do do do do do didn't beethoven did in the end jazz. it is it does it out of 16 with. the world without beethoven i can't even begin to imagine. it told. her story september 16th. w. 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 creative invention is led by choreographer richard segal. played. 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 she is. the beginning was incredible when it

became i mean did it music loud or else the n f 3 it was so. their energy is contagious i think they're amazing. the. choreography is done. redone and redone and we've done it it's a ball of tile art form and at times it's useful. to still 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. 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. jammy 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. i mean ideas that are motivating.

siegal challenges the traditions and rules of classical ballet is especially in his work you need text. on a number of times just to pick up on time for a moment. from. your mom with one. problem 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 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 still forming it's it's process it's process and it 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 new 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. '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 as a society in our steps toward a more perfect future. in 20 to one of the good institutes invited siegel to conduct a dance workshop in lagos that was a key point in the development of these major work uni text.

i was invited by the good institute to come and make something for their festival that there were that they were having there and they brought together a group of west african downstairs for. 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. flavor vocabulary in the piece and the traces of that are very much in the ballet and what gives it that certain live as very exciting to watch. what began as a workshop with african dancers of which i was making the movement and they were translating my vocabulary. underwent another

translation process and ultimately became the ballet 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 pains 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 it goes. in

my case i have frank to argue with frank who is a energy bomb. and we have a completely different bodies so my body i realize working with him that it's really a bag i can switch in different directions and he's great on 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 he speaks well he's basically i'm trying to count in french for him as well trying to translate basis just to the body so we don't we all have a spirit it just shared chords and i think we have a mix. of. oh . just let's move this tricks fully to studios so when i

see the flag that oh oh oh that you do do not do this. but. to work for it every day that gap. l.a. is not a natural place it's turning out like they have been saying all of that it's not. the south it is makes for saying. that it's 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 fight like vertically and 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 torso and of course as soon as you bring into your shoulders in front of your it's and you bend your knees and you can you and you lecture and measure but 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 more secure before we swap the music out. segal who lives in madrid and travels to various european cities to work on a productions. he 1st learned about afro caribbean dance in the late 9900 small study in new york. immersed himself in the city's dance culture and quickly realized the benefits that if the diversity could bring to contemporary dance society had changed so fundamentally since you stablish went 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 and up in the council in the 2nd time i lost because it comes completely halfway through because we have certain accents also in the electronic feet that yeah yeah i take as a cue yeah so. in the end i don't know my caribbean part just came out.

hurry up repeat it reflects today's multinational and multicultural societies that siegel's trademark here in lagos 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 pool boundaries.

the job he was the freedom of his presence still experimental so what do you think you know like bring it out to bringing out the best in those odell could offer when no one lets you do it's just my piece this palfrey's you don't misuse it speed that's just not quite exciting so you like to come on like truly doing a thing or the now you're regain this into your piece thank you so much. thank you and i do expect that you know that today in the coming days more and more to let their vocabulary. enter into the hands of the choreography force 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 paving the way to begin with and really know what is

coming no no like we have to make it seem to our community would then this back to children we are educating them one dance a google performance show i teach students 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 pineal technical team. a coexistence of lifestyles and of death styles and of cultures.

that can share the stage living with. only one calling call from a. gallery of difference does give expression to that form for for that diversity and openness of of. spirit and curiosity about the other for everything you know frankly with without discriminating without making a hierarchy that these things can co-exist thanks siegel recently staged the printing at the new work called made for walking. it's an intimate change of play and like unique takes the music is by some 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 that 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 count or a story for 1 truth 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 why keep it all in your head at the same time but at the same time it's really 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 the 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 probably rhythm i just figured ok as long as we have 3 out of 4 of the dancers here as long as is 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 bit for the drummers using school which we just use so you can connect can i see just just the hand.

it's a language. the language for over a token drum talks improver are. the talk in drama the one who wants to to move your hand. when one suits to move your legs so we don't just dance with listening to the drama it's like you warning. you what i don't speak that language we need a bridge there with a guy smaller less 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 or. your way in the world with us and he took that initiative was a very interesting choice for him to. leave did not. want to go through

it so that's what we did we tried to remember right there right then right there without the assistance of video. some of the tiriel and remits actually do you know to restructure it. and on top of that we later then as this live music to. try. to they became more incorporated in the body 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 about being yourself. and dance to your own don't feel really in your own rhythm. box yeah. it's 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 at the same time and always trying to find the equal 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 are leading. in the follow up was to get people show you for you if your boss is really cool if you want to make music if you want to make music yeah then. do the same thing. i like the idea of open

and and like peaches have let it have and what also they haven't said that you know oh let me let. and i can't help it and let it affect you. what can i do i can going 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 the he 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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this is deja vu news live from berlin lebanon's government under pressure to resign one minister has already quit and the whole cabinet may soon followed her lead beirut has been cleaning up after a night of unaddressed and the huge explosions that ripped the city apart on tuesday. also coming up the people of the bella roots go to the polls president alexander lukashenko.