ABOUT THE SPEAKERS
Judith Jamison - Dancer, choreographer
Judith Jamison uses dance as a medium for honoring the past, celebrating the present and fearlessly reaching into the future.

Why you should listen

Judith Jamison joined Alvin Ailey American Dance Theater in 1965 and quickly became an international star. Over the next 15 years, Ailey created some of his most enduring roles for her, most notably the tour-de-force solo Cry. During the 1970s and 80s, Jamison appeared as a guest artist with ballet companies all over the world, starred in the hit Broadway musical Sophisticated Ladies and formed her own company, The Jamison Project. She returned to Alvin Ailey American Dance Theater in 1989 when Ailey asked her to succeed him as Artistic Director. In the 21 years that followed, she brought the Company to unprecedented heights, including two historic engagements in South Africa and a 50-city global tour to celebrate the Company’s 50th anniversary.

Jamison is the recipient of numerous awards and honors, among them an Emmy, an American Choreography Award, the Kennedy Center Honor, a National Medal of Arts, a "Bessie" Award, the Phoenix Award and the Handel Medallion. She was also listed in TIME's list of The World’s Most Influential People and honored by First Lady Michelle Obama at the first White House Dance Series event. In 2015, she became the 50th inductee into the Hall of Fame at the National Museum of Dance. Jamison continues to dedicate herself to asserting the prominence of the arts in our culture.

More profile about the speaker
Judith Jamison | Speaker | TED.com
Alvin Ailey American Dance Theater - Dance company
Alvin Ailey American Dance Theater grew from a now-fabled 1958 performance at the 92nd Street Y in New York City. Led by Alvin Ailey and a group of young African-American modern dancers, that performance changed forever the perception of American dance.

Why you should listen

Constance Stamatiou began her dance training at Pat Hall's Dance Unlimited and North Carolina Dance and Theatre. She graduated from NorthWest School of the Arts and studied at SUNY Purchase before becoming a fellowship student at The Ailey School. In 2009, Stamatiou received the Leonore Annenberg Fellowship in the performing and visual arts. She performed at the White House Dance Series and has been a guest performer on So You Think You Can Dance, Dancing with the Stars, Logo's Trailblazer Honors, and The Today Show. Stamatiou has also danced in the films Shake Rattle & Roll and in Dan Pritzker's Bolden. Stamatiou was a member of Ailey ll a guest artist for Darrell Grand Moultrie and Caroline Calouche and Co. She is a certified Gyrotonic and Gyrokinesis instructor and a mother of two. Stamatiou first joined the Company in 2007 and rejoined in 2016.

Solomon Dumas was introduced to dance through AileyCamp. He later began his formal training at The Chicago Academy For The Arts and the Russell Talbert Dance Studio, where he received his most influential training. Dumas studied at New World School Of The Arts and was a fellowship Level 1 student at The Ailey School. He has performed with companies including Garth Fagan Dance; Ronald K. Brown/Evidence A Dance Company; and Labyrinth Dance Theater and was a member of Ailey II. Mr. Dumas joined the Company in 2016.

Samantha Figgins began dancing at Duke Ellington School of the Arts under the tutelage of Charles Auggins and Sandra Fortune-Greene and attended summer intensives at Dance Theatre of Harlem under the direction of Arthur Mitchell.  She continued her education at SUNY Purchase Conservatory of Dance. There, she performed works by George Balanchine, Bill T. Jones, Paul Taylor and Twyla Tharp. Upon graduating cum laude, Figgins became a member of Complexions Contemporary Ballet, performing works by Dwight Rhoden, Jae Man Joo and Camille A. Brown. She also performed at the 2014 DanceOpen Festival in St. Petersburg, Russia. Figgins was featured both on the cover of Dance Spirit magazine and in Pointe magazine's "10 Careers to Watch" in 2013. She has worked with Beyoncé and can be seen in the film Enemy Within alongside Tiler Peck and Matthew Rushing. Figgins joined the Company in 2014.

More profile about the speaker
Alvin Ailey American Dance Theater | Speaker | TED.com
TED2019

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

朱迪思·詹米森与阿尔文·艾利美国舞蹈剧院: 来自舞蹈人生的启示录

Filmed:
201,333 views

“舞蹈可以将人类体验上升到超越语言的高度“,阿尔文·艾利美国舞蹈剧院艺术总监杰迪斯·詹米森(Judith Jamison)道。在阿尔文·艾利(Alvin Ailey)的经典作品《启示录》和《呐喊》的节选表演间,詹米森思考了舞蹈的持久力量——将历史转化为不朽艺术的持久力量,使世界各地的观众都为之振奋。(表演者:所罗门·杜马斯,萨曼莎·菲金斯,康斯坦斯·史塔玛修)
- Dancer, choreographer
Judith Jamison uses dance as a medium for honoring the past, celebrating the present and fearlessly reaching into the future. Full bio - Dance company
Alvin Ailey American Dance Theater grew from a now-fabled 1958 performance at the 92nd Street Y in New York City. Led by Alvin Ailey and a group of young African-American modern dancers, that performance changed forever the perception of American dance. Full bio

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

00:14
(Music音乐: "Wade in the Water"
by Ella艾拉 Jenkins詹金斯)
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(音乐:“赤足涉水”
——埃拉·詹金斯)
00:17
Wade in the water
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赤足涉水,
00:20
Wade in the water, children孩子
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赤足涉水,孩子
00:24
Wade in the water
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赤足涉水,
00:27
God's a-gonnaa 去 trouble麻烦 the water
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上帝要麻烦水了。
00:30
Oh, why don't you wade in the water
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哦,你为什么不赤足涉水,
00:34
Wade in the water, children孩子
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赤足涉水,孩子,
00:38
Wade in the water
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赤足涉水,
00:41
God's a-gonnaa 去 trouble麻烦 the water
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上帝要麻烦水了。
00:45
See that man all dressed连衣裙的 in white白色
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看那个身着白色衣裳的男人,
00:48
God's a-gonnaa 去 trouble麻烦 the water
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上帝要麻烦水了,
00:51
He looks容貌 like a man of the Israelite以色列
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他看起来像是以色列人,
00:55
God's a-gonnaa 去 trouble麻烦 the water
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上帝要麻烦水了。
00:59
Wade in the water
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赤足涉水,
01:02
Wade in the water, children孩子
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赤足涉水,孩子,
01:06
Wade in the water
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赤足涉水,
01:09
God's a-gonnaa 去 trouble麻烦 the water
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上帝要麻烦水了。
01:13
See that man all dressed连衣裙的 in red
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看那个身着红色衣裳的男人,
01:17
God's a-gonnaa 去 trouble麻烦 the water
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上帝要麻烦水了,
01:20
It looks容貌 like the man that Moses摩西 led
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他看起来像是被摩西领导着的人,
01:23
God's a-gonnaa 去 trouble麻烦 the water
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上帝要麻烦水了。
01:27
Wade in the water
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赤足涉水,
01:30
Wade in the water, children孩子
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赤足涉水,孩子,
01:34
Wade in the water
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赤足涉水,
01:37
God's a-gonnaa 去 trouble麻烦 the water
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上帝要麻烦水了。
01:41
Didn't my Lord deliver交付 Daniel丹尼尔
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我的主没有解救丹尼尔,
01:44
Daniel丹尼尔, Daniel丹尼尔
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丹尼尔,丹尼尔
01:47
Didn't my Lord deliver交付 Daniel丹尼尔
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我的主没有解救丹尼尔,
01:51
Then why not every一切 man?
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那为什么不是每个男人?
01:55
Didn't my Lord deliver交付 Daniel丹尼尔
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我的主没有解救丹尼尔,
01:59
Daniel丹尼尔, Daniel丹尼尔
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丹尼尔,丹尼尔
02:02
Didn't my Lord deliver交付 Daniel丹尼尔
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我的主没有解救丹尼尔,
02:06
Why not every一切 man?
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那为什么不是每个男人?
02:09
Man went down to the river
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人们步入水中,
02:13
Man went down to the river
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人们步入水中,
02:16
Man went down to the river
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人们步入水中,
02:20
Went down there for to pray祈祷
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步入水中虔诚祈祷,
02:23
Man went down to the river
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人们步入水中,
02:27
Man went down to the river
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人们步入水中,
02:30
Man went down to the river
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人们步入水中,
02:34
To wash his sins away
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步入水中洗刷罪行,
02:37
He washed all day, he washed all night
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洗一整天,一整夜,
02:41
He washed till直到 his hands were sore
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直到他的双手开始酸痛,
02:44
He washed all day, he washed all night
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洗一整天,一整夜,
02:48
Till直到 he couldn't不能 wash a-noa-否 more
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直到他无法再继续。
02:52
Man went down to the river
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人们步入水中,
02:55
Man went down to the river
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人们步入水中,
02:59
Man went down to the river
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人们步入水中。
03:01
(Music音乐 fades)
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(音乐淡出)
03:05
(Applause掌声)
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(掌声)
03:19
(Juliet朱丽叶 Blake布莱克) And now,
let's give a warm welcome欢迎
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朱丽叶·布拉克:
现在,我们热烈欢迎
阿尔文·艾利美国舞蹈剧院
名誉艺术总监
03:21
to the artistic艺术的 director导向器 emerita埃梅里塔
of the Alvin阿尔文 Ailey艾利 American美国 Dance舞蹈 Theater剧院,
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03:27
Judith朱迪思 Jamison贾米森.
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杰迪斯·詹米森。
03:29
(Applause掌声)
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(掌声)
03:36
Judith朱迪思 Jamison贾米森: Thanks谢谢.
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杰迪斯·詹米森:
谢谢。
03:38
How are y'all你们?
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大家好吗?
03:39
(Audience听众 cheers干杯)
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(观众欢呼)
03:40
JJJJ: Yeah, you know
you've just been to church教会?
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你们大概刚去了教堂?
03:43
(Laughter笑声)
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(观众笑声)
你们刚观看了一场洗礼,对吗?
03:44
You just saw a baptism洗礼, yes?
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03:47
This is from this wonderful精彩 piece
Mr先生. Ailey艾利 created创建 in 1960,
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这是艾利先生在1960年
编排的一个绝妙作品,
03:52
called "Revelations启示."
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叫《启示录》。
03:55
Mr先生. Ailey艾利 was 29 years年份 old
when he choreographed编排 this masterpiece杰作.
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在创作这个巨作的时候,
艾利先生29岁。
03:59
It's been danced跳舞 all over the world世界
and understood了解 universally举世,
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这个作品已在世界巡演,
其作品内涵也被普遍理解,
04:03
because he understood了解
the humanity人性 in us all.
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因为艾利先生知道
人性根植于我们所有人。
04:07
"Revelations启示" is a reflection反射
of a journey旅程 we all take in life,
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《启示录》反映了
我们所有人的生活旅程,
04:11
and, hopefully希望, triumphantly胜利地.
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满怀期望的,自豪得意的。
04:14
That was the magic魔法 of Alvin阿尔文 Ailey艾利.
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这是阿尔文·艾利的奇妙之处,
04:16
He was able能够 to see you, in the audience听众,
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他能够看穿观众席中的你,
04:19
see me, as the dancer舞蹈家,
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看透作为舞者的我,
04:21
and see the connection连接 between之间 us,
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并且弄清我们之间的联系,
04:23
and choreographed编排 works作品
that connected连接的 us all.
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更是编排了
能将我们所有人联系起来的作品。
04:26
So you felt he was telling告诉 your story故事,
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因此你会觉得他在讲述你的故事,
04:29
while I felt I was dancing跳舞 mine.
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而我觉得我在用
舞蹈诠释自己的故事。
04:34
I started开始 dancing跳舞 when I was six years年份 old
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我从6岁开始跳舞,
04:36
in Philadelphia费城.
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那时我住在费城。
04:37
I was skinny枯瘦 ...
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当时我很瘦……
04:40
(Laughter笑声)
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(观众笑声)
04:43
Dark黑暗 chocolate巧克力,
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黑巧克力肤色,
04:45
and a kid孩子 with legs up to my armpits腋下.
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拥有一双长腿。
04:48
And the very first performance性能 I had,
at the Judimar朱迪马尔 School学校 of Dance舞蹈,
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我第一次的演出是在
茱迪玛舞蹈学校,
04:52
was in a red checkered方格 shirt衬衫,
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穿着红色格子衬衫,
04:57
dungarees工作服, pink ballet芭蕾舞 shoes,
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牛仔背带裤,粉色芭蕾舞鞋,
05:00
and we were dancing跳舞 to "I'm an Old Cowhand考汉德
from the Rio里约热内卢 Grande格兰德."
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那时我们在跳电影边疆铁骑军的
插曲《我是一个老牛仔》。
05:06
I loved喜爱 every一切 minute分钟 of it.
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我爱表演的每一分钟,
05:08
I mean, I literally按照字面 did love
every一切 minute分钟 of it,
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真的,我确实
爱舞台上的每一分钟,
05:10
especially特别 when I heard听说 the applause掌声,
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尤其在我听到掌声的时候,
05:13
and I knew知道 right there,
when I was six, I said,
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我就知道,
那年6岁的我说:
05:15
"That's for me."
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“那些掌声是给我的。”
05:17
(Laughter笑声)
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(观众笑声)
05:18
At six, you're not thinking思维
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在6岁,你不会想
05:20
that's going to be
a career事业 of your lifetime一生,
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这是我以后要追随一生的事业,
05:22
but that was perfect完善 for that moment时刻.
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尽管这确实是一个完美的瞬间。
05:24
I danced跳舞 my way through通过 school学校,
and through通过 college学院,
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我一路坚持跳舞,一直到大学毕业,
05:27
and it still didn't dawn黎明 on me
that that's what I actually其实 wanted to do.
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但我仍然没有想过
这是我真正想做的事。
05:31
I went to an audition面试,
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当时我去参加了一次试镜,
05:32
which哪一个 I was dreadful可怕 in --
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害怕得不行,
05:34
it's the only audition面试
I've had in my life --
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那是我人生中的第一个试镜。
05:37
and when I was let go
from that audition面试 --
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在我被面试官打发走的时候,
05:39
because I thought when they were saying,
"Thank you very much,"
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我以为他们说“非常感谢”,
是让我留下的意思。
05:42
that meant意味着 for me to stay.
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(观众笑声)
05:43
(Laughter笑声)
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05:46
I ran up the steps脚步,
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所以我高兴得冲上台阶,
05:48
and there was a man sitting坐在 on the steps脚步.
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台阶那里有个男人坐着,
05:51
And I barely仅仅 noticed注意到 him.
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但我几乎没注意到他。
05:53
He was an observer观察者.
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他是观察员老师。
05:55
Three days later后来, that man called me
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三天后,那个男人打电话给我,
05:57
and asked me, would I like to join加入
the Alvin阿尔文 Ailey艾利 American美国 Dance舞蹈 Theater剧院.
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问我是否愿意加入
阿尔文·艾利美国舞蹈剧院。
06:00
That's how it happened发生, folks乡亲, that's it.
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一切就是这么发生的,
同志们,就这样。
06:03
There's no drama戏剧 or trauma外伤.
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过程中没有大起大落。
06:05
(Applause掌声)
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(观众掌声)
06:07
So I spent花费 15 years年份 dancing跳舞
with the company公司,
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于是我花了15年跟着舞团跳舞,
06:10
and then I directed针对 it
for something like 21 years年份.
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随后我开始指导舞团,
大概有21年。
06:14
If you were black黑色
and African非洲人 American美国 and a dancer舞蹈家,
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如果你是非裔美国人,
还是一个舞者,
06:17
any time between之间 the '40s and the '70s,
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在40-70年代的任何时候,
06:19
you had much to say,
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你都有太多话想说,
06:20
because your complete完成 voice语音
was not being存在 heard听说.
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因为你的声音完全不会被在意,
06:24
And you were not being存在 represented代表
as you truly were.
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而且你也不是在展现真实的自己。
06:28
Alvin阿尔文 Ailey艾利 had the courage勇气,
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阿尔文·艾利有这样的勇气,
06:30
right in the middle中间
of the Civil国内 Rights Movement运动,
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在民权运动进行时,
06:34
to present当下 the truth真相 about who we were --
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揭示“我们是谁”的真相:
06:36
that our creativity创造力, our beauty美女,
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我们的创造力,我们的美好,
06:39
our intelligence情报, our talents人才
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我们的智慧,我们的能力,
06:41
were an intrinsic固有 part部分 of the panoply华服美饰
of American美国 culture文化.
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都是美国文化中不可或缺的一部分。
06:46
Our mantra口头禅 has always been
to educate教育, to entertain招待,
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我们的至理箴言常常
被用来教育、娱乐以及提升受众。
06:53
and to lift电梯 our audiences观众.
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06:54
Mr先生. Ailey艾利 believed相信 that dance舞蹈
came来了 from the people
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艾利先生相信舞蹈源于人民,
06:58
and needed需要 to be delivered交付
back to the people.
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但也需要回归人民。
07:01
We didn't dance舞蹈 in a vacuum真空.
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我们不是漫无目的地跳舞,
07:03
It was our mission任务 to serve服务 people.
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服务于人民,是我们的使命。
07:06
We call it outreach推广 now,
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现在我们称之为“延伸”,
07:08
but it's always been a part部分
of who we were and still are,
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但它一直是我们曾经和现在的一部分,
07:13
60 years年份 later后来, to this day.
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直到60年后,依旧如此。
07:16
Being存在 inclusive包括的 of our audiences观众 --
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在演出中包容观众体验
07:19
it's always been an important重要
part部分 of the company公司.
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始终是我们舞团十分重视的一点。
07:23
We ask ourselves我们自己, who are we dancing跳舞 for?
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我们扪心自问,我们为谁舞蹈?
07:26
Why are we dancing跳舞, if not to show显示 people
what it is to be human人的
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我们为什么舞蹈,若不是为
展示众人“生而为人的意义“,
07:31
and to connect with the audiences观众
that we dance舞蹈 for.
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若不是为创建与观众的连接?
07:37
We've我们已经 always felt responsible主管
to make sure the community社区 understood了解
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我们始终感到自己有责任
要让社会团体明白
07:40
that what we do
is a part部分 of their heritage遗产.
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我们所做的,是他们遗产的一部分。
07:43
We just don't do this, also, in America美国,
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我们不仅在美国做这事,
更在全世界宣扬。
07:45
we do it all over the world世界.
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我们的世界巡演的场次
07:47
We tour游览 more than any other
dance舞蹈 company公司 in the world世界.
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比任何一个舞团都要多。
07:51
After Nelson纳尔逊 Mandela曼德拉
was released发布 from prison监狱,
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在纳尔逊·曼德拉出狱后,
07:55
I thought, well, this is the time
to go to South Africa非洲.
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我想:好吧,是时候去南非了。
07:59
And that was some outreach推广.
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我们安排了些拓展活动,
08:01
We went to Johannesburg约翰内斯堡, Soweto索韦托,
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去了约翰内斯堡,索韦托,
08:04
and some other townships乡镇
that were really in dire可怕的 straits海峡.
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以及其他处于艰难困境的城镇。
08:08
And it dawned破晓 on me,
as we were there, I'm going like,
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当我们团队到达那里的时候,
我突发奇想,
08:11
"Here we are in the seat座位 of Mother母亲 Africa非洲,
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“我们正在非洲母亲的大地上,
08:14
and we're trying to teach
these people how to dance舞蹈?"
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要不我们尝试着
教当地民众如何跳舞吧?”
08:16
(Laughter笑声)
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(观众笑声)
08:17
But it was our African非洲人 Americanness美国性
that they were interested有兴趣 in,
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但他们感兴趣的是
我们“非裔美国人”的特质,
08:21
and the culture文化 that we had developed发达
over the last 400 years年份.
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以及我们过去400年来发展的文化。
08:26
We toured参观 all over the world世界 many许多 times,
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我们举办了多次世界巡演,
08:29
and whether是否 we're in Europe欧洲
or South America美国 or Asia亚洲
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不论我们在欧洲,南美,亚洲,
08:31
or somewhere某处 else其他,
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还是其他地方,
08:33
audiences观众 are thrilled高兴 and excited兴奋.
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观众总是那么激动与兴奋,
08:35
You sounded满面 thrilled高兴 and excited兴奋.
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在座的你们也是,
08:38
Sometimes有时 with tears眼泪 in their eyes眼睛,
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他们有时甚至面带泪光。
08:41
because this nonverbal非语言
communication通讯 really works作品.
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因为这种无声的交流方式
真的很有效,
08:46
And it's about embracing拥抱 everyone大家.
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它欣然拥抱着每一个人。
08:50
Alvin阿尔文 didn't need to explain说明 to us
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阿尔文不需要向我们解释
08:53
what was going on at the time
in the '60s and the '70s;
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在60和70年代发生了什么,
08:56
it was obvious明显 why were doing his work.
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因为他编排这些作品的原因显而易见。
09:00
He knew知道 what the truth真相
of the time was about,
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他知晓那个年代的真相,
09:03
and he was unafraid不害怕
to reveal揭示 it through通过 dance舞蹈.
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他也无所畏惧,想要用舞蹈来揭发真相。
09:08
He tapped窃听 into every一切 emotion情感
he had and we had,
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他充分挖掘自己的
每一种情感,和我们的,
09:12
and from angerness愤怒 to happiness幸福,
168
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从愤怒到快乐,
09:15
to grief哀思 and everything in between之间,
169
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再到悲伤,以及其间
每一个微妙的情感变化。
09:17
he knew知道 us.
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他了解我们,
09:19
He took our history历史
and turned转身 it into powerful强大 dance舞蹈.
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他把我们的历史
转化为有感染力的舞蹈。
09:22
He and I overlapped重叠 generationally的世代.
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他和我世代重叠。
09:26
We didn't have to talk
about things so much,
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我们不需要说太多,
09:28
because we understood了解 implicitly隐式
our shared共享 responsibilities责任.
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因为我们不言而喻身上的共同责任。
09:33
So when he asked me
to take over the company公司
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所以当阿尔文先生问我
要不要接管舞团,
09:35
before he passed通过 in 1989,
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在1989年,他去世前,
09:38
I felt prepared准备 to carry携带 it forward前锋.
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我感到自己已经做好准备,
带领舞团前行。
09:41
Alvin阿尔文 and I were like parts部分
of the same相同 tree.
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阿尔文和我像是
一棵树上的不同部分,
09:44
He, the roots and the trunk树干,
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他是树根,是树干,
09:47
and we were the branches分支机构.
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而我们都是树枝。
09:49
I was his muse沉思.
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我曾是他的缪斯,
09:51
We were all his muses缪斯.
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我们都曾是他的缪斯。
09:57
The ballet芭蕾舞 "Cry,"
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芭蕾舞《呐喊》,
09:59
which哪一个 some of you might威力 have seen看到 --
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在座有些人可能看过,
你们一会儿将会观赏它的片段,
10:02
you're going to see an excerpt摘抄 of it --
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10:04
it was made制作 on me,
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是根据我而创造的。
10:06
and Alvin阿尔文 dedicated专用 it to all black黑色 women妇女,
187
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阿尔文痴迷于所有黑人女性,
10:08
especially特别 our mothers母亲.
188
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包括我们的母亲。
10:11
When Alvin阿尔文 and I went in the studio工作室,
189
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当阿尔文和我走进舞房,
10:13
of course课程 he wasn't thinking思维,
190
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当然,他当时并不在想:
10:14
"Here I am, creating创建 an iconic标志性的 work."
191
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我今天在这要创作一个代表作。
10:16
Do you know any artist艺术家 that does that?
192
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你知道哪一个艺术家是这样做的吗?
10:18
You don't go into the studio工作室
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你不是走进工作室
10:21
to create创建 anything
194
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去创造什么,
10:24
but what's coming未来 truthfully如实
from your heart and your spirit精神.
195
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而是捕捉
内心和精神中真实的灵感,
10:28
And you trust相信 that you have a dancer舞蹈家
you can share分享 that with.
196
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之后你相信有一个舞者
能和你分享这些灵感。
10:32
Rehearsal排练 space空间 is a sacred神圣 space空间,
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排练厅是一个神圣的地方,
10:35
not to be intruded闯入 upon,
198
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一个不容侵犯的地方,
10:36
because it's about talking
to each other through通过 spirit精神.
199
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因为这是通过灵魂交流的地方,
10:40
You better have some
technique技术 on top最佳 of that
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与此同时,你最好有一些技巧,
10:42
so you can do the dance舞蹈.
201
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这样你才能把舞跳出来。
10:44
(Laughter笑声)
202
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(观众笑声)
10:45
He brought his Alvin阿尔文 to "Cry"
and I brought my Judy朱迪 to it.
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阿尔文把自己带入《呐喊》,
我也把自己带入其中。
10:49
I just did the steps脚步.
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我只是比划了动作。
这是阿尔文给他母亲的生日礼物,
10:51
And this was a birthday生日
present当下 for his mother母亲,
205
639180
2691
10:53
because he couldn't不能 afford给予
to get her a tactile gift礼品.
206
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3166
因为他负担不起实际的礼物。
10:57
When I performed执行 it the first time,
207
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当我第一次表演这个作品时,
10:58
it was physically物理
and emotionally感情上 draining排水.
208
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我的体力和情感都在消耗殆尽。
11:00
I hadn't有没有 yet然而 run through通过 the whole整个 piece
from beginning开始 to end结束.
209
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我还未从头到尾地顺过整支舞。
11:05
The ballet芭蕾舞 is 16 minutes分钟 long.
210
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这支舞时长16分钟,
11:09
It's about a proud骄傲 woman女人
who has been to hell地狱 and back,
211
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讲的是一个骄傲女性的故事:
她历经苦难
从穿越大西洋的旅程中回来,
11:13
from her journey旅程 across横过 the Atlantic大西洋.
212
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11:17
She's exhausted,
213
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2005
她精疲力竭,
11:19
she's a queen女王,
214
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她是一个女王,
11:20
and in this section部分,
you're going to see she is triumphant.
215
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3740
在这个节选片段,
你们将看到她春风得意的样子,
11:24
She made制作 it,
216
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1492
因为她做到了。
11:26
and she is, in that last
step that she does,
217
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在最后的动作定格,
11:31
beating跳动 away anything negative
218
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她用自己强大的力量冲破阻碍;
11:35
with her tremendous巨大 strength强度.
219
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11:38
And in the last step,
she digs into the earth地球
220
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在最后的动作定格,
她重重地踩上坚实的大地,
11:44
and she reaches到达 into the sky天空 ...
221
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并伸手触碰天空,
11:48
because she's clearing空地 space空间
for the next下一个 journey旅程.
222
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因为她在为下段旅程做准备。
11:54
I performed执行 it in 1971,
223
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我在1971年表演了这个作品,
11:57
and we are still clearing空地 space空间.
224
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而现在我们依旧在做准备:
清理前方阻碍。
12:02
Now let me leave离开 you
with one last thought.
225
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现在让我留给你们最后一个思考。
12:04
Here we are, in the 21stST century世纪,
226
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21世纪的我们
12:06
still fighting战斗 for civil国内 rights权利.
227
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依旧为民权奋战。
12:10
Not a day goes by
228
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每一天的流逝,
12:12
that we are not made制作 aware知道的
of the struggle斗争 that continues继续.
229
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我们都更加充分意识到
这一斗争还在继续。
12:16
I believe that dance舞蹈
can elevate提升 our human人的 experience经验
230
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我相信舞蹈
可以将人类体验上升到
12:23
beyond words.
231
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超越语言的高度。
12:25
And when you're sitting坐在 in the dark黑暗,
232
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3222
当你坐在剧院大厅的黑暗中,
12:28
in the theater剧院,
233
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2022
12:30
having a personal个人 experience经验,
234
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观看舞蹈,
获得个人体验,
12:34
you don't feel blocked受阻 or misunderstood误解.
235
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3885
你不会感到受阻,或是被误解,
12:39
You feel open打开,
236
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1912
相反,你感到坦诚开放,
12:42
alive,
237
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1544
情绪饱满,
12:44
and, we hope希望,
238
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同时,我们期冀,
12:46
inspired启发.
239
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能够受到鼓舞。
12:48
Thank you.
240
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谢谢。
12:50
(Applause掌声)
241
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(观众掌声)
12:56
(Music音乐: "Right on. Be free自由."
by East Harlem哈林)
242
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3301
(音乐:“马上,自由”
——East Harlem)
13:11
I wanna go where the north wind blows打击
243
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2946
我想要去往北风吹的地方,
13:19
I wanna know what the falcon knows知道
244
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3624
我想要了解猎鹰知道什么,
13:27
I wanna go where the wild野生 goose goes
245
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我想要前往野鹅去的地方,
13:34
High flyin'飞" bird, high flyin'飞" bird, fly on
246
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高飞的鸟儿,高飞的鸟儿,继续前行。
13:48
I want the clouds over my head
247
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我想要云朵在头上笼罩,
13:55
I don't want no store商店 bought bed
248
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4066
我拒绝去到商店里买床,
14:03
I'm gonna live生活 until直到 I'm dead
249
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我要活着,直到死去,
14:11
Mother母亲, mother母亲, mother母亲
Save保存 your child儿童
250
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5485
母亲,母亲,母亲,
救救你的孩子!
14:20
Right on, be free自由
251
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3465
马上,就自由了!
14:24
Right on, be free自由
252
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3562
马上,就自由了!
14:28
Right on, be free自由
253
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3255
马上,就自由了!
14:32
I don't want no store商店 bought bed
254
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2133
我拒绝去到商店里买床,
14:35
Right on
255
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马上!
14:36
I want the clouds over my head
256
864642
2817
我想要云朵在头上笼罩,
14:39
Be free自由
257
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就自由了!
14:40
Ain't是不是 no time to be afraid害怕
258
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2190
没有时间去害怕。
14:44
Mother母亲, mother母亲, mother母亲
Save保存 your child儿童
259
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5425
母亲,母亲,母亲,
救救你的孩子!
14:50
(Music音乐)
260
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5818
(音乐)
15:19
I don't want no store商店 bought bed
261
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2066
我拒绝去到商店里买床,
15:21
Right on
262
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马上!
15:23
I want the clouds over my head
263
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2675
我想要云朵在头上笼罩,
15:26
Be free自由
264
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1181
就自由了!
15:27
Ain't是不是 no time to be afraid害怕
265
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1950
没有时间去害怕。
15:31
Mother母亲 save保存 your child儿童
266
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2784
母亲,救救你的孩子!
15:35
I wanna see a rainbow彩虹 in the sky天空
267
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2971
我想仰望天上彩虹,
15:42
I wanna watch the clouds go by
268
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3904
我想眼看云朵飘过,
15:50
It might威力 make my load加载 a little light
269
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4880
这或许能减轻我的负重。
15:58
Lord, Lord, Lord
Where will I be tomorrow明天 night?
270
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4247
上帝,上帝,上帝,
我明晚将身处何方?
16:06
Right on
271
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2518
马上,
16:09
Be free自由
272
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就自由了!
16:11
Right on, be free自由
273
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3367
马上,就自由了!
16:15
Right on, be free自由
274
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3484
马上,就自由了!
16:19
Right on, be free自由
275
967146
3707
马上,就自由了!
16:22
Right on, be free自由
276
970877
3634
马上,就自由了!
16:26
Right on, be free自由
277
974887
3386
马上,就自由了!
16:31
Right on, be free自由
278
979109
3073
马上,就自由了!
16:34
(Music音乐 fades)
279
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2475
(音乐淡出)
16:37
(Applause掌声)
280
985830
4727
(掌声)
16:42
(Cheers干杯)
281
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4456
(欢呼)
16:47
(Applause掌声)
282
995061
6375
(掌声)
16:53
(Cheers干杯)
283
1001460
3905
(欢呼)
16:57
(Applause掌声)
284
1005389
5444
(掌声)
Translated by Jiasi Hao

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ABOUT THE SPEAKERS
Judith Jamison - Dancer, choreographer
Judith Jamison uses dance as a medium for honoring the past, celebrating the present and fearlessly reaching into the future.

Why you should listen

Judith Jamison joined Alvin Ailey American Dance Theater in 1965 and quickly became an international star. Over the next 15 years, Ailey created some of his most enduring roles for her, most notably the tour-de-force solo Cry. During the 1970s and 80s, Jamison appeared as a guest artist with ballet companies all over the world, starred in the hit Broadway musical Sophisticated Ladies and formed her own company, The Jamison Project. She returned to Alvin Ailey American Dance Theater in 1989 when Ailey asked her to succeed him as Artistic Director. In the 21 years that followed, she brought the Company to unprecedented heights, including two historic engagements in South Africa and a 50-city global tour to celebrate the Company’s 50th anniversary.

Jamison is the recipient of numerous awards and honors, among them an Emmy, an American Choreography Award, the Kennedy Center Honor, a National Medal of Arts, a "Bessie" Award, the Phoenix Award and the Handel Medallion. She was also listed in TIME's list of The World’s Most Influential People and honored by First Lady Michelle Obama at the first White House Dance Series event. In 2015, she became the 50th inductee into the Hall of Fame at the National Museum of Dance. Jamison continues to dedicate herself to asserting the prominence of the arts in our culture.

More profile about the speaker
Judith Jamison | Speaker | TED.com
Alvin Ailey American Dance Theater - Dance company
Alvin Ailey American Dance Theater grew from a now-fabled 1958 performance at the 92nd Street Y in New York City. Led by Alvin Ailey and a group of young African-American modern dancers, that performance changed forever the perception of American dance.

Why you should listen

Constance Stamatiou began her dance training at Pat Hall's Dance Unlimited and North Carolina Dance and Theatre. She graduated from NorthWest School of the Arts and studied at SUNY Purchase before becoming a fellowship student at The Ailey School. In 2009, Stamatiou received the Leonore Annenberg Fellowship in the performing and visual arts. She performed at the White House Dance Series and has been a guest performer on So You Think You Can Dance, Dancing with the Stars, Logo's Trailblazer Honors, and The Today Show. Stamatiou has also danced in the films Shake Rattle & Roll and in Dan Pritzker's Bolden. Stamatiou was a member of Ailey ll a guest artist for Darrell Grand Moultrie and Caroline Calouche and Co. She is a certified Gyrotonic and Gyrokinesis instructor and a mother of two. Stamatiou first joined the Company in 2007 and rejoined in 2016.

Solomon Dumas was introduced to dance through AileyCamp. He later began his formal training at The Chicago Academy For The Arts and the Russell Talbert Dance Studio, where he received his most influential training. Dumas studied at New World School Of The Arts and was a fellowship Level 1 student at The Ailey School. He has performed with companies including Garth Fagan Dance; Ronald K. Brown/Evidence A Dance Company; and Labyrinth Dance Theater and was a member of Ailey II. Mr. Dumas joined the Company in 2016.

Samantha Figgins began dancing at Duke Ellington School of the Arts under the tutelage of Charles Auggins and Sandra Fortune-Greene and attended summer intensives at Dance Theatre of Harlem under the direction of Arthur Mitchell.  She continued her education at SUNY Purchase Conservatory of Dance. There, she performed works by George Balanchine, Bill T. Jones, Paul Taylor and Twyla Tharp. Upon graduating cum laude, Figgins became a member of Complexions Contemporary Ballet, performing works by Dwight Rhoden, Jae Man Joo and Camille A. Brown. She also performed at the 2014 DanceOpen Festival in St. Petersburg, Russia. Figgins was featured both on the cover of Dance Spirit magazine and in Pointe magazine's "10 Careers to Watch" in 2013. She has worked with Beyoncé and can be seen in the film Enemy Within alongside Tiler Peck and Matthew Rushing. Figgins joined the Company in 2014.

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