Guidelines for Award Excellence in Scholarship/Creative Activities
This is not a self- nomination.
The nominee has completed at least three academic years of full-time appointment (years do not need to be consecutive) out of the five years at Brockport immediately prior to the academic year of nomination.
The nominee holds a full-time teaching load with the title of professor, associate professor, assistant professor, or instructor. The nominee may also be a full-time clinical faculty member or a full-time non-tenure track faculty member.
Individuals serving in a part-time capacity or holding a title of academic rank preceded by “visiting” or a similar designation are ineligible.
We can submit one nomination to SUNY for this award.
The full SUNY guidelines should also be consulted when compiling a portfolio.
The portfolio will be reviewed by the campus committee, Provost, and President. Nominators will be notified after the campus review process has been completed no later than February 17, 2026.
Items to be included in the nomination portfolio
1. Table of contents with page numbers
2. Brief cover letter or memo from the nominator(s) indicating who she/he/they are and specifying whether correspondence about the nomination should be addressed to the nominator(s) or nominee. Please note: the nominator(s) should NOT consist of all members of the nominee’s APT committee. Nominators typically are one or two members of the nominee’s department.
3. Candidate Summary – maximum of 2,000 characters, including spaces (about 350 words). The Candidate Summary provides a brief rationale for the campus’s nomination of a candidate and sets forth candidate merit for selection. This summary should summarize the candidate’s accomplishments and contributions. It must address how the candidate excels in each criterion for selection for the award to which the candidate is nominated, the candidate’s most outstanding qualifications and major achievements attained. The Candidate Summary should be written by the nominator(s) and not by the nominee (or in the first person) because this undermines the impartiality and objectivity required of the nomination process.
4. Curriculum Vitae (CV) – an up-to-date and moderately detailed vita containing information on the nominee’s career must be included in the nomination portfolio. Included must be the date of appointment to the SUNY system, highest rank attained and date of appointment to that rank. It should also include areas of specialization, research activities, professional and scholarly publications, honors and campus and State University service.
5. Short (1 page or less) letters of support from:
the Department APT Committee
the Department Chair
the School Dean (nominators need to contact their Dean’s Office directly for this letter and allow two weeks).
6. At least two (but no more than ten) letters of support from external peer evaluators who are impartial referees from the nominee’s discipline (as required by the SUNY guidelines).
7. Additional supporting materials should be organized in the portfolio in the following sections. A short (1 page or less) introductory statement summarizing and reflecting on each lettered (a-e) section (where appropriate) is recommended. These statements should explain why the quantity and quality of the nominee’s scholarship/creative activities is exemplary for her/his discipline.
Quantity of scholarship/creative activities summarized including (*list all that apply):
Total number of scholarly and creative products
Average number of products produced each year
Total number of books
Total number of monographs
Total number of peer reviewed articles
Total number of book chapters
Total number of other publications
Total number of paper presentations
Total number of invited presentations
Total number of feature films/videos (30 minutes or more)
Total number of short films/videos (less than 30 minutes)
Total number of museum or gallery exhibitions
Total number of Public art installations with historical or cultural themes
Total number of Curated photo essays or visual storytelling projects
Total number of Podcasts or audio documentaries
Total number of other publications (e.g., essays, reviews, digital content)
Total number of Sound installations
Total number of Game developments
Total number of performances - solo or ensemble at festivals, conferences or academic instructions (etc.)
Total number of Choreographic Works
Total number of Original Productions
Total number of Playwriting and Dramaturgy
Total number of Theater/Dance Live Performances
Total number of Theater/Dance Design and Technical Director
Total number of Theater for Social Change/Applied Theater
Total number of Movement coaching
Total number of Site-specific work
Total number of Community-engaged dance projects
Total number of Dance films or multimedia projects
Total number of Interdisciplinary work
Accepted grant proposals
Total dollar amount for grants
Artistic exhibitions/productions
The following subcategories can help guide content-based lists for summaries:
Story & Screenwriting
Originality: Is the concept fresh and engaging?
Structure: Clear beginning, middle, and end; strong pacing.
Character Development: Depth, motivation, and growth.
Theme: Does the film explore meaningful ideas or questions?
Direction
Vision & Cohesion: How well the director’s vision ties all elements together.
Tone & Style: Consistency in mood and aesthetic.
Blocking & Composition: Effective use of space and movement.
Cinematography
Camera Work: Framing, angels, and movement.
Lighting: Mood creation, clarity, and artistic use of light/shadow.
Visual Style: Color palette, Depth of field, and overall look.
Editing
Pacing & Rhythm: Does the editing support the story flow?
Transitions: Creative and purposeful cuts.
Continuity: Smooth visual and narrative progress.
Sound Design
Dialogue Clarity: Well-recorded and mixed.
Music & Score: Emotional impact and thematic relevance.
Effects & Ambience: Adds realism or stylization.
Innovation & Impact
Technical Experimentation: New techniques or technologies.
Cultural Relevance : Does it address important issues?
Audience Engagement: Emotional or Intellectual impact.
Originality & Conceptual Vision
Innovation: Does the work challenge conventional norms of storytelling, structure, or aesthetics?
Conceptual Depth: Is there a clear artistic intention or theme behind the experimentation?
Risk-Taking: Does the filmmaker push boundaries in form, technique, or subject matter?
Formal Experimentation
Narrative Structure: Non-linear, fragmented, or abstract approaches.
Visual Language: Unconventional framing, camera movement, or use of color and texture.
Temporal Play: Manipulation of time (slow motion, loops, reverse sequences).
Technical & Material Exploration
Medium: Use of alternative formats (16mm, Super 8, digital hybrids, found footage).
Movement & Timing: Fluidity, weight, and natural motion.
Acting Through Animation: Facial expressions and body language.
Consistency: No distracting errors or mismatched frames.
Technical Execution
Rendering Quality: Lighting, textures, and shading.
Compositing: Integration of layers and effects.
Special Effects: Use of particles, simulations, or dynamic elements.
Sound & Music
Audio Sync: Dialogue and effects match visuals.
Score: Supports mood and pacing.
Sound Design: Adds depth and realism.
Creativity & Innovation
Experimental Techniques: Unique approaches to animation or storytelling.
Mixed Media: Combining 2D, 3D, or live-action creatively.
Use of Technology: VR, AR, or interactive elements (if applicable).
Practice-Based Research
Projects where the creative process itself is the research method—for example, exploring how immersive VR changes audience engagement.
Combining theory and practice: creating a film and writing an accompanying critical analysis.
Interdisciplinary Collaborations
Working with historians, scientists, or community organizations to create films that interpret research for public audiences.
Integrating technology (AR/VR, interactive media) into film projects.
Public Engagement
Screenings, exhibitions, or online platforms that disseminate creative work as scholarly output.
Projects funded by grants that aim to educate or engage communities.
Social Media Campaigns as Scholarly Work
Designing and executing a research-based social media campaign for public engagement on historical or cultural topics.
Developing cross-platform storytelling projects that integrate theory and practice.
Creative Digital Tools
Building apps or plugins that analyze or visualize social media trends for educational purposes.
Designing interactive websites that showcase research findings in a creative format.
Podcast or Web Series
Hosting a scholarly podcast on digital communication, featuring interviews and analysis.
Producing a video series that interprets social media phenomena through an academic lens.
Data Visualization & Infographics
Creating visual narratives from social media data (e.g., network maps, trend timelines).
Artistic representations of digital communities or hashtag movements.
Collaborative Public Humanities Projects
Partnering with museums or archives to create social media exhibits.
Developing community-driven storytelling projects using Instagram or TikTok.
Applied Design Work: Commissioned design work for printing, digital, branding, or experiential applications.
Exhibited Design Work: Inclusion in juried exhibitions, biennials, or design showcases
Experimental Design Work: Self-authorized or speculative design work.
Published Design Projects: Work featured in design magazines, books, or online platforms
Interactive and UX/UI Design: Research-based design for apps, websites, or digital tools
Social Impact Design: Projects addressing community needs, sustainability, or advocacy
Typographic Research: Experimental or historical studies in typography and visual language
Design Pedagogy: Innovative teaching methods or curriculum development in design education
Awarded Design: awards in peer-adjudicated design industry competitions or other organizations
Solo and Group Performances: Solo and ensemble performances, especially invitational, juried, or recorded at recognized venues or conferences.
Ensemble Directorship: Off-campus, on-campus, professional, community, etc.
Guest artist appearances; Lecture-recitals; or Conference Presentations: residencies, masterclasses, invited, off-campus, on campus, professional, community
Recordings: studio albums, live concert recordings, broadcast performances
Premieres or commissions of new works by professional ensembles
Adjudication, professional collaborations, or leadership in ensembles
Published scores or recordings by reputable outlets
Composition, Performance or Director awards or grants
Fine Art Photography Exhibitions: Solo or group shows in galleries, museums, or festivals
Documentary Projects: Long-form visual storytelling with social, cultural, or historical themes
Photo Essays and Books: Published collections of photographic work with accompanying text
Digital and Alternative Processes: Research into historical or experimental photographic techniques
Public Installations: Large-scale photographic works in public or site-specific contexts
Collaborative Projects: Work with communities, historians, or scientists to document or interpret subjects
Visual Ethnography: Photography as a method of cultural or anthropological research
Solo and Group Exhibitions: Paintings, sculptures, installations, or mixed media works shown in galleries or museums
Awarded Art: awards in peer-adjudicated art competitions or other organizations
Public Art Projects: Murals, sculptures, or installations in public spaces
Interdisciplinary Collaborations: Art integrated with science, history, or technology
Artist Residencies: Creative research conducted during national or international residencies
Curatorial Work: Organizing exhibitions with scholarly themes or community engagement
Art Publications: Artist books, catalogs, or essays reflecting on creative practice
Experimental Media: Use of emerging technologies (e.g., AR/VR, generative art)
Published art & Illustration: in journals or used as editorial art
Art Pedagogy: Innovative teaching methods or curriculum development in art education
Voiceover Artist
Fight Choreographer
Devised Theatre Maker
Intimacy Coordinator
Movement Coach
Music Director
Musical Theatre Choreographer
Arts Administration
Costume Designer
Costume Technologist
Director
Dramaturg
Lighting Designer
Performance Studies Scholar
Playwright
Projection and Media Designer
Scenic Designer
Sound Designer
Stage Manager
Production Manager
Technical Director
Theatre Educator/Theatre for Young Audiences Specialist
Theatre Historian
Individual contribution to scholarship/creative activities summarized including:
Average number of authors for publications
Total number of publications as sole author
Total number of grants as principle investigator
Total number of solo exhibitions/productions
Impact/outcomes of scholarship/creative activities including:
Total number of citations of scholarship/creative activity
The title page and abstract of 5-10 products that best represent the nominee’s scholarship/creative activity
Evidence of potential for future excellence in scholarship/creative activities
Evidence of connections between scholarship/creative activities and other professional commitments (teaching/service)
