Molissa Fenley
Molissa Fenley is an American choreographer, performer and teacher of contemporary dance.
Early life and education
Molissa Fenley was born in Las Vegas, Nevada on November 15, 1954. She is the youngest of three children born to Eileen Allison Walker and John Morris Fenley. At the age of six months Fenley and her family moved to Ithaca, NY where her father was a professor of the Agricultural Extension at Cornell University. At the age of six, her family moved to Ibadan, Nigeria where her father worked for the US State Department's USAID program. Fenley attended high school in Spain, and in 1971, at 16, returned to the US to enter Mills College from which she received her BA in Dance in 1975. Immediately after graduating from Mills, Fenley moved to New York City to begin her career as a choreographer and dancer.
Career
Early years
Upon arriving in New York City in 1975, Fenley trained with Merce Cunningham, Viola Farber and studied at the Erick Hawkins School. During her first years in New York Fenley danced for several choreographers including Carol Conway and Andy de Groat. She began creating her own work and formed Molissa Fenley and Company in 1977. After a tour of European festivals in 1980 her work began to receive more critical attention in the United States and abroad.
Her early career was focused on presenting ensemble work. In addition to more traditional dance classes, Fenley and her dancers did workouts that included running, calisthenics and weight training. Fenley has maintained this aesthetic of athletic virtuosity throughout her career.
Solo work
In 1987 she disbanded her ensemble and made a shift to performing solo works, often in collaboration with visual artists including Roy Fowler, Keith Haring, Jene Hightstein, Richard Long, Kiki Smith, Keith Sonnier, Merrill Wagner and composers such as John Bischoff, Alvin Curran, Anthony Davis, Philip Glass, Laurie Anderson, Pauline Oliveros, Ryuichi Sakamoto, Jamaaladeen Tacuma, and Laetitia Sonami . It was during this period that she created her work, State of Darkness, which was commissioned by the [American Dance Festival in Durham, N.C. Set to Igor Stravinsky's Le Sacre du Printemps, this 35 minute solo received critical acclaim for both its physical rigor, innovative use of Stravinsky's score and intense sense of ritual drama. Fenley reconstructed State of Darkness in 1999 at the request of New York City Ballet principal dancer Peter Boal, and again in 2007 for Boal's performance at Pacific Northwest Ballet. State of Darkness received a Bessie Award for both Fenley's original performance in 1989 and for Boal's reconstruction in 1999. The solo work was performed on successive evenings by seven dancers for the Joyce Theater Productions' revival in 2021.
Current work
After a decade of solo work, Fenley began creating ensemble pieces performed by herself and her company. She continues to create and perform in the United States and abroad. Fenley has maintained a long-time collaboration with composer Philip Glass and continues to collaborate with visual artists, composers and writers.. Recent works include De La Lumière, Entre Les Lampes, with music by Philip Glass, Current Pieces 1-3 with pianist Min Kwon; The Cut-Outs,, with poet Bob Holman; Rue Surf with painter Roy Fowler and poet Bob Holman; Redwood Park, Part 1 with music by Joan Jeanrenaud; BEAMS, with music by Alvin Curran; Found Object with Erin Gee, John Guare, Joy Harjo, and Rudy Wurlitzer; Vessel Stories, music by Philip Glass and Credo in Us set to the John Cage piece of the same name.
Her works have been presented in the United States, Canada, Brazil, Venezuela, Colombia, South America, Europe, Australia, India, Indonesia, Japan, Korea, Singapore, Taiwan, Hong Kong and Mexico .
Her work has been commissioned by The American Dance Festival, the Bill T. Jones/Arnie Zane Dance Company, the Dia Art Foundation, Seattle Dance Project, Marymount Manhattan College, Deutsche Opera Ballet of Berlin, Robert Moses' Kin, The Foundation for Contemporary Performance Arts, the William Hale Harkness Foundation, The New National Theater, Tokyo, The Ohio Ballet, Australian Dance Theater, The Brooklyn Academy of Music, Barnard/Columbia, Repertory Dance Theater, Oakland Ballet, Jacob's Pillow Dance Festival, Pacific Northwest Ballet, The Oakland Ballet, National Institute of Seoul and New York Live Arts. In 2015 Seagull Press/University of Chicago published Rhythm Field: The Dance of Molissa Fenley about her life and work. Other recent works in include: Archeology in Reverse with artist Catherine Wagner and Artifact in 2018, Untitled and Some phrases I'm hoping Andy would like in 2019, and The Cut Outs in 2020 with longtime collaborator and poet Bob Holman. In 2020, Fenley revisited her 1988 work State of Darkness, setting the solo on Jared Brown, Lloyd Knight, Sara Mearns, Shamel Pitts, Annique Roberts, Cassandra Trenary and Michael Trusnovec. The work was live-streamed in 2020 and . Dancers Annique Roberts and Michael Trusnovec performed the work in 2022 at the American Dance Festival.
Recognition and professional affiliations
Fenley's contribution to her field has been recognized with awards in the United States and internationally. She is an eleven-time recipient of the National Endowment for the Arts Choreography Fellowship. Fenley received a Bessie Award for Choreography in 1985 for her work Cenotaph and again in 1988 for State of Darkness. Fenley received a 2000 Foundation for Contemporary Arts Grants to Artists Award, The Greenwich Collection, LIATIS, the Asian Cultural Council and the Cadbury Trust. She is a Guggenheim Fellow, a Fellow of the American Academy in Rome and recipient of the American Masterpieces Initiative from the National Endowment of the Arts.
Fenley is a member of many professional arts organizations such as the Atlantic Center for the Arts, American Dance Guild, Asian Cultural Council, CHIME Mentorship program, Dance USA, International Dance Council and New York Live Arts. She is the Executive Director of the Momenta Foundation which she founded in 1986.
Mills College and Higher Education Teaching
In addition to being one of Mills College's most esteemed alumna, Fenley worked as a professor in Mills College Dance Department faculty from 1999 to 2020. She began as a Distinguished Visiting Professor in 1999 and became an Associate Professor of Dance in 2006 and Full Professor in Fenley taught courses in technique. She was made Full Professor in 2013. Fenley taught courses in technique, choreography and oversaw MFA candidates' thesis projects. Additionally, Fenley often set work on Mills College's Repertory Dance Company. She was awarded the Mills College Sarlo Excellence in Teaching Award in 2011. Extensive archives from Fenley's career were held at the F.W. Olin Library's Special Collections on Mills campus until 2022. They have been promised to the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts at Lincoln Center in New York.
Fenley has taught as a Visiting Lecturer at New York University's Experimental Theater Wing, University of Georgia at Athens and University of Utah. She worked as a Resident Artist for the Baryshnikov Arts Center, The Atlantic Center for the Arts, The American Academy in Rome, Bard College, The Hotchkiss School, The Asian Cultural Council in Tokyo, Yaddo, the Bogliasco Foundation, Djerassi, Bloedel Reserve, Marble House Project and Harvard University. She has taught repertory workshops at Bennington College, Barnard/Columbia and Hunter College.
Personal life
Fenley resides in New York, NY and Summerland, CA. She is married to painter Roy Fowler.
Major works
Fenley, to date, has choreographed over 90 works, which include:In the Garden, sound of birdsong, danced by Molissa Fenley, Justin Lynch, Michael Trusnovec, Timothy WardDe La Lumière, Entre Les Lampes New Chaconne, music by Philip Glass, danced by Christiana Axelsen, Justin Lynch, Timothy WardEtruscan Matisse/Blake, music by Ryuichi Sakamoto, 20210310 danced by Christiana Axelsen, Molissa Fenley, Justin Lynch, Michael Trusnovec, Timothy WardLava Field with Dead Stars Still Shine, collaboration with Paz Tanjuaquio. Music by John Bischoff, Piano 7hz. Cosmati Variations, Variation 5, music by John Cage, Third Construction Rhythm Field, music by Jamal Mohamed, created for Southern Methodist University dance departmentPipes Going Nowhere, music by Julian Julien, collaboration with Rebecca Chaleff, Sara Mearns and Cassandra Trenary. This work was never publicly performed.State of Darkness - performed for a live audience at the Joyce Theater: Jared Brown, Lloyd Knight, Sara Mearns, Annique Roberts, Michael Trusnovec, Cassandra TrenaryState of Darkness, music by Igor Stravinsky; commissioned by The Joyce Theater and live streamed in October 2020 – for Jared Brown, Lloyd Knight, Sara Mearns, Shamel Pitts, Annique Roberts, Michael Trusnovec, Cassandry TrenaryThe Cut-Outs , Created in collaboration with poet Bob Holman and composer Keith PatchellSome phrases I'm hoping Andy would like, Choreographed as a tribute to the late choreographer Andrew de GroatUntitled , Created in collaboration with poet Joy Harjo and composer Larry MitchellArtifact, Created for dancer Peiling Kao. This work premiered as part of Kao's solo works concert Honolulu, HI.Archeology in Reverse, Created in collaboration with artist Catherine Wagner. Video and sound by Michael Mersereau.Circadian Rhythm, created in collaboration with visual artist Robert Gaylor with music by Peter GarlandRue Surf, collaboration with poet Bob Holman and artist Roy FowlerWater Table, a work in 8 parts:Seven, commissioned by Dana and Shinichi Iova-Koga as part of 95 Rituals for Anna HalprinDance an Impossible Space, music composed and performed by Erin GeeRedwood Park, Part 1, commissioned by the Oakland Ballet. Music composed by Joan JeanrenaudRedwood Park, part 2, in silence.Esperanto, reconstructed by Christiana Axelsen and Molissa Fenley, music by Ryuichi SakamotoEntrance, duet for Christiana Axelsen and Molissa Fenley, music by David BehrmanBEAMS, music by Alvin CurranFound Object , collaboration with Erin Gee, John Guare, Joy Harjo, Rudy Wurlitzer; performed by Christiana Axelsen, Rebecca Chaleff, Molissa Fenley, Peiling Kao, Rosemary QuinnHorizon,, music by Pauline OliverosFound Object, collaboration with Peiling KaoCross Bridge,, collaboration with Holley Farmer, John Jesurun, David Moodey and Rosemary QuinnCredo In Us,, music by John Cage. Commissioned by the Mills College Art MuseumThe Vessel Stories, music by Philip GlassThe Prop Dances Regions ,, set by Roy Fowler, with music by Maggi PayneDouble Beginning, with spoken word by Bob HolmanIce, Dew, Food, Crew, Ape, with music by Alvin CurranCosmati Variations, with music by John CageCalculus and Politics, with music by Harry Partch. Commissioned by The Joyce TheaterFour Lines,, with music by Jon GibsonDreaming Awake,, with music by Philip Glass. Commissioned by the Rovereto Music Festival, Rovereto, ItalyPatterns and Expectations,, with music by Fred FrithDesert Sea,, with music by Lou Harrison. Commissioned by Repertory Dance Theatre, Salt Lake City, UtahLava Field,, with music by John BischoffKuro Shio,, with music by Bun Ching Lam. Commissioned by Women in Dance/Seoul, Korea and Tokyo, JapanWater Courses, with music by Joy HarjoWaiting For Rain, with music by Robert Ashley, set by Roy Fowler. Commissioned by Peter Boal331 Steps, with music by Laetitia Sonami, set by Merrill WagnerShort Stories, with music by Anthony Davis and in silence, costumes by ChadoSigns/Landmark, with music by Somei Satoh. Commissioned by the New National Theater, TokyoFolds, with music by Fred Frith, choreographed in collaboration with Bebe Miller. Commissioned by Virginia Commonwealth UniversityCeremony, text by Joy HarjoSpring Waterfall, music by Philip Glass and Foday Musa SusoIsland, with music by Harold Meltzer, artwork by Carol HepperI and You Resemble Each Other, Now, with music by Somei SatohDelta, music by John CageWeathering, with set by Merrill WagnerVoices, music by Kevin Volans, with cellist Joan JeanrenaudTimbral Inventions, music by John CageTala, with music by John Cage. La Muse Menagére with music by Darius MilhaudIcho music by Leroy Jenkins, commissioned by Felicia NortonOn the Other Ocean with music by David BehrmanTrace with composer Jonathan Hart Makwaia, painter Roy Fowler and writer John Jesurun. Commissioned by The Joyce TheaterLatitudes, a work created for the internet, commissioned by the Dia Art FoundationPola'a with music by Lou Harrison. Commissioned by Jacob's PillowRegions with music by Maggi Payne. Commissioned by the 92nd Street YSavanna with music by Peter Garland. Commissioned by Peggy Baker Dance ProjectsSita with composer Philip Glass and photographer Sandi Fellman. Commissioned by The Joyce TheaterJalan Jalan, music by Lou HarrisonBridge of Dreams with composer Laurie Anderson and visual artist Kiki Smith. Commissioned by the Deutsche Oper BerlinWitches' Float with composer Alvin Lucier and visual artist Kiki Smith. Commissioned by the Krannert Art CenterSightings with composer Pauline Oliveros and sculptor Tatsuo MiyajimaNullarbor with composer Robert Lloyd and sculptor Richard LongChannel with composer Somei Satoh and visual artist Richard SerraTilliboyo/Escalay with composers Foday Musa Suso and Hamza El DinPlace with music by Arvo Pärt. Commissioned by the Foundation for Contemporary Performance ArtsThreshold, with music by Somei Satoh. Commissioned by The Joyce TheaterInner Enchantments, with music by Philip GlassBardo, with music by Somei Satoh. Commissioned by Jacob's PillowAugury with music by Christopher Hyams-Hart, choreographed in collaboration with Doug Varone, commissioned by The American Dance FestivalThe Floor Dances with composer Henryk Gorecki and sculptor Richard Long. Commissioned by the Dia Art FoundationProvenance Unknown, with composer Philip Glass. Commissioned by Dance Chance and The Kitchen for Video, Music and DanceState of Darkness, music by Igor Stravinsky. Commissioned by the American Dance Festival. Subsequently, reconstructed for Peter Boal, commissioned by Lincoln Center and for the Pacific Northwest Ballet, danced in alternation by Rachel Foster, James Moore and Jonathan PorrettaIn Recognition, music by Philip Glass. Commissioned by Serious Fun Festival, Lincoln CenterSeparate Voices, a group work performed in silence. Commissioned by The Joyce TheaterA Descent into the Maelstrom music by Philip Glass, set design by Eamon D"Arcy, direction by Matthew McGuire, commissioned by the Adelaide Festival and performed by the Australian Dance TheatreGeologic Moments, with composers Philip Glass and Julius Eastman. Commissioned by the Brooklyn Academy of Music, Next Wave FestivalFeral, music by Robert Lloyd, commissioned by the Ohio BalletCenotaph, with composer Jamaaladeen Tacuma and text by Eric Bogosian. Commissioned by Jacob's PillowEsperanto, with composer Ryuichi Sakamoto. Commissioned by Tsurumoto Room, TokyoHemispheres, with composer Anthony Davis and visual artist Francesco Clemente. Commissioned by the Brooklyn Academy of Music, Next Wave FestivalEureka, with music by Peter Gordon. Commissioned by Dance Theater WorkshopGentle Desire, with music by Mark Freedman. Commissioned by the American Dance FestivalPeripheral Vision, with music by Mark FreedmanEnergizer, with music by Mark Freedman. Commissioned by Dance Theater WorkshopBoca Raton, extended dance mix by Paul Alexander of Talking Heads. Decor by Steven KeisterMix, Commissioned by The Kitchen for Video, Music and DanceVideo Clones'', video and performance work with Keith Haring