This is the Bop.
這是波普舞。
The Bop is a type of social dance.
波普舞是一種社交舞蹈,
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.
舞蹈是一種語言, 而社交舞蹈是從社區中產生的一種表達方式。 社交舞不是任何某一個人編排的, 也無法追溯到某一時刻。
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.
每一個舞步都是所有人的共識, 但是與他們個人的創造力有關。 因為這樣, 社交舞就這樣自然形成了, 它們產生變化, 然後像野火一樣廣泛流傳。
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.
他們和我們記憶的歷史一樣久遠。 在非裔美國人的社交舞蹈中, 我們能夠發現200多年間, 非洲人和非裔美國人的傳統是 怎樣影響我們的歷史的。 現在總是承載著歷史。 而且歷史影響了我們是誰, 以及我們將會怎樣。
(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.
朱芭舞起源於被奴役的非洲人 在種植園的經歷。 他們被帶到美國, 被迫放棄自己的常用語言, 這種舞蹈對黑人奴隸來說, 是一種回憶他們家鄉的方式。 可能看起來是這樣的。
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, 拖著腳步, 還有拍手。 這就是他們擺脫奴隸主 對打鼓的禁令的方式, 即興創作複雜的旋律, 就像在海地的祖先敲鼓一樣, 或者非洲西部的約魯巴社區。 都是為了保護文化傳統, 並在囚禁中保持內心的自由。
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.
一樣具有顛覆性的精神 創造了這種舞蹈: 步態舞, 一種和南方上流社會行為舉止 相矛盾的舞蹈, 一種減少奴隸和奴隸主之間 差距的舞蹈。 這種舞蹈之所以瘋狂, 是因為它是表演給奴隸主的, 而且沒有想到能夠從中取樂。
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.
現在你可能會認識這種舞蹈, 二十世紀二十年代, 查爾斯頓。 查爾斯頓非常即興,具有音樂感, 變成了林迪舞, 牛仔舞, 甚至兒童娛樂舞的一部分, 它最早被稱為時髦查爾斯頓。
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.
它起源於南卡羅萊納州,查爾斯頓 附近的一個團結的黑人社區, 查爾斯頓散布著許多舞廳, 那裡年輕女士突然 可以自由地踢腿和搖擺了。
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.
現在社交舞與社區和人際交往有關, 如果你知道某些舞步, 這意味著你屬於一個群體。 但是如果它在世界流行起來? 這是扭動舞, 扭動舞可以追溯到19世紀, 這並不奇怪, 在奴隸時期的時候, 從剛果被帶到美國。 但是在50年代晚期, 在民權運動之前, 扭動舞因為恰比·切克和 迪克·克拉克而流行。 突然,每個人都在跳扭動舞。 白人青少年, 拉丁美洲的孩子, 都可以徜徉在音樂和電影中。 通過社交舞, 團體之間的間隙變得模糊。
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世紀80 和90年代繼續, 伴隨著嘻哈文化的出現, 非裔美國人的社交舞 包含了更多元素, 從它久遠的歷史中吸收, 塑造文化,也被文化塑造。
Today, these dances continue to evolve, grow and spread.
現在,這些舞蹈持續進化, 成長和傳播。
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."
我們為什麼跳舞? 為了搖擺, 為了放鬆, 為了釋放。 我們為什麼一起跳舞? 為了治癒, 為了記憶, 為了表達:“我們說同樣的語言, 我們存在, 而且我們是自由的。”