and in the future. drug use 60 minutes doubling. and on demand. language courses. video and audio. anytime anywhere. w. media center. is. because. 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. play goes nigeria population more than $20000000.00 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 creation of adventure is led by choreographer richard siegel. plays the dance studio is now changing behind a gas station in the middle of an industrial area. the dances know each other some

of the met while the project was in the development stage others have danced on stage with siegel for years. the beginning was incredible when they came on the music loud or else the n f 3 if they felt. their energy is contagious i think they're amazing. the choreography is done. and done and we've done it it's a volatile r. form and at times it's useful. to see release some kind of latent energy which may still exist within the world. we have this downs that's choreographed we can teach parts of we can modify parts of

that but it shouldn't 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 that's exactly. what we came for we have. a situation where are 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. jenny 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 is special in his work you need text. numbers that she's. trying for. an album 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 contour. 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 process and it's passionate and contained within it a lot of energy and putting these 2 things together of difference of ballet of conservation progression of innovation and heritage. and makes

a friction. that's 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 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 20 to one of the good institute's invited sequel to conduct

a dance workshop in lagos that was a key point in the development of these major work uni takes. 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 traces of that are very much in the in the ballet and what gives it that certain guide 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 then underwent another translation process and ultimately became the ballet unit text.

the public loves the performance and so did the dancers but richard segal choreography is a process so he's revising mccain 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 we'll 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 for. thank you argue with frank who is a energy bomb. and then we have put a completely different bodies so my body i realize working with him that it's really a rag i can squish in different directions and he's great in a locked it's very strong so it's that he he gets the steps in a different way sometimes and it's a 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 spanish or to share chords on that big we have

a directional. this. is. just one serious tricks for me to studios so when i do the flat it comes down to do do others. have to work for it every day that. ballet it's not natural like it's turning out like they have saying all of that it's not natural self it is makes for saying. that she simply just it's a little different because i'm more at home in african dance afro dance. 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 with richard it's classical contemporary afro japanese march choreography it's japan. europe. africa a mixture. 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 vertically and these styles of. dance or african styles and what the 1st thing that i'm what i'm imitating what i'm trying to do the stats is there is the posture of yourselves and of course as soon as you bring your you

or your shoulders in front of your soon to bend your knees and you can you and your lecture lecture but still bags there's a lot of movement potential. this . is who got this group of african drummers coming tomorrow and i think it would be really interesting among other things to do it would be to actually change the music you know 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 more secure before we swap the music out. siegel who lives in madrid and travels to various european cities to would productions. he 1st learned about afro caribbean dance in the late 1918 small study you'll. be a most himself in the city's dance culture and quickly realize the benefits that

the diversity could bring to contemporary dance society has changed so fundamentally since you stopped listening 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 it was kind of in the council and the 2nd time i lost it becomes completely halfway through because we have certain accents also in the electronic

feed that i yeah yeah i take as a cue yeah so. in the end i don't know my caribbean heart just came out. of. choreography that reflects today's multinational and multicultural societies that siegel's trademark here and 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 dancers were born they find a common language of artistic creation the blues food boundaries.

the job he was the freedom of the suppressor still experimental so what do you think it'll be like bring it all to bring it all the best in those. who got to win what he was led to do. that though this might be this small fees you know misuse it be affected my point exactly so you're like oh come on like 3 do anything like that now you will regain this into your piece thank you so much. thank you but i do expect you know it today in the coming days more and more to let their vocabulary. enter and survive into the choreography force we're starting here because it gives us a good. scaffolding on which to hang the other our other their passing but i'm

sure that's the way that it's go. dancing is just given wings to begin with and they are now like this coming no no like we have to make it seem so our community would then have to change then we are educating them on dance to go from a show i teach kids today so that i think that this will come on it's also dances dances dances like this do for us is everything. lagos is often disparaged as a sprawling dystopian cauldron of a city but it has a rich cultural scene with concerts and open air performances like this one honoring the life and work of afrobeat pioneer 10 mph in.

the sea a coexistence of life styles death styles and of cultures back and share the stage there in her. own home her come from a. rather different does. give expression to the form for or for that diversity openness of. spirit. 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 of a new work called made for walking. it's an intimate chamber play and like unique takes the music is by some african poly rhythms.

he's working with polly 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 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. i have to kind of difficult so i keep it all in your head at the same time but at the same time it's when my scientific experiment so breaks down something that actually will actually occur is like. he was saying. african songs and dances and like natural read them but to sort of break it down and counts and so that we can visually kind of play with it yeah 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 poly 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 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 did this is for you but it's just for the letters so you can connect can i see just just the hand phrase yeah. yeah. yeahs it's a language. the language it's only about. the talking drum talks improve on. the talking german tells you when it wants you to move your hand when one suits to move your legs so we don't just dance with listening to drama it's like you're warming. up i don't speak that language we need a bridge there with i did i explore this like trying to. be yourself yeah. that's really interesting listening to your own rhythm and being yourself and insisting on the integrity of your. your way in

and in the world that then he took that initiative was a very interesting choice for him to. work as we were sealed up so that's what we did we tried to remember right there right then right there without the assistance of video of. some of the tiriel and remits actually to you know to restructure. and on top of that we later in. this my music to. try. to they became more incorporated in the body the things we learned the last 2 days yeah and all of this all these speeds this 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 right about being yourself. and dance to your own don't steal redeem your own rhythm box yeah. we're going to meet it's don't imitate him it's just be yourself or do you 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 lead it before if we're going to do that we're going to follow up odds with people who show you for you if your boss is really cool if you want to make music if you want to

make music yeah. it's any theory. i like the idea of open and and like peaches have a good head and what also all of a adam said that you know oh. let let it happen and let it affect you. what can i do i can bring together a group of of people of artists who share the attitude or at least we are cultivating the attitude we're trying we're trying. we're in a position to be making the world better. to repair the world. as

one might say 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 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 happening 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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