Plymouth, New Hampshire
Wednesday, April 03, 2019

NOTE:  If registering prior to October 31, 2018, 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. 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


1. Robin Wilson is best known as a founding member of the New York dance company Urban Bush Women. She performed in New York for more than a decade with such choreographers as Dianne McIntyre, Kevin Wynn, and Jawole Willa Jo Zollar. A member of Ann Arbor Dance Works, Wilson has performed at the New Orleans Dance Festival and the BAAD!Ass Women Festival in New York.

Wilson has taught workshops at Washington University, University of Wisconsin – Milwaukee, New York State Summer School for the Arts, Michigan Youth Arts Festival, Urban Bush Women’s Summer Leadership Institute, and in Suriname and Costa Rica. Her choreography has been commissioned by the Washington University Dance Theater, Metro Theatre Company, People Dancing, Happendance Company, Kentucky Arts Council, Bluegrass Black Arts Consortium, and the Harlem Dance Foundation. She traveled to Ghana with the Michigan Gospel Chorale in 2008 where her choreography was performed at the Ghanaian National Theater.

Wilson has been an adjudicator for regional conferences and served on the National Board of Directors for the American College Dance Festival Association. She was a Kentucky Artist-in-Residence and was on the faculty of the Kentucky Governor’s School for the Arts before joining U-M. She holds an MFA in choreography from Temple University where she was a University Fellow.

Wilson has received grant support from various academic and corporate sponsors and arts councils and was awarded the 1999 Maggie Allesee Award for New Choreography. She directs and performs with several liturgical dance ensembles and offers movement workshops for non-profit organizations and schools. She has organized student service projects in New Orleans and was a 2008 Global Intercultural Experience for Undergraduates Fellow. Wilson has presented papers at the Society of Dance History Scholars and the Congress for Research in Dance and has written a chapter on African diaspora dance for the Encyclopedia of African American Culture and History. She continues to research this topic throughout the Caribbean and the Americas.

2. Licia Perea is well-known within the Los Angeles dance community and  beyond. Born in Albuquerque, New Mexico, she received her BA and Master  of Arts in Choreography and Performance from the University of New  Mexico and stayed on as an Adjunct Faculty member for eight years  teaching modern technique, choreography, improvisation and repertory.  She performed with and eventually became the Artistic Director of Danzantes  in New Mexico. After relocating to Los Angeles, Perea became the  Co-Artistic Director of Latina Dance Theatre Project and in 2012, the  Executive Director of BlakTina Dance Festival.

3. Peter DiMuro became the Executive Director of The Dance Complex in 2013, returning to Boston after touring, teaching, and making dances for 20 years internationally. He continues to create, advocate, and educate through his artistic umbrella, Peter DiMuro/Public Displays of Motion. His work has received support from the National Endowment for the Arts, Boston Center for the Arts, a 2015 Boston Dance Alliance Retreat and Rehearsal Fellowship, and commissioned nationally and abroad.


  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. 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 exceeds the 12-minute limit during adjudicated performance it is the ACDA Executive Committee Member's responsibility to confirm if the error was the responsibility of the school or if a technical error on the part of the crew caused the work to go over the 12-minute limit.
    • 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.

  6. 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.

  7. 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.
  8. 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.
  9. Each registered school must identify a faculty or staff member who will accompany their students throughout the adjudication process.

  10. 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.

  11. 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.

  12. 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.

  13. 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.

  14. 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.

  15. 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.

  16. 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.

  17. 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."

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

  19. 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.

  20. 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.”

  21. 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 choreographers document their dances prior to the Regional Conference.

  22. 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

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 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 theater peculiarities. 
  • The cap on informal dances is 20
  • 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 Jan. 15, 2019.

73 spaces remaining


Contact Information

Payment Instructions

  • Payment Methods: 
    Checks only
    Purchase Orders accepted
    as intention to pay

     All checks should be payable to
     "Plymouth State University"

    Send payment to:
    Plymouth State University Dance
    ATTN: Amanda Whitworth
    17 High Street 
    MSC 37, Plymouth, NH 03264

    Federal ID#: 

ACDA gratefully acknowledges support from our generous 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 (deceased), 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, Lana Kay Rosenberg, Ann Sanders, Russell Sandifer, Mark Santillano, Brent Schneider, William Seigh, Andrew Vaca, Holly Williams, Alcine Wiltz, Candace Winters-March, Darci Brown Wutz, and Marcy Jo Yonkey-Clayton