mr. ailey's behalf. of course, looking at president obama, who is african-american, the first black president. i thought of the man who raised me, my great uncle willie horn, born 1904, died my second year of juilliard, i think of segregation, some of the things he experienced i looked out and looked at judith jamison who meant so much to little black girls who wanted to dance, there was something so significant about that moment it was overwhelming. >> charlie: lik take a look at this. this is revelations. you don't need the say anything. you feel it all. here it is. ♪ ♪ ♪ ♪ >> charlie: you have said that seeing revelations is as important as knowing who martin luther king was. >> mm-hmm. >> charlie: these are two essential things. >> yes. >> charlie: to understand america. >> absolutely. i think about martin luther king, i think about his i have a dream speech. i think about what he was really doing in that speech was holding, as mr. ailey said, and what he tried to do with his own work is hold up a mi

mr. ailey laid it out in the beginning, and it still works.r judith jamison and myself, she always said, we are standing on shoulders. it feels that way. >> how is she? >> great. she is divine. rehearsal for -- we do "revelations" to live, and having it sung live for a few of the performances, she was at city center rehearsing with the musicians and singers. >> you have said i am interested in new conversations how we view dancers and their abilities, looking at people who come to the theater -- >> absolutely. i try that with certain choices that i make for the repertory. for instance, this season, which starts tomorrow this season, bringing in european corridor -- choreographer his work will be new to the company. it will shed a different light on what these dancers are capable of. i love things that are outside the box, on except -- unexpected. that has been fun for me. these dancers can do almost anything. i watch them in the studio, i watch them when the audience doesn't see the amount of rigor it takes to do with they do. im driven by the

so, mr. ailey laid it out in the beginning, and it still works.dith jamison and myself, she always says we are standing on shoulders. how is she? >> she is great. she is divine. we were just doing rehearsal for "revelations" live. we have it for a few performances. she was just at rehearsals with musicians. you have said, and interested -- you are interested in how we come to gather in theater. >> absolutely. i think i try with certain choices i think i make with the repertory. this season, bringing in european choreographer his work will be new to the company. it will set it light -- shed a light on different answers. that has been fun for me. these dancers can do almost anything. i watch them in the studio. i watch them when the audience doesn't get to see the amount of rigor it takes to do what they do and produce the amount of grace. and driven by these magnificent dancers. >> take a look at this. this is something you have choreographed. >> ♪ ♪ >> where did that come from? >> it came from a lack of space not in my head. i made it in a living