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	<title>Musical America Blogs &#187; Kyle Abraham</title>
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		<title>A Dance Labyrinth by Kyle Abraham</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8221</link>
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		<pubDate>Mon, 12 Nov 2012 02:48:38 +0000</pubDate>
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				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Benjamin Britton]]></category>
		<category><![CDATA[Boyz n the Hood]]></category>
		<category><![CDATA[Donny Hathaway]]></category>
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		<category><![CDATA[Hurricane Sandy]]></category>
		<category><![CDATA[J.S. Bach]]></category>
		<category><![CDATA[John Singleton]]></category>
		<category><![CDATA[Kyle Abraham]]></category>
		<category><![CDATA[mozart]]></category>
		<category><![CDATA[Pavement]]></category>
		<category><![CDATA[peter grimes]]></category>
		<category><![CDATA[Philippe Jaroussky]]></category>
		<category><![CDATA[Rena Butler]]></category>
		<category><![CDATA[Sam Cooke]]></category>
		<category><![CDATA[Some Day We'll All Be Free]]></category>
		<category><![CDATA[Souls of Black Folk]]></category>
		<category><![CDATA[The Wasteland]]></category>
		<category><![CDATA[W.E.B. Dubois]]></category>
		<category><![CDATA[West Side Story]]></category>
		<category><![CDATA[What's the Matter Now]]></category>

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		<description><![CDATA[The world premiere of Kyle Abraham’s Pavement, seen at the Harlem Stage Gatehouse on November 3, evokes a vision of urban youth careening through a dark world. Abraham begins Pavement by marking a spot with his downcast arm.  Then he lassoes his body, drawing a circle with his outstretched limbs. He moves loose, full force and in searching manner, as if looking for a clear compass. When a white dancer enters, he stops Abraham, lies him face down on the floor, and brings his hands to the base of his spine. Abraham’s arrest is done without emotion. This lack of drama makes the event feel doubly devastating.]]></description>
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		<title>April Dance Happenings: New York City</title>
		<link>http://www.musicalamerica.com/mablogs/?p=909</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=909#comments</comments>
		<pubDate>Tue, 29 Mar 2011 16:49:11 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Armitage Gone! Dance]]></category>
		<category><![CDATA[Dance Theater Workshop]]></category>
		<category><![CDATA[DanceNOW]]></category>
		<category><![CDATA[Flamenco]]></category>
		<category><![CDATA[Joe's Pub]]></category>
		<category><![CDATA[Kyle Abraham]]></category>
		<category><![CDATA[Museum of Art and Design]]></category>
		<category><![CDATA[New York City Ballet]]></category>
		<category><![CDATA[P.S. 122]]></category>
		<category><![CDATA[Paradigm]]></category>
		<category><![CDATA[St. Mark's Church]]></category>
		<category><![CDATA[The Joyce Theater]]></category>

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		<description><![CDATA[By Rachel Straus  March 29 &#8211; April 9 Eiko &#38; Koma The Japanese avant-garde artists, whose home has been the U.S. since 1976, present the New York premiere of Naked at the Baryshnikov Arts Center. They will be intermittently naked, but what will stand out are their glacially slow movement tableaus that change one’s perception [...]]]></description>
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		<title>Valentine Dances</title>
		<link>http://www.musicalamerica.com/mablogs/?p=862</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=862#comments</comments>
		<pubDate>Mon, 14 Feb 2011 23:16:49 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[Alex Escalante]]></category>
		<category><![CDATA[DanceNOW [NYC]]]></category>
		<category><![CDATA[Joe's Pub]]></category>
		<category><![CDATA[Kyle Abraham]]></category>
		<category><![CDATA[Mark Morris]]></category>
		<category><![CDATA[Martha Graham Dance Company]]></category>
		<category><![CDATA[Merce Cunningham]]></category>
		<category><![CDATA[Nixon in China]]></category>

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		<description><![CDATA[By Rachel Straus When the pressure is on to be romantic, delivering the goods is a challenge. The week before Valentine’s Day, four dance events intentionally (and unintentionally) dabbled in matters of the heart.  Merce Cunningham’s 1998 Pond Way—as filmed by Charles Atlas—was surprisingly the most romantic. (It was screened at the Baryshnikov Arts Center [...]]]></description>
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