Inside the Joan Weill Center for Dance in Manhattan’s Hell’s Kitchen neighborhood, the Alvin Ailey American Dance Theater continues to uphold its legacy of celebrating African American culture through movement. Founded in 1958 by Alvin Ailey, the company has been based in this glass-and-steel facility since 2005, where dancers rehearse works that have defined its artistic identity.
One such piece, Cry, a solo created by Ailey in 1971 as a tribute to Black women and mothers, remains a core part of the company’s repertoire. During a recent rehearsal, dancer Constance Stamatiou refined her performance under the guidance of associate artistic director Matthew Rushing. The piece, known for its demanding physicality and emotional intensity, embodies the company’s mission to elevate the African American experience through dance.
The current artistic director, Alicia Graf Mack, who assumed leadership a year ago, describes Cry as the first Alvin Ailey work she ever encountered. As a child, she saw it on VHS, finding in it a powerful reflection of herself and the technical mastery of its original performer, Donna Wood. Graf Mack, now 47, acknowledges the influence this early exposure had on her career and artistic vision.
Graf Mack’s tenure marks the first time in recent years that the company has embarked on an international tour, scheduled to perform at London’s Sadler’s Wells Theatre in September. The tour’s programme, titled Legacy, is designed to honor Ailey’s choreography, featuring iconic works such as Revelations. This 1960 piece draws on spirituals, gospel, and blues music, inspired by Ailey’s upbringing in the segregated American South, and remains a centerpiece of the company’s performances.
In an interview conducted from her office at the dance center, Graf Mack spoke about the enduring influence of both Alvin Ailey and his longtime muse Judith Jamison. She continues to refer to the office as “Miss Jamison’s office,” preserving elements of its past, including a chaise longue commissioned by Jamison. Personal touches, such as photographs of Graf Mack’s family and a handcrafted unicorn from her daughter, Laila, signal her evolving leadership while maintaining respect for tradition.
Addressing questions about contemporary social and political challenges, Graf Mack expressed confidence in the company’s commitment to diversity and inclusion, despite a cultural climate she described as cautious about language. She emphasized that the company’s identity is rooted deeply in its values and artistry, which speak for themselves when brought to life on stage.
Under Graf Mack’s guidance, Alvin Ailey American Dance Theater continues to exemplify resilience and creativity, carrying forward a mission to celebrate and elevate Black culture through the universal language of dance.