James Madison University
School of Theatre and Dance
Dance Major
Student Handbook
1
Table of Contents
1. INTRODUCTION……………………………………………………………….. ………
4
a. Mission Statement for the School of Theatre and Dance……………………………
4
b. Statement of Values for the Dance Major……………………………………………
5
c. Program Objectives for the Dance Major…………………………………………...
5
2. SOURCES OF INFORMATION………………………………………………………..
6
a. School Bulletin Boards…………………………………………………………...
6
b. Dance Theatre……………………………………………………………………
6
3. THE B.A. DEGREE IN DANCE……………………………………………………….
7
a. Admission…………………………………………………………………………
7
b. Academic Advising……………………………………………………………….
7
c. Course Load………………………………………………………………………
7
d. General Education………………………………………………………………..
7-8
e. Dance Ensembles………………………………………………………………...
8
f.
9-10
Bachelor of Arts Degree- Dance Major Requirements………………...............
4. TEACHING LICENSURE IN DANCE………………………………………………..
11
5. DANCE CONCERTS……………………………………………………………………
11
a. New Dance Festival………………………………………………………..........
11
b. DanceShare………………………………………………………………………
11
c. Senior Dance Concerts………………………………………………………….
12
d. Contemporary Dance Ensemble in Concert…………………………………..
12
e. Virginia Repertory Dance Company in Concert………………………………
12
f.
American College Dance Association Regional Festival Adjudications……..
12
g. Studio 1270 Dance Showcase……………………………………………………
13
h. Alumni Concert…………………………………………………………….........
13
i.
Encore Series……………………………………………………………………
13
j.
Student Dance Concerts………………………………………………………..
13
6. SCHOOL POLICIES AND PROCEDURES…………………………………………
14
a. Assessment……………………………………………………………………...
14
b. Attendance Policy………………………………………………………………
14
c. Summer Attendance Policy……………………………………………………
15
d. Music Rights….………………………………………………………………..
16
e. Complimentary Ticket Policy…………………………………………………
16-17
2
f.
Usher Guidelines……………………………………………………………….
17
7. STUDENT DANCE CONCERT POLICIES……………………………………… ..
17
a. Auditioning Procedure for Student Dance Concert………………………….
17
b. Adjudicator Panel for Student Dance Concert……………………………….
18
c. During the Run of the Student Dance Concert…………………………….. ..
18
d. Checklist for the Student Directors of Dance Concerts in Estes Center……
18-19
8. FORBES CENTER POLICIES………………………………………………………
20
a. Lost and Found……………………………………………………………….
20
b. Poster Policies…………………………………………………………………
20-21
9. ESTES CENTER (EC) DANCE STUDIOS REHEARSAL SIGN-UP POLICY…
22
10. TUITION AND SUMMER SCHOLARSHIPS………………………………………
23
11. FACILITIES………………………………………………………………………….....
23
a. Dance Studios………………………………………………………………….
23
b. Locker Rooms…………………………………………………………………
24
c. Offices…………………………………………………………………………..
24
12. EMERGENCY INJURY PROCEDURES-DANCE STUDIOS…………………….
24-25
a. Severe Injury Procedure……………………………………………………….
25
b. Minor Injury Procedure……………………………………………………… ..
25
c. Injury Involving Open Blood Wound…………………………………………
25-26
13. APPENDIX……………………………………………………………………………
27
a. Student Dance Concert Audition Panel Feedback Form for Choreographers
27
b. Student Dance Concert Audition Panel Scoring Form…………………….....
28
c. Policy for Dance Participation in the Contemporary Dance Ensemble……..
29
d. Recommendation and Reference Requests……………………………………
30-31
3
INTRODUCTION
This Student Handbook is designed as a resource for the Dance Major in the School of Theatre and
Dance. It is a collection of information, policies and procedures meant to guide you throughout
your years in the dance program at James Madison University.
Mission Statement for the School of Theatre and Dance
The School of Theatre and Dance is rooted in the belief that the relevant artist is the thinking
artist who couples the mastery and embodiment of concrete skills with knowledge of and
sensitivity to the cultural environments of ideas, artistic forms, and other persons. The School
trains and educates artists, scholars, and teachers in the rich traditions and current practices of
dance, theatre, and musical theatre. Dedicated to the value of the intensive BA, the School’s
programs blend liberal arts education and critical thinking with intensive, pre -professional
training and practice. Faculty foster an environment that values and cultivates creative,
passionate, disciplined, curious, innovative, engaged, articulate, collaborative, and independent thinking artists and scholars. Committed to a teaching approach that emphasizes mentorship and
individual attention to students, faculty members of the School empower students in the
development of their own personal strengths, provide them with tools and opportunities to realize
their potential, and equip them for successful work in professional environments, graduate
programs, and as lifelong learners.
To realize this mission, the School of Theatre and Dance strives to:
 Develop in students the ability to work productively and sensitively in creative
and collaborative processes
 Offer multiple opportunities for students to self-initiate and self-produce work in
a context supportive of experimentation
 Produce performances and creative experiences of high quality
 Present performances by and learning experiences with visiting artists
 Motivate students to take active responsibility for their work, processes, and
careers
 Promote, support, and enable faculty professional development so that teachers
continue to provide the education for students that only growing, current, and
active creative artists and scholars can provide
 Inspire and prepare students to be advocates for the arts
 Foster an understanding of the roles of the artist and the arts in society
 Advance dynamic partnerships with diverse communities
In addition to the general mission and goals for the School of Theatre and Dance the Dance Major has the following
Statement of Values.
4
Statement of Values for the Dance Major
The Dance Major at James Madison University is part of a liberal arts program, which leads to a
Bachelor of Arts degree. Participation in the dance major provides immediate artistic growth for the
individual and encourages a long-range concern for excellence in dance-related
activities. Attention is given to the recognition and nurturing of each student’s individual creative
potential; the tools necessary to create, perform, produce, and appreciate dance; the historical,
philosophical, and cultural significance of various dance forms; and the art of
expression and movement within the dance experience.
Program Objectives for the Dance Major

The student shall develop an articulate individual choreographic voice, through
coursework in improvisation and composition, frequent feedback from faculty and
peers, and substantial opportunities to present work in both formal and informal
settings.

The student shall develop creative potential as a performer, through training which
emphasizes the integration of technical and expressive skills.

The student shall have opportunities to develop rehearsal and performance skills
through participation in one or more of the following: the Associate Group Dance
Repertory, Contemporary Dance Ensemble and the Virginia Repertory Dance
Company in works by self, peers, faculty, and guest choreographers.

The student shall demonstrate knowledge of the historical, philosophical, and cultural
dimensions of dance past and present, including people, places, and events that have
influenced the development of dance as an art form, and the varying roles of dance
and dance artists in society and world culture through coursework, the Master Class
Series, and guest artist residencies.

The student shall demonstrate the ability to analyze, write, and speak about dance,
creativity, and artistic processes in course assignments that require the integration of
theoretical knowledge.

The student shall exhibit knowledge of anatomical terminology and basic principles
of human structure and function, and demonstrate application of that knowledge
towards more efficient, expressive, and sustainable dancing.

The student shall experience a wide range of dance perspectives through coursework,
the Master Class series, workshops, seminars and lectures by visiting professionals,
and the opportunity to view work in performance both on and off campus.

The student shall gain a basic knowledge of the interactive nature of the design
process through coursework, as well as practical experience with the
choreographic/designer dialogue.

The student shall gain theoretical knowledge and hands-on experience in technical
5
dance production areas to include: lighting and sound technology, costume
construction, make-up design and implementation, set construction, production
management and arts administration.

The student shall gain experience designing and/or implementing movement
experiences for people of diverse ages, backgrounds, and abilities, through
coursework and additional opportunities within the program and the community.

The student shall develop individual career goals and gain experience in professional
skills including grant and resume writing, approaches to marketing, creation of a
digital portfolio, and employment placement strategies.
SOURCES OF INFORMATION
School Bulletin Boards
Bulletin boards can be found in and outside of the dance studios. Please familiarize yourself with
their location and check them regularly.
 Virginia Repertory Dance Company Schedule and Information - located outside of the Earlynn
J. Miller Dance Theatre, 1270
 Contemporary Dance Ensemble Schedule and Information - located outside of the Earlynn J.
Miller Dance Theatre, 1270
 Workshops, Training Programs and Opportunities – located outside dance studio 1298
 Audition Announcements and Employment Opportunities - located outside dance studio 1298
 Alumni News – located outside dance studio 1299
 Visiting Artists, Master Class Schedule, Announcements – located outside dance studio 1298
 Concert Information – located outside of the Earlynn J. Miller Dance Theatre, 1270
Dance Theatre
JMU Dance Theatre is the student club organization that is part of the University’s student
organization system and is located within the School of Theatre and Dance. JMU Dance Theatre is
composed of dance majors and minors and elects a board of officers from within its members. The
organization meets once a month to develop and implement projects that benefit the organization,
the Dance Program, the School of Theatre and Dance, and the local community. These include
sponsoring master classes, community outreach activities, arranging trips to see outside
performances, hosting a spring prom evening, and mentoring freshman majors within a “Big/Little”
connection program. The organization does fundraising activities through the year to run these
activities. All new Dance Majors- Majors should plan on being a part of Dance Theatre as a way to meet and
connect with upper class dance majors within the program.
6
THE B.A. DEGREE IN DANCE
Admission
An audition is required for admission to the Dance Major in the School of Theatre and Dance. The
Dance Program has two audition days each year scheduled for prospective students who have
contacted the STAD office and applied to JMU.
Students who want to become Dance Major candidates after entering JMU, audition and interview
during the semester of their request. If they are successful, they will be accepted and advised about
major courses for the following semester. Transfer students are expected to participate in the
audition/interview process, at which time their transfer credits are also evaluated. If a transfer
student is accepted to the Dance Program, they will be advised about courses to take for the next
semester. Students who do not appear to have the ability or aptitude to complete the program
successfully are counseled by the dance faculty to examine alternative careers.
Academic Advising
During summer orientation, all new students are assigned to faculty or professional advisers who
discuss academic policies and procedures, the university’s various programs of study, advanced
placement/exemption testing and registration procedures. Second semester of freshman year, dance
majors are assigned a dance faculty member for advising. Once a semester, dance majors receive
one-on-one advising. Student progress both within and outside the concentration is discussed.
Students are highly encouraged to check in and meet with their faculty advisers. Dance majors are
not permitted to enroll in dance major courses until they have met with their faculty adviser.
A grade of “C” or better must be achieved in all courses that apply to a major in the School of
Theatre and Dance.
Course Load
In all programs, the normal load per semester is 15 or 16 credit hours. A student with a cumulative
grade point average of 3.25 or better may register for 21 credit hours per semester. Any student in
good standing may take a maximum of 19 credit hours without securing special permission. Students
in good standing who wish to exceed these credits per semester limitations must secure permission
from Terry Brino-Dean, the director of the School of Theatre and Dance.
General Education
The General Education program at James Madison University anchors the academic experience.
It requires all students to take 41 hours in cross-disciplinary courses designed to provide students
with the knowledge and skills that form the basis of study for lifelong learning.
The program is organized around five clusters (Skills for the 21st Century, Arts and Humanities,
The Natural World, Social and Cultural Processes, Individuals and the Human Community). It
7
invites students to synthesize ideas, information and theories with opportunities to understand
how the concepts of one field can integrate with other fields. In 2009, the JMU General
Education program won the Association for General and Liberal Studies Exemplary Program
award for Improving General Education.
In addition, B.A. students are required to fulfill 0-14 credit hours of foreign language and 3
credit hours of philosophy study.
Dance Ensembles
The performance ensemble structure is central to the curriculum. A series of performance groups
provide rehearsal, performance, choreographic, technical production, design, management, and
direction experiences appropriate to the experience level and interest of the participants. The
ensembles provide a forum for other activities central to the mission of the dance program. The
Associate Group Dance serves as a sort of “freshman orientation” course, introducing students to
the Dance Program and the dance major experience. The faculty director and student assistant
directors support members in the transition to dance in a university setting. Efforts are made to
integrate new majors into the larger dance major community by encouraging them to join Dance
Theatre, the student dance organization, and to audition for pieces being made by the students in
the advanced composition class. The Contemporary Dance Ensemble (CDE) requires that each
member holds a variety of production and leadership positions that are introduced in
DANC/THEA 171, the core production course taken by all STAD majors. These positions
support productions in the Earlynn J. Miller Dance Theatre and the Mainstage Theatre. They
include but are not limited to direction of student concerts, stage management of studio and
mainstage productions, box office management, concert publicity, costume and lighting design,
rehearsal assistant positions, and backstage crew positions. The CDE also facilitates the
production of student choreography in both mainstage and studio concerts. The student
choreography that appears in studio and mainstage concerts is selected by audition. Student
choreographers selected for the mainstage concerts work with faculty and guest costume and
lighting designers. Members of the CDE are given the opportunity to audition and participate in
works by faculty and guest choreographers. It is important to note that members of the Virginia
Repertory Dance Company (VRDC) are required to participate in the Contemporary Dance
Ensemble. This integration creates a positive and cooperative learning environment and
circumvents the perception that the VRDC is an elite company separating its members from the
core objectives of the Dance Program. Members of the VRDC learn skills associated with
touring, such as developing an effective personal warm-up and designing lecture-demos and
workshops for schools.
8
Bachelor of Arts Degree - Dance Major Requirements
Major Requirements
All students pursuing a B.A. degree in the School of Theatre and Dance must complete the core
requirements listed below.
Core Requirements
Credit Hours
Choose one of the following:
2-3
DANC 140. Elementary Modern Dance 1
DANC 142. Elementary Ballet
DANC 143. International Folk Dance
DANC 144. Ballroom Dance
DANC 146. Jazz Dance 2
DANC 245. Dance Improvisation 1
DANC 245. Dance Improvisation 1
DANC 390. New Directions in Dance 3
THEA/DANC 171. Performance Production
3
THEA 273. Visual Aspects
3
THEA/DANC 100. Theatre and Dance Colloquium (6 enrollments)
0
8-9
1 DANC 140 and DANC 245 are not core options for the dance concentration.
2 DANC 146 is not a core option for the musical theatre concentration.
3 DANC 325 and DANC 390 are not core options for the musical theatre concentration or the
theatre concentration options.
- See more at: http://www.jmu.edu/catalog/14/programs/theatredance.shtml#sthash.PCIwDRXA.dpuf
Core Requirements
Dance Concentration Requirements:
DANC 245. Dance Improvisation
DANC 248. History of Dance
DANC 320. Anatomy and Somatic Studies for the Dancer
DANC 345. Dance Composition I
DANC 445. Dance Composition II
DANC 449. The Dance Professional
DANC 479. Methods of Teaching Dance
Four semesters for a total of six credits
DANC 110. Associate Group Dance Repertory I
DANC 210. Associate Group Dance Repertory II
DANC 211. A,B. Contemporary Dance Ensemble Repertory I
DANC 311. A,B. Contemporary Dance Ensemble Repertory II
Two semesters for a total of four credits: 1
DANC 240. Intermediate Modern Dance I
8-9
2
3
3
3
3
3
3
6
4
9
4
Two semesters for a total of four credits:
DANC 340. Intermediate Modern Dance
2
One semester for a total of two credits:
DANC 440. Advanced Modern Dance
Select four credits from the following courses:
DANC 242. Intermediate Ballet I
DANC 342. Intermediate Ballet II
4
48-49
1 The student is required to complete 10 credits in modern and four credits in ballet technique, with
placement to be assessed in conference with dance faculty. Modern, ballet and jazz technique classes all have
an advanced level course in the curriculum. The requirements listed above are the minimum level expected of
dance concentration students. Most majors will take additional technique courses as university electives
throughout their study in the dance program.
- See more at: http://www.jmu.edu/catalog/14/programs/theatre-dance.shtml#sthash.PCIwDRXA.dpuf
Recommended Schedule for Dance Concentration
First Year
DANC 110. Associate Ensemble (fall)
DANC 171. Performance Production
DANC 210. Associate Ensemble (spring)
DANC 240. Intermediate Modern (fall and spring)
DANC 242 or DANC 342. Intermediate I or Intermediate Ballet II
DANC 248. History of Dance
Second Year
THEA 273. Visual Aspects
DANC 143, DANC 144 or DANC 146. Folk, Ballroom or Jazz Dance
DANC 211. Contemporary Dance Ensemble Repertory I (fall)
DANC 245. Dance Improvisation
DANC 311. Contemporary Dance Ensemble Repertory II (spring)
DANC 340. Intermediate Modern II (fall and spring)
DANC 342 or DANC 442. Intermediate or Intermediate Ballet II
Third Year
DANC 320. Anatomy and Somatic Studies for the Dancer
DANC 345. Dance Composition I
DANC 479. Methods of Teaching Dance
DANC 411 or DANC 312. Contemporary Dance Ensemble
Repertory III or Virginia Repertory Dance Company
Other dance technique courses to fit the student's schedule.
Fourth Year
DANC 445. Dance Composition II
DANC 449. The Dance Professional
Other dance technique courses to fit the student's schedule.
- See more at: http://www.jmu.edu/catalog/14/programs/theatre-dance.shtml#sthash.PCIwDRXA.dpuf
10
TEACHING LICENSURE IN DANCE
The goal of the Teaching Licensure in Dance is to provide a specialized area of concentration in
dance education. In order to obtain a Teaching Licensure in Dance, students major in
dance, but additionally must complete the education requirements mandated by the Virginia
Department of Education (VDOE). Once a student completes the requirements, s/he is certified to
teach dance PreK-12 in the Virginia public school system.
In addition to general education and theatre and dance requirements, students desiring PreK-12
teaching licensure in dance must complete 19 credits of additional course work in kinesiology,
health science, education and psychology and 12 credits of student teaching. It is necessary to be
admitted to the teacher education program prior to enrolling in professional education courses.
See Faculty Adviser, Suzanne Miller-Corso for more information.
DANCE CONCERTS
The mission statement for the School of Theatre and Dance refers to performance as the point of
integration, where the theoretical lessons of the classroom are completed in the context of
practical work in studios and theatres. The ensemble structure is designed to integrate the
performance experience with virtually all aspects of the dance major curriculum. The Dance
Program provides each student with substantial and varied opportunities to develop as a
performer/creator of dance. Following is a list of events in our annual performance series, and
the policies/procedures for participation in these events.
New Dance Festival
Presented in the Forbes Center Mainstage Theatre every year at the beginning of the fall
semester as part of the Forbes Center Masterpiece season. Repertory includes work by
faculty artists, guest artists, and guest companies. In recent years, guest companies that
share the concert with faculty artists have been chosen because of their ability/willingness
to include dance majors and community dancers in one of the works they present. VRDC
members serve as the crew for this concert. Guest artists often arrive to campus early or
stay after the concert to teach and choreograph in the program.
DanceShare
Presented in the Earlynn J. Miller Dance Theatre in mid-October every other year, this is
a shared concert with a guest institution, featuring faculty, guest artist, and student
choreography from each school. A faculty committee selects works from JMU, generally
including the premiere of a VRDC guest artist piece set during the previous spring
semester, a work performed by faculty members, and two or three student pieces.
Auditions for student work are held early fall semester. Because of the early concert
date, selection usually centers on pieces begun during the previous semester in
composition classes or in summer workshops.
11
Senior Dance Concerts
Presented in the Earlynn J. Miller Dance Theatre each February with a faculty director,
each senior dance major presents one choreographic work and often performs in other
student works. The concert is a forum for students to display their choreographic/performance
development. Preparation for this concert begins during the fall semester. While this is not a
requirement of the Dance Program, historically all seniors participate. In addition, all seniors
participate in the creation of a group improvisation which is presented at the end of the evening.
Typically, the Student Technical Director serves as the lighting designer and participants assume
responsibility for all production tasks.
Contemporary Dance Ensemble in Concert
CDE is presented in Forbes Center Mainstage Theatre each spring with a faculty director.
Auditions are held in the first semester. The concert is made up of faculty, guest artists
and outstanding student choreography. The director selects work based on quality,
programmatic concerns, educational considerations, and the opportunity for as many
company members to perform as possible.
Virginia Repertory Dance Company in Concert
VRDC is presented in Forbes Center Mainstage Theatre in December with a faculty
director. Features work by faculty and guest artists, with a repertory selected by the
director.
The Virginia Repertory Dance Company provides further performance opportunities for
qualified students. Recently the company has toured to venues in the Harrisonburg/Rockingham
County area, regionally, and in the metropolitan cities of New York, Richmond, and
Washington, D.C. While VRDC is a vital component of dance at JMU, participation in this
company is only one of many ways to have a meaningful presence in the program. We reject the
elitist structure that prevails in many programs wherein the repertory company members get all
the most exciting experiences. Central to our mission is the belief that each student has
something unique to offer, and that we have the responsibility to support a variety of paths. We
invest a good deal of energy in VRDC, but this is not at the expense of other students on
differing paths. The ensemble system is structured such that VRDC members are also members
of the larger Contemporary Dance Ensemble, which prevents the sense of separation that so
often surrounds repertory companies in academic settings.
American College Dance Association Regional Festival Adjudications
One or two student works are sent each year to ACDA. Auditions are held in the fall
semester, open to all members of the Contemporary Dance Ensemble. The dance faculty
makes selections and serves as a resource to student choreographers.
12
Studio 1270 Dance Showcase
This is presented in the Earlynn J. Miller Dance Theatre at the end of each semester. The
Contemporary Dance Ensemble hosts the event which includes completed works by
majors that were not in the Student Concert. Minimal lighting and a program are
provided. This showcase was recently added to give more majors the opportunity to
show their work.
Alumni Concert
Presented in the Earlynn J. Miller Dance Theatre in January every other year. The
Alumni Concert is presented in the years when we do not produce a DanceShare concert.
The concert features the performance and choreography of alumni who are working
professionally in the field. The weekend includes master classes by alumni as well as a
panel discussion with dance majors on careers in dance held on Saturday.
Encore Series
This series draws major artists and companies and offers professional level performance
offerings for the community at large as well as providing master classes for CVPA
students. Students benefit from master classes and are also hired to work on productions
in technical capacities.
Informal performance experiences are built into most courses, serving an integral role in
composition and improvisation classes. Within the ensemble structure, informal showings occur
at the conclusion of guest artist residencies, allowing both choreographer and performer to see a
new piece. There is an emphasis on the evolution of works, from early stages in classes, through
presentations in student concerts, and finally in fully produced versions in main stage and other
concerts.
Student Dance Concerts
The Student Dance Concerts are presented in Earlynn J. Miller Dance Theatre each semester with a
student director(s) working under faculty supervision. Auditions are held one month before the
concert. Only dance majors may audition works. Theatre and musical theatre majors may perform in
a dance majors work if they are enrolled in a dance technique course the same semester as the
concert. In order to audition a work, majors must show proof that music rights have been attained.
A student panel representing each class of majors selects works for the concert. Selections usually
include a wide range of dance forms, and student concerts serve as a performance arena for the
Associate Group Dance Repertory. Ensemble members are responsible for executing every aspect
of dance production for these concerts. The Student Technical Director is the lighting designer for
most of the works. Select STAD majors are eligible to contribute to these concerts as lighting
designers.
13
SCHOOL POLICIES AND PROCEDURES
Assessment
Semester Assessment
The dance faculty meets each semester to discuss the progress of each dance major. They make
recommendations for which ballet and modern technique course each major should take. These
technique directives are suggestions for which classes best suit each student’s needs.
Freshman Pre-Test Dance Assessment
Freshman dance majors are administered a Dance Assessment Pre-Test in a proctored setting the
first class meeting of DANC 110.
Senior Exit Interview
Senior dance majors are administered a Dance Assessment Post-Test in a proctored setting during
Assessment Day. Senior dance majors submit a curriculum vitae, written work from a past dance
course and meet with a dance faculty member to answer questions about their experiences, thoughts
and opinions about the dance program.
Attendance Policy
JMU Dance Program Technique & Studio-based Courses
The following attendance policy applies to all dance technique and studio-based courses taught within the
JMU Dance Program in the School of Theatre and Dance. This policy is mandatory because these courses
focus heavily on “in class studio instruction”. This policy applies to all technique courses including Ballet,
Jazz, Modern, Tap, Folk, Ballroom, African, Flamenco or other world dance forms taught under the New
Directions in Dance listing. It also applies to studio-based courses including Ensembles, Improvisation,
Composition I & II, Anatomy and Somatic Studies, and Methods of Teaching Dance.
REQUIREMENTS
Each student is expected to be on time for each class and dressed appropriately. If a student is ill (but not
contagious) and cannot participate in the class, they can ask the instructor before class to observe the session.
No student is allowed to leave class early unless approved by the instructor before class. Early dismissal will
count the same as one late arrival.
UNEXCUSED ABSENCES
If a class meets three times a week, the student is permitted two unexcused absences.
If a class meets twice a week, the student is permitted two unexcused absences.
If a class meets once a week, the student is permitted one unexcused absence.
After the allotted number of UNEXCUSED absences per course, your grade will be lowered one
letter grade for each Unexcused Absence accumulated. There are no make–up classes offered for
Unexcused Absences.
EXCUSED ABSENCES
Illness (bedridden) - All illness excuses will require a medical note.
Family emergencies as defined by the university.
Approved university academic activities with appropriate documentation.
EXCUSED ABSENCE PROCESS FOR APPROVAL
14
In order for a student to be granted an excused absence, they will need to submit an Excused Absence
Request Form to the Instructor and Dance Program Coordinator. These forms can be obtained from the
Dance Program Office. If the request is for a pre-planned activity, the form should be submitted at least two
weeks prior to the event. For an emergency situation, the form should be submitted within two weeks after
the absence. An appropriate class assignment and strict due date for assignment will be given to the student
to make up for the Excused Absence.
Any excused absence request must be submitted with documentation to verify the circumstances for
which the student will miss the class. Submission of the request form does not guarantee approval
of request and students should not expect all requests to be approved.
LATE ARRIVALS/OBSERVATIONS
Three late arrivals (after roll is taken) will count as one Unexcused Absence for all classes. It is the
role of the student to inform the teacher that they arrived late at the end of the class.
If a student has a problem arriving on time for class due to prior course location on campus, they should
discuss the situation with the instructor. If ill, students can ask the instructor to observe class and take notes.
These notes should be typed and submitted before the next class. Three observations will count as one
Unexcused Absence for all classes. Extended non-participation will require the student to withdraw
from the course or take an incomplete grade.
Summer Attendance Policy
ATTENDANCE POLICY
JMU Dance Program Technique & Studio-based Courses
Summer Session – Four Week Terms
The following attendance policy applies to all dance technique and studio-based courses taught
within the JMU Dance Program in the School of Theatre and Dance. This policy is mandatory
because these courses focus heavily on “in class studio instruction”. This policy applies to all
technique courses including Ballet, Jazz, Modern, Tap, Folk, Ballroom, African, Flamenco or other
world dance forms taught under the New Directions in Dance listing. It also applies to studio-based
courses including Ensembles, Improvisation, Composition I & II, Anatomy and Somatic Studies,
and Methods of Teaching Dance.
REQUIREMENTS
Each student is expected to be on time for each class and dressed appropriately. No student is
allowed to leave class early unless approved by the instructor before class. Leaving a class early will
count the same as one late arrival.
UNEXCUSED ABSENCES
Students are allowed NO unexcused absences during a Four Week Term.
If a student misses one class, then their grade drops one letter for each Unexcused Absence accumulated. There are no
make–up classes offered for Unexcused Absences. Therefore, if a student misses a class, the highest grade
they can attain is a “B.” Students may want to consider dropping the course if they miss one or
more classes.
EXCUSED ABSENCES
Students may only attain ONE Excused Absence during a Four Week Term.
Excused Absences are defined as:
15
Illness (bedridden) - All illness excuses will require a medical note.
Family emergencies as defined by the university.
Approved university academic activities with appropriate documentation.
EXCUSED ABSENCE PROCESS FOR APPROVAL
In order for a student to be granted an excused absence, they will need to submit an Excused
Absence Request Form to the Instructor and Dance Program Coordinator. These forms can be
obtained from the School of Theatre and Dance Office. If the request is for a pre-planned activity,
the form should be submitted at least one week prior to the event. For an emergency situation, the
form should be submitted as soon after the emergency as possible. An appropriate class assignment
and strict due date for assignment will be given to the student to make up for the Excused Absence.
Any excused absence request must be submitted with documentation to verify the circumstances for
which the student will miss/missed the class. Submission of the request form does not guarantee
approval of request and students should not expect all requests to be approved.
LATE ARRIVALS/OBSERVATIONS
Two late arrivals (after roll is taken) will count as one Unexcused Absence for all classes. It is the
role of the student to inform the teacher that they arrived late at the end of the class. If a student has
a problem arriving on time for class due to prior course location on campus, they should discuss the
situation with the instructor. Active participation is imperative in Four Week Term dance courses.
Therefore, observing class will not be permitted. If a student comes to class and does not
participate, this will be counted as one Unexcused Absence.
Music Rights
Obtaining music rights for choreography can be a very confusing and long process. As of right now
choreographers are covered for most uses of music by JMU’s blanket licenses with ASCAP, BMI,
and SESAC. If choreography is more theatrical (includes specific characters or dialogue) you may
need to obtain Grand and Master Rights to use the song. If a song isn’t covered by ASCAP, BMI,
or SESAC you will need to get permission directly from the composer or their administrators.
Individual music publishers may have different interpretations and definitions of the kinds of rights
you’ll need. Make sure to contact Performing Arts Administrative Specialist, Jonathan Stewart
for questions about music.
Useful Websites for Finding Music
ASCAP, BMI, and SESAC will have email and phone numbers for publishers or specific songs. For
ASCAP, use the ACE/Repertory link at the top right of their website. For BMI, use the Search
Repertoire box at the top right of their website. For SESAC, use the Repertory link in the upper
middle of the website.
www.ascap.com
www.bmi.com
www.sesac.com
www.emimusicpub.com
Some websites offer royalty free or small fee music.
16
Creativecommons.org
Freemusicarchive.org
www.pdinfo.com--Info on public domain music
www.freesound.com--Free effects and music-Fully usable and downloadable
www.freeplaymusic.com--Original compositions, copyright free
Social Media Sites (Facebook…Myspace…Twitter)
Complimentary Ticket Policy
Mainstage/Encore: If a student is credited within the program for a particular show/event, they may
receive 1 comp ticket for a single performance of said show. Students cannot receive comp tickets to
each performance unless there is sufficient reason and permission to do so.
Student Directed/Studio/EJM: Comp tickets are given on a case by case basis at the director or
student groups discretion. A ‘Comp List’ and program must be approved by the Performing Arts
Administration Specialist. No student or group should submit a Comp List directly to the box
office. If no comp list is provided/approved, no comp tickets will be given. Students may not
include names on the Comp List if they are not credited within the program.
Usher Guidelines
-
Ushers must have gone through a formal training to sign up.
Call time is 1 hour prior to the performance. Please be on time.
Business casual attire. No jeans, t shirts, shorts. Students that are not appropriately dressed
will be sent home.
No seats are reserved for ushers.
Ushers must stay for the entire show.
All ushers must store their belongings (including their phones) in a locked closet during the
show.
Ushers must remain at their posts before the show, during intermission, and after the show.
Cellphones and/or texting are not permitted in the venues.
STUDENT DANCE CONCERT POLICY
Auditioning Procedure for Student Dance Concert
A student interested in auditioning a piece for the Student Dance Concert must adhere to the
following procedures/policies:
-
Choreographers must be dance concentrators in the STAD at JMU.
-
Any dance concentrator may perform in the Student Dance Concert.
-
A STAD major concentrating in theatre or musical theatre may perform in the Student
Dance Concert if enrolled in a dance technique course the same semester as the concert.
17
-
Choreographers must have obtained music rights for any music used for the piece prior to
auditioning. Refer to copyright procedure section for further information on music rights.
-
Once music rights are obtained, print the email confirmation or other documentation (could
include a screen shot of ASCAP, BMI, or SESAC website showing the music is covered by
them) and then acquire the Performing Arts Administration Specialist (Jonathan Stewart)
signature as proof that rights have been granted. Jonathan’s office is located in the STAD
main office.
-
A choreographer without music rights and the Performing Arts Administration Specialist’s
clearance may NOT audition the piece.
-
During the audition, only the performers and choreographer (s) of the auditioning piece may
be in the room. Choreographers and performers for other pieces may NOT watch the
auditioning pieces.
Adjudicator Panel for the Student Dance Concert
The two student directors for the Student Dance Concert, selected through the Contemporary
Dance Ensemble class, choose two dance concentrators per academic year from the STAD to
adjudicate auditioning pieces for submission into the Student Dance Concert. For example, two
freshmen, two sophomores, two juniors, two seniors and the two student directors serve on the
adjudication panel. The student directors may choose up to two additional students in the theatre
and/or musical theatre concentrations to serve on this panel. Panel members should NOT be
auditioning or performing in pieces when possible.
Responsibilities
The students that serve on the Adjudicator Panel must take their job seriously. Students are asked
to assess the pieces based on originality, movement vocabulary, execution and performance quality,
title and costuming. Panel members are asked to provide thoughtful, insightful feedback to
choreographers by completing a Student Dance Concert Audition Panel Feedback Form for each
choreographer. To make the process as objective as possible, panel members complete a Student
Dance Concert Audition Panel Scoring Form for each piece. The scores are tallied and then
averaged based on the number of scoring panel members. Panel members in a piece as either the
choreographer and/or performer are removed from the scoring process for the piece they are
associated with. The Student Dance Concert Audition Panel Feedback Form for Choreographers
and the Student Dance Concert Audition Panel Scoring Form can be found in the Appendix.
During the run of the Student Dance Concert:
-
A choreographer with work in the concert may NOT sit in the house to watch his/her work.
He or she may watch the piece from backstage as long as it is not disruptive.
-
A cast member cannot sit in the house without a ticket.
18
-
A performer may NOT purchase a ticket for him/herself to sit in the house. It is
unprofessional for a performer to sit in the theatre before or after his/her performance.
-
A cast member may NOT purchase a ticket for him/herself for a Friday and/or Saturday
night performance. If the concert has not been sold-out by 7:45pm, a cast member may
purchase a ticket for the Friday and/or Saturday performance.
Checklist for Student Directors of Dance Concerts in Estes Center
As the director of this concert, you are in charge of the smooth running of the entire process leading
up to the performance. Work closely with the Student Technical Director to avoid conflicts and
make sure every student worker is aware of their responsibilities. If you have any questions, contact
your Faculty Advisor.
4 Weeks Out
o Set audition dates (set by FACULTY).
o Post dates on the hallway bulletin board with a sign-up sheet for choreographers. Make sure
you include music right requirements.
o Obtain running crew list from Studio Technical Director.
o Choose audition panel (ideally one student representative from each class).
o Supervise any funding procedure for costumes, photo shoots, or expenses occurred by the
performance that will be paid out of dance area funds. These expenses must be approved
beforehand by the Faculty Advisor.
o Create a program order with assistance from studio technical director 1 week after audition.
2 Weeks Out
o Supervise Poster Design _______________(Name of Student Poster Designer).
o Supervise Poster Title. If a title for the concert is not decided on by 2 weeks out, Student
Directors will title the concert Fall Student Dance Concert or Spring Student Dance
Concert depending on the semester.
o Refer to Poster Policies in the FORBES CENTER POLICIES section
o Arrange Press Release.
o Hand-out program information forms to all choreographers.
1-2 Weeks Out
o Supervise execution of program ____________(Name of Student Program Designer).
o Arrange technical rehearsals with technical director and make a clear schedule to hand out to
choreographers to announce to dancers.
o Contact The Breeze about doing a story. Send them a Press Release.
10 Days Before Concert
o Have posters stamped at Warren Campus Center and posted throughout campus.
REHEARSALS AND PERFORMANCES
o Supervise execution of bulletin board or easel display for the hallway during the concert.
o Supervise video recording set-up for dress rehearsal and 1st night performance.
19
o Supervise reception set-up and arrange for reception person to meet with dance secretary for
proper system funding.
o Work with Student Technical Director to ensure that the studio space is clear and clean and
ready to use on the next day of classes.
o Notify the Faculty Advisor or other dance faculty immediately of emergency situations
during rehearsals and performances including injuries and damage to space.
o Assist Faculty Advisor in an emergency.
FORBES CENTER POLICIES
Lost and Found
There will be three permanent locations in the Forbes Center for Lost and Found collections.
1)
The Forbes Center Box Office – for valuables, cell phones, jewelry found in all performance
venues following public performances and in all locations throughout the Center. The
Housekeeping staff has been instructed to return these items to the box office with a note attached
re: where the item was found and when. The house managers will walk through the performance
venues (Recital Hall, Concert Hall, Mainstage Theatre) at the end of every performance and collect
any found objects.
For the Studio Theatre, the house manager should check the space after every performance. If they
find valuables, they should bring them to the Forbes Box Office. If they find clothing, backpacks,
and other items, they should deposit them in the receptacle on the theatre/dance side (see below).
2)
Theatre/Dance Side adjacent to vending downstairs behind the Studio Theatre – A large
blue receptacle will be located near the vending area downstairs near the Studio Theatre. This will
be labeled Lost and Found. Clothing, books, backpacks and other “non-valuables” found
throughout the Theatre/Dance side including classrooms, dressing rooms, green rooms, rehearsal
rooms, dance studios and other spaces will be put into this receptacle. Students can then search
through these items to find their property. If the item is not there, please encourage students to
check the Music side Lost and Found receptacle. If they still haven’t found the item, then they
should assume it was not found by housekeeping.
3)
Music Side located near the vending area downstairs – A large blue receptacle will be located
near the vending area downstairs. This will be labeled Lost and Found. Clothing, books, backpacks
and other “non-valuables” found throughout the Music Side including rehearsal rooms, practice
20
rooms, green rooms, etc., will be put into this receptacle. Students can then search through these
items to find their property. If the item is not there, please encourage students to check the
Theatre/Dance side Lost and Found receptacle. If they still haven’t found the item, then they should
assume it was not found by housekeeping.
All items found in the Grand Lobby will be sent to the Music side Lost and Found.
All items found in the Mainstage Lobby will be sent to the Theatre/Dance side Lost and Found.
Every two months, all unclaimed lost and found items will be collected by housekeeping and be
given away to local charitable organizations like the Salvation Army and Mercy House.
Poster Policies
Choreographers are required to work with the faculty Performing Arts Administrative Specialist on
matters of publicity and to submit posters, programs and any other material for approval.
All School of Music and School of Theatre and Dance posters (including those for Experimental
Theatre and other Studio productions) must contain the following elements in order to be approved:
-
An official Forbes Center logo (one of four)
-
A James Madison University word mark (as found on the
http://www.jmu.edu/identity/wordmark.shtml web page)
-
Name of performance and playwright, in compliance with the publisher’s mandates with
respect to size of fonts, specific credits and other such conditions outlined in the contractual
obligations such as: “produced by special arrangement with…”
-
Pre-approved photo or imagery associated with or designed for the performance
-
Date, time and location of performance (Example below)
October 5, 2013 @ 8p.m.
Earlynn J. Miller Dance Theatre
Forbes Center for the Performing Arts
-
Ticket prices (established by the Forbes management and announced annually)
for Adults
for JMU Faculty & Staff/Seniors (62+)
for Youth (18 & under)
for JMU Students with JAC card
*NOTE: Ticket prices for 2011 studio productions are $6 for dramas and
$8 for musicals
-
Ticket information
For tickets:
www.jmu.edu/JMUarts
21
(540) 568-7000
Forbes Center Box Office
147 Warsaw Avenue
Harrisonburg, VA 22807
-
A contact email address
-
Disclaimer language for Theatre and Dance posters (i.e., mature themes, mature language,
violence, sexual content, suggested nudity)
ESTES CENTER (EC) DANCE STUDIOS REHEARSAL SIGN-UP POLICY
Dance majors within the School of Theatre and Dance (STAD) may sign up for 3 hours of studio space per
week, a week at a time. Students enrolled in the Contemporary Dance Ensemble and/or Composition I or II
courses, may sign up for 3 hours of studio space per week for the entire semester.
Musical Theatre and Theatre majors within the School of Theatre and Dance that are not enrolled in a dance
course may sign up for 1 hour of studio space per week WITH PERMISSION FROM THE DANCE
PROGRAM COORDINATOR (Kate Trammell).
Students enrolled in dance classes may sign up for 1 hour per week TO WORK ON DANCE
COURSE MATERIAL ONLY.
THE STAD DANCE STUDIOS ARE NOT FOR ACTIVITIES OF NON-DANCE PROGRAM
STUDENT GROUPS, SOCIAL ORGANIZATIONS, AND OFF-CAMPUS PERFORMING OR
NON-PERFORMING ENSEMBLES. VIOLATIONS OF THE STATED POLICY WILL
RESULT IN THE OFFENDERS BEING RESTRICTED FROM FUTURE USE OF THE
SPACE. VIOLATING THE POLICY MAY ALSO BE CONSIDERED AN HONOR CODE
VIOLATION.
Instructions for Sign-up
In order to sign-up for studio space, please come to the STAD office and request the studio sign-up
book from Nancy Kupec, the STAD administrative assistant, sitting behind the large desk in the
office. When you sign up for space, please put your full name and phone number on the time slot
you are requesting. The time frame to sign-up is from 9-3, Monday-Friday. No one may sign up for
space when Nancy is not at her desk. Also, if you are willing to share your space, place a slash next
to your name and phone number so another person may sign up for space.
If you sign-up for space and for any reason cannot use it, PLEASE remove your name or call Nancy
at 86511 or email her a kupecnl and ask her to remove your name so that other dancers may use the
space.
22
All users of the EC Dance Studios are expected to respect the facilities and leave the spaces
undamaged and clean. Do not remove anything from the studios. All STAD equipment may not be
used without prior permission from dance faculty including the tower sound/computer/video
systems in the studio, lighting system, and pianos. Boom boxes located in the studios are available
for use by students.
Students should be aware of their personal safety during the use of the studios during evenings and
on weekends. Students are encouraged to work in pairs.
TUTITION AND SUMMER SCHOLARSHIPS
In the spring, dance concentrators may apply for partial tuition and/or summer study scholarships.
Tuition
A dance concentrator may apply for a tuition scholarship if they have a cummulative grade point
average of 3.0 Applications are posted outside the Earlynn J. Miller Dance Theatre bulletin board.
Summer Study
A dance concentrator may apply for a summer study scholarship if they have a dance concentration
grade point average of 2.5. Applications are posted outside the Earlynn J. Miller Dance Theatre
bulletin board.
FACILITIES
The School of Theatre and Dance is almost exclusively housed in the Dorothy Thomason Estes
wing of the Forbes Center for the Performing Arts. This brand new facility provides the school
with three performance venues (Mainstage, Earlynn J. Miller Dance Theatre and Studio Theatre),
and three dance studios.
Dance Studios
Earlynn J. Miller Dance Theatre, Estes Center 1270
The Earlynn J. Miller Dance Theatre Performance Theatre is a 200 seat multi-use performance space
used for both dance classes and dance performances. A shock absorbent hardwood floor spans the
entire space. The theatre is equipped with a motorized retractable seating area, allowing the space to
rapidly convert from classroom to performance space. The space has a dedicated complement of
"marley" type flooring providing a 30’ x 60’ dance surface. The space hosts 3 student dance
concerts, and a number of guest artist performances.
Dance Studio, Estes Center 1299
23
This large dance studio is used for dance classes and rehearsals for dance concerts, as well as serving
as a choreography room for Mainstage musical theatre dance rehearsals. The studio has a shockabsorbent floor covered with a permanent marley-type surface and features a 48’ mirrored wall with
retractable curtains. A media console complete with a digital projector, DVD/CD player, sound
system, and automated projection screen allows interface with laptops, iPods and external playback
devices for multi-media presentations in classes and rehearsals. It also has a dedicated
Boston/Steinway piano for classes and rehearsals.
Dance Studio, Estes Center 1298
This small dance studio is used for dance classes and rehearsals for dance concerts. The studio has a
shock absorbent floor covered with a permanent marley-type surface and features 48’ mirrored wall
with retractable curtains. A media console complete with a digital projector, DVD/CD player,
sound system, and automated projection screen allows interface with laptops, iPods and external
playback devices for multi-media presentations in classes and rehearsals. It also has a dedicated
Boston/Steinway piano for classes and rehearsals.
Locker Rooms
Students are assigned lockers in the dance wing area at the beginning of freshman year during the
first Dance Concentrators meeting for the fall semester. Freshman choose the smaller lockers. The
larger lockers are reserved for the upper classman. Upper classman must re-sign the locker sign-out
sheet during the first Dance Concentrators meeting held at the beginning of the year. At this time,
upper classman may choose to keep a previously chosen locker, choose a new one or upgrade from
a smaller locker to a larger locker. Students are required to clean and clear-out lockers by the end of
the second semester. Any locks must be removed and contents must be removed. If locks are not
removed, the will be cut off and all contents thrown away or given to Goodwill.
Offices
The School of Theatre and Dance main office is located on the second floor on the east side of the
building, along with all STAD faculty offices. Nancy Kupec, Administrative Assistant, provides
access to the studio sign-out book and collects completed Excused Absence Forms.
EMERGENCY INJURY PROCEDURES – DANCE STUDIOS
Severe Injury Procedure
In case of an injury to a student during classes that meet during normal TAD office hours the
instructor in charge of the class will notify the TAD main office that an injury has occurred and then
will call Campus Emergency at 540-568-6911. Campus emergency will dispatch an ambulance and
campus police. Campus emergency will assess the injury and provide necessary care. The faculty
member in charge of the class will also need to report the injury and its treatment process directly to
the TAD main office.
24
When an injury occurs during a course that meets after TAD office hours, such as performance
ensembles, the instructor should follow the above procedures and notify the TAD office the next
day.
In case of an injury to an instructor during classes that meet during normal TAD office hours a
student from the class will notify the TAD main office that an injury has occurred and the office will
call Campus Emergency at 540-568-6911. The office staff will also contact another dance faculty
member or staff to go to the studio to supervise the situation. Campus emergency will dispatch an
ambulance and campus police. Campus emergency will assess the injury and provide necessary care.
The faculty member assisting the injury situation will also need to report the injury and its treatment
process directly to the TAD main office. When an injury occurs to an instructor during a course
that meets after TAD office hours, such as performance ensembles, a student should follow the
above procedures and the faculty member or student should notify the TAD office the next day.
In case of an injury to a student during rehearsals that meet outside TAD office hours the
choreographer or other student will call Campus Emergency at 540-568-6911. Campus emergency
will dispatch an ambulance and campus police. Campus emergency will assess the injury and
provide necessary care. The choreographer or student in charge should also attempt to contact the
Dance Program Coordinator or other dance faculty to inform them of the situation. The
Coordinator or faculty member will assess the situation and respond accordingly if they are needed
to be present to handle the emergency. The next day the Coordinator or faculty member contacted
will report the incident to the TAD main office.
Minor Injury Procedure
In normal dance courses and rehearsal activities minor injury situations may occur that do not
require campus emergency dispatches. These include situations such as minor cuts, abrasions,
bruises, slight sprains, soreness and fatigue. There is a fully stocked first aid kit located within the
Dance Program Production Room. There are ice packs located in the refrigerator in the Production
Room.
There are also first aid kits and ice located within the TAD Scene Shop and Green Room.
The following procedures should be taken by the student or faculty member when minor injuries
occur:
Rest: Stop using the injured area as soon as you experience pain or soreness. Sit down and
assess the injury.
Ice:
If there is inflammation or bruising, apply ice immediately to the injured area for
10 to 15 minutes.
Cuts:
All cuts or abrasions that release blood should immediately be cleaned, swabbed with
antiseptic lotion then covered before returning to dancing.
Elevation:
Raise the injured part to decrease the blood supply to the injured area.
Injury Involving Open Blood Wound
25
In normal dance courses, rehearsal activities, and performances minor injury situations may occur
that do not require campus emergency dispatches but involve cuts or abrasions that have open
blood wounds.
Only the person with the wound should take actions to clean off the blood from studio floor and on
the wound. If the person with injury is not able to do the clean up, another person may do so but
first must put on sterile latex gloves before attending the situation. There is a fully stocked first aid
kit located within the Dance Program Production Room. There are also first aid kits located within
the TAD Scene Shop and Green Room. All include sterile latex gloves. Blood should be
completely removed off any surface with soap and water on a paper towel and disposed of
immediately in the garbage. The student with the injury should cover wound with a band aid or
gauze and tape to prevent the wound from opening again.
In the case of an injury with severe blood flow, any one working with the injured student should
first put on sterile latex gloves and work with the injured to stem the flow of blood. Then the above
policy for severe injury should be followed as written above.
26
APPENDIX
Student Dance Concert Audition Panel Feedback Form for Choreographers
Title of Piece: __________________________________________________
Originality
Comments:
Movement Vocabulary
Comments:
Execution and Performance Quality
Comments:
Title
Comments:
Costuming
Comments:
Additional Comments:
27
Student Dance Concert Audition Panel Scoring Form
Title of Piece:
1.
1
Score:
2
3
4
5
2.
1
2
3
4
5
3.
1
2
3
4
5
4.
1
2
3
4
5
5.
1
2
3
4
5
6.
1
2
3
4
5
7.
1
2
3
4
5
8.
1
2
3
4
5
9.
1
2
3
4
5
10.
1
2
3
4
5
11.
1
2
3
4
5
12.
1
2
3
4
5
13.
1
2
3
4
5
14.
1
2
3
4
5
15.
1
2
3
4
5
16.
1
2
3
4
5
17.
1
2
3
4
5
18.
1
2
3
4
5
28
Policy for Dance Participation in the Contemporary Dance Ensemble (CDE)
Adopted as Dance Program Policy in May, 2014
Fall Semester
CDE members may participate in up to three dances. This includes student, faculty and guest artist
work being created for the CDE concert.
Spring Semester
CDE members may audition for dances including faculty and guest artist work if after the CDE
concert selection they are in less than 3 dances.
Choreography
There will be no limit placed on the number of dances that a CDE member may choreograph.
However, if the faculty determines that no limits on student choreography is having a detrimental
effect on student physical and mental health, academic performance, professional
behavior/attitudes, and the ability to live up to Dance Program commitments, limits on
choreography will be initiated by the dance faculty.
Special Residencies
All dance majors may audition for special residencies (such as the Tim Miller and Dairakudakan
residencies) if they meet the criteria set out for the residency and if they obtain permission from the
directors of the companies they are in. Directors will not grant permission if the special residencies
conflict with rehearsals (including rehearsals for student works) and activities and/or events
scheduled for that company.
29
References and Letters of Recommendation
Making Requests of Faculty
Faculty are here to support your efforts to pursue your career goals. We are able and willing to serve
as references and write letters of recommendation for you provided you make requests in a
respectful and timely manner. Please follow the guidelines found in this document when requesting
letters of recommendation for jobs, internships, graduate schools, summer study, and/or other
opportunities that require references.
Before making a request, consider your choice of references carefully. First, consider the type of
position or program for which you are applying. For instance, if you are a double-major applying
for a job as a computer programmer, is your theatre or dance professor the best person to ask for a
reference? Additionally, just because you have taken a class or worked with a faculty member does
not mean that individual will be able to provide a positive reference for you. Take a moment and
ask yourself what mutual experience you have with the faculty member. Did you do well in her/his
class? Are you a dependable employee or crew/cast member? Does the faculty member actually
know you? If there is any doubt in your mind, the best thing to do is to ask the faculty member
prior to making the request: “Do you believe you would be able to write a positive letter for me?” It
would be professionally unethical for the individual to say “yes” and then write a scathingly negative
letter for you. If we are not able, for whatever reason, to write you a positive letter or serve as a
positive reference, then we will politely suggest that you ask someone else instead.
Requests for Letters of Recommendation:
In order to assist faculty in the writing of an effective letter you should provide the following
information:
1.
Complete title of the job or graduate program and a brief description of probable
responsibilities and/or a description of the program of study.
(Publicity Intern -- “I'll be assisting the PR Director,” or, “I'll be working on PR with a team of
interns,” or “I'll be responsible for all PR,” or “I'll probably be making copies, filing, and picking
up dry cleaning.” MA in Arts Administration – “I’ll be taking a lot of business classes and
interning in their theatre,” or “I’ll be focusing on performing arts administration with an
emphasis on artistic leadership.”
2. Name of company/institution and web address. If the company is large, be sure to indicate
for which division or program you would be working.
3. A copy of your current resume. You may also be asked to provide an unofficial copy of
your current transcript.
The combination of these two items helps us to see “the big picture” of you so we can write a
more effective letter without accidentally leaving something out.
30
4. Name and title of person to whom we should address the letter or who may be
contacting us to check your references. Look carefully in your materials for this
information; if there is no specific person, we will address the letter “To Whom It May
Concern,” but the letter will be more effective if it is addressed to a specific person.
Additionally, we may KNOW THE PERSON, which is obviously to your advantage.
5. Deadline for the application and your requested date for completion of the letter.
6. Method that the letter should be delivered (by you in one package or separately by from us
or electronically via e-mail or a website) and relevant address (e-mail, web, or US mail),
stamped/addressed envelopes if necessary, etc.
7. Qualities or accomplishments that you might suggest be highlighted as part of your
recommendation. In other words, explain what makes you a good fit for the position or
graduate program.
8. Ask your recommender for additional requirements she/he may have for writing the letter.
Other factors to keep in mind . . .
A. Writing a good letter of recommendation takes time. Try to make the request 3 or 4 weeks
(or more) ahead of the due date when the situation allows. Sometimes job opportunities
come up on short notice; that is understood. It will benefit you to give your recommender
as much time as possible to write your letter.
B. Be sure to follow up with the faculty member to be sure she/he has all the information
she/he needs to write a good letter.
C. If the due date is only a day or two away, and you have not heard that the letter is done,
please e-mail and/or call to remind us. Like other important things, mentioning it in the
hall or in class is not a good way to be sure it gets remembered.
D. Regardless of whether we give the letter to you or whether we send it in directly, we deliver
hard copies of letters in sealed envelopes, often with our signature across the seal of the
envelope, or we e-mail letters directly to the appropriate recipient without copying you on
the e-mail. This is done to assure the people to whom you are applying that this letter was
written confidentially without you having the ability to read it. This gives the impression
that the recommender was able to be more honest and forthright about you since we wrote
the letter thinking you would never see it. As a result, the letter has more gravitas, and its
contents will be taken more seriously than if we delivered an open letter to you.
Requests to Serve as a Reference:
Some applications only require that you provide a list of references and their contact information as
part of your application. Companies and organizations then write, call, or e-mail us to request our
input about you; usually they then request this information in an informal, conversational way, but
sometimes they then ask us to provide a letter. As such, in order to prepare us to serve as a good
reference, follow items 1-4 of the guidelines above in order to prepare faculty to serve as an effective
reference. Additionally, please do the following:
31
1. On your application or resume where you list your references, include the faculty
member’s name, official title, school address, office phone number, and, if required, email address. If you do not know an official title, you should ask us. NEVER provide our
personal addresses or home/cell phones.
2. Give us an idea of when we might expect to be contacted by the organization or
company. If we will be out of town or not available for a period of time, you will want to be
aware of this and, in some cases, notify the people who will be trying to contact us.
3. Make sure you never list us as a reference unless and until you have asked us first and
provided the requisite information. We will be ineffective in advocating for you unless we are
prepared to receive the call/e-mail.
9/10/15
32