State of the Art

Expansion (80s and 90s), Films, Original Music, Political Topic, Stage Works

1986 – State of the Art examines the conflict of art and the artist in American society. The rapid development of arts management looms as a potential to independence and innovation by the artist.
Press Release: State of the Art is a seduction of the dance artists by the business of dance. The question, “Does Dance as Business pose a threat to Dance as Art?” State of the Art is a powerful dance-drama based on today’s artist’s struggle to survive the socio/economic demands of the 1980s. Maida devised a list of statements by leading dance artists and sometime managers and asked the audience to match the statement with the artists name. In 1986 perhaps the relationship of management and dance was more intense than today. Management continues to be a problem for the dance artist and is continually of concern to Withers when the focus shifts from questions related to art and becomes a commodity for the industry.

DC Composer – Michael Willis – driving musical score for twenty instruments realized on a synthesizer. (Music score available in MWDCCo file).

State of the Art Video (15:00) Award winning dance documentary. Maida Withers Choreographer; Linda Lewett, Editor

National award for Independent Cable Programming, Metro Arts Program, Fairfax, Virginia.

State of the Art gestures served as the basis for the evening-length performance Trans Action (2014) Sm StateKaren turns with arms openin (red) dress Karen Serio Sm StateGroup jumps, Annetta W center ? Susan Short Bensinger Annetta Wade (solo) Bem Watts Tom Truss ?

Susan Short Bensinger Ben Watts Tom Truss

Tom Truss Susan Short Bensinger Ben Watts

Annetta Wade, Soloist
.
Annetta Wade Karen Serio

Below:
Art Photos by Adam Peiperl enaging his polarized figures with dancers from State of the Art

Laser Dance: World Premiere, FCAC-TV

Expansion (80s and 90s), Experimental, Installation / Visual, Interactive Technology, Interdisciplinary Collaboration, Live Music, Original Music, Post Modernism, Stage Works, Technology and Dance

(1985) June 6 and 7
LISNER Auditorium / Washington, DC

Evening-length space odyssey:
Quest Domain Rites Dialogue Departure*

*Laser Dance (above) – shot on 16 mm film due to the low level light on stage required for laser beams Maida Withers Bob Boilen Rockne Krebs
Choreographer Composer Synclavier II Laser Artist
This historic space odyssey, choreographed by Maida Withers, takes place inside a ground-breaking visual installation, on stage and above the audience, of multi-colored argon laser beams created by world renowned, ground breaking laser artist, Rockne Krebs, with unique Synclavier II music by Bob Boilen.
Dance Construction Company Dancers, Brook Andrews, Eric Bobrow, Dale Crittenberger; Liliana Fortna, Larry Graves, Jean Ann Michie, Susan Short Bensinger, Stephanie Simmons, and Maida Withers
Lighting Director, William (Bill) DeMull
Costume Designer, Lilliane Fortna
Stilts, Brook Andrews and Rockne Krebs
Photographs, Rockne Krebs
Film and Video Director, Linda Lewett
Film and Video Producer, Fairfax Cable Access FCAC-TV, Dance Construction Company
Cameras, Matthew Dibble, Linda Lewett, DeWayne Coats, Edgar Cheetham
Editors, Linda Lewett, Paul Caffrey, Maida Withers
Presenter, District Curators, Inc.
Producer, Bill Warrell, District Curators Inc; Maida Withers Dance Construction Company“Laser beams, to be seen must be in darkness, or an environment like dry ice, others. This created challenges for the dancers in partnering choreography, using long wooden poles, other aerial moves.”

For this epochal work, laser beams originate from upstage center projected toward and shifting using 50 reflecting mirrors placed on the Lisner Auditorium walls. When the beams are interrupted (by the human body (walking on stilts or holding stilts), the visual grid (installation of beams) is altered on stage and above the audience in the house. The interrupted light beams also trigger sounds, part of the sound installation and score by Bob Bolen, which features the Synclavier II electronic instrument. This riveting score generously enhances the narrative in the stunning choreography by Maida Withers for the company of nine dancers.

“The space odyssey was one of several works that reveal my curiosity about man/woman on planet earth, but more about life in ‘the universe.’ Laser and Laser Dance, in the 1980s, was a myth of sorts, where dancers appear from somewhere and occupy the ‘installation,’ then exit. Laser was new at the time of Laser Dance. The FDA spent almost 6 hours the day of performance approving the laser installation. It was essential to ensure that no beams would impact the dancers’ eyes or the audience. As dancers, we covered our bodies with costumes and shoes, and we wore protective goggles. This was an extraordinary “mythic” existence.” Maida Withers

Performing in laser beams is a challenge. The beams need darkness or an atmosphere in the air that allows the laser beam to be seen, to be visible. This aspect created difficulties in taking photos but most difficult for video taping of the production. Rockne Krebs shot many of the photos with a large, historic, camera. FCAC collected as much usable footage as possible considering the light challenges of laser. Laser Drawing – Rockne Krebs

Dancers wore goggles in sections that included laser beams. The US Government agents were in the dress rehearsal all day before the opening to determine if the laser beams were safe for dancers but also for the viewing audience since the laser grid traveled into the audience and bounced off mirrors positioned to create an astonishing overhead display in the theater house. Dancers were on stilts in some segments so they could alter (with interaction) the laser-line configuration above the audience.

Stilts in intense blue. Stilts made it possible for dancers to block the high laser beams.

Brook Andrews, Larry Graves, Eric Bobrow, Dale Crittenberger, Maida Withers, Stephanie Simmons, Susan Short, Jeanne Ann Michie, Liliana FortnaMaida Withers in costumes designed by Liliana Fortna, dancer

Liliana Fortna and Eric Bobrow

For viewing choreography, without laser beams, visit the following: https://maidadance.com/works/laser-dance-quest-domain-dialogue/

The above photo was shot during a pre-concert public presentation in Lisner Auditorium with Rockne Krebs, Bob Boilen, and Maida Withers along with the cast of dancers who engaged in conversation and live performance abouts the creation of Laser Dance:

Laser Dance: Quest, Domain, Dialogue sections of choreography were performed without the laser installation:
*National Dance Week, Dancefest ’85, at Glen Echo Park, Sunday April 28, 1985. (Photos, only)
*Dorothy Betts Marvin Theatre, three performances in 1986 were followed by Virginia State sponsored tour.
https://maidadance.com/works/laser-dance-quest-domain-dialogue/
https://vimeo.com/92363777

notes: llAYOUT NOT WORKING..
Too much information appears on the MaidaDance directory WHEN LOOKING UP name of the dance… (What is NOTES? WHY DOES ALL THE WRITTEN INFORMTION COME UP FOR THIS WORK?)

Laser Dance – Suites of Light, Public Presentation

Event, Expansion (80s and 90s), Installation / Visual, Interdisciplinary Collaboration, Live Music, Original Music, Stage Works, Technology and Dance

(1985) Laser Dance “Suites of Light”

Laser Dance “Suites of Light,” Public Presentation:
Maida Withers, Rockne Krebs, Bob Boilen, and dancers engaged in a public presentation, on stage at Lisner Auditorium, discussing the creation process of the multidisciplinary Laser Dance project. The artists, with an audience of 300 people, explored how the multiple art forms (laser light beams, dance, and synclavier music) could combine to create a ground breaking space odyssey. How Laser Dance was developed with collaborators, Rockne Krebs, laser sculptor, Bob Boilen, Synclavier II composer, and Maida Withers, choreographer, and the Dance Construction Company. The public event, sponsored by GW Alumni Relations Office, was held in Lisner Auditorium in downtown Washington, DC five months before the premiere of Laser Dance (June 6, 1985). At this time, Laser Dance was called Suites of Light. See video rehearsal and performance/presentation on video. Due to the early date of this presentation, the project was not complete so the presentation is not in the order of what became the actual performance.

The final work, a four-part evening-length space odyssey (Part I: Departure; Part II: Quest; Part III, Domain; Part IV, Rites/Skylight/and Departure) of choreography that takes place inside a large-scale installation of argon laser beams created by Rockne Krebs and Sylclavier II music by Bob Boilen. Laser beams originating from upstage center and project toward 50 mirrors placed in Lisner Auditorium walls and on stage. When the beams are interrupted (human body or stilts) the visual grid of beams would be altered on stage and above the audience in the house. Sound installation by Bob Boilen with Synclavier II electronic instrument is a riveting score, generously enhancing the choreography by Maida Withers. Laser Dance, premiered June 6, 1985: https://vimeo.com/7714416/

“We imagined where the beams would be when doing the choreography, but in reality, we had to find the beams to interact with them during performance.” Maida Withers

“The space odyssey was one of several works that reveal my curiosity about man/woman on planet earth, but more life in ‘the universe.’ Laser Dance is a myth of sorts where dancers come from an unknown universe and occupy the ‘installation’ and, eventually, exit. The FDA spent almost 6 hourse the day of performance approving the laser installation. It was important to insure that no beams would impact (eyes) dancers or the audience. As dancers, we covered our bodies with costumes and shoes and we wore protective goggles. This was an extrordinary “mythic” existence.” Maida Withers

“Performing in laser beams is a challenge. The beams need darkness or an atmosphere in the air that allows the laser beam to be seen. This created difficulties in taking photos and video of the production.”

History of Laser Dance:
*(1971) Laser I (Duet) – First laser collaboration of Maida Withers with Rockne Krebs. Maida and Rockne were associates on the Board of Directors for Washington Project for the Arts, Washington, DC. The original dancers were Michael Killgore and Lynda Spikell. Later, Laser I was performed by Brook Andrews and Lynda Spikell. Music: Harrison; Laser Installation – Rockne Krebs; Premiere: Marvin Betts Marvin Theatre, Washington, DC

Early works -1966 to 1973

*The choreography, after the premiere of Laser Dance, was performed without the laser installation on two occasions (see Laser Dance – Quest, Domain – Dialogue in the archive).

Choreography: Maida Withers
Laser Sculptor: Rockne Krebs (deceased)
Stilts: Brook Andrews and Rockne Krebs
Synclavier II Composer: Bob Boilen
Producer: District Curators
Premiere: Lisner Auditorium, Washington, DC. June 6 & 7, 1985

Rockne Krebs, Maida Withers, Bob Boilen
3 collaborators portrait Maida Withers, Bob Boilen, Rockne Krebs Photo shot during public presentation.
Photo shot during public presentation.
Preview - Man stands with hands on hips in laser - slide Photo shot during public presenttion.

When Maida Moves, Interview, CBS-TV

Interviews, Work

1985 – “When Maida Moves....” Television (Capital Edition) special and interview, CBS Channel 9 – Studio 11, Washington, DC.

Choreographer/dancer, Maida Withers, is featured with members of Maida Withers Dance Construction Company, Brook Andrews, Dale Crittenberger, Susan Short Bensinger, Susan Jamieson, who perform excerpts of dances:

Put on the Music Let’s Dance
Dance Class by Maida Withers
Families Are Forever
Mr. and Mrs.Sally Ride (Smithsonian Air & Space Museum)
Scenes from Maida Withers Family Home

Time Dance (1984)

Expansion (80s and 90s), Experimental, Foundation Period (60s to 80s), Group Choreography, Improvisation, Live Music, Original Music, Post Modernism, Solo Choreography, Stage Works, Voice and Text, Work

1984 – Restaging choreography of 1976 version of Time Dance for performance in Dorothy Betts Marvin Theatre. The square was adapted to a very large diamond rather than the original square space at Mt. Vernon HandChaple….and many other changes occurred. John Driscoll created and performed Music for Miniature Objects and spoken text from Gertrude Stein’s “Geography and Plays – Sacred Emily” and Dick Higgins “FOEW+OMBWHNW – (Cowboy Plays)” for this version. It was very popular with the challenging audience that always supported MWDCCo.

The choreography was very clear and obviously evolving into various sections. Overall there was a sense of lightness and humor in the relationships of the dancers. The choreography would form and then disintegrate (see the video).

Original Definition: Group performance based on structure of pulse and accumulation. The pulse appeared in the movement or was heard as sound The pulse appeared in the movement or as sound throughout the entire continuous performance. The final section titled, 44’s, was physically and mentally a great challenge for all dancers. This section represented an accumulation of 8 count phrases contributed by each dancer accumlating to a total of 44. 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 was to create choreography dropping in and out while changing locations on stage and making intentional, not just accidental, relationship to dancers. At times, all dancers would stop but the specific counting would go on and all had to recognize at all times what was next in the choreography.

Brook Andrews, Maida Withers, Susan Jamieson
Brook Andrews

John Bailey

Choreography: Maida Withers and Company. Each Company member created a solo and group accompaniment occurred differently for each solo performed.

Costumes by John Bailey: Tie-dyed layers of costumes in shades of sky blue and water green. Each dancer had a leotard (tie-dyed) 2 or three shades; cotton shorts and a T-shirt, long cotton tie pants, or a skirt (tie-dyed in two or three pastel shades. Clothes were removed one piece at a time down during a section of the dance to the final section danced in tye-dyed leotards. This was playful but very specific choreography and relationships in the group.

Visual elements: In the opening segment there were light specials at each of the square corners and the circle of light was used as well. At the end, bizarre red lights were used for chaos.

Time Dance Premiere: Hand Chapel, Washington, DC. March 26, 27, 28, 1976

This video is the second performance in Dorothy Betts Marvin Theatre (1984)

The third performance was on the steps by the Lincoln Memorial looking down over the Potomac River during Rush Hour (see photos).

Mr. and Mrs. Sally Ride

Museums/Galleries, Work

1984 – Maida Withers and Brook Andrews performed the charming Mr. and Mrs. Sally Ride in the Smithsonian Air and Space Museum to a large audience of tourists under the spaceships in the entrance. Brook Andrews and Maida Withers were dressed in plastic suits and performed in a “floating” manner upside down and downside up, bumping with ease and suspended in falling and rolling. Music was by Teddy Klaus.

May 14, 1984 the Dance Construction Company was presented on a Smithsonian Salute To Washington Dance series by the Smithsonian Resident Association at the Natural History Museum Baird Auditorium. The program was an evening-length performance titled, Dances on Men and Women. The event was for the Company’s 10th anniversary celebration with a retrospective performance including excerpts from Yesterday’s Garlands and Yesterday’s Kisses (1976), Duet on Stools, Woman See (1980), Families Are Forever (1982), and Mr. and Mrs. Sally Ride.

Dances on Men and Women (Repertory)

Foundation Period (60s to 80s), Museums/Galleries, Stage Works, Work

1984 – Retrospective – selection of short duets and quartets created by Maida Withers for the Dance Construction Company, 1974-1984, presented by the Smithsonian Institution, Natural History Museum – overtones of feminist notions about WOMAN. Program in file.

Excerpts from dances included:
Yesterday’s Garlands and Yesterday’s Kisses, duet on stools; duet on gestures, 10 minutes.
Put on the Music Let’s Dance, Runway, 3 minutes; Dreamtime, 3 minutes;
Finale, 3 minutes
Woman See, Duet – Journey in Innocence, 5 to 6 minutes; Ties That Bind, 5 to 6 minutes.
Families Are Forever , quartet, 8 to 10 minutes
Mr. and Mrs. Sally Ride, duet 10 minutes

See technical information in files.

Wet and Wonderful in Washington DC (National Plaza)

Site Work, Work

1983 –Wet and Wonderful in Washington, DC (Western Plaza) – a dance, music, and water sculpture event conceived by Maida Withers constructed in collaboration with John Bailey, Rogelio Maxwell, MWDCCo and the dancers, and Susan Jamieson.

This site event was an environmental dance and water sculpture event at National Plaza (Western Plaza) at Pennsylvania Avenue and 13th Sts. NW, Washington, DC on Friday, June 24, 1983 at noon in conjunction with the Pennsylvania Avenue Development Corporation Summer Programs. The one-hour performance took place on the National Plaza and in the beautiful fountain in that location as well. Recorded and live music by Rogelio Maxwell.

Dance Construction Company members and other guest dancers, eleven total, rehearsed each morning, Monday thru Friday, for 15 days from 9 am to noon. Mornings helped survive the intense Sun and reflection from the cement. The final day was a designated public performance even though each day was a performance for the tourists and the workers watching from the buildings along Pennsylvania Avenue. National Theatre was under renovation and covered with sheets of plastic. We incorporated large sheets of plastic in our performance by creating primitive/futuristic animals for the event and ran with the sheets of plastic based each day on the direction of the wind at the Plaza. We were allowed to dance in the large black water fountain.

No video documentation was made.

Script for Event:
(1) Nine dancers run in large circle holding the plastic sidewards in the center of the plaza end to end. Find the direction of the wind;
2) Nine dancers run the plantar section;
3) 12 people do the plastic roll down Plaza/Run the plastic back to SR; 12 people roll the plastic down plaza (let go); groups lay the plastic down twice; groups lay the plastic down on top of each: Michael take it away; MRW take it away; Jesse take it away and all but MRW and John Bailey exit;
(4) Lifting duets (plastic people have walked dancers down to SR – MRW walk Susan down to SL;
(5) Walk all dancers under plastic to SR;
(6) Claps and runs and the Star and 1/2 of the running pattern again to get to SL (John does the hose in center of the star on plaza);
(7) Name calls; Squirt hoses (two men squirt each other);
(8) costume sculpture parade;
(9) Climbing pattern: Maida and John Sunbath on the plastic sheets. Vertical shots of water that fall down by two men- 3 each. Ends with running/fall through the water, on the lawn;
10) Wall of water if cue for dancers to do unison movement;
(11) All dancers walk in line to fountain;
(12) Fountain trio; squirters in the fountain;
(13) At the fall, all dancers perch on the edge of black fountain; Dancers follow Barbara Chan; MRW works the plastic; dancers to to center of fountain or wherever the large balloons are and cut them one at a time to release the small ones; look up at the balloons….THE END

Turf

Films, Installation / Visual, Stage Works, Work

1983 – Turf An Evening length feminist performance on women Olympians created in honor of the 1984 Olympics to be held in LA, California. Olympic Films from the German Olympics (1936) and the Olympics in Japan (1962) and the 1976 Olympics illustrated the changing behavior of emerging women athletes. The dancer as athlete is the essence of “Turf” – the raw physical movements of Olympian athletes, their gestures of nervous preparation and intense concentration, their passion and power as seen on Olympic films – 1936 Olympic footage from Nazi Germany and 1960 Olympic footage from Japan. Turf was part of my feminist works. This was about the changing view of women by both women and men. By 1960 there was a changing attitude toward female athletes. In 1936 the women were treated like their physical strength was being taken for sports against their need for strength to give birth to children. In 1936 the women were coddled. The independence of woman was so much clearer in 1960 and in the Olympics in 2014 women were allowed to compete in the high risk skiing events, finally.

Olympic films projected in performance: The Festival of the People (1936 Olympics); Tokyo Olympiad (1964 Olympics), The Swift, The Strong and the Beautiful (1976 Olympics); Film excerpts for performance projection:

Unfortunately the film was not recorded well during the performance or rehearsals due to the quality of the cameras and the intensity of the stage lighting. There is no rehearsal or performance that shows the amazing 16mm film footage of female athletes in the 1936 and 1960 Olympics. The sound score includes the text but the projector could not overcome the lighting on stage.

Choreography, Maida Withers; music: Rogelio Maxwell, cello. Dancers: John Bailey, Dale Crittenberger, Amy Dupree, Mark Lacatena, Susan Jamieson, Susan Short, Maida Withers, others; Premiere: Marvin Theatre, Washington, DC.

The work was kept in repertory and toured to Atlanta, Georgia, Philadelphia, Pennsylvania and Boston, Massachusetts in the earliest chain of performances established by funding from the NEA. Families Are Forever was also presented on the tour.

Turf was reconstructed a year later and some member of the first cast were replaced by other dancers. We regret any error in the names on the video.

Whose Shoes Are These Anyway

Stage Works

1982 – Solo performance by Maida Withers (8 minutes) based on dancer as athlete. This performance provided the basis of original materials on Olympian female athletes that was later developed for a group of dancers in the work titled, Turf. Music was by Mozart. Performance: Dorothy Betts Marvin Theatre, Washington, DC.

Families are Forever

Expansion (80s and 90s), Installation / Visual, Stage Works, Work

1981 – Families Are Forever is a four-part multimedia narrative presented at the Renwick Gallery of Art, Division of Performing Arts, Smithsonian Institution during the Memorial Day weekend May 28 and 29, 1981 or ?3 as a tribute to families remembered. Families are Forever is expressive of the unseen connections of families both backward and forward in time expressive of the subtle but powerful connections of families. The dynamic yet softly flowing movements combine with slides and narrative to explore the love and tensions that form family bonds.

Families Are Forever was also performed in GW’s Dorothy Betts Marvin Theatre June 16 and June 18, 1982 as part of the GW Summer Dance Workshop Performance Series. This version included an installation by Janet Saad Cook, music by Joe Clark, lighting design by Wm DeMull and costumes by the dancers.

Flyer text: “Families is a tightly woven dance expressive of the subtle but powerful connections of families. the dynamic yet softly flowing movements combine with slides and narrative to explore the love and tensions which form family bonds.” (Maida Withers)

Quote on the flyer: “Although Maida Withers’ new “Families Are Forever” is about ties that chafe as well as bind, it has a gentle reassuring tone…it is tightly constructed – it’s a dance that always knows where it is going.” Alexandra Tomalonis – Washington Post.

The original choreography, by Maida Withers, was created in 1982 on Maida Withers Dance Construction Company for stage presentation and adapted a year later for the performance at the Smithsonian’s Renwick Gallery, Grand Salon, on Memorial Day 1983.

Original Dancers: Frances Babb, John Bailey, Dale Crittenberger, Susan Jamieson, *Eric Withers, *Marc Withers, Maida Withers. Additional dancers for the second cast included Susan Bensinger, and Liliana Fortna

Music (flute and cello): Families Are Forever by Rogelio Maxwell.

1984 – Smithsonian Institution, American History Museum “Smithsonian Salutes Washington Dance”, Washington, DC: Rogelio Maxwell. Live cello and flute accompaniment to Maida Withers and the Dance Construction Company.

Marc and Eric Withers were 11 when they performed in this work.
Photographs for the flyer and press were by Dennis Deloria
Type design/layout concept for the flyer by Calvert.

Check tour: Dancers’ Collective Theater, Atlanta, GA; Temple University, Philadelphia, PA; Joy of Motion Dance Umbrella, Boston, MA.

Excerpt included on CBS TV Capital Edition Interview: http://maidadance.com/works/when-maida-moves-television-interview-cbs-washington-dc/
Reconstruction: Veiled Threat (2012): Dorothy Betts Marvin Theatre, Washington, DC https://vimeo.com/43991482
Part II – Original Cast: Veiled Threat: https://vimeo.com/35583218

Stall. (Stage Performance)

Expansion (80s and 90s), Experimental, Festival, Installation / Visual, Interactive Technology, Interdisciplinary Collaboration, Live Music, Museums/Galleries, New Synchronous Technological Platforms, Original Music, Post Modernism, Project, Residency, Site Work, Stage Works, Technology and Dance, Work

1981 – Stall. an evening length collaborative performance of dance, sound sculpture, and music choreographed by Maida Withers; a rotating loudspeaker installation by John Driscoll, composer/sculptor, Phil Edelstein, rotating loudspeaker animation, with dancers from Maida Withers Dance Construction Company. Charmed Particles, music, was the early name for what became Stall. The performance is a result of a dialogue between art and science, and presents an innovative work integrating art, music, dance, and electronic technology (rotating loudspeaker).

The rotating loudspeaker, designed by John Driscoll, suspended above the dancers at center stage, creates dynamic movement patterns which are sympathetic to the motion of the dancers. The dance was first created for one male and two female dancers and latter included an additional male and female dancer. The instrumental loudspeaker disperses sound into the space and takes advantage of the resonant and reflective characteristics of the performance space. Sound images, created by the interaction of the space and the rotating loudspeaker, combine with music for four peripheral speakers making an acoustical phenomena which could be described as a sonic architecture. The preferred space is an open architectural space where the audience surrounds the dance space and is located between the rotating loudspeaker and the peripheral sound field.

Choreography is built in a circular structure requiring extreme stamina since the choreography is built on a continuous running base. Stall. is danced by Francis Babbs, Dale Crittenberger, Wendell Lockhart, Heather Tuck, and Maida Withers.

The world premiere of Stall. was in Berlin, Germany in May 1981 at the Festival of Pantomine, Music, Dance, and Theater at the Akademie der Künste with support of the Director, Nele Herling, with Maida Withers Dance Construction Company, John Driscoll, and Phil Edelstein; the US premiere was at the Pension Building (now the National Building Museum) in Washington, D.C. in October 1981.

Stall. was in residence at the Akademie Der Kunste Festival in Berlin, Germany for three weeks prior to the public performance on Friday, May 22, 1981 a 22:30 pn…Ausstellungshalle. We discovered at the Akademie in Berlin another rotating loudspeaker that was a ball shape….perhaps the first ever created.

Stall. premiered in the USA at the Pension Building (National Register of Historic Places that now houses the National Building Museum) on October 20, 1981, for the 9th Street Crossings Festival. Washington Performing Arts Society produced the USA premiere at the Pension Building and sponsored a dinner for special guests and donors prior to the live performance event.

National Endowment for the Arts (Interdisciplinary Arts) supported the creation of the rotating loudspeaker. Unfortunately the loudspeaker was destroyed in New York City, by water flooding the storage place in Wall Street during the destructive Hurricane Sandy.

Choreography from Stall. was later presented June 16 – 18, 1982 in Dorothy Betts Marvin Theatre as part of the GW Summer Dance Workshop Performance using a neon sculpture on stage created by Margery Goldberg. For this performance there was no rotating loudspeaker set.

CREDITS: Stall. an evening length collaborative performance of dance, sound sculpture, and music (1981)
Maida Withers, choreography
John Driscoll, composer/sculptor, rotating loudspeaker installation concept and design
Phil Edelstein, rotating loudspeaker animation
Dance Construction Company dancers, Frances Babb, Dale Crittenberger, Heather Tuck, Maida Withers, Wendell Lockhart
Maida Withers, costumes
William (Bill) DeMull, light design
Michael Moser, videographer
Dennis Deloria, photographs

World Premiere: Festival of Pantomime, Music, Dance, and Theater; Akademie der Künste, Berlin, Germany, following a 3-week residency (May 22, 1981)
US premiere: Washington Performing Arts Society, 9^th Street Crossings Festival, Pension Building (National Building Museum, designated a National Historic Landmark), Washington, DC (October 20, 1981).

AUDIO LINKS (John Driscoll, Composer):
Akademie der Kunste Audio Link, Berlin: https://www.dropbox.com/scl/fo/khnc50m21zsxcbqz45185/AAuL9rDJm0COIHq8lKdJyJQ?rlkey=plugly6oufh6qvxv1eipof7re&dl=0

Pension Building (National Building Museum, currently), Washington, DC: https://www.dropbox.com/scl/fo/8sw130qmht23eoa3p1658/AHyv7xezNGIJhNoGDOTtY30?rlkey=qgsl2gdypdiijk4fpjy4ty8m7&dl=0

Note: The Pension Bldg recordings are of different dates. The recordings are in .wav format. I can convert them to another format if you need to.
Dance Company; John Driscoll and Phil Edelstein, Speaker/Sound
Perform - PB - Francis standing lean on MRW - slide72.
Frances Babbs, Maida Withers
Perform - PB - Dale C in front of MRW Arms Tilt - slide72
Dale Crittenberger, Maida Withers
Reh - Loudspeaker MRW-B Andrews hook leg72.
Rotating Loudspeaker above Brook Andrews and Maida Withers (rehearsal) Perform -PB - Trio lunge on backs with straight arm72
Frances Babbs, Maida Withres, Dale Crittenberger
Reh - JDriscoll on chair BAndrews-MRW close72.
John Driscoll, Maida Withers, Brook Andrews with the Rotating Loudspeaker (rehearsal)

Rotting Loudspeaker72
Rotating Loudspeaker, John Driscoll
Perform - PB - Francis lean on MRW knees sitting - slide72
Maida Withers, Frances Babbs
Perform - PB - Dale C and Francis S in ending lunge72
Dale Crittenberger, Frances Babbs

Dale Crittenberger, Frances Babbs
Dale Crittenberger, Maida Withers, Frances Babbs
Perform - PB - F Stahnke stands tilt on one leg72
Dale Crittenberger, Frances Babbs

Perform - PB - 3 lunge fwd in line arms down72.
Dale Crittenberger, Maida Withers, Frances Babbs
Perform - PB - Group kneel facing out72
Heather Tuck, Wendell Lockhart, Maida Withers, Dale Crittenberger, Frances Babbs

Elvi Moore, Marc, Maida, Eric Withers, Doug Wheeler _ Fundraiser, Washington Performing Arts Society, National Building Museum prior to the USA premiere

Woman See, Maida Withers Interview, PBS WETA-TV

Expansion (80s and 90s), Gender and Feminism, Interdisciplinary Collaboration, Interviews, Live Music, Original Music, Political Topic, Stage Works

1981 – an interview in Washington, DC on PBS, WETA-TV, regarding the making of Woman See – a feminist multimedia work in eight parts created by Maida Withers. This work followed five years involvement by Maida and other Mormon women who formed the organization Mormon’s fpr ERA in Arlington Virginia, Founders: Teddie Wood, Hazel Rigby, Sonia Johnson and Maida Withers. Mormon’s for ERA assisted nationally in the system established to pass the Equal Rights Amendment – State by State. Mormons for ERA joined with other religious groups. Sonia Johnson was excommunicated from the Mormon Church for her radical views. Maida was the first person to speak in her defense at the trial held in the Mormon Church in McLean, VA.

The PBS presentation includes two short duets from Woman See performed in the PBS TV studio located in Arlington, Virginia. Journey in Innocence by Frances Babb and Kim Curtis and Pitfalls and Pedestals by Heather Tuck and Dale Crittenberger were part of the interview process live,online, at the PBS Station.

In the interview, Maida talks about the intentions in the two sections performed, common relationships, traditional roles, of women and men, and general information about her work and views as a creative and performing artist with Maida Withers Dance Construction Company. Politics has always been of interest to Maida and the role of women as well. The TV program was taped in 1981 with Withers reading the instructions published by the US Government for the care of the U.S. Constitution (protected by cement containment, care to not expose to light, rotation annually for one page for public showing, etc.).

Kim Curtis (rear), Dale Crittenberger, Frances Babb, Heather Tuck

Woman See

Expansion (80s and 90s), Gender and Feminism, Live Music, Museums/Galleries, Original Music, Political Topic, Politics, Stage Works, Voice and Text, Work

Woman See – Premiere Performance

Woman See – Duet Part I Commencement (rehearsal; 04:36)

Interview: Woman See, PBS, WETA TV, DC (See separate page on maidadance.com)

WOMAN SEE – 1980 and 1981
A politically charged feminist performance in eight distinct parts with live music, narrative, and mixed media conceived and directed by Maida Withers. As with many of Maida’s works, serious issues with humor present. This work culminated a five-year period of Maida working, as one of four founding members of Mormon’s for ERA (MERA), together in Washington, DC / Virginia / Utah and with other religious women’s organizations to secure the passage of the Equal Rights Amendment by the US Congress. The Amendment was defeated then and now (2025) with insufficient states voting to add women to the existing constitution. Woman See is a strong, delightful, feminist view, a statement about the challenges of gaining equality for women in America. There are frequent and subtle references to the current practices of religious organizations, those resistant to the amendment. The LDS religion was one of many religious organizations fighting financially, involving men & women of faith to defeat the amendment. Many changes continue to open awareness of complexities related to “gender.” Maida continues her passion for freedom of life and freedom of expression.

Woman See – an evening length performance on the emergence / acknowledgement and awareness of feminism. Music by Lloyd McNeil, wind instruments, and Terry Plumeri, acoustical bass and Chris Beaven; Jean Walser Smith, standing on a box wearing a cowgirl outfit with boots and, of course, a white cowgirl hat, read the Smithsonian’s official US Government statement regarding the current protection (cement 6′ deep, no frequent public display to light, etc.) of the constitution; choreography/film/set/narration, Maida Withers with dancers. The show opened with a large weather ballon suspended high above the audience with film projection – a sensual close-up of Maida’s mouth and tongue. Maida performs a solo with sensual touching of parts of the body. She dances a duet tied by rope to a male partner. A male/female love duet involves continual return / placement of the female onto a 1950’s aqua colored refrigerator drawer. The male figured, turned into female, is carried majestically thru space covered with a large pink parachute and ultimately wearing a female mask – plastic face and hair. First Showing: Building K Studio Theater; Premiere: Corcoran Gallery of Art in the ATRIUM, Washington, DC .

Maida Withers, in full ecstasy!

Maida Withers performs humorous versions of body touching!

Dale Crittenberger – turned female with the plastic mask, floating under a pink parachute!

Dale Crittenberger, Heather Tuck, Frances Babb, Kim Curtis , working out relations!

Maida Withers and Jeff Strum share power!

Maida Withers pleasure and freedom with a touch of vulgarity and krass!

Maida Withers and Jeff Strum, male/female duet of tender control, a contest!

Choreography Sequence:
Part I: Commencement (film of mouth on weather balloon) and Journey to Innocence (Babb and Curtis);
Part II: Ties That Bind (Strum & Withers)
Part III: Deities and Other Secrets Kept (Company)
Part IV: He and We / Sacred Sisterhood (Company); Excerpt from “Ellis” a television script by Verabel Cluff; slides
Part V: Woman Waiting (film – bread making) (Tuck)
Part VI: Pitfalls and Pedestals (Crittenberger and Tuck); Excerpts from Public Information Sheet, National Archives)
Part VII: The Great HOld Up ( Withers Solo)
Part VIII: Recommencement (Babb, Strum, Tuck; Film

Projected Slides: snake in circle; woman in flower; mother with twins; man and woman; pregnant woman; woman in closet; folk on man; 2 woman kill man; reclining nude; Picasso nude ; others,

1984 rehearsal video: Dale Crittenberger and Frances Babb rehearse Part I:

Set Pieces; costumes:
Opening: a large flesh colored weather balloon hangs high above performance space with projection of close-up action of a film of withers mouth and tongue behaving vulgarly.
Duet: Aqua metal refrigerator drawer becomes a location for the “wife” to be placed as an object of worship and convenience of control as a “housewife”
Duet: Jean Walser stands on a white wooden box in a cowgirl outfit with white boots and a white cowgirl hat reading a document about the US government physical protection of the original documents of the Constitution.
Male Solo Figure: wearing a pink/yellow stripped parachute while riding on the shoulders of another male dancer, with women under the parachute; glides through the space; eventually turned female by forced wearing of a plastic mask with plastic hair.
Women wearing veils: nylon covering faces from forehead down

Sacred Sisterhood (play script by Verabel Call Cluff, partial document)
>I recently attended a friend’s funeral, over 80 years old. He was surrounded by 3 wives, and, of course many children.
>and they were both naked, the man and his wife and they were not ashamed
>even though the approval of the first wife was a requirement, sometimes first wives were thought to be “just stubborn”, and the authorities would override their objections
>some polygamists were much sought after
>I’ve seen you green-eyes with jealousy over Mary being with Milford and you being here
>Everyone here knows I’m a Mormon but I don’t talk about my involvement in polygamy. No one understands…I don’t know if I do
>God commanded Abraham and Sarah gave Hagaar to Abraham to wife. And why did she do it? Because this was the law; and from Hagar sprang many people. This, therefore, was fulfilling, among other things, the promises… a commandment that was necessary for celestial advancement
>You get along with Zina, don’t you?
>Yes…and Esther, Edward, Katie and Evelyn, but it has taken time. Now it’s Brother Pratt I find distasteful
>Wash your face, lass, it will make everything better
>The old geezer misses me now. Amazing, when he has four others to take my place
>Oh, Ellen. Your heart must feel lonely but perhaps grace will be given you to “grin and bear it” as the saying goes
>Mother has better courage to live in a hard place
>Mother has never seemed to feel at home since she left the Valley and she thinks she will never be satisfied till she gets back. She seems very silent of late.
>You’re a woman. You’re to follow my counsel. I forbid you to go.
>The children and I took the 5:20 am train
>One man who let his wives have a hand in mate-selection had an interesting technique. He would organize a sleighing party of young girls and afterwards would take them home for his wives to observe their mingled luster.
>His wives were selected with attention to heredity, education, and absence of defects
>He saw the faces of women he had not yet met and felt that he had to marry them all.
>Give my love to Kate and Margaret and kiss all of the babies for me
>at that moment, I compared my feelings of relief with the exerience one has when the first crack of dawn comes after a night of careful vigilance over a sick patient
>I’m glad for the Pratt money. We can each have our own place
>This year they will have plenty of grapes and some peaches….
(Source of document – Verabel Call Cluff, Author, original play on Ellis Shipp – Brigham Young sent Ellis Shipp to medical school to help with childbirth in the early mormon society. *Mormon Medical Doctor Ellis Shipp)

Maida, woman of “the west.”

Wesleyan University – Music and Dance Residency

Classes, Electronic site work, Expansion (80s and 90s), Residency, Site Work

Maida Withers and John Driscoll were guest artists for a music and dance residency at Wesleyan University, June 10 to June ?, 1980. Students and the guest artists created work at various site locations on campus. Students and guest artists performed in various indoor and outdoor locations.

(See MWDCCO EVENTS for further information and more photos).

John Driscoll and Maida Withers and Wesleyan students

Wesleyan University Students Creating Site Project