Revelations from a lifetime of dance | Judith Jamison and the Alvin Ailey American Dance Theater

Prevodilac: Ann Djurdja Radulovic Lektor: Ivana Korom

(Music: "Wade in the Water" by Ella Jenkins)

(Muzika:"Hodajte kroz vodu", Ela Dženkins)

Wade in the water

Hodajte kroz vodu

Wade in the water, children

Hodajte kroz vodu, deco

Wade in the water

Hodajte kroz vodu

God's a-gonna trouble the water

Bog će da uznemiri vodu

Oh, why don't you wade in the water

O, zašto ne hodate kroz vodu

Wade in the water, children

Hodajte kroz vodu

Wade in the water

Hodajte kroz vodu

God's a-gonna trouble the water

Bog će da uznemiri vodu

See that man all dressed in white

Vidite li čoveka u belom

God's a-gonna trouble the water

Bog će da uznemiri vodu

He looks like a man of the Israelite

Izgleda kao čovek Izraelita

God's a-gonna trouble the water

Bog će da uznemiri vodu

Wade in the water

Hodajte kroz vodu

Wade in the water, children

Hodajte kroz vodu, deco

Wade in the water

Hodajte kroz vodu

God's a-gonna trouble the water

Bog će da uznemiri vodu

See that man all dressed in red

Vidite čoveka u crvenom

God's a-gonna trouble the water

Bog će da uznemiri vodu

It looks like the man that Moses led

Izgleda kao čovek kojeg je Mojsije vodio

God's a-gonna trouble the water

Bog će da uznemiri vodu

Wade in the water

Hodajte kroz vodu

Wade in the water, children

Hodajte kroz vodu, deco

Wade in the water

Hodajte kroz vodu

God's a-gonna trouble the water

Bog će da uznemiri vodu

Didn't my Lord deliver Daniel

Nije li moj Gospod izručio Danijela

Daniel, Daniel

Danijela, Danijela

Didn't my Lord deliver Daniel

Nije li moj Gospod izručio Danijela

Then why not every man?

Zašto ne i svakog čoveka, onda

Didn't my Lord deliver Daniel

Nije li moj gospod izručio Danijela

Daniel, Daniel

Danijela, Danijela,

Didn't my Lord deliver Daniel

Nije li moj Gospod izručio Danijela

Why not every man?

Onda zašto ne i svakog drugog čoveka?

Man went down to the river

Čovek je pošao na reku

Man went down to the river

Čovek je pošao na reku

Man went down to the river

Čovek je pošao na reku

Went down there for to pray

Pošao je da se pomoli

Man went down to the river

Čovek je pošao na reku

Man went down to the river

Čovek je pošao na reku

Man went down to the river

Čovek je pošao na reku

To wash his sins away

Da spere svoje grehe

He washed all day, he washed all night

Prao je celi dan, prao je celu noć

He washed till his hands were sore

Prao je dok ga ne zaboleše ruke

He washed all day, he washed all night

Prao je celi dan, prao je celu noć

Till he couldn't wash a-no more

Sve dok nije mogao više prati

Man went down to the river

Čovek je pošao na reku

Man went down to the river

Čovek je pošao na reku

Man went down to the river

Čovek je pošao na reku

(Music fades)

(Muzika prestaje)

(Applause)

(Aplauz)

(Juliet Blake) And now, let's give a warm welcome

(Džulijet Blejk) A sada, poželimo dobrodošlicu umetničkom direktoru,

to the artistic director emerita of the Alvin Ailey American Dance Theater,

emeritusu Alvin Ejli Američke Akademije Plesnog Teatra

Judith Jamison.

Džudit Džemison.

(Applause)

(Aplauz)

Judith Jamison: Thanks.

Džudit Džemison: Hvala.

How are y'all?

Kako ste svi?

(Audience cheers)

(Publika otpozdravlja)

JJ: Yeah, you know you've just been to church?

DžDž: Znate, da ste upravo bili u crkvi?

(Laughter)

(Smeh)

You just saw a baptism, yes?

Upravo ste videli krštenje, zar ne?

This is from this wonderful piece Mr. Ailey created in 1960,

Ovo je iz predvnog komada koji je g. Ejli stvorio 1960.

called "Revelations."

nazvanog "Otkrovenja".

Mr. Ailey was 29 years old when he choreographed this masterpiece.

G. Ejli je sa 29 godina radio koreografiju za ovo remek delo.

It's been danced all over the world and understood universally,

Bilo je izvođeno širom sveta i svugde prihvaćeno

because he understood the humanity in us all.

jer on je razumeo čovečnost u svima nama.

"Revelations" is a reflection of a journey we all take in life,

"Otkrovenja" je meditacija o putovanju koje svi prolazimo u životu

and, hopefully, triumphantly.

nadajmo se, kao pobednici.

That was the magic of Alvin Ailey.

To je bila magija Alvina Ejlija -

He was able to see you, in the audience,

znao je da vidi vas, u publici,

see me, as the dancer,

da vidi mene, kao plesačicu,

and see the connection between us,

i da vidi vezu između nas,

and choreographed works that connected us all.

i stvorio je koreografije koje su nas sve povezivale.

So you felt he was telling your story,

Tako da ste osetili da je pričao vašu priču,

while I felt I was dancing mine.

a ja sam osetila da plešem svoju.

I started dancing when I was six years old

Počela sam da plešem sa 6 godina

in Philadelphia.

u Filadelfiji.

I was skinny ...

Bila sam mršava...

(Laughter)

(Smeh)

Dark chocolate,

Crna čokolada,

and a kid with legs up to my armpits.

i dete sa nogama do pazuha.

And the very first performance I had, at the Judimar School of Dance,

I moj prvi nastup bio je u plesnoj školi Džudimar

was in a red checkered shirt,

u crvenoj kariranoj majici,

dungarees, pink ballet shoes,

farmerkama sa tregerima, rozim baletankama

and we were dancing to "I'm an Old Cowhand from the Rio Grande."

i plesali smo uz "I'm an Old Cowhand from the Rio Grande."

I loved every minute of it.

Volela sam svaki minut.

I mean, I literally did love every minute of it,

Mislim bukvalno sam volela svaki minut toga,

especially when I heard the applause,

naročito kada sam čula aplauz,

and I knew right there, when I was six, I said,

i znala sam odmah, sa 6 godina, rekla sam:

"That's for me."

"To je za mene"

(Laughter)

(Smeh)

At six, you're not thinking

Sa 6 godina ne misliš

that's going to be a career of your lifetime,

da će to biti tvoja životna karijera,

but that was perfect for that moment.

ali to je bilo savršeno u tom momentu.

I danced my way through school, and through college,

Otplesala sam svoj put kroz školu i koledž,

and it still didn't dawn on me that that's what I actually wanted to do.

i još uvek nisam shvatala da je to ono što želim da radim.

I went to an audition,

Pošla sam na audiciju,

which I was dreadful in --

na kojoj sam bila užasna -

it's the only audition I've had in my life --

to je jedina audicija koju sam imala u životu -

and when I was let go from that audition --

i kada su me pustili sa audicije -

because I thought when they were saying, "Thank you very much,"

rekli su "Hvala mnogo" i za mene

je to značilo - prošla sam.

that meant for me to stay.

(Laughter)

(Smeh)

I ran up the steps,

Potrčala sam stepenicama,

and there was a man sitting on the steps.

i jedan čovek je sedeo na stepenicama.

And I barely noticed him.

Jedva da sam ga primetila.

He was an observer.

Bio je posmatrač.

Three days later, that man called me

Tri dana kasnije, on me je pozvao

and asked me, would I like to join the Alvin Ailey American Dance Theater.

i pitao hoću li da se pridružim Američkom Plesnom Teatru Alvin Ejli.

That's how it happened, folks, that's it.

I tako se desilo, to je to.

There's no drama or trauma.

Bez drame ili traume.

(Applause)

(Aplauz)

So I spent 15 years dancing with the company,

Provela sam 15 godina plešući sa trupom,

and then I directed it for something like 21 years.

a onda sam njome upravljala oko 21 godinu.

If you were black and African American and a dancer,

Ako si bio crn i Afroamerikacan i plesač

any time between the '40s and the '70s,

između 1940-ih i 1970-ih,

you had much to say,

imao si puno toga da kažeš

because your complete voice was not being heard.

jer se tvoj glas nije potpuno čuo

And you were not being represented as you truly were.

i nisi bio istinski predstavljen.

Alvin Ailey had the courage,

Alvin Ejli je imao hrabrost,

right in the middle of the Civil Rights Movement,

baš u vreme Pokreta za građanska prava,

to present the truth about who we were --

da kaže istinu o tome ko smo

that our creativity, our beauty,

da su naša kreativnost i lepota

our intelligence, our talents

naša inteligencija, naši talenti

were an intrinsic part of the panoply of American culture.

svojstveni deo šarolike američke kulture.

Our mantra has always been to educate, to entertain,

Naša mantra je uvek bila da edukujemo, da zabavimo,

and to lift our audiences.

i da podignemo našu publiku.

Mr. Ailey believed that dance came from the people

G. Ejli je verovao da je ples došao od ljudi

and needed to be delivered back to the people.

i da treba im bude vraćen nazad.

We didn't dance in a vacuum.

Nismo plesali u vakuumu.

It was our mission to serve people.

Naša misija je bila da služimo ljudima.

We call it outreach now,

Danas to zovemo dosezanje,

but it's always been a part of who we were and still are,

ali to je uvek bio deo toga ko smo bili i ko smo još uvek,

60 years later, to this day.

60 godina kasnije, do danas.

Being inclusive of our audiences --

Uključivanje publike

it's always been an important part of the company.

uvek je bio važan deo identiteta trupe.

We ask ourselves, who are we dancing for?

Mi se pitamo za koga mi plešemo?

Why are we dancing, if not to show people what it is to be human

Zašto plešemo ako ne da pokažemo ljudima šta znači biti čovek

and to connect with the audiences that we dance for.

i da se povežemo sa publikom za koju plešemo.

We've always felt responsible to make sure the community understood

Uvek smo vodili računa da zajednica razume

that what we do is a part of their heritage.

da je to što radimo deo njihovog nasleđa.

We just don't do this, also, in America,

Mi ne radimo ovo samo u Americi,

we do it all over the world.

već širom sveta.

We tour more than any other dance company in the world.

Idemo na turneje češće od bilo koje trupe u svetu.

After Nelson Mandela was released from prison,

Nakon što je Nelson Mendela pušten iz zatvora,

I thought, well, this is the time to go to South Africa.

pomislila sam, vreme je za put u Južnu Afriku.

And that was some outreach.

I to je stvarno bilo dosezanje.

We went to Johannesburg, Soweto,

Išli smo u Johanesburg, Soveto,

and some other townships that were really in dire straits.

i neke druge gradove koji su bili u stvarno užasnom stanju.

And it dawned on me, as we were there, I'm going like,

I shvatila sam, tamo, rekla sam:

"Here we are in the seat of Mother Africa,

"Evo nas u srcu Majke Afrike,

and we're trying to teach these people how to dance?"

i pokušavamo da naučimo ove ljude da plešu?"

(Laughter)

(Smeh)

But it was our African Americanness that they were interested in,

Ali njih je zanimalo naše Afroamerikanstvo

and the culture that we had developed over the last 400 years.

i kultura koju smo razvijali poslednjih 400 godina.

We toured all over the world many times,

Imali smo tuneje širom celog sveta, mnogo puta.

and whether we're in Europe or South America or Asia

I bilo u Evropi, bilo u Južnoj Americi, Aziji

or somewhere else,

ili negde drugde

audiences are thrilled and excited.

publika je oduševljena i uzbuđena.

You sounded thrilled and excited.

Vi ste zvučali oduševljeno i uzbuđeno.

Sometimes with tears in their eyes,

Ponekad sa suzama u očima,

because this nonverbal communication really works.

zato što neverbalna komunikacija starno funkcioniše.

And it's about embracing everyone.

I sve je u prihvatanju svakoga.

Alvin didn't need to explain to us

Alvin nije morao da nam objašnjava

what was going on at the time in the '60s and the '70s;

šta se dešavalo u to vreme, šezdesetih i sedamdesetih;

it was obvious why were doing his work.

bilo je očigledno zašto radimo taj posao.

He knew what the truth of the time was about,

Znao je istinu tih vremena,

and he was unafraid to reveal it through dance.

i nije se plašio da je otkrije kroz ples.

He tapped into every emotion he had and we had,

Dodirnuo je sve emocije koje je osetio i koje smo osetili.

and from angerness to happiness,

Od ljutnje do sreće,

to grief and everything in between,

do besa i svega između.

he knew us.

Poznavao nas je.

He took our history and turned it into powerful dance.

Uzeo je našu istoriju i pretvorio ju je u moćan ples.

He and I overlapped generationally.

On i ja smo se generacijski preklapali.

We didn't have to talk about things so much,

Nije bilo potrebe da mnogo razgovaramo,

because we understood implicitly our shared responsibilities.

jer smo implicitno razumeli zajedničku odgovrnost.

So when he asked me to take over the company

Tako, kada me je pitao da preuzmem trupu

before he passed in 1989,

pre nego što je preminuo, 1989.

I felt prepared to carry it forward.

osetila sam se spremnom da nastavim.

Alvin and I were like parts of the same tree.

Alvin i ja smo bili kao delovi istog stabla.

He, the roots and the trunk,

On, korenje i stablo,

and we were the branches.

i mi grane.

I was his muse.

Ja sam bila njegova muza.

We were all his muses.

Svi smo bili njegove muze.

The ballet "Cry,"

Balet "Plač"

which some of you might have seen --

koji su možda neki od vas gledali -

you're going to see an excerpt of it --

sada ćete videti jedan njegov deo -

it was made on me,

pravljen je po meni,

and Alvin dedicated it to all black women,

i Alvin ga je posvetio svim crnim ženama,

especially our mothers.

naročito našim majkama.

When Alvin and I went in the studio,

Kada smo Alvin i ja pošli u studio,

of course he wasn't thinking,

naravno da nije mislio

"Here I am, creating an iconic work."

"Sad kreiram genijalno delo".

Do you know any artist that does that?

Da li znate umetnika koji radi tako nešto?

You don't go into the studio

Ne ideš u studio

to create anything

da kreiraš išta

but what's coming truthfully from your heart and your spirit.

sem onog što iskreno izlazi iz tvog srca i duha.

And you trust that you have a dancer you can share that with.

I veruješ da imaš plesača sa kojim to možeš da podeliš.

Rehearsal space is a sacred space,

Mesto proba je sveto mesto

not to be intruded upon,

koje ne treba uznemiravati

because it's about talking to each other through spirit.

jer se tu komunicira duhom.

You better have some technique on top of that

I bolje bi ti bilo da imaš dobru tehniku

so you can do the dance.

da bi mogao da plešeš.

(Laughter)

(Smeh)

He brought his Alvin to "Cry" and I brought my Judy to it.

On je doveo svog Alvina "Plaču", a ja svoju Džudi.

I just did the steps.

Samo sam radila korake.

And this was a birthday present for his mother,

I to je bio rođendanski poklon za njegovu majku,

because he couldn't afford to get her a tactile gift.

jer nije mogao da priušti opipljivi poklon.

When I performed it the first time,

Kada sam igrala po prvi put,

it was physically and emotionally draining.

bilo je fizički i emocionalno iscrpljujuće.

I hadn't yet run through the whole piece from beginning to end.

Nisam pre toga otplesala ceo balet od početka do kraja.

The ballet is 16 minutes long.

Komad traje 16 minuta.

It's about a proud woman who has been to hell and back,

Govori o ponosnoj ženi koja je stigla do pakla i nazad,

from her journey across the Atlantic.

tokom puta preko Atlantika.

She's exhausted,

Iscrpljena je,

she's a queen,

ona je kraljica,

and in this section, you're going to see she is triumphant.

i u ovom delu videćete njen trijumf.

She made it,

Uspela je,

and she is, in that last step that she does,

i u poslednjem koraku, ona

beating away anything negative

pobeđuje sve negativno

with her tremendous strength.

svojom ogromnom snagom.

And in the last step, she digs into the earth

U poslednjem koraku, ona kopa u zemlju

and she reaches into the sky ...

i poseže ka nebu...

because she's clearing space for the next journey.

zato što čisti prostor za sledeće putovanje.

I performed it in 1971,

Izvela sam ga 1971.

and we are still clearing space.

i još uvek čistimo prostor.

Now let me leave you with one last thought.

A sad, dozvolite mi za kraj još jednu stvar.

Here we are, in the 21st century,

Evo nas u 21. veku,

still fighting for civil rights.

i dalje u brobi za građanska prava.

Not a day goes by

Ni dan ne prođe

that we are not made aware of the struggle that continues.

a da nas nešto ne podseti na neprestanu borbu.

I believe that dance can elevate our human experience

Verujem da ples može uzdići ljudsko iskustvo

beyond words.

iznad reči.

And when you're sitting in the dark,

I kada sediš u mraku,

in the theater,

u pozorištu,

having a personal experience,

i proživljavaš lično iskustvo,

you don't feel blocked or misunderstood.

ne osećaš se zatvoreno ili pogrešno shvaćeno.

You feel open,

Osećaš se otvoreno,

alive,

živo,

and, we hope,

i nadamo se,

inspired.

inspirisano.

Thank you.

Hvala.

(Applause)

(Aplauz)

(Music: "Right on. Be free." by East Harlem)

(Muzika: "Right on. Be free" od East Harlem)

I wanna go where the north wind blows

Želim da idem gde severni vetar duva

I wanna know what the falcon knows

Želim da znam što soko zna

I wanna go where the wild goose goes

Želim da idem gde divlja guska ide

High flyin' bird, high flyin' bird, fly on

Visoko-leteća ptico, visoko-leteća ptico, odleti

I want the clouds over my head

Želim oblake iznad moje glave

I don't want no store bought bed

Neću krevet iz prodavnice

I'm gonna live until I'm dead

Ima da živim dok ne umrem

Mother, mother, mother Save your child

Majko, majko, majko Spasi svoje dete

Right on, be free

Baš tako, budite slobodni

Right on, be free

Baš tako, budite slobodni

Right on, be free

Baš tako, budite slobodni

I don't want no store bought bed

Neću krevet iz prodavnice

Right on

Baš tako

I want the clouds over my head

Hoću oblake iznad glave

Be free

Budite slobodni

Ain't no time to be afraid

Nema vremena za strah

Mother, mother, mother Save your child

Majko, majko, majko spasi svoje dete

(Music)

(Muzika)

I don't want no store bought bed

Neću krevet iz prodavnice

Right on

Baš tako

I want the clouds over my head

Hoću oblake iznad moje glave

Be free

Budite slobodni

Ain't no time to be afraid

Nema vremena za strah

Mother save your child

Majko spasi svoje dete

I wanna see a rainbow in the sky

Hoću da vidim dugu na nebu

I wanna watch the clouds go by

Hoću da gledam oblake dok prolaze

It might make my load a little light

Možda mi smanji teret

Lord, Lord, Lord Where will I be tomorrow night?

Gospode, Gospode, Gospode Gde ću biti sutra veče?

Right on

Baš tako

Be free

Budite slobodni

Right on, be free

Baš tako, budite slobodni

Right on, be free

Baš tako, budite slobodni

Right on, be free

Baš tako, budite slobodni

Right on, be free

Baš tako, budite slobodni

Right on, be free

Baš tako, budite slobodni

Right on, be free

Baš tako, budite slobodni

(Music fades)

(Muzika prestaje)

(Applause)

(Aplauz)

(Cheers)

(Ovacije)

(Applause)

(Aplauz)

(Cheers)

(Ovacije)

(Applause)

(Aplauz)