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Camille A. Brown: A visual history of social dance in 25 moves
Kamilla A. Brauna: Sociālās dejas vizuāla vēsture 25 deju soļos
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Kādēļ mēs dejojam? Afroamerikāņu sociālās dejas sākotnēji bija afrikāņu kultūras tradīciju saglabāšanas un iekšējās brīvības uzturēšanas veids. Šodien tās kalpo kā identitātes un neatkarības apliecinājums. Šajā uzlādētajā, paraugiem pilnajā demonstrējumā horeogrāfe, pasniedzēja un TED stipendiāte Kamilla A. Brauna skaidro, kas notiek, kad kopienas atbrīvojas un izpaužas kopīgā dejā.
Camille A. Brown - Choreographer, educator
Camille A. Brown leads her dance company through excavations of ancestral stories, both timeless and traditional, that connect history with contemporary culture. Full bio
Camille A. Brown leads her dance company through excavations of ancestral stories, both timeless and traditional, that connect history with contemporary culture. Full bio
Double-click the English transcript below to play the video.
00:06
This is the Bop.
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Šis ir bops.
00:09
The Bop is a type of social dance.
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Bops ir sociālās dejas veids.
00:15
Dance is a language,
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Deja ir valoda,
00:16
and social dance is an expression
that emerges from a community.
that emerges from a community.
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un sociālā deja ir izteiksme,
kas rodas kopienā.
kas rodas kopienā.
00:21
A social dance isn't choreographed
by any one person.
by any one person.
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Sociālajai dejai nav viena horeogrāfa.
00:24
It can't be traced to any one moment.
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Tās izcelšanos nevar nospraust laikā.
00:27
Each dance has steps
that everyone can agree on,
that everyone can agree on,
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Katrai dejai ir soļi, kurus visi atzīst,
00:30
but it's about the individual
and their creative identity.
and their creative identity.
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bet svarīga ir arī individuālā
un radošā identitāte.
un radošā identitāte.
00:35
Because of that,
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Tādēļ sociālās dejas uzrodas,
00:36
social dances bubble up,
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00:38
they change
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mainās
00:39
and they spread like wildfire.
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un izplatās kā meža ugunsgrēks.
00:42
They are as old as our remembered history.
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Tās ir tikpat senas
kā mūsu vēsturiskā atmiņa.
kā mūsu vēsturiskā atmiņa.
00:47
In African-American social dances,
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Afroamerikāņu sociālajās dejās
00:49
we see over 200 years
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mēs redzam
vairāk nekā 200 gadus ilgu
vairāk nekā 200 gadus ilgu
00:51
of how African and African-American
traditions influenced our history.
traditions influenced our history.
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afrikāņu un afroamerikāņu tradīciju
ietekmi uz mūsu vēsturi.
ietekmi uz mūsu vēsturi.
00:58
The present always contains the past.
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Tagadne vienmēr ietver pagātni.
01:01
And the past shapes who we are
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Un pagātne veido mūs
01:03
and who we will be.
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un mūsu nākotni.
01:05
(Clapping)
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(Plaukšķināšana)
01:09
The Juba dance was born
from enslaved Africans' experience
from enslaved Africans' experience
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Džuba dzima no paverdzināto
afrikāņu pieredzes plantācijās.
afrikāņu pieredzes plantācijās.
01:12
on the plantation.
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01:14
Brought to the Americas,
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Atvesti uz Ameriku
01:15
stripped of a common spoken language,
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un bez kopīgas valodas,
01:17
this dance was a way for enslaved Africans
to remember where they're from.
to remember where they're from.
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šī deja paverdzinātajiem afrikāņiem
ļāva atcerēties, no kurienes tie nākuši.
ļāva atcerēties, no kurienes tie nākuši.
01:22
It may have looked something like this.
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Tā varēja izskatīties apmēram šādi.
Plikšķināšana pa augšstilbiem,
01:30
Slapping thighs,
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01:31
shuffling feet
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kāju dauzīšana
01:33
and patting hands:
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un plaukšķināšana:
01:34
this was how they got around
the slave owners' ban on drumming,
the slave owners' ban on drumming,
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tā viņi apgāja vergturu aizliegumu
spēlēt bungas
spēlēt bungas
01:38
improvising complex rhythms
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un improvizēja sarežģītus ritmus
01:41
just like ancestors did
with drums in Haiti
with drums in Haiti
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gluži kā viņu senči uz bungām Haiti
01:44
or in the Yoruba communities
of West Africa.
of West Africa.
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vai jorubu kopienās Rietumāfrikā.
01:50
It was about keeping
cultural traditions alive
cultural traditions alive
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Tas nozīmēja uzturēt kultūras tradīcijas
01:53
and retaining a sense of inner freedom
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un paturēt iekšēju brīvību
01:56
under captivity.
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ieslodzījumā.
01:59
It was the same subversive spirit
that created this dance:
that created this dance:
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Tas bija tas pats dumpīguma gars,
kas radīja šo deju:
kas radīja šo deju:
02:04
the Cakewalk,
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keikvoku.
02:05
a dance that parodied the mannerisms
of Southern high society --
of Southern high society --
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Šī deja parodē dienvidnieku
augstās sabiedrības manierismu.
augstās sabiedrības manierismu.
02:09
a way for the enslaved
to throw shade at the masters.
to throw shade at the masters.
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Tas ir veids, kā paverdzinātie
varēja pasmieties par saimniekiem.
varēja pasmieties par saimniekiem.
02:12
The crazy thing about this dance
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Neticamākais šajā dejā ir tas,
02:14
is that the Cakewalk
was performed for the masters,
was performed for the masters,
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ka keikvoku izpildīja
saimniekiem par prieku
saimniekiem par prieku
02:17
who never suspected
they were being made fun of.
they were being made fun of.
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un viņi pat nenojauta,
ka par viņiem uzjautrinās.
ka par viņiem uzjautrinās.
02:23
Now you might recognize this one.
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Jūs, iespējams, atpazīsiet šo.
02:25
1920s --
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1920. gadi.
02:26
the Charleston.
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Čarlstons.
02:31
The Charleston was all about
improvisation and musicality,
improvisation and musicality,
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Čarlstonā svarīga bija improvizācija
un muzikalitāte,
un muzikalitāte,
02:35
making its way into Lindy Hop,
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kas pārtapa lindijhopā,
02:37
swing dancing
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svingā,
un pat Kid 'n Play,
02:38
and even the Kid n Play,
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sākotnēji sauktā par Funky Charleston.
02:39
originally called the Funky Charleston.
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02:47
Started by a tight-knit Black community
near Charleston, South Carolina,
near Charleston, South Carolina,
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Tā pirmsākumi meklējami melnādaino
kopienā Dienvidkarolīnā pie Čarlstonas.
kopienā Dienvidkarolīnā pie Čarlstonas.
02:51
the Charleston permeated dance halls
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Čarlstons ielauzās deju zālēs,
02:53
where young women suddenly had
the freedom to kick their heels
the freedom to kick their heels
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kur jaunas sievietes
pēkšņi drīkstēja sist papēžus
pēkšņi drīkstēja sist papēžus
02:56
and move their legs.
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un kustināt kājas.
03:03
Now, social dance is about
community and connection;
community and connection;
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Tajā laikā sociālajā dejā
svarīga bija kopiena un tās vienotība;
svarīga bija kopiena un tās vienotība;
03:06
if you knew the steps,
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ja zināji soļus,
03:08
it meant you belonged to a group.
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tad piederēji zināmai grupai.
03:10
But what if it becomes a worldwide craze?
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Bet ja nu tas kļūst par globālu trakumu?
03:13
Enter the Twist.
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Lūk, tvists.
03:14
It's no surprise that the Twist
can be traced back to the 19th century,
can be traced back to the 19th century,
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Nav pārsteigums, ka tvista priekšvēsture
meklējama 19. gadsimtā,
meklējama 19. gadsimtā,
03:19
brought to America from the Congo
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kad tas uz Ameriku atceļoja no Kongo
03:21
during slavery.
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vergturības laikos.
03:22
But in the late '50s,
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Bet piecdesmito gadu otrajā pusē,
pilsoņtiesību kustības priekšvakarā,
pilsoņtiesību kustības priekšvakarā,
03:24
right before the Civil Rights Movement,
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03:26
the Twist is popularized
by Chubby Checker and Dick Clark.
by Chubby Checker and Dick Clark.
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tvistu populāru padarīja
Čabijs Čekers un Diks Klārks.
Čabijs Čekers un Diks Klārks.
03:29
Suddenly, everybody's doing the Twist:
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Pēkšņi visi dejoja tvistu:
03:32
white teenagers,
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baltādainie pusaudži,
03:33
kids in Latin America,
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Latīņamerikas jaunieši.
03:35
making its way into songs and movies.
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Tas iekļuva dziesmās un filmās.
03:38
Through social dance,
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Ar sociālās dejas palīdzību
03:39
the boundaries between groups
become blurred.
become blurred.
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dažādu sociālo grupu robežas
kļuva neskaidras.
kļuva neskaidras.
03:45
The story continues in the 1980s and '90s.
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Stāsts turpinās 1980. un 90. gados.
03:48
Along with the emergence of hip-hop,
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Ar hiphopa parādīšanos
03:51
African-American social dance
took on even more visibility,
took on even more visibility,
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afroamerikāņu sociālā deja
kļuva aizvien redzamāka,
kļuva aizvien redzamāka,
03:55
borrowing from its long past,
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smeļoties savā ilgajā vēsturē,
03:57
shaping culture and being shaped by it.
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mijiedarbojoties ar moderno kultūru.
04:08
Today, these dances continue
to evolve, grow and spread.
to evolve, grow and spread.
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Mūsdienās šīs dejas turpina
attīstīties, augt un izplatīties.
attīstīties, augt un izplatīties.
04:14
Why do we dance?
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Kāpēc mēs dejojam?
04:15
To move,
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Lai kustētos,
04:16
to let loose,
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atbrīvotos,
04:17
to express.
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izteiktos.
04:19
Why do we dance together?
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Kāpēc mēs dejojam kopā?
04:21
To heal,
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Lai dziedētos,
04:22
to remember,
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atcerētos,
04:23
to say: "We speak a common language.
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teiktu: "Mums ir viena valoda.
04:26
We exist
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Mēs pastāvam
04:27
and we are free."
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un esam brīvi."
ABOUT THE SPEAKER
Camille A. Brown - Choreographer, educatorCamille A. Brown leads her dance company through excavations of ancestral stories, both timeless and traditional, that connect history with contemporary culture.
Why you should listen
Camille A. Brown is a prolific Black female choreographer reclaiming the cultural narrative of African American identity. She is a Ford Foundation Art of Change Fellow, Audelco Award recipient, four-time Princess Grace Award winner, Guggenheim Fellow, Jacob's Pillow Dance Award recipient, USA Jay Franke & David Herro Fellow, TED Fellow and Doris Duke Artist Award recipient.
Her Company, Camille A. Brown & Dancers (CABD), tours nationally and internationally. The repertory includes the Bessie award-winning Mr. TOL E. RAncE (2012), the Bessie-nominated BLACK GIRL: Linguistic Play (2015) and ink (2017), which premiered at The Kennedy Center. CABD's community engagement platform, EVERY BODY MOVE, inspires collective action through the art of social dance and includes initiatives such as Black Girl Spectrum, Black Men Moving, The Gathering and more.
Brown has been commissioned to create concert dance works for Alvin Ailey American Dance Theater, Philadanco!, Urban Bush Women, Complexions, Ailey II, Ballet Memphis and Hubbard Street II.
In addition to her company works, Brown brings a passion for storytelling to her choreography for Broadway and Off-Broadway theater productions. Notable theater credits for her choreography include: Tony-winning Broadway revival Once On This Island, The Emmy-winning Jesus Christ Superstar Live on NBC as well as A Streetcar Named Desire, The Fortress of Solitude (Lortel Nomination) and BELLA: An American Tall Tale (Lortel Nomination), among others.
Brown graduated from LaGuardia High School of the Performing Arts in New York City and she has a BFA from UNC School of the Arts. She is the choreographer for the upcoming Magic Mike The Musical and PAL JOEY, and she is movement director for Broadway's Choir Boy and Toni Stone.
Camille A. Brown | Speaker | TED.com