Small Thing Big Idea
Kyra Gaunt: How the jump rope got its rhythm
凱拉岡特: 跳繩如何產生節奏
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「下來，寶貝，從雲霄飛車下來……」嘻哈虧欠相繞繩單人跳女王很多。人種音樂學家凱拉岡特帶我們去了解跳繩的迷人歷史。
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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如果你做對了，聽起來應該是這樣：
00:14
TICK-tat, TICK-tat, TICK-tat,
TICK-tat, TICK-tat, TICK-tat.
TICK-tat, TICK-tat, TICK-tat.
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滴答，滴答，滴答，
滴答，滴答，滴答。
滴答，滴答，滴答。
00:18
If you do it wrong, it sounds like:
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如果錯了，聽起來會是：
00:20
Tick-TAT, tick-TAT, tick-TAT.
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滴答，滴答，滴答。
00:21
[Small thing. Big idea.]
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〔小東西。大點子。〕
00:25
[Kyra Gaunt on
the Jump Rope]
the Jump Rope]
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〔凱拉岡特談跳繩〕
00:28
The jump rope is such a simple object.
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跳繩是個很簡單的物品。
00:31
It can be made out of rope,
a clothesline, twine.
a clothesline, twine.
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可以用繩索、曬衣繩、繩索來做。
00:34
It has, like, a twirl on it. (Laughs)
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它上面有個……旋轉。（笑聲）
00:37
I'm not sure how to describe that.
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我不太確定怎麼稱呼它。
00:38
What's important
is that it has a certain weight,
is that it has a certain weight,
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重要的是，它有一定的重量，
00:41
and that they have
that kind of whip sound.
that kind of whip sound.
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且會有一種鞭打的聲音。
00:44
It's not clear what the origin
of the jump rope is.
of the jump rope is.
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跳繩的來源並不清楚。
00:48
There's some evidence
that it began in ancient Egypt, Phoenicia,
that it began in ancient Egypt, Phoenicia,
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有證據顯示，在古老的埃及
腓尼基就開始有跳繩了，
腓尼基就開始有跳繩了，
00:52
and then it most likely traveled
to North America with Dutch settlers.
to North America with Dutch settlers.
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很可能接著就被荷蘭
移民者傳到了北美。
移民者傳到了北美。
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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跳繩熱門起來是因為
女性的衣服變得更合身，
女性的衣服變得更合身，
01:01
and the pantaloon came into being.
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且馬褲開始出現。
01:03
And so, girls were able to jump rope
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所以，女孩就可以跳繩了，
01:06
because their skirts
wouldn't catch the ropes.
wouldn't catch the ropes.
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她們不會有裙子絆到繩子的問題了。
01:09
Governesses used it
to train their wards to jump rope.
to train their wards to jump rope.
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女家教訓練她們監護的
未成年人跳繩。
未成年人跳繩。
01:13
Even formerly enslaved African children
in the antebellum South
in the antebellum South
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甚至在南北戰爭前的南方，
被奴役的非洲孩童
被奴役的非洲孩童
01:16
jumped rope, too.
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也會玩跳繩。
01:17
In the 1950s, in Harlem,
Bronx, Brooklyn, Queens,
Bronx, Brooklyn, Queens,
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1950 年代，在哈林區、布隆克斯區、
布魯克林區、皇后區，
布魯克林區、皇后區，
01:22
you could see on the sidewalk,
lots of girls playing with ropes.
lots of girls playing with ropes.
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都可以看到許多女孩
在人行道上玩跳繩。
在人行道上玩跳繩。
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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有時她們會把兩條繩子變成一條，
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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但也可以把兩條繩子分開，
變成像打蛋器那樣。
變成像打蛋器那樣。
01:34
The skipping rope
was like a steady timeline --
was like a steady timeline --
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跳繩就像是條穩定的時間線──
01:37
tick, tick, tick, tick --
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滴，滴，滴，滴──
01:38
upon which you can add rhymes
and rhythms and chants.
and rhythms and chants.
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你可以在上面加上
韻律、節奏、吟唱。
韻律、節奏、吟唱。
01:42
Those ropes created a space
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那些繩子能創造出一個空間，
01:44
where we were able
to contribute to something
to contribute to something
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在那空間中，我們能促成
01:47
that was far greater
than the neighborhood.
than the neighborhood.
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超越街坊的東西。
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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對於黑人女性來說，
相繞繩單人跳仍然是
相繞繩單人跳仍然是
文化和身份的強大象徵。
01:53
for black women.
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01:54
Back from the 1950s to the 1970s,
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在 1950 年代到 1970 年代之間，
01:56
girls weren't supposed to play sports.
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女孩是不能玩運動的。
01:58
Boys played baseball,
basketball and football,
basketball and football,
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男孩可以玩棒球、籃球、足球，
02:01
and girls weren't allowed.
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女孩卻不被允許。
02:03
A lot has changed, but in that era,
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很多已經改變了，但在那個年代，
02:05
girls would rule the playground.
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女孩能主宰遊樂場。
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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她們會確保男孩不能進入。
02:10
It's their space, it's a girl-power space.
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那是她們的空間，
「女孩力量」的空間。
「女孩力量」的空間。
02:12
It's where they get to shine.
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在那裡，她們能發光。
02:14
But I also think it's for boys,
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但我認為男孩也能玩，
02:16
because boys overheard those,
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因為男孩無意間聽到那些，
02:17
which is why, I think,
so many hip-hop artists
so many hip-hop artists
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我認為，這就是為什麼
有許多嘻哈藝術家
有許多嘻哈藝術家
02:19
sampled from things that they heard
in black girls' game songs.
in black girls' game songs.
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會參考他們聽到的
黑人女孩的遊戲歌曲。
黑人女孩的遊戲歌曲。
02:23
(Chanting) ... cold, thick shake,
act like you know how to flip,
act like you know how to flip,
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（吟唱）……冷又濃的奶昔，
表現出你知道如何輕跳，
表現出你知道如何輕跳，
02:26
Filet-O-Fish, Quarter Pounder,
french fries, ice cold, thick shake,
french fries, ice cold, thick shake,
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麥香魚，四盎司牛肉堡，
法式薯條，冰冷，濃奶昔，
法式薯條，冰冷，濃奶昔，
02:29
act like you know how to jump.
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表現出你知道如何跳躍。
02:30
Why "Country Grammar" by Nelly
became a Grammy Award-winning single
became a Grammy Award-winning single
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尼力的單曲《家有家規》
之所以能贏得葛萊美獎，
之所以能贏得葛萊美獎，
02:34
was because people already knew
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是因為人們已經知道
02:37
"We're going down down baby
your street in a Range Rover ... "
your street in a Range Rover ... "
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「寶貝，我們要開著 Range
Rover 前往你的那條街……」
Rover 前往你的那條街……」
02:40
That's the beginning of "Down down, baby,
down down the roller coaster,
down down the roller coaster,
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那後面接的是「下來，
寶貝，從雲霄飛車下來，
寶貝，從雲霄飛車下來，
02:44
sweet, sweet baby, I'll never let you go."
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甜蜜的寶貝，我永遠不會讓你走。」
02:46
All people who grew up
in any black urban community
in any black urban community
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在任何黑人城市社區中長大的人，
02:49
would know that music.
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都會知道那音樂。
02:51
And so, it was a ready-made hit.
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它是現成的熱門金曲。
02:54
The Double Dutch rope playing
helped maintain these songs
helped maintain these songs
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因為玩相繞繩單人跳，
讓這些歌曲得以傳下去，
讓這些歌曲得以傳下去，
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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配合歌曲的吟唱和手勢
也都能延續下去，
也都能延續下去，
03:02
which is very natural
to what I call "kinetic orality" --
to what I call "kinetic orality" --
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這對於我所謂的「運動的
口頭形態」而言是很自然的──
口頭形態」而言是很自然的──
03:06
word of mouth and word of body.
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嘴巴和身體的言詞。
03:09
It's the thing that gets
passed down over generations.
passed down over generations.
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它能被世世代代傳下去。
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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在某種意義上，跳繩
協助帶著它傳下去。
協助帶著它傳下去。
03:15
You need some object
to carry memory through.
to carry memory through.
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你需要某些物品當媒界來帶著記憶。
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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所以，你可以把跳繩
用在各種事物上。
用在各種事物上。
03:22
It crosses cultures.
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它跨越了文化。
03:24
And I think it lasted
because people need to move.
because people need to move.
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我想，它會延續下去
是因為人需要動。
是因為人需要動。
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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我認為，有時，最簡單的東西
就能做最有創意的使用。
就能做最有創意的使用。
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