Words and Deeds

dancer on floor
Kim Vetter performs the opening of Words and Deeds.
©2002 Carol Peterson Photography

He preached to me from the Authorized Standard:
Words and deeds
And battles and transgressions
Sacrifices, adulteries,
Rebel queens and emperors
Treacheries in ancient empires
Hosts of angels and legions of demons . . .
from Words and Deeds, ©2003 Charles Gran

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Introduction, Press Conference (1:29)
My statement (1:22)
Cult is a Magic Word (2:14)
This is not an assault (2:09)
Authorized Standard (2:56)

See more photos of Words and Deeds from a 2003 performance.

i.

While there are varying accounts as to the charisma of Vernon Howell, a.k.a. David Koresh, there can be no doubt that his followers found his message both urgent and vital. The apocalyptic sermons of Koresh placed their hearers in the Revelation story and, indeed, wrote his congregation into its final chapters. Of course, identification is something true-believers of all stripes practice whether they be the Catholics of Northern Ireland or Clinton Democrats. There is nothing more powerful than self-mythologizing. Most of culture flows from a more palatable desire: meaning.

The Davidians were seekers. Just like Buddhists, just like Yogists, just like anyone who goes somewhere and does something to “find themselves.” Interestingly, what all these groups have in common is they are non-threatening. Unlike Wahhabis or other known terrorist affiliates we rail against today, they weren't planning on hurting anyone, except possibly themselves. They wanted to be left alone to do their own thing.

The struggle for power in the debate as to who the Davidians were and what their demise meant testifies to the inescapable political conflict that contextualized the events. Recent failings of the BATF; a new, besieged Attorney General; the beginnings of an epic conflict between an idealistic administration, its calculating political advisers, and a deeply divided legislature; all these political machinations contributed to a classic snowing of the American people. The endless layers to the official side of this story are more than a composer is equipped to unravel. Thusly, Words and Deeds contents itself with the human story and its costs.

At the core of this debate is the use of language. The language of sermon. The language of press conference. The language of journalism and propaganda (often uncomfortably similar). What certain words came to mean: cult, Patriot, Christian; and interpretations of written word: the Seven Seals, the Constitution, the Law; collectively are a palpable force with which all involved came to justify themselves and their actions.

cellist, with dancer in background
Cellist Rebecca Rosen performs with Kim Vetter in background.
©2002 Carol Peterson Photography

ii.

Words and Deeds puts these manipulations at its center. It begins with a press conference and ends with a kind of beat sermon. Within these moments, and between them, it testifies to the power of words and the actions they represent or conceal.

In many way, dance is an excellent vehicle for a consideration of the Waco events. One problem with the way America handles crises is that media requires endless commentary that does not allow for reflection. Dance is a meditative art form. It necessitate a certain pace as the limits of the body require. Because of it's connection with the body it also asks for a certain kind of methodology.

As it has always been associated with the healing arts dance is uniquely positioned to express our deepest emotions with its mute intensity. In this sense Words and Deeds works against that purpose and seems more like an open wound, the healing (hopefully) to come later.

As to abstraction, this work exists on a kind of middle ground. It requires that the dancer interact with the text, but isn't as literal as most opera. The text becomes iconic, and we have time to consider it's meaning. I won't be disingenuous: Words and Deeds attempts to guide the viewer. But what is interesting, is that in spite of this, people come a way with a variety of opinions. Either that attests to its catholicness or, more likely, that we really do want our ideas reinforced rather than challenged.

iii.

I want to thank Kim Vetter and Rebecca Rosen for their hard work. As this version of Words and Deeds is a solo dance piece, Kim had to embody that pain and suffering those involved must have felt. Rebecca's cello served as a kind of naked expression of loneliness and later intensity of fervor.

The cello part can be quite difficult. I composed it at the same time I was preparing the sound design. Rebecca provided a great deal help and was a happy participant in experiments with her instrument.

Kim and I talked and read quite a bit before I began composing this piece. She was very familiar with the story when she began preparing her choreography. I think the tone of it is excellent. You will too when you see it.

— Charles Gran
October 5, 2002 Los Angeles

More about Waco.

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