♪♪ How are you doing?

Hailes: I'm pretty good.

How about you?

So, yeah, we're working with the artists today, the Ailey artists.

You want to talk about it?

Yeah, I think if we could talk about what you're thinking about as you get back into rehearsal with them.

I guess I'm thinking about point of view.

Do you know what I mean?

How do I keep making it safe and helping them believe me, that they could diametrically disagree and oppose with what Dr. Jones is saying.

And that would be exciting to see in their bodies while he's talking.

You know, I mean, sometimes we'd be pissed, sometimes we'd be annoyed, sometimes we'd be in love.

What are the differences in your body?

Hailes: Here's what I imagine that might be helpful.

Isolating some chunk of his lecture.

Ask them to not just improvise around it but to build their own score so that they get the opportunity to map themselves a journey.

I think something, as I listen to you, that I appreciate, is that you are talking about dealing with the content, right?

And I think that's exactly what I'm trying to get at because they're so -- they're in a state of, you know, we get it.

They're in a part of their dance training where you're incredibly body-conscious, like, you know what I mean?

I mean, I remember that part of my dance training where it's like I'm tripping on, like, how many inches forward are my hands?

And so, I think what you and I are both talking about is improvising from a place that's not actually about your body.

But really the question I think is, do you have the courage to improvise your actual inner landscape?

With this choreographic lab, I'm working with these young artists here on speaking at the same time as they dance, which I think is a stretch and an audacious challenge, but really thinking about voice at a multiplicity of levels.

There's this particular exercise we do where I'm inviting the dancers to listen to a recording of one of Dr. Jones' lectures, dance their feelings or misunderstanding of it or understanding of it or questions about it.

Literally improvising those at the same time that they're verbally repeating what Dr. Jones is saying.

And we call that "talking talking."

Dr. Jones: Where the revolutionary group is the most... Bauman: This idea of can we talk and dance and make meaning synthesize through our mouths and our bodies at the same time.

Dr. Jones: His argument... [ All talking ] Dr. Jones: His argument is... His argument... Dr. Jones: ...more in line with... More in line with... Dr. Jones: It is permissible to use...

It is permissible to use... Dr. Jones: ...of the oppressor.

...of the oppressor.

Dr. Jones: ...up to the point where an oppressor uses that tactic himself or herself.

How do you feel about what he's saying?

Dr. Jones: The limit with respect to... Bauman: You all are doing such a beautiful exploration.

Keep pushing the boundaries.

Find out something new today.

In your voice, what's your point of view, your perspective?

Curious, ashamed, mischievous?

Pissed off?

Encouraged?

I want to just keep adding to their pot, you know, adding -- I'm thinking about all the ingredients that these dancers already have in their pot, but adding this idea of "How can I dance from my inside out?"

I try, in an organic way, but to help the dancers start from something that they've experienced and then kind of softly get into the choreographic frame that I'm bringing.

I think that these dancers have a ton of amazing techniques already in their dance bag, and they're learning more.

I mean, that's why they're at the school.

And I think that through NDCL, I'm being invited to add to the techniques that are in their dance bag.

And some of the techniques I'm adding are vocal work, speaking while dancing, humming, singing, sounding.

Some of the techniques that I'm adding are text-based dancing that is not necessarily dance theater.

I think I'm also adding a sense of groundedness, floor work, low center of gravity.

I've studied capoeira, the African-Brazilian martial art, for over two decades now, and that has a lot to do with my center of gravity and how I use the floor and come in and out.

And so, it's a pleasure to get to share some of my experiences, my love of text, my love of black philosophy, and add that to the dance bag that the dancers are already carrying with them.

I think when I was a younger dancer, I thought, "Well, if I learn this, and this technique "is opposite of this technique, I won't be able to do this one anymore."

But what I've had the pleasure to grow a little older and learn is that it actually doesn't work that way.

You keep this.

You just learn a new paradigm, and you get to make choices about which one you're operating from at a given time.

You know, I'm not asking these dancers to forget or cut ties with their Horton technique or their ballet technique or their limón or anything else that they've learned.

I think of improvisation as bringing all that to bear.

So, these dancers are really honing in.

I think they're sharpening their listening ability.

They're listening to their own histories.

They're listening to their present bodies.

They're listening to me and what I'm offering.

They're listening to each other.

They're listening to Dr. Jones.

I mean, there's just so much.

For me, improvisation is virtuosic, just as there is in doing 20 turns or a pirouette that ends on relevé and just... Ahh!

...before it comes down.

I mean, that kind of stuff is like we see it and we're excited because we know it's not easy.

And I feel the same way about improvising.

I want you to ask yourself, "What was my dancing saying about my point of view?

"Or was I dancing out of habit, the way that I always dance during that part?"

And either way, it's okay.

But I want to bring awareness to it so that then I can make choices.

Does that make sense?

You all, I'm so proud of you for making choices today.

I can't wait.

We're going to pick right back up here on Wednesday making choices.

Does that make sense?

We are not on automatic pilot.

This dance could be very wildly different every day depending on how you feel, okay?

Good job.

That's part of my job is how can I enter this space well and be a part of it and be a leader, but also practice fellowship as part of leadership at times and practice that dance of assertion and receptivity?

And I consistently say "we" because, yes, I'm choreographing this work.

It's my vision.

But certainly the dancers are contributing.

I'm inviting them to, I'm encouraging them to contribute something of themselves.

♪♪ I think what it's done being here is helped me understand how to be an ambassador for Dr. Jones but also how to invite people in to think about their own mentors.

Yes, Dr. Jones is important to me, but who's important to you?

♪♪ ♪♪