Michigan Transfer Agreement (MTA)

Reading Time: 5 minutes

A few weeks ago, I attended a “Regional Faculty Conversation” about the new Michigan Transfer Agreement (MTA), an effort to update and improve seamless transfer among Michigan’s community colleges and public colleges and universities. There were three such conversations across the state in three days. I attended the four-hour get-together at Washtenaw Community College along with approximately 50 faculty and administrators from other programs in SE Michigan (e.g., Jackson College, Schoolcraft, Washtenaw CC, Henry Ford, Wayne State, Saginaw Valley State, UM-Dearborn, and EMU). The new MTA is an update to MACRAO, which has been the acronym used to name a comparable agreement initiated 42 years ago (though not updated since) and also for the Michigan Association of Collegiate Registrars & Admissions Officers.

The MTA was approved by the state-wide Council of Presidents last September, and it is scheduled to begin this fall. According to those who led the conversation, the state legislature prompted the update to MACROA in 2011. Generally, the agreement is a good idea. It is student-friendly and it stands to encourage efforts across two- and four-year colleges to make sure their lower division courses bear family resemblance. It brings Michigan into alignment with comparable efforts in other states. And it is long overdue. Forty-two years should not pass without such an agreement being revisited, but that’s the sort of thick-crust stagnation that becomes possible absent any high education authority in the state.

I’m writing a bit about MTA, though, and translating my notes into this entry, because the agreement includes a significant change related to writing. This slide sums up that change. Additional materials from the meeting are available at the Michigan Center for Student Success website.

Essentially, the highlighted lines indicate that the old agreement, MACRAO, required students to complete a two-course sequence in writing. MACRAO is clear about this point: students had to complete six credit hours in English Composition. The MTA, however, allows students to satisfy the agreement (and therefore, to become eligible for a full general education waiver) with one composition course and a second course in composition or speech. The new requirement requires less writing, and yet we are at the same time hearing continued pleas for more writing on all sides, particularly among campus stakeholders.

It might not seem like much, but this change creates conditions at odds with the design of first-year writing programs premised on a Comp I and Comp II sequence, in which Comp I offers foundational experience with writing in college and Comp II builds upon and extends those experiences to include research-based academic writing. The new MTA appears to create a path into the university along which students could satisfy general education never having explicit, direct experience with research-based academic writing. Stop for a moment to consider this. I mean this as a fair characterization of what the MTA sets up, and I would urge caution before weighing in with axiological conclusions, tempting though they might be. Late last summer, Michigan WPAs wrote, signed, and sent a letter expressing concerns about this change, but the Council of Presidents approved the MTA and assented to its Fall 2014 implementation in spite of the request for more consideration of the change to writing and input from faculty colleagues with expertise, training, and experience in rhetoric/composition/writing studies and writing program administration.

This preamble should be enough to catch others up on a few of the concerns that continuing faculty conversations might address.

  • At the May 15 Regional Faculty Conversation, there was quite a bit of discussion about convening a subcommittee who would suggest changes to the MTA that would clarify the focus of the composition course required to satisfy the MTA. Without such clarification, the MTA (as written) appears to allow one-credit writing courses (i.e., nothing explicitly prohibits this). It also allows combinations of Comp I and speech. Comp I could be online, accelerated, basic skills focused, or just about anything ranging from computationally scored five-paragraph themes to full-on project-based and portfolio-assessed courses. The subcommittee would, as much as possible, define common ground for the composition course. But would its input be incorporated into MTA? At the May 15 meeting, it remained unclear whether revisions, amendments, or footnotes could be introduced after this fall. Notably, the MTA doesn’t include any explicit provision for updates or future revisions.
  • Input throughout the process was either mishandled, miscommunicated, or never regarded as especially important by those organizing and leading the project. It’s not clear. Perhaps there was a sense that representation was adequate? To be fair, input would have slowed the process down, and it would have been resource-intensive to invite and involve more people. Math faculty were able to convene a group who collaborated to define the expectations for the math course. But writing did not receive a comparable invitation until recently, after the agreement was approved. Pressing this point–why, exactly?–brought to the surface different characterizations of how the MTA developed, from one version suggesting it was measured and deliberative, evenspread over the two years it was developed to another version indicating that the change to the composition requirement happened at the last minute.
  • The rationale for the change to writing is also difficult to pinpoint. Nobody would confirm it at the May 15 meeting, but it has elsewhere surfaced speculatively that the last minute change was an effort to bring Michigan State on board with the agreement. That is, because MSU only requires one composition course and a speech course, it creates conditions amenable to transferring to or away from MSU, which, once it was on board, was the largest public university in the state to participate in the agreement (i.e., University of Michigan does not). Whether or not this is valid, the changes to the writing requirement should have been based on something more substantive, e.g., evidence from participating institutions about how students with or without a two-course writing sequence during the first two years of college fare relative to their counterparts who do not take two writing courses. If they graduate at equal rates, maybe there isn’t anything more to consider here (aside from the caveat that high-achieving high school students oftentimes by-pass the two-course sequence because of exemptions and waivers).
  • Authority for the agreement remains ambiguous. That is, Michigan does not have a higher ed authority, and the MTA does not come with an implementation officer (even temporarily; its implementation is steered primarily by a 13-page handbook and a few similar documents, including FAQs and checklists. Who should programs contact for an authoritative stance on whether or not a program can require a course for MTA-eligible students, provided that same course is required for all FTIACs? The MTA seems to be rolling out with loose consent, and the agreement itself, as written, doesn’t spell out strict conditions that adopters must follow. For instance, at EMU, we’re told we can continue to require Writing Intensive courses as a fixture in General Education, but we cannot require all students satisfy ENGL/WRTG121: Comp II or its equivalent because that’s considered a “proviso,” and provisos are prohibited by the MTA.

That’s enough for now. Like I said, I don’t see much urgency in guessing how this is going to play out. I put my name in for the committee and would consider pitching in if and when such a group convenes. I suspect we already have more consensus across programs than we have had much chance to explore, much less articulate. And in fact, one of the most promising take-aways from the regional faculty meeting was a sense that we could begin exploring something like a SE Michigan alliance of writing programs that would help us tremendously toward articulating what we hold in common curricularly and also bench-marking for the persistent WPA arguments concerning part-time lecturer (over)reliance, full-time lecturer teaching loads, course caps, and so on. Other than that, as far as the MTA is concerned, we will continue to seek better institutional data that can tell us how FTIACs who take the two-course sequence compare with FTIACs who take only ENGL/WRTG121: Comp II compare with transfer students, in all matters of retention and graduation rates as well as performance in upper division WI courses. Better data will help us understand whether we have cause to be concerned, whether we have exigency to make further adjustments to the writing curriculum at EMU.

All My Lifio

Reading Time: 2 minutes

Leading the way among my web platform crushes for 2008 is drop.io, simple private sharing. My fondness for this app grows deeper every day. I have an account set up for the section of WRT195 I’m teaching right now, and it couldn’t be much better for uploading and sharing PDFs, slide shows, documents, and audio clips. I simply password protected the account (one of the options when you set up an account), and presto. Students only need the URL and the password. Plus, when students log on to drop.io, they can easily glance the contents of any file by clicking on it. They don’t have to download the files to view the contents. I’m hooked.

Already I can tell that I will be using more slideshow stuff this semester than I have in years past. For one, I am in a cramped space. It wasn’t looking too bad when there were just twelve students enrolled, but within the past week eight more students have added, pushing us to the upper threshold of twenty. On Tuesday, there were a total of nineteen chairs in the room, counting the one my teacherly can was parked on (first come, first served, I say). Really there were only nineteen (counting me) in class that day, and no empty seats; two more have added since, and I had to put in an email request so we will be sure to have enough chairs tomorrow. My point: It’s a cramped space. And rather than shimmy pardon me, excuse me, sorry over to the marker board, I think I will use the projector as a temporary solution. Plus, I can refine my slideshow style with this practice.

Nice about drop.io is that I can drop the slidshow into the quick-drop plugin in Firefox, and there it is: viewable online. It’s slick.

Another thing: drop.io is founded on the idea of limited shelf life: after a year of inactivity, the drop evaporates and with it all of the content uploaded to it. A good match for certain course materials in that it doesn’t flirt with all the niceties (and idealisms) of permanent archivization.

The End of Composition Studies; The Start of…

Reading Time: 3 minutes

In some ways, it’s like the Blockbuster video ad campaign from a year
ago–The End of Late Fees; The Start of More. The title of David Smit’s The
End of Composition Studies
invokes an endism that one might take to suggest
to the demise of the discipline of writing studies. In Advanced Philosophy
and Theory of Composition, we’re looking at the first half of Smit’s book for
tomorrow afternoon (also looking at two chapters from Cosgrove and Barta-Smith’s
In Search of Eloquence, which, fingers crossed, will arrive in the mail
later this afternoon). Smit’s forthright early on about playing double
entendre with "end," both as a variation of "teleology" or "aim" and also as
"termination" or "cessation." I’ve been reading with a stronger sense of
the first connotation (teleology/aim) because 1.) people still write and 2.)
writing is sufficiently complex to warrant the continuation of its study,
define it however you will
. And actually, that’s one of Smit’s chief
complaints. He finds that those who would self-identify with the field of
rhetcomp have yet to agree on what writing even is, much less how to best to
teach it given the institutional constraints of fifteen weeks (more or less in
some places, but the bugbear of layering writing rhythms with institutional
timeframes is what I’m thinking about) and wildly divergent positions on what
ought to constitute writing practices and curriculum in the first place.

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