ABOUT THE SPEAKER
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.

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.

More profile about the speaker
Kyra Gaunt | Speaker | TED.com
Small Thing Big Idea

Kyra Gaunt: How the jump rope got its rhythm

Kira Gant (Kyra Gaunt): Kako je vijača dobila ritam

Filmed:
453,746 views

„Dole, dole, dušo, dole, dole, na rolerkosteru...“ Hip hop duguje mnogo kraljicama „duple holandske“. Etnomuzikolog Kira Gant nas vodi na turneju kroz fascinantnu istoriju vijače.
- 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

Double-click the English transcript below to play the video.

00:12
If you do it right, it should soundзвук like:
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Ako radiš pravilno, treba da zvuči ovako:
00:14
TICK-tatTik-tat, TICK-tatTik-tat, TICK-tatTik-tat,
TICK-tatTik-tat, TICK-tatTik-tat, TICK-tatTik-tat.
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TIK-tat, TIK-tat, TIK-tat,
TIK-tat, TIK-tat, TIK-tat.
00:18
If you do it wrongпогрешно, it soundsзвуци like:
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Ako radiš pogrešno, zvučaće kao:
tik-TAT, tik-TAT, tik-TAT.
00:20
Tick-TATTik-TAT, tick-TATTik-TAT, tick-TATTik-TAT.
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00:21
[SmallMali thing. BigVeliki ideaидеја.]
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[Mala stvar. Velika ideja.]
00:25
[KyraKira GauntMrљav on
the JumpSkok RopeKonopac]
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[Kira Gant o preskakalici]
00:28
The jumpскок ropeконопац is suchтаква a simpleједноставно objectобјекат.
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Vijača je tako jednostavan predmet.
Može da se napravi od užeta,
štrika, kanapa.
00:31
It can be madeмаде out of ropeконопац,
a clotheslinenaivne, twinekanap.
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00:34
It has, like, a twirlokret on it. (LaughsSmeje)
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Ona je nekako uvijena. (Smeh)
00:37
I'm not sure how to describeопишите that.
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Ne znam kako to da objasnim.
00:38
What's importantважно
is that it has a certainизвестан weightтежина,
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Ono što je bitno je
da ima određenu težinu
00:41
and that they have
that kindкинд of whipБич soundзвук.
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i da ima taj neki zvuk biča.
00:44
It's not clearјасно what the originпорекло
of the jumpскок ropeконопац is.
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Nije poznato odakle vijača potiče.
00:48
There's some evidenceдоказ
that it beganпочела in ancientдревни EgyptEgipat, PhoeniciaFenikiju,
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Postoje neki dokazi da je nastala
u antičkom Egiptu, Fenikiji,
00:52
and then it mostнајвише likelyвероватно traveledпутовао
to NorthSever AmericaAmerika with Dutchholandski settlersnaseljenici.
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a da su je zatim u Severnu Ameriku
preneli holandski naseljenici.
00:56
The ropeконопац becameпостао a bigвелики thing
when women'sжене clothesОдећа becameпостао more fittedопремљен
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Vijača je postala hit
kada je ženska odeća počela da bude uža
01:01
and the pantaloonpantaloon cameДошао into beingбиће.
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i kada su nastale pantalone.
01:03
And so, girlsдевојке were ableу могуцности to jumpскок ropeконопац
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Tako su devojčice mogle da preskaču vijaču
01:06
because theirњихова skirtssuknje
wouldn'tне би catchулов the ropesконопци.
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jer im se suknje nisu kačile za užad.
01:09
GovernessesGuvernante used it
to trainвоз theirњихова wardsokruzima to jumpскок ropeконопац.
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Dadilje su učile decu da preskaču vijaču.
01:13
Even formerlyраније enslavedporobili AfricanAfrički childrenдеца
in the antebellumantebellum SouthJug
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Čak su i prethodno porobljena afrička deca
na predratnom Jugu
01:16
jumpedскочио ropeконопац, too.
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preskala vijaču.
01:17
In the 1950s, in HarlemHarlem,
BronxBronx, BrooklynBrooklyn, QueensQueens,
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Pedesetih godina dvadesetog veka
u Harlemu, Bronksu, Bruklinu, Kvinsu
01:22
you could see on the sidewalkтротоар,
lots of girlsдевојке playingиграње with ropesконопци.
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mogli ste da vidite na trotoarima
mnogo devojčica kako preskaču užad.
01:27
SometimesPonekad they would take two ropesконопци
and turnред them as a singleједно ropeконопац togetherзаједно,
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Ponekad bi uzele dva užeta
i okretale ih zajedno kao jedno,
01:30
but you could separateзасебан them and turnред
them in like an eggbeatermutilica za jaja on eachсваки other.
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ali su mogle i da ih odvoje i okreću
jedno ka drugom kao mutilicu.
01:34
The skippingPreskakanje ropeконопац
was like a steadyстабилно timelineVremenska osa --
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Vijača je bila tačna kao metronom -
01:37
tickтик, tickтик, tickтик, tickтик --
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tik, tik, tik, tik -
01:38
uponна whichкоја you can addдодати rhymesrime
and rhythmsritam and chantsmelodijama.
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i na taj ritam mogle su se dodavati
rime, ritmovi i pesmice.
01:42
Those ropesконопци createdстворено a spaceпростор
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Ta užad su stvarala prostor
01:44
where we were ableу могуцности
to contributeдопринети to something
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u kojem smo mogli
da doprinesemo nečemu,
01:47
that was farдалеко greaterвеће
than the neighborhoodкомшилук.
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a taj prostor je bio
mnogo veći od komšiluka.
01:49
DoubleDupli Dutchholandski jumpскок ropeконопац remainsостаје
a powerfulмоћан symbolсимбол of cultureкултура and identityидентитет
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Dupla holandska vijača ostaje
moćan simbol kulture i identiteta
01:53
for blackцрн womenЖене.
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za tamnopute žene.
01:54
Back from the 1950s to the 1970s,
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Od 1950-ih do 1970-ih
01:56
girlsдевојке weren'tнису supposedпретпостављено to playигра sportsспорт.
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devojčice nisu mogle da se bave sportom.
01:58
BoysMomci playedиграо baseballбејзбол,
basketballКошарка and footballФудбал,
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Dečaci su igrali bejzbol,
košarku i fudbal,
02:01
and girlsдевојке weren'tнису allowedдозвољен.
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a devojčice to nisu smele.
02:03
A lot has changedпромењено, but in that eraера,
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Mnogo toga se promenilo, ali u to doba,
02:05
girlsдевојке would ruleправило the playgroundигралиште.
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devojčice su vladale igralištima.
02:07
They'dOni bi make sure
that boysдечаци weren'tнису a partдео of that.
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One su se potrudile
da dečaci nemaju sa tim veze.
02:10
It's theirњихова spaceпростор, it's a girl-powerdevojka-snaga spaceпростор.
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To je bio njihov prostor,
prostor ženske moći.
02:12
It's where they get to shineсјај.
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Tu su one mogle da briljiraju.
02:14
But I alsoтакође think it's for boysдечаци,
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Ali mislim da je i za dečake,
02:16
because boysдечаци overheardсломљено those,
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jer su oni načuli te pesmice
02:17
whichкоја is why, I think,
so manyмноги hip-hopХип Хоп artistsуметници
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i zbog toga su, mislim,
mnogi hip-hop umetnici
02:19
sampledisprobao from things that they heardслушао
in blackцрн girls'девојке' gameигра songsпесме.
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koristili rečenice koje su čuli
u pesmicama tamnoputih devojčica.
02:23
(ChantingPojanje) ... coldхладно, thickдебео shakeмућкати,
actчинити like you know how to flipфлип,
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(Pevanje) Hladan, gusti šejk,
pravi se da znaš da okrećeš,
02:26
Filet-O-FishRiblji filet, QuarterKvartal PounderDeset funti,
frenchФранцуски friesпомфрит, iceлед coldхладно, thickдебео shakeмућкати,
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riblji file, četvrt funte,
pomfrit, leden, gusti šejk,
pravi se da znaš da skačeš.
02:29
actчинити like you know how to jumpскок.
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Singl „Gramatika kantrija" od Nelija
je dobio nagradu Gremi
02:30
Why "CountryZemlja GrammarGramatika" by NellyNeli
becameпостао a GrammyBakica Award-winningNagrade singleједно
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02:34
was because people alreadyвећ knewзнала
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jer su ljudi već znali:
02:37
"We're going down down babyбеба
your streetулица in a RangeOpseg RoverRover ... "
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„Vozimo se, dušo, dole, dole,
niz tvoju ulicu u Rejndž Roveru...“
02:40
That's the beginningпочетак of "Down down, babyбеба,
down down the rollerВаљак coastertobogan,
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To je početak pesme „Dole, dole, dušo,
dole, dole, na rolerkosteru,
02:44
sweetслатко, sweetслатко babyбеба, I'll never let you go."
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draga, draga dušo, nikad te neću pustiti.“
02:46
All people who grewрастао up
in any blackцрн urbanурбано communityзаједница
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Svako ko je odrastao u bilo kom
crnačkom urbanom društvu
02:49
would know that musicмузика.
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prepoznao bi tu muziku.
02:51
And so, it was a ready-madegotove hitхит.
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I tako je ta pesma unapred bila hit.
02:54
The DoubleDupli Dutchholandski ropeконопац playingиграње
helpedпомогао maintainуспоставити these songsпесме
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Dupla holandska vijača
je održala ove pesme
02:58
and helpedпомогао maintainуспоставити the chantsmelodijama
and the gesturesгестове that go alongзаједно with it,
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i održala je recitacije
i pokrete koji idu uz njih,
03:02
whichкоја is very naturalприродно
to what I call "kinetickineticke oralityorality" --
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što je prirodno za ono
što ja zovem „kinetička oralnost“ -
03:06
wordреч of mouthуста and wordреч of bodyтело.
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govor usta i govor tela.
03:09
It's the thing that getsдобива
passedположио down over generationsгенерације.
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To je nešto sto se prenosi
sa kolena na koleno.
03:12
In some waysначини, the ropeконопац
is the thing that helpsпомаже carryносити it.
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Na neki način vijača
pomaže u ovom prenošenju.
03:15
You need some objectобјекат
to carryносити memoryмеморија throughкроз.
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Potreban je neki predmet
da bi se prenosilo sećanje.
03:18
So, a jumpскок ropeконопац, you can use it
for all differentразличит kindsврсте of things.
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Dakle, vijaču možete koristiti
za razne stvari.
03:22
It crosseskrstovi culturesкултура.
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Ona postoji u raznim kulturama.
03:24
And I think it lastedtrajao je
because people need to moveпотез.
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I ja smatram da je istrajala
jer ljudi imaju potrebu da se pokreću.
03:28
And I think sometimesпонекад the simplestнајједноставније objectsобјеката
can make the mostнајвише creativeкреативан usesкористи.
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I smatram da ponekad najjednostavniji
predmeti imaju najkreativniju upotrebu.
Translated by Biljana Mokan
Reviewed by Tijana Mihajlović

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ABOUT THE SPEAKER
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.

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.

More profile about the speaker
Kyra Gaunt | Speaker | TED.com