Revisiting Marcelo Gomes & Kyle Abraham : American Ballet Theatre and Abraham.In.Motion
#ThrowbackThursday: Fave Dance Enthusiastic Moments and Feelin' Gify
American Ballet Theatre in rehearsal for "AfterEffect" from an article originally published on October 20, 2015
Nicole Dekle Collins for The Dance Enthusiast: Why did you name the piece AfterEffect?
Marcelo Gomes, Choreographer : I’m interested in the aftereffect, or the aftermath, that takes place after somebody has suffered a tragedy. I guess interested is not the right word.
I am in awe of how people carry on with their lives after such a big impact on them or their families. It could be a personal tragedy or something that happens to hundreds of people—a tsunami or 9/11 or an earthquake. I’m amazed that they can carry on year after year. For some people it becomes harder to keep going, and for others it becomes easier. I have lots of questions and answers about the people who carry on, and whether they’ve had a positive aftereffect or a negative aftereffect.
TDE: Watching your rehearsal... I notice a classical base, but the movements also break out of the academic frame and go in unexpected directions. Some choreographers have a strong feeling that ballet needs to be made new. What are you seeking to do regarding classical and contemporary elements?
MG: I don’t think about what I’m trying to do per se. It's a funny thing when choreographers say they’re trying to reinvent something. The steps are all there. An arabesque is an arabesque. It’s the feeling that you put into that arabesque that’s going to make it different from the arabesque that you do in other pieces.
video by Christine Jowers
Abraham.In.Motion dancer Beatrice Capote in rehearsal for "The Radio Show" from an article originally published on March 10, 2014
Garnet Henderson on Kyle Abraham of Abraham.In.Motion:
Abraham’s movement style is just as varied as the music, with influences from Graham to Cunningham to hip hop. Dancer Chalvar Monteiro, who has been with Abraham.In.Motion for nearly four years, credits Abraham’s unique movement style to the fact that he started his dance training later in life, at age 17. In Monteiro’s opinion, that gave Abraham a more broad and inclusive perspective on various styles. Abraham says he doesn’t often think about specific movement influences until later in the process, when he is passing phrases on to his dancers. “When I’m moving, I’m just moving,” he says.
video by Garnet Henderson