Producing Dance With HKPropel Access

Most dance production books are written from the perspective of a production manager or designer, focusing on the technical aspects of a traditional dance production.

Producing Dance takes a unique path—one that includes the voice of the choreographer and dancer in the journey to performance.

In doing so, the authors support the process of the entire creative team and cover all aspects of a production. They put those aspects in the context of real-world application, in sequence with other components, creating a toolbox for success for all involved. By the end of the book, readers will have discovered the many options available to them in the production setting and be able to choose the tool most needed at the time.

Critical Guidance That Sets This Book Apart
Through its collaborative approach, Producing Dance goes beyond the performance, covering evaluation, reflection, and opportunities for growth. And it offers guidance in two critical areas that are not addressed in other dance production books:

• Creating dance performances in nontraditional spaces such as site-specific venues, dance and culture festivals, and audience-immersive experiences
• Supporting the development of an artistic career through acquiring business skills such as fundraising, grant writing, and performing business analyses

Ancillaries
Producing Dance comes with an instructor guide, a test bank, a PowerPoint presentation package, and HKPropel Access. Through HKPropel, students will find supplemental content and study aids:

• Application activities for each chapter, allowing students to practice the concepts discussed in the chapter
• Real-world examples with explanations
• Links to websites that further illustrate concepts
• Virtual flash cards to help students study and retain key terms

Parts of the Book
The text is presented in four parts. Part I guides readers in balancing and integrating artistic ideas with logistical considerations to create a clear and unified vision. Part II explores the process of realizing that vision through a collaborative and creative process. In part III, the knowledge gained in the first two parts is put into action as performance takes center stage. In part IV, readers learn how to continue to grow beyond the performance through a variety of pathways that deepen understanding and open up future opportunities.

Realizing Vision
The journey from an idea to a fully produced vision can be daunting. Producing Dance makes that journey not only doable but also enjoyable. It provides readers the understanding and tools they need to realize their vision, explore and develop their voice, and further their growth and career development.

Note: A code for accessing HKPropel is included with all new print books.

Audience

Text for undergraduate production courses and theater courses. Professional reference for K-12 dance educators.

Part I. Vision: Balancing Artistic Content and Production Realities

Chapter 1. Vision and Collaboration in Dance Performance
Early Dance Performances and Vision
Performance Spaces
Design Elements
Summary

Chapter 2. Artistic Vision
Inspiration and Purpose Tied to Artistic Vision
Audience
Performance Spaces
Research
Creative Brief
Summary

Chapter 3. Logistical Considerations
SWOT Analysis
SWOT Application
Financial Structure
Collaborative Organizational Structures
Arts Administration
Summary

Chapter 4. Getting Started
Venues
Funding
Visibility
Summary

Part II. Process: Clarity Through Creation, Collaboration, and Conversations

Chapter 5. Collaborators
Organization of Roles
Dance Collaborators
Production Collaborators
Defining a Collaborative Language
Production Meetings
Summary

Chapter 6. Creation in the Studio
Auditions
Rehearsals
Summary

Chapter 7. Stage, Scenery, Props, and Lighting
Stages
Scenery and Props
Lighting
Summary

Chapter 8. Sound, Digital Media, Costumes, and Makeup
Sound
Digital Media
Costume and Makeup
Summary

Part III. Integration: Blending Vision and Process

Chapter 9. Production Timeline
Production Calendar
Milestones
Production Process
Pulling the Timelines Together
Creating a Gantt Chart
Production Meetings
Summary

Chapter 10. Production Scope and Audience Experience
Production Scope
Audience Experience
Summary

Chapter 11. Integrating Elements Onstage
Stage Considerations
Scenery and Props
Lighting
Sound
Digital Media
Costumes
Summary

Part IV. Culmination: Performance and Beyond

Chapter 12. Production Week
Timeline
Cue-to-Cue Rehearsal
Technical (Tech) Rehearsal
Dress Rehearsal
Expecting the Unexpected
Summary

Chapter 13. Performance
Front of House
Backstage Crew
Performers
Strike
Summary

Chapter 14. Postmortem
Technical Production Perspective
Choreographer and Artistic Perspectives
Mediators
Feedback
Now What?

Robin Kish, MS, MFA, is an associate professor of dance at Chapman University in Orange, California, and has over 20 years experience in dance kinesiology. She earned a master of science degree in kinesiology and a master of fine arts degree in dance, allowing her to combine the fields of dance and science in her research and teaching. She mentors student choreography projects and co-teaches the Chapman University dance department’s senior seminar course. She has coauthored The Embodied Dancer: A Guide to Optimal Performance and the second edition of Dancing Longer, Dancing Stronger. Robin has created unique educational content for the National Dance Education Organization’s Online Professional Development Institute and the Performing Arts Medicine Association. She has been asked to contribute to 4Dancers.org, Safe in Dance International, Bridge Dance Project, and CLI. A former modern dancer and a product of the private studio and competition environment, she is passionate about bringing dancer wellness and safe teaching practices to the industry.

Wilson Mendieta, MFA, is an assistant professor of dance at Chapman University with a diverse background in theatre, dance, musical theatre, film, and television. Prior to arriving at Chapman, he served as director of the musical theater program at the University of Washington, where he also earned a master of fine arts degree in dance and a nonprofit management certificate from the Evans School of Public Affairs. A bachelor’s degree in acting with a minor in dance from Montclair State University prepared Wilson for work in television and radio commercials, concert dance companies, and Broadway and off-Broadway musicals. His choreographic work has been seen throughout the United States, including at the Kennedy Center, and he has been invited to festivals in Venezuela, Colombia, and Australia. He has been invited to present at several international conferences on the topic of sustained careers for performing arts students. Wilson has served as a panelist for several arts funding organizations, including the National Endowment for the Arts.

Jennifer Backhaus, MFA, is founder and artistic director of Backhausdance, Orange County’s award-winning contemporary dance company. In addition to being the energetic and creative force spearheading the development and growth of Backhausdance, she is a full-time dance faculty member at Chapman University. Jennifer holds a bachelor’s degree in communications and dance from Chapman University and received her master of fine arts degree in choreography from Hollins University. From the inception of Backhausdance in 2003, Jennifer has been committed to choreographing and producing contemporary concert dance with a professional company while simultaneously designing and implementing an extensive dance education and performance program for all ages. She created and now teaches the dance production course at Chapman University. As an award-winning and in-demand choreographer, Jennifer’s works have been presented by Musco Center for the Arts, Brigham Young University, Segerstrom Center for the Arts, McCallum Theatre, Los Angeles Ballet, Old Town Temecula Theatre, and The Joyce Theatre.
Marc Jordan Ameel, MAED, is a technical producer for global corporate events. He has worked extensively as a performing arts production manager and technical director, having experience in professional, academic, and nonprofit organizations. He holds a master’s degree in adult education and distance learning from the University of Phoenix, a California teaching credential with an emphasis in educational technology, and a bachelor’s degree in theatre from Arizona State University.

Samantha Waugh, BFA, is a professional dance artist and educator located in southern California. Originally from Austin, Texas, she received her bachelor’s degree in dance performance from Chapman University in 2018. Passionate about arts education, Sammi has taught and created curriculum for private studios, community centers, and elementary schools across southern California. As a professional dancer, Sammi performs with Orange County’s Backhausdance, both on the stage and in schools through their educational outreach programs. She has performed in many project-based festivals around the Los Angeles area and has presented her own choreographic and movement research works. In addition to assisting with the development of Backhausdance’s education programs, she currently serves as director of the early childhood music and dance program at OC Music and Dance in Irvine, California.

Kerri Canedy, MFA, is a visiting assistant professor in the department of theatre and dance at the State University of New York at Potsdam. She holds a bachelor’s degree in dance from California State University at Fullerton and a master of fine arts degree in dance from Smith College. She has danced, choreographed, and taught dance professionally all across the country. She has been the artistic director and production manager of 20 large-scale dance concerts and has been choreographer and assistant director for numerous theater and opera productions.

Todd Canedy, MFA, is an associate professor of design for the theatre and dance department at the State University of New York at Potsdam. Canedy previously taught and directed at Bowling Green State University, Southwestern Oklahoma State University, and Lawrence Academy in Groton, Massachusetts. He earned a bachelor’s degree in communications with an emphasis on technical theatre from Chapman University and a master of fine arts degree in scenic design from California State University at Fullerton. He has worked all over the country in the theatre and dance industry. He has been working in theatre professionally for more than 30 years. While his main focus is set design, his artistic talents also include costume design, technical direction, lighting design, makeup, and scenic painting.

Getting Started
Performance Spaces
Site-Specific and Installation Performances

All ancillaries are free to adopting instructors through HKPropel.

Instructor guide. Includes a sample course syllabus, links to videos illustrating various aspects of dance production, and many assignment and project ideas to help students practice playing different parts in the dance production process.

Test package. Contains 270 questions in essay and short-answer format and multiple-choice format. A cumulative midterm and final exam compiled from the chapter questions are provided as well. The files may be downloaded for integration with a learning management system or printed for use as paper-based tests. Instructors may also create their own customized quizzes or tests from the test bank questions to assign to students directly through HKPropel. Multiple-choice assessments are automatically graded, and instructors can review student scores in the platform.

Presentation package. Features 243 PowerPoint slides of text, artwork, and tables from the book that can be used for class discussion and presentation. The slides in the presentation package can be used directly within PowerPoint or printed to make handouts for students. Instructors can easily add, modify, and rearrange the order of the slides.

Instructors also receive access to all student materials in HKPropel. For Producing Dance, this includes application activities for each chapter, links to websites that further illustrate concepts, and virtual flash cards.