First Ranks of Second Companies, Part 1
By LAUREN KAY
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In a rehearsal for Judith Jamison’s Divining the dancers of Ailey II move with fierce concentration, obvious emotion and superb technique. One of the brightest fireballs of the bunch is petite powerhouse Ghrai DeVore. With lithe limbs and an exotic face reminiscent of an Egyptian goddess (and matching Ankh tattoo on her back) she’s a mesmerizing, mercurial creature.
Waiting for the music to start, her wide grin and almost boyish presence speak of her youth; she’s just 20. But once she slinks onto the floor to begin her solo, her eyes steady with determination and her fingers twitching with energy, a powerful woman emerges. When she turns, her arms float into shapes as if boneless, demonstrating the legato movement she calls her best asset. In a sharper sequence, she dips into an arabesque, until she has achieved a 180 degree angle without a moment of hesitation. “Ghrai has a unique way of moving. But whatever she’s doing, it always comes from inside,” says Troy Powell, associate artistic director of Ailey II. “She always has something to say via shapes, breath, her face. It’s rare to see that from a dancer her age.
In those early years, DeVore was constantly inspired by her mother. “I was always in the studio with her and I quickly noticed she didn’t ask questions,” she says. “She listened and watched. That’s how I learned to pick up detail and be respectful of the process.”
But it wasn’t until high school that DeVore fully committed to dance, choosing a professional career instead of college. Meanwhile, summer programs at the classical Kirov Academy (in D.C.) and American Ballet Theatre (in New York) moved DeVore into the upper echelons of training. “At one point I thought I’d be a ballerina,” DeVore says. “But I didn’t have the feet, and I wasn’t getting the attention I hoped for.” Study at the more contemporary Alonzo King LINES Ballet in San Francisco helped DeVore discover a world that not only thrilled her, but also utilized her particular gifts.
Even more so, DeVore is grateful that within Ailey II, she has discovered her own artistic voice and hopes to someday join the main company. “I’ve developed my own way of thinking about dance,” she says. “At Ailey I found a real balance between the flowy dancer I think I am and being dynamic and staccato, as well.”
With a smile, Troy Powell suggests DeVore’s dreams of the main company aren’t unrealistic: “I can definitely see a future for Ghrai with many concert dance companies, especially this one,” he says. “She’s diverse, smart, and her future is filled with promise.”
Lauren Kay is a dancer and writer in NYC