2018 ACDA NORTHEAST Conference

Montclair, New Jersey
Thursday, March 15, 2018

NOTE:  If registering prior to November 1, 2017, registration is a TWO-STEP PROCESS.  
Please read Registration Instructions before registration opens.

Questions about ACDA Regional Conferences?  Download Conference Policies for Participants
Looking for more information about the American College Dance Association?  Visit our website:  www.acda.dance



All institutional members are invited to bring up to two dances for adjudication, while adjudication slots remain available.  All dances performed as part of the adjudication process receive feedback from three adjudicators. Feedback sessions are open to the entire conference.  As part of the adjudication process, adjudicators select dances to be performed in the Gala Concert at the end of the conference.  For more information about the adjudication process, go to the ACDA adjudication page.

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 ACDA membership page.

How to reserve adjudication slots:  You will be able to indicate whether you are bringing one or two dances in the "Adjudication Fees" section in the online registration.  The online system will not allow you to enter a number if adjudication slots have filled.

Please read the Adjudication Policies carefully.  Policies are available below

  GERALD CASEL is a dancer, choreographer, and teacher based in Santa Cruz, CA. He received a BFA from The Juilliard School and an MFA from the University of Wisconsin-Milwaukee. Casel was awarded a Bessie (New York Dance and Performance Award) for Sustained Achievement for his dancing in the companies of Michael Clark, Stanley Love, Zvi Gotheiner, Sungsoo Ahn, Lar Lubovitch, and Stephen Petronio. He is an assistant professor of dance at University of California, Santa Cruz where he was awarded a Hellman Fellowship in 2015. He is a faculty member at the American Dance Festival. Casel has also been on faculty at Sarah Lawrence College, UW-Milwaukee, CSU Long Beach, Palucca Hochschule für Tanz Dresden, and NYU Tisch School of the Arts, where he received the David Payne-Carter Award for Teaching Excellence. Casel is Artistic Director of GERALDCASELDANCE, a Bay Area-based dance company and is a Resident Artist at ODC in San Francisco (2015-2018) and a fellow at Yerba Buena Center for the Arts. His work has been presented at Danspace Project at St. Mark’s Church, Dance Theater Workshop, Joyce SoHo, Dance New Amsterdam, The Yard, Asia Pacific Dance Festival, World Dance Alliance (Honolulu), and throughout Scotland in collaboration with X Factor Dance Company. In 2014 he participated in CHIME at 10 in the Bay Area and was a Resident Artist at Museum of Art and History Santa Cruz. For more information, please visit www.geraldcasel.com.

  GERRI HOULIHAN began her professional career at the Julliard School, studying with Anthony Tudor, Alfredo Corvino, and members of the Martha Graham and Jose Limon dance companies. She performed with the Metropolitan Opera Ballet Company and the Paul Sanasardo Dance Company, and spent five years as a soloist with the Lar Lubovitch Dance Company touring extensively throughout the United Sates and Europe.  Ms. Houlihan has taught or choreographed for such institutions as N.Y.'s High School of Performing Arts, the University of Wisconsin-Milwaukee, the Bates Dance Festival, the Boston Ballet, Meredith College, the University of South Florida, the North Carolina School of the Arts, the University of North Carolina-Greensboro, and Virginia Commonwealth University. From 1984-1987, Houlihan directed her own school and company, The Boston Dance Project.  She was one of five finalists in the Boston Ballet's International Choreography Competition.  From 1988-1999, Ms. Houlihan was on the faculty of the New World School of the Arts in Miami, Florida.  During that time, she was also the artistic director of Houlihan and Dancers.  The recipient of two Florida Individual Artist Fellowships in Dance/Choreography in 1991-92 and 1996-97, Houlihan and Dancers was on the touring roster for the state of Florida.  Ms. Houlihan is on the Advisory Board for the American College Dance Association and the American Dance Festival.  She has been on the faculty of the American Dance Festival from 1981-1983, and from 1987 to the present.  As an international representative for ADF, she has participated in seventeen international linkages, teaching in Korea, China, Brazil, Paraguay, Chile, Estonia, Poland, the Philippines, Moscow, and Mongolia.  She is the 2005 recipient of the ADF's Balasaraswati, Joy Ann Dewey Beinecke Endowed Chair for Distinguished Teaching.  She was Co-Dean and then Dean of the ADF School from 2010-2015.  Completing her undergraduate work at Virginia Commonwealth University, she went on to get her MFA from the Hollins/ADF MFA program.  She joined the dance faculty at Florida State University in 2007, and received the Pearl S. Tyner Distinguished Professor in Teaching award from FSU in 2002.  She recently retired from FSU, and currently teaches at the year-round American Dance Festival Studios and as a guest artist at Elon University.

  JAMES SUTTON, dancer, teacher, and choreographer, was for fourteen years an Associate Arts Professor in Dance at the Tisch School of the Arts at New York University and is currently ballet master for New York Theatre Ballet. He was the co-recipient of the Balasaraswati/Joy Ann Dewey Beinecke Endowed Chair for Distinguished Teaching from the American Dance Festival in 2015.  As a performer, he appeared as principal dancer with Houston Ballet, Chicago Ballet, Pittsburgh Ballet Theatre, Milwaukee Ballet, and DANCERS.  Formerly Associate Director of the Kathryn Posin Modern Dance Company, he formed his own company in New York in 1983.  His choreographic commissions span all aspects of theatre and dance, from opera and musical productions to ballet and contemporary dance.  A frequent guest instructor around the US, he taught on the faculties of Marymount Manhattan College, Connecticut College, Southern Methodist University, and the University of Michigan, as well as for fifteen summers at the American Dance Festival beginning in 1985.  He was formerly ballet master for Ballet Hispanico of New York, and, for five years, company teacher for the Metropolitan Opera Ballet. Internationally, he has been a guest teacher at the Mikhailovsky Theatre in St. Petersburg, Russia; Cloud-Gate Dance Theatre in Taipei, Taiwan; Victorian College of the Arts in Melbourne, Australia; and the Cullberg Ballet and Balett Akademien in Stockholm, Sweden, among other venues across Europe and Asia. Previously an Associate Professor at the University of Wisconsin-Madison and teacher at the Juilliard School in New York, he also currently works in Communications for Brooklyn Academy of Music and is a contributing writer for Ballet Review. 

  1. Only ACDA Institutional Members in good standing are eligible for adjudication. Membership dues are payable to ACDA and sent to the National Office. See current Membership Information on the ACDA web site (www.ACDA.dance) or contact the ACDA National Office at (240) 428-1736 or info@acda.dance.

  2. No more than two works from any institution may be adjudicated in a conference season. An adjudication fee will be charged for each piece. Once a work has been adjudicated, it cannot be submitted for adjudication at any other Conference during the same conference season. Adjudicated works that are not accepted for the Gala Concert in one conference season may be reworked for adjudication in subsequent conference seasons. However, once a work has been accepted for a Gala Concert performance, it may not be resubmitted for adjudication by the same institution.

  3. A student, faculty member, or guest artist may choreograph a work presented for adjudication in any idiom; however, only students may perform. For a trial period during 2018 and 2019, in addition to student performers, musicians may be visible to the audience whether they are students or non-students.

    Definition of a student:
    • A student is one who is officially declared by the Institutional Member as meeting one of the following criteria during the academic year in which the work is adjudicated:
    • A candidate seeking a degree, diploma, or certificate, full or part-time, or if not seeking a degree, diploma, or certificate, having an equivalent focus and track of study as determined by the institution, is considered a student
    • An individual had student status in the semester prior to a Conference
    • A high school student registered and paying for college classes and considered by an institution to be participating in its program
  4. Students may only register and perform with one institution per conference, except in the case of institutions that share an official administrative structure.

  5. If two works are submitted for adjudication, a student must have choreographed at least one of the works. 

  6. The maximum time for each work presented for adjudication is 12 minutes.
    • The burden of meeting the time requirement rests with the choreographer. ACDA recommends that the choreographer allow a time margin within the 12-minute limit for technical errors or individual theater peculiarities.
    • The work will be timed in performance and judged to begin when any one of the perceived elements of choreographic choice (lights, sound, movement) is visible or audible to the audience. This includes the rising of the curtain on a pre-lit stage. A curtain rising with no perceptible light, sound, or movement does not trigger the start of timing.
    • The work ends when all perceived elements of choreographic choice have been diminished (no lights, no sound, no movement).
    • Bows are not included in the 12 minute time limit unless they are required as part of the work by the choreographer.
    • Adjudication Concerts generally do not include bows. If there is no Gala Concert, bows during Adjudication Concerts are at the discretion of the Host Institution.
    • The production crew may alert a school if a work is running close to or over 12 minutes during tech rehearsal. In no circumstance will the production crew be responsible for keeping the work within 12 minutes.
    • If a work goes over 12 minutes, it is ineligible for the gala concert and consequently ineligible for the National Festival. It will, however, continue through the adjudication process with feedback from the adjudicators.
    • It is the responsibility of the ACDA Executive Committee representative to enforce the time limit and to communicate with the faculty or staff member from the presenting institution as to the ineligibility of any particular work.
    • The 12-minute time limit will be observed even if there is no Gala Concert scheduled during a non-National Festival year.
  7. To reserve adjudication slots, institutions must officially register student(s) for a Regional Conference. Any adjudication registration without a corresponding school registration of student(s) will be canceled.

  8. It is the responsibility of each school to obtain and secure all appropriate and necessary licenses and permissions prior to bringing any works to Regional Conferences and National Festivals for performance.

  9. Institutions that will not be available to participate in the Gala Concert (e.g., leaving the Conference early, dancer injury, etc.) will receive adjudication feedback but are not eligible for consideration for Gala selection. Institutions in this situation must notify the Conference Coordinator and ACDA Executive Committee representative prior to the Gala selection. The ACDA Executive Committee representative will inform the adjudicators of the titles of any works not to be considered for the Gala.

  10. If an institution chooses to bring a work choreographed by a Conference adjudicator, that work may not be considered for the Gala Concert. Feedback will be given only for performance. The Conference Coordinator, upon receiving the program information from the Institutional Members, will notify any Institution planning on bringing an adjudicator-choreographed work to the Conference of this policy immediately. Should the Institution still choose to bring the aforementioned work, the Conference Coordinator will inform the Executive Committee representative attending the Conference as soon as possible. The ACDA Executive Committee representative will assure that all adjudicators are informed of this policy prior to the Adjudication Concert.

  11. Each registered school must identify a faculty or staff member who will accompany their students throughout the adjudication process.

  12. No attempt is to be made during the adjudication process or in the selection of works for the Gala Concert to classify or equate college dance programs. All works presented for adjudication will be evaluated solely in terms of performance and choreography. 

  13. All dances will be given the same amount of time for technical rehearsals. The minimum amount of time is 15 minutes, while some conference schedules allow for a few extra minutes. The technical rehearsals for these concerts are always very tightly scheduled. Schools are expected to arrive 30 minutes prior to their scheduled time to receive instruction about how the rehearsal will proceed as well as other pertinent information particular to the Host Institution. Schools that miss their technical rehearsal must contact the Conference Coordinator immediately; the Conference Coordinator will contact the Executive Committee representative. Technical directors and their crews do not have the authority or obligation to re-schedule technical rehearsals. The Conference Coordinator and Technical Director are under no obligation to provide an alternate technical rehearsal or performance time to accommodate Institutions that miss their scheduled technical rehearsal. Schools that miss their technical rehearsal should expect only lights up and lights down cues for their performance, or their previously loaded cues if they were sent in advance.

  14. All schools should check the conference website for stage dimensions and rehearse within those limitations so as to avoid injury to dancers and/or damage to the theater. 

  15. Conference participants (faculty and students) shall not attempt to engage adjudicators in any conversation pertaining to Conference participants, choreography or attending institutions. Questions concerning the adjudication process must be directed to the Conference Coordinator, Regional Director and/or ACDA Executive Committee representative.

  16. A sound recording (when applicable) of concert quality to accompany the dance will be provided by the choreographer for the performance in the format specified by the Conference Coordinator or Conference Technical Director. For a trial period during 2018 and 2019, should the music or sound score be performed live, musicians may be visible to the audience whether they are students or non-students. All performers must be registered for the conference. 

  17. All Conference participants must be prepared to work within the technological capabilities and all other limitations stated by the Host Institution. If acceptable to the Conference Coordinator, video or other technology or scenic elements may be used, but all works presented for adjudication must contain a live dance performance element. 

  18. Each participating Institution is responsible for submitting required technical information. Some Host Institutions prefer to pre-set the lighting cues. Institutions that do not submit the required technical information or contact the Host Institution’s Technical Director by the posted deadline are not guaranteed that all lighting cues will be ready for the attending institution’s designated technical rehearsal. Attending institutions in this situation can opt to select a general warm or cool look or, provided the TD has been contacted and approves, use their technical rehearsal to develop additional cues. In this case, attending institutions may not have time to run their dances fully.

  19. Each participating institution is responsible for submitting required program information in a timely manner. Institutions that do not submit program information by the posted deadline may expect their program information to read: "Information not submitted."

  20. All Conference participants must be officially registered at the Conference and are encouraged to participate fully in Conference events.

  21. The ACDA Executive Committee representative must approve cast replacements for works accepted for the Gala Concert and the adjudicators must be informed prior to the Gala performance.

  22. If a dance is ineligible from consideration for the gala, it is the responsibility of the Executive Committee Representative to explain to the school in question before gala selections are posted that its work is ineligible. The Executive Committee Representative should then work with the Regional Director and the host to post the following statement along with the list of selected dances for the Gala Concert: “Dances that do not adhere to ACDA policy are ineligible for consideration for the Gala.”

  23. Gala Concerts are recorded for archival purposes, documentation and programming for the American College Dance Association National Festivals. The recordings are housed in the ACDA archives at the University of Maryland, College Park. Neither ACDA nor the Host Institution is required to duplicate the archival videos for individuals or institutions. It is highly recommended that each choreographer document her/his dance prior to the Regional Conference.

  24. Members are not restricted to participation exclusively or solely in their own geographic area and may participate in one or more Regional Conferences each year. While members may participate in more than one Conference, only two (2) dances per school may be adjudicated in any single conference season, at least one of which must be choreographed by a student.


STEFANIE BATTEN BLAND’S career has taken a geographically circuitous path, beginning in New York City followed by over ten years in Europe, returning to the states in 2012.  Stefanie’s interdisciplinary creative practice is embedded in human relationships, the communicative choices we make, and how we fit into space and place. She interrogates the preconceived notions embedded within contemporary and historical culture and situates her work at the intersection of installation and dance theatre in live performance settings.  Her work has led her to many places, but one of the highlights is being Jerome Robbins Award honoree.

Her own company, Company SBB, was founded in 2008 in France while head choreographer at the Paris Opéra Comique under the direction of Jérôme Savary.  Interested in impact on a local community and global level, the social and philosophical messages of SBB’s work are visceral and accessible to a diverse public, enabling people to embrace emotional content from a place of kinetic empathy. Her pieces are made in passionate response to global issues, commenting on what is and what could be with an optimistic belief in the common human community.

In addition to dances commissioned by TU Dance (Minneapolis/St Paul), Second Avenue Dance Company (New York City), Modlin Center for the Arts (Richmond, VA), Zenon Dance Company (Minneapolis, MN), Transitions Dance Company (London), Alvin Ailey ll Company (New York City) and Frontier Danceland (Singapore), SBBs work has been seen in the United States, Europe and Asia.
Website: CompanySBB


CHRISTIAN VON HOWARD is the Artistic Director of the VON HOWARD PROJECT, a contemporary dance company based out of New York City. As an international artist, he has worked with many dance artists such as Doug Varone, Fernando Bujones, Douglas Becker, Germaul Barnes, Daniel Gwirtzman and various others. Christian is a NJ State Council of the Arts Choreographic Fellow (2006) and his choreography has been produced in various venues across the globe including Germany, Japan, Bulgaria, Colombia, Chile, South Korea and in the states at Dance Theater Workshop (now New York Live Arts), Joyce SoHo, Dixon Place, the Ailey Citigroup Theater amongst others. His guest artist teaching/residency highlights include the American Dance Festival, Dance It! Festival(Bulgaria), Peridance Dance Center, and the Korean Dance Festival. Christian is a 2013/2014 recipient of the Distinguished Achievement in Teaching Award from Virginia Commonwealth University’s School of the Arts where he was part of the teaching faculty in the Department of Dance & Choreography from 2008 to 2014. He is an Associate Professor in the Department of Theatre & Dance at Montclair State University and concurrently teaches at the Alvin Ailey School in NYC where he has been on faculty since 1998. Christian serves as the Northeast Regional Director of the American College Dance Association. He holds advanced degrees in Performance and Choreography from the School of Classical and Contemporary Dance at Texas Christian University and from Tisch School of the Arts, New York University.

Website: VON HOWARD PROJECT or  American Dance Festival


The acclaimed New York-based DANIEL GWIRTZMAN DANCE COMPANY, a nonprofit organization directed by choreographer, master teacher and dancer Daniel Gwirtzman, has demonstrated a commitment to exceptionally-high quality programming since its inception in 1998. 

Receiving strong critical attention consistently since its inception, the Company is noted for its large repertory, entertaining flair, stylistic diversity, musicality, innovation and accessibility. Blending virtuosic precision with pedestrian ease, the infectiously appealing dancers are renown for their charisma. Hard to categorize. Easy to enjoy. The Company has steadily performed in a wide variety of venues, participated in festivals, residencies, and developed a well-regarded education program.
Website: DGDC


, a graduate of the Interlochen Arts Academy, is a NYC based Director  and Choreographer. He is currently the Associate Choreographer for Come From Away on Broadway at the Schoenfeld Theatre. He worked on the Broadway productions of Disney's Newsies(Associate Director), Jekyll and Hyde (Associate Director/Choreographer) and Il Divo: A Musical Affair (Assistant Director). He served as the Associate Director/Choreographer for the Public Theatre and London’s National Theatre’s productions of Here Lies Love Richard's directing and choreography credits include Finger Lakes Musical Theatre Festival, Pittsburgh CLO, Kansas City Repertory Theatre, Seattle Repertory Theatre, La Jolla Playhouse, The Old Globe, Deaf West, Paper Mill Playhouse, Ogunquit Playhouse, Gateway Playhouse, Flat Rock Playhouse, Capital Repertory Theatre, New Theatre, Macao International Music Festival, 54 Below, RWS & Associates and BCEFA.  Richard’s television credits include Bring It!, Macy's Thanksgiving Day Parade, Macy’s Commercial, America's Got Talent, Good Afternoon America (featuring Liza Minnelli), and The Bethenny Show (featuring Coco Austin). Richard’s Associate credits include Up Here (La Jolla Playhouse), 9 to 5 (National and International Tours), Disney's High School Musical (National/International Tours), A Christmas Story: The Musical (Kansas City Repertory Theatre/5th Ave Theatre), The Last Goodbye, The First Wives Club (The Old Globe), Pippin (CTG and Deaf West), A Wonderful Life (Paper Mill Playhouse), Broadway Under The Stars (NYC & Company), Frankenstein (37 ARTS, Off-Broadway), Drama Desk Awards (Hammerstein Ballroom) and Samsung Unpacked (Radio City Music Hall).



began her professional dance career with the Philadelphia Civic Ballet Company at the age of twelve. Later she joined the Dance Theatre of Harlem where she had the opportunity to travel extensively throughout the United States, Europe and Africa. She has worked with choreographer Donald Byrd as a soloist in his staging of New York City Opera’s Carmina Burana, in his critically acclaimed Harlem Nutcracker, as well as the controversial domestic violence work The Beast. In 2004 she became a founding member of Armitage Gone! Dance, and was invited to be a guest artist with Complexions Contemporary Ballet’s 10th anniversary season.

As a writer Ms. Howard has contributed to The Source, as well as Pointe and Dance Magazine, Germany’s Tanz, and  Italy’s Expressions. She is a contributing writer for Dance Magazine online. Her articles about body image prompted her to create mybodymyimage.com which endeavors to help others build positive body image through Respect, Acceptance and Appreciation. Her article, The Misty-rious Case of the Vanishing Ballerinas of Color: Where have all the Others Gone? Was as the subject of Race and Dance Townhall: REAL TALK at the Dance/USA conference in June 2015. Ms. Howard launch MoBBallet.org digital archive the Memoirs of Blacks in Ballet. One of MoBB’s first projects was to help organize and facilitate the first ever audition for Black Female Ballet dancers for major Ballet organizations at the 2015 International Association of Blacks in Dance conference. MoBBallet is a 2016 Knight Foundation grantee for the documentation of Philadelphia’s Black Ballet history.
Website: MoBBallet



LONE K. LARSEN left her native Denmark in 1986 to study at the Martha Graham School, where she was awarded a full scholarship sponsored by the Helena Rubinstein Foundation. She joined the Martha Graham Ensemble in 1986 and subsequently the Martha Graham Dance Company, where she performed until 1993. She also danced for seven years as soloist with Pearl Lang Dance Theatre and performed for many other leading modern and ballet choreographers here and abroad. While working in Denmark, she co-founded and was co-Artistic Director of BALLET PLUS, and from 2002-2005 she served as Rehearsal Director for Danish Dance Theatre. Lone has taught numerous master classes and workshops nationally and internationally. Currently serving on the faculties of Marymount Manhattan College and the Martha Graham School, she teaches technique, repertory, composition, and performance workshop. Lone also restages Martha Graham’s works for universities, as well as reconstructs and stages works by Pearl Lang. Her own choreographic works for concert dance and theatre have been presented both in New York and abroad. Lone holds a B.F.A. in Dance from Boston Conservatory and M.F.A. in Choreography from Jacksonville University.




KAREN LOVE, Founder/Artistic Director UMOJA Dance Company and Usaama Dance Company, earned her MFA from New York University Tisch School of the Arts and her B.F.A. from Montclair State University. In 2006, Love created Wofabe African Dance & Drum Festival, the only African dance & drum festival in the state of New Jersey. Love has been teaching dance and directing the after school dance program for the Hillside Public School District for the past sixteen years. She is a former faculty member at the Alvin Ailey School, Kent State University and Montclair State University. She is the owner of Umoja Dance Studio located in Vaux Hall, NJ. Love is a Co-Chair for the NJPAC Dance Advisory Committee, a certified Pilates teacher, yoga teacher, member of DanceNJ and NDEO. Dance has afforded Love the opportunity to travel to places such as Senegal, Guinea, The Gambia, Australia, New Zealand, Bermuda, Mexico, Morocco, Hawaii, Jamaica, Canary Islands, Guatemala, Cuba, and Brazil. Her choreography has been commissioned and presented at University of Illinois Urbana-Champaign, DTW Freshtracks, Aaron Davis Hall, The Yard, Symphony Space, Bates Dance Festival, Duke University, Northern Illinois University, MSU, NYU, Montclair High School, and Newark Arts High School.



Always representing The South Bronx, TWEETBOOGIE is devoted to the street styles of hip-hop. As she continues to travel all over the world teaching in different countries such as Japan, Poland, The Philippines,Ukraine, Saudi Arabia, Australia and South Africa to name a few. Assisting choreography on shows like "So You Think You Can Dance Canada" with Luther Brown, her passion has lead her to work with top artists like Jay-Z, Fergie, Mya, Shareefa, LL Cool J, Mary J Blige, Ryan Leslie, Shakira, Kanye West and Nicki Minaj. She has done NIKE commercials in Europe and for iPod as well.Tweetie was also the host of MTV's "Dances From The Hood" On Demand. Some of her biggest clients were teaching Gail and Oprah some of the latest hip-hop moves as a guest choreographer on The OPRAH Show. As an Associate Producer of the Ladies of Hip Hop Festival TweetBoogie believes in helping Ladies of all ages and sizes across the world to come together and celebrate thru music and dance one Lady at a time. You can find TweetBoogie also currently teaching at The Ailey Extension, PeriDance Center, Broadway Dance Center and EXPG NY Studios. 



ROBERT MARK DANCE - Deemed the “hottest young talent on the New Jersey dance scene today”, Robert Mark Burke finds himself a dancer, choreographer and teaching artist. Performing both nationally and internationally, Robert is a company member of Lucinda Childs Dance Company, 10 Hairy Legs, and Megan Williams Dance Projects.  As a choreographer, Burke  has shown his work throughout the United States including the wild project, Dixon Place, Paramount Theater (Boston), Hofstra University, Rutgers University, Rider University, Dance New Amsterdam, Jersey City Theater Center and New Jersey Performing Arts Center. He has received numerous awards, including the 2015 Dance on the Lawn Emerging Choreographer Grant under the direction of Charmaine Warren, the New Jersey Performing Arts Center Jersey (New) Moves Fellowship in both 2015 and 2017,  The 2016 CoLab Arts Space Grant, and The 2017 Eryc Taylor Emerging Choreography Grant. In 2015, Robert launched Robert Mark Dance as a way to create invigorating new works that push, reflect upon and unveil the human experience through the use of performance and education.
Website: www.robertmarkdance.org


JOHNNIE CRUISE MERCER/TheREDprojectNYC is a community of artistic deconstructionist that believe in the thorough reevaluation of the human super ego in order to psycho-analyse self’s relation to colonization. Confronting social conflict, engaging needed conversation, and sparking the processes of reconstructing/healing, the company is deeply invested in facilitating live performance experiences that challenge reality, and embrace the concept of perspicacious seeing.Founded in 2014 in Richmond, VA (later to be relocated to New York City in 2015) the blossoming company has performed in numerous venues including The Dance Place, Dogtown Dance Theater, BAAD! (Bronx Academy of Arts and Dance), Gibney Dance’s Agnes Varis Performing Arts Center, Dogtown Dance Theater, The Center for Performance Research, Brooklyn Arts Exchange (BAX), Danspace @ St. Mark’s Church, Harlem Repertory Theater, The Greenspace, The Bolls Theater of Detroit, 92Y Harkness Dance Center, NYU Skirball, The Grace Street Theater of Virginia and as a part of various festivals throughout the country.
Website:  www.trpnyc.com


AMY MILLER is a NYC-based dancer, choreographer, educator and advocate. A former principal dancer with the Ohio Ballet, she was also a founding member and artistic associate of Cleveland-based GroundWorks DanceTheater. Now the Senior Director and a performing member of Gibney Dance Company, Miller also focuses on Gibney’s Community Action initiatives through facilitating movement workshops with survivors of trauma, conducting both local and international trainings for artists interested in engaging in social action, developing healthy relationship workshops for young people and raising awareness about the role of the arts in violence prevention. Miller has conducted Gibney Dance Global Community Action Residencies at Mimar Sinan University and Koc University (Istanbul), University of Cape Town (South Africa), DOCH: School of Dance and Circus (Stockholm), MUDA Africa (Tanzania) and most recently in Gisenyi, Rwanda. In the spring of 2015, Miller was honored to receive an Arts & Artists in Progress “Pay it Forward” Award from Brooklyn Arts Exchange. Miller holds a BFA in Dance and is a recipient of an Ohio Arts Council Individual Excellence Award for her choreography.
Website: Gibney Dance


MICHIYAYA DANCE is an all women contemporary dance theater company based in New York City. Co-founded in fall 2015 by Anya Clarke and Mitsuko Verdery, Michiyaya dance merges the worlds of Clarke and Verdery’s backgrounds in dance and visual art.

Clarke, who has a bachelor of fine arts degree from long island university, calls on her experience in choreography, adding visceral and intuitive movement. Verdery, who has a bachelor of fine arts from carnegie mellon university, taps into her practice in performance and visual art, adding conceptually driven performative elements. Together, they produce collaborative and improvisation-based work with their dance artists. Michiyaya dance was awarded the 2016 first prize for choreographic excellence at the 11th Annual International Reverbdance Festival. They were awarded the 2017 Foundation for Contemporary Arts Emergency Grant and Pittsburgh Opportunity Fund Grant. Michiyaya dance was featured in one of the newest collections of thinx, women's period-proof underwear line. They have performed at venues such as Yale University, Brooklyn Museum, dumbo dance festival, Dixon Place, Manhattan Movement & Arts Center, among others. Clarke and verdery have taught master classes and workshops at Earl Mosley’s Institute of the Arts, Gibney Dance Center, Peridance Capezio Center, Dancing Grounds, and more. They were guest choreographers for LIU’s dance department in 2016. They are currently creating their third evening-length work titled /wē/ premiering april 2018.


SAMANTHA SPEIS is a movement artist based in New York City. She has worked with Gesel Mason, The Dance Exchange, Jumatatu Poe, Deborah Hay (as part of the Sweet Day curated by Ralph Lemon at the MoMA), Marjani Forte, and Liz Lerman. She is currently a performer and the Associate Artistic Director of the internationally acclaimed dance company, Urban Bush Women. She is also a member of The Skeleton Architecture, a collective of black womyn and and gender non-conforming artists who use the practice of improvisation to create, organize, advocate, gather, play and challenge. Speis was the 2012 recipient of the Alvin Ailey New Directions Choreography Lab and recently was awarded a Bessie for Outstanding Performer. Her work has been featured at the Kennedy Center (Millennium Stage), Long Island University, Joyce SoHo, Hollins University, Danspace Project, Dixon Place, Dance Place, and The Kelly Strayhorn Theater. Speis’ solo, The Way it Was, and Now, was commissioned by the Jerome Foundation to be performed at Danspace Project for the Parallels Platform Series, and was later invited to the Kaay Fecc Dance Festival in Dakar, Senegal. She has been a guest artist and taught workshops throughout the United States, South America, Senegal, and Europe. Recent projects include, Walking with Trane co-choreographed with Jawole Willa Jo Zollar and her collaboration with Chanon Judson-Johnson and Raelle Myrick-Hodges on Hair and Other Stories. 

Please note new request/reserve policy below in effect for the first three days of in-region registration.

We are pleased to offer the opportunity to present work in an informal concert.  Guidelines for the informal concert follow:
  • All groups and individuals registered for the conference are eligible to perform in the Informal Concerts. 
Works-in-progress may be shown.
  • Dances presented in the Informal Concerts are restricted to work not being adjudicated.  
In the interest of creating opportunities for many schools, only one dance per institution may be shown in the informal concerts; however, more than one piece per school will be considered if space allows.  

  • The maximum time for each work presented in the Informal Concert is 8 minutes.
  • The burden of meeting the time requirement rests with the choreographer.  ACDA recommends that the choreographer allow a time margin within the 8-minute limit for technical errors or theater peculiarities. 
We are accepting 24 works for the Informal Concert
  • A sound recording of concert quality must be provided by the choreographer in the format specified by the Conference Coordinator (see Tech Info).
    • During the first three days of registration, schools and individuals may request an informal slot during online registration. 
    • After three days, the host institution will reserve slots with priority given to schools with no reserved adjudication slots. 
    • Additional slots will be given to schools with adjudication slots based on time stamp of their registration. 
    • All schools requesting slots will be informed of their status. 
    • If additional slots are available after the initial three-day request period, they will be filled on a first registered/first reserved basis. 
Please submit Informal Concert program information online by February 12, 2018. 

We invite faculty members registered for the conference to submit work for our Faculty & Guest Concert that will be presented on Saturday, March 17, 2018 from 8 to 10PM, in our Studio Performance Theatre .  This low-tech platform is designated as an opportunity for faculty to not only present their work but to also perform at the conference. This is a wonderful opportunity for faculty development and collaboration. All performance art mediums are welcomed. This concert will also feature the work of area dance artists who are emerging or established contributors to the field.

Guidelines for the Faculty Concert:
  • All faculty registered for the conference are eligible to perform and present work. Works-in-progress may be shown.
  • Dances presented in the Faculty are restricted to work not being adjudicated.  
  • The maximum time for each work presented in the Faculty Concert is 10 minutes.
  • The burden of meeting the time requirement rests with the choreographer.  ACDA recommends that the choreographer allow a time margin within the 10-minute limit for technical errors or theater peculiarities. 
  • We are building a 50 minute faculty concert that will repeat back to back. We are accepting between 5 to 10 works to fill the length of the concert. 
  • A sound recording of concert quality must be provided by the choreographer in the format specified by the Conference Coordinator (see Tech Info).
  • In the interest of creating opportunities for many schools, up to two dances per institution may be shown in the Faculty Concert; however, more than one piece per school will be considered if space allows. 

Submission for the Faculty Concert will open on January 8, 2018 and will close at days end on March 10, 2018. A reminder notice for submission will be sent to your school representative prior to the submission date.  This concert is strictly on a first submitted/first reserved basis based on the guidelines stipulated above. Any member institution can submit multiple submissions

In addition to our normal Informal Concert will be hosting a Midnight Showcase, yes at Midnight, on Friday, March 16, 2018.  ALL student conference participants are encouraged to present work in this stress free low-tech showcase. This platform is especially for those experimental works that you just want to workshop or get out of your system. All performance art mediums are welcomed. This showcase is ideal for those works that were in process or created after the informal concert deadline. 

Guidelines for the Midnight Showcase concert follow:
  • All groups and individuals registered for the conference are eligible to perform and present work. Works-in-progress may be shown.
  • Dances presented in the Midnight Showcase are restricted to work not being adjudicated.  
  • In the interest of creating opportunities for many schools, only one dance per institution may be shown in the Midnight Showcase; however, more than one piece per school will be considered if space allows. 
  • The maximum time for each work presented in the Midnight Showcase is 5 minutes.
  • The burden of meeting the time requirement rests with the choreographer.  ACDA recommends that the choreographer allow a time margin within the 5-minute limit for technical errors or theater peculiarities. 
  • We are accepting 12 works for the Midnight Showcase
  • A sound recording of concert quality must be provided by the choreographer in the format specified by the Conference Coordinator (see Tech Info).

Submission for the Midnight Showcase will open on March 1, 2018 and will close at days end on March 10, 2018. A reminder notice for submission will be sent to your school representative prior to the submission date. We will release the submission cap per school on March 8, 2018. This showcase is strictly on a first submitted/first reserved basis based on the guidelines stipulated above.   (Starting March 1st through March 10th - Email your interest to participate to acdane2018@gmail.com)

The Dance on Camera Showing will be presented in our new state-of-the-art Presentation Space and curated by Kathleen Kelley, Assistant Professor of Dance & Technology.    

This showing will highlight student and faculty dance films made by members in the region. 

Guidelines for submissions:
  • Dance films created by both Faculty and Students are eligible for submission.
  • Each faculty or student may only submit one film. There is no limit to the number of films submitted by each school.
  • We are building a 50 minute film showing that will play back-to-back from 8 to 10PM on Saturday, March 17, 2018. 
  • This showing is not adjudicated and video submissions will be accepted until the time slot is filled.
  • The maximum time for each video submitted is 8 minutes, and submitters must provide the exact time of each video. 
  • Submitters must provide a high-quality digital file of the video by March 1, 2018, and the video must be the same length of time as submitted.

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Contact Information

Payment Instructions

  • All checks should be payable to: Montclair State University

    Earmark Check: 2018 ACDA Northeast Conference

    Send payment to:

    Department of Theatre & Dance
    Montclair State University — College of the Arts 
    Life Hall, Room 0335
    1 Normal Avenue
    Montclair, New Jersey 07043

    Federal ID#: 22-750050K

    Payment or Proof of Intention to Pay (PIP) is due within two weeks of registering. 

    PIP can be in the form of a screen shot or scan of the check requisition or the designated mechanism your institution has in place to prove payment is being processed. 

    Please send your PIP to the conference coordinator as soon as it is issued. 

ACDA gratefully acknowledges support from our Lifetime Members:
Elizabeth Lowe Ahearn, Judy Allen, Tiffanee Arnold, Ruth Barnes, Jean Baxter, Lorelei E. Bayne, Jeanne Beaman, Paul Besaw, B.J. Bray, Lori Bryhni, Mary Cochran, Keith Skip Costa, Mary-Jean Cowell, Karen Dearborn, Susan Douglas Roberts, Abby Fiat, Barry Fischer, Lynda Fitzgerald, Lisa A. Fusillo, Amy Ginsburg, Lonny Joseph Gordon, Erica Helm, Gerri P. Houlihan, Luke Kahlich, Annie Kloppenberg, Joanne Lawrence, Paula Levine, Li Chiao-Ping, Luis Martinez, Rhythm McCarthy, Suzanne Ostersmith, Damon Rago, Ann Sanders, Russell Sandifer, Mark Santillano, Brent Schneider, William Seigh, Andrew Vaca, Holly Williams, Alcine Wiltz, Candace Winters-March, Darci Brown Wutz, Marcy Jo Yonkey-Clayton