Living sculptures that stand for history's truths | Sethembile Msezane

45,633 views ・ 2017-09-29

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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—­: Boram Cho κ²€ν† : Junghwan An
00:12
I'd like for you to take a moment to imagine this with me.
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μ—¬λŸ¬λΆ„, μž μ‹œ 저와 ν•¨κ»˜ 이런 상상을 ν•΄λ³΄μ„Έμš”.
00:17
You're a little girl of five years old.
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당신은 5μ„Έμ˜ μ–΄λ¦° μ†Œλ…€μž…λ‹ˆλ‹€.
00:21
Sitting in front of a mirror,
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거울 μ•žμ— 앉아
00:23
you ask yourself,
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μžμ‹ μ—κ²Œ μ΄λ ‡κ²Œ λ¬Όμ–΄λ΄…λ‹ˆλ‹€.
00:26
"Do I exist?"
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"λ‚˜λŠ” μ‘΄μž¬ν•˜λŠ” 걸까?"
00:29
In this space, there is very little context,
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이런 κ³³μ—μ„œλŠ” μ•Œ 수 μ—†κ² μ£ .
00:31
and so you move into a different one,
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κ·Έλž˜μ„œ λ‹€λ₯Έ μž₯μ†Œλ‘œ κ°‘λ‹ˆλ‹€.
00:34
one filled with people.
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μ‚¬λžŒλ“€λ‘œ κ°€λ“ν•œ 곳으둜 말이죠.
00:36
Surely, now you know you're not a figment of your own imagination.
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μ΄μ œμ„œμ•Ό λ‚΄κ°€ 단지 μƒμƒμ˜ μ‘΄μž¬κ°€ μ•„λ‹˜μ„ ν™•μΈν•©λ‹ˆλ‹€.
00:41
You breathe their air.
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곡기λ₯Ό λ“€μ΄λ§ˆμ‹œκ³ 
00:43
You see them,
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μ‚¬λžŒλ“€λ„ 보이죠.
00:44
so they must see you.
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λΆ„λͺ… κ·Έλ“€μ—κ²Œλ„ μ—¬λŸ¬λΆ„μ΄ 보일 κ±°μ˜ˆμš”.
00:47
And yet, you still can't help but wonder:
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그런데 μ—¬μ „νžˆ 의문이 κ°€μ‹œμ§€ μ•ŠμŠ΅λ‹ˆλ‹€.
00:52
Do I only exist when people speak to me?
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"λ‚œ μ‚¬λžŒλ“€μ΄ λ‚˜μ—κ²Œ 말을 κ±Έ λ•Œλ§Œ μ‘΄μž¬ν•˜λŠ” 건 μ•„λ‹κΉŒ?"
00:57
Pretty heavy thoughts for a child, right?
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μ–΄λ¦°μ•„μ΄μΉ˜κ³ λŠ” μ°Έ μ‹¬μ˜€ν•œ 생각이죠?
01:00
But through various artworks that reflect upon our society,
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ν•˜μ§€λ§Œ μ €λŠ”, 우리 μ‚¬νšŒλ₯Ό λ°˜μ˜ν•˜λŠ” μˆ˜λ§Žμ€ 예술 μž‘ν’ˆλ“€μ„ ν†΅ν•΄μ„œ
01:05
I came to understand how a young black girl can grow up
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ν•œ μ–΄λ¦° 흑인 μ†Œλ…€κ°€ μžλΌλ©΄μ„œ μ–΄λ–»κ²Œ
01:09
feeling as if she's not seen, and perhaps she doesn't exist.
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마치 투λͺ…μΈκ°„μ²˜λŸΌ
μ–΄μ©Œλ©΄ μ‘΄μž¬ν•˜μ§€ μ•ŠλŠ” μ‚¬λžŒμ²˜λŸΌ μ·¨κΈ‰λ°›λŠ”μ§€ κΉ¨λ‹«κ²Œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
01:16
You see, if young people don't have positive images of themselves
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μ Šμ€ μ„ΈλŒ€λ“€ μ€‘μ—μ„œ 긍정적인 μžμ•„μƒμ΄ μ—†λŠ” μΉœκ΅¬λ“€μ€
01:19
and all that remains are negative stereotypes,
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뢀정적인 κ³ μ •κ΄€λ…λ“€λ‘œ 꽉 차게 되죠.
01:23
this affects their self-image.
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그것이 κ·Έλ“€μ˜ μžμ•„μƒμ— 영ν–₯을 λ―ΈμΉ©λ‹ˆλ‹€.
01:26
But it also affects the way that the rest of society treats them.
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λ˜ν•œ μ‚¬νšŒκ°€ 그듀을 λŒ€ν•˜λŠ” 방식에도 영ν–₯을 미치게 되죠.
01:31
I discovered this
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μΌ€μ΄ν”„νƒ€μš΄μ—μ„œ 5λ…„ μ―€ μ‚΄λ©΄μ„œ κ·Έ 사싀을 κΉ¨λ‹«κ²Œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
01:32
having lived in Cape Town for about five years at the time.
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01:36
I felt a deep sense of dislocation and invisibility.
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제 마음 깊이 μžλ¦¬ν•œ 것은
어디에도 μ†ν•˜μ§€ μ•Šμ€, 투λͺ…인간 같은 λŠλ‚Œμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
01:43
I couldn't see myself represented.
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μ €λ₯Ό λ“œλŸ¬λ‚΄λŠ” μ–΄λ–€ 것도 찾을 수 μ—†μ—ˆμ£ .
μ €λ₯Ό ν‚€μ›Œλ‚Έ μ—¬μ„±λ“€μ˜ μ‘΄μž¬λ„ λ³Ό 수 μ—†μ—ˆμ–΄μš”.
01:46
I couldn't see the women who've raised me,
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01:49
the ones who've influenced me,
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제 인생에 λ§Žμ€ 영ν–₯을 μ£Όμ—ˆκ³ 
01:50
and the ones that have made South Africa what it is today.
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남아곡이 μ§€κΈˆμ˜ λͺ¨μŠ΅μ„ 갖도둝 ν•΄ μ€€ 이듀이죠.
01:54
I decided to do something about it.
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κ·Έλž˜μ„œ 그에 λŒ€ν•΄ μ œκ°€ λ­”κ°€ ν•΄μ•Όκ² λ‹€κ³  κ²°μ‹¬ν–ˆμŠ΅λ‹ˆλ‹€.
01:58
What do you think when you see this?
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이 사진을 보면 무슨 생각이 λ“œμ‹œλ‚˜μš”?
02:03
If you were a black girl,
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μ—¬λŸ¬λΆ„μ΄ λ§Œμ•½ 흑인 μ†Œλ…€λΌλ©΄
02:05
how would it make you feel?
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이걸 보고 μ–΄λ–€ 생각이 λ“œμ‹œκ² μ–΄μš”?
02:09
Walking down the street,
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μ—¬λŸ¬λΆ„μ΄ μ‚¬λŠ” 곳의 거리λ₯Ό 걷닀보면
02:11
what does the city you live in say to you?
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κ·Έ κ±°λ¦¬μ—λŠ” μ–΄λ–€ 이야기가 담겨 μžˆλ‚˜μš”?
02:15
What symbols are present?
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μ–΄λ–€ 상징물듀이 놓여 μžˆλ‚˜μš”?
02:17
Which histories are celebrated?
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μ–΄λ–€ 역사λ₯Ό 기리고 μžˆλ‚˜μš”?
02:19
And on the other hand,
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μ•„λ‹ˆλ©΄ κ·Έ λ°˜λŒ€λ‘œ
02:21
which ones are omitted?
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μ–΄λ–€ 역사가 μ§€μ›Œμ Έ μžˆλ‚˜μš”?
02:23
You see, public spaces are hardly ever as neutral as they may seem.
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곡곡μž₯μ†ŒλŠ” λ³΄μ΄λŠ” 것보닀 κ²°μ½” 쀑립적이지 μ•ŠμŠ΅λ‹ˆλ‹€.
02:28
I discovered this when I made this performance in 2013 on Heritage Day.
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2013λ…„ λ¬Έν™”μœ μ‚°μ˜ 날에 곡연을 ν•˜λ©΄μ„œ κ·Έκ±Έ κΉ¨λ‹¬μ•˜μ£ .
02:36
Cape Town is teeming with masculine architecture,
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μΌ€μ΄ν”„νƒ€μš΄μ€ 남성 κΆŒμœ„μ μΈ κ±΄μΆ•λ¬Όλ‘œ λ„˜μ³λ‚©λ‹ˆλ‹€.
02:41
monuments and statues,
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기념비, 쑰각상듀도 κ·Έλ ‡κ³ μš”.
02:43
such as Louis Botha in that photograph.
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이 μ‚¬μ§„μ˜ 루이 보타 동상도 κ·Έ 예죠.
02:46
This overt presence of white colonial and Afrikaner nationalist men
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μ‹λ―Όμ£Όμ˜μžμ΄μž
남아곡 백인 민쑱주의자인 이 λ‚¨μ„±μ˜ 동상이 κ³΅κ³΅μ—°νžˆ μ‘΄μž¬ν•œλ‹€λŠ” 것은
02:52
not only echoes a social, gender and racial divide,
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μ‚¬νšŒμ , 성적, 인쒅적 차별을 μ™ΈμΉ˜κ³  μžˆλŠ” κ²ƒμž…λ‹ˆλ‹€.
02:58
but it also continues to affect the way that women --
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그뿐 μ•„λ‹ˆλΌ 이λ₯Ό 톡해 μ—¬μ„±μ—κ²Œλ„ 영ν–₯을 미치죠.
03:03
and the way, particularly, black women --
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특히 흑인 여성듀이 곡곡μž₯μ†Œμ—μ„œ
03:06
see themselves in relation to dominant male figures
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지배적인 남성듀에 λΉ„μΆ”μ–΄ 슀슀둜λ₯Ό λ°”λΌλ³΄λŠ” 방식에 λŒ€ν•΄
03:12
in public spaces.
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μ§€μ†μ μœΌλ‘œ 영ν–₯을 λ―ΈμΉ©λ‹ˆλ‹€.
03:16
For this reason, among others,
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무엇보닀 λ°”λ‘œ 그런 이유둜
03:19
I don't believe that we need statues.
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이런 쑰각상이 ν•„μš”ν•˜μ§€ μ•Šλ‹€κ³  μƒκ°ν•΄μš”.
03:22
The preservation of history and the act of remembering
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역사λ₯Ό λ³΄μ‘΄ν•˜κ³  κΈ°μ–΅ν•˜κ³ μž ν•œλ‹€λ©΄
03:26
can be achieved in more memorable and effective ways.
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더 의미 있고 효과적인 방법이 μžˆλ‹€κ³  μƒκ°ν•©λ‹ˆλ‹€.
03:32
As part of a year-long public holiday series,
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1λ…„κ°„ νŽΌμ³μ§€λŠ” 곡휴일 연속 곡연 μ€‘μ˜ ν•˜λ‚˜λ‘œμ„œ
03:36
I use performance art as a form of social commentary
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μ €λŠ” μ‚¬νšŒ 비평을 μœ„ν•œ ν–‰μœ„ 예술 곡연을 ν•©λ‹ˆλ‹€.
03:40
to draw people's attention to certain issues,
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μ‚¬λžŒλ“€μ΄ νŠΉμ • μ΄μŠˆμ— 관심을 갖도둝 ν•˜κΈ° μœ„ν•΄μ„œμ΄κ³ 
03:43
as well as addressing the absence of the black female body
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또 λ‹€λ₯Έ λͺ©μ μ€
곡곡 μž₯μ†Œμ—λŠ” 흑인 μ—¬μ„± 인물듀이 μ—†λ‹€λŠ” 사싀을
03:49
in memorialized public spaces,
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μ•Œλ¦¬κΈ° μœ„ν•΄μ„œμž…λ‹ˆλ‹€.
03:51
especially on public holidays.
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특히 κΈ°λ…μΌμ—λŠ” λ”μš± κ·Έλ ‡κ³ μš”.
03:54
Women's Day was coming up.
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'μ—¬μ„±μ˜ λ‚ '을 μ•žλ‘κ³ 
03:57
I looked at what the day means --
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μ΄λ‚ μ˜ 의미λ₯Ό μ•Œμ•„λ΄€μŠ΅λ‹ˆλ‹€.
03:59
the Women's March to the union buildings in 1956,
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1956년에 여성듀이 μœ λ‹ˆμ–Έ λΉŒλ”©μœΌλ‘œ ν–‰μ§„ν•œ 날을 κΈ°λ…ν•˜λŠ” λ‚ μ΄μ—ˆμŠ΅λ‹ˆλ‹€.
04:04
petitioning against the pass laws.
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톡행법에 λ°˜λŒ€ν•˜κΈ° μœ„ν•œ ν–‰μ§„μ΄μ—ˆμ£ .
04:07
Juxtaposed with the hypocrisy of how women are treated,
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μ˜€λŠ˜λ‚  여성듀이 λ°›κ³  μžˆλŠ” λŒ€μš°μ— λŒ€ν•œ λͺ¨μˆœλœ ν˜„μ‹€κ³Ό
04:12
especially in public spaces today,
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특히 곡곡μž₯μ†Œμ—μ„œμ˜ 차별에 λŒ€ν•΄
04:15
I decided to do something about it.
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μ €λŠ” λ­”κ°€ ν•΄μ•Όκ² λ‹€κ³  κ²°μ‹¬ν–ˆμŠ΅λ‹ˆλ‹€.
04:19
Headline:
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μ—¬κΈ° 기사 제λͺ©μ„ λ³΄μ„Έμš”.
04:20
[Women in miniskirt attacked at taxi rank]
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[λ―Έλ‹ˆμŠ€μ»€νŠΈλ₯Ό μž…μ€ 여성듀이 νƒμ‹œ μ •λ₯˜μž₯μ—μ„œ 곡격 λ‹Ήν•΄]
04:28
How do I comment on such polar opposites?
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이런 κ·Ήλͺ…ν•œ λͺ¨μˆœμ— λŒ€ν•΄μ„œ μ–΄λ–€ 해석을 λ‚΄λ €μ•Ό ν• κΉŒμš”?
04:33
In the guise of my great-grandmother,
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μ €λŠ” 제 μ¦μ‘°ν• λ¨Έλ‹ˆμ˜ λͺ¨μŠ΅μ„ ν•˜κ³ 
04:35
I performed bare-breasted,
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κ΄„λž‘κ°€μ˜ κ·Έ νƒμ‹œμ •λ₯˜μž₯ κ·Όμ²˜μ—μ„œ
04:37
close to the taxi rank in KwaLanga.
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κ°€μŠ΄μ„ λ“œλŸ¬λ‚Έ 채 ν–‰μœ„μ˜ˆμˆ  곡연을 ν–ˆμŠ΅λ‹ˆλ‹€.
04:41
This space is also called Freedom Square,
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이곳은 자유의 κ΄‘μž₯이라고도 λΆˆλ¦¬λŠ” κ³³μΈλ°μš”.
04:43
where women were a part of demonstrations against apartheid laws.
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여성듀이 인쒅차별 λ²•μ•ˆμ— λ§žμ„œ λ°˜λŒ€ μ‹œμœ„λ₯Ό ν–ˆλ˜ κ³³μž…λ‹ˆλ‹€.
04:48
I was not comfortable with women being seen as only victims in society.
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μ €λŠ” 우리 μ‚¬νšŒμ—μ„œ 여성듀이
ν¬μƒμžλ‘œλ§Œ λΉ„μΆ°μ§€λŠ” 것이 λͺ»λ§ˆλ•…ν–ˆμŠ΅λ‹ˆλ‹€.
04:56
You might wonder how people reacted to this.
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μ‚¬λžŒλ“€μ΄ μ–΄λ–€ λ°˜μ‘μ„ λ³΄μ˜€λŠ”μ§€ κΆκΈˆν•˜μ‹œμ£ ?
04:59
(Video) Woman: (Cheering)
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(μ˜μƒ) (μ—¬μ„±μ˜ ν™˜ν˜Έμ„±)
05:03
Woman 2 (offscreen): Yes!
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(ν™”λ©΄ λ°–μ˜ μ—¬μ„± 2) "그래 이거야!"
05:12
Sethembile Msezane: Pretty cool, huh?
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정말 멋지지 μ•Šλ‚˜μš”?
05:15
(Applause)
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(λ°•μˆ˜)
05:19
So I realized that through my performances,
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μ €μ˜ 이런 ν–‰μœ„μ˜ˆμˆ  곡연을 ν†΅ν•΄μ„œ
05:22
I've been able to make regular people reflect upon their society,
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ν‰λ²”ν•œ μ‚¬λžŒλ“€μ΄ 우리 μ‚¬νšŒλ₯Ό λ‹€μ‹œ λ˜λŒμ•„λ³΄κ²Œ λœλ‹€λŠ” 것을 λŠκΌˆμŠ΅λ‹ˆλ‹€.
05:27
looking at the past as well as the current democracy.
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과거와 ν˜„μž¬μ˜ 민주주의λ₯Ό λ°”λΌλ³΄λ©΄μ„œ 말이죠.
05:31
(Video) Man (offscreen): She's been there since three o'clock.
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(μ˜μƒ) ν™”λ©΄ λ°–μ˜ 남성 1: 이 μ‚¬λžŒ 3μ‹œλΆ€ν„° μ„œ μžˆμ—ˆμ–΄.
ν™”λ©΄ λ°–μ˜ 남성 2: 3μ‹œ μ’€ μ „λΆ€ν„°μ•Ό. ν•œ μ‹œκ°„ 정도?
05:34
Man 2 (offscreen): Just before three. About an hour still?
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남성1: 응. 였늘 μ§„μ§œ λ”μš΄λ°.
05:37
Man 1: Yeah. It's just a really hot day.
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05:45
Man 1: It's very interesting.
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남성1: 정말 인상적이넀.
05:47
It's very powerful.
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정말 메세지가 κ°•ν•΄.
05:50
I think it's cool.
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정말 λŒ€λ‹¨ν•΄.
05:54
I think a lot of people are quick to join a group
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λŒ€λΆ€λΆ„μ˜ μ‚¬λžŒλ“€μ€ λ­”κ°€ μ‹œλ―Ό μš΄λ™μ΄ μΌμ–΄λ‚˜λ©΄
05:59
that's a movement towards something,
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λͺ¨μ΄κΈ°λŠ” μ‰½κ²Œ 잘 ν•˜μ§€λ§Œ
06:01
but not many people are ready to do something as an individual.
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ν˜Όμžμ„œ λ­”κ°€ ν–‰λ™ν•˜λŠ” μ‚¬λžŒλ“€μ€ λ§Žμ§€ μ•Šμž–μ•„.
06:06
Man 2: So it's the individual versus the collective.
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남성 2: κ·ΈλŸ¬λ‹ˆκΉŒ κ°œμΈλŒ€ μ§‘λ‹¨μ˜ μ°¨μ΄μ΄κ΅¬λ‚˜.
06:09
Man 1: Yeah.
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남성 1: λ§žμ•„.
06:10
So I think her pushing her own individual message in performance ...
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κ·ΈλŸ¬λ‹ˆκΉŒ μ € μ˜ˆμˆ κ°€λŠ” ν–‰μœ„μ˜ˆμˆ λ‘œ μžμ‹ λ§Œμ˜ μ£Όμž₯을 ν‘œν˜„ν•˜λŠ” κ±°μ•Ό.
06:17
it's powerful.
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정말 κ°•λ ₯ν•΄.
06:20
Yeah, I think it's quite powerful that she's doing it on her own.
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μ €λ ‡κ²Œ 자기 μ£Όμž₯을 νŽΌμΉ˜λŠ” 건 정말 κ°•λ ₯ν•œ 것 κ°™μ•„.
06:25
I'd be interested to know why she's using hair extensions as wings,
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그런데 μ €λ ‡κ²Œ κΈ΄ ν„Έλ‘œ λ‚ κ°œλ₯Ό λ§Œλ“  μ΄μœ κ°€ 뭔지 κΆκΈˆν•΄.
06:29
or whatever those things are meant to be.
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λ‚ κ°œλ‚˜ μ•„λ‹ˆλ©΄ λ­”κ°€ μƒμ§•ν•˜λŠ” 건가?
06:34
They are wings, yes?
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μ €κ±° λ‚ κ°œ λ§žμ§€?
06:38
Woman 3: With her standing there right now,
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μ—¬μž 3: μ € μ˜ˆμˆ κ°€κ°€ μ €λ ‡κ²Œ μ§€κΈˆ μ„œ μžˆλŠ” 건
06:40
I think it's just my interpretation
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제 개인적인 μƒκ°μ΄μ§€λ§Œ
06:44
that we are bringing the statue down
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μš°λ¦¬κ°€ μ € 동상을 철거함과 λ™μ‹œμ—
06:48
and bringing up something
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μ•„ν”„λ¦¬μΉ΄μ˜ μžλΆ€μ‹¬μ„ λŒ€ν‘œν•˜λŠ” κ·Έ μ–΄λ–€ 것을
06:50
that's supposed to represent African pride, I think.
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일으켜 μ„Έμš°λŠ” 것이라고 μƒκ°ν•΄μš”.
06:55
Or something like that.
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그런 것 κ°™μ•„μš”.
06:57
Something should stand while Rhodes falls,
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둜즈 동상이 철거된 μžλ¦¬μ— λ‹€λ₯Έ 것을 μ„Έμ›Œμ•Ό ν•œλ‹€λŠ”
07:01
I think that's what it's saying. Yeah.
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μ € 뢄은 κ·Έκ±Έ λ§ν•˜λŠ” 것 κ°™μ•„μš”.
07:04
Yes. Thank you.
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κ°μ‚¬ν•©λ‹ˆλ‹€.
07:05
Man 3: What is behind me represents the African culture.
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λ‚¨μž3: 제 뒀에 μžˆλŠ” 것은 아프리카 λ¬Έν™”μ˜ μƒμ§•μž…λ‹ˆλ‹€.
07:09
We can't have the colonialist law,
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μš°λ¦¬λŠ” μ‹λ―Όμ£Όμ˜μ  λ²•μ•ˆμ„ λ”°λ₯Ό 수 μ—†μŠ΅λ‹ˆλ‹€.
07:11
so we need to remove all these colonial statues.
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μ €λŸ° μ‹λ―Όμ£Όμ˜μ  동상듀은 λͺ¨λ‘ μ² κ±°ν•΄μ•Ό ν•©λ‹ˆλ‹€.
07:14
We have have our own statues now,
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이제 μš°λ¦¬λŠ” 우리만의 동상을 μ„Έμ›Œμ•Ό ν•©λ‹ˆλ‹€.
07:17
our African leaders -- Bhambatha, Moshoeshoe, Kwame Nkrumah --
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우리 아프리카 μ§€λ„μžλ“€μΈ 밀바타, λͺ¨μ…°μ…°, μ½°λ©” μ€ν¬λ£¨λ§ˆ 같은
07:22
all those who paid their lives for our liberation.
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우리의 자유λ₯Ό μœ„ν•΄ λͺ©μˆ¨μ„ ν¬μƒν•œ λͺ¨λ“  μ˜μ›…λ“€ 말이죠.
07:26
We can't continue in the 21st century,
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21μ„ΈκΈ°λ₯Ό 이런 μ‹μœΌλ‘œ κ³„μ†ν•΄λ‚˜κ°ˆ μˆ˜λŠ” μ—†μ–΄μš”.
07:28
and after 21 years of democracy,
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λ―Όμ£Όμ£Όμ˜κ°€ μ‹œμž‘λœ 지 21년이 λ˜μ—ˆλŠ”λ°
07:30
have the colonizers in our own country.
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이 λ‚˜λΌμ— μ‹λ―Όμ£Όμ˜μž 동상이 아직도 μžˆλ‹€λ‹ˆμš”.
07:32
They belong somewhere. Maybe in a museum; not here.
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이것듀은 λ‹€λ₯Έ 데둜 보내야 ν•΄μš”. 이 κ³³ 말고 λ°•λ¬Όκ΄€ 같은 λ°λ‘œμš”.
07:35
I mean learning institutions, places where young people,
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μ Šμ€ μ„ΈλŒ€, μ Šμ€ μ˜ν˜Όλ“€μ„ κ°€λ₯΄μΉ˜λŠ”
ꡐ윑 κΈ°κ΄€ 같은 κ³³ 말이죠.
07:39
young minds are being shaped.
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07:40
So we cannot continue to have Louis Botha, Rhodes, all these people,
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루이슀 보타, 둜즈 같은 동상듀이 μ ˆλŒ€ μžˆμ–΄μ„œλŠ” μ•ˆλ©λ‹ˆλ‹€.
07:45
because they're representing the colonialism.
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그듀은 μ‹λ―Όμ£Όμ˜λ₯Ό λŒ€ν‘œν•˜λŠ” μžλ“€μ΄λ‹ˆκΉŒμš”.
07:50
(Applause)
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(λ°•μˆ˜)
07:55
Sethembile Msezane: On April 9, 2015,
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2015λ…„ 4μ›” 9일은
07:58
the Cecil John Rhodes statue was scheduled to be removed
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μ„Έμ‹€ μ‘΄ 둜즈의 동상이 μ² κ±°λ˜λŠ” λ‚ μ΄μ—ˆμŠ΅λ‹ˆλ‹€.
08:02
after a month of debates for and against its removal
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λ§Žμ€ μ΄ν•΄λ‹Ήμ‚¬μžλ“€ μ‚¬μ΄μ—μ„œ
철거에 λŒ€ν•œ 찬반 λ…Όλž€μ΄ ν•œ 달 λ‚΄λ‚΄ 이어진 ν›„μ˜ μΌμ΄μ—ˆμ£ .
08:07
by various stakeholders.
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08:10
This caused a widespread interest in statues in South Africa.
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이 일둜 λ§Žμ€ μ‚¬λžŒλ“€μ΄ 남아곡에 μžˆλŠ” 동상듀에 관심을 κ°–κ²Œ λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
08:15
Opinions varied, but the media focused on problematizing
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μ—¬λŸ¬ 의견이 μžˆμ—ˆμ§€λ§Œ
언둠은 동상 μ² κ±°λ₯Ό 문제 삼기에 κΈ‰κΈ‰ν–ˆμŠ΅λ‹ˆλ‹€.
08:20
the removal of statues.
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08:24
On that -- well, that year, I had just begun my master's
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κ·Έ ν•΄λŠ” μ œκ°€ μΌ€μ΄ν”„νƒ€μš΄ λŒ€ν•™κ΅μ—μ„œ μ„μ‚¬ν•™μœ„ 과정을 막 μ‹œμž‘ν•œ λ•Œμ˜€μŠ΅λ‹ˆλ‹€.
08:28
at the University of Cape Town.
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08:32
During the time of the debate of the statue,
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둜즈 동상 μ² κ±°λ₯Ό 놓고 찬반 λ…Όλž€μ΄ μΌμ—ˆλ˜ κ·Έ μ‹œκΈ°μ—
08:35
I had been having reoccurring dreams
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μ €λŠ” μƒˆ ν•œ λ§ˆλ¦¬κ°€ λ‚˜νƒ€λ‚˜λŠ” κΏˆμ„ 자주 κΎΈμ—ˆμŠ΅λ‹ˆλ‹€.
08:39
about a bird.
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08:41
And so I started conjuring her
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κ·Έ μƒˆλŠ” 제 마음과 μ˜ν˜Όμ— μžλ¦¬μž‘μ•˜κ³  곡연 μ˜μƒμ— κ·Έ μƒˆλ₯Ό ν‘œν˜„ν•˜κΈ° μ‹œμž‘ν–ˆμ£ .
08:44
mentally, spiritually and through dress.
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08:49
On that day,
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동상 μ² κ±°κ°€ 있던 κ·Έ λ‚ 
08:51
I happened to be having a meeting with my supervisors,
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μ €λŠ” μ§€λ„κ΅μˆ˜λ‹˜κ³Όμ˜ 면담이 μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
08:55
and they told me that the statue was going to fall on that day.
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κ·Έ λ•Œ μ§€λ„κ΅μˆ˜λ‹˜λ“€λ‘œλΆ€ν„° 둜즈 동상이 였늘 철거될 κ±°λΌλŠ” μ–˜κΈ°λ₯Ό λ“€μ—ˆμ£ .
08:59
I told them that I'd explain later,
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μ €λŠ” λ‚˜μ€‘μ— 이유λ₯Ό μ„€λͺ…λ“œλ¦΄ν…Œλ‹ˆ 면담을 μ—°κΈ°ν•΄μ•Ό ν•œλ‹€κ³  ν–ˆμŠ΅λ‹ˆλ‹€.
09:02
but we had to postpone the meeting
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09:04
because I was going to perform her as the statue came down.
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동상이 철거될 λ•Œ 이 μƒˆλ₯Ό μ—°μΆœν•˜κΈ°λ‘œ ν–ˆκΈ° λ•Œλ¬Έμž…λ‹ˆλ‹€.
09:09
Her name was Chapungu.
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μƒˆμ˜ 이름은 μ°¨ν‘Όκ΅¬μž…λ‹ˆλ‹€.
09:11
She was a soapstone bird that was looted from Great Zimbabwe
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λ™μ„μœΌλ‘œ λ§Œλ“€μ–΄μ§„ 이 μƒˆλŠ”
그레이트 μ§λ°”λΈŒμ›¨μ—μ„œ μ•½νƒˆλ‹Ήν•œ λ’€λ‘œ
09:15
in the late 1800s,
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1800λ…„λŒ€ ν›„λ°˜λΆ€ν„° μ§€κΈˆκΉŒμ§€
09:17
and is still currently housed in Cecil John Rhodes's estate
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μΌ€μ΄ν”„νƒ€μš΄μ— μžˆλŠ” μ‘΄ μ„Έμ‹€ 둜즈의 μ‚¬μœ μ§€μ— κ°‡ν˜€ μžˆμŠ΅λ‹ˆλ‹€.
09:21
in Cape Town.
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09:23
On that day,
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λ°”λ‘œ κ·Έ λ‚ 
09:25
I embodied her existence using my body,
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μ €λŠ” 이 μƒˆμ˜ 쑴재λ₯Ό 제 온λͺΈμœΌλ‘œ ν‘œν˜„ν•˜λ©°
09:29
while standing in the blazing sun for nearly four hours.
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λΆˆνƒ€λŠ” νƒœμ–‘ μ•„λž˜μ—μ„œ 4μ‹œκ°„ κ°€κΉŒμ΄ μ„œ μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
09:35
As the time came,
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λ•Œκ°€ 되자
09:36
the crane came alive.
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크레인이 움직이기 μ‹œμž‘ν–ˆμŠ΅λ‹ˆλ‹€.
09:39
The people did, too --
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μ‚¬λžŒλ“€λ„ μ‚΄μ•„ 움직이기 μ‹œμž‘ν–ˆμ£ .
09:40
shouting,
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κ³ ν•¨μΉ˜κ³ 
09:42
screaming,
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μ†Œλ¦¬λ₯Ό 지λ₯΄κΈ°λ„ ν•˜κ³ 
09:43
clenching their fists
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주먹을 μ›€μΌœμ₯μ—ˆμŠ΅λ‹ˆλ‹€.
09:45
and taking pictures of the moment on their phones and cameras.
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ν•Έλ“œν°κ³Ό μΉ΄λ©”λΌλ‘œ μ—΄μ‹¬νžˆ κ·Έ μˆœκ°„μ„ 담기도 ν–ˆμŠ΅λ‹ˆλ‹€.
09:49
Chapungu's wings,
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μ°¨ν‘Όκ΅¬μ˜ λ‚ κ°œκ°€
09:51
along with the crane,
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크레인의 μ›€μ§μž„κ³Ό ν•¨κ»˜
09:52
rose to declare the fall of Cecil John Rhodes.
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μ„Έμ‹€ μ‘΄ 둜즈의 λͺ°λ½μ„ μ„ ν¬ν•˜λ©° 힘차게 νŽΌμ³μ‘ŒμŠ΅λ‹ˆλ‹€.
09:58
(Applause)
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(λ°•μˆ˜)
10:04
Euphoria filled the air as he became absent from his base,
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둜즈 동상이 μžλ¦¬μ—μ„œ λ–¨μ–΄μ Έλ‚˜κ°€μž κ·Ήλ„μ˜ 희열이 곡기λ₯Ό 가득 λ©”μ› κ³ 
10:08
while she remained still,
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μ°¨ν‘Όκ΅¬λŠ” κ·Έ μžλ¦¬μ— 남아
10:12
very present,
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μ•„μ£Ό μ„ λͺ…ν•œ λͺ¨μŠ΅μœΌλ‘œ
10:13
half an hour after his removal.
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μ² κ±° 후에도 30λΆ„ λ™μ•ˆμ΄λ‚˜ κ·Έ 자리λ₯Ό μ§€μΌ°μŠ΅λ‹ˆλ‹€.
10:18
Twenty-three years after apartheid,
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인쒅차별 정책이 νμ§€λ˜κ³  23년이 μ§€λ‚œ λ’€
10:21
a new generation of radicals has arisen in South Africa.
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λ‚¨μ•„κ³΅μ—λŠ” κΈ‰μ§„μ£Όμ˜μ  μ‹ μ„ΈλŒ€κ°€ λ‚˜νƒ€λ‚¬μŠ΅λ‹ˆλ‹€.
10:24
The story of Chapungu and Rhodes in the same space and time
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μ‹œλŒ€μ™€ μž₯μ†Œλ₯Ό κ³΅μœ ν•œ 차푼ꡬ와 둜즈의 μ΄μ•ΌκΈ°λŠ”
10:29
asks important questions
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μ€‘μš”ν•œ μ§ˆλ¬Έμ„ λ˜μ§€κ³  μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
10:31
related to gender,
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성별
10:34
power,
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ꢌλ ₯
10:35
self-representation,
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자기 ν‘œν˜„
10:37
history making
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μƒˆλ‘œμš΄ 역사
10:38
and repatriation.
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그리고 κ³ ν–₯으둜의 κ·€ν™˜μ— λŒ€ν•œ 질문이죠.
10:43
From then on,
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κ·Έλ‚  μ΄ν›„λ‘œ ν•œκ°€μ§€ κΉ¨λ‹«κ²Œ 된 것은
10:44
I realized that my spiritual beliefs and dreams
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μ €μ˜ 정신적 신념과 꿈이
10:49
texture my material reality.
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μ €μ˜ 물질적 ν˜„μ‹€μ„ λ§Œλ“€μ–΄λ‚Έλ‹€λŠ” κ²ƒμ΄μ—ˆμŠ΅λ‹ˆλ‹€.
10:53
But for me, Chapungu's story felt incomplete.
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ν•˜μ§€λ§Œ μ œκ²ŒλŠ” μ°¨ν‘Όκ΅¬μ˜ 이야기가 아직 미완성인 κ²ƒμ²˜λŸΌ λŠκ»΄μ‘ŒμŠ΅λ‹ˆλ‹€.
10:56
This soapstone bird,
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λ™μ„μœΌλ‘œ 쑰각된 이 μƒˆλŠ”
10:58
a spiritual medium and messenger of God and the ancestors,
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μ‹ κ³Ό 우리 μ„ μ‘°μ™€μ˜ 영적 맀개체이자 μ „λ ΉμœΌλ‘œμ„œ
11:02
needed me to continue her story.
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μžμ‹ μ˜ 이야기λ₯Ό 계속 μ „ν•΄μ£ΌκΈ°λ₯Ό μ €μ—κ²Œ μ›ν–ˆλ˜ κ±°μ˜ˆμš”.
11:05
And so I dabbled in the dream space a little bit more,
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κ·Έλž˜μ„œ μ €λŠ” κΏˆμ— 쑰금 더 λ°œμ„ λ””λŽŒλ³΄κΈ°λ‘œ ν–ˆμŠ΅λ‹ˆλ‹€.
11:09
and this is how "Falling" was born.
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이것이 λ‹¨νŽΈ μ˜ν™” "Falling"이 λ§Œλ“€μ–΄μ§„ κ³„κΈ°μž…λ‹ˆλ‹€.
11:19
[A film by Sethembile Msezane]
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[μ„Έν…œλΉŒλ ˆ μ„Έμžλ„€μ˜ μ˜ν™”]
11:20
(Video) (A capella singing)
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(μ˜μƒ) (μ•„μΉ΄νŽ λΌ λ…Έλž˜)
11:51
[FALLING]
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[FALLING]
11:58
(Applause)
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(λ°•μˆ˜)
12:02
In the film,
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이 μ˜ν™”μ—μ„œλŠ”
12:03
Zimbabwe, South Africa and Germany share a common story
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μ§λ°”λΈŒμ›¨, 남아곡, 독일이
그레이트 μ§λ°”λΈŒμ›¨μ—μ„œ μ•½νƒˆλœ
12:07
about the soapstone birds that were looted from Great Zimbabwe.
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λ™μ„μœΌλ‘œ λ§Œλ“€μ–΄μ§„ μƒˆ 쑰각상에 λŒ€ν•œ κ³΅ν†΅λœ 이야기λ₯Ό λ‚˜λˆ•λ‹ˆλ‹€.
12:12
After Zimbabwe gained its independence,
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μ§λ°”λΈŒμ›¨μ˜ 독립 이후
12:14
all the birds except for one were returned to the monument.
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μƒˆ 쑰각상듀은 ν•œ 마리λ₯Ό μ œμ™Έν•˜κ³  λͺ¨λ‘ κ·Έ κΈ°λ…λΉ„λ‘œ λŒμ•„μ™”μŠ΅λ‹ˆλ‹€.
12:18
"Falling" explores the mythological belief that there will be unrest
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이 μ˜ν™”λŠ” λ§ˆμ§€λ§‰ μƒˆκ°€ λŒμ•„μ˜¬ λ•ŒκΉŒμ§€ μ‚¬νšŒμ— λΆˆμ•ˆμ΄ μžˆμ„ κ²ƒμ΄λΌλŠ”
12:24
until the final bird is returned.
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신화적 λ―ΏμŒμ„ 닀루고 μžˆμŠ΅λ‹ˆλ‹€.
12:28
Through my work,
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μ €μ˜ ν–‰μœ„μ˜ˆμˆ  ν™œλ™μ„ 톡해
12:30
I have realized a lot about the world around me:
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μ €λŠ” 제 μ£Όλ³€μ—μ„œ μΌμ–΄λ‚˜λŠ” λ§Žμ€ 것을 κΉ¨λ‹¬μ•˜μŠ΅λ‹ˆλ‹€.
12:34
how we move through spaces,
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μš°λ¦¬κ°€ μ–΄λ–»κ²Œ 곡간을 μ΄λ™ν•˜κ³ 
12:37
who we choose to celebrate
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λˆ„κ΅¬λ₯Ό κΈ°λ…ν•˜λ©°
12:39
and who we remember.
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λˆ„κ΅¬λ₯Ό κΈ°μ–΅ν•˜λŠ”μ§€λ₯Όμš”.
12:41
Now I look in the mirror and not only see an image of myself,
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이제 μ €λŠ” κ±°μšΈμ„ λ³Ό λ•Œ 제 μžμ‹ μ˜ λͺ¨μŠ΅λΏλ§Œ μ•„λ‹ˆλΌ
12:46
but of the women who have made me who I am today.
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μ˜€λŠ˜λ‚  μ €λ₯Ό 있게 ν•΄ μ€€ 여성듀을 보게 λ©λ‹ˆλ‹€.
12:50
I stand tall in my work,
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μ €λŠ” μž‘ν’ˆ ν™œλ™μ„ 톡해 λ‹Ήλ‹Ήνžˆ μΌμ–΄μ„œμ„œ
12:53
celebrating women's histories,
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흑인 μ—¬μ„±μ˜ 역사λ₯Ό 기리며
12:56
in the hope that perhaps one day,
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흑인 μ†Œλ…€ μ–΄λŠ λˆ„κ΅¬λ„ 더이상
12:59
no little black girl has to ever feel
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μžμ‹ μ΄ μ‘΄μž¬ν•˜μ§€ μ•ŠλŠ”λ‹€κ³  λŠλΌμ§€ μ•Šκ²Œ λ˜λ¦¬λΌλŠ”
13:02
like she doesn't exist.
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희망을 μ–»μŠ΅λ‹ˆλ‹€.
13:04
Thank you.
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κ°μ‚¬ν•©λ‹ˆλ‹€.
13:05
(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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