A.I.M by Kyle Abraham
Saturday, February 21, 2026, 8pm
Sunday, February 22, 2026, 3pm
Zellerbach Hall
Leadership support for this performance is provided by Nadine Tang.
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A.I.M by Kyle Abraham
Kyle Abraham**, Artistic Director
Emily Waters, Executive Director
A.I.M Board of Directors
Kyle Abraham
Suzanne Hall, Chair
Cheryl Bergenfeld
Adrienne Edwards
Karen Hogan
Mark A. Leavitt
Glenn Ligon
Jennifer Mandelson
Wendy McCain
Gary Mezzatesta
Bebe Neuwirth
Carrie Schneider
Stephen Simcock
Gilda Squire
Julia Strickland
Mickalene Thomas
A.I.M Staff
Ben Pryor (he/him), Director of Touring and Artistic Operations
Lesedi Stofsky (she/her), Director of Development
Meredith Belis (she/her), Production Stage Manager
Jessica Tong (she/her), Rehearsal Director
Matthew Baker (he/him), Logistics Manager
Micaelina Carter (she/her), Touring Logistics Lead
Danielle LeBron (she/her), Senior Development Lead
Alexander Diaz (he/they), Marketing Lead
Dan Stearns (he/him), Lighting Supervisor
Chris Constable (he/him), Press Agent
Lucy Mallett (she/her) and Julia Corrigan (she/her), Arts FMS, Financial Services
Sam Crawford (he/him), Sound Engineer
A.I.M by Kyle Abraham is proud to support Dancers Responding to AIDS (DRA), which ensures vital care and comfort for those in need. Founded in 1991 by Paul Taylor Dance Company members Denise Roberts Hurlin and Hernando Cortez, DRA harnesses the compassion and commitment of the performing arts community to provide a safety net of essential social services. Learn more or donate at www.dradance.org/donate.
Performers
Mykiah Goree, Alysia Johnson*, Suzy Mondesir (guest),
Faith Joy Mondesire, Destin Morisset, William Okajima*,
Niya Smith, Jayden Williams (swing)
* Princess Grace Award Recipient
** Princess Grace Statue Award
Support the Future of A.I.M!
Contributions may be made payable to Abraham.In.Motion, Inc. and sent to 10 Lafayette Ave, Suite 4, Brooklyn, NY 11217. Abraham.In.Motion, Inc. is a 501(c)(3) charitable organization (EIN: 82-4790161). All donations are tax-deductible to the fullest extent allowed by law.
I’m humbled by the hardships and honored that the company is still on an upwards trajectory towards something much larger and impactful than I ever imagined. This live-music program is meant to encapsulate both A.I.M’s shared journey and our love for collaborative artistic expression.
The works on this evening’s program are made, above all, from love, pride, and history. From our most recent work on this evening’s program, 2×4 (2025), to If We Were a Love Song (2021), set to the music of Nina Simone, to The Gettin’ (2014), there is a journey of strife and support.
Created during my tenure as Resident Commissioned Artist at New York Live Arts (2012–14), The Gettin’ draws inspiration from jazz legend Max Roach’s seminal album, We Insist! – Freedom Now Suite. This recording, originally intended to be released in 1963 to mark the centennial of the Emancipation Proclamation, was released in the fall of 1960 due to the severity sparked by the sit-ins in Greensboro, North Carolina, and the urgency of the growing civil rights movements in the US and South Africa.
I keep going back to Roach’s response when asked about the song, “Freedom Day”: “Freedom itself was so hard to grasp…
we don’t really understand what it really is to be free.”
In 2025, the questioning of universal freedom is omnipresent. It is as layered and nuanced as the ways in which our personal perception of privilege is unpacked and processed.
As we look back on the murder of Eric Garner referenced in The Gettin’, it lands as a haunting reminder of an ongoing struggle for racial equality and continued police violence towards Black and Brown lives. The conversations and calls to action in 2020 spoke of the horrific murders of George Floyd and Brianna Taylor.
Bringing The Gettin’ back into our repertory, I hope, reminds people that these struggles have in no way disappeared.
In response, I created If We Were a Love Song to acknowledge and highlight a necessary narrative of Black Love and self-love in hopes of uplifting so many who have felt silenced and discouraged.
The most recent work on this program, 2×4, is in some ways an ode to form and a hopeful call for unity and support.
I thank you for your support and encouragement over the years. And many thanks to all of our collaborators, audiences, administrators, and donors, past and present. You have helped me bring my dreams to life.
—Kyle Abraham
Each year in February, as we move into our busiest time of the year, Cal Performances’ calendar becomes especially packed with a wide range of carefully curated events designed to appeal to the adventurous sensibilities and eclectic interests of Bay Area audiences. Over the coming months, we’ll see visits by an array of companies, ensembles, and soloists offering a remarkable set of opportunities to revisit old friends as well as discover marvelous and unfamiliar performers and artworks.
Our February programming alone features nearly two dozen presentations in our halls. You’ll find musical programs performed by world-class artists like baritone saxophonist Steven Banks and pianist Xak Bjerken (Feb 1, Hertz Hall [HH]), pianist Bruce Liu (Feb 10, Zellerbach Hall [ZH]), the beloved Takács Quartet (Feb 22, HH), and gifted jazz artists Cécile McLorin Salvant (Feb 5, ZH) and Somi (Feb 21, Zellerbach Playhouse [ZP]); enthralling contemporary dance programs with the great Martha Graham Dance Company, celebrating its 100th anniversary (Feb 14–15, ZH), and—in its highly anticipated Cal Performances debut—A.I.M by Kyle Abraham (Feb 21–22, ZH); cutting-edge new music from UC Berkeley’s own Eco Ensemble (Feb 7, HH), mezzo-soprano Joyce DiDonato with string trio Time for Three (Feb 7, ZH), and AMOC* and Sandbox Percussion in their mesmerizing co-production of Canto Ostinato, a hypnotic late-1970s minimalist work by Dutch composer Simeon ten Holt (Feb 22, ZP); and thrilling theater from Yaa Samar! Dance Theatre in the West Coast premiere of the company’s brilliant Gathering (Feb 27–Mar 1, ZP).
In the coming months, we’ll welcome a full spectrum of talent including Cal Performances’ 2025–26 Artist in Residence Víkingur Ólafsson; legendary soprano Renée Fleming; the virtuoso JACK Quartet; early-music superstars The English Concert, Jordi Savall, and The Tallis Scholars; and the phenomenally popular Silkroad Ensemble with Rhiannon Giddens.
And in April, our acclaimed dance series continues, distinguished by genre-defining artists and major new productions including The Joffrey Ballet in a bold new work set during Midsommar, the traditional Scandinavian summer solstice festival; and, of course, a return April engagement with the Alvin Ailey American Dance Theater.
As you explore the calendar, I recommend you pay particular attention to our Illuminations theme of “Exile & Sanctuary,” focusing on how issues of displacement can inform bold new explorations of identity and community; and how artistic expression can offer safe harbor during times of unrest or upheaval.
The opportunity to engage with diverse artistic perspectives and share the transformative power of the live performing arts is one of life’s greatest pleasures, and I look forward to encountering these profound and entertaining experiences with you in the months ahead.
Jeremy Geffen
Executive and Artistic Director, Cal Performances
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