Small Thing Big Idea
Kyra Gaunt: How the jump rope got its rhythm
키라 가운트(Kyra Gaunt): 줄넘기는 어떻게 리듬을 얻었는가
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"갈 거야 내 사랑 롤러코스터를 타고..." 힙합은 이단 줄넘기의 여신에게 많은 빚을 지고 있습니다. 민족음악학자인 키라 가운트가 여러분을 줄넘기의 매력적인 역사로 초대합니다.
Kyra Gaunt - Ethnomusicologist
A member of the inaugural TED Fellows class, Dr. Kyra Gaunt is an ethnomusicologist, singer-songwriter, and a social media researcher on faculty at University at Albany, SUNY. Full bio
A member of the inaugural TED Fellows class, Dr. Kyra Gaunt is an ethnomusicologist, singer-songwriter, and a social media researcher on faculty at University at Albany, SUNY. Full bio
Double-click the English transcript below to play the video.
00:12
If you do it right, it should sound like:
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제대로 따라했다면
이런 소리가 날 겁니다.
이런 소리가 날 겁니다.
00:14
TICK-tat, TICK-tat, TICK-tat,
TICK-tat, TICK-tat, TICK-tat.
TICK-tat, TICK-tat, TICK-tat.
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틱! 탓, 틱! 탓, 틱! 탓,
틱! 탓, 틱! 탓, 틱! 탓,
틱! 탓, 틱! 탓, 틱! 탓,
00:18
If you do it wrong, it sounds like:
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잘못했을 경우엔 이런 소리가 나죠
00:20
Tick-TAT, tick-TAT, tick-TAT.
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틱 탓!, 틱 탓!, 틱 탓!
00:21
[Small thing. Big idea.]
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[사소한 물건. 큰 생각]
00:25
[Kyra Gaunt on
the Jump Rope]
the Jump Rope]
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[줄넘기에 대한 생각. 키라 가운트]
00:28
The jump rope is such a simple object.
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줄넘기는 단순한 줄에 불과합니다.
00:31
It can be made out of rope,
a clothesline, twine.
a clothesline, twine.
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밧줄이나 빨랫줄,
노끈으로 만들 수 있죠.
노끈으로 만들 수 있죠.
00:34
It has, like, a twirl on it. (Laughs)
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베베 꼬여 있죠(웃음)
00:37
I'm not sure how to describe that.
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어떻게 설명해야 할지 모르겠네요.
00:38
What's important
is that it has a certain weight,
is that it has a certain weight,
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중요한 것은 적당한 무게가 있어야 하고
00:41
and that they have
that kind of whip sound.
that kind of whip sound.
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쉭쉭거리는 소리가 나야 한다는 것이죠.
00:44
It's not clear what the origin
of the jump rope is.
of the jump rope is.
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줄넘기의 기원이 무엇인지는
분명하지 않아요.
분명하지 않아요.
00:48
There's some evidence
that it began in ancient Egypt, Phoenicia,
that it began in ancient Egypt, Phoenicia,
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고대 이집트와 페니키아에서
시작되었다는 몇몇 증거가 있죠.
시작되었다는 몇몇 증거가 있죠.
00:52
and then it most likely traveled
to North America with Dutch settlers.
to North America with Dutch settlers.
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그리고 줄넘기는 네덜란드 출신 정착민과
함께 북미에 전파되었습니다.
함께 북미에 전파되었습니다.
00:56
The rope became a big thing
when women's clothes became more fitted
when women's clothes became more fitted
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여성들의 옷이 좀 더 몸에 달라붙게
되면서 줄넘기도 중요해졌죠.
되면서 줄넘기도 중요해졌죠.
01:01
and the pantaloon came into being.
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그리고 판타롱 바지가 유행하면서
01:03
And so, girls were able to jump rope
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여성들도 줄넘기를 할 수 있게 됐어요.
01:06
because their skirts
wouldn't catch the ropes.
wouldn't catch the ropes.
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치맛자랏이 줄에 걸리지 않으니까요.
01:09
Governesses used it
to train their wards to jump rope.
to train their wards to jump rope.
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여자 가정교사들은 학생들을 지도할 때
줄넘기를 사용했어요.
줄넘기를 사용했어요.
01:13
Even formerly enslaved African children
in the antebellum South
in the antebellum South
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심지어 남북 전쟁 전의 남부 아프리카
흑인 노예 아이조차도
흑인 노예 아이조차도
01:16
jumped rope, too.
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줄넘기를 했죠.
01:17
In the 1950s, in Harlem,
Bronx, Brooklyn, Queens,
Bronx, Brooklyn, Queens,
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1950년대 할렘, 브롱크스,
브루클린, 퀸즈에서
브루클린, 퀸즈에서
01:22
you could see on the sidewalk,
lots of girls playing with ropes.
lots of girls playing with ropes.
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인도에서 줄넘기를 하는
수많은 여자아이들이 보이시죠?
수많은 여자아이들이 보이시죠?
01:27
Sometimes they would take two ropes
and turn them as a single rope together,
and turn them as a single rope together,
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때때로 줄넘기 두 개를 한 번에
뛰어넘기도 했습니다.
뛰어넘기도 했습니다.
01:30
but you could separate them and turn
them in like an eggbeater on each other.
them in like an eggbeater on each other.
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아니면 계란교반기처럼
따로 따로 넘을 수도 있었죠.
따로 따로 넘을 수도 있었죠.
01:34
The skipping rope
was like a steady timeline --
was like a steady timeline --
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줄넘기는 메트로놈과 비슷하죠.
01:37
tick, tick, tick, tick --
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틱, 틱, 틱, 틱
01:38
upon which you can add rhymes
and rhythms and chants.
and rhythms and chants.
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라임과 리듬과 노래를
덧붙여서 할 수 있거든요.
덧붙여서 할 수 있거든요.
01:42
Those ropes created a space
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줄넘기는 우리 동네가
이웃보다도 훨씬 멋진 곳으로
이웃보다도 훨씬 멋진 곳으로
01:44
where we were able
to contribute to something
to contribute to something
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여겨지게끔 하는 공간을
01:47
that was far greater
than the neighborhood.
than the neighborhood.
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창조했습니다.
01:49
Double Dutch jump rope remains
a powerful symbol of culture and identity
a powerful symbol of culture and identity
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흑인 여성들에게 더블 더치 줄넘기는
여전히 문화와 정체성의
여전히 문화와 정체성의
01:53
for black women.
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강력한 상징입니다.
01:54
Back from the 1950s to the 1970s,
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1950년대에서 1970년대까지
01:56
girls weren't supposed to play sports.
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여성들은 스포츠와 거리가 멀었어요.
01:58
Boys played baseball,
basketball and football,
basketball and football,
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남자들은 야구, 농구, 축구를 했지만
02:01
and girls weren't allowed.
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여성들에겐 허락되지 않았죠.
02:03
A lot has changed, but in that era,
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하지만 이 시기에
많은 것이 변했습니다.
많은 것이 변했습니다.
02:05
girls would rule the playground.
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여성들도 운동을 하기 시작한거죠.
02:07
They'd make sure
that boys weren't a part of that.
that boys weren't a part of that.
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남자들이 낄 구석이
없다는 것을 분명히 했죠.
없다는 것을 분명히 했죠.
02:10
It's their space, it's a girl-power space.
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여성들만의, 여성이
힘을 갖고 있는 분야였습니다.
힘을 갖고 있는 분야였습니다.
02:12
It's where they get to shine.
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여성들이 빛날 수 있는 곳이었죠.
02:14
But I also think it's for boys,
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하지만 저는 소년들도
마찬가지였을거라 생각하는데요
마찬가지였을거라 생각하는데요
02:16
because boys overheard those,
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왜냐하면 남자애들이 흑인 여자들이
02:17
which is why, I think,
so many hip-hop artists
so many hip-hop artists
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줄넘기를 하면서 부르는 노래를 듣고
이를 힙합 뮤지션들이 자신들의 노래에
이를 힙합 뮤지션들이 자신들의 노래에
02:19
sampled from things that they heard
in black girls' game songs.
in black girls' game songs.
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샘플링 했다고 생각하거든요.
02:23
(Chanting) ... cold, thick shake,
act like you know how to flip,
act like you know how to flip,
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(노래) 얼음, 쉐이크,
줄넘기를 잘하는 것처럼,
줄넘기를 잘하는 것처럼,
02:26
Filet-O-Fish, Quarter Pounder,
french fries, ice cold, thick shake,
french fries, ice cold, thick shake,
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생선 휠레, 쿼터 파운드 버거,
감자 튀김, 차가운 얼음, 쉐이크
감자 튀김, 차가운 얼음, 쉐이크
02:29
act like you know how to jump.
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줄넘기를 잘 하는 것처럼.
02:30
Why "Country Grammar" by Nelly
became a Grammy Award-winning single
became a Grammy Award-winning single
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넬리의 "컨트리 그래머"가 그래미 시상식
최우수 싱글이 된 이유는
최우수 싱글이 된 이유는
02:34
was because people already knew
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사람들이 이미 유사성을
알고 있었기 때문이겠죠.
알고 있었기 때문이겠죠.
02:37
"We're going down down baby
your street in a Range Rover ... "
your street in a Range Rover ... "
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"우리는 레인지 로버를 타고
너를 향해 가고 있어 ..." 라는 부분이
너를 향해 가고 있어 ..." 라는 부분이
02:40
That's the beginning of "Down down, baby,
down down the roller coaster,
down down the roller coaster,
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"갈 거야 내 사랑 롤러코스터를 타고
02:44
sweet, sweet baby, I'll never let you go."
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달콤한 내 사랑, 널 절대 놓치지 않아."
02:46
All people who grew up
in any black urban community
in any black urban community
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흑인들이 사는 도시에서
성장한 이라면 누구나
성장한 이라면 누구나
02:49
would know that music.
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이 노래를 알 것입니다.
02:51
And so, it was a ready-made hit.
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성공은 따놓은 당상이었죠.
02:54
The Double Dutch rope playing
helped maintain these songs
helped maintain these songs
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더블 더치 줄넘기가
이 노래를 꾸준히 퍼뜨렸고
이 노래를 꾸준히 퍼뜨렸고
02:58
and helped maintain the chants
and the gestures that go along with it,
and the gestures that go along with it,
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구호와 동작도 함께 유지되면서
03:02
which is very natural
to what I call "kinetic orality" --
to what I call "kinetic orality" --
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제가 말하는 "구전 운동"으로
자연스레 이어졌습니다.
자연스레 이어졌습니다.
03:06
word of mouth and word of body.
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말과 행동이 모두 퍼지는 거죠.
03:09
It's the thing that gets
passed down over generations.
passed down over generations.
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여러 세대에 걸쳐서 내려온 것입니다.
03:12
In some ways, the rope
is the thing that helps carry it.
is the thing that helps carry it.
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어떤 의미에서 줄넘기가 그 전파에
일정 역할을 담당했다고 볼 수 있죠.
일정 역할을 담당했다고 볼 수 있죠.
03:15
You need some object
to carry memory through.
to carry memory through.
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기억을 전달하는데는
특별한 수단이 필요합니다.
특별한 수단이 필요합니다.
03:18
So, a jump rope, you can use it
for all different kinds of things.
for all different kinds of things.
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그리고 줄넘기는 다른 모든 목적으로
사용할 수 있습니다.
사용할 수 있습니다.
03:22
It crosses cultures.
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문화를 넘나들죠.
03:24
And I think it lasted
because people need to move.
because people need to move.
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사람들은 앞으로 전진해야 했고
그래서 줄넘기가 필요했습니다.
그래서 줄넘기가 필요했습니다.
03:28
And I think sometimes the simplest objects
can make the most creative uses.
can make the most creative uses.
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저는 때로 가장 단순한 사물이 가장
창조적인 움직임을 만든다고 믿습니다.
창조적인 움직임을 만든다고 믿습니다.
ABOUT THE SPEAKER
Kyra Gaunt - EthnomusicologistA member of the inaugural TED Fellows class, Dr. Kyra Gaunt is an ethnomusicologist, singer-songwriter, and a social media researcher on faculty at University at Albany, SUNY.
Why you should listen
Kyra Gaunt's book, The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop, published by NYU Press, won of the 2007 Alan Merriam Book Prize awarded by The Society for Ethnomusicology, which contributed to the emergence of black girlhood studies and hip-hop feminism. It also inspired a work by fellow TED Fellow Camille A. Brown, BLACK GIRL: Linguistic Play, which was nominated for a 2016 Bessie Award for Outstanding Production.
Gaunt's articles have appeared in Musical Quarterly, The Journal for Popular Music Studies and Parcours anthropologiques, and she has contributed chapters to I Was Born to Use Mics: Listening to Nas’ Illmatic and The Hip-hop & Obama Reader, among other publications.
Gaunt's scholarship has been funded by The Ford Foundation and the National Endowment for the Humanities and is a nationally- and internationally-recognized speaker. She also is a certified expert witness in federal and state cases on the unintended consequences of social media. She also continues to perform and record as a classically-trained, jazz vocalist and R&B singer-songwriter. Her original compositions are available on the CD Be the True Revolution available on iTunes and CDBaby.
Kyra Gaunt | Speaker | TED.com