2018 ACDA SOUTH Conference

Natchitoches, Louisiana
Wednesday, April 04, 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


LEDA MEREDITH's dance career spans classical ballet, modern dance and theater. She was a principal dancer with American Ballet Theatre II, Edward Villella, Manhattan Ballet, Ohio Ballet, Ballet du Nord and others. She toured as Louise in San Francisco Opera Ballet's Carousel, and appeared as Columbine for the Walter Verdehr Trio's PBS presentation of Pierrot. Leda is currently Rehearsal Director of Dances Patrelle, and originated numerous roles for  that company including her critically acclaimed Lady Macbeth in Francis Patrelle's Macbeth. She was a company member of Jennifer Muller/The Works for over a decade and returned as Artistic Associate Director for The Works 25th anniversary season. She was an Adjunct Professor at Adelphi University for over 13 years, and the recipient of Adelphi's Teaching Excellence Award.

As a choreographer, Leda's works have been presented at the Joyce Theater, New York, Dansatelier, Rotterdam, The Ailey Citigroup Theater, New York, Dance Loft, Switzerland, Western Washington University, as well as Dance Adelphi, Malaparte Theatre Company, the Gene Frankel Theatre, Dixon Place, the Hatch Saturday Series, Wong Dance, and the Arts on the Hudson Festival, and the American Dance Guilds 50th Anniversary Gala. She co-produced IndepenDANCE: A Benefit for the Invisible Children of Uganda, and created My Soul to Keep for that cause.

Leda is one of the few officially accredited teachers of the Muller modern dance technique, as well as teaching ballet, partnering, composition and performance skills. Leda is a returning guest instructor for Pennsylvania Regional Ballet, the Henny Jurriens Stichting in Amsterdam, Western Washington University, Koelnertanz in Cologne, and the Dance Loft in Rorschach, Switzerland, among others. She has taught for the Iles de Danse in France, for the Artist's Trust International Course in England, and as a guest instructor for Carolyn Carlson's Atelier de Paris. Other dance programs she has taught for include the California State University at Los Angeles, SUNY Purchase, SUNY Oswego, and Brigham Young University in Hawaii. She has been a featured instructor for the Northeast Regional Dance Festival and the American College Dance Association.

Leda holds an Honorary Doctorate in the Arts from La Universidad Leonardo Da Vinci in San Salvador. She is the author of several books that have been featured on The Martha Stewart Show and in the New York Times and the New York Post. A published author on many subjects, her writing has appeared in Pointe Magazine, European Dance News, and elsewhere. She is the author of five published books and currently working on a sixth that will be published in Spring 2018.


STEVE ROOKS began his dance training in Washington, D.C. He continued his training in New York City as a scholarship student at the Alvin Ailey American Dance Center. Mr. Rooks danced and toured with the Alvin Ailey Repertory Ensemble, and the Martha Graham Dance Company, where he performed for over a decade and achieved the rank of Principal Dancer.

Mr. Rooks has created a number of dances including “Cool River” that premiered at Lincoln center in 1996, and later became a part of the Graham Company repertoire. He was a 2004 winner of the National Choreographic Competition at Hubbard Street Dance Chicago, and created two solos for the 2004 Youth American Grand Prix Ballet competition. Mr. Rooks is currently Chair of Dance and Resident Choreographer at Vassar College, and has been a guest teacher with the Alvin Ailey American Dance Theater, The Martha Graham Dance Company, the American Academy of Ballet, Ballet Nacional de Mexico, the North Carolina School of the Arts, and the International Summer School in Sydney, Australia. He has been awarded Vassar Research grants to travel to Riga, Latvia, Lusaka, Zambia, and in 2014 to Turku, Finland, where he choreographed “Plate Tectonics” on 24 dancers. As part of the Masterworks Festival, Mr. Rooks was commissioned to create ballets for a number of contemporary composers including Clarice Assad, Piet Swerts and David Skidmore – all to live orchestra.

Mr. Rooks has served as an adjudicator for the American College Dance Association, and a solo “Vista” was created for Aran Bell (ABT) for the 2014 International Ballet Competition in Jackson, Mississippi. Four contemporary solos were submitted to the 2016 Youth American Grand Prix. Mr. Rooks would like to thank Jesus Christ for all that has happened to him.

KISTA TUCKER (MA, MFA, CMA, RSMT) has performed and presented her work via Kista Tucker Insights (AKA: Kista Tucker Dance, Inc.) and as a solo artist throughout the US, Europe, Japan, Mexico, and Canada. She has a wide range of performance experiences, from a major role in Kurt Jooss' The Green Table to Tucker's own Fractured. She produced Randolph County, an evening length David Lynch Project, and is in the throws of a new evening length work for herself and the company. She received over $36,500.00 toward creating and touring a choreographic project based on the Korean War Veterans Memorial located in Washington, DC.

Tucker is a member of the Laban Institute of Movement Studies Conference Committee and was elected to two terms on the CORD Board of Directors. She has taught at George Washington University in Washington, DC, The Ohio State University, Sam Houston State University, The University of South Florida, and the State University of New York, Brockport. Tucker has presented her work for LIMS, IADMS, ISMETA, CORD, ACDFA, NDEO, and other organizations.

She conducts workshops, acts in the capacity of Guest Artist within universities and other institutions, is currently working on publishing her first novel, is enjoying painting, and is writing about her KT Warm-Ups. She has received numerous awards and commissions.


  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.
Download Adjudication Policies
        Eric Rivera is a native of Puero Rico. He earned his MFA in Choreography from Purchase College. Currently Mr. Rivera is an Assistant Professor at Virginia Commonwealth University. During his performing career, he danced with Ballet Hispanico of New York for 13 seasons where he helped to create over 20 original works. He also performed with Minnesota Ballet as principal dancer, Ballet Theater of Pennsylvania, Ballet Teatro Municipal de San Juan P.R., Danza Jazz de San Juan and in the European tour of West Side Story. He has appeared as guest artist in different companies such as Connecticut Ballet, Thomas Ortiz Dance, Ballet Concierto de Puerto Rico, Westchester Ballet and Brooklyn Ballet. Eric had the pleasure of performing choreographies of Ann Reinking, Mark Morris, José Limon, Kenneth McMillan, Margot Sapinton, Graciela Daniel, Kevin Wynn, Vicente Nebrada, Talley Beatty and George Balanchine. 

His works have been presented by Dance Iquail, Ashani Dance, Convergence Ballet, CSU Fullerton, Western Kentucky University, Orange Coast College, Owensboro Dance Company, ACDA Gala at Little Rock, AR, NY Summer Stage and the show They Called it Rock among others. Mr. Rivera is an ABT Certified Teacher, who has successfully completed the ABT Teachers Training Intensive in Primary through level seven of the ABT National Training Curriculum.                                                                                                           
Tony Smith is a two time Emmy nominated producer/choreographer who began his dancing career as a street dancer in Los Angeles.  He was discovered for his break dancing skills at the age of thirteen while on the set of the Blockbuster Movie "Breakin' II-Electric Boogaloo". 

In his career Tony has danced and choreographed for numerous recording artists, to include NSYNC, Ricky Martin, Lucero, Barry Manilow, Sandi Patti, The Temptations and many more. 

As a producer Tony has created projects for television, film and stage.  He is currently the owner and Executive Producer at Adams Davy; a publicity and entertainment firm whose clients have included L’Oreal Cosmetics, Walt Disney Entertainment, Kawasaki Motors, Saks Fifth Avenue and many others.

Adams Davy will be involved with the 2018 Winter Olympic Games in South Korea and well as the 2018 Youth Olympic Games in Argentina next year.

With all that he has accomplished, one of his greatest experiences was working with the Muppets of Sesame Street!

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 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. 
  • The maximum cap is 24 works for the informal concerts.
  • 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 Wednesday, January 24, 2018.


Contact Information

Payment Instructions

  • We will be accepting checks as payment for conference fees.

    All checks should be payable to:
    NSU Theatre & Dance

    Send payment to:
    NSU Theatre & Dance
    c/o Brett Garfinkel, ACDA
    150 Central Ave
    Natchitoches, LA 71497

    Federal Tax ID #  72 - 6021495

    W9 Form

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