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

788,412 views ・ 2016-09-27

TED-Ed


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Prevoditelj: Ivan Stamenković Recezent: Tilen Pigac - EFZG
00:06
This is the Bop.
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00:09
The Bop is a type of social dance.
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Ovo je Bop.
Bop je tip društvenog plesa.
00:15
Dance is a language,
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00:17
and social dance is an expression that emerges from a community.
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Ples je jezik,
00:21
A social dance isn't choreographed by any one person.
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a društveni ples je izražaj koji izranja iz društva.
00:24
It can't be traced to any one moment.
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00:27
Each dance has steps that everyone can agree on,
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Društveni ples nije osmišljen od jedne osobe.
00:30
but it's about the individual and their creative identity.
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Ne može ga se povezati s jednim trenutkom.
Svaki ples ima korake s kojima se svi mogu složiti,
00:36
Because of that,
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ali sve je na pojedincu i njihovom kreativnom identitetu.
00:37
social dances bubble up,
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00:38
they change,
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00:39
and they spread like wildfire.
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Zbog toga,
društveni plesovi se pojavljuju,
00:43
They are as old as our remembered history.
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mijenjaju se
i šire se kao požari.
00:47
In African-American social dances,
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Stari su kao i naša povijest.
00:50
we see over 200 years
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00:51
of how African and African-American traditions influenced our history.
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U Afro-američkim društvenim plesovima
vidimo kroz 200 godina
kako su Afričke i Afro-američke tradicije utjecale na našu povijest.
00:58
The present always contains the past.
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01:01
And the past shapes who we are
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01:03
and who we will be.
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Sadašnjost uvijek sadrži prošlost.
01:05
(Clapping)
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A prošlost oblikuje tko smo
01:09
The Juba dance was born from enslaved Africans' experience
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i tko ćemo biti.
(Pljesak)
01:12
on the plantation.
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01:14
Brought to the Americas,
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Juba ples je rođen iz iskustva porobljenih Afrikanaca
01:16
stripped of a common spoken language,
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01:18
this dance was a way for enslaved Africans to remember where they're from.
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na plantažama.
Donešen u Amerike,
ogoljen od običnog govorenog jezika,
01:22
It may have looked something like this.
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ovaj ples je bio način za porobljene Afrikance da se prisjete odakle su.
Možda je izgledao ovako.
01:31
Slapping thighs,
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01:32
shuffling feet
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01:33
and patting hands:
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01:35
this was how they got around the slave owners' ban on drumming,
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Pljeskanje bedara,
noge u pokretu
i plješćuće ruke:
01:39
improvising complex rhythms
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ovako su zaobišli zabranu bubnjanja robovlasnika
01:41
just like ancestors did with drums in Haiti
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01:44
or in the Yoruba communities of West Africa.
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improvizirajući složene ritmove
baš kao njihovi preci s bubnjevima na Haitiju
ili u Yoruba zajednicama Zapadne Afrike.
01:51
It was about keeping cultural traditions alive
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01:54
and retaining a sense of inner freedom
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01:56
under captivity.
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Radilo se o održavanju kulturnih tradicija na životu
01:59
It was the same subversive spirit that created this dance:
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i zadržavanja osjećaja unutarnje slobode
u zatočeništvu.
02:04
the Cakewalk,
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02:05
a dance that parodied the mannerisms of Southern high society --
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Bio je to isti subverzivni duh koji je stvorio ovaj ples:
02:09
a way for the enslaved to throw shade at the masters.
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Cakewalk,
ples koji je parodirao ponašanje Južnjačkog visokog društva --
02:13
The crazy thing about this dance
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02:15
is that the Cakewalk was performed for the masters,
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način da porobljeni bace sjenu na svoje gospodare.
02:18
who never suspected they were being made fun of.
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Luda stvar oko tog plesa
je da su Cakewalk izvodili za gospodare,
02:23
Now you might recognize this one.
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koji nikad nisu sumnjali da ih se ismijava.
02:25
1920s --
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02:27
the Charleston.
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Sad možda prepoznate ovaj.
1920 --
02:32
The Charleston was all about improvisation and musicality,
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Charleston.
02:35
making its way into Lindy Hop,
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Charleston je bio vezan uz improvizaciju i glazbu,
02:38
swing dancing
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02:38
and even the Kid n Play,
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02:40
originally called the Funky Charleston.
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prelazeći u Lindy Hop,
swing ples
pa čak i u Kid n Play,
originalno nazvan Funky Charleston.
02:47
Started by a tight-knit Black community near Charleston, South Carolina,
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02:51
the Charleston permeated dance halls
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Započela ga je usko povezana skupina crnačkog društva blizu Charlestona, Sjeverne Karoline,
02:53
where young women suddenly had the freedom to kick their heels
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02:56
and move their legs.
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Charlston se probio u plesne dvorane,
gdje su mlade žene iznenada imale slobodu lupkati petama
i pokretati noge.
03:03
Now, social dance is about community and connection;
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03:07
if you knew the steps,
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03:08
it meant you belonged to a group.
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Sad, društveni ples je važan za zajednicu i povezivanje.
03:10
But what if it becomes a worldwide craze?
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Ako ste znali korake,
03:13
Enter the Twist.
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značilo je da ste pripadali grupi.
03:15
It's no surprise that the Twist can be traced back to the 19th century,
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Ali što ako to postane pošast svjetskih razmjera?
03:19
brought to America from the Congo
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Twist.
Nije iznenađenje da Twist možemo pratiti do 19. stoljeća,
03:21
during slavery.
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1950
03:23
But in the late '50s,
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03:24
right before the Civil Rights Movement,
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donešenog u Ameriku iz Konga
03:26
the Twist is popularized by Chubby Checker and Dick Clark.
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u vrijeme ropstva.
Ali u kasnim pedesetima,
baš prije početka Pokreta za građanska prava,
03:30
Suddenly, everybody's doing the Twist:
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03:32
white teenagers,
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Twist su popularizirali Chubby Checker i Dick Clark.
03:33
kids in Latin America,
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03:35
making its way into songs and movies.
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Iznenada, svi su radili Twist:
03:38
Through social dance,
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bijeli tinejdžeri,
03:39
the boundaries between groups become blurred.
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djeca u Latinskoj Americi,
polako ulazeći u pjesme i filmove.
Kroz društveni ples,
03:45
The story continues in the 1980s and '90s.
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granice između grupa postale su zamućene.
03:49
Along with the emergence of hip-hop,
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03:51
African-American social dance took on even more visibility,
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Priča se nastavlja 1980. i u devedesetima.
Uz pojavljivanje hip-hopa,
03:55
borrowing from its long past,
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Afro-američki društveni plesovi postali su još vidljiviji,
03:57
shaping culture and being shaped by it.
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uzimajući iz svoje duge povijesti,
oblikujući kulturu i bivajući oblikovani njome.
04:08
Today, these dances continue to evolve, grow and spread.
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04:14
Why do we dance?
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Danas, ti plesovi nastavljaju evoluirati, rasti i širiti se.
04:16
To move,
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04:17
to let loose,
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04:18
to express.
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04:19
Why do we dance together?
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Zašto plešemo?
04:21
To heal,
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Da bi se kretali,
04:22
to remember,
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da bi se opustili,
04:23
to say: "We speak a common language.
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da bi se izrazili.
Zašto plešemo skupa?
04:26
We exist
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04:27
and we are free."
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Da ozdravimo,
da se sjećamo,
da kažemo, "Pričamo istim jezikom.
Postojimo.
I slobodni smo."
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