ABOUT THE SPEAKER
Kayla Briët - Filmmaker, musician
TED Fellow Kayla Briët explores themes of identity and self-discovery in multiple mediums of storytelling: film, multi-media arts and music.

Why you should listen

Kayla Briët explores themes of identity and self-discovery in multiple mediums of storytelling: film, multi-media arts and music. Briët's short documentary, Smoke That Travels, immerses viewers in her native Prairie Band Potawatomi Nation heritage and explores fears that her culture may someday be forgotten. This film has screened and won awards at over 45 festivals internationally, including MoMA in NYC, and has been archived in the Smithsonian Institute in Washington D.C. The film also earned her a year-long fellowship with Sundance Film Festival in 2016.

As a multi-instrumentalist and self-taught composer, Briët also scores her own films and creates music in styles ranging from cinematic to alternative pop to electronic. She performs live as a one-woman band, with her keyboard, guitar, loop pedal and guzheng zither, a traditional Chinese instrument. Recently, Briët was named a 2017 TED Fellow, 2016 Sundance Film Festival Ignite Fellow, 2016 Adobe Creativity Scholar, 2016 MIT Chamber Scholar for her interest in blockchain technology, and a 2016 Oculus Launch Pad Artist for virtual reality. Currently, she is creating and directing documentary and experimental film as well as immersive experiences in the virtual reality space.

More profile about the speaker
Kayla Briët | Speaker | TED.com
TED2017

Kayla Briët: Why do I make art? To build time capsules for my heritage

凱菈布萊特: 我為什麼要做藝術?為我的傳承建立時間膠囊

Filmed:
975,898 views

凱菈布萊特創作藝術來探索身份和發現自我。她害怕有一天她的文化會被遺忘。她分享了如何找到自己的創意聲音,將她繼承的荷屬印尼、中國,和美國原住民傳承的故事注入到電影和音樂的時間膠囊中,來重新恢復這些故事。
- Filmmaker, musician
TED Fellow Kayla Briët explores themes of identity and self-discovery in multiple mediums of storytelling: film, multi-media arts and music. Full bio

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

00:12
When I was four years年份 old,
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當我四歲時,
00:14
my dad taught me
the Taos陶斯 Pueblo普韋布洛 Hoop Dance舞蹈,
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我爸爸教我陶斯普韋布洛環圈舞,
00:17
a traditional傳統 dance舞蹈 born天生 hundreds數以百計
of years年份 ago in Southwestern西南 USA美國.
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是種美國西南部的傳統舞蹈,
有數百年的歷史。
00:22
A series系列 of hoops are created創建
out of willow wood,
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用柳木製造一系列的環圈,
00:25
and they're threaded螺紋 together一起
to create創建 formations編隊 of the natural自然 world世界,
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穿在一起,創造出自然世界的排列,
00:29
showing展示 the many許多 beauties美女 of life.
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展現人生的許多美麗。
00:31
In this dance舞蹈, you're circling盤旋
in a constant不變 spin,
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在這種舞蹈中,你會持續地旋轉,
00:34
mimicking模仿 the movement運動 of the Sun太陽
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模仿太陽的運轉
00:37
and the passage通道 of time.
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以及時間的推移。
00:40
Watching觀看 this dance舞蹈 was magic魔法 to me.
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這種舞蹈讓我看得非常入迷。
00:43
Like with a time capsule膠囊,
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就像用時間膠囊,
00:44
I was taking服用 a look through通過
a cultural文化 window窗口 to the past過去.
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我透過一扇文化窗戶看過往。
00:48
I felt a deeper更深 connection連接
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我感受到深刻的連結,
00:50
to how my ancestors祖先 used to look
at the world世界 around them.
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連結到我的祖先以前如何
看待他們周遭的世界。
00:54
Since以來 then, I've always been
obsessed痴迷 with time capsules膠囊.
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那之後,我就一直
對時間膠囊很著迷。
00:57
They take on many許多 forms形式,
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它們有許多形式,
00:59
but the common共同 thread
is that they're uncontrollably失控 fascinating迷人
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但共同點是,對我們人類而言,
它們都有著無法控制的迷人,
01:02
to us as human人的 beings眾生,
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01:04
because they're portals門戶 to a memory記憶,
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因為它們是通往記憶的入口,
01:06
and they hold保持 the important重要 power功率
of keeping保持 stories故事 alive.
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具有能讓故事持續的重要力量。
01:11
As a filmmaker電影製片人 and composer作曲家,
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身為電影製作人以及作曲家,
01:13
it's been my journey旅程 to find my voice語音,
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我的旅程一直是要找到自己的聲音,
01:16
reclaim回收 the stories故事
of my heritage遺產 and the past過去
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取回關於我的傳承和過去的故事,
01:19
and infuse注入 them into music音樂 and film電影
time capsules膠囊 to share分享.
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將它們注入到音樂和電影的
時間膠囊中來分享。
01:24
To tell you a bit about
how I found發現 my voice語音,
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稍微告訴各位
我如何找到自我的聲音,
01:27
I'd like to share分享 a bit
about how I grew成長 up.
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我想要先分享一些我的成長過程。
01:29
In Southern南部的 California加州, I grew成長 up
in a multigenerational多代同堂 home,
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在南加州,我在一個
多世代的家庭中長大,
01:33
meaning含義 I lived生活 under the same相同 roof屋頂
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意思是和我同住一個屋簷下的
01:35
as my parents父母, aunts阿姨,
uncles叔叔 and grandparents祖父母.
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有我的父母、姑姨叔伯、及祖父母。
01:38
My mother母親 is Dutch-Indonesian荷蘭印尼 and Chinese中文
with immigrant移民 parents父母,
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我媽媽是荷屬印尼和中國血統,
她的父母都是移民,
01:43
and my father父親 is Ojibwe歐及布威族
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我爸爸是歐及布威族,
01:45
and an enrolled就讀 tribal部落的 member會員
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且被登記為堪薩斯東北的
01:47
of the Prairie草原 Band's樂隊 Potawatomi波塔瓦托米 Tribe部落
in Northeastern東北方 Kansas堪薩斯.
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草原灣坡塔托米部落的成員。
01:51
So one weekend週末 I'd be learning學習
how to fold dumplings水餃,
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我會在一個週末學習如何捏餃子,
01:54
and the next下一個, I'd be
traditional-style傳統風格 dancing跳舞
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下一個週末又在歡慶會上
01:56
at a powwow祈禱儀式,
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跳傳統舞蹈,
01:57
immersed沉浸 in the powerful強大 sounds聲音
of drums and singers歌手.
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沉浸在強大的鼓聲和歌聲中。
02:02
Being存在 surrounded包圍 by many許多
cultures文化 was the norm規範,
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被許多種文化圍繞是很正常的,
02:05
but also a very confusing撲朔迷離 experience經驗.
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卻也是讓我很困惑的經歷。
02:08
It was really hard for me
to find my voice語音,
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我真的很難找到我的聲音,
02:10
because I never felt I was enough足夠 --
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因為我從來不覺得我是足夠的,
02:12
never Chinese中文, Dutch-Indonesian荷蘭印尼
or Native本地人 enough足夠.
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我從來就不夠中國、
不夠荷屬印尼、不夠原住民。
02:17
Because I never felt I was a part部分
of any community社區,
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因為我從來不覺得
我是任何社群的一部份,
02:20
I sought追捧 to learn學習
the stories故事 of my heritage遺產
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我去尋求了解我的傳承的故事,
02:23
and connect them together一起
to rediscover重新發現 my own擁有.
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將它們連結在一起,
來重新發現我自己的。
02:27
The first medium I felt
gave me a voice語音 was music音樂.
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第一個讓我感到能
給我聲音的媒介是音樂。
02:32
With layers of sounds聲音
and multiple instruments儀器,
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用聲音的層次和多種樂器,
02:35
I could create創建 soundscapes音景 and worlds世界
that were much bigger than my own擁有.
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我能創造出遠遠大於自己的
音景以及世界,
02:39
Through通過 music音樂, I'm inviting誘人的 you
into a sonic portal門戶
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我透過音樂邀請你們
進入一個聲音的入口,
02:42
of my memories回憶 and emotions情緒,
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通往我的記憶和情緒,
02:44
and I'm holding保持 up a mirror鏡子 to yours你的.
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而我拿著一面鏡子來反映你的。
02:47
One of my favorite喜愛 instruments儀器 to play
is the guzheng古箏 zither,
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我最喜歡演奏的樂器之一是古箏,
02:50
a Chinese中文 harp-like豎琴狀 instrument儀器.
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很像豎琴的中國樂器。
02:53
While the hoop dance舞蹈
is hundreds數以百計 of years年份 old,
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雖然環圈舞有數百年的歷史,
02:55
the guzheng古箏 has more
than 2,000 years年份 of history歷史.
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古箏的歷史至少有兩千年。
我演奏的是現今
對我影響很大的風格,
02:59
I'm playing播放 the styles款式 that greatly非常
influence影響 me today今天,
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03:02
like electronic電子 music音樂,
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像電子音樂,
03:03
with an instrument儀器 that was used
to play traditional傳統 folk民間 music音樂 long ago.
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但用的是很久以前
演奏傳統民俗音樂的樂器。
03:08
And I noticed注意到 an interesting有趣 connection連接:
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我注意到一個有趣的連結:
03:11
the zither is tuned調整
to the pentatonic五聲音階 scale規模,
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古箏是根據五聲音階來調音的,
03:13
a scale規模 that is universally舉世 known已知
in so many許多 parts部分 of music音樂
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這種音階在全世界
許多音樂中都被普遍使用,
03:17
around the world世界,
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03:18
including包含 Native本地人 American美國 folk民間 songs歌曲.
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包括美國原住民的民俗歌曲。
03:21
In both Chinese中文 and Native本地人 folk民間,
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在中國和原住民民俗中,
03:23
I sense this inherent固有 sound聲音 of longing渴望
and holding保持 onto the past過去,
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我都能感覺到一種內在固有的聲音,
在渴望著、緊抓著過去,
03:28
an emotion情感 that greatly非常 drives驅動器
the music音樂 I create創建 today今天.
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這種情緒是我現今
音樂創作背後極大的動力。
03:32
At the time, I wondered想知道 if I could make
this feeling感覺 of immersion浸沒
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當時,我在想我是否
能讓這種沉浸的感覺
03:36
even more powerful強大,
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再更強大些,
03:37
by layering分層 visuals視覺效果 and music音樂 --
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透過將視覺和音樂層疊起來,
03:39
visuals視覺效果 and images圖片 on top最佳 of the music音樂.
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把視覺和影像放在音樂的上面。
03:42
So I turned轉身 to internet互聯網 tutorials教程
to learn學習 editing編輯 software軟件,
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所以我上網找教學資源,
學會使用編輯軟體,
03:46
went to community社區 college學院 to save保存 money
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為了省錢而上社區大學,
03:48
and created創建 films影片.
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並創作電影。
03:51
After a few少數 years年份 experimenting試驗,
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經過幾年的實驗,
03:52
I was 17 and had something
I wanted to tell and preserve保留.
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當我十七歲時有了
想說和想要保存的東西。
03:56
It started開始 with a question:
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它始於一個問題:
03:58
What happens發生 when a story故事 is forgotten忘記了?
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當一個故事被遺忘之後,
會發生什麼事?
04:02
I lead with this in my latest最新
documentary記錄 film電影,
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我就用這個問題
來引領我最新的紀錄片
04:05
"Smoke抽煙 That Travels遊記,"
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「旅行的煙」,
04:07
which哪一個 immerses沉浸 people into the world世界
of music音樂, song歌曲, color顏色 and dance舞蹈,
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它讓人們沉浸在音樂、歌曲、
顏色、及跳舞的世界中,
04:12
as I explore探索 my fear恐懼 that a part部分
of my identity身分, my Native本地人 heritage遺產,
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我同時在探索我的恐懼,
害怕我部分的身份和原住民傳承
會在時間長河中被遺忘。
04:17
will be forgotten忘記了 in time.
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04:20
Many許多 indigenous土著 languages語言 are dying垂死
due應有 to historically歷史 forced被迫 assimilation同化.
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許多原住民語言正在消逝中,
原因是歷史中的強迫同化。
04:25
From the late晚了 1800s to the early 1970s,
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從十九世紀末到 1970 年代初期,
04:29
Natives當地人 were forced被迫 into boarding登機 schools學校,
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原住民被迫進入寄宿學校,
04:31
where they were violently猛烈 punished處罰
if they practiced traditional傳統 ways方法
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在那裡,他們會受到暴力懲罰,
如果他們使用傳統做法或是說母語,
04:35
or spoke their native本地人 language語言,
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而傳統做法或母語
大多得靠口頭傳下去。
04:37
most of which哪一個 were orally口頭 passed通過 down.
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04:39
As of now, there are 567 federally聯邦政府
recognized認可 tribes部落 in the United聯合的 States狀態,
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到目前為止,美國有 567 個
聯邦承認的部落,
04:45
when there used to be countless無數 more.
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以前的數目多很多。
04:48
In my father's父親的 words,
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引用我父親的說法:
04:49
"Being存在 Native本地人 is not about
wearing穿著 long hair頭髮 in braids辮子.
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「身為原住民的重點
並不是綁長髮辮,
04:53
It's not about feathers羽毛 or beadwork珠飾.
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也不是羽毛或是珠飾細工,
04:56
It's about the way we all center中央 ourselves我們自己
in the world世界 as human人的 beings眾生."
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而是我們身為人類
生活於世界中的樣式。」
05:01
After traveling旅行 with this film電影
for over a year,
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為了這部電影旅行了一年多之後,
05:04
I met會見 indigenous土著 people
from around the world世界,
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我遇到了來自世界各地的原住民,
05:06
from the Ainu蝦夷人 of Japan日本,
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有來自日本的阿伊努人、
05:08
Sami薩米 of Scandinavia斯堪的納維亞,
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斯堪的那維亞的薩米人、
05:09
the Maori毛利
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毛利人、
05:10
and many許多 more.
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還有許多其他的。
05:12
And they were all dealing交易
with the exact精確 same相同 struggle鬥爭
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他們在保存他們的語言和文化上,
05:15
to preserve保留 their language語言 and culture文化.
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也都在面對同樣的難處。
05:19
At this moment時刻, I not only realize實現
the power功率 storytelling評書 has
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此刻,我不只了解到說故事的力量
可以把我們人類連結在一起,
05:22
to connect all of us as human人的 beings眾生
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05:25
but the responsibility責任
that comes with this power功率.
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也了解到這力量所伴隨的責任。
05:28
It can become成為 incredibly令人難以置信 dangerous危險
when our stories故事 are rewritten改寫 or ignored忽視,
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如果我們的故事被改寫或是忽略,
可能會變得相當危險,
05:32
because when we are denied否認 identity身分,
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因為當我們的身份被否認,
05:34
we become成為 invisible無形.
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我們就變成隱形的了。
05:36
We're all storytellers講故事的人.
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我們都是說故事的人。
05:39
Reclaiming回收 our narratives敘事
and just listening to each other's其他
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重新找回我們的故事,
並傾聽彼此的故事,
05:44
can create創建 a portal門戶
that can transcend超越 time itself本身.
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就能創造一個入口,
能超越時間本身的入口。
05:48
Thank you.
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謝謝。
05:49
(Applause掌聲)
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(掌聲)
Translated by Lilian Chiu
Reviewed by Helen Chang

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ABOUT THE SPEAKER
Kayla Briët - Filmmaker, musician
TED Fellow Kayla Briët explores themes of identity and self-discovery in multiple mediums of storytelling: film, multi-media arts and music.

Why you should listen

Kayla Briët explores themes of identity and self-discovery in multiple mediums of storytelling: film, multi-media arts and music. Briët's short documentary, Smoke That Travels, immerses viewers in her native Prairie Band Potawatomi Nation heritage and explores fears that her culture may someday be forgotten. This film has screened and won awards at over 45 festivals internationally, including MoMA in NYC, and has been archived in the Smithsonian Institute in Washington D.C. The film also earned her a year-long fellowship with Sundance Film Festival in 2016.

As a multi-instrumentalist and self-taught composer, Briët also scores her own films and creates music in styles ranging from cinematic to alternative pop to electronic. She performs live as a one-woman band, with her keyboard, guitar, loop pedal and guzheng zither, a traditional Chinese instrument. Recently, Briët was named a 2017 TED Fellow, 2016 Sundance Film Festival Ignite Fellow, 2016 Adobe Creativity Scholar, 2016 MIT Chamber Scholar for her interest in blockchain technology, and a 2016 Oculus Launch Pad Artist for virtual reality. Currently, she is creating and directing documentary and experimental film as well as immersive experiences in the virtual reality space.

More profile about the speaker
Kayla Briët | Speaker | TED.com

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This site was created in May 2015 and the last update was on January 12, 2020. It will no longer be updated.

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