Dance Program Handbook Conservatory of Theatre and Dance Southeast Missouri State University

Transcription

1 Dance Program Handbook Conservatory of Theatre and Dance Southeast Missouri State University

2 INTRODUCTION Welcome to the Dance Program in the Conservatory of Theatre and Dance at Southeast Missouri State University! This handbook is designed as a reference guide to provide you with the information you will need about program requirements, the dance major, academic courses, and performance opportunities. This Handbook provides a wealth of information specific to dance students at Southeast, and constitutes an understanding of responsibilities each student must fulfill in order to satisfactorily participate in dance activities and events. It will be necessary to utilize the program website throughout the year to access a variety of resources, including the calendar, departmental scholarship announcements and application, Last Chance to Dance choreography submissions, BFA Project forms and a wide variety of other information. If you have any questions regarding dance program policies, coursework, rehearsals, etc. the faculty are here to help! Hilary Peterson, Coordinator of Dance RCS 463 hpeterson@semo.edu Alyssa Alger, Instructor RCC 261B aalger@semo.edu Michelle Contrino, Instructor RCS 462 mcontrino@semo.edu Philip Edgecombe, Instructor RCC 261D paedgecombe@semo.edu Rubén Gerding, Assistant Professor RCC 261A rgerding@semo.edu

3 Southeast Missouri State University Conservatory of Theatre and Dance DANCE PROGRAM Mission Statement The mission of the Dance Program at Southeast Missouri State University is to train students in the B.F.A. and B.A. degrees into becoming resourceful contemporary dance artists by offering solid and vigorous studio technique, challenging and vital classroom experiences and numerous performance opportunities. Committed to Artistic and Academic excellence, the faculty advocates and supports the cultivation of professional dancers through guided analysis, exploration and practice in the development of expertise within the many components of the dance discipline. Purpose 1. To nurture students toward becoming dance professionals who are responsible, collegial, resilient, mature and compassionate people; 2. To train forward-thinking, versatile and creative dance artists who can be competitive in the professional dance world (i.e. concert and/or commercial dance) and who will qualitatively contribute to the field of dance; 3. To offer students technically strong and aesthetically sound training in progressively more rigorous levels of ballet, modern, jazz and tap dance; 4. To expose students to a variety of exceptional dance professionals in the discipline; 5. To be intelligent and compelling dance advocates on-campus and within the Cape Girardeau and regional community; 6. To offer an intensive conservatory approach within a supportive liberal arts education.

4 Southeast Missouri State University Conservatory of Theatre and Dance 21 Items Every Dancer Should Own For Injury Prevention/Care Item Purpose 1. Heating Pad To relax strained muscles 2. Ice Pack/Frozen Peas To reduce the swelling of an injury 3. Ace Bandage For compression of the injured area 4. Ibuprofen To reduce pain and swelling 5. Tiger Balm To soothe sore muscles 6. Tennis Ball/Pinky Ball/Foam Roller To roll out/release sore muscles 7. Epsom Salts For soothing sore muscles in a bath 8. Theraband For strengthening exercises 9. Nail Clippers To remove ingrown toenails/blisters 10. Sports Tape (multiple rolls) To secure injured areas 11. Super Glue To fill splits in feet/toes 12. Band-Aids (assorted sizes) For cuts/abrasions 13. Liquid Band-Aid For hard to seal abrasions/splits 14. Yoga Mat For stretching For Everyday Classes/Auditions/Performance Item Purpose 15. Knee Pads For protection during floorwork/falls 16. Travel Sewing Kit To fix shoes/leotards/etc. 17. Journal To record class corrections/combinations 18. Planner To organize your schedule 19. Resume/Business Cards To give to potential employers 20. Nude Undergarments For wearing under dance wear/costumes 21. Technical Manual and Dictionary To learn vocabulary of Classical Ballet by Gail Grant

5 The Conservatory of Theatre and Dance Dance Program Professional Development Leadership Program Each year the Dance Program selects dance majors (BFA and BA) who comprise the Professional Development Leadership Program. These dancers act as ambassadors to the program, guiding and mentoring both current and incoming students. Dancers selected for the Leadership Program must demonstrate regular and committed participation within the dance discipline. The Role of a Leadership Dancer: 1. Serve as an official representative of the Conservatory Dance Program, both personally and professionally, in person and online. 2. Act as a liaison for prospective students as needed during campus visits, including Dance Day, program auditions, and other departmental events. 3. Act as a mentor to new and existing dance students. 4. Represent the Dance Program through social media accounts in a positive and productive way. 5. Serve as a dance representative on Conservatory student councils, meetings, etc. Benefits of becoming a Leadership Dancer: 1. Recognition with a headshot and bio on the dance program website and on social media. 2. Partnership with an alumni mentor for guidance on the transition from college to professional work. 3. Automatic acceptance into the Alumni Mentorship Program. 4. Valuable addition to résumés. Expectations and Requirements of a Leadership Dancer: 1. Successful completion of 1 year as a dance major at Southeast Missouri State University. 2. Maintain a minimum grade point average of Execute technical and artistic proficiency, demonstrate stellar work ethic and dedication, and exemplify excellence in attitude, respect, and decorum. 4. Abide by the BFA Professional Development Participation Policy. 5. Active member of University Dancers United (UDU). 6. Pursuit of additional extra-curricular activities related to professional development and leadership throughout the academic year and summer. 7. Be a strong and positive presence within the dance program. 8. Schedule a minimum of one (1) conference per semester with Leadership Program advisor.

6 Application Questions: Please answer the following in an additional typed and printed document. 1. Why do you want to join the Leadership Program? 2. What can you bring to the Leadership Program? 3. Describe your background experience, including but not limited to: summer intensives, shadowing opportunities, staff or counselor positions, and any additional past or present leadership positions or awards. 4. Briefly discuss short-term and long-term goals, and what you hope to gain from the program regarding dance and future leadership endeavors. 5. Attach a résumé. NOTE: Applications are to be filled out and submitted online.

7 Dance Technique Class Attendance Policy 1. Attendance credit will be given only to those students who participate physically and mentally for the full duration of the class. a. If a student begins a class and DOES NOT complete it, the instructor may give NO CREDIT for that class day. b. If a student is late to a class (enters class after it has begun), the instructor may also give NO CREDIT for that class day. c. Students who are not dressed according to the Dance Technique Class Dress Code Policy will not be allowed to participate in class and may receive NO CREDIT. d. Students who are ill will be encouraged to stay at home in order to recover or, if already on campus, go home to recover. e. If a dancer has an injury and has been allowed to observe class, he or she must write and submit observations of the class according to the guidelines of each individual instructor. See #6. 2. Due to the nature of the dance technique studio experience, it is not possible to make up missed class work. It is not reasonable to expect to be given individualized demonstrations or special explanations of missed material due to absenteeism. 3. While attendance is only a portion of the grading criteria for each technique class, minimum attendance is an appropriate requirement in a course that is experiential by definition. Given this requirement, especially due to its integral connection to the qualitative in-class participation, execution and improvements portion of the class, a specified number of absences will be allowed before it negatively affects a student s grade. For technique classes that meet three times per week, four absences will be permitted without a negative effect on the attendance and qualitative in-class participation portions of the final grade. The highest final grade one can receive with additional absences and missed participation, execution and improvement is: B 5 7 absences C 8 9 absences D absences F 13 absences or more For technique classes that meet two times per week, three absences will be permitted without a negative effect on the attendance and qualitative in-class participation portions of the final grade. The highest final grade one can receive with additional absences and missed participation, execution and improvement is: B 4 5 absences C 6 7 absences D 8 9 absences F 10 absences or more 4. Any student missing three or more classes within the first three weeks of the semester may be administratively dropped from the course by the instructor. Students with

8 this number of absences would have missed one-third of all classes in that time period and it is unreasonable to allow them to continue. 5. Students are responsible for keeping personal records of missed classes due to injury, sickness, university-related events, written observation note-taking days, or any other reason. Although the instructor keeps records, he or she is not responsible for supplying that information anytime during the semester to the student. 6. If an injury excludes a student from participating fully in technique class, the student must meet with the course instructor and follow the Dance Program Injury Protocol and Procedures in order to maintain his or her participation points. 7. If a student is injured and unable to take class for more than two weeks up to and including the last day to drop classes (usually the 12 th or 13 th week of the semester), it will be recommended that the student drop the class as it will be impossible for that student to successfully fulfill the course s experiential requirements.

9 Dance Technique Class Dress Code Policy Appropriate dance clothing is that which does not draw attention to itself, which allows the teacher to clearly see the body at work, and which shows that the dancer understands and has respect for the demeanor expected of those studying dance. Students are to adhere to the following regulations regarding proper attire for both men and women in the various technique classes. Baggy T-shirts, athletic/basketball/running shorts or pants, and pants that drag the floor are NOT allowed! Ballet/Pointe: Clean canvas or leather ballet slippers without holes, sewn elastics and tucked in ties; Women: Solid-colored leotard with proper bra support, pink/tan or skin-colored tights; Men: Black tights, dance belt, solid-colored form-fitting T-shirt or tank. Modern: Women: Men: Jazz: Women: Men: Tap: Women: Men: Bare feet or socks and kneepads required; Solid-colored leotard with proper bra support and tights, leggings or dance pants that fall below the knee; Form-fitting tank top, dance belt, tights or dance pants below knee. Canvas or leather jazz shoes, slip on or tie (no jazz sneakers); Solid-colored leotard with proper bra support, black tights/leggings/compression shorts; Form-fitting tank top, dance belt and form-fitting, black dance pants or compression shorts. Leather tap shoe with solid taps (no jingle taps); Solid-colored leotard with proper bra support, tights, form-fitting T-shirt or tank top, and solid-colored dance pants; Form fitting T-shirt or tank top, dance belt, and solid-colored dance pants. Note 1: Hair should be pulled back away from the face and off the neck. Shoulder length or longer hair should be secured in a bun or twist. No jewelry and no chewing gum. Note 2: Dress/Appearance is a part of your course grade. Improper class attire will reflect negatively on your final course grade. Technique classes are geared towards the development of professionals. Please treat your appearance properly. Note 3: Faculty reserve the right to ask students to change their class attire if it does not meet the above standards and expectations. Note 4: Students may not be allowed to participate in class if they are not dressed according to the above policy. Discount Dance Supply and Dance Distributors are good online resources for purchasing appropriate class attire and shoes. Please speak with your instructor if you have any questions regarding the Dress Code Policy.

10 Southeast Missouri State University Conservatory of Theatre and Dance DANCE PROGRAM Physical Fitness Guidelines Dancers are expected to establish and maintain a professional approach to a theatrical aesthetic that includes a positive attitude, physical and mental wellness, good overall health and an injury free work ethic. The Dance faculty encourages a realistic approach to the appearance standards that are the reality of the art form. Achieving and/or maintaining the appropriate body composition individual to each dancer is the best way to prevent injury and train at the most effective and efficient level required for dance professionals. Dance demands strength, power, flexibility, endurance (muscular and cardiovascular), agility and balance, all of which require training both in and out of daily technique classes. The goal is to prepare oneself for the physically demanding aspects of a career in performance and have the advantage of a greater range of tools with which to produce the desired choreography. The faculty expects each student to address issues of health on a daily basis, including nutrition, rest, time and stress management, and maintenance of mental and physical well-being. It is the suggestion of the faculty that each student in the dance program create a personal wellness program that adequately meets their personal training goals as well as the demands of the work they are performing in class and on stage. This may include nutritional guidelines and menus, strength training programs, fitness/yoga classes, physical therapy exercises, etc. Counseling and educational programs to assist students in health and wellness are available on campus. Campus Health Clinic Crisp Hall CHC@sehealth.org Student Recreation Center North and South Counseling Services First floor of the northeast side of Dearmont Hall for an appointment

11 Southeast Missouri State University Conservatory of Theatre and Dance DANCE PROGRAM Injury Protocol and Procedures Dance injuries can vary from individual to individual and are often dictated by numerous factors. In order to minimize injury (chronic or acute), the faculty encourages all students to follow these important procedures: Complete a thorough warm-up prior to each class/rehearsal and an appropriate cool-down afterwards. Maintain muscle strength and power with a conditioning routine tailored to your personal needs. Maintain required flexibility of your joints by performing specific stretches as needed. Allow an adequate amount of physical rest and recovery between classes, rehearsals, workouts, performances, etc. Fuel your body with healthy foods and hydrate often with water. Avoid risky or dangerous recreational activities/sports/hobbies/etc. outside of dance classes and rehearsals. Injury occurrence during Class/Rehearsal/Performance If a student is injured during class, rehearsal or a performance, please follow this procedure: 1. Immediately inform instructor or faculty member. 2. Apply ice, if appropriate. Follow R.I.C.E. as required and needed. Please allow sufficient recovery time after icing and practice a thorough warm-up before performing movement with the affected area. 3. If the injured student cannot move independently, do not attempt to lift and/or move the student. Any and all head injuries require immediate EMS attention. 4. Get medical attention, as necessary. Injured dancers are strongly encouraged to seek immediate medical attention if there are significant signs of swelling and bruising as this may be a sign of a more serious injury. 5. Consult with Dance Coordinator and faculty about treatment (i.e. recommendations for and appointments with doctor, athletic trainer, chiropractor, therapist). Dancers should consult with a physician or physical therapist in dealing with a new or recurring injury. Injury Reporting Procedures

12 For all acute (traumatic) and chronic injuries not allowing a student to fully participate in dance classes and/or rehearsals, students must follow the procedure outlined below. 1. Complete the Dance Injury Form. (see following document) 2. Contact Dance Coordinator to return and discuss the completed form. 3. Dance Coordinator will file the form and it out to all dance instructors/choreographers. 4. The student, along with course instructors and choreographers, will discuss the best course of action with regard to their participation in class and rehearsal. 5. Dancers must follow the treatment as outlined in the Dance Injury Form. 6. Dancers must keep all instructors/choreographers informed of the healing progress on a weekly basis. NOTE: Students will not be allowed back into technique class/rehearsal, even to observe, until they have completed a Dance Injury Report and met with the Dance Coordinator. Injury and Technique Classes 1. If a dancer must sit out of class (entire or any part of) due to an injury or pain, the student must communicate with the instructor asking permission to do so. The student will be directed to complete a Dance Injury Form if one is not yet on file for the stated injury/pain. 2. Once a dancer sits out of class for an injury/pain, s/he cannot reenter. The dancer will not be allowed to participate in studio classes and/or rehearsals for the remainder of the day. 3. When a dancer must sit out of class, s/he is expected to complete her/his physical therapy/conditioning exercises throughout the duration of the class as well as complete any written observation required by the instructor. 4. Dancers are required to participate in all aspects of the dance class that do not aggravate the injury, impede the recovery process, or go against the medical orders of the treating physicians or physical therapists. Examples include performing port de bras while seated, modifying combinations that include jumping or floorwork, participating in only the warm-up/beginning portion of the class, etc. If the dancer needs to practice rest or movement modifications as outlined in the Dance Injury Form, it is expected that s/he still participate to the fullest based on what physical activity can be completed without interrupting the flow of the class. 5. Should an injury/illness require that the dancer sit out of class or modify class material, the lack of participation in all class activities may affect her/his final course grade. Observation of technique classes is limited to a two-week period. Modified/Adapted participation in technique class is limited to a four-week period. If an injury requires more than the allotted amount of rest, recovery and modification, the student may be advised to drop the course.

13 Injury and Rehearsal/Performance While injuries can be extremely frustrating, it is the responsibility of the dance program to keep students safe and to follow the best procedures allowing for a student s sufficient recovery and a strong return to dancing post-injury. 1. It is not advisable for a dancer to continue his or her normal schedule of classes, rehearsals and performances when faced with an injury. The student should adhere to a modified schedule of activity that allows for maximum recovery. 2. Injured students should attend rehearsals/performances as their injury allows but will observe and contribute in other ways. 3. Understudies will step in for injured dancers during the rehearsal process until the dancer has fully recovered. 4. Students whose injuries do not allow for comprehensive participation in all required choreography for performance will be required to relinquish all dancing roles for the current semester s concert.

14 Dance Injury Form This form is to be completed by the student at the onset of injury. Return the completed form to the Coordinator of Dance. The Dance Coordinator will review the form, make any necessary additions and/or amendments and distribute the form to the student and instructors/choreographers. The student and instructors/choreographers will discuss the necessary course of action. Full Name: Today s Date: Semester: Dance Courses and Performance Rehearsals (List Course/Piece Title and Instructor/Choreographer): Injury Type (circle one): Acute Chronic 1. What is your current injury/condition? List the injury name and a brief description. 2. Have you seen a doctor? 3. If yes, list their names and titles. If no, have you scheduled an appointment? 4. What is your course of healing? 5. List all physical activities/movements you are currently able to perform.

15 6. List all movement that must be avoided. 7. Will this injury require you to sit out of and observe classes/rehearsals? If yes, for how long? 8. How will you modify/adapt your movement and participation during technique class/rehearsal? 9. When do you anticipate full participation in technique classes/rehearsals?

16 Southeast Missouri State University Conservatory of Theatre and Dance Dance Technique Proficiencies 1. Via the use of the accompanying Dance Technique Evaluation forms for each dance style ballet, jazz, modern, and tap dance the following technical and artistic skills are required at their corresponding levels. With some flexibility inherent in the subjective assessment of such abilities, the range of progress and achievement is rated as follows: Level I Level II Level III Basic (Beginning) Adept (Intermediate) Technically & Artistically Accomplished (Advanced) 2. Dance training is progressive and sequential in ways that should clearly build upon earlier foundations. Therefore, moving on to each subsequent level requires a satisfactory and consistent, demonstrated fluency in the previous level(s) AND a grade of B or higher. In consultation with the dance technique faculty, if a student is not progressing properly in the artistic and technical elements of any particular level, s/he must continue studying at the same level at least once more in subsequent semesters in order to develop satisfactory and consistent fluency in those elements. 3. In order to determine technical and artistic competency, all students must audition/be adjudicated the previous semester for placement in the appropriate dance technique level. 4. Due to the length of summer break, fall semester technique placement will be reassesed by individual course instructors on the first day of class. Students are encouraged to continue their training and technique work throughout the summer months. 5. In order to maintain proper artistry and technical skill and continue to progress in level at a particular style, the student must enroll in the level in which they were placed as well as continue taking class in that style at least once per year. 6. If a student a) does not take a particular style at least once per year and/or b) does not make the required progress in the level of placement, that student may be moved down in level in order to better address the skills and competencies required of that particular technique and level. It is highly recommended that BFA Dance majors enroll in ballet, modern and jazz dance techniques every semester.

17 7. BFA Dance majors must participate in at least one daily dance technique class every semester they are enrolled as a student. This requires students to enroll in at least one MWF dance technique course and one TR dance technique course. 8. All BFA Dance majors are required to advance to and attain technically and artistically accomplished skill at Level III (Advanced) in at least one dance technique (ballet, modern, jazz) prior to graduation. 9. All BFA Musical Theatre majors are required to advance to and attain adept skill at Level II (Intermediate) in at least one dance technique (ballet, modern, jazz, and tap) prior to graduation.

18 In addition to the artistic and technique-specific skills for each dance style, all students at Level I in any style ballet, jazz, modern, and tap must be able to demonstrate the following skills in order to move on to Level II: Demonstration of proper body alignment with core control and pelvic stability in turned out and parallel positions Understanding of the proper balance in the five feet positions (not Tap I) Understanding and ability to perform the basic ballet vocabulary (plié, tendu, dégagé, rond de jambe, 45 degree developpés ) with proper body alignment (not Tap I) Proficient (P)/ Not Proficient (NP) Ability to accurately pick up at least 16 counts of movement quickly and reverse it to the other side Familiarity with and ability to perform all positions of the leg: coup de pied, arabesque, attitude, etc. (not Tap I) Ability to properly balance with stability and strength on one leg in alignment Awareness of the body in space, ability to control the body in space, and an understanding of directing and projecting energy of the body into space Ability to investigate movement qualities such as elevation, groundedness, transference of weight, etc. Accurate demonstration of basic rhythms such as 4/4, ¾, and 2/4 Development of a committed and motivated work ethic and healthy principles of conditioning, nutrition and lifestyle habits Comments:

19 All students at Level II in any style ballet, jazz, modern, and tap dance must be able to demonstrate the following skills in order to move on to Level III: P/NP All of the above for Level I, plus the following (see below): Understanding of more complex and sophisticated rhythmic patterns (3/4, 6/8, etc.) and phrasing Clear technical and artistic musicality Ability to accurately pick up at least 32 counts of movement within a short period of time and reverse it to the other side Ability to perform to various musical styles and rhythms with the appropriate movement qualities and dynamics Good control of the body in space and increased drive through space Knowledge of basic anatomy for dance injury prevention Continued practice of good work ethics and health principles Increased ability to adapt to new teaching methods and styles Comments:

20 In addition to the artistic and technique-specific skills for each style, all students at Level III in any form ballet, jazz, modern, and tap dance must be able to demonstrate the following skills in order to graduate as a BFA in Dance Major: All of the above for Level I and Level II at the Intermediate level, plus (see below): A sound balance of flexibility and strength based on body type The ability to problem-solve particularly difficult movements and fulfill those movements spatially, qualitatively and musically The ability to demonstrate complex rhythms and dynamics with seamless transitions and sophisticated phrasing The ability to perform and interpret a variety of movement styles and genres Ability to present through a full range and potential of all movement materials pertinent to the particular style, such as elevation, groundedness, efficient transference of weight, etc.; Ability to observe, learn, and accurately reproduce given material after being shown the first time and readily adapt to new dance environments (as in an audition); P/NP Ability to commit to the movement and follow through with clarity Properly apply all feedback, whether personal or general Be comfortable with the inherent strengths and challenges of one s body but be willing to investigate new movement information Ability to correctly reverse movement sequences on both sides with ease Ability to apply with personal investment proper technique and artistry beyond the classroom within a performance venue Demonstrate mature work ethics and healthy lifestyle habits consistent with professional members of the dance field

21 DA211 Ballet I 2 credits Level I Beginning P/NP Familiarity with and proper execution of the ballet barre exercises (plié, relevé, tendu, dégagé, rond de jambe par terre and en l air, coupé, passé, fondu, petit and grand battements, etc.) set to simple tempos and beats (4/4, 3/4, 2/4) Correct execution of and movement through the basic body positions (croisé, effacé, en face, écarté) set to simple rhythms Properly executed single pirouettes (en dehors and en dedans) from 4 th /5 th position Basic petit allegro/allegro (échappé, changement, jeté, glissade, sissone etc.) set to simple rhythms Basic turns (chainé, piqué, waltz turns, balancé, etc.) in correct time Traveling steps (chassé, assemblé, etc.) set to proper counts DA311 Ballet II 2 credits Level II Intermediate All previous DA211 Ballet I skills to same tempos (4/4, 3/4, etc.) and more complex rhythms plus (see below): Correct use of épaulement in all positions and to various rhythms Fluency in presenting leg height up to 90 degrees in all positions Intermediate petit allegro/allegro (entrechat quatre, brisé, etc.) set to more complex rhythms and musical styles Clear understanding of batterie and reversing combinations Properly executed double pirouettes (en dehors and en dedans) Attitude and Arabesque turns Understanding of fouettée turns and grand pirouettes Correct alignment and placement during allegro DA411 Ballet III 2 credits Level III Advanced/Professional All previous DA211 Ballet I and DA311 Ballet II skills with proficiency in a variety of time signatures and musical styles, plus (see below): Fluency in presenting leg height above 90 degrees in all positions Advanced petit allegro, allegro and batterie to a variety of rhythms and musical styles Properly executed double and triple (or more) pirouette turns Properly executed double attitude and arabesque turns Properly executed fouettée turns Greater speed and brilliance in allegro

22 DA226 Jazz I 2 credits Level I Beginning P/NP Basic isolations of the torso and extremities Properly balanced and positioned flat back Tendu and dégagé in parallel and turned-out positions to simple tempos such as 4/4, ¾, etc. and some variety of musical styles Beginning adagio to proper counts and some variety of musical styles Flat back arabesque Single parallel pirouettes ( inside/inward and outside/outward ) Successfully executed Grand jetés and fouetté jumps with strength and correct form Barrel turns Single touch (pivot), pencil, three-step, soutenu turns to correct tempo Understanding of contraction-and-release Performance of basic locomotor skills (pas de bourrée, triplet, sauté, chassé in all directions) in proper rhythm Understanding of relationship between music and dance DA326 Jazz II 2 credits Level II Intermediate P/NP All previous DA226 Jazz I skills with more complex rhythms, time signatures, and musical styles, plus (see below): Clean body lines both a terre and en l aire Développées in the front, side, back, and side tilt positions with increased flexibility and control Clean and Consistent double parallel pirouettes (inside and outside) Turns in attitude, arabesque and forced arch Pencil and Compass turns Properly executed larger leaps such as tour jeté, chassé tour, axles, etc. DA426 Jazz Dance III 2 credits Level III Advanced/Professional P/NP All previous DA226 Jazz I and DA326 Jazz II skills, plus (see below): Adagios and improvisations to a variety of complex rhythms and musical styles demonstrating nuances within personal phrasing Triple (or more) parallel pirouettes (inside and outside) Turns off balance and into the floor Fouettée turns Grand jeté in full split, side straddle jumps, leaps, switch leaps and other innovative contemporary jumps

23 DA221 Modern I 2 credits Level I Beginning P/NP Demonstration and understanding of fundamental concepts of total body organization (breath support; head-tail; core-distal; upper-lower; body half; cross lateral) Understanding of how to go into and come out of the floor Initiating movement from the pelvis Proper foot articulation Familiarity with basic weight shifts, level changes and inverted movements Curving all directions with the torso Releasing weight in swings in simple meters Use of flat back, undercurves and overcurves Introduction to spatial pulls and tensions in all planes, dimensions, directions and levels Use of parallel position in pliés and tendus Use of momentum to propel body through space with simple meters Comfortable going off vertical and finding it again Awareness of relationship between breath and movement DA321 Modern II 2 credits Level II Intermediate P/NP All previous DA221 Modern I skills, plus (see below): Ability to articulate the spine and body parts separately with a clear connection to the core Increased use of compound meters and momentum on all spatial levels Demonstration and understanding of movement initiation, sequencing and follow through Proper performance of spiraling movement, hinges, inversions and aeriel work Increased push through space with pelvis and legs with compound meters Ability to sense one s own weight and incorporate that weight in on- and off-balance movement DA421 Modern III 2 credits Level III Advanced/Professional P/NP All previous DA221 Modern I and DA321 Modern II skills, plus (see below): Hinge/Flat back turns Ability to move into and out of floor with ease Ability to consistently and easily move between clear parallel and turned-out positions within movement sequences Large leaps that travel through space An understanding of improvisation and the use of different movement qualities such as muscular, fluid, legato, staccato, etc. with compound meters Freedom in and accessibility to three-dimensional movements and spiraling

24 DA236 Tap I 2 credits Level I Beginning P/NP Understanding/comprehending/physically being on the beat Understanding anatomy by stabilizing and initiating placement through relaxed pelvis, soft knees, and relaxed ankles Understanding musical concepts such as: downbeats, off-beats, duple & triple rhythms, staccato and sforzando accents, and basic music theory Ability to make clear rhythms, sequences and rhythmic accents using the hands, feet, and vocal counting (i.e. ¼-notes, 1/8-notes, triplets, 1/16-notes, etc.) Ability to use vocal sounds & counting rhythmically with the feet and hands Ability to re-create previous learning of a rhythmic phrase using scat singing Comprehending the idea of tap dancing as both communication and music Ability to understand, articulate, and perform the basic fundamental movements of tap dance vocabulary (i.e. step, heel, toe, dig, toe punch, stamp, stomp, brush, spank, scuff, heel drop, toe drop, hop, leap, and jump) Ability to perform beginner/intermediate time steps (i.e. military, shim sham, essence, waltz clog, traveling, buck, standard, B.S, and rhythm) Ability to perform simple turn sequences, including clean and consistent single pirouettes Ability to experiment with beginning level improvisational sequences DA336 Tap II 2 credits Level II Intermediate P/NP All previous DA 236 Tap I skills, with ability to enhance the following: Understanding/comprehending/physically syncopating tap rhythms Ability to resonate into the ground while being on the beat Understanding and applying basic music theory to movement, though knowledge of basic forms (12-bar blues and 32 bar standard) and ability to follow a lead sheet Understanding and applying anatomical knowledge to reinforce the idea of cross lateral and body half movements to stabilize the weight shifts in the body Ability to perform more complex and intricate rhythms, accents, off-beats, etc. Ability to strongly perform the expressive, dancing musical energy using the full body, in addition to the previous rhythm-making action ideas Ability to perform complex tap steps/rhythms using pull-backs, wings, clean and consistent double pirouettes, along with one-leg drags, trenches and jumps Ability to perform intermediate time steps and turn sequences Ability to experiment with and perform intermediate level improvisational sequences

25 The Conservatory of Theatre and Dance Dance Program Choreography Sequence and Course Proficiencies DA 282 Movement Improvisation: SELF-EXPLORATION utilizing the components of Dance Space, Time and Energy Students will Engage in pure movement exploration utilizing the elements of space, time and energy Use improvisation to build movement vocabulary and create spontaneous movement Improvise and Perform movements based on their own ideas as well as ideas from other sources Use improvisation to discover and invent movement and to solve movement problems Diversify and expand their movement range and expression Discover as well as learn to rely on their own internal impulses, initiatives, and motivations Develop awareness and responsiveness to oneself, others, and the environment Develop a vocabulary for intelligent observation and accurate critique of movement experiences DA 380 Choreography I: SOLO COMPOSITION focusing on Craft and the Elements of Space, Time and Energy Students will Demonstrate manipulation of the elements of time, space, and energy within movement phrase work Use improvisation to generate movement for choreography Solve movement problems in response to a prompt Create a dance phrase, accurately repeat it, and then vary it Create phrases with a beginning, middle and end Create movement phrases based in a personal movement vocabulary from their own ideas as well as from other sources Demonstrate the process of reordering and chance in structuring movement sequences Create solo work demonstrating use of the choreographic elements Demonstrate motif creation and development Use elements of construction such as repetition, contrast, varied facings, level changes, symmetry/asymmetry in solo work

26 DA 485 Choreography II: CHOREOGRAPHIC FORM and CONSTRUCTION focusing on small groups Students will Demonstrate symmetrical and asymmetrical design elements in a solo, duo/trio or ensemble Demonstrate varying structures and forms of composition: AB, ABA, Canon, Theme and Variation, Call and Response, etc. Explore choreographic structure by creating a movement phrase that can be rearranged according to various compositional forms Analyze their own work and others through critical response Create a movement study for two or more dancers demonstrating the use of unison, contrast, varied facings, varied groupings, level changes and symmetry/asymmetry Use personal movement choices to clearly communicate ideas, emotions or a cultural aesthetic while maintaining the audiences attention Select themes/ideas appropriate for dance movement and communication Demonstrate compositions with significance, continuity, unity, and all parts essential to the whole DA 497 Choreography III: PERSONAL STYLE & AESTHETICS emphasizing choreographic critique and analysis Students will Create compositions that appropriately incorporate motif, repetition, variety and contrast, climax and/or highlights, transitions, proportion and balance, and logical development in relation to the idea Demonstrate further development and refinement of the choreographic techniques to create an ensemble dance with personal style, coherence and aesthetic unity Demonstrate choreographic elements and forms as original and well chosen for the intent of the work Describe how a choreographer developed and organized the basic movement content in a particular dance Integrate feedback from the instructor and classmates into their choreographic projects Understand one s own aesthetic preferences and how that affects choreographic choices Demonstrate personal movement choices that communicate in surprising or innovative ways to engage the audience Utilize experimental or alternative methods of creation such as collaboration, technology, sitespecific, etc.

27 Course Title Even Fall Odd Spring Odd Fall Even Spring DA 100: Dance Appreciation Dance Appreciation (as needed) Dance Appreciation (as needed) Dance Appreciation (as needed) Dance Appreciation (as needed) DA 211: Ballet I Ballet I (2) Ballet I (2) Ballet I (2) Ballet I (2) DA 311: Ballet II Ballet II Ballet II Ballet II Ballet II DA 411 Ballet III Ballet III Ballet III Ballet III Ballet III DA 216: Pointe I Pointe I Pointe I DA 316: Pointe II Pointe II Pointe II DA 221: Modern Dance I Modern Dance I Modern Dance I Modern Dance I Modern Dance I DA 321: Modern Dance II Modern Dance II Modern Dance II Modern Dance II Modern Dance II DA 421: Modern Dance III Modern Dance III Modern Dance III Modern Dance III Modern Dance III DA 226: Jazz Dance I Jazz Dance I (2) Jazz Dance I (2) Jazz Dance I (2) Jazz Dance I (2) DA 326: Jazz Dance II Jazz Dance II Jazz Dance II Jazz Dance II Jazz Dance II DA 426: Jazz Dance III Jazz Dance III Jazz Dance III Jazz Dance III Jazz Dance III DA 236: Tap I Tap I Tap I DA 336: Tap II DA 436: Tap III Dance Tap III DA 227: World Dance I World Dance I World Dance I Tap II DA 327: World Dance II World Dance II World Dance II DA 228: Hip Hop Dance I Hip Hop Dance I Hip Hop Dance I DA 328: Hip Hop Dance II Hip Hop Dance II Hip Hop Dance II DA 280: Movement Analysis I DA 282: Movement Improvisation DA 290: Dance in World Cultures Movement Improvisation Movement Analysis I Movement Improvisation Dance in World Cultures DA 301: Dance Musicianship Dance Musicianship DA 380: Choreography I Choreography I Choreography I DA 391: Topics in Dance Topics in Dance Topics in Dance DA 396: Movement Analysis II DA 430: Principles of Teaching Dance Principles of Teaching Dance Movement Anlysis II DA 485: Choreography II Choreography II Choreography II DA 490: Dance History DA 497: Choreography III Dance History Choreography III

28 Bachelor of Fine Arts (BFA) in Dance Degree FOUR-YEAR COURSE ROTATION NOTE: This is a template and should be used as a guide only. All students will be advised each semester to ensure that they are enrolling in the appropriate courses and properly progressing through the curriculum. YEAR ONE: Fall Spring DA105 Rehearsal & Production 1 DA105 Rehearsal & Production 1 Dance Technique (2 courses) 4 Dance Technique (2 courses) 4 EN100 English Composition 3 Humanities & Fine Arts 6 Social & Behavioral Sciences 3 Mathematics 3 First Year Seminar UI DA282 Movement Improvisation 3 DA280 Movement Analysis I 3 OR DA290 Dance in World Cultures TOTAL 17 TOTAL 17 YEAR TWO: Fall Spring DA305 Rehearsal & Production 1 DA305 Rehearsal & Production 1 DA380 Choreography I 3 DA485 Choreography II 3 Dance Technique (2 courses) 4 Dance Technique (2 courses) 4 Oral Communication 3 DA280 Movement Analysis I 3 OR DA290 Dance in World Cultures Written Communication 3 Natural Sciences 3 Constitution Requirement 3 University Studies Elective 2 TOTAL 17 TOTAL 16 YEAR THREE: Fall Spring DA305 Rehearsal & Production 1 DA305 Rehearsal & Production 1 DA430 Principles of Teaching Dance 3 DA310 Dance Musicianship 3 OR DA490 Dance History OR DA396 Movement Analysis II DA 497 Choreography III 3 DA391 Topics in Dance 3 OR DA Elective Course Dance Technique (2 courses) 4 Dance Technique (2 courses) 4 History Requirement 3 Natural Sciences 4 TOTAL 14 TOTAL 15 SUMMER: DA 499 Internship 2 YEAR FOUR: Fall Spring DA305 Rehearsal & Production 1 DA305 Rehearsal & Production 1 DA430 Principles of Teaching Dance 3 DA310 Dance Musicianship 3 OR DA490 Dance History OR DA396 Movement Analysis II DA 497 Choreography III 3 DA391 Topics in Dance 3 OR DA Elective Course Dance Technique (2 courses) 4 Dance Technique (2 courses) 4 Humanities & Fine Arts 3 DA498 BFA Project 2 TOTAL 14 TOTAL 13 TOTAL UNIVERSITY STUDIES CREDITS 42 TOTAL DANCE CREDITS 83 TOTAL CREDITS: 125

29 Bachelor of Arts (BA) in Dance Degree FOUR-YEAR COURSE ROTATION FIRST NOTE: This is a template and should be used as a guide only. All students will be advised each semester to ensure that they are enrolling in the appropriate courses and properly progressing through the curriculum. YEAR ONE: Fall Spring DA105 Rehearsal & Production 1 DA105 Rehearsal & Production 1 UI100 1 st Year Seminar 3 EN100 English Composition 3 Dance Technique (2 courses) 4 Dance Technique (1 course) 2 DA282 Movement Improvisation 3 DA280 Movement Analysis I 3 OR DA290 Dance in World Cultures University Studies 3 University Studies 3 TOTAL 14 TOTAL 12 YEAR TWO: Fall Spring DA305 Rehearsal & Production 1 DA305 Rehearsal & Production 1 DA380 Choreography I 3 DA485 Choreography II 3 Dance Technique (1 course) 2 Dance Technique (1 course) 2 DA280 Movement Analysis I 3 OR DA290 Dance in World Cultures University Studies 6 University Studies 3 TOTAL 12 TOTAL 12 YEAR THREE: Fall Spring DA305 Rehearsal & Production 1 DA305 Rehearsal & Production 1 DA430 Principles of Teaching Dance 3 OR DA490 Dance History Dance Technique (1 course) 2 Dance Technique (1 course) 2 University Studies 6 University Studies 9 TOTAL 12 TOTAL 12 YEAR FOUR: Fall Spring DA305 Rehearsal & Production 1 DA305 Rehearsal & Production 1 DA430 Principles of Teaching Dance 3 OR DA490 Dance History Dance Technique (1 course) 2 Dance Technique (1 course) 2 University Studies 3 University Studies 3 TOTAL 9 TOTAL 6 TOTAL UNIVERSITY STUDIES CREDITS 42 MINOR/2 nd MAJOR CREDITS 31 (minimum) TOTAL DANCE CREDITS 47 TOTAL CREDITS 120 SECOND NOTE: In order to graduate, all Southeast Missouri State University BA degree students must include a second major or minor that will add up to a minimum total of 120 credit hours.

30 The Conservatory of Theatre and Dance Dance Program BFA Professional Development Participation Policy For yearly continuance in the BFA in Dance degree, each BFA candidate must demonstrate regular and sustained participation within the dance discipline. This is achieved through the following requirements: 1. Regular attendance and full participation in all dance courses including one daily technique class. 2. Attendance at all Conservatory Dance Program concert auditions (Fall for Dance, Spring into Dance, Second Stage concerts, etc.). 3. Attendance and participation in all scheduled, on-campus guest artist master classes. Students who have academic classes that conflict with the scheduled master classes can receive a Notification of Absence letter for university faculty from the Coordinator of Dance. All absences from master classes must be communicated to the Dance Coordinator via Pursuit of summer employment, internships and/or intensives in dance. BFA students are required to complete one (1) outside professional internship prior to graduation. Students are highly encouraged to continue their training and technique work every summer they are enrolled at Southeast Missouri State University. 5. Development of a professional-quality résumé and headshot. All students must present an up-to-date résumé and headshot to be reviewed by the faculty during the annual BFA Reviews. Seniors are expected to present an audition-ready résumé and headshot to the faculty prior to graduation. Additional suggestions for professional development include: 1. Participation in on-campus, outside company and/or summer intensive auditions (The Nutcracker, Ruth Page Summer Intensive, etc.) 2. Participation in Conservatory dance program extra-curricular activities (UDU, Dance Day, new student mentorship, photo shoots, outside performances, ect.) 3. Attendance at dance conventions and/or conferences (ACDA, YAGP, NDEO, etc.) 4. Development of self-marketing tools including performance/choreography reels, body shots, a personal website and social media sites. BFA students in good standing who are actively working towards the above requirements will receive: 1. Priority in concert casting including featured performance roles for main stage faculty and guest artist work 2. Priority in the selection of dancers for student choreography

31 3. Exclusive master classes and seminars with professional guest artists 4. Distinctive guest artist residency and choreographic work during the senior year 5. Individualized career preparation guidance focusing on the development of a complete self-marketing and promotion packet 6. Privilege to perform and present choreography at outside venues including American College Dance Association conferences, National Dance Week performances, and others 7. Priority access to the Southeast Dance Artists Summer Study scholarship award 8. Invitations to closed auditions/interviews for summer study, internships and professional work 9. Degree coursework specifically designed for and exclusive to the BFA in Dance student 10. Priority in selection for dance leadership activities including student ambassador program, photo shoots, new student engagement, etc.

32 Dance Technique Jury Evaluations: BFA Dance Standards 1. For entrance into the BFA Dance program, students MUST score at the Intermediate level in AT LEAST 4 of the 24 elements from AT LEAST 3 or more of the 5 categories listed below. 2. For continuance in the BFA Dance program, students MUST: a. Demonstrably improve in AT LEAST 4 elements every year while maintaining proficiency (or improvement) in the other elements. b. Achieve an Advanced level in AT LEAST 10 out of the 22 elements from the first three categories below as determined at the senior year fall semester Dance Proficiency Class. c. Achieve an Advanced level in BOTH the Appearance and Conditioning categories. NOTE: All of the above requirements are contingent upon faculty consensus of individual artistic capabilities and potential. Name: Semester/Year: Spring 2018 Beginning (B)/Intermediate (I)/Advanced (A) Technique Alignment/Vertical Lengthening Comments Port de Bras sensitivity and presentation Torso/Abdominals (flexibility, range, strength) Pliés (resistance and power) Air (jumps, push, articulated use of feet and legs) Proper Use of Parallel/Turnout positions Range and Appropriate Use of Flexibility Physical Stamina/Strength Knowledge and Demonstrated Comprehension of Vocabulary Concepts/Artistry Use of Space (clarity of levels, floor work, traveling, patterns) Appropriate Use of Momentum/Suspension Demonstrable Use of Specific Kinds of Musicality/Rhythms Proper Use of a Variety of Movement Dynamics and Qualities Movement Clarity/Control Projection/Expressiveness/Focus Integration Concentration (analysis, rate of learning phrases) Comprehension (putting it together, making connections) Completion (finishes, correcting mistakes) Risk (exploration, interpretation, expression) Commitment/Motivation/Work Habits/Professionalism Sustained Progress Coachability Appearance (Check One) Sharp Clean Sloppy Inappropriate Conditioning, Nutrition & Injury Prevention (Check One) Excellent Good Fair Poor

33 BFA Dance Project Guidelines DA 498 The BFA Project represents a formal capstone opportunity for the BFA candidate in the Department of Theatre and Dance at Southeast Missouri State University. Its purpose is to demonstrate the skills graduating students will need as they go on to the next phase of their career in dance. The project should demonstrate excellence from conception through completion and thus demands the full engagement of both the candidate and his/her advisors and faculty committee. Projects may emphasize dance performance (faculty or guest artist work) or original choreography. Requirements and Procedure a. A minimum of 90 total credits (at least 30 of which have been earned at Southeast Missouri State University) with a minimum cumulative 2.50 GPA. b. A minimum of 45 dance credits (at least 25 of which have been earned at Southeast Missouri State University and are within the chosen project discipline) with a minimum dance 3.0 GPA. c. When nearing fulfillment of the above requirements, the candidate must submit to the Department the BFA Dance Project Form.

34 Department of Theatre and Dance BFA DANCE DA BFA PROJECT FORM Name: SO Number: Academic Semester & Year of Project: Project Preference: Dancer Choreographer Southeast Cell Phone: Semester & Year of Graduation: INTENT I. Statement of Project I,, intend to audition for all appropriate Dance Mainstage productions for the academic year indicated above. If I am selected as either a dancer or choreographer, I will use the assigned role as my BFA Project. If I am not cast in any Mainstage productions during the aforementioned academic year, I will participate as a dancer or choreographer in either the Fall or Spring semester Last Chance to Dance showcase. II. Qualifications Attached, please find: 1. my most recent résumé and degree audit; 2. a self-assessment regarding my overall artistic/professional strengths and weaknesses prior to the project; 3. an outlined 1-Year, 5-Year, and 10-Year Career Plan. III. Statement of Goals Identify and define your specific goals for this project: IV. Completion of Project Within two days from the close of the approved production or showcase, I will provide my BFA Project Committee with: a thorough project analysis discussing my intent, the project content, the accompaniment, and my methods of creation/performance; detailed research including photos, paintings, reviews of other productions, interviews, music, poems, quotes, etc. with specific notes on how each was used as part of the creation/performance of this work;