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Running head: BORDERLESS ARTISTIC AND CREATIVITY ASSESSMENT 1

Borderless Artistic and Creativity Assessment (BACA):

A Culturally Proficient Model for Measuring Adult Experiential Learning

Marjorie Williams-Cooper

University of Phoenix-Jersey City Campus, College of Arts and Sciences

Thomas Edison State College

DeBorah Gilbert White

University of Phoenix-Philadelphia Campus, College of Social Sciences

Author Note

Correspondence concerning this paper should be addressed to Marjorie Williams-Cooper at

[email protected] and DeBorah Gilbert White at [email protected]

and [email protected].

© May 2012 by Marjorie Williams-Cooper and DeBorah Gilbert White. All Rights Reserved. This document is copyright protected. No portion of this document, in part or in its entirety, may be reproduced without written permission of the authors.

mailto:[email protected]

mailto:[email protected]

BORDERLESS ARTISTIC AND CREATIVITY ASSESSMENT 2

Abstract

Borderless Artistic and Creativity Assessment (BACA) is a culturally proficient model for

measuring experiential learning of adults actively engaged in creative endeavors and artistic

performance. Unlike traditional assessment models built upon western art and aesthetic

philosophies that paradoxically exclude nonwestern replicas of human thought, imagination, and

activities, BACA’s ethno-culturally inclusive domains reflect the growing diversity among adult

learners seeking portfolio credit for online college degrees. For instance, BACA’s culturally rich

Creativity and Artistic Performance Domain contextualizes non-Eurocentric responses of creator

artists to their worldviews, concepts of divinity, spirituality and religious traditions, cultural

memory, mythology, ritual performance, roles of ancestors, cultural attitudes and taboos, oral

and written traditions, food and drink preparation and consumption patterns, environment and

climate, gender and sexual orientation, languages and dialects. Essentially, the BACA model for

assessing adult experiential learning connected to creative processes and artistic performance is

an innovative system for validating the intricately diverse threads of artistry, ingenuity, and

creativity embedded in ethno-cultural expressions of humanity beyond institutional borders.



Borderless Artistic and Creativity Assessment (BACA):

A Culturally Proficient Model for Measuring Ault Experiential Learning

Introduction

Prior learning acquired by adults seeking entrance to online college-level visual and

performing arts programs through portfolio credentialing requires a culturally proficient model

that honors academic scholarship, workplace experiences, lifelong learning exhibited in personal

affairs, and distinct ethno-cultural aesthetic expressions. Non-European adult learners

immigrating into United States culture since 1960 reflect the growing diversity of the national

population and the expansiveness of nonwestern ethnic communities.1 In response to their

positioning for place within the nation’s borders, educational processes must evolve toward

inclusion of diverse ideas about creativity and the nature of public dialogue with ethno-cultural

artistic languages. The Borderless Artistic and Creativity Assessment (BACA) model provides

an inclusive lens for evaluating experiential adult learning in terms of its impact inside ethno-

cultural communities, influences on social ordering of the macro-culture, and potential to add to

the broad base of knowledge and wisdom that affects functionality of global communities.

Background

BACA is a culturally proficient model for measuring experiential learning of adults

actively engaged in creative endeavors and artistic performance. BACA evaluates experiential

learning acquired from active engagement in creative processes and artistic contributions made

to the visual arts, music, dance, oral and written communication, poetry, filmmaking, theater, and

culinary arts. Unlike traditional assessment models built upon western philosophies and art

aesthetics that paradoxically exclude nonwestern contributions, BACA’s culturally inclusive 1 Robert M. Groves was appointed in 2009 by President Barak Obama to be Director of the United States Census Bureau. His March 21, 2011, blog discusses Census Bureau findings that reflect tremendous growth in diverse age categories, racial identities, and ethnic populations since 1960 and affects upon consumerism.



domains reflect the growing diversity among adult learners seeking portfolio credit for online

college degrees.

BACA’s practice of cultural proficiency implies application of a mindset and evaluative

process that seeks to remove real, imagined, and potential boundaries to the academic evaluation

of creative endeavors and artistic performances. Borderless, as it relates to BACA, is the

exploration, valuation, and inclusion of ethno-cultural perspectives in the assessment of

experiential learning of adults engaged in creative expression. Essentially, the BACA model

provides an innovative system for validating the intricately diverse threads of artistry, ingenuity,

and creativity embedded in ethno-cultural expressions of humanity beyond institutional borders.

Problem Statement

The BACA model is a culturally proficient response to notions of superiority and

dominance of European images, symbolic behaviors, and philosophies assigned to the spectrum

of languages that describe creativity and artistic performance. Notions of Eurocentrism that

signify institutionalized racism persistently contradict ideologies relating to freedom, equality,

and justice warranted by founding statements of the United States macro-culture, but these

ideological contradictions are perpetuated consciously and unconsciously in social attitudes

regarding aesthetics and human creativity. Any system that fundamentally devalues artistic

replicas of human thought, imagination, and activities because they are nonwestern in their

manifestations is problematic for collegiate institutions that enroll self-directed adult learners

seeking portfolio credit for experiential learning. BACA has emerged from the professional

insight, commitment to adult learning in online and on-ground classrooms, imaginations, and

intuitions of Marjorie Williams-Cooper and DeBorah Gilbert White to counter and challenge

institutionalized attitudes and behaviors regarding race and ethnic identity that inform



evaluations of ethno-cultural creativity and artistic performance in online college degree

programs.

Resolution

BACA does not intentionally seek to uproot traditional assessment processes of college-

level arts programs, but it rather provides an alternative and culturally proficient lens for

evaluating nonwestern ethno-cultural aesthetic expressions. Instead of submitting portfolios to

assessment processes committed to Eurocentric ideas about the nature of art and how artistic

performance should be valued, adult learners submit portfolios to a committee of evaluators who

are knowledgeable regarding ethno-cultural artistic expressions and passionate about retaining

the integrity of signs, symbols, ritual behaviors, ancestral messages, cultural memory,2 (Floyd,

1996, p. 9) oral histories, and religio-aesthetic aspects, such as the metaphysical concept of àse,

embedded in Yoruba aesthetic expressions (Abíódún, 1994, pp. 68-71). 3

BACA Creativity and Artistic Performance Domain

BACA’s culturally rich Creativity and Artistic Performance Domain contextualizes

non-Eurocentric responses of creator artists to their worldviews, concepts of divinity, spirituality

and religious traditions, cultural memory, mythology, ritual performance, roles of ancestors,

cultural attitudes and taboos, oral and written traditions, food and drink preparation and

consumption patterns, environment and climate, gender and sexual orientation, languages and

dialects (e.g. the language concept of Yawulyu that expresses the creative processes of Australian

Aboriginal women) (Bell, 2002). The BACA model recognizes how creator artists embed

2 According to African American music educator, Samuel A. Floyd (1996), cultural memory “[Recalls] the mysteries of myth and the trappings of ritual long after they are no longer functional” (p. 9). 3 Rowland O. Abíódún is Chair of Black Studies and the John C. Newton Professor of the History of Art and Black Studies at Amherst University in Massachusetts (see https://www.amherst.edu/people/facstaff/roabiodun). He has written extensively on African arts and aesthetics, including the metaphysical concept of àse inherent in African arts.


https://www.amherst.edu/people/facstaff/roabiodun


non-Eurocentric worldviews into their arts, essentially working the spirit intrinsic in creativity

and artistic performance so that the arts resonate with responsiveness to creator artists’ vocables,

physiological embraces, mental and spiritual energies, and other sensual and intuitive workings

engaged in creative processes. Further, BACA recognizes the creative responses of the artistic

works themselves, as they speak back to their creator artists and audiences, which appear to be

the tendencies of works for and of the spirit. In his book Working the Spirit: Ceremonies of the

African Diaspora, Joseph M. Murphy (1994) writes that "works for the spirit and works of the

spirit. . . . [and] [t]he reciprocity between community and spirit is expressed . . . as the

community works through word, music, and movement to make the spirit present" (p. 7). For

these reasons, the BACA model acknowledges that “a code of relationships [is constructed]

between human beings and spirit" (p. 2) during creative processes and artistic performance, and

those relationships are carried into the works that creator artists present in their portfolios.

Essentially, in its assessment process, the BACA model upholds sacred traditions of ethno-

cultures that translate into aesthetics, creativity, and artistic performance that is measurable as

experiential learning toward portfolio credits for online college degree programs. (See BACA

Creativity and Artistic Performance Components in Figures 1, 2, and 3.)



Figure 1: BACA Creativity and Artistic Performance Components





BACA Social and Emotional Learning (SEL) Domain

BACA is rooted in teaching philosophies that take into account the wisdom and

knowledge of education experts and teacher development professionals such as Malcolm S.

Knowles (1975), Maurice Elias (1997), and Rachel Kessler (2000). Accordingly, BACA

embraces andragogical learning and the social and emotional dimensions of learning (SEL) that

are critical to the validation of culturally diverse worldviews of adult learners completing online

college degree programs. For instance,

[A]ndragogical theory is based in the premise that maturity, ethics, and lived experiences

are vital to adult learning. Utilizing its themes of self-direction, mentorship, facilitated

learning, and instructor resourcefulness, andragogy urges the adult learner to draw from

deep wells of lived experiences in order to inform the learning process” (Williams-

Cooper, 2009, p. 3). . . . [S]ubsequently, adult learners demonstrate commitment,



problem-solving skills, and the ability to make sound choices about the direction of their

own learning (Williams-Cooper; Swanson & Holton, 1998, as cited in Knowles, 1984).

BACA is processed efficiently using the social and emotional dimensions of learning that

are vital to ethno-cultures structured on non-linear worldviews. Intrinsic in the social and

emotional learning (SEL) model is a

theoretical framework for wholeness and well-being that is achieved by (1) character-

building through esteem for self and others, (2) acceptance of cultural diversity, (3)

independent and critical thought processes, (4) open forums for questioning and seeking

answers to life issues, (5) silence and reflection, (6) community service, (7) respect for

nature and the natural environment, (8) human spirituality, (9) intuition, (10) imagination

and creativity, (11) authentic expression, and (12) conflict resolution (Williams-Cooper,

2009, as cited in Elias et al., 1997; Kessler, 2000). (See SEL Domains Utilized by BACA

(Kessler, 2000) in Figure 4.)

Figure 4: SEL Domain Utilized by BACA (Kessler, 2000)



BACA Social Psychological Lenses for Cultural Proficiency and Borderless Artistic

Creativity Assessment Domain

BACA is informed by social psychological considerations connected to the development

and nurture of the adult learners’ cultural and social identities. Adults, as self-directed learners,

utilize their life experiences and the meanings made of those experiences for their socialization

and understanding in educational environments (Garrison, 1997). Understanding that cultural

meanings and creative expressions and interpretations are within people, and therefore are

shaped culturally thorough worldview, it is imperative that adult learners have evaluators of their

artistic creative expressions and evaluation models that are culturally proficient. Appreciation of

culture and its influence on the worldview allows freedom for creativity to develop from a depth

of knowledge that supports a positive self-concept for the artist, and an opportunity for cultural

relativism and acknowledgment of differences that emerge across cultures (Stuart, 2005).

A culturally proficient model of assessment incorporating social psychological lenses

provides a tool for adult learners and evaluators to best understand how each thinks, feels, and

engages the other socially and culturally. Further, a culturally proficient model influences

perceptions of self, others, and values connected to human diversity (Bordens & Horowitz,

2008). Cultural Proficiency is an approach to diversity that promotes awareness of cultural

difference, positive response to cultural difference, and the willingness to engage and adapt as it

relates to cultural difference. Culturally proficient evaluators have developed a personal and

professional capacity, and utilize measurement tools that advocate, address needs, and include

perspectives of culturally diverse individuals and groups (Lindsay, Nuri Robins, & Terrell,

2003).



Theories guiding social psychology are socially referent and are utilized to analyze social

issues, specifically problems stemming from human interactions. Three theories that are

complementary to the BACA model (Social Identity Theory, Equity Theory, and Field Theory)

present questions, challenges, and support for adult learners and educational institutions of

higher learning experiencing increasing numbers of ethno-cultural learners and a need for

educators with keen sensitivity and knowledge of cultural considerations within learning

environments. Social psychologists have been in the forefront of addressing social issues

stemming from attitudes and subsequent behaviors, particularly those related to pre-judgment or

prejudice, intrapersonal, interpersonal, and inter-group relations. Focusing on systemic or

environmental factors within learning environments can assist in determining intersecting,

intertwining, and interconnecting elements of psychological and social issues regarding

creativity and artistic performance assessment (Gilbert White, 2008; Neill, 2004; Collier,

Minton, & Reynolds, 1991; Fisher, 1982).

A key component toward the development of the BACA model is the authentic inclusion

of less dominant cultural lenses in creative expression and evaluation. Such a model for

evaluation serves to remind us of the inherent privilege in social and cultural dominance and the

propensity to promote the dominant culture valuations consciously and unconsciously.

According to James M. Jones (1997),

We do not so much treat people from other groups worse, we treat members of our own

group better! By any definition, in-group favoritism is a prejudice. . . . It is important to

recognize that a fully balanced understanding of prejudice requires that we look not only

at the animosities that are associated with negative prejudgments about people and the

groups to which they belong, but also at the expressions of attraction, cohesion, and



liking we direct toward our intimates and like-minded associates. (p. 140)

One question this concept brings to the forefront is, “How does the incident of in-group

favoritism or excessive positive regard for Eurocentric or western cultural worldview impact the

evaluative process? Fundamentally, the implementation of an assessment model that promotes

positive regard for ethno-cultural creative expressions is found in the domains of BACA and its

cultural proficiency components. (See Figure 5: Social Psychological Lenses.)

Figure 5: BACA Social Psychological Lenses

BACA Integrity Assurance Domain

BACA is framed to meet quality assurance standards for prior learning assessment (PLA)

programs for adults seeking portfolio credits for online college degrees. Its two-tiered self-

assessment components align with PLA program self-assessment criteria accepted by the

Council for Adult and Experiential Learning (CAEL) (2010, pp. 27-37). The first-level tier

utilizes 10 self-assessment criteria for assuring proficient PLA programs. The integrity of



BACA is further upheld by five critical factors that assure high standards of proficiency in the

model. For that purpose, each of the five critical factors that form BACA’s second-level tier is

respectively measured against the 10 self-assessment criteria in the first-level tier. (See Figure 6:

Two-tiered Self-assessment Components.)

BACA’s first-level tier utilizes the following 10 self-assessment criteria for proficient

PLA programs (Fiddler, Marienau, & Whitaker, 2006, pp. 27-37, as cited in CAEL, 2010):

• Documentable learning, rather than experience, earns credit.

• Publicized standards of assessment meet expectations of institutions and students.

• Evaluation of learning occurs during learning processes, rather than as separate functions.

• Credit earned for portfolios is determined by competent teaching professionals and

assessment experts informed and knowledgeable about ethno-cultural creativity and

artistic performance.

• Credit earned for experiential learning relates to artistic contexts.

• Clearly noted contexts for credit earned appear on college transcripts that are monitored

to assure integrity.

• Full disclosure of policies, procedures, and criteria used in assessment is provided to all

parties involved, along with information on appeal processes.

• Financial obligations apply only for costs of actual assessment.

• Evaluators are qualified by teaching experience in multicultural learning environments,

professional development, and training in assessment methods.

• The assessment process is regularly monitored, reviewed, evaluated, and revised to

reflect evolution of the assessment model.



BACA’s second-level tier utilizes the following five critical factors for proficient PLA

programs (Hoffman, Travers, Evans, and Treadwell, 2009, as cited in Travers & Evans, 2011,

pp. 152-153):

• Mission and other charter statements of the portfolio credit granting institution that

signifies its commitment to the PLA program.

• Institutional support demonstrated by faculty, administrators, and finances.

• PLA program scope and boundaries that determine how portfolios are assessed for credit

and how portfolio credit is applied.

• Evaluator certification through qualification, credentialing, and professional

development.

• PLA program self-reflective assessment, feedback, and revision processes.

Figure 6: Two-tiered Self-assessment Components



Learning Expectations Domain

BACA evaluative rubrics chart qualitative and quantitative learning of creator artists who

seek portfolio credit for learning acquired from experiences outside the online learning

environment. Further, BACA learning expectation rubrics leave room for individualized

standards and policies of college institutions with regards to quantitative and qualitative learning

expectations, such as percentages applied to learning tasks, grading formulas, and extended

course objectives. Learning expectations rubrics must be completed by institutional personnel

certified to assess adult learning for credit-awarding institutions. Credentialed personnel are

qualified through college-level teaching experiences, portfolio assessment training, and

professional development. The learning expectations rubrics are subsequently made available to

adult learners who submit their artistic works for portfolio evaluation. Concurrently, the appeal

process and procedures are made available to adult learners who do not qualify for portfolio

credit during assessment.

Learning expectations rubrics chart experiential learning acquired by creator artists in

three of the five domains that contextualize the BACA model: Creativity and Artistic

Performance Domain, Social and Emotional Learning (SEL) Domain, and Social Psychological

Lenses for Cultural Proficiency and Borderless Artistic Creativity Assessment Domain.

Learning expectations rubrics provide a system of accountability of assessment personnel to their

institutions and conversely a structure for accountability of the personnel to each other.

Accordingly, learning expectations rubrics chart engagement of each of the five BACA domains

in the assessment process: (1) Creativity and Artistic Performance Domain, (2) Social and

Emotional Learning (SEL) Domain, (3) Social Psychological Lenses for Cultural Proficiency and



Borderless Artistic Creativity Assessment Domain, (4) Integrity Assurance Domain, and (5)

Learning Expectations Domain.

BACA’s Learning Objectives Rubric charts learning that demonstrates verifiable

behaviors. In order to earn portfolio credit for experiential learning, creator artists must

demonstrate the following: (See Figure 7: Learning Objectives Rubric.)

• Implementation of concepts in BACA’s five learning domains.

• Ability to critically think about the creative process and artistic performance.

• Ability to communicate effectively in scholarly college-level papers.

• Ability to communicate effectively in oral presentations on topics related to

creativity and artistic performance.

• Ability to articulate the nature of ethno-cultural artistic resources presented by

portfolio for evaluation.

• Ability to contextualize social, historical, political, and spiritual dimensions of

ethno-cultural arts presented by portfolio for evaluation.

• Ability to formulate philosophical questions, and answers to those questions,

related to the creative process and production of ethno-cultural arts.

• Understanding of ethical and moral issues related to creativity and artistic

performance.



Figure 7: Learning Objectives Rubric

BACA’s Learning Outcomes Rubric charts the portfolio evaluation process from

beginning to application of results. The Learning Outcomes Rubric must be completed in

writing by personnel performing the assessment, and outcomes from information contained on

the Learning Outcomes Rubric determines if the creator artist qualifies for awarding and

application of portfolio credit for experiential learning. The Learning Outcomes Rubrics are

described below: (See Learning Outcomes Rubrics in Figures 8-10 below.)

Creator Artist Demographics

• Full name, address, phone number(s), email address.

• Cultural and ethnic community of creator artist.



Artistic Production

• Title of artistic work.

• Date and time of creation.

• Ethno-cultural aspects surrounding creation of artistic work.

• Personal reason(s) for creating the artistic work.

• A portfolio containing examples of original creative works.

Nature of the Artistic Work

• Statement(s) of how artistic work(s) relate to BACA’s Creativity and Artistic

Performance Domain, Social and Emotional Learning (SEL) Domain, and Social

Psychological Lenses for Cultural Proficiency and Borderless Artistic Creativity

Assessment Domain.

• Reference(s) to fourth dimension of art established by metaphysical concepts

embedded in the creative and artistic performance(s).

• Statement(s) of spirituality, religion, intuitive processes.

• Statement(s) of cultural memory and roles of ancestors.

• Ethno-cultural messages embedded in the artistic work.

• Reference(s) to cultural meanings and worldview.



Figure 8: Learning Outcomes Rubric

Application and Interview Processes

• Creator artist must present to the credentialing personnel a scholarly essay stating

reasons for applying for portfolio credit, describing the ethno-cultural art(s)

submitted for evaluation, and explaining why portfolio credit should be awarded.

Evaluators submit written statements regarding the following:

• Statement of how creator artist’s experiential learning relates to BACA’s

Creativity and Artistic Performance, Social and Emotional Learning (SEL), and

Social Psychological Lenses for Cultural Proficiency and Borderless Artistic

Creativity Assessment Domains.



In a personal interview by telephone, via Skype, or in person, creator artist addresses

the following:

• How the artistic work enhances the lived experiences of the artist.

• How the artistic work connects to audiences.

• How the artistic work impacts the ethno-cultural community of creator artist.

• How the creative work influences social ordering of the macro-culture in which

the creative artist resides (e.g., the United States, Canada, Mexico, Ecuador,

Brazil, Argentina, Cuba, South Africa, Ethiopia, Northern Africa, Israel, Iran,

India, Tibet, China, North Korea, South Korea, Japan, Australia, Samoa, and

numerous other global communities).

• How the artistic work has potential to add to the broad base of knowledge and

wisdom that affects functionality of the creator artist’s macro-culture and other

global communities.

• How the creative work adds to new learning acquired by creator artist, and the

application of that new learning to ongoing life experiences.



Figure 9: Learning Outcomes Rubric (cont’d)

Evaluation Process

• Statement of institution policies and procedures regarding how credits are earned

and applied to the creator artist’s degree program.

• Statement of institution policies regarding transcript notation of awarded credits

and monitoring processes.

• Statement of institution policies regarding transcript request services.

• Evaluator personnel names, titles, qualifying credentials.

• Evaluation scores and written narrative that comprise assessment results.



• Overall credit earned.

• Evaluator comments.

Appeal Process (if applicable)

• Disclosure of appeal process made to creator artist.

• Appeal process and procedures performed by institution personnel.

• Statement of appeal process results made available to student and institution.

Figure 10: Learning Outcomes Rubric (cont’d)

Conclusion

BACA is a culturally proficient model for evaluating experiential learning of adults

seeking to earn portfolio credit toward online college degrees in the visual and performing arts.

The BACA model is an alternative to traditional Eurocentric models that evaluate creative

endeavors and artistic performance. Each BACA domain supports evaluative processes that



acknowledge and respect the influences of ethno-cultural perspectives and lived experiences on

the creativity and artistry of adult learners. Further, BACA domains honor non-Eurocentric

creativity and performance as authentic learning that is capable of earning credits for collegiate

scholarship.

BACA’s primary goals are to enable equitable assessment of ethno-cultural creativity and

artistic performance by equipping evaluators with tools that diminish conscious and unconscious

attitudes and behaviors that promote favoritism of Eurocentric aesthetics and ideologies. The

practice of Eurocentric favoritism intrinsic in traditional assessments of artistic endeavors and

creativity promotes disregard and disrespect for ethno-cultural contributions to college arts

programs. In addition, notions of assimilation of nonwestern artistic influences into the macro-

culture, which is inferred by Eurocentrism, promotes disempowerment and invisibility of cultural

diversity and its presence in the artistic and creative performances of adult learners. Contrarily,

BACA philosophy is rooted in urgency for cultural proficiency in assessment processes

performed by college personnel, and its central theme of cultural proficiency honors the artistry

and creative processes of adult learners. In its essence, the BACA model is an innovative system

for validating the intricately diverse threads of artistry, ingenuity, and creativity embedded in

ethno-cultural expressions of humanity beyond institutional borders.



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