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Emma Portner
Emma Portner
Emma Portner
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Emma Portner (born November 26, 1994)[1] is a Canadian professional dancer and choreographer.[2]

Key Information

Early life

[edit]

Portner was born in Ottawa, Ontario[3] and began dancing when she was three years old. She started dancing at a competitive studio in Ottawa before spending her summers with The National Ballet of Canada. While in Ottawa, she also attended Canterbury High School's specialized arts program in her dance stream. When she was 17, she moved from Ottawa, Ontario to New York City to train at The Ailey School. She dropped out after 5 months to begin her professional career.[1][4]

Career

[edit]

Portner created some of the choreography for Jim Steinman's Bat Out of Hell: The Musical.[5][6] In 2015, she choreographed and starred in Justin Bieber's music video for his song "Life is Worth Living".[6] She also created choreography for Bieber's Purpose World Tour.[7][8]

In 2019, she was nominated for Arena Dance Competition's "Best Female Dancer" of the year. Paper magazine also listed Portner in "PAPER Predictions; 100 people to watch in 2019". Portner has appeared on the covers of the magazines Dance Spirit and Dance Magazine.[citation needed]

As of 2020, her work has been displayed in a variety of environments including Apple, Netflix, Vogue, Sony Pictures, late night television and in professional ballet. She has movement directed indie music stars such as Blood Orange, Maggie Rogers, Half Alive and BANKS and performed at prestigious venues like the Guggenheim Museum,[clarification needed] Jacob's Pillow, the Oslo Opera House, New York City Center and Theater Champs-Élysées.[9]

In 2021, Portner's first ballet and acclaimed work "Islands" for the Norwegian National Ballet was selected to tour with culture shaping choreographers Crystal Pite, Jiri Kylian, and Ohad Naharin.[9] At 26 years old, she received a glowing review stating that "Emma Portner shines extra bright in Dialogues Star Parade" and "in an evening bursting with movement, one of the least known choreographers stood out".[10]

In 2021, Portner portrayed Gozer the Gozerian in Ghostbusters: Afterlife, a role shared with an uncredited Olivia Wilde and vocally with Shohreh Aghdashloo.[11]

She is the lead vocalist of Bunk Buddy, an indie music duo composed of her and producer Noah Rubin.

Personal life

[edit]

In January 2018, actor Elliot Page announced his marriage to Portner on an unspecified date.[12] The couple met after Page noticed Portner on Instagram.[2] In December 2020, Page publicly came out as a trans man.[13] Portner expressed support for his coming out that same day on her Instagram account, saying she was "so proud" of him[14] however she declined to speak publicly about her own gender identity and sexual orientation,[15] but had previously identified as a lesbian.[16] Page filed for divorce in January 2021,[17] and the divorce was finalized in early 2021.[13]

References

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[edit]
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Emma Portner

View on Grokipedia
from Grokipedia
Emma Portner (born 1994) is a Canadian professional dancer and choreographer based in , recognized for her innovative contemporary work that blends genres and has attracted collaborations with musicians and ballet institutions. Born in , , she began training in dance at age three and later graduated with honors from Canterbury High School before relocating to pursue professional opportunities. Portner's choreography gained early prominence through viral videos amassing millions of views and earning top placement in the 2014 Capezio A.C.E. Awards, establishing her as a versatile artist capable of directing companies and performing across styles. Notable commissions include pieces for pop singer , tap dancer , and the West End production Bat Out of Hell, alongside recent forays into for companies like the , where her works explore movement dynamics and challenge conventional partnering structures. In her personal life, Portner was married to Canadian actor from 2018 until their divorce in 2021, a union that drew public attention amid Page's announcement of identifying as , though the couple had reportedly separated months earlier. Her career emphasizes raw physicality and spatial innovation, earning residencies such as with L.A. Dance Project and ongoing acclaim for defying stylistic boundaries in dance.

Early Life

Childhood and Family Background

Emma Portner was born on November 26, 1994, in , , . Her parents enrolled her in classes at the age of three, marking the beginning of her early immersion in the art form. She trained initially at Leeming Danceworks, a competitive studio in , where she developed her foundational skills in various styles amid a rigorous competitive environment. Details on Portner's immediate family, including her parents' names, occupations, or any siblings, remain largely undisclosed in public records, with available biographical accounts focusing primarily on her dance trajectory rather than familial dynamics. Portner grew up in , attending Canterbury High School of the Arts, from which she graduated with honors in , reflecting her early dedication to the discipline within a supportive local arts education system. By her mid-teens, her commitment led her to relocate to at age 16 for advanced training, transitioning from her Ottawa roots.

Introduction to Dance and Training

Emma Portner began dancing at the age of three in her hometown of , , initially training in competitive dance styles. Her early development occurred at Leeming Danceworks studio in , where she practiced self-directed filming of her movements to refine technique from a young age. Portner attended High School of the in , graduating with honors in the dance program in 2012. During summers, she trained at , gaining exposure to alongside her competitive foundation, though she did not pursue a professional path. In 2012, Portner relocated to to further her education at The Ailey School, enrolling in formal studies there in 2013 and immersing herself in contemporary and modern techniques. This period marked her transition from competitive training to professional , building on a diverse base that emphasized versatility across genres.

Career

Early Professional Beginnings and Company Formation

Portner relocated to in 2011 at age 16 to enroll in The Ailey School's Certificate Program, marking the start of her immersion in professional dance training. At 17, she briefly attended the Ailey School before departing after seven months to accept a professional dancing contract with choreographers Emily Shock and Matt Luck in . This transition propelled her into early professional work as a performer, where she collaborated on the 2012 duet video Dancing in the Dark with Luck, a piece she co-choreographed that amassed millions of views and established her initial recognition in the dance community. That same year, she was named the American Dance Awards National “Young Choreographer of the Year,” reflecting her rapid emergence in choreography amid competitive and commercial dance circuits. Building on this momentum, Portner expanded her creative output in 2014 by founding Flock’d Dance, an ensemble through which she developed original works, including the piece A Primitive Cinema; the company later evolved into Emma Portner and Artists, and subsequently Emma Portner & the Flock (now known as Posniac's Body). Her efforts that year earned second-runner-up honors in the Capezio A.C.E. Awards for , alongside training with Rubberbandance Group and early performances that honed her interdisciplinary style blending contemporary, tap, and commercial elements. These foundational steps positioned her company as a platform for self-directed projects, transitioning from freelance collaborations to structured ensemble direction in New York City's dance scene. By 2015, this early infrastructure supported commissions like her and performance in Justin Bieber's “” music video, initiated via connections with , further solidifying her professional trajectory.

Commercial and Pop Collaborations

Portner gained prominence in commercial choreography through her work on Justin Bieber's "Life is Worth Living" music video, which she both choreographed and performed in, released on November 17, 2015. This project marked her breakthrough into pop music collaborations, leading to further involvement in Bieber's Purpose World Tour, where she contributed choreography for select performances starting in 2016. In 2019, Portner publicly expressed regret over the Bieber collaboration, stating on Instagram that she felt underpaid and accusing him of degrading women, though she later deleted the posts. Expanding into indie-pop, Portner choreographed the music video for ' single "Fallingwater," released on May 31, 2018, featuring fluid, contemporary movements that complemented the track's ethereal sound. She also created choreography for Bon Iver's "33 GOD" video in , emphasizing abstract, otherworldly dynamics set to the artist's experimental folk style. Her commercial portfolio includes movement direction for brands and media entities such as Apple, , , and Vogue, with projects spanning promotional content and advertisements displayed in these outlets as of 2020. Specific efforts encompassed for a series in 2018 and segments, blending her signature improvisational style with mainstream accessibility. Additional pop-adjacent work involved artists like and , focusing on live performance direction rather than full videos.

Theatrical and Concert Choreography

Portner entered theatrical choreography with her work on Bat Out of Hell: The Musical, a rock musical adaptation of Jim Steinman's compositions originally popularized by Meat Loaf. Directed by Jay Scheib, the production premiered at the Manchester Opera House on February 2, 2017, before transferring to London's West End at the Coliseum starting June 5, 2017, and later to the Dominion Theatre. At age 22, Portner became the youngest woman to choreograph a West End production, with her movement designs noted for their high energy, precise synchronization, and thematic enhancement of the show's rebellious narrative. The incorporated dynamic ensemble sequences that amplified the musical's post-apocalyptic rock aesthetic, drawing on Portner's contemporary style to blend fluid partnering with explosive group formations. Critics highlighted its role in fleshing out emotional undercurrents, such as youthful defiance and romance, while maintaining visual coherence amid the production's elaborate staging. The West End run extended through January 2019, contributing to the show's and subsequent international tours. In concert dance contexts, Portner has created original pieces for live performance platforms outside commercial or commissions, emphasizing intricate partnering and emotional vulnerability. Early works include "," a 2014 quartet performed at Summer Dance Adventures in , featuring dancers Matt Luck, Portner, Lukas McFarlane, and Amara Barner. Her choreography for these settings often explores relational dynamics through repetitive motifs and spatial interplay, as seen in collaborative excerpts like those with for LA Dance Project in 2018, set to an acoustic rendition of Nelly Furtado's "." These pieces reflect her transition from viral videos to structured presentations, prioritizing raw physicality over narrative spectacle.

Ballet and Contemporary Works

Portner's debut in choreography came with Islands (2020), commissioned by the Norwegian National Ballet as a for two dancers who share a single pair of pants, entangling and disentangling their limbs in patterns that evoke meticulous confusion and intimacy. Set to music by Brambles, Guillaume Ferran, and , the work has been restaged by the and earned a for Best New at the Olivier Awards in 2025. This piece marked the start of a series of commissions, with Portner completing five for major companies by age 30 in November 2024, primarily in Scandinavian institutions. Subsequent ballets include Bathtub Ballet, which premiered on February 9, 2024, with the Royal Swedish Ballet, drawing on Portner's signature intricate partnering and emotional rawness. In April 2024, Forever, Maybe debuted at the GöteborgsOperans Danskompani, further expanding her classical vocabulary while retaining influences from her contemporary background. These works demonstrate Portner's adaptation of ballet's precision to her style of blended genres, emphasizing physical over narrative. In parallel, Portner's contemporary dance output centers on her New York-based company, originally Emma Portner & the Flock and later rebranded as Posniac's Body, where she directs pieces noted for their honest intricacy and stylistic fusion. Key works include Femme Debout (2018), a three-act movement film commissioned by Fondation Beyeler as a physical response to Francis Bacon's and Giacometti's visual art, featuring masked performers pressing against glass barriers to explore freedom within constraint. Her second full-length contemporary piece, A Primitive Cinema, showcases evolving experimentation in form and devotion to craft. Additional projects like All My Solos Were Prayers (premiered at Lafayette Anticipations) highlight solo explorations integrated into her broader repertoire.

Personal Life

Marriage to Elliot Page

Emma Portner and , then known professionally as Ellen Page, met through in 2017 when Page noticed Portner's dance videos and initiated contact.<grok:richcontent id="eb4e3a" type="render_inline_citation"> 26 </grok:richcontent><grok:richcontent id="c3b5f1" type="render_inline_citation"> 22 </grok:richcontent> The two began dating soon after, with Page relocating to to be closer to Portner, who is Canadian.<grok:richcontent id="0a7d2e" type="render_inline_citation"> 23 </grok:richcontent> They married in a private ceremony whose exact date has not been publicly disclosed, though it occurred shortly before their announcement.<grok:richcontent id="d1f8a2" type="render_inline_citation"> 19 </grok:richcontent><grok:richcontent id="f4e9b7" type="render_inline_citation"> 9 </grok:richcontent> On January 3, 2018, Page publicly revealed the marriage via Instagram, sharing photographs of the couple in wedding attire and captioning the post: "Can't believe I get to call this extraordinary woman my wife."<grok:richcontent id="2c8d5f" type="render_inline_citation"> 0 </grok:richcontent><grok:richcontent id="7a1e4d" type="render_inline_citation"> 11 </grok:richcontent> Portner echoed the sentiment in her own post, expressing gratitude for their partnership.<grok:richcontent id="5b9e2a" type="render_inline_citation"> 12 </grok:richcontent> A representative for Page confirmed the union to People magazine, noting the couple's happiness without providing further details on the event.<grok:richcontent id="3e6f1b" type="render_inline_citation"> 0 </grok:richcontent> The announcement drew congratulations from celebrities and fans, highlighting the couple's low-key approach amid Page's high-profile career.<grok:richcontent id="8d2c7e" type="render_inline_citation"> 17 </grok:richcontent> The marriage integrated Portner's background with Page's pursuits, as the couple occasionally collaborated on creative projects and shared public appearances at events like dance performances.<grok:richcontent id="9f4a8d" type="render_inline_citation"> 21 </grok:richcontent> They resided primarily in , maintaining a private life focused on mutual professional support until Page's public coming-out as in December 2020.<grok:richcontent id="1b5e9c" type="render_inline_citation"> 20 </grok:richcontent> No children were born during the marriage.<grok:richcontent id="6a3d0f" type="render_inline_citation"> 14 </grok:richcontent>

Public Support for Gender Transition

Following Elliot Page's public announcement on December 1, 2020, stating "I am trans, my pronouns are he/they and my name is Elliot," Emma Portner posted a message of support on the next day. In the post, which she later deleted, Portner wrote: "I am so proud of @elliotpage. Trans, and non-binary people are a to this world. I also ask for patience & while our family meets this moment." She further described Page's "existence is a in and of itself" and concluded, "Shine on sweet E. Love you so much." Portner's statement emphasized affirmation of Page's identity and broader endorsement of transgender, queer, and non-binary individuals, framing their presence as inherently valuable. This public expression occurred amid widespread media coverage of Page's disclosure, with Portner's response highlighted as an example of spousal solidarity. No further public statements from Portner specifically addressing Page's transition have been documented beyond this initial post and a subsequent request for privacy on December 4, 2020, regarding family matters.

Divorce and Separation Details

Portner and Page separated in the summer of 2020, prior to Page's public announcement of his transgender identity in December of that year. On January 26, 2021, the couple issued a joint statement announcing their divorce, stating: "After much thought and careful consideration, we have made the difficult decision to divorce following our separation last summer." The statement further expressed mutual respect and a desire to remain close friends, emphasizing privacy during the process. Page filed for the same day in , seeking a contested dissolution of their three-year , which had been conducted privately in 2018 without a . Court records indicated no children from the union and requested equitable distribution of marital assets, though specific terms of any settlement remain undisclosed publicly. The couple had reportedly been estranged for several months leading up to the filing, aligning with their stated separation timeline. No further public details on the proceedings or finalization have been released by either party.

Reception and Impact

Achievements and Recognition

Portner was named the American Dance Awards' National Young Choreographer of the Year in , an honor bestowed at age 18 for her emerging contributions to creation. This early recognition highlighted her innovative style blending contemporary and commercial elements, following competitions where her pieces demonstrated technical precision and emotional depth. Her choreography continued to receive competitive acclaim, securing a top placement in the 2014 Capezio A.C.E. Awards, a national contest evaluating original works for artistic merit and execution. Subsequent national and regional awards affirmed her versatility across genres, though specific titles beyond these placements remain tied to competition circuits rather than major institutional prizes. In 2019, Portner earned a for Best Female Dancer at the Arena Competition, underscoring her dual prowess as performer and creator amid a field dominated by specialized artists. While personal awards have been concentrated in her formative years, her pieces have contributed to ensemble recognitions, such as the National Ballet of 's 2025 UK National Award for Best Foreign Touring Company for Frontiers: Choreographers of , which included her work Angels' Atlas. That production also garnered Olivier Award nominations, reflecting indirect validation through high-profile commissions with companies like the Norwegian National Ballet.

Criticisms and Professional Disputes

In July 2019, Portner publicly accused of underpaying her for choreography services provided during his 2016 , claiming the compensation amounted to "less than " despite her contributions of "naive body, creativity, time and effort." She expressed regret over the collaboration in Stories, stating, "I regret working under your name," amid Bieber's public support for music manager during his acquisition of Taylor Swift's masters, though Portner's grievance centered on professional rather than the broader industry conflict. Bieber did not publicly respond to the allegations. No other documented professional disputes or substantive criticisms of Portner's choreography appear in available records, with reviews of her works in commercial, pop, and contexts generally focusing on stylistic rather than professional failings.

References

  1. https://www.opera.se/en/dance/guests/emma-portner/
  2. https://www.nytimes.com/2024/03/19/arts/dance/emma-portner-ballet-choreographer.html
  3. https://www.imdb.com/name/nm8616975/bio/
  4. https://www.peridance.com/faculty/emma-portner
  5. http://sharingspaces.squarespace.com/emma-portner
  6. https://dancemagazine.com/emma-portner-2/
  7. https://www.bbc.com/news/world-us-canada-55820614
  8. https://people.com/movies/elliot-page-and-estranged-wife-emma-portner-separated-months-before-announcing-plans-to-divorce/
  9. https://dancemagazine.com/spotlight-emma-portner/
  10. https://dancespirit.com/the-trailblazer/
  11. https://www.thefamouspeople.com/profiles/emma-portner-44210.php
  12. https://www.thecut.com/2017/10/emma-portners-body-is-her-megaphone.html
  13. https://dancemagazine.com/emma-portner/
  14. https://abcnews.go.com/Entertainment/things-ellen-pages-wife-emma-portner/story?id=52136151
  15. https://national.ballet.ca/productions/on-tour-london-england/
  16. https://nac-cna.ca/en/bio/emma-portner
  17. https://www.theguardian.com/stage/2024/sep/29/choreographer-emma-portner-islands-sadlers-wells-interview
  18. https://kaufman.usc.edu/students-collaborate-emma-portner/
  19. https://www.usatoday.com/story/entertainment/celebrities/2019/07/03/justin-bieber-accused-emma-portner-degrading-women-underpaying-choreographer/1637313001/
  20. https://people.com/music/emma-portner-slams-justin-bieber-taylor-swift-drama/
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  22. https://dancespirit.com/new-emma-portner-video-otherworldly/
  23. https://www.lafayetteanticipations.com/en/artiste/emma-portner
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  30. https://www.youtube.com/watch?v=AcgvLbjRymQ
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  32. https://www.opera.se/en/dance/repertoire/current-repertoire/forever-maybe/
  33. https://032c.com/magazine/femme-debout-emma-portner
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  35. https://www.staatsoper.de/en/biographies/portner-emma
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  38. https://www.usatoday.com/story/entertainment/celebrities/2020/12/02/elliot-pages-wife-emma-portner-so-proud-after-he-came-out-trans/3791613001/
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  52. https://www.gointrigue.com/emma-portner/
  53. https://national.ballet.ca/media-room/media-releases/the-national-ballet-of-canada-wins-a-uk-national-dance-award/
  54. https://www.cbc.ca/listen/live-radio/1-50-q/clip/16134326-emma-portner-subverting-ballets-gender-norms
  55. https://pagesix.com/2019/07/02/choreographer-emma-portner-says-justin-bieber-paid-her-barely-anything-for-her-work/
  56. https://observer.com/2019/07/choreographer-emma-portner-justin-bieber-less-than-minimum-wage/
  57. https://www.yahoo.com/entertainment/choreographer-claims-justin-bieber-underpaid-her-for-work-203304536.html
  58. https://www.huffingtonpost.co.uk/entry/justin-bieber-emma-portner_n_5d1cb814e4b07f6ca5874179
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