Because his parents worked full-time, Ramasar learned to take the New York City Subway from his home in the South Bronx to the studio on the Lower East Side, and rode public transit to get to the daily rehearsals.
[8] His family had no money to support his dance education, and Ramasar relied exclusively on scholarships to pay his tuition.
[9] Ramasar's promotion was noted by a critic as good thing, because "change at NYCB is itself a gift, for as younger dancers take over cherished roles, these wonderful ballets can look new all over again.
The biggest one for me was Fancy Free because, if you think of the history of that ballet, it's not necessarily the case that in the 1940s an Indian guy was one of the sailors fighting for America.
"In January 2019, he made his debut at the Teatro dell'Opera in Rome in the ballet Carmen with the choreography by Jiří Bubeníček.
It was discovered that Ramasar had sent explicit pictures of female New York City Ballet dancers engaged in sexual acts without the women's knowledge or consent.
[22] In 2021, New York City Ballet dancer Georgina Pazcoguin released a memoir titled Swan Dive: The Making of a Rogue Ballerina.
She writes that for years, Ramasar would greet her in class “by sidling up close, whispering, ‘You look fine today,’ eyes locked on my chest, and then he’d zero in on the goal at hand by — surprise!
[citation needed] His first featured review in The New York Times was in 2003: A revelation came from the young Amar Ramasar, who has taken over Jock Soto's original role opposite Janie Taylor in The Infernal Machine, the convoluted acrobatic duet created by Peter Martins for the Diamond Project last spring.
... Head thrown back, Ms. Taylor now evokes more angst than spunk and Mr. Ramasar, unlike Mr. Soto, is fleetingly fearful in a retreat.
He stands over his partner at the end, but she has worn him out.In 2005, The New York Times gave a rave review for Ramasar in a feature article: Gifted dancers tend to grow up in public.
He is never less than fully engaged in performance, and his joy in dancing is infectious, though it sometimes takes him over the top of his assignment.In 2006, the Times called him one of the "Young dancers who are rising stars in the New York City Ballet.
"[2] The same year, the Village Voice pointed out his strengths and weaknesses: Ramasar is extremely promising, both forceful and softly muscular (he'll be better when he views "modern" moves in the context of classicism and stops lifting his shoulders and dropping his head).In 2006, he was named one of "25 to Watch" by Dance Magazine.
[30] Their critic had "the pleasure of watching Joaquín De Luz, Tyler Angle, and Amar Ramasar dance together, truly convincing as three good sailor buddies.
"[30] Ramasar's performance in Fancy Free was "enthralling its audience with Red Angels," an Albany Times Union blogger noted; "The intense color proved a dramatic backdrop to the power and strength of its four dancers: Maria Kowroski, Teresa Reichlen, Tyler Angle and Amar Ramasar.
"[31] The official review from the Times Union wrote that Fancy Free, "Played with ample swagger by Tyler Angle, Joaquín De Luz and Amar Ramasar ... set the bravura tone for the entire night.