When choreographer Kyle Abraham takes the stage—or curates it—audiences can expect far more than movement. What Abraham brings is storytelling shaped by a rich blend of social dance, classical technique, and deep-rooted cultural inquiry.
Abraham’s company, A.I.M. (Abraham In Motion), arrives at The Wallis in Los Angeles on April 11 and 12 with a dynamic program featuring new and original works that explore identity, resilience, and connection through a contemporary lens.
“I came to dance when I was about 17,” Abraham recalled. “Before that, I went to a lot of raves and house parties—but once I started studying, I was just enthralled by movement.”
That early fascination has since evolved into a celebrated career blending influences from Merce Cunningham and Martha Graham to Michael Jackson and West African traditions.
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“For me, it’s about language,” Abraham said. “There are so many physical ‘words’ the body can use. Why limit the vocabulary?”
Abraham’s approach to choreography is intuitive and multifaceted, pulling from his background in social dance and formal training alike. “I’m just moving,” he said, “but when I break it down, I give credit to where it’s derived from—whether it’s Cunningham or a house party in Pittsburgh.”
His dancers, Abraham noted, are fluent in a wide range of movement languages, allowing for seamless synthesis across genres.
The program at The Wallis features works by four choreographers: Andrea Miller, Rena Butler, Paul Singh, and Abraham himself.
“If it’s all my voice all the time, it can be monotonous,” Abraham said. “I’m really interested in how we can lift up other voices while challenging my dancers in new ways.” That diversity, he said, creates unexpected energy and connection on stage.
Miller’s YEAR was specially commissioned for A.I.M. and reflects on identity in the digital age, while Butler’s Shell of a Shell of The Shell explores selfhood under cultural pressure. “Rena danced with us for years,” Abraham said. “To see her return and bring her personal journey to this piece—it’s really powerful.”
Abraham’s own new work, 2×4, marks his first collaboration with composer Shelley Washington.
“I first heard her on a Julius Eastman recording and was immediately struck by her voice,” Abraham said. The baritone saxophone—Washington’s specialty—played a big part in inspiring the piece’s tone and movement vocabulary. “I just knew we’d work together someday.”
For Abraham, dance is both abstract and political—safe and dangerous. “In today’s climate, that duality is heightened,” he said. “Dance lets us connect beyond words. It’s risky, but that’s also the beauty.”
That belief in dance as cultural storytelling continues to ground Abraham’s work, especially as he seeks to expand audience engagement and challenge the boundaries of live performance.
Following the L.A. performance, A.I.M. will appear at New York’s Joyce Theater, and Abraham will premiere a new ballet at New York City Ballet on May 16.
“I’m making lots of things,” he said. “Some I can’t even talk about yet.” What’s certain is that Abraham continues to shape not just dance performances, but the future of the form itself.
