0:00:03 > 0:00:07'I always remember the first time I saw some contemporary dance.
0:00:07 > 0:00:11'I was about 12 or 13 and it was a truly visceral experience.'
0:00:11 > 0:00:14Two very dominant forms - music and movement,
0:00:14 > 0:00:18and somehow the combined effect greater than the sum of their parts.
0:00:18 > 0:00:20AMBIENT MUSIC
0:00:33 > 0:00:37Down the years, I've seen various other pieces of contemporary dance.
0:00:37 > 0:00:41I've occasionally conducted music to movement,
0:00:41 > 0:00:46but I've never had an opportunity to sit down and understand the form, get right inside it.
0:00:46 > 0:00:49This is my chance to do just that.
0:00:49 > 0:00:51AMBIENT DANCE MUSIC
0:00:54 > 0:00:57Be still. Really still, Charles.
0:01:03 > 0:01:05Do you ever do that at the bus stop?
0:01:05 > 0:01:07On my way to work(!)
0:01:15 > 0:01:17LIVELY BALLET MUSIC
0:01:19 > 0:01:25Ballet dominated the dance world until the beginning of the 20th century
0:01:25 > 0:01:28when revolutionary figures like Isadora Duncan,
0:01:28 > 0:01:31Nijinsky, Martha Graham,
0:01:31 > 0:01:33Kurt Jooss
0:01:33 > 0:01:37and Pina Bausch challenged its supremacy.
0:01:38 > 0:01:45But it wasn't until 1967 that the first School of Contemporary Dance opened in the UK.
0:01:45 > 0:01:50This is The Place. It is the home of both the London Contemporary Dance Theatre
0:01:50 > 0:01:53and the London Contemporary Dance School.
0:01:53 > 0:01:58It's the only school of its kind in Europe and it's a very exciting place to work in.
0:02:01 > 0:02:05Since then, contemporary dance has constantly evolved,
0:02:05 > 0:02:08taking inspiration from other arts,
0:02:08 > 0:02:10breaking out of traditional venues
0:02:10 > 0:02:13and bringing marginal forms main stage.
0:02:15 > 0:02:18So anything goes now.
0:02:18 > 0:02:20Or does it?
0:02:20 > 0:02:25This year's Place Prize for Dance winners, Lost Dog, had critics up in arms,
0:02:25 > 0:02:28claiming their entry was more theatre than dance.
0:02:28 > 0:02:30Where were the steps?
0:02:30 > 0:02:35People who saw it were surprised by the fact that they were dancers
0:02:35 > 0:02:38or some thought they were actors or physical performers,
0:02:38 > 0:02:43even though their skill is very obvious, but it's still this thing of like,
0:02:43 > 0:02:46"Is that dance or is that theatre?"
0:02:46 > 0:02:49But for us, it's not such an important distinction.
0:02:49 > 0:02:55It's just this thing of we were interested in creating work that is physical,
0:02:55 > 0:02:57but we enjoy the use of narrative.
0:02:57 > 0:03:00LIVELY JAZZ MUSIC
0:03:00 > 0:03:05It's not trying to do the same thing as everything else, so for people to want it
0:03:05 > 0:03:10to do whatever they think dance should do is a bit frustrating.
0:03:13 > 0:03:17If you can get beyond any sense of personal wounding,
0:03:17 > 0:03:21it's quite exciting to create work that really does divide people.
0:03:21 > 0:03:27- Yeah.- Yeah.- Most live performance, particularly dance, is asking you to be involved with that creative act
0:03:27 > 0:03:31which can be thrilling, but it can also be difficult for some people.
0:03:31 > 0:03:33JAZZ PIANO MUSIC
0:03:45 > 0:03:47So what are we talking about?
0:03:48 > 0:03:51It's definitely not ballet.
0:03:51 > 0:03:55Classical ballet, according to the dictionary definition,
0:03:55 > 0:03:59is a precise form with highly formalised set steps and gestures
0:03:59 > 0:04:03and, let's face it, the weight of history around it.
0:04:03 > 0:04:09Ultimately, I guess, it's really about beauty and aesthetics, so how do we define contemporary dance?
0:04:09 > 0:04:11I don't know.
0:04:11 > 0:04:16I think us as artists, we're constantly making work to answer that question.
0:04:16 > 0:04:20I think it's a journey. I don't think it's a destination.
0:04:20 > 0:04:25But I think it is something which explores the stage and using movement.
0:04:28 > 0:04:32At the moment, contemporary dance is simply an umbrella term
0:04:32 > 0:04:35to cover dance in our time.
0:04:37 > 0:04:42And I suppose the only clear definition
0:04:42 > 0:04:44is that it's separating itself
0:04:44 > 0:04:49from the classical ballet which is, if you like, a very clearly defined world,
0:04:49 > 0:04:54but the walls between those two worlds are definitely tumbling down.
0:04:54 > 0:04:56MELLOW JAZZ MUSIC
0:04:58 > 0:05:01It's a passion, it's a freedom.
0:05:01 > 0:05:07It's a love. It's a way of expressing sometimes what can't be said in words or...
0:05:09 > 0:05:15..if it could be said in words, it would take an encyclopedia to say it.
0:05:25 > 0:05:27It aims to heighten our perceptions
0:05:27 > 0:05:31and our understanding of reality,
0:05:31 > 0:05:34but it's about today, it's relevant to the world we live in.
0:05:34 > 0:05:37TECHNO BEATS
0:05:41 > 0:05:45Contemporary dance doesn't have rules. It's very exciting.
0:05:45 > 0:05:49In the studio you feel like a rebel because it's not classical ballet
0:05:49 > 0:05:53that you know exactly what type of movements you'll see,
0:05:53 > 0:05:57what kind of music, you don't know. It's like going underground.
0:06:02 > 0:06:06It's like trying to define music. It's many things at once.
0:06:06 > 0:06:10It's a constantly evolving art form, re-inventing and re-defining itself.
0:06:10 > 0:06:14The best way to understand it is to go and see as many things as you can
0:06:14 > 0:06:18and then you begin to get a sense of what it can begin to encompass.
0:06:22 > 0:06:26I'm at The Place, home to the Richard Alston Dance Company.
0:06:26 > 0:06:3040 years ago, Richard was one of the first dancers to train here.
0:06:30 > 0:06:35I was surprised because I thought his aesthetic would be much less balletic,
0:06:35 > 0:06:41but what overjoyed me was this symbiotic relationship between the movement and the music.
0:06:45 > 0:06:51I started with Merce Cunningham who was a very clear trainer and a wonderful teacher.
0:06:51 > 0:06:55But my work is about movement and music together
0:06:55 > 0:06:58and Merce's work specifically was not.
0:06:58 > 0:07:00GENTLE PIANO MUSIC
0:07:02 > 0:07:06Merce Cunningham and John Cage decided to separate the two
0:07:06 > 0:07:08and make them independent.
0:07:08 > 0:07:10Every audience puts them together.
0:07:10 > 0:07:16Everyone always thinks that the dancers are moving to whatever sounds are going on
0:07:16 > 0:07:20and his movement, although incredibly clear, was designed
0:07:20 > 0:07:24to be put together by chance methods which is what he believed in,
0:07:24 > 0:07:28which meant that any movement could follow any other movement.
0:07:28 > 0:07:30RUSTLING SOUND
0:07:38 > 0:07:44I'm more interested and have always been more attracted by a flowing language.
0:07:44 > 0:07:48And therefore, classical ballet is the most sophisticated,
0:07:48 > 0:07:52flowing language with small transitional steps
0:07:52 > 0:07:55leading to big climax steps and so on.
0:07:55 > 0:08:00I find the marriage of the two a really interesting world for me to explore.
0:08:16 > 0:08:20I think of dance as sculpture, I think of dance as architecture.
0:08:20 > 0:08:26It moves in space. I think of dance definitely as a form of music.
0:08:30 > 0:08:34It's one of the things that gives me particular satisfaction
0:08:34 > 0:08:39when an audience member says to me, "When I look at your dance, I hear more in the music."
0:08:39 > 0:08:42What they don't say, but I also believe is true
0:08:42 > 0:08:47is if I've made the dance properly, the music helps them see more in the dance.
0:08:47 > 0:08:49UP-TEMPO MUSIC FROM "Overdrive"
0:09:03 > 0:09:06I guess I fell in love is the truth.
0:09:06 > 0:09:12I just fell in love with dancers and I've always been in love with dancers. I'm a bit of a groupie.
0:09:13 > 0:09:15And it's never left me,
0:09:15 > 0:09:20this love of human beings working so hard to move
0:09:20 > 0:09:24and to make something that is, I find, incredibly uplifting.
0:09:24 > 0:09:26DRAMATIC PIANO MUSIC
0:09:41 > 0:09:47I fell in love with music, but I've always wondered how a dancer relates to it.
0:09:47 > 0:09:52I've thought of an experiment. I've got a few people here who are going to help me.
0:09:54 > 0:10:01If I played you a piece of music which hopefully you are not familiar with and haven't danced to before,
0:10:01 > 0:10:04just to see what spontaneously it makes you do...
0:10:08 > 0:10:13I'm playing a D Major Prelude by JS Bach on a very knackered piano
0:10:13 > 0:10:17and what's amazing is you've got this 300-year-old piece of music
0:10:17 > 0:10:21and it's inspiring contemporary, improvised dance.
0:10:27 > 0:10:33The music had quite a rhythmical, lyrical flow which was this kind of movement,
0:10:33 > 0:10:37then there were these accents and little things to highlight.
0:10:37 > 0:10:40- It's also about making choices. - Yeah.
0:10:42 > 0:10:46You know, you could read that piece as quite sorrowful
0:10:46 > 0:10:49or as I felt you read it...
0:10:49 > 0:10:52kind of glad to be alive in a way.
0:10:53 > 0:10:58Sometimes when you're improvising, you can go through 15 different stories
0:10:58 > 0:11:04and that will make you move different to that piece of music. That's what I do personally.
0:11:05 > 0:11:10Maybe the movement is quite joyful, but your intention behind it can be quite sorrowful.
0:11:10 > 0:11:16It's like The Dying Swan. It's still moving a lot and beautiful, but it's a sad, mournful thing.
0:11:17 > 0:11:22Sometimes without going outside the music, you can just stay still
0:11:22 > 0:11:28or experience feeling the music and still be in it, and then start again.
0:11:36 > 0:11:42Wow! Let's do that piece of music again. I want you to approach it completely differently.
0:11:42 > 0:11:45MUSIC RESUMES: "Prelude in D Major" - JS Bach
0:11:59 > 0:12:05Two basically different stories told in the space of five minutes - remarkable fluidity and ease
0:12:05 > 0:12:09because who is to say a piece of music only has one message?
0:12:09 > 0:12:13It has an infinite number and dance can really show that.
0:12:16 > 0:12:20I thought perhaps in my prejudiced way in the past
0:12:20 > 0:12:26that on occasion, dance was something which used music as a carpet on which to tread,
0:12:26 > 0:12:30something to trample over. The reverse could not be more the case.
0:12:37 > 0:12:40This is supposed to be Superboy and Girl...
0:12:40 > 0:12:45'Mark Baldwin, the Artistic Director of Rambert Dance Company,
0:12:45 > 0:12:51'has commissioned composer Stephen McNeff to adapt Ravel's music for L'Enfant Et Les Sortileges
0:12:51 > 0:12:58'for his work Seven For A Secret, Never To Be Told. I've come here to see how he works with the music.'
0:12:58 > 0:13:03What I'm looking for is all the mystery and gorgeousness in these little black things.
0:13:05 > 0:13:11The idea that you work with a composer and you build something together is fantastic.
0:13:11 > 0:13:15You're looking for something which is not predictable,
0:13:15 > 0:13:20so you're looking for something which gives you what the composer's given you.
0:13:20 > 0:13:26You're looking for bits that you can point out to the audience and you're looking for a relationship.
0:13:26 > 0:13:32It may not be that you're holding hands. You could be hugging or you're looking at each other.
0:13:32 > 0:13:34- It can speak volumes.- Absolutely.
0:13:34 > 0:13:39The music wants to go like this, so something inside you tells you to go like this,
0:13:39 > 0:13:42but then he doesn't want that. He wants speed.
0:13:42 > 0:13:46To me, it sounds like it's going like this.
0:13:46 > 0:13:48Yeah. It's a long line, yeah.
0:13:48 > 0:13:51GENTLE MUSIC PLAYS
0:14:07 > 0:14:13Yes, I'm looking for some kind of visualisation, if you like, of what I hear, which is quite eccentric.
0:14:15 > 0:14:17UP-TEMPO MUSIC
0:14:17 > 0:14:20'The dancers are portraying children.
0:14:20 > 0:14:24'Having studied his friend's seven-year-old at play,
0:14:24 > 0:14:27'how does Mark get his ideas across to the dancers?'
0:14:27 > 0:14:32Talk me through your process. You listen to this music and you start to move to it,
0:14:32 > 0:14:36- you start to find a language. - I warm up to it.
0:14:36 > 0:14:38- That's how it goes.- Yeah.
0:14:38 > 0:14:42- As we jump.- So with me doing it, it would look something...
0:14:42 > 0:14:46It would look something like that, which is quite different,
0:14:46 > 0:14:49but that gives me an idea of what I could ask him to do.
0:14:49 > 0:14:52DRAMATIC MUSIC
0:14:57 > 0:15:03And also I know that I'm going to skip round the room, then jump over this way
0:15:03 > 0:15:09and there's something over there, there's a grasshopper. It's that kind of mad, mental, physical thing.
0:15:09 > 0:15:15You say it's different, but it's very close. You've drawn so much from that whole demeanour.
0:15:15 > 0:15:19What Mark's done is he has really completely inhabited the story,
0:15:19 > 0:15:25so when he does it, it's completely there. We're still trying to do the movements and make them look good.
0:15:26 > 0:15:31And we try and usually make it bigger, so we get a chance to dance a bit.
0:15:38 > 0:15:43So at what point does it become fixed or is it never fixed?
0:15:43 > 0:15:49Throughout the season, you'd find, "Maybe I could do this here and that there," hoping that he won't see it.
0:15:49 > 0:15:55- And sometimes...- I do see it. I've noticed you've changed already. I'm not completely happy with it.
0:15:55 > 0:15:59But sometimes our changes actually work. Sometimes.
0:15:59 > 0:16:01But it's good to have a balance.
0:16:01 > 0:16:06- They have to be soft in the chest and they have to push off the back leg.- Yes.
0:16:06 > 0:16:10- So it looks like it's going through space.- Yeah.
0:16:10 > 0:16:14It's those technical things I'm looking at and how he uses his core.
0:16:14 > 0:16:18Also, it's the whole body because the music fills all of the stage
0:16:18 > 0:16:21and so I need this to fill the whole stage.
0:16:21 > 0:16:24DRAMATIC MUSIC
0:16:29 > 0:16:31LAUGHTER
0:16:33 > 0:16:36- It ends here.- Yeah, yeah. - It ends here.
0:16:36 > 0:16:39- Very good, Dane.- Wow, brilliant.
0:16:42 > 0:16:48'In this sequence, dancer Eryck Brahmania has been asked to dance as though he's a flame.'
0:16:48 > 0:16:52In terms of your characterisation, how much are you thinking "fire"?
0:16:52 > 0:16:58You've got to think about it from the beginning to the end, otherwise the audience won't read it,
0:16:58 > 0:17:02so this is still very new. We've had one session on this solo.
0:17:02 > 0:17:07There's still material being processed and understanding all the steps,
0:17:07 > 0:17:14but if you try to think the whole way through the essence of fire or flame, it's more like a playful flame.
0:17:15 > 0:17:20It's always changing until probably... until we finally get on stage.
0:17:23 > 0:17:25APPLAUSE AND LAUGHTER
0:17:27 > 0:17:29Can you do some blue flame for me?
0:17:29 > 0:17:33If I do the material as a blue flame, I think it would be...
0:17:33 > 0:17:36a lot calmer and a lot...
0:17:36 > 0:17:38a bit more mysterious.
0:17:39 > 0:17:40Yeah.
0:17:44 > 0:17:48That speaks volumes because an interesting fire does that anyway.
0:17:48 > 0:17:53If you chuck on a bit of the Sunday Times supplement, you get blues and greens,
0:17:53 > 0:17:58- but then they're swept away and there's more orange. It's interesting.- Yeah.
0:17:58 > 0:18:02I think with this piece you have to find all those different elements,
0:18:02 > 0:18:05those different textures and qualities,
0:18:05 > 0:18:10so it's a little bit difficult. It's much easier doing it in one style.
0:18:10 > 0:18:12- Who wants easy though?- I know.
0:18:12 > 0:18:15- Mark never wants easy. - That was beautiful.
0:18:15 > 0:18:20Really beautiful. I never thought of those kinds of suggestions.
0:18:21 > 0:18:26The ability to interpret a colour or an idea without words is a real skill.
0:18:26 > 0:18:32And for some people, dance, it's like it's hard-wired into them, it's an essential part of them,
0:18:32 > 0:18:35a totally natural form of self-expression.
0:18:35 > 0:18:39I played rugby and tennis at school, I played the piano, cello.
0:18:39 > 0:18:42I was interested in art, music, sport,
0:18:42 > 0:18:44but somehow dance seemed to...
0:18:44 > 0:18:48I often think dance touches the things that other things can't
0:18:48 > 0:18:52and maybe for me dance was a wonderful marriage of the physical
0:18:52 > 0:18:58and the emotional and the musical and the spiritual. I don't know. It just meant more to me.
0:19:00 > 0:19:04I saw a Bollywood film, one of those old classics,
0:19:04 > 0:19:09made perhaps in the '60s or '50s. There was a dancer in there called Sandhya.
0:19:09 > 0:19:12She did this extraordinary thing in this film.
0:19:12 > 0:19:16She took a fish out of the water and she put it on the land
0:19:16 > 0:19:20and the fish was obviously gasping for air to live.
0:19:20 > 0:19:24She was dancing and imitating every movement of that fish.
0:19:34 > 0:19:36It had such an impact on me.
0:19:36 > 0:19:40I went to bed, I remember, dreaming about being a dancer.
0:19:40 > 0:19:45I woke up the next day. I knew exactly that I wanted to be a dancer all my life.
0:19:45 > 0:19:50It was so relevant to me, embodying some communication like that.
0:19:50 > 0:19:56My grandfather was given a radiogram when he retired and when he died, it came to us.
0:19:56 > 0:20:00Then music came to our house. We put these LPs on, these 78s.
0:20:00 > 0:20:04I opened the window and we had a little garden.
0:20:04 > 0:20:09I went on to the lawn and I danced to Beethoven, Mozart and Brahms.
0:20:12 > 0:20:16Janet Smith and dancers of Scottish Dance Theatre hold regular events
0:20:16 > 0:20:20where they show and discuss short extracts of their work.
0:20:23 > 0:20:26There's a way in which we can watch.
0:20:26 > 0:20:31In the same way as you can listen to music and hear pattern and form in music,
0:20:31 > 0:20:35you can do exactly that in the form and pattern that dancers make.
0:20:35 > 0:20:39The challenge is to draw attention to that
0:20:39 > 0:20:43because you're just watching human beings doing pattern and form.
0:20:43 > 0:20:48You are watching people and that is the first way that we look at each other.
0:20:52 > 0:20:54GENTLE PIANO MUSIC
0:20:55 > 0:20:59So I think that dance, unlike other forms,
0:20:59 > 0:21:04tells its story through space and through time together.
0:21:11 > 0:21:15Let's just have a look at a solo and a duet
0:21:15 > 0:21:18that travel on different lines of space.
0:21:23 > 0:21:27Sometimes like just the relationship of them in space and stuff
0:21:27 > 0:21:34can show you the relationship that's going on in the piece or what somebody's trying to convey.
0:21:37 > 0:21:43It's really nice to see the dancers watching each other and seeing each other and responding to each other,
0:21:43 > 0:21:46which I thought was really clear.
0:21:46 > 0:21:48Also the facial expression,
0:21:48 > 0:21:54not just the movement, like the eye contact between the dancers and just the little quirky expressions.
0:22:01 > 0:22:07The best thing which I felt about contemporary dancing is it gives you a freedom to think.
0:22:07 > 0:22:14It does not have just one specific story that all the people around here would think, "OK, this is it."
0:22:14 > 0:22:18No, each one will have a different view, a different perspective.
0:22:33 > 0:22:39For Kenneth Tharp, dance can be an essential part of a person's development, yet it's often ignored.
0:22:39 > 0:22:45I was lucky enough to discover my passion for dance at a young age and then never wanted to stop.
0:22:45 > 0:22:50I don't know if you've read the latest book by Sir Ken Robinson, The Element.
0:22:50 > 0:22:56They're a wonderful collection of stories and anecdotes about often very famous people
0:22:56 > 0:23:01from Richard Branson to Sir Paul McCartney to the guy who invented The Simpsons
0:23:01 > 0:23:07to the drummer from Fleetwood Mac and also a brilliant one about the choreographer Gillian Lynne.
0:23:07 > 0:23:12What they all had in common was that at school, it's as though their innate talent
0:23:12 > 0:23:18that later brought them to fame lay unrecognised. If anything, they were seen as problems.
0:23:24 > 0:23:27Lea Anderson loved dancing ballet,
0:23:27 > 0:23:34but when she didn't match the idealised shape of a ballerina, she abandoned dance in favour of art.
0:23:34 > 0:23:38I went to art school and I was on a foundation year.
0:23:38 > 0:23:41I kept kicking over everyone else's work
0:23:41 > 0:23:43as I would suddenly jump or leap.
0:23:47 > 0:23:52I would smash up so many people's sculptures. I jumped through a painting.
0:23:52 > 0:23:58The principal said, "Every lunchtime you go to your dance classes, all day long you destroy everyone's art.
0:23:58 > 0:24:00"Why aren't you doing dance?
0:24:00 > 0:24:06"You could bring your art and the ways of thinking to dance and invent your own dance."
0:24:06 > 0:24:09I thought, "Why didn't I think of that?"
0:24:21 > 0:24:24I was taken by a friend's mum down to Pineapple
0:24:24 > 0:24:28and ended up in a jazz class taught by Arlene Phillips. I was 13.
0:24:28 > 0:24:32Step... On to a straight leg there. Pull it up.
0:24:32 > 0:24:37'I spent years doing that in lots of dreadful legwarmers and enjoyed it tremendously.
0:24:37 > 0:24:41'I got my Equity card at 17 and I adored working with Arlene.'
0:24:41 > 0:24:46I felt that you could go further and deeper with the contemporary work,
0:24:46 > 0:24:52so it really was extremely challenging and you could develop and grow doing it.
0:24:52 > 0:24:57But also there's something more expressive in it than I'd found in the jazz.
0:24:57 > 0:25:00What was so great when I was dancing with Lea Anderson
0:25:00 > 0:25:04was to find someone whose work not only I enjoyed doing,
0:25:04 > 0:25:08but I felt I could bring something to and add in and contribute.
0:25:11 > 0:25:15I think a lot of dancers don't ever find that, so I felt really lucky.
0:25:15 > 0:25:19I danced for eight years with Lea and it was just a joy.
0:25:30 > 0:25:34At Trinity Laban Conservatoire Of Music And Dance,
0:25:34 > 0:25:38they teach a way of understanding how movement is generated in the body
0:25:38 > 0:25:41and how from this comes dance.
0:25:42 > 0:25:44GENTLE, MELANCHOLIC MUSIC
0:25:54 > 0:25:58What I teach here is called Choreological Studies.
0:25:58 > 0:26:03And it's based on the principles and practice of somebody called Rudolf Laban
0:26:03 > 0:26:06from which Trinity Laban gets its name.
0:26:06 > 0:26:12It's about introducing students to the fact that dance is made from movement.
0:26:12 > 0:26:16Movement is, if you like, the raw material of the art form,
0:26:16 > 0:26:19but quite often in practice, people come to dance
0:26:19 > 0:26:22through learning steps, styles or techniques
0:26:22 > 0:26:26and not understanding necessarily the structure of movement itself.
0:26:26 > 0:26:28Walk around the space.
0:26:29 > 0:26:34'We look at human movement in all its structural complexity
0:26:34 > 0:26:38'as a way of understanding how we can refine and create dance.'
0:26:38 > 0:26:43And stop. I'd like you to walk and then be still.
0:26:43 > 0:26:50'Using movement terms for movement and not subjective, personal ways of feeling about it.'
0:26:50 > 0:26:54But if you arrest the movement, you create something other,
0:26:54 > 0:26:58so I want you to travel therefore and then be still.
0:26:58 > 0:27:00Really still, Charles.
0:27:00 > 0:27:02Right, off you go.
0:27:02 > 0:27:07Little by little, we visit each of these intrinsic structures of human movement
0:27:07 > 0:27:11and understand how movement is structured before we make dance.
0:27:11 > 0:27:16OK. Thank you. So we have what we call a two-action phrase.
0:27:16 > 0:27:21You would understand as a musician that the duration and speed of those two actions
0:27:21 > 0:27:24would create some kind of phrasing, OK?
0:27:24 > 0:27:27You need to choose what that is, OK?
0:27:27 > 0:27:31Dance doesn't happen to you. You make decisions about it.
0:27:33 > 0:27:37It's not about putting shapes on the outside of you.
0:27:37 > 0:27:40It's about generating from the inside out.
0:27:40 > 0:27:43SLOW, MELANCHOLIC MUSIC
0:27:45 > 0:27:48Strong breath, shifting...
0:27:49 > 0:27:52Yeah, much better.
0:27:52 > 0:27:58And then we come over the top and we're just going to start to allow everything to curve.
0:27:58 > 0:28:01You've been quite audible with your expression of energy.
0:28:01 > 0:28:07We work on the breaths, so that they're hearing and listening to their own breathing.
0:28:07 > 0:28:12Sometimes they hear and see the breathing of others. We also sometimes make noises in class.
0:28:12 > 0:28:16- And also breath is rhythm. It's your internal rhythmic map.- Yeah.
0:28:16 > 0:28:21And sometimes we work with that as our music in a way.
0:28:21 > 0:28:25Rather than working to tempo, we sometimes work with breath rhythm,
0:28:25 > 0:28:28that idea of feeling when the movement changes from the inside.
0:28:28 > 0:28:31Shifting circle, release...
0:28:32 > 0:28:35Come back. Not bad. Good. Nice work.
0:28:35 > 0:28:38When you come back at the end from here...
0:28:38 > 0:28:43I find it fascinating exploring Laban and understanding some of its principles.
0:28:43 > 0:28:49It's about being so far inside your own body, physically, mechanically even, understanding the motivation
0:28:49 > 0:28:51for a limb to move in a certain way.
0:28:51 > 0:28:57Beyond that, it's all about breath, wonderful, intuitive breaths spread amongst a class of dancers.
0:28:57 > 0:28:59It's like perfect, silent music.
0:28:59 > 0:29:02THEY EXHALE
0:29:04 > 0:29:06Change, change.
0:29:06 > 0:29:12'So this is all about movement. How does movement then get turned into formalised dance?
0:29:12 > 0:29:19'This is where choreography comes in. David Massingham danced with Adventures In Motion Pictures
0:29:19 > 0:29:23'and he's now Artistic Director of DanceXchange Birmingham.'
0:29:23 > 0:29:28Do I think a flock of birds is a piece of choreography if you film it? No.
0:29:28 > 0:29:34It's beautifully kind of watchable and interesting, but it's not choreography. No one's designed it.
0:29:34 > 0:29:38But I think that's what's fantastic about contemporary dance.
0:29:38 > 0:29:43Over the years, through its creative roots, it's looked at life itself
0:29:43 > 0:29:46and built an art form out of it.
0:29:46 > 0:29:51That's why it keeps evolving and changing and becoming more popular.
0:29:51 > 0:29:53It does reflect life beautifully.
0:29:57 > 0:30:01For me, it's an art form that uses
0:30:01 > 0:30:04the space between people
0:30:04 > 0:30:09and gesture and shape to convey meaning without pinning it down with a word.
0:30:09 > 0:30:13It's an incredibly complex and wonderful art form.
0:30:14 > 0:30:22It enables me to make pieces of movement that simultaneously suggest various interpretations,
0:30:22 > 0:30:28sometimes opposing interpretations, which can make for a very complex description of a relationship
0:30:28 > 0:30:35or somebody's relationship with their environment can be very moving and transforming as a performance.
0:30:35 > 0:30:4025 years ago, Lea Anderson set up The Cholmondeleys and then The Featherstonehaughs.
0:30:40 > 0:30:45She's choreographed hundreds of shows with them and others.
0:30:45 > 0:30:50I like to know what restrictions we'll have from the costume.
0:30:50 > 0:30:55It's far more interesting to work with it in mind and the meaning of a costume.
0:30:57 > 0:31:03Having dance pyjamas or a nice loose-fitting thing that enables you to do everything,
0:31:03 > 0:31:07what does that say about movement and humans?!
0:31:07 > 0:31:13The thing about costumes and people and life and humanity is about our clothing and what we look like
0:31:13 > 0:31:20and how we choose to appear. For me, that's very important. The dressing of the human.
0:31:23 > 0:31:27I also like to have a lighting design kind of worked out first.
0:31:27 > 0:31:32Some bits might be in darkness, some in light. That's more interesting.
0:31:55 > 0:32:01I'm getting a real sense that contemporary dance is all things to all people -
0:32:01 > 0:32:05dancers, choreographers, audience. One of the things I'm learning is
0:32:05 > 0:32:09that I need to let go of ANY preconceptions.
0:32:12 > 0:32:18Mayuri Boonham choreographs contemporary dance drawn from the ancient Indian form Bharata Natyam.
0:32:21 > 0:32:28It's my responsibility as a dance maker to give you the experience I want to take you on.
0:32:28 > 0:32:35There shouldn't be any barrier in terms of, "All very interesting, but those gestures, I don't get it."
0:32:35 > 0:32:40I'm really interested in breaking down that barrier.
0:32:40 > 0:32:42RHYTHMIC CHANTING
0:32:53 > 0:32:57I've still got this nagging doubt that maybe I just won't get it,
0:32:57 > 0:33:01so I got some very useful advice from dance critic Donald Hutera.
0:33:01 > 0:33:08Try and find something to connect with, whether that could be the music, a bit of text,
0:33:08 > 0:33:14because a lot of people are talking in dance now, whether it's a costume
0:33:14 > 0:33:20or set or a step. Sometimes it can be something as simple as the way a leg moves,
0:33:20 > 0:33:24the way somebody does an arm movement. And something clicks.
0:33:29 > 0:33:33I think this is key, fastening on something perhaps very small.
0:33:33 > 0:33:40So much of contemporary dance is not about story. There's story in it, a narrative in the body,
0:33:40 > 0:33:45there are different angles and aspects of storytelling.
0:33:45 > 0:33:49Akram Khan says he is a storyteller, not a choreographer.
0:33:49 > 0:33:52THEY BOTH SPEAK
0:33:52 > 0:33:56It's amazing how much power it holds.
0:34:01 > 0:34:07For me, some of the best work rises from a clarity of intention.
0:34:07 > 0:34:13If the artist is really clear about what they want to do, that can produce the best kind of ambiguity
0:34:13 > 0:34:19whereby I will have one feeling or thought about something, you'll have another
0:34:19 > 0:34:22and we'll both be right because there is no wrong.
0:34:29 > 0:34:33Back at the Scottish Dance Theatre, the dance has moved on.
0:34:51 > 0:34:57I felt it was almost like a relationship between the two people
0:34:57 > 0:35:03and it was as if they were trying to decide who wore the trousers, who had power.
0:35:08 > 0:35:13It's like a relationship that's got a bit stuck and they're a burden on each other,
0:35:13 > 0:35:16this shifting of weight is like, "Uh..."
0:35:16 > 0:35:21And then at the end it seems like they split up and James is confused.
0:35:27 > 0:35:30He was trying hard to convince her
0:35:30 > 0:35:33and, I'm afraid, he didn't make it.
0:36:08 > 0:36:14This has got me thinking. If I could dance, what would I have to say?
0:36:17 > 0:36:21'Liz Rankin found dance in her 20s with DV8 amongst others.
0:36:21 > 0:36:25'She now specialises in stage movement.'
0:36:25 > 0:36:30I'm going to work with physicalising emotions, accessing a somatic memory
0:36:30 > 0:36:34held in the muscles, a subconscious memory,
0:36:34 > 0:36:38but which you can relate from specific moments
0:36:38 > 0:36:43- in your own memory, that I'll access it from.- Wow.
0:36:44 > 0:36:49- Aaaaaah.- Aaaaaah.
0:36:49 > 0:36:50Now!
0:36:50 > 0:36:54You feel the sun, you can hear the seagulls.
0:36:54 > 0:36:58'In a way, you're reversing a lot of what I've learnt'
0:36:58 > 0:37:02as I've become a sentient human being. We learn, don't we,
0:37:02 > 0:37:08- not to listen to what our inner core is telling us...- Yes.- ..because it's not appropriate.- Yes, yes.
0:37:08 > 0:37:12I very much come from a journey
0:37:12 > 0:37:16where I was coming from a family that put mind over body.
0:37:17 > 0:37:19Good.
0:37:19 > 0:37:24We ignored, we forgot the body. There was no value in exploring it.
0:37:24 > 0:37:30A journey has taken me back to my interest in the arts and the holistic wisdom in the body.
0:37:30 > 0:37:34- All the way down. Take the feet over the head and hang there.- Oh!
0:37:34 > 0:37:36That's as far as it goes!
0:37:36 > 0:37:41'Liz is going to open up the connection between my mind and body
0:37:41 > 0:37:47- 'to see if I can express an emotion in movement.'- You're waking the back up. Roll back.
0:37:47 > 0:37:51Roll. Try over the other knee. Right knee.
0:37:51 > 0:37:55And back. And round! And up!
0:37:55 > 0:37:59And down. Up and down!
0:37:59 > 0:38:03Miaoooow!
0:38:04 > 0:38:05OK.
0:38:05 > 0:38:09We're opening the lungs, the heart,
0:38:09 > 0:38:11the nervous system. Good.
0:38:14 > 0:38:19BOTH: Miaoooooow!
0:38:19 > 0:38:23We're just going to work with physicalising an essence of love
0:38:23 > 0:38:28to see what that emotion does to the quality of movement.
0:38:28 > 0:38:34I want you to think of a specific situation where, "Yes, I felt love." ..Great. So where are you?
0:38:34 > 0:38:38I'm just welcoming my daughter into the world.
0:38:38 > 0:38:44- You've got a new-born baby.- Yes. - Is she in your arms? - She wasn't, but she could be.
0:38:44 > 0:38:47- What else is in the room? - Em, a fire.
0:38:47 > 0:38:53- Is your wife there? - No, just me and my daughter. - Just you and your daughter. Great.
0:38:53 > 0:38:59- Can you smell anything?- That delicious smell of new-born baby. - Yeah, yeah.
0:38:59 > 0:39:04From this position, by physicalising a flow of movement,
0:39:05 > 0:39:08just one movement inspiring the next,
0:39:08 > 0:39:13see what it does to... That's it. Fantastic, fantastic.
0:39:16 > 0:39:19One movement after the next.
0:39:22 > 0:39:25Good. Good, good.
0:39:25 > 0:39:27That's beautiful.
0:39:32 > 0:39:36See, you're... That's it. Gorgeous, gorgeous.
0:39:50 > 0:39:52Lovely.
0:40:00 > 0:40:02Dance is an incredibly emotive form,
0:40:02 > 0:40:06both for the protagonist and also the observer.
0:40:06 > 0:40:08It's also a very pure form.
0:40:08 > 0:40:12You can't come into dance, certainly as a participant,
0:40:12 > 0:40:17with a load of radio interference in your head. You need to find clarity
0:40:17 > 0:40:19and find a purity.
0:40:19 > 0:40:24Your body has to become a bit like a...a perfect vessel.
0:40:25 > 0:40:28Here is the perfect human.
0:40:36 > 0:40:39'I'm trying to learn the body.'
0:40:39 > 0:40:43I don't have a whole theory that is complete.
0:40:43 > 0:40:46Maybe just before I die, I'll write it down!
0:40:47 > 0:40:54One name that keeps cropping up is Hofesh Shechter, Israeli choreographer and dancer,
0:40:54 > 0:40:56who won the 2004 Place Audience Prize.
0:40:56 > 0:41:00Movement is not just about the shapes you see on stage.
0:41:02 > 0:41:07These shapes are a translation of a feeling.
0:41:09 > 0:41:14When someone watches them, it translates back into a feeling.
0:41:22 > 0:41:27You can see them dancing sometimes and you think, "That can look like a ceremony in Africa,"
0:41:27 > 0:41:34or a club on a Saturday night or like something you can see at a political rally.
0:41:34 > 0:41:38Or something that you can see in, you know, a folk dance event.
0:41:38 > 0:41:44And that sort of confusion, that similarity between a lot of things, makes it cool for me.
0:41:51 > 0:41:57Growing up in Israel, the conflict there continues to inform Shechter's choreography and ideas.
0:42:00 > 0:42:07I did feel that I am growing up in a country that is in a conflict, a country that is very Western
0:42:07 > 0:42:12and free and everyone can say and do what they want, but at 18 you have to go to the army.
0:42:14 > 0:42:17And I found this amazing.
0:42:21 > 0:42:27It's kind of like an extract of the most intense moments of a dance piece that I have made
0:42:27 > 0:42:33which is called Uprising. The piece is dealing with boys' energy and with boys' mentality
0:42:33 > 0:42:38and with boys' behaviour, with the idea of playing and fighting,
0:42:38 > 0:42:46and liking to play and liking to fight. How fun it is to be part of a war.
0:43:11 > 0:43:15The music is the reason I do dance. That's, you know...
0:43:15 > 0:43:22I love the feeling when music is played in a theatre. It just gives me...a thrill.
0:43:22 > 0:43:28It can create atmosphere, it can create rules, it can create thoughts.
0:43:28 > 0:43:31It can take you somewhere like that.
0:43:31 > 0:43:33ALL: This is what we do.
0:43:34 > 0:43:37Music feeds contemporary dance,
0:43:37 > 0:43:42but if you want dance to reflect your own life experience,
0:43:42 > 0:43:46you've got to find a music that does that as well.
0:43:49 > 0:43:55From a very young age, coming from a Grenadian family, calypso was the dance style,
0:43:55 > 0:43:59soca was really important. My brothers then did jazz dance.
0:43:59 > 0:44:02One did a lot of reggae dance.
0:44:02 > 0:44:06But for me, when I first saw hip hop dance,
0:44:06 > 0:44:12that belonged to me. That made sense, it related to the environment
0:44:12 > 0:44:18where I grew up, the concrete environment, which street dance comes from, made a lot of sense.
0:44:21 > 0:44:27When Jonzi D went to study dance, hip hop was not an option available to him.
0:44:29 > 0:44:34What I found at The Place, the London Contemporary Dance School,
0:44:34 > 0:44:38was that the idea of contemporary dance
0:44:38 > 0:44:40didn't quite add up to me.
0:44:40 > 0:44:45A lot of these dance styles we were learning were from the '30s and '40s.
0:44:45 > 0:44:50So when you say "contemporary", do you mean of today?
0:44:50 > 0:44:57Because as far as I was concerned, I was already doing contemporary dance, the dance of today.
0:44:57 > 0:45:01I was already popping.
0:45:01 > 0:45:03Locking.
0:45:03 > 0:45:05And breaking.
0:45:05 > 0:45:10What I realised is that the title "contemporary dance"
0:45:10 > 0:45:14is a noun. It's not a descriptive word.
0:45:14 > 0:45:20And actually I wanted to use the dance of today to make dance theatre.
0:45:21 > 0:45:28I looked at some of the ballet structures, at Petit Allegro and the fast footwork.
0:45:28 > 0:45:33That's what we do in breaking. There's a fast footwork idea.
0:45:33 > 0:45:38I looked at Grand Allegro - big movements, big jumps.
0:45:38 > 0:45:44That's what I would say are power moves in breakdance, when you do windmills and stuff like that.
0:45:44 > 0:45:50I looked at freezes in breaking and I thought of when dancers finish their set
0:45:50 > 0:45:54and they'll end in a pose. So I took all of those elements.
0:45:54 > 0:45:58Then I thought, "We're doing the same thing, actually."
0:45:58 > 0:46:03There's no real difference other than the movement itself.
0:46:06 > 0:46:13We can still tell the stories, we can still structure a narrative, still use staging and lighting,
0:46:13 > 0:46:17but we can do it with this new dance form.
0:46:20 > 0:46:23AUDIENCE CHEER
0:46:23 > 0:46:27Jonzi D and Hofesh Shechter are part of Sadler's Wells' initiative
0:46:27 > 0:46:31to bring dance talent in-house to create new work.
0:46:31 > 0:46:38This move away from being simply a receiving house marks a return to its early producing days.
0:46:39 > 0:46:45As their most recent full-length dance piece, The Most Incredible Thing, shows
0:46:45 > 0:46:51with a score from the Pet Shop Boys, it's very much the vision of Artistic Director Alistair Spalding.
0:46:51 > 0:46:56The golden age of Sadler's Wells was when things were created here.
0:46:56 > 0:47:00I took over, really, when it was still a presenting house only.
0:47:00 > 0:47:06That's OK, but it's very important that each theatre has a creative heart to it.
0:47:06 > 0:47:13That's why I invited the associates in and started a philosophy of production as well as invitations.
0:47:13 > 0:47:15That really has turned things round.
0:47:15 > 0:47:18Ten, nine, eight,
0:47:18 > 0:47:21seven, six, five...
0:47:21 > 0:47:26I was determined in a way to democratise the art form.
0:47:26 > 0:47:30You shall not covet your neighbour's husband or wife.
0:47:30 > 0:47:37So to make Sadler's Wells a place where you could have hip hop, as well as ballet and contemporary dance,
0:47:37 > 0:47:40people could really come and own that stage.
0:47:40 > 0:47:44Anybody could come here and enjoy it.
0:47:44 > 0:47:49And I think that really needs a very wide view of what dance can be.
0:47:55 > 0:47:57You shall not blaspheme.
0:47:57 > 0:48:05You have to come with a leap. It's new work, not a known thing like seeing Cinderella or something.
0:48:05 > 0:48:11It's a question of trying to find out what it is that speaks to you and appeals to you.
0:48:11 > 0:48:16I feel that because everyone's got a body and they're watching bodies moving,
0:48:16 > 0:48:22there is work that will reach everybody if they find the right piece for them.
0:48:25 > 0:48:28I am the Lord, your god.
0:48:31 > 0:48:33RAPID DRUMMING
0:48:35 > 0:48:41At the Scottish Dance Theatre show and tell, the music is now very abstract
0:48:41 > 0:48:43and the dance much more complex.
0:48:56 > 0:49:02Did anybody want to share any images they got along the way or any thoughts that they had?
0:49:02 > 0:49:05- West Side Story.- West Side Story?
0:49:05 > 0:49:09Wonderful. Yeah, yeah, West Side Story.
0:49:09 > 0:49:15Yeah. Very strong image. Two gangs. There's a moment of confrontation, it seems.
0:49:15 > 0:49:21- Quite primal. Do you want to say more about that? - It's just how it felt.
0:49:39 > 0:49:43There was rivalry, there was... I took the gang image.
0:49:43 > 0:49:46There was...aggression.
0:49:51 > 0:49:55There's something quite tribal, almost sacrificial at the end.
0:49:55 > 0:50:00- Sacrificial?- Yeah. The girl toing and froing and being chucked about.
0:50:09 > 0:50:13It was easier to understand and be more open and just let it happen
0:50:13 > 0:50:19and not try to figure it out and get all confused about what one person was doing,
0:50:19 > 0:50:21just let it talk to you.
0:50:21 > 0:50:25Also just in terms of having confidence, you know,
0:50:25 > 0:50:30to really realise the level on which we can and do perceive movement.
0:50:30 > 0:50:36That it's rich, that it's deep, that it's multilayered, everything that is in literature.
0:50:42 > 0:50:45Finding dance that appeals to you should be possible
0:50:45 > 0:50:50at the International Dance Festival. The driving force behind it is David Massingham
0:50:50 > 0:50:55and his broad experience in dance ensures an eclectic programme.
0:50:55 > 0:51:01My mother used to be a dancer and I started doing classes that were really disco classes
0:51:01 > 0:51:06at the time. Then she started doing ballet classes by herself,
0:51:06 > 0:51:13again when she was kind of hitting 50. Then I thought, "Why not add ballet to what I'm doing?"
0:51:13 > 0:51:19I started going to ballet with her. She dropped out, but I carried on. I was looking at a range of styles,
0:51:19 > 0:51:24thinking, "There's something in this for me."
0:51:24 > 0:51:29One of the things we do a lot as part of the International Dance Festival
0:51:29 > 0:51:33is commission work that fuses different styles.
0:51:33 > 0:51:37I love pure ballet up against disco dancing or contemporary dance.
0:51:37 > 0:51:41I think that makes it really exciting.
0:51:41 > 0:51:44Down, roll it, and turn, turn...
0:51:44 > 0:51:48One time, two times, three times, four times...
0:51:48 > 0:51:52We've had some really major hits outdoors in free spaces.
0:51:52 > 0:51:59It attracts a very different audience. People who don't go to theatres will go to the street.
0:51:59 > 0:52:02# Let's do it, come on
0:52:02 > 0:52:04# One, two... #
0:52:04 > 0:52:08Contemporary dance is an amazing place for imagination to run free.
0:52:08 > 0:52:12There are no rules, not really any impositions.
0:52:14 > 0:52:17I've always been put off by the sheer skinniness of ballet,
0:52:17 > 0:52:21the sense of body fascism, imposed body shape.
0:52:21 > 0:52:28Contemporary dance offers a place for everyone. The Candoco Dance Company is celebrating 20 years
0:52:28 > 0:52:32of including people with non-traditional dancing bodies.
0:52:32 > 0:52:37We are basically a bunch of dancers who enjoy working and dancing together.
0:52:37 > 0:52:41Our focus has always been dance and not disability.
0:52:44 > 0:52:49In 1996, Candoco Dance Company were coming to Australia for the first time
0:52:49 > 0:52:52so I went to do this 12-week course
0:52:52 > 0:52:56called Moveable Dance, introducing us to the principles of contact.
0:52:56 > 0:53:02And it was the first time that I really felt like I had landed in my skin
0:53:02 > 0:53:10and I finally realised what this body actually could do, rather than what I was told it couldn't do.
0:53:13 > 0:53:17Candoco inspired Caroline to become a choreographer and dancer
0:53:17 > 0:53:23and she's now employed by the Scottish Dance Theatre as their Dance Agent for Change.
0:53:23 > 0:53:29This is a tiny duet called The Long And The Short Of It, for very obvious reasons.
0:53:29 > 0:53:31I am the short of it!
0:53:31 > 0:53:37And Joan is the long of it, as the tallest dancer in the company.
0:53:37 > 0:53:39MUSIC PLAYS
0:53:53 > 0:53:59It was never an option until I was around a group of people who weren't scared to go,
0:53:59 > 0:54:03"We'll try it. We'll take the risk and see what happens."
0:54:03 > 0:54:09And to go through that thing with me of me being quite anxious. "I don't know if I can...!"
0:54:09 > 0:54:16And just kind of doing that baby steps thing of, little by little, building my confidence
0:54:16 > 0:54:23and their confidence and really getting to that... that launch place.
0:55:01 > 0:55:03APPLAUSE
0:55:05 > 0:55:11So when you watch that piece, I'm curious what you find yourself thinking about.
0:55:11 > 0:55:18It's the infectious happiness that comes through. Two people together in harmony. Wonderful.
0:55:18 > 0:55:24That expression you can twist somebody around your little finger. That's how I see it.
0:55:24 > 0:55:27There's so many levels on which we can read work.
0:55:27 > 0:55:32We're thinking about trying to make different lines, not circles now.
0:55:32 > 0:55:35MUSIC PLAYS
0:55:36 > 0:55:43As a Dance Agent for Change, it's Caroline's job to introduce new people to dance.
0:55:46 > 0:55:50'Sometimes it takes one person to do that,
0:55:50 > 0:55:54'to go, "You can do that if you really want to."
0:55:54 > 0:55:59'And that's a lot of what I try to do with people I work with.
0:55:59 > 0:56:03'It's kind of going, "Well, I can do it."
0:56:03 > 0:56:09'I think that's what people see when they come to a performance that I'm in or whatever.
0:56:09 > 0:56:14'All of a sudden, they kind of go, "Maybe that could be me."'
0:56:40 > 0:56:45I'm less frightened of contemporary dance than I was at the start.
0:56:45 > 0:56:49It did seem like this amazing high production value, glossy thing,
0:56:49 > 0:56:56which was unobtainable to people like me. Now I feel...it's my friend.
0:57:00 > 0:57:05I've always wanted to search for the otherness.
0:57:05 > 0:57:08I've always enjoyed seeing general culture
0:57:08 > 0:57:12and wanted to see if we can present it another way,
0:57:12 > 0:57:18but still staying in contact with the raw human emotion and our desires.
0:57:20 > 0:57:26It's a wonderful human activity and I also think dance is a wonderfully healing activity.
0:57:26 > 0:57:30I feel it's a really exciting time for dance.
0:57:30 > 0:57:34Half a million people come here a year now.
0:57:34 > 0:57:40So it's just getting to reach different people in a different way and that's what is really exciting.
0:57:43 > 0:57:46I'm now like an Exocet
0:57:46 > 0:57:51on a mission to find the right contemporary dance projects to fuse with music I'm doing.
0:57:51 > 0:57:56I'm already thinking of five or six different situations I've got
0:57:56 > 0:58:01where dance, some element of movement, will lift them up.
0:58:22 > 0:58:26Subtitles by Subtext for Red Bee Media Ltd - 2011
0:58:27 > 0:58:29Email subtitling@bbc.co.uk