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 radiš pravilno, treba da zvuči ovako: TIK-tat, TIK-tat, TIK-tat, TIK-tat, TIK-tat, TIK-tat. Ako radiš pogrešno, zvučaće kao: tik-TAT, tik-TAT, tik-TAT.
[Small thing. Big idea.]
[Mala stvar. Velika ideja.]
[Kyra Gaunt on the Jump Rope]
[Kira Gant o preskakalici]
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.
Vijača je tako jednostavan predmet. Može da se napravi od užeta, štrika, kanapa. Ona je nekako uvijena. (Smeh) Ne znam kako to da objasnim. Ono što je bitno je da ima određenu težinu i da ima taj neki zvuk 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 poznato odakle vijača potiče. Postoje neki dokazi da je nastala u antičkom Egiptu, Fenikiji, a da su je zatim u Severnu Ameriku preneli holandski naseljenici. Vijača je postala hit kada je ženska odeća počela da bude uža i kada su nastale pantalone. Tako su devojčice mogle da preskaču vijaču jer im se suknje nisu kačile za užad. Dadilje su učile decu da preskaču vijaču. Čak su i prethodno porobljena afrička deca na predratnom Jugu preskala vijaču.
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.
Pedesetih godina dvadesetog veka u Harlemu, Bronksu, Bruklinu, Kvinsu mogli ste da vidite na trotoarima mnogo devojčica kako preskaču užad. Ponekad bi uzele dva užeta i okretale ih zajedno kao jedno, ali su mogle i da ih odvoje i okreću jedno ka drugom kao mutilicu. Vijača je bila tačna kao metronom - tik, tik, tik, tik - i na taj ritam mogle su se dodavati rime, ritmovi i pesmice. Ta užad su stvarala prostor u kojem smo mogli da doprinesemo nečemu, a taj prostor je bio mnogo veći od komšiluka.
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.
Dupla holandska vijača ostaje moćan simbol kulture i identiteta za tamnopute žene. Od 1950-ih do 1970-ih devojčice nisu mogle da se bave sportom. Dečaci su igrali bejzbol, košarku i fudbal, a devojčice to nisu smele. Mnogo toga se promenilo, ali u to doba, devojčice su vladale igralištima. One su se potrudile da dečaci nemaju sa tim veze. To je bio njihov prostor, prostor ženske moći. Tu su one mogle da briljiraju.
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 mislim da je i za dečake, jer su oni načuli te pesmice i zbog toga su, mislim, mnogi hip-hop umetnici koristili rečenice koje su čuli u pesmicama tamnoputih devojčica.
(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.
(Pevanje) Hladan, gusti šejk, pravi se da znaš da okrećeš, riblji file, četvrt funte, pomfrit, leden, gusti šejk, pravi se da znaš da skačeš.
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.
Singl „Gramatika kantrija" od Nelija je dobio nagradu Gremi jer su ljudi već znali: „Vozimo se, dušo, dole, dole, niz tvoju ulicu u Rejndž Roveru...“ To je početak pesme „Dole, dole, dušo, dole, dole, na rolerkosteru, draga, draga dušo, nikad te neću pustiti.“ Svako ko je odrastao u bilo kom crnačkom urbanom društvu prepoznao bi tu muziku. I tako je ta pesma unapred bila 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.
Dupla holandska vijača je održala ove pesme i održala je recitacije i pokrete koji idu uz njih, što je prirodno za ono što ja zovem „kinetička oralnost“ - govor usta i govor tela. To je nešto sto se prenosi sa kolena na koleno. Na neki način vijača pomaže u ovom prenošenju. Potreban je neki predmet da bi se prenosilo sećanje.
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, vijaču možete koristiti za razne stvari. Ona postoji u raznim kulturama. I ja smatram da je istrajala jer ljudi imaju potrebu da se pokreću. I smatram da ponekad najjednostavniji predmeti imaju najkreativniju upotrebu.