Ahead of Billboard's conversation with JaQuelKnight tomorrow on TwitterSpaces, take a look back at his 2020 Billboard cover story. ✨
), and Knight — who, in person, has the assured bearing of a performer but a compact build — was considered too short. Still, his freestyle at the audition impressed Gatson. “To this day, he says he came to make sure I noticed him, not to get the job,” recalls Gatson. “Today’s choreography, it all seems like, ‘Do a booty dance, act nasty, walk.’ But this young man had something very fresh and new.
The end product showcases what would become Knight’s stylistic signatures. Like Beyoncé herself, he is a master of precision , so “Single Ladies” has an overall clarity and elegance, regardless of the dancers’ particular movements. “Even in super slo-mo, you can see the dancers are together,” says Weber of the “Single Ladies” video. His blend of influences ranges from African dance — in which the hips and upper torso often move in different rhythmic sequences — to classic musicals.
There’s no exact line denoting how many building blocks it takes for a work to stop qualifying as new and copyrightable — and at any rate, the Copyright Office’s examiners evaluate choreographic submissions as coherent, whole works. On that level, there’s no doubt that Knight’s choreography is very much his own.
It’s not in his interest to be anyone other than himself. Registering the copyright for “Single Ladies,” and the works that will follow, he says, “is about protecting that voice.”When I first interviewed Knight in September, he was sitting in his live-work loft space in downtown Los Angeles, with a painting of OutKast’salbum cover on the wall behind his desk — the patron saints of his hometown, looking down on him. Even amid the coronavirus pandemic, he’d had a busy past few months.
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