CONSTITUTION OF SINFONICRON LIGHT OPERA COMPANY
Revised: June 1, 2022
Article I – Name of the Organization
This organization will be known as the Sinfonicron Light Opera Company of the College of William & Mary, heretofore referred to as “Sinfonicron” or “the Company.”
Article II – Purpose
This organization will produce a student-led light opera (operetta) or musical theatre production at least once a year in Phi Beta Kappa Memorial Hall (PBK) at the beginning of the spring semester (typically late January).
If PBK Memorial Hall is unavailable for the production, suitable alternative arrangements must be made in advance.
There will be a rehearsal period held during winter break, prior to campus dormitories re-opening heretofore referred to as “camp.”
Article III – Membership
Section I – Primary Organizations
The “Primary Organizations” of Sinfonicron shall be defined as: the two founding organizations, Delta Tau Omicron and Phi Mu Alpha Sinfonia, along with Nu Kappa Epsilon Music Sorority and the Theatre Students Association.
The Primary Organizations may serve as financial partners of the Sinfonicron Light Opera Company.
Section II – The Council
The governing body of this organization shall be known as the Sinfonicron Council.
The Sinfonicron Council shall consist of eleven (11) members:
Seven (7) members elected by the Company: Producer, Director, Vocal Director, Orchestral Director, Marketing and Outreach Director, Stage Manager, and Production Manager.
Four (4) members elected by their respective organizations: the Presidents or a representative chosen by the President of each organization.
The Presidents of the Primary Organizations sit on the council to see that the policies of the company reflect the ideals of their constituents, so long as those policy changes have the best interest of the company in mind.
It is the responsibility of the Sinfonicron Liaisons to inform their constituent organizations about issues arising in the company.
The Council only votes on Constitutional Matters.
A quorum of the council is 7 members.
Section III– The Company
The Company shall consist of the following groups of people: the Executive Board (see Article V), the DEI Chair and their associated staff (see Article XII), the Artistic Staff and Production Staff (see Article VI), and the cast, crew, and orchestra members.
Any member of the William & Mary community may be considered for any position in the Company according to the procedure for membership outlined in Section V.
The Producer will have final approval of all Company personnel.
All members of the company must be present for the entire duration of the production. Exceptions must be approved by the Producer and the applicable supervisor(s) in accordance with the procedure outlined in Section V.
Section IV - Company Membership
The Company selection process is defined as follows:
For cast members: cast members are selected through an audition process consisting of acting, vocal, and dance (if applicable) auditions. Decisions are made by the Director and must be approved by the Vocal Director and Choreographer. The Stage Manager is present for auditions and casting to facilitate scheduling and discussion. Availability for camp and performances will be considered.
For orchestra members: potential orchestra members are auditioned and selected by the Orchestral Director. The audition structure is up to the discretion of the Orchestral Director.
For crew members: crew members will be selected either by application or interview process depending on the preference of the Production Manager. Applications for permanent crew membership will be opened at the time of audition sign-ups and closed three (3) days after all performing audition results are made public. The following hierarchy defines which factors are considered in crew member acceptance from most to least important:
i. Primary Importance :
A. Sinfonicron experience within the crew for which applying
B. Outside experience within the crew for which applying
ii. Secondary Importance
A. Sinfonicron experience, but not within the crew for which applying
B. Expressed desire to learn
C. Freshman/New transfer students
D. Desire to work as run crew
iii. Tertiary Importance
A. Applicants who primarily applied for crew position
B. Members of founding organizations
C. Availability during camp (depending on applied-for crew)
2. All members of the company must be present for the entire duration of the production. Exceptions must be approved by the Producer and the applicable supervisor(s)
Article IV – The Executive Board
Section I - Description of Protocols
The Executive Board shall consist of seven (7) officers elected by the Company: Producer, Production Manager, Director, Marketing and Outreach Director, Vocal Director, Orchestral Director, and Stage Manager.
The Executive Board shall hold regular meetings throughout the academic year, especially before the production, and during the summer as needed.
A quorum of five (5) Executive Board members should be present at every meeting.
Executive Board meetings are open to the entire Company, except when the Producer deems it necessary to call a closed session.
In the event of a closed session, the meeting minutes may be available to the Company by request.
Meetings of the Executive Board may be called by the Producer or a majority of the Executive Board.
3.Each member of the Executive Board shall have any other powers or responsibilities deemed necessary for the fulfillment of their position, subject to approval or vote by the Executive Board.
4. The aforementioned Executive Board is required to attend the entirety of camp.
5. Should any officer not fulfill the duties of their office, they may be removed from office via the process outlined in Article V, Section V.
6. The term of the Executive Board is from the date of election in the previous academic year, through the date of election in the academic year that includes the performance. Members of the Executive Board should expect to and will be expected to carry out regular responsibilities throughout this period of time.
a. All materials pertaining to an office shall be given to the officer's duly elected or appointed successor within a period of fourteen (14) days or at a later date as set by the incoming officer, after the investiture of the new officer
Section II – Description of Office
a. The Producer shall be responsible for the finances of the Company, shall preside over the Sinfonicron Board, and is responsible for the daily operations of the Company. The Producer can also exercise final control over personnel selection. The Producer is the primary responsible party for communicating regularly with the Sinfonicron Guild.
b. The Producer shall also be responsible for organizing a post-production debrief to take place within one month of the production’s closing date. The purpose of this debrief is for company members to reflect on their experiences during the Sinfonicron season and share feedback for the company to consider going forward.
a. The Director oversees the selection of an Artistic Staff (Scenic Designer, Lighting Designer, Costume Designer, Sound Designer, Publicity Designer, Choreographer, and potentially Assistant Director and Dramaturg) with the Producer and Production Manager. The Director is responsible for casting the chosen show with the assistance of the Vocal Director and any other individuals deemed necessary by the Director. The Director will function as the leader of the artistic team, and is responsible for developing, with this team, a coherent and achievable vision for all elements of the production including but not limited to the blocking, choreography, scenery, lights, costumes, and sound. Before camp, the Director will have developed, with that team, a plan of action for all artistic elements of the show, including preliminary blocking and acting notes. During camp, the Director is responsible for planning and running acting and blocking rehearsals and maintaining consistent communication with the Artistic Staff throughout the process.
3. Vocal Director
a. The Vocal Director shall be responsible for studying and preparing the vocal score, conducting auditions and casting the show with the Director. If copyright allows and vocal parts need to be edited, that is the Vocal Director’s responsibility. If need be, the Vocal Director can schedule and lead rehearsals during the semester prior to camp. During camp, the Vocal Director will lead vocal rehearsals with the cast and work with the Orchestral Director on musical aspects of the show.
4. Orchestral Director
a. It is the responsibility of the Orchestral Director to study the orchestral score and prepare individual parts, as well as hold auditions for and train the best orchestra possible in accordance with the chosen show. The Orchestral Director should have the orchestra prepared to perform at the sing-through, and conduct the Stumble-Through during camp. The Orchestral Director will conduct the orchestra during performances. The Orchestral Director is responsible for establishing all tempi for performance, with input from the Director, Vocal Director, and Choreographer.
5. Marketing and Outreach Director (MOD)
The Marketing and Outreach Director’s duties will include:
Poster creation and poster-ing for year-round events (auditions, pit auditions, crew applications, etc)
Social Media Presence (Facebook, Twitter, Insta, YouTube)
Marketing opportunities (DFAS, Club Fair, etc)
Securing advertisements before and during camp
Publicize and help plan Waltz Ball
Organize ticket sales and plan for house management.
Managing the Publicity Team, including the Publicity Designer and Pub Crew members, setting deadlines and keeping the team on track.
6. Stage Manager
The Stage Manager shall be the primary contact for members of the Sinfonicron Company, which includes creating email lists, such as: “Interested Folks” garnered from tabling at Activities Fair, Day for Admitted Students, etc.; “Auditioners;” “Full Company;” “Full Cast;” “Production Staff;” and “Exec.” They are responsible for coordinating auditions, as well as tech, dress, and final performances. They are also responsible for coordinating scheduling during and before Camp Sinfonicron. The Stage Manager is responsible for coordinating and running production meetings. They also work with the Production Manager to coordinate stage time whenever acting/choreo rehearsals need to share the stage space. The Stage Manager also calls cues during all performances and technical rehearsals and determines emergency protocol.
7. Production Manager
The Production Manager shall be responsible for overseeing all technical aspects of the production. In order to achieve this, the Production Manager will generate a production calendar, job requirements for Artistic and Production Staff, and other necessary materials. The Production Manager shall be the “voice of reason” over the Director, Artistic Staff, and Production Staff by focusing on the safety, scale, and scope of the proposed production and designs.
In the spring semester, the Production Manager will serve in show selection as the primary Executive Board member focusing on the technical merit of the proposed shows. The Production Manager will also send out a call for designers in the spring semester and hire the appropriate candidates with the help of the Executive Board.
Over the summer, the Production Manager will facilitate design meetings.
In the fall semester, the Production Manager will lead in the hiring of full Production Staff, and lead them in Production Meetings. The Production Manager will also put out a call for Permanent Crew members, and then make cuts (as needed) to the applicants, and sort them onto crews with the input of the various crew heads. After the Company Meeting, the Production Manager will decide the “Temp Crew” assignments of the cast and pit.
The Production Manager will be responsible for deciding housing for the company for the duration of camp. This may involve developing a list of available spaces and the needs of the hosts, developing a list of the specific housing needs of company members and matching those needs into a housing list. This list must be approved by all hosts before being distributed to the company at large.
During Camp, the Production Manager will serve as an available member of the team to go on purchasing runs, medical emergencies, and any other needed leadership. The Production Manager will be in charge of keeping all company contact sheets in case of emergency, and maintaining the company first aid kit. The Production Manager will also help schedule stage time for the various crews.
Section III – Assistants to the Executive Board
1. Any of the aforementioned positions have the right to appoint an assistant who is capable of acting as an interim board member in the event of a vacancy in office or the incapacity of an Executive Board member.
2. Assistants must be chosen through an application process as defined by their respective Executive Board member
Article V – Elections of the Executive Board
Section I – General Requirements
1. Elections for the Executive Board are to be held in the spring semester of every academic year.
2. The voting public for the election of the Sinfonicron Executive Board shall only consist of currently enrolled students from the previous year’s Company and members of the Sinfonicron Council.
1. Members from other years’ companies may petition the Producer to vote in the election and the Producer may approve the request at their discretion.
2. Graduating members of the company are to be included in the voting public.
3. Elections are to be held at a general meeting for all members of the voting public over which the most senior graduating member of the Executive Board presides (heretofore referred to as the “Presiding Officer.”
1. The Presiding Officer may vote on any office that fulfills the requirements of Article V, Section I, Number 7.
2. The Presiding Officer may vote on any office where there is an even tie in the number of votes between candidates for a position.
4. Elections are held by secret ballot, according to Robert’s Rules of Parliamentary Procedure. The Producer should familiarize themselves with Robert’s Rules to ensure elections run efficiently.
5. In order to hold elections, there must be one candidate for each Executive Board position.
1. In the creation of all ballot positions, there must be an option for voters to select None of the Above.
Section II - Voting in Absentia
Absentee ballots will include the written application of each candidate.
Absentee ballots must be requested in advance in writing to the Presiding Officer no later than one week before the scheduled elections.
Absentee ballots will be sent out to the voters 24 hours in advance of the scheduled election meeting and close at the end of the election meeting.
Absentee ballots will be included in the plurality count of all votes required for election into any office, except in the event of a tie.
In the event of a tie, the winner will be selected based on a plurality of in-person votes.
Section III – Intent to Run
1. Written statements of Intent to Run are to be accepted no later than one week (7 days) prior to Election Day.
1. Applications will consist of a Cover Letter and Resume of relevant experience.
2. A general announcement of all individuals running for office will be posted immediately following the end of the Intent to Run period.
Section IV – Re-elections
1. If a vacancy occurs on the Executive Board before the production opens, a re-election must occur within two (2) weeks of the vacancy according to the steps outlined in Article V, Sections I - III.
2. If a vacancy occurs on the Executive Board after the production opens, the Executive Board may appoint an appropriate replacement to serve in the position’s full capacity until the next round of Executive Board elections.
1. The most senior member of the Executive Board should make an announcement to the entire Company as soon as possible after the new person is appointed.
3. If a vote of no confidence is received on a nominee during elections, a re-election for that office must occur within two (2) weeks according to the steps outlined in Article V, Sections I - III.
Section V – Removal of Board Members
1. Grounds for removal from office shall include, but are not limited to, the neglect of duties as stated in these bylaws.
2. Any member of the current or most recent Sinfonicron company may make a proposal to remove any Executive Board member.
1. Such proposals must be signed by two (2) Executive Board members before being submitted for discussion.
2. Proposals for removal from office should be submitted to the Producer. If the Producer is the subject of the complaint, the proposal will be submitted to a different member of the Executive Board.
3. The subject of the complaint will be notified of the petition against them in a timely fashion.
1. The Executive Board member who received the petition will schedule an individual meeting with the subject of the complaint to have a conversation about the proposal.
2. One other member of the Company must be present for this meeting, to act as an advocate for the subject and will be selected by the subject.
3. Minutes from the meeting should be approved at the closure of the meeting by all present parties and available to affected company members upon request.
4. The Executive Board will hear concerns from affected parties close to the subject of the complaint. These will primarily include those who work next to or under the subject of the complaint.
5. An officer is removed according to a unanimous vote of the other members of the Executive Board.
6. Executive Board members may abstain from the vote and count as neither a yea or a nay.
Article VI– Artistic and Production Staff
Section I - Artistic Staff
1. The Artistic Staff shall consist of the Choreographer, Scenic Designer, Lighting Designer, Costume Designer, Publicity Designer, and Sound Designer, as well as the following members from the Executive Board: the Director, Producer, Vocal Director, and Orchestral Director.
2. The Artistic Staff will be appointed in accordance with Article IV, Section II.
3. Any person appointed as a member of Artistic Staff can be removed at the Executive Board’s discretion.
Section II - Production Staff
1. The Production Staff shall consist of the necessary positions required to produce the production.
2. These may include but are not limited to: Technical Director, Head Carpenter, Properties Head, Scenic Charge, Head Electrician, 2nd Electrician, Costume Shop Manager, Audio Engineer, Live Mixer, Dramaturg, House Manager, and Company Manager.
3. The Production Staff will be appointed in accordance with Article V, Section IV.
4. Any person appointed as a member of Production Staff can be removed at the Executive Board’s discretion.
Section III: Assistants
1. All Artistic Staff and Production Staff positions have the right to request assistants.
2. In the event of a vacancy in position, Assistants shall serve in the interim.
3. Any person appointed as an assistant can be removed at the Executive Board’s discretion.
Section IV: Production Staff
1. The Director, Producer, and Production Manager may appoint any number of department heads and/or assistants to be used in the forthcoming production. These positions may include, but are not limited to: Choreographer, Company Manager, Costume Designer, Lighting Designer, Head Electrician, Scenic Designer, Properties Head, Technical Director, and Sound Designer.
2. All appointed positions have the right to appoint assistants for each function, who will act as interim designers in the case of vacancies.
3. Production Staff members also have the right to request additional positions in their given field (e.g. a Scenic Designer may request a Paint Charge, a Costume Designer may request a Shop Manager, etc.), the Production Manager will ask for applications from interested candidates. The Production Manager and the applicable Production Staff member will then decide on an appropriate candidate with Producer approval.
4. Any person appointed by a member of production staff can be removed at the Executive Board’s discretion.
1. The Production Manager, Producer, and Relevant Artistic Staff Member will select the necessary positions each year (e.g. a Scenic Designer may request a Paint Charge, a Costume Designer may request a Costume Shop Manager, etc.). The Production Manager will ask for applications from interested candidates. The Production Manager and the applicable Production Staff member will then decide on an appropriate candidate with Producer approval
2. The Production Manager will ask for applications from interested candidates. The Production Manager and the applicable Production Staff member will then decide on an appropriate candidate with Producer approval
Article VII – Council Voting
Section I - Council Voting
1. No individual may hold more than one voting position on the Sinfonicron Council.
1. If a member of the board is in the position to have more than one vote, the individual must forfeit the position not elected by the Company and it is the responsibility of the respective organization to appoint a substitute.
2. Presidents of each organization or a representative have the right to send a substitute voter if they cannot attend a meeting.
2. The Council must hold at least one constitutional discussion, known as Constitutional Review, annually before show selection, barring extenuating circumstances.
1. Constitutional review must occur after the executive board has been voted on for the upcoming year.
2. The previous executive board shall be present, but not have voting power.
3. Quorum of the Council shall be seven (7) members that are in good standing with the College and with the organization they represent on the Board.
Article VIII – Amendments
Section I - Amendment Process
1. Amendments must be proposed by a current Sinfonicron Council member through a general motion according to Robert’s Rules of Parliamentary Procedure.
1. Company members who are not a member of the Sinfonicron Council should direct their concerns to the appropriate Council member.
2. Amendments are to be ratified only by a consenting vote by a majority of the Sinfonicron Council members.
3. If an amendment is proposed, a copy of the amendment shall be sent to the full company, and a Waiting Period of one (1) week will be imposed. If no company member raises objections, the amendment de facto passes.
1. In the event that an objection is raised, the Sinfonicron Council will reconvene to address the objections, and a unanimous vote of a quorum of the Council will override the objection. If the Council needs to reconvene to address a concern, the meeting may happen digitally.
4. The Bylaws should be made publically available on the Sinfonicron website at least one week after revisions are completed.
5. Any Constitutional change regarding the Primary Organizations must be ratified by a meeting of the entire 11 person council.
Article IX – Financial Contributions
1. The Primary Organizations (as defined in the Constitution) may apply to contribute financially to Sinfonicron each year and their financial return will be decided on a case by case basis by the Executive Board.
1. Negotiations regarding return on contributions will be made before the transfer of any funds.
2. If the contribution is accepted, the primary organization must be given a financial return of at least 10% of their investment.
3. The contributions must not be given a return in excess of value of 20% of their investment.
4. Contributions must not exceed $500 per year.
5. Financial contributions from primary organizations will be given to Sinfonicron by December 1st annually.
6. Sinfonicron will give primary organizations their percentage of the financial return by May 1st annually or as soon as funds are available.
Article X – Selection of Show
Section I - Production Cycle
1. Sinfonicron Light Opera Company’s production cycle shall be one (1) year of a Gilbert & Sullivan light opera, or similar public domain light opera by a different composer, followed by one (1) year of a non-Gilbert & Sullivan musical.
2. Exceptions to this rule may be permitted via a unanimous vote of the Executive Board.
Section II - Nomination
1. The Executive Board may limit the selection of shows to be voted on to those that it believes fit within the values of The Company and the Primary Organizations. The Executive Board may also limit the selection of shows to be voted on to those it believes fit within its artistic vision for The Company.
Section III - Voting
1. The voting system will be a ranked vote, wherein each voter will choose their 1st choice, 2nd choice, and 3rd choice. The Point Score will be such that each voter’s 1st choice vote will receive three (3) points, the 2nd two (2) points, and the 3rd one (1) point.
2. The votes will be as follows: The Primary Organization Vote, The Company Vote, and The Executive Board Vote.
1. The Primary Vote: An individual vote will be sent to each of the Primary Organizations. From these votes, the average point value for each show will be tabulated according to the Point Score. The Primary Organizations will receive ten percent (10%) of the vote.
2. The Company Vote: A vote will be sent to the company from the previous year as defined in I.2.4. From these votes, the average point value for each show will be tabulated according to the Point Score. The Company will receive forty-five percent (45%) of the vote.
3. The Executive Board Vote: Each Executive Board member will cast a ranked vote, and from these votes, the average point value for each show will be tabulated according to the Point Score. The Executive Board will receive forty-five percent (45%) of the vote.
3. The score for each show from each voting group will be calculated by totaling up the number of points each show received and then dividing that number by the number of voters in that group. For example, if Hamilton receives 10 first place votes, 12 second place votes, and 8 third place votes in the company vote, the total number of points would be 62. This would then be divided by the number of company voters for an average score of 2.07 points.
4. The averaged point score for each show will then be multiplied by the percentage of the vote allotted to that voting block. For example, Hamilton’s score of 2.07 in the company vote would be multiplied by 0.45 (to represent the company’s 45% voting share) for a score of .93.
a. An example ballot is shown below.
b. In this case, Cats wins.
5. All members of the primary organizations and all members of the previous year’s company (including graduating members) who are currently enrolled in the College of William & Mary, and are in good standing with their respective organizations and the College, are to be considered members of the Sinfonicron Light Opera Company voting public.
a. Petitions for a vote should be submitted to the current Producer and will be allowed at the Producer’s discretion.
b. In the event of a tie, the Executive Board vote aggregate will be used to break the tie.
Article XI – Waltz Ball
1. The Sinfonicron Waltz Ball must be held annually.
a. The Waltz Ball must be administered by the Company Manager, who will work in tandem with the Producer and Marketing and Outreach Director.
b. The profits from the Waltz Ball shall go to Sinfonicron Light Opera Company.
c. The Waltz Ball should be held in the spring semester.
d. If Waltz Ball is not going to be held it must be approved by a majority vote of the Board.
Article XII - Non-Discrimination Clause
Section I - Non-Discrimination Clause
The Sinfonicron Light Opera Company affirms its commitment to conducting its activities in accordance with W&M’s Policy on Discrimination, Harassment, and Retaliation. Membership in this organization shall be open to all without regard to irrelevant personal factors. Irrelevant personal factors include (without limitation) race or color, citizenship, national origin or ethnicity, ancestry, religion or creed, political affiliation or belief, age, sex or sexual orientation, gender identity or expression, physical or mental disability, marital status, pregnancy status, parental status, height, weight, military service, veteran status, caretaker status, or family medical or genetic information.
Section II - Diversity, Equity, and Inclusion Chair Duties & Privileges
In order to enforce the above section, Sinfonicron must elect a Diversity, Equity, and Inclusion Chair (hereafter referred to as the DEI Chair) to oversee the preproduction, production, and postproduction periods of the season.
The DEI Chair must be invited to all design meetings leading up to camp, production meetings during camp, and the post-mortem after camp. If they are not able to attend a meeting, an assistant should attend in their stead. The DEI Chair should be the person people can go to if an element of a design is worrying to them from an accessibility or sensitivity standpoint. Such situations should be handled gently and with the assumption that the designer, director, crew head, or other Company member did not act with malice or cruelty in mind. If issues continue to arise with specific Company members, the Executive Board should be notified and worked with to resolve the matter.
The DEI Chair has the power to hire assistants and other team members in order to help them fulfill their duty. They may also have representatives from within the Company to report back to them on a regular basis. Every production crew, the acting ensemble, and the pit orchestra are entitled to one or two DEI Representatives (hereafter referred to as DEI Reps), elected by the crew/ensemble on their first day of work during camp. It is suggested that these Reps not be the designers, crew heads, or leading actors, but if no other willing or qualified candidates are available, these people may serve as DEI Reps. A DEI Rep acts as the eyes and ears of the DEI Chair for their particular work group and should make sure they are approachable and known to anyone in their crew so that if a DEI issue arises, it can be made known to the DEI Chair and sorted out appropriately.
The DEI Rep(s) for the acting ensemble and pit orchestra may be excused from Temp Crew duties in order to supervise rehearsals if they feel the need to do so. During these rehearsals, they should be able to help directors and actors if a moment in the show is found to be problematic (say, an actor’s mobility restrictions are preventing them from performing certain blocking: the DEI representative should help both the actor and directors rework it to be within their comfort zone, possibly through research and consultation). They may also act as a monitor to prevent offensive or exclusive behavior/comments from Company members if such an issue has developed and been noticed or reported to them.
The DEI Chair should also be aware of the locations of all worksites, rehearsal spaces, and performance spaces, along with when people will be working, so that they may periodically check in with their representatives and the crews/ensembles themselves. They do not have to attend all rehearsals or work days and they are not expected to be constantly checking in on other groups, as they will have their own work assignment within the Company that they may focus on for most of their day.
If there is a Company member with a mobility restriction, the DEI Chair should do at least one cursory examination of all worksites to assess their accessibility and inform the Company member of what sites are and are not accessible.
If there is a Company member with a similar type of accessibility issue (say, they are noise sensitive and the Scenic Shop is rather loud) a similar type of evaluation should be made and accommodations be sought out for affected Company members (in this instance, likely ear plugs or ear coverings).
In order to make sure any Company member requiring accommodations is able to seek them, there shall be a well-circulated and frequently checked form from the DEI Chair that allows anyone in the Company to express an accessibility need.
The DEI Chair shall be knowledgeable on the many intersections of diversity, equity, and inclusion and be willing to continually learn more as they fulfill their duties to the Company. It is important that they are kind, understanding, patient, and empathetic.
Similar to the Accessibility Report Form, there should be a Sensitivity Report Form for any Company member to report an issue with insensitivity in designs, acting, direction, or conduct. It should be made clear that prior to filling out the form, the person with a concern should try to reach out to the other party to work out the issue, except in extenuating circumstances.
The DEI Chair reserves the right to redirect any issues that are not related to Article XII Section I to other leadership positions in the Company, such as the Executive Board or Crew Heads, if they find the issue does not lie within their scope of authority as the DEI Chair.
Section III - DEI Chair Chair Elections
The DEI Chair election cycle should be concluded before the selection of production staff.
Candidates for the position of DEI Chair must submit their application, which includes a cover letter and resume of relevant experience, to the Executive Board for review. The most qualified candidates will be presented to the Company for election by the Executive Board.
In order to be eligible for the position of DEI Chair, one must not concurrently serve on the Executive Board.
Before the ballot opens, there must be a Q&A session with all candidates that anyone in the Company and primary organizations will be invited to attend. The Q&A shall be attended by all Executive Board members and the Producer shall preside over the meeting.
The purpose of the Q&A is to vet the candidates and allow marginalized members of the Company/primary organizations to have a prominent voice in the decision. The choice of DEI chair must be informed and prioritize those who are the most affected by the performance of the Chair, so a prerequisite for voting is attendance to the Q&A (either in-person or virtual) with little exception. Those voting in absentia shall read minutes of the meeting or watch a recording before voting.
After the Q&A, the ballot should be open for at least 48 hours to those who were in attendance and those voting in absentia. A winning candidate must gain a majority of the votes, as calculated by the Producer. If no candidate is able to win a majority, there shall be a runoff election between the two highest scoring candidates. There does not need to be a second Q&A in this scenario, but the electorate remains the same limited group.
Once a DEI Chair is selected, they must be announced to the Company and made a familiar figure for the coming year. The new DEI Chair is then within their right to carry out all listed duties and exercise all listed privileges immediately after announcement.
In the event that removing the DEI Chair becomes necessary, the Executive Board will determine the best course of action for filling the seat as outlined in Article V, Section V.
Article XIII - Compliance with University Policies
Section I - University Policies
Sinfonicron Light Opera Company will abide by all university policies including the Student Code of Conduct, the Campus Alcohol Policy, and requirements set by the Office of Student Leadership Development.
Sinfonicron Light Opera Company agrees that it will not initiate, support, or encourage any events or situations that endanger the mental or physical health or safety of a student for any purpose including but not limited to initiation or admission into or affiliation with this group or organization.
Article XIV - Ratification
This constitution will take effect immediately upon its passage by a two-thirds majority of the Sinfonicron Council.