演講MP3+雙語文稿:博物館應(yīng)該尊重日常生活，而不僅僅是尊重不平凡的人

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:博物館應(yīng)該尊重日常生活，而不僅僅是尊重不平凡的人，希望你會喜歡！

【演講者及介紹】Ariana Curtis

非裔拉丁美洲研究者和策展人，Ariana A. Curtis負(fù)責(zé)研究、收集、解釋和展示有助于講述我們所有人的歷史以及關(guān)于我們之間聯(lián)系的物品與故事。

【演講主題】博物館應(yīng)該尊重日常生活，而不僅僅是尊重不平凡的人

Museums should honor the everyday, not just the extraordinary

【中英文字幕】

翻譯者psjmz mz 校對者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。 我認(rèn)為，我們的女性公眾代表 往往被各種溢美之詞包圍。 第一個白手起家的 美國女性百萬富翁： 沃克女士… 美國第一夫人的服裝… 雪莉 · 奇澤姆，第一個爭奪并獲得 美國民主黨總統(tǒng)候選人提名的女性——

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.

作為博物館策展人， 我明白為什么這些故事如此吸引人。 杰出的女性鼓舞人心，志向遠(yuǎn)大。 但這些故事都有一定的局限性。 就定義而言，杰出并不具有代表性， 不具有典型性。 這些故事并沒有為吸納女性歷史 創(chuàng)造一個廣泛的基礎(chǔ)， 也無法反映我們真實(shí)的日常生活。 如果我們能共同接受“女性也是人” 這個根本性的概念， 展示女性的本來面目就更容易了： 熟悉，多樣，無處不在。 在歷史上每個人的日常生活中， 女性都無處不在—— 無需闡釋，這是事實(shí)。 超越了對人類生活更準(zhǔn)確的闡釋， 將女性包含在內(nèi)，就考慮了這個地球上 38億女性的日常經(jīng)歷。

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.

在這個來自《黑豹》電影中 臭名昭著的博物館場景中， 一個白人展管員錯誤地向 電影中邁克爾 · 喬丹 飾演的角色介紹了 一件來自邁克爾家鄉(xiāng)文化的文物。 這個虛構(gòu)的場景在我們的 博物館社區(qū)引起了一場 關(guān)于誰在塑造這些敘述，以及 其中所持有的偏見的實(shí)質(zhì)性辯論。 博物館往往被視為 美國最值得信賴的信息來源之一， 全球有成千上萬的 訪客踏上美國的土地， 我們應(yīng)該告訴大家準(zhǔn)確的歷史， 但我們并沒有做到這一點(diǎn)。 博物館內(nèi)部也有這樣 旨在消除此類偏見的運(yùn)動。 簡單地承認(rèn)，博物館不是中立的。 博物館是說教的。 通過藝術(shù)品和文物的展示， 我們可以激發(fā)創(chuàng)造力， 培養(yǎng)包容性， 但我們也對錯誤地表述歷史負(fù)有責(zé)任。 以男性為中心的歷史將 女性的歷史隱藏了起來。 關(guān)于作為一名女性， 尤其是這個行業(yè)中的 有色女性群體， 存在一系列殘酷的事實(shí)， 使我們無法聚焦于 女性日常生活的縮影。 博物館管理層方面： 主要是白人和男性， 盡管女性占博物館 員工人數(shù)的60%。 女性的升職之路是暗淡的—— 對于有色人種女性尤為暗淡。 女性的存在本身并不能保證 增加女性的公眾代表。

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 性別平等的盟友。 用女權(quán)主義理論家 貝爾 · 胡克斯的話來說， “父權(quán)制沒有性別?！?女性能夠支持父權(quán)制， 就如男性可以支持 性別平等斗爭一樣。 我們常常低估了交叉性的重要性。 瑪麗安 · 安德森是20世紀(jì) 最著名的女性歌唱家之一， 史密森尼學(xué)會收藏了 她1939年的服裝。 在美國革命女兒會中的 白人成員因?yàn)樗呛谌?而拒絕她在憲法大廳演唱后， 她隨即在林肯紀(jì)念堂的臺階上 為超過75000人演唱， 這一事跡被載入了史冊。

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."

在世界各地的圖書館， 包括博物館中， 你仍然可以找到1982年出版的 具有開創(chuàng)性的選集，名為 “所有的女性都是白人， 所有的黑人都是男性， 但我們有些人很勇敢。”

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 這樣的非裔拉丁人…… 移民女性，亞洲女性， 印第安女性， 或者變性女性，無證女性， 年齡超過65歲的女性， 亦或者女孩—— 這個名單還很長。

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.

那我們該怎么做？ 有目標(biāo)的倡議有助于納入 本應(yīng)一直被包括在內(nèi)的觀點(diǎn)。 我通過一個聘用了拉美裔的 拉美裔策展人項(xiàng)目 來到史密森尼， 順便說一句，被聘用的 大多數(shù)都是女性—— 提高了拉丁敘事在 我們機(jī)構(gòu)中的地位。 它是我們規(guī)模更大的 史密森尼美國婦女 歷史計(jì)劃的一種模式， 目的在于盡可能放大 對于女性的不同表述， 這樣女性才會 不僅出現(xiàn)在當(dāng)代現(xiàn)實(shí)的意象中， 也會出現(xiàn)在我們的歷史代表中， 因?yàn)槲覀円恢倍荚凇?如今，在2018年，我仍然 可以走進(jìn)專業(yè)領(lǐng)域， 作為唯一—— 唯一一個年齡在 40以下，唯一的黑人， 唯一的黑人女性， 唯一的拉丁人， 有時候，還是唯一的女性。

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.

我母親是非裔美國人， 父親是非裔巴拿馬人。 我是如此的驕傲，擁有 如此不可分割的身份結(jié)合。 作為一個非洲裔拉丁人， 我只是數(shù)百萬人中的一員。 作為一名非裔拉丁策展人， 我卻是為數(shù)不多的幾個人之一。 全身心投入專業(yè)領(lǐng)域， 感覺像是一種勇敢的行為， 我得承認(rèn)，面對這個挑戰(zhàn)， 我并非總是胸有成竹。 無論是出于害怕被拒絕， 還是自我保護(hù)。 在會議中，我只會在 充分醞釀過后想法之后才會發(fā)言。 不會參與頭腦風(fēng)暴或 在同事面前即興發(fā)言。 很長時間里， 我壓抑著自己戴上 心愛的耳環(huán)或銘牌項(xiàng)鏈 去上班的喜悅之情， 認(rèn)為它們太花里胡哨、 顯得太沒學(xué)問或太不專業(yè)。

06:24

(Laughter)

（笑聲）

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 --

我想知道人們會對我的 天生發(fā)質(zhì)有什么反應(yīng)， 或當(dāng)我把頭發(fā)拉直時，他們會 更愿意接納我，還是覺得我不太可信。 任何有過被主流表象 排斥在外的人都知道， 我們?nèi)粘Ｉ钪锌傆幸恍┗驹?會讓其他人感到不舒服。 然而因?yàn)槲覍?女性的日常代表充滿熱情， 我不再掩蓋自己，或者工作中的真相。 我已經(jīng)接受了考驗(yàn)。 這是我在辦公室指著的自己耳環(huán)——

07:01

(Laughter)

（笑聲）

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.

就在上個月，我被邀請為拉丁裔 傳統(tǒng)月的活動做主題演講。 在演講那周，主辦單位 表達(dá)了他們的擔(dān)憂。 他們稱我的幻燈片為“激進(jìn)”， 這是一種負(fù)面的定位。

07:15

(Laughter)

（笑聲）

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."

在演講前兩天， 他們要求我不要放那段兩分鐘的 證實(shí)頭發(fā)是天然的視頻， 因?yàn)椤斑@可能會對一些參與者的 學(xué)習(xí)過程造成障礙?！?/p>

07:34

(Laughter)

（笑聲）

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.

《頭發(fā)》那首詩是由 伊麗莎白·阿塞韋多創(chuàng)作和演繹的， 一位獲得2018年美國國家圖書獎的 多米尼加裔美國人， 它出現(xiàn)在我策劃的 史密森尼獲獎?wù)褂[中。 我取消了演講， 向他們解釋，他們對我和我作品的 審查讓我感到不舒服。

07:54

(Applause and cheers)

（鼓掌和歡呼）

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 --

體面政治和理想化的女性氣質(zhì) 影響著我們?nèi)绾握故九裕?以及選擇展示哪些女性。 這種展示傾向于成功，非凡， 聲譽(yù)良好和令人滿意的特質(zhì), 它維持了對日常的， 有規(guī)律的，未被充分代表的， 通常是非白人群體 系統(tǒng)性的排斥和邊緣化。 作為博物館策展人， 我有權(quán)改變這一敘述。 我研究，收集和解釋 有意義的物件和圖像。 西莉亞·克魯茲，薩爾薩舞皇后——

08:38

(Cheers)

（歡呼）

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——她的地位舉足輕重。 她也是非裔拉丁人。 史密森尼學(xué)會收藏了 她的服裝和鞋子， 她的肖像，印有她頭像的郵票， 以及這一由藝術(shù)家 托尼·佩拉爾塔所創(chuàng)作的 造型重塑。 當(dāng)我收集和展示這些作品時， 這是象征性矛盾的勝利。 以展示深色皮膚的拉丁人， 黑人女性為榮， 她的頭發(fā)是大卷的； 把你的頭發(fā)變直 也許是對白人審美標(biāo)準(zhǔn)的認(rèn)可。 一個優(yōu)雅、迷人的女人， 戴著超大號、厚實(shí)的黃金首飾。 當(dāng)這個作品展出時， 成了我們在Instagram上 最火的作品之一， 參觀者告訴我，他們與她棕色皮膚， 卷發(fā)器或珠寶的 日常元素產(chǎn)生了共鳴。 我們的收藏品包括西莉亞·克魯茲， 還有一幅罕見的年輕 哈里特·塔布曼的畫像… 無與倫比的奧普拉· 溫弗瑞的標(biāo)志性服裝。 但博物館確實(shí)可以改變 數(shù)億人看待女性的方式， 以及他們會看到哪些女性。 所以與其總是展示 最頂尖或最著名的人物， 我們也有責(zé)任展示一個 普通周六的美容院， 門環(huán)耳環(huán)的藝術(shù)…

09:55

(Laughter)

（笑聲）

09:56

fashionable sisterhood ...

時尚的姐妹會…

09:58

(Laughter)

（笑聲）

09:59

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

以及各年齡段的文化自豪感。 那些日常生活中平凡婦女的故事， 其故事過去曾被有意地從我們的 國家和全球歷史中抹除。

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.

通常在博物館里， 你會看到用衣服， 肖像或攝影來代表女性… 但是來自普通女性的影響深遠(yuǎn)， 足以改變生活的故事 也可以像這個埃斯梅拉達(dá)斯船座一樣。 厄瓜多爾的埃斯梅拉達(dá)斯 是一個以栗色人種為主的社區(qū)。 茂密的熱帶雨林保護(hù)了 土著和非洲人免受 西班牙殖民者的侵害。 現(xiàn)在有路了， 但是內(nèi)陸一些地方的交通 仍然要依靠獨(dú)木舟。 黛博拉·納扎拉諾經(jīng)常乘坐獨(dú)木舟 在厄瓜多爾的水路上旅行， 所以她有自己的船座。 她的個性化設(shè)計(jì)含有 蜘蛛網(wǎng)和蜘蛛的圖案， 代表西非民間傳說中的人物，阿南西。 黛博拉在家時也會坐在上面， 給孫子胡安講故事。 這種無形的愛的儀式 以跨代際講故事的形式存在， 在非洲散居的社區(qū)中很常見。 這種日常行為激發(fā)了胡安收集 5萬多份與非洲印第安文化 有關(guān)的文件的愿望。 2005年，黛博拉的孫子胡安， 現(xiàn)在是世界著名的 厄瓜多爾非洲裔學(xué)者， 來到華盛頓特區(qū)。 他會見了我工作的 博物館的館長朗尼·邦奇， 在他們的談話快要結(jié)束的時候， 胡安把手伸進(jìn)包里說: “我想送你一件禮物?！?在那一天，黛博拉·納扎雷諾 簡陋的木船座椅 成為了第一個捐贈給 史密森尼國家博物館的物品。 它被妥善安置，迄今為止 已經(jīng)展示給了來自世界各地 近500萬名游客。

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.

我將繼續(xù)從非凡的歷史 創(chuàng)造者那里收集資料。 他們的故事很重要。 但驅(qū)使我今天和每一天 都出現(xiàn)在公眾面前的， 是一種簡單的熱情，那就是 在歷史中寫下我們的名字， 將它們公開展示給千千萬萬的人， 并走進(jìn)永恒的光芒中， 這種光芒就是女性。

12:11

Thank you.

謝謝。

12:12

(Applause and cheers)

（鼓掌和歡呼）