there's. lifestyle you're a. good. earth . we're saving global mungo's tell stories of creative people and innovative projects around the world ideas to protect the climate and boost green energy solutions by global ideas the umbrella new series of global 3000 on d w and online. news . 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 not changing behind a gas station in the middle. of an industrial area the dances know each other some

of them may want the project was in the development stage others have danced on stage with siegel is. the beginning was incredible when it became money didn't mean it was the cloud on all of the n.f.c. if they feel. their energy is contagious i think their amazing. choreography is done. redone and redone i mean done it means it's a volatile art form and at times it's useful. just release some kind of latent energy which may still exist within the world.

we have this downs that's choreographed 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 that's exactly. what we came for we have a a situation where 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. gemini a few months earlier the ballet of difference company was getting started the diverse group of dancers 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. numbers. for an album for. come up with one. from robin on top of. 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 art in an infile 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 in ballet of conservation and progression of innovation and heritage new and meigs of

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. 'd images of diversity images of coexist. images of power. it's a positive optimistic hopeful. attitude towards our future. of our art form numbers a society. that doesn't also discount perhaps the obligation for us as artists to also express the friction uncomfortable moment that we're passing through as a society in our steps toward a more perfect future. in

2012 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 down search for. all over and we were working in 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 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 ballet text.

thank you. the public you know the performance and so did the dancers but richard segal choreography is a process so he's revising the case 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 a as a ghost. in my case i have frank working with frank who is a energy bomb. and i think we have a completely different bodies so by a body i realize working with him that it's really like i can twist in different directions and he's a great evil act it's 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 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 share chords on that big way out of the next. to 0.

000-0000 shows were doing this tricks for the studios so when i didn't feel slighted that oh oh oh do do not do this. but. 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 true. self it just makes for saying. that simply just it's a little different because i'm more at home in african dance afro dance. so 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 for such some of some of the vocabulary and you know textures is quite electric now let's hope that in classical ballet by and large you always keep your shoulders over your heads fight like vertically and these styles of. dancing african styles that are what the 1st thing that i'm that i'm imitating when i'm trying to do the stuff that is there is the posture of the horse and of course as soon as you bring your you or

your shoulders in front of your hits and you bend your knees and you run you and your lecture it makes your butt cold bath 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. siegel 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 1918 small study in new york. be immersed himself in the city's dance culture

and quickly realized the benefits of 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 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'm in the council and the 2nd time i lost because it comes

completely half way through because we have certain accents also in the electronic the yeah yeah i take as a q yes so. in the end i don't like caribbean part just came out. current graffiti 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 dances were born they find

a common language of artistic creation the blues pull the boundaries. the job he was the freedom of his presence they are experimental say what they think you know be it like bring it out to bring out the best in those that could f.l.y. no one likes to do it's just my piece this mouthpiece you don't mess with that speech that's just not going to be silent so you're like no come on like 3 you're doing the thing with the now you're bring game this into your piece thank you so much. thank you but i do expect that you know that today in the coming days more and more to let their vocabulary. enter 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 dancing but i'm

sure that's the way that it's going. to. dance in the streets paved in ways it was in nigeria you know like just let me know like we have to make it seem to our community would dance like the children we are educating them one dance to go from a show i teach kids all to this so that i think that this will come on its own. douses that's his that's life that's good. that's everything. lagos is often disparaged as a sprawling dystopian cauldron of a city but it has a rich cultural scene with concerts an opening of performances like this one honoring the life and work of afrobeat pioneer.

a coexistence of lifestyles and of death star wars and of culture. that can share the stage living with her. own call and call from. valley of difference does give expression to that form for for that diversity and openness of. spirit and curiosity about the other for everything you know frankly with without discriminating without making a hierarchy that these things can coexist thanks siegel recently staged the premie at the new work called made for walking. it's an intimate chamber play and like

unique takes 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 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 the answer and this are very new so this sort of like rounded out a count or a 3424 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 been 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 break down something that actually will actually occur is like he was saying in african songs and dances and like natural rhythms but to sort of break it down and counts and so that we can visually kind of play with you know exactly in each of them in their in their bodies they're describing to 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 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 divisions will be fine because we just want you know just so you can connect can i see just just the hand through his. nose it's a language. the language for a token drum talks improver are. the talk in german tells you in one suit to move your hand. when you want to to 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 smallish like trying to be put in the. ice that's really interesting listening to your own rhythm being yourself and insisting on the integrity of your. your way in the world at this

and he took that initiative was a very interesting tricks for him to show you. more as we would see you. 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 layer in this this lives and use it to. try. to they became more incorporated in the body of the things we learned in 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. of the. kids 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 or following and the question the central question is who who will lead if no one follows and who will follow us no one the same way you alluded to before if we're going to do that when the follow up odds are that it will show you

for you if you watch is really cool if you want to make music if you want to make music yeah. i mean. i like the idea of open and and like you just have a lead could have and what also all of that and said that you know oh let me let. well i can't help 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. 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 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 that 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 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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