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By Unity Powell
The Whitney Museum of American Art “Edges of Ailey” exhibit is showing in New York City until Feb. 9, and its impact ripples far beyond, reaching even back to Cleveland. For Clevelanders, the night held an extra special connection. One of Ailey II’s standout dancers calls Cleveland home.
When I attended this performance, I expected to witness the brilliance of Alvin Ailey’s legacy and honor the late Judith Jamison through Ailey II’s tribute. What I didn’t expect and was pleasantly surprised about was to learn that one of the company’s incredible dancers, Kayla Mei-Wan Thomas, is from Cleveland. Discovering this connection added another layer of meaning to an already profound experience. It’s a testament to how Ailey’s vision extends beyond the stage, creating connections that transcend geography and touch lives everywhere—even those of us in Cleveland.
Thomas, a Cleveland School of the Arts alumna, is a member of Ailey II. Born in Las Vegas and raised in Cleveland, Thomas’ early dance journey transitioned from ballet at Nevada Ballet Theatre to exploring modern, West African, and contemporary dance at the Cleveland School of the Arts. Inspired by Alvin Ailey’s emotionally rich choreography, she pursued her Bachelor of Fine Arts in Dance at Fordham University in partnership with The Ailey School.
“I love going back,” Thomas said. “Cleveland is so nice and quiet in the best way possible. It’s such a contrast to New York, and it just feels good to be home.”
Reflecting on her journey, Kayla said, “Dance has always been a way for me to express myself, especially since I’ve always been a quiet and reserved person.” She credits the Cleveland School of the Arts for broadening her artistic horizon and introducing her to Black dance history and its trailblazers. “The most unique thing in this world is you,” she added, quoting Alvin Ailey’s words, which guide her in embracing her individuality as an artist.
Her family, though not artists themselves, supported her journey every step of the way. “They’ve always been there for me, even when dance was this whole new world for them.” Thomas’ smile takes center stage when she talks about dance, Cleveland, Ailey, and her family.
Now as a professional dancer, Thomas is thinking about her legacy. She dreams of a future where she can give back to communities like the one she grew up in. “Free dance classes and performances changed my life,” she said. “I want to do the same for others. I want to open doors for Black and brown kids to see that dance is an option for them.”
It’s hard to talk about dance without mentioning Alvin Ailey. His work redefined what was possible in modern dance, blending theater, ballet, jazz, and the everyday brilliance of Black culture. Founded in 1958, the Alvin Ailey American Dance Theater (AAADT) didn’t just create art-told stories. It created stories of resilience, joy, and community, and his masterpiece, “Revelations,” is still one of the most iconic works in the world of dance, performed and loved by millions.
Now, for the first time, Alvin Ailey’s world is being explored on a massive scale in a museum setting. The Whitney Museum’s “Edges of Ailey” exhibit is a breathtaking celebration of his life and legacy. Opened this past fall, the immersive exhibit goes beyond dance, blending visual art, archival treasures, and live performances to capture the full breadth of Ailey’s impact.
Ailey II’s Tribute Performance
Ailey II took the stage with a powerful program of works, opening with a tribute to Judith Jamison, the legendary dancer and artistic director who passed away November 9, 2024. Jordyn White, a first-year dancer with Ailey II, was entrusted with this emotional moment.
“It’s such an important role to dedicate and do justice to Jamison and the company,” White shared after the show. She stepped into the role with grace and strength, embodying what she described as the essence of “an African warrior.” Her performance was more than a tribute—it was a celebration of Jamison’s legacy and everything she stood for.
The remainder of the performance was just as stunning. In true black-box style, the lighting was simple yet striking with moody blues and warm ambers that made every movement pop. The costumes, elegant and timeless, perfectly complemented the dancers’ raw energy and skill. From classics like “Divining to Blues Suite,” Ailey II brought Ailey’s timeless works into the present, creating something fresh and deeply rooted in history.
The stage was flooded in warm and radiant tones of orange and red, evoking the glow of a setting sun. The lighting created a soft, dramatic backdrop that framed the dancers and highlighted their graceful forms and movements.
The dancers are paused mid-performance, their movements poised and emotive. Thomas was featured downstage with one arm extended upward, her expression captured the audience, a mix of strength and longing. Her emotion was palpable.
White stood upstage, arm outstretched toward the glowing backdrop as though drawing energy from the radiant circle. Together, the dancers and setting created a tableau that is timeless yet alive, perfectly encapsulating the emotional and visual power of Ailey’s choreography.
The Whitney Museum’s “Edges of Ailey” is more than an exhibit—it’s a love letter to a man whose vision changed the world. The night was a reminder that art isn’t just something we watch—it’s something we feel and something that connects us. Through artists like White and Thomas, Ailey’s legacy is alive, thriving, and just as powerful as ever. The exhibit is up until Feb. 9. If you plan to treat yourself and attend, buy your tickets in advance.
Also, Alvin Ailey has a weekend performance at the end of the month in Cleveland at Playhouse Square 1501 Euclid Ave.
