KYLE ABRAHAM/ ABRAHAM.IN.MOTION

Pittsburgh Post Gazette: ‘Kyle Abraham’s journey to international dance stardom traces its roots to Pittsburgh’

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Abraham.In.Motion to return to the 2018 Spoleto festival

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Dance Magazine / ‘In The Studio: Kyle Abraham On the Eerie Beauty of Our Current Political Climate’

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Kyle Abraham/AIM’s ‘Pavement’, one of The Guardian’s top 10 shows of 2017

‘Abraham ranks as one of the most socially acute and inclusive voices in the American dance scene. His signature work Pavement draws on his own childhood in Pittsburgh and the LA gang drama Boyz N the Hood, yet expands those sources into a tenderly resonant portrait of young people living on the margins of society. Using music that ranged from Bach to Sam Cooke, referencing movement from ballet, contemporary dance and the street, Abraham’s beguiling work combined technical sophistication with a beautifully observed humanity.’

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The Guardian review ‘Men in Motion; Kyle Abraham: Pavement review – Putrov looks to the past’

‘If Abraham’s subject matter is political, the dances that he makes are intensely personal and imbued with a rare grace. What strikes you first about his choreography is the austere discipline underpinning its expressiveness. Rococo isolations of wrist, neck and shoulder flow from a centre that is always held, always calm.’

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London Theatre Direct review: ‘Abraham.In.Motion: Pavement’

‘Pavement is a visceral and very considered piece of work. There is thought in the smallest detail, from noting that the lone female dancer is the only one who has no altercations to (halfway through the piece), trainers being strung up on telephone wires. It speaks to the zeitgeist of movements for equality stemming from injustice.  For a piece based on a 1991 film, and created in 2012, it remains powerful and relevant. More, please!’

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DanceTabs review: Kyle Abraham / Abraham.In.Motion – Pavement – London

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The Guardian – Kyle Abraham: Pavement review – ‘dancing in handcuffs with aggression and grace’

‘Abraham, however, is equally interested in the soul of his onstage community. He is an intensely musical choreographer, and whether he’s setting hip-hop to Verdi or ballet to Hudson Mohawk, his characters’ interior grace shines through their often very beautiful dancing. He has a genius, too, for combining the stylised and vernacular, as in the flawlessly natural duet with which he shows two of his characters falling hesitantly in love.’

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Bachtrack review: ‘Choreographer Kyle Abraham debuts at Sadler’s Wells’

“We’re still dying” says African American choreographer Kyle Abraham. Limp bodies lie heaped upon one another: face down, arms twisted back, wrists crossed. Abraham returns repeatedly to this image in his work Pavement. ‘

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The Independent – Review: ‘Kyle Abraham, Pavement, Sadler’s Wells, London, review: Theatre, hip hop and a sharp political sensibility’

‘One of the most powerful qualities in Pavement is that, in a work about discrimination and suffering, it never reduces its dancers to flat victims. They’re both a community and individuals. Running around the stage, their jog becomes a rhythmic stride, each dancer gleefully spinning off into their own version.’

Read the full review here.