Author: Sophie Myrtil-McCourty

‘In dance, the master can only be as good as his tools. A.I.M shows it’s both master and tool, switching easily among tones, tempi, and choreographic voices while remaining vigilant, confident, true to the work, true to itself.’ Read the full review here.

‘The Abraham we see now has unshackled himself from our and, likely, his own expectations.’ Read the full review here.

Click here to read the interview.

‘Now at the end of that two-year long creative process—and in a sociopolitical climate that makes it undoubtedly clear the country has continued on its painful path–Abraham presents a work rooted in love. An hour and five-minute series of solos, duets, and one trio, Dearest Home’s sequence of disparate short stories weave together an over-arching tale…

Read the article here.

‘Taking the movements from improvisations allowed for raw and natural movements that made the performance feel more personal, Lewis said. Much of the preparation for creating and executing such a personal piece was done through conversation, not only between Abraham and the dancers, but also between the dancers and the communities they will be performing…

“There are people who are angry when I make political work and do not want to come and see the shows, and there are people who think I should only make political work,” he says in a phone interview before coming the Dallas. “I’m a black choreographer, so the work to some people is already…