Good morning. How are you?
Bonzour. Ki manier?
(Audience) Good.
(Riye)
It's been great, hasn't it? I've been blown away by the whole thing. In fact, I'm leaving.
Tousala extra, non? Mo mem mo sou lemosion. Ofet, mo bizin ale.
(Laughter)
(Riye)
There have been three themes running through the conference, which are relevant to what I want to talk about. One is the extraordinary evidence of human creativity in all of the presentations that we've had and in all of the people here; just the variety of it and the range of it. The second is that it's put us in a place where we have no idea what's going to happen in terms of the future. No idea how this may play out.
Trwa tem finn revini dan sa konferans la ki an rapor avek saki mo anvi koze. Premie, se sa prev extraordiner de kreativite dan tou bann prezantasion ki nounn gete ek dan tou bann dimounn ki isi. Nek get sa kalite variete la. Deziem zafer, sa met nou dan enn sitiasion kot nou pa kone ki kapav arive dan lefitir. Aukenn lide kouma tousala kapav deroule.
I have an interest in education. Actually, what I find is, everybody has an interest in education. Don't you? I find this very interesting. If you're at a dinner party, and you say you work in education -- actually, you're not often at dinner parties, frankly.
Mo interese dan ledikasion. Ofet, mo trouve ki tou dimounn interese ek ledikasion. Pa ou? Mo trouv sa bien interesan. Kan ou dan enn dine, ek ou dir ki ou travay dan ledikasion -- ofet, ou pa tro souvan invite a bann dine.
(Laughter)
(Riye)
If you work in education, you're not asked.
Si ou travay dan ledikasion, personn napa invit ou.
(Laughter)
(Riye)
And you're never asked back, curiously. That's strange to me. But if you are, and you say to somebody, you know, they say, "What do you do?" and you say you work in education, you can see the blood run from their face. They're like, "Oh my God. Why me?"
Ousua personn pa reinvit ou. Mo trouv sa bien etranz. Si samem ou ka, ek ou dir sa kikenn, ou kone, zot dimande, "Ki ou fer dan lavi?", ek ou reponn ki ou dan ledikasion, ou trouv disan desann depi zot figir. Zot pense, "Ayo bondie, kifer mwa?"
(Laughter)
(Riye)
"My one night out all week."
"Sel zour mo sorti sa semenn la."
(Laughter)
(Riye)
But if you ask about their education, they pin you to the wall, because it's one of those things that goes deep with people, am I right? Like religion and money and other things. So I have a big interest in education, and I think we all do. We have a huge vested interest in it, partly because it's education that's meant to take us into this future that we can't grasp. If you think of it, children starting school this year will be retiring in 2065. Nobody has a clue, despite all the expertise that's been on parade for the past four days, what the world will look like in five years' time. And yet, we're meant to be educating them for it. So the unpredictability, I think, is extraordinary.
Si ou poz zot kestion lor ledikasion, zot irite. Parski se enn size bien sansib pou dimounn, pa vre? Kouma relizion ek larzan. Alor mo bien interese ek ledikasion, ek mo panse ki nou tou interese. Nou ena enn gran lintere ladan an parti parski se ledikasion ki sipoze gid nou dan sa fitir ki nou pa ankor konpran la. Si ou reflesi, bann zanfan ki pe koumans lekol sa lane la pou pran zot retret an 2065. Personn pa kone, malgre tou sa lexpertiz ki nounn finn trouve sa kat dernie zour la, ki lemond pou resanble dan sink an. Me nou sipoze edik zot pu fer fas sa lemond la. Sa inprediktabilite la, li extraordiner.
And the third part of this is that we've all agreed, nonetheless, on the really extraordinary capacities that children have -- their capacities for innovation. I mean, Sirena last night was a marvel, wasn't she? Just seeing what she could do. And she's exceptional, but I think she's not, so to speak, exceptional in the whole of childhood. What you have there is a person of extraordinary dedication who found a talent. And my contention is, all kids have tremendous talents, and we squander them, pretty ruthlessly.
Troiziem zafer lor ki nou tou dakor seki bann zanfan ena bann kapasite extraordiner -- bann kapasite pou inove. Yer, Sirena ti extra, pa vre? Dan nek gete ki li kapav fer. Li li exsepsionel, me mo pa panse ki li exsepsionel parmi tou bann zanfan. Se zis enn dimounn avek enn dedikasion extraordiner ki finn trouv so talan. Ek mwa mo dir ki tou zanfan ena bann gran talan, me nou gaspiy sa san aukenn pitie.
So I want to talk about education, and I want to talk about creativity. My contention is that creativity now is as important in education as literacy, and we should treat it with the same status.
Alor, mo anvi koz lor ledikasion ek mo anvi koz lor kreativite. Mo konba se ki kreativite zordizour bizin osi inportan ki alfabetism ek ki nou bizin tret li avek mem linportans.
(Applause)
(Aplodisman) Mersi.
Thank you.
(Aplodisman)
(Applause)
That was it, by the way. Thank you very much.
Bon, samem tou. Mersi bokou.
(Laughter)
(Riye)
So, 15 minutes left.
Mo res 15 minit.
(Laughter)
(Riye)
"Well, I was born ... "
Alor, monn ne -- non.
(Laughter)
(Riye)
I heard a great story recently -- I love telling it -- of a little girl who was in a drawing lesson. She was six, and she was at the back, drawing, and the teacher said this girl hardly ever paid attention, and in this drawing lesson, she did. The teacher was fascinated. She went over to her, and she said, "What are you drawing?" And the girl said, "I'm drawing a picture of God." And the teacher said, "But nobody knows what God looks like." And the girl said, "They will in a minute."
Monn fek tann enn zoli zistwar ek mo kontan rerakont li. Li lor enn tifi dan enn klas desin. Li ena sizan ek pe asiz derier, pe desine. So profeser dir ki zame li atentiv sof dan klas desin. Profeser la inn fasine. Alor linn al dimann li, "Ki to pe desine?" Tifi la reponn, "Mo pe desinn bondie." Profeser dir, "Me personn napa kone bondie kouma resanble." Li reponn, "Zot pou kone dan enn ti moman."
(Laughter)
(Riye)
When my son was four in England -- actually, he was four everywhere, to be honest.
Kan mo garson ti ena katran dan Langleter -- ofet, li ti ena katran partou.
(Laughter)
(Riye)
If we're being strict about it, wherever he went, he was four that year. He was in the Nativity play. Do you remember the story?
Bon, nimport kotsa li ti ete, li ti ena katran sa lane la. Li ti pe zwe dan spektak Nativite. Zot rapel so zistwar?
(Laughter)
(Riye)
No, it was big, it was a big story. Mel Gibson did the sequel, you may have seen it.
Se enn gran zistwar. Mel Gibson inn fer so laswit, kapav zot inn gete.
(Laughter)
(Riye)
"Nativity II." But James got the part of Joseph, which we were thrilled about. We considered this to be one of the lead parts. We had the place crammed full of agents in T-shirts: "James Robinson IS Joseph!" (Laughter) He didn't have to speak, but you know the bit where the three kings come in? They come in bearing gifts, gold, frankincense and myrrh. This really happened. We were sitting there, and I think they just went out of sequence, because we talked to the little boy afterward and said, "You OK with that?" They said, "Yeah, why? Was that wrong?" They just switched. The three boys came in, four-year-olds with tea towels on their heads. They put these boxes down, and the first boy said, "I bring you gold." And the second boy said, "I bring you myrrh." And the third boy said, "Frank sent this."
"Nativite 2". James tinn gagn rol Zozef: nou ti bien kontan. Nou ti konsider sa kouma enn bann rol prinsipal. Lasal ti rampli ar bann azan ar bann t-shirt ki dir "James Robinson LIMEM Zozef!" (Riye) Li pa ti ena pou koze, me zot konn sa parti kot trwa lerwa vini la? Zot vini avek kado, lor ek lobann. Sa inn vremem arive. A enn moman mo panse ki zot inn bliye enn sekans parski kan nounn dimann ti garson la apre, "Tou korek?", linn reponn, "Wi, kifer? Sa pa ti bon?" Zot inn zis fer melanz. Trwa garson ti rantre. Zot ena katran, ar zot ti serviet lor latet. Zot poz bann bwat anba, ek premie la dir, "Monn amenn lor." Deziem la dir, "Monn amenn lobann."
(Laughter)
Trwaziem la dir, "Frank inn avoy sa." (Riye)
What these things have in common is that kids will take a chance. If they don't know, they'll have a go. Am I right? They're not frightened of being wrong. I don't mean to say that being wrong is the same thing as being creative. What we do know is, if you're not prepared to be wrong, you'll never come up with anything original -- if you're not prepared to be wrong. And by the time they get to be adults, most kids have lost that capacity. They have become frightened of being wrong. And we run our companies like this. We stigmatize mistakes. And we're now running national education systems where mistakes are the worst thing you can make. And the result is that we are educating people out of their creative capacities.
Saki bann zanfan la ena an komun, seki zot oze. Si zot pa kone, zot nek seye. Pa vre? Zot pa per tansion zot pena rezon. Mo pa pe dir ki pena rezon se mem zafer ki et kreatif. Saki nou kone se ki si ou pa pre pou pena rezon, zame ou pa pou fer kitsoz orizinal. Si ou pa pre pou fer erer. Letan grandi vinn adilt, laplipar zanfan perdi sa kapasite la. Zot per tansion zot fer "fot". Koumsa mem ki nou diriz konpani. Nou stigmatiz erer. Ek aster nou diriz nou sistem ledikasion nasional avek lide ki erer se pir zafer ki ou kapav fer. Rezilta, se ki nou pe edik dimounn pou pa servi zot kapasite kreatif.
Picasso once said this, he said that all children are born artists. The problem is to remain an artist as we grow up. I believe this passionately, that we don't grow into creativity, we grow out of it. Or rather, we get educated out of it. So why is this?
Picasso ti dir ki tou zanfan ne artis. Saki difisil se res enn artis letan nou grandi. Mo vremem krwar sa, ki nou pa aprann me blie kouma vinn kreatif. Ou plito nou ledikasion fer nou bliye. Kifer sa?
I lived in Stratford-on-Avon until about five years ago. In fact, we moved from Stratford to Los Angeles. So you can imagine what a seamless transition this was.
Ena sink an, mo ti pe viv Stratford-on-Avon. Ofet nounn bouze al Los Angeles depi Stratford. Zot kav imazine kouma sa tranzision la ti fasil.
(Laughter)
(Riye)
Actually, we lived in a place called Snitterfield, just outside Stratford, which is where Shakespeare's father was born. Are you struck by a new thought? I was. You don't think of Shakespeare having a father, do you? Do you? Because you don't think of Shakespeare being a child, do you? Shakespeare being seven? I never thought of it. I mean, he was seven at some point. He was in somebody's English class, wasn't he?
Ofet, ou ti dan enn landrwa apel Snitterfield zis andeor Stratford, kot Shakespeare so papa ti ne. Aster la zot pe realize? Ek mwasi ti parey. Ki Shakespeare ti ena enn papa? Parski zame zot inn panse ki Shakespeare ti enn zanfan, non? Mazinn Shakespeare a set an? Zame monn pans sa. Anfin, li ti ena 7 an a enn moman. Li ti dan kikenn so klas angle, pa vre?
(Laughter)
(Riye)
How annoying would that be?
Sa ti bizin amerdan, non?
(Laughter)
(Riye)
"Must try harder."
"Fer plis zefor."
(Laughter)
(Riye)
Being sent to bed by his dad, to Shakespeare, "Go to bed, now!" To William Shakespeare. "And put the pencil down!"
So papa dir li al dormi, "William, al dormi aster la mem! Poz sa kreyon la." (Riye)
(Laughter)
"Ek aret koz koumsa."
"And stop speaking like that."
(Riye)
(Laughter)
"It's confusing everybody."
"Personn napa pe konpran."
(Laughter)
(Riye)
Anyway, we moved from Stratford to Los Angeles, and I just want to say a word about the transition. Actually, my son didn't want to come. I've got two kids; he's 21 now, my daughter's 16. He didn't want to come to Los Angeles. He loved it, but he had a girlfriend in England. This was the love of his life, Sarah. He'd known her for a month.
Bon, nounn bouz depi Stratford pu al Los Angeles, ek mo zis anvi dir kitsoz lor sa tranzision la. Mo garson pa ti anvi vini. Mo ena de zanfan: mo garson ena 21 an, mo tifi ena 16 an. Li pa ti anvi vinn Los Angeles. Li ti pou kontan, me li ti ena enn kopinn Langleter. Ti lamour so lavi, Sarah. Li ti konn li depi enn mwa.
(Laughter)
(Riye)
Mind you, they'd had their fourth anniversary, because it's a long time when you're 16. He was really upset on the plane. He said, "I'll never find another girl like Sarah." And we were rather pleased about that, frankly --
Tansion, zot ti fek fet zot katriem laniverser, ek se boukou kan ou ena 16 an. Anfin, li ti bien boude dan avion. Li dir, "Zame pou trouv enn lot tifi kouma Sarah." Ek sa ti fer nou ase kontan, onetman --
(Laughter)
(Riye)
because she was the main reason we were leaving the country.
Parski li ti prinsipal rezon kifer nou ti pe kit pei.
(Laughter)
(Riye)
But something strikes you when you move to America and travel around the world: every education system on earth has the same hierarchy of subjects. Every one. Doesn't matter where you go. You'd think it would be otherwise, but it isn't. At the top are mathematics and languages, then the humanities. At the bottom are the arts. Everywhere on earth. And in pretty much every system, too, there's a hierarchy within the arts. Art and music are normally given a higher status in schools than drama and dance. There isn't an education system on the planet that teaches dance every day to children the way we teach them mathematics. Why? Why not? I think this is rather important. I think math is very important, but so is dance. Children dance all the time if they're allowed to, we all do. We all have bodies, don't we? Did I miss a meeting?
Enn zafer frap ou kan ou vinn Lamerik ek kan ou voyaze dan lemond: tou sistem ledikasion ena mem yerarsi dan bann size. Tou sistem. Nimport kotsa dan lemond. Ou panse lekontrer vre, me ofet non. Lao ou trouv matematik ek langaz, answit sians imenn, ek enba net bann size artistik. Partou lor later. Ek dan sak sistem ena mem enn lot yerasi ant sak size artistik. Desin ek lamizik ena plis prestiz ki teat ek danse. Pena enn sistem ledikasion dan lemond ki ansegn danse toulezour kouma li ansegn matematik. Kifer? Kifer non? Mo panse ki li ase inportan. Mo panse matematik bien inportan, me danse osi. Zanfan danse toultan si nou les zot, nousi parey. Nou tou ena enn lekor, non? Ou eski monn rat kitsoz? (Riye)
(Laughter)
Anverite, saki arive, se ki kan nou edik zanfan,
Truthfully, what happens is, as children grow up, we start to educate them progressively from the waist up. And then we focus on their heads. And slightly to one side.
nou koumans depi zot lipie nou mont ziska zot latet. Apre nou nek konsantre lor latet. Ek impe zis lor kote gos la.
If you were to visit education as an alien and say "What's it for, public education?" I think you'd have to conclude, if you look at the output, who really succeeds by this, who does everything they should, who gets all the brownie points, who are the winners -- I think you'd have to conclude the whole purpose of public education throughout the world is to produce university professors. Isn't it? They're the people who come out the top. And I used to be one, so there.
Si ou enn alienn ek ou vizit sistem la ek ou dimande, "Ledikasion piblik ki servi?", mo panse ou konklizion, si ou get rezilta, get bann ki resi dan sistem, bann ki fer tou kouma bizin, bann ki gagn tou bon pwin, bann gagnan -- mo panse konklizion se ki rol ledikasion piblik, a traver lemond, se prodir bann profeser liniversite. Pa vre? Zot mem ki ariv lao net. Mo mem mo ti profeser.
(Laughter)
(Riye)
And I like university professors, but, you know, we shouldn't hold them up as the high-water mark of all human achievement. They're just a form of life. Another form of life. But they're rather curious. And I say this out of affection for them: there's something curious about professors. In my experience -- not all of them, but typically -- they live in their heads. They live up there and slightly to one side. They're disembodied, you know, in a kind of literal way. They look upon their body as a form of transport for their heads.
Mo kontan bann profeser liniversite, me ou kone, nou pa oblize pran zot kouma meyer mezir pou reysit. Zot zis enn form lavi, enn lot kalite form lavi. Me zot ase etranz, ek mo pe dir sa parski mo bien kontan zot. Ena kitsoz etranz ar bann profeser, dapre mwa -- pa zot tou, me boukou, viv dan zot latet. Zot viv lao isi, ek inpe lor kote gos la. Zot pena lekor, ou kone, ase literalman. Pou zot, zot lekor li enn form transpor pou zot latet.
(Laughter)
(Riye)
Don't they? It's a way of getting their head to meetings.
Pa vre? Se enn fason amenn zot latet dan bann reunion.
(Laughter)
(Riye)
If you want real evidence of out-of-body experiences, by the way, get yourself along to a residential conference of senior academics and pop into the discotheque on the final night.
Si ou le kit prev lor bann lexperians andeor lekor, nek al dan enn konferans avek bann akademik senior, ek al dan enn diskotek dernie zour.
(Laughter)
(Riye)
And there, you will see it. Grown men and women writhing uncontrollably, off the beat.
Lerla zot pou trouve. Bann misie ek madam ki pe zigile san aukenn ritm.
(Laughter)
(Riye)
Waiting until it ends, so they can go home and write a paper about it.
Nek atann, kouma zot al lakaz zot pou ekrir enn lartik lor la.
(Laughter)
(Riye)
Our education system is predicated on the idea of academic ability. And there's a reason. Around the world, there were no public systems of education, really, before the 19th century. They all came into being to meet the needs of industrialism. So the hierarchy is rooted on two ideas.
Nou sistem ledikasion baze lor capasite akademik. Ena enn rezon pou sa. Dan lemond, pa ti ena okenn sistem ledikasion piblik avan dizneviem siek. Tousala finn arive akoz lindistrializasion ti bizin sa. Alor sa yerarsi la baze lor de lide.
Number one, that the most useful subjects for work are at the top. So you were probably steered benignly away from things at school when you were a kid, things you liked, on the grounds you would never get a job doing that. Is that right? "Don't do music, you're not going to be a musician; don't do art, you won't be an artist." Benign advice -- now, profoundly mistaken. The whole world is engulfed in a revolution.
Premie, se ki bann size pli itil pu lao net. Akoz samem kapav ou finn detourne depi bann zafer ki ou ti kontan kan ou ti zanfan, parski sanse pa pou gagn travay ou lavi avek sa, pa vre? Pa pran lamizik, to pa pou vinn mizisien; pa pran art, to pa pou vinn artis. Bann konsey ki bien kouran me ki prondeman antor. Lemond antie pe pas dan enn revolision.
And the second is academic ability, which has really come to dominate our view of intelligence, because the universities design the system in their image. If you think of it, the whole system of public education around the world is a protracted process of university entrance. And the consequence is that many highly talented, brilliant, creative people think they're not, because the thing they were good at at school wasn't valued, or was actually stigmatized. And I think we can't afford to go on that way.
Deziem lide, se ki capasite akademik finn vinn definir saki nou apel lintelizans, parski linversite finn kre sa sistem la dapre zot mem. Kan ou panse, tou sistem ledikasion piblik dan lemond, se enn long prosesis pou rant dan liniversite. So konsekans se ki boukou dimounn ki ena talan, ki briyan ek kreatif, napa panse ki zot koumsa akoz sel zafer dan ki zot ti bon dan lekol pa ti ena valer ou ti stigmatize. Mo pa panse nou kapav kontinie koumsa.
In the next 30 years, according to UNESCO, more people worldwide will be graduating through education than since the beginning of history. More people. And it's the combination of all the things we've talked about: technology and its transformational effect on work, and demography and the huge explosion in population.
UNESCO dir ki dan 30 an, pli boukou dimounn pou gradwe depi ledikasion piblik ki depi koumansman listwar. Plis dimounn, ek se sa melanz de tou saki nounn koze -- teknolozi ek kouma li pe transform travay, ek demografi avek so lexplozion popilasion.
Suddenly, degrees aren't worth anything. Isn't that true? When I was a student, if you had a degree, you had a job. If you didn't have a job, it's because you didn't want one. And I didn't want one, frankly.
Enn sel kout, diplom pa pou vo nanye. Pa vre? Kan mo ti etidian, si ou ti ena diplom, ou ti ena travay. Si ou pa ti ena travay, se parski ou pa ti anvi travay. Ek mwa mo pa ti anvi. (Riye)
(Laughter)
Me aster bann zanfan diplome
But now kids with degrees are often heading home to carry on playing video games, because you need an MA where the previous job required a BA, and now you need a PhD for the other. It's a process of academic inflation. And it indicates the whole structure of education is shifting beneath our feet. We need to radically rethink our view of intelligence.
souvan pe retourn kot paran pou kontign zwe video game, akoz ou bizin enn MA kot avan ti bizin enn BA, ek aster pe bizin PhD. Se enn prosesis inflasion akademik. Ek sa montre kouma striktir ledikasion pe bouze anba nou prop lipie.
We know three things about intelligence. One, it's diverse. We think about the world in all the ways that we experience it. We think visually, we think in sound, we think kinesthetically. We think in abstract terms, we think in movement. Secondly, intelligence is dynamic. If you look at the interactions of a human brain, as we heard yesterday from a number of presentations, intelligence is wonderfully interactive. The brain isn't divided into compartments. In fact, creativity -- which I define as the process of having original ideas that have value -- more often than not comes about through the interaction of different disciplinary ways of seeing things.
Nou bizin sanz nou definision lintelizans. Nou konn trwa kitsoz lor lintelizans. Premie, se ki li divers. Nou persepsion lemond depann lor tou kalite lexperians. Nou reflesi vizwelman, avek son, avek nou sans touse. Nou reflesi de fason abstre ou an mouvman. Deziem, lintelizans li dinamik. Si ou get bann interaksion dan servo, kouma nounn tande yer depi ennta prezantasion, lintelizans extra interaktif. Nou servo pa divize an konpartiman. Anfet, kreativite -- ki mo defini kouma prosesis gagn bann lide orizinal ki ena valer -- pli souvan arive atraver interaksion ant diferan fason get bann zafer.
By the way, there's a shaft of nerves that joins the two halves of the brain, called the corpus callosum. It's thicker in women. Following off from Helen yesterday, this is probably why women are better at multitasking. Because you are, aren't you? There's a raft of research, but I know it from my personal life. If my wife is cooking a meal at home, which is not often ... thankfully.
An pasan, ena enn colonn ner ki relie de lemisfer nou servo. Li apel "corpus callosum". Li pli epe kot bann madam. Yer, dapre Helen, se kitfwa akoz sa mem bann madam pli bon dan multi-tasking. Parski zot kapav, pa vre? Boukou resers lor la, me mo konn sa depi lexperians personel. Si mo madam pe kwi lakaz -- ki pa ariv souvan, erezman. (Riye)
(Laughter)
Non, ena zafer ki li fer bien -- me kan li pe kwi,
No, she's good at some things. But if she's cooking, she's dealing with people on the phone, she's talking to the kids, she's painting the ceiling --
an mem tan li kav lor telefonn, li kav pe koz ek zanfan, li kav pe penn plafon,
(Laughter)
li kav pe fer enn loperasion leker.
she's doing open-heart surgery over here. If I'm cooking, the door is shut, the kids are out, the phone's on the hook, if she comes in, I get annoyed. I say, "Terry, please, I'm trying to fry an egg in here."
Si mwa mo pe kwi ... laport ferme, zanfan deor, telefonn debranse, ek si li rantre mo agase. Mo dir, "Terry, enn servis, mo pe sey frir enn dizef la."
(Laughter)
(Riye)
"Give me a break."
"Les mwa trankil."
(Laughter)
(Riye)
Actually, do you know that old philosophical thing, "If a tree falls in a forest, and nobody hears it, did it happen?" Remember that old chestnut? I saw a great T-shirt recently, which said, "If a man speaks his mind in a forest, and no woman hears him, is he still wrong?"
Ofet, ou konn sa vie koze ki dir si enn pie tombe dan bwa ek personn pa tande, eski linn vremem arive? Ou rapel sa zistwar la? Monn trouv enn zoli t-shirt resaman ki dir "Si enn misie dir so laverite dan enn bwa ek okenn madam pa tann li, eski li ena kan mem tor?"
(Laughter)
(Riye)
And the third thing about intelligence is, it's distinct. I'm doing a new book at the moment called "Epiphany," which is based on a series of interviews with people about how they discovered their talent. I'm fascinated by how people got to be there. It's really prompted by a conversation I had with a wonderful woman who maybe most people have never heard of, Gillian Lynne. Have you heard of her? Some have. She's a choreographer, and everybody knows her work. She did "Cats" and "Phantom of the Opera." She's wonderful. I used to be on the board of The Royal Ballet, as you can see.
Trwaziem zafer lor lintelizans se ki li ena plizir form. Mo pe ekrir enn liv ki apel "Epifani" lor enn seri interview avek bann dimounn lor kouma zot finn dekouver zot talan. Mo fasine par kouma zot inn arive dan lavi. Lide la inn ne apre enn konversasion avek enn madam extraordiner ki bokou dimounn pa kone, Gillian Lyne. Ounn deza tande? Ena wi. Dan domenn koregrafi, zot tou konn so travay. Linn fer "Cats" ek "Phantom of the Opera". Li extraordiner. Avan, mo ti lor bord Royal Ballet,
(Laughter)
kouma ou kav trouve.
Gillian and I had lunch one day. I said, "How did you get to be a dancer?" It was interesting. When she was at school, she was really hopeless. And the school, in the '30s, wrote to her parents and said, "We think Gillian has a learning disorder." She couldn't concentrate; she was fidgeting. I think now they'd say she had ADHD. Wouldn't you? But this was the 1930s, and ADHD hadn't been invented at this point. It wasn't an available condition.
Pandan enn dezene avek Gillian, monn dimann li, "Kouma tonn al vinn enn danser?" Ti bien interesan. Kan li ti lekol, pa ti ena okenn lespwar pou li. So lekol dan bann lane 30 ti finn ekrir so paran pou dir ki Gillian bizin ena enn problem aprantisaz. Li pa ti pe kav konsantre: nek li bouzbouze. Zordizour zot ti pou dir ki li ena ADHD, non? Me sa ti dan bann lane 30, ek ADHD pa ti ankor invante. Pa ti enn condision disponib.
(Laughter)
(Riye)
People weren't aware they could have that.
Dimounn pa ti kone ki zot kapav ena sa.
(Laughter)
(Riye)
Anyway, she went to see this specialist. So, this oak-paneled room, and she was there with her mother, and she was led and sat on this chair at the end, and she sat on her hands for 20 minutes, while this man talked to her mother about all the problems Gillian was having at school, because she was disturbing people, her homework was always late, and so on. Little kid of eight. In the end, the doctor went and sat next to Gillian and said, "I've listened to all these things your mother's told me. I need to speak to her privately. Wait here. We'll be back. We won't be very long," and they went and left her.
Bon, linn al get enn spesialis. Linn al ek so mama dan enn pies kouver ar dibwa senn, kot zot inn fer li asiz lor enn sez dan fon lasal pou vin minit pandan ki so mama koz ar dokter la lor tou bann problem ki li gagne lekol. Li ti pe deranz dimounn, li ti pe rann devwar an retar, etc. Ti enn zanfan 8 an sa. A la fin, dokter la leve, al asiz akot Gillian ek dir li, "Monn ekout tou saki to mama finn dir, mo bizin koz ar li an prive. Atann isi, nou pou revini dan enn ti moman." Ek zot inn kit li. Me avan li sorti,
But as they went out of the room, he turned on the radio that was sitting on his desk. And when they got out of the room, he said to her mother, "Just stand and watch her." And the minute they left the room, she was on her feet, moving to the music. And they watched for a few minutes, and he turned to her mother and said, "Mrs. Lynne, Gillian isn't sick. She's a dancer. Take her to a dance school."
dokter la inn alim radio ki ti lor so latab. Ek kan zot inn sorti, li dir mama la, "Nek deboute gete." Nek kouma zot sorti, tifi la dibout, li koumans danse. Zot obzerv li pandan impe minit, lerla dokter la dir so mama, "Madam Lynne, Gillian pa malad, li zis enn danser. Amenn li lekol de dans."
I said, "What happened?" She said, "She did. I can't tell you how wonderful it was. We walked in this room, and it was full of people like me -- people who couldn't sit still, people who had to move to think." Who had to move to think. They did ballet, they did tap, jazz; they did modern; they did contemporary. She was eventually auditioned for the Royal Ballet School. She became a soloist; she had a wonderful career at the Royal Ballet. She eventually graduated from the Royal Ballet School, founded the Gillian Lynne Dance Company, met Andrew Lloyd Webber. She's been responsible for some of the most successful musical theater productions in history, she's given pleasure to millions, and she's a multimillionaire. Somebody else might have put her on medication and told her to calm down.
Mo dimann Gillian, "Lerla kinn arive?" "Samem linn fer. Mo pa kav dir twa kouma sa ti merveye. Nounn rant dan enn lasal kot zot tou ti kouma mwa. Bann dimounn ki pa kav asiz trankil, dimounn ki bizin bouze pou reflesi." Ki bizin bouze pou reflesi. Zot inn aprann bale, tap, jazz, dans modern, dans kontanporenn. Linn al odision pou Royal Ballet School, linn vinn enn danser solo, linn fer enn bel karyer kot Royal Ballet. Finalman linn kit Royal Ballet School ek finn fond Gillian Lynne Dance Company, zwenn Andrew Lloyd Webber. Li mem deryer bokou bann prodiksion teat mizikal kinn ena plis sikse. Linn fer boukou dimounn kontan ek li enn multimilioner. Enn lot dokter ti kav nek donn li medsinn ek dir li kalme.
(Applause)
(Aplodisman)
What I think it comes to is this: Al Gore spoke the other night about ecology and the revolution that was triggered by Rachel Carson. I believe our only hope for the future is to adopt a new conception of human ecology, one in which we start to reconstitute our conception of the richness of human capacity. Our education system has mined our minds in the way that we strip-mine the earth for a particular commodity. And for the future, it won't serve us. We have to rethink the fundamental principles on which we're educating our children.
Ala saki mo panse: lot zour la Al Gore ti koz lor ekolozi ek sa revolision ki finn deklanse par Rachel Carson. Mo panse ki nou sel lespwar pou lefitir se adopte enn nouvo konsepsion "ekolozi imenn", kot nou rekonstrir nou konsepsion de larises kapasite imenn. Nou sistem ledikasion inn minn nou lespri dan mem fason ki nounn explwat later: pou enn komodite an partikilie. Dan lefitir, sa pa pou servi nou. Nou bizin repans bann prinsip fondamantal ki nou servi pou edik nou bann zanfan.
There was a wonderful quote by Jonas Salk, who said, "If all the insects were to disappear from the Earth, within 50 years, all life on Earth would end. If all human beings disappeared from the Earth, within 50 years, all forms of life would flourish." And he's right.
Ena enn zoli sitasion de Jonas Salk, "Si tou bann insek disparet depi later, an mwins ki 50 an, tou lavi lor later pou disparet. Si tou dimounn disparet depi later, an mwins ki 50 an, tou lavi lor later pou epannwi." Ek li ena rezon.
What TED celebrates is the gift of the human imagination. We have to be careful now that we use this gift wisely, and that we avert some of the scenarios that we've talked about. And the only way we'll do it is by seeing our creative capacities for the richness they are and seeing our children for the hope that they are. And our task is to educate their whole being, so they can face this future. By the way -- we may not see this future, but they will. And our job is to help them make something of it.
Saki TED selebre se kado limazinasion imenn. Nou bizin fer atansion ki nou servi sa kado la avek sazes ek ki nou evit bann senario ki nounn koze talerla. Sel fason nou kav fer sa se a traver rekonesans la rises de nou bann kapasite kreatif ek rekonesan nou bann zanfan kouma nou sours lespwar. Nou devwar se edik zot de fason olistik pou ki zot kav afront lefitir. Kapav nou nou pa pou trouv sa fitir la, me zot wi. Nou devwar se ed zot fer kitsoz ar li.
Thank you very much.
Mersi boukou.
(Applause)
(Aplodisman)