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

Prevodilac: Mile Živković Lektor: Milenka Okuka

This is the Bop.

The Bop is a type of social dance.

Ovo je bop.

Dance is a language,

Bop je vrsta društvenog plesa.

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

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

Ples je jezik,

a društveni ples je izraz koji se javlja iz zajednice.

It can't be traced to any one moment.

Each dance has steps that everyone can agree on,

Društvenom plesu koreografiju ne daje bilo koja pojedinačna osoba.

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

Ne može se pronaći u nekom trenutku.

Svaki ples ima korake oko kojih se svi mogu složiti,

Because of that,

ali se tiče pojedinca i njegovog kreativnog identiteta.

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.

menjaju se

i šire kao šumski požar.

In African-American social dances,

Stari su kao naša istorija koju pamtimo.

we see over 200 years

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

Kod afroameričkih društvenih plesova

vidimo preko 200 godina toga

kako su afričke i afroameričke tradicije uticale na našu istoriju.

The present always contains the past.

And the past shapes who we are

and who we will be.

Sadašnjost uvek sadrži prošlost.

(Clapping)

A prošlost oblikuje to ko smo

The Juba dance was born from enslaved Africans' experience

i ko ćemo biti.

(Tapšanje)

on the plantation.

Brought to the Americas,

Ples džuba je nastao 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.

Prenesen je u Amerike

i ogoljen od zajedničkog govornog jezika,

It may have looked something like this.

ovaj ples je bio način da se porobljeni Afrikanci sete svog porekla.

Možda je izgledao nalik na ovo.

Slapping thighs,

shuffling feet

and patting hands:

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

Udaranje po butinama,

mrdanje stopalima

improvising complex rhythms

i tapšanje dlanovima,

ovako su zaobilazili zabranu robovlasnika da sviraju bubnjeve.

just like ancestors did with drums in Haiti

or in the Yoruba communities of West Africa.

Improvizovali su složene ritmove

baš kao i njihovi preci sa bubnjevima na Haitima

ili u zajednicama Joruba u Zapadnoj Africi.

It was about keeping cultural traditions alive

and retaining a sense of inner freedom

under captivity.

To se ticalo održavanja kulturnih tradicija u životu

It was the same subversive spirit that created this dance:

i dobijanja osećaja unutrašnje slobode

u zatočeništvu.

the Cakewalk,

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

Isti taj podrivački duh stvorio je i ovaj ples:

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

"Kejkvok",

ples koji je ismevao ponašanje visokog društva na Jugu -

The crazy thing about this dance

is that the Cakewalk was performed for the masters,

način na koji su se porobljeni podsmevali svojim gospodarima.

who never suspected they were being made fun of.

Kod ovog plesa je ludo to

što je kejkvok izvođen za gospodare

Now you might recognize this one.

koji nikada nisu posumnjali da ih neko ismeva.

1920s --

the Charleston.

Možda ćete prepoznati ovaj.

U 1920-ima -

The Charleston was all about improvisation and musicality,

čarlston.

making its way into Lindy Hop,

Čarlston se ticao improvizacije i muzikalnosti

swing dancing

and even the Kid n Play,

originally called the Funky Charleston.

i došao je do lindi hopa,

sving plesa

i čak i grupe Kid N Play,

a prvobitno se zvao fanki čarlston.

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

the Charleston permeated dance halls

where young women suddenly had the freedom to kick their heels

Nastao je u složnoj zajednici crnaca blizu Čarlstona u Južnoj Karolini

and move their legs.

i čarlston je bio popularan u plesnim dvoranama

gde su mlade žene odjednom imale slobodu da udaraju petama

i mrdaju nogama.

Now, social dance is about community and connection;

if you knew the steps,

it meant you belonged to a group.

Društveni ples se tiče zajednice i povezanosti,

But what if it becomes a worldwide craze?

ako ste znali korake,

Enter the Twist.

znači da ste pripadali grupi.

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

Ali šta ako postane svetski trend?

brought to America from the Congo

Na primer tvist.

Ne čudi da se koreni tvista mogu naći skroz u 19. veku

during slavery.

But in the late '50s,

right before the Civil Rights Movement,

i da je u Ameriku donet iz Konga

the Twist is popularized by Chubby Checker and Dick Clark.

tokom ropstva.

Ali krajem 1950-ih,

Suddenly, everybody's doing the Twist:

baš pre Pokreta za ljudska prava,

white teenagers,

tvist je postao popularan zahvaljujući Čabiju Čekeru i Diku Klarku.

kids in Latin America,

making its way into songs and movies.

Odjednom svi plešu tvist -

Through social dance,

beli tinejdžeri,

the boundaries between groups become blurred.

klinci u Južnoj Americi,

dospeva u pesme i filmove.

Kroz društveni ples,

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

granice između grupa se brišu.

Along with the emergence of hip-hop,

African-American social dance took on even more visibility,

Priča se nastavlja u 1980-tim i 90-tim.

Sa pojavom hip-hopa,

borrowing from its long past,

shaping culture and being shaped by it.

afro-američki društveni ples još više je dobio na vidljivosti,

pozajmljujući iz svoje duge prošlosti,

oblikujući kulturu dok je njega oblikovala kultura.

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

Why do we dance?

Ovi plesovi danas nastavljaju da se razvijaju, rastu i šire se.

To move,

to let loose,

to express.

Why do we dance together?

Zašto plešemo?

To heal,

Da se krećemo,

to remember,

da se opustimo,

to say: "We speak a common language.

da se izrazimo?

Zašto plešemo zajedno?

We exist

and we are free."

Da se izlečimo,

da se prisetimo,

da kažemo: "Govorimo zajedničkim jezikom.

Mi postojimo

i slobodni smo.