From exaggerated hand movements, to “duck walks” and “dips”, most of us have probably heard of or seen voguing on our social media feed. Rooted in the subculture of New York City’s ’90s ballroom scene, voguing quickly grew in popularity, spreading the joy of this dance form to many other parts of the world. South Korea is no stranger to this movement with a handful of kiki houses (ballroom houses for friendly, lighthearted competition) sprouting in recent years. We touched base with one of the forerunners of Korea’s voguing scene to learn more about her craft and her journey as a dedicated dancer and mover.

“I’m Love Ran, a choreographer, dancer and House of Love’s Mother.”

Love Ran is a dancer-choreographer who only started dancing at the age of 21. Despite starting her journey later than most professional dancers, she quickly expanded her skill set in hip hop, popping, waacking and finally voguing. Due to the lack of instructors who could teach voguing back then, she decided to teach herself, diligently studying the form through YouTube videos. She braved many hardships in her personal life to emerge the innovative and well-respected icon of the voguing scene that she is today.  

Having transcended the ballroom scene, Love has worked on voguing and choreographing for various Korean Pop idols such as Chungha, Weki Meki and Kwon Eunbi. Through this, she has proven how versatile, adaptable and creative she is, striking a balance between voguing elements and the needs of a K-pop performance. 

"Maybe it’s because of love."

What started out as just a group gathering of Love’s students has since become South Korea’s largest kiki house. Fondly known as the House of Love, it comprises 27 members, with Love as the matriarch, or Mother. Its members, referred to as Children, have formed an inseparable bond over their sheer love for voguing, even continuing the age-old tradition of residing in a shared household. These dancers went on to organise the Mangwon Ball, Korea’s first ever ball, and continue to spearhead the growth of the country’s voguing scene.

What were some challenges you faced when you first started dancing or when you first started the House of Love?

Love Ran: It was difficult to earn a living because I started dancing relatively late. It was such a struggle until I turned 30. Moreover, during the early days of House of Love, I went through a lot of trial-and-error since this was the first time anyone was starting a kiki house in Korea. I grew from those experiences and can see how the Korean ballroom scene and House of Love have grown quite rapidly.   

An even more unique and fun twist

Voguing itself has evolved from its early days—from the Old Way, characterised by poses, angles and straight lines, to the more commonly practised New Way, which focuses on catwalks, duckwalks, spins, dips and more theatrical hand movements. Ran injects her own flavour into an already unique dance form by melding together the vocabulary of the various genres she trained in. Influenced by her background in hip hop, popping and waacking, her dance language displays the distinct choices she has made in her movements, deliberately breaking away from voguing-only techniques.   

Could you talk us through your creative process when choreographing a piece?

Love Ran: First, I listen to the song and focus on the first image that comes to mind. Then, I look at the lyrics. I think it feels good when this image I envisioned matches the lyrics. So, I usually choreograph based on the image I have in mind, as well as the lyrics. That way, I can choreograph a piece really fast.   

What are the main themes, intentions or messages behind your works?

Sometimes, my works aim to highlight the strengths of the artist (dancer) and other times, it helps to show another side of them. I try to express my work artistically while still being palatable to the general public.   

In your opinion, since you've choreographed for K-pop groups and idols, do you think we will be seeing more voguing and ballroom dance styles in mainstream media?

In Korea right now, there is more attention on dancers and the dance scene than ever before. In the near future, I think that voguing will become more well-known to the general public.  

What does a normal day look like for you and where do you see yourself in 10 years?

A normal day for me is going to the practice room, teaching classes, coming home and taking a rest. I think in 10 years, I'll still be in the practice room and at dance venues.  

What keeps you hopeful? What keeps you moving?

There are many things that keep me hopeful—family, the weather, music, nature, and sometimes even my dancing gives me hope.  

Tell us what your next work or creative project is about.

The plans for my next project are not yet concrete. I am usually quite spontaneous, and I just do what comes to mind. But I definitely want to embark on more fun projects next year and try out different styles. 

How are you rethinking your practice as a dancer-choreographer, whether in big or small ways?

One sentence to sum up your life/practice right now?

I'm in the process of finding out what I want to be. 

House of Love and three other trailblazing dance crews—The Royal Family (New Zealand), ILL-Abilities and Local Remix (Singapore)—performed at FULL OUT! 2023 on 1 and 2 Dec 2023 at Esplanade Theatre.