This is the Bop.
Ovo je Bop.
The Bop is a type of social dance.
Bop je tip društvenog plesa.
Dance is a language, and social dance is an expression that emerges from a community. A social dance isn't choreographed by any one person. It can't be traced to any one moment.
Ples je jezik, a društveni ples je izražaj koji izranja iz društva. Društveni ples nije osmišljen od jedne osobe. Ne može ga se povezati s jednim trenutkom.
Each dance has steps that everyone can agree on, but it's about the individual and their creative identity. Because of that, social dances bubble up, they change and they spread like wildfire.
Svaki ples ima korake s kojima se svi mogu složiti, ali sve je na pojedincu i njihovom kreativnom identitetu. Zbog toga, društveni plesovi se pojavljuju, mijenjaju se i šire se kao požari.
They are as old as our remembered history. In African-American social dances, we see over 200 years of how African and African-American traditions influenced our history. The present always contains the past. And the past shapes who we are and who we will be.
Stari su kao i naša povijest. U Afro-američkim društvenim plesovima vidimo kroz 200 godina kako su Afričke i Afro-američke tradicije utjecale na našu povijest. Sadašnjost uvijek sadrži prošlost. A prošlost oblikuje tko smo i tko ćemo biti.
(Clapping)
(Pljesak)
The Juba dance was born from enslaved Africans' experience on the plantation. Brought to the Americas, stripped of a common spoken language, this dance was a way for enslaved Africans to remember where they're from. It may have looked something like this.
Juba ples je rođen iz iskustva porobljenih Afrikanaca na plantažama. Donešen u Amerike, ogoljen od običnog govorenog jezika, ovaj ples je bio način za porobljene Afrikance da se prisjete odakle su. Možda je izgledao ovako.
Slapping thighs, shuffling feet and patting hands: this was how they got around the slave owners' ban on drumming, improvising complex rhythms just like ancestors did with drums in Haiti or in the Yoruba communities of West Africa. It was about keeping cultural traditions alive and retaining a sense of inner freedom under captivity.
Pljeskanje bedara, noge u pokretu i plješćuće ruke: ovako su zaobišli zabranu bubnjanja robovlasnika improvizirajući složene ritmove baš kao njihovi preci s bubnjevima na Haitiju ili u Yoruba zajednicama Zapadne Afrike. Radilo se o održavanju kulturnih tradicija na životu i zadržavanja osjećaja unutarnje slobode u zatočeništvu.
It was the same subversive spirit that created this dance: the Cakewalk, a dance that parodied the mannerisms of Southern high society -- a way for the enslaved to throw shade at the masters. The crazy thing about this dance is that the Cakewalk was performed for the masters, who never suspected they were being made fun of.
Bio je to isti subverzivni duh koji je stvorio ovaj ples: Cakewalk, ples koji je parodirao ponašanje Južnjačkog visokog društva -- način da porobljeni bace sjenu na svoje gospodare. Luda stvar oko tog plesa je da su Cakewalk izvodili za gospodare, koji nikad nisu sumnjali da ih se ismijava.
Now you might recognize this one. 1920s -- the Charleston. The Charleston was all about improvisation and musicality, making its way into Lindy Hop, swing dancing and even the Kid n Play, originally called the Funky Charleston.
Sad možda prepoznate ovaj. 1920 -- Charleston. Charleston je bio vezan uz improvizaciju i glazbu, prelazeći u Lindy Hop, swing ples pa čak i u Kid n Play, originalno nazvan Funky Charleston.
Started by a tight-knit Black community near Charleston, South Carolina, the Charleston permeated dance halls where young women suddenly had the freedom to kick their heels and move their legs.
Započela ga je usko povezana skupina crnačkog društva blizu Charlestona, Sjeverne Karoline, Charlston se probio u plesne dvorane, gdje su mlade žene iznenada imale slobodu lupkati petama i pokretati noge.
Now, social dance is about community and connection; if you knew the steps, it meant you belonged to a group. But what if it becomes a worldwide craze? Enter the Twist. It's no surprise that the Twist can be traced back to the 19th century, brought to America from the Congo during slavery. But in the late '50s, right before the Civil Rights Movement, the Twist is popularized by Chubby Checker and Dick Clark. Suddenly, everybody's doing the Twist: white teenagers, kids in Latin America, making its way into songs and movies. Through social dance, the boundaries between groups become blurred.
Sad, društveni ples je važan za zajednicu i povezivanje. Ako ste znali korake, značilo je da ste pripadali grupi. Ali što ako to postane pošast svjetskih razmjera? Twist. Nije iznenađenje da Twist možemo pratiti do 19. stoljeća, donešenog u Ameriku iz Konga u vrijeme ropstva. Ali u kasnim pedesetima, baš prije početka Pokreta za građanska prava, Twist su popularizirali Chubby Checker i Dick Clark. Iznenada, svi su radili Twist: bijeli tinejdžeri, djeca u Latinskoj Americi, polako ulazeći u pjesme i filmove. Kroz društveni ples, granice između grupa postale su zamućene.
The story continues in the 1980s and '90s. Along with the emergence of hip-hop, African-American social dance took on even more visibility, borrowing from its long past, shaping culture and being shaped by it.
Priča se nastavlja 1980. i u devedesetima. Uz pojavljivanje hip-hopa, Afro-američki društveni plesovi postali su još vidljiviji, uzimajući iz svoje duge povijesti, oblikujući kulturu i bivajući oblikovani njome.
Today, these dances continue to evolve, grow and spread.
Danas, ti plesovi nastavljaju evoluirati, rasti i širiti se.
Why do we dance? To move, to let loose, to express. Why do we dance together? To heal, to remember, to say: "We speak a common language. We exist and we are free."
Zašto plešemo? Da bi se kretali, da bi se opustili, da bi se izrazili. Zašto plešemo skupa? Da ozdravimo, da se sjećamo, da kažemo, "Pričamo istim jezikom. Postojimo. I slobodni smo."