- 7 hours ago
Category
📺
TVTranscript
00:12It has a magic that I love.
00:25Living the music and being able to offer that to the audience, I think, is a gift.
00:32It's a gift from the art form.
00:35To me, dance means feeling.
00:40They're playing the instrument that we all have in common, the body.
00:44But they're playing it with their heart and their mind.
01:03Someone should really talk about it, that it is cruel.
01:07Like, you have to always push your limits.
01:09There are a lot of people that really want to push you.
01:13They really like you.
01:14But that can be very toxic, too.
01:17Just finding the people that can make you forget about all of the competition that could be involved in that
01:23is the best thing that you can do for yourself.
01:25I'd love to improve and get better.
01:28It's always something that will push me.
01:32There are no stories written for people that look like me.
01:36But what about new stories?
01:40The society needs this art more than ever.
01:48We are on the planet to follow our art.
01:54The terminology is all in French.
01:57And wherever in the world you are, classical ballet stays classical ballet.
02:24We are on the planet to follow our art.
02:28We are on the planet to follow our art.
02:31We are on the planet and we are on the planet to follow our art.
02:38To be a dancing girl and garden girl.
02:44We are on all the beach.
02:46We love to be a dancer and a beautiful tini.
02:54We love to be a scene.
02:56We love singing, music and music.
02:58My parents are proud of me, it's incredible, so we're all amazed.
03:12It would be a dream to be in the opera stars.
03:18It's a passion, a job, but in the same time,
03:22it's doing what we love every day, it's beautiful.
03:29Often, we have children who realize that we need to work on stage.
03:34We need to work even more when we do the second or the third year.
03:40It's really, in the same time, with the stress,
03:44but in fact, we don't really think about it.
03:47We're rather happy, and frankly, we're really happy.
04:06We have a particular repertoire, the ballet, for example, the romantic ballet.
04:12We have a class work that is really focused on the bas of the jambe,
04:15and we're really focused on the coordination.
04:17We have a particular position of arms, which is much more inside of us.
04:21It's a work of rapidity, of virtuosity, rather feminine.
04:27We're looking for children who will have an open space
04:30enough to be confronted with the demand of the outside.
04:37We're looking for children who will have an articulation of feet,
04:40which will allow them to make a half-point to be able to use the pirouette technique.
04:46After that, we're looking for children who have an ability to move,
04:50which are logical, in the directions.
04:55Allonge your arms, and...
05:02The dance dance is the oldest in the world.
05:05Its origin comes to Louis XIV,
05:08who, the Ier, understood the need to form dancers
05:13and maintain a style and a technical level.
05:23There's to listen to the music.
05:25There's to listen to what we hear.
05:28There's to listen to what we hear.
05:29And then, there's to understand what we hear.
05:32It's really incredible to be in this school.
05:35Everyone would like to be in this school.
05:37All the dancers, it's really beautiful and incredible.
05:41Everything is done so that we can learn in the best of the case.
05:49What do you think of the length of your child?
05:55What do you think of the length of your child?
05:56What do you think of the length of your child?
05:59The teachers are looking for not to have too much to do.
06:03So, it's good because we're not too much.
06:10The teachers are looking for the three important entities of life
06:14of a child in school.
06:16That's the academic school, the artistic teaching
06:20and the housing school.
06:24I would not want to be living in the parent's room
06:25as far as having my parents,
06:27think it's difficult.
06:27In the meantime there's a good mood in my internat.
06:29but I still prefer to go to the streets and go home every night because it's still difficult.
06:39There are parents who are very worried about the investment they bring to their children.
06:45Even if the school is free, there are free fees.
06:49They wait for results.
06:52...
07:11On a beau être optimiste,
07:13c'est pour ça que j'adore mon métier parce que je vois que des jeunes,
07:16je vois des gens qui ont plein de rêves, je vois des choses merveilleuses,
07:18mais il faut être conscient qu'avoir un enfant maintenant,
07:21c'est un énorme chemin à faire avec cet enfant et on est sûr de rien.
07:26On est sûr de rien.
07:27Alors dans les carrières artistiques, c'est pire que tout.
07:32Bonjour.
07:33Donc là, on est à l'internat au troisième étage.
07:36C'est l'étage des grands garçons.
07:38Venez, on va aller dans ma chambre.
07:41Allez-y entrer.
07:43Salut, Oscar.
07:44Ça va ?
07:44Là, il y a mon pote Oscar.
07:45On est trois dans la chambre.
07:47Donc dans un box, c'est pareil partout dans tout l'internat.
07:50Ici, on a le lit.
07:52C'est la même taille pour tout le monde.
07:53Là, on a un bureau pour travailler, faire les devoirs le soir.
07:58Et puis là, on a plein de placards.
08:00C'est libre de rangement.
08:02On choisit où est-ce qu'on met notre valise, les serviettes, etc.
08:05Et on peut aussi ramener des objets.
08:08Pareil, ça, c'est libre.
08:10C'est sympa.
08:10On peut un peu ramener des choses qui nous font penser à chez nous, etc.
08:13Donc là, moi, j'ai ma petite table basse bleue que j'ai depuis tout petit.
08:17Donc c'est histoire de me rappeler aussi ma famille.
08:22Je suis arrivé le jour de mes dix ans.
08:24Donc ça fait six ans que je suis interne.
08:27Finalement, je n'ai pas trop connu la jeunesse des autres gens de mon âge.
08:36Il y a des jours où j'ai la flemme, mais déjà, il y a l'échauffement.
08:40J'ai tendance à me remettre dedans mentalement entre midi et 13h30.
08:44C'est un moment très important de la journée pour se réchauffer,
08:47pour se rappeler aussi ce qu'on va faire, les corrections, etc.
08:51Tout de suite, je me mets dans un état d'esprit important pour le cours.
08:58Souvent, quand il y en a un qui a la flemme, on est avec lui.
09:01Et puis, si on a tous la flemme ensemble, ben...
09:03On est tous au cours ensemble.
09:06Alors, cette barre-là, elle est très facile, donc...
09:09On est encore plus exigeants, d'accord ?
09:12Désolée, je...
09:41Si à chaque fois qu'on est fatigué ou qu'on n'a pas envie, on n'y va pas,
09:44on ne va pas s'améliorer, hein ?
09:51Reste, reste, reste, bouge plus !
09:53Ça s'arrête au millimètre auprès !
09:58Ça s'arrête au millimètre auprès !
10:00Ça s'arrête au millimètre auprès !
10:04Ça s'arrête au millimètre auprès !
10:11Ça s'arrête au millimètre auprès !
10:14Ça s'arrête au millimètre auprès !
10:23Ça s'arrête au millimètre auprès !
10:26Ça s'arrête au millimètre auprès !
10:34Ça s'arrête au millimètre auprès !
11:01Ça s'arrête au millimètre auprès du style,
11:02vous le voyez vraiment dans les armes,
11:05essentiellement.
11:06Si c'est russe, si c'est plus balanchine,
11:08ou si c'est plus Paris Opera.
11:10Les positions sont les mêmes,
11:11mais stylistically, c'est un petit peu différent.
11:13Ils ont des mêmes approches.
11:14leaves ont un peu différent,
11:15mais comme...
11:15classique ballet,LR
11:16est un petit peu en français. La
11:19terminologie est tout en français et
11:21où en même temps vous, vous
11:24parlez un français, donc
11:25chacun peut répondre à ça. J
11:28'ai tous mes études dans
11:29la scolaire Paris Opera. Et
11:30puis là, je
11:31suis professeur dans la Belgique et
11:33après, je suis allée au secret du
11:34San Fransisco Ballet.
11:41Pascal Mollat, he saw me at a competition and he invited me to come to the school and
11:46I decided to come.
11:50I think it's about going to places where you know that you're loved and appreciated as
11:54much as you love them.
11:57I'm very happy with that decision.
12:02Dancers, we obviously need to have some sort of talent to get to where we are here, but
12:08it also is a lot of a, it's a big brain thing.
12:17We need to be able to know what mark we're on or what count we move on or how to
12:23act etiquette-wise
12:25in class.
12:32Dancers are quite hard on themselves.
12:34So when something doesn't work, they have tendencies sometimes to get frustrated.
12:39So I try to eliminate that negative energy and bring to them like some tools to ask themselves
12:45the good question about the mechanics, about their placement.
12:48That's why I'm talking a lot about preparation and transition steps.
12:53Yes.
12:54Yes.
12:55Good spotting.
12:56Exactly.
12:57Because like I explained to them, it's not like when you are in the air that you can really
13:01fix something.
13:01So everything is in the preparation.
13:03When you are getting tired, it's not to throw everything away.
13:06You know, it's straight to condemn the energy and know when you have to push and let it float
13:11Yeah.
13:19One of the biggest things that dancers struggle with is kind of coming to the studio and doing
13:25the same thing every single day.
13:27But I think just reminding yourself why you do it and why you love it could help you motivate
13:32yourself every single day.
13:34Just like as you are getting here, like one, two, like already down, plie.
13:39I love to, you know, improve and get better, so it's always something that will push me.
13:45Push up, up, up, down.
13:48I want to see one, down, plie.
13:50Almost on a stretch, like plie.
13:52So you control and you stay here.
13:54You don't transfer.
13:56Our school, they want everyone to be strong, like for partnering and stuff like that.
14:01Stomach.
14:02The fact that we're lifting and, you know, dancing like 24-7, I feel like that keeps
14:09me in shape a lot.
14:13In Paris, it's super classical, like they have a specific, you know, body type that they
14:19go for and that they love.
14:21When I was there, like all the guys and even the girls, like they were super surprised
14:26and like saying how like muscular I was.
14:29And I feel like here, like it's a very common thing.
14:56Stay.
14:58Stay.
14:59Stay.
15:00Blackout.
15:01You're gonna have to hold it in a down.
15:02at least for 10 seconds.
15:04So you gotta hold every muscle in your body at that point.
15:07I just got hired into the company here at San Francisco Ballet,
15:12so I'll be doing that next year.
15:14I really would like to stay in this company
15:17for as long as I can, at least, yeah.
15:20San Francisco Ballet is an extraordinary company.
15:25It is made up of a diverse group of dancers
15:28who've come from all over the world
15:30and had training in very many different places.
15:33The more types of dancers are used to doing,
15:37the better it is and the more successful
15:39they'll be in this company.
15:40Everybody's good?
15:41Everybody's clear in their head?
15:43Yeah.
15:44Good. That's the most important.
15:47Clarity.
15:48Clarification.
15:50All right, see you at 6.30.
15:58Ballet's a hard thing,
15:59and going through all of that
16:00without any sort of emotional support from your parents too,
16:03I think.
16:04That's why we're all, like, so close-knit here,
16:06is because we rely on each other for that sort of thing.
16:09We made sure of it.
16:15I've lived here for two years now.
16:17I try to put a lot of, like, photos and memories
16:21of things that, like, may remind me of home
16:23or people that I love a lot.
16:27So, yeah, I just kind of put, like, pretty things up on my wall
16:31or photos of my friends.
16:33I left when I was 15 to come here.
16:36I'm 17 now.
16:38It was definitely a hard thing to move away from home that young,
16:42but I'm happy I did.
16:48I really love this city,
16:50and I think I've made it kind of my own home by now.
16:57Our students in our upper levels,
16:59they come from all over the country.
17:01They've mostly come together at an older age.
17:04They haven't trained together from that young age all the way through,
17:08like they do in Paris.
17:12The world is really big.
17:14It's very small, but it's very big as well.
17:16And when our students see other dancers from other schools
17:20and they live in Europe or they live in Australia
17:23or they live somewhere else,
17:24it lets dancers know that ballet is bigger than here.
17:34First picture of the stage.
17:37We didn't speak about the transition between three and four.
17:44We're missing two.
17:46We're missing two.
17:47Das Junior Ballet besteht aus Tänzern zwischen 18 und 20.
17:51Wenn sie zwei Jahre bleiben, sind sie 20 oder 22.
17:55Und das ist ein Alter, wo man dann im Ensemble schon sein sollte.
18:01Denn dann folgen, sagen wir, 15, 20 Jahre
18:04der professionelle Laufbahn und manche sind mit 28 vielleicht so weit gekommen,
18:15dass sie sich sagen, dieser Beruf ist zu anstrengend für mich
18:18oder mein Körper macht nicht mit.
18:19Dagegen gibt es andere Tänzer, deren Körper ist ohne Probleme
18:25und dann können sie weit über 40 tanzen.
18:40Dagegen gibt es andere Tänzer-Tänzer-Tänzer-Tänzer-Tänzer-Tänzer.
19:09Dagegen sind ja auch motion Под detentionstern.
19:11Denn das ist ja die Paraps-Tänzer-Tänzer-Tänzer-Tänzer-Tänzer-Tänzer-Tänzer-Tänzer-Tänzer
19:24und so viel zusammenziehen.
19:27Ich bin in meinem Zuhause, und habe ich gelernt von Ballet.
19:28It was amazing, certainly it was amazing.
19:48A dancer has developed within two years.
19:52They come out of good schools.
19:54And you have to see that they still have their technique,
19:58but dance differently.
20:00With more body awareness,
20:02so that they can go into two years
20:04and go as a rich dancer.
20:16My first season was very tough for me,
20:18because I got injured.
20:19It was hard.
20:23I was worried if I hurt her or something.
20:27And then the rest of the rehearsal for me was like,
20:29oh my God, I hope she's okay.
20:32I hope she's okay, please.
20:36That responsibility is horrible,
20:38because one injury in this stage of life
20:41can be like a killer.
21:06And I remember she was struggling for quite a long time in the junior.
21:12She had like a problem in her foot, I think.
21:16It was also an addition to the drama,
21:18because I didn't know if I made things worse.
21:22Good feeling!
21:26Good connection!
21:27The Junior Company also supports me.
21:30And a dancer who has lost it,
21:32it's like, oh, that's the end of my career.
21:34And just as a guide to be there,
21:38that they can realize, okay, there is still someone.
21:41Share!
21:44Sensation!
21:48Relax!
21:55Thank you, thank you very much.
22:00It was very hard to work on, of course, the injury,
22:03but of course, like, security on myself.
22:06Yeah.
22:07Good job, good job.
22:09I was also thinking about the second season in the junior
22:12that you have to audition,
22:13and I was very insecure about that.
22:18You have to learn as a dancer.
22:20If something goes wrong,
22:22you have to be able to keep connecting and keep feeling
22:26and be able to communicate with the other person
22:28so the show can go on.
22:30Not the show, the connection, the feeling,
22:33because it's not about the show,
22:35it's about the feeling of things.
22:39You have the whole season to just, like, focus on yourself,
22:43dance,
22:44finish the season with the junior,
22:45which is very special,
22:46because it's something that doesn't happen twice in the life,
22:50so I just got to enjoy.
22:52I just want to enjoy the maximum potential,
22:55like, keep pushing and keep working,
23:00because I just love it.
23:13That Bayer's Junior Ballet
23:15has a repertoire that sets the repertoire
23:18on different directions of the dance.
23:22and they have here a protected room,
23:26where you have time to focus on details,
23:31because the idea is not over the morning.
23:40Because they live here,
23:42also in the Wohnheims,
23:44they learn to come together
23:45to come forward or to entwalt themselves.
23:49I'm glad to say hi.
23:52Can I come in?
23:53Yes.
23:54Yeah, this is my room.
23:55Slowly starting to move in,
23:57so it's a work in progress.
24:00I take my shoes off,
24:01because I'm from an Asian family.
24:03I'm very lucky to have a balcony.
24:06We've got a good side.
24:07Yeah, because you can see the studios.
24:10Yeah.
24:10And the sun, like, always coming in.
24:13I've still got one more suitcase,
24:15filled with clothes,
24:16but I'm procrastinating that a little bit.
24:18These are some photos I've collected from all over.
24:20And this is my tea section.
24:24I drink a lot of tea.
24:25My grandma gave me her film camera from the 1950s.
24:32This section is very fluffy, I think,
24:35because I love fluff.
24:37It's very nice,
24:37because I like to do a bit of photography.
24:39It's so fluffy.
24:40I moved here from New Zealand,
24:43but I was living in Amsterdam.
24:44That's where I did my training.
24:46I'm half Japanese, half Indian,
24:49and I'm from Australia,
24:51and I just graduated from the Berlin State Ballet School.
24:55It is very far from home,
24:58but I have this sort of attachment to Europe.
25:01I don't know.
25:01I love it here,
25:02and I love the ballet world here,
25:05and the culture of the people and everything.
25:07Everyone's, you know, working,
25:08but really positive and nice.
25:15Achi is a pupil of the ballet academy here in Munich,
25:20but there were other wishes for Achi to work somewhere else,
25:25and then she went to Canada.
25:29Yeah, National Ballet of Canada.
25:30And now Alonzo King.
25:32Yeah, Lines Ballet.
25:33Lines Ballet.
25:34Yeah, San Francisco.
25:35You know how they start the classes with Mr. King?
25:40Show us.
25:42We're just rubbing our heads together to feel the heat.
25:46And then when you stop and you start opening,
25:49you feel like that tingling feeling and that connection,
25:51and it just kind of like stays with you throughout the dance,
25:55so you know how that's always connected,
25:58like wherever your arms are,
25:59and like, yeah, you're sensitive to it,
26:01rather than just having a dance.
26:03I love it, yeah.
26:05That's one, and two, and two, three.
26:10I was in the National Ballet of Canada,
26:13in the Cours de Ballet.
26:14You learn to be very aware to look around
26:17and to dance exactly like that,
26:19and to keep your face and your hands
26:21like the person in front of you.
26:23You don't ask a lot about what's going on to me
26:28or how long I want to stretch myself
26:30or how big is my step?
26:33It's like if they all are small in the fourth,
26:37then you also have to be small in the fourth.
26:39So how they would go with me like that,
26:42Manchmal gab's Rollen,
26:43die sind so perfekt für mich,
26:44die sind so große, lange,
26:46aber da muss man wieder danach
26:47ganz lange warten
26:48und dann kommt vielleicht wieder was.
26:50Ich habe mir gedacht,
26:51es wäre so schön,
26:52wenn es irgendwie jemanden gibt,
26:54der einfach was für mich choreografiert,
26:56wo man dann wirklich alles benutzt,
26:58was ich irgendwie so zu geben habe.
27:01I think it started so, that Alonso realized that the big people have fewer chances to be in a company.
27:10And then he said, I love this, I create a company where they can come.
27:15And that's something special.
27:22When we go to the hall, we are in a new world.
27:26In my opinion, the world is a step further, where we think, what is important?
27:33What do we want to say? What do we want to say?
27:36What do we want to say?
27:46If you define yourself by your race, your age, the religion you happen to grow up in, the geographic location
27:57where you were born, what is that saying about you?
28:00I mean, very small, although incredibly interesting, because points of view in cultures are fascinating.
28:10But one of the ways that the world works is no one culture has all the answers, no one.
28:20And that's why we need each other.
28:22And that's why we have to listen and to observe even things that we think aren't important.
28:31And so when dancers are able to separate the idea of their body from their self, there becomes a huge,
28:41bigger understanding.
28:42What are they doing?
28:44They're playing the instrument that we all have in common, the body.
28:48But they're playing it with their heart and their mind.
28:52They're not imitating, they're not trying to be a knockoff or a copy, but they want to be their true
28:58selves.
28:59That's what you see on stage, you're dancing your consciousness.
29:22Since I'm now with Lines, I'm growing up and I love it, I'm growing up.
29:27I'm growing up.
29:28I'm growing up.
29:29I'm growing up.
29:31I'm growing up.
29:33I'm growing up.
29:33I'm growing up.
29:39It's just a lot. There's just a lot more.
30:00We're going to try to dance, I almost said, in the same voice.
30:05We're going to try to dance in the same way, but all are different.
30:12What I see with pleasure,
30:14for example, the spectacles of the Lac des Signes,
30:16at the Opéra Bastille, are absolutely full.
30:21So, this production has 40 years.
30:24She hasn't aged.
30:28The new generations are going on with appetite
30:32and desire.
30:35So, yes, the society evolves,
30:39but we see that at the Opéra de Paris,
30:41there is still need to be reconforted
30:44and comforted in the history,
30:46but in advance.
31:01It's a bit of a handicap.
31:04It's a bit of a handicap.
31:04It's because of the moment they enter the Opéra,
31:06as we form them to be dancers at the Opéra de Paris,
31:10they dream of the Opéra de Paris
31:11and, very often, they have a lot of trouble
31:13to be in another company.
31:21After, during their scolarity,
31:24we'll maybe identify the children
31:26and say, you know,
31:27maybe this company would be better.
31:30So, we'll try to bring them to the end of the course,
31:32to their diploma
31:33and then, perhaps,
31:35to the other auditions.
31:40It happens obligatoirement
31:42by a period of doubt,
31:43it happens by a period of tristesse,
31:46it happens by moments,
31:48sometimes, of revolt.
31:50But, it is necessary to recognize
31:51that all children from the dance school
31:54will not be engaged
31:55all of the Corps of Ballets of the Opéra.
32:23So, we'll see you next time.
32:24We'll see you next time.
32:28When I was even 11 years old,
32:30I saw my first ballet,
32:31full ballet on a video.
32:33It was Swan Lake with Makarova.
32:34And I remember calling my mother
32:36and telling her,
32:37do you see the swans,
32:39the two lines of swans
32:40that are there while the adagio is happening.
32:43And I told my mom,
32:44I want to be the last one of the line.
32:58And I thought that the first in the line,
33:00you have to be very good
33:01to be the first in the line.
33:02But I thought,
33:03maybe the last one,
33:05I think I could work for that.
33:07And I said, you know,
33:08I want to be her
33:09because her work is to go on stage.
33:11And that was the only thing I wanted.
33:43And there are a lot of things that are,
33:45maybe tough in the profession
33:47because you have to mature very fast,
33:50very early.
33:51And you have to be very good at making good decisions
33:54and maintaining a good, healthy mind and body.
34:12Let's go.
34:13And through the toe.
34:21Foot, foot, foot, foot.
34:25Oh, stop, stop, stop, stop, stop, stop, stop, stop.
34:28Don't do too much.
34:29Make it comfortable first.
34:31I don't want you to hurt your knees,
34:32your foot, your feet, sorry, plural.
34:35Yes?
34:36Sorry, I'm Frenchy,
34:37like you realize.
34:38I was, I think,
34:40like the dance,
34:41a bit nervous
34:42because it was the first day
34:43with 13 new members.
34:45It was the beginning of the game
34:46and some people wanted to prove
34:48that they are good
34:48or to show that their feet are higher.
34:51And then I said, no,
34:52I'm relaxed,
34:53I'm relaxed,
34:54but I'm really placed.
34:56And one stays,
34:58strong stomach,
34:59don't pull back.
34:59On your legs.
35:00I went to Paris and Russia.
35:03After I finished my high school,
35:04I was really overwhelmed and tired
35:08by this entire ballet world,
35:12like always so strict and limiting
35:14and very competitive,
35:17really competitive.
35:25There are a lot of people
35:26that really want to push you.
35:28They really like you.
35:30But that can be very toxic too.
35:33When it becomes possessive,
35:34when it becomes abusive.
35:41I'm, yeah, I don't want to start
35:47being too emotional now,
35:49but it leads to really unpleasant places
35:55and situations with yourself.
35:58I mean, I was never abused,
36:00but I've seen,
36:01I've seen it happen.
36:04I was under so much pressure
36:08and, you know,
36:09going to sleep,
36:10noting all the corrections
36:12for the next day.
36:13Every day, new corrections,
36:14a new page,
36:15like trying to remember,
36:17trying to go through it,
36:18going, brushing my teeth,
36:19but actually doing it for Debra.
36:20Like, it was crazy, crazy,
36:23the way we were living.
36:26You know, at my age,
36:27I know a lot of generations
36:29of dancers,
36:30and many of them,
36:30they have finished very traumatized
36:32by experiences that they have
36:34with directors,
36:36with ballet masters,
36:37in companies.
36:38There are just things
36:40that are actually not possible
36:41to be anatomically,
36:42but they are allowed
36:43to be allowed
36:43because those,
36:44who taught us
36:44did not learn it differently.
36:47I was 18.
36:49That was the teacher,
36:50that was extremely demanding,
36:52was extremely possessive,
36:54and he was choking me.
36:55You know,
36:56he was trying to make me believe
36:58that without him,
36:59I could not dance anywhere
37:00because he was scared
37:01of losing me.
37:02He was on top of me
37:03the whole time.
37:04He could not let me breathe.
37:06Like, all the foot disorders
37:08and, like, problems with your head
37:12and you don't know why
37:14you can't sleep at night
37:15and stuff.
37:16It scared me so much
37:17to not be happy doing
37:19what I always wanted to do.
37:20You get to the point
37:21that you really don't like yourself
37:23looking in the mirror.
37:45I didn't really understand,
37:47why I should continue doing something,
37:49that makes me hate myself really.
37:52And so that helped me say,
37:54that's it.
37:54This is not normal.
37:55I'm leaving.
37:56And from one word to another,
37:59from one person to another,
38:00I found out about this company
38:01and they gave me hope.
38:03Okay, let's go.
38:04Last group.
38:07And...
38:10That's the thing with this company,
38:12it allows you to learn and experience
38:16and be more at ease with yourself.
38:19And since we're only 16 dancers,
38:20it's just really easy for yourself to open up
38:25and to actually evolve.
38:32Two demis,
38:33you're going forward and back.
38:34Two demis,
38:34you're going to go forward all the way around.
38:39Two demis, you're going to go forward all the way around.
38:39Big position.
38:40Two demis and a grand.
38:41Let's do the other side.
38:43Great.
38:43I did have weight issues as a dancer
38:46and then I also had one serious injury
38:50and I worked through it.
38:52I didn't...
38:53I didn't stop.
38:55So I can attest to the students
38:58that they need to take care of things.
39:00So I do feel like I have a lot of personal experience
39:02that I can bring into the conversation
39:04when I'm working with students.
39:06All right.
39:07Right foot, fifth front.
39:09Prepare seven, eight.
39:10We take accent out.
39:11One.
39:12Pedagogically,
39:12we're all looking for the same thing.
39:14We're all looking to make sure
39:15that we have healthy dancers.
39:17The students nowadays are critical thinkers,
39:21so we have to approach class in a way
39:23that it makes sense to them.
39:24We need to make sure
39:26that they are not just being told what to do,
39:28but they really need to understand why
39:31in order for it to be relevant in their lives.
39:34Thirty years ago, you go in the classroom,
39:37whether it was a ballet class or an academic class,
39:40and the teacher was in charge.
39:42And you didn't question.
39:44You didn't even ask questions
39:46unless you were invited to.
39:47You took what the teacher said,
39:49and that was that.
39:51And kids nowadays challenge everything.
39:54And that's why I feel like if teachers can explain
39:57to the students and make it relevant to them,
39:59I still can retain my authoritative status
40:02without being mean about it.
40:08And that's why I made a camera.
41:46Ganz, ganz wichtig ist, dass diese jungen Leute mit Kunst zusammengebracht werden, mit Künstlern, die ihnen andere Wege aufzeigen, wie
41:55man lernt, wie man überhaupt an Dinge herangeht, wie man über die Welt reflektiert.
42:00Diese Routine zu durchbrechen und die jungen Leute zu motivieren, wirklich auch ihre künstlerische Biografie selber in die Hand zu
42:08nehmen.
42:14Und bei den Inhalten ist es tatsächlich so.
42:17Solange wir so eine Vorstellung haben, was klassisches Ballett ist und wenn wir Klassik sagen, meinen wir ja immer das
42:2219. Jahrhundert und immer Pötipa im Grunde genommen und vielleicht noch ein bisschen Ivanov und sonst gab es da im
42:26Grunde nichts.
42:28Dann müssen wir uns auch vorstellen können, dass wir das, was wir schön finden, unsere ganzen Ideale von langbeinig und
42:35filigran, davon müsste man weggehen und sagen, nein, dann können wir uns eben auch ein Dornröschen von Pötipa vorstellen, wo
42:42das Cours de Ballet eben sehr heterogen ist.
42:45Und das müssen die Ballettdirektoren und Direktorinnen dann wollen, das müssen die auch durchsetzen.
43:35Und das müssen die Ballettdirektoren und Direktorinnen dann wollen, das müssen die auch durchsetzen.
43:54Das müssen die Ballettinstimmungen sein, das müssen die Ballettinstimmungen stattfindet.
43:54Es kann sein, dass man sich gar nicht so viel zu sehen kann, wenn man wirklich glaubt, dass man sich
44:00wirklich glaubt.
44:01Ich habe never gedacht, dass mir selbst als ein Blacker Dancer war.
44:05Ich sehe mich als ein Dancer und Artistisch heraus, weil ich immer noch nicht tanzen kann, ohne Bewegung.
44:12I know at this very point in my career, I can do that.
44:15So I consider myself an artist, not a dancer.
44:22My message is, do not see yourself as a color.
44:25See yourself as the person you are.
44:30And it's not something that actually I thought of
44:33even when I was in Cuba, because Cuba is so diverse.
44:38But at the same time, in the ballet world, we are just a few.
44:47This euro-centric view we have, and this racism is always a power construct.
44:54Always.
44:54And we are always above.
44:55The white people are always above.
44:57That's so.
44:59We can't talk about it without the experts,
45:04namely those who are the ones who are concerned.
45:07Of course, there is a generation now,
45:11which is self-awareness.
45:12But under the choreographers,
45:16there are still very few women
45:18and even more people from other nations
45:21with a different color.
45:29who are not far.
45:31In ballet, we are actually talking about storytelling.
45:35There are no stories written for people that look like us.
45:38And that is an issue because there is so much history.
45:42And it's beautiful to keep the classicism.
45:45Giselle, La Valladere, Swan Lake,
45:48and the other girl that lost her shoe.
45:51The same story over and over and over again.
45:55But what about new stories?
45:57What about actual new stories?
46:24What about actual new stories?
46:30What about new stories?
46:32What about new stories?
46:33What about new stories?
46:40What about new stories?
46:41What about new stories?
46:42What about new stories?
46:43What about new stories?
46:43What about new stories?
46:44What about new stories?
46:45What about new stories?
46:45What about new stories?
46:45What about new stories?
46:49What about new stories?
46:51What about new stories?
47:17The quality, the breathing, everything, it's great.
47:26I cry every time.
47:28It's so beautiful.
47:32It's like, you know, when you have children and you know that they're going to go away
47:36on some, some ways, you know, it's part of the journey and if you are prepared, but you
47:40are a special group.
47:41Yeah.
47:43Really.
47:43Why is it not?
47:44Don't ever lie.
47:45Bye.
47:48It's something that in real life you don't have.
47:51These emotions that you can feel when you play a role or this energy that you feel on
47:57stage.
47:59As far as I can keep doing it, that will be my reason to continue dancing.
48:03If I'm not in pain and if I still enjoy every second that I spend on stage, I'll keep going.
48:37I'll keep going.
49:07If I'm a great class,
49:08If I see the classical dance, I always wonder, but there are only a few dancers who have found the
49:16depth in the classical dance.
49:19They don't just make movements, but they are so deep in the role that they are in a different world.
49:37It's a physical manifestation of your emotions, and being able to offer that to the audience, I think, is a
49:45gift. It's a gift from the art form.
49:57You go on stage, and you give all the energy you have in you, and you can't really tell if
50:04it's positive or negative.
50:06You just give it all out. You're like a light bulb.
50:09And when you go off stage, after the adrenaline and everything, you realize, well, that was like a spark.
50:16I was there for the people, and they took it all in, and now I am uncovered.
50:23I don't have any more layers. You know, it's like when you blow in a dandelion and all the petals
50:30go out.
50:32It's just like that. But for a moment, you were great.
50:34It's just like that.
50:37It's just like that.
50:39It's just like that.
50:52It's just like that.
50:59It's just like that.
51:08It's just like that.
51:16It's like that.
Comments