The Exhibition Handbook A Guide for Creating & Presenting Exhibitions Copyright 2002 The New School of Northern Virginia 9431 Silver King Court Fairfax, VA 2203 Table of Contents Preface 3 The Introduction Purpose of an Exhibition 6 The Essential Question 8 Focus Skills 9 The Body Overview: A Step-by-Step Preparation Guide 12 Choosing an Exhibition Format 16 Parts of an Exhibition 20 The Introduction 20 The Body: Argument, Evidence, and Plans of Action 22 The Conclusion 26 Questions and Answers 27 Sources and Suggested Further Readings 28 Public Speaking Guidelines 30 The Role of the Audience 32 The Conclusion Evaluation and Rubrics 36 Questions and Answers FAQs 42 Sources Suggestions for Further Reading 46 Preface Exhibitions are an integral part of The New SchoolÕs curriculum. Although each class has its own set of goals and expectations, teachers of morning modules are unified in their desire that students work together throughout the quarter to create a quality, public demonstration that answers the Essential Question of the class. In these presentations, students demonstrate their understanding of their coursework and their mastery of the Essential Skills around which the course was designed. In order to best model the combination of organization, research, writing, and presentation skills required in an Exhibition, we have decided to answer our own Essential Question: "What does the student need to know in order to create and present a successful Exhibition?" We have also decided to present our response in a Magazine Format in order to convey most effectively the wide range of information and guidelines students may find helpful for their own quarterly projects. The Table of Contents lists all of the important parts of the Exhibition: the Introduction defines the terms and explains the rationale or the "why" of the Exhibition; the Middle gives the nuts and bolts of researching, organizing, writing, and presenting the Exhibition; the Conclusion contains evaluation and grading information; and the Questions and Answers section lists frequently asked questions (FAQs) students should find helpful. We have also provided a bibliography and suggestions for further reading in Sources. The purpose of this book is to help each student create a successful, quality Exhibition. Of course, questions and issues will arise that we have neither covered nor anticipated. In such cases, communicating with the teacher is still the best way for students to guarantee that they are on track. Michael Oliver Mark Farmer August, 2002 1. The Introduction _ Purpose of an Exhibition _ The Essential Question _ Focus Skills Purpose of an Exhibition Simply put, an Exhibition is a kind of test. Unlike most tests, Exhibitions are public and open to students, faculty, and interested others. In this sense, Exhibitions are public performances of knowledge. They provide students with the opportunity to demonstrate the following: _ Their understanding of a body of information. _ The skills needed to make sense of that information. _ The skills needed to communicate that understanding to others. For teachers, the Exhibition is a powerful assessment tool. Through the Exhibition teachers can: _ Evaluate studentsÕ abilities to understand and express a particular body of knowledge. _ Witness studentsÕ abilities to put information together in meaningful ways. Although presentations can occur at any timeÑweekly, at the end of a unit, at the mid-course markÑat The New School morning module teachers design classes to end with Exhibitions. These Exhibitions are organized around Essential Questions. Although there will be more on Essential Questions in the next section, for now it is important to know that the Essential Question guides students in their understanding of a particular body of information. Thus, teachers design Exhibitions that allow: _ Students to answer Essential Questions in individual ways. _ Teachers to assess a studentÕs mastery of a set of Essential Skills, called Focus Skills, in relationship to a particular body of information. In an Exhibition process, teachers expect students to do more than simply recite a list of facts or present prescribed conclusions, and it does not make any difference whether the students have acquired their facts and/or conclusions from teachers, parents, or books. In the Exhibition process, students evaluate the information and the conclusions of others. In the process, they create their own perspectives, which may or may not agree with the perspectives of authors, teachers, or parents. Thus, with the Exhibition, the teacher is assessing the studentÕs ability to construct a meaningful perspective and, then, to share or communicate that perspective to others. Thus, the purpose of Exhibitions is to provide students with a forum for creating and presenting their knowledge. With an Essential Question as their guide and Focus Skills as their tools, students wrestle with the facts and the evidence; they evaluate the reasoning and logic of others; their goal is to make sense of the subject. That understanding is then shared with the people around them The Essential Question The Essential Question provides a unifying theme for the course and helps the student and the teacher study a subject in a structured and cohesive manner. Understanding the Essential Question, knowing why it is important to the class, and making connections between it and the coursework are each an important step to the studentÕs success in the class and with the Exhibition. The Essential Question is the focal point for each morning module class. Teachers describe it in the syllabus, they refer to it during lectures and classroom assignments, and they post it on the wall in most classes. The Essential Question is broad and open-ended and has no one answer; instead, it allows for multiple answers in multiple directions. Students are encouraged to consider the question from more than one perspective in developing their answer. Using the Essential Question in an Exhibition The successful Exhibition is organized around and provides a thought- provoking answer to the Essential Question. Students often find it helpful to refer to the Essential Question at least once during the Exhibition, as it provides a rationale for the Exhibition topic and helps the audience make the connection between the studentÕs answer (or thesis statement) and the supporting argument. Most importantly, the entire Exhibition is the answer to the Essential Question. The research, content, visual displays, demonstrations, and even the format of the Exhibition are all supporting evidence for the answer to the Essential Question. Focus Skills In teaching the course, the teacher not only presents the information needed to answer the Essential Question, he or she also gives students the opportunity to develop primary skills that the student will need to complete the course. Each morning module focuses on one or two of the following Essential Skills: 1. Communicating effectively. 2. Working independently. 3. Working collaboratively. 4. Applying effective research methods. 5. Persisting in achieving quality. 6. Accomplishing goals through organization. 7. Solving problems. 8. Appreciating and understanding different perspectives. 9. Putting information in context. 10. Working creatively. 11. Thinking and acting ethically. 12. Serving and acting for the benefit of the community. Using Focus Skills in an Exhibition The Exhibition should also demonstrate to the audience that the student has mastered the required focus skills. In summary, a successful Exhibition is the studentÕs answer to the Essential Question and demonstrates mastery of specific Focus Skills. II. The Body _ Overview: A Step-by-Step Preparation Guide _ Choosing an Exhibition Format _ Parts of an Exhibition: o Introduction o Middle: Argument, Evidence, and Plans of Action o Conclusion o Questions and Answers o Sources _ Public Speaking Guidelines _ The Role of the Audience Overview: A Step-by-Step Preparation Guide The following steps will help the student complete an Exhibition from start to finish. Some of these steps, for example, Steps 3, 4, 5, and 6, overlap and might be undertaken by the student at the same time. 1. Explore ideas. During the first two weeks of class, the student becomes familiar with the Essential Question, gains an understanding of the material that is to be presented in class, and talks to the teacher about the direction he or she is expecting the Exhibition to take. The student explores personal interests within the boundaries of the course and sees which of these will provide an interesting and thoughtful answer to the Essential Question. Talking to the teacher about personal interests with regards to the course often helps students identify one or more directions the Exhibition can take. 2. Construct a logical thesis statement or argument that answers the Essential Question. The student writes a one-sentence thesis sentence that will provide the theme for the argument and supporting evidence. Such a thesis sentence is not a one-sentence answer to the Essential Question; instead it is a theme or a concept that is strengthened by the facts and evidence uncovered through research. A student may be able to start developing a thesis sentence by transposing the Essential Question into an "essential statement," thereby showing a path the ensuing research will follow. As the student collects information, reads or hears other perspectives, and begins organizing the data, the "essential statement" begins to transform, becoming more specific and unique to the student. 3. Research, research, research. Regardless of the courseÕs objectives, the studentÕs answer to the Essential Question comes from independent or class research. Exhibitions have meaning and depth when many sources are used. While doing research, students need to use some method of tracking their sources and data. By doing so, students can properly cite their sources in their papers and in their presentations. A system of note cards or a research journal that contains the title of the source, the content, and bibliographic information will be of considerable help when it is time to organize and write the presentation. Students having difficulty finding materials should talk to their teacher about sources. 4. Determine primary evidence that supports the thesis statement. During the research phase, the student gathers specific examples and evidence that develops the thesis statement. The student should look for patterns or similarities in the kinds of information he or she has collected and group that information according to those patterns. The student should not hesitate to modify a thesis statement if the information suggests that the original statement is incorrect or too general. 5. Determine the Exhibition format. If the teacher does not specify a particular Exhibition format, the student determines the presentation and organizational structure (see "Choosing an Exhibition Format," p. 16). 6. Organize the data and choose a plan of action. Writing an outline is one of the best ways to begin organizing data and researched materials. Based on the format and the argument, the plan of action (see "Parts of an Exhibition: The Body," p. 22) should organize the data in the most logical way. 7. Complete the research. After the student has completed most of the research, selected a plan of action for the Exhibition, and firmed up the thesis statement, it is time to identify those gaps or holes where information is vague or lacking. Final research efforts in these weak spots will strengthen the ExhibitionÕs central argument. 8. Write out the answer and create the visual displays. Whether or not the teacher requires a written report for the Exhibition, the student should write out, in essay or report form, that which will be spoken during the presentation. The student should decide what evidence is best suited for charts, graphs, or other formats. The supporting visual displays must then be designed and created, to supplement the oral presentation. 9. Proofread. During the last days prior to the rehearsal, the student should review all materials for completeness and accuracy, and papers and displays should be proofread and finalized. 10. Rehearse in class. Each morning module has scheduled time during the last two days before Exhibition Day specifically for students to complete full dress rehearsals. A critical step in the Exhibition process, the rehearsal allows students to: _ Make sure they have all of the visuals they need. _ Know how to work all of the equipment, and work out any last- minute bugs. _ Be aware of how much time their Exhibition takes and plan accordingly. _ Make arrangements with the teacher to have specific equipment available for the Exhibition. The class rehearsal also provides an opportunity for peer review, a potentially powerful tool to help the student edit, proof, or otherwise tweak the Exhibition with an eye towards improving his or her grade. The class rehearsal is such an important tool that, if the student is unprepared or declines a rehearsal, he or she risks not being allowed to present the Exhibition on Exhibition Day. In this situation, the student will not be permitted to make up the Exhibition on any other day. 11. Complete a final edit at home. This is the last chance to fix problems and ambiguities that were apparent during the rehearsal. It might require some last-minute research to clear up uncertainties or a reorganization of existing data to make the presentation smoother. It is also an opportunity to address the comments or suggestions made by the teacher and other students during rehearsal. And, it is the final opportunity to review the organizational methods (note cards, displays) and to check for thoroughness. Even if no substantive changes have been made, a final rehearsal at home often helps the student be more comfortable with his or her upcoming presentation. The Exhibition process is a building process. The Essential Question demands a coherent argument; the argument requires researched evidence, which in turn requires logical organization. By completing each of the above steps, the student can be proud of a polished, successful Exhibition. Choosing an Exhibition Format Not all Exhibitions have the same style or format. Students have two of the following considerations to make: A. Will the student work alone or with others? There are three options the student can choose from: 1. The individual Exhibition Most Exhibitions fall into this category, where one student performs one exhibition. The student is responsible for all elements of the Exhibition. 2. The group Exhibition Sometimes students are permitted to team up with one or more students to create a group Exhibition. As a rule, Exhibitions of this nature are longer, more complex, and often require greater technical skills than any one individual can provide. Students who choose this method should be able to meet outside of school to organize and discuss their work. Group Exhibitions also require a clear delineation of individual responsibilities. 3. The whole class Exhibition A type of group Exhibition, the class Exhibition is longer still and follows the guidelines determined by the teacher and/or the class. Class Exhibitions also require a clear delineation of individual responsibilities. This type of Exhibition is often presented several times during Exhibition Day. B. What format or organizational structure will be used to present the Exhibition material? Five of the more common formats are described below: 1. The Speech and Visual Display Exhibition This style of Exhibition is perhaps the most common and involves the student standing before an audience and making a speech with several visual displays to support the argument. This format highlights the studentÕs research, organization, and presentation skills. It can be made exciting and unique through the use of charts, graphs, posters, creative artwork, short dramatic interpretations, interactive materials, experiments, demonstrations, handouts, audio/video clips, web pages, slide shows, or computer graphics presentations. 2. The Dramatic Exhibition In this Exhibition style, the Essential Question is answered through drama, where one or more students take on dramatic personae. It can include live or taped productions, or even a combination of both. Students should be aware that most dramatic productions require a greater time commitment and involvement than other formats. Students are also expected to provide a real-time Introduction and Conclusion discussing their ExhibitionÕs Essential Question and thesis statement. They should also be prepared to field questions from the audience. 3. The Roundtable Exhibition In this Exhibition style, students host a panel discussion created around the Essential Question. Typically, a student acts as moderator while other students present specific viewpoints or defend their own arguments. It may be designed as a debate, a discussion, a talk show, or some other variation. Students choosing a discussion-style format should know that a high level of participation during the Exhibition is critical to their success. Students are expected to provide an introduction for the audience that places the discussion in context with the Essential Question. The discussion must move towards a clearly stated conclusion, after which students should be prepared to field questions from the audience and provide a list of sources. 4. The Magazine Exhibition This format allows for individual students or a group of students to create a polished, final publication they can distribute to faculty, peers, and family. The magazine can address any subject or format: a poetry anthology, a collection of short stories, photo essays, science reports, etc. Students can enhance a magazine Exhibition with art, photos, computer graphics, or other creative work. Along with traditional binding methods, students can use digital technology to create a web- based e-magazine with links from a personal page or the school home page. Students should expect to provide a presentation discussing their work, its relationship to the Essential Question, and the process involved in creating their publication. This format works best when the class distributes the magazine to students and faculty well in advance of the actual Exhibition, making for a well-informed audience. 5. The Museum Exhibition This format has individual students or a group of students creating self-explanatory information displays that are accompanied by an oral presentation that explains their work, guides the audience through the exhibit, and answers questions. These Exhibitions should be completely comprehensible without additional input; they are similar in design to museum exhibits, science fairs, and art gallery shows and can incorporate interactive displays and audio/video components. The above list of Exhibition Formats is not a definitive list. The subject matter or the thesis statement may suggest an intriguing variation or perhaps something truly creative and different. Students should be open to new ideas and discuss them with their teacher as they move forward with their Exhibition. Parts of an Exhibition Although teachers design Exhibitions to fit the needs of specific morning modules, the parts of the Exhibition are the same for all classes. As with any good drama, story, illustration, essay, or research paper, the main presentation contains certain required parts. Specifically, these parts are: 1. A beginning or introduction, 2. A middle or body, and 3. An end or conclusion. When these elements work together well, the student has created a coherent argument. These elements are not proportional, however, as the introduction and the conclusion are decidedly smaller than the body, which constitutes the bulk of any Exhibition. In addition, there are two more elements that are required in the Exhibition: 4. A question and answer session, and 5. Documentation, or a list of sources and/or suggestions for further reading. In this section, these five parts of the Exhibition are discussed. Defining features of each element are presented, with special attention given to how different styles of Exhibition might alter and affect the characteristics of those features. . 1. The Introduction Regardless of a courseÕs content or an ExhibitionÕs style, the student needs to use an introduction. This introduction should accomplish the following: 1. Capture the audienceÕs attention and interest 2. Establish the topic and its context 3. Clarify the ExhibitionÕs Essential Question 4. Present the central argument or thesis 5. Identify the structure or outline of the speech Of course, not all Exhibitions at The New School rely on the telling of information. Frequently, teachers devise Exhibitions that allow students to demonstrate mastery of the class, its skills and content, by demonstrating that mastery through art, video, drama, or some other creative device. In these styles of Exhibitions, the student does not capture the audienceÕs attention by telling them an interesting anecdote, but by showing them something that engages their imaginations. Nevertheless, the Exhibition still needs an introduction. Such examples can only be hypothetical, of course, because each Exhibition is ultimately unique to the class and its creator. Depending on a studentÕs creativity and boldness, the look and sequence of an Exhibition are open to debate. Students, however, do not want a confused and disengaged audience. Audiences attending Exhibitions should know what they are seeing or hearing, and where their guide, the presenter, is taking them. Although they may, on occasion, become uncertain about exactly where they are going, that uncertainty should never be the result of vagueness or disorganization on the part of the Exhibition. A good introduction will prevent any such confusion. 2. The Body: Argument, Evidence, and Plans of Action The Argument In the middle section of an Exhibition the student presents facts that support the central argument or thesis. The argument or thesis must respond to the courseÕs Essential Question. In other words, in the ExhibitionÕs middle section the student, like the lawyer, argues her or his case to the audience. Logic, or reason, is an important element of the middle section. Not only must the student use logic when arguing his or her thesis statement, but he or she must also demonstrate the use of logic when explaining how the evidence supports the thesis and conclusion. The Evidence An argument without evidence is worthless. Like an attorney, the researcher not only presents his or her version of what happened and why, he or she also displays the evidence, i.e., the facts that support that version. The more compelling the evidence, the more likely the audience, like the jury, will agree with the researcherÕs conclusions. Of course, before students can present evidence, they have to select relevant facts. Hence, a major question confronting every researcher or exhibitor concerns the nature of evidence. Students must ask themselves the following questions: "What kind of evidence supports the ExhibitionÕs argument?" "Which facts seem to disagree with my argument?" "Of all the evidence, which facts offer the most persuasive support to my argument?" Evidence can take several forms: _ Specific actions or events involving the subject _ Quotations by the subject or from an authority on the subject _ Numbers and statistics about or concerning the subject _ Photographs and video clips, charts and graphs dealing with the subject. The Plan of Action Choosing the right plan of action for presenting the argument is important. Just as logic is important to the development of the argument and the selection of evidence, it is the cornerstone of the organizational plan of the Exhibition. When a student constructs a plan of action, he or she should consider the nature of the argument and the kind of evidence being presented. Some arguments are chronological in nature and require an adherence to time. With these arguments students should follow a chronological order. Other arguments do not focus on historical events but rather on social or scientific problems. The plan of action for this type of Exhibition needs to revolve around the problem and its solution. After gathering evidence and organizing it in a coherent manner, the student should analyze that organization and decide which of the following plans works best with the argument. Most Exhibitions will follow one or the other of the following types of plans: _ The Chronological Plan _ The Problem-Solution Plan _ The Cause and Effect Plan _ The Main Ideas Plan The Chronological Plan In the Chronological Plan, the student begins at the initiation of a process or a historical sequence and proceeds one important event, decision, or action after another toward the conclusion of the process or historical sequence The Problem-Solution Plan In the Problem-Solution Plan, the student begins the ExhibitionÕs body with a description of the problem that needs to be addressed. After thoroughly describing the problem, which might include a couple of main ideas or connected problems, the student launches into the possible solutions to the problem, with the pros and cons of each solution. The Cause and Effect Plan When a student elects to use the Cause and Effect Plan, he or she is interpreting why a certain event, reaction, or activity has occurred. The structure of the body of the Exhibition consists of two parts. The student organizes one part around the event, reaction, or activity itself. The other part deals with the various forces, reasons, and/or motivations that have caused the event, reaction, or activity to occur. The Main Ideas Plan When an ExhibitionÕs Essential Question asks students to respond with key points, students may elect to use the Main Ideas Plan. With this approach, the ExhibitionÕs body consists of a list of ideas that answers the Essential Question. Students can arrange that list using a number of rationales, although saving the strongest idea for last is always advised. No matter which plan of action is chosen, students should always make sure that information is presented at the appropriate time by analyzing their evidence and presenting specific facts in support of specific parts of their plan. Those students who take the time to organize their ExhibitionsÕ body have completed the most difficult part of their work. 3. The Conclusion The Exhibition also requires a conclusion in which the student pulls the major concepts of the Exhibition together. A conclusion should accomplish the following: _ Re-direct the audienceÕs attention back to the larger issue: the Essential Question and the presenterÕs thesis or argument. _ Summarize the major points or ideas expressed in the exhibition. _ Suggest broader implications or ideas that the thesis or argument might provoke. 4. Questions and Answers With a story or research paper, the author hopes to provoke questions or challenges from her or his audience. Unfortunately, authors seldom find out if their work has provoked responses in the public. They can read reviews or talk to friends, but they only occasionally have an opportunity to engage in dialogue with audiences about the meaning of their research or study. The same is not true for the authors of Exhibitions, however. After concluding the main presentation, the author of an Exhibition faces members of the audience in a question and answer session. These sessions have two main functions: _ To clarify ideas or facts _ To discuss the authorÕs central thesis or argument An Exhibition that has answered the Essential Question, clearly and with lots of relevant facts, almost always invokes a lot of questions; unless, of course, the presenter actively discourages audience participation. In this sense, Exhibitions that fail to generate questions have not succeeded. There are at least two reasons why this might occur. The Essential Question might not have been answerable with evidence, and thus the student could not respond clearly to the question. Without evidence, Exhibitions are almost always vague and boring and donÕt inspire thoughtful questioning. Sometimes the Essential Question is not open-ended enough. Fine-tuning Essential Questions happens frequently in morning module courses. By the time students present their Exhibitions, they should feel confident that the question to which they are responding is clear and open-ended. Thus, students should expect, indeed demand, questions from their audience. Questions are a sign of an engaged audience, an audience that respects the Exhibition process and the presenterÕs time and good work. Students who donÕt really know their facts or who donÕt really have an answer to the Essential Question find the question and answer sessions extremely difficult. 5. Sources and Suggested Further Readings Finally, the student should have a clear understanding of his or her sources. Opinions and perspectives that the student gained from others should be referenced in the actual presentation. Each Exhibition should also be accompanied by a bibliographyÑa list of sources that audience members can go to for further reading on the subject. Students should check with their teacher to determine the exact style needed to construct it. The presenter should publish a list of sources, handing it out to the audience. The presenter can also offer members of the audience a chance to talk afterwards about other books and magazine articles to read. Public Speaking Guidelines In addition to logical organization and specific content, a studentÕs presentation skills determine how the audience receives the Exhibition. The studentÕs ability to communicate information in a professional tone and to create a learning environment where ideas and questions are exchanged makes for a successful Exhibition. Below are some tips to consider when speaking to an audience: _ Have a definite start and a definite end. An introduction that is straightforward and spells out the thesis statement lets the audience know that the Exhibition has started. Similarly, a concluding statement, followed by a pause and a request for questions or comments tells them the main body of the presentation is completed and the Exhibition has entered the questions and answers phase. When there are no more apparent questions, the student should ask if there are any final questions, and if not, thank the audience. At that point, the Exhibition is over. _ Start on time; finish on time. If a student does not start on time, it is implied that the audienceÕs time is not valued. Looking for equipment or setting up displays should be done before the start time, not after. If an Exhibition runs long, a student risks losing his or her audience by oneÕs and twoÕs as they leave for other Exhibitions. If the questions and answers are running long, the student should take control by stating that there is time for only one more question in the last remaining minutes. A student should not wait for the teacher to end the studentÕs Exhibition. _ Be specific. Vagueness implies that the student has not come to the Exhibition prepared. He or she is telling the audience that the research is incomplete. Students should tell what they know, but not what they donÕt know; for example, a student should not tell the audience that he or she was going to do something but never got around to it, or that he or she forgot to look something up. The audience will feel as though their time is being wasted. _ Practice the art of persuasion. When arguing a thesis, a student needs to combine a credible point of view with a logical sequence of evidence. A good presenter appeals to the audience rationally and emotionally, presents information clearly and dynamically, and speaks with confidence and conviction. If a student is prepared, all the above points become much easier to achieve. Public speaking is hard enough; public speaking without facts or an organized plan is next to impossible. _ Be professional. Students who make eye contact, speak clearly, and look professional impress the audience. A slouchy presenter bores the audience. If a student fidgets, becomes disorganized, uses slang or curses, or speaks parenthetically to a friend in the front row, he or she creates distractions and diverts attention away from the Exhibition and, in the process, loses the interest of the audience. _ Know the equipment. Students who use audio or video clips should cue them up in advance so they are ready to play when needed. Students should know how to operate all of the equipmentÑthe rehearsal is designed specifically with that in mind. _ Take pride in the Exhibition. Students should be proud of their Exhibition. They are interested in their subject, they have found an intellectually challenging way of answering the Essential Question, and they have completed the necessary work. If the student lets this feeling show during the presentation, the audience will want to hear what he or she has to say. The Role of the Audience When not presenting an Exhibition, students make up the audience, and as such have an insightful relationship with the Exhibitor. Not only can students learn from the Exhibition, but they can relate to the different choices and decisions each Exhibitor made while creating his or her presentation. However, the role of the audience changes depending on whether it is a class rehearsal or whether it is the actual Exhibition. On class rehearsal days, the student audience should provide constructive feedback to the presenter with the goal of improving the Exhibition. Students should openly respond to questions such as: _ What parts of the rehearsal did the student connect with? _ What parts of the presentation did the student find confusing? _ What gaps in the argument or in the evidence were evident? _ Does the thesis statement answer the Essential Question and is the supporting evidence clear? _ Are the visual displays relevant to the material presented? _ Was an organized plan of action followed? _ Specifically, what could be done to make the presentation smoother or more complete? It is important that the studentsÕ suggestions be focused on improving the presentation and not on pointing out errors. Furthermore, suggestions should be concrete and not vague. Being able to communicate this information effectively and positively to the presenter is key to helping each other improve his or her Exhibition. In addition, in most classes, a student who offers qualitative suggestions often earns a higher grade on his or her own Exhibition. It is equally important that the student giving the presentation objectively look at the other studentsÕ comments and suggestions and decide what changes need to be made. A presenter who makes changes in response to suggestions made during rehearsal often receives a higher Exhibition grade. On Exhibition day, the student audience listens carefully to the Exhibition, connects with the thesis and arguments, and asks questionsÑafter all, a good Exhibition is interesting and informative. Students should use the question and answer period to: _ Ask the presenter to clarify certain evidence or ideas that were unclear. _ Have the student elaborate on those points they found interesting. _ Find out more about the research methods or processes employed by the student when creating the Exhibition. _ Ask the presenter about alternate conclusions or ideas of their own, given the information that was just presented. The audience plays a significant role in providing feedback to the Exhibitor. One sign of a successful Exhibition is an honest discussion of ideas between the audience and the student presenter. The audience should not attempt to embarrass the presenter, or use the question and answer time to show off knowledge. III. The Conclusion _ Evaluation and Rubrics Evaluation and Rubrics Teachers usually evaluate Exhibitions on three levels. First, they consider the process used by the student to construct the Exhibition. Second, teachers assess how well the student organized the Exhibition. Finally, teachers evaluate the content and its presentation. They judge how well the student has collected and used appropriate evidence to support and build the ExhibitionÕs argument. Rubrics Teachers make the criterion for evaluation, called rubrics, available to students in writing in each of these three areas of concentration. Teachers give these rubrics to students sequentially: at the beginning of the Exhibition process, in time to help prepare the ExhibitionÕs organization, and prior to its presentation, respectively. There are primarily two different kinds of rubrics. Frequently Exhibitions will employ both kinds. The first kind of rubric, the "list-rubric," evaluates the Exhibition quantitatively. It consists of a list of required elements and due dates, and operates like a checklist. The second kind of rubric, the "ABC-rubric," evaluates the Exhibition qualitatively. It describes the ExhibitionÕs elements in terms of their qualities. It describes how the excellent Exhibition differs from the satisfactory one, and so on. Because Exhibitions are large projects, they require planning and development on the part of the student. The rubrics that teachers use to evaluate the process of putting the Exhibition together vary according to the focus of the class (see "A Step-by-Step Preparation Guide," pp 12-15). Nevertheless, certain elements remain consistent. All Exhibition processes conclude with the student rehearsing his or her Exhibition in class. As the rehearsal is the studentÕs last chance to perform the Exhibition without an audience, the rubric clearly states what the teacher expects from the student during the rehearsal. Teachers establish other due dates before the rehearsal. Due dates might refer to any number of the ExhibitionÕs elements: topic selection, introduction presentations, visual aid completion, etc. Finally, the rubric can also deal with a studentÕs use of class time for research, for discussion of the ExhibitionÕs topics, and/or the creation of the ExhibitionÕs visuals. Teachers generally use list-rubrics to evaluate the process phase of the Exhibition. Clearly, students should carefully read and consider the rubric before beginning the ExhibitionÕs process of development. They should also ask questions that help them clarify the rubric: "How important are the due dates?" "If I miss a due date can I turn in an assignment late?" "Will I lose points?" "Will class time be given to the students to work on the assignments?" "Can I do my work at home or will I lose points by not making the most of my in-class research time?" These are only some of the questions that students should ask themselves as they consider how they will be evaluated on developing their Exhibitions. The rubrics that teachers use to evaluate the organization of the Exhibition focus on how well the student realizes the ExhibitionÕs numerous elements (see "Parts of an Exhibition," pp 20-29). Although this guide addresses the general qualities founds in an introduction and a conclusion, for example, the teacherÕs rubric might identify those qualities more specifically, particularly if the classÕs focus skills address the areas of effective communication. Where the teacher is evaluating a focus skill, an ABC- rubric will probably be used as opposed to a list of expectations. Students should read the rubric before putting together their presentations. What are the specific requirements of this Exhibition? How many visuals are needed? What kind? Students should not hesitate to ask the teacher questions about the presentations. If the teacher has stated the expectations too vaguely, questions can help clarify their subtleties and nuances. If the expectations have become too complex for easy comprehension, questions can help simplify them in the studentÕs mind. Rubrics that address an ExhibitionÕs content are usually the most variable. They are designed by the teacher with the specific class and Exhibition in mind. Beyond the use of main ideas or points, evidence, and examples, which are universal to all content, teachers specify what kinds of evidence they are expecting. Is it evidence presented directly in the course? Or is it evidence that the student has to find in separate sources? The rubric might also specify questionsÑother than the Essential QuestionÑto which the teacher expects the student to respond. All content and evidence that the teacher expects in an Exhibition are included in the ExhibitionÕs rubric. And, some rubrics combine both the quantitative list and the qualitative point styles. This format allows the student to see both the requirements for the Exhibition and their respective point values. The point values are determined by the Focus Skills of the class. Students need to examine rubrics very carefully. Since rubrics are unique to each course, students cannot rely on their understanding of rubrics from previous courses. IV. Questions and Answers _ FAQs FAQs Below are some of the questions frequently asked by students about Exhibitions: IÕm having trouble finding a topic. What do I do? Go back to the Essential Question. How has it been answered in class? Try brainstorming, making a list on paper of important concepts, people, events, that are associated with the Essential Question. Which of these appeals to you? Talk to classmates. Talk to your teacher; there may be interesting aspects he or she would like to see covered. But, do not wait to longÑif you need help, get help. Can I change my topic even though I have already started? Talk to your teacher. Questions to consider before switching include: 1) How important is your original thesis to other Exhibitions being done in the class? and, 2) How late is it in the quarter? Will you have enough time to start over? I canÕt find anything on the Internet. What do I do? Try books, magazines, and journals. Try using the keywords of your thesis statement as your basic search parameters on several different search engines. Try using the local library Title or Keyword searches to explore its database (many local librariesÕ databases can be searched from remote sites). CanÕt I just read from the pages I printed from the Internet? No. Internet information is someone elseÕs original idea, organization, and writing. To have a successful Exhibition, you will need to research several different sources, internalize the material, organize it according to a plan, and write your own original argument in support of your own original thesis statement. My thesis statement doesnÕt answer the Essential Question. What do I do? Most Essential Questions are intended to be of a broad nature, allowing you to focus on just one aspect of it. Does your thesis statement address one aspect of the Essential Question? If not, you will need a new thesis statement. I donÕt speak well in front of people. Will that hurt my grade? Talk to your teacher. If your problems are just a result of nerves, it should not have much effect. But, if your nervousness is a result of a lack of preparation, it will impact your grade. Do I have to do a rehearsal in class? Yes. The class rehearsal is an important part of the Exhibition process. Ultimately, a rehearsal makes for a better presentation as you become more familiar with the material. In most classes, the rehearsal is actually a part of the overall Exhibition grade, and most classes will not allow you to give an Exhibition if you do not rehearse in class. What happens if I canÕt do my Exhibition on Exhibition Day? Apart from emergencies, your Exhibition must be completed on Exhibition Day. If you donÕt, you fail the Exhibition, which in some classes is worth up to 35%--or more--of your overall class grade. Can I pick a time slot for Exhibition Day? Sorry. Trying to organize the time slots for both the junior high and the high school is difficult enough without added constraints of personal preferences. Times are randomly assigned. Can I switch my Exhibition Day time slot with someone else? No. Once the schedule has been handed out, switching out of a scheduled time will only confuse everyone else. What can I do to improve my Exhibition grade? Talk to your teacher and look at the rubric to see what you can do to improve your Exhibition. As a rule, teachers like to see students offer constructive feedback during class rehearsals and ask relevant questions during questions and answers. And, the more complete your rehearsal, the better your Exhibition grade will be. V. Sources _ Suggestions for Further Reading Suggestions for Further Reading Donald, Robert B., Betty Richmond Morrow, Lillian Griffith Wargetz, and Kathleen Werner. Writing Clear Essays. Upper Saddle River, New Jersey: Prentice Hall, 1996. Horace: the Journal of the Coalition of Essential Schools. Coalition of Essential Schools. Oakland, California. Johnson, Bil. The Performance Assessment Handbook: Performances & Exhibitions, Volume 2. Larchmont, New York: Eye on Education, 1996. --------. The Performance Assessment Handbook: Portfolios & Socratic Seminars, Volume 1. Larchmont, New York: Eye on Education, 1996. Performance-Based Learning and Assessment, A TeacherÕs Guide. Written by Educators in ConnecticutÕs Pomperaug Regional School District 15. Alexandria, Virginia: Association of Supervision and Curriculum Development, 1996. Silver, Harvey F., Richard W. Strong, and Matthew J. Perini. So Each May Learn: Integrating Learning Styles and Multiple Intelligences. Alexandria, Virginia: Association of Supervision and Curriculum Development, 2000. Sizer, Theodore R. HoraceÕs School: Redesigning the American High School. Boston: Houghton Mifflin Company, 1992. Sizer, Theodore R. and Nancy Faust Sizer. The Students Are Watching: Schools and the Moral Contract. Boston: Beacon Press, 1999. 13 47