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In a rehearsal studio at New York Live Arts, Kyle Abraham is leading his dancers like a conductor. He moves his fingers in sync with their legs as they dance through the space in athletic, sinuous formations. At one point he begins dancing himself; gliding into the middle of the room, his body alternating between animated pop-like sequences and languid balletic undulations. “Yes!” he says. The room buzzes as the dancers finish the piece, clapping for each other and collapsing

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This story is from Kinfolk Issue Thirty-One

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