Ward fenley biography
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This and That
Regarding the psalm 147 sermon,
Is it possible to ask Pastor Wilson who is the Watts he is referring to about the “cistern in the sky” comment? Also, he has some commentary about everything holding together in Jesus and he used a word like “archai”, what is the spelling of that word?
We are blessed by the ministry of the Moscow Mood!Sara
Sara, the word is arche, at least in English. And Isaac Watts was the great hymn writer who gave us “cisterns in the sky.”
A Full Preterism Complaint
I was extremely disappointed when I read your outline for your Resurrection Sunday message. In that outline you attacked Full Preterism in a way that you would not face-to-face in your interview with G. Ward Fenley. Either you think it is “heretical” or not. (That is it goes against the creeds and confessions, not necessarily Scripture). Either you received some pushback from friends for your the position you took (dual fulfillment of the new heavens and new earth and resurrection and judgement) or you were being disingenuous at best and dishonest at worst. It has been the dishonesty that has turned me off throughout this whole debate. Why will nobody seriously get into the text. Everything falls back to a philosophical argument or the implications of FP. Are there not mysteries about God and His creation that we might never know? Yet you and others say they have cracked the code about the very end of history. What if that was never the intention of the Scriptures in the first place? What if we are not supposed to know how it all ends. I know for sure that every person will be judged. I know for sure that all who trust in Christ for salvation will live with Him forever. I don’t understand the need to know every detail about the future and then condemning others if they don’t see things through the same exact crystal ball you do. Sorry for the rant. I really still do appreciate you and your ministry. I have learned a lot anMolissa Fenley
Molissa Fenley (born 1954)is an American choreographer, performer and teacher of contemporary dance.
Early life and education
Molissa Fenley (née Avril 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.[1] Immediately after graduating from Mills, Fenley moved to New York City to begin her career as a choreographer and dancer.[2],
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 Andrew deGroat. 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 (1977–1987) 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 Wa
Learn more about the albums Christiana Axelsen
Christiana Axelsen is originally from Bainbridge Island, Washington and has been dancing with Molissa Fenley since 2013. She assists Molissa in reconstructing major repertory works and has served as a rehearsal director setting Molissa's work on Oakland Ballet, (Redwood Park), Repertory Dance Theater in Salt Lake City, (Energizer), and Barnard/Columbia, (Amdo). In addition to her work with Molissa Fenley and Company, she has danced with Christopher Williams, Beth Gill, Michou Szabo, zoe|juniper, Korhan Basaran, Courtney Krantz, Dai Jian, Raja Kelly, Jules Skloot and Mana Kawamura among others. She graduated summa cum laude and Phi Beta Kappa with a degree in dance and geology from Mount Holyoke College and is a graduate of the Merce Cunningham Professional Training Program. Photo by Quinlan Corbett, 2024
Rebecca Chaleff
Rebecca Chaleff is a dance scholar, performer, and dramaturg. Her academic research focuses on how the politics of race and sexuality shape and are shaped by contemporary reperformance and legacy building projects. As a dancer, Rebecca has performed with GERALDCASELDANCE, Pat Catterson, the Merce Cunningham Dance Company Repertory Understudy Group, Douglas Dunn and Dancers, and the Margaret Jenkins Dance Company, among others. She was also the dramaturg for Gerald Casel's Not About Race Dance (2021). Rebecca performed with Molissa Fenley and Company from 2012-2017, during which time she reconstructed and originated roles in numerous works spanning the breadth of Fenley's oeuvre. She served as the Rehearsal Director for the 2020 and 2021 restagings of State of Darkness at The Joyce Theater. Rebecca is an Assistant Professor in the Department of Theatre and Dance at SUNY, the University at Buffalo.
Betsy Cooper
Betsy Cooper trained at the School of American Ballet and has performed with classical and contemporary companies nationally and abroad, including Nationaltheater Mannheim, Matthew Nash
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