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Camille A. Brown: A visual history of social dance in 25 moves
Camille A. Brown: Sejarah visual tarian sosial dalam 25 gerakan
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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.
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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Ini adalah Bop.
00:09
The Bop is a type of social dance.
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Bop adalah satu gaya tarian sosial.
00:15
Dance is a language,
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Tarian adalah bahasa,
00:16
and social dance is an expression
that emerges from a community.
that emerges from a community.
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dan tarian sosial adalah ekspresi
yang muncul dari satu komunitas.
yang muncul dari satu komunitas.
00:21
A social dance isn't choreographed
by any one person.
by any one person.
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Koreografi tarian sosial tidak
dibuat oleh satu orang.
dibuat oleh satu orang.
00:24
It can't be traced to any one moment.
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Tidak bisa ditelusuri pada
satu waktu tertentu.
satu waktu tertentu.
00:27
Each dance has steps
that everyone can agree on,
that everyone can agree on,
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Tiap tarian punya gerakan
yang disepakati semua orang,
yang disepakati semua orang,
00:30
but it's about the individual
and their creative identity.
and their creative identity.
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tapi unik bagi tiap individu
dan identitas kreatif mereka.
dan identitas kreatif mereka.
00:35
Because of that,
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Karena itu,
00:36
social dances bubble up,
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tarian sosial muncul,
00:38
they change
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berubah,
00:39
and they spread like wildfire.
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dan menyebar seperti api.
00:42
They are as old as our remembered history.
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Tarian sosial telah lama ada
sepanjang sejarah kita.
sepanjang sejarah kita.
00:47
In African-American social dances,
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Pada tarian sosial Afrika-Amerika,
00:49
we see over 200 years
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kita bisa melihat bagaimana
tradisi Afrika dan Afrika-Amerika
tradisi Afrika dan Afrika-Amerika
00:51
of how African and African-American
traditions influenced our history.
traditions influenced our history.
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mempengaruhi sejarah kita
selama lebih dari 200 tahun.
selama lebih dari 200 tahun.
00:58
The present always contains the past.
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Masa kini selalu mengandung
masa lalu di dalamnya.
masa lalu di dalamnya.
01:01
And the past shapes who we are
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Dan masa lalu membentuk
kita yang sekarang
kita yang sekarang
01:03
and who we will be.
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dan kita di masa depan.
01:05
(Clapping)
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(Tepukan tangan)
01:09
The Juba dance was born
from enslaved Africans' experience
from enslaved Africans' experience
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Tarian Juba lahir dari pengalaman
budak-budak Afrika
budak-budak Afrika
01:12
on the plantation.
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di perkebunan.
01:14
Brought to the Americas,
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Mereka dibawa ke Amerika,
01:15
stripped of a common spoken language,
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terlucuti dari bahasa yang mereka kenal,
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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tarian ini adalah cara budak Afrika
mengingat dari mana mereka berasal.
mengingat dari mana mereka berasal.
01:22
It may have looked something like this.
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Tariannya mungkin terlihat seperti ini.
01:30
Slapping thighs,
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Paha yang beradu,
01:31
shuffling feet
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kaki yang lincah,
01:33
and patting hands:
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dan tepukan tangan,
01:34
this was how they got around
the slave owners' ban on drumming,
the slave owners' ban on drumming,
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beginilah cara mereka mengakali larangan
menabuh drum oleh majikan mereka,
menabuh drum oleh majikan mereka,
01:38
improvising complex rhythms
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mengimprovisasi ritme yang kompleks,
01:41
just like ancestors did
with drums in Haiti
with drums in Haiti
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seperti cara leluhur mereka
menabuh drum di Haiti
menabuh drum di Haiti
01:44
or in the Yoruba communities
of West Africa.
of West Africa.
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atau di komunitas Yoruba di Afrika Barat.
01:50
It was about keeping
cultural traditions alive
cultural traditions alive
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Ini untuk mempertahankan agar
tradisi mereka tetap hidup
tradisi mereka tetap hidup
01:53
and retaining a sense of inner freedom
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dan mendapatkan rasa kebebasan
dalam diri mereka
dalam diri mereka
01:56
under captivity.
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di dalam kurungan.
01:59
It was the same subversive spirit
that created this dance:
that created this dance:
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Semangat yang sama juga
membuat tarian ini:
membuat tarian ini:
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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tarian yang memparodikan tingkah laku
masyarakat Selatan tingkat atas,
masyarakat Selatan tingkat atas,
02:09
a way for the enslaved
to throw shade at the masters.
to throw shade at the masters.
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satu cara bagi para budak untuk
menertawakan majikan mereka.
menertawakan majikan mereka.
02:12
The crazy thing about this dance
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Yang mengejutkan adalah,
02:14
is that the Cakewalk
was performed for the masters,
was performed for the masters,
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Cakewalk ditampilkan bagi majikan mereka,
02:17
who never suspected
they were being made fun of.
they were being made fun of.
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yang tidak pernah mengira bahwa
mereka sedang dicemooh.
mereka sedang dicemooh.
02:23
Now you might recognize 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 Charleston.
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Charleston.
02:31
The Charleston was all about
improvisation and musicality,
improvisation and musicality,
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Charleston adalah tentang
improvisasi dan musikalitas,
improvisasi dan musikalitas,
02:35
making its way into Lindy Hop,
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membuatnya berkembang menjadi Lindy Hop,
02:37
swing dancing
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tarian swing
02:38
and even the Kid n Play,
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dan bahkan Kid n Play,
02:39
originally called the Funky Charleston.
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yang pada awalnya disebut
Funky Charleston.
Funky Charleston.
02:47
Started by a tight-knit Black community
near Charleston, South Carolina,
near Charleston, South Carolina,
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Dimulai oleh komunitas kulit hitam
di dekat Charleston, South Carolina,
di dekat Charleston, South Carolina,
02:51
the Charleston permeated dance halls
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aula dansa Charleston memberikan
02:53
where young women suddenly had
the freedom to kick their heels
the freedom to kick their heels
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para perempuan muda kebebasan
untuk mengetuk hak sepatu
untuk mengetuk hak sepatu
02:56
and move their legs.
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dan bergerak dengan lincah.
03:03
Now, social dance is about
community and connection;
community and connection;
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Tarian sosial adalah tentang
komunitas dan hubungan;
komunitas dan hubungan;
03:06
if you knew the steps,
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kalau Anda tahu gerakannya,
berarti Anda adalah bagian
dari satu kelompok.
dari satu kelompok.
03:08
it meant you belonged to a group.
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03:10
But what if it becomes a worldwide craze?
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Tapi bagaimana jika tarian ini mendunia?
03:13
Enter the Twist.
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Seperti 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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Tak heran jika Twist bisa dilacak
hingga ke abad ke-19,
hingga ke abad ke-19,
03:19
brought to America from the Congo
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dibawa ke Amerika dari Kongo
selama masa perbudakan.
selama masa perbudakan.
03:21
during slavery.
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03:22
But in the late '50s,
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Tapi di akhir tahun 50-an,
03:24
right before the Civil Rights Movement,
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persis sebelum Gerakan Hak Sipil,
03:26
the Twist is popularized
by Chubby Checker and Dick Clark.
by Chubby Checker and Dick Clark.
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Twist dipopulerkan oleh
Chubby Checker dan Dick Clark.
Chubby Checker dan Dick Clark.
03:29
Suddenly, everybody's doing the Twist:
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Tiba-tiba, semua orang menari Twist,
03:32
white teenagers,
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anak muda kulit putih,
03:33
kids in Latin America,
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anak-anak di Amerika Latin,
03:35
making its way into songs and movies.
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hingga masuk ke banyak lagu dan film.
03:38
Through social dance,
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Melalui tarian sosial,
03:39
the boundaries between groups
become blurred.
become blurred.
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batasan antar golongan menguap.
03:45
The story continues in the 1980s and '90s.
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Cerita berlanjut pada tahun
1980-an dan 1990-an.
1980-an dan 1990-an.
03:48
Along with the emergence of hip-hop,
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Bersama kemunculan hip-hop,
03:51
African-American social dance
took on even more visibility,
took on even more visibility,
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tarian sosial Afrika-Amerika
lebih terekspos.
lebih terekspos.
03:55
borrowing from its long past,
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Meminjam masa lalunya yang panjang,
03:57
shaping culture and being shaped by it.
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membentuk suatu budaya
dan dibentuk oleh budaya.
dan dibentuk oleh budaya.
04:08
Today, these dances continue
to evolve, grow and spread.
to evolve, grow and spread.
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Saat ini, tarian-tarian ini terus
berevolusi, berkembang dan menyebar.
berevolusi, berkembang dan menyebar.
04:14
Why do we dance?
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Mengapa kita menari?
04:15
To move,
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Untuk bergerak,
04:16
to let loose,
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untuk membebaskan diri,
04:17
to express.
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untuk mengekspresikan diri.
04:19
Why do we dance together?
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Mengapa kita menari bersama?
04:21
To heal,
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Untuk menyembuhkan,
04:22
to remember,
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untuk mengingat,
04:23
to say: "We speak a common language.
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untuk berkata:
"Kita bicara dengan bahasa yang sama.
Kita eksis, dan kita bebas."
Kita eksis, dan kita bebas."
04:26
We exist
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04:27
and we are free."
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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