2013 ACDFA Mid-Atlantic Conference

Greensboro, NC
Wednesday, March 13, 2013
celebrating 40 years of
fostering dance in higher education

Gala Selection

Thanks to all choreographers and performers for sharing your artistry at ACDFA.

1. Que Sera Sera            George Mason University
2. Soles                        James Madison University
3. Encountering the Shadow      Radford University
4. Dead Weight                        University of Kentucky
5. This is Not a Show             American University


6. Disturbances withIN a medium   Ohio University
7. Abstained                      University of Maryland
8. Corroded                      University of Maryland
9. Concurrence                     Old Dominion University
10. Rebuild                   Kennesaw State University

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2013 ACDFA Mid-Atlantic Conference
Wednesday, March 13, 2013 10:00 AM -
Saturday, March 16, 2013 11:00 PM (Eastern Time)

The University of North Carolina at Greensboro
Department of Dance
1408 Walker Ave.
Greensboro, NC 27402-6170

Map and Directions



UNCG Dance cordially invites faculty and students to participate in the American College Dance Festival Association's Mid-Atlantic Conference, thinking bodies, dancing minds, March 13-16, 2013 in Greensboro, North Carolina. We are planning an exciting celebration of dance in higher education with a wide variety of master classes, scholarly research presentations, dance films, opportunities for student and faculty exchanges in and out of the studio, adjudication and informal concerts, feedback sessions, an Adjudicator’s Concert and a Gala Concert.  The opportunity to receive feedback on choreography and performance is integral to every ACDFA conference. We have arranged to have three dynamic and highly respected adjudicators, Shani Collins, Sean Curran and George de la Pena.

We would like to accommodate all who wish to attend our conference but space is limited and registration fills very quickly.  Please note that registration begins for all institutional and individual members on Monday, October 15, 2012. Our maximum capacity is 425 registrants and 38 adjudicated dances.  We will register participants on a first paid-first registered basis. When we reach maximum capacity (probably well before the posted deadline), we will be unable to accept additional participants. Our payment or proof of payment deadline is Monday, October 29, 2012.  


Information for payment is located in the right sidebar.  Deadlines, fees, registration and membership policies, registration instructions can be found under the Conference Details tab on this website.  You need not be an ACDFA member to attend the conference, although only institutional members may participate in the adjudication process. Additionally, members pay a discounted registration fee.  If you have not yet joined ACDFA, we urge you to do so to help further the important work we do for college and university dance programs. ACDFA values diversity and maintains a commitment to the development of conferences that reflect and give value to the various forms, styles, cultural traditions and aesthetic dimensions of dance in performance.  We encourage the attention to diversity within informal and formally adjudicated concerts, master classes and panel discussions and/or lectures.  We invite all institutions to attend and participate in the full array of scheduled events, whether or not you are planning to present choreography for adjudication.  The experience of taking master classes, attending research presentations, viewing concerts, and listening to adjudicators' comments, as well as the energy exchange among dancers and faculty from other schools, has proven invaluable for our students, regardless of their levels of dance experience.

A great deal of initial planning for the Mid-Atlantic Conference has already occurred.  If you would like to participate, please register online once registration opens and send in payment or proof of intention to pay within two weeks and full payment by our deadline of October 29, 2012. It is critical that you adhere to the above deadlines to reserve your registration spots.

If you are interested in the adjudication process, please refer to the Adjudication Policies.  If you choose to adjudicate two pieces, one piece must be choreographed by a student.  Time and space will limit the number of dances and we can adjudicate up to 38 dances. Pieces will be accepted for adjudication, like registration, on a first paid-first accepted basis.  Please remember that you must be an ACDFA institutional member in good standing to qualify for adjudication.

For those of you who will first-time visitors to our area, Greensboro, North Carolina is located in the central piedmont region of the state, situated between the sandhills near the coast and the foothills of the Appalachian mountain range. March is usually a temperate month with average temperatures in the 60's & 70's. Speaking of the 60's, Downtown Greensboro, less than two miles from campus, offers the International Civil Rights Museum, housed in the original Woolworth's lunch counter the "Greensboro Four" used to begin a series of sit-ins in the Southern region, along with shops, restaurants, art galleries and theatres. Adjacent to campus is the Tate St. area with several campus hang-outs and coffee shops, offering opportunities to unwind and grab some local coffee blends.

The conference will be held in several buildings on-campus: the Health & Human Performance Building (HHP) which houses the Dance Department, its studios and the Dance Theater; Aycock Auditorium, the largest performance venue on-campus; the Student Rec Center; Taylor Theatre Building; the Curry Building; and the Elliott University Center (EUC), our student union, which boasts a food court, the University Bookstore, multiple lounges, ATM's and a meditation room.

All of us at UNCG DANCE look forward to seeing you at the conference.

Janet Lilly and Jeff Aguiar
ACDFA Mid-Atlantic Conference Coordinators

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Shani Collins by Adam Campos

Shani Collins Achille is crowned “Contemporary Revolutionary” by Lax Thomas in The Studio Museum Harlem Summer Magazine and featured in Dance Magazine as "Warrior Woman" by Eva Yaa Asantewa. As a  “Bessie” New York Dance and Performance Award recipient, she has choreographed and performed in the NYC Off Broadway Production of The Vagina Monologues at New World Stages and has participated, as a choreographer, in the Lincoln Center Director's Lab. Her dance company, Eternalworks, is dedicated to fostering women’s healing empowerment through performance and community; has been commissioned by Dance New Amsterdam’s Raw Directions, Code Pink - Peace for Women, 651 Arts: Black Dance & Transformation, and Dance Theater Workshop’s First Light Commissions. Her choreography has been presented at Joyce Soho, Judson Church, Aaron Davis Hall’s Harlem Stage, "Inside/Out" Jacob's Pillow, St. Marks Church, Bates Dance Festival, Philly Fringe Festival/ The Painted Bride, Mount Tremper Arts Festival, Performatica' Dance Festival in Cholula, Mexico, and at Kaay Fecc Dance Festival in Dakar, Senegal; with choreo(graph)ic teaching workshops in Seoul, Korea and Dakar, Senegal.

As a performer, Shani is a worldwide renowned artist for her performances with Urban Bush Women and Ronald K. Brown/ Evidence, A Dance Company. She has choreographed on Urban Bush Women (Community “Dixwell” Project) and has performed as a guest artist with Bill T. Jones/ Arnie Zane Dance Company, The National Dance Company of Mozambique, David Dorfman Dance Company, and in Trinidad with the Roots and Wings Movement. After studying for several summer’s she returned to the American Dance Festival (ADF) and was granted a teaching fellowship in the Hollins University/ ADF M.F.A. Program. She has served on its faculty since 2006, visiting several schools as a Teaching Artist including MIT and Middlebury College. Shani is currently Assistant Professor of Dance at Connecticut College and Artistic Director of Eternalworks Dance Company.

  Seán Curran

Seán Curran (www.seancurrancompany.com) began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with the Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance (“Bessie”) Award for his performance in Secret Pastures and was recently nominated for another "Bessie" for his piece, Dingle Diwali, made for the Darrah Carr Irish Dance Company.

A graduate and full time faculty member of New York University's Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival.

Recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night's Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life with Albertine; and Shakespeare in the Park's As You Like It. He made his Metropolitan Opera debut choreographing Romeo and Juliette, and most recently, he directed Salome for Opera Theatre of St. Louis, the San Francisco Opera, and Opera Montreal.

Curran's work has also appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, ABT II, Denmark's Upper Cut Company, Sweden's Skänes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.

Curran has taught extensively at the American Dance Festival, Harvard Summer Dance Center, Bates Dance Festival, and Boston's Conservatory of Music. Irish American Magazine selected Curran as one of its "Top 100" in the year 2000. Curran was awarded a Choreographer's Fellowship from the New York Foundation for the Arts in 2002.

Happiest when making new work or performing, Seán Curran hopes to continue being an ambassador for the art of dance by building and educating the dance audiences of tomorrow. The Seán Curran Company will be performing at the Joyce Theatre (NYC) the week of January 28th, 2013.

George de la Peña, 
Department Chair and Associate Professor, began his career with American Ballet Theatre after graduating from George Balanchine’s School of American Ballet. He worked with many choreographers including George Balanchine, Mikhail Baryshnikov, Martha Clarke, Alonzo King, Kenneth MacMillan, Mark Morris, Rudolf Nureyev, Dwight Rhoden, Jerome Robbins, Antony Tudor, Twyla Tharp, Glen Tetley, Doug Varone, Dan Wagoner, and many others. In 1978 he was chosen to portray Vaslav Nijinsky in the Paramount Pictures/ Herbert Ross film NIJINSKY. He followed that with numerous other projects for film and television as an actor where he worked with distinguished artists such as Alan Bates, Blake Edwards, Marsha Norman, Richard Levinson, Stanley Donen, John Turturro, Kathy Bates, Elizabeth McGovern, and most recently, Patrick Swayze. Broadway musicals were also in his repertoire: Woman of the Year with Lauren Bacall and Raquel Welch, the Tony Award winning revival of On Your Toes with Natalia Makarova, and the highly acclaimed Lincoln Center Theater production of Graciela Daniele’s musical theater adaptation of the Gabriel Garcia Marquez short story Chronicle of a Death, Foretold (Drama League Award). George is a member of the Lincoln Center Theater Director’s Laboratory.

DTW Swing from Shani Collins-Achille on Vimeo.

“Swing Us Sky Rain(bow)” Excerpts
My passion towards women’s injustice informs my process to embody complex relationships, violence, and intimacy. I want my audience to witness a real relationship on stage, journey through holistic physicality of the performer’s reflection of everyday life situations, human circumstances, and a sense of fantasy. I want to evoke a certain type of conviction, consciousness as well as responsibility of how we treat people and what our actions and choices mean in an intimate relationship(s). The work is informed by The “domestic violence wheel,”a momentum to create sacred space for women’s stories and experiences to be witnessed, ideally perpetuating consciousness surrounding violence and intimacy in our everyday life.
I have a passion for women in their everyday reality. I am reflecting social climate, presenting universal themes through specific everyday life experiences in my choreography. Dance is about seeing and witnessing the human experience and how they connect us all. I am unique because of my sensitivity and relational intent towards our human condition and my will to connect /examine dance in reference to our historical/ cultural experiences over time. My work differentiates itself because it investigates and invigorates culture, womanhood/femininity, power, and the raw spiritual nature of women. My work examines and celebrates the eternal woman and fosters healing em(power)ment for families and communities living in injustice. My work is an arts/ healing initiative that is education and performance based.
There will be use of gesture and a strong sense of physicality. This except is emotional, raw, and not just about demonstrating, but about re-living our experience…remembering. Shani’s style is rooted in core strength and delicacy. It is a clash of lines and undulations, a clash of techniques (Modern/Contemporary, W. African, Hip Hop, and human gesture). I am interested in many voices in one body, inner-conflict, polycentrism and creating a multi-lingual language/vocabulary. I am exploring the relationship of abuser/victim and victim/abuser by looking at the behaviors behind the “cycle of Violence” wheel. I will be playing with partnering work as I explore the “Honeymoon/Making Up” and “Calm” stages of this cycle. I am interested in creating/exploring the emotional/ physical support between women in my work.


All institutional members are invited to bring up to two dances for adjudication while adjudication slots remain available.  Please read the Adjudication Policies carefully.  Policies are available to download and are included under the Conference Details tab on this website.
You will be able to indicate whether you are bringing one or two dances in the "Adjudication Fees" section in the online registration.
If you are not an institutional member and would like to participate in the adjudication process, you must begin the process of becoming an Institutional Member before registering to adjudicate work.  A membership application is available on the ACDFA website.
Please download ADJUDICATION POLICIES for your reference.

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All groups and individuals registered for the conference are eligible to perform in the Informal Concerts.
Dances presented in the Informal Concerts are restricted to work not being adjudicated. Works in-progress may be shown.

In the interest of creating opportunities for many schools, only one dance per institution may be shown in the informal concerts. Performance slots will be filled on a first-come, first-served basis. The maximum time for each work presented in the Informal Concert is 10 minutes. The burden of meeting the time requirement rests with the choreographer. ACDFA recommends that the choreographer allow a time margin within the 10-minute limit for technical errors or theater peculiarities.

A sound recording of concert quality must be provided by the choreographer in the format specified by the Conference Coordinator.

Please submit Informal Concert program information online by February 1, 2013.

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Dance films are important  contemporary art forms that bring us into conversation with other forms of digital art and popular culture including feature films, computer games, and digital installations. While digital tools expand dance's reach, moving us into the Internet and onto screens, they also challenge our understandings of choreography and of dancing as live arts.  Select short dance films will be screened as part of the UNCG ACDFA Mid-Atlantic Conference. We invite you to submit your film, and to enjoy these films during the conference.

For application, click SUBMISSION FORM.
Submissions must be postmarked by January 5, 2013.

SCHEDULE (subject to change)

At this time, we are planning for the conference to begin in the afternoon of Wednesday, March 13, 2013, and to conclude with the gala concert on the evening of Saturday, March 16.  The exact time frame may vary depending on registration and adjudication numbers.

A detailed conference schedule will be posted as soon as the information is available.

For a full conference overview, click CONFERENCE SCHEDULE (COMING SOON).

        Class Schedule (COMING SOON)
        Class Descriptions & Teacher Bios (COMING SOON)
        Adjudication Schedule (COMING SOON)
        Tech Schedule (COMING SOON)
        Informal Concert Schedule (COMING SOON)
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    FORMS TO BE SUBMITTED ONLINE (under "Online Forms" in the registration pages):
It is not necessary to submit all information online at the time of your initial registration for the conference.  You may return to your registration to add or update information. 

Please honor all posted deadlines for information submission.

Submit Program Information for each dance you are adjudicating and/or presenting in the informal concert.  Please be thorough in your answers and accurate in your spelling.

Deadline for completed program information is February 1, 2013.

The Adjudication Program Information Form will be visible only to the Faculty Representative for ACDFA Institutional Members and ACDFA Board Members.

The Informal Concert Program Information Form will be visible to the Faculty Representative for ACDFA Institutional Members and Non-Members, ACDFA Board Members and Individual registrants.
Teachers are encouraged to propose classes/workshops, research presentations and panel topics to enhance diversity and the breath of class offerings. Our conference theme, thinking bodies, dancing minds, reflects our interest in offering a full array of classes to include somatic practices, creative process and dance/performance scholarship.
The online Teacher Interest Form allows faculty members and graduate students to submit up to three different classes/workshops, research presentations and/or panels.  The conference may not be able to involve all who are interested, but we appreciate your response and will contact teachers as soon as possible regarding selections.  Due to budget constraints, honoraria are not available for teachers
            PLEASE NOTE:
The Teacher Interest Form will be visible to all faculty members registrants.
           Deadline for submission is November 15, 2012.


ACDFA is – by definition – a national membership service organization to strengthen the educational network for students and faculty within the academic setting.

Faculty (ACDFA members only) who are teaching or presenting at the conference may request a written peer review when registering.  Faculty interested in serving as reviewers will be able to offer their services when registering.

Note: ACDFA will make every attempt to accommodate requests but cannot guarantee that all requests will be fulfilled.

We invite your most skilled musicians to participate in the conference, accompanying classes in exchange for conference registration and an honorarium of $35.00 per class.  Interaction among musicians will help to make very memorable master classes. Sharing good music gives us new ideas to take home to our own programs and adds vitality to classes.  Prime Movers, the Dance Student Organization is planning an open Contact Jam for dancers and musicians on Thursday, March 14.
            Musicians should complete the online form.  The form is visible only to those registering as Musicians.

            Deadline for submission is December 15, 2012.


Each conference participant must sign onto the Liability Waiver. Please click here to retrieve the waiver form.   In order to save paper, we are asking all registrants in a group to sign one waiver.  It is important that each registrant understands the terms of the waiver.  Faculty are strongly encouraged to review the terms with all participants.
Return the Liability via FAX or postal service.
Each choreographer or representative of a choreographer (for a guest choreographer) of a dance to be performed in the Gala Concert must complete and return a signed Video Waiver.  Waivers will be given to Gala Concert choreographers once the selections have been determined.  Please note that videos are for archival purposed and copies will not be available.


Contact Information

  • Conference Coordinator(s):
    Janet Lilly & Jeff Aguiar
    Email: uncgacdf@uncg.edu
    Phone: 336.334.5570
    Fax: 336.256.1157 

Payment Instructions

  • All checks or purchase orders should be payable to:

    Send payment to:

    ATTN: Beverly Stallings
    Dance Department
    PO Box 26170
    Greensboro, NC 27402

    Federal ID: 56-6001468
    Completed W-9 Form (UNCG)

ACDFA gratefully acknowledges the support of the following sponsors:
ACDFA Lifetime Members: Judy Allen, Jean Baxter, Jeanne Beaman, B.J. Bray, Lori Bryhni, Mary Cochran, Mary-Jean Cowell, Abby Fiat, Barry Fischer, Lonny Gordon, Luke Kahlich, Joanne Lawrence, Paula Levine, Rhythm McCarthy, Ann Sanders, Russell Sandifer, Brent Schneider, Dorothy Silver (deceased), Jan Simonds, and Alcine Wiltz.