Judith Jamison, the iconic dancer of the Alvin Ailey American Dance Theater, and its former artistic director, has died at age 81.
The ovation lasted for almost 10 minutes, a remarkable tribute to Judith Jamison’s breathtaking performance in Alvin Ailey’s Cry during its premiere in 1971. Although she was already a well-known dancer, this solo transformed her into a seminal figure, celebrated for her extraordinary vision and powerful passion on stage.
Jamison, who passed away on Saturday at the age of 81, was a remarkable figure in the dance world; her incredible presence captivated everyone around her. She had a unique way of owning every room she entered, radiating life and energy from all angles. Her dancing showcased her tall and graceful physique, embodying a sense of towering dignity that could command anyone’s attention.
Jamison was not the typical dancer you might expect; standing at 5-foot-10 and possessing an incredible level of flexibility, she broke the mold in the world of professional dance. That’s because she wasn’t just a dancer – with her unique abilities, she was a powerful force of expression. She could convey stories with a wide range of emotions and sensations that formed deep connections with her audience. Through her movements, she taught us about strength and vulnerability; and showed us that true artistry lived in the balance of both.
Cry captures the journey of a woman who transitions from slavery and loss to a state of triumph and grace. The piece, which became Jamison’s signature role, was dedicated by Ailey to “all Black women everywhere – especially our mothers,” highlighting the strength and resilience of Black women throughout history.
Jamison was the heart and soul of the Ailey company and Mr. Ailey’s muse, a term that can be pretty complicated, but he was profoundly inspired by her beauty and artistic execution. He translated Jamison’s feelings and ideas through her movements and she understood him on a level that allowed her to bring his emotions to the stage, and make the audience feel what he felt.
Their innate ability to connect through Jamison’s dancing showed just how powerful their bond was. It was like she could see clearly inside his heart and mind, and translate those feelings into heartfelt performances. Their relationship was more than just artist and muse; it was a partnership where Ailey’s talent and Jamison’s inspiration created something truly special.
During her time as a dancer for Ailey’s company, Jamison contributed to many performances that celebrated African American culture. However, in 1980, she decided to leave the troupe to star in Sophisticated Ladies, a revue that featured the music of Duke Ellington. It opened on Broadway the following year and allowed her to shine in the spotlight, hailed as “a mesmerizing incarnation of 1920s Cotton Club glamour” by The New York Times.
In 1984, Jamison pivoted to choreographing and created Divining for the Ailey company. By 1988, she had also established her own company, the Jamison Project, which, despite its brief existence, garnered high acclaim and showcased more of her innovative creativity.
However, her path would take a significant turn when, in 1989, Alvin Ailey tragically passed away from AIDS at the age of 58. Following his death, Jamison stepped into the role of artistic director at the Ailey company, inheriting a prestigious institution that had been a beacon of American dance for over three decades. Yet, the company faced a myriad of challenges, particularly financial instability stemming from Ailey’s personal battles with drug addiction and mental illness. (Notably, in 1980, when Ailey suffered a mental breakdown that led to his hospitalization, Ms. Jamison had already assumed directorial duties during his absence.) When she took the helm permanently, she faced the daunting task of revitalizing a beloved organization that was struggling to sustain itself amid the consequences of its founder’s tumultuous life.
Jamison carried a lot on her shoulders during her 21 years as Ailey’s artistic director. She didn’t just lead the company; she transformed it into something much bigger than dance itself. Under her leadership, the company not only emerged from debt for the first time, but it also experienced significant growth in both size and budget, and had become increasingly popular while maintaining an impressive schedule of national and international tours. The remarkable turnaround culminated in 2005 with the company’s opening of the Joan Weill Center for Dance, a sleek, multistory headquarters located in Midtown Manhattan that was dedicated exclusively to dance. As the director, Ms. Jamison skillfully preserved the classics of Ailey, with Revelations standing out as a masterpiece. She also incorporated a diverse array of works from various choreographers, particularly championing the great Ronald K. Brown and even contributing some of her own creations.
“What is most touching, and most revelatory of Jamison’s genius as a director, is how deep the quality goes,” the critic Joan Acocella wrote in The New Yorker in 1999. “New dancers, regular dancers, people that nobody’s making a fuss over, are performing at eight hundred kilowatts.”
“They are spontaneous, relaxed, human, and they are wholly inside the dance,” Acocella continued. “Someone has given them to themselves, and that person has to be Jamison.”
Judith Ann Jamison was born on May 10, 1943, in Philadelphia. She grew up in a vibrant cultural environment shaped by her family’s roots in music. Her father, John Henry Jamison, a sheet metal engineer from North Carolina with aspirations of being a classical pianist, and her mother, Tessie Bell (Brown) Jamison, an elementary school drama teacher from Florida, met while singing in the choir at Mother Bethel African Methodist Episcopal Church in Philadelphia. In this predominantly white neighborhood of Germantown, they worked hard to expose Judith and her older brother, John Jr., to a variety of musical experiences, ensuring they had a well-rounded upbringing. At age 6, Judith’s energetic spirit led her to begin ballet lessons with Marion Cuyjet at the Judimar School of Dance, one of the few venues available for Black children to receive classical training. This early start ignited a lifelong love and dedication to dance, as she passionately stated in a 1972 interview with The Times, “And from 6 to 17, I danced straight through.”
Jamison attended Fisk University in Nashville, but after three semesters, she realized that her true calling was dancing, so she transferred to the Philadelphia Dance Academy, an institution known for nurturing talent in the performing arts. During one of her master classes, she caught the eye of the eminent choreographer Agnes de Mille, who recognized her talent and invited her to perform in The Four Marys, a powerful dramatic work she had created for the American Ballet Theater (ABT). This performance featured roles for four Black maids, one of which was played by Jamison’s idol, the renowned dancer Carmen de Lavallade.
Despite the incredible opportunity, Jamison faced a harsh reality upon joining the ballet community in 1964; there were significantly limited opportunities for a Black ballerina. After completing a few performances with ABT, she found herself navigating a difficult position because the landscape for Black dancers was still fraught with inequities and systemic barriers. To support herself that summer, she took a job at the New York World’s Fair, where she operated a log flume ride.
After an unsuccessful audition for a television special featuring Harry Belafonte, Jamison received an unexpected call that would change her life. The caller was none other than the legendary choreographer Alvin Ailey, who had seen her performance and was impressed by her talent. He invited her to join his prestigious dance company.
In 1972, Jamison married Miguel Godreau, a former member of the Ailey dance company, but their marriage was short-lived and annulled two years later. Mr. Godreau passed away in 1996.
Despite her personal challenges, Jamison’s professional life was marked by major achievements and contributions. She served on the National Council on the Arts from 1972 to 1976, where she played a vital role in advising the chairman of the National Endowment for the Arts. Her impact on the dance community and the arts at large was further recognized when she received the prestigious Kennedy Center Honors in 1999, which celebrates individuals who have made significant contributions to American culture through the performing arts. Additionally, her accolades include the National Medal of Arts and the Handel Medallion, the highest cultural award from New York City.
In 2010, the first dance series ever hosted at the White House began with a heartfelt tribute to Jamison. The evening was made even more special by the presence of First Lady Michelle Obama, who shared a touching story about how, before she and President Barack Obama moved to DC, they had adorned their walls with just one piece of art – a striking photograph of Ms. Jamison captured during her breathtaking performance in Cry. The image not only symbolized Jamison’s sweeping impact in the dance world but also highlighted the Obamas’ deep appreciation for the arts.
The commendation at the White House was both a celebration of Jamison’s extraordinary talent and an acknowledgment of the vital role that art plays in enriching our lives and sense of community. As the evening unfolded, it became clear that her legacy would continue to influence generations of dancers and artists, and leave an indelible mark on the cultural landscape of America.
It certainly has.
Rest in power, Ms. Jamison.
