The bop is a type of social dance.

波普舞是一種社交舞蹈。

Dance is a language, and social dance is an expression that emerges from a community.

舞蹈是一種語言，而社交舞蹈則是產生於社區的一種表達方式。

A social dance isn't choreographed by any one person.

社交舞蹈不是由某個人編排的。

It can't be traced to any one moment.

它無法追溯到任何一個時刻。

Each dance has steps that everyone can agree on, but it's about the individual and their creative identity.

每種舞蹈都有大家都能認同的舞步，但這與個人及其創意特性有關。

Because of that, social dances bubble up, they change, and they spread like wildfire.

正因為如此，社交舞蹈才會湧現，才會改變，才會像野火一樣蔓延。

They are as old as our remembered history.

它們與我們記憶中的歷史一樣古老。

In African-American social dances, we see over 200 years of how African and African-American traditions influenced our history.

在非裔美國人的社交舞蹈中，我們可以看到 200 多年來非洲和非裔美國人的傳統如何影響了我們的歷史。

The present always contains the past, and the past shapes who we are and who we will be.

現在總是包含著過去，過去塑造著我們現在和將來。

The juba dance was born from enslaved Africans' experience on the plantation, brought to the Americas stripped of a common spoken language.

朱巴舞源於非洲奴隸在種植園的經歷，他們被帶到美洲時已經失去了共同的口頭語言。

This dance was a way for enslaved Africans to remember where they're from.

這種舞蹈是被奴役的非洲人記住自己家鄉的一種方式。

It may have looked something like this.

看起來可能是這樣的

Slapping thighs, shuffling feet, and patting hands.

拍拍大腿，洗洗腳，拍拍手。

This was how they got around the slave owner's ban on drumming.

他們就是這樣繞過奴隸主禁止擊鼓的禁令的。

Improvising complex rhythms, just like ancestors did with drums in Haiti or in the Yoruba communities of West Africa.

即興演奏複雜的節奏，就像海地或西非約魯巴社區的祖先們打鼓一樣。

It was about keeping cultural traditions alive and retaining a sense of inner freedom under captivity.

這是為了保持文化傳統的活力，並在囚禁中保留內心的自由感。

It was the same subversive spirit that created this dance, the cakewalk, a dance that parodied the mannerisms of Southern high society, a way for the enslaved to throw shade at the The crazy thing about this dance is that the cakewalk was performed for the masters, who never suspected they were being made fun of.

正是這種顛覆精神創造了 "走蛋糕 "這種舞蹈，這種舞蹈模仿了南方上流社會的舉止，是被奴役者嘲笑主人的一種方式。

Now you might recognize this one, 1920s, the Charleston.

現在你可能認識這個了，1920 年代，查爾斯頓。

The Charleston was all about improvisation and musicality, making its way into Lindy swing dancing, and even the kid and play, originally called the Funky Charleston.

查爾斯頓舞講究即興表演和音樂性，它被引入林迪搖擺舞，甚至被孩子們玩耍，最初被稱為 "時髦查爾斯頓舞"。

Started by a tight-knit black community near Charleston, South Carolina, the Charleston permeated dance halls, where young women suddenly had the freedom to kick their heels and move their legs.

由南卡羅來納州查爾斯頓附近一個緊密團結的黑人社區發起，查爾斯頓舞滲透到舞廳，年輕女性在那裡突然有了踢高跟鞋和活動雙腿的自由。

Now social dance is about community and connection.

現在，社交舞蹈是關於社區和聯繫的。

If you knew the steps, it meant you belonged to a group.

如果你知道這些步驟，就意味著你屬於一個團體。

But what if it becomes a worldwide craze?

但如果它在全球範圍內掀起熱潮呢？

Enter the twist.

進入轉捩點。

It's no surprise that the twist can be traced back to the 19th century, brought to America from the Congo during slavery.

這種轉折可以追溯到 19 世紀，是奴隸制時期從剛果傳到美國的，這一點也不奇怪。

But in the late 50s, right before the Civil Rights Movement, the twist is popularized by Chubby Checker and Dick Clark.

但在 50 年代末期，也就是民權運動爆發之前，Chubby Checker 和 Dick Clark 將這一曲風發揚光大。

Suddenly everybody's doing the twist, white teenagers, kids in Latin America, making its way into songs and movies.

突然間，每個人都開始扭動腰肢，白人青少年、拉丁美洲的孩子們都開始扭動腰肢，歌曲和電影中也出現了這種扭動。

Through social dance, the boundaries between groups become blurred.

通過社交舞蹈，群體之間的界限變得模糊。

The story continues in the 1980s and 90s.

故事一直延續到 20 世紀 80 年代和 90 年代。

Along with the emergence of hip-hop, African-American social dance took on even more visibility, barring from its long past, shaping culture and being shaped by it.

隨著嘻哈音樂的出現，非洲裔美國人的社交舞蹈更加引人注目，擺脫了其悠久的歷史，塑造了文化，也被文化所塑造。

Today, these dances continue to evolve, grow, and spread.

如今，這些舞蹈仍在繼續演變、發展和傳播。

Why do we dance?

我們為什麼要跳舞？

To move.

行動

To let loose.

放縱。

To express.

表達。

Why do we dance together?

我們為什麼要一起跳舞？

To heal.

治癒

To remember.

要記住

To say, we speak a common language, we exist, and we are free.

我們有共同的語言，我們存在，我們自由。