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Graf Mack’s appointment at Ailey comes at a moment of cross-currents. The recent “Edges of Ailey” exhibition at the Whitney Museum—a monumental, moving project that centered on the impact and influences of the man himself—has recontextualized that household name for new audiences. The show’s accompanying performance series, which tapped dancemakers across eras and backgrounds, also underscored Ailey’s original big-tent vision. “He didn’t want just a company for his own work, but a repertory company to give a platform for other artists to share their stories,” says Graf Mack. At the same time, Ailey’s core principles—honoring identity alongside aesthetic achievement—face a shift in political winds. For its Washington, D.C. season early next year, the company will have its two-week run at the historic Warner Theatre, quietly closing a long chapter at the Kennedy Center. Graf Mack has seen the upheaval play out across higher education and arts organizations; she and the Ailey leadership are proceeding with care and integrity. “We follow the founding tenets and then we allow [Mr. Ailey’s] bravery to keep us going into the future,” she says. Here was a queer Black man barrelling bare-chested into the cultural firmament. “He very much put our stories at the forefront, even when that might not have been widely accepted, but his genius is that he did it in a way that made audience members see themselves onstage, whoever they were, from any background, identity, place around the world.”I Identify As Tired Of Your Bull Shit Shirt
Highlights on the City Center program reflect this effort to simultaneously root into tradition and break new ground. Maija García’s Jazz Island, with an original score by the trumpeter and composer Etienne Charles, is a narrative exploration of Afro-Caribbean folklore created for the full company. García took inspiration from the book Black Gods, Green Islands, by the late Trinidadian artist and dancer Geoffrey Holder; his longtime partner, Carmen de Lavallade—one of those “angels” that helped steer the artistic director back toward dance—called it “a very good meal” after a recent preview. Graf Mack sees Jazz Island in the tradition of Ailey’s first work, Blues Suite (1958)—each dancer embodying a distinct character—while the company premiere of Blink of an Eye is a coolly contemporary addition. Choreographed by Medhi Walerski for eight dancers, it was originally created for Nederlands Dans Theater. “It’s not built in the Black aesthetic or cultural narrative language,” she says. What makes it Ailey is the “amazing dancing with so much heart and daring.” During a rehearsal, Graf Mack let out a yelp when a petite dancer leapt a rather far distance into a pair of waiting arms—an illustration of risk and reward.
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