Student Guidelines Part I: Undergraduate Students Section

Part I: Undergraduate Students Section

Part I, Section 1: Program Mission Statements

Part I, Section 2: Student Responsibilities

Part I, Section 3: Instructors' Responsibilities

Part I, Section 4: Tips for International Students

Part I, Section 5: Career Related Suggestions

Part I, Section 6: Academic Standards

Part I, Section 7: Cheating and Plagiarism

Part I, Section 8: Advising, Course Planning and Registration

Part I, Section 9: Performance/Technical/Management Opportunities

Part I, Section 10: Program-Specific Requirements and Information

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Part I: Undergraduate Students Section

The purpose of this section is to help you make the transition to college by informing you of rules and ethics of college life, as well as helping you succeed the following years as a theatre/ dance student.

Please visit the official Kent State University Catalogs and the Policy Register, which pertain to all of undergraduate students at Kent State University.

For detailed requirement of the School of Theatre and Dance visit: http://www.kent.edu/theatredance/important-links-and-forms

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Part I, Section 1: Program Mission Statements

Mission Statement of the School of Theatre and Dance 

We foster an environment where passion and opportunity meet, training students to enter the dynamic disciplines of theatre and dance.

The School of Theatre and Dance provides students with liberal and professional education preparing them for careers in the performing arts as artists, scholars, and educators. The School of Theatre and Dance production season serves as the primary laboratory for the development of student artistic expression and technique. As performing arts, theatre and dance reflect and communicate cultural values and identities intrinsic to human existence. As such, the study of theatre and dance is central to the humanities curriculum. The school aligns with the goals of the College of the Arts by offering integrated learning experiences and research, blended with professional practice and academic investigation. The School is fully committed to diversity in its faculty and environment. The School contributes to the cultural landscape of the university and surrounding community by offering diverse programming and productions in the disciplines of theatre and dance.

Program Mission of the B.F.A. Dance Performance 

Dance Performance develops technically sound, intellectually diverse and creatively expressive dance artists and educators who can contribute significantly to the art form and society. The curriculum provides students with opportunities for strong and varied technical preparation in modern dance forms, classical ballet, jazz styles, improvisation and composition as well as opportunities for performance and the presentation of original choreography. The program also provides students with experiences in other art forms and disciplines, with required courses in music and anatomy. 

Program Mission of the B.A. Dance Studies 

The Bachelor of Arts in Dance Studies provides students who have previous dance experience and a strong interest in another subject area, within or outside of the arts, the opportunity to combine the two areas for future creative and professional research. The curriculum provides students with a solid foundation in dance techniques and dance academics while allowing the flexibility to incorporate another area or minor. The degree program encourages exploration of areas that can be combined with dance. 

Program Mission of the B.A. in Theatre 

The Bachelor of Arts in theatre studies gives students an opportunity for study in all aspects of theatre and its relationship to other liberal arts studies. This program serves students who seek a wider range of possibilities to fulfill individual creative goals, whether as theatre artists, scholars, educators, and/or contributors in related fields. Students receive thorough grounding in theatre history and theory and learn imaginative and critical thinking, the process of making theatre, and leadership skills. Each student may choose a concentration of elective choices in one of four areas: Performance, Production, Theatre Management or Theatre and Society. The program prepares students to apply their knowledge and learned skills to career choices in the 21st century and in the process enrich their own lives in their chosen communities. 

Program Mission of the B.F.A. Theatre Studies-Design and Technology Concentration 

The Bachelor of Fine Arts in Design and Technology prepares students who wish to specialize in a specific area of theatre and requires successful completion of an annual portfolio review. Students must demonstrate continued progress through annual portfolio reviews, course work and production responsibilities. Design/technology fosters the artistic development of theatre designers, technicians and artisans so they can successfully enter the profession and /or its related fields. Students study in both traditional theatre practices and new methods, materials and technologies in order to become flexible, dynamic and creative collaborators in the theatre arts. B.F.A. design/technology students are expected to complete a significant production assignment each semester. The B.F.A. candidate is expected to develop theatre skills equal to entry-level positions in the profession or as required for admissions into Masters of Fine Arts programs.

Program Mission of the B.F.A. Theatre Studies - Musical Theatre Concentration 

The Bachelor of Fine Arts in Musical Theatre is designed for students who wish to specialize in the specific area of musical theatre, and requires successful completion of an audition for the musical Theatre and Dance degrees. Musical Theatre offers students interdisciplinary academic and creative experiences that prepare them to be working artists in the field of musical theatre. Students develop practical skills in music, dance and acting in conjunction with concentrated work in theory, history and liberal arts. Students must demonstrate continuing progress and are thus evaluated annually through auditions, coursework and production responsibilities. The B.F.A. candidate is expected to develop theatre, vocal and/or dance skills equal to entry-level positions in the profession or as expected for admission into Master of Fine Arts programs. 

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Part I, Section 2: Student Responsibilities

1. BASIC LISTS OF EXPECTATION

The following are offered as guidelines to help you understand what are expected of you as Kent State University undergraduate students.

• Be attentive and alert to learning. Have respect for the material, the professor and your fellow students.
• Be civil to faculty and address them appropriately.  
• Perform assignments in a timely manner 
• Come to class on time and leave only at the conclusion of class
•  Attend class on a regular basis 
• Demonstrate honesty and intellectual integrity in academic pursuits 
• Be courteous to fellow students 
• Contribute to classroom discussion 
• Take levels of classes appropriate to skills 
• Maintain basic skills at college level 
• Do not come to class under the influence of any substance 
• Take advantage of office hours and keep appointments as made 
• Think critically and creatively 
• Take responsibility for self-discipline and motivation 
• Act responsibly 
• Develop effective oral and written communication skills 
• Familiarize yourself with the syllabus 
• Keep questions or comments pertinent to class discussions
•  Do not come to class if your illness will affect others
•  Seek help as needed  Do not disrupt class or harass the teacher
•  Support diversity  Notify the instructor of a long absence
• e  Inform instructor if withdrawing from class  Seek your adviser at appropriate time
• s  Familiarize yourself with the Catalog
•  Make certain you have access to the course’s books and supplies
•  Do not text message or check your phone during class
•  Turn OFF all cell phones, pagers, etc. in class
•  Dress appropriately

2. COMMUNICATION 

• Check your KSU e-mail. Instructors will use your KSU e-mail address to communicate. Empty it regularly so it doesn’t get over quota. If necessary, forward your KSU e-mail to your personal account. http://helpdesk.kent.edu/top/WFFA/fmail/. 
• Make sure you check your Blackboard courses for announcements and posts.
•  Check the Production Call Board outside the Green Room for audition, rehearsal and performance notices.
•  Dance students are required to check their callboards.
•  Check the Bulletin Board outside the Theatre Office for School notices.
•  Read all of announcements sent from The School of Theatre and Dance ListServ.

3. CREATING A POSITIVE LEARNING ENVIRONMENT

Meet all deadlines and responsibilities as assigned. Be on time for all work calls, rehearsals, performance calls and classes. If, for any reason, you are not able to come to a scheduled class or production session, e-mail and call your instructor, supervisor or stage manager to let them know in advance that you will be late or absent.

Come to all class, rehearsal and performance sessions fully prepared and ready to participate.

Be generous in your participation, support the efforts of others and be polite and courteous to your fellow collaborators. When one succeeds, you all succeed.

1. Accept artistic responsibility and do not blame others for your failures. Accept that you will not always succeed the first time but will learn so that you will succeed the next.
2. Because theatre is created in a public forum, understand that public criticism of your work is part of your education as an artist and a professional. Accordingly, understand that a note from a director (or faculty member) is not a personal criticism.
3. Be patient and avoid temperamental outbursts and defensive or argumentative behavior. Give and take criticism in a positive manner. Do not engage in caustic criticism of another's work in order to increase your own prestige.
4. Observe backstage courtesy and adhere to and support the rules of the theatre in which you work.
5. Understand that the most respectful way to deal with problems is by direct communication with your faculty and student colleagues.
6. Avoid behavior that is detrimental to the well-being and reputation of yourself and others, and forego social activities that interfere with or compromise your ability to participate in rehearsals and work calls.
7. Accept the director's vision of the production as a whole. Understand your role is as a portion of that whole and that your vision is subordinate to the director's.
8. Seize the opportunity to learn through additional challenges.

ATTENDANCE

University Attendance Policy

You are required to attend every class. Students are responsible for following the procedures and policies of the respective offices from which they are seeking assistance, e.g. student accessibility services, the student ombuds, etc. In all instances of absences, students shall be responsible for all material covered in class during their absence. Students are responsible for completing any makeup work resulting from their absence. In no case is an excuse from class to be interpreted as a release from class responsibility.

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Part I, Section 3: Instructors' Responsibilities

It is important to know what students should expect from their professors. Please consult your instructors if you have any questions which would pertain to the following.

• Regular and reasonable office hours consistent with departmental policy and the needs of students.
• Provision of syllabus, including but not limited to the following:
  • a statement on course learning objectives and expectations;
  • a general calendar indicating the substance and sequence of the course and important dates and deadlines;
  • a clear statement of grading policy and grade weighting.
  • an invitation to students who require accommodations for a disability
• Punctuality in starting/ending classes. 
• Reasonable notification of and provision for faculty absence.
• Adequate notification of assignments, examinations, changes in syllabus. 
• Provision of reasonable make-up procedures for legitimately missed exams or other graded work. 
• Evaluation of work with adequate and constructive comments in either written or oral forms. 
• Evaluation of work within a reasonable time frame that allows the student to benefit from the instructors comments prior to the next assignment. 
• The teaching and instruction of classes has also been addressed by the Faculty Senate, which suggests that professors demonstrate:
  • that the content and assignments of the course as well as the specific teaching approach chosen are appropriate to the level, objective, and nature of the course being taught. 
• An effective use of class time. 
• Adequate preparation.
• Testing/grading practices that are directly related to the course content and assignments. 
• Current knowledge of subject matter. 
• An ability to communicate subject matter to students. 
• Courtesy, civility, and respect in their interactions with students. 
• The establishment of an open learning environment, wherein questions, comments, and interaction are encouraged. 
• Nondiscriminatory treatment of students, regardless of race, color, gender, or creed; or religious, ethnic, or social background or sexual orientation.
• During the last few weeks of each semester, students are given "Student Surveys of Instruction" forms. The evaluations are completely anonymous. Yet, you should not use evaluations to vent your emotions in an inappropriate manner. 10 Professors do read these results, and try to incorporate their student's suggestions into their teaching. You need to take evaluations seriously since your evaluations will be read by administrators, including the school director to measure the effectiveness and quality of teaching of each instructor.

Part I, Section 4: Tips for International Students

Explain to your professor that you are having difficulty understanding the language. Ask her/him to speak slowly, and to repeat the most important points of the lecture. You may also ask her/him to clarify the main idea or important point of the lesson at the beginning of the class.  If you do not understand a word or phrase ask your professor to explain it to you another way.  Ask the professor if it is OK to tape record the lecture so you may listen to it again outside of class.  Use various resources for students.  Keep communications with the Global Education’s Office.

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Part I, Section 5: Career-Related Suggestions

The Career Services Center The Career Services Center offers advising about career concerns, resume consultation, and the Career Research Library. Although your theatre professors may be a better resource for career counseling in terms of production and performance-track students, the Career Center is still a good resource for identifying some potential "back-up" options. The Career Center can be found online at http://www.kent.edu/career, or you can call them at (330) 672-2360.

Choosing Courses Please refer to your GPS Roadmaps and consult with your advisor before registering for classes. All undergraduate students must meet with both their Academic and faculty advisors before their registration for classes.

Web Resources:

http://caps.uchicago.edu

http://www.monster.com/career-advice/

http://www.internshipprograms.com

http://www.fredsternfeld.com

http://www.backstagejobs.com

http://www.setc.org

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Part I, Section 6: Academic Standards

The College of the Arts requires that all students maintain an overall grade point average (G.P.A.) of at least 2.00, a 2.25 G.P.A. in their major (and sometimes minor) coursework, and an overall 2.50 G.P.A. for those students who are seeking teaching certification through the College of Education. Additionally, in the School of Theatre and Dance, any B.F.A. candidate who fails to maintain a 2.50 G.P.A. may be dropped from the program. Students on academic probation are not allowed to participate in Kent Theatre/Dance productions.

Grades  

• A The grade A denotes excellent scholarship. The very best.
• A- A little less than excellent, but still pretty good 
• B+ In between “good” and “excellent. 
• B The grade B denotes good performance. 
• B- A little less than good.  C+ A bit better than average but not quite “good.”
• C The grade C denotes fair or average performance.  
• C- Less than “Fair.”
• D+ Only marginally better than poor.
• D The grade D denotes poor (unsatisfactory but passing) performance
• F The grade F denotes failure
• AU The mark AU denotes that students have registered to audit a course.
• IN The administrative mark of IN (incomplete) may be given to students who have completed at least twelve weeks of the semester (if they are currently passing) and are unable to complete the work due to extenuating circumstances. 
• IP The grade IP (in progress) is given to students to indicate that research, individual investigation or similar efforts are in progress and that a final grade will be given when the work is completed.
• NF  The NF (never attended F) grade denotes that students never attended one class session nor did the students formally withdraw from the course. The NF grade will count as an F in computing grade point average.
• NR A mark of NR indicates the instructor did not submit a grade.
• S The grade S denotes satisfactory completion of a course in which a regular letter grade is inappropriate. The credit hours are awarded but are not considered in computing grade point average.
• SF The SF (stopped attending F) grade denotes that students stopped attending the course and did not formally withdraw. The SF grade will count as an F in computing grade point average and must be accompanied by a date of last attendance in the course.
• U The grade U denotes unsatisfactory performance in a course for which a regular grade is inappropriate. Credit hours are recorded as credit hours attempted, and the grade will be counted as an F in computing grade point average.
• W The mark W is given for university or course withdrawals. This mark is not used in computing grade point averages. 
• Y The grade Y denotes a passing grade in a pass-fail course or in a course in which students have elected the pass-fail grading option. The credit hours are not considered in computing grade point average. 
• Z The grade Z denotes failing performance in a pass-fail course or in a course in which students have elected the pass-fail grading option. The credit hours are not considered in computing grade point averages. 
• Make sure you understand the grading and attendance policy of each instructor. read and keep your syllabus. Keep all work handed back to you.

Grade Change Policy

Once grades are submitted, they are final and will not be changed except in cases of administrative error. Grades will not be changed by allowing the students to do additional work or by using criteria other than those applied to all students in the class. In the event of a possible administrative error, the student must contact the instructor as soon as possible after receiving the grade. If the instructor is not available, the department/school chair should be contacted.

Withdrawal from a Course

Visit: http://www.kent.edu/policyreg/operational-policy-and-procedure-regardin…

Individual course withdrawals may be processed from the first day of classes through the tenth week of the semester, with appropriate proportional adjustments for courses of shorter duration. The student should consult the current "Schedule of Classes" in the Registrar’s Office for specific dates.

Individual course withdrawals are disallowed after the tenth week of the semester. After that time, the student is considered to be committed to the course and must complete it for a regular grade.

The only mark given to a student withdrawing from an individual course during the first ten weeks of the semester will be a "W." This is an administrative withdrawal without evaluation. 

To withdraw from courses, go to FlashLine and click on Student Tools to access FlashFAST.

Students will receive a grade of W for courses dropped during the course withdrawal period. There is no charge to process a course withdrawal.

Course withdrawal may impact financial aid eligibility and/or degree progress; therefore, consult with your adviser prior to processing your course withdrawal.

Any applicable refund will be based solely on the date the course withdrawal transaction is completed on the registration system. Please refer to the refund schedule on the Bursar's Web site.

ACADEMIC FORGIVENESS

Visit http://www2.kent.edu/catalog/2015/info/policies?policy=AFP

Purpose

The Academic Forgiveness policy pertains only to former Kent State students returning to the university as undergraduate students after a significant absence and prior to earning any degree at any institution. It provides them an opportunity to have their academic standing reflect their increased maturity and readiness, and improved level of academic performance gained since the interruption of studies at Kent State. Specifically, once the returning students have demonstrated the ability to sustain a satisfactory level of academic performance following their return, any and all grades below a C earned during the previous Kent State enrollment will be disregarded in the calculations of hours earned and grade point average.

Eligibility

Academic Forgiveness is available to any Kent State University student who has not been enrolled for a period of at least one calendar year (12 months).

Procedure

Any student who has not been enrolled at Kent State University for at least 12 consecutive months may request information on the Academic Forgiveness policy and an Application for Academic Forgiveness form from student’s academic advising office. Once the acknowledgement portion of the form is completed, the student’s records will be reviewed by the appropriate dean at the conclusion of each subsequent term. After returning to Kent State, a student must complete a minimum of 12 graded credit hours with a minimum 2.000 GPA to be eligible for academic forgiveness. If the student meets these conditions, has completed the Application for Academic Forgiveness form, and requests to have the policy applied, the following steps will be taken with regard to the student’s academic record:

1. All courses in which grades of C-, D+, D, F, NF, SF, M or U were received in the previous period of Kent State enrollment will be retained on the academic transcript with the notation of an “E” in the repeat column, which denotes courses excluded from GPA and earned hours calculations, and the official grade will be changed to X* (e.g., XC-, XD, etc.), which denotes academic forgiveness.
2. All calculations of hours earned and GPA will be adjusted.
3. If a student has been awarded an associate degree and/or certificate from Kent State University, only courses not used in the completion of an associate degree and/or certificate will be eligible for the application of the Academic Forgiveness policy.

If the student fails to maintain a minimum 2.000 GPA for the first 12 semester hours of graded coursework following return to the university, the eligibility period shall be extended through the term that encompasses the 24th semester hour of graded coursework. Students are permitted to use the provisions provided by the Course Repeat Policy during the extension period. If after completing 24 graded semester hours, the returning student has not achieved a 2.000 GPA, eligibility for the academic forgiveness will have expired.

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Part I, Section 7: Cheating & Plagiarism

• Both cheating and plagiarism can result in:
  • Getting a grade of "F" or "0" for the assignment you cheated on
  • Failing the course
  • Being dropped from the academic program in which you are enrolled
  • Being dismissed from the university for a period of up to one year.
• According to Plagiarism and Cheating in the University Policy Register, cheating means to intentionally "misrepresent the source, nature, or other conditions of academic work. . . or to cooperate with someone else in such misrepresentation." This policy goes on to say that cheating includes, but is not limited to: 
  • Obtaining or retaining partial or whole copies of examinations, tests, or quizzes before these are distributed for student use. 
  • Using notes, textbooks, or other information in examinations, tests, or quizzes other than those allowed by the instructor. 
  • Obtaining confidential information about examinations, tests, or quizzes other than that released by the instructor.
  • Securing, giving, or exchanging information during examinations.
  • Presenting data or other material gathered by another person or group as one's own. 
  • Falsifying experimental data or information. 
  • Having another person take one's place for any academic performance without the specific knowledge and permission of the instructor. 15 
  • Cooperating with another to do one or more of the above. 
  • Using a substantial portion of a piece of work previously submitted for another course or program to meet the requirements of the present course or program without notifying the instructor to whom the work is presented. 
  • Presenting falsified information in order to postpone or avoid examinations, tests, quizzes, or other academic work.

MORE DETAILS ABOUT PLAGIARISM

Plagiarism is cheating in print. Plagiarism includes but is not limited to:

• Copying words, sentences, and paragraphs directly from the work of another without proper credit.
• Copying illustrations, figures, photographs, drawings, models, or other visual and nonverbal material, including recordings, of another without proper credit.
• Presenting work prepared by another in final or draft form as one's own without citing the source, such as the use of purchased research papers.
• The University considers acts of cheating and plagiarism to be "serious offences to the rights of fellow students," and states that such acts subvert "the goals of education." Students who engage in such acts are guilty of fraud, and they will receive appropriate sanctions.
• Any student who is administered sanctions due to alleged cheating or plagiarism has the right to appeal.
• For further information please visit: http://www.kent.edu/plagiarism

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Part I, Section 8: Advising, Course Planning and Registration

Visit the Requirement Sheet and program GPS (Graduation Planning System) ROAD MAP.

Every degree program has a Road Map. Your Road Map can always be found online at http://solutions.kent.edu/GPS/ROADMAP/

The Road Map lays out a specific plan of what you will take and when. This serves as a strict guideline for you and your advisor to follow. Stray too far from the plan, or get behind, and you will have to schedule a meeting with your advisor.

There are a lot of little details that can slip through the cracks, only to show up on your Graduate Planning System (GPS) report the semester before you plan to graduate. Diversity requirements, writing intensive course requirements, upper-division 16 requirements, and others can make it seem like getting all the right paperwork done is harder than getting the degree.

ADVISING

Each semester, you will have to sign up for a time to meet with your Faculty advisor on Theatre Division Advising Day or Dance Division Advising week. Visit: http://www.kent.edu/theatredance/advising

COURSE OFFERINGS

The catalogue listing of courses is a list of all the classes in the School of Theatre and Dance. All courses are not offered every semester. Some courses may be offered every semester, some every fall semester, some every spring semester and some only every other year. It is your job to find out from your adviser which is which, and plan accordingly.

ADD/DROP and OTHER SCHEDULE CHANGES

You can add a class, drop a class, change a section (same course, but different time or credit hours), or change from a graded to a pass/fail status and vice versa, anytime during the first week of the semester. There are no fees for these schedule changes, but you may need special permission from the instructor or the school to add a class. Again, much of this you can do over the phone or online (info below and elsewhere).

ADVISING DAY

The theatre division will schedule one day each semester (mid-March and mid-October) for you to see your advisor. This is called “THEATRE Advising Day” and all theatre classes (except for Intro course labs) are cancelled for the day so that you are free to make an appointment. Each faculty member will have a number of 20 minute appointment times. Time slots will be posted two weeks in advance on your advisor’s door. Sign up early as classes “close out” fast. Dance students will also meet with Dance faculty advisors each semester around mid- March and mid- October. Dance advising is scheduled over a 10 day period.

REGISTRATION

It's important to read all the instructions in the Schedule of Classes online carefully, so you're ready to respond when prompted. It's a good idea to write down all the information you'll have to supply when registering (the campus code, the registration term, your Banner ID number which is also your Kent student identification number, your PIN, and the CRN numbers for the courses you want to register). Make a draft of you schedule to make it easier when you log on. 17

Visit FlashFAST by logging in to Flashline login https://login.kent.edu/ and clicking on the Student Tools tab to access FlashFAST. There are only certain times when you can do this, however. Pre-registration starts early (in April for the following fall semester), so don't put it off, or the classes you would like take might be closed.

UNIVERSITY ADVISING

Advising plays an essential role in helping students formulate sound educational and career plans based on their interests, abilities and academic classification. Meeting with an advisor can help you:

• Transition to university life 
• Choose classes
• Decide on a major 
• Provide suggestions or referrals if you are having trouble in a class 
• Assist you in using Kent State systems, such as GPS and FlashLine 
• Explore internships, study abroad and other valuable opportunities 
• Plan and determine eligibility for graduation
• Visit Office of Advising and Academic Services

KENT CORE

The Kent Core is the foundation of the university's mission to prepare students to live in today's complex, global society. It broadens intellectual perspectives, fosters ethical and humanitarian values and prepares students for responsible citizenship and productive careers. Through this learning experience, students develop the intellectual flexibility they need to adapt to an ever-changing world. With the exception of College Writing I and II, which everyone has to take, you have some choice in what classes you pick to fill the six areas of required Kent Core coursework. Pick courses that you think will help you fulfill your goals, expand your perspective and feed your soul (and your brain). Taken as a group, the courses are meant to enable you to acquire critical-thinking and problem-solving skills, apply principles of effective written and oral communication, broaden your imagination and develop your creativity, cultivate your natural curiosity, develop competencies and values vital to responsible uses of information and technology, engage in independent thinking, develop your own voice and vision, and become informed, responsible citizens, improve your understanding of issues and behaviors concerning inclusion, community and tolerance, increase your awareness of ethical implications of your own and others' actions, and integrate your major studies into the broader context of a liberal education.

DIVERSITY REQUIREMENT

Kent State is a very diverse community in terms of its members' race, religion, culture, ethnicity, age, physical ability, social status, and sexual orientation. For some students, 18 this is a very different environment from the one in which they grew up. The Diversity Requirement is the University's attempt to provide a way for students to understand and appreciate these differences. There are a number of Kent Core courses which will fill the Diversity Requirement

WRITING INTENSIVE REQUIREMENT

This is a requirement that says that you have to complete at least one upper-division (junior or senior level) course that is designated as "writing intensive," and you have to at least get a "C" in it. For theatre and dance majors, Playwriting, History of Musical Theatre, Dance History II and History of Period Styles will fill this requirement. It's a mandatory requirement for all degrees, so you shouldn't have to worry about fulfilling your Writing Intensive course requirement.

B.A. and B.F.A. COURSEWORK

There are two degrees available at the undergraduate level in the School of Theatre and Dance; the Bachelor of Arts (B.A.) and the Bachelor of Fine Arts (B.F.A.). Consult your advisor for advice and suggestion with regard to your route.

In general, the B.F.A. degrees are considered training programs for those students who desire to go on to professional performance or design careers in the arts.

The B.A. degree is a liberal arts degree with more flexibility to pursue electives outside the major or adding a minor plan of study.

Both degrees share some of the same core requirements, but there are a few differences. In addition, the B.A. degree requires 34-35 hours of coursework in "General Electives." These electives can be from inside or outside the department, and if you like, can be used to get certification for teaching through the College of Education. As opposed to the elective coursework, B.F.A. students are required to choose an area of concentration (Musical Theatre or design/tech) in which to focus the remaining hours of their degree.

The School of Theatre and Dance’s Theatre Division offers a B.F.A. in Musical Theatre, which is an interdisciplinary program incorporating theatre, music and dance courses. Students who wish to pursue this degree have to demonstrate ability (or potential ability) in three areas in order to be accepted into the program. All B.F.A. Musical Theatre students MUST audition for all mainstage productions, and must pass yearly auditions to stay in the program. Failure to do any of this, or failure to keep at least a 2.50 average (3.00 is better), will result in a student's being dropped from the B.F.A. program.

The School of Theatre and Dance also offers a B.F.A. in Design Technology. Students do coursework in all areas of design and technology. Students are admitted by portfolio review by Design/Tech faculty that is normally held the first or second week of classes in the spring semester. All B.F.A. Design Technology students MUST participate in at least one mainstage production every semester, and must pass yearly portfolio reviews to stay 19 in the program. Failure to do any of this, or failure to keep at least a 2.50 average (3.00 is better), will result in a student's being dropped from the B.F.A. program.

The School of Theatre and Dance offers a B.F.A. in Dance. Students who plan to pursue their degree must successfully audition for the dance major.

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Part I, Section 9: Performance/Technical/Management Opportunities

MAIN STAGE PRODUCTIONS

Productions considered "main stage" are those which take place in either the E. Turner Stump theatre or the Wright-Curtis theatre and are directed by Faculty members or Guest directors via the Roe Green Guest director series. Mainstage Theatre auditions are open to any registered student in good academic standing (2.0 GPA or above) Mainstage auditions typically take place during the first week of classes in Fall and in late November for Spring semester productions.

Freshmen are encouraged to audition for all productions, however, Freshmen may only be cast in one production per semester. The Stump is a 525-seat house with a 60-foot proscenium stage, full wing and fly space, and a computerized lighting system. Two dance concerts and two theatre productions are mounted in Stump each year. The Wright-Curtis is a 175-230-seat space which can function as either an arena or a thrust theatre. Three School of Theatre and Dance productions are produced here a year. The Erdmann-Zucchero Black Box Theatre can be flexibly arranged to accommodate up to 200 seats in any number of configurations. Student directed and choreographed works, class presentations and special project performances are presented in the EZ Theatre.

School of Theatre and Dance productions are open to any Kent State student who wants to audition or participate and who maintains good academic standing. All BFA Musical Theatre majors are required to audition for every main stage theatrical production. Performance Practicum acting credit is ONLY given for main stage productions directed by Kent Faculty or Guest Artists in residence. Auditions for fall semester productions are held within the first two weeks of classes.

Auditions for spring semester productions usually occur sometime during the last four weeks of the fall semester (just prior to Thanksgiving). Although the format of the audition can vary depending on the type of production and the director, you are usually expected to come prepared with two contrasting monologues and sixteen bars of a song (if auditioning for a musical). The standard time frame given for auditions is 3-5 minutes, and you are provided with an accompanist (if needed), and a chair.

Technical crews for main stage productions begin working weeks prior to the opening of the show. Practicum Design/Tech credit is given only for main stage productions that are 20 directed by Kent Faculty or Guest Artists in residence. If you are interested in working on a backstage or running crew, consult the school’s designer and technical faculty and staff.

STUDENT PRODUCTIONS

See Student Production Handbook

Productions and projects that are entirely or predominantly student initiated, created, and produced are an important part of the co-curricular activities of the School of Theatre and Dance, and are scheduled each year as a regular part of the Production Calendar. Student productions both grow out of and diverge from curricular work in the classroom, but should not conflict with students’ academic obligations or with their commitments to mainstage productions.

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Part I, Section 10: Program-Specific Requirements and Information

A. REQUIREMENTS FOR THE BFA MUSICAL THEATRE PROGRAM

View Musical Theatre Program Requirements

1. Since the BFA Musical Theatre program requires students to demonstrate his/her potential in all areas of musical theatre through assessment measures beyond academic evaluations, the Acting Faculty of the School of Theatre and Dance has the right to dismiss from the program a student who fails to demonstrate his/her potential to become a competent performer. This condition will be applied to those who meet academic requirements.
2. BFA Musical Theatre candidates must comply with the university attendance policy 3-01.2 (effective Jan. 13, 2014).
3. BFA Musical Theatre candidates are required to audition for all theatre division main stage productions and accept roles if cast.
4. BFA Musical Theatre candidates are expected to follow the GPS roadmap for the BFA Musical Theatre Program unless exceptions are made by either the College or School advisor.
5. If a BFA Musical Theatre candidate fails a required musical theatre core class, the candidate will automatically be placed on program probation.
6. BFA Musical Theatre candidates are expected to matriculate in the BFA program by completing program requirements and Kent Core requirements. Failure of any course requires candidates to repeat courses and may interfere with program matriculation, which may result in program probation.
7. BFA Musical Theatre candidates must successfully complete all course work as determined by the course instructors and as outlined by the course syllabi and maintain a GPA of 2.5 in their major.
8. BFA Musical Theatre candidates on academic probation may not participate in School of Theatre and Dance productions. Students may be dropped from the program for failure to maintain a 2.5 GPA.
9. BFA Musical Theatre candidates must demonstrate continuous skill development and growth in ALL areas of the BFA Musical Theatre Program. A student may be placed on Program Probation for failure to demonstrate continuous skill development and growth in ALL areas of the BFA Musical Theatre Program. The members of the Acting Faculty will provide the student with written information regarding specific areas and skills in question at the time of a student being placed on probation.
10. Upon completion of 60 semester hours, each student is required to contact the Office of Advising and Academic Services to obtain a current evaluation of progress toward completion of the student’s chosen degree program.
11. BFA Musical Theatre candidates must participate in the annual School of Theatre and Dance, Kent State University, screening auditions.
12. BFA Musical Theatre candidates who qualify for unified auditions, through the aforementioned screening auditions, must participate in at least 1 of the approved auditions each year.
13. BFA Musical Theatre candidates must participate in the annual BFA evaluation interviews/meetings.
14. BFA Musical Theatre candidates must demonstrate professional behavior at all times. Professional behavior is defined as behavior that supports the creative process. Any behavior that detracts from the creative process can lead to immediate probation and/or dismissal from the BFA Musical Theatre program.
15. BFA Musical Theatre candidates must demonstrate respect for their peers, instructors, and for themselves before, during and after classes, rehearsals, and performances.
16. BFA Musical Theatre candidates MUST secure, via the audition process, at least one role of significance in order to graduate. The role of significance must be approved by the Acting Faculty.
17. Should a BFA Musical Theatre candidate be placed on program probation the Acting Faculty will provide a written list of conditions, and an explanation of what constitutes meeting said conditions, as well as a time frame for addressing conditions. Failure to meet conditions in the time frame specified could lead to dismissal from the BFA Musical Theatre Program.
18. If a BFA Musical Theatre Candidate is unable to attend class, due to illness then the candidate will be unable to attend rehearsal. Failure to attend rehearsals may lead to dismissal from a production.
19. In order to maintain a safe and professional working environment, BFA Musical Theatre candidates are expected to attend classes, rehearsals, and performances with a clear, sober and focused mind and body. Students suspected to be under the influence of alcohol and/or drugs shall be reported to the Student Conduct Board as well as the Kent City Police Department. They are also subject to immediate program probation or dismissal from the program.
20. Failure to meet any requirement set forth in this document will lead to program probation, and/or program dismissal.
21. In Students are subject to dismissal from the BFA Musical Theatre program without being placed on program probation.

B. CAPSTONE PROJECT FOR BA STUDENTS

The capstone project represents a culminating event for BA student. Capstone projects can be undertaken in the junior or senior year and are identified in consultation with a faculty advisor. Honor Students may combine the capstone project with an Honors thesis. Prerequisite: Junior standing and special approval. 1.000 TO 3.000 Credit hours

Proposal Form (please include the following):

Capstone Proposal Form

Rubric for a Capstone Evaluation

C. DANCE DIVISION SPECIFIC INFOMATION

Program Goals

1. To provide students with opportunities for:

a. Strong technical preparation
b. Theoretical and anatomical studies
c. Performance and presentation of original choreography
d. Professional faculty mentoring (academic and creative)
e. Experiences with other art forms

2. To develop broad-minded, diverse dance artists who can thrive in a variety of professional dance environments
3. To provide an environment where students will have opportunities to explore their creativity and develop their individual artistic voice
4. To provide students with an atmosphere where they can develop an understanding of the depth and breadth of contemporary dance and how it connects with the larger world

Objectives

1. To maximize students’ experience and understanding of dance by providing an opportunity to study a broad range of dance styles, including modern, ballet, jazz and world dance styles
2. To provide a challenging curriculum of improvisation, dance composition and dance production in tandem with a variety of choreographic opportunities that encourage creativity, risk-taking and a broad understanding of the technical aspects of theatre
3. To provide opportunities to perform works by faculty, students and guest artists that afford students a meaningful experience with a wide range of dance and theatre
4. To provide students with an academic foundation that explores historical and current perspectives which connect the art form to a broader, more diverse society
5. To provide students with the opportunity to develop writing, speaking and critical thinking skills across the curriculum
6. To provide students with an advising system that gives students the opportunity to work individually with faculty in academic planning and career planning.
7. To assist students in the development of their artistic voice through one-on-one advisement and membership.
8. To provide students with opportunities to explore an anatomical understanding of the human body, utilizing intellectual, practical and somatic approaches.

Degrees

Bachelor of Fine Arts (B.F.A.) in Dance Performance

A. This degree is geared toward professional preparation in dance performance and choreography.
B. The curriculum provides students with opportunities for strong and varied technical preparation in

1. Modern dance forms
2. Classical ballet
3. Jazz styles
4. Improvisation
5. Composition

C. High level of ability in both performance and choreography is required.
D. The program also includes experiences in other art forms and disciplines, with required courses in history, music and anatomy.
E. The B.F.A. Senior Dance Concert is the capstone experience for this degree. NOTE: See the website for a sample B.F.A. Roadmap

Bachelor of Arts (B.A.) in Dance Studies

A. This is a flexible degree option that allows students who have previous dance experience and a strong interest in another subject area, within or outside of the arts, the opportunity to combine the two into one degree option.

B. Requirements include:

1. Dance technique
2. Dance academics
3. Selection of a minor or a group of courses that combine to support a specific career goal
4. The Capstone experience is proposed during the Junior or Senior year and must demonstrate a connection between or fusion of the major and minor courses of study
5. Capstone projects include, but are not limited to:

a. Research papers and presentations
b. Public poster presentations
c. Project demonstrations
d. Creation of video, audio, film, or electronic media NOTE: See the web site for a sample B.A. Roadmap

Dance Minor

The dance minor provides interested students the opportunity to explore dance through a combination of dance technique and academics. Performance and choreography opportunities are also encouraged. Placement in professional-level dance classes requires an audition. NOTE: See your Dance Advisor for a sample Dance Minor Roadmap

ADVISING

I. Dance Advisors

All dance majors, minors and musical theatre majors who are in professional level classes are assigned dance faculty advisors by the second week of the semester. If you are not on the advising list, contact the DANCE DIVISION COORDINATOR.

DANCE MAJORS and DANCE MINORS must meet with their advisors:

A. To discuss class placement before registration for the upcoming semesters.

B. To discuss problems you may be having in class.

C. To discuss overall status in the Dance Division or to CHANGE MAJOR/MINOR.

D. To communicate changes of address or telephone number. NOTE: Changes must also be updated on the BLUE LOCATOR CARD with the Dance Secretary.

E. To inform him/her about plans to be inactive in dance for a semester or more (leave of absence).

II. COLLEGE OF THE ARTS ADVISING

Freshmen and sophomore students are required to meet with the COTA Professional Advisor annually.

III. LEAVE OF ABSENCE

A. Any dance major or minor who intends to be INACTIVE from dance classes for a semester or more must notify the Dance Division.

B. A LEAVE OF ABSENCE is granted for a period of 1-2 semesters.

C. A placement audition MAY be required upon return to the program.

D. If the leave of absence expires, the student is considered dropped from the Dance Division and an entrance audition is then required for re-admittance.

ATTENDANCE

I. Class Attendance Policy.
All required dance courses follow the attendance policy stated in the syllabus.

II. Attendance at Dance Division Meetings for Students in Professional Preparation Classes
A dance major/minor meeting will normally be held within the first two (2) weeks of each semester. In addition, dance major/minor meetings will be called during the year to discuss important issues.

1. Attendance is mandatory.

2. The Dance Division Coordinator must be notified via email 24 hours in advance if a time conflict exists.

3. You must fill out a blue student locator card each semester with your current local and permanent addresses and telephone numbers, e-mail address, etc. These will be distributed at the major/minor meetings, and should be updated throughout the semester as changes occur.

(In LATE APRIL, STOP BY THE DANCE OFFICE to write your SUMMER ADDRESSES and dates of contact on the back of your card – THIS IS A REQUIREMENT!)

III. Attendance at Dance Division Events are mandatory.

ADVANCEMENT TO THE NEXT TECHNIQUE LEVEL

Advancement to the next technique level is by recommendation of the instructor and the dance faculty. It is possible to receive a passing grade in the course and be advised to repeat the same level, due to weaknesses in technique or professional conduct (see pages 30-32 of handbook). This is done to insure a safe progression as technique demands increase. Students will be given written level recommendations. Should there be any questions, contact the instructor or your Advisor prior to registering for classes.

Dance Division Policy on Probationary Period in the Major and Minor

I. Acceptance into the Dance major or minor programs

A. Prospective Dance majors and minors wishing to take professional level classes must successfully pass an audition in ballet, modern dance, improvisation and jazz dance.

B. Prospective dance majors must also perform a two-minute solo. As a result of this process, students who do not have enough prior knowledge and skill in dance are not accepted into professional level classes. Students are advised about areas that need to be addressed and given suggestions for appropriate non-major classes that will help to build their skills.

C. This process helps to assure that incoming Dance majors and minors have the skills necessary to successfully complete the program in which they are accepted.

II. Rationale for a Probationary Period

A. The audition process can only assess knowledge and skill level on a given day.

B. Students accepted into the professional program may not have performed in a manner consistent with their usual performance in dance classes or in performance.

C. One dance audition cannot adequately assess other areas that are also critical to success as a dance professional or to successfully completing the dance major or minor.

D. The probationary period provides the time for faculty to observe the dancer over time in the following areas:

1. Self-discipline (attendance, participation, academics).

2. Commitment to the profession (professional conduct, outside classes and workshops, research).

3. The ability of the individual’s body, over time, to withstand the physical demands of the art form.

4. Does the student demonstrate a professional approach to classes and rehearsals as opposed to a recreational approach?

III. Establishment of the probationary period

A. All dance students accepted into the professional Dance Division (BFA and BA Dance majors and professional level dance minors) are informed in their letter of acceptance that there is a one (academic) year probationary period.

B. For students who are accepted into the program in January, this period usually extends to three semesters with reviews typically occurring during the spring semester.

C. During this probationary period, the dance faculty continually monitors the progress of the students in technique, artistry, discipline, scholarship, creativity, academics and understanding of the field.

IV. Methods of Student Progress Review

A. During the course of the probationary period, all students receive feedback on their progress in the following ways:

1. Verbal feedback, both general and individual, in technique, theory and creative classes and in rehearsals (for students involved in performances or choreography).

2. Mid-term and end-of-semester technique assessments with verbal and/or written feedback from all instructors.

3. Individual mid-semester progress consultations with all instructors.

4. Grades on written assignments and projects.

5. Appointments with individual instructors during regularly posted office hours may be scheduled at any time if students wish additional progress information.

6. Group meetings to discuss progress with all of the instructors in a course or with the dance faculty as a whole can be requested by either the student or by faculty members.

7. Jury evaluations held at the end of the fall semester (all first-year dance majors, seniors who request review and other invited students).

8. Mid-term course grades (for Freshmen)

9. Final course grades

B. During the spring semester, the dance faculty comprehensively reviews the work of each student in the program, paying particular attention to the most recently accepted dance majors and dance minors. Following the annual portfolio presentations, one of the following actions occurs:

1. Students are removed from probationary status. A letter is sent at the end of the semester informing the student of their successful completion of the probationary period.

2. The probationary period is extended for one semester.

3. In extreme cases, the student may be advised to drop the dance major or minor.

C. In the case of IV.B.2. or IV.B.3. (above), the student is asked to make an appointment with the Dance Division Coordinator to discuss the problems identified by the dance faculty during his/her review and a letter confirming the decision of the faculty is sent to the student.

V. Reasons for reinstating or extending the probationary period or dismissal include (but are not limited to):

A. Excessive class or rehearsal absences that have impeded progress in technique, creativity, scholarship and/or artistry.

B. Lack of progress in the transition from a recreational to a professional approach to the field of dance (i.e. involvement in outside studio competition groups, sports oriented dance/drill teams or high school musicals, for example to the exclusion of involvement in Dance Division concerts and activities).

C. Lack of development in areas critical to the attainment of professional level skills, as listed above.

D. Violations of Dance Division policies, including:

1. Attendance

2. Attire

3. Studio regulations

4. Health and Injury Care

5. Performance Policies and Procedures

6. Maintaining minimum GPA

E. Failure to communicate with and/or ignoring recommendations of the faculty regarding:

1. Serious health and injury problems

2. Technique progress

3. Academic advising

F. Habitual classroom disruptions

Student habitually engages in disruptive behavior, such as:

1. Talking

2. Distracting others

3. Refusing to participate fully

4. Inhibiting the participation of others

5. Negatively influencing others or creating a negative classroom atmosphere

VI. Student Recourse

A. Students who wish to challenge the decision to extend the probationary period or dismissal from the dance majors or minor may do so following the format established by the Kent State University Office of Student Conduct.

CAPSTONE PROJECTS:
These courses may be used to fulfill the university’s Experiential Learning Requirement (ELR) which provides students with the opportunity to initiate lifelong learning through the development and application of academic knowledge and skills in new or different settings. Experiential Learning can occur through civic engagement, creative and artistic activities, practical experiences, research, and study abroad/away.

Please know that the ELR activities designed for this course may require you to engage in learning activities outside the classroom.

BFA SENIOR DANCE CONCERT

I. Expectations

A. The BFA Senior Dance Concert brings together all aspects of the student’s professional preparation for a dance career: 

• Technique 
• Choreography 
• Aesthetics 
• Artistry 
• Creativity 
• Production skills 
• Management 
• Direction 
• Collaboration

B. BFA choreography

1. BFA choreography is expected to be of significant scope and substance that will demonstrate excellence in the conscious artistry acquired through formal training.

2. This will be accompanied by a written record of the production and creative process used in its creation.

C. Grading in the course will be based upon both:

1. The process of creating the final product

2. The presentation of the final concert product

Written Record Format

1. The creative process NOTEBOOK is to be turned in to the BFA Faculty Dance Concert Director after the concert.

2. The BFA Senior Project Binder with all materials relevant to the performance or production project shall be submitted in archival form for compilation in the Dance Division office.

3. Proposals

ALL choreographers will be required to submit a proposal for a work 6-9 minutes long on the THIRD FRIDAY in September or as per the Dance Division Calendar.

II. All choreographers: Eligibility

A. Must be enrolled in a technique class

B. Must be enrolled in DAN 47174 – Senior Choreography Project, or DAN 37196 – Individual Investigation in Dance

III. BFA senior dance majors must also perform in the concert. The choice of choreographer (guest artist, alumnus or faculty member) will be made in collaboration with the BFA Faculty Concert Advisor and/or the dance faculty as appropriate.

IV. Creative Advising

A. Seniors may invite the faculty member of his/her choice to be Faculty Creative Advisor for the piece, however schedules must be compatible.

B. Faculty Creative Advisors will visit rehearsal(s) during the fall semester.

C. Spring semester: Seniors will receive input by all faculty members at showings only unless specifically requested due to emergencies or other unforeseen circumstances.

V. Separate/Joint Concerts

A. If the number of BFA graduating seniors is six or more, a dedicated concert will be held, providing there are no other unusual circumstances to prevent it.

B. If there are fewer than six choreographers, there will be a joint BFA/SDF concert combining the works.

C. Senior choreography will receive no fewer than two performances.

D. Senior performance will be performed on all programs whenever possible.

E. Additional policies and guidelines can be found on the Dance Division Electronic Callboard under BFA/SDF.

VI. Auditions

A. Normally, these will be held in October

B. Auditions for the BFA Senior Dance Concert will take priority over those for the Student Dance Festival

VII. Program Order BFA program order will be determined by the choreographers following the first showing (December) with final approval by the BFA Faculty Dance Concert Director. If it is a combined concert, the concert program order will be determined by the choreographers and Faculty Concert Directors (BFA and SDF) in the spring semester as per the BFA/SDF Timeline.

BA IN DANCE STUDIES

I. Students enroll for 1 credit in DAN 47175 – Capstone Project.

II. Capstone Projects can be taken in the junior or senior year and are identified in consultation with a Faculty Advisor (s).

III. Honors students may combine the Capstone Project with an Honors thesis.

IV. In order to receive credit for the course, a minimum of 45 hours per credit must be devoted to this activity.

V. Students must identify a faculty advisor to oversee the project and create a proposal outlining the activity/activities. Since this is a culminating experience, evidence of integration with a minor or collection of elective credits must be documented.

VI. Applications for the Capstone Project must be submitted by the second week of the semester in which the project is to be completed and presented.

VII. All supporting documentation for completion of the Capstone Project (performance program; research paper; proof of community service; workshop information with letter of verification, etc.) must be submitted two weeks prior to final exam week in the semester in which the Capstone Project course is taken.

COMMUNICATION

I. Communication is a two-way conversation between the School/Division and students.

A. The School/Division

1. School of Theatre and Dance/Dance Division meetings

a. These usually occur the first week of each semester

b. Meetings are mandatory

c. Contact the Dance Division Coordinator in writing if you have a class or a work conflict

2. School/Dance Division e-mail list serve

3. Callboards

a. In the dance hallway.

b. Electronic callboard found on Blackboard (Callboard). Contact the Dance Division Coordinator or a faculty member if you do not have access to this on FlashLine.

B. Students:

1. Students are expected to read and respond to messages left on their Kent e-mail accounts DAILY

2. Students are expected to communicate regularly with 

• Faculty members 
• Advisors in the Dance Division and the College of the Arts 
• Student Directors
• Choreographers
• Stage Managers and other backstage support as appropriate

3. Students MUST communicate about

• Serious INJURY 
• Prolonged ABSENCES 
• Conflicts with other ACTIVITIES 
• LATENESS to class and rehearsals

4. Find a Faculty Member

• Come to the Dance office (D101 Center for the Performing Arts) 
• Leave a note in the faculty member’s mailbox in lobby 
• E-mail (Instructors’ emails are on top of your syllabi) 
• If the instructor/choreographer has given cell phone information, send a text message (do not expect an immediate response as phones are turned off when teaching, in rehearsals and during meetings)
•  Call the office phone (also on syllabi) and leave a voice message

II. Callboards

A. In the dance studio hallway

1. Students are expected to read the callboards outside the dance studios DAILY

2. Students are accountable for deadlines posted on the callboard

B. Electronic callboard found on Blackboard (shows up as “Callboard” on Blackboard)

1. Contact the Dance Division Coordinator or a faculty member if you do not have access to this on FlashLine.

2. Information listed here includes: 

• Production Hour forms 
• KSU Dance Concert notices, calendars and announcements 
• Auditions, Master Classes and Workshops 
• Dance articles 
• Performances 
• More!

III. Dance Division E-mail list

A. The Dance Division maintains a private email list dedicated to:

1. Program announcements

2. Auditions

3. Job Opportunities

4. Intensives

B. To be added to the list, see the Dance Division Coordinator.

C. Removal from this list is not recommended but may be accomplished by meeting with the Dance Division Coordinator.

IV. Progress Consultations

A. At mid-term and semester’s end, course instructors meet with class members individually to review class progress and set goals.

B. These occur during the regularly scheduled class time.

V. “Juries”

At the end of the Fall semester, all dance faculty members meet as a group with the following students to review progress through the program

A. Graduating Seniors (December and May)

B. Freshmen

C. New transfer students

D. Invited students

E. Students who wish a meeting

VI. Portfolio Presentations

A. At the end of the Spring semester all dance faculty members meet with all dance majors individually to conduct a comprehensive assessment of the year, including progress in

1. Technique

2. Performance

3. Creative work

4. Academics

B. At this point in time, students will have created/updated a portfolio of their work and will provide all faculty with a link to their on-line portfolios.

Portfolio Requirements for Dance Majors

An academic portfolio is a compilation of student work assembled for the purpose of (1) evaluating coursework quality and academic achievement, (2) determining whether students have met learning outcomes or academic objectives for courses, level promotion, and graduation, and (3) creating a lasting archive of academic and creative work. All portfolios are reviewed by Dance faculty members and are presented at a student’s Major Jury at the conclusion of each academic year. Portfolios may also be presented, publicly or privately, to professors, parents and community as part of a demonstration of learning or Capstone Project.

For Freshmen and Sophomore dance majors, Dance Portfolios are a physical collection of artifacts that may include a résumé, short CV, performance/choreography photos, concert programs, honors/awards, artwork, written assignments, tests and evaluations. Students are responsible for presenting the materials in a professional manner in a binder or notebook with a table of contents and a clear and detailed system of organization. Professional standard templates for the resume and CV are included in the Appendix on pages 72-74.

Junior and Senior Dance Majors in the Dance Division are required to create a Digital Portfolio that includes the same artifacts (scanned) and achievements as physical portfolios, but that may also include additional content such as student-created dance videos, video clips of performance and/or choreography, power point or other multimedia presentations, websites and digital artifacts of learning. The use of sound and interactivity is also encouraged. In some cases, blogs or online journals may be maintained by students to include ongoing reflections related to learning activities and progress. The Digital Portfolio is to be placed on the Web upon graduation; a well-constructed online portfolio can be an extremely effective aid in job placement and/or graduate school acceptance.

Samples portfolios are available on the callboards.

PROFESSIONAL CONDUCT

The KSU Dance Division seeks to develop dancers who will meet the demands of choreographers, artistic directors and employers.

Every instructor expects full cooperation from every student in every dance class with the dress, hair and conduct codes clearly stated in this handbook, course syllabi or communicated in class in order to create an atmosphere conductive to learning professional behavior.

I. Expectations:

Come to class prepared physically, mentally and emotionally to do the work.

A. Physical

1. Always wear proper attire that is clean and follows the teacher’s/choreographer’s instructions.

2. Always have the correct footwear available.

3. Pay attention to personal grooming: wash dancewear after each use.

4. Pre-class/rehearsal warm-up: Be sure to arrive at any class or rehearsal activity 15 minutes in advance whenever possible. Begin to develop the self-discipline it takes to know and improve your own body according to its structure and capabilities.

5. At all times, dance students are expected to wear clean dancewear in good condition.

6. To wear proper footwear as appropriate to the class.

7. Outside footwear, shoes or boots are to be removed prior to entering the dance studio.

8. When in the main building hallway or the offices, no dance slippers, jazz shoes, tap shoes or bare feet should be worn.

9. The requirements and/or guidelines for hair is determined by the course instructor as appropriate to the style of technique.

10. Due to safety concerns, the wearing of expensive, large, noisy jewelry is strongly discouraged

11. Understanding that dance is a vigorous activity and in consideration of others, students must be attentive to personal hygiene issues (body odor!)

12. In consideration of others with allergies, the use of scented body products (perfume, body sprays, etc.) is strongly discouraged in all dance classes.

13. The use of hair products that leave a film or residue on the dance floors is prohibited.

B. Mental/Emotional

1. Class/rehearsal: As you physically prepare to take class or rehearsal, remember to prepare your mind as well. Mentally review combinations; think about corrections; remember new material. Transition from the academic or social world into the professional world of dance.

2. If you are stressed due to personal conflicts or life events, notify your instructor, advisor and/or the Dance Division Coordinator as appropriate so support can be given. Seek professional support as needed.

II. Absences (See attendance policy)

A. COMMUNICATE absences from or tardiness to all classes and all concert related activities (rehearsals, showings, costume fittings, strike, etc.) to the proper authority as instructed: teacher, concert director, stage manager, Dance Division Coordinator, etc.

B. Repeated absences from classes, rehearsals, concert showings and performances demonstrate a lack of respect for the efforts of teachers, choreographers, peers and the field in general and may jeopardize standing as a Dance major/minor.

III. Appointments

A. Arrive early for any appointments with faculty, including technique consultations, juries and portfolio presentations.

B. Conduct yourself in a mature, calm and quiet manner.

C. In case of lateness or absence, communicate with the appropriate person.

IV. Corrections

A. Understand that corrections in class are given as an aid to progress and are crucial to mastering dance technique.

B. Consider ALL general corrections as if they are intended for you personally.

C. Accept individual corrections and instructions in the spirit they are intended: as a help for improvement.

1. Recognize that corrections are about teaching and learning and do your best to apply them.

2. If they don’t seem to be working, request an individual consultation or make an appointment with the instructor to receive extra help before/after class.

V. Lockers

A. Bring your own lock Get and use a locker to store knee pads, hair accessories, elastic support bandages (if needed), close fitting warm-up clothing, deodorant, etc.

B. Locks must be removed at the end of the semester (fall) if not returning, or in spring before leaving for the summer

C. Locks left on during the summer will be removed and the contents disposed of unless the Dance Division Coordinator is notified.

D. What every dance bag/locker should contain:

1. Leotard

2. Tights

3. Dance footwear

4. Shoes/flip flops to wear in the public areas (the dance office, etc.)

5. Supportive undergarments

6. Cover up (to wear in public areas)

7. Water bottle

8. Knee pads

9. First aid kit

10. Athletic tape/elastic tape

11. Hair accessories

12. Sewing kit

13. Chemical ice pack

14. Tissues

15. Power Bar

VI. Negative behaviors

The Dance Division will actively discourage the following disrespectful behaviors:

A. Acting out in class

B. Talking behind other people’s backs

C. Withdrawing into sleep

D. Substance abuse

E. Disordered eating

F. Violence

G. Bullying

H. Misuse of social media

VII. Phone use

A. Cell phones must be in silent mode or turned off during all classes, rehearsals and meetings.

B. In case of emergency, notify the instructor, choreographer or stage manager in advance of the activity that the phone must be kept on.

Dance Studio Use Regulations & Procedures

Academic Year

It is a privilege to work in the wonderful facilities we enjoy. Anyone using the space for classes, rehearsals or personal practice is responsible for insuring the maintenance and safety of the facility, floors, mirrors and equipment.

I. Availability

A. Studios are available for majors and minors within the Kent State University School of Theatre and Dance, and university-registered student organizations.

B. Questions regarding use should be directed to the Dance Division Coordinator.

II. Scheduling Priorities:

A. Faculty rehearsals and class preparation

B. Kent Dance Ensemble rehearsals

C. Guest Artist residencies

D. BFA Senior Concert Rehearsals

E. Student Dance Festival Rehearsals (Scheduled with the faculty and student directors)

F. Composition class assignments

G. Individual student choreography projects

H. Studio Level dance class assignments and projects, individual creative work or personal development MUST be supervised by the dance instructor, who must also be present.

I. Registered or organized University/College/School/Unit groups and activities:

1. Student Dance Education Organization (SDEO)

2. Lab shows (reminder: no outside footwear allowed)

3. Organized student groups must have an advisor (KSU Faculty or Staff) who sponsors the group and is present at all rehearsals.

4. Outside groups may only reserve D122 or D125.

J. Where conflicts arise, cases will be considered on an individual basis and based on scope and date of activity.

III. Rehearsals

A. Faculty concert, BFA Senior Dance Concert and Student Dance Festival rehearsals will be scheduled on an extended basis.

B. Other activities will be considered for extended use whenever possible (Organized group activities, II-I above).

C. Most use will be approved on a weekly basis.

IV. Supervision

A. All activities except faculty work must be approved in writing by an advisor or instructor who will assume responsibility for the space. On-site Faculty/Staff/Advisor supervision is required at all times.

B. Contact information for the advisor or instructor MUST be provided on the form (phone and email) unless he/she is a member of the Dance faculty.

V. Space Availability/Maximum Hours

A. Space is only available during regular building hours.

B. Faculty may be granted two (2), two-hour rehearsal time slots per week.

C. Student choreographers may reserve 3 hours per week in whatever increments desired if available.

D. Students and groups may reserve the studios up to 3 hours weekly, and a maximum of 45 hours for the semester.

VI. Reserving Space

A. Check the studio schedules posted outside of the studios. See the studio use policy on the Dance Division Electronic Callboard. All requests for studio space are made through the Dance Division Coordinator. Keep in mind someone may have submitted a similar request in advance of yours.

B. Submit request by 4:00 PM Wednesday for the following week Monday through Sunday. C. If a space is available, you will be contacted and scheduled. Obtain a copy of the key from the Dance office.

VII. Studio Regulations

A. NO street shoes.

B. NO TAP SHOES in D122 or D123 (TAP SHOES are allowed in D125 ONLY).

C. NO food or beverages other than water.

D. NO glass containers.

E. NO props or set pieces that might damage the floor or mirrors.

F. NO using the sound instruments, or projection equipment. (See VIII. Below)

VIII. Sound Support

A. Unless specifically authorized by the Dance office, DO NOT USE THE SOUND EQUIPMENT. Bring your own equipment.

B. If authorized to use the sound equipment, do not adjust settings or cable connections. Turn equipment off at the end of rehearsal. IX. Responsibilities NO ONE other than the applicant/choreographer/director may have access to the lock box code/combination or retrieving the key. If it is discovered that the applicant has shared the code with anyone else, the code will be changed and the group will lose studio use privileges.

X. Safety and Injuries

A. Students accept personal responsibility for their own safety in rehearsals and traveling to and from them.

B. Organized groups (other than School of Theatre and Dance students rehearsing for authorized performance endeavors) must obtain Hold Harmless agreements from all participants.

C. Students should arrive early and warm up their bodies prior to all rehearsals.

D. Faculty, BFA and SDF choreographers have access to ice, if needed, in the Rehabilitation studio (D1).

E. In case of an acute injury or a serious health issue, the choreographer or authorized activity leader should call 9-1-1 immediately. If possible, contact the Dance Division Coordinator, the School Director or a Dance or Theatre faculty member as soon as possible. The Dance office (Dance Division Coordinator) should also be informed about the incident as soon as possible.

F. SAFETY: Students should travel to the parking lots, dorm, etc. together! If no one else is available, contact the KSU escort service for assistance: 330-672-7004.

XI. Cancellation of a rehearsal

A. If you are cancelling a rehearsal, inform the Dance Division Coordinator so that someone else’s space request can be accommodated.

B. Repeated cancellations or failure to inform the office of cancellations may jeopardize future use of the space.

C. If you are a student choreographer, inform your Faculty Creative Advisor, your dancers, and any production personnel scheduled to attend rehearsals (stage manager, lighting designer, etc.)

XII. Consequences

A. Unauthorized users of a studio or its sound system will be asked to leave the space.

B. Failure to leave will result in the police being contacted and denying approval to use the studios in the future.

C. Misuse of the studio, the sound system or musical equipment or damage to the space or any equipment may result in revocation of future approval, prosecution or both.

XIII. Holidays

A. No Dance/Theatre rehearsals are held when the University is CLOSED.

B. Revenue producing events (performances) may be held during the regular school week if it is felt that there would be audience members. Prior approval from the Director of the School of Theatre and Dance is required.

C. During times the offices are open but no classes are held: University groups MAY be granted permission if it already has a means of access (i.e. regularly uses the space at other times). It is the role of the Coach/Supervisor to request or mandate attendance and, as always, be present and insure the safety of participants and the security of the building.

POLICIES

Policy on Professional Preparation Days for Seniors (Revised 10/2015)

I. B.F.A. and B.A. Dance majors in the professional preparation program will be allowed three (3) days during the Fall and/or Spring semester to seek opportunities to advance their careers.

II. These days are OPTIONAL.

III. The days can be used for:

A. Auditions

B. Master classes

C. Workshops

D. Interviews

IV. Proposed Submission and Approval

A. A proposal must be submitted to the Dance Division Coordinator (with copies {e-mail cc} to all pertinent Dance Division professors or instructors affected by your absence).

B. Submission must be 7 days in advance of the scheduled event.

C. The proposal should include:

1. Date

2. Time

3. Place of the event

4. Why/how you feel this particular event will benefit you

5. Traveltime

D. Upon approval, you will be excused from all your classes IN THE DANCE DIVISION on the days you choose.

E. Absences from classes in the Theatre Division or other departments or schools must be arranged with your professors in advance.

V. Results:

You will be expected to present the results of your experience with the class.

VI. Any exceptions to these policies will be considered on an individual basis as per the Dance Division Coordinator’s discretion.

VII. Failure to fulfill these requirements will result in recorded absences.

CONDITIONS

I. Students must be in good standing both academically and within the technique class(es) they will be missing.

II. Students must keep up with the class work they will be missing. They should be familiar with any new material introduced in class on the day they were absent before the next class. Failure to Aget the notes@ prior to the next class may slow down the progress of the entire group and may result in revoking of the Professional Preparation Days@ privilege.

III. Assignments due on the date of a Professional Leave Day must be turned in, unless previous arrangements are made with the instructor.

IV. Students must watch their attendance patterns. All of the proposed absences cannot be on the same day of the week if that is the only day an instructor teaches them. For example, if one teacher instructs on Monday and Wednesday and the other teaches on Friday, to take all of the above designated absences on Fridays would not give that instructor sufficient information about the students’ development and might affect the instructor’s assessment of progress and the student’s grading.

DANCE HEALTH AND WELLNESS

I. Health Problems

A. The requirements for both the dance major and minor can be very rigorous, especially for incoming dance students. B

. The responsibility for achieving and maintaining good physical and mental health lies primarily with the student. In addition, Kent State University provides access to medical doctors, physical therapists, nutritionists, and counseling and psychological services. However, the faculty is ready to provide additional support and information.

C. Adequate rest, healthy eating habits and close monitoring of injuries are essential for health as an individual and critical for a successful dance career.

D. All injuries and illnesses that could affect participation in dance activities should be listed on the audition registration form. If these have not been shared, contact the Dance Division Coordinator to discuss for possible referral.

E. Previous injury is not necessarily something that will prevent full and active participation in the dance major/minor; however, full disclosure is necessary to prevent additional or new damage.

F. Failure to follow physician’s or physical therapist’s recommendations for care and treatment of injuries or a health condition may result in a limitation of performance privileges.

II. Nutrition and Weight

A. Nutrition The KSU Dance Division expects dancers to eat a well-balanced diet that provides them with enough energy to support daily dance classes, rehearsals and performances.

B. Weight

1. The Dance Division does NOT have a strict weight requirement for dance majors or minors because the modern dance and jazz fields embrace a variety of body types.

2. However, maintenance of weight suitable for the individual’s body type and which allows for the energy needed to dance is expected.

3. Overweight

The Dance Division discourages an increase in weight that interferes with an individual’s ability to execute movement safely and efficiently or that impairs the correct execution of technique and choreography.

4. Underweight/Disordered Eating

The Dance Division also discourages malnourishment and disordered eating that may result in a lack of strength and/or energy needed to meet the demands of dance technique and performance.

III. Injury Care

A. If a traumatic (sudden) injury occurs either in or outside of class, follow proper first aid procedures: Ice Compression Elevation

B. Chemical ice packs are available from the freezer in the Rehab Studio D120 or from the faculty.

C. The use of aspirin, ibuprofen or other non-prescription anti-inflammatory medication may be taken (if not allergic) to reduce swelling and pain.

D. If appropriate, transport to the hospital, emergency medical facility, Deweese Center or physician.

E. Physical therapy is available at the University Health Center. Please do not schedule appointments during class time.

F. For injuries sustained in a class or rehearsal, fill out a KSU Injury Report form. Make certain all of your technique teachers are informed of your condition.

G. For injuries sustained outside of dance class or rehearsal, dancers must inform all instructors and/or the Dance Division Coordinator as soon as possible.

H. Wherever possible, participation in technique, to the extent allowed by your physician or health care professional, is expected.

I. Students who must observe class will be asked to write observations or be given alternative assignments. An observation is attendance

IV. Doctor’s Notes

A. REQUIRED

1. For serious injury that impairs dance activity (classes, rehearsals and performance)

2. For INCOMPLETES in a course (last 3 weeks of the semester) NOTE: Having a doctor’s note does NOT excuse students from classes. Do not schedule doctor’s appointments during classes. Dancers are subject to the Dance Division attendance policy. “SAVE” your absences for illnesses!

MUSICAL THEATRE MAJORS

1. You must meet with your advisor in Theatre at least once per semester.

2. Musical Theatre Majors are required to audition for all Theatre Program main stage productions and to accept all roles assigned.

3. Musical Theatre majors who wish to audition for any Dance Division concerts must first petition the Acting area for permission to audition. You must have a written response one week prior to auditioning.

4. Musical Theatre students may continue to elect dance classes and to progress through the different course levels as long as you are an undergraduate student.

5. Anyone accepted for a role in a dance piece must be enrolled in a technique class throughout the semester in which the dance will be presented.

PERFORMANCE AND CHOREOGRAPHY OPPORTUNITIES

I. Participation

A. Dance Majors

1. All BFA dance majors are required to attend ALL auditions, even if auditioning “for experience.”

2. All dance majors are encouraged to perform each semester.

3. All BFA dance performance majors are required to perform a minimum of four (4) semesters.

4. All dance majors are required to perform a minimum of two (2) semesters. Faculty work is strongly recommended.

5. Students should be enrolled in DAN 37192 – Dance Practicum for 1 credit hour each time they perform, in addition to the minimum requirements, if possible.

B. Dance Minors

1. Dance minors who are enrolled in professional level dance classes are eligible to audition for the following concerts: 

• Faculty Dance Concert 
• Kent Dance Ensemble (additional restrictions apply) 
• BFA Senior Dance Concert 
• Student Dance Festival

2. Dance minors enrolled in studio level courses are eligible to audition for the following concerts:

• Faculty Dance Concert 
• BFA Senior Dance Concert 
• Student Dance Festival

C. Dance Technique classes

Students must be enrolled in and successfully attending dance technique classes during semesters in which they rehearse and/or perform.

D. Academic Probation Students on Academic Probation (GPA less than 2.0) may NOT perform in School of Theatre and Dance productions.

II. Performance Opportunities

A. FACULTY DANCE CONCERT – faculty and guest artist choreographed Requirements:

Auditions are held in the beginning of the Fall semester.  Dancers are required to accept roles as assigned.

B. STUDENT DANCE FESTIVAL (SDF) - student choreographed

1. Requirements for the Student Choreographers: 

• This is curricular requirement of the B.F.A. Major usually completed in the third year of study.
• Completion of Dance Comp II. 
• Work must be accepted by SDF Director in conjunction with dance faculty or at the discretion of the dance faculty. 
• All student choreographers must work with a Dance Faculty Creative Advisor.

2. Requirements for students wishing to perform in the student concert:

• Must be enrolled in and attending at least one dance technique course (any level) during the semester of the performance. 
• Must be accepted by student choreographer either by audition. 
• Must participate in all scheduled rehearsals including technical and dress rehearsals. 
• Must participate in strike.
• Theatre Majors must obtain written permission from their area faculty prior to auditioning.

C. KENT DANCE ENSEMBLE - faculty and/or guest artist choreographed The purpose of the ensemble is to provide a pre-professional performing company experience to help bridge the gap between college and the professional dance world. The company requires that its members make a year-long commitment to work as a group, learn choreographic works from a variety of choreographers and represent the Dance Division and the university on and off campus. KDE performs in the Faculty Dance Concert in addition to presenting their own mainstage concert each year. Membership is by audition. Auditionees must be placed in MODERN level II or above the fall semester following the audition.

D. INFORMAL DANCE CONCERTS - faculty and/or student choreographed In the past, occasions have arisen for students to perform for events on campus and off. These additional opportunities must be approved by the faculty.

E. B.F.A. SENIOR PROJECTS (DAN 47174 - SR. CHOREOGRAPHY PROJECT) All dance performance majors are required to formally present 6-9 minutes of choreography in their senior year. Students will work in conjunction with other senior choreographers. All student choreographers must have previously choreographed for the SDF concert.

Please note that students must present choreography in a Student Dance Festival prior to the presentation of their Senior Projects Concert (usually in the Junior year). See details on p.53-54 or Click Here.

Theatre Majors must obtain written permission from their area faculty prior to auditioning.

F. DANCE COMPOSITION CLASS SHOWINGS - student choreographed

Requirements:

1. Choreographers must be enrolled in appropriate composition course.

2. Must request special permission from composition instructor to show individual works if not enrolled in dance composition.

3. Dancers accepted by invitation.

G. THEATRE PRODUCTIONS

The School supports a policy of open auditions. Dance majors may elect these performances in addition to their concert work. Dancers should consult the Theatre call board for information on audition requirements and an appointment time. Dance Majors must submit a written request to the Dance Division Coordinator and receive approval prior to the audition.

H. LAB SHOWS

Students are encouraged to audition for and participate in Lab Shows as long as rehearsals and performances do not conflict with those in dance. Students should notify their dance advisor and the Dance Division Coordinator in advance about their intention to audition and participate.

I. AMERICAN COLLEGE DANCE ASSOCIATION CONFERENCES - student and/or faculty choreographed

All dance majors and minors are encouraged to participate in the American College Dance Festival. The festival consists of 4 to 5 days of classes taught by teachers from all over the United States, in addition to student and professional choreographic showings. It is an opportunity to meet other college dancers and assess where you stand in relationship to them. Audition opportunities for prestigious summer workshops are also offered. ACDA is always held in the spring semester, usually in February or March. START SAVING YOUR MONEY NOW! Scholarships may be available from KSU-SDEO.

ACDA Student Choreographer Requirements:

1. Must be an active dance major or minor.

2. Two student pieces may be selected by audition to represent the Dance Division. The full-time dance faculty will vote on the final selection at the end of the fall semester.

3. An adjudication committee of professional choreographers selected by the American College Dance Association will decide if the work will be presented in the Regional Gala Concert.

4. All student dancers must be able to pay their own expenses, including conference registration, travel, lodging and food.

PARTICIPATION POLICIES (Rev. 07/29/2011)

I. This policy applies to ALL Dance Division rehearsals, including but not limited to:

A. Faculty Dance Concerts

B. The Kent Dance Ensemble (KDE)

C. BFA Senior Dance Concert (BFA)

D. Student Dance Festival (SDF)

II. This policy applies to ALL PERFORMERS, including but not limited to:

A. Dance Majors

B. Dance Minors

C. Studio level (non-Major/Minor) dancers

D. Guest Artists

E. Others who have a performance role in any of the Dance productions (actors, musicians, etc.)

III. Auditions

A. All Dance Majors (B.F.A., B.A.)are required to audition for all Dance concerts.

B. Attendance at an audition indicates a willingness to attend: 

• All rehearsals (choreographic, spacing, technical, etc.) 
• All warm-ups 
• Costume fittings 
• Publicity photo shoots as called  
• Showings 
• Production meetings as called 
• Strike 
• Other activities as deemed essential to the success of the production by the faculty of the KSU Dance Division

C. Auditioning “For Experience Only” 

• If school or work schedules prevent you from attending evening rehearsals but you would like the experience of auditioning, you may audition “for experience only.” 
• If you are attending the audition “for experience only,” please indicate this next to your name. 
• Dance Majors may audition “for experience only” only with the approval of the Faculty Concert Director. Unusual and exceptional circumstances must be presented in order to qualify for this option.

D. Qualifications 

• Faculty Concert: 
  • Dance Major or Minors
  •  Professional level classes
  •  By Faculty invitation
•  Kent Dance Ensemble:
  •  Dance Major or Minor
  •  Modern Dance Technique II or above
  •  Pass audition
•  BFA Senior Dance Concert and Student Dance Festival:
  •  Student dancer must be enrolled in and successfully attending any KSU Dance Division technique class (a minimum of 2 50-minute classes per week) 
  • Pass audition

E. Cast Lists 

• A cast list will be posted usually within 24 hours of the audition 
• Dancers are expected to accept all casting as posted 
• Dancers chosen for a piece(s) must acknowledge their casting and rehearsal scheduling by writing their initials next to their names within the next 24-hour period. Failure to do so may result in the choreographer naming another dancer to the role. 
• Questions about casting should be directed to the choreographer (Faculty concert) or Faculty Concert Director (KDE, BFA or SDF).

F. Understudies and Alternates

•  Understudies:
  •  The role of an understudy is an extremely important one. While it is true that the understudy may not get to perform the piece in public, s/he gains valuable experience in both performance skills and choreographic styles, as well as challenging her/his intellectual capabilities by filling in when different dancers must be absent from rehearsals. 
  • Understudies are expected to attend all rehearsals, including tech week, and performances in the event a sudden illness or injury necessitates stepping into the role.

G. Dancers Not Cast in a Concert 

• Failure to be chosen for a role in a concert does not mean you should hang up your tights forever. Many factors influence a choreographer’s decision to use or not to use certain dancers. These factors include: 
  • The ability to achieve the right quality of movement shown (steps can be drilled, but dynamics are trickier). 
  • The relative heights and body types of dancers according to specific actions/roles that occur in the piece 
  • Technical level 
  • Scheduling conflict
  • Reliability. A dancer who is inconsistent in class attendance or has trouble meeting deadlines, appointment dates, etc., may not be cast for those very reasons. 
  • Year in school. A junior or senior who may need performing experience might be chosen over a freshman.

IV. General Expectations

A. Dancers: Attendance at ALL rehearsals (choreography, spacing, technical rehearsals, etc.) is expected.

B. Musicians, designers, stage management, etc.: Expectations for rehearsal attendance will be determined by the choreographer, Faculty Creative Advisor, and collaborator(s) (designers, composer, Faculty Concert Director, etc.) as appropriate. Once these expectations are set, the rehearsal attendance schedule is mandatory.

C. It is the responsibility of the CHOREOGRAPHER to inform the dancers, other performers and technical personnel about all rehearsals in advance.

D. It is the responsibility of the DANCER to obtain, keep and follow the rehearsal schedules and concert calendars.

V. Technique Expectations

A. All dancers must be enrolled in and successfully attending dance technique classes during all semesters of participation.

B. All participants (student choreographers and performers) are expected to be warmed-up both physically and mentally for all concert related activities, including rehearsals, showings and performances.

C. All dancers are expected to attend their normally scheduled technique classes on the days of the above mentioned activities.

• If a dancer, due to illness or injury, is absent or observes his/her assigned dance technique class, he/she may not dance in rehearsals, showings or performances. 
• Ill or injured dancers ARE expected to observe rehearsals, showings, etc. and learn new material to the best of their ability while sitting out.

D. Non-major (Studio) dancers whose classes are on alternate days should be especially diligent about arriving EARLY to rehearsals, showings, etc. so that they can fully warm-up prior to activity. The responsibility for injury prevention lies with the dancer in this situation.

VI. Warm-up

A. All dancers must conduct a thorough warm-up for themselves if one is not provided as part of the activity.

B. When a warm-up is provided, all dancers must attend unless excused by the Faculty Concert Director.

C. After warming up, it is the responsibility of the dancer to maintain the strength and resiliency of his/her body until the time she/he performs.

D. In performance situations, no one is allowed to leave the premises after warm-up.

VII. Absences and Emergencies

A. Dancers 

• If a dancer must be absent from a rehearsal or showing (unexpected, severe emergency), the dancer MUST contact the choreographer ASAP.
• While a friend/fellow dancer may be asked to relay a message, the dancer MUST ALSO contact the CHOREOGRAPHER personally as soon as possible. 
• During tech week, the dancer must also contact the STAGE MANAGER and/or the faculty concert director.

B. Student Choreographers

• In case of a sudden emergency (unavoidable traffic delay, unexpected severe illness, etc.), the choreographer must contact: 
  • All dancers 
  • Faculty Creative Advisor (even if an observation has not been scheduled) 
  • Dance Office (if during business hours)
  •  If the following were scheduled to attend the rehearsal, also contact:
    • Stage Manager
    • Lighting Designer(s) 
    • Costume Designer(s) 
    • Scene Designer(s) 
    • Composer(s) 
    • Musicians(s)

C. University Closing and Rehearsal Cancellations 

• If Kent State University CLOSES (at noon, 4:40 PM, etc.), NO REHEARSALS MAY BE HELD AFTER THAT TIME. 
• Any request to reschedule rehearsal space must go through the Faculty Concert Director and the Dance Division Coordinator. 
• All regulations about requesting studio space will apply.

VIII. Excused and Unexcused Absences, Lateness

A. Definitions 

• An “excused” absence is one that was identified at the beginning of the rehearsal period. This does not count against either the choreographer or the dancer.
  • Excused Absence Example #1: The choreographer distributes the rehearsal schedule with no rehearsals listed for a particular week, due to the fact s/he will be attending a conference. 
  • Excused Absence Example #2: A dancer lists attending a relative’s wedding as a conflict on her/his Performer Audition form. 
• An “unexcused” absence is any absence not anticipated or pre-determined at the beginning of the rehearsal period. Unexcused absences include, but are not limited to: 
  • Illness or injury 
  • Car trouble 
  • Going home for the weekend and not getting a ride back to campus as scheduled

B. Any question about whether the absence is “excused” or “unexcused” will be resolved by the Dance Faculty.

C. Consequences for unexcused absences: 

• Two (2) unexcused absences (even for unexpected, severe emergencies) and an understudy will be assigned. 
• Three (3) unexcused absences and the dancer is dismissed from the piece(s/he may continue to understudy).
• Four (4) unexcused absences and the dancer 
  • IF enrolled in Practicum, gets a grade of “U” (unsatisfactory) Whether in Practicum or not, dancer will be on “performance probation.” This means that s/he will be able to understudy a role in the next production, but will not be cast. 
  • If the dancer is successful as an understudy, he or she will then be removed from this probationary status and allowed to audition for a role in the next concert.

D. Lateness for or absence from any required concert activities (including but not limited to: dance classes, rehearsals, photo shoot, warm-up, strike) may result in the dancer being dropped from the concert program, being placed on performance probation and/or prohibited from participation in future performance opportunities.

IX. Communication

A. Information pertaining to the dance concert will be disseminated in these ways: 

• Posting on the Dance Callboard near the studios. 
• Posting on the Dance Division Electronic Callboard. 
• E-mails from the Faculty and/or Student Directors. 
• Texts/phone calls from Choreographers.

B. General calendar information and contact information will also be posted in the Electronic Callboard for 24/7 access.

C. Every attempt will be made to give 48 hours’ notice of schedule changes; however, sometimes short notice is unavoidable.

D. It is the dancer’s responsibility to check the Dance Callboard DAILY for new information pertaining to rehearsals, costume fittings, publicity and photo calls, crew calls, etc. “I didn’t check my e-mail” is NOT an acceptable excuse for missing any of the above requirements.

E. Any changes to the stated rehearsal schedule by a student choreographer must be authorized IN ADVANCE by: 

• The Faculty Creative Advisor for the dance or, if unavailable, 
• The Faculty Concert Director or 
• Dance Division Coordinator

F. Any complaints, problems or conflicts should be reported to the appropriate authority: your choreographer, Faculty Concert Director, stage manager, or faculty member.

X. Removal from Participation/Performance Probation

A. The Dance Division (and your choreographer) reserves the right to remove any dancer from a piece for the following: 

• Failure to attend any required concert activity without permission. This includes, but is not limited to: 
  • Class or warm-up on the day of a showing, rehearsal or performance 
  • Costume fittings 
  • Make-up workshop 
  • Photo call or publicity photo shoot 
  • Strike after the performance 
  • Inconsistent attendance at rehearsals
  • Inconsistent attendance in technique classes 
  • Poor performance or attitude 
  • Poor communication 
  • Lack of technical development over the rehearsal period

B. The Dance Faculty reserves the right to implement additional procedures and regulations if unusual and unsafe situations occur.

STUDENT CHOREOGRAPHY POLICIES and PROCEDURES

I. Creative Advising

A. All choreographers must have a Dance Faculty creative advisor assigned based on schedule compatibility.

II. The privilege of choreographing and/or performing may be rescinded for actions including (but not limited to):

A. Being on Academic Probation, Dance Division Probation, or Performance Probation

B. Failure to fulfill responsibilities as a choreographer or performer during the current or previous semester or academic year.

C. Inconsistencies in class and/or rehearsal attendance.

III. Priority for consideration of choreography is as follows:

A. BFA Dance Performance Majors (required)

B. BA in Dance Studies Majors (with permission of faculty)

C. Dance Minors (with Comp II) if space allows

IV. Choreographers

A. As a choreographer you bear many responsibilities: 

• Composing your dance 
• Choosing your dancers 
• Keeping dancers injury-free 
• Choosing/recording your music 
• Collaborating with various design and production personnel 
• Supervising costuming 
• Supervising lighting 
• Cooperating with scheduling 
• Disseminating scheduling information 
• Publicizing the event to ensure audiences 
• Frequent and regular contact with your Faculty Creative Advisor and Faculty Concert Director

B. Be prepared for rehearsals

C. For every hour of group rehearsal time, you should spend at least one hour preparing yourself, improvising, setting phrases, thinking about floor patterns, etc. Inspiration only strikes those who have worked hard at recognizing it. Be in the studio early, set up and ready to begin on time.

D. Following the auditions for your concert, all choreographers will meet to discuss rehearsal needs for their piece(s).

1. The Faculty Concert Director for your concert will provide you with a schedule of available studio space.

2. It is expected that all choreographers will cooperate in the negotiations to determine a fair and equitable division of rehearsal spaces, days and times.

3. This schedule of rehearsals and any subsequent changes must then be approved by the concert faculty advisor and the Dance Division Coordinator.

E. If you cancel a rehearsal, you must notify the Concert Director(s) and your Faculty Creative Advisor.

F. Respect yourself and your dancers Be prepared, organized and courteous to your dancers at all times and they will return he same to you. Be demanding, late, unprepared and unappreciative and they will mirror that as well. As costuming, publicity, lighting, sound and props can make or break a dancer/dance concert, be cooperative with those who are supporting your dance in these ways.

G. Be sure:

1. Any Musical Theatre major auditioning for your piece has written permission from his/her theatre area faculty to do so.

2. All dancers are enrolled in and attending their technique classes (1 studio course, minimum).

H. You have the right to expect your dancers to be on time for rehearsals, warmed up and ready to begin. You do not have to put up with habitual lateness or uncooperative dancers. Choose an understudy and use him/her or change your piece, if necessary. Accommodating dancers who miss rehearsals to go home for the weekend, or who have partied too late the night before, is not being fair to your other dancers.

I. If at all possible, avoid using yourself in your own dance. It is impossible to concentrate both on performing your own part and watching the overall pattern (which you can’t see if you are a part of it, anyhow). If you are choreographing a solo, select an understudy to learn your part and perform it in rehearsals, so you can get an objective view of your piece.

J. In addition, bring in an outside observer, whether it is another faculty member or a choreographer whose opinion you trust, to critique your work periodically.

V. Concert Responsibilities

A. A tentative schedule of dance showings and choreographers’ meetings will be established. Plan your rehearsals accordingly, and keep checking the Callboards (outside studios and on the electronic callboard) for changes.

B. Tech Week begins with spacing rehearsals the weekend before the concert. All dances must be finished and polished by that time. No additional rehearsals may be scheduled.

C. Costuming: Realistically appraise the body structure of your dancers. Consult your creative advisor for suggestions.

D. Sound: It is the choreographer’s responsibility to provide their music to the concert should designer in the requested format.

E. Stage Space: The dimensions of the stage will be taped on the studio floors. Abide by these measurements or your dancers will run out of room on stage.

F. Be aware of lighting limitations. You may not get “the” lighting for your piece, but the tech crew will do their best! Appreciate their efforts!

BFA/SDF Policies

The policies can be found on the Dance Division Electronic Callboard. They are reviewed annually by the faculty and updated as needed.

DANCE DIVISION POLICY: CREATIVE ADVISING

BFA Senior Concert

1. Seniors will secure a Faculty Creative Advisor prior to their first rehearsal for the BFA Senior Concert.

2. Faculty Advisors will attend:

Three (3) Showings

Three (3) Rehearsals

3. Recognizing that the creating/learning process for students develops differently in each individual, if at any time, either the student or the faculty feels that any Senior choreographer would benefit from additional observations and assistance, this is to be reported to the BFA Faculty Artistic Director and they will be scheduled.

4. Senior Students are encouraged to contribute to the development of one another’s work by requesting rehearsal observations from their peers who are not in their casts and by returning the favor by observing the rehearsals of others.

5. A choreographer may request additional visitation on an impromptu basis of any faculty member, who may or may not be able to comply, or of their Faculty Creative Advisor.

6. A choreographer may also schedule an appointment with his/her Faculty Creative Advisor to view a previously videotaped rehearsal.

Student Dance Festival

1. Faculty Creative Advisors will attend:

Two (2) Showings

Three (3) Rehearsals

Spacing Rehearsal, if possible

Technical Rehearsal, if possible

2. Recognizing that the creating/learning process for students develops differently in each individual, if at any time, either the student or the faculty feels that any choreographer would benefit from additional observations and assistance, this is to be reported to the SDF Faculty Artistic Director and they will be scheduled.

3. A choreographer may request additional visitation on an impromptu basis of any faculty member, who may or may not be able to comply, or of their Faculty Creative Advisor.

LEADERSHIP OPPORTUNITIES

I. School of Theatre and Dance

A. Regular, open "Town hall" meetings for Theatre and Dance students are scheduled usually at noon on the first Wednesday of each month. This is a chance for all students to meet with the School Director and solicit information or share ideas about the school and its programs.

B. Committee Representation. Dance student representatives are found on the following: 

• School of Theatre and Dance Full School Meetings 
• Curriculum Committee 
• Production Committee 
• Student Academic Complaint Committee 
• Strategic Recruitment Committee 
• Season Selection Taskforce

II. Dance Division

A. Each level elects a class representative and an alternate at the first Dance Major/Dance Minor/Musical Theatre Major Meeting of the year.

B. The Student Dance Education Organization elects the executive committee in the spring for the following fall semester. Refer to the SDEO page in this handbook.

C. Student Dance Festival (SDF) Student Director. This individual is a liaison between the Faculty Creative Director and the choreographers/dancers involved in the production. This is one of the best ways to learn how to run a dance performance while developing interpersonal skills. Interested individuals should contact the Student Dance Festival Faculty Artistic Director. The Student Director also represents the choreographers/dancers at SDF Production Meetings.

D. Student Artistic Director Kent Dance Ensemble. This is an individual who is a returning KDE company member who applies for the position in the spring of the year previous to service. Duties of the Student Director include, but are not limited to: 

• Assisting the Artistic Director with publicity, marketing, and fundraising activities 
• Developing and conducting company warm-up 
• Conducting lecture demonstrations 
• Serving as rehearsal assistant to faculty and/or guest artist choreographers 
• Serving as liaison between the company dancers and the Faculty Artistic Director  Mentor to new company members

E. Assistant to the Artistic Director (AAD) of the Faculty Dance Concert. Interested individuals apply for this appointment the semester prior to the faculty dance concert. The AAD works closely with the Faculty Artistic Director to facilitate the organization of the performance. Duties include: 

• Serving as liaison between the dancers and the Stage Manager 
• Cast orientation 
• Developing and running the warm-up prior to the audition and showing 
• Facilitating the flow of information from the Faculty Artistic Director to the dancers  Publicity assistance 
• Other duties as assigned

F. KENT STATE UNIVERSITY - STUDENT DANCE EDUCATION ORGANIZATION (KSU-SDEO)

The Kent State University Student Dance Education Organization (KSU-SDEO) is a student chapter of the National Dance Education Organization (NDEO). KSU-SDEO=s mission is to promote activity in and awareness of the field of dance education. A member elected executive board governs KSU-SDEO. Members are required to maintain joint membership to KSU-SDEO and NDEO, and pay annual membership fees to both organizations. Membership is open to all students at Kent State University.

What does KSU-SDEO do?

1. Presents at and/or attends annual National Dance Education Organization conferences.

2. Facilitates student membership in the National Dance Education Organization.

3. Facilitates networks and mentoring with professionals in the dance education field.

4. Organizes and presents performances in the local community.

5. Sponsors guest lecturer/teacher visits for the KSU dance community.

6. Facilitates teaching opportunities for members.

7. Presents dance workshops for the local community.

STUDENT ORGANIZATIONS PUBLIC ACTIVITIES PROPOSAL

Prior to scheduling a master class or public activity:

I. A proposal for the activity must be submitted through the organization’s Faculty Advisor at least four weeks in advance. This must include:

A. Nature of the activity, including information on teachers and target audience

B. Date, time, location

C. Publicity plan

D. Box office plan (how will expenses be handled and by whom?)

E. Faculty supervisor (can be any willing dance or theatre faculty member, not necessarily the organization’s Advisor)

II. Publicity materials must be submitted for approval no less than three weeks in advance

A. For campus posting only, approval by the organization’s Faculty Advisor is required.

B. For posting or advertising off-campus, the approval of the Dance Division Coordinator is also required.

III. Space must be secured through the School Space Scheduler, Production Manager, Building Curator or University, as appropriate.

IV. Publicity plan must include:

A. Notification of all faculty in Dance and other areas as appropriate a minimum of two weeks in advance (hard copy)

B. Reminder notifications to all faculty via email one week in advance

C. Plans to visit classes and make announcements, if appropriate

D. Press release, if appropriate (approval three weeks prior by Division, then submitted to the College of the Arts Publicity Director)

V. Hold Harmless Forms (a liability form) must be secured from all participants. Hold Harmless Forms can be found on the electronic callboards.

VI. Arrangements for sound support, if necessary, should be made as early as possible, and three weeks in advance at minimum.

Professional Organizations/Conferences

I. National Dance Education Organization (NEDO)

II. American College Dance Association (ACDA)

III. Ohio Dance

IV. Other

A. American Dance Therapy Association (ADTA)

B. Society of Dance History Scholars (SDHS)

C. National Association of Schools of Dance (NASD)

D. Corps de Ballet International

E. Dance and the Child International (DaCi)

F. International Association for Dance Medicine and Science

G. Dance/USA

H. Regional Dance America