Dance Policies and Additional Guidelines

Instructional Touch Policy

Instructional Touch Best Practices

University of Iowa Department of Dance AY 2023 / 2024

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.

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

Music Copyright and Licensing

Revised June 30, 2025

This link contains information about copyright and tools, such as charts and videos, that can help you better understand copyright: University of Iowa Music and Copyright Guide

Performing Arts at Iowa Music Options for Productions

Music Requiring a License

Any performance using music and/or recordings under copyright with dramatic elements, such as acting, sets, or choreography requires obtaining grand performance & synchronization rights approved by the publisher and artist and must be licensed on a work-by-work basis. This would include music that is being used in any Performing Arts at Iowa productions including live performances, livestreamed performances, and/or recorded performances from the start (curtain up) of the show to the end (curtain down) of the show. This applies to any ticketed or free performance that the public is invited to attend. For further questions regarding obtaining music rights such as determining publisher or copyright status, please contact Jason Millsap, Associate Company Manager, at jason-millsap@uiowa.edu.

Please see the University of Iowa’s Global Music Rights License Agreement: Click here for the Global Music Rights License Agreement

Collaborate with a Musician or Composer

Artists may also choose to collaborate with musicians and/or composers to create new music for their work. It is best practice to have a written record of your agreement when collaborating with the musicians and/or composers. Please reach out to Jason Millsap (jason-millsap@uiowa.edu), Associate Company Manager, for any assistance creating a Guest Artist agreement.

Public Domain, Free Licenses, or Royalty-Free Music

If you do not have a budget for your production, artists may use music that is in the public domain or that is royalty/license-free. Keep in mind that some compositions are public domain, but the recordings may not be. Some useful resources for free licenses or royalty-free music include: · Cafe Music BGM Channel (https://www.youtube.com/user/cafemusicbgmchannel) · Indie-Folk Central (https://indiefolkcentral.com/) · Dig.ccMixter (http://dig.ccmixter.org/) · Freeplay Music (https://freeplaymusic.com/) · Hooksounds (https://www.hooksounds.com/) · Internet Archive's Netlables Collection (https://archive.org/details/netlabels) · soundFORmovement.com (Michael Wall) · freemusicarchive.org · pond5.com · bensound.com

Please carefully review the information on these sites for proper use and attribution. When you submit your program information to marketing, please be sure to include all notes for crediting the music.

*Theatre Galleries and Workshops are required to use royalty/license free music. Please refer to the Theatre Gallery and Workshop guidelines for further information.

Obtaining a License

Faculty and/or staff: will be responsible to initiate contact & secure licensing with rights holders for non-mainstage productions. Students: please send Jason Millsap at jason-millsap@uiowa.edu the following information and he will initiate contact with the rights holder:

Song Title, Artist, & Specific recording (direct link is helpful if possible)
Publisher (if known)
Approved budget
Project title
Brief synopsis
Usage (context of the scene it will be used in) · Duration (how much of the recording do you intend to use)
Will the performance be recorded (video or audio)

The amount of time it takes to obtain a license will depend on the publisher or rights holder, so it is recommended that you begin the process as soon as you have decided to use that music in your work. Sometimes this process can take several months. Associate Company Manager, Jason Millsap (jason-millsap@uiowa.edu) is available to support you during this process. Please reach out to him with any questions.

Please see licensing email templates to assist you as you begin to reach out to the publisher or rights holder.

Please see copyright agreement template to assist you once the publisher and/or rights holder has given permission for the music's use in your production if one is not provided by the licensor.

If you do not obtain the license for your music, you will not be able to use that music as part of your work in the performance. Please allow yourself enough time to initiate a backup plan.

License Holder Databases:

Payment

Some productions within Performing Arts departments have budgets to support the payment of licensing music. Before you begin the music selection process, it is recommended that you determine if there is a budget available for your work. Licensing budget questions should be referred to the Production Director, Briana Maxwell, at briana-maxwell@uiowa.edu.

Artists are strongly encouraged to use one of the free options mentioned above.

For licensing payments:

Please send licensing invoices to Associate Company Manager, Jason Millsap, at jason-millsap@uiowa.edu to process payment. Only invoices will be accepted to process licensing and copyright payments.

Licensing contracts are not created, or signed, by anyone outside the Purchasing Office, purchasing-contracts@uiowa.edu.

Additional Resources

*Insert UChicago Fair Use Checklist*

*Insert Copyright Term and Public Domain in the United States (Cornell) link*

Grand Rights: Live Performance Email Template

The University of Iowa would like to obtain grand performance & synchronization rights for this live performance. Please let us know any other information you may need to grant this license as well as the terms of the license and any associated costs. Payment will be made after receipt of invoice from vendor.

Thank you for considering this request.

Grand Rights: Live Performance + Streaming Email Template

The University of Iowa [name of Department] is interested in licensing [song title & artist (specific recording if possible)] for use in the upcoming production of [name of production] on [date(s) of performances] held in [name of venue]. This project [may or may not] be recorded for archival purposes [outline educational purpose of archival recording]. Anticipated attendance for the event is [# of people]. The UI would also like to [live stream or re-broadcast] this event on its locally managed streaming server.

Thank you for considering this request.

Grand Rights: Live Performance + YouTube Email Template

The University of Iowa [name of Department] is interested in licensing [song title & artist (specific recording if possible)] for use in the upcoming production of [name of production] on [date(s) of performances] held in [name of venue]. This project [may or may not] be recorded for archival purposes [outline educational purpose of archival recording]. Anticipated attendance for the event is [# of people]. The UI would also like to post a video recording of this performance to the University of Iowa Department of Dance YouTube channel. The UI would consider both limited (e.g., 1,000 views or one year, whichever is reached first) or perpetual licensing terms as options, cost dependent.

Thank you for considering this request.

Captioning Policies and Guidelines

Revised August 30, 2023

Captioning is required for all university-created public-facing videos and live-stream content. The Department of Dance will follow all university policies regarding captioning.

Please review the university’s policies and use the guide available on the university’s brand manual website to learn more about the importance of captions and how to implement them.

University Video Captioning Policies and Information

Videos used with Concert Program Information

If a dance maker is planning to use any video content as part of their program information, we ask that they create a caption timeline to be used in aiding the captioning of the video(s). The department will handle the actual captioning of the video using the timeline that is created.

Captioning of Livestreamed Performances

The department is required to live caption all livestreamed events. In advance of the livestream, we ask that dance makers provide as much detail as possible in a caption timeline format. We understand it may not be exact, as it is a live performance, but this information will be shared with the live captioning service to improve the quality of the live captions accompanying the performance.

Best Practices for Creating Caption Timelines

Captioning best practices that will help you create your timeline are included below. Additional information is also available at the video captioning policies and information link above.

Think about what an audience member would miss if they watched the video/performance on mute. How can you make the experience for some who is unable to hear the sound similar to that of someone who is able to hear it? What is essential for the viewer to be best able to understand/experience your piece?
Any sound, including but not limited to music, lyrics, text, sound effects, ambient sounds (wind blowing), and moments of silence, must be captioned.
Use proper punctuation at all times.
Take care to match what the speaker says exactly. This also includes the synchronization of lyrics in your music.

Sample Caption Timelines

Below are some sample caption timelines that you may find helpful as you're creating a caption timeline for your video or for a livestreamed production.

Music without lyrics

If there is only instrumental music playing throughout your entire work, there is no need to provide time stamps. Sample caption timelines are as follows:
• [Music playing – no lyrics]
• [Quiet music playing in the background]

If you know what kind of music is playing, indicate it:
• [Pop music playing]
• [Beethoven’s Ninth Symphony playing]

Music without lyrics + periods of silence

If your video includes sections of silence, please include the specific time stamps for the sections with silence as follows:

Time stamps	Caption
0:00-1:04	[music playing – no lyrics]
1:05-2:15	[silence]
2:16-3:15	[music playing – no lyrics]
3:16-4:25	[silence]

Videos with lyrics, text, sound effects, ambient sounds, or moments of silence

If your video includes lyrics, text, sound effects, ambient sounds, and moments of silence, provide a timeline of these using time stamps. The time stamps for anything spoken or for music with lyrics must match the speaker/singer exactly. For example:

Time stamps	Caption
0:00-0:15	[forest sounds]
0:16-0:19	[song lyrics] "Row, row, row your boat"
0:20-0:23	[song lyrics] "gently down the stream."
0:24-1:15	[silence]
1:16-3:20	[music playing – no lyrics]

Caption timeline from work in fall 2020 concert

The caption timeline below is from Alexsandria Wahl's Echo Movement that was part of the End of Semester Event in fall 2020. Below the caption timeline sample, you will find a link to the video so that you are able to see how the captions align with the video.

Time Stamps	Caption
0:00-0:03	[soft tone]
0:04-0:07	[Sherry] That's what, a, got to the point where
0:08-0:10	when you guys got bigger that's what I taught you;
0:11-0:13	is what I knew when I was little.
0:14-0:16	And I'm glad you guys got a part of that
0:17-0:19	instead of growing up, like, in Washington.
0:20-0:22	You guys got the hometown, you know?
0:23-1:11	[steady, upbeat music, no lyrics]
1:12-1:15	[Eleanor] Mother was born out there at the winery.
1:16-1:19	That was the Zerfoss home place when I was a kid growing up.
1:20-1:22	And they used to have the, a, Superior used to have
1:23-1:25	a big picnic in the summertime.
1:26-1:27	And they always had it out at Swan Lake,
1:28-1:30	so you'd have to go through their yard out into their pasture,
1:31-1:35	out in there, and that's where the picnics were held.
1:36-1:43	[soft, tonal music; no lyrics]
1:44-1:47	[music fades; then changes]
1:48-1:57	[piano music and ambient rustling; no lyrics]
1:58-2:38	[upbeat piano music; no lyrics]
2:39-3:04	[strings join; piano builds]
3:04-3:05	[Sherry] You guys grew up there, [yeah]
3:06-3:09	it's like it all kinda came back [yeah] together, huh?
3:10-3:16	That's, I think, why I like Spirit Lake. I used to explore every part of it.
3:17-3:19	To me, it is a peaceful place.
3:20-3:25	A happier time, simpler. It was a simpler time.
3:26-4:13	[lighter piano music with strings; no lyrics]
4:14-4:34	[strings fade; light piano remains]
4:36-4:39	[music fades]
4:40-4:43	[ambient rustling]

See Echo Movement with Captions HERE

Dance Concert Marketing Guidelines and Information

2024-2025 Marketing Guidelines

Department of Dance

Last revised 9/17/2024 by Kayla Schindler

Marketing Guidelines (24-25)

Marketing Managers

The Marketing Managers for the Department of Dance are Jen Knights and Kayla Schindler. All inquiries should be sent to clas-performing-arts@uiowa.edu for visibility for both Jen and Kayla. Please contact the Marketing Managers with questions. 

Photography Requests

All requests for photography (outside of events photography as outlined in section below) should be sent to clas-performing-arts@uiowa.edu. Requests for photography should be emailed at least 2 weeks in advance of the event you would like to be photographed. It is not possible to fill all photography requests, but we will try to provide coverage for opportunities that align with marketing and messaging priorities for the department and the University.

Social Media Requests

All requests for social media promotion should be sent to clas-performing-arts@uiowa.edu. Requests for sharing information on social media should be emailed at least 2 weeks in advance from when it will be posted.

The following information should be included in your email:

Photo(s) or video(s)
High quality photo(s) and/or video(s) showing you and/or your work
Brief description of what you’re sharing
This will be used to create the caption on social media channels
Key highlights about what you would like prospective students, current students, alumni, and community members to know
OPTIONAL: Instagram handle(s)
This will be used to tag you and any other collaborators on Instagram

We will review the request to ensure it aligns with our messaging themes and strategy for the Department. After review, we will schedule your content on our social media calendar after receiving the above information. Please keep in mind if it’s not a time-sensitive post, it may not be live on the social media channels immediately.

Flyers and Digital Sign Requests

Printed flyers and digital signs will be created for Dance Gala and UIDC productions. All other dance productions will receive a digital sign.

For all other events, flyers and digital sign templates are provided by the College of Liberal Arts and Sciences as part of the Marketing and Communications Toolkit. The Design Center is also available as a resource: Design Center.

Before printing posters, please submit a draft to the DEO and Director of Dance Production for approval.

Concert Marketing (Dance Gala, UIDC, Thesis, Grad/Undergrad, BFA, Graduate, Faculty)

Your primary contact for marketing related to department productions is Kayla Schindler (kayla-schindler@uiowa.edu), listed as Marketing Manager in the information below.

This information is used to update the Department’s Virtual Dance website (virtualdance.studio.uiowa.edu), the University of Iowa’s events calendar, the Performing Arts at Iowa calendar, as well as any other marketing materials for your production. 

Virtual Dance

For Production Stage Manager:
The information below is due to the Marketing Manager as soon as possible, but no later than 4 weeks before a production opens. The Production Stage Manager is responsible for submitting this information.

Information submitted should include: 

Performance dates, times, location, and any special showing notes (livestream, sign language interpreter, etc.)
Program order with intermission, if applicable
List of choreographers

For choreographers:
The information below is due to the Marketing Manager 2 weeks before a production opens. The choreographer is responsible for submitting this information by the deadline.

Dance Gala and UI Dance Company home concert: Deadlines can be found on the production meeting schedule shared by the PSM. 

Other Dance productions: Deadlines can be found on the Virtual Dance Production Guidelines page.

Information submitted after your deadline may not be included in the Virtual Lobby. A Microsoft Form will be provided to you by the Marketing Manager requesting the required information listed below.

Information submitted should include: 

Program note with brief description of the work
Cast list
- Optional: Instagram handle
Creative Team
- Music credits
- Costume credits
- Lighting credits
- Any additional credits (collaborators, props, multimedia designer, dramaturgy, etc.)
Any necessary disclaimers/advisories (language, violence, nudity, smoking, haze, gunshots, strobe effects, etc.) 
Any acknowledgements/special thanks
Any additional notes about the work/team’s process you’d like to be included in the marketing

Headshots:

Headshots are optional, but strongly recommended. If a headshot is not submitted by the deadline, the most recent one on file will be used, if available.
Photos submitted in SharePoint should be labeled with full names.
Headshots should be JPEG or PNG files. PDF submissions will not be accepted.
Headshots should be a recognizable likeness of you, not an artistic expression of you. 
Headshots should be a photo of you alone. 
Headshots may be close-ups, ¾ length, or full body. 
Headshots may be cropped for consistency in sizing. 
Headshots should be high-resolution.

Bios:

Bios should be 75-100 words and written in complete sentences. 
Examples of details you may want to include in your bio: 
- Major(s) or MFA program, minors, certificates, etc. 
- Year in school 
- Hometown 
- Previous experience (italicize titles of works as necessary) 
- Thank yous

The Virtual Dance site will be published no later than 1 week before a production opens. The SM and choreographers will be able to review the Virtual Dance information for errors before being publicly promoted.

Posters & Programs  

The Department of Dance will not be creating printed programs for any productions besides Dance Gala. The Dance Gala program will be created through Hancher Auditorium as part of their season’s playbills. All program-related information will live on the Department’s Virtual Dance website.

Promotional Photographs

Teams are encouraged to submit photographs to the Marketing Manager for use on social media sites and any additional promotions. 

Photos may be submitted throughout the rehearsal process, as well as after the production opens. If you, or someone on your team, is planning to take photos during a rehearsal, please notify the cast and team at least 24 hours in advance. When sending and sharing photos with the Marketing Manager, please provide the name of the person who took the photographs so that they can be properly credited.

Archival Photos:

Archival photos will be taken during one of the dress rehearsals. The Marketing Manager will notify the PSM and SM of the date these will be taken as soon as possible, but at least 24 hours in advance.

The DEO and choreographers will be able to review photos after receiving the full set back from the photographer to make “favorite” selections. An email will be sent out with instructions on this process when the photos are ready for review. These favorites will be used to select images for larger marketing assets in websites, ads, and print materials.

Note: Photos may be shared on social media before sent through the approval process.

Social Media 

The social media campaign for your production will begin 1-2 weeks before opening night. The social media posts will go out on the Department of Dance Facebook (https://www.facebook.com/UIowaDance) and Instagram (https://www.instagram.com/uiowadance). The Marketing Manager will create a Facebook Event for Dance Gala and UI Dance Company productions, and you are encouraged to share it and invite people to this event. Do not create a separate event using your personal profile.

Instagram Takeovers:

Any team member may opt in to do an Instagram Takeover in the 2 weeks leading up to opening night through closing night of the production. The SM for the production should make team members aware and share the guidelines with anyone interested in participating. The Marketing Manager will provide this document upon request. After the guidelines have been read and understood, the team member should send an email to kayla-schindler@uiowa.edu to determine a date for the takeover and receive login information.

Events Marketing Guidelines

The information below is for Department of Dance "events", not concerts. Your primary contact for marketing related to department productions is Kayla Schindler (kayla-schindler@uiowa.edu). Please email Kayla with any questions.

Program

The student team for an event will be responsible for compiling information to be included in the program. The student team may opt to have a virtual program or a printed program.

Printed Program: A Canva template is available for the student team to create a one page, double-sided printed program. To access the template, you will need to login with a Canva account (free accounts available). After the program has been created, save as a PDF and send to Molly Dahlberg (molly-dahlberg@uiowa.edu) to print.

Virtual Program: A virtual program can be created on virtualdance.studio.uiowa.edu after all program information is sent to Kayla Schindler. All content should be sent 10 days before opening night to Kayla’s email listed above. An example of an event program can be found here: https://virtualdance.studio.uiowa.edu/grad-event

Social Media

A minimum of one social post will be made to highlight the event. The student team may send Kayla any images or videos they would like shared; if no images are shared, a template graphic will be used.

Instagram Takeover: Students may do an Instagram Takeover any time throughout planning, rehearsal, or performance dates. Students interested in doing a takeover should email Kayla for guidelines and login details.

Space Place Lobby Displays

No Space Place lobby displays will be created for Dance events. The student team is responsible for creating a sign for any advisories audiences should be aware of. Any advisory signs should be sent to Molly to print.

Dance Video Checkout Policy

Revised August 5, 2022

ALL Video Checkout Requests can be made at: VIDEO REQUEST LINK.

GENERAL INFORMATION

ALL Video Camera and Equipment requests are submitted via VIDEO REQUEST LINK.
A response to your request, inclusive of a checkout date and time, will be sent within 48 hours upon receipt.
Department cameras and equipment may be checked out for production filming, coursework as assigned by instructor, and creation of a screen dance.
- Please use the camera set up in each Halsey Hall studio for online instruction recording.

ALL Undergraduate students wishing to checkout a camera or video equipment must have a Faculty advisor for that project.
It is the individuals’ responsibility to provide their own data storage medium. All Department of Dance cameras use a SD card.
A University ID must be brought with you upon picking up camera and/or equipment.
Damage to or loss of equipment will incur a charge on your U-Bill equal to the cost of repair or replacement.

CHECKOUT GUIDELINES

Requests will be prioritized in the following order:
Course work, Dance Gala, Thesis, BFA Concert, MFA Students, Undergraduate Dance Majors
Requests for the Spring will be prioritized in the following order:
Course work, Screen Dance Class, UIDC, Thesis, BFA Concert, MFA Students, Undergraduate Dance Majors
Camera Checkout Time Frame Allotments:
**Hours below are contingent upon camera and equipment availability**

Who	Length of Time
Course Work	Dates set by instructor
Faculty - Dance Gala & UIDC	1 week, date extension possible if camera is available
MFA Thesis	1 week, date extension possible if camera is available
BFA Concert	1 week, date extension possible if camera is available
MFA Candidates in Dance	2 days
Undergraduate Dance Majors	1 day
Dance Minors	Not permitted

Cleaning:
- It will be the individuals’ responsibility to wipe down the equipment at checkout and return of equipment. Alcohol wipes will be provided.
- Please do not wipe the lens as this could damage the equipment.
- Bags will be sprayed down upon return.

Dance, Music, Theatre Nudity Policy

Revised August 19, 2021

This policy is designed to facilitate responsible decision-making, rather than censorship, in order to best support the choices we make in the Division of Performing Arts.

In this document nudity is defined as the exposure of any person’s chest/breast, buttocks, and pelvic/genital area to the audience, cast members, and any members of the production team.

Before casting, the faculty member, guest artist or student proposing nudity in a departmental event must provide a clear statement to the Director of Theatre (for Theatre) and Director of Dance Production for Dance, and Director of Opera for Opera as to why the nudity is critical to the artistic and pedagogic vision of the work via the proposal form. The proposal must also include a detailed description of the type of nudity desired. Discussion will take place between the proposer, the DEOs, Director of Theatre, Director of Dance Production, Production Stage Manager (PSM), and Production Director. The final decision will be made by the DEO or Director of Theatre or Director of Opera or Director of Dance Production. Submission of a request does not guarantee approval. This statement must be received and approved prior to auditions and/or casting for the project.
Auditionees are clearly informed that nudity or semi-nudity may be required prior to the 1st audition. Nudity is not permitted at auditions.
Performers who appear nude must sign a consent form (retrieved from PSM or Director of Production) prior to the start of rehearsals.
The performers involved (those who are to appear nude, those who perform with them, and the crew who work backstage on the production) must be given a clear channel to express any concerns they have about the request in confidence with the acting program head, DEO/DOT/DOO, or PSM. They should also be made aware of other resources beyond the department if they end up feeling uncomfortable to question the request within the department.
Clear and effective measures must be in place to preserve privacy for the persons being asked to be nude during rehearsals and performances. This may include adding additional personnel in the theater to make sure photos and videos are not being taken by any unauthorized persons.
Artistic renderings, paintings, photos, or video of nude performers, where the performer is recognizable, shall not be permitted in the production as a performance element without the Performer's prior written consent. A method will be agreed upon by the subject, artist, acting program head, DEO/DOT/DOO/DDP, and Production Director prior to the creation of the work as to what will happen to the material post production (i.e. destroyed, stored, etc).
The public will be informed at the box office and at the door of the theatre that nudity will be a part of the event.
A sign will be placed at the theatre door stating that the taking of photographs or videos is prohibited by law; it is also distracting to actors and audience. The house manager will be instructed to warn violators to stop; if they do not, they will be subject to prosecution. Photographs of the production will be available through the department office. If the director would like the audience to use their cellphones in the production it must first be discussed with the DEO/DOT/DOO/DDP and PSM.
Photographers (or Videographers) taking publicity photos or documenting the production will not be permitted to include scenes with nudity or partial-nudity.
Performers will not, while nude, mix with the audience. The Theatre shall take necessary measures to insure that no member of the audience will be permitted backstage while any performer is nude.
If multiple performers are nude they are not permitted to touch each other. If the director would like the performers to touch preventative measures must be discussed and taken to prevent skin to skin contact.

Dance, Music, Theatre Nudity Consent Form