Small Thing Big Idea
Kyra Gaunt: How the jump rope got its rhythm
Kyra Gaunt: Como a corda de pular ganhou seu ritmo
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"Vamos, vamos, menina, vamos, vamos pela montanha-russa...". O hip-hop deve muito às rainhas do "double dutch", a brincadeira de pular corda em que se usa duas cordas. A etnomusicóloga Kyra Gaunt nos leva a uma viagem pela fascinante história da corda de pular.
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.
00:12
If you do it right, it should sound like:
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Se você fizer direito, deve soar assim:
00:14
TICK-tat, TICK-tat, TICK-tat,
TICK-tat, TICK-tat, TICK-tat.
TICK-tat, TICK-tat, TICK-tat.
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TIC-tat, TIC-tat, TIC-tat,
TIC-tat, TIC-tat, TIC-tat.
TIC-tat, TIC-tat, TIC-tat.
00:18
If you do it wrong, it sounds like:
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Se fizer errado, vai soar assim:
tic-TAT, tic-TAT, tic-TAT.
00:20
Tick-TAT, tick-TAT, tick-TAT.
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00:21
[Small thing. Big idea.]
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[Pequena coisa. Grande ideia.]
00:25
[Kyra Gaunt on
the Jump Rope]
the Jump Rope]
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[Kyra Gaunt fala sobre a corda de pular]
00:28
The jump rope is such a simple object.
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A corda de pular
é um objeto muito simples.
é um objeto muito simples.
00:31
It can be made out of rope,
a clothesline, twine.
a clothesline, twine.
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Pode ser feita de sisal,
de fio de varal, de barbante.
de fio de varal, de barbante.
00:34
It has, like, a twirl on it. (Laughs)
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Fica assim... torcida.
00:37
I'm not sure how to describe that.
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Não sei como descrevê-la.
00:38
What's important
is that it has a certain weight,
is that it has a certain weight,
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O importante é que tenha um certo peso
e faça esse som de chicote.
e faça esse som de chicote.
00:41
and that they have
that kind of whip sound.
that kind of whip sound.
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00:44
It's not clear what the origin
of the jump rope is.
of the jump rope is.
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Não está claro qual é a origem
da corda de pular.
da corda de pular.
00:48
There's some evidence
that it began in ancient Egypt, Phoenicia,
that it began in ancient Egypt, Phoenicia,
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Há evidências de que se originou
no antigo Egito, ou na Fenícia,
no antigo Egito, ou na Fenícia,
00:52
and then it most likely traveled
to North America with Dutch settlers.
to North America with Dutch settlers.
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e que, provavelmente, viajou para
a América do Norte com colonos holandeses.
a América do Norte com colonos holandeses.
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 corda tornou-se popular
quando a roupa feminina
ficou mais ajustada
ficou mais ajustada
01:01
and the pantaloon came into being.
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e surgiram as pantalonas.
01:03
And so, girls were able to jump rope
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Assim, as meninas conseguiam pular corda
01:06
because their skirts
wouldn't catch the ropes.
wouldn't catch the ropes.
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porque suas saias
não se enredavam nas cordas.
não se enredavam nas cordas.
01:09
Governesses used it
to train their wards to jump rope.
to train their wards to jump rope.
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As governantas a usavam
para ensinar as crianças a pular corda.
para ensinar as crianças a pular corda.
01:13
Even formerly enslaved African children
in the antebellum South
in the antebellum South
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Até as crianças africanas
escravizadas no Sul, antes da guerra,
escravizadas no Sul, antes da guerra,
pulavam corda também.
01:16
jumped rope, too.
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01:17
In the 1950s, in Harlem,
Bronx, Brooklyn, Queens,
Bronx, Brooklyn, Queens,
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Na década de 1950, no Harlem,
Bronx, Brooklyn, Queens,
Bronx, Brooklyn, Queens,
01:22
you could see on the sidewalk,
lots of girls playing with ropes.
lots of girls playing with ropes.
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podia-se ver muitas meninas
brincando com cordas na calçada.
brincando com cordas na calçada.
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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Às vezes, elas usavam duas cordas
e as batiam juntas como uma única corda,
e as batiam juntas como uma única corda,
mas podiam separá-las e batê-las
uma sobre a outra, como uma batedeira.
uma sobre a outra, como uma batedeira.
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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01:34
The skipping rope
was like a steady timeline --
was like a steady timeline --
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A corda de pular marcava
o tempo de modo constante...
o tempo de modo constante...
01:37
tick, tick, tick, tick --
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tic, tic, tic, tic...
01:38
upon which you can add rhymes
and rhythms and chants.
and rhythms and chants.
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sobre o qual se podiam incluir
rimas, ritmos e cantos.
rimas, ritmos e cantos.
01:42
Those ropes created a space
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Essas cordas criavam um espaço
01:44
where we were able
to contribute to something
to contribute to something
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em que podíamos contribuir com algo
muito maior do que o bairro.
muito maior do que o bairro.
01:47
that was far greater
than the neighborhood.
than the neighborhood.
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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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O "Double Dutch" continua sendo
um poderoso símbolo de cultura
e identidade para as mulheres negras.
e identidade para as mulheres negras.
01:53
for black women.
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01:54
Back from the 1950s to the 1970s,
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Entre as décadas de 1950 e 70,
as meninas não deviam praticar esportes.
as meninas não deviam praticar esportes.
01:56
girls weren't supposed to play sports.
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01:58
Boys played baseball,
basketball and football,
basketball and football,
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Os meninos jogavam beisebol,
basquete e futebol americano,
basquete e futebol americano,
02:01
and girls weren't allowed.
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e as meninas não podiam.
02:03
A lot has changed, but in that era,
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Muita coisa mudou, mas, naquela época,
as meninas dominavam o playground.
as meninas dominavam o playground.
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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Asseguravam que os meninos
não participassem.
não participassem.
Era o espaço delas, do poder feminino,
onde elas podiam brilhar.
onde elas podiam brilhar.
02:10
It's their space, it's a girl-power space.
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02:12
It's where they get to shine.
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02:14
But I also think it's for boys,
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Mas também acho que era para os meninos,
porque eles ouviam os cantos,
porque eles ouviam os cantos,
02:16
because boys overheard those,
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02:17
which is why, I think,
so many hip-hop artists
so many hip-hop artists
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e, por isso, creio que
tantos artistas de hip-hop
tantos artistas de hip-hop
02:19
sampled from things that they heard
in black girls' game songs.
in black girls' game songs.
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sampleavam de coisas que ouviam
em cantos de meninas negras.
em cantos de meninas negras.
02:23
(Chanting) ... cold, thick shake,
act like you know how to flip,
act like you know how to flip,
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♪ ... lanche, fritas, milk-shake,
mostre que sabe girar ♪
mostre que sabe girar ♪
♪ Lanche, fritas, milk-shake,
mostre que sabe pular ♪
mostre que sabe pular ♪
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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A música "Country Grammar",
de Nelly, ganhou o Grammy
de Nelly, ganhou o Grammy
02:30
Why "Country Grammar" by Nelly
became a Grammy Award-winning single
became a Grammy Award-winning single
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02:34
was because people already knew
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porque as pessoas já a conheciam:
02:37
"We're going down down baby
your street in a Range Rover ... "
your street in a Range Rover ... "
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♪ Vamos, vamos, menina,
pela rua em uma Range Rover...♪
pela rua em uma 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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É o início de "Vamos, vamos, menina,
vamos, vamos pela montanha-russa,
vamos, vamos pela montanha-russa,
amor de menina, nunca te deixarei ir".
02:44
sweet, sweet baby, I'll never let you go."
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02:46
All people who grew up
in any black urban community
in any black urban community
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Todos que cresceram em qualquer
comunidade urbana negra
comunidade urbana negra
02:49
would know that music.
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conheciam essa música.
02:51
And so, it was a ready-made hit.
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Já era um sucesso.
02:54
The Double Dutch rope playing
helped maintain these songs
helped maintain these songs
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A brincadeira de corda Double Dutch
ajudou a preservar essas músicas,
ajudou a preservar essas músicas,
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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os cânticos e os gestos
que a acompanhavam,
que a acompanhavam,
03:02
which is very natural
to what I call "kinetic orality" --
to what I call "kinetic orality" --
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e era algo muito natural
ao que chamo de "oralidade cinética",
ao que chamo de "oralidade cinética",
03:06
word of mouth and word of body.
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uma linguagem oral e corporal,
03:09
It's the thing that gets
passed down over generations.
passed down over generations.
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transmitida por gerações.
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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De certa forma, a corda
ajuda a transmitir isso.
ajuda a transmitir isso.
03:15
You need some object
to carry memory through.
to carry memory through.
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Precisamos de algum objeto
para transmitir a memória.
para transmitir a memória.
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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A corda de pular pode ser usada
para muitas coisas diferentes.
para muitas coisas diferentes.
Ela atravessa culturas.
03:22
It crosses cultures.
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03:24
And I think it lasted
because people need to move.
because people need to move.
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Creio que perdurou no tempo
porque as pessoas precisavam se mexer.
porque as pessoas precisavam se mexer.
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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Às vezes, os objetos mais simples
podem ter os usos mais criativos.
podem ter os usos mais criativos.
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