Dallas — As the recipient of a 2013 MacArthur Fellowship as well as a 2010 Princess Grace and Bessie award for performance and choreography, it’s no wonder Kyle Abraham was recently dubbed the darling of the dance world by Dance magazine. Abraham started his training at the Civic Light Opera Academy and the Pittsburgh Creative and Performing Arts School. He holds a BFA in dance from SUNY Purchase and an MFA from the New York University (NYU) Tisch School of the Arts. His performing credits include David Dorfman Dance, Bill T. Jones/Arnie Zane Dance Company, The Kevin Wynn Collective, Nathan Trice/Rituals, Dance Alloy and Attack Theatre. For the last nine years his company Abraham.In.Motion has been captivating audiences across the U.S. and abroad with its provocative movement choices and strong social messages reflecting on current issues and attitudes.
Abraham’s raw approach to movement and eclectic dance background, which includes modern and hip-hop was a huge draw for Dallas native Catherine Ellis Kirk who joined his company two years ago. A graduate of Booker T. Washington High School for the Performing and Visual Arts, Kirk went on to earn her BFA in dance from NYU Tisch School of the Arts. She has also studied with Movement Invention Project, San Francisco Conservatory of Dance, the Gaga intensive in Tel Aviv and Springboard Danse Montreal, and has performed works by Fernando Melo, Ohad Naharin, Peter Chu, Andrea Miller, Robert Battle, Alex Ketley and Helen Simoneau. In addition to Abrham.In.Motion, Kirk also currently dances for Chihiro Shimizu and Artists and UNA Projects.
Kirk and Abraham.In.Motion will both make their Dallas debut Oct. 29-30 at the Dallas City Performance Hall as part of TITAS’ 2015-16 season. The program includes Abraham’s The Quiet Dance (2011), The Gettin’ (2014) and the world premiere of Absent Matter with live music.
Catherine Ellis Kirk talks to TheaterJones about finding her artistic voice, Kyle Abraham’s creative process and her take on his new work Absent Matter.
TheaterJones.com: What initially drew you to concert dance?
Catherine Ellis Kirk: At Booker T. I took a lot of composition and improvisation classes so I knew pretty fresh off the gate that I wanted to join a modern company and be in New York if not Europe.
Why did you chose to attend New York University vs. pursuing a dance career after high school?
I never considered cutting off my education after high school. I have always loved dance, but I have also always craved more of an academic lifestyle. For my community of concert dancers it’s more of a conservation about whether you wanted to go to a university or conservatory. I tried a couple of conservatories, but I knew I needed something else aside from dance so I studied Political Science and Art History at New York University (NYU) as well. And looking back I definitely needed those three years of training at NYU to discover my voice in dance and how I wanted to move.
Can you give me some examples of individuals or classes that have helped you define your artistic voice?
Many of my “ah ha” moments came from being at Booker T. where I took composition classes with Kyle Richards and Lily Weiss as well as modern with Garfield Lemonius. While taking these classes I decided that I could put my life and my work and passion into these forms of dance, and going to NYU really seasoned that for me. I had so many amazing teachers at NYU, including Pamela Pietro, who taught me modern and composition my second and third year there.
What stood out to you the first time you saw Kyle Abraham perform?
The first time I saw Kyle dance was at Dance Space in New York where he performed an excerpt from one of his solos and I was immediately drawn to his unique movement style. He moves so organically and there’s a wide variety of techniques that he is influenced by such as house dancing, hip-hop, Martha Graham and Merce Cunningham. His movement is also very contemporary and looks very improv based, so it comes out of him very organically. There’s always an openness to his movement with lots of high arches and speed, but also just very human moments and almost a sense of acting that comes across very raw. I see all of this in Pavement, which I saw for the first time in fall 2013 right after superstorm Sandy hit. Pavement has a very direct purpose in that it talks about Kyle’s neighborhood growing up and that urban lifestyle in which race and economic classes play a pivotal role. Watching all these beautiful people dancing onstage together and having the same movement quality that Kyle does was really astonishing and I just fell in love with this work.
What is it like working in the studio with Abraham?
It’s super interesting! It is pretty improv based so he’ll start moving while someone films it and then gives us the tape and we’ll learn it from there. Other times he’ll do a catch what you can thing where he dances in front of us and we pick up what we can. He moves very fast and organically and habitually. It’s also nice to have us in the room because we all interpret the movement differently so we don’t use the same movement vocabulary over and over.
Do you and the other company members have similar dance backgrounds and training?
Our backgrounds are quite varied. I probably have the least technical training. I am much more composition and modern than balletic. There’s Tamisha Guy who went to SUNY Purchase College and is technically stunning with a background in ballet, pointe and modern. Penda N’Diaye went to NYU before I did and she also has a background in ballet and her and Guy both have beautiful lines. Connie Shiau also went to SUNY Purchase but she also trained in Gaga and works with Gallim Dance, which is just very wild, deep and grounded. The boys are also all very different. Jeremy Neal was a classical singer who started dancing in college, but had danced a lot in the club scene and house, which is very similar to Kyle’s journey. Matthew Baker went to the same college as Jeremy in Michigan, but he started out in gymnastics and then went into dance when he was younger to help him get more flexible. And then we have Vinson Fraley who is just stunning and started dancing when he was 16 at a competition studio so he is all legs and turns. Our careers and lives have taken us into different places, which kind of helps the variety, but it’s also nice because you look around the room and see different skin colors, heights and body types so the movement never gets too habitual or boring.
What is your interpretation of Abraham’s new work Absent Matter?
Absent Matter was actually choreographed before Kyle brought in the live music which includes songs by Kendrick Lamar and Kayne West. For the piece Kyle pulled a lot of inspiration from the Black Lives Matter campaign and also his feelings on cultural appropriation. Being in his late 30’s he has seen things that are just completely being lost in their origin. For example, cornrows which are just plaited hair that women in Africa wore to keep their hair out of the way is now being used on the fashion runways which is great, but it’s being renamed a French twist or French braid. That’s a lighter example, but it all goes back to cultural appropriation and Kyle feeling that as African-Americans we are losing our voice. So, there is definitely a nostalgia and a large sense of anger and riot in the work which feels much more present day than The Gettin’ which will come after. The Gettin’ feels more like a pre-riot gathering while Absent Matter feels more current to me with the Black Lives Matter Campaign and any culture aside from African American just getting lost or abused or not being recognized. Kyle’s very angry about that and it shows through this work.
» Katie Dravenstott is a freelance writer and dance instructor in Dallas. Visit her blog at www.kddance.wordpress.com