Zoï Tatopoulos’ choreography gets called a lot of things, but the one label that she keeps hearing is “alien.” As seen in her choreography for FKA twigs’ 2024 music video “Eusexua,” Tatopoulos’ approach to dance—writhing, crawling, contorting, and entirely mesmerizing—is challenging the possibilities of the body in commercial choreography.
Choreographer Zoï Tatopoulos, here and below on the set of FKA twigs’ “Eusexua” music video.
Photo by Gustas Butkus, Courtesy Tatopoulos.
Role: Independent choreographer, represented by McDonald/Selznick Associates
Age: 35
Hometown: Los Angeles, CA
Training: The Dance House (formerly in Los Angeles)
Accolades: 2022 MTV Video Music Award nomination for Best Choreography, for FKA Twigs’ “Tears in the Club (feat. The Weeknd)”; Top 4 in “So You Think You Can Dance Greece,” Season 2
Artistic upbringing: Tatopoulos credits her father, a director and production designer, with introducing her to experimental music by the likes of Aphex Twin. In her choreography, she says, “I love playing with music that (doesn’t) have a typical tempo. You’re automatically forced to do more bizarre things with your body.”
From Los Angeles to Greece and back: Tatopoulos’ Greek mother moved the family to Athens when Tatopoulos was 15. The teen competed in the Greek iteration of “So You Think You Can Dance,” making it to the Top Four. Later, she created Knockturnallheads, an all-female-led company. “I think, culturally, it was the perfect thing to shape who I am.” After developing a dedicated audience in Greece, she returned to Los Angeles in 2014. “I decided that it was time to start completely fresh. It started with choreographing for competitive dance teams.” She’s since amassed credits choreographing for FKA twigs, 070 Shake, BANKS, Travis Scott, Cadillac, and ABC’s 30th-anniversary celebration of Beauty and the Beast.
In her corner: When it comes to mentors, Tatopoulos mentions the choreographer Nina McNeely. McNeely first discovered Zoï’s choreography on YouTube, via “SICKS PHACE,” a 2014 solo featuring her dancing while wearing masks on the front and back of her head and on her hands. “It was so visceral and absurd, and I instantly reposted it on Instagram,” says McNeely. They connected over coffee and have since supported each other’s work. “I’ve watched her aesthetic form into something special and singular. Her one-of-a-kind brand of athleticism and tortured contortions paired with meticulous musicality is something so unique.”
Unlocking other dancers’ potential: Some may assume only the most limber dancers can tackle Tatopoulos’ style, but her master classes at studios in the Los Angeles area are a space for artists to discover their capacity for movement. “I cannot emphasize how many times people have finally had the courage to come to class and tell me, ‘I didn’t know my body could do that.’ Those are very fulfilling moments, when dancers say, ‘I tried it; I did it; I’m so proud of myself.’ ”
Reflecting on projects small and large: Recalling her 2021 dance short We Will Find It, she says: “My most prized possessions are doing these video concepts with little to no budget, and having dancers that are just down to do it.” For “Eusexua,” FKA twigs gave Tatopoulos complete liberty to create as she pleased. “Hands down, (it was) the most magical experience I’ve ever had,” says Tatopoulos.
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