演講MP3+雙語文稿:艱辛的移民之路需要靠什么撐下來？

聽力課堂TED音頻欄目主要包括TED演講的音頻MP3及中英雙語文稿，供各位英語愛好者學(xué)習(xí)使用。本文主要內(nèi)容為演講MP3+雙語文稿:艱辛的移民之路需要靠什么撐下來？，希望你會喜歡！

【演講者及介紹】Jon Lowenstein

TED研究員喬恩·洛溫斯坦是一位紀實攝影師、電影制作人和視覺藝術(shù)家，他的作品揭示了那些試圖隱藏的力量。

【演講主題】家庭、希望和在移民之路上的韌性

Family, hope and resilience on the migrant trail

【中英文字幕】

翻譯者 psjmz mz 校對者 Jin Ge

00:16

[This talk contains graphic images]

[本演講含敏感圖像內(nèi)容]

00:20

So I'm sitting across from Pedro, the coyote, the human smuggler, in his cement block apartment, in a dusty Reynosa neighborhood somewhere on the US-Mexico border. It's 3am. The day before, he had asked me to come back to his apartment. We would talk man to man. He wanted me to be there at night and alone. I didn't know if he was setting me up, but I knew I wanted to tell his story. He asked me, "What will you do if one of these pollitos, or migrants, slips into the water and can't swim? Will you simply take your pictures and watch him drown? Or will you jump in and help me?" At that moment, Pedro wasn't a cartoonish TV version of a human smuggler. He was just a young man, about my age, asking me some really tough questions. This was life and death.

我坐在佩德羅對面，這個郊狼，蛇頭，在他的水泥磚公寓里，在美墨邊境一個塵土飛揚 的雷諾薩社區(qū)。當(dāng)時是凌晨3點。前一天，他讓我回到他的公寓。我們會一對一地交談。他讓我晚上獨自過來。我不知道他會不會陷害我，但我知道我想講述他的故事。他問我，“你會怎么做，如果這些波利托斯人，或移民，滑落水中，不會游泳？ 你是簡單拍個照然后看著他淹死嗎？ 還是你會跳進去幫助我？” 那個時候，佩德羅并不是 一個卡通版的走私犯。他只是個年輕人，跟我一樣的年紀，問我些真的非常尖銳的問題。這就是生和死的問題。

01:18

The next night, I photographed Pedro as he swam the Rio Grande, crossing with a group of young migrants into the United States. Real lives hung in the balance every time he crossed people. For the last 20 years, I've documented one of the largest transnational migrations in world history, which has resulted in millions of undocumented people living in the United States. The vast majority of these people leave Central America and Mexico to escape grinding poverty and extreme levels of social violence.

第二天晚上，我拍下了 佩德羅和一群年輕移民 一起橫渡里約熱內(nèi)盧格蘭德河 進入美國的照片。每次他帶人橫渡時，活生生 的生命都是在鬼門關(guān)打轉(zhuǎn)。在過去20年間，我記錄下了世界歷史上一次最大的 跨國移民，它開啟了數(shù)百萬無證人群 在美國的生活。大部分人離開中美洲和墨西哥，是為了逃離極度貧困 和極端的社會暴力。

01:52

I photograph intimate moments of everyday people's lives, of people living in the shadows. Time and again, I've witnessed resilient individuals in extremely challenging situations constructing practical ways to improve their lives. With these photographs, I place you squarely in the middle of these moments and ask you to think about them as if you knew them. This body of work is a historical document, a time capsule that can teach us not only about migration, but about society and ourselves.

我近距離拍下了人們?nèi)粘Ｉ畹乃查g，這些生活在陰影中的人們。一次次的，我目睹了堅強的人 在極端挑戰(zhàn)的環(huán)境中 建設(shè)切實可行的方式 來改善他們的生活。通過這些照片，我把你放在這些瞬間的正中央，讓你思考它們，就像你知道它們一樣。這些作品是歷史文獻，一個不僅告訴我們了解移民，而且包括社會和我們自己的時間膠囊。

02:29

I started the project in the year 2000. The migrant trail has taught me how we treat our most vulnerable residents in the United States. It has taught me about violence and pain and hope and resilience and struggle and sacrifice. It has taught me firsthand that rhetoric and political policy directly impact real people. And most of all, the migrant trail has taught me that everyone who embarks on it is changed forever.

我在2000年時開始這個項目。移民之路告訴了我 我們?nèi)绾螌Υ诿绹畲嗳醯木用?。它告訴了我暴力、痛苦、希望、堅強、 掙扎和犧牲。它教會了我第一手的知識，言論和政治政策直接影響 到現(xiàn)實生活中的人。最重要的是，移民之路教會我 每個踏上這條路的人 都會被永遠改變。

03:05

I began this project in the year 2000 by documenting a group of day laborers on Chicago’s Northwest side. Each day, the men would wake up at 5am, go to a McDonald's, where they would stand outside and wait to jump into strangers' work vans, in the hopes of finding a job for the day. They earned five dollars an hour, had no job security, no health insurance and were almost all undocumented. The men were all pretty tough. They had to be. The police constantly harassed them for loitering, as they made their way each day. Slowly, they welcomed me into their community. And this was one of the first times that I consciously used my camera as a weapon.

我在2000年通過 記錄芝加哥西北部的 一群日工開始這個項目，每天，人們早上5點起來，來到麥當(dāng)勞餐廳外面呆著，等著跳進陌生人的工作車，希望能找到今天的工作。他們每小時賺5美金，沒有工作保障，沒有醫(yī)療保障，并且?guī)缀跞呛趹簟Ｋ麄兌己軋詮?。他們得堅強。警察不斷地騷擾他們，因為他們每天都在路上閑逛。慢慢的，他們接納我加入他們的群體。這是我第一次 有意識地使用我的相機作為武器。

03:49

One day, as the men were organizing to make a day-labor worker center, a young man named Tomás came up to me and asked me will I stay afterwards and photograph him. So I agreed. As he walked into the middle of the empty dirt lot, a light summer rain started to fall. Much to my surprise, he started to take off his clothes. (Laughs) I didn't exactly know what to do. He pointed to the sky and said, "Our bodies are all we have." He was proud, defiant and vulnerable, all at once.

有一天，當(dāng)工人們正在組織 建立一個日工中心時，一個名叫托馬斯的年輕人 走過來問我 愿不愿意留下來拍攝他。我同意了。當(dāng)他走到空地中間時，一場夏日小雨開始落下。讓我吃驚的是，他開始脫下衣服。我不知道應(yīng)該做什么。他指向天空說，“我們的身體就是我們的全部?！?他很驕傲，很勇敢，很脆弱，全集在一起。

04:31

I met Lupe Guzmán around the same time, while she was organizing and fighting the day-labor agencies which were exploiting her and her coworkers. She organized small-scale protests, sit-ins and much more. She paid a high price for her activism, because the day-labor agencies like Ron's blackballed her and refused to give her work. So in order to survive, she started selling elotes, or corn on the cob, on the street, as a street vendor. And today, you can still find her selling all types of corn and different candies and stuff.

大約在那個時候，我遇見了盧佩·古茲曼，當(dāng)時她正在組織和對抗那些剝削 她和她的同事的日工機構(gòu)。她組織了小規(guī)模的抗議、靜坐等活動。她為自己的激進付出了高昂的代價，因為像Ron's這樣的日工中介 拒絕給她工作。所以為了生存，她開始在街上作為街頭小販 賣墨西哥玉米棒。今天，你仍然可以看到她在賣 各種各樣的玉米和糖果之類的東西。

05:08

Lupe brought me into the inner world of her family and showed me the true impact of migration. She introduced me to everyone in her extended family, Gabi, Juan, Conchi, Chava, everyone. Her sister Remedios had married Anselmo, whose eight of nine siblings had migrated from Mexico to Chicago in the nineties. So many people in her family opened their world to me and shared their stories. Families are the heart and lifeblood of the migrant trail. When these families migrate, they change and transform societies. It's rare to be able to access so intimately the intimate and day-to-day lives of people who, by necessity, are closed to outsiders.

盧佩帶我進入了她的內(nèi)部世界 她的家庭，讓我看到了移民的真實影響。她把我介紹給了她大家庭里的每個人，Gabi, Juan, Conchi, Chava, 每一個人。她的妹妹雷麥黛絲嫁給了安塞爾莫，他的9個兄弟姐妹中有8個 在90年代從墨西哥移民到了芝加哥。她家庭中的很多人 向我敞開了他們的內(nèi)心世界 并且分享了他們的故事。家庭是移民之路的心臟和命脈。當(dāng)這些家庭遷移時，他們改變和變革了社會。能夠如此親密地接觸到那些人 的日常生活實屬罕見 因為他們必須與外界隔離。

05:57

At the time, Lupe's family lived in the insular world of the Back of the Yards, a tight-knit Chicago neighborhood, which for more than 100 years had been a portal of entry for recent immigrants -- first, from Europe, like my family, and more recently, from Latin America. Their world was largely hidden from view. And they call the larger, white world outside the neighborhood "Gringolandia." You know, like lots of generations moving to the Back of the Yards, the family did the thankless hidden jobs that most people didn't want to do: cleaning office buildings, preparing airline meals in cold factories, meat packing, demolitions. It was hard manual labor for low exploitation wages. But on weekends, they celebrated together, with backyard barbecues and birthday celebrations, like most working families the world over.

那時，盧佩一家住在后院里 這個與世隔絕的世界，這是一個關(guān)系密切的芝加哥社區(qū)，100多年來，它一直是 新移民的入口—— 首先，來自歐洲的移民，比如我的家庭，最近，則來自拉丁美洲，他們的世界很大程度上是 隱藏在人們的視線之外。他們把社區(qū)外更大的白人世界稱為 "外國佬" 就像很多代搬到后院的家庭一樣，這些家庭做著大多數(shù)人不想做的 吃力不討好的工作： 清理辦公樓，在寒冷的工廠準備飛機餐，肉類包裝、拆除。這些剝削工資的低收入高體力活。但在周末，他們共同慶祝，在后院燒烤 和生日慶祝派對，就跟世界上大多數(shù)工薪階層一樣。

06:56

I became an honorary family member. My nickname was "Johnny Canales," after the Tejano TV star. I had access to the dominant culture, so I was part family photographer, part social worker and part strange outsider payaso clown, who was there to amuse them. One of the most memorable moments of this time was photographing the birth of Lupe's granddaughter, Elizabeth. Her two older siblings had crossed across the Sonoran Desert, being carried and pushed in strollers into the United States. So at that time, her family allowed me to photograph her birth. And it was one of the really coolest things as the nurses placed baby Elizabeth on Gabi's chest. She was the family's first American citizen. That girl is 17 today. And I still remain in close contact with Lupe and much of her family.

我成為了一名榮譽家庭成員。我的綽號是“約翰尼·卡納萊斯”，以特哈諾電視明星的名字命名。我接觸到了主流文化，所以我既是家庭攝影師，也是社會工作者，還是個有點奇怪的局外人帕亞索小丑 在那里逗他們。這段時間中一個最值得回憶的場景是 拍攝盧佩孫女伊麗莎白的出生。她的兩個哥哥姐姐曾穿過索諾蘭沙漠，在嬰兒車中被推著進入美國。所以那時，她的家人允許我拍攝她的誕生。這真是一件很酷的事情，當(dāng)護士把嬰兒伊麗莎白 放在加比的胸前時。她是家庭中首個美國公民。這個女孩今天17歲了。我仍然跟盧佩和她家庭的大多成員 保持緊密聯(lián)系。

07:58

My work is firmly rooted in my own family's history of exile and subsequent rebirth in the United States. My father was born in Nazi Germany in 1934. Like most assimilated German Jews, my grandparents simply hoped that the troubles of the Third Reich would blow over. But in spring of 1939, a small but important event happened to my family. My dad needed an appendectomy. And because he was Jewish, not one hospital would operate on him. The operation was carried out on his kitchen table, on the family's kitchen table. Only after understanding the discrimination they faced did my grandparents make the gut-wrenching decision to send their two children on the Kindertransport bound for England. My family's survival has informed my deep commitment to telling this migration story in a deep and nuanced way.

我的作品深深植根于我自己家族 在美國的流亡和隨后的重生的歷史。我父親出生在1934年的納粹德國。像大多數(shù)被同化的德國猶太人一樣，我的祖父母只是希望 第三帝國的麻煩會過去。但在1939年的春天，一件很小但很重要的事情 發(fā)生在我的家庭中。我爸爸需要做闌尾切除術(shù)。因為他是猶太人，沒有醫(yī)院愿意為他做手術(shù)。手術(shù)是在他的廚房桌子上做的，沒錯，在家里廚房桌子上進行的。只有在理解了他們所面臨的歧視之后，我的祖父母才做出了這個痛苦的決定 送他們兩個上幼兒園的孩子去英國。我的家族的幸存讓我下定決心，要以一種深刻而微妙的方式 講述這個移民故事。

09:02

The past and the present are always interconnected. The long-standing legacy of the US government's involvement in Latin America is controversial and well-documented. The 1954 CIA-backed coup of Árbenz in Guatemala, the Iran-Contra scandal, the School of the Americas, the murder of Archbishop Romero on the steps of a San Salvador church are all examples of this complex history, a history which has led to instability and impunity in Central America. Luckily, the history is not unremittingly dark. The United States and Mexico took in thousands and millions, actually, of refugees escaping the civil wars of the 70s and 80s. But by the time I was documenting the migrant trail in Guatemala in the late 2000s, most Americans had no connection to the increasing levels of violence, impunity and migration in Central America. To most US citizens, it might as well have been the Moon.

過去和現(xiàn)在總是相互聯(lián)系的。美國政府 介入拉美事務(wù)的長期遺留問題 是有爭議的，而且有充分的文件證明。1954年CIA支持危地馬拉的 阿爾本斯政變、 伊朗門丑聞、美洲學(xué)校、 大主教羅梅羅在圣薩爾瓦多 教堂臺階上被謀殺，都是這段復(fù)雜歷史的例子，這段歷史導(dǎo)致中美洲 不穩(wěn)定和失去法制。幸運的是，歷史不是始終黑暗。美國和墨西哥接收了成千上萬 逃離70年代和80年代內(nèi)戰(zhàn)的難民。但當(dāng)我在2000年代末記錄危地馬拉 的移民經(jīng)歷時，大多數(shù)美國人 與中美洲不斷增加的暴力、 無法無天和移徙 已經(jīng)沒有任何關(guān)系。對大多數(shù)美國公民來說，它就像月亮一樣。

10:11

Over the years, I slowly pieced together the complicated puzzle that stretched from Central America through Mexico to my backyard in Chicago. I hit almost all the border towns -- Brownsville, Reynosa, McAllen, Yuma, Calexico -- recording the increasing militarization of the border. Each time I returned, there was more infrastructure, more sensors, more fences, more Border Patrol agents and more high-tech facilities with which to incarcerate the men, women and children who our government detained. Post-9/11, it became a huge industry.

多年來，我慢慢地拼湊起 這個從中美洲一直延伸 到墨西哥，一直延伸到 我在芝加哥的后院的復(fù)雜拼圖。我?guī)缀踝弑榱怂械倪吘吵擎?zhèn)—— 布朗斯維爾、雷諾薩、麥卡倫、 尤馬、 加利西哥—— 記錄了邊境日益軍事化的情況。每次我回來，我們有了更多的基礎(chǔ)設(shè)施，更多的傳感器，更多的圍欄，更多的邊境巡邏人員，以及更多的高科技設(shè)施 來關(guān)押我們政府拘留 的男女老少。后911時代，它變成了一個巨大的產(chǎn)業(yè)。

10:51

I photographed the massive and historic immigration marches in Chicago, children at detention facilities and the slow percolating rise of anti-immigrant hate groups, including sheriff Joe Arpaio in Arizona. I documented the children in detention facilities, deportation flights and a lot of different things. I witnessed the rise of the Mexican drug war and the deepening levels of social violence in Central America. I came to understand how interconnected all these disparate elements were and how interconnected we all are.

我拍攝了芝加哥大規(guī)模 的歷史性移民游行，拘留中心的兒童 以及反移民仇恨團體的緩慢崛起，包括亞利桑那州的警長喬?阿帕洛。我記錄了拘留所的孩子們，驅(qū)逐出境航班 和很多不一樣的東西。我目睹了墨西哥毒品戰(zhàn)爭的興起 以及中美洲不斷加劇的社會暴力。我開始理解所有這些不同的元素 是如何相互聯(lián)系的，以及我們所有人是 如何相互聯(lián)系的。

11:32

As photographers, we never really know which particular moment will stay with us or which particular person will be with us. The people we photograph become a part of our collective history. Jerica Estrada was a young eight-year-old girl whose memory has stayed with me. Her father had gone to LA in order to work to support his family. And like any dutiful father, he returned home to Guatemala, bearing gifts. That weekend, he had presented his eldest son with a motorcycle -- a true luxury. As the son was driving the father back home from a family party, a gang member rode up and shot the dad through the back. It was a case of mistaken identity, an all too common occurrence in this country.

作為攝影師，我們從不真正知道哪個 特別的瞬間會伴隨我們，或者哪個獨特的人 會跟著我們。我們拍攝的人成為我們 集體歷史的一部分。杰瑞卡·埃斯特拉達 是一個八歲的小女孩 她的記憶一直縈繞著我。她父親去洛杉磯工作來支持家庭。像所有盡職的父親一樣，他帶著禮物回到危地馬拉的家中。那個周末，他送給大兒子一輛摩托車—— 真是個奢侈的禮物。當(dāng)孩子載著父親從家庭聚會中 回家時，一個幫派騎車過來開槍 擊中了父親的后背。這是一個殺錯人的案子，在這個國家卻是司空見慣。

12:24

But the damage was done. The bullet passed through the father and into the son. This was not a random act of violence, but one instance of social violence in a region of the world where this has become the norm. Impunity thrives when all the state and governmental institutions fail to protect the individual. Too often, the result forces people to leave their homes and flee and take great risks in search of safety. Jerica's father died en route to the hospital. His body had saved his son's life. As we arrived to the public hospital, to the gates of the public hospital, I noticed a young girl in a pink striped shirt, screaming. Nobody comforted the little girl as she clasped her tiny hands. She was the man's youngest daughter, her name was Jerica Estrada. She cried and raged, and nobody could do anything, for her father was gone.

但傷害是不可避免的。子彈穿過父親進入兒子身體。這里并不存在隨機的暴力行為，而是在這個暴力已經(jīng)成為常態(tài)的地區(qū)中 一個社會暴力縮影。當(dāng)所有國家和政府機構(gòu) 無法保護個人時，無法無天的現(xiàn)象就會猖獗起來。往往，結(jié)果就是驅(qū)使人們離開 他們的家鄉(xiāng)，逃離家園，冒著巨大的風(fēng)險尋求安全 杰瑞卡的父親在去醫(yī)院的路上去世了。他的身體救了他孩子的命。當(dāng)我們到達公立醫(yī)院，到達公立醫(yī)院的門口時，我注意到一個穿著粉紅色條紋襯衫 的年輕女孩在尖叫。小女孩緊握著小手，沒人去安慰她。她是這個父親最小的女兒，她的名字叫杰瑞卡·埃斯特拉達。她又哭又鬧，然而誰也幫不上忙，因為她父親已經(jīng)走了。

13:22

These days, when people ask me why young mothers with four-month-old babies will travel thousands of miles, knowing they will likely be imprisoned in the United States, I remember Jerica, and I think of her and of her pain and of her father who saved his son's life with his own body, and I understand the truly human need to migrate in search of a better life.

這陣子，當(dāng)人們問我 為什么懷孕4個月的年輕母親 在知道會被關(guān)在美國的情況下 仍然還會穿越幾千里過來，我想起了杰瑞卡，我想起了她和她的痛苦，以及她那用身軀救了兒子生命的父親，我懂得了移民去尋找更好的生活 這是人類真正需求。

13:47

Thank you.

謝謝。

13:48

(Applause)

（掌聲）