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Final Bow for Yellowface: Asian Representations in Classical Ballet and Beyond
Houghton Library welcomes Georgina Pazcoguin and Phil Chan for an evening event about their efforts to question and reform outdated representations of Asians in ballet performances. The 'Final Bow for Yellowface' project they co-founded aims to make ballet more inclusive by eliminating offensive stereotypes of Asians and, more broadly, challenges organizations to forthrightly address the legacy of Orientalism in the performing arts. The presentation will be followed by a panel discussion with Harvard University Professor Ju Yon Kim.

Please note that this talk will be recorded and made available online in the days after the event.

To request an accommodation or to ask a question about access, please contact us at: houghtonlibrary_events@harvard.edu

Dec 1, 2020 07:00 PM in Eastern Time (US and Canada)

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Phil Chan
Phil Chan is a co-founder of Final Bow for Yellowface, and most recently served as the Director of Programming for IVY, connecting young professionals with leading American museums and performing arts institutions. He is a graduate of Carleton College, an alumnus of the Ailey School, and the author of 'Final Bow for Yellowface: Dancing between Intention and Impact' (Yellow Peril Press, 2020).
Georgina Pazcoguin
Georgina Pazcoguin (“The Rogue Ballerina”) is a co-founder of Final Bow for Yellowface, and a soloist with New York City Ballet. Born in Altoona, Pennsylvania, Georgina trained with the Alleghany Ballet Academy before entering the School of American Ballet and joined the cops de ballet of the NYCB in 2003. She has also appeared on Broadway (Cats, On the Town) and in film and television, most recently in the mini-series Fosse/Verdon.
Ju Yon Kim
Ju Yon Kin is a Professor of English at Harvard University whose work focuses on Asian American literature, theater, and performance studies. She is the author of 'The Racial Mundane: Asian American Performance and the Embodied Everyday' (NYU Press, 2015) and is currently working on a manuscript titled 'Paper Performance: Suspicion and the Spaces of Asian American Theater.'