Inside the Kinjaz journey: From viral dance crew to Korea's choreography scene

Korea Herald

01-05-2025

Seoul is no stranger to dance trends, but when two of America's most influential choreographers land in the city at the same time, it feels like something bigger is happening. Mike Song and Anthony Lee, co-founders of the iconic Asian American dance crew Kinjaz, are back in Korea -- not just to visit, but to shape the country's rapidly evolving dance culture from the inside out.
Sitting down over beers for an episode of Werkhours, a podcast series by StudioH at The Korea Herald, Song and Lee shared the kind of full-circle moment familiar to many across the diaspora: a casual meetup that ends up bridging continents, careers and identities.
Though they arrived for different reasons, they found themselves staying at the same hotel -- just like the early days of touring. Lee, fresh off teaching at Vietnam's Summer Jam Dance Camp, decided to stop in Korea after hearing Song was there.
'I hadn't been to Korea in like seven years. Pre-pandemic. It's been a long time,' Lee said. 'I was like, man, I really want to go to Korea. So I just personally was like, hey, let's just add it to the trip.'
Song is here to appear as a judge on "World of Street Woman Fighter," the third season of Korea's blockbuster dance competition show. The program, known for turning underground dancers into national icons, returns May 27 with an international lineup already generating serious buzz.
Song previously appeared as a special judge on "Street Woman Fighter 2," and its all-male spin-off "Street Man Fighter," but this new season feels different. 'It's a crazy experience,' he said. 'I knew at least one person from every crew. But I just wanted to give them the respect I wanted to receive when we were on TV shows. This felt full circle.'
From "Naruto" songs to the global stage
Though Kinjaz officially formed in 2010, the crew's origin story goes back further -- to a freshman orientation dance battle in 2004. That's when Song and Lee first met in a freestyle circle. What followed was a friendship, then a roommate situation, and eventually, a career-changing decision.
'It was just a joke,' Song said, recalling their first performance after college. 'We were dancing to 'Naruto' songs. But people stood up after. That moment changed everything.'
Three days later, Lee quit his job in corporate sales. 'I didn't have a plan, but I knew I didn't want to do that anymore.'
From the start, Kinjaz was more than a dance crew. Their blend of choreography, martial arts, philosophy and storytelling created a signature style that felt cinematic and deeply intentional. 'People think we just picked an all-star team,' Song said, 'but it was friendships formed over years of teaching and traveling. These bonds fast-tracked everything.'
Their profile soared after competing on MTV's "America's Best Dance Crew." What followed was a whirlwind of global expansion: studios in Los Angeles, Shanghai and Chengdu; their own choreography competition, Arena; a clothing line; and even a noodle brand, Kinjabang Noodles. 'We just follow our curiosity,' Lee said. 'That's why we have a noodle company.'
In the shadows of K-pop
Though they rarely post about it, Kinjaz's influence is all over the K-pop industry -- particularly in performances by groups like Treasure and BabyMonster.
'Treasure hits us up directly,' Lee said. 'We'll choreograph different hooks and give them options. With 10 members, it's all about giving them moments to shine.'
Still, they prefer to stay behind the scenes. 'A lot of people ask, 'Why don't you post more about your work in K-pop?'' Lee said. 'But there's something satisfying about moving in the shadows -- just knowing you helped shape something culturally significant.'
As longtime professionals, they also speak candidly about the ongoing lack of credit and compensation for choreographers. 'There's no clear copyright structure,' Song explained. 'Dance is always attached to music. So even if you choreograph something, you're not the sole owner.'
He believes even small changes could have a ripple effect. 'Maybe it starts with just putting the choreographer's name on the flyer,' he said. 'Even that simple credit adds value to the entire ecosystem.'
Korea's new dance era
For audiences outside Korea, shows like "Street Woman Fighter" offer an unexpected lens into the country's changing creative landscape. What was once considered underground -- freestyle battles, breaking and street dance culture -- is now on primetime TV, complete with stage effects, celebrity judges and cross-border fanbases.
'They're giving dancers the power of production,' Song said. 'Music videos, fireworks, motorcycles -- when would dancers ever get that kind of budget on their own? This show positions them like superstars, and it's working.'
Lee sees Korea as setting the global standard. 'Korea is doing what the rest of the world should be watching,' he said. 'They're saying, 'Let's go all in.' Meanwhile, TikTok is shortening everything. But here, it's like, 'Give dancers the full stage, the full canvas.''
For those familiar with Korea's K-pop-centric approach to entertainment, the emergence of dance-centered media feels like a shift -- one that values movement as more than a visual add-on.
Legacy over limelight
Now in their late 30s, Song and Lee are stepping into a mentorship role. 'We're in that cycle now where our students are headlining shows,' Song said. 'We just started a youth program. Our youngest are 14. Our crew on stage now is in their 20s. And we're … doing podcasts and drinking beer,' he said, laughing.
Still, the passion hasn't faded. 'We'll always chase those random dreams,' Lee said. 'Maybe it's whiskey next. Maybe something we haven't even thought of yet.'
As Kinjaz continues to expand in Asia, their visit to Korea feels like more than just a pit stop. It's a return, a relay, and a reminder: the next global trend might just begin in a Seoul dance studio.
Watch the full episode of Werkhours on StudioH, produced by Tammy Park, Hugh Hong, Jihun Ye, Bumjun Bae and Yena Lee.
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