JUN: What's up guys, Jun Quemado here!
If you guys don't know me,
I've been dancing with a bunch of different artists–
ALSO danced with a bunch of different crews.
I am a STEEZY instructor,
and here today,
I'll be showing you how I choreograph to a song
actually by a good friend of mine, Brian Puspos.
The song is called "Temporary".
If you DO like the piece,
please click the link in the description,
and you can learn it RIGHT NOW.
I have my choreography book,
so let's get started.
For me, when I choreograph,
I'm very, very, very, very, very picky.
I'm very particular, a lot of movements–
if you've seen my choreography before,
um- it's very precise.
Mostly, movements are based on lyrics.
So what I like to do,
especially if I'm choreographing something very, very fast:
I like to write down the lyrics,
um- and then just plan out how I want to have my choreography.
So the way I like to do it
is I do it two eight-counts at a time.
So I write two eight-counts,
give some space to write some details,
another two eight-counts, another space–
um- and then that's how I like to work from the ground up.
Cool, so let's get started!
First line:
"Tell me, do you feel love?"
♪Tell me, do you feel love? ♪
I don't sing like Brian,
but, we're going to try–
to dance like him.
[laughs jokingly]
"Tell me do you.. tell me do.. tell me do?"
"Tell me do, tell me do, tell me do, tell me do–"
"Tell me do?"
"Tell me- do?"
"Tell me do–" ah!
Yeah, let's do a little roll into that.
And a-eight.
"Tell me do."
Bass, bass, bass.
Since my body's already up,
I think I'm just going to take it down.
Bass, bass, bass.
And a-eight, and a-one.
"Tell me do," du-du-du
Yeah, so that's yeah, that'll do that.
Key things for me,
um- I don't like to completely go into good strip of choreography right away.
I like to make a few pieces of a few little sets
and then play music,
and then rework it.
Yeah? So let's do that.
Five, six, seven, and eight.
And a-one.
Yeah, there we go!
Drop, bass, bass.
I'mma keep my heel up
so I can just turn my body this way.
Unh.
Ka–
yeah, let's do that.
And a-eight, and a-one,
two– yeah!
There should be a little snap on "and-two."
Well, snap? Let's just snap.
And a-eight
and a-one,
two and-
So cool- so now that I have the first sentence,
"Tell me, do you feel love?"
I'll go to the next sentence,
"every time you wake up."
So obviously,
lyrical play.
Snap.
Let me bring this back up.
"Up."
"Every time you wake up."
"Every time–"
"you wake-"
"up."
Oh, there we go.
That's nice so see-
"UP."
"Wake–" I'm going to rub my eyes.
"Wake.. wake..."
"Up–" to my chest.
"That's what I fear when I'm laying with you."
Unh–
"That's what I fear..."
I'm fearing this–
right now.
[fake sobs]
I'm so nervous.
"What I fear"
"when I'm-"
Yeah? Kind of?
[fake cries]
So right now, I'm just trying to–
I'm trying to piece together
what I want to do to the next move-
'cause I like everything to connect together.
Maybe we can just keep moving with the concept.
[airhorns]
Ah there we go- let's do that!
So when you wake up, you stretch, right?
Right?
[grunts]
Ka– oo!
trrst.
Yup- and I think this is the land on the bass.
Bass.
And then we'll just keep the same that we did.
Trrst boom.. [mutters]
Yeah, let's do that.
Six, seven and eight.
And a-one, two and-
and-three..
AHH there it–
Yeahhhh!
Whoaaaaaa!
[gasps for air]
Since I was making this concept about waking up,
and I just kind of threw it out to close my hands,
BUT if you listen to the music,
there's a slight little,
"tss-tss-tss"
in the background.
Didn't even know it was there!!
Did you, Brian?
There's a lot of little accents
that you might be able to CATCH
if you listen very, very close-
I've never heard that before,
I'm not gonna lie!
So, it kind of just worked out perfectly!
Good job–
me.
"When I'm-"
The way he sings it.
♪ Laying with you ♪
[clears throat]
♪ Lay- ♪
Nope. I'll leave it to him.
["You're not that guy pal, trust me."]
"Laying with you–"
And I feel like the way he sings it
is like a little,
"laying with you-"
kind of a little flowy.
Um- let's try to keep that concept,
cause I know I did a lot of staccato movements.
Um- let's try to jump back and forth
and make sure we kind of ride with the lyrics as well.
"Lay," I mean–
Right? That makes sense–
lay down?
Or we can just
jump and fall-
no, let's not do that.
I probably- I might die.
"Lay with- you."
Yeah, let's do that!
Okay.
Oooh!
♪ Lay with Jun... ♪
Ooooh-! Okay.
Wait, hold on. Maybe that?
OOOOOOOOHOOHOOHAHAHAHAHA–
"Lay with you."
Bass.
Ka!
"All I wanna do."
What do you do when you're stubborn?
That's "all you wanna do?"
[frantically] "All I wanna do."
[laughs]
All super serious..
♪ Lay with you. ♪
Tsst-ka–!
"All-I-wanna-dooo–"
[laughs]
No, let's not do that.
"All I wanna– do?"
This is, ka–
"all I wanna– do."
It should be a bass.
And, eight.
And then we're gonna go back to "and a-one"
just for this- we'll just go,
and a-one.
Cool so now, I have the two eight-counts done.
What I like to do- I don't like to push all of the choreography right away,
especially because–
I will forget.
But the- uh, most important thing is
if I go over it and refine everything, just fine tune it–
just like I said, I'm a perfectionist,
to make sure everything WORKS,
and then I'll move on.
Yeah? Let's try to go over it.
Oooooooh! It worked–
Oooh, it worked!
[exasperated] Oh God!
Thank you.
It worked.
First two eight-counts, done.
Jumping to the next two eight-counts.
Lyrics go,
"I wonder if you're feeling,"
"things I'm feeling"
Du-du-du,
KA–
Ahh!
"Feelin–"
no, let's not do that.
"Feelin–"
no, let's not do that.
"Feelin–"
no let's- definitely not that.
The way he's singing it is like,
"Wonder if you're feelin'-"
so I feel what I want to do is I wanna-
have this intensity
and then kind of release everything out for that feeling.
"Wonder"
"if you're-"
I mean– first was this...
I TRY not to use the same move or concept
more than once in a piece.
That's what why I said,
I didn't want to touch my chest because I said feelings.
Um- let's kind of go to the arms for that.
♪ Feeling ♪
[clears throat]
"Wonder if you're feeling"
Yeah, there. Let's do that.
"Feeling-"
Ka– there's nothing there to play with!
So, if there's nothing there for me to play with,
or any lyrics, or like- just no SPACE for me to dance,
um-
I kind of just throw a move in there
just to give me another PREP for the next move.
Concept–
let's go with feeling- feeling concepts.
Oooooooooh!
OOOOOOHOOOOO!
DUDE!
Who has goosebumps?
Me.
"Things that I'm feelin'."
Let's keep it with the smoothness, yeah?
So– it's either,
"things that I'm feelin'."
And I feel I want to go to keep the- the feeling motion.
Either-
feel this...
Feel this...
I mean,
if we just kept going with the concept,
it would be better if we just went–
Unh.
Yeah, let's go with the con–
Let's keep it with the concept.
"Things that you do got me drunk,"
"stumbled and fell on your love."
I do this a lot–
if there's like um-
"one and a-two" or a "three and a-four,"
if I don't have space to put in arm choreography-
I have to move-
I use my legs a lot, yeah?
Pulling this through that– yeah?
I'm probably just going to go,
"right, left, right, left."
Um- just to fill in space for that.
Now that I- know what I wanna do with my legs,
I just have to add the arms.
So I want to create the concept of like
being that drunk- person
and then using the "stumbled and fell on your love"
as- the connection to the concept.
Yeah?
We'll go with the lyrics,
"things that you do"
I'll go, "got me drunk."
"Got me drunk."
Yeah. Really simple. Simple enough.
"Stumbled and fell on your love..."
Trip...
[laughs]
Whatever drunk shot that I took,
I wanna fall,
or stumble,
and-
pour it on my heart,
because he fell in love.
[glugs]
[laughs]
It's the idea of like, if you pour the love on it
and like if you take the heart, he goes,
"du-du-du."
That would make sense.
Can I get a lifeline?
Oh okay- so okay,
concept is–
"Things that you do got me drunk,"
"stumbled and fell on your love."
So my idea was
taking the shots
and then I want to pour the alcohol
on the heart,
so it's like, it fell on the love.
You know what I mean? CLAY: Okay.
JUN: If I showed you real quick– CLAY: Sure!
JUN: Yeah
Ka, du-du-du,
Here we go.
OR...
CLAY: I liked the other one better.
JUN: Yeah.
CLAY: But what if you did it while actually like- stumbling?
So it's like Drunken Master vibes.
JUN: Okay. CLAY: So you're like,
"BOOM–" and you're like "boom-boom-boom" or something.
JUN: Okay yeah yeah, there we go. CLAY: So you just like loosen up and let go-
JUN: That makes sense. CLAY: Yeah.
JUN: Yeah, so cause I was thinking like- okay, maybe you could probably pour it in.
CLAY: Can you do the other hand so that it's visible audience?
Or if I- if I– if I poured it all the way through this way?
CLAY: Uh-huh.
JUN: Ooh, that's kinda cool!
Something like that- ahh–!
CLAY: That's pretty cool! JUN: It's THERE-
CLAY: You just gotta like- JUN: It's–
JUN: It's gotta- put it TOGETHER, see?
Yeahh bro! Thanks man!
It's very, very good to sometimes-
to have an additional person to see what you want.
Two different concepts, kind of put everything together.
Thank God o' Clay.
So let's put all of that together.
ALMOST there.
Five and a-six.
I may have to go right away– and a-
seven..
Seven,
stop on eight.
Yeah– eight to go "and a-one"
and a-one.
I'm not going to lie,
I don't know if I like these hands.
You know you're- people are drunk
and they get pulled over,
and they do this little thing.
"Things that you do got me drunk–" yeahhh!
"Things that you do got me drunk."
Yeah, there we go.
It kind of fills out better
instead of "things that you do."
Oh, there we go!
It's there, it's there.
It WOULD be dope
if we actually, like- FELT the floor,
you know what I mean?
Instead of pulling through in this way...
Right?
But, we'll see.
Look at these shorts.
[tearing noise]
Maybe I just do a little bit. [chuckles]
Yeah, I think I like that.
I think we have it!
So like I said before,
since I like to connect moves,
I don't fi-
I didn't finalize what this is next.
I'mma jump into the next move of what I want to start with.
And then I'll connect it together to figure out
where I want to, uh- bleed that into, yeah?
So, if I'm going to the next section,
"And I won't stop-"
"And I won't-"
Yeah, it's- "and I won't."
Yeah, right?
"Won't stop even if the clock stopped."
So I'm thinking,
um–
"and I won't-"
"stop,"
so I'm looking at my watch.
"Even if the-"
"clock stopped."
Uhh- you know, like- the watches?
Um- they have this little dial.
When you pull it out,
the clock stops.
"It's a sure shot."
"Count me in the love lot?"
*Got me in a love lock?
I looked on Genius, yeah.
DEVIN: Sometimes, it's not right.
JUN: Dang- you know what, I should call Brian.
[phone ringing]
BRIAN: Yo!
JUN: Yo bro, I have a question.
BRIAN: Yeah.
JUN: "Count me in the love lot" or-
"Got me in a love lock?"
BRIAN: Uh– "you got me in a love lock."
JUN: Ooohhhhh!
BRIAN: ♪ You got me in a love lock– ♪ yeah.
JUN: Okay cool, okay.
[Brian laughs over the phone] JUN: Okay.
So it is
"got me in a love lock."
So– [inhales]
"it's a sure shot."
Sure shot- I think of like um–
You know Hawkeye, Avengers?
So I'm- maybe like a bow-and-arrow kind of thing?
Unh– ssh-ssh, tch...
Right-? I mean that's–
probably the most basic one.
Clack-clack. Ssh. Pow.
"It's a sure shot."
Release.
"Got me in a–"
"love lock?"
I mean that-
works in itself.
"Love lock?"
Gu-gum?
AWW- that was kinda cool, right?
Ooooooooh!
So the next part would be,
"Do you feel what I feel for you?"
So what I'd like to do,
since we did a lot of-
um- isolated movement, especially with all this,
let's drag a lot of things out a little bit more?
"Do you feel what I feel for you?"
Almost there, guys.
Um- since we went "bass-bass,"
I'm wanna release everything down.
So, I'll just-
come to the side to come to the front.
Bass-bass.
Snare-snap.
Yes, cool.
Pull to the front.
I want to–
"feel how I..."
right?
"Do you feel how I–"
"feel?"
I fe– [chuckles]
"FEEL for you??"
"Do you feel how I feel for-"
I mean–
If we're gonna go into an ending,
either..
you go slow,
and do a crazy concept at the end,
or you can do a crazy concept right before
and then just let it die down.
So I think I want to do-
I just did the crazy concept before
and then I'm going to let it die down
so we have some place to stop,
so it's not too-too crazy for us to end.
"Feel how I-"
I mean this–
"Feel-"
I mean, naturally what I would do if I was just moving,
"Feel- for you."
[muttering] "Feel for you."
Oh God, that's so plain.
Blegh.
OOOOOOOH- okay, hold on.
So...
"Do you feel what I feel for youUu?"
"For you-"
"oOooh?"
Maybe slow it down a little bit?
"How I feel,"
catch,
"for–"
to go "you."
"You-"
"oOoOoh."
There you go.
So this is gonna be elongated a little bit more-
to catch that, "oOoUh."
And a-seven.
Eight.
Eight, and–?
A-one?
Maybe that would be it-
Eight-
Like you'd go into somebody and they push it off.
Tch-tch-tch.
I didn't even DO it!
[laughs]
Ka-du-du–
[snickers]
[laughs] Du-du-BREAK–
[laughs]
So I feel like-
snap,
place-
du-du-
I have my body that helps it move over,
so it's nice and stiff
du-du.
And that should be the end of it.
These hands, though?
Uh, maybe that?
Catch, du-du-du.
Cool, I think we got it guys!
JUN: Alright guy, we are DONE-
I hope you enjoyed the choreography,
if you want to learn,
click the link below!
Go take class right now–
RIGHT NOW!
If you DID like the video,
please subscribe to STEEZY's channel.
Leave a comment, like-
we'll be here all day.
Every day,
24/7.
Stay with us.
Stay tuned.
Watch all the videos.
Watch this–
again.
Peace out you guys!
JUN: So what I'm doing here,
"Five, a-six-" my hands are coming up–
UP to grab my pant line,
grab my pant line-
I want to drop and bring my hip down to go DOWN,
down.
Yeah- you can kind of groove that any way you want,
but I'm just gonna bring my body down–
down- I almost lift my hip–
hip–
Ooh! Sexy time.
Alright, one more time. Add that.