SiMON FRASER
MEMORANDUM
UNIVERSITY
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U-21
S.
• .............SENATE
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.From...
SENATE COMMITTEE ON
ACADEMIC PLANNING
Sublec
t
....
ACREDITPROGRAM .
NTHE
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P.YP- ?
Date... JANUARY 9, 1976
MENT REPORT - STAGE TWO
Action taken by the Senate Committee on Academic Planning at its
meeting of January 7th, 1976 gives rise to the following motions:
Motion
The Senate Committee on Academic Planning approves in
principle and recommends to Senate the following principles
contained in SCAR 76-I regarding the further development of
an Arts programme.
I. Minor programmes in Dance, Film and Theatre should
be developed together-(I.e. in relationship to each
other).
2.
The programmes should utilize the strengths and
resources of workshops in the Centre for Communications
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and the Arts.
3.
The minor programmes should establIsh requirements
balanced between courses that emphasize the craft of
the arts and courses that emphasize the analytic
understanding of them. On the one hand, the minors
should be directed toward giving capable students
a strong introduction to the practice of an art form;
on the other, each student should have significant
exposure to the traditions of the arts generally and
the place of that students chosen art within tradition.
4.
Credit should be available In special instances for
Intensive training periods under the guidance of
visiting artists.
5.
A limited number of arts courses not directly part of
the minor structure should be introduced over time, both
to supplement offerings In certain areas and to build
toward fuller developments in other arts.
The Senate Committee 'on Academic Planning further notes the proposed
organizational changes outlined in recommendation 6 of the report and recommends
to Senate that:
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6. The non-credit workshops of the Centre for Communications
and the Arts and the credit activities of the Arts
programme be amalgamated into a new organization called
the Centre for the Arts reporting to the Dean of
Interdisciplinary Studies.
Notes: (I) The effect of acceptance of this motion by Senate and
the Board of Governors will be dissolution of the Centre
for Communications and the Arts;
(2)
The administrative concerns, e.g., facilities management,
ticket office, etc. relating to the amalgamation of
these activities will be taken up subsequently.
Recognizing that resolution of these administrative concerns
rests with the University administration and Board of
Governors, the Senate Committee on Academic Planning has
asked that the actions proposed to be taken be conveyed
to that committee for informatiàn only.
(3)
Arrangements will be made for a continuing administrative
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overview of the publi-c events and community extension activities
associated with the present Centre for Communications and the
Arts.
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.SCA,< 7(-/
Arts Programme Steering Committee
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S,74-
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A CREDIT PROGRAMME IN THE ARTS
This is the second planning document presented to the university
by the Arts Programme Steering Committee. The first, a "Prospectus for an
Arts Programme" was approved in principle by the Academic Planning Committee
In September. It proposed a long-term development s
t
cheme leading eventually
to degree programmes in Music, Visual Arts, Theatre, Dance and Film. In
keeping with the original charge to the committee, it provided a plan for staged
development so that the full programme could be phased in over time. It was
presented in conjunction with three course proposals, since approved by Senate
for introduction in 76-I, which represented the first stage.
The present report focuses on the second stage development of the
programme, particularly minor programmes In Dance, Theatre and Film. It does
. not propose specific courses for consideration by Senate. Instead, it outlines
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the shape of the minor programmes we envision, requests consideration of some
academic principles Implied by this shape, and proposes some significant
organizational changes that will facilitate this and further stages of develop-
ment.
I. THE MINOR PROGRAMMES
In our earlier report
we
requested the establishment of a number of
academic vacancies, to be filled by people who can participate with a high level
of expertise In the curriculum development of each of the arts areas. We have
since been authorized to search for appointments at the rank of associate
professor inMusic, Visual Arts and Theatre, and an Assistant Professor in the
area of Dance. Given approval of the current proposal, University Resident
positions in Film and Theatre may also be changed to faculty ranks. Detailed
work on the critically oriented majors and performance-oriented BFA programmes
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will await the arrival of these faculty in September of 1976. Because of the
university's current strength in Dance, however, and because of the vitality
of the workshop programmes in Theatre and Film, we believe that planning should
now proceed toward the development of minor programmes in these
,
areas. Full
implementation of the programmes In Theatre and Film would await the arrival
of faculty specialists In these areas. The minors we propose build very largely
on what we now have: they involve the re-structuring of several of the non-
credit workshops for credit purposes; they represent a. significant entry into
the credit area without involving great additional expense; together they will
provide a coherent basis for further development.
The best means to convey the nature of the programmes we propose is
through a series of separate points:-
1.
Minor progrmvnes in Aznce, Film and Theatre should be developed together.
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The academic development of the Dance area is presently significantly
ahead of the other two areas:. there is now an Associate Professor special-
izing in Dance, and a number of credit courses in Dance exist in the
Kinesiology Department. The development of a coherent structure of courses
In this art, however, necessarily involves the other arts as well, both
because essential background information about the arts generally must be
available, and because Dance quite naturally interacts with the other per-
forming arts. it is the belief of the committee that constructive Interaction
among the arts should be fostered, and our curriculum planning has proceeded on
that premise.
Integrated development need not entail simultaneous introduction of
all three minors. Given working approval of the general shape of the pro-
grammes, the committee can introduce further courses that contribute to that
shape, requesting formal certification of each minor as the structure of courses
for it receives academic approval.
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2. The pro grvnes ehould
utilize
the strengths and resources of workshops in
the Centre for Communications and the Arts.
It is Important to recognize that thóre has been for some time a
significant presence at Simon Fraser in Dance, Theatre and Film. The Centre
for Communications and the Arts over the past few years has made accessible
to students and others a fairly high level of training in these three arts.
The workshops have had strengths that are uncommon among university art
programmes, permitting students to work with professionals of high calibre
In actual productions. The success of the workshops In these three arts In
bringing some students to professional competence has been remarkable.
However, the workshops have had several disadvantages for students:
many students experience difficulty in maintaining both intensive involve-
ment in a non-credit programme and credit work in other areas. Students
tend either to slow the pace of their studies excessively or to desert the
workshops toward the end of term. The mixture of serious and recreational
purposes Is frustrating to-students and instructors alike. Most importantly,
many serious students desire a more continuous discipline than the non-
credit situation permits; they want to develop their talents in a structured
way and desire acknowledgement of the work they have undertaken. A credit
programme that could maintain the present vigor white giving students some
credit for practical work undertaken within a carefully structured academic
programme appears highly desirable.
Such a consolidation Is certainly desirable from a financial point of
view. The university is approaching a budgetary situation in which it will
be difficult to justify the continuation of non-credit work of this nature,
and there can be no question at present of establishing a completely separate
area of practical work In these three arts. This is not to propose the aboli-
tion of all workshops: recreational workshops should continue in Music and to
a
limited extent in Dance.
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.
3.
The
_
minor programmes
should establish requirements balanced between courses
that emphasize the craft
of
the arts and courses that emphasise the analytic
understanding
of
them. On the one hand, the minors should be directed
toward giving capable students a strong introduction to the practice
of
an
art form; on the other, each student should have significant exposure to the
traditions
of
the arts generally and the piace
of
that student's chosen art
w1thin tradition.
The committee has undertaken to develop courses that will Introduce
the traditions of art in an Integrated fashion, the model for which 15
General Studies 110 - 'The Arts In Context: The Renaissance'. We propose
the gradual introduction of a minimal series of similar courses. We believe
that each minor programme should require two of them. We recognize that
these courses depart from the usual "arts literacy" courses in some respects,
and that their success In meeting the needs of students will have to be care-
fully evaluated. We have some confidence in the model, but should it prove
cumbersome and ineffective over time,-similar goals can be attempted through
more conventionally structured courses.
In the upper division we see the need for only a very small number
of critical courses at this stage, although more such courses would have to
be developed in conjunction with any eventual major programme. We envision
a single integrative course that might be required of students in all three
minors plus one or at most two courses designed to approach each art histori-
cally or analytically.
On the performance side, three kinds of courses are necessary. Courses
introducing the craft of each art now exist at the 100 level. An intensifica-
tion of these courses in craft are needed at the 200 level; such courses
should be process-oriented, designed to increase skills and to give students
a full understanding of the requirements of the art. Finally, at the 400
level there should be production courses, In which a student will be expected
to work with others in creating or performing a finished piece of work.
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4.
Credit should be available
in
special instances for
intensive training
periods under the guidance of visiting artists.
One aspect of the non-credit programme in the Centre for Communications
and the Arts that is worth continuing is the Resident concept, whereby
visiting professionals have been brought to campus to work closely with
students for limited periods of time. We propose that a similar mechanism
be maintained for the benefit of the minor programmes. The intensive Dance
residency is a model In this regard: for the past several years a highly
regarded professional has conducted a concentrated Dance programme during
four weeks of the summer, This programme has attracted many people from
off-campus and has helped to establish Simon Fraser's leadership In Dance
In this region. It has also greatly benefitted serious Dance students on
campus. We propose that students In the Dance minor should be able to gain
credit for their participation In the residency, although we do not believe
It should substitute for other requirements. It may also prove desirable
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to provide similar opportunities in the other arts. Even though they do not
have faculty status, short-term residents should be able to supervise credit
works for students, provided that they do so within a structure guided by
regular faculty.
5. A
limited number of arts courses not directly part of the minor structure
should be introduced over time, both to supplement offerings in certain areas
and to build toward fuller developments in other arts.
There are some arts in which it seems undesirable to develop extensive
credit work, but in which there is good reason to provide limited offerings.
The introductory Film/Video course, just as it will lead to a 200 level course
in Filmmaking, should also lead to a 200 level course In Video art. This
course, in turn, can prepare Interested students for the advanced video work-
shop, which at this point should continue on a non-credit basis. In photography,
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6
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the possibility of working out an Introductory craft course in conjunction
with Communications Studies should be explored. If this proves possible,
then a 200 level course on art photography should follow it. Introductory
craft courses in music and visual arts should also be introduced fairly
quickly.
The currently existing General Studies courses in the arts that do
not fit into the proposed structure should be retained for the present.
Eventually each of t hem should either be brought Into coherent relation
with the developing programme or abandoned, but final disposition regarding
them should await the evaluation of the context courses and some experience
with student enrollment patterns.
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II. TENTATIVE OUTLINE OF CURRICULUM
The list of possible offerings In the arts on the following pages
provides one way of describing the structure we have In mind. It is not a
proposal that these courses be adopted nor that any specific minor be Insti-
tuted at this point. If the principles of this document are accepted, however,
the following list will constitute a rough map of the territory ahead.
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OUTLINE OF COURSES
A. THE MINOR STRUCTURE
?
Context Courses
Renaissance
Enlightenment
Nineteenth Century
Twentieth Century
North American Styles
Credit ?
*Presently Exists
Hours ?
+Repiaces Present Wkshp. Requirements
6
?
*
?
Each minor student
6
?
takes 2
6
6
6
Dance
Level 100-Introduction
(Kineslology 144)
?
3
200-Studio I (K244) ?
3
200-Studio II
?
3
300-History
(K310) ?
3
300-Composition(K344) 3
300-Studio III
?
3
400-Production ?
5
400-intensive
?
5
Residency
Film
100-IntroductIon ?
3
(11 In/Video)
200-Film making
?
3
(process oriented)
200-Aesthetics of
Film
300-Analysis of Film 3
400-Company
?
5
Production I
400-Company
?
5
Production II
or
400-Individual ?
5
Production I
400-Individual
Production Ii ?
5
Req'd
for
dance
minor
of
it
it
It
*
I,
I
I?
It
I,
It
II
U
+
II
II
It
It
+
Not
req'd
* ?
Req'd
for
film
minor
+
?
to
it
It
It
to
II
It
II
tI
It
It
It
+ ?
Req'd
"
of
It
+
?
II
if
it
to
or
Req'd
of
of
II
II
II
It
-
? 9
-9 -
Credit *presently Exists
•
Hours
+Replaces Present Wkshp.
Requirements
Theatre
Level ?
100-Introduction
3
*
Reqd for theatre
minor
(Basics of Theatre)
200-Studio I
3
+
Req'd
(process oriented)
200-Studio II
3
+
Req'd
(process oriented)
300-Play Analysis
3
Req'd
300-Design
3
Not req'd
400-Production I
5
+
Req'd
for theatre
minor
400-Production II
5
+
Req'd "
?
it
tv
Genera I
300-Aesthetics of
?
3
?
Theatrical Arts
B. OTHER COURSES AVAILABLE
Photography
Level 100-Introduction ?
3
200-Practice of Art 3
Photography
Video
100-Introduction
?
3
(Film/Video)
200-Video Art
?
3
(process oriented)
. ..
0
All minors req'd to take
this or theatre design
course
Comments
* ?
Possibilities for effi-
cient interaction with
Communications to be
explored
* ?
Possibilities for effi-
cient interaction with
Communications to be
explored
+
10
conrom
Credit
?
*Presently Exists
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Music
?
Hours ?
+Replaces Present Wkshp. Comments
100-Elements of Music
? +
Note: This and further courses In music should be phased in
gradually in conjunction with a music programme to be
planned by new faculty.
100-Elements of Design
?
ri
Note: This and further courses in visual arts should be phased In
gradually In conjunction with
a visual arts
programme to be
planned by new faculty.
General Studies
100-18th Century Art
?
*
?
These courses should
101-19th Century Art ?
*
?
remain for the present,
$02-Music in History I ?
*
?
but outside the minor
103-Music in History II ?
structures, until the
106-Opera ?
*
?
success of the context
courses can be evaluated.
C. NON-CREDIT OPPORTUNITIES FOR EXTENSION OF CREDIT WORK
Dance
Intermediate Workshop
?
Primarily recreational but
also available as a con-
tinued practicum for
serious dancers
Intensive residency ?
Continue to be available
through audition for stu-
Dance Productions ?
dents not receiving credit
Film
Company Production Courses
?
Accessible to students
Individual Production Courses
?
who have completed one
option for credit, pro-
vided places are available
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11
Credit
Hours
Theatre
Theatre
Productions
Vi deo
Advanced Workshop
*Presently Exists
+Rep I aces Present Wkshp. Coments
Continue to be
available
through audition for stu-
dents not receiving credit
Non-credit extension of
200-level video course
Music
Non-credit workshops, primarily recreational, continue.
.
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A Note On Library Resources:
Among all the possibliltes for development in the arts, least
additional strain will be placed on library resources by minor programmes In
Dance, Film and Theatre that have a significant emphasis on performance work.
Library representatives have assured the committee that collections are reason-
ably adequate in these areas. Adequate library support can be arranged for
the context courses, provided that they are scheduled welt In advance.
The committee urges strongly, however, that the library be enabled
to double its Fine Arts acquisitions allocation and maintain that rate of
expenditure for the next several years. This will enable the library to build
carefully for further programmes In music and visual arts.
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Ill. ORGANIZATION
The development of a credit arts programme as presented here would
be greatly facilitated by some fairly major organizational changes within the
university.
6.
The Centre for
Corrriunicationa and the Arts and the Arts Progranne ehouZd
be czrtilgamated into a new organization reporting to the Dean of Inter-
disciplinary Studies.
The Centre for Communications and the Arts has had three major
areas of responsibility over the past few years: non-credit workshops,
events, and facilities management. In addition it has been responsible
for the operation of the Art Gallery and has conducted a community out-
reach programme. Reporting to the Vice-President, University Services,
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the Centre.has been effective in balancing service to students and immed-
iate community with a public relations function for the university. With
the development of a significant credit programme,-however, more than the
workshops will change. The Theatre and related facilities that the Centre
now manages will be the essential laboratory space for many of the credit
courses. There will be a necessary shift in priorities between arts events
originating off-campus and productions arising from courses or workshops
here. It will be desirable for arts events brought in from outside to be
more closely supportive of academic work than they sometimes have been in
the past. Given these factors a credit programme cannot remain organization-
ally separate for long without major inefficiencies developing. Provided
that sufficient checks are developed to prevent the new organization from
monopolizing public spaces, it seems appropriate to consolidate the operations
of the Centre and the emerging credit programme under academic guidance as
from April I, 1976. The best place for the new organization at the present
appears to be within thö Faculty of Interdisciplinary Studies, where there
is considerable experience in fostering emergent programmes.
14
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14 -
It should be stressed that this reorganization will create signi-
ficant efficiencies. The redirection of purposes and resultant stream-
lining of operations will mean that most of the operating expenses of
the emerging credit programme can be absorbed within the current budget
of the Centre. The only major area of new expense will be direct instruc-
tional costs, and the increase even here will be far less than it would be
without utilizing present resources.
7.
The new organization should have a special designation, such as "The
Centre for the Arts".
Although it would be primarily an academic organization, there
would be several advantages to avoiding a departmental label. One of
these is that a multiplicity of functions not strictly tied to credit
work would remain: the management of facilities now serving both credit
•
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and non-credit work; the maintenance of recreational workshops in some
areas; the mounting of arts events having both academic and entertainment
value - all these non-departmental responsibilities would continue. A
second reason for a special title is that a relatively high degree of
administrative flexibility is desirable In the arts. An earlier consultants'
report discussed the relative advantages of a programme, a department, a
faculty, and an Institute, eventually recommending the establishment of an
Institute reporting directly to the President. We do not recommend exemp-
tion from the usual academic reporting mechanisms: appointments, course
proposals, and budgets should be forwarded in the normal way. Yet there
will be unusual demands on any thriving arts programme: the need to bring
In visiting artists and arrange for their positive interaction with students,
the continuous effort to interrelate public productions and credit work, the
necessity for specialized accounting procedures - all would be best served
by a distinct kind of organization.
A somewhat ambiguous name is perhaps especially useful in the early
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stages of development: the new organization could bring in courses and pro-
grammes as Senate certifies their academic validity and as resources permit
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15
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them, without at some point being a programme without. a minor or a depart-
ment without a major. In the longer term a general title might help foster
Interaction among the arts while diminishing the schismatic tendencies
multidisciplinary departments frequently display.
This discussion of nomenclature is just one way of describing the
nature of the proposed reorganization, but it is perhaps worth mentioning
that the establishment of a "Centre for the Arts" would accurately indicate
both a degree of change and a degree of continuity with the past.
8. In conjunction with the proposed re-organization, a President 'a Conmrittee
on
Arts and Lectures should be established.
One potential difficulty of the new Centre is that academic purpose
may come to dominate Its operations too completely. The Theatre will not
.
?
be its space alone, nor should it schedule events only for the benefit of
its own students. An organization that has been structured as a university
service cannot simply be converted to an academic enterprise without some
cost to its service function. in order to prevent that cost from growing
too large there must be some countervailing, though coordinated, power.
It may be possible to create such a power in a way that will fill another
longstanding need on campus. The Student Activities Coordinator,
Mr. Ray Garford, has recently expressed what others have often thought:
there should be some effort made to coordinate the various events on campus.
A President's Committee on Arts and Lectures, operating on a continuing
basis through a chairman or executive secretary, but including representa-
tives from University Services, Continuing Studies, the Student Society,
the new Centre for the Arts, and other departments could be instrumental
in enhancing the academic and cultural vitality of the university. Such a
committee would not have policing powers, except to keep a watchful eye
over the availability of public events spaces, but merely through Informa-
tion exchange and perhaps a modest independent budget for events it could
.
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16
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multiply the effectiveness of money now spent toward the enrichment of
campus life. Nor need this committee itself cost great additional sums:
some of the resources currently allocated for events and publicity within
the Centre for Communications and the Arts can be diverted as these func-
tions will have a reduced role in the new Centre.
/for
The Arts Programme Steering Committee
.
?
December 3, 1975
.
17
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ASSOCIATION des ETUDIANTS
?
SIMON FRASER
?
de SIMON FRASER
?
STUDENT SOCIETY
RESULTS OF FINE ARTS SURVEY CIRCULATED BY ACTIVITIES CO-ÔRDI?tATOR RAY GARFORD
IN FALL 1975
1000 Printed
45 sent out with Letters and not returned
57 Unanswered as of 30/11/75
106 Destroyed by faculty member
208 Not used in Survey
Of 792 that were given out 183
or approximately 23% were
returned.
Of 183 returned, 163 were undergraduates.
Of 163; 87 were filled out be males
76 were filled out by females.
.
Of the 87 males
Of 76 Females
30 under 20 years of age
28 under 20
33 between 21-24
26 between 21-24
20 between 25-29
11 between 25-29
4 - 30 and over
11 - 30 and over
Males
Females
FACULTIES:
39.7%
Arts
55.3%
32.6%
Sciences
22.4%
6.9%
Education
3.9%
10.4%
Inter-Disc.
9.2%
10.4%
?
.
Didn't Know
9.2%
64% ?
Haa
never
lived for mote than
61%
6 months
outside of Canada.
vii)
Of
all the
students only the following
%
had
ever taken post Grade 10
Courses in Fine Arts.
Male
Females
Visual Arts
1866
29%
Theatre
28%
26%
Music
21%
42%
Dance
7%
20%
Film
17%
9%
Video
9%
?
S.
7%
.
viii) Attendance of events per semester was as follows:
Male
Female
1-5 times
5+
1-5 times
5+
Plays ? 55%
5%
47.3%
12%
Films
?
52%
37%
50%
27%
Dances ?
33%
5%
39%
2.5%
(Music)Concerts ?
54%
14%
47%
23%
Rock Concerts
?
48%
8%
29%
-
Art Exhibits ?
43%
14%
55%
8%
Dance Recitals ?
11%
1.1% 25%
1%
Football ?
29%
5%
9%
2.5%
Hockey
?
23%
5%
4%
5%
Other Sports ?
11%
9%
13%
4%
simon
fraser university
bumaby 2, b.c.
telephone 2913181
université simon fraser
bumaby 2. c.-b.
I
téléfon 291-3181
18
Sxa) 20.7%
of males and 15.8% of
females indicated they had taken workshops
from S.F.U. at some point, and also that they had
takenan
average of
2 each.
b)
Of those who had not their reasons broke down.
Male ?
Female
No interest ?
36.2% ?
27.3%
No Credit ?
17.4%
?
20%
Time Conflict
?
46.4%
?
52.7%
c)
If Credit were offered for workshops indications were:
Male ?
Female
Yes ?
46% ?
75%.
No ?
31% ?
20.5%
Poss.
?
23%
?
4.5%
that they would take them if possible.
xi. 79% males and95% females indicated a preference to see S.F.U.
develop its
own fine arts program rather than go to another campus.
xii)
Many people expressed no opinion on this question. Of those who had
taken workshops 92 indicated a desire to
see
the workshops continue.
xiii)
Percentage interest in the offering of courses in the following areas
where:
H=Historical
• ? C=Critical
S=Studio
P=Production
Was as follows:
?
Male
?
Female
H ?
C ?
S
:P
?
1i
0
?
5
DANCE
?
5% ?
11% 11% 09%
?
21% 17% 39% 32%
FILM
?
22% 31% 38% 46%
?
14% 28% 16% 38%
THEATRE 17% 25% 24% 36%
?
22% 32% 32% 49%
VIDEO ?
06% 13% 28% 40%
?
12% 14% 14% 28%
VIS/ART
?
16% 22% 21% 31%
?
25% 34% 30% 33%
MUSIC ?
24% 22% 31% 32%
?
37% 33% 38% 43%
PT U
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41 1 TW TM ?
ON 1TST i7
APPENDIX
vi/ii) Of those who have lived overseas 60% have taken credit courses -
possib-
ly because the overall average age was higher.
b)
Almost without exception those overseas students who indicated interest
in
two or less courses in Question 13 were Science Students, under 25 and only
8% had ever taken any. cou
y
ses (all of them in music) since Grade 10.
c)
There weretwo exceptions, who both felt very strongly that workshops should
be maintained and credit should not be given. Bothe respondents were over 30
and male.
Other than in these areas
.
their replies
were in
no other way exceptional.
19
PINE AND PE! OPMING ARTS QtTESTIONNAIRE
SPlease fill in and return to ACTIVITIES CO-ORDINATOR, Rn 305 Rotunda,
as soon as possible. Deadline Nov. 1st.
i)
STUDENT / FACULTY / STAFF
ii)
If Student... GRADUATE/UNDERGRADUATE
iii)
If Undergraduate, What is your major?
iv)Age
?
v) Male! Female
vi)
Have you ever lived for more than 6 months outside of Canada? Yes/No
If 'yes' where?
vii)
Have you ever taken a Credit (C) or a non-credit (N.C.) course since comp-
leting grade 10 in:
?
No ?
One ?
More than one
Visual Art
?
-
Theatre
Music
Dance
S ?
Film
Video
viii)
Roughly how many times per semester do you attend the following events?
0 ?
1-5 ?
6-10 ?
more than lO
Plays
Fi1Ms
Dances
'Music Concerts
Rock
Concerts
Art Exhibits
Dance. Recitals
Football
Hockey
Other Sports
Others
b)
On which days do you most frequently see these events i Mon. -Thurs
ii) Weekends
C )
What is, on average, the most you are willing to pay (figure) $
Have you ever taken an S.F.U. Arts Centre Workshop? Yes/NO
If yes how many?
c)
In what -
d)
If 'no' why not? i) No interest ii) No credit
?
iii) Time conflict
x)
If credit were offered for workshops would you take any? Yes/No
xi)
would you transfer to a university that does offer a complete credit pro-
gram in the fine/erformiflg arts if the workshops created an interest that
could not be developed by them?
or
b) Would you prefer to see S.F.U. Develop its own program?
20
xii)
If credit courses were offered at S.F.U. in th
you feel that the non-credit workshops.:hOUld
xiii)
If credit courses in Fine/Perform
ing
arts were
which areas would be of interest to you
Ct- -it
fine/performing arts do
be mttainod? Yes/o
offered at S.F.U. intcate
?
Studio ?
Production
Dance
- -- - -
-
Film
Music
_-_--
vr1'Ti_.
xi*) Please indicate
if
you have an interest in seeing student funded work-
shops in;
i)
Ceramics
ii)
Fibre-Crafts
iii)
Graphic Arts.
RECOMMENDATIONS:
0.
?
-
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