This beautiful piece isn’t twined around specific events or credos, and although three words— love, longing, and loss—impel it, we never hear them spoken. In fact, we may hear nothing but the sound of breathing, a foot brushing the floor, or a stray cough in the audience. The dance was composed and rehearsed in silence; spectators in the Doris Duke Theatre can experience it that way or listen to the score composed by Jerome Begin via handed-out earphones.
Review in ArtsJournal
In Dearest Home, choreographer Kyle Abraham (Abraham.In.Motion) has made space for tears (quiet, copious, frequent), hands that shake from illness, incomprehension or desperation, and so many moments of vulnerable physical and emotional intimacy that we do not or rarely see in contemporary dance.
It's the end of a long rehearsal day for the dancers of Abraham.In.Motion. They're reviewing phrases of a new work, Dearest Home. It's a pretty typical rehearsal scene. Some dancers cluster around a laptop trying to piece together steps learned long ago. Others review choreography together, working to figure out who remembered which arms correctly.
“Dearest Home,” shown in the round Tuesday evening, May 16, at Yerba Buena Center for the Arts Forum, is a chamber piece for the six dancers of Abraham.In.Motion exploring in a mixed vocabulary nuances of feeling in a series of solos, duets and one pansexual trio. The barefoot performers (Matthew Baker, Tamisha Guy, Marcella Lewis, Jeremy “Jae” Neal, Connie Shiau, Stephanie Terasaki) come from diverse areas of the dance spectrum, and in performance a postmodern stretch will be followed by a ronde de jambe.
For his latest work, titled Dearest Home, which premiered on May 16 in San Francisco, Kyle Abraham told us that he drew on his personal experiences of love and loss, and on the experiences of LGBT seniors and teens who participated in workshops led by Abraham during the two-year creative process.
There is comfort in a timeline that extends from January 2016 to May 2017. Which is a good thing, because during the lengthy process, the Pittsburgh-native whose spectacular dancing earned Dance Magazine’s “25 to Watch” in 2009 and a 2010 Bessie Award was able to make himself decidedly uncomfortable.
Interview in San Francisco Classical Voice
Only a handful of contemporary choreographers could pull off an evening of the breadth and excellence Kyle Abraham did last night, together with his 8-member A.I.M. dance company, at the Broad Stage in Santa Monica.
Review in artsmeme
In the Brockus Project Studio downtown, acclaimed contemporary choreographer Kyle Abraham is giving a master class as part of the ongoing Los Angeles Dance Festival. Wearing loose black pants and an olive T-shirt that reveals his powerful, compact physique as well as a gallery of arm tattoos, he guides 12 women through increasingly complex movement combinations — including an excerpt from one of his past works. A sense of easy, convivial mastery pervades the room.
Interview in LA Times
Kyle Abraham is officially a dance genius. A recipient of a 2013 MacArthur “Genius Grant” Fellowship, Abraham and his company, Kyle Abraham/ Abraham.In.Motion, have toured the world, presenting a unique blend of hip-hop, jazz and contemporary dance that soothes the eye, even as it rattles one’s conscience.
Interview in The Argonaut
Perhaps ironically, The Gettin’, which departed furthest from tradition, was the work that appeared to get the warmest reception. From the moment it begins, its humanity is apparent. Racism is the topic, but it’s a conduit for examining what we share as human beings, not what divides us. The jazz music, Robert Glasper’s interpretation of We Insist! Max Roach’s Freedom Now Suite, performed by Vincente Archer, Kris Bowers, Otis Brown III, and Charenee Wade, is central to the work. Indeed, the musicians remain on stage throughout. Their artistic expression is as important to the dance as the dancing.
Review in Critical Dance
This month, Catherine Ellis Kirk performs for the first time on The Kennedy Center stage. She’s not a newbie to Washington — her parents are Ron Kirk, the first African American mayor of Dallas and a former U.S. Trade Representative, and Matrice Ellis-Kirk, managing partner for RSR Partners and chairman of the AT&T Performing Arts Center board of directors.
Interview in PaperCity
Because American choreographer Kyle Abraham’s jazz-inflected work puts you in such a reflective mood, let’s take a moment to consider the rich diversity of dance that has been happening in Vancouver this weekend.
Review in The Georgia Straight
To understand the multilayered fusion that is Kyle Abraham’s dance, it helps to dig into the celebrated New York City choreographer’s roots.
Preview in The Georgia Straight
Kyle Abraham/Abraham.In.Motion is bringing to Western Canada for the first time a sample of its acclaimed repertoire, including The Gettin’, Quiet Dance and excerpts from the company’s newest work, Dearest Home.
Interview in Jewish Independent
Fluidity marks the work of choreographer Kyle Abraham, fluidity of feeling, perception, movement. That protean force, applied to the outrageously long-lived issue of black people's civil rights, produces a major work of truth-telling American art in "When the Wolves Came In," through Sunday at the Museum of Contemporary Art.
Review in Chicago Tribune
Kyle Abraham/Abraham.In.Motion shared an exquisite evening at the Newmark Theatre in Portland Saturday night, as part of Whitebird’s Uncaged series.
Review in Eugene Weekly
Seated at a piano in a corner of the Joyce Theater, Kris Bowers begins to play a quiet, rippling tune—familiar yet unfamiliar. Beside the instrument and close to the front rows of spectators, Kyle Abraham performs a prelude to his company’s season, never moving outside a muted spotlight’s beam. Just as Bowers dreamily reconfigures “Some Day My Prince Will Come”— making it come apart the way paper does in water and then floating the pieces into proximity—Abraham redesigns the human body, making it move in ways most of us don’t.
At 38, choreographer Kyle Abraham has already claimed international attention and won an armload of top dance awards—from a 2010 Bessie to a 2013 MacArthur “genius” fellowship.
Review in TimeOut NY
Kyle Abraham weaves together dance styles for his company, Abraham.In.Motion, and Alvin Ailey.
Feature in The Wall Street Journal
Kyle Abraham/Abraham.In.Motion brings three works to the Joyce Theater.
Review in Arts Journal
At 38, choreographer Kyle Abraham has already claimed international attention and won an armload of top dance awards—from a 2010 Bessie to a 2013 MacArthur “genius” fellowship. This week, he adds a new achievement: his Abraham.In.Motion ensemble presents its first full Joyce Theater season.
Review in Time Out New York
Kyle Abraham's Abraham.In.Motion makes a stunning North Texas debut on the TITAS season.
Review in Theater Jones
Do you ever find yourself walking through Times Square, dodging Elmos and thinking: Damn, there's a lot of naked commercialism around. Wouldn't it be great if there were an intergenerational improv workshop happening right here?
Blog on Time Out New York
The dancemaker takes on Tupac, Biggie and the #BlackLivesMatter movement.
Interview with Dance Magazine
Kyle Abraham grapples with artistic lineage and the cycle of racial injustice in America with his latest works, a collaboration with visual artist Glenn Ligon and jazz musician Robert Glasper.
Feature in Out Magazine
You'd think that winning just about every big prize the American grant-making community offers would put to rest any financial anxiety plaguing choreographer Kyle Abraham. Close to a million dollars in cash and in-kind services between 2012 and 2018 should take care of his dance company's money worries, you'd expect, at least for a while. But you'd be wrong.
Feature in The Village Voice
Kyle Abraham has become the darling of the dance world. Will he be able to live up to the expectations?
Feature in Dance Magazine
The dancer-choreographer Kyle Abraham, who recalled relying on food stamps just three years ago, was among the 13 men and 11 women officially named MacArthur fellows on Wednesday.
Article in The New York Times
Hailed as a major new voice in dance, dancer and choreographer Kyle Abraham’s work is influenced by hip-hop culture and his early studies of the classical cello, piano, and the visual arts.
Ford Fellowship Announcement
Kyle Abraham, a 35-year-old dancer and choreographer who is known for his neo-hip-hop style, has been named the 2012-2014 New York Live Arts Resident Commissioned Artist, the organization announced Wednesday.
Feature in The New York Times