Atlanta choreographer Sean Bankhead plots his next steps

It’s been years since celebrity choreographer Sean Bankhead visited Dance 411, and the building looks a little different now.

The studio’s giant logo — a blue and orange highway sign — is still present. But the entrance is blocked by a fence, and the windows are covered with black tarp.

As he wanders the empty parking lot, peeking into the holes of the enclosure, memories flood back.

The first time he taught a master class. The Missy Elliott audition that drew hundreds of dancers. The Beyoncé routine that racked up 8 million YouTube views.

“There are so many moments that happened in that studio,” he says. “It’s bittersweet seeing it boarded up. It meant so much to me and so much to the dance community.”

After all, the now-shuttered studio helped mold Bankhead into one of the most sought after choreographers in Hollywood. For nearly two decades, he’s created memorable choreography for a slew of commercials, award shows, concert tours, music videos and film and television productions. And it all began at Dance 411.

Despite the blockades surrounding the property and the August heat, the Atlanta native is still amped to show off a few moves and poses in front of the place he credits for his success.

“What if I jump into the air?” he asks the photographer in between takes. “Let me try that.”

Credit: Steve Schaefer /

Bankhead, 35, isn’t afraid to take a big leap — both literally and figuratively.

Look at his portfolio, and it’s apparent. For Victoria Monét’s “ On My Mama ” music video, the singer hits the chicken head and later the heel toe all while atop a lowrider. In Lil Nas X’s “ Industry Baby ,” the rapper and his male dancers strip down to nothing for a sequence in a steamy prison shower. Then there’s the scene in the visuals for “ Motivation ,” where Normani bounces a basketball off her derrière.

It’s these types of risks that keep Bankhead in high demand. “I sell music,” he says. His intricate, energetic movements often go viral, with fans around the world streaming songs repeatedly just to nail his every step.

But Bankhead is tired. The constant pressure to top himself is exhausting.

“Unfortunately, it hasn’t been fun for me. When I think about choreographing, I think about work and being stressed out,” he admits. “It didn’t start like that. Dancing for me was an outlet. It was a freedom, and now it has turned into a very high-stressful job.”

Movement has always been natural for Bankhead. As a boy, he’d often glue himself to the television to catch the latest music videos on MTV and BET. And during holidays, he would put on shows for his family.

“My brother was the first person I ever choreographed on,” he remembers. “I was like, ‘bro, come on, we’re going to learn this, and we’re going to dance at Christmas.’”

It wasn’t until he moved to Atlanta from Philadelphia that he began taking formal dance classes and immersing himself in southern culture.

“Up north, me and my brother were two of four Black kids in the entire school, so I came in with my Abercrombie polos, and they were wearing their white tees and Girbauds,” he laughs.

But he adjusted quickly. At Dance 411, he learned from legendary choreographers, including Aakomon Jones, Usher’s creative director for his Las Vegas residency, and Fatima Robinson, known for her work with Michael Jackson and Aaliyah.

Atlanta’s nightclubs also became his instructors.

“I used to be at Traxx. That was my spot. I recently told my parents that I was stealing the car to go to the club,” Bankhead confesses. “There was the Soulja Boy, the Walk It Out, the Lean Wit It Rock Wit It, the Atlanta crank … There was so much happening in the clubs that if you didn’t go, you weren’t really a part of the scene.”

As he developed his own style, Atlanta’s influence was evident. And pretty soon, admirers began to wonder whether “Bankhead” was his government name or a stage name honoring the Westside Atlanta neighborhood. (For the record, it’s his real name.)

Despite all the attention he was garnering on YouTube and at Dance 411, Bankhead was unclear about his future as a professional dancer. He even enrolled into Georgia State University without declaring a major.

Then he received a call to fly to Los Angeles for Monsters , a national hip-hop dance convention and competition. His appearance led to other opportunities, including a Britney Spears audition (“the pressure ate me up, and I got kicked out the first round”), a Tiffany Evans tour and a performance with Beyoncé on “The Tyra Banks Show.”

“I probably have the record for going to college the least amount of days. I only went for four days … but I’m glad that I followed my heart,” he says.

It’s paid off, too. Over the years, he’s not only showcased his talents as a choreographer but also a creative director, producer and editor. He’s traveled to Poland, Russia, Japan and other countries across the globe teaching dance. He’s also been recognized for his choreography, racking up five MTV Video Music Awards nominations.

“I didn’t intend for this to be a career. I just always danced,” he says. “I blinked, and now I’m here.”

In June, Bankhead was juggling six jobs all at once. He was choreographing three performances for the 2024 BET Awards , including two for Monét and one for rapper Glorilla. He was also coaching Cardi B for her BET Experience concert, collaborating with Thai rapper Lisa for her latest music video and completing a special project with the trash bag brand Glad.

A heavy load isn’t uncommon for Bankhead. For the last several years, work has been nonstop. In fact, artists rearrange their schedules to work with him.

When he was invited to dance for Usher’s Super Bowl half-time show , he was sworn to secrecy. He also had to block off six weeks of his calendar to dedicate to rehearsals, wardrobe fittings and other performance preparations.

“I had to be very quiet, so I couldn’t tell people why I couldn’t do their jobs,” he says. “But they waited.”

Credit: TNS

While Bankhead is grateful for the acclaim, he’s learning to take more breaks. The constant requests have taken a toll on his mental health. That’s why he’s plotting his retirement.

“I need to go back to my roots of just dancing for myself and not for money or having to outdo myself,” he says. “I might be producing content at high levels and people might appreciate it, but I don’t feel good.”

After this year’s VMAs next week, in which Bankhead is choreographing two performances, he’ll continue scaling back. He’s broadening his interests to include fashion, modeling, and developing a new YouTube series that will feature intimate conversations between creatives about the highs and lows of the entertainment industry.

“I think people see me as creating these dope pieces of art, but every moment has a story,” he says.

For Bankhead, retirement doesn’t mean he’ll never choreograph again. After almost twenty years in the business, he’s just ready for a shift and a chance to fall back in love with dance.

It’s the reason he was adamant about stopping by Dance 411 during his last trip home. It’s as if revisiting the past helped him look toward the future.

“I really don’t have anything to say or prove in my choreography or dancing anymore. I used to want to show the world I’m the greatest, and I no longer have that urge,” he says. “I have other dreams now.”

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