College Dancers Convene And Compete - American College Dance Festival Association, University of Illinois - Brief Article

Dance Magazine, July, 2001 by Shelley Maser

Generally, college dance students spend more time in the studio than the football stadium and might be accused of having less school spirit than their more sports-oriented classmates. But since 1973, the American College Dance Festival Association (ACDFA) has given dance majors the equivalent of home-and-away games. This year 3,200 students and faculty from various colleges participated in eight ACDFA gatherings. Many showed their choreography to dance professionals, who gave feedback and selected top pieces for regional galas. At the Midwestern event, school pride was strong. But the thrill of competition didn't overcome an overall sense of support.

The University of Illinois at Urbana/ Champaign (UIUC) hosted the Great Lakes Regional Festival March 9-12. It was a monster of planning: 750 registrants; 127 sessions including technique classes, panel discussions, somatic workshops, and video presentations; 9 concerts; and a ball.

As host, the UIUC dance department was responsible for every detail, including the choice of adjudicators--Donald McKayle, Elizabeth Streb, and Doug Varone. Each of the thirty-six participating colleges was invited to submit two pieces, at least one of which was to be a student work. The three adjudicators saw a total of fifty-three pieces and offered feedback that drew from their respective strengths. Streb discussed action elements; McKayle the craft of dramatic moments; and Varone mentioned eloquent gestures.

Evaluation of choreography is at the heart of ACDFA events. But attendees are also introduced to other aspects of dance. At UI, technique classes included modern, ballet, house jazz, and even Zimbabwean and Baroque dance. Shirley Mordine, of Chicago's Columbia College, moderated a panel on teaching technique. Sara Hook, of the UIUC faculty, taught a session on Bartenieff Fundamentals, a somatic practice that applies Laban training to physical therapy. And Wendy Perron, New York editor of Dance Magazine, spoke on the uses and abuses of self-criticism.

Festival concerts began with an evening by Doug Varone and Dancers that earned a standing ovation. The next night's faculty concert included UIUC's Renee Wadleigh's performance of Yvonne Rainer's Trio A (1966). Another highlight was December, a solo by David Marchant of Washington University in Saint Louis, who instructed the audience to listen to the sound score, the sound of breathing, and to close their eyes on every exhale and open them on every inhale. The result was an organic strobe effect that Marchant used brilliantly.

The conference ended with a gala program of thirteen dances chosen and arranged by the adjudicators. One highlight was Ecotone, a haunting piece by UI MFA candidate Johanna Wininsky. Donald McKayle said the dance took him "to another world, not human but amphibian. It was as if they were on a perilous journey, moving on flippers."

Wherever one looked during the three-day conference, there was dancing. Students were in high spirits, breaking into applause during classes and improvising and revisiting favorite moves in the hallways during breaks. They even turned the ball into a percussion jam.

Next year's hosting universities have already been set. And 2002 is a "national year," which means that a selection from each regional festival will be presented at the Kennedy Center in May. For further information, contact Diane De Fries at 301/405-8552 or by email at acdfa@bellatlantic.net.