Reflections on Judith Jamison

People across the organization remember our beloved artistic director emerita in celebration of her birthday and what is now officially Judith Jamison Day.

Sylvia Waters, Ailey II Artistic Director Emerita 

The first time we met, she was traveling with the Company and she was wearing this wig with the hair down over one eye. She had such a presence, very poised, very pulled-up. When I was introduced to her, I said, ‘Hi Judy!’ She turned to me, looked down and said, ‘It’s Judith.’ She could be very intimidating, and after that I thought, okay, I’m afraid of you. But the next time I saw her in New York, she smiled at me and we hugged, and after that it was always Judy. 

Constance Stamatiou, Company Dancer 

When I joined the Company in 2007, we were beginning our international tour and I was kind of starstruck by all these dancers in the Company, people that I admired. I remember being in the stairwell and Ms. Jamison said, "You're here. You've made it. Now, what are you going to do?" That was her way of saying, "Let's go. Let me see what you got." I was terrified, but I was terrified because I wanted to do my best for her, because she expected excellence and nothing less. Ever since then, I've always felt very supported by that motherly kind of love of hers. 

Yannick Lebrun, Company Dancer 

One big moment that I will never forget is when she led the choir for Revelations on opening night of the Company’s 50th anniversary, which is something I'd never seen before. It was my first year with the Company; it was such a big year. We were dancing, and she's right there in the pit. When “I’ve Been Buked” started, she knew when it was too fast or too slow. She knows when "Fix Me" was too slow or too fast. That moment of being on stage and seeing her in the pit, leading the musicians, that tells you everything about her. Her sense of rhythm and her musicality were perfection. 

Jennifer Fyall, Associate Director of Marketing, Former Student at The Ailey School

I remember being a student at The Ailey School when Ms. Jamison was artistic director of the Company, and once in a while she’d enter a classroom to watch. Immediately we’d straighten up a bit taller, pull in, shoulders back, the entire class barely breathing. You become laser focused. She would spend no more than a few minutes in the room, but in that moment, we were putting everything out there. She would watch us dance a couple of phrases and afterwards say a few words to the class. Whether it was words of encouragement or maybe it was a critique—whatever it was, it was all inspiring. She made us feel seen and connected, and we knew she cared. We’d hold on to that moment and to her words for the rest of the day. 

Matthew Rushing, Interim Artistic Director 

When I was at the School and she would pop into classes, she didn't say anything. She just stood there, which was enough—she just stood there and watched. It didn't calm your nerves knowing that this was normal, you were still really intimidated when she came in. She didn't really talk to me until she came in to rehearse with the second company. That's when I first got my opportunity to be in the studio with her. And the first thing I realized was that she's so focused on details. I had never worked with anybody that was intentional about literally where your pinky was. I'm not exaggerating. I used to get corrections about my pinky. At first, I thought she was kidding, but she was like, "Your pinky is too high. It has to be in line with the rest of your fingers." 

Vernard Gilmore, Company Dancer 

We had this wonderful rehearsal the year we were bringing Masakela Langage back into our repertory. She was very passionate about it. She was giving us detailed work about what it meant and how you need to understand the weight of it and to imagine what it felt like to be those people. But she had this way of moving her arms. I remember us all leaving in awe because she had incredible arms. Such an exquisite intentionality. You see it in her solo from Mary Lou’s Mass. It feels like her arms are an extension of her soul. But her intentionality in that one rehearsal, we went to her and said, "We want more rehearsals like that!" She was reaching through time. It was that moment to me that will stick out forever because it really inspired us to become real artists in our work. 

Sylvia Waters, Ailey II Artistic Director Emerita 

We performed “Wade in the Water” together a lot, and it was wonderful. She made you feel as if you needed to rise to it—not that you had to keep up, but she had such an incredible energy that you wanted to match her. And it was fun. It was fun to share the stage with her. She was a wonderful comedian too. When she performed the tall girl in Blues Suite, she was hysterical. Watching her was always a lesson for me.  

Matthew Rushing, Interim Artistic Director 

When Judy brought Maurice Béjart’s Firebird into the repertory, I found out I was learning the male lead, which is extremely challenging. I was a little intimidated by the role, and Judy knew this. I found out later that she put me in the role intentionally because she knew it would challenge me. When it was time for me to premiere the role in London, she could tell I was nervous. The day before the premiere, she said, "I'm going to come to your room and I'm going to beat your face." For Béjart’s ballets, the makeup was really dramatic. I didn't think she would actually do it. Judith Jamison beating your face?! We hadn't ever heard of that. But she came to my dressing room with a bag of makeup, and she proceeded to beat my face. I could not believe it. I knew that was Judy's way of letting me know that she was in my corner. I'll never forget how I felt—like it was her way of comforting and supporting me.  

Sylvia Waters, Ailey II Artistic Director Emerita 

In some ways, she could be incredibly private. I remember when she got her letter from Jackie Onassis about publishing her memoir. Judy rubbed the signature on the letter and said, ‘Yep, it’s real.’ Judy didn’t want to do the book. I tried to tell her it would be fantastic, and that she’d probably get to work with a ghostwriter, which would make it easier. But Judy said no and threw the letter in the trash. I pulled it out and said, ‘Well if you don’t want to do it, I’ll do it.’ She snatched the letter back and accepted the offer. 

Vernard Gilmore, Company Dancer 

She could say some things that could hurt you, but it made you think how do I build a stronger and thicker mental capacity so that I can deal with whatever, so I'm unembarrassed and I'm not feeling less than. I can take the correction and not let it bury me. That's what she wanted. She wanted you to take it and come out flying. And when you did, she acknowledged it. That was really powerful for me. 

Matthew Rushing, Interim Artistic Director 

Being one of the first Black female modern dance stars, traveling the world, guesting with other companies, I'm pretty sure she had a lot of things that she came up against. When I first got into the Company, I remember how much she talked about integrity, what it meant to be part of this organization and Mr. Ailey's vision. She taught us excellence and to demand respect. We had a press conference in Egypt once, and I answered a question with, "What you'll see in tonight's show..." She pulled me over to the side and said, "We don't do shows. We do performances. We're artists." Being young, I was like, "Really? Is it that big of a deal?" But when I got older, I understood what she meant: that you have to be the first person to teach people how to respect what you do. If you don't see it in a certain way, they won't either. I've carried that ever since. 

Sylvia Waters, Ailey II Artistic Director Emerita

I was there when Eartha Kitt came to her dressing room after Judy performed in Sophisticated Ladies, when Judy was singing. Judy had all these beautiful things—dressings and trinkets—around the dressing room; she wasn’t a cheap date. And Eartha Kitt came in after the show and said, “Judy, you’re doing it. You’re doing it exactly like Katherine Dunham did it.” Judy stood there with her hands on her chest and accepted it all with grace. She knew what it meant to carry that legacy. 

Matthew Rushing, Interim Artistic Director 

I remember going with Judy to Senegal—her plan was to collaborate with Germaine Acogny on a festival for all women—I was invited anyway. When we got to Africa, you could tell it did something to Judy. That demeanor that she often has to uphold, she dropped it. She's usually very focused and serious but we were laughing. We had to take this long car ride, and we turned on the radio and we were singing songs. At one point I was leaning on her shoulder, laughing and talking. I never saw her that way while we were in the studio. I always saw her as “Ms. Jamison.” I don't know if it was being in Africa that did that to her, but she totally released and relaxed that presence that she had to hold. 

Yannick Lebrun, Company Dancer 

One year, she invited some of us to church. Judy made sure that she was sharing her spirituality and her faith; she made sure that we understood what it meant for her. It was at the Abyssinian Baptist Church on 138th Street. I will never forget it. It was such a sacred moment to be at church with your boss, not just your boss, but a human being who wanted to share that experience. We were moved watching her. I was moved by that. I remember being in tears at some points, because not only the music, the choir, but being in her presence at church. It was very special. 

Lisa Johnson-Willingham, Ailey Extension Director 

One of my fondest moments is asking Ms. Jamison to teach for me at Ailey Extension, to teach the general public after she had retired. It was really important for my students to experience her. I met Ms. Jamison when I was in college, and she changed my life forever, and I knew having her in the room with nonprofessional dancers would do the same for them. My fondest memory is actually being on the phone, asking her to come and teach. With no hesitation she said, “Yes, Lisa, of course.” It was to celebrate Mr. Ailey's birthday, and she said, “Anything for Alvin.” Being in the room and watching the effect she had on others, I think a lot of students were happy to be in the room with her. Her essence, her expansiveness. She just walks into the room and takes the air out because she's so divine. 

Amos Machanic, Former Company Dancer 

When I think of her, when I walk into the building, I think, “Had it not been for her strength, her tenacity, her fight to make sure that Mr. Ailey's legacy would have a home, we wouldn’t have this building.” No matter what happens, this is a place where that dream can continue. Dancers always need space. If you don't have space, how do you create? And she created this palace where people can create. 

Vernard Gilmore, Company Dancer 

When she retired, things changed. I had finally gained a relationship with her where I felt I could have a rapport with her. I wasn't afraid to have an opinion because at first, she's your boss. You're trying to do your job well, and you don't really speak up as much. But then I understood that if I don't allow her to see me as a person, as a part of the relationship, then I'm doing a disservice to me and her. When she left, I felt the weight of her not being around, losing that type of tenacity, of being pushed. 

Constance Stamatiou, Company Dancer 

I've had moments with Ms. Jamison where even after I left the company and she had retired, we still kept in touch. She would invite me to her baptism. I would even have my kids call and we would send videos to wish her a happy birthday. That's just how loving she was. Her connection with you went beyond the studio.