March 2002
TABLE OF CONTENTS
Introduction……………………………………………………………………………….2
Evaluation of Teaching……………………………………………………………………2
Evaluation of Research……………………………………………………………………5
Research Evaluators………….………………………………………………………..….7
Evaluation of Service……….…………………………………………………………….10
Outcome of Review Process…………….………………………………………………..11
Chart - Evaluation of Teaching …………………………………………………………12
Chart - Evaluation of Research…………...……………………………………………..13
Chart - Evaluation of Service……….………………………….………………………..14

Approved SoTD – March 2002 Tenure Guidelines for Dance Faculty - p. 2
SCHOOL OF THEATRE AND DANCE
COLLEGE OF VISUAL AND PERFORMING ARTS
UNIVERSITY OF SOUTH FLORIDA
POLICY FOR TENURE AND PROMOTION
TENURE GUIDELINES FOR DANCE FACULTY
The School of Theater and Dance is committed to attracting and retaining dance faculty of exceptional merit whose contributions to the field of dance are recognized nationally and internationally. The dance faculty includes individuals with responsibilities in dance technique, dance studio studies, dance theory, dance pedagogy, and music. Candidates for tenure are expected to meet the highest standards in all areas of professional review (teaching, research, and professional service) as set forth in the University Tenure and Promotion Guidelines.
In the evaluation process for tenure and promotion, the School recognizes that members of its faculty are involved in diverse areas of specialization in teaching and research. This diversity is viewed as a major strength of the School as it provides students with a wide range of educational experiences. However, as the responsibility for training students in dance technique is coordinated and shared by the entire dance faculty, candidates who are deemed unable to integrate their teaching practices into the philosophy of the dance area as a whole will not be considered for tenure and promotion.
In the areas of scholarly and creative activity, faculty are expected to maintain active involvement in choreography/ performance, music composition/sound design, and/or research/ publication. To proceed toward tenure, candidates are evaluated on their diverse career paths by the
Director and tenured faculty. This document is designed to detail the three areas of evaluation and, in so doing, provide guidance for candidates as they work toward the achievement of tenure and promotion.
EVALUATION OF TEACHING
Teaching will be evaluated by tenured faculty and will include direct observation of teaching and studio showings/ final presentations, as well as examination of teaching materials and student evaluations. Additional teaching-related assignments also evaluated will include supervision of student performance, mentoring, curriculum development, directed studies, and academic advising.
Other considerations in evaluating teaching may include, but are not limited to:
Awards and honors for teaching excellence or innovation
Self-evaluation
Director's evaluation
Commendations of faculty and staff colleagues, alumni, and university leaders
Peer review by the T/P committee
Adoption of curricular or teaching materials at other institutions

Approved SoTD – March 2002 Tenure Guidelines for Dance Faculty - p. 3
EVALUATION OF TEACHING continued:
EXAMPLES OF MEETING EXPECTATIONS FOR “OUTSTANDING” TEACHING INCLUDE, BUT
ARE NOT LIMITED TO:
Demonstrating a commitment to creative and innovative development of teaching techniques and materials;
Receiving consistently superior student evaluations and peer evaluations;
Recognition for outstanding teaching including awards, citations, and honors;

Speaking, consulting, conducting workshops/ master classes locally, regionally, nationally, internationally on an ongoing basis;
Coaching/ mentoring leading to significant success and recognition for students' performance, scholarship, or research activities at the regional/ national/ or international level.
EXAMPLES OF MEETING EXPECTATIONS FOR “STRONG” TEACHING INCLUDE, BUT ARE
NOT LIMITED TO:
Stimulating creative and independent thinking within the classroom while encouraging and guiding students toward the pursuit of independent research;
Preparing well-organized syllabi with clear course content, objectives, schedules, and grading criteria;
Presenting and communicating information effectively in written, verbal and physical forms;
Utilizing a fair, well-planned, and effective methodology for evaluating student performance;
Evidence of active engagement in self-evaluation;
Providing, through example, excellence as a role model for students;
Building a relationship of trust and respect with students in the areas of punctuality, class assignments, and grading;
Setting reasonable standards for the students regarding assignments and grading while simultaneously maintaining high academic standards;
(continued)
EXAMPLES OF STRONG TEACHING continued:
Providing an environment that emphasizes kinesiologically sound practices and personal responsibility for health and well-being*;

Approved SoTD – March 2002 Tenure Guidelines for Dance Faculty - p. 4
Strong student evaluations taking into account variables such as number of required courses taught, class size, etc.;
Maintaining up-to-date knowledge in one’s major discipline through regular participation in workshops, seminars, conferences, etc.
EXAMPLES OF “WEAK” TEACHING INCLUDE BUT ARE NOT LIMITED TO:
Failure to meet courses on a regular basis;
Failure to be available for student/faculty/staff consultation;
Receiving a substantial percentage of unsatisfactory student evaluations and peer assessments of teaching;
Failure to prepare well-organized syllabi with clear course content, objectives, schedules, and grading criteria;
Failure to present and communicate information effectively in written, verbal and physical forms;
Failure to utilize a fair, well-planned, and effective methodology for evaluating student performance;
Failure to actively engage in self-evaluation;
Failure to provide an environment that emphasizes kinesiologically sound practices and personal responsibility for health and well-being*;
Failure to create an atmosphere for effective learning;
Failure to stay current in one's discipline
* applicable to dance technique faculty only
EVALUATION OF RESEARCH
The Dance Program considers research in each of the following areas of equal importance:

Approved SoTD – March 2002 Tenure Guidelines for Dance Faculty - p. 5
Creative Research : The creative research accomplishments of faculty who work primarily in the studio areas and are practitioners of the art (choreographers, composers, performers, reconstructors, notators, and directors) are considered equivalent to scholarly research in value to the
School. Just as scholarly work must be disseminated through publications or presentations at professional meetings, creative research must be disseminated through production of the choreographic or performance work in concert.
Scholarly Research : Faculty working in the scholarly/theoretical areas will produce research in the form of papers and publications. Scholarly research involves design and implementation of projects that include theoretical investigation as well as the development of practical applications of those theories. In these instances, written documentation and publication is expected. However, the dance profession considers non-published presentations at professional meetings to be valid indicators of scholarly activity because there are so few journals devoted exclusively to dance investigation.
The School acknowledges that creative activity and teaching are intertwined and, therefore, places great value on creative activities undertaken on campus. Activities such as choreographing new works and reconstructing dances performed by students in the program not only provide students with enriching, challenging performance opportunities, but also contribute significantly to the faculty member's creative growth and artistic development. They also increase the School's visibility and enhance its reputation. While the School strongly encourages the faculty to work professionally on regional, national, and international levels, it also recognizes the difficulty faculty have producing their work outside the University because of their teaching and service obligations within the dance program as mandated by their academic year contract. Thus the School does not require extensive work outside of the area unless funds are available to provide appropriate temporary replacement for faculty during their absence. Additionally, the cultivation of a national/ international reputation in choreography, composition, and/or performance is acknowledged, but not expected, for the following reasons:
Because major critics are located in recognized cultural centers and are not available to review regional performances.
It is financially prohibitive to produce work in New York City or other major cultural centers in the United States or abroad.
Because of financial constraints, many dance critics are unable to review creative work generated in a university context 1
(continued)
EVALUATION OF RESEARCH continued:
In evaluating the research of a candidate for promotion and tenure, the following will be considered:
1.
The quality of the candidate's work
- Do the form and content support the intent?
- For choreography/music composition/ performance, is an artistic point of view reflected?
1 Tenure and Promotion Guidelines, Ohio State University, p. 13

Approved SoTD – March 2002 Tenure Guidelines for Dance Faculty - p. 6
2.
The quantity of the candidate's work
3.
The degree of creativity and originality of the work
- Is the individual challenging him/ herself?
- Does the work represent a departure from, or refinement of, or development of a previous investigation pursued?
2
4. The impact of this work on the field
Additional measures used to evaluate a candidate's research may include, but are not limited to:
Demonstrated progress toward completion of a project
Culmination of a project;
Invited, refereed, or non-refereed status;
Role of participant (i.e. collaborator and degree of responsibility);
Review by tenured faculty;
Peer review by college T/P Committee;
Awards and honors;
Self evaluation;
 Director’s evaluation;
Adoption of research materials or publications at other institutions
It is important to note that when considering a candidate's research in the areas of choreography and performance, evaluators are presented with certain responsibilities unique to the field of dance. Dance is a temporal art form. It represents a creative process that involves a dynamic relationship between the choreographer and the performers. The performers become the presentation of the artist's work, and the essence of this creative research is transmitted to the audience through the performers. Evaluators must be discerning enough to recognize the effect of a weak performance on good choreography and vice versa. Thus, an acknowledgment of the creative relationship between choreographer and performer places value on the choreographic process and provides a framework for the evaluation of dance in performance. Similar considerations must be acknowledged when evaluating the creative work of a composer for dance.
It is also important to note that while video records of choreography and performance provide documentary evidence of the work, they can never fully represent either the choreography or the performance.
3
The essence of the choreographer's intention exists in the moment of performance before an audience. Although it is commonplace within the dance profession to provide video representations of work, it is important to consider the need for evaluation that involves comment on live performances as well as video documentation.
Therefore, evaluators must include individuals who experience the works in live performance, as well as individuals whose adjudication is based solely on the examination of a compilation of a candidate's video archive. Because expense and/or scheduling conflicts can prohibit bringing outside evaluators to view live performances of a candidate's work, adjudicators may include local critics,
2 Tenure and Promotion Guidelines, Ohio State University, p. 13
3 Tenure and Promotion Guidelines, University of Utah, p. 5

Approved SoTD – March 2002 Tenure Guidelines for Dance Faculty - p. 7 community artists, and/or departmental colleagues.
4
However, it is recommended that to avoid conflicts of interest at least 50% of the evaluations included in the tenure application be submitted by reviewers who have not worked directly with the applicant in creative research. (It is important to note that due to the relatively small size of the dance world, outside reviewers may, however, already have some familiarity with the candidate's work.)
RESEARCH EVALUATORS
The candidate's research will be evaluated by professional and/or academic peers including:
Faculty within the candidate's school, college, and university
Reputable professionals/ experts in the specific field of research interest including, but not limited to:

Professional choreographers;

Professional musicians / composers experienced in the field of dance;

Appropriate faculty (i.e., tenured professors in related disciplines) from other universities;

Reputable artists in the dance world who may, or may not, have previous knowledge/awareness of the candidate's professional activities;

Scholars in related disciplines
Media reviews/ critiques from experts in the field
(continued)
EXAMPLES OF MEETING EXPECTATIONS FOR "OUTSTANDING" RESEARCH/ CREATIVE
ACTIVITY MAY INCLUDE, BUT ARE NOT LIMITED TO:

Creation of a sustained body of high quality* research in one or more of the following areas:
Choreography**
Interdisciplinary/ collaborative work**
Music and/or sound design**
Publications, including articles, books, music, video, and electronic media (CD-
ROM, DVD, etc.)
4 Tenure and Promotion Guidelines, University of Utah, p. 3

Approved SoTD – March 2002 Tenure Guidelines for Dance Faculty - p. 8
Historical investigation, including re-staging of significant dance works,**
assemblage of archival materials, and completed oral history projects

Significant* recognition in the form of reviews, competitive awards, grants, fellowships, and media coverage for research accomplished in areas listed above
Significant* contributions to the field of dance that may include, but are not limited to:
-Development of workshops, festivals, seminars, conferences
-Hosting of workshops, festivals, seminars, conferences
-Being named to, and functioning in, important professional positions

Invitations and commissions of significance* at the local/ regional/ national/ and/or international level to:
- Create choreographic work
- Create music/sound design
- Re-stage one's creative work
- Perform in solo recitals or ensemble performances
- Conduct master classes or workshops
- Present one's research at conferences or seminars
- Edit books, journals
- Function as an adjudicator or consultant
*Qualitative value/ significance of research to be determined by respected professionals in the discipline as itemized under RESEARCH EVALUATORS on p. 7
**Original or re-staged choreographic works and/or music compositions that are publicly performed by USF dance majors, by musicians and music ensembles, by professional dancers/companies (local, regional, national, international), by universities and other educational and artistic institutions, at adjudicated dance festivals, and in commercial venues (festivals, advertising, film, pageants, fundraising and commemorative events). Work may also be presented in concert halls, theaters, alternative performance spaces and environments, and non-traditional/ site-specific locations (i.e. museums, galleries, office buildings, warehouses, parks, etc.).
EXAMPLES OF MEETING EXPECTATIONS FOR "STRONG" RESEARCH/ CREATIVE
ACTIVITY MAY INCLUDE, BUT ARE NOT LIMITED TO:

Research deemed valuable and significant* at the university/ local/ regional level in one or more of the following areas:
- Choreography**
- Creative participation in interdisciplinary/ collaborative work**
- Artistic direction of dance-related concerts/ projects**
- Creation of music and/or sound design**
- Re-staging of significant dance works (historical and/or contemporary)**

Approved SoTD – March 2002 Tenure Guidelines for Dance Faculty - p. 9
- Completed oral history projects
- Assemblage of archival materials

Research deemed valuable and significant* leading to publications, including articles, books, music, video, and electronic media (CD-ROM, DVD, etc.)

Performance in solo or ensemble performances at university, local, regional, national or international level which is widely respected by students and colleagues

Presentations at conventions and conferences of local/ regional/ or national significance

Sustained engagement in independent research and studies
Participation in workshops, seminar, conferences directly related to expanding one's capabilities as a researcher
EXAMPLES OF “WEAK” RESEARCH/CREATIVE ACTIVITY INCLUDE BUT ARE NOT LIMITED
TO:

Lack of evidence of ongoing research or other forms of creative activity

Failure to relate research/creative activity to mission of the school
EVALUATION OF SERVICE/ PROFESSIONAL STATUS
The candidate must show evidence of effective service to the school, college, university and profession. Considerations used in evaluating service may include, but are not limited to:
School review by tenured faculty;
Peer review by CVPA Tenure and Promotion Committee;
Director's evaluation;
Self evaluation;
Letters of acknowledgement from community leaders for public service;
Awards and honors;

Approved SoTD – March 2002 Tenure Guidelines for Dance Faculty - p. 10
Commendations of faculty, colleagues, university leaders;
EXAMPLES OF MEETING EXPECTATIONS FOR “OUTSTANDING” SERVICE INCLUDE BUT
ARE NOT LIMITED TO:

Authorship of newsletter/documents;
Service on editorial review boards;
Advising student organizations or individuals;
Advising students in a capacity beyond that directly related to teaching assignments, such as individual student research projects or Honors theses;
Chairing committees at the school, college or university level
Participation in, or development of, demonstrations/presentations at the regional, national, or international level;

Leadership roles in professional organizations (Board member, officer, committee, chair, etc.);

Making a significant* contribution to the development or enrichment of the school, college or university through recruitment, fundraising, or promotional activities;

Making a significant* contribution to the school through organization/ direction of school productions, tours, or outreach activities
EXAMPLES OF MEETING EXPECTATIONS FOR “STRONG” SERVICE INCLUDE BUT ARE NOT
LIMITED TO:

Serving on school, college and university committees;
Participating in administration or coordination of programs within the school;

Participating in recruitment activities;
Participating in or development of demonstrations/presentations at the school, college, and university level.
Participating in community outreach activities
EXAMPLES OF “WEAK” SERVICE INCLUDE BUT ARE NOT LIMITED TO:
Failure to participate fully in service activities;
Failure to actively participate in committee and school meetings;
Failure to become or stay familiar with university, college, and school policies and curricula
OUTCOME OF THE REVIEW PROCESS
Given the high quality of CVPA faculty, and the very stringent standards applied to the hiring and promotion processes, it is expected that ratings of unsatisfactory in any of the three areas will be very rare and that an overall unsatisfactory rating will be even more unlikely. A small fraction of the faculty may be identified from time to time as needing improvement, and it is expected that faculty development support from the department and university, as well as mentoring by other faculty, will assist those individuals in quickly regaining the expected levels of productivity. While some faculty will from time to time receive a rating of "Outstanding" in one of the three areas, an overall rating of

Approved SoTD – March 2002 Tenure Guidelines for Dance Faculty - p. 11 of "Outstanding" would be regarded as a career milestone.
5
Strong
Demonstrating a commitment to creativity and development of innovative teaching techniques and materials
Receiving consistently superior student evaluations and peer evaluations
Stimulating creative and independent thinking within the classroom while encouraging and guiding students toward the pursuit of independent research
Strong student evaluations taking into account variables such as number of required courses taught, class size, etc.
5 Tenure and Promotion Guidelines, University of Arizona, p. 9
Receiving a substantial percentage of unsatisfactory student evaluations and peer assessments of teaching

Approved SoTD – March 2002 Tenure Guidelines for Dance Faculty - p. 12
Speaking, consulting, conducting workshops/master classes locally, regionally, nationally, internationally, on an ongoing basis
Coaching/mentoring leading to significant success and recognition for student’s performance, scholarship, or research activities at the regional/national/ or international level.
Recognition for outstanding teaching including awards, citations, and honors
Maintaining up-to-date knowledge in one’s major discipline through regular participation in workshops, seminars, conferences, etc.
Providing, through example, excellence as a role model for students
Failure to stay current in one’s discipline
Failure to be available for student/faculty/staff consultation
Preparing well-organized syllabi with clear course content, objectives, schedules, and grading criteria
Presenting and communicating information effectively in written, verbal, and physical forms
Utilizing a fair, well-planned, and effective methodology for evaluating student performance
Evidence of active engagement in selfevaluation
Providing an environment that emphasized kinesiologically sound practices and personal responsibility for health and well-being
Building a relationship of trust and respect with students in the areas of punctuality, class assignments, and grading
Setting reasonable standards for the students regarding assignments and grading while simultaneously maintaining high academic standards
Failure to prepare well-organized syllabi with clear course content, objectives, schedules, and grading criteria
Failure to present and communicate information effectively in written, verbal, and physical forms
Failure to utilize a fair, well-planned, and effective methodology for evaluating student performance
Failure to actively engage in selfevaluation
Failure to provide an environment that emphasizes kinesiologically sound practices and personal responsibility for health and well-being
Failure to meet courses on a regular basis
Failure to create an atmosphere for effective learning
Strong
Creation of a sustained body of high quality* research in one or more of the following areas:

Choreography**

Interdisciplinary/collaborative work**

Music and/or sound design**

Publications, including articles, books, music, video, and electronic media
(CD-ROM, DVD, etc.)
Research deemed valuable and significant* at the university/local/regional level in one or more of the following areas:

Choreography**

Creative participation in interdisciplinary/collaborative work**

Artistic direction of dance-related concerts/projects
Lack of evidence of ongoing research or other forms of creative activity

Approved SoTD – March 2002 Tenure Guidelines for Dance Faculty - p. 13
Historical investigation, including re-staging of significant dance works**, assemblage of archival materials, and completed oral history projects

Creation of music and/or sound design**

Re-staging of significant dance works (historical and/or contemporary)**

Completed oral history projects

Assemblage of archival materials
Research deemed valuable and significant* leading to publications, including articles, books, music, video, and electronic media
(CD-ROM, DVD, etc.)
Presentations at conventions and conferences of local/regional or national significance
Invitations and commissions of significance* at the local/regional/national/ and /or international level
Significant* recognition in the form of reviews, awards, grants, fellowships, and media coverage for research accomplished in areas listed above
Significant* contributions to the field of dance that may include, but are not limited to:

Development of workshops, festivals, seminars, conferences\

Hosting of workshops, festivals, seminars, conferences

Being named to, and functioning in, important professional positions
Performance in solo or ensemble performances at university, local, regional, national, or international level which is widely respected by students and colleagues.
Sustained engagement in independent research and studies
Participation in workshops, seminars, conferences directly related to expanding one’s capabilities as a researcher
Failure to relate research/creative activity to mission of the department
* Qualitative value/significance of research to be determined by respected professionals in the discipline as itemized under RESEARCH
EVALUATORS on p. 5
** Original or re-staged choreographic works and/or music compositions that are publicly performed by USF dance majors, by musicians and music ensembles, by professional dancers/companies (local, regional, national, international), by universities and other educational and artistic institutions, at adjudicated dance festivals, and in commercial venues (festivals, advertising, film, pageants, fundraising and commemorative events). Work may also be presented in concert halls, theaters, alternative performance spaces and environments, and non-traditional/ site-specific locations (i.e. museums, galleries, office buildings, warehouses, parks, etc.).
Strong
Chairing committees at the department, college, or university level
Serving on departmental, college, and university committees
Failure to actively participate in committee or departmental meeting
Participation in, or development of demonstrations/presentations at the
Participating in or development of demonstrations/

Approved SoTD – March 2002 Tenure Guidelines for Dance Faculty - p. 14 regional, national, or international level
Making a significant contribution to the development or enrichment of the department, college, or university through recruitment, fundraising, or promotional activities
Making a significant contribution to the department through organization/direction of department productions, tours, or outreach activities
Authorship of newsletter/documents presentations at the department, college, and university level
Participating in recruitment activities
Participating in community outreach activities
Service on editorial review boards
Advising student organizations or individuals
Advising students in a capacity beyond that directly related to teaching assignments, such as individual student research projects or Honors theses
Leadership roles in professional organizations (Board member, officer, committee, chair, etc.)
Participating in administration or coordination of programs within the department
Failure to become or stay familiar with university, college, and department policies and curricula
Failure to participate fully in service activities