Knight: The J-setting just made sense. We gotta be true to what it is. Ebony Williams, dancer: I was so used to doing things that were using lines, balletic lines, because I was in a ballet company at the time.
So when I had to do something funky, it was fun, something that wasn't the norm for me. I was always taking hip-hop classes and whatever I could take, so that J-setting pocket was so lit that I was ready to do it over and over again.
That was my favorite part. We would teach her stuff, then we would talk about the references, then get up, dance some more, and do it again the next day and the next day. We completely drowned ourselves and wanted to create something that was purely focused on the attitude, the performance, and the choreography.
That was our goal: to create something that was super dynamic but super minimal, something that would catch on like a wildfire. We even had [dancer and Broadway performer] Desmond Richardson come in and teach us some Fosse movements, signature Fosse pieces, and we just continued to study what we can from the tapes. Through that, I was able to learn who I was even more as an artist, to learn about things I brought to the table and had to offer.
Through these events, you see a lot. One thing I learned from Fosse: You could tell he was a people-watcher.
He took a lot of things from everyday people and made it his own. It has my grandma at the cookout; it has my nephews dancing at the family reunion; it has me in the marching band; it has a little bit of this out in the street. Williams: Understanding the tradition of the movement and trying to find similarities in the lines was going to bring it to life and possibly elevate it even more. That is what I think was really cool about how [Gatson and Knight] mixed in the movement with Fosse.
Fosse is super musical and is super shape-oriented, and so is J-setting. It's shape-oriented in the fact that one person is copying the other person's shape and the next person's pocket of music, because musicality is so important.
Gatson: I think every video director is trying to do feature films. There was no set; there was nothing more than three girls and choreography.
You were in a white place, white room -- a void. Nava: If you can get the camera in the best place to appreciate the dance move without having to edit lots, then you are onto the type of coverage of dance where people will really have an opportunity to appreciate that talent in front of you -- that personality and that evolving story of the dance.
That was part of [director of photography Jim Fealy and my] creative response to such amazing choreography. They definitely were working on the choreography for ages, but when I saw it, it became clear that a very specific photographic approach would do justice to such great performance. You would really get an opportunity to hold one long take that evolved with the action.
We put the camera in the best place to appreciate a particular move or motion in a certain moment so it wouldn't be interrupted by edits or a complicated set or lighting. I could adjust the choreography so that the fourth member of the dance routine was the steady camera [operated by George Bianchini]. Gatson: Even the cast was organically made.
Fate or the spirit of the world just worked it out. She was perfect for it. It was just something that was magical. Williams: Every day that you walk in the room, you still feel like you're auditioning, so that first rehearsal was still surreal. I wanted to make sure that I was doing my best and was showing myself in the best light.
I was trying to book that job, okay? I was also super-exhausted -- I had just finished rehearsal with my ballet company because I was doing dual-jobs at the same time. It was surreal. The heels would prove to be a bit of a headache, as at least three pairs were needed to get through the shoot due to the intense choreography. Just imagine the pressure on the heels! That character that she was playing, she gave it integrity. At the very end, we got back to the studio and did the separate sections where she sings so that people could understand that what was happening in the video wasn't actually the narrative -- that was the narrator, her, singing about this story.
What we were showing in the film was just her playing on the way that she felt about masculinity and behavior in that moment. It became a cinematic job, and "Single Ladies" became a minimalistic performance inspired by a Bob Fosse job but updated. I, personally, was sort of powering down a little bit after running around New York on a tight schedule for a couple of days. It was a pretty intense New York shoot, and she had more energy than any of us the whole time, as usual.
Gatson: They had that bodysuit on and their legs were showing. I love lines. She wanted something that represents a strong, independent, powerful woman -- something modern, yet futuristic.
We made the glove before we saw the video, but being that the video features only women, it only further signifies these characteristics.
The glove really symbolizes that empowerment and that strength that lies within women. We were really working on a time constraint to create something original. To begin, we needed a wax mold of her hand, so she had to sit with her entire arm and hand in the wax for about an hour at different angles -- and this was just for the mold alone. We created it in titanium, which is a lightweight metal as well as an extremely difficult metal to create jewelry with. It needed to be comfortable, detachable so she could wear it in multiple ways.
That is what was really special about the three of us -- the fact that we understood the lines and the fact that we understood that Fosse's work was really brilliant and timeless. That was something that we really wanted to bring forth. On top of it, we just had a lot of fun together.
We all are super driven perfectionists, which is also something that shows through. We all have a huge attention to detail, which was also super important. As we have reported previously , the rise and proliferation of short-form content and viral dance trends, has brought with it the potential exposure for copyright infringement claims.
This risk is potentially enhanced as choreographers more aggressively pursue copyright registration in works like the Single Ladies Put A Ring On It dance, and as companies like KCMP seek out and enforce such registrations with greater frequency and efficacy. Companies and brands should carefully consider this potential exposure before utilizing viral dance routines which may be protected or protectable as copyrighted works.
On the defense side, this area of the law is ripe for development. Historically, there have been relatively few cases regarding the copyright infringement of protected choreography. As choreographers increasingly pursue copyright registration for a wider variety of choreographic works, the number of such cases may increase.
Companies should take this opportunity to ensure they have the appropriate clearances to use dance routines or other choreographic work in their marketing and advertising, including social media uses, and to have the proper agreements with choreographers in place.
All Perspectives from Alerts. Linkedin Twitter Youtube. Main navigation Attorneys. Agricultural Technology. Consumer Products. Health Care. Municipal Bond Recovery. National Security. Public Finance. Real Estate. Intellectual Property. Press Releases. CFS Counsel. Fashion Counsel. So, it turned out to be the least expensive video she has done. She also revealed that she never thought the video would become so iconic. Now follow your favourite television celebs and telly updates.
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