Both myself and my brother belong to the under 30 demographic, which Pat said makes 70 percent, but according to our statistics it makes 60 percent of the region's population. Qatar is no exception to the region. It's a very young nation led by young people. We have been reminiscing about the latest technologies and the iPods, and for me the abaya, my traditional dress that I'm wearing today.
I moj brat i ja imamo manje od 30 godina, a Pat nam reče da činimo 70 odsto, dok naša statistika kaže da činimo 60 odsto populacije u regionu. Katar nije izuzetak u regionu. To je veoma mlada nacija koju vode mladi ljudi. Sa zadovoljstvom pričamo o novim tehnologijama, ajPodima, i u mom slučaju o abaji, to je moja tradicionalna haljina koju imam na sebi.
Now this is not a religious garment, nor is it a religious statement. Instead, it's a diverse cultural statement that we choose to wear. Now I remember a few years ago, a journalist asked Dr. Sheikha, who's sitting here, president of Qatar University -- who, by the way, is a woman -- he asked her whether she thought the abaya hindered or infringed her freedom in any way. Her answer was quite the contrary. Instead, she felt more free, more free because she could wear whatever she wanted under the abaya. She could come to work in her pajamas and nobody would care. (Laughter) Not that you do; I'm just saying.
Ovo nije religiozna odora, i nije religiozna poruka. To je zapravo poruka o raznovrsnosti kultura, koju biramo da nosimo. Sećam se da je pre par godina novinar pitao dr Šehku, koja sedi u publici, dekana Univerziteta u Kataru, a dekan je žena, pitao je da li smatra da je abaja na bilo koji način uticala na njenu slobodu. Odgovorila je potpuno suprotno tome. Ona se oseća slobodnije, slobodnije jer je mogla da nosi šta god poželi ispod abaje. Mogla je odlaziti na posao u pižami i niko to ne bi primetio. (smeh) Ne kažem da to radiš, samo dajem primer.
(Laughter)
(smeh)
My point is here, people have a choice -- just like the Indian lady could wear her sari or the Japanese woman could wear her kimono. We are changing our culture from within, but at the same time we are reconnecting with our traditions. We know that modernization is happening. And yes, Qatar wants to be a modern nation. But at the same time we are reconnecting and reasserting our Arab heritage. It's important for us to grow organically. And we continuously make the conscious decision to reach that balance.
Želim da kažem da ljudi imaju izbor kao što žena iz Indije može nositi svoju sari haljinu ili žene iz Japana koje nose svoj kimono. Mi iznutra menjamo svoju kulturu, ali istovremeno uspostavljamo dodir sa našom tradicijom. Svesni smo da se modernizacija dešava. Da, Katar želi da bude moderna nacija. Ali istovremeno uspostavljamo veze i poštujemo kuluturno nasleđe Arapa. Važno nam je da se skladno razvijamo. Neprestano donosimo svesne odluke koje omogućavaju održavanje te ravnoteže.
In fact, research has shown that the more the world is flat, if I use Tom Friedman's analogy, or global, the more and more people are wanting to be different. And for us young people, they're looking to become individuals and find their differences amongst themselves. Which is why I prefer the Richard Wilk analogy of globalizing the local and localizing the global. We don't want to be all the same, but we want to respect each other and understand each other. And therefore tradition becomes more important, not less important.
Istraživanja pokazuju da što je svet monotoniji, ako upotrebim analogiju Toma Fridmana, ili globalniji, sve više ljudi želi da bude različito. Za nas mlade ljude mi želimo da postanemo pojedinci, i pronađemo razlike među nama. Zbog toga mi je draža analogija Ričarda Vilka koja kaže globalizujmo lokalno i lokalizujmo globalno. Mi ne želimo da svi budemo isti, ali želimo da poštujemo i razumemo jedni druge. Usled toga tradicija postaje još značajnija, a ne manje važna.
Life necessitates a universal world, however, we believe in the security of having a local identity. And this is what the leaders of this region are trying to do. We're trying to be part of this global village, but at the same time we're revising ourselves through our cultural institutions and cultural development. I'm a representation of that phenomenon. And I think a lot of people in this room, I can see a lot of you are in the same position as myself. And I'm sure, although we can't see the people in Washington, they are in the same position. We're continuously trying to straddle different worlds, different cultures and trying to meet the challenges of a different expectation from ourselves and from others.
Život zahteva univerzalni svet, ali mi verujemo u sigurnost koju nosi lokalni identitet. To je ono što vođe ovog regiona pokušavaju da urade. Pokušavamo da budemo deo globalnog sela, ali istovremeno preslišavamo sami sebe putem institucija kulture i razvoja kulture. Ja sam tipičan primer tog fenomena. Mislim da mnogo ljudi ovde slično razmišlja. Sigurna sam da čak i ako ne vidimo ljude u Vašingtonu, oni razmišljaju na isti način. Mi se neprekidno trudimo da spojimo različite svetove, različite kulture, i pokušavamo da odgovorimo na različita očekivanja od nas samih i drugih ljudi.
So I want to ask a question: What should culture in the 21st century look like? In a time where the world is becoming personalized, when the mobile phone, the burger, the telephone, everything has its own personal identity, how should we perceive ourselves and how should we perceive others? How does that impact our desert culture?
Želim da vas pitam Kako bi trebalo da izgleda kultura u 21. veku? U vremenu kada svet postaje personalizovan, kada sve ima lični identitet, mobilni, hambruger, telefon, kako treba da doživljavamo sami sebe, i kako treba doživeti druge ljude? Kako to utiče na našu pustinjsku kulturu?
I'm not sure of how many of you in Washington are aware of the cultural developments happening in the region and, the more recent, Museum of Islamic Art opened in Qatar in 2008. I myself am personalizing these cultural developments, but I also understand that this has to be done organically. Yes, we do have all the resources that we need in order to develop new cultural institutions, but what I think is more important is that we are very fortunate to have visionary leaders who understand that this can't happen from outside, it has to come from within. And guess what? You might be surprised to know that most people in the Gulf who are leading these cultural initiatives happen to be women.
Ne znam koliko ste vi u Vašingtonu svesni razvoja kulture u regionu, i da li ste čuli za otvaranje Muzeja islamske umetnosti 2008. u Kataru. Ja lično dajem identitet ovim kulturnim dešavanjima, i potpuno mi je jasno da to treba usklađeno raditi. Da, imamo zaista sva neophodna sredstva za razvijanje novih institucija kulture, ali smatram da je još važnije to što imamo sreću da nas vode vizionari koji znaju da promene neće doći spolja, već sve mora doći iznutra. I znate šta? Verovatno će vas iznenaditi da su većinom vođe ovih kulturnih inicijativa u Persijskom zalivu žene.
I want to ask you, why do you think this is? Is it because it's a soft option; we have nothing else to do? No, I don't think so. I think that women in this part of the world realize that culture is an important component to connect people both locally and regionally. It's a natural component for bringing people together, discussing ideas -- in the same way we're doing here at TED. We're here, we're part of a community, sharing out ideas and discussing them. Art becomes a very important part of our national identity. The existential and social and political impact an artist has on his nation's development of cultural identity is very important.
Šta vi mislite zbog čega se to dešava? Zato što je to laka mogućnost, nemamo ništa drugo da radimo? Ne, ne mislim da je to. Smatram da su žene u ovom delu sveta shvatile da je kultura značajan alat za povezivanje ljudi na lokalnom i regionalnom nivou. To je prirodni alat za zbližavanje ljudi, razmenu ideja, baš na način na koji se to dešava ovde na TED-u. Ovde smo, deo smo zajednice, delimo i pričamo o idejama. Umetnost postaje značajan aspekt našeg nacionalnog identiteta. Egzistencijalni, socijalni i politički uticaj koji umetnik ima u procesu razvoja kulturnog identiteta nacije je veoma značajan.
You know, art and culture is big business. Ask me. Ask the chairpersons and CEOs of Sotheby's and Christie's. Ask Charles Saatchi about great art. They make a lot of money. So I think women in our society are becoming leaders, because they realize that for their future generations, it's very important to maintain our cultural identities. Why else do Greeks demand the return of the Elgin Marbles? And why is there an uproar when a private collector tries to sell his collection to a foreign museum? Why does it take me months on end to get an export license from London or New York in order to get pieces into my country?
Znate, umetnost i kultura su veliki posao. Pitajte me. Pitajte direktore i osnivače aukcijskih kuća Sotebi i Kristi. Pitajte Čarlsa Sačija o divnoj umetnosti. Zarađuju mnogo novca. Mislim da žene u našem društvu postaju vođe jer su shvatile da je za buduće generacije veoma značajno da održe kulturni identitet. Zašto bi inače Grci zahtevali da im vrate Elginove mermerne skulpture? Zašto se diže frka kada privatni kolekcionar pokuša da proda svoju zbirku dela stranom muzeju? Zašto treba da čekam po mesec dana da dobijem licencu za eksport iz Londona ili Njujorka, kako bih prenela dela u svoju zemlju?
In few hours, Shirin Neshat, my friend from Iran who's a very important artist for us will be talking to you. She lives in New York City, but she doesn't try to be a Western artist. Instead, she tries to engage in a very important dialogue about her culture, nation and heritage. She does that through important visual forms of photography and film.
Za nekoli sati će vam se obratiti Širin Nešet, moja prijateljica iz Irana, veoma značajna umetnica za nas. Živi u Njujorku, ali ne pokušava da bude umetnica zapada. Ona se umesto toga trudi da se upusti u značajan razgovor o njenoj kulturi, naciji i nasleđu. Koristi za to vizuelne forme izražavanja: fotografiju i film.
In the same way, Qatar is trying to grow its national museums through an organic process from within. Our mission is of cultural integration and independence. We don't want to have what there is in the West. We don't want their collections. We want to build our own identities, our own fabric, create an open dialogue so that we share our ideas and share yours with us. In a few days, we will be opening the Arab Museum of Modern Art. We have done extensive research to ensure that Arab and Muslim artists, and Arabs who are not Muslims -- not all Arabs are Muslims, by the way -- but we make sure that they are represented in this new institution. This institution is government-backed and it has been the case for the past three decades. We will open the museum in a few days, and I welcome all of you to get on Qatar Airways and come and join us.
Na sličan način Katar pokušava da izgradi nacionalne muzeje prirodnim putem koji dolazi iz nas samih. Naša misija jeste ostvarenje kulturne integracije i nezavisnosti. Ne želimo da preslikamo dešavanja na zapadu. Ne želimo njihove zbirke. Želimo da izgradimo sopstveni identitet, sopstveni materijal, da stvorimo otvoreni dijalog kako bismo podelile naše ideje i vi svoje sa nama. Za nekoliko dana ćemo otvoriti Arapski muzej moderne umetnosti. Sproveli smo opsežno istraživanje kako bismo uključili sve arapske i muslimanske umetnike, Arape koji nisu muslimani, uzgred, nisu svi Arapi muslimani, vodimo računa da sva dela budu prikazana u toj novoj instituciji. Instituciju pomaže vlada, i tako funkcioniše već tri decenije. Otvorićemo muzej za nekoliko dana, i pozivam sve da se ukrcate na "Qatar Airways" linije i pridružite nam se.
(Laughter)
(smeh)
Now this museum is just as important to us as the West. Some of you might have heard of the Algerian artist Baya Mahieddine, but I doubt a lot of people know that this artist worked in Picasso's studio in Paris in the 1930s. For me it was a new discovery. And I think with time, in the years to come we'll be learning a lot about our Picassos, our Legers and our Cezannes. We do have artists, but unfortunately we have not discovered them yet.
Ovaj muzej nam je važan koliko i zapad. Možda su neki od vas čuli za umetnika iz Alžira, Bahiju Mahidina, ali sumnjam da mnogo ljudi zna da je radio u Pikasovom studiju, 1930-tih u Parizu. To je bilo otkriće za mene. Mislim da ćemo vremenom, u narednom periodu otkrivati mnogo više Pikasa, i Ležea i Sezana. Imamo umetnike, ali na žalost još uvek ih nismo otkrili.
Now visual expression is just one form of culture integration. We have realized that recently more and more people are using the means of YouTube and social networking to express their stories, share their photos and tell their own stories through their own voices. In a similar way, we have created the Doha Film Institute. Now the Doha Film Institute is an organization to teach people about film and filmmaking. Last year we didn't have one Qatari woman filmmaker. Today I am proud to say we have trained and educated over 66 Qatari women filmmakers to edit, tell their own stories in their own voices.
Vizuelno izražavanje je samo jedan oblik integracije kulture. Shvatili smo da u poslednje vreme sve više i više ljudi koristi Jutjub i društvene mreže kako bi ispričalo svoje priče i podelilo slike, i lično izneli svoje priče. Slično tome, napravili smo Doha filmski institut. To je organizacija koja podučava ljude filmu i procesu stvaranja filma. U Kataru prošle godine nije postojala žena režiser. Sa ponosom vam saopštavam da smo obučili preko 66 žena režisera iz Katara koje sada mogu da edituju, i ispričaju svojim glasom svoje priče.
(Applause)
(aplauz)
Now if you'll allow me, I would love to share a one-minute film that has proven to show that a 60-sec film can be as powerful as a haiku in telling a big picture. And this is one of our filmmakers' products.
Ako mi dozvolite, prikazala bih vam sada jednominutni film koji je dokazao da film od 60 sekundi može biti moćan koliko i haiku u prikazivanju opšte slike. Ovo je delo jednog od naših filmskih režisera.
(Video) Boy: Hey listen! Did you know that the stocks are up? Who are you playing? Girl: Uncle Khaled. Here, put on the headscarf. Khaled: Why would I want to put it on? Girl: Do as you're told, young girl. Boy: No, you play mom and I play dad. (Girl: But it's my game.) Play by yourself then. Girl: Women! One word and they get upset. Useless. Thank you. Thank you!
(Video) Dečak: Slušaj! Koga ti igraš? Devojčica: Ujka Kaleda. Evo, stavi ovu maramu. Kaled: Zašto bih to uradio? Devojčica: Uradi kako ti je rečeno, devojčice. Dečak: Ne, ti si mama i ja sam tata. Devojčica: Ali to je moja igra. Igraj se sama onda. Devojčica: Žene! Jedna reč i uznemire se. Beskorisno. Hvala vam. Hvala vam.
(Applause)
(aplauz)
SM: Going back to straddling between East and West, last month we had our second Doha Tribeca Film Festival here in Doha. The Doha Tribeca Film Festival was held at our new cultural hub, Katara. It attracted 42,000 people, and we showcased 51 films. Now the Doha Tribeca Film Festival is not an imported festival, but rather an important festival between the cities of New York and Doha. It's important for two things. First, it allows us to showcase our Arab filmmakers and voices to one of the most cosmopolitan cities in the world, New York City. At the same time, we are inviting them to come and explore our part of the world. They're learning our culture, our language, our heritage and realizing we're just as different and just the same as each other.
SM: Vratimo se povezivanju istoka i zapada. Prošlog meseca smo organizovali drugi "Doha Tribeca festival filma" ovde u Dohi. "Doha Tribeca festival filma" je održan u našoj novoj prestonici kulture, u Katari. Došlo je 42.000 ljudi, i prikazali smo 51 film. "Doca Tribeca festival filma" nije uvezen festival, već je značajan festival koji se dešava između Njujorka i Dohe. Značajan je zbog dve stvari. Pre svega, omogućava nam da prikažemo režisere i glasove Arapa jednom od najotvorenijih gradova na svetu, Njujorku. Istovremeno, mi njih pozivamo da nam se pridruže i istraže naš deo sveta. Upoznaju se sa našom kulturom, jezikom, nasleđem, i shvate da smo onoliko različiti koliko i ličimo jedni na druge.
Now over and over again, people have said, "Let's build bridges," and frankly, I want to do more than that. I would like break the walls of ignorance between East and West -- no, not the soft option that we have discussed before, but rather the soft power that Joseph Nye has spoken about before. Culture's a very important tool to bring people together. We should not underestimate it.
Iznova i iznova su ljudi govorili: "Izgradimo mostove", i iskreno, želim da uradim više od toga. Ja želim da srušim zidove ignorisanja između istoka i zapada, ne želim te mlake opcije o kojima smo pričali ranije, već nežnu moć o kojoj je ranije Džozef Naj govorio. Kultura je veoma značajan alat za zbližavanje ljudi. Ne treba je podceniti.
"Know thyself," that is the journey of self-expression and self-realization that we are traveling. Now I don't pretend to have all the answers, but I know that me as an individual and we as a nation welcome this community of ideas worth spreading. This is a very interesting journey. I welcome you on board for us to engage and discuss new ideas of how to bring people together through cultural initiatives and discussions. Familiarity destroys and trumps fear. Try it.
"Upoznaj sebe", putovanje na kom smo sada se bavi izražavanjem ličnih ideja i ličnom realizacijom. Ne pravim se da znam sve odgovore, ali znam da ja kao jedinka, i mi kao nacija prihvatamo ovu zajednicu koja proklamuje ideje vredne širenja. Ovo je veoma interesantno putovanje. Želim vam dobrodošlicu na putu razmene novih ideja o tome kako da putem inicijativa u kulturi i diskusija povežemo ljude. Upućenost uništava i pobeđuje strah. Probajte to.
Ladies and gentlemen, thank you very much. Shokran.
Dame i gospodo, mnogo vam hvala. Šok-ran.
(Applause)
(aplauz)