Molissa Fenley: A Dance Icon Redefining Space and Movement

Molissa Fenley, often described as a force of nature, is a choreographer who, despite her petite stature, commands the stage with the presence of a lion. This 63-year-old artist, known for her pixie haircut and dynamic energy, became a prominent figure in the New York dance and art scene of the 1980s, an era celebrated for its edginess. Fenley’s performances were hailed as pure, visceral energy, pushing the boundaries of physicality in dance. Even today, she continues to experiment and challenge conventional limits, cementing her status as a true Dance Icon.

In this insightful interview, we delve into the formative experiences that shaped Fenley’s unique artistic voice, exploring her childhood influences and her groundbreaking contributions to contemporary dance.

Dance ICONS: You’ve mentioned your early years in Las Vegas were followed by a significant period in Africa. Could you elaborate on how growing up in Nigeria influenced your artistic perspective and movement style, particularly in shaping you as a dance icon?

Molissa Fenley: My family’s move to Nigeria when I was six years old was profoundly impactful. I spent my formative elementary and high school years in Ibadan and Lagos, attending international schools. This environment was incredibly diverse, filled with children from Yoruba, Hausa, and Igbo Nigerian cultures, alongside Lebanese, Russian, Yugoslavian, American, and British students. This cross-cultural upbringing instilled in me a deep understanding of varied perspectives and ways of life. I learned to appreciate the vastness of the world and the validity of diverse ideas.

Nigeria significantly shaped my concept of spatial freedom in dance. My choreography often emphasizes movement through space, making space itself a central theme. I consider space as vital as rhythm in my work. This focus on space connects directly to my childhood experiences watching Nigerian dances that unfolded over extended periods, sometimes lasting all night. I admire the idea of dances with multiple sections, reflecting the dancers’ shifting physical and emotional states.

The concept of durational dances became a cornerstone of my artistic exploration, heavily influenced by these experiences. The freedom of space and the extension of performance duration – these were truly established for me during my time in Nigeria.

ICONS: After Nigeria, your journey led you to Spain for high school, where you encountered new dance forms. How did this transition and exposure contribute to your development as a dance icon?

MF: My two years in Spain, spent in Seville and Zaragoza while attending American air force base schools, were pivotal. Although my initial dance training was limited to a few ballet classes on the air force base, Spain exposed me to the passionate world of Flamenco. It wasn’t until I was 16, at Mills College, that I formally began studying dance. However, the Flamenco I witnessed in Spain deeply resonated with me. I was captivated by the expressive movement of the upper body in Flamenco, a style that has remained a significant influence on my choreography and my identity as a dance icon.

ICONS: You’ve discussed creating a distinct choreographic language. How did Flamenco specifically play a role in shaping this language and your unique style as a dance icon?

MF: While I wouldn’t say my vocabulary is directly derived from Flamenco, it certainly pays homage to it. It served as an initial inspiration point, though my style has evolved considerably since then. Initially, I was drawn to the idea of a movement vocabulary where the lower body propelled the upper body through striking shapes. I envisioned the arms as signals, like semaphores, allowing the upper body to become a language in itself. This exploration was crucial in establishing my early choreographic identity and laying the groundwork for my recognition as a dance icon.

As I matured as both a choreographer and a dancer, my choreography for the lower body became equally intricate. In my earlier pieces, movements were simpler – runs, skips, and the like – while the upper body conveyed a wide range of expressions. Over time, this has balanced out, with both upper and lower body movements contributing complex layers to my performances and solidifying my signature style as a dance icon.

ICONS: For about a decade, you concentrated primarily on solo choreography. What specific aspects of dance were you keen to explore during this period, and how did it shape your path as a dance icon?

MF: The focus on solo work was a deliberate choice, born from practical and artistic motivations. In the life of a choreographer, dancers often move on, pursuing further studies or other opportunities. Constantly replacing dancers to maintain repertoire felt like moving backward. I wanted a fresh start and realized I could always perform my solo pieces, ensuring their continued life. This phase was instrumental in my growth as a dance icon.

This period also deeply involved collaborations with visual artists. Every solo piece I created incorporated a visual artist who designed sets or sculptures. I also consistently commissioned contemporary music, seeking composers interested in collaborative processes. This exploration of dance in dialogue with sculpture, painting, and contemporary music was incredibly enriching. It led to many discoveries that still resonate with me. Eventually, I felt the need to return to working with dancers in the studio, but this solo phase was crucial in my artistic journey as a dance icon.

ICONS: How did you initiate these cross-disciplinary collaborations, which have become a hallmark of your career as a dance icon?

MF: I’ve always been proactive in seeking out artists. I regularly attend gallery shows and stay engaged with the contemporary art scene in New York. When I encounter work that inspires me, I reach out to the artist directly. One of my earliest collaborations was with Keith Haring in 1978. We were friends, and he was enthusiastic about creating something together. These collaborations are vital to my process as a dance icon.

I rely on an intuitive sense when choosing collaborators, seeking artists whose work I feel will challenge and push my boundaries. As a soloist, I was constantly seeking novelty. Habits can be limiting, but the presence of a striking sculpture in the performance space necessitates a different approach. I cherish how these collaborations continually pushed me to find new ways to interact with and redefine space, a core element of my identity as a dance icon.

ICONS: Tell us about Archaeology in Reverse, your recent site-specific, architectural piece. How does this project reflect your ongoing evolution as a dance icon?

MF: Archaeology in Reverse is conceived for the Mills Art Museum, specifically for the attic space. It features a glass ceiling, or plexiglass, I believe. The dance is primarily designed for video presentation, though a live component might be considered. It’s an incredibly challenging piece; I’m suspended on a lifeline, tethered to the rafters. Overcoming my initial fear has been a significant part of the process. I can now navigate these beams, which are about the width of a gymnast’s balance beam. This project pushes me to new limits as a dance icon.

The intensity of the space is compelling, and I’m exploring how my body can merge with it. I’m fascinated by the idea of revealing discoveries from above, the audience seeing a body suspended above through a glass ceiling. I’m developing body shapes that accommodate the necessity of always holding on with at least one arm. The piece integrates three elements: the architectural space itself, the artwork within the gallery, and the dance. This site-specific work is a testament to my continued exploration and innovation as a dance icon.

ICONS: Reflecting on your extensive career, is there anything you might have approached differently, or any advice you wish you had received earlier in your journey as a dance icon?

MF: Perhaps if I had fully understood the challenges of navigating the dance world, I might have been deterred. Maintaining a small dance company involves constant negotiation – securing funding, creating performance opportunities when they aren’t readily available. Sustaining a career for 40 years truly requires a daily passion for the work. However, this journey has solidified my resolve as a dance icon.

I recall Merce Cunningham’s quote, “If you don’t love the daily work, don’t do it.” That has always resonated with me. I genuinely love the daily practice. My morning warm-up routine before teaching technique class at Mills is a pleasure. I enjoy creating warm-up exercises for my students and the act of performing itself. I never anticipated that this love would endure for so long, but it is this consistent passion that fuels my work as a dance icon.

More About Molissa: Molissa Fenley quickly established herself in the dance world after founding Molissa Fenley and Company in 1977, just two years after moving to New York post-graduation from Mills College. Her powerful solo State of Darkness (1988), performed bare-chested to Stravinsky’s Rite of Spring, remains a defining moment of that decade.

Her Cenotaph also empowered her all-female dancers, celebrating their physical strength and spontaneity. Notably, she was ahead of her time in 1996, choreographing Latitudes specifically for the web.

Fenley divides her time between New York and Mills College in Oakland, California, where she is a professor of dance. Throughout her prolific career, she has created over 85 dance works for solos, duets, and groups, collaborating extensively with visual artists. Renowned companies such as Oakland Ballet, Pacific Northwest Ballet, and Repertory Dance Theatre have featured her works.

As a performer, she has toured extensively across the globe. Her achievements include two Bessie New York Dance and Performance Awards, a Guggenheim Fellowship, and fellowship at the American Academy in Rome. Rhythm Field: The Dance of Molissa Fenley was published in 2015.

Her video dance project, Archeology in Reverse, premiered at the Mills College Art Museum in Fall 2018.

Video demo: http://molissafenley.com/index.php

Photography courtesy of Betti Franceschi, Shinichi Iova-Koga, Ian Douglas, Steven Speliotis, Julie Lemberger, Arturo Bejar, Michael Mersereau ©