Meet Steffi Carter | Director, Dancer, Certified Teacher, Choreographer

We had the good fortune of connecting with Steffi Carter and we’ve shared our conversation below.

Hi Steffi, why did you pursue a creative career?
I come from a creative and service-oriented family. Dancers, singers, musicians, crafters, but doctors, soldiers, and attorneys, too. We value individuality and impact. I wanted to be everything when I grew up — an astronaut, archaeologist, engineer, geneticist, lawyer. I did want to be a ballerina, but I always had a hard time justifying the pursuit! It felt too self-serving, when I was 18yoa. I didn’t think I could make a difference, while dancing.

It took me all of college to realize that, of the millions of things I want to, there are just two things I must do: I must dance, and I must use my skills to make a positive impact.

While my creative career looks different than the traditional ballerina’s (straight into a professional company after high school), it was the only way for me. I needed the diversity of ideas and debate I got through political science in university; I needed the leadership development I got through marketing and management jobs; I needed to pursue professional ballet later in life (23yoa) to really understand its systemic issues. I pursued a creative career because I finally figured out how to do what I love while being of service! This is why Renversé Ballet is so important to me.

Alright, so let’s move onto what keeps you busy professionally?
Ballet is challenging, to the extreme. No one becomes a ballerina by accident! We all work hard to get into The Room, and so many artists are barred from The Room because of things they cannot change, factors they cannot influence, and the industry’s implicit biases and systemic racism. Ballet is not easy for anyone, but it is much harder for many.

I am among the lucky ones, the relatively privileged. I have had fantastic training and resources, a mother who picked me up and helped put me back together again when I was broken, a small but meaningful international career, a platform to create paid opportunities for underrepresented artists, and the chance to perform, teach, choreograph, and direct things I care about.

But if we’re going by audition statistics, I failed far more than I succeeded! This is almost every professional dancer’s story. What helps me continue is my love for the work.

The prevailing balletic archetype is one of martyrdom – we are made to feel that we must suffer and sacrifice everything for our art in order to deserve it (to say, deserve ~$1.67/hr as a second-year soloist). I justified doing this because, at the end of the day, I adore the work. It never felt like work. It always feels like exploration, meditation, adventure, and play. If I were never onstage again, I would always love the beautiful, bizarre puzzle and practice that is ballet.

I am among the lucky ones because, after recognizing my own worth and processing my own pain, I can still convert my onstage energy to backstage work in ballet reform. I can do more than dance. If you can find a way to do so without bitterness, without punishing the promising for their talent or young for their youth, you will make ballet a better place. I promise.

What are the lessons you’ve learned along the way?
The best advice I’ve been given?

As a performer: There is never a moment onstage when all eyes are on you, even in a solo or pas de deux. There’s always someone checking their phone, blowing their nose, or otherwise distracted. But whenever you are onstage, there is always at least one person who sees you, even if you’re corps or scenery. You can change their life. Try.

The best advice I can give?

As a dancer: If you love the work, you lengthen your life in this industry.
Rejection will always hurt, but sting less over time.
Encouragement will make you feel at home in your body and mind.
Don’t forget for one moment that you belong to ballet.
Relish every moment of practice and performance.
Be unafraid of your own brilliance.

As a leader: Recognize the people you believe in against all odds, the people whose vision aligns with yours. The community you build will make you feel like you’ve found your life’s work. You will feel more connected, and less alone.
Keep going. Even when it’s difficult and feels futile.
Take the next step, even if it’s small.
You are still needed. Stay.

I am a happy ballerina. I am happy because I know that my fellow dancer is not my enemy. That has always rubbed people the wrong way. And I have always understood that that’s okay. We are all a product of a system which pits us against each other for $1.67/hr. How could we not fight?

All I ask is that you fight for what you believe in. I hope you not only fight for yourself, but that you fight for others, and for what is right.

Any places to eat or things to do that you can share with our readers? If they have a friend visiting town, what are some spots they could take them to?
If my best friend were visiting San Diego, I’d bring them to the best spots! – Balboa Park (for the architecture and live theater)
– Barrio Logan (for art and food and cultural enrichment)
– North Park (for wonderful cafes and vintage shopping)
– Hillcrest (for the best dance floors; Rich’s for Stunt Sundays)
– La Jolla Coves (for the breath of fresh ocean air)
– Escondido (for the best treasure hunting and tacos)
– Encinitas (for the beach you’ve been craving)
– Carlsbad (for food and Museum of Making Music, to play the theremin!)
– Oceanside (for food, beach, and thrift shopping)
– Ryan Orion Beck’s ballet class (for his refreshing asides and genius choreography)
– My mom’s house (for her pastries, coffee, and empowering chats)

Shoutout is all about shouting out others who you feel deserve additional recognition and exposure. Who would you like to shoutout?
Mom deserves more recognition than I can articulate, for teaching me how to show up, believe in magic, and find a way; for inspiring and equipping me to navigate this world with vim and vigor, kindness and courage. Emily, for her unyielding friendship and support, and for her brave, big-picture brilliance and beauty. Caleb, for his artistic example, profound humor, and humanity.

For being home to the uncommon, strange, and wonderful: The University of Chicago.

Margaret Swarthout, Ahita Ardalan, Lynn Cox, Melinda Bach, Dr. Gibbs, Barbara Seibert-Chatelain, Sharon Vandermerwe, Cira Robinson, Reettaleena Rauhala, Ben Henry, Daithi O’Brien, Stiofan O Fearghail, Greg Olive, Cliff Gonshery, Danny Irene, and always Eoin O’Flaherty for believing in me when I do not.

Noriko Zaragoza, who advised me when to put on my pointe shoes during my SDB audition class. Wendy Cormier for Spanish fanwork and character class, which has a greater impact on my artistry than she’ll ever know.

Marie Sennyey, for casting me as Juliet. Eric Shoemaker, for casting me as Beowulf.

All RB teachers and choreographers, for answering the call to action.
And all the dancers I’ve ever met, for persisting.

Website: www.steffirina.weebly.com

Instagram: @renverseballet

Image Credits
David O’Brien, Alex Martin, Peter Kurta, Kent Freeman, Manny Ceniceros, Alex Fine, Peter Kurta