LA POPS UP
A Q&A with visionary choreographer Tony Testa
LA POPS UP is curated by Kitty McNamee and Kelly Hargraves
Hysterica Productions | Dance Camera West
Photo by Daniel Reetz and Tony Testa.
words by Katie Huelin and Isabella Bazoni
LA POPS UP, spearheaded by Hysterica Productions’ Kitty McNamee in partnership with Dance Camera West, celebrates Southern California’s most influential choreographers and shines a spotlight on the extraordinary talent of the region’s diverse dance community.
This year’s program is co-curated by Janie Taylor, Artistic Director of the Trudl Zipper Dance Institute, and Curation Hour is proud to serve as the official media partner, bringing audiences closer to the artists shaping SoCal’s vibrant dance landscape.
As part of our coverage, we’re featuring Q&As with participating choreographers, offering insight into their creative processes, careers, and contributions to LA POPS UP. We’re excited to feature Tony Testa, a visionary choreographer whose work spans film, photography, television, music, theater, and the fine arts. From iconic performances with Janet Jackson and Ariana Grande to experimental films like b1, Tony blends eclectic training and multidisciplinary approaches to push the boundaries of dance. In the following Q&A, he shares his creative journey and the vision he brings to this year’s program.
Photo by Tony Testa and Momo.
You trained in a wide variety of dance styles, from Ballet and Tap to Butoh and Flamenco. How has this eclectic training influenced your voice as a choreographer?
I'm often asked, “what's your style?” The answer is simple: I dance my history. By mixing pre-existing forms of dance in a particular way, a choreographer can develop a unique tone to their work. I never would’ve gotten such great training without my selfless parents and first dance teachers: Mimi Westin, Julie Nguyen, Jenny Owens, Kevin O'Keefe, Luba Takamoto, and many others.
Having worked with iconic artists such as Janet Jackson, Britney Spears, Ariana Grande, and Jennifer Lopez, as well as on major productions like SYTYCD, DWTS, and The Grammys, how do you navigate the balance between commercial expectations and your personal creative vision?
In the commercial world the clock ticks loudly, so I quiet my innate urge to experiment deeply. Ideas need to take shape right away or they risk getting left behind.
“I’m often asked, ‘what’s your style?’ The answer is simple: I dance my history. By mixing pre-existing forms of dance in a particular way, a choreographer can develop a unique tone to their work.”
Collaborating with legends like Franco Dragone, Kenny Ortega, and Wade Robson must have been absolutely incredible! What stands out as the most transformative lesson from working alongside these artists?
Three legends indeed! Though they are all so different, there is a noteworthy common thread: when they get wind of a great idea, they become indefatigable.
Your projects, like the mixed-media work b1, often blend dance, film, and visual art. How do you approach conceptualising such ambitious, interdisciplinary projects?
With a hope and a prayer. Seriously! In the case of b1, it started with prayer. I wanted that work to know how badly it was wanted. I'd think about it, talk about it, and take action towards it. I even sought out a spiritual channeler to help me call for it. Through her insight I was given writing, meditation, and detoxification prompts. The whole experience was a wild adventure! Check out Julie and her channeling work at www.numinouswisdom.com.
Film poster for Disintegrated (Short film, 2021). Directed by Wade Robson and Tony Testa.
Photo from the LA POPS UP event ‘Dance Camera West 2026 Festival Centerpiece Program’ (January 24, 2026, Zipper Hall, Los Angeles). Courtesy of Kitty McNamee.
LA POPS UP highlights the personal vision of SoCal’s choreographers. How do you see this platform supporting independent artists in a city often dominated by commercial work?
Kitty McNamee (and her team) see a potential in LA choreographers that many of them don’t even see in themselves. A byproduct of her mission is the increasing quality of choreographic work being produced here. This contributes to lifting the whole art form up even higher. Thank you Kitty!
What excites you most about the intersection of dance and film, and how can this medium preserve or transform choreographic ideas?
As of now, dance on film is predominantly performative, not participatory. We mostly look at it. The camera only captures what is happening live, yet without the camera, what is happening live can only live on as legend. This reverse reflection fascinates me. Dance remains an art form of ephemerality.
You’ve worked on productions worldwide and across diverse cultures. How do you adapt your creative approach for international audiences?
I aim to be respectful of different cultures, then I stick to my process and let the work do the talking.
Tony performs an excerpt from b1 at TED 2025 in Vancouver BC. Photo by Jason Redmond.
“As of now, dance on film is predominantly performative, not participatory. We mostly look at it. The camera only captures what is happening live, yet without the camera, what is happening live can only live on as legend. This reverse reflection fascinates me. Dance remains an art form of ephemerality.”
With dance being a universal language, how do you see platforms like LA POPS UP shaping the global perception of choreography and dance film?
They are creating a critical space for the art form to evolve. I believe we are headed towards a future where feature-length dance works take home Oscars. A select few may even be cemented among the great cinematic works in history.
Looking back at your journey, from Fort Collins to global stages, what advice would you give emerging choreographers about finding their own voice?
My favorite “emerging artist” advice I’ve ever heard comes from the ground-breaking conceptual photographer, Jeff Wall. He says, “study the greats and do nothing else."
You can find more information on Tony and b1 at www.blackbox.dance.