The Weight of Expectation

Every dancer dreams of a featured role, a moment to shine on stage. For Georgina Pazcoguin, a pivotal early opportunity with the New York City Ballet came in the form of the Chinese “Tea” character in The Nutcracker. While eager to prove herself and embrace the chance to move beyond the corps de ballet, Pazcoguin felt a deep unease with the portrayal. This discomfort stemmed from the role’s perpetuation of harmful stereotypes.

“I just knew that it felt weird,” Pazcoguin explained, later becoming a soloist and co-founder of Final Bow for Yellowface, an organization advocating for the dismantling of offensive stereotypes in ballet. At the time, she felt isolated, lacking mentors who shared her background as a mixed-race AAPI artist. Rather than confront the issue directly, she initially navigated the situation by subtly reshaping the character, attempting to “spin gold out of my own discomfort.”

Years later, with increased confidence and a stronger voice within the company, Pazcoguin successfully advocated for her removal from a ballet following a challenging casting change after COVID-19 lockdowns. She acknowledges that this decision carried potential repercussions, but ultimately prioritized her well-being.

In an industry characterized by fierce competition and a historical expectation of silent acquiescence, speaking up can feel taboo. Dancers often face a difficult choice: accept a role that compromises their values, exacerbates an injury, or simply doesn’t feel right, or risk jeopardizing their career. But is the cost of silence truly worth the potential gain?

Processing Discomfort and Finding Clarity

Former professional dancer and current health coach Jess Spinner emphasizes the importance of self-reflection. “Writing can be an invaluable tool” to process complex emotions and clarify concerns, she says. It’s crucial to distinguish between a role that presents a genuine ethical dilemma and one that simply feels challenging or outside a dancer’s comfort zone.

Spinner suggests reframing the situation: “What is the opportunity in this role?” she asks. “Is there a way I can think of it differently that mitigates some of the discomfort?” Could the experience foster technical growth, artistic development, or personal resilience? Could it be an opportunity to leave a unique mark on the choreography?

Pacific Northwest Ballet artistic director Peter Boal advises dancers to “drill down very specifically” to identify the source of their discomfort. “Is it just that one passage where you’re asked to sing or asked to hold hands and look into so-and-so’s eyes?” he asks. Providing concrete details allows for a more productive conversation and potential adjustments.

Pazcoguin advocates for taking time to process feelings. “If I go to sleep, I clock it, and if it feels off, and I wake up the next morning and it still feels off, it needs some attention.” She also encourages dancers to seek advice from trusted colleagues and mentors.

Understanding the Risks and Navigating Company Culture

The fear of being labeled “difficult” is a significant deterrent for many dancers considering speaking up. Spinner acknowledges that those who do tend to be more established in their careers and feel a greater sense of security. However, she recounts working with a client whose character was subjected to onstage sexual assault, and who successfully advocated for a more sensitive interpretation of the role within a forward-thinking company.

Naira Agvanean, a soloist with Dutch National Ballet, notes that a culture of silence has historically been prevalent in the dance world. “You shut up and you do it,” she recalls being taught during her training. While dancers are ultimately employees, Agvanean believes they should have a voice when a role compromises their well-being. The risks, however, are real, particularly for those early in their careers.

What are the potential consequences of refusing a role? Future casting opportunities, job security, and even relationships with artistic leadership could be affected. Dancers must carefully assess their company’s culture, leadership style, and employment structure before making a decision.

Speaking Up Effectively

Agvanean experienced a turning point during the COVID-19 pandemic, realizing the importance of prioritizing her mental and physical health. When faced with a demanding role on a short deadline, she openly communicated her struggles to her artistic director. “I kept it simple. I explained how it was affecting me and that I wasn’t able to focus in the studio,” she recalls. Her director was supportive, allowing her to step away and return stronger than ever, ultimately leading to a promotion.

Spinner advises dancers to prepare thoroughly before initiating a conversation. “Talk through what you want to say with a friend or someone else who you trust,” she suggests. Role-playing potential reactions and focusing on “I” statements can help ensure a constructive dialogue.

Boal encourages dancers to come to the table with creative solutions. “Dancers will say to me: ‘Here’s why I don’t feel that I should do this role. If it helps you, I could do this other role, or I don’t mind being cast more often in the other role,’” he says. He emphasizes the importance of approaching the conversation as a collaboration, not a demand.

Boal also suggests addressing concerns early in the process, before casting adjustments become more difficult. “Come forward not with a decision but with a dialogue,” he advises. Ultimately, he believes that directors want to see their dancers thrive, not suffer onstage.

But even with open communication, dancers may need to accept professional risks to protect their well-being. As Pazcoguin wisely states, “There is so much more to life than one role. The soundness of one’s mind and spirit is worth more than any performance that is here today, gone tomorrow.”

Frequently Asked Questions