Aja Monet: Our story begins like all great, young love stories.
艾賈·莫內特:我們故事的開始 和所有美好年輕的愛情故事一樣。
Phillip Agnew: She slid in my DMs ...
菲利普·艾格紐:她在我的主頁 給我發了訊息……
AM: He liked about 50 of my photos, back-to-back, in the middle of the night --
艾:他在我 50 多張照片上點讚。 一次又一次,在半夜裡——
PA: What I saw was an artist committed to truth and justice -- and she's beautiful, but I digress.
菲:我看到一位致力於 真理和正義的藝術家—— 她很漂亮,但這就離題了。
AM: Our story actually begins across many worlds, over maqluba and red wine in Palestine. But how did we get there?
艾:我們的故事一開始 就橫跨了不同的世界, 包含巴勒斯坦的抓飯和紅酒。 但我們怎麼走到那裡的?
PA: Well, I was born in Chicago, the son of a preacher and a teacher. My ears first rung with church songs sung by my mother on Saturday mornings. My father's South Side sermons summoned me. My first words were more notes than quotes. It was music that molded me. Later on, it was Florida A&M University that first introduced me to organizing. In 2012, a young black male named Trayvon Martin was murdered, and it changed my life and millions of others'. We were a ragtag group of college kids and not-quite adults who had decided enough was enough. Art and organizing became our answer to anger and anxiety. We built a movement and it traveled around the world and to Palestine, in 2015.
菲:嗯,我在芝加哥出生, 父母是牧師和老師。 每個星期六早晨, 母親的教堂聖歌在我耳邊響起。 父親的南方佈道會召喚我。 我小時所知道的音符比引言還多。 音樂塑造了我。 後來我在佛羅里達農工大學, 學會了如何組織。 2012 年,一位叫做崔文 · 馬丁的 年輕黑人男子被殺害了, 我和數百萬人的人生就此改變。 我們是下層社會中的 大學生和稱不上成年的人, 我們確定我們受夠了。 我們用藝術與成立組織 回應憤怒和焦慮。 我們發起了一項運動, 它傳遍了全世界, 並在 2015 年傳到巴勒斯坦。
AM: I was born to a single mother in the Pink House projects of Brooklyn, New York. Maddened by survival, I gravitated inwards towards books, poems and my brother's hand-me-down Walkman. I saw train-station theater, subwoofing streets and hood murals. In high school, I found a community of metaphor magicians and truth-telling poets in an organization called Urban Word NYC. Adopted by the Black Arts movement, I won the legendary Nuyorican Poets Cafe Grand Slam title.
艾:我出生在只有媽媽的單親家庭, 住在紐約布魯克林 粉紅屋計畫的房子裡。 生存讓我抓狂, 我移情於書本、詩詞, 以及我兄弟用過的隨身聽。 我看到火車站劇院, 有重低音樂的街道和引擎蓋上的壁畫。 我在高中時發現一個社區, 裡面有寓言魔法師 和揭露真相的詩人。 這個組織叫「紐約城市詞」, 被黑人藝術運動所採用, 我在傳奇的紐約詩人咖啡館 贏得大滿貫冠軍。
(Applause and cheers)
(掌聲和歡呼)
At Sarah Lawrence College, I worked with artists to respond to Hurricane Katrina and the earthquake; I discovered the impact of poetry and the ability to not just articulate our feelings, but to get us to work towards changing things and doing something about it, when a friend, Maytha Alhassen, invited me to Palestine ...
我在莎拉勞倫斯學院 和一些藝術家合作, 回應卡崔娜颶風和地震。 我發現詩歌的影響, 以及不僅表達感受, 還讓我們努力改變事物的能力, 並採取行動。 當我的朋友梅莎·愛哈森 邀請我去巴勒斯坦時……
PA: We were a delegation of artists and organizers, and we immersed ourselves in Palestinian culture, music, their stories. Late into the night, we would have discussions about the role of art in politics and the role of politics in art. Aja and I disagree.
菲:我們是藝術家 和組織者的代表團, 我們沉浸在巴勒斯坦的文化、 音樂,和故事裡。 直至深夜, 我們仍在討論藝術在政治上的作用, 和政治對於藝術的影響。 我和艾賈的看法分歧。
AM: Oh, we disagree.
艾:噢,我們的看法分歧。
PA: But we quite quickly and unsurprisingly fell in love. Exhibit A: me working my magic.
菲:但不出所料, 我們很快就墜入愛河。 展示 A: 我在展現我的魔術。
(Laughter)
(笑聲)
AM: Obvious, isn't it? Four months later, this artist --
艾:很明顯,不是嗎? 四個月後,這個藝術家——
PA: and this organizer --
菲:和這個組織者——
AM: moved into a little home with a big backyard, in Miami.
艾:搬進邁阿密一間 有個大後院的小屋。
PA: (Sighs) Listen, five months before this ever happened, I predicted it all. I'm going to tell you -- a friend sat me down and said, "You've done so much for organizing, when are you going to settle down?" I looked him straight in the face and I said, "The only way that it would ever happen is if it is a collision. This woman would have to knock me completely off course." I didn't know how right I was.
菲:(嘆氣) 聽著,其實在五個月前, 我便預知到這一切,讓我告訴你。 一個朋友和我坐下來,說: 「你為了組織做了那麼多事情, 你什麼時候才安定下來?」 我直視著他的臉,說: 「讓我安定只有一種可能, 那就是給我一個大撞擊。 得要有個女人 把我撞得完全偏離軌道。」 當時我不知道我有多正確。
(Laughter)
(笑聲)
Our first few months were like any between young lovers: filled with hot, passionate, all-night ...
頭幾個月,我們就像 其他的年輕愛人一樣: 每個晚上都充滿著熱情和激情……
AM: nonstop ...
艾:永不休止的……
PA: discussions.
菲:討論。
(Laughter)
(笑聲)
PA: Aja challenged everything I knew and understood about the world. She forced me --
菲:艾佳顛覆了 我對世界的認知和看法。 她強迫我——
AM: lovingly --
艾:親切地——
PA: to see our organizing work with new eyes. She helped me see the unseen things and how artists illuminate our interior worlds.
菲:用新的眼光看待組織工作。 她幫助我看到隱藏的事物, 學藝術家照亮裡面的世界。
AM: There were many days I did not want to get up out of bed and face the exterior world. I was discouraged. There was so much loss and death and artists were being used to numb, lull and exploit. While winning awards, accolades and grants soothed so many egos, people were still dying and I was seeking community. Meeting Phillip brought so much joy, love, truth into my life, and it pulled me out of isolation. He showed me that community and relationships wasn't just about building great movements. It was integral in creating powerful, meaningful art, and neither could be done in solitude.
艾:我有很多天不願意起床 去面對外面的世界。 我感到氣餒。 有太多的失去和死亡, 藝術家們習慣了被麻木、 被安撫,和被利用。 在獲得獎項的同時, 各種榮譽和獎金滿足許多自我, 然而人們仍然正在死去, 而我在尋求一個社群。 遇上菲利普,為我的生活 帶來了很多愛、歡樂和真理。 他還帶我脫離孤立。 他讓我看到:社群和人際關係 不只是用來建立偉大的運動, 更是創造強大而有意義的藝術時 不可或缺的一部分, 若要成功兩者缺一不可。
PA: Yeah, we realized many of our artist and organizer friends were also lost in these cycles of sadness, and we were in movements that often found themselves at funerals. We asked ourselves what becomes of a generation all too familiar with the untimely ends of lives streamed daily on our Timelines? It was during one of our late-night discussions that we saw beyond art and organizing and began to see that art was organizing.
菲:是的,我們發現很多藝術家 和組織者朋友迷失了自己, 陷在悲傷的惡性循環裡, 我們經常參加他們的葬禮。 我們問自己, 是什麼讓這一代人如此熟悉死亡, 讓我們的生命長河裡 每天都上演著不合時宜的死亡? 在一次深夜長談中, 我們的眼光越過藝術和組織, 開始看到藝術就是組織。
AM: The idea was set: art was an anchor, not an accessory to movement. Our home was a home of radical imagination; an instrument of our nurturing hearts; a place of risk where were dared to laugh, love, cry, debate. Art, books, records and all this stuff decorated our walls, and there was lizards -- walls of palm trees that guided our guests into our backyard, where our neighbors would come and feel right at home. The wind -- the wind was an affirmation for the people who walked into the space. And we learned that in a world -- a bewildering world of so much distraction -- we were able to cultivate a space where people could come and be present, and artists and organizers could find refuge.
艾:想法逐漸構建起來: 藝術是船錨,而非運動的附屬品。 我們的家是充滿想像力的家; 是培育心靈的工具; 是個敢於冒險去歡笑、 熱愛、哭泣和辯論的地方。 藝術、書本、唱片 和其他東西裝飾我們的牆壁。 還有蜥蜴—— 牆壁上的棕櫚樹指引著 我們的客人進入後院, 我們的鄰居在這裡 會有賓至如歸的感覺。 那陣清風—— 清風為走進空間的客人帶來肯定。 而我們了解到在這個世界裡, 在這個讓人眼花撩亂的花花世界裡, 我們開闢了一方土地, 讓人們可以來這裡, 為藝術家和組織者提供了庇護所。
PA: This became Smoke Signals Studio.
菲:此處成為冒煙信號工作室。
AM: As we struggle to clothe, house, feed and educate our communities; our spirits hunger for connection, joy and purpose; and as our bodies are out on the front lines, our souls still need to be fed, or else we succumb to despair and depression. Our art possesses rhythmic communication, coded emotional cues, improvised feelings of critical thought. Our social movements should be like jazz: encouraging active participation, listening, spontaneity and freedom. What people see as a party ...
艾:當我們為衣食住行 和社區教育奮力奮鬥時, 我們的靈魂渴望連結、歡樂和目標。 儘管我們的身體在前線, 我們的靈魂仍然需要餵養, 否則我們將屈服、絕望和沮喪。 我們的藝術有節奏地進行溝通, 編碼的情緒暗示, 批判的思維踴躍跳動。 我們的社交運動應該像爵士樂: 鼓舞積極參與、 聆聽、 自發和自由。 人們看起來是派對……
PA: is actually a movement meeting. See, we aren't all protest and pain. Here's a place to be loved, to be felt, to be heard, and where we prepare for the most pressing political issues in our neighborhoods. See, laws never change culture, but culture always changes laws. Art --
菲:但事實上是行動會議。 你看,我們不全只是抗議和痛苦。 這裡是一個被愛、 被感受、被聆聽的地方, 是為那些我們社區裡 最緊迫的政治問題 做準備的地方。 你看,法律從未改變文化, 但是文化總是在影響法律。 藝術——
(Applause)
(掌聲)
Art as organizing is even changing and opening doors in places seen as the opposite of freedom. Our weekly poetry series is transforming the lives of men incarcerated at Dade Correctional, and we're so excited to bring you all the published work of one of those men, Echo Martinez. In the intro, he says ...
藝術作為組織,更是在改變, 在與自由對立的地方敞開大門。 我們每星期的詩歌系列, 正在改變著大德勞改所人們的生活, 我們非常高興為你們 帶來其中一人出版的作品, 作者是伊可·馬丁內斯。 他在前言上說到……
AM: "Poetry for the people is a sick pen's penicillin. It's a cuff key to a prisoner's dreams. The Molotov in the ink. It is knowledge, it is overstanding, it is tasting ingredients in everything you've been force-fed, but most of all, it's a reminder that we all have voices, we all can be heard even if we have to scream."
艾:「詩歌之於人 就像青霉素之於病了的文人, 是解開囚犯夢想枷鎖之鑰。 是在墨水中的莫洛托夫。 是知識,又是妄想, 是你被強餵的一切事物中 有味道的成分。 最重要的是,它提醒: 我們全都有聲音, 即使要尖叫,我們也要被聽到。」
In 2018, we created our first annual Maroon Poetry Festival at the TACOLCY Center in Liberty City. There, the Last Poets, Sonia Sanchez, Emory Douglas and the late, great Ntozake Shange, performed and met with local artists and organizers. We were able to honor them for their commitment to radical truth-telling. And in addition to that, we transformed a public park into the physical manifestation of the world we are organizing for. Everything that we put into poetry, we put into the art, into the creativity, into the curated kids' games and into the stunning stage design.
在 2018 年,我們建立了 第一屆深紅詩歌節, 地點在自由城的塔克斯中心。 在那裡,最後的詩人 索尼亞·桑切斯、埃默里·道格拉斯, 和已故的偉大尼托扎克·尚格, 與當地的藝術家和組織者會面和表演。 對於他們敢於真言, 我們表示尊敬。 除此以外, 我們把一個公園 改造成我們正在組織的世界那樣。 我們把投入到詩歌裡面的 全都投入藝術和創造, 投入兒童的遊戲策劃, 投入動人的舞臺設計。
PA: Our work is in a long line of cultural organizers that understood to use art to animate a radical future. Artists like June Jordan, Emory Douglas and Nina Simone. They understood what many of us are just now realizing -- that to get people to build the ship, you've got to get them to long for the sea; that data rarely moves people, but great art always does. This understanding --
菲:我們的工作 聚集很多文化組織者, 他們了解如何用藝術 賦予激進的未來活力。 藝術家諸如俊·左丹、 伊莫麗·多格拉思、 和寧娜·席夢。 我們才剛發現的事情, 其實他們早就看透了。 那就是想要讓人們去建船 就要讓他們渴望大海。 數據很難打動人們, 但是偉大的藝術總是辦得到。 理解了這......
(Applause)
(掌聲)
This understanding informed the thinking behind the Dream Defenders' "Freedom Papers," a radical political vision for the future of Florida that talked about people over profits. Now, we could have done a policy paper. Instead, artists and organizers came together in their poetry to create incredible murals and did the video that we see behind us. We joined the political precision of the Black Panther Party and the beautiful poetry of Puerto Rican poet Martín Espada to bring our political vision to life.
這個理解提供了一些訊息, 夢想捍衛者的背後是「自由論文」, 是有關佛羅里達州未來的激進政見: 將人擺在利益之前。 我們本可以做一份政策文件。 相反地,藝術家和組織者 在他們的詩歌中走到一起, 攜手共創驚人的壁畫 和製作了我們身後的這段影片。 我們注入黑豹黨的精準政治, 和波多黎各詩人 馬丁·埃斯帕達的美麗詩歌, 把我們的政治願景帶到現實。
AM: Now thousands of Floridians across age, race, gender and class see the "Freedom Papers" as a vision for the future of their lives. For decades, our artists and our art has been used to exploit, lull, numb, sell things to us and to displace our communities, but we believe that the personal is political and the heart is measured by what is done, not what one feels. And so art as organizing is not just concerned with artists' intentions, but their actual impact. Great art is not a monologue. Great art is a dialogue between the artist and the people.
艾:現在成千上萬的佛羅里達人, 跨年齡、種族、性別和階級, 把「自由論文」當作未來生活的願景。 幾十年來,我們的 藝術家和藝術被利用、 被安撫、被麻木, 向我們推銷, 還取代我們的社群。 但是我們相信人是政治的, 用行動衡量心, 不是用感覺。 因此,藝術組織 不僅關注藝術家的意圖, 還關注他們的實際影響。 偉大的藝術不是獨白。 偉大的藝術是藝術家與人的對話。
PA: Four years ago, this artist ...
菲:四年前,這個藝術家……
AM: and this organizer ...
艾:和這個組織者……
PA: found that we were not just a match.
菲:發現我們不僅是彼此匹配。
AM: We were a mirror.
艾:我們更是對方的鏡子。
PA: Our worlds truly did collide, and in many ways ...
菲:我們的世界真的碰撞了, 在很多方面……
AM: they combined.
艾:結合了。
PA: We learned so much about movement, about love and about art at its most impactful: when it articulates the impossible and when it erodes individualism, when it plays into the gray places of our black and white worlds, when it does what our democracy does not, when it reminds us that we are not islands, when it adorns every street but Wall Street and Madison Avenue, when it reminds us that we are not islands and refuses to succumb to the numbness, when it indicts empire and inspires each and every one of us to love, tell the truth and make revolution irresistible.
菲:我們掌握了很多關於政治運動、 關於愛和藝術最有影響的部分: 當它明確地表明不可行, 當它侵蝕了個人主義, 當它遊走於黑白世界裡的灰色地帶, 當它做了民主沒做的事, 當它提醒我們並不是孤島, 當它裝飾了除了華爾街 和麥迪遜大道之外的所有街道, 當它提醒我們並不是孤島 且拒絕向麻木屈服, 當它控訴帝國, 並鼓舞著我們每一個人去愛、 去說出真相, 讓革命不可阻擋。
AM: For the wizards --
艾:為了——
(Applause)
(掌聲)
AM: For the wizards and ways of our defiance, love-riot visions of our rising, risen, raised selves.
為了我們反抗的嚮導和方式, 我們不斷提升。
The overcoming grace -- fires, bitter tongues, wise as rickety rocking chairs, suffering salt and sand skies.
克服障礙的恩典—— 火焰、苦澀的舌頭, 如同擺晃的搖椅那樣有智慧, 忍受著鹽和漫天塵沙。
Memories unshackled and shining stitches on a stretch-marked heart.
記憶被解放和閃亮的縫針, 在有著伸展紋的心臟上。
For the flowers that bloom in midnight scars. How we suffered and sought a North Star. When there was no light, we glowed. We sparked this rejoice, this righteous delight. We have a cause to take joy in. How we weathered and persisted, tenacious, no stone unturned. How we witnessed the horror of mankind and did not become that which horrified us.
為了在午夜疤痕上盛開的花朵。 我們遭難,尋求北極星指引。 在黑暗中,我們發熱發亮。 我們激起喜悅, 那種正義的喜悅。 我們有理由高興。 我們飽受風霜,頑強抵制, 堅韌不拔, 不遺餘力。 我們看到了人的恐怖, 卻沒有成為那些令我們恐懼的人。
PA: Thank you.
菲:謝謝大家。
AM: Thank you.
艾:謝謝大家。
(Applause)
(掌聲)