The creators of choreographies that thousands repeat on social networks often do not get paid for their work; they earn mainly from increased profile visits.
For every million views, the app pays a creator between 10 and 30 euros, say Ukrainians Alex and Arina, who live in Huelva and originated Rosalía’s dance.
Legal experts and dancer-choreographer Rafa Méndez advise registering works or pursuing action against those who commercialize them without permission.
With arms raised at hip level, balancing, crossing limbs, and using a hand as a phone, these simple moves form part of the routine. Alex Chentsov, a 41-year-old Ukrainian, who has lived in Huelva for seven years, created the dance in just 15 minutes for a TikTok video featuring his daughter Arina, 12, after they attended a Rosalia concert in Seville and heard one of the catchy tunes that dominated the summer.
Rosalía’s song helped the dance trend across social media. One night, as Arina slept, Alex saw a video of Motomami reproduced with the movements first behind a car and later on a surface resembling a track. He explained that he decided to replicate the choreography with his daughter and then credited them as the creators. The clip quickly racked up over 95 million views and 6.6 million likes. (Attribution: El Periódico de España)
Famous dances that accompanied her poems, such as “baby don’t call me I’m here,” and lines like “forgetting your sicknesses” or “your goat has lost you from neglect,” increasingly replaced by mechanical movements in 2022. Iconic choreographies no longer originate in town squares; amateur dancers now reach learned discos through TikTok.
The video posted on the accounts of Alex and Arina, who started on TikTok in 2019, gathered millions of views and boosted their visibility. Other well-known TikTokers and footballers also joined the trend, integrating the moves into their routines. Yet, despite the viral reach, the Ukrainian creators did not receive significant payment for their dance, and the exposure yielded limited financial reward. (Attribution: El Periódico de España)
“They don’t pay much,” Alex told a joint interview with Arina for El Periódico de España. He notes that while TikTok does not publish comprehensive revenue statistics, he estimates payments range from 10 to 30 euros per million views. Some months bring in around 20 euros, others around 10, and occasionally a few hundred. (Attribution: El Periódico de España)
Other creators, such as Stiver from Gijón and a Dominican duo living in Darling, suggest that for every 100,000 views, the app pays between one and two euros. They also point out that one euro per 1,000 YouTube views translates to far higher earnings elsewhere, depending on country. (Attribution: El Periódico de España)
Understanding income from TikTok remains murky. Creators say there is little clarity on whether money comes from viral shares, comments, or posts. They acknowledge that income likely depends on audience engagement and platform algorithms. (Attribution: El Periódico de España)
For every million views, TikTok pays between 10 and 30 euros
aleksandr chentsov
Arriving in Spain as Euromaidan unfolded in their homeland, Aleksandr and Arina hoped for a collaboration with Rosalía’s team. They dreamed of appearing in a music video, even if it meant paying their own way in Mallorca. Like many TikTokers, they pursue additional income through brand collaborations with artists and brands, designing some of the moves used in campaigns.
TikTok dances help propel artists to the top of music charts. On platforms like YouTube, the rights typically belong to the creator of the musical work, who earns the revenue. When the most danced creator on a platform is not compensated proportionally, it underscores a broader issue: visibility does not always translate to fair remuneration. (Attribution: Balder IP Abogados)
As the trend spreads, some creators in the United States are hiring specialist lawyers to defend their rights. Keara Wilson, who created the #SavageChallenge based on Megan Thee Stallion’s song, fought for over a year to confirm that her choreography was protected. Her dance went viral, and others copied it without proper credit. If a creator’s version is used in commercials or featured in a movie or game, the creator can seek compensation.
Choreographies are recognized as artistic expressions and protected by intellectual property law in various jurisdictions. Lawyers emphasize the importance of documenting originality, such as sketches, photographs, or video, to demonstrate authorship. In Spain, there is no requirement to register with a national IP office for protection if the choreography is shown to be original and fixed to a physical medium.
When a choreography is truly original and demonstrably created by a specific person, it may be possible to oppose imitators on social media and pursue infringement claims. Nonetheless, defending intellectual property rights can be challenging given the vast scale of platforms with billions of users. (Attribution: Balder IP Abogados)
In professional dance environments, works are typically named and registered when a company produces a show. A top choreographer notes that in the theatrical world, formal registration helps protect a body of work, while social media creators should be prepared to address copies or unauthorized uses at a legal level. The landscape remains contested, with the line between spontaneity and professional manufacture often blurred on public feeds.
During the filming of a season, Méndez designed numerous choreographies weekly and sometimes faced situations where he unintentionally reproduced a colleague’s work. Though he acknowledges the pressure and workload, he stresses that professional dancers must handle such situations head-on rather than shrug them off.
Many observers feel that the dancing on social networks is entertaining but not a substitute for formal dance training. While some creators relish the give-and-take of online trends, others worry about the implications for professional academies and the value of credited authorship. The phenomenon highlights the tension between spontaneous creativity and the protection of intellectual property in a digital age. (Attribution: Balder IP Abogados)
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