ABOUT THE SPEAKER
Camille A. Brown - Choreographer, educator
Camille A. Brown leads her dance company through excavations of ancestral stories, both timeless and traditional, that connect history with contemporary culture.

Why you should listen

Camille A. Brown is a prolific Black female choreographer reclaiming the cultural narrative of African American identity. She is a Ford Foundation Art of Change Fellow, Audelco Award recipient, four-time Princess Grace Award winner, Guggenheim Fellow, Jacob's Pillow Dance Award recipient, USA Jay Franke & David Herro Fellow, TED Fellow and Doris Duke Artist Award recipient.

Her Company, Camille A. Brown & Dancers (CABD), tours nationally and internationally. The repertory includes the Bessie award-winning Mr. TOL E. RAncE (2012), the Bessie-nominated BLACK GIRL: Linguistic Play (2015) and ink (2017), which premiered at The Kennedy Center. CABD's community engagement platform, EVERY BODY MOVE, inspires collective action through the art of social dance and includes initiatives such as Black Girl Spectrum, Black Men Moving, The Gathering and more.

Brown has been commissioned to create concert dance works for Alvin Ailey American Dance Theater, Philadanco!, Urban Bush Women, Complexions, Ailey II, Ballet Memphis and Hubbard Street II.

In addition to her company works, Brown brings a passion for storytelling to her choreography for Broadway and Off-Broadway theater productions. Notable theater credits for her choreography include: Tony-winning Broadway revival Once On This Island, The Emmy-winning Jesus Christ Superstar Live on NBC as well as A Streetcar Named Desire, The Fortress of Solitude (Lortel Nomination) and BELLA: An American Tall Tale (Lortel Nomination), among others.

Brown graduated from LaGuardia High School of the Performing Arts in New York City and she has a BFA from UNC School of the Arts. She is the choreographer for the upcoming Magic Mike The Musical and PAL JOEY, and she is movement director for Broadway's Choir Boy and Toni Stone.

More profile about the speaker
Camille A. Brown | Speaker | TED.com
TED Studio

Camille A. Brown: A visual history of social dance in 25 moves

卡米爾·A·布朗: 從25個舞步中看見社交舞歷史

Filmed:
1,390,738 views

我們為什麼跳舞?非裔美國人的社交舞起源於被奴役的非洲人依然保持傳統和內心自由。他們保持著一種對個性和獨立的肯定。在這場富有激情的演出和現場表演,舞蹈者、舞蹈教師和 TED 研究會員卡米爾·A·布朗泰展示了當社區中的人們放鬆自己一起跳舞抒懷是怎樣一種場景。
- Choreographer, educator
Camille A. Brown leads her dance company through excavations of ancestral stories, both timeless and traditional, that connect history with contemporary culture. Full bio

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

00:06
This is the Bop波普.
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這是波普舞。
00:09
The Bop波普 is a type類型 of social社會 dance舞蹈.
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波普舞是一種社交舞蹈,
00:15
Dance舞蹈 is a language語言,
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舞蹈是一種語言,
00:16
and social社會 dance舞蹈 is an expression表達
that emerges出現 from a community社區.
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而社交舞蹈是從社區中產生的一種表達方式。
00:21
A social社會 dance舞蹈 isn't choreographed編排
by any one person.
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社交舞不是任何某一個人編排的,
00:24
It can't be traced追踪 to any one moment時刻.
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也無法追溯到某一時刻。
00:27
Each dance舞蹈 has steps腳步
that everyone大家 can agree同意 on,
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每一個舞步都是所有人的共識,
00:30
but it's about the individual個人
and their creative創作的 identity身分.
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但是與他們個人的創造力有關。
00:35
Because of that,
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因為這樣,
00:36
social社會 dances舞蹈 bubble泡沫 up,
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社交舞就這樣自然形成了,
00:38
they change更改
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它們產生變化,
00:39
and they spread傳播 like wildfire磷火.
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然後像野火一樣廣泛流傳。
00:42
They are as old as our remembered記得 history歷史.
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他們和我們記憶的歷史一樣久遠。
00:47
In African-American非裔美國人 social社會 dances舞蹈,
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在非裔美國人的社交舞蹈中,
00:49
we see over 200 years年份
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我們能夠發現200多年間,
00:51
of how African非洲人 and African-American非裔美國人
traditions傳統 influenced影響 our history歷史.
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非洲人和非裔美國人的傳統是
怎樣影響我們的歷史的。
00:58
The present當下 always contains包含 the past過去.
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現在總是承載著歷史。
01:01
And the past過去 shapes形狀 who we are
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而且歷史影響了我們是誰,
01:03
and who we will be.
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以及我們將會怎樣。
01:05
(Clapping拍手)
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(鼓掌)
01:09
The Juba朱巴 dance舞蹈 was born天生
from enslaved奴役 Africans'非洲人 experience經驗
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朱芭舞起源於被奴役的非洲人
在種植園的經歷。
01:12
on the plantation種植園.
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01:14
Brought to the Americas美洲,
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他們被帶到美國,
01:15
stripped剝離 of a common共同 spoken language語言,
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被迫放棄自己的常用語言,
01:17
this dance舞蹈 was a way for enslaved奴役 Africans非洲人
to remember記得 where they're from.
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這種舞蹈對黑人奴隸來說,
是一種回憶他們家鄉的方式。
01:22
It may可能 have looked看著 something like this.
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可能看起來是這樣的。
01:30
Slapping thighs大腿,
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拍打大腿,
01:31
shuffling洗牌 feet
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拖著腳步,
01:33
and patting拍著 hands:
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還有拍手。
01:34
this was how they got around
the slave奴隸 owners'擁有者' ban禁止 on drumming鼓聲,
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這就是他們擺脫奴隸主
對打鼓的禁令的方式,
01:38
improvising即興 complex複雜 rhythms節奏
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即興創作複雜的旋律,
01:41
just like ancestors祖先 did
with drums in Haiti海地
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就像在海地的祖先敲鼓一樣,
01:44
or in the Yoruba約魯巴 communities社區
of West西 Africa非洲.
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或者非洲西部的約魯巴社區。
01:50
It was about keeping保持
cultural文化 traditions傳統 alive
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都是為了保護文化傳統,
01:53
and retaining固定 a sense of inner freedom自由
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並在囚禁中保持內心的自由。
01:56
under captivity囚禁.
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01:59
It was the same相同 subversive顛覆 spirit精神
that created創建 this dance舞蹈:
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一樣具有顛覆性的精神
創造了這種舞蹈:
02:04
the Cakewalk步態,
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步態舞,
02:05
a dance舞蹈 that parodied惡搞 the mannerisms裝相
of Southern南部的 high society社會 --
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一種和南方上流社會行為舉止
相矛盾的舞蹈,
02:09
a way for the enslaved奴役
to throw shade陰涼處 at the masters主人.
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一種減少奴隸和奴隸主之間
差距的舞蹈。
02:12
The crazy thing about this dance舞蹈
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這種舞蹈之所以瘋狂,
02:14
is that the Cakewalk步態
was performed執行 for the masters主人,
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是因為它是表演給奴隸主的,
02:17
who never suspected嫌疑
they were being存在 made製作 fun開玩笑 of.
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而且沒有想到能夠從中取樂。
02:23
Now you might威力 recognize認識 this one.
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現在你可能會認識這種舞蹈,
02:25
1920s --
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二十世紀二十年代,
02:26
the Charleston查爾斯頓.
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查爾斯頓。
02:31
The Charleston查爾斯頓 was all about
improvisation即興 and musicality音樂性,
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查爾斯頓非常即興,具有音樂感,
02:35
making製造 its way into Lindy林迪 Hop,
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變成了林迪舞,
02:37
swing搖擺 dancing跳舞
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牛仔舞,
02:38
and even the Kid小子 n Play,
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甚至兒童娛樂舞的一部分,
02:39
originally本來 called the Funky質樸 Charleston查爾斯頓.
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它最早被稱為時髦查爾斯頓。
02:47
Started入門 by a tight-knit綿密 Black黑色 community社區
near Charleston查爾斯頓, South Carolina卡羅來納州,
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它起源於南卡羅萊納州,查爾斯頓
附近的一個團結的黑人社區,
02:51
the Charleston查爾斯頓 permeated滲透 dance舞蹈 halls大廳
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查爾斯頓散布著許多舞廳,
02:53
where young年輕 women婦女 suddenly突然 had
the freedom自由 to kick their heels腳跟
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那裡年輕女士突然
可以自由地踢腿和搖擺了。
02:56
and move移動 their legs.
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03:03
Now, social社會 dance舞蹈 is about
community社區 and connection連接;
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現在社交舞與社區和人際交往有關,
03:06
if you knew知道 the steps腳步,
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如果你知道某些舞步,
03:08
it meant意味著 you belonged屬於 to a group.
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這意味著你屬於一個群體。
03:10
But what if it becomes a worldwide全世界 craze狂熱?
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但是如果它在世界流行起來?
03:13
Enter輸入 the Twist.
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這是扭動舞,
03:14
It's no surprise that the Twist
can be traced追踪 back to the 19th century世紀,
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扭動舞可以追溯到19世紀,
這並不奇怪,
03:19
brought to America美國 from the Congo剛果
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在奴隸時期的時候,
從剛果被帶到美國。
03:21
during slavery奴隸制度.
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03:22
But in the late晚了 '50s,
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但是在50年代晚期,
03:24
right before the Civil國內 Rights Movement運動,
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在民權運動之前,
03:26
the Twist is popularized推廣
by Chubby豐滿的 Checker檢查 and Dick迪克 Clark克拉克.
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扭動舞因為恰比·切克和
迪克·克拉克而流行。
03:29
Suddenly突然, everybody's每個人的 doing the Twist:
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突然,每個人都在跳扭動舞。
03:32
white白色 teenagers青少年,
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白人青少年,
03:33
kids孩子 in Latin拉丁 America美國,
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拉丁美洲的孩子,
03:35
making製造 its way into songs歌曲 and movies電影.
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都可以徜徉在音樂和電影中。
03:38
Through通過 social社會 dance舞蹈,
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通過社交舞,
03:39
the boundaries邊界 between之間 groups
become成為 blurred模糊.
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團體之間的間隙變得模糊。
03:45
The story故事 continues繼續 in the 1980s and '90s.
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故事在20世紀80
和90年代繼續,
03:48
Along沿 with the emergence緊急情況 of hip-hop嘻哈,
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伴隨著嘻哈文化的出現,
03:51
African-American非裔美國人 social社會 dance舞蹈
took on even more visibility能見度,
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非裔美國人的社交舞
包含了更多元素,
03:55
borrowing借款 from its long past過去,
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從它久遠的歷史中吸收,
03:57
shaping成型 culture文化 and being存在 shaped成形 by it.
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塑造文化,也被文化塑造。
04:08
Today今天, these dances舞蹈 continue繼續
to evolve發展, grow增長 and spread傳播.
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現在,這些舞蹈持續進化,
成長和傳播。
04:14
Why do we dance舞蹈?
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我們為什麼跳舞?
04:15
To move移動,
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為了搖擺,
04:16
to let loose疏鬆,
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為了放鬆,
04:17
to express表現.
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為了釋放。
04:19
Why do we dance舞蹈 together一起?
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我們為什麼一起跳舞?
04:21
To heal癒合,
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為了治癒,
04:22
to remember記得,
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為了記憶,
04:23
to say: "We speak說話 a common共同 language語言.
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為了表達:“我們說同樣的語言,
04:26
We exist存在
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我們存在,
04:27
and we are free自由."
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而且我們是自由的。”
Translated by Conway Ye
Reviewed by Yifei XUE

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ABOUT THE SPEAKER
Camille A. Brown - Choreographer, educator
Camille A. Brown leads her dance company through excavations of ancestral stories, both timeless and traditional, that connect history with contemporary culture.

Why you should listen

Camille A. Brown is a prolific Black female choreographer reclaiming the cultural narrative of African American identity. She is a Ford Foundation Art of Change Fellow, Audelco Award recipient, four-time Princess Grace Award winner, Guggenheim Fellow, Jacob's Pillow Dance Award recipient, USA Jay Franke & David Herro Fellow, TED Fellow and Doris Duke Artist Award recipient.

Her Company, Camille A. Brown & Dancers (CABD), tours nationally and internationally. The repertory includes the Bessie award-winning Mr. TOL E. RAncE (2012), the Bessie-nominated BLACK GIRL: Linguistic Play (2015) and ink (2017), which premiered at The Kennedy Center. CABD's community engagement platform, EVERY BODY MOVE, inspires collective action through the art of social dance and includes initiatives such as Black Girl Spectrum, Black Men Moving, The Gathering and more.

Brown has been commissioned to create concert dance works for Alvin Ailey American Dance Theater, Philadanco!, Urban Bush Women, Complexions, Ailey II, Ballet Memphis and Hubbard Street II.

In addition to her company works, Brown brings a passion for storytelling to her choreography for Broadway and Off-Broadway theater productions. Notable theater credits for her choreography include: Tony-winning Broadway revival Once On This Island, The Emmy-winning Jesus Christ Superstar Live on NBC as well as A Streetcar Named Desire, The Fortress of Solitude (Lortel Nomination) and BELLA: An American Tall Tale (Lortel Nomination), among others.

Brown graduated from LaGuardia High School of the Performing Arts in New York City and she has a BFA from UNC School of the Arts. She is the choreographer for the upcoming Magic Mike The Musical and PAL JOEY, and she is movement director for Broadway's Choir Boy and Toni Stone.

More profile about the speaker
Camille A. Brown | Speaker | TED.com