Masazumi Chaya, born on February 21, 1947, in Fukuoka, Japan, has had a remarkable career as a dancer, choreographer, and associate artistic director. His journey from classical ballet training in Japan to becoming a pivotal figure in the Alvin Ailey American Dance Theater (AAADT) reflects a lifetime of dedication to dance.
Chaya’s passion for dance began in his hometown of Fukuoka, where he studied classical ballet. His parents, a doctor and a nurse, supported his early artistic pursuits. As a teenager, he found his way into theater as a dresser and later transitioned to musical theater, dancing on stage and television in Tokyo. In December 1970, Chaya moved to New York City, driven by a desire to prove his talent beyond the roles he received in Japan, questioning whether he was being cast due to his gender rather than his abilities.
In 1972, Chaya joined the Alvin Ailey American Dance Theater, where he performed for fifteen years. His versatility and dedication quickly earned him recognition, and in 1987, he transitioned from performing to becoming the company’s Rehearsal Director. His close work with Alvin Ailey himself, serving as a choreographic assistant, allowed him to deeply understand Ailey’s vision and style.
In 1991, Judith Jamison appointed Chaya Associate Artistic Director of AAADT, a position he held until 2020. Throughout his tenure, he played an integral role in preserving and promoting Ailey’s legacy. Chaya restaged numerous Ailey ballets, ensuring that the spirit and authenticity of the original works were maintained. His restagings included iconic pieces such as The Mooche, Stack-Up, Episodes, Bad Blood, Hidden Rites, Witness, Blues Suite, Love Songs, Masekela Langage, Pas de Duke, and Vespers.
Chaya’s work extended beyond the AAADT stage. He restaged Ailey’s Flowers for the State Ballet of Missouri (1990) and The River for companies such as the Royal Swedish Ballet (1993), Ballet Florida (1995), National Ballet of Prague (1995), Pennsylvania Ballet (1996), and Colorado Ballet (1998). In 2000, he restaged Night Creature for the Rome Opera House and The River for La Scala Ballet. His contributions were not limited to Ailey’s works; he also restaged pieces like Judith Jamison’s Hymn for AAADT.
A master teacher, Chaya’s influence reached far beyond the stage. He taught company classes, shared his knowledge on tour, and conducted workshops in his native Japan. He was particularly dedicated to teaching Ailey’s choreography, often imparting the nuances and emotional depth required to perform these works authentically.
Chaya’s commitment to AAADT was not just in preserving choreography but also in maintaining the company’s ethos. He focused on ensuring that the spirit of Ailey’s dances was conveyed by today’s performers, who may not have experienced the same life challenges as the dancers of the past. This dedication has provided continuity to the company, making him an indispensable figure in its history. Former director Judith Jamison aptly described him as the “miracle of this company,” praising his unparalleled memory and attention to detail.
Masazumi Chaya’s contributions to dance, both as a performer and a key figure behind the scenes, have left an indelible mark on the art form. His work has ensured that Alvin Ailey’s legacy continues to inspire new generations of dancers and audiences alike. As he continues to provide creative assistance in all facets of AAADT’s operations, Chaya remains a vital force in the dance community, a testament to his lifelong dedication to the arts.
