Taking the Long View (In Person)

Online ticket sales end 2 hours prior to the start of the event. Pre-registration is only available online via credit card payment. Tickets may still be purchased at the door using cash, check, or credit card.Late seating is at the discretion of the artist and The Dance Complex, and may not be available after the start time of a performance. In general, we advise arriving at least 15 minutes before the show start time. Doors open 30 minutes prior to show, at which time our bar is open in our lobby space. After the show has begun, entry is not guaranteed and refunds are not available. You may receive a refund through Eventbrite up until 24 hours prior to the event.Our ground-level lobby area and performance space is ADA compliant. Gender-neutral accessible bathrooms are located on both the ground and second-floor levels of the building. There is a motorized lift that can bring one person at a time from the ground floor to the second floor should a guest wish to use it. There is no elevator.If you have any further questions or concerns about refunds or ticketing, or if you have any questions or concerns regarding accessibility at The Dance Complex, please contact Barbie Cruz, Front of House Associate, at barbie@dancecomplex.org.

The Dance Complex

Molissa Fenley and Company and Nine Lives/Dance by Pat Catterson present an evening of recent work.

About Taking the Long View:Both Molissa Fenley and Pat Catterson have had long careers as dancers and dance makers. They both have chosen to live life as artists for the long haul, that is, they have taken the long view. As much as their work is different, they share a belief in the meaningfulness of dancing itself and the power of designed movement to change one’s perceptions. Molissa and Pat share the stage to present an evening of recent work.Molissa Fenley presents three dances: <ul><li>Cosmati Variations, Variation 5, music by John Cage, Third Construction (11 minutes)</li><li>Lava Field, music by John Bischoff, Piano 7hz (14 minutes)</li><li>Current Piece, music by Vijay Iyer, Crown Thy Good (6 minutes)</li></ul>Pat Catterson premieres her 116th work:<ul><li> Tremer, sound score composed by Quentin Chiappetta (30 minutes)</li></ul>About Molissa Fenley:Molissa Fenley was born in Nevada in 1954, grew up in Ibadan and Lagos, Nigeria (1961-71), and returned to the USA to attend Mills College 1971-1975. She moved to New York in 1975 and founded Molissa Fenley and Company in 1977, creating 90 dances for the company since. The Company have performed throughout the United States, Canada, Mexico, South America, Europe, Australia, India, Indonesia, Japan, Korea, Singapore, Taiwan and Hong Kong. She has received Bessie Awards for Cenotaph (1985) and State of Darkness (1988, 2021). Fellowships include: American Academy in Rome, Asian Cultural Council, Foundation for Contemporary Arts, Greenwich Collection Ltd, Guggenheim, National Endowment for the Arts, New York Foundation for the Arts. About Pat Catterson:Pat Catterson, whose parents were a ballroom dancing team and her paternal grandfather a tap dancer in Vaudeville, is a NYC and Boston based artist choreographer who has created 115 works. Receiving many accolades including a 2011 Solomon R. Guggenheim Choreography Fellowship, a Fulbright Grant, and multiple individual grants from the National Endowment for the Arts, the CAPS Program, the Harkness Foundation, and the Foundation for Contemporary Arts, she had been on the faculties at Sarah Lawrence College, UCLA, the Juilliard School, Marymount Manhattan College, and the Merce Cunningham Studio, as well as a guest artist all over the US and in Europe. Her writing has been published in Ballet Review, JOPERD, Attitude Magazine, Dance Magazine Online, the Getty Iris, and the Dance Research Journal and she recently finished her memoir I Said Yes/ The Autobiography of a Choreographer. She earned her BA in psychology and philosophy from Northwestern University and her MFA in Interdisciplinary Arts from Goddard College. She first performed Yvonne Rainer’s work in 1969 and since 1999 has worked as her dancer, rehearsal assistant, and stager of her works, touring nationally and internationally.

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Taking the Long View (In Person)

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Taking the Long View (In Person)

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