This is very strange for me, because I’m not used to doing this: I usually stand on the other side of the light, and now I'm feeling the pressure I put other people into. And it's hard ... The previous speaker has, I think, really painted a very good background as to the impulse behind my work and what drives me, and my sense of loss, and trying to find the answer to the big questions.
这对于我来说怪怪的,因为我不习惯做这样的演讲 通常我都是站在镁光灯的另一边 现在我感觉到我曾经带给其他人的压力了,这可不太好受 我认为前一位演讲人已经 描绘出一副很棒的背景图— 这幅背景图是关于我工作背后的动力,我的动力,我对失去的感触 以及努力寻找那些较难的问题的答案
But this, for me, I mean, coming here to do this, feels like -- there’s this sculptor that I like very much, Giacometti, who after many years of living in France -- and learning, you know, studying and working -- he returned home and he was asked, what did you produce? What have you done with so many years of being away? And he sort of, he showed a handful of figurines. And obviously they were, "Is this what you spent years doing? And we expected huge masterpieces!" But what struck me is the understanding that in those little pieces was the culmination of a man’s life, search, thought, everything -- just in a reduced, small version. In a way, I feel like that. I feel like I’m coming home to talk about what I’ve been away doing for 20 years. And I will start with a brief taster of what I’ve been about: a handful of films -- nothing much, two feature films and a handful of short films. So, we’ll go with the first piece.
但这个对我来说,我指的是我来这里做演讲,感觉就像是 ——有一个我很喜欢的雕塑家,贾克梅蒂 在法国居住、学习几年以后 他回国了,人们问他,你创作了什么? 你离开这么多年,取得了什么成就? 他就拿出几个雕像给他们看 显然他人并不满意:“你花了几年的时间就做了这个?” 我们期待的是看到‘巨作’,你懂吗” 但是让我感触良深的是,明白到那几件小物品 是一个人一生的探索、思想以及一切 只不过是浓缩了的一个小版本而已 在某种程度上,我感觉到 我觉得我要回家谈谈 我在外20多年到底做了什么 我会以我某个作品的片段作为开头 我的作品包括数部电影 两部剧情片和一些短片 我们先看看第一个片段
(Video) Woman: "I destroy lives," mum said. I love her, you know. She’s not even my real mum. My real mum and dad dumped me and fucked off back to Nigeria. The devil is in me, Court. Court: Sleep. Woman: Have you ever been? Court: Where? Woman: Nigeria. Court: Never. My mum wanted to, couldn’t afford it. Woman: Wish I could. I have this feeling I’d be happy there. Why does everyone get rid of me? Court: I don't want to get rid of you. Woman: You don't need me. You’re just too blind to see it now.
视频:我毁了生活,妈妈说 我爱她,你知道的 她甚至都不是我的亲生妈妈 我的亲生父母抛弃了我, 然后就滚回尼日利亚了 恶魔在我身上,法院 睡吧 你去过吗 哪里? 尼日利亚 从未去过 我妈妈想去 但是付不起路费 希望我能去 我预感到我在那里会很快乐的 为什么人人都想离开我? 我不想离开你 你不需要我 只不过你现在意识不到而已
Boy: What do you do all day? Marcus: Read. Boy: Don't you get bored? And how come you ain't got a job anyway? Marcus: I am retired. Boy: So? Marcus: So I've done my bit for Queen and country, now I work for myself. Boy: No, now you sit around like a bum all day. Marcus: Because I do what I like? Boy: Look man, reading don't feed no one. And it particularly don't feed your spliff habit. Marcus: It feeds my mind and my soul. Boy: Arguing with you is a waste of time, Marcus. Marcus: You’re a rapper, am I right? Boy: Yeah. Marcus: A modern day poet. Boy: Yeah, you could say that. Marcus: So what do you talk about? Boy: What's that supposed to mean? Marcus: Simple. What do you rap about? Boy: Reality, man. Marcus: Whose reality? Boy: My fuckin' reality. Marcus: Tell me about your reality. Boy: Racism, oppression, people like me not getting a break in life. Marcus: So what solutions do you offer? I mean, the job of a poet is not just -- Boy: Man, fight the power! Simple: blow the motherfuckers out of the sky. Marcus: With an AK-47? Boy: Man, if I had one, too fuckin' right. Marcus: And how many soldiers have you recruited to fight this war with you? Boy: Oh, Marcus, you know what I mean. Marcus: When a man resorts to profanities, it’s a sure sign of his inability to express himself. Boy: See man, you’re just taking the piss out of me now. Marcus: The Panthers. Boy: Panthers? Ass kickin' guys who were fed up with all that white supremacist, powers-that-be bullshit, and just went in there and kicked everybody's arse. Fuckin’ wicked, man. I saw the movie. Bad! What?
你今天都做了什么啊? 阅读 你不闷吗? 为什么你连份工作都找不到? 我退休了 那又怎样? 我已经尽到了对女王、对国家的职责,现在我要为自己而活 不,现在你就跟个流浪汉似的呆坐一整天 我就喜欢这样 兄弟啊,阅读喂不饱你的 也不会给你带来大麻卷烟 阅读喂饱了我的思想和灵魂 马库斯,跟你争执纯粹是浪费我的时间 你是说唱歌手?我说的对吗? 对 现代诗人 嗯,这样说也行 那你说的内容是什么? 那是什么意思? 很简单。你说唱的内容是什么? 现实啊,兄弟 谁的现实 我的破烂现实 跟我说说你的现实 种族歧视,消沉压抑,像我这样的人被生活压的喘不过气 那你有什么好办法?我是说,把作诗当成工作不只只... 兄弟,和权贵作斗争吧。很简单。把那些混账东西统统赶走 用AK-47(武器)吗? 如果我有的话,你就他妈的说对了,我一定会用的 你招来了多少兵来和你并肩作战呢? 马库斯,你知道我的意思的 当人满口粗言烂语的时候 就表示他没有能力清楚的表达自己 你看你,现在都把我惹毛了 美洲黑豹队 美洲黑豹队? 那些操蛋的人,满脑子白人至上、权贵至上 横冲直撞,无人不恨 简直就是变态。我看过电影,太糟糕了!干嘛啊?
Director 1: I saw his last film. Épuise, right? Woman 1: Yes. D1: Not to make a bad joke, but it was really épuisé. Epuisé -- tired, exhausted, fed up. Director 2: Can you not shut up? Now, you talk straight to me, what’s wrong with my films? Let’s go. W1: They suck. Woman 2: They suck? What about yours? What, what, what, what about, what? What do you think about your movie? D1: My movies, they are OK, fine. They are better than making documentaries no one ever sees. What the fuck are you talking about? Did you ever move your fuckin' ass from Hollywood to go and film something real? You make people fuckin' sleep. Dream about bullshit.
我看了他最后的那部电影 才思枯竭了,对吧? 对 倒不是说他做的不好,就是有种枯竭的感觉 枯竭——疲惫,精疲力竭,厌烦了 你能不能闭上嘴啊? 现在,你直接跟我说吧,我的电影怎么了? 来啊 糟透了 糟透了?那你的呢? 什么,什么,干嘛啊? 你觉得你的电影怎么样? 我的电影,他们还好,还不错 他们比那些没人愿意看的纪录片好多了 你说什么鬼? 你他妈有没有离开过好莱坞 去拍点真实的内容? 你让观众昏昏欲睡 满脑子狗屁
(Applause)
(掌声)
Newton Aduaka: Thank you. The first clip, really, is totally trying to capture what cinema is for me, and where I'm coming from in terms of cinema. The first piece was, really, there's a young woman talking about Nigeria, that she has a feeling she'll be happy there. These are the sentiments of someone that's been away from home. And that was something that I went through, you know, and I'm still going through. I've not been home for quite a while, for about five years now. I've been away 20 years in total. And so it’s really -- it's really how suddenly, you know, this was made in 1997, which is the time of Abacha -- the military dictatorship, the worst part of Nigerian history, this post-colonial history. So, for this girl to have these dreams is simply how we preserve a sense of what home is. How -- and it's sort of, perhaps romantic, but I think beautiful, because you just need something to hold on to, especially in a society where you feel alienated.
牛顿: 谢谢你们。我的第一个片段 是真正想抓住电影于我而言的意义 置身电影世界,我从何而来? 第一个片段讲的是一个年轻妇女谈论尼日利亚 她觉得在那里她会很快乐 这是远离家乡的人的情感 是我体验过、并且还在体验着的情感 我离家有好一段日子了,已经有5年左右的时间了 我在外的日子加起来有20年了 所以真的 这部电影拍摄于1997年 这是阿巴查统治期间 尼日利亚历史上最糟糕的日子,后殖民地时期 对于这个女孩,拥有这样的梦想 就是我们对家园的渴望 有点浪漫吧,可是我觉得很美丽 因为你只是需要一个寄托 特别是在社会里,人们有疏离感
Which takes us to the next piece, where the young man talks about lack of opportunity: living as a black person in Europe, the glass ceiling that we all know about, that we all talk about, and his reality. Again, this was my -- this was me talking about -- this was, again, the time of multiculturalism in the United Kingdom, and there was this buzzword -- and it was trying to say, what exactly does this multiculturalism mean in the real lives of people? And what would a child -- what does a child like Jamie -- the young boy -- think, I mean, with all this anger that's built up inside of him? What happens with that? What, of course, happens with that is violence, which we see when we talk about the ghettos and we talk about, you know, South Central L.A. and this kind of stuff, and which eventually, when channeled, becomes, you know, evolves and manifests itself as riots -- like the one in France two years ago, where I live, which shocked everybody, because everyone thought, "Oh well, France is a liberal society." But I lived in England for 18 years. I've lived in France for about four, and I feel actually thrown back 20 years, living in France. And then, the third piece. The third piece for me is the question: What is cinema to you? What do you do with cinema? There's a young director, Hollywood director, with his friends -- fellow filmmakers -- talking about what cinema means. I suppose that will take me to my last piece -- what cinema means for me. My life started as a -- I started life in 1966, a few months before the Biafran, which lasted for three years and it was three years of war. So that whole thing, that whole childhood echoes and takes me into the next piece.
这把我们带到下一个片段,有个年轻人 说到在欧洲生活的黑人缺少机遇 透明的玻璃天花板,我们都知道,都在谈论 他身上的真实经历 再一次,这是我在谈论 英国的多元文化的时候 我想说的是这个术语 多元文化对于人们的真实生活来说,有什么意义 一个小孩子 像杰米这样的小孩子有着怎样的想法 我是说,他的内心积累的愤怒 会导致什么后果? 当然,后果就是暴力,这是 我们谈及犹太人得到的结论 我们谈及中南地区,洛杉矶等等 最终裂痕出现 不断发展,以暴动的方式表现出来 就像二年前,我在法国居住的时候发生的暴乱 震惊了所有人,因为大家都以为 法国是个自由的社会 可我在英格兰住了18年 在法国住了4年,我感到 在法国住的时候,好像时光倒退了20年 再看看第三个片段。第三个片段,于我而言,是这个问题: 电影对你意味着什么?你想通过电影表达什么? 有个年轻的导演,好莱坞的导演,和他的朋友们一起 一群电影人一起讨论电影的意义 我想这就是我做这个作品的出发点 电影于我而言的意义 我出生的时候,我出生于1966年 那是历时三年之久的比亚法拉战争战争的前几个月 接着就是三年的战乱 我的所有记忆 所有儿童时代的回忆让我拍下了接下来这个片段
(Video) Voice: Onicha, off to school with your brother. Onicha: Yes, mama. Commander: Soldiers, you are going to fight a battle, so you must get ready and willing to die. You must get -- ? Child Soldiers: Ready and willing to die. C: Success, the change is only coming through the barrel of the gun. CS: The barrel of the gun! C: This is the gun. CS: This is the gun. C: This is an AK-47 rifle. This is your life. This is your life. This is ... this is ... this is your life. Ezra: They give us the special drugs. We call it bubbles. Amphetamines. Soldiers: Rain come, sun come, soldier man dey go. I say rain come, sun come, soldier man dey go. We went from one village to another -- three villages. I don’t remember how we got there. Witness: We walked and walked for two days. We didn't eat. There was no food, just little rice. Without food -- I was sick. The injection made us not to have mind. God will forgive us. He knows we did not know. We did not know!
视频录像:欧尼卡,和弟弟一起去学校 是的,妈妈 战士们,你们即将走上战场 你们必须做好准备,甘愿牺牲 你们必须 做好准备,甘愿牺牲 成功,变革唯有通过枪杆子才能实现 通过枪杆子 这就是枪 这就是枪 就是一支 AK47自动步枪。这就是你的生活 这就是你的生活。这就是,这就是,这就是你的生活 他们让我们吃一种特制的药物。我们称之为气泡 安非他命 雨落,日出,战士出生入死 雨落,日出,战士出生入死 我们从一个村庄来到另一个村庄,总共三个村庄 我记不得我们是怎么去到那里的 我们走了两天 什么都没吃 没有食物,只有一点点稻米 没有食物,我病了 我们接受注射之后神志不清 上帝会原谅我们的 他知道我们并不知情。我们并不知情!
Committee Chairman: Do you remember January 6th, 1999? Ezra: I don’t remember.
你还记得1999年1月6日吗? 我不记得了
Various Voices: You will die! You will die! (Screaming) Onicha: Ezra! (Ezra: Onicha! Onicha!) Various Voices: ♫ We don't need no more trouble ♫ ♫ No more trouble ♫ They killed my mother. The Mende sons of bastards. (Shouting) Who is she? Me. Why you giving these to me? So you can stop staring at me. My story is a little bit complicated. I’m interested. Mariam is pregnant. You know what you are? A crocodile. Big mouth. Short legs. In front of Rufus you are Ezra the coward. He’s not taking care of his troops. Troop, pay your last honor. Salute. Open your eyes, Ezra. A blind man can see that the diamonds end up in his pocket. ♫ We don't need no more trouble ♫ Get that idiot out! I take you are preparing a major attack? This must be the mine. Your girl is here. Well done, well done. That is what you are here for, no? You are planning to go back to fight are you? ♫ We don't need no more trouble ♫ ♫ No more trouble ♫ ♫ We don't need no more trouble ♫ ♫ No more trouble. ♫ Wake up! Everybody wake up. Road block! ♫ We don't need no more ... ♫
你会死的!你会死的! 欧尼卡:伊斯梅尔!(伊斯梅尔:欧尼卡!欧尼卡!) ♫我们不要更多的麻烦♫ ♫不要更多的麻烦♫ 他们杀死了我的母亲 曼德斯那畜生 (喊叫声) 她是谁? 是我 为什么你要给我这些? 那你就不会再盯着我看了 我的故事有点复杂 我想听听 玛丽安怀孕了 你知道自己是什么吗?鳄鱼 大嘴 短腿 在卢夫斯面前,你就伊斯梅尔,一个懦夫 他没有好好指挥他的军队 军队,最后一次致敬。敬礼 睁大你的眼睛,伊斯梅尔 瞎子都看得到,钻石都装到他的口袋里了 ♫我们不要更多的麻烦♫ 把那白痴赶出去! 我想你要发动突击了? 我要拿下这里 你女友来了 做得好,做得好 这就是你来这里的原因,不是吗? 你打算回去打仗,对吗? ♫我们不要更多的麻烦♫ ♫不要更多的麻烦♫ ♫我们不要更多的麻烦♫ ♫不要更多的麻烦♫ 醒醒吧,大家都醒醒。此路不通! ♫我们不要更多的...♫
Committee Chairman: We hope that, with your help and the help of others, that this commission will go a long way towards understanding the causes of the rebel war. More than that, begin a healing process and finally to -- as an act of closure to a terrible period in this country’s history. The beginning of hope. Mr. Ezra Gelehun, please stand. State your name and age for the commission. Ezra: My name is Ezra Gelehun. I am 15 or 16. I don’t remember. Ask my sister, she is the witch, she knows everything. (Sister: 16.) CC: Mr. Gelehun, I’d like to remind you you’re not on trial here for any crimes you committed. E: We were fighting for our freedom. If killing in a war is a crime, then you have to charge every soldier in the world. War is a crime, yes, but I did not start it. You too are a retired General, not so? CC: Yes, correct. E: So you too must stand trial then. Our government was corrupt. Lack of education was their way to control power. If I may ask, do you pay for school in your country? CC: No, we don’t. E: You are richer than us. But we pay for school. Your country talks about democracy, but you support corrupt governments like my own. Why? Because you want our diamond. Ask if anyone in this room have ever seen real diamond before? No. CC: Mr. Gelehun, I'd like to remind you, you're not on trial here today. You are not on trial. E: Then let me go. CC: I can't do that, son. E: So you are a liar.
我们希望,在你和他人的帮助下,此委员会 能够在一番努力之后,了解叛乱的源头 更甚于此,开始整治,最终得以 结束这个国家历史上混乱不堪的时期 希望的开始 伊斯梅尔.格勒亨先生,请起立 告诉委员会你的姓名和年龄 我的名字是伊斯梅尔.格勒亨 我15岁还是16岁,我已经记不得了 我的妹妹,她是个巫女,她无所不知 16岁 格勒亨先生,我想提醒你,你现在并不是 因为你犯下的罪行而受审 我们为我们的自由而战 如果战争中的杀戮是罪行 那你就得起诉世界上的所有战士 战争是罪行,是的,但我从未发起战争 你也是一个退役的将军,对吗? 对,没错 那你也必须受审 我们的政府腐败不堪 剥夺教育是他们掌控权利的方式 我想请问,你在你的国家需要付钱接受教育吗? 不,我们不需要 你们比我们富有 可我们却要为教育付钱 你们的国度满口民主 但你们却支持腐败的政府,比如说,我们的政府 为什么?因为你们想要我们的钻石 你随便问问这里的任何一人,他见过真的钻石吗? 没有 格勒亨先生,我想提醒你,你今天在此并不是受审 你并不是在受审 那就放我走 我不能这么做,孩子 那你就是撒谎
(Applause)
(掌声)
NA: Thank you. Just very quickly to say that my point really here, is that while we’re making all these huge advancements, what we're doing, which for me, you know, I think we should -- Africa should move forward, but we should remember, so we do not go back here again. Thank you.
牛顿:谢谢。让我快速的谈谈我的重点 是当我们取得飞黄腾达的成就之际 我们的所作所为,对于我来说,我认为我们应该 非洲应该向前发展,可我们应该记住 我们便不会重蹈覆辙 谢谢
Emeka Okafor: Thank you, Newton.
埃梅卡.奥卡福:谢谢你,牛顿
(Applause)
(掌声)
One of the themes that comes through very strongly in the piece we just watched is this sense of the psychological trauma of the young that have to play this role of being child soldiers. And considering where you are coming from, and when we consider the extent to which it’s not taken as seriously as it should be, what would you have to say about that?
一个感情强烈的主题 是我们在片断中看到的,年轻一代受到的心理创伤 他们是孩子,是童军 想想你来自何方 当我们意识到他们受的伤害并未得到应有的重视之际 你有什么想说的吗?
NA: In the process of my research, I actually spent a bit of time in Sierra Leone researching this. And I remember I met a lot of child soldiers -- ex-combatants, as they like to be called. I met psychosocial workers who worked with them. I met psychiatrists who spent time with them, aid workers, NGOs, the whole lot. But I remember on the flight back on my last trip, I remember breaking down in tears and thinking to myself, if any kid in the West, in the western world, went through a day of what any of those kids have gone through, they will be in therapy for the rest of their natural lives. So for me, the thought that we have all these children -- it’s a generation, we have a whole generation of children -- who have been put through so much psychological trauma or damage, and Africa has to live with that. But I’m just saying to factor that in, factor that in with all this great advancement, all this pronouncement of great achievement. That’s really my thinking.
牛顿:在我调查的过程之中,实际上 我花了一些时间在塞拉利昂研究这个 我记得我遇到了很多童军 曾经的战士,他们喜欢这样的称呼 我遇到帮助他们的心理医生 我遇到花时间在他们身上的心理咨询师 援助人员,非政府组织,很多人 但是我记得在最后一趟回程上 我记得自己崩溃痛哭,不停的思考 如果这些孩子们,如果在西方国家的任何一个孩子 有过非洲孩子都经历过的、仅仅一天的生活体验 他们的余生都离不开治疗了 所以于我而言,对于所有孩子们的思索 这是一代人,我们有整整一代孩童 被迫遭受如此严重的心理创伤 非洲不得不独自承受 我希望能够念及他们 当我们取得各式伟大的成就之时,请念及他们 当我们宣布我们取得伟大的成就的时候 这就是我的真实想法
EO: Well, we thank you again for coming to the TED stage. That was a very moving piece.
埃梅卡.奥卡福:我们再次感谢你来到了TED的舞台上 这是一个感人至深的分享
NA: Thank you.
牛顿:谢谢你
EO: Thank you.
埃梅卡.奥卡福:谢谢
(Applause)
(掌声)