ABOUT THE SPEAKERS
Judith Jamison - Dancer, choreographer
Judith Jamison uses dance as a medium for honoring the past, celebrating the present and fearlessly reaching into the future.

Why you should listen

Judith Jamison joined Alvin Ailey American Dance Theater in 1965 and quickly became an international star. Over the next 15 years, Ailey created some of his most enduring roles for her, most notably the tour-de-force solo Cry. During the 1970s and 80s, Jamison appeared as a guest artist with ballet companies all over the world, starred in the hit Broadway musical Sophisticated Ladies and formed her own company, The Jamison Project. She returned to Alvin Ailey American Dance Theater in 1989 when Ailey asked her to succeed him as Artistic Director. In the 21 years that followed, she brought the Company to unprecedented heights, including two historic engagements in South Africa and a 50-city global tour to celebrate the Company’s 50th anniversary.

Jamison is the recipient of numerous awards and honors, among them an Emmy, an American Choreography Award, the Kennedy Center Honor, a National Medal of Arts, a "Bessie" Award, the Phoenix Award and the Handel Medallion. She was also listed in TIME's list of The World’s Most Influential People and honored by First Lady Michelle Obama at the first White House Dance Series event. In 2015, she became the 50th inductee into the Hall of Fame at the National Museum of Dance. Jamison continues to dedicate herself to asserting the prominence of the arts in our culture.

More profile about the speaker
Judith Jamison | Speaker | TED.com
Alvin Ailey American Dance Theater - Dance company
Alvin Ailey American Dance Theater grew from a now-fabled 1958 performance at the 92nd Street Y in New York City. Led by Alvin Ailey and a group of young African-American modern dancers, that performance changed forever the perception of American dance.

Why you should listen

Constance Stamatiou began her dance training at Pat Hall's Dance Unlimited and North Carolina Dance and Theatre. She graduated from NorthWest School of the Arts and studied at SUNY Purchase before becoming a fellowship student at The Ailey School. In 2009, Stamatiou received the Leonore Annenberg Fellowship in the performing and visual arts. She performed at the White House Dance Series and has been a guest performer on So You Think You Can Dance, Dancing with the Stars, Logo's Trailblazer Honors, and The Today Show. Stamatiou has also danced in the films Shake Rattle & Roll and in Dan Pritzker's Bolden. Stamatiou was a member of Ailey ll a guest artist for Darrell Grand Moultrie and Caroline Calouche and Co. She is a certified Gyrotonic and Gyrokinesis instructor and a mother of two. Stamatiou first joined the Company in 2007 and rejoined in 2016.

Solomon Dumas was introduced to dance through AileyCamp. He later began his formal training at The Chicago Academy For The Arts and the Russell Talbert Dance Studio, where he received his most influential training. Dumas studied at New World School Of The Arts and was a fellowship Level 1 student at The Ailey School. He has performed with companies including Garth Fagan Dance; Ronald K. Brown/Evidence A Dance Company; and Labyrinth Dance Theater and was a member of Ailey II. Mr. Dumas joined the Company in 2016.

Samantha Figgins began dancing at Duke Ellington School of the Arts under the tutelage of Charles Auggins and Sandra Fortune-Greene and attended summer intensives at Dance Theatre of Harlem under the direction of Arthur Mitchell.  She continued her education at SUNY Purchase Conservatory of Dance. There, she performed works by George Balanchine, Bill T. Jones, Paul Taylor and Twyla Tharp. Upon graduating cum laude, Figgins became a member of Complexions Contemporary Ballet, performing works by Dwight Rhoden, Jae Man Joo and Camille A. Brown. She also performed at the 2014 DanceOpen Festival in St. Petersburg, Russia. Figgins was featured both on the cover of Dance Spirit magazine and in Pointe magazine's "10 Careers to Watch" in 2013. She has worked with Beyoncé and can be seen in the film Enemy Within alongside Tiler Peck and Matthew Rushing. Figgins joined the Company in 2014.

More profile about the speaker
Alvin Ailey American Dance Theater | Speaker | TED.com
TED2019

Judith Jamison and members of the Alvin Ailey American Dance Theater: Revelations from a lifetime of dance

Judith Jamison e Alvin Ailey American Dance Theater: Revelações de uma vida inteira de dança

Filmed:
201,333 views

"A dança pode elevar nossa experiência humana além das palavras", diz Judith Jamison, diretora artística emérita da Alvin Ailey American Dance Theatre. Entre as apresentações de trechos das obras clássicas de Alvin Ailey, "Revelations" e "Cry", Jamison reflete sobre o poder duradouro da dança de transformar a história em arte que emociona o público em todo o mundo. (Apresentações de Solomon Dumas, Samantha Figgins e Constance Stamatiou)
- Dancer, choreographer
Judith Jamison uses dance as a medium for honoring the past, celebrating the present and fearlessly reaching into the future. Full bio - Dance company
Alvin Ailey American Dance Theater grew from a now-fabled 1958 performance at the 92nd Street Y in New York City. Led by Alvin Ailey and a group of young African-American modern dancers, that performance changed forever the perception of American dance. Full bio

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

00:14
(Music: "Wade in the Water"
by Ella Jenkins)
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(Música "Wade in the Water"
de Ella Jenkins)
00:17
Wade in the water
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♪ Entrem na água ♪
00:20
Wade in the water, children
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♪ Entrem na água, crianças ♪
00:24
Wade in the water
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♪ Entrem na água ♪
00:27
God's a-gonna trouble the water
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♪ Deus agitará a água ♪
00:30
Oh, why don't you wade in the water
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♪ Ah, por que não entram na água? ♪
00:34
Wade in the water, children
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♪ Entrem na água, crianças ♪
00:38
Wade in the water
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♪ Entrem na água ♪
00:41
God's a-gonna trouble the water
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♪ Deus agitará a água ♪
00:45
See that man all dressed in white
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♪ Vejam esse homem
todo vestido de branco ♪
00:48
God's a-gonna trouble the water
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♪ Deus agitará a água ♪
00:51
He looks like a man of the Israelite
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♪ Ele parece um israelita ♪
00:55
God's a-gonna trouble the water
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♪ Deus agitará a água ♪
00:59
Wade in the water
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♪ Entrem na água ♪
01:02
Wade in the water, children
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♪ Entrem na água, crianças ♪
01:06
Wade in the water
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♪ Entrem na água ♪
01:09
God's a-gonna trouble the water
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♪ Deus agitará a água ♪
01:13
See that man all dressed in red
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♪ Vejam esse homem
todo vestido de vermelho ♪
01:17
God's a-gonna trouble the water
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♪ Deus agitará a água ♪
01:20
It looks like the man that Moses led
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♪ Parece o homem liderado por Moisés ♪
01:23
God's a-gonna trouble the water
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♪ Deus agitará a água ♪
01:27
Wade in the water
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♪ Entrem na água ♪
01:30
Wade in the water, children
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♪ Entrem na água, crianças ♪
01:34
Wade in the water
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♪ Entrem na água ♪
01:37
God's a-gonna trouble the water
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♪ Deus agitará a água ♪
01:41
Didn't my Lord deliver Daniel
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♪ Meu Senhor não criou Daniel? ♪
01:44
Daniel, Daniel
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♪ Daniel, Daniel ♪
01:47
Didn't my Lord deliver Daniel
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♪ Meu Senhor não criou Daniel? ♪
01:51
Then why not every man?
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♪ Então, por que não todo homem? ♪
01:55
Didn't my Lord deliver Daniel
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♪ Meu Senhor não criou Daniel? ♪
01:59
Daniel, Daniel
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♪ Daniel, Daniel ♪
02:02
Didn't my Lord deliver Daniel
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♪ Meu Senhor não criou Daniel? ♪
02:06
Why not every man?
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♪ Por que não todo homem? ♪
02:09
Man went down to the river
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♪ O homem desceu ao rio ♪
02:13
Man went down to the river
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♪ O homem desceu ao rio ♪
02:16
Man went down to the river
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♪ O homem desceu ao rio ♪
02:20
Went down there for to pray
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♪ Desceu lá para rezar ♪
02:23
Man went down to the river
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♪ O homem desceu ao rio ♪
02:27
Man went down to the river
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♪ O homem desceu ao rio ♪
02:30
Man went down to the river
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♪ O homem desceu ao rio ♪
02:34
To wash his sins away
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♪ Para lavar os pecados dele ♪
02:37
He washed all day, he washed all night
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♪ Lavou o dia todo, lavou a noite toda ♪
02:41
He washed till his hands were sore
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♪ Lavou até as mãos doerem ♪
02:44
He washed all day, he washed all night
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♪ Lavou o dia todo, lavou a noite toda ♪
02:48
Till he couldn't wash a-no more
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♪ Até que não pudesse lavar mais ♪
02:52
Man went down to the river
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♪ O homem desceu ao rio ♪
02:55
Man went down to the river
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♪ O homem desceu ao rio ♪
02:59
Man went down to the river
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♪ O homem desceu ao rio ♪
03:01
(Music fades)
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(Fim da música)
03:05
(Applause)
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(Aplausos)
03:19
(Juliet Blake) And now,
let's give a warm welcome
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Juliet Blake: Vamos dar
calorosas boas vindas
à diretora artística emérita
da Alvin Ailey American Dance Theater,
03:21
to the artistic director emerita
of the Alvin Ailey American Dance Theater,
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03:27
Judith Jamison.
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Judith Jamison.
03:29
(Applause)
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(Aplausos) (Vivas)
03:36
Judith Jamison: Thanks.
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Judith Jamison: Obrigada.
03:38
How are y'all?
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Como estão todos vocês?
03:39
(Audience cheers)
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(Vivas)
03:40
JJ: Yeah, you know
you've just been to church?
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JJ: Sabem que vocês
acabaram de ir à igreja?
03:43
(Laughter)
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(Risos)
03:44
You just saw a baptism, yes?
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Vocês acabaram de assistir a um batismo.
03:47
This is from this wonderful piece
Mr. Ailey created in 1960,
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Isso é de uma peça maravilhosa
que o sr. Ailey criou em 1960,
03:52
called "Revelations."
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chamada "Revelations".
03:55
Mr. Ailey was 29 years old
when he choreographed this masterpiece.
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O sr. Ailey tinha 29 anos
quando coreografou essa obra-prima.
03:59
It's been danced all over the world
and understood universally,
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Tem sido dançada em todo o mundo
e compreendida universalmente,
04:03
because he understood
the humanity in us all.
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porque ele entendeu
a humanidade em todos nós.
04:07
"Revelations" is a reflection
of a journey we all take in life,
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"Revelations" é um reflexo de uma jornada
que todos levamos na vida,
04:11
and, hopefully, triumphantly.
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e tomara que seja de modo triunfante.
04:14
That was the magic of Alvin Ailey.
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Essa era a magia de Alvin Ailey.
04:16
He was able to see you, in the audience,
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Ele conseguia vê-los, na plateia,
04:19
see me, as the dancer,
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me ver, como dançarina,
04:21
and see the connection between us,
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e ver a conexão entre nós,
04:23
and choreographed works
that connected us all.
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e os trabalhos coreografados
que conectavam todos nós.
04:26
So you felt he was telling your story,
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Você sentia que ele
contava a sua história,
04:29
while I felt I was dancing mine.
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enquanto eu sentia que dançava a minha.
04:34
I started dancing when I was six years old
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Comecei a dançar quando eu tinha seis anos
04:36
in Philadelphia.
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na Filadélfia.
Eu era magricela...
04:37
I was skinny ...
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04:40
(Laughter)
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(Risos)
04:43
Dark chocolate,
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chocolate negro,
04:45
and a kid with legs up to my armpits.
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e uma criança com as pernas até as axilas.
04:48
And the very first performance I had,
at the Judimar School of Dance,
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Minha primeira apresentação,
na Judimar School of Dance,
04:52
was in a red checkered shirt,
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foi com uma camisa xadrez vermelha,
04:57
dungarees, pink ballet shoes,
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macacão, sapatilha rosa,
05:00
and we were dancing to "I'm an Old Cowhand
from the Rio Grande."
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e dançamos ao som de
"I'm an Old Cowhand from the Rio Grande".
05:06
I loved every minute of it.
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Adorei cada minuto.
05:08
I mean, I literally did love
every minute of it,
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Quero dizer, literalmente
adorei cada minuto,
05:10
especially when I heard the applause,
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especialmente quando ouvi os aplausos,
05:13
and I knew right there,
when I was six, I said,
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e eu sabia, aos seis anos,
05:15
"That's for me."
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que aquilo era pra mim.
05:17
(Laughter)
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(Risos)
05:18
At six, you're not thinking
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Aos seis anos, não pensamos
que será uma carreira da nossa vida,
05:20
that's going to be
a career of your lifetime,
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mas que era perfeita para aquele momento.
05:22
but that was perfect for that moment.
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05:24
I danced my way through school,
and through college,
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Dancei na escola e na faculdade,
05:27
and it still didn't dawn on me
that that's what I actually wanted to do.
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e ainda não estava claro que era aquilo
que eu realmente queria fazer.
Fui a uma audição,
05:31
I went to an audition,
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05:32
which I was dreadful in --
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em que eu estava morrendo de medo,
05:34
it's the only audition
I've had in my life --
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a única audição que tive na vida,
05:37
and when I was let go
from that audition --
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e, quando fui dispensada daquela audição,
05:39
because I thought when they were saying,
"Thank you very much,"
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porque achei que, quando
diziam: "Muito obrigado",
significava que eu ficasse.
05:42
that meant for me to stay.
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(Risos)
05:43
(Laughter)
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05:46
I ran up the steps,
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Subi correndo as escadas,
05:48
and there was a man sitting on the steps.
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e havia um homem sentado nos degraus.
05:51
And I barely noticed him.
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E mal o notei.
05:53
He was an observer.
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Ele era um observador.
05:55
Three days later, that man called me
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Três dias depois, aquele homem me ligou
05:57
and asked me, would I like to join
the Alvin Ailey American Dance Theater.
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e me perguntou se eu gostaria de entrar
na Alvin Ailey American Dance Theatre.
06:00
That's how it happened, folks, that's it.
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Foi assim que aconteceu, pessoal.
06:03
There's no drama or trauma.
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Sem dramas nem traumas.
06:05
(Applause)
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(Aplausos)
06:07
So I spent 15 years dancing
with the company,
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Passei 15 anos dançando com a companhia
06:10
and then I directed it
for something like 21 years.
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e depois a dirigi por cerca de 21 anos.
06:14
If you were black
and African American and a dancer,
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Se você fosse negro,
afroamericano e dançarino,
06:17
any time between the '40s and the '70s,
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entre os anos 1940 e 1970,
06:19
you had much to say,
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você tinha muito a dizer,
06:20
because your complete voice
was not being heard.
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porque sua voz completa não era ouvida.
06:24
And you were not being represented
as you truly were.
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E você não era representado
na sua essência.
06:28
Alvin Ailey had the courage,
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Alvin Ailey teve a coragem,
06:30
right in the middle
of the Civil Rights Movement,
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bem no meio do
movimento dos direitos civis,
06:34
to present the truth about who we were --
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de apresentar a verdade
sobre quem nós éramos
06:36
that our creativity, our beauty,
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que nossa criatividade, nossa beleza,
06:39
our intelligence, our talents
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nossa inteligência, nossos talentos
06:41
were an intrinsic part of the panoply
of American culture.
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faziam parte intrínseca
da panóplia da cultura americana.
06:46
Our mantra has always been
to educate, to entertain,
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Nosso mantra sempre foi educar, divertir
06:53
and to lift our audiences.
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e elevar nosso público.
06:54
Mr. Ailey believed that dance
came from the people
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Ailey acreditava que a dança vinha do povo
06:58
and needed to be delivered
back to the people.
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e precisava ser entregue de volta a ele.
07:01
We didn't dance in a vacuum.
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Não dançávamos no vácuo.
07:03
It was our mission to serve people.
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Nossa missão era servir as pessoas.
07:06
We call it outreach now,
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Chamamos isso agora de bem-estar social,
07:08
but it's always been a part
of who we were and still are,
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mas sempre fez parte
de quem éramos e ainda somos,
07:13
60 years later, to this day.
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60 anos depois, até hoje.
07:16
Being inclusive of our audiences --
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Ser inclusivo de nosso público
07:19
it's always been an important
part of the company.
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sempre foi uma parte
importante da companhia.
07:23
We ask ourselves, who are we dancing for?
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Nós nos perguntávamos:
para quem estamos dançando?
07:26
Why are we dancing, if not to show people
what it is to be human
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Por que estamos dançando, se não
para mostrar às pessoas o que é ser humano
07:31
and to connect with the audiences
that we dance for.
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e para se conectar com o público
para o qual dançamos.
07:37
We've always felt responsible
to make sure the community understood
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Sempre nos sentimos responsáveis​​
por garantir que a comunidade entendesse
que o que fazemos é parte da herança dela.
07:40
that what we do
is a part of their heritage.
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07:43
We just don't do this, also, in America,
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Não só fazemos isso nos EUA,
como também em todo o mundo.
07:45
we do it all over the world.
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Fazemos mais turnês do que qualquer
outra companhia de dança do mundo.
07:47
We tour more than any other
dance company in the world.
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07:51
After Nelson Mandela
was released from prison,
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Depois que Nelson Mandela
foi libertado da prisão,
07:55
I thought, well, this is the time
to go to South Africa.
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pensei: "Essa é a hora de ir
para a África do Sul".
07:59
And that was some outreach.
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E isso foi um pouco além.
08:01
We went to Johannesburg, Soweto,
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Fomos a Joanesburgo, Soweto
08:04
and some other townships
that were really in dire straits.
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e a algumas outras cidades
que realmente passavam por dificuldades.
08:08
And it dawned on me,
as we were there, I'm going like,
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Comecei a perceber
que, quando estávamos lá, eu dizia:
08:11
"Here we are in the seat of Mother Africa,
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"Estamos aqui na capital da Mãe África
08:14
and we're trying to teach
these people how to dance?"
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e vamos tentar ensinar
essas pessoas a dançar?"
08:16
(Laughter)
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(Risos)
08:17
But it was our African Americanness
that they were interested in,
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Mas elas estavam interessadas
em nosso afroamericanismo
e na cultura que desenvolvemos
nos últimos 400 anos.
08:21
and the culture that we had developed
over the last 400 years.
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08:26
We toured all over the world many times,
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Fizemos várias turnês pelo mundo
08:29
and whether we're in Europe
or South America or Asia
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e, seja na Europa, América do Sul,
Ásia ou em outro lugar,
08:31
or somewhere else,
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08:33
audiences are thrilled and excited.
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o público fica emocionado e animado.
08:35
You sounded thrilled and excited.
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Vocês pareciam emocionados e animados.
08:38
Sometimes with tears in their eyes,
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Às vezes, com lágrimas nos olhos,
08:41
because this nonverbal
communication really works.
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porque essa comunicação não-verbal
realmente funciona.
08:46
And it's about embracing everyone.
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Trata-se de abraçar todos.
08:50
Alvin didn't need to explain to us
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Alvin não precisava nos explicar
08:53
what was going on at the time
in the '60s and the '70s;
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o que acontecia na época
dos anos 1960 e 1970;
08:56
it was obvious why were doing his work.
164
524808
3706
era óbvio por que fazia o trabalho dele.
09:00
He knew what the truth
of the time was about,
165
528856
2866
Ele sabia do que se tratava
a verdade da época
09:03
and he was unafraid
to reveal it through dance.
166
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3880
e não tinha medo de revelá-la
por meio da dança.
09:08
He tapped into every emotion
he had and we had,
167
536079
4022
Ele aproveitou todas as emoções
que ele e nós tínhamos,
09:12
and from angerness to happiness,
168
540125
3063
da fúria à felicidade,
09:15
to grief and everything in between,
169
543212
2571
à dor e tudo mais;
09:17
he knew us.
170
545807
1540
ele nos conhecia.
09:19
He took our history
and turned it into powerful dance.
171
547715
2976
Ele pegou nossa história
e a transformou em uma dança poderosa.
09:22
He and I overlapped generationally.
172
550715
3187
Ele e eu sobrepusemos nossas gerações.
09:26
We didn't have to talk
about things so much,
173
554509
2449
Não precisávamos
conversar muito sobre as coisas,
09:28
because we understood implicitly
our shared responsibilities.
174
556982
4476
porque entendíamos, de modo implícito,
as responsabilidades que compartilhávamos.
09:33
So when he asked me
to take over the company
175
561482
2071
Quando ele me pediu
para assumir a companhia
09:35
before he passed in 1989,
176
563577
2479
antes de falecer em 1989,
09:38
I felt prepared to carry it forward.
177
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2754
eu me sentia preparada
para levar isso adiante.
09:41
Alvin and I were like parts
of the same tree.
178
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3118
Alvin e eu fazíamos parte da mesma árvore:
09:44
He, the roots and the trunk,
179
572437
2293
ele, as raízes e o tronco;
09:47
and we were the branches.
180
575712
1738
nós, os galhos.
09:49
I was his muse.
181
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1706
Eu era a musa dele.
09:51
We were all his muses.
182
579609
2460
Éramos todos as musas dele.
09:57
The ballet "Cry,"
183
585081
2515
O balé "Cry",
09:59
which some of you might have seen --
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587620
3270
que alguns de vocês já devem ter visto...
10:02
you're going to see an excerpt of it --
185
590914
1968
vocês verão um trecho dele...
10:04
it was made on me,
186
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1290
foi feito sobre mim,
10:06
and Alvin dedicated it to all black women,
187
594220
2421
e Alvin o dedicou a todas
as mulheres negras,
10:08
especially our mothers.
188
596665
1785
especialmente às nossas mães.
10:11
When Alvin and I went in the studio,
189
599276
1981
Quando Alvin e eu fomos ao estúdio,
é claro que ele não pensava:
10:13
of course he wasn't thinking,
190
601281
1399
"Aqui estou, criando um trabalho famoso".
10:14
"Here I am, creating an iconic work."
191
602704
1873
10:16
Do you know any artist that does that?
192
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2349
Vocês conhecem algum artista que faz isso?
10:18
You don't go into the studio
193
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2950
Você não entra no estúdio
10:21
to create anything
194
609948
2487
para criar
nada além do que vem verdadeiramente
do seu coração e do seu espírito.
10:24
but what's coming truthfully
from your heart and your spirit.
195
612459
3848
10:28
And you trust that you have a dancer
you can share that with.
196
616331
3190
E você confia que tem um dançarino
com quem pode compartilhar isso.
10:32
Rehearsal space is a sacred space,
197
620093
3024
O local de ensaio é um local sagrado,
10:35
not to be intruded upon,
198
623141
1515
que não deve ser invadido,
10:36
because it's about talking
to each other through spirit.
199
624680
3464
porque se trata de conversar
uns com os outros pelo espírito.
10:40
You better have some
technique on top of that
200
628601
2111
Além disso, é melhor você ter
alguma técnica para conseguir dançar.
10:42
so you can do the dance.
201
630736
1277
10:44
(Laughter)
202
632037
1040
(Risos)
10:45
He brought his Alvin to "Cry"
and I brought my Judy to it.
203
633101
3800
Ele trouxe o Alvin dele para "Cry",
e eu trouxe o meu Judy para ele.
10:49
I just did the steps.
204
637323
1833
Fiz apenas os passos.
10:51
And this was a birthday
present for his mother,
205
639180
2691
Era um presente de aniversário
para a mãe dele,
10:53
because he couldn't afford
to get her a tactile gift.
206
641895
3166
porque ele não tinha condições
de dar um presente que podia ser tocado.
10:57
When I performed it the first time,
207
645085
1677
Quando o apresentei pela primeira vez,
tive um desgaste físico e emocional.
10:58
it was physically
and emotionally draining.
208
646786
2037
Eu ainda não havia percorrido
toda a peça do começo ao fim.
11:00
I hadn't yet run through the whole piece
from beginning to end.
209
648847
4214
11:05
The ballet is 16 minutes long.
210
653085
2952
O balé tem 16 minutos de duração.
11:09
It's about a proud woman
who has been to hell and back,
211
657518
4293
É sobre uma mulher orgulhosa
que esteve no inferno e voltou,
11:13
from her journey across the Atlantic.
212
661835
2400
da jornada dela pelo Atlântico.
11:17
She's exhausted,
213
665509
2005
Ela está exausta,
11:19
she's a queen,
214
667538
1277
é uma rainha
11:20
and in this section,
you're going to see she is triumphant.
215
668839
3740
e, nessa peça, vocês verão
que ela é triunfante.
11:24
She made it,
216
672942
1492
Ela conseguiu,
11:26
and she is, in that last
step that she does,
217
674458
5286
e está, no último passo que dá,
11:31
beating away anything negative
218
679768
3460
superando qualquer coisa negativa
11:35
with her tremendous strength.
219
683252
2103
com a tremenda força que ela tem.
11:38
And in the last step,
she digs into the earth
220
686688
4457
E, no último passo, ela escava a terra
11:44
and she reaches into the sky ...
221
692482
2444
e alcança o céu...
11:48
because she's clearing space
for the next journey.
222
696763
3407
porque abrirá espaço
para a próxima jornada.
11:54
I performed it in 1971,
223
702419
3167
Eu a apresentei em 1971,
11:57
and we are still clearing space.
224
705610
4049
e ainda estamos abrindo espaço.
Agora vou deixá-los
com um último pensamento.
12:02
Now let me leave you
with one last thought.
225
710808
2039
12:04
Here we are, in the 21st century,
226
712871
1960
Aqui estamos, no século 21,
12:06
still fighting for civil rights.
227
714855
3405
ainda lutando pelos direitos civis.
12:10
Not a day goes by
228
718284
1777
Não passa um dia
12:12
that we are not made aware
of the struggle that continues.
229
720085
4436
em que não tenhamos consciência
da luta que continua.
12:16
I believe that dance
can elevate our human experience
230
724950
6547
Acredito que a dança pode elevar
nossa experiência humana
12:23
beyond words.
231
731521
1897
além das palavras.
12:25
And when you're sitting in the dark,
232
733442
3222
E, quando vocês estiverem
sentados no escuro,
12:28
in the theater,
233
736688
2022
no teatro,
12:30
having a personal experience,
234
738734
3867
tendo uma experiência pessoal,
12:34
you don't feel blocked or misunderstood.
235
742625
3885
não se sintam bloqueados
ou incompreendidos.
12:39
You feel open,
236
747157
1912
Sintam-se abertos,
12:42
alive,
237
750125
1544
vivos,
12:44
and, we hope,
238
752030
1467
e, esperamos,
12:46
inspired.
239
754419
1386
inspirados.
12:48
Thank you.
240
756323
1150
Obrigada.
12:50
(Applause)
241
758028
6700
(Aplausos)
12:56
(Music: "Right on. Be free."
by East Harlem)
242
764742
3301
(Música "Right on. Be free."
de East Harlem)
13:11
I wanna go where the north wind blows
243
779994
2946
♪ Quero ir aonde o vento do norte sopra ♪
13:19
I wanna know what the falcon knows
244
787314
3624
♪ Quero saber o que o falcão sabe ♪
13:27
I wanna go where the wild goose goes
245
795615
3157
♪ Quero ir aonde o ganso selvagem vai ♪
13:34
High flyin' bird, high flyin' bird, fly on
246
802972
5261
♪ Pássaro que voa alto,
pássaro que voa alto, voe ♪
13:48
I want the clouds over my head
247
816871
3145
♪ Quero as nuvens acima da minha cabeça ♪
13:55
I don't want no store bought bed
248
823682
4066
♪ Não quero nenhuma loja
que comprou cama ♪
14:03
I'm gonna live until I'm dead
249
831914
3835
♪ Vou viver até morrer ♪
14:11
Mother, mother, mother
Save your child
250
839714
5485
♪ Mãe, mãe, mãe, salve seu filho ♪
14:20
Right on, be free
251
848374
3465
♪ Vamos lá, seja livre ♪
14:24
Right on, be free
252
852571
3562
♪ Vamos lá, seja livre ♪
14:28
Right on, be free
253
856895
3255
♪ Vamos lá, seja livre ♪
14:32
I don't want no store bought bed
254
860761
2133
♪ Não quero nenhuma loja
que comprou cama ♪
14:35
Right on
255
863213
1405
♪ Vamos lá ♪
14:36
I want the clouds over my head
256
864642
2817
♪ Quero as nuvens acima da minha cabeça ♪
14:39
Be free
257
867483
1151
♪ Seja livre ♪
14:40
Ain't no time to be afraid
258
868658
2190
♪ Não há tempo para ter medo ♪
14:44
Mother, mother, mother
Save your child
259
872791
5425
♪ Mãe, mãe, mãe, salve seu filho ♪
14:50
(Music)
260
878240
5818
(Música)
15:19
I don't want no store bought bed
261
907490
2066
♪ Não quero nenhuma loja
que comprou cama ♪
15:21
Right on
262
909934
1445
♪ Vamos lá ♪
15:23
I want the clouds over my head
263
911403
2675
♪ Quero as nuvens acima da minha cabeça ♪
15:26
Be free
264
914102
1181
♪ Seja livre ♪
15:27
Ain't no time to be afraid
265
915307
1950
♪ Não há tempo para ter medo ♪
15:31
Mother save your child
266
919474
2784
♪ Mãe, salve seu filho ♪
15:35
I wanna see a rainbow in the sky
267
923721
2971
♪ Quero ver um arco-íris no céu ♪
15:42
I wanna watch the clouds go by
268
930491
3904
♪ Quero ver as nuvens passarem ♪
15:50
It might make my load a little light
269
938822
4880
♪ Pode tornar minha carga um pouco leve ♪
15:58
Lord, Lord, Lord
Where will I be tomorrow night?
270
946458
4247
♪ Senhor, Senhor, Senhor
onde estarei amanhã à noite? ♪
16:06
Right on
271
954744
2518
♪ Vamos lá ♪
16:09
Be free
272
957286
1310
♪ Seja livre ♪
16:11
Right on, be free
273
959760
3367
♪ Vamos lá, seja livre ♪
16:15
Right on, be free
274
963638
3484
♪ Vamos lá, seja livre ♪
16:19
Right on, be free
275
967146
3707
♪ Vamos lá, seja livre ♪
16:22
Right on, be free
276
970877
3634
♪ Vamos lá, seja livre ♪
16:26
Right on, be free
277
974887
3386
♪ Vamos lá, seja livre ♪
16:31
Right on, be free
278
979109
3073
♪ Vamos lá, seja livre ♪
16:34
(Music fades)
279
982918
2475
(Fim da música)
16:37
(Applause)
280
985830
4727
(Aplausos)
(Vivas)
16:42
(Cheers)
281
990581
4456
16:47
(Applause)
282
995061
6375
(Aplausos)
16:53
(Cheers)
283
1001460
3905
(Vivas)
16:57
(Applause)
284
1005389
5444
(Aplausos)
Translated by Maurício Kakuei Tanaka
Reviewed by Elena Crescia

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ABOUT THE SPEAKERS
Judith Jamison - Dancer, choreographer
Judith Jamison uses dance as a medium for honoring the past, celebrating the present and fearlessly reaching into the future.

Why you should listen

Judith Jamison joined Alvin Ailey American Dance Theater in 1965 and quickly became an international star. Over the next 15 years, Ailey created some of his most enduring roles for her, most notably the tour-de-force solo Cry. During the 1970s and 80s, Jamison appeared as a guest artist with ballet companies all over the world, starred in the hit Broadway musical Sophisticated Ladies and formed her own company, The Jamison Project. She returned to Alvin Ailey American Dance Theater in 1989 when Ailey asked her to succeed him as Artistic Director. In the 21 years that followed, she brought the Company to unprecedented heights, including two historic engagements in South Africa and a 50-city global tour to celebrate the Company’s 50th anniversary.

Jamison is the recipient of numerous awards and honors, among them an Emmy, an American Choreography Award, the Kennedy Center Honor, a National Medal of Arts, a "Bessie" Award, the Phoenix Award and the Handel Medallion. She was also listed in TIME's list of The World’s Most Influential People and honored by First Lady Michelle Obama at the first White House Dance Series event. In 2015, she became the 50th inductee into the Hall of Fame at the National Museum of Dance. Jamison continues to dedicate herself to asserting the prominence of the arts in our culture.

More profile about the speaker
Judith Jamison | Speaker | TED.com
Alvin Ailey American Dance Theater - Dance company
Alvin Ailey American Dance Theater grew from a now-fabled 1958 performance at the 92nd Street Y in New York City. Led by Alvin Ailey and a group of young African-American modern dancers, that performance changed forever the perception of American dance.

Why you should listen

Constance Stamatiou began her dance training at Pat Hall's Dance Unlimited and North Carolina Dance and Theatre. She graduated from NorthWest School of the Arts and studied at SUNY Purchase before becoming a fellowship student at The Ailey School. In 2009, Stamatiou received the Leonore Annenberg Fellowship in the performing and visual arts. She performed at the White House Dance Series and has been a guest performer on So You Think You Can Dance, Dancing with the Stars, Logo's Trailblazer Honors, and The Today Show. Stamatiou has also danced in the films Shake Rattle & Roll and in Dan Pritzker's Bolden. Stamatiou was a member of Ailey ll a guest artist for Darrell Grand Moultrie and Caroline Calouche and Co. She is a certified Gyrotonic and Gyrokinesis instructor and a mother of two. Stamatiou first joined the Company in 2007 and rejoined in 2016.

Solomon Dumas was introduced to dance through AileyCamp. He later began his formal training at The Chicago Academy For The Arts and the Russell Talbert Dance Studio, where he received his most influential training. Dumas studied at New World School Of The Arts and was a fellowship Level 1 student at The Ailey School. He has performed with companies including Garth Fagan Dance; Ronald K. Brown/Evidence A Dance Company; and Labyrinth Dance Theater and was a member of Ailey II. Mr. Dumas joined the Company in 2016.

Samantha Figgins began dancing at Duke Ellington School of the Arts under the tutelage of Charles Auggins and Sandra Fortune-Greene and attended summer intensives at Dance Theatre of Harlem under the direction of Arthur Mitchell.  She continued her education at SUNY Purchase Conservatory of Dance. There, she performed works by George Balanchine, Bill T. Jones, Paul Taylor and Twyla Tharp. Upon graduating cum laude, Figgins became a member of Complexions Contemporary Ballet, performing works by Dwight Rhoden, Jae Man Joo and Camille A. Brown. She also performed at the 2014 DanceOpen Festival in St. Petersburg, Russia. Figgins was featured both on the cover of Dance Spirit magazine and in Pointe magazine's "10 Careers to Watch" in 2013. She has worked with Beyoncé and can be seen in the film Enemy Within alongside Tiler Peck and Matthew Rushing. Figgins joined the Company in 2014.

More profile about the speaker
Alvin Ailey American Dance Theater | Speaker | TED.com

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