TEDSalon NY2011
Stefon Harris: There are no mistakes on the bandstand
Stefon Haris (Stefon Harris): Nema grešaka na pozornici
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Šta je greška? Objašnjavajući kroz primere sa svojim improvizacionim Džez kvartetom, Stefon Haris (Stefon Harris) nas dovodi do duboke istine: mnogi postupci se doživljavaju kao greške samo zato što ne odreagujemo na njih na odgovarajući način.
Stefon Harris - Jazz vibraphonist
Stefon Harris plays the vibraphone -- and leads a jazz ensemble with a collaborative sound built on collective inspiration. Full bio
Stefon Harris plays the vibraphone -- and leads a jazz ensemble with a collaborative sound built on collective inspiration. Full bio
Double-click the English transcript below to play the video.
00:15
Okay, I have no idea what we're going to play.
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Ok, nemam predstavu šta ćemo svirati.
00:18
I won't be able to tell you what it is until it happens.
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Neću biti u mogućnosti da vam
kažem šta je dok se ne desi.
kažem šta je dok se ne desi.
00:21
I didn't realize there was going to be a little music before.
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Nisam shvatio da će biti malo muzike malopre.
00:24
So I think I'm going to start with what I just heard.
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Pa mislim da ću početi sa onim
što sam upravo čuo.
što sam upravo čuo.
00:26
(Music)
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(Muzika)
06:01
(Applause)
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(Aplauz)
06:10
Okay, so first of all,
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U redu, pre svega,
06:12
let's welcome Mr. Jamire Williams on the drums,
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pozdravimo gospodina Džamira Vilijamsa
za bubnjevima,
za bubnjevima,
06:15
(Applause)
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(Aplauz)
06:18
Burniss Travis on the bass,
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Burnisa Travisa za basom,
06:20
(Applause)
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(Aplauz)
06:22
and Mr. Christian Sands on the piano.
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i gospodina Kristijana Sendsa za klavirom.
06:25
(Applause)
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(Aplauz)
06:28
So the bandstand, as we call it,
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Dakle, pozornica,
kako je mi zovemo,
kako je mi zovemo,
06:30
this is an incredible space.
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je jedno neverovatno mesto.
06:32
It is really a sacred space.
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To je zapravo sveto mesto.
06:34
And one of the things that is really sacred about it
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I jedna od stvari koje je
čine svetim mestom
čine svetim mestom
06:36
is that you have no opportunity to think about the future,
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je ta što nemate mogućnost
da razmišljate o budućnosti,
da razmišljate o budućnosti,
06:39
or the past.
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ni prošlosti.
06:41
You really are alive right here in this moment.
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Zaista ste živi upravo
ovde u ovom trenutku.
ovde u ovom trenutku.
06:43
There are so many decisions being made
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Toliko se odluka donosi
06:45
when you walk on the bandstand.
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dok hodate ka pozornici.
06:47
We had no idea what key we were going to play in.
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Nismo imali ideju u
kom ključu da sviramo.
kom ključu da sviramo.
06:50
In the middle, we sort of made our way
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U sredini, nekako smo
pronašli put
pronašli put
06:52
into a song called "Titi Boom."
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u pesmu zvanu
"Titi Boom".
"Titi Boom".
06:54
But that could have happened -- maybe, maybe not.
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Ali to je moglo da se desi -
možda da, možda i ne.
možda da, možda i ne.
06:57
Everyone's listening. We're responding.
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Svi slušaju.
Mi reagujemo.
Mi reagujemo.
06:59
You have no time for projected ideas.
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Nemate vremena za
projektovane ideje.
projektovane ideje.
07:01
So the idea of a mistake:
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Tako da je ideja greške:
07:04
From the perspective of a jazz musician,
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iz perspektive džez muzičara,
07:06
it's easier to talk about someone else's mistake.
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lakše je pričati
o tuđim greškama.
o tuđim greškama.
07:11
So the way I perceive a mistake when I'm on the bandstand --
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Način na koji ja doživljavam grešku
kada sam na pozornici -
kada sam na pozornici -
07:14
first of all, we don't really see it as a mistake.
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pre svega, mi je zapravo
ne doživljavamo kao grešku.
ne doživljavamo kao grešku.
07:16
The only mistake lies
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Jedina greška leži
07:18
in that I'm not able to perceive
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u tome da nisam
u stanju da opazim
u stanju da opazim
07:20
what it is that someone else did.
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šta je to što je
neko drugi uradio.
neko drugi uradio.
07:22
Every "mistake" is an opportunity in jazz.
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Svaka "greška"
je mogućnost u džezu.
je mogućnost u džezu.
07:25
So it's hard to even describe
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Tako da je teško uopšte opisati
07:27
what a funny note would be.
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šta bi bila smešna nota.
07:29
So for example, if I played a color, like we were playing on a palette,
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Na primer, kad bih odsvirao boju,
kao što smo svirali na paleti,
kao što smo svirali na paleti,
07:32
that sounded like this ...
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to je zvučalo ovako ...
07:34
(Music)
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(Muzika)
07:36
So if Christian played a note -- like play an F.
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Ako bi Kristijan odsvirao notu - odsviraj F.
07:39
(Music)
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(Muzika)
07:41
See, these are all right inside of the color palette.
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Vidite, sve su one
baš u paleti boja.
baš u paleti boja.
07:44
If you played an E.
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Kad bi odsvirao E.
07:47
See, these all lie right inside
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Vidite, sve one leže unutar
07:49
of this general emotional palette that we were painting.
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ove generalne emotivne
palete koju smo slikali.
palete koju smo slikali.
07:51
If you played an F# though,
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Ako biste, pak, odsvirali fis,
07:53
(Dissonance)
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(Disonancija)
07:57
to most people's ears, they would perceive that as a mistake.
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za sluh većine ljudi,
to bi opazili kao grešku.
to bi opazili kao grešku.
08:00
So I'm going to show you, we're going to play just for a second.
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Pokazaću vam,
sviraćemo samo na koji sekund.
sviraćemo samo na koji sekund.
08:02
And we're going to play on this palette.
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I sviraćemo na ovoj paleti.
08:04
And at some point, Christian will introduce this note.
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U jednom trenutku,
Kristijan će predstaviti ovu notu.
Kristijan će predstaviti ovu notu.
08:06
And we won't react to it.
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I mi nećemo reagovati na istu.
08:08
He'll introduce it for a second
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Predstaviće je na sekund
08:10
and then I'll stop, I'll talk for a second.
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i zatim ću ja stati,
pričaću koji sekund.
pričaću koji sekund.
08:12
We'll see what happens when we play with this palette.
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Videćemo šta se dešava kada
sviramo sa ovom paletom.
sviramo sa ovom paletom.
08:14
(Music)
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(Muzika)
08:39
So someone could conceptually perceive that as a mistake.
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Neko je konceptualno mogao
ovo opaziti kao grešku.
ovo opaziti kao grešku.
08:43
The only way that I would say it was a mistake
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Jedino zbog čega ću ja
reći da je bila greška
reći da je bila greška
08:45
is in that we didn't react to it.
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je to što nismo
odreagovali na nju.
odreagovali na nju.
08:47
It was an opportunity that was missed.
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To je bila propuštena
mogućnost.
mogućnost.
08:49
So it's unpredictable. We'll paint this palette again.
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Nepredvidivo je.
Naslikaćemo ovu paletu ponovo.
Naslikaćemo ovu paletu ponovo.
08:52
He'll play it. I don't know how we'll react to it, but something will change.
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On će je odsvirati. Ne znam kako ćemo
odreagovati na nju, ali nešto će biti drugačije.
odreagovati na nju, ali nešto će biti drugačije.
08:55
We'll all accept his ideas,
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Prihvatićemo njegove ideje
08:57
or not.
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ili ne.
08:59
(Music)
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(Muzika)
10:08
So you see, he played this note.
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Dakle, vidite,
odsvirao je svoju notu.
odsvirao je svoju notu.
10:10
I ended up creating a melody out of it.
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A ja sam napravio
melodiju od nje.
melodiju od nje.
10:12
The texture changed in the drums this time.
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Tekstura se promenila
u bubnjevima ovaj put.
u bubnjevima ovaj put.
10:14
It got a little bit more rhythmic, a little bit more intense
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Postala je malo ritmičnija,
intenzivnija
intenzivnija
10:17
in response to how I responded to it.
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kao posledica
moje reakcije.
moje reakcije.
10:19
So there is no mistake.
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Dakle, ne postoji greška.
10:21
The only mistake is if I'm not aware,
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Jedina greška je
ukoliko nisam svestan,
ukoliko nisam svestan,
10:23
if each individual musician is not aware
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ukoliko svaki muzičar
nije svestan
nije svestan
10:25
and accepting enough of his fellow band member
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i ne prihvata dovoljno
svog kolegu iz benda
svog kolegu iz benda
10:29
to incorporate the idea and we don't allow for creativity.
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pri ubacivanju ideje i ukoliko
ne dozvoljavamo kreativnost.
ne dozvoljavamo kreativnost.
10:32
So jazz, this bandstand is absolutely amazing.
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Dakle džez, ova pozornica je
potpuno neverovatna.
potpuno neverovatna.
10:36
It's a very purifying experience.
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Veoma pročišćavajuće iskustvo.
10:38
And I know that I speak for all of us when I tell you that we don't take it for granted.
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I znam da govorim u ime svih
kad vam kažem da je ne shvatamo olako.
kad vam kažem da je ne shvatamo olako.
10:41
We know that to be able to come on the bandstand and play music is a blessing.
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Znamo da je mogućnost za
sviranje na pozornici blagoslov.
sviranje na pozornici blagoslov.
10:45
So how does this all relate to behavioral finance?
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Kako se sve to
ogleda u finansijama?
ogleda u finansijama?
10:48
Well we're jazz musicians,
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Pa mi smo
džez muzičari,
džez muzičari,
10:50
so stereotypically we don't have a great relationship to finance.
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pa strereotipno nemamo baš
najbolji odnos sa finansijama.
najbolji odnos sa finansijama.
10:52
(Laughter)
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(Smeh)
10:55
Anyway, I just wanted to sort of point out the way that we handle it.
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Kako god, želeo sam da istaknem
kako se mi sa tim nosimo.
kako se mi sa tim nosimo.
10:58
And the other dynamic of it
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A druga dinamika toga je
11:00
is that we don't micromanage in jazz.
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što nema vođa u džezu.
11:03
You have some people who do.
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Postoje ljudi
koji to čine.
koji to čine.
11:05
But what that does
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Ali time se
11:07
is it actually limits the artistic possibilities.
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zapravo ograničavaju
umetničke mogućnosti.
umetničke mogućnosti.
11:09
If I come up and I dictate to the band
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Ako ja dođem i krenem
da dirigujem bendu
da dirigujem bendu
11:12
that I want to play like this and I want the music to go this way,
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kako želim da sviramo ovako
i da zvučimo ovako
i da zvučimo ovako
11:14
and I just jump right in ...
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i jednostavno uskočim u ...
11:16
ready, just play some time.
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spremni, samo svirajte
neko vreme.
neko vreme.
11:18
One, two, one, two, three, four.
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Jedan, dva,
jedan, dva, tri, četiri.
jedan, dva, tri, četiri.
11:20
(Music)
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(Muzika)
11:32
It's kind of chaotic because I'm bullying my ideas.
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Pomalo je haotično
jer namećem svoje ideje.
jer namećem svoje ideje.
11:34
I'm telling them, "You come with me over this way."
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Govorim im: "Pođite sa mnom u ovom pravcu".
11:36
If I really want the music to go there,
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Ukoliko zaista želim da
muzika ide u tom pravcu,
muzika ide u tom pravcu,
11:38
the best way for me to do it is to listen.
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najbolji način
je da slušam.
je da slušam.
11:40
This is a science of listening.
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Ovo je nauka slušanja.
11:42
It has far more to do with what I can perceive
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Mnogo više se bazira na tome
šta mogu da opazim
šta mogu da opazim
11:44
than what it is that I can do.
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nego na tome
šta mogu da uradim.
šta mogu da uradim.
11:46
So if I want the music to get to a certain level of intensity,
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Dakle, ako želim da muzika
postigne određeni intenzitet,
postigne određeni intenzitet,
11:49
the first step for me is
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prvi korak za mene je
11:51
to be patient, to listen to what's going on
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da budem strpljiv,
da osluškujem šta se dešava
da osluškujem šta se dešava
11:53
and pull from something that's going on around me.
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i izvučem to iz nečega
što se dešava oko mene.
što se dešava oko mene.
11:56
When you do that, you engage and inspire the other musicians
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Kada postupate tako,
inspirišete i ostale muzičare
inspirišete i ostale muzičare
11:59
and they give you more, and gradually it builds.
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i daju vam više
i postepeno se gradi.
i postepeno se gradi.
12:01
Watch. One, two, a one, two, three, four.
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Posmatrajte.
Jedan, dva, jedan, dva, tri, četiri.
Jedan, dva, jedan, dva, tri, četiri.
12:04
(Music)
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(Muzika)
12:44
Totally different experience when I'm pulling ideas.
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Potpuno drugačije iskustvo
kada povlačim ideje.
kada povlačim ideje.
12:47
It's much more organic. It's much more nuanced.
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Mnogo je više organski.
Mnogo je suptilnije.
Mnogo je suptilnije.
12:49
It's not about bullying my vision or anything like that.
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Nije kao kada namećem
svoju viziju.
svoju viziju.
12:51
It's about being here in the moment,
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Sve se svodi na
bivstvovanje u trenutku,
bivstvovanje u trenutku,
12:53
accepting one another
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međusobno prihvatanje
12:55
and allowing creativity to flow.
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i dopuštanje kreativnosti
da poteče.
da poteče.
12:57
Thank you.
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Hvala vam.
12:59
(Applause)
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(Aplauz)
ABOUT THE SPEAKER
Stefon Harris - Jazz vibraphonistStefon Harris plays the vibraphone -- and leads a jazz ensemble with a collaborative sound built on collective inspiration.
Why you should listen
Stefon Harris' passionate artistry, energetic stage presence, and astonishing virtuosity have propelled him into the forefront of hte current jazz scene. Widely recognized and lauded by both his peers and jazz critics, Harris is committed to exploring the rich potential of jazz composition and blazing trails on the vibraphone.
His TEDTalk was performed with Jamire Williams on drums, Burniss Travis on bass, and Christian Sands on piano.
Stefon Harris | Speaker | TED.com