EMMA RIIS-KOFOED
Royal Danish Ballet (Den Kongelige Ballet)
I : F O U N D A T I O N
Looking back, what was your journey into dance? What path did you take to get to your first lesson? Was there a person or event that made a key contribution to your decision to begin your dance training?
I was a very energetic kid, and I did a LOT of things before I started dancing. The thing I was doing right before ballet was gymnastics. What really sparked my interest in ballet, or what really opened my eyes to it, was our family tradition of going to see The Nutcracker every year, and one year I just became so interested and excited about seeing the other kids performing up on the stage. I already loved performing a little bit at home, and with sports and gymnastics in a way. I kept asking my parents how I could also get on that stage. They replied “well that’s very hard and takes a lot of practice and dedication and you would need to start taking ballet lessons,” and my immediate response was “Ok! I want to start ballet then!”.
Soon after, around age eight, I started at a ballet school locally in Helsingør. I was only there for a few weeks before the teacher told my parents that I had talent and must audition for the Theatre/Royal Danish Ballet School. Which I did, and got in! Of course I was a little behind, starting a few years later than average. My parents have told me stories of coming home from school frustrated or confused as to why the teacher was speaking to me in french, not understanding what she was saying. I liked it all though: the hard physicality, the friends, and the schoolwork. Though I wasn’t intensely interested in the beginning, as things got harder and I got older, I found it to be even more fun and thrilling and it only grew from there.
What from your childhood or adolescent home-life, family, or culture still impacts who you are as an artist today?
The first word that comes to mind is grounded. I’ve always had a very healthy family life, for which I am deeply grateful. We have a good, close bond, and we’ve always been very good at keeping each other grounded and checking in with each other frequently. Helping each other keep things in perspective, detached from our work as our identity, and trying to look for the positive. Being able to detach myself from my professional life is what keeps me happy and positive. In dance it is so easy to dwell, and then the spiraling starts to happen quickly if you can’t let it go. My identity isn’t “ballet”. I am Emma first, no matter what.
When you were young, were there other things you wanted to do or be when you grew up?
There were a lot of things, but young me would probably say a singer—a big pop artist who gets to do the big tours and concerts. Basically every girl's Beyonce dream.
Make it stand out
Whatever it is, the way you tell your story online can make all the difference.
II : P R I N C I P A L
Once you began your formal dance training, what was your path to Principal Dancer? At what point did you decide to pursue it professionally and did you ever want to give up? If so, what kept you going?
My first couple years in the ballet school I wasn’t so interested in the ballet but it kept me distracted from all this energy I had in my body, plus the fun bonus of friends and school combined. That was the daily situation. Then when I got a little older, things started to get a little more serious. Things started clicking for me. I could see things improving, technique clicking, movement connecting, and that was exciting to realize, “ok! I am actually good at this! Let’s try it! That’s pretty cool. This is thrilling.” That’s when I knew I wanted to pursue it professionally. And then I REALLY got into it towards the last couple of years in school. In my final year of school, several things happened: they changed/lowered the apprentice level from a base company position, to more of a senior student position (a huge let down after having a different expectation through all my years of schooling), and staff encouraged us to go and audition elsewhere because everyone graduating could not be guaranteed a contract. So I went out and auditioned, coming back with a couple of offers elsewhere. But my dream scenario was to dance with Royal Danish. It was a total risk and very stressful, but I declined the other offers even though a contract with Royal Danish was not guaranteed. Fortunately, I soon got the news of a contract with Royal Danish. I got to understudy some principal parts early on in my career, and when some of the principals would unfortunately get injured, it lead to big opportunities for me. Soon after I started getting casted for good. And climbing the ranks (as we say) happened quickly and smoothly—first to soloist in 2020, and then to principal in 2022. I am so grateful to be where I am today.
Were there any sacrifices you had to make or overcome to get to where you are today?
I think the biggest one is just allowing and accepting that this is a full, full, full, FULL time job. And it’s a lifestyle more than just a job. Still to this day I sometimes feel I sacrifice pieces of me in order to accommodate this lifestyle, for better or for worse. There’s always a compromise to be made; whether it's with personal things, like with your family, or you can’t see people regularly. Even when you’re off, you’re still prepping for the next thing . . . . What do I eat before this show? I can’t make plans because I have a big opening night tomorrow, etc. And I really love this lifestyle, but you cannot go into it without accepting that it absolutely comes with a lot of sacrifices.
How do you keep yourself physically well and ready for the demands of class, rehearsals, performances?
I don’t know how we do it [as dancers], but we just do. Sometimes it's so much harder than other times, depending on the workload. After being promoted to principal and realizing the workload that comes with it, my biggest focus is to advance and speed up my recovery. I’m always experimenting with different ways to help that happen: sleep, general wellness, hot+cold therapy, eating well/nutrition. I just got some new compression boots to try out.
What’s your thing or routine to relax / recuperate?
Lately it's been a lot of hot and cold therapy—a combo of sauna and something really freezing. I also started doing cryotherapy recently and I LOVE it. I could also take a dip in the ocean or an ice bucket. I think that has really helped to speed up my recovery.
Any rituals around your classes, rehearsals, or performances?
I actually do everything in my power to NOT have one. I don’t want to psych myself out! I am always prepping pointe shoes, figuring out during class the right pairs for the right shows, but we’re all doing that. That, and I love my foam roller. I always have it with me, but out of necessity, not superstition.
Any roles or works that are personally special?
Yes, it’s hard to choose! There have been many special experiences because of who I got to have as a coach, or work with, in preparing for that role—Merril Ashley (Ballo della Regina), Julio Bocca (Kitri, Don Quixote), Loipa Araujo (Ballerina, Études), Kevin Hagen (Titania, Midsummer Night’s Dream), Judith Fugate (Diamonds, Jewels), Marie Agnes Gillot (Raymonda).
Is there a ballet or piece you still want to dance and haven’t yet, or something you long to dance but it doesn’t exist yet?
Yes! Three that immediately come to mind are Onegin, Romeo & Juliet, and Manon. Those three pieces to me are just incredible. And Forsythe! I love Forsythe but haven’t danced any yet. Those three works, plus Forsythe, are an absolute dream.
What still inspires you about dance today?
Physically, the immense challenge of it. Artistically, that this art form truly stays relevant. It can never go out of style because at its most fundamental level, is a timeless, universal physical body language.
“This art form... at its most fundamental level, is a timeless, universal physical body language.”
III : B E Y O N D
Beyond your professional commitments, what else occupies your time and life?
Friends and family mostly—I try to recharge with them when I can. I love normal things like travel as well, but the reality is that when we’re in season, there really is no time for other passions, or anything else.
What are some of your personal favorite things to do or places to visit in Denmark or Copenhagen? Or what do you always recommend to visitors?
Copenhagen is very seasonal of course. All year round I visit Hotel Sanders often. Founded by a former RDB principal dancer, it's right across the street from the theatre. There are pictures of dancers on the walls, ballet terms throughout—the vibe is always nice. They also have a really cute rooftop that's perfect in the summer. I love recommending it.
Speaking of summer, the city is totally different. Compared to winter coats and cozy vibes, people will be out in the city center just tanning in their bikinis. I think one of the best things to do in summertime is just hang out and lie by the harbor, jump in for a swim. There’s a really cool organic wine bar Rosforth & Rosforth (bio-wines, no sulfates) where you can just buy a bottle and lounge there with friends, tanning, swimming, sometimes even renting a boat down the street. A very Copenhagen experience.
Lastly, the Meatpacking District is always a great place to visit—lots of great restaurants, bars, activities, sort of represents a little bit of everything.
Where are you happiest outside of the world of dance?
On the Danish island Bornholm. I have family there and tons of memories growing up spending so many summers there. I feel very grounded there with all of the nature, rocky terrain, and the ocean right there. It’s just a beautiful, beautiful place.
If you had not pursued a career in dance, where do you think you would be today?
This answer has changed a lot, but in recent years I’ve had this realization (and acceptance) that I have always been very interested in real estate, interior design, and architecture. Even as a kid I would constantly spend a crazy amount of time constantly rearranging or playing with the layout of my room. And now at night while others are on instagram, I’m usually browsing listings or interiors, haha. It's kind of a passion of mine! I know I’ll have to pursue it eventually. For now I’ll just have to find the time to fit it into my busy schedule.
Where do you see the future of dance headed?
Dancers are so good at sustaining an extreme level of work amid a culture of perfectionism and immense performance pressure, that stress, injuries, burnout (and more) happen often. While we are at least talking about it a bit more openly, and maybe heading in the right direction, my one wish would be better conditions and culture that strongly supports the physical, mental, and emotional well being of the dancer. There is still much room to grow here.
Anything someone would be surprised to learn about you?
That I don’t love ballet—in the obsessive, whole-lifestyle sense. I think it just comes up from a place of how I was brought up. I have a really supportive family, and they always come and watch my shows with enthusiasm, but they just weren’t in the ballet world themselves, or anything along the lines of it. It was never dwelled upon in discussion or activities growing up. So what I’ve always really loved is having this space to completely disconnect from dance. When I’m off, or not at the theatre or work I love spending time around other things, people, sports especially. We would spend a lot of time playing or watching football (soccer). To this day if I have a choice to go watch a ballet or a soccer game, I’d go watch the game.
What do you hope audiences will get from your dancing? What type of artist do you want to be remembered as?
While dancing or performing, I always strive to be totally present and real. Trying to make sure it feels authentic or tuned in to the raw humanity of whatever the work is trying to present or examine. I think the whole reliance on body language and movement in dance to communicate is so powerful—the incredible ability to completely express yourself without words. Given that, I hope I can offer a physical experience authentic enough that allows the audience to find something that relates to them, something in their own lives no matter where they are or what they’re going through, that lets them see themselves within the movement. Ultimately drawing them in in some way that gives them something back in return.
✦
GREENROOM
Hometown
Helsingør, Denmark
& London, UK
Notable
Knighted Order of Dannebrog (ridder af Dannebrogordenen)
Queen’s Artist Grant
Positano Prize 2023
Reumerts Nominee Best Dancer 2023
Promoted to principal
2022
Height
5’ 7” (170cm)
Sign
Aries
Language(s)
Danish, English
Wearing
Freed (heart)
Recommends
“Conversations with Friends” by Sally Rooney (Book)
Kinfolk (Magazine)
and anything interiors/architecture/design
Instagram
@emmariiskofoed
TPD X ERK
C O P E N H A G E N , D E N M A R K
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