When the Wolves Came In
Oct 4 Closing-night benefit party and performance: Following the show, join the cast and collaborators on stage for music by DJ Skinny Friedman, dancing and drinks. Click here to buy tickets>
When the Wolves Came In, a stand-alone repertory-based program, explores the historical legacy of two totemic triumphs in the international history of civil rights: the 150thanniversary of the Emancipation Proclamation and the 20th anniversary of the abolishment of apartheid in South Africa. The works take their inspiration from Max Roach’s iconic 1960 protest album We Insist: Max Roach’s Freedom Now Suite, which celebrated the centennial of the Emancipation Proclamation and shed a powerful light on the growing civil rights movements in South Africa and the U.S. The potent themes inherent in these historical milestones are evident in Abraham’s choreography, evocative scenery by visual artist Glenn Ligon, the visceral power of Roach’s masterwork and original compositions of Grammy® Award-winning jazz musician Robert Glasper.
Thu, Sept 25 at 6pm Come Early Conversation: Artist Talk with Visual Artist Glenn Ligon: Visual Design in Dance Performance
Thu, Oct 2 Stay Late Discussion: Creating When the Wolves Came In – Thomas Lax, Associate Curator, Media and Performance Art at MoMA in conversation with Kyle Abraham and Grammy Award Winning Jazz Musician Robert Glasper
Sat, Sep 20, 1 – 4pm Shared Practice: Process-focused workshop with Kyle Abraham. $20, advance purchase recommended.
The Watershed and When the Wolves Came In are commissioned and produced by New York Live Arts through its Resident Commissioned Artist Program, with lead support from The Andrew W. Mellon Foundation.
Support for the presentation at New York Live Arts is provided, in part, by the New York City Department of Cultural Affairs in partnership with the City Council and by the National Endowment for the Arts.
The Watershed and When the Wolves Came In is supported, in part, by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation. The works were developed, in part, through a production residency at On the Boards with support from the National Dance Project, with funding from The Andrew W. Mellon Foundation.
