Icon of American Dance, Judith Jamison, Leaves Legacy of Empowerment and Excellence

Few images in the history of American dance are as unforgettable as Judith Jamison in “Cry,” Alvin Ailey’s searing solo about Black womanhood. Dressed in a white leotard and long ruffled skirt, Jamison’s regal and passionate air-punching performance in the 1971 piece catapulted her to international stardom. But that was merely the beginning of her illustrious career, both onstage and behind the scenes, in modern dance.

As Ailey’s chosen successor in 1989, Jamison steered the Alvin Ailey American Dance Theater for more than two decades, transforming it into the most successful modern dance company in the nation. “It’s amazing,” reflected Jamison in a 2018 interview marking the company’s 60th anniversary, a short reflection on her remarkable journey that ended with her passing at 81 after a brief illness on Saturday. “Mr. Ailey would be absolutely beside-himself happy,” she remarked about the longevity and profound impact of the company he founded 60 years ago.

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Jamison’s tenure brought the company not only continued global acclaim and cross-cultural appeal but also economic stability and unprecedented growth. Wendy Perron, author and former editor of Dance Magazine, praised Jamison’s unique ability to build relationships, describing her as having a warmth and magnetism that drew people in. “There was a light shining around her,” Perron noted.

Upon Ailey’s death at 58, Jamison took the helm as artistic director, introducing new works and choreography while ensuring that Ailey’s masterpiece, “Revelations,” remained central to the company’s repertoire. This 1960 classic, a potent exploration of Black history through spirituals and blues, has been a cornerstone of the company’s identity and success. Jamison herself left an indelible mark as a dancer in “Revelations,” especially in her portrayal of “the umbrella woman.”

“Revelations” continues to dominate the company’s programs, both in New York and on tour, revered as the most-seen work of modern dance. It even graced the White House in 2010 at an event hosted by Michelle Obama, who lauded Jamison as “an amazing, phenomenal, ‘fly’ woman.” Obama also shared a personal note, revealing that a photo of Jamison in “Cry” had been the only piece of art in the Obamas’ home before the White House, prompting her daughters to ponder, “Is that the lady in the picture?”

Retiring as artistic director in 2011, Jamison reflected on her journey from her Philadelphia roots, where she was born in 1943. Her early years were spent rigorously training in various dance forms, supported by her mother’s dedication, who even crafted her dance costumes and massaged her aching legs after classes.

In 1964, choreographer Agnes de Mille noticed Jamison in a dance class and brought her to New York for an American Ballet Theatre production. Soon after, despite a faltered audition for a TV special, Ailey took note and invited her to join his nascent company. Jamison often wondered what Ailey saw in her, speculating it might have been her physique: “Small head, broad shoulders, long arms and long legs.”

Traveling with the young company to Europe and Africa, Jamison initially questioned the viability of a dance career, partly due to the meager pay they received. However, she eventually found joy in dancing, traveling, and the camaraderie of fellow dancers. Ailey’s company was a rare platform for Black talent at the time, providing a vital outlet for their artistry and culture.

In 1971, Ailey cast Jamison in “Cry,” a tribute to Black women, especially mothers. Opening night almost overwhelmed her, but the audience’s fervent applause reassured her success. She recalled taking numerous bows amid their cheers.

Over two decades, Jamison performed globally, left Ailey’s troupe in 1980 to star on Broadway, and formed her own company, The Jamison Project. Eventually, an ailing Ailey asked her to lead the company, a responsibility she embraced as she witnessed his passing, reflecting on the breath he took in rather than out, symbolizing their continued journey on his dream.

Jamison received numerous accolades, including the Kennedy Center Honors in 1999 and a National Medal of the Arts in 2001. Perron believes Jamison’s choreographic talents were somewhat overlooked, citing her powerful and inventive duet “A Case of You” as a testament to her creative prowess.

Passing the artistic director mantle to Robert Battle in 2011, Jamison cherished her role in establishing the Joan Weill Center for Dance in Midtown Manhattan. “Majestic” and “queenly” were how Sylvia Waters, Ailey II Artistic Director Emerita, described Jamison. Waters reminisced about Jamison’s “unique, spectacular” dancing and the mesmerizing energy she exuded.