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GM: Starting now. Okay. GM: Today is August 14th, 2023. GM: My name is Gina Matos, and I'm with the Houston Asian American Archive interviewing GM: Chae-Eun Yang. Thank you so much again for taking time out of your busy

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GM: schedule to participate in an interview with us. CY: No, it's my honor to join the interview. GM: Great, so let's get started. GM: So, the first question is—–if you could tell us when and where

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GM: were you born? CY: 1991, in South Korea, in CY: Seoul. GM: Great, so, what was your experience growing up in Seoul, in South

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GM: Korea? How would you describe the household and neighborhood you grew up in? CY: I grew up in—–I actually born in Seoul, but pretty much right CY: away we moved to a little south–southern city CY: called Jeonju where—–Jeonju, where my parents are from.

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CY: So, I spent probably, like, until CY: my elementary school there. CY: And then I moved to more south call—–it's, like, CY: Chungcheongnam-do, the coastal town.

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CY: So, I have—–most of my childhood memories in there CY: being around the coast. CY: And, it's a pretty much—–pretty small city. CY: So everyone knows everybody.

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CY: Yeah...yeah, it was CY: very warm and nice. GM: If you don't mind me asking, what were your parents' occupations? CY: They had a business.

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CY: Like their own business. CY: Yeah. Mostly–—I don't know how to CY: say––they sold, like, little CY: jewelrys or, like, stationeries and also sometimes,

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CY: like, clothing. CY: They were, like, all in one. CY: No, Target is, like, too big of an example, but they had really, really tiny CY: version of Target, like, where they sell everything.

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GM: I see. What were some of the values that your parents GM: emphasized in your upbringing? CY: Values. You know, I think most of Korean families CY: are real— thinking really important of, like,

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CY: politeness. And you always CY: put somebody else who's around you CY: first, then yourself. CY: Yeah. But they, of course, made sure that I'm–I'm a happy

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CY: person and that I have everything that CY: I need in order CY: to make those, CY: like, being polite and things possible.

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GM: Do you have any specific memories celebrating Korean holidays GM: or traditions with your family? CY: Oh, yes. Until I got really serious CY: into ballet, which is my middle

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CY: school, which—–I went to this arts school. CY: Sunhwa Ar-Art School, and they're really strict CY: and since I started at school, I CY: couldn't visit my grandparents' house

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CY: more often. But before, until then, we always went to CY: my grandparents' house and we gather up there CY: with my cousins and go to, like, Korean traditional house CY: where our great-grandparents lived, and we spent,

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CY: like, every one of our families spent Thanksgiving Day–Thanksgiving CY: Day there. CY: Yeah, we share all the foods. CY: You know, you–you say you're half Korean, you know all the foods that we

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CY: celebrate for Thanksgiving Day. CY: Yeah, it's much––pretty much family-forward. CY: Like big fami`ly. CY: We sometimes dre-dressed in Korean traditional wear when I was

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CY: more younger. CY: Yeah. GM: Did you have a favorite dish that your family used to make? CY: I loved the fresh rice cake.

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CY: The—–I don't—–that traditional CY: house we visited, which I'm kind of—–I have a vague CY: memory whose house it was? CY: One of our cousin or, like, great-grandparents descend

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CY: down. They had the CY: machine that you poured the rice into the machine and CY: the–the machine makes the rice cake. CY: And then the–the fresh made rice cake goes right into the cold water.

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CY: And I'll just wait around there to get the most fresh rice CY: cake. That was my favorite. CY: Usually, we make soup with it. CY: You chop it up––I mean, you don't make that with fresh rice cake.

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CY: But, yeah, I think anything with rice cake, I love it. GM: Yeah, me too. GM: I can tell that you're [CY: Yeah. (laughs)] right (?). GM: Did your family practice a religion?

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CY: No. CY: My mom's side of family—–actually, both sides of the family, my CY: grandparents all had a CY: Christian––no, actually, Catholic.

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CY: But my parents, not really. CY: So, naturally I don't. CY: I'm—–[laughs]. GM: Do you remember the first memory of

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GM: you becoming interested in dance or specifically GM: ballet? CY: Oh, yes. It was on a TV. CY: They were playing some—–I don't even remember.

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CY: Probably a Russian company, Sleeping Beauty. CY: And in Sleeping Beauty's prologue, there's lots of CY: fa-fairies dressed in tutus and the-they have CY: their each own colors.

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CY: So, it was so colorful and in a tutu, and I thought it was the most prettiest CY: thing ever I-I've seen. CY: So, I told my parents, "I want to do that." But CY: at the time, we were living in the coastal town and

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CY: where there are not much professional dance studios CY: . But, there was some, but I was too young to join. CY: So, I had to wait for a year, but my parents said, "Oh, she's going to forget about CY: it." But, I don't know, maybe they didn't want me to dance?

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CY: I mean, they didn't—–clear didn't show it to me? CY: But then, they told me I was, like, begging to join CY: the–that studio for a year straight, and that I CY: was seven in Korean age, so probably here, like, six

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CY: or yeah. GM: That's so sweet. GM: So, along that line, you kind of mentioned this GM: already–already, but did your parents ever push you to

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GM: pursue particular fields of study? GM: And what were their views on artistic career paths? CY: My parents, as long as I remember, CY: they never pushed anything to me.

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CY: Like, they never say, like, "Oh, you have to study or you have the homework CY: from this hour to that hour. CY: That—that's the only way you can get out and play with your friends." Never. CY: Nothing like that.

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CY: And I remember all of my friends, they had to CY: go to, like, afterschool CY: schools? CY: What do you call in English?

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CY: They–they had to go, like, piano school, or they had to CY: go painting school after just normal school hours. CY: It was so normal, but my parents would never ask me to go CY: or––because I always hear my friends complaining, like, "I don't want

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CY: to go to that. CY: I want to just go play. CY: But I have to" always complain. CY: I'm always in the middle of, like, playing group because I always [laughs] play.

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CY: So, I think that made me wonder, like, "Mom" CY: or "Father, why, why don't you guys ask me to, CY: like, study or, like, go join the CY: piano school or painting school?" They say, "Because you didn't say you

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CY: wanted." And then as soon as I say I want something, CY: like I want to learn, I think they—–for them, it's really important that CY: you have the drive is within myself to start anything. CY: I'm really appreciative of them that

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CY: they brought CY: that drive from within me, not, like, pushing it. CY: So, since I found something I wanted–wanted to do CY: in early age.

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CY: That–that desire CY: never went away. CY: Like, still, to this day, like, I'm doing this because I [laughs] want it so much. CY: Yeah.

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GM: That's really great that they were so supportive. GM: [CY: Mhm.] So moving more now into education [CY: Mhm], GM: what was the Korean education system like? GM: Such as, what were, like, the dynamics between teachers and

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GM: students or even, like, between students? GM: Because I know that there are probably differences from the US education GM: system. So, yeah, your thoughts on that. CY: Very different because I-I'm still a 90s

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CY: kid. I mean, very early 90s. CY: And especially I grew up—–the early education—–my elementary CY: school was in not in the center of CY: Seoul, so, less progressive I guess?

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CY: So, it was very strict. CY: Like the–—I don't know CY: proper way to say this, but, you know, sometimes, CY: like, if we didn't do homework or something, but—–then,

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CY: my teachers will bring, like, long ruler. CY: And we have to present our palms forward and then CY: they will hit us because we didn't do what we asked to do. CY: So, yeah, unlike my family, it was really strict in

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CY: the school. So, I guess my parents didn't really CY: push for the discipline, but I learned to be disciplined CY: by not so ideal way, but from the school. GM: Do you know if today—–I know that it probably differs from region to

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GM: region, but do you know if physical discipline is still involved when it comes to GM: schooling in Korea? CY: I don't think so. That's completely banned since—–I CY: don't—–I'm not quite sure, but I heard that it's not

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CY: a thing anymore. CY: Yeah. But–but that questions me. CY: Is it really, really, like, none? CY: I'm pretty sure it's still, like, some of it exists because those

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CY: teachers now is probably from our CY: generation or, like, little more older. CY: So, they have experienced how that works. CY: So, I assume it would be hard to just, like, cut it straight

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CY: . Unless there's, like, law or something which I'm pretty sure CY: there's some by now. GM: For sure. I mean, it seems like attitudes are changing surrounding that. GM: [CY: Yeah.] Yeah.

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GM: So–so being Korean myself, GM: like, to my knowledge, like, with a lot of families GM: or households or just in general, there's a high competitiveness, to put it GM: one way, surrounding academics in Korea.

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GM: [CY: Yeah.] And so I wanted to ask, like, what are some of Korea's attitudes GM: surrounding the performing arts? GM: Is there that [CY: Mm.] same level of competitiveness in the arts as GM: there is in academics?

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CY: Yes, that's something CY: uncomfortable truth that CY: in my eyes, arts, especially the fine arts and CY: dance, and those are not

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CY: super natural CY: in our traditional forms. CY: I—–yes, we do, but it's—–especially I'm speaking CY: as a ballet dancer, like, especially ballet isn't from our

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CY: culture, like, it's brought from outside. CY: So...to CY: achieve that, I don't know, it kind of—–it is viewed CY: as more like sports, especially when I was younger.

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CY: Like, we will go to compete CY: more than–more than actually perform. CY: Like, my early dance memories, it's more of competition CY: than performance.

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CY: Yeah. GM: Yeah. So, I saw in your resume that [CY: Mhm.], GM: like, from an early age, you were participating in dance [CY: Mhm.] GM: competitions [CY: Mhm.]. So, along that line, did participating in these competitions,

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GM: like, affect your academic schedule? GM: Or how did you, like, time manage that? GM: And do you have any specific memories from any of these competitions? CY: Oh yes.

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CY: I remember I already participated in competitions CY: in elementary school, so I have a memory that CY: I put in the request that I'm CY: participating in a competition on behalf of my

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CY: school. So, I will take my school's name. CY: So, they dismiss me from, like, some classes because I have to go CY: practice or participate in the competition. CY: But then they were really welcoming because I will come back with

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CY: prize and things with our school names on CY: it. So, they were pretty open about that, CY: as long as I remember. CY: And also, the more serious competitions happened

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CY: during my middle school and high school. CY: Which, it was already in the school program because I went to the art CY: school. They had a plan to—–on CY: behalf of my school, like, participate in certain competitions,

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CY: which you could only do that if CY: you—–that's so funny—–you–you get CY: the grade—graded by, CY: like, if your school

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CY: students—–the class is, like, 40 people, and you get CY: graded, like, your first place to 40 place. CY: So—–and you can only participate in the competitions, CY: like, from, like, one to—–if you are

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CY: placed 1 to 5 or something. CY: If you are 5 to 40 something, you wouldn't get a chance to CY: participate in. CY: Yeah. So, that was quite uncomfortable in that nature actually

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CY: brings out the competitive-competitiveness rather than, like, really CY: practicing art. Like now I'm in the professional field. CY: It's—it is still competitive, but the CY: more emphasis on, like, creating, like, it's nothing

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CY: like go compete and get the gold medal. CY: You know? Actually, I had a hard time switching CY: my mind. CY: Like, I learned a lot after school because my focus

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CY: when I was in the school was to get gold medal CY: or—–and if I don't get gold medal, if I get bronze, CY: like, I get really depressed. CY: Now I'm thinking, like, that's still amazing.

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CY: And during—–you asked me if I have a specific CY: memory of certain competition, is my first international CY: competition was—–happened in CY: Switzerland. It's really renowned competition called Prix de Lausanne.

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CY: And that's, like, people from CY: all over the world come to Switzerland. CY: And that special thing about the competition, and the thing I really CY: liked about and that made me compete twice, like, back to

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CY: back, like, it was 2018 and then—–no, CY: 2017 and 18, I participated two times because it was CY: more like a summer school or winter CY: school. Like, we don't just go compete what we have

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CY: already practiced. CY: They–they had a program that we can learn from CY: the teachers all over the world. CY: And we will take classes from them.

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CY: Yeah, that was a really wonderful experience of a CY: competition because it didn't really feel like competing. CY: It felt like I'm learning from the people from all over the CY: world and meeting the people, like, meeting, like, dancers

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CY: all over the world and be friend with them. CY: Yeah. That was the special memory about competition. GM: So, was there a lot of competitiveness between, GM: like, students, like, amongst yourselves?

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GM: Or was there kind of an understanding that the competitive nature was kind of being put GM: on you by your teachers or mentors? CY: I think––I CY: think because—–I don't

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CY: know...we tried to hide CY: that, the competitiveness, as much as possible, because we all CY: know that, like, we have to be friends and we CY: have to be nice to each other to the learn—to

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CY: learn as much as possible. CY: Because if the competitiveness is CY: showed out loud and we try to cut people out of CY: our school life or whatever, I

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CY: think we knew that's not the most helpful thing. CY: So, we're very competitive, but we try as hard as CY: possible to hide that competitiveness, like, but CY: it was competitive [laughs].

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GM: Were there any teachers or mentors that left a lasting GM: impact on you during your early training years? CY: Yes. CY: A lot of them,

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CY: actually...I think CY: I'm pretty lucky to have all the teachers I have met. CY: They're really passionate. CY: One of the teachers from Russia, Mariinsky Ballet—–I

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CY: don't know, she–—I think she really taught me a very important part CY: of my dancing that I differentiate my dancing to CY: others. It was those little CY: elements I could have–I could have soaked up from

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CY: the teacher because I was very young and, like, blank CY: canvas. And she knew that and she knew the importance CY: of the part of dancing is CY: very important than more, like, competitiveness of dancing, which is,

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CY: like, a turn and jumping. CY: She–she was more CY: emphasis—emphasize in, like, the CY: expression of dancing.

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CY: So, yeah, her and one other teacher, CY: she's from China, she taught us the character CY: dancing, which is very important element CY: to be–to

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CY: be great dancer. CY: Not just the classic ballet, but the character dancing is always in CY: classic ballet. CY: So, it's more like–like a seasoning in the food.

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CY: So, yeah, I still really appreciate and love the CY: te-teacher who taught me that for, actually, for nine years. CY: The—–my school CY: teachers all knew that's really important pa-part of ballet,

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CY: so how important it was they put the character CY: dance program all year long from CY: middle school, three years, high school, three years and then, when I went to CY: university, another four years.

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CY: I mean—–I only did three years, so, yeah. GM: Yeah. So, you attended Sunhwa Arts [CY: Mhm .] High GM: School, like, a private preparatory school, and then you attended the Korean National GM: University of Arts.

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GM: Was there a difference in the environment between the GM: two? Between high school and university? CY: It's, you know, it's not so much different than I CY: expected. In my head, I feel

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CY: like—–I felt like going to university is more like a CY: professional in entering a professional world. CY: But it was more or less stretch CY: of the education I had high

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CY: school. But it CY: act—–it, of course, prepared me to join the professional CY: ballet world. CY: But, when I came to US, it's really different

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CY: in US. CY: The ballet dancer joined professional companies right after high school CY: or before high school. CY: So, they start really early.

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CY: So when I joined the company, Houston Ballet—–this is my first company—–and CY: I was already so much older than people who are CY: starting with me. CY: Yeah.

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GM: Yeah, we will definitely get into your audition process [CY: GM: Mhm.] and joining the Houston Ballet further down GM: the line. But before we get into your career and the Houston Ballet, I had a GM: few questions about your immigration experience [CY: Mhm.].

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GM: So, you moved to the US in 2013? GM: So, you were around the age of 22? GM: [CY: Mhm.] What, I guess, prompted you to move GM: to the U.S. specifically [CY: Mhm.], and can you provide some insights

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GM: into your immigration experience? CY: I guess it's combined. CY: You say you're going to ask me about, like, audition process, but CY: I actually never auditioned because what—–like we talked

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CY: about, I had my last competition, CY: I believe it was my third—–beginning of third year of CY: university, and I–I participated in the competition CY: which took place in–in New York.

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CY: And Stanton Welch, who is artistic CY: director of Houston Ballet, was one of the jury. CY: And after the competition, he gave me the contract to CY: join the Houston Ballet.

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CY: So, I didn't have to audition. CY: I was lucky to compete and then get CY: the—–I guess in university, the reason we CY: go do international competition is to get in the

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CY: company. Our professors, they CY: told us it's the most natural way to get in the CY: company than participate in CY: large group audition and stuff.

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CY: So, that's how I got in the US. CY: And it was really quick, and Stanton wanted me to join, like, right CY: away. So, it––usually the season CY: starts from the summer, but the competition was in the summer

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CY: and he wanted me to join as soon as possible. CY: So, I didn't graduate my university, and I just came CY: to Houston right away in CY: end of September or October.

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CY: Yeah. So, it was very quick, all the decisions I made. CY: It was such a big decision to leave home that I never left CY: within, like, three months. CY: Not even three months [laughs].

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GM: Yeah, I'm sure. GM: And so, what were your parents' views on you leaving Korea, I mean, GM: so quickly, and coming to the US? GM: And how did you keep in touch with your family, if you did, during this time?

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CY: It was really quick because—–I don't CY: think we—–I–I think my parents knew CY: because I communicate to them that I want to dance CY: overseas. So, they vaguely knew that's the idea, and

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CY: that's the ideal—–the next step of CY: my ballet career, but they certainly didn't expect that it's CY: going to happen right then. CY: So—–but my—–as I said, my parents are all about

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CY: supporting, like, if I wanted the—–nothing entered CY: the conversation, like, the only matter is if I CY: want it. And I said, "Yeah, of course, like, I want it. CY: I think it's going to be fun." I didn't have any fear to go

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CY: out, as I'm an only child. CY: But I don't know, those international competitions I participated in CY: my high school year, early university CY: years was really fun.

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CY: And that made me think, like, I think I'm going to do great, like, overseas. CY: And it's so, so much thing to see CY: and so I was more than willing CY: to drop everything and go.

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GM: Did you experience any culture shock when you arrived GM: and if so, do you recall any specific moments? GM: Was the US everything you expected? CY: Oh, yes, of course.

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CY: There was a culture shock, which everything else CY: is–—I have an understanding that we are very different CY: country. And from, like, movies and things, I CY: had a sense, like, how different it would be, but the most

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CY: different—–difficult part of CY: the shock was actually in the studio, which I had CY: thought it's not going to be so different, because we practice same ballet CY: and we dance same

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CY: things, so how could it be so much different? CY: But, it was very different about CY: the—–how I approached the CY: –the daily life in the studio, especially—–like, you

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CY: ask me, the high school—–middle school, high school and CY: university felt different. CY: And I said, like, not so much, right? CY: Like I thought it would be more professional.

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CY: It'll feel more professional than the school––university CY: would feel more professional than school, but it wasn't much CY: because, I guess, there was a culture thing, like, if we CY: have a teacher and professor is in front of room, we're told

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CY: to respect and we always put ourselves under. CY: But the professional wor-world I got in here was very different. CY: But I don't think I was prepared to CY: see that in—–I don't know, I thought if somebody in front of the

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CY: room, in my head, like, immediately, CY: the person is a teacher and I'm the student. CY: And I thought that behavior is okay and more, like, CY: a charming behavior that somebody knows more than

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CY: me, teaching something that I'm—–I become student. CY: But the shockingly, when I had a first or second meetings with my CY: artistic director, like, he asked me to not to be CY: too much of a student.

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CY: "You're a professional." That was bit of a culture shock to CY: me, that here in the professional world or––that's CY: America, that you have to really present yourself. CY: You're not waiting for other–other person to present

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CY: you to them. CY: Like, that was different for me because I always, like, I went to CY: competition with my teachers, so teachers will present me CY: to anything I needed to be presented.

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CY: Like, even, when I got a contract CY: from Stanton in the competition, my CY: teacher will bring me to him and my teacher will CY: introduce to him, like, "Oh,

00:34:12.440 - 00:34:32.050

CY: Chae–Chae-Eun, he would like to CY: give you a contract." Like, she will do everything... CY: because I didn't really speak English then, yes, CY: I understand that. But, you know, that nature

00:34:32.950 - 00:34:49.210

CY: of—–I don't know, I was still a student in the CY: university, so I wasn't, like, super prepared to be, like, as an individual, I CY: guess. Yeah. GM: For sure, that's a huge shift, and I'm sure that impacted the way that you

00:34:49.210 - 00:35:02.710

GM: approached your craft or your art after [CY: GM: Mhm.]. Along that line, you GM: mentioned the difficulty of GM: understanding English.

00:35:02.710 - 00:35:22.660

GM: So, did you experience, like, a language barrier when you came GM: here? Or did you learn English prior to coming to America? CY: In Korea, we always had English CY: classes. From elementary

00:35:22.660 - 00:35:37.570

CY: school, we always have English class time and middle school, high school, but CY: it's very different. CY: Those school years, English classes were there CY: to prepare for the test to get into the university.

00:35:38.630 - 00:35:57.280

CY: It's not preparing anything to converse, actually. CY: So, that was also difficult because CY: I always held a good score in English class, so CY: I thought I'm pretty pre-pre-prepared.

00:35:57.370 - 00:36:15.160

CY: But then when I came to US, I couldn't CY: use any of it because I learned CY: to make perfect sentence with all CY: the grammar and things, right?

00:36:16.300 - 00:36:33.800

CY: But that actually was in the way of me to improve CY: in English or speaking. CY: Because I wouldn't speak unless everything is perfect in my head. CY: So, that was really hard to get in.

00:36:33.800 - 00:36:51.700

CY: And, of course, it was a problem early CY: years with Houston Ballet because they would like CY: to communicate with me and–and CY: they wouldn't slow it down because there's foreigner in the room, you know?

00:36:51.700 - 00:37:07.010

CY: They expect me to understand like everyone else in the CY: room. So, yeah, that was pretty CY: challenging. GM: For sure. Did you face any

00:37:07.010 - 00:37:22.950

GM: discrimination upon arriving in the US, specifically in GM: Texas? Yeah. CY: I don't really CY: recall other

00:37:22.950 - 00:37:38.440

CY: than––it's the same. CY: I wouldn't say it's a discrimination because my English CY: wasn't sufficient enough to converse. CY: So, when I had to deal with the problems on the phone, but people

00:37:38.440 - 00:37:55.840

CY: wouldn't be so patient with me because it's their CY: daily job. Like, they don't want to get it done [laughs], but, like, it takes time for CY: me to, like, get the words out, even though how much I prepared before. CY: Like, those were some hard points, but I don't

00:37:56.650 - 00:38:14.250

CY: recall, like, getting discrimination, experiencing CY: discrimination, really. CY: Yeah. GM: Were you able to find a solid Korean community when you arrived in

00:38:14.250 - 00:38:27.000

GM: Houston? GM: Or was that important for you to find? CY: I—–not really, because CY: [laughs]––it's funny.

00:38:27.000 - 00:38:44.250

CY: From my friends who CY: already went to America before, early CY: on, or they said they lived in LA, but they came back and they still CY: cannot speak English because they were in the Koreatown, the massive Koreatown.

00:38:44.280 - 00:38:59.910

CY: They didn't have to speak English. CY: They can just hang with other Koreans in the city. CY: I think I had a fear about that. CY: Like, if I go seek for a Korean people and be comfortable with them, like, I

00:38:59.910 - 00:39:15.520

CY: wouldn't go out as much with my CY: colleagues and, like, American colleagues or who speaks English. CY: So, I think I try not to. CY: Especially that I do not have religion.

00:39:16.000 - 00:39:33.380

CY: Like, if I had to go to church, I probably would have seeked for the Korean CY: church and stuff. But, yeah, so. GM: Were there any influential people who helped you GM: during your early journey within the US as a new immigrant?

00:39:34.220 - 00:39:54.270

CY: Oh, yes. My friends CY: of my father who knew someone in the con—Korean CY: consulate. He worked there, so he helped me a lot, like, CY: getting a–getting a car or getting,

00:39:54.450 - 00:40:10.290

CY: like, situated, like, with apartment, which area, you know, CY: that's—–I'm not familiar with. CY: I would think anything close to Houston Ballet would be good, but CY: he actually said, like, "You have to have a car" and, like,

00:40:10.290 - 00:40:27.300

CY: which area is better to live than certain other CY: areas it might seem to be CY: good. So, it was great help. GM: Yeah, for sure.

00:40:27.710 - 00:40:43.450

GM: So, now we're going to start moving into your career. GM: So, the Houston Ballet is a very prestigious company GM: here in the US. GM: So, what does an average day look like at the Houston Ballet?

00:40:43.740 - 00:40:56.710

GM: Are there times in the season when things feel more hectic? CY: Oh, yes [laughs]. CY: I think it's CY: also

00:40:56.710 - 00:41:13.300

CY: privilege for CY: Houston Ballet dancers that we have CY: such different repertoires in a year, like, we CY: don't repeat things so much.

00:41:13.300 - 00:41:30.640

CY: So, it's—–for us, it's always learning new things. CY: So, whenever we start, like, CY: after––for example, the summer break was five weeks CY: break. So, you would think when you—–the day one when you start

00:41:30.640 - 00:41:42.430

CY: it'll—–you will slowly get into it. CY: Especially ballet is really physical demanding. CY: So—–but no CY: you're—–i-it's expected

00:41:42.640 - 00:41:59.700

CY: that you meet the physical demand beforehand before we CY: start, so we can start right on, because we have so many things to learn CY: [laughs]. So, it is very hectic all year long. CY: But, yeah, it is

00:41:59.700 - 00:42:15.570

CY: very busy the CY: first couple of weeks. CY: Because also we tried to maximize our summer break. CY: And then when we start working, we have to prepare for our

00:42:15.570 - 00:42:29.900

CY: physical strength and things. CY: So, all the things are all together at once. GM: Yeah, that sounds crazy [both laugh]. GM: I don't know how you guys do it.

00:42:30.020 - 00:42:47.630

GM: So, you've performed with the Houston Ballet as GM: a corps de ballet member since 2013. GM: However, I saw on your resume that from 2017 to GM: 2018, you briefly danced with the National Ballet of Canada, like, [CY: Mhm.] for a

00:42:47.630 - 00:43:03.050

GM: year [CY: Mhm.]? So, [CY: Mhm.], what influenced you to dance with a new company at GM: that time? CY: That was my fifth year or sixth year CY: in the company, and I don't know, I guess

00:43:03.050 - 00:43:21.140

CY: I thought a change is not a good—–not a bad thing. CY: And at that time, my—–I was at 25 or something, CY: so it sounded really good time to CY: experience some-something new if I wanted ever

00:43:23.480 - 00:43:40.940

CY: . So, actually that wasn't super planned. CY: It was—–at the time my—–it was a lot of moving in the company. CY: Like, many dancers, wanted to try something else. CY: So, I guess I got influenced by my friends, like,

00:43:41.300 - 00:43:59.960

CY: "Oh, they're trying some—–that they're trying that." So, CY: I wasn't really prepared to go somewhere else, but I was, like, CY: "Okay, like, if I'm going to regret if I didn't try anything, CY: so I'll just give it a chance, give it a shot." So,

00:43:59.960 - 00:44:11.300

CY: I send my resume to one company, which is National Ballet of Canada, and CY: then they took it. CY: I really—–I didn't really expect that. CY: So, I was, like, "Okay, like,

00:44:11.300 - 00:44:26.570

CY: if–if I feel like I'm not, CY: like, strong. CY: I don't have a strong opinion about, like, whether I should move or not, let the world CY: decide. So, I just send my resume and they took it.

00:44:26.570 - 00:44:39.500

CY: So, they asked me to come audition. CY: So, I went to audition and they gave me a contract. CY: So I was, like, "Hmm, okay [laughs], I guess I'm trying this." CY: Yeah, that's how I went.

00:44:42.500 - 00:45:02.150

GM: And so what influenced you to come back to the Houston Ballet? CY: It's what we just talked about, how CY: Houston Ballet has diverse repertoire. CY: That we do always different things, which means to me we learn always

00:45:02.150 - 00:45:17.970

CY: something new. CY: That was important to me, especially my mid-20s. CY: National Canada, wonderful company. CY: I learned a lot, like, it's very different.

00:45:18.210 - 00:45:33.310

CY: The company is more—–I wouldn't CY: say more classical, CY: but...how CY: do I put it?

00:45:33.310 - 00:45:52.100

CY: They—–their repertoire comes back regularly, which CY: means the—–in a good side, they–they always have CY: time to perfect it, you know? CY: But I guess my 20s, coming from Houston Ballet

00:45:52.490 - 00:46:10.700

CY: who—–we really cover everything and CY: maybe in my thoughts, like, CY: my age at the time, like CY: 20—–mid-20s, I wanted more challenge than going

00:46:12.830 - 00:46:28.070

CY: deep and, like, perfecting CY: things. Maybe my young thoughts, it sounded more CY: boring than, like, learning new things every day, you know? CY: So, yeah.

00:46:30.230 - 00:46:45.200

GM: So, you came back around that time and then you were promoted as a GM: demi-soloist in [CY: Mhm.] 2021. GM: So [CY: Mhm.], how did you feel about your promotion and what are your GM: general insights on the ballet ranking system?

00:46:47.210 - 00:47:02.270

CY: I—–that was during Covid time, so I got promoted CY: on Zoom. So [laughs] that CY: was–that was interesting. CY: And I feel like that

00:47:02.270 - 00:47:20.860

CY: was...well-deserved CY: promotion for me because I've been in the company for a long time CY: doing CY: not just corp–corp ballet roles, but also

00:47:20.860 - 00:47:40.100

CY: I performed a lot of soloist roles. CY: Actually, that pushed me to try other companies, CY: because at the time I was thinking, CY: like, "I think I deserve a promotion," but it wouldn't come to me.

00:47:40.100 - 00:47:57.400

CY: So, that makes––that made me not so CY: attached with the company at the time. CY: So, that's why I was okay to try something else CY: 'cause—–yeah,

00:47:57.400 - 00:48:15.990

CY: so. The company ranking, CY: what I think about that is, in Houston Ballet, I CY: think it means that if you get CY: promoted to a certain rank, you are dismissed

00:48:17.160 - 00:48:37.040

CY: from certain roles. CY: It's not necessarily that you're going to perform only that role, but CY: what do you say? I don't know, it's kind of sensitive part. CY: If you get to promoted to soloist, you are not—–you

00:48:38.360 - 00:48:56.880

CY: no longer have to dance corp CY: roles, except some parts. CY: It's not officially put in anywhere, so I cannot say CY: that's 100% correct, what I'm saying, but it is the norm.

00:48:56.880 - 00:49:11.420

CY: Yeah. GM: Yeah, it seems—–correct me if I'm wrong, it seems more, GM: like, as you go higher in ranking, you're given priority GM: for certain [CY: Mhm.] roles or even [CY: Yes.] lead roles.

00:49:11.430 - 00:49:20.760

GM: Would that be correct? CY: Yeah. Mhm. GM: Yeah. And you brought up Covid GM: in your answer.

00:49:20.760 - 00:49:38.660

GM: And so, I was in Houston during Covid, and from my GM: memory, Hurricane Harvey and the Covid pandemic GM: had significant impacts on the Houston Ballet. GM: I understand that you guys were displaced for a while, [CY:

00:49:38.660 - 00:49:53.590

GM: Mhm.] especially during Hurricane Harvey. GM: So, what were your exper-experiences during those times, and did GM: those events have permanent impacts on the company? CY: Hmm.

00:49:53.590 - 00:50:09.500

CY: I was in Canada when the Hurricane Harvey hit. CY: I was not in Houston. CY: I was in Canada watching CY: Houston fully underwater, and it was so scary.

00:50:12.160 - 00:50:32.340

CY: Yeah, and my colleagues––they're performing—–they CY: lost home, the Wortham Theater was in the wa—–underwater, so they were performing CY: elsewhere, like, I feel like I–I was CY: away, but I feel like I had experienced that year because I was watching it so closely,

00:50:32.340 - 00:50:49.800

CY: because it's nothing that I have experienced the past five, six years CY: there. And then I came back CY: in 2019. CY: We just finished performing Sleeping Beauty, I think.

00:50:49.800 - 00:51:03.870

CY: And then the Covid, like, stay-at-home-order, CY: and just like many of us, we thought it's going to be just a CY: little bit. So, it was fine. CY: But then we don't know how long it would be.

00:51:05.480 - 00:51:15.890

CY: So, I think it CY: was...challenging CY: that––I don't know. CY: I always thought it's going to be over sooner than

00:51:17.120 - 00:51:36.170

CY: how it had been. CY: But, yeah, no, the Houston Ballet during that time CY: amazingly that we were CY: still working on Zoom and still

00:51:36.170 - 00:51:54.160

CY: creating things through Zoom. CY: So, now that we're past CY: that era, I can say CY: that––I don't know, it wasn't

00:51:54.160 - 00:52:12.680

CY: just devastation. CY: I know it's for other people who had a sickness, illness. CY: But as a company of Houston Ballet and as a dancer of Houston CY: Ballet, we

00:52:13.130 - 00:52:30.500

CY: tried so many different things, so many different types of dancing, CY: so many different formats of dancing, like, I'm CY: not the one to—–who be first CY: line to create and choreograph dance.

00:52:30.500 - 00:52:49.310

CY: But most—–all of us had to at that time, so that was another CY: challenge that we accomplished. CY: Yeah. GM: So, going kind of in a different direction, what

00:52:49.900 - 00:53:05.520

GM: style of artistic direction or choreography do you work GM: best with? GM: Do you have any favorite dancers or choreographers? CY: Hmm. I do

00:53:07.090 - 00:53:25.000

CY: . I don't know. Favorite, I CY: guess...I'm CY: the most fluent in CY: classic work, but I do

00:53:25.000 - 00:53:38.140

CY: like every genre of dance. CY: Like, I do love contemporary dance. CY: I wish I can be better at that, but I really do love dancing CY: contemporary work.

00:53:38.140 - 00:53:57.700

CY: And, neoclassic work, CY: our director, choreographer who does that a lot, so. CY: My favorite choreographer CY: ––I don't have, like, the one.

00:53:58.960 - 00:54:16.710

CY: But, I really love watching and dancing Jerome CY: Robbins. And something CY: I—–this is new to me, I wouldn't—–I didn't think CY: that I'm gonna like dancing George Balanchine's

00:54:17.670 - 00:54:35.360

CY: dance. Be-because my training CY: is, like, Russian ballet training, and it's pretty different. CY: Russian ballet training and the–the American ballet training is, like, really different CY: lines and how to accentuate your movements.

00:54:35.510 - 00:54:52.270

CY: So, I guess I had to put on, like, a CY: wall, like, "Oh, maybe this is going to be—–going well with me." CY: But actually, like, it's–it's really fu-fun to learn CY: other style of dancing.

00:54:52.270 - 00:55:09.340

CY: So, I—–it–it really grew on me, and it's really fun CY: expressing freely which CY: the––to me, the American ballet techniques has. CY: So, yeah. Mhm.

00:55:11.520 - 00:55:27.630

GM: Yeah. So, having been a dancer GM: myself, to my knowledge, like, GM: dance, and specifically ballet, is extremely regimented. GM: Like [CY laughs], let's just say it's just not for everybody.

00:55:27.630 - 00:55:42.090

GM: So, can you share any insights into the craft of GM: ballet specifically? GM: Like, what has ballet taught you and/or has it had any GM: consequences for you?

00:55:43.440 - 00:56:03.350

CY: Mhm. Oh, yes, the–the—–how to be disciplined. CY: 'Cause you have to be to CY: make–make your body, like, malleable and things, and CY: the daily routines and yeah, I

00:56:03.390 - 00:56:21.210

CY: guess I learned that very early on, just being in the ballet CY: studio––like we CY: had to be there, like, clean hair done, and always CY: the–the leotard and tights and the shoes.

00:56:21.220 - 00:56:41.300

CY: Always—–we cannot just go, like, in the shirt and then do dance. CY: So, I learned that discipline—–to be disciplined, very young age. CY: And the consequences. CY: .. sometimes, now I'm much better at it.

00:56:41.300 - 00:56:57.890

CY: But during my—probably high CY: school or university, I CY: was—–I had a fear of resting. CY: I couldn't—–I didn't give myself a day off.

00:56:58.660 - 00:57:18.970

CY: Even—–sometimes even the New Year's Day, I would CY: be in the studio, not because I had to practice something, CY: but out of fear. If I–if I don't dance one day, it's going to come at me CY: sometime. So, I don't know, I

00:57:19.120 - 00:57:35.990

CY: couldn't balance that for a long CY: time. But as you know, like, being professional and CY: learning and watching how other people cope with that, s CY: o now I'm really good at resting [laughs].

00:57:40.020 - 00:57:57.580

GM: Along the same lines, have you faced artistic burnout? GM: I know that you said that the Houston Ballet has a GM: diversity of repertoire, but you know, it has its annual shows GM: or it cycles through, like, certain classics.

00:57:58.330 - 00:58:16.550

GM: [CY: Mhm. Yeah.] So, how do you maintain creativity or GM: freshness in the work [CY: Mhm.] when you are performing it GM: repeatedly? CY: Yes, we do have

00:58:16.550 - 00:58:34.970

CY: something coming back every year: Nutcracker [laughs]. CY: I've been doing this for–—I don't know how many years, CY: every–every winter, except the Covid years. CY: That felt really weird not listening Nutcracker music all day long.

00:58:36.430 - 00:58:50.180

CY: And how to maintain that, because I certainly do same, CY: almost similar roles every year. CY: So, that's-that's always challenging thing, to CY: make it fresh.

00:58:50.390 - 00:59:10.350

CY: So, I guess we try to CY: focus on, like, the different CY: points of dancing, like, maybe this year, I will—–it's–—mainly, CY: like, I make the rule or I make the goal in my head.

00:59:10.360 - 00:59:27.890

CY: Like, "I'm going to focus on this this year." But, it can CY: be really small thing, but I think that's important to CY: have that, so you feel like achievement a little bit, which that helps to CY: get through that–—it could be,

00:59:28.490 - 00:59:46.340

CY: like—–yeah. Burning out moment. CY: But, you will feel like a small achievement every time. GM: What has been your favorite role? CY: In Nutcracker specifically?

00:59:46.340 - 01:00:04.240

CY: Or like—– [GM: Any role.] Any CY: role. CY: It's not a character, but CY: it's a dance: George Balanchine's dance, "Jewels." And I got to

01:00:04.270 - 01:00:21.180

CY: dance "Emerald." And one CY: of the solo in the "Emerald" is really, really fun to CY: perform. It's there's—–not CY: much—–how do you

01:00:21.180 - 01:00:40.080

CY: say––it's not so much set choreography. CY: It's more of an, like, essence of a choreography. CY: So, it starts with running across the stage from CY: back to the front, from the corner to the front, which that feels amazing in the long

01:00:40.110 - 01:00:57.790

CY: tool (?). And especially when we performed at Miller CY: Outdoor Theatre, it's really fun, outside the breeze coming CY: through and you just run and—–I don't know, it feels really CY: freeing. That's been my favorite to dance.

01:00:57.790 - 01:01:07.300

CY: Yeah. GM: I actually saw it at Miller Outdoor Theatre [CY: You did!]. GM: Yeah, a few months back. GM: It was so beautiful.

01:01:07.300 - 01:01:16.000

GM: I loved it. I'm pretty sure [CY: Aw!] I probably saw you in it, but [CY: Yeah!] it GM: was so great. CY: That's so fun. GM: Yeah, for sure [CY laughs].

01:01:16.470 - 01:01:32.350

GM: So, moving on to the next GM: question: How has your identity GM: as an Asian woman affected your career in dance? GM: Or if you feel like it has?

01:01:32.350 - 01:01:50.040

GM: Again, did you face any discrimination as an Asian GM: woman in your field? CY: I guess, when you asked me prior to CY: this, if I faced

01:01:50.040 - 01:02:10.540

CY: discrimination when I first got in Houston, like, in the city, I CY: said no because I don't spend much time outside, CY: so there's much less chance to face that or feel that. CY: In studio, I cannot say there

01:02:10.540 - 01:02:28.130

CY: has not been there CY: because—–well, I–I wouldn't put CY: it––'cause to me the discrimination sounds strong CY: word. And I do not want to put

01:02:28.310 - 01:02:47.150

CY: my people who I'm working with on a—–I don't know. CY: But, yes, I guess the name, like how to pronounce CY: or––because Houston Ballet CY: has—–Houston Ballet is such diverse company.

01:02:47.150 - 01:03:02.410

CY: We have so many dancers from all over the world. CY: So...and so many Asian CY: dancers. So many of them. CY: So, I guess, sometimes, like,

01:03:02.590 - 01:03:21.160

CY: even though I'm almost ten years in the company, CY: sometimes my name pronounced wrong. CY: And—–or I get CY: called by some other Asian girl's name.

01:03:22.530 - 01:03:38.140

CY: Well, I don't know [laughs]. CY: I don't know if I can call that as a discrimination, but I think our CY: company's really appreciative of CY: the diversity.

01:03:39.270 - 01:03:57.460

CY: So, yeah [laughs]. GM: Yeah. And, to my understanding, the GM: Houston Ballet travels, like, internationally during the year, you perform GM: in different places. So, have you performed in Korea since joining the

01:03:57.460 - 01:04:10.810

GM: Houston Ballet? GM: And what are some of your insights in performing GM: internationally? CY: You mean if I have performed as a Houston Ballet dancer, like, with

01:04:10.810 - 01:04:23.440

CY: Houston Ballet? Or–– GM: It can––just in the time that you've been with Houston Ballet. GM: Yeah, it doesn't have to be necessarily with [CY: I see, I see.] Houston Ballet. CY: No, unfortunately, we, as a company, we went to

01:04:23.590 - 01:04:36.420

CY: Japan last year. CY: But we didn't quite get to the Korea. CY: It's so, close but [laughs] so as a company, no, CY: I've never performed in Korea.

01:04:36.420 - 01:04:50.050

CY: But as an individual, I have performed a couple times, CY: not recently though. CY: Yeah. CY: And...I

01:04:50.050 - 01:05:06.030

CY: don't know, I would like to one day. CY: But early on I had CY: that...I would, CY: you know, in Korea––I

01:05:06.060 - 01:05:24.080

CY: don't know, in my thoughts, it would be much better if I CY: go back, perform when I get to, like, principal or something, you know, CY: when I have more better title, so I can make my CY: parents proud or my teachers proud.

01:05:24.090 - 01:05:36.390

CY: So that kind of pressure I have, and I have refused to perform, like, a CY: couple times because of that reason, which now I think, like, "Oh, that CY: was so stupid of me. CY: Like I should just take the chance.

01:05:36.390 - 01:05:53.850

CY: Like, why would I feel that way?" Like, yeah, CY: but, that's me. GM: So, when you're performing in other countries, GM: like, what is that experience like?

01:05:53.850 - 01:06:10.440

GM: Because there's jet lag and then you have such a quick GM: turnaround time in which you have to perform. GM: So, do you have any [CY: Yeah.] insights [laughs] into that? CY: It was really challenging this time when we went to Japan because it was such a short

01:06:10.470 - 01:06:27.530

CY: trip. So, we had a long flight from here CY: to Japan. CY: And then we had that—–we got in in the afternoon CY: or evening.

01:06:27.530 - 01:06:43.730

CY: And then we had that night free, but then the next day, like, we had to get CY: ourselves ready to rehearse and things. CY: And which the program we brought was Swan Lake, one of the hardest ballet. CY: So, it was really hard.

01:06:43.730 - 01:07:00.530

CY: Jetlag hits so hard. CY: And when you have to be awake and try to, like, put makeup CY: on, like, your eyes get so tired [laughs] and your muscles CY: feel different. My muscles, like, still in the Houston time, so my

01:07:00.530 - 01:07:18.620

CY: muscles, like, getting, like, ready for bed, like, relaxing, like, CY: and I had to, like, tap my muscles, like, "Wake up" [laughs] to perform. CY: And we had a double show, two days. CY: So it's, like, in the morning and night, which is very challenging to perform Swan

01:07:18.620 - 01:07:35.620

CY: Lake twice in a day and having to flown, like, a day CY: before. It's not really ideal, but everyone was CY: so excited to be there and as a, like, presenting Houston Ballet CY: to Japan audience.

01:07:35.620 - 01:07:50.690

CY: So, I think that was possible because we all were like, "We want to do this good." GM: For sure. That sounds exciting, but exhausting [laughs] at the same time. GM: [CY: (laughs) Yeah.] For sure. GM: So,

01:07:50.690 - 01:08:10.280

GM: kind of going in a different direction, GM: what are your insights on reviews or dance critics? GM: Do you believe in reading, like, reviews of your work? CY: I guess a review is one person's

01:08:10.280 - 01:08:26.900

CY: opinion about the dance, which I think it can vary CY: so much. CY: But I–I do read reviews, like, CY: just to see how the ballet,

01:08:26.960 - 01:08:43.180

CY: especially if it's new ballet that we put on, I want to see how–how CY: different it would be from within and from outside CY: as an audience. CY: So—–but I think because

01:08:45.330 - 01:09:03.970

CY: ––I don't know, I take it differently. CY: I guess because I'm not a, like, usually not a main–main dancer, so CY: my name wouldn't be mentioned as much. CY: So, that risk's low that I'm going to get hurt from the review.

01:09:04.180 - 01:09:21.870

CY: So, I'm not [laughs] so hesitant to read reviews. CY: I'm more focused on, like, CY: how—–if a story, ballet CY: is put on, like, how the story-storyline viewed from audience as

01:09:21.870 - 01:09:36.630

CY: opposed to how I–how I can see inside. CY: Sometimes I can see crystal clear in the studio, but then the audience very CY: get confused. CY: So, I don't know, I think it's interesting to read the reviews.

01:09:38.290 - 01:09:52.060

GM: For sure. I could see definitely how that would differ from person to person and GM: depending on the role and the show and everything. GM: [CY: Yeah. GM: Mhm.] So, kind of coming to a conclusion to this

01:09:52.330 - 01:10:05.980

GM: section, I have a few more questions. GM: What advice would you give someone pursuing dance or specifically GM: ballet? And further, what makes someone a good GM: dancer, in your opinion?

01:10:08.170 - 01:10:23.230

CY: What makes someone a good dancer? CY: I CY: don't really know. CY: To me, a good

01:10:23.230 - 01:10:45.740

CY: dancer...yes, CY: of course, has to have an—–has to have the willingness CY: to always pursue the basics. CY: The lines and the–the dynam-dynamics

01:10:45.740 - 01:11:03.280

CY: of your physical abilities. CY: But, I feel like a good dancer CY: should and be able to CY: then dance the in-betweens from, like, from the

01:11:03.460 - 01:11:19.480

CY: pose to other pose. CY: But when I see the really good dancers, I see the in-betweens from that CY: pose to other pose, which is very hard to see CY: 'cause usually these days, more, like, you only see the

01:11:19.480 - 01:11:38.600

CY: photo of dance, which is the point of the dance, the peak of the dance. CY: But to me, the difference it makes from really good dancer CY: and still growing dancer is the in-be—–how you can CY: connect and dance the in-between.

01:11:41.820 - 01:11:56.920

GM: Yeah, for sure. GM: So, in the future, what do you hope to see in the dance community GM: in Houston or in general? CY: Hmm. I don't know, I would

01:11:56.920 - 01:12:15.170

CY: like...more CY: people to come see the dance, like, more app-approachable. CY: Not necessarily meaning CY: that––I don't think that we

01:12:15.170 - 01:12:27.720

CY: have to make, CY: like...the CY: material of the dance approachable. CY: I don't think that's necessary.

01:12:28.050 - 01:12:47.050

CY: Like, meaning we don't have to make, like, Pokemon CY: ballet to, like [laughs], CY: bring in, like, younger dance—–younger viewers or anything CY: . But I don't know, I wish to be advertised more

01:12:48.130 - 01:13:05.380

CY: to people and just people come in and see and feel, CY: like, it doesn't have to CY: be, like, you have to know the music, you have to know the whole CY: storyline. It's, like, people go

01:13:05.380 - 01:13:18.940

CY: to the museums. CY: Like, you can just view as who you are. CY: You don't have to know everything about the painter or, like, how they CY: paint and the materials of it, like, you just come and

01:13:18.940 - 01:13:38.040

CY: enjoy. So. GM: What do you feel is your greatest career accomplishment thus GM: far, and what goal do you hope to achieve in the future? CY: Hmm, the greatest achievement.

01:13:39.690 - 01:14:00.250

CY: This...hmm...I CY: don't–I don't know, greatest achievement. CY: I feel, like, CY: just...that

01:14:00.250 - 01:14:20.330

CY: I'm dancing here with Houston Ballet and then I CY: went out to see other world and. CY: ..I feel greatest achievement when I dance—–when CY: Houston Ballet brings company to other cities or

01:14:20.330 - 01:14:39.110

CY: other country to perform. CY: And to show, like, how strong we are. CY: And like the––how capable we are. CY: I feel great—greatest achievement.

01:14:39.110 - 01:14:55.550

CY: Not as an individual, but I don't know, as a just individual, I don't CY: think much about that. CY: Like, I value more just daily basis, like, what CY: my achievement today [laughs] or, you know.

01:14:55.550 - 01:15:13.810

CY: So—–and my goal is CY: like–like I said, the—–my favorite CY: ballad to perform was the "Emerald." Like, my goal is to feel that more CY: often on stage, to feel the–the freeing feeling

01:15:15.480 - 01:15:30.640

CY: and expressing CY: that-that's CY: spontaneous, the joy on CY: stage. I think that is really hard to capture and

01:15:30.640 - 01:15:43.750

CY: really hard to recreate, but you have to be just so present on the CY: stage to feel that. CY: I think that's my goal. CY: I don't have, like, "Oh, I have to dance this role or I have to

01:15:43.750 - 01:16:03.640

CY: be, like, certain rank of the company." Yeah. CY: My goal is just to—–the feeling that freeing–freeing CY: feeling on stage more often. CY: I'm pretty sure that's really effective from the viewers to see the dancer dancing

01:16:03.640 - 01:16:16.690

CY: freely and expressing and to see that spontaneous CY: art on stage. GM: Yeah, it's really impactful. GM: And thank you for such a lovely answer.

01:16:17.100 - 01:16:32.470

GM: We're going to be now moving into our second to last GM: category. We're going to be talking more about your GM: family and personal life. GM: So, my first question is: what is it like maintaining

01:16:33.610 - 01:16:45.700

GM: familial relationships overseas? GM: I'm sure it can be challenging at times, but yeah. GM: [CY: Mhm.] What are your insights on that? CY: Yeah, our family, even though I'm an only child,

01:16:47.610 - 01:17:05.480

CY: maybe the fault [laughs] is on me because we could–we CY: could do the Zoom like this with my fam-family or, like, FaceTime. CY: But our family is not comfortable, like, FaceTiming. CY: So, we don't really do much of this.

01:17:06.580 - 01:17:26.280

CY: But we do text often and we share what we eat or CY: where we go or what we're seeing things with text. CY: So—–because the time difference, we can CY: just send it and then we can reply and write thoughts about

01:17:26.280 - 01:17:40.470

CY: that. Like, whenever we have time, yeah. CY: We don't have, like, set time to call and things. CY: I–I–I wish to get better at that more [laughs]. GM: No, I get it.

01:17:40.470 - 01:17:57.240

GM: Sometimes Facetiming and Zooming with family can be a little uncomfortable GM: [laughs] or strange [CY laughs]. So, I get–—I can get why [both laugh]. GM: Yeah, do you practice any Korean traditions or GM: celebrate any Korean holidays on your own?

01:17:58.470 - 01:18:16.380

CY: Yes, I do try to make all the, like, CY: Korean traditional day, like, food. CY: Or––usually I really love cooking. CY: I grown to love cooking during the pandemic, before pandemic, not so much, but

01:18:16.380 - 01:18:32.450

CY: after pandemic that we had to entertain ourselves in the house. CY: So, I found my lovely hobby, like, cooking. CY: I really like it. The creating, you know, the Koreans don't really measure so CY: much. It's—–they say (inaudible Korean), they just put it.

01:18:33.150 - 01:18:51.110

CY: I love it [laughs]. So, like, I would never remember CY: the recipe, if I make the one, I would never remember. CY: But I'm just—–I will make again, so I'll just be good at CY: it. And yeah, I celebrate my Korean holidays making

01:18:51.440 - 01:19:07.840

CY: Korean food. CY: And, not so much going to Korean restaurants. GM: What is your favorite dish to make? CY: Oh, it's, like, my soul food, it's tteokbokki ?

01:19:09.630 - 01:19:24.800

CY: I really like it. Or I love making pancakes, kimchi CY: pancakes, or like kimchi stir fry and CY: with, like, steamed tofu. CY: And sometimes I put, like, pork in it and what

01:19:25.620 - 01:19:42.420

CY: else? So many things. CY: I sometimes make, like, easier version of kimbap. CY: Or sundubu, I love making CY: sundubu–sundubu jjigae.

01:19:42.420 - 01:19:55.380

CY: Yeah [laughs]. GM: That's making me so hungry [CY laughs]. GM: So, another question. GM: This is if you're planning on raising a family

01:19:55.950 - 01:20:13.660

GM: in the future. [CY: Mhm, mhm.] How important do you think it would GM: be to educate your children on your Korean heritage GM: when raising them? CY: Is it as in how

01:20:13.660 - 01:20:27.500

CY: important it would be? CY: Like, raising how I raised? GM: It can be that or it can be if you find it important GM: to keep Korean culture and tradition alive.

01:20:28.160 - 01:20:40.930

CY: Oh, yes, for sure. CY: Yeah, I would think so, CY: because that's who I am. CY: I don't think I can just completely

01:20:40.930 - 01:20:58.800

CY: ignore my heritage, my culture to CY: my child I—–'cause I very much enjoy CY: it, my Korean heritage, my Korean CY: culture. And, like, all the holidays I celebrate

01:20:59.640 - 01:21:18.530

CY: or like...how CY: I think (inaudible). CY: Be great person or CY: how to behave in a public space.

01:21:18.770 - 01:21:38.800

CY: Like, I feel, like, I'm going to teach my kids, like, mostly [laughs] Korean way. GM: Do you participate in the Korean community in Houston? GM: And if you have, what has been your experience? CY: No, not really.

01:21:39.160 - 01:21:58.280

CY: I–I haven't reached out to any Korean community. CY: I don't know, maybe, also, the Koreatown is a little CY: further than where I live. CY: And yeah, I'm not

01:21:58.280 - 01:22:12.220

CY: doing so good at that. CY: Like, reaching out to Korean community in Houston. CY: But I saw Korean CY: traditional, like, dance or music performing in the

01:22:12.220 - 01:22:27.580

CY: park. Yeah, but that's CY: just going to that is or, like, Korean food festivals. CY: My colleagues loves that more than me. CY: Like, they let me know there's a Korean food festival.

01:22:28.150 - 01:22:47.540

CY: They're, like, "Chae, are you going?" [laughs] Yeah. GM: Yeah. So, Korean popular culture has GM: boomed within the last decade, internationally. GM: So, what are your insight on the rising popularity of Korean popular

01:22:47.540 - 01:23:01.280

GM: culture, like, across the world? CY: Yeah, it's so cool. CY: And how–how young those people who are influencing the CY: world, how young they are.

01:23:01.280 - 01:23:18.720

CY: Also, but very different, their—–the CY: pop cul-culture, the people are so different 'cause when I CY: was student and when I liked them a lot, like, when I CY: was in high school, middle school, when I follow them

01:23:18.720 - 01:23:37.010

CY: and–—but I think it changed a lot 'cause I heard, CY: like, it was so strict to raise CY: those singers and the–the idol CY: groups, like, the harsh environment of making them.

01:23:37.220 - 01:23:52.670

CY: That kind of got me a little bit, like, CY: pull myself back because that was too close to CY: my upbringing. CY: Like, how I

01:23:52.670 - 01:24:11.880

CY: felt in the school sometimes, like, too strict CY: and but I believe the Korea has CY: changed a lot and the people seemed more freer CY: than how I felt my generation

01:24:11.880 - 01:24:20.880

CY: of those Korean idol. CY: So, I don't know. CY: It's–it's fun. CY: People love Korea, and my only hope

01:24:20.880 - 01:24:37.000

CY: is I don't know how for CY: the Koreans to view CY: the obsession of the beauty. CY: Like, the strict form of beauty.

01:24:37.030 - 01:24:54.850

CY: Like, I want—–I guess because Korea CY: is—–I don't know if I can say this, but one race CY: country? Like, mostly they're not so much of CY: diversity in there.

01:24:55.000 - 01:25:12.950

CY: Yes, in Itaewon, there's so many foreigners, but still CY: . So, I don't know. CY: Sometimes I feel like Koreans, I want us to learn CY: that the beauty isn't defined by one example.

01:25:15.670 - 01:25:32.380

CY: And I sometimes try to refuse that CY: the beauty only has to contain, like, the out CY: look. The outside. CY: How that they—–the pursuit of big eyes

01:25:32.380 - 01:25:47.080

CY: and the high nose and, like, skinny CY: body. Like, I really hope for Korean pop culture to get CY: out of that mold. CY: But, otherwise, the music, how that makes people

01:25:48.040 - 01:26:06.550

CY: joy—–brings people joy, like I'm so happy [laughs]. GM: Yeah, for sure. GM: And so unfortunately, you know, with GM: the rise-rising popularity of Korean popular culture,

01:26:07.890 - 01:26:25.600

GM: especially during the pandemic, there was an uptick in GM: anti-Asian hate crimes. GM: So if you feel comfortable discussing such a sensitive subject, do GM: you have any insights into that time or yeah.

01:26:26.980 - 01:26:43.480

GM: What were you feeling? CY: It was very scary that, as a person, like, I don't really CY: feel the discrimination arou-around me, like, so close. CY: But seeing a lot of it happening

01:26:43.480 - 01:27:01.590

CY: through my friends. CY: My friends said, like, they had gotten attacked by a person on the CY: subway, and that feels really close now. CY: So, I don't know how to

01:27:01.590 - 01:27:20.410

CY: prevent that. CY: But...mm...I CY: don't know. GM: Yeah, definitely a very scary thing.

01:27:20.730 - 01:27:36.220

GM: And so, the last question of this section before we get into our GM: concluding questions. GM: You touched on this a little bit, but what are your hopes for the future GM: of Korean or Korean-American or Asian American

01:27:36.730 - 01:27:49.100

GM: communities in the US? CY: As in, like, CY: how...I don't know. CY: Could you elaborate?

01:27:49.280 - 01:28:03.470

GM: Like, do you think that there are—–it's kind of a vague question. GM: Are there things that you wish that—–things could be GM: improved on? GM: You can talk on kind of the political activism

01:28:04.760 - 01:28:22.080

GM: or social sphere of the GM: communities. It's a very general question but GM: yeah, if you can provide any insights on that. CY: No, I–I guess I had said a little bit that

01:28:22.080 - 01:28:35.840

CY: I love that we are being CY: focused now with the CY: K-pop cultures and things. CY: But, like, as I said, I wish this

01:28:35.840 - 01:28:50.750

CY: not only CY: focusing on the CY: outside of beauty. CY: I guess, but now I'm seeing more positive things about people because of

01:28:50.750 - 01:29:07.040

CY: K-pop. Like, people try to look inside of Korea more, like, CY: how—–sometimes people get CY: into our history. CY: And our— like, what's our traditions and things?

01:29:09.770 - 01:29:27.240

CY: So...I don't know, I CY: guess I would like us to CY: have more pride in CY: what—–who we are, what we have and—–'cause, to

01:29:27.450 - 01:29:45.120

CY: me, the pursuit of—–Koreans' pursuit of beauty is CY: to be more, like, Western people, like, to have more, like, CY: bigger eyes, like, higher nose and, CY: like, but I wish we

01:29:45.150 - 01:30:02.660

CY: find the beauty within us. CY: Which other people think that we have so much–so much to CY: offer, like the pride of Hangul. CY: Like, I want us to use more Hangul, like, sometimes I

01:30:02.660 - 01:30:22.170

CY: get—–because I'm in America a long time, like, CY: whenever I go back to Korea, there's so many changes of—–I know it's CY: because there's so many tourists now, we are accommodating them CY: . So, there's so many, like, English on the outside of the

01:30:22.170 - 01:30:36.430

CY: store or anywhere. CY: There's so many—–it changed to—–and even people CY: using—–speaking. But I want us to CY: protect or

01:30:37.900 - 01:30:55.270

CY: have a pride in, like, Korean Hangul. CY: Not try to blend so CY: much. I mean, that's a good thing, like, Koreans always would li-like CY: to com-comfort other people.

01:30:55.270 - 01:31:11.150

CY: So, we're very accommodating. CY: But I wish we can CY: appreciate ourselves more. GM: Yeah. Thank you for such a beautiful answer.

01:31:11.150 - 01:31:26.120

GM: That answered the question perfectly. GM: So yeah, going into our final questions. GM: Starting off kind of with a big one: in your words, what GM: do you think the role of dance is in society?

01:31:28.520 - 01:31:48.030

CY: Role of CY: dance? I think, CY: you know, people always have to express themselves. CY: And that's what we do, and you feel some sort

01:31:48.300 - 01:32:00.620

CY: of release. You see somebody else ex-expressing on CY: behalf of your feelings. CY: I think that's a big relief. CY: And, like, getting the idea

01:32:00.620 - 01:32:18.180

CY: or—–I think it's a different form CY: of...many CY: things, like, the—–it can be a release of anything CY: you have in your life, or it can be an in-inspiration

01:32:19.800 - 01:32:38.810

CY: of anything you will do in your life. GM: How do you identify yourself ethnically? GM: Would you say that you're Korean or Korean-American? CY: I—I don't know.

01:32:40.570 - 01:32:52.360

CY: I say Korean. CY: I'm Korean living in America. CY: Is it the Korean-American [laughs]? CY: I don't know the—–what–what defines Korean-American

01:32:53.170 - 01:33:07.700

CY: and Korean? Is it your parents CY: immigrate here makes Korean-American? CY: Or–– GM: Typically yes, but at least

01:33:07.700 - 01:33:25.440

GM: in my opinion or my kind of philosophy on it, I think Korean or GM: Korean-American can be—–like, GM: there is not one definition for each. GM: We'll have different people who immigrated here, like, in the

01:33:25.440 - 01:33:40.380

GM: last few years, yet they'll still identify as Korean-American because, GM: you know, living here in America as somebody from the outside is a GM: different culture here. GM: So, it really is kind of how you wish to define it.

01:33:40.380 - 01:33:56.820

GM: So, [CY: Right.] yeah, so there is no one definition, at least in GM: my opinion. But–– CY: I guess my friends in Korea definitely call me Korean-American CY: because I think differently than them.

01:33:56.820 - 01:34:12.190

CY: Or sometimes—–now there's a cultural difference CY: between my friends and me, like, they think this is the normal. CY: And then I say, like, "What? CY: What is that—–how is that normal?" So, they definitely call me Korean-American [laughs],

01:34:12.760 - 01:34:27.190

CY: but I don't know. CY: I feel like Korean, so. GM: So, when and where do you feel most at home? GM: Is it when you go back to Korea or is it here?

01:34:27.190 - 01:34:43.490

GM: A mix of both? CY: Oh, that's the—–that's a really interesting thing because CY: in the early years in America, I would CY: say, "I'm going home," meaning I'm going Korea.

01:34:44.630 - 01:35:03.760

CY: But now, it feels if I say, "I'm going home," I CY: mean here. Well, that-that's really interesting, CY: I feel—–I guess by CY: time, I feel more at home here now than Korea

01:35:03.970 - 01:35:25.160

CY: [laughs]. GM: And how do you wish to be remembered? GM: I know that you said that you are very focused on the present moment, GM: but how do you wish to be remembered as both a ballet dancer

01:35:25.160 - 01:35:39.550

GM: and as a person? GM: Like, what do you wish to leave behind or be remembered for? GM: Yeah. CY: How I wish to be remembered.

01:35:48.650 - 01:36:15.900

CY: ..dancer?...I don't know. CY: I never thought about that [laughs]. CY: I guess I would like to be remembered as someone CY: who lived life fully, on stage and

01:36:15.930 - 01:36:26.340

CY: off stage. CY: I guess that's what I'm pursuing. CY: So. [laughs] GM: It's definitely a big question.

01:36:26.340 - 01:36:36.990

GM: So, your answer [CY laughs] is more than enough. GM: That was my last question. GM: So, is there anything that you would like to add to this interview that we have GM: not covered yet?

01:36:37.870 - 01:36:52.430

CY: No, I think we've pretty much covered everything. GM: Great. Thank you so much for interviewing with me, GM: and thank you for such insightful answers. GM: Yeah.

01:36:53.600 - 01:36:56.270

CY: Thank you so much. CY: So nice to meet you.