MFA Candidates Sample Forms
Checklist and Explanation of Forms: MFA_Graduate_Forms_Checklist__Explanation_of_Forms_.doc
Form 1, Establishment of MFA status with the College of Fine Arts: MFA_form1.pdf
Request for Supervisory Committee Form: request__supervisory_committee.pdf
Master’s Application for Admission to Candidacy Forms: application__candidacy.pdf
Report of the Final Examination for the Mater’s Degree Form: report_final_exam.pdf
Supervisory Committee Thesis Approval Form: supervis_thesis_approval.doc
Final Thesis Reading Form: final_reading_approval.doc
Thesis Contract (3 pages): thesis_contract.doc
Graduate Assistantship and Scholarship Forms: grad_assistantship_form.doc
If you have trouble opening these files please contact Stephen Koester at: .(JavaScript must be enabled to view this email address)
Senior Capstone Resources
Web Site and Press Kit Assignment: capstone_assign0910.doc
2008-2009 Performance and Events Calendar
FALL
Performing Dance Company’s Fall Concert
October 2, 3, 4, 9, 10, 11; 7:30 pm
Hayes Christensen Theater in the Marriott Center for Dance
The Fall PDC concert dives into the complexities of being human- both in solitude and within our desire to connect to others. The evening will be filled with complex and visceral works created by faculty members Abby Fiat and Eric Handman and guest choreographers Gabri Christa and Charlotte Boye-Christensen.
High School Workshop
November 1st
9:30 am - 3:30 pm
Identities in Transition: A Culmination of Graduate Choreography
November 20, 21, 22; 7:30 pm
Studio Theatre 240 at the Marriott Center for Dance
Hayes Christensen Theater in the Marriott Center for Dance
Join four professional dance artists as they return to academia to explore, question and challenge topics ranging from: notions of home and place, ideas of collapse in a post 9/11 society, views of masculine relationships, and the role that relationship plays in the creation of identity. click here for more information
Student Concert I: Realm of Conscious Thought
December 4, 5, 6; 7:30 pm
Experimental Theatre, Studio 240 in the Marriott Center for Dance
Always innovative, unique and eclectic, Student Concert features choreography created by some of the most gifted students in the department. Don’t miss the chance to be the first to see the work of these student artists.
SPRING
Performing Dance Company Spring Concert
February 19, 20, 21, 26, 27, 28; 7:30 pm
Hayes Christensen Theater in the Marriott Center for Dance
Discover the body, awaken the senses and shake the soul as our highly acclaimed Performing Dance Company presents riveting works created by Tandy Beal, Ellen Bromberg, Martha Graham, reconstructed by Kaye Richards, Satu Hummasti, Stephen Koester, Nicholas Leichter. Please join us for a post-performance discussion with the artists involved on Friday February 20th and 27th.
Senior Concert # 1: Exclamation Point?
March 11, 12, 14; 7:30 pm
Hayes Christensen Theater at the Marriott Center for Dance
Senior Concert # 2: Question Mark!
April 2, 3, 4; 7:30 pm
Hayes Christensen Theater at the Marriott Center for Dance
A showcase of eclectic ingenuity and skill. Don’t miss the chance to be the first to see the work of these emerging artists.
Alumni Week
March 9-13
College of Fine Arts 60th Anniversary Gala
March 13; 8:00 pm
Kingbury Hall
Join us for a Gala Performance featuring each of the College of Fine Arts departments at the University of Utah. Kingsbury Hall will be alive with music, dance, theatre, film, and visual art. The showcase piece of the evening will be the premiere of a commissioned work created for the celebration. Acclaimed composer Patrick Williams will create the score for the 25-minute work choreographed by Montréal based artist, Edgar Zendéjas. Students from the Departments of Ballet and Modern Dance, and the School of Music will perform the piece. Free parking at Rice Eccles Stadium lot. Free campus shuttle provided.
Student Concert II: Tumbleweed Migration
April 16, 17, 18 ; 7:30 pm
Experimental Theatre, Studio 240 in the Marriott Center for Dance
The College of Fine Arts
The Department of Modern Dance is elevated by its long and very successful partnership as part of the College of Fine Arts at the University of Utah along with Ballet, Music, Theatre, Art and Art History, and Film Studies.
http://www.finearts.utah.edu/
Returning Graduate Student Assistantship/Scholarship Application
Download Returning Graduate Student Assistantship Application: Returning_Grad_Scholar_App.pdf
Undergraduate Admission Form
Download Department of Modern Dance Application for Submissions Form: UndergradAppl.pdf
Graduate Admissions Forms
Department of Modern Dance Graduate Application form: Graduate_Application_Admiss.pdf
Download Suggested Format for Vita: gradapp_vita.pdf
Download Application for Graduate Assistantships : grad_scholarships_for_audition.pdf
Resources
All downloads are in .pdf form unless otherwise noted.
Leave of Absence Information and Form
LEAVE OF ABSENCE POLICIES
1. Any student who is anticipating leaving the Department of Modern Dance for a period of time must
complete a leave of absence form and submit this form to the Chair for faculty approval.
Download form: leave_form.pdf
2. Because the department curriculum is sequential in design, it is problematic for a student to leave the
program in the middle of the year. If this happens, the student would need to re-enter the program at
the same point in the curriculum sequence.
3. Any student on departmental probation at the time of his/her departure must re-audition for the
Modern Dance Program upon their return.
4. If a student has a University scholarship at the time of their departure, they would need to check with
Financial Aid regarding the status of that scholarship upon their return.
5. Department Scholarships will be discontinued if a student takes a leave of absence mid-year.
Department scholarships are not “held” for students upon they return.
Student Request Information and Instructions
DEPARTMENT OF MODERN DANCE STUDENT REQUEST INFORMATION & INSTRUCTIONS
The Student Request Committee (SRC) Is your way to address specific issues or needs you might encounter in relation to class attendance policies or curricular change requests you could have during your time as a major in the Modern Dance Program.
The Student Request Committee is committed to assisting students in the Department of Modern Dance who have legitimate requests for accommodations related to specific pre-planned or unexpected incidents, such as injuries or illnesses, that require them to be absent from or unable to participate in their Departmental classes. Additionally, certain curricular change requests might require Student Request form appeal. Filing a student request is done for any request made by a student that would require a deviation from existing Departmental policies found in the handbooks for undergraduates or graduates regarding attendance or curricular changes. Requests typically fall into four categories but there might be some that are unique and those would be considered as well.
1) A request to be excused from classes for an event that you know is coming up: These requests must be submitted well in advance of the event (at least a month). Retroactive requests will not be granted. Examples of credible events that might be excused are: performing, choreographing, or fulfilling other dance related opportunities outside of the Department requiring you to be absent from your classes. As a guideline, these requests are usually only for one or two days.
2) A request to be excused from classes for situations not pre-planned (including but not limited to an injury or severe illness that are not prolonged): These requests must be submitted in a timely fashion no later than 2 weeks past the incident and require an official doctor’s note detailing the injury or illness or other official verification of rationale for excuse (An example might be a death in the family or any other catastrophic personal event).
3) A request to change curricular requirements is typically handled by your class advisor but could also be reviewed by the SRC: If advised to do so by your class advisor, fill out the Student Request Form as fully as possible and submit to Professor Richards’ mailbox in MCD 106. Attached verification of transcripts and /or syllabi of former classes might be required. Ask your class advisor if you have questions about what is required for this type of request.
4) A request to adjust credit for technique class. Technique class is the only class for which you can request an adjustment of credit. This adjustment is made possible in special circumstances to allow you to receive credit for the portion of the class you were able to attend and to recoup your tuition investment for that class in any proportion possible. This type of request requires an official written note from your physician or other valid health care provider verifying your injury and the amount of time projected for recuperation. In certain instances advanced graduate students may request taking a technique class for reduced credit. This situation should be discussed with the graduate advisor prior to submitting a request for credit adjustment. Because technique classes are 3 credit courses, the “ballpark” equivalent for time related to credit is approximately 5 weeks per credit hour (there are 15-16 weeks in a semester). If your student request is approved and the “Credit Adjustment Form” is turned in on time to the Dean’s office and subsequently to the University Registrar on time, you should receive a proportionate tuition adjustment rebate that is determined by the University. In the event that you are unsure as to your recuperation time, you should confer with your technique teacher and can wait until two weeks before the end of the semester to submit your completed “Credit Adjustment Form.” Remember, the Credit Adjustment Form has to be fully filled out by you and signed by you and your teacher.
*Adjustment of Credit is a two-step process:
1) Student Request form - to be approved by the SRC. Download here: student_request_form.pdf
2) Credit Adjustment form – available in the MCD main office – to be filled out by the student and instructor and turned in to the MCD main office no later than two weeks before the end of classes.
CREDIT ADJUSTMENT PROCEDURE
All Credit Adjustment forms must be fully filled out and submitted to the Department office no later than 2 weeks before the end of the semester. This is the student’s responsibility. Check your dates! The Department will make no exceptions or accommodations to this policy.
Remember…not all categories of requests are “Credit Adjustment” related
IF your Student Request is a category 4 request, you must complete the following steps in order to activate any action regarding your request:
1) Acquire an official written note from you doctor detailing the general nature of your injury and what the time frame for your recovery is projected to be.
2) Photo copy the note as you might need the original for other classes outside the Department. If your doctor prefers, a note can be faxed to the Department at 801- 581-5442. Direct the note c/o Kaye Richards.
3) Attach the copy of the note to your own written account of the incident and your timeline and credit adjustment plan for proceeding in the program on a Student Request Form. (Download here: student_request_form.pdf) or available at the front desk in MCD 106.
4) Return your written request form and the attached copy of the Doctor’s note to Kaye Richards’ mailbox in the Main Office in MCD 106. Professor Richards is Chair of the Student Request Committee.
5) Simultaneously alert your technique teacher about your request and confirm with the teacher your submission of the request as specified above. This is a required step.
6) Allow at least one week for the committee to meet and make a decision on your request.
7) Go to MCD 106 – the Main Office- to check the Student Request return basket for your response from the committee. You must do this or you won’t know the outcome of your request. This is your responsibility and affects the subsequent steps to completing the process successfully.
IF your request has been approved for a reduction of credit, you must do the following:
1) Immediately ask either member of the front office staff for a CREDIT ADJUSTMENT FORM.
2) Fill the form out completely and have it signed by your technique teacher.
3) At this time, fully inform your technique teacher about your particular situation and the fact that your request has been approved and you are moving forward with the process for Credit Adjustment. You will also want to get verification from your instructor on the appropriate amount of credit you are able to adjust.
4) Return the Credit Adjustment form to the Main Office Staff in person and have them check it before you leave to make sure it is complete.
5) This entire procedure must all take place no later than two weeks before the end of the semester.
IF your Student Request is not approved you should make an appointment with both your technique teacher and your class advisor to discuss outcomes and alternative plans for completion of Departmental requirements.
Supplemental Credit Guidelines: Whatever the outcome of your Student Request, it is often the case that students take the opportunity to register for college credit for technique and other courses they take at credible professional summer workshops such as Ririe Woodbury, RDT, Bates, Ailey, ADF, etc…. Students subsequently use the college credits for which they register at these summer dance workshops to augment Departmental credits they have petitioned to adjust. To do this requires a Student Request Form application and submission of evidence of participation, and following all of the SRC procedures outlined above.
Please note that requests of the following nature are NOT legitimate reasons to file student requests:
I missed the bus or TRAX
My alarm clock did not go off
I was stuck in traffic
I couldn’t get a ride to campus
I had an upset stomach
My family is taking a vacation to Hawaii
I’m getting married
My legs are sore and I can’t dance
I don’t feel good
I am stressed and need a day off
These are only a few of the examples that should NOT be submitted as student requests but please consider your request in relation to this entire informational document and make the best choice you can based on the information you have been given.
Departmental policy for technique absences allows you to miss five technique classes per semester (including ballet and modern for levels 2-3-4). Freshman technique has its own absence policy because ballet is taught as a separate class through the Ballet Department. Freshman should refer to their syllabi for both of those classes to determine absence policies for those courses.
If you have further questions please see Kaye Richards or your class advisor for assistance.
University Admissions
General University of Utah Admission Requirements
Department of Modern Dance Video Library
Technique Standards: Level I-IV
TECHNIQUE STANDARDS: LEVELS I-IV
(.pdf download 124 KB technq_stndrds_06.pdf)
DANC 1310, 1410, 2310, 2320, 3310, 3320, 4310, 4320, 6310, 6311, 6320, 6321, 7320
Compiled by: Faculty members at fall retreat – October 30, 2006
Technique skills are built to facilitate choreography and performance. Choreography that is of an idiosyncratic nature to a high degree could demand additional specific conditioning or coaching in order for students to successfully accomplish and perform the material while remaining injury free (i.e. athletic, gymnastic, and/or genre specific vocabulary). In other cases specific coaching for the use of text/vocalization might be necessary in order for dancers to perform more theatrical works effectively and convincingly. Overall strength, connectivity, body awareness, and finesse are necessary to maximize aesthetic performance and to minimize the risk of injury in today’s dance students.
In addition to the core Modern Dance technique courses, our curriculum includes a wide array of movement experiences ranging from ballet for modern dance students, West African, jazz, and other diverse cultural forms (folk dances, hip hop, flamenco, etc…). As students progress through 4 years of their technique training, it is our goal that they should become steadily more connected, strong (not to be confused with rigid or stiffly controlled), increase their ability to articulate the torso with specificity and integrate its relationship to the limbs and vice versa, specific clarity and articulate use of the feet and legs, arms, and back, head and neck. Students at each level are expected to be self motivated – intrinsically, core connection is a core value of all of the technique teachers as is the application of strength building and integrative patterning “exercises” perfected in the conditioning and movement fundamentals series during the first year, as well as inside of the technique classes themselves.
All dance majors are required to advance to Level III and successfully complete Dance 3310/3320. However, most students advance to and successfully complete Level IV Dance 4310/4320.
LEVEL I
The primary focus in Level I is on “WHAT I am doing.”This is a beginning level.
Students in this level would be entering freshmen in the Modern Dance major. Entering students audition for acceptance and typically must have had previous dance training or other equivalent physical training/experience that has provided muscular conditioning, flexibility, coordination, rhythmic acuity, internal intention linking to external expression, spatial awareness, and a certain level of understanding of dynamic alignment in vertical that is energized and threaded together in at least basic and even more desirable at an intermediate level. Ideally, level one students would not have had training that is so strongly coded in other genres (such as ballet or jazz) that it prohibits their ability to embody modern training that is more released, immediate, clear of mannerisms, and affectations, and accessible to kinetic investigation. Students in Level I will develop proficiency in:
*Efficient modes of moving (including basic principles of dynamic alignment, momentum, and initiation).
Understanding of: core support, neutral pelvis placement (vs. under tucking or hyperextension, use of plie and cushioning through the feet.
Individual difference and awareness of unique limitations such as hip socket range of motion and outward rotation within those limitations so as to maintain pelvic stability (Note: stability may not always be desired but level one students need to understand a working base line of support).
Articulation of outward rotation and parallel positions of feet and legs.
Understanding of pronation and supination.
Support leg strength and stability.
*Demonstration and understanding of fundamental concepts of total body organization as related to overall movement literacy. Concepts of total body organization include: Breath support, core distal, head tail, upper lower, body half, and cross lateral (or other similar concepts of total body integration and organization.
Comfortable with going off vertical and finding it again.
Introduction to Pilates mat and reformer work as well as movement fundamentals (Bartenieff Fundamentals) and Laban analysis.
*Ability to investigate energy qualities (with breath support).
*Ability to understand and demonstrate basic rhythmic structures and patterns.
*Understanding of personal and environmental space – Concept of directing and projecting energy within the body and/or into space.
*Introduction to spatial concepts of planes, dimensions, directions, levels, and spatial pulls and tensions.
*Ability to acquire sequential movement material.
*Familiarity with basic locomotor movements and mechanics and coordination of weight shift, level change, and inverted movements (walking, running, leaping, skipping, hopping, undercurves, overcurves, falls, handstands, etc…).
*Development of intrinsically motivated, committed work ethic and best practices of nutrition and healthy life style habits.
LEVEL II
Primary focus is on “WHERE I am sending my attention and where I am in relation to my environment.” This is an Intermediate level.
Students will have a proficiency in the Standards in Level I. They will also have a proficiency in the following Standards:
*Ability to risk and expand one’s spatial parameters – Development of increased drive through space.
*Ability to sense one’s weight and incorporate that weight in both on-balance and off-balance movement (including the use of momentum and weight release).
*Comfortable with going off vertical and finding it again.
Low center of gravity and investigation of weight (and lightness).
Stability/Mobility awareness and facility.
Demonstration and understanding of movement initiation and subsequent movement follow-through.
*Increased facility in adapting to new teaching methods and styles.
*Sequencing becomes easeful.
*Ability to execute energy modulations with breath support – A greater level of effort efficiency than in level I.
*Demonstration and understanding of rhythmic acuity.
*Demonstration and understanding of breath support in metric and non-metric phrasing (development of melodic breath).
Embodiment of musicality and more complex phrasing.
*Ability to acquire movement material, sequentially and qualitatively.
*Understanding of kinesiology being developed in theory and embodied in technique and conditioning contexts.
*Knowledge of and continued practice of sound practice of conditioning, nutrition, and healthy lifestyle habits.
LEVEL III
Primary focus is on “HOW I am doing what I’m doing – Quality” -This is an Advanced Level.
Students will have a proficiency in the Standards in Levels I and II. Additionally, they will demonstrate an aptitude in both their movement expressivity and their technical foundation and increasing expertise. Students will also have a proficiency in the following areas, although they may occasionally lack consistency in one or more of these Standards:
*Demonstration of expressivity in metric or non-metric phrasing.
*Appetite to fulfill the movement spatially, qualitatively, and melodically with fluidity and integration.
Seamless transitions and sophistication of phrasing.
Drive through space in all planes, levels, and directions is committed and easeful.
*Understanding and demonstration of breath support to fulfill one’s own individual performing “voice”.
*Ability to more quickly and easefully acquire axial and/or locomotor sequential movement material with a qualitative sensibility.
*Sequencing becomes easeful.
*Increased facility in adapting to new teaching methods and styles.
*Ability to embody material fully and qualitatively and to perform it with clear intention takes place with decreased processing time (i.e. longer and more complex phrases are expected to be performed well with less time spent on explanation).
*Ability to commit and follow through with clarity.
*Acquisition of mature work ethic and habits consistent with those of a future member of the dance profession.
*Increased level of conditioning to facilitate increased demands in athleticism, strength specificity especially in the use of legs and feet as they facilitate going into the air and landing or the use of arms, hands, and back as they facilitate inverted movements or weight shifts.
*As students progress through level III they find a balance between strength and fluidity.
*Comfortable with propulsion (push – reach-pull) and lower to upper andupper to lower body phrasing and connectivity.
*Freedom and accessibility to 3-dimensional movement and spiraling.
*Transverse movement facility.
*Understanding the difference between release of excess tension and relaxation or passive weight with no core support.
*Knowledge of and continued practice of sound practice of conditioning, nutrition, and healthy lifestyle habits.
LEVEL IV
Focus integrates “What, Where, How and now involves Why I am doing what I’m doing.” This is a Pre-Professional Level.
Students will have a proficiency in the Standards in Levels I, II and III. Additionally, they will demonstrate an aptitude in both their movement expressivity and their technical underpinnings. As more mature dance student performers. They will also have a consistent proficiency in the following Standards:
*Students at this level should be conditioned at an elite level.
*Understanding and full demonstration of movement melody (incorporating melodic breath, dynamic modulations, textural nuances, and rhythmic acuity).
*Ability to quickly acquire axial and/or locomotor movement material, both sequentially and qualitatively, with a full understanding of melodic breath, dynamic modulations, textural nuances, and rhythmic acuity.
*Student is facile at performing in muuliple genres and styles and is adept at reading and interpreting movement phrases.
*Full qualitative and technical skill investment and integration of these dimensions.
*The ideal level IV student doesn’t wait for personal feedback. They see all general feedback and peer coaching as applicable.
*They are at home with their bodies but are pro-active in seeking new information – willing to investigate new information.
*A level IV student is strong without being locked and fluid/released without being line-less.
*Availability to an increased intensity in the learning process.
*Integration – connected movers. Integration physically, mentally, emotionally such that they are more versatile.
*Confidence as a performer to fully embody one’s own movement voice.
*Ability to fulfill and/or surrender to the spatial, qualitative, and temporal parameters in movement phrases.
*As students progress they both pick up on movement subtleties(Become good translators of movement) and increasingly personalize movement (use technique for personal expression).
*Embodiment of mature work ethic and habits, consistent with those of a professional performer.
*A Level IV student has a sense of the whole while being able to articulate parts. A good sense of their center and proprioception of their body in relation to that center.
*Efficiency is realized.
*Continued practice of sound practice of conditioning, nutrition, and healthy lifestyle habits (hopefully beyond graduation – into professional work and life).
Handbooks
Download Undergraduate Handbook (504KB): Undergrad_Handbook_2009.pdf
Download Graduate Handbook (312 KB): MFA_handbook_0910.doc
Click HERE for Sample Forms (as referred to in Graduate Handbook, page 24-27)
Scholarship and Grant Information
Courses, Schedules and Curriculum
All documents are in pdf. format unless otherwise indicated
Undergraduate Course Requirements
.pdf download (56 KB):BFA_Requirements.pdf
Graduate Course Requirements
.pdf download (36 KB): GRADUATE_CURRICULUM.pdf
Technique Standards Level I-IV
.pdf download (124 KB): technq_stndrds_06.pdf