What makes a dance infectious? Ask the choreographer behind 2023’s hottest moves
Since Jungle released their music video for “Back On 74” earlier this month, fans have been raving over the choreography — even replicating it in their own homes. From Alex Wong to the cast of the international tour of “West Side Story,” people are highlighting their favorite moments from the video on TikTok.
The infectious choreography trending on social media was dreamed up by Shay Latukolan, a dance maker based out of Amsterdam and London.
“Back On 74” is the fifth visual installment from Jungle’s latest project “Volcano,” the others being “Good Times/Problemz,” “Candle Flame,” “Dominoes” and “I’ve Been in Love.” As a collaborator, Latukolan has a hand in each one of these releases from the U.K. music duo, whether as a movement director or choreographer. What we’ve seen so far is only a taste of what’s to come from the group’s striking series of music videos, which documents an evolving love story.
Take a peek behind the choreography heating up the summer ahead of Jungle’s Sept. 7 show at the Forum and hear from the creative who’s bringing people to their feet. This interview has been edited for clarity and length.
Your choreography for Jungle’s “Back On 74” music video has been all over TikTok. What has it been like for you to see it go viral on social media?
It’s so amazing. I’m very much from the dance world as a maker, so it’s really cool to see that it can reach people who don’t dance and make them feel some certain way the moment they see it. It’s very humbling, very humbling that I could make the world dance.
You’ve done a few projects with Jungle, more recently “Dominoes” and “Candle Flame.” How did you get connected with the group?
I am a choreographer here back in Europe. I work a lot in London. I’ve been doing a lot of music videos for all kinds of artists, from Rosalía to Ed Sheeran to Stormzy. I think they [Jungle] were already familiar with my work. And then they asked me to movement direct their first song for the “Volcano” album, which was “Good Times / Problemz.” My friends, my brothers, choreographed it [Roché Apinsa and Ruben Chi] but they were also dancing in it, so they asked me to overlook it because I had experience. When they [Jungle] noticed that I knew what I was doing, they asked me to choreograph the whole “Volcano” album as a short visual — a whole album with 14 one-shot music videos.
Oh, wow. So the music video is part of one big visual album?
Yes! I’m not sure if they are going to be all coming out. I think they’re going to be particular with which one they’re going to put up. They have an album visual for fans out now. Anyone can buy it and see it as a movie. All these one-shots are part of a whole movie sequence. You see Will [West] wanting to be with Mette [Linturi] because they just broke up and you’ll see it in different parts of the movie. All these little stories come together so you understand why he’s walking and trying to reach for her.
How did you start dancing? And when did you get into dance on camera?
I’m a street dancer. I’m from Amsterdam originally, so my training is not coming from a contemporary school or classical. I’m from the street, coming from hip-hop dance, locking, funk styles, popping — all kinds of different street and funk styles. I did battles much like what you would see in “You Got Served” or “Step Up,” I’m very much that street kid. My difference is that I was also into film at a young age so I was always filming things.
As a director, I think the first big music video that I choreographed was Stormzy‘s “Vossi Bop” which also won a lot of awards for dance and movement because it was also very much ingrained with movement. I think that was just so loud that a lot of directors and producers and artists asked me to do projects. I was a creator and also created art and paintings and DJ and made music, all kinds of different things that I was into. But I think it was never in my mind to actually choreograph or film. I just rolled into it because somebody trusted me.
On social media, people are comparing certain movements to Bob Fosse. Who were some of your big inspirations for the choreography?
It’s in the music, to be really honest. There are some Michael Jackson influences for real. Michael Jackson was inspired by Fosse. I think it all came when I heard the music. I honestly never saw that movie that people are referring to. I saw it later. I know Fosse’s work, but I’ve never seen the movie so that was not really my intention.
The script called for something like The Temptations and The Supremes. I was thinking more of like old-school 70s Black shows of The Supremes and The Temptations — those kinds of energies. And then I just let the music guide me. Together with the film, the clothing, the music and the energy of the dancers, I can understand why they would refer to that movie. I was thinking of my funk training, what I know as a funk dancer and the music — what it made me feel like. It’s the rhythm.
Everyone’s favorite sections range from the slow walk the women do to the reach Will West does. What is your favorite piece of the “Back on 74” choreography?
I would definitely say that Will West part where he’s reaching. Gary Kent, who was the Steadicam operator, did so well. The music, the atmosphere, the moment Will reached and the camera came in the exact same way. That energy of that whole moment. When I looked at it, I was like, ‘This is gonna be something.’ I felt something really strongly. I think it was not only the choreography but also the dancer, the styling, the lighting, the camera. I already knew before it came out that it would make people feel something, because it made me feel something.
What can fans expect next?
I think [Jungle’s next release for the album] is actually one of my sickest pieces of choreography that is also close to me. It’s like a funk/hip-hop beat. I think that one is going to be really, really loud too, but in a different way. Maybe more impressive and engaging. I try to make every song a whole different experience and a different energy of what the song is portraying, and that song is so different than “Back On 74.”
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