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

Džudit Džemison i Alvin Ejli Američki Plesni Teatar: Otkovenja iz proplesanog života

Filmed:
201,333 views

"Ples može uzdići ljudsko iskustvo iznad reči", kaže Džudit Džemison, umetička direktorka, emeritus Američkog Plesnog Teatra Alvin Ejli. Između izvođenja delova klasika Alvina Ejlija "Oktrovenja" i "Plač", Džemison podsjeća na istrajnu moć plesa da transformiše istoriju u umetnost koja ushićuje publiku širom sveta. (Nastupaju: Solomon Dima, Samanta Figins, Konstanz 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
(MusicMuzika: "WadeWade in the WaterVoda"
by EllaEla JenkinsDћenkins)
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(Muzika:"Hodajte kroz vodu",
Ela Dženkins)
00:17
WadeWade in the waterвода
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Hodajte kroz vodu
00:20
WadeWade in the waterвода, childrenдеца
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Hodajte kroz vodu, deco
00:24
WadeWade in the waterвода
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Hodajte kroz vodu
00:27
God'sBog je a-gonnaa-hoćeš da troubleневоље the waterвода
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Bog će da uznemiri vodu
00:30
Oh, why don't you wadeВаде in the waterвода
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O, zašto ne hodate kroz vodu
00:34
WadeWade in the waterвода, childrenдеца
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Hodajte kroz vodu
00:38
WadeWade in the waterвода
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Hodajte kroz vodu
00:41
God'sBog je a-gonnaa-hoćeš da troubleневоље the waterвода
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Bog će da uznemiri vodu
00:45
See that man all dressedобучен in whiteбео
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Vidite li čoveka u belom
00:48
God'sBog je a-gonnaa-hoćeš da troubleневоље the waterвода
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Bog će da uznemiri vodu
00:51
He looksизглед like a man of the IsraeliteIzraelski
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Izgleda kao čovek Izraelita
00:55
God'sBog je a-gonnaa-hoćeš da troubleневоље the waterвода
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Bog će da uznemiri vodu
00:59
WadeWade in the waterвода
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Hodajte kroz vodu
01:02
WadeWade in the waterвода, childrenдеца
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Hodajte kroz vodu, deco
01:06
WadeWade in the waterвода
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Hodajte kroz vodu
01:09
God'sBog je a-gonnaa-hoćeš da troubleневоље the waterвода
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Bog će da uznemiri vodu
01:13
See that man all dressedобучен in redцрвена
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Vidite čoveka u crvenom
01:17
God'sBog je a-gonnaa-hoćeš da troubleневоље the waterвода
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Bog će da uznemiri vodu
01:20
It looksизглед like the man that MosesMojsije led
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Izgleda kao čovek kojeg je Mojsije vodio
01:23
God'sBog je a-gonnaa-hoćeš da troubleневоље the waterвода
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Bog će da uznemiri vodu
01:27
WadeWade in the waterвода
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Hodajte kroz vodu
01:30
WadeWade in the waterвода, childrenдеца
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Hodajte kroz vodu, deco
01:34
WadeWade in the waterвода
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Hodajte kroz vodu
01:37
God'sBog je a-gonnaa-hoćeš da troubleневоље the waterвода
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Bog će da uznemiri vodu
01:41
Didn't my LordLord deliverиспоручи DanielDanijel
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Nije li moj Gospod izručio Danijela
01:44
DanielDanijel, DanielDanijel
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Danijela, Danijela
01:47
Didn't my LordLord deliverиспоручи DanielDanijel
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Nije li moj Gospod izručio Danijela
01:51
Then why not everyсваки man?
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Zašto ne i svakog čoveka, onda
01:55
Didn't my LordLord deliverиспоручи DanielDanijel
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Nije li moj gospod izručio Danijela
01:59
DanielDanijel, DanielDanijel
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Danijela, Danijela,
02:02
Didn't my LordLord deliverиспоручи DanielDanijel
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Nije li moj Gospod izručio Danijela
02:06
Why not everyсваки man?
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Onda zašto ne i svakog drugog čoveka?
02:09
Man wentотишао down to the riverрека
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Čovek je pošao na reku
02:13
Man wentотишао down to the riverрека
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Čovek je pošao na reku
02:16
Man wentотишао down to the riverрека
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Čovek je pošao na reku
02:20
WentOtišao down there for to prayмолите се
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Pošao je da se pomoli
02:23
Man wentотишао down to the riverрека
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Čovek je pošao na reku
02:27
Man wentотишао down to the riverрека
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Čovek je pošao na reku
02:30
Man wentотишао down to the riverрека
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Čovek je pošao na reku
02:34
To washпрање his sinsgrehe away
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Da spere svoje grehe
02:37
He washedопрали all day, he washedопрали all night
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Prao je celi dan, prao je celu noć
02:41
He washedопрали tillдо his handsруке were soreBoli me
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Prao je dok ga ne zaboleše ruke
02:44
He washedопрали all day, he washedопрали all night
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Prao je celi dan, prao je celu noć
02:48
TillDok ne he couldn'tније могао washпрање a-noa-ne more
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Sve dok nije mogao više prati
02:52
Man wentотишао down to the riverрека
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Čovek je pošao na reku
02:55
Man wentотишао down to the riverрека
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Čovek je pošao na reku
02:59
Man wentотишао down to the riverрека
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Čovek je pošao na reku
03:01
(MusicMuzika fadesбледи)
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(Muzika prestaje)
03:05
(ApplauseAplauz)
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(Aplauz)
03:19
(JulietJulija BlakeBlake) And now,
let's give a warmтопло welcomeДобродошли
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(Džulijet Blejk) A sada, poželimo
dobrodošlicu umetničkom direktoru,
03:21
to the artisticуметнички directorдиректор emeritaemerita
of the AlvinAlvin AileyĆorsokaku AmericanAmerikanac DancePles TheaterTeatar,
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emeritusu Alvin Ejli
Američke Akademije Plesnog Teatra
03:27
JudithJudith JamisonJamison.
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Džudit Džemison.
03:29
(ApplauseAplauz)
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(Aplauz)
03:36
JudithJudith JamisonJamison: ThanksHvala ti.
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Džudit Džemison: Hvala.
03:38
How are y'allSvi vi?
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Kako ste svi?
03:39
(AudiencePubliku cheersu zdravlje)
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(Publika otpozdravlja)
03:40
JJJj: Yeah, you know
you've just been to churchцрква?
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DžDž: Znate, da ste upravo bili u crkvi?
03:43
(LaughterSmeh)
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(Smeh)
03:44
You just saw a baptismkrštenju, yes?
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Upravo ste videli krštenje, zar ne?
03:47
This is from this wonderfulДивно pieceпиеце
MrG.. AileyĆorsokaku createdстворено in 1960,
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Ovo je iz predvnog komada
koji je g. Ejli stvorio 1960.
03:52
calledпозвани "RevelationsOtkriжa."
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nazvanog "Otkrovenja".
03:55
MrG.. AileyĆorsokaku was 29 yearsгодине oldстари
when he choreographedodigrane this masterpieceremek-delo.
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G. Ejli je sa 29 godina radio koreografiju
za ovo remek delo.
03:59
It's been dancedплесао all over the worldсвет
and understoodпримљено к знању universallyуниверзално,
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Bilo je izvođeno širom sveta
i svugde prihvaćeno
04:03
because he understoodпримљено к знању
the humanityчовечанство in us all.
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jer on je razumeo čovečnost u svima nama.
04:07
"RevelationsOtkriжa" is a reflectionрефлексија
of a journeyпутовање we all take in life,
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"Otkrovenja" je meditacija o putovanju
koje svi prolazimo u životu
04:11
and, hopefullyНадајмо се, triumphantlytrijumfalno.
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nadajmo se, kao pobednici.
04:14
That was the magicмагија of AlvinAlvin AileyĆorsokaku.
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To je bila magija Alvina Ejlija -
04:16
He was ableу могуцности to see you, in the audienceпублика,
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znao je da vidi vas, u publici,
04:19
see me, as the dancerплесач,
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da vidi mene, kao plesačicu,
04:21
and see the connectionвеза betweenизмеђу us,
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i da vidi vezu između nas,
04:23
and choreographedodigrane worksИзвођење радова
that connectedповезан us all.
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i stvorio je koreografije
koje su nas sve povezivale.
04:26
So you feltосетио he was tellingговорећи your storyприча,
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Tako da ste osetili
da je pričao vašu priču,
04:29
while I feltосетио I was dancingплес mineмој.
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a ja sam osetila da plešem svoju.
04:34
I startedпочела dancingплес when I was sixшест yearsгодине oldстари
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Počela sam da plešem sa 6 godina
04:36
in PhiladelphiaPhiladelphia.
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u Filadelfiji.
04:37
I was skinnyмршав ...
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Bila sam mršava...
04:40
(LaughterSmeh)
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(Smeh)
04:43
DarkTamna chocolateчоколада,
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Crna čokolada,
04:45
and a kidклинац with legsноге up to my armpitspazuhe.
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i dete sa nogama do pazuha.
04:48
And the very first performanceперформансе I had,
at the JudimarJudimar SchoolŠkola of DancePles,
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I moj prvi nastup bio je
u plesnoj školi Džudimar
04:52
was in a redцрвена checkeredŠah-mat shirtкошуља,
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u crvenoj kariranoj majici,
04:57
dungareesdungarels, pinkрозе balletбалет shoesципеле,
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farmerkama sa tregerima, rozim baletankama
05:00
and we were dancingплес to "I'm an OldStari CowhandKaubojac
from the RioRio GrandeGrande."
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i plesali smo uz "I'm an Old Cowhand
from the Rio Grande."
05:06
I lovedвољен everyсваки minuteминута of it.
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Volela sam svaki minut.
05:08
I mean, I literallyбуквално did love
everyсваки minuteминута of it,
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Mislim bukvalno sam volela
svaki minut toga,
05:10
especiallyпосебно when I heardслушао the applauseаплауз,
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naročito kada sam čula aplauz,
05:13
and I knewзнала right there,
when I was sixшест, I said,
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i znala sam odmah, sa 6 godina, rekla sam:
05:15
"That's for me."
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"To je za mene"
05:17
(LaughterSmeh)
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(Smeh)
05:18
At sixшест, you're not thinkingразмишљање
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Sa 6 godina ne misliš
05:20
that's going to be
a careerкаријера of your lifetimeживотни век,
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da će to biti tvoja životna karijera,
05:22
but that was perfectсавршен for that momentтренутак.
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ali to je bilo savršeno u tom momentu.
05:24
I dancedплесао my way throughкроз schoolшкола,
and throughкроз collegeколеџ,
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Otplesala sam svoj put
kroz školu i koledž,
05:27
and it still didn't dawnзоре on me
that that's what I actuallyзаправо wanted to do.
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i još uvek nisam shvatala
da je to ono što želim da radim.
05:31
I wentотишао to an auditionaudicija,
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Pošla sam na audiciju,
05:32
whichкоја I was dreadfulгрозно in --
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na kojoj sam bila užasna -
05:34
it's the only auditionaudicija
I've had in my life --
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to je jedina audicija
koju sam imala u životu -
05:37
and when I was let go
from that auditionaudicija --
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i kada su me pustili sa audicije -
05:39
because I thought when they were sayingговорећи,
"Thank you very much,"
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rekli su "Hvala mnogo" i za mene
je to značilo - prošla sam.
05:42
that meantмислио for me to stayостани.
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05:43
(LaughterSmeh)
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(Smeh)
05:46
I ranтрчао up the stepsкораци,
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Potrčala sam stepenicama,

05:48
and there was a man sittingседење on the stepsкораци.
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i jedan čovek je sedeo na stepenicama.
05:51
And I barelyједва noticedПриметио him.
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Jedva da sam ga primetila.
05:53
He was an observerпосматрач.
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Bio je posmatrač.
05:55
ThreeTri daysдана laterкасније, that man calledпозвани me
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Tri dana kasnije, on me je pozvao
05:57
and askedпитао me, would I like to joinпридружити
the AlvinAlvin AileyĆorsokaku AmericanAmerikanac DancePles TheaterTeatar.
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i pitao hoću li da se pridružim
Američkom Plesnom Teatru Alvin Ejli.
06:00
That's how it happenedдесило, folksљуди, that's it.
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I tako se desilo, to je to.
06:03
There's no dramaдрама or traumatraume.
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Bez drame ili traume.
06:05
(ApplauseAplauz)
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(Aplauz)
06:07
So I spentпотрошено 15 yearsгодине dancingплес
with the companyкомпанија,
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Provela sam 15 godina plešući sa trupom,
06:10
and then I directedрежиран it
for something like 21 yearsгодине.
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a onda sam njome upravljala oko 21 godinu.
06:14
If you were blackцрн
and AfricanAfrički AmericanAmerikanac and a dancerплесач,
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Ako si bio crn i Afroamerikacan i plesač
06:17
any time betweenизмеђу the '40s and the '70s,
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između 1940-ih i 1970-ih,
06:19
you had much to say,
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imao si puno toga da kažeš
06:20
because your completeкомплетан voiceглас
was not beingбиће heardслушао.
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jer se tvoj glas nije potpuno čuo
06:24
And you were not beingбиће representedzastupljena
as you trulyзаиста were.
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i nisi bio istinski predstavljen.
06:28
AlvinAlvin AileyĆorsokaku had the courageхраброст,
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Alvin Ejli je imao hrabrost,
06:30
right in the middleсредина
of the CivilCivilnog RightsPrava MovementPokret,
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baš u vreme Pokreta za građanska prava,
06:34
to presentпоклон the truthистина about who we were --
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da kaže istinu o tome ko smo
06:36
that our creativityкреативност, our beautyлепота,
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da su naša kreativnost i lepota
06:39
our intelligenceинтелигенција, our talentsталенте
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naša inteligencija, naši talenti
06:41
were an intrinsicunutrašnje partдео of the panoplypanoply
of AmericanAmerikanac cultureкултура.
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svojstveni deo šarolike američke kulture.
06:46
Our mantraмантра has always been
to educateобразовати, to entertainzabavljam,
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Naša mantra je uvek bila
da edukujemo, da zabavimo,
06:53
and to liftлифт our audiencesпублике.
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i da podignemo našu publiku.
06:54
MrG.. AileyĆorsokaku believedверовали that danceплес
cameДошао from the people
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G. Ejli je verovao
da je ples došao od ljudi
06:58
and neededпотребно to be deliveredиспоручена
back to the people.
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i da treba im bude vraćen nazad.
07:01
We didn't danceплес in a vacuumвакум.
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Nismo plesali u vakuumu.
07:03
It was our missionмисија to serveслужи people.
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Naša misija je bila da služimo ljudima.
07:06
We call it outreachоутреацх now,
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Danas to zovemo dosezanje,
07:08
but it's always been a partдео
of who we were and still are,
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ali to je uvek bio deo toga
ko smo bili i ko smo još uvek,
07:13
60 yearsгодине laterкасније, to this day.
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60 godina kasnije, do danas.
07:16
BeingBiti inclusiveинцлусиве of our audiencesпублике --
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Uključivanje publike
07:19
it's always been an importantважно
partдео of the companyкомпанија.
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uvek je bio važan deo identiteta trupe.
07:23
We askпитати ourselvesсами, who are we dancingплес for?
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Mi se pitamo za koga mi plešemo?
07:26
Why are we dancingплес, if not to showсхов people
what it is to be humanљудско
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Zašto plešemo ako ne da pokažemo
ljudima šta znači biti čovek
07:31
and to connectцоннецт with the audiencesпублике
that we danceплес for.
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i da se povežemo sa publikom
za koju plešemo.
07:37
We'veMoramo always feltосетио responsibleодговоран
to make sure the communityзаједница understoodпримљено к знању
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Uvek smo vodili računa da zajednica razume
07:40
that what we do
is a partдео of theirњихова heritagebaštine.
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da je to što radimo deo njihovog nasleđa.
07:43
We just don't do this, alsoтакође, in AmericaAmerika,
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Mi ne radimo ovo samo u Americi,
07:45
we do it all over the worldсвет.
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već širom sveta.
07:47
We tourтурнеја more than any other
danceплес companyкомпанија in the worldсвет.
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Idemo na turneje češće
od bilo koje trupe u svetu.
07:51
After NelsonNelson MandelaMendela
was releasedобјављен from prisonзатвор,
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Nakon što je Nelson Mendela
pušten iz zatvora,
07:55
I thought, well, this is the time
to go to SouthJug AfricaAfrika.
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pomislila sam, vreme je
za put u Južnu Afriku.
07:59
And that was some outreachоутреацх.
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I to je stvarno bilo dosezanje.
08:01
We wentотишао to JohannesburgJohanesburg, SowetoSoveta,
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Išli smo u Johanesburg, Soveto,
08:04
and some other townshipsmesta
that were really in direkobne straitsожиљак.
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i neke druge gradove
koji su bili u stvarno užasnom stanju.
08:08
And it dawnedsvanulo on me,
as we were there, I'm going like,
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I shvatila sam, tamo, rekla sam:
08:11
"Here we are in the seatседиште of MotherMajka AfricaAfrika,
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"Evo nas u srcu Majke Afrike,
08:14
and we're tryingпокушавајући to teachнаучити
these people how to danceплес?"
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i pokušavamo da naučimo
ove ljude da plešu?"
08:16
(LaughterSmeh)
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(Smeh)
08:17
But it was our AfricanAfrički AmericannessAmericannost
that they were interestedзаинтересован in,
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Ali njih je zanimalo naše Afroamerikanstvo
08:21
and the cultureкултура that we had developedразвијен
over the last 400 yearsгодине.
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i kultura koju smo razvijali
poslednjih 400 godina.
08:26
We touredobišli su all over the worldсвет manyмноги timesпута,
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Imali smo tuneje širom
celog sveta, mnogo puta.
08:29
and whetherда ли је we're in EuropeEurope
or SouthJug AmericaAmerika or AsiaAsia
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I bilo u Evropi,
bilo u Južnoj Americi, Aziji
08:31
or somewhereнегде elseдруго,
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ili negde drugde
08:33
audiencesпублике are thrilledузбуђени and excitedузбуђени.
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publika je oduševljena i uzbuđena.
08:35
You soundedзвучало thrilledузбуђени and excitedузбуђени.
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Vi ste zvučali oduševljeno i uzbuđeno.
08:38
SometimesPonekad with tearsсузе in theirњихова eyesочи,
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Ponekad sa suzama u očima,
08:41
because this nonverbalневербална
communicationкомуникација really worksИзвођење радова.
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zato što neverbalna komunikacija
starno funkcioniše.
08:46
And it's about embracingприхватање everyoneсви.
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I sve je u prihvatanju svakoga.
08:50
AlvinAlvin didn't need to explainобјасни to us
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Alvin nije morao da nam objašnjava
08:53
what was going on at the time
in the '60s and the '70s;
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šta se dešavalo u to vreme,
šezdesetih i sedamdesetih;
08:56
it was obviousочигледан why were doing his work.
164
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bilo je očigledno zašto radimo taj posao.
09:00
He knewзнала what the truthистина
of the time was about,
165
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Znao je istinu tih vremena,
09:03
and he was unafraidbez straha
to revealоткривају it throughкроз danceплес.
166
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i nije se plašio da je otkrije kroz ples.
09:08
He tappedтапкани into everyсваки emotionемоција
he had and we had,
167
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Dodirnuo je sve emocije
koje je osetio i koje smo osetili.
09:12
and from angernessanakost to happinessсрећа,
168
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3063
Od ljutnje do sreće,
09:15
to grieftuga and everything in betweenизмеђу,
169
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do besa i svega između.
09:17
he knewзнала us.
170
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Poznavao nas je.
09:19
He tookузела our historyисторија
and turnedокренуо се it into powerfulмоћан danceплес.
171
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Uzeo je našu istoriju
i pretvorio ju je u moćan ples.
09:22
He and I overlappedpreklopljena generationallygenerationally.
172
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On i ja smo se generacijski preklapali.
09:26
We didn't have to talk
about things so much,
173
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Nije bilo potrebe da mnogo razgovaramo,
09:28
because we understoodпримљено к знању implicitlyимплицитно
our sharedдељени responsibilitiesодговорности.
174
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jer smo implicitno razumeli
zajedničku odgovrnost.
09:33
So when he askedпитао me
to take over the companyкомпанија
175
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2071
Tako, kada me je pitao da preuzmem trupu
09:35
before he passedположио in 1989,
176
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pre nego što je preminuo, 1989.
09:38
I feltосетио preparedприпремљен to carryносити it forwardнапред.
177
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osetila sam se spremnom da nastavim.
09:41
AlvinAlvin and I were like partsделови
of the sameисти treeдрво.
178
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Alvin i ja smo bili
kao delovi istog stabla.
09:44
He, the rootsкорени and the trunkтрунк,
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On, korenje i stablo,
09:47
and we were the branchesgrane.
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i mi grane.
09:49
I was his museмуз.
181
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Ja sam bila njegova muza.
09:51
We were all his musesmuze.
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Svi smo bili njegove muze.
09:57
The balletбалет "CryVapaj,"
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Balet "Plač"
09:59
whichкоја some of you mightМожда have seenвиђено --
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koji su možda neki od vas gledali -
10:02
you're going to see an excerptodlomak of it --
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1968
sada ćete videti jedan njegov deo -
10:04
it was madeмаде on me,
186
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1290
pravljen je po meni,
10:06
and AlvinAlvin dedicatedпосвећен it to all blackцрн womenЖене,
187
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i Alvin ga je posvetio svim crnim ženama,
10:08
especiallyпосебно our mothersмајке.
188
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naročito našim majkama.
10:11
When AlvinAlvin and I wentотишао in the studioстудио,
189
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1981
Kada smo Alvin i ja pošli u studio,
10:13
of courseкурс he wasn'tније thinkingразмишљање,
190
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naravno da nije mislio
10:14
"Here I am, creatingстварање an iconiclegendarne work."
191
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1873
"Sad kreiram genijalno delo".
10:16
Do you know any artistуметник that does that?
192
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Da li znate umetnika koji radi tako nešto?
10:18
You don't go into the studioстудио
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Ne ideš u studio
10:21
to createстворити anything
194
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da kreiraš išta
10:24
but what's comingдолазе truthfullyистинито
from your heartсрце and your spiritдух.
195
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sem onog što iskreno izlazi
iz tvog srca i duha.
10:28
And you trustповерење that you have a dancerплесач
you can shareОбјави that with.
196
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I veruješ da imaš plesača
sa kojim to možeš da podeliš.
10:32
RehearsalProbu spaceпростор is a sacredсвето spaceпростор,
197
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3024
Mesto proba je sveto mesto
10:35
not to be intrudeduljane uponна,
198
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koje ne treba uznemiravati
10:36
because it's about talkingпричају
to eachсваки other throughкроз spiritдух.
199
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jer se tu komunicira duhom.
10:40
You better have some
techniqueтехника on topврх of that
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I bolje bi ti bilo da imaš dobru tehniku
10:42
so you can do the danceплес.
201
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da bi mogao da plešeš.
10:44
(LaughterSmeh)
202
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(Smeh)
10:45
He broughtдоведен his AlvinAlvin to "CryVapaj"
and I broughtдоведен my JudyJudy to it.
203
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On je doveo svog Alvina "Plaču",
a ja svoju Džudi.
10:49
I just did the stepsкораци.
204
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1833
Samo sam radila korake.
10:51
And this was a birthdayрођендан
presentпоклон for his motherмајка,
205
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2691
I to je bio rođendanski poklon
za njegovu majku,
10:53
because he couldn'tније могао affordприушти
to get her a tactiledodirom giftпоклон.
206
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3166
jer nije mogao da priušti
opipljivi poklon.
10:57
When I performedизвршено it the first time,
207
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1677
Kada sam igrala po prvi put,
10:58
it was physicallyфизички
and emotionallyемоционално drainingtrošite.
208
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2037
bilo je fizički
i emocionalno iscrpljujuće.
11:00
I hadn'tније yetјош увек runтрцати throughкроз the wholeцела pieceпиеце
from beginningпочетак to endкрај.
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4214
Nisam pre toga otplesala
ceo balet od početka do kraja.
11:05
The balletбалет is 16 minutesминута long.
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Komad traje 16 minuta.
11:09
It's about a proudпоносан womanжена
who has been to hellпакао and back,
211
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4293
Govori o ponosnoj ženi
koja je stigla do pakla i nazad,
11:13
from her journeyпутовање acrossпреко the AtlanticAtlantik.
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2400
tokom puta preko Atlantika.
11:17
She's exhaustediscrpljeni,
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2005
Iscrpljena je,
11:19
she's a queenкраљица,
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1277
ona je kraljica,
11:20
and in this sectionодељак,
you're going to see she is triumphanttrijumfalno.
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i u ovom delu videćete njen trijumf.
11:24
She madeмаде it,
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1492
Uspela je,
11:26
and she is, in that last
stepкорак that she does,
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i u poslednjem koraku, ona
11:31
beatingпремлаћивање away anything negativeнегативно
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3460
pobeđuje sve negativno
11:35
with her tremendousстрашно strengthснага.
219
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svojom ogromnom snagom.
11:38
And in the last stepкорак,
she digskopa into the earthземља
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U poslednjem koraku, ona kopa u zemlju
11:44
and she reachesдостигне into the skyнебо ...
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i poseže ka nebu...
11:48
because she's clearingkliring spaceпростор
for the nextследећи journeyпутовање.
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zato što čisti prostor
za sledeće putovanje.
11:54
I performedизвршено it in 1971,
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3167
Izvela sam ga 1971.
11:57
and we are still clearingkliring spaceпростор.
224
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i još uvek čistimo prostor.
12:02
Now let me leaveодлази you
with one last thought.
225
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A sad, dozvolite mi za kraj
još jednu stvar.
12:04
Here we are, in the 21stст centuryвек,
226
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1960
Evo nas u 21. veku,
12:06
still fightingборбе for civilцивилно rightsправа.
227
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i dalje u brobi za građanska prava.
12:10
Not a day goesиде by
228
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Ni dan ne prođe
12:12
that we are not madeмаде awareсвесна
of the struggleборба that continuesнаставља.
229
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a da nas nešto ne podseti
na neprestanu borbu.
12:16
I believe that danceплес
can elevateподигните our humanљудско experienceискуство
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Verujem da ples može uzdići
ljudsko iskustvo
12:23
beyondизван wordsречи.
231
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iznad reči.
12:25
And when you're sittingседење in the darkтамно,
232
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3222
I kada sediš u mraku,
12:28
in the theaterтеатар,
233
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2022
u pozorištu,
12:30
havingимати a personalлични experienceискуство,
234
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i proživljavaš lično iskustvo,
12:34
you don't feel blockedблокирано or misunderstoodRazumeo.
235
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ne osećaš se zatvoreno
ili pogrešno shvaćeno.
12:39
You feel openотворен,
236
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Osećaš se otvoreno,
12:42
aliveжив,
237
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1544
živo,
12:44
and, we hopeнадати се,
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i nadamo se,
12:46
inspiredинспирирано.
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inspirisano.
12:48
Thank you.
240
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Hvala.
12:50
(ApplauseAplauz)
241
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6700
(Aplauz)
12:56
(MusicMuzika: "Right on. Be freeбесплатно."
by EastIstok HarlemHarlem)
242
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3301
(Muzika: "Right on. Be free"
od East Harlem)
13:11
I wannaželim go where the northсевер windветер blowsударе
243
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2946
Želim da idem gde severni vetar duva
13:19
I wannaželim know what the falconSoko knowsзна
244
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Želim da znam što soko zna
13:27
I wannaželim go where the wildдивље gooseguska goesиде
245
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3157
Želim da idem gde divlja guska ide
13:34
HighVisoko flyin'lete birdптица, highвисоко flyin'lete birdптица, flyлети on
246
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Visoko-leteća ptico,
visoko-leteća ptico, odleti
13:48
I want the cloudsоблаци over my headглава
247
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Želim oblake iznad moje glave
13:55
I don't want no storeпродавница boughtкупио bedкревет
248
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4066
Neću krevet iz prodavnice
14:03
I'm gonna liveживи untilсве док I'm deadмртав
249
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3835
Ima da živim dok ne umrem
14:11
MotherMajka, motherмајка, motherмајка
SaveSačuvaj your childдете
250
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5485
Majko, majko, majko
Spasi svoje dete
14:20
Right on, be freeбесплатно
251
848374
3465
Baš tako, budite slobodni
14:24
Right on, be freeбесплатно
252
852571
3562
Baš tako, budite slobodni
14:28
Right on, be freeбесплатно
253
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3255
Baš tako, budite slobodni
14:32
I don't want no storeпродавница boughtкупио bedкревет
254
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2133
Neću krevet iz prodavnice
14:35
Right on
255
863213
1405
Baš tako
14:36
I want the cloudsоблаци over my headглава
256
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2817
Hoću oblake iznad glave
14:39
Be freeбесплатно
257
867483
1151
Budite slobodni
14:40
Ain'tNije no time to be afraidуплашен
258
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2190
Nema vremena za strah
14:44
MotherMajka, motherмајка, motherмајка
SaveSačuvaj your childдете
259
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5425
Majko, majko, majko
spasi svoje dete
14:50
(MusicMuzika)
260
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5818
(Muzika)
15:19
I don't want no storeпродавница boughtкупио bedкревет
261
907490
2066
Neću krevet iz prodavnice
15:21
Right on
262
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Baš tako
15:23
I want the cloudsоблаци over my headглава
263
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2675
Hoću oblake iznad moje glave
15:26
Be freeбесплатно
264
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1181
Budite slobodni
15:27
Ain'tNije no time to be afraidуплашен
265
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1950
Nema vremena za strah
15:31
MotherMajka saveсачувати your childдете
266
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2784
Majko spasi svoje dete
15:35
I wannaželim see a rainbow"duga" in the skyнебо
267
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2971
Hoću da vidim dugu na nebu
15:42
I wannaželim watch the cloudsоблаци go by
268
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Hoću da gledam oblake dok prolaze
15:50
It mightМожда make my loadоптерећење a little lightсветло
269
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4880
Možda mi smanji teret
15:58
LordLord, LordLord, LordLord
Where will I be tomorrowсутра night?
270
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4247
Gospode, Gospode, Gospode
Gde ću biti sutra veče?
16:06
Right on
271
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2518
Baš tako
16:09
Be freeбесплатно
272
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1310
Budite slobodni
16:11
Right on, be freeбесплатно
273
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3367
Baš tako, budite slobodni
16:15
Right on, be freeбесплатно
274
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3484
Baš tako, budite slobodni
16:19
Right on, be freeбесплатно
275
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3707
Baš tako, budite slobodni
16:22
Right on, be freeбесплатно
276
970877
3634
Baš tako, budite slobodni
16:26
Right on, be freeбесплатно
277
974887
3386
Baš tako, budite slobodni
16:31
Right on, be freeбесплатно
278
979109
3073
Baš tako, budite slobodni
16:34
(MusicMuzika fadesбледи)
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(Muzika prestaje)
16:37
(ApplauseAplauz)
280
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4727
(Aplauz)
16:42
(CheersU zdravlje)
281
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4456
(Ovacije)
16:47
(ApplauseAplauz)
282
995061
6375
(Aplauz)
16:53
(CheersU zdravlje)
283
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3905
(Ovacije)
16:57
(ApplauseAplauz)
284
1005389
5444
(Aplauz)
Translated by Ann Djurdja Radulovic
Reviewed by Ivana Korom

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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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