NEW YORK — The legacy of American dance is forever marked by the striking image of Judith Jamison, significant for her commanding performance in “Cry,” a poignant solo by Alvin Ailey that embodies aspects of Black womanhood.
This groundbreaking work from 1971 marked the start of Jamison’s influential career in modern dance which spanned several decades, both on and off the stage. Handpicked by Ailey himself to lead his renowned company from 1989 onwards, Jamison played a vital role in transforming it into the preeminent modern dance company in the United States.
In a 2018 interview commemorating the company’s 60th anniversary, Jamison expressed her astonishment at the enduring success of the troupe. “It’s remarkable that we still exist today,” she reflected, adding that Ailey would have been overwhelmed with joy at the longevity and flourishing of his vision.
Jamison’s tenure not only ensured the company’s continuous international fame and cross-cultural relevance but also fostered economic growth and stability that far exceeded Ailey’s original dreams, according to Wendy Perron, author and former Dance Magazine editor.
Perron attributes Jamison’s remarkable accomplishments, in a challenging landscape for many dance companies, to her genuine personality and talent for building relationships. “There was a warmth and magnetism about her — everyone wanted to be near her,” Perron noted, highlighting the admiration that surrounded Jamison.
Upon Ailey’s passing at the age of 58, Jamison took on the role of artistic director. She not only introduced fresh choreography but also ensured that Ailey’s iconic work, “Revelations,” continued to be a centerpiece of the company’s repertoire. This 1960 masterpiece, which narrates Black history through music and dance, has become synonymous with the troupe’s success.
In “Revelations,” Jamison left her imprint as a dancer performing the memorable baptismal scene, famously known as “the umbrella woman” while holding a white parasol. Today, “Revelations” remains a staple in the company’s performances both in New York and while on tour, widely recognized as possibly the most frequently seen piece of modern dance in history.
The work was even showcased at the White House during a dance event hosted by Michelle Obama in 2010, where she honored Jamison, calling her an amazing and phenomenal presence.
Reflecting on her journey when she stepped down as artistic director, Jamison, amidst applause at New York City Center, joyfully announced, “I have come a long way from Philadelphia, Pennsylvania!” Born in 1943 in Philadelphia, her early life was dedicated to honing her dance talents across different styles, including ballet, modern, and tap.
Jamison humorously recalled in a 2023 podcast how her parents channeled her abundant energy into dance. Her mother, who crafted her costumes and supported her after classes, played a crucial role in her early development.
In 1964, the legendary choreographer Agnes de Mille noticed Jamison’s skills and invited her to New York for a production with the American Ballet Theatre. After a rocky audition experience, where she stumbled, she caught the eye of Ailey and was invited to join his new company.
Initially puzzled by Ailey’s interest in her, Jamison later embraced her uniqueness, describing herself as having “a small head, broad shoulders, long arms and long legs.”
Jamison traveled extensively with the Ailey company to Europe and Africa, and it took time for her to realize that dancing could be a viable career. In hindsight, she noted the financial difficulties of the early years, humorously recalling that pay was often minimal.
Despite this, she discovered her passion for performance and found joy in the camaraderie with fellow dancers, highlighting the Ailey troupe as one of the few outlets for Black performers during that time.
Ailey entrusted Jamison with “Cry,” a tribute to Black women, particularly mothers, in 1971. On her debut night, she faced an intense challenge but ultimately captivated the audience, recounting how she kept bowing to their cheers long after the curtain fell.
Throughout her illustrious career, she also collaborated with various companies worldwide and took a brief hiatus from the Ailey troupe to star on Broadway before returning. Jamison confirmed Ailey’s wish for her to lead the company in his absence during his last days.
Reflecting on Ailey’s passing, she recounted being present at the moment he departed, recalling an unusual final breath that inspired her to believe that they were living on his legacy, his dreams.
Over her remarkable career, Jamison received numerous accolades, including the prestigious Kennedy Center Honors in 1999 and the National Medal of the Arts in 2001.
Perron emphasized Jamison’s choreographic contributions should not be overlooked, particularly citing the duet “A Case of You” from her 2005 work “Reminiscin’,” a heartfelt piece emblematic of her artistic vision.
Jamison entrusted artistic leadership to choreographer Robert Battle in 2011, and one of her proudest achievements remains establishing the Joan Weill Center for Dance in 2005, providing a new home for the company.
Sylvia Waters, now Ailey II’s Artistic Director Emerita, described Jamison as “majestic” and “queenly,” underscoring the unique energy she brought to the dance world. “Her presence was captivating,” Waters remarked, affirming the lasting impression Jamison leaves behind.
This groundbreaking work from 1971 marked the start of Jamison’s influential career in modern dance which spanned several decades, both on and off the stage. Handpicked by Ailey himself to lead his renowned company from 1989 onwards, Jamison played a vital role in transforming it into the preeminent modern dance company in the United States.
In a 2018 interview commemorating the company’s 60th anniversary, Jamison expressed her astonishment at the enduring success of the troupe. “It’s remarkable that we still exist today,” she reflected, adding that Ailey would have been overwhelmed with joy at the longevity and flourishing of his vision.
Jamison’s tenure not only ensured the company’s continuous international fame and cross-cultural relevance but also fostered economic growth and stability that far exceeded Ailey’s original dreams, according to Wendy Perron, author and former Dance Magazine editor.
Perron attributes Jamison’s remarkable accomplishments, in a challenging landscape for many dance companies, to her genuine personality and talent for building relationships. “There was a warmth and magnetism about her — everyone wanted to be near her,” Perron noted, highlighting the admiration that surrounded Jamison.
Upon Ailey’s passing at the age of 58, Jamison took on the role of artistic director. She not only introduced fresh choreography but also ensured that Ailey’s iconic work, “Revelations,” continued to be a centerpiece of the company’s repertoire. This 1960 masterpiece, which narrates Black history through music and dance, has become synonymous with the troupe’s success.
In “Revelations,” Jamison left her imprint as a dancer performing the memorable baptismal scene, famously known as “the umbrella woman” while holding a white parasol. Today, “Revelations” remains a staple in the company’s performances both in New York and while on tour, widely recognized as possibly the most frequently seen piece of modern dance in history.
The work was even showcased at the White House during a dance event hosted by Michelle Obama in 2010, where she honored Jamison, calling her an amazing and phenomenal presence.
Reflecting on her journey when she stepped down as artistic director, Jamison, amidst applause at New York City Center, joyfully announced, “I have come a long way from Philadelphia, Pennsylvania!” Born in 1943 in Philadelphia, her early life was dedicated to honing her dance talents across different styles, including ballet, modern, and tap.
Jamison humorously recalled in a 2023 podcast how her parents channeled her abundant energy into dance. Her mother, who crafted her costumes and supported her after classes, played a crucial role in her early development.
In 1964, the legendary choreographer Agnes de Mille noticed Jamison’s skills and invited her to New York for a production with the American Ballet Theatre. After a rocky audition experience, where she stumbled, she caught the eye of Ailey and was invited to join his new company.
Initially puzzled by Ailey’s interest in her, Jamison later embraced her uniqueness, describing herself as having “a small head, broad shoulders, long arms and long legs.”
Jamison traveled extensively with the Ailey company to Europe and Africa, and it took time for her to realize that dancing could be a viable career. In hindsight, she noted the financial difficulties of the early years, humorously recalling that pay was often minimal.
Despite this, she discovered her passion for performance and found joy in the camaraderie with fellow dancers, highlighting the Ailey troupe as one of the few outlets for Black performers during that time.
Ailey entrusted Jamison with “Cry,” a tribute to Black women, particularly mothers, in 1971. On her debut night, she faced an intense challenge but ultimately captivated the audience, recounting how she kept bowing to their cheers long after the curtain fell.
Throughout her illustrious career, she also collaborated with various companies worldwide and took a brief hiatus from the Ailey troupe to star on Broadway before returning. Jamison confirmed Ailey’s wish for her to lead the company in his absence during his last days.
Reflecting on Ailey’s passing, she recounted being present at the moment he departed, recalling an unusual final breath that inspired her to believe that they were living on his legacy, his dreams.
Over her remarkable career, Jamison received numerous accolades, including the prestigious Kennedy Center Honors in 1999 and the National Medal of the Arts in 2001.
Perron emphasized Jamison’s choreographic contributions should not be overlooked, particularly citing the duet “A Case of You” from her 2005 work “Reminiscin’,” a heartfelt piece emblematic of her artistic vision.
Jamison entrusted artistic leadership to choreographer Robert Battle in 2011, and one of her proudest achievements remains establishing the Joan Weill Center for Dance in 2005, providing a new home for the company.
Sylvia Waters, now Ailey II’s Artistic Director Emerita, described Jamison as “majestic” and “queenly,” underscoring the unique energy she brought to the dance world. “Her presence was captivating,” Waters remarked, affirming the lasting impression Jamison leaves behind.