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Camille A. Brown: A visual history of social dance in 25 moves
Camille A. Brown: Vizuálna história spoločenského tanca v 25 krokoch
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Prečo tancujeme? Africko-americké spoločenské tance začali ako spôsob pre zotročených Afričanov udržať si kultúrne tradície nažive a zachovať pocit vnútornej slobody. Zostávajú prehlásením identity a nezávislosti. V tejto úžasnej demonštrácii plnej živých vystúpení choreografka, učiteľka a TED Fellow Camille A. Brownová skúma, čo sa stane, keď sa komunity uvoľnia a začnú sa vyjadrovať spoločným tancovaním.
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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Toto je Bop.
00:09
The Bop is a type of social dance.
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Bop je druh spoločenského tanca.
00:15
Dance is a language,
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Tanec je jazyk,
00:16
and social dance is an expression
that emerges from a community.
that emerges from a community.
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spoločenský tanec je vyjadrenie,
ktoré vychádza z komunity.
ktoré vychádza z komunity.
00:21
A social dance isn't choreographed
by any one person.
by any one person.
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Spoločenský tanec nemá choreografiu,
00:24
It can't be traced to any one moment.
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neviaže sa na žiadny moment,
každý tanec má kroky,
na ktorých sa všetci zhodnú,
na ktorých sa všetci zhodnú,
00:27
Each dance has steps
that everyone can agree on,
that everyone can agree on,
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00:30
but it's about the individual
and their creative identity.
and their creative identity.
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ale je to o jednotlivcovi
a jeho tvorivej identite.
a jeho tvorivej identite.
Spoločenské tance sa preto vynárajú,
00:35
Because of that,
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00:36
social dances bubble up,
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00:38
they change
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menia sa
00:39
and they spread like wildfire.
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a šíria ako požiar.
00:42
They are as old as our remembered history.
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Sú také staré ako naša známa história.
00:47
In African-American social dances,
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V africko-amerických spoločenských tancoch
00:49
we see over 200 years
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vidíme vyše dvesto rokov
00:51
of how African and African-American
traditions influenced our history.
traditions influenced our history.
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vplyvu afrických a africko-amerických
zvykov na našu históriu.
zvykov na našu históriu.
00:58
The present always contains the past.
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Súčasnosť vždy obsahuje minulosť.
01:01
And the past shapes who we are
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A minulosť určuje, kým sme
01:03
and who we will be.
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a kým budeme.
01:05
(Clapping)
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(tlieskanie)
01:09
The Juba dance was born
from enslaved Africans' experience
from enslaved Africans' experience
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Tanec Juba sa zrodil
zo skúseností zotročených Afričanov
zo skúseností zotročených Afričanov
01:12
on the plantation.
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na plantáži.
01:14
Brought to the Americas,
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Dovezených do Ameriky,
01:15
stripped of a common spoken language,
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zbavených spoločnej reči,
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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tento tanec bol cestou
pre zotročených Afričanov,
pre zotročených Afričanov,
ako si pripomenúť, odkiaľ pochádzajú.
01:22
It may have looked something like this.
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Takto nejako mohol asi vyzerať.
01:30
Slapping thighs,
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Plieskanie po stehnách,
01:31
shuffling feet
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pohyb nôh
01:33
and patting hands:
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a tlesk rúk:
01:34
this was how they got around
the slave owners' ban on drumming,
the slave owners' ban on drumming,
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takto obišli otrokárov zákaz bubnovania.
01:38
improvising complex rhythms
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Improvizovali komplexné rytmy,
01:41
just like ancestors did
with drums in Haiti
with drums in Haiti
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tak ako ich predkovia s bubnami na Haiti
01:44
or in the Yoruba communities
of West Africa.
of West Africa.
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alebo v Yoruba komunitách
v západnej Afrike.
v západnej Afrike.
01:50
It was about keeping
cultural traditions alive
cultural traditions alive
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Bolo to o udržiavaní
kultúrnych zvykov nažive
kultúrnych zvykov nažive
01:53
and retaining a sense of inner freedom
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a zachovaní pocitu vnútornej slobody
01:56
under captivity.
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v otroctve.
01:59
It was the same subversive spirit
that created this dance:
that created this dance:
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Bol to ten istý podvratný duch,
čo stvoril tento tanec:
čo stvoril tento tanec:
02:04
the Cakewalk,
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Cakewalk.
02:05
a dance that parodied the mannerisms
of Southern high society --
of Southern high society --
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Tanec, ktorý parodoval maniere
južanskej smotánky –
južanskej smotánky –
02:09
a way for the enslaved
to throw shade at the masters.
to throw shade at the masters.
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cesta pre zotročených,
ako verejne zosmiešniť svojich pánov.
ako verejne zosmiešniť svojich pánov.
02:12
The crazy thing about this dance
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Šialené na tomto tanci je,
02:14
is that the Cakewalk
was performed for the masters,
was performed for the masters,
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že Cakewalk predvádzali pre pánov,
02:17
who never suspected
they were being made fun of.
they were being made fun of.
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ktorí nikdy nemali podozrenie,
že si z nich uťahujú.
že si z nich uťahujú.
02:23
Now you might recognize this one.
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Tento tanec možno spoznáte.
02:25
1920s --
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20. roky –
02:26
the Charleston.
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Charleston.
02:31
The Charleston was all about
improvisation and musicality,
improvisation and musicality,
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Charleston je celý
o improvizácii a muzikálnosti.
o improvizácii a muzikálnosti.
02:35
making its way into Lindy Hop,
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Postupne sa premenil na Lindy Hop,
02:37
swing dancing
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Swing tanec
02:38
and even the Kid n Play,
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a dokonca Kid n Play,
02:39
originally called the Funky Charleston.
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ktorý sa pôvodne volal Funky Charleston.
02:47
Started by a tight-knit Black community
near Charleston, South Carolina,
near Charleston, South Carolina,
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Charleston má pôvod
v úzko spätej černošskej komunite
v úzko spätej černošskej komunite
pri Charlestone v Južnej Karolíne
a rýchlo zaplnil tanečné sály,
a rýchlo zaplnil tanečné sály,
02:51
the Charleston permeated dance halls
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02:53
where young women suddenly had
the freedom to kick their heels
the freedom to kick their heels
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kde mali zrazu mladé ženy
slobodu kopať podpätkami
slobodu kopať podpätkami
02:56
and move their legs.
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a hýbať nohami.
03:03
Now, social dance is about
community and connection;
community and connection;
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Spoločenský tanec je
o komunite a nadväzovaní vzťahov.
o komunite a nadväzovaní vzťahov.
03:06
if you knew the steps,
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Ak si poznal kroky,
03:08
it meant you belonged to a group.
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znamenalo to, že patríš do skupiny.
03:10
But what if it becomes a worldwide craze?
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Ale čo ak sa stane celosvetovým ošiaľom?
03:13
Enter the Twist.
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Predstavujem vám Twist.
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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Nie je žiadnym prekvapením, že sa dá Twist
vystopovať až do 19. storočia,
vystopovať až do 19. storočia,
03:19
brought to America from the Congo
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do Ameriky bol z Konga prinesený
03:21
during slavery.
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počas otroctva.
03:22
But in the late '50s,
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Ale v neskorých 50. rokoch,
03:24
right before the Civil Rights Movement,
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tesne pred Hnutím za občianske práva,
03:26
the Twist is popularized
by Chubby Checker and Dick Clark.
by Chubby Checker and Dick Clark.
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sa Twist stal populárnym vďaka
Chubbymu Checkerovi a Dickovi Clarkovi.
Chubbymu Checkerovi a Dickovi Clarkovi.
03:29
Suddenly, everybody's doing the Twist:
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Odrazu tancuje Twist každý:
03:32
white teenagers,
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bieli tínedžeri,
03:33
kids in Latin America,
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decká v Latinskej Amerike,
03:35
making its way into songs and movies.
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dostal sa aj do piesní a filmov.
03:38
Through social dance,
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Cez spoločenský tanec
03:39
the boundaries between groups
become blurred.
become blurred.
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sa hranice medzi spoločnosťou rozmazali.
03:45
The story continues in the 1980s and '90s.
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Príbeh pokračuje v 80. a 90. rokoch.
03:48
Along with the emergence of hip-hop,
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Spolu so vznikom hip-hopu
03:51
African-American social dance
took on even more visibility,
took on even more visibility,
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sa africko-americký tanec
zviditeľnil ešte viac,
zviditeľnil ešte viac,
03:55
borrowing from its long past,
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keď staval na svojej dlhej minulosti,
03:57
shaping culture and being shaped by it.
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formoval kultúru a nechal sa ňou formovať.
04:08
Today, these dances continue
to evolve, grow and spread.
to evolve, grow and spread.
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Dnes sa tieto tance stále vyvíjajú,
rastú a šíria.
rastú a šíria.
04:14
Why do we dance?
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Prečo tancujeme?
04:15
To move,
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Aby sme sa hýbali,
04:16
to let loose,
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aby sme sa uvoľnili,
04:17
to express.
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aby sme sa vyjadrili.
04:19
Why do we dance together?
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Prečo tancujeme spolu?
04:21
To heal,
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Aby sme sa vyliečili,
04:22
to remember,
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aby sme si pamätali,
04:23
to say: "We speak a common language.
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aby sme mohli povedať:
„Hovoríme spoločným jazykom.“
„Hovoríme spoločným jazykom.“
04:26
We exist
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Existujeme
04:27
and we are free."
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a sme slobodní.
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