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

卡米尔·A·布朗: 从25个舞步中“看见”社交舞历史

Filmed:
1,390,738 views

我们为什么跳舞?非裔美国人的社交舞起源于被奴隶的非洲人保持传统和内心自由。他们保持着一种对个性和独立的肯定。在这场富有激情的演出中,和现场表演,舞蹈者,舞蹈教师和TED工作人员卡米尔·A·布朗泰展示了当社区中的人们放松自己,一起跳舞抒怀是怎样一种场景。
- 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 Bop波普.
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这是波普舞。
00:09
The Bop波普 is a type类型 of social社会 dance舞蹈.
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波普舞是一种社交舞蹈。
00:15
Dance舞蹈 is a language语言,
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舞蹈是一种语言,
00:16
and social社会 dance舞蹈 is an expression表达
that emerges出现 from a community社区.
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社交舞源于社区,
也是一种表达方式。
00:21
A social社会 dance舞蹈 isn't choreographed编排
by any one person.
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社交舞不是人为编排好的舞蹈。
00:24
It can't be traced追踪 to any one moment时刻.
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它无法精确到每一个时刻。
00:27
Each dance舞蹈 has steps脚步
that everyone大家 can agree同意 on,
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每一个舞步都是所有人可以实现的,
00:30
but it's about the individual个人
and their creative创作的 identity身分.
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但是与个人和他们创造力有关。
00:35
Because of that,
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因为这样,
00:36
social社会 dances舞蹈 bubble泡沫 up,
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社交舞就这样自然形成了,
00:38
they change更改
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经历变化,
00:39
and they spread传播 like wildfire磷火.
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然后像野火一样广泛流传。
00:42
They are as old as our remembered记得 history历史.
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他们和我们记忆中的历史一样久远。
00:47
In African-American非裔美国人 social社会 dances舞蹈,
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在非裔美国人的社交舞蹈中,
00:49
we see over 200 years年份
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我们能够发现200多年间,
00:51
of how African非洲人 and African-American非裔美国人
traditions传统 influenced影响 our history历史.
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非洲人和非裔美国人的传统是
怎样影响我们的历史的。
00:58
The present当下 always contains包含 the past过去.
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现在总是承载着历史。
01:01
And the past过去 shapes形状 who we are
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而且历史影响了我们是谁,
01:03
and who we will be.
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以及我们将会怎样。
01:05
(Clapping拍手)
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(鼓掌)
01:09
The Juba朱巴 dance舞蹈 was born天生
from enslaved奴役 Africans'非洲人 experience经验
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朱芭舞起源于被奴役的非洲人
在种植园的经历。
01:12
on the plantation种植园.
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01:14
Brought to the Americas美洲,
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他们被带到美国,
01:15
stripped剥离 of a common共同 spoken language语言,
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被迫放弃自己的常用语言,
01:17
this dance舞蹈 was a way for enslaved奴役 Africans非洲人
to remember记得 where they're from.
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这种舞蹈对黑人奴隶来说,
是一种回忆他们家乡的方式。
01:22
It may可能 have looked看着 something like this.
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可能看起来是这样的。
01:30
Slapping thighs大腿,
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拍打大腿,
01:31
shuffling洗牌 feet
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拖着脚步,
01:33
and patting拍着 hands:
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还有拍手。
01:34
this was how they got around
the slave奴隶 owners'拥有者' ban禁止 on drumming鼓声,
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因为奴隶主禁止打鼓,
这成了他们取而代之的方式
01:38
improvising即兴 complex复杂 rhythms节奏
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即兴创作复杂的旋律,
01:41
just like ancestors祖先 did
with drums in Haiti海地
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就像在海地的祖先敲鼓一样,
01:44
or in the Yoruba约鲁巴 communities社区
of West西 Africa非洲.
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或者非洲西部的约鲁巴社区。
01:50
It was about keeping保持
cultural文化 traditions传统 alive
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都是为了保护文化传统,
01:53
and retaining固定 a sense of inner freedom自由
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并囚禁中保持内心的自由。
01:56
under captivity囚禁.
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01:59
It was the same相同 subversive颠覆 spirit精神
that created创建 this dance舞蹈:
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一样具有颠覆性的精神
创造了这种舞蹈:
02:04
the Cakewalk步态,
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步态舞,
02:05
a dance舞蹈 that parodied恶搞 the mannerisms装相
of Southern南部的 high society社会 --
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一种和南方上流社会行为举止
相矛盾的舞蹈,
02:09
a way for the enslaved奴役
to throw shade阴凉处 at the masters主人.
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一种减少奴隶和奴隶主之间
差距的舞蹈。
02:12
The crazy thing about this dance舞蹈
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这种舞蹈之所以疯狂,
02:14
is that the Cakewalk步态
was performed执行 for the masters主人,
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是因为它是表演给奴隶主的,
02:17
who never suspected嫌疑
they were being存在 made制作 fun开玩笑 of.
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而奴隶主不会想到他们被捉弄了。
02:23
Now you might威力 recognize认识 this one.
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现在你可能会认识这种舞蹈。
02:25
1920s --
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20世纪20年代的——
02:26
the Charleston查尔斯顿.
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查尔斯顿。
02:31
The Charleston查尔斯顿 was all about
improvisation即兴 and musicality音乐性,
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查尔斯顿非常即兴,具有音乐感,
02:35
making制造 its way into Lindy林迪 Hop,
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并成为了林迪舞,
02:37
swing摇摆 dancing跳舞
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牛仔舞,
02:38
and even the Kid小子 n Play,
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甚至儿童娱乐舞的一部分,
02:39
originally本来 called the Funky质朴 Charleston查尔斯顿.
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它最早被称作时髦查尔斯顿。
02:47
Started入门 by a tight-knit绵密 Black黑色 community社区
near Charleston查尔斯顿, South Carolina卡罗来纳州,
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它起源于南卡罗莱纳州,查尔斯顿
附近的一个团结的黑人社区,
02:51
the Charleston查尔斯顿 permeated渗透 dance舞蹈 halls大厅
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查尔斯顿散步着许多舞厅,
02:53
where young年轻 women妇女 suddenly突然 had
the freedom自由 to kick their heels脚跟
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那里年轻女士突然
02:56
and move移动 their legs.
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就可以自由踢腿、摇摆了。
03:03
Now, social社会 dance舞蹈 is about
community社区 and connection连接;
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现在社交舞与社区及人际交往有关,
03:06
if you knew知道 the steps脚步,
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如果你知道某些舞步,
03:08
it meant意味着 you belonged属于 to a group.
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这意味着你属于一个群体。
03:10
But what if it becomes a worldwide全世界 craze狂热?
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但是如果它在世界流行起来?
03:13
Enter输入 the Twist.
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这是扭动舞。
03:14
It's no surprise that the Twist
can be traced追踪 back to the 19th century世纪,
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扭动舞能够追溯到19世纪,
这并不奇怪,
03:19
brought to America美国 from the Congo刚果
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在奴隶时期的时候,
03:21
during slavery奴隶制度.
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被从刚果带到美国。
03:22
But in the late晚了 '50s,
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但是在50年代晚期,
03:24
right before the Civil国内 Rights Movement运动,
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在民权运动之前,
03:26
the Twist is popularized推广
by Chubby丰满的 Checker检查 and Dick迪克 Clark克拉克.
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扭动舞因为恰比·切克和
迪克·克拉克而流行。
03:29
Suddenly突然, everybody's每个人的 doing the Twist:
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突然,每个人都在跳扭动舞:
03:32
white白色 teenagers青少年,
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白人青少年,
03:33
kids孩子 in Latin拉丁 America美国,
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拉丁美洲的孩子,
03:35
making制造 its way into songs歌曲 and movies电影.
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都可以徜徉在音乐和电影中。
03:38
Through通过 social社会 dance舞蹈,
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通过社交舞,
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the boundaries边界 between之间 groups
become成为 blurred模糊.
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团体之间的界限变得模糊。
03:45
The story故事 continues继续 in the 1980s and '90s.
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故事在20世纪80
和90年代继续,
03:48
Along沿 with the emergence紧急情况 of hip-hop嘻哈,
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伴随着嘻哈文化的出现,
03:51
African-American非裔美国人 social社会 dance舞蹈
took on even more visibility能见度,
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非裔美国人的社交舞
包含了更多元素,
03:55
borrowing借款 from its long past过去,
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从它的久远历史中吸收,
03:57
shaping成型 culture文化 and being存在 shaped成形 by it.
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塑造文化,也被文化塑造。
04:08
Today今天, these dances舞蹈 continue继续
to evolve发展, grow增长 and spread传播.
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现在,这些舞蹈持续进化,
成长和传播。
04:14
Why do we dance舞蹈?
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我们为什么跳舞?
04:15
To move移动,
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为了摇摆,
04:16
to let loose疏松,
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为了放松,
04:17
to express表现.
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为了释放。
04:19
Why do we dance舞蹈 together一起?
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我们为什么一起跳舞?
04:21
To heal愈合,
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为了治愈,
04:22
to remember记得,
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为了记忆,
04:23
to say: "We speak说话 a common共同 language语言.
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为了表达:“我们说同样的语言。
04:26
We exist存在
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我们存在,
04:27
and we are free自由."
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而且我们是自由的。”
Translated by Conway Ye
Reviewed by Yang He

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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