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“There were many iterations of the choreography before arriving at the final routine. Twigs pole danced for eight hours straight on day one alone.
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“This inspires me to explore uncharted artistic territories and together we make magic.” When it comes to her collaboration on “Cellophane” (which Yvonne calls “one of the most transformative, professional experiences” of her life), she notes the two-day shoot was an intense one. “She is one of the most creative humans to exist, so her projects push boundaries and break convention,” says Yvonne of the star. That led to their first project: 2018’s video for her A$AP Rocky collab “Fukk Sleep.” It was a task tailor-made for Yvonne as she’s the artistic director of Los Angeles pole dance studio The Choreography House, and was hired by FKA Twigs to teach her the craft.
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We just had the best time getting to listen to the music and letting our bodies move.”įrom a plane to pole dancing, nominated choreographer Kelly Yvonne collaborated with FKA Twigs on the sultry video for her track “Cellophane,” which takes place entirely on a pole Yvonne and Twigs’ intricate series of moves are front and center. “You can see the connection between all of us and how well we vibed, Rosalía and I, as well as the dancers. “The energy we all had in rehearsal just fed into the choreography,” she says of the video, which involves the star exploring a plane piloted by featured artist El Guincho. “It’s a place that encourages taking chances, breaking some rules and going outside the box.” Those are the virtues that propelled her collaboration with Rosalía. “There’s nothing like this industry,” she says. From there, ‘Con Altura’ took off.” For La’Donna, who has danced for everyone from Madonna to Britney Spears and in 2018 became a viral star when she hit the Grammy stage with frequent collaborator Kendrick Lamar, the video is the latest in a long line of high-profile projects. “We started talking about bringing our ideas and worlds together.
“This project started about a year and a half ago, when I received a simple direct message from Rosalía,” she remembers of the connection through social media. Meanwhile, fellow nominated choreographer Charm La’Donna, who concocted the moves for Rosalía and J Balvin’s “Con altura,” had a very different path. For me, it was about being as prepared as I can possibly be which just comes from the experience of choreographing over the last few years.” “I basically studied everything, so when it came time to create something for a certain scene I had a lot of inspiration.
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“They sent me the treatment and it was full of these incredible, stunning images,” says Taylor. “My first time working with her was as the dance coordinator for (the 2016 video for the A Seat at the Table single) ‘Don’t Touch My Hair.'” From there, the two developed a creative rapport which extended to Taylor joining the creative fray on the video for “Almeda,” a single for the singer’s March album When I Get Home. “It’s an amazing city, but such a small town,” remembers Taylor who had brushed shoulders with Solange at dance-related events throughout the Big Easy. Taylor set out on the path to her first VMA nomination when she and future collaborator Solange were both living in New Orleans. “It’s a wonderful thing that happened, but you still have to keep working and moving forward.” Vincent and Arcade Fire’s Régine Chassagne. “It’s just really exciting,” says Taylor, who has also worked with St.
Despite its prevalence in the music realm, whether in videos or live performances, most awards shows eschew honoring choreography in any meaningful way. For this year’s nominated group of choreographers - which also includes Kelly Yvonne, Charm La’Donna, Ryan Heffington?, Calvit Hodge & Sara Biv and Rie Hata? - it’s a rare honor in an industry that doesn’t always push the art to the forefront or honor in a mainstream way.
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