The two places where I feel most free aren't actually places. They're moments. The first is inside of dance. Somewhere between rising up against gravity and the feeling that the air beneath me is falling in love with my body's weight. I'm dancing and the air is carrying me like I might never come down. The second place that I feel free is after scoring a goal on the soccer pitch. My body floods with the chemical that they put inside of EpiPens to revive the dead, and I am weightless, raceless.
让我感到 最自由的两个地方 并不是什么特定的地点。 而是两个时刻。 第一个是跳舞的时候。 在抵抗重力而升起 和感受到我身下的空气时, 我与自身的重量坠入爱河。 我在跳舞,空气在托住我, 好像我永远也不会回到地面。 第二个让我感到自由的地方 是我在足球场得分以后的时刻。 我的血液中充斥着 人们用来复苏濒死之人的 化学药品(肾上腺素), 让我失去了重量, 没有了种族。
My story is this: I'm a curator at a contemporary arts center, but I don't really believe in art that doesn't bleed or sweat or cry. I imagine that my kids are going to live in a time when the most valuable commodities are fresh water and empathy. I love pretty dances and majestic sculpture as much as the next guy, but give me something else to go with it. Lift me up with the aesthetic sublime and give me a practice or some tools to turn that inspiration into understanding and action.
我的故事是这样: 我是一个现代艺术馆的馆长, 但我并不真的相信 没有血汗、泪水的艺术。 我想象我的孩子会生活在一个 当最有价值的东西 是淡水和同情的时代。 我对美丽的舞蹈和雄伟雕塑的爱 不比其他人少, 但给我点其它可以伴随 艺术的东西吧。 用美学的崇高把我托起, 然后给我一个练习或者工具, 让我把这灵感 转化成理解和行动。
For instance, I'm a theater maker who loves sports. When I was making my latest piece /peh-LO-tah/ I thought a lot about how soccer was a means for my own immigrant family to foster a sense of continuity and normality and community within the new context of the US. In this heightened moment of xenophobia and assault on immigrant identity, I wanted to think through how the game could serve as an affirmational tool for first-generation Americans and immigrant kids, to ask them to consider movement patterns on the field as kin to migratory patterns across social and political borders. Whether footballers or not, immigrants in the US play on endangered ground. I wanted to help the kids understand that the same muscle that they use to plan the next goal can also be used to navigate the next block.
比如说,我是一个 热爱运动的戏剧家。 当我在创作最新的剧作 peh-LO-tah时, 我想了很多关于我自己的移民家庭, 如何在美国的新环境中, 用足球来建立一种连续性, 体会平常和集体感。 在这个高度排外、 移民身份受到攻击的时刻, 我想好好思考 一个足球比赛如何可以成为 第一代美国人和移民儿童 肯定自我的工具, 能够让他们把球场上的移动 看作跨越社会和政治边界的迁移。 不管是不是热爱足球, 美国境内的移民都在 危险的地方生活与玩耍。 我想帮孩子们认识到 他们用来计划下个进球的肌肉 同样可以用来指引下个街区的方向。
For me, freedom exists in the body. We talk about it abstractly and even divisively, like "protect our freedom," "build this wall," "they hate us because of our freedom." We have all these systems that are beautifully designed to incarcerate us or deport us, but how do we design freedom? For these kids, I wanted to track the idea back to something that exists inside that no one could take away, so I developed this curriculum that's part poli-sci class, part soccer tournament, inside of an arts festival. It accesses /peh-LO-tah/'s field of inquiry to create a sports-based political action for young people. The project is called "Moving and Passing." It intersects curriculum development, site-specific performance and the politics of joy, while using soccer as a metaphor for the urgent question of enfranchisement among immigrant youth.
在我看来,自由是与生俱来的。 我们对自由的讨论 经常是抽象的,有分歧的, 比如“保卫我们的自由”, “建这个墙”, “他们讨厌我们 是因为我们的自由。” 有这么多精心设计的系统 来监禁我们,或驱逐我们, 但我们要如何设计自由呢? 对于这些孩子,我想追寻一个 存在于内心、 无人能夺走的东西。 所以在一个艺术节上, 我开设了一个课程, 一部分是政治学课程, 一部分是足球比赛。 它用了peh-LO-tah的核心主题 来创建一个基于体育的 针对年轻人的政治活动。 这个项目叫“Moving and Passing” (移动和传递) 它融合了课程研发, 基于不同场地的表演, 和关于喜悦的政治, 同时用足球作为一个比喻 来回应现在很危急的 如何让移民青年享有公民权的问题。
Imagine that you are a 15-year-old kid from Honduras now living in Harlem, or you're a 13-year-old girl born in DC to two Nigerian immigrants. You love the game. You're on the field with your folks. You've just been practicing dribbling through cones for, like, 15 minutes, and then, all of a sudden, a marching band comes down the field. I want to associate the joy of the game with the exuberance of culture, to locate the site of joy in the game at the same physical coordinate as being politically informed by art, a grass-laden theater for liberation. We spend a week looking at how the midfielder would explain Black Lives Matter, or how the goalkeeper would explain gun control, or how a defender's style is the perfect metaphor for the limits of American exceptionalism. As we study positions on the field, we also name and imagine our own freedoms.
想象一下你是一个15岁的孩子, 来自洪都拉斯, 现在生活在纽约 哈莱姆区(Harlem), 或者你是一个13岁的小女孩, 生于华盛顿特区,父母是尼日利亚移民。 你喜欢这个足球比赛。 你和你的伙伴们在场上。 你已经练习了带球过路障, 练了15分钟了, 然后,突然间, 一个行进乐队走向了球场。 我想把比赛的乐趣 与文化的丰富性相结合, 把比赛的乐趣放置在 和通过艺术来介绍政治知识 同样的坐标位置上, 一个绿草如茵、解放自由的剧院。 我们用了一周 来看中场球员如何解释了 Black Lives Matter(黑人抗议歧视的活动), 或者守门员的位置 可以怎么解释枪支管制, 或者一个防守球员的风格 怎么完美的比喻了 美国排外主义的局限。 当我们研究球场上的位置, 我们也会命名和想象 我们自己的自由。
I don't know, man, soccer is, like, the only thing on this planet that we can all agree to do together. You know? It's like the official sport of this spinning ball. I want to be able to connect the joy of the game to the ever-moving footballer, to connect that moving footballer to immigrants who also moved in sight of a better position. Among these kids, I want to connect their families' histories to the bliss of a goal-scorer's run, family like that feeling after the ball beats the goalie, the closest thing going to freedom.
怎么说呢,足球大概是 这个星球上唯一一个 我们都愿意一起做的事。 是吧?它像是一个 关于这旋转的球的官方体育活动。 我希望可以把球赛的喜悦 联系到永远在移动的球员, 把那在移动的球员 联系到同样在向更美好的 方向移动的移民群体。 对这些孩子,我想把他们的家庭历史 联系到得分球员跑动时的幸福, 那看到足球冲向守门员的感觉 是最接近自由的时刻。
Thank you.
谢谢。
(Applause)
(掌声)