Choreographer and creative force Ruby Tilley has brought her movement to some of the world’s biggest stages, from Bad Bunny’s Grammy-opening performance to a Dolby campaign with BTS’s Jin. With a style defined by adaptability, storytelling, and collaboration, she continues to make her mark on global stages and screens. In this interview, Ruby reflects on her journey, her sources of inspiration, and the lessons she shares with the next generation of dancers.
Q: How did you first get into dance, and what pulled you towards creating choreography?
Ruby: I first started dancing when I was two years old. My parents signed me up for a “mommy and me” class at Sandra’s School of Dance in Albuquerque. From the start, I was hooked. Even when I was supposed to be cleaning my room, I’d be blasting music and choreographing routines instead. I loved the feeling of creating something new, even if it was just in front of my bedroom mirror. By the time I moved to Los Angeles at 13, I was already drawn to choreography and storytelling through movement. At my performing arts high school, I had an incredible teacher who gave me the tools to see choreography differently, and that’s when I knew I wanted to pursue it professionally and make it my life’s work.
Q: Your choreography has such a distinct style and energy. Where do you find your inspiration?
Ruby: It is always evolving. Inspiration depends on where I am in life. Sometimes it is a film, a painting, or even something I see while traveling. I love watching how people move in different parts of the world and noticing the subtle differences in rhythm, energy, and expression. In some countries, dance happens naturally on the streets or in cafés, and those everyday moments can be just as inspiring as watching a big performance.
I also find that inspiration often comes from outside of dance itself. A story in a movie, a striking piece of art, or even the way someone interacts with their environment can spark an idea for movement. What excites me is translating those feelings into choreography that tells its own story. Movement is universal, and that is something I carry into my work. It does not require words to communicate. You can connect with someone without speaking the same language, and that reminder keeps me curious and open to new influences all the time.
Q: Your career has taken you from small creative spaces to massive stages. How has your artistic voice evolved along the way?
Ruby: My voice keeps changing, and I try to stay fluid with it. A lot depends on who I am collaborating with, whether it is an artist, a director, or a producer. I always take time to research their brand, their style, and the message they want to put into the world. Once I understand that, I ask myself, how can I step in and elevate what they are already doing.
For me, it is never about reinventing someone or making them fit into my mold. It is about collaboration and creating something that feels authentic to them while still carrying my artistic stamp. I want the choreography to highlight their strengths, to make them feel comfortable and confident, and to help them shine in a way that feels true to who they are. That process of working together, finding common ground, and then building something unique is what excites me most and keeps my artistic voice evolving.
Q: You’ve worked with artists from Karol G to Bad Bunny. What has been your biggest “pinch me” moment so far?
Ruby: Definitely the Grammys with Bad Bunny. We were honoring Puerto Rico, and the cultural impact of that performance was so powerful. I collaborated with Adrian Martinez from Sturdy, who had such a clear vision, and Bad Bunny trusted me with the process. Sometimes you don’t realize you are part of history until after the fact, and that was one of those moments. At the time I was focused on making sure every detail worked, but looking back I can see how important it was to be part of such a cultural celebration on a global stage.
Q: For big live performances or televised events, what’s the toughest part of taking an idea to a massive stage or screen?
Ruby: Stage and screen are two completely different lenses. For a stadium, movements need to be larger to reach the back row. For the screen, the camera picks up detail differently, so I keep things more compact but still full of energy. The toughest part is adaptability. You can rehearse endlessly, but on the day of, something will always come up. My job is to stay flexible and trust the team and the dancers. Building that trust in rehearsals is so important, because once you hit the stage or the set, you need to know that everyone can handle the unexpected together.
Q: How do you make sure the movement connects with both the crowd in the venue and audiences watching from afar?
Ruby: I definitely think that it is a personal choice. I do want my dancers to enjoy the show as much as possible, and so I want to allow them the freedom to connect with the audience or to connect with the artist, because I think those moments are so special. It can be really impactful for an audience member if you make eye contact with them. That might be something they talk about for the rest of their life. It can even inspire someone to want to become a dancer or work in the entertainment industry because you connected with them. People pay a lot of money to go to shows, and they want to remember that moment forever. Our job as dancers and artists is to give them something to remember and carry with them.
Q: Out of all your projects, which moments have stayed with you the most?
Ruby: One of my most memorable experiences was choreographing a Dolby commercial in Seoul with Jin from BTS. We worked with local dancers ranging in age from 10 to 70, which made the cast really special and inclusive. Many of us did not share the same language, but we were able to communicate through movement, and that reminded me how powerful dance is as a universal language. I also collaborated with Jin’s team and his personal movement director to make sure the choreography highlighted him in the best way possible, and seeing that process unfold is what made the project so meaningful for me.
Q: You’ve been teaching at TMilly for a while. What do you enjoy most about being in the studio with dancers?
Ruby: The studio has always been my safe space. It is where I laughed, cried, and met my best friends. Now I get to share that same space with dancers who come to LA with big dreams. It means so much that they trust me to be part of their journey. Teaching is also a two-way street. I push dancers, but I also learn from them. Every class feels like an exchange of energy and creativity, and I always walk away inspired in some way. The goal is to create a space where people can grow, make mistakes, and become better not just as dancers but as human beings. For me, that sense of community and connection is what makes teaching so rewarding. It reminds me every day why I fell in love with dance in the first place.
Q: What’s your advice for dancers who want to transition into choreography?
Ruby: Just go for it. Create more than you consume, put your work out there, and don’t be afraid to experiment. And find a solid group of friends you can rise with. It is so much more fulfilling when you grow together. Surround yourself with people who inspire you and who push you to keep going, even when it feels hard. At the end of the day, consistency and community are what will carry you through the challenges and keep you motivated.
Q: What’s next for you? Any dream projects or new mediums you’re excited to explore?
Ruby: I’d love to choreograph for a film. To be part of a long-form project, collaborate with a director, and see my work on the big screen, that is a dream of mine. I draw inspiration from classics like Dirty Dancing, but I am also fascinated by how modern films use movement direction, even in subtle ways, like choreographing how zombies move. Film is definitely the next chapter I want to step into. It would be amazing to help tell a story through movement in a way that lives on beyond the stage or a single performance.
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