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

譯者: Lilian Chiu 審譯者: Congmei Han

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

（音樂：艾拉·詹金斯的《跋涉過水》）

Wade in the water

跋涉過水

Wade in the water, children

跋涉過水，孩子們

Wade in the water

跋涉過水

God's a-gonna trouble the water

（再等下去）上帝將讓水流更湍急

Oh, why don't you wade in the water

喔，你們為什麼不跋涉過水

Wade in the water, children

跋涉過水，孩子們

Wade in the water

跋涉過水

God's a-gonna trouble the water

上帝將讓水流更湍急

See that man all dressed in white

看看那名穿著全白的男子

God's a-gonna trouble the water

上帝將讓水流更湍急

He looks like a man of the Israelite

他看起來像是以色列人

God's a-gonna trouble the water

上帝將讓水流更湍急

Wade in the water

跋涉過水

Wade in the water, children

跋涉過水，孩子們

Wade in the water

跋涉過水

God's a-gonna trouble the water

上帝將讓水流更湍急

See that man all dressed in red

看看那名穿著全紅的男子

God's a-gonna trouble the water

上帝將讓水流更湍急

It looks like the man that Moses led

紅衣人看起來像是摩西帶領的人

God's a-gonna trouble the water

（所以）上帝將讓水流更湍急

Wade in the water

跋涉過水

Wade in the water, children

跋涉過水，孩子們

Wade in the water

跋涉過水

God's a-gonna trouble the water

上帝將讓水流更湍急

Didn't my Lord deliver Daniel

主啊，祢不是送但以理過去了嗎？

Daniel, Daniel

但以理，但以理

Didn't my Lord deliver Daniel

主啊，祢不是送但以理過去了嗎？

Then why not every man?

那為什麼不送所有人過去？

Didn't my Lord deliver Daniel

主啊，祢不是送但以理過去了嗎？

Daniel, Daniel

但以理，但以理

Didn't my Lord deliver Daniel

主啊，祢不是送但以理過去了嗎？

Why not every man?

那為什麼不送所有人過去？

Man went down to the river

人走進河裡

Man went down to the river

人走進河裡

Man went down to the river

人走進河裡

Went down there for to pray

走進河裡去禱告

Man went down to the river

人走進河裡

Man went down to the river

人走進河裡

Man went down to the river

人走進河裡

To wash his sins away

將罪惡洗去

He washed all day, he washed all night

他洗了一整天，他洗了一整夜

He washed till his hands were sore

他洗到雙手都酸了

He washed all day, he washed all night

他洗了一整天，他洗了一整夜

Till he couldn't wash a-no more

直到他無法再洗下去

Man went down to the river

人走進河裡

Man went down to the river

人走進河裡

Man went down to the river

人走進河裡

(Music fades)

（音樂淡出）

(Applause)

（掌聲）

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

（茱利葉特·布雷克，JB） 請大家熱烈歡迎

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

艾文艾利美國舞蹈劇場的 榮譽藝術總監，

Judith Jamison.

茱蒂絲·賈米森。

(Applause)

（掌聲）

Judith Jamison: Thanks.

茱蒂絲·賈米森（JJ）：謝謝。

How are y'all?

你們好嗎？

(Audience cheers)

（觀眾歡呼）

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

JJ：你們知道 你們剛上了教堂嗎？

(Laughter)

（笑聲）

You just saw a baptism, yes?

你們剛看到了洗禮，對嗎？

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

這段演出是來自 1960 年 艾利先生很棒的一部作品，

called "Revelations."

叫做《啟示》。

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

艾利先生為這部大作 編舞時才二十九歲。

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

這部作品在全世界演出， 人人都能理解它，

because he understood the humanity in us all.

因為他了解我們 所有人內在的人性。

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

《啟示》反映出我們每個人 在人生中會走過的旅程，

and, hopefully, triumphantly.

但願是成功喜悅地走完。

That was the magic of Alvin Ailey.

那就是艾文艾利的魔法。

He was able to see you, in the audience,

他能夠看見在觀眾中的你們，

see me, as the dancer,

看見我這個舞者，

and see the connection between us,

並看見我們之間的連結，

and choreographed works that connected us all.

編出能將我們大家 連結在一起的舞蹈。

So you felt he was telling your story,

所以你會覺得他在訴說你的故事，

while I felt I was dancing mine.

而我會覺得我在跳出我的故事。

I started dancing when I was six years old

我從六歲開始在費城跳舞。

in Philadelphia.

I was skinny ...

我那時很瘦……

(Laughter)

（笑聲）

Dark chocolate,

膚色像黑巧克力，

and a kid with legs up to my armpits.

是個長腿孩子。

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

我在茱蒂摩舞蹈學校時獻出了 我人生的第一場演出，

was in a red checkered shirt,

我穿著紅色方格上衣、

dungarees, pink ballet shoes,

工作服、粉紅芭蕾舞鞋，

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

我們表演的是

《我是來自格蘭德河的老牛仔》。

I loved every minute of it.

我愛那次演出的每一分鐘。

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

我真的愛那次表演的每一分鐘，

especially when I heard the applause,

特別是聽到掌聲時，

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

彼時六歲的我就知道，我說：

"That's for me."

「觀眾在為我鼓掌。」

(Laughter)

（笑聲）

At six, you're not thinking

六歲時，你不會想著 舞蹈會成為你一生的職業，

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

但那時再完美不過了。

but that was perfect for that moment.

I danced my way through school, and through college,

我一路跳舞跳到大學，

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

那時我都還不覺得跳舞 是我真的想要做的事。

我去參加一場試演，

I went to an audition,

which I was dreadful in --

我的表現很糟糕——

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

我一生只去過那一次試演——

and when I was let go from that audition --

當他們讓我離開時——

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

當時我以為，他們說「非常謝謝你」

是叫我留下來。

that meant for me to stay.

(Laughter)

（笑聲）

I ran up the steps,

我跑上樓梯，

and there was a man sitting on the steps.

有一名男子坐在樓梯上。

And I barely noticed him.

我幾乎沒注意到他。

He was an observer.

他是位觀察者。

Three days later, that man called me

三天後，那名男子打電話給我，

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

問我是否想要加入 艾文艾利美國舞蹈劇場。

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

發生的經過就是這樣， 各位，就這樣。

There's no drama or trauma.

沒有戲劇性，也沒有曲折。

(Applause)

（掌聲）

So I spent 15 years dancing with the company,

於是我花了十五年的時間 跟著這個舞團跳舞，

and then I directed it for something like 21 years.

接著我做了總監，大約二十一年。

If you were black and African American and a dancer,

如果你是黑人、 非裔美國人，且是舞者，

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

在四○年代到七○年代之間的 任何時間你都會有很多話想說，

you had much to say,

because your complete voice was not being heard.

因為你完整的聲音並沒有被聽見。

And you were not being represented as you truly were.

你真實的樣貌 也沒有得到充份代表。

Alvin Ailey had the courage,

艾文艾利有勇氣，

right in the middle of the Civil Rights Movement,

在民權運動的時期，

to present the truth about who we were --

呈現出我們的真相——

that our creativity, our beauty,

我們的創意、我們的美、

our intelligence, our talents

我們的智慧、我們的才華

were an intrinsic part of the panoply of American culture.

都是整個美國文化固有的一部分。

Our mantra has always been to educate, to entertain,

我們的真言一直都是：

去教育、娛樂，

and to lift our audiences.

及鼓舞我們的觀眾。

Mr. Ailey believed that dance came from the people

艾利先生相信舞蹈來自人，

and needed to be delivered back to the people.

且需要被傳遞回去給人。

We didn't dance in a vacuum.

我們並非與大家隔絕著在跳舞。

It was our mission to serve people.

我們的使命是要服務人。

We call it outreach now,

現在我們稱之為拓廣，

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

但過去那一直都是我們的一部分，

60 years later, to this day.

到六十年後的現在，也仍然是。

Being inclusive of our audiences --

納入觀眾

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

一直是舞團很重要的一部分。

We ask ourselves, who are we dancing for?

我們自問，我們是為誰而舞？

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

我們為何而舞？目的不就是

告訴大家身為人的意義

and to connect with the audiences that we dance for.

以及和我們跳舞的觀眾連結？

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

我們一直都覺得我們 有責任要確保大家了解

that what we do is a part of their heritage.

我們所做的是 他們的遺產的一部分。

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

只是我們不只在美國 這麼做，也在全世界。

we do it all over the world.

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

我們的巡迴表演 比世界上其他舞團都多。

After Nelson Mandela was released from prison,

曼德拉被從監獄釋放之後，

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

我心想，是去南非的時候了。

And that was some outreach.

那是很不尋常的拓廣。

We went to Johannesburg, Soweto,

我們去了約翰尼斯堡、索維托，

and some other townships that were really in dire straits.

及一些其他處在危難當中的小鎮。

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

到那裡時，我開始明白，我說：

"Here we are in the seat of Mother Africa,

「在這裡，我們身處 舞蹈的非洲母親之地，

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

而我們在試圖教這些人跳舞？」

(Laughter)

（笑聲）

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

但他們感興趣的 是我們的非裔美國特性，

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

以及過去四百年間 我們發展出來的文化。

We toured all over the world many times,

我們做過數次世界巡演，

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

不論我們在歐洲、南美洲、亞洲，

or somewhere else,

或其他地方，

audiences are thrilled and excited.

觀眾都很激動、興奮。

You sounded thrilled and excited.

你們聽起來很激動、興奮。

Sometimes with tears in their eyes,

有時，他們眼中泛著淚水，

because this nonverbal communication really works.

因為這種非言語的溝通

真的有效。

And it's about embracing everyone.

舞蹈的意義是要擁抱所有人。

Alvin didn't need to explain to us

艾文不用向我們解釋

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

在六○、七○年代發生的狀況；

it was obvious why were doing his work.

很顯然這就是他做這份工作的原因。

He knew what the truth of the time was about,

他知道那時的真相是什麼，

and he was unafraid to reveal it through dance.

且他不怕透過舞蹈揭示真相。

He tapped into every emotion he had and we had,

他進入了他和我們 擁有的所有情緒當中，

and from angerness to happiness,

從憤怒到快樂，

to grief and everything in between,

到悲痛，以及這中間的所有情緒，

he knew us.

他懂我們。

He took our history and turned it into powerful dance.

他把我們的歷史 轉化成強大的舞蹈。

He and I overlapped generationally.

他和我的世代有重疊的部分。

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

我們不用說太多，

because we understood implicitly our shared responsibilities.

因為我們暗中了解我們的共同責任。

So when he asked me to take over the company

所以，在 1989 年他過世前，

before he passed in 1989,

當他要求我接管舞團，

I felt prepared to carry it forward.

我感到我準備好 要帶著舞團繼續前行。

Alvin and I were like parts of the same tree.

艾文和我就像是 同一棵樹木的不同部分。

He, the roots and the trunk,

他是樹根和樹幹，

and we were the branches.

我們是樹枝。

I was his muse.

我是他的繆思女神。

We were all his muses.

我們都是他的繆思女神。

The ballet "Cry,"

芭蕾作品《哭泣》，

which some of you might have seen --

在座有些人可能看過——

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

接下來會看到它的一部分——

it was made on me,

是為我打造的，

and Alvin dedicated it to all black women,

艾文將它獻給所有黑人女性，

especially our mothers.

特別是我們的母親。

When Alvin and I went in the studio,

當艾文和我進到工作室，

of course he wasn't thinking,

當然，他不是在想： 「我來創造一部代表作。」

"Here I am, creating an iconic work."

Do you know any artist that does that?

你們認識任何這樣的藝術家嗎？

You don't go into the studio

你不是進到工作室

to create anything

去創作任何作品，

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

作品是要真實出自你的心靈。

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

你信任有位可以分享這些的舞者。

Rehearsal space is a sacred space,

排演的空間是神聖的空間，

not to be intruded upon,

不可侵擾，

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

因為在那裡是要 透過心靈來和彼此對話。

You better have some technique on top of that

那之外最好還要有些技能， 才能把舞跳好。

so you can do the dance.

(Laughter)

（笑聲）

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

他把他的艾文帶到《哭泣》中， 我也把我的茱蒂帶進去。

I just did the steps.

我只是做出舞步。

And this was a birthday present for his mother,

這是他給他的母親的生日禮物，

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

因為他負擔不起有形的禮物。

When I performed it the first time,

我第一次演出這個作品時，

it was physically and emotionally draining.

身體上和情緒上都耗盡了全力。

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

我還沒有從頭到尾表演整部作品。

The ballet is 16 minutes long.

這部芭蕾作品長度為十六分鐘。

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

故事是一個驕傲的女子， 去過地獄又回來了，

from her journey across the Atlantic.

她的旅程跨越大西洋。

She's exhausted,

她累壞了，

she's a queen,

她是皇后，

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

在這個片段中， 各位會看到她得意洋洋。

She made it,

她成功了，

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

在她的最後一步，

beating away anything negative

她用她驚人的力量

將所有的負面通通擊退。

with her tremendous strength.

And in the last step, she digs into the earth

在最後一步時，她深耕大地，

and she reaches into the sky ...

她伸向天空……

because she's clearing space for the next journey.

因為她在為下一趟旅程清理空間。

I performed it in 1971,

我在 1971 年表演過這部作品，

and we are still clearing space.

我們仍在清理空間。

Now let me leave you with one last thought.

讓我留給各位最後一個想法。

Here we are, in the 21st century,

我們現在處在二十一世紀，

still fighting for civil rights.

仍然在為民權而戰。

Not a day goes by

每一天

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

我們都意識到仍然要奮鬥不息。

I believe that dance can elevate our human experience

我相信

舞蹈能提升我們的人類體驗，

beyond words.

超越言語。

And when you're sitting in the dark,

當你坐在黑暗中，

in the theater,

坐在劇院中，

having a personal experience,

感受個人的體驗，

you don't feel blocked or misunderstood.

你不會覺得被封阻或被誤解。

You feel open,

你覺得很開放，

alive,

感到活著，

and, we hope,

我們希望

inspired.

你得到啟示。

Thank you.

謝謝。

(Applause)

（掌聲）

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

（音樂：東哈萊姆之聲的 《好極了。自由吧。》）

I wanna go where the north wind blows

我想要去北風吹拂之處

I wanna know what the falcon knows

我想要知道獵鷹所知道的

I wanna go where the wild goose goes

我想要去野雁前往的地方

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

高飛的鳥，高飛的鳥，繼續飛吧

I want the clouds over my head

我想要我頭頂上的雲

I don't want no store bought bed

我不要店裡買來的床舖

I'm gonna live until I'm dead

我會一直活到我死亡

Mother, mother, mother Save your child

母親，母親，母親 拯救你的孩子

Right on, be free

好極了，自由吧

Right on, be free

好極了，自由吧

Right on, be free

好極了，自由吧

I don't want no store bought bed

我不要店裡買來的床舖

Right on

好極了

I want the clouds over my head

我想要我頭頂上的雲

Be free

自由吧

Ain't no time to be afraid

不是害怕的時候

Mother, mother, mother Save your child

母親，母親，母親 拯救你的孩子

(Music)

（音樂）

I don't want no store bought bed

我不要店裡買來的床舖

Right on

好極了

I want the clouds over my head

我想要我頭頂上的雲

Be free

自由吧

Ain't no time to be afraid

不是害怕的時候

Mother save your child

母親拯救你的孩子

I wanna see a rainbow in the sky

我想要看到天空上的彩虹

I wanna watch the clouds go by

我想要看著雲朵飄過

It might make my load a little light

這樣可能可以讓我的重擔減輕一些

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

上帝，上帝，上帝 明晚我會在哪裡？

Right on

好極了

Be free

自由吧

Right on, be free

好極了，自由吧

Right on, be free

好極了，自由吧

Right on, be free

好極了，自由吧

Right on, be free

好極了，自由吧

Right on, be free

好極了，自由吧

Right on, be free

好極了，自由吧

(Music fades)

（音樂淡出）

(Applause)

（掌聲）

(Cheers)

（歡呼）

(Applause)

（掌聲）

(Cheers)

（歡呼）

(Applause)

（掌聲）