Effective use of student portfolios for assessment
For nearly three decades, portfolios have been in use as an alternative form of student assessment credited with positive academic outcomes, increased student engagement, self-regulation, and metacognition. Many teachers have used portfolios, and in some areas school districts have even required them, however implementation of student portfolios varies widely from classroom to classroom. A shift in recent years to digital platforms has afforded new multimedia modalities alleviating some challenges to implementation, however issues of validity, reliability, and practicability of portfolio assessment remain a central challenge. This paper examines effective applications of the portfolio concept, articulating an evidence-based approach towards portfolio assessment in the primary-junior grades.
Introduction
In her TEDx Talk, “Testing, testing”, Linda Darling-Hammond (2015) describes an evolving educational landscape and a need for methods of student assessment to respond to the present moment. Darling-Hammond discusses the work of Stanford researchers who have demonstrated that more knowledge was created between 1999-2003, than there has been in the entire history of the world preceding those years. Darling-Hammond argues that increasingly there is more to know than can be covered in twelve years of schooling; that the education system cannot keep pace with the speed at which knowledge is being created; and that this fact fundamentally changes the point of schooling. “It means our young people are going into a world where they will use knowledge that hasn’t been discovered yet, and technologies that haven’t been invented yet, to solve complex problems that we have not managed to solve” (Darling-Hammond, 2015). This sort of education requires the ability for learners to take risks, to learn how to learn, to test an idea and revise without penalty: actions penalized by our current evaluation and accountability culture. Darling-Hammond leaves us to ponder the shifting nature of education and assessment, and to question “what kind of instruction are we reinforcing?”
A growing number of voices are expressing discontent with current testing and accountability practices, calling for change in the way that learning is assessed and students are evaluated for career and college readiness (Conley, 2015). Portfolios for student assessment have emerged from this tension, posing a counterbalance to a landscape dominated by testing. Portfolios are a qualitative, learner-centered tool under the larger umbrella of performance assessment (Darling-Hammond & Adamson, 2010).
This paper examines effective applications of the portfolio concept, articulating an evidence-based approach towards portfolio assessment in the primary-junior grades.
“A portfolio tells a story. It is the story of knowing. Knowing about things…Knowing oneself… Knowing an audience. Portfolios are students’ own stories of what they know, why they believe they know it, and why others should be of the same opinion. A portfolio is an opinion backed by fact… Students prove what they know with samples of their work.” (Paulson & Paulson, 1991, p. 2).
Methods
Research for this paper was selected using three search engines: Google Scholar, OMNUS (the University of Ottawa library search engine), and the Educational Resource Information Clearinghouse (ERIC). Key words searched were “portfolio for assessment”, “student portfolio”, “e-portfolio”, “digital portfolio”, “portfolio” + “formative assessment”, “portfolio” + “summative assessment”, “authentic assessment” + “portfolio”. In ERIC I refined the search by selecting “High school and Elementary”. Articles were chosen based on their relevance to the research question, with peer reviewed articles given precedence. The bibliographies of several of these articles were mined for reference to articles on portfolio use, and several articles were retrieved that way.
Literature Review
Portfolios are described in research literature as purposeful, curated collections of students’ work providing evidence of students’ efforts, progress, and achievement towards learning goals in one or more areas (Paulson & Paulson, 1991; Qvortrup & Keiding, 2015). Portfolios are also described as a collection that exhibits an individual’s “learning journey” (Butler, 2006), demonstrating their abilities, and showing progress over time; and as “stories of learning” (Barrett, 2004; Paulson & Paulson, 1991).
Originally paper-based artefacts, portfolios are now commonly digital, facilitated through web-based platforms which allow students to curate, showcase, and share their work in new ways. Sources of evidence may include any number of essays, projects, tests, labs, journal entries, presentations, mindmaps, photographs, audio or video clips, hyperlinks, art or animations - polished or unfinished, as determined by the purpose of the portfolio. According to Butler (2006) “it is the reflections on the pieces of evidence, the reasons they were chosen and what the portfolio creator learned from them, that are the key aspect to a portfolio” (p. 2).
The process of developing a portfolio is a constructivist pedagogy, immersing students in reflection and self-evaluation of their learning, and affording students the opportunity to analyze their work and learn about learning (Karlin, Ozogul, Miles, & Heide, 2016). Student understanding of what constitutes quality performance is increased as a result of their engagement in the process (Davies & Le Mahieu, 2003). Student involvement and decision-making in the development of the portfolio and the evidence to be included is critical to the portfolio’s success as a learning tool, and a key factor that makes the concept powerful (Davies & Le Mahieu, 2003; Paulson & Paulson, 1991). Scaffolding student reflection is also central to the efficacy of this learning tool. This approach to assessment offers significant value for learners with diverse learning styles as they are able to choose how they communicate their thinking and show what they know (Davies & Le Mahieu, 2003; Stables, 2018). For this reason, the Ontario Ministry of Education has identified portfolios as an “especially powerful self-assessment tool” (2010, p. 152), recommending their use in Special Education and Alternative educational settings.
There is robust literature of the benefits of portfolios and e-portfolios for students which suggest that portfolios help to focus student thinking, help students gain a clearer sense of what they are learning, document their progress over time, boost self-esteem, and develop an awareness of their accomplishments (Butler, 2006). In their meta-analysis on self-regulated learning and e-portfolios, Segaran & Hasim (2021) found that studies reported significant changes in students’ academic outcomes as well as themes of metacognition, collaboration, and motivation. However, despite technological advances, the organization of the portfolio and the amount of time needed to implement the project remain enduring challenges for teacher adoption (Butler, 2006).
Research discusses portfolio assessment with multiple applications: as a compliment to, or replacement for, large-scale assessment and standardized testing; for summative assessment in the classroom; and for formative assessment purposes. While portfolio development is well regarded as a formative assessment tool and for presenting and sharing information about learning to peers and in parent-teacher conferences; there are conflicting positions about its application for summative assessment or as a tool to document attainment of standards. Davies & Le Mahieu (2003) argue that “when individual student portfolios are scored and graded, the power of student choice, ownership, and responsibility may be diminished” (p. 11). Concerns are also expressed over the complexity of valid and reliable evaluation of multiple, diverse pieces of evidence, and subjectivity may be a factor. In portfolios where the criteria for inclusion of evidence is more defined, there is concern that achieving the measurement standards will detract from the reflection and growth exhibited, and that the power of the learner’s agency could be lost. Johnston (2004) argues that finding agreement over outcomes in summative assessment is ultimately a philosophical position.
Concerns about reliability, validity, and practicability are more acute in discussions of portfolios for large-scale assessment Barrett (2004). In higher education, portfolios are currently used in fine arts, engineering, architecture, health professions, journalism, and teacher education, which some academics believe offer “a meaningful way for both students and faculty to engage in outcomes-based assessment” (Buzzetto-More, 2010, p. 60). Harlen (2007) warns that the way accountability in education is currently framed produces a distorted understanding of learning and student achievement, and that validity and reliability criteria are more readily met through the application of teachers’ judgements in examining a range of student achievements and learning activities.
Key practices in portfolio creation
This section discusses four key themes from the literature for educators to focus on as well as examples of student portfolios.
The contents must be aligned with the purpose
Educators have now been using portfolios in education for three decades, and have found that “there is no one, best way to use them” (Davies & Le Mahieu, 2003, p. 4); they can be used successfully in several different ways. Portfolios are typically characterized by their contents, purpose, and intended audience. The B.C. Ministry of Education (1994) identifies three categories of portfolios commonly used in K-12 education:
· a working portfolio, which contains several samples of students’ work and helps students to assess and evaluate their own work
· a presentation portfolio, representing chosen aspects of a student’s work and which may be used in parent conferences or viewed by future employers and institutions; and,
· a cumulative portfolio, containing selected samples of student work chosen by student and teacher to help educators know where students are at in their learning.
In this formulation a degree of simplicity is conveyed, however Stables (2018) notes that “the context of use, the educational philosophy underpinning a portfolio, the pedagogic practices surrounding it, all bring degrees of difference” (p. 751). Barrett (2004) asserts that the portfolio project must be congruent with an underlying philosophy or conceptual framework; for example envisioning the “portfolio as a story” as opposed to a “portfolio as a checklist”; a constructivist vs. positivist approach. A positivist approach might populate the portfolio with test scores and items that reflect external standards, whereas a constructivist approach would reflect evidence of learning from the student’s perspective. The decision for the purposes of the portfolio dictates what kind of technology will be used to create the portfolio, the audience, and what kind of evidence will need to be collected, and how the portfolio will be assessed.
In their article, “The practical application of e-Portfolios in K-12 classrooms”, Karlin, Ozogul, Miles, & Heide (2016) describe the how platform selection is related to purpose. They noted that cloud based programs like googlesites, allowed for the teacher to be prescriptive about what was to be included in the portfolio by providing each student with a website or powerpoint template and providing a direct connection to coursework through Google Drive. Conversely, a website creator like Wix allowed for complete artistic freedom. Schoolology was also discussed as a comprehensive learning management system, which offered a comment function which permitted feedback from the teacher, as well as peer review and comments which the teacher found particularly powerful. Technologies abound, from blogs, SeeSaw, to Wakelet, to paid programs such as Myblueprint, as well as the classic paper binder, each offering their own affordances.
Consider, for example, the following example from Kaden Jones, in Grade 5 in the United States, which offers a glimpse of a working portfolio exhibiting the “story of learning” paradigm. This portfolio is a large collection of work spanning kindergarten to grade 5. This portfolio shows the evolution of the child’s work, but the viewer does not get a sense that curation was happening, or reflection on learning.
Kaden Jones, Grade 5
https://www.bulbapp.com/kadenjones
For contrast, consider this sample of Ame, in Grade 3 in Thailand, mined from an excerpt on an educator’s blog. The teacher created individual website platforms for each student connected to her class website. In the excerpt Ame is demonstrating attainment of a PE learning objective. The videos show her first try, and her final try, and her learning reflection is written in purple in between. In this video compilation we can see both the process and the product.
Ame, Grade3
https://blogs.ibo.org/sharingpyp/2014/05/29/google-portfolios-model/
Student choice, ownership, and the selection of evidence
In reflecting on a decade of portfolio projects in her school, Hebert (1998) suggests that teachers should not be overly rigid with delineating the specific contents of the portfolio, as the most valuable aspect are the child’s thoughts about their selection. This perspective is guided by the belief that there is significant value obtained by children playing an active role in assessing their own learning. Researchers studying portfolios found that when students choose work samples the result is a deeper understanding of content, clearer focus, greater understanding of what constitutes a quality product, and ownership towards the work (Davies & Le Mahieu, 2003). Additionally preparing evidence for an audience whose opinion matters to them, often provides intrinsic motivation and ownership-taking. Examine, for example Derrel Walker’s senior high school portfolio, demonstrating a clear sense of Derrel’s personality, interests, and abilities.
Derrel Walker, high school senior portfolio
https://www.bulbapp.com/derrellwalker/resume
Clear goals and evaluation criteria; descriptive, actionable feedback
Portfolio pedagogy is enhanced by instruction that is rooted in a formative assessment feedback loop and the elements of that system: clear learning goals and evaluation criteria, descriptive actionable feedback, and opportunities for revision. Formative assessment indicates to the learner where they are in their performance, where they need to go to close the gap, and what they specifically need to do to improve. There is a vast amount of research indicating that “effective feedback is one of the most powerful interventions a teacher can implement” (Brown, 2017, p.74). Specific descriptive feedback that focuses on what was done successfully and points the way to improvement has a positive effect on learning (Black & Wiliam, 1998;” Le Mahieu, p. 12). This process yields quality pieces from which to observe learning.
For example, among Derrel’s persuasive essays, the viewer is offered a look at his first draft of “Uniforms destroy individuality”, and his final draft with revisions (direct link here: https://www.bulbapp.com/u/persuasive-essays) offering a unique view of process and progression.
The need to scaffold reflection and self-assessment
Portfolios projects are more successful when reflective learning practices are embedded in the on-going teaching and learning activities of the classroom (Butler, 2006). Educators have cited difficulty with student’s willingness to participate in reflection and in eliciting quality student reflections, noting that students must be trained to develop skills in reflective inquiry.
In the younger grades, where student understanding portfolio work is just developing, greater scaffolding and advisement on what work would be a valuable inclusion is needed. Hebert (1998) describes the idea of “reflection tags” (p. 3), a prop used to scaffold reflection in the primary grades. A teacher might use the tag by prompting a student with, “Why would you put something in your portfolio?” To which a child might respond, “Because it is my best work” or “I worked very hard on it”. Then the teacher would write their statement on the tag, and the child would attach it to their work. Herbert (2003) argues that “the physical act of attaching meaning to a specific piece of work contributes significantly to the child’s metacognitive growth” (p.3).
Similarly, the B.C. Ministry of Education’s (1994) “Assessment Handbook Series” offers exemplar cover pages as scaffolding for reflection. The cover page prompts students with questions such as “this piece of work shows: (choose from list) risk-taking, perseverance, improvement, a process, a thoughtful response, something of personal significance, etc…” “please notice…”, and “next time I would…”
The following selections are student video reflections from The Ontario Teacher’s Federation (2016) learning initiative on Primary Portfolios. In the short videos clips we see a range of student reflections on a math task. The video clips represent a singular piece of evidence for portfolios, an incomplete picture, however represent a good example of reflective learning practices embedded in the on-going teaching and learning activities of the classroom.
OTF Video 1.
https://www.youtube.com/watch?v=KKfo9SLNW0U&t=21s
OTF Video 2.
https://www.youtube.com/watch?v=NeyOLkR_R90&t=53s
OTF Video 3.
https://www.youtube.com/watch?v=_bSlPTDeXO4&t=100s
All of the OTF Primary Portfolios video clips can be accessed here:
Concluding thoughts
In their seminal article, “What makes a portfolio, a portfolio?”, Paulson & Paulson (1991) write:
“A portfolio then, is a portfolio when it provides a complex and comprehensive view of student performance in context. It is a portfolio when the student is a participant in, rather than the object of, assessment. Above all, a portfolio is a portfolio when it provides a forum that encourages students to develop the abilities needed to become independent, self-directed learners” (p. 63).
The pedagogy of portfolio development minimizes the influence of the teacher, offering students the opportunity to critically examine their learning and develop an awareness of their accomplishments and areas for improvement. Research has demonstrated this process of curation, reflection, and creation boosts motivation for learning, develops metacognitive skills, and has an overall positive impact on students’ academic outcomes. Successful implementation of portfolio projects requires attention to ensure that the portfolio’s content is aligned with its purpose and philosophy of learning; clear learning goals, success criteria, and descriptive feedback; strong scaffolding of student reflection, and student agency over the process.
References
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B.C. Ministry of Education (1994). Assessment handbook series: Portfolio Assessment. Retrieved from https://www2.gov.bc.ca/assets/gov/education/kindergarten-to-grade-12/teach/pdfs/assessment/portfolio.pdf
Black, P., Harrison, C., Hodgen, J., Marshall, B., & Serret, N. (2010). Validity in teachers’ summative assessments. Assessment in Education: Principles, Policy, & Practice 17(2), 215-232.
Brown, G. (2017). Feedback, grading, and reporting. In G. Brown (Ed.), Assessment of student achievement (p. 73-86). Routledge.
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Ontario Ministry of Education (2010). Growing success: Assessment, evaluation, and reporting in Ontario schools. Retrieved from http://www.edu.gov.on.ca/eng/policy/funding/growSuccess.pdf
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Stables, K. (2018). Use of portfolios for assessment in design and technology education. In M.J. de Vries (Ed.). Handbook of Technology in Education. Springer International Handbooks of Education, Gewerbestrasse, Switzerland: Springer.