0:00:02 > 0:00:06The line-up for the Grand Final of BBC Young Dancer 2017
0:00:06 > 0:00:08is almost complete.
0:00:08 > 0:00:11In week one, Jodelle Douglas dazzled with his individual technique,
0:00:11 > 0:00:13to take the street dance title.
0:00:15 > 0:00:17He was joined by Rhys Antoni Yeomans
0:00:17 > 0:00:21from the English National Ballet School, who won the Ballet Final.
0:00:21 > 0:00:24And last week we saw Kathak dancer Shyam Dattani
0:00:24 > 0:00:27triumph in the South Asian category.
0:00:29 > 0:00:32Tonight it's the turn of contemporary dance.
0:00:32 > 0:00:34Five finalists compete for the category title
0:00:34 > 0:00:38and the chance to perform on this world-famous stage at Sadler's Wells,
0:00:38 > 0:00:42when the competition reaches its finale next Saturday.
0:00:42 > 0:00:43Also at the end of the programme,
0:00:43 > 0:00:47we'll find out who's been chosen as this year's wild card
0:00:47 > 0:00:49from across all four categories.
0:00:49 > 0:00:52Two years ago, contemporary dancer Connor Scott
0:00:52 > 0:00:56was the selected wild card, and he went on to win the entire thing -
0:00:56 > 0:01:00and was crowned the first ever BBC Young Dancer.
0:01:32 > 0:01:36The search for the BBC Young Dancer 2017 began last year,
0:01:36 > 0:01:41when dancers aged 16-21 entered in the competition's four categories.
0:01:43 > 0:01:45After a round of auditions,
0:01:45 > 0:01:4815 of the country's best young contemporary dancers were invited
0:01:48 > 0:01:50to DanceEast in Ipswich for round two.
0:01:50 > 0:01:53MUSIC: Something Just Like This By The Chainsmokers & Coldplay
0:01:57 > 0:01:59They had to impress a panel of judges,
0:01:59 > 0:02:02all prominent figures in the world of contemporary dance.
0:02:04 > 0:02:08Laura Jones, choreographer and dancer with Stopgap Dance.
0:02:08 > 0:02:11We were looking for maturity of movement
0:02:11 > 0:02:13and a knowledge of their body.
0:02:13 > 0:02:16Whether they were able to show different things,
0:02:16 > 0:02:19different moods, different qualities of movement.
0:02:19 > 0:02:23Fleur Darkin, artistic director of Scottish Dance Theatre.
0:02:23 > 0:02:25For me it was really how much emotional commitment
0:02:25 > 0:02:27they could make.
0:02:27 > 0:02:30And ultimately it's the ability to be able to move the audience.
0:02:30 > 0:02:35And Caroline Finn, artistic director of National Dance Company Wales.
0:02:35 > 0:02:38There was a lot of freshness, which was great.
0:02:38 > 0:02:41And there were some pieces that really moved me emotionally
0:02:41 > 0:02:43and gave me a real visceral reaction.
0:02:46 > 0:02:49With five places in the category final at stake,
0:02:49 > 0:02:51each dancer performed two solos.
0:02:53 > 0:02:55The five dancers that we've now chosen to go through
0:02:55 > 0:02:57will make a really exciting evening.
0:02:57 > 0:03:00There's quite a variety of dancers, so hopefully it will show
0:03:00 > 0:03:03a good cross-section of contemporary dance.
0:03:04 > 0:03:09I don't envy the jury members for the next rounds at all.
0:03:09 > 0:03:11It's going to be a really hard decision.
0:03:18 > 0:03:20The finalists are...
0:03:20 > 0:03:2321-year-old Nora Monsecour.
0:03:23 > 0:03:26She's from Ghent in Belgium, and currently studying at
0:03:26 > 0:03:29the Northern School of Contemporary Dance in Leeds.
0:03:29 > 0:03:30Dance is just my passion.
0:03:30 > 0:03:32It's communication I adore so much.
0:03:32 > 0:03:36Every time I feel the need to let it all out,
0:03:36 > 0:03:37I just dance, and then...
0:03:37 > 0:03:40It sounds very cheesy, but it's actually like that!
0:03:40 > 0:03:42Jacob Lang is 20 and in his second year
0:03:42 > 0:03:46at the Rambert School of Ballet and Contemporary Dance in London.
0:03:46 > 0:03:48I've never done a competition before,
0:03:48 > 0:03:50so the only thing I know is about performance.
0:03:50 > 0:03:54So I'm just going to take what I've done in rehearsal and just perform.
0:03:54 > 0:03:58And that's all I... All I can do, really.
0:03:58 > 0:04:0118-year-old John-William Watson has recently moved from his hometown
0:04:01 > 0:04:05of Leeds to study in Belgium at the Royal Conservatoire Antwerp.
0:04:05 > 0:04:08For me, dance is about sharing.
0:04:08 > 0:04:10I come to share something with the audience,
0:04:10 > 0:04:12the audience share something likewise with me as a dancer.
0:04:12 > 0:04:17So I view it as that, as opposed to...a show.
0:04:17 > 0:04:19Nafisah Baba is a member of Chrysalis -
0:04:19 > 0:04:22a postgraduate dance company based in London.
0:04:22 > 0:04:23She's 20 years old.
0:04:23 > 0:04:25If I'm honest, I'm very nervous.
0:04:25 > 0:04:27But as soon as I get into the movement and I see the
0:04:27 > 0:04:30audience watching, I'm sort of like, this is what I'm...
0:04:30 > 0:04:31This is what I want to do.
0:04:31 > 0:04:33And Joshua Attwood, who's 19.
0:04:33 > 0:04:35He is currently in his second year of training
0:04:35 > 0:04:37at the London Contemporary Dance School.
0:04:37 > 0:04:40Something I really enjoy about dance is the opportunity
0:04:40 > 0:04:42to collaborate and meet new people.
0:04:42 > 0:04:45I'm so happy that I'm doing it now, so that's great.
0:04:51 > 0:04:54All of tonight's finalists are working towards careers
0:04:54 > 0:04:58in one of the most diverse forms of dance - contemporary.
0:05:02 > 0:05:05There's no rules with contemporary dance, really.
0:05:05 > 0:05:07It's a very free medium.
0:05:11 > 0:05:14It encompasses so many different styles.
0:05:14 > 0:05:16Just the nature of contemporary dance means that
0:05:16 > 0:05:18nothing is ruled out.
0:05:20 > 0:05:24It's a dance form where change is part of its nature.
0:05:24 > 0:05:27And I think that's what makes it so interesting.
0:05:29 > 0:05:30Contemporary dance is about,
0:05:30 > 0:05:35for me, being relevant to who we are, and the world that we live in.
0:05:35 > 0:05:39And it gives us that platform to sort of present work that can be
0:05:39 > 0:05:41challenging, and challenging's good.
0:05:41 > 0:05:43As well as performing,
0:05:43 > 0:05:47many contemporary dancers also choreograph their own material.
0:05:47 > 0:05:50In this final, all five dancers are presenting work
0:05:50 > 0:05:52they've choreographed themselves.
0:05:52 > 0:05:56You can't help but be impressed by a dancer who is creating
0:05:56 > 0:05:58their own choreography as well.
0:05:58 > 0:06:01It's like the singer-songwriter, isn't it? You sort of...
0:06:01 > 0:06:04It's somehow more personal to them and you appreciate it
0:06:04 > 0:06:06that little bit more.
0:06:06 > 0:06:09With the opportunity to showcase all their skills,
0:06:09 > 0:06:13tonight's final could be a launchpad for a career in dance.
0:06:13 > 0:06:15It's quite incredible that this is happening.
0:06:15 > 0:06:18And I think if they can realise the opportunity that this can provide
0:06:18 > 0:06:22for them, they'll definitely take this as the next stepping stone.
0:06:34 > 0:06:37It's early January, and to prepare for their appearance
0:06:37 > 0:06:39in the Contemporary Final, the finalists are invited
0:06:39 > 0:06:42to a workshop at the Riverfront in Newport.
0:06:43 > 0:06:46It's their first meeting with the mentors who'll support them
0:06:46 > 0:06:47through the competition.
0:06:47 > 0:06:49They know how you dance, so give them something else.
0:06:49 > 0:06:53Sade Alleyne is a dancer, teacher and choreographer
0:06:53 > 0:06:56who's trained in many different styles of dance.
0:06:56 > 0:06:58You've done the hard work already.
0:06:58 > 0:07:01- Work hard now. When you're on stage, you enjoy it.- Yeah.
0:07:01 > 0:07:04Choreographer and dancer Miguel Altunaga
0:07:04 > 0:07:08joined dance company Rambert in 2007, after six years with
0:07:08 > 0:07:11the National Contemporary Dance Company of Cuba.
0:07:11 > 0:07:15You are humans. We're all humans. We always want to feel the nerves.
0:07:15 > 0:07:18But it's how we use it.
0:07:18 > 0:07:20You always give yourself a boundary.
0:07:20 > 0:07:22That's something normal, everyone does that.
0:07:22 > 0:07:26So my job is to hopefully push the boundary a bit further up,
0:07:26 > 0:07:28where they can go on stage and be fearless.
0:07:28 > 0:07:33'The guys have been through so many moments, like they've been going through right now.
0:07:33 > 0:07:37'I can give them a different way of performing,'
0:07:37 > 0:07:41and also approaching to the performance.
0:07:42 > 0:07:45First to work with Miguel is Nora.
0:07:45 > 0:07:48MUSIC: Midnight by Lianne La Havas
0:07:54 > 0:07:58I really wanted to be a bit more comfortable in the way I should perform the solos,
0:07:58 > 0:08:03and I think Miguel really helped with that, and he really made sure that I found a balance
0:08:03 > 0:08:06between really dancing, but also finding relaxing moments,
0:08:06 > 0:08:09and finding detail in what I was doing.
0:08:09 > 0:08:14Uh, uh... Yeah? Little bit more space in between...the sequence.
0:08:14 > 0:08:18I was emphasising in little moments whether she can actually trust
0:08:18 > 0:08:20the stillness and do nothing.
0:08:20 > 0:08:23Because she's constantly moving on stage.
0:08:23 > 0:08:26And then she was kind of taking for granted these little moments,
0:08:26 > 0:08:33very important, and very...touchy and...emotional.
0:08:33 > 0:08:36Nice!
0:08:37 > 0:08:39Jacob is being mentored by Sade,
0:08:39 > 0:08:43and she's keen to draw out the different qualities in his choreography.
0:08:43 > 0:08:45There you go.
0:08:45 > 0:08:48And also, just for that one, make your hands stronger.
0:08:48 > 0:08:50'For him, it's clarity.
0:08:50 > 0:08:53'He's really strong, but he can be extremely soft.'
0:08:53 > 0:08:57And for me it was to really...separate those two.
0:08:57 > 0:09:01So the audience can appreciate both qualities while he's dancing.
0:09:01 > 0:09:03Go, go, go...back!
0:09:03 > 0:09:05Yes, gorgeous.
0:09:05 > 0:09:08Sade was mainly getting me to really push every movement
0:09:08 > 0:09:12and think about every part of the body, right from the fingers,
0:09:12 > 0:09:15and, you know, making sure that I really articulate from every part
0:09:15 > 0:09:18of my back and head, using my head a lot more.
0:09:18 > 0:09:19Nice!
0:09:20 > 0:09:26With John-William, Miguel focuses on the way he uses the space on stage.
0:09:28 > 0:09:31I wanted to enhance a little bit more his execution
0:09:31 > 0:09:35by asking him to make the movement a little bit larger,
0:09:35 > 0:09:38and also, you know, expand himself,
0:09:38 > 0:09:42to the point that he looks almost, like, massive onstage.
0:09:42 > 0:09:44Whoa, nice.
0:09:44 > 0:09:47And really, really open. Yeah!
0:09:47 > 0:09:49We've been really focusing and working on making the movement
0:09:49 > 0:09:53more expansive, and trying to make every single movement as big
0:09:53 > 0:09:56and as full as it could possibly be to really push the boundaries
0:09:56 > 0:09:59of what the choreography can go to,
0:09:59 > 0:10:02and where my performance can push to as well.
0:10:04 > 0:10:06Nafisah is working with Sade,
0:10:06 > 0:10:09who focuses on improving her connection with the audience.
0:10:09 > 0:10:11Ah!
0:10:11 > 0:10:12Hold.
0:10:13 > 0:10:14Nice!
0:10:14 > 0:10:18With Nafisah, I wanted to work on the power that you can look at the audience,
0:10:18 > 0:10:21whether it's actually looking out, or just scanning across,
0:10:21 > 0:10:24looking far into the wind, or close up.
0:10:24 > 0:10:28If you focus on certain bits, you're already connecting to the audience.
0:10:28 > 0:10:29It changes everything.
0:10:29 > 0:10:31I get a lot about eye focus,
0:10:31 > 0:10:34but it was different to be told what to focus on.
0:10:34 > 0:10:38So rather than glaze my eyes around, you know, just look in a direction,
0:10:38 > 0:10:41to look at something, and to make eye connection with it.
0:10:41 > 0:10:44So I'm not just glazing over.
0:10:44 > 0:10:45I see, like, the fire exit.
0:10:45 > 0:10:47I see the person in the front of the audience.
0:10:49 > 0:10:52With Josh, Miguel spends time looking at the motivation
0:10:52 > 0:10:53behind the movement.
0:10:53 > 0:10:56Yeah, yeah. Yes.
0:10:56 > 0:10:57Yeah.
0:10:57 > 0:11:01'With him I was working very much on how to make the execution
0:11:01 > 0:11:02'really clean and clear.'
0:11:02 > 0:11:06The movement has to be very well executed.
0:11:06 > 0:11:09Otherwise it all could become a little bit blurry.
0:11:09 > 0:11:14And shum, shum, shum, shum! Bam, bam, bam, bam, bam!
0:11:14 > 0:11:16That's cool, that's cool.
0:11:16 > 0:11:18He questioned, like, "Oh, so, why are you doing this?"
0:11:18 > 0:11:21And then I'd be like, "Oh, actually, I don't know why I'm doing it."
0:11:21 > 0:11:23"I'm just doing it for choreography's sake."
0:11:23 > 0:11:27And then he kind of changed my way of thinking.
0:11:27 > 0:11:30But then it also gives me things to work on now I have time
0:11:30 > 0:11:32in between now and the actual category final.
0:11:32 > 0:11:34Nice, that's cool.
0:11:40 > 0:11:44With just over a week to go until the Contemporary Final,
0:11:44 > 0:11:48the dancers return home to work on the notes given by their mentors.
0:11:48 > 0:11:51Preparations have been coming on very well.
0:11:51 > 0:11:55It's been getting exciting, more and more every day now.
0:11:55 > 0:11:56And every little rehearsal I do,
0:11:56 > 0:11:59little tweaks to the solos or the duet,
0:11:59 > 0:12:02it just really builds that feeling of excitement.
0:12:02 > 0:12:04I think it's about getting the movement down,
0:12:04 > 0:12:06so that you don't need to think about it so much.
0:12:06 > 0:12:10But being able to experience the music each time that you do it.
0:12:10 > 0:12:15I'm feeling quite anxious because I kind of feel a little underprepared.
0:12:15 > 0:12:18But it's, like, how can I spin that to be positive?
0:12:20 > 0:12:23I've rehearsed a lot, especially with the mentoring.
0:12:23 > 0:12:26I made sure that all the notes that the mentor gave me were applied,
0:12:26 > 0:12:30and that I did the adjustments I need to make.
0:12:30 > 0:12:32I've been going to the studio quite a lot
0:12:32 > 0:12:34and just doing my solos back-to-back.
0:12:34 > 0:12:35Trying to dance tired.
0:12:35 > 0:12:37Because one of the tips my mentor said was to learn
0:12:37 > 0:12:39how to dance tired, and to push through it.
0:12:39 > 0:12:41So trying to do that,
0:12:41 > 0:12:44but also not trying to injure myself at the same time.
0:12:53 > 0:12:57It's the end of January, and the day of the Contemporary Final.
0:12:57 > 0:12:59With just a few hours to go,
0:12:59 > 0:13:03all five dancers have the final rehearsals on stage at the Lowry
0:13:03 > 0:13:07in Salford, under the watchful eye of mentors Sade and Miguel.
0:13:07 > 0:13:11They're all looking really beautiful and ready to go.
0:13:11 > 0:13:13So I'm looking forward to how they're going to
0:13:13 > 0:13:15take it to the next level.
0:13:15 > 0:13:18I'm really excited to see how they deal with nerves.
0:13:18 > 0:13:19Will they crumble?
0:13:19 > 0:13:21All of five of them are natural performers.
0:13:21 > 0:13:23So I'm very sure they're going to go at it
0:13:23 > 0:13:26and hopefully leave with no regrets.
0:13:26 > 0:13:29Being in the last five is really exciting.
0:13:29 > 0:13:32It's just, we're all so different and we're all giving different tastes.
0:13:32 > 0:13:36And I hope for other dancers that we can just show that individuality.
0:13:36 > 0:13:38I'm just excited.
0:13:38 > 0:13:40I'm nervous, I can feel it building up.
0:13:40 > 0:13:42But I think that's a good thing.
0:13:42 > 0:13:45That's part of why I perform and why I enjoy performing.
0:13:45 > 0:13:49Being down to the last five is a huge honour,
0:13:49 > 0:13:54to have where I am and my dance training kind of recognised.
0:13:54 > 0:13:56It's quite a humbling feeling that I'm one of the people
0:13:56 > 0:14:00that have been chosen to share the work that I've been creating
0:14:00 > 0:14:03and the sort of style and the way I dance.
0:14:03 > 0:14:06I keep swapping between being nervous and excited.
0:14:06 > 0:14:08So one minute I sort of want to cry because I'm so nervous,
0:14:08 > 0:14:12then the next minute I'm like, "Actually, no, I'm really looking forward to it."
0:14:16 > 0:14:20For the winner, a guaranteed place in next Saturday's Grand Final
0:14:20 > 0:14:23at Sadler's Wells awaits.
0:14:23 > 0:14:26First they must perform two solos and a duet
0:14:26 > 0:14:29in front of a panel of leading dance experts.
0:14:31 > 0:14:35Chair for all these category finals, Shobana Jeyasingh,
0:14:35 > 0:14:37who's a critically acclaimed choreographer
0:14:37 > 0:14:41and the artistic director of Shobana Jeyasingh Dance.
0:14:41 > 0:14:44I think the standout candidate always has to have
0:14:44 > 0:14:46an element of sparkle.
0:14:46 > 0:14:48You need to be a super performer.
0:14:48 > 0:14:51And communicate yourself as an artist.
0:14:53 > 0:14:57Mark Bruce is an award-winning dancer and choreographer
0:14:57 > 0:15:00and the artistic director of the Mark Bruce Company.
0:15:01 > 0:15:04It's something you feel when you see people.
0:15:04 > 0:15:06It's a kind of magic that we're all looking for,
0:15:06 > 0:15:09and that can be a combination of so many different things.
0:15:09 > 0:15:10Just the way they do a subtle accent,
0:15:10 > 0:15:13or just the way they phrase something.
0:15:13 > 0:15:16And completing the line-up, artistic director of
0:15:16 > 0:15:20Leeds-based Phoenix Dance Theatre, Sharon Watson.
0:15:20 > 0:15:22I'm looking for a lot of variety.
0:15:22 > 0:15:25Contemporary has very little boundaries in that area.
0:15:25 > 0:15:27When you see that come together,
0:15:27 > 0:15:30it's the skill of knitting that, so that it becomes one piece of fabric.
0:15:30 > 0:15:32It's a big job, but I think, they've got this far,
0:15:32 > 0:15:34they'll be able to achieve that.
0:15:40 > 0:15:45First to perform in this BBC Young Dancer Contemporary Final
0:15:45 > 0:15:48is 21-year-old Nora Monsecour.
0:15:56 > 0:15:58Nora is from Ghent, in Belgium.
0:16:00 > 0:16:03She started taking ballet lessons when she was four,
0:16:03 > 0:16:06and at nine was studying full-time at ballet school,
0:16:06 > 0:16:10where she was first introduced to the freedom of contemporary dance.
0:16:10 > 0:16:13It's such a creative way to express myself.
0:16:13 > 0:16:15So I started taking a class in that as well,
0:16:15 > 0:16:18and then I shifted from ballet school to contemporary school,
0:16:18 > 0:16:21and from there, like, a whole new world opened.
0:16:23 > 0:16:26Her search for further training brought Nora to the UK,
0:16:26 > 0:16:32and she's now in her second year at the Northern School of Contemporary Dance in Leeds.
0:16:38 > 0:16:41I never expected myself going to study in England,
0:16:41 > 0:16:45but I came here and I just loved the atmosphere,
0:16:45 > 0:16:47the building, the people.
0:16:47 > 0:16:49There's something magical about it.
0:16:52 > 0:16:53Since starting at the school,
0:16:53 > 0:16:56Nora has been developing her choreography skills,
0:16:56 > 0:17:00and she'll perform two new solos in this final.
0:17:00 > 0:17:03In the lead-up, she works on them with teacher Francesca McCarthy.
0:17:05 > 0:17:06Great.
0:17:08 > 0:17:11It's always useful to have feedback, so I asked her a couple of times
0:17:11 > 0:17:16to come in and just give me feedback on what I could do differently.
0:17:16 > 0:17:18- How does that feel?- Yeah.- Yeah?
0:17:18 > 0:17:20It's challenging, but it'll be fine.
0:17:20 > 0:17:22We like challenging, though. Well, you like challenging.
0:17:22 > 0:17:24I like watching challenging.
0:17:24 > 0:17:27'She's kind of like your ideal student. You know, she's humble
0:17:27 > 0:17:31'and she's open to everything. She's really curious.'
0:17:31 > 0:17:34She wants to kind of know and learn and she's just like a sponge.
0:17:36 > 0:17:40If I have three weeks or even summer without dancing
0:17:40 > 0:17:43I just get very nervous and stressed up.
0:17:43 > 0:17:47So it's really something that I have the urge to dance
0:17:47 > 0:17:51in order to fully let everything go that's inside myself.
0:17:54 > 0:17:59When I'm in the wings, I usually just think of...being grounded,
0:17:59 > 0:18:03being down to earth. Breathe.
0:18:03 > 0:18:06And then I go on stage and then I just perform.
0:18:06 > 0:18:08To open this Contemporary Final,
0:18:08 > 0:18:11Nora is going to perform one of her self-choreographed pieces
0:18:11 > 0:18:15inspired by a song from one of her favourite artists, Lianne La Havas.
0:18:15 > 0:18:18MUSIC: Midnight by Lianne La Havas
0:20:41 > 0:20:43APPLAUSE
0:20:43 > 0:20:46Nora Monsecour getting this BBC Young Dancer
0:20:46 > 0:20:48Contemporary Final underway.
0:20:48 > 0:20:52In her duet, Nora was partnered by Cameron Stamper.
0:20:53 > 0:20:54To end her programme,
0:20:54 > 0:20:59she performs a piece based on her experiences growing up in Belgium.
0:20:59 > 0:21:00It's quite nostalgic.
0:21:00 > 0:21:04It's about recollecting memories from before, with family,
0:21:04 > 0:21:08with friends, but also how I was a child and how I am now.
0:21:08 > 0:21:12It's kind of a journey through memories that I wanted to portray.
0:21:12 > 0:21:15MUSIC: Ian by Tom Rosenthal
0:22:55 > 0:22:57APPLAUSE
0:22:59 > 0:23:01Nora Monsecour,
0:23:01 > 0:23:04the first of our BBC Young Dancer Contemporary Finalists.
0:23:09 > 0:23:11I think what I notice about Nora
0:23:11 > 0:23:13is her lovely long lines.
0:23:13 > 0:23:15She's blessed with really long limbs
0:23:15 > 0:23:18and I think she really put them to good use,
0:23:18 > 0:23:19especially her first solo.
0:23:19 > 0:23:21I thought it had a very direct
0:23:21 > 0:23:23- emotional quality.- I thought
0:23:23 > 0:23:25Nora was incredibly graceful.
0:23:25 > 0:23:27Elegant.
0:23:27 > 0:23:30I think she has a real skill of articulating
0:23:30 > 0:23:33a really sophisticated lower half of her body with
0:23:33 > 0:23:36a very kind of contrasted movement
0:23:36 > 0:23:37to her upper body.
0:23:37 > 0:23:39And I thought she delivered that
0:23:39 > 0:23:40incredibly well this evening.
0:23:42 > 0:23:43I'm really happy.
0:23:43 > 0:23:46I'm not going to lie, I was really scared and really stressed,
0:23:46 > 0:23:48but it went all fine, I think.
0:23:48 > 0:23:51Like, of course, there are little mistakes, but it doesn't matter.
0:23:51 > 0:23:53Like, what our mentor said earlier,
0:23:53 > 0:23:55you should embrace your mistakes and your flaws within it.
0:23:55 > 0:23:57And I tried to do that, so I'm really excited.
0:23:57 > 0:23:59I'm still quite nervous
0:23:59 > 0:24:02and the adrenaline is, like, kicking in, but... Yeah.
0:24:05 > 0:24:08Next to perform, 20-year-old Jacob Lang from London.
0:24:15 > 0:24:18Jacob is in his second year of training
0:24:18 > 0:24:21at the Rambert School of Ballet and Contemporary Dance.
0:24:21 > 0:24:24After taking ballet lessons from the age of three,
0:24:24 > 0:24:28he was introduced to a new style of dance when he was still only seven.
0:24:28 > 0:24:31I didn't see it as contemporary, it was just a class that I went to.
0:24:31 > 0:24:34And it was just very open and very,
0:24:34 > 0:24:37"I can do what I want here. I can move how I want to move.
0:24:37 > 0:24:40"I can experiment with different movement types."
0:24:40 > 0:24:42You know, at that age, I think it's less logical.
0:24:42 > 0:24:44It's less like, "Oh, I'm doing this because this."
0:24:44 > 0:24:47It's just, "I love this, I'm going to do it!"
0:24:48 > 0:24:50Also studying at Rambert
0:24:50 > 0:24:53is the winner of the first BBC Young Dancer competition,
0:24:53 > 0:24:57Connor Scott, who's been giving Jacob a few pointers.
0:24:57 > 0:24:59Connor's a really cool guy and he's been helping me out
0:24:59 > 0:25:03a little bit as well, just sort of saying, "Go for it,
0:25:03 > 0:25:07"don't get shy or anything," because I have a tendency to do that.
0:25:07 > 0:25:10It's a great feeling, you know, to have one of your friends
0:25:10 > 0:25:12embark on the same journey that you've kind of been on.
0:25:12 > 0:25:16All I can do is be here for him and, you know, just root for him.
0:25:16 > 0:25:18I'll be there, like, do you know what I mean, cheering him on.
0:25:19 > 0:25:22For his appearance in BBC Young Dancer,
0:25:22 > 0:25:27Jacob has taken on a new challenge, to choreograph his own solos.
0:25:27 > 0:25:30Also, what if there's a bit more spiral on this one?
0:25:30 > 0:25:34So it's this way, spiral and then it stays where it is.
0:25:34 > 0:25:37Jacob's made this incredible solo on himself,
0:25:37 > 0:25:41which is very personal to him, I think, and the way he moves.
0:25:41 > 0:25:45I've been working with him to add a little bit of sharpness to places
0:25:45 > 0:25:48or just adding little bits of line here and there.
0:25:48 > 0:25:50And basically just shaping it a little bit more.
0:25:50 > 0:25:55I've never choreographed a solo in that sense or anything like that,
0:25:55 > 0:25:57so I was interested to try that out.
0:25:57 > 0:25:59I thought, "This is a great testing ground."
0:26:03 > 0:26:05I think, when I'm performing,
0:26:05 > 0:26:08it's a sense of I'm speaking and I'm being listened to,
0:26:08 > 0:26:11so there's an audience, you know, a whole room full of people
0:26:11 > 0:26:16and they're all listening and I can give what I want to give.
0:26:17 > 0:26:19To begin his performance in this final,
0:26:19 > 0:26:21Jacob is performing a piece he's titled
0:26:21 > 0:26:23Frank A Einstein.
0:26:23 > 0:26:27It was based on artificial intelligence,
0:26:27 > 0:26:32and I think the character is almost alive but not quite.
0:26:32 > 0:26:35And I think the character has a conflict going on
0:26:35 > 0:26:38and I think its experience of being is quite painful.
0:26:40 > 0:26:43MUSIC: This Bitter Earth by Dinah Washington
0:29:15 > 0:29:17APPLAUSE
0:29:19 > 0:29:22For his duet, Jacob was joined by Tania Dimbelolo
0:29:22 > 0:29:26in a piece called Endeared Strokes.
0:29:26 > 0:29:28MUSIC: Que Je Sois Un Ange by Nana Mouskouri
0:30:24 > 0:30:28To end his programme, Jacob has created a piece called Labyrinth.
0:30:28 > 0:30:29It's quite a different
0:30:29 > 0:30:30style of movement.
0:30:30 > 0:30:32It's a lot bigger, punchier,
0:30:32 > 0:30:34and it's just based on
0:30:34 > 0:30:36a kind of landscape, a kind of place
0:30:36 > 0:30:38where the air is thick.
0:30:38 > 0:30:40And I placed a creature in there.
0:30:40 > 0:30:43What kind of creature lives in that environment?
0:30:43 > 0:30:45And I choreographed from that basis.
0:30:45 > 0:30:47MUSIC: Into the Labyrinth by Kraddy
0:31:28 > 0:31:30APPLAUSE
0:31:44 > 0:31:46Jacob's a swift mover.
0:31:46 > 0:31:48He's very pliable, and has a lovely
0:31:48 > 0:31:50feeling of using the floor.
0:31:50 > 0:31:53It's a lovely quality to see.
0:31:53 > 0:31:54He has an incredibly powerful
0:31:54 > 0:31:55way of moving.
0:31:55 > 0:31:57He really kind of got over
0:31:57 > 0:32:01an image of this robotic entity.
0:32:03 > 0:32:05Yeah, I feel that went well.
0:32:05 > 0:32:08I felt invigorated onstage and that's why I perform.
0:32:08 > 0:32:10And so, yeah, I'm good.
0:32:11 > 0:32:14If you'd like to see tonight's performances in full,
0:32:14 > 0:32:16you can find them on our website...
0:32:20 > 0:32:22Still to come,
0:32:22 > 0:32:2520-year-old Nafisah Baba,
0:32:25 > 0:32:27and Joshua Attwood, who's 19.
0:32:29 > 0:32:33But first, it's 18-year-old John-William Watson.
0:32:40 > 0:32:43John-William has been dancing since he was 11.
0:32:43 > 0:32:45After trying a few styles,
0:32:45 > 0:32:48he decided that contemporary dance was his future.
0:32:48 > 0:32:53His training has now taken him from his hometown of Leeds
0:32:53 > 0:32:54to Antwerp in Belgium.
0:32:54 > 0:33:00I moved to Antwerp last September. And being 18, it was a big move.
0:33:00 > 0:33:03It's the first time I'd moved out of my house,
0:33:03 > 0:33:06let alone moved country or gone abroad by myself.
0:33:06 > 0:33:07And now, looking back,
0:33:07 > 0:33:10it's so strange because I feel so at home here.
0:33:12 > 0:33:16Now at the Royal Conservatoire Antwerp, John-William was attracted
0:33:16 > 0:33:19by the style of contemporary training on offer.
0:33:19 > 0:33:22I heard of this school through artists I worked with within
0:33:22 > 0:33:25the National Youth Dance Company and something really inspired me
0:33:25 > 0:33:28by the style of movement that was taught here.
0:33:28 > 0:33:34Four, five, six and one, two, three, four.
0:33:34 > 0:33:37It's as much as an art form, an artistic practice,
0:33:37 > 0:33:39as it is an athletic one.
0:33:39 > 0:33:42As well as conditioning our minds and our creativity,
0:33:42 > 0:33:45we condition our bodies also.
0:33:45 > 0:33:47Five, six...
0:33:47 > 0:33:50It's a lot of hard work, it's a lot of grind.
0:33:50 > 0:33:52It's just so incredibly physical.
0:33:52 > 0:33:57It does have, like, a sport element to it and their bodies have to be
0:33:57 > 0:33:59so resilient to this.
0:34:01 > 0:34:03It's just a wonderful thing,
0:34:03 > 0:34:06when you're moving in a space with other people that are
0:34:06 > 0:34:09as passionate about the art form as you are, and are as driven.
0:34:09 > 0:34:13And it's that real passion that stirs up inside when I dance,
0:34:13 > 0:34:14whether it be myself,
0:34:14 > 0:34:17with one person or with a whole class of people.
0:34:17 > 0:34:19It's an incredible experience
0:34:19 > 0:34:21and one that's very hard to put into words, I think.
0:34:26 > 0:34:28APPLAUSE
0:34:32 > 0:34:36It's a really special feeling, being able to work on something
0:34:36 > 0:34:39in a studio and really put your heart and soul into it,
0:34:39 > 0:34:41and then be able to share it with people,
0:34:41 > 0:34:44you know, whether it be friends, family, strangers.
0:34:44 > 0:34:46It's a nice experience.
0:34:46 > 0:34:48John-William's first solo is performed to
0:34:48 > 0:34:52Max Richter's recomposed version of Vivaldi's Winter.
0:34:53 > 0:34:55MUSIC STARTS
0:34:59 > 0:35:01It really sort of is about
0:35:01 > 0:35:02the vulnerability and exposure
0:35:02 > 0:35:05that comes at putting myself out to the world
0:35:05 > 0:35:07and meeting new people, experiencing different things,
0:35:07 > 0:35:10auditioning for schools, for example.
0:35:10 > 0:35:12It's really sort of a labour of love, I think.
0:35:12 > 0:35:14It's very personal to me, this solo.
0:36:48 > 0:36:49For his second solo,
0:36:49 > 0:36:53John-William has created a piece called If Not Now Then When?
0:36:53 > 0:36:56MUSIC: If I Didn't Care by The Ink Spots
0:36:59 > 0:37:00I really sort of explored
0:37:00 > 0:37:03the feeling of nostalgia and the two
0:37:03 > 0:37:05things that come with that.
0:37:05 > 0:37:07The reminiscing and the lovely feeling,
0:37:07 > 0:37:10but also the feeling of sort of loss and sadness that can come with
0:37:10 > 0:37:12being nostalgic about things
0:37:12 > 0:37:14or people that you don't have any more.
0:38:02 > 0:38:04APPLAUSE
0:38:08 > 0:38:11For his duet, John-William is joined by Beth Emmerson,
0:38:11 > 0:38:14a friend from back home in Leeds.
0:38:16 > 0:38:18I wanted to explore the idea of
0:38:18 > 0:38:20proximity and closeness,
0:38:20 > 0:38:22whether that be emotional
0:38:22 > 0:38:26or geographical and the sort of tension that comes between
0:38:26 > 0:38:28stretching that distance and that closeness.
0:38:28 > 0:38:31MUSIC: Ne Me Quitte Pas by Nina Simone
0:40:04 > 0:40:06APPLAUSE
0:40:18 > 0:40:21I really enjoyed his duet.
0:40:21 > 0:40:24He uses gesture a lot, which I found really interesting, and I think,
0:40:24 > 0:40:30you know, it takes a particular kind of imagination to deploy
0:40:30 > 0:40:34gesture to such an extent as he did.
0:40:34 > 0:40:35He's a storyteller.
0:40:35 > 0:40:38So, in order to do that, you have to really connect with an
0:40:38 > 0:40:40audience in a way that is
0:40:40 > 0:40:42a little bit further than just the physicality.
0:40:42 > 0:40:46It's about getting into the mind and I think he took us there.
0:40:47 > 0:40:51Overall, I feel happy. It's been a great process.
0:40:51 > 0:40:54A lot of build-up, you know, a lot of blood, sweat, tears.
0:40:54 > 0:40:56Tears!
0:40:56 > 0:40:58But yeah, it's really nice that it's over now,
0:40:58 > 0:41:02so I'm just excited now and whatever happens, happens, you know?
0:41:06 > 0:41:09Next is 20-year-old Nafisah Baba from London.
0:41:19 > 0:41:21Nafisah started dancing when she was very little,
0:41:21 > 0:41:24inspired by some colourful television characters.
0:41:26 > 0:41:28I used to watch the Teletubbies when I was about three,
0:41:28 > 0:41:31like one-year-old, two, three, so I started...
0:41:31 > 0:41:33I think there was an episode when there was
0:41:33 > 0:41:36a little girl tap-dancing and my mum saw me doing the movements,
0:41:36 > 0:41:38so, I think, from there,
0:41:38 > 0:41:40she was like, "Oh, wow, I'll take you to your first ballet class."
0:41:42 > 0:41:46After graduating with a national diploma in professional dance,
0:41:46 > 0:41:48she is now with Chrysalis London.
0:41:48 > 0:41:51A company that helps contemporary dancers who have completed
0:41:51 > 0:41:54their training prepare for a career in the industry.
0:41:55 > 0:41:57The biggest thing is my confidence because, for me,
0:41:57 > 0:42:00my eye line was just here, like, I never looked up
0:42:00 > 0:42:02and Jodie has just...
0:42:02 > 0:42:05He's brought out, like, a completely different person.
0:42:05 > 0:42:08I've got a lot of work to do but, I feel
0:42:08 > 0:42:10now I'm starting to develop as an artist.
0:42:10 > 0:42:12Slide!
0:42:12 > 0:42:15Control. Down, down, up, up, drop.
0:42:15 > 0:42:18'When she was training, she had such low confidence.'
0:42:18 > 0:42:20When she was speaking to you,
0:42:20 > 0:42:24she was stuttering and I just wanted to relax her and just by
0:42:24 > 0:42:28giving her some confidence, she's just flown over the last two years.
0:42:28 > 0:42:30The improvement is incredible.
0:42:33 > 0:42:37The athleticism behind her jumps and her floor work and attack,
0:42:37 > 0:42:41and Nafisah brings that strength but also with control,
0:42:41 > 0:42:45and you just can't keep your eyes off her when she's onstage.
0:42:45 > 0:42:49Nafisah's confidence may have grown since joining Chrysalis
0:42:49 > 0:42:52but stepping out onto the stage remains a challenge.
0:42:52 > 0:42:55It's about a minute before the performance and I'm thinking,
0:42:55 > 0:42:59"Is it too late to do a runner?" But once I get onstage and...
0:42:59 > 0:43:02Seeing the audience and knowing they're there for a reason,
0:43:02 > 0:43:04you know, they're not there because they don't want to be,
0:43:04 > 0:43:08and for me, it's coming offstage, you have that feeling of...
0:43:08 > 0:43:11That adrenaline rush. It's like, "I want to do it again."
0:43:11 > 0:43:15I'm excited but also nervous to share my piece with the audience.
0:43:15 > 0:43:18The judges especially, but also my friends, family.
0:43:18 > 0:43:20They said they were going to bring a banner, so I'm sort of hoping
0:43:20 > 0:43:23they leave that outside the theatre.
0:43:23 > 0:43:26Nafisah's first solo is called Inescapable.
0:43:26 > 0:43:28In it, she reflects on a difficult choice she had to
0:43:28 > 0:43:33make when she was younger - to play netball or to become a dancer.
0:43:36 > 0:43:39It was quite a difficult decision and I chose dance so,
0:43:39 > 0:43:41you see me sort of with an invisible ball.
0:43:41 > 0:43:43I'm showing the quick, strong focus that you need
0:43:43 > 0:43:46in netball but also forcing myself into first position and being
0:43:46 > 0:43:49torn between which one to do.
0:43:50 > 0:43:52CLASSICAL MUSIC PLAYS
0:45:17 > 0:45:20APPLAUSE
0:45:20 > 0:45:22For her duet, Nafisah is joined by
0:45:22 > 0:45:26fellow dancer from Chrysalis London - Lois Wong.
0:45:26 > 0:45:28CLASSICAL MUSIC PLAYS
0:46:39 > 0:46:43MUSIC: Clown by Emeli Sande
0:46:43 > 0:46:48Nafisah's second solo is to a song by one of her favourite artists.
0:46:48 > 0:46:50It's called Clown.
0:46:50 > 0:46:55I just really love the track by Emeli Sande and I just wanted to do
0:46:55 > 0:46:59a beautiful dance and replicate that movement to the song, to show
0:46:59 > 0:47:00what I can do.
0:48:06 > 0:48:08APPLAUSE
0:48:20 > 0:48:25She had the courage at the beginning to just be incredibly still
0:48:25 > 0:48:27because, often, when you're dancing,
0:48:27 > 0:48:31you want to move fast because you want to impress the audience
0:48:31 > 0:48:35with your technique and your speed, but I think it takes
0:48:35 > 0:48:38a particular kind of dancer to actually not do that.
0:48:38 > 0:48:43To have stillness and know that you are still engaged is unbelievable.
0:48:43 > 0:48:46That's a quality that I think takes a lot of professionals a long
0:48:46 > 0:48:47time to capture.
0:48:47 > 0:48:50I was freaking out a little bit but it went
0:48:50 > 0:48:52so much better than I expected, and, just at the end,
0:48:52 > 0:48:56seeing the audience and just looking around and being like, "Wow."
0:48:56 > 0:48:59Being in this theatre and just being watched, it's amazing.
0:48:59 > 0:49:04Bringing this BBC Young Dancer Contemporary Final to a close,
0:49:04 > 0:49:07Joshua Attwood from Nottingham.
0:49:11 > 0:49:1419-year-old Josh is a second-year student at
0:49:14 > 0:49:17London Contemporary Dance School.
0:49:25 > 0:49:28I first got into dancing through primary school.
0:49:28 > 0:49:31Me and my mum would just go to the odd evening class - like salsa -
0:49:31 > 0:49:35and it was just really nice to spend some time with my mum.
0:49:35 > 0:49:39It was also, like, validation that it was OK to do what I want to
0:49:39 > 0:49:40do in the future.
0:49:40 > 0:49:44Josh is keen to develop his own choreography and has created
0:49:44 > 0:49:47all three pieces for this competition, taking
0:49:47 > 0:49:48inspiration from his recent travels.
0:49:48 > 0:49:50This I like, this is nice, yeah.
0:49:50 > 0:49:51In the summer,
0:49:51 > 0:49:54he went for a workshop in Israel and worked with the choreographer of
0:49:54 > 0:49:57the company where I danced before and so this solo
0:49:57 > 0:50:01is based on material from some repertoire that he learnt.
0:50:01 > 0:50:05It's only based on it but he's taken some of the characteristics.
0:50:05 > 0:50:07Yeah, so no rebound, Josh. Not this way, but...
0:50:07 > 0:50:10The tuck is coming in the pelvis.
0:50:10 > 0:50:14He is very striking in his long limbs and
0:50:14 > 0:50:17his clarity but you can work with it,
0:50:17 > 0:50:19so he has a very strong sense of self but he still is
0:50:19 > 0:50:23malleable and you want to be someone who can be like a material,
0:50:23 > 0:50:24you're malleable as a dancer,
0:50:24 > 0:50:28because that can give you many opportunities.
0:50:28 > 0:50:33I really like being sassy and I just kind of have this drive to
0:50:33 > 0:50:36challenge what people know as contemporary dance.
0:50:36 > 0:50:40They might have other ideas about what contemporary dance is,
0:50:40 > 0:50:43and then, maybe, I can shift it a little, be a little bit sassy,
0:50:43 > 0:50:47a little bit cheeky, like, "It's just a bit of fun, we all love dancing."
0:50:50 > 0:50:52Josh has choreographed his first piece
0:50:52 > 0:50:54to Rockaway Beach by the Ramones.
0:50:54 > 0:50:57He has titled it 169 Bar.
0:50:57 > 0:51:03This piece is kind of me just having fun in kind of like
0:51:03 > 0:51:05a bar or club setting.
0:51:05 > 0:51:08That's kind of all I want to say because I think it kind of
0:51:08 > 0:51:09speaks for itself when you see it.
0:51:12 > 0:51:14MUSIC: Rockaway Beach by the Ramones
0:52:20 > 0:52:23APPLAUSE
0:52:30 > 0:52:33Josh's second solo is another self-choreographed piece,
0:52:33 > 0:52:35called Not Too Much.
0:52:35 > 0:52:37ELECTRONIC MUSIC PLAYS
0:53:12 > 0:53:14For his duet, We Won't Be Us,
0:53:14 > 0:53:17Josh is joined by his friend Donna Ashery.
0:53:17 > 0:53:22We had just hooked into this idea that we need to show that we
0:53:22 > 0:53:24have a great connection with each other,
0:53:24 > 0:53:28even if we are not, like, staring at each other and creating this
0:53:28 > 0:53:32intense kind of intention that we can be connected.
0:53:35 > 0:53:37UPBEAT MUSIC PLAYS
0:54:43 > 0:54:45APPLAUSE
0:54:54 > 0:54:58Joshua is a genuinely interesting performer.
0:54:58 > 0:55:04He uses dance to be witty, to be humorous, and within his pieces,
0:55:04 > 0:55:08he made some really interesting choreographic decisions.
0:55:08 > 0:55:12Joshua is definitely on a trip about something and I think he's
0:55:12 > 0:55:15discovering what it is and I think that he's finding
0:55:15 > 0:55:18a way to express that and that's really good to see.
0:55:19 > 0:55:22I feel I managed to show some artistry as well as, like,
0:55:22 > 0:55:26technique and personality and, yeah, it's just great.
0:55:28 > 0:55:32Josh Attwood bringing this BBC Young Dancer Contemporary Final
0:55:32 > 0:55:33to a close.
0:55:33 > 0:55:37You can see all the performances in full on our website...
0:55:41 > 0:55:42Before the result,
0:55:42 > 0:55:46some thoughts from the judges on tonight's finalists.
0:55:46 > 0:55:48I thought the standard was incredibly high
0:55:48 > 0:55:51and a lot of the dancers actually did their own choreography.
0:55:51 > 0:55:55I thought they all made interesting choices, and each
0:55:55 > 0:55:57one of them was a joy to watch.
0:55:57 > 0:56:00There is so much going on in contemporary dance because
0:56:00 > 0:56:03everyone is exploring all kinds of things and I think they're
0:56:03 > 0:56:06really on a good journey and I think that that journey never stops.
0:56:06 > 0:56:10It's encouraging for me as an artistic director to be in this
0:56:10 > 0:56:14environment and to see the talent that's coming through.
0:56:16 > 0:56:20To announce the winner, Sharon Watson.
0:56:20 > 0:56:23I have to say, before I actually announce the winner,
0:56:23 > 0:56:26that this is an absolute wonderful opportunity that we've been provided
0:56:26 > 0:56:30to see all these dancers delivering such incredible work
0:56:30 > 0:56:31and I hope it continues.
0:56:31 > 0:56:33And now, the winner of
0:56:33 > 0:56:39the BBC Young Dancer 2017 Contemporary Category is...
0:56:39 > 0:56:41Nafisah Baba.
0:56:41 > 0:56:43APPLAUSE
0:57:05 > 0:57:09Nafisah's presentation was really quite breathtaking.
0:57:09 > 0:57:13I think what she was able to do was to show a range of her talent.
0:57:13 > 0:57:18She had a very, very good stage presence. You had to look at her.
0:57:21 > 0:57:27It was the maturity, the moments of stillness, the strength
0:57:27 > 0:57:31in the legs and that she really dropped her weight into the floor.
0:57:31 > 0:57:34I think she is quite an exceptional performer and
0:57:34 > 0:57:36has an incredibly bright future.
0:57:39 > 0:57:43I sort of stalled. I just sort of looked at the floor and then, I think,
0:57:43 > 0:57:45someone gave me a nudge as in, like, "That's you."
0:57:45 > 0:57:48And I was like, "Oh, my gosh, it is me." I couldn't believe it.
0:57:48 > 0:57:50Yeah, I just couldn't believe it.
0:57:50 > 0:57:52Congratulations to Nafisah Baba,
0:57:52 > 0:57:55winner of the 2017 Contemporary Final.
0:57:55 > 0:57:58And some good news for another of tonight's dancers,
0:57:58 > 0:57:59John-William Watson.
0:57:59 > 0:58:03He goes through to the Grand Final as the wild card selected
0:58:03 > 0:58:06from across all four categories. Congratulations to him.
0:58:06 > 0:58:09They will both be joining the winners of all the other
0:58:09 > 0:58:12categories, Street, Ballet and South Asian Dance,
0:58:12 > 0:58:16for the Grand Final of BBC Young Dancer 2017.
0:58:16 > 0:58:20This magnificent stage here at Sadler's Wells awaits them.
0:58:20 > 0:58:23I'll be here, together with my co-host for the evening,
0:58:23 > 0:58:26reigning Strictly Come Dancing champion Ore Oduba
0:58:26 > 0:58:30and ballet legend, the wonderful Darcey Bussell.
0:58:30 > 0:58:33Do join us next Saturday from eight o'clock on BBC Two.
0:58:33 > 0:58:37It promises to be quite a night. I'll see you then.
0:58:37 > 0:58:41I think it will be brilliant for these young dancers to dance
0:58:41 > 0:58:44on Sadler's Wells. What an iconic stage it is, the history of it.
0:58:44 > 0:58:48The showcase element of it for these dancers is amazing.
0:58:48 > 0:58:51It's a huge buzz just to step onto a stage,
0:58:51 > 0:58:54you know, hundreds of thousands of people watching this on television.
0:58:54 > 0:58:57I think, mostly, I'm looking for a dancer that feels like they're free.
0:58:57 > 0:59:01If someone has the talent, it shines through whatever form they take.
0:59:01 > 0:59:04In the end, I think it's going to be that person that
0:59:04 > 0:59:07really just smashes it on the night.