Power, Peasants, and Practice-as-Research: Rechoreographing Giselle to explore ethical balletmaking conditions through transferable dancer-centered practices

Abstract:

What choreographic procedures develop cultures of care balletmaking practitioners can replicate? This paper utilizes dancer-led choreographic practices to study ethical balletmaking conditions. Ethical dancemaking strategies exist in pre-professional ballet education and non-ballet dance sectors, but are yet to be applied to classical balletmaking specifically, or studied to render transferable practices.

Our research employs three in-studio procedures: Four Temperaments theatre clowning, Cailloisian game analysis, and 4C’s of Collaborative Balletmaking. The first two ludologically decenter choreographers through dancer-led gameplay and horizontal power relationships, and the last socratically centers dancers’ voices in a four-pronged survey and reflective discourse system.

This research views the procedural complexities of redistributed power structures through the lens of Giselle for its wealth of existing restagings for comparative analysis, and its thematic potential regarding gender, class, and moral corruption for choreographic exploration.

Our findings bridge the gap between ballet education and professional industry by creating replicable conditions which grant dancers greater creative power and autonomy. This project proposes a new and sustainable model for collective artistic growth: The ludological stage first equips pre-professional dancers to develop individual voices and collaborate with peers, and the socratic stage then empowers professional dancers to co-create egalitarian processes and reinforce a balletmaking culture of care.

We have demonstrated that it is both possible and beneficial for ballet choreographers to prioritize the integration of multiple perspectives to create communally-driven art. When ballet is conducted and composed in this way, more dancers stay in the field, professional lives are extended and enriched, and the industry is intersectionally diversified.

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Presented by Julianne Cerreta and Steffi Carter, Independent Scholars

Biographies:

Julianne Cerreta (she/her) is a choreographer and dance educator originally from the Hudson Valley. Her practice is rooted in facilitating ethical, progressive, and inclusive creative processes, especially in balletic contexts. She received her BA in Dance from Goucher College and her MFA in Choreography with distinction from the University of Roehampton.

As a dance artist, Julianne has taught and presented work internationally. Her work has been programmed by several festivals including On Pointe Dance Festival, RE/VENUE NYC, and The Small Plates Choreography Festival. Her commitment to safe and superb dance education has led her to pursue further teaching certifications in the ABT® National Training Curriculum through level 5 and Progressing Ballet Technique. Additionally, she holds memberships through NDEO (National Dance Education Organization) and CORPS de Ballet International.

Julianne’s research centers the radicalization of ballet in professional and academic settings. Her work continuously attempts to address inequities within the art form through creative and educational exploration.

Steffi and Julianne have worked closely on academic projects (Tutus and Ethics, too: A deontological exploration of ballet’s pedagogy and professional industry) and choreographic works (This is Ballet: An exploration of ballet, identity, and power; WE (CAN) CAN: Ballet as self-satire).

Julianne possesses an unwavering commitment to a healthy, progressive, and kind creative process. Every work staged by her is guided by her moral responsibility to do what is right by the dancers, while still achieving superior artistry. Julianne’s work is driven by her eagerness to challenge tradition and make ballet better for everyone.

Steffi Carter is a Filipina-American ballet dancer, choreographer, and researcher who enjoys multidisciplinary work in the US/UK. They completed their artistic education and teaching certification in the Cecchetti Method of Ballet under Margaret Swarthout (Royal Ballet), Ahita Ardalan (Paris Opera), and Sylvia Palmer-Zetler (Royal Winnipeg), and is now an award-winning choreographer of classical and contemporary works.

After several seasons as a soloist in San Diego, Portland, and Chicago, they began freelancing principal roles and choreographic residencies in Europe/UK. Steffi originated roles under artists from San Diego Ballet, The London Ballet Company, Netherlands Dance Theatre, Joffrey Ballet, and Ballet Black.

Steffi created Renversé Ballet (RB 2020) as a virtual ballet community amplifying racial and gender diversity in classical ballet through classes and collaborations; RB’s teacher and choreographer roster includes artists from Dance Theatre of Harlem, Ballet Black, Boston Ballet, Philadelphia Ballet, and Royal Ballet.

Motivated by the ubiquity of unethical labor practices in the global ballet industry, Steffi’s ongoing academic and artistic research focuses on designing alternative, fluid ballet practices and company models. They specialize in making unusual, multicultural connections to classical ballet to make it more enjoyable, accessible, redeemable, and relevant.

Steffi currently serves as the dance director for a physically-integrated, disability-inclusive dance nonprofit.