LK experience at new music executives presentation last November.
Every campus culture is different--and ever changing. Look at the turnover in Chancellors, Provosts, Deans and Chairs
Without looking closely at new opportunotites--perhaps luck is the best hope.
OK--new in the job?
This might be one way for demonstrating leadership, success, and accomplishment
Who is the expert at what we do? Although I did have a President who wanted to help select repertoire and set the stage
To initiate your own self-evaluation--it may be netter not to ask. COnstruct one using your best instincts and intel on your Dean or Provost.
Don&#x2019;t we all discover a different reality than what was in the position announcement?
Project placing your portfolio on the web--and allow your colleagues to take stock of your successes and achievements. This takes the mystery out of &#x201C;what are you doing?&#x201D;
This session is somewhat of a continuation of the Advocacy within session chaired by Sue Haug that was presented on Saturday.
A decoyed form of blame (them--they don&#x2019;t understand)
Why should they? Is the venue terrific? Lighting? Sound? CLimate control? Seats comfortable? Printed program first rate?
This allows us all an excuse
If not--then you have missed an important chance. Everything that they learn from another source could lessen your stature as a leader in the field.
They should know these names and their work.
This is also something profound. $27 per person per performance?
Translate attendance into income put back into the community and jobs. How many atteded perfomances?
These are very important messages that are succict and POWERFUL.
This can help you a great deal--even if they don&#x2019;t read them.
For the ride in the elevator?
Earlier evaluation methods, such as evidence of impact on college/university committees, were like flashlights. That is, they illuminated only those administrative skills and abilities that fell within their beams. As such, they shed light on only a small part of an administrator&#x2019;s performance. But with the portfolio, a searchlight replaces the flashlight. Its far broader beam discloses the broad range of administrative philosophy, attitudes, abilities, skills, and goals.
It usually starts with a one-page introductory statement that provides the portfolio purpose and sets the institutional context and administrative unit. An independent liberal arts college and a department of psychology, for example. This is typically followed by a two- to three-page description of specific administrative responsibilities (programs, policies, faculty, staff, students, budget), as well as a reflective statement of administrative philosophy, objectives, and strategies. The next section of the portfolio usually contains two to three pages of performance evaluation data from multiple sources (superiors, staff, subordinates, faculty peers, students, alumni). The portfolio continues with sections on administrative innovations (What worked? What didn&#x2019;t? Why?), efforts to improve and develop performance, evidence of impact on areas of responsibility (annual reports, participation levels), most significant accomplishments, and short- and long-term administrative goals. Typically, the portfolio is housed in a three-ring binder.
First, the portfolio empowers administrators to include documents and materials that, in their judgment, best reflect their performance. It is not limited just to items requested by their immediate superior. Second, the purpose of the portfolio determines what material is included and how it is arranged. Third, the portfolio is based on collaboration and mentoring. It is not prepared by administrators in isolation. Fourth, in the very preparation of the portfolio, administrators are often stimulated to be reflective about why they do what they do. For many, this reflection produces &#x2014; almost as a by-product &#x2014; an improvement in performance.
The typical portfolio has a narrative of approximately eight to 12 double-spaced pages, followed by a series of appendices that provide documentation for the claims made in the narrative. (Some institutions put a ceiling on the number of pages they permit to prevent data overkill.) An important point: The portfolio is not a &#x201C;fluff&#x201D; document. Every claim of accomplishment made in the narrative must be supported by hard evidence in the appendices.
It depends on whether the administrator currently prepares an annual report. If he or she does, much of the material will already be on hand and portfolio preparation will probably take between 12 and 15 hours, spread over a number of days. But if the administrator does not usually prepare an annual report, the needed documents and materials are likely to be scattered and less organized. In that case, it probably will take between 15 and 20 hours, spread over a number of days, to prepare the portfolio. Whether the administrator has an annual report or not, a large part of the preparation time is spent in thinking, planning, gathering, and sifting through the documentation.
Not at all. The portfolio is a highly individualized product. Both the content and organization vary widely from one portfolio to another. They are grounded in the specifics and contexts of a particular administrative position in a particular college or university at a particular point in time. Different administrative positions cater to different types of documentation. For example, the position of graduate school dean in a research university is worlds apart from that of sociology department chair at a small liberal arts college. And the position of vice president of academic affairs at a community college is far removed from that of director of an academic division, even at the same institution.
Absolutely not. Why? Because the portfolio is an evidence-based document. Supporting material must be included for every claim made. The weak administrator cannot document strong performance. The evidence is just not there. For example, an administrator who claims to have boosted student retention rates by 5 percent must provide hard data in the appendix to support that statement. Fancy computer graphics and an elegant portfolio cover cannot disguise weak performance for an administrator any more than they can for a student.
They might do so to gather and present hard evidence and specific data about administrative effectiveness for those who judge performance. Or to provide the needed structure for self-reflection about which areas of their performance require improvement. There are other reasons why administrators might prepare a portfolio.
Or, when you get a new boss
In the preparation of the portfolio, the administrator is forced to ponder personal administrative activities, organize priorities, rethink administrative strategies, and plan for the future. Portfolios display the thoughts behind the action, not just the results. The process of thoughtful reflection augmented by the gathering and integrating of documents and materials provides data to assist the faltering, to motivate the tired,In the preparation of the portfolio, the administrator is forced to ponder personal administrative activities, organize priorities, rethink administrative strategies, and plan for the future. Portfolios display the thoughts behind the action, not just the results. The process of thoughtful reflection augmented by the gathering and integrating of documents and materials provides data to assist the faltering, to motivate the tired, and to encourage the indecisive. and to encourage the indecisive.
Although portfolios can be prepared by the administrator working alone, this isolated approach has limited prospects for improving performance or contributing to personnel decisions. Why? Because portfolios prepared by the administrator working alone do not include the collegial or supervisory support needed in a program of improvement. And, importantly, there is none of the control or corroboration of evidence that is essential to sustain personnel decisions. In addition, collaboration ensures a fresh, critical perspective that encourages cohesion between the portfolio narrative and supporting appendix evidence.
Since most administrators come to the portfolio process with no prior experience with the concept, the assistance of a mentor is especially important. The mentor provides resources, makes suggestions, and offers steady support during the portfolio&#x2019;s development. In the same way, portfolio models enable administrators to see how others &#x2014; in different administrative positions &#x2014; have combined documents and materials into a cohesive whole. (Our book, The Administrative Portfolio, contains 13 actual portfolios that have been developed and used by administrators in different positions and in different institutions across the country.)
&#xA0;5 &#xA0;minutes: Larry &#xA0;&#xA0; &#xA0;&#xA0;&#xA0; &#xA0;An alternative to traditional strategic planning. An approach that involves thinking that goes beyond "avoiding mistakes of the past" and "going outside of the box." Author&#xA0; &#xA0;&#xA0; &#xA0;&#xA0;&#xA0; &#xA0;Steven Zaffron's Three Laws of Performance is an alternative planning process that is very well suited to the arts.-Laurence Kaptain 9/16/09 8:33 PM
LK NASM Presentation
Basic “shared” version
of L. Kaptain’s NASM
Aronica, L., & Robinson, K. (2009). The Element: How Finding Your Passion Changes Everything. San Clemente: Tantor
Eisner, E. W. (2004). The Arts and the Creation of Mind. New Haven: Yale University Press.
Higgerson, M. L., & Seldin, P. (2002). The Administrative Portfolio: A Practical Guide to Improved Administrative
Performance and Personnel Decisions (JB - Anker). San Francisco: Jossey-Bass.
Logan, D., & Zaffron, S. (2009). The Three Laws of Performance: Rewriting the Future of Your Organization and Your Life (J-
B Warren Bennis Series). San Francisco: Jossey-Bass.
Lombardo. (2009). FYI: For Your Improvement - For Learners, Managers, Mentors, and Feedback Givers. Minneapolis:
Pink, D. (2006). A Whole New Mind: Why Right-Brainers Will Rule the Future. Boston: Riverhead Trade.
Zander, B., & Zander, R. S. (2002). The Art of Possibility: Transforming Professional and Personal Life. Boston: Penguin
(Non-Classics). (Original work published 2002)
Self-Evaluation for the Music
Using a Portfolio Approach to
Demonstrate Successful Leadership
NASM San Diego
112309 Ad vocate
Ed ucate fo r your
Keynote Address to
Obama National Arts Policy
Committee, October 2008
America’s artists are the
guardians of the spirit of
questioning, of innovation, of
reaching across the barriers
that fence us off from our
neighbors, from our allies and
from the six billion other
people with whom we share
this dark and dazzling
the sense of our
The imagination of the artist
is, therefore, a profoundly
moral imagination: the
easier it is for you to
imagine walking in someone
else’s shoes, the more
difﬁcult it then becomes to
do that person harm.
If you want to
make a torturer,
ﬁrst kill his
If you want to create a
nation that will stand by
and allow torture to be
practiced in its name,
then go ahead and kill
its imagination, too.
You could start by cutting
school funding for art,
music, creative writing
and the performing arts.
Practical Tools for Reducing Conﬂict.
The Thomas-Kilmann Conﬂict Mode
Instrument (TKI) is an assessment for
understanding how different conﬂict-
handling styles affect interpersonal
and group dynamics.
It’s also a fast and powerful
tool that can go beyond
conﬂict management to
support your team-
building, leadership and
coaching, and retention
The TKI measures ﬁve
“conﬂict-handling modes,” or
ways of dealing with conﬂict:
• Position description (when you were
• Personal Statement of Philosophy and
Vision for 2009-10
• Evidence of impact on areas of
responsibility in the context of
• Other major successes and
• 2010-11 Goals (set in June, 2010)
• Long-term Goals
• Final comments
Catalyzing the action that will transform...
Working with and inspiring faculty...
Demonstrating the understanding and
ability to provide...
Participating as a transformational leader
Working with the other performing arts
Inspiring and supporting...
Confronting directly and transforming any
limiting factors into enabling mechanisms for
2-3 sentences for long-term
Zaffron and Logan set
out the Three Laws
of Performance as
1) How people
to how situations
occur to them.
That is, people always act in
accordance with the way
they explain the world to
themselves, which can be
quite different from the way
the world “really” is.
2) How a situation
occurs arises in
That is, language is the vehicle we use
to self-create our sense of reality.
Zaffron and Logan use “language” in
the broadest sense, to include not just
words but also nonverbal vehicles
such as tone of voice and body
language that are used to carry
“unsaid but communicated” messages.
3) Future-based language
transforms how situations
occur to people.
Here Zaffron and Logan
distinguish between descriptive
language – the words we use
to describe how things are or
have been – and generative
language – words that describe
possible futures, the way things
1) A complaint that has
persisted for some
2) A pattern of behavior that
goes along with the
inability to refrain from
Complaint and behavior
are so entrenched--
“That’s who they are.”
verb [ trans. ]
cause (someone) to do something through reasoning or argument : it wasn't easy, but I persuaded him to do the r
• [ trans. ] cause (someone) to believe something, esp. after a sustained effort; convince : they must often be p
potential severity of their drinking problems | [ trans. ] he did everything he could to persuade the police that he was the robb
• (of a situation or event) provide a sound reason for (someone) to do something : the cost of the manor's resto
them to take in guests.
ORIGIN late 15th cent.: from Latin persuadere, from per- ‘through, to completion’ + suadere ‘adv
USAGE For a discussion of the difference between persuade and convince, see usage at convince .