North Central ACDFA Gala Concert
March 22, 2009
Ted Mann Concert Hall
One Year, One Month Ago, Yesterday
Shiny Things of the Mind
9:02am-9:16am Carnal Nourishment?
9:34am-9:48am Historically Speaking
9:50am-10:04am Lord Cutglass
10:06am-10:20am Be There
10:32am-10:46am Permanent Crease
11:04am-11:18am One Year, One Month Ago, Yesterday
11:20am-11:34am Shiny Things of the Mind
Access to dressing rooms and warm up rooms for groups scheduled to tech will be available 15 minutes prior to the beginning of tech. Groups should enter through the Ted Mann Stage Door, located directly to the left of the main doors. Room 99 may be used as a warm up room during the Gala Concert tech and performance by only the schools involved in that concert.
Groups should arrive at least 30 minutes prior to their scheduled tech time. ACDFA staff will show groups to their assigned dressing rooms. Please note: THE DRESSING ROOMS WILL NOT BE LOCKED.
Groups will be given 18 minutes of tech time to be broken down in the following way: 2 minutes for gel change and setup, 14 minutes for level set/run through, 2 minutes strike/reset.
Groups should bring the following to tech rehearsal if they have not left them in the theater:
-gels: cut in 7 1/2" squares, clearly labeled with school, piece and position.
-music on CD: please burn a CD with only your music on it, clearly labeled with school and piece.
-Please also inform the stage manager if you wish to have the cyc or black out curtain for your background.
-PLEASE GIVE YOUR GEL AND CD TO THE STAGE MANAGER WHEN YOU ARRIVE ON STAGE IF YOU HAVEN’T ALREADY DONE SO.
Gel will be kept on stage for the entire conference. If you wish to pick up your gel, you may do so at the end of the Gala Concert.
The days are flying by as we approach the North Central Regional ACDFA Conference March 18-22. Thank you so much for your cooperation submitting all the necessary materials. Please be sure you have submitted your video waivers, liability releases and tech cues, as well as all the program information for adjudicated pieces and the informal pieces by Friday, February 21. Any program information submitted after this date will not be reflected in the conference literature. Also, be sure that you have substituted participant names if you initially entered a placeholder such as Student#1.
Adjudication times and teaching schedules will be finalized before our last update in early March. Updated schedules will be emailed to representative faculty weekly up to the conference.
Registration will begin at 2 pm on Wednesday at the Barbara Barker Center for Dance. T shirts with this logo:
will be for sale for $20, and aluminum water bottles with the U of MN logo:
will be for sale for $10 at registration.
There are a number of very exciting events happening as a part of the conference. Critical Mass: Professional Dance Companies at the University of Minnesota will perform Wednesday evening at 7:30 at the Ted Mann Concert Hall. This show will highlight professional companies run by U of MN Dance Faculty. The event is free and follows a free pizza reception in the Rarig Center Pit, mere minutes from each other.
If you haven’t purchased discounted tickets for the Limon Dance Company at Northrop Auditorium, please do so. There are no other conference activities planned for Thursday evening to allow everyone the chance to attend. Please contact Maggie at email@example.com for the promo code.
Also, a series of Unshowings will be held in the afternoons and evenings. This is a chance to show work and receive peer feedback outside of the adjudication concerts and informal concert. Participants can show brief works or works in progress, and receive anonymous feedback written on small slips of paper and placed in bags. Feel free to bring pieces you are working on for some spontaneous feedback!
Just a reminder…The adjudication process is structured to insure that the adjudicators do not know the names of schools or choreographers presenting work in the adjudication concerts. This ACDFA policy allows the selection process to be as objective as possible. In order to keep the integrity of this policy and process intact through the adjudicators’ final decisions, it is necessary to ask all conference participants to avoid conversation with adjudicators about the adjudicated dances, the adjudication process or their comments during the feedback session. In addition, please do not discuss your school’s programs or your own work with the adjudicators. Your full cooperation is being requested for the enjoyment of all conference participants, including the adjudicators!
Looking forward to a fabulous conference!
Department of Theater Arts and Dance Chair
Thomas DeFrantz, born a Hoosier, liberated by high school in San Francisco, college back East, PhD in Performance Studies at NYU. A happy dissident, I performed the Morton Gould Tap Concerto with Boston Pops conducted by Keith Lockhart and the Duke Ellington Tap Concerto with the Aardvark Jazz Orchestra led by Mark Harvey. My group SLIPPAGE, in residence at MIT, stages alternative histories of race, sexuality, gender, performance, and technology. Recent: Ennobling Nonna (2004), a physical-theater solo by Maria Porter (performances US, Italy, Peru, and Denmark); tap/technology work Monk’s Mood: A Performance Meditation on the Life and Music of Thelonious Monk (2005; NPN Tour 2005, Cape Town ZA 2008); The House Music Project (workshop 2006) a technology-driven exploration of queer black dance; Queer Theory! An Academic Travesty (Boston Center for Arts and Flynn Center for the Arts 2006, UCLA 2007, Wellesley College 2008), commissioned by Theater Offensive, Flynn Center, and NPN. Current Project: CANE, a media-rich dance theater exploration of blck life in the rural South. Teaching: NYU, Stanford, Hampshire College, Hollins University/ADF MFA Program, MIT. Books: Dancing Many Drums: Excavations in African American Dance (University of Wisconsin Press, 2002, winner of the CHOICE Award for Outstanding Academic Publication and the Errol Hill Award presented by the American Society for Theater Research) and Dancing Revelations: Alvin Ailey’s Embodiment of African American Culture (Oxford University Press, 2004, winner of the de la Torre Bueno Prize for Outstanding Publication in Dance). Always interested in stories, how we tell them, and what we think they might mean. Web.mit.edu/defrantz; web.mit.edu/slippage
Sara Hook is a performer, choreographer and educator. A former soloist with Nikolais Dance Theater, Hook has also performed with Murray Louis, Pearl Lang, Jean Erdman, and Stephan Koplowitz among many others. She is a guest artist/collaborator with David Parker and The Bang Group with whom her work has been produced internationally in venues throughout North America and Europe. Her company, Sara Hook Dances, has appeared at numerous New York City venues including Dance Theater Workshop (Fresh Tracks, Split Stream, and Family Matters Series), and Dancenow/NYC’s DanceMopoliton Series at Joe's Pub at the Public Theater. Recent Regional venues include Milwaukee’s Danceworks Performance Series, The Modern Dance Festival at the Modern Art Museum in Ft. Worth, Texas, and The Harvard Dance Center in Cambridge, MA. Hook has toured widely as a guest artist/teacher and has set works at over a dozen universities nationally. She holds an MFA from New York University's Tisch School of the Arts and a BFA from the North Carolina School of the Arts. She is also a Certified Movement Analyst from the Laban Bartenieff Institute of Movement Studies. Hook has been on the faculties of Princeton University and the Alvin Ailey American Dance Center, and guest faculty of the Paul Taylor Summer Intensives in NYC. Currently she is Associate Professor of Dance at University of Illinois, Urbana-Champaign.
Dianne McIntyre, dance and theatre artist received the American Dance Festival 2008 Balasaraswati/Joy Ann Dewey Beinecke Chair for Distinguished Teaching and a 2007 Guggenheim Fellowship for Choreography. Her residencies and choreography over the past two years include: Dayton Contemporary Dance Company, Dallas Black Dance Theatre, Dancing Wheels and Groundworks (Cleveland), Oberlin College, Howard University, The Ohio State University, SUNY Brockport, Purchase College Conservatory of Dance SUNY, New Federal Theatre (NY), University of Maryland, Western Michigan University, American Dance Festival, National Black Theatre Festival, Cleveland Play House, 651 Arts (Brooklyn) and Boston Arts Academy.Her own ensembles have performed at major performing arts venues like Joyce Theater, New York City Center, Lincoln Center, Kennedy Center, Jacobs Pillow, plus many university stages. Her work has been performed by university and professional ensembles including Alvin Ailey American Dance Theater and Ailey II. Besides those mentioned above some awards include: Three Bessies (NY Dance and Performance Award), three AUDELCOs (NY Black Theatre), four Helen Hayes nominations and one award (DC Theatre), Cleveland Arts Prize Pioneer Award, Emmy Award nomination (for Miss Evers’ Boys choreography). Grants include: National Dance Residency Award through Pew Charitable Trust and National Dance Project through New England Foundation for the Arts (both one of ten nationally), National Endowment for the Arts Three-year Choreography Fellowship (one of three nationally), scores of grants and commissions from NEA, New York State Council on the Arts, foundations and corporations for choreography and organizational support since 1974.