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Camille A. Brown: A visual history of social dance in 25 moves
Kamil A. Braun (Camille A. Brown): Vizuelna istorija društvenog plesa u 25 koraka
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Zašto plešemo? Afroamerički društveni plesovi počeli su kao način da porobljeni Afrikanci održavaju kulturne tradicije u životu i zadrže osećaj unutrašnje slobode. Oni ostaju kao potvrda identiteta i nezavisnosti. U ovoj živahnoj demonstraciji, prepunoj nastupa uživo, koreografkinja, nastavnica i učesnica TED Fellows programa, Kamila A. Braun, istražuje šta se dešava kada se zajednice opuste i izraze se zajedno kroz ples.
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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Ovo je bop.
00:09
The Bop is a type of social dance.
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Bop je vrsta društvenog plesa.
00:15
Dance is a language,
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Ples je jezik,
00:16
and social dance is an expression
that emerges from a community.
that emerges from a community.
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a društveni ples je izraz
koji se javlja iz zajednice.
koji se javlja iz zajednice.
00:21
A social dance isn't choreographed
by any one person.
by any one person.
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Društvenom plesu koreografiju ne daje
bilo koja pojedinačna osoba.
bilo koja pojedinačna osoba.
00:24
It can't be traced to any one moment.
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Ne može se pronaći u nekom trenutku.
00:27
Each dance has steps
that everyone can agree on,
that everyone can agree on,
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Svaki ples ima korake
oko kojih se svi mogu složiti,
oko kojih se svi mogu složiti,
00:30
but it's about the individual
and their creative identity.
and their creative identity.
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ali se tiče pojedinca
i njegovog kreativnog identiteta.
i njegovog kreativnog identiteta.
Zbog toga,
00:35
Because of that,
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društveni plesovi se pojavljuju,
00:36
social dances bubble up,
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00:38
they change
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menjaju se
00:39
and they spread like wildfire.
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i šire kao šumski požar.
00:42
They are as old as our remembered history.
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Stari su kao naša istorija koju pamtimo.
00:47
In African-American social dances,
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Kod afroameričkih društvenih plesova
00:49
we see over 200 years
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vidimo preko 200 godina toga
00:51
of how African and African-American
traditions influenced our history.
traditions influenced our history.
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kako su afričke i afroameričke tradicije
uticale na našu istoriju.
uticale na našu istoriju.
00:58
The present always contains the past.
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Sadašnjost uvek sadrži prošlost.
01:01
And the past shapes who we are
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A prošlost oblikuje to ko smo
01:03
and who we will be.
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i ko ćemo biti.
01:05
(Clapping)
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(Tapšanje)
01:09
The Juba dance was born
from enslaved Africans' experience
from enslaved Africans' experience
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Ples džuba je nastao
iz iskustva porobljenih Afrikanaca
iz iskustva porobljenih Afrikanaca
01:12
on the plantation.
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na plantažama.
01:14
Brought to the Americas,
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Prenesen je u Amerike
01:15
stripped of a common spoken language,
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i ogoljen od zajedničkog govornog jezika,
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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ovaj ples je bio način da se
porobljeni Afrikanci sete svog porekla.
porobljeni Afrikanci sete svog porekla.
01:22
It may have looked something like this.
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Možda je izgledao nalik na ovo.
01:30
Slapping thighs,
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Udaranje po butinama,
01:31
shuffling feet
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mrdanje stopalima
01:33
and patting hands:
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i tapšanje dlanovima,
01:34
this was how they got around
the slave owners' ban on drumming,
the slave owners' ban on drumming,
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ovako su zaobilazili zabranu robovlasnika
da sviraju bubnjeve.
da sviraju bubnjeve.
01:38
improvising complex rhythms
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Improvizovali su složene ritmove
01:41
just like ancestors did
with drums in Haiti
with drums in Haiti
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baš kao i njihovi preci
sa bubnjevima na Haitima
sa bubnjevima na Haitima
01:44
or in the Yoruba communities
of West Africa.
of West Africa.
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ili u zajednicama Joruba
u Zapadnoj Africi.
u Zapadnoj Africi.
01:50
It was about keeping
cultural traditions alive
cultural traditions alive
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To se ticalo održavanja
kulturnih tradicija u životu
kulturnih tradicija u životu
01:53
and retaining a sense of inner freedom
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i dobijanja osećaja unutrašnje slobode
01:56
under captivity.
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u zatočeništvu.
01:59
It was the same subversive spirit
that created this dance:
that created this dance:
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Isti taj podrivački duh
stvorio je i ovaj ples:
stvorio je i ovaj ples:
02:04
the Cakewalk,
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"Kejkvok",
02:05
a dance that parodied the mannerisms
of Southern high society --
of Southern high society --
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ples koji je ismevao ponašanje
visokog društva na Jugu -
visokog društva na Jugu -
02:09
a way for the enslaved
to throw shade at the masters.
to throw shade at the masters.
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način na koji su se porobljeni
podsmevali svojim gospodarima.
podsmevali svojim gospodarima.
02:12
The crazy thing about this dance
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Kod ovog plesa je ludo to
02:14
is that the Cakewalk
was performed for the masters,
was performed for the masters,
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što je kejkvok izvođen za gospodare
02:17
who never suspected
they were being made fun of.
they were being made fun of.
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koji nikada nisu posumnjali
da ih neko ismeva.
da ih neko ismeva.
02:23
Now you might recognize this one.
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Možda ćete prepoznati ovaj.
02:25
1920s --
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U 1920-ima -
02:26
the Charleston.
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čarlston.
02:31
The Charleston was all about
improvisation and musicality,
improvisation and musicality,
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Čarlston se ticao
improvizacije i muzikalnosti
improvizacije i muzikalnosti
02:35
making its way into Lindy Hop,
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i došao je do lindi hopa,
02:37
swing dancing
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sving plesa
02:38
and even the Kid n Play,
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i čak i grupe Kid N Play,
02:39
originally called the Funky Charleston.
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a prvobitno se zvao fanki čarlston.
02:47
Started by a tight-knit Black community
near Charleston, South Carolina,
near Charleston, South Carolina,
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Nastao je u složnoj zajednici crnaca
blizu Čarlstona u Južnoj Karolini
blizu Čarlstona u Južnoj Karolini
i čarlston je bio popularan
u plesnim dvoranama
u plesnim dvoranama
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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gde su mlade žene odjednom imale
slobodu da udaraju petama
slobodu da udaraju petama
02:56
and move their legs.
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i mrdaju nogama.
03:03
Now, social dance is about
community and connection;
community and connection;
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Društveni ples se tiče
zajednice i povezanosti,
zajednice i povezanosti,
03:06
if you knew the steps,
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ako ste znali korake,
03:08
it meant you belonged to a group.
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znači da ste pripadali grupi.
03:10
But what if it becomes a worldwide craze?
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Ali šta ako postane svetski trend?
03:13
Enter the Twist.
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Na primer tvist.
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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Ne čudi da se koreni tvista
mogu naći skroz u 19. veku
mogu naći skroz u 19. veku
03:19
brought to America from the Congo
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i da je u Ameriku donet iz Konga
03:21
during slavery.
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tokom ropstva.
03:22
But in the late '50s,
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Ali krajem 1950-ih,
03:24
right before the Civil Rights Movement,
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baš pre Pokreta za ljudska prava,
03:26
the Twist is popularized
by Chubby Checker and Dick Clark.
by Chubby Checker and Dick Clark.
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tvist je postao popularan zahvaljujući
Čabiju Čekeru i Diku Klarku.
Čabiju Čekeru i Diku Klarku.
03:29
Suddenly, everybody's doing the Twist:
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Odjednom svi plešu tvist -
03:32
white teenagers,
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beli tinejdžeri,
03:33
kids in Latin America,
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klinci u Južnoj Americi,
03:35
making its way into songs and movies.
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dospeva u pesme i filmove.
03:38
Through social dance,
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Kroz društveni ples,
03:39
the boundaries between groups
become blurred.
become blurred.
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granice između grupa se brišu.
03:45
The story continues in the 1980s and '90s.
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Priča se nastavlja u 1980-tim i 90-tim.
03:48
Along with the emergence of hip-hop,
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Sa pojavom hip-hopa,
03:51
African-American social dance
took on even more visibility,
took on even more visibility,
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afro-američki društveni ples
još više je dobio na vidljivosti,
još više je dobio na vidljivosti,
03:55
borrowing from its long past,
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pozajmljujući iz svoje duge prošlosti,
03:57
shaping culture and being shaped by it.
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oblikujući kulturu
dok je njega oblikovala kultura.
dok je njega oblikovala kultura.
04:08
Today, these dances continue
to evolve, grow and spread.
to evolve, grow and spread.
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Ovi plesovi danas nastavljaju
da se razvijaju, rastu i šire se.
da se razvijaju, rastu i šire se.
04:14
Why do we dance?
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Zašto plešemo?
04:15
To move,
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Da se krećemo,
04:16
to let loose,
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da se opustimo,
04:17
to express.
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da se izrazimo?
04:19
Why do we dance together?
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Zašto plešemo zajedno?
04:21
To heal,
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Da se izlečimo,
04:22
to remember,
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da se prisetimo,
04:23
to say: "We speak a common language.
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da kažemo: "Govorimo zajedničkim jezikom.
04:26
We exist
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Mi postojimo
04:27
and we are free."
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i slobodni smo.
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