On the Record with Gil Duldulao
If Gil Duldulao played baseball they’d say he was a “phenom,” a preternatural talent. Instead, it was dance that bubbled up in him from the time he could walk. Hip-hop and MTV got him at age 4. Today, he has toured with Britney Spears, Christina Aguilera, Janet Jackson, Jennifer Lopez, Prince and Tina Turner.
From the island of Oahu, Hawaii, at 8, his uncle signed him up for a dance class. He attracted notice from the very first day. When he was 16, "Hip Hop Expo" toured to Hawaii from Los Angeles. Duldulao was invited to assist teachers Johnny Smith, Chris Judd, Laurie Sposit and Tina Landon. Impressed, they suggested he audition for the year-long scholarship at Edge Performing Arts Studio in L.A. “My mom was like, ‘are you kidding me?’ But, I always wanted to prove a point.” Duldulao’s mom had been a singer. A single mother at the time, she was a “great supporter” of whatever he needed. In his bible she gave Duldulao a one-way ticket to L.A. He got in. Eight hours a day, 35-40 classes a week for a whole year. It was good exposure and Duldulao started to get recognition, but he had to wait to audition.
“My mom’s only condition was that the director of Edge Studio had to supervise my home schooling. My mom took a second job to keep me in L.A., especially the first year at school. Everyone else at school had jobs because they were 18. I couldn’t work yet, so it was tough.”
But, work came soon enough. Duldulao sat down with Dancer to talk about how he got his first gig, his creative process, and working with some of the biggest names in the business.
Q: How did you start working with Janet Jackson?
A: At the end of the year Edge stages a showcase for agents. Thankfully, I was offered a spot at every agency. I picked BBA—Teresa Campbell. She kept coming by the studio and checking up on me. She was so personal; I needed that, like a mother.
I spent a year auditioning and not getting anything. I wasn’t filled out. I wasn’t anyone’s type. At first it was scary, then I started loving the challenge. My first job was “Fame L.A.” for Marguerite Derricks. There were 45 people on the show; it was great.
My second job was a Prince music video.
My third job was dancing for Janet (Jackson, that is). I was not quite 18. I’ve been with her for 12 years.
I was fortunate during my first tour with Janet to work with Tina Landon and Shawnette Heard. They loved my work. Because of that I began to get direct booked, which was amazing because auditioning is still scary for me. As I get older, I really don’t want to audition any more so I’m lucky that I don’t have to.
At 21, in-between Janet’s tours, I choreographed Tina Turner’s 24/7 tour. I went to London for a month. It was amazing.
Q: How did you get into choreography?
A: One night, during my first tour with Janet, we all went out to a club. Janet said she saw me free styling and she knew she wanted me to choreograph her next project.
I was the baby of the bunch. I assisted Tina for at least two years before I stared choreographing. I learned her process. It was a great learning experience. By my next tour, [Janet’s choreographer] Tina Landon had moved on, choreographing for J. Lo and Ricky Martin. I choreographed some numbers for the second tour; by my third tour I was also Janet’s creative director. Tina and Shawnette were very nurturing and encouraged me to think about choreography, they inspired and believed in me.
Q: Tell me about your process.
A: Choreography was really organic for me. It was just music, playing with music and movement. When I choreograph I look for the inherent logic of the movement. It flows out of me. I’m Hawaiian, I wanted to bring some Hawaiian movement—hula—to my choreography, and I did. I came up with my own style trying to incorporate what inspired me movement-wise.
In the early part of my choreography career I really tripped Janet and everyone out. The choreography all happened in my head. I’d put on my headphones, go to my safe place—my room, a corner of the studio—sit on the ground and come up with the choreography. They’d ask how it all came into my head; I didn’t even have to test it out.
As you grow older, as a choreographer, you grow more insecure. I stopped doing it in my head. I have to make sure my body can follow now. When I was choreographing in my mind I didn’t have to go to the mirror. I hate the mirror! But the older I get—there’s so many different styles out there and I have to keep current, it takes me longer and I’m never happy with what I’ve done. But I know I have to stay true to me. Everything inspires me —choreographers, videos, world movement, opera! I have to remind myself that its just inspiration. What really made me great in the beginning was that I stayed true to myself.
Q: What was it like working with Christina Aguilera, Britney Spears, Jennifer Lopez, Tina Turner?
A: Being around divas (including Prince), was intimidating. I mean, “Who am I?” Where I came from, there were not a lot of divas. These people, they were known, you saw them on TV. I couldn’t believe I was working with them. It was amazing! I am blessed to have worked with all of them.
Q. Who are you working with now? What are your current projects?
A: My goals are different now then they were in my 20s, though I still want to be successful. My life experience has made me feel old, but wise and strong. I was so young when I moved to L.A. I was forced into being a grownup, or trying to be. I wish I had experienced more of what 16-year-olds do. I wish I would have gone to college like most of my friends did. But this was my path.
I just started my own production company with a partner—LIIIV 4 Entertainment. We create and produce TV shows, eventually we’ll develop ideas for movies and Broadway. It’s a new area for me. I’m loving it, though I get insecure. I get to be the young kid again! Any project I produce that includes dancing, I’ll choreograph. I’m also moving into directing music videos. And Janet is about to start her project again. I’m in creating mode. I’m trying to imagine where I see her going with this project. Everything is new right now.
And being 30, I’m choosing to take time to travel, or to do nothing, or to be with friends—to be more carefree and not really have an agenda. I want to study with a monk in India or Thailand. Next year I’m putting my hands to work building schools in Kenya helping a friend who does charity work there. I want to give back. I also give back in choreography and to my students on the convention tour. That’s my creative outlet, imparting what I’ve learned to kids.
Q: What type of training should dancers who’d like to become professional hip hop dancers have?
A: There isn’t anything you shouldn’t be able to do. Because of shows like “So You Think You Can Dance,” it’s important for all dancers to be able to do all styles of dance. That’s what’s worked for me—training every day, learning and trying to perfect every style of dance.
Q: There’s a video interview of you on YouTube http://www.youtube.com/watch?v=YchvpbEDZ6g in which you discuss how nonprofessional dancers present themselves at an audition. What advice can you give dancers who hope to attend professional auditions?
A: At the time I gave that interview—at least 6 years ago—I brought some of my talented students in from around the county. They were put into a room of professional dancers—of course they were green and had no tools, no one told them what to do or what to wear. I’m sure it was a great learning experience just like it was for me when I started out.
One of the things you learn by auditioning is that you can’t wear sweats to an audition. You must find a marketable look. You have to create a character that you present at auditions. You want to present yourself in a way that will make the artist you’re auditioning for be able to visualize you in their video.
As a dancer, the perfect thing is to be able to mimic. Every choreographer has a different style. Watch how the choreographer presents the piece, how they move to their piece, try to learn it exactly from top to bottom.
Once you get comfortable with their choreography the important thing is to think, “How can I add who I am to this piece?” Not change the choreography, but express who you are in it. Choreographers love seeing your interpretation, they want to see you in their chorography.
And never forget why you’re a dancer. Don’t forget your passion for it, don’t forget what got you started, don’t forget why you get up every day to train. That needs to continue throughout your career. Enjoy every moment, every struggle, every triumph, enjoy everything (he laughs) because it will pass you by before you know it.
Students who want to study with Gil Duldulao should look for his teaching tour schedule at www.thepulseontour.com