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Camille A. Brown: A visual history of social dance in 25 moves
Camille A. Brown: Vizualna povijest društvenog plesa u 25 pokreta
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Zašto plešemo? Afro-američki društveni plesovi započeli su kao način da kulturne tradicije porobljenih Afrikanaca ostanu na životu, te da zadrže osjećaj unutarnje slobode. Ostaju potvrda identiteta i neovisnosti. U ovoj električnoj demonstraciji, punoj nastupa uživo, koreografkinja, prosvjetarka i TED Fellow Camille A. Brown istražuje što se događa kada se zajednice opuste i izražavaju se plešući skupa.
Camille A. Brown - Choreographer, educator
Camille A. Brown leads her dance company through excavations of ancestral stories, both timeless and traditional, that connect history with contemporary culture. Full bio
Camille A. Brown leads her dance company through excavations of ancestral stories, both timeless and traditional, that connect history with contemporary culture. Full bio
Double-click the English transcript below to play the video.
00:06
This is the Bop.
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Ovo je Bop.
00:09
The Bop is a type of social dance.
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Bop je tip društvenog plesa.
00:15
Dance is a language,
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Ples je jezik,
00:16
and social dance is an expression
that emerges from a community.
that emerges from a community.
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a društveni ples je izražaj
koji izranja iz društva.
koji izranja iz društva.
00:21
A social dance isn't choreographed
by any one person.
by any one person.
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Društveni ples nije osmišljen
od jedne osobe.
od jedne osobe.
00:24
It can't be traced to any one moment.
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Ne može ga se povezati s jednim trenutkom.
00:27
Each dance has steps
that everyone can agree on,
that everyone can agree on,
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Svaki ples ima korake
s kojima se svi mogu složiti,
s kojima se svi mogu složiti,
00:30
but it's about the individual
and their creative identity.
and their creative identity.
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ali sve je na pojedincu
i njihovom kreativnom identitetu.
i njihovom kreativnom identitetu.
00:35
Because of that,
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Zbog toga,
00:36
social dances bubble up,
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društveni plesovi se pojavljuju,
00:38
they change
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mijenjaju se
00:39
and they spread like wildfire.
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i šire se kao požari.
00:42
They are as old as our remembered history.
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Stari su kao i naša povijest.
00:47
In African-American social dances,
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U Afro-američkim društvenim plesovima
00:49
we see over 200 years
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vidimo kroz 200 godina
00:51
of how African and African-American
traditions influenced our history.
traditions influenced our history.
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kako su Afričke i Afro-američke
tradicije utjecale na našu povijest.
tradicije utjecale na našu povijest.
00:58
The present always contains the past.
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Sadašnjost uvijek sadrži prošlost.
01:01
And the past shapes who we are
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A prošlost oblikuje tko smo
01:03
and who we will be.
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i tko ćemo biti.
01:05
(Clapping)
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(Pljesak)
01:09
The Juba dance was born
from enslaved Africans' experience
from enslaved Africans' experience
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Juba ples je rođen iz
iskustva porobljenih Afrikanaca
iskustva porobljenih Afrikanaca
01:12
on the plantation.
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na plantažama.
01:14
Brought to the Americas,
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Donešen u Amerike,
01:15
stripped of a common spoken language,
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ogoljen od običnog govorenog jezika,
01:17
this dance was a way for enslaved Africans
to remember where they're from.
to remember where they're from.
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ovaj ples je bio način za porobljene
Afrikance da se prisjete odakle su.
Afrikance da se prisjete odakle su.
01:22
It may have looked something like this.
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Možda je izgledao ovako.
01:30
Slapping thighs,
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Pljeskanje bedara,
01:31
shuffling feet
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noge u pokretu
01:33
and patting hands:
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i plješćuće ruke:
01:34
this was how they got around
the slave owners' ban on drumming,
the slave owners' ban on drumming,
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ovako su zaobišli
zabranu bubnjanja robovlasnika
zabranu bubnjanja robovlasnika
01:38
improvising complex rhythms
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improvizirajući složene ritmove
01:41
just like ancestors did
with drums in Haiti
with drums in Haiti
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baš kao njihovi preci s bubnjevima
na Haitiju
na Haitiju
01:44
or in the Yoruba communities
of West Africa.
of West Africa.
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ili u Yoruba zajednicama
Zapadne Afrike.
Zapadne Afrike.
01:50
It was about keeping
cultural traditions alive
cultural traditions alive
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Radilo se o održavanju
kulturnih tradicija na životu
kulturnih tradicija na životu
01:53
and retaining a sense of inner freedom
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i zadržavanja osjećaja
unutarnje slobode
unutarnje slobode
01:56
under captivity.
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u zatočeništvu.
01:59
It was the same subversive spirit
that created this dance:
that created this dance:
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Bio je to isti subverzivni duh
koji je stvorio ovaj ples:
koji je stvorio ovaj ples:
02:04
the Cakewalk,
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Cakewalk,
02:05
a dance that parodied the mannerisms
of Southern high society --
of Southern high society --
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ples koji je parodirao
ponašanje Južnjačkog visokog društva --
ponašanje Južnjačkog visokog društva --
02:09
a way for the enslaved
to throw shade at the masters.
to throw shade at the masters.
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način da porobljeni bace
sjenu na svoje gospodare.
sjenu na svoje gospodare.
02:12
The crazy thing about this dance
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Luda stvar oko tog plesa
02:14
is that the Cakewalk
was performed for the masters,
was performed for the masters,
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je da su Cakewalk izvodili za
gospodare,
gospodare,
02:17
who never suspected
they were being made fun of.
they were being made fun of.
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koji nikad nisu sumnjali
da ih se ismijava.
da ih se ismijava.
02:23
Now you might recognize this one.
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Sad možda prepoznate ovaj.
02:25
1920s --
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1920 --
02:26
the Charleston.
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Charleston.
02:31
The Charleston was all about
improvisation and musicality,
improvisation and musicality,
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Charleston je bio vezan
uz improvizaciju i glazbu,
uz improvizaciju i glazbu,
02:35
making its way into Lindy Hop,
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prelazeći u Lindy Hop,
02:37
swing dancing
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swing ples
02:38
and even the Kid n Play,
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pa čak i u Kid n Play,
02:39
originally called the Funky Charleston.
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originalno nazvan Funky Charleston.
02:47
Started by a tight-knit Black community
near Charleston, South Carolina,
near Charleston, South Carolina,
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Započela ga je usko povezana skupina
crnačkog društva blizu Charlestona,
Sjeverne Karoline,
crnačkog društva blizu Charlestona,
Sjeverne Karoline,
02:51
the Charleston permeated dance halls
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Charlston se probio u plesne dvorane,
02:53
where young women suddenly had
the freedom to kick their heels
the freedom to kick their heels
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gdje su mlade žene iznenada
imale slobodu lupkati petama
imale slobodu lupkati petama
02:56
and move their legs.
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i pokretati noge.
03:03
Now, social dance is about
community and connection;
community and connection;
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Sad, društveni ples je važan
za zajednicu i povezivanje.
za zajednicu i povezivanje.
03:06
if you knew the steps,
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Ako ste znali korake,
03:08
it meant you belonged to a group.
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značilo je da ste pripadali grupi.
03:10
But what if it becomes a worldwide craze?
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Ali što ako to postane pošast
svjetskih razmjera?
svjetskih razmjera?
03:13
Enter the Twist.
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Twist.
03:14
It's no surprise that the Twist
can be traced back to the 19th century,
can be traced back to the 19th century,
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Nije iznenađenje da Twist
možemo pratiti do 19. stoljeća,
možemo pratiti do 19. stoljeća,
03:19
brought to America from the Congo
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donešenog u Ameriku iz Konga
03:21
during slavery.
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u vrijeme ropstva.
03:22
But in the late '50s,
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Ali u kasnim pedesetima,
03:24
right before the Civil Rights Movement,
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baš prije početka
Pokreta za građanska prava,
Pokreta za građanska prava,
03:26
the Twist is popularized
by Chubby Checker and Dick Clark.
by Chubby Checker and Dick Clark.
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Twist su popularizirali
Chubby Checker i Dick Clark.
Chubby Checker i Dick Clark.
03:29
Suddenly, everybody's doing the Twist:
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Iznenada, svi su radili Twist:
03:32
white teenagers,
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bijeli tinejdžeri,
03:33
kids in Latin America,
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djeca u Latinskoj Americi,
03:35
making its way into songs and movies.
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polako ulazeći u pjesme i filmove.
03:38
Through social dance,
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Kroz društveni ples,
03:39
the boundaries between groups
become blurred.
become blurred.
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granice između grupa postale
su zamućene.
su zamućene.
03:45
The story continues in the 1980s and '90s.
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Priča se nastavlja 1980. i u devedesetima.
03:48
Along with the emergence of hip-hop,
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Uz pojavljivanje hip-hopa,
03:51
African-American social dance
took on even more visibility,
took on even more visibility,
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Afro-američki društveni plesovi
postali su još vidljiviji,
postali su još vidljiviji,
03:55
borrowing from its long past,
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uzimajući iz svoje duge povijesti,
03:57
shaping culture and being shaped by it.
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oblikujući kulturu i bivajući
oblikovani njome.
oblikovani njome.
04:08
Today, these dances continue
to evolve, grow and spread.
to evolve, grow and spread.
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Danas, ti plesovi nastavljaju
evoluirati, rasti i širiti se.
evoluirati, rasti i širiti se.
04:14
Why do we dance?
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Zašto plešemo?
04:15
To move,
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Da bi se kretali,
04:16
to let loose,
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da bi se opustili,
04:17
to express.
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da bi se izrazili.
04:19
Why do we dance together?
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Zašto plešemo skupa?
04:21
To heal,
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Da ozdravimo,
04:22
to remember,
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da se sjećamo,
04:23
to say: "We speak a common language.
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da kažemo, "Pričamo istim jezikom.
04:26
We exist
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Postojimo.
04:27
and we are free."
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I slobodni smo."
ABOUT THE SPEAKER
Camille A. Brown - Choreographer, educatorCamille A. Brown leads her dance company through excavations of ancestral stories, both timeless and traditional, that connect history with contemporary culture.
Why you should listen
Camille A. Brown is a prolific Black female choreographer reclaiming the cultural narrative of African American identity. She is a Ford Foundation Art of Change Fellow, Audelco Award recipient, four-time Princess Grace Award winner, Guggenheim Fellow, Jacob's Pillow Dance Award recipient, USA Jay Franke & David Herro Fellow, TED Fellow and Doris Duke Artist Award recipient.
Her Company, Camille A. Brown & Dancers (CABD), tours nationally and internationally. The repertory includes the Bessie award-winning Mr. TOL E. RAncE (2012), the Bessie-nominated BLACK GIRL: Linguistic Play (2015) and ink (2017), which premiered at The Kennedy Center. CABD's community engagement platform, EVERY BODY MOVE, inspires collective action through the art of social dance and includes initiatives such as Black Girl Spectrum, Black Men Moving, The Gathering and more.
Brown has been commissioned to create concert dance works for Alvin Ailey American Dance Theater, Philadanco!, Urban Bush Women, Complexions, Ailey II, Ballet Memphis and Hubbard Street II.
In addition to her company works, Brown brings a passion for storytelling to her choreography for Broadway and Off-Broadway theater productions. Notable theater credits for her choreography include: Tony-winning Broadway revival Once On This Island, The Emmy-winning Jesus Christ Superstar Live on NBC as well as A Streetcar Named Desire, The Fortress of Solitude (Lortel Nomination) and BELLA: An American Tall Tale (Lortel Nomination), among others.
Brown graduated from LaGuardia High School of the Performing Arts in New York City and she has a BFA from UNC School of the Arts. She is the choreographer for the upcoming Magic Mike The Musical and PAL JOEY, and she is movement director for Broadway's Choir Boy and Toni Stone.
Camille A. Brown | Speaker | TED.com