Girl Gods: Pat Graney’s latest work returns to women, family and repressed rage.

In 2010, Seattle-based choreographer Pat Graney presented Faith Triptych, a remount of three works she had created for On the Boards between 1991 and 2001. For those who had followed Graney’s work since she emerged as a major figure here in the 1980s, the three dances—Faith (1991), Sleep* (1997) and Tattoo (2001)—were a reminder about how powerful her straightforward and deeply emotional movement could be. These pieces were long and unfolded slowly, gradually accruing strength and significance as the dancers established behavioral patterns and intimate relationships.

Graney’s direct methods were, like the waves of feminism that accompanied them, something of a revelation. It was striking to see work unencumbered by the conceptual frameworks or persona-based modes of expression that are so common among younger choreographers. Graney’s art was confident enough to just be what it was.

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