The Tennessean
October 4, 2015
Amy Stumpfl
One of the things that sets choreographer Kyle Abraham apart — in addition to winning the prestigious MacArthur “Genius Grant” in 2013 — is his ability to translate very personal works to a broad audience.
“I get letters from people all the time, who recognize their experiences and stories in my work,” Abraham says. “I love that it can mean different things to different people — that’s how I know I’ve done my job.”
Abraham approaches that “job” with a unique and highly physical dance style, along with a genuine desire to “delve into identity in relation to a personal history.” The Pittsburgh native and his company Abraham.In.Motion will be in Nashville this week, to present his newest evening-length program, “When the Wolves Came In” at OZ Arts Nashville.
Inspired by jazz legend Max Roach’s iconic protest album, “We Insist!: Max Roach’s Freedom Now Suite,” the program explores key milestones of the civil rights movement — including the 150th anniversary of the Emancipation Proclamation and the 20th anniversary of the abolishment of apartheid in South Africa.
“I had the opportunity to visit South Africa in 2012, and was listening to a lot of music from the early ’60s at that time. That got me thinking about the anniversary of these important events, and I started reading a lot of different books and watching documentaries. The research was intense, but it was such a powerful experience — it made me just want to dive in and create something to honor those struggles.”
Connie Shiau, Rena Butler and Tamisha Guy perform in “When the Wolves Came In,” showing at OZ Arts Nashville Oct. 8-9. (Photo: Carrie Schneider)
Abraham says that the program, which features original compositions by Grammy Award-winner Robert Glasper and scenery by visual artist Glenn Ligon, comprises three separate works, all of which were inspired by the same original source material.
” ‘When the Wolves Came In’ is set to Nico Muhly’s ‘A Good Understanding’ and is quite abstract, with an almost ceremonial vibe to it. ‘Hallowed’ is set to some gospel hymns that were sung during the civil rights era. It’s more specific in movement, but still really haunting,” Abraham says.
“The final piece is ‘The Gettin,’ which is really a collaboration with Robert Glasper. That was an amazing experience in itself, as we worked to re-interpret the Max Roach album. It was important to honor the original music, but offer a nod to current sounds. That’s one of the ways we continue the conversation.”
That potential conversation is something that intrigues OZ Arts Nashville Artistic Director Lauren Snelling, who says Abraham will offer a master class to professional/pre-professional dancers while in Nashville.
“We’re always looking for ways to engage and inspire our audience, and Kyle certainly embodies that. He’s a brilliant artist, and I so admire his ability to communicate through movement. He has found a way to be part of a much bigger conversation without ever losing his own voice.”