The history of African-American social dance - Camille A. Brown

Prevoditelj: Ivan Stamenković Recezent: Tilen Pigac - EFZG

This is the Bop.

The Bop is a type of social dance.

Ovo je Bop.

Bop je tip društvenog plesa.

Dance is a language,

and social dance is an expression that emerges from a community.

Ples je jezik,

A social dance isn't choreographed by any one person.

a društveni ples je izražaj koji izranja iz društva.

It can't be traced to any one moment.

Each dance has steps that everyone can agree on,

Društveni ples nije osmišljen od jedne osobe.

but it's about the individual and their creative identity.

Ne može ga se povezati s jednim trenutkom.

Svaki ples ima korake s kojima se svi mogu složiti,

Because of that,

ali sve je na pojedincu i njihovom kreativnom identitetu.

social dances bubble up,

they change,

and they spread like wildfire.

Zbog toga,

društveni plesovi se pojavljuju,

They are as old as our remembered history.

mijenjaju se

i šire se kao požari.

In African-American social dances,

Stari su kao i naša povijest.

we see over 200 years

of how African and African-American traditions influenced our history.

U Afro-američkim društvenim plesovima

vidimo kroz 200 godina

kako su Afričke i Afro-američke tradicije utjecale na našu povijest.

The present always contains the past.

And the past shapes who we are

and who we will be.

Sadašnjost uvijek sadrži prošlost.

(Clapping)

A prošlost oblikuje tko smo

The Juba dance was born from enslaved Africans' experience

i tko ćemo biti.

(Pljesak)

on the plantation.

Brought to the Americas,

Juba ples je rođen iz iskustva porobljenih Afrikanaca

stripped of a common spoken language,

this dance was a way for enslaved Africans to remember where they're from.

na plantažama.

Donešen u Amerike,

ogoljen od običnog govorenog jezika,

It may have looked something like this.

ovaj ples je bio način za porobljene Afrikance da se prisjete odakle su.

Možda je izgledao ovako.

Slapping thighs,

shuffling feet

and patting hands:

this was how they got around the slave owners' ban on drumming,

Pljeskanje bedara,

noge u pokretu

i plješćuće ruke:

improvising complex rhythms

ovako su zaobišli zabranu bubnjanja robovlasnika

just like ancestors did with drums in Haiti

or in the Yoruba communities of West Africa.

improvizirajući složene ritmove

baš kao njihovi preci s bubnjevima na Haitiju

ili u Yoruba zajednicama Zapadne Afrike.

It was about keeping cultural traditions alive

and retaining a sense of inner freedom

under captivity.

Radilo se o održavanju kulturnih tradicija na životu

It was the same subversive spirit that created this dance:

i zadržavanja osjećaja unutarnje slobode

u zatočeništvu.

the Cakewalk,

a dance that parodied the mannerisms of Southern high society --

Bio je to isti subverzivni duh koji je stvorio ovaj ples:

a way for the enslaved to throw shade at the masters.

Cakewalk,

ples koji je parodirao ponašanje Južnjačkog visokog društva --

The crazy thing about this dance

is that the Cakewalk was performed for the masters,

način da porobljeni bace sjenu na svoje gospodare.

who never suspected they were being made fun of.

Luda stvar oko tog plesa

je da su Cakewalk izvodili za gospodare,

Now you might recognize this one.

koji nikad nisu sumnjali da ih se ismijava.

1920s --

the Charleston.

Sad možda prepoznate ovaj.

1920 --

The Charleston was all about improvisation and musicality,

Charleston.

making its way into Lindy Hop,

Charleston je bio vezan uz improvizaciju i glazbu,

swing dancing

and even the Kid n Play,

originally called the Funky Charleston.

prelazeći u Lindy Hop,

swing ples

pa čak i u Kid n Play,

originalno nazvan Funky Charleston.

Started by a tight-knit Black community near Charleston, South Carolina,

the Charleston permeated dance halls

Započela ga je usko povezana skupina crnačkog društva blizu Charlestona, Sjeverne Karoline,

where young women suddenly had the freedom to kick their heels

and move their legs.

Charlston se probio u plesne dvorane,

gdje su mlade žene iznenada imale slobodu lupkati petama

i pokretati noge.

Now, social dance is about community and connection;

if you knew the steps,

it meant you belonged to a group.

Sad, društveni ples je važan za zajednicu i povezivanje.

But what if it becomes a worldwide craze?

Ako ste znali korake,

Enter the Twist.

značilo je da ste pripadali grupi.

It's no surprise that the Twist can be traced back to the 19th century,

Ali što ako to postane pošast svjetskih razmjera?

brought to America from the Congo

Twist.

Nije iznenađenje da Twist možemo pratiti do 19. stoljeća,

during slavery.

But in the late '50s,

right before the Civil Rights Movement,

donešenog u Ameriku iz Konga

the Twist is popularized by Chubby Checker and Dick Clark.

u vrijeme ropstva.

Ali u kasnim pedesetima,

baš prije početka Pokreta za građanska prava,

Suddenly, everybody's doing the Twist:

white teenagers,

Twist su popularizirali Chubby Checker i Dick Clark.

kids in Latin America,

making its way into songs and movies.

Iznenada, svi su radili Twist:

Through social dance,

bijeli tinejdžeri,

the boundaries between groups become blurred.

djeca u Latinskoj Americi,

polako ulazeći u pjesme i filmove.

Kroz društveni ples,

The story continues in the 1980s and '90s.

granice između grupa postale su zamućene.

Along with the emergence of hip-hop,

African-American social dance took on even more visibility,

Priča se nastavlja 1980. i u devedesetima.

Uz pojavljivanje hip-hopa,

borrowing from its long past,

Afro-američki društveni plesovi postali su još vidljiviji,

shaping culture and being shaped by it.

uzimajući iz svoje duge povijesti,

oblikujući kulturu i bivajući oblikovani njome.

Today, these dances continue to evolve, grow and spread.

Why do we dance?

Danas, ti plesovi nastavljaju evoluirati, rasti i širiti se.

To move,

to let loose,

to express.

Why do we dance together?

Zašto plešemo?

To heal,

Da bi se kretali,

to remember,

da bi se opustili,

to say: "We speak a common language.

da bi se izrazili.

Zašto plešemo skupa?

We exist

and we are free."

Da ozdravimo,

da se sjećamo,

da kažemo, "Pričamo istim jezikom.

Postojimo.

I slobodni smo."