How Black Girls Can Reclaim Their Voice in Music | Kyra Gaunt | TED

翻译人员: Yan Li Xiao 校对人员: Yuwei Wu

I was on a date, just about to eat dinner,

我在约会，正要吃晚饭，

and I hear a growling sound.

然后我听到了咆哮声。

And I look at the guy,

我看着那个人，

he says to me, "That's your stomach, not mine."

他对我说：“那是你的 胃，不是我的。”

(Laughs)

（笑）

How do I not recognize the sounds coming from my own body,

我怎么认不出来自我 自己身体的声音呢，

not to mention my own voice?

更何况是我自己的声音？

I love the sound of my voice on a microphone,

我喜欢我在在麦克风上的声音，

but it didn't start out that way.

但它不是一开始就这样。

When I was younger,

当我年轻的时候，

I was in love with other people's voices.

我爱上了别人的声音。

And like so many of us,

和我们许多人一样，

the first time I ever heard my voice on a recording,

我第一次听到 我在录音中的声音的时候，

I hated it.

我讨厌它。

I was 10 years old

我妈妈在圣诞节给我买

when my mother bought me a Panasonic cassette recorder

一个松下盒式录音机

with a pack of Memorex cassette tapes for Christmas.

和一包 Memorex 的盒式磁带的时候我才 10 岁。

See, singing on tape was my version of bedroom musical play,

看，在磁带上唱歌是我版本的 卧室音乐剧，

something that girls do all around the world,

世界各地的女孩子都会做的事，

and it's really gendered.

而且它真的是性别化的。

Left alone with our devices, alone in a room, girls play.

与我们的设备独处， 一个人在房间里，女孩们会玩。

Singing, listening to music, dancing.

唱歌、听音乐、跳舞。

So with a gift in hand, the very next morning,

所以手里拿着礼物， 第二天早上，

the first thing I did was record my voice.

我做的第一件事就是录下我的声音。

And when I played the tape back,

当我播放磁带时，

I was shocked.

我很震惊。

It didn't sound anything like me.

这听起来一点也不像我。

There was a huge gap between what I thought I sounded like

我以为我听起来的和磁带告诉我的

and what the tape was telling me.

之间有很大的差距。

And it was traumatic because I didn't recognize me.

这是创伤性的 因为我没有认出来我。

I think we all know that feeling.

我想我们都知道那种感觉。

But some of us are emancipated from the doubt triggered by technology,

但我们中的一些人 从科技引发的疑惑中解放了，

and some of us are not.

而我们中的一些人没有。

So I stuck to dancing in the mirror and lip synching,

所以我坚持对着镜子跳舞和假唱，

falling in love with other people's voices instead of my own.

爱上别人的声音而不是我自己的。

Now I am a digital ethnomusicologist.

现在我是一名数字民族音乐学家。

I study Black tween girls,

我研究黑人补间女孩，

particularly the unintended consequences

特别是她们私密卧室音乐剧的

of their intimate bedroom musical play.

意外后果。

On today's mobile apps,

在今天的移动应用程序上，

Black girls record and upload the most viral dances on the internet.

黑人女孩会记录和上传 互联网上最流行的舞蹈。

But the songs that mute their voices

但是那些歌曲会把他们 的声音静音并听起来

and sound pornographic are overwhelmingly male.

色情的绝大多数是男性的。

For example, the song "Booty Hopscotch"

例如，歌曲 “臀部跳房子”

entices very young girls to record themselves

吸引了非常年轻的女孩来记录自己

while a male ventriloquist grooms them to "Keep that ass jumpin',

而男性口技达人会训练他们 “让那个屁股跳起来，

Keep that ass jumpin'."

让那个屁股跳起来。”

Girls say they don't listen to the lyrics, but when asked,

女生说她们不会听 歌词，但当被问到时，

they can sing every word with no concern for the consequences.

他们可以不关心后果 的唱出每一个字。

Before YouTube,

在 YouTube 之前，

before WorldstarHipHop, the Black YouTube,

在 WorldstarHipHop 之前， Black YouTube，

on the playground and in the bedroom,

在操场上和卧室里，

the voices that Black girls heard in their own musical play

黑人女孩在他们自己的 音乐剧中听到的声音,

were predominately their own.

主要是他们自己的。

But these days, online Black girls are drowning

但是现如今黑人女孩在网上正在淹没

in the sounds of musical mansplaining

在音乐曼斯普林的声音中，

while bouncing ther booty to the beats and rhymes of rap

跟着登上公告牌榜首 和 YouTube 排行榜的

that tops the Billboard and YouTube charts.

说唱节奏和韵律，弹跳她们的臀部。

Songs like, "Hands up, get low. hands up, get low, hands up,"

像 “举起手来，放低点。举起手， 放低点，举起手来” 这样的歌

tell them what to do and how to do it.

告诉他们该做什么以及怎么做。

Curiously, the hook for that song may have come, may have been appropriated

奇怪的是，这首歌的 hook 可能已经有了，可能是从一个名叫

from a Black girls' hand-clapping game called "Jig-a-low."

“Jig-a-low” 的黑人女孩 拍手游戏中挪用的。

Jig-a-low is a contraction,

Jig-a-low 是缩略语，

“jig” meaning to dance and “a-low”, well, to get down.

“jig” 的意思是跳舞 和 “a-low”，好吧，是下来。

"Jig-a-low, jig-jig-a-low,

“Jig-a-low, jig-jig-a-low,

I do my thing, yeah, on the video screen.

我做我的事，是的，在视频屏幕上。

Yeah, well, my hands up high, my feet down low.

是的，我的双手高高举起， 我的脚放低了。

And this the way we jig-a-low.

这就是我们 jig-a-low 的方式。

Hands up high, my feet down low.

双手高高举起，我的脚放低。

And this the way we jig-a-low.”

这就是我们 jig-a-low 的方式。”

Girls across the gender spectrum, who love to twerk,

喜欢扭臀的女孩们， 它是在整个非洲

which is a culturally appropriate and sophisticated style of dance

和非裔拉丁侨民都有的，

found throughout the African and Afro-Latina diaspora,

在文化中适当的精致的舞蹈风格，

are being enticed by sounds that are produced,

90% 的情况是被男人

engineered and written 90 percent of the time by men

生产、设计和编写的声音所吸引的，

who are enticing and taking advantage of girls who love to dance

他们把它用来诱惑 和利用喜欢跳舞的女孩，

and treating them like adults in their intimate bedroom musical play.

并在他们私密的卧室音乐剧中， 像对待成年人一样对待她们

How do I know?

我为什么会知道呢？

For seven years,

七年来，

I've been studying a set of 650 bedrooms twerking videos by Black girls.

我一直在研究一套 650 个 黑人女孩的卧室扭臀视频。

They were uploaded to YouTube between 2006 and 2014.

它们是在 2006 年至 2014 年间 被上传到 YouTube 的。

Over 1,000 girls from all around the world

来自世界各地的 1000 多名女孩

selected 200 twerk songs

选择了 200 首扭臀歌曲，

and only nine voices of women,

只有 9 首是女性的声音，

including Nicki Minaj, Beyoncé, Ciara

包括妮琪·米娜、碧昂丝、席亚拉

and one indie artist named Katie Got Bandz.

和一位名叫名叫凯蒂有班兹 的独立艺术家。

So what's behind all this?

那么这一切的背后是什么？

While girls are twerking, feeling themselves, feeling empowered,

当女孩们在扭动时， 感觉到自己，感觉被赋予力量，

arguably the oldest technology in our human evolution,

可以说是在我们人类 的进化中最古老的技术，

music, is taking over.

音乐正在接管。

Beyond our conscious thought, music lowers our threshold of pain

在我们有意识的思想之外， 音乐降低了我们的痛苦阈值,

while it rewards us with the feeling of social bonding and intimacy.

同时它奖励了我们 社会联系和亲密关系的感觉。

That's why we go to concerts,

这就是我们去音乐会的原因，

that's why we crave that feeling even when we're alone,

这就是即使我们一个人 也渴望那种感觉的原因，

that's why music is self-soothing.

这就是音乐能够自我抚慰的原因。

And it is.

它是的。

It's a whole mood.

它是一个完整的心情。

But that mood is grooming younger and younger girls

但这种心情正在修饰 越来越年轻的女孩忍受

to tolerate psychological violence in dating situations

在约会场合和

and in their own intimate bedroom musical play.

在她们的卧室音乐剧的心理暴力。

Girls repeatedly do what they're repeatedly exposed to.

女孩反复做他们反复接触的东西。

Left to their own devices,

任凭他们自己的设备，

music as technology gives patriarchy and anti-Blackness a head start.

音乐作为技术赋予父权制 和反黑度抢先一步。

Faced with doubt about my own voice when I was ten,

在十岁时面对对自己声音的怀疑，

the tendency to think that the situation was about me,

倾向于思考是因为我，

about feeling insecure,

关于感到不安，

that was the tendency, not the situation.

这是趋势，而不是情况。

The role technology plays gets lost.

技术所扮演的角色迷失了。

Being best friends with my own voice

跟我自己的声音成为最好的朋友

could have been my first intimate relationship.

可能是我的第一个亲密关系。

If very young girls were surrounded by the voices of Black female voices,

如果非常年轻的女孩被 黑人女声的声音包围的话，

chances are they'd assign value to their own.

他们可能会分配价值给自己的。

Bedroom musical play could be the first time

卧室音乐剧可能是一个女孩

a girl tunes in to her own internal signals,

第一次收听自己的内部信号，

self-regulates it,

自我调节它，

and learns to say "Yes!" as well as, "Nope, not today."

并学会说 “是的！” 以及 “不，不是今天”。

But online, bedroom musical play,

但在网上，卧室音乐剧，

like listening to your gut or your stomach,

就像听你的直觉或者你的胃，

well, it's not a solo act.

好吧，这不是一个单独的行为。

Stereotypes and stigmas fed by algorithms and audiences are silencing us.

算法和观众带来的刻板印象和污名 正在让我们沉默。

But if Black girls produced their own twerk songs

但如果黑人女孩生产 他们自己的扭臀歌曲

and preferred female musicians,

和喜欢的女性音乐家，

well, they could break the internet in music and tech.

好吧，他们可以在音乐和 科技方面破坏互联网。

But that revolution in sound can only begin

但是声音的革命只有在学会喜欢

if they learn to like the voice on their own Memorex tape.

他们自己的 Memorex 磁带上 的声音的时候才能开始。

Thank you.

谢谢。

(Applause)

（掌声）