艺术家 Jeroen Koolhaas 和 Dre Urhahn 通过彩绘整个社区创造了社区艺术，他们让当地的居民参与进来，从里约热内卢的贫民窟到费城北部的街区。是什么让他们的项目如此成功?在这个有趣而具启发性的演讲中，艺术家们跟我们解释了他们的“艺术为先”的方法——以及社区烧烤活动的重要性。下面是小编为大家收集关于TED英语演讲：彩绘及社区烧烤活动的重要性，欢迎借鉴参考。

　　TED英语演讲：彩绘及社区烧烤活动的重要性

　　演说者：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：这个剧院建在科巴卡巴那，科巴卡巴那是世界上最有名的海滩，但离这里25千米远的地方在里约热内卢的北部，有一个叫维拉克鲁塞罗的社区，大约有六万人住在那里。在里约热内卢的人大多只在新闻里得知维拉克鲁塞罗，不幸的是，来自维拉克鲁塞罗的新闻通常是不好的。不过维拉克鲁塞罗也是我们的故事开始的地方。

　　Jeroen Koolhaas: Ten years ago, we first came to Rio to shoot a documentary about life in the favelas.Now, 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，我们第一次来到里约热内卢，来拍摄一部关于贫民窟生活的纪录片。现在我们知道贫民窟是非正式的社区，随着周边村民进城务工这个社区逐年壮大起来。如同城市里被分割出的又一座城，贫民窟以犯罪，贫困以及警察与毒品团伙之间的暴力冲突这样的问题而闻名。

　　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.

　　让我们震撼的是 这些社区是住在这里的人们用自己的双手建成的，这里没有总体计划，而是一直在进行的浩大工程。我们来自荷兰，在荷兰，一切都是计划好的。我们甚至有“如何遵守规则”的规则。

　　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：拍摄的最后一天，我们到了维拉克鲁塞罗，我们坐着一边喝东西，一边远眺着这座山。山上有许多房屋，大部分房屋看起来都还没建好，它们的外墙都是裸露的砖块，但我们看见其中的一些房子已经粉刷好并上了漆，我们突然有了一个想法。如果把这山上所有的房子都进行粉刷并上漆，将是怎样一种景象?

　　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.

　　然后我们想象了一个大设计，一件宏大的艺术作品。谁会想到在这种地方会有这样的东西?我们就想这个计划可行吗?于是我们先开始数这些房子，可没一会我们就数糊涂了。 但不知为什么这个想法挥之不去。

　　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：我们有个朋友，他在维拉克鲁塞罗运营着一个非政府组织，他的名字叫南科，他也很喜欢我们这个想法。他说：“你们知道吗?其实这里所有的人都很想给自己的房子粉刷并上漆，全部都刷好时才叫盖好了房子。“

　　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.

　　于是他给我们介绍了两个得力人选，就这样，维托和穆里尼奥加入了我们。我们选了社区中心的三所房子，我们从这三所房子开始，我们做了一些设计，其中那个男孩放风筝的设计成了大家的最爱。于是我们开始粉刷，粉刷的第一步就是将所有房屋都刷成蓝色，刷完之后我们觉得已经很不错了。

　　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.

　　但居民们不买账，他们讨厌极了我们刷的蓝色，他们说：“你们做了什么?你们给我们的房子刷的这个颜色，跟警察局那颜色一模一样。” 在贫民窟，这可不是件好事。这颜色也跟监狱的颜色一模一样。

　　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)

　　所以我们火速进行下一步，我们画出了那个男孩，然后我们以为我们完成了，我们非常开心，但是，这还不好，因为一些小孩子开始来找我们，他们说：“那是个男孩在放风筝，但风筝在哪儿?”我们说：“额，这是艺术你得想像出那个风筝。”(笑声)

　　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."

　　然后他们说 ：“不不不，我们想看到那个风筝。”所以我们很快安上了一个风筝，在高高的山上，这样你就能看见一个男孩在放风筝，你真的能看见一个风筝。当地的新闻开始写有关它的报道，这非常好，甚至英国卫报也写了有关它的报道： “臭名昭著的贫民窟成露天画廊”。

　　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，我们冲着第二个项目又回到了里约热内卢。我们不知不觉来到了这条路上，这条路为了防止泥石流而铺上了水泥，而我们仿佛看到了一条河，然后我们想像这河是日式风格的，河中有鲤鱼逆流而上。

　　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.

　　于是我们决定画出这条河，我们邀请了罗布·阿德米亚，他是个纹身艺术家，他擅长日式风格。我们哪里知道我们接下来几乎花了一整年的时间来画这条河，和住在附近的乔瓦尼，罗比尼奥和维托一起。我们甚至住进了“河”附近的街道，一个住在那条街上的人，艾利亚斯邀请我们和他家人一起住，这非常棒。

　　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，在那时候，在警察和贩毒团伙之间又爆发了一场战争。 (视频)(枪声)我们明白了在这种时候，社区里的人们真的非常团结，他们一起共渡难关。我们还明白了一个东西的重要性，烧烤的重要性。(笑声)因为当你开烧烤派对的时候，你从客人变成了主人，所以我们决定几乎每隔一周都开一次烧烤派对，然后我们认识了社区里的每一个人。

　　JK: We still had this idea of the hill, though.

　　Jeroen Koolhaas：但我们还有对这个山的想法。

　　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：对，对，我们讨论了它的比例，因为这个画作异常巨大，又有无数细节，这个过程几乎把我们完全逼疯。但是我们想到，也许在这个过程中，我们在社区里度过的时光，可能实际上比绘画本身更加重要。

　　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：在那么长时间之后，这个山，这个想法还在，我们开始画草稿，模型，然后我们明白了一些东西。我们明白了，我们的想法和设计要比上次的项目更加简单一些，这样我们就可以让更多人一起来画，并同时覆盖更多的房子。

　　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.

　　在里约热内卢中心的一个叫做圣玛尔塔的社区，我们有了个实践这个想法的机会。我们给这个地方做了个这样的设计，然后我们说服人们接受了这个设计，因为事实是，如果你的想法大得荒唐的话，就更容易得到大家的赞成。

　　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.

　　圣玛尔塔的居民 聚到了一起并在一个月多一点的时间内，他们把那个广场变成了这个样子。(掌声)不知怎么回事这张照片传遍了全球。

　　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：我们接到了一个意外的电话，这个电话来自费城壁画艺术计划，他们有个问题，我们的想法、我们的方法，能否在费城北部实施，费城北部是全美最贫困的社区之一。

　　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.

　　我们马上答应了，我们不知道怎么做，但这看起来是个有趣的挑战。于是我们做了跟在里约热内卢一样的事，我们住进了当地社区，开始了烧烤。(笑声)这个项目我们花了将近两年完成， 我们为这条街上的每一个房子都做了单独的设计， 我们和当地的店家和房主， 还有一队十来个的年轻人， 一起做出了这些设计。我们雇佣了他们，然后给他们提供培训，他们一起把他们自己的社区，整条街道，改造成了一幅巨大的色彩拼接图。 (掌声)最后，费城政府 感谢了每个参与这个工作的人 并对他们的成果给予了奖励。

　　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：现在我们画好了整条街， 接下来是不是该着手这座山了? 我们开始寻找资金， 但是，我们遇到了一些问题， 比如你们要刷多少栋房子? 那是多少平米? 你们要用多少墙漆? 你们要雇多少人?我们好几年来一直试图 写投资计划书并回答这些问题， 但我们又想， 回答这些问题， 你需要在你到那里和开始之前 准确地知道你要干什么。 可能这么想不对。 它可能会因此失去我们学到的一些神奇的东西， 就是如果你去一个地方，你在那里生活， 你可以让艺术项目有机地生长， 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：所以我们做的是 我们决定用这个计划， 撇开它上面所有的数字， 所有的想法和假设， 然后回到最基本的想法， 就是把这座山 变成一件巨大的艺术作品。 我们做了一个群众募资活动而不是寻找投资， 在一个月多一点的时间内， 1500多人一起募集捐赠了超过十万美元。 对我们来说，这是个惊喜的时刻，因为现在—— (掌声) 因为现在我们终于有自由 运用所有我们学到的东西 来创造一个 跟贫民窟一样建造起来的项目， 从地面到房顶，从下而上， 没有总体计划。

　　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：我们回去雇佣了安杰洛， 他是个来自维拉克鲁塞罗当地的艺术家， 他是个有天赋的人，他还认识那里几乎所有的人， 然后我们雇了我们的前房东艾利亚斯， 他之前邀请过我们去住他的房子， 他是个建筑大师。 和他们一起，我们决定了从哪里开始。 我们选了维拉克鲁塞罗的这个地方， 此刻这些房子正在粉刷中。 有他们的好处就是 他们来决定要刷的下一个房子。 他们甚至印了T恤衫， 他们挂起了条幅，向大家解释一切， 和媒体交流。 这是有关安杰洛的报道。

　　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：与此同时， 我们希望把这个想法带到全世界。 像我们在费城做的项目一样， 我们也被邀请去开研讨会， 比如在库拉索， 现在我们正在计划在海地的一个巨大的项目。

　　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： 所以贫民窟不仅是这个想法开始的地方， 它也是让这个想法得以成真的地方， 这里不需要总体规划， 因为这些社区是非正式的- 这就是我们的灵感来源- 和这些人一起，用共同的努力， 你可以像在一个管弦乐队里工作一样， 你可以有上百个乐器， 一起奏响一曲交响乐。

　　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：我们想感谢所有 想成为这个梦想的一部分 并一直支持我们的人， 我们也希望继续下去。

　　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：很快会有一天， 在色彩爬上这些墙面时， 我们希望更多人能加入我们， 加入这个巨大的梦想， 可能有一天，整个维拉克鲁塞罗 都会被画满。

　　DU: Thank you.(Applause)

　　Dre Urhahn：谢谢。(掌声)