1967 to 1982: GWU 3-WEEK SUMMER DANCE WORKSHOPS, POST MODERN DANCE;  Maida Withers Founding Director and Artist

In 1967, Maida Withers initiated an intensive three-week summer dance workshop program at the George Washington University featuring one or two guest artists in residence, annually.  This program was intended to attract fine dancers from throughout the United States to the University and to introduce new artists and ideas in the post-modern genre to dancers and audiences in Washington, DC nationally and internationally.   When these workshops began there were only a few summer dance workshops similar to this in the United States.  Based on Withers professional practice in the post-modern genre and experimental dance, guest artists of the avant garde became the feature of these diverse workshops.  Through this program, the University was recognized nationally and internationally for support of artists and art of post-modern dance. With Withers and through the University, emerging post-modern artists were recognized and celebrated.  The influence on workshop participants was very important for emerging dance artists.

These workshops, beginning in summer 1967 and continuing through summer 1982, lasted three-weeks during which time the guest artists would teach dance technique and create a new work for workshop participants. Maida Withers played a variety of roles during the fifteen-year period these nationally recognized workshops were offered.  As Director, Maida selected the artists, developed a national promotional campaign, and supervised details such as catalog copy, housing for students and artists, grading, and other administrative details.  Maida also taught dance technique, directed and produced the end of workshop public dance concert(s) (see  below). Elizabeth Burtner, GW Professor, also support the initiative.

At the conclusion of each summer dance workshop, the dance or dances created by the guest artist(s) were presented to the public in the Marvin Center Theater, Studio K Theater, or in an environmental or architectural space for site-specific works.  When possible, the teaching artist(s), themselves, were presented in concert, either performing a solo or  presenting a work(s) performed by his/her own company. Maida Withers produced all the concerts, arranging for promotion and production of all performances.

Generally, Maida created a work with workshop students or Dance Construction Company artists to be presented on the public concert – depending on enrollment and the diverse guest artist selected.

Maida was, of course, an influential voice in making possible exchange of ideas and professional association with other experimental artists working in diverse post-modern genres while at the same time establishing her own reputation as an experimental dance artist.  These workshops occurred at a critical time in the development of new dance genre and were important both locally and nationally introducing diverse ideas of contemporary/post-modern dance. These workshops also facilitated the visiting artists’ need for exchange of ideas and professional association with other experimental artists along with the opportunity to perform.

Following is a list of the guest artists selected by Maida Withers for George Washington University Summer Dance Workshop Programs:
1967 – Norman Walker
1968 – Judith Dunn and Bill Dixon
1969 – Al Huang
1970 – Yvonne Rainer
1971 – Rudy Perez
1972 – Al Huang
1973 – Don Redlich
1974 – Elizabeth Keen
1975 – Kei Takei
1976 – Meredith Monk; Sara Rudner
1977 – Nancy Meehan
1978 – James Cunningham; AnnaBelle Gamson
1979 – Beverly Brown Dance Ensemble
1980 – Mel Wong
1981 – Pat Catterson; Mel Wong
1982 – Marta Renzi\

Marta Renzi was a guest artist (critic) for the public showing of Maida Withers film,  Dance Portraits on Screen -2021.

Marta Renzi was guest artist for the final Summer Dance Workshop, Maida Withers Faculty, offered by The George Washington University, 1982.

Marta Renzi, guest artist-in-residence- for the Summer Dance Workshop, 1982,  will present Cadenza Cartoon, Artichoke for Two, an intricately crafted duet, What Do You Do, Dear?, and an excerpt from For the Love of the Working with her company from New York City.  Ms. Renzi’s choreography is distinctively exuberant and athletic and is concerned with pure movement structures — what the choreographer calls “the eccentricity of an individual vision/language that is mutually agreed upon by those involved.”  Marta will be doing the performance in Washington, DC with five members of her company from NYC.  MARTA RENZI, since graduating from Hampshire College and arriving in New York in 1975, has performed with the companies of Douglas Dunn, Kei Takei and Twyla Tharp…all artists in the post-modern tradition.  Her experience includes teaching, performing, and choreographing, as well as video and theater.  She is a recipient of NEA Choreographic Fellowships in 1980 and 1981.  She was resident artist at the Eugene O’Neill Theater Center Choreographer’s Conference.  Deborah Jowitt enthused:  “In their performing — restrained, yet superbly full — there isn’t a trace of phoniness, nor is there in the choreography.  Emotional content is something the brightest of the new choreographers have been understandably reticent about dealing with several generations of corn hanging over their heads.  Someone should give this woman a purple heart.”