every journey begins with the 1st step and every language but the 1st word published in the. nico is in germany to learn german why not learn with them simple online on your mobile and free cell phone d w z learning course nikos free german made easy. to. use. i have a dance school in ivory coast i do performance as a choreographer and performer. but my dance is african afro dance afro beat and all that with richard it's very different because with richard it's classical contemporary afro japanese march choreography. it's japan. europe africa

a mixture of. lagos nigeria population more than 20000000 a small group of dancers has arrived from germany they aim to create a new kind of ballet that will include the best of western and african influences. this created tension is led by choreographer richard c. go. play. the dance studio is located behind a gas station in the middle of an industrial area the dense is known each other some of the project was in the development stage others have danced on stage with siegel. he is. the beginning was incredible when he came running

to musical out on all. 3 if so. their energy is contagious i think they're amazing. the. choreography is done. redone and redone i mean done it redone it's a volatile art form and at times it's useful. just to release some kind of latent energy which may still exist within the world. we have this downs that's choreographed we can teach it parts of we can modify parts of that but it shouldn't if it's not just in one direction that's what i'm

what i'm saying the important thing is exactly what has happened when we walked into the room and you guys were dancing and the music was good and we started going and everybody just started dancing and now i'm a sweaty mess. that's exactly. what we came for we have. a situation where of we can hybridize or as long as we're open as long as we learn from one another as long as we are. ready to translate and really see the other. jammy a few months earlier the ballet of difference company was getting started the diverse group of dances are among the best in the world some left prestigious dance companies to work with siegel. people have come to work people have come because they're because they're passionate about dancing in general and about dancing together in this group specifically. and the ideas that are motivating.

siegal challenges the traditions and rules of classical ballet especially in his work you need text. number. of sign for an album. for him. or an album from start to. the 2 terms ballet on one hand and difference on the other. appear to be oppositional they appear to be oppositional. on one hand ballet.

if i say that word it immediately elicits ideas of conservation and of and of heritage in coded in in an infile it art form something that really that really has contra. and on the other hand we have this idea of difference that's the world that we live in today very very much so. and it's messy and it's complex and its boundaries are not clear and it's it's still forming it's it's process it's process and it's passionate and contained within it a lot of energy and putting these 2 things together of differences ballet of conservation progression of innovation and heritage and makes a friction. that that's that's not only very productive but i think it's very

necessary i think that's exactly what we need. images of diversity images of coexist. images of power. it's a positive optimistic hopeful. attitude towards our future. of our art form or society. that doesn't also discount perhaps the obligation for us as artists to also express friction uncomfortable moment that we're passing through as a society in our steps toward a more perfect future. in 22 of the good institution invited siegel to conduct a dance workshop in lagos that was a key point in the development of his major work uni text.

i was invited by the good institute to come and make something for their festival that they were that they were having there and they brought together a group of west african downstairs. all over and we were working in an old. printing factory in the middle of the city that was just one concrete open space. of course there was a strong african. flavor vocabulary in the piece and the traces of that are very much in the in the ballet and what gives it a certain live that's very exciting to watch. what began. as a workshop with african dancers which i was making the movement and they were translating my vocabulary. underwent another

translation process and ultimately became the ballets you know text.

thank the public you know the performance and so did the dancers but richard segal choreography is a process so he's revising the pace to bring it closer to his original concept. so i think the best thing to do would be to just actually kind of pair you up and what will end up doing is we'll have we'll have you know 2 people doing doing the same thing but then i think we're going to start to make little modifications to it as as a as it goes. in

my case i have frank toward you and frank who is a energy bomb. and we have a completely different audience so my body i realize working with him that it's really like i can twist in a different direction and he's a great impact it's a very strong so it's that he he gets the steps in a different way and it's the really interesting because i also don't speak french and when he speaks well he's basically i'm trying to count in french for him as well trying to translate basis just for the body so we don't we all have a possibility to just share it chords all that big we have as i like to. call the. 000000. just me doing this tricks for we

just tedious so when i see the full flight 0000 that you get to do nothing is going . to work for it every day that gap. ballet is not natural like it's turning out like they had the same knowledge that it's not true self it makes for saying. that she simply just gets a little different because i'm more at home in african dance afro dance. i have a dance school in ivory coast so i do performance as a choreographer and performer. but my dance is african afro dance afro beat and all that. with richard it's very different with richard it's classical contemporary afro japanese march choreography it's japan.

europe. africa a mixture. that. you know i'm watching them work right now it's really interesting to some some of some of the vocabulary of you know textures is quite electric now let's hope that in classical ballet by and large you always keep your shoulders over your hips fight vertically and these styles of. dancing african styles and what the 1st thing that i'm and i'm imitating what i'm trying to do the steps is there is the posture of the horse shows and of course as soon as you bring your your or your shoulders in front of your it's and you bend your knees and you can you and your lecturer measure but those bags there's

a lot of movement potential. you've got this group of african drummers coming tomorrow and i think it would be really interesting among other things to do with them would be to actually change the music in. i'll switch the music out see what happens and for that the best thing would be if we could push it a little bit further the choreography a little bit further so itself more and more secure before we swap the music out. simple lives in madrid and travels to various european cities to work on new productions. he 1st learned about afro caribbean dance in the late 9900 small study new york. immersed himself in the city's dance culture and quickly realized the benefits that the diversity could bring to contemporary dance society has changed so fundamentally since the establishment of classical

ballet as it is still practiced in many places segal felt compelled to reflect this in this comic opera face. so the 1st time we ran it with the drums i thought it was really on top of the of the counts anyway yes and up in the council and the 2nd time i lost it becomes completely halfway through because we have certain accents also in the electronic the that yeah yeah i take as a cue yes so. in the end of my caribbean part just came out.

her younger feel that reflects today's multinational and multicultural societies that siegel's trademark here unlike us it's easy to see how the contributions of dancers from diverse ethnic backgrounds can enhance a performance it doesn't matter where the dancers were born they find a common language of artistic creation the blues foundries.

the job it was the freedom of this process of experimental sale of what they think you know like bring it out to bring in all the best in the us or that could definitely one lets you do it's just my piece this my feet you know misfits it's visited my court case i was so you're like oh come on like trying to do anything with the now you're revealing this into your piece thank you so much. thank you but i do expect you know it today in the coming days for more and more to let their vocabulary. and churn and she got into the choreography course we're starting here because it gives us a good. scaffolding on which to hang the other our other other cats in but i'm sure that's the way that it's going.

dancing it's just been wings has been with a major you know like it's coming no no like we have to make it seem to our community wouldn't we have to change the way i do kids in them or in dance to go from a show i teach judy's all to this so that i think that this will come on its own. douses that's his that's his life. that's his everything. lagos is often disparaged as a sprawling dystopian cauldron of a city but it has a rich cultural scene with concerts an opening at performances like this one honoring the life and work of afrobeat piny a senate committee. to see a coexistence of lifestyles and gas was and of cultures.

that can share the stage there is nothing the only long flowing. valley of difference does give expression to that form for or for that diversity and openness of of. spirit and curiosity about the other or everything like you know frankly with without discriminating without making a hierarchy that these things can coexist thanks siegel recently staged the premiere at the new work called made for walking. it's an intimate chamber play and like unique text the music is based on african poly rhythms. thank.

you. he's working with poly with this which means that there's multiple resumes happening in the body at the same time and yet it's been a challenge i think for all of us to go through that door. just because when you think of like being a musical dancer and this are very new so this sort of like rounded out 8 count or 3 4 1 to 4 or something that's very kind of measurable and these are all over the place and like a 5 and a 7 and 8 and a 3. and

a half to kind of difficult so like keep it all in your head at the same time but at the same time it's a nice scientific experiment so break down something that actually will actually occur is like he was saying in african songs and dances and like natural rhythms but just sort of break it down and counts and so that we can visually kind of play with it you know exactly in each of their in their in their bodies they're describing 2 rhythms and then those 2 rhythms are combining with the other ones as well so we get even more probably rhythm i just figured ok as long as we have 3 out of 4 of the dancers here as long as made for walking is based on the rhythm specifically the african drum theory that it's only fitting that we should we should experiment a bit while we have a big name for the drummer uses for the body which we just use so can i can i see just just the hand through his. head.

yes it's a language. the language for a talk and drum talks and prove all of. the talk in drama when he wants you to move your hand. when no one suits or move your legs so we don't just dance with listening to the drama it's like you wanted. to well i don't speak that language we needed a bridge there with a guy smallish like trying to the job be yourself yes. that's really interesting listening to your own rhythm being yourself and insisting on the integrity of your. your way in and in the world at this and he took that initiative was a very interesting choice for him to. do. more than well sealed

up so that's what we did we tried to remember her right there and right then right there without the assistance of video. some of the tiriel and remits actually to you know to restructure it. and on top of that we later in this this lives music to. today it became more incorporated in the body of the things we learned the last 2 days yeah and all this all these speeds is just kind of fused in my body with also the classical training because the last few days i was so i feeling bad for being a big classical and then today it just all came together and i wasn't really judging it. to.

be. the drumming it was for made for walking was about. being yourself rock about being yourself. and dance to your own don't feel really in your own rhythm. box yeah. don't imitate don't imitate it. just be yourself and follow your own direction which is interesting because in the piece actually it's a lot about following but it's also a lot about leading up to saving time and always trying to find this useful measure between leading and following and the question the central question is who who will lead if no one follows and who will follow if no one the same way you alluded to that when you followed up odds are that it will show for you if you watch is really cool if you want to make music if you want to make music yeah.

i like the idea of open and and like you just have a good head and what also all of a adam said that you know only. and i can't help and let it affect you. what can i do i can grin together a group of of people of artists who share the attitude or at least we are cultivating the attitude we're trying they're trying. where in a position to be making the world better. to repair the world. as one might say it is our obligation.

the idea of repairing the world is it's not mine and i inherited that. this is my own tradition of my parents of the jewish tradition that i come out of to come along is that is the is the hebrew translation of of repairing the world. and i like it and i want to own that i can decide what values i want to own and the idea of repairing the world yes it's a grand notion but. you know what's happened what's wrong with having values we all have that power culture belongs to only the people who decide to own it.

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