This is the Bop.
Ovo je bop.
The Bop is a type of social dance.
Bop je vrsta 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 izraz koji se javlja iz zajednice. Društvenom plesu koreografiju ne daje bilo koja pojedinačna osoba. Ne može se pronaći u nekom trenutku.
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 oko kojih se svi mogu složiti, ali se tiče pojedinca i njegovog kreativnog identiteta. Zbog toga, društveni plesovi se pojavljuju, menjaju se i šire kao šumski požar.
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 naša istorija koju pamtimo. Kod afroameričkih društvenih plesova vidimo preko 200 godina toga kako su afričke i afroameričke tradicije uticale na našu istoriju. Sadašnjost uvek sadrži prošlost. A prošlost oblikuje to ko smo i ko ćemo biti.
(Clapping)
(Tapšanje)
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.
Ples džuba je nastao iz iskustva porobljenih Afrikanaca na plantažama. Prenesen je u Amerike i ogoljen od zajedničkog govornog jezika, ovaj ples je bio način da se porobljeni Afrikanci sete svog porekla. Možda je izgledao nalik na ovo.
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.
Udaranje po butinama, mrdanje stopalima i tapšanje dlanovima, ovako su zaobilazili zabranu robovlasnika da sviraju bubnjeve. Improvizovali su složene ritmove baš kao i njihovi preci sa bubnjevima na Haitima ili u zajednicama Joruba u Zapadnoj Africi. To se ticalo održavanja kulturnih tradicija u životu i dobijanja osećaja unutrašnje 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.
Isti taj podrivački duh stvorio je i ovaj ples: "Kejkvok", ples koji je ismevao ponašanje visokog društva na Jugu - način na koji su se porobljeni podsmevali svojim gospodarima. Kod ovog plesa je ludo to što je kejkvok izvođen za gospodare koji nikada nisu posumnjali da ih neko ismeva.
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.
Možda ćete prepoznati ovaj. U 1920-ima - čarlston. Čarlston se ticao improvizacije i muzikalnosti i došao je do lindi hopa, sving plesa i čak i grupe Kid N Play, a prvobitno se zvao fanki čarlston.
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.
Nastao je u složnoj zajednici crnaca blizu Čarlstona u Južnoj Karolini i čarlston je bio popularan u plesnim dvoranama gde su mlade žene odjednom imale slobodu da udaraju petama i mrdaju nogama.
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.
Društveni ples se tiče zajednice i povezanosti, ako ste znali korake, znači da ste pripadali grupi. Ali šta ako postane svetski trend? Na primer tvist. Ne čudi da se koreni tvista mogu naći skroz u 19. veku i da je u Ameriku donet iz Konga tokom ropstva. Ali krajem 1950-ih, baš pre Pokreta za ljudska prava, tvist je postao popularan zahvaljujući Čabiju Čekeru i Diku Klarku. Odjednom svi plešu tvist - beli tinejdžeri, klinci u Južnoj Americi, dospeva u pesme i filmove. Kroz društveni ples, granice između grupa se brišu.
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 u 1980-tim i 90-tim. Sa pojavom hip-hopa, afro-američki društveni ples još više je dobio na vidljivosti, pozajmljujući iz svoje duge prošlosti, oblikujući kulturu dok je njega oblikovala kultura.
Today, these dances continue to evolve, grow and spread.
Ovi plesovi danas nastavljaju da se razvijaju, rastu i šire 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 se krećemo, da se opustimo, da se izrazimo? Zašto plešemo zajedno? Da se izlečimo, da se prisetimo, da kažemo: "Govorimo zajedničkim jezikom. Mi postojimo i slobodni smo.