'd the photos to use are cars documents lives in bygone arrows. and leads to those living today. they are guarding guns as promised in a box. a legacy in black and white. collective memories transformers 14 on d w. s news. tonight. this is the. scene the body of dawson 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

so 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 creation of adventure is led by choreographer richard single. the dance studio is located behind a gas station. 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 for years. the beginning was incredible when it became i mean did it music loud or else the n f 3 if they felt. their energy is contagious i think they're amazing. the. choreography is done. redone and redone and we've done it redone 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 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 and that's that's 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. 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. from credible numbers. are. right for. their own but. there are. problems 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 that's heritage in coded in art in an infile it art form something that really that really has contours. 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 a process it's process and it's 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 new and megs of

friction. that some type starts 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 toward our future. of our art form of our 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

22 of the institute invited siegel to conduct a dance workshop in lagos that was a key point in the development of these major when. 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 develop a tape printing factory in the middle of the city that was just one concrete open space. of course there was a strong african dance flavor of the cabby larry in the piece and traces of that are very much in the in the ballet and it's what gives it that certain line 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 you know text.

probably not the performance and so did the dancers but richard seemed to choreography is a process so he's revising the piece 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 a ghost. in my case i have for. thank you argue with frank who is a energy bomb. and i think we have good 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 a great evil act it's very strong so it's that he keep getting the steps in a different way sometimes and it's 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 possibility to share chord song but i think we have

a direction. just because. it's. chosen to mr x. for me to studios so when i didn't feel flattered that i have. to do do others. have to work for it every day that that. ballet it's not natural like it's turning out like they are saying all of that it's not natural self it is a case for saying. that simply just it's a little different because i'm more at home in african dance afro dance. in the court 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 that in classical ballet by and large you always keep your shoulders over your hips fight right furtively here. in these styles it's. 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 course and of course as soon as 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 lecture but still 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 it would be to actually change the music you know switch them years ago to 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 swapped the music out. simple lives in madrid and travels to various european cities to would new productions. he 1st learned about afro caribbean dance in the late 1900 small study you'll. be immersed himself in the city's dance culture

and quickly realize 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 current opera faith. so the 1st time we ran it with the drums i thought it was really on top of the of the counts anyway yes kind of in the council on 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 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 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 pulled boundaries. who shot it was the freedom of this presidential experimental saying what they think you know like bring it all to bring it all the best in those. who got to when no one likes you doing. just my piece this mouthpiece you know may 16th speech i think my point was so you're like oh come on i'm sure you do anything i want to but now you will 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. and turn to god and to 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 to. dance and it's just been a ways has been listening now and i just let me know like we have to make it seem so our community would dance back to children we have a good sunday morning dance to go from a show i teach getting us all to this so that i think that that's what come on it's also dances dances that's life that's good that's just everything. that. 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 pinal an attempt to change.

the sea a coexistence of lifestyles and death styles and of cultures. that can share the stage living with. only more info from. 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 thanks siegel recently staged the premiere at the new one a cool. made for walking. it's an intimate chamber play and like you need takes to

music by some african poly rhythms. he's working with polly with them as for transit 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 life ina musical dancer and this are very used to this sort of like rounded out 8 count or 34 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. 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 nice scientific experiment so break down something that actually when actually occurred is 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 you know exactly in each of the in the 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 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 big room full of drummers the business school i'm. just where he lives so you can connect can i suggest just the hand phrase yeah yeah. yeah. yeahs it's a language and the language it's only about. the talking drum talks and provide. the talking drum on tells you when it wants to to move your hand when one suits and move your legs so we don't just dance with listening to the drama it's like a warning as you well i don't speak the language we needed a bridge there with a guy small it's 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. your way in and in the world at this

and he took that initiative was a very interesting choice for him to. work as well few years so that's what we did really tried to remember her right there and right then right there without the assistance of video of. some of the material and remits actually to you know to restructure it. and on top of that we layer then as this model is music to. today it became more incorporated in the body the things we learned the last 2 days yeah and all this all these speeds this 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 judging it. to. be. the drumming it was for made for walking was about. being yourself about being yourself. and dance to your own son still really in your own rhythm box. of the. image it's don't imitate. just be yourself 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 and following and the question the central question is who who will lead if no one follows and who will follow with no one the same way you will 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 you watch is really cool if you want to make music if you want to make music yeah. exactly. and a leg of the idea of open and and like you just have let it have and what also all of the atoms that you know. oh i can't have 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 to trying. where 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 that 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 look at 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.

thank you. this is polar ice in the in slices and he can interpret it physicist john haas how does the ice change how does it expand in winter and how does a melt in summer and what does this mean for the earth's climate big questions big

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