藝術家 Jeroen Koolhaas 和 Dre Urhahn 通過彩繪整個社區創造了社區藝術，他們讓當地的居民參與進來，從里約熱內盧的貧民窟到費城北部的街區。是什麼讓他們的項目如此成功?在這個有趣而具啟發性的演講中，藝術家們跟我們解釋了他們的“藝術為先”的方法——以及社區燒烤活動的重要性。下面是小編為大家收集關於TED英語演講：彩繪及社區燒烤活動的重要性，歡迎借鑑參考。
TED英語演講：彩繪及社區燒烤活動的重要性
演説者：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，但離這裏25千米遠的地方在里約熱內盧的北部，有一個叫維拉克魯塞羅的社區，大約有六萬人住在那裏。在里約熱內盧的人大多隻在新聞裏得知維拉克魯塞羅，不幸的是，來自維拉克魯塞羅的新聞通常是不好的。不過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 , 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，我們第一次來到里約熱內盧，來拍攝一部關於貧民窟生活的紀錄片。現在我們知道貧民窟是非正式的社區，隨着周邊村民進城務工這個社區逐年壯大起來。如同城市裏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伙之間的暴力衝突這樣的問題而聞名。
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 這些社區是住在這裏的人們用自己的雙手建成的，這裏沒有總體計劃，而是一直在進行的浩大工程。我們來自荷蘭，在荷蘭，一切都是計劃好的。我們甚至有“如何遵守規則”的規則。
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：拍攝的最後一天，我們到了維拉克魯塞羅，我們坐着一邊喝東西，一邊遠眺着這座山。山上有許多房屋，大部分房屋看起來都還沒建好，它們的外牆都是裸露的磚塊，但我們看見其中的一些房子已經粉刷好並上了漆，我們突然有了一個想法。如果把這山上所有的房子都進行粉刷並上漆，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.
然後我們想象了一個大設計，一件宏大的藝術作品。誰會想到在這種地方會有這樣的東西?我們就想這個計劃可行嗎?於是我們先開始數這些房子，可沒一會我們就數糊塗了。 但不知為什麼這個想法揮之不去。
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：我們有個朋友，他在維拉克魯塞羅運營着一個非政府組織，他的名字叫南科，他也很喜歡我們這個想法。他説：“你們知道嗎?其實這裏所有的人都很想給自己的房子粉刷並上漆，全部都刷好時才叫蓋好了房子。“
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.
於是他給我們介紹了兩個得力人選，就這樣，維託和穆里尼奧加入了我們。我們選了社區中心的三所房子，我們從這三所房子開始，我們做了一些設計，其中那個男孩放風箏的設計成了大家的最愛。於是我們開始粉刷，粉刷的第一步就是將所有房屋都刷成藍色，刷完之後我們覺得已經很不錯了。
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色，他們説：“你們做了什麼?你們給我們的房子刷的這個顏色，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)
所以我們火速進行下一步，我們畫出了那個男孩，然後我們以為我們完成了，我們非常開心，但是，這還不好，因為一些小孩子開始來找我們，他們説：“那是個男孩在放風箏，但風箏在哪兒?”我們説：“額，這是藝術你得想像出那個風箏。”(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."
然後他們説 ：“不不不，我們想看到那個風箏。”所以我們很快安上了一個風箏，在高高的山上，這樣你就能看見一個男孩在放風箏，你真的能看見一個風箏。當地的新聞開始寫有關它的報道，這非常好，甚至英國衞報也寫了有關它的報道： “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，我們衝着第二個項目又回到了里約熱內盧。我們不知不覺來到了這條路上，這條路為了防止泥石流而鋪上了水泥，而我們彷彿看到了一條河，然後我們想像這河是日式風格的，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.
於是我們決定畫出這條河，我們邀請了羅布·阿德米亞，他是個紋身藝術家，他擅長日式風格。我們哪裏知道我們接下來幾乎花了一整年的時間來畫這條河，和住在附近的喬瓦尼，羅比尼奧和維託一起。我們甚至住進了“河”附近的街道，一個住在那條街上的人，艾利亞斯邀請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，在那時候，在警察和販毒團伙之間又爆發了一場戰爭。 (視頻)(槍聲)我們明白了在這種時候，社區裏的人們真的非常團結，他們一起共渡難關。我們還明白了一個東西的重要性，燒烤的重要性。(笑聲)因為當你開燒烤派對的時候，你從客人變成了主人，所以我們決定幾乎每隔一週都開一次燒烤派對，然後我們認識了社區裏的每一個人。
JK: We still had this idea of the hill, though.
Jeroen Koolhaas：但我們還有對這個山的想法。
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，對，我們討論了它的比例，因為這個畫作異常巨大，又有無數細節，這個過程幾乎把我們完全逼瘋。但是我們想到，也許在這個過程中，我們在社區裏度過的時光，可能實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：在那麼長時間之後，這個山，這個想法還在，我們開始畫草稿，模型，然後我們明白了一些東西。我們明白了，我們的想法和設計要比上次的項目更加簡單一些，這樣我們就可以讓更多人一起來畫，並同時覆蓋更多的房子。
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.
在里約熱內盧中心的一個叫做聖瑪爾塔的社區，我們有了個實踐這個想法的機會。我們給這個地方做了個這樣的設計，然後我們説服人們接受了這個設計，因為事實是，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.
聖瑪爾塔的居民 聚到了一起並在一個月多一點的時間內，他們把那個廣場變成了這個樣子。(掌聲)不知怎麼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：我們接到了一個意外的電話，這個電話來自費城壁畫藝術計劃，他們有個問題，我們的想法、我們的方法，能否在費城北部實施，費城北部是全美最貧困的社區之一。
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.
我們馬上答應了，我們不知道怎麼做，但這看起來是個有趣的挑戰。於是我們做了跟在里約熱內盧一樣的事，我們住進了當地社區，開始了燒烤。(笑聲)這個項目我們花了將近兩年完成， 我們為這條街上的每一個房子都做了單獨的設計， 我們和當地的店家和房主， 還有一隊十來個的年輕人， 一起做出了這些設計。我們僱傭了他們，然後給他們提供培訓，他們一起把他們自己的社區，整條街道，改造成了一幅巨大的色彩拼接圖。 (掌聲)最後，費城政府 感謝了每個參與這個工作的人 並對他們的成果給予了獎勵。
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：現在我們畫好了整條街， 接下來是不是該着手這座山了? 我們開始尋找資金， 但是，我們遇到了一些問題， 比如你們要刷多少棟房子? 那是多少平米? 你們要用多少牆漆? 你們要僱多少人?我們好幾年來一直試圖 寫投資計劃書並回答這些問題， 但我們又想， 回答這些問題， 你需要在你到那裏和開始之前 準確地知道你要幹什麼。 可能這麼想不對。 它可能會因此失去我們學到的一些神奇的東西， 就是如果你去一個地方，你在那裏生活， 你可以讓藝術項目有機地生長， 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 我們決定用這個計劃， 撇開它上面所有的數字， 所有的想法和假設， 然後回到最基本的想法， 就是把這座山 變成一件巨大的藝術作品。 我們做了一個羣眾募資活動而不是尋找投資， 在一個月多一點的時間內， 1500多人一起募集捐贈了超過十萬美元。 對我們來説，這是個驚喜的時刻，因為現在—— (掌聲) 因為現在我們終於有自由 運用所有我們學到的東西 來創造一個 跟貧民窟一樣建造起來的項目， 從地面到房頂，從下而上， 沒有總體計劃。
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：我們回去僱傭了安傑洛， 他是個來自維拉克魯塞羅當地的藝術家， 他是個有天賦的人，他還認識那裏幾乎所有的人， 然後我們僱了我們的前房東艾利亞斯， 他之前邀請過我們去住他的房子， 他是個建築大師。 和他們一起，我們決定了從哪裏開始。 我們選了維拉克魯塞羅的這個地方， 此刻這些房子正在粉刷中。 有他們的好處就是 他們來決定要刷的下一個房子。 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。 這是有關安傑洛的報道。
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， 我們希望把這個想法帶到全世界。 像我們在費城做的項目一樣， 我們也被邀請去開研討會， 比如在庫拉索， 現在我們正在計劃在海地的一個巨大的項目。
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想法開始的地方， 它也是讓這個想法得以成真的地方， 這裏不需要總體規劃， 因為這些社區是非正式的- 這就是我們的靈感來源- 和這些人一起，用共同的努力， 你可以像在一個管絃樂隊裏工作一樣， 你可以有上百個樂器， 一起奏響一曲交響樂。
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 想成為這個夢想的一部分 並一直支持我們的人， 我們也希望繼續下去。
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：很快會有一天， 在色彩爬上這些牆面時， 我們希望更多人能加入我們， 加入這個巨大的夢想， 可能有一天，整個維拉克魯塞羅 都會被畫滿。
DU: Thank you.(Applause)
Dre Urhahn：謝謝。(掌聲)