Photo by Juliana Godlewski
  • Director of Recruitment, School Of Dance
  • Assistant Professor, School Of Dance
  • Undergraduate Honors Thesis Advisor
801-587-3742

Research Statement

I continue to investigate Romantic, Classical, and Diaghilev eras of Ballet’s European canon, scrutinizing the social contexts of masterworks from a 21st-century perspective.

My re-stagings and rehearsal processes remain adaptive to the needs of today’s students.  My Research contemporizes the racial, gendered, and social coded norms that are relative to the aesthetic of these previous eras. By using these questions to begin my inquiry, “What do my students need to know from these works,” and “What remains most choreographically valuable” I am able to Research ballets that are most needed technically, but that need to be contextualized for a contemporary audience to be more thoroughly understood. Can these works be reformatted to include the original choreography but without the socially problematic elements from the era of the work? If they can’t be, are they valuable enough to continue performing them? If they can be, how will my restagings impact the choreographer’s original intent?

Many/most of the ballet repertoire from the 19th-century remains socially problematic when viewed through a contemporary lens. Specifically, gender and race, often stand out in the works of Petipa.  However, by seeking the choreographic elements within these ballets and using them as teaching tools during rehearsal, I also use my Research to address historical issues and choreographic mysteries within my Theory classes.

Additionally, though no-less substantive, is my ongoing Research concerning best pedagogical practices for male Identifying students. This includes re-examining cross-training, repertoire, pas de deux, advances in traditional ballet technique, and dancers who begin later in their pre-professional training.

 

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Research Keywords

  • dance
  • Petipa Ballets
  • Men's Training Ballet
  • Ballet Pedagogy
  • Ballet History
  • Ballet

Creative Research

  • I began researching Marius Petipa's, Raymonda, circa, 1898 and his slightly earlier work, Sleeping Beauty, circa, 1890 in preparation for stagings excerpts from each ballet for the Utah Ballet II performances in April, 2021. The research has been extensive in understanding the subtle styles of the era and comparing and contrasting the composers of each: Glazanov composed Raymonda and Tchaikovsky composed Sleeping Beauty. Choreography, in progress 11/30/2020.
  • Youth America Grand Prix--Staged variations, coached, and mentored three University of Utah Ballet Students in preparation for YAGP, 2021. Two placed in the top 12, advancing to National Finals. Competition, in progress 11/06/2020.
  • Choreographer and Composer, Arthur Saint-Léon's 1848 ballet, La Vivandière (or Markitenka) was Researched using his book, Stenochoreography, or the Art of Writing Dancing Swiftly; Ann Hutchinson Guest's, La Vivandière; reviews from the 19th century of the work; lithographs, and finally embodied knowledge from learning the male variations in school. The distinctive French style and technique from the early 19th-century is somewhat difficult for dancers in the 21st-century with the fast directional changes, gentle epaulement, and devious petit allegro The Research began in the fall of 2019 and performed during the Utah Ballet II performances of Feb.2020 I have included a dress rehearsal clip. Performance, completed 02/08/2020.
    https://vimeo.com/512313610/998893c482
  • In Collaboration with Associate Professor Jay Kim, Principal Restager for the project, Professor Alloways-Ramsey researched the historical and symbolical inclusion of the demi-soloists within the second act of Giselle, Moya, and Zulma. Additionally, Professor Alloways-Ramsey staged, coached, and rehearsed the demi-soloists and corps de ballet for the Utah Ballet 1 performances. Performance, completed 11/09/2019.
    https://vimeo.com/513914186/bbe4bd292b
  • The excerpt, Le Jardin Animé from the full-length ballet Le Corsair, was researched, rehearsed, and performed using a cast of eighteen women within the School of Dance. This excerpt from Petipa's full-length, master-work highlights the choreography that was added in a later staging from 1860 using the music of Delibes. The work ran sixteen minutes and was performed for the 2019 Gala at the Hayes Christensen Theatre in the Marriott Center for Dance. It was later performed in September of 2019 at the on-campus Arts Bash and the College of Fine Arts Gala, September 25, 2019 at Kingsbury Hall. Rehearsal footage: https://vimeo.com/326720802/6174aa3235 Performance, completed 04/11/2019.
    https://vimeo.com/457324029/3a49873743
  • During the Fall Semester, I researched the choreography for soloists and corp de ballet of Petipa's Jardin Anime section from the full-length ballet, Le Corsaire. Choreography, in progress 10/01/2018.

Geographical Regions of Interest

  • Dominican Republic
  • France
  • Puerto Rico
    In conjunction with Blanca Huertas Agnew, the founder, and director of the Puerto Rico International Ballet Competition, Professor Alloways-Ramsey helped in scholarship contributions through the University of Utah, but additionally extending professional contacts within major ballet academies that contributed to the new competition ensuring prizes and scholarship funds for prize winners.
  • South Africa
    Served as Ballet Master, Cape Dance Company and as Head of Ballet at Cape Academy of Performing Arts in Cape Town, 2014-2016.