Von Howard136-Evans,John.JP
Department of Dance
Mason Gross School of the Arts
Rutgers, the State University of New Jersey
85 George Street
New Brunswick, NJ 08901
PHOTO BY: JOHN EVANS
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Table of Contents
Introduction ...................................................................................................................................................... 5
A Brief History of Rutgers University ............................................................................................................... 5
History of the Department of Dance – Founded in 1981 .................................................................................. 5
Overall Aims of Dance Department ................................................................................................................. 6
Mason Gross Dance – Working Towards Justice ............................................................................................. 6
The BFA Program ............................................................................................................................................. 7
BFA with Master’s Degree Options in Dance Education and Pedagogy ........................................................ 7
Commitment to the Work of Dance Training .................................................................................................. 8
Guidelines for Dance Training and Assessment .............................................................................................. 8
Overall Concepts ............................................................................................................................................... 8
Technical Proficiency ....................................................................................................................................... 8
Safe Touch Guidelines .................................................................................................................................... 12
Dress Code ...................................................................................................................................................... 12
Locker Rooms and Use of Studios.................................................................................................................. 13
Class Attendance Policy for BFA Students ..................................................................................................... 13
Additional Attendance Policy for All Movement Courses .............................................................................. 15
Exceptions to Technique Attendance Policy ................................................................................................. 15
Additional Class Attendance Policy for BFA Students ................................................................................... 16
Placement Audition Classes ......................................................................................................................................................16
Jury Class Attendance .................................................................................................................................................................16
Mandatory Performance Paper ....................................................................................................................... 16
“Live” performance critique outline for dance majors ................................................................................... 17
Academic Integrity .......................................................................................................................................... 21
Academic Integrity Violations ........................................................................................................................ 22
Class Attendance Policy for Graduate Students ............................................................................................. 24
Policies for Student Injuries ............................................................................................................................ 25
Policy on Injury Modifications in Studio Classes ..............................................................................................................25
Contagious Illnesses ....................................................................................................................................... 25
Return to Dancing and Training Considerations due to Covid-19 ................................................................ 25
Student Notification to Instructors Policy ...................................................................................................... 26
Clarification regarding assisting students under 18 who are injured ............................................................. 26
Transfer to Hospital ........................................................................................................................................ 26
Emergency Room Care – Second Opinions from Department of Family Medicine ..................................... 26
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Technique and Creative Studio Course Observation Policy .......................................................................... 27
Students sitting out from class: ....................................................................................................................... 27
Observation Writing Task for Studio Classes ................................................................................................. 28
Student Health Services .................................................................................................................................. 28
Information for Students on Injury Prevention, Care and Rehabilitation ...................................................... 29
Rehabilitation and Return to Dance Activity ......................................................................................................................29
Surgical Procedure and Recovery - Rehabilitation and Return to Dance Activity ................................................29
Modified Dance Activity List .......................................................................................................................... 29
Head Injuries – Notification to Instructors .................................................................................................... 29
Physical Therapy ............................................................................................................................................. 29
Pre-Participation Questionnaire (PPQ) and Pre-Participation Exam (PPE) ................................................ 30
Pre-Screening for Dancers .............................................................................................................................. 30
Appointments with RSH Sports Medicine Physician..................................................................................... 30
RSH Sports Medicine Physician Absence ...................................................................................................... 30
Appointments with RSH Licensed Athletic Trainer ...................................................................................... 30
Outside Provider Care ..................................................................................................................................... 30
Required Training in ConcussionWise Program ........................................................................................... 31
Suggested Items For One’s Personal First-Aid Kit ........................................................................................ 31
Performance Policies, Requirements & Opportunities .................................................................................. 32
University Dance Works ................................................................................................................................. 32
Casting Policy for Department Productions & for Choreographic Projects Serving as Coursework ............ 32
Policy for Departmental & Outside Performances ......................................................................................... 33
Department Events ......................................................................................................................................... 33
Academic Conflicts ......................................................................................................................................... 34
Performance Agreement ................................................................................................................................. 34
Expectations For Students In Rehearsals ............................................................................................................................34
Expectation For Students During Performances ...............................................................................................................34
Sign-in Process for Attending Required Departmental Concerts .................................................................. 35
Sound And Costuming For Student Choreographers ..................................................................................... 36
Student Productions ........................................................................................................................................ 36
Publicity and All Printed Materials ........................................................................................................................................36
Student Bios On Programs ........................................................................................................................................................36
Student Concert Choreographer Responsibilities ............................................................................................................36
Evening Commitments ................................................................................................................................... 36
Policy For Nudity And Smoking .................................................................................................................... 37
Reservation of Space ....................................................................................................................................... 37
Academic Information .................................................................................................................................... 37
Academic Advising .......................................................................................................................................................................37
Special Permission Numbers and Pre-requisite Overrides ..........................................................................................37
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Sequencing of Courses ................................................................................................................................................................38
Failure to Follow the Curriculum ................................................................................................................... 38
Grades Availability at Rutgers University ...........................................................................................................................38
Temporary (T) Grades ................................................................................................................................................................38
Student Complaints about Grades .................................................................................................................. 38
Courses That May Be Repeated For Credit.................................................................................................... 39
Dance Courses Open to Fifth Year BFA Majors ............................................................................................ 39
Dance Assembly .............................................................................................................................................. 39
Academic Standing And Evaluation ............................................................................................................... 40
Artistic Probation and Artistic Dismissal ....................................................................................................... 40
Artistic Review ..............................................................................................................................................................................40
Artistic Probation or Dismissal ...............................................................................................................................................40
Dance Department Policy for Artistic Probation for BFA Dance Majors ...................................................... 41
Academic Review ..........................................................................................................................................................................41
Academic Probation ....................................................................................................................................................................42
Academic Dismissal .....................................................................................................................................................................42
Appeal ...............................................................................................................................................................................................42
Declaration of A Second Major ....................................................................................................................... 42
Declaration Of Liberal Arts Minor .................................................................................................................. 43
Professional Leave of Absence & Study Abroad ............................................................................................ 43
Professional Leave of Absence.................................................................................................................................................43
Study Abroad Programs .............................................................................................................................................................43
Dance Jerusalem ...........................................................................................................................................................................43
Trinity Laban Dance ....................................................................................................................................................................44
Accademia dell’Arte .....................................................................................................................................................................44
Guidelines for Re-Auditioning for the Mason Gross BFA in Dance Degree* ............................................... 44
Graduation Ceremony ..................................................................................................................................... 44
Ticket Policies/Cultural Opportunities .......................................................................................................... 45
Student Rush Ticket Policy ............................................................................................................................ 46
Student Expectations of the Faculty ............................................................................................................... 47
The Mason Gross School of Arts Student Government Association .............................................................. 47
Rutgers NDEO Student Organizations and NHSDA ................................................................................... 47
Corwin Lodge .................................................................................................................................................. 48
Soma Center Policies and Procedures ............................................................................................................ 48
Mission .............................................................................................................................................................................................48
Eligibility .........................................................................................................................................................................................48
Policies – Equipment Use ...........................................................................................................................................................48
Procedures ......................................................................................................................................................................................49
Use of Copy Machine ...................................................................................................................................... 49
Use of Phone & Fax Lines .............................................................................................................................. 49
Nutrition for Dancers ...................................................................................................................................... 49
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Student Support Services ................................................................................................................................ 49
Do Something to Help – Share A Concern ..................................................................................................... 50
APPENDIX ..................................................................................................................................................... 51
How to Add the Dance Department Widget to Your my.rutgers.edu Dashboard ........................................ 52
SAMPLE STUDENT WORKS PERFORMANCE AGREEMENT ............................................................. 54
Notification of Outside Performances ............................................................................................................ 56
Box Office Ticket Policies .............................................................................................................................. 57
Production Study ............................................................................................................................................. 59
Appointments for Mason Gross Students with Sports Medicine Physician ................................................... 61
2020/2021 Handbook Signature Form ............................................................................................................ 62
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Department of Dance
BFA Student Handbook
[Updated August 2020]
Introduction
Welcome to the Mason Gross School of the Arts at Rutgers University! This handbook will serve as a useful guide
for you throughout the years of study and training within the dance department. It addresses expectations for
students as a dance major, and informs them of departmental policies. PLEASE read carefully and keep this
information to refer to when necessary.
A Brief History of Rutgers University
Chartered in 1766 as Queen’s College, Rutgers is the nation’s eighth oldest institution of higher learning and has a
centuries-old tradition of rising to the challenges of each new generation. Soon after opening in New Brunswick in
1771—with one instructor and a handful of students—the college was caught up in the struggle for independence.
During the war, classes were suspended on several occasions as students, faculty, and alumni joined the fight for
freedom. That revolutionary legacy is preserved today in the university’s name—in 1825, Queen’s College became
Rutgers College to honor trustee and Revolutionary War veteran Colonel Henry Rutgers.
History of the Department of Dance – Founded in 1981
Courses in dance at Rutgers began in the 1920s in The Department of Health and Physical Education at Douglass
College. In those days, Douglass had its own admissions standards, faculty, and curricula. Even though the college
matriculated only women, students from other divisions of the university could take Douglass College courses.
Faculty interested in dance in the early days were primarily physical educators who supplemented their dance
training through study at the American Dance Festival’s summer workshops with such modern dance pioneers as
Martha Graham, Doris Humphrey, Charles Weidman, Hanya Holm, and José Limón among others.
In 1963, Dr. Margery Turner joined the department with expertise in both swimming and dance. Determined to
offer a dance major at Rutgers, she systematically developed a curriculum similar to a Bachelor of Arts degree that
students could elect to take beyond the dance courses that students frequently took to fulfill the school’s two year
physical education graduation requirement. With a few additional courses, this later became the original Bachelor of
Arts dance program at Rutgers.
Patricia Mayer became part of the faculty in 1970. As a child, she had been a student of the nationally renowned
dance educator Virginia Tanner in addition to receiving one of the first professional Bachelor of Fine Arts degrees
offered by the Department of Modern Dance at the University of Utah. Professor Mayer later received the
equivalent of the Masters of Fine Arts degree in Dance from the University of California at Los Angeles. She has
the distinction of being the first professional dancer to receive tenure at Rutgers. Dr. Turner and Professor Mayer
worked together to create the first college degree program in dance offered in New Jersey. The first student to
receive a degree in dance from an institution of higher education in New Jersey did so from this program.
Over the next ten years, Dr. Turner and Professor Mayer worked together to design and build the infrastructure of
the Bachelor of Fine Arts Dance major. In 1981, the Department of Dance was founded and the first class of
Bachelor of Fine Arts students in dance was matriculated at the Mason Gross School of the Arts. This was the first
Bachelor of Fine Arts degree program in New Jersey. At that time, the new department was moved from the Loree
Building to the newly constructed Nicholas Music Center. Dr. Turner served as the Department’s first chair,
followed by Professor Mayer. Professor Paulette Sears joined the Department of Dance as the first new faculty
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member hired for the new department in 1981. She served as chair from 1987-1993 and from 2007-2010. Professor
Mayer served as chair for over twenty years, the longest tenure as chair so far in the history of the department.
In 2006, Professor Mayer and Professor Julia M. Ritter secured a prestigious Academic Excellence Grant from
Rutgers University in support of the development of the first master’s degree in dance within the State of New
Jersey. Between 2007 and 2010, with support from Professor Mayer, Professor Ritter collaborated with The Rutgers
Graduate School of Education, Rutgers University administrators, The NJ State Department of Education, The
National Dance Education Organization and multiple regional educators and principals to create the graduate
Ed.M. degree program with Teacher Certification in Dance Education. As the first graduate degree in dance offered
in New Jersey it includes the five-year dual BFA + Ed.M. track that is the first of its kind in the nation. Dr. Barbara
Bashaw joined The Department of Dance faculty in 2009 to serve as Director of the EdM program, and since that
time has founded additional teacher training programs to serve the thriving New Jersey dance community.
Hired in 2003 as Assistant Professor of Dance Studies, Dr. Jeff Friedman was charged with conceptualizing and
implementing a new MFA in Dance graduate degree. Over several years, Dr. Friedman generated vision, degree
program goals, curriculum design, and numerous new courses to fulfill that charge. Through Dance Chair Julia M.
Ritter, the new MFA degree in Dance achieved acknowledgement from Rutgers University administrators and the
NJ State Department of Education. In 2015, the National Association of Schools of Dance accrediting agency
awarded the new MFA degree in Dance Program approval status. The MFA degree program serves working dance
professionals with a minimum of 5-years of experience in the field and is the first MFA in Dance graduate degree in
the State of New Jersey.
In addition to Margery Turner, Patricia Mayer, and Paulette Sears, distinguished retired department faculty include
Don Redlich and Claudia Gitelman.
In 2011, the Department of Dance celebrated its 30th anniversary and continues to build upon the excellence of its
founders by offering a diverse curriculum within several major and minor programs. Offering training in dance
performance and dance education, the department expects outstanding creative achievement from its students.
Students have the opportunity to explore artistry in a comprehensive educational environment. The Department of
Dance is an accredited institutional member of the National Association of Schools of Dance.
Overall Aims of Dance Department
To help each student prepare a broadly based and practical foundation as an artist in the field of dance, the
curriculum is designed to offer training in dance technique and in the related subjects of music, dance history and
theory, improvisation, choreography, kinesiology, production, and movement analysis. It is important that students
have a working knowledge of both modern dance and ballet techniques. Of equal importance is that students learn
to describe, interpret, evaluate and contextualize the various facets of the dance art form through rigorous written
expression. Stage crew assignments for students are an essential part of the students’ education as they provide
experience in creating dance productions. This all contributes to what will become a lifetime of work.
Mason Gross Dance – Working Towards Justice
Mason Gross Dance unequivocally denounces racism, disavows white supremacy, and is committed to dismantling
systems of oppression. We acknowledge and condemn the violent brutality and death that is specifically brought
against African Americans. We grieve for all members of the BIPOC community—Black, Indigenous, People of
Color—who have been the victims of murder, marginalization, and oppression. We stand again all forms of racial
violence including the indignities, micro- and macro- aggressions, racial assaults that African-Americans and other
communities of color experience daily. We stand with and support those who seek justice across our country.
Mason Gross Dance recognizes the urgent need to take concrete steps to fight systemic racism in all its forms.
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We as a community must collectively acknowledge white privilege and the detrimental impact implicit bias and
racism have on the lives of members of the BIPOC community while taking action in ways that are beneficial to all.
As individuals and as a community, Mason Gross Dance will work towards creating a just future.
The BFA Program
The mission of the BFA program is to provide professional dance training for students seeking careers in modern
dance. Emphasis is placed in the four-year program on performance and choreography. The BFA student has ample
opportunity to present creative work on stage as well as to perform in the choreography of others. Admission to the
BFA program is based on an audition to assess potential success in the program. Completion of the BFA program
is dependent on the student’s continued demonstration of professional potential. For more information, as to
artistic evaluation please see the Academic Standing and Evaluations section. Information regarding admission
auditions for the BFA program is available in the dance office and on the Mason Gross School of the Arts website:
http://www.masongross.rutgers.edu/admissions
BFA with Master’s Degree Options in Dance Education and Pedagogy
The Dance Department offers two options for BFA dance majors to transition into a master’s degree (EdM) in
dance education and pedagogy. These degree options are for students who wish to engage in focused investigation
of dance pedagogy and the professional skills associated with expanded employment opportunities throughout their
careers in performance and education. The EdM Program in Dance Education is a partnership between the Rutgers
Graduate School of Education (GSE) and the Dance Department at Mason Gross School of the Arts. It is part of
the GSE’s Urban Social Justice Teacher Preparation Program, which aims to develop a generation of teachers with
the knowledge, skills, and dispositions to teach and advocate for all students and learn from the communities they
serve. It prepares teacher candidates to effectively teach diverse learners by fostering a deep understanding of
students from historically marginalized linguistic, economic, and cultural backgrounds and communities. There are
two options for BFA students interested in the master’s degree:
• Five-Year BFA+EdM Option: Over a period of five years students complete the BFA major course sequence
and begin a course sequence in education and dance pedagogy that will culminate in the fifth year with an
EdM in Dance Education with New Jersey K12 Teacher Certification. Students taking the five-year
option will graduate with a BFA from Mason Gross during year four and will graduate with an EdM from
the Graduate School of Education after one additional year. The degree leads to a Certificate of
Eligibility with Advanced Standing (CEAS) required for teaching in public schools in NJ with reciprocity
in 36 other states. The CEAS has lifetime viability allowing performance-eager graduates of this degree
track to pursue a performance career immediately after graduation and to develop a teaching career co-
requisitely with performance or to later transition into teaching careers.
• Post-Baccalaureate EdM Option: At any time after completing the BFA degree alumni may apply to the EdM
degree and complete the pedagogy and education courses in two years as a full-time graduate student.
Students in the EdM degree develop leadership roles and serve as exemplars of best practices in teaching and
learning of dance by embodying a strong artistry, education, dance pedagogy and social justice foundation that
offers a competitive edge for securing employment in primary and secondary schools, private studios, arts centers,
conservatories, community centers and community colleges. The program is uniquely distinguished as having
produced five recipients of the New Jersey Department of Education Distinguished Clinical Intern Award.
Students interested in the degree options should set up an appointment with Frederick Curry, Graduate Director of
the Ed.M. degree program. Please contact Mr. Curry at [email protected]
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For more information on NJ teaching salaries, visit https://www.salary.com/research/salary/posting/entry-level-
teacher-salary/nj. The New Jersey Arts Education Census data demonstrates that New Jersey is poised for an
increase in the hiring of highly qualified, certified dance educators. All New Jersey public schools are required to
provide instruction in dance using highly qualified dance educators from State accredited programs.
Commitment to the Work of Dance Training
A word about motivation: Each student supplies his or her own. Students should look to the faculty for advice,
honest feedback, encouragement and training, but not for motivation to be an artist in the field of dance.
Developing attention to individual progress, a strong daily work ethic, and maintaining one’s concentration in all
department courses is imperative for success.
The faculty work to encourage the individual and meet the needs of the collective in class and during productions.
The following guidelines will help the student know what is expected to form the disciplined habits of professional
dancers.
Guidelines for Dance Training and Assessment
The following categories and levels of achievement were created in order to assist students in understanding and
integrating the elements of dance towards an advanced level of physical proficiency, while embodying a curious
intellect and sensitive personal expression.
Overall Concepts
The following three general concepts apply to all seven areas of technical development and are used by faculty to
assess student progress:
1. Dynamic Awareness/Performance Quality
• Consistent attention to specific movement and performance goals, as described by the instructor.
• Appropriate use of energy.
• Expression of a full range of dynamics and movement qualities, including the concepts of subtlety
and attack.
• Comprehension and demonstration of style and detail in relation to movement vocabulary being
taught.
2. Spatial awareness/Ensemble Skills
• Ability to demonstrate clear directionality in exercises and in longer sequences of movement.
• Ability to demonstrate clarity of limbs while moving three dimensionally through space.
• Ability to demonstrate an awareness of self in relation to space and in relation to other persons and
groups.
3. Continuity of Flow
• Understanding and dynamic use of different types of phrasing.
• Ability to sequence a variety of movements into one extended phrase.
• Recognizing and moving through transitions – consideration of the idea that all movement is in
transition. Follow through of movement impulses.
Technical Proficiency
The following seven aspects of technical development are considered for promotion to higher modern dance and
ballet technique levels:
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1. Body alignment
Body alignment includes an awareness and integration of skeletal structure in shaping the body in place and
in motion. Understanding of the body structure should be evident in movement ideas including
contractions, spirals, lunges and various arm positions. Clarity and precision in the presentation and
articulation of the legs and feet.
• Exceptional - high degree of accuracy in personal alignment and refined acuity in designing the
body. Excellent precision and clarity during articulation of limbs.
• Good - frequent demonstration of accuracy in alignment. Consistent clarity during articulation of
limbs.
• Competent – at times demonstration of accuracy in alignment. Building consistency in clarity during
articulation of limbs.
• Developing – demonstration of correct personal alignment is inconsistent. Precision and clarity not
often shown.
• Unsatisfactory – demonstrates lack of precision and clarity of basics of alignment and body
fundamentals.
2. Core support and whole body strength
Development of core strength to support and maintain alignment of the spine, the upper body, including
head, neck and shoulder girdle and lower body, including pelvis and legs. Sufficient core support is required
to safely move through various positions, through all levels and into space. Development of strength to
safely perform movements that require weight bearing on arms, including inverted movements.
• Exceptional - possesses excellent core and whole body strength and consistently moves with power
and control through space and all levels.
• Good - demonstrates movements competently with good consistency in relation to strength and
control. Overall body strength is adequate, with room for improvement.
• Competent - demonstrates some movements competently with developing consistency in relation to
strength and control. Overall body strength needs improvement.
• Developing - demonstrates weakness in strength and control. Under-developed connection with
center of gravity. Under-developed whole body strength. Demonstrates limited power to safely
propel self through space.
• Unsatisfactory - demonstrates lack of sufficient core and whole body strength. Demonstrates lack of
understanding or connection to concept of center of gravity. Lacks power and control to safely
propel self through space
3. Whole body integration and movement
Understanding of the body as a unit, and in relation to specific body parts. Ability to demonstrate
integration of upper and lower body halves, and right and left body halves in motion.
• Exceptional - demonstrates highly refined understanding of movement of body parts in relation to
personal center of gravity and personal strength. Integration of body in motion through space is
clear and precise.
• Good - demonstrates consistent sensitivity to moving the body as a whole unit. Continues to
demonstrate a developing understanding of the relationship between body parts and center of
gravity. Experiments with integration, power and control while moving through space.
• Competent – at times demonstrates understanding of moving the body as a whole unit. Beginning to
develop an understanding of the relationship between body parts and center of gravity. Can at times
move with power and developing control.
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• Developing - demonstrates limited awareness of the connection between strength of center and total
body movement. Minimal ability to move as an integrated unit. Demonstration of body halves is
inconsistent and unclear.
• Unsatisfactory - demonstrates lack of whole body integration. Lack of the connection between
upper body and lower body, and between body halves.
4. Understanding and application of rotation in place and in motion
Awareness of correct personal anatomic alignment in relation to parallel, inward and outward rotation,
which includes hip socket, ankle for the lower body and spine, ribs, shoulder girdle, head and neck for upper
body. Ability to achieve correct parallel and rotation and move easily among positions in relation to personal
anatomical considerations.
• Exceptional - high degree of precision and personal understanding of parallel and rotation in relation
to whole body alignment. Shows ease and economy of effort when quickly shifting among positions.
• Good - consistent correct application of alignment principles in relation to parallel and rotated
positions, particularly in lower body. Can show improvement in relation of these alignment
principles throughout the body. Shows ability to transfer from one position to another with relative
ease and minimum effort.
• Competent – at times demonstrates correct application of alignment principles in relation to parallel
and rotated positions. Needs improvement in relation of these alignment principles throughout the
body. Developing but inconsistent ability to transfer from one position to another with relative ease
and minimum effort.
• Developing - inconsistent demonstration of parallel and rotation in relation to personal alignment
throughout body. Difficulty transferring between parallel and rotation.
• Unsatisfactory - incorrect use of parallel and rotation in relation to overall personal alignment.
Especially demonstrates unsafe alignment of knee, ankle, and hip relationships. Unsuccessful
transfer of weight and re-alignment when shifting between parallel and rotation.
5. Awareness and use of weight
Appropriate use of weight to mobilize the body through space. Use of the body into, on and across the
floor as a supported weighty object. Easy transfer of weight through level changes from floor to standing
and standing to floor. Successful shifting of weight while maintaining correct alignment whether in parallel
or rotation.
• Exceptional - highly fluent in use of weight distribution. Excellent resiliency and rebound in and out
of the floor. Weight is well understood and used in a refined way as a tool for motion.
• Good - effective use of weight distribution. Success in using the body as a weighty object. Ease in
level changes. Consistent application of weight as a tool for motion.
• Competent –understands with increasing success the use of the body as a weighty object. Building a
better ease in level changes. Still inconsistent application of weight as a tool for motion.
• Developing - limited ability in accessing personal weight as a tool for motion. Body shows tension,
dancer struggles with releasing weight, and is challenged by quick weight shifts and level changes.
• Unsatisfactory - inability to access personal sense of weightiness. Excessive tension in body and lack
of understanding of personal weight and its power. Inability to distribute weight successfully when
moving through space. Lacks ability to harness the power of weight to accomplish simple
movement goals.
6. Musicality and rhythmic acuity
Musicality is the ability to execute movement phrases informed deeply by organized external and imagined
sound. Rhythmic acuity is the ability to understand the relationship of the moving body to time.
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• Exceptional - well developed sense of internal timing with a proactive approach to dance phrasing.
Comfort with all meters and tempi. Accuracy in slow and sustained movement, as well as with
movement that is quick and percussive. Consistent awareness of sound demonstrated through
accurate response to instructions and to musical cueing.
• Good - fairly well developed sense of internal timing. Comfort with most meters and tempi.
Generally accurate in slow and sustained movement, as well as that which is quick and percussive.
Fairly consistent awareness of verbal and musical sound.
• Competent - evolving sense of internal timing. At times demonstrates comfort with most meters and
tempi. Developing accuracy in slow and sustained movement, as well as that which is quick and
percussive, but not yet consistent. Building consistency in awareness of verbal and musical sound.
• Developing - insufficiently developed sense of internal timing with a passive approach to dance
phrasing. Frequently unable to sense a steady pulse in stillness or while articulating syncopated
movement. Accuracy lacking in slow and sustained movement, as well as that which is quick and
percussive. Inconsistent awareness of verbal and musical sound.
• Unsatisfactory - no sense of internal timing. Unable to sense a steady pulse in stillness or while
articulating syncopated movement phrases. Rarely demonstrates accuracy in slow and
sustained movement, or in movements that are quick and percussive. Consistent lack of attention to
verbal and musical sound.
7. Professionalism and work ethic
Attention to individual progress, developing and maintaining a strong daily work ethic and focusing one’s
concentration is imperative for success. Students are expected to follow the policies outlined in the student
handbook and course syllabi regarding professional conduct in class, proper dress code and use of locker
rooms for belongings. Failure to demonstrate professionalism or dedication to the art can affect the final
grade assessment and can result in being placed on artistic probation.
• Exceptional - high degree of focus with the ability to stay engaged through entire class period.
Ability to accept and process specific individual feedback and general feedback given to the entire
class as it applies to class materials. Developed sense of daily training as part of the larger scope of
training to be a professional dance artist, including the ability to develop consistency. Ability to work
without causing or being susceptible to distractions in the studio.
• Good - good focus with the ability to stay engaged through entire class period. Ability to accept and
process specific individual feedback and general feedback given to the entire class as it applies to
class materials. Mostly consistent in daily training. Ability to work without causing or being
susceptible to distractions in the studio.
• Competent – at times focuses with the understanding of importance of remaining engaged through
entire class period, and working towards achieving that goal. Continuing to work on accepting and
processing specific individual feedback and general feedback given to the entire class as it applies to
class materials. Mostly consistent in daily training. Developing ability to work without causing or
being susceptible to distractions in the studio.
• Developing - can demonstrate inconsistent class focus and individual daily work ethic. Some
difficulty accepting or processing individual specific feedback. Inconsistent awareness of general
feedback given to the class and the ability to apply that feedback to the class materials as it relates to
the individual’s work. Can be cause of distractions for others or susceptible to distractions which
cause drop in focus and disengagement from class. May show inconsistent physical engagement in
the movement material.
• Unsatisfactory - inconsistent or lack of class focus and individual daily work ethic. Trouble accepting
or processing individual specific feedback. Lack of awareness of general feedback given to the class
and the ability to apply that feedback to the class materials as it relates to the individual’s work. Can
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be cause of distractions for others or susceptible to distractions which cause drop in focus and
disengagement from class. Lack of motivation and physical engagement.
Safe Touch Guidelines
These guidelines are intended to educate our community as to established standards for expected behavior. Dance is
a kinesthetic, social art form in which physical contact and touch between individuals can serve to facilitate
knowledge, manifest aesthetic objectives and foster relationships and community building. Contact can be used in
diverse teaching and learning contexts, including during class instruction, rehearsals and performances. Touch can
encourage optimal anatomical alignment, which in turn, serves to assist dancers in avoiding injury. In addition,
touch creates sensory information that enables the neuromuscular system to learn new pathways and facilitate
multiple aspects of learning. Constructive use of touch should always be explained within the context of interactions
as a means to model social intelligence. Contact is, in short, an essential part of the dance curriculum. As a
community of students, staff, faculty and guests, the Dance Department encourages continual, shared dialogue
around touch while expecting members to adhere to the following protocols in all teaching and learning contexts:
1. Each individual is expected to cultivate a culture of inclusion, safety, respect, and agency in relation to one
another.
2. Each individual has the right and opportunity to discuss their perspectives on touch with an instructor,
choreographer or colleague with whom they are working at any time. As a community we acknowledge that
an individual has the right to their preferences regarding touch and that these preferences might change over
time.
3. Each individual is responsible for informing others of circumstances or preferences that might limit their
participation in class, rehearsal, or performance while satisfying the requirements of the curriculum.
4. Each individual will implement a practice of communication and consent in regard to touch and physical
contact, and work to discover alternatives when consent is not given.
5. Individuals may not intentionally engage in activities that may be harmful to themselves or other persons
6. Individuals may not intentionally harm the physical spaces and the contents therein of any teaching and
learning context.
Dress Code
All students are expected to dress appropriately for all classes.
1. Clothing: Students are allowed to wear layered clothing, sweat pants, etc. at the beginning of class when
these garments are needed to assist in the warm up. However, it must be understood that the more the
teacher can see the student’s body, the more assistance they can provide. The basic dance attire is form-
fitting. Pants should not extend over the heels. Knees must be covered - no shorts.
2. Hair: Hair must be arranged in such a manner so as to not interfere with the work, insuring a proper degree
of freedom and sensitivity in the neck, head and shoulder area.
3. Jewelry: Jewelry should not interfere with the work by restricting upper body movement. Jewelry that
dangles or has sharp edges should not be worn in class.
4. Shoes: Ballet slippers are required for ballet class. Jazz or character shoes must be available if required by a
teacher or choreographer.
5. Chewing gum is NOT allowed in classes or rehearsals.
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6. Although not directly related to attire, faculty need to enforce use of locker rooms for all student
belongings to help keep our studios maintained.
*Students who fail to meet the dress code will be given a warning by faculty. If the behavior is repeated, faculty
should ask student(s) to leave class and the student(s) will be considered absent for the day.
Locker Rooms and Use of Studios
Due to COVID 19, students may not access the Locker Room or Dance Studios without prior approval from the
Mason Gross Facilities Manager.
Students must use the locker rooms for storage of personal belongings. The only way for students to assure their
personal belongings are safe is to purchase a lock and store their items in a locker in the dressing rooms. We have
many guests in our facilities and want to keep our spaces clean and organized.
All students in major and non-major classes are required to use the lockers in the dressing rooms on the
lower level for storage of personal belongings. Students are not allowed to bring anything but warm-up clothes,
water and a notebook into the studio. A small indoor bag may be brought into the studio if a student does not have
a lock for valuables. No phones, or phones must be silenced, in the studios during classes.
No food, drink (other than water) or street shoes are allowed in the studios. Please do not leave items in the
hallway while in classes. Any items left by students in the hallway outside of class are subject to removal
and discarding.
Class Attendance Policy for BFA Students
The department attendance policy has been designed to help students develop strong professional work practices
and to prepare them for careers in dance in both studio and theoretical training.
This policy places the responsibility of each student’s training and education on themselves as individuals.
Full active mental and/or physical engagement throughout the entire class period and prompt attendance to every
class is the only assurance of optimal growth in all curricular areas.
In order for students to receive personal and real-time feedback during synchronous courses, students will need to
turn on their computers/laptop cameras.
If a student is absent from class, that student is not developing the skills and knowledge necessary to succeed in the
program and in the profession.
Students with unexcused absences exceeding course limits, as specified below, will fail the course.
Attendance Policy – The number of allowed absences a student can accrue each semester and receive a passing
grade in classes is as follows:
• 8 absences in Modern Dance Technique courses (meets 4 days a week)
• 8 absences in morning Ballet courses (Ballet 4, 5 & 6 meet 4 days a week)*
• 2 absences for Afro-Fusion (Afro-Fusion meets once a week)
• 3 absences for Summer Technique Workshop and Advanced Ballet Workshop
• 2 absences for Technique Rotation (this applies to entire semester of rotation, not each rotation cycle or
instructor). If a guest artist masterclass is scheduled on the day of Technique Rotation, a student’s absence
will count as a strike and not towards the allowed Technique Rotation absences.
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• 2 absences for Pointe and Men’s Ballet Class (meets once a week)
• 4 absences for studio/theory classes that meet twice a week
• 2 absences for studio/theory classes that meet once a week
* For Ballet Courses: Students will lose 1 point for each absence. However, students can accrue 8 absences and earn
a grade of a 92 if they achieve full points for all work in-class and on all assignments.
Attendance/Absences for Ballet, Technique, and Dance Rotation will be tracked by instructors via Canvas in real-
time. It is the student’s responsibility to keep their own records of their attendance and to check Canvas often for
any discrepancies. Discrepancies may be brought to the instructor’s attention up to 2 weeks of the marked
attendance. For example, if you are marked absent from class, but you were present, you have 2 weeks to from the
date that you were marked absent to discuss this discrepancy with your instructor.
PLEASE NOTE, EXCUSED ABSENCES ARE WARRANTED FOR EXTENUATING CIRCUMSTANCES
such as for religious observances and contagious illness (please see below), and/or those approved by the dance
department chair.
Students must notify their course instructors in advance (at least 2 weeks prior) of any absences for religious
observances.
It is recommended that if a student has a fever, skin disorder such as impetigo, pink eye or any condition deemed by
a medical provider as contagious or has chronic illness that prohibits them from dancing they should be excused
from dance activity. They can return to dance when cleared by a medical provider.
Students with Covid-19 related symptoms/diagnoses, may receive special considerations regarding absences. Due to
Covid-19, wellness checks may be required to return to campus.
In order to ensure that each BFA student receives the rigorous dance training requisite to fulfilling the goals of their
elected and enrolled dance curriculum, a student must have full participation in a minimum of 40 classes for each
course per semester in order to receive a semester grade. "Full participation" is defined as physically participating
for at least 75% of the class at a level that enables the instructor to observe and assess the skills that are being taught
in class that day.
All absences and half absences for whatever reason are factored in semester attendance totals as a part of this
policy.
The following Department-approved events at Mason Gross that include a dance class will also be counted towards
these 40 classes:
• Dance classes as part of candidate visits during a department faculty search.
• Master classes
• Arts Day dance classes led by Department faculty.
• Pre-College Dance Experience classes taught by department faculty.
• Warm up and faculty-supervised classes for UDW members while on tour.
• Department approved exceptions may apply.
Warm ups for department dress rehearsals and performances will not count towards these 40 classes.
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Additional Attendance Policy for All Movement Courses
1. Attendance credit will be given only to those students who participate fully physically and with concentrated
attention throughout the entire class, unless the ATC or a physician has prescribed students a modified
regimen.
2. It is expected that students will be respectful and courteous to instructors and your peers and maintain
focused participation during class.
3. If a student begins class, but does not complete it, he or she will receive NO CREDIT for that class day,
unless a student has had an injury severe enough that they must stop participating.
4. LATENESS WILL NOT BE TOLERATED. If a student enters class after attendance has been
recorded, he or she will be counted as absent for that day.
5. No makeup classes will be allowed for any movement courses.
6. If a student has exceeded the allotment of allowed absences by mid-term, the student may not continue as a
cast member in student works.
Exceptions to Technique Attendance Policy
Exceptions will be considered for students registered in Technique 1, 2, 3, 4, 5, 6, 7, or 8 and Ballet 4, 5 or 6, and
will be considered only for medical reasons that fit the following criteria:
1. Absences must be consecutive or grouped due to a documented medical need or serious hardship.
2. With consecutive or grouped absences due to documented illness or injury, under the following
circumstances, students will be eligible to attend the department’s summer technique and/or ballet courses to
make up work and receive credit for technique/ballet classes missed during the academic year: For technique
and for ballet, if a student is absent for 9 days, but does not exceed 16 days. Regardless of the number of days
missed, the student must register for the summer course and complete the entire four-week session. If the
student is not enrolled in Technique and/or Ballet, the student is not allowed to participate in student works.
3. If a student is absent for more than 16 technique or ballet classes due to documented illness or injury, they
will need to medically withdraw from the course and take the course in a future semester.
4. BFA Majors in their Last Year/Semester of Study:
a. BFA majors in their last semester of study will be allowed five absences from morning Ballet
and Technique classes without effect to their grade, in addition to the allotted 8 absences.
These five absences are to be dedicated to auditions for future employment. Students MUST
inform instructors in advance (at least 2 weeks) of their intention to attend an audition and thus
be absent from class. Students MUST bring proof of audition. Absences from theory classes,
rehearsals and other obligations for auditions must be negotiated directly with the instructors
and/or choreographers of said obligations.
b. BFA majors in their last year of study who have a conflict with technique will need to present a
proposal to the department chair for consideration on a case-by-case basis.
c. BFA+EdM Seniors enrolled in the Spring EdM Phase 2 course Dance Clinical Practice Phase 2
(05:300:488) will be allowed five absences from morning Ballet and Technique classes without
effect to their grade, in addition to the allotted 8 absences. These five absences are to be
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dedicated to fulfilling required fieldwork hours for Dance Clinical Practice Phase 2. Students
MUST inform instructors in advance (at least 2 weeks) of their intention to be absent from
class to complete fieldwork hours. Absences from theory classes, rehearsals and other
obligations to complete fieldwork hours are NOT covered by this policy.
5. BFA majors tracking into the Ed.M. program are required by law to complete clinical fieldwork. Students
enrolled in 05:300:200 are waived from Rotation during the semester of enrollment. Senior BFAs enrolled in
Clinical Experience Phase 1 or Clinical Experience Phase 2 are waived from Rotation during these additional
semesters.
Additional Class Attendance Policy for BFA Students
Placement Audition Classes
At the beginning of fall semester, members of the faculty as instructors and observers conduct two days of
placement auditions to determine technique and ballet level placement for each student. Students register for
Technique 1, 2, 3, 4, 5, 6, 7, 8 and Ballet 4, 5, and 6 depending upon the year of enrollment (freshman, sophomore,
junior, or senior). Students are placed in the appropriate sections according to technical level. While transfer
students may enter with advanced academic standing, they are also placed according to their technical level.
Attendance is required at all placement audition classes so faculty can fairly evaluate and correctly place each student
in a course that is appropriate for their technical abilities. Continuing students, who miss placement classes, will not
move up to a higher technique level, but will stay at the level in which they last were placed. New students to the
department who miss audition classes will be placed in Technique A. Once students are placed at their respective
levels, students must take class with the instructors assigned to their level. Due to COVID-19, leveling for
technique classes is temporarily suspended.
Jury Class Attendance
Jury classes are held at mid-semester to give the student individualized feedback from faculty members and
instructors. Jury classes are an important part of the assessment process of students in BFA technique courses. It is
mandatory that all students will attend the jury class and interact with faculty about their progress and training.
• If a student misses the jury class and/or the interview, they will not receive better than a ‘C’ grade in the
course on a case-by-case basis.
• If a student has a documented injury or serious illness that prevents his/her attendance, an exception will be
considered.
Mandatory Performance Paper
(For Technique 1, 2, 3, 4, 5, 6, 7, 8)
Students are required to attend an outside off campus performance of a professional modern, or contemporary
post-modern dance company, unless they are enrolled in any choreography class in the department for the semester
in which case, the outside paper requirement for Technique would be waived (i.e., completed in choreography
class). Students should devote approximately 1,000 words to writing about the concert they have seen. Concert
attendance must take place by the ninth week of the semester and the paper must be submitted no later than one
week after the concert date. Papers will not be accepted if handed in more than one week following the concert
date. If a student does not meet the paper due date, they will have the option of attending another concert before
the ninth week of the semester. Poorly written papers will be returned to the student. These papers must be
rewritten to acceptable standards and given back to the instructor within one week of receiving the paper. Failure to
meet the technique paper guidelines will result in a 10% grade drop in a student’s final grade for the course.
Students should be timely in purchasing their tickets, as productions may sell out quickly. Failure to obtain tickets
does not excuse a student from this assignment.
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“Live” performance critique outline for dance majors
Dance Technique Students must attend a dance concert outside of the department and write a paper each semester,
with the following exceptions:
1) If you are currently enrolled in Dance Studies, you do not need to submit a paper in Technique class. (See
Important Note below.)
2) If you are currently enrolled in a Choreography class, you do not need to submit a paper in Technique class.
(See Important Note below.)
IMPORTANT NOTE FOR STUDENTS WHO ARE EXEMPT: In the “Live Performance Critique Paper”
Canvas assignment tab for your Technique course, submit a document that states the following:
“I am exempt from the Dance Technique paper this semester. I am enrolled in ___________ [course], Section
_____.”
Failure to turn in critique paper will result in a 10% grade drop of final semester grade.
Possible venues for dance concert viewings:
New York City Center
https://www.nycitycenter.org/events-tickets/
Joyce Theatre, NYC
http://www.joyce.org/performances
BAM, Brooklyn
http://www.bam.org/#Dance
New York Live Arts
https://newyorklivearts.org/calendar/
Danspace Project
http://www.danspaceproject.org/calendar/
Movement Research at Judson (free Monday night performances)
https://movementresearch.org/locations/judson-memorial-church
Center for Performance Research
http://www.cprnyc.org/events_upcoming/
Paper Guidelines:
1) Attend an outside, fully produced performance in a theater of a professional modern or post-modern dance
company. You must attend a concert by the ninth week of the semester.
2) Please be timely in purchasing your tickets, as productions may sell out quickly. Failure to obtain tickets
does not excuse you from this assignment.
3) Bring the list of Critique/Writing Elements (below) with you to the concert, so that you can take careful
notes during the performance. Read through the prompts and jot down thoughts for each as you watch the
performance, so you can capture thoughts and ideas while they are still fresh in your mind. These are general
questions designed to give you a starting point from which to begin thinking, discussing and writing about
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dance. The work you have the strongest reaction to when viewing, whether good or bad, will be, that which
is easiest to remember and write about. Bring a friend and enjoy this assignment!!
4) Write a 1000-word paper and submit the paper no later than the due date. See submission instructions
below.
a. Do not number your answers or answer these questions as they are presented, in this order, in your
paper. Instead, refer to your notes as a guide to help you organize your ideas regarding the
performance.
b. Use a 12-point font and put your name on every page of your paper.
c. Use spell/grammar check. Writing skills count!
5) Your paper will be submitted as a Word doc in Canvas in your Tech course.
6) You must also turn in to your instructor a hard-copy of your paper with your ticket stub stapled to your
paper.
7) Papers will not be accepted if submitted more than one week after the due date.
8) Papers are graded on a Pass/Fail basis. See Rubric below.
9) Papers that do not follow these guidelines will not be accepted.
10) Failure to meet technique paper guidelines will result in a 10% grade drop in a student's final semester grade
for the course.
Critique/Writing Elements:
_________________________________________________________________________________________
1. INTRODUCTORY PARAGRAPH - PROVIDE CONTEXT
A. Theater Space:
• Name the theater and describe the type of stage/theater architecture used.
• How did this theater type affect the performance and the audience’s reception of the work?
B. Social Environment: Describe social relations of audience and performer, including:
Demographic description of who attended – age, race/ethnicity, socio-economic class
• Please be specific; you can use language such as: “Visually, it appears to me that….”
• Describe audience response to work(s), especially anything unusual
C. Dance Work Information:
• List Title OF 1 WORK ON PROGRAM. Be sure to use italics!!!
• List name of choreographer(s), dance company and dancers in the piece.
• PLEASE: DO NOT INCLUDE BIOGRAPHICAL INFORMATION FROM THE PROGRAM!
2. MOVEMENT DESCRIPTION
• Use strong action verbs that describe the action. Avoid generic verbs like: move, moving, dance,
run, walk, he or she “goes”. Instead, be creative and vivid in your descriptions of movement to help
the reader understand the qualities and moods created by the movement.
• Use strong adverbial modifiers (“-ly” words) such as “softly,” “aggressively” etc. You can also use
similes: for example, “He jumped like a cat.”
3. OBSERVATION/IMPRESSION ELEMENTS – MAKE CHOICES THAT ARE STRONGLY SEEN
OR STRONGLY RELEVANT TO THE WORK YOU CHOSE.
A. CHOOSE 1 RELEVANT ASPECT (A1 or A2) FROM THESE TWO OPTIONS. (If
Technology—other than sound/lighting equipment—was not used, choose A2):
1. VIDEO TECHNOLOGY:
a. Video present? As live dance + video OR screendance?
b. Other, uncommon technology?
c. What role did video or unusual technology play in the intent of the work?
2. LIGHTING: (Be sure to include changes in lighting throughout the work)
a. Describe colors of lights used throughout the work.
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b. Location/purpose of special lights or special effects. Address Spotlights, if used; describe
gobos
c. Lighting or “darkening”?
d. Any time of day and/or season indicated?
e. Name mood(s) created.
B. CHOOSE 1 RELEVANT ASPECT (B1 or B2) FROM THESE TWO OPTIONS:
1. COSTUMES/PROP(S)/ACCESSORIES:
a. Describe costumes (including various levels of body reveal and/or nudity)
b. Is movement or fitting of costume important?
c. Discuss any implied historical time period, class or status, ethnicity or cultural
affiliation.
d. Describe any props and accessories. Are they abstract or literal?
2. SET element(s):
a. Is the stage acting as a “set” in any way?
b. Are floor/ceiling/walls/curtains used in unusual ways?
c. Is the set abstract or literal?
d. Discuss any implied historical period, class status, ethnicity or cultural affiliation
indicated.
C. SOUND SCORE:
a. Describe the types of sound used in this work:
i. Music? Identify instrumentation
ii. Ambient sounds?
iii. Intentional uses of silence?
iv. Non-textual verbal expression?
v. Use of text/vocals/chant/singing?
b. Name the mood(s) created.
c. Discuss any implied historical time period, class or status, ethnicity or cultural affiliation.
D. CHOOSE 1 ADDITIONAL ELEMENT FROM THOSE BELOW. CHOOSE THE ONE (D1,
D2, or D3) THAT IS MOST RELEVANT TO THE PIECE YOU ARE DISCUSSING.
1. IDEALIZED BODIES/MIXED ABILITY:
a. Name the use of potentially “idealized” bodies in the cast AND note if non-idealized
bodies are used. In what way? For what purpose? Remember: contemporary Western
society still, as a whole, tends to stereotypically accept the following as ideal bodies: Raced
white; perceived on-stage biologically sexed at birth as female directly aligned perceived on-
stage as gender identified as a woman, and perceived on-stage as exhibiting feminine gender
expression; perceived on-stage as a presumed heterosexual; and visually perceived on-stage
as tall, thin, flexible
b. Name and describe uses of technical, mental and/or emotional virtuosities; give
examples.
2. GENDER AND SEXUALITY:
a. Name the perceived biological sex, gender identity and gender expression of
performers.
b. Describe if and how dancers are following or challenging normative gender behavior(s).
c. Name and describe any non-normative gender behavior(s) in the work.
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d. Does gender make a difference in the work.? Would interpretation be different if cast
differently, with differently perceived gender identity(ies) AND/OR gender expression(s)
e. Does sexuality make a difference in the work?
f. Is there is a presumption about ‘normative’ sexuality? How does that presumption or
other options function as themes in the work?
g. Are other aspects of sexuality present?
3. RACE/ETHNICITY and CULTURAL CONTEXT:
a. What are the perceived race/ethnicities of the choreographer and dancers?
b. Do these race/ethnic identities make a difference in the work? If so, how?
c. Does the work refer to cultural context as a theme in the work? If so, how?
d. Is the work in any way a hybrid of more than one cultural dance form? If so, which?
4. ANALYZE: Look back at all your descriptions for the work you selected. Using all of the data
you’ve gathered from the above ELEMENTS as evidence, Develop an analysis of that evidence:
A. Find and state how certain elements link up together to form a “node” of interest, e.g., how
might a costume, a gender identity and live text form meaning? How does the lighting, sound or
costume choices made by the choreographer connect to impact the meaning? etc.
B. Describe 2 strong NODES of intersecting ideas from the elements your selected and
described.
5. INTERPRET: WHAT IS THE BIG IDEA of the work?
A. Connect the Analysis “nodes” to help you to help form an argument for your
interpretation of the work. Based on your evidence, what meaning-making is
created by the dance work? What message was the choreographer trying to convey?
6. CONCLUDING PARAGRAPH
A. CONTEXTUALIZE:
1. Put the work into personal context. How does the work relate to your life,
specifically? Use examples, events, issues.
2. Put the work into global context. How does the work relate to a larger social,
cultural, or historical context?
B. What have you learned from this description, analysis, interpretation and
contextualization?
_________________________________________________________________________________________
Paper Submission – On or before the due date:
1) Read through all Critique/Writing Elements above one more time to make sure that your paper
addresses all elements.
2) Check the Rubric below to see how this paper will be assessed.
3) Log in to canvas.rutgers.edu, using your Net ID and password
4) Click on your Tech course
5) Click on the “LIVE PERFORMANCE CRITIQUE PAPER” tab
6) Attach your Word doc
Your paper will not be considered “on time” until you have submitted it correctly in Canvas.
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Canvas Help:
Technical difficulties will not be considered excuses for not turning your paper in on time. Contact Canvas
Help if you have difficulty submitting your work in Canvas:
Phone: 877-361-1134 (24 hours a day, 7 days a week)
Email: [email protected]
Live Chat: Click here for Live Chat
Writing Assignment Pass/Fail Guidelines
Pass
Content
The paper…
• uses clear descriptive language to convey the visual experience
of the performance in writing.
• addresses all Critique/Writing Elements.
• provides persuasive interpretation and evaluation of the
performance.
• contextualizes the performance within a larger context such as
history, culture, or aesthetics.
Writing Style &
Paper
Submission
The paper…
• has logical transitions that contribute to a fluid writing style.
• has few, if any, grammatical, spelling or punctuation errors.
• is submitted in the specified manner (word count, formatting,
CANVAS AND HARD COPY) before the submission
deadline.
Fail
Content
• Language used in the paper fails to convey the experience of a
live performance.
• Paper does not address all or most Critique/Writing Elements.
• Paper lacks clear and/or persuasive interpretation and
evaluation of the performance.
• Paper fails to contextualize the performance within a larger
context such as history, culture, or aesthetics.
Writing Style &
Paper
Submission
• Paper lacks logical transitions and contains ungrammatical
sentences and spelling/punctuation errors that impede
understanding.
OR
• It was not submitted in the specified manner (word count,
formatting, CANVAS AND HARD COPY) before the
submission deadline.
• Assignments is very poor in quality OR was presented late or
not at all.
Academic Integrity
The Department of Dance expects all students to adhere to all of Rutgers’ Academic Integrity guidelines. To this
end, all papers must be written in your own words and from your perspective. The same paper may not be used to
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satisfy another class requirement. You may not collaborate with another student on papers or assignments unless
authorized by your instructor. You should review the definition of plagiarism at the link below for the Office of
Student Conduct. Please familiarize yourself with the information on the following website. You are responsible for
knowing this information:
http://studentconduct.rutgers.edu/academic-integrity
Students agree that by taking this course, all required papers will be subject to submission for textual similarity
review to Turnitin.com (directly or via learning management system, i.e. Sakai, Blackboard, Canvas, Moodle) for the
detection of plagiarism. All submitted papers will be included as source documents in the Turnitin.com reference
database solely for the purpose of detecting plagiarism of such papers. Use of the Turnitin.com service is subject to
the Usage Policy posted on the Turnitin.com site.
ALL INSTANCES OF ACADEMIC DISHONESTY IN WRITTEN WORK WILL BE FULLY
INVESTIGATED BY THE DEPARTMENT AND BY THE OFFICE OF STUDENT CONDUCT. If
you are stressed out or overwhelmed, please contact your instructor or advisor rather than make this
choice.
Academic Integrity Violations
https://policies.rutgers.edu/10213-currentpdf
Plagiarism: Plagiarism is the use of another person’s words, ideas, images, or results,
no matter the form or media, without giving that person appropriate credit. To avoid
plagiarism, a student must identify every direct quotation using quotation marks or
appropriate indentation and cite both direct quotation and paraphrasing properly
according to the accepted format for the particular discipline or as required by the
instructor in a course. Some common examples of plagiarism are:
• Copying word for word (i.e. quoting directly) from an oral, printed, or electronic
source without proper attribution.
• Paraphrasing without proper attribution, i.e., presenting in one’s own words
another person’s written words or ideas as if they were one’s own, regardless of
the nature of the assignment.
• Incorporating into one’s work graphs, drawings, photographs, diagrams, tables,
spreadsheets, computer programs, or other non-textual material from other
sources, regardless of format, without proper attribution.
Cheating: Cheating is the use or possession of inappropriate or prohibited materials,
information, sources, or aids in any academic exercise. Cheating also includes
submitting papers, research results or reports, analyses, and other textual or visual
material and media as one’s own work when others prepared them. Some common
examples are:
• Prohibited collaboration: receiving research, programming, data collection, or
analytical assistance from others or working with another student on an
assignment where such help is not permitted.
• Copying another student’s work or answers on a quiz or examination.
• Using or having access to books, notes, calculators, cell phones, technology, or
other prohibited devices or materials during a quiz or examination.
• Submitting the same work or major portions thereof to satisfy the requirements of
more than one course without permission from the instructors involved.
• Preprogramming a calculator or other device to contain answers, formulas, or
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other unauthorized information for use during a quiz or examination.
• Acquiring a copy of an examination from an unauthorized source before the
examination.
• Having a substitute take an examination in one’s place.
• Submitting a purchased or downloaded term paper or other materials to satisfy a
course requirement.
• Submitting as one’s own work a term paper or other assignment prepared, in
whole or in part, by someone else.
Fabrication: Fabrication is the invention or falsification of sources, citations, data, or
results, and recording or reporting them in any academic exercise. Some examples
include the following:
• Citing a source that does not exist.
• Making up or falsifying evidence or data or other source materials.
• Falsifying research papers, reports, or other documents by selectively omitting or
altering data that do not support one’s conclusions or claimed experimental
precision.
• Falsifying patient or client records.
• Falsely documenting experiential and/or internship opportunities that did not
occur.
• Providing falsified excuses, documents, or other information to excuse late or
missed assignments, or to justify regrading.
Facilitation of Dishonesty: Facilitation of dishonesty is deliberately or carelessly
allowing one’s work to be used by other students without prior approval of the instructor
or otherwise aiding others in committing violations of academic integrity. A student who
deliberately facilitates a violation of academic integrity can be subject to the same
sanctions as the student who receives the impermissible assistance, even if the facilitator
does not benefit personally from the violation. Some examples are:
• Collaborating before a quiz or examination to develop methods of exchanging
information.
• Knowingly allowing others to copy answers to complete a quiz or examination or
assisting others to do so.
• Distributing an examination from an unauthorized source before the examination.
• Distributing or selling a term paper to other students.
• Taking an examination for another student.
• Allowing other students access to your work in violation of course policies.
Academic Sabotage: Academic sabotage is deliberately impeding the academic
progress of others. Some examples are:
• Intentionally destroying or obstructing another student’s work.
• Stealing or defacing books, journals, or other library or University materials.
• Altering computer files that contain data, reports, or assignments belonging to
another student.
• Removing posted or reserve material or otherwise preventing other students’
access to it.
• Misrepresenting the contributions of others in the group to give more credit to
one particular student for one’s gain.
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Violation of Research or Professional Ethics: Violations in this category include both
violations of the code of ethics specific to a particular profession and violations of more
generally applicable ethical requirements for the acquisition, analysis, and reporting of
research data and the preparation and submission of scholarly work for publication.
Some examples are:
• Violating a canon of the ethical code of the profession for which a student is
preparing.
• Using unethical or improper means of acquiring, analyzing, or reporting data in a
course research project, a senior thesis project, a master’s or doctoral research
project, grant-funded research, or research submitted for publication.
• Misuse of grant or institutional funds.
• Violating professional ethics in performing one’s duties as a Teaching Assistant
or Graduate Assistant.
Violations Involving Potentially Criminal Activity: Violations in this category include
theft, fraud, forgery, or distribution of illicitly obtained materials committed as part of an
act of academic dishonesty. Some examples are:
• Unauthorized acquisition of an examination from a faculty member or electronic
files.
• Selling, buying, or distributing an examination.
• Forging a change-of-grade form.
• Falsifying a University transcript.
Class Attendance Policy for Graduate Students
Attendance Policies for MFA in Dance and EdM students - The number of allowed absences an EdM or MFA
graduate student can accrue each semester and receive a passing grade in classes is as follows:
Each instructor is required to maintain an accurate record of attendance for each of his or her classes or sections.
Students are expected to be present at each meeting of their classes. Exceptions to this rule may be made in the case
of illness and in such other instances as seem justified to the instructor. University examinations will not be
scheduled on Saturdays except in those courses that regularly meet on Saturday.
In cases where graduate students are enrolled in Graduate Technique courses, 2 max. absences for the semester is
allowed.
In cases where graduate students are enrolled in undergraduate continued technical or ballet study courses, the
number of allowed absences is as follows:
Attending Technique and/or Ballet 2 days per week = 4 max. absences for the semester
Attending Technique and/or Ballet 1 day per week = 2 max. absences for the semester
In cases where Graduate Students enroll in undergraduate electives at the 300-400 level, the attendance policy for
BFA students apply. Students who exceed the maximum absences will fail the course. Any absence may impact their
grade.
PLEASE NOTE THERE ARE NO EXCUSED ABSENCES FROM DANCE COURSES except those
accommodated under the Rutgers University religious observance policy. Students must notify their course
instructors in advance of any absences for religious observances. Every other absence, for whatever reason, is
counted in the absence total for the course.
25
Policies for Student Injuries
Chronic injury or illness: If a student is injured and/or sick for a prolonged number of days, faculty will not assess
final grades based on absences as long as students maintain their focus and work ethic, make progress in the course
when they return to full participation in class, and have total absences within the allowable limit for the course.
Injury During Class:
If a student is injured during class, please follow this procedure:
•
Acute/Traumatic injury in class: please contact EMS immediately.
If the injured student cannot move
independently, please do not attempt to lift and/or move the student or allow anyone else to do so. In
circumstances in which the student must be moved to prevent further harm, please secure the student’s
consent before assisting them.
•
ANY and ALL head injuries require immediate EMS attention.
•
If injured during class, a student will not be marked as absent for the day.
Policy on Injury Modifications in Studio Classes
•
In order to be listed for injury modifications in studio classes, students MUST be examined by the RSH
sports medicine physician at Rutgers Health Services--or submit
relevant medical documentation to the
dance instructor and the licensed athletic trainer if they are seen by an outside physician. After evaluating
the student, the sports medicine physician or the outside provider will specify necessary injury modifications
for students’ studio classes.
•
Students on injury modification MUST respond promptly to requests from
the RSH
sports medicine
physician or the licensed athletic trainer for follow-up appointments and/or updated medical
documentation. Failure to respond
promptly to such requests will be taken as an indication that the student
is fully recovered from their injury. The student will then be removed from the injury modification list and
expected to fully participate in studio classes.
Contagious Illnesses
It
is recommended that if a student has a fever, skin disorder such as impetigo, pink eye or any condition deemed by
a medical provider as contagious or has chronic illness that prohibits them from dancing they should be excused
from dance activity. They can
return to dance when cleared by a medical provider.
Return to Dancing and Training Considerations due to Covid-19
COVID- 19 infections can have heart, kidney, lung, and blood complications, and information regarding the effects
of COVID-19 are constantly evolving. As a result, these complications must be taken into account for a safe return
to physical activity.
Collaboration between the American Medical Society for Sports Medicine and the American College of Cardiology
has created guidelines for the evaluation of athletes after past or acute infection of COVID-19.
Each dancer will be evaluated on an individual basis regarding the need for further testing for medical clearance to
return to activity.
The British Journal of Sports Medicine has also created a guideline requiring a minimum period of 10-14 days of
rest after either onset of symptoms or confirmed positive COVID- 19 tests.
After this period, a graduated return to activity protocol has been developed which will be implemented on an
individual basis for each dancer.
If a student is confirmed to be COVID-19 negative they may participate in dance classes as long as they do NOT
have a fever, cough, shortness of breath, or other symptoms of COVID-19.
26
If a student is confirmed to be COVID-19 positive regardless if they have symptoms or not they are NOT
CLEARED to participate in physical activity. However, they may observe dance classes as tolerated.
Each dancer will be required to complete the graduated return to activity protocol remotely. After completing the
graduated return to activity protocol a dancer MUST be given clearance BEFORE returning to in-person
classes/rehearsals/performances.
As a result of these medical guidelines, each dancer is required to contact Rutgers Student Health at 848-932-7402 if
they suspect COVID-19 based on symptoms or confirmed positive test. In order to safely return to dance, you are
required to have a medical evaluation.
References
Elliot N, Martin R, Heron N etc. Info graphic Graduated Return to play guidance following Covid-19 infection Br J
Sports Med: 22 June 2020.
Dores H & Cardim N. Return to Play after Covid-19: a sports cardiologist view Br J Sports Med: on 7 May 2020.
Cardiac Considerations for College Student-Athletes during the COVID-19 Pandemic
https://www.amssm.org/Content/pdf-files/COVID19/CardiacCOVID-19_22-JULY-2020.pdf
Student Notification to Instructors Policy
Students are responsible for informing their instructors of medical and physical therapy appointments prior to
missing class. Absences accrued due to lack of notification are the student’s responsibility.
Clarification regarding assisting students under 18 who are injured
If
any student* has a life threatening emergency (breathing emergency, etc.) or is unconscious then consent is
implied. Call 911 immediately. Contact the front office immediately to obtain the emergency contact number on file
for the student and call to inform parents/guardians of the injury
with the name of the hospital to which the
student will be transported.
If a student who is under 18 sustains an acute injury
-
instructors
*must call 911*
and
*contact a
parent/guardian of a minor*.
Ask the student for the number of a parent; call to inform the parents/guardians of
the injury and indicate the hospital to which the student will be transported. Alternately, contact the front office to
obtain the emergency contact number on file for the student and call to inform parents/guardians of the injury and
indicate which hospital the student will be transported to.
It is
IMPORTANT
that instructors *make the attempt
to contact the parents/guardians* even if the parents/guardians cannot be reached immediately.
Transfer to Hospital
•
For any student over 18 who chooses to go to the hospital, the Dance Department requests that the faculty
member, if present, recommend treatment at Robert Wood Johnson
(RWJ) Hospital.
•
Neither faculty nor students are responsible for accompanying injured students to the hospital. Once EMS
transports the student to the hospital, the hospital has protocols in place to contact family members
regarding the individual’s condition.
•
In the case of a non-emergency and transportation is needed to the hospital, please contact 732-932-7211
for a non-emergency transport.
•
The RUEMS ambulance is operational 24/7, 365 days a year to provide emergency medical services to
Rutgers. Please call 911 in the event of an emergency.
Emergency Room Care
–
Second Opinions from Department of Family Medicine
Injured students are transferred to the RWJ Emergency Room for care. Rutgers University has a partnership with
RWJ through the Department of Family Medicine (DFM); this means that there are medical advocates upon which
students can call upon as advocates in their care. There is a DFM faculty member on-site every day in the hospital;
residents are on-call 24/7 for all evenings and holidays. If you
become aware of a situation in which a student is
27
being discharged when there are still concerns for their health and/or safety (e.g., they may be discharged to a dorm
with no one to observe them), it is possible to request that the student be placed underobservation by nursing staff
for up to 72 hours. Please note that this is still considered an ER visit; it is possible for students to be admitted to
the ER and not admitted to the hospital, which allows a family member to travel from a distance to join the student
during their care. If the ER is firm that a student must be discharged, yet there are still concerns, the student can call
the Mason Gross Dean, who may call the Rutgers Dean of Students on call for further assistance. Upon discharge
from RWJ Hospital, paperwork on the students’ care is sent to Hurtado Health Center, whose staff will follow up
with the student.
Technique and Creative Studio Course Observation Policy
Following evaluation by Rutgers Student Health, students with a medically documented injury that precludes them
from dancing will be allowed to observe studio classes. This policy is designed to keep injured students’ minds and
muscle memory engaged and to maintain their connection to the progression in their studio classes and to the
larger
Mason Gross Dance community.
For the first week (5 consecutive days) of observing studio classes, students will be given full attendance credit for
each class observed, upon turning in an Observation Writing Task to their instructor at the end of
the class (see
below).
After the first week of observations, students will be given half attendance credit for each class observed,
upon turning in an Observation Writing Task to their instructor at the end of the class.
Faculty teaching studio classes will receive email notices/updates of student eligible to observe class because
of medical restrictions as per Rutgers Student Health.
Once students are allowed back to class on a modified regimen, they will be given full attendance credit for the
days they participate in class.
After the student returns to the studio, if another injury occurs that requires observation, the department will meet
with the student on an individual and case-by-case basis regarding attendance and observation policies.
Students are responsible for keeping track of their attendance for each course.
Students sitting out from class:
If the student comes to class with an acute injury that is not urgent, but prohibits them from dancing they can
observe the remainder of classes for that day until they are able to contact RSH or the licensed athletic trainer. If the
student observes the remainder of the class and completes the observation writing task, the student will receive
HALF credit for the class day.
If the injury is emergent or requires immediate evaluation from a medical profession, the appropriate protocol per
guidelines should be followed regarding that injury.
The licensed athletic trainer can be reached via secure message regarding assistance in making an appointment for
medical assessment or the student can attempt to call RSH to schedule an appointment with sports medicine
physician.
If the student has not met with or received instructions from RSH and/or the licensed athletic trainer by the next
class day, they will not be allowed back in class.
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Observation Writing Task for Studio Classes
1. Copies of the Observation Writing Task are available in your classes’ Canvas course.
2. At the start of class, instructors should have the injured student select a fellow classmate and observe
him/her throughout the entire class. Please make the observation discreet and take care not to distract
fellow classmates. Analyze how he/she is engaging with and processing the material presented by the
instructor. For each exercise, note what idea/concept seems important for the instructor, how well the
classmate embodies it, and offer any suggestions for how he/she might improve his/her performance.
Submit the written observations to the instructor at the end of class. Students cleared to observe class who
fail to complete and submit an Observation Writing Task to the instructor at the end of class will be
counted as absent. The rules and parameters that are expected in class, also apply when completing the
observation writing task.
Student Health Services
The Rutgers Student Health Service provides on-campus basic health care through three health facilities:
http://health.rutgers.edu
ALL email communication with the RSH Sports Medicine Physician and the Licensed Athletic
Trainer must be made through the Rutgers Student Health Portal. Students can visit:
https://nbstudenthealthportal.rutgers.edu and log in using their Rutgers NetID and Password. Secure
messages are more secure than email, so your confidentiality is protected! DO NOT send any medical
information to the Licensed Athletic Trainer or the RSH Sports Medicine Physician via standard email
or text message.
Cook/Douglass Health Center
848-932-9805
61 Dudley Rd. on Douglass Campus, New Brunswick
9:00 am - 12:30 pm & 1:30-4:30, Monday-Friday
Hurtado Health Center
848-932-7402
11 Bishop Place on College Avenue Campus, New Brunswick
8:30 am - 5:00 pm, Monday-Friday
Busch-Livingston Health Center
848-445-3250
110 Hospital Rd. on Livingston Campus, Piscataway
8:30 am - 4:30 pm, Monday-Friday
After hours: Call the RSH Advice Nurse Line at 1-800-890-5882.
Evening Hours: 5 - 8pm Monday - Thursday
For urgent medical attention or for an actual emergency call the Rutgers Police or 911.
Dance is an intensely demanding and physical activity. As such, it is important that dancers discuss with the licensed
athletic trainer any physical conditions or injuries that may put them or fellow dancers at risk for harm or would
unduly impede their work in class and in performance. In the case of serious or chronic injuries, medical clearance is
required before resuming training and dancing. Students requesting non-injury related accommodations should
contact the Office of Disability Services (732-932-2848; [email protected]). The Office of Disability Services
will work with the student and department to determine whether an accommodation is possible.
https://ods.rutgers.edu
29
Information for Students on Injury Prevention, Care and Rehabilitation
Rehabilitation and Return to Dance Activity
Students under the care of the RSH sports medicine physician must receive final clearance from said physician, or
other RSH physician in order to return to full participation to dance performances and rehearsals.
Surgical Procedure and Recovery - Rehabilitation and Return to Dance Activity
In the case of surgical procedures, students are required to consult with RSH Sports Medicine physician and the
undergraduate coordinator to determine both a plan for post-surgery care and clearance.
Modified Dance Activity List
Students who are on the modified activity list must visit the RSH Sports Medicine physician and follow up with the
sports medicine physician or outside provider regularly to remain on modification list. If a student does not follow
up as per the recommended schedule and requires continued modification, they must be re-evaluated by a clinician.
Students who are on the injury/modification list for the semester must meet with the RSH Sports Medicine
physician at the end semester or at the beginning of the next semester as needed to be cleared to dance.
If the student does not follow up with Rutgers Student Health throughout the semester as directed by the RSH
Sports Medicine physician and/or Athletic Trainer, the student will be considered fully recuperated and off the
injury modification list.
Head Injuries – Notification to Instructors
Dance Courses: The dance department will notify your dance instructors of your head injury within 24 hours of
the injury.
Liberal Arts Courses: In order for the Mason Gross Dean’s office to notify your liberal arts instructors of your
absences on your behalf, you must provide the Mason Gross Dean’s Office with the dates of your absences and
your liberal arts instructors’ names and email addresses.
If you receive a diagnosis of a concussion from Rutgers Student Health or an outside provider and you are not
permitted to use your phone or computer within the first 5 –7 days of your injury to contact the Mason Gross
Dean’s Office, it is your responsibility to contact the Mason Gross Dean’s Office once you have been cleared by
Rutgers Student Health to use your phone or computer.
If you are not cleared to use your phone or computer for more than 2 weeks with a temporary condition, the Mason
Gross Dean’s Office will work with the Dance Department and the student on a case by case basis to notify the
students' liberal arts instructors.
Students may need to identify a proxy to assist with communications.
Physical Therapy
If a student receives a prescription for physical therapy from an outside physician or provider, an evaluation by the
RSH Sports Medicine Physician is required before the student may work with the department’s Licensed Athletic
Trainer.
30
Pre-Participation Questionnaire (PPQ) and Pre-Participation Exam (PPE)
All incoming first-year BFA majors will be required to complete a pre-participation questionnaire (PPQ) and a pre-
participation examination (PPE) before beginning participation in the BFA dance programs. The PPQ is a
questionnaire designed to gather information on the student’s medical history. The PPE is a physical exam. At the
beginning of May of each year, students will be emailed the PPQ and the PPE. These forms must be completed and
returned to the department by May 31 or December 15 of the semester prior to entry. Students have the option of
having the PPE completed by their home physician. If a student does not have access to a home physician, the
student may have the option to make an appointment with the RSH Sports Medicine Physician before arrival on
campus to complete the PPE. Incoming students that have not completed and submitted their PPE forms before
the first day of classes will not be able to participate in dance placement auditions until they have completed their
forms and have been cleared by the RSH Sports Medicine Physician.
Pre-Screening for Dancers
All incoming students must be cleared to dance by the RSH Sports Medicine Physician. All incoming students will
have a pre-screening evaluation, which is a series of tests designed to assess the overall well-being and functional
capacity of dancers. The data collected will be used to provide a physical, medical, nutritional, and/or psychological
profile for each dancer. Common components of a screen include orthopedic assessments that examine a dancer’s
overall structure, strength, flexibility and laxity. Also commonly included are various functional components such as
dance technique or related movement-based assessments intended to help identify areas where a dancer may benefit
from refinement exercises or changes in motor patterning that can be done during or outside of the technique class.
Tests that examine balance and general cardiovascular fitness are also conducted, given that these are part of most
training and performance demands. The results of a screening can help instructors and other dance professionals
enable dancers to realize their full potential, and may also “help detect potentially life-threatening or disabling
medical or musculoskeletal conditions that may limit a dancer’s safe participation and help to detect medical or
musculoskeletal conditions that may predispose dancers to injury and/or illness during their season.” Citation: #7
Dance/USA’s Taskforce on Dancer Health. http://www.danceusa.org/preventionandstandardization.
Appointments with RSH Sports Medicine Physician
The Sports Medicine Physician has reserved weekly block times for Mason Gross School of the Arts students.
Appointments MUST be made before 3pm the day before or appointment will be scheduled for the following day.
See more details in Appendix [Special Appointments for Mason Gross Students with the RSH sports
medicine physician At The Hurtado Health Center].
RSH Sports Medicine Physician Absence
In the absence of RSH Sports Medicine Physician, medical determination would be handled by the Executive
Director of Health Services and or his/her supervisor.
Appointments with RSH Licensed Athletic Trainer
The Licensed Athletic Trainer will provide therapy/rehabilitation to dance students on an appointment ONLY
basis. Appointments MUST be made before 3pm the day before or appointment will be scheduled for the following
day. To schedule an appointment, dance students must message the Licensed Athletic Trainer through the Student
Health Portal (https://nbstudenthealthportal.rutgers.edu/).
Secure messages are more secure than email, so your confidentiality is protected! DO NOT send any
medical information to the Licensed Athletic Trainer or the Sports Medicine Physician via standard
email or text message.
Outside Provider Care
Students may choose care from an outside provider other than from the sports medicine physician at Rutgers
31
Student Health. In the case that the care of an outside provider is sought, students are required to make clear to the
outside provider the level of activity that is expected in the BFA dance program.
Students are required to obtain detailed modification notes from the outside physician; in the case that additional
information is needed, students may be asked to gather said information from the physician providing care. In the
event the information regarding injury management remains unclear, the student may be instructed to follow up
with a sports medicine physician. Students must fill out the Outside Physician Medical Report before returning to
dance class; students are required to present the completed form to their dance instructors and to the department’s
licensed athletic trainer.
If the student is seeking an outside provider for an injury, the appointment with the outside provider must be
scheduled within 5 days of the injury. Documentation, in the form of a script from the outside provider noting the
day and time of the appointment, must be provided to the licensed athletic trainer via the secure Rutgers Student
Health Portal. If a head injury is sustained, the student has the option of seeking an outside provider, but the
student must also be evaluated by the RSH sports medicine physician for final clearance to return to dance.
If the student has followed the above procedure and provided the necessary documentation, the
appointment with the outside provider will be an excused absence. Absences accrued due to lack of
advance notification to the instructor(s) or lack of documentation are the student’s responsibility.
In order to return to full participation to dance performances and rehearsals, students working with outside
providers MUST fax all medical documentation to 732-932-8255, physical therapy notes, office visit notes, etc. to
the Rutgers Health Services. The outside provider must provide final clearance to the dance department.
Required Training in ConcussionWise Program
Every year, faculty, staff, and dance BFA majors are required to complete the appropriate ConcussionWise
program. The ConcussionWise Program is designed to bring more awareness in recognizing the signs and
symptoms of concussions as well as appropriate treatments for themselves and others.
Suggested Items For One’s Personal First-Aid Kit
• Band-Aids
• Antiseptic spray/wipes
• Neosporin or antibiotic cream
• Tenso-plast http://www.compressionstore.com
• Scissors
• Aspirin and/or pain relievers
• Ace Bandage or 2” Self-Grip Tape (Dome Industries, 800-432-4352)
• NU-Skin
• Toenail clippers
• Tigerbalm/Icy Hot Cream
• Theraband
• Arnica tablets or cream
• Instant Ice Packs
Ice or ice packs can be stored in the freezer in the student lounge. Students are expected to provide their own
source of ice for chronic injuries. It is essential to minimize swelling at the injury site until the swelling subsides (at
least 72 hours following the injury). Four techniques (RICE) are commonly accepted for reducing the swelling that
accompanies an injury.
32
• Rest and immobilization of injured area
• Icing or application of cold
• Compression on the injured area
• Elevation of the injured area
The application of ice should include some form of insulation so that the ice is not placed directly on body tissue.
Periods of cold application should not exceed 20 minutes at a time.
Performance Policies, Requirements & Opportunities
All BFA and BA majors are to perform in departmentally sponsored programs as a graduation requirement. This
includes formal and informal performances such as dance assembly, student showings, faculty concerts, and guest
artist concerts.
• There are numerous opportunities to perform and work backstage on student and faculty concerts, and with
University DanceWorks, the repertory dance company that is open to BFA juniors and seniors with
audition. All BFA juniors and seniors who audition for University DanceWorks will be given a performing
role. BFA majors are expected to make themselves available to student and faculty choreographers, and
create their own dances. BA majors are encouraged to make themselves available as performers for BFA as
well as BA choreographers.
• Performing opportunities in DancePlus or other major department faculty productions are open to EdM,
BA, BFA and minor majors.
• BFA majors are not allowed to participate on the Rutgers Division of Intercollegiate Athletics Dance Team
due to time and training conflicts.
• No student who is on Artistic or Academic probation during the fall semester will be eligible for University
DanceWorks. Students on Artistic probation are also ineligible to audition for Modern Dance Repertory.
University Dance Works
▪ If a student can only be in one section of UDW due to class conflict, they must alert the assigned UDW
faculty of this prior to the audition date. Failure to do so could impact their participation in UDW. This
information will be collected on the sign up that is provided prior to the audition.
▪ Students must indicate if they would like to be considered as an understudy for UDW. This information will
be collected on the sign up that is provided prior to the audition.
▪ Understudies will be guaranteed at least 1-2 performances of the work if they are not utilized in the
DancePlus concert. Those performances may be at Pre-College Dance Day, on tour in the spring semester,
or via another opportunity as it arises.
▪ All understudies will be given the option to register for 1 credit in the Fall semester for their time and
commitment to the process.
Casting Policy for Department Productions & for Choreographic Projects Serving as
Coursework
1. Only officially declared dance majors and minors may be cast in dances created for department courses and
productions, with the exception of guest artists appearing in faculty choreography. Only with the approval
of the department chair may outside dancers be approved to perform in concerts and events produced by
the department. If a student is not registered for Ballet or Technique, the student is not permitted to
perform in student pieces. If a student has exceeded the allotment of allowed absences in dance courses by
mid-term, the student may not continue as a cast member in student works.
DancePlus – A student cannot be cast in more than two dances for any given production.
33
University DanceWorks – Company members may only be cast in one work to be performed in the fall
faculty, guest artist concert if the additional work is student choreography. Open only to junior and senior
BFA majors.
BFA Senior Concert & Student Dance Concert
➢ First and Second-Year BFA Students: May perform in a total of six student works over the year if one
(or more) work is a graduate work; the limit for participating in undergraduate works is five total for the
year; no more than three works for any one concert.
➢ Third and Fourth-Year BFA Students: May perform in a total of seven student works over the year if
one (or more) work is a graduate work; the limit for participating in undergraduate works is six total for
the year; no more than 4 in one concert.
o Third and Fourth-Year BFAs must abide by the 50 percent casting policy, meaning that no more
than 50 percent of your cast may be in your class.
▪ For example: In a junior piece of 10 dancers, only 5 of those dancers may be juniors.
➢ All BFA students will be allowed to be an understudy for one piece in the BFA Student Concert, and
one piece in the BFA Senior Concert. If a student has reached the maximum piece limit, they may not
be an understudy for a student piece.
➢ Exceptions for guest artists and faculty pieces may be made for injuries or artistic reasons.
Cast Size Limit
➢ BFA/BA/Minors/MFA student choreographers may cast up to 10 dancers per piece. This includes
casts for pieces for Choreography 2, 3, 4, and graduate pieces. If the student’s artistic vision requires a
larger cast, the student may present a proposal for department review and approval. Petitions are due to
the department chair by September 1.
Policy for Departmental & Outside Performances
The faculty members strongly believe that students’ primary commitment lies within the department. Students are
expected to audition for faculty and student work during the academic year and to have the opportunity to
participate in other creative experiences that arise at the university (such as Opera at Rutgers, etc.). Because of the
intensive nature of the curriculum, with its attendant physical and intellectual demands, time management and
educational balance are of paramount importance. Students are encouraged to focus on their coursework and avoid
outside commitments. It is understood that there are circumstances in which students need to other choices and in
such circumstances, students are encouraged to seek guidance from faculty to best balance their obligations.
Department Events
1. A student cast in a faculty or student work in the department must sign a performance agreement that
requires their attendance for all rehearsals, tech, dress, and performances. The student will receive a
copy of the performance agreement for his/her files.
2. Any exception to this performance agreement must be communicated to the choreographer, and if
necessary, the Production Director.
3. A student who is not in compliance will risk Artistic Probation. Repeated offenses will result in Artistic
Dismissal.
4. DO NOT TAKE COSTUMES HOME.
*These procedures provide for transparency and enables the department to deal fairly with helping students make
informed decisions.
34
Academic Conflicts
As soon as students receive the Dance Department Concert Production Schedule for the semester they MUST
notify their instructors in courses they are taking outside the Dance Department of any possible conflicts with
Dance Department Concert Technical/Dress Rehearsals and Performances. At the beginning of the semester,
students must provide their liberal arts and dance instructors a full list of dates of possible Dance concert-related
absences from their course so that they can advise Dance BFAs about how to best fulfill their course
requirements. Students are responsible for self-managing communications with their course instructors and in
fulfilling course obligations. The Dance Department will not be communicating with instructors on your behalf
about fulfilling their course requirements. Please note that any concert-related absences must remain within
the allowable absences for a given course.
Performance Agreement
Signed performance agreements are required from all dancers before rehearsals commence for all departmentally
sponsored work. This includes DancePlus, guest artist concerts, the BFA senior concert, the Student Dance
Concert, and the following courses: Repertory, Performance Skills, Dance Composition, and all BFA Choreography
courses. Sample performance agreements are available for choreographers in the dance office, as well as in the
Student Handbook. Students taking Repertory, Performance Skills, Dance Composition, and BFA Choreography
courses will receive performance agreements to use from their teacher. Members of University DanceWorks are
expected to sign a performance agreement provided by the faculty company director at the beginning of the year.
Your choreographer is your first point of contact if you have an emergency that prevents you from meeting your
obligations as a dancer. The choreographer and production advisor may remove a dancer from a piece and student
may be put on artistic probation for not meeting performance obligations.
Expectations For Students In Rehearsals
1. Dancers must be warmed up and ready to work at the start of rehearsal.
2. Rehearsals are stop-and-go procedures. There may be times of having to wait to work. Students are
responsible for keeping themselves warm and ready to work at any time. Staying focused on the work,
continuing to stretch and move, and wearing warm clothes will help students in the important task of having
to be ready.
3. Except during breaks, conversations on subjects other than the work are discouraged. The choreographer
needs to work in a serious atmosphere in which all can function without distraction.
4. Dancers are expected to work on their roles outside of rehearsals. This does not always have to mean full-
out dancing. It may mean work on the dramatic characteristics of one’s role, as well as simply thinking
through their part.
5. No rehearsals are allowed during concert runs, unless choreographers and dancers are not involved in the
productions.
Expectation For Students During Performances
1. Dancers are expected to perform unless seriously ill or injured. The expression "the show must go on"
applies in the professional dance world where dancers frequently must perform with minor ailments. When
possible, choreographers will double cast or use understudies as backup in case of an emergency.
Conversely, students who are not medically cleared to dance should not participate in rehearsals, tech and
dress rehearsals, and performances.
2. A student’s responsibility to their body as a dancer is great. They must take good care of all aspects of their
physical health, from making sure that they get enough rest, to eating well, to spending extra time doing the
35
personal exercises they need to do in order to dance at their best. Students should make sure they take
personal responsibility for attending warm-up before all rehearsals. All department scheduled warm-ups are
mandatory for choreographers and dancers.
3. Students are expected to be absolutely punctual for all calls. STUDENTS MISSING CALLS ARE
SUBJECT TO ARTISTIC PROBATION.
4. Students are expected to maintain quiet and focused backstage behavior.
5. A student’s duties are to prepare themselves to perform by warming up, spacing, rehearsing trouble spots,
and attending to their makeup and costumes.
6. To perform is to give of ourselves, to create an exciting event for the audience no matter how we feel. It is
the responsibility of each individual to be ready to perform and to be completely focused upon the
choreography to be danced.
7. Please remember to remove all jewelry and watches when dressed to perform. Please make sure feet are
clean.
8. It is considered unprofessional to appear in the theater or lobby in costume or in stage makeup before,
during or after the production.
9. Please advise family and friends that it is inappropriate to visit backstage before the completion of the entire
performance. Please also advise family and friends that it is inappropriate to leave the performance during
the program once you have performed.
10. All dancers are required to stay until the end of the performance, either in the green room or in the
audience for the entirety of the concert. Dancers who enter the audience for the second half of the
performance must stay until the end and not exit between dances. Performers must remove make-
up and wear appropriate clothing (no sweatpants or rehearsal clothes). Students must pick up a
performer pass from the concert director each night to give to the usher. They must enter through the
lobby. Students will be allowed to enter only on a space-available basis.
Student dancers are responsible for following Student Handbook procedures, which include proactively
informing instructors of courses in both dance and liberal arts of absences in advance for dress and tech
rehearsals and for performances. Neither faculty nor staff will write to instructors on behalf of students.
Sign-in Process for Attending Required Departmental Concerts
BFAs are required to attend all departmental concerts. Students must arrive on time and sign in with dance
department staff/student worker before entering the theater. Signing in is the only acceptable proof of
attendance. Students who forget to sign in or arrive after the sign-in period has closed will not receive attendance
credit. Sign-in with staff/student worker is only for students attending as an audience member--it is not for
students who are performing or doing production work. Those students must attend a performance where they are
not performing or doing production work. For example, if you are crewing or performing in program 1 of a concert, you
must attend and sign in for program 2 and vice versa.
Failure to attend a required concert results in one strike towards artistic probation.
BFA Majors in their Last Year of Study: Seniors may have two additional absences (in addition to 3 allowable strikes
per semester for missing mandatory events) from dance department sponsored mandatory evening/special events,
lectures, or masterclasses for the year due to outside professional obligations. Students must provide 2 weeks’
36
advance notice to the dance department if the student will be absent from an event due to a professional obligation.
The two additional absences may be used as 1x in the fall and 1x in the spring or 2x in the fall or 2x in the spring.
Students are responsible for keeping track of their strikes each semester.
Sound And Costuming For Student Choreographers
1. Sound availability for student use: Nicholas has one sound cart; Corwin Lab has sound playback; Loree
(students must have a key) has a sound cart. Student choreographers may need to supply their own sound
box for rehearsals. The department’s music coordinator will help students find music/sound
accompaniment and help with sound recording. Do not wait until the last minute to seek help!
2. Costuming is the responsibility of the choreographer for student productions. There is a costume collection
in the Loree Studio that is under the jurisdiction of the faculty member teaching Dance Production, and
items may be borrowed for student concerts if it is understood that they must be cleaned and returned. The
BFA Senior Concert will receive some funding and costume consulting help from the department.
Student Productions
Publicity and All Printed Materials
All printed and publicity materials for all department productions MUST be approved by the Dean’s Office
AFTER they have been approved by the dance faculty advisor for the event, BEFORE they can be released to the
public in any format.
Student Bios On Programs
Student bios may not be longer than fifty words and MUST be approved by the faculty advisor/director for the
event before they are printed in the program. Senior Concert Choreography bios are a maximum of seventy-five
words.
Student Concert Choreographer Responsibilities
All student choreographers who are accepted into the showing are responsible for tasks in relation to the showing.
Students are required to attend all choreographers’ meetings prior to the performance. Student choreographers are
responsible for:
• Making sure their dancers attend tech and dress rehearsals and/or have informed them of any
absences
• Informing their faculty members and the stage manager for their concert of any missing dancers
Student choreographers who do not fulfill these professional communicative responsibilities risk having their work
removed from the concert.
Evening Commitments
As dance majors, students are required to maintain an active performance schedule. When not performing, one is
often called upon to fulfill technical production duties for concerts. Students MUST be available for rehearsals,
production obligations, and performances during evenings. Students are advised to avoid registering for evening
liberal arts classes; in such cases when this cannot be avoided, students are advised to inform instructors in advance
of absences so as not to jeopardize their academic coursework. STUDENTS ARE ADVISED NOT TO COMMIT
TO OUTSIDE WORK AND/OR EXTRACURRICULAR ACTIVITIES THAT WILL COMPROMISE THEIR
ABILITY TO MEET COURSEWORK DEMANDS, REHEARSAL AND PERFORMANCE SCHEDULES IN
THE DANCE PROGRAM.
37
Policy For Nudity And Smoking
All issues of nudity or smoking in rehearsals and performances (including special effects) must be approved by the
instructor in collaboration with the chair in order to make sure the conditions comply with departmental policies.
Nudity during performance may be permitted if it is essential to the conception of the dance, but it may not be
gratuitous. Dancers cannot be required to perform in the nude. The chair/artistic director is the final arbiter of taste
and adherence to the departmental policy. If nudity is to occur, the Department will post a sign in the theater lobby
and box office window so that patrons with sensitivity to nudity may be apprised.
Smoking (cigarettes, pipes, cigars, “pot”) during a performance is not permitted. If a choreographer feels that it is
essential to the action and logic of the work, he/she may request permission from the chair/artistic director. If
smoking is to occur, the Department will post a sign in the theater lobby and box office so that patrons with
sensitivity to smoking may be apprised.
Reservation of Space
Due to COVID 19, students may not access any studio spaces and theaters without prior approval from the Mason
Gross Facilities Manager.
Reservation of dance studios for student works must be scheduled and approved by the dance department
administrative assistant. Priority is given to seniors in Choreography 3, followed by juniors in Chorography 2. All
other BFAs and BA/Minors have the opportunity to reserve a space based on studio availability. Studio space is
unavailable after 10pm for reservations.
Academic Information
Academic Advising
All dance majors ARE REQUIRED to see or communicate with the department’s undergraduate coordinator each
semester for academic advisement prior to registration for the next term. By doing so the student will receive up-to-
date information concerning graduation requirements, course pre-requisites and restrictions, potential course
conflicts, and long-term planning regarding courses offered in alternate semesters or alternate years. Failure to
consult each term with the undergraduate coordinator may result in the student’s inability to complete all graduation
requirements on time and thereby delay graduation.
Rutgers Degree Navigator should only be used as a guide to help you determine the degree requirements that you
have completed. Please see or communicate with the undergraduate coordinator to attain accurate information
about your degree progress.
Special Permission Numbers and Pre-requisite Overrides
Students must consult with the undergraduate coordinator when requesting a special permission number as the
undergraduate coordinator retains the special permission numbers for undergraduate courses and distributes these
numbers within the guidelines of the department. Students have access to courses based on department guidelines.
Pre-requisite overrides must be consulted with the undergraduate coordinator, as the undergraduate coordinator
must contact the registrar directly.
If a special permission number is requested and denied, students may petition to the department chair to explain the
extenuating circumstances of their request for a special permission number. Petitions must be received by July 1 for
the Fall Semester and October 1 for the Spring Semester. Students with double major course conflicts may receive
special considerations.
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Sequencing of Courses
The schedule of departmental course offerings is constructed so those students following the regular pattern of
course sequencing will be able to graduate on time. The prescribed pattern is based upon a four-year program for
BFA majors and a three-year program for BA majors. If one is a transfer student intending to complete the BFA in
less than four years, a BA major intending to complete the major in less than three years, or have not taken courses
in the prescribed sequence for any reason, the Dance Department cannot guarantee that they will be able to
complete all course work on time.
Students are expected to take their required BFA courses in the order of the curricular schedule to maintain the
progression of the pedagogical content from one course to another. Special circumstances have necessitated that
some students take required BFA courses out of sequence - these special circumstances include: transferring into
the BFA program, studying abroad, taking a leave of absence, and/or scheduling conflicts as an EdM-tracking
student. BFA and EdM-tracking students may not exceed the Mason Gross School of the Arts course credit
maximum of 24 credits per semester.
Failure to Follow the Curriculum
Students who fail to follow their major curriculum and do not register for any Mason Gross courses for one
semester may risk artistic dismissal from their degree program and the Mason Gross School.
If not dismissed, students who have failed to participate in the artistic portion of their curriculum for two
consecutive semesters (for any reason) may be subject to completing an additional talent evaluation through their
department's faculty in order to gain permission to continue with their degree program (in addition to any other
requirements set by the department).
http://catalogs.rutgers.edu/generated/nb-ug_current/pg988.html
Grades Availability at Rutgers University
Rutgers University allows only the following grades to appear on rosters:
A, B+, B, C+, C, D, and F. There is no A+ or A- grade.
Temporary (T) Grades
Rutgers does not have the "incomplete" grade designation available. Instead, faculty members are asked to assign a
"T" or temporary grade at the end of the term if a student has not completed all work for a course. It represents
the grade the student will receive if work is not completed. Grades cannot be lowered from the temporary grade,
but can be raised once the work has been completed. For example, "TC" will automatically revert to a "C" if the
work is not completed. It can be raised to "C+", "B", "B+", or "A" but cannot be lowered below a "C" if the made-
up work is of poor quality. TF allows faculty the widest range in assessing and grading work.
Students have one semester in which to make up work and receive a final grade. If the deadline is not met, the
temporary grade becomes the permanent grade. Following this logic, there is no such thing as a temporary "A.” The
registrar will automatically make it a permanent grade.
Student Complaints about Grades
Students wishing to file a complaint about a course grade, or a grade received for a particular piece of work in a
course, should first attempt to resolve the matter through discussion with the instructor. If the issue cannot be
satisfactorily resolved between student and instructor, the student may specify in writing the basis for the complaint
and request a review by the departmental chair. A written complaint about a grade for work completed while the
39
course is in progress must be submitted to the departmental chair no later than two weeks after notification of the
grade. A student must submit a written complaint about a final course grade to the departmental chair no later than
four weeks after the end of the exam period for that semester.
A student who wishes to appeal the decision of the department should appeal in writing to the office of the dean of
the faculty offering the course. Written notification of the action taken by either the chair or by the dean will be sent
to the student within four weeks of the filing of the appeal, excluding those weeks in which classes are not in regular
session.
Student assertions or complaints that a grade or other academic decision was the result of discrimination,
harassment, or retaliation are not reviewed as part of a school's grade grievance process, even if asserted at a later
stage during a pending grade appeal. The Office of Employment Equity (OEE) is responsible for enforcing the
university's policies prohibiting discrimination, harassment, and retaliation (including Policies 60.1.12 and 60.1.28),
which extend to adverse academic decisions, such as the issuance of a negative grade in an assignment or course. If
the assertion is made after the grade appeal process has begun, action on the grade appeal will be suspended until
the OEE completes its investigation concerning the discrimination allegation. Student complaints that the
assignment of the grade was, in part or in full, attributable to discrimination, should write directly to the Office of
Employment Equity.
Additional information on the policies and procedures enforced by the Office of Employment Equity is available
at http://uhr.rutgers.edu/uhr-units-offices/office-employment-equity.
http://catalogs.rutgers.edu/generated/nb-ug_current/pg1429.html
Courses That May Be Repeated For Credit
Ballet: Dance majors without sufficient skill in ballet to progress to the next level may repeat Ballet 4 one
time only for credit. Ballet 6 may be repeated an unlimited number of times. Ballet 4, 5, and 6 are open only
to BFA majors.
Jazz Dance – for BFA majors and BA majors who have completed 07:203:226 (Modern Dance 4).
Pilates Mat, Yoga for Dancers, Pointe, Men’s Ballet, UDW, and Modern Dance Repertory.
Dance Courses Open to Fifth Year BFA Majors
BFA majors who take a fifth year of study in order to complete a second major may obtain permission from the
department to repeat Technique 7 and 8 for credit. Ballet 6 may be repeated in the fifth year. As the purpose of
the fifth year is to complete academic work for the second major, these students may not take any other courses
offered by the department and permission will not be granted to take any other departmental course.
*The department is unable to accept auditors in its courses.
Dance Assembly
Dance Assembly is required of all BFA dance majors during each semester of enrollment. It is the department’s
forum for providing workshops, presentations, guest artists, and showings from classes. Refer to postings on the
dance bulletin board for dates and times of assembly because they may vary. Students who enter dance assembly
once roll has been completed and the assembly has begun will be counted as absent. Students are expected to
arrive on time for Dance Assembly.
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1. Registration policy
o Full-time students who have not completed all dance major requirements must take dance assembly.
There are no excused absences. Students will not graduate unless they have completed this
requirement.
o Full-time students who have completed all dance major requirements are not required to take Dance
Assembly, but may if they chose to do so.
o Part-time students are not required to register for Dance Assembly.
2. Grading And Attendance Policy
• The grade for Dance Assembly is based on attendance at assemblies. There are NO excused
latenesses or absences. Leaving during the assembly will not be permitted unless for an emergency.
If a student attends all the required assemblies, they will receive an “S”, indicating satisfactory
completion of the requirement. If they miss any of the required assemblies, they will receive a “U”,
reflecting unsatisfactory work.
• Any student who is absent from assembly will be given the option of changing the unsatisfactory
grade to a satisfactory grade by writing a six-page paper relating to the subject of the assembly class
that was missed. Make-up papers must be completed before the conclusion of the semester.
• All unsatisfactory grades must be changed to satisfactory grades on one’s transcript or they
will not graduate. Credits received for Dance Assembly are “N” credits and do not count as part
of the total number of credits required for graduation.
Students may petition to be excused from Dance Assembly for one semester during their tenure in the
department if they have an academic requirement that conflicts and can be completed no other way. Petitions
must be received by July 1 for the Fall Semester and October 1 for the Spring Semester.
Academic Standing And Evaluation
The criteria for meeting graduation requirements include both the accumulation of credits as stipulated by the
university, and the student’s growth and progress in the program. Evaluations are based on the following: class
attendance, working up to capacity, artistic and technical growth, the successful and timely completion of
assignments, and professional attitude. Written evaluations are given twice a year at midterm in all major courses.
Copies of the evaluations are kept in each student’s file in the Dance Office. In addition, students in the BFA
program meet individually with the faculty at the end of their second and fourth terms in the program for
evaluations related to retention in the professional program. Faculty may require additional meetings with students
having difficulty in the program or at the university.
Artistic Probation and Artistic Dismissal
Artistic Review
At regular intervals, the work of each student is reviewed by the department to determine if the artistic achievement
and commitment to the professional program warrants retention in the program. Students in dance receive a
departmental review at the end of their second and fourth semesters.
Artistic Probation or Dismissal
Students placed on artistic probation are notified in writing by the chair of the department and the dean of students
and must satisfy departmental requirements to remain in the program. Students whose dismissal has been
41
recommended by the departmental Scholastic Standing Committee for artistic reasons (deficiency in artistic
production and/or quality of the work) may apply for transfer to the School of Arts and Sciences or any other
college at Rutgers whose admission requirements they meet. No guarantee of admission to another school can be
given to students who have received an artistic dismissal, but the dean’s office will assist students in completing the
necessary transfer forms. Artistic dismissal is subject to appeal to the dean of the school.
• A student may remain on artistic probation for more than one semester as a continued warning and
indicator of lack of progress or poor achievement;
• Written notification will be sent to all students placed on artistic probation from the undergraduate
coordinator and the dean of students explaining the reason for placement on artistic probation and the
conditions of redress;
• Artistic probation may lead to artistic dismissal;
• Any student in danger of artistic dismissal will be given one semester opportunity to redress deficiencies;
• If conditions for redress are not met, artistic dismissal may occur after the first but not later than the end of
the third semester of placement on artistic probation;
• Students on artistic probation are ineligible to participate in University DanceWorks and Modern Dance
Repertory.
• Students who are placed on artistic probation for their junior or senior year are ineligible to study abroad.
Dance Department Policy for Artistic Probation for BFA Dance Majors
BFA Dance Majors will be placed on artistic probation for any combination of three or more of the following
policy violations in one semester:
• Missing rehearsals, warm-ups and/or performances for choreography by faculty, guest artists and/or
students;
• Missing crew calls
• Unprofessional behavior including, but not limited to, being unresponsive to communications from faculty
and staff, unprofessional interactions with ANY Rutgers employees, for example, Box Office and Health
Services employees, and/or causing disruption in classes or rehearsals;
• Absence from departmentally sponsored events when attendance is required (e.g., departmental concerts,
guest artist masterclasses);
• Missed appointments with Rutgers Health Services and SOMA center staff;
• Failure to complete departmentally mandated trainings such as ConcussionWise and other trainings as
assigned;
• Absence from required Dance Assemblies without prior approval;
• Not adhering to injury modification/observe-only restrictions in classes, rehearsals and performances
BFA Dance Majors may also be placed on artistic probation for receiving a grade of C or less in a Dance
Department course required for completion of their degree.
Single, severe policy violations may also result in artistic probation.
Academic Review
At the end of each term, the school’s Scholastic Standing Committee, made up of elected faculty and the dean of
students, reviews the academic records of all students.
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Academic Probation
Any student, including first-term, first-year students, whose term average is lower than 1.8, is placed on academic
probation. Students are notified in writing of probationary status before the start of the next term. While on
probation, students must maintain full-time academic status and must complete successfully at least 12 credits per
term.
Academic Dismissal
There are no automatic dismissals for first-term, first-year students. Students ordinarily are dismissed when their
term average is 1.4 or less regardless of their cumulative grade-point average or preceding term average. Students
may also be dismissed if their term average falls below probationary level in any three terms or in any two
consecutive terms or if their cumulative grade-point average at any time is less than the following: first year, 1.6;
sophomore year, 1.8, junior year, 2.0; senior year, 2.0.
Appeal
Students placed on probationary status may appeal in writing to the dean of students within one week of the date of
the letter of probation. Grounds for appeal include technical error and/or changes in temporary grades. Letters of
appeal must state the reasons for appeal and must be written by the student, although advice from others may be
sought in formulating the appeal.
Students dismissed from the Mason Gross School of the Arts by the school’s Scholastic Standing Committee may
appeal by letter to the Office of the Dean within one week of notification of the decision. Grounds for appeal
include technical error, extenuating circumstances, and/or additional information not previously available to the
committee. The letter of appeal must state the reasons for the appeal and must be written by the student, although
students may seek advice from others while formulating the appeal.
The Scholastic Standing Committee may determine that the student has presented evidence not previously available
and sufficient to require the Scholastic Standing Committee to reconsider the case, or that insufficient evidence has
been presented to justify further consideration of the appeal. At the student’s and/or committee’s request, a student
may be present at the meeting of reconsideration, unaccompanied by adviser or attorney, to amplify his or her
appeal request.
The committee may reinstate the student, with or without conditions, or may deny the appeal. Some of the
conditions for reinstatement include a term average of 2.0 or better or no incomplete grades. The committee also
may define future courses to be completed. The committee notifies the student of its decision and any conditions
within one week of reconsideration. Action by the committee is final.
Declaration of A Second Major
Mason Gross School of the Arts students may declare and complete a major in a liberal arts field, along with their
B.F.A. or B.Mus. program. Students pursuing this option will still receive a B.F.A. or B.Mus. degree; their
transcripts will also indicate the completion of a second major in a liberal arts subject. This option does not provide
for the declaration of a second degree, nor does it permit Mason Gross students to complete the liberal arts version
of a Mason Gross major. This means that a Mason Gross student completing a B.F.A. or B.Mus. degree cannot
complete a second major in another Mason Gross concentration. The Mason Gross major field of study will remain
the priority toward graduation. In order to receive your diploma, the requirements for both the Mason Gross degree
and second major must be completed before graduation.
http://www.masongross.rutgers.edu/information/current-students/forms
43
Declaration Of Liberal Arts Minor
Mason Gross School of the Arts students may declare and complete a minor in a liberal arts field, along with their
B.F.A. or B.Mus. program. Students pursuing this option will still receive a B.F.A. or B.Mus. degree; their
transcripts will also indicate the completion of a minor in a liberal arts subject. This option does not provide for the
declaration of a second degree, nor does it permit Mason Gross students to complete the liberal arts version of a
Mason Gross minor. This means that a Mason Gross student completing a B.F.A. in visual arts can also complete a
liberal arts minor in Psychology, for example, but cannot complete a minor in dance, music, or theater arts. The
Mason Gross major field of study will remain the priority toward graduation. In order to receive your diploma, the
requirements for both the Mason Gross degree and minor must be completed before graduation.
http://www.masongross.rutgers.edu/information/current-students/forms
Professional Leave of Absence & Study Abroad
Professional Leave of Absence
Students may find that opportunities for professional work and engagements present themselves during
their course of study at Rutgers University, particularly in Mason Gross School of the Arts. Within the
Dance Department, we are committed to assisting students in finding the best pathways and trajectories into
the professional world of dance including assisting them in deciding between the merits and potentiality of
professional opportunities in conjunction with the requirements of their Dance major. Students requesting
leaves of absence for professional commitments need to be aware that their course of study may be
interrupted such that their return to the program will require additional time and financial expense in
completing the degree, including summer session, additional semesters and other obligations. That said,
proposals for professional leaves of absence should be presented to the chair for review. The chair, in
return, will discuss with the associate chair (and undergraduate and/or graduate directors, as is appropriate)
regarding the opportunity and how the leave will affect the student's progression through their university
program. When possible, students should contact the Chair at least a month before the first day of classes.
Students requesting a leave of absence once the semester is underway must contact the Office of Student
Accounting to learn if any tuition refund is possible. It is the responsibility of students to handle their
financial affairs regarding tuition and refunds.
Study Abroad Programs
The dance program at Mason Gross School of the Arts offers two study abroad opportunities for students.
Study abroad happens in the fall semester of the junior year of the BFA program. Students may have the
opportunity to stay for the spring semester as well, making the study abroad experience last the entire junior
year. Below are brief descriptions of the two programs and links to learn more. Study abroad must be
initiated through the Rutgers Study Abroad Office – please see the website to complete an application at
http://studyabroad.rutgers.edu. Students who are in good standing (not on artistic probation) within the
department are eligible to study abroad.
Dance Jerusalem
This unique program, initiated jointly by the Rothberg International School (RIS) and the Jerusalem
Academy of Music and Dance (JAMD), combines artistic training in dance skills and technique with
academic exposure to Israel’s challenging social, historical and cultural environment. Dance
Jerusalem offers university-level artistic and technical training in the disciplines of Classical Ballet,
Contemporary Dance (including Ohad Naharin’s Gaga), Choreography, Repertoire and
Improvisation. Within the framework of a comprehensive survey course, “Dance in Israel”, students
create, rehearse and perform works with outstanding Israeli composers and choreographers.
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For more information on the Dance Jerusalem program: https://global.rutgers.edu/program-
search/details/dance-jerusalem-israel
Trinity Laban Dance
Located in South East London and with strong connections to the thriving local arts community,
Laban is recognized as one of the world’s leading dance training institutions. As a student at Laban
one can expect to deepen their understanding of contemporary dance, while enhancing both their
technical ability and their creative skills. Students will be exposed to innovative courses and teaching
methods from one of the world’s largest teams of specialist contemporary dance artist teachers.
State-of-the-art facilities include a 300-seat theater, studio theater, and outdoor theater, 13 purpose-
built dance studios, and an extensive library and archive. Laban’s links with the professional dance
world, the local community, and other arts organizations will also serve to broaden and deepen one’s
experience here.
For more information on the Trinity Laban program: https://global.rutgers.edu/program-
search/details/trinity-laban-school-dance-england
Accademia dell’Arte
The Accademia dell’Arte program in Arezzo, Tuscany, Italy, is rooted in the European tradition of
modern dance, German Ausdruckstanz and German dance theatre. Mason Gross BFA dance majors
eligible for study abroad can expect a program that features classical ballet, modern and post-
modern performance techniques as well as somatic approaches with specific cultural movement
traditions such as Butoh or the traditional Italian Tarantismo. Study abroad students in
the Accademia's Dance Program will enjoy an enriching and challenging encounter with European
dance culture in a truly inspiring environment. Accademia dell’Arte aims to create an atmosphere
that encourages authentic and individual expression thereby cultivating artistic development and
personal growth.
For more information on the Accademia dell’Arte program: https://global.rutgers.edu/program-
search/details/accademia-dellarte
Guidelines for Re-Auditioning for the Mason Gross BFA in Dance Degree*
*Please note that any opportunity to re-audition is contingent on the dance department not having reached enrollment capacity.
• Current BA dance majors wishing to re-apply to the BFA must complete the school-to-school transfer
application and Mason Gross supplemental application by the posted deadlines and may audition on the official
posted audition date in December for spring admission or by the official posted audition dates in December,
January, or February for fall admission.
• BAs applying for a School-to-School Transfer to the BFA can only audition once in any given audition cycle.
• Students may only audition once per intended enrollment semester. For example, if a student auditions in
December for admission starting in the following fall semester, they may not audition again (January, February
or September) for the same fall semester.
• BFA dance majors who have not followed the BFA curriculum for two (2) or more consecutive semesters must
successfully re-audition before being allowed to resume BFA studies.
Graduation Ceremony
Students must complete ALL coursework for all declared majors and/or minors before they will be allowed to
participate in the Mason Gross School of the Arts Commencement ceremony.
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Students who are 6 credits or less from finishing the BFA or BA major may walk in graduation in May if they are
signed up for the necessary courses to finish their degree in the summer following graduation.
Ticket Policies/Cultural Opportunities
All dance majors are required to attend all dance department and guest artist productions on campus. Attendance
will be taken prior to each performance. All students are required to attend departmental guest artist productions on
campus and off-campus, when in collaboration with off-campus partners.
Please refer to the Mason Gross ticket policy in the appendix.
To become a dance artist, it is necessary to gain exposure to the wide range of choreography in the field, as well as
to become knowledgeable about other artistic disciplines. The student’s ability to deepen their understanding of the
arts will make an important difference in their careers. It is a great advantage that Rutgers University is located near
one of the world’s major centers of art: New York City. Students are strongly encouraged to broaden their exposure
to the arts by taking advantage of productions, museums, galleries and libraries located in New York and other
centers. The State Theater in New Brunswick, the McCarter Theater in Princeton, and the New Jersey Performing
Arts Center in Newark are convenient and important venues where students may see the world’s major dance
companies at reasonable ticket prices.
Tickets for departmentally sponsored productions are now included in student fees for BFA majors only. Each
BFA major in the program will receive one reduced price ticket to each department production as part of
their student fees. Below are the ticket policies for students in the dance department.
1. If a BFA major is performing in a concert, they can give their ticket to a family member or friend, or use it
to attend a performance night in which they are not performing.
a. Students are not required to sign in for concerts in which they are performing or working on
production crew.
2. If a BFA major wishes to purchase additional tickets it will be at the regular student ticket price through
the Ticket Office.
a. BFA students must reserve tickets through the Dance Assembly course online shell
b. BFA majors must reserve their ticket by the date specified on the Dance Assembly course shell or a
ticket is not guaranteed. Dates will be posted each semester.
c. Tickets must be purchased at least two weeks in advance in case of sold out events.
d. Tickets reserved online must be picked up at the Dance Department Front Office. Standard Mason
Gross ticket exchange policies apply. (see p. 39)
e. Please purchase tickets during regular Main Ticket Office daytime hours. Please note that if a show is
sold out, additional tickets may not be available for purchase.
3. All students must have a ticket if they are going to sit in the House
a. If students perform in the first half of the show and wish to sit in the House and watch the 2
nd
half of
the show, they must go through the House staff in order to be seated in audience during intermission.
4. All BFA, EdM, BA dance majors and dance minor students are allowed one student rush ticket per
performance for on-campus events in the Victoria J. Mastrobuono Theater. The student rush ticket policy
does not apply to events held in the Loree Dance Theater. BFA majors are allowed one student rush ticket
per performance in addition to the ticket which they have paid for through their course fees. The student
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rush policy does not apply to off-campus events, such as events at the State Theater and other off-campus
venues.
Student Rush Ticket Policy
Rush tickets are free tickets distributed directly prior to performances to Rutgers students per the event’s
sponsoring departmental policy. ID is required. Seating is at the discretion of the management. Not combinable, not
transferable, not exchangeable. Rush tickets are not available for all State Theatre events, Christmas in Carol and
Song, Rutgers in New York or Mason Gross Presents events.
*Other exclusions may apply. Call the Mason Gross Ticket Office at 848-932-7511 for more information.
Dance Events (excluding Mason Gross Presents, State Theatre events and Rutgers in NY)
The Dance Department will provide one rush ticket to all students with valid RU ID, 30 minutes prior to the
scheduled performance time. The policy provides only one ticket per person per ID, meaning; students may not
provide two IDs to procure two tickets. Seating is subject to availability; if the performance is sold out or is
showing signs of being sold out imminently, the Box Office reserves the right to revoke the distribution of
Student Rush at any time for any reason. The only way to assure a ticket is to buy one in advance. * Dancers and
running crew who are working during performance time are not eligible for rush tickets.
Music Events (excluding Christmas in Carol and Song, Mason Gross Presents and Rutgers in
NY) 1 ticket per performance for all Rutgers students with a valid RU ID.
*Available ½ hour prior to performances.
Theater Events (excluding Mason Gross Presents, George Street Playhouse and Rutgers in NY)
1 ticket per performance for declared theater MFAs, BFAs and BAs that appear on the departmental list
with a valid RU ID. (Available ½ hour prior to performances)
*Actors and running crew who are working during performance time are not eligible for Rush ticket.
Conditions
• Rutgers ID is required for pick up.
• Rush tickets are never guaranteed and are distributed on an as available basis. The Ticket Office reserves the
right to cease Rush ticket distribution in the case of a reasonably imminent sold out house.
• The Ticket Office will not process Rush tickets during daytime ticket office hours
• Rush tickets are not exchangeable. A Rush ticket for a specific performance must be used for that
performance.
• Rush tickets are not combinable. We cannot exceed the authorized amount of tickets per performance per
person.
• Rush tickets are not transferable. The person requesting the Rush ticket must be present at the time of the
transaction.
• Rush tickets are not available for State Theatre, George Street Playhouse events, Christmas in Carol and
Song, Rutgers in New York, or any other events not occurring at the MGPAC or Kirkpatrick Chapel. Other
exclusions may apply. Other exclusions may apply.
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Student Expectations of the Faculty
1. Classes
All faculty members meet all scheduled classes or find an adequate substitute. On occasion the demands of
professional engagements will cause a faculty member to be absent from campus. His or her classes will be
covered by other members of the dance department and/or by a professional substitute. While the faculty
share basic concepts about dance training, different teachers present the student with different styles of
dance techniques or even with different aesthetic philosophies. Students may be asked to work differently
on similar material. These variations in concerns reflect the broad landscape of modern dance that one will
encounter during their professional studies here and elsewhere. It would be incorrect to say the dance
training here is based upon any one recognized technique. Faculty members bring to the studio a
background of training in various techniques and aesthetic influences as well as their professional careers as
artists and educators. The extensive movement background and flexibility of thinking that Rutgers students
acquire is recognized by the dance world as graduates enter the profession.
2. Mentoring
• Full-time faculty members are responsible for mentoring students. Please ask faculty for their availability
during office hours or by appointment for any issues of concern.
• Part-time faculty are not required to keep formal office hours, but will meet with students by appointment
for issues of concern regarding the courses they teach.
• The undergraduate coordinator, the department chair, and the MFA and EdM. director are available to
address all student concerns by email, telephone, and in person.
• Confidential, professional, personal counseling is available for all students at Rutgers Counseling, ADAP
and Psychiatric Services (848-932-7884). http://health.rutgers.edu/
3. Representation At Faculty Meetings
Students elect two representatives from the BFA program; typically, one student is nominated to represent
the interests of first & second year students, and one student is nominated to represent the interests of third
and four year students. BA majors nominate one representative from the BA program to attend designated
faculty meetings. The EdM and MFA programs may also elect a representative to serve and attend
designated faculty meetings.
It is expected that the Mason Gross student government representative also attends faculty meetings if this
person is different from the elected BFA student reps.
The Mason Gross School of Arts Student Government Association
Participation in the MGSA Student Government Association is open to all Mason Gross students.
http://involvement.rutgers.edu/student-government-and-funding/mason-gross-student-government-association/
Rutgers NDEO Student Organizations and NHSDA
The Graduate and Undergraduate National Dance Education Organization (NDEO) Student Organizations at
Rutgers University provide students interested in dance and dance education the opportunity to dialogue about and
advocate around issues pertinent to the field of dance and dance education. These organizations and its members
develop a unified community through advocacy, community outreach, career development and networking events,
student mentorship programs, and other enrichment activities. The NDEO Student Organizations advocates for high
quality dance education for all students and learners in New Jersey.
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The National Honor Society for Dance Arts™ (NHSDA) is a program of the National Dance Education
Organization, created to recognize outstanding artistic merit, leadership, and academic achievement in students
studying dance in public and private schools in K-12 education, dance studios, cultural/community centers,
performing arts organizations, and post-secondary education. For additional information on NHSDA, visit:
http://www.nhsda.clubexpress.com
Corwin Lodge
Due to COVID 19, students may not access any studio spaces and theaters without prior approval from the Mason
Gross Facilities Manager.
Corwin Lodge is a dance department building located at the top of Douglass Campus at 160 Nichols Ave. The
building has two studios with a baby grand piano and a complete sound and video system available for classes and
rehearsals. Access is through a swipe card system that works with a student's ID card. All department students may
use the space. Key card access is arranged through the department’s technical director at the beginning of each
semester. A student’s access will be valid while they are a student in the program as long as they have their original
ID. If students must get a new ID for any reason, they will have to arrange access to the space again.
The Corwin Lodge is not a dance department space exclusively. However, we are responsible for it and must take
care of it. All student belongings should be cleared from the space after every use. No students from outside the
department should be brought to the space. NO EXCEPTIONS. The studio space must be signed out with the
appropriate staff person. The space cannot be signed out during the day hours (class times).
Soma Center Policies and Procedures
Due to COVID 19, students may not access the Soma Center without prior approval from the Mason Gross
Facilities Manager.
Mission
The Soma Center offers BFA, MFA, EdM, and BA dance majors enrolled in the Dance Department at Mason
Gross School of the Arts opportunities to augment and enhance their technical and artistic growth through
progressive attention to principles of movement integration, body-mind awareness, and neuromuscular education in
a variety of movement contexts. Somatic work in the Soma Center includes private and group training, mat
exercises, use of props and training on motion-specific equipment. The Soma Center specifically offers Pilates
training under the supervision of certified trainers. The Soma Center is also used as a learning center by Dance
faculty for Kinesiology, Anatomy, Yoga, Laban Movement Analysis and Bartenieff Fundamentals.
Eligibility
Training in Pilates apparatus for students is sponsored by funds from the Dance Department. BFA majors have
priority in the use of the Soma Center for training, followed by MFA, EdM, BA majors and minors. Use of the
Pilates apparatus requires training and supervision by the Soma Center Pilates Trainer, who is certified by the Pilates
Method Alliance.
Policies – Equipment Use
1. Cardio equipment (Elliptical and Spin Bike): Following an in-service session regarding set-up, safety and
sanitation, students may use the cardio equipment on a first-come, first-served basis from 8:00am to 5:00pm
when private or group trainings are not in session. Following an in-service session regarding set-up, safety
and sanitation, full and part-time faculty and staff may use the cardio equipment on a first-come, first served
basis when not in use by students.
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2. Pilates apparatus: Students must complete initial training on Pilates apparatus with the Pilates Trainer. On a
case-by-case basis, students may be allowed to work independently with apparatus with the trainer’s
authorization.
3. Props (balls, Bosu, weights): All props must stay in the Soma Center. They are not for use in the studios.
4. Smartboard: The Smartboard is for faculty and staff use only.
Procedures
1. Appointments and Cancellations
Students are expected to be responsible in scheduling, changing and canceling their appointments via
communication directly with their instructor. There are only a limited number of slots so it is imperative that
a student cancels and allows another student to sign-up for that session. Private sessions must be cancelled
at least 24 hours in advance. If a student is scheduled for a quartet session, 48 hours notice of cancellation is
required. Students are responsible for contacting their instructor to cancel. If a student fails to show up for
an appointment without cancelling 24 or 48 hours in advance, respectively, the failure to attend will count as
one of the three allowed strikes toward artistic probation.
Use of Copy Machine
The dance department pays a pre-copy fee on every copy made on the copy machines as part of the
lease. As a result, students are not allowed to use the machines. They must, instead, make copies at the
library and student center.
Use of Phone & Fax Lines
1. Students are not permitted to submit any papers via the department fax machine.
2. The use of telephone and FAX lines for personal reasons is prohibited.
Nutrition for Dancers
It is especially important for dancers to do as much as they can on their own to maintain their energy and health.
Following a sound and nutritious diet is essential. This is a challenge when eating cafeteria food. If students find
that their cafeteria is not providing enough fresh fruits, vegetables, whole grains and low-fat proteins, speak up.
Student demands can effect change. Dancers will often be in the Nicholas Music Center for long hours each day
and into the night with rehearsals. There is a microwave and refrigerator outside of the men’s dressing room, which
is for student use. Planning one’s meals will help them stay nourished and reduce trips out to get food, which can be
particularly hard on dancers’ bodies when the weather turns cold. Students with questions about nutrition are
encouraged to meet with Hollie Palmisano, licensed Athletic Trainer for Dance.
Student Support Services
If you are in need of
mental health
services, please use our readily available services. Rutgers Counseling and
Psychological Services (CAPS) – New Brunswick http://rhscaps.rutgers.edu/
If you need temporary guidance, there is “Lets Talk” – which is a CAPS service offering drop-in hours/virtual
appointments at a number of locations across campus. No appointment is
necessary. http://health.rutgers.edu/medical-counselingservices/ counseling/therapy/community-based-counseling
If you are in need of
physical health
services due to illness, please reach out to Rutgers Health Services – New
Brunswick or Hollie Palmisano via the Student Health Portal: http://health.rutgers.edu/
50
If you do not have enough food
, there is a Food Pantry on College Ave campus that is exclusively for Rutgers
Students. http://ruoffcampus.rutgers.edu/food/
If you need accommodation for a disability
, obtain a Letter of Accommodation from the Office of Disability
Services that provides student-centered and inclusive services https://ods.rutgers.edu
If you are a
military
veteran or are on active military duty
, you can obtain support through the Office of
Veteran and Military Programs and Services. http://veterans.rutgers.edu/
If you are in
need of
legal
services, please use our readily available services: http://rusls.rutgers.edu/
If you are in need of additional academic assistance
, please use our readily available services. Rutgers
University-New Brunswick Learning Center: https://rlc.rutgers.edu/.
If you or somebody you know has been victimized by a
crime, interpersonal violence
(e.g., stalking, sexual
assault), support is available at the Rutgers Office for Violence Prevention and Victim
assistance. http://vpva.rutgers.edu
Do Something to Help – Share A Concern
If this is an emergency, call 9-1-1 immediately! From a University phone, obtain an outside line and dial 9-
1-1. Rutgers is a community that cares. We DO SOMETHING when we are concerned about one of our
community members. When you click on one of the areas below you will find a form or additional contact
information where you can share your concern.
Click here to share a concern regarding any of the following:
1. A student who may be using dangerous drugs (heroin, prescription drugs)
2. A student representing a threat to themselves or others
3. A student’s emotional state and well-being
4. Disruptive or aggressive behaviors in a classroom or on campus
Click here to share a concern regarding a bias incident
Click here to share a concern regarding sexual assault or misconduct
Click here to share a concern regarding a violation of the Code of Student Conduct
The Dance Department Is Accredited By
NATIONAL ASSOCIATION OF SCHOOLS OF DANCE
11250 Roger Bacon Drive, Suite 21
Reston, Virginia 22090
Telephone: 703-437-0700
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APPENDIX
…continued next page
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Step 4: In the pop up box select ACADEMIC > Mason Gross Dance and click ADD
Step 5: The widget has been added! Click the links to access TeamUp, the Weekly Newsletter, the
RU Health Portal and more!
54
Rutgers University
Mason Gross School of the Arts – Department of Dance
SAMPLE STUDENT WORKS PERFORMANCE AGREEMENT
FIRST & SECOND YEAR BFA
The following shall serve as an Agreement between _____________________ (henceforth known as student) and
the Dance Department at Mason Gross School of the Arts, for performing in the department production(s) listed
below.
• The work reflected on this document is being done in partial fulfillment of the requirements to obtain a
degree from the Dance Department at Mason Gross School of the Arts.
• Performance commitments are not prioritized over other academic obligations. The attached
rehearsal/performance schedule shall be considered part of this agreement. By signing the attached
rehearsal/performance schedule the student acknowledges their obligations and will take action accordingly
to fulfill their responsibilities.
• Student performers are responsible for following Student Handbook procedures, which include proactively
informing instructors of courses in both dance and liberal arts of absences in advance. Neither faculty nor
staff will write to instructors on behalf of students.
• Exceptions to obligations will only be considered if submitted in writing two weeks in advance to their
choreographer(s) and production advisor(s).
• Choreographer(s) and production advisor(s) have the right to remove dancers from works based upon
consultation with the department chair/artistic director
Rehearsal Parameters:
• The department and the choreographer reserve the right to adjust this schedule.
• The student’s commitment to this production begins no later than the first rehearsal date called by the
choreographer.
• The student’s presence may be required for evening and weekend rehearsals throughout the production
process. Some concerts require rehearsal commitments during holidays, vacation periods, and/or religious
holidays.
Student duties as a performer include, but are not limited to, the following:
• Be prompt and appropriately dressed for tech and dress rehearsals and performances.
• Properly care for all costumes and props, as instructed.
• Be prompt for all scheduled costume fittings and must have measurements taken promptly when so
requested.
• Respect the physical property of the production and theater and abide by all rules and regulations of the
department.
• Any absences, lateness, or failure to come to rehearsal prepared will be reported to the chair of the
department and will affect your standing in the department, including the possibility of Artistic Probation or
Dismissal.
• In extenuating circumstances, any performer who is unable to attend a tech or dress rehearsal and/or
performance, must notify their choreographer(s) and production advisor(s) no less than two weeks in
advance or risk artistic probation.
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AGREED AND ACCEPTED:
_______________________________________ ____________________
Student Signature Date Signed
Tech/Dress Rehearsal & Performance Schedule
Student Work #1
Choreographer Name
Signature
Performers Name
Signature
Student Work #2
Choreographer Name
Signature
Performers Name
Signature
Student Work #3
Choreographer Name
Signature
Performers Name
Signature
Student Work #4
Choreographer Name
Signature
Performers Name
Signature
Student Work #5
Choreographer Name
Signature
Performers Name
Signature
Casting Policy for First and Second-Year BFA Students:
• Students may perform in a total of six student works over the year if one (or more) work is a graduate work;
the limit for participating in undergraduate works is five total for the year; no more than three works for any
one concert.
• All BFA students will be allowed to be an understudy for one piece in the BFA Student Concert, and one
piece in the BFA Senior Concert. If a student has reached the maximum piece limit, they may not be an
understudy for a student piece.
If you will be performing in a MFA Work, please fill out Page 4 of this agreement
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Dance Department
Notification of Outside Performances
Please submit to Department chair for approval in advance of outside commitments.
Name of Student:
Name of Company/ Choreographer:
Location of Performances (City/State):
Dates/Times of Performances:
Rehearsal Schedule (Dates and Times):
Comments (Impact on your departmental concert commitments):
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Box Office Ticket Policies
Main Ticket Office daytime business hours are Monday – Friday 10 a.m. – 5:30 p.m. and Saturday noon – 5:30
p.m. Hours will vary when classes are not in session.
For performances, the Ticket Office in the theaters will open 1 hour prior to performance time for before event
sales only. We are unable to answer phones or check messages at this time.
Ticket Sales: 848-932-7511 Website: www.masongross.rutgers.edu
Purchasing Tickets
All sales are final. No refunds. Tickets and seating for any transaction are subject to availability.
Full payment must be presented at the time of transaction in order to process tickets. We cannot accept multiple
methods of payment for a single order or hold seats on reserve for later payment. Visa, MasterCard, Discover, cash,
or check only accepted for purchases. Have your credit card immediately available when calling to purchase tickets.
No children under the age of 5 are allowed at any Mason Gross School of the Arts performances. Any children
coming to a live event must have a ticket and be able to quietly sit and focus on the event so as not to disrupt the
performers or audience. Take care purchasing tickets for a child for presentations with adult content and language.
Seniors 62 years or older, Rutgers employees, students and alumni are eligible for discounted tickets to
selected events. Limit two (2) tickets per performance for seniors, Rutgers employees and alumni. Limit one (1)
ticket per production/event for students. ID is required for pick-up.
Unless otherwise requested by the patron, tickets ordered within one (1) week of the performance will be held for
pick up at the theater from one (1) hour prior to the scheduled performance time.
Sales fees: $7 per order phone order processing fee, $1 per ticket performance walk-up fee, $6 per subscription fee.
Exchange, Release or Lost Ticket(s)
Exchanges to another performance are available during regular daytime business hours only. Exchanges will only
be made for performances within the original department of purchase and ticket price. Only subscribers can
exchange past date tickets. A $3 per ticket exchange fee will apply for single ticket holders. There is no charge for
subscribers, complimentary, or voucher tickets.
Tickets can be released back to the Ticket Office for resale during daytime business hours prior to the performance
date. A refund will not be issued. All income directly benefits the students and programs within the departments.
Lost tickets can be reprinted at any time and will be held at the door for pick up from 1 hour prior to the
scheduled performance time. Tickets cannot be reprinted if purchased as part of class fee or groups.
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Etiquette
Please respect the personal space of the staff. Address any major concerns directly to the management. Recording
and electronic devices of any kind, food and beverages are strictly prohibited inside the theaters. The
management reserves the right to hold any of the above during performances. Smoking is permitted outside of the
buildings only. As a courtesy to your fellow audience members and to the performers, we ask that you refrain from
talking, texting, unwrapping lozenges or creating any other distractions during the performance.
Programming & Performance
ALL PROGRAMMING INFORMATION IS SUBJECT TO CHANGE. Check our website for the most up to
date performance information.
Latecomers will be seated at the discretion of management.
The Mason Gross Performing Arts Center reserves the right to refund purchase and refuse entry.
Cancellation information due to inclement weather will be available by 10:00 a.m. for 2:00 p.m. performances and
2:00 p.m. for 7:30 p.m. performances. Call the Ticket Office or check the Mason Gross social media feeds for
status. Refunds for events cancelled by Mason Gross will be provided upon request only prior to the end of the
fiscal year (June 30th each year). The refund will be in the amount of the ticket cost only. Ticketing fees will not be
refunded. Exchanges will be honored if possible.
Facility temperatures can be a challenge to maintain. It is recommended that patrons dress in layers.
Performance walk-up ticket sales start 1 hour prior to the scheduled performance time at the performance venue
except for Kirkpatrick Chapel which starts 30 minutes prior. There are no guarantees that tickets will be available at
this time. During that time, transactions for future or past events are prohibited. For events with student rush,
there is no guarantee that student rush tickets will be available.
The seating area of all the theaters will be closed directly at performance end. The lobby areas will close no later
than a half hour after the performance ends.
Accessibility Statement
Accessibility services are available but vary greatly between our venues. It is highly suggested that patrons call the
Ticket Office for more specific accessibility information and services for the event you wish to attend.
Assistive services such as audio description, sign language interpreting and select publications in alternative formats
such as Large Print, Braille, and CD format are available. Advance notice for all services is necessary.
In order for us to provide the best service for our patrons with disabilities, we respectfully request that tickets for
patrons with disabilities be purchased no later than 24 hours prior to the scheduled performance time. Please
inform the Ticket Office of disabilities at the time of purchase.
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Production Study
Due to Covid-19, the technical director will be sending remote production study opportunities to all students.
ALL BFA DANCE MAJORS ARE REQUIRED TO COMPLETE 60 HOURS (2 CREDITS) OF
PRODUCTION STUDY TO GRADUATE.
All production study credits for BFA students are registered for in the senior year of study at Rutgers. Credits can
be registered for earlier than the senior year ONLY if all hours have been completed.
Students may complete hours at any point during their time at Rutgers, although, it is recommended students do
not leave all production hours to be completed their junior and senior year. Students do not have to be registered
for Production Study credit at the time. Completed hours will be kept in a database and will be applied to credit
when applicable.
THERE ARE MULTIPLE WAYS TO COMPLETE PRODUCTION HOURS – PLEASE READ
BELOW:
Production Crews (35-45 hours)
All performances sponsored by the department are run by a student crew.
o Crew positions that are available to students are:
Lighting Operator
Sound & Projections Operator
Stage crew
Costume Crew
There are concerts that are only a one-day commitment, such as rentals of Loree and guest artist events.
Concerts such as DancePlus and the BFA Senior Concerts in the fall and spring are evening commitments
running one or more weeks.
Load-in and Strike (10-15 hours)
All of our performances take a lot of work to prepare for – lights need to be hung, floors laid, scenery built
and installed and students are a part of this process of learning what is needed for successful productions.
There are also frequently work calls scheduled to help with departmental activities other than performances.
This might involve set up for an event or organizational needs.
Signups for these activities will usually go up approximately one to three weeks ahead of time.
Soma Center Monitoring (By arrangement)
Monitor the safety of students and the cleanliness and proper use of the facilities.
Dance & Parkinson’s (6 hours/ training+2 sessions) Due to Covid-19, Dance & Parkinson’s will
not be an option for production study hours for the Fall 2020 semester.
The Mason Gross Dance Department partners with the New Jersey Parkinson’s Disease Information and
Referral Center at Robert Wood Johnson University Hospital to present a series of movement classes for
people with Parkinson’s disease.
The classes will take place Wednesdays at RWJ Fitness Center in New Brunswick and Saturdays at the
Mason Gross Performing Arts Center on the Douglass Campus. Instructors guide participants through a
series of gentle stretches, posture supports, and joint articulations, as well as balance, stability, and
locomotion activities that are meant to be both challenging and fun.
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SIGN UPS
At the beginning of each semester, during the first Dance Assembly and the Fall Freshman Crew Meeting,
Production Schedules and Crew Sign Up sheets will be available.
Students should take great care to avoid class and work schedule conflicts with concert tech, rehearsal and
performance dates when signing up for assignments. Additional crew assignments will be posted on the bulletin
board outside Studio 110 as well as emailed to each student.
Students will be contacted at the beginning of each semester to schedule a meeting with the Lighting
Designer/Production Manager to discuss the crew/production assignment and to sign a production agreement.
ATTENDANCE RESPONSIBILITIES
Please read the time requirements of the crew carefully. For most shows, students must be present AT ALL
TECHNICAL AND DRESS REHEARSALS AS WELL AS ALL PERFORMANCES. Students cannot
assume they can take an evening off for work.
Once assignments are posted, students are committed and responsible for fulfilling their duties as per the times
posted. Please make sure to check academic conflicts BEFORE signing up. Students should not sign up if they
cannot complete the hours. Once you have signed up, you cannot remove yourself from crew. You can only be
removed from a crew assignment by speaking to the technical director at least 24 hours before the crew call.
PENALTIES
Being on a crew is just like being a performer in the concert. Attendance and focus are critical and missing a call will
result in a penalty. Any conflicts must be discussed with the department’s technical director before signing up for
the position or risk being removed from the crew, plus the possibility of being placed on artistic probation. Missing
crew calls will result in the following:
For every missed crew call-- # of hours signed up for will be ADDED to the number of production
hours required.
o Example: If you are a BFA dance student signed up for 5 hours, and you missed your crew call, 5
hours will be ADDED to your production study requirement. You will be required to complete a
total of 65 hours of production study hours.
If you are late to a crew call-- # of minutes late will be ADDED to the number of production hours
required.
o Example: If you are a BFA dance student 30 minutes late to the crew call, .5 hours will BE ADDED
to your production study requirement. You will be required to complete a total of 60.5 hours of
production study hours.
WHAT TO WEAR?
All crew hours, whether for performances or preparation, will involve some amount of physical labor. Please dress
appropriately. Jeans or work pants are better than dance or sweat pants. No jewelry. Long-sleeve black shirts are
recommended. Sturdy and comfortable shoes with closed toes are necessary. No sandals or Ugg boots.
When working backstage for a performance, students are required to wear a black top, black pants, and dark shoes.
Our performance spaces can vary widely in temperature and students will be working hard, so layered clothing is
suggested.
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Appointments for Mason Gross Students with Sports Medicine Physician
APPOINTMENTS FOR MASON GROSS DANCE STUDENTS
with the Sports Medicine Physician
Here is how it works:
The following appointment times are reserved for Mason Gross dancers:
Mondays between 3 – 4:30pm
Wednesdays between 2 – 3pm
Fridays between 3:30 – 4:30pm
*Schedule is subject to change
If you want to schedule an appointment during these times, YOU MUST MESSAGE the
LICENSED ATHLETIC TRAINER before 3pm THROUGH THE STUDENT
HEALTH PORTAL
https://nbstudenthealthportal.rutgers.edu/
If these times do not work with your schedule and the licensed athletic trainer has NOT confirmed
an appointment,
Please call the Hurtado Health Center and
inform the receptionist that you are a MGSA dance student
when making an appointment.
Hurtado Health Center Address:
11 Bishop Place
New Brunswick, NJ 08901
Contact Information:
848-932-7402
