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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.
02:31I have no memory of Jules or Gisèle than an contemporary ballet ballet.
02:39We are on the planet.
02:40We dream of being ad multiply les alas.
02:43We dream of dancing with a goutessia wardrobe.
02:46We dream of presentedness.
02:58My parents are proud of me, it's incredible, so we are 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, it's doing what we love, it's beautiful.
03:29We often have children who realize that we need to work on stage, and we need to work even more
03:35when we do it in the second or the third year.
03:40It's really, in the same time, with the stress, but in fact, we don't really think about it.
03:47We're rather happy and we're really happy.
04:06We have a particular repertoire, the ballet, for example, the romantic ballet.
04:11We have a class work that is really focused on the bas of the jambes, 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 enough open the bassinet to be confronted with the demand of the outside.
04:37We're looking for children who will have an articulation of the feet, which will allow them to do half-point
04:42to be able to use the pirouette technique.
04:47Then, we're looking for children who have an ability to move, which are logical in the directions.
05:02L'école de danse de l'opéra est la plus ancienne au monde.
05:06Son origine remonte à Louis XIV, qui, le premier, a compris la nécessité de former des danseurs
05:13et de maintenir un style et un niveau technique.
05:23Il y a entendre qu'il y a de la musique, il y a écouter ce qu'on entend, et
05:29puis après, il y a comprendre ce qu'on entend.
05:32C'est vraiment incroyable d'être dans cette école.
05:35Tout le monde voudrait être dans cette école.
05:36Tous les danseurs, c'est vraiment un endroit très beau et puis incroyable.
05:42Tout est fait pour qu'on apprenne dans le meilleur des cas.
06:00Les professeurs font attention pour qu'on ait pas trop de devoirs, donc c'est bien parce qu'on n
06:05'est pas trop chargés.
06:09Ici, on pourrait réunir les trois entités importantes de la vie d'un enfant à l'école, c'est-à
06:16-dire la scolarité académique, l'enseignement artistique et le logement.
06:24J'ai jamais voulu être interne parce qu'être loin de mes parents, c'est difficile, mais en même temps,
06:28il y a une bonne ambiance à l'internat, mais je préfère quand même faire les trajets et rentrer chez
06:34moi tous les soirs parce que c'est quand même difficile.
06:39Il y a des parents qui sont très inquiets de l'investissement qu'ils apportent à leur enfant.
06:46Même si l'école est gratuite, il y a des frais annexes, ils attendent des résultats.
07:11On a beau être optimiste, c'est pour ça que j'adore mon métier, parce que je vois que des
07:15jeunes, je vois des gens qui ont plein de rêves, je vois des choses merveilleuses.
07:18Mais il faut être conscient qu'avoir un enfant maintenant, c'est un énorme chemin à faire avec cet enfant
07:24et on est sûr de rien.
07:26On est sûr de rien. Alors dans les carrières artistiques, c'est pire que tout.
07:32Bonjour. Donc là, on est à l'internat au troisième étage. C'est l'étage des grands garçons. Venez, on
07:38va aller dans ma chambre.
07:41Allez-y entrer. Salut, Oscar. Là, il y a mon pote Oscar. On est trois dans la chambre.
07:47Donc dans un box, c'est pareil partout dans tout l'internat. Ici, on a le lit. C'est la
07:52même taille pour tout le monde.
07:53Là, on a un bureau pour travailler, faire les devoirs le soir. Et puis là, on a plein de placards.
08:00C'est libre de rangement.
08:01On choisit où est-ce qu'on met notre valise, les serviettes, etc. Et on peut aussi ramener des objets.
08:08Pareil, ça, c'est libre. C'est sympa. On peut un peu ramener des choses qui nous font penser à
08:12chez nous, etc.
08:13Donc là, moi, j'ai ma petite table basse, une bleue, que j'ai depuis tout petit. Donc c'est
08:17histoire de me rappeler aussi ma famille.
08:22Je suis arrivé le jour de mes dix ans. Donc ça fait six ans que je suis interne. Finalement, je
08:28n'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. J'ai tendance
08:40à me remettre dedans mentalement entre midi et 13h30.
08:44C'est un moment très important de la journée pour se réchauffer, pour se rappeler aussi ce qu'on va
08:49faire, 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. Et puis, si on a
09:02tous la flemme ensemble, on est tous au cours ensemble.
09:06Alors, cette barre-là, elle est très facile, donc on est encore plus exigeants, d'accord ?
09:12Désolée.
09:22Désolée.
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.
10:15Sous-titrage Société Radio-Canada
10:27PIANO PLAYS
10:56I mean, there is a difference in style between France and America.
11:01The style, like, you really see it, like, through your arms, essentially.
11:05If it's Russian, if it's more Balanchine, or if it's more like Paris Opera,
11:10the positions are the same, but stylistically, it's a little different approach.
11:14But, like, classical ballet, it's a classical ballet.
11:19The terminology is all in French, and wherever in the world you are,
11:23you speak French, so everybody can respond to that.
11:27I did all my studies in Paris Opera School.
11:30From there, I went professional in Belgium,
11:33and after I joined the San Francisco Ballet.
11:41Pascal Ballet, he saw me at a competition,
11:43and he invited me to come to the school, and I decided to come.
11:50I think it's about going to places where you know that you're loved and appreciated
11:54as much as you love them.
11:57I'm very happy with that decision.
12:03Dancers, we obviously need to have some sort of talent to get to where we are here,
12:08but it 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,
12:21or how to act etiquette-wise in class.
12:32The dancers are quite hard on themselves,
12:34so when something doesn't work,
12:37they have tendencies sometimes to get frustrated.
12:39So I try to eliminate that negative energy
12:42and bring to them, like, some tools
12:44to ask themselves the good question
12:46about the mechanics, about their placement.
12:48That's why I'm talking a lot about preparation
12:51and transition steps.
12:53Yes, yes.
12:55Good spotting, exactly.
12:57Because, like I explained to them,
12:58it's not like when you are in the air
13:00that you can really fix something.
13:01So everything is in the preparation.
13:03When you are getting tired,
13:04it's not to throw everything away, you know,
13:07it's to try to condense the energy
13:08and know when you have to push
13:10and let it float the rest.
13:11It's like, oh, oh.
13:13So you have just a moment
13:14where you push and let it float.
13:16You push, let it float.
13:17You push and let it float, yeah?
13:19One of the biggest things
13:21that dancers struggle with
13:22is kind of coming to the studio
13:24and doing the same thing every single day.
13:27But I think just reminding yourself
13:28why you do it and why you love it
13:30could help you motivate yourself
13:33every single day.
13:34Just like as you are getting here,
13:36like one, two, like already down, plié.
13:39I love to, you know, improve and get better,
13:42so it's always something that will push me.
13:45Push up, up, up, down.
13:48I want to see one, down, plié.
13:50Almost on a stretch, like plié.
13:52So you control and you stay here.
13:54You don't transfer.
13:56Our school, they want everyone to be strong,
13:59like for partnering and stuff like that.
14:01The fact that we're lifting
14:03and, you know, dancing like 24-7,
14:07I feel like that keeps me in shape a lot.
14:13In Paris, it's super classical.
14:16Like they have a specific, you know,
14:18body type that they go for
14:19and that they love.
14:20When I was there,
14:22like all the guys and even the girls,
14:25like they were super surprised
14:26and like saying how like muscular I was.
14:29And I feel like here,
14:30like it's a very common thing.
14:58Stay, stay, stay, blackout.
15:01You're going to have to hold it
15:02at least for 10 seconds.
15:04So you got to hold every muscle
15:06on your body at that point.
15:07I just got hired into the company
15:09here at San Francisco Ballet,
15:11so 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.
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
15:38and the more successful they'll be in this company.
15:40Everybody's good?
15:41Everybody's clear in their head?
15:43Yeah.
15:44Good.
15:44That's the most important.
15:47Clarity, clarification.
15:50All right.
15:51See you at 3.30.
15:58Ballet is a hard thing
15:59and going through all of that
16:00without any sort of emotional support
16:02from your parents too, I think.
16:04That's why we're all so close-knit here
16:06is because we rely on each other
16:08for 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 photos and memories
16:21of things that may remind me of home
16:23or people that I love a lot.
16:27So, yeah, I just kind of put 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
16:40to 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
17:07all the way through, like 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
17:18from other schools, and they live in Europe
17:21or they live in Australia or 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
17:39between three and four.
17:44We're missing two.
17:46Das 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.
18:08Und 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.
18:26Und dann können sie weit über 40 tanzen.
18:40The fact that I was in the junior
18:43made me change a lot as a dancer,
18:47even if this is just my start in my career.
18:52You get to know so many people
18:54and you get to dance so many different things.
18:57You get to work with different choreographers,
18:59different ballet masters,
19:01working in this opera house
19:03and work hard every day.
19:09I was in my hometown and I learned ballet.
19:11Then I went to London,
19:13so it was like the technique period.
19:16And then when I came here,
19:18it was like the artistry learning for me.
19:23Two years of so many stimulus
19:26and so many choreographers.
19:28It was amazing.
19:30Certainly it was amazing.
19:41I'd say that.
19:48A dancer is developing within two years.
19:52At least in good school,
19:54and you have to see their technique
19:57still needs.
19:58But they do another work.
20:00With even more bodybuilding,
20:02so that they can go through two years
20:04while they can go as a fit.
20:07I'll be able to re-taint that for me.
20:16My first season was very tough for me because I got injured,
20:19and it was hurt.
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, I hope she's a great pleasure.
20:35That responsibility is horrible because one injury
20:39in this stage of life can 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 because I didn't know if I made things worse.
21:27The junior company also supports me.
21:30Because a dancer who has lost,
21:32it's like, oh, that's the end of my career.
21:34And just as a guide to being there,
21:38that they realize, okay, there is still someone.
21:41Share!
21:44Sensational!
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, and I was very insecure about that.
22:18You have to learn as a dancer.
22:20If something goes wrong, you have to be able to keep connecting
22:24and keep feeling, and 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, it's about the feeling of things.
22:39You have the whole season to just, like, focus on yourself, dance,
22:44finish the season with the junior, which 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, because I just love it.
23:13That Bayer's Junior Ballet has a repertoire,
23:17that gives attention to different directions of the dance.
23:22And they have here a protected room, where you have time to focus on details,
23:31because the idea is not over the morning.
23:40Because they live here, also in the Wohnheims,
23:44they learn to come together in the collective,
23:46to come forward or to entfalten.
23:49I've got to say hi.
23:52Can I come in?
23:53Yeah, this is my room.
23:55It's slowly starting to move in, so it's a work in progress.
24:00I take my shoes off because 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, and the sun, like, always coming in.
24:13I've still got one more suitcase filled with clothes,
24:16but I'm procrastinating that a little bit.
24:18These are some photos I've collected from all over.
24:21And 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, because I love fluff.
24:36It's very nice, because 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.
24:50And 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, I 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.
25:26And then she went to Canada.
25:29Yeah, National Ballet of Canada.
25:31And now Alonzo King.
25:33Lions Ballet.
25:34Lions Ballet, yeah.
25:34San Francisco.
25:35Let's go.
25:35You know how they start the classes with Mr. King?
25:40Show us.
25:43We're just rubbing our heads together to feel the heat.
25:47And then when you stop and you start opening,
25:49you feel like that tingling feeling and that connection.
25:52And 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 it start.
26:03I love it, yeah.
26:05That's one and two and three.
26:10I was in the National Ballet of Canada,
26:13yeah, in the Corps du Ballet.
26:14Also, man lernt, very bewusst to be,
26:16um sich herumzuschauen
26:17und genauso to tanzen,
26:19sogar das Gesicht und die Hände so zu halten
26:21wie die Person vor dir.
26:23Es ist halt nicht viel gefragt,
26:25so von wegen, was passt mir?
26:28Oder wie lange möchte ich mich strecken?
26:30Oder wie groß ist eigentlich mein Schritt?
26:33Das ist halt, wenn die alle vor dir klein in die vierte gehen,
26:38musst du auch klein in die vierte gehen.
26:42Also, manchmal gab es Rollen, die sind so perfekt für mich,
26:44die sind für große, lange.
26:46Aber da muss man wieder danach ganz lange warten
26:48und dann kommt vielleicht wieder was.
26:50Ich habe mir gedacht, es 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.
27:01Ich glaube, das hat so angefangen,
27:03dass Alonso irgendwie gemerkt hat,
27:05die großen, langen Leute haben weniger Chancen,
27:09in eine Company aufgenommen zu werden.
27:10Und dann hat er gemeint, ich liebe das.
27:12Ich kreiere eine Company, wo die hinkommen können.
27:14Und das ist schon was Besonderes.
27:22Sobald man hier in den Saal reinläuft,
27:24sind wir an einer neuen Welt.
27:26Und in meinem Auge ist die Welt
27:28einfach schon so einen Schritt weiter,
27:30wo wir einfach daran denken,
27:32was ist wichtig?
27:33Was wollen wir sagen?
27:34Was wollen wir ausdrücken?
27:42Oh.
27:46If you define yourself
27:48by your race,
27:51your age,
27:53the religion you happen to grow up in,
27:55the geographic location
27:57where you were born,
27:58what is that saying about you?
28:01I mean,
28:02very small,
28:03although incredibly interesting
28:05because points of view
28:07in cultures are fascinating.
28:10But one of the ways
28:12that the world works is
28:14no one culture
28:16has all the answers.
28:19No one.
28:20And that's why we need each other.
28:22And that's why we have to listen
28:24and to observe
28:25even things that we think aren't important.
28:31And so when dancers are able to separate
28:34the idea of their body
28:36from their self,
28:39there becomes a huge, bigger understanding.
28:42What are they doing?
28:44They're playing the instrument
28:45that we all have in common,
28:47the body,
28:48but they're playing it with their heart
28:50and their mind.
28:52They're not imitating,
28:53they're not trying to be a knockoff
28:55or a copy,
28:57but they want to be
28:57their true selves.
29:00That's what you see on stage.
29:01You're dancing
29:01your consciousness.
29:22After SLIDE
29:23I'm now about theاîns
29:23I'm much stronger
29:24and I love it to move
29:26my big angle
29:27and I want to move
29:28as much bigger
29:29as much longer
29:31The longer and longer, the better.
29:32Not to hold back back.
29:34I thought, that was the stop, now it's this.
29:39There's always more.
30:00we will try to dance them, I will almost say in the same voice, we will try to dance them
30:06in the same way, but in being all singular and different.
30:12What I see with pleasure is that, for example, the spectacles of the Lac des Signes at the
30:17Opéra Bastille are absolutely full.
30:22So this production has 40 years, it has not grown.
30:28The new generations are filled with passion and courage, so yes, society evolves, but we
30:40see that at the Opéra de Paris, there is still need to be reconforted and comforted in history, but in
30:47advance.
31:01It's a bit of our handicap, it's that when they enter the Opéra, as we form them to be
31:08dancers at the Opéra de Paris, they dream of the Opéra, and very often they have a lot of
31:13experience in the other company.
31:21After, during their scolarity, we will maybe identify children and say, you know, maybe this
31:28company would be better.
31:30So we will try to bring them to the end of the course, to their diploma, and then perhaps
31:35to bring them to other auditions.
31:40It happens to be a period of doubt, it happens to be a period of sadness, it happens to be
31:48a period of revolt, but it is necessary to recognize that all children from the dance school
31:54will not be able to be engaged in the Corps of Ballet of the Opéra.
31:57It happens to be a period of difficulty.
32:28When I was even 11 years old, I saw my first ballet, full ballet on a video.
32:33It was Swan Lake with Makarova.
32:34And I remember calling my mother and telling her,
32:37do you see the swans, the two lines of swans that are there while the adagio is happening?
32:43And I told my mom, I want to be the last one of the line.
32:58And I thought that the first in the line, you have to be very good to be the first in
33:02the line.
33:02But I thought maybe the last one, I think I could work for that.
33:07And I said, you know, I want to be her because 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 maybe tough in the profession
33:47because you have to mature very fast, very 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. And through the toe.
34:16So, foot, foot, foot, foot, glissat, glissat, glissat, oh, stop, stop, stop, stop, stop, stop, stop, stop, stop, stop, stop.
34:29Don't do too much, huh? Make a comfortable first.
34:31I don't want you to hurt your knees, your foot, your feet, sorry, in plural.
34:35Yes? Sorry, I'm Frenchy, huh? Like you realize.
34:38I was, I think, like the dance, a little nervous, because it was the first day with 13 new members.
34:45It was the beginning of the game and some people wanted to prove that they were good
34:48or to show that their feet were a bit higher.
34:51And then I said, no, no, no.
34:53Ruhig, niedrig, but really placed.
34:56And one, stay strong stomach, don't pull back.
35:00On your legs.
35:00I went to Paris and Russia.
35:03After I finished my high school, I was really overwhelmed and tired by this entire ballet world.
35:12Like always so strict and limiting and very competitive.
35:18Really competitive.
35:24There are a lot of people that really want to push you.
35:28They really like you.
35:29But that can be very toxic too.
35:32When it becomes possessive, when it becomes abusive.
35:38Machtmissbrauch, Diskriminierung.
35:39Also, ich habe das auch erlebt.
35:41Ja, das war, das war nicht schön, muss man sagen.
35:44I'm, yeah, I don't want to start being too emotional now, but it, it leads to really unpleasant
35:55places and situations with yourself.
35:58I mean, I was never abused, but I've seen, I've seen it happen.
36:04I was under so much pressure.
36:08And, you know, going to sleep, noting all the corrections for the next day.
36:13Every day, new corrections, a new page.
36:15Like trying to remember, trying to go through it.
36:18Going, brushing my teeth, but actually doing for the bra.
36:21Like, it was crazy, crazy, the way we were living.
36:26You know, at my age, I know a lot of generations of dancers and many of them, they have finished
36:31very traumatized by experiences that they have with directors, with ballet masters and companies.
36:39Es werden einfach Sachen verlangt, die anatomisch eigentlich nicht möglich sind.
36:42Aber sie werden verlangt, weil die, die uns das damals beigebracht haben, haben es nicht anders gelernt.
36:47I was 18.
36:49That was the teacher that was extremely demanding, was extremely possessive.
36:54And he was choking me.
36:55You know, he, he was trying to make me believe that without him, I could not dance anywhere
37:00because he was scared of losing me.
37:02He was on top of me the whole time.
37:04He could not let me breathe.
37:06Like all the food disorders and like problems with your head and you don't know why you can't sleep at
37:15night and stuff.
37:16It scared me so much to not be happy doing what I always wanted to do.
37:21You get to the point that you really don't like yourself looking in the mirror.
37:45I didn't really understand why I should continue doing something that makes me hate myself really.
37:52And so that helped me say, that's it. This is not normal. I'm leaving.
37:56And from one word to another, from one person to another, I found out about this company and they gave
38:02me hope.
38:03Okay, let's go. Last group. And...
38:10That's the thing with this company.
38:12It allows you to learn and experience and be more at ease with yourself.
38:18And since we're only 16 dancers, it's just really easy for yourself to open up and to actually evolve.
38:37Two demis, you're going to go forward all the way around, big position, two demis and a grand.
38:41Let's just do the other side. Great.
38:43I did have weight issues as a dancer.
38:46And then I also had one serious injury and I worked through it.
38:52I didn't stop.
38:54So I can attest to the students that they need to take care of things.
39:00So I do feel like I have a lot of personal experience that I can bring into the conversation when
39:04I'm working with students.
39:06All right. Right foot, fifth front. Prepare seven, eight. We take accent out.
39:12Pedagogically, we're all looking for the same thing. We're all looking to make sure that we have healthy dancers.
39:18The students nowadays are critical thinkers, so we have to approach class in a way that it makes sense to
39:24them.
39:24We need to make sure that they are not just being told what to do, but they really need to
39:30understand why in order for it to be relevant in their lives.
39:33Thirty years ago, you go in the classroom, whether it was a ballet class or an academic class, and the
39:40teacher was in charge.
39:42And you didn't question. You didn't even ask questions unless you were invited to.
39:47You took what the teacher said, and that was that.
39:51And kids nowadays challenge everything.
39:54And that's why I feel like if teachers can explain to the students and make it relevant to them,
39:59I still can retain my authoritative status without being mean about it.
40:10Thank you. Thank you. Thank you.
41:20Und diese Junior-Kompanie hat ja eben die Qualität, dass sie zum Beispiel solistisch arbeiten schon,
41:26dass sie kreieren mit Choreografen, mit Jungen oder auch mit Erfahrenen.
41:31Das heißt, sie tun Dinge, die sie als junger Gruppentänzer in einem großen Ensemble nie machen würden.
41:36Die würden zum Beispiel kein Panédeux tanzen.
41:46Ganz, ganz wichtig ist, dass diese jungen Leute mit Kunst zusammengebracht werden, mit Künstlern,
41:52die ihnen andere Wege aufzeigen, wie man lernt, wie man überhaupt an Dinge herangeht,
41:57wie man über die Welt reflektiert, diese Routine zu durchbrechen und die jungen Leute zu motivieren,
42:04wirklich auch ihre künstlerische Biografie selber in die Hand zu nehmen.
42:14Und bei den Inhalten ist es tatsächlich so, solange wir so eine Vorstellung haben, was klassisches Ballett ist,
42:20und wenn wir Klassik sagen, meinen wir ja immer das 19. Jahrhundert und immer Pötipa im Grunde genommen
42:24und vielleicht noch ein bisschen Ivanov und sonst gab es da im Grunde nichts,
42:28dann müssen wir uns auch vorstellen können, dass wir das, was wir schön finden,
42:32unsere ganzen Ideale von langbeinig und filigran, davon müsste man weggehen und sagen,
42:37nein, dann können wir uns eben auch ein Dornröschen von Pötipa vorstellen,
42:42wo das Cours de Ballet eben sehr heterogen ist.
42:45Und das müssen die Ballettdirektoren und Direktorinnen dann wollen, das müssen die auch durchsetzen.
42:51When it comes to diversity in general, we need to keep creating new stories.
42:56There's so much room for everything and everybody, you know.
43:01Sometimes people are just afraid of exploring and giving those the possibility of actually shining.
43:37There's so much room for everything, you know.
43:54It can be anything you actually are able to visualize and see if you really believe in it.
44:00So I have never thought of myself as a black dancer.
44:05I see myself beyond a dancer, an artist, because I can still dance without movement.
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 I actually thought of, even 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.
44:48This eurocentral view, the public, the we think, and also this rassism is always a power construct.
44:54Immer.
44:54Und wir sind immer oben.
44:55Die Weißen are always oben.
44:57Das is so.
44:58It means that we can't talk about it without the experts to the people who are concerned about it.
45:07Of course there is now a generation that is self-conscious,
45:12but under the choreographers are very few women
45:18and even more people from other nations with a different color.
45:31In ballet, we're actually talking about storytelling.
45:35There are no stories written for people that look like us.
45:38And that is an issue because there's so much history.
45:43And it's beautiful to keep the classicism.
45:45Giselle, La Valle Verre, Swell Lake, and the other girl that lost her shoe.
45:51The same story over and over and over again.
45:54But what about new stories?
45:57What about actual new stories?
46:28PIANO PLAYS
46:40PIANO PLAYS
46:46PIANO PLAYS
46:46PIANO PLAYS
46:46PIANO PLAYS
46:49PIANO PLAYS
46:50PIANO PLAYS
47:17The quality, the breathing, everything.
47:20The quality, the breathing, everything is great.
47:26I cry every time.
47:28It's so beautiful.
47:29For me, I was like, oh.
47:32It's like, you know, when you have children and you know that they're going to go away in
47:36some ways, you know, it's part of the journey.
47:39And if you are prepared, but you are a special group.
47:41Yeah.
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 stage.
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.
48:09I'll keep going.
48:20I'll keep going.
48:35I'll keep going.
48:37I'll keep going.
48:39I'll keep going.
48:43I'll keep going.
49:09I'll keep going.
49:10I'm going to hear them still.
49:11But there are only only little dancers that show me every time, because they have found
49:16the limit in class-is and dance.
49:19So not only do movements but also go deeply into the role that you're in a different world.
49:37It's a physical manifestation of your emotions.
49:39and being able to offer that to the audience,
49:44I think is a gift.
49:46It's a gift from the art form.
49:57You go on stage and you give all the energy you have in you
50:02and you can't really tell if it's positive or negative.
50:06You just give it all out.
50:08You're like a light bulb.
50:09And when you go off stage, after the adrenaline and everything,
50:13you realize, well, that was like a spark.
50:16I was there for the people and they took it all in.
50:21And now I am like uncovered.
50:24I don't have any more layers.
50:25You know, it's like when you're blowing a dandelion
50:28and all the petals go out, it's just like that.
50:33But for a moment, you were great.
50:40You know, it's like a spark.
50:54You know, it's like a spark.
50:56You know, it's like a spark.
51:04You know, it's like a spark.
51:06You know, it's like a spark.
51:12You know, it's like a spark.
51:14You know, it's like a spark.
51:15You know, it's like a spark.
51:20You know, it's like a spark.
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