Sample SWOT: The SWOT submitted to the review panel should be no more than five pages of A4: one introductory page (which should contain background information about the subject area, including but not limited to a list of programmes and student numbers), and one page for each of the four elements (Strengths, Weaknesses, Opportunities, and Threats). The SWOT should reference specific examples and evidence of the points made (e.g. reference to a student survey as evidence of satisfaction with resources), but you are not expected to submit this evidence unless asked to do so. The SWOT should also note the impact of each point and how the unit may respond to it in the future. The following document is intended to demonstrate how a SWOT might be composed (based on an entirely fictional programme), including both an initial brainstorming step (Activities 1 and 2 in the LTR policy) and the final submitted product (minus the introductory page). Example of Initial Brainstorming: School of Theatre BA in Theatre History BA in Playwriting (Joint with School of English Literature) BA in Directing BA in Directing (with Placement) MA in Dramatic Practice Strengths (Internal) Accreditation of all programmes by the Creative Skills Set (industry body) Solid links with community, regional, national and international theatres and performance groups Existing and active student theatre group Visiting masterclass events with directors and actors High employment of graduates in industry and use of social media to good effect to track, link and promote graduates Weaknesses (Internal) Student concerns with the objectivity and fairness of assessment Reliance on small number of staff (part time); high turnover of staff Challenge to provide musical curriculum with existing staff Potentially limited curriculum based on staff specialties Internal pressure on staff Space constraints Opportunities (External) Renewal of local interest in theatre Ongoing discussions with local university about offering joint musical theatre programme New staff have links with film industry Possible link with cruise industry (re-training for cruise entertainment) Threats (External) Changing government funding for the theatre, effect on placements Recruitment Decreasing number of School students studying theatre Perceived validity of professional body
Example of SWOT to be Submitted to Review Panel: Strengths (Internal) Key Strengths Supporting evidence Impact (so what) How to build on this 1. All programmes, BA and MA, are accredited by the Creative Skills Set (relevant industry body). Recent accreditation visit paperwork (included with QA documentation). We are one of two Theatre departments in the UK that is fully accredited. This accreditation goes a long way toward our recruitment goals (based on entry surveys over the past 3 years). Board of Studies has recently been discussing potential ways to engage students with the Creative Skills Set (see minutes from October 2014). Our Careers Officer in particular has been discussing the possibility of placements with the body over the Easter holiday. 2. Links with community, regional, national, and international theatres Minutes from Industry Liaison Panel (which is constituted by 4 representatives from theatre groups) The panel has helped to shape key changes in our curriculum: i.e., the ongoing work to develop a musical theatre programme and the development of modules in set design. Our students have suggested that the panel might be used more actively within social media to help build networking links before they leave the University (see SSC minutes). 3. Existing, active student theatre group Programme of events for 13/14; open comments from NSS Because we have a professional theatre on campus, our students have the opportunity to put on performances that they write, direct, and act in. We are the only UK university with its own professional theatre on campus. We would like to engage the local and regional communities more as a way of raising our profile and creating links with schools. One possibility may be to have school-aged interns or to offer free tickets to local schools. 4. Visiting masterclass series Programme of events for 13/14; open comments from 2014 NSS. 8 speakers in 12/13. SSC Minutes from 18/5/14 Our SSC is responsible for arranging the masterclass series a task that puts them into direct conversation with professionals across the industry and provides them excellent networking opportunities. We are trying to think more about how to link the series with existing curriculum so that, while it continues to be student-led, we can make better teaching use of the visiting professionals (BoS minutes). 5. High employment for graduates, tracked through social media LinkedIn account, DLHE statistics (especially in relation to comparator group) High employment has a substantial effect on our recruitment (see entry survey). The LinkedIn account, set up in 2013, allows us to keep track of graduates more effectively (80% of students from past 5 graduating years). We want to reach over 90% of contact with graduates and use these links to set up more effective Alumni panels, possibly built into or alongside our Masterclass series.
Weaknesses (Internal) Key Weaknesses Supporting Evidence Impact What can be done 1. Student concerns with the objectivity and fairness of assessment (raised in NSS and SSC) NSS open comments and SSC minutes suggest that students feel marking is often biased, based on the specialist knowledge of the marker Students don t fully trust the validity of the marking process, even when moderation has been explained to them. This is obviously dissatisfactory to students, but it also creates more workload when staff have to defend marks. We have what we consider robust double marking and moderation procedures, especially for performances (which might be perceived as more subjective). However, we have not been successful in explaining this to students. Our Teaching Committee has considered developing new marking criteria in partnership with staff and students and working to engage both markers and students in them. 2. Reliance on small number of staff (part time); high turnover of staff; internal pressures on existing staff. Workload model. We have only 5 full-time members of staff, plus 3 staff on 0.5 contracts and 4 hourly-paid subject specialists. External examiner (C. Long) has raised concerns about the challenges for hourly-paid staff of meeting feedback deadlines. We find it difficult to apportion responsibilities among a small number of staff (especially Faculty- and University-level committees). We have also had difficulty managing the hourly-paid staff (in terms of meeting feedback deadlines, providing student support out-of-hours, etc.). Because of high turnover, we have found it difficult in the past to cover certain subject areas in our programme. From a student perspective, it has been difficult to maintain consistent pastoral and subject support. It is partially in the nature of the discipline for practitioners to hold part-time or hourly-paid work. Sometimes we must rely on hourly-paid staff in order to cover particular subject specialties. However, we are liaising with the Faculty about the possibility of another full time member of staff, and we are trying to put in place a more robust emergency plan to cover specific content if we lose an hourly-paid member of staff at short notice. 3. Limited curriculum based on staff specialties; inability to provide musical curriculum 2014 NSS open comments, University decliners survey At the moment, we are not consistently able to provide any musical theatre curriculum (although we have bought in staff in the past). This is a significant lack in our discipline and means that we are not always able to recruit the best students. Our existing students also feel that their options are limited in some areas. It is difficult to say what can be done here, since we cannot possibly cover all subject specialties. It may be that we need to think about how we market our programmes to emphasise our strengths. We might also want to think about potential partnerships (with other programmes or Universities) so that we can co-teach some specialist areas of provision. 4. Lack of access to Culture Lab Board of Studies minutes At the moment, we have only limited access to Culture Lab, but we will need it for film facilities if we expand our offerings in that area. This is not entirely in our hands, as our School does not have direct authority over the space and as it is already heavily timetabled. We are working with Culture Lab to extend our access, although this may result in less than ideal timetabling for our students.
Opportunities (External) Key Opportunities Supporting Evidence Impact How to build on this 1. Renewal of local interest in theatre Attendance/ticket sales at University student performances; opening of new local theatre group Growing interest in the community could help with recruitment (bring students to the local area). Local practitioners could also help to support our masterclass series and potentially our curriculum. Our Community Liaison Officer has plans to meet with representatives from the new theatre to think about potential links in the future. We are hoping to speak with the marketing team about ways to promote the city as a hotbed for new theatre. 2. Ongoing discussions with local university about offering joint musical theatre programme IPT sent to University, minutes from past meeting We are hoping to be able to offer a joint Masters-level programme in musical theatre, a move which will hope will boost recruitment and help to build an area of our curriculum that is currently lacking. A joint programme does pose a risk, however, and we need to ensure that we maintain necessary quality standards and regulations. We are currently liaising with the Faculty about the next steps in this area and moving ahead with the Partner Approval process. We will need to think carefully about how to design the programme and how best to recruit students to it. 3. New staff member has links with film industry Staff CV; module outline from THE3063 One member of staff (hired in 12/13) has links with the film industry (where she previously worked). This has already resulted in a masterclass session that was extremely popular and a new module on film adaptations of plays (both of which were extremely popular with students). Because the University doesn t have an active film production or post-production programme, we re not entirely sure how to proceed at the moment. Our Careers Officer is thinking about pursuing a placement opportunity for a student in the film industry, and hopefully we will be able to build further on the links. 4. Possible link with cruise industry (re-training for cruise entertainment) Minutes from Board of Studies, Industry Liaison Panel We ve only recently been approached by a member of our Industry Liaison Panel about potential summer placements on cruise ships (running theatre productions on the boat). We think this could be appealing to students (especially as they would be paid internships) and excellent experience. Our Careers Officer is currently in the process of followingup about the possibility of organising the placements, potentially for as early as this coming summer.
Threats (External) Key Threats Supporting Evidence Impact What can be done 1. Changing government funding for the theatre, effect on placements Management Board and Board of Studies minutes, Faculty strategic plan, record of students on placement One of our compulsory MA modules relies on us having placements for all students. We also have a placement version of our BA in Theatre Directing (which includes a year-long placement). Not being able to obtain enough placements affects both our current students and our ability to recruit top quality students in the future. We have little control over government funding for the arts. Our Careers Officer is working on building relationships with new potential placement supervisors, but this takes a long time to set up. In the meantime, we have had to create several placements on campus for our MA students, which does not provide them with the same experience. 2. Decreasing number of School students studying theatre Industry Liaison Panel minutes, Board of Studies minutes As the number of A-Level students studying Theatre declines, so do the pool of our traditional applicants. We are working to build links with local Schools in the community, particularly with students studying English and Music. We are also hoping that the recent renewal in the arts can help stimulate our outreach activities in local area Schools. 3. Perceived validity of professional body Board of Studies minutes, University decliners survey Although we perceive our accreditation as one of our strengths, it is not always recognised as such outside of a small community. In particular, we feel that it is not recognised as significant by prospective students, many of whom choose a larger urban University that is not accredited. We are working now with the marketing team to try and emphasise the importance of our accreditation in communication with prospective students. We re also hoping to have an industry representative give a brief talk at one of our upcoming Open Days. We ll measure the success of that event and think about whether to continue it again. 4. Recruitment numbers Board of Studies minutes, Strategic Plan Our numbers have not yet been affected by the decrease in arts funding, and we are hoping to get a boost from the recent local renewal of interest. However, we re aware that decreased funding and fewer placements may affect our recruitment position in the future. At the moment, we are keeping a close eye on recruitment numbers and trying to make the most of the opportunities that we have (including through the music partnership and outreach activities in the local area).