And I think that's where I can share and be the most myself.

I'm Talia Schlanger, you're listening to Q.

More of Garvia Bailey's conversation with composer Jean-Michel Blais after this.

Okay.

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[laughs]

And that you can have a say in how it changes.

Right.

For real, for real, for real.

You've been at this, though, for three decades doing exactly that.

And I always think about this James Baldwin quote when I talk to artists like yourself, that the precise role of the artist, I'm going to paraphrase just a little bit, that the precise role of the artist is to illuminate the darkness and to blaze roads through this dense forest so that we can see what's going on as a public.

And it makes the world a more human dwelling place.

You've watched lots of movements.

And what led me to do that is, I mean, that's my impetus for all the art that I've always made.

... lots to be frustrated about, I guess [laughs].

When you-- I, I'm not sure if you remember sitting down to write it, but I'm, I'm, I'm wonder-- I'm, I am wondering though if when you sing it, when you perform it, if there is an audience in mind.

Is it more like explaining what you are, the frustration to someone? Or is it I am connecting with other women who might be feeling this same kind of thing? Or is it a combination of all those things that's happening?

... you know, idea, and they, they want to support women and raise women up and, um, so that's really important too, so.

Do you feel like making the song helped you to process some of the frustration?

Let's execute."

Yeah.

Mm-hmm.

See, this is the thing, because I'm speaking to you as a choreographer right now, but you are also a dancer.

You studied at the Royal Winnipeg Ballet School, trained in classical ballet, uh, grew up doing indigenous grass, uh, dance and hoop dance.

So I'm wondering about the role as, of the choreographer, that hat that you've now put on.

What does choreography give you?

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