1976 – Quartet based on structure of pulse and accumulation. The dance begins with finger snapping the pulse and dancers continue the finger snapping off and on during the first 10 minutes. The pulse appeared in the movement or as sound throughout the entire continuous performance. The final section titled, 44’s, represented an accumulation of 8 count phrases contributed by each dancer. The sequence must begin with 1, and then 1/2 and then 1/2/3 and so on. You could stop/hold/arrest the movement on any given count, but you must come in on the count (up to 44) that has moved forward either by the other dancers or just keeping the pulse. There was a slow section and there was a “marking” section. The goal for each dancer was to take advantage of the unexpected ways to create choreography dropping in and out while changing locations on stage.
Choreography: Maida Withers and Company. Dancers worked collectively on concepts and choreography was directed by Withers. Each Company member had a solo they created with group accompaniment.
Costumes by John Bailey: Tie-dyed layers of costumes in shades of sky blue, yellow, and water green. Each dancer had a leotard, cotton shorts and a T-shirt, long cotton tie pants, or a skirt. Clothes were de-accummulated down to the leotard during the dance.
Music by Steve Bloom, gong pulse and instruments (1976) using tape and live instruments and a synthesizer. For the second performance music was created by John Driscoll. Poems by Gertrude Stein (Sacred Emily); Geography and Plays by Dick Higgins (Cowboy Plays) “Foew & OMBWHNW”.
Premiere: Hand Chapel, Washington, DC. March 26, 27, 28, 1976. The second performance was in Dorothy Betts Marvin Theatre (1984) Music for miniature objects, John Driscoll. The third performance was on the steps by the Lincoln Memorial looking down over the Potomac River during Rush Hour (see photos).
There is a script for the choreography in the early archival notes prepared by Cynthia Word.