As NY1 continues to celebrate Women's History Month, "News All Day" is speaking with the modern-day trailblazers in their careers with "Women Wednesday." Georgina Pazcoguin made history with the New York City Ballet as their first female Asian American soloist. She's also the co-founder of an initiative to eliminate stereotypes of Asians on stage with "Final Bow For Yellow Face." Pazcoguin was also named one of the Kennedy Center's "Next 50."
Q: You are breaking barriers. What pushed you to be a trailblazer? And what was your journey like?
Georgina Pazcoguin, NYCB’s first female Asian-American soloist: What pushes me, I think it's just my natural, outgoing nature and wanting to break ground and break, I never want to rest on my laurels. And my journey to becoming a soloist at the New York City Ballet has not always been easy. And I grew up in a family of six. I am Filipino American. In my normal life, I have always passed. And then when I finally got into New York City Ballet, I started recognizing that there was no one else in the company that looked like me. And then I started being asked to, in one way or another, assimilate into this idea of what a quintessential New York City Ballet ballerina looks like. And I, for better or for worse, just am not that stereotype. So I have decided to create my own brand, which was “The Rogue Ballerina.” And it's basically taking the word rogue and flipping it on its head, and embracing all of the things that were explained to me that perhaps, are strikes against what make me look like this pretty ballerina and spinning them into the best positive gold I can possibly make them.
Q: A lot of us are looking at this great achievement right now, but the journey for you getting here must have been quite difficult. How exactly did you carve out this path?
Pazcoguin: Slowly and surely. I recently published a memoir called “Swan Dive: The Making of a Rogue Ballerina,” which takes you into full depth into my journey from a small-town girl in Altoona, Pennsylvania, to being a soloist at New York City Ballet. And it's really just about this whole process. When you get into a job at the age of 17, no one really knows who they are, whether you're male or female, no matter how smart you are. And I think this process of trying to define who I am and what I stand for, as an artist, amidst all of these barriers that have been placed in front of me and how and I’m jumping over them and still trying to remain generous. And every ceiling that I break, every door that I omit open, I'm trying to take as many people along with me.
Q: A lot of people are recognizing you as an artist. You were named one of the Kennedy Center's Next 50. What kind of role model will you be for young girls and women, especially those of Asian descent?
Pazcoguin: It's my intention to be a source of compassion, a source of knowledge for those. I don't want anyone who identifies as Asian American, or a woman for that matter, in this still patriarchal world we live in to ever have to go through the same disappointment and struggles that I have. And if I can offer advice, if I can offer support in any way, shape or form, I'm going to do that especially in my world of ballet.
Q: You have an initiative, Final Bow for Yellow Face. What is the push behind that?
Pazcoguin: So Final Bow for Yellow Face was a pledge, and it was co-founded with my partner in change, Phil Chan, and we realized that there was still prevalent use of yellow face on our stages. And now in this time, and especially today, on the anniversary of the shooting in Atlanta, I think it is time for us as an Asian American community to gather to support each other and now. So Final Bow for Yellow Face was recognized by the Kennedy Center, and we are expanding upon that, and Final Bow will now become Gold Standard Arts Foundation, a greater umbrella service organization for not only dancers of AAPI heritage, but costume designers, lighting designers, directors, choreographers, we really want to support and uplift all of the voices in every aspect of the Performing Arts.
Q: Let me ask you this - as a Filipino American, do you feel marginalized within a group that is already marginalized?
Pazcoguin: That's a really, really wonderful question. I think at some times, I do. But I have to acknowledge my own privilege here because I am a mixed-race, multicultural woman, I have to acknowledge that in my normal everyday life, I walk through the world passing. When I'm on stage and I'm wearing my stage makeup, it is very apparent that I am of Asian heritage. So as a Filipino, you know, I think we as an Asian diaspora, we are not a monolith, and we need to look within our own community and find where we lack in sense of colorism in that diaspora.
Q: What is the common misconception about ballerinas? And I want you to tell us something about yourself that no one else does tell us something deep that no one else knows.
Pazcoguin: One common misconception about ballet dancers is that we are so straight-laced and buttoned up. And I could not be farther from that. I am someone who loves adventure. I love traveling. I have a little bit of OCD. But I like to shake things up. There's no performance that I ever approach in the same way, and I think that makes me very unique as an artist. Also, I think I would be remiss if I didn't comment on the fact that dancers have to eat a lot to support not only the athleticism that we achieve on stage and off, but also just the artistry. And there are a lot of dancers that do cross training. I mean, I've done some pretty hardcore, I've considered doing a Tough Mudder, for that matter.
Q: What does it mean for you to fight like a girl?
Pazcoguin: What does it mean to fight like a girl? I think it means holding your sisters close, and no matter how far you go, not closing that door behind you because we are a community. Also, not viewing men as an adversary. We have to work together for us all to achieve and for us to grow as just humanity as a greater race.