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 dances has arrived from germany they aim to create a new kind of ballet that will include the best of western and african influences.

this creative adventure is led by choreographer richard segal. the dance studio is located behind a gas station in the middle of an industrial area the dances know each other some of them met while the project was in the development stage others have danced on stage with siegel fee is. the beginning was incredible when it came on the music loud on and also the n.f.t. is the sort. of. their energy is contagious i think they're amazing. limitlessly limitless. choreography is

done. and we've done and we've done it it's a volatile artform at times it's useful. just to release some kind of latent energy which may still exist within the world. we have this doubts that choreograph we can teach you parts of that 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 and that's that's exactly. what we came for we have. a situation where are we care and 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. that she's perfectly fine for an album. from but.

for him. and from. 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 in file it art form something that really that really has contours. and on the other hand we have this idea of different 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 processing and it's passionate and contained within it a lot of energy and putting these 2 things together of different ballet of conservation and progression of innovation and heritage. and makes of friction. that's a that's that's not only very productive but i think it's very necessary i think that's exactly what we need. ready images of diversity images of coexistence. images of power. it's a positive optimistic hopeful. attitude toward our future. of our art form and over 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 these major work uni takes to. 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 from all over and we were working in an old dilapidated printing factory in the middle of the city that was just one concrete

open space. of course there was a strong african dance flavor vocabulary in the piece and the traces of that are very much in the and in the ballet and what gives it that certain line that's very exciting to watch. what began as a workshop with african downstairs which i. i was making the movement and they were translating my vocabulary that underwent another translation process and ultimately became the ballet you know text.

the public to the performance and so did the dancers but richard siegel

choreography is a process so he's revising a piece 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 i was as a as it goes. in my case i have friends who argue with frank who is a energy bomb. and i think we have a completely different audience so my body i realize working with him that it's really a drag i can twist in different directions and he's great even mocked is very strong

so it's that he he gets the steps in a different way sometimes and it's really interesting because i also don't speak french and when he speaks 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 know we all have a possibility to share it chords and i think we have a good microphone. just because. the. show's new to me mr x. police officer studios so when i was in the flat it wouldn't have come out that you do do of these things. have to work for it every day that. ballet is not natural like it turning out like they had been saying all of that it's not a natural thing south it makes for saying. that she

simply just it's a little different because i'm more at home an african dance afro dance. i have a dance school in ivory coast so i do performances 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 because such some of some of the vocabulary of you know textures is quite electric now that

in classical ballet by and large you always keep your shoulders over your hips fight like furtively here. in these styles of. dancing african styles and what the 1st thing that i'm that i'm imitating when 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 you or your shoulders in front of your it's and you bend your knees and you can you and your lecture measure but those bags there's a lot of movement potential. we've got this group of african drummers coming tomorrow and i think it would be really interesting among other things to do it down would be to actually change the music you know switched 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 it felt more more secure before we swapped in music out.

siegel lives in madrid and travels to various european cities to would productions . he 1st learned about afro caribbean dance in the late 1900 small study you'll. be immersed himself in the city's dance culture and quickly realize the benefits that a p.t. . versity couldn't bring to contemporary dance society had changed so fundamentally since you stablish me to classical ballet as it is still practiced in many places segal felt compelled to reflect this in this kind of graffiti.

so the 1st time we ran it with the drums i thought it was really on top of the of the counts anyway yes i know but in the council on the 2nd time i lost it becomes completely halfway through because we have certain accents also in the electronic beat but yeah yeah i take as a cue yes so. in the end my caribbean part just came out. of.

choreography that reflects today's multinational and multicultural societies that siegel's trademark here in like 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 dances were born they find a common language of artistic creation the blues pulled boundaries. the job give us the freedom of this present self experimenters say or what they think you know be it like bring it out to bring out the best in those. who got when no one lets you do it's just my piece this mouthpiece will misuse it speech it's not quite exciting so you like to come on like 3 you do anything out of the now you're reviewing this into your piece thank you so much. thank you

and i do expect you know that today in the coming days more and more to let their vocabulary. enter into got into the choreography course we're starting here because it gives us a good. scaffolding on which to hang the other or rather other fancy but i'm sure that's the way that it's going. dancing is has been way has been the way things are now i just let me know like we have to make it seem to our community would then have to change then we have a good sunday morning dance to go for performance show i teach kids all to this but i think that this will come on it's also dances dances that's life. that's just everything.

lagos is often disparaged as a sprawling dystopian cauldron of a city but it has a rich cultural saying with concerts an opening at performances like this one honoring the life and work of afrobeat pioneer 10 if you change. the seed a coexistence of lifestyles and death styles and of cultures. back and share the stage then the. name calling fall from. value of difference does give expression to that form for for that diversity and openness of of. spirit and curiosity about the other or everything you know frankly

with without discriminating without making a hierarchy that these things can co-exist. siegel recently staged the premiere at the new one a cool. made for walking. it's an intimate chamber of play and like unique takes to music by some african poly rhythms. he's working with polly with them 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 life being a musical the answer and this are very use of this sort of way rounded out a count or 34 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. it's kind of difficult so i keep it all in your head at the same time but at the same time it's one in my scientific experiment so breaks down something that actually will actually occur just like he was saying and african songs and dances and like natural rhythms but to sort of break it down into counts and so that we can visually kind of play with it you know exactly in each of them 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 called the rhythm 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 african drum theory that it's only fitting that we should we should experiment a bit well we have a big name for the drummer do this is for you i don't think that's just what the latest so can i can i see just just the hand phrase yeah yeah. yeah. yeah it's a language. in the language it's only about provide the talking drum talks and provide. the talking german tells you when it wants to to move your hand when one suits a move your legs so we don't just dance with listening to drama it's like you warning . you what i don't speak that language we need a bridge there with a guy

a small it's like trying to tell people to be yourself. types that's really interesting listening to your own rhythm between yourself and insisting on the integrity of your or. your way in and in the world at this end he took out a new sheet it was a very interesting choice for him to show you did not. want the world few years so that's what we did we tried to remember her right there right then right there without the assistance of video of. some of the tiriel and remits actually to you know to restructure it. and on top of that we later then as this live music to get.

to they became more incorporated in the body of the things we learned the last 2 days yeah all this all these speeds there's just kind of a few. in my body with also the classical training because the last few days i was her feeling bad for being a bit classical and then today it just all came together and i wasn't really judging it. to. be. the drumming was for made for walking was about. being yourself rather about being yourself. and dance to your own son still rooted in your own rhythm of the royal box. of the ghost image it's don't imitate him it's just be yourself 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 at the seat in 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 leaves you where you're leading before for a new follow up odds are that it will show you for you if your part is really cool if you want to make music if you want to make music here are. 2 very interesting. i like the idea of open and and let me just let it happen and what also they add is that you know oh let the lead. and let it affect you know. what can i do like going together

a group of people of artists who share the attitude or at least we are cultivating beatitude we're crying. we're trying. where in a position to be made. in 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 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 this you grew 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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