Poetry, music and identity (with English subtitles) | Jorge Drexler | TED

1,488,055 views ・ 2017-05-10

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μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

λ²ˆμ—­: Seo-Ho Cho κ²€ν† : Jihyeon J. Kim
00:13
I'm going to tell you the story of a song.
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μ—¬λŸ¬λΆ„κ»˜ λ…Έλž˜μ— κ΄€ν•œ 이야기λ₯Ό λ“€λ €λ“œλ¦¬κ² μŠ΅λ‹ˆλ‹€.
00:15
I was in Madrid one night in 2002
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2002λ…„ ν•˜λ£¨λ°€μ„ 제 μ„ μƒλ‹˜μ΄μž 친ꡬ인 ν˜Έμ•„ν‚¨ μ‚¬λΉ„λ‚˜μ™€
00:20
with my teacher and friend JoaquΓ­n Sabina,
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ν•¨κ»˜ λ§ˆλ“œλ¦¬λ“œμ—μ„œ λ³΄λƒˆμŠ΅λ‹ˆλ‹€.
00:22
when he said he had something to give me.
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κ·Έκ°€ 제게 쀄 것이 μžˆμ—ˆκΈ° λ•Œλ¬Έμ΄μ£ .
00:25
He said,
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κ·ΈλŠ” λ§ν–ˆμŠ΅λ‹ˆλ‹€.
00:26
"Jorge, I have some lines that you need to put into a song.
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"호λ₯΄ν—€, λ„€κ°€ λ…Έλž˜λ‘œ λ§Œλ“€ 가사가 μžˆμ–΄.
00:30
Take these down, take these down."
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λ°›μ•„ 적어. λ°›μ•„ 적어."
식탁을 λ΄€μ§€λ§Œ, 식탁 μœ„μ—λŠ” μ›ν˜• μ½”μŠ€ν„°λΏμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
00:32
I looked on the table but all I found was a circular coaster,
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κ·Έ μœ„μ— μ €λŠ” 제 μ„ μƒλ‹˜μ΄ λ§ν•œ 가사λ₯Ό λ°›μ•„μ μ—ˆμ£ .
00:35
on which I wrote the lines my teacher dictated.
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00:37
They were four lines that went like this:
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λ‹€μŒκ³Ό 같이 ν˜λŸ¬κ°€λŠ” λ„€ μ€„μ˜ κ°€μ‚¬μ˜€μŠ΅λ‹ˆλ‹€.
00:39
"I am a Jewish Moor living among Christians
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"λ‚˜λŠ” 크리슀천 μ‚¬μ΄μ—μ„œ μ‚΄μ•„κ°€λŠ” μœ λŒ€μΈ 무어인이야.
00:43
I don't know who my God is, nor who my brothers are."
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λ‚˜λŠ” λ‚΄ 신이 λˆ„κ΅°μ§€ λͺ¨λ₯΄κ³ , λ‚΄ ν˜•μ œκ°€ λˆ„κ΅°μ§€λ„ λͺ°λΌ."
00:48
Those lines really made an impression on me.
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이 가사듀은 제게 큰 인상을 λ‚¨κ²ΌμŠ΅λ‹ˆλ‹€.
00:51
I said, "What beautiful lyrics, JoaquΓ­n. Did you write them?"
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μ €λŠ” λ§ν–ˆμ£ . "λ„ˆλ¬΄λ‚˜ μ•„λ¦„λ‹€μš΄ κ°€μ‚¬μ˜ˆμš”, ν˜Έμ•„ν‚¨. 당신이 μΌλ‚˜μš”?"
00:54
He said no, they were by another composer named Chicho SΓ‘nchez Ferlosio,
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κ·ΈλŠ” μ•„λ‹ˆλΌκ³  ν–ˆμŠ΅λ‹ˆλ‹€. 치초 μ‚°μ²΄μŠ€ νŽ˜λ‘œμ‹œμ˜€λΌλŠ” μž‘μ‚¬κ°€κ°€ μΌμŠ΅λ‹ˆλ‹€.
00:59
who was less known than JoaquΓ­n, but also a great poet.
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κ·ΈλŠ” ν˜Έμ•„ν‚¨λ³΄λ‹€ 덜 μ•Œλ €μ‘Œμ§€λ§Œ, μ—¬μ „νžˆ ꡉμž₯ν•œ μ‹œμΈμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
01:03
These lines came to me at a time
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이 가사듀은 μ œκ°€ κ½€ μ˜€λžœμ‹œκ°„
01:05
where I had been wanting to express something for a while,
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무엇인가λ₯Ό ν‘œν˜„ν•˜κ³  μ‹Άμ—ˆμ§€λ§Œ μ–΄λ–»κ²Œ 해야할지 λͺ°λžλ˜ λ•Œμ—
제게 μ™”μŠ΅λ‹ˆλ‹€.
01:08
but didn't quite know how.
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01:09
I was getting up to leave and go home to write,
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μ œκ°€ μΌμ–΄λ‚˜μ„œ μ§‘μ—κ°€μ„œ 가사λ₯Ό λ§ˆμ € μ“°λ € ν•˜κ³  μžˆμ—ˆμ„ λ•Œ
01:12
when JoaquΓ­n stopped me and said, "Hang on, hang on,"
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ν˜Έμ•„ν‚¨μ΄ μ €λ₯Ό λ©ˆμΆ”κ³ λŠ” "κΈ°λ‹€λ € 봐"라고 ν–ˆμ–΄μš”.
01:15
and presented me with this challenge:
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그리고 μ €μ—κ²Œ 과제λ₯Ό 쀬죠.
01:17
"Write the stanzas for this song
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"λ…Έλž˜λ₯Ό μœ„ν•΄ λ°μ‹œλ§ˆμŠ€λ‘œ
μ‹œ κ΅¬μ ˆμ„ 써봐."
01:21
in DΓ©cimas."
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제 μΈμƒμ˜ 이 μ‹œμ μ—μ„œ
01:23
Now, at this point in my life,
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01:25
I still wasn't completely sure what DΓ©cimas were,
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μ €λŠ” μ—¬μ „νžˆ λ°μ‹œλ§ˆμŠ€κ°€ 뭔지 μ •ν™•ν•˜κ²Œ μ•Œμ§€ λͺ»ν–ˆμ–΄μš”.
01:29
but I was too embarrassed to tell my teacher I didn't know.
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κ·ΈλŸ¬λ‚˜ 제 μ„ μƒλ‹˜κ»˜ λͺ¨λ₯Έλ‹€κ³  λ§ν•˜κΈ°μ—λŠ” λ„ˆλ¬΄ μ°½ν”Όν–ˆμ£ .
01:33
So I put on my best "Yeah, I totally understand" face,
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κ·Έλž˜μ„œ "무슨 말인지 μ™„μ „νžˆ μ•Œμ•„μš”." λΌλŠ” ν‘œμ •μ„ ν•˜κ³ λŠ”
01:37
and went home to look up what DΓ©cimas were.
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μ§‘μ—κ°€μ„œ λ°μ‹œλ§ˆμŠ€κ°€ 뭔지 μ°Ύμ•„λ΄€μ–΄μš”.
λ°μ‹œλ§ˆλŠ” μŠ€νŽ˜μΈμ–΄μ—λ§Œ μžˆλŠ”
01:40
I learned that a DΓ©cima is a type of verse
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01:43
that only exists in Spanish,
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ꡬ절의 ν•œ μ’…λ₯˜λ‘œ
ν•œ 10쀄 μ •λ„μž…λ‹ˆλ‹€.
01:45
and that it has 10 lines.
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01:46
It's very, very complex --
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μ•„μ£Ό μ•„μ£Ό λ³΅μž‘ν•˜μ£ .
01:48
perhaps the most complex style of stanza that we have in Spanish.
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μ•„λ§ˆ μŠ€νŽ˜μΈμ–΄κ°€ 가진 κ°€μž₯ λ³΅μž‘ν•œ μŠ€νƒ μž ν˜•μ‹μΌ κ²λ‹ˆλ‹€.
01:51
It also has a very concrete date of origin,
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μŠ€νƒ μž ν˜•μ‹μœΌλ‘œλŠ” 맀우 λ“œλ¬Όκ²Œ
ꡬ체적인 기원일도 μ‘΄μž¬ν•©λ‹ˆλ‹€.
01:54
which is very rare for a style of stanza.
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01:56
The DΓ©cima was invented in Spain in 1591,
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λ°μ‹œλ§ˆλŠ” μŠ€νŽ˜μΈμ—μ„œ 1591년에
02:01
by a guy named Vicente Espinel, a musician and poet from MΓ‘laga.
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말라가 μΆœμ‹ μ˜ μŒμ•…κ°€μ΄μž μ‹œμΈμΈ λΉˆμ„Όν…Œ μ—μŠ€ν”Όλ„¬μ΄ λ§Œλ“€μ—ˆμŠ΅λ‹ˆλ‹€.
02:07
And listen to this coincidence: he was the same guy
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그리고 μš°μ—°νžˆλ„ κ·Έκ°€ λ°”λ‘œ
02:10
who added the sixth string
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μš°λ¦¬κ°€ μ˜€λŠ˜λ‚  슀페인 기타라고 λΆ€λ₯΄λŠ” 악기에
02:12
to what would later be called the Spanish guitar.
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μ—¬μ„― 번째 쀄을 μΆ”κ°€ν•œ μ‚¬λžŒμž…λ‹ˆλ‹€.
02:14
This string right here --
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λ°”λ‘œ 이 μ€„μ΄μš”.
02:16
it's called the "bordona."
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이것은 "보λ₯΄λ„λ‚˜"라고 λΆ€λ¦…λ‹ˆλ‹€.
02:18
From Spain, the DΓ©cima, with its 10 lines,
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슀페인 μΆœμ‹ μ˜ 10μ€„μ§œλ¦¬ λ°μ‹œλ§ˆλŠ”
슀페인 κΈ°νƒ€μ²˜λŸΌ 미ꡭ으둜 κ±΄λ„ˆμ™”μ§€λ§Œ
02:22
crosses over to America, just like the Spanish guitar,
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02:26
but in contrast to the DΓ©cima,
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λ°μ‹œλ§ˆμ™€λŠ” λ‹€λ₯΄κ²Œ
02:28
the Spanish guitar continues to live today
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슀페인 κΈ°νƒ€λŠ” μ•„μ§κΉŒμ§€ μ‚΄μ•„μžˆμŠ΅λ‹ˆλ‹€.
02:30
on both sides of the Atlantic.
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λŒ€μ„œμ–‘μ˜ μ–‘μͺ½μ—μ„œμš”.
02:32
But the DΓ©cima, in Spain, its birthplace,
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ν•˜μ§€λ§Œ κ·Έ μΆœμƒμ§€μΈ μŠ€νŽ˜μΈμ—μ„œ λ°μ‹œλ§ˆλŠ”
02:35
disappeared; it died out.
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μ‚¬λΌμ‘ŒμŠ΅λ‹ˆλ‹€. μ£½μ—ˆμ£ .
02:38
It died out about 200 years ago,
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μ•½ 200λ…„ 전에 μ£½μ—ˆμŠ΅λ‹ˆλ‹€.
02:40
and yet in Latin America, from Mexico to Chile,
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κ·ΈλŸ¬λ‚˜ λ©•μ‹œμ½”μ—μ„œ μΉ λ ˆμ— 이λ₯΄κΈ°κΉŒμ§€ λΌν‹΄μ•„λ©”λ¦¬μΉ΄μ˜
02:45
all our countries maintain some form of the DΓ©cima
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λͺ¨λ“  κ΅­κ°€λŠ” μΈκΈ°μžˆλŠ” μ „ν†΅μœΌλ‘œ νŠΉμ • ν˜•νƒœμ˜ λ°μ‹œλ§ˆλ₯Ό
02:49
in our popular traditions.
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μœ μ§€ν•΄μ™”μŠ΅λ‹ˆλ‹€.
02:52
In each place, they've given it a different name,
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각 지역에 따라 이름은 λ‹€λ¦…λ‹ˆλ‹€.
02:54
and set it to different music.
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그리고 λ‹€λ₯Έ μŒμ•…μ— μ ‘λͺ©μ‹œν‚΅λ‹ˆλ‹€.
02:56
It has a lot of different names -- more than 20 in total on the continent.
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λ§Žμ€ 이름을 κ°–κ³  μžˆμŠ΅λ‹ˆλ‹€. ν•œ λŒ€λ₯™μ— 20개 μ΄μƒμ˜ 이름이 κ³΅μ‘΄ν•˜μ£ .
03:01
In Mexico, for example, it's called the "Son Jarocho,"
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κ°€λ Ή, λ©•μ‹œμ½”μ—μ„œλŠ” "솑 ν•˜λ‘œμ΄ˆ" 라고 λΆ€λ¦…λ‹ˆλ‹€.
03:04
"Canto de mejorana" in Panama;
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νŒŒλ‚˜λ§ˆμ—μ„œλŠ” "μΉΈν†  데 λ©”ν˜ΈλΌλ‚˜" 라고 ν•˜κ³ 
03:06
"GalerΓ³n" in Venezuela;
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λ² λ„€μ£Όμ—˜λΌμ—μ„œλŠ” "갈레둠",
03:08
"Payada" in Uruguay and Argentina;
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μš°λ£¨κ³Όμ΄μ™€ μ•„λ₯΄ν—¨ν‹°λ‚˜μ—μ„œλŠ” "νŒŒμ•Όλ‹€"
03:11
"Repentismo" in Cuba.
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μΏ λ°”μ—μ„œλŠ” "λ ˆνŽœν‹°μŠ€λͺ¨"라고 λΆ€λ¦…λ‹ˆλ‹€.
03:12
In Peru, they call it the Peruvian DΓ©cima,
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νŽ˜λ£¨μ—μ„œλŠ” νŽ˜λ£¨μ‹ λ°μ‹œλ§ˆ 라고 λΆ€λ¦…λ‹ˆλ‹€.
μ™œλƒν•˜λ©΄, λ°μ‹œλ§ˆκ°€ μ €ν¬μ˜ 전톡에 λ„ˆλ¬΄λ‚˜ 깊이 μŠ€λ©°λ“€μ–΄μ„œ
03:15
because the DΓ©cima becomes so integrated into our traditions,
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λˆ„κ΅°κ°€ 물어보면 μ‚¬λžŒλ“€μ€ μ •λ§λ‘œ λ°μ‹œλ§ˆκ°€ μžμ‹ μ˜ κ³ ν–₯μ—μ„œ
03:18
that if someone asks, people from each place are completely convinced
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03:21
that the DΓ©cima was invented in their country.
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λ§Œλ“€μ–΄μ‘Œλ‹€κ³  λ―ΏμŠ΅λ‹ˆλ‹€.
03:24
(Laughter)
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(μ›ƒμŒ)
03:25
It's also got a really surprising feature,
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또 λ†€λž„λ§Œν•œ νŠΉμ§•μ΄ μžˆλŠ”λ°
λ°”λ‘œ 각기 λ‹€λ₯Έ κ΅­κ°€μ—μ„œ λ…λ¦½μ μœΌλ‘œ λ°œλ‹¬ν•œ κ²ƒμž„μ—λ„ λΆˆκ΅¬ν•˜κ³ 
03:28
which is that despite the fact that it developed independently
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03:31
in each of the different countries,
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03:33
it maintains even today, 400 years after its creation,
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슀페인 λ°”λ‘œν¬ μ‹œλŒ€μ— λΉˆμ„ΌνŠΈ μ—μŠ€ν”Όλ„¬μ΄ μ“΄ 것과 λ™μΌν•œ ꡬ쑰둜
03:37
exactly the same rhyme, syllable and line structure --
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μ •ν™•νžˆ 같은 λΌμž„, 운율, 그리고 ν–‰κ°„ ꡬ쑰둜
03:44
the same structure Vicente Espinel gave it during the Spanish Baroque period.
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400λ…„ 후인 μ§€κΈˆκΉŒμ§€λ„ μ‘΄μž¬ν•œλ‹€λŠ” κ²ƒμž…λ‹ˆλ‹€.
03:48
Here's the structure --
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κ΅¬μ‘°λŠ” μ΄λ ‡μŠ΅λ‹ˆλ‹€.
03:49
I'll give you the basic idea and then later you can look online
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μš°μ„  기본적인 κ°œλ…μ„ μ„€λͺ…λ“œλ¦΄ν…Œλ‹ˆ λ‚˜μ€‘μ— μΈν„°λ„·μ—μ„œ λ”μš±
03:52
and learn more about it.
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μžμ„Ένžˆ μ°Ύμ•„λ³΄μ„Έμš”.
λ°μ‹œλ§ˆλŠ” 열쀄이고, 각 쀄은 8개의 μŒμ ˆμ„ κ°–κ³  μžˆμŠ΅λ‹ˆλ‹€.
03:55
The DΓ©cima is ten lines long; each line has eight syllables.
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03:59
The first line rhymes with the fourth and the fifth;
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첫 쀄은 λ„€ 번째 그리고 λ‹€μ„― 번째 쀄과 운율이 μΌμΉ˜ν•©λ‹ˆλ‹€.
04:02
the second line, with the third;
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λ‘˜μ§Έ 쀄은 μ…‹μ§Έ 쀄과 μΌμΉ˜ν•˜κ³ 
μ—¬μ„― 번째 쀄은 일곱 번째 그리고 μ—΄λ²ˆ μ§Έ 쀄과 운율이 μΌμΉ˜ν•©λ‹ˆλ‹€.
04:04
the sixth line, with the seventh and the tenth;
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04:06
and the eighth line rhymes with the ninth.
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그리고 μ—¬λŸ 번째 쀄은 아홉 번째 쀄과 운율이 μΌμΉ˜ν•©λ‹ˆλ‹€.
04:09
It's a bit complicated, to be honest.
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μ†”μ§νžˆ λ§ν•˜λ©΄, 쑰금 λ³΅μž‘ν•©λ‹ˆλ‹€.
그리고 μ œκ°€ λ°μ‹œλ§ˆλ‘œ μ“°λ €λŠ” λͺ¨μŠ΅μ„ μƒμƒν•΄λ³΄μ„Έμš”.
04:12
And me -- imagine me, trying to write in DΓ©cimas.
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04:16
But it's not as complicated as it seems.
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κ·ΈλŸ¬λ‚˜ 사싀 λ³΄μ΄λŠ” 것 만큼 λ³΅μž‘ν•˜μ§€ μ•ŠμŠ΅λ‹ˆλ‹€.
그에 더해, 같은 ꡬ쑰λ₯Ό μœ μ§€ν•΄ 4μ„ΈκΈ° 이상 μ‚΄μ•„λ‚¨μ•˜λ‹€λŠ” 것이
04:19
Plus, it's amazing that it's survived with the same structure
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04:22
for more than four centuries.
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λŒ€λ‹¨ν•©λ‹ˆλ‹€.
04:24
It's not that complicated, because it has an impressive musicality to it,
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기술적으둜 μ„€λͺ…ν•˜κΈ° μ–΄λ €μš΄ 특유의
04:28
a type of musicality
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인상적인 μŒμ•…μ„±μ„ 지녀
04:30
that's very hard to describe technically.
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κ·Έλ ‡κ²Œλ‚˜ λ³΅μž‘ν•˜μ§€λŠ” μ•Šμ§€λ§Œ
μ—¬λŸ¬λΆ„μ΄ 직접 λ“€μ–΄λ³΄μ‹œκΈΈ μΆ”μ²œν•©λ‹ˆλ‹€.
04:34
I prefer that you listen to it.
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04:35
So I'm going to recite a DΓ©cima,
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μ œκ°€ λ°μ‹œλ§ˆλ₯Ό μŠμ–΄λ“œλ¦¬κ² μŠ΅λ‹ˆλ‹€.
04:39
one of the DΓ©cimas that I wrote for this song.
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이 λ…Έλž˜λ₯Ό μœ„ν•΄ μ“΄ λ°μ‹œλ§ˆ 쀑 ν•˜λ‚˜λ₯Όμš”.
운율의 μŒμ•…μ„±μ— μ§‘μ€‘ν•΄λ³΄μ„Έμš”.
04:45
I'm going to ask that you concentrate just on the musicality of the rhymes.
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ν—€λ“œν°μ„ λΌκ³ μžˆλŠ” 뢄듀은
04:50
For those of you with headphones on --
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톡역을 λ“£κ³  μžˆλŠ” κ²ƒμœΌλ‘œ λ³΄μ΄λŠ”λ°
04:52
I see that some of you are listening to the translation --
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04:57
please take them off for a minute.
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μž μ‹œ λ²—μ–΄μ£Όμ‹­μ‹œμ˜€.
04:59
(English) Take your headphones off, it you have them.
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(μ˜μ–΄) ν—€λ“œν°μ„ 끼고 μžˆλ‹€λ©΄ λ²—μ–΄μ£Όμ‹­μ‹œμ˜€.
05:03
(English) Forget about the meaning of the words for a few seconds,
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(μ˜μ–΄) λ‹¨μ–΄μ˜ 의미λ₯Ό μ΄ν•΄ν•˜λŠ” 것에 λŒ€ν•΄μ„œλŠ” μž μ‹œ μžŠμ–΄λ²„λ¦¬μ‹œκ³ 
05:09
(English) and then you'll put them back.
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(μ˜μ–΄) μž μ‹œ 후에 λ‹€μ‹œ λΌμ‹­μ‹œμ˜€.
05:11
(English) Forget about the structure.
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(μ˜μ–΄) ꡬ쑰에 λŒ€ν•΄μ„œ μžŠμ–΄λ²„λ¦¬μ„Έμš”.
05:13
(Spanish) Forget about the structure.
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(μŠ€νŽ˜μΈμ–΄) ꡬ쑰에 λŒ€ν•΄ μžŠμ–΄λ²„λ¦¬μ„Έμš”.
(μ˜μ–΄) κ·Έμ € λ°μ‹œλ§ˆμ˜ μ†Œλ¦¬μ˜ ꡬ쑰에 κ·€λ₯Ό κΈ°μšΈμ΄μ‹­μ‹œμ˜€.
05:15
(English) And just ... it's all about the choreography of sound of the DΓ©cima.
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05:20
(Spanish) A choreography of sound.
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(μŠ€νŽ˜μΈμ–΄) μ†Œλ¦¬μ˜ ꡬ쑰
05:24
(Sings in Spanish) "There is not one death that does not cause me pain,
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(μŠ€νŽ˜μΈμ–΄λ‘œ λ…Έλž˜) "λ‚˜λ₯Ό μ•„ν”„κ²Œ ν•˜μ§€ μ•ŠλŠ” μ£½μŒμ€ ν•˜λ‚˜λ„ μ—†μŠ΅λ‹ˆλ‹€.
05:28
there are no winners,
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μŠΉμžλ„ μ—†μŠ΅λ‹ˆλ‹€.
05:29
here’s nothing but suffering and another life blown away.
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고톡과, λ˜λ‹€λ₯Έ 생λͺ…μ˜ μ’…κ²° λΏμž…λ‹ˆλ‹€.
05:32
War is a terrible school no matter what the disguise,
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μ „μŸμ€ 아무리 μœ„μž₯ν•œλ‹€ν•΄λ„ λ”μ°ν•œ ν•™κ΅μž…λ‹ˆλ‹€.
05:35
forgive me for not enlisting under any flag,
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νŠΉμ • κ΅­κ°€λ₯Ό μ°Έμ—¬μ‹œν‚€μ§€ μ•ŠλŠ” 것을 μš©μ„œν•˜μ‹­μ‹œμ˜€.
05:38
any daydream is worth more than a sad piece of cloth."
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κ·Έ μ–΄λ–€ λͺ½μƒλ„ μŠ¬ν”ˆ μ²œμ‘°κ°λ³΄λ‹€ κ°€μΉ˜μžˆμŠ΅λ‹ˆλ‹€."
이것이 λ°μ‹œλ§ˆμž…λ‹ˆλ‹€.
05:46
That's a DΓ©cima.
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(μ˜μ–΄) 이제 ν—€λ“œν°μ„ 끼셔도 λ©λ‹ˆλ‹€.
05:48
(English) You can put your headphones back on.
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05:50
(Applause)
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(λ°•μˆ˜)
05:51
(English) Thank you.
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(μ˜μ–΄) κ°μ‚¬ν•©λ‹ˆλ‹€.
05:52
(Applause)
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(λ°•μˆ˜)
05:57
I also applaud Vicente Espinel, because here it is 426 years later,
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λΉˆμ„Όν…Œ μ—μŠ€ν”Όλ„¬μ—κ²Œλ„ 경의λ₯Ό ν‘œν•©λ‹ˆλ‹€. μ™œλƒν•˜λ©΄ 426λ…„ 후인
06:00
and the DΓ©cima lives on everywhere
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μ§€κΈˆ λ°μ‹œλ§ˆλŠ” κ·Έ 고유의 ν˜•νƒœλ‘œ
06:02
in its original state.
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μ•„μ§κΉŒμ§€ λͺ¨λ“  곳에 μ‚΄μ•„μžˆκΈ° λ•Œλ¬Έμž…λ‹ˆλ‹€
06:03
I wrote three like that one; you just heard the second.
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λ°©κΈˆκ²ƒκ³Ό 같은 κ±Έ μ„Έ 개 λ§Œλ“€μ—ˆμŠ΅λ‹ˆλ‹€. 방금 λ“€μœΌμ‹ κ±΄ 두 λ²ˆμ§Έμž…λ‹ˆλ‹€.
06:06
I wrote the first one having only recently learned how,
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첫 번째 것은 κ°“ μ–΄λ–»κ²Œ ν•˜λŠ”μ§€λ₯Ό 배웠을 λ•Œ μ°½μ‘°ν•˜μ˜€κ³ 
06:08
and it has some errors in terms of meter,
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κ·Έλž˜μ„œ 길이의 λ©΄μ—μ„œ 였λ₯˜κ°€ μ‘΄μž¬ν•©λ‹ˆλ‹€
κ·Έλž˜μ„œ ν˜„μž¬ μ œμ‹œν•˜κΈ°μ—λŠ” μ ν•©ν•˜μ§€ μ•Šμ£ 
06:11
so it's not presentable in its current state.
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06:13
But the one I sang was good, more or less.
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ν•˜μ§€λ§Œ μ œκ°€ 방금 λΆˆλŸ¬λ“œλ¦° 것은 μ μ ˆν•©λ‹ˆλ‹€.
06:15
So: What was it about?
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κ·Έλž˜μ„œ 무엇에 λŒ€ν•œ λ‚΄μš©μ΄μ—ˆλ‚˜κ³ μš”?
06:19
What was the meaning behind those lines?
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무슨 μ˜λ―Έμ˜€μ„κΉŒμš”?
06:21
I had just returned from doing a concert in Israel,
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μ €λŠ” μ΄μŠ€λΌμ—˜μ—μ„œμ˜ μ½˜μ„œνŠΈλ₯Ό 끝내고 막 λŒμ•„μ™”μ—ˆμŠ΅λ‹ˆλ‹€.
그리고 제 κ³ ν–₯κ³Ό λ°€μ ‘ν•˜κ²Œ κ΄€κ³„λœ μ΄μŠ€λΌμ—˜κ³Ό νŒ”λ ˆμŠ€νƒ€μΈ λΆ„μŸμœΌλ‘œ μ €λŠ”
06:26
and I was very emotional over a problem that hits really close to home,
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06:29
which is the Israeli-Palestinian conflict.
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ꡉμž₯히 감정적인 μƒνƒœμ˜€μŠ΅λ‹ˆλ‹€.
μ œκ°€ μ„€λͺ…ν•˜μ£ , 저희 μ•„λ²„μ§€μ˜ 가쑱은 μœ λŒ€μΈμ΄μ‹œκ³ 
06:32
I'll explain: my dad's family is Jewish,
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저희 μ–΄λ¨Έλ‹ˆμ˜ 가쑱은 무늬만 ν¬λ¦¬μŠ€μ²œμž…λ‹ˆλ‹€.
06:34
and my mom's family are non-practicing Christians.
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μ €λŠ” 두 전톡이 μœ΅ν•©λœ κ°€μ •μ—μ„œ μžλžμŠ΅λ‹ˆλ‹€.
06:37
I was raised in a home where the two traditions lived together
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06:41
more or less in harmony.
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06:44
It wasn't unusual to see my Jewish grandpa dressed as Santa Claus, for example,
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κ°€λ Ή, 제 μœ λŒ€μΈ 할아버지가 산타볡μž₯을 ν•˜λŠ” 것이 μ΄μƒν•˜μ§€ μ•Šμ•˜μŠ΅λ‹ˆλ‹€.
06:48
or to see my non-Jewish grandpa at the synagogue wearing his kippah,
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혹 제 λΉ„μœ λŒ€μΈ 할아버지가 κ°€μ‘±λͺ¨μž„ λ•Œ μœ λŒ€κ΅νšŒλ‹Ήμ— ν‚€νŒŒλ₯Ό
06:51
at family celebrations, wearing the same expression that I probably had
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μž…κ³ κ³„μ‹œκΈ°λ„ ν–ˆμŠ΅λ‹ˆλ‹€. μ‚¬λΉ„λ‚˜κ°€ λͺ‡κ°€μ§€ λ°μ‹œλ§ˆλ₯Ό
06:55
when Sabina told me --
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제게 μŠμ–΄μ€¬μ„ λ•Œμ™€ 같은 ν‘œμ •μœΌλ‘œ
06:56
(Laughter)
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(μ›ƒμŒ)
06:57
that he had some DΓ©cima lines for me.
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μ €λŠ” λ°”λΌλ΄€μ„ν…Œμ£ .
μ΄λŸ¬ν•œ ν™˜κ²½μ—μ„œ μžλž€ μ‚¬λžŒλ“€μ—κ²ŒλŠ”
07:02
For someone raised in that kind of environment,
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07:05
it's especially painful to see the difficulty the opposing parties have
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μƒλŒ€νŽΈλ“€μ΄ 단 μΌμ΄ˆλΌλ„ μ„œλ‘œμ˜ μž…μž₯μ—μ„œ μƒκ°ν•΄λ³΄λŠ” 것을 μ–΄λ €μ›Œν•˜λŠ” 것을
λ³΄λŠ” λͺ¨μŠ΅μ€ λ¬΄μ²™μ΄λ‚˜ κ΄΄λ‘­μŠ΅λ‹ˆλ‹€.
07:11
in putting themselves in the other side's shoes even for a moment.
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07:14
So that's what I wrote about.
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κ·Έλž˜μ„œ κ·Έ λ‚΄μš©μ— λŒ€ν•΄ μ μ—ˆμŠ΅λ‹ˆλ‹€.
07:16
I already had the lyrics,
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이미 κ°€μ‚¬λŠ” μžˆμ—ˆκ³ 
07:17
I had the form -- the DΓ©cima -- and the content.
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λ°μ‹œλ§ˆλΌλŠ” ν˜•νƒœλ„ μžˆμ—ˆκ³  λ‚΄μš©λ„ μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
μŒμ•…μ„ 적어야 ν–ˆμŠ΅λ‹ˆλ‹€.
07:21
I needed to write the music.
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μ—¬λŸ¬λΆ„κ»˜ λ‚΄μš©μ„ μ•Œλ €λ“œλ¦¬κ² μŠ΅λ‹ˆλ‹€.
07:24
I'll give you some context.
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07:25
I had only recently moved from Uruguay, where I'm from, to Spain.
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제 μΆœμ‹ μ§€μΈ μš°λ£¨κ³Όμ΄μ—μ„œ κ°“ 슀페인으둜 μ΄μ£Όν–ˆλ˜ λ•Œμ˜€μŠ΅λ‹ˆλ‹€.
07:30
And I was feeling very raw with nostalgia,
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ꡉμž₯ν•œ ν–₯μˆ˜λ³‘μ„ 느끼고 μžˆμ—ˆμ£ .
κ³ ν–₯μœΌλ‘œλΆ€ν„° λ–¨μ–΄μ ΈμžˆλŠ” λ‹€μˆ˜μ˜ μ—¬λŸ¬λΆ„λ“€μ²˜λŸΌμš”.
07:33
like many of you here, who are away from home.
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μ €λŠ” 제 λ…Έλž˜κ°€ ꡉμž₯히 우루과이적이기λ₯Ό λ°”λžμŠ΅λ‹ˆλ‹€.
07:37
And I wanted my song to be very, very Uruguayan,
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07:40
the most Uruguayan type of song there is -- the milonga.
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κ°€μž₯ 우루과이적인 λ…Έλž˜λŠ” λ°”λ‘œ λ°€λ‘±κ°€μž…λ‹ˆλ‹€.
07:44
So now, I had been studying the DΓ©cima, and after finding out
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ν˜„μž¬, μ €λŠ” λ°μ‹œλ§ˆμ— λŒ€ν•΄ 곡뢀해왔고 λͺ¨λ“  μ‚¬λžŒλ“€μ΄ λ°μ‹œλ§ˆλ₯Ό
07:49
that everyone tried to claim the DΓ©cima as their own,
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μžμ‹ λ“€μ˜ 것이라, 자기 κ΅­κ°€μ˜ 것이라
07:52
that it was invented in their country,
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μ£Όμž₯ν•΄μ˜¨ 것을 κΉ¨λ‹«κ³  λ‚œ ν›„
07:54
it made me wonder:
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μ €λŠ” κ³ λ―Όν–ˆμŠ΅λ‹ˆλ‹€.
07:55
What does it mean when we say the milonga is Uruguayan?
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λ°€λ‘±κ°€κ°€ 우루과이 것이라 ν•  λ•Œ 그것은 무슨 μ˜λ―ΈμΈκ°€?
λ°€λ‘±κ°€λŠ” 저희 μŒμ•…κ°€λ“€μ΄ μ–˜κΈ°ν•˜λŠ” 3-3-2의 리듬 ꡬ쑰λ₯Ό κ°–κ³  μžˆμŠ΅λ‹ˆλ‹€
07:58
The milonga has a rhythmic pattern that we musicians call 3-3-2.
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08:04
(Counts out the beats) One two three, one two three, one two.
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(λΉ„νŠΈλ₯Ό μ„Έλ©°) ν•˜λ‚˜ λ‘˜ μ…‹, ν•˜λ‚˜ λ‘˜ μ…‹, ν•˜λ‚˜ λ‘˜.
08:11
And it has a characteristic emphasis.
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그리고 문자적 κ°•μ„Έλ₯Ό κ°–κ³  있죠.
08:14
(Sings)
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(λ…Έλž˜)
08:22
But this characteristic rhythm pattern
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ν•˜μ§€λ§Œ 이 νŠΉμ§•μ μΈ 리듬 κ΅¬μ‘°λŠ”
08:25
comes from Africa.
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μ•„ν”„λ¦¬μΉ΄μ—μ„œ λΉ„λ‘―λ©λ‹ˆλ‹€.
08:27
In the ninth century you could find it in the brothels of Persia,
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9세기에 페λ₯΄μ‹œμ•„μ˜ μ‚¬μ°½κ°€μ—μ„œ λ°œκ²¬ν•  수 μžˆμŠ΅λ‹ˆλ‹€.
08:30
and in the thirteenth,
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그리고 μŠ€νŽ˜μΈμ—μ„œ
08:33
in Spain, from where, five centuries later,
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5μ„ΈκΈ° 후인 13세기에
아프리카 λ…Έμ˜ˆλ“€κ³Ό ν•¨κ»˜ 미ꡭ으둜 κ±΄λ„ˆμ™”μŠ΅λ‹ˆλ‹€.
08:36
it would cross over to America with the African slaves.
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08:39
Meanwhile, in the Balkans, it encounters the Roma scale --
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κ·Έ 사이, λ°œμΉΈλ°˜λ„μ—μ„œλŠ” 둜마λ₯Ό λ§ˆμ£Όν•˜κ²Œ λ©λ‹ˆλ‹€.
08:44
(Sings)
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(λ…Έλž˜)
08:51
which in part, gives birth to klezmer music,
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μ΄λŠ” ν΄λ ˆμ¦ˆλ©”μ–΄ μŒμ•…μ„ νƒ„μƒμ‹œμΌ°μŠ΅λ‹ˆλ‹€.
이것을 μš°ν¬λΌλ‹ˆμ•„κ³„ μœ λŒ€μΈ μ΄λ―Όμžλ“€μ΄ λ‰΄μš• 브루클린으둜 κ°€μ Έμ™”μ£ .
08:55
which Ukrainian Jewish immigrants bring to Brooklyn, New York.
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08:59
They sing it in their banquet halls.
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그듀은 λ§Œμ°¬μ—μ„œ λ…Έλž˜λ₯Ό λΆˆλ €μŠ΅λ‹ˆλ‹€.
09:02
(Sings "Hava Nagila")
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("ν•˜λ°” λ‚˜κΈΈλΌ" λ…Έλž˜)
09:09
And their neighbor, an Argentine kid of Italian origin
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그리고 κ·Έλ“€μ˜ 이웃인 μ•„μŠ€ν† λ₯΄ ν”Όμ•„μ‘ΈλΌλΌλŠ”
09:12
named Astor Piazzolla,
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μ΄νƒœλ¦¬κ³„ μ•„λ₯΄ν—¨ν‹°λ‚˜ μ•„μ΄λŠ”
09:14
hears it,
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그것을 λ“£κ³ 
09:16
assimilates it
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μœ μ‚¬ν•˜κ²Œ λ³€ν˜•ν•΄
09:18
and transforms the tango of the second half of the 20th century
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20μ„ΈκΈ° ν›„λ°˜μ˜ 탱고λ₯Ό
09:21
with his ...
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그의
09:22
(Counts out the beats) One two three, one two three, one two.
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(λ°•μžλ₯Ό μ„Έλ©°) ν•˜λ‚˜ λ‘˜ μ…‹, ν•˜λ‚˜ λ‘˜ μ…‹, ν•˜λ‚˜ λ‘˜
("μ•„λ””μ˜€μŠ€ λ…Έλ‹ˆλ…Έ" λ…Έλž˜)
09:26
(Sings "Adios Nonino")
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κ·ΈλŠ” 그것을 19μ„ΈκΈ° 독일 악기인 λ°˜λ„λ„€μ˜¨μœΌλ‘œλ„ λΆˆλ €μŠ΅λ‹ˆλ‹€.
09:34
He also played it on his bandoneon, a 19th-century German instrument
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09:38
created for churches that couldn't afford to buy organs,
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μ΄λŠ” 였λ₯΄κ°„을 μ‚΄ 수 μ—†μ—ˆλ˜ κ΅νšŒλ“€μ„ μœ„ν•΄ λ§Œλ“€μ–΄μ‘ŒμŠ΅λ‹ˆλ‹€.
09:42
and that ends up, incredibly, in RΓ­o de la Plata,
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그리고 λ†€λžκ²Œλ„ 리였 데 ν”ŒλΌνƒ€κΉŒμ§€ λ„λ‹¬ν–ˆμŠ΅λ‹ˆλ‹€.
09:45
forming the very essence of the tango and the milonga,
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이것이 탱고와 λ°€λ‘±κ°€λ₯Ό ν˜•μ„±ν•˜λŠ” μ€‘μš”ν•œ 역할을 ν–ˆμŠ΅λ‹ˆλ‹€.
09:49
in the very same way another instrument just as important as the bandoneon did:
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λ°˜λ„λ„€μ˜¨μ²˜λŸΌ λ˜‘κ°™μ΄ 정말 μ€‘μš”ν•œ 역할을 ν•œ μ•…κΈ°μ²˜λŸΌμš”.
09:54
the Spanish guitar.
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λ°”λ‘œ ν΄λž˜μ‹ κΈ°νƒ€μš”.
(λ°•μˆ˜)
09:56
(Applause)
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10:08
To which, by the way, Vicente Espinel, in the 16th century,
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λΉˆμ„Όν…Œ μ—μŠ€ν”Όλ„¬μ΄ 16세기에
10:11
added a sixth string.
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μ—¬μ„― 번째 쀄을 λ”ν–ˆμ£ .
10:12
It's amazing how all these things are coming full circle.
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이것듀이 μ™„λ²½ν•œ 원을 ν˜•μ„±ν•˜λŠ” 것은 무척 κ²½μ΄λ‘­μŠ΅λ‹ˆλ‹€.
10:15
What have I learned in these 15 years since the song was born
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이 λ…Έλž˜κ°€ νƒ„μƒλ˜κ³  15λ…„ λ™μ•ˆ λ§ˆλ“œλ¦¬λ“œμ˜ ν•œ λ°”μ—μ„œ
10:18
from going all over the world with four lines written on a coaster
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μ½”μŠ€ν„°μ— 적은 λ„€ 쀄을 가지고 μ „ 세계λ₯Ό λŒμ•„λ‹€λ‹ˆλ©΄μ„œ
10:21
from a bar in Madrid?
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무엇을 λ°°μ› μ„κΉŒμš”?
10:24
That DΓ©cimas,
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λ°μ‹œλ§ˆ
10:26
the milonga,
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λ°€λ‘±κ°€
10:27
songs, people --
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λ…Έλž˜, μ‚¬λžŒλ“€.
10:30
the closer you get to them,
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κ·Έλ“€κ³Ό 더 κ°€κΉŒμ›Œμ§ˆμˆ˜λ‘
10:32
the more complex their identity becomes,
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κ·Έλ“€μ˜ 정체성은 더 λ³΅μž‘ν•΄μ§‘λ‹ˆλ‹€.
10:35
and the more nuances and details appear.
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그리고 λ”μš± λ§Žμ€ λ‰˜μ•™μŠ€μ™€ ꡬ체성이 λ‚˜νƒ€λ‚˜κ²Œ λ©λ‹ˆλ‹€.
10:38
I learned that identity is infinitely dense,
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μ €λŠ” μ •μ²΄μ„±μ΄λž€ λ¬΄ν•œν•˜κ²Œ λ°€μ§‘λ˜μ–΄ μžˆλ‹€λŠ” 것을 λ°°μ› μŠ΅λ‹ˆλ‹€.
10:41
like an infinite series of real numbers,
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μ‹€μˆ˜μ˜ λ¬΄ν•œν•¨μ²˜λŸΌμš”.
10:44
and that even if you get very close
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그리고 아무리 κ°€κΉŒμ›Œμ§€κ³ 
10:46
and zoom in,
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아무리 μžμ„Ένžˆ 바라본닀해도
10:47
it never ends.
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λλ‚˜μ§€ μ•ŠμŒμ„ λ°°μ› μŠ΅λ‹ˆλ‹€.
10:50
Before I sing you a song and say goodbye,
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μ œκ°€ λ…Έλž˜λ₯Ό ν•˜λ‚˜ λΆ€λ₯΄κ³  μΈμ‚¬ν•˜κΈ° 전에
λ§ˆμ§€λ§‰ μ–˜κΈ°λ₯Ό λ“€λ €λ“œλ¦¬κ³ μž ν•©λ‹ˆλ‹€.
10:55
allow me to tell you one last story.
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10:57
Not long ago, we were in Mexico after a concert.
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μ–Όλ§ˆ 전에, μ €ν¬λŠ” μ½˜μ„œνŠΈ ν›„ λ©•μ‹œμ½”λ₯Ό λ“€λ €μŠ΅λ‹ˆλ‹€.
11:02
And since the concert promoters know me,
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그리고 ν™λ³΄νŒ€λ“€μ΄ μ €λ₯Ό μ•ŒκΈ° λ•Œλ¬Έμ—
11:05
they knew I was a DΓ©cima freak and that everywhere I go I ask about it,
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그듀은 μ œκ°€ λ°μ‹œλ§ˆκ΄‘μ΄κ³  μ–΄λ””λ₯Ό κ°€λ˜ 그에 λŒ€ν•΄ λ¬Όμ–΄λ³Έλ‹€λŠ” 것을 μ•Œμ•˜μŠ΅λ‹ˆλ‹€.
λ°μ‹œλ§ˆ μŒμ•…κ°€λ“€μ— λŒ€ν•΄ λ“£κ³  μ‹Άμ–΄ν•˜λ©΄μ„œμš”.
11:09
insisting on hearing DΓ©cima artists.
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11:10
So they organized a son jarocho show for me at their house.
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κ·Έλž˜μ„œ 그듀은 μžμ‹ λ“€μ˜ μ§‘μ—μ„œ 솑 ν•˜λ‘œμ΅Έ μ‡Όλ₯Ό κΈ°νšν–ˆμŠ΅λ‹ˆλ‹€.
κΈ°μ–΅ν•˜μ‹ λ‹€λ©΄, 솑 ν•˜λ‘œμ΅ΈλŠ” λ°μ‹œλ§ˆλ₯Ό κ·Έλ“€μ˜ μŒμ ˆμ— μ΄μš©ν•˜λŠ”
11:16
If you recall, the son jarocho is one of the styles of music
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11:20
that uses DΓ©cimas in its verses.
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μŒμ•…μ˜ μŠ€νƒ€μΌ 쀑 ν•˜λ‚˜μž…λ‹ˆλ‹€.
11:24
When these amazing musicians finished playing
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이 ꡉμž₯ν•œ μŒμ•…κ°€λ“€μ΄ κ·Έ μ—„μ²­λ‚œ μ—°μ£Όλ₯Ό λ§ˆμ³€μ„ λ•Œ
11:28
what is for me, something amazing, which is the son jarocho,
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이 μ—„μ²­λ‚œ 솑 ν•˜λ‘œμ΅Έ μ—°μ£Όλ₯Ό λ§ˆμ³€μ„ λ•Œ
11:31
they finished playing and were ...
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그듀은 μ—°μ£Όλ₯Ό λ©ˆμΆ”κ³ 
11:32
I went up to greet them, really excited,
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μ €λŠ” ꡉμž₯히 λ“€λ– μ„œ 그듀을 λ§žμ΄ν•˜λŸ¬ κ°”μŠ΅λ‹ˆλ‹€.
11:35
getting ready to thank them for their gift of music,
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κ·Έλ“€μ—κ²Œ μŒμ•…μ΄λΌλŠ” 선물을 μ€€ 것에 λŒ€ν•΄ κ°μ‚¬ν•˜λ €κ³  ν–ˆμŠ΅λ‹ˆλ‹€.
11:39
and this young kid says to me --
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κ·Έ λ•Œ ν•œ μ–΄λ¦° 아이가 제게 λ§ν–ˆμŠ΅λ‹ˆλ‹€.
11:43
and he says it with the best of intentions -- he says,
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κ·ΈλŠ” κ°€μž₯ 쒋은 μ˜λ„λ‘œ ν•œ λ§μ΄μ—ˆμŠ΅λ‹ˆλ‹€.
11:46
"We're very proud, sir, to be keeping alive the purest origins
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"μ €ν¬λŠ” 저희 λ©•μ‹œμ½” μ •μ²΄μ„±μ˜ κ°€μž₯ μˆœκ²°ν•œ ν˜•νƒœλ₯Ό μœ μ§€ν•œ 것에 λŒ€ν•΄
11:53
of our Mexican identity."
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λ¬΄μ²™μ΄λ‚˜ μžλž‘μŠ€λŸ½μŠ΅λ‹ˆλ‹€."
11:56
And to tell you the truth, I didn't really know what to say.
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그리고 μ—¬λŸ¬λΆ„κ»˜ μ†”μ§νžˆ λ§μ”€λ“œλ¦¬μžλ©΄ μ €λŠ” μ–΄μ°Œ λ‹΅ν•΄μ•Ό 할지 λͺ°λžμŠ΅λ‹ˆλ‹€.
11:59
(Laughter)
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(μ›ƒμŒ)
12:00
I stood there looking at him. I gave him a hug and left, but ...
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μ„œμ„œ 아이λ₯Ό λ°”λΌλ΄€μŠ΅λ‹ˆλ‹€. 아이λ₯Ό κ»΄μ•ˆκ³  자리λ₯Ό λ–΄μŠ΅λ‹ˆλ‹€. κ·ΈλŸ¬λ‚˜
12:03
(Laughter)
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(μ›ƒμŒ)
12:04
But he was right, too, though. Right?
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κ·ΈλŠ” μ˜³μ•˜μŠ΅λ‹ˆλ‹€, κ·Έμ΅Έ?
12:06
In reality, the DΓ©cima is its origin, but at the same time,
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ν˜„μ‹€μ—μ„œλŠ” λ°μ‹œλ§ˆκ°€ μ‹œμ΄ˆμ΄μ§€λ§Œ λ™μ‹œμ—
12:09
just like in the milonga and in the DΓ©cima,
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λ°€λ‘±κ°€μ²˜λŸΌ, λ°μ‹œλ§ˆμ—μ„œμ²˜λŸΌ
κ·Έκ°€ λ§ν•œ κ²ƒμ²˜λŸΌ μ „μ—­μ—μ„œ μœ λž˜ν•œ λ§Žμ€ λ¬Έν™”λ‘œλΆ€ν„° 뿌리λ₯Ό κ°–κ³  μžˆμŠ΅λ‹ˆλ‹€.
12:12
are the roots of many more cultures from all over the place, like he said.
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차후에, μ œκ°€ ν˜Έν…”λ‘œ λŒμ•„κ°”μ„ λ•Œ, μ €λŠ” 생각에 μž κ²ΌμŠ΅λ‹ˆλ‹€.
12:18
Later, when I got back to the hotel, I thought about it for a while.
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12:21
And I thought:
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μ œκ°€ μƒκ°ν–ˆμ£ .
12:22
things only look pure
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λ§Žμ€ 것은 λ©€λ¦¬μ„œ 바라볼 λ•Œμ•Όλ§Œ
μˆœκ²°ν•΄ λ³΄μž…λ‹ˆλ‹€.
12:27
if you look at them from far away.
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뿌리λ₯Ό μ•„λŠ” 것은 맀우 μ€‘μš”ν•©λ‹ˆλ‹€.
12:30
It's very important to know about our roots,
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12:33
to know where we come from, to understand our history.
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μžμ‹ μ΄ μ–΄λ””μ„œλΆ€ν„° μ™”λŠ”μ§€ μ•Œκ³ , μžμ‹ μ˜ 역사λ₯Ό μ΄ν•΄ν•˜λŠ” 것이 μ€‘μš”ν•©λ‹ˆλ‹€
12:37
But at the same time, as important as knowing where we're from,
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ν•˜μ§€λ§Œ λ™μ‹œμ— μš°λ¦¬κ°€ μ–΄λ””μ„œλΆ€ν„° μ™”λŠ”μ§€ μ΄ν•΄ν•˜λŠ” 것이 μ€‘μš”ν•œλ§ŒνΌ
12:40
is understanding that deep down,
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정말 κΉŠκ²ŒλŠ” μš°λ¦¬κ°€
μ•„λ¬΄κ³³μ—μ„œ μ˜€μ§€λ„ μ•Šμ•˜μŒμ„ μ•Œμ•„μ•Ό ν•©λ‹ˆλ‹€.
12:44
we're not completely from one place,
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그리고 μ‘°κΈˆμ€ λͺ¨λ“  κ³³μ—μ„œλΆ€ν„° μ™”λ‹€λŠ” κ²ƒμ„μš”.
12:46
and a little from everywhere.
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12:47
Thank you very much.
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κ°μ‚¬ν•©λ‹ˆλ‹€.
12:48
(Applause)
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(λ°•μˆ˜)
12:58
This is "The milonga of the Jewish Moor."
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이 곑은 "μœ λŒ€ λ¬΄μ–΄μΈμ˜ λ°€λ‘±κ°€" μž…λ‹ˆλ‹€.
(μŒμ•…)
13:02
(Music)
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13:14
(Sings)
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(λ…Έλž˜)
13:16
For every wall a lament in Jerusalem the golden
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κΈˆλΉ› μ˜ˆλ£¨μ‚΄λ ˜μ˜ λͺ¨λ“  λ²½μ—λŠ” μ• κ°€κ°€ 있고
13:24
and 1000 wasted lives for every commandment.
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λͺ¨λ“  계λͺ…λ§ˆλ‹€ 100개의 죽은 생λͺ…이 μžˆμŠ΅λ‹ˆλ‹€.
13:31
I am dust in your wind and although I bleed through your wound,
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λ‚˜λŠ” λ‹Ήμ‹ μ˜ λ°”λžŒμ˜ 먼지이고, 비둝 λ‚΄κ°€ λ‹Ήμ‹ μ˜ μƒμ²˜ μ‚¬μ΄λ‘œ ν”Όν˜λ¦¬μ§€λ§Œ
그리고 λͺ¨λ“  μ‚¬λž‘ν•˜λŠ” λŒμ€ λ‚΄ κ°€μž₯ κΉŠμ€ μ‚¬λž‘μ„ κ°€μ‘Œμ§€λ§Œ
13:39
and every beloved stone has my deepest affection,
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13:45
there is not a stone in the world worth more than a human life.
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μ„Έμƒμ˜ μ–΄λ–€ λŒλ„ μΈκ°„μ˜ 생λͺ…보닀 κ°€μΉ˜μžˆμ§€ μ•ŠμœΌλ‹ˆ
13:54
I am a Jewish Moor who lives among Christians
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λ‚˜λŠ” ν¬λ¦¬μŠ€μ²œλ“€ μ‚¬μ΄μ—μ„œ μ‚΄μ•„κ°€λŠ” μœ λŒ€ λ¬΄μ–΄μΈμž…λ‹ˆλ‹€.
14:01
I don't know who my God is, nor who my brothers are.
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λ‚˜λŠ” λ‚˜μ˜ 신이 λˆ„κ΅¬μΈμ§€ λͺ¨λ¦…λ‹ˆλ‹€. λ‚˜μ˜ ν˜•μ œκ°€ λˆ„κ΅¬μΈμ§€ λͺ¨λ¦…λ‹ˆλ‹€.
14:10
I don't know who my God is, nor who my brothers are.
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λ‚˜λŠ” λ‚˜μ˜ 신이 λˆ„κ΅¬μΈμ§€ λͺ¨λ¦…λ‹ˆλ‹€. λ‚˜μ˜ ν˜•μ œκ°€ λˆ„κ΅¬μΈμ§€ λͺ¨λ¦…λ‹ˆλ‹€.
14:19
There is not one death that does not cause me pain, there are no winners
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λ‚˜λ₯Ό μ•„ν”„κ²Œ ν•˜μ§€ μ•ŠλŠ” μ£½μŒμ€ ν•˜λ‚˜λ„ μ—†μŠ΅λ‹ˆλ‹€. μŠΉμžλ„ μ—†μŠ΅λ‹ˆλ‹€.
고톡과, λ˜λ‹€λ₯Έ 생λͺ…μ˜ μ’…κ²° λΏμž…λ‹ˆλ‹€.
14:27
there's nothing but suffering and another life blown away.
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14:34
War is a terrible school no matter what the disguise,
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μ „μŸμ€ 아무리 μœ„μž₯ν•œλ‹€ν•΄λ„ λ”μ°ν•œ ν•™κ΅μž…λ‹ˆλ‹€.
14:41
forgive me for not enlisting under any flag,
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νŠΉμ • κ΅­κ°€λ₯Ό μ°Έμ—¬μ‹œν‚€μ§€ μ•ŠλŠ” 것을 μš©μ„œν•˜μ‹­μ‹œμ˜€.
14:48
any daydream is worth more than a sad piece of cloth.
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κ·Έ μ–΄λ–€ λͺ½μƒλ„ μŠ¬ν”ˆ μ²œμ‘°κ°λ³΄λ‹€ κ°€μΉ˜ μžˆμŠ΅λ‹ˆλ‹€.
λ‚˜λŠ” ν¬λ¦¬μŠ€μ²œλ“€ μ‚¬μ΄μ—μ„œ μ‚΄μ•„κ°€λŠ” μœ λŒ€ λ¬΄μ–΄μΈμž…λ‹ˆλ‹€.
14:57
I am a Jewish Moor who lives among Christians
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15:04
I don't know who my God is, nor who my brothers are.
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λ‚˜λŠ” λ‚˜μ˜ 신이 λˆ„κ΅¬μΈμ§€ λͺ¨λ¦…λ‹ˆλ‹€. λ‚˜μ˜ ν˜•μ œκ°€ λˆ„κ΅¬μΈμ§€ λͺ¨λ¦…λ‹ˆλ‹€.
15:12
I don't know who my God is, nor who my brothers are.
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λ‚˜λŠ” λ‚˜μ˜ 신이 λˆ„κ΅¬μΈμ§€ λͺ¨λ¦…λ‹ˆλ‹€. λ‚˜μ˜ ν˜•μ œκ°€ λˆ„κ΅¬μΈμ§€ λͺ¨λ¦…λ‹ˆλ‹€.
15:25
And nobody has my permission for killing in my name,
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λˆ„κ΅¬λ„ λ‚˜μ˜ μ΄λ¦„μœΌλ‘œ 살인할 수 μ—†κ³ 
인간은 인간일 뿐이고, λ§Œμ•½ 신이 μ‘΄μž¬ν•œλ‹€λ©΄ 이것이 그의 μ†Œμ›μΌ κ²ƒμ΄λ‹ˆ
15:33
a man is but a man and if there is a God, this was his wish,
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15:40
the very ground I tread will live on, once I am gone
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λ‚΄κ°€ λ– λ‚œ ν›„ λ°Ÿμ„ κ·Έ λ•…μž…λ‹ˆλ‹€.
15:47
on my way to oblivion, and all doctrines will suffer the same fate,
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λ‚˜λŠ” 흔적도 없이 μ‚¬λΌμ§ˆ 것이고, λͺ¨λ“  ꡐ리도 같은 운λͺ…을 λ°Ÿμ„ κ²ƒμž…λ‹ˆλ‹€.
κ·Έ μ–΄λ–€ 민쑱도 μžμ‹ λ“€μ΄ μ„ νƒλœ 민쑱이라고 μ£Όμž₯ν•˜μ§€ μ•Šμ€
15:54
and there is not one nation that has not proclaimed itself
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민쑱은 μ—†μŠ΅λ‹ˆλ‹€.
15:59
the chosen people.
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16:03
I am a Jewish Moor who lives among Christians
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λ‚˜λŠ” ν¬λ¦¬μŠ€μ²œλ“€ μ‚¬μ΄μ—μ„œ μ‚΄μ•„κ°€λŠ” μœ λŒ€ λ¬΄μ–΄μΈμž…λ‹ˆλ‹€.
16:10
I don't know who my God is, nor who my brothers are.
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λ‚˜λŠ” λ‚˜μ˜ 신이 λˆ„κ΅¬μΈμ§€ λͺ¨λ¦…λ‹ˆλ‹€. λ‚˜μ˜ ν˜•μ œκ°€ λˆ„κ΅¬μΈμ§€ λͺ¨λ¦…λ‹ˆλ‹€.
λ‚˜λŠ” λ‚˜μ˜ 신이 λˆ„κ΅¬μΈμ§€ λͺ¨λ¦…λ‹ˆλ‹€. λ‚˜μ˜ ν˜•μ œκ°€ λˆ„κ΅¬μΈμ§€ λͺ¨λ¦…λ‹ˆλ‹€.
16:19
I don't know who my God is, nor who my brothers are.
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16:24
I am a Jewish Moor who lives among Christians
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λ‚˜λŠ” ν¬λ¦¬μŠ€μ²œλ“€ μ‚¬μ΄μ—μ„œ μ‚΄μ•„κ°€λŠ” μœ λŒ€ λ¬΄μ–΄μΈμž…λ‹ˆλ‹€.
(λ°•μˆ˜)
16:32
(Applause)
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16:33
Thank you.
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κ°μ‚¬ν•©λ‹ˆλ‹€.
16:34
(Applause)
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(λ°•μˆ˜)
이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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