If you love BLACKPINK, you already love Kiel Tutin.
The dancer is responsible for some of the K-pop supergroup’s most notable choreography, from their Coachella debut to the 2023 World Tour, Born Pink. Having grown up in England immersed in acts like Spice Girls and Sugababes, Tutin has been preparing for this career from the beginning — and got serious early on when he started competing in World Hip Hop Championships as a teenager before training under Parris Goebel for five years.
Since then, Tutin has extended his movement to major solo artists like Jennifer Lopez and Katy Perry, and more recently BLACKPINK’s JISOO. He’s credited as a performance director and choreographer for her “Earthquake” dance performance video, and even appears several times throughout. Tutin also danced backup in JISOO’s official “Earthquake” video, playing an active role in bringing her 2025 AMORTAGE EP to life.
Below, PAPER caught up with Kiel Tutin about all things JISOO and asked him to unlock his iPhone photo album from their days filming together on set.
When did you first start dancing? What is your background like as far as training goes?
My first formal training was ballroom at 11 or 12, then I took some casual Street Dance classes in the UK. I got serious at 14 after moving to New Zealand, training in Waacking, Vogue, House, Dancehall, Popping, Locking and Choreography, while competing in the World Hip Hop Championships. That mix of styles shaped how I choreograph today.
Were there any significant mentors or influences that impacted your style of dancing?
I spent five formative years training under Parris Goebel. I started choreographing and leading early, so I had to develop my own creative voice fast. My choreographic style always was (and still is) based in storytelling and lyricism. But learning how to build choreography that hits visually and connects with an audience was something I had to master through experience.
What inspires you about JISOO, in particular?
JISOO’s focus and ability to learn are incredible. Years of training and discipline mean she picks up choreography fast. I respect JISOO’s experience and how she engages with the process. It pushes me to think outside the box, while also trusting me to bring my own vision and have fun with the choreography and performance.
How do you approach choreography for an artist like JISOO?
I approach choreography for JISOO the same way I do for any artist: starting with an open mind and always focusing on the music first. I listen to the track, let it guide me, and then blend that with JISOO’s unique style and vision. From there, it’s about pushing boundaries and exploring new creative territory, and hopefully landing in a sweet spot.
How is JISOO reflected through the movement of “Earthquake”? How would you describe this choreography?
The “Earthquake” choreography is visually dynamic and intense, like an earthquake. Each of the three choruses, courtesy of Kany Ahn, have high energy, bounce-filled choreography, while the hook movement and “killing part” is smooth and accessible. We really focused on creating movements that everyone can dance, which is why it’s been so fun seeing people dance the challenge online. I love the first shot where all the dancers fall to the ground, leaving JISOO standing strong, powerful and iconic.
What was your favorite memory from teaching and filming “Earthquake”?
Korean music video sets are always otherworldly. The effort and quality put into the productions is insane. Walking on to the office set was epic. I personally love music video shoots. It’s so rewarding seeing the work come to life on screen, and being in front of the camera as well is always a treat.
What were rehearsals like? I’d imagine quite intense for a project like this?
I like to keep the work environment relaxed and positive. You can still encourage high quality performances in dancers without having them work under stress or fear. Rehearsals for a project like this can be physically demanding, but I want everyone to enjoy the process. I started back in October with a demo track and workshopping choreography in LA, before rehearsing with the dancers in Korea. Lots of refining, revising and polishing with JISOO and boom, magic.
How do you stay healthy, mentally and physically, through all of this?
Rehearsals as a choreographer are more mentally taxing than physically, honestly. My body might still have the energy to hit the gym, but the mental load of creating can be draining. I try to avoid fast food, but when you’re this active, any food is better than no food. Staying in a positive, no-drama workspace helps a lot. It makes everything easier and more enjoyable.
How are you preparing for the tour, right now? What should fans look forward to most from those performances?
We’re working on some additional movement to complement the mini-album tracks. AMORTAGE is a love story, so the choreography will reflect different layers of that journey. With no title track pressure, we’re able to dive into the songs and have more freedom with the performances, letting the choreography breathe. I think fans should look forward to different sides of JISOO that match the album’s themes, some surprises and lots of fun.
I respect JISOO’s experience and how she engages with the process. It pushes me to think outside the box.
Photos courtesy of Kiel Tutin