Kiel Tutin is a central figure in the choreography and creative direction that has catapulted K-pop into the global spotlight. With an impressive following of 330,000 on Instagram and 194,000 on TikTok, Tutin is the mastermind behind some of the most impressive performances by K-pop giants such as BLACKPINK, TWICE, and aespa. His work includes BLACKPINK’s groundbreaking Coachella 2023 show, the choreography for TWICE’s hit “I Can’t Stop Me,” and aespa’s dynamic “Spicy.” Kiel Tutin’s contributions have significantly shaped modern K-pop performances, establishing him as a defining force in the industry.
INTERVIEWS
Renowned choreographer sits down with DSCENE Magazine‘s editor Anastasija Pavic to discuss his creative path. Known for shaping some of K-pop’s most iconic performances, Tutin shares how he combines instinct with precision to keep his choreography fresh and engaging. He also touches on how his upbringing in Britain and New Zealand influences his unique approach to dance, offering insights into his vision for the future of choreography.
You’ve choreographed some of the most iconic K-pop moments. How do you approach the challenge of creating something fresh yet familiar for fans who expect something new every time?
Firstly – thank you! There’s a misconception that choreography is easy, putting together a sequence of moves is relatively accessible to all. But like painting, while anyone can pick up a brush and throw paint at a canvas, mastery comes down to a mix of instinct and skill. I rely on formulas and intuition for what feels good, looks good, and complements a pop song. Often, it’s me and and my talented dancers in the studio experimenting around. For lack of a better phrase – we just get it. It’s about balancing what’s current and cool, and sometimes intentionally ignoring that, to keep things fresh.
“Growing up in England, my world revolved around girl bands like the Spice Girls, Girls Aloud and Sugababes. Their choreography emphasized iconic imagery, superstar energy and having fun! Being British means not taking yourself too seriously, and that sense of humor and sarcasm often finds its way into my work.”
With so many different styles and concepts in K-pop, what’s your process for adapting to a new genre or theme for a specific artist or group?
It all begins with the music. K-pop thrives on themes and trending musical genres, which I use to dictate the core stylistic movements. If it’s a modern disco track, I might incorporate funk-inspired steps with my own twist. For a hip-hop vibe, I lean into the bounce and grooves. My knowledge of musical eras and dance styles allows me to approach each project with fresh creativity, guided also by lyrics and the artists aesthetic, referencing their previous works to evolve in a similar direction, or pivot to something new.
You’ve been with BLACKPINK for nearly a decade. How has their style and approach to choreography evolved over the years, and how has your collaboration grown?
My first choreography for BLACKPINK was ‘DDU-DU DDU-DU’, which marked a shift musically toward hip-hop and trap influences, aligning perfectly with my style, hip-hop, street dance and hard-hitting commercial movement. As trainees, we had taught them for their monthly evaluations using similar styles, dancing to Rihanna, T-Pain and Nicki Minaj, bringing back those skills. Since then, their evolution has been extraordinary. I’ve aimed to maintain that signature flavor in their choreography whilst infusing maturity, a sense of royalty and respect, favourites of mine including ‘Lovesick Girls’ and ‘Pink Venom’. Coachella was a defining evolution of our collaboration where I stepped into the role of Creative Director, crafting a vision of what it means to be BLACKPINK on a global stage through choreography, staging and storytelling.
BLACKPINK’s Coachella set was monumental. What was the process behind crafting such a defining show?
Creating BLACKPINK’s Coachella set was both challenging and rewarding. As Creative Director and Choreographer, and eventually dancer, I started planning in January. I flew to Hong Kong to review their tour show, knowing the girls had limited time to prepare amidst a hectic schedule.
I collaborated with STUFISH to design the Hanok-inspired set, previously seen in the DDU-DU DDU-DU music video, borrowed Beyoncé’s lighting designer Cory Fitzgerald and brought on my Creative Associate Marvin Brown to help execute the immense scope of the show. In Korea, I rehearsed with the dancers for a month, presenting BLACKPINK with a nearly finalized show to minimize their learning curve while managing two simultaneous performances, Coachella and their ongoing tour.
One of my strengths lies in creating and understanding flow within choreography and the context of a show. I know BLACKPINK’s music inside and out, so structuring the audience’s emotional journey through their setlist was fascinating. My initial inspiration for the show, and even an original version of a stage design, came from the idea of a comet, symbolizing BLACKPINK’s meteoric rise and global impact. This vision led us to start with four of their most explosive tracks, captivating the audience with high energy right from the beginning.
Coachella became not just a milestone for BLACKPINK, but for me as well, a chance to showcase their artistry and evolution on one of the world’s biggest stages.
Can you share the story behind your collaboration with LE SSERAFIM?
LE SSERAFIM debuted in 2022, and I’ve been asked to choreograph four songs throughout their releases, usually the b-sides/album track that has a featured choreography performance. I met the girls back shortly after their debut, and it’s been great seeing them rise and experience international success. I saw them at Coachella last year! The five of them are great dancers, so I find it refreshing exploring different types of movement with them, not on a title track, and letting the movement supplement the performance in a more subtle way.
“The TikTok-ification of choreography has revolutionized fan engagement through catchy choruses, repetitive movements and ‘kill-points’. While undeniably effective, it can stifle creativity when trying to manufacture iconic moments.”
With your extensive experience in K-pop, have you noticed any trends in how artists approach dance as part of their overall performance?
Absolutely, and I’m consistently conflicted about it. The TikTok-ification of choreography has revolutionized fan engagement through catchy choruses, repetitive movements and ‘kill-points’. While undeniably effective, it can stifle creativity when trying to manufacture iconic moments. I think of timeless pieces like Michael Peters ‘Thriller’, Brian Friedman’s ‘Slave 4 U’, or Rich and Tone’s work for ‘Get Right’ choreography created to purely be great art. That said, K-pop continues to push boundaries with some of the most intricate and ambitious choreography in the industry. I admire those that take risks and prioritise creativity over trends.
How important is the emotional connection between the body and movement in your creative process?
It’s embedded in the movement. Everything has to feel good and feel right. Over the past year, I’ve found myself exploring more nuanced emotion, playing with sarcasm and irony, it’s been so much fun! Our emotional spectrum is vast, and tapping into its nuances adds layers to my choreography, expanding the sandbox for more possibilities. I place equal importance on transitions and formatting. How you get from A to B should just feel as meaningful and satisfying as the core choreography. The connections between the moves and formations are often where the magic happens.
“One of my strengths lies in creating and understanding flow within choreography and the context of a show. I know BLACKPINK’s music inside and out, so structuring the audience’s emotional journey through their setlist was fascinating.”
Given your upbringing in both Britain and New Zealand, how do those cultural influences impact the way you bring new perspectives to K-pop choreography?
Growing up in England, my world revolved around girl bands like the Spice Girls, Girls Aloud and Sugababes. Their choreography emphasized iconic imagery, superstar energy and having fun! Being British means not taking yourself too seriously, and that sense of humor and sarcasm often finds its way into my work. From the culture of Aotearoa New Zealand, I draw passion, a fire, and a desire for greatness. I bring that intensity into everything I create. Together, these influences shape my perspective in K-pop choreography.
What has been the most rewarding moment in your career as a choreographer?
Every time I see a dancer’s dreams come true, performing on that stage, achieving that milestone. I am the biggest advocate for my people and seeing them win never gets old.
What do you hope to explore in your future projects?
I want to get wacky and wild, for someone to come to me with a really creative idea, that wants to break the mould and try something different, whether that’s within K-pop, a movie or a project I can’t even conceptualise yet. I have built a multitude of skills over my career and I want more opportunities to showcase them creatively. Here’s to that!
