2019 ACDA SOUTH CONFERENCE

University, Mississippi
Saturday, March 09, 2019
 

 

NOTE:  If registering prior to October 31, 2018, registration is a TWO-STEP PROCESS.  
Please read Registration Instructions before registration opens.

  • "Preparing to Submit Detailed Program, Teaching and Additional Information

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

 
Information on this page includes:
Dance on Camera

There will be 4 Adjudication Concerts, 2 Informal Concerts, Dance on Camera, and special Happenings at Site Specific Historical Civil Rights sites, and also a special Happening at the Student Dinner.

 ADJUDICATION

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

ADJUDICATOR BIOS

In 1992 Rennie Harris founded Rennie Harris Puremovement American Street Dance Theater, a street dance company dedicated to preserving and disseminating hip-hop culture throughout. Celebrating 25 years of Street Dance Theater Harris’ first evening length work entitled “Rome & Jewels”, remains the longest touring hip-hop dance theater work in American history with 3 Bessie Awards, 2 Black Theater Alvin Ailey Awards, a Herb Alpert award and a nomination for a Lawrence Olivier Award (UK). “Rome & Jewels” has performed for sold-out audiences nationally and internationally. Harris has brought "social" dances and styles to the "concert" stage, creating a cohesive dance style that finds a cogent voice in the theater. Awarded the key to the city of Miami & the key to the city of Philadelphia he is currently featured in Rose Eichenbaum’s Masters of Movement-Portraits of America’s Great Choreographers with dance legends such as Carmen de Lavallade, Judith Jamison, Fayard Nicolas and Gregory Hines. Rennie Harris was awarded a Master of African American Choreography Medal from the Kennedy Center/Washington (DC), was voted one of the most influential people in the last one hundred years of Philadelphia history and has been compared to twentieth-century dance legends Alvin Ailey and Bob Fosse. Harris was also nominated for the Laurence Olivier Award, is a United States Artists Rose Fellow, a Guggenheim Fellow and has been recognized as a Pennsylvania Artist of the Year by Governor Rendell and toured as an ambassador of Hip-hop/Street dance for Presidents Reagan, Clinton and Obama.   



Gerri Houlihan studied at the Juilliard School with Antony Tudor and members of the Martha Graham and Jose Limon dance companies. She performed with the Metropolitan Opera Ballet Company, the Paul Sanasardo Dance Company and the Lar Lubovitch Dance Company. From 1991-1999 she directed her own company, Houlihan and Dancers, based in Miami, Florida. During that time, she was on the faculty of the New World School of the Arts. Ms. Houlihan serves on the Advisory Board for the American Dance Festival. She has been on the faculty of the ADF from 1981-1983 and from 1987 to the present. As an international representative for ADF, she has participated in 17 international linkage programs in such countries as Korea, China, Mongolia, Brazil, Chile, Paraguay, Estonia, Poland and Russia. She is the 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 and received her MFA from the Hollins/ADF MFA program. She recently retired from Florida State University, where she was the Pearl S. Tyner Distinguished Professor in Teaching. Currently, she teaches at the ADF studios in Durham and at Elon University and is Professor Emerita of Florida State University. 



Sydney Skybetter is a choreographer. Hailed by Dance Magazine as “One of the most influential people in dance today,” his work has been performed around the country at such venues as The John F. Kennedy Center for the Performing Arts, The Boston Center for the Arts, Jacob’s Pillow and The Joyce Theater. A sought-after speaker, he lectures on everything from dance history to cultural futurism, most recently at Harvard University, South by Southwest Interactive, TEDx, Saatchi and Saatchi, Dance/USA, and Oculus Research. He has consulted for Sotheby’s, The National Ballet of Canada, The Jerome Robbins Foundation, Bloomberg Philanthropies, Hasbro, New York University and The University of Southern California, among others, and is a Public Humanities Fellow and Lecturer at Brown University where he researches the choreographics of human computer interfaces and mixed reality systems. He is the founder of the Conference for Research on Choreographic Interfaces (CRCI) which convenes ethnographers, anthropologists, speculative designers and performing artists to discuss the choreography of the Internet of Things. He produces shows at Joe’s Pub, SteelStacks and OBERON with DanceNOW(NYC) , has served as a Grant Panelist for the National Endowment of the Arts, is a Curatorial Advisor for Fractured Atlas’ Exponential Creativity Fund, and is the winner of a RISCA Fellowship in Choreography from the State of Rhode Island. He received his MFA in Choreography from New York University. Sydney Skybetter Website


ADJUDICATION POLICIES FOR PARTICIPATING SCHOOLS

  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 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.

  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 choreographers document their dances 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
 GUEST ARTISTS

Mary A. Chase


CHASEDANCE

Mary A. Chase is a Laban Movement Analyst and Bartenieff Fundamentals Practitioner holding an M.F.A. from the University of Texas at Austin and B.F.A. from the University of Illinois. Most notably known for her solo work The Window, Change for Fear, Unearthed, Best I Can, Nursery and Brake Break Br(ache) she has performed in eighteen states and internationally in Europe, Asia and South America. As a choreographer, in the last twenty years she has had over fifty works produced on stages large and small. From The Centro Cultural Miguel Ángel National Theatre of Guatemala or the Castle Schoenbrunn in Vienna to community performances at the Center for World Music outside of Ubud, Bali, at The National Steinbeck Center, in the Dance Barn in Wilton, New Hampshire, or even as small as Chase Public in Cincinnati. Every place Mary has lived and worked has been an opportunity to grow towards cultural inclusion as a compassionate global citizen and artist.  As a dancer she has worked with acclaimed artists such as Tandy Beal, Claire Porter, David Justin, Karl Schaffer, Josephine Garibaldi, Tara Rynders, Helen Hansen French and Lauren Slone.

Mary has taught at Kansas State University, University of Texas at Austin, Austin Peay State University, Monterey Peninsula College, American Ballet Theatre Summer Intensive (Austin), Denver Metro State University, and directed the dance programs at MacCallum Fine Arts Academy in Austin, TX and Merrill International School in Denver, Colorado. Mary’s teaching, like her choreography, braids tradition with innovation. Her pedagogic methods for dance technique with an emphasis on Developmental Patterns and Bartenieff Fundamentals continues to grow and gain support with conference presentations and workshops.   Currently, Mary is teaching at The University of Tampa.

 


Please note new request/reserve policy below in effect for the first three days of in-region registration.
Please note new request/reserve policy below in effect through the first three days of reciprocal Baja/West 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. 
  • 20 pieces for the informal.  Only 1 per school.
  • A sound recording of concert quality must be provided by the choreographer in the format specified by the Conference Coordinator (see Tech Info).
NEW REQUEST/RESERVE INFORMAL PARTICIPATION POLICY: 
    • 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. 11, 2019.
We are providing a platform for a video showcase in hopes to support Dance on Camera projects. Submissions are no longer than 10 minutes, including the credits which should be added to the beginning or end of your video. Pre-existing works or newly-made works are welcome. Each video submission must be accompanied by both a brief description and a reflection (a paragraph or two in total) of your creative processes and methods contributing to your piece. Be advised that this description will be printed and shared to the attendees as part of the showcase.

Please submit Dance on Camera online by Feb. 12, 2019.

 
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Contact Information

  • Conference Coordinator:  Jennifer Mizenko
    Email: jmizenko@olemiss.edu
    Phone: (
    662) 915-5969



Payment Instructions

  • Payment Methods:
    • Checks
    • Purchase Orders
    • Mastercard or Visa

    All checks should be payable to
     "The University of Mississippi"

    Send checks to:
    Mary Leach
    The University of Mississippi
    Division of Outreach and Continuing Education
    Office of Professional Development
    Post Office Box 1848
    University, MS 38677-1848

    If you plan to send a purchase order, please send it to the address above, or email it to pdll@olemiss.edu
    Upon receipt of your PO, an invoice will be created and sent via email or regular mail.

    Credit Cards:
    Mastercard and Visa Accepted
    On registration Checkout, select "plastic" as Payment Method.
    Complete your registration by clicking on FINISH before making credit card payment. 
    If you do not click on FINISH, your registration will not be saved.

    For credit card payments, CLICK HERE after completing your registration. 

    If you are need of a W-9 from the University of Mississippi, please email a request to pdll@olemiss.edu.

    Federal ID# 64-6001159


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