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English
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Published:
2026-06-22
Words:
625
Chapters:
1/1
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3
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9

Restive

Summary:

K helps Jo figure out what he's missing for his role in Wandance.

Notes:

Daily-words entry, see profile for details and disclaimers.

I read Wandance after the announcement (everything that's out so far), and I really hope this happened while K and Jo were both in Japan filming, because it would be so narratively choice.

(See the end of the work for more notes.)

Work Text:

They sat back to back in the borrowed practice room, almost all the lights off, listening to the midnight quiet of the mostly empty building all around them.

 

It was too late and too quiet for music. They were too exhausted, the world too sharp, senses too abraded. 

 

But they didn’t need music to dance. 

 

Jo was so close. He could feel the shape of the thing he needed through the dark veil, obscured but palpable against his palms. It wasn’t a question of finding it anymore, but of figuring out how to let it in, make space within himself for it to come in and change him from the inside out. Remake him. Reforge him into whatever he needed to be to pull this off.

 

K tilted his head back until it thunked softly against the back of Jo’s. His back, flexible and whipcord strong, was a comfort to Jo. He liked the way their spines lined up, each vertebrae just touching its partner across the gap, held mostly apart by the firm rolling ridges of muscle to either side.

 

“I think,” said Jo, very softly so as not to disturb the soft dark silence, “I might know what I’m doing wrong.”

 

K said nothing, just made room for more in their shared space.

 

Jo took a moment before continuing, weighing words and choosing the best ones he could from the options he had to draw on while this tired. “I don’t need to learn how to dance from you, anymore. At least not just that. I think I need to understand how to love it like you do.”

 

“You don’t love it already?” K said quietly, unhappy.

 

“No, I do,” Jo reassured him. “I really do. But it doesn’t… push on me from the inside the way it seems to do for you. Like you have to move or you’ll burst.”

 

“Oh,” said K. “Oh, I think I get it, maybe.”

 

Abruptly thrumming with energy, he rocked up to his feet, then extended a hand down to Jo to help him up, too. Jo stumbled and came a little closer than he’d meant to, chest to chest and cheek to cheek for just a moment before he found his balance and stepped back.

 

K was nearly bouncing, driven to do something, exactly the way Jo had described.

 

“You don’t need to learn how to dance, or even how to love it. You’re already there. You need to learn to love music.

 

Jo frowned. “I do love music, though.”

 

“Not like this. Not the way you need to. The way where it fills you up and moves you from the inside. So that it hurts to hold still. You need to learn to choreograph. Not for a whole group, not even anything you have to remember, just for the moment and just for you. How to let the music tell your body what to do with it.”

 

Jo’s view of the problem tilted a few degrees, slid around the side of the problem until something clicked over and what had been obscure was now an open door into a promising space full of indistinct and restless possibilities.

 

“You’re right,” he said. “I think that’s it. Will you teach me?”

 

K laughed, and there was music there, too. In his eyes, in his smile, in his voice, in everything he did.

 

“Not tonight,” he said. “We’ve been working hard, we need rest, and it’s too late to play any music anyway. But yes, I want to teach you. I want to find out what you’re like when it moves you. It’ll be different from me, because it’s different for everyone, but I bet it’ll be beautiful.”

 

“I hope you’re right,” said Jo. “Thank you, K-kun.”

 

Notes:

I don't have much experience with dance, but I do with music, and reading Wandance made me think again of how different jazz improv is from concert playing.

In concert, your job is to bring the given sheet music to life with as faithfully and vibrantly as you can. If you can get into the composer's head and try to embody their intentions, the music they were hearing when they wrote what you're playing, so much the better.

In improv, though, you kind of have to be an on-the-fly composer yourself. You need to have an internal sense of key and rhythm and melodic shape to make things come out sounding not just intentional but good, and you have to do it very quickly.

(I never quite got the hang of it -- though I might've if I'd had a teacher -- but I knew players who, on the other hand, could never get comfortable submitting to sheet music.)

I can't help but think that there must be a similar difference between choreographed and freestyle dance. Jo has always been dancing choreo, but to play Kabo, I'm sure he needed to learn how to freestyle, so I hope the freestylers of the group (like Taki and Nicholas) and the choreographers of the group (like K and Yuma) helped him with that.

I went with K for this just because he was also in Japan at the time, but I hope they all got the chance to contribute.