Building a strong internal culture: Alicia Graf Mack at the helm of Alvin Ailey American Dance Theater
Our take
Alicia Graf Mack's appointment as the fourth Artistic Director of the Alvin Ailey American Dance Theater marks a significant turning point in the company’s storied legacy. Following the distinguished tenures of Alvin Ailey, Judith Jamison, and Robert Battle, Mack's return to Ailey—where she previously danced—brings a wealth of experience and a fresh perspective that could reshape the artistic direction of this iconic institution. Her background, including her role as Dean and Director of Dance at the Juilliard School, reflects a commitment not only to performance but also to education and mentorship, which are vital for nurturing the next generation of dancers. This leadership transition is a moment ripe with potential, resonating deeply with the broader themes of resilience and transformation in the dance world.
Mack's emphasis on building a strong internal culture within the Ailey organization is particularly noteworthy. In an industry often marred by competition and pressure, cultivating an environment where artists feel valued and supported is essential for fostering creativity and innovation. This focus parallels the narrative explored in Dance takes center stage in Lincoln Center’s ‘Summer for the City’, which showcases how collaborative efforts can elevate the entire arts community. By prioritizing internal culture, Mack signifies a shift towards a more holistic view of artistry—one that recognizes the importance of mental and emotional well-being alongside technical excellence.
Moreover, Mack's personal journey, including her experiences with injury and setbacks, adds a profound layer of relatability to her leadership. This perspective is vital in a field like dance, where the physical demands can be overwhelming. Her understanding of how to navigate adversity enhances her role not just as a director but as a mentor. This mirrors the sentiments expressed in Book review: Gavin Larsen and Gene Schiavone’s ‘Infinite Steps: Thirty-three Dancers and Their Lives in Ballet’, which highlights the diverse journeys of dancers, emphasizing that setbacks can lead to growth and new opportunities. Mack’s leadership could inspire dancers to embrace their own challenges, cultivating a culture where vulnerability is celebrated rather than shunned.
As we reflect on Mack’s vision for the Alvin Ailey American Dance Theater, it is essential to consider how her leadership might influence the broader dance landscape. In a time when many organizations are striving to diversify their leadership and practices, Mack stands as a beacon for what is possible when talent, experience, and empathy converge. Her commitment to honoring those who came before her while embracing a forward-thinking approach could set a new standard for artistic direction.
Looking ahead, one must ask: How will Alicia Graf Mack's leadership redefine the role of community and culture within not just Ailey, but the dance world as a whole? The answers could significantly impact how we experience and appreciate dance in the years to come, ushering in a new era where artists feel empowered to express their authentic selves, both on and off the stage.
Alvin Ailey American Dance Theater welcomes its fourth Artistic Director, Alicia Graf Mack, following only Alvin Ailey (1965-1989), Judith Jamison (1989-2011) and Robert Battle (2011-2023). She assumes the role from Matthew Rushing, who acted as interm AD from 2023-2024. Mack joins the company after a history of collegiate level teaching and, most recently, as the Dean and Director of Dance at the Juilliard School, a role she held since 2018. Mack danced for the Ailey company from 2005-2008, and again from 2011-2014. Previous to the Company, Mack danced with Dance Theatre of Harlem. Dance Informa had the opportunity to speak with Mack about her new role, her unconventional career path, the value that injury and setback brings to a rich dance career, and honoring those who came before her.
Becoming a choreographer, teacher, rehearsal director or artistic director after a dancing career is a reasonable trajectory. However, many dancers who end up in these roles after many years onstage say they didn’t expect to find themselves in these jobs and that the journey unfolded organically. Was that the case for you, or did you always have your sights set on becoming the Artistic Director of the Ailey company?
“I never envisioned myself in this specific role. This is something that came about unexpectedly. I was loving my time at Juilliard. I love that organization. I love the students. I love being in higher education. But when this opportunity came about, I thought, ‘What would that be like?’ I realized I was actually poised for the position. I’ve been part of the Ailey family for so long, even while I was at Juilliard, that it felt like the right next step. But, I couldn’t see it. I couldn’t see it coming at all.”
Your own history as a dancer took some twists and turns throughout your performing career, and you’ve held several jobs in higher education. What about the less traditional path of your career gave you the tools to be the kind of leader you are?
“My case is very unique. It is very hard to transition from being a dancer to the next step. I’ve had many roadblocks to my dance career, and that has actually been a blessing in disguise. It forced me, very early in my dance career, to think of myself as something other than a dancer. I don’t think most people have that privilege because when you’re performing, you’re all in. I was still very young. I had an injury, and a terrible flare up of my autoimmune disease. I had to stop dancing. Having this disease and being a professional dancer forced me into a duality in my life as a professional dancer, and as someone who’s also aspiring in a different direction. I’ve left my dance career three times. Each time, I retooled with various degrees, and found my life in administration and higher education. I was finding my love for dance in a different capacity. Working in higher education definitely prepared me for this role, and specifically my time at Juilliard: being a top tier school representing dance on a very high level, working with world renowned choreographers, holding very important canons of repertory – all of these things well prepared me for this position, as well as the fact that I know this organization.”
Given your rich involvement with the Ailey company over the years and your desire to maintain its history, culture and standards of excellence, what lessons will you take from your predecessors as you move forward in this role?
“It’s Mr. Ailey’s vision that we are here to uphold. He would want us to continue to grow, elevate and enlarge. But it always has to be by his guiding principles: sense of identity, the idea to tell truthful stories, to honor all people through Black American culture and esthetic. I will take Mr. Ailey’s bravery. If he could lead this company in the late ’50s, ’60s, ’70s, I can do it in 2025. I find my strength from his bravery and courage. Ms. Jamison…she became a mentor and a mother figure to me. She really had a very astute business acumen. She brought the company to the forefront of our culture. She created a global brand name out of a dance company. She knew how to create stability. She led with a lot of love. She adored her dancers. She lifted them up and she made sure that we represented something larger than ourselves with a lot of pride and excellence. Something I learned from Robert Battle was his curation of work under his direction. There’s no company in the world, in my opinion, that has this degree of diversity in their rep as a modern dance company.”
The Ailey company always has a long run at New York City Center each winter. As the company approaches these performance, the first with you at the helm, what are you most excited about in this new chapter?
“I’m excited for this upcoming season. We have been in a unusually long rehearsal period. We have lots of new works coming, and it was a wonderful chance for me to put my feet down in a different way with the company. I’ve been coaching a lot. I’ve been teaching company class. I’ve been present in rehearsals. I’ve curated the works. Our artists are world class, born performers. They’re itching to be back on the stage. I’m excited for them to unleash that energy. I will surely be the loudest person in the audience when they’re performing. I’m not only the artistic director of the main company, but I’m the artistic director of the entire organization. We’re feeding each other’s excellence, and this is something I’m really excited to dive into. One of my strengths, and I feel like I can say this out loud now, is to to build a strong internal culture. I really enjoy that work. It takes a lot of personal energy, time and presence, but it’s how I serve best.”
Alvin Ailey American Dance Theater’s New York City Center 2026 season runs from December 3, 2025-January 4, 2026. For tickets and more information, visit ailey.org/series/ailey-new-york-city-center.
By Emily Sarkissian of Dance Informa.
The post Building a strong internal culture: Alicia Graf Mack at the helm of Alvin Ailey American Dance Theater appeared first on Dance Informa Magazine.
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