Small Thing Big Idea
Kyra Gaunt: How the jump rope got its rhythm
Kyra Gaunt: Így kapta ritmusát az ugrókötél
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"Down down, baby, down down the roller coaster..." A hip-hop sokkal tartozik az ugrókötél királynőinek. A népzenekutató Kyra Gaunt egy kirándulásra visz minket az ugrókötél csodálatos történetében.
Kyra Gaunt - Ethnomusicologist
A member of the inaugural TED Fellows class, Dr. Kyra Gaunt is an ethnomusicologist, singer-songwriter, and a social media researcher on faculty at University at Albany, SUNY. Full bio
A member of the inaugural TED Fellows class, Dr. Kyra Gaunt is an ethnomusicologist, singer-songwriter, and a social media researcher on faculty at University at Albany, SUNY. Full bio
Double-click the English transcript below to play the video.
Ha jól csinálod, valahogy így hangzik:
00:12
If you do it right, it should sound like:
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00:14
TICK-tat, TICK-tat, TICK-tat,
TICK-tat, TICK-tat, TICK-tat.
TICK-tat, TICK-tat, TICK-tat.
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TIKK-tat, TIKK-tat, TIKK-tat,
TIKK-tat, TIKK-tat, TIKK-tat.
TIKK-tat, TIKK-tat, TIKK-tat.
00:18
If you do it wrong, it sounds like:
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Ha rosszul csinálod, akkor így:
Tikk-TAT, tikk-TAT, tikk-TAT.
00:20
Tick-TAT, tick-TAT, tick-TAT.
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00:21
[Small thing. Big idea.]
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[Kis dolog. Nagy ötlet.]
00:25
[Kyra Gaunt on
the Jump Rope]
the Jump Rope]
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[Kyra Gaunt az ugrókötélről]
00:28
The jump rope is such a simple object.
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Az ugrókötél egyszerű eszköz.
00:31
It can be made out of rope,
a clothesline, twine.
a clothesline, twine.
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Lehet zsinórból,
sima vagy ruhaszírtó kötélből.
sima vagy ruhaszírtó kötélből.
00:34
It has, like, a twirl on it. (Laughs)
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Van rajta egy kis forgató. (Nevetés)
00:37
I'm not sure how to describe that.
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Nem tudom, hogy írhatnám le.
00:38
What's important
is that it has a certain weight,
is that it has a certain weight,
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Fontos, hogy bizonyos súlya legyen,
00:41
and that they have
that kind of whip sound.
that kind of whip sound.
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és jellegzetes ostorszerű hangja.
00:44
It's not clear what the origin
of the jump rope is.
of the jump rope is.
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Nem egészen világos az ugrókötél eredete.
00:48
There's some evidence
that it began in ancient Egypt, Phoenicia,
that it began in ancient Egypt, Phoenicia,
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Néhány bizonyíték szerint Föníciában,
az ókori Egyiptomban kezdődött,
az ókori Egyiptomban kezdődött,
00:52
and then it most likely traveled
to North America with Dutch settlers.
to North America with Dutch settlers.
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és valószínűleg holland telepesekkel
érkezett Észak-Amerikába.
érkezett Észak-Amerikába.
00:56
The rope became a big thing
when women's clothes became more fitted
when women's clothes became more fitted
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A kötél akkor lett nagy dolog,
amikor a női ruhák szűkebbek lettek,
amikor a női ruhák szűkebbek lettek,
01:01
and the pantaloon came into being.
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és megjelent a pantalló.
01:03
And so, girls were able to jump rope
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Így a lányok ugrókötelezhettek,
01:06
because their skirts
wouldn't catch the ropes.
wouldn't catch the ropes.
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mert nem akadt bele szoknyájukba.
01:09
Governesses used it
to train their wards to jump rope.
to train their wards to jump rope.
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A nevelőnők gyerkőceiket edzették vele.
01:13
Even formerly enslaved African children
in the antebellum South
in the antebellum South
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A rabszolgagyerekek
a háború előtti amerikai Délen
a háború előtti amerikai Délen
01:16
jumped rope, too.
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szintén ugróköteleztek.
01:17
In the 1950s, in Harlem,
Bronx, Brooklyn, Queens,
Bronx, Brooklyn, Queens,
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Az 1950-es években, Harlemben,
Bronxban, Brooklynban, Queensben
Bronxban, Brooklynban, Queensben
01:22
you could see on the sidewalk,
lots of girls playing with ropes.
lots of girls playing with ropes.
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lehetett látni járdán ezzel
játszadozó gyerekeket.
játszadozó gyerekeket.
01:27
Sometimes they would take two ropes
and turn them as a single rope together,
and turn them as a single rope together,
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Olykor két kötelet egybefogtak,
és úgy forgatták őket,
és úgy forgatták őket,
01:30
but you could separate them and turn
them in like an eggbeater on each other.
them in like an eggbeater on each other.
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de szét is lehetett választani őket,
és úgy forgatni, mint egy habverőt.
és úgy forgatni, mint egy habverőt.
01:34
The skipping rope
was like a steady timeline --
was like a steady timeline --
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Az ugrókötél mintha állandó ütemet verne:
01:37
tick, tick, tick, tick --
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tikk, tikk, tikk, tikk.
01:38
upon which you can add rhymes
and rhythms and chants.
and rhythms and chants.
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Ehhez pedig rímeket, ritmusokat,
és dalokat lehet kitalálni.
és dalokat lehet kitalálni.
01:42
Those ropes created a space
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Az ugrókötél lehetőséget adott,
01:44
where we were able
to contribute to something
to contribute to something
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hogy részt vegyünk valamiben,
01:47
that was far greater
than the neighborhood.
than the neighborhood.
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ami nagyban túlmutatott a lakóközösségen.
01:49
Double Dutch jump rope remains
a powerful symbol of culture and identity
a powerful symbol of culture and identity
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A dupla holland ugrókötél máig
a kultúra és az identitás szimbóluma
a kultúra és az identitás szimbóluma
01:53
for black women.
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a fekete nők számára.
01:54
Back from the 1950s to the 1970s,
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1950-től 1970-ig
01:56
girls weren't supposed to play sports.
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a lányok nem sportolhattak.
01:58
Boys played baseball,
basketball and football,
basketball and football,
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A fiúk baseballoztak,
kosaraztak vagy fociztak,
kosaraztak vagy fociztak,
02:01
and girls weren't allowed.
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de lányoknak tilos volt.
02:03
A lot has changed, but in that era,
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Sok minden változott,
de abban az időben
a lányok uralták a játszóteret.
a lányok uralták a játszóteret.
02:05
girls would rule the playground.
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02:07
They'd make sure
that boys weren't a part of that.
that boys weren't a part of that.
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Meggyőződtek róla,
hogy fiúk ne lehessenek ott.
hogy fiúk ne lehessenek ott.
02:10
It's their space, it's a girl-power space.
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Ez az ő helyük, nőuralom van.
02:12
It's where they get to shine.
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Ott tudnak tündökölni.
02:14
But I also think it's for boys,
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De ugyanakkor a fiúké is,
02:16
because boys overheard those,
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mert a fiúk kihallgatták őket,
02:17
which is why, I think,
so many hip-hop artists
so many hip-hop artists
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és szerintem sok hip-hop
előadó samplingelte,
előadó samplingelte,
02:19
sampled from things that they heard
in black girls' game songs.
in black girls' game songs.
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amit a lányok játékos dalaiból hallott.
(Ének) ... cold, thick shake,
act like you know how to flip,
act like you know how to flip,
02:23
(Chanting) ... cold, thick shake,
act like you know how to flip,
act like you know how to flip,
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Filet-O-Fish, Quarter Pounder,
french fries, ice cold, thick shake,
french fries, ice cold, thick shake,
02:26
Filet-O-Fish, Quarter Pounder,
french fries, ice cold, thick shake,
french fries, ice cold, thick shake,
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02:29
act like you know how to jump.
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act like you know how to jump.
02:30
Why "Country Grammar" by Nelly
became a Grammy Award-winning single
became a Grammy Award-winning single
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Nelly Country Grammarje
azért lehetett Grammy díjas,
azért lehetett Grammy díjas,
02:34
was because people already knew
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mert az emberek már ismerték:
02:37
"We're going down down baby
your street in a Range Rover ... "
your street in a Range Rover ... "
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"We're going down down baby
your street in a Range Rover ... "
your street in a Range Rover ... "
02:40
That's the beginning of "Down down, baby,
down down the roller coaster,
down down the roller coaster,
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Így kezdődik a "Down down, baby,
down down the roller coaster,
down down the roller coaster,
02:44
sweet, sweet baby, I'll never let you go."
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sweet, sweet baby, I'll never let you go."
02:46
All people who grew up
in any black urban community
in any black urban community
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Mindenki, aki városi fekete
közösségben nőtt fel,
közösségben nőtt fel,
02:49
would know that music.
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ismeri ezt a zenét.
02:51
And so, it was a ready-made hit.
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Így ez kész siker volt.
02:54
The Double Dutch rope playing
helped maintain these songs
helped maintain these songs
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A Dupla Holland kötél játék miatt
maradtak fenn ezek a dalok,
maradtak fenn ezek a dalok,
02:58
and helped maintain the chants
and the gestures that go along with it,
and the gestures that go along with it,
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dallamok és a vele járó gesztusok,
03:02
which is very natural
to what I call "kinetic orality" --
to what I call "kinetic orality" --
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amely majdnem egyet jelent
a "kinetikus szóbeliséggel",
a "kinetikus szóbeliséggel",
03:06
word of mouth and word of body.
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a száj és a test beszédével.
03:09
It's the thing that gets
passed down over generations.
passed down over generations.
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Ez generációkon átível.
03:12
In some ways, the rope
is the thing that helps carry it.
is the thing that helps carry it.
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Bizonyos mértékig
az ugrókötélnek köszönhetően.
az ugrókötélnek köszönhetően.
03:15
You need some object
to carry memory through.
to carry memory through.
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Szükség van valamire, ami segít emlékezni.
03:18
So, a jump rope, you can use it
for all different kinds of things.
for all different kinds of things.
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Tehát az ugrókötelet
sok mindenre lehet használni.
sok mindenre lehet használni.
03:22
It crosses cultures.
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Kultúrákon ível át.
03:24
And I think it lasted
because people need to move.
because people need to move.
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Azt hiszem azért is maradt fent,
mert szükségünk van a mozgásra.
mert szükségünk van a mozgásra.
03:28
And I think sometimes the simplest objects
can make the most creative uses.
can make the most creative uses.
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És néha a legkreatívabban
a legegyszerűbb tárgyak használhatók.
a legegyszerűbb tárgyak használhatók.
ABOUT THE SPEAKER
Kyra Gaunt - EthnomusicologistA member of the inaugural TED Fellows class, Dr. Kyra Gaunt is an ethnomusicologist, singer-songwriter, and a social media researcher on faculty at University at Albany, SUNY.
Why you should listen
Kyra Gaunt's book, The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop, published by NYU Press, won of the 2007 Alan Merriam Book Prize awarded by The Society for Ethnomusicology, which contributed to the emergence of black girlhood studies and hip-hop feminism. It also inspired a work by fellow TED Fellow Camille A. Brown, BLACK GIRL: Linguistic Play, which was nominated for a 2016 Bessie Award for Outstanding Production.
Gaunt's articles have appeared in Musical Quarterly, The Journal for Popular Music Studies and Parcours anthropologiques, and she has contributed chapters to I Was Born to Use Mics: Listening to Nas’ Illmatic and The Hip-hop & Obama Reader, among other publications.
Gaunt's scholarship has been funded by The Ford Foundation and the National Endowment for the Humanities and is a nationally- and internationally-recognized speaker. She also is a certified expert witness in federal and state cases on the unintended consequences of social media. She also continues to perform and record as a classically-trained, jazz vocalist and R&B singer-songwriter. Her original compositions are available on the CD Be the True Revolution available on iTunes and CDBaby.
Kyra Gaunt | Speaker | TED.com