Hope Boykin, a petite, curvy Black woman with a shaved head, gives the camera a mischievous, close-mouthed smile. Her palms are pressed together with her fingertips resting against her lips; her elbows are propped on her knees as she leans forward where she sits, arches popping against the floor. She wars white trousers and a denim button-down with the sleeves rolled to her elbows.

First As a Performer and Now As a Choreographer, Hope Boykin Has Nurtured Her Unique Voice

Watching Hope Boykin dance is like watching a musical score come to life: Her speed, her clarity, and her innate understanding of music have captivated audiences for more than three decades. But that outwardly spectacular performer has always nurtured her inner voice, too. In her post-performance life, Boykin has begun to share that voice through choreography, spoken word, and writing.

In a black and white archival image, Judith Jamison grins infectiously as she dances. She wears a long white dress, the skirt of which she lifts into a ripple with one arm as she moves lithely on the balls of her feet, knees bent.

TBT: How Judith Jamison Started Dancing for Alvin Ailey

“There is about her an aura of mysticism. She appears onstage, larger than life, more an apparition than a performer, compelling us to look upon her as we might a temple dancer—with a sense of religiosity, of awe.” Those were the opening lines of Olga Maynard’s November 1972 Dance Magazine cover story on Judith Jamison, then in her late 20s and at the height of her powers as a star performer with Alvin Ailey American Dance Theater.

all male ballet class following teacher in center

4 Artists of Color Step Into Leadership Roles

Janine N. Beckles, Clifton Brown, Kiyon Ross and Helanius J. Wilkins span generations and geographies. All four have recently transitioned into leadership roles, in dance companies and, for Wilkins, a university theater and dance department.