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For Judith Jamison, abiding to the Kennedy Center anniversary year with the Alvin Ailey American Dance Theater feels like a homecoming, with the company’s access to Washington addition aback decades.

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“We were there in ’71 for the aperture of the Kennedy Center, with Leonard Bernstein’s ‘Mass’ — aloof a amazing experience,” the aesthetic administrator recalls. “Working with 125 singers, additional musicians, boot bands, dancers, was a approved circus, but somehow it all came calm in this awe-inspiring piece.”

But what makes aing week’s acknowledgment to the Kennedy Center so agitating and apricot is that it may able-bodied be Jamison’s aftermost actualization there as the company’s aesthetic director.

Jamison, 66, is dispatch aback from her arch role and attractive against addition transition. “I’m still activity to be actual abundant a allotment of the Ailey family,” she says, admitting her new position is still amorphous and her almsman has not been named. But accept her back she says, “I will not abatement off the radar.”

Jamison was amid Alvin Ailey’s best memorable dancers. At 5 bottom 10, with a sturdy, able-bodied body, she became his brood in 1965 back she aing the adolescent troupe. She larboard for a assignment on Broadway and to anatomy her own company, but back Ailey asked her in 1989 to booty over, she didn’t hesitate. “I knew he was dying. He aloof said to me, ‘I’m not activity well, and I’d like you to booty the company.’ I said, ‘Of course, of course.’ I knew how abundant he admired me and adherent so abundant to me. Without his abundant abutment and adulation . . . I would never accept become what I am.”

Audiences army to Alvin Ailey performances as abundant for the dancing as for the spirit-filled choreography, including the company’s signature 1960 allotment “Revelations,” which will aing anniversary of the seven Kennedy Center performances.

To bless Jamison’s legacy, aing week’s programs will additionally affection highlights from the company’s best accepted works, as able-bodied as new pieces. Ronald K. Brown, aesthetic administrator of the aggregation Evidence, has created “Dancing Spirit,” alveolate the appellation of Jamison’s autobiography. The assignment draws on music by Duke Ellington, Wynton Marsalis and War, and fuses movement from Cuba, Brazil and America in acceptance of Jamison’s common influence.

Jamison’s new work, “Among Us (Private Spaces: Public Places),” is set to a account by pianist Eric Robert Lewis. Jamison’s paintings serve as a accomplishments to movement cartoon from Africa and India. “This is mine! My baby!” she exclaims. “I authority it aing to my heart. . . . It’s like a rock-jazz opera that’s got aggregate from my fantasies in it.”

Jamison sometimes sells her folklorish artwork but added generally gives it to friends.

“The affiliation I acquisition [with painting and choreography] is that you don’t apperceive what’s activity to go on that paper. It’s like back a ballerina comes into a studio, maybe added choreographers can alpha with the movement appropriate away,” she says. “But back I appear into the studio, usually I’m aggressive aboriginal by the music, again I attending at the bodies who I accept in advanced of me. They affect me.”

Traiger is a freelance writer.

Alvin Ailey American Dance Theater Kennedy Center, 2700 F St. NW. Tuesday through Feb. 7. 202-467-4600. http://www.kennedy-center.org. $30-$89.

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