CLIK CLAK — The Two Performance Videos
The first film keeps the MV’s black-and-white street mood and shows the choreography’s bones. The special version adds smoke, a horizon stage and enough black fabric to make the same heel tap feel like a board meeting with excellent posture.
The black-and-white performance video
My actual first reaction
First thought: This choreography understands that swagger dies the second everybody looks desperate to prove they have it.
Sound check: Minimal low-end hip-hop, dry drums, seven rap tones and a late release that lets the group stop walking like a threat and finally become one.
The moment I leaned in: The formation stays restrained long enough that the final group dance feels earned instead of arriving because the K-pop timer demanded one.
The side-eye: Stylish camera movement is welcome. A camera trying to out-rap the rappers should be fined.
Current status: I have ranked multiple heel taps by emotional authority. This site has changed me.
What the song means before we discuss the hips
CLIK CLAK turns the sound of heels, jewelry and money into a confidence rhythm. All seven members rap, so the choreography cannot rely on a clean split between “rapper movement” and “vocalist movement.” Everybody has to hold the same low-temperature swagger without becoming seven copies of RUKA.
The routine’s smartest choice is restraint. Hands describe the lyric, hips settle behind the step, and walking patterns carry more attitude than constant full-body attack. The members look like they have somewhere expensive to be and no intention of explaining the route.
Version one: freedom inside the black-and-white frame
The November 3 film continues the official MV’s monochrome language. That makes it feel like a missing chapter rather than a promotional afterthought. The clothes, set and camera stay close to the song’s industrial street mood while wider shots reveal how the seven-member formation is organized.
Rie Hata and Kinjaz collaborators give the members a fixed structure, but the details are intentionally personal. RUKA lets movements hang behind the beat. ASA clips them closer to the percussion. RAMI uses grounded weight, while PHARITA keeps the same phrase longer and cleaner. RORA looks calm enough to make restraint feel intentional. CHIQUITA adds bite through the face. AHYEON attacks without turning every count into an emergency.
The latter section opens the formation and increases the energy. Because the first half did not spend every movement at maximum volume, the explosion has somewhere to go.
The special performance video
Version two: same restraint, heavier room
The November 8 special moves the choreography to a minimalist horizon stage with smoke and severe black styling. It shares production language with the DRIP special performance, making the double titles look like two sides of the same comeback: DRIP is colorful release; CLIK CLAK is controlled pressure.
The darker stage makes silhouette and spacing more important. Small wrist changes and head angles read clearly because the background is not competing. The members’ stated goal in the making film was to show their own freedom inside structured choreography. That is exactly the tension: formation lines remain disciplined while individual groove lives in the spaces between counts.
I prefer the first version as an extension of the MV. It has more location character and the monochrome street texture fits the song. I prefer the special version for comparing members because the horizon removes distractions. Again, two official uploads earn one comparison page because the difference is visible and discussable.
Details worth rewinding
- The heel tap is percussion: feet do not merely illustrate the title; they become another visible drum part.
- The hips stay behind the walk: posture creates unhurried confidence without requiring a constant “power” face.
- RUKA’s sunglasses toss became a live-stage detail: the gesture fits a choreography built from dismissive little luxuries rather than giant tricks.
- The final group section changes the energy contract: restrained solos and units finally hand control to a larger, more forceful formation.
- Black and white separates texture from color: leather, metal, smoke and silhouette have to carry the visual interest.
- All seven rap and dance the same concept: no member is parked in a pretty vocal pose while the designated rappers perform the attitude.
Credits and performance file
| Artist | BABYMONSTER |
|---|---|
| Original song | CLIK CLAK |
| Performance video | November 3, 2024 |
| Special performance | November 8, 2024 |
| Choreography | Rie Hata, Kinjaz collaborators |
| Lyrics | Malaynah, Ricky Luna, Rolando Luna, CHOICE37, MASTA WU |
| Composition | Ricky Luna, Rolando Luna, Keith Bykoff |
| Arrangement | Ricky Luna |
The verdict
CLIK CLAK’s choreography is better than choreography that announces how difficult it is. The difficulty is control: seven performers sharing a groove without erasing their individual weight, timing and face.
The first version belongs to the song’s world. The special version puts that world under cleaner laboratory lighting. Both confirm the same thing: BABYMONSTER looks most convincing here when nobody appears to be begging the audience to notice how cool she is.