ABOUT THE SPEAKER
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.

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.

More profile about the speaker
Camille A. Brown | Speaker | TED.com
TED Studio

Camille A. Brown: A visual history of social dance in 25 moves

Camille A. Brown: Sejarah visual tarian sosial dalam 25 gerakan

Filmed:
1,390,738 views

Mengapa kita menari? Tarian sosial Afrika-Amerika bermula sebagai suatu cara bagi para budak Afrika mempertahankan tradisi budaya mereka tetap hidup dan mempertahankan rasa kebebasan dalam diri. Tarian ini menjadi penegasan identitas dan independensi. Dalam demonstrasi penuh semangat ini, penuh dengan penampilan langsung, koreografer, pengajar dan TED Fellow, Camille A. Brown, menguak apa yang terjadi ketika komunitas-komunitas dengan bebas mengekspresikan diri mereka melalui menari bersama.
- 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

Double-click the English transcript below to play the video.

00:06
This is the BopBOP.
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Ini adalah Bop.
00:09
The BopBOP is a typemengetik of socialsosial dancemenari.
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Bop adalah satu gaya tarian sosial.
00:15
DanceTari is a languagebahasa,
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Tarian adalah bahasa,
00:16
and socialsosial dancemenari is an expressionekspresi
that emergesmuncul from a communitymasyarakat.
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dan tarian sosial adalah ekspresi
yang muncul dari satu komunitas.
00:21
A socialsosial dancemenari isn't choreographedkoreografer
by any one personorang.
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Koreografi tarian sosial tidak
dibuat oleh satu orang.
00:24
It can't be tracedditelusuri to any one momentsaat.
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Tidak bisa ditelusuri pada
satu waktu tertentu.
00:27
EachMasing-masing dancemenari has stepstangga
that everyonesemua orang can agreesetuju on,
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Tiap tarian punya gerakan
yang disepakati semua orang,
00:30
but it's about the individualindividu
and theirmereka creativekreatif identityidentitas.
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tapi unik bagi tiap individu
dan identitas kreatif mereka.
00:35
Because of that,
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Karena itu,
00:36
socialsosial dancestarian bubblegelembung up,
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tarian sosial muncul,
00:38
they changeperubahan
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berubah,
00:39
and they spreadpenyebaran like wildfireapi.
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dan menyebar seperti api.
00:42
They are as oldtua as our rememberedingat historysejarah.
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Tarian sosial telah lama ada
sepanjang sejarah kita.
00:47
In African-AmericanAfrika-Amerika socialsosial dancestarian,
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Pada tarian sosial Afrika-Amerika,
00:49
we see over 200 yearstahun
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kita bisa melihat bagaimana
tradisi Afrika dan Afrika-Amerika
00:51
of how AfricanAfrika and African-AmericanAfrika-Amerika
traditionstradisi influencedterpengaruh our historysejarah.
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mempengaruhi sejarah kita
selama lebih dari 200 tahun.
00:58
The presentmenyajikan always containsmengandung the pastlalu.
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Masa kini selalu mengandung
masa lalu di dalamnya.
01:01
And the pastlalu shapesbentuk who we are
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Dan masa lalu membentuk
kita yang sekarang
01:03
and who we will be.
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dan kita di masa depan.
01:05
(ClappingBertepuk tangan)
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(Tepukan tangan)
01:09
The JubaJuba dancemenari was bornlahir
from enslaveddiperbudak Africans'Afrika' experiencepengalaman
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Tarian Juba lahir dari pengalaman
budak-budak Afrika
01:12
on the plantationperkebunan.
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di perkebunan.
01:14
BroughtMembawa to the AmericasAmericas,
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Mereka dibawa ke Amerika,
01:15
strippeddilucuti of a commonumum spokenlisan languagebahasa,
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terlucuti dari bahasa yang mereka kenal,
01:17
this dancemenari was a way for enslaveddiperbudak AfricansAfrika
to rememberingat where they're from.
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tarian ini adalah cara budak Afrika
mengingat dari mana mereka berasal.
01:22
It maymungkin have lookedtampak something like this.
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Tariannya mungkin terlihat seperti ini.
01:30
SlappingMenampar thighspaha,
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Paha yang beradu,
01:31
shufflingmengocok feetkaki
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kaki yang lincah,
01:33
and pattingmenepuk-nepuk handstangan:
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dan tepukan tangan,
01:34
this was how they got around
the slavebudak owners'pemilik' banmelarang on drummingbermain drum,
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beginilah cara mereka mengakali larangan
menabuh drum oleh majikan mereka,
01:38
improvisingmelakukan improvisasi complexkompleks rhythmsirama
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mengimprovisasi ritme yang kompleks,
01:41
just like ancestorsnenek moyang did
with drumsdrum in HaitiHaiti
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seperti cara leluhur mereka
menabuh drum di Haiti
01:44
or in the YorubaYoruba communitiesmasyarakat
of WestBarat AfricaAfrika.
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atau di komunitas Yoruba di Afrika Barat.
01:50
It was about keepingpenyimpanan
culturalkultural traditionstradisi alivehidup
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Ini untuk mempertahankan agar
tradisi mereka tetap hidup
01:53
and retainingmempertahankan a sensemerasakan of innerbatin freedomkebebasan
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dan mendapatkan rasa kebebasan
dalam diri mereka
01:56
underdibawah captivitytahanan.
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di dalam kurungan.
01:59
It was the samesama subversivesubversif spiritsemangat
that createddiciptakan this dancemenari:
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Semangat yang sama juga
membuat tarian ini:
02:04
the CakewalkCakewalk,
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Cakewalk,
02:05
a dancemenari that parodiedmemparodikan the mannerismstingkah laku
of SouthernSelatan hightinggi societymasyarakat --
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tarian yang memparodikan tingkah laku
masyarakat Selatan tingkat atas,
02:09
a way for the enslaveddiperbudak
to throwmelemparkan shadewarna at the mastersMaster.
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satu cara bagi para budak untuk
menertawakan majikan mereka.
02:12
The crazygila thing about this dancemenari
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Yang mengejutkan adalah,
02:14
is that the CakewalkCakewalk
was performeddilakukan for the mastersMaster,
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Cakewalk ditampilkan bagi majikan mereka,
02:17
who never suspectedtersangka
they were beingmakhluk madeterbuat funmenyenangkan of.
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yang tidak pernah mengira bahwa
mereka sedang dicemooh.
02:23
Now you mightmungkin recognizemengakui this one.
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Anda mungkin tahu yang satu ini.
02:25
1920s --
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Tahun 1920-an,
02:26
the CharlestonCharleston.
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Charleston.
02:31
The CharlestonCharleston was all about
improvisationimprovisasi and musicalitymusikalitas,
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Charleston adalah tentang
improvisasi dan musikalitas,
02:35
makingmembuat its way into LindyLindy HopHop,
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membuatnya berkembang menjadi Lindy Hop,
02:37
swingayunan dancingtarian
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tarian swing
02:38
and even the KidAnak-anak n PlayBermain,
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dan bahkan Kid n Play,
02:39
originallysemula calledbernama the FunkyFunky CharlestonCharleston.
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yang pada awalnya disebut
Funky Charleston.
02:47
StartedMulai by a tight-knitketat-merajut BlackHitam communitymasyarakat
neardekat CharlestonCharleston, SouthSelatan CarolinaCarolina,
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Dimulai oleh komunitas kulit hitam
di dekat Charleston, South Carolina,
02:51
the CharlestonCharleston permeatedmeresap dancemenari hallsaula
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aula dansa Charleston memberikan
02:53
where youngmuda womenwanita suddenlymendadak had
the freedomkebebasan to kicktendangan theirmereka heelstumit
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para perempuan muda kebebasan
untuk mengetuk hak sepatu
02:56
and movepindah theirmereka legskaki.
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dan bergerak dengan lincah.
03:03
Now, socialsosial dancemenari is about
communitymasyarakat and connectionkoneksi;
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Tarian sosial adalah tentang
komunitas dan hubungan;
03:06
if you knewtahu the stepstangga,
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kalau Anda tahu gerakannya,
berarti Anda adalah bagian
dari satu kelompok.
03:08
it meantberarti you belongedmilik to a groupkelompok.
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03:10
But what if it becomesmenjadi a worldwidedi seluruh dunia crazemenggila?
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Tapi bagaimana jika tarian ini mendunia?
03:13
EnterMasukkan the TwistTwist.
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Seperti Twist.
03:14
It's no surprisemengherankan that the TwistTwist
can be tracedditelusuri back to the 19thth centuryabad,
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Tak heran jika Twist bisa dilacak
hingga ke abad ke-19,
03:19
broughtdibawa to AmericaAmerika from the CongoKongo
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dibawa ke Amerika dari Kongo
selama masa perbudakan.
03:21
duringselama slaveryperbudakan.
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03:22
But in the lateterlambat '50s,
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Tapi di akhir tahun 50-an,
03:24
right before the CivilSipil RightsHak MovementGerakan,
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persis sebelum Gerakan Hak Sipil,
03:26
the TwistTwist is popularizedmempopulerkan
by ChubbyGemuk CheckerChecker and DickDick ClarkClark.
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Twist dipopulerkan oleh
Chubby Checker dan Dick Clark.
03:29
SuddenlyTiba-tiba, everybody'ssemua orang doing the TwistTwist:
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Tiba-tiba, semua orang menari Twist,
03:32
whiteputih teenagersremaja,
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anak muda kulit putih,
03:33
kidsanak-anak in LatinLatin AmericaAmerika,
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anak-anak di Amerika Latin,
03:35
makingmembuat its way into songslagu and moviesfilm.
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hingga masuk ke banyak lagu dan film.
03:38
ThroughMelalui socialsosial dancemenari,
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Melalui tarian sosial,
03:39
the boundariesbatas betweenantara groupskelompok
becomemenjadi blurredkabur.
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batasan antar golongan menguap.
03:45
The storycerita continuesterus berlanjut in the 1980s and '90s.
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Cerita berlanjut pada tahun
1980-an dan 1990-an.
03:48
AlongSepanjang with the emergencemunculnya of hip-hophip-hop,
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Bersama kemunculan hip-hop,
03:51
African-AmericanAfrika-Amerika socialsosial dancemenari
tookmengambil on even more visibilityvisibilitas,
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tarian sosial Afrika-Amerika
lebih terekspos.
03:55
borrowingpeminjaman from its long pastlalu,
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Meminjam masa lalunya yang panjang,
03:57
shapingmembentuk culturebudaya and beingmakhluk shapedberbentuk by it.
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membentuk suatu budaya
dan dibentuk oleh budaya.
04:08
TodayHari ini, these dancestarian continueterus
to evolveberkembang, growtumbuh and spreadpenyebaran.
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Saat ini, tarian-tarian ini terus
berevolusi, berkembang dan menyebar.
04:14
Why do we dancemenari?
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Mengapa kita menari?
04:15
To movepindah,
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Untuk bergerak,
04:16
to let looselonggar,
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untuk membebaskan diri,
04:17
to expressmengekspresikan.
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untuk mengekspresikan diri.
04:19
Why do we dancemenari togetherbersama?
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Mengapa kita menari bersama?
04:21
To healmenyembuhkan,
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Untuk menyembuhkan,
04:22
to rememberingat,
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untuk mengingat,
04:23
to say: "We speakberbicara a commonumum languagebahasa.
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untuk berkata:
"Kita bicara dengan bahasa yang sama.
Kita eksis, dan kita bebas."
04:26
We existada
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04:27
and we are freebebas."
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Translated by Prameswari Rahmanu
Reviewed by Dewi Barnas

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ABOUT THE SPEAKER
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.

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.

More profile about the speaker
Camille A. Brown | Speaker | TED.com