Past Works - Many works are located in other sections of the web page.
Maida on Maida in the Universe (2003) One-woman show created and performed by Maida Withers. Who hasn’t dreamed of traveling into outer space and experiencing the wonders of our universe? In Maida on Maida in the Universe, Maida Withers travels with us through her “universe” – her artistic history that includes more than 30 years of cutting-edge dance and performance art. She juxtaposes her life’s work and the latest theories of the origin and demise of the universe, using images from NASA’s Hubble Space Telescope. The intersections between art, science and technology and our place in the universe are explored in this interactive, one-woman multimedia performance. Withers uses an installation of screens to display a collection of images and video of her career and stream-of-consciousness thoughts typed during the performance, while also engaging in an ongoing dialogue with the audience. Maida on Maida in the Universe provides those unfamiliar with Withers with an introduction to her extensive body of work. Those already familiar with Withers’ work are treated to many images from past performances that provides a unique retrospective. For all involved, Maida on Maida in the Universe is an interactive performance that carries us beyond the boundaries of our planet and into our future in the universe.
Aurora/2001: Dance of the Auroras – Fire in the Sky (2001) (See Aurora 2001 in the left-hand column)
Evening length poetic journey through space where dancers manipulate and alter the cyber world environment by using the wireless mouse. Maida Withers, concept/choreographer/director; Øystein Sevåg Global House Band, composer/musicians (Norway); Tania Fraga, cyber world artist (Brazil); David Liban, filmmaker. Installation includes motion pictures from NASA, European Space Agency, Lockheed Martin, Trond Trondson, Auroral Imager, Robert Eather and SolarMAX IMAX, photographs of aurora artists including Jan Curtis and Dick Hutchinson. Premiere: The Northern Lights Festival, Tromsø, Norway.
Utah * Spirit Place * Spirit Planet * Tukuhnikivatz (1996) (For video see Media/Technology)
Evening length multimedia installation and performance based on ancient and contemporary earth consciousness. Commissioned by Lincoln Center for incoln Center Out of Doors, GREAT DANCE in the Bandshell. Maida Withers, concept/choreography/video; Brent Michael Davids, Native American/Mohican composer and music ensemble; Bruce Hucko, earth photography; Adam Peiperl, kaleidoscope photography; Verabel Cluff, Stefanie Altomare-Sese, video; Jennifer Kinloch, visual installation; Thomas Fiocci, set; Turker Ozdogan, masks; Kellie Owens, costume design; Spencer Brown, light design. Premiere: Lincoln Center Out-of-Doors GREAT DANCE in the BANDSHELL Series, Damrosch Park, NYC.
A River Runs Deep (2002)
Opening segment of Hekuras – Spirits of the Rainforest; Choreography by Maida Withers for five dancers (Brazil), real-time interactive cyber worlds by Tania Fraga (Brazil), and original music by Magda Pucci (Brazil). Residency and performance: Anhembi Morumbi University, São Paulo, Brazil.
Investigation of Late (2002)
Duet by dancers Maida Withers, choreographer (USA), and Lotta Lundgren (Sweden), with trombone and synthesized music by Cam Miller, composer. Premiere: Marvin Betts Theatre, Washington, DC.
Surveillance (2002)
Women's trio with projected real-time interactive images originating from the wireless video camera worn on the chest of one dancer. Maida Withers, concept/choreographer; Jim Levy, composer; Liza Pendergast, cellist.Dancers: Nicolette Routhier, Kerry, and . Premiere, It's New to Me series, Arlington, Virginia. Photos of Nicholette and Kerry include the visual designs of Adam Peiperl.
Pitfalls…nose to cement and other falling tales of people on the way down!(1998)
Dancers perform choreography involving falling and not falling to spontaneous stories about falling told by audience members. Dancers: Reggie Crump, Giselle Ruzany, Sarah Slifer, Maida Withers. Premiere: 31st Festival de Inverno, Ouro Preto, Brazil.
Nevertheless … Tenderness (1997)
Duet features the relationship of two women - Maida Withers and Sarah Slifer. Cello, Ana Ruth Bermudas (Cuba); Premiere: Aula Magna Theatre, Universidad Central de Venezuela, Caracas, Venezuela. The Dance Construction Company was the first American company to perform in this theatre.
Halda (a mound made of waste) (1997) (See http://www.maidadance.com/siteworks.html)
Evening length site performance inspired by the environment (pollution/mining) of the Silesia region in Poland, commissioned by Slaski Teatr Tanca. Maida Withers, concept and choreography; Grzegorz Jedrzejowski, composer; Eksperymentalne Studio Tanca, dancers from Krakow; The Fivenotten Group (visual artists) from the Academy of Fine Arts in Katowice. Premiere performances for 1997 International Dance Conference and Festival: Bytom, Poland, Plac Kosciuszki; Katowice, Plac Sejmu Slaskiego, and Krakow, Poland; Kazimierz, ul. Szeroka
Stone Ring / Stone Circle (1995)
Evening length multimedia collaboration: Choreography/performance, Maida Withers; Vocals, Marilia (Japan); Piano, Stephen Lockwood; Visual elements, Francois Perez (Australia); Poetry, Gozo Yoshimasu (Japan). Premiere: Beam Theatre, Tokyo, Japan. First performance was in Lisner Auditorium lunchtime concert featuring Sarah Slifer and Stacy Palatt, dancers.. In Japan Stone Ring was translated as Stone Circle.
Stirrings (1994)
Multimedia solo created for Kim Je Young (Korea); polarized light video, Adam Peiperl; saxophone, Kang Tae Hwan (Korea), Costume by Bill Pucilowsky.. Premiere: Munye Theatre, Seoul, Korea. Stirrings was later performed as a duet by Sarah Slifer and Giselle Ruzany with one dancer using upstage as front and the other using downstage as front.
One Too Many (1994)
Commissioned for Kuala Lumpur Dance Company. Premiere: Kuala Lumpur Dance Theatre, Kuala Lumpur, West Malaysia.
In Winds of Sand (1993)
Solo dance performance, video, and slide installation based on the Hero’s Journey by Joseph Campbell. Verabel Cluff, video, SandsS CycleS, and earth slides; Music: A.F. Caldeiro. Premiere: Marvin Theatre, Washington, DC.
Ancient Lands / Ancient Peoples (1992)
Ritual duet and solo; Maida Withers, choreography; James Byrne, video; Kang Tae Hwan; Photographic slides, Hucko; Premiere: Seoul, Korea.
Rolling Thunder (1992)
Performance in four parts: "The Messenger Eagle," "Spirit Figures," "Still Rush," and "Transformation." Created for United Nations' Earth Summit, Eco ’92. Music, SHAMAN; costumes, Tea Schiano; visual elements and design: Hilda Thorpe; Premiere: National Theatre, Brasilia, Brazil.
The Ax
(1992)
Maida Withers performs at Cabaret Re-Voltaire at The Washington Project for the Art's. "The Ax was done when I was deeply involved in the environmental/ecology issues. The plastic suit represents the risk put on our survival as we destroy our trees that clean our air that gives us life-sustaining oxygen. The choice is between my love of the shiny powerful and potentially destructive ax and my love of nature and my own life."
SkyCloud (1991)
Company performance including dancers Stacy Palatt, Vincent Cacialano, Dana Tai Soon Burgess, Lorena Cervantes, others
; Sculpture/Installation, Hilda Thorpe; Music, dancers voices and text; Premiere: Marvin Theatre, Washington, DC.
Earth Spirit Rising ( ) Choreography for a gorup continuing to explore issues related to ecology and the environment. Featuring Mark Thompson, Maida Withers, John Lancaster.
Ledge (l988)
Solos/Duets: Moving Earth/Dune, Mountain Birthing, Man Birthing, Soar, Crossings, Earth Spirit; Music, Michael Willis; light design, William DeMull. Premiere: Mexico City, Mexico. Rehearsal photos:
Obsession: America's Obsession with Sex (1987) (For video "Orbit" see VideoGallery)
Evening length commentary on sexual revolution starting with Elvis Presley. Music: Michael Willis and Nuvieux Music Ensemble; Premiere: Mexico Mex
Mexico.
State of the Art (1986)
Choreography examines conflict of artist in society. Choreograph, Maida Withers; music, Michael Willis; light design, William DeMull; Premiere: San Jose, Costa Rica. (Adapted for video, Arlington Public Access).
Laser Dance (1985) (For video see Media/Technology)
Departure, Quest, Domain, Rites, Skylight, Departure - Evening length performance inside installation of argon laser beams on stage and in the theatre with sound installation - microphones responsive to heat of laser beams. Choreographer, Maida Withers; laser sculptor, Rockne Krebs; Synclavier II Composer, Bob Boilen; Premiere: Lisner Auditorium, Washington, DC.
Laser Dance (1986)
Shortened version of Laser Dance performed without lasers and in plastic costumes.
Turf (l983)
Evening length feminist performance on women olympians. Olympic Films – 1936 and 1962. Choreography, Maida Withers; music: Rogelio Maxwell, cello and flute. Dancers: Dale Crittenberger, Maida Withers, others; Premiere: Marvin Theatre, Washington, DC.
Families Are Forever (1982)
Four-part suite - multimedia performance. Choreography, Maida Withers; music: Joe Clark; photo montage: Dennis Deloria; installation, Janet Saad Cook, sculptor. Dancers: John Bailey, Dale Crittenberger, Marc and Eric Withers, Maida Withers, others. Premiere: Marvin Theatre, Washington, DC
Stall. (1981)
Evening length performance, a dialogue with the rotating loudspeaker installation. Choreography, Maida Withers; animation and music, John Driscoll & Phil Edelstein; Premiere: Akademie der Kunst Festival, West Berlin, Germany. Dancers: Heather, Dale Crittenberger, Maida Withers.
Woman See (1981)
Evening length performance on the emergence of feminism. Music, Lloyd McNeil, wind instruments, and Terry Plumeri, acoustical bass; choreography/film/set/narration, Maida Withers. Premiere: Corcoran Gallery of Art, Washington, DC.
Catching Butterflies and Other Things That Move (1979)
A movement structure of interrupting and being interrupted. Choreography, Maida Withers; music, Steven Bates; costumes, John Bailey. Premiere: Marvin Theatre, Washington, DC.
Phase Tracing I (1978)
Performance inside mylar stips - an audio environment where dancers create sound with movements of the body that drop the projected ultrasound one octave into a level of audibility. Choreography, Maida Withers; ultrasound music and sculpture, Ron Kuivila. Premiere: Dance Project. Washington, DC
Phase Tracing II (1979)
Performance without mylar installation of mylar strips. Interesting choreography featured dancers manipulating one another and then using the actual physical movements as independent movements in the choreography. This work eventually developed into Catching Butterflies and Other Things that Move. Premiere: Marvin Center Theatre, Washington, DC. This type work was important in the development of structural influences on content of choreography.
An Evening of Poetry and Dance (1978) and (1979)
Absurd and outrageous social commentary event performed by dancers with controversial performance poet, Chasen Gaver; choreography, Maida Withers; sculptor, Edward LeBoe; architect, Terry Rosenheck; Premiere: Dance Project, DC.
Sunday Maneuvers (1977) (See http://www.maidadance.com/siteworiks.html)
Site-specific performance created for Theodore Roosevelt Island National Park. Choreography, Maida Withers; stilts, Brook Andrews; musicians performing in the mote, John Bailey. Premiere: Theodore Roosevelt Island National Park, Washington, DC.
Put on the Music...Let's Dance (1977)
Performance based on great film dance of 1930s and 1940s. Commissioned by City Dance. Choreography, Maida Withers and company; costumes, Beth Burkhardt. Premiere: Warner Theatre, Washington, DC.
For Verabel (1976)
Surreal duet – tribute to failed love. Choreography and set design, Maida Withers; music, John Driscoll. Premiere: Marvin Theatre, Washington, DC.
Time Dance (1976)
Group performance based on structure of pulse and accumulation. Choreography, Maida Withers and company; music for miniature objects, John Driscoll; costumes, John Bailey. Premiere: Hand Chapel, Washington, DC.
White Mansions (1975)
Site-specific performance constructed for Holy Rood Cemetery. Choreograph, Maida Withers and company. Premiere at dusk: Holy Rood Cemetery, Washington, DC.
Bog Works (1975)
Site-specific performance in an environment of homemade loudspeakers. Event; Maida Withers and dancers; construction and performance with loudspeakers and battery-operated light/set, John Driscoll. Premiere: Washington Project for the Arts, Washington, DC.
Yesterday's Garlands and Yesterday's Kisses (1974)
Evening length performance – nostalgia coupled with absurdity. Choreography, Maida Withers and company; music, John Driscoll; vocal improvisations, Dee Kohanna. Dancers: Brook Andrews, John Bailey, Liz Lerman, Joann Sellers, Betty Tittsworth, Maida Withers. Premiere: Marvin Theatre, Washington, DC
One-woman show created and performed by Maida Withers. Who hasn’t dreamed of traveling into outer space and experiencing the wonde
rs of our universe? In Maida on Maida in the Universe, Maida Withers travels with us through her “universe” – her artistic history that includes more than 30 years of cutting-edge dance and performance art. She juxtaposes her life’s work and the latest theories of the origin and demise of the universe, using images from NASA’s Hubble Space Telescope. The intersections between art, science and technology and our place in the universe are explored in this interactive, one-woman multimedia performance. Withers uses an installation of screens to display a collection of images and video of her career and stream-of-consciousness thoughts typed during the performance, while also engaging in an ongoing dialogue with the audience. Maida on Maida in the Universe provides those unfamiliar with Withers with an introduction to her extensive body of work. Those already familiar with Withers’ work are treated to many images from past performances that provides a unique retrospective. For all involved, Maida on Maida in the Universe is an interactive performance that carries us beyond the boundaries of our planet and into our future in the universe. 
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