Category: A.I.M by Kyle Abraham

‘With his inimitable vocabulary of postmodern abstract moves — or, as he calls it, “gumbo style,” which blends Black dance with classical ballet techniques — Kyle Abraham, 45, has been making evocative works for decades. Since founding his New York-based troupe, A.I.M by Kyle Abraham, in 2006, he’s also racked up some of the arts’ most prestigious…

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‘Love is treated as a communal infrastructure. There were multiple instances where the dancers would fall down and look like they were severely hurt or dead only to be brought back by the love of the community.’ Read the full article here.

‘“I started thinking about these ideas around rebirth and reincarnation and folklore and mythology and how I could explore Black futurism in ways that connected with those themes,” says Abraham. A lover of science fiction who grew up on Marvel comics, Abraham leaned into the idea of regeneration rather than the more traditional death motif.’…

‘“An Untitled Love” satisfies on many levels. The piece is at times fun and flirtatious and at others serious and profound. Abraham’s choreography picks up on the rhythms of conversation and combines them with the rhythms of dance. A.I.M’s wonderful dancers capture the expressive quality of the movement and demonstrate that dancing is a potent…

Kyle Abraham and Jlin shake up Mozart’s mass | The Brooklyn Rail ‘All of A.I.M’s dancers bring their own gifts. Martell Ruffin performs an exceptional, virtuosic solo, caroming from step to gesture to expression with a mercurial swiftness.’ Read the full article here.

‘Combining RnB, soul, funk, jazz and Latin styles, the score is attuned to a choreography that shifts between high-energy hip hop moves, dance of gorgeous, balletic precision, and movement that’s so laidback it’s almost hypnotic.’ Read the full article here.

”You know, I’ve made so many works that look at the injustice that we face as a people, and I really wanted to make something much more celebratory,” he says. The music the audience hears in the theatre before the show will be his parents’ “grown-folks music” from back in the day: Luther Vandross, Anita…

‘Consider Mozart’s Requiem in D Minor, unfinished by the composer at the time of his death in 1791, as a deliberate incomplete sentence, a poetic invitation open to reinterpretation over the ensuing 231 years. Its latest evolution takes shape in the hands of choreographer Kyle Abraham, whose transformative evening-length work, Requiem: Fire in the Air…