Small Thing Big Idea
Kyra Gaunt: How the jump rope got its rhythm
Kira Gant (Kyra Gaunt): Kako je vijača dobila ritam
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„Dole, dole, dušo, dole, dole, na rolerkosteru...“ Hip hop duguje mnogo kraljicama „duple holandske“. Etnomuzikolog Kira Gant nas vodi na turneju kroz fascinantnu istoriju vijače.
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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Ako radiš pravilno, treba da zvuči ovako:
00:14
TICK-tat, TICK-tat, TICK-tat,
TICK-tat, TICK-tat, TICK-tat.
TICK-tat, TICK-tat, TICK-tat.
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TIK-tat, TIK-tat, TIK-tat,
TIK-tat, TIK-tat, TIK-tat.
TIK-tat, TIK-tat, TIK-tat.
00:18
If you do it wrong, it sounds like:
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Ako radiš pogrešno, zvučaće kao:
tik-TAT, tik-TAT, tik-TAT.
tik-TAT, tik-TAT, tik-TAT.
00:20
Tick-TAT, tick-TAT, tick-TAT.
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00:21
[Small thing. Big idea.]
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[Mala stvar. Velika ideja.]
00:25
[Kyra Gaunt on
the Jump Rope]
the Jump Rope]
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[Kira Gant o preskakalici]
00:28
The jump rope is such a simple object.
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Vijača je tako jednostavan predmet.
Može da se napravi od užeta,
štrika, kanapa.
štrika, kanapa.
00:31
It can be made out of rope,
a clothesline, twine.
a clothesline, twine.
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00:34
It has, like, a twirl on it. (Laughs)
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Ona je nekako uvijena. (Smeh)
00:37
I'm not sure how to describe that.
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Ne znam kako to da objasnim.
00:38
What's important
is that it has a certain weight,
is that it has a certain weight,
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Ono što je bitno je
da ima određenu težinu
da ima određenu težinu
00:41
and that they have
that kind of whip sound.
that kind of whip sound.
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i da ima taj neki zvuk biča.
00:44
It's not clear what the origin
of the jump rope is.
of the jump rope is.
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Nije poznato odakle vijača potiče.
00:48
There's some evidence
that it began in ancient Egypt, Phoenicia,
that it began in ancient Egypt, Phoenicia,
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Postoje neki dokazi da je nastala
u antičkom Egiptu, Fenikiji,
u antičkom Egiptu, Fenikiji,
00:52
and then it most likely traveled
to North America with Dutch settlers.
to North America with Dutch settlers.
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a da su je zatim u Severnu Ameriku
preneli holandski naseljenici.
preneli holandski naseljenici.
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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Vijača je postala hit
kada je ženska odeća počela da bude uža
kada je ženska odeća počela da bude uža
01:01
and the pantaloon came into being.
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i kada su nastale pantalone.
01:03
And so, girls were able to jump rope
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Tako su devojčice mogle da preskaču vijaču
01:06
because their skirts
wouldn't catch the ropes.
wouldn't catch the ropes.
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jer im se suknje nisu kačile za užad.
01:09
Governesses used it
to train their wards to jump rope.
to train their wards to jump rope.
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Dadilje su učile decu da preskaču vijaču.
01:13
Even formerly enslaved African children
in the antebellum South
in the antebellum South
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Čak su i prethodno porobljena afrička deca
na predratnom Jugu
na predratnom Jugu
01:16
jumped rope, too.
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preskala vijaču.
01:17
In the 1950s, in Harlem,
Bronx, Brooklyn, Queens,
Bronx, Brooklyn, Queens,
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Pedesetih godina dvadesetog veka
u Harlemu, Bronksu, Bruklinu, Kvinsu
u Harlemu, Bronksu, Bruklinu, Kvinsu
01:22
you could see on the sidewalk,
lots of girls playing with ropes.
lots of girls playing with ropes.
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mogli ste da vidite na trotoarima
mnogo devojčica kako preskaču užad.
mnogo devojčica kako preskaču užad.
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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Ponekad bi uzele dva užeta
i okretale ih zajedno kao jedno,
i okretale ih zajedno kao jedno,
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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ali su mogle i da ih odvoje i okreću
jedno ka drugom kao mutilicu.
jedno ka drugom kao mutilicu.
01:34
The skipping rope
was like a steady timeline --
was like a steady timeline --
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Vijača je bila tačna kao metronom -
01:37
tick, tick, tick, tick --
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tik, tik, tik, tik -
01:38
upon which you can add rhymes
and rhythms and chants.
and rhythms and chants.
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i na taj ritam mogle su se dodavati
rime, ritmovi i pesmice.
rime, ritmovi i pesmice.
01:42
Those ropes created a space
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Ta užad su stvarala prostor
01:44
where we were able
to contribute to something
to contribute to something
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u kojem smo mogli
da doprinesemo nečemu,
da doprinesemo nečemu,
01:47
that was far greater
than the neighborhood.
than the neighborhood.
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a taj prostor je bio
mnogo veći od komšiluka.
mnogo veći od komšiluka.
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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Dupla holandska vijača ostaje
moćan simbol kulture i identiteta
moćan simbol kulture i identiteta
01:53
for black women.
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za tamnopute žene.
01:54
Back from the 1950s to the 1970s,
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Od 1950-ih do 1970-ih
01:56
girls weren't supposed to play sports.
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devojčice nisu mogle da se bave sportom.
01:58
Boys played baseball,
basketball and football,
basketball and football,
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Dečaci su igrali bejzbol,
košarku i fudbal,
košarku i fudbal,
02:01
and girls weren't allowed.
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a devojčice to nisu smele.
02:03
A lot has changed, but in that era,
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Mnogo toga se promenilo, ali u to doba,
02:05
girls would rule the playground.
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devojčice su vladale igralištima.
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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One su se potrudile
da dečaci nemaju sa tim veze.
da dečaci nemaju sa tim veze.
02:10
It's their space, it's a girl-power space.
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To je bio njihov prostor,
prostor ženske moći.
prostor ženske moći.
02:12
It's where they get to shine.
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Tu su one mogle da briljiraju.
02:14
But I also think it's for boys,
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Ali mislim da je i za dečake,
02:16
because boys overheard those,
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jer su oni načuli te pesmice
02:17
which is why, I think,
so many hip-hop artists
so many hip-hop artists
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i zbog toga su, mislim,
mnogi hip-hop umetnici
mnogi hip-hop umetnici
02:19
sampled from things that they heard
in black girls' game songs.
in black girls' game songs.
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koristili rečenice koje su čuli
u pesmicama tamnoputih devojčica.
u pesmicama tamnoputih devojčica.
02:23
(Chanting) ... cold, thick shake,
act like you know how to flip,
act like you know how to flip,
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(Pevanje) Hladan, gusti šejk,
pravi se da znaš da okrećeš,
pravi se da znaš da okrećeš,
02:26
Filet-O-Fish, Quarter Pounder,
french fries, ice cold, thick shake,
french fries, ice cold, thick shake,
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riblji file, četvrt funte,
pomfrit, leden, gusti šejk,
pomfrit, leden, gusti šejk,
pravi se da znaš da skačeš.
02:29
act like you know how to jump.
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Singl „Gramatika kantrija" od Nelija
je dobio nagradu Gremi
je dobio nagradu Gremi
02:30
Why "Country Grammar" by Nelly
became a Grammy Award-winning single
became a Grammy Award-winning single
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02:34
was because people already knew
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jer su ljudi već znali:
02:37
"We're going down down baby
your street in a Range Rover ... "
your street in a Range Rover ... "
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„Vozimo se, dušo, dole, dole,
niz tvoju ulicu u Rejndž Roveru...“
niz tvoju ulicu u Rejndž Roveru...“
02:40
That's the beginning of "Down down, baby,
down down the roller coaster,
down down the roller coaster,
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To je početak pesme „Dole, dole, dušo,
dole, dole, na rolerkosteru,
dole, dole, na rolerkosteru,
02:44
sweet, sweet baby, I'll never let you go."
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draga, draga dušo, nikad te neću pustiti.“
02:46
All people who grew up
in any black urban community
in any black urban community
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Svako ko je odrastao u bilo kom
crnačkom urbanom društvu
crnačkom urbanom društvu
02:49
would know that music.
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prepoznao bi tu muziku.
02:51
And so, it was a ready-made hit.
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I tako je ta pesma unapred bila hit.
02:54
The Double Dutch rope playing
helped maintain these songs
helped maintain these songs
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Dupla holandska vijača
je održala ove pesme
je održala ove pesme
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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i održala je recitacije
i pokrete koji idu uz njih,
i pokrete koji idu uz njih,
03:02
which is very natural
to what I call "kinetic orality" --
to what I call "kinetic orality" --
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što je prirodno za ono
što ja zovem „kinetička oralnost“ -
što ja zovem „kinetička oralnost“ -
03:06
word of mouth and word of body.
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govor usta i govor tela.
03:09
It's the thing that gets
passed down over generations.
passed down over generations.
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To je nešto sto se prenosi
sa kolena na koleno.
sa kolena na koleno.
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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Na neki način vijača
pomaže u ovom prenošenju.
pomaže u ovom prenošenju.
03:15
You need some object
to carry memory through.
to carry memory through.
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Potreban je neki predmet
da bi se prenosilo sećanje.
da bi se prenosilo sećanje.
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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Dakle, vijaču možete koristiti
za razne stvari.
za razne stvari.
03:22
It crosses cultures.
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Ona postoji u raznim kulturama.
03:24
And I think it lasted
because people need to move.
because people need to move.
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I ja smatram da je istrajala
jer ljudi imaju potrebu da se pokreću.
jer ljudi imaju potrebu da se pokreću.
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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I smatram da ponekad najjednostavniji
predmeti imaju najkreativniju upotrebu.
predmeti imaju najkreativniju upotrebu.
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