TED2017
Kayla Briët: Why do I make art? To build time capsules for my heritage
凯拉 · 布莱特: 我为什么从事艺术工作? 为了建造承传文化的时间胶囊。
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凯拉 · 布莱特创造的艺术，是为了探索个人身份和自我发现——又担心她的文化有一天会被遗忘。她分享了如何找回属于自己的创造之声，并把她血液中流淌的荷兰，中国和美国土著文化的故事，注入到了音乐和电影的时间胶囊中。
Kayla Briët - Filmmaker, musician
TED Fellow Kayla Briët explores themes of identity and self-discovery in multiple mediums of storytelling: film, multi-media arts and music. Full bio
TED Fellow Kayla Briët explores themes of identity and self-discovery in multiple mediums of storytelling: film, multi-media arts and music. Full bio
Double-click the English transcript below to play the video.
00:12
When I was four years old,
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我四岁的时候，
爸爸教我跳陶斯印第安部落圈舞，
00:14
my dad taught me
the Taos Pueblo Hoop Dance,
the Taos Pueblo Hoop Dance,
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一种美国西南部的传统舞蹈，
有数百年的历史。
有数百年的历史。
00:17
a traditional dance born hundreds
of years ago in Southwestern USA.
of years ago in Southwestern USA.
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00:22
A series of hoops are created
out of willow wood,
out of willow wood,
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用柳木制作一系列的圆环，
并且把它们穿在一起
来创造出自然世界的形态，
来创造出自然世界的形态，
00:25
and they're threaded together
to create formations of the natural world,
to create formations of the natural world,
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展现了生命的多姿多彩。
00:29
showing the many beauties of life.
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00:31
In this dance, you're circling
in a constant spin,
in a constant spin,
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在舞蹈中，要不断的旋转，
模仿太阳的运行，
00:34
mimicking the movement of the Sun
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和时间的流逝。
00:37
and the passage of time.
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00:40
Watching this dance was magic to me.
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观赏这个舞蹈时，
我感到非常神奇。
我感到非常神奇。
好像在一个时间胶囊中，
00:43
Like with a time capsule,
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正从一个文化窗口回望过去。
00:44
I was taking a look through
a cultural window to the past.
a cultural window to the past.
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我感受到了一种
00:48
I felt a deeper connection
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00:50
to how my ancestors used to look
at the world around them.
at the world around them.
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与祖先们如何看待
周围世界之间的更深的联系。
周围世界之间的更深的联系。
从那时起，我一直都
迷恋时间胶囊。
迷恋时间胶囊。
00:54
Since then, I've always been
obsessed with time capsules.
obsessed with time capsules.
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它采用了多种形式，
00:57
They take on many forms,
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但无法控制的迷人是贯穿始终的，
00:59
but the common thread
is that they're uncontrollably fascinating
is that they're uncontrollably fascinating
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令我们人类难以自拔，
01:02
to us as human beings,
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因为它们是记忆的门户，
01:04
because they're portals to a memory,
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01:06
and they hold the important power
of keeping stories alive.
of keeping stories alive.
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拥有保持故事鲜活的重要力量。
01:11
As a filmmaker and composer,
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作为一名电影导演和作曲家，
我的个人旅程就是
去寻找自己的声音，
去寻找自己的声音，
01:13
it's been my journey to find my voice,
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01:16
reclaim the stories
of my heritage and the past
of my heritage and the past
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重温我的家族传统和过去，
01:19
and infuse them into music and film
time capsules to share.
time capsules to share.
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并将这一切倾注到以音乐和电影
为载体的时光胶囊中，与众人分享。
为载体的时光胶囊中，与众人分享。
01:24
To tell you a bit about
how I found my voice,
how I found my voice,
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关于我是怎样找回自己的声音，
我先分享一下我的成长经历。
01:27
I'd like to share a bit
about how I grew up.
about how I grew up.
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01:29
In Southern California, I grew up
in a multigenerational home,
in a multigenerational home,
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我成长在加利福尼亚南部
一个多代同堂的家庭里，
一个多代同堂的家庭里，
01:33
meaning I lived under the same roof
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这意味着我与
01:35
as my parents, aunts,
uncles and grandparents.
uncles and grandparents.
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父母，姑姨叔伯，及祖父母
在同一屋檐下一起生活。
在同一屋檐下一起生活。
01:38
My mother is Dutch-Indonesian and Chinese
with immigrant parents,
with immigrant parents,
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我的母亲是荷兰 - 印尼与华裔的
混血儿，父母都是美国移民，
混血儿，父母都是美国移民，
父亲是奥杰布瓦人（印第安人），
01:43
and my father is Ojibwe
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01:45
and an enrolled tribal member
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也是位于堪萨斯东北部
草原带的波塔瓦托米瓦部落的成员。
01:47
of the Prairie Band's Potawatomi Tribe
in Northeastern Kansas.
in Northeastern Kansas.
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01:51
So one weekend I'd be learning
how to fold dumplings,
how to fold dumplings,
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所以，这个周末我会学习包饺子，
01:54
and the next, I'd be
traditional-style dancing
traditional-style dancing
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下个周末，我会学习帕瓦仪式中的
01:56
at a powwow,
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传统舞蹈，
01:57
immersed in the powerful sounds
of drums and singers.
of drums and singers.
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沉醉于强劲的鼓声与歌声中。
经常处于多元文化之中，
02:02
Being surrounded by many
cultures was the norm,
cultures was the norm,
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02:05
but also a very confusing experience.
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也是一种非常令人困惑的体验。
02:08
It was really hard for me
to find my voice,
to find my voice,
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我很难从中找到自我的声音，
因为我始终搞不清自己的种族归属，
02:10
because I never felt I was enough --
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02:12
never Chinese, Dutch-Indonesian
or Native enough.
or Native enough.
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是中国人，荷兰 - 印尼人
还是原住居民。
还是原住居民。
02:17
Because I never felt I was a part
of any community,
of any community,
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正因为我感到自己不属于任何社区，
02:20
I sought to learn
the stories of my heritage
the stories of my heritage
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我曾试图去了解我血统的故事，
02:23
and connect them together
to rediscover my own.
to rediscover my own.
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并将它们连结在一起
重新发现自己的归属。
重新发现自己的归属。
02:27
The first medium I felt
gave me a voice was music.
gave me a voice was music.
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第一个让我感受到
自己声音的媒介就是音乐。
自己声音的媒介就是音乐。
02:32
With layers of sounds
and multiple instruments,
and multiple instruments,
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配合多层次的音效和不同的乐器，
02:35
I could create soundscapes and worlds
that were much bigger than my own.
that were much bigger than my own.
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我创作出的音乐是个人重大的突破，
02:39
Through music, I'm inviting you
into a sonic portal
into a sonic portal
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借助音乐，我邀请你
进入我的回忆与情感中，
02:42
of my memories and emotions,
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02:44
and I'm holding up a mirror to yours.
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也会反照你们自己的感受。
02:47
One of my favorite instruments to play
is the guzheng zither,
is the guzheng zither,
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我最喜欢演奏的乐器之一，就是古筝，
02:50
a Chinese harp-like instrument.
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一种中国竖琴样的乐器。
尽管陶斯印第安部落圈舞
已经流传几百年，
已经流传几百年，
02:53
While the hoop dance
is hundreds of years old,
is hundreds of years old,
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02:55
the guzheng has more
than 2,000 years of history.
than 2,000 years of history.
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古筝却有两千多年的历史。
02:59
I'm playing the styles that greatly
influence me today,
influence me today,
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现在的演奏风格影响我至深，
03:02
like electronic music,
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比如电子音乐，
03:03
with an instrument that was used
to play traditional folk music long ago.
to play traditional folk music long ago.
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用一种佷久之前
用来演奏传统民乐的乐器。
用来演奏传统民乐的乐器。
03:08
And I noticed an interesting connection:
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我觉察到一个有趣的联系：
03:11
the zither is tuned
to the pentatonic scale,
to the pentatonic scale,
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古筝是五声音阶的乐器，
03:13
a scale that is universally known
in so many parts of music
in so many parts of music
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一个在全世界众多音乐中
03:17
around the world,
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广为人知的音阶，
03:18
including Native American folk songs.
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包括美洲原住民的民歌。
03:21
In both Chinese and Native folk,
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在中国和原住民民歌中，
03:23
I sense this inherent sound of longing
and holding onto the past,
and holding onto the past,
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我感觉到了这种对过去的
渴望和坚持的内在声音，
渴望和坚持的内在声音，
是现今推动我进行音乐创作的原动力。
03:28
an emotion that greatly drives
the music I create today.
the music I create today.
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03:32
At the time, I wondered if I could make
this feeling of immersion
this feeling of immersion
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当时我很想知道是否能够
透过视觉和音乐的结合
03:36
even more powerful,
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03:37
by layering visuals and music --
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加强这种沉浸感——
03:39
visuals and images on top of the music.
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在音乐中加入图像及视觉的效果。
03:42
So I turned to internet tutorials
to learn editing software,
to learn editing software,
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因此我通过网络课程
学习了电影剪接软件，
学习了电影剪接软件，
也去社区大学学习，
为的是省钱，
为的是省钱，
03:46
went to community college to save money
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03:48
and created films.
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并且能创作电影。
03:51
After a few years experimenting,
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经过几年的实验，
在17岁时，我有点事情
想讲述和保存下来。
想讲述和保存下来。
03:52
I was 17 and had something
I wanted to tell and preserve.
I wanted to tell and preserve.
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03:56
It started with a question:
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这一切从一个问题开始：
03:58
What happens when a story is forgotten?
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当一个故事被遗忘，会发生什么事？
04:02
I lead with this in my latest
documentary film,
documentary film,
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我将这个主题引入到最近的纪录片
04:05
"Smoke That Travels,"
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《烟雾的传播》中，
04:07
which immerses people into the world
of music, song, color and dance,
of music, song, color and dance,
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影片让人们沉浸在色彩与音乐，
歌曲和舞蹈的世界中，
歌曲和舞蹈的世界中，
04:12
as I explore my fear that a part
of my identity, my Native heritage,
of my identity, my Native heritage,
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我始终怀揣着一种担忧，
担心个人的身份及本土传承的文化
担心个人的身份及本土传承的文化
将会随时间的流逝而被遗忘。
04:17
will be forgotten in time.
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04:20
Many indigenous languages are dying
due to historically forced assimilation.
due to historically forced assimilation.
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由于历史上的强制同化，
许多土著语言正在歨向灭亡。
许多土著语言正在歨向灭亡。
04:25
From the late 1800s to the early 1970s,
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从十九世纪末到上世纪七十年代初，
04:29
Natives were forced into boarding schools,
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原居民被迫进入寄宿学校，
04:31
where they were violently punished
if they practiced traditional ways
if they practiced traditional ways
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倘若他们实践了传统的习俗，
或者用他们的原居民语言交流，
或者用他们的原居民语言交流，
就会受到严厉的惩罚，
04:35
or spoke their native language,
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04:37
most of which were orally passed down.
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而大部分语言恰恰是口头传承的。
04:39
As of now, there are 567 federally
recognized tribes in the United States,
recognized tribes in the United States,
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截至目前为止，有 567 个部落
为美国联邦政府所承认，
为美国联邦政府所承认，
04:45
when there used to be countless more.
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曾几何时，这个数字大到无法估量。
04:48
In my father's words,
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用我父亲的话说：
04:49
"Being Native is not about
wearing long hair in braids.
wearing long hair in braids.
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“本土化不只是关于头上的长辫子。
也不是关于那些珠饰或羽毛，
04:53
It's not about feathers or beadwork.
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04:56
It's about the way we all center ourselves
in the world as human beings."
in the world as human beings."
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而是关于我们如何作为
人类，生活在世界的中心。”
人类，生活在世界的中心。”
05:01
After traveling with this film
for over a year,
for over a year,
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我携带这部电影旅行了一年多，
遇到了来自世界各地的人，
05:04
I met indigenous people
from around the world,
from around the world,
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05:06
from the Ainu of Japan,
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从日本的阿伊努人、
斯堪的那维亚的萨米人、
05:08
Sami of Scandinavia,
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05:09
the Maori
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到新西兰的毛利人，
05:10
and many more.
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还有很多其他原居民。
05:12
And they were all dealing
with the exact same struggle
with the exact same struggle
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他们都有同样的挣扎，
想要维护他们的语言和文化。
05:15
to preserve their language and culture.
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05:19
At this moment, I not only realize
the power storytelling has
the power storytelling has
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此时此刻，我不仅体会到
讲故事的力量
讲故事的力量
05:22
to connect all of us as human beings
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可以把我们所有的人类联系在一起，
05:25
but the responsibility
that comes with this power.
that comes with this power.
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也感受到了伴随着这种力量的责任。
05:28
It can become incredibly dangerous
when our stories are rewritten or ignored,
when our stories are rewritten or ignored,
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当自身的故事被重写或忽略时，
我们会面临险恶的考验，
我们会面临险恶的考验，
05:32
because when we are denied identity,
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因为当自己的身份被否定，
05:34
we become invisible.
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我们就变成了不可见的群体。
05:36
We're all storytellers.
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我们都是讲故事的人。
05:39
Reclaiming our narratives
and just listening to each other's
and just listening to each other's
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重申我们自己的叙述，
以及仅仅是聆听对方的声音，
以及仅仅是聆听对方的声音，
05:44
can create a portal
that can transcend time itself.
that can transcend time itself.
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就可以创建一个
超越了时间本身的门户。
超越了时间本身的门户。
05:48
Thank you.
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谢谢。
05:49
(Applause)
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（掌声）
ABOUT THE SPEAKER
Kayla Briët - Filmmaker, musicianTED Fellow Kayla Briët explores themes of identity and self-discovery in multiple mediums of storytelling: film, multi-media arts and music.
Why you should listen
Kayla Briët explores themes of identity and self-discovery in multiple mediums of storytelling: film, multi-media arts and music. Briët's short documentary, Smoke That Travels, immerses viewers in her native Prairie Band Potawatomi Nation heritage and explores fears that her culture may someday be forgotten. This film has screened and won awards at over 45 festivals internationally, including MoMA in NYC, and has been archived in the Smithsonian Institute in Washington D.C. The film also earned her a year-long fellowship with Sundance Film Festival in 2016.
As a multi-instrumentalist and self-taught composer, Briët also scores her own films and creates music in styles ranging from cinematic to alternative pop to electronic. She performs live as a one-woman band, with her keyboard, guitar, loop pedal and guzheng zither, a traditional Chinese instrument. Recently, Briët was named a 2017 TED Fellow, 2016 Sundance Film Festival Ignite Fellow, 2016 Adobe Creativity Scholar, 2016 MIT Chamber Scholar for her interest in blockchain technology, and a 2016 Oculus Launch Pad Artist for virtual reality. Currently, she is creating and directing documentary and experimental film as well as immersive experiences in the virtual reality space.
Kayla Briët | Speaker | TED.com