Few songs have taken off in as spectacular a fashion as British pop singer Adele's latest single 'Hello' which marked a comeback from a three year hiatus for the talented vocalist. Naturally, the internet exploded and the official music video surpassed 23.2 million views within its first 24 hours on YouTube – giving it the biggest day-one performance for a music video in history. The song also prompted an instant response from fans, who created and uploaded their covers by the thousands from all over the world. Dancers and choreographers were also equally inspired to interpret the record-breaking song in their own way, creating works that built off the single's powerful melody and dramatic climax.

However, in spite of the extraordinary influx, we're pretty confident that we've found our ultimate favourite routine. Say 'Hello' (hehe - who could resist?) to The Kinjaz, a Los Angeles-based performance group initially formed by dancer/choreographer duo Mike Song and Anthony Lee.

The Kinjaz uniquely combines music and urban-dancing to create original and entertaining forms of story-telling through the group's fusion of theatrics, intricate choreography, and comedy, which is as spell-binding as it is skillful. The kin·jaz ("brother ninjas") are now a 30+ member-strong performing group who define themselves as a "band of brothers on a quest to fearlessly explore the depths of [their] imagination and artistic purpose."

Check out their website here.

Hello performed by The Kinjaz dancers Anthony Lee, Lawrence Devera & Chad Mayate.

From the very first dynamic movement, which seems both tentative and powerful at once, The Kinjaz demonstrate their mastery of motion that perfectly matches the altering fluidity and sharpness of the song with rhythmical flair. The fact that the routine manages to stay grounded in it's emotional impact speaks volumes for the artistic strength of the dancers and the choreography, as the sheer technical feats of the performance - the almost disconcertingly acute synchronicity of the three performers, along with the striking use of lighting and a uniquely 'interactive' approach to cinematography - could render a weaker piece ineffectual. It's easy to get lost in the visual ambition of a performance, especially when you have to contend with the added dissociation film creates as opposed to a live performance and yet The Kinjaz isn't overpowered by their ambitious method of execution. Instead they've managed to strengthen an already poignant and artistically impressive piece. 

We'll definitely be keeping our eyes out for these guys. Hope you enjoyed as well!

Article by Elly Ford