Project Description
The Beast was a residency and new work commissioning project by Donald Byrd/The Group, and was first conducted in Austin, Texas. Goals were to: Address the issue of domestic violence; inspire and engage members of the judicial, social service, and therapeutic communities to participate in the performance and other activities; and use discussions and nonperformance activities to educate the targeted communities about community violence, contemporary art, and theatrical techniques.

Through dramatisization of a single event of violence between husband and wife, The Beast explores more generally the idea that much of the violence present in today's society has its roots in the family. The piece uses the techniques of black vernacular dance, classical ballet, and modern dance to explore the issue. Following its premiere in Austin, The Beast toured throughout the country, forming partnerships in the various communities where it was presented.

Civic Engagement/Dialogue Activities
In 1994, Byrd and company members conducted community research on domestic violence in the form of conversation and focus groups three months before the performance. The company also conducted workshops utilizing dance, theater, and writing. Various related activities were developed by the company and their presenting partners as the show toured. Campus groups at the University of Washington, for example, incorporated the dance company's performances and workshops into their "Love Shouldn't Hurt" campaign. Students handed out bookmarks and flyers describing the warning signs of domestic violence; distributed notebook inserts with phone numbers of crisis lines, support groups, and resources on date rape and sexual assault.

After performing, company members talked with audiences. The Beast became a vehicle to stimulate discussion about what gives rise to violence between men and women, why some batter, why others allow themselves to become victims, and what domestic violence truly costs a society. At post-performance discussions, people sometimes attacked the dance piece; some questioned whether this was art or social commentary.

Some presenters had difficulty attracting audiences to the performance given the subject matter. Adequate audience preparation also was an issue. At one performance for children in grades three through twelve, the company discovered that materials they had provided to prepare the audience had not been used. Students were upset by the experience, and Byrd vowed he would not do such work again unless there were conditions and guarantees that audiences were prepared in advance for what they would see.

Information Sources
Tilghman, Romalyn. "Hitting Home." Inside Arts. Washington, D.C.: Association of Performing Arts Presenters. September 1996; interview, Donald Byrd.