Dancers

photo: Jon Green

Pre-interview survey questions

Q# Question text Candidate/Supervisor/ Examiner/Dean/ Director/Administrator*
BACKGROUND
1 Gender C/SE/DD/A
2 Age C
3 Qualification C/SE
4 Professional/industry experience: Type C
5 Professional/industry experience number of years C/SE
6 What is your primary academic discipline? DD/SE
7 Number of years working in the higher education sector? A
8 What additional areas of academic expertise do you have (If applicable)? SE
9 Have you had academic teaching experience? C
10 How many years academic teaching experience? C/SE
11 How many years (if any) have you taught in other settings? SE
12 Are you a sessional or a full time staff member at a University? C
13 Number of years (if any) of Professional dance experience? SE
14 Are you a university Academic? SE
15 Have you examined higher degree students in the creative arts? DD
16 CURRENT ENVIRONMENT
17 What is your current role? DD/A
18 Number of years in current role? DD/A
19 What degree have you completed or are you currently studying? C
20 If you have completed your degree, when did you complete it? C
21 What type of thesis did you complete/are you working on, e.g. practice and exegesis, written thesis), and in what discipline area(s)? C
22 Does your Faculty or Centre have higher degree students undertaking practice-based theses? DD
23 Do you currently supervise higher degree students in the creative arts? DD
24 Which higher degrees does your institution offer in the creative arts A
25 Approximate number of post graduate / research students for which you provide support? A
26 Number of current research students (if any) (please indicate type e.g. masters by research, PhD, other doctorates, minor theses in postgraduate masters) SE
27 Number of completed research students SE
28 Type of completed research students (e.g. Masters by research, PhD, other doctorates)? SE
29 Number of dance theses examined? SE
30 Number of other research theses examined? SE
31 How many of your supervisions have been practice based? SE
32 How many of your examinations have been practice based? SE
33 Have you supervised minor theses in coursework degrees? SE
34 How many institutions have you examined Masters and PhD theses for? SE
INTERVIEW QUESTIONS
BACKGROUND
35. (If studying) How long have you been enrolled in this degree and what stage are you up to in formulating your project? C
36 (If completed) How long did it take you to complete your degree and what has it led to? C
37. How many supervisors are there on your supervisory panel, and what discipline(s) do they come from? C
38. How many theses with a dance component have you supervised or examined? SE
39 What is your role in relation to postgraduate degrees in dance, the creative arts or general research masters, PhD and/or professional doctorates? A
VALUE OF DEGREE
40 What made you want to enrol in a higher degree? What did you expect to gain or achieve? C
41 Did (have) your views change(d) as you moved through the degree? C
42 What do you think the value of this degree will be to you professionally and personally? C
43 How do you think higher degrees in dance contribute to the sum of knowledge in your field or to the dance profession? C
44 What do you understand is the vocational function of postgraduate degrees in creative arts/dance? DD/SE
45 Please comment on Why we need research degrees in dance DD/SE
RELATIONSHIP OF WRITTEN TO PRACTICAL COMPONENTS
47 To your knowledge are there protocols or expectations about the relationship between the practical and written components of the thesis? A
48 How would you describe the relationship between practical and written components of your research if applicable? C
49 How do you manage the two components - the performance and the written? C
50 As an examiner how do you accommodate the written and performance components? SE
51 What does 'aligning' the two components mean to you? C
52 What kind of relationship between the practice and the writing do you think examiners will expect? C
GUIDELINES
WORD-LENGTH
53 What was/is the length of the written component, and did/do you think it was/is appropriate? C/SE
General and practice-component guidelines
54 Are there specific guidelines for practice-based higher degrees? DD
55 What are your university's guidelines for examiners? In Masters and PhD, are the procedures and expectations clear with respect to dance? SE
56 Do the guidelines coincide with your ideas about the level of achievement required by students in your discipline to obtain a research Masters or PhD? SE
57 Apart from practice-based degrees, are there other variance of guidelines for examiners in research masters, PhDs or professional doctorates? A
58 What guidelines for examiners are distributed with the written thesis? The performance (or practical) thesis? Or the combination of both? A
CHOOSING EXAMINERS
59 What are the protocols governing the number of examiners and their qualifications? A
60 Do you have any input into selection of examiners? C
60B Please comment on Contact between examiners and examiners and candidates from your experience DD/SE/C
62 Do you draw on interstate or international examiners?. What are the key issues around this? DD/SE
63 What should be the guiding principles for choosing examiners? SE/DD
64 In an ideal world what attributes should examiners have? SE/DD
EXAM PROCESSES
EXAM SEQUENCE AND TIMING
65 In practice-based degrees, how is the sequence and timing of the performance and the written document managed? DD
66 If the thesis involves a performance (or practical) component, are there protocols in place to determine the sequence or coincidence of delivery of the written and performance components of the thesis? DD/A
67 If you are involved in practice-based degrees, how do you manage the sequence and timing of the performance and the written document. SE
68 If delivered at a different time, does your institution have guidelines for the documentation of the performance component to accompany the written component? A
EXAMINABLE PERFORMANCE / EXHIBITION
69 What protocols are followed by your institution for examiners viewing of performances? A
70 Please comment on the need for an audience for performance DD/SE
71 Please comment on the need for contextual information distributed to examiners at performances. DD/SE
GENERAL EXAMIN-ER/ATION ISSUES
72 On what basis do you think the performance will be evaluated? C
73 On what basis do you think the writing will be evaluated? C
74 What do/did expect from the examination process? Where will it take place? C
75 What do/did expect from the examination process? How will it be resourced? C
76 What do/did expect from the examination process? Will examiners attend in person? C
77 Do you have budgetary provision to involve interstate or international examiners of the performance component? DD/A
79 If you have examined for different institutions have you noticed differences in examination criteria? If there were any please comment DD/SE
80 When there are disparities in the returned reports, what procedures are followed? DD/A
81 What are the processes of communication with examiners for degrees in your institution? A
83 Please comment on the need for the anonymity of examiners. DD/SE
84 Do you have any suggestions about maximising the effectiveness of the examination process? C/A
85 Please comment on Personal aesthetic bias from your experience DD/SE
86 What formats of submission are accepted at your institution? A
87 What is the role of the principal supervisor in the submission processes? A
88 Who actually oversees the distribution of theses and collation of reports in your institution? A
HIGHER DEGREES / INDUSTRY RELATIONSHIP
89 What are your views about the relationship between higher degrees and the arts industry? C/ DD/SE
90 Do you consider that examiners from academe and examiners from industry look for different things in a thesis? What would they be? DD/SE
MASTERS / DOCTORATE DIFFERENCE
92 How do you distinguish between a Masters and a PhD? SE
93 Could you describe what might be a 'masters' or a 'doctorate' level performance? C/ DD/SE
94 Could you describe what might be a 'masters' or a 'doctorate' level of written scholarship? C
95 Please comment on identifying doctorateness from your experience. DD/SE
97 Can you briefly describe, using an illustration if useful, the minimum requirements you look for, for a thesis to pass, and then by contrast the qualities that mark an outstanding thesis for a MASTERS and then a PHD? SE
STUDENT PREPARATION/QUALITIES
98 What are the attributes, qualities and skills that you aim to encourage or should be encouraged in dance/creative arts students at a postgraduate level? DD/SE
100 As a supervisor how do you prepare students for examination of the written and performance components? SE
INTERDISCIPLINARITY
101 Dance or creative arts can feature a number of disciplinary areas, for example, history, anthropology, pedagogy, social policy, therapy and cultural studies. What issues does this raise and does it impact on the depth of scholarship? Would you have a different perspective in regard to whether you are a supervisor or examiner? SE
DANCE-SPECIFIC QUESTION
102 Dance is an embodied form of knowledge which is currently recognised in performance/practice based research. What in your view are the advantages and disadvantages of research in the practices of dance? DD/SE