On Pointe with Harper Watters.
Interview by Colby Anderson
I vividly remember stumbling upon a video of Harper Watters on Instagram back in 2017. He was dancing in pink heels, on a treadmill to “Fergalicious” by Fergie. I had recently come out to my parents, and Harper had the glowing queer confidence that I was striving for. Harper recently became the first Black, queer First Soloist and the highest-ranked Black person at the Houston Ballet. His talent, charisma, and work ethic combined all point to stardom, and a very successful career.
CA: You are the first Black queer First Soloist, and the highest-ranked Black dancer at the Houston Ballet. That’s such an honor. Can you tell me what this means to you?
HW: I first joined Houston Ballet in 2011, and one of my biggest challenges when I joined the company was convincing myself I belonged, because of the lack of representation I saw at the top. Not only in my company, but within the ballet world in general. It affected my confidence and focus, but it also provided me with the motivation to advocate for myself and my work. In order to dance my best I had to accept every aspect of who I was. The second I owned that, my dancing improved, the opportunities increased, and I began my upwards trajectory. Holding the title of the highest ranked Black dancer isn’t what I set out to achieve but achieving that while setting out to be the best dancer I could be is an extreme honor and privilege that I’m incredibly grateful for.
Harper Waters photographed by Bronson Farr.
Harper Waters photographed by Bronson Farr.
CA: Being the first of anything can sometimes feel heavy. Do you feel any sort of weight?
HW: The only weight I feel is the pressure I apply on myself to continue to learn, be curious, to never become complacent, and to continue to maintain the focus and work ethic that allowed me to be the first. It’s good heavy, and a necessary heavy, one that reminds me of how fortunate I am to call myself a ballet dancer and fortunate enough to have had role models like Lauren Anderson, Arthur Mitchell, Alvin Ailey, black dancers who had even more pressure that I proudly stand on the shoulders of.
Harper Waters photographed by Bronson Farr.
CA: You recently danced your first three-act principal role. What was that like for you?
HW: It was terrifying but at the same time equally as rewarding. I had somewhat convinced myself I never wanted to lead a ballet but when I saw my name on the casting I knew it was not just an opportunity to perform the ballet but to improve and level up in my career. Being an openly gay man in ballet is tricky. Because yes it’s difficult to dispel to fight a stereotype but it’s equally challenging to fit the stereotype. The ballet was a male to female love story, so along with challenging patterning and dancing, I had to put myself in a vulnerable space as I expressed my emotions. Bowing at the end of the evening was the culmination of a lot of work and I’m so proud of myself for stepping up and rising to the occasion. I really believe visibility is currency, and not just a monetary one. I hope someone watching who thinks that because of who they are they can’t do something, that my position as the lead of the ballet was a permission slip for them to think otherwise.
CA: Back in 2017 you became an internet sensation after you posted this video of you and a friend dancing in heels on treadmills (teach me how to do this plz), where did this idea come from?
HW: Honestly I surprise myself every time I film one of these, Megan has the knees and I have the ankles. This video, although it was spur of the moment, really has grown into a necessary tool I use for my dancing. One of my friends who was leaving the company at the time, bought us these heels because he wanted to do a drag night before he left. At the time, drag seemed too taboo, it didn’t fit the male persona I thought I had to maintain as a ballet dancer. However, we thought it would be funny to put them on anyway, and run on the treadmill. I posted it, and within a couple of hours I had received triple the traffic on my page. At first we thought we were celebrities, but overtime I came to the realization that it was connecting with people because I was being myself, something that at the time, I wasn’t doing in the studio. So I began to bring more of myself into my dancing, and remove the elements I thought I had to be. No the heels didn’t come into work, but I began to use more personality, play with the music more, I turned up the volume on Harper. The heel videos are like my version of Beyonce’s Sasha Fierce.
CA: When I moved to New York, I remember contemplating on what it would mean for me to “make it” in this city, and what that would look like. In your eyes have you “made it” and if not, what does that look like for you?
HW: I’ll officially make it when I meet Beyonce. When I look back at moving away from home at 14 to pursue a career in ballet, to now in my 12th season as the highest ranked black dancer in the 4th largest US ballet company….I’ve made it. Maybe I’ve made it to where I need to be now, but that doesn’t mean I don’t have another chapter or level to work towards. There’s still so much more I want to accomplish, dance, create, and collaborate on. In my head if I could be the ballet Wendy Williams that’s another era of making it that would feel correct, but again I know that as I write this I’ve accomplished so much to be proud of.
CA: Knowing what you know now about the ballet community, and considering how hard you’ve worked to get to where you are, what would you tell your younger self?
HW: Former principal dancer of Houston Ballet, and the first Black principal dancer of a major ballet company, Lauren Anderson recently told me the higher you go the lonelier it becomes. It hit home to me, because I look back at all I sacrificed, and although I wouldn’t change a thing, I think I would tell myself trust that you’ll do the work in the studio so when you’re outside you can enjoy what else is taking place. I fear that I put my blinders on so tight that I missed out on enjoying the ride. I try to remind myself that more than ever, to be present, and to trust my work ethic.
CA: Any advice for young Black and queer people of color aiming to have a successful ballet career?
HW: One of my favorite quotes is from icon and legend Debbie Allen. She said “Do the work, because then you get to be beautiful.” For so much of my early career I didn’t even want to attempt challenging things, because I was so focused on the false idea that I didn’t belong. If your dancing is like your voice, what you have to say and how you say it matters.
Harper Waters photographed by Bronson Farr
CA: Who were your role models growing up, and do you think that they were instrumental in shaping who you are today?
HW: Lauren Anderson, Arthur Mitchell, Alvin Ailey, Albert Evans, Clifton Brown, Miss J, RuPaul, Destiny’s Child, MY PARENTS! They were my permission slip, they were the yes, even though my brain was saying no. I stand on all their shoulders. I was born to dance and create, but without them I don’t think I’d be doing it to the magnitude that I am.
CA: I can name a few mentors of mine, who have helped me to get to where I am currently in my life. Is there anyone that comes to mind for you?
HW: One of my best friends Oliver, he recently retired from the company, he was really the reason I wanted to join. I might have had my priorities misaligned, and instead of wanting to join in the dancing, I really just wanted to get invited to one of his house parties. Ever since I joined, he’s bestowed a wealth of knowledge, opinions (some warranted and many unwarranted), and incredible guidance. He’s a sounding board, and has put so many things into perspective for me throughout my career. When I first joined the company, I remember I’d always drive by where he lived on the way to work and think “Oh my gosh, that’s where Oliver lives.” Jump to 2020 and I bought a house 3 doors down from him. Many long nights of gossip and tea spilling have commenced and he continues to be a huge role model for me on and off the stage.
