Ballroom dance that breaks gender roles | Trevor Copp and Jeff Fox

145,386 views ・ 2016-11-04

TED


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

λ²ˆμ—­: Sanghyeob Na κ²€ν† : Sooji Kang
00:18
(Music)
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(μŒμ•…)
01:45
(Applause)
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(λ°•μˆ˜)
01:56
Trevor Copp: When "Dancing With the Stars" first hit the airwaves,
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νŠΈλ ˆλ²„ μΊ…: "λŒ„μ‹± μœ„λ“œ 더 μŠ€νƒ€"κ°€ 처음 κ³΅μ€‘νŒŒλ‘œ λ°©μ†‘λ˜μ—ˆμ„ λ•Œ
01:59
that is not what it looked like.
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이런 μž₯면은 λͺ» 보셨을 κ²λ‹ˆλ‹€.
02:01
(Laughter)
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(μ›ƒμŒ)
02:03
Jeff and I were full-time ballroom dance instructors
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μ‚¬κ΅λŒ„μŠ€κ°€ TV λ°©μ†‘μœΌλ‘œ λ‹€μ‹œ 히트λ₯Ό 치기 μ‹œμž‘ν•  즈음
02:06
when the big TV ballroom revival hit,
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저와 μ œν”„λŠ” ν’€νƒ€μž„ μ‚¬κ΅λŒ„μŠ€ κ°•μ‚¬μ˜€μŠ΅λ‹ˆλ‹€.
02:09
and this was incredible.
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믿을 수 μ—†λŠ” μΌμ΄μ—ˆμ£ .
02:13
I mean, one day we would say "foxtrot,"
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μ–Όλ§ˆ μ „κΉŒμ§€λ§Œ 해도 저희가 "폭슀트둯" ν•˜λ©΄
02:15
and people were like "Foxes trotting."
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μ‚¬λžŒλ“€ λ°˜μ‘μ΄ μ΄λž¬μŠ΅λ‹ˆλ‹€. "μ—¬μš°κ°€ κ±·λŠ”λ‹€κ³ β€¦?"
02:18
(Laughter)
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(μ›ƒμŒ)
02:20
And the next day they were telling us
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그랬던 μ‚¬λžŒλ“€μ΄ κ°‘μžκΈ° 저흴 μ°Ύμ•„μ™€μ„œ
02:22
the finer points of a good feather step.
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νŽ˜λ” μŠ€ν… μž˜ν•˜λŠ” 법을 μ•Œλ €λ‹¬λΌκ³  μ‹œμž‘ν•œ κ±°μ˜ˆμš”.
02:24
And this blew our minds.
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정신쀄 λ†“λŠ” 쀄 μ•Œμ•˜μ–΄μš”.
02:27
I mean, all of the ballroom dance geeking out that we had always done
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저희가 μ•„λŠ” λͺ¨λ“  μ‚¬κ΅λŒ„μŠ€κ°€ κ΄€μ‹¬μ˜ λ„λ§ˆ μœ„μ— 올라
02:32
on why salsa worked differently than the competitive rumba
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살사 μΆ”λŠ” 법은 μ–΄μ§Έμ„œ 격정적인 룸바와 λ‹€λ₯Έμ§€
02:36
and why tango traveled unlike the waltz,
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μ™œ νƒ±κ³ λŠ” μ™ˆμΈ μ™€ λ‹€λ₯΄κ²Œ μ›€μ§μ΄λŠ”μ§€
02:38
all of that just hit the public consciousness,
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λŒ€μ€‘μ΄ 이 λͺ¨λ“  것을 μ˜μ‹ν•˜κΈ° μ‹œμž‘ν•œ κ²ƒμž…λ‹ˆλ‹€.
02:43
and it changed everything.
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λͺ¨λ“  게 λ‹€ λ°”λ€Œμ—ˆμ£ .
02:45
But running parallel to this excitement,
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μ‚¬κ΅λŒ„μŠ€κ°€ κ°‘μžκΈ° μœ ν–‰ν•˜λ©΄μ„œ
02:48
the excitement that suddenly, somehow, we were cool --
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μ–΄μ©Œλ‹€ λ³΄λ‹ˆ 저희도 κ°‘μžκΈ°... λ©‹μžˆλŠ” μ‚¬λžŒλ“€μ΄ λ˜μ—ˆμ–΄μš”.
02:52
(Laughter)
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(μ›ƒμŒ)
02:55
there was also this reservation.
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이런 μ˜κ΅¬μ‹¬λ„ 생겼죠.
02:57
Why this and why now?
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μ™œ μ§€κΈˆ, μ™œ 이제 μ™€μ„œμ•Ό?
03:01
Jeff Fox: When Trevor and I would get together for training seminars
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μ œν”„ 폭슀: νŠΈλ ˆλ²„μ™€ μ €λŠ” ν•¨κ»˜ κ°•μ’Œλ₯Ό μ—΄κ±°λ‚˜
03:04
or just for fun,
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μž₯λ‚œμ‚Όμ•„ 놀 λ•Œ
03:05
we'd toss each other around, mix it up,
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계속 λ¦¬λ“œ μ—­ν• λ§Œ ν•˜μ§€ μ•Šλ„λ‘ μ„œλ‘œμ˜ 역할을 κ΅λŒ€ν•˜κΈ°λ„ ν•©λ‹ˆλ‹€.
03:07
take a break from having to lead all the time.
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03:10
We even came up with a system for switching lead and follow
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μ €ν¬λŠ” 좀을 μΆ”λŠ” λ™μ•ˆ 곡평성을 μ£ΌκΈ° μœ„ν•΄
03:12
while we were dancing,
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λ¦¬λ“œμ™€ νŒ”λ‘œμš° 역할을 λ§žλ°”κΎΈλŠ” μ‹œμŠ€ν…œλ„ λ§Œλ“€μ–΄λƒˆμ§€μš”.
03:14
as a way of taking turns and playing fair.
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03:16
It wasn't until we used that system as part of a performance
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이 μ‹œμŠ€ν…œμ„ μ†Œκ·œλͺ¨ νŽ˜μŠ€ν‹°λ²Œμ—μ„œ 선보인 λ’€
03:19
in a small festival
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03:20
that we got an important tap on the shoulder.
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μ €ν¬λŠ” μ€‘μš”ν•œ 사싀을 μ•Œκ²Œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
03:22
Lisa O'Connell, a dramaturge and director of a playwright center,
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각본가 ν˜‘νšŒ μ΄μ‚¬μ΄μž κ·Ήμž‘κ°€μΈ 리사 μ˜€μ½”λ„¬μ”¨κ°€
03:25
pulled us aside after the show and said,
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곡연이 λλ‚œ λ’€ μ €ν¬μ—κ²Œ 이런 말씀을 ν•˜μ…¨κ±°λ“ μš”.
03:28
"Do you have any idea how political that was?"
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"방금 κ·Έ 곡연이 μ–Όλ§ˆλ‚˜ μ •μΉ˜μ μ΄μ—ˆλŠ”μ§€ μ•„μ‹œμ£ ?"
03:30
(Laughter)
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(μ›ƒμŒ)
03:32
So that began an eight-year collaboration to create a play
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8λ…„ κ°„μ˜ κ³΅λ™μž‘μ—…μ΄ κ·Έλ ‡κ²Œ μ‹œμž‘λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
03:35
which not only further developed our system for switching
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μ„œλ‘œ 역할을 λ§žλ°”κΎΈλŠ” μ‹œμŠ€ν…œμ„ λ”μš± λ°œμ „μ‹œμΌ°μ„ 뿐만 μ•„λ‹ˆλΌ
03:38
but also explored the impact of being locked into a single role,
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ν•œ 가지 μ—­ν• λ§Œ κ³ μˆ˜ν–ˆμ„ λ•Œ μΌμ–΄λ‚˜λŠ” 영ν–₯을 μ‚΄νŽ΄λ³΄μ•˜μ§€μš”.
03:42
and what's worse,
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더 λ‚˜μ•„κ°€μ„œ
03:43
being defined by that single role.
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ν•œ 가지 μ—­ν• λ‘œλ§Œ μ •μ˜λ˜λŠ” ν˜„μƒλ„μš”.
03:45
TC: Because, of course,
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TC : λ¬Όλ‘ , λ‹Ήμ—°ν•˜κ²Œλ„
03:47
classic Latin and ballroom dancing isn't just a system of dancing;
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ν΄λž˜μ‹ 라틴과 μ‚¬κ΅λŒ„μŠ€λŠ” 단지 κ·Έλƒ₯ μΆ”λŠ” 좀이 μ•„λ‹™λ‹ˆλ‹€.
03:52
it's a way of thinking, of being,
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κ·Έκ°„ μ–΅λ₯˜λœ κ°€μΉ˜λ‘œλΆ€ν„° λ²—μ–΄λ‚˜
03:55
of relating to each other
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μƒλŒ€μ™€ μƒκ°ν•˜κ³ , μ„œλ‘œλ₯Ό μœ„ν•˜κ³ 
03:57
that captured a whole period's values.
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ꡐλ₯˜ν•˜λŠ” μˆ˜λ‹¨μ΄μ§€μš”.
04:00
There's one thing that stayed consistent, though:
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κ·ΈλŸ¬λ‚˜ μΌκ΄€λ˜κ²Œλ„ λ³€ν•˜μ§€ μ•Šμ€ 것이 μžˆμŠ΅λ‹ˆλ‹€.
04:02
the man leads
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λ‚¨μžκ°€ 이끌고
04:04
and the woman follows.
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μ—¬μžλŠ” λ”°λ₯Έλ‹€λŠ” κ±°μ£ .
04:06
So street salsa, championship tango, it's all the same --
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λŒ€μ€‘ 살사, μ„ μˆ˜κΆŒ 탱고 λ‹€ λ˜‘κ°™μŠ΅λ‹ˆλ‹€.
04:08
he leads, she follows.
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λ‚¨μžκ°€ 이끌고, μ—¬μžλŠ” λ”°λ₯΄μ£ .
04:11
So this was gender training.
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성별에 따라 ν›ˆλ ¨ν•˜λŠ” κ²λ‹ˆλ‹€.
04:13
You weren't just learning to dance --
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μ—¬λŸ¬λΆ„μ€ 단지 좀을 λ°°μš°λŠ” 게 μ•„λ‹ˆλΌ
04:15
you were learning to "man" and to "woman."
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"λ‚¨μž" μ—­ν• , "μ—¬μž" 역할을 배우고 μžˆμ—ˆλ˜ κ±°μ˜ˆμš”.
04:19
It's a relic.
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κ΅¬μ‹œλŒ€μ μ΄μ£ .
04:21
And in the way of relics, you don't throw it out,
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κ΅¬μ‹œλŒ€μ μ΄λΌκ³  ν•΄μ„œ κ·Έκ±Έ 버릴 ν•„μš”λŠ” μ—†μ§€λ§Œ
04:23
but you need to know that this is the past.
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κ³Όκ±° λ°©μ‹μ΄λΌλŠ” 것은 μ•„μ…”μ•Ό ν•©λ‹ˆλ‹€.
04:26
This isn't the present.
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μ§€κΈˆμ€ 그렇지 μ•Šμ•„μš”.
04:28
It's like Shakespeare: respect it, revive it -- great!
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μ…°μ΅μŠ€ν”Όμ–΄ κ°™μ£ . μ‘΄μ€‘ν•˜κ³ , λΆ€ν₯ν•˜λΌ. μ’‹μ•„μš”!
04:31
But know that this is history.
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ν•˜μ§€λ§Œ 그런 μ‹œλŒ€λŠ” λλ‚¬λ‹€λŠ” κ±Έ μ•Œμ•„μ•Όμ£ .
04:33
This doesn't represent how we think today.
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μ…°μ΅μŠ€ν”Όμ–΄κ°€ μ˜€λŠ˜λ‚  우리λ₯Ό λŒ€λ³€ν•΄μ£Όμ§„ λͺ»ν•©λ‹ˆλ‹€.
04:37
So we asked ourselves:
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κ·Έλž˜μ„œ μžλ¬Έν–ˆμ£ .
04:38
If you strip it all down,
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μ „λΆ€ λ‹€ μ œμ³λ‘κ³  λ³Έλ‹€λ©΄
04:40
what is at the core of partner dancing?
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μ‚¬κ΅λŒ„μŠ€μ˜ 핡심은 λ¬΄μ—‡μΌκΉŒ?
04:44
JF: Well, the core principle of partner dancing
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JF : μ‚¬κ΅λŒ„μŠ€μ˜ 원칙적인 핡심은
04:46
is that one person leads, the other one follows.
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ν•œ μ‚¬λžŒμ΄ 이끌고 ν•œ μ‚¬λžŒμ€ λ”°λ₯Έλ‹€λŠ” κ±°μ£ .
04:49
The machine works the same, regardless of who's playing which role.
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λˆ„κ°€ μ–΄λ–€ 역할을 ν•˜λ”λΌλ„ 좀을 좜 수 μžˆμŠ΅λ‹ˆλ‹€.
04:52
The physics of movement doesn't really give a crap about your gender.
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물리법칙은 성별 같은 건 κ°œλΏ”λ„ μ‹ κ²½ μ•ˆ μ“°κ±°λ“ μš”.
04:55
(Laughter)
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(μ›ƒμŒ)
04:56
So if we were to update the existing form,
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기쑴의 μΆ€ ꡬ쑰λ₯Ό λ°œμ „μ‹œν‚€λ €λ©΄
04:58
we would need to make it more representative
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μ˜€λŠ˜λ‚  우리의 μƒν˜Έμž‘μš©μ„ λŒ€ν‘œν•  수 μžˆμ–΄μ•Ό ν–ˆμŠ΅λ‹ˆλ‹€.
05:00
of how we interact here, now, in 2015.
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2015λ…„ κΈ°μ€€μœΌλ‘œ 말이죠.
05:04
When you watch ballroom, don't just watch what's there.
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λ¬΄λ„νšŒμž₯을 λ³Ό λ•Œ, λ³΄μ΄λŠ” κ²ƒλ§Œ 찾지 λ§ˆμ„Έμš”.
05:07
Watch what's not.
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μ—†λŠ” κ±Έ μ°Ύμ•„ λ³΄μ„Έμš”.
05:09
The couple is always only a man and a woman.
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μ»€ν”Œμ€ μ–Έμ œλ‚˜ λ‚¨μžμ™€ μ—¬μžμž…λ‹ˆλ‹€.
05:12
Together.
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λ‘˜μ΄ κ°™μ΄μš”.
05:13
Only.
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μ–Έμ œλ‚˜.
05:14
Ever.
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항상 κ·Έλ ‡μ£ .
05:15
So, same-sex and gender nonconformist couples just disappear.
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ν‹€μ—μ„œ λ²—μ–΄λ‚œ 동성 μ»€ν”Œμ€ μ „ν˜€ μ°Ύμ•„ λ³Ό 수 μ—†μŠ΅λ‹ˆλ‹€.
05:19
In most mainstream international ballroom competitions,
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ꡭ제적인 μ‚¬κ΅λŒ„μŠ€ λŒ€νšŒμ—μ„œλ„
05:22
same-sex couples are rarely recognized on the floor,
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동성 μ»€ν”Œμ€ ꡉμž₯히 λ“œλ¬Όμ§€μš”.
05:25
and in many cases,
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λŒ€λΆ€λΆ„μ˜ λŒ€νšŒλŠ”
05:26
the rules prohibit them completely.
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동성 μ»€ν”Œ μ°Έκ°€ μžμ²΄κ°€ λΆˆκ°€λŠ₯ν•˜μ£ .
05:28
TC: Try this: Google-image, "professional Latin dancer,"
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TC : "라틴 λŒ„μŠ€ μ „λ¬Έκ°€" 이미지λ₯Ό κ΅¬κΈ€λ‘œ κ²€μƒ‰ν•΄λ³΄μ„Έμš”.
05:33
and then look for an actual Latino person.
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κ±°κΈ°μ„œ μ‹€μ œ 라틴 μ‚¬λžŒμ„ μ°Ύμ•„λ³΄μ„Έμš”.
05:35
(Laughter)
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(μ›ƒμŒ)
05:37
You'll be there for days.
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며칠은 μ°Ύμ•„μ•Ό ν•  κ²λ‹ˆλ‹€.
05:39
What you will get is page after page of white, straight Russian couples
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νŽ˜μ΄μ§€λ₯Ό λ„˜κΈΈ λ•Œλ§ˆλ‹€ νƒœλ‹ν•˜κ³  μ—Όμƒ‰ν•œ
05:43
spray-tanned to the point of mahogany.
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λŸ¬μ‹œμ•„μΈ μ»€ν”Œλ§Œ 보일 ν…Œλ‹ˆκΉŒμš”.
05:45
(Laughter)
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(μ›ƒμŒ)
05:47
There are no black people, there are no Asians,
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흑인도, μ•„μ‹œμ•„μΈλ„ μ—†κ³ 
05:49
no mixed-race couples,
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혼혈 μ»€ν”Œλ„ μ—†μŠ΅λ‹ˆλ‹€.
05:50
so basically, non-white people just disappeared.
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백인 λ§κ³ λŠ” 아무도 μ—†μ–΄μš”.
05:54
Even within the white-straight- couple-only paradigm --
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심지어 백인 μ»€ν”Œμ΄λΌλŠ” ν‹€ μ•ˆμ—μ„œλ„
06:00
she can't be taller,
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μ—¬μžλŠ” ν‚€κ°€ 더 크면 μ•ˆ 되고
06:01
he can't be shorter.
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λ‚¨μžλŠ” 더 μž‘μœΌλ©΄ μ•ˆ λ˜μš”.
06:02
She can't be bolder,
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μ—¬μžκ°€ λŒ€λ‹΄ν•΄λ„ μ•ˆ 되고
06:05
he can't be gentler.
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λ‚¨μžλŠ” μ‘°μ‹ ν•˜λ©΄ μ•ˆ 되죠.
06:07
If you were to take a ballroom dance
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λ§Œμ•½ μ—¬λŸ¬λΆ„μ΄ μ‚¬κ΅λŒ„μŠ€λ₯Ό
06:09
and translate that into a conversation
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λŒ€μ‚¬λ‘œ λ°”κΎΈμ–΄μ„œ
06:11
and drop that into a movie,
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μ˜ν™”μ— μ§‘μ–΄λ„£λŠ”λ‹€λ©΄,
06:13
we, as a culture, would never stand for this.
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μš°λ¦¬λŠ” κ·Έ μ˜ν™”λ₯Ό 보고 κ²¬λ”œ μˆ˜κ°€ 없을 κ²λ‹ˆλ‹€.
06:16
He dictates, she reacts.
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λ‚¨μžλŠ” λ…μž¬ν•˜κ³  μ—¬μžλŠ” κ³ λΆ„ν•˜λ‹ˆκΉŒμš”.
06:20
No relationship -- gay, straight or anything --
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이성애든 동성애든 상관없이
06:23
that we would regard as remotely healthy or functional looks like that,
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λˆ„κ°€ 봐도 λΉ„κ±΄μ „ν•˜κ³  κΈ°λŠ₯적이지 λͺ»ν•œ 이 관계가
06:28
and yet somehow,
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μ–΄μ°Œλœ μ˜λ¬ΈμΈμ§€
06:29
you put it on prime time, you slap some makeup on it,
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메이크업 μ’€ μž…νžˆκ³  반짝이 μ’€ 뿌리고
06:32
throw the glitter on, put it out there as movement, not as text,
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ν™©κΈˆ μ‹œκ°„λŒ€μ— λ°©μ†‘ν•΄μ„œ λŒ€μ‚¬κ°€ μ•„λ‹Œ λ™μž‘μœΌλ‘œ 보여주면
06:36
and we, as a culture,
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μš°λ¦¬λŠ” κ·Έ 방솑을 λ³΄λ©΄μ„œ
06:38
tune in and clap.
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ν™˜ν˜Έν•©λ‹ˆλ‹€.
06:41
We are applauding our own absence.
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우리의 결점을 λ³΄λ©΄μ„œ λ°•μˆ˜λ₯Ό μ³μš”.
06:46
Too many people have disappeared from partner dancing.
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μ‚¬κ΅λŒ„μŠ€μ—μ„œλŠ” λ„ˆλ¬΄ λ§Žμ€ μ‚¬λžŒλ“€μ΄ λ¬΄μ‹œλ˜κ³  μžˆμŠ΅λ‹ˆλ‹€.
06:50
(Music)
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(μŒμ•…)
07:34
(Applause)
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(λ°•μˆ˜)
07:40
JF: Now, you just saw two men dancing together.
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JF :μ§€κΈˆ, μ—¬λŸ¬λΆ„μ€ 두 λ‚¨μžκ°€ 같이 μΆ€ μΆ”λŠ” λͺ¨μŠ΅μ„ λ³΄μ…¨μŠ΅λ‹ˆλ‹€.
07:43
(Laughter)
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(μ›ƒμŒ)
07:44
And you thought it looked ...
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μ•„λ§ˆ λ³΄λ©΄μ„œ
07:46
a little strange.
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쑰금 μ΄μƒν–ˆμ„ κ±°μ˜ˆμš”.
07:48
Interesting -- appealing, even --
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재미있고, ν₯λ―Έλ‘œμšΈμ§€λŠ” λͺ°λΌλ„
07:50
but a little bit odd.
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λ­”κ°€ 어색해 보이죠.
07:52
Even avid followers of the same-sex ballroom circuit can attest
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심지어 동성 μ»€ν”Œ μ‚¬κ΅λŒ„μŠ€λ₯Ό μ—΄λ ¬νžˆ μ§€μ§€ν•˜λŠ” 뢄듀쑰차도
07:55
that while same-sex partner dancing can be dynamic and strong and exciting,
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동성 μ»€ν”Œμ˜ μΆ€μΆ”λŠ” λͺ¨μŠ΅μ΄ 역동적이고 κ°•λ ¬ν•˜κ³  μ‹ λ‚˜κΈ΄ ν•˜μ§€λ§Œ
07:59
it just doesn't quite seem to fit.
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μ•ˆ μ–΄μšΈλ¦°λ‹€κ³  μƒκ°ν•˜κ³€ ν•©λ‹ˆλ‹€.
08:02
Aesthetically speaking,
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μ‹¬λ―Έν•™μ μœΌλ‘œ 봀을 λ•Œ
08:03
if Alida and I take the classic closed ballroom hold ...
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λ§Œμ•½ 저와 에이닀가 같이 ν΄λž˜μ‹ν•œ μΆ€ λ™μž‘μ„ ν•˜λ©΄
08:09
this is considered beautiful.
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아름닡닀고 μ—¬κ²¨μ§ˆ κ²λ‹ˆλ‹€.
08:14
(Laughter)
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(μ›ƒμŒ)
08:16
But why not this?
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근데 μ™œ 이건 μ•ˆ 되죠?
08:17
(Laughter)
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(μ›ƒμŒ)
08:19
See, the standard image that the leader must be larger and masculine
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λ³΄μ‹œλ‹€μ‹œν”Ό, μ΄λ„λŠ” 역할은 크고 남성적이어야 ν•˜κ³ 
08:23
and the follower smaller and feminine --
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λ”°λ₯΄λŠ” 역할은 μ™œμ†Œν•˜κ³  여성적이어야 ν•˜μ£ .
08:25
this is a stumbling point.
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그건 μ„ μž…κ²¬μž…λ‹ˆλ‹€.
08:27
TC: So we wanted to look at this from a totally different angle.
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TC : μ €ν¬λŠ” 이 νŽΈκ²¬μ„ λ‹€λ₯΄κ²Œ λ°›μ•„λ“€μ΄κΈ°λ‘œ ν–ˆμ–΄μš”.
08:33
So, what if we could keep the idea of lead and follow
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μ΄λ„λŠ” μ—­ν• κ³Ό λ”°λ₯΄λŠ” μ—­ν• μ˜ κ°œλ…μ€ κ·ΈλŒ€λ‘œ μœ μ§€ν•˜λ˜
08:37
but toss the idea that this was connected to gender?
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κ·Έ μ—­ν• μ˜ κ°œλ…μ„ 성별 κ΄€μ μ—μ„œ 바라본닀면 μ–΄λ–»κ²Œ λ κΉŒμš”?
08:40
Further, what if a couple could lead and follow each other
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더 λ‚˜μ•„κ°€, ν•œ μ»€ν”Œ μ•ˆμ—μ„œ 이끌고 λ”°λ₯΄λŠ” 역할을 ν•˜λ‹€κ°€
08:45
and then switch?
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μ„œλ‘œ 역할을 λ°”κΎΌλ‹€λ©΄μš”?
08:47
And then switch back?
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또 μ›λž˜λŒ€λ‘œ λ°”κΎΌλ‹€λ©΄μš”?
08:49
What if it could be like a conversation,
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λŒ€ν™”ν•˜λ“―μ΄ 좀을 μΆ˜λ‹€λ©΄ μ–΄λ–¨κΉŒμš”?
08:52
taking turns listening and speaking, just like we do in life?
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μ˜€λŠ˜λ‚  μš°λ¦¬κ°€ λ²ˆκ°ˆμ•„κ°€λ©° 이야기λ₯Ό λ“£κ³  λ§ν•˜λ“―μ΄ 말이죠.
08:56
What if we could dance like that?
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그런 μ‹μœΌλ‘œ 좀을 좜 수 μžˆλ‹€λ©΄ μ–΄λ–¨κΉŒμš”?
09:00
We call it "Liquid Lead Dancing."
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μš°λ¦¬λŠ” "μœ λ™μ  λ¦¬λ“œ λŒ„μ‹±"이라 이름 λΆ™μ˜€μŠ΅λ‹ˆλ‹€.
09:04
JF: Let's try this with a Latin dance,
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JF : 라틴 λŒ„μŠ€λ‘œ λ³΄μ—¬λ“œλ¦¬μ£ .
09:07
salsa.
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μ‚΄μ‚¬μž…λ‹ˆλ‹€.
09:08
In salsa, there's a key transitional step, called the cross-body lead.
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μ‚΄μ‚¬μ—λŠ” "크둜슀 λ°”λ”” λ¦¬λ“œ"λΌλŠ” 전톡적인 핡심 μŠ€ν…μ΄ μžˆμŠ΅λ‹ˆλ‹€.
09:12
We use it as punctuation to break up the improvisation.
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즉ν₯적 λ™μž‘μ„ λ§ˆλ¬΄λ¦¬ν•  λ•Œ ν™œμš©ν•˜μ£ .
09:14
It can be a little tricky to spot if you're not used to looking for it,
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λˆˆμ—¬κ²¨λ³΄μ§€ μ•ŠμœΌλ©΄ λ°œκ²¬ν•˜κΈ° μ–΄λ €μš΄ λ™μž‘μž…λ‹ˆλ‹€.
ν•œ 번 λ³΄μ‹œμ£ .
09:18
so here it is.
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09:25
One more time for the cheap seats.
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싸ꡬ렀 μ’Œμ„μ˜ 관객을 μœ„ν•΄ ν•œ 번 λ”μš”.
09:26
(Laughter)
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(μ›ƒμŒ)
09:32
And here's the action one more time,
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λ§ˆμ§€λ§‰μœΌλ‘œ ν•œ 번 λ”μš”.
09:34
nice and slow.
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천천히 가보죠.
09:40
Now, if we apply liquid-lead thinking to this transitional step,
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이제 μœ λ™μ  λ¦¬λ“œ κ°œλ…μ„ 전톡적인 λ™μž‘μ— λ„μž…ν•˜λ©΄
09:44
the cross-body lead becomes a point
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이 크둜슀 λ°”λ”” λ¦¬λ“œ λ™μž‘μ—μ„œ
09:46
where the lead and the follow can switch.
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역할을 λ°”κΏ€ 수 있게 λ©λ‹ˆλ‹€.
09:48
The person following can elect to take over the lead,
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λ”°λ₯΄λŠ” 역할을 ν•˜λ˜ μ‚¬λžŒμ€ 좀을 μ΄λ„λŠ” 역할을 λ„˜κ²¨ λ°›κ³ 
09:51
or the person leading can choose to surrender it,
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좀을 이끌던 μ‚¬λžŒμ€ λ”°λ₯΄λŠ” 역할이 λ˜λŠ” κ±°μ£ .
09:53
essentially making it a counter-cross-body lead.
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μ„œλ‘œμ˜ μ—­ν•  κ΅ν™˜μ΄ μ΄λ£¨μ–΄μ§€λŠ” κ²λ‹ˆλ‹€.
09:56
Here's how that looks in slow motion.
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느린 λ™μž‘μœΌλ‘œ λ³΄μ‹œμ£ .
10:05
And here's how it looked when we danced it in the opening dance.
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κ°•μ—° μ‹œμž‘ λ•Œ 좘 좀을 μΆ”λ©΄ 이런 λͺ¨μŠ΅μ΄μ£ .
10:14
With this simple tweak, the dance moves from being a dictation
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이런 μž‘μ€ λ³€ν™”λ‘œ λ…μž¬μ μ΄μ—ˆλ˜ 좀은
10:18
to a negotiation.
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ν˜‘μƒμ΄ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
10:19
Anyone can lead. Anyone can follow.
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λˆ„κ΅¬λ“  이끌 수 있고 λˆ„κ΅¬λ“  λ”°λ₯Ό 수 있죠.
10:22
And more importantly, you can change your mind.
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무엇보닀 μ€‘μš”ν•œ 점은 도쀑에 역할을 λ°”κΏ€ 수 μžˆλ‹€λŠ” μ μž…λ‹ˆλ‹€.
10:25
Now, this is only one example of how this applies,
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μ§€κΈˆ λ³΄μ—¬λ“œλ¦° 건 ν•˜λ‚˜μ˜ μ˜ˆμ‹œμ— λΆˆκ³Όν•˜μ§€λ§Œ
10:27
but once the blinkers come off, anything can happen.
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넓은 μ•ˆλͺ©μœΌλ‘œ λ³Έλ‹€λ©΄ 무엇이든 κ°€λŠ₯ν•©λ‹ˆλ‹€.
10:31
TC: Let's look at how Liquid Lead thinking could apply to a classic waltz.
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TC : μœ λ™μ  λ¦¬λ“œ κ°œλ…μ„ ν΄λž˜μ‹ μ™ˆμΈ μ— μ μš©ν•΄λ³΄μ£ .
10:36
Because, of course,
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λ‹Ήμ—°ν•œ κ±°μ§€λ§Œ
10:37
it isn't just a system of switching leads;
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이 μ‹œμŠ€ν…œμ€ 단지 μ—­ν• λ§Œ λ°”κΎΈλŠ” 게 μ•„λ‹ˆλΌ
10:40
it's a way of thinking
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μΆ€ 자체λ₯Ό
10:41
that can actually make the dance itself more efficient.
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더 효율적으둜 λ§Œλ“€μ–΄μ€λ‹ˆλ‹€.
10:44
So: the waltz.
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μ™ˆμΈ μ˜ 경우λ₯Ό λ³ΌκΉŒμš”.
10:46
The waltz is a turning dance.
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μ™ˆμΈ λŠ” νšŒμ „ν•˜λŠ” μΆ€μž…λ‹ˆλ‹€.
10:48
This means that for the lead,
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λ‹€μ‹œ 말해, μ΄λ„λŠ” μ‚¬λžŒμ€
10:50
you spend half of the dance traveling backwards,
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μΆ€μΆ”λŠ” λ™μ•ˆ λ°˜μ ˆμ€ λ’€λ₯Ό μ „ν˜€ λͺ» λ³΄λŠ” μƒνƒœλ‘œ
10:53
completely blind.
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λ’·κ±ΈμŒμœΌλ‘œ 이동해야 ν•˜μ£ .
10:55
And because of the follower's position,
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λ”°λ₯΄λŠ” μ‚¬λžŒμ˜ μžμ„Έλ„ κ·Έλ ‡κ³ 
10:57
basically, no one can see where they're going.
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λˆ„κ΅¬λ„ 좀이 μ–΄λŠ λ°©ν–₯으둜 ν–₯ν•˜λŠ”μ§€ μ•Œμ§€ λͺ»ν•©λ‹ˆλ‹€.
11:00
(Laughter)
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(μ›ƒμŒ)
11:02
So you're out here on the floor,
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μ—¬λŸ¬λΆ„μ΄ μ—¬κΈ° μ„œμ„œ
11:04
and then imagine that coming right at you.
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이 상황과 맞λ‹₯λœ¨λ¦°λ‹€ μƒκ°ν•΄λ³΄μ„Έμš”.
11:06
JF: Raaaaaah!
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JF : μœΌμ–΄μ–΄μ–΄μ–΄
11:08
(Laughter)
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(μ›ƒμŒ)
11:09
TC: There are actually a lot of accidents out there
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TC : μ‹€μ œλ‘œ 좀을 μΆ”λ‹€ 보면 사고가 많이 μΌμ–΄λ‚©λ‹ˆλ‹€.
11:13
that happen as a result of this blind spot.
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μ‚¬κ°μ§€λŒ€ λ•Œλ¬Έμ΄μ£ .
11:16
But what if the partners were to just allow for
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λ§Œμ•½ νŒŒνŠΈλ„ˆλ“€μ΄ μ„œλ‘œμ˜ 역할을
11:19
a switch of posture for a moment?
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μž κΉμ”© λ°”κΏ€ 수 μžˆλ‹€λ©΄ μ–΄λ–¨κΉŒμš”?
11:21
A lot of accidents could be avoided.
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λ§Žμ€ 사고λ₯Ό ν”Όν•  수 μžˆμ„ κ±°μ˜ˆμš”.
11:24
Even if one person led the whole dance but allowed this switch to happen,
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μΆ€ 전체λ₯Ό ν•œ μ‚¬λžŒμ΄ μ΄λŒλ”λΌλ„ μž κΉμ”© μžμ„Έλ§Œ λ²ˆκ°ˆμ•„ λ°”κΎΌλ‹€λ©΄
11:29
it would be a lot safer,
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훨씬 더 μ•ˆμ „ν•  κ±°μ˜ˆμš”.
11:30
while at the same time, offering new aesthetics into the waltz.
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κ²‰μœΌλ‘œ 보기에도 더 쒋을 ν…Œκ³ μš”.
11:34
Because physics doesn't give a damn about your gender.
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물리법칙은 성별 λ”°μœ„ κ°œλΏ”λ„ μ‹ κ²½ μ•ˆ μ“°λ‹ˆκΉŒμš”.
11:37
(Laughter)
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(μ›ƒμŒ)
11:40
JF: Now, we've danced Liquid Lead in clubs, convention centers
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JF : μ €ν¬λŠ” μœ λ™μ  λ¦¬λ“œ λŒ„μŠ€λ₯Ό 클럽과 κ²½μ—°λŒ€νšŒμ—μ„œ μ„ λ³΄μ˜€μŠ΅λ‹ˆλ‹€.
11:43
and as part of "First Dance," the play we created with Lisa,
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특히 리사와 ν•¨κ»˜ λ§Œλ“  "퍼슀트 λŒ„μŠ€"λŠ”
11:46
on stages in North America and in Europe.
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뢁미와 유럽 κ³³κ³³μ—μ„œ κ³΅μ—°λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
11:48
And it never fails to engage.
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κ·Έ λ•Œλ§ˆλ‹€ μ‹œμ„ μ„ μ‚¬λ‘œμž‘μ•˜μ£ .
11:50
I mean, beyond the unusual sight of seeing two men dancing together,
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λ‚¨μž λ‘˜μ΄ 좀을 μΆ”λŠ” λͺ¨μŠ΅μ΄ νŠΉμ΄ν•΄ λ³΄μ΄λŠ” 건 λ‘˜μ§ΈμΉ˜κ³ 
11:54
it always evokes and engages.
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늘 관심과 ν˜ΈκΈ°μ‹¬μ„ 뢈러 μΌμœΌμΌ°μŠ΅λ‹ˆλ‹€.
11:57
But why?
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μ™œμΌκΉŒμš”?
11:58
The secret lies in what made Lisa see our initial demonstration
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비밀은 저희가 λ³΄μ—¬λ“œλ¦° μ‹œμ—°μ΄
12:01
as "political."
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"μ •μΉ˜μ "μ΄μ—ˆκΈ° λ•Œλ¬Έμž…λ‹ˆλ‹€.
12:02
It wasn't just that we were switching lead and follow;
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μ—­ν•  κ΅ν™˜μ΄ μ „λΆ€κ°€ μ•„λ‹ˆμ—μš”.
12:05
it's that we stayed consistent in our presence, our personality
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각 κ°œμΈμ€ 맑은 역할이 무엇인지와 λ¬΄κ΄€ν•˜κ²Œ
12:08
and our power, regardless of which role we were playing.
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각자의 인격과 정체성을 λ°˜μ˜ν•©λ‹ˆλ‹€.
12:11
We were still us.
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μš°λ¦¬λŠ” μ—¬μ „νžˆ 우리인 κ±°μ£ .
12:13
And that's where the true freedom lies --
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이 좀의 μ§„μ •ν•œ μžμœ λŠ”
12:15
not just the freedom to switch roles,
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역할을 λ°”κΎΈλŠ” 게 μ•„λ‹ˆλΌ
12:17
but the freedom from being defined by whichever role you're playing,
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λ‚˜ μžμ‹ μ΄ 될 수 μžˆλŠ” 역할을 맑아
12:21
the freedom to always remain true to yourself.
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λ‚˜λ‹€μš΄ 좀을 좜 수 μžˆλ‹€λŠ” κ²λ‹ˆλ‹€.
12:24
Forget what a lead is supposed to look like, or a follow.
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이끌고 λ”°λ₯΄λŠ” μ›λž˜ 역할이 μ–΄λ•Œμ•Ό ν•˜λŠ” 건지 μžŠμ–΄λ²„λ¦¬λŠ” κ±°μ£ .
12:27
Be a masculine follow
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λ‚¨μ„±μ μœΌλ‘œ λ”°λ₯΄λ“ 
12:29
or a feminine lead.
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μ—¬μ„±μ μœΌλ‘œ μ΄λŒλ“ 
12:30
Just be yourself.
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κ·Έλƒ₯ μ—¬λŸ¬λΆ„ μŠ€μŠ€λ‘œκ°€ λ˜μ„Έμš”.
12:32
Obviously, this applies off the dance floor as well,
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λ¬Όλ‘  곡연 λ¬΄λŒ€κ°€ μ•„λ‹Œ μΌμƒμ—μ„œλ„ λ§ˆμ°¬κ°€μ§€κ² μ£ .
12:35
but on the floor, it gives us the perfect opportunity
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ν•˜μ§€λ§Œ λ¬΄λŒ€μ—μ„œλ§ŒνΌμ€ μš°λ¦¬λŠ” μƒˆλ‘œμš΄ 기회λ₯Ό μ–»κ²Œ λ©λ‹ˆλ‹€.
12:38
to update an old paradigm, reinvigorate an old relic,
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낑은 관념을 λ°”κΎΈκ³  κ΅¬μ‹œλŒ€μ˜ μœ λ¬Όμ— ν™œκΈ°λ₯Ό λΆˆμ–΄λ„£μ–΄
12:41
and make it more representative of our era and our current way of being.
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우리 μ‹œλŒ€μ— 걸맞고 우리의 쑴재 방식을 ν‘œν˜„ν•˜λŠ” 좀을 좜 수 μžˆλŠ” 기회죠.
12:46
TC: Jeff and I dance partner dancing all the time with women and men
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TC : μ œν”„μ™€ μ €λŠ” μΆ€ 좜 λ•Œ μƒλŒ€κ°€ λ‚¨μžλ“  μ—¬μžλ“  가리지 μ•Šμ•„μš”.
12:49
and we love it.
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그게 μ’‹μ•„μš”.
12:51
But we dance with a consciousness that this is a historic form
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μ €ν¬λŠ” 좀을 좜 λ•Œλ§ˆλ‹€ 이 좀이 μ—­μ‚¬μ μœΌλ‘œ 남아
12:55
that can produce silence and produce invisibility
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우리의 정체성에 쑰용히 그리고 λˆˆμ— 띄지 μ•Šκ²Œ
13:00
across the spectrum of identity that we enjoy today.
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영ν–₯을 쀄 것이라 μƒκ°ν•˜λ©° 좀을 μΆ₯λ‹ˆλ‹€.
13:03
We invented Liquid Lead
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μ €ν¬λŠ” 'μœ λ™μ  λ¦¬λ“œ λŒ„μŠ€'λ₯Ό λ§Œλ“€λ©΄μ„œ
13:05
as a way of stripping out all the ideas that don't belong to us
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μƒˆλ‘œμš΄ μ•„μ΄λ””μ–΄μ˜ κ°€λŠ₯성을 μ—΄κ³ 
13:10
and taking partner dancing back to what it really always was:
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λ³Έλ”” 좀이 좔ꡬ해야 ν•  λ°”λ₯Ό μΌκΉ¨μ›Œμ£Όκ³  μ‹Άμ—ˆμŠ΅λ‹ˆλ‹€.
13:15
the fine art of taking care of each other.
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μ„œλ‘œλ₯Ό μ‘΄μ€‘ν•˜λŠ” 예술이죠.
13:20
(Music)
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(μŒμ•…)
15:20
(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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