Student Handbook

DANCE STUDENT HANDBOOK

THE UNIVERSITY OF SOUTHERN MISSISSIPPI SCHOOL OF PERFORMING AND VISUAL ARTS 2021-2022

3 SCHOOL OF PERFORMING AND VISUAL ARTS Welcome...... 6 Dance Education emphasis area: Student General Information...... 8 Teaching...... 22 School of Performing & Visual Arts...... 9 Graduations & Celebrations...... 22 The Dance Program...... 9 Applying for Graduation...... 22 Dance Program Mission...... 9 End-of-the-Year Picnic...... 23 Bachelor of Fine Arts (BFA) in Dance (Dance Recruitment & Residencies...... 23 Education)...... 1o High School Dance Day...... 23 Bachelor of Fine Arts (BFA) in Dance (Performance Guest Artist Residencies...... 23 and Choreography)...... 1o Revelry...... 23 BFA Dance Degrees Learning Outcomes...... 11 British Studies in Dance...... 23 Faculty and Staff Contact Information...... 12 Advisement...... 24 USM Scholarships and Funding Opportunties...... 24 More about the Dance Program...... 14 Go Scholarship Application Process...... 24 Performance Opportunities and Ensembles...... 15 The Drapeau Center for Undergraduate Research..25 Freshman Company (DAN 220)...... 15 The Eagle SPUR Program...... 25 Performance Project (DAN 328)...... 15 The Drapeau Summer Research Grant Program..... 25 Repertory Dance Company II (DAN 324)...... 15 The DCUR Fund for Unanticipated Opportunities . 25 Repertory Dance Company (RDC/DAN 420)...... 15 Partners for the Arts Emerging Artist Award...... 26 RDC and RDCII eligibility...... 16 Dance Program Scholarships and Awards...... 26 Auditions for RDC and RDCII...... 16 Service Awards...... 26 Casting Auditions...... 16 Foundation Awards...... 26 Repertory Dance Company/RDC II/Performance Jim Clinton Award...... 26 Project Evaluation ...... 17 Department Special Scholarships...... 26 American College Dance Association (ACDA)...... 17 Outstanding “This and That” Awards...... 26 Dance Program Productions and Student Choreography...... 18 Dance Student Organizations and Junior and Senior Choreographic Projects Committees...... 27 Student Dance Organization (SDO)...... (DAN312/410)...... 18 28 USM National Dance Education Organization Adjudications/Showings...... 18 Mannoni Performing Arts Center/Studio 115 (NDEO) Student Chapter...... 28 Dance Student Advisory Committee (DSAC)...... Dance Concerts...... 19 28 SPVA Student Advisory Committee ...... Student Showcase...... 19 29 Dance Gala...... 19 Dance Program and Facilities Policies ...... 30 Production experience ...... 19 Retention Policy...... 31 Internships...... 2o Attendance Policy...... 31 Communication...... 2o Cell Phone Policy...... 31 Bulletin Boards...... 2o Food/Drink Policy...... 31 Town Hall Meetings...... 2o Dress Code Policy...... 32 Evaluations...... 2o Studio Use Policy (Weekly Rehearsal Schedule Sophomore Reviews...... 21 & Sign-up)...... 32 Annual Juried Assessments...... 21 Shared Spaces Policies...... 32 Oral Project Defense and Exit Interview...... 21 Indoor Spaces...... 33 Culminating Degree Projects...... 22 Faculty/Staff Office Spaces...... 33 Performance & Choreography emphasis area Senior Outdoor Spaces...... 33 Project and Thesis Writing...... 22 Public Safety Policy...... 33 Social Media Policy...... 34

4 TABLE OF CONTENTS Professionalism & Community Values Policy...... 35 Course Workload Statement ...... 51 Locker Check Out Policy...... 37 Grading Policies and Calculation...... 51 Student Petition Form...... 37 Speaking an Writing Centers...... 52 Academic Integrity Statement...... 52 University Resources and Statements...... 38 Office of the Registrar...... 39 Community Health Resources...... 53 Business Services...... 39 Massage...... 54 Financial Aid Office...... 39 Chiropractic...... 54 Parking ...... 39 Doctors...... 54 iTech Help Desk...... 39 Physical Therapy...... 54 Wireless Activation...... 39 APPENDIX A: Faculty biographies...... 55 Email Accounts...... 4o APPENDIX B: Dance Program form, CampusID and Password reset...... 4o course descriptions, and rubrics...... 63 Eagle Apps ID...... 4o Student Petition Form...... 64 Housing/Department of Residence Life...... 4o Course Descriptions...... 65 Office of Student Outreach and Support...... 4o Annual Jury Rubric...... 70 Office of Student Success...... 4o Repertory Dance Company Audition Rubric...... 71 Office of Leadership and Student Involvement...... 41 Repertory Dance Company Dancer Rubric...... 72 Office of Study Abroad...... 41 DAN 312/410 Quality of Work Rubric...... 74 University Police...... 41 Reflective Journal Rubric...... 76 Emergency Telephones...... 41 Modern Dance Exit Competencies...... 78 Payne Center...... 42 Ballet Exit Competencies...... 87 Moffitt Health Center...... 42 Student Counseling Services...... 43 APPENDIX C: Email Ettiquette...... 92 Resources for Students with Disabilities...... 43 APPENDIX D: Campus Map...... 95 Mental Well-Being Statement...... 44 Food Insecurity and Student Homelessness Statement...... 44 Non-Discrimination Statement...... 44 Academic Resources and Policies...... 45 FERPA...... 46 General Education Curriculum...... 46 Advisement...... 47 SOAR...... 47 Course Enrollment Statement...... 47 Add/Drop Information...... 47 Interim grades...... 47 President’s List...... 47 Dean’s List...... 48 Academic Standards...... 48 Academic Probation ...... 48 Academic Suspension...... 49 Transfer Credit ...... 49 Degrees with Honors...... 49 Student Conduct...... 5o

5 TABLE OF CONTENTS WELCOME

6 WELCOME Welcome to The Dance Program! his Handbook is to help you make the transition to being a Dance major at Southern Miss by providing you with information and Tresources you will need in the major. This Handbook has answers to your questions! Our goal is for your college years to be a success, so let this guide help orient you to your new home. Cheers to the next four years of exploration, creation, learning, and performing.

7 WELCOME GENERAL INFORMATION

8 GENERAL INFORMATION SCHOOL OF PERFORMING & VISUAL ARTS: ation of Schools of Dance (NASD.) he School of Performing and Visual Arts (SPVA) The challenging and intensive four-year dance major houses the Dance Program. At USM, the program is grounded in a comprehensive curriculum Dance Program is part of a larger school that of dance technique (ballet and modern), choreogra- Tincludes the Art & Design Program and the Theatre Pro- phy and performance. The dance education emphasis gram. Each program functions independently in many is designed to provide students with the credentials ways with program coordinators who oversee each area. necessary to teach dance in the Mississippi public school All the disciplines come together as a school administra- system. Course offerings include dance appreciation, tively under the leadership of the school Director. The 20th century dance forms, improvisation, composition, Director and Program Coordinators, in partnership with somatics in dance, dance in technology, music analysis the Administrative Specialists, faculty and Professional and choreographic applications, methods of teaching Staff, coordinate all artistic, performance/production, P12, Labanotation, junior choreographic project, senior academic, and instructional activities. The overall con- choreographic research project, student teaching, dance text for the work in Art & Design, Dance and Theatre, internship, freshmen repertory dance company, reper- is that all programs are both academic and producing tory dance companies I & II, dance production, modern, units.We not only teach subject matter, but provide a ballet, jazz and tap techniques. bridge for students to use and apply their knowledge USM students may elect to minor in dance by partic- by creating art, and by so doing, mature in their under- ipating in a selected course of study within the dance standing of our art forms. Work in classroom and labs major curriculum. enriches work in studios, galleries, rehearsal halls and theatres; and in a reciprocal manner, the art we create DANCE PROGRAM MISSION: with our students enriches and furthers the teaching The mission of the Dance Program at The University and learning in the School. of Southern Mississippi is to provide students with a comprehensive, individualized and rigorous study of THE DANCE PROGRAM dance. Through mentoring and attentive faculty-student The USM dance major program was the first program interactions, we aim for our students to be skillful and in Mississippi to offer the professional Bachelor of Fine knowledgeable performers, choreographers, licensed Arts (B.F.A.) degree in dance. It is the only program in dance educators and advocates. Our graduates will the five-state region that offers a dance education P12 experience dance as an artform and as a career path. emphasis. The University of Southern Mississippi is an We combine technique, dance theory courses, choreo- accredited institutional member of the National Associ- graphic and performance opportunities, and teaching experiences to engage students in creative and critical

9 GENERAL INFORMATION thinking, preparing them to successfully participate in BACHELOR OF FINE ARTS (BFA) IN DANCE the field of dance with conviction and integrity. Just (PERFORMANCE AND CHOREOGRAPHY): as we commit to our students, we are committed to This professional undergraduate degree prepares grad- bringing dance experiences to our community through uates to enter the profession as performers and/or cho- performance and education. reographers. It is intended for students with prior dance training and experience and with potential and aptitude BACHELOR OF FINE ARTS (BFA) IN DANCE to progress to the advanced technical level and meet (DANCE EDUCATION): requirements for the B.F.A. degree. The B.F.A. degree at The Dance Education Dance degree is a licensure USM is built upon the idea of providing students with program where students graduate licensed to teach in a range of appropriate skills and experiences that will publics school P12. Dance majors who seek a degree enable the graduates to be successful artists in the field. in licensure will officially declare this as their major in As stated on the USM website: “The challenging and their junior year after having earned their “Gold Card” intensive four-year dance major program is grounded in for completing all GEC coursework, achieving a 2.75 a comprehensive curriculum of dance technique (ballet USM overall GPA, and scoring a 21 (composite) on their and modern), choreography and performance.” Students ACT. This signals official acceptance into the licensure study dance from many additional perspectives, includ- program. There is extensive coursework in Dance Edu- ing historical, theoretical and cultural and are asked to cation and professional education pedagogy coursework, integrate and synthesize their experiences in ways that with two final culminating student teaching experiences are relevant to the field and meaningful to themselves. (for a semester). http://catalog.usm.edu/preview_program.php?ca- This professional undergraduate degree prepares gradu- toid=24&poid=11298 ates to enter the profession as licensed P12 dance educator. It is intended for students with prior dance training and experience who possess the potential and aptitude to meet the requirements for a B.F.A. degree. http://catalog.usm.edu/preview_program.php?ca- toid=24&poid=11726&returnto=1447

10 GENERAL INFORMATION BFA Dance Degrees Learning Outcomes:

• Students are able to articulate the dance ex perience and situate creative works by themselves and others in the larger field of dance both theoreti- cally and aesthetically. • Students apply broad knowledge and experiences to dance-making and demonstrate a developed sense of what constitutes a serious work of dance with coherent and embodied goals and ideas. • Graduates are prepared to successfully participate in the dance field as performers, choreographers, graduate students and/or scholars, and/or licensed dance educators. • Students are able to perform 400-level (advanced level) exit competencies in dance technique. A minimum of two semesters of DAN 402 (advanced ballet technique) is required. A minimum of two semesters of DAN 401 (advanced modern technique) is required. • Students display an integrated and comprehensive knowledge of the dance field -- historical, cultural, theoretical and aesthetic, practical and pedagogic.

11 GENERAL INFORMATION FACULTY CONTACT INFORMATION Kelly Ferris Lester Faculty office hours are posted in syllabi and outside Professor Of Dance their offices each semester. If you cannot meet during 601-266-5888 the faculty member’s office hours, you may make an [email protected] appointment. IC 319

Stacy Reischman Fletcher Katherine Moore Director and Professor of Dance Assistant Teaching Professor of Dance 601-266-4995 601-266-4154 [email protected] [email protected] TAD 201E TAD 206

Julie Hammond Dr. Candice Salyers Professor of Dance Assistant Professor of Dance 601-266-4162 601-266-4154 [email protected] [email protected] TAD 207 TAD 206

Brianna Jahn Lauren S. Smith Assistant Professor of Dance, Assistant Teaching Professor of Dance Dance Program Coordinator 601-266-6451 601-266-6453 [email protected] [email protected] TAD 209 TAD 212

12 FACULTY CONTACT INFO Sandra Whittington Administrative Specialist 601-266-4161 [email protected] TAD 201A

13 FACULTY CONTACT INFO MORE ABOUT THE DANCE PROGRAM

14 MORE ABOUT THE DANCE PROGRAM PERFORMANCE OPPORTUNTIES AND EN- II includes learning, collaborating, and performing in SEMBLES faculty or senior dance major’s choreographic works. Freshman Company (DAN 220) The class is attending rehearsals and maintaining pro- DAN 220/Freshman Repertory is taken in dance majors’ fessionalism. RDC II dances are featured in the spring first semester. It is a structured rehearsal process that semester Student Showcase. This company is also leads to a public performance. At the completion of historically the ensemble that tours to schools for any this course students will have a better understanding outreach performances. of the creative process and program expectations for Repertory Dance Company (DAN 420) professionalism. In DAN 220, students are members of The USM Repertory Dance Company (RDC) provides the “Freshman Company” and work in rehearsal with a an opportunity for dance majors to gain valuable per- faculty member as they set a new modern dance on the formance experience and to become further prepared incoming class. Students will become better performers for professional careers in dance. RDC is built on the through this process and be exposed to the collaborative rigorous expectations of the professional field in the nature of modern dance choreography. We also hope areas of skills, knowledge and professionalism required. that this experience prepares students to successfully RDC performs in all major dance program concerts and audition for the Repertory Dance Company. The Fresh- works with faculty, student, and guest choreographers. man Company performs excerpts of their dance at High All dance majors and minors (except for first-semester School Dance Day and the entire dance at the December returning students, and dance education majors who are Dance Showcase. student teaching) audition each semester for ensemble Performance Project (DAN 328) placement (which includes RDC, RDC II, and Perfor- Performance Project is offered in the fall. This performance Project). Performance/choreography majors are mance ensemble works with dance faculty and/or guest required to be accepted into company for a minimum of artists in the creation of a new dance that is performed four semesters and dance education majors are required in the Student Showcase. Students are placed in either to be accepted into company for a minimum of two se- Performance Project or the Repertory Dance Company mesters. If a student is not placed in the company by the after fall auditions. fall of their junior year, he/she will be asked to meet with dance faculty for consultation and assessment. Repertory Dance Company II (DAN 324) “RDC II” is a performance ensemble offered in the spring. Students are placed in either RDC II or the Repertory Dance Company after a spring auditions. RDC

15 MORE ABOUT THE DANCE PROGRAM RDC and RDCII eligibility Casting Auditions All dance majors are eligible to audition for RDC/RDCII/ Casting auditions for RDC take place the day following Performance Project beginning in the second semester RDC auditions. All dance majors who are placed in RDC of study as a dance major. Students must also maintain are required to attend casting auditions. Dancers should an unweighted 2.5 GPA in dance courses in the previous arrive early, dressed and warmed up. At casting audi- semester to be eligible. tions, student and faculty will teach dance phrases and then observe the dancers in groups. Following the au- Auditions for RDC and RDCII dition, the student and faculty choreographers meet to Auditions for RDC/RDCII/Performance Project are held cast dancers based on the audition. Dancer availability on either the second day of class each semester or in the is critical to this process. We attempt to manage student last week of the previous semester and are led by the rehearsal obligations against ecpectations for rigor and RDC Director. All eligible dance majors are required to growth and for this reason, the guidelines below apply: attend. We suggest arriving early to warm-up and sign- in, and to dress in proper dance attire with hair pulled • RDC/RDCII members may be cast in up to out of face. The auditions include five main sections: three works. footwork/coordination combination, ballet technique • Student choreographer RDC members may be cast combination, locomotor/weight/floorwork combination, in up to two works. improvisation/collaboration combination, and profes- • Apprentices may be cast as an apprentice in up to sionalism. (See Repertory Dance Company Audition three works. In some instances, apprentices may be Rubric in Appendix C). cast as a full company member in up to one work and then they may apprentice up to two works. Ap- Results of auditions are posted the same day as audi- prentices may not be promoted to a full cast mem- tions. Dance majors may be placed into RDC as full ber once he/she is cast as an understudy. company members or as apprentices. The same high expectations are maintained for both. All RDC members Repertory Dance Company/RDC II/Performance attend the casting audition on the following day. If a stu- Project Evaluation dent is cast in RDCII, this company’s casting auditions The rubric we use to evaluate dancers in their rehearsal are on the Friday of the first week of classes. If a student and performance processes is located in Appendix C. is placed in Performance Project, they meet with their You can see in the rubric that we value more that the choregrpher at the next scheduled rehearsal time. “final performance” and that we are concerned with how a student engages in the creative process. Each faculty and student choreographer submits a rubric for each

16 MORE ABOUT THE DANCE PROGRAM dancer in his/her choreographic work. These scores are Here is information about ACDA from www.ACDA.org : reviewed and approved by the RDC Director and appro- The American College Dance Association’s primary priate faculty. The scores from each piece are a major focus is to support and promote the wealth of talent component of the final grade earned in RDC. and creativity that is prominent throughout college and university dance departments. ACDA’s sponsorship of AMERICAN COLLEGE DANCE regional conferences and the national dance festival ASSOCIATION (ACDA) provides the venue for students and faculty to engage Each year the USM dance program attends ACDA. in three days of performances, workshops, panels, and During the conference, students meet other dancers, master classes taught by instructors from around the take master classes, attend dance concerts (featuring region and country. The conferences also provide the other college students and professional dancers/compa- unique opportunity for students and faculty to have nies), etc. The dance faculty chooses three choreograph- their dance works adjudicated by a panel of nationally ic works to represent the USM Dance Program. Student recognized dance professionals in an open and construc- choreographers may submit applications to have their tive forum. Culminating with the presentation of pieces work considered. Two of the three works will be in the selected for their exemplary artistic quality, the confer- adjudicated concerts, where we can have one faculty ences are the primary means for college and university work and one student work OR two student works. dance programs to perform outside their own academic The adjudicated works receive feedback from three setting and be exposed to the diversity of the national dance professionals. The dance faculty also chooses one college dance world. choreographic work for the informal concert. This can be a student or faculty choreographed work. The entire conference is a wonderful opportunity to meet other collegiate dancers and try out new dance styles. Any student may attend. Dancers are financially responsible for registration fees (approximately $115), hotel, travel, and food costs. Information meetings will be scheduled to go over the details for attendance. Information is also posted on the general information bulletin board.

17 MORE ABOUT THE DANCE PROGRAM DANCE PROGRAM PRODUCTIONS AND Adjudications/Showings STUDENT CHOREOGRAPHY The Dance Program holds at least three adjudications. Junior and Senior Choreographic Projects (DAN showings each semester. These are times for the entire 312/410) dance program to gather and view works-in-progress for In DAN 312/410 junior and seniors choreograph new the USM dance concerts. All dance majors are required dances. Junior and Senior Projects are designed so that to attend all adjudications and showings (which typi- students can synthesize their compositional and re- cally are scheduled during the Weednesday afternoon hearsal experiences and apply their dance-making train- Town Hall meeting time). Absences negatively impact a ing in the creation of an original, well-developed work of student’s grade. independent choreography. Students here demonstrate At adjudications and showings, student and faculty cho- the basic knowledge, skills, and traits of an effective choreographers introduce their works with a title, music, reographer, building on the extensive work explored in cast size, special technical needs, and requests for feed- the pre-requisite composition series. Because success- back. Then students and faculty fill out sheets of paper ful contemporary choreographers must do more than with feedback for the works-in-progress. These sheets simply create in the studio, this course includes assign- are collected by the DAN 312/410 instructor, and then ments to contextualize the choreographer’s work in the feedback is given to the student choreographers in an larger dance field and to develop leadership skills. The anonymous format. Giving feedback is an integral part final creative process and dance work should evidence of your dance studies and an important part of the cho- the beginnings of a personal and informed artistic per- reographic process. We will remind you to be thoughtful spective and strong choreographic abilities. and constructive in the feedback that you offer. DAN 312/410 includes a long-term choreographic pro- Adjudications also serve as a way to select works for cess, writing assignments, in-class “workshopping” of the two Dance Program concerts each semester. The material, and class discussions. Through this lab style dance faculty evaluates and scores student works using a approach, students learn to articulate conceptual and rubric addressing cohesiveness, craft, and performance. kinesthetic elements of their dances and to give and Then they discuss the scores to make a decision about receive effective feedback, as well as experience multiple the appropriate venue and timeline needed for students and varied ways of creating dance. Student projects are to achieve the intentions of their choreographic works. shown to the full Dance Program periodically through- Our goal is to support the student choreographers out the semester. In these settings, feedback is shared in their process and guide them towards success of a from students and faculty. well-developed and cohesive junior or senior project. “Concert placement” is announced the same day as

18 MORE ABOUT THE DANCE PROGRAM adjudications. Of note: we refer to “Showings” as the May Student Showcase. Tickets are $1 at the door. This second round of sharing works-in-progress thatbhappen concert is always a sell out! once caoncert placement is decided. Dance Gala Mannoni Performing Arts Center/Studio 115 Dance Each February as part of the School of Performing & Concerts Visual Arts REVELRY, the dance program produces the The USM dance program produces at least two full Dance Gala. This concert takes place on the Mannoni concerts each semester. All concerts feature student and Performing Arts Center stage in the middle of campus. faculty choreography performed by RDC. (The Dance This large, proscenium theatre provides an opportunity Gala, mentioned below, include a wider range of perfor students to experience dancing for larger audiences formers). Our regular theatre is the Theatre and Dance and with artists from the community. The Dance Gala is Building Studio 115, and the performances in this space meant to showcase not only dance majors, but guest art- are referred to as the “TAD Concert.” ists, alumni, regional high schools, the community, and During the COVID pandemic, we construct- local studios. The program is usually a variety of styles ed an Outdoor Stage that is available for Dance that are not always seen in our TAD 115 productions. Program performances. Production experience Tickets for the Dance concerts are $15 for general public All students enroll in DAN 320: Dance Production in admission, $10 for faculty, staff, seniors and military, their first semester as a dance major. Understanding and $6 for students. Each concert is livestreamed once production and being a part of “the crew” is integral to a during each run. This means your family and friends student’s dance studies and experience in our program. from homw can see you dance! To purchase tickets in In production, students work as stage managers, assis- advance, visit www.southermisstickets.com or purchase tant stage managers, light/sound board operators, gel at the door. changers, wardrobe assistants, house managers, ushers, Student Showcase etc. Many graduates rely on skills and experiences from The Student Showcase is produced at the end of each their USM production crew time when producing their semester by the Student Dance Organization. To show work in the “real world” and school. choreography, the choreographer must be an active member of SDO. Faculty may also choose to show class projects in this concert. The Freshman Company and Performance Project present their work in the Decem- ber Student Showcase. RDCII presents dances in the

19 MORE ABOUT THE DANCE PROGRAM INTERNSHIPS Starting in 2021, we will be moving school and program In the Dance Program we believe that experiencing communicaitons to an electronic format. Students will dance outside of our program and/of off campus is be provided login information to a virtual callboard and critical in a student’s artistic development and educa- have access to all Town Halls, rehearsal updates, call tion. For this reason, all dance majors are required to times, Revelry events, etc. complete an internship to graduate. You will work with Town Hall Meetings your adviser to identify and develop an internship that At the beginning of every semester, the dance program matches your interests. Students set up internships holds a Town Hall meeting. This meeting, scheduled based around technical and artistic training, arts ad- on the first day of class, covers events for the semester, ministration, teaching dance, production, etc. Intern- the dance calendar, policies, President’s and Dean’s list ships are a perfect way to connect your studies at USM announcements, guest artist’s residencies, and more. with your endeavors after graduation. The options are All dance majors are expected to attend. We also hold endless! British Studies in Dance also satisfies the dance additional Town Hall meetings throughout the semes- internship requirement. ter. These cover special topics, such as nutrition, injury prevention, internship presentations, etc. If you have a COMMUNICATION suggestion for a town hall meeting topic, speak to your Bulletin Boards DSAC (Dance Student Advisory Council) representa- The bulletin boards are an important means of com- tive. In setting up your schedule for the smester, you munication in the dance program. We have two main will know in advance the dates of Town Hall meetings boards outside of the dance studio. One is for general so that you can hold the time. (They are usually held on information and may have notes about advisement, Wednesday afternoons, the same time as Adjudications Dance Student Advisory Committee (DSAC) student and Showings). representative meetings, workshops, American College Dance Association (ACDA) conference attendance in- EVALUATIONS formation, course announcements, etc. The other board As a dance major, you are joining a community rich with features the Weekly Rehearsal Schedules and specific feedback. In the Dance Program, we see feedback as the information about performances and the USM National main way to address student growth and guide them Dance Education Organization (NDEO) student chapter. towards success and accomplishment. You will receive The Student Dance Organization (SDO) board is outside feedback in all of your classes, likely at every class ses- Studio 117. CHECK THESE BOARDS OFTEN! sion, and it will come in a varity of forms, including

20 MORE ABOUT THE DANCE PROGRAM written, verbal, tactile, and experiential. You will also Juried Assessment Rubric is located in Appendix B. practice and become accomplished in giving feedback! Oral Project Defense and Exit Interview Sophomore Reviews At the end of the senior year, dance majors complete Sophomore Reviews are held in the fall semester of a an exit interview and oral defense of either their the- student’s sophomore year. Sophomores meet with the sis (Performance/Choreography students) or student dance faculty to discuss their technical and artistic prog- teaching culminating assignments (Dance Education ress towards graduation. This is an opportunity for you students). Each graduating senior will meet with the to sit with the entire faculty and receive feedback on all Dance Program Coordinator, their advisor, and another coursework and voice your own questions or concerns. dance faculty member. For Performance/Choreography This review is meant to check-in with dance majors and majors, the dance faculty will have read your thesis and help guide them towards success. We hold these reviews formulated questions based on their reading. The thesis in your third semester because we know this semester writer (you, the student!) will respond to questions and is full of new experiences in the studio and we want to “defend” what was written. (Don’t worry, at this point check in that you’re comfortable and confident in the you are the expert on what you’ve written). For Dance program. Following the meeting, you will receive a writ- Education majors, the dance faculty reads your submit- ten summary of the feedback. ted reflections and lesson plans and formulates questions in regards to your student teaching experiences. Annual Juried Assessments The exit interview portion serves as a final checkpoint in Every year dance majors are required to complete the dance program; It allows you time to reflect on your annual juried assessments. You might hear these called time at USM and share with faculty. Students will also “juries.” Freshmen and seniors are assessed in the fall; share post-graduation plans during the interview. The sophomores and juniors in the spring. You will show a oral defenses and exit interviews evidence dance majors’ final phrase from you ballet and modern technique class growth in the program and readiness for the dance pro- (that you’ve rehearsed and been coached on in class fession. They are often also quite celebratory. with your professor). Faculty give students individual written feedback based on demonstrated technique and performance in these juries in order to inform progress and goal setting for the upcoming year. Juries happen during the last week a rare opportunity for you to have the undivided attention of the full faculty who are there with the goal of helping you be your best. The Annual

21 MORE ABOUT THE DANCE PROGRAM CULMINATING DEGREE PROJECTS ing/Mentor Teachers (at the schools) and a USM dance Performance & Choreography emphasis area: Senior faculty member who is their supervisor. Student teach- Project and Thesis Writing ers submit a portfolio of work for each placement and must earn a “C” in both experiences to graduate. The Performance and Choreography majors will create a new successful completion of DED 460 and DED 461, along choreographic work or deeply investigate performance with the taking of the Praxis II (PLT) exam constitutes in the fall semester of their senior year. This creative the earning of P12 Dance Education Licensure in the work or performance is produced in a fall concert. state of Mississippi. While this may seem daunting, but Students then write a thesis during their final spring the time you get to your last semester, you are prepared semester. This thesis is an extension of research started through the course and practical expericens you’ve had in your Senior Project class (DAN 410) and completed in along the way. your Capstone Experience in Dance course (DAN 491). The thesis is an thoughtful and critical consideration of GRADUATION & CELEBRATIONS your senior choreographic project in terms of process and final product. It also includes contextual research to Applying for Graduation put your work in perspective of the dance field. Faculty One semester before graduation, students must apply mentor you through this entire process that spans two to graduate. Undergraduate students will complete the semesters and three courses. application form by logging into SOAR and navigating to the Student Center. Select Application for Graduation Dance Education emphasis area: Student Teaching in the drop-down list of options under Academics. This Student teaching takes place in the spring of one’s form must be filled out online senior year and is comprised of two eight week place- An audit to make sure you are set to graduate will be ments in schools – elementary (DED 460) and second- performed prior to the start of the graduation term list- ary (DED 461). Student teaching is approved through the ed on your application. Undergraduate applicants will be successful completion of all general education, dance contacted by the Dean’s Office via a Preliminary Audit education, and professional education coursework along Letter which will be emailed to your USM account. You with the submission of a student teacher application should review the materials sent as soon as they are re- and attendance at mandatory orientation meetings. ceived and contact the Program Coordinator regarding Placements are made by faculty in the dance program any questions you may have regarding the audit. Note: and are approved and finalized by USM. Student teach- Late fees are applied for undergraduate students filing ing involves a diversity of assignments, but primarily after the published deadline. classroom instruction, management, and assessment. Student teachers are evaluated by both their Cooperat-

22 MORE ABOUT THE DANCE PROGRAM End-of-the-Year Picnic encourage students to submit requests for guest artists At the end of the spring semester, the Theatre and through their DSAC representative. Dance Programs host an annual picnic. This social event is a celebration of the academic year’s work. To kick REVELRY off the picnic, the faculty, staff and students gather to Annual, multi-arts event celebrating the artistic work of announce awards and scholarships for the coming year. faculty and students in the School of Performing and Vi- The school typically provides the main course for the sual Arts at Southern Miss, which boasts over 50 events. picnic and then faculty, staff, and students bring their Each spring, special programming of artistic and cre- favorite side dishes, drinks, and desserts. Look for sign- ative activities include master classes, workshops, guest up sheets near the end of the spring semester. and visiting artists, family-friendly events, and formal productions. Revelry is an opportunity for the programs RECRUITMENT AND RESIDENCIES in the School of Performing and Visual Arts, including High School Dance Day Art & Design, Dance, and Theatre, to collaborate and High School Dance Day (HSDD) is an event hosted by build community within the School and throughout Hat- the Dance Program for High School students. On this tiesburg. As a student you will have the opportunity to day, high school students meet dance faculty, watch an engage in new artistic experiences during the two weeks informal dance concert (featuring the Freshman Rep- of Revelry. ertory Dance Company in the fall), take technique and https://artdesign.usm.edu/revelry/ improvisation classes from dance faculty, and attend the Dance Program concert in the evening. Current BRITISH STUDIES IN DANCE dance majors serve as demonstrators, ambassadors, and The Dance Program participates in the British Studies performers during this event. We all get very excited to program every other summer. Led by dance faculty meet new dancers on HSDD. member Stacy Reischman Fletcher, students travel to London for a month to explore and experience dance, Guest Artist Residencies art, and culture. The expereicen is transformative. Upon The Dance Program regularly hosts guest artist residen- their return, the Dance Program produces a British cies. Residencies vary in terms of size; some may include Studies concert where students who traveled to London master classes, while others may also include setting a share their artisitic work stemming from their experi- dance on majors and/or performances by the artists. The ences abroad. Scholarships are available and Prof. Stacy dance faculty decides which artist to host based on the Reischman Fletcher is happy to talk about the program relevance to our over goals and missions. We also at any time.

23 MORE ABOUT THE DANCE PROGRAM ADVISEMENT USM SCHOLARSHIPS AND FUNDING The University Advisement Center provides holistic OPPORTUNITIES guidance to all first-year students to help them learn There are many, many opportunities at USM for majors how to navigate SOAR and their degree plan, understand to defray the cost of their educaiton and to create more University policies and holds, and learn about resources possibilities for their creative work. that can support their academic success; the Center also provides walk-in support to any Southern Miss stu- GO Scholarship Application Process dent with questions or interest in changing their major. The first step to getting a scholarship is applying https://www.usm.edu/advisement-center/about.php through the GO Scholarship portal! The University of Southern Mississippi Foundation recognizes the impor- The School of Performing & Visual Arts advisor tance of a quality education and is dedicated to helping through the University Advisement Center is John students at Southern Miss find a way to achieve their Faulconbridge. higher education goals. [email protected] How to apply for scholarships: 601.266.5221 • Click on the gold button below to access the Golden Office: LIB 203P Opportunities System. After orientation, Freshman are also assigned a • Sign in to the scholarship application system using Faculty Mentor from your major, and you are encour- your Campus ID and SOAR password. aged to reach out to your mentor with any questions • Complete the application. prior to meeting with the University Advisement • If a scholarship is awarded, complete the acceptance Center. Your mentor will become your advisor after process. your Freshman year. All students must meet with their Students will be matched with scholarships for which faculty advisors at least once a semester during the they are eligible and will receive an email when a schol- advising period to review their degree progress and plan arship has been offered. Eligible students must be either for future semesters. You will discuss classes for the currently enrolled or accepted for admission with plans upcoming semester. This is necessary to remove your to attend The University of Southern Mississippi for the advising hold – aka, you cannot enroll without it! 2021-22 academic year. Please send questions to: [email protected]

24 MORE ABOUT THE DANCE PROGRAM The Drapeau Center for Undergraduate Research The Drapeau Summer Research Grant Program The Drapeau Center for Undergraduate Research • Supports undergraduate students’ full-time research (DCUR) at Southern Miss supports all aspects of under- or creative activity during the summer (at least eight graduate research and creative activity. There are many weeks) at Southern Miss. opportunities for Southern Miss undergraduate students • Awardees receive a $4,000 summer stipend and may to get involved in research, creative or other scholarly request up to $1,000 additional funding to support activities, find funding for these activities, or share their their project. work on campus and beyond. Dance students have often • Typically, one or two summer grants per year are benefited from these generous awards, so make sure to awarded, depending on available funds. check them out! • Learn more about the application process and https://www.usm.edu/undergraduate-research/ download required forms. drapeau-center.php • Application deadline: March 15. Application portal opens February 1. The Eagle SPUR Program • Supports undergraduate student research and The DCUR Fund for Unanticipated Opportunities creative activity with grants of up to $1,000 for Have you learned about an opportunity after the dead- one- or two-semester projects and a travel supple- line for a Drapeau Center for Undergradaute Research ment (if applicable) of up to $500. Travel funds (DCUR) grant competition has passed? DCUR may be may be used to present at a conference, perform able to offer limited financial support for a presentations at a show, visit an archive, etc.. Project fund can at a conference or participation in a prestigious com- be used for equipment, supplies—anything that petition, attendance of a workshop or master class that allows you to devote time to your creative work. will advance your work, realization of an invited exhibit, • Learn more about the application process and performance or choreography, or visits to collaborators download required forms . and other travel that is important for your creative work. • Fall Application Deadline: October 15 for spring Funds are limited and available on a first-come/first- and summer projects; Application portal opens served basis. Fill out the at Unanticipated Opportunities September 1. Grant Application. • Spring Application Deadline: March 15 for sum- Application deadline: Continuous. mer and fall projects; Application portal opens https://www.usm.edu/undergraduate-research/ February 1. dcur-funding-opportunities.php

25 MORE ABOUT THE DANCE PROGRAM Partners for The Arts Emerging Artist Award Jim Clinton Award Every spring, the USM Partners for the Arts awards This award is for summer study at a festival, conference, funding to support an “Emerging Artist.” This funding workshop, or British Studies in Dance. Students apply can be used towards materials, equipment, travel, or for this award in the spring semester. This award ranges professional development. The application is easily from $200-$1800. completed and you can ask the program coordinator for deadlines and links to the application. Departmental Special Scholarships Departmental Special Scholarships are awarded by the DANCE PROGRAM SCHOLARSHIPS AND dance faculty for talented and needy students. These AWARDS awards range from $1500-$8000. Applications are sub- Service Awards mitted each semester with award being made for the fall The dance program offers service awards to students and spring semesters or the spring semester only. who submit a successful application. Applications are Outstanding “This and That” Awards accepted in the spring for the following academic year. Outstanding This and That awards are faculty chosen Service awardees are assigned tasks within the dance awards to recognize the hard work of our majors. They program that include: setting up the lobby display for include Outstanding Freshman, Sophomore, Junior, concerts, cleaning out costume storage, coordinating Senior, Dance Educator, Service Awardee, Production, the sale of USM dance t-shirts, assisting with duties for and Thesis. (Sometimes there are more!) awards are guest artist residencies, etc. These awards range from announced at the Theatre and Dance Programs picnic at $100-$500. the end of the spring semester.

Foundation Scholarships Foundation Awards are our named scholarships chosen by the dance faculty. These awards range from $200- $1000. Awardss are based on academic standing, need, and/or eligibility. To be eligible for a foundation scholarship, students must apply online at: http://www.usmfoundation.com/s/1149/foundation/index.aspx?sid=1149&gid=1&pgid=924

26 MORE ABOUT THE DANCE PROGRAM DANCE STUDENT ORGS & COMMITTEES

27 DANCE STUDENT ORGS & COMMITTEES Student Dance Organization (SDO) access to the Dance Education Literature and Research The Student Dance Organization provides services to descriptive index (DELRdi). the Department of Dance and surrounding areas, and To join the USM NDEO student chapter, attend the promotes the combined and individual interests in the general information meeting at the beginning of the fall achievements of the performing arts. It strives to be semester and pay national dues of $40. advocates of dance in education, culture, and community. SDO houses the National Dance Education Orga- Dance Student Advisory Committee (DSAC) nization (NDEO) and the National Honors Society for DSAC is comprised of one representative for the fresh- Dance Arts (NHSDA). SDO offers a community to dance man, sophomore, junior, and senior classes, with an majors and those interested in dance by organizing additional representative for the dance education ma- welcoming events, the Student Dance Showcase, and jors. Sophomore, junior, senior, and dance education involvement with the greater campus and Hattiesburg representatives are elected during the first town hall community. Students involved in this organization pay meeting of the fall semester. The freshman represen- annual dues of $10. tative is elected a few weeks into the semester during DAN 220/Freshman Repertory to allow some time for USM National Dance Education Organization the incoming class to meet each other. DSAC repre- (NDEO) Student Chapter sentatives meet with the Dance Program Coordinator The National Dance Education Organization (NDEO) monthly. The representatives collect and share the is a non-profit membership organization dedicated to persspectives and concerns of their classmates. Topics the advancement and promotion of high quality edu- generally include curriculum, dance policies, and many cation in the art of dance. USM dance program hosts a ideas to make the USM dance program better. We value NDEO student chapter. The student chapter provides this means to gathering student persoective as we a community for all dance majors to discuss dance and make decisions in the program. dance education advocacy. Each year two co-chairs and a secretary are elected to lead the USM NDEO student chapter. The chapter provides a picture of the week on the bulletin board, meets monthly or bi-monthly, host small scale in-house workshops, and more. As a member, students receive discounts to national conferences, access to online forums on a variety of dance topics, a network base within the profession of dance, discounts on NDEO publications and teaching resources, and

28 DANCE STUDENT ORGS & COMMITTEES SPVA Student Advisory Committee This student committee includes student representative from each program in SPVA: two undergrad each from Art & Design, Dance, Theatre, and one graduate representative from Theatre. This committee is advisory to the Director, and representatives are not voting members of any existing or planned faculty committee. Meetings are twice a semester in weeks 1 and 12. Student representative should be those who are committed to studying art, design, dance, and theatre at USM and who are invested in our programs. This committee is not intended to be a grievance committee or to usurp existing processes for student concerns. The committee serves an important role as programs and the school make long term decision. Membership is elected. Terms are for one year. In dance, an annual call for nominations will be made in March of the previous year for two student representatives to serve a one-year term. Students will be asked to self-nominate and answer a few questions generated by dance faculty and the SPVA director based on the responsibilities of the position and in support of their application. The dance faculty will review all applications and select student representatives during an April faculty meeting. The students will be notified before the end of the spring term of their appointment as well as the bi-annual meeting dates for the following year.

29 DANCE STUDENT ORGS & COMMITTEES DANCE PROGRAM & FACILITIES POLICIES

30 DANCE PROGRAM & FACILITIES POLICIES The Dance program has many in-house policies that help us to a B, B to a C, etc.) Based on the discretion of the in- manage the many pieces of the student experience. They are structor, missing class for intradepartmental conflicts listed below and you can see that they range from academic may be deemed excused. Three late arrivals or early to social. You will also see below that we maintain two ded- exits will count as one absence. If the student arrives icated dance studios: TAD 115 and TAD 117. The studios are 10 minutes after a technique class has started, they will for use only by dance majors, which explains why we have be required to observe An observation equals one half policies to assure proper usage and care. an absence.

Retention Policy Cell Phone Policy To remain in the B.F.A. program, a student must main- Cell phones are not permitted in class or rehearsal. tain a 2.75 GPA in all dance courses, regardless of During technique class, cell phones should be placed emphasis area. A student must retake any dance course with personal belongings in your acssigned locker. You in which the grade earned is a D or lower. Students must are not to check text messages or answer phones during maintain a 2.5 GPA in dance courses to be eligible for the class periods. If you have an EMERGENCY situation, USM Repertory Dance Company. A student who fails to then you should check with your instructor or choreog- maintain the required GPA will have one probationary rapher about how to handle the situation. Check syllabi semester to bring up grades to an acceptable GPA. A in course for more specific protocol (i.e. in some cours- student whose grades do not improve after probation es answering the phone or text messaging in class will will not be allowed to enroll in additional dance courses result in a deduction of points or count as an absence above the 100 level. for that class).

Attendance Policy Food/Drink Policy If a class meets three days a week, the student is per- No food is allowed in the dance studios or TAD 124 mitted three absences for the entire semester. If a class (the classroom). You may have water, but it must be meets two days a week, the student is permitted two in a container that will not spill if it is tipped over. absences for the entire semester. More than the allotted Students may eat in the lobby between studio 117 and absences will affect the student’s grade. These absences rehearsal hall 118. can be for any reason, but the student does not get “ex- tra” absences if they are sick and have a doctor’s note. In other words, if the student misses class more than two/ three times, for any reason, the student’s existing grade will be dropped one full letter grade for each absence. (A

31 DANCE PROGRAM & FACILITIES POLICIES Dress Code Policy gram events. If you wish to use the studio space, please Wearing required dance attire allows faculty to of- sign your name in an open slot after the schedule is fer valuable feedback to the dancer about alignment, posted. It is a first come, first serve policy. When you are placement, connectivity, etc. that keeps instruction safe, in the space, please respect it by taking off your shoes at individualized, and challenging. In ballet, the dancer the door and keeping music at a reasonable volume (see is expected to wear a leotard or well fitted t-shirt and shared spaces policies). tights as well as shoes (black or pink, canvas or leather – no pointe shoes). In modern, jazz, tap, cultural, Shared Spaces Policy The Theatre and Dance programs share the TAD build- and contemporary technique classes, the dancer can ing and many of its spaces. We share a common bond as wear the above attire, or yoga pants. Socks and dance artists and a common goal of educating and making art shorts are permitted via individual instructor approval. to share with the public. As faculty, staff, and students In all dance classes, the dancer should wear supportive in theatre and in dance, we share spaces and extend undergarments as is appropriate and needed (i.e. dance courtesy toward our fellow artists. Both programs share belt, sports bra). Hair must be secure and off the face. a busy schedule of rehearsals, paid performances, show- Jewelry should be kept to a minimum with nothing that cases, and classes. Because we share a building, we have is distracting or interferes with the safe and full execu- to be aware of these important events and show cour- tion of movement. Warm-up attire is also permitted via tesy toward our fellow artists. We give priority in this individual instructor approval and/or when colder studio order unless otherwise arranged: 1) performances, 2) temperatures occasionally occur. showcases, 3) final dress rehearsals, 4) dress rehearsals, Studio Use Policy (Weekly Rehearsal Schedule 5) technical rehearsals. If two groups are rehearsing op- & Sign-Up) posite each other, common courtesy applies (keep volume down). When both programs have a performance, The weekly rehearsal schedule is created by the profess- the use of shared space will be negotiated by the faculty. sor mentoring Junior and Senior Choreographic Proj- Classes often meet at the same times. Again, courtesy ects in partnership with the Repertory Dance Company is necessary. Keep the volume down on recorded music Director. The weekly rehearsal schedule is posted on Fri- or sound effects (the walls are not soundproofed), and, days for the following week. The schedule will account if you are going to be rehearsing loudly for any reason, for any open slots outside of scheduled classes (i.e. if close the doors to your space so that others may do their the time slot is not listed, then it is not available.) The work, too. choreography instructor will also note the rehearsals for faculty and junior/senior choreographic projects. Other pre-approved slots are composition lab and dance pro-

32 DANCE PROGRAM & FACILITIES POLICIES Indoor Spaces Courtesy applies to all shared indoor spaces, including: only. Student dressing rooms and craft sinks for practi- the greenroom (eating and drinking approved), corri- cum are on the first floor. dors, classroom, first-floor restrooms (public spaces, not Outdoor Spaces dressing rooms), and the studio entrance lobby (eating Courtesy also extends to outside spaces, including: the and drinking approved). The front entrance lobby is porch on the south wall, the outdoor stage, and the load- a shared and public space with a box office and entry ing dock on the north wall. to the offices above. Students may sit (not lounge or sleep) on the furniture to study or talk/run lines/mark Public Safety Policy dance steps (no music) very quietly if public decorum is Outside: The USM campus is monitored by the Univer- observed. Unless you have permission from the owner sity Police, however, caution should still be used. Often or faculty member in charge of the space or equipment, students rehearse or work on class projects late at night. please do not move or “borrow” furnishings, equip- Always walk to your car or dorm with a friend. Do not ment, or personal items from anyplace in the building. walk on campus late at night alone. (You would be surprised how many pieces of furniture and props can disappear in a semester!) Students are Inside: Specific safety policies for the shops and the- responsible and must “neutralize” a space after use atres will be addressed by the appropriate faculty and regardless of how it was found. staff supervisors. General safety concerns all of us in all areas of the building. Campus Security locks the build- Faculty/Staff Office Spaces ing near midnight and unlocks it in the morning (except The faculty and staff spaces on the second floor are Sundays, then you may need to call to get in). Call them all part of our professional work area. Please respect if you have a show and the entrances are locked, but do the spaces and furnishings in the offices, waiting area, not prop doors open and leave a space unattended. If conference room, and faculty lounge. Students are wel- you see anything suspicious or people in spaces where come to visit! We want you to drop by often and speak they should not be, call University Police and let them with us. Come on up if you are meeting with a profes- check on it. Keep computers and book bags with you or sor or staff member or if you have business to attend to locked up to avoid theft. such as a meeting or class in the conference room and need to gather in the waiting area. Otherwise, please make use of the first-floor student lounge spaces and three sets of restrooms. Restrooms in the faculty/staff lounge are available to students for emergency use

33 DANCE PROGRAM & FACILITIES POLICIES Social Media Policy credit including the name of the choreographer, title While the use of social media extends and activates of piece, premier date and name of venue must be a variety of possibilities for teaching, learning, and clearly documented. It is not permissible to post any communication of program events, inappropriate use work of another student or faculty member without of these tools that is deemed detrimental to the USM permission, including assessment phrases, rehears- Dance Program should be avoided. This includes but is als, or performances. not limited to, inappropriate posts to Facebook, Twitter, • Students should be advised that uploading and Instagram, internet posts and the use of other collabo- sharing material beyond the scope of immediate rative tools in ways that counter the aims and mission relatedness to the USM Dance Program can be an of the USM Dance Program. This policy below provides issue of misrepresentation and should be avoided. guidelines for best practices in the appropriate use of Accordingly, material that is sensitive or negatively social media and should be followed as a means to hold represents the Dance Program and the quality of the university, the program and its faculty and students technical and artistic instruction should not be post- in the most positive regard. The below practices express ed or be labeled as having an association with USM our expectations for all dance majors. Dance. This includes but is not limited to student organized improvisation jam session, classes, and Best Practices movement experiences that are not directly linked • Social media is not appropriate for communication to USM Dance, the Repertory Dance Compnay, and from instructor to student and student to student the Student Dance Organization. with information in relation to course content. It is • Students should take care to not post any infor- required that all such correspondence happens over mation that negatively comments upon events the USM email system. experienced in classes, rehearsals, and other • Although it may be appropriate for students to post activities that would compromise the reputation material online, students should be reminded that of the dance program and its faculty members and material on websites and material posted to social students. Being mindful of the maintenance of the media sites are open to the public domain. professional relationship between dancers, chore- • If a student wishes to upload choreography or pho- ographers, and the reputation of the Dance Pro- tographs to Facebook, YouTube, Twitter, Instagram, gram supports the nature of citizenship assumed etc, permission to share the intellectual property of by the program’s students. a faculty member choreographer or of another stu- Note: If a student does not adhere to the practices set dent choreographer must first be granted IN WRIT- forth above, the following repercussions will take place: ING. If permission is granted, proper citations and The student will be asked to immediately remove the

34 DANCE PROGRAM & FACILITIES POLICIES material/posting in question. If the material/posting balance, preparation occurs as needed in order to remains actively accessible, a meeting with the Director maximize opportunities, and differences are respect- or Program Coordinatorr will be called. Warnings will ed and integrated, not tolerated. be given upon first offense. Any further disregard of • Fully serving in all appointed, elected, and volunteer request for removal will result in a professionalism de- service and leadership roles with discretion, integri- duction and/or ineligibility to audition for the Repertory ty, and a commitment to resolution and representa- Dance Company the following semester. tion. As an ambassador for the dance program, the dancer must not only consistently demonstrate, but Professionalism & Community Values Policy model professionalism. This statement is in alignment with USM’s larger Aca- • Being truly present and prepared in dance classes, demic Integrity Statement, Social Media Policy, Mental rehearsals, and meetings. This includes clearly Well-Being Statement, Nondiscrimination Statement, communicating any needs or issues that might lim- and all accommodations for Students with Disabilities. it your full participation before the gathering takes A student displaying professionalism and shared com- place or any conflicts that might arise that prevent munity values in the University of Southern Mississippi your presence. dance program is dedicated to the following: • Wearing required dance attire. This allows facul- • Respectful, inclusive, compassionate, and open ty to offer valuable feedback to the dancer about communication and behavior in all interactions alignment, placement, connectivity, etc. that keeps with dance faculty, dance students, guest artists, instruction safe, individualized, and challenging. and administrative specialists in all types of envi- • In ballet, the dancer is expected to wear a leotard or ronments (social, learning, on campus and off) and well fitted t-shirt and tights as well as shoes (black at all times. or pink, canvas or leather – no pointe shoes). • Investment in performance and instructional op- • In modern, jazz, tap, cultural, and contemporary portunities through the acceptance of and positive technique classes, the dancer can wear the above involvement in dance program events and orga- attire, or yoga pants. Socks and dance shorts are nized activities. permitted via individual instructor approval. • A positive and resilient disposition, where feed- • In all dance classes, the dancer should wear support- back is welcomed, perspectives are intentionally ive undergarments as is appropriate and needed (i.e. informed, and communication is responsive not dance belt, sports bra). reactive. • Hair must be secure and off the face. • Collaboration (personal, artistic, educational) in its highest form where giving and receiving are in

35 DANCE PROGRAM & FACILITIES POLICIES • Jewelry should be kept to a minimum with nothing portunities. In is also an essential responsibility of the that is distracting or interferes with the safe and full dance faculty to ensure that every person’s individual execution of movement. rights and personhood are protected and supported • Warm-up attire is also permitted via individual without exception during their studies at USM. In instructor approval and/or when colder studio tem- support of this, we have determined the following con- peratures occasionally occur. sequences to be appropriate for any intentional, con- • Maintaining and respecting the TAD building and sistent, or significant violation of these stated expecta- our shared spaces throughout tions. It is noted that these deductions will be taken in • Personal hygiene through a clean and deodorized the class where they occurred. body and belongings. We do much of our creative • 1st infraction: optional 25 point deduction, meet and instructional work through physical exertion in with instructor, review professionalism expectations enclosed spaces. It is important that the dancer is and the relevance behind them. respectful of how they personally affect the environ- • 2nd infraction: 50 point deduction/drop half a letter ment and experiences of others in this way. grade, meet with instructor and advisor. • Maintaining the organization and cleanliness of • 3rd infraction: 100 point deduction/drop a full studios, hallways, restrooms, lockers, outdoor stage, letter grade, meet with instructor and dance pro- etc. by not consuming food in the studios, not leav- gram coordinator. ing trash outside of specified receptacles, or taking • 4th infraction: 100 point deduction/drop two letter and/or using others’ belongings without permission. grades, potential removal from course.

Custodians are dedicated to taking care of our building Finally, if a dancer struggles with professionalism in and us through keeping our space safe and clean, howev- many situations, larger consequences may occur such er, we partner with them in these efforts. It is essential as loss of scholarship awards and eligibility, loss of RDC that dancers appreciate their daily contribution here and audition eligibility, inability to participate in perfor- do their part in support of it. mances (on campus, touring, ACDA) and/or teaching in In order to fully prepare dancers for the professional the schools, and removal from leadership positions. dance field, it is essential that professionalism and these shared community values are not only addressed but established and in all the ways outlined above. This approach is rooted in a dedication to respect, inclusion, compassion, and investment in oneself, others, and our shared artistic and educational experiences and op-

36 DANCE PROGRAM & FACILITIES POLICIES Locker Check Out Policy Student Petition Form Dance offers the use of student lockers to dance majors. The student petition form may be used for individual These lockers are where student store their bags during student requests to faculty. Possible requests/reasons classes. USM and the Dance program is not responsi- for a petition include: technique placement, special ble for lost, stolen, and/or damaged personal property performance, request for independent study, make-up stored in a locker. Lockers will be distributed at the start course work, etc. This form should be completed and of the academic year and contents must be removed at placed in the Dance Program Coordinator’s mailbox the end of the academic year. By signing the Student by noon on Tuesday to be considered by faculty at Locker Agreement Form, student agrees to abide by the the Wednesday faculty meeting. This form allows the terms and conditions set forth by the Dance program. student to petition for exception and exemption from • All lockers and contents are subject to USM policies. the set policies and adjust course requirements if • Flammable materials, dangerous chemicals, explo- need be. The form is located in the Theatre and Dance sives or weapons are strictly prohibited. main office. • SPVA/Dance reserves the right to open any locker See Appendix B for sample form. with or without consent of the student in instances where locker procedures are being abused or in the case of an emergency situation. • Illegal or controlled substances such as drugs or alcohol are strictly prohibited. • No perishable items (Food) are to be stored in lockers. • Students are not permitted to affix anything to the interior or exterior of the locker. • The locker is to be emptied of contents by 5 PM on Thursday before commencement in May. • SPVA/Dance does not accept liability for any acci- dent caused by misuse.

37 DANCE PROGRAM & FACILITIES POLICIES UNIVERSITY RESOURCES & STATEMENTS

38 UNIVERSITY RESOURCES & STATEMENTS OFFICE OF THE REGISTRAR The Financial Aid Office is located in Kennard-Washing- he Office of the Registrar supports teaching and ton Hall, Room 101. Phone: (601) 266-4774 Fax: (601) 266-5769. learning at The University of Southern Mis- sissippi. This office deals with any issues tied https://www.usm.edu/financial-aid Tto registration for classes. Here you can find academic policies, the USM calendar, graduation information, the PARKING class schedule guide, final exam schedules, maps of cam- Students are required to register online at usm.edu/ pus, and more! It is located in the Kennard-Washington parking before obtaining a parking permit number. Hall, Room 110. Find their website here: https://www. Anyone who operates a vehicle on university-controlled usm.edu/registrar/index.php property, regularly or occasionally, will be required to Phone: (601) 266-5006 Fax: (601) 266-5816. purchase a Department of Parking Management parking https://www.usm.edu/registrar permit number. https://www.usm.edu/parking-transit-services/per- BUSINESS SERVICES mit-information.php Business Services bill students and third-party spon- sors, post charges to student accounts, send refunds It will be useful to you to read the read the 2019-20 Traf- for credit balances, and accept payments and depart- fic and Parking Regulations at mental deposits. Students can check account balance https://www.usm.edu/parking-transit-ser- by logging in to SOAR and select Self Service>Learner vices/2019_2020_parking_regulations.pdf Services>Finances. The Business office is located in Annual Registration Fee for Parking Permit Numbers: Forrest County Hall, room 101. Phone: (601) 266-4137 Student = $162 Fax: (601) 266-5876. iTech Help Desk at 266-HELP(4357); https://www.usm.edu/business-services https://usm.edu/itech

FINANCIAL AID OFFICE WIRELESS ACTIVATION It’s likely that you are part of the more than 80 percent of the Southern Miss student population receives some Get information at: form of financial assistance. You can find all information www.usm.edu/itech/student-hot-sheet on scholarships, federal and state student aid, applications and more on the Office of Financial Aid Website: https://www.usm.edu/financial-aid/index.php

39 UNIVERSITY RESOURCES & STATEMENTS E-MAIL ACCOUNTS HOUSING/DEPARTMENT OF RESIDENCE LIFE SM provides email services to all current USM The Department of Housing and Residence Life at U students, faculty, and staff. All students are re- Southern Miss offers a convenient and safe place for quired to activate their USM e-mail. In order to activate students to live while making the most of their social your e-mail account, you will need to log in to SOAR and academic lives. The department’s mission is to with your student ID or employee ID and password. provide a high quality physical, social and cultural Students can follow the directions located on the iTech environment that encourages and supports the holistic Web site at: https://www.usm.edu/itech development of the residential student and the virtual student at home. CAMPUSID AND PASSWORD RESET https://www.usm.edu/housing-residence-life/index.php After you have established your username and password, you can reset a lost or forgotten password by going to OFFICE OF STUDENT OUTREACH AND SUPPORT campusid.usm.edu. CampusID will allow you to conve- Although students need to attend every class session, we niently reset your password 24 hours a day. recognize that situations can arise affecting class attendance or submission of an assignment by its due date. It EAGLE APPS ID is the student's responsibility to provide an explanation After you have established your Eagle Apps e-mail us- to the course instructor relative to an absence(s). Follow ername and password, you can reset a lost or forgotten the link below to submit an excuse to the University but password by going to eagleappsid.usm.edu. Eagle Apps remember that course instructors (at their discretion) ID will allow you to conveniently reset your password determine whether they will excuse an absence, allow instantly without contacting the iTech Help Desk. make-up work, change grades or reschedule an exam. https://cm.maxient.com/reportingform.php?Univof- SouthernMiss&layout_id=8

OFFICE OF STUDENT SUCCESS The Center for Student Success at Southern Miss assists students and families with their transition into the university community and supports students on their journey to graduation. Through high-impact practices and intentional programs, they facilitate the holistic

40 UNIVERSITY RESOURCES & STATEMENTS development of academic and personal identity. Their https://www.usm.edu/study-abroad/index.php office fosters purposeful engagement with students and families to ensure that students connect, persist, and UNIVERSITY POLICE succeed at Southern Miss. The University of Southern Mississippi Police Depart- https://www.usm.edu/student-success/index.php ment (UPD) is the police force of original jurisdiction on campus. It is staffed by 26 duly sworn, state-certified OFFICE OF LEADERSHIP AND STUDENT IN- police officers with full arrest powers. The UPD employs VOLVEMENT a full-time staff of 14 residence hall security guards, six The Office of Leadership and Student Involvement radio dispatchers and other support personnel. The provides valuable co-curricular experiences that exist UPD also works very closely with other law enforcement to foster student growth and development while cre- agencies, including the Hattiesburg Police Department, ating pathways for students to engage in the Southern Forrest County Sheriff’s Department, Mississippi High- Miss community. Simply put, we know that connec- way Patrol, Mississippi Bureau of Narcotics, Mississippi tions are critical to student success while in college. Alcohol Beverage Control and the local FBI office. Make the most of your collegiate experience and get connected today. EMERGENCY TELEPHONES https://www.usm.edu/leadership-student-involvement/ Thirty "code blue" emergency telephones are strategical- index.php ly located throughout the campus. These highly visible phones allow callers to contact the OFFICE OF STUDY ABROAD University police with a single push of a button. Once The Office of Study Abroad (OSA) provides opportuni- activated, the location of the phone is immediately dis- ties for students to earn USM academic credit abroad. played to the University Police dispatch. The OSA offers approximately 25 faculty-led, exchange and internship programs in more than 20 countries. The University Police Department office provides guidance to students on program selec- (601) 266-4986 tion, financial aid options and pre-departure prepara- (in emergency call 911) tion, as well as on-site support. [email protected] The School of Performing & Visual Arts is excited to Bond Hall, First Floor West offer courses through the British Studies Program. Check out their website or ask Profs. John Lawler (Art & Design), Stacy Reischman Fletcher (Dance) or Robin Aronson (Theatre) for more information!

41 UNIVERSITY RESOURCES & STATEMENTS PAYNE CENTER General information and appointments: The Payne Center is our workout gymnasium on cam- (601) 266-5390 pus. This one-of-a-kind wellness facility features spaces Pharmacy: (601) 266-4075 that support a comprehensive recreation and fitness E-mail: [email protected] program for the entire university community. No matter *Feel free to email Student Health Services with any what the season, the Payne Center features an indoor administrative or general service questions about our swimming pool, locker rooms complete with sauna, hair clinic. Email should not be used for health related ques- dryers and other amenities, and a locker and towel ser- tions. This email is not checked daily. If you have any vice. For the workout and sports enthusiast, the Payne health related questions please call or go to the clinic. Center offers a workout room fully equipped with circuit Hours of Operation: training equipment, Stairmasters, EFX machines, Cycle- Monday - Wednesday, 8 a.m.-5 p.m. Plus and more; free weight room; group exercise classes; Thursday, 9 a.m.- 5 p.m. racquetball and squash courts; and a gym that contains Friday, 8 a.m.-4:30 p.m. six badminton courts, four volleyball courts and four basketball courts. Other features are outdoor volleyball Semester Breaks and Summer: courts and complimentary equipment issue. M – W, F, 8 a.m. - 4:30 p.m. Th, 9 a.m.-4:30 p.m. The Payne Center is located next to Reed Green Colise- Closed 12-1. um in the northwest corner of the Hattiesburg campus. Walk-In Services: It is free for students. Walk-In Services are available except on

MOFFITT HEALTH CENTER University holidays. USM Student Health Services is a multiservice health Scheduling an appointment: care provider located on the USM campus in Hatties- • Same day appointments can be made in the clinic burg. All students enrolled at any USM campus are via one of the three kiosks available to students in eligible to receive the services provided by coming to the the lobby. facility on the Hattiesburg campus. A $20 student fee is • Appointments can be made through the iSouth- charged for each visit and can be placed on your student ernMS app. Download the app, click on the “Health” ID. Other services such as lab, x-ray, and pharmacy are icon, which will direct you to the online web portal not included in the $20 fee. Students must present their to make your appointment. photo ID at time of visit. Student Health Services is located on the bottom floor of Century Park South

42 UNIVERSITY RESOURCES & STATEMENTS • Appointments can be made online at our web por- disabilities, psychiatric disabilities, physical disabilities, tal via your computer at: https://shsweb.usm.edu/ chronic health disorders, temporary illnesses or inju- Pyramedportal/Account/Logon?ReturnUrl=%2f- ries and pregnancies. Students should contact ODA if pyramedportal. they are not certain whether their documented medical • Call the front desk at 601.266.5390. condition qualifies for ODA services. Students are only • We accept walkins but encourage appointments. required to disclose their disability to the Office for Dis- ability Accommodations. All information submitted to STUDENT COUNSELING SERVICES ODA by the student is held with strict confidentiality. The University Student Counseling Services provides Contact information: individual, group, and couples counseling for students. The University of Southern Mississippi The goal of the SCS is to enhance individuals' function- Office for Disability Accommodations ing and improve their ability to meet their life goals. The 118 College Drive # 8586 office assists students in developing their full potential Hattiesburg, MS 39406-0001 to cope with various life stressors. Individuals seek the Voice Telephone: 601.266.5024 or 228.214.3302 services for a wide variety of reasons, including depres- Fax: 601.266.6035 sion, anxiety, relationship concerns, low self-esteem, substance use or abuse, sexual orientation concerns, Individuals with hearing impairments should con- difficulties coping with past or recent trauma, prob- tact ODA using the Mississippi Relay Service at lems with eating behaviors and difficulties adjusting to 1.800.582.2233 (TTY) or email ODA at [email protected]. university life. All counseling services are provided at no charge. Contact with counselors at the center is confidential. The University SCS is located in Kennard-Wash- ington Hall, Room 200. (601) 266-4829

RESOURCES FOR STUDENTS WITH DISABILITIES If a student believes that they have a disability which is covered by the Americans with Disabilities Act (ADA) and makes them eligible to receive classroom or housing accommodations, they should contact the Office for Dis- ability Accommodations (ODA) for information regarding the registration process. Disabilities covered by the ADA may include but are not limited to ADHD, learning

43 UNIVERSITY RESOURCES & STATEMENTS MENTAL WELL-BEING STATEMENT NONDISCRIMINATION STATEMENT USM recognizes that students sometimes experience The University of Southern Mississippi offers to all challenges that make learning difficult. If you find that persons equal access to educational, programmatic and life stressors such as anxiety, depression, relation- employment opportunities without regard to age, sex, ship problems, difficulty concentrating, alcohol/drug sexual orientation, disability, pregnancy, gender iden- problems, or other stressful experiences are interfer- tity, genetic information, religion, race, color, national ing with your academic or personal success, consider origin, and/or veteran status pursuant to applicable contacting Student Counseling Services on campus state and federal law. at 601-266-4829. More information is also available at https://www.usm.edu/student-counseling- services. All students are eligible for free, confidential individual or group counseling services.

FOOD INSECURITY AND STUDENT HOMELESS- NESS STATEMENT The University of Southern Mississippi recognizes that students and staff members may experience challenges beyond their control that impact their ability to take care of their essential needs, such as having food or a safe place to sleep. If you find yourself in need of food or shelter, please consider contacting the Eagle’s Nest Food Pantry on the Hattiesburg campus at 601-2664025 or [email protected]. All students, faculty, and staff are welcome to come to the Eagle’s Nest Food Pantry and utilize the available resources free of charge.

44 UNIVERSITY RESOURCES & STATEMENTS ACADEMIC RESOURCES & POLICIES

45 ACADEMIC RESOURCES & POLICIES FERPA classification, degree(s) earned, previous educational he Family Educational Rights and Privacy Act institutions attended, participation in university-recog- of 1974 as amended deals with one subject only: nized organizations and activities, weight and height of T educational records. The purpose of the law is athletic team member, and honors and awards. to define, more precisely than ever has been done, who Individuals have the right to file a complaint with the may or may not see these records. On the one hand, U.S. Department of Education concerning alleged fail- the law grants students guaranteed access; on the other ures by the college to comply with the requirements of hand, it takes from the universities the privilege of indis- F-E-R-P-A. Students should contact the Family Policy criminate disclosure. Compliance Office, U.S. Department of Education, 400 The FERPA sets forth these main requirements: Maryland Avenue, SW, Washington, D.C. 20202-4605. 1. It allows a student access to each educational record that a university or college keeps on himself GENERAL EDUCATION CURRICULUM or herself. All students at USM are required to complete 35 hours 2. It requires the institution to establish a policy on of General Education Courses (GEC). This is in addi- how students can access specific records. tion to your dance major courses in order to graduate. 3. It requires the institution to inform all students as Students take courses in Written Communication, Basic to what rights they have under the amendment, how Science and Mathematics, Social Sciences and Human- they can act on these rights according to school poli- ities, the Arts, and Decision Making and Responsibility. cy, and how they can see a copy of the policy. These are listed on the degree plan page in the Under- 4. It requires the institution to seek student permis- graduate Bulletin. When you meet with your advisor ev- sion, in writing, before disclosing any personally ery semester, they help you pick out GEC courses based identifiable record to individuals other than pro- on your interests and schedule. It is important that you fessional personnel employed in the university do well in your GEC courses in order to remain in good or college and others who meet certain specified standing in the university and in the dance program. requirements. The University of Southern Mississippi may release directory information on students to any interested member of the public unless the student requests in writing that it be withheld. Directory information is defined as the following: student’s name, address, telephone number, e-mail address, major, dates of attendance,

46 ACADEMIC RESOURCES & POLICIES ADVISEMENT Thus, students should not request to add classes after the ach semester art majors will meet with their fifth class day, except in extenuating circumstances (e.g., removal from class roll because of tuition/fees nonpay- E assigned academic advisor. Your adviser is listed ment), and under no circumstances after the last day to in your SOAR aaccount. During advisement sessions, drop full-semester classes without academic penalty. you should expect to discuss interim grades, courses to register for the next semester, and any other individual Students can drop a course on SOAR up to the last day issues or concerns. Your advisor will help you create to drop full-semester classes without academic penalty. your schedule for the following semester, but you will After that date, students should not ask to drop a course have to complete enrollment by logging into SOAR. except in extenuating circumstances (e.g., medical inca- pacity), and under no circumstances after the University SOAR withdrawal deadline. SOAR is Southern's Online Accessible Records and contains all the student data that is maintained for graduate ADD/DROP INFORMATION and undergraduate students. Students should regularly Academic and financial deadlines are at http://www.usm. check their SOAR self service page for their academic edu/registrar. status and other detailed information. Some of the in- INTERIM GRADES formation currently available on SOAR includes academic courses, contact information, grades, degree progress Interim grades are posted for all students. You can view report, financial aid, account balance, academic advisor these grades in SOAR and expect to address Interim and contact information, enrollment appointment grades during advisement sessions. window, transfer credit report, demographic informa- PRESIDENT’S LIST tion, shopping cart (function allows you to make a list of Students are placed on the President’s List if they have courses you need or want to take in the future), etc. earned a grade point average of 4.0 (all A’s) on a load of COURSE ENROLLMENT STATEMENT 12 semester hours or more during fall or spring, nine or It is the responsibility of each student to determine more during summer, provided they have no grade of that he or she is appropriately enrolled in each course. Incomplete (I) for the term. Courses taken for pass- Students are expected to confirm their registration in fail credit will not be used in computing the minimum the selected courses prior to the last day to register for academic load. full-semester classes, the fifth class day of the semester. The Business Office strictly enforces add/drop policies.

47 ACADEMIC RESOURCES & POLICIES DEAN’S LIST personal responsibility for their own intellectual growth Students are placed on the Dean’s List if they have and personal development and should take advantage of earned a grade point average of 3.5 or above on a mini- the opportunities for academic support that the univer- mum academic load of 12 semester hours or more during sity provides. If a student fails to maintain the quality fall or spring, nine or more during summer, provided of work necessary to make reasonable progress toward they have no grade of D or below for the term (includes graduation, then the student will be placed on academic F or Incomplete). Courses taken for pass-fail credit will probation or suspension. The purpose of this policy is to not be used in computing the minimum academic load. help students re-establish an acceptable level of academic performance. ACADEMIC STANDARDS ACADEMIC PROBATION An undergraduate student will be allowed to continue in the university as long as the cumulative grade point If a student does not attain the minimum cumulative average (GPA) indicated in the following scale is main- GPA as indicated above, he or she is placed on aca- tained. A higher minimum allowable GPA is sometimes demic probation at the end of the semester. Academic specified by specific colleges within the university. In probation will be removed when the student attains an such cases, the more stringent requirements supersede acceptable cumulative GPA. If the cumulative GPA at those that follow. the end of the semester the student was on academic probation is lower than the minimums specified above Total Hours Attempted Minimum Cumulative GPA Re- or the semester GPA was at least a 2.00, the student will quired (Including transfer credit) be placed on academic probation continued. A student (Southern Miss work only) may remain on academic probation continued for as • 0 - 14 - 1.50 long as he or she earns a semester GPA of at least a 2.00. • 15 - 29 - 1.75 A student placed on academic probation continued may • 30 and above - 2.00 not enroll in a subsequent semester without the prior Total hours attempted will include credit taken at the written approval of the chair or director of the student’s university and approved transfer credits. Courses in current department or school and the dean of his or her which a student received grades of I, E or P will not earn college. A student placed on academic probation con- quality points that contribute to the Southern Miss GPA. tinued who fulfills the conditions of his or her contract The university expects all students, regardless of wheth- may not enroll in a subsequent semester without the er they are enrolled part-time or full-time, to meet prior written approval of the chair or director of the certain academic standards. Students must assume student’s current department or school.

48 ACADEMIC RESOURCES & POLICIES ACADEMIC SUSPENSION suspension but who fails to attain the required semester student will be suspended from the university the GPA will be suspended for two semesters (fall, spring A first semester he or she does not earn at least a or summer). 2.00 semester GPA while on academic probation con- Readmission after the required suspension period tinued. Also, regardless of hours attempted or probation requires reinstatement to the university through “the status, any student earning a semester GPA of 0.00 (exchange of academic status” process initiated with the cluding Audit and P grades) will be suspended from the chair or director of the student’s current department or university, unless the cumulative GPA at the end of that school and the dean of the college in which the student semester meets the minimums listed above. The student was enrolled as a major. may appeal suspension through a formal appeals process initiated with the chair or director of his or her major TRANSFER CREDIT department or school. Any exception to the suspension Credits from other institutions are reviewed by the Pro- policy must then be approved by the dean of the respec- gram Coordinator and/or Director and if they are equiv- tive college with final approval for denied appeals only alent to courses offered at USM in terms of content and granted by the provost. time, they will be accepted as transfer credits. A student placed on academic suspension may not en- Students may enroll in summer courses at junior/com- roll at The University of Southern Mississippi until after munity colleges to help complete GEC courses. If you the next semester (fall, spring or summer). The student plan to do this, you must complete the “Request for may not transfer credits earned at any other university Permission to Transfer Credits” form prior to starting or college without prior written approval of the chair or summer school. director of the student’s current department or school Your last 32 credit hours must be completed at USM and the dean of his or her college. Any credits earned to graduate. contrary to this policy will not count toward graduation requirements at Southern Miss. DEGREES WITH HONORS After one semester on suspension, a student may be Students with exceptional academic records may be readmitted with prior written approval of the chair or awarded degrees with honors or highest honors based director of the student’s current department or school on hours attempted at The University of Southern and the dean of his or her college. A student readmitted Mississippi. A degree with honors will be granted to a following academic suspension must earn a minimum student who maintains a cumulative grade point aver- semester GPA of at least 2.25 or attain the required age of 3.5 or more. A degree with highest honors will be cumulative GPA. A student readmitted after academic granted to a student who maintains a cumulative grade

49 ACADEMIC RESOURCES & POLICIES point average of 3.8 or more. Graduation with Latin respectful of the learning process in the classroom, even designations will be granted to students who complete if, at times, their own beliefs or views about the material the requirements for Senior Honors in the Honors being presented are different. Although all students are College. As an alternative to Senior Honors, graduating expected to exhibit appropriate conduct, some simply cum laude will be granted to students who meet the do not know what constitutes proper classroom be- following stipulations: (a) the satisfactory completion havior. Some unacceptable classroom behaviors occur of a comprehensive examination in the major field, such regularly on campus. Misconduct— which instructors examination to be designed and administered by the de- are asked to bring to a halt— includes, but is not limited partment involved; (b) the satisfactory completion of a to, the following: senior project resulting in a written report on that proj- • Students continuing to talk after being asked by ect meeting guidelines based on those presently in effect the instructor to stop. for senior Honors projects; (c) notice of intent to meet • Students conducting side conversations these requirements must be filed with the department during instruction. chair or school director at least one calendar year prior • Students nonverbally showing disrespect to graduation and (d) an overall grade point average of for others. 3.25 to 3.49. Graduating magna cum laude will be granted • Students using vulgar, obscene, or other inappro- to students who meet the following stipulations: (a), (b) priate classroom language. and (c) above, and (d) an overall grade point average • Students making disparaging remarks or making of 3.50-3.79. slurs based on age, religion, race, ethnicity, gender, Graduation summa cum laude requires (a), (b), (c) nationality, disability, or sexual orientation. and (d) an overall grade point average of 3.80 or above. • Student tardiness and disturbing Southern Miss does not round GPAs. A student's status classroom entrances. concerning honors for commencement is based upon • Students getting up during class, leaving, and the student's cumulative GPA at the end of the term pre- then returning. ceding the ceremony for which they will participate. • Students packing up books and/or belongings before class is dismissed. STUDENT CONDUCT • Students using their cell phones, allowing them to Good manners provide the foundation for proper ring, or text-messaging during class. classroom behavior. Stated another way, USM students, • Students inappropriately using computer or other regardless of the many perspectives they may bring technology in a disruptive way. to a given class, are expected to be courteous while in the classroom. Notably, students must be open to and

50 ACADEMIC RESOURCES & POLICIES • Students verbally indicating dissatisfaction with an other obligations. Time management is thus critical for activity, assignment, or grade. student success. All students should assess their per- • Students sleeping in class and other sonal circumstances and talk with their advisors about inattentive behavior. the appropriate number of credit hours to take each term, keeping in mind that 30 credit hours each year are Source: https://www.usm.edu/provost/internalportal/ needed to graduate in four years. Resources for academ- classroom-conduct-policy.php ic support can be found at on the Advisement Center’s More information can be found in the USM Code of Resources page or at the virtual Student Success Library Student Conduct: https://www.usm.edu/student-affairs/ in our Center for Student Success. codeofstudentconductdocument2020.pdf GRADING POLICIES AND CALCULATION COURSE WORKLOAD STATEMENT A list of possible grades at the University can be found Students are expected to invest considerable time in the Bulletin (http://catalog.usm.edu). Note that stu- outside of class in learning the material for this course. dents will receive an “interim grade” at the seven-week The expectation of the University of Southern Missis- point to give them an indication of their performance at sippi is that each week students should spend approx- that point in the semester. Students may drop a course imately 2-3 hours outside of a lecture class for every with no penalty in the first week of the semester. If hour in class working on reading, assignments, study- students wish to leave a course with a grade of “W” (for ing, and other work for the course. For online classes, “withdrawal”), they may request to do so before the the average amount spent on a three-credit-course is 50th day (specific dates can be found here: https://www. roughly ten hours per week, including all assignments usm.edu/registrar/calendars). Important note: Students and interactions. who receive a grade of W do not receive any money back Studio classes in the visual arts are different. They blend and that grade is permanently included on their tran- traditional lecture with a studio component that allows scripts. Students should be aware that “Incompletes” students to put in practice. Students can expect to work can only be assigned in cases of “extraordinary circum- 6-15 hours outside of class for each course. See you indi- stances” beyond the student’s control. vidual instructors for more details. Studio and practicum classes in the performing arts are different. They often have increased contact hours— sometimes as much as 10-15 hours per week. We realize that most students work and have family or

51 ACADEMIC RESOURCES & POLICIES SPEAKING AND WRITING CENTERS The Writing Center and the Speaking Center are friendly • Disclosure of test or other assignment content to spaces that provide individualized feedback and support another student. to help Southern Miss students succeed with writing • Submission of the same paper or other assignment to more and speaking assignments for any class. The Centers than one class without the explicit approval of all faculty offer one-to-one consultations for any stage of the members’ involved. process, including brainstorming, creating an outline, • Unauthorized academic collaboration with others revising, learning editing strategies, and developing • Conspiracy to engage in academic misconduct. presentation skills. In Spring 2021, all Writing Center Engaging in any of these behaviors or supporting others who appointments are online only. The Speaking Center has do so will result in academic penalties and/or other sanctions. online appointments, virtual drop-in hours, and limited If a faculty member determines that a student has violated our in-person availability for the Spring 2021 semester. To Academic Integrity Policy, sanctions ranging from resubmis- make an appointment, visit usm.mywconline.com and sion of work to course failure may occur, including the possi- create an account with your USM email address. De- bility of receiving a grade of “XF” for the course, which will be tailed instructions for making an appointment can be on the student’s transcript with the notation “Failure due to found at usm.edu/writing-center. Contact the Writing academic misconduct.” Center by email at [email protected] or by phone at (601) 266-4821. The Speaking Center can be reached at [email protected] or (601) 266-4965.

ACADEMIC INTEGRITY STATEMENT All students at the University of Southern Mississippi are expected to demonstrate the highest levels of academic integrity in all that they do. Forms of academic dishonesty include (but are not limited to):

• Cheating (including copying from others’ work.) • Plagiarism (representing another person’s words or ideas as your own; failure to properly cite the source of your information, argument, or concepts.) • Falsification of documents.

52 ACADEMIC RESOURCES & POLICIES COMMUNITY HEALTH RESOURCES

53 COMMUNITY HEALTH RESOURCES Massage After Hours Clinic The Lotus Downtown 110 Millsaps Drive 221 W. Pine Street 601-261-5710 601-329-0772 Forrest General Hospital Massage Envy Spa 6051 US Highway 49 6169 Hwy 98, Suite 40 601-288-7000 601-261-1116 Immediate Care 105 Thornhill Drive Chiropractic 601-261-3737 Lett Chiropractic Lincoln Road Family Medicine 1509 Hardy Street (Across from Temple Baptist East) 1 Lincoln Pkwy # 302 Phone: 601-545-5388 601-288-8004 Fax: 601-545-5389 Southern Bone and Joint Chiropractic Clinic 3688 Veterans Memorial Drive, Suite 200 4700 W. Hardy Street, Suite M (Arbor Shopping Center) 601-554-7400 Dr. Chris West: 601-261-5599 Dr. Robert “Kris” King: 601-261-5510 St. Michael’s Urgent Care Dr. Brian Page: 601-450-5060 3700 Hardy Street #10 601-602-2014 Connect Chiropractic Dr. Chris Puckett Wesley Medical Center (Hospital) 103 Walnut Street 5001 Hardy Street 601-606-6244 601-268-8000

Doctors Physical Therapy Cloverleaf Immediate Care Southern Bone and Joint 5909 Hwy 49 S 3688 Veterans Memorial Drive, Suite 200 601-296-2800 601-554-7400

Hattiesburg Clinic 415 South 28th Avenue (Main Clinic) 601-264-6000

54 COMMUNITY HEALTH RESOURCES APPENDIX A

55 APPENDIX A: FACULTY BIOGRAPHIES Stacy Reischman Fletcher Reischman Fletcher was elected to the Board of Direc- Director, School of Performing and Visual Arts tors for the National Association of Schools of Dance Professor of Dance (NASD) where she also serves as Treasurer. She has B.A., University of California at Santa Cruz been the institutional representative to the National As- M.F.A., The Ohio State University sociation of Schools of Dance since 2005 and is actively serves as an accreditation visiting evaluator. E-mail: [email protected] In 2015, Reischman Fletcher started a British Studies Stacy Reischman Fletcher is the Director of the School in Dance summer program where students experience of Performing and Visual Arts at the University of dance history, live performance, and art in London. Southern Mississippi, where she administers programs Having taken three groups of students, she is ready for in dance, theatre, and art & design. She earned her BA international travel to open up again so she can take degree in Theatre Arts from the University of Califor- another groups of dance majors to London for a month. nia, Santa Cruz and her MFA in Dance from The Ohio In 2019, Reischman Fletcher ventured to London to vol- State University. Originally from California, Reischman unteer for the Greenwich and Docklands International Fletcher spent a decade teaching and performing in the Festival (GDIF) where she experienced, first-hand, the Midwest before relocating the Hattiesburg in 2000. range of outdoor arts and dance happening in the UK During this time, she collaborated with other dance and beyond. She plans to return. artists to produce work in California and the Midwest, New York City, and Chicago. Since joining USM, she At USM, Reischman Fletcher regularly teaches Dance has discovered how much she enjoys working creative- Composition where she takes great joy in partnering ly with students and she’s mainly shared her work with dancers as they explore their toolboxes as dance regionally and at the American College Dance Assocai- makers. Having been on the dance faculty since 2000, tion conference. she’s taught numerous semesters of ballet and modern technique classes, as well as instructed improvisation, Reischman Fletcher is the recipient of the 2012 USM mentored student choreographers, directed the student award for Excellence in Service and has served as Chair company, and taught Labanotation. Most recently she of Academic Council, President-elect for Faculty Senate, turned over her instruction of Senior Capstone and The- and currently as President of the Council of Directors. sis Writing so that she can have more time to lead the In 2011, Reischman Fletcher was awarded the USM School of Performing and Visual Arts. Not wanting to Research Award for Creative Activity for her choreogra- stray too far from the studio, in 2019 Reischman Fletch- phy of an evening length dance work, Have You Passed er accepted an invited guest artist residency at Grand Through this Night. In 2013, she received the Dance Teacher magazine Award in Higher Education. In 2021, Valley State University where she taught studio courses

56 APPENDIX A: FACULTY BIOGRAPHIES and created a new work on new students. tion, and integrated and dance education classrooms As the School of Performing and Visual Arts Director, and programs. She has been repeatedly invited to pres- Reischman Fletcher is most proud of creating and pro- ent her work nationally at NDEO Conferences, region- ducing Revelry, an annual two-week, school-wide arts ally at ACDA conferences, and statewide as a curric- festival celebrating faculty, students, and the communi- ulum track leader in dance at the Mississippi Gifted ty. As a working artist, Reischman Fletcher is member Child (MGAC), Mississippi Arts Commission (MAC), of Hub Dance Collective (HDC), where she creates new and Whole Schools Initiative Conferences (WSI). She ensemble dances. Through HDC and FestivalSouth she has worked extensively as an independent artist-in-res- shares her work with her local community. In her own idence in K12 schools throughout the Gulf South. creative work, Reischman Fletcher is interested in how Hammond is a dedicated advocate for the importance movement is just one element in creating a body-based of movement in learning and the essential inclusion of theatre experience. She describes her concert work as artful instruction in education. usually dramatic, mostly athletic and hopefully meta- In 2016, she was appointed to the esteemed MAC phorical. She is always open to a new starting point for Teaching Artist Roster, and was selected for a third dance making. year as a Mississippi Alliance for Arts Education granted artist-in-residence. Hammond is co-founder and Julie Hammond education director for the Mississippi Dance Festival, Professor of Dance co-founder and co-director of Camp Create, and the Dance Education Coordinator creator of “Wiggle Genius” – a website for K12 class- University K-12 Licensure Supervisor room teachers that disseminates the many approaches B.F.A., University of Illinois at Champaign-Urbana to teaching academics artfully with dance. In 2013, M.F.A., The Ohio State University Hammond was awarded the Southern Miss College of E-mail: [email protected] Arts & Letters “Teacher of the Year Award” and the Mississippi Alliance for Arts Education “Excellence in Julie Hammond is a Professor, Faculty Lead, Director Higher Education Award” for her contributions to, and of Dance Education, and a K12 Licensure Supervisor for accomplishments in, dance and education statewide the dance program at the University of Southern Missis- and nationally. In 2018, she become one of 14 full pro- sippi. She is also currently serving as Interim Associate fessors in dance nationwide and was also awarded the Director of the School of Performing and Visual Arts. USM College of Arts & Letters 2018 – 19 “Creative and Her areas of research are arts assessment, curriculum Scholarly Research Award” for her work in integrated development, outreach and community work, and dance for K12 students and teachers. Finally, Professor “teaching teachers how to teach” in K12, higher educa- Hammond was selected to present her research at the

57 APPENDIX A: FACULTY BIOGRAPHIES Dance and International Child Conference in Adelaide, dance company Converge Dance Buffalo. Australia and at the National Teaching Artist Confer- Jahn approaches movement creation, and teaching, ence in NYC in 2018. from an expressive, yet anatomically sound perspective. In Tucson, AZ, she studied and taught at Body Works Brianna Jahn Pilates, Kyria Sabin’s studio, and the international head- Assistant Professor of Dance quarters for the Fletcher Pilates® Program of Study. She B.F.A., The State University of New York at Buffalo is a fully qualified Professional Fletcher Pilates® teach- M.F.A., University of Arizona er who developed the Fletcher Pilates® for Cyclists E-mail: [email protected] program with the nationally renowned El Grupo cycling Brianna Jahn, an Assistant Professor at The University troupe. This study, along with her interest in anatomy, of Southern Mississippi, received her M.F.A. in Dance biomechanics, kinesiology and the Alexander Technique and Certificate in College Teaching from the University has improved her ability to effectively teach to each of Arizona, her B.F.A. in Dance from the State University dancer’s unique body structure and needs. In 2018, she of New York at Buffalo, and is a Professional Fletcher presented her Basic Fitness and Placement Evaluation at Pilates teacher. In addition to Southern Miss, Jahn has the Dance Science and Somatics Educators conference. taught at SUNY Buffalo, the University of Arizona, and She is interested in research that increases the longevity in the private sector. Choreographically, Jahn is inspired of dancers’ careers and feels that the study of mind-body by various art mediums, human connections, and travel. connections is crucial to preserving the integrity of an Rather than presenting a clear narrative, she is inter- artist’s work. ested in designing contemporary work that expresses Jahn’s study of authentic jazz movements, and Gior- a concept or theme from multiple angles. Her work is dano, Luigi and Mattox styles/techniques influence the often collaborative, crossing artistic disciplinary bound- historical perspective from which she approaches jazz aries by incorporating film, poetry, and site-specific dance. Her ballet study is informed by multiple perspec- elements. Jahn has performed in and choreographed for tives: Cecchetti, Vagonava and Balanchine traditions numerous festivals and concerts in the U.S. and Mexi- as well as a somatic approach to classical movement. co. She is a current member of Hub Dance Collective, a As a modern dance artist, she trained in traditional, modern dance company in Hattiesburg, MS. In the past, post-modern, and contemporary techniques. she performed with the contemporary ballet company In Fall 2016, Jahn was thrilled to join the faculty of the Configuration Dance Theatre under the direction of Southern Miss Department of Dance where she has the Joseph Cipolla, and was a founding member, and guest opportunity to do everything she loves most: teach a choreographer, in Hayley Sunshine’s contemporary jazz variety of subjects to passionate adults (modern, ballet,

58 APPENDIX A: FACULTY BIOGRAPHIES jazz, dance & technology, dance appreciation, perfor- and performance. Lester is a co-founder and company mance project, improvisation, dance conditioning, mu- member of the Hattiesburg’s Hub Dance Collective, sic analysis for dance, dance production, introduction which performs several times a year in the Hattiesburg to dance education, etc.), choreograph for multiple community and beyond. Lester’s choreography has been venues with talented students, engage with the greater featured in the Big River Dance Festival (2017), Missis- university community, and perform and choreograph sippi Dance Festival (2017), The Mississippi Gulf Coast with HUB Dance Collective. Most recent choreo- Fall Dance Festival (2017), South ACDA Gala (2016), graphic works include (Self) Portrait No. 1, Cabaret in Alabama Dance Festival (2016), Dumbo Dance Festival collaboration with Southern Miss Theatre, Sing, Sing, (2014, 2015), The Midwest Regional Alternative Dance Sing!, a jazz piece created for the SPVA’s first annual RAD Festival (2014, 2015), BIODANCE’s Dance and So- Revelry event, and Recurrent a collaborative work for cial Justice Series (2015), The Brockport Alumni Show- Hub Dance Collective. case (2014), Southeast ACDA Gala (2011), International Conference on Somatics-Based Dance (2015), Eastwest Kelly Ferris Lester Somatics Symposium in Otago, New Zealand (2013), and Director, Center for Faculty Development several other venues across the nation. In 2017-18, Les- Professor of Dance ter toured The Body Politic with collaborator and dancer B.F.A., University of Memphis Elizabeth Lentz-Hill. The tour included residencies at M.F.A., The College at Brockport (SUNY) the University of Memphis, University of the South, R.S.M.T International Somatic Movement Education Auburn University, Middle Tennessee State University, and Therapy Association Austin Peay State University, Hamlin Park Theatre in E-mail: [email protected] Chicago, and several middle and high schools. Kelly Ferris Lester received her B.F.A. in Theatre and Lester’s somatic movement education with mentor Dance from the University of Memphis and her M.F.A. Sondra Fraleigh defines much of her teaching approach in Choreography and Performance from The College at in the dance classroom. Lester’s chapter “Environments Brockport (SUNY). Lester is the Director of the Center for Self-Learning” appears in Fraleigh’s book Moving for Faculty Development and an ACUE Distinguished Consciously: Somatic Transformations through Dance, Teaching Scholar. In the dance field, Lester is a Certified Yoga, and Touch (2015) and her recent article “Somatics: Evans Teacher, a Registered Somatic Movement Thera- A Buzzword Defined” was published in the Journal of pist, and Co-director for Eastwest Somatics Institute for Dance Education (2017). Yoga, Dance and Movement Studies. Lester presents scholarly research on this topic and oth- Lester’s deepest passion in dance is choreography er connections to somatic movement education, as well

59 APPENDIX A: FACULTY BIOGRAPHIES as approaches to teaching online at various conferences Grant for Instructional Improvement (USM 2014); across the country. Faculty Fellowship CoAL Faculty Leadership Institute Lester is President- Elect (2019-2020) for the National (USM 2013-14); Lucas Endowment (USM 2012); COAL Dance Education Organization (NDEO) and has served Research Grant (USM 2011) as Treasurer (2016-2019) on the Board of Directors Katherine G. Moore since 2011. Lester has been involved with the NDEO Assistant Teaching Professor initiative Dance 2050: A Think Tank for Dance in High- B.A., Hope College er Education for many years and serves as the chair of M.F.A., The Ohio State University planning for annual meetings. Lester has served on the Board of Directors for the International Somatic Move- Email: [email protected] ment Education and Therapy Association (ISMETA, Katherine G. Moore is a movement and teaching artist 2012-2015), and the New York State Dance Education whose work spans theaters, outdoor environments, Association (NYSDEA, 2008-2010). Other organiza- galleries, and community spaces. Her choreographic tional credits include: 2016 South ACDA Conference— research currently focuses on the intersections of dance Conference Coordinator, Academic Council—Chair improvisation, site-based embodied experience, and in- (2016-17), QEP Research and Design Team—Chair terdisciplinary creative and social practice. Katherine is (2014-16), USM’s Teaching Forums—Co-Coordinator pleased to be joining the dance faculty at the University (2014-15), University Assessment Committee—Chair of Southern Mississippi in the fall of 2019. After working (2012-14), and Eastwest Somatic Institute—Program for many years in New York City as a performer, chore- Coordinator since 2006. ographer, teacher, and arts administrator, Katherine received her MFA in dance from the Ohio State University, Additional teaching credits: The College at Brock- where she was the recipient of a University Fellowship, port(SUNY), The University of Rochester, The Hoch- an Alumni Grant for Graduate Research and Schol- stein School of Music in Rochester, NY, The University arship, and the Graduate Associate Teaching Award. of Memphis, The University of Mississippi, The Center Katherine holds a B.A. in Dance from Hope College, and for Art Education at the Memphis Arts Council, The she is also a 200 hour certified Yoga teacher through the Theatre for Youth Program at Playhouse on the Square Perri Institute for Mind and Body. in Memphis, TN Lester’s Awards and Recognitions at USM: Headwae faculty recipient for USM (2018), The Peggy Jean Con- nor Research Award with Elizabeth Lentz-Hill (2016), Innovation in Teaching Award (USM 2015), Summer

60 APPENDIX A: FACULTY BIOGRAPHIES Candice Salyers intersections of dance performance, feminist theories, Assistant Professor of Dance and cognitive and environmental philosophy, proposing B.L.S. University of Memphis that site-specific dance can contribute to unique ways of M.F.A. Smith College learning and embodying ethical citizenship. PhD Texas Woman’s University Her current solo performance project explores different E-mail: [email protected] physical and conceptual perspectives on female saint- Candice Salyers received an interdisciplinary B.L.S. from hood and includes dances created for both landscape the University of Memphis, an M.F.A. in Choreography and stage spaces. She also trains in and practices sacred and Performance from Smith College, and a PhD from dance forms around the world and is passionate about Texas Woman’s University. She has enjoyed performing approaching dance anthropology with integrity and re- with a variety of choreographers, including Li Chiao- spect for cultural and historical contexts of movement. Ping and Victoria Marks, and her solo performance Her work considers the integration of spiritual and work has been shown in the U.S., U.K., Estonia, Spain, embodied processes and the reciprocal impacts of dance Morocco, and the Czech Republic. Her work has been and cultures on each other. supported and presented by choreographic residencies Candice was awarded a 2016 Choreographic Fellowship and theaters including Redfern Arts Center, Vermont from the Massachusetts Cultural Council and a 2017 Performance Lab, Ko Festival of Performance, Bates Postdoctoral Fellowship from the American Association Dance Festival, Arte & Ecologia (Spain), ACSL (Arme- of University Women. She was recently one of the first nia), and Green Olive Arts (Morocco). She was one of dancers invited to speak at the Society for European 10 US artists selected to participate in an international Philosophy, and her publications include contributions exchange between National Dance Project (US) and to Tanz, Bewegung, und Spiritualität, The Journal of En- Culture Ireland (IE). vironmental Philosophy, and the Journal of Performance She has been a visiting artist and faculty member at and Mindfulness. Smith College, Mt. Holyoke College, and Keene State College. Candice also worked as a teaching artist for Ballet Memphis, the Memphis Arts Council, and Camp Steady, an arts program for homeless children. Inspired by these experiences, she founded an organization of artists interested in using their art forms in service to the community for which she won the Alma Bucovaz Award for Urban Service. Her Ph.D. work explored

61 APPENDIX A: FACULTY BIOGRAPHIES Lauren Soutullo Smith Alongside her company work, she has been a soloist at Assistant Teaching Professor both the Alabama Dance Festival, and Mississippi Dance B.F.A. The University of Southern Mississippi Festival in recent years, as well as a performer at the M.F.A. Florida State University’s School of Dance Midwest RAD Festival, New York City’s Dumbo Dance Festival, and a choreographer and performer at the E-mail: [email protected] historic Ringling Museum of Art for the Ringling Inter- Lauren Soutullo Smith is an Assistant Teaching Pro- national Arts Festival in Sarasota, FL. fessor of Dance. She earned her B.F.A. in Dance Perfor- mance and Choreography from the University of South- ern Mississippi’s Department of Dance, and her M.F.A. in Dance Performance and Choreography from the Flor- ida State University’s School of Dance. With an interest in performance, Smith centers her teaching around just that. Students practice how to adopt performance skills that they strive for on stage, and transpose those right into the classroom where they learn technique. Smith finds that her teaching and performance influ- ences are dedicated to people such as, Rick McCullough, Gerri Houlihan, Anjuli Austin, Michael Foley, Lynda Davis, and Tim Glenn, just to name a few. She has taught master classes at the American College Dance Associa- tion, the Mississippi Dance Festival, the Suzanne Farrell Young Dancer’s Workshop, and the Louisiana Associ- ation of Dance Masters. Her work at Coastal Alabama Community College where she was an adjunct instructor in dance gave her invaluable experiences in working with musicians, vocal artists, and dancers, to which she owes being well rounded in working with such students and artists. Smith has had the pleasure of dancing professionally for companies in Birmingham, AL, Atlanta, GA, and currently with Hub Dance Collective here in Hattiesburg, MS.

62 APPENDIX A: FACULTY BIOGRAPHIES APPENDIX B

63 APPENDIX B: FORMS, COURSES & RUBRICS

APPENDIX B : Dance Program forms, course descriptions, and rubrics

Student Petition Form

Student Name ______Date ______

Class standing ______

______B.F.A. Performance and Choreography ______B.F.A. Dance Education

Reason for petition:

______technique placement ______summer study ______special performance ______request independent study ______make up course work ______other, please specify ______

Rationale: Please express your issue and explain why it should be approved:

This form should be put in the Program Coordinator’s box by noon on Tuesday to be considered by faculty on Wednesday.

For faculty use only: ______Approved ______Approved with reservations ______Not Approved

Faculty signature ______Date ______

64 APPENDIX B: FORMS, COURSES & RUBRICS Course Descriptions

DANCE (DAN)

Many dance courses are offered on a rotation basis. Consult the Class Schedule Guide available in the Theatre and Dance office, or call 601.266.4161 to request a copy.

101. Beginning Modern Dance. 2 hrs. Discussion and practice of movement patterns, improvisation and studies in modern dance for the non-major; may be repeated twice for a total of six hours

102. Beginning Ballet. 2 hrs. Discussion and practice of movements in ballet for the non-major; may be repeated twice for a total of six hours

103. Beginning Tap. 2 hrs. Developing an understanding and practice of movement skills basic to tap dance of America. May be repeated twice for a total of six hours; for non-majors

104. Jazz Dance I. 2 hrs. The study and application of the basic skills of jazz dance. May be repeated twice for a total of six hours; for non-majors

130. Dance Appreciation. 3 hrs. A survey of dance as a worldwide phenomenon of human behavior and its function in human society, past and present

201. Modern Dance Technique II. 3 hrs. May be repeated for a total of 12 hours. A survey of modern dance techniques from past to present forms. A continuation of DAN 101; open to non-majors with consent of instructor

202. Ballet Technique I. 3 hrs. Discussion and practice of ballet skills for the dance major; may be repeated for a total of 12 hours

203. Tap Dance. 2 hrs. Study of the various styles of tap including rhythm, jazz and ballet forms. May be repeated twice for a total of six hours; open to non-majors with consent of instructor

209. Dance Styles Elective. 2 hrs. The study and application of dance techniques in various dance styles other than modern, ballet, jazz or tap

210. Dance Improvisation. 3 hrs. An exploration of the elements of dance through the spontaneous act of creating and performing movement; open to non-majors with consent of instructor

212. Elements of Dance Composition. 3 hrs. Pre-requisite: DAN 210. Exploration of the elements of dance applied to dance choreography; open to non-majors with consent of instructor

220. Freshman Repertory. 1 hr. For entering dance majors. A structured rehearsal process culminating in public performance

224. The Dance Audition Process. 2 hrs. Study and practice in improving dance audition skills. Includes information on physical skills, learning styles, networking, and compiling support materials

230. Dance Administration Elective. 2 hrs. The study of dance administration

65 APPENDIX B: FORMS, COURSES & RUBRICS 240. Music Analysis for Dance. 3 hrs. A basic analysis of music as it applies to dance technique class, dance performance, choreography, and dance teaching. Open to non-majors with consent of instructor

301. Modern Dance Technique III. 3 hrs. May be repeated for a total of 12 hours. The study and development of modern dance techniques and applied theories. A continuation of DAN 201; open to non- majors with consent of instructor

302. Ballet Technique II. 3 hrs. Continuation and further enrichment of the technique of ballet at the intermediate level for the dance major; open to non-majors with consent of instructor

304. Jazz Dance II. 2 hrs. The study and application of the principles of jazz movement; may be repeated for a total of six hours; open to non-majors with consent of instructor

309. Ballet Elective. 2 hrs. Pre-requisite: DAN 202, DAN 302 or DAN 402. Studio sessions in special aspects of ballet (partnering, pointe work, classical repertory)

310. Dance Composition, Theory and Application. 3 hrs. Pre-requisite: DAN 210, DAN 212. Methods and approaches used in making dances

312. Junior Choreographic Project. 2 hrs. Pre-requisites: DAN 210, DAN 212, DAN 310 and junior standing. Choreographic approaches for development toward the Senior Choreographic Research Project

319. Dance Technology Elective. 2 hrs. Pre-requisites: DAN 212 and DAN 310, or by department approval. The study and practice of technologies used in dance arts

320. Dance Production. 1 hr. Developing an awareness and application of production skills; may be repeated up to eight times; open to non-majors with consent of instructor

321. Choreographic Workshop. 1-6 hrs. Participation in creative dance and performance activities; by audition

324. Repertory Dance Company II. 1 hr. The study and practice of choreographic works, for concert and K-12 audiences

328. Dance Performance Project. 1 hr. May be repeated for a total of eight hours. The study and practice of faculty and guest artist choreographic works for performance

331. Dance History/Criticism Elective. 2 hrs. Pre-requisites: ENG 101 & 102, or departmental consent. An examination of dance/dance history through writings of dance critics. Students develop dance writing voice and skills

340. Music Analysis and Choreographic Application. 3 hrs. Pre-requisite: DAN 240 or consent of instructor. The study and practice of the principles of music and how those principles relate to movement and choreography

351. Labanotation I. 3 hrs. Pre-requisite: DAN 240. Introduction to elementary Labanotation, a system of recording movement; open to non-majors with consent of instructor

66 APPENDIX B: FORMS, COURSES & RUBRICS 365. Integrating Dance in the K-12 Classroom. 3 hrs. Pre-requisites: Gold card, or 1 year professional K-12 educational experience. Methods, materials, and preparation/use of instruction and assessment tools to provide integrated dance experiences for K-12 students

380. Experiential Anatomy for the Dancer. 3 hrs. This course explores the human body's structure and function, focusing on areas of particular importance for dancers. No pre-requisites

381. Dance Injury Rehabilitation for Modern Technique. 3 hrs. By departmental consent. For rehabilitating from an injury. Replaces modern technique class with student participation/engagement in monitored physical rehab practices

382. Dance Injury Rehabilitation for Ballet Technique. 3 hrs. By departmental consent. For rehabilitating from an injury. Replaces ballet technique class with student participation/engagement in monitored physical rehab practices

384. Introduction to Somatics for Dance. 2 hrs. Pre-requisite: DAN 380 or departmental consent. An introduction to somatic movement practices and their application to dance

386. Dance Conditioning. 2 hrs. Pre-requisite: DAN 380/Experiential Anatomy for Dancers. Repeatable up to 4 hours. A studio-based course teaching and practicing principles of dance conditioning

401. Modern Dance Technique IV. 3 hrs. May be repeated for a total of 12 hours. Advanced Modern Dance technique and applied analysis of movement; a continuation of DAN 301; open to non-majors with consent of instructor

402. Ballet Technique III. 3 hrs. Continuation and further enrichment of the technique of ballet for the dance major; may be repeated for a total of 12 hours; a continuation of DAN 302; open to non-majors with consent of instructor

409. Practicum in Dance. 1-3 hrs. May be taken for a total of nine hours. Practices and projects in ballroom dance, dance theory, performance or choreography for the undergraduate student; open to non- majors with consent of instructor

410. Senior Project for Dance. 2 hrs. Pre-requisites: DAN 210, DAN 212, DAN 310, DAN 312. A choreographic or performance project undertaken in the senior year

411. Senior Thesis Writing. 2 hrs. A written follow-up to a choreographic project of an original work. Pre-requisites: DAN 210, DAN 212, DAN 310, DAN 312, DAN 410; writing intensive

420. Repertory Dance Company. 1 hr. May be repeated for a total of eight hours. The study and practice of selected choreographic works for performance; by audition only

430. Dance in Cultural Context. 3hrs. The history of the development of dance forms and their social, cultural and political significances from lineage-based societies through the end of the nineteenth century; open to non-majors with consent of the instructor

431. 20th Century Dance Forms. 3 hrs. The history of the development of twentieth century dance forms and the artistic and societal frameworks in which they evolved; open to non-majors with consent of instructor

67 APPENDIX B: FORMS, COURSES & RUBRICS 451. Labanotation II. 3 hrs. Continuation of DAN 351

471. Dance Internship. 1-6 hrs. Pre-requisite(s): DAN 212 and DAN 310 for B.F.A in Dance (Performance/Choreography) students, DED 261 for B.F.A. in Dance (Dance Licensure) students; or permission of department. Requires application to the department. An individualized internship in the professional dance world

472. Service Learning in Dance. 1-3 hrs. Linking dance to the surrounding community; students devise and execute outreach projects

480. Theatre Dance. 2 hrs

482. Precision Dance. 1 hr

491. Senior Capstone Experience in Dance. 3 hrs. Pre-requisite: Senior standing. Examination and clarification of goals. Dance resources, survey of contemporary dance studies, portfolio review; writing intensive

492. Special Problems. 1-3 hrs. May be taken for a total of 9 hours. (Students undertaking a Senior Honors Special Problems Project will enroll in DAN 492H.) Open to non-majors with consent of instructor; a directed individual study planned and approved by a faculty adviser

499. British Studies. 3-6 hrs. Studies in dance and movement sciences abroad (five weeks)

DANCE EDUCATION (DED)

260. Field Observations in Dance. 1 hr. An introduction to dance education as a profession; field experience, and research provided

261. Introduction to Dance Education. 1 hr. Pre/Co-requisite: DED 260. Intro to dance education, focusing on knowledge, skills and dispositions, needed for dance educators. Includes K-12 teaching exposure

360. Methods in Dance Education K-12. 3 hrs. Methods, materials and practical experience for teaching dance

361. Practicum in Dance Education. 2 hrs. Pre-requisites: DED 260, 360. A course designed to give the student classroom opportunities in both elementary and secondary dance classes

365. Methods of Teaching Dance II. 3 hrs. Pre-requisites: DED 260 and 360. Advanced methods and practical experiences in planning, instructing, assessing, and establishing dance education programs in K- 12 schools

+460. Student Teaching in Elementary Dance. 6 hrs. Pre-requisites: Admission to teacher education program, DED 260, DED 360, DED 361, DED 362, PSY 374, SPE 400, REF 400, REF 409; student practice teaching in elementary dance education

68 APPENDIX B: FORMS, COURSES & RUBRICS +461. Student Teaching in Secondary Dance. 6 hrs. Pre-requisites: Admission to teacher education program, DED 260, DED 360, DED 361, DED 362, PSY 374, SPE 400, REF 400, REF 409; student practice teaching in secondary dance education

491. Senior Capstone Experience. 3 hrs. Prepares educators for work in the field, teaching philosophy, current discourse; open to graduating senior dance education majors; writing intensive

+A special fee is charged for this course. A complete list of course fees is available on the Business Services Web site at http://www.usm.edu/business-services/general-tuition-fees.

69 APPENDIX B: FORMS, COURSES & RUBRICS

THE UNIVERSITY OF SOUTHERN MISSISSIPPI DEPARTMENT OF DANCE DEPARTMENT AUDITION/JURIED ASSESSMENT FORM

Student’s name: Faculty Advisor:______Scholarship Y/N: Dance Major Classification: □ Auditionee □ Fr. □ Soph. □ Jr. □ Sr. Semester: □ Fall □ Spring Year: ______

For Dept. Auditions and Assessments: -Ballet Technique Level Placement Beginning Intermediate Advanced -Modern Beginning Intermediate Advanced

For Dance Majors: Student □ is □ is not meeting department expectations in the degree program. If not, explain: ______

Acceptabl Unsatisfactor Developin Outstandin Exception e or y g g al Proficient Time management skills (attendance record, overextended 1 2 3 4 5 activities, etc.) Professionalism/Disposition 1 2 3 4 5 Feedback response 1 2 3 4 5 Technique: -Focus & Spatial Awareness 1 2 3 4 5 -Movement efficiency/Connectivity/Coordinat 1 2 3 4 5 ion -Rhythmic skills & Sequencing 1 2 3 4 5 -Strength & Control 1 2 3 4 5 -Range of Motion/Use of facility/Flexibility 1 2 3 4 5 -Alignment/Placement 1 2 3 4 5 Artistry: -Musicality & Phrasing 1 2 3 4 5 -Qualitative range 1 2 3 4 5

Additional comments:

______Faculty Signature Date: _____/_____/______

70 APPENDIX B: FORMS, COURSES & RUBRICS

RDC and RDC II Audition Rubric

Assessment Values 4: Exemplary 3: Mastery 2: Developing 1: Basic

Class Progression & Areas of Assessment

1. Footwork/Coordination Combination *coordination abilities (upper/lower directional), rate of learning and memorization, ability to apply feedback quickly and correctly, rhythmic skills and sequencing abilities, alignment

2. Ballet Technique Combination *petit and grand allegro, extension (placement and height), turns, precision in ballet vocabulary execution and placement

3. Locomotor/Weight/Floorwork Combination *spatial awareness, movement efficiency, strength/control, flexibility/use of facility & range of motion, horizontal and vertical use of weight, use of momentum (ability to move in and out of the floor with ease), head/tail connection, dynamic expressivity & projection of energy, phrasing

4. Improv/Collaboration Combination *movement qualities articulated, focus, touch, pause and group compositional elements included in choreographic structure. Performance fully invested. Demonstrated ability to quickly and respectfully work with others and contribute organizationally and creatively (where applicable).

5. Professionalism *commentary on the handling of demands of audition process, personal presentation/appearance, and overall focused and engaged participation

71 APPENDIX B: FORMS, COURSES & RUBRICS

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76 APPENDIX B: FORMS, COURSES & RUBRICS

77 APPENDIX B: FORMS, COURSES & RUBRICS Southern Miss Dance Program Modern Dance Exit Competencies To the student: Our Exit Competencies explain what you are expected to master at each level of technique. These competencies are used to determine your class level. You will see how they are addressed in your ballet and modern classes.

Technique

1. Focus and Spatial Awareness

Includes: clarity of movements within the kinesphere, clarity of movements in performance space during both axial and locomotor movements, eye focus, ability to move within an ensemble both when dancing a combination and as part of technique class etiquette, ability to partner with respect and technique

Modern I (DAN 101)

• Able to replicate directions of commonly used movements and spatial patterns of steps • Begins to replicate movements and spatial patterns of idiosyncratic movements • Able to locomote through space with freedom and ease • Begins to be able to change directions clearly within a combination • Able to relate to a “front” or an “audience” through eye focus and correct body facings for combinations • Respects the dancing space of other classmates • Is aware of personal dance space when partnering with others

Modern II (DAN 201)

• Understands and demonstrates clear spatial patterns of commonly used movements (ie- tendus, log rolls, etc.) • Understands and demonstrates clear spatial patterns in idiosyncratic movements • Understands and demonstrates locomotor movements forward and backwards • Understands and demonstrates clear direction changes • Understands and applies eye focus, keeping eyes up while dancing and relating to an “audience” or “front” • Replicates focus in combinations as given by teacher • Respects the dancing space of other classmates during combination, class time, and partnering

Modern III (DAN 301)

• Consistently demonstrates clear spatial patterns on commonly used movements • Consistently demonstrates clear spatial patterns on idiosyncratic movements • Consistently demonstrates locomotor movements forward, backwards, and sideways • Consistently demonstrates clear direction changes • Consistently demonstrates eye focus and engagement with an “audience”, including varied eye foci (direct, indirect, internal, horizon, etc.) • Performs focus in combinations as given by teacher • Consistently demonstrates awareness of classroom space while dancing with others and by adapting personal dancing to the performance space

78 APPENDIX B: FORMS, COURSES & RUBRICS • Consistently demonstrates entering and exiting from partnering with respect, intention, and the technique necessary to perform the partnering

Modern IV (DAN 401)

• Masters directions and spatial patterns of commonly used movements • Masters performing movements and spatial patterns of idiosyncratic and complex movements • Masters locomotor movements in all directions, including backspace and sideways, while both upright and off-center • Moves through space with energy, length, and weight • Changes directions in space with clarity and authority • Masters changing facings within sequences and adapting combinations to new facings/spatial relationships quickly and correctly. • Considers and uses focus as an integral part of performance, creating a relationship with the audience through varied foci (direct, indirect, internal, horizon, etc.) • Always replicates focus given by the teacher, and makes strong, clear focus choices • Masters adapting personal dancing to avoid other dancers’ spaces and to accomodate the performance space as needed • Masters entering and exiting another dancer’s personal space while partnering, doing so with intention, respect, and the placement needed to execute the partnering movement correctly

2. Movement Efficiency/Connectivity/Coordination

Includes: connection of limbs to core, ability for efficient movement through basic movement patterns (navel radiation, head/tail, homolateral, contralateral, whole body and isolation), ability for efficient and clear movement during sequential, centered, and distal initiations, appropriate use of breath/tension/release, use of weight in movement and transitions, efficiency in movement into and out of floor, in aerial work, and in inversions, coordination during movement sequences

Modern I (DAN 101)

• Able to connect head, arms, and legs to core at a basic level, for the beginnings of efficient movement • Demonstrates an awareness of basic movement patterns (listed above) • Understands and begins to be able to perform movement initiations from various points (ie- sequential, centered, distal, etc) • Demonstrates the understanding that breath and release of excessive tension are important elements to modern dance • Demonstrates an awareness of swings, undercurves and overcurves as basic uses of weight in movement • Demonstrates a basic awareness of using weight to transition from one dance movement to another • Begins to move easily into and out of the floor, and in aerial work and inversions • Performs basic coordination skills and sequences correctly

Modern II (DAN 201)

• Understands and applies connection of limbs to core, with beginning level of movement

79 APPENDIX B: FORMS, COURSES & RUBRICS efficiency • Understands and demonstrates basic movement patterns (listed above) • Understands and demonstrates movement initiations from various points (listed above) • Understands and attempts to apply use of breath and release to movement • Understands and applies weight in movement, including swings, undercurves and overcurves • Understands and applies weight in transitions between dance movements • Understands and demonstrates movements into and out of the floor, aerial work, and inversions • Performs beginning coordination skills and sequences correctly

Modern III (DAN 301)

• Consistently demonstrates connection of limbs to core, with consistent movement efficiency • Consistently demonstrates basic movement patterns (listed above) • Consistently demonstrates movement initiations from various points (listed above) • Consistently demonstrates integration of breath and release with movement • Consistently demonstrates weight in movement, including swings, undercurves and overcurves • Consistently demonstrates weight in transitions between dance movements • Consistently demonstrates efficient movement into and out of the floor, into the air, and in inversions • Performs intermediate coordination skills and sequences correctly

Modern IV (DAN 401)

• Masters connection of limbs to core and consistently uses this connection for efficient movement • Masters basic movement patterns (mentioned above), and uses them efficiently both when given in their purest form and when combined with idiosyncratic movements • Masters initiating movement from any point in the body • Masters the use of breath and the appropriate use of tension and release in dancing, and integrates them clearly for efficient movement. Recognizes which is called for by various combinations and can deftly change between bound and released movement • Always engages a dynamic use of weight when dancing, including clearly identifying swings, undercurves and overcurves and performing them with an appropriate range of motion and use of gravity • Masterfully connects movements in sequences through use of weight and flow • Maintains integration of limbs to core and movement efficiency for facile movements in and out of the floor, into the air, and in into and out of inversions • Performs advanced coordination skills and sequences correctly • Demonstrates understanding of the relationship between weight, breath, and momentum to initiate and follow through movement • Negotiates and performs unpredictable weight shifts easily through joints of the body, full range of motion, and without loss of stability

3. Rhythmic Skills and Sequencing

80 APPENDIX B: FORMS, COURSES & RUBRICS Includes: being on time in movement sequences, ability to work in a variety of time signatures and tempos, movement pick-up and retention skills, execution of movements in the correct sequence given by instructor, transference of movement to the other side

Modern I (DAN 101)

• Demonstrates accurate timings/counts in basic movement phrases • Shows an increase in the ability to learn, memorize, replicate, and retain movement phrases as directed by teacher • Begins to be able to transfer movement to the other side with aid from the teacher or other students

Modern II (DAN 201)

• Demonstrates rhythmic accuracy which includes working in 4/4 and 3/4 • Learns and demonstrates increasingly complex sequences of exercises and combinations from class to class with assistance from the teacher • Shows an increased ability to retain movement phrases from one class to the next • Demonstrates ability to transfer movement from one side of the body to the other

Modern III (DAN 301)

• Improves rhythmic accuracy which includes 4/4, 3/4, 6/8, 5/4, 7/4 • Shows ability to pick up details in movement autonomously, without direct teacher guidance • Is able to retain movement phrases from one class to the next with demonstration from the teacher • Develops a quicker response to learning longer and more advanced movement sequences and transferring from side to side

Modern IV (DAN 401)

• Demonstrates rhythmic accuracy in a wide range of time signatures and tempos • Picks up combinations with minimal demonstration • Shows mastery in accurately memorizing and performing movement phrases of varying lengths • Consistently picks up details in movement autonomously, without direct teacher guidance • Retains movement phrases from one class to the next and is prepared to move forward without demonstration from the teacher • Promptly transfers longer and more advanced movement sequences to the other side independently and performs them with confidence

4. Strength and Control

Includes: maintaining core/center support through axial and locomotor movements, personal strength (including strength to support alignment and flexibility), ability to control movements, and energy and stamina

Modern I (DAN 101)

• Understands and increases strength of center/core support

81 APPENDIX B: FORMS, COURSES & RUBRICS • Understands and increases personal strength • Performs axial and locomotor movement phrases with basic core/center support • Controls movements in basic movement phrases • Maintains energy and stamina throughout each combination and a full class

Modern II (DAN 201)

• Understands and applies strength of center/core support to axial and locomotor movement phrases • Demonstrates and applies an increase in personal strength • Understands and applies personal strength to support alignment and flexibility at a basic level • Controls movements in beginning movement phrases • Maintains energy and stamina throughout each combination and a full class

Modern III (DAN 301)

• Consistently demonstrates application of strength of center/core support while in axial and locomotor motions • Consistently demonstrates a desire to increase personal strength • Consistently increases personal strength • Consistently uses personal strength to support alignment and flexiblity • Maintains energy and stamina throughout each combination and a full class • Understands and demonstrates that strength and control can support inverted, aerial, and off-balance work

Modern IV (DAN 401)

• Demonstrates a mastery of strength of center/core that supports all movement in complex sequences • Work in class demonstrates work outside of class to increase personal strength as needed • Demonstrates a mastery of using personal strength to support alignment and flexibility, particularly in challenging skills and sequences • Controls movements in varied, complex movement phrases • Maintains energy and stamina throughout each combination and a full class

5. Range of Motion/Use of Facility/Flexibility

Includes: range of motion and flexibility of spine and major articulations (hips, shoulders, feet, hands), appropriate use of range of motion and flexibility as asked by teacher, ability to self-identify appropriate use of range of motion and flexibility when not given by teacher/choreographer, use of kinesphere

**Note: We recognize that each dancer’s body is structurally different from others’. This category is one in which physical differences may have a significant affect on progress toward the expectations at each level. Dance faculty may take these structural differences into account when determining a dancer’s progress through the course sequence.

Modern I (DAN 101)

82 APPENDIX B: FORMS, COURSES & RUBRICS • Understands and increases flexibility of spine, hips, shoulders, feet, and hands • Understands and increases range of motion of spine, hips, shoulders, feet and hands • Applies flexibility and range of motion to basic movement phrases, as directed by teacher

Modern II (DAN 201)

• Understands, applies, and increases spinal mobility, in flexion, extension, spirals, and lateral flexion • Understands, applies, and increases flexibility in hip joint • Understands, applies, and increases flexibility in shoulder joint • Understands, applies, and increases flexibility and articulation of feet and hands • Understands, applies, and increases range of motion of spine, hips, shoulders, feet and hands • Understands and applies flexibility and range of motion to basic movement phrases, as directed by teacher • Understands and applies an increased reach into the kinesphere

Modern III (DAN 301)

• Consistently demonstrates and increases spinal mobility, in flexion, extension, spirals, and lateral flexion • Consistently demonstrates and increases flexibility in hip joint • Consistently demonstrates and increases flexibility in shoulder joint • Consistently demonstrates and increases flexibility and articulation of feet and hands • Consistently demonstrates range of motion of spine, hips, shoulders, feet and hands • Self-identifies areas that need increased flexibility, and works on these in and out of class • Consistently demonstrates and challenges flexibility and range of motion in intermediate movement phrases, as directed by teacher and as self-directed • Consistently demonstrates ability to move with increased reach in kinesphere

Modern IV (DAN 401)

• Demonstrates mastery of spinal mobility in flexion, extension, spirals, and lateral flexion • Demonstrates free and smooth actions at the hip joint, including developes of at least 90 degrees in all directions while maintaining proper alignment • Demonstrates freedom of both scapular movement and the glenohumeral joint to allow smooth and broad circumduction of the upper arm • Masters the articulation of hands and feet and uses them for precise gestures and to expressive ends • Self-identifies areas that need increased flexibility, and works on these in and out of class • Applies and challenges flexibility and range of motion in advanced movement phrases, through self-direction and as directed by teacher • Can successfully participate in varying styles of dance and movement sequences due to large range of motion, use of facility, and flexibility

83 APPENDIX B: FORMS, COURSES & RUBRICS • Deepens neuromuscular-skeletal awareness and the ability to sense and perform movement from the inside out for a refined sense of body awareness • Masters using full range of kinesphere • Demonstrates a full and dynamic integration of facility, resulting in a broad range of motion that answers to individual structural affinities

6. Alignment/Placement

Includes: dynamic alignment of torso, spine and head, carriage of the arms, use of and alignment during both external rotation and parallel positions, placement of legs in weight bearing and non-weight bearing movement

Modern I (DAN 101)

• Demonstrates awareness of correct, dynamic vertical alignment in axial movement • Demonstrates awareness of the difference between rotated and parallel positions • Demonstrates awareness of placement of arms

Modern II (DAN 201)

• Understands and applies correct, dynamic vertical alignment in axial movements and develops consistency of alignment in locomotor movements • Understands and applies the appropriate use and alignment of feet and legs in parallel and rotated positions, both in weight-bearing and non-weight bearing situations • Demonstrates an understanding of placement and functionality of arms

Modern III (DAN 301)

• Consistently demonstrates correct, dynamic vertical alignment in axial and locomotor movement • Consistently demonstrates the appropriate use and alignment of feet and legs in parallel and rotation, both in weight-bearing and non-weight bearing situations • Consistently demonstrates the placement and functionality of arms in complex movement sequences

Modern IV (DAN 401)

• Masters correct, dynamic vertical alignment in axial and locomotor movement and has ability to find alignment in non-vertical orientations • Masters the appropriate use of feet and legs in parallel and rotation, both in weight- bearing and non-weight bearing situations • Masters efficient placement and functionality of arms in complex movement sequences

Artistry

1. Musicality and Phrasing

Includes: ability to relate movement to external sounds and/or silence (musicality), ability to relate one movement to another (phrasing), ability to replicate phrasing and musicality as taught by teacher/choreographer, ability to self-determine choices regarding phrasing and musicality, attention to transitions between steps

84 APPENDIX B: FORMS, COURSES & RUBRICS Modern I (DAN 101)

• Demonstrates an awareness of external sound while dancing • Demonstrates an awareness of the relationship of one movement to another • Begins to performs musicality and phrasing of a combination as taught by the teacher • Demonstrates an awareness of the importance of transitions between steps

Modern II (DAN 201)

• Understands and applies awareness of external sounds while dancing, relating movement to music and silence • Understands and applies awareness of the relationship of one movement to another • Understands and applies musicality and phrasing as demonstrated by the teacher • Understands and executes attention to transitions between steps • Applies various approaches to imagery and of using the body to increase comprehension and ability in modern aesthetic

Modern III (DAN 301)

• Consistently demonstrates awareness of external sounds while dancing, relating movement to silence, correlating movement to music, and contrasting movement and music • Consistently demonstrates the relationship of one movement to another • Consistently demonstrates musicality and phrasing as taught by the teacher • Understands and applies individual choices in musicality and phrasing • Consistently demonstrates attention to transitions between steps

Modern IV (DAN 401)

• Relates dancing to external sound through strong, nuanced, embodied choices; these choices are clearly articulated in the dancing • Relates one movement to another through strong, nuanced choices; these choices are clearly articulated in the dancing • Has the ability to both make independent choices about musicality and phrasing and to apply directions from teacher regarding them • Masters transitions within movement phrases • Incorporates musicality and phrasing into combinations as sequences are learned, rather than waiting to learn steps first • Increases musicality and phrasing on repeated combinations through self-direction

2. Qualitative Range

Includes: knowing and performing major qualities (sustained, sudden, strong, light, direct, indirect, bound, free), ability to replicate qualitative/dynamic choices as given by teacher, ability to incorporate varied qualities when not specifically given by the teacher, ability to integrate varied qualities with movement quickly

Modern I (DAN 101)

• Demonstrates an awareness of the qualities/dynamics in movement combinations

85 APPENDIX B: FORMS, COURSES & RUBRICS • Performs qualitative ranges in basic movement combinations, with guidance by the teacher • Demonstrates an awareness of making personal, qualitative choices in movement

Modern II (DAN 201)

• Understands and applies qualities to movement combinations • Understands and applies qualities to combinations as directed by the teacher • Understands and applies individual aesthetic choice making, and begins to apply this to combinations when directed by teacher

Modern III (DAN 301)

• Consistently demonstrates a range of dynamics/movement qualities • Consistently demonstrates qualities/dynamics in combinations when directed by teacher • Consistently demonstrates ability to make individual choices regarding qualities, sometimes independently and sometimes through teacher directive

Modern IV (DAN 401)

• Masters all qualities and uses them appropriately and expressively in movement combinations • Possess a dynamic range evident to the outside eye • Changes qualities easily within advanced movement sequences, according to both teacher- and self-direction • Incorporates qualities into combinations as sequences are learned, rather than waiting to learn steps first

Professionalism

Includes: understanding the demands of the profession and acting accordingly (such as being on time and mentally present, wearing appropriate attire, working outside of class to achieve goals, exhibiting drive to learn), ability to receive, apply, and retain corrections (both personal and general), making generous and positive contributions to the learning environment and class community, openness to processes and willingness to risk in order to grow, ability to express thoughts about technique and artistry both verbally and in writing, ability to be a reflective practitioner (engage in self-reflection, set, adapt, and achieve goals, express reflection to others as called for)

Modern I (DAN 101)

• Demonstrates an awareness and acceptance of demands of the profession (listed above) • Receives and applies corrections given personally and generally • Demonstrates respect for self, others, the space and the learning process in creating a positive learning environment and class community • Demonstrates openness to learning new concepts in modern dance • Begins to be able to express thoughts about technique and artistry verbally and in writing • Demonstrates basic self-reflection skills

Modern II (DAN 201)

• Acts according to the demands of the profession most of the time

86 APPENDIX B: FORMS, COURSES & RUBRICS • Receives, applies, and retains corrections given personally and generally • Actively creates a positive learning environment and class community • Demonstrates an openness to learning new concepts in modern dance and a willingness to risk in order to grow • Expresses thoughts about technique and artistry with correct terminology, basic content, and acceptable writing skills • Understands and applies self-reflection

Modern III (DAN 301)

• Consistently acts according to the demands of the profession • Consistently receives, applies, and retains corrections given personally and generally, and seeks out these corrections • Consistently creates a positive learning environment and class community through his/her actions and encouragement of others • Consistently demonstrates and openness to learning and consistently takes risks (as guided by the teacher) in order to improve and grow • Demonstrates a thorough and personal understanding of technique and artistry through his/her speech and acceptable writing skills • Consistently engages in self-reflection and progresses based on this reflection

Modern IV (DAN 401)

• Always acts according to the demands of the profession • Masters the ability to receive, apply, and retain corrections given both personally and generally, and to learn by watching peers (without teacher guidance) • Always creates a positive learning environment through his/her personal actions and encouragement of others • Always open to new concepts and willing to take risks as part of the growth and learning process. Encourages others to do so as well. • Demonstrates a nuanced understanding of technique and artistry, as evidenced through his/her speech and sophisticated writing skills • Demonstrates an appreciation of the importance of self-reflection, engaging in reflective practices before, during, and after classes for continual learning

Southern Miss Dance Program Ballet Exit Competencies

To the student: Our Exit Competencies explain what you are expected to master at each level of technique. These competencies are used to determine your class level. You will see how they are addressed in your ballet and modern classes.

DAN 202 “Freshman Ballet”

At this level, the student will comprehend and know how to correctly execute the following fundamental ballet steps and concepts. For advancement (to DAN 302), correct demonstration and the emergence of consistency must be evidenced in all things noted below, along with an established professionalism in

87 APPENDIX B: FORMS, COURSES & RUBRICS learning. These exit competencies are the basis for the student’s “Growth Grade” and rubrics used to evaluate assessment phrases.

CONCEPTS

Correct use of plié

Correct articulation of the foot (brushing, closings, pushing/power)

Correct alignment (spine, legs, head, pelvis, ankle, arms)

Awareness and correct use of plumb line

Correct rotation of the hip, leg and foot at the barre and in centerwork

Correct use of weight (standing, shifting and lifting) in locomotor and non-locomotor movement

Correct placement and use of the supporting leg and foot

Coordination and connectivity in body & movement (upper to lower body, front to back, limbs to core)

Correct execution of port de bras

Understanding and correct application of required spatial placement, location and awareness

Stamina (strength and cardiovascular) & Flexibility (range of motion)

Ability to reverse combinations correctly and quickly

Retention of combinations (short and long-term)

Expressivity (ability to express when dancing)

Correct demonstration of a diverse range of qualities of movement within the fundamental ballet steps

Correct use of focus (eyeball energy)

Evidence of phrasing and use of breath to motivate and support movement

Correct use and confident execution of transitions

Understanding and clear demonstration of the ballet aesthetic (lightness, ease, flow)

STEPS

The student is responsible for understanding and demonstrating the proper execution of each of the fundamental ballet steps listed below. They must also be able to spell, translate (to English) and provide imagery and corrections for each step.

Basic foot and arm positions Pas de basque Saut de chat

Body directions (8 total) Tombe Tour jeté

88 APPENDIX B: FORMS, COURSES & RUBRICS Pliés (demi and grand) Temps lie Fouetté (relevé & sauté)

Relevé & elevé Soutenu Pas de chat

Tendu Battement en Cloche Soubresaut

Dégagé Pas de cheval Waltz turn

Piqué Ballonné En haut/en bas

Frappe Devant/en avant Derrière/en arrière

Fondu Passé Développé (45 degrees)

Coupé De côté Retiré

Grand battement Arabesque (1st & 2nd) Grand jeté

Cambre/Port de corps Attitude Sous-sus

Pas de bourrée Sauté Soutenu

Balancé Sissone

Pirouettes (en dehors, en dedans, Échappé piqué, lame duck, from 4th, from 5th) Glissade Chainés

Rond de jambe (à terre, en l’air) en dehors & en dedans Assemblé

Petit battement Jeté Promenade

Changement Allonge Emboite

En croix Chassé

Temps leve Chassé entournant

DAN 302 “Intermediate Ballet”

DAN 302 is focused on transitioning from correctly executing steps and concepts, to finding true consistency in demonstrating the ballet aesthetic in all given movement. The term for this level is “developing,” and this also refers to the emergence of performance and artistic abilities as technique becomes firmly established. For advancement (to DAN 402), the student must master the exit competencies listed below. These exit competencies are the basis for the student’s “Growth Grade” and rubrics used to evaluate assessment phrases.

CONCEPTS

Correct and consistent execution of all DAN 202 concepts

• Understanding and demonstration of efficiency in ballet movement (transitions & personal instrument) • Correct and consistent balances in all positions

89 APPENDIX B: FORMS, COURSES & RUBRICS • Evidence of a strong instrument and the pursuit of true athleticism: flexibility in balance with strength, large range of motion, healthy and resilient body and practices, cardiovascular endurance. • Use of a wide range of dynamic qualities of movement in proper execution of steps and also in performance • Use of imagery to deepen understanding and proper execution of ballet movement • Clear and consistent understanding and demonstration of anatomical and mechanical concepts as related to the proper execution of the ballet movement vocabulary • The ability to diagnose (self and others) and evaluate technical performance in ballet steps • Understanding and clear and consistent demonstration of musicality and phrasing • Use of expressivity in performance (at the barre, in centre and in variation work): whole body & facial • Use of intention to motivate performance (qualities, stylistic choices, phrasing, focus, etc.) • Emergence of artistry (performance and technique in balance)

STEPS

Three benchmarks will be used for advancement to DAN 402. The first is the final assessment phrase for the semester which will evaluate the student’s abilities in the technical areas listed below. The second is a written vocabulary exam based on all exit competencies. An “A” on both of these evaluations must be earned in order to be promoted to DAN 402. The final and most important benchmark, is the recommendation of the current ballet instructor, along with a “Growth Grade” whose score and supporting comments also reflect true readiness for advanced ballet study and the artistic abilities required its successful pursuit.

Correct and consistent execution of all DAN 202 steps and these 302 steps

Temps de fleche Temps de cuisse Battu (beats!)

Pas de poisson Faille Sissonne change (ouvert, ferme)

Balancoire Dessus/Dessous Flic Flac

Développé (90 degrees) Penché Saut de basque

Enveloppe Detourne Arabesque (3rd, 4th & 5th)

Allonge (pointed foot) Pirouettes (doubles) Attitude (standing, turning)

Royal Epaulement Retombe

Entrechat quatre Arabesque turns Chassé coupé fouetté sauté

Entrechat trois Gargouillade Grand jeté entournant

Entrechat cinq Renversé Tour en l’air (single & double)

Entrechat six Contretemps Cabriole

Brisé Serre Saut de chat

Brisé volé Ballotte Pas de bourrée couru

90 APPENDIX B: FORMS, COURSES & RUBRICS DAN 402 “Advanced Ballet”

DAN 402 centers on the pursuit of personal artistry through the performances of traditional and contemporary ballet variations. It is assumed that the student can correctly and consistently demonstrate all DAN 202 & DAN 302 exit competencies, has earned an “A” in their DAN 302 final assessment phrase, their culminating vocabulary test and in their growth grade. DAN 402 demands advanced technical and performance skills for success at this level to be possible. Concepts and steps unique to this level are wholly dependent on what specific variations demand and are largely stylistically based. For example, “Swan Lake” requires unique port de bras and a carriage of the body in order to express the necessary bird-like qualities inherent in the movement. These additional terms will thus be shared and explored with students as needed.

91 APPENDIX B: FORMS, COURSES & RUBRICS APPENDIX C

92 APPENDIX C: EMAIL ETIQUETTE EMAIL ETIQUETTE Plz Read This!!!: Subject Lines Sometimes you are going to need to contact your profes- A subject line should clearly and briefly represent your sors outside of class, and you’ll usually do that by email. purpose for emailing. "Hey..." "URGENT!!!!!" and "A You might not have thought much about how to write Question" are not good subject lines. "SOC 101 Paper an email, since email is often viewed as a more casual Assignment" is a good subject line. form of communication than a formal letter, but poorly Keep in mind that the person you're emailing may have written emails are a quick way to make yourself look bad hundreds of emails in his or her inbox. By briefly stat- to professors. ing the purpose of your email in the subject line, you allow your recipients to get an idea of what your email is Before you hit send, read your email aloud and about during their initial scan, and it also makes it easier ask yourself: for them to find your email again if they can't answer it • Does it sound professional? right away. • Does it sound like it could be a letter (not a text)? Yo Teach!: Addressing Faculty and Staff • Does it sound respectful? Always use a formal address, such as Professor, • Is everything spelled correctly? Dr., Ms., or Mr. • Did I use proper punctuation and grammar? • Did I identify myself clearly so my professor knows It's important to address the person you're emailing by who I am and which class I'm in? name. If you don't remember your professor's name, check your syllabus or look on SOAR. Never use your Refer to Appendix B for a clever ands insightful sampling of professor's first name unless you've been specifically emails you should and should not send. told that it's okay. "Ms." or "Mr." are only appropriate Quick Tips if your professor does not have a Ph.D. Most do, and [email protected]: Email Address should be addressed as "Dr." If you are not sure whether If your email address is sexxxxxy2016, koolchik05, or your professor is a doctor, you can never go wrong with nolimits601, you might want to rethink that. addressing him or her as Professor. If you send an email to a faculty member with a weird personal email address, that's how they'll remember you. And that's definitely not what you want when you are trying to present yourself as a mature, responsible student. Use your USM email address when you are corresponding with faculty and staff.

93 APPENDIX C: EMAIL ETIQUETTE It’s Me!: Identify Yourself XOXO, Me: Closings Unless you know the person you’re emailing well, make Use a formal closing, and always sign your full name at sure you identify yourself clearly. the end of an email. It’s always good to state your name and to let your Formal closings include: “Sincerely,” “Respectfully,” professor know which class you’re in. If you’re emailing “Thank you,” or “Best wishes,” and using one makes your advisor or a staff member, you should include your you come across as respectful and professional. If you student ID in the email to make it easier for him or her are emailing back and forth, it is not necessary to use a to look up your records in SOAR. formal address and closing in each response, but you can never go wrong by ending an email with a "thank you," You Need To Check My Grade: Asking Nicely or "I appreciate your time." If you want someone to do something, make a request, not a demand. Uh, It's Been a Whole Hour: Patience Allow your recipient a reasonable amount of time People always respond better to requests than they to respond. do to demands, and your professors and campus staff are no exception. You will get better results if you ask 24-48 hours is reasonable. An hour and a half is not rea- politely. State your question, concern, or request briefly sonable. Professors often have a different sense of what and clearly, using standard English. Maintain a polite, re- is within a reasonable timeframe to respond to your spectful tone and avoid using exclamation points, emot- email than you do. They typically do not check emails on icons, texting abbreviations, or coarse language. Avoid their phones, and they aren’t always at their computers. asking questions that are answered on the syllabus or They also get a LOT of emails, so you shouldn't expect assignment sheet, such as “When is our paper due?” or a response before 24-48 hours. If you get one, tell them “What is our homework for tomorrow?” Emails that are thank you! If you have not heard back within 48 hours, not professional in style or tone, or that ask questions you can follow up politely. If you don't get a response to that are clearly answered on the syllabus or assignment the follow-up, check with the department office to make sheets, may be ignored. sure you have the right address and that your professor is not out of town.

94 APPENDIX C: EMAIL ETIQUETTE APPENDIX D

95 G A H D C B E F SYMBOLS

Faculty/Sta Residence Halls Commuter University Police Department Reserved Proposed Changes Emergency Phone Cycle Zone Service Handicap Timed 38th AVENUE 38th AVENUE 1 1 Church Tennis Courts Tennis

118 37th AVENUE Cedarbrook II Cedarbrook Apartments BOULEVARD MONTAGUE N. 37TH AVENUE 119 ATO Lot ATO D C A E F B AZALEA DR. 57 117 120 1 1 4 HARDY STREET N. 36TH AVENUE MORNING SIDE DR. Food Services Food Purple Heart Athletic Sites Village Sorority Fraternity Under Construction Lot Ecomony Permits - All Open Lots Reserve Center Cochran and Polymer Lucas,

36th AVENUE Scholarship Hall Sigma Nu STREET 4TH WEST 2 2 PEARL STREET 64 91 Lot PBP 83 111 110 PKP 75 109 ADP 35th AVENUE 67

112 N. 35TH AVE. 35th Ave. 35th 108 PM DST Lot DTD 30 74 113 68 107 The Village DG 34th Ave. 34th Lot AKA 106 121 92 SPE Greene Lot ...... 5E 5E . Lot Greene 2D, 3D, 4E . .2C, Lots Fraternity 8F . Walk Lot Eagle . .6D Lot Reserve Center Cochran 7C . Lot North Park Century 7E . Lot Bolton 2C . ATO Lot 3E . Lot Avenue 35th 3F . Lot Avenue 34th 6C . Lot Arts 3-D PARKING LOTS Name Location 34th AVENUE Sports Field Lot Field Sports

105 3 3

ACO I

Ross Blvd L Ross Blvd

WEST 4TH STREET 4TH WEST

104

KD A

FRATERNITY DRIVE FRATERNITY G

PKA

C Fields Intramural 82

103 I Lot

Lot R

DDD L . CO . E 102 South North 80 SAE KS Ranger Hill Hill Ranger ROSS BOULEVARD 88 Theatre and PKT PEARL STREET MONTAGUE Dance Lot Lot

84 Apartments Owned Privately

. K

T M

Bank U .K

R .

K T

U Park Taylor Pete

4 4 C R

K I ann ot o . .6G Lot North Mannoni 6F . Lot Reserve Lucas 8E . Lot Center Lott 5F . Lot Arts Liberal 8F . Lot Kennard-Washington 5G . Lot Kelley 5E . Lot Center International 5F . Lot Hurst 8A . Lot Gravel Hillcrest 8B . Lot Hillcrest R

Name Location C

C I

19 R L E C 35 Pete Taylor Lot Taylor Pete L 33rd AVENUE E BOULEVARD Coliseum 27 Green Apartments Owned Privately Reed 23 42

A CAMPUS HATTIESBURG

Phone: 601.266.4943 of ParkingDepartment and Transit Services

Volleyball Volleyball M

E Lot West

D R . Natatorium 98 31

32nd AVENUE Lot McDonalds Apartments Owned Privately 99 International Center 13 62 61 Volleyball Volleyball Volleyball Wellness/ Complex Complex 34 Liberal Arts Liberal Beach Lot 10 R 5 5 ESE Lot A Bank 14 R CH

97 D R . agrHl o . .4D Lot Hill Ranger 6E . Lot Reserve Polymer 6C . Lot Plant Physical 4C . Pete Taylor Lot 5C . Lot Center Payne 6C . Garage Parking 5D . Lot Natatorium 5D 5C, 4D, 4C, . . Lot Circle Turk M.K. 8D . Lot McCarty . .6G Lot South Mannoni Name Location Exercise Trail Payne Center Lot Center Payne 37 31st AVENUE Pedestrian Plaza Polymer Science Greene Greene Store Kelley 12 Hurst Pride Field Lot Lot Lot 1 31ST AVENUE Polymer Reserve Motor Pool Mannoni Mannoni Physical Physical Lot North South Plant Plant 22 18 Lot Lot SOUTHERN MISS DR. Lot 6

7 Rails to Trails Southern Miss Station Miss Southern Trails to Rails

15 GOLDEN EAGLE AVE. Pat Ferlise 28 Center Cochran Center 52 60 CHARLES LANE 11 49 RAY GUY WAY Reserve Lot 6 6 WEST 4TH STREET Open and Reserved Reserve Parking Garage Arts Lucas 3-D Lot 73 56 3 Lot 16 Centennial Gateway HARDY STREET FORREST AVENUE 2 Weathersby Weathersby olyalWs o ...... 5C . Lot West Volleyball 8E . Lot Wilber 8B . Tower Lot Place 4E . Lot Dance and Theatre 3D, 3E 2D, 2E, . Lots Village The 3C . Lot Field Sports 8D . Lot Scianna 2E . Lot Hall Scholarship 3F . Lot South Boulevard Ross 3E . Lot North Boulevard Ross Name Location Centennial Centennial Green Green Lawn 29 21 24 4 Spirit Park CPN 3 CPN 1 CPN Citizenship Luckyday

WEST MEMORIAL PLAZA Cochran Center 100 Information 115 115 Union Booth Hub 32 41 51 Moffitt Moffitt Moffitt Moffitt 116 Southern Station CPN 4 CPN CPN 2 CPN Vann Scott Main Entrance

Health EAST MEMORIAL DR. Health 7 7

Rose Garden SMALLING DR.

COLLEGE DRIVE 81 76 20 M-Club 43 Football Practice Football Athletic Center RAY GUY WAY Century Park Park Century Bolton Stadium Roberts Fields

North Lot

M.M.

S Lot 71

O 50 39 U Water Tower

Tower Place Tower Place T

WEST 7TH STREET H 86

Washington E

Kennard-

72 Hattiesburg Downtown R 17 EOE/F/M/VETS/DISABILITY UC82574 EOE/F/M/VETS/DISABILITY

Lot N

Lake Byron Lot

M Lot Gravel Hillcrest

R EAGLE WALK EAGLE WALK . Eagle Walk Lot Center FELDER PLACE Hillcrest Lot Hillcrest 87 Lott Hillcrest Lot Hillcrest COLLEGE DRIVE 46 Lot Cafe 96 8 8 McCarty McCarty Scianna Lot 78

Gulf Park Campus HWY 49 SOUTH DRIVE ALUMNI 38 Lot 55 36 Wilber 25 95 Lot Electronic Electronic Message Message Board Board CHAMPIONSHIP LANE CHAMPIONSHIP LANE

U.S. HIGHWAY 49 U.S. HIGHWAY 49 U.S. HIGHWAY 49

25TH AVENUE BUILDINGS ap im ...... 8 3D . . . . . 80 . . Sigma Kappa 3D ...... 105 . Delta Kappa 8E . . . . 79 . . . Hall Jones 6E . . . . . 11 . . Tower Science Johnson 5D ...... 31 Natatorium Johnson 5E . . . . . 10 . . Center International 5F ...... 13 Studio Design Interior 6F . . . . 7 . . . Building Hurst 8F . . . . . 46 . . House Honor 8B . . . . 78 . . . Hall Hillcrest 7E . . . . 43 . . . Hall Hickman 7F . . . . 76 . . . Hall Hattiesburg 4F . . . . 8 . . . Hall Harkins 5F ...... 12 Hall Greene 4D . . . . . 19 . . Building George 6F . . . . 6 . . . Hall Fritzsche-Gibbs 6F . . . . . 29 . . Hall County Forrest 2C . . . . 75 . . . Module Family Therapy 2C . . . . 67 . . . Clinic Family Therapy 2E . . . . . 112 . . Duplex - M-Club 7D ...... 71 4E . 27 Center Athletic Du ...... Disorders Language for School DuBard 3D . . 74 . . . . . TauDelta Delta 3E . . . . . 113 . . Theta Sigma Delta 3D . . . . . 107 . . Gamma Delta 3E . . . . . 102 . . Delta Delta Delta 7E ...... 100 . Chapel Danforth 6E . . . . 49 . . . Library Cook 6F . . . . 4 . . . Hall College 3E . . . . . 103 . . Omega Chi 6D . . . . 3 . . . Center Technology Chain Center Health Mott Hall, Citizenship Luckyday Hall, Vann Hall, - Scott 7C ...... 116 . South Park Century 4 CPN 3, CPN 2, CPN 1, - CPN 7C ...... 115 . North Park Century 2C . . . . . 64 . . Families and Members Service Veterans, Military for Center 3C . . . . . 68 . . Development for Child Center 1D ...... 119 . A-F II Apartments Cedarbrook 2C . . . . . 120 . . House Buroughs Department Police - University 6C . . . . . 73 . . Hall Bond 8E . . . . . 72 . . Hall Bolton 7E . . . . 41 . . . Auditorium Bennett . . . . 69 . .11A . Complex Track Bell Soccer and 5C . . . . 62 . . . Complex Volleyball Beach 5E . . . . 97 . . . Union Student Baptist 4E . . . . 5 . . . Hall Asbury 2C . . . . . 114 . . TauAlpha Omega 3D ...... 106 . Alpha Kappa Alpha 2D ...... 109 . Pi Delta Alpha 3D ...... 104 . Omega Chi Alpha 6C . . . . 2 . . . Building Arts 3-D Building Name and Jackson to Convention Center HWY 49 NORTH 9 9 Softball Complex 33 10 10 Number Location WEST 4TH STREET ibrHl 5...... 8F . . . . . 95 . . Hall Wilber 5E ...... 98 . Wesley Foundation 5C . . . . . 61 . . Complex Wellness/Volleyball 6E . . . . 24 . . . Building Walker Science Hub Union, Cook Center, - Cochran 7E . . . . . 32 . . Complex Union 4E ...... 23 . 6D . 22 Building Dance and Theatre . . . Center Research Science Polymer Thames ...... 118 .1F . Tennis Courts 6F ...... 21 Stout Hall 8C . . . . . 38 . . Receiving and Stores 5B . . . . . 99 . . Church Catholic Thomas St. 7F . . . . . 20 . . Hall Southern 3E ...... 121 . Center Student Christian Southern 9B . . . . . 33 . . Complex Softball 3D . . . . . 92 . . Epsilon Phi Sigma 2C . . . . . 91 . . Nu Sigma 4D ...... 88 2B . . Epsilon 57 Alpha Sigma ...... Intervention Crisis for Center Shafer 8D . . . . . 25 . . Hall Scianna 2E ...... 111 . Hall Scholarship 8E . . . . 87 . . . Hall Roberts 4C . . . . 42 . . . Coliseum Green Reed 8F ...... 86 . Hall Pulley 6E . . . . . 56 . . Restaurant Power House 2C . . . . . 83 . . Phi Pi Kappa 3D . . . . . 82 . . Alpha Pi Kappa 2E ...... 110 Phi Pi Beta Pool - Motor 5B . . . . . 37 . . Plant Physical 2D ...... 108 . Mu Phi 4E ...... 84 Tau . Kappa Phi 4B . . . . . 35 . . Pete Taylor Park 2F . . . . . 117 . . House-OLLI Peck 5D ...... 34 . Center Payne Oce - Ticket 6C . . . . . 60 . . Center Pat Ferlise 6E ...... 18 . Hall Owings-McQuagge 8F . . . . . 55 . . House Alumni Ogletree 3C . . . . . 30 . . of Sustainability Oce 7E . . . . . 81 . . Hall Mississippi 8F ...... 17 Hall McLemore 8C ...... 96 . Hall McCarty 6F . . . . . 52 . . Library McCain 6E . . . . . 28 . . Zone Math 6G . . . . . 16 . . Hall Marsh 6G ...... 15 Center Arts Performing Mannoni 7E . . . . . 39 . . Stadium Roberts M.M. 7F ...... 51 Building Administration Lucas 8E . . . . . 36 . . Center Lott 5F . . . . . 14 . . Building Arts Liberal 8E . . . . 9 . . . Building Kinesiology 7F . . . . . 50 . . Hall Kennard-Washington 5F ...... 1 Kelley Hall Building Name

MEADOW LOOP 11 11 WEST 7TH STREET Soccer Complex Bell Track and Complex Soccer 69 Track and Field Complex Number Location 12 12 G A H D C B E F 96

EOE/F/M/VETS/DISABILITY