TED Studio
Camille A. Brown: A visual history of social dance in 25 moves
Camille A. Brown: En visuell historie av sosial dans i 25 steg
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Hvorfor danser vi? Afro-Amerikanske sosiale danser begynte som en måte for Afrikanske slaver å holde kulturelle tradisjoner i live og beholde en følelse av indre frihet. De består som bekreftelse på identitet og selvstendighet. I denne elektriske demonstrasjonen, stappet med live opptredener, utforsker koreograf, utdanner og TED Fellow Camille A. Brown hva som skjer når samfunn slippes løs og uttrykker seg gjennom å danse sammen.
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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Dette er Bop.
00:09
The Bop is a type of social dance.
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Bop er en type sosial dans.
00:15
Dance is a language,
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Dans er et språk,
00:16
and social dance is an expression
that emerges from a community.
that emerges from a community.
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og sosial dans er et uttrykk
som kommer fra et samfunn.
som kommer fra et samfunn.
00:21
A social dance isn't choreographed
by any one person.
by any one person.
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En sosial dans er ikke koreografert
av en enkelt person.
av en enkelt person.
00:24
It can't be traced to any one moment.
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Det kan ikke spores
til et enkelt øyeblikk.
til et enkelt øyeblikk.
00:27
Each dance has steps
that everyone can agree on,
that everyone can agree on,
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Hver dans har steg alle kan være enige om,
00:30
but it's about the individual
and their creative identity.
and their creative identity.
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men det handler om individet
og deres kreative identitet.
og deres kreative identitet.
00:35
Because of that,
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På grunn av det,
00:36
social dances bubble up,
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bobler sosiale danser opp,
00:38
they change
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de endres
00:39
and they spread like wildfire.
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og de spres som skogbrann.
00:42
They are as old as our remembered history.
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De er like gamle som vår husket historie.
00:47
In African-American social dances,
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I Afro-Amerikanske sosiale danser,
00:49
we see over 200 years
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ser vi over 200 år
00:51
of how African and African-American
traditions influenced our history.
traditions influenced our history.
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av Afrikanske og Afro-Amerikanske
tradisjoners innflytelse på vår historie.
tradisjoners innflytelse på vår historie.
00:58
The present always contains the past.
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Nåtiden inneholder alltid fortiden.
01:01
And the past shapes who we are
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Og fortiden former hvem vi er
01:03
and who we will be.
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og hvem vi vil være.
01:05
(Clapping)
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(Klapping)
01:09
The Juba dance was born
from enslaved Africans' experience
from enslaved Africans' experience
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Juba dansen oppsto
fra Afrikanske slavers erfaring
fra Afrikanske slavers erfaring
01:12
on the plantation.
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på plantasjene.
01:14
Brought to the Americas,
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Brakt til Amerika,
01:15
stripped of a common spoken language,
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strippet for et felles talespråk,
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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var dansen en måte for Afrikanske slaver
å minnes hvor de kom fra.
å minnes hvor de kom fra.
01:22
It may have looked something like this.
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Det kan ha sett slik ut.
01:30
Slapping thighs,
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Klasking på lår,
01:31
shuffling feet
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shuffling med føttene
01:33
and patting hands:
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og klappende hender;
01:34
this was how they got around
the slave owners' ban on drumming,
the slave owners' ban on drumming,
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slik unngikk de slave-eiernes
forbud på tromming,
forbud på tromming,
01:38
improvising complex rhythms
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improviserte komplekse rytmer
01:41
just like ancestors did
with drums in Haiti
with drums in Haiti
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akkurat som forfedrene
gjorde med trommer i Haiti
gjorde med trommer i Haiti
01:44
or in the Yoruba communities
of West Africa.
of West Africa.
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eller i Joruba samfunnene
av Vest Afrika.
av Vest Afrika.
01:50
It was about keeping
cultural traditions alive
cultural traditions alive
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Det handlet om å holde
kulturelle tradisjoner i live
kulturelle tradisjoner i live
01:53
and retaining a sense of inner freedom
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og beholde en følelse av indre frihet
01:56
under captivity.
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under fangenskap.
01:59
It was the same subversive spirit
that created this dance:
that created this dance:
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Det var den samme subversive ånden
som laget denne dansen:
som laget denne dansen:
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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en dans som parodierte
manerene til Sør-sosieteten --
manerene til Sør-sosieteten --
02:09
a way for the enslaved
to throw shade at the masters.
to throw shade at the masters.
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en måte for slavene
å kaste skygge over mesterne.
å kaste skygge over mesterne.
02:12
The crazy thing about this dance
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Det utrolige med denne dansen
02:14
is that the Cakewalk
was performed for the masters,
was performed for the masters,
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er at Cakewalk ble fremført for mesterne,
02:17
who never suspected
they were being made fun of.
they were being made fun of.
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som aldri mistenkte
at de ble gjort narr av.
at de ble gjort narr av.
02:23
Now you might recognize this one.
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Du kjenner kanskje igjen denne.
02:25
1920s --
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1920-tallet --
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 handlet om
improvisering og musikalitet,
improvisering og musikalitet,
02:35
making its way into Lindy Hop,
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gjennom Lindy Hop,
02:37
swing dancing
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swing dansing
02:38
and even the Kid n Play,
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og også Kid n Play,
02:39
originally called the Funky Charleston.
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originalt kalt Funky Charleston.
02:47
Started by a tight-knit Black community
near Charleston, South Carolina,
near Charleston, South Carolina,
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Startet av et tett-knyttet svart samfunn
nær Charleston, Sør Carolina,
nær Charleston, Sør Carolina,
02:51
the Charleston permeated dance halls
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Charleston yret i dansehaller
02:53
where young women suddenly had
the freedom to kick their heels
the freedom to kick their heels
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hvor unge kvinner nå hadde
friheten til å riste støvet av støvlene
friheten til å riste støvet av støvlene
02:56
and move their legs.
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og slå seg løs.
03:03
Now, social dance is about
community and connection;
community and connection;
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Sosial dans handler om
samfunn og tilknyttning;
samfunn og tilknyttning;
03:06
if you knew the steps,
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hvis du kunne stegene,
03:08
it meant you belonged to a group.
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betydde det at du tilhørte en gruppe.
03:10
But what if it becomes a worldwide craze?
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Men hva om det blir en
verdensomspennende mani?
verdensomspennende mani?
03:13
Enter the Twist.
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Inn kommer 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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Det er ingen overraskelse at Twist
kan spores tilbake til det 19. århundre,
kan spores tilbake til det 19. århundre,
03:19
brought to America from the Congo
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brakt til Amerika fra Kongo
03:21
during slavery.
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under slaveri.
03:22
But in the late '50s,
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Men sent på 50-tallet,
03:24
right before the Civil Rights Movement,
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rett før borgerrettighetsbevegelsen,
03:26
the Twist is popularized
by Chubby Checker and Dick Clark.
by Chubby Checker and Dick Clark.
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blir Twist popularisert
av Chubby Checker og Dick Clark.
av Chubby Checker og Dick Clark.
03:29
Suddenly, everybody's doing the Twist:
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Plutselig driver alle med Twist:
03:32
white teenagers,
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hvite tenåringer,
03:33
kids in Latin America,
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barn i Latin-Amerika,
03:35
making its way into songs and movies.
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den gjør inntreden i sanger og filmer.
03:38
Through social dance,
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Gjennom sosial dans,
03:39
the boundaries between groups
become blurred.
become blurred.
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ble grenser mellom grupper uklare.
03:45
The story continues in the 1980s and '90s.
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Historien fortsetter
gjennom 1980- og 90-tallet.
gjennom 1980- og 90-tallet.
03:48
Along with the emergence of hip-hop,
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Med fremveksten av hip-hop,
03:51
African-American social dance
took on even more visibility,
took on even more visibility,
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fikk Afro-Amerikansk sosial dans
enda mer synlighet,
enda mer synlighet,
03:55
borrowing from its long past,
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med lån fra sin lange fortid,
03:57
shaping culture and being shaped by it.
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former den kulturen
og blir formet av den.
og blir formet av den.
04:08
Today, these dances continue
to evolve, grow and spread.
to evolve, grow and spread.
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Disse dansene fortsetter
å utvikle seg, vokse og spre seg.
å utvikle seg, vokse og spre seg.
04:14
Why do we dance?
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Hvorfor danser vi?
04:15
To move,
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For å bevege,
04:16
to let loose,
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for å slippe løs,
04:17
to express.
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for å uttrykke.
04:19
Why do we dance together?
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Hvorfor danser vi sammen?
04:21
To heal,
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For å hele,
04:22
to remember,
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for å erindre,
04:23
to say: "We speak a common language.
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for å si: "Vi snakker et felles språk.
04:26
We exist
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Vi eksisterer
04:27
and we are free."
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og vi er fri."
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