TWICE choreographer breaks down their biggest performances: FANCY, I CAN’T STOP ME, more | K-pop 101
[Music] I’m Kyle Tuton and this time we’re talking all about Twice. They’ve got some of the most iconic choreography in K-pop and I’ve been lucky enough to help bring a lot of these dancers to life. In this episode, I’m going to walk you through how we created some of their most memorable performances and the details that make Twice style so unique. [Music] Okay, so Fancy, this was the beginning of it all. I had been working in K-pop a little bit. I had worked with Blackpink, and this is where I was first reached out to by Twice, who I had started to become a fan of as I was diving more into K-pop, and they were kind of looking to mature a little in their career. They had been known for very quintessential K-pop songs and choreography and this was the first time that they were kind of setting a new vibe. I think Twice as choreography I approach mostly like a dance crew. There are nine of them. So there are so many opportunities to create visual feasts. The pictures, the formations, the things that we can create on stage are just so much more exciting than a smaller group. There’s a star, there’s a V, there’s a straight line, there’s a diagonal, there’s two lines that come through and then they go through. It’s there’s so much opportunity and it’s a feast. And the girls are so clean as a group of dancers and they’re so well trained to each other that I think it was the start of a beautiful collaboration. You can see every picture, every detail. They’re so in tune and so in sync that everything is clear. Part of the challenges of creating for Twice and in K-pop in general, sometimes the line distribution is so wild and there’s so such short little lines that switch between members and it’s not always possible to get someone to the center. And also it can kind of be a bit boring for someone to just be center and sing every time. So it creates a lot of opportunities to shift the focus to the side and open a gap on the left side and then someone comes through the middle and then someone slides on the floor and then there’s a lot of room for things like that which I think add to the beauty of it. K-pop um frequently samples a bit of sign language. When we originally created this piece, um, we had like fancy like a hat, so it was almost like a little hat in front. Um, which was obviously switched to some sign language for I love you, which is super cute. Um, I reference here to the diagonal that we created in the beginning. I make sure when I create for an artist that I look at their back catalog and I try and see what they’ve done, what else they haven’t done and try and cater to that. And some like really clean formations like straight lines and diagonal lines I wanted to do for this piece, for the first piece that I created for them. Um, a circle basic clear things but that have such big impacts on stage. feel special. So, this was the second piece that I did for Twice. I feel like when you start working with a group and then they like what you do, then it feels like it just keeps on coming. So, we’ done Fancy. They were in this kind of new era as they were dropping new albums of more mature music, talking about more mature themes. And this was another example where I got to just play around doing things like different perspectives. We shift to a diagonal for a focus. Sometimes it’s hard because the way that my brain works is quite mathematic. I see puzzles and I see geometric shapes. So, it’s about transcribing and translating what I see to the normal viewer. and for it to be important enough and clear enough and impactful enough to let it make sense for other people too. I can create as many puzzles and visual shapes in my mind, but if it’s not clear and dynamic to the audience, then it’s pointless and I’m just making things difficult for no reason. But here we have those shapes that we’re creating in the focuses that we’re suggesting that you look at. I love obviously there are two rappers in Twice, Chayang and Dahan. It’s exciting to give them a little something more, little more groove, little vibe. And then this is getting into this ending dance break. Boom. Yeah, we had this idea of like a little a little flower um as something that’s special. So, they have their own little flowers to feel special. This is I can’t stop me. I love this song, this piece. This was kind of at the height of the8s trend that was happening in music. This part I absolutely love when they go uh uh boom down to the ground. Yeah. Twice’s energy again as a group. It’s a fun thing to explore. They’re more mature. They’re women. So being able to give them strong feminine moves like this little hip groove is Yeah. It’s fun. It’s fun to explore. I love women dancing. Um, it’s kind of my bread and butter. I’m surrounded by so many inspiring female dancers that it’s a breeding ground for great choreography like this. This was also um, in a time obviously we were still in COVID lockdowns. Um, I was in New Zealand when we were creating this. I had nine of my favorite dancers in New Zealand come together. And you kind of know when you’re creating a piece when it’s a really good one. It caters to kind of obvious visual elements, but we were doing things that we hadn’t done before. And it was so exciting because then you’re like, “Oh my gosh, they’re going to love this.” Um, and they did, which is always a good thing. Two other choreographers that were associated with this piece, Lee Jang Lee and Jonte Moaning. And as you can see from Fancy, performance videos and dance practice videos have come such a long way. Um, there used to just be a fixed camera in the dance practice room that have now become productions. Ran out of sage, get some lighting. It’s a lot more costumed and official. It’s another fun vessel, I think, for people to see the choreography and to enjoy the dancing. We still love an authentic dance practice video, but they’re not around as much anymore. Another thing about K-pop, we’re trying to create these little motifs. So, here we have the shoulder moves to try and create a little catchy groove. And the hand motifs of the song about not being able to stop yourself. Um, we went with a a roll and a stop. We’re trying to create such visual hand symbols a lot of the time. It’s not just about catchy choreography, but it’s about identifiable moves. So, but songs kind of have a lot of the same words in them. They talk about stop, they talk about heart, they talk about love. So, there are only so many things you can do to represent those words. So, finding different ways to explore vocabulary. [Music] This is cry for me. This is maybe my favorite song that I ever choreographed for Twice. Um, this is the performance on the Kelly Clarkson show. The song wasn’t a an official like single release. I think it was like a special release because the fans responded to it so much from a live concert. I think it kind of encompasses all of those things that make Twice great. the details that they’re able to do, the slow kind of sensual and intentional grooves. This is kind of what I was talking about about the quick line changes. We have like over this side, over this side, over this side, over this side in the span of about 6 seconds. So something like that is where it can be accentuated by a middle group turning and then turning again and then gesturing this way and then gesturing back over that way. Little things like that are choreographic techniques to make it clearer for the audience what they’re looking at and also exciting. I always like to pay homage to the piece in itself. So, we have a reference back to the beginning picture. Twice are another one of those groups where they just have so much energy that they’re able to express while still retaining detail and essence. I love that piece. I love that song. and Twice execute it flawlessly. Those are just a few of the Twice performances that mean the most to me. They always bring so much personality and precision to every move, which makes choreographing for them an absolute pleasure. Uh, thanks for tuning in. Until next time.
Choreographer Kiel Tutin has helped shape some of TWICE’s most unforgettable moments on stage; from “Fancy” to “I Can’t Stop Me.” With TWICE back in the global spotlight after their performance at the 2025 Victoria’s Secret Fashion Show, Kiel revisits the creative process behind their most iconic choreography and what makes their movement so distinctly TWICE. This episode kicks off “K-pop 101,” a new series that breaks down legendary performances with the artists and creatives who define the genre. Watch the full video for an inside look at TWICE’s evolution through the eyes of the choreographer who knows their moves best.
Read more at https://pagesix.com/video/twice-choreographer-kiel-tutin-breaks-down-their-biggest-performances/
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