda Buddhism and viewpoints in Journey/ Preeyasuda Akkarasrisawad. (Includes video disc) 2010 Asistio, Lesley The VMW 2009: Image 2010 Cook, Robert W. WHAT NOW? a theradrama melodrama & creative drama intervention program 2010 Garcia, Francisco Constructing a concrete symphony: creating Seventeen 2010 Mason, David J. Compiling, formatting, editing, designing, and publishing the John Lion New Plays Festival Anthology 2010

76 2010 Massey, Brandon Tea dramaturgy: contextualizing performance 2010 Mitchell, Staci L Beloved Woman, Mother, and Wife: a solo performance exploring complex identities of African American women in search of liberation 2010 Tenney, Whitney B. From the outside in: developing the role of Eva Peron using social gestus and epic techniques 2011 Aragon, Francisco Puerta del Diablo: developing a one-act play about pre-civil war El Salvador for the John Lion new play festival 2011 Belzer, Dan Terrence The Sound and Music of Ibsen 2011 Kim, Yoon Y. A study on the theatricality of Yangju Byeolsandae-nori: a Korean traditional mask dance-drama 2011 Milan, Mika S. Taziyeh, an Iranian political passion musical play, and its paradoxical effects in spectators 2011 Stallone, Leslie Don't Forget me: development and execution of a feature film script 2012 Cecchin, Giovanni Mystery of the Missing Mutts: A Dramaturgical Process 2012/Mar Tamayo, Evan Alfredo Down the Passage We Did Not Take 2012/Aug Brown, Weslie Roberta Chivalry: A Chamber Opera 2012/Aug Goodson, Christopher Todd Overactive dramaturgy: research and rehearsal for Wondrous Tales of Old Japan 2012/Aug Heinrich, Rena Marie (Re)directing Miss Quince: an exploration of transcultural theatre 2013/Feb Blair, Lauren E. Collaborating Amongst Shrapnel: Dramaturgically Collecting the Fragments of Sam Shepard’s A Lie of the Mind 2013/Feb Kyun, Doyoung Choreographic Synonyms: Breaking Free from Female Stereotypes of the Ballerina in Mats Ed’ and Matthew Bourne’s Swan Lake 2013/Feb Salas, Mercedes Richard III self-made king: an Analysis of the Study Guide created for a fictitious adaptation of Richard III as proposed to the New York City based LAByrinth Theatre Company 2013/Oct Swank, Kimberly G. Staging History: The Complex Character of Charlotte Von Mahlsdorf explored through a Dramaturgy of I am My Own Wife by Doug Wright 2013/Dec Kyes, Nancy Louise Naturalizing Slippage, Savoring Experience: Seeing the Heroine in Kalidasa’s Abhijana-Sakuntalam, the Recognition of Sakuntala 2014/Feb Groskin, Katy Leigh An Alternative Model in Theatre Education: Building Community and Defining Self- Agency with Urban Youth 2014/Feb Mueller, Hiedi Marie Cholas from the OC: Found Learning 2014/Apr Cho, Youn Hee Should I Tell You?: A Theatre Performance on the Korean Comfort Women inspired by Caryl Churchill and Bertolt Brecht 2014/May Cardiff, John Marcus Between two lions: Historiography and Gender Normaltivity in I Am My Own Wife 2014/Jul Ponce, Rocio Mind Games: The Composition of a Punk Ruck Musical/Opera 2015/Feb Cales, Cynthia Finding Humiliata 2015/Aug Restum, Chad Culture and Identiy in Directing Tennessee Williams’ Camino Real

Joint MFA: TFVT - Theatre Theses

2011 Acedo, Miguel A. Nina de la Tierra 2011 Crossman, Elizabeth E. A Cowboy’s Life 2011 Degelman, Charles F. No Deposit, No Return: challenges and solutions to creating a cinematic utopia 2011 Lollor, Philip Infinity loops, sawtooth snaps and N-jumps: an examination of time travel theories, temporal anomalies, paradoxes, and problems in film and television; The Time Train 2011 Mostafa, Tamir Unexpected 2011 Patino, Janae Fatherless Country 2011 Stallone, Leslie Don't Forget me: development and execution of a feature film script 2011 Tycer, Alicia W. The Boat House 2012 Ashe, Remy The traumatized mouse and the dissociated duck: trauma and resolution in Disney's animated feature-length films 2012 Feghali, Elias The pragmatists or how to perform the gap: staging a Western play using non- Western techniques 2012 Ozalp, Behre O Lead performance in a short film: production of Pandora's Nest 2012 Snyder, Philip Charles Now I See: creating, producing, and marketing a documentary 2012 Ulloa, Martha Buried Secrets 2012 Vannest, Sarah K Last Path: a short film 2012 Zhen, Xiaoguang Stay - A Social Observation Through Personal Storytelling

77 2012/Aug Behrouzfard, Shirin June What does it mean to love? 2012/Aug Gerth, Nicole Lynn Shortcomings 2012/Aug Guevara, John R. All My Luvin' 2012/Aug Kraemer, Bethany Lynn From concept to curtain call; staging The Milkman 2012/Aug Major, Vince Thomas Love Offline 2012/Aug Pourhassan, Shahram The Persian Gate 2012/Aug Truett, Joshua Lee Pilot episode of the Painted Ladies T.V. series. and "Myth of a Mammy, San Francisco 1850-1870: harbinger of the postmodern era" 2012/Aug Worland, Jennafer Lynn Chaser: a play 2012/Oct Santos-DeCure, Cynthia Miss Quince: Writing and Performing Latina Identity 2012/Dec Miller, Shani Race, gender, class & YouTube in the 2008 presidential election 2012/Dec Tycer, Alicia Winsome An Actor's Process: Collaboration and Pedagogy 2013/Feb Ellis, Natasha Oleanna: Performance from the Perspective of an African American Woman 2013/Feb Nelson, Nicole Girl Talk: A Web Series 2013/Mar Dunlap, Monica Juba 2013/Mar Pak, Ricky Changing the Face of Hollywood, Making the Invisible Visible: An Asian Pacific American Writer, Actor, Producer and Director on Making the Feature Film, Home 2013/May Davis, Deneta Y. College Ruled 2013/May DiGiovanni, Diego Exploring the Role of Leontes in The Winter’s Tale 2013/May Imagawa, Tomohisa Wake 2013/May McCown, Caitlin The Artist as Educator: Exploration of a Nonprofit Business Model that Promotes Theatre Education through Production 2013/May Pagan, Jillian R. Do the Monster Mashup: Werewolf, Why, and How I Changed Henrick Ibsen’s A Doll’s House into A Doll Howls 2013/Jun Oppenheim, Jonas The Happy Slave 2013/Jul DiGiovanni, Fanshen One Drop of Love: Finding the Love in the One Drop Rule through Documentary Storytelling and Performance 2013/Jul Manning, Evan Eldridge: A Screenplay 2013/Jul Suarez, Jason Viva: A Television Pilot 2013/Jul Tenney, Whitney Breaking My Mold: An Actor’s Perspective on Writing, Producing, and Performance in the Short Film, Little Treasure 2013/Dec Torres, Marisol Lydia Nine Layers: The Play 2014/Mar Johnson, Callie M. Prendiville The Helenas 2014/Mar Ventress II, Joseph Roy The Craft of Short Film Production in the Era of Digital Media Tools: A Producer’s Perspective 2014/May Fipps, Heather Ann Allegories of Reverie 2014/May Ishida, Barbara Ann Strand Scripted 2014/Jun Greenberg, Theodore H. Tiez of Violence 2014/Aug Arnold, Sean Robert A Reason to Change: How Medium Affects Story 2014/Oct Trabitz, Randee E. Blacktop Highway: A Collaboration betwee Randee Trabitz and John Fleck 2014/Nov Boccio, Erik Shooting An Elephant: An Existential Journey from Los Angeles to the Thai Elephant Home 2015/Mar Leiser, Todd Copy Control Zero: Artistic Voice from One Short Film to Another 2015/Apr Bennett, Naomi Petrea Hold Me Tight: Creating a Sustainable Ensemble 2015/May Mellian, Kristin Breath, Impulse, and the Authentic Voice: An Actor’s Journey Through Fitzmaurice Voicework 2015/May Pes, Monica Lynn Epic Ibsen: A Production of Henrik Ibsen’s Modernist Classic Hedda Gabler 2015/May Viola, Margaret A. Chuck and Nancy 2015/Jul Clasby, Candice No Directors were harmed in the Directing of the play Bus Stop, an Exploration of My Directorial Process from Conception of the Idea to Performance 2015/Aug Pest, Matthew Ryan Beyond Hearing: An Actor’s Process in Preparing the Role of Bobby from American Buffalo 2015/Dec Pelaez, Jekyns Blind Justice 2015/Dec Salcido, Ricardo Lessons of Artistic Integrity: One Actor’s perspective on the Performance of Theseus and the Assistant Direction in the Stage Production of Phaedra 2015/Dec Shirazi, Ziba Iranian Diasporic Identity: An Ethnographic Performance Study of Iranian Immigrants

78 Appendix H. Matrix of Courses and Instructional Modes

Directions 1. With the exception of internships, field experiences, cooperative education (398), graduate research, thesis or project, all courses taught in the department should be included in the matrix. If a large number of 1-unit courses offered have the same classification (i.e., 2 hrs activity), they may be grouped. If this is done, please indicate how many courses are included. 2. Group courses into General Education, Service, and Major, and indicate the category (GE, S, or M). 3. The scheduled time should be provided in percentages totaling 100% for each (instructional and strategies). 4. Instructional mode refers to the instructional mode as specified in the curricular process. Therefore, a class that is classified lecture for 3 hours and lab 6 hours would be lecture = 33% and lab = 67%. 5. Teaching strategies. If more than one faculty member teaches the course throughout the year, provide the average of all that teach it. At least 5% of the instructional time during the quarter should use a given strategy in order to classify it as being used. For example, a lecture course could be “Active Learning = 40%, Collaborative = 25%, Lecture = 30%, and Technology Mediated = 5%”. Another course that is traditionally all lecture (100%) could be “Active Learning = 20%, Collaborative = 20%, Lecture = 50%, Technology Mediated = 5%, and Service Learning = 5%”. 6. Please explain “other” on a separate page.

Course INSTRUCTOR SUBJECT # CMP Unit % Instructional Mode % TEACHING STRATEGIES

# - Core/ * option/ Active Colla- Tech Service % TAUGHT + option - elective SEM LEC ACT LAB Learning borative Lecture Mediated Learning OTHER

GEN ED COURSES = 7 Graham 33% Other Inst 67% TA 152 LEC 4 100 20 20 40 20

Other Inst 60% Kupka 40% DANC 157 ACT 1 100 30 70

--- DANC 157 LEC 3 100 100

Other Inst 70% Odihambo 30% DANC/TA/TVF 210 LAB 1 100 30 70

--- DANC/TA/TVF 210 LEC 3 100 30 70

79 Other Inst 60% Odihambo 25% TA/TVF/ENGL 240 LEC 4 100 50 50

Graham 40% Larkin 15% Mason 15% Others 30% TA 314 LEC 4 100 100

Larkin 40% Rothman 30% Other Inst 30% TA 380 LEC 3 100 100

--- TA 380 ACT 1 100 80 20

Rothman 100% TAD 316 LEC 4 100 100

SERVICE COURSES = 3

Kupka 30% Others 55% Odihambo15% DANC 400 ACT 2 100 35 35 20 10

--- DANC 400 LEC 1 100 35 35 30

Others 30% Dunne 35% Gonzales 35% TA 400 ACT 2 100 35 35 20 10

--- TA 400 LEC 1 100 35 35 30

Kupka 100% DANC 477 LEC 1 100 35 35 30

--- DANC 477 ACT 2 100

DANCE COURSES = 26 # CORE, * Option Required, + Perf Practicum Other Inst 100% DANC 100A # ACT 3 100 70 30

Other Inst 100% DANC 100B * ACT 3 100 70 30

Other Inst 100% DANC 100C + ACT 3 100 70 30

Other Inst 100% DANC 120A + ACT 3 100 70 30

80 Other Inst 90% Kane-Parry10% DANC 140A # ACT 3 100 75 25

Other Inst 70% Kane-Parry 30% DANC 140B * ACT 3 100 75 25

Other Inst 80% Kane-Parry 20% DANC 140C * ACT 3 100 75 25

Other Inst 100% DANC 200A + ACT 3 100 70 30

Other Inst 100% DANC 200B + ACT 3 100 70 30

Other Inst 100% DANC 200C + ACT 3 100 70 30

Other Inst 94% Lee 8% Kane-Parry 10% DANC 240A * ACT 3 100 70 30

Other Inst 70% Lee 10% Kane-Parry 20% DANC 240B * ACT 3 100 70 30

Other Inst 80% Lee 10% Kane-Parry 10% DANC 240C * ACT 3 100 70 30

Odihambo100% DANC 255 ACT 2 100 70 30

Other Inst 100% DANC 256 ACT 2 100 70 30

Other Inst 100% DANC 260 + ACT 2 100 70 30

Lee 100% DANC 272 # ACT 2 100 50 50

Lee 100% DANC 272 # LEC 1 100 100

Other Inst 100% DANC 300 + ACT 2 100

Other Inst 100% DANC 320 + ACT 2 100

Lee 100% DANC 340 * ACT 2 100

Other Inst 100% DANC 360 ACT 2 100

Lee 100% DANC 372 * ACT 2 100 50 50

81 Lee 100% DANC 372 * LEC 1 100 100

Lee 100% DANC 472 * ACT 2 100 50 50

Lee 100% DANC 472 * LEC 1 100 100

Lee 80% Others 20% DANC 480 * ACT 2 100 100

Lee 80% Odihambo 20% DANC 483 # 100 80 20

Kupka 80% Odihambo 20% 484 # 100 80 20

THEATER COURSES = 35 # CORE, * Option Required, + Perf Practicum Multiple Inst TA 100 ACT 1 30 70 35 35 30

Multiple Instructor TA 141 # ACT 3 30 70 35 35 30

Kane-Parry 50% Other Inst 50% TA 142 * LEC 3 30 70 35 35 30

Kane-Parry 50% Other Inst 50% TA 143 * LEC 3 30 70 35 35 30

Gonzales 100% TA 276 * LEC 4 40 30 30 30 30 20 20

Greenburg 35% Herrera 30% McMills 35% TA 300 + ACT 2 100 100

301 Dunne 100% TA /401 * LEC 4 100 70 30

Multiple Instructors TA 310 + ACT 2 100 100

Mason 100% TA 311 * LEC 4 100 35 40 25

Mason 100% TA 312 * LEC 4 100 35 40 25

Mason 90% Others 10% Hatfield 10% TA 313 * LEC 4 100

82 Herrera 80% Others 20% TA 322 * ACT 3 100 70 30

Herrera 100% TA 323 ACT 3 100 80 20

Other Inst 100% TA 343 + ACT 3 30 70 35 35 30

Dunne 90% Herrera 10% TA 402 # ACT 3 100 100

Herrera 100% TA 422 ACT 3 100 65 15 20

Acebo 50% 426/ Others 50% TA 427 + ACT 3 100 20 50 30

Acebo 80% McMills 10% 431/ Other Inst 10% TA 432 + ACT 3 100 30 50 20

McMills 50% 434/ Others 50% TA 435 + ACT 3 100 20 50 30

Rothman 80% Kane-Parry 10% Larkin 10% TA 442 ACT 3 30 70 35 35 30

Gonzales 100% TA 445 * ACT 3 40 60 60 20 20

Larkin 100% TA 446 * ACT 3 40 60 60 20 20

Multiple Instructors TA 454L * SEM 1

Multiple Instructors TA 454P * ACT 1

Multiple Instructors TA 459 ACT 3 100 100

Mason 100% TA 475 + LEC 4 100 30 30 40

Gonzales 100% TA 476 + LEC 4 40 30 30 30 30 20 20

Gonzales 80% Other Inst 20% TA 489 + ACT 2 50 50 100

Herrera 100% TAD 101 # ACT 1 100 40 40 20

83 Herrera 80% McMills 10% Others 10% TAD 131 * ACT 3 100 20 50 30

McMills 40% Herrera 20% Others 40% TAD 132 # ACT 3 100 20 50 30

Herrera 50% Acebo 30% Other Inst 20% TAD 133 # ACT 1 60 60

--- TAD 133 # LEC 1 40 40

Kane-Parry 90% Other Inst 10% TAD 149 # ACT 3 30 70 40 30 30

Greenburg ACT/ 100% TAD 339 # LEC 1 80 20 30 40 30

Kane-Parry 100% TAD 348 * ACT 3 30 70 40 30 30

Kwan 50% Others 50% TAD 390 # LEC 4 100 15 15 70

MA COURSES = 8 # CORE, * Electives Mason 100% TA/TAD 500 # SEM 4 100 60 30 10

Multi Instructors TA 510 * ACT 1 100 70 15 15

Mason 100% TA 511 # SEM 4 100 70 20 10

Kwan 80% Mason 10% Odhiambo 10% TA/TAD 512 # SEM 4 100 30 70

Mason 90% Kane-Parry 10% TA 541 * SEM 4 100 55 40 5

Kane-Parry 65% Mason 25% Harper 10% TA/TAD 570 # SEM 4 100 40 30 30

Mason 100% TA 572 * SEM 4 40 30 30 30 20 50

TA/TAD 574 # SEM 4 100 30 70 Kwan 60%

84 Others 40%

MFA COURSES = 19 # CORE, * Electives Rothman 50% Others 50% TVFT 502 # SEM 4 100 100

Mason 100% TVFT 503A # LEC 4 100 30 70

Hatfield 33% Others 67% TVFT 508 # SEM 4 100 30 70

Greenburg 50% McMills 50% TVFT 511 # SEM 4 100 50 20 30

Hatfield 67% Larkin 33% TVFT 517 * ACT 3 30 70 35 35

Other Ins 67% Kane-Parry 33% TVFT 518 * ACT 3 30 70 35 35

Hatfield 33% Rothman 33% Others 34% TVFT 519 * ACT 3 30 70 35 35

Rothman 100% TVFT 521 * ACT 1 100 50 50

--- TVFT 521 * SEM 3 100 50 50

Hatfield 67% Rothman 33% TVFT 542 * ACT 3 30 70 35 35

Others 67% Larkin 33% TVFT 543A * ACT 2 30 70 35 35

Kane-Parry 50% Other Inst 50% TVFT 543B * ACT 2 30 70 35 35

Others 100% TVFT 543C * ACT 2 30 70 35 35

Odihambo 25% Others 75% TVFT 544A * ACT 3 30 70 35 35

Odihambo100% TVFT 544B * ACT 2 30 70 35 35

Kane-Parry 100% TVFT 544C * ACT 2 30 70 35 35

85 Others 67% Gonzales 33% TVFT 545 * SEM 4 100 30 30 40

Gonzales 75% Others 25% TVFT 549 * SEM 4 100 30 30 40

Graham 100% TVFT 563 * LEC 4 100 20 80

Multiple Instructors TVFT 580 # ACT 2 100 50 50

How many faculty use active learning in at least one course? ___12____ How many faculty use service learning in at least one course? ___0____

Appendix I. Assessment Plan(s)

Insert the assessment plan for each program in your Department/School/Division. Indicate the date that it was created and also the date that it was last revised as the plan may change as student learning data is obtained.

The Theatre Arts & Dance Program does not have any formal Assessment plan in Action

87 Appendix J. Curriculum Map Curriculum Map: Indicating the courses in which students achieve the programmatic Student Learning Outcomes 1. List Student Learning Outcomes for each program:

BACHELOR OF ARTS – THEATRE ARTS & DANCE: SLO 1. The ability to think conceptually and critically about text, performance, and production.

SLO 2. An understanding of playwriting and production processes, aesthetic properties of style, and the way these shape and are shaped by artistic and cultural forces.

SLO 3. An acquaintance with a wide selection of theatre repertory including the principal eras, genres, and cultural sources.

SLO 4. The ability to develop and defend informed judgments about theatre.

2. State to what extent student learning of that outcome is expected in that class in a table such as that below. You may use “I” for Introduced; “D” for Developed and “M” for Mastered or develop and define your own terminology for levels of student learning.

Code: # CORE, * Option, + Option Elective

Student Learning Outcomes (SLO) Subject Course CMP SLO 1 SLO 2 SLO 3 SLO 4 # GENERAL EDUCATION COURSES DANC 157 ACT I DANC 157 LEC I DANC/TA/TVF 210 LAB I DANC/TA/TVF 210 LEC I TA/TVF/ENGL 240 LEC I TA 152 LEC I I I I TA 314 LEC TA 380 ACT TA 380 LEC TAD 316 LEC

DANCE COURSES DANC 100A # ACT I DANC 100B * ACT I DANC 100C ACT I DANC 120A ACT I DANC 140A * ACT I DANC 140B * ACT I DANC 140C * ACT I

88 DANC 200A ACT D DANC 200B ACT D DANC 200C ACT D DANC 240A * ACT D DANC 240B * ACT D DANC 240C * ACT D DANC 255 ACT D DANC 256 ACT D DANC 260 ACT D DANC 272 # ACT D DANC 272 # LEC D DANC 300 ACT M DANC 320 ACT M DANC 340 * ACT M DANC 360 ACT M DANC 372 * ACT M DANC 372 * LEC M DANC 400 ACT M DANC 400 LEC M DANC 470 * ACT M DANC 470 * LEC M DANC 471 * LAB M DANC 471 * SEM M DANC 472 * ACT M DANC 472 * LEC M DANC 475 * LAB M DANC 475 * SEM M DANC 476A * LEC M DANC 476B * LEC M DANC 477 ACT M DANC 477 LEC M DANC 480 * ACT M DANC 483+ ACT M DANC 484+ LAB M

THEATRE COURSES TA 100 ACT TA 141 # ACT TA 142 * LEC TA 143 * LEC TA 276 * SEM I I I I TA 300 ACT I TA 301/401* LEC TA 306 LEC TA 310 ACT TA 311 * LEC M M M D TA 312 * LEC M M M D

89 TA 313 * LEC M M M D TA 322 * ACT TA 323 ACT TA 343 ACT TA 400 ACT I I I I TA 400 LEC I I I I TA 402+ ACT I I I I TA 422 ACT I TA 426+ ACT D D D TA 427 ACT M M M TA 431+ ACT D D D TA 432 ACT M M M TA 434+ ACT D D D TA 435 ACT M M M TA 442 ACT TA 445 * ACT M D D TA 446 * ACT TA 459 ACT TA 475 LEC D D I D TA 476 LEC D D I D TA 489 ACT D D D D

TAD 101 # ACT TAD 131 * ACT I I I TAD 132 # ACT I I I TAD 133 # LAB/ACT TAD 133 # LEC TAD 149 # ACT TAD 339 # ACT TAD 339 # LEC TAD 348 * ACT TAD 390 # LEC TAD 439 * LEC

MASTER OF ARTS – THEATRE ARTS: SLO 1. The ability to work with a broad range of artistic and intellectual knowledge, skills, and perspectives.

SLO 2. Deepen understanding of the relationships among theatre specializations such as performance, direction, historical and theoretical analysis, design/technology, and playwriting, and for connecting theatre and other disciplines.

Subject Course CMP SLO 1 SLO 2 # TA/TAD 500 SEM M D TA 510 ACT

90 TA 511 SEM M D TA/TAD 512 SEM TA 541 SEM M D TA/TAD 570 SEM TA 572 SEM TA/TAD 574 SEM NEW Semester SLO

Student Learning Outcomes (SLO) Subject Course CMP SLO 1 SLO 2 SLO 3 SLO 4 # GENERAL EDUCATION COURSES TA 1520 LEC I I I I TA 3140 LEC D D D D

THEATRE COURSES TA 1300 ACT I I I TA 1310 ACT I I I TA 1320 ACT I I I TA 1330 ACT I I I TA 1410 ACT I I TA 1420 ACT I I TA 1610 LEC/ACT I I I TA 1620 LEC I I D D TA 2430 ACT I I TA 2760 LEC I I TA 3000 ACT D D TA 3110 LEC M M M D TA 3120 LEC M M M D TA 3390 LEC D D TA 3410 ACT M M M D TA 3480 ACT M M TA 3900 LEC M M M D TA 4000 LEC/ACT D D D TA 4100 ACT D D TA 4220 LEC/ACT D D D TA 4260 LEC/ACT D D TA 4310 LEC/ACT D D TA 4320 LEC/ACT D D TA 4340 LEC/ACT D D TA 4350 LEC/ACT D D TA 4370 LEC/ACT D D TA 4390 LEC M M TA 4420 ACT M M D TA 4440 ACT M M D TA 4450 ACT M D D

91 TA 4460 ACT M D D TA 4490 ACT M M TA 4500 SEM M M M M TA 4540L/P LEC/ACT TA 4590 ACT I I I I TA 4600 SEM D D I D TA 4630 LEC/ACT M M M M TA 4670 LEC/ACT M M M M TA 4750 LEC D D I D TA 4760 LEC D D I D TA 4761 LEC D D I D TA 4762 LEC D D I D TA 4780 LEC D D I TA 4790 LEC D D I TA 4800 LEC D D I TA 4810 ACT D D D M TA 4890 ACT D D D D

DANCE COURSES DANC 1000 ACT I DANC 1200 ACT I DANC 1400 ACT I DANC 1570 LEC I DANC 1600 ACT I DANC 2000 ACT D DANC 2200 ACT D DANC 2400 ACT D DANC 2540L LEC D DANC 2500 ACT D DANC 2560 ACT D DANC 2700 ACT D DANC 3000 ACT M DANC 3200 ACT M DANC 3400 ACT M DANC 3700 ACT M DANC 4000 ACT M DANC 4100 ACT D D DANC 4200 LEC M DANC 4210 LEC M DANC 4300 LEC/ACT M DANC 4350 LEC M DANC 4400 SEM/ACT M DANC 4770 LEC M DANC 4540L/P LEC/ACT DANC 4600 ACT M DANC 4700 LEC/ACT M DANC 4780 ACT M

92 MASTER OF ARTS – THEATRE ARTS: SLO 1. The ability to work with a broad range of artistic and intellectual knowledge, skills, and perspectives.

Subject Course CMP SLO 1 SLO 2 # TA 5000 SEM M D TA 5100 ACT TA 5110 SEM M D TA 5120 SEM M D TA 5410 SEM M D TA 5660 SEM M D TA 5700 SEM M D TA 5720 SEM M D TA 5740 SEM M D TA 5770 SEM M D TA 5780 SEM M D TA 5790 SEM M D

93 Appendix K. Faculty Composition (from the Office of Equity and Diversity) A. Number of Tenured and Probationary (Tenure-Track) faculty Fall quarter of each year under review. Fall 2004 14 Fall 2005 14 Fall 2006 14 Fall 2007 12 Fall 2008 13 Fall 2009 14 Fall 2010 15 Fall 2011 14 Fall 2012 14

B. Number of Tenured and Probationary Faculty by Rank, Gender, Ethnicity, and Terminal Degree

FALL 2004 Rank Gender Ethnicity Terminal Degree Professor Female - 7 Afr Amer - Doctorate - 2 9 Male - 2 Asian/PI - 3 Masters of Fine Arts - 3 Latino - Masters - 4 White - 6 Bachelors - Other - Associate Female - Afr Amer - Doctorate - Professor Male - Asian/PI - Masters of Fine Arts - 0 Latino - Masters - White - Bachelors - Other - Assistant Female - 3 Afr Amer - Doctorate - 1 Professor Male - 2 Asian/PI - 1 Masters of Fine Arts - 3 5 Latino - 1 Masters - White - 3 Bachelors - 1 Other - Lecturer Female - 3 Afr Amer – 1 Doctorate - 2- 7 Male - 4 Asian/PI - Masters - 5 Latino - 2 Bachelors - White - 4 HS/ GED - 1 Other -

FALL 2005 Rank Gender Ethnicity Terminal Degree Professor Female - 7 Afr Amer - Doctorate - 2 9 Male - 2 Asian/PI - 3 Masters of Fine Arts - 3 Latino - Masters - 4 White - 6 Bachelors - Other - Associate Female - Afr Amer - Doctorate - Professor Male - Asian/PI - Masters of Fine Arts - 0 Latino - Masters - White - Bachelors - Other - Assistant Female - 3 Afr Amer - Doctorate - 1 Professor Male - 2 Asian/PI - 1 Masters of Fine Arts - 3 5 Latino - 1 Masters -

94 White - 3 Bachelors - 1 Other –

Lecturer Female - 2 Afr Amer – 1 Doctorate - 7 Male - 5 Asian/PI - Masters - 4 Latino - 3 Bachelors - 1 White - 3 Some College - 1 Other - HS/ GED - 1

FALL 2006 Rank Gender Ethnicity Terminal Degree Professor Female - 5 Afr Amer - Doctorate - 2 9 Male - 3 Asian/PI - 2 Masters of Fine Arts - 2 Latino - 1 Masters - 4 White - 5 Bachelors - Other - Associate Female - Afr Amer - Doctorate - Professor Male - Asian/PI - Masters of Fine Arts - 0 Latino - Masters - White - Bachelors - Other - Assistant Female - 3 Afr Amer - Doctorate - 1 Professor Male - 2 Asian/PI - 1 Masters of Fine Arts - 3 5 Latino - 1 Masters - White - 3 Bachelors - 1 Other - Lecturer Female - 4 Afr Amer – 1 Doctorate - 0 11 Male - 7 Asian/PI - 1 Masters - 7 Latino - 5 Bachelors - 2 White - 4 Some College - 1 Other - HS/ GED - 1

FALL 2007 Rank Gender Ethnicity Terminal Degree Professor Female - 6 Afr Amer - Doctorate - 2 8 Male - 2 Asian/PI - 2 Masters of Fine Arts - 2 Latino - 1 Masters - 4 White - 5 Bachelors - Other - Associate Female - 1 Afr Amer - Doctorate - Professor Male - Asian/PI - Masters of Fine Arts - 1 Latino - Masters - White - 1 Bachelors - 1 Other - Assistant Female - 2 Afr Amer - Doctorate - 1 Professor Male - 1 Asian/PI - 1 Masters of Fine Arts - 2 3 Latino - Masters - White - 2 Bachelors - Other - Lecturer Female - 4 Afr Amer – 4 Doctorate - 0 14 Male - 10 Asian/PI - 2 Masters - 7 Latino - 3 Bachelors - 3 White - 5 Some College - 3 Other - HS/ GED - 1

FALL 2008 Rank Gender Ethnicity Terminal Degree Professor Female - 6 Afr Amer - Doctorate - 3 9 Male - 3 Asian/PI - 2 Masters of Fine Arts - 3 Latino - 1 Masters - 3 White - 6 Bachelors - Other –

Associate Female - 2 Afr Amer - Doctorate - Professor Male - 1 Asian/PI - Masters of Fine Arts - 2 3 Latino - Masters - White - 3 Bachelors - 1 Other - Assistant Female - 1 Afr Amer - Doctorate - 1 Professor Male - Asian/PI - 1 Masters of Fine Arts - 1 Latino - Masters - White - Bachelors - Other - Lecturer Female - 5 Afr Amer – 2 Doctorate - 3 14 Male - 9 Asian/PI - 1 Masters - 7 Latino - Bachelors - 3 White - 9 Some College - Other - 2 HS/ GED - 1

FALL 2009 Rank Gender Ethnicity Terminal Degree Professor Female - 6 Afr Amer - Doctorate - 3 9 Male - 3 Asian/PI - 2 Masters of Fine Arts - 3 Latino - 1 Masters - 3 White - 6 Bachelors - Other - Associate Female - 2 Afr Amer - Doctorate - Professor Male - 1 Asian/PI - Masters of Fine Arts - 2 3 Latino - Masters - White - 3 Bachelors - 1 Other - Assistant Female - 2 Afr Amer - Doctorate - 2 Professor Male - Asian/PI - 1 Masters of Fine Arts - 2 Latino - Masters - White - 1 Bachelors - Other - Lecturer Female - 5 Afr Amer – 1 Doctorate - 1 7 Male - 2 Asian/PI - 1 Masters - 4 Latino - Bachelors - 2 White - 5 Some College - Other - HS/ GED -

FALL 2010 Rank Gender Ethnicity Terminal Degree Professor Female - 6 Afr Amer - Doctorate - 3 9 Male -3 Asian/PI - 2 Masters of Fine Arts - 3 Latino - 1 Masters - 3 White - 6 Bachelors - Other -

96 Associate Female - 2 Afr Amer - Doctorate - Professor Male - 1 Asian/PI - Masters of Fine Arts - 3 Latino - Masters - White - 3 Bachelors - 1 Other - Assistant Female - 3 Afr Amer - Doctorate - 2 Professor Male - Asian/PI - 1 Masters of Fine Arts - 1 3 Latino - Masters - White - 2 Bachelors - Other –

Lecturer Female - 4 Afr Amer – Doctorate - 4 5 Male - 1 Asian/PI - Masters - 1 Latino - Bachelors - White - 5 Some College - Other - HS/ GED -

FALL 2011 Rank Gender Ethnicity Terminal Degree Professor Female - 6 Afr Amer - Doctorate - 4 9 Male - 3 Asian/PI - 2 Masters of Fine Arts - 2 Latino - 1 Masters - 3 White - 6 Bachelors - Other - Associate Female - 2 Afr Amer - Doctorate - Professor Male - 1 Asian/PI - Masters of Fine Arts - 2 3 Latino - Masters - White - 3 Bachelors - 1 Other - Assistant Female - 2 Afr Amer - Doctorate - 1 Professor Male - Asian/PI - Masters of Fine Arts - 1 2 Latino - Masters - White - 2 Bachelors - Other - Lecturer Female - 7 Afr Amer – Doctorate - 4 8 Male - 1 Asian/PI - Masters - 2 Latino - 2 Bachelors - 1 White - 6 Some College - Other - HS/ GED - 1

FALL 2012 Rank Gender Ethnicity Terminal Degree Professor Female - 6 Afr Amer - Doctorate - 4 10 Male - 3 Asian/PI - 2 Masters of Fine Arts - 2 Latino - 1 Masters - 3 White - 7 Bachelors - 1 Other - Associate Female - 1 Afr Amer - Doctorate - Professor Male - 1 Asian/PI - Masters of Fine Arts - 2 2 Latino - Masters - White - 2 Bachelors - 1 Other - Assistant Female - 2 Afr Amer - Doctorate - 1 Professor Male - Asian/PI - Masters of Fine Arts - 1 2 Latino - Masters - White - 2 Bachelors – Other -

97 Lecturer Female - 3 Afr Amer – Doctorate - 2 4 Male - 1 Asian/PI - Masters - Latino - 1 Bachelors - 1 White - 3 Some College - Other - HS/ GED - 1

C. Age distribution of Tenured and Probationary Faculty as of July 1, 2013

Tenured Age Range Probation Faculty 30 or younger 31-35 36-40 1 41-45 1 46-50 1 1 51-60 5 61-65 2 66 or older 3

D. Number of anticipated faculty retirements before the next program review:

Professor Female - 4 Afr Amer – Doctorate - 2 4 Male - Asian/PI - 1 Masters of Fine Arts - Latino - Masters - 2 White - 3 Bachelors - Other -

98 Appendix L. Faculty Summary Vitae (Each faculty vitae not to exceed three pages). Please use the below format.

Faculty Name Education and Relevant Experience Primary Area of Teaching and Department Courses Taught Selected service to the Department, College, and University in the past five years or since the last self-study Selected Professional Presentations in the past five years or since the last self-study Selected Presentations by mentored students in the past five years Selected publications since the last Self Study in the past five years or since the last self- study: please separate peer-reviewed articles from scholarly books and from textbooks. Indicate those with student co-authors with a “ *” Selected grants funded in the past five years or since the last self-study

José Cruz González

EDUCATION & RELEVANT EXPERIENCE M.F.A., Directing, University of California, Irvine M.A., Theatre, Arizona State University B.A., U.S. History/Chicano Studies, University of California, San Diego

Playwright in Residence: South Coast Repertory (CA), Childsplay (AZ).

Associate Artist: Cornerstone Theater (CA).

Artist-In-Residence: University of Oregon, 2009, University of Wyoming 2009.

Play Commissions: South Coast Repertory (CA), Core Ensemble (FL), Metro Theater Company (MO), PCPA (CA), Childsplay (AZ), Dramatic Publishing (IL).

Professional Directing: Native Voices at the Autry.

Literary/Theatre Consultant: Center Theater Group, Ecodrama Playwrights Festival, Write Now, Childsplay, Native Voices at the Autry.

Honors & Awards: 2012 TYA/USA Ann Shaw Fellowship 2010 Kennedy Center National Teaching Artist Grant 2009 American Alliance for Theatre & Education Distinguished Book Award 2009 College of Fellows of the American Theatre.

PRIMARY AREA OF TEACHING AND DEPARTMENT COURSES TAUGHT: Professor: Theatre Arts & Dance, California State University, Los Angeles, 1989-present. Courses: Advance Creative Workshop, Analysis of Drama and Theatre, Introduction to Playwriting, Playwriting, Directing, Creative Drama for Elementary Classroom, Beginning Acting. MFA in Television, Film, Theatre -- Playwriting, Collaboration, Stage Projects.

Selected Service to Department, College, University:

99 Department--Chair of the Music, Theatre and Dance Chair Search Committee, RTP A Committee (Chair), TVFT MFA Dramatic Writing Committee and TVFT MFA Lines/Budget Task Force, Mission, Vision and Strategic Planning Committee (Chair), RTP B Committee, TA/TVFT MFA Admissions and Candidacy Committee, TVFT MFA Dramatic Writing Admissions Subcommittee, Associate Chair, TAD, Operations Committee, Graduate Curriculum Committee, TAD Scheduling Committee, John Lion New Plays Festival Selection Committee, MTD Faculty Affairs. College--Resource Allocation Advisory (RAAC), Retention, Tenure, Promotion Committee A.

Selected Professional Presentations: “Theatre for Young Audiences,” USC, 2013 “Seki Sano y Kitagawa Tamiji. Artistas japonese en México en las décadas de 1920 a 1960” at El Colegio de México Y El Centro de Investigación Teatral Rodolfo Usigli, Mexico City, 2011 American Alliance for Theatre and Education, (Chicago) 2011 IPAY—International Performing Arts for Youth, Keynote Speaker, 2011 TCG Field Conversations, (Los Angeles, CA) 2010 NAST National Association of Schools of Theatres Presentation, (Los Angeles, CA), 2011 “Powerful Visions,” CSULA, 2009.

Selected Publications: Manzi (The Adventures of Young César Chávez) (published by Heritage on Stage: A Teatro Bravo Anthology published by Lion and Seagoat Press, 2012), Gasp, Farrah & Monster (published by Dramatic Publishing in The Bully Plays), 2011, Odysseus Cruz (published by Playscripts, Inc., NY), 2010.

Articles “Chasing The Sun”, published in American Theater Magazine, January 2012.

100 Paul Stuart Graham

M.F.A. in Theatre Management Education Summa Cum Laude California State University, Long Beach College of the Arts

M.F.A. graduate study in Acting Boston University School for the Arts

B.A. in Psychology University of Massachusetts

Professional Experience General Manager Los Angeles Theatre Center

Producing Director/ General Manager Actors Co-op HOLLYWOOD

Associate Consultant Michael G. Dolence & Associates

Managing Director California Repertory Company Cal Rep at Edison Theatre California State University, Long Beach

Producer Graham Productions, Ltd., New York City, NY

Producer, International Graham Productions, Ltd., London, England

Artistic Producing Director Massachusetts Repertory Theatre University of Massachusetts, Dartmouth

Producer/ Artistic Producing Director/ Owner The Red Barn Playhouse Saugatuck, MI

General Manager Los Angeles Theatre Center Theatre General Manager for a multi-theatre performing arts center in the historic Finance District Administrative of downtown Los Angeles with an annual operating budget of 1.6 million. Providing Experience leadership and direction for all operations and activities, including all development, marketing, promotion, administrative and financial aspects of the Center. Responsible for implementing the strategic goals of the organization; working with the Board of Directors to fulfill its governance functions; and provide direction and leadership toward the achievement of the organization’s philosophy, mission, strategy and objectives.

 Selected Producer/  Director/ General Los Angeles Theatre Management Credits Center   2009/2010 LA Stage Alliance Ovation Award Nominee  Best Season   Final Curtain Theatre Museum  London   Truman Capote Talk Show OFF Broadway  Dylan Thomas the Return Journey, NYC  Co-produced with Eric Clapton  directed by Sir Anthony Hopkins

 Moby Dick (Premiere New Musical) Mass Rep Theatre

101  Co-produced with Cameron Mackintosh  and Roger L. Stevens  The Marrano (Premiere New Musical),  directed by Mark Bramble   Member, Theatre Communications Group Professional Affiliations Member, The Drama League Member, Association of Arts Administration Educators Member, Los Angeles Stage Alliance Board Member, Academy for New Musical Theatre, Los Angeles

2002 – Present Teaching Experience Professor of Theatre, Tenured California State University, Los Angeles Taught courses in: Arts Management, Publicity and Promotion, Principles and Practices of Public Relations, Business of Acting, Analysis of Drama and Theatre, Staging Violence in World Theatre, Emotion in Theatre and Film, Entertainment Industry Practices, and Collaboration Workshop

Co-Associate Department Chairman Academic Department of Theatre Arts and Dance Administrative California State University, Los Angeles Experience Assisted in the daily management of activities related to the department including, production season, supervising department five year review, supervising marketing and promotion for new Professional Resident Equity acting company—SEGWAY THEATRE, budget, community interaction, public relations and marketing, advocacy, and student recruitment.

Associate Consultant Michael G. Dolence & Associates Higher Education Consultants. Specializing in curriculum–centered strategic planning, learner-centered curriculum and strategic enrollment management. Consultant for Business of Art and Design program at Ringling School of Art and Design, Sarasota, Florida.

Delegate/ Host Committee Publications/ Papers/ 2013 Kennedy Center American College Theater Festival Presentations/ Los Angeles Theatre Center Conferences Los Angeles, CA

Panelist, Arts Management Focus Group Center Theatre Group Education and Community Partnerships MetLife/TCG Aha! Program 2011 Center Theatre Group, Los Angeles, CA

Speaker 2011 Beverly Hills/ Hollywood NAACP 4th Annual Theatre Festival Los Angeles Theatre Center, Los Angeles, CA Presentation: “Careers in Arts Management: Leadership for the 21st Century

Delegate/ Host Committee 2010 National Arts Marketing and Development Conference, Los Angeles, CA Southern California Arts Marketers Conference Millennium Biltmore Hotel, Los Angeles, CA Panel Discussion: “Making Pricing Decisions for the 21st Century”

Speaker/ Moderator 2009 National Arts Marketing and Development Conference, Los Angeles, CA Millennium Biltmore Hotel, Los Angeles, CA Presentation: “National Town Hall Meeting: Theatre 2009” Arts Reach magazine, March 2008

102 Volume XVI, Issue 3 Article: What’s Old is New Again! Attracting Diverse Audiences, Part One

Arts Reach magazine, April 2008 Volume XVI, Issue41 Article: What’s Old is New Again! Attracting Diverse Audiences, Part Two

Arts Reach magazine, January 2005 Volume XIII, Issue 1 Article: Marketing to Asians: East meets West, Part Two

Arts Reach magazine, March 2004 Volume XII, Issue 3 Article: Passing the Torch: Succession Leadership Planning in the Performing Arts

Arts Reach magazine, December 2004 Volume XII, Issue 8 Article: Marketing to Asians: East meets West, Part One

Princeton Book Company, Publishers Dance: The Art of Production, Third Edition Edited by Joan Schlaich and Betty DuPont with Contributions by Paul Stuart Graham

JFK Center for Performing Arts and the Kennedy Center American College Theater Honors and Awards Festival Award for exemplary support of educational theater excellence. 2011

Certificate of Achievement in recognition of successfully completing the Riordan Volunteer Leadership Development Program and Arts Board Leaders Initiative (ABLI) to increase leadership capacity of arts organizations through increased understanding and effectiveness in the areas of board governance and leadership, and to strengthen the partnership between the executive directors and board leadership. LA County Arts Commission, July 27, 2011

Case Grenzebach Award Candidate for outstanding research in philanthropy for Education.

New Bedford Festival — The Theatre Achievement Award in recognition of creative achievement in presenting quality theatre in the Southeastern Massachusetts area.

Commonwealth of Massachusetts State Senate - Official Citation in recognition of creative achievement in presenting quality theatre in the Southeastern Massachusetts area.

State of Michigan — Special Governor’s Tribute. Playhouse Production, Inc. Christmas Tree Festival production of “Hans Brinker.”

CSULA Student Athlete Advisory Committee Special Award in appreciation of your creativity and dedication to inspire students.

Who’s Who Among Students in American Colleges and Universities.

National Honor Society of Phi Kappa Phi — in recognition of outstanding academic achievement.

103 MEREDITH J. GREENBURG (310) 490-1105 Tel [email protected]

EDUCATION:  Emerson College, Bachelors’ Degree in Theater Production/Management, 1991  Coursework in the Deaf Studies Department at CSU, Northridge.

RELATED EXPERIENCE:  Professional Theatrical Stage Manager, working free-lance in professional theaters and opera companies locally and nationally.  Member of AEA and AGMA  Currently holding contracts with the L.A. Opera, Los Angeles Philharmonic and Mattel, Inc.  Please see attached stage management resume for details.

COURSES TAUGHT:  Professor of Theatre Arts at California State University, Los Angeles in the Department of Music, Theatre and Dance.  Teaching courses in B.A. program as well as M.F.A. program including Stage Management, Stage Operations, Production Support, Collaboration, Management Practicum, Analysis of Drama and Theatre, Graduate and Undergraduate Play Performance and Graduate Culmination Projects.  Committee work has included curriculum development and revision for the B.A and M.F.A at the department, college and university level, as well as Policies and Procedures committees. Member of Instructionally Related Activity funding committees, and fiscal committees for Department and University. As the Production Manager, serves on production and season selection committees.  Production Manager for the Department of Music, Theatre and Dance at CSULA. Handling all production budgets, schedules, coordination between technical staff and production as well as designers (faculty and guest artists). Functioning as the liaison between the production area of the Department and the University offices including Public Affairs, Facilities, Procurement and Contracts, Risk Management and Business Financial Services. Overseeing all student production support, including Stage Managers, technicians and crew in all areas.

RELATED WORK HISTORY: Special Event/Gala Stage Manager and Production Manager (1995-present)  Manage various special events and benefit productions for organizations and theater companies including The Music Center of L.A. County, Ovation Awards, The City of Culver City, Women in Theatre, The Alzheimer’s Association (SoCA), Hollywood Entertainment Museum, Paramount Pictures, Santa Monica Aids Project, AIDS Project Los Angeles, S.T.A.G.E., Project New Hope, Hispanics for L.A. Opera, American Heart Association, Desert AIDS Project, Project Angel View, AIDS Assistance, Broadway Cares, Equity Fights AIDS, The Actors’ Fund, The Richmond/Ermet AIDS Foundation, Oakwood Schools, and The Palm Springs Film Festival. Currently working for What A Pair, a benefit for Cedars Sinai Breast Cancer Research. Producer, Director, Music Academy of the West Cabaret Gala (2009-2012)

104  Produced the annual end of term Cabaret event including their benefit concert and dinner Gala featuring the fellows of the Marilyn Horne Vocal Program. Responsible for all technical and production aspects of the evening – from the cocktail hour, through dinner and concert - contracting all of the vendors and working with the hotel and Chairs for the Gala to determine decor and set-up for the entire Gala, staging, lighting, audio, video, auction, talent needs, etc… Stage Manager, Spotlight Awards for the Music Center of Los Angeles County (2010-2013)  Working as Stage Manager and Assistant Stage Manager for the annual Spotlight Awards, produced annually at the Dorothy Chandler Pavilion. Producer, Arthritis Foundation’s Southern California Chapter Commitment to a Cure Gala (2004- 2011), American Heart Association Gala (2004-2010) Equality California’s Equality Awards (2007-2009) Annual Rick Weiss Humanitarian Awards Gala (1999-2009)  Produced annual fundraising and awards events. Responsibilities include maintaining budget, contracting all technical vendors, scheduling and coordinating with sponsoring hotel and its vendors, booking talent and organizing all hotel and flight reservations for crew, talent and staff. On site management includes supervising load-in, coordinating with catering facility and staff, full event set-up from stage to tables to peripheral areas for silent auction, bars and press areas.

AWARDS/ACHIEVEMENTS SINCE PREVIOUS SELF-STUDY::  Team Captain for Team Greenbean, for annual Walk Now for Autism. Number One team in fundraising in the USA- 2012, 2011 and 2010.  2006 Southland Theatre Artists Goodwill Event’s Producer’s Award

105 CURRICULUM VITAE of JAMES A. HATFIELD

Professor of Theatre, Department of Music, Theatre Arts and Dance Chair of Theatre Arts and Dance Department, CSULA, July 2008-September 2011 Co-Director of the TVFT MFA Program, CSULA, December 2010-September 2012 Professor and Director of Theatre, The University of Texas at Tyler, Texas. August 1990-July 2008

Education and Relevant Experience Academic Awarding Institution Date Majors Degree

Ph.D. Wayne State University 1981 Theatre History and Design Cognates: Art Education and Interpersonal Communication M.A. Ball State University 1975 Speech and Theatre Art Education B.S. Ball State University 1974 Speech and Theatre Art Education

Primary Area of Teaching and Department Courses Taught at CSULA Theatre History, Design and Scenography, Direction, Education Arts Administration

Spring 2013 TVFT 508-01 Media Arts, Theatre & Society (Seminar) Winter 2013 TVFT 508-01 MFA Directed Study (Supervision) TVFT 588-01 MFA Culmination Project Fall 2012 ENG/TA/TVF 240-01 Film, Novel, Theatre (Lecture) ENGL/TA/TVF 240-02 Film, Novel, Theatre (Lecture) TA 300-01 Production Support (Activity) TA390-01 Performance Research and Writing (Lecture) TA 432-01 Stage Scenery Design (Activity) TVFT 599-04 MFA Culmination Project (Supervision) Summer 2012 ENG/TA/TVF 240-01 Film, Novel, Theatre (Lecture) TA 152-01 Analysis of Drama and Theatre TA 152-02 Analysis of Drama and Theatre TVFT 598-04 MFA Directed Study Spring 2012 TA 313-01 Development of World Theatre III (Lecture) TVFT 508-02 Media Arts, Theatre & Society (Seminar) Winter 2012 TA 300-01 Production Support (Activity) TA 310-02 Play Performance (Activity) TA 510-01 Projects in Teaching Theatre (Activity) TA 595-01 Graduate Performance (Supervision) TVFT 580-01 Collaboration Workshop (Activity) Fall 2011 TA 310-02 Play Performance (Activity) TA 510-01 Projects in Teaching Theatre (Activity) TA 598-01 Graduate Directed Study (Supervision) TVFT 517-01 Acting for the Stage (Activity) TVFT 546A-01 MFA Project I (Supervision) Summer 2011 ENGL/TA/TVF 240-01 Film, Novel, Theatre (Lecture) TA 152-01 Analysis of Drama and Theatre TA 152-02 Analysis of Drama and Theatre

106 Spring 2011 TA 310-01 Play Performance (Activity) TA 310-02 Play Performance (Activity) TA 598-01 Graduate Directed Study (Supervision) TVFT 519-01 Acting for Film (Supervision) (Team-taught) TVFT 554-02 Select Topics in Entertainment (Seminar) TVFT 598-04 MFA Directed Study (Supervision) Winter 2011 TA 398-01 Cooperative Education (Supervision) TA 489-01 Advanced Creative Workshop (Activity) TA 510-01 Projects in Teaching Theatre, Performance and Dance (Activity) TVFT 542-01 Acting Studio (Activity) TVFT 554-01 Select Topics in Entertainment (Seminar) Fall 2010 TVFT 542-01 Acting for the Stage (Activity) TVFT 542-01 Acting Studio (Activity) TVFT 546A-02 MFA Project I (Supervision) TVFT 598-03 MFA Directed Study (Supervision) Spring 2010 TA 100-01 Play Practicum I (Activity) TA 310-03 Play Performance (Activity) TA 499-01 Undergraduate Directed Study (Supervision) TA 510-01 Projects in Teaching Theatre, Performance and Dance (Activity) TA 595-01 Graduate Performance (Supervision) TA 900-01 Graduate Studies (Supervision) TAD 486-40 Cross Cultural Approach to Social (Activity) TVFT 554-02 Select Topics in the Entertainment Industry (Seminar) Winter 2010 TA 310-04 Play Performance (Activity) TA 510-01 Projects in Teaching Theatre, Performance and Dance (Activity) TA 510-02 Projects in Teaching Theatre, Performance and Dance (Activity) TA 595-03 Graduate Performance (Supervision) TA 598-02 Graduate Directed Study (Supervision) TA 599-01 Thesis or Project I (Supervision) TA 900-01 Graduate Studies (Supervision) Fall 2009 TA 310-02 Play Performance (Activity) TA 310-04 Play Performance (Activity) TA 499-04 Undergraduate Directed Study (Supervision) TA 510-01 Projects in Teaching Theatre, Performance and Dance (Activity) TA 595-03 Graduate Performance (Supervision) TA 599-01 Thesis or Project I (Supervision) TA 599-03 Thesis or Project I (Supervision) Summer 2009 TA 599-01 Thesis or Project I (Supervision) Spring 2009 TA 310-01 Play Performance (Activity) TA 310-02 Play Performance (Activity) DANC 480-01 University Dance Ensemble (Activity) TA 499-04 Undergraduate Directed Study (Supervision) TA 595-03 Graduate Performance (Supervision) TA 499-03 Undergraduate Directed Study (Supervision) TA 595-01 Graduate Performance (Supervision) Winter 2009 TA 100-01 Play Practicum (Activity) DANC/TA/TVF 210-01 Body and Identity, Dance, Theatre, Film (Lecture) DANC/TA/TVF 210-02 Body and Identity, Dance, Theatre, Film (Laboratory DANC 480-02 University Dance Ensemble (Activity) TA 510-01 Projects in Teaching Theatre, Performance and Dance (Activity)

107 TA 595-01 Graduate Performance (Supervision) TA 595-02 Graduate Performance (Supervision) Fall 2008 TA\TVF 380-01 Emotion in Theatre and Film (Lecture) TA\TVF 380-02 Emotion in Theatre and Film (Activity)

Selected service to the Profession, Department, College, and University at CSULA Professional Service National Partners American Theatre - Board member, 2010 to present ATHE National Governing Council – MAL for Outreach 2005-2010 ATHE National Conference Planning Committee – Los Angeles 2010 ATHE National Governing Council, MAL for Outreach, ATHE 2005-2011 ATHE Forum Representative - Theatre Management, ATHE 1998-2006 Forum Representative - Theatre Management, ATHE 1998-2006 Department, College, and University Service Academic Senate (elected), 2011 to present University Curricular Committee, 2012 College Chair’s Council, 2008-2011 College Curricular Committee, 2008-2010 College Director of Production and Technical Services (founding director), 2008-2011 Department Season Committee 2008-2011

Selected Professional Presentations International WACRA ACT 10 Creative Teaching conference presentation – Lucca, Italy International Theatre Travel Study – January 2007 National NAPAT and ATHE national conference affiliate presentations 2010-2012 Association for Theatre in Higher Education National Conference Presentations Difficult Dialogues, Directing within the KCACTF festivals, NYC, 2009 Competitive panel in Theatre Management Topics, (panel chair) New Orleans 2007 Theatre Management Focus Group Business meeting (Chair) Chicago 2005 Theatre Management Focus Group Business meeting (Chair) Toronto 2004

Selected Presentations/Productions including mentored students in the past five years California State University, Los Angeles Selected titles directed and/or designed 2008-2012 The American Pilot: direction and scene design, poster and program design Coupling (dance): scene design Spring Dance Concert: scene design Evita: direction and scene design Tea: scene design (KCACTF Regional festival production) Tales of Shakespeare: direction, scene design, poster and program design Shakespeare and Shaw: scene design, poster and program design MDI and Winter Dance 2008-2009: Poster and program design Urinetown: scene design.

The University of Texas at Tyler Selected titles from 85 productions directed and/or designed 2008-1990 Amy’s View: direction, scene and lighting design, sound design Beauty and The Beast (Disney): stage direction, scene and lighting design, poster-program Vincent in Brixton: direction, scene and lighting design, sound, poster-program design (KC/ACTF Regional) Vincent in Brixton: direction, scene and lighting design, sound, poster-program design (KC/ACTF State festival) In the Belly of the Beast: direction, scene-lighting design, sound, poster-program design (KC/ACTF State festival) Othello: direction, scene and lighting design, sound, poster-program design

108 CURRICULUM VITA

G. SHIZUKO HERRERA Department of Music, Theatre, and Dance 323/ 343-4120 email: sherrer@calstatela•edu

EDUCATION M.A., Theatre Arts, California State University, Los Angeles, 1991 B.A., Theatre Arts - Technical Option, California State University, Los Angeles, 1979

RELAVENT EXPERIENCE My degrees are in technical emphasis and I have designed professionally before coming to the University as a Faculty. I have served as the Faculty Technical Director for East Los Angeles College for three years and here for the department of Theatre Arts and Dance from 1989- 2004. I am versed in designing: Scenery, Lighting, Costumes, and Makeup for Theatre. I have also done Costumes for Film.

TEACHING EXPERIENCE Full Professor of Theatre: California State University, Los Angeles – 2001 / FERP 2014 Associate Professor of Theatre: California State University, Los Angeles - Tenured 1996 Assistant Professor of Theatre: California State University, Los Angeles, 1990 to 1996 Faculty Technical Director/Designer - Department of Theatre Arts and Dance, 1989 - 2004 Courses taught: TAD 101 – Introductory course to performance training in Theatre Arts & Dance (Major/Option advisement, Portfolio presentation, Coordinate Guest Lecturers/Professionals from the Theatre Arts & Dance) TAD 131 - Stagecraft I (Properties, Stage Equipment & Hardware, Scenery Construction, Research Property Notebook, Plot) TAD 132 - Stagecraft II (Lighting, Sound) TAD 133 - Stagecraft III (Construction & Fabrication, Costume Research/Plot) TA 300 - Production Support (Technical Support - Costume crafts, Scenery construction, Stage Management, Running Crew Supervision, Front of House Supervision) TA 310 - Play Performance (Directing & Performance Supervision) TA 322 - Theatrical Makeup (Basic application, Old Age, Latex & Nose Wax, Crepe Hair) TA 422 - Advanced Theatrical Makeup (Face Casting, Sculpting, Foam & Latex Prosthetic Masks & Appliances) TA 431/432 - Introduction to/Advanced Scenery Design (Concept, Ground Plans, Working & Construction Drawings, Models/Renderings) TA 434/435 - Introduction to/Advanced Lighting Design (Concept, Color, Instrumentation, Plots & Schedules) TA 152 – Analysis of Drama & Theatre (Lower Div General Education course for non-majors to evaluate and appreciate dramatic structure of productions/performances through text analysis and design concepts) TA 380 – Emotions in Theatre & Film (Upper Div General Education course – discussion and written analysis of the manipulation of emotion in theatrical/cinematic experience)

PROFESSIONAL ORGANIZATION / CONFERENCE PARTICIPATION Kennedy Ctr/American College Theatre Festival - Region VIII - Circuit 3 - Design Coordinator/Respondent - 2000 to present - National Stage Management Fellowship Coordinator – Region 8 – 2009 - present United States Institute of Theatre Technology/ Southern California Section - Member

Kennedy Ctr/American College Theatre Festival - Region VIII - Design Finalists Panel Respondent/Adjudicator - Los Angeles Theatre Center, Los Angeles, CA – 2013 - Weber State University, Ogden, UT – 2012 - Los Angeles Theatre Center, Los Angeles, CA – 2011 - Dixie State College, St. George, UT – 2010 - California State University, Fullerton, CA – 2009 - California State University, Los Angeles, CA - 2008 FESTIVAL 40 – hosted by CSULA - 2008

109 - Southern Utah University, Cedar City, UT – 2007 - Southern Utah University, Cedar City, UT – 2006 - University of Phoenix /Glendale Community College, AZ- 2005 First National Asian Theatre Conference – Participant, Los Angeles, CA – 2006

AWARDS & RECOGNITION 2013 Kennedy Ctr/American College Theatre Festival - Region VIII – Golden Medallion 2009 Kennedy Ctr/American College Theatre Festival - Region VIII - Excellence in Education

CSULA - COMMITTEE ASSIGNMENTS University Academic Senate: Fall 2012-13, 2010, 2006/07, 2003-06 Academic Information Resources: Fall 2005 Fiscal Policy: 2008-10 2005-08 (Chair 2006, 2005) Campus Physical Planning: 2007-10, 2004-07

College OF ARTS & LETTERS Retention, Tenure, & Promotion Committee A: 2011, 2009, 2005, 2004 RTP - Committee B: 2010, 2007 Executive Board: 2002-05 Chair Mentor – ART 2005/06 Japanese Studies Center: board member 2000 to current Ad Hoc Vibiana Arts Project: 2005 – current Ad Hoc Instructional Related Activities Committee: 2004

DEPARTMENT OF MUSIC, THEATRE, AND DANCE Associate Chair (Theatre & Dance area): 2012 - current Acting Associate Chair: Winter, Spring 2012 RTP A: 2012 ISAC- Theatre & Dance: 2012, 2011 Scholarship: 2012

MUSIC/THEATRE/DANCE – WORKING GROUPS Instruction & Curriculum: 2010

MFA/TELEVISION, FILM, & THEATRE Programs, Policies, & Staffing: 2010 Executive Working Group: 2008

Department OF THEATRE ARTS & DANCE ELECTED ASSOCIATE CHAIR: 2007 RTP A: 2009, 2007 RTP B: 2010, 2006 Advisement: 2010. 2009 Policies & Procedures: 2010, 2007 Grievance: 2010, 2007, 2006, 2004 Season: 2007,2006, 2005, 2004 Scholarship: 2010 (Chair), 2009 Part time Evaluation: 2005 Ad Hoc Assessment: 2006 Chair Evaluation: 2009, 2006 (Chair), 2004 Search Committee – Department Chair: 2006 (Chair) Search Committee – Technical Director: 2006 Search Committee – Dance: 2005 Search Committee – Design: 2008

DEPARTMENT OF MUSIC, THEATRE, AND DANCE GRADUATE THESES COMMITTEE 2012 - Chair – Mercedes Salas – Theatre MA Candidate

110 2012 - member – Shirin Behrouzfard – TVFT – MFA Candidate 2012 - member – Christopher Goodson – Theatre MA Candidate 2010 – member - Preeyasuda Akkarasrisawad 2010 – member – Brandon Massey 2009 – member – Juan Baez 2009 – Chair – Royce Herron 2006 - member – Fred Hamel

CSULA - DEPARTMENT OF THEATRE ARTS & DANCE PRODUCTIONS DIRECTING PROJECTS – TA 310 units 12-1-A – State Playhouse, 2012 Wondrous Tales of Old Japan- TYA – Tour, 2012 The Grapes of Wrath – State Playhouse, 2010 The House Guest from Xinjiang – A staged reading – Arena Theatre, 2007 Rashomon – Arena Theatre, 2005

DESIGN ASSIGNMENTS – TA 300 units LIGHTING DESIGN: “John Lion New Plays Festival” – Music Hall, 2010 The Cloud Gatherer – Arena Theatre, 2007 Tosca Jumps – Luckman Intimate, 2006 “Spring Forward Dance Concert” - State Playhouse, 2006 “John Lion New Plays Festival” - State Playhouse, 2006 “Moving Dance Images Concert” –King Hall, 2005 “John Lion New Plays Festival” - State Playhouse, 2005 “Moving Dance Images Concert” –King Hall, 2004 Liberty Oregon - State Playhouse, 2004

COSTUME DESIGN: The Lie of the Mind – The Intimate Theatre, 2012 12-1-A – State Playhouse, 2012 Wondrous Tales of Old Japan- TYA – Tour, 2012 Red Noses – State Playhouse, 2011 M Butterfly - State Playhouse, 2010 Tea – The Intimate Theatre, 2009 “Winter Dance Concert” – State Playhouse, 2009 “John Lion New Plays Festival” – State Playhouse, 2008 “The Daily Grind – Dance Concert” = State Playhouse, 2008 The Imaginary Invalid – State Playhouse, 2008 The Arkansaw Bear – Arena Theatre, 2007 “Spring Dance Concert” – State Playhouse, 2007

MAKEUP DESIGN: Dracula – State Playhouse, 2006

SCENERY DESIGN: The Grapes of Wrath – State Playhouse, 2010 The Great Cross Country Race, Children’s Tour, 2005

COSTUMES & SCENERY DESIGN: Wondrous Tales of Old Japan- TYA – Tour, 2012

111 Tanya Kane-Parry CURRICULUM VITAE EDUCATION MFA/Directing University of Massachusetts Amherst, June 2001 Certificate of Film New York University, June 2000 BFA/Acting New York University, June 1988

TEACHING EXPERIENCE 2001 – Present California State University, Los Angeles: Department of Music, Theatre and Dance, Associate Professor (tenured) Undergraduate Courses: Acting Fundamentals: Games & Exercises, Character Study, and Scene Study; Beginning and Intermediate Modern Dance; Breath, Movement, Voice I (Linklater Vocal Technique) & II (Viewpoints); Advanced Performance, including Classical Acting; Performance Practicum in the Community Graduate Courses: Theories of Acting; Experimental Theatre: History, Theory and Practice; Acting for Television; Movement for Performers; Projects in Teaching Theatre, Performance and Dance

2011 University Theatre Festival, Blumenau, Brazil: Viewpoints Workshop University of Uberlandia, Brazil: Viewpoints Workshop Ubu Roi, University of Blumenau, Brazil: co-directed and choreographed with Prof. Patricia de Borba 2010 University Theatre Festival, Blumenau, Brazil: Viewpoints Workshop IX Congreso Ibero-Americana de Teatro Universitario (AIATU), Lima, Peru: Viewpoints Workshop & Panel Presenter 2009 ImprovFest, Los Angeles: Viewpoints Workshops for professional dancers and performers 2008 ImprovFest, Los Angeles: Viewpoints Workshops for professional dancers and performers Kennedy Center American College Theatre Festival, CSULA: Viewpoints workshop 2007 VI Congreso Ibero-Americana de Teatro Universitario (AIATU), Chihuahua, Mexico: Viewpoints Workshop for students from Spain, Argentina, Venezuela, Peru, Costa Rica and Mexico. Roosevelt University, Chicago: Intensive Viewpoints course for MA Directing students in the Fast-Track Program. Israeli Opera, Tel Aviv, Israel: Acting Workshop for singers in the Young Artist Program. 2006 University of Massachusetts/Amherst, Guest Artist: Viewpoints workshops for undergraduate and graduate students. 2004 Kennedy Center American College Theatre Festival, Logan, Utah (Region VIII): Viewpoints workshops for participating students and faculty. Theatre Department, University of Chihuahua, Mexico. Guest Lecture for students and faculty. Rosana Gamson/Worldwide Dance Theatre Company (RG/WW): workshops to strengthen ensemble, introduce basic acting technique and vocal training for upcoming bilingual production with Contradanza (Mexico City) based on Carlos Fuentes’ book Aura. 2003 Directors Lab West: Viewpoints workshop for professional directors and choreographers, Pasadena Playhouse. El Centro, Pasadena: Conducted two workshops with 20 students ages 12-14, in conjunction with Quantum Theatre Company’s program entitled A Dramatic Exploration of Dreams and Demons. Workshops focused on ensemble work and movement, as well as staging of original stories written by students. Final presentation in Central Park in Old Pasadena. 2002 La Sierra Madre High School: Ensemble exercises and physical characterization for young actors preparing production of Hamlet. Viewpoints Workshops with students from the National University of Tucuman and professional actors from La Baulera Cultural Center, Argentina 1999-2001 University of Massachusetts - Graduate Teaching Assistant. Taught multiple sections of Beginning Techniques in Performance, Experimental Theatre: History, Theory and Practice, and several Viewpoints Workshop 1999 Hampshire College: Viewpoints Workshop 1999 Stage Directors & Choreographers Foundation: Viewpoints for Directors. A professional workshop on how to use The Viewpoints in rehearsal. Charas Cultural Center, NYC: Viewpoints Workshop for professional dancers and actors. Summer Youth Employment Program, Community Opportunities and Development/Helping Hands Ministries, Brooklyn. Prepared students for Land That I Love. * Workshops included theater games around diversity, alienation, self image, cultural sensitivity and pride. Kumquat Theater, Philadelphia: Text & Movement, a professional workshop for dancers and actors. Techniques in combining movement with language. 1997-99 NYC Public Schools: Artist-in-Residence/Instructor engaged by Inside Broadway, a not-for-profit educational organization that promotes the performing arts in public education. Worked closely with faculty, staff and students in

112 over 30 NYC public schools using theater techniques to enhance core curriculum. Developed curriculum that met needs and goals of each school’s program. * Land That I Love: Directed and choreographed new musical by Chad Beguelin about Irving Berlin and immigration, then and now. Professional Equity production, produced by Inside Broadway, as an educational tool to introduce students to theater and the history of Broadway. * * My Hometown: Directed and choreographed new musical about the life and music of George M. Cohan and the City of New York. Professional Equity production produced by Inside Broadway

1990 Modern Opera Company, Moscow, Russia: Taught singers Post-modern dance theory and technique, improvisation and physical characterization. 1989 Diagalev Center, Moscow, Russia: physical theater workshop for theater students and professional performers. 1989 France, Lyons: Introduction to mask, animal study, development of animal characters. Workshop culminated in performance. 1988 A.C.T./Paris, France - workshop for grade school students, ages 8-13. Introduction to theater games, creating a physical character, improvisation, working as a group/ensemble, 1988 Vantangov Institute, Moscow, Russia: Viewpoints Workshop. 1988 Leningrad University, Leningrad, Russia: Viewpoints Workshop.

ACTING EXPERIENCE 2009 Amuse-Bouche Ensemble Rachel Rosenthal Company 2005 Home Sick for Rain by Steven Totland Rachel Pasadena Playhouse 2002 The Time of Your Life by William Saroyan Dorene Steppenwolf, CSU Fresno 1991-93 American Mime Theater Company Company Member Lincoln Center, NYC 1992 Macbeth by William Shakespeare Lady Macbeth Stanton Street Theater, NYC 1992 Miss Julie by Strindberg Miss Julie Gene Frankel Theater, NYC 1991 Little Red Ridding Hood Grandma Grove Street, NYC Sept/Oct 1990 Soldier’s Story by Stravinsky Ensemble Modern Opera, Russia Tour 1990 The Wedding by Stravinsky Village Idiot Modern Opera, Moscow 1989 The Canterville Ghost Virginia A.C.T, France Tour 1989 Beauty and the Beast Evil Sister Tennessee Project, Paris 1987 Patience by Gilbert & Sullivan Bunthorne Paris 1987 Film is Evil, Radio is Good by Foreman Monina (1987 Obie Best New Play) NYU 1986 Baby Doll by Tennessee Williams Baby Doll Hangar Theater 1986 The Wasteland by T.S.Elliot Ensemble Hangar Theater

DIRECTOR/CHOREOGRAPHER 2012 The Italian Girl in Algers: Assistant Director to Joan Font Houston Grand Opera 2012 Barber of Seville: Assistant Director to Joan Font Opera National de Bordeaux, France 2012 Meet Me @ Metro III Metro Gold Line site-specific performances Watts Village Theatre Company 2012 The Way of Water Opera del Espacio new full-length dance/theatre Hollywood Fringe Festival 2012 The Way of Water Opera del Espacio new full-length dance/theatre Cal Poly Pomona 2012 Barber of Seville: Revival Director (Joan Font production) Miller Outdoor Theatre, Houston, TX 2012 The Way of Water Opera del Espacio new full-length dance/theatre Bootleg Theatre 2012 A Deconstructed Cocktail Party Opera del Espacio, new dance piece Series XII, The Standard Rooftop 2011 I’ve Fallen/Clap Off! Opera del Espacio: New multimedia work Highways Performance Space 2011 Barber of Seville: Assistant Director to Joan Font Houston Grand Opera 2011 Ubu Roi, co-Director/Choreographer with Pita Belli University of Blumenau, Brazil 2011 Moscow, Cherry Town Choreographer Long Beach Opera 2009 Barber of Seville: Assistant Director to Javier Ulacia Los Angeles Opera 2009 Emperor of Atlantis (Ullmann) & The Clever One (Orff) – Choreographer Long Beach Opera 2008 Carmen: Assistant Director to Javier Ulacia Los Angeles Opera 2008 Madama Butterfly: Assistant Director to Robert Wilson Los Angeles Opera 2008 Carmen by Bizet Pacific Repertory Opera 2008 The Broken Jug & The Dwarf: Assistant Director to Darko Tresjnak Los Angeles Opera 2008 How ‘Bout Now Original Multimedia Dance-Theatre CSULA 2007 Body Language original solo performance by DonnaAnn Ward Asylum Lab

113 2007 The Merry Widow: Assistant Director to Lotfi Mansouri Los Angeles Opera 2006 Destino del Amor Original Zarzuela CSULA 2006 Tosca Jumps! Multimedia Dance-Theatre based on Puccini’s opera Luckman Intimate 2006 Tosca Jumps! Highways Performance Space 2005 Tosca Jumps! EdgeFest Los Angeles Theatre Center 2005 The Coronation of Poppea by Monteverdi CSULA 2004 Berserker Solo Performance by Paul Outlaw Highways Performance Space 2003 The America Play by Suzan-Lori Parks CSULA 2003 Berserker SF Fringe Festival 2003 Berserker NY Fringe Festival 2003 Romeo and/y Juliet(a) Quantum Theatre Company Noho Actors Studio 2003 The Medium by Menotti CSULA 2002 Christmas Past by Monica Trasandes (World Premiere) Celebration Theater 2002 Supreme Being by Richard Foreman (World Premiere) EdgeFest Stages Theatre Center 2002 Berserker (World Premiere) Terra Nova Highways Performance Space 2001 Angel City by Sam Shepard CSULA 2000 Dr. Faustus by Christopher Marlowe UMass/Amherst 2000 Hamletmachine by Heiner Muller UMass/Amherst 2000 Jews & Christians in the End Zone by Arthur Sainer Theater for the New City 1999 Tone Clusters by Joyce Carol Oates UMass/Amherst 1999 The Comedy of Errors by Shakespeare Arch Street Theater, Greenwich, CT 1999 Gun in Mouth, Pen in Hand: Suicides and the Messages Left Behind Ontological Hysteric Theatre 1998 My Hometown: George M. Cohan, The Man Who Was Broadway NYC School Tour 1998 Missing Objects: A Deconstructed Love Story (Dance-Theater) Mobius, Boston 1998 Land That I Love: Irving Berlin and the Immigrant Experience Queens Theater in the Park & Town Hall 1998 Missing Objects: A Deconstructed Love Story Peculiar Works Project, Charas 1998 ¡Basta Ya! (Dance) Kumquat Theater, Philadelphia & Merkin Concert Hall 1997 The Trojan Women by Euripides Westside Repertory Theater 1997 The Cure by Richard Foreman Todo con Nada 1997 Missing Objects: A Deconstructed Love Story Ohio Theatre 1997 Rainforest Quest American Museum of Natural History 1997 Missing Objects: A Deconstructed Love Story HERE Theater, Angel Orensanz Foundation, Judson Church, 1997 The Burning Out of ’82, by Arthur Sainer Theater for the New City 1996 Bernarda’s Coffin adaptation of Lorca’s The House of Bernarda Alba Riant Theater 1996 Buy This Get Laid Broads Series, Solo Arts 1996 Drinking Up David (Site-Specific Dance) DanceBLITZ Festival, Westbeth Arts Center 1995 Sugar Babies, The Wiz, The Sound of Music Children’s Summer Theater Festival, PA 1995 Nothing Exist by Copernicus Cologne, Germany & Performance Space 122 1995 Archetypal Bondage: Cut/Off Dance (Dance-Theater) Theater for the New City 1994 Andrew My Dearest One by Mary Mitchell Harold Clurman Theater 1989 The Mermaid by Pushkin: Choreographer Diagelev Center, Moscow, Russia 1989 The African Tale (Children’s Theater) Lyons, France 1989 Monsieur Guillotin by Samuel Carter (avant-garde musical w/ mask) Paris, France

Opera del Espacio, Artistic Director: Since January 2010, the company has presented numerous site-specific improvisational performances throughout Los Angeles, including the Downtown Artwalk, Echo Park Artwalk, The Series at the Standard Hotel, Watts Theatre Village’s MEET ME@ METRO event, Highways Performance Space and video works. www.operadelespacio.org

PROFESSIONAL ASSOCIATIONS: American Guild of Musical Artists (AGMA), Association of Ibero-American University Theatres

114 Theresa Larkin, Ph.D.

Education and Relevant Experience: Educational Degrees

European Graduate University Ph.D. Communications and Media Philosophy (ABD: Anticipated Completion: 2013) Dissertation: Cancer and the Healing Arts Claremont Graduate University Ph.D. Cultural Studies 2011 (Dissertation: The Vismistic Triadic) MA Cultural Studies 2009 (Thesis: Cultural Performance) University of California, Irvine MFA Drama: Shakespearean Performance 1983 (Thesis: Volumnia in Shakespeare’s Coriolanus) Loyola Marymount University BA Drama/Dance 1977

Primary Area of Teaching: Onsite, Hybrid, & ONLINE. Acting/Directing/Performance Studies/Shakespeare. Undergraduate: Classical Acting, Communications, Directing, Emotions, Performance Studies, Play Production. Graduate MFA: Acting; Voice/Diction/Production. Graduate: Communications. ONLINE: Analysis of Drama and Theatre. Department Courses Taught: (Courses Listed in the 100-500 series) MFA Acting: MFA Acting for the Stage. Undergraduate Acting: Games and Exercises; Improvisation; Scenework; Studio I B Beginning Acting; Studio II B Intermediate Acting; Studio III B Advanced Acting; Acting for the Camera; Classical Acting; Musical Theatre. Arts Administration / Management: Arts Management: Arts Management (Non-Profit Theatre & Profit Film Corporations); Theatre Management. Communications: Graduate: Performance Studies: Theories of Oral Interpretation (Performance Studies); Theory and Method in Performance; Performance and Social Change. Directing: Undergraduate: Directing I; Directing II; Directing III; Play Production. Plays Directed/Produced: Quilters ‘ 90 / Music Hall; Carnival ‘ 91 / State Playhouse; Othello ‘92 / State Playhouse; Measure For Measure ‘ 93 / State Playhouse; Black and White and Somewhere in the Shade of Grey ‘94 / State Playhouse; Los enemigos ‘95 / State Playhouse; Don Juan ‘96 / State Playhouse; The Tempest ‘ 97 / Luckman Patio; Finian’s Rainbow ‘98 / Luckman Complex; All’s Well That Ends Well ‘ 00 / Luckman Complex; A Map of the World ’01 / Luckman Complex; The Threepenny Opera ‘03/ State Playhouse; A Midsummer Night’s Dream ’04 / State Playhouse; Dracula ’06 / State Playhouse; Faust ’07 / State Playhouse; Bless Me, Ultima ’08 / Music Hall; Maritare ’10 / Luckman Intimate Theatre; Arcadia ’11 / State Playhouse; The Winter’s Tale ’13 / State Playhouse. Movement: Undergraduate: Theatre Movement; Period Styles Theatre/Themes: Undergraduate: Analysis of Drama; Creative Experience; Emotions in Theatre and Film; Living Theatre; Multi-Cultural Arts; Staging violence in World Theatre; Theatre History I & II; Theatre Portfolio Voice Training and Coaching: Graduate: Voice and Speech (Skinner, Rodenberg); Undergraduate: Vocal Production (Linklater, Lessac); Breath, Movement, Voice (Feldenkrais, Alexander, Yoga). Coaching: Production (All plays directed) Graduate Seminars: Theories of Oral Interpretation (Performance Studies; Graduate Seminar in Avant-Garde Theatre; Graduate Seminar in Agitation-Propaganda Theatre.

115 Shakespearian Studies: Shakespeare as Living Theatre; Studies in Shakespearean Performance Areas of Expertise: Graduate/Undergraduate: Acting (all levels and genres); Artivism; Arts Management; Business (all course titles) Creative Experience; Cultural Studies (Aesthetics and Continental Philosophy), ESL; Media Studies (numerous titles); Multi-Cultural Arts; Music (Appreciation/World); Musical Theatre; Myth; Period Movement (genre dance forms, unarmed combat, and stage fighting); Performance Studies; Political Science; Producing; Sociology; Staging Violence in World Theatre; Synaesthesia; Film/TV Acting; U.S. Constitution; World Religions; World Theatre History.

Selected service to the Department, College, and University: (In the past five years ) University: Faculty Policy – Alternate; Academic Senate – Alternate; Risk Management & Safety College: WASC Educational Effectiveness; Department: Program Review / Program Review Edit Subcommittee; Season/Production; MTD / MTD Mission Statement Subcommittee; TVFT MFA / MFA Acting Application Review; MFA Policy and Curriculum; Policies and Procedures; Curriculum; RTP A Chair / RTP B / Part-Time (Adjunct)

Workshops, Seminars, Guest Lectures (Representative List) International 19th Annual Pedagogy and Theatre of the Oppressed Conference Performance Lecture/Workshop/Dialogue: “VISMS: A Paradigm of Performance Philosophy, Praxis, and Peaceful Artivism” / Miami University 2013. American College Theatre Festival: Directing Culture, Conflict, and Compassion in 21st Century Theatre: The Art of Conceptualized Context and Compromise / Lecture/Workshop / February 2013 9th Annual Hawaii International Conference on Arts and Humanities: Performing The VISMS / Performance/Workshop / January 2011 California Educational Theatre Association: Performing The VISMS / Presenter/Workshop Leader / October 2010 Los Angeles Theatre Center: Guest Lecturer: Reflections on Adapting Bless Me, Ultima / August 2010 Ventura County CLUE: Non-Violence Training / Presenter/Workshop Leader 2010 Legislative Theatre-Ventura: Artivism Workshop Leader/August 2009 American College Theatre Festival: Co-Panelist Discoursing Race, 2007 & 2008. Smithsonian Freer Gallery of Art: Searching, Scripting and Staging Mine’ Co-Presenter: Mine’ Okubo / February 2007 American College Theatre Festival (ACTF): Diversity in the University Co-Panelist / February 2007 Riverside Museum of History: Mine’ Okubo: Mine’ Okubo: Activist and Visual Diarist of the Internment Camps. Co- Panelist / February 2006 11th Annual Pedagogy of the Oppressed / Theatre of the Oppressed Conference Conference Planner / Videographer / Workshop Presenter /The Renaissance Hotel, Hollywood, May 2005 Citizens for Peaceful Resolutions, Ventura: Spiritual Activism. Guest Speaker / December 2004 USC & Ventura Peace Coalition: Legislative Theatre. Workshop Presenter / November 2004-2008 Cal State LA, 24th Street Theatre, USC: Creative Tools for Critical Times (Multiple Workshops. Conference Planner / Workshop Presenter (with Doug Kaback) / June 2004 American College Theatre Festival / CSU San Bernardino: Directing Activism Panelist / February 2004 LA City of Cultural Affairs Warner Grand Theatre: UPPIES (Upton Sinclair Awards for Noteworthy Activists). Director and Emcee. 2003-2005

Selected Presentations by mentored students in the past five years: Auteur Festival of Original Student Works (Directing II) 2009-2013.

116 Performance coaching for plays directed. Mentor students informally and individually, when requested.

Selected grants funded in the past five years (Last self-study) Claremont Graduate Fellowship, 2009 (Full Doctoral Tuition Grant); Big Read, 2008/National Endowment for the Arts/Bless Me, Ultima (Production toured to Bilingual Foundation for the Arts and Dallas Cultural Arts Center; Diane Middleton Foundation, 2006, 2007 (San Pedro Nine, An Activist Musical); UPPIES (Multiple local grants, most notable ILWU); ACLU Tour, (Liberty Hill, 2004) on Proposition 66; 2003-2005 / Be The Media (International Longshore and Warehouse Union) & UPPIES (Numerous Activist Community Events/Sponsors, including City of Los Angeles Cultural Affairs Department, 1990-1993; 1995-1998; 2003-2005 Grants/Los Angeles Theatre Center and Warner Grand (In-kind).

Honors and Awards ACTF Excellence in Education Award, 2009: 27 years as a regional adjudicator; County of Riverside Proclamation of Recognition: Playwriting, 2007: In Honor of Mine’ Okubo; American InterContinental University: Outstanding Professor, 2005 - General Education & Outstanding Professor, 2002 – Business; Legends of LA, Backstage West, 2002: Polly Warfield / Lu Ann Hampton Laverty Oberlander, 1981

Union Affiliation (Member in Career) American Federation of Television and Radio Artists (AFTRA); Screen Actors Guild (SAG); Actors Equity Association (AEA); Society of Directors and Choreographers (SDC); California Faculty Association (CFA); Member International Edinburgh Fringe Festival; Fellow Royal Society of Art.

117 Hae Kyung Lee Professor of Dance Department of Music, Theater, Dance (323) 343-4122 [email protected]

International/ National Performance/Choreography

2012 Entre La Lumiere Tanzwoche Dresden, Dance Festival, invited to perform a full evening concert commissioned by the Projekttheater, Dresden, Germany Entre La Lumiere, Bootleg Theater, Los Angeles, CA Entre La Lumiere, Luckman Theater, Los Angeles, CA

2011 Transformación, Korea International Dance Festival, Busan & Seoul Korea Transformación, Luckman Theater, Los Angeles, CA Transformación, Bootleg Theater, Los Angeles, CA

2010 Odisea, Einrichtungszeiten im Theatrer Kleines Haus des Staatsschauspiel Dresden, Germany Piege, Tanzwoche Dresden, Dance Festival, invited to perform a full evening concert commissioned by The Projekttheater, Dresden, Germany Piege, State Playhouse Theater, California State University, Los Angeles, CA Odisea, Bootleg Theater, Los Angeles, CA

2009 Confrontation Tanzwoche Dresden, Dance Festival, invited to perform a full evening concert commissioned by the Projekttheater, Dresden, Germany Confrontation, performed at Luckman, Los Angeles, CA

2008 Confrontation, performed at USC, Los Angeles, CA Chaos, performed at Luckman, Los Angeles, CA Parting Ways, performed at State Playhouse, Los Angeles, CA

2007 Salm, performed a full evening concert commissioned by the Projekttheater, Dresden, Germany Salm, performed a full evening at the State Playhouse, Los Angeles, CA Revolution, performed at California Plaza, Los Angeles, CA

2006 Without a Doubt, the Japan America Theatre, Los Angeles, California 7th Heaven, Laguna Performing Arts Center, Laguna Beach, California New Works, Alberta Bair Theater for the Performing Arts, Billings, Montana

2005 Parting Aways, perform a full evening concert commissioned by the Projekttheater, Dresden, Germany World Dance Festival, premiere a full evening at the Kleine Haus Staatsschauspiel, Germany Wounded Galaxies, perform a full evening at the State Playhouse, Los Angeles, CA

2004 DanceForum 2004 International Festival, performed a full evening commissioned by the LG Arts Center in Seoul, Korea Gaya, premiere a full evening concert at the Japan America Theatre, Los Angeles, California Confrontation, performed a full evening at the State Playhouse, Los Angeles, CA Informal Performance, lecture/demonstration at University of California, Los Angeles, CA

2003 Tanzwoche Dresden, premiered a full evening concert commissioned by the Projekttheater, Dresden, Germany Informal Performance, lecture/demonstration at the London Contemporary Dance School, London, United Kingdom

118 ChangMu International Dance Festival, performed a full evening at the Hoam Arts Hall in Seoul, Korea Caught Between Boundaries, performed a full evening at the State Playhouse, Los Angeles, CA

2002 Cross the Wounded Galaxies, premiered a full evening concert commissioned by the Japan America Theatre, Los Angeles, California Beyond Ancient Mist, performed at Tanzwoche Festival, Dresden, Germany Ordnung-Unordnung, performed at Festspielhaus Hellerau, Dresden, Germany Silent Flight II, premiered commissioned work by the (COLA) City of Los Angeles Individual Artist Fellowship at the Los Angeles Theatre Center, Los Angeles, California Blank Slate, performed at Hayward University, San Francisco, California Shadows of the Spirit, performed at ODC, San Francisco, California Angel Beyond Opio, performed at Highways Performance Space, Santa Monica, California

2001 Mu, premiered a full evening at the Universitaet Mainz, Germany Shadows of the Spirit, premiered a full evening commissioned by Japan American Theatre, Los Angeles, California Catch My Drift, premiered a full evening concert at the Electric Lodge with the collaboration of Liquid Skin’s live music, Venice, California Ancient Mariners, premiered a full evening concert commissioned by California Plaza Watercourt with the collaboration of Liquid Skin’s live music, Los Angeles, California

2000 Voices from the Deep, performed a full evening concert for the Belluard Bollwerk International Festival, Fribourg, Switzerland Rear Windows, premiered a full evening concert commissioned by the Getty Museum with the collaboration of Liquid Skin’s live music, West Los Angeles, California Silent Flight I, selected for the DanceWest Regional Competition for the 7th Rencontres Choregraphiques International de Seine-Saint-Denis at the Luckman Fine Arts Complex, Los Angeles, California Distant Memory, premiered a full evening concert commissioned by Southern California/World Exposition, a project of the University of Southern California, as part of Treasure in the House at Highways Performance Space, Santa Monica, California Stolen Memories, a commissioned performance for Dance Kaleidoscope at the John Anson Ford Theatre, Hollywood, California

Grants

2012 City of Los Angeles Department of Cultural Affairs Grant Los Angeles County Arts Commission Grant

2011 Los Angeles County Arts Commission Grant City of Los Angeles Department of Cultural Affairs Grant

2010 National Endowment for the Arts Grant Los Angeles County Arts Commission Grant City of Los Angeles Department of Cultural Affairs Grant

2009 Los Angeles County Arts Commission Grant City of Los Angeles Department of Cultural Affairs Grant

2008 National Endowment for the Arts unsolicited, special grant Los Angeles County Arts Commission Grant City of Los Angeles Department of Cultural Affairs Grant The Durfee Foundation Grant

119

2007 National Endowment for the Arts Grant Los Angeles County Arts Commission Grant City of Los Angeles Department of Cultural Affairs Grant

2006 National Endowment for the Arts Grant Los Angeles County Arts Commission Grant City of Los Angeles Department of Cultural Affairs Grant

2005 National Endowment for the Arts Grant Los Angeles County Arts Commission Grant City of Los Angeles Department of Cultural Affairs Grant

2004 California Arts Council Performing Arts Touring and Presenting Grant Los Angeles County Arts Commission Grant City of Los Angeles Department of Cultural Affairs Grant

2003 California Arts Council Performing Arts Touring and Presenting Grant Los Angeles County Arts Commission Grant City of Los Angeles Department of Cultural Affairs Grant

2002 California Arts Council’s Organizational Support Program CAC’s Multicultural Art Development Program Grant City of Los Angeles Department of Cultural Affairs California Arts Council Performing Arts Touring and Presenting Grant Los Angeles County Arts Commission Grant

2001 National Endowment for the Arts Grant The Fund for U.S. Artists at International Festivals Grant James Irvine Foundation California DanceMaker Choreography Fellowship Grant COLA, Individual Artist Fellowship, Cultural Affairs Grant Los Angeles County Arts Commission Grant

120 SUSAN VANETA MASON / FERP ended Winter 2016 Professor Emeritus Music, Theatre and Dance Department California State University, Los Angeles Los Angeles, CA 90032-8103 (323) 343-4113 [email protected]

PROFESSIONAL EXPERIENCE: EDUCATION

California State University, Los Angeles: Asst Prof 1989-93; Assoc Prof 93-98; Professor 98-11 Teach: Dramatic Literature/Theatre History (undergrad survey); Acting (all levels); Seminars—Theories of Acting, Experimental Theatre, Theatre History; Voice & Diction; Writing & Research; Intro. to Theatre; Selected Dramatists; American Theatre; Modern Drama; Dramaturgy; Comedy Direct: Woyzeck; Government Inspector; Etta Jenks; Ubu Roi; Liberty, Oregon

Tsuda University, Tokyo, Japan: Fulbright Lecturer in American Studies 2009 Teach: American women playwrights; American theatre

AHA International Program, Siena, Italy: Lecturer Spring 2005 Guest lectures: Italian popular theatre—Plautus, Commedia dell’arte, Dario Fo/Franca Rame

Victoria University of Wellington, New Zealand: Honorary Fellow Spring 1995 Guest lectures: Victoria University (Theatre History Lecture Series: Medieval & 19th c; Criticism tutorials); Toi Whakaari Aotearoa/The Drama School (Ibsen and 19th c acting)

Rijksuniversiteit te Utrecht, Netherlands: Fulbright Lecturer in American Studies 1993 Teach: U.S. Ethnic Minority and Women's Theatre & Drama Guest lectures: University of Amsterdam, Nijmegen University, RASA Multicultural Theatre, HKU Dramaturg: On the Edge (produced by Utrecht University, Hogeschool voor de Kunsten, U.S. Embassy)

Reed College (Portland, OR): Assistant Professor of Theatre 1982 & 1984 Teach: Acting (all levels); Thesis Advisor Direct: The Birthday Party, Leonce and Lena

PROFESSIONAL EXPERIENCE: THEATRE

Ford Theatre Foundation, Latino Playreading Series, Los Angeles: July 2005 Dramaturg: Three Tuesdays (José Cruz González)

The Actors’ Gang, Hollywood: 1997-01 Board of Directors, Executive Committee

Mark Taper Forum, Los Angeles: 1998 Dramaturg: House Arrest (Anna Deavere Smith) workshop

Audrey Skirball-Kenis Theatre, Los Angeles: 1996 Director & Dramaturg: Spirit Dancing (José Cruz González)

Seattle Group Theatre: 1991 Dramaturg: Harvest Moon (José Cruz González); MultiCultural Playwrights' Festival

Los Angeles Theatre Center: 1985-91 Literary Associate: script evaluation, all correspondence regarding script submissions Publications Coordinator: programs (3 theatres), Los Angeles Theatre Center Quarterly Director & Dramaturg: The Women's Project (writer's lab) Dramaturg: Dakota's Belly Wyoming (Erin Cressida Wilson); Increase After Completion (Mira Lani Oglesby); Piano (Anna Deavere Smith); 5 Women and An Angel, The Women’s Project (LA Women's Foundation Grant)

Mitzi E. Newhouse Theatre, Lincoln Center, NYC: March 1985 Dramaturg: Rosmersholm, Source Productions and Norwegian Foreign Ministry

121 Mason page two Playwrights Horizons, NYC: 1985 Script Evaluation: 3 per week for 6 months

American Place Theatre, NYC: December 1984 Dramaturg: Centennial Reading The Wild Duck with Geraldine Page

Yale School of Drama/Yale Repertory Theatre, Dramaturgy & Criticism: 1983-84 Script Evaluation: Yale Repertory Theatre Dramaturg: He Who Gets Slapped, Coriolanus (Brecht), new plays Direct: Talk to Me Like the Rain, Theatre Studies, Yale University

PUBLICATIONS & CONFERENCE PARTICIPATION (representative list)

Books and Book Chapters

“San Francisco Mime Troupe Legacy,” in Restaging the Sixties: Radical Theatres and their legacies , eds James Harding and Cindy Rosenthal (University of Michigan Press, 2006). The San Francisco Mime Troupe Reader (University of Michigan Press, Spring 2005). “Finding the Edge: Multiple Community Goals,” chapter in Performing Community, Performing Democracy: International Perspectives on Urban Community-based Performance, ed. Susan Haedicke and Tobin Nellhaus (University of Michigan Press, 2001). “Hedda Gabler at the Christiania Theater, 26 February, 1891,” in A Sourcebook on Naturalist Theatre, ed. Christopher Innes (Routledge, 2000). Edgy Storytellers: A Film Companion & Liberation Theatre Workbook, with Eugene van Erven (book and video; Houten, NL: Atalanta Publishers, 1997). "Conversation with Mame Hunt," chapter in Dramaturgy in American Theater: A Source Book (Harcourt Brace, 1997). "On the Edge," chapter in New Theatre Vistas (NY: Garland, 1996). "Stein Winge," in Theatrical Directors: An International Dictionary (Greenwood Press, 1993).

Articles and Conference Papers

“Regenerating Grace: Sweet and Sad and the Poetics of Noh.” Crossing Borders Conference. Australia. 2012 “Milagros and Fields: José Cruz González’s Salinas Valley Plays” American Literature Assoc. 2010 “Verfremdungseffekt in A Doll’s House.” International Ibsen Conference. Shanghai. 2009 “Ma and the Metaphysics of Noh,” Japan Studies Association Journal. Jan 2009 “Double Nora: A Noh Adaptation of Ibsen’s A Doll’s House” Japan Studies Association. New Orleans. 2009 “Aware and Mujo in Four Films by Kore-eda.” Japan Studies Association Conference. Honolulu 2008 “Telenovelas, Símon Bolivar, a Milagro, and Nora in Venezuela” International Ibsen Conference. Mexico City. 2006 “Dreamplay,” Psychological Perspectives 47, 2004 “Harold Clurman’s Lady from the Sea” International Ibsen Conference, NYC. 2003. “The Golden Arches and the Ivory Tower: Creating an Acto on the Corporate University,” TDR , Dec 2002 “Race in Paris and Los Angeles,” with Barbara Mason, Theatre Forum, Winter 2000 “Requiem pour Srebrenica in Paris,” with Barbara Mason, Western European Stages, Spring 1999 “Woyzeck: Avignon and Los Angeles,” Theatre Journal, March 1998 "The Master Builder in New Zealand," Ibsen News & Comment, 1996 "Holland's De Trust Company and Werner Schwab's Feces Dramas," Theatre Forum, Winter/Spring 1996 "Holland's Het Theaterfestival and the controversial Faust of De Trust," Western European Stages, 1995 Theatre Reviews, Los Angeles Reader, 1995-96: 9 reviews "Bread and Puppet's Columbus: The New World Order," Theatre Journal, Oct 1992 "Anna Deavere Smith," American Theatre, September 1989 Critical Essays on Ibsen, book review, Theatre Journal, October 1988 "San Francisco Mime Troupe's Spain/36," Theater, Winter 1986 "Kristin Linklater," interview, Theater, Winter 1985 "Emily Mann," interview, Theater, Spring 1984

122 Anne E. McMills / left in 2013 Lighting Design www.annemcmillslighting.com

EDUCATION:

MFA Lighting Design Mason Gross School of the Arts, Rutgers University New Brunswick, New Jersey achieved 2002 Thesis topic: Contrast between American, British, and European lighting design 2002

BFA Theatre Design, Lighting Millikin University Decatur, Illinois achieved 1999

TEACHING EXPERIENCE:

California State University, Los Angeles, CA Assistant Professor / Head of Design 2009-current Courses Taught: TA435: Stage Lighting Design TA434: Introduction to Lighting TA431: Introduction to Stage Scenery TA152: Analysis of Drama and Theatre TVFT511: Stage Operations (MFA) TAD132: Stagecraft II – Lighting and Sound TA300: Production Support

Cerritos College, Norwalk, CA Part-time Lecturer 2009-current Courses Taught: TH-223: Portable Entertainment Technology – Lighting Responsible for creation of 1st time course syllabi for emerging “PET” program sponsored by Disney

PUBLICATIONS:

The Assistant Lighting Designer’s Toolkit published by Focal Press. Expected 2014.

ARTICLES, HONORS, AWARDS:

Viagas, Robert, ed. The Playbill Broadway Yearbook 2007-2008. New York: Playbill Books, 2008. Viagas, Robert, ed. The Playbill Broadway Yearbook 2006-2007. New York: Playbill Books, 2007. Kirk, Fiona. “The Waiting Game.” Stage Directions November 2006: 54-58. Fitzgerald, Cory. “Who Are All Those People… and What Are They Doing at the Tech Table?” PLSN April 2006, vol. 7.03:18-19. Viagas, Robert, ed. The Playbill Broadway Yearbook 2005-2006. New York: Playbill Books, 2006. Viagas, Robert, ed. The Playbill Broadway Yearbook 2004-2005. New York: Playbill Books, 2005. Best Lighting Herald Award for I Hate Hamlet, Millikin University 1997.

PROFESSIONAL AFFILIATIONS:

United Scenic Artists, Local 829 Lighting Designer: LD#4553 since 2002 United States Institute for Theatre Technology Lighting Commission Leadership Member since 2012 Broadway Green Alliance Educational Committee Member since 2012

LIGHTING DESIGN EXPERIENCE: (selected credits) Production: Director: Venue: Date: Phaedra James Hatfield Playhouse Theatre, Los Angeles, CA currently A Lie of the Mind Meredith Greenburg Intimate Theatre, Los Angeles, CA 2012 The American Pilot James Hatfield Playhouse Theatre, Los Angeles, CA 2012 Phantom of the Opera Stephanie Vlahos Luckman FAC, Los Angeles, CA 2011 Delirium Knotts Berry Farm Halloween Haunt Knotts Berry Farm, Buena Park, CA 2011 End Games Knotts Berry Farm Halloween Haunt Knotts Berry Farm, Buena Park, CA 2011 The Wonders of Technology Knotts Berry Farm Halloween Haunt Knotts Berry Farm, Buena Park, CA 2011 She Loves Me Mark Lamanna Playhouse Theatre, Los Angeles, CA 2011 Rebuild Japan Meredith Greenburg Pasadena Playhouse, Pasadena, CA 2011 Red Noses Meredith Greenburg Playhouse Theatre, Los Angeles, CA 2011 The Grapes of Wrath Shiz Herrera Playhouse Theatre, Los Angeles, CA 2010 Spring Dance Concert Hae Kyung-Lee Luckman Auditorium, Los Angeles, CA 2010-11 This is the Rill Speaking Mark Lamanna Playhouse Theatre, Los Angeles, CA 2010 M. Butterfly David Olsen Playhouse Theatre, Los Angeles, CA 2010

123 Shakespeare/Shaw 2010: Maritare Theresa Larkin Intimate Theatre, Los Angeles, CA 2010 Moving Dance Images Hae Kyung-Lee King Hall Dance Studio, LA, CA 2009 Evita Dr. James Hatfield Playhouse Theatre, Los Angeles, CA 2009 Urinetown Meredith Greenburg Playhouse Theatre, Los Angeles, CA 2009 EvenSong Broad Horizons/Lewis MaGruder Abingdon Theatre Company, NYC 2005 Richmond Events Atelier Design Group Norwegian Dawn Cruise Lines, NYC 2005 International Contemporary Ensemble Lydia Steier Symphony Space – Thalia, NYC 2005 Off the Hook Opera One Acts (co-design w/Craig Siebels) Alliance Francais, NYC 2003 Bruno Hauptmann Kissed/Forehead James Wolk Abingdon Theatre, NYC 2003 Pitchfork Disney Kevin Kittle Greenwich Street Theatre, NYC 2003 The Wiz Bette Midler Washington Irving Aud., NYC 2003 To Kill a Mockingbird Paula O’Haus Hoboken Auditorium, NJ 2003 On With the Show Jared Ramos Hoboken Auditorium, NJ 2003 Waa-Mu (co-design with Daniel Ordower) 2nd Stage, NYC 2002 Or Polaroids (co-design with Daniel Ordower) Here Theatre, NYC 2002

ASSOCIATE / ASSISTANT DESIGN EXPERIENCE: (selected credits) Broadway Designer Production Venue Date: Elaine J. McCarthy (PROJECTIONSWicked Metronom Theatre, Oberhausen, Germany 2010 Umi Theatre, Tokyo, Japan 2007 Pantages Theatre, Los Angeles 2007 Gershwin Theatre, NYC (Bway retrofit) 2007 Apollo Victoria, London, England 2006 Spamalot Golden Gate Theatre, San Francisco (tour) 2009 Her Majesty’s, Melbourne, Australia 2008 Wynn Theatre, Las Vegas, NV 2007 Shubert Theatre, NYC (Bway retrofit) 2006 Palace Theatre, London, England 2006 National Tour 2006 Brian MacDevitt The Wedding Singer Al Hirshfeld Theatre, NYC 2006 The Wedding Singer Pre-Bway Tryout 5th Avenue Theatre, Seattle, WA 2006 Good Vibrations Eugene O’Neill Theatre, NYC 2005 Pacific Overtures Studio 54, NYC 2004 A Raisin in the Sun Royale Theatre, NYC 2004 Fiddler on the Roof Minskoff Theatre, NYC 2004 Retreat from Moscow Booth Theatre, NYC 2003 Ted Mather Les Miserables Revival drafting & paperwork only 2006 Peter Kaczorowski Anna in the Tropics Royale Theatre, NYC 2003 Jules Fischer Herb Gardner Memorial Booth Theatre, NYC 2003 Ken Billington Lily Tomlin: Not Playing/Full Deck MGM Hollywood Theatre, Las Vegas, NV 2010 Riverdance Radio City Music Hall, NYC 2005 Riverdance National Tour 2003 Chicago National Tour: "Cell Block" Company 2003 Adolf Green Memorial Shubert Theatre, NYC 2003 Dance of the Vampires (research only) Minskoff Theatre, NYC 2002 Off-Broadway Peter Kaczorowski Two Gentlemen of Verona, the Musical Delacorte, Central Park, NYC 2005 Marc Brickman/Marc Janowitz Blue Man Group - Toronto drafting & paperwork only 2005 Blue Man Group - Berlin drafting & paperwork only 2003 David Lander I Am My Own Wife Playwright’s Horizons, NYC 2003 Ken Billington The Thing About Men Promenade Theatre, NYC 2003 No Strings Encore Series at the City Center, NYC 2003 The New Moon Encore Series at the City Center, NYC 2003 Nobody Don’t Like Yogi drafting & paperwork only 2003 Ben Pearcy Jumbo, Musicals in Mufti York Theatre, NYC 2002 F. Mitchell Dana Pete & Keeley, drafting & paperwork only Houseman Theatre, NYC 2001 Michael A. Reese The Shaneequa Chronicles Ensemble Studio Theatre, NYC 2000 State of Tennessee Harold Clurman Theatre, NYC 1999 Regional & Other Brian Monahan South Street Pasadena Playhouse, Pasadena, CA 2011 Howell Binkley Twist Pasadena Playhouse, Pasadena, CA 2011 Ken Billington White Christmas Ordway, St. Paul, MN 2006 White Christmas Fox Theatre, Detroit, MI 2006 White Christmas The Wang Center, Boston, MA 2005

124 City of New York Museum Benefit City of New York Museum, NY 2003 Schuster Mead Theatre Opening Gala drafting & paperwork only 2003 Tom Murphy McDonald’s Gospelfest ’06 drafting & paperwork only 2006 Michael A. Reese Drama Desk Awards LaGuardia Concert Hall, NYC 2002-06 Lila NYC 2005 Wild Party Princeton University, NJ 2003 Travesties Princeton University, NJ 2003 Magic Flute Rutgers University, NJ 2003 Slave Shack New Jersey Repertory Company, NJ 2002 West Side Story Hoboken Auditorium, NJ 2002 Sweeney Todd Princeton University, NJ 2002 Brian MacDevitt Fortune Global Forum, China drafting & paperwork only 2005 Ed McCarthy RCMH Christmas Spectacular RadioCity Music Hall, NYC 2005 Jeff Harris Les Contes D’Hoffman Baltimore Opera, Lyric, MD 2005 Mark Simpson Lypsinka Glasgay Festival, Glasgow, Scotland 2005 John Demous Dardanus Wolf Trap Opera Company, VA 2003 Brenda Veltre Don Giovanni Kentucky Opera, KY 2003 F. Mitchell Dana My Fair Lady Papermill Playhouse, NJ 2002 Falstaff, drafting & paperwork only Kentucky Opera, KY 2002 Marriage of Figaro – drafting only Kentucky Opera, KY 2002 Anything Goes Papermill Playhouse, NJ 2000 4 operas in rotating repertory Opera Festival of NJ, McCarter Theatre 2000 Ben Pearcy Fandango XIII Paul Newman’s Hole in the Wall Camp, CT 2002

Theme Park Knotts Berry Farm (drafting) Halloween Haunt 2011 Los Angeles, CA 2011 Halloween Haunt 2010 Los Angeles, CA 2010 Snoopy’s Starlight Spectacular Los Angeles, CA 2010 Lighting Design Alliance Journey to Madagascar, the ride Universal Studios, Singapore 2008-2009 Ken Billington, KB Associates, Inc. Waterfront Architectural Renovation SeaWorld Orlando, FL 2002-2003

Television & Concert Ferri Lighting Design & Associates GameDay Morning / NFL Morning NFL Network, Studio 2, Culver City, CA 2012 Fish Out of Water Productions Projects managed by Liberty Bock Allen Branton (designer), Various locations 2007 New York City Lites, Inc. The Greg Giraldo Show Pilot SONY Studios, NYC 2006 Stump the Schwab Unitel Studios, NYC 2006 WXIA Atlanta drafting & paperwork only 2005 Iron Chef III drafting & paperwork only 2005 The Tony Danza Show, 2nd Season ABC Studios, NYC 2005 Stump the Schwab AMV Studios, NYC 2005 Quite Frankly Penn Studios, NYC 2005 ESPN U. drafting & paperwork only 2005 C-Span Q&A drafting & paperwork only 2005 ESPN Teammates drafting & paperwork only 2005 Stan Crocker VHI Rock Honor Awards drafting & paperwork only 2006 The Colbert Report drafting & paperwork only 2005

Architectural Erin Erdman, eSquared Lighting Various Various 2008-current Chip Israel, Lighting Design Alliance Various Various 2008-2009 Anne Militello, Vortex Lighting Various Various 2007-2008 Leni Schwendinger Light Projects Various Various 2005

125 Seonagh Odhiambo, Ph.D. 10f3 Assistant Professor of Dance Music, Theatre & Dance Department Email: [email protected] Telephone: (cell) 626 786 6394

EDUCATION Ph.D., Temple University, Dance, 2009. Areas: Poststructuralist Feminist Theory; Critical Pedagogy; Dance Semiotics Dissertation: A Conversation with Dance History: Movement and Meaning in the Cultural Body M.A., University of British Columbia, Curriculum and Instruction, 2000. Areas: Multicultural Education; African Canadian Literature Master's Thesis: Legacy of Influence: African Canadian Stories in a Multicultural Landscape B.A., Women's Studies, 1995. Honours: Indigenous Canadian Histories and the Oral Tradition: Women speaking, dancing, singing.

ACADEMIC AWARDS AND HONOURS (SELECTED) Mentoring Grant, CETL, 2012 Mini-Grant, CSULA, 2011-2012 Artist-in-Residence, Art of Engagement, 2011-2012 Award in Dance, Canada Council for the Arts, 2009-2010 Fisher Center Pre-doctoral Fellowship, 2006-07 Grant-in-Aid, The Leon and Thea Koerner Foundation, 2006-07 Full Teaching Assistantship, Fellowship and Travel A ward Temple (University,2004-2006

FELLOWSHIPS Fisher Center Pre-doctoral Fellow 2006-2007 Dance Department, Women's Studies Hobart and William Smith Colleges, Geneva NY.

TEACHING, ADMINISTRATION, AND RESEARCH (SELECTED) Assistant Professor (Dance) 2009- (Dance Theory, Dance History, Dance Education, African Dance) Department of Music, Theatre and Dance California State University, Los Angeles, CA. Co-Coordinator AA Program (Curriculum and Advising) 2008 (Coordinated curriculum review, worked as liaison to president in WASC accreditation) Transpacific Hawaii College, Honolulu, HI. Assistant Professor (Multidisciplinary) 2007-2008 (Theatre Arts, Women's Studies, Communications) Multidisciplinary Appointment, Transpacific Hawaii College, Honolulu, HI. Lead Teaching Assistant, Adjunct Professor (Dance) 2004-2006 Dance Technique, World Dance, Dance and Pluralism, Dance and Human Society Dance Department, Temple University, Philadelphia, PA. Lead Instructor, Adjunct Professor (Dance and Communication) P001-04 Dance Composition, Dance History, Communications I Fine Arts (Dance), Communications, Bay Path College, Longmead MA.

INVITED PUBLICATIONS, PERFORMANCES, LECTURES (SELECTED) (March, 2012, Headline Event) Bodies of Water. Downstream: Reimagining Water. Emily Carr University: Vancouver, Canada (Choreographer and Lecturer). (July, 2011). Topanga Film Festival. Invited panelist, Dance Expert for Dance on Film. (February, 2011) "Fragments and Possibilities: Choreographing an Intervention in Dance History," in Studies of Embodiment and Transformation Through Dance, Literature, Music, and Philosophy. " Powerful Visions Lecture Series. The Huntington, CA. (2008) "Modern Dance, Negro Dance." Book review in Dance Chronicle. (April, 2007). "Sand and Bone: 'World Dance,' Choreography, and Pedagogy," Art, Gender, and

126 Activism. Fisher Center Lecture Series. Hobart and William Smith Colleges, Geneva, NY.

CHOREOGRAPHY AND PERFORMANCES (SELECTED) (Dee 2012). Exitfrom the Blue Room. Margo Albert Theatre, Los Angeles, CA. (Choreographer) (Nov 2012). Exitfrom the Blue Room. A Room to Create-ARC. Pasadena, CA. (Choreographer) (June 2011). "Chiarascuro," Society of Dance History Scholars. Toronto, ON (Choreographer). (June 2010). "Healing Water," Salt Spring Island, British Columbia, Canada. June 20, 2010. (June, 2009). "Bitten." in Topographies: Sites, Bodies, Technologies. Society of Dance History Scholars. Palo Alto, CA: Stanford University (Choreographer). (April, 2007) "Sand and Bone" Faculty Dance Concert. Geneva, NY: Hobart and William Smith Colleges (Choreographer in Residence). (August, 2006) "Threo Macian: Three Makes One" International Conference for the Arts in Society. Edinburgh, United Kingdom: Edinburgh University (Choreographer).

PUBLICATIONS (SELECTED) Odhiambo, Seonagh (forthcoming 2014). "Art of Engagement: Dance, Movement and Identity," Chapter in Hybrid Lives of Teaching Artists in Dance and Theatre Arts: A Critical Reader (Cambria Press). Odhiambo, Seonagh (forthcoming 2013). "Bodies of Water: Resonance, Connection and Meaning in Dance," Chapter in Downstream: Reimagining Water Anthology. University of British Columbia Press. Odhiambo, Seonagh (2009). "Choreography as Engaged Pedagogy: Th9 Embodiment of Fractured Coalitions." Topographies: Sites, Bodies, Technologies. Society of Dance History Scholars. Stanford University. Odhiambo, Seonagh (2008). A Conversation with Dance History: Beyond Disarticulated Bodies. Looking Back/Looking Forward Proceedings, Society of Dance History Scholars. Syracuse, NY: Syracuse University. Odhiambo, Seonagh (2007). "Une Idee Fixe?: Culture and Choreographic Practice." Continuing Dance Culture Dialogues: Southwest Borders and Beyond proceeding Congress of Research in Dance, Arizona State University: Tempe, Arizona. II

PAPER PRESENTATIONS (SELECTED) Odhiambo, Seonagh (2011). "Dancing Water: Healing the LA River through Dance," Society of Dance History Scholars. Toronto, ON. Odhiambo, Seonagh (2010). "Choreography and Liberation Theatre in Critical Dialogue," in Hybrid Lives of Professional Teaching Artists in Dance and Theatre: Questions of Power in Performance, Teaching & Community Work. Congress of Research in Dance1American Society for Theatre Research. November 2010, Seattle, WA. Odhiambo, Seonagh (2010). "Dancing in Time: Choreographic Process as a Genealogy of History." World Dance Alliance-Global Dance Event, New York, Odhiambo, Seonagh (2009). "Choreography as Engaged Pedagogy: The Embodiment of Fractured Coalitions." Topographies: Sites, Bodies, Technologies. Society of Dance History Scholars. Palo Alto, CA: Stanford University. Odhiambo, Seonagh (June, 2008). "African Women's Dance History in the 1930s: Cultural Memory in Conversation." Society of Dance History Scholars. Syracuse, NY: Syra U. Odhiambo, Seonagh (January 2007). "Educating the Student Body: Somktic Processes in Cultural Studies." Hawaii International Coriference on Arts and Humanities. Honolulu, Hawaii: University of Hawaii. I Odhiambo, Seonagh (November 2006). "Une Idee Fixe?: Culture and Choreographic Practice." Continuing Dance Culture Dialogues: Southwest Borders and Bkyond. Annual Conference, Congress of Research in Dance, Arizona State University: Tempe, Arizona. Odhiambo, Seonagh (August 2006). "Dancing Embrace: A TransnationJI Choreography." International Conference on the Arts in Society. Edinburgh, UK, University of Edinburgh. Odhiambo, Seonagh (July 2006). "Dances in the Stories I tell: A Transnational Approach to Dance Studies" World Dance Assembly. Toronto, Canada: York University. Odhiambo, Seonagh (November, 2005). "Dances Embrace and Theories Talk: A Conversation Between two Aesthetics, Doris Humphrey and Kenya Luo Dance," Dance and Human Rights. Annual Conference, Congress of Research in Dance. Montreal, Canada: UQAM.

COMMITTEE SERVICE: UNIVERSITY, COLLEGE, DEPARTMENT University Wide Committees: University Student Union Board, Fall 2012- I

127 California State University, Los Angeles (Active service from October 2012) Institutional Learning Outcomes, Department Liaison Fall 2009-Fall 2010 California State University, Los Angeles (Department Liaison; Feedback to committee as ILOs drafted) College Wide Committees: Instructional and Student Affairs Committee, Fall 2009- College of Arts and Letters (Active service from October 2009).

Department Wide Committees: MFA Curriculum Sub-Committee (performance) Department of Music, Theatre and Dance (Active service from Octob~rI2012). MFA Admissions Sub-Committee (performance) I Department of Music, Theatre and Dance (Active service from octObjr 2012). Scholarship Committee, Spring 2010- Department of Music, Theatre and Dance (Active service from March 2010) Graduate Curriculum Committee, Fall 2009- I Department of Music, Theatre and Dance (Active service from October 2009). Undergraduate Curriculum Committee, Fa1l2009-Spring 2011 I Department of Theatre Arts and Dance (Active service from October @09)

SERVICE: UNIVERSITY WIDE (SELECTED) Advisor,4 Student Clubs Fall 2009- Started up 3 and advised 4 dance teams: Eccentric, Precise Step, Unit d Dance, Salsa. International Day of Dance, January 2010- Conceived, directed, produced event annually.

SERVICE: COLLEGE WIDE (SELECTED) ASI Event, La Finesse de la Nuit Fall 2009- Faculty advisor coordinating dance aspect of event

SERVICE: DEPARTMENT (SELECTED) Director of Program in Theatre Arts Fall 2012- Advisor for students in MA program, includes GET advising, ineom'1 students, maintain program

128 STEPHEN ROTHMAN

EDUCATION Master of Fine Arts, Theatre Management Florida State University June 1974 Bachelor of Science, Speech/Theatre Education Florida State University August 1972

TEACHING EXPERIENCE CALIFORNIA STATE UNIVERSITY LOS ANGELES The Department of Music, Theatre and Dance at California State University Los Angeles operates in four different performance venues. With a full-time faculty of 26 supplemented by numerous Los Angeles-based guest artists, the department serves approximately 130 majors on both the undergraduate and graduate levels.

Professor of Music, Theatre and Dance

 Teach various classes including TA 450 Principles of Directing III, TA 445 Principles of Directing I, TA 442 Acting Studio II, TA 380 Emotions in Theatre and Film, TAD 316 Theatre and Dance in 21st Century Urban Contexts, TA 314, Violence in World Theatre, TA 141 Acting 1, AL101 Introduction to Higher Education in Arts and Letters, COMS 510 Seminar: Narrative Studies in Film, Television, TVF 454 Multi-Camera Production, TVF 265 Introduction to Scriptwriting, TVF 250 Media, Culture, and Identity, and TVF 224 Survey of Film. Since the advent of the Master of Fine Arts Degree in Television, Film, and Theatre (TVFT) and over the past 5 years graduate courses taught include, Directing for the Stage, Directing Seminar, Sit- com Writing, Acting for Film, Project I, Project II, Collaboration, and Multi-cam Production.  Direct selected department stage productions including the recent sell out hit HAIR  Master’s thesis committees  Student advisement  Faculty committees include: College ARTP A, College ARTP B, University Outstanding Professor of the Year Committee, Department ARTP A, Department ARTP B, MFA Program Acting Cohort Admissions Committee, MFA Theatre Thesis Projects Committee , MFA Steering Committee  Coordinator of California State University, Los Angeles Urban Studies Upper-Division Theme

Professional Directing American Resident/Regional Theatre directing credits include more than 100 plays in 16 different states for 40 different theatre companies. Additionally he has served as the Artistic Leader of the Pasadena Playhouse as well as the Artistic Director of the Sacramento Theatre Company.

Over the past 5 years specific directing credits include: The World Premiere of LEAP YEAR, and the play ACCOMPLICE for Shakespeare and Company (2013), The East Coast Premiere of PARASITE DRAG for Shakespeare and Company (2012), THE ADVENTURES OF PINOCCHIO for Deaf West Theatre (2011), HAIR for University of Wisconsin, Madison (2009), BETRAYAL for The Florence International Theatre Company (2008), and THE ELEPHANT MAN for Actor’s Co-op (2008)

129 Awards and Achievements Since Previous Self Study

 2012-2013 California State University, Los Angeles “Outstanding Professor of the Year.”  Sabbatical Award to Direct the play BETRAYAL in Florence, Italy for The Florence International Theatre Company (Spring 2008)

Panels and Presentations THE EVER EVOLVING CAREER PATH (Panelist), United States Institute of Theatre Technology, Kansas City, Missouri 2010 ISN’T IT IRONIC, THE FILMS OF THE COEN BROTHERS (Paper), Comedy Symposium, University of Lincoln, Lincolnshire, United Kingdom

Publications ISN’T IT IRONIC, THE FILMS OF THE COEN BROTHERS, COMEDY STUDIES JOURNAL, (Volume 2, Number 2, 2011), Bristol, UK Professional Affiliations Stage Directors and Choreographers (SDC) Directors Guild of America (DGA) Association of Theatrical Press Agents and Managers (ATPAM) Board of Trustee, The SDC-LEAGUE Pension and Health Funds Board of Trustee, The National Theatre Conference

130 Appendix M. Student Opinions of Faculty Instruction

Use this data in Section 5 in describing student evaluation of your faculty’s classroom effectiveness.

1. The INSTRUCTOR clearly defined the course requirements. 2. The SYLLABUS clearly outlined the course requirements and grading criteria. 3.The INSTRUCTOR clearly presented the subject matter. 4. The READING MATERIAL, including the textbook, served well the purpose of this course. 5. The examination QUESTIONS were a good measure of the material presented in the course. 6. The instructor ADMINISTERED and SUPERVISED the examinations appropriately. 7. In general, INFORMATION about how well I was doing was readily available. 8. In general, the INSTRUCTOR was ACCESSIBLE to provide requested help in the subject. 9. The INSTRUCTOR INTERACTED with students in ways that were free of racial prejudice or discrimination. 10. I would RECOMMEND this INSTRUCTOR to others. 11. How would you rate the instructor's OVERALL TEACHING ABILITY. College Univ 1 2 3 4 5 6 MEAN SD Mean Mean F2004 518 Counted 1 435 90 12 4 1 1 1.24 0.55 1.39 1.40 2 417 100 13 6 0 2 1.29 0.63 1.41 1.47 3 416 89 27 5 1 1 1.31 0.66 1.50 1.62 4 333 91 39 5 4 4 1.46 0.86 1.60 1.70 5 320 75 20 8 0 4 1.37 0.79 1.55 1.62 6 350 73 10 4 2 2 1.28 0.67 1.41 1.44 7 392 101 21 12 7 2 1.41 0.83 1.61 1.66 8 428 93 9 5 1 0 1.24 0.54 1.43 1.50 9 452 57 8 1 0 0 1.15 0.41 1.27 1.30 10 434 65 20 5 2 4 1.28 0.73 1.40 1.59 11 393 75 29 14 2 2 1.38 0.80 1.60 1.71

F2005 519 Counted 1 388 113 11 3 3 1 1.31 0.63 1.39 1.46 2 381 96 30 4 6 0 1.37 0.73 1.40 1.45 3 373 113 23 5 0 2 1.36 0.67 1.47 1.60 4 275 101 21 3 1 1 1.40 0.68 1.54 1.67 5 264 90 22 4 0 0 1.38 0.64 1.52 1.62 6 295 91 12 2 2 0 1.32 0.61 1.39 1.43 7 352 114 29 7 7 2 1.45 0.83 1.60 1.64 8 385 98 21 6 3 0 1.33 0.67 1.40 1.48 9 441 67 2 0 1 0 1.15 0.40 1.24 1.30 10 339 88 19 5 3 3 1.33 0.73 1.45 1.57 11 353 91 38 13 2 1 1.44 0.80 1.58 1.70

F2006 12 Counted 1 11 1 0 0 0 0 1.08 0.28 1.41 1.47 2 10 2 0 0 0 0 1.17 0.37 1.42 1.46 3 11 1 0 0 0 0 1.08 0.28 1.52 1.61 4 6 2 4 0 0 0 1.83 0.90 1.59 1.70 5 11 1 0 0 0 0 1.08 0.28 1.55 1.63 6 12 0 0 0 0 0 1.00 0.00 1.43 1.44 7 11 0 0 0 0 0 1.00 0.00 1.65 1.66 8 11 0 0 0 0 0 1.00 0.00 1.42 1.49 9 11 1 0 0 0 0 1.08 0.28 1.27 1.30 10 12 0 0 0 0 0 1.00 0.00 1.50 1.58 11 9 1 0 0 0 0 1.10 0.30 1.63 1.71

131

1. The course syllabus clearly stated course objectives, requirements, and grading criteria. 2. The readings and assignments contributed to my understanding of the subject. 3. Exams, projects, papers, etc. were good measures of the course material. 4. The instructor provided timely feed back about my performance in the class. 5. The instructor clearly presented the subject matter. 6. The instructor was well prepared. 7. The instructor demonstrated knowledge of the subject matter. 8. The instructor was accessible to provide requested help in the subject. 9. The instructor was respectful and unbiased when interacting with the students. 10. The course contributed to my intellectual growth and/or helped me develop useful skills. 11. Overall the instructor was an effective teacher. College Univ SA A SA/D S SD MEAN SD Mean Mean F2007 379 Counted 1 252 84 29 7 6 4.51 0.84 4.64 4.61 2 220 85 39 6 6 4.42 0.88 4.50 4.44 3 219 83 39 15 7 4.36 0.96 4.51 4.43 4 230 71 48 18 10 4.31 1.04 4.43 4.37 5 24 69 45 7 9 4.43 0.94 4.54 4.46 6 255 77 33 5 9 4.49 0.89 4.60 4.55 7 278 71 22 1 4 4.64 0.70 4.70 4.65 8 239 87 32 10 7 4.44 0.90 4.60 4.54 9 276 70 19 7 6 4.60 0.80 4.68 4.65 10 241 86 36 11 5 4.44 0.88 4.52 4.40 11 252 77 34 9 6 4.48 0.87 4.60 4.53

F 2008 358 Counted 1 289 44 12 4 4 4.73 0.69 4.65 4.61 2 249 61 10 1 2 4.72 0.60 4.53 4.45 3 267 46 18 2 3 4.70 0.68 4.55 4.44 4 266 56 18 6 5 4.63 0.78 4.47 4.39 5 297 38 16 2 5 4.73 0.70 4.58 4.47 6 305 32 12 3 6 4.75 0.71 4.62 4.56 7 309 33 10 2 4 4.79 0.62 4.73 4.66 8 289 48 12 2 5 4.73 0.68 4.63 4.56 9 307 33 9 1 6 4.78 0.66 4.70 4.65 10 291 46 9 1 8 4.72 0.73 4.55 4.47 11 301 36 11 3 7 4.74 0.74 4.63 4.53

F 2009 435 Counted 1 332 79 16 6 2 4.69 0.65 4.63 4.63 2 297 92 27 6 2 4.61 0.68 4.48 4.48 3 306 90 24 3 2 4.64 0.67 4.48 4.46 4 305 96 26 2 3 4.62 0.68 4.38 4.41 5 320 91 16 4 4 4.65 0.68 4.52 4.50 6 340 77 16 1 1 4.73 0.56 4.59 4.58 7 351 71 12 0 1 4.77 0.51 4.70 4.68 8 332 65 24 4 1 4.70 0.64 4.58 4.57 9 351 6 9 6 2 4.75 0.61 4.64 4.65 10 315 81 22 12 4 4.59 0.79 4.47 4.49 11 338 74 18 2 3 4.71 0.63 4.58 4.56

F 2010 397 Counted 1 306 70 14 5 1 4.71 0.62 4.66 4.63 2 260 80 23 4 2 4.60 0.70 4.53 4.48 3 259 81 18 3 5 4.60 0.74 4.53 4.46 4 263 92 30 5 4 4.54 0.77 4.44 4.40 5 292 77 18 6 3 4.64 0.71 4.56 4.49 6 299 65 21 7 4 4.64 0.75 4.63 4.58 7 321 58 13 4 1 4.75 0.59 4.72 4.69 8 278 92 15 3 4 4.63 0.69 4.61 4.57

132 9 310 66 10 5 4 4.70 0.68 4.67 4.64 10 297 64 29 4 3 4.63 0.73 4.54 4.49 11 306 63 18 3 5 4.67 0.72 4.62 4.55

F 2011 509 Counted 1 390 85 27 4 2 4.69 0.64 4.67 4.64 2 355 109 29 6 4 4.60 0.72 4.56 4.50 3 359 95 37 12 1 4.59 0.75 4.54 4.47 4 374 87 28 15 4 4.60 0.79 4.47 4.42 5 377 76 36 18 2 4.59 0.80 4.55 4.50 6 380 81 28 15 3 4.62 0.77 4.62 4.59 7 406 70 27 4 1 4.72 0.61 4.72 4.69 8 378 89 28 6 1 4.67 0.66 4.61 4.58 9 411 74 16 7 0 4.75 0.58 4.67 4.65 10 366 87 42 10 4 4.57 0.79 4.55 4.51 11 396 69 31 10 3 4.66 0.73 4.62 4.56

133 Appendix N. Instructional Faculty Types In this section, complete the following table for the past two years. Use this data in Section 5 in describing student evaluation of your faculty’s classroom effectiveness.

Proportion of Classes Taught by Faculty Rank

# # Required BA BA Free Electives/ Required Graduate Gen Service (also APPT LEVEL Faculty Classes Major Classes Electives Dir Study Graduate Directed Study Ed BA Electives) Credit by Exam FALL 2010

Tenure/Tenure Track 14 46 15 8 3 8 2 10 3 4

Temp w/ Terminal Degree 2 5 1 4 1 Temp w/o Terminal Degree 1 2 1 1 Teaching Associate 0

WINTER 2011

Tenure/Tenure Track 15 52 15 11 6 7 3 10 4 5 Temp w/ Terminal Degree 2 5 1 2 2 1 Temp w/o Terminal Degree 1 3 1 1 1

134 Teaching Associate 0

SPRING 2011

Tenure/Tenure Track 13 45 10 11 4 5 5 10 3 Temp w/ Terminal Degree 2 3 1 2 Temp w/o Terminal Degree 4 7 3 2 1 1 Teaching Associate 1 1 1

SUMMER 2011

Tenure/Tenure Track 4 8 1 1 6 Temp w/ Terminal Degree 0 Temp w/o Terminal Degree 0 Teaching Associate 0

FALL 2011

Tenure/Tenure Track 14 43 10 10 5 6 2 10 4 Temp w/ Terminal Degree 3 8 3 5

135 Temp w/o Terminal Degree 3 3 1 1 1 Teaching Associate 3 3 3

WINTER 2012

Tenure/Tenure Track 16 51 18 10 2 14 1 6 2 Temp w/ Terminal Degree 5 10 2 1 7 1 Temp w/o Terminal Degree 2 3 2 1 Teaching Associate 3 3 2 1

SPRING 2012

Tenure/Tenure Track 11 42 14 9 2 11 1 5 2 4 Temp w/ Terminal Degree 1 1 1 Temp w/o Terminal Degree 2 3 1 2 Teaching Associate 2 2 1 1

136 Appendix O. New Data

Number of TAD BA Degrees Awarded Summer 2012 – Summer 2015

COMPLETION Option in Option in TAD By Quarter TOTAL BY TERM Dance Theatre Major AY

Summer 12 0 4 4 Fall 12 1 7 8 Winter 13 1 1 2 Spring 13 2 2 14 2012/13

Summer 13 1 2 3 Fall 13 2 2 4 Winter 14 1 2 3 Spring 14 2 9 11 21 2013/14

Summer 14 3 5 8 Fall 14 5 5 Spring15 11 11 24 2014/15

10 Summer Summer 15 10 15

New Majors – Freshmen / Transfers Fall 2012 –Fall 2015

Term First Time Freshman First Time Transfer Cont'd Undergrad Total # % # % # % # % Fall 2012 27 24.32 14 12.61 70 63.06 111 99.99 Fall 2013 33 27.5 9 7.5 78 65 120 100 Fall 2014 24 22.64 9 8.49 73 68.87 106 100 Fall 2015 33 27.05 17 13.93 72 59.02 122 100

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