Thread by @jhopesdance

Boy Meets Evil Live Performance at SMA 2017- J-Hope shows the ability to translate this routine to a live setting, and captivate the audience with dance technique, stage presence & acting. It is significant as BME functions as buildup to the main group performance. #jhope #제이홉

The performance was executed without the usual theatrics of 'idol' stages. There are little of the fancy sets, props, special effects, elaborate costumes, backup dancers etc. to create visual impact & quick thrill. The minimal staging is reminiscent of contemporary dance pieces.

It is a bold, calculated choice that places the focus squarely on J-Hope's technical precision & expression. We also don’t see many of the random close-ups or jarring cutaways favoured in K-pop camerawork to create shock factor.

Dance is the ability to tell a story using one’s body. To draw the viewer in, J-Hope loses himself in the role & takes the choreography to a new level. Remarkably, he accomplishes it within a short period of time as the original dance was shortened for this performance.

He begins in a kneeling position, energy focused inwards and seemingly in a trance. The stage represents both a physical arena and his inner mental state. The venue is blacked out except for the spotlight. This builds suspense, creates dramatic tension & draws focus to him.

Gradually he opens up, and invites the audience into his space through larger, bolder actions. His leap at “too baaad...” marks the start of him travelling across the stage. He is fully engaging the audience at this point, carving out his presence on stage.

Notice that the initial blue lighting transitions to red at some point. Red has connotations of danger, sexual desire, blood etc. The shift in color symbolises the change in his internal character. He is taken over by an invisible force that is tempting but possibly deadly.

He displays great musicality in timing his accents to the beat & lyrics. The sequence of 'hits' he makes after the landing of his leap is an example of his synchronisation. So is the sensuality of his body wave to 'it's too sweet'- a physical manifestation of lyrical meaning.

Another point is the adaptation of the original choreography from the music video to fit this live stage. A mostly stationary dance was changed into a travelling one. J-Hope has to move from his starting point to the main center stage, and make those transitions appear seamless.

This require spatial awareness & the ability to incorporate positional changes as part of the performance. J-Hope must be able to visualise & accurately estimate the distance he needs to cover with each move, while remaining in character and moving in sync with the beat.

In addition to expansive, athletic moves that read well on camera, J-Hope shows exceptional attention to detail. At various points he flings his hands to show anguish, despair, or loss of control. At some points, it feels like he is beckoning the audience with hand gestures.

At the end, he uses popping to create the effect of an electric current running through him. This could symbolise his attempt to exorcise the ‘evil’/demonic force possessing him. It is a particularly intricate section of music, and remarkably he is able to hit every beat.

J-Hope's final walk to center stage could be interpreted as succumbing to temptation, leading perfectly to the sexual tension and desire of Blood, Sweat & Tears. Impressively, even after executing a physically & mentally challenging routine, he stays in character & in control.

His ability to reproduce the choreo in a live setting & make modifications to suit this stage proves that he’s a solid performer & true professional. The absence of backup dancers & other embellishments allows his technique to shine & complements the introspective nature of BME.

Watch the full performance here: