Small Thing Big Idea
Kyra Gaunt: How the jump rope got its rhythm
凯拉冈特: 跳绳的韵律是如何产生的
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“下来，下来，宝贝，从过山车上下来...” 嘻哈亏欠了相绕绳单人跳女王太多。让人种音乐学家凯拉冈特带领我们去领略一番迷人的跳绳史。
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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如果你做得正确，
声音听起来应该是：
声音听起来应该是：
滴答，滴答，滴答，
滴答，滴答，滴答，
滴答，滴答，滴答，
00:14
TICK-tat, TICK-tat, TICK-tat,
TICK-tat, TICK-tat, TICK-tat.
TICK-tat, TICK-tat, TICK-tat.
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如果你做得不正确，它听起来像：
00:18
If you do it wrong, it sounds like:
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滴哒，滴哒，滴哒。
00:20
Tick-TAT, tick-TAT, tick-TAT.
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【小事情，大想法。】
00:21
[Small thing. Big idea.]
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00:25
[Kyra Gaunt on
the Jump Rope]
the Jump Rope]
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【Kyra Gaunt与跳绳】
00:28
The jump rope is such a simple object.
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跳绳是一个非常简单的东西，
00:31
It can be made out of rope,
a clothesline, twine.
a clothesline, twine.
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它可以由绳子、晒衣线
或者麻线制成。
或者麻线制成。
跳绳上还有螺纹一样的结构。（笑）
00:34
It has, like, a twirl on it. (Laughs)
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我不确定该怎么去形容它。
00:37
I'm not sure how to describe that.
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重要的是它自身有一定重量，
00:38
What's important
is that it has a certain weight,
is that it has a certain weight,
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并且有那种挥鞭子的声音。
00:41
and that they have
that kind of whip sound.
that kind of whip sound.
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我们不清楚跳绳是如何起源的。
00:44
It's not clear what the origin
of the jump rope is.
of the jump rope is.
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有一些证据表明它最初
出现在古埃及、腓尼基，
出现在古埃及、腓尼基，
00:48
There's some evidence
that it began in ancient Egypt, Phoenicia,
that it began in ancient Egypt, Phoenicia,
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00:52
and then it most likely traveled
to North America with Dutch settlers.
to North America with Dutch settlers.
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后来很有可能是被
荷兰移民带到了北美洲。
荷兰移民带到了北美洲。
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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随着女性的衣服变得
更合身和马裤的兴起后，
更合身和马裤的兴起后，
跳绳变得流行起来。
01:01
and the pantaloon came into being.
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就这样，女孩们可以跳绳了，
01:03
And so, girls were able to jump rope
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因为她们的裙子不会再绊到绳子了。
01:06
because their skirts
wouldn't catch the ropes.
wouldn't catch the ropes.
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01:09
Governesses used it
to train their wards to jump rope.
to train their wards to jump rope.
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家庭教师用它来训练孩子们跳绳。
甚至在南北战争前的南方，
那些被奴役的非洲孩子们，
那些被奴役的非洲孩子们，
01:13
Even formerly enslaved African children
in the antebellum South
in the antebellum South
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也在跳绳。
01:16
jumped rope, too.
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01:17
In the 1950s, in Harlem,
Bronx, Brooklyn, Queens,
Bronx, Brooklyn, Queens,
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二十世纪五十年代，在哈莱姆、
布朗克斯、布鲁克林、皇后区，
布朗克斯、布鲁克林、皇后区，
01:22
you could see on the sidewalk,
lots of girls playing with ropes.
lots of girls playing with ropes.
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你都能在路边看到许多女孩在跳绳。
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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有时她们拿着两根绳子，
并把它们绕成一根，
并把它们绕成一根，
但也可以将它们
像打蛋器一样交叉使用。
像打蛋器一样交叉使用。
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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跳绳时，这绳子就像是
一个稳定的时间轴——
一个稳定的时间轴——
01:34
The skipping rope
was like a steady timeline --
was like a steady timeline --
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哒，哒，哒，哒——
01:37
tick, tick, tick, tick --
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01:38
upon which you can add rhymes
and rhythms and chants.
and rhythms and chants.
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你可以在上面加上韵律、
节奏和小段吟唱。
节奏和小段吟唱。
那些绳子为我们创造了一个空间，
01:42
Those ropes created a space
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01:44
where we were able
to contribute to something
to contribute to something
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在这个空间里，我们可以去
创造更伟大的事物，
创造更伟大的事物，
01:47
that was far greater
than the neighborhood.
than the neighborhood.
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一种超越邻里街坊的事物。
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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相绕绳单人跳为黑人女性
保留了一个强有力的文化和
保留了一个强有力的文化和
01:53
for black women.
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身份的标志。
追溯回二十世纪
五十年代到七十年代，
五十年代到七十年代，
01:54
Back from the 1950s to the 1970s,
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01:56
girls weren't supposed to play sports.
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女孩们是不能去参加体育运动的。
01:58
Boys played baseball,
basketball and football,
basketball and football,
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男孩们玩着棒球，篮球，橄榄球，
02:01
and girls weren't allowed.
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女孩们却被禁止参与。
02:03
A lot has changed, but in that era,
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现状已经大不相同，
但是在那个年代，
但是在那个年代，
02:05
girls would rule the playground.
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女孩们可是操场之王。
她们还不让男孩子们参与进来。
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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02:10
It's their space, it's a girl-power space.
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因为这是属于她们自己的空间，
一个“女孩能量”空间。
一个“女孩能量”空间。
02:12
It's where they get to shine.
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这是她们闪光的地方。
02:14
But I also think it's for boys,
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但我认为跳绳也是属于男孩们的，
因为男孩们会无意中
听到那些歌词，
听到那些歌词，
02:16
because boys overheard those,
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02:17
which is why, I think,
so many hip-hop artists
so many hip-hop artists
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这就是为什么，我认为有
很多的嘻哈艺术家
很多的嘻哈艺术家
02:19
sampled from things that they heard
in black girls' game songs.
in black girls' game songs.
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会从他们听到的黑人女孩们的
游戏歌中借鉴一番。
游戏歌中借鉴一番。
（歌词）“...冰凉，醇厚的奶昔，
秀出你的翻转能力吧，
秀出你的翻转能力吧，
02:23
(Chanting) ... cold, thick shake,
act like you know how to flip,
act like you know how to flip,
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麦香鱼, 至尊牛肉堡,
炸薯条，冰凉，醇厚的奶昔，
炸薯条，冰凉，醇厚的奶昔，
02:26
Filet-O-Fish, Quarter Pounder,
french fries, ice cold, thick shake,
french fries, ice cold, thick shake,
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秀出你的跳跃能力吧。”
02:29
act like you know how to jump.
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为什么Nelly的“Country Grammar”
可以获得格莱美奖，
可以获得格莱美奖，
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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是因为人们早已知道
“我们坐在路虎车里
沿着你的街道往下走 ...”
沿着你的街道往下走 ...”
02:37
"We're going down down baby
your street in a Range Rover ... "
your street in a Range Rover ... "
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02:40
That's the beginning of "Down down, baby,
down down the roller coaster,
down down the roller coaster,
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这句歌词是借鉴了“下来，下来，
宝贝，从过山车上下来,
宝贝，从过山车上下来,
02:44
sweet, sweet baby, I'll never let you go."
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甜心宝贝儿，我永远不会让你离开。”
02:46
All people who grew up
in any black urban community
in any black urban community
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所有在市镇的黑人社区里长大的人
02:49
would know that music.
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都会知道那首歌。
02:51
And so, it was a ready-made hit.
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这首歌本来就很火。
02:54
The Double Dutch rope playing
helped maintain these songs
helped maintain these songs
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通过相绕绳单人跳这项运动，
这些歌以及吟唱、手势
得到了很好的保留，
得到了很好的保留，
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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03:02
which is very natural
to what I call "kinetic orality" --
to what I call "kinetic orality" --
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这其实是很自然的一件事，
我称之为“运动的口头形态”——
我称之为“运动的口头形态”——
03:06
word of mouth and word of body.
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嘴部语言和身体语言。
03:09
It's the thing that gets
passed down over generations.
passed down over generations.
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这是由一代代人传承下来的，
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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而跳绳则起到了至关重要的作用。
03:15
You need some object
to carry memory through.
to carry memory through.
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需要一些物件来承载回忆。
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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而跳绳就是这么一样物件，
你可以借它来传递很多不同的文化。
你可以借它来传递很多不同的文化。
它跨越了文化。
03:22
It crosses cultures.
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03:24
And I think it lasted
because people need to move.
because people need to move.
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我认为它能保留下来的原因
是人们依旧需要向前，
是人们依旧需要向前，
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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而最简单的事物往往能
发挥最富有创意的用途。
发挥最富有创意的用途。
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