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

145,705 views ・ 2016-11-04

TED


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翻译人员: Zhiting Chen 校对人员: Geoff Chen
00:18
(Music)
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(音乐)
01:45
(Applause)
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(掌声)
01:56
Trevor Copp: When "Dancing With the Stars" first hit the airwaves,
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特雷弗·克普:当“与星共舞” 首次出现在电视上,
01:59
that is not what it looked like.
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不是看上去的那个样子。
02:01
(Laughter)
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(笑声)
02:03
Jeff and I were full-time ballroom dance instructors
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杰夫和我是全职交谊舞老师
02:06
when the big TV ballroom revival hit,
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当最大的电视交谊舞
02:09
and this was incredible.
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这太厉害了。
02:13
I mean, one day we would say "foxtrot,"
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我的意思是,某天我们会说 “跳狐步舞”
02:15
and people were like "Foxes trotting."
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人们就说"狐狸旋转。"
02:18
(Laughter)
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(笑声)
02:20
And the next day they were telling us
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第二天他们告诉我们
02:22
the finer points of a good feather step.
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什么是更好的羽步。
02:24
And this blew our minds.
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这对我们的思维产生了冲击。
02:27
I mean, all of the ballroom dance geeking out that we had always done
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我是说,所有的交谊舞 都是这样处理的
02:32
on why salsa worked differently than the competitive rumba
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为什么salsa和竞技伦巴舞不同
02:36
and why tango traveled unlike the waltz,
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为什么探戈舞步和华尔兹不同,
02:38
all of that just hit the public consciousness,
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这些冲击了公众的意识,
02:43
and it changed everything.
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改变了一切。
02:45
But running parallel to this excitement,
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和这样的兴奋同时存在的还有,
02:48
the excitement that suddenly, somehow, we were cool --
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突然间,不知为何, 我们被认为是很酷的人 --
02:52
(Laughter)
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(笑声)
02:55
there was also this reservation.
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当然还有这样的思考。
02:57
Why this and why now?
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为什么会这样和为什么是现在?
03:01
Jeff Fox: When Trevor and I would get together for training seminars
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杰夫·福克斯:当特雷弗和我 一起指导训练活动
03:04
or just for fun,
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或是仅仅为了有趣,
03:05
we'd toss each other around, mix it up,
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我们互相把对方扔出,
03:07
take a break from having to lead all the time.
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不想要一直领舞 稍作休息。
03:10
We even came up with a system for switching lead and follow
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我们甚至发明了一套系统 来交换领舞
03:12
while we were dancing,
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在我们舞蹈的时候,
03:14
as a way of taking turns and playing fair.
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作为互相领舞,轮流休息。
03:16
It wasn't until we used that system as part of a performance
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直到某次在一个小型活动上
03:19
in a small festival
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我们表演了这套交换领舞的系统
03:20
that we got an important tap on the shoulder.
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随后一个很重要的“拍肩”。
03:22
Lisa O'Connell, a dramaturge and director of a playwright center,
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丽莎·欧康奈尔,一位剧作家, 也是剧作中心的主任,
03:25
pulled us aside after the show and said,
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在表演结束后把我们拉到一旁说,
03:28
"Do you have any idea how political that was?"
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“你们知道这多么有政治意义吗?”
03:30
(Laughter)
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(笑声)
03:32
So that began an eight-year collaboration to create a play
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随后我们开始了为期八年的合作 来制作一部戏剧
03:35
which not only further developed our system for switching
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这不仅开发了我们 交换领舞的系统
03:38
but also explored the impact of being locked into a single role,
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同时也研究 被限定在单一角色的影响,
03:42
and what's worse,
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更糟的是,
03:43
being defined by that single role.
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被那个单一角色定义。
03:45
TC: Because, of course,
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TC:因为,当然,
03:47
classic Latin and ballroom dancing isn't just a system of dancing;
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古典拉丁舞和交谊舞 不仅仅是舞蹈的一个系统;
03:52
it's a way of thinking, of being,
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它是一个思维方式,
03:55
of relating to each other
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和他人连结的方式
03:57
that captured a whole period's values.
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占领了一整个时期的价值认同。
04:00
There's one thing that stayed consistent, though:
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有一件事情长久地存在, 那就是:
04:02
the man leads
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男士领导
04:04
and the woman follows.
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女士跟从。
04:06
So street salsa, championship tango, it's all the same --
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街边的salsa舞,探戈舞锦标赛 都是一样的 --
04:08
he leads, she follows.
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他领舞,她跟从。
04:11
So this was gender training.
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这是性别训练。
04:13
You weren't just learning to dance --
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你不仅仅是在学习跳舞 --
04:15
you were learning to "man" and to "woman."
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你学习的是“男性”和“女性。”
04:19
It's a relic.
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这是历史遗留。
04:21
And in the way of relics, you don't throw it out,
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这样的遗留问题, 你并不会把它剔除,
04:23
but you need to know that this is the past.
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但你需要知道 这已是过去。
04:26
This isn't the present.
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这不是现在。
04:28
It's like Shakespeare: respect it, revive it -- great!
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就像是莎士比亚: 尊重它,复兴它 -- 太棒了!
04:31
But know that this is history.
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但要知道,这是历史。
04:33
This doesn't represent how we think today.
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这不能代表当今我们如何思考。
04:37
So we asked ourselves:
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于是,我们问我们自己:
04:38
If you strip it all down,
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如果你去发掘本质,
04:40
what is at the core of partner dancing?
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双人舞蹈的核心是什么?
04:44
JF: Well, the core principle of partner dancing
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JF:双人舞蹈的核心原则是
04:46
is that one person leads, the other one follows.
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一个人领导,另一个人跟从。
04:49
The machine works the same, regardless of who's playing which role.
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机器也是这样运作的, 不管谁在哪个角色。
04:52
The physics of movement doesn't really give a crap about your gender.
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移动行为根本不在意 你的性别是什么。
04:55
(Laughter)
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(笑声)
04:56
So if we were to update the existing form,
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如果我们想要升级 现有的模式,
04:58
we would need to make it more representative
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我们需要让它更具有代表性
05:00
of how we interact here, now, in 2015.
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2015年的现在,我们是如何互动的。
05:04
When you watch ballroom, don't just watch what's there.
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当你观赏交谊舞, 不要只关注那里有什么。
05:07
Watch what's not.
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要关注,哪些是没有的。
05:09
The couple is always only a man and a woman.
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一对搭档,一直都是 一位男士和一位女士。
05:12
Together.
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一起。
05:13
Only.
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只有。
05:14
Ever.
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永远。
05:15
So, same-sex and gender nonconformist couples just disappear.
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因此,同一性别和 不顺从一般公认信念的搭档不会被看见。
05:19
In most mainstream international ballroom competitions,
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在绝大多数主流的 国际交谊舞赛事,
05:22
same-sex couples are rarely recognized on the floor,
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同一性别的搭档 很少会出现在比赛场上,
05:25
and in many cases,
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在很多情况下,
05:26
the rules prohibit them completely.
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规则完全阻止了他们参与。
05:28
TC: Try this: Google-image, "professional Latin dancer,"
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TC:试试看这个:谷歌图片, “职业拉丁舞者,”
05:33
and then look for an actual Latino person.
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搜索显示出真正的拉丁裔人。
05:35
(Laughter)
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(笑声)
05:37
You'll be there for days.
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你在拉丁舞赛事现场很多天。
05:39
What you will get is page after page of white, straight Russian couples
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会看到很多白的,异性恋的 俄罗斯舞蹈搭档们
05:43
spray-tanned to the point of mahogany.
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不断地往身上喷美黑产品。
05:45
(Laughter)
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(笑声)
05:47
There are no black people, there are no Asians,
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那里没有黑人, 没有亚洲人,
05:49
no mixed-race couples,
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没有跨种族的搭档,
05:50
so basically, non-white people just disappeared.
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基本上来说, 不是白种人的舞者都消失不见了。
05:54
Even within the white-straight- couple-only paradigm --
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即使是在只有白的,直的,搭档 的情况下 --
06:00
she can't be taller,
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她不能比较高,
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he can't be shorter.
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他不能比较矮。
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She can't be bolder,
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她不能头发稀少,
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he can't be gentler.
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他不能太温雅。
06:07
If you were to take a ballroom dance
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如果你要去跳交谊舞
06:09
and translate that into a conversation
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然后把舞蹈变成一个对话
06:11
and drop that into a movie,
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然后放入一个电影之中,
06:13
we, as a culture, would never stand for this.
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我们,作为一种文化, 绝对不会容忍这样的表现。
06:16
He dictates, she reacts.
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他主导,她跟从。
06:20
No relationship -- gay, straight or anything --
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没有关系 -- 同性恋, 异性恋或是其它什么的 --
06:23
that we would regard as remotely healthy or functional looks like that,
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我们会后悔这样太过健康和正确了,
06:28
and yet somehow,
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然而,
06:29
you put it on prime time, you slap some makeup on it,
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当它被放在黄金时间, 在舞者脸上化好妆,
06:32
throw the glitter on, put it out there as movement, not as text,
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身上喷些闪粉, 以动作的形式展现出来,而不是文字,
06:36
and we, as a culture,
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我们,作为一种文化,
06:38
tune in and clap.
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接受并为此鼓掌。
06:41
We are applauding our own absence.
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我们在为自己的缺席喝彩。
06:46
Too many people have disappeared from partner dancing.
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太多人没有参与到交谊舞中。
06:50
(Music)
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(音乐)
07:34
(Applause)
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(鼓掌)
07:40
JF: Now, you just saw two men dancing together.
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JF:现在,你看到了 两位男士共舞。
07:43
(Laughter)
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(笑声)
07:44
And you thought it looked ...
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你会觉得这看起来 ...
07:46
a little strange.
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有些奇怪,
07:48
Interesting -- appealing, even --
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有趣 -- 引人注意,甚至 --
07:50
but a little bit odd.
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但是有点奇怪。
07:52
Even avid followers of the same-sex ballroom circuit can attest
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即使是想要学习同一性别 交谊舞巡回的也会认为
07:55
that while same-sex partner dancing can be dynamic and strong and exciting,
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即使同一性别的舞者搭档是 充满活力的,有趣的,
07:59
it just doesn't quite seem to fit.
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但看起来还是有些不搭。
08:02
Aesthetically speaking,
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从美学的角度来说,
08:03
if Alida and I take the classic closed ballroom hold ...
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如果爱丽达跟我做出 经典的交谊舞姿势 ...
08:09
this is considered beautiful.
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会被认为是美丽的。
08:14
(Laughter)
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(笑声)
08:16
But why not this?
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但为什么这样的就不是呢?
08:17
(Laughter)
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(笑声)
08:19
See, the standard image that the leader must be larger and masculine
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你看,标准的印象认为舞伴中的领导者 应该更加高大威武
08:23
and the follower smaller and feminine --
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跟随的那位更加矮小和柔美 --
08:25
this is a stumbling point.
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这就是障碍点。
08:27
TC: So we wanted to look at this from a totally different angle.
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TC:因此,我们想从 完全不同的视角来看
08:33
So, what if we could keep the idea of lead and follow
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如果我们能够保持关于 领导和跟从的看法
08:37
but toss the idea that this was connected to gender?
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但是不要把这样的想法和性别挂钩?
08:40
Further, what if a couple could lead and follow each other
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如果一对舞伴能够相互 领舞和跟从
08:45
and then switch?
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然后交换?
08:47
And then switch back?
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然后再交换?
08:49
What if it could be like a conversation,
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这能不能像是一种对话,
08:52
taking turns listening and speaking, just like we do in life?
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就像我们日常生活中那样 在听和说之间切换?
08:56
What if we could dance like that?
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我们能够这样跳舞吗?
09:00
We call it "Liquid Lead Dancing."
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我们称之为“流动领舞。”
09:04
JF: Let's try this with a Latin dance,
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JF:让我们试一试用这样的方法 来跳一段拉丁舞,
09:07
salsa.
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salsa舞。
09:08
In salsa, there's a key transitional step, called the cross-body lead.
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在salsa舞中,有一个重要的步骤, 叫做十字交叉引导。
09:12
We use it as punctuation to break up the improvisation.
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我们将它作为标点符号 来打破即兴创作。
09:14
It can be a little tricky to spot if you're not used to looking for it,
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如果你不时常观看找寻 这有些难以识别,
09:18
so here it is.
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就是这样。
09:25
One more time for the cheap seats.
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再为坐的远的观众表演一次。
09:26
(Laughter)
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(笑声)
09:32
And here's the action one more time,
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这是动作,再一次,
09:34
nice and slow.
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很好,很慢。
09:40
Now, if we apply liquid-lead thinking to this transitional step,
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现在,如果我们用流动领舞来想 这个过渡舞步,
09:44
the cross-body lead becomes a point
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十字交叉引导变成了一个位置
09:46
where the lead and the follow can switch.
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领舞和跟从的角色可以互换。
09:48
The person following can elect to take over the lead,
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那个跟从的舞者可以在这 换位变成领舞者,
09:51
or the person leading can choose to surrender it,
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那个领舞的人也可以选择 变成跟从的人,
09:53
essentially making it a counter-cross-body lead.
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尤其是让它成为 反对十字交叉引导的领舞者。
09:56
Here's how that looks in slow motion.
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这是慢动作。
10:05
And here's how it looked when we danced it in the opening dance.
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这是在舞蹈开场时的舞步。
10:14
With this simple tweak, the dance moves from being a dictation
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一个简单的扭动, 舞蹈从主导
10:18
to a negotiation.
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变成了协商。
10:19
Anyone can lead. Anyone can follow.
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任何人都能领舞。任何人都能跟从。
10:22
And more importantly, you can change your mind.
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更重要的是, 你能改变你的看法。
10:25
Now, this is only one example of how this applies,
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现在,这只是如何表现的 一个例子,
10:27
but once the blinkers come off, anything can happen.
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一旦闪光灯关闭, 任何事都可能发生。
10:31
TC: Let's look at how Liquid Lead thinking could apply to a classic waltz.
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TC:让我们来看看流动领舞的想法 如何在古典华尔兹上表现。
10:36
Because, of course,
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因为,当然,
10:37
it isn't just a system of switching leads;
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这不仅仅是交互领舞的系统;
10:40
it's a way of thinking
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这是一种思维模式
10:41
that can actually make the dance itself more efficient.
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能够让舞蹈本身变得更加高效。
10:44
So: the waltz.
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华尔兹。
10:46
The waltz is a turning dance.
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华尔兹是一个回旋舞蹈。
10:48
This means that for the lead,
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对领舞的舞者来说 这意味着
10:50
you spend half of the dance traveling backwards,
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你有一半的时间是倒退方向的,
10:53
completely blind.
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完全看不见背后的一切。
10:55
And because of the follower's position,
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因为跟舞的人的姿势,
10:57
basically, no one can see where they're going.
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没人能够看到他们在做什么。
11:00
(Laughter)
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(笑声)
11:02
So you're out here on the floor,
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你就在这里,
11:04
and then imagine that coming right at you.
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然后想象发生的事。
11:06
JF: Raaaaaah!
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JF: Raaaaaah!
11:08
(Laughter)
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(笑声)
11:09
TC: There are actually a lot of accidents out there
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TC:有很多以外可能发生
11:13
that happen as a result of this blind spot.
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因为有盲点。
11:16
But what if the partners were to just allow for
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但如果搭档仅仅想要
11:19
a switch of posture for a moment?
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在某一个时间点变更一下姿势呢?
11:21
A lot of accidents could be avoided.
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很多意外都是可以避免的。
11:24
Even if one person led the whole dance but allowed this switch to happen,
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即使一个人领舞整个舞蹈 但是允许变更,
11:29
it would be a lot safer,
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也是更加安全的,
11:30
while at the same time, offering new aesthetics into the waltz.
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与此同时,给华尔兹舞 带来一些有趣的新美学。
11:34
Because physics doesn't give a damn about your gender.
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因为物理原理不会根据你的性别改变。
11:37
(Laughter)
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(笑声)
11:40
JF: Now, we've danced Liquid Lead in clubs, convention centers
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JF:现在,我们用流动领舞方式 在俱乐部,会展中心
11:43
and as part of "First Dance," the play we created with Lisa,
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作为“第一支舞”的一部分 这是我们和丽莎合作创作的,
11:46
on stages in North America and in Europe.
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在北美和欧洲的舞台上表演。
11:48
And it never fails to engage.
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这还从未失败过。
11:50
I mean, beyond the unusual sight of seeing two men dancing together,
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我的意思是,在不常出现的 两位男士交谊舞中,
11:54
it always evokes and engages.
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这总能唤起人们的参与。
11:57
But why?
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但是为什么?
11:58
The secret lies in what made Lisa see our initial demonstration
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这其中的秘密就是 丽莎看到我们最初的舞蹈展示
12:01
as "political."
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是有“政治意义”的。
12:02
It wasn't just that we were switching lead and follow;
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这不仅是两位舞者 交换领舞和跟从;
12:05
it's that we stayed consistent in our presence, our personality
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这是我们一直以来坚持的 从表现上,个人的性格上
12:08
and our power, regardless of which role we were playing.
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和我们的力量,不管我们处在哪个角色。
12:11
We were still us.
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我们仍然是自己。
12:13
And that's where the true freedom lies --
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那就是真正的自由所在 --
12:15
not just the freedom to switch roles,
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而不仅仅是自由地交换角色,
12:17
but the freedom from being defined by whichever role you're playing,
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而是自由决定自己想要 选择怎样的角色,
12:21
the freedom to always remain true to yourself.
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做真实的自己的自由。
12:24
Forget what a lead is supposed to look like, or a follow.
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忘记领舞或是跟从 看上去应该是怎样的。
12:27
Be a masculine follow
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作为一个有男子气概的跟从
12:29
or a feminine lead.
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或是一个女性娇柔的领舞。
12:30
Just be yourself.
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做自己。
12:32
Obviously, this applies off the dance floor as well,
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很显然,这也能够应用在 舞池之外,
12:35
but on the floor, it gives us the perfect opportunity
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但舞池给了我们 完美的机会
12:38
to update an old paradigm, reinvigorate an old relic,
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来升级一个旧的范例, 复兴古老的的遗迹,
12:41
and make it more representative of our era and our current way of being.
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让它更具有有当今时代的代表性。
12:46
TC: Jeff and I dance partner dancing all the time with women and men
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TC: 杰夫和我时常跟 男性和女性一起跳双人舞
12:49
and we love it.
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我们很热爱这样做。
12:51
But we dance with a consciousness that this is a historic form
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我们跳舞的时候意识到 这是一个历史格式
12:55
that can produce silence and produce invisibility
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能够产生安静和隐形的影响
13:00
across the spectrum of identity that we enjoy today.
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穿越我们当今所有的认知光谱。
13:03
We invented Liquid Lead
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我们发明了流动领舞
13:05
as a way of stripping out all the ideas that don't belong to us
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用这个方式来去除 本不属于我们的意识
13:10
and taking partner dancing back to what it really always was:
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把交谊舞跳回本来该有的样子:
13:15
the fine art of taking care of each other.
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彼此互相照顾的高雅艺术。
13:20
(Music)
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(音乐)
15:20
(Applause)
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(掌声)
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