New York City Ballet Dancer Georgina Pazcoguin Unexpectedly Makes AAPI History
Conversations about how the AAPI community could be better represented, let alone included in ballet at all, has sparked an uproar of dancers and audience members alike every December. But the rage quickly dies down, giving way to submission and apathy that leaves AAPI ballet dancers in a bit of a repeated tailspin.
“All of a sudden, not only are you getting thrown on, but you’re getting thrown into one of the most iconic Balanchine ballets during the Stravinsky festival, and I just kept on saying, ‘Thank you, thank you,” she told me over the phone on Monday. “The fact that history was made this weekend…I still have not even processed that. I think we’re just grateful to be able to keep the show going, and during APA heritage month in May no less, it’s just…what a kismet of different things.
“It just happened, and thank God it happened so fast because there was no time to doubt oneself. I just remember I was backstage in the wings about to go on, and I was watching my friend Sara [Adams] dance onstage, and I said to myself, ‘You were built for this,’ and something just aligned,” Pazcoguin said. “The women surrounding me and the women who prepared that role…there was so much love and support in the wings. That really, really helped me rise to the occasion.
Less than a year after the publishing of her memoir, Pazcoguin has appeared sparingly within the 2022 season’s program bills. “Anyone who cares to follow my career knows that the past few seasons have been unusually slow for me. I was not called to learn this ballet officially with the company. I’ve never been called,” she said of the company’s casting process. “Casting is not within my purview.
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