Photo Courtesy of Raeku
This interview features Raeku, a highly accomplished choreographer and dancer with a significant international presence. We delve into his creative process, influences, and the global reach of his work. His insights offer a unique perspective on the art of dance and its evolving landscape.
You’ve traveled extensively to teach choreography. What are some of the most memorable cultural experiences you’ve had while traveling for work?
It’s difficult to pick just one country, but my experiences in Europe are particularly memorable. The relaxed atmosphere and slower pace of life were exactly what I needed, and that left a deep impression on me. Also, the architectural structures, so distinctly different from those in Asia, were truly awe-inspiring, and it was a precious experience that stimulated my cultural sensibilities.
How do you adapt your teaching style and choreography to different cultural contexts and learning styles? Have you encountered any significant cultural differences that impacted your teaching approach?
I always keep in mind that students come from diverse cultural backgrounds and learning styles. Some are naturally comfortable and free with physical expression, while others might prefer precise movements or are more reserved.
During lessons, I first approach them in ways that feel comfortable to them. Then, I gradually tweak the rhythm or style of expression, adapting to their cultural contexts to help them connect and grow.
What are some of the key differences you’ve observed in teaching choreography in different countries or regions? Are there any common themes or challenges that emerge regardless of location?
The most striking commonality I’ve noticed while teaching choreography across different countries is that everyone—regardless of skill level—comes together under the shared language of dance to enjoy and connect. Those moments, where people simply gather to move and share energy, are truly what make it all worthwhile.
As for challenges, language barriers come to mind. But once the music plays and we start dancing together, words become unnecessary. Our bodies naturally convey emotions, and some form of communication always emerges. That’s the magic of dance, I think—its power to connect beyond words.
How do you assess the learning needs and styles of your students in diverse settings? Do you adjust your teaching methods based on the specific characteristics of each group?
It seems to vary depending on the atmosphere and structure of each class at the time. Generally, classes are divided into Basic and Medium levels, but depending on the situation, we sometimes create and teach choreography of intermediate difficulty between the two.
Additionally, if the choreography includes challenging moves, we usually practice those specific movements during warm-up first before diving into the routine. This way, students can naturally transition into learning the full choreography after getting familiar with the tougher steps.
Have you encountered any unexpected challenges or surprises while teaching choreography internationally? How did you adapt to these unforeseen circumstances?
Once, even though I had the choreography all planned out, I completely blanked on the middle section. Luckily, I’d recorded a practice video beforehand, so I quickly asked for everyone’s patience, checked the video, and got us back on track in just 30 seconds… but wow, I broke into a cold sweat that day. Really hoping it’s the first and last time something like that happens. Hehe.
What are some of the most rewarding aspects of teaching choreography internationally? What have you learned from your students in different countries?
The greatest reward is being able to travel to different countries, connect with people, and experience, observe, and absorb their cultures firsthand.
Most of the countries I’ve visited so far radiate such lively energy. Whether people are skilled or not, the way they cheer each other on and show mutual respect was truly inspiring—I’ve learned so much from that aspect myself.
What teaching methods and techniques will you be employing to ensure participants learn effectively and enjoy the experience?
As I mentioned earlier, we typically practice any challenging moves together during warm-up before diving into the main class.
And this is part of my personal style—sometimes I’ll even sing along to the day’s music live or add fun sound effects to keep things lively. This helps students quickly grasp and connect with the music without feeling bored!
Will your workshops cater to different skill levels (beginner, intermediate, advanced)? How will you adapt your teaching to accommodate diverse skill sets within a single workshop?
For classes that aren’t divided into levels like Basic or Medium, they’re usually geared toward upper beginner to intermediate dancers.
Choreography, after all, can feel different depending on your personal style and interpretation. So even intermediate-level choreo can still feel plenty challenging for advanced dancers, depending on how they approach it.
It’s not just about technical difficulty—expression, detail, or approach to interpretation can add layers of depth. That’s why I’ve found it hard to judge the depth of a class purely based on “levels” alone.
What are some of the unique challenges and rewards of working as a choreographer and dancer within the K-Pop industry?
The biggest challenge is definitely the unpredictable schedule. As a freelancer, irregular hours come with the territory, and especially with broadcasting-related projects, I have to align my work around artists’ schedules, which makes it hard to balance my own projects.
Plus, the unstable income that naturally comes with freelancing is another practical hurdle. Still, the fact that I’m doing work I love is the greatest reward. Though it’s tough, it’s deeply meaningful—and that’s what keeps me pushing forward.
What advice would you give to aspiring choreographers hoping to break into the competitive K-Pop scene?
I know life is full of genuinely tough challenges. I’ve faced many myself, and there are moments when anxiety takes over.
But strangely, whenever I stumble across phrases like “You only live once” on social media, it gives me a surge of courage. Those words comfort me and spark a sense of confidence.
So when things don’t work out, I try to find another way, keep pushing, and trust myself to figure it out. I hope you all believe in yourselves, too, and move forward with conviction. There will be a path—I’m sure of it.
How do you see K-Pop choreography evolving in the next 5-10 years? What new trends or styles do you anticipate emerging?
Compared to 10 years ago, there’s been a huge shift in how K-pop choreography, dancers, and the profession of dance itself are perceived. Back then, dancers were often seen as background supporters, but now they’re increasingly recognized as artists in their own right.
Over the next 5–10 years, I think hybrid choreography blending diverse styles and performances that highlight individuality will take center stage. While it’s hard to predict exact trends, I’m personally focusing less on chasing what’s popular and more on evolving while staying true to my own style.
At the end of the day, no matter what new trends emerge, I believe identity and authenticity must remain at the core. That’s what keeps the art meaningful.
What role do you think technology will play in shaping the future of K-Pop choreography?
I believe technology will play an increasingly significant role in shaping the future of K-pop choreography. Take recent projects like K-pop Demon Hunters, for example—they’re redefining K-pop by blending stage performances with animation, immersive storytelling, and digital innovation.
In this evolving landscape, choreography will inevitably adapt to become more immersive and intertwined with technology. Trends like AR/VR stages, AI-driven choreography simulations, 3D filming techniques, and real-time fan interactions are likely to become mainstream.
Still, the most crucial factor is how technology connects to human emotion. After all, the essence of dance lies in expression. No matter how advanced the tools, choreography’s heart will always beat through the stories and feelings it conveys.
How do you envision your role in fostering the next generation of K-Pop choreographers and dancers, both in Korea and internationally?
I see myself as still taking things step by step, so I’m cautious about claiming I have a defined role. But within my capabilities, I want to try anything.
If I can share my experiences or emotions with someone, that alone feels meaningful. And if that positively impacts even one person, I think that’s the role I can play. Honestly, I’m still very much learning and growing myself. Hehe.
What are your goals for these workshops? What do you hope participants will gain from the experience?
I continue to hold workshops because I want to remain an artist. I want to continue creating work that goes beyond simply teaching choreography, work that embodies my own unique style and message.
That’s why these days, under the name cocorae_project, I’m also producing merchandise and gradually building my brand. Actually, I used to dream of being an idol! Now I feel like I’m connecting with audiences and stages in a different way. I share the process on Instagram @cocorae_project, so feel free to visit if you’re interested!
And there’s something I really want to convey to my participants. I believe that now, choreographers and dancers are no longer figures who remain behind the stage; it’s time for them to show the world their own unique colors. Rather than following others, it’s about confidently expressing one’s own emotions and movements. That, I believe, is what defines a performer in this era.
What advice would you give to other choreographers who are considering traveling internationally to teach? What are some of the key things they should consider before embarking on such a journey?
My advice to those who want to teach choreography abroad is that, of course, your own dance identity and teaching style are incredibly important. After all, that’s what ultimately becomes your competitive edge.
However, one thing is certain: overseas is simply “not Korea.” The environment, culture, and systems are all different, and especially the “language” is a much bigger factor than you might think.
As I mentioned earlier, while it’s true that dance, as a single genre, can connect you with everyone, if your language skills are good, communication becomes much smoother, and you’ll feel more confident conducting your classes. There’s absolutely no downside to being proficient.
So, before embarking on that journey, in addition to clarifying your own dance identity, it’s also really important to consider how you can effectively convey that identity and communicate successfully in diverse environments.
Going forward, I hope to continue sharing my dance in my own way and connect with more people through movements filled with sincerity.
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