This is the Bop.
这是波普舞。
The Bop is a type of social dance.
波普舞是一种社交舞蹈。
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.
舞蹈是一种语言, 社交舞源于社区, 也是一种表达方式。 社交舞不是人为编排好的舞蹈。 它无法精确到每一个时刻。
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.
每一个舞步都是所有人可以实现的, 但是与个人和他们创造力有关。 因为这样, 社交舞就这样自然形成了, 经历变化, 然后像野火一样广泛流传。
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.
他们和我们记忆中的历史一样久远。 在非裔美国人的社交舞蹈中, 我们能够发现200多年间, 非洲人和非裔美国人的传统是 怎样影响我们的历史的。 现在总是承载着历史。 而且历史影响了我们是谁, 以及我们将会怎样。
(Clapping)
(鼓掌)
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.
朱芭舞起源于被奴役的非洲人 在种植园的经历。 他们被带到美国, 被迫放弃自己的常用语言, 这种舞蹈对黑人奴隶来说, 是一种回忆他们家乡的方式。 可能看起来是这样的。
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.
拍打大腿, 拖着脚步, 还有拍手。 因为奴隶主禁止打鼓, 这成了他们取而代之的方式 即兴创作复杂的旋律, 就像在海地的祖先敲鼓一样, 或者非洲西部的约鲁巴社区。 都是为了保护文化传统, 并囚禁中保持内心的自由。
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.
一样具有颠覆性的精神 创造了这种舞蹈: 步态舞, 一种和南方上流社会行为举止 相矛盾的舞蹈, 一种减少奴隶和奴隶主之间 差距的舞蹈。 这种舞蹈之所以疯狂, 是因为它是表演给奴隶主的, 而奴隶主不会想到他们被捉弄了。
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.
现在你可能会认识这种舞蹈。 20世纪20年代的—— 查尔斯顿。 查尔斯顿非常即兴,具有音乐感, 并成为了林迪舞, 牛仔舞, 甚至儿童娱乐舞的一部分, 它最早被称作时髦查尔斯顿。
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.
它起源于南卡罗莱纳州,查尔斯顿 附近的一个团结的黑人社区, 查尔斯顿散步着许多舞厅, 那里年轻女士突然 就可以自由踢腿、摇摆了。
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.
现在社交舞与社区及人际交往有关, 如果你知道某些舞步, 这意味着你属于一个群体。 但是如果它在世界流行起来? 这是扭动舞。 扭动舞能够追溯到19世纪, 这并不奇怪, 在奴隶时期的时候, 被从刚果带到美国。 但是在50年代晚期, 在民权运动之前, 扭动舞因为恰比·切克和 迪克·克拉克而流行。 突然,每个人都在跳扭动舞: 白人青少年, 拉丁美洲的孩子, 都可以徜徉在音乐和电影中。 通过社交舞, 团体之间的界限变得模糊。
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.
故事在20世纪80 和90年代继续, 伴随着嘻哈文化的出现, 非裔美国人的社交舞 包含了更多元素, 从它的久远历史中吸收, 塑造文化,也被文化塑造。
Today, these dances continue to evolve, grow and spread.
现在,这些舞蹈持续进化, 成长和传播。
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."
我们为什么跳舞? 为了摇摆, 为了放松, 为了释放。 我们为什么一起跳舞? 为了治愈, 为了记忆, 为了表达:“我们说同样的语言。 我们存在, 而且我们是自由的。”