Nikisha Fogo on Achieving the Ballerina Dream, Without Letting It Define Her

After living in Europe for so long, what was the adjustment to moving to the U.S. like?

I moved to here during the pandemic, so my flight over was completely empty. It was really weird. And, when I came to San Francisco, the city was kind of deserted and I didn’t know what my colleagues looked like because we were all wearing masks.

The hardest adjustment for me was finding close friends as an adult. When you’re younger, it’s a bit easier to just hang out all the time. But, as adults, you try to schedule people in. Trying to find a close friend group is a bit hard. So that was my hardest adjustment, because I love being around people and having close connections.

What do you enjoy more, performing or being in the studio?

I prefer performing. Something special happens when you’re onstage. I love that feeling and being able to share what I love with other people.

Have you had a worst nightmare onstage?

I fell once in Raymonda, in one of the Clémence variations. It was really slippery onstage. I was going to take a step and I fell on my knee. I could hear the audience gasp, and [it was] caught on film! I just laughed it off. There was nothing I could do and I didn’t get hurt, so I just thought it was funny.

If you weren’t a dancer, what would you be doing?

I was kind of at a crossroads when I was 16, and I was deciding whether to go to music school to train to be a music producer and songwriter. So maybe I would be a music producer.

Of your repertoire so far, which ballet was the hardest to learn and perform?

Le Sacre, by John Neumeier. It’s a lot of small details and the music is very intricate, a lot of counts. The main woman has a really long solo that’s very tough on the body—you really have to go for it. It’s an amazing feeling, but it was hard.

And also Mere Mortals [by Aszure Barton]. It was a really long creative process; we were choreographing for nine weeks. And when something is being choreographed, a lot of changes happen from one day to another. So that was hard to learn.

What would you take with you on a desert island?

My first thought would be my cat, so I have some company. And my second thought is popcorn. I can’t live without my popcorn every night.

What is the least glamorous part about being a dancer?

The pain that comes with it. Like the toes when you come back from vacation, the blisters, sore muscles. I’m currently having a lot of sore muscles as we speak. But also injuries; it’s something that we don’t think about going into dancing.

What is your secret talent?

I would say nails. I do gel nails, gel extensions, and nail art. I have everything at home; it’s basically a nail salon.

What role has taught you the most about yourself as a dancer?

[The title role in] Sylvia, by Manuel Legris. It was created on me, so that was something new, and I learned a lot. It was my first full-length ballet that I ever did with a story. I learned that I really enjoy the acting aspect onstage. And, also, working with a choreographer on my strengths was very rewarding.

Another one was Swan Lake, because it was one of my dreams—a daunting dream, obviously. But I learned a lot because I haven’t had as many chances to work on softer, delicate movements. I really enjoyed doing the White Swan and discovering new things in that way.

What is your pre-performance ritual?

I normally lay on the couch and watch cartoons, and I take a nap for 26 minutes (or something really random like that). When I get to the theater, I lock in and play hip-hop music. I really love doing my makeup and hair before the show because, if I’m nervous, I feel like I’m doing something.

What are you working on right now that you are particularly excited for this season?

We’ve just started working on Don Quixote. I’ve done a lot of different roles in Don Q, but not Kitri. It slipped through my fingers a couple of times. I was supposed to dance Nureyev’s Don Q with the Royal Swedish Ballet in 2020, but that fell through because of the pandemic. And then, in 2022, I was working on the Helgi Tomasson version we’re doing now, but I got injured. So I’m really excited to finally get to perform it. It’s going to be fun.

What advice would you have for students wanting to be professional dancers?

Keep having fun with it. It’s so easy to get caught up in the pressure and the comparison with others, so remember that joy is what makes dancing magical. And everyone has their own journey—that’s something that I have as my own mantra. If, one day, I don’t think that this is fun anymore, then I’ve made that promise to myself that I’m gonna honor my feelings and let it go. And that’s okay. But, so far, I haven’t had that feeling.

Which accomplishments in your career are you the most proud of?

I’m really proud that I’m living out my childhood dream. When I was 9, I decided I wanted to be a ballerina—and I did it. But, also, I’m really proud that I didn’t lose myself in it, either. Ballet is something that I do and love, but it’s not only what I am. I’ve stayed connected to who I am outside of the stage and prioritized building a life outside of my dancing.