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

翻译人员: Shengwei Cai 校对人员: Yuyang Zhao

This is the Bop.

这是博普舞

The Bop is a type of social dance.

属于社交舞的一种

Dance is a language,

舞蹈是一种语言

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

社交舞是从群体社会中衍生来的一种表达方式

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

它不是由任何单独的个人编排出来的

It can't be traced to any one moment.

也不能追溯到某个特定的时刻

Each dance has steps that everyone can agree on,

每个舞蹈都有所有人都能合拍的舞步

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

但是它有关个人和他们的个性

Because of that,

正因如此

social dances bubble up,

社交舞迅速发展

they change,

它们改变

and they spread like wildfire.

像野火般蔓延

They are as old as our remembered history.

从有历史以来就有社交舞的存在

In African-American social dances,

我们从过去两百年的非-美洲社交舞发展

we see over 200 years

我们从过去两百年的非-美洲社交舞发展

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

可见非洲传统和非-美洲传统对我们历史的影响

The present always contains the past.

现在包含着过去

And the past shapes who we are

过去塑造了我们现在的身份

and who we will be.

和我们将要什么样的人

(Clapping)

（拍掌声）

The Juba dance was born from enslaved Africans' experience

朱巴舞是根据非洲黑奴在种植园的经历而来的

on the plantation.

朱巴舞是根据非洲黑奴在种植园的经历而来的

Brought to the Americas,

后被带到美洲

stripped of a common spoken language,

除去共同语言

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

它是非洲奴隶用来铭记自己从何处来的方式

It may have looked something like this.

看起来可能是这个样子

Slapping thighs,

拍大腿

shuffling feet

来回动脚

and patting hands:

还有拍手

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

他们就这样应付禁止击鼓的奴隶主

improvising complex rhythms

创造出复杂节奏

just like ancestors did with drums in Haiti

就像祖先在海地做的击鼓

or in the Yoruba communities of West Africa.

或是西非约鲁巴人做的那样

It was about keeping cultural traditions alive

为的是存续文化传统

and retaining a sense of inner freedom

为的是在奴役下保持内在自由

under captivity.

为的是在奴役下保持内在自由

It was the same subversive spirit that created this dance:

在同样的颠覆精神下还创造了另一种舞蹈

the Cakewalk,

踢踏舞

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

这是种滑稽模仿美国南部上流社会举止的舞蹈

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

奴隶用这种方式来嘲笑他们的主人

The crazy thing about this dance

更好笑的是

is that the Cakewalk was performed for the masters,

奴隶们还要把踢踏舞跳给奴隶主看

who never suspected they were being made fun of.

但却不觉得奴隶在取笑他们

Now you might recognize this one.

可能现在你们认识这个舞

1920s --

二十世纪二十年代的

the Charleston.

查尔斯顿舞

The Charleston was all about improvisation and musicality,

查尔斯顿舞完全是即兴和乐感

making its way into Lindy Hop,

然后发展成林迪舞

swing dancing

and even the Kid n Play,

摇摆舞

甚至Kid N Play

originally called the Funky Charleston.

原先称为时髦查尔斯顿舞

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

发源于南卡罗来纳州查尔斯顿附近一个密集的黑人社区

the Charleston permeated dance halls

查尔斯顿舞风靡于各大舞厅

where young women suddenly had the freedom to kick their heels

年轻女郎尽情享受着踢脚和动腿的自由

and move their legs.

年轻女郎尽情享受着踢脚和动腿的自由

Now, social dance is about community and connection;

现今，社交舞关系着社区和纽带

if you knew the steps,

如果你懂这个舞步

it meant you belonged to a group.

你就属于这个集体

But what if it becomes a worldwide craze?

但如果这个舞步风靡全球了呢

Enter the Twist.

现在讲扭扭舞

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

扭扭舞可以追溯到十九世纪并不为奇

brought to America from the Congo

是在奴隶时期从刚果带到美国的舞蹈

during slavery.

是在奴隶时期从刚果带到美国的舞蹈

But in the late '50s,

但在五十年代后期

right before the Civil Rights Movement,

正值民权运动之前

the Twist is popularized by Chubby Checker and Dick Clark.

恰比·却克和迪克·克拉克把扭扭舞推广开来

Suddenly, everybody's doing the Twist:

忽然间所有人都在跳扭扭舞

white teenagers,

比如白人青少年

kids in Latin America,

和拉美的小孩儿

making its way into songs and movies.

后来还融入到歌曲和电影中

Through social dance,

通过社交舞

the boundaries between groups become blurred.

族群间的界限模糊了

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

故事继续发展到八十年代及九十年代

Along with the emergence of hip-hop,

随着嘻哈舞的出现

African-American social dance took on even more visibility,

非裔社交舞受关注程度得到提高

borrowing from its long past,

借鉴其悠久历史

shaping culture and being shaped by it.

舞蹈和文化彼此影响、塑造

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

现在，这些舞种持续进化、成长和传播

Why do we dance?

我们为什么跳舞

To move,

是为了移动

to let loose,

为了放松

to express.

为了表达

Why do we dance together?

我们为什么一起跳舞

To heal,

是为了和解

to remember,

为了铭记

to say: "We speak a common language.

为了说：我们说着共同语言

We exist

我们存在

and we are free."

而且我们自由