Though this past year I have been concentrating on naturalism in theatre and site-specific theatre seemed an ideal project to continue this study. However, I was anxious to include some elements of dance into my work. Dance was a definite part of the Beltane and Hallowe'en celebrations held by Freya, but it was stylized and theatrical. I wanted to create a piece which incorporated elements of naturalism while focusing primarily on dance. The result was a silent, six minute work set in the Cocke graveyard on the north hill of the Hollins College campus.

The piece was to be performed at midnight during the full moon, when the light from the moon would be shining through the trees in a small circle at the front of the graveyard. The audience was to watch from outside the short brick wall as the character walked past them, through the gates of the graveyard and into a clearing in front of the graves. She then nervously removes her outer clothes (period Hollins style from approximately 1930), then barefoot and wearing a slip takes her long hair down and begins a dance of invocation. This dance utilizes several of the reoccurring poses I found in the Freya scrapbook and Hollins photographs. There is an arching and reaching upwards reminiscent of Isadora Duncan's work and an emphasis on the fluidity and shape of the female body.

There is a strong connection to the goddess Freya, as she is the power the character wishes to emulate and invoke. Themes of femininity are emphasized by body position and suggestions of the natural life on the Hollins campus. Her hair and the reoccurring swaying motions suggest the willows which are found all over this area and she is always watching and reaching for the moon which is directly above her. The dance is a ritualistic calling of corners and invitation to spirits as the character used her body to worship and communicate. The childish excitement and apprehension which characterized many of the Freya members' rituals comes through midway into the piece when the character becomes exhilarated and then frightened as she dances. There are frenzied and suspended moment when she seems to have lost control of the dance and finally she breaks the circle to gather her things and run back through the gates and down the hill.

This dance was my favorite of the proposed pieces and it was choreographed entirely on location during the full moon of October 1997. If the piece is performed at the correct time the moon projects her shadow onto the grass in the front clearing of the graveyard, leaving the two trees which frame the clearing and the rows of graves behind her in silver shadow. I choreographed the piece by watching my shadow's shape on the grass. The only audience was a small bat which flew between the two trees periodically while I rehearsed. The piece was meant to end the series and it was to be performed solemnly with only the wind and the sound of my feet at accompaniment. Unfortunately, by November 18th performing barefoot in a slip at midnight would not have been a comfortable or healthy option.