I still remember Kyle Abraham’s solo at the Kelly Strayhorn Theater in The Radio Show, so full of personal and Pittsburgh references, where we caught our first real glimpse of a young man who would go on to alter the course of dance by speaking his own truth.
He was among the first to incorporate hip hop into concert dance performances. But his choreography already had an infrastructure that conveyed a disciplined intent behind his concept. In other words, he had a clarity that was easily absorbed by his viewers. We saw his story. But he elevated the street dance and ballroom vogueing, mixed them in with classical elements (Handel? Ballet?) and gave it an artful polish. Most importantly, it may have emanated from the black and LGBTQ+ community, but there was a universal humanity, a palpable poignancy, that touched everyone in the audience. Kyle’s art embraced us all from that point onward.
Although the Pittsburgh dance community was quite aware of him, the Kelly Strayhorn Theater gave Kyle crucial early support for his fledgling company, which was officially created in 2006. After the 2010 world premiere of The Radio Hour, he unveiled the premiere of LIVE The Realest MC in 2011.
Soon, however, he was pulled away to make his mark in New York City, although he (or his choreography) would periodically return to Pittsburgh for events with Pittsburgh Dance Council, Point Park University, The Andy Warhol Museum and KST. In New York, the dance powers-that-be recognized his potential and bestowed numerous awards on Abraham. Jacob’s Pillow Dance Award was among the first, $25,000 in 2012 (following luminaries like Merce Cunningham, Bill T. Jones and Crystal Pite).
It was eclipsed by a MacArthur Fellowship (also known as the Genius Award and $625,000 at the time). That helped to stabilize the company, called A.I.M. by Kyle Abraham, and aid in its work showcasing Black culture and history, social engagement and diversity.
Soon there were others, an almost traffic jam of backers. Ballet icon Wendy Whelan requested him for her solo program, Restless Creature, something that led to commissions from New York City Ballet. Then England’s Royal Ballet. American Ballet Theatre. More Alvin Ailey. An honorary doctorate in Fine Arts from Washington Jefferson College. An endowed professorship at the Glorya Kaufmann School of Dance. Rave reviews for A.I.M.
The list goes on. You might wonder, what hasn’t he accomplished? Kyle had become a full-fledged contemporary artist in a world that needs meaningful art but, more importantly, artists who promote an ethical, social and moral standard.
But as much as he has become an international superstar (and I don’t use that lightly), Kyle has never forgotten his roots. Not only did he return for professional reasons, this alumnus of Pittsburgh’s Capa High School maintained a circle of friends that kept him “grounded.”
“There’s a way people keep their head down in Pittsburgh, a certain humility,” he begins. “That’s always been my way. I’ve been shown love and joy, but also racism. It reflects the layered nature of a community.”
Despite a wicked schedule, Kyle makes an effort to see “the people I grew up with.” Since his parents passed away, they include cousins, “Jeannette,” who he worked with at his first job at National Record Mart, and longtime menswear guru Michael Barone of Shadyside’s Moda (now with a second location in Lawrenceville).
He remains closest to Staycee Pearl (and husband Herman), who he talks with several times a day. And there’s Richard Parsakian, who he calls “the unofficial mayor of Pittsburgh” and ultra-aficionado of dance.
“We’ve grown closer over the years,” Kyle begins. He first visited Richard’s nationally-known vintage clothing shop, Eons, as a child. Back then he was tagging along with his older sister who frequented the Shadyside location. Eventually he bought his prom tuxedo there.
“There was this muscular guy in tight jeans who was a super open and kind person,” he notes. Then Kyle points out something he feels is overlooked, that Richard actively participates on councils and festivals for the entire city, events that are “free for everyone; he always has time for everyone.”
“The beautiful thing about Richard is how he supports arts, supports curiosity.There is a purposefulness about the intentionality in Richard, for people to be seen and how they see themselves.”
And Richard, who loves to create social events with a serious dance thread, asked him to choreograph a solo for Ecolution, a one-of-kind fashion show that offers a couture sensibility from local designers, using “sustainable, recyclable and organic materials.”
After all, Kyle still calls on Richard occasionally for costume consulting.
With a meet-and-greet, signature cocktail, DJ Soy Sos on tap and more, attendees will also witness one of Kyle Abraham/A.I.M.’s stellar dancers, Donovan Reed, in the world premiere of an as-yet-untitled solo. A Philadelphia native, Donovan graduated from the University of the Arts there. Like Kyle, he was a Princess Grace awardee in 2010 and then went on to work with Sidra Bell, Beth Gill, Andrea Miller and others.
What will the solo be about? Kyle says he started to make it during the pandemic, “but just stopped.” To this day, “no one has ever seen it except Donovan” who filmed it for him. Suffice it to say that these days Kyle is inspired by love and joy, which will enhance the evening in so many ways.
But it will make things that much more meaningful, knowing that Pittsburgh will always play a role in Kyle’s future. After all the city was Martha Graham’s birthplace and Paul Taylor’s residence during his formative years. Now it can claim another dance notable and, yes, we can watch him inch his way toward that level of excellence.
Maybe, along the way, an A.I.M. dancer will be wearing a costume from a vintage store in Pittsburgh.
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