Statuesque Alvin Ailey dancer Judith Jamison has died at the age of 81. She was a towering figure in the dance world – pun intended, because she was very tall – and there are plenty of tributes. This is mine.

I first saw Jamison perform relatively early in her career, when I was in college some time in the late 1960s. I’d never even heard of the Alvin Ailey company, much less Jamison. But she was instantly noticeable and memorable because she was so unique. She didn’t have a conventional dancer’s body; she was taller and not especially turned-out, with extremely long arms and legs and a slightly thicker (but just slightly thicker) torso. But that wasn’t really it, although her height helped. The reason she was memorable was her stage presence, something you can’t define. Between her height and her ability to project that presence, she was a star from the very first moment.

I saw her dance many times. Most memorably, she had a prominent role in Ailey’s signature piece “Revelations.” I may have seen her dance that something like seven times, and then when she retired I saw some of her replacments. They were usually more beautiful, they were often quite tall (although not as tall as Jamison), and they were probably better dancers technically. But none could even begin to compare with her. The moment of Jamison’s running entrance in the “Wade In the Water” sequence, carrying a ruffled white parasol held impossibly high, was one of the most arresting theater experiences I can recall.

Unfortunately – and I mean very unfortunately – I cannot locate a single video of her in the role, which is odd because it certainly wouldn’t have been impossible to record it at the height of her fame in the 1970s. No one else compares, but here is the moment. Strangely enough, it’s the only video I could find of the piece that has the entrance, and it’s rather blurry. Nor, of course, is Jamison the person holding the parasol here. The entrance is at around 0:24. When Jamison did it, the audience used to let out a gasp:

The other moment that stands out in my mind is also in “Revelations,” when Jamison made her entrance in the “Rocka My Soul” (“The Day Is Past and Gone”) finale. The moment she stepped on the stage she established the character – a bossy but lovable lady with whom you didn’t mess. Her height once again gave her that commanding quality, and the large floppy hat completed the picture. Again, there is no footage of Jamison in the role. But here is a short clip of the dance; her entrance is at 23:04, but the person in the role here just doesn’t convey anything like the same authority and humor:

It’s interesting to me that the two moments of Jamison’s I recall best were entrances and not even really dance moves. But take it from me, they were absolutely wonderful and she was magnificent.

Jamison’s signature piece was her solo “Cry.” I never much cared for its choreography, but most people love it and at least it has been filmed. So here’s a little bit of footage of Jamison herself dancing the part; I couldn’t find any record of the whole thing, although it may exist:

RIP, Judith Jamison.