forests and entire residential areas. rising temperatures water shortages land clearance there's an abundance of flammable material once again there's no stopping the players play these numbers going up and snowflakes little conflagration the world on fire starts aug 12th on t.w. . such. good news. is. 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. play the dance studio is nightshade behind a gas station in the middle of an industrial area the dent. know each other some of

them may want to project was in the development stage others have danced on stage with siegel he is. the beginning was incredible when he came on the music loud on all the n.f.c. if they felt. their energy is contagious i think they're amazing. the. choreography is done and redone and redone and we got it redone it's a volatile 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 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 just 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 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. 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. or phone number systems that are. right for all and for most are from. going off with one. another 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 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 passionate and contained within it a lot of energy and putting these 2 things together of differences ballet of conservation and progression of innovation and heritage. and makes

a friction. that perhaps 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 artform numbers a 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 2012 because the institution invited siegel to conduct

a dance workshop in lagos that was a key point in the development of these major would. 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 and its 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 why has 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 then underwent another translation process and ultimately became the ballet unit text.

the public 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 will end up doing as well 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 a ghost. in my case i have. frank who argue with frank who is a energy bomb. and i think we have a completely different body so my body i realize working with him that it's really a rag i can squish in a different direction and he's a great evil act it's very strong so it's 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 know we all have a spirit if you're just sharing chords so i think we have a direction. that is.

just not serious tricks for me to studios so when i see the flash of that. do voodoo mother is. going to. have to work for it every day that. ballet it's not natural like it's turning out like they have been saying all of that it's not a natural self it is a case 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. you know i'm watching them work right now it's really interesting for such some of some of the vocabulary of humor textures is quite electric now but in classical ballet by and large you always keep your shoulders over your hips by like vertically. in these styles of. african styles and what the 1st thing that i put on imitating when i'm trying to do the stats is there is the posture of yourselves and of course the singers 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. alice . who got this group of african drummers coming tomorrow and i think it would be really interesting among other things to do with that would be to actually change the music you know switch them years ago 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 work on your productions. he 1st learned about afro caribbean danced in the late 9900 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 his stablish meant 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 so it's kind of in the council on the 2nd time i lost it becomes completely halfway through because we have certain accents also in electronic the

the yeah yeah i take as a q yes so. in the end i don't know my caribbean part just came out. of. the. current graffiti that 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 boundaries.

the job he was the freedom of expressive still experimental so what do you think it will be like to bring it all to bring it all the best in those. who got to win that he won late soothed. it's that though despite these this palfrey's you know message seems to be good it's not going to suddenly so you're like oh come on like 3 you do anything on the now you're brigade 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 into the edge of the choreography force we're starting here because it gives us a good. scaffolding on which to hang the other our other other casting but i'm sure that's the way that it's going.

dancing is has been rings has been always in danger now but just let me know you know like we have to make it seem to our community would dance with the children we are educating them on dance go from a show i teach kiddies off to this or that i think that this will come on it's also down says dancers dances like that's beautiful that's just everything. lagos is often disparaged as a sprawling dystopian cauldron of a city but it has a rich cultural scene with concerts an open air performances like this one honoring the life and work of afrobeat pioneer technical change.

to. the sea a coexistence of life styles that styles and of cultures. that can share the stage when the. only woman come from. ballet of 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 them this would change if 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 ina musical the answer and this are very new so this sort of like rounded out 8 count or 34 1 to 4 or 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 in kind of difficult so why keep it all in your head at the same time but at the same time it's one of my scientific experiments so break down something that actually will actually occur as. like he was saying in african songs and dances and like natural read them but to sort of break it down into talents and so that we can visually kind of play with that 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 paul the 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 then it's only fitting that we should we should experiment a bit while we have

a big room full of drummers editions for you to find. just within that just so you can connect and i see just just the hand phrase. yes it's a language and the language it's only about. the talk and drum talks improve on. the talking german tells you when it wants to 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 wanted . to well i don't speak that language we needed to bridge there with i did i explore this like trying to. be yourself yes. that's really interesting listening to your own rhythm being yourself and insisting on the integrity of your. your way in and in the world at this

and he took that initiative was a very interesting tricks room to tell you. what you were sealed up so that's what we did 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. and on top of that we later than this this my music to. try. to they became more incorporated in the body of the things we learned the last 2 days and all this whole these speedsters 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. and. then the. drumming was for made for walking was about. being yourself right about being yourself. and dance to your own son still rooted in your own rhythm box. of the ghost in the kids don't imitate him it's just be yourself for 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 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 we did before if we're going to do that when we flew up odds are that it will show that for you if your boss is really cool if you want to make music if you want to make music yeah.

it's an interesting. i like the idea of open and and like you just have a and that could happen and what also all they added that you know oh i think. and 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 and 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 recovery pairing 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.

motor sport is it still a man. no way above the bus to compete in a race car driver. and they are winning. carl rove motorsport expert consensus the fastest female wrestler car drivers of all time ok let's talk. through

a small dog. largest waterfall here you can tie in with bulging. eyes an art project going to straighted by swiss artists day out tonio mile and a team of filmmakers. zeiner is an musician ry ality the multimedia show in sao paulo. in 16. w. . more. like . oh. my god just up our sleeve for the russian song. state. so

many different walks of life because some are. oddly tried but all of this comes straight from the heart it's what i see you because there's no more delusion the march will in trucks coming. from the 1st of the last to their final resting place the russians d.w. documentary. we know that this is a scary time for the coronavirus is changing the world changing our lives so please take care of yourself keep your distance wash your hands if you can date and how we do w. me for here for you we are working tirelessly to keep you informed on all of our platforms we're all in this together and together we'll make it through to. stay safe everybody stay safe stay safe stay safe increase stay safe.

this is deja vu news live from berlin clashes between police and protesters. after state media say president alexander. is set to win another election by a landslide police deploy it water cannon tear gas and stun grenades in the heart of minsk. lebanon's government hangs in the balance.