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Now, the corner office belongs to Graf Mack. She has brought along her framed Revelations fan, a memento from her performing days. And she has made space for a colorful patchwork chaise longue that belonged to Ms. Jamison, who died last fall at age 81. “I would never call her Judi—it would sound odd coming out of my mouth,” says Graf Mack, who had a poster of Jamison in her childhood bedroom. Theirs was a relationship of mutual respect, one artist to another: “‘You’re a divine spirit walker,’ she would text me sometimes.” In many ways, Graf Mack’s appointment in November 2024, just weeks after Jamison’s death, felt ordained. Once again, the company would be guided by a five-foot-ten woman who captivated audiences on the Ailey stage. (A poster from the 2012-2013 season featuring Graf Mack—one leg up in a side-split jump, with a beyond-180-degree extension—no doubt earned a place in a younger generation’s bedrooms.) Like Jamison, Graf Mack had carried the parasol in Revelations, a role reserved for a matriarchal figure. And it’s an apt metaphor, the umbrella, considering everything Ailey-related that falls under her purview. There’s the bonafide company and Ailey II, for early-career dancers; the Ailey School for pre-professional training and a BFA program with Fordham; Ailey Extension classes for the broader community, plus AileyCamp’s summer programs around the country for middle schoolers from underserved communities.Its A Mayo Commercial Shirt
“This organization feels rooted in an individual’s big dream for art and what it can do,” Graf Mack says of Alvin Ailey’s extraordinary vision, which honored personal identity and shared experience. As interpreters, Graf Mack shares Jamison’s audacious streak, as the rehearsal director Ronni Favors, who arrived at Ailey as a student in 1974, puts it. “They’re not afraid to dream big and shoot high, even if their affect is different.” She remembers Jamison likening her dancers to B52 bombers—her apartment overlooked the Intrepid, so she’d watch the airplanes come and go with hurtling might—while Graf Mack embodies a knowing reserve. “The thing that drives everything we do,” Favors adds, “is Mr. Ailey’s beautiful quote. He said, ‘I believe that dance came from the people and that it should always be delivered back to the people.’” Now, with Graf Mack leading the way, the collective goal deepens: “How many different ways can we make good on that promise?”
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