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Instructional Touch Best Practices

University of Iowa Department of Dance AY 2023 / 2024

 

Instructional Touch Best Practices

 

 

The Department of Dance is dedicated to integrating consent-based practices into all classroom and production environments.

 

In all dance studio activities, all participants are expected to understand and apply the Instructional Touch and Intimacy Best Practices described below.

 

Any studio activities that require adaptation or addition to these guidelines must establish community awareness and agreement prior to practice; helpful notes for this process are included below.

 

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Communication Best Practices

  • In non-production coursework, if you have a concern regarding instructional touch or touch between peers, first speak to the instructor, and if further conversation is needed, contact the Department Chair.

 

  • In rehearsal and production, if you have a concern regarding instructional touch or touch between peers, first speak with faculty associated with the project (dance-maker or rehearsal director), and if further conversation is needed, contact a faculty or staff member associated with the production (Director of Dance Production, Production Stage Manager, Production Manager) and/or contact the Department Chair.

 

 

Instructional Touch

“Instructional Touch” is defined as any physical contact between instructor and student, or between two or more students, occurring in the context of a class, rehearsal, production, or other program activity.

 

*Please note: Instructional Touch is different from touch made in emergency situations, such as touch that attempts to prevent accident or minimize injury. In those situations, all participants should, using best judgement, act rapidly and/or spontaneously.

 

Examples of Instructional Touch include:

  • Adjusting alignment/positioning
  • Bringing awareness to physical use
  • Partnering for demonstrations
  • Correcting placement in space
  • Costume Fittings
  • Creating choreography that moves in contact
  • Contact Improvisation / Compositional Improvisation that moves in contact (see below for additional notes)

 

Consensual Touch (root word: consensus)

The concept of consensual touch starts with the notion that people have the right to say, yes” and say, no” to being touched, and with the notion that it is possible to make general agreements about touching and being touched. In the field of Dance, due to its physical nature, physical contact is often an essential part of learning, creating, performance, and expression in the art form; agreements that guide this process are essential to a safe, respectful and professional environment.

 

In the UI Department of Dance, instructors follow best practices when they ask a student’s consent to physical touch each and every time that they believe: tactile contact is necessary or beneficial here to the learning process. Without explanation or repercussion, every student has the right and responsibility to say yes or no in that particular moment; throughout a year, a semester, or a single class, students may, without explanation or repercussion, change their yes and no answers in response to internal feelings and external circumstances. In lieu of physical contact, instructors must, to the best of their ability, replace physical contact with other means of helpful instruction.

 

 

Instructional Touch Best Practices

  • Ask before you touch and be specific about the contact
    • Where
    • For what purpose
  • Try Questions about Specific Contact
    • “Would you be open to [type/location of contact]?”
    • “Would [type of contact] be helpful right now?”
    • “Can you experience [correction/suggestion/concept] through touch today?
  • Instructional responses to “no”
    • Use tone and attitude to demonstrate acceptance and flexibility
    • Apply alternatives (considered and prepared in advance)
    • Guided visualization; verbally describe images and actions, and use kinesthetic imagination to invoke experiences
    • Demonstrating on yourself, with or without self-touch
    • Guided self-touch; invite and guide students to use their own hands
    • Using props or other material support (barres, walls, chairs, appropriate objects)
  • Refrain from calling attention to, or “calling out” individual consent decisions
    • Practice and model attitudes of nonjudgement and equanimity regardless of the “yes” and the “no.”
  • Model and Guide the steps above when directing students in peer and partnered touch
    • Describe specific location and purpose of touch; demonstrate when possible
    • Establish steps for consent, and provide options and alternatives as part of the assignment
  • Responsiveness, Observation, and Keeping Track
    • Practice “the pause” between requesting contact and inviting the answer
    • Practice quick shifts between touch/no-touch strategies
    • Practice remembering what students have said, requested, or prohibited about making contact, even though you will ask anew for consent in each instance

 

 

Boundary Practice

A useful concept in navigating physical touch is a “boundary practice.” At the start of an activity where touch is involved, each participant indicates boundaries for physical touch. A boundary practice could be

 

especially useful for creative exercises where specific contact locations are not tightly defined in advance.

 

Instructors and rehearsal directors may:

  • Demonstrate hand gestures that can indicate preferred no-touch areas
  • Invent terms for no-touch areas; practice gesturing and saying, “fence,” or “road closed,” for different body locations
  • Use colors and hand gestures to denote body zones: red=no touch, yellow=caution/care or minimal, green=available
  • Include the concept of a “button”; when a boundary needs clarifying or a brief hold is needed for quick assessment, a participant cues this by saying “button,” or other term (e.g.; “pause” “moment” “tag” “system check”) or can use established action-placeholders (e.g. fist bump, snap)

 

 

Improvisation / Spontaneous Creative Process

At the start of any class or creative process that requires spontaneity, it is strongly advised to review basic concepts of consent, and to engage in a boundary practice prior to the activity.

 

In addition to stated yes/no preferences or red/yellow/green body zones at the outset, it is important to provide context and explanation for listening and responding to signals spontaneously. Instructors should call awareness to, and provide instruction on “listening for the yes, and listening for the no,” as part and parcel of any creative process where physical contact may arise unplanned.

 

Giving and receiving yes/no signals in spontaneous activities should be explained, modeled, discussed, and normalized. Students benefit when they understand how to engage in, or abstain from, spontaneous invitations to make contact; creative contact can occur while respecting limits, can operate without fear, and can avoid lapsing into narratives of rejection and personal offense. Through reviewing basic concepts, developing community agreements, and incorporating boundary practices, a spontaneous process can confidently and creatively include touch.

 

 

Choreographing “Intimacy”

In the context of choreography, intimacy could be understood as: choreographed touch and closeness between bodies that is sensual, romantic, or sexual in nature, for the purposes of artistic expression and performance.

 

Choreographing intimacy requires following instructional touch policies above, including:

  • Practice a consent-based process
  • Practice using “button” for pause and assessment
  • Determine and engage in a boundary practice

 

Additional Requirements:

  • Use an Audition Disclosure form to allow performers to opt-in or opt-out of intimacy.
  • Safeguards: A third party such as Stage Management or Rehearsal Cast Representative must always be present for the staging of intimacy.

 

  • Privacy: In order to protect privacy, productions with intimacy should have a no-cell phone policy in rehearsal and backstage for all members of the production; in order to protect privacy, video recordings of intimacy should not be created.
  • Dance-makers and directors should never step in to stage intimate moments or have any physical contact with the performers during the staging or rehearsing of intimacy. Only those performers enacting the roles should engage in intimate contact during the creating and performing process.

 

Choreographing Intimacy Best Practices:

  • Desexualize the Process:
    • Draw clear boundaries between the mechanics and choreographic moves, and any personal relations of the cast, real or virtual.
    • Refrain from making sexual jokes, innuendo, or comments.
    • Use non-sexual language for staging the intimacy or discussing it.
  • De-personalize
    • If you need to talk about the performer’s actions, use/invent role names; practice “de- role-ing (differentiating oneself from the character).
  • Timely Communication
    • If a performer requires new or different boundary agreements that those that have been established, especially if these affect the choreography, it is important to communicate with the instructor or dance maker as soon as possible; adequate time to make modifications reduces stress on all parties and promotes a thoughtful process.
  • Setting and Scripting
    • All intimacy, regardless of how simple it might be, must be choreographed; performers must not deviate from choreography; performers must discuss any changes to choreography with the dance-maker and may not make changes without consultation.
    • Placeholders should be used until choreography is set; placeholders may be used any time after choreography is set except during performances.
    • Choreography should be notated/scripted by dance-maker, performers, and stage management; choreographic record can include an audio recording.

 

 

Costume Fittings

The measuring process for costume fittings requires accuracy. This process involves physical contact with the measuring tape and minimal touch from the measurer. Students and Shop Personnel have the same tools available during measurements as above.

 

  • Students and Shop Personnel have the following tools in a fitting:
    • Use self-touch instead of designer or staff touch for measurements and fittings
    • Boundary practices
    • Request two-minute break or use a “button” word or gesture
    • Request a reduction in the number of people in the room
    • Request that the door be open or closed; Request to be fitted in an open or closed area of the shop; Request help or additional privacy for dressing or undressing
    • Request that the appropriate faculty or staff member makes the adjustments, rather than a student designer or draper
    • Ask questions for clarification

Communication and Engagement Best Practices

The Performing Arts at Iowa Marketing and Engagement Best Practices aligns with the Performing Arts Industry standards as it relates to Video Calls, Photo Calls, and Engagements while simultaneously supporting the Performing Arts at Iowa consent-based practices utilized in the Department of Dance, Department of Theatre Arts, and School of Music Opera. 

 

In this document, Production Activity is defined as all related activities to a production produced by the Department of Theatre Arts, Department of Dance, School of Music Opera, and the Performing Arts Production Unit. This includes auditions, production meetings, production shop operations, staging rehearsals, production install, tech rehearsals, dress rehearsals, performances, and strike. 

Department of Theatre Arts  

  • Archival photos are the photos taken by a photographer during the dress rehearsal process of a Theatre Arts production. The intent of these photos is to document the final product of the show and showcase the work of the designers, technicians/shops, cast, and director. They are made available on the Department of Theatres SmugMug for students and faculty to use for portfolios/websites which is an integral tool in Marketing their work for future professional opportunities. Additionally, archival photos may also be used for pre-performance marketing and post-performance storytelling on social media, websites, and in print/online publications. Any marketing efforts that extend past this standard usage will need further approval, which will be requested by the marketing team. 

  • Archival photos must be scheduled through the Theatre Arts Production Stage Manager. The intention of the photo call must be clear in the initial request, for example where and how the photos will be used. Any use of photos that goes beyond the original intention must receive appropriate approval and be coordinated through the Theatre Arts Production Stage Manager. 

  • Archival photos are ideally taken at the final dress rehearsal of a production. If a photographer is unavailable for that date, an alternate dress rehearsal may be selected with the Theatre Arts Production Stage Manager. 

  • For any photo call, the performers and team members that will be present must receive a minimum of 24 hours’ notice. This notice must come from the production’s Stage Manager. The notice may be in writing (i.e. on a daily call and/or tech schedule, in an email) or verbal (i.e. announced at the beginning or end of a rehearsal). 

 

Department of Dance, School of Music Opera 

  • Archival photos are the photos taken by a photographer during the dress rehearsal process of a Dance and/or Opera production. The intent of these photos is to document the final product of the show and showcase the work of the team. They are made available on the Department’s SmugMug for students and faculty to use for portfolios/websites which is an integral tool in Marketing their work for future professional opportunities. Additionally, archival photos may also be used for pre-performance marketing and post-performance storytelling on social media, websites, and in print/online publications. Any marketing efforts that extend past this standard usage will need further approval, which will be requested by the marketing team for approval by the DEO and/or Opera Director. 

  • For any photo call, the performers and team members that will be present must receive a minimum of 24 hours’ notice. The date and time of the Archival Photos will be shared with the cast and production team via the rehearsal/production schedule, which will be posted to the physical callboard. 

  • Photos should be sent to Director/Choreographers for review and approval before they are shared. 

Department of Theatre Arts  

  • Archival or any video footage must align with the production’s licensing agreement. A copy of the licensing agreement may be obtained from the Associate Company Manager. 

  • Archival video requests must be made at least four weeks before the production’s opening and must be made to the Director of Theatre and Theatre Arts Production Stage Manager. 

  • Archival video may only be used for archival purposes unless otherwise stated in the production’s licensing agreement. 

  • Performers and team members must have at least two weeks’ notice for archival video. 

 

Department of Dance 

  • All productions will have archival video taken during performances. 

  • For Dance, the department videographer records the two final performances of each concert. 

  • Footage can be accessed by request of Molly Dahlberg. 

 

School of Music Opera 

  • Archival or any video footage must align with the production’s licensing agreement, if applicable. A copy of the licensing agreement may be obtained from the Associate Company Manager. 

  • Productions that have approval to be recorded, per the production’s licensing agreement, will have archival video taken during performances. 

  • For Opera, the recording team (led by James Edel, Music Production Manager) will record 2-3 performances, based on the needs of the production.

Department of Theatre Arts  

  • Photo and video calls (press, marketing, etc.) other than archival, must be scheduled and coordinated through the production’s Stage Manager for all production activities. The intention of the photo or video call must be clear in the initial request, for example where and how the photos or video will be used. Any use of photos or video that goes beyond the original intention must receive appropriate approval and be coordinated through the Theatre Arts Production Stage Manager. 

  • For any photo or video call, the performers and team members that will be present must receive a minimum of 24 hours’ notice. This notice must come from the production’s Stage Manager. The notice may be in writing (i.e. on a daily call and/or tech schedule, in an email) or verbal (i.e. announced at the beginning or end of a rehearsal). 

  • If the photo or video call is to take place outside of rehearsal hours and/or the rehearsal room, then it must be coordinated through the Theatre Arts Production Stage Manager. 

 

Department of Dance, School of Music Opera 

  • Photo and video calls (press, marketing, etc.) other than archival, must be scheduled and coordinated through the production’s Stage Manager for all production activities. The intention of the photo or video call must be clear in the initial request, for example where and how the photos or video will be used. Any use of photos or video that goes beyond the original intention must receive appropriate approval and be coordinated through the Dance, Opera Production Stage Manager. 

  • The date and time of the Archival Photos will be shared with the cast and production team via the rehearsal/production schedule, which will be posted to the physical callboard. 

  • Photos should be sent to Director/Choreographers for review and approval before they are shared. 

  • Dance archival photos are used to document the show and may be used to promote the show or the Department of Dance. Use of archival photos for marketing or any other non-archival purposes must be approved by the Dance DEO. 

  • Requests for guests in rehearsal rooms for recording or photography: 

  • Requests should be sent no fewer than 48 hours before the requested time. 

  • Requests should be sent to: 

  • Dance Auditions: PSM and Director of Dance Production 

  • Dance Rehearsals (before moving to stage): Choreographers  

  • Dance Rehearsals (onstage, tech and dress): PSM, SM, Choreographers 

  • Opera Auditions: PSM and Opera Director 

  • Opera Rehearsals: PSM, SM, Opera Director 

  • When the request is submitted, it should include an explanation of how the photos or footage will be used. This information will be shared with anyone who may be recorded. Any uses not included in the original request require an additional sign-off from all participants. 

  • If the requested date is not appropriate for recording, the Director/Choreographer/PSM/SM will work with the marketing team to find an alternate date. 

  • If a request is approved, the PSM (or SM, as appropriate) will notify the performers and team members within 24 hours prior to any recording. Members of production reserve the right to decline for themselves and comms team will assure they are not captured in any footage. 

Department of Theatre Arts, Dance, and School of Music Opera  

The Company should take a secret ballot vote on if they will allow spontaneous photos and videos to be taken during the rehearsal process that would be used on social media to help advertise the show and create excitement and interest regarding the production.  Prior to any media being posted permission must be obtained by all the parties captured in the media and the director of the production.  Note: This policy does not apply to scheduled marketing photos and videos where the company receives prior notice.  

 

PHOTOGRAPHY AND SOCIAL MEDIA SAMPLE BALLOT 

  • Taking photos during the rehearsal process can help us to advertise the show and help to create interest and excitement about the work we are doing.  

  • We are therefore seeking permission from you now to take spontaneous photos and videos during the rehearsal process.  

  • Prior to any posting on social media all parties involved should be notified and give consent for its use.  

Please no photography or video once we move into the theatre until the 1st photo call. 

 

DOCUMENTARY VIDEO SAMPLE BALLOT 

The Office of Performing Arts and Engagement will be joining us a few times throughout the rehearsal process for Fierce to create a video about the creation of the production. Below is information shared with us by the team about the project (insert scope and purpose of documentary video recording) 

**Please note that you will be notified of all filming for this project no later than 24 hours before the scheduled time of filming** 

Department of Theatre Arts  

  • Each team member and performer are responsible for submitting their materials for the Virtual Lobby. If they fail to do so by the set deadlines, they acknowledge that their information may be incomplete and/or excluded. 

  • The production’s Stage Manager is not responsible for ensuring the Virtual Lobby materials are received by Marketing but can help share information and/or send reminders. 

  • Information that is collected for the Theatre Arts Virtual Lobby (bios, headshots, etc.) can be coordinated through the production’s Stage Manager two ways: 

  • The Stage Manager can provide a contact sheet with all cast, crew, and team members email addresses for the Marketing Manager to use to contact those that can submit materials for the Virtual Lobby. 

  • The Marketing Manager can share a drafted email with all the information regarding the collection of materials for the Virtual Lobby and the Stage Manager can forward it to the cast, crew, and appropriate team members. 

 

Department of Dance and School of Music Opera  

  • Playbill deadlines will be created by the marketing team and shared with the production team, along with what information is needed and how to submit. 

  • The production’s Stage Manager is not responsible for ensuring the playbill materials are received by Marketing but can help share information and/or send reminders. 

  • Proofs will be shared with the entire team via the marketing team. 

  • The SM will be responsible for sharing a paper copy of each proof in the rehearsal room. 

  • All changes should be sent to the team ahead of the final deadline. 

  • A minimum of 2 playbill proofs are needed before it goes to print.

Department of Theatre Arts, Dance, and School of Music Opera  

Office of Performing Arts and Engagement Guests: 

  • All engagement guests must be approved by the Department’s DEO and Director of Theatre / Director of Dance Production / Opera Director and include a proposed schedule of their engagement. Once approval is received and a schedule is agreed upon, the visit must be coordinated with the Theatre Arts / Dance, Opera Production Stage Manager and the production’s stage manager. 

  • All parties in the rehearsal room and/or Theatre will be notified a minimum of 1 week in advance of Guest’s attending a rehearsal and or production. 

  • Transportation to rehearsals and/or any production related activities is not the responsibility of the production staff or production students. 

 

Department of Dance, Theatre, and School of Music Guests 

  • All requests to utilize Performing Arts Guest Artists in marketing/promotional materials or events must be made in writing at minimum 48 hours prior to the engagement and signed by the artist to be attached as an addendum to the original Letter of Agreement. Please coordinate with the Associate Company Manager on all requests. Once received the Associate Company Manager will liaise with the artist and confirm availability & acceptance. 

  • All engagement guests must be approved by the Department’s DEO and Director of Theatre / Director of Dance Production / Opera Director and include a proposed schedule of their engagement. Once approval is received and a schedule is agreed upon, the visit must be coordinated with the Theatre Arts / Dance, Opera Production Stage Manager and the production’s stage manager. 

  • All parties in the rehearsal room and/or Theatre will be notified a minimum of 1 week in advance of Guest’s attending a rehearsal and or production. 

  • Transportation to rehearsals and/or any production related activities is not the responsibility of the production staff or production students. 

CLAS, Hancher, and the Office of Performing Arts and Engagement CONTACTS 

 

Mary Beth Easley, Chair, Department of Theatre Arts 

Rebekah Kowal, Chair, Department of Dance 

 

Tammie Walker, Director of School of Music 

 

Eloy Barragán, co-Director of Dance Production, Department of Dance 

 

Rob Cline, Communications Director, Office of Performing Arts and Engagement (OPAE) 

 

Abbigail Cote, Director of Opera, School of Music 

 

George de la Peña, co-Director of Dance Production, Department of Dance 

 

Aaron Greenwald, Programming and Engagement Director, Hancher Auditorium and OPAE 

 

Anna Kahn, Graphic Design Coordinator, OPAE 

 

Jenn Knights, Marketing and Communications Manager, OPAE 

 

Briana Maxwell, Production Director, Performing Arts at Iowa 

 

Jason Millsap, Associate Company Manager, Dance, Music, and Theatre Arts 

 

Miriam Ochs, Programming & Engagement Coordinator, OPAE 

 

Samantha Paradis, Production Stage Manager, Department of Theatre Arts 

 

Cayla Rasmussen, Digital Communications Coordinator 

 

Kayla Schindler, Marketing Manager, OPAE 

 

KatyBeth Schmid, Production Stage Manager, Department of Dance and SOM Opera 

 

Jason Smith, Photography & Video Specialist, OPAE 

 

Bryon Winn, Director of Theatre, Department of Theatre Arts 

 

Zoë Woodworth, Brand & Design Director, OPAE