TED2017
Kayla Briët: Why do I make art? To build time capsules for my heritage
凱菈布萊特: 我為什麼要做藝術？為我的傳承建立時間膠囊
Filmed:
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凱菈布萊特創作藝術來探索身份和發現自我。她害怕有一天她的文化會被遺忘。她分享了如何找到自己的創意聲音，將她繼承的荷屬印尼、中國，和美國原住民傳承的故事注入到電影和音樂的時間膠囊中，來重新恢復這些故事。
Kayla Briët - Filmmaker, musician
TED Fellow Kayla Briët explores themes of identity and self-discovery in multiple mediums of storytelling: film, multi-media arts and music. Full bio
TED Fellow Kayla Briët explores themes of identity and self-discovery in multiple mediums of storytelling: film, multi-media arts and music. Full bio
Double-click the English transcript below to play the video.
00:12
When I was four years old,
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當我四歲時，
00:14
my dad taught me
the Taos Pueblo Hoop Dance,
the Taos Pueblo Hoop Dance,
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我爸爸教我陶斯普韋布洛環圈舞，
00:17
a traditional dance born hundreds
of years ago in Southwestern USA.
of years ago in Southwestern USA.
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是種美國西南部的傳統舞蹈，
有數百年的歷史。
有數百年的歷史。
00:22
A series of hoops are created
out of willow wood,
out of willow wood,
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用柳木製造一系列的環圈，
00:25
and they're threaded together
to create formations of the natural world,
to create formations of the natural world,
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穿在一起，創造出自然世界的排列，
00:29
showing the many beauties of life.
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展現人生的許多美麗。
00:31
In this dance, you're circling
in a constant spin,
in a constant spin,
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在這種舞蹈中，你會持續地旋轉，
00:34
mimicking the movement of the Sun
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模仿太陽的運轉
00:37
and the passage of time.
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以及時間的推移。
00:40
Watching this dance was magic to me.
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這種舞蹈讓我看得非常入迷。
00:43
Like with a time capsule,
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就像用時間膠囊，
00:44
I was taking a look through
a cultural window to the past.
a cultural window to the past.
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我透過一扇文化窗戶看過往。
00:48
I felt a deeper connection
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我感受到深刻的連結，
00:50
to how my ancestors used to look
at the world around them.
at the world around them.
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連結到我的祖先以前如何
看待他們周遭的世界。
看待他們周遭的世界。
00:54
Since then, I've always been
obsessed with time capsules.
obsessed with time capsules.
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那之後，我就一直
對時間膠囊很著迷。
對時間膠囊很著迷。
00:57
They take on many forms,
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它們有許多形式，
00:59
but the common thread
is that they're uncontrollably fascinating
is that they're uncontrollably fascinating
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但共同點是，對我們人類而言，
它們都有著無法控制的迷人，
01:02
to us as human beings,
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01:04
because they're portals to a memory,
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因為它們是通往記憶的入口，
01:06
and they hold the important power
of keeping stories alive.
of keeping stories alive.
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具有能讓故事持續的重要力量。
01:11
As a filmmaker and composer,
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身為電影製作人以及作曲家，
01:13
it's been my journey to find my voice,
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我的旅程一直是要找到自己的聲音，
01:16
reclaim the stories
of my heritage and the past
of my heritage and the past
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取回關於我的傳承和過去的故事，
01:19
and infuse them into music and film
time capsules to share.
time capsules to share.
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將它們注入到音樂和電影的
時間膠囊中來分享。
時間膠囊中來分享。
01:24
To tell you a bit about
how I found my voice,
how I found my voice,
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稍微告訴各位
我如何找到自我的聲音，
我如何找到自我的聲音，
01:27
I'd like to share a bit
about how I grew up.
about how I grew up.
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我想要先分享一些我的成長過程。
01:29
In Southern California, I grew up
in a multigenerational home,
in a multigenerational home,
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在南加州，我在一個
多世代的家庭中長大，
多世代的家庭中長大，
01:33
meaning I lived under the same roof
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意思是和我同住一個屋簷下的
01:35
as my parents, aunts,
uncles and grandparents.
uncles and grandparents.
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有我的父母、姑姨叔伯、及祖父母。
01:38
My mother is Dutch-Indonesian and Chinese
with immigrant parents,
with immigrant parents,
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我媽媽是荷屬印尼和中國血統，
她的父母都是移民，
她的父母都是移民，
01:43
and my father is Ojibwe
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我爸爸是歐及布威族，
01:45
and an enrolled tribal member
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且被登記為堪薩斯東北的
01:47
of the Prairie Band's Potawatomi Tribe
in Northeastern Kansas.
in Northeastern Kansas.
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草原灣坡塔托米部落的成員。
01:51
So one weekend I'd be learning
how to fold dumplings,
how to fold dumplings,
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我會在一個週末學習如何捏餃子，
01:54
and the next, I'd be
traditional-style dancing
traditional-style dancing
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下一個週末又在歡慶會上
01:56
at a powwow,
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跳傳統舞蹈，
01:57
immersed in the powerful sounds
of drums and singers.
of drums and singers.
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沉浸在強大的鼓聲和歌聲中。
02:02
Being surrounded by many
cultures was the norm,
cultures was the norm,
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被許多種文化圍繞是很正常的，
02:05
but also a very confusing experience.
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卻也是讓我很困惑的經歷。
02:08
It was really hard for me
to find my voice,
to find my voice,
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我真的很難找到我的聲音，
02:10
because I never felt I was enough --
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因為我從來不覺得我是足夠的，
02:12
never Chinese, Dutch-Indonesian
or Native enough.
or Native enough.
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我從來就不夠中國、
不夠荷屬印尼、不夠原住民。
不夠荷屬印尼、不夠原住民。
02:17
Because I never felt I was a part
of any community,
of any community,
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因為我從來不覺得
我是任何社群的一部份，
我是任何社群的一部份，
02:20
I sought to learn
the stories of my heritage
the stories of my heritage
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我去尋求了解我的傳承的故事，
02:23
and connect them together
to rediscover my own.
to rediscover my own.
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將它們連結在一起，
來重新發現我自己的。
來重新發現我自己的。
02:27
The first medium I felt
gave me a voice was music.
gave me a voice was music.
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第一個讓我感到能
給我聲音的媒介是音樂。
給我聲音的媒介是音樂。
02:32
With layers of sounds
and multiple instruments,
and multiple instruments,
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用聲音的層次和多種樂器，
02:35
I could create soundscapes and worlds
that were much bigger than my own.
that were much bigger than my own.
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我能創造出遠遠大於自己的
音景以及世界，
音景以及世界，
02:39
Through music, I'm inviting you
into a sonic portal
into a sonic portal
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我透過音樂邀請你們
進入一個聲音的入口，
進入一個聲音的入口，
02:42
of my memories and emotions,
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通往我的記憶和情緒，
02:44
and I'm holding up a mirror to yours.
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而我拿著一面鏡子來反映你的。
02:47
One of my favorite instruments to play
is the guzheng zither,
is the guzheng zither,
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我最喜歡演奏的樂器之一是古箏，
02:50
a Chinese harp-like instrument.
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很像豎琴的中國樂器。
02:53
While the hoop dance
is hundreds of years old,
is hundreds of years old,
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雖然環圈舞有數百年的歷史，
02:55
the guzheng has more
than 2,000 years of history.
than 2,000 years of history.
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古箏的歷史至少有兩千年。
我演奏的是現今
對我影響很大的風格，
對我影響很大的風格，
02:59
I'm playing the styles that greatly
influence me today,
influence me today,
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03:02
like electronic music,
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像電子音樂，
03:03
with an instrument that was used
to play traditional folk music long ago.
to play traditional folk music long ago.
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但用的是很久以前
演奏傳統民俗音樂的樂器。
演奏傳統民俗音樂的樂器。
03:08
And I noticed an interesting connection:
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我注意到一個有趣的連結：
03:11
the zither is tuned
to the pentatonic scale,
to the pentatonic scale,
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古箏是根據五聲音階來調音的，
03:13
a scale that is universally known
in so many parts of music
in so many parts of music
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這種音階在全世界
許多音樂中都被普遍使用，
許多音樂中都被普遍使用，
03:17
around the world,
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03:18
including Native American folk songs.
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包括美國原住民的民俗歌曲。
03:21
In both Chinese and Native folk,
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在中國和原住民民俗中，
03:23
I sense this inherent sound of longing
and holding onto the past,
and holding onto the past,
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我都能感覺到一種內在固有的聲音，
在渴望著、緊抓著過去，
在渴望著、緊抓著過去，
03:28
an emotion that greatly drives
the music I create today.
the music I create today.
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這種情緒是我現今
音樂創作背後極大的動力。
音樂創作背後極大的動力。
03:32
At the time, I wondered if I could make
this feeling of immersion
this feeling of immersion
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當時，我在想我是否
能讓這種沉浸的感覺
能讓這種沉浸的感覺
03:36
even more powerful,
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再更強大些，
03:37
by layering visuals and music --
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透過將視覺和音樂層疊起來，
03:39
visuals and images on top of the music.
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把視覺和影像放在音樂的上面。
03:42
So I turned to internet tutorials
to learn editing software,
to learn editing software,
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所以我上網找教學資源，
學會使用編輯軟體，
學會使用編輯軟體，
03:46
went to community college to save money
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為了省錢而上社區大學，
03:48
and created films.
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並創作電影。
03:51
After a few years experimenting,
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經過幾年的實驗，
03:52
I was 17 and had something
I wanted to tell and preserve.
I wanted to tell and preserve.
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當我十七歲時有了
想說和想要保存的東西。
想說和想要保存的東西。
03:56
It started with a question:
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它始於一個問題：
03:58
What happens when a story is forgotten?
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當一個故事被遺忘之後，
會發生什麼事？
會發生什麼事？
04:02
I lead with this in my latest
documentary film,
documentary film,
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我就用這個問題
來引領我最新的紀錄片
來引領我最新的紀錄片
04:05
"Smoke That Travels,"
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「旅行的煙」，
04:07
which immerses people into the world
of music, song, color and dance,
of music, song, color and dance,
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它讓人們沉浸在音樂、歌曲、
顏色、及跳舞的世界中，
顏色、及跳舞的世界中，
04:12
as I explore my fear that a part
of my identity, my Native heritage,
of my identity, my Native heritage,
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我同時在探索我的恐懼，
害怕我部分的身份和原住民傳承
會在時間長河中被遺忘。
04:17
will be forgotten in time.
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04:20
Many indigenous languages are dying
due to historically forced assimilation.
due to historically forced assimilation.
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許多原住民語言正在消逝中，
原因是歷史中的強迫同化。
04:25
From the late 1800s to the early 1970s,
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從十九世紀末到 1970 年代初期，
04:29
Natives were forced into boarding schools,
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原住民被迫進入寄宿學校，
04:31
where they were violently punished
if they practiced traditional ways
if they practiced traditional ways
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在那裡，他們會受到暴力懲罰，
如果他們使用傳統做法或是說母語，
04:35
or spoke their native language,
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而傳統做法或母語
大多得靠口頭傳下去。
大多得靠口頭傳下去。
04:37
most of which were orally passed down.
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04:39
As of now, there are 567 federally
recognized tribes in the United States,
recognized tribes in the United States,
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到目前為止，美國有 567 個
聯邦承認的部落，
聯邦承認的部落，
04:45
when there used to be countless more.
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以前的數目多很多。
04:48
In my father's words,
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引用我父親的說法：
04:49
"Being Native is not about
wearing long hair in braids.
wearing long hair in braids.
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「身為原住民的重點
並不是綁長髮辮，
並不是綁長髮辮，
04:53
It's not about feathers or beadwork.
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也不是羽毛或是珠飾細工，
04:56
It's about the way we all center ourselves
in the world as human beings."
in the world as human beings."
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而是我們身為人類
生活於世界中的樣式。」
生活於世界中的樣式。」
05:01
After traveling with this film
for over a year,
for over a year,
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為了這部電影旅行了一年多之後，
05:04
I met indigenous people
from around the world,
from around the world,
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我遇到了來自世界各地的原住民，
05:06
from the Ainu of Japan,
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有來自日本的阿伊努人、
05:08
Sami of Scandinavia,
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斯堪的那維亞的薩米人、
05:09
the Maori
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毛利人、
05:10
and many more.
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還有許多其他的。
05:12
And they were all dealing
with the exact same struggle
with the exact same struggle
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他們在保存他們的語言和文化上，
05:15
to preserve their language and culture.
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也都在面對同樣的難處。
05:19
At this moment, I not only realize
the power storytelling has
the power storytelling has
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此刻，我不只了解到說故事的力量
可以把我們人類連結在一起，
05:22
to connect all of us as human beings
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05:25
but the responsibility
that comes with this power.
that comes with this power.
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也了解到這力量所伴隨的責任。
05:28
It can become incredibly dangerous
when our stories are rewritten or ignored,
when our stories are rewritten or ignored,
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如果我們的故事被改寫或是忽略，
可能會變得相當危險，
可能會變得相當危險，
05:32
because when we are denied identity,
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因為當我們的身份被否認，
05:34
we become invisible.
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我們就變成隱形的了。
05:36
We're all storytellers.
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我們都是說故事的人。
05:39
Reclaiming our narratives
and just listening to each other's
and just listening to each other's
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重新找回我們的故事，
並傾聽彼此的故事，
並傾聽彼此的故事，
05:44
can create a portal
that can transcend time itself.
that can transcend time itself.
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就能創造一個入口，
能超越時間本身的入口。
能超越時間本身的入口。
05:48
Thank you.
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謝謝。
05:49
(Applause)
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（掌聲）
ABOUT THE SPEAKER
Kayla Briët - Filmmaker, musicianTED Fellow Kayla Briët explores themes of identity and self-discovery in multiple mediums of storytelling: film, multi-media arts and music.
Why you should listen
Kayla Briët explores themes of identity and self-discovery in multiple mediums of storytelling: film, multi-media arts and music. Briët's short documentary, Smoke That Travels, immerses viewers in her native Prairie Band Potawatomi Nation heritage and explores fears that her culture may someday be forgotten. This film has screened and won awards at over 45 festivals internationally, including MoMA in NYC, and has been archived in the Smithsonian Institute in Washington D.C. The film also earned her a year-long fellowship with Sundance Film Festival in 2016.
As a multi-instrumentalist and self-taught composer, Briët also scores her own films and creates music in styles ranging from cinematic to alternative pop to electronic. She performs live as a one-woman band, with her keyboard, guitar, loop pedal and guzheng zither, a traditional Chinese instrument. Recently, Briët was named a 2017 TED Fellow, 2016 Sundance Film Festival Ignite Fellow, 2016 Adobe Creativity Scholar, 2016 MIT Chamber Scholar for her interest in blockchain technology, and a 2016 Oculus Launch Pad Artist for virtual reality. Currently, she is creating and directing documentary and experimental film as well as immersive experiences in the virtual reality space.
Kayla Briët | Speaker | TED.com