Kaycee Rice/Gallery/Zoi Tatopoulos Managed Events & Choreography: Difference between revisions
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===Brief Biography=== | ===Brief Biography=== | ||
Zoï Tatopoulos began dancing at the age of four. She was born in Lagia, Lakonia, Greece. Her 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. 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.” | Zoï “ztato,” Tatopoulos began dancing at the age of four. She was born in Lagia, Lakonia, Greece. Her 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. 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.” | ||
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.” | 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.” | ||