If you do it right, it should sound like: TICK-tat, TICK-tat, TICK-tat, TICK-tat, TICK-tat, TICK-tat. If you do it wrong, it sounds like: Tick-TAT, tick-TAT, tick-TAT.
Ako to učiniš kako treba, trebalo bi zvučati kao: TIK-tat, TIK-tat, TIK-tat, TIK-tat, TIK-tat, TIK-tat. Ako to učiniš krivo, zvuči kao: Tik-TAT, tik-TAT, tik-TAT.
[Small thing. Big idea.]
[Mala stvar. Velika ideja.]
[Kyra Gaunt on the Jump Rope]
[Kyra Gaunt o užetu za preskakanje]
The jump rope is such a simple object. It can be made out of rope, a clothesline, twine. It has, like, a twirl on it. (Laughs) I'm not sure how to describe that. What's important is that it has a certain weight, and that they have that kind of whip sound.
Uže za preskakanje je tako jednostavan predmet. Može biti izrađen od užeta, konopa za sušenje rublja, konopca. Ima, kao, uvojak na sebi. (Smijeh) Nisam sigurna kako bih to opisala. Važno je to da ima određenu težinu i da imaju onaj zvuka biča.
It's not clear what the origin of the jump rope is. There's some evidence that it began in ancient Egypt, Phoenicia, and then it most likely traveled to North America with Dutch settlers. The rope became a big thing when women's clothes became more fitted and the pantaloon came into being. And so, girls were able to jump rope because their skirts wouldn't catch the ropes. Governesses used it to train their wards to jump rope. Even formerly enslaved African children in the antebellum South jumped rope, too.
Nije jasno koje je podrijetlo užeta za preskakanje. Ima dokaza da je to započelo u drevnom Egiptu, Feniciji i onda je najvjerojatnije s nizozemskim doseljenicima došlo u Sjevernu Ameriku. Uže je postalo velika stvar kad je ženska odjeća postala uža i kad su hlače ugledale svjetlo dana. I tako su djevojke mogle preskakati uže jer njihove suknje ne bi zapele za uže. Guvernante su ga koristile da uče svoje štićenike kako preskakati uže. Čak su i porobljena afrička djeca na prijeratnom Jugu također preskakala uže.
In the 1950s, in Harlem, Bronx, Brooklyn, Queens, you could see on the sidewalk, lots of girls playing with ropes. Sometimes they would take two ropes and turn them as a single rope together, but you could separate them and turn them in like an eggbeater on each other. The skipping rope was like a steady timeline -- tick, tick, tick, tick -- upon which you can add rhymes and rhythms and chants. Those ropes created a space where we were able to contribute to something that was far greater than the neighborhood.
1950-ih, u Harlemu, Bronxu, Brooklynu, Queensu, mogli ste na nogostupu vidjeti mnogo djevojaka koje se igraju užetom. Ponekad bi uzele dva užeta i okretale ih zajedno kao jedno uže, ali ste ih mogli razdvojiti i okretati ih jedno nasuprot drugome. Uže za preskakanje je kao stalna vremenska traka -- tik, tik, tik, tik -- kojoj možete dodavati rime i ritmove i melodije. Ta je užad stvorila prostor gdje smo bili u mogućnosti pridonijeti nečemu što je bilo daleko veće od susjedstva.
Double Dutch jump rope remains a powerful symbol of culture and identity for black women. Back from the 1950s to the 1970s, girls weren't supposed to play sports. Boys played baseball, basketball and football, and girls weren't allowed. A lot has changed, but in that era, girls would rule the playground. They'd make sure that boys weren't a part of that. It's their space, it's a girl-power space. It's where they get to shine.
Dvostruko uže za preskakanje ostaje moćan simbol kulture i identiteta za crnkinje. Od 1950-ih do 1970-ih, djevojke se nisu mogle baviti sportom. Dječaci su igrali bejzbol, košarku i nogomet, a djevojkama nije bilo dopušteno. Mnogo toga se promijenilo, ali u ono doba djevojke bi vladale igralištem. Pobrinule bi se da dečki nisu bili dio toga. To je njihov prostor, to je prostor ženske snage. To je mjesto gdje one blistaju.
But I also think it's for boys, because boys overheard those, which is why, I think, so many hip-hop artists sampled from things that they heard in black girls' game songs.
Ali također mislim da je za dečke jer su dečki to prečuli, zbog čega, mislim, da je toliko hip-hop umjetnika uzelo uzorke onoga što su čuli u zaigranim pjesmama mladih crnkinja.
(Chanting) ... cold, thick shake, act like you know how to flip, Filet-O-Fish, Quarter Pounder, french fries, ice cold, thick shake, act like you know how to jump.
(Pjevanje) ... hladan, gusti shake, ponašaj se kao da znaš salto, Filet-O-Fish, Quarter Pounder, pomfrit, ledeni shake, ponašaj se kao da znaš kako skočiti.
Why "Country Grammar" by Nelly became a Grammy Award-winning single was because people already knew "We're going down down baby your street in a Range Rover ... " That's the beginning of "Down down, baby, down down the roller coaster, sweet, sweet baby, I'll never let you go." All people who grew up in any black urban community would know that music. And so, it was a ready-made hit.
Zato je Nellyjev "Country Grammar" postao singl nagrađen Grammyjem jer su ljudi već znali "We're going down down baby your street in a Range Rover ... " To je početak od "Down down, baby, down down the roller coaster, sweet, sweet baby, I'll never let you go." Svi ljudi koji su odrasli u bilo kojoj crnačkoj urbanoj zajednici bi znali tu glazbu. I tako, to je bio gotov hit.
The Double Dutch rope playing helped maintain these songs and helped maintain the chants and the gestures that go along with it, which is very natural to what I call "kinetic orality" -- word of mouth and word of body. It's the thing that gets passed down over generations. In some ways, the rope is the thing that helps carry it. You need some object to carry memory through.
Dvostruko uže za preskakanje pomoglo je u održavanju tih pjesama i pomoglo je održavanju melodija i gesta koje idu uz to, što je vrlo prirodno onome što ja nazivam "kinetička oralnost" -- usmena predaja i riječ tijela. To je stvar koja se prenosi kroz generacije. Na neke načine, uže je stvar koja pomaže to prenijeti. Trebate neki predmet koji će prenositi sjećanje.
So, a jump rope, you can use it for all different kinds of things. It crosses cultures. And I think it lasted because people need to move. And I think sometimes the simplest objects can make the most creative uses.
Dakle, uže za preskakanje možete koristiti za različite stvari. Premošćuje kulture. I mislim da je to trajalo jer su ljudi imali potrebu za pokretom. I mislim da najjednostavniji predmeti nekad mogu imati najkreativnije uporabe.