i'm david and this is climate change sex. happiness in 3 books. this is the book for your. children smarter. books. 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 westen and african influences. this creation of adventure is led by choreographer rick should see. the dance studio is located 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 fee is. the beginning was incredible when it

became i mean did it me was the cloud on all the n.f.c. it was so. their energy is contagious i think they're amazing. the choreography is done and redone and redone and we've done it redone it's a volatile art 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 it 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 to translate and really see the other. gemini 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. from a number of films that are. right for from album front. for him. for. 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 contours. 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 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 and progression of innovation and heritage and makes a 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. 'd images of diversity images of coexistence. 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 society in our steps toward a more perfect future. in 22 while 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 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. all over and we were working. 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 ballet and what gives it certain why 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 ballet to text.

thank the public you know the performance and so did the dancers but richard siegel 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 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 frank to argue with frank who is a energy problem. and i think we have a completely different body so my body i realize working with him that it's really a bag i can twist in different directions and he's creating a lot it's a very strong so it's he he gets the steps in a different way 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 and we're all trying to translate basis just through the body so we don't we all have a spirit or just share it chords all that big way out of the mix not. just the.

chosen to mr it's fully studios so when i sing it will flatten that out oh do do others. have to work for it every day that gap. ballet is not natural like it's turning out like they have been saying all of that it's not. the south it is makes or 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. that. you know i'm watching them work right now it's really interesting for such 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 by like vertically and these styles of. dancing african styles and what the 1st thing that i'm and i'm imitating when i'm trying to do the steps is there is the posture of the horse shows and of course the singers you bring your you or your shoulders in front of your fit so you bend your knees and you run you and you lecture at nature but still bad there's a lot of movement potential. 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 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. see people who lives in madrid and travels to various european cities to work on a productions. he 1st learned about afro caribbean danced in the late 9900 small study new york. be amongst himself in the city's dance culture and quickly realized the benefits that the diversity could bring to contemporary dance society had changed so fundamentally since establishment of classical ballet

as it is still practiced in many places segal felt compelled to reflect this in his condo 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 up in the council and the 2nd time i lost because it comes completely halfway through because we have certain accents also in the electronic feet that i yeah yeah i take as a cue yeah so. in the end i don't know my caribbean part just came out.

current graffiti 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 dances 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 pulled boundaries.

for the job it was the freedom of this presidential experimental saying what they think you know like bring it out to bring out the best in those. who got to where no one likes to do it's just my piece this mouthpiece you know misfits it's the fact that michael was so you know like no come on like 3 you do it they want to now you're bring game these into your piece thank you so much. thank you but i do expect you know that today in the coming days more and more to let their vocabulary. and churn survive into the choreography course we're starting here because it gives us a good. scaffolding on which to hang the other or other rather graphic but i'm sure that's the way that it's going.

down since he's been away has been always in danger you know that it's coming no no like we have to make it seem to our community would then have to change that we are educating them on dance to go from a show i teach getting us all to this so that i think that this will come on it's also dances dances that's life. that's just everything. that. lagos is often disparaged as a sprawling dystopian cauldron of a city but it has a rich cultural same with concerts an opening at performances like this one honoring the life and work of afrobeat pioneer 10 if you change. the seat a coexistence of lifestyles and death star wars and of cultures.

that can share the stage living with only more info from. the other 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 coexist. siegel recently staged a premie at the new one a cool. made for walking. it's an intimate change of play and like you need takes to music is based on 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 yeah 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 used to this sort of like rounded out a 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. will. have

its own kind of difficult so why keep it all in your head at the same time but at the same time it's been a nice scientific experiment so great down something that actually naturally occurs 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 yeah exactly in each of the in the 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 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 this is for you i want to leave just for the next so can i can i see just just the hand phrase yeah yeah. yeah.

yes it's a language. in the language it's only about for over. the talking drum talks improve on. the talk in german tells you when it wants to to move your hand when you once are to move your legs so we don't just dance with listening to drama it's like a warning. to what i don't speak that language we need a bridge there with a guy small is like trying to tell people to be yourself. types that's really interesting listening to your own rhythm being yourself and insisting on the integrity of your or. your way in and the world is then she took that initiative was a very interesting choice for him to show you did not. want you were sealed

up so that's what we did we tried to remember her right there 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 then as this live music to tell. if. something. today it 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 so i feeling bad for being a bit classical and then today it just all came together and i wasn't really into enjoying it.

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 yeah of the ghost in it it's don't imitate him it's just be yourself although you hold a reaction which is interesting because in the piece actually it's a lot about following but it's also a lot about leading at the same 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 where you were leading before for a little bit when the follow up odds are that it will slowly for you if you watch is really cool if you want to make music if you want to make music yeah. just to tell you. i like the idea of

open and and let me just let it happen and what also they hadn't said that you know. 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 cultivated beatitude we're crying here but. we're in a position to be. 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 the hebrew translation of group of repairing the world. and i like it and i want to own that i can decide what values i want to own that 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 the power culture belongs to only the people who decide to own it.

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a. good. point. this is needed to use live from upper left outrage of the united states continues a day after an american airstrike kills iran's top general and an iraqi militia leader. thousands of mourners join a funeral procession in iraq as tensions in the region seoul governments are bracing for a response from the rennet as if it has a palace to avenge the death.