The Alvin Ailey American Dance Theater is embarking on a new era, led by its visionary artistic director, Alicia Graf Mack. In her office, Graf Mack is surrounded by the spirits of the past, a testament to the rich history of the dance company. She sits at a desk once occupied by the legendary Alvin Ailey himself, and a chaise lounge belonging to Judith Jamison, the group's long-time principal dancer and successor to Ailey, stands in the corner. Graf Mack refers to these icons as the company's "founding angels," a reminder of the brave and courageous vision they established.
Taking on the role of artistic director in July, Graf Mack follows in the footsteps of Robert Battle, who stepped down after a 12-year tenure. Her vision for the company's first season under her leadership is one of balance and evolution. She aims to honor the powerful and visceral dance style for which Ailey is renowned while infusing it with fresh energy, a "new era" for the theater.
The upcoming season, commencing on December 3rd, promises five world premieres. One such premiere, Maija García's Jazz Island, showcases the full company in a narrative piece reminiscent of Ailey's earlier works like Revelations (1960), a celebration of Black history and culture. Graf Mack, a former principal dancer with the company, describes her vision as straddling the line between Ailey's signature style and a contemporary, energetic approach.
Other new works include pieces by Fredrick Earl Mosley, Matthew Neenan, and Jamar Roberts. Additionally, Jawole Willa Jo Zollar, founder of Urban Bush Women, has collaborated with Ailey dancer Samantha Figgins and former company member Chalvar Monteiro on a new creation. The company will also perform Medhi Walerski's Blink of an Eye (2011) and a new production of Jamison's A Case of You (2004), adding to the season's diverse repertoire.
Graf Mack's appointment as artistic director is a testament to her own journey with the company. After her first stint from 2005 to 2008, she left to pursue a master's degree in nonprofit management, returning from 2011 to 2014. She then transitioned into education, leading Juilliard's dance division before rejoining Ailey this summer. Today, the company stands as one of America's most acclaimed dance institutions, with an annual month-long engagement at New York City Center and international tours. It also encompasses a junior company, Ailey II, and a school.
"This stage of my life is such a surprise and a blessing," Graf Mack reflects. Growing up, her dream was to become a dancer, and she fulfilled that dream under the direction of Jamison and Battle. In her childhood bedroom, she hung a poster of Jamison, aspiring to emulate her idol as principal dancer. And indeed, she did.
"What she did for the company, to create a brand name, to have a permanent home in New York City, to uplift Black and brown people worldwide, and to establish a cultural ambassador of American and Black culture is incredible," Graf Mack said of Jamison. Jamison's legacy inspired Graf Mack to re-educate herself in nonprofit management and find a new path in higher education.
Graf Mack takes the helm at a challenging time for the arts. The Trump administration has sought to cut federal funding for the arts and reshape the American cultural landscape. Ailey, a perennial highlight of the Kennedy Center, is breaking tradition by performing at the smaller Warner Theater early next year. Graf Mack explains, "We felt it was necessary to find a venue where everyone felt welcome to experience the magic of Ailey."
Revelations (1960), Ailey's signature piece, remains a cornerstone of the company's repertoire, recounting African American history and heritage through spirituals and gospel music. It has been performed worldwide and continues to inspire and educate audiences.
As a leader in these polarizing times, Graf Mack draws on Ailey's guiding principle: to lift people through the arts. She believes that the arts are essential for young people to establish their self-worth and self-esteem. "The arts should be lifted and supported," she says, a sentiment that resonates deeply in these challenging times.
This story was produced by Ana Perez and edited by Obed Manuel.
