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.
我和我弟弟 都屬於30歲以下的人口, Pat說過這佔人口數的70%, 但根據我們的統計, 則佔這地區人口的60%。 卡達當然也不例外。 她是一個由年輕人領導的新興國家。 我們一直嚮往最新的科技 以及iPods, 但我則嚮往長袍, 就是我今天穿著的傳統服飾。
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.
現在它不是宗教的服裝, 也不是一項宗教的宣言。 相反的,它是一件我們穿來 表達多元文化的服裝。 我記得幾年前, 有記者問當時坐在這裡的謝卡博士 她是卡達大學的校長 -- 對了,謝博士是位女性。 那記者問她是否覺得 長袍會否有些地方妨礙或違害到她的自由。 她的答案剛好相反。 她感到更自由, 因為她可以在長袍底下 隨她喜歡的穿著。 她可以穿睡衣去上班而沒人會留意。 (笑聲) 不是說你要這樣做,我只是隨便說說。
(Laughter)
(笑聲)
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.
我的重點是,人是有選擇的 - 就像印度小姐可以穿她的莎麗服, 或日本小姐可以穿她的和服。 我們從裡面開始改變我們的文化, 但同時, 我們也在與我們的傳統重新接軌。 我們了解現代化正在發生的事實。 沒錯,卡達希望成為一個現代化的國家。 但在發展的同時, 我們也重新連接和申張我們阿拉伯的傳統。 對我們而言,自然發展是相當重要的一件事。 我們不斷作出有意識的決定 去達至那種平衡。
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.
事實上,研究顯示, "世界越是平坦, 如果我引用湯姆·弗瑞德曼的比喻, 或者說是越全球化, 會有越來越多的人希望能與別不同。" 而對我們年輕人來說, 是期望成為獨特的個體 並從中尋求彼此的差異性。 這就是為什麼我偏好理查威爾克的比喻: "地區全球化 和全球地區化"。 我們不想大家都一樣, 但希望能彼此尊重和相互了解。 因此,傳統變得更為重要 而不是較不重要。
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.
生活使世界趨向一致, 然而我們相信 亦需要保有地方特性。 這正是本地區的領袖們 試圖實現的。 在努力成為這個地球村的一部分的同時, 我們亦透過 文化制度和文化發展來調整自己。 我是這現象的一個樣板。 我認為這裡的很多人, 我知道你們很多都跟我有同樣的立場。 即便華盛頓的人不在現場,但我確信 他們的立場也是相同的。 我們不斷努力跨越 不同的世界、不同的文化, 並面對 因彼此期許落差 所帶來的挑戰。
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?
所以我要問一個問題: 文化在21世紀應該是什麼樣子? 世界在個人化的時代下, 手機、漢堡、電話、 所有事物都有其獨特個性, 我們應該如何認知自己 與他人呢? 這又如何影響我們的沙漠文化呢?
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.
我不確定在華盛頓那邊有多少人 知道這地區正文化發展的狀況, 以及較近期,2008年在卡達 開設了伊斯蘭藝術博物館這件事。 我吸收了這些文化的發展,並將之轉為個人化, 然而我也知道 這必須是以自然而然的方式進行才行。 沒錯,我們確實有 發展新文化體制所需的所有資源, 但我認為更重要的是, 我們很幸運, 能夠有具遠見的領導者 - 他們了解這樣的發展不能由外在來觸發, 它必須由內在開始。 你猜得到嗎? 你可能會感到驚訝, 大部分在波斯灣區主導這些文化發展的人 原來是女性。
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.
我想請問你們,你們知道這是為什麼嗎? 是因為那是比較輕鬆的選擇? 還是我們沒有其他事情做呢? 不,我不這樣認為。 我認為在這個地區的女性 意識到,文化是個 連繫當地 及區域人民的重要因素。 文化是個將 人們團結起來、讓彼此討論想法的自然因子, - 就如同我們現在在TED做的事情一樣。 我們在這裡,我們是社會的一份子, 分享並交流意見。 藝術成為我們 民族認同中相當重要的一部分。 藝術家在 其民族文化認同的發展上, 保有其存在、社會和政治上的影響 是相當重要的。
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?
知道嗎,藝術和文化可是門大生意。 問問我。 問問蘇富比和佳士德 的主席及執行長。 問問查爾斯.薩奇關於偉大的藝術。 他們賺了很多錢。 所以我認為,我們社會的女仕們 之所以成為主導者, 是因為她們意識到, 保有文化身分 對我們的後代子孫 是非常重要的。 為什麼希臘要求 歸還埃爾金大理石雕呢? 還有為什麼 私人收藏家想將手上的收藏賣給 國外的博物館時會引起一片騷動? 為什麼我得花幾個月的時間 才能從倫敦或紐約取得出口許可證 把一些藝術品運進我的國家呢?
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.
幾小時後,我伊朗的朋友 希林娜沙特,她對我們來說是位非常重要的藝術家, 她將會為你們演講。 她住在紐約市,但她不想成為一位西方藝術家。 取而代之,她想從事 有關 其文化、民族與文化遺產的重要交流。 她透過攝影和電影的重要視覺形式 來進行。
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.
同樣的,卡達正以內在自發的方式 來發展其國家博物館。 我們的目標是文化的融合與獨立。 我們不要西方已有的東西。 我們不要他們的收藏品。 我們要打造自己獨特的特性、自己的布料, 創造開放性的交流, 使彼此的想法 得以互相分享。 過幾天, 阿拉伯當代藝術博物館就會開幕。 我們進行了廣泛的研究, 確保阿拉伯和穆斯林的藝術家, 以及非穆斯林的阿拉伯人 - 對了,並非所有的阿拉伯人都是穆斯林 - 都能在這個新機構 被展現出來。 這個機構是由政府金援的, 過去的三十年 都在進行此案。 再過幾天博物館就要開幕了, 我歡迎你們所有人搭乘卡達航空 前來參加。
(Laughter)
(笑聲)
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.
這座博物館對我們的重要性跟西方國家一樣。 有些人可能聽過 一位叫做巴亞馬藝丁的阿爾及利亞的藝術家, 但我懷疑有多少人會知道 這位藝術家 曾於30年代,在畢卡索的巴黎工作室工作過這件事。 這對我來說是項新發現。 我想隨著時間的推移, 我們的畢卡索、 我們的雷捷和我們的塞尚將會被大眾所熟知。 我們當然有藝術家, 但不幸我們還未把他們發掘出來。
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.
視覺表達只是 文化融合的一種形式。 我們已經意識到,最近 有越來越多的人 藉由YouTube和社群網路的方式 來傳達自己的故事、分享照片, 以及透過自己聲音來述說自己的故事。 以同樣的方式, 我們創立了杜哈電影學院。 杜哈電影學院是教授 有關電影和電影製作的一個機構。 去年我們連一位卡達女製片人都沒有。 現在我很自豪的宣布, 我們已培育出 超過66位卡達女製片人, 她們透過自己的聲音, 來編輯及述說自己的故事。
(Applause)
(鼓掌)
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.
如果你們願意的話,我想分享的一支一分鐘的電影, 這60秒的電影 就有如日本俳句般,雖然精簡 但表達豐富而有力。 這是我們其中一位製片人的作品。
(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!
(影片)小男孩:嘿!你知道股價上漲的事嗎? 你在扮演誰呀? 女孩:哈立德叔叔。來吧,把頭巾戴上。 小男孩:我為什麼要戴它? 女孩(假裝是哈立德叔叔):照我的話去做,年輕的女孩。 男孩:不要,你扮媽媽,我來扮爸爸。 女孩:但這是我的遊戲。 男孩:那你自己玩吧。 女孩(假裝是哈立德叔叔):女人呀!才說一句,她們就不高興。 真沒用。 謝謝。謝謝!
(Applause)
♫ 掌聲 ♫
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.
回到跨越東西方的議題上, 上個月我們在杜哈這裡舉辦了第二屆 杜哈翠貝卡電影節。 杜哈翠貝卡電影節 在我們新的文化樞紐 - 卡塔若 - 舉行。 它吸引了42,000人前來, 我們展出了51部電影。 它不是一個 重要的電影節, 但對於紐約和杜哈 兩個城市之間則是相當重要的電影節。 它所以重要是因為兩樣事情。 第一,它讓我們得以 將阿拉伯的電影製片者及阿拉伯的聲音, 展示給最國際化的城市之一 - 紐約市。 同時,我們邀請他們 前來探索我們的世界。 他們正在習知我們的文化、語言、傳統, 並意識到彼此 不同及相同之處。
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.
人們常 掛在嘴巴上講:“讓我們建立溝通的橋樑吧,” 坦白說,我想做的不止是這樣。 我想打破東、西方之間的 無明障 - 不,不是我們之前談過的那個比較輕鬆的工作, 而是 約瑟夫·奈爾之前提到過的軟實力。 文化是將人們團結起來的一個非常重要的工具。 我們不應低估它的力量。
"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.
“了解真我”, 是自我表達和自我實現 的旅程。 我不裝作知道所有答案, 但我知道,我作為個人 以及我們作為一個民族, 都歡迎這個 意見得以傳揚的社會。 這是趟很有趣的旅程。 歡迎大家 一同加入為我們致力及探討, 如何透過文化活動和意見交流, 將人們團結在一起的新概念。 熟悉摧毀並戰勝恐懼。試試看。
Ladies and gentlemen, thank you very much. Shokran.
女士及先生們,非常感謝你們的聆聽。謝謝大家。
(Applause)
(鼓掌)