In 1966, Professor Maida Withers initiated an intensive three-week summer dance workshop program at the George Washington University (GWU) featuring one or two guest artists-in-residence. Elizabeth Burtner, founder of the early dance program at the University, was supportive of the initiative.

This exciting new program was intended to attract fine dancers from throughout the United States to consider attending the University and to introduce new artists and ideas to dancers and audiences in Washington, DC, nationally, and internationally. When these workshops began there were only a handful of workshops similar to this in the United States. Based on the Withers artistic interest in experimental dance, guest artists of the avant garde became the feature of these workshops. George Washington University was recognized, in this way, for support of artists and art of the avant garde.

These workshops, beginning in 1996 and continuing through 1982, lasted three weeks during which time the guest artist(s) would teach dance technique and create a new work for participants. Withers played a variety of roles during the seventeen year period these workshops were offered. As Director, Withers selected the artists, developed a national promotional campaign, and supervised details such as catalog copy, housing for student and artists, grading, and other administrative details. Withers also taught dance technique and created dance works, as needed, for participants, based on enrollment and the specific guest artist selected.

At the conclusion of each workshop, the dances produced by all artists were presented to the public in the Dorothy Betts Marvin Theatre, Studio K Theatre, or in an environmental or architectural space for site-specific works. When possible, the teaching artists were also presented in concert, either solo or with their own company, in Dorothy Betts Marvin Theatre. Withers produced all concerts, arranging for promotion and production of all performances.

These workshops facilitated the University students need for exchange or ideas and professional association with other experimental artists. More important, these workshops occurred at a critical time in the in the development of experimental dance and were important both locally and nationally to the changing landscape of dance in America.

Summer workshops included the following guest artists:
Norman Walker (1967), Judith Dunn and Bill Dixon (1968), Al Huang (1969), Yvonne Rainer (1970), Rudy Perez (1971), Al Huang (1972), Don Redlich (1973), Elizabeth Keen (1974), Kei Takei (1975), Meredith Monk, Sara Rudner (1976), Nancy Meehan (1977), James Cunningham and AnnaBelle Gamson (1978), Beverly Brown Dance Ensemble (1979), Mel Wong (1980), Pat Catterson and Mel Wong (1981), Marta Renzi (1982).

Impact:
These workshops were important, not only to dance in Washington, DC, but advanced the visibility and provided exceptional support for the post modern dance movement nationally and globally.

Maida Withers
Artist and Activist