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.
- Petipa Ballets
- Men's Training Ballet
- Ballet Pedagogy
- Ballet History
- La Vivandiere, choreography by Arthur Saint-Leon, 1848. Music: Pugni
Assistant Professor Alloways-Ramsey was invited by The Florida Ballet Company located in Jacksonville, FL. to stage Saint-Leon's rarely performed ballet, La Vivandiere in August 2021. Assistant Professor Alloways-Ramsey has previously done extensive research and staging of this historically significant ballet for the University of Utah.
Over a four-day period (three hours per day) the twelve-minute work was staged on a cast of five women and one man. The ballet was presented by the company for the Amelia Island Dance Festival and streamed live on local PBS affiliates
- Raymonda Suite, Choreography, Alloways-Ramsey after Petipa. Due to COVID protocols, much of the choreography used for this staging had to be adapted and choreographed to eliminate touching, partnering, or having too many dancers on stage at the same time. During the six-week process, dancers were used from the 002 sections of the Ballet Program. Some portions of the staging were conceived fresh and new to accommodate the technical level of the dancers. Other variations are strictly Petipa's 1898 choreography. Due to staging two works for the Utah Ballet 2 Program, rehearsals were held two to three times a week only.
The dancers used for the Raymonda Suite were Freshmen women and the men included 5 Freshmen, a Sophomore, and two Juniors.
Music by Glazanov
Link to Jean de Brienne solo: https://vimeo.com/546572967
- The Prologue of The Sleeping Beauty, choreography Marius Petipa, Feodor Loupokhov, and Konstantin Sergeyev. Music Tchaikovsky.
During the Utah Ballet 2 Performance Series, Assistant Professor Alloways-Ramsey staged two classical works over the six-week rehearsal period. The cast is composed of Ballet Majors in the Junior Class. Rehearsals were held two to three times per week, much less than a normal rehearsal period for a classical undertaking. Covid protocols were strictly observed.
Petipa's 1892 Masterwork is regarded by historians and critics alike as his defining choreography highlighting balletic classicism, symmetry, and nuanced phrasing within Tchaikovsky's lush score.
Lilac Fairy Variation choreography by Loupokhov in stage rehearsal: https://vimeo.com/540218650/f0acfcfddf
- 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.
- 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.
- 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
- 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.
- Dominican Republic
- 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.