Born in 1979, Hwang Dae Kyun built his career across choreography, film, drama, theatre, musical and live performance—then expanded that experience into original stage creation.

I began with movement. Over time, movement became choreography, choreography became story, and story became a stage that could stay with people.
A compact snapshot of the career behind B-Boy Virus.
Born in 1979, Hwang Dae Kyun built his career across choreography, film, drama, theatre, musical and live performance—then expanded that experience into original stage creation.
B-SCHOOL · THE CODE · ARIRANG PARTY · DRAWING SHOW – THE PAINTERS · JOSEON TIGER
LOST GARDEN · JACKPOT · CHASA · BROADWAY ALL STARS · BONGJUNIEORA
LEGEND OF DANCING NINJA · JUMP · SHREK FOREVER AFTER · KBS BELIEVE IN LOVE
SEO TAIJI AND BOYS · PARK HYO SHIN · YOUNHA · BIGBANG · 2PM · DRUNKEN TIGER · GOT7 · f(x) LUNA · KARD · KIM YEON WOO · JUNG JUN HA · LEE HYUN WOO · PARK KYUNG LIM · M.C THE MAX · PUSSYCAT DOLLS · LUCAS GRABEEL · NEXON MAPLESTORY
Movement was the beginning. Creating something meaningful became the reason to keep going.
Breaking taught me discipline, courage and the value of a team. But the longer I stayed on stage, the more I wanted to create the whole experience—not only the movement.
That journey took me from dancer to choreographer, from choreographer to performance maker, and eventually to building original stages through T.I.P COMPANY.
Today, my work is about carrying that experience forward: creating stages with stories, and giving the next generation more room to imagine, perform and lead.
One role became the foundation for the next.
Global competition experience became the foundation for everything that followed.
Best Show recognition on the international stage with the Korean breaking scene.
World Crew Champion with T.I.P Crew—one of the landmark titles in Korean breaking history.
A cane-based breaking performance language that became one of Virus' recognizable signatures.
Experience expanded beyond Korea through overseas performance and dance direction, including China.
Developing a younger generation of performers and future champions.
The knowledge earned on stage becomes more meaningful when it opens a path for someone else.
A turning point toward choreography and performance direction.
Original performance creation expanded into a long-running stage world.
Breaking adjudicator on the sport's first Olympic stage.
Continued international adjudication at the global level.
Choreography, film, performance and motion work—each one adding a different language to the stage.








Decades after entering breaking as a dancer, B-Boy Virus stood on the Paris Olympic stage as the only Korean adjudicator on the Breaking panel.



A career built by returning to the floor, the rehearsal room and the next challenge.
Technique becomes meaningful when it carries a story people can feel.
Experience matters most when it becomes a path someone else can walk further.
The stage may end. What we pass forward can keep moving.