TED | 传递希望与和平的街头艺术

北极光翻译 2023-11-03

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生长在法国的突尼西亚裔艺术家，eL Seed 热衷于兼顾融合多种文化、语言和身份，这些热忱特别体现在他的艺术作品中，他用街头艺术和图腾书画来演绎阿拉伯诗文。在这个看似平静却激情澎湃的演说中，这位艺术家兼 TED 研究会员的伟大志向是：创造一种无需翻译的美丽。

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萨尔瓦·赛德演讲稿

在2012年，当我图画 Jara Mosque清真寺塔尖在我的家乡突尼西亚南部城市加贝斯，我从没想过墙上的涂鸦会给这个城市带来如此多的关注。

In 2012, when I painted the minaret of Jara Mosque in my hometown of Gabés, in the south of Tunisia, I never thought that graffiti would bring so much attention to a city.

一开始，我只是在我的家乡寻找一座墙面，正好是94年建造的这个尖塔。长达18年的时间里，57米高的混凝土依旧是灰色的。当我第一次见到阿訇，我告诉他我的计划，他说，“感谢主，你终于来了，” 他告诉我，这么多年他都在等待某个人能够做些什么。最神奇的是，这位阿訇没有问我任何有关我要画些什么的问题。

At the beginning, I was just looking for a wall in my hometown, and it happened that the minaret was built in '94. And for 18 years, those 57 meters of concrete stayed grey. When I met the imam for the first time, and I told him what I wanted to do, he was like, "Thank God you finally came," and he told me that for years he was waiting for somebody to do something on it. The most amazing thing about this imam is that he didn't ask me anything — neither asketch, or what I was going to write.

在每个我创作的工作上，我书写信息用我特有的calligraffiti—— 混杂着书法和涂鸦的方式。我书写引述或是诗文。就这个尖塔而言，我想最与它相关的是在清真寺上书写来自古兰经里的话，因此我选择了这条： “人类啊，我把你们造成男性和女性，我把你们分成部落和民族，为的是你们互相了解。” 这是普世的号召，为了和平，宽容和接纳这样美好的讯息，我们并不时常从媒体上获得。

In every work that I create, I write messages with my style of calligraffiti — amix of calligraphy and graffiti. I use quotes or poetry. For the minaret, I thought that the most relevant message to be put on a mosque should come from the Quran, so I picked this verse: "Oh humankind, we have created you froma male and a female, and made you people and tribe, so you may know each other." It was a universal call for peace, tolerance, and acceptance coming from the side that we don't usually portray in a good way in the media.

我很惊讶地看到当地居民是如何回应这样的图画的，他们该多么骄傲，看到清真寺获得来自全球媒体的目光。对那位阿訇来说，这并不只是图画；比图画更加深邃。他希望这个尖塔能够成为这座城市的历史遗迹，吸引人们来到突尼西亚这个被遗忘的地方。这条信息的广泛性，此时突尼西亚的政治状况，以及我用涂鸦方式书写古兰经这件事并不是毫无建树的。它使这个社群重新聚集起来。

I was amazed to see how the local community reacted to the painting, and how it made them proud to see the minaret getting so much attention from international press all around the world. For the imam, it was not just the painting; it was really deeper than that. He hoped that this minaret would become a monument for the city, and attract people to this forgotten place of Tunisia. The universality of the message, the political context of Tunisia at this time, and the fact that I was writing Quran in a graffiti way were not insignificant. It reunited the community.

我所做的，就是用阿拉伯书画把人们，未来的每一代人连结起来。我艺术作品的精髓是书写信息。好笑的是，事实上，以阿拉伯语为母语的人们都需要花些时间来破译我写的文字内容。感知这份艺术作品你并不需要知道它的意思。我想，阿拉伯文字先触及了你的灵魂然后才是眼睛。其中有一种无需翻译的美感。阿拉伯文字和每个人相通，我相信：和你，和你，和你，和每一个人。然后，你知道了文字的含义，便产生共鸣。我总是会确认书写那些与我艺术创作地点相关联的文字。但是信息有全球化的不同维度，使地球上的每个人都能与此连结。

Bringing people, future generations, together through Arabic calligraphy is what I do. Writing messages is the essence of my artwork. What is funny, actually, is that even Arabic-speaking people really need to focus a lot to decipher what I'm writing. You don't need to know the meaning to feel the piece. I think that Arabic script touches your soul before it reaches your eyes. There is a beauty in it that you don't need to translate. Arabic script speaks to anyone, I believe; to you, to you, to you, to anybody, and then when you get the meaning, you feel connected to it. I always make sure to write messages that arerelevant to the place where I'm painting, but messages that have a universal dimension, so anybody around the world can connect to it.

我在法国巴黎出生长大， 18岁时我开始学习如何书写阅读阿拉伯文字。今天我只用阿拉伯语书写信息。对我而言最重要的原因之一，是我在世界范围内的经验。

I was born and raised in France, in Paris, and I started learning how to write and read Arabic when I was 18. Today I only write messages in Arabic. One ofthe reasons this is so important to me, is because of all the reaction that I've experienced all around the world.

在里约热内卢，我翻译了这首葡萄牙诗文来自诗人Gabriela Torres Barbosa，她向生活在贫民窟的穷人致敬，我把这首诗写在了屋顶。当地的居民们对我做的事感到好奇，当我告诉他们这些图画文字的真正含义时，他们感谢我，他们对艺术作品产生了共鸣。

In Rio de Janeiro, I translated this Portuguese poem from Gabriela Tôrres Barbosa, who was giving an homage to the poor people of the favela, and then I painted it on the rooftop. The local community were really intrigued by what I was doing, but as soon as I gave them the meaning of the calligraphy, they thanked me, as they felt connected to the piece.

在南非，开普敦，当地的菲律宾社群把贫民窟仅有的一面水泥墙给我，它是一个学校，我在上面图画我用了纳尔逊·曼德拉的名言，说道，“（阿拉伯语）” “在事情未成功之前，一切总看似不可能。” 有个人跟我说， “你为什么不用英文写呢？” 我回答道，“我会认真考虑你的建议如果你问我为什么我不用祖鲁语写。”

In South Africa, in Cape Town, the local community of Philippi offered me the only concrete wall of the slum. It was a school, and I wrote on it a quote from Nelson Mandela, saying, "[in Arabic]," which means, "It seems impossible until it's done." Then this guy came to me and said, "Man,why you don't write in English?" and I replied to him, "I would consider your concern legit if you asked me why I didn't write in Zulu."

在巴黎，某次，有个活动，某人让我在他的墙上图画。当他看到我书写阿拉伯文的时候，他很生气——事实上，歇斯底里——他要把那面墙上的字抹掉。我很生气，也很失望。但是一周以后，那场活动的组织者请我回去，他告诉我那个人家门前有一面墙。所以，这个人...... 不得不每天看着我的图腾。一开始，我打算用阿拉伯文书写，意思是，“你的脸上，”但是......我决定显得更聪明一些于是我写道，“（阿拉伯文）”意思是，“敞开心扉。”

In Paris, once, there was this event, and someone gave his wall to be painted. And when he saw I was painting in Arabic, he got so mad — actually, hysterical —and he asked for the wall to be erased. I was mad and disappointed. But a week later, the organizer of the event asked me to come back, and he told me that there was a wall right in front of this guy's house. So, this guy — like, was forced to see it every day. At the beginning, I was going to write, "[InArabic]," which means, "In your face," but — I decided to be smarter and I wrote, "[In Arabic]," which means, "Open yourheart."

我真心对我的文化感到自豪，我希望用艺术作品传达它。我希望我能打破我们心中的刻板印象，用美丽的阿拉伯文字。今天，我不再在墙上书写信息。我不希望打破图腾文字的诗文美感，这门艺术你可以感受却不用知晓它的含义，正如同你能欣赏其他国家的音乐作品。有些人将它视为拒绝或是关闭的门，但对我来说，这更像是一个邀请— 来欣赏我的语言我的文化，我的艺术作品。

I'mreally proud of my culture, and I'm trying to be an ambassador of it through my artwork. And I hope that I can break the stereo types we all know, with the beauty of Arabic script. Today, I don't write the translation of the message anymore on the wall. I don't want the poetry of the calligraphy to be broken, as it's art and you can appreciate it without knowing the meaning, as you can enjoy any music from other countries. Some people see that as a rejection or a closed door, but for me, it's more an invitation — to my language, to myculture, and to my art.

谢谢。

Thankyou.

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