TED英語(yǔ)演講：彩繪及社區(qū)燒烤活動(dòng)的重要性
藝術(shù)家 Jeroen Koolhaas 和 Dre Urhahn 通過(guò)彩繪整個(gè)社區(qū)創(chuàng)造了社區(qū)藝術(shù)，他們讓當(dāng)?shù)氐木用駞⑴c進(jìn)來(lái)，從里約熱內(nèi)盧的貧民窟到費(fèi)城北部的街區(qū)。是什么讓他們的項(xiàng)目如此成功?在這個(gè)有趣而具啟發(fā)性的演講中，藝術(shù)家們跟我們解釋了他們的“藝術(shù)為先”的方法——以及社區(qū)燒烤活動(dòng)的重要性。下面是小編為大家收集關(guān)于TED英語(yǔ)演講：彩繪及社區(qū)燒烤活動(dòng)的重要性，歡迎借鑒參考。
TED英語(yǔ)演講：彩繪及社區(qū)燒烤活動(dòng)的重要性
演說(shuō)者：Haas&Hahn
Dre Urhahn: This theater is built on Copacabana, which is the most famous beach in the world, but 25 kilometers away from here in the North Zone of Rio lies a community called Vila Cruzeiro, and roughly 60,000 people live there. Now, the people here in Rio mostly know Vila Cruzeiro from the news, and unfortunately, news from Vila Cruzeiro often is not good news. But Vila Cruzeiro is also the place where our story begins.
Dre Urhahn：這個(gè)劇院建在科巴卡巴那，科巴卡巴那是世界上最有名的海灘，但離這里25千米遠(yuǎn)的地方在里約熱內(nèi)盧的北部，有一個(gè)叫維拉克魯塞羅的社區(qū)，大約有六萬(wàn)人住在那里。在里約熱內(nèi)盧的人大多只在新聞里得知維拉克魯塞羅，不幸的是，來(lái)自維拉克魯塞羅的新聞通常是不好的。不過(guò)維拉克魯塞羅也是我們的故事開始的地方。
Jeroen Koolhaas: Ten years ago, we first came to Rio to shoot a documentary about life in the favelas.Now, we learned that favelas are informal communities. They emerged over the years when immigrants from the countryside came to the cities looking for work, like cities within the cities, known for problems like crime, poverty, and the violent drug war between police and the drug gangs.
Jeroen Koolhaas：十年前，我們第一次來(lái)到里約熱內(nèi)盧，來(lái)拍攝一部關(guān)于貧民窟生活的紀(jì)錄片?，F(xiàn)在我們知道貧民窟是非正式的社區(qū)，隨著周邊村民進(jìn)城務(wù)工這個(gè)社區(qū)逐年壯大起來(lái)。如同城市里被分割出的又一座城，貧民窟以犯罪，貧困以及警察與毒品團(tuán)伙之間的暴力沖突這樣的問(wèn)題而聞名。
So what struck us was that these were communities that the people who lived there had built with their own hands, without a master plan and like a giant work in progress. Where we're from, in Holland, everything is planned. We even have rules for how to follow the rules.
讓我們震撼的是 這些社區(qū)是住在這里的人們用自己的雙手建成的，這里沒(méi)有總體計(jì)劃，而是一直在進(jìn)行的浩大工程。我們來(lái)自荷蘭，在荷蘭，一切都是計(jì)劃好的。我們甚至有“如何遵守規(guī)則”的規(guī)則。
DU: So the last day of filming, we ended up in Vila Cruzeiro, and we were sitting down and we had a drink, and we were overlooking this hill with all these houses, and most of these houses looked unfinished, and they had walls of bare brick, but we saw some of these houses which were plastered and painted, and suddenly we had this idea: what would it look like if all these houses would be plastered and painted?
Dre Urhahn：拍攝的最后一天，我們到了維拉克魯塞羅，我們坐著一邊喝東西，一邊遠(yuǎn)眺著這座山。山上有許多房屋，大部分房屋看起來(lái)都還沒(méi)建好，它們的外墻都是裸露的磚塊，但我們看見(jiàn)其中的一些房子已經(jīng)粉刷好并上了漆，我們突然有了一個(gè)想法。如果把這山上所有的房子都進(jìn)行粉刷并上漆，將是怎樣一種景象?
And then we imagined one big design, one big work of art. Who would expect something like that in a place like this? So we thought, would that even be possible? So first we started to count the houses, but we soon lost count. But somehow the idea stuck.
然后我們想象了一個(gè)大設(shè)計(jì)，一件宏大的藝術(shù)作品。誰(shuí)會(huì)想到在這種地方會(huì)有這樣的東西?我們就想這個(gè)計(jì)劃可行嗎?于是我們先開始數(shù)這些房子，可沒(méi)一會(huì)我們就數(shù)糊涂了。 但不知為什么這個(gè)想法揮之不去。
JK: We had a friend. He ran an NGO in Vila Cruzeiro. His name was Nanko, and he also liked the idea. He said, "You know, everybody here would pretty much love to have their houses plastered and painted. It's when a house is finished."
Jeroen Koolhaas：我們有個(gè)朋友，他在維拉克魯塞羅運(yùn)營(yíng)著一個(gè)非政府組織，他的名字叫南科，他也很喜歡我們這個(gè)想法。他說(shuō)：“你們知道嗎?其實(shí)這里所有的人都很想給自己的房子粉刷并上漆，全部都刷好時(shí)才叫蓋好了房子。“
So he introduced us to the right people, and Vitor and Maurinho became our crew. We picked three houses in the center of the community and we start here. We made a few designs,and everybody liked this design of a boy flying a kite the best. So we started painting, and the first thing we did was to paint everything blue, and we thought that looked already pretty good.
于是他給我們介紹了兩個(gè)得力人選，就這樣，維托和穆里尼奧加入了我們。我們選了社區(qū)中心的三所房子，我們從這三所房子開始，我們做了一些設(shè)計(jì)，其中那個(gè)男孩放風(fēng)箏的設(shè)計(jì)成了大家的最愛(ài)。于是我們開始粉刷，粉刷的第一步就是將所有房屋都刷成藍(lán)色，刷完之后我們覺(jué)得已經(jīng)很不錯(cuò)了。
But they hated it. The people who lived there really hated it. They said, "What did you do? You painted our house in exactly the same color as the police station." (Laughter) In a favela, that is not a good thing. Also the same color as the prison cell.
但居民們不買賬，他們討厭極了我們刷的藍(lán)色，他們說(shuō)：“你們做了什么?你們給我們的房子刷的這個(gè)顏色，跟警察局那顏色一模一樣。” 在貧民窟，這可不是件好事。這顏色也跟監(jiān)獄的顏色一模一樣。
So we quickly went ahead and we painted the boy, and then we thought we were finished, we were really happy, but still, it wasn't good because the little kids started coming up to us,and they said, "You know, there's a boy flying the kite, but where is his kite?" We said, "Uh, it's art. You know, you have to imagine the kite." (Laughter)
所以我們火速進(jìn)行下一步，我們畫出了那個(gè)男孩，然后我們以為我們完成了，我們非常開心，但是，這還不好，因?yàn)橐恍┬『⒆娱_始來(lái)找我們，他們說(shuō)：“那是個(gè)男孩在放風(fēng)箏，但風(fēng)箏在哪兒?”我們說(shuō)：“額，這是藝術(shù)你得想像出那個(gè)風(fēng)箏。”(笑聲)
And they said, "No, no, no, we want to see the kite." So we quickly installed a kite way up high on the hill, so that you could see the boy flying the kite and you could actually see a kite. So the local news started writing about it, which was great, and then even The Guardian wrote about it: "Notorious slum becomes open-air gallery."
然后他們說(shuō) ：“不不不，我們想看到那個(gè)風(fēng)箏。”所以我們很快安上了一個(gè)風(fēng)箏，在高高的山上，這樣你就能看見(jiàn)一個(gè)男孩在放風(fēng)箏，你真的能看見(jiàn)一個(gè)風(fēng)箏。當(dāng)?shù)氐男侣勯_始寫有關(guān)它的報(bào)道，這非常好，甚至英國(guó)衛(wèi)報(bào)也寫了有關(guān)它的報(bào)道： “臭名昭著的貧民窟成露天畫廊”。
JK: So, encouraged by this success, we went back to Rio for a second project, and we stumbled upon this street. It was covered in concrete to prevent mudslides, and somehow we saw a sort of river in it,and we imagined this river to be a river in Japanese style with koi carp swimming upstream.
Jeroen Koolhaas：被成功所鼓舞，我們沖著第二個(gè)項(xiàng)目又回到了里約熱內(nèi)盧。我們不知不覺(jué)來(lái)到了這條路上，這條路為了防止泥石流而鋪上了水泥，而我們仿佛看到了一條河，然后我們想像這河是日式風(fēng)格的，河中有鯉魚逆流而上。
So we decided to paint that river, and we invited Rob Admiraal, who is a tattoo artist, and he specialized in the Japanese style. So little did we know that we would spend almost an entire year painting that river,together with Geovani and Robinho and Vitor, who lived nearby. And we even moved into the neighborhood when one of the guys that lived on the street, Elias, told us that we could come and live in his house, together with his family, which was fantastic.
于是我們決定畫出這條河，我們邀請(qǐng)了羅布·阿德米亞，他是個(gè)紋身藝術(shù)家，他擅長(zhǎng)日式風(fēng)格。我們哪里知道我們接下來(lái)幾乎花了一整年的時(shí)間來(lái)畫這條河，和住在附近的喬瓦尼，羅比尼奧和維托一起。我們甚至住進(jìn)了“河”附近的街道，一個(gè)住在那條街上的人，艾利亞斯邀請(qǐng)我們和他家人一起住，這非常棒。
Unfortunately, during that time, another war broke out between the police and the drug gangs. (Video) (Gunfire) We learned that during those times,people in communities really stick together during these times of hardship, but we also learned a very important element, the importance of barbecues. (Laughter) Because, when you throw a barbecue, it turns you from a guest into a host, so we decided to throw one almost every other week, and we got to know everybody in the neighborhood.
不幸的是，在那時(shí)候，在警察和販毒團(tuán)伙之間又爆發(fā)了一場(chǎng)戰(zhàn)爭(zhēng)。 (視頻)(槍聲)我們明白了在這種時(shí)候，社區(qū)里的人們真的非常團(tuán)結(jié)，他們一起共渡難關(guān)。我們還明白了一個(gè)東西的重要性，燒烤的重要性。(笑聲)因?yàn)楫?dāng)你開燒烤派對(duì)的時(shí)候，你從客人變成了主人，所以我們決定幾乎每隔一周都開一次燒烤派對(duì)，然后我們認(rèn)識(shí)了社區(qū)里的每一個(gè)人。
JK: We still had this idea of the hill, though.
Jeroen Koolhaas：但我們還有對(duì)這個(gè)山的想法。
DU: Yeah, yeah, we were talking about the scale of this, because this painting was incredibly big, and it was insanely detailed, and this process almost drove us completely insane ourselves. But we figured that maybe, during this process, all the time that we had spent in the neighborhood was maybe actually even more important than the painting itself.
Dre Urhahn：對(duì)，對(duì)，我們討論了它的比例，因?yàn)檫@個(gè)畫作異常巨大，又有無(wú)數(shù)細(xì)節(jié)，這個(gè)過(guò)程幾乎把我們完全逼瘋。但是我們想到，也許在這個(gè)過(guò)程中，我們?cè)谏鐓^(qū)里度過(guò)的時(shí)光，可能實(shí)際上比繪畫本身更加重要。
JK: So after all that time, this hill, this idea was still there, and we started to make sketches, models, and we figured something out. We figured that our ideas, our designs had to be a little bit more simple than that last project so that we could paint with more people and cover more houses at the same time.
Jeroen Koolhaas：在那么長(zhǎng)時(shí)間之后，這個(gè)山，這個(gè)想法還在，我們開始畫草稿，模型，然后我們明白了一些東西。我們明白了，我們的想法和設(shè)計(jì)要比上次的項(xiàng)目更加簡(jiǎn)單一些，這樣我們就可以讓更多人一起來(lái)畫，并同時(shí)覆蓋更多的房子。
And we had an opportunity to try that out in a community in the central part of Rio, which is called Santa Marta, and we made a design for this place which looked like this, and then we got people to go along with it because turns out that if your idea is ridiculously big, it's easier to get people to go along with this.
在里約熱內(nèi)盧中心的一個(gè)叫做圣瑪爾塔的社區(qū)，我們有了個(gè)實(shí)踐這個(gè)想法的機(jī)會(huì)。我們給這個(gè)地方做了個(gè)這樣的設(shè)計(jì)，然后我們說(shuō)服人們接受了這個(gè)設(shè)計(jì)，因?yàn)槭聦?shí)是，如果你的想法大得荒.唐的話，就更容易得到大家的贊成。
And the people of Santa Marta got together and in a little over a month they turned that square into this. (Applause) And this image somehow went all over the world.
圣瑪爾塔的居民 聚到了一起并在一個(gè)月多一點(diǎn)的時(shí)間內(nèi)，他們把那個(gè)廣場(chǎng)變成了這個(gè)樣子。(掌聲)不知怎么回事這張照片傳遍了全球。
DU: So then we received an unexpected phone call from the Philadelphia Mural Arts Program, and they had this question if this idea, our approach, if this would actually work in North Philly, which is one of the poorest neighborhoods in the United States.
Dre Urhahn：我們接到了一個(gè)意外的電話，這個(gè)電話來(lái)自費(fèi)城壁畫藝術(shù)計(jì)劃，他們有個(gè)問(wèn)題，我們的想法、我們的方法，能否在費(fèi)城北部實(shí)施，費(fèi)城北部是全美最貧困的社區(qū)之一。
So we immediately said yes. We had no idea how, but it seemed like a very interesting challenge, so we did exactly the same as we did in Rio, and we moved into the neighborhood and started barbecuing. (Laughter) So the project took almost two years to complete,and we made individual designs for every single house on the avenue that we painted, and we made these designs together with the local store owners, the building owners, and a team of about a dozen young men and women. They were hired, and then they were trained as painters, and together they transformed their own neighborhood, the whole street, into a giant patchwork of color. (Applause) And at the end, the city of Philadelphia thanked every single one of them and gave them a merit for their accomplishment.
我們馬上答應(yīng)了，我們不知道怎么做，但這看起來(lái)是個(gè)有趣的挑戰(zhàn)。于是我們做了跟在里約熱內(nèi)盧一樣的事，我們住進(jìn)了當(dāng)?shù)厣鐓^(qū)，開始了燒烤。(笑聲)這個(gè)項(xiàng)目我們花了將近兩年完成， 我們?yōu)檫@條街上的每一個(gè)房子都做了單獨(dú)的設(shè)計(jì)， 我們和當(dāng)?shù)氐牡昙液头恐鳎?還有一隊(duì)十來(lái)個(gè)的年輕人， 一起做出了這些設(shè)計(jì)。我們雇傭了他們，然后給他們提供培訓(xùn)，他們一起把他們自己的社區(qū)，整條街道，改造成了一幅巨大的色彩拼接圖。 (掌聲)最后，費(fèi)城政府 感謝了每個(gè)參與這個(gè)工作的人 并對(duì)他們的成果給予了獎(jiǎng)勵(lì)。
JK: So now we had painted a whole street. How about we do this whole hill now? We started looking for funding, but instead, we just ran into questions, like, how many houses are you going to paint? How many square meters is that? How much paint are you going to use, and how many people are you going to employ? And we did try for years to write plans for the funding and answer all those questions, but then we thought, in order to answer all those questions, you have to know exactly what you're going to do before you actually get there and start. And maybe it's a mistake to think like that. It would lose some of the magic that we had learned about that if you go somewhere and you spend time there, you can let the project grow organically and have a life of its own.
Jeroen Koolhaas：現(xiàn)在我們畫好了整條街， 接下來(lái)是不是該著手這座山了? 我們開始尋找資金， 但是，我們遇到了一些問(wèn)題， 比如你們要刷多少棟房子? 那是多少平米? 你們要用多少墻漆? 你們要雇多少人?我們好幾年來(lái)一直試圖 寫投資計(jì)劃書并回答這些問(wèn)題， 但我們又想， 回答這些問(wèn)題， 你需要在你到那里和開始之前 準(zhǔn)確地知道你要干什么。 可能這么想不對(duì)。 它可能會(huì)因此失去我們學(xué)到的一些神奇的東西， 就是如果你去一個(gè)地方，你在那里生活， 你可以讓藝術(shù)項(xiàng)目有機(jī)地生長(zhǎng)， 有自己的生命。
DU: So what we did is we decided to take this plan and strip it away from all the numbers and all the ideas and presumptions and just go back to the base idea, which was to transform this hill into a giant work of art. And instead of looking for funding, we started a crowdfunding campaign, and in a little over a month, more than 1,500 people put together and donated over 100,000 dollars. So for us, this was an amazing moment, because now — (Applause) — because now we finally had the freedom to use all the lessons that we had learned and create a project that was built the same way that the favela was built,from the ground on up, bottom up, with no master plan.
Dre Urhahn：所以我們做的是 我們決定用這個(gè)計(jì)劃， 撇開它上面所有的數(shù)字， 所有的想法和假設(shè)， 然后回到最基本的想法， 就是把這座山 變成一件巨大的藝術(shù)作品。 我們做了一個(gè)群眾募資活動(dòng)而不是尋找投資， 在一個(gè)月多一點(diǎn)的時(shí)間內(nèi)， 1500多人一起募集捐贈(zèng)了超過(guò)十萬(wàn)美元。 對(duì)我們來(lái)說(shuō)，這是個(gè)驚喜的時(shí)刻，因?yàn)楝F(xiàn)在—— (掌聲) 因?yàn)楝F(xiàn)在我們終于有自由 運(yùn)用所有我們學(xué)到的東西 來(lái)創(chuàng)造一個(gè) 跟貧民窟一樣建造起來(lái)的項(xiàng)目， 從地面到房頂，從下而上， 沒(méi)有總體計(jì)劃。
JK: So we went back, and we employed Angelo, and he's a local artist from Vila Cruzeiro, very talented guy, and he knows almost everybody there, and then we employed Elias, our former landlord who invited us into his house, and he's a master of construction. Together with them, we decided where to start. We picked this spot in Vila Cruzeiro, and houses are being plastered as we speak. And the good thing about them is that they are deciding which houses go next. They're even printing t-shirts, they're putting up banners explaining everything to everybody, and talking to the press. This article about Angelo appeared.
Jeroen Koolhaas：我們回去雇傭了安杰洛， 他是個(gè)來(lái)自維拉克魯塞羅當(dāng)?shù)氐乃囆g(shù)家， 他是個(gè)有天賦的人，他還認(rèn)識(shí)那里幾乎所有的人， 然后我們雇了我們的前房東艾利亞斯， 他之前邀請(qǐng)過(guò)我們?nèi)プ∷姆孔樱?他是個(gè)建筑大師。 和他們一起，我們決定了從哪里開始。 我們選了維拉克魯塞羅的這個(gè)地方， 此刻這些房子正在粉刷中。 有他們的好處就是 他們來(lái)決定要刷的下一個(gè)房子。 他們甚至印了T恤衫， 他們掛起了條幅，向大家解釋一切， 和媒體交流。 這是有關(guān)安杰洛的報(bào)道。
DU: So while this is happening, we are bringing this idea all over the world. So, like the project we did in Philadelphia, we are also invited to do workshops, for instance in Cura?ao, and right now we're planning a huge project in Haiti.
Dre Urhahn：與此同時(shí)， 我們希望把這個(gè)想法帶到全世界。 像我們?cè)谫M(fèi)城做的項(xiàng)目一樣， 我們也被邀請(qǐng)去開研討會(huì)， 比如在庫(kù)拉索， 現(xiàn)在我們正在計(jì)劃在海地的一個(gè)巨大的項(xiàng)目。
JK: So the favela was not only the place where this idea started: it was also the place that made it possible to work without a master plan, because these communities are informal — this was the inspiration — and in a communal effort, together with the people, you can almost work like in an orchestra, where you can have a hundred instruments playing together to create a symphony.
Jeroen Koolhaas： 所以貧民窟不僅是這個(gè)想法開始的地方， 它也是讓這個(gè)想法得以成真的地方， 這里不需要總體規(guī)劃， 因?yàn)檫@些社區(qū)是非正式的- 這就是我們的靈感來(lái)源- 和這些人一起，用共同的努力， 你可以像在一個(gè)管弦樂(lè)隊(duì)里工作一樣， 你可以有上百個(gè)樂(lè)器， 一起奏響一曲交響樂(lè)。
DU: So we want to thank everybody who wanted to become part of this dream and supported us along the way, and we are looking at continuing.
Dre Urhahn：我們想感謝所有 想成為這個(gè)夢(mèng)想的一部分 并一直支持我們的人， 我們也希望繼續(xù)下去。
JK: Yeah. And so one day pretty soon, when the colors start going up on these walls, we hope more people will join us, and join this big dream, and maybe one day, the whole of Vila Cruzeiro will be painted.
Jeroen Koolhaas：很快會(huì)有一天， 在色彩爬上這些墻面時(shí)， 我們希望更多人能加入我們， 加入這個(gè)巨大的夢(mèng)想， 可能有一天，整個(gè)維拉克魯塞羅 都會(huì)被畫滿。
DU: Thank you.(Applause)
Dre Urhahn：謝謝。(掌聲)
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