Molissa Fenley (left) and her dancers in 1985. Photo by Chris Callis, Courtesy DM Archives
In the October 1983 issue of Dance Magazine, we explored the work of then-breakout contemporary artist Molissa Fenley. Having spent the late '70s sending shockwaves through the New York City arts community with her experimental works, she was tapped by Brooklyn Academy of Music to create a new commission for its first-ever Next Wave Festival. She told us, "I don't know if New York was ready for me, but the audiences were ready for some change, for some energy, and for some dancing!" Her voracious yet analytical fusion of cultures, traditions and movement caught the eye of our editors then, and still captivates today. Now 63, Fenley continues to create and perform with the same explosive energy that marked her early career.
Molissa Fenley (left) was commissioned by Brooklyn Academy of Music for its first-ever Next Wave Festival in 1983. Photo by Chris Callis, Courtesy DM Archives
Molissa Fenley and Holley Farmer watch as the company rehearses at NYU Tisch for their upcoming performances in NYC.
"We find ourselves in a situation now with global warming where extreme storms, hurricanes and rising sea levels are happening throughout parts the world, and water is scarce or wasted in others," says choreographer Molissa Fenley.A comment on the current global threats to our environment, Fenley's dance series Water Table explores the patterns of large bodies of water.
We stepped into a rehearsal of Water Table with Molissa Fenley and Company as they prepare for an upcoming show at Danspace Project to talk performing in your 60s and how an international upbringing influenced her as an artist.
Back in the 80s, Molissa Fenley introduced a luscious, almost Eastern-feeling torque in the body that made her work compelling to watch. Her sculptural shapes and fierce momentum showed a different kind of female strength than we had seen. Now, as part of The Kitchen's series on composer Julius Eastman, Fenley has remounted her 1986 Geologic Moments, the second half of which she had developed with Eastman. The result, which premiered at Brooklyn Academy of Music, is a richly textured piece in both music and dance. (The first half has music by Philip Glass.)