Bold Opening: This piece reshapes the story of Alicia Graf Mack into a fresh, accessible narrative that preserves every essential detail and nuance of her milestone appointment at Ailey.
A new era begins at Alvin Ailey
On a recent Monday night at the Manhattan headquarters of the Alvin Ailey American Dance Theater, Revelations rehearsal possessed the warmth of a family gathering. A drum kit hums in a corner, vocalists settle with sheet music and iPads, and the company readies the classic 1960 work with its signature live gospel soundtrack for the upcoming December 3 opening. The room then fills with the rousing chant of Wade in the Water, a nod to Ailey’s Texas baptism, as dancers move in a collected, flowing procession. The audience nearby senses a gentle breeze from yellow rattan fans as the dancers respond to the moment in a gesture-rich performance.
Alicia Graf Mack: the new artistic director
Stepping into the frame during a pause, Alicia Graf Mack—Ailey’s newly named artistic director and a former company member—demonstrates a poised, effortless head movement. The pressure of launching her debut season is undeniable, yet Graf Mack has long been shaping this moment. Her path began at 17 with Dance Theatre of Harlem, then advanced through seven years directing Juilliard’s dance division, experiences that have prepared her to lead an internationally cherished institution.
As the piano fills the room, a soloist begins singing in a way that feels like the inner voice of a leader taking charge: I wanna be ready, Lord. Graf Mack, a statuesque 46-year-old and mother of two, joined Ailey in July as only the fourth artistic director in the company’s history. The founder led the company from its 1958 debut until his death in 1989. Judith Jamison, a towering dancer from 1965 to 1980, then helped transform Ailey into a household name and led the campaign to build its six-story home on 55th Street and Ninth Avenue. In 2011, Jamison stepped into emerita status and handed the reins to Robert Battle, who broadened the company’s roster of choreographers over his 12-year tenure.
Graf Mack now occupies that corner office. She carries with her a Revelations fan from her performing days and has prized Jamison’s colorful patchwork chaise longue—Jamison, who died last fall at 81, remains a guiding presence in the company’s memory. Graf Mack notes she would never call Jamison by her nickname, Judi, as a sign of deep respect. Their bond was one of mutual admiration; Jamison once texted Graf Mack, calling her a divine spirit walker.
A lineage of visionary leadership
Graf Mack’s November 2024 appointment, shortly after Jamison’s passing, felt almost fated. She embodies the same towering, tenacious presence that Jamison did on stage, and her history with Ailey echoes the same lineage of influence and aspiration. Ailey posters from Graf Mack’s earlier seasons—such as a 2012-13 image of her in a high split—continue to inspire younger generations. Her association with Revelations, often portrayed by a matriarchal figure, aligns with the broader scope of her responsibilities across Ailey’s ecosystem: the main company, Ailey II for emerging talents, the Ailey School with its Fordham-affiliated BFA program, Ailey Extension for community classes, and AileyCamp’s nationwide outreach to underserved youth.
Graf Mack describes Alvin Ailey’s dream as a mission-driven art form rooted in personal identity and shared human experience. Ronni Favors, a rehearsal director who joined Ailey as a student in 1974, observes that Graf Mack shares Jamison’s bold, boundary-pushing temperament, even if their personal styles differ. The guiding principle, as Favors recalls, is the late founder’s conviction: dance should be delivered back to the people who inspire it. Graf Mack emphasizes a commitment to answering that call with ever more ambitious artistic expressions.
Graf Mack’s lifelong preparation
Graf Mack’s journey into dance began in childhood, influenced by a mother who balanced academia and community arts in Maryland. Ballet became her north star, and long-term exposure to Black dancers she admired helped shape her self-identity. A pivotal moment came at age 11 with a master class from Dance Theatre of Harlem; a future mentor, Arthur Mitchell, left an encouraging note on her shoes, and six years later she joined the company. Mitchell’s belief that tall dancers can thrive on pointe helped Graf Mack feel she belonged and could thrive in the field.
Her path was not without setbacks. An underlying rheumatoid condition caused injuries that paused her career after a few years. She pursued studies at Columbia University, explored nonprofit management, and trained at Steps, where Horton technique offered a crucial alternative to ballet. A fateful summer connected her with Jamison and the Ailey company again, and she briefly joined Complexions while considering a bank career she had lined up—an option she ultimately set aside to pursue dance, following de Lavallade’s mentorship.
Graf Mack’s resilience continued as she returned to Dance Theatre of Harlem as a principal, and later rejoined Ailey, eventually dancing in the company and contributing to its repertoire. After further study and leadership roles—most notably as dean and director of Juilliard’s dance division in 2018—she refined fundraising, programming, and diversity strategies, preparing to steward a major national institution through changing times. Her vision of diversity as a thriving ecosystem reflects a commitment to training across disciplines and creating pathways for artists with varied backgrounds and talents.
Ailey in a changing landscape
Graf Mack’s leadership arrives amid broader cultural currents. The Whitney Museum’s Edges of Ailey exhibition reframed the founder’s legacy for new audiences, underscoring the company’s early, inclusive mission to provide a platform for diverse artists and stories. Graf Mack notes that Ailey’s founding intent was to create a repertory company as a platform for many voices to be heard. At the same time, political and funding climates influence how the company operates, including venue shifts and evolving community engagement.
For the upcoming Washington, D.C. season, Ailey will perform at the Warner Theatre, ending a long era at the Kennedy Center. Graf Mack acknowledges the upheavals seen across higher education and arts organizations and emphasizes a careful, integrity-filled approach to leadership. Her outlook centers on honoring the founding ethos while guiding Ailey toward a dynamic, inclusive future—one that invites audiences worldwide to see themselves reflected on stage.
On-stage programming and future directions
The season’s program at City Center leans into a balance of tradition and innovation. Maija García’s Jazz Island, with a score by Etienne Charles, explores Afro-Caribbean folklore through the lens of the entire company, drawing inspiration from Geoffrey Holder’s Black Gods, Green Islands. The late Holder’s partner, Carmen de Lavallade, whom many consider a guiding influence in Ailey’s history, described Jazz Island as a “very good meal” after previews. Graf Mack positions Jazz Island alongside the company premiere of Blink of an Eye, a piece by Medhi Walerski originally created for Nederlands Dans Theater. She emphasizes that while Blink of an Eye may not be rooted in a single Black aesthetic, its passionate performance and fearless artistry align with Ailey’s spirit.
Opening night will feature Melissa White, a Grammy-winning violinist, performing for Blink of an Eye, and Samara Joy, a vocalist with multiple Grammys, performing A Case of You in place of Diana Krall’s version. Even earlier than opening night, Ailey demonstrated its mission by rehearsing Revelations outdoors in a street-level studio, giving the neighborhood a preview of the company’s gifts and reaffirming the aim to put dance back into the people’s hands.
Are these bold directions enough to sustain Ailey’s legacy in a rapidly evolving arts world? Graf Mack invites ongoing dialogue: How should a storied company honor its roots while embracing new voices and audiences? What changes would you like to see in Ailey’s repertoire, leadership, or community outreach? Share your thoughts in the comments to keep this conversation alive.
