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演讲MP3+双语文稿:博物馆应该尊重日常生活,而不仅仅是尊重不平凡的人

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2023年03月19日

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听力课堂TED音频栏目主要包括TED演讲的音频MP3及中英双语文稿,供各位英语爱好者学习使用。本文主要内容为演讲MP3+双语文稿:博物馆应该尊重日常生活,而不仅仅是尊重不平凡的人,希望你会喜欢!

【演讲者及介绍】Ariana Curtis

非裔拉丁美洲研究者和策展人,Ariana A. Curtis负责研究、收集、解释和展示有助于讲述我们所有人的历史以及关于我们之间联系的物品与故事。

【演讲主题】博物馆应该尊重日常生活,而不仅仅是尊重不平凡的人

Museums should honor the everyday, not just the extraordinary

【中英文字幕】

翻译者psjmz mz 校对者Homer Li

00:14

Representation matters. Authentic representations of women matter. I think that too often, our public representations of women are enveloped in the language of the extraordinary. The first American woman to become a self-made millionaire: Madam C. J. Walker ... The dresses of the first ladies of the United States ... Shirley Chisholm, the first woman to seek the US Democratic party's presidential nomination --

代表很重要。 女性的真正代表很重要。 我认为,我们的女性公众代表 往往被各种溢美之词包围。 第一个白手起家的 美国女性百万富翁: 沃克女士… 美国第一夫人的服装… 雪莉 · 奇泽姆,第一个争夺并获得 美国民主党总统候选人提名的女性——

00:45

(Applause)

(鼓掌)

00:48

As a museum curator, I understand why these stories are so seductive. Exceptional women are inspiring and aspirational. But those stories are limiting. By definition, being extraordinary is nonrepresentative. It's atypical. Those stories do not create a broad base for incorporating women's history, and they don't reflect our daily realities. If we can collectively apply that radical notion that women are people, it becomes easier to show women as people are: familiar, diverse, present. In everyone's everyday throughout history, women exist positively -- not as a matter of interpretation, but as a matter of fact. And beyond a more accurate representation of human life, including women considers the quotidian experiences of the almost 3.8 billion people identified as female on this planet.

作为博物馆策展人, 我明白为什么这些故事如此吸引人。 杰出的女性鼓舞人心,志向远大。 但这些故事都有一定的局限性。 就定义而言,杰出并不具有代表性, 不具有典型性。 这些故事并没有为吸纳女性历史 创造一个广泛的基础, 也无法反映我们真实的日常生活。 如果我们能共同接受“女性也是人” 这个根本性的概念, 展示女性的本来面目就更容易了: 熟悉,多样,无处不在。 在历史上每个人的日常生活中, 女性都无处不在—— 无需阐释,这是事实。 超越了对人类生活更准确的阐释, 将女性包含在内,就考虑了这个地球上 38亿女性的日常经历。

01:49

In this now notorious museum scene from the "Black Panther" movie, a white curator erroneously explains an artifact to Michael B. Jordan's character seen here, an artifact from his own culture. This fictional scene caused real debates in our museum communities about who is shaping the narratives and the bias that those narratives hold. Museums are actually rated one of the most trustworthy sources of information in the United States, and with hundreds of millions of visitors from all over the world, we should tell accurate histories, but we don't. There is a movement from within museums themselves to help combat this bias. The simple acknowledgment that museums are not neutral. Museums are didactic. Through the display of art and artifacts, we can incite creativity and foster inclusion, but we are guilty of historical misrepresentation. Our male-centered histories have left our herstories hidden. And there are hard truths about being a woman, especially a woman of color in this industry, that prevents us from centering inclusive examples of women's lives. Museum leadership: predominantly white and male, despite women comprising some 60 percent of museum staffs. Pipelines to leadership for women are bleak -- bleakest for women of color. And the presence of women does not in and of itself guarantee an increase in women's public representation.

在这个来自《黑豹》电影中 臭名昭著的博物馆场景中, 一个白人展管员错误地向 电影中迈克尔 · 乔丹 饰演的角色介绍了 一件来自迈克尔家乡文化的文物。 这个虚构的场景在我们的 博物馆社区引起了一场 关于谁在塑造这些叙述,以及 其中所持有的偏见的实质性辩论。 博物馆往往被视为 美国最值得信赖的信息来源之一, 全球有成千上万的 访客踏上美国的土地, 我们应该告诉大家准确的历史, 但我们并没有做到这一点。 博物馆内部也有这样 旨在消除此类偏见的运动。 简单地承认,博物馆不是中立的。 博物馆是说教的。 通过艺术品和文物的展示, 我们可以激发创造力, 培养包容性, 但我们也对错误地表述历史负有责任。 以男性为中心的历史将 女性的历史隐藏了起来。 关于作为一名女性, 尤其是这个行业中的 有色女性群体, 存在一系列残酷的事实, 使我们无法聚焦于 女性日常生活的缩影。 博物馆管理层方面: 主要是白人和男性, 尽管女性占博物馆 员工人数的60%。 女性的升职之路是暗淡的—— 对于有色人种女性尤为暗淡。 女性的存在本身并不能保证 增加女性的公众代表。

03:25

Not all women are gender equity allies. In the words of feminist theorist bell hooks, "Patriarchy has no gender." Women can support the system of patriarchy just as men can support the fight for gender equity. And we often downplay the importance of intersectionality. Marian Anderson was one of the most celebrated voices of the 20th century, and the Smithsonian collected her 1939 outfit. After the white Daughters of the American Revolution denied her access to sing in Constitution Hall, because she was black, she famously sang instead on the steps of the Lincoln Memorial, to a crowd of over 75,000 people.

不是所有的女性都是 性别平等的盟友。 用女权主义理论家 贝尔 · 胡克斯的话来说, “父权制没有性别。” 女性能够支持父权制, 就如男性可以支持 性别平等斗争一样。 我们常常低估了交叉性的重要性。 玛丽安 · 安德森是20世纪 最著名的女性歌唱家之一, 史密森尼学会收藏了 她1939年的服装。 在美国革命女儿会中的 白人成员因为她是黑人 而拒绝她在宪法大厅演唱后, 她随即在林肯纪念堂的台阶上 为超过75000人演唱, 这一事迹被载入了史册。

04:08

And in libraries all over, including museums, you can still find the groundbreaking 1982 anthology, entitled "All the Women Are White, All the Blacks Are Men, But Some of Us Are Brave."

在世界各地的图书馆, 包括博物馆中, 你仍然可以找到1982年出版的 具有开创性的选集,名为 “所有的女性都是白人, 所有的黑人都是男性, 但我们有些人很勇敢。”

04:22

Demands for the increase of women's representation does not automatically include Afro-Latinas like me ... or immigrant women, or Asian women, or Native women, or trans women, or undocumented women, or women over 65, or girls -- the list can go on and on and on.

要求增加女性代表的要求 并不直接包括象我 这样的非裔拉丁人…… 移民女性,亚洲女性, 印第安女性, 或者变性女性,无证女性, 年龄超过65岁的女性, 亦或者女孩—— 这个名单还很长。

04:40

So what do we do? Targeted initiatives have helped incorporate perspectives that should have always been included. I arrived at the Smithsonian through a Latino curatorial initiative whose hiring of Latinx curators, mostly women, by the way, has raised the profile for Latinx narratives across our institution. And it served as a model for our much larger Smithsonian American Women's History Initiative, which seeks to amplify diverse representations of women in every possible way, so that women show up, not only in the imagery of our contemporary realities, but in our historical representations, because we've always been here. Right now though, in 2018, I can still walk into professional spaces and be the only -- the only person under 40, the only black person, the only black woman, the only Latina, sometimes, the only woman.

那我们该怎么做? 有目标的倡议有助于纳入 本应一直被包括在内的观点。 我通过一个聘用了拉美裔的 拉美裔策展人项目 来到史密森尼, 顺便说一句,被聘用的 大多数都是女性—— 提高了拉丁叙事在 我们机构中的地位。 它是我们规模更大的 史密森尼美国妇女 历史计划的一种模式, 目的在于尽可能放大 对于女性的不同表述, 这样女性才会 不仅出现在当代现实的意象中, 也会出现在我们的历史代表中, 因为我们一直都在。 如今,在2018年,我仍然 可以走进专业领域, 作为唯一—— 唯一一个年龄在 40以下,唯一的黑人, 唯一的黑人女性, 唯一的拉丁人, 有时候,还是唯一的女性。

05:36

My mother is African-American and my father is Afro-Panamanian. I am so proudly and inextricably both. As an Afro-Latina, I'm one of millions. As an Afro-Latina curator, I'm one of very few. And bringing my whole self into the professional realm can feel like an act of bravery, and I'll admit to you that I was not always up for that challenge, whether from fear of rejection or self-preservation. In meetings, I would only speak up when I had a fully developed comment to share. No audible brainstorming or riffing off of colleagues. For a long time, I denied myself the joy of wearing my beloved hoop earrings or nameplate necklace to work, thinking that they were too loud or unscholarly or unprofessional.

我母亲是非裔美国人, 父亲是非裔巴拿马人。 我是如此的骄傲,拥有 如此不可分割的身份结合。 作为一个非洲裔拉丁人, 我只是数百万人中的一员。 作为一名非裔拉丁策展人, 我却是为数不多的几个人之一。 全身心投入专业领域, 感觉像是一种勇敢的行为, 我得承认,面对这个挑战, 我并非总是胸有成竹。 无论是出于害怕被拒绝, 还是自我保护。 在会议中,我只会在 充分酝酿过后想法之后才会发言。 不会参与头脑风暴或 在同事面前即兴发言。 很长时间里, 我压抑着自己戴上 心爱的耳环或铭牌项链 去上班的喜悦之情, 认为它们太花里胡哨、 显得太没学问或太不专业。

06:24

(Laughter)

(笑声)

06:25

I wondered how people would react to my natural hair, or if they viewed me as more acceptable or less authentic when I straightened it. And anyone who has felt outside of mainstream representations understands that there are basic elements just of our everyday being that can make other people uncomfortable. But because I am passionate about the everyday representation of women as we are, I stopped presenting an inauthentic representation of myself or my work. And I have been tested. This is me pointing at my hoop earring in my office --

我想知道人们会对我的 天生发质有什么反应, 或当我把头发拉直时,他们会 更愿意接纳我,还是觉得我不太可信。 任何有过被主流表象 排斥在外的人都知道, 我们日常生活中总有一些基本元素 会让其他人感到不舒服。 然而因为我对 女性的日常代表充满热情, 我不再掩盖自己,或者工作中的真相。 我已经接受了考验。 这是我在办公室指着的自己耳环——

07:01

(Laughter)

(笑声)

07:02

Just last month, I was invited to keynote a Latino Heritage Month event. The week of the presentation, the organization expressed concerns. They called my slides "activist," and they meant that negatively.

就在上个月,我被邀请为拉丁裔 传统月的活动做主题演讲。 在演讲那周,主办单位 表达了他们的担忧。 他们称我的幻灯片为“激进”, 这是一种负面的定位。

07:15

(Laughter)

(笑声)

07:18

(Applause)

(鼓掌)

07:23

Two days before the presentation, they requested that I not show a two-minute video affirming natural hair, because "it may create a barrier to the learning process for some of the participants."

在演讲前两天, 他们要求我不要放那段两分钟的 证实头发是天然的视频, 因为“这可能会对一些参与者的 学习过程造成障碍。”

07:34

(Laughter)

(笑声)

07:35

That poem, "Hair," was written and performed by Elizabeth Acevedo, a Dominican-American 2018 National Book Award winner, and it appeared in an award-winning Smithsonian exhibit that I curated. I canceled the talk, explaining to them that their censorship of me and my work made me uncomfortable.

《头发》那首诗是由 伊丽莎白·阿塞韦多创作和演绎的, 一位获得2018年美国国家图书奖的 多米尼加裔美国人, 它出现在我策划的 史密森尼获奖展览中。 我取消了演讲, 向他们解释,他们对我和我作品的 审查让我感到不舒服。

07:54

(Applause and cheers)

(鼓掌和欢呼)

08:04

Respectability politics and idealized femininity influence how we display women and which women we choose to display. And that display has skewed toward successful and extraordinary and reputable and desirable, which maintains the systemic exclusion and marginalization of the everyday, the regular, the underrepresented and usually, the nonwhite. As a museum curator, I am empowered to change that narrative. I research, collect and interpret objects and images of significance. Celia Cruz, the queen of Salsa --

体面政治和理想化的女性气质 影响着我们如何展示女性, 以及选择展示哪些女性。 这种展示倾向于成功,非凡, 声誉良好和令人满意的特质, 它维持了对日常的, 有规律的,未被充分代表的, 通常是非白人群体 系统性的排斥和边缘化。 作为博物馆策展人, 我有权改变这一叙述。 我研究,收集和解释 有意义的物件和图像。 西莉亚·克鲁兹,萨尔萨舞皇后——

08:38

(Cheers)

(欢呼)

08:39

yes -- is significant. And an Afro-Latina. The Smithsonian has collected her costumes, her shoes, her portrait, her postage stamp and this reimagining ... by artist Tony Peralta. When I collected and displayed this work, it was a victory for symbolic contradictions. Pride in displaying a dark-skinned Latina, a black woman, whose hair is in large rollers which straighten your hair, perhaps a nod to white beauty standards. A refined, glamorous woman in oversized, chunky gold jewelry. When this work was on view, it was one of our most Instagrammed pieces, and visitors told me they connected with the everyday elements of her brown skin or her rollers or her jewelry. Our collections include Celia Cruz and a rare portrait of a young Harriet Tubman ... iconic clothing from the incomparable Oprah Winfrey. But museums can literally change how hundreds of millions of people see women and which women they see. So rather than always the first or the famous, it's also our responsibility to show a regular Saturday at the beauty salon, the art of door-knocker earrings ...

是的——她的地位举足轻重。 她也是非裔拉丁人。 史密森尼学会收藏了 她的服装和鞋子, 她的肖像,印有她头像的邮票, 以及这一由艺术家 托尼·佩拉尔塔所创作的 造型重塑。 当我收集和展示这些作品时, 这是象征性矛盾的胜利。 以展示深色皮肤的拉丁人, 黑人女性为荣, 她的头发是大卷的; 把你的头发变直 也许是对白人审美标准的认可。 一个优雅、迷人的女人, 戴着超大号、厚实的黄金首饰。 当这个作品展出时, 成了我们在Instagram上 最火的作品之一, 参观者告诉我,他们与她棕色皮肤, 卷发器或珠宝的 日常元素产生了共鸣。 我们的收藏品包括西莉亚·克鲁兹, 还有一幅罕见的年轻 哈里特·塔布曼的画像… 无与伦比的奥普拉· 温弗瑞的标志性服装。 但博物馆确实可以改变 数亿人看待女性的方式, 以及他们会看到哪些女性。 所以与其总是展示 最顶尖或最著名的人物, 我们也有责任展示一个 普通周六的美容院, 门环耳环的艺术…

09:55

(Laughter)

(笑声)

09:56

fashionable sisterhood ...

时尚的姐妹会…

09:58

(Laughter)

(笑声)

09:59

and cultural pride at all ages. Stories of everyday women whose stories have been knowingly omitted from our national and global histories.

以及各年龄段的文化自豪感。 那些日常生活中平凡妇女的故事, 其故事过去曾被有意地从我们的 国家和全球历史中抹除。

10:07

And oftentimes in museums, you see women represented by clothing or portraits or photography ... but impactful, life-changing stories from everyday women can also look like this Esmeraldan boat seat. Esmeraldas, Ecuador was a maroon community. Its dense rainforest protected indigenous and African populations from Spanish colonizers. There are roads now, but there are some parts inland that are still only accessible by canoe. Débora Nazareno frequently traveled those Ecuadorian waterways by canoe, so she had her own boat seat. Hers personalized with a spiderweb and a spider, representing Anansi, a character in West African folklore. Débora also sat on this seat at home, telling stories to her grandson, Juan. And this intangible ritual of love in the form of intergenerational storytelling is common in communities across the African diaspora. And this everyday act sparked in Juan the desire to collect and preserve over 50,000 documents related to Afro-Indian culture. In 2005, Juan García Salazar, Débora's grandson, and by now a world-renowned Afro-Ecuadorian scholar, traveled to Washington, D.C. He met with Lonnie Bunch, the director of the museum where I work, and toward the end of their conversation, Juan reached into his bag and said, "I'd like to give you a present." On that day, Débora Nazareno's humble wooden boat seat became the very first object donated to the Smithsonian National Museum of African-American History and Culture. It is encased, displayed and has been seen by almost five million visitors from all over the world.

通常在博物馆里, 你会看到用衣服, 肖像或摄影来代表女性… 但是来自普通女性的影响深远, 足以改变生活的故事 也可以像这个埃斯梅拉达斯船座一样。 厄瓜多尔的埃斯梅拉达斯 是一个以栗色人种为主的社区。 茂密的热带雨林保护了 土著和非洲人免受 西班牙殖民者的侵害。 现在有路了, 但是内陆一些地方的交通 仍然要依靠独木舟。 黛博拉·纳扎拉诺经常乘坐独木舟 在厄瓜多尔的水路上旅行, 所以她有自己的船座。 她的个性化设计含有 蜘蛛网和蜘蛛的图案, 代表西非民间传说中的人物,阿南西。 黛博拉在家时也会坐在上面, 给孙子胡安讲故事。 这种无形的爱的仪式 以跨代际讲故事的形式存在, 在非洲散居的社区中很常见。 这种日常行为激发了胡安收集 5万多份与非洲印第安文化 有关的文件的愿望。 2005年,黛博拉的孙子胡安, 现在是世界著名的 厄瓜多尔非洲裔学者, 来到华盛顿特区。 他会见了我工作的 博物馆的馆长朗尼·邦奇, 在他们的谈话快要结束的时候, 胡安把手伸进包里说: “我想送你一件礼物。” 在那一天,黛博拉·纳扎雷诺 简陋的木船座椅 成为了第一个捐赠给 史密森尼国家博物馆的物品。 它被妥善安置,迄今为止 已经展示给了来自世界各地 近500万名游客。

11:51

I will continue to collect from extraordinary historymakers. Their stories are important. But what drives me to show up today and every day is the simple passion to write our names in history, display them publicly for millions to see and walk in the ever-present light that is woman.

我将继续从非凡的历史 创造者那里收集资料。 他们的故事很重要。 但驱使我今天和每一天 都出现在公众面前的, 是一种简单的热情,那就是 在历史中写下我们的名字, 将它们公开展示给千千万万的人, 并走进永恒的光芒中, 这种光芒就是女性。

12:11

Thank you.

谢谢。

12:12

(Applause and cheers)

(鼓掌和欢呼)

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