The American College Dance Festival Association (ACDFA) announces the recipients of the ACDFA/Dance Magazine Awards for Outstanding Student Choreographer and Outstanding Student Performer. A panel of three dance professionals viewed in performance the 30 dances included in the National College Dance Festival, held May 27-29, 2010 at the John F. Kennedy Center for the Performing Arts. Panelists selected the two award winners and also noted an additional nine student dancers for their exemplary performances. This year’s panelists were Sali Ann Kriegsman, Karen Hildebrand and Christopher Morgan.
The panelists felt strongly that they would like to recognize the fine work of many individuals at the 2010 ACDFA National Festival. The decision that they came to in awarding the Outstanding Student Choreographer and the Outstanding Student Performer was not taken lightly, and was made difficult by the many fine individual and ensemble performers. Aside from the two recipients, nine performers especially impressed the panelists.
Following is a list of those recognized by the ACDFA/Dance Magazine Awards panel with the panelists’ comments on why these individuals were selected:
ACDFA/DANCE MAGAZINE AWARD
FOR OUTSTANDING STUDENT CHOREOGRAPHER
Megan Kendzior (University of Florida) for her work Witness.
The panelists’ comments:
ACDFA/DANCE MAGAZINE AWARD
FOR OUTSTANDING STUDENT PERFORMER
Emily Terndrup (University of Utah) for her performance in Where Your Body Lies.
ADDITIONAL STUDENTS RECOGNIZED FOR THEIR PERFORMANCE WITH PANELISTS’ COMMENTS:
Jesus Acosta in KinkyKool Fan Blowing Hard (Sam Houston State University):
Mr. Acosta had a fluidity of motion that was punctuated by sharp arrests of motion and dynamic shifts of focus and presence. His ability to surrender his weight to the floor and his partner were balanced with quick, energetic recoveries.
Felix Cruz in A Statement About Being (Virginia Commonwealth University):
Mr. Cruz had beautiful mastery of his body, particularly in floor movements that were surprising to the eye and difficult to execute. An amazing series of floor rolls that looked like a film played in rewind are especially memorable and emblematic of his connection to the floor.
Mackenzey Franklin in Closer (Loyola Marymount University):
Ms. Franklin embodied the movement vocabulary of the work from her core, creating ease and effortlessness in what was physically demanding choreography. While part of a quartet, she was able to shine without detracting from the work of her colleagues; instead she enhanced their dancing.
Sarah Konner and Austin Selden in Dirty Up to the Knuckles (University of Michigan-Ann Arbor):
Both of these dancers possessed a relaxed, natural stage presence that made a direct connection with the audience, allowing spectators into their unique and humorous work. The ease with which they spoke, inhabited character portrayals, danced and sang in this work was remarkable.
Valorie Morales in Vacillation Revisited (Rutgers University):
Ms. Morales knows her body well, how to control her core and manage momentum and suspension with maturity. Her partnering was beautiful, as was her sense of holding onto a moment until the last possible second, as in her beautifully suspended double attitude pirouette in which she allowed her focus to linger over her shoulder before falling into her partner.
Adam Peterson in Millisecond (LINES/Dominican University):
Mr. Peterson possesses an incredibly supple spine, grounded movement and an economy of motion that was eye-catching. His compact frame was able to find length in every movement while moving with incredible speed.
Charles Roy in Closer (Loyola Marymount University):
Mr. Roy had a strong and dynamic stage presence. He deftly integrated breakdance movement within his contemporary movement vocabulary in a seamless fashion that made virtuosic moves look organic.
Nicholas Sciscione in Vacillation Revisited (Rutgers University):
Mr. Sciscione possesses an incredibly sharp focus and clarity of movement, making his presence felt in the beginning of the work. Then when he moved into the principal duet of the work, his excellent partnering skills showed both himself and his partner to great advantage.
California State University-Fullerton
Southeastern Louisiana University
Texas Woman's University
University of Florida
University of Illinois at Urbana-Champaign
University of Michigan-Ann Arbor
Kennesaw State University
Minnesota State University, Mankato
New York University/Steinhardt
Saint Mary's College of California
Slippery Rock University
Texas Christian University
University of Utah
Virginia Commonwealth University
Wayne State University
Montclair State University
Roger Williams University
Sam Houston State University
University of Montana
University of South Florida
University of Wisconsin, Milwaukee
Hotels, GWU and The Kennedy Center are all within walking distance. There is a free shuttle, running from 10:00am-midnight from the Foggy Bottom metro station to the Kennedy Center.
Parking in Foggy Bottom is difficult and expensive. It’s best to travel through the city on foot or on public transportation. The Foggy Bottom neighborhood is excellently located for seeing the city. The Mall is walking distance (in good weather and with good shoes).
The Metro stop is convenient. Metro maps will be in Festival packets. If you want to print your map ahead of time and/or upload a map to you iPod, visit http://www.wmata.com/rail/maps/wmap.cfm.
WHAT TO DO IN WASHINGTON, DC (for free)
Click here for list of museums and monuments.
WHEN: Wednesday, May 26—5:00pm-8:00pm
Thursday-Saturday, May 27-29—9:00am-5:00pm
WHERE: The George Washington University
Building J-lobby, 2131 G. St., NW (between 21st and 22nd Sts.)
WHO: Sylvia Druker and Rick Westerkamp will be staffing the registration table throughout the Festival. If you need to reach the registration table, call 301-758-4933 (Sylvia’s cell phone).
WHAT YOU WILL RECEIVE AT REGISTRATION:
Faculty Representative will receive:
Tickets to all concerts Backstage passes
In an attempt to limit unneeded paper consumption, we give one packet for approximately every four people. The intention is to share and limit our impact. Much of the information will be posted on the website.
Festival Packet includes: maps, schedules, restaurant lists, and lots of other information
ALL PARTICIPANTS MUST SUBMIT A SIGNED LIABILITY WAIVER.
There will be a live feed of the concert in the Terrace Theater Rehearsal Room for dancers staying backstage during the performance. It’s not the same as being in the audience, but at least you won’t completely miss the performances of other schools.
Pre-performance warm-ups will be offered for the schools that requested it in Rehearsal Room 7 in the Kennedy Center. There is also space in the Terrace Theater Rehearsal Room for those wanting to do their own warm-up and/or to stay warm.
Backstage passes are required at all times. You will be traveling through backstage and rehearsal areas of the Kennedy Center where staff are working. It's very important for the Festival that all dancers conduct themselves professionally and courteously at all times.
PANEL: THURSDAY, MAY 27—12:00-1:00, BLDG. J.
STUDENT PARTY, THURSDAY, MAY 27—AFTER THE PERFORMANCE
Dance/USA and Dance/MetroDC are co-sponsoring, along with ACDFA, a student party at 600 Restaurant at the Watergate. Come meet dancers from around the country. Members of Urban Artistry (www.urbanartistry.org/) will dj the party and informally teach urban dance moves. Eat, drink and dance!
A faculty yoga practice will be led by Dana Lawton of Saint Mary’s College of California. This will be the second annual yoga class Dana has offered to the ACDFA Board of Directors. All faculty are welcome. Bring a mat or a towel from the hotel.
Saturday, May 29—7:45am-8:45am, GWU, Building J
GENERAL MEMBERSHIP MEETING
Karen Hildebrand is Vice President-Editorial for the dance publications and websites of Dance Media (Dance Magazine, Dance Teacher, Dance Spirit, Pointe and Dance Retailer News) and Editor in Chief of Dance Teacher magazine. She has served as Education Editor for Dance Magazine and Editor of Dance Magazine College Guide. Prior to joining Dance Media, she was active in the Colorado dance community as a dancer, presenter and journalist.
Sali Ann Kriegsman has worked in dance as a writer, critic, editor, funder, artistic and executive director, presenter, producer, teacher and adviser. She served as artistic adviser to the Digital Dance Library planning project, president of the Dance Heritage Coalition (the alliance of major American dance collections), executive director of Jacob’s Pillow Dance Festival, director of the National Endowment for the Arts Dance Program, dance consultant to the Smithsonian Institution, executive editor at The American Film Institute, and administrator of The American Dance Theater, the first professional modern dance repertory company, co-directed by Jose Limon and Anna Sokolow at Lincoln Center. She has taught and lectured at schools, universities, festivals, museums and community centers across the country and abroad, and advised private and public funding agencies. Her book, Modern Dance in America: The Bennington Years, the first history of that legendary period, was hailed by The New York Times as “a vivid and human picture of a crucial chapter in American culture.” Her articles, criticism and essays have been published in a variety of periodicals and reference sources. She currently serves on the board of Meredith Monk/The House Foundation.
Christopher K. Morgan is a choreographer, performer and arts facilitator who divides his time between New York and Washington DC. Said to be "charming and poignant" by The New York Times, his work stems from his belief in the urgency of art in an increasingly isolating, commercial, and digital world. His work has been presented in Chile, Jordan, Israel, The United Arab Emirates, Bahrain, Germany, Lithuania, Poland, Ireland, Hong Kong, and throughout the United States. Morgan is Choreographer in Residence and Rehearsal Director for Washington, DC based CityDance Ensemble (www.citydance.net). A skilled facilitator committed to artist development, Morgan also directs The Dance Omi International Dance Collective (www.artomi.org), a unique 3-week process oriented collaborative residency for professional dancer/choreographers that takes place annually in New York at the Omi International Arts Center. Teaching credits include the Hong Kong Academy of Performing Arts, Shawbrook (Ireland), Iwanson Schule (Munich), Stephens College (Missouri), Western Kentucky University, University of Idaho and Towson University. He has lectured for the Alliance of Artist Communities, New York City Ballet’s Education Department, Dance Theater Workshop, and served as a panelist to the National Endowment for the Arts. Performing credits include David Gordon and the Pick-Up Performance Co., The Liz Lerman Dance Exchange, Fabulous Beast Dance Theater (Ireland/UK), Malashock Dance & Co., Verb Ballets, Selfish Shellfish (Germany), Pilobolus Creative Services, and as a soloist with the Washington National, Houston Grand, San Diego and New York City Operas. TV and film credits include a PBS Great Performances with Placido Domingo, and on film dancing with Kate Winslet and Christopher Walken.
(CSU-Fullerton; Photo: Edwin Lockwood)