FARE WELL PROJECT ( Photos/Description)
DANCE / NEW MUSIC / TEXT / NEW MEDIA INSTALLATION
Maida Withers, Concept, Director, Dancer, Filmmaker
Fare Well is a project by the Dance Construction Company that brings insight and vibrant critique to the contemporary issue of end time through dance, electronic music, text, and visual installation. End time may be viewed as the conclusion of creation myths.
Fare Well is as extreme in its moods and absurdities as we might think of "extreme weather." We watch hypnotized, immobilized, arrogant, innocent, and powerful - as the fires rage, volcanoes erupt, the Arctic melts, the earth becomes parched, and the seas rise. Fare Well - The End of the World As We Know It OR Dancing Your Way to Paradise is a solo dance performance by pioneering choreographer, Maida Withers - known locally and internationally for her innovative choreography and her intensity as a dancer. In Ballet-Dance Magazine, Carmel Morgan writes, "Fare Well is a modern Greek-style tragedy, delivered by a warrior goddess." (September 2008)
Maida and the collaborators have explored the idea of end time through choreographic residencies and performances nationally and internationally Five projects have been developed in New York City (Uncertain World), Nairobi, Kenya through the Cultural Envoy program with U.S. Department of State, U.S. Embassy in Nairobi, and the GoDown Arts Centre (Parched Earth - Remembrances from Tomorrow), Salt Lake City for the Utah Arts Festival (Fare Well & Hell-O), Rio de Janeiro, Brazil (Tipping Point), Puebla/Cholula, Mexico for Preformatica, and Kanab, Utah for the Amazing EarthFEST (Fare Well - The End of the World As We Know It OR Dancing Your Way to Paradise!). Following performances, audience members are invited to discuss views about the end of the world as we know it to bring cultural insight to the issue of end time.
Maida has created over 100 works for stage, site, and video. She has been called the “iconoclast of Washington dance.” Maida received the 2005 Washington, DC. Mayor’s Arts Award for Excellence in an Artistic Discipline and the prestigious 2006 DC Metro Dance Award for Outstanding Performance in a Large Venue (1500 seat theatre). Maida and the Company tour extensively internationally, over seventeen tours worldwide, including Russia, France, Poland, Brazil, Mexico, Costa Rica, Venezuela, Finland, Norway, China, Hong Kong, Korea, others. For more information, please visit other locations at this web site .
A captivating art video (visual poems) created by Ayodamola Okunseinde, multimedia and electronic artist, and Maida Withers is manipulated by Ayo in "real time" as it is projected onto the backdrop and onto the floor creating a spectacular immersive environment for the performer. The visual installation features animation, still, and moving images of extreme nature (ice bergs, firestorms, draught, tsunamis, volcanos), animals, faces, habitats, and other symbols of life on earth. This text will include poetry (poet TBA) and words and statements from science and other sources from newspapers and journals.
Original music is composed and performed by Steve Hilmy, electronic musician/composer, with his real-time interactive electronics, his experimentalism and post-apocalyptic noisemaking. Hilmy participated in the Cultural Envoy program in Nairobi, Kenya. Text and song is included as fragments of stories told by the Maida.
Haiku poems and other original writings by David McAleavey are spoken by Maida and projected as part of the visual poems and transformed into the music. In Salt Lake City, Alex Caldiero presented scrolling texts and performed sound-text pieces touching on notions about the utoopian dream, apocalyptic thinking, current scientific views ranging from denial to doomsday predictions about end time, and the next step from here on and out.
Maida Withers (Click here)
Steve Hilmy received his Bachelor of Arts, 1984, from The George Washington University, and his Master’s of Music in Composition, 1991, from The Peabody Conservatory of Music of The John Hopkins University. Hilmy was born in Aberdeen, Scotland. He studied composition with William Albright at the University of Michigan and with Jean Eichelberger Ivey and Chen Yi at the Peabody Conservatory. Hilmy has been on the faculty of The George Washington University Music Department since 1992, where he is Director of the Electronic and Computer Music Studio. He has won awards from such organizations as the Southeastern Composers League, ASCAP, BMI, the Peabody Conservatory, and The Virginia Center for Creative Arts, including First Prize in the Philip Slates Memorial Composition Contest for "Icarus Falling" (piano and electronics, 1989); the Gustav Klemm Prize for Composition from the Peabody Conservatory in 1991; and 2nd place prize in the Prix d’été II composition competition at the Peabody Conservatory for “Us” (tenor saxophone and electronics, 1999). Hilmy has worked with Maida Withers Dance Construction Company for several years, improvising in events and creating music for Thresholds Crossed and other choreography, touring with the Company in Russia and other countries.
Ayodamola Okunseinde – Multimedia / Electronic Artist. Born in Montclair New Jersey, Ayo spent his formative years living in Nigeria, Oman and Holland. He studied at Rutgers University Mason Gross School of Art and New York Film Academy, La Femis Film Program, Paris, France. Ayo's extensive travels (33 countries) have influenced his work and artistic direction. As creative director and visual artist working in the multimedia field, Ayo has worked with notable artists like Donald Odita and Ike Ude. He has made significant contributions to the Washington D.C. arts scene through his projects "Smacktv: a contemporary arts show", "SCENE" and "Variance". Collaborating with local artists, Ayo has helped to foster interdisciplinary arts projects including "Arabesque Rising," "New Music Compositions," and the "Fresh Produce Film Festival." Heavily influenced by mass media and popular culture, he weaves these elements into his works. His skill and experience places him at a junction that allows him to speak of the vibrancy and interconnectivity of the arts and contemporary society. He speaks Yoruba, French, Japanese and aims to add Mandarin as an additional language. Okunseinde owns and operates Dissident Display Studios and Gallery on H St NE, Washington, DC (USA) For information: http://www.dissidentdisplay.com; www.smacktv.com.
David McAleavey - Poet. Ph.D. in English, Cornell University, 1975; MFA in Creative Writing (Poetry), Cornell University, 1972. In poetry I'm about as focused on formal attentiveness and innovation as I am on discerning truth, thrilled when the sine-waves of these interests overlap and amplify into an audible freshness. As a scholar and poet alert to the European and American avant-garde movements of the 19th and 20th centuries, and having Language Writing to work with and against as I matured, I find it natural to expect links between the arts, and feel it important to attend to the ways various artists influence one another. I have a growing interest in the relationship between American literature and other English-language national literatures, including the work of those with multiple or complex linguistic, ethnic, racial, and national identities.
Alex Caldiero - Performance artist and poet. As a poet, polyartist, sonosopher, and scholar of humanities and intermedia, Caldiero makes things that sometimes appear as language or pictures or music, and then again as the shape of your own mind. Sicilian-born, New York-reared Caldiero has created distinguished sound poetry and performance, as well as visual art, most of it as elaborate expositions of spiritual themes that draw upon his European (Mediterranean) background. ‘The sacred and the secular have been at the very core of my formative years,’ he writes. ‘For me this twin presence is a pivot between sideshow and temple, between entertainer or jester and priest. In the process of making and presenting a work, this precarious position is the opening by which I can hope to glimpse the Real’….[His} Or, Book o’ Lights ranks among the most imaginative and ambitious visual-verbal books of the 1990s.” (From “Dictionary of the Avant-Gardes by Richard Kostelanetz). He is on the Philosophy/Humanities faculty at Utah Valley University where he is Poet/Artist in Residence. Caldiero is the author of numerous publications, visual works, CDs, and videos, including Body/Dreams/Organs (Elik Press), Various Atmospheres: poems and drawings (Signature Books); Sphota Probe (CD), Ah Bh Gh (artist book), U Latti Di La Matri/ The Milk of the Mother (bi-lingual Sicilian poems, CSSSS, Catania), Said Z (artist book), From Stone to Star (Incurve Press), Or: Book O= Lights (artist book), Pieces in Places (CD),Toy Blood (limited ed. self-published), Words: Exterior/Interior (video, produced by Steve Olpin), Illegible Tattoos (artist book), and recently SOUND WEAVE, word-music CD w/ Theta Naught. Caldiero is anthologized in Text-Sound Texts (Richard Kostelanetz, ed., Morrow, NY), and featured in the Dictionary of the Avant-Gardes (Routledge, London/NY) and Utah: State of the Arts (Trudy McMurrin, ed., Meridian International, Ogden, UT).
Steve Hilmy Maida Withers Ayo Okunseinde
Photos below: Fare Well Performance at Washington, DC Capital Fringe, July 2008
Photo of Jadee Mitchell; Photo by Steven Foster (c) 2008
Maida Withers Dance Construction Company
800 Twenty-first Street NW
Washington, DC 20052
Mailing Address: 2937 North 26th Street, Arlington, VA 22207
Tel: 703-300-4634 (cell); Fax: 202-994-9403; Email: firstname.lastname@example.org
This is a general Technical Rider. Please understand that the specific needs for Fare Well will most likely be less than what is included here. If any of our requests are problematic, please don't hesitate to contact us to make needed changes.
A signed copy of this rider must be returned with the contract. The Presenter and resident Technical Director must sign at the end, acknowledging these requirements and confirming that these requirements will be met. Any changes or deviations in these technical requirements must be approved in writing.
The standard requirements are a 6 to12-hour day before the day of show, and then 12 hour day of
The day before the first performance
9am-1pm Load-in - 4 carp, 4 elec
2pm-6pm Continue Load-in/begin focus - 4 elec, 1 sound
Day of the performance
9am-1pm Write Light Cues - SHOW CREW - 1 Light Designer; 1 Master Electrician, 2 Stagehands, 1 Sound Specialist
2pm-6pm Dress Rehearsal - SHOW CREW
7:00pm Show Call/Preset SHOW CREW
9:00 pm Show
10:00 pm Strike
Preferred: 40' wide wing to wing by 30' deep plaster line to scrim
Minimum: 30' wide wing to wing by 20' deep plaster line to scrim
Wings: Desired: Three or four wings between plaster line and the upstage scrim;
Minimum: Can be performed in a space with no drapes if necessary.
Specific for Fare Well: Wood floor.
Preferred: white marley floor is preferred. Should a white floor or partial white floor be available we would project images on the floor as well as the backdrop. This would require a second projector as well, of course.
Floor can be wood, if necessary, but not cement,
The following soft goods should be hung, in order downstage to upstage:
Required: Seamless white cyc/scrim - full stage (width and height), side stretched and with a bottom pipe, to receive projection upstage
Desirable: Legs, borders, and teasers- to completely mask all electrics, wings, fly loft, and backstage
Musician performing live with computer and four other electronic instruments.
Musician is located in the front of the house where the performer on stage is clearly visible.
Musician requires a table (4 x 6') for 5 electronic pieces of equipment and chair.
Cable required from performing position to speaker system.
Presenter shall provide a qualified sound engineer who knows the venue and system.
The sound system shall not take up any stage space, nor impinge on the performance area
Presenter shall provide a professional stereo sound system that is capable of being heard throughout the entire audience at 90dB concert levels, which includes:
Mixing console with a minimum of 6 inputs and 4 outputs (stereo sound)
4 onstage high powered monitors located stage right and stage left in wings one and three
Separate control of onstage monitors and house speakers
System must be in place and fully operational by Company's arrival
2 floor mics placed at the front of the stage to capture performers voice/text during the performance.
A good mic, with switch, should be available at the tech table for rehearsal purposes.
New media artist performing live with computer and one other electronic instrument
New media artist requires access to electrical power.
New media artist is located in house next to the stage where the performer on stage is clearly visible
New Media artist requires a table (4 x 4') for 2 electronic pieces of equipment and chair.
Cable required from performing position to projection system
NOTE: If the stage floor is available in white, two projectors would be required and cables to both projectors.
Projector(s): Sufficient lumens to project the full width and height of the white cyc/scrim backdrop.
Front Projection is acceptable for backdrop. Performers shadow is part of the performance.
High diagonal projector for second projector if white floor is available.
Lighting for FareWell is
Company shall provide Presenter with sequence of lighting needs based on choreography.
NOTE: The lighting is adapted to the changing color in the projection (see sections of the choreography)
Lighting for Fare Well is quite minimal, with the most important lighting coming from side lighting from downstage to upstage (3 to 4 poles each side) with overhead 12 area lights on stage in red, blue, and no color .(Boom Stands, 8 - 10/15 foot boom stands or hanging system, in each of four side wings (stage right/stage left) with three to four light instruments per tree with independent control of each tree and each light instrument, if possible)
Fare Well Area Specials:
CS tight special (6' diameter)
CS diffused special (8' diameter)
DSR to USL diagonal throw
DSL to USR diagonal throw
Light plot shall be hung, circuited, gelled and troubleshot prior to Company's arrival.
If possible, light cues shall be entered into the board prior to Company's arrival.
A tech table with an additional lighting monitor should be placed in the house for rehearsal purposes
2 rolls of black and 1 roll of white gaffers tape should be available for taping of cables
This scenario is for very large theatres, only.
One control board with approximately 256 dimmers
Approximately 185 focusable lighting units, as follows:
48 - Source 4 36° or 6x9 ERS
48 - Source 4 26° or 6x12 ERS
48 - Source 4 19° or 6x16 ERS
34 - Source 4 Par-nels or 8" Fresnels, 1000w, with barn doors if necessary
4 - Par 64 MFL, 1000w
8 - 10' boom stands with 50lb bases
40 - 18" sidearms
A computer lighting console with at least 120 channels (ETC Expression, Obsession, LP 90, etc.)
Gel color to be provided by Presenter
Electrics trim at 25-27'
1 Control board (memory only)
256Dimmers @ 2.4kw or higher
# 50 degree Ellipsoidal (Profile)
# 36 degree Ellipsoidal (Profile)
# 26 degree Ellipsoidal (Profile)
#19 degree Ellipsoidal (Profile)
ETC Parnels (or 1K 6" fresnels)
8 15 foot (4.5m) high booms (towers)
2 6-foot (2m) high booms (towers)
6 Pin spots (acl) (Are these the area specials?)
All color Media as specified on company plans
Cable as necessary for Company plot, appropriate color frames, hardware, etc.
Equivalent lighting equipment may be substituted for this inventory This will depend on size and height of theater.
No flown scenery
2 props tables (3' x 6' each) are required, one stage left and one stage right, each equipped with a gelled running light for use by dancer's towel, water, script, microphone (if not on a stand)
The projection is continuous for each section of the dance with blackouts in between. All projection comes from new media artist laptop computer.
Wardrobe facilities shall include:
Garment steamer, if available, or iron
One wardrobe rack in each dressing room
Presenter agrees that no local labor be used to restore the house at the end of the last performance until Company's strike and load out is complete
PERSONNEL / CREW
Presenter shall provide the following 7 experienced personnel or an appropriate team for the specific theatre.
One Technical Director for load in through strike
One Master Electrician for load in through strike
One House Sound Technician for load in through strike
Two to four stage hands
All crew should have show blacks and flashlights. Electricians should also have gloves and a wrench on a lanyard.
Please note that all crew for the rehearsals must also be present for the performance(s).
The presenter shall provide either a rehearsal hall with proper flooring or time on stage.
Dressing rooms should accommodate a total of 3 performers (one room for woman; one room for men)
Full length mirrors
Shower facilities, if available
Hot and cold running water
Dressing rooms should be reserved exclusively for the performers and must be able to lock.
Presenter shall provide a room near the stage for the Company personnel to use as an office: New Media artist and Electronic Composer This office should have a telephone with access to an outside analog line or wireless system.
FRONT OF HOUSE
Presenter should consult with the PSM on site to establish a late seating policy prior to house opening.
A Green Room should be available for Company to greet guests after the performance. Guests shall not be allowed in the dressing rooms.
The Presenter shall provide or assist artists how to secure these items in advance:
Bottled water sufficient for the run of the show: 6 bottles each for rehearsal/performance
Fresh fruit and vegetables
Crackers and cheese
Soda, iced tea, and juice
Ice and ziplock bags for injuries
Performance dressing, and rehearsal areas should be kept between 74-78º F at all times
Secure storage shall be provided for Company's cases, supplies, costumes, and other property
throughout the residency.
There shall be no access to the backstage or dressing room areas throughout the Company's residency by any person who is not directly related to the production.
The Company shall not be responsible for any costs required by unions or other agents, whether
operating or supervisory.
The Company shall not be responsible for rental of any required production equipment.
If television, radio, film, or other activities should cause a delay in technical preparation for the show, the Presenter shall be responsible for the time, personnel, and costs required to complete the technical preparation.
The Presenter agrees to obtain and pay for any and all local work permits, union fees, taxes, and other local licenses that may be required for the Company to carry out performances and residency
The Presenter shall provide for adequate insurance coverage, including insurance against losses due to fire or theft, and personal liability insurance covering the activities of the residency.
The Presenter agrees to indemnify and hold the Company harmless from all claims arising in any
manner in connection with the performance(s) or other residency activities, except to the extent that such a claim may be occasioned by the negligent act(s) of the Company.
These Basic Requirements constitute a portion of the contractual arrangement between both the company and the presenter. Please indicate your acceptance of the Basic Technical Requirements.
Presenter: _____________________Date __________ Tel: _______________ Email: ______________
Local TD: _____________________ Date: _________ Tel: _______________ Email: ______________
DCCo Exec Dir.: Maida R. Withers Date: Feb 2011 Tel: 703-300-4634 (cell) Skype: maida.withers