STG Presents
Kyle Abraham/ Abraham.In.Motion
Wednesday & Thursday
March 4 & 5, 2015

Doors at 7:00 pm

Show at 8:00 pm

The Moore Theatre

1932 Second Avenue

Seattle, WA 98101


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Reserved Seating

$35 - $55 (not including fees)

STG presents Kyle Abraham/Abraham.In.Motion at The Moore Theatre in Seattle on Wednesday, March 4th and Thursday, March 5th, 2015, in partnership with On the Boards.

Read OUT's recent article on Kyle Abraham here.

Recent MacArthur Fellowship honoree, KYLE ABRAHAM/ABRAHAM.IN.MOTION are creating an all new Repertory-based presentation of 3 new dance works spawned from a singular idea: an historical homage celebrating 150 years after the Emancipation Proclamation and 20 years after the abolishment of Apartheid in South Africa. The work uses Max Roach’s protest album “We Insist: Max Roach’s Freedom Now Suite” as its inspiration: which celebrate the centennial of the Emancipation Proclamation and shined a light on the growing civil rights movement in South Africa and the U.S. of that period. The powerful themes inherent in these historical milestones in tandem with Abraham’s choreography,visual artist Glenn Ligon’s work, and Roach’s music connect ideas postured in across-cultural exploration of Freedom and its progression from the 1960’s to present day.

Musically, each of the three works is extremely varied. For The Gettin’, a five-sectioned work, centered on duets and a small4-6 dancer ensemble, Abraham uses kinetic references taken from his love of social dancing and a self-described “post-modern gumbo” of movement exploration rooted in the themes of Freedom and Civil Rights.

The second work, When the Wolves Came In,is an ensemble work created for 6 dancers that creates a duality between Freedom and Perception of Prosecution, set to the music of The Los Angeles Master Chorale’s “A Good Understanding.”

The third work, Hallowed, is a new solo work that references movement ranging from queer urban dance esthetics and other urban dance vernaculars whacking, popping and locking, and voguing, interspersed with traditional modern dance forms, while using a musical score comprised of various church sermons and music specifically referenced in the Civil Rights Movement spanning the years 1963 to 1967.