ASSESSMENT REPORT 1996-97

Prepared and submitted June 9, 1997

1. What are your unit's goals for student learning? How were they developed and who was involved? Have they been modified based on last year's report?

a. The objective of our Bachelor of Fine Arts program in dance is to provide a challenging environment that encourages the realization of individual artistic potential through course work and standards that emphasize development and refinement of creative, intellectual and physical processes. Our goal is to prepare the individual for a career and/or post-graduate study in the field of dance and related professions.

The design and structure of the curriculum is predicated on the belief that creative, theoretical and physical work dovetail to support the total growth and aesthetic maturation of the dancer. Students must show promise either through a pronounced potential for development in at least one area (choreographic, performance or intellectual ability) or a balance of strengths in these three areas. The development of an individual's artistic voice is a lengthy process, not ordinarily attainable within a four year period, but progress toward the goal of developing a student's individual movement voice and a command of the tools necessary to refine artistic expression is desirable.

The aforementioned goals find further expression in the specific standards for accreditation for undergraduate studies in dance of the National Association of Schools of Dance. We provide, therefore, a curriculum, advisement and other opportunities in our sequentially based training program for dance majors designed to assist them to:

1) perform in public as dancers;

2) develop visual and aural perceptions;

3) become familiar with and develop competence in a number of dance techniques and develop proficiency in at least one;

4) become familiar with the historical and cultural dimensions of dance including the works of leading dancers and choreographers both past and present;

5) understand and evaluate contemporary thinking about dance and related arts;

6) make informed assessments of quality in dance.

We track student progress and achievement in these six competency areas toward the achievement of our goals.

NASD guidelines require that sixty-five percent of dance courses must be in studio work for the Bachelor of Fine Arts in Dance. The primary emphasis of our technique training is modern dance and choreography. Ballet is required as a support technique. Jazz dance is available as a third technique area and additional courses in non western dance forms are offered.

Most dance programs in the country emphasize dance technique classes over choreography by requiring three to six quarters of choreography and twelve quarters of technique classes. Our goal to develop the individual's artistic voice is more effectively encouraged through equalizing the balance between studio courses in choreography and technique. OU dance majors are required to take eleven quarters of choreography and twelve of technique. As students focus on creative problem solving in movement for choreography classes they explore the expressive potential necessary for effective performance. This reduces reliance on the rote learning approach of most technique classes as the primary means of gaining command of one's instrument or body. Choreographic problem solving encourages immediate authorship of oneself in movement work, a key element necessary to defining the artistic voice.

b. The goals of our four year training program were first developed by the faculty as part of NASD accreditation processes in 1983 and 1988, and have been reexamined annually as part of faculty retreat considerations.

It is important to note that, in dance, student proficiency represents a resource of responsive and capable performers to all choreographing faculty, faculty for whom choreography is artistic research. Faculty are, therefore, deeply and personally invested in the ongoing process of helping students achieve an integration of knowledge and skills in dance.

c. In our recent assessment reviews, faculty discussions have identified certain implicit expectations of the dance major. These include the development of cooperative work skills; an appreciation for collaborative endeavors; a facility with the responsibilities and organizational elements in the management of projects, and the ability to give and receive constructive criticism. These skills may be viewed as value added quality of work in the major, but they are essential to effective work in the field.

2. How do you assess student learning? What testing instruments, methods and processes do you use to collect assessment data? Have these assessments activities been modified since last year?

Four stages of assessment are employed within our sequentially based major program. These address six areas of competency NASD requires and are noted in parenthetical numbers within this text.

Stage I. Premajor Assessment: entrance into the program by audition:

An entrance essay allows the faculty to review writing skills and the level of aesthetic sophistication of the applicant (6). In keeping with our goals, standard test scores and grade point averages contribute to the profile of an applicant but talent is the determining factor in admission.

Anyone wishing to become a dance major, minor or honors tutorial

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student in dance must audition for entrance into the program. Auditions consist of participation in a studio class to determine skill achievement in modern, ballet or jazz dance forms and an improvisational choreographic presentation (1, 3). The audition committee, comprised of seven faculty and two students each from second, third, and fourth year majors (2, 3, 6), reviews prospective students for demonstrated proficiencies and promise. Some areas of consideration include: rhythmic abilities, strength, flexibility, structural alignment and symmetry, accurate reproduction of movement materials, qualitative expressivity, movement invention, and coherence in phrasing movement materials. Audition evaluation forms are kept in student files as part of an initial record of entering proficiencies.

Transfer students also audition for entrance. In this instance the audition serves as a device to determine placement within major level technique classes. While this demonstrates the applicant's level of kinetic connectivity, it is not an accurate predictor of the placement level for choreography. This must be determined either by viewing previously choreographed work, often on videotape, or through mid first quarter review by the faculty during biweekly composition workshop presentations. Generally, previous course work in choreography can not be properly equated until the student has produced creative work by assignment in major courses. In instances where faculty are familiar with the program at a student's previous institution, placement level can be determined sooner.

Stage II. Probationary Status of the First Year in the Program:

Throughout the first year in the program, faculty closely monitor student development and growth, and identify students who are excelling in their work and those not progressing well. All students are observed carefully for their potential to perform well in future major level course work. Monitoring progress and achievement occurs daily in technique classes in order to effectively support student growth. Faculty meetings prior to preregistration are reserved for discussions of student performance in theoretical and studio course work (1 - 6). All faculty submit written evaluations on every first quarter freshman or transfer student. Typically, sixty to seventy percent of the faculty will be directly engaged in teaching responsibilities with the students in question in a given quarter. The remaining faculty attend student performances in workshop presentations or other classes for observation.

At the conclusion of the fall term, each first quarter major meets individually with the faculty as a whole in conference where observations regarding their work are discussed with them. In this way the student receives individualized feedback and learns more exactly what is expected of a dance major. The evaluations by the faculty are kept in student files and summarized in annual progress notes. Students who do not progress within expected norms of development may be a) advised to confine their course work to a minor in dance, b) maintained on probation for a limited time, c) advised out of the major program. Thirty to forty percent of the entering level one class enter as a declared minor. Some of these will declare majors

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and some majors will self select the minor. We expect an attrition rate of about fifty percent from an entering class throughout the four years as some majors shift to minor status either on advisement from the faculty or through self selection out of the program due to other interests, injury, financial pressures, etc. A great deal of our intensive evaluation processes are designed to facilitate decisions regarding major status early in a student's four year college career.

Stage III. Assessment throughout the program

The process described above provides the template for much of the evaluation of majors that continues throughout the four years. For example, it is used regularly to adjust placement by skill level in technique courses so that all students are sufficiently and appropriately challenged in their classes (1, 2, 3). More importantly, it reorients student goals away from the quantitative and simplistic notions of achievement in dance they hold dear when they enter the program, ie. number of turns, height of leg extensions, toward an increasingly sophisticated appreciation for substantive and qualitative accomplishment in the field, eg. kinetic interest, sensitivity to phrasing and nuance, core connectivity to support expressivity (6). The information delivered in the feedback process throughout the four years assumes a more complex character as students begin to integrate and synthesize skills and knowledge of the art form and as their artistic sensibilities mature.

Written Evaluations:

Evaluations written by the faculty address performance in classes, concerts, workshops, and production crews, and work in positions of responsibility such as service on departmental committees, eg. audition/scholarship, and student advisory committees. The audition committee determines acceptance into the major and the award of talent scholarships to entering students. Student committee members have an equal voice in all committee determinations and are expected to articulate reasons for awards and/or acceptance into the major (2, 6).

Videotape Evaluations:

Student creative and performance work is videotaped during workshop presentations and classes. Records of student work are on file and become part of a student's dance video portfolio.

Video has afforded the field a means to record performance and give visually referenced feedback to the performer (1, 2, 3, 6). It significantly enhances the individualized instruction of a student. Faculty regularly video classes and review the tapes for use during midterm evaluation conferences. Video guides the student to a closer connection between the kinesthetic sensation of the body in motion and the visual perception of it. It encourages development of objectivity about self necessary for continued

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growth and improvement. Likewise, it allows the student choreographer to review their work without fatiguing the performers with endless repetitions.

Course embedded measures:

Majors have an intensive history requirement in dance (4, 5). Three courses have a western dance perspective and two are non western. Choreography courses include historical style analysis with a research component and related creative assignment (4, 5, 6). Performances and presentations of these are reviewed by the entire faculty. Students are expected to give one another constructive feedback on performance and choreographic work in formal critique settings and within classes. Seniors are expected to discuss the historical influences evident in their senior choreography projects in Senior Critique which concludes their fall and spring quarter production requirements (4, 5, 6). Final papers and exams are additional course embedded measures of assessment.

Immediate feedback to students:

Scheduling as many levels of classes back to back as space constraints allow means more fluid movement between levels according to immediate review of student work (1,3). During fall quarter two faculty team taught intermediate and advanced technique by rotating their teaching assignments between the two levels and moving students throughout the term according to their abilities to meet the demands planned for class. They met weekly to discuss class plans and determine the appropriate level assignment for students according to the movement materials addressed and how to prepare the less advanced students to meet those challenges. This labor intensive effort was highly successful as a means of targeting skills in need of improvement, constructively addressing with students how to develop those skills, and providing them an opportunity to test those skills for immediate and consequential feedback.

Another faculty member has required more writing in dance technique courses for the explicit purpose of improving physical performance of the dancer and practicing written and verbal skills (1, 5). She determined through end of the quarter evaluation conference process that students did not always fully comprehend the verbal corrections she gave them during class. To address the problem, she asked each student who received a verbal correction to write a brief description of their understanding of it and submit it. She wrote responses to each student reframing or elaborating on it for them. On average, most students wrote one paper per week. These weekly papers served to focus their efforts on a goal specific to their individual development. They were used to write a final paper on achievement and future goals.

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Faculty evaluations and student surveys:

Faculty evaluations address cooperative work skills. All students are expected to demonstrate an appreciation and facility for working together in fluidly assigned leadership and support roles. More than mere idealism mandates the development of these skills. Artistic enterprise demands an ability to work effectively alone and in groups. The success of all concert production relies on solo and communal efforts to bring it about. With four mainstage productions, three off campus touring performances and nine workshop presentations per year, cooperative effort is key. A student survey was developed and administered to measure awareness of this aspect of training. This survey also addressed the student satisfaction with advising and their perceptions regarding the education they receive in the School.

Stage IV. Assessment at the conclusion of major:

Several assessment measures are in place for fourth year students. Senior Project, a choreographic/performance project requiring a command of group and solo choreographic forms and the demonstration of performance achievement, is evaluated and graded by the each faculty member (1, 3, 5). Some grading areas include: movement invention, structural coherence and development of thematic materials, musicality and phrasing, interpretation and direction, kinetic interest, and design element choices. Grading also includes effective work in group enterprises, project management and organization. Seniors audition, rehearse, choreograph, design and oversee production of their work in concert and on tour. They write a senior paper on the project that is retained in their files. (6, 5, 4) They also participate in a Senior Critique with the faculty, where they discuss with one another, and the faculty, the strengths and weaknesses of their own and each others' work (6, 5, 4). We conduct Senior Exit Interviews.

Postgraduate assessment

Our graduates are a very mobile population. But contact with graduates has always been strong. They tend to feel most directly connected to the university through the faculty and secretary of the school itself. Our efforts have focused on maintaining these strong ties. Email and a home page have helped support these connections.

A recent questionnaire sent to our grads surveyed their thoughts on and satisfaction with their preparation at Ohio University. We maintain post graduate files on alums separate from academic files. Grads routinely send publicity notices and letters to inform us about their activities. [Please see appendix for brief summary of graduate achievements.]

Achievement of grads in artistic and creative accomplishments is high. Five grads have been honored with the prestigious Bessie Schoenberg awards for excellence in choreography and performance. Placement of grads in high profile companies and productions is high. Grads garner art

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fellowships and grants such as NEA and arts council awards.

Diversity and accomplishments of graduates in post BFA study is marked. The majority of our grads have pursued advanced degrees in dance performance and choreography and dance related fields such as: dance therapy, art education, and somatic study. Others have pursued and achieved in medicine, psychiatry, library studies, music composition and performance, occupational therapy, creative writing and photography. In many instances they identified new areas of interest as directly emerging from their undergraduate dance degree study.

Changes since last year

Changes in the assessment process since last year include: implementing evaluation forms on learning climate, advising, senior experience, and other selected areas in curriculum; increased external reviews of concerts; faculty discussions regarding alumni questionnaires; tracking student writing skills more closely; increased and more integrated use of video as a learning tool.

3. Detail how you are analyzing the data and diagnosing strengths and weaknesses.

Much of the evaluation of majors is done through measures that are public and frequent such as performances and presentations of work for feedback during the choreographic process, group discussions and conferences, video reviews of classes, post production critiques, and team taught courses.

A high degree of colloquy exists among the faculty which meets biweekly. Several of these meetings are reserved expressly for the purpose of discussing competencies of majors. Faculty review evaluations, student surveys, visiting artist feedback, alumni questionnaires, to target areas requiring further discussion and consideration at retreats. Biannual faculty retreats examine exit interview information, surveys and external reviews in relation to the curricular progression and faculty perception of student achievement.

Weaknesses

Faculty discussions have identified areas of concern in the program: 1) quality of writing skills of the majors, 2) lack of perceived value of movement notation course to graduates, 3) advising on the freshmen level may need additional attention, 4) development of new areas in the major curriculum may necessitate a general review of requirements for the BFA in dance. As we increase our course offerings we may need to modify, reconfigure or drop others. This last point is under extensive discussion as we face reaccreditation.

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Strengths

Faculty and other external reviewers have noted an increase in the technical skill accomplishments of dance majors in the last two years. Some attribution for this may be due to the presence of somatic training in Bartenieff Fundamentals and Pilates in the curriculum which supplement physical training for dancers and have been prescribed for dance majors and minors who are not performing well in technique classes. Although the number of major technique classes at the advanced level was modestly increased this past year as a result of previous assessment efforts, the number of students showing significant improvement may more closely relate to those who have participated in somatic training. Future assessment efforts should monitor the relationship of somatic training to the technical proficiencies of the dance major.

The strong visiting artist program supported by the college provides an opportunity for the students to test their achievement levels in the wide variety of standards and aesthetics these guests present. Guest artists may visit the school for teaching and performing residencies for anywhere from two days to eight weeks in lecture, studio and production courses. They contribute to our assessment efforts by writing their perceptions of student achievement levels for our files. Some are on campus long enough to contribute to the grading of students with whom they work.

4. What evidence have you gathered indicating that you are accomplishing your goals? What evidence that they are not being fully accomplished?

Current student and graduate surveys

Student surveys reveal: they feel they learn how to work effectively in groups (9.6 of 10), and learn how to give and receive constructive criticism (9.8 of 10), and feel sufficiently challenged by the program (9.7 of 10). (All surveys used ten as the high end of the scale.) Surveys and evaluations from current students and grads also identified the close contact with faculty as an essential feature of their education in our program. Students feel their training helps build diversity and flexibility.

A senior experience evaluation form surveyed their perceptions of such areas as: preparation for senior project (9.3 of 10); feedback on work in progress (9.0 of 10); instructional value of project (9.3 of 10). Senior exit interviews supplement and support this information.

External feedback and reviewers

Performance by OU dancers at the 1997 American College Dance Festival in faculty and student work was commended for distinction by adjudicators. Since 1976 Choreography from Ohio University has been included in nineteen Gala Concert Productions in recognition of outstanding and distinctive creative and performance work.

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One professor, a Fulbright Scholar in choreography currently faculty the University of South Florida, was brought in to review performance presented on our mainstage production, Winterdance Concert '97. She noted the skill proficiency of the dancers, their musicality and their ability to be present in the moment of performance without self consciousness.

Visiting Artists set dances on our students and submit written evaluations on the performance quality of the dancers and on their work in classes. They have commented on the excellent preparation, availability and flexibility of the OU dance students to meet new challenges and divergent aesthetic choices. Two of the visiting artists, both faculty at OSU, subsequently applied for our faculty position as a result of their interest in our program and its outstanding national reputation.

Achievement of current dance students

In 1997 eight dance majors, of all levels, will be attending the prestigious American Dance Festival at Duke University, one of the oldest

festivals in the country. All eight who auditioned for scholarships received them, three of these received internships and scholarships. The award of internships is based on letters of recommendation and knowledge of student performance in previous enrollments. 325 students auditioned for scholarships at ADF this year, and 70 were awarded. American Dance Festival informs us that this percentage of awards to one university is highly unusual. Previous performance of Ohio University in positions of responsibility contributed to the internship awards which are highly competitive.

Dance majors regularly perform in companies during break periods. For example, winter break affords them the opportunity to work in regional productions of The Nutcracker Ballet. This winter seven majors performed in technically demanding roles in this ballet.

Faculty have been able to increase the level of technical skill demand in their own choreography performed by students.

For areas requiring additional attention see #5.

5. What improvements or enhancements have been implemented based on your assessment activity? How are you using information from your answer to question 3 to improve your program?

Writing skills

Faculty discussions about the quality of written work in major classes revealed dissatisfaction with the level of writing skills in a variety of stylistic assignments. In our efforts to address this issue thus far, the University Writing Program Administrator has met with the faculty as a group and individually to facilitate this process. We have implemented more

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writing in classes, worked to clarify the writing assignments given in studio and lecture classes, and refined the kinds of feedback given on papers. Student papers have been collected and kept on file so that we will have samples of written work to review for this essential skill development at future retreats. As a byproduct of these efforts we hope to more insistently communicate to students that writing is a valued skill in the dance major.

Some faculty feel that writing in the major would improve if students had additional courses specific to development of language and refinement of analytical skills. Resources exist for this in the school, but existing credit hour requirements in the major would have to be modified to allow additional courses.

Movement notation course

Alumni surveys resoundingly cited a movement notation course as having little value to alums in their subsequent dance work. The faculty has discussed this and determined that the notation experience, required for accreditation, could be modified. As offered, the course is a highly descriptive form of notation. We are instituting a more prescriptive form of notation, that integrates more effectively with the creative orientation of our program. We are considering various ways of implementing its use in other courses such as senior project and children's dance as a way to extend the perception of its utility.

Technology issues

The utilization of technology as a component of education in the major is a heated topic of debate among the faculty. The general feeling is that technology is a tool, not a core component of curricula but students clearly need experience with computer technology. Faculty are wrestling with its appropriate use in our program.

One area under development to address this need is videography. Experimental workshops in videography for dancers instituted this year will be submitted next year as a new course available to the majors. Computer video editing equipment from House Bill funds will allow them to edit portfolio tapes digitally. Use of video as a choreographic tool is a likely outcome of these arrangements.

Another technology application under discussion is the delivery of the aforementioned notation course through Labanwriter software. Implementing use of Lifeforms, movement software for body animation, in choreography courses is a likely future goal.

6. What changes do you recommend for your unit in the future. a) in academic program/curriculum, and b) in your department's assessment process (goals, objectives methods)?

a. Technology will continue to impact our program. It must not shift the focus of the major program away from the production of art through the use

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and comprehension of the body as instrument. Its appropriate exploration and incorporation into the curriculum will need more investigation and deliberation.

As we begin to develop courses which incorporate technology and new directions in the field, such as the previously mentioned somatic training courses, pressures of increased credit hour and work loads are felt. This

necessitates a future examination and reconfiguration of curricular requirements in the major.

Discussions will continue regarding fine tuning the mission statement of the School specifically in relation to the implicit goals of the program. This will be addressed in spring and fall '97 faculty retreats as we write our accreditation document for a 1998 review by National Associations of School of Dance.

b. We have not identified substantive changes to our assessment methods at this time. Assessment methods and processes currently employed in the School seem more oganic in nature and structurally integrated than discrete and data driven and therefore represent distinct challenges to presentation in report form for those outside the field. They are, however, highly effective as a means of maintaining faculty and student involvement in and ownership of all phases of assessment. Any potential modifications to our assessment process should be thoroughly evaluated.

OHIO UNIVERSITY

SCHOOL OF DANCE ALUMNI ACTIVITY HIGHLIGHTS

'96 Dancing with The Chicago Dance Medium.

'96 Company administrator for Dance Alloy, Pittsburgh, Pa.

'96 Dancing with Susan Van Pelt, and Cleveland Repertory Project.

'96 Developing arts program (K-6) in San Francisco elementary schools.

'96 Traveling and studying dance in Far East Asia.

'95 Did post-graduate study in choreography in Italy.

'95 Moved to New York City and is taking classes.

'94 Traveled extensively as member of the Ririe-Woodbury Dance Company in Salt Lake City, Utah. Current graduate student in dance at University of Utah.

'94 Performing in New York City. Performed at New York University.

'94 Performed in New York City.

'94 After performing with Antigravity, a dance/gymnastics company in NYC, applied for and received a presidential fellowship for graduate studies at Ohio State University. Currently teaches dance kinesiology at OSU.

'93 Performed with Dance Company in Columbus, Ohio. Moved to New York City Fall '95 and performs with several companies there.

'93 Moved to New York City in Fall '95.

'93 Working in Development for the Columbus Museum of Modern Art. Attending OSU as graduate student in arts administration.

'93 Owner of dance studio in Gallipolis Ohio.

'92 Touring and performing with Dance Company in NYC. Recently taught in France with the company.

'92 Choreography was selected for performance at Columbia College.

'92 Living in Cleveland, performing with local artists.

'92 Completed the Certified Movement Analyst Program in Columbus. Part time faculty for Ohio University School of Dance and faculty at Factory Street Studio.

'92 Currently an independent choreographer in Seattle, Washington.

'91 Worked with New Zealand choreographer in London England.

'91 Teaching ballet to developmentally disabled in Seattle, Washington. Recently choreographed a duet performed through The Field.

'91 Working with a dance company at New Trier High School in Wilmette, Illinois.

'90 MFA in Dance, University of Michigan, Ann Arbor. Performs in Michigan with various choreographers.

'90 MA in Dance June 92, Ohio University, Athens. Performed work with Dance Co. She was an accompanist at Ohio State University. Danced with 5 Minds Dance Co. Moved to San Francisco recently

'90 Earned BFA in Dance and PE Certificate in Secondary Education from OU.

'89 Formerly with Pooh Kaye Eccentric Motion, NYC. Graduate student in Physical Therapy

'89 M. A. in Dance Therapy and M. S. W. from Hunter College in NY. Dance therapist for NY Foundling Hospital. Teaching performing arts to deaf children. Recently moved to Washington, D.C. dances with various choreographers there.

'89 Dances with His Company, a Christian Dance Company based in Houston, Texas.

'89 Performer in Cincinnati, OH. Recipient of $5,000 fellowship from Kentucky Arts Council.

'89 Performer in Cincinnati, OH. Recipient of $5,000 fellowship from Kentucky Arts Council.

'89 MFA - Choreography & Video, Ohio University, BFA '87 Ohio University. Currently an Arts Administrator for Hospital Audiences, Inc., an organization that brings the arts to the mentally ill and developmentally challenged.

'88 Performing and touring internationally with Dance Co. in NYC.

'88 MFA, Choreography & Video , BFA '84 Ohio University.

'88 Artistic Director, MindCollision Dance Company. Recipient of Ohio Arts Council Grants. Licensed Masssage Therapist.

'88 Independent choreographer/performer, NYC. Recently named recipient of the Emerging Choreographer's Challenge Program Award.

'87 Performing in NYC.

'87 Dance Specialist at New Trier High School, Winnetka, Illinois.

'87 MFA, Ohio State University. Choreographs in Ohio high schools

'87 Performed in NYC. Editorial Assistant for Golden Books, NYC

'87 Independent choreographer and performer, NYC; currently performing with RUFUS, an improvisational group of OU School of Dance graduates.

'87 MFA, Ohio State University, performed with 5 Minds Inc. in Columbus Ohio. Currently in New York City.

'86 Recipient of a $7,000 grant for choreography from the New York Foundation for the Arts. Touring North and South America with other NYC-based artists. Performer in independent films.

'86 MA, Dance & Education, Ohio University

'86 MA in Psychology, Ohio State University

'86 Dancing with Moving in the Spirit, a non-profit dance company based in Atlanta; independent choreographer

'85 Owns and runs a private dance studio in Napoleon, Ohio.

'85 Formerly with Calck Hook Theatre/Dance Co., & Blondell Cummings Dance Co., NYC. MFA in Theater, Ohio University '95.

'85 Battery Dance Co., NYC, performer. Writes children's books.

'85 MA, Brigham Young University, Utah. Formerly a recruiter for BYU. Assistant Professor of Dance at Ohio University. Ohio Arts Council Independent Fellowship Award for choreography, '97.

'85 Massage Therapist working with cancer patients in Florida

'85 Performer with Dance Company.

'85 MFA, University of Massachusetts

'84 M.F. A. in dance CWRU. Formerly with Dance Co., Cleveland, OH. Now teaching and performing in Cleveland.

'84 MFA, Playwrighting/Theater, Ohio University; independent playwright and performing artist.

'84 Medical school with emphasis in sports medicine.

'84 M.A. Dance Therapy, Goucher College, MD.

'84 MA, arts administration, Carnegie-Mellon Pittsburgh, PA.

'83 MA Movement Therapy. Practices in Cincinnati, Ohio.

'83 Teaching at Fort Wayne Dance Collective, Fort Wayne, Indiana

'83 Ph.D. candidate at University of Texas in communications.

'83 Independent performing artist, NYC

'83 Certified Movement Analyst, Body Mind Centering Practioner; Independent performer/choreographer, NYC, private movement therapist/educator.

'83 Performed and taught with Dance Alloy Co., Pittsburgh. 1989 recipient of Pittsburgh Dance Council's Choreographer Grant.

'83 Pursuing an MFA in Dance; Case Western Reserve University in Cleveland.

'82 1990 Bessie Award Recipient. Currently recording with several composers and bands Hugo Largo and Delilah. Independent performance artist/singer, NYC.

'82 Arts administrator, NYC

'82 1989 Recipient of Bessie Award. Independent performance artist/actress; co- director DanceNoise, NYC.

'82 MFA, UCLA; choreographer/performer, Los Angeles

'82 MFA , Arizona State University. Personal trainer/Pilates Method, Encino, CA.

'82 1989 Recipient of Bessie Award. Independent performance artist, co-director of DanceNoise, NYC.

'82 MA in Dance, Exercise Physiology and Sports Medicine, Ohio University. Former teacher, the Dance Factory. Graduated with an MS in Physical Therapy from Columbia University.

'81 Independent performing artist, St. Louis, MO.

'81 Dance teacher, Toledo, Ohio

'81 Cardiac rehabilitation/human performance specialist, Southhampton Hospital, Long Island, NY; professor, Long Island University

'81 MFA Ohio University. Performing with dance theater troupe that works with seriously ill children in Paris, France.

'81 MFA, University of Illinois

'81 MFA, Mills College; teaching and performing, Santa Cruz, CA

'80 MFA, Film/Dance, Ohio University; filmmaker/performance artist, NYC. Recipient of numerous grants and awards in film and dance.

'80 Independent choreographer/performer, NYC.

'80 Formerly Dance Co., Seattle, WA

'80 Doctor of Psychiatry, Duke University.

'80 Works with Athens Children's Theater as choreographer and director.

'79 1994 Recipient of Ohio University's Medal of Merit Award.

Actress/Dancer, NYC/LA (Dreamgirls, All My Children, Coming to America) Starred in several NBC and CBS sitcoms. (Under one Roof)

'79 MA, Arts Administration, Ohio University, arts administrator Canton Ballet

'79 Recipient of Bessie Award. Serving as visiting faculty member at the University of North Carolina after returning from teaching at the Western Australia Academy of Performing Arts; founder of "Before the Dancing Company," in Perth, Australia.

'78 Teacher and director of dance company, Amsterdam, Holland.

'78 Former member DanceWorks; independent teacher choreographer, Cincinnati.

'78 MA, Ohio University, MEd, Bank St. School of Education, NYC; former member Dance Co., NYC

'78 Clothes Designer, Los Angeles, California

'77 Former Musical Theatre choreographer, Off-Broadway, NYC. Now living in Illinois.

'77 Bessie Award recipient. Member of Dance Company; independent performer, NYC.

'77 Teaches ballroom dancing, McLean, VA.

'77 MFA, Ohio University; former Assistant Professor and performer at Hobart College, Geneva, NY; Associate Professor of Dance Ohio University School of Dance, certified Pilates Instructor.

'77 Choreographer at Cleveland Playhouse. Served as guest choreographer at Hathaway Brown School near Cleveland.

'77 Owner and director, Factory Street Studio, Athens, Ohio. Working on integration of movement and dance in schools.

'77 Teaching modern classes with the Contemporary Dance Theater, Cincinnati. OH.

'76 Independent choreographer/performer, NYC; performer, Theatre of the Open Eye; executive producer, Video Project.

'76 MFA, University of Arizona; member SF Moving Co., independent teacher/choreographer/performer, San Francisco, CA

'75 MFA, Temple University. Primary multi-handicapped teacher, Athens, Ohio.

'75 Former member Dance Co., currently independent choreographer/performer; performs with In Good Company in Washington DC and Maryland.

'74 Former manager Arts Acadia Management Co. NYC; currently executive director, Pittsburgh Dance Council

'75 MFA, UCLA; professor at Orange Coast College, Los Angeles, CA; director/choreographer/performer, Rhapsody in Taps, Los Angeles; former member Jazz Tap Ensemble. Recently finished choreography project with Gregory Hines. Performing in California, New York City and Europe. Stikato, her dance for BYU received commendation at American College Dance Festival, '97.

'75 Professor of Dance, College of Wooster, Ohio. Studying non western dance in HI

'74 Director, Dance Studio and Co., Loudonville, OH

'74 Teaching and performing, SUNY, Buffalo, NY

'74 MFA, University of Illinois

'74 MFA, University of N. Carolina at Greensboro

'73 Former soloist, Dance Co., former director, Dance Company; NYC. Choreographer, artistic director Transitions Dance Company at Laban Centre, London England.

'73 Former soloist, Dance Co., NYC; former faculty, Cleveland State University and director of own dance company, of Cleveland, that was commission by Ohio Northern University to create works for ONU dance students.

'73 Former member Broadway and touring companies, "Bubblin Brown Suger" and "Eubie."

'72 MA, UCLA; currently directs her own dance company based in Richmond, VA.

'72 MFA, University of Illinois, Independent choreographer/performer; currently artist-in-residence and administrator, The Dance Place, Washington, D.C.

'72 Free-lance graphic designer, Richmond, Virginia.

'72 Former member Broadway and touring companies, "Peter Pan," and "Annie Get Your Gun." Recently served as assistant choreographer for CBS movie, "Gypsy," starring Bette Midler.

'70 Former member Broadway company, "A Chorus Line."

'70 Former member Dance Company; currently performing own work at Whitney Museum; guest artist teacher at California Institute for the Arts, choreographer and performer in Michael with John Travolta.

'69 MFA, University of Illinois; independent choreographer/dancer; former teacher, Cunningham Studio; currently independent teacher/lecturer, Palo Alto CA.