They step in unison, arms pumping down in front of them like pistons. They kick a leg out and, exactly on the six-count, spin 90 degrees to repeat their march. Then again, another 90 degrees, before launching off the ground for a spin. Floor-to-ceiling windows frame their movements with views of West 55th Street and Ninth Avenue, where cars, buses, and pedestrians are engaged in their own choreography, sometimes slowing to take in the studio scene. There’s no music inside—only footsteps, hard breathing, and shouted notes of correction and encouragement.

The dancers are seniors in the Ailey/Fordham BFA in Dance program, which is celebrating its 25th year. They’re in the Joan Weill Center for Dance in Manhattan—home of the Ailey School, five blocks from Fordham’s Lincoln Center campus—rehearsing teacher and choreographer Earl Mosley’s Running Spirits (Revival and Restaging) for the program’s annual benefit concert in mid-April.

In another ground-floor studio about a month before the concert, first-year students take West African Dance with Imani Faye. As a drummer slaps out a beat on a djembe, Faye guides the students through their own performance piece, Den-Kouly (Celebration), with its traditional Tiriba and Mané dance styles from Guinea.

As the students work to nail the choreography, they’re also grappling with bigger, more complex movements. For the first-years, it’s the culmination of nine months spent testing themselves, body and mind. Are they able to balance a rigorous dance training program and a rigorous academic curriculum? And for the seniors, it’s a time of final exams and frequent auditions. Are they ready to secure their place in the professional dance world?

Carrying on the Legacy of an American Dance Pioneer

The idea for a best-of-both worlds BFA program—top dance training and top academics in New York City—came several years before the first class arrived in the fall of 1998. Edward Bristow, then dean of Fordham College at Lincoln Center, struck up a conversation with Ailey School director Denise Jefferson in line at the West 60th Street post office. He believed Fordham could do more to make its presence felt “at the center of the arts world,” and Jefferson was interested in building a college degree program for Ailey dancers. “We knew that given our strengths, we could pull off something special,” he recalled.

Today, the program is led by Melanie Person, co-director of the Ailey School, and Andrew Clark, a Fordham professor of French and comparative literature who had served as an advisor to many BFA students before succeeding Bristow as co-director in 2023. Through their leadership, the Ailey/Fordham students are staying true to the vision set forth by Bristow and Jefferson, who died in 2010. They’re also upholding the legacy of Alvin Ailey himself, a towering figure in modern dance.

Ailey founded his namesake dance company in 1958, when he was 27 years old. His story and the story of the company he founded are inextricable from the histories of Black art in America and the Civil Rights Movement. At a time when Black dancers found it next to impossible to make a career through their craft, Ailey created a home for them. Since its inception, the Alvin Ailey American Dance Theater has become not only one of the most successful Black-founded arts institutions in the United States but also one of the premier modern dance companies in the world, described in a 2008 congressional resolution as “a vital American cultural ambassador to the world.”

Texas native Antuan Byers, FCLC ’17, is one of many BFA students and alumni who say they were drawn to the program after seeing the company perform during their formative years. “I attended my first Alvin Ailey performance my senior year of high school, in that moment of still being on the fence about where I wanted to go to school,” said Byers, who was a member of Ailey II, the company’s junior ensemble, and now dances most frequently with the Metropolitan Opera. “After seeing the Ailey company, it all became clear.”

For many Black students in the BFA program, Alvin Ailey’s legacy serves both as an inspiration and a reminder of the challenges that dancers of color have faced. It’s hard to miss that legacy when you’re inside the Weill Center, with its walls lined with photos and ephemera spanning seven decades.

“Every day I try to use the weight of his legacy to further encourage me and push me in my craft,” said Naia Neal, a rising senior from Santa Cruz, California, who earned the program’s Denise Jefferson Memorial Scholarship and is pursuing a minor in math. “Alvin Ailey loved to dance, but he also understood that dance should be for everyone. He made it known that everybody deserved to be there.”

The dance landscape looks a good deal different today than it did in 1958. Black choreographers like Kyle Abraham and Camille Brown have had their work performed by New York City Ballet and the Metropolitan Opera; Black dancers are members of most major companies in the United States; and Black administrators are artistic directors at places like Pacific Northwest Ballet and Philadanco. But on many stages, Black dancers are still underrepresented, and for many students of color, a place like the Ailey School still functions as a home where they can chart a professional path.

“Something about being here has opened up a completely different relationship with me and what I add to different spaces and what it means to be a Black dancer,” said Carley Brooks, a rising Ailey/Fordham senior from Chicago pursuing a minor in communication and media studies. “The [Ailey] building allows me to feel so comfortable and confident in my body and what I have to present.”

Developing the Whole Dancer

If one thing defines the Ailey/Fordham experience, it’s the need to find balance within a hectic schedule. All students take ballet every semester, a way to keep them grounded in classical technique, and in their first year, they also take West African Dance and begin training in either the Horton technique or Graham-based modern dance. They also have foundational classes like Improvisation, Body Conditioning, and Anatomy and Kinesiology. And they take two Fordham core curriculum classes each semester, including first-year staples like English Composition and Rhetoric and Faith and Critical Reasoning.

In their sophomore year, students decide if they want to pursue a second major or a minor. It’s a decision they don’t make lightly, as it comes with extra coursework, but for many students, it’s a way to help them plan for careers beyond performing—and to infuse their dance practice with outside influences. That year, they also take Composition, and for many of them, it’s the first time they formally work on their own choreography—a complex process, with varying notation systems and a good deal of trial and error.

As juniors, the students continue to branch out intellectually. In the Ailey academic class Black Traditions in Modern Dance, they engage with history while also thinking about the artistic choices involved in a performance. Meanwhile, in Fordham classrooms, many begin fulfilling the requirements for a second major.

They also have a chance to become mentors to their first-year counterparts. Jaron Givens, a rising senior originally from Prince George’s County, Maryland, who is majoring in both dance and environmental studies, has relished the opportunity to pay forward the mentorship he received during his first year. He took part in the Ailey Students Ailey Professionals mentorship program, which pairs students with Ailey company members. Givens met with Courtney Celeste Spears, FCLC ’16, who he said “facilitated a space where I was able to be vulnerable … and showed me how much Ailey cared.”

The Ailey School has been working with Minding the Gap, an organization that offers mental health services to dancers. The hope is to give students as much access to mental health support as they have to things like on-site physical therapists at the Weill Center. On the Fordham side, faculty describe a similar focus on students’ well-being. “I try to … get a sense of what their concerns are, what they’re enjoying, and what they’re struggling with,” Clark said. “That’s where you really get a sense of the whole person and you have the ability to help out.”

There’s also a natural level of camaraderie that comes from spending so much time with fellow BFA students, both in dance classes and often in academic ones. “For us, it’s not a competition,” said Sarah Hladky, a rising junior who is majoring in English as well as dance. “Ailey very much emphasizes the fact that there is a space for everyone. And so even if people come in feeling like they need to prove themselves, at the end of the day you leave being like, ‘No, I am the dancer that I am, and you are the dancer that you are. And we can coexist and really make a great environment for each other.’”

While a sense of community is integral to the Ailey/Fordham experience, students are well aware that they’re training for a highly competitive profession. The postgrad goal for many of them is to join a dance company full time—with the Alvin Ailey American Dance Theater and Ailey II often at the top of the list. Many alumni earn a spot in those companies and others such as Dance Theatre of Harlem, the Martha Graham Dance Company, and the Radio City Rockettes. Others regularly appear on Broadway stages and in film and TV productions. But a benefit of their Fordham studies is that they graduate prepared for any number of career paths.

“My education at Fordham was instrumental in my formation as an artist and businesswoman, providing me with a depth of knowledge, curiosity, and appreciation for many subjects that gave me a foundation to build on,” said Katherine Horrigan, a 2002 graduate who went on to dance with Ailey II, Elisa Monte Dance Company, and a number of other companies around the world before launching a dance academy in Virginia.

Spears encourages Ailey/Fordham students to “build your academic resume as much as you build your dance resume.” She said the program expanded her ideas of what she could do as an artist and a leader. She began dancing with Ailey II in 2015, her senior year, and moved up to the Alvin Ailey American Dance Theater before deciding in 2023 to focus full time on ArtSea, her arts organization in the Bahamas. “I think if you focus on having viable options and stretching how many different places you are able to impact, you then have the mountaintop,” she said.

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For Samar Haddad King, a 2005 Ailey/Fordham graduate, a composition class with Kazuko Hirabayashi was so transformative that she decided to focus on choreography. For her class’s senior concert, she premiered an original piece, and the following year, with her BFA classmate Zoe Rabinowitz, she co-founded the company Yaa Samar! Dance Theatre, based in both New York City and the West Bank. Nearly 20 years later, they have brought their work to 17 countries around the world.

Rabinowitz has carved out her own unique path since graduating in 2005. While she still dances in Yaa Samar! and elsewhere, her role as the company’s executive director builds upon several post-college jobs in arts administration, and she has also taught yoga and Pilates throughout her career. Acknowledging the finite amount of time most people can dance professionally, she said it’s important for young dancers not only to develop academic interests but also to take an expansive view of the dance world.

“Finding the things that you enjoy doing—the passions and the strengths that you have cultivated inside and outside of your dance training—and finding ways that you can do those things to implement jobs and create sources of income is going to be critical for most people,” Rabinowitz said, adding that dancers are known as great team members across industries. “Recognize that you come with a really strong skill set and work ethic, and that you have the capacity to do a lot of things.”

Person, the Ailey School co-director, echoed that sentiment. “The skills that they acquire as dancers are going to be transferable in any aspect of their lives. With the Fordham degree and their strong academics, they’re well situated to exist in the world.”

Whatever part of the dance or professional world they end up in, Ailey/Fordham alumni often maintain the close bonds they shared as undergraduates, and now there’s an additional way for them to stay connected. Ahead of the program’s 25th anniversary, Byers and Maya Addie, a 2021 graduate who is a member of the Radio City Rockettes, learned about Fordham’s affinity chapters—alumni communities formed around shared interests, past student involvement, or professional goals. They decided to start one for Ailey/Fordham BFA graduates.

“It’s a personal goal of ours to bring together our alumni because we have such a wealth of knowledge in that group,” Byers said. “In dance but also in our incredible business owners, or folks working in politics, folks working in finance, people teaching, people with kids. We see this 25th anniversary as an opportunity for us to really build an alumni program with all that excitement and energy.”

A Performance to Mark Endings and New Beginnings

On the evening of the spring benefit concert, after a cocktail reception on the sixth floor of the Weill Center, family, friends, and fans of the BFA program made their way to the Ailey Citigroup Theater on the building’s lower level. Following a brief video highlighting the history and mission of the program, Neal kicked off the evening’s performances with The Serpent, a solo piece choreographed by Jonathan Lee. To the pulsing beat of Rihanna’s “Where Have You Been,” she gave a high-energy performance that incorporated styles ranging from modern and hip-hop to voguing. Unlike the more restrained audience traditions one might see up the street at Lincoln Center for the Performing Arts, the audience cheered throughout the piece.

That energy level, both onstage and in the crowd, continued with the first-year students’ West African piece, Den-Kouly (Celebration), featuring vibrant costumes and jubilant movement. The sophomores performed an excerpt from the more ballet-centric For They Are Rivers, choreographed by Becky Brown, and the juniors danced an excerpt from Darshan Singh Bhuller’s athletic, abstract Mapping. Three Ailey/Fordham alumni—Mikaela Brandon, FCLC ’19; Naya Hutchinson, FCLC ’21; and Shaina McGregor, FCLC ’18—came back to dance alongside Neal in Four Women, choreographed by senior student Baili Goer.

The final performance of the night, appropriately, belonged to the seniors. Since that March rehearsal of Running Spirits, Mosley had revealed to the students the meaning behind the piece, which he first choreographed for a group of preteen boys at a summer program in Connecticut in the late 1990s. At the time, he explained, he was dealing with a group of rambunctious kids who loved to run around—and whose parents thought of them as “little angels.” It made him imagine a scene in which a group of angels, who get around via running instead of flying, are all gathering in the morning to plan out their work agenda for the day.

“When I tell dancers that’s what it’s about,” Mosley said, “they always laugh because they’re like, ‘Really? That’s all? So we’re just literally getting ready to go to work?’ I’m like, ‘Yeah, you’re just getting ready to go to work.’”

It’s a playful piece, but the version Mosley created for these graduating dancers is one that requires strong technique and collaboration, and features impressive jumps, lifts, and, as the title suggests, speed. There was a sense of mischief onstage, an almost conspiratorial glee to the movements. That tone felt appropriate considering all the students had been through in their nearly four years together, from beginning the program at the height of the COVID-19 pandemic to trying to wrap up their final semesters while planning for the future.

“This past year has probably been the most challenging in terms of juggling my schedule,” said Meredith Brown, a dance and economics double major from Asheville, North Carolina. “Because I’m also auditioning and making sure that I’m taking care of myself and enjoying the city and taking advantage of all these wonderful things.”

Brown and her fellow 2024 graduates are in a better place to manage those competing demands than they were four years ago—not only more experienced but also more confident.

“When I think about my first year, there was a lot of imposter syndrome,” said Abby Nguyen, a 2024 grad from the Bay Area who double majored in dance and psychology. “There was this constant feeling like I needed to prove myself, that I needed to prove that I was good enough to be here. But ultimately, you are here, and you are good enough to be here—or else you wouldn’t be in the building.”

The dancers’ growth has also been visible to Person, who recalled the challenges the Class of 2024 faced starting college during the pandemic. “I was watching them rehearse the other day, and I think they really came together as a class,” she said. “I think they relied on each other to push through this, honestly. … I think it gave them this inner strength that they might not have even recognized that they have.”

And while challenges certainly lie ahead—auditions, demanding dance jobs, the threat of injuries, and more—Mosley believes this group of graduates is ready to face them.

“They give me the energy like, ‘Oh, I know I’m going to do something,’” he said. “‘There’s
no doubt, I’m going to do something.’ This group as a whole is all about it.”

“I don’t normally go out on a school night! I’m a teacher. I get up at 4:45 in the morning,” she said shortly before the December 13 performance. “But for this? I am willing to make that sacrifice.”

The show has been a long time coming for Ruffin. She has been an Ailey fan for years—“If you are an inner-city Black girl, you’ve heard of Alvin Ailey,” she said of the famed company, founded and fronted by the boundary-breaking eponymous Black dancer. But she hadn’t been to a show since 2000. A lot of life has passed since then. Ruffin went to Fordham’s Graduate School of Education and earned a master’s degree. Now she teaches seventh-grade public schoolers in Manhattan. And she somehow missed the part where Fordham brags about its partnership with the Ailey School. Since 1998, the two institutions have been offering a joint BFA program through which students learn dance at Ailey while getting a full liberal arts education at Fordham College at Lincoln Center.

“I had no idea that Fordham had this connection with Alvin Ailey. And if I would have known that, I would have been humming and bumming for tickets for my teachers a long time ago,” Ruffin said. Does it lend Fordham a little—“Street cred? Absolutely!” Ruffin beamed. “Fordham never—I must admit, they do not cease to surprise me.”

The bond between Fordham and Ailey was on full display that Tuesday evening. The alumni event attracted a varied cohort. Couples, young and old, chatted over wine and cheese plates in the 100-year-old theater’s gilded lobby. Lovers of modern dance came alone; others brought friends. There were families—a couple of teenage daughters sat off to the side on marble stairs, avoiding small talk. Fordham trustee emeritus John Costantino, GABELLI ’67, LAW ’70, did not. “A lot of the programs tonight, they really relate to people,” he said. “They mean something.”

Costantino was talking about the dances—including choreographer Jamar Roberts’ In a Sentimental Mood, which had its world premiere earlier in the year, and three classics by Ailey, who died in 1989: Reflections in D, Cry, and of course Revelations, the 1960 piece that ends nearly every Ailey performance. But he could have been talking about the Ailey/Fordham BFA, too. The program certainly means something to Courtney Celeste Spears, FCLC ’16, one of seven Ailey/Fordham graduates now dancing with the company. She would take the stage later that evening, but first, she addressed a room of Fordham alumni and friends in the lobby—an intimate moment before the lights went down.

“It was such a whirlwind of four years,” Spears said of her college experience. “I think so much of the foundation that I got there shaped me as a young woman, as a professional, as a dancer, as an artist in so many ways. It was such a well-rounded program.” But more than anything? “I always felt just very covered, and safe and advocated for.”

That was music to the ears of Andrew Clark, Ph.D., a Fordham professor of French and comparative literature who also co-directs the BFA program. Clark’s sister was a classical ballet dancer, on her way to a professional career, when she tore the ligaments in her hip. “That totally changed her life. She couldn’t dance ever again. … She had to pick another path,” he said.

Today, the Ailey/Fordham program offers students a best-of-both-worlds approach: a top dance education and a top classroom education in New York City. “Having other curiosities, having other skills and interests and passions [beyond dance is]really important,” Clark said. But don’t think for a second that he doesn’t care about dance. His voice rose talking about the first number of the night: Spears would be dancing with Christopher R. Wilson, FCLC ’17, whom Clark advised when Wilson was an undergrad. He is “such a beautiful dancer, and they dance together all the time and they’re amazing,” Clark said.

Minutes later, the theater filled up. The show began. The program was rhythmic, painful, energetic, beautiful. A New York institution, performing for a hometown crowd. It was worth losing sleep for.

—Jeff Coltin, FCRH ’15, is the City Hall bureau chief at City & State New York and a contributor to this magazine.

The Ailey performance was one of many cultural events hosted throughout the year by Fordham’s Office of Alumni Relations. Learn more at fordham.edu/events.

“It took, like, a good two minutes for her to come back to me, so I just sort of sat there, just listening to her, and I was also crying at the same time,” he said.

From the moment he saw the Alvin Ailey company perform in Atlanta when he was 11 years old, Wilson said he said to himself, “I want to be an Ailey dancer.”

By the time he hit high school he was already researching how to get to New York and be near the company. He had discovered the Ailey/Fordham BFA Program, which offers conservatory training in dance alongside a liberal arts curriculum. It became his first choice. He was accepted and received a Founder’s Scholarship.

“I think that the Founder’s Scholarship and all of the aid I received, it just made my dreams come true,” he said.

When he arrived at Fordham, he recalled, he heard a guest speaker who told students that if they wrote their goal down on a piece of paper and posted it a wall in their home, it would help them realize their ambitions. Every year after, Wilson plastered the walls of his dorm with posters of Ailey II, Alvin Ailey American Dance Theater’s junior company that serves as a bridge between The Ailey School and the professional dance world.

“So every morning, I woke up, I saw those, and every night before I went to bed, I saw those,” he said.  “When you see something so often, I think it just sort of trains your mind, unconsciously, to really go for that thing. You could just see it as, ‘Oh, it’s just a picture on a wall.’ No, it’s a dream.”

But making that dream a reality required hard work and focus, he said. And it all paid off when he made it into Ailey II in his senior year and into the main company this past spring. This month, Wilson will be dancing in a production called EN, which was recently created for the company by choreographer Jessica Lang. As the company takes up its residency at City Center for five weeks in December, audiences will get several chances to see the new ballet.

“I saw the piece when it premiered, and I was just blown away,” he said of the Lincoln Center opening from this past June.

After spending the summer learning the company’s repertoire, this fall he began to learn the new piece. Lang’s husband, Kanji Segawa, also a member of the company, walked Wilson through the steps at Ailey’s dance studios, which sit just down the street from Fordham Lincoln Center on Ninth Avenue.

Wilson remembers the short walk between the two campuses as the moment he got to savor New York as his home. He said he very much appreciated having the “college experience that every young adult wants to have,” alongside the rigor of the conservatory. That pairing made him see that Fordham’s “men and women for others” ethos is as an inherent part of being a performer.

“In a physical and literal sense … I am dancing to help someone feel something, whether that be happiness, sadness, inspiration, anger,” he said. “I think that’s why people come and see dance. Because they want to see their stories portrayed on stage, and that’s our job as dancers, to do just that.”

He added that studying dance in New York can’t compare to anywhere else.

“I would say New York City is definitely the center of the dance world,” he said. “It is a goal for a lot of dancers—most dancers actually.”

Hailing from the comparatively small city of Augusta, Georgia, Wilson said his Founder’s scholarship made a “small town boy’s dreams come true” and that he hopes to inspire other young boys like his 11-year-old self.

“It’s just an image that is forever burned into my mind because now that I’m here, I always think back to what brought me here,” he said. “I’m dancing for that little black boy in a small town who wants to go on and do big things, but doesn’t know that he can. I dance to let him know that it’s possible.”

Kathleen Keresey contributed to this article. 

For their annual benefit concert, students performed a series of new pieces from renown choreographers, such as Nicholas Villeneuve (“The Soul’s Canvas”), Natalie Lomonte (“Common Heart”), and Andre Tyson (“Raison d’etre”). The concert, held at the Ailey Citigroup Theater in Manhattan, attracted more than 100 guests.

Whether dancing solo, creating a unified expression, or building the illusion of two-bodies-as-one, each dancer’s personal element of feeling helped create moving metaphors of the choreographers’ poetic visions. As always, the theater audience recognized the 75 student dancers with enthusiastic applause.
[doptg id=”47″](Photos by Christopher Duggan)

Dr. Skorton will be awarded an honorary doctorate during the commencement ceremonies, as will eight other people who have distinguished themselves in business, law, the arts, or public service. See here for full details on Fordham’s commencement ceremonies.

Honorary doctorates of humane letters will be awarded to Dr. Skorton and to Judith Altmann, vice president of the Holocaust Child Survivors of Connecticut; Gregory Boyle, SJ, head of the gang-intervention group Homeboy Industries; Maurice “Mo” Cunniffe, FCRH ’54, a successful businessman and key supporter of Fordham; Patricia David, GABELLI ’81, global head of diversity for JPMorgan Chase; and Sr. Carol Keehan, DC, president and CEO of the Catholic Health Association of the United States.

An honorary doctorate of laws will be awarded to Loretta A. Preska, LAW ’73, chief judge of the U.S. District Court for the Southern District of New York.

Honorary doctorates of fine arts will be awarded to Robert Battle, artistic director for the Alvin Ailey American Dance Theater, and to Henry Cobb, founding partner at the architecture firm Pei, Cobb, Freed & Partners and co-designer of Fordham Law School’s new building.

Cobb and Preska will receive their honorary doctorates at the law school’s diploma ceremony, to be held Monday, May 23, at the Beacon Theatre in Manhattan. All other honorary doctorates will be awarded at the main University commencement on May 21.

Preska will speak at Fordham Law School’s diploma ceremony. David will speak at the Gabelli School of Business’ diploma ceremony for master’s degree candidates, to be held May 23 at the Beacon Theatre. Father Boyle will speak at the diploma ceremony for the Graduate School of Social Service, to be held May 23 at Lincoln Center’s David Geffen Hall.

David Skorton became the first physician to lead the Smithsonian Institution when he began his tenure in July 2015. He oversees 19 museums and galleries, the National Zoo, and various research centers devoted to astrophysics, tropical research, the natural environment, and other areas.

During his tenure, Dr. Skorton has made arts programming a priority at the Smithsonian, and he continues to advocate for a greater national commitment to arts and humanities education. In an address at the National Press Club in December, he called for reversing what he called our nation’s “disinterest and disinvestment in the arts and humanities” while also preserving the nation’s commitment to science.

As he put it, “This commitment must be based on an understanding that the arts and humanities complement science and that together they us make better thinkers, better decision makers, and better citizens.”

Dr. Skorton earned both his bachelor’s degree in psychology and his medical degree from Northwestern University before completing his residency and fellowship in cardiology at the University of California, Los Angeles, in 1979. He then joined the faculty of the University of Iowa, where he held professorships in internal medicine, biomedical engineering, and other fields before serving as the university’s president from 2003 to 2006.

In 2006 he was named president of Cornell University, where under his leadership the university joined with Technion-Israel Institute of Technology to win a competition to develop a new campus, Cornell Tech, on New York City’s Roosevelt Island. He also won praise as a highly effective fundraising at both Cornell and the University of Iowa.

Dr. Skorton has also served as a professor in Cornell’s Department of Biomedical Engineering and in the departments of medicine and pediatrics at Weill Cornell Medical College. He is a pioneer in applying computer analysis and processing to improve cardiac imaging, and has published two major texts and numerous other writings on cardiac imaging and image processing.

He is also an amateur flute and saxophone player who once co-hosted a weekly Latin jazz program on the University of Iowa’s public radio station.

Other Honorary Degree Recipients:

Judith Altmann is a Holocaust survivor who shares her story widely in Connecticut and Westchester County schools as a way of encouraging young people to make a better world. Born in 1924 in Jasina, Czechoslovakia, she was confined in Nazi camps at Auschwitz, Essen, Gelsenkirchen, and Bergen Belsen in 1944 and 1945. She is a vice president of the Holocaust Child Survivors of Connecticut and recipient of the Anti-Defamation League’s Daniel R. Ginsberg Humanitarian Award for 2013.

Robert Battle is artistic director for the Alvin Ailey American Dance Theater, which offers a BFA in dance in conjunction with Fordham. Renowned for his challenging, athletic, and lyrical choreography, Battle was named one of the Masters of African American Choreography by the John F. Kennedy Center for the Performing Arts in 2005, among his other honors. He established the Ailey company’s New Directions Choreography Lab to nurture emerging talents, and continues to expand the company’s community outreach and education programs.

Gregory Boyle, SJ, is executive director of Homeboy Industries, one of the nation’s largest gang-intervention organizations. Hundreds of former gang members have changed their lives by taking advantage of the organization’s work program and its services including education, legal help, and substance abuse counseling. Father Boyle is an internationally recognized expert on gang intervention approaches and author of The New York Times bestseller Tattoos on the Heart: The Power of Boundless Compassion (Free Press, 2011).

Henry N. Cobb is a founding partner at the award-winning architecture firm Pei, Cobb, Freed & Partners. Along with his colleague Yvonne Szeto, he designed the new 22-story Fordham Law School and McKeon Residence Hall building at Fordham’s Lincoln Center campus. His many other distinctive projects include the iconic John Hancock Tower over Boston’s historic Copley Square, which earned the prestigious Twenty-Five-Year Award from the American Institute of Architects.

Maurice “Mo” Cunniffe, FCRH ’54, chairman and CEO of Vista Capital, is a successful engineer, businessman, entrepreneur, and Fordham trustee emeritus who is one of the University community’s most vital and longstanding supporters. He played a pivotal role in the expansion of Fordham Prep as one of its trustees from 1983 to 1995, and his extraordinary financial support for Fordham was recognized in 2013 with the renaming of the Administration Building at the Rose Hill campus in his honor. He served on the Fordham University Board of Trustees from 1995 to 2003.

Patricia David, GABELLI ’81, managing director and global head of diversity for JP Morgan Chase, has been widely recognized for integrating diversity efforts throughout the company over the past 15 years. With her help, the company was named to Black Enterprise’s 2015 list of the most diverse companies, and she herself has received honors including the YMCA’s Black Achievers in Industry award. She serves on the advisory board for the Gabelli School of Business and was named the school’s Alumna of the Year for 2015.

Sr. Carol Keehan, DC, is a passionate advocate for expanding health care access. Sister Carol was recognized by President Obama for helping to secure passage of the Affordable Care Act, and Pope Benedict XVI bestowed on her the Cross for the Church and Pontiff to honor her humanitarian efforts. Since 2005 she has been president and chief executive officer of the Catholic Health Association of the United States, a membership organization comprising more than 600 Catholic hospitals and 1,400 other health ministries.

Loretta A. Preska, LAW ’73, is chief judge of the U.S. District Court for the Southern District of New York. In more than two decades as a judge she has ruled on many high-profile cases, such as those involving computer hacking, sentencing of a Somali pirate involved in hijacking a U.S.-flagged cargo ship, and the parody of an Annie Leibovitz photograph. She is a steadfast and generous supporter of Fordham who received Fordham Law School’s Louis J. Lefkowitz Public Service Award and the Fordham Law Alumni Association’s Medal of Achievement. A member of the Fordham University Board of Trustees from 2007 to 2013, she is now a trustee fellow.