TE||Music as salvation
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导读
El Sistema创始人何塞·艾伯鲁TED演讲
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音乐| 精读 | 翻译 | 词组
Music as salvation
音乐的救赎
本文英文部分选自经济学人Obituary版块
founder of El Sistema, ,aged 78
何塞·艾伯鲁于3月24日去世，他是委内瑞拉国立青少年管弦乐团（西班牙语：EL SISTEMA）的创始人，享年78岁。
El Sistema的中文译名是“委内瑞拉青少年乐团体系国家基金会”（西班牙文全称为 Fundación del Estado para el Sistema Nacional de las Orquestas Juveniles e Infantiles de Venezuela，简称El Sistema）。它是一个遍及委内瑞拉全国的非盈利音乐教育体系，旨在通过音乐来改变年轻人，尤其是来自贫困家庭的孩子的命运。委内瑞拉人一般简称为“体系”（El Sistema）或是“乐团”（Las Orquestras）。
THAT underground car park in Caracas was like any other: dim, low-pitched, musty with damp. The acoustics were going to be dreadful, like an echo chamber. But as he waited there one afternoon in 1975, José Abreu was excited. He had been given 50 music stands, one for every two of the hundred children he expected, and already these resembled a skeleton orchestra, set out in rows. So he waited. And, eventually, 11 boys straggled in.
加拉加斯，一间普普通通的地下停车场，坡道低缓，阴暗潮湿，散发着发霉的味道。这儿的音响效果更是糟糕透顶，像个回音室。但是1975年那个下午，何塞·艾伯鲁在这儿等待时，心情却激动万分。因为他搞到了50个乐谱架，期待着每两个孩子一个乐谱架，100个孩子排成排站在那儿，基本上就是个管弦乐队了。就这样，他等待着。然而，最终只零零散散地来了11个男孩。
1975年，荷塞.安东尼奥.艾伯鲁将十一个年轻人召集到一起排练音乐。对着这群年轻人，他说：“凭着这个乐器，你将改变世界。” 于是（「Social Action for Music」）El Sistema就这样诞生了。目前该乐团拥有102个少年乐团、55个儿童乐团以及270个音乐中心，每年吸引超过30万的委内瑞拉年轻人参与其中。
Another man might have given up then and there. But he had a vision that possessed him, and it was not just to teach music. He intended to transform society, first in Venezuela and perhaps, with God’s grace, worldwide. So he did not send the boys home, but told them he was going to turn them into one of the best orchestras in the world. His first lesson was tocar y luchar, play and struggle. He would multiply these boys until, at the last count, at least 700,000 children were enrolled in 440 núcleos, centres for choirs or orchestras, in Venezuela; the Simón Bolívar Orchestra of his best players was acclaimed all over Europe and America; and his method had spread there too, far beyond his country.
换作别人，当场也就放弃那些孩子了。但是，何塞·艾伯鲁拥有独特的远见，并不仅仅为了教音乐这一个目的。他想要用音乐来改造社会，首先在委内瑞拉，如果上帝保佑的话，他甚至想用音乐改造全世界。所以，他并没有让孩子们回家，而是告诉他们，他要把他们变成世界上最好的交响乐团之一。他的第一堂课是 “TOCAR Y LUCHAR”，即“去演奏、去战斗”。他不断召集更多的男孩，最后有至少70万人加入，组成了440个NÚCLEOS乐队，这些乐队成为了委内瑞拉交响乐团的中流砥柱；由他教出的最出色的乐手所组建的SIMÓN BOLÍVAR 乐团享誉整个欧洲和美国，他的教学方法也传到那里，影响已经远远超出委内瑞拉。
It acquired the name El Sistema although it was not, he emphasised, a system. It was a social project, almost a religious one, whereby through hard work and collaboration he would raise up Venezuela’s young, especially the deprived young, to their full potential of body, mind and spirit. Out in los ranchos, the sprawling shanty-towns of tin-roofed shacks and stinking drains, a boy would lift his bow across violin strings while his father hammered at his workbench, or a little girl would practise her clarinet as her mother folded clothes. A child who did this was no longer poor, but noble, and would instil pride too in his parents. Inspired adolescents would no longer smoke cannabis on street corners, or fall into prostitution. Rescued themselves, they would gradually save their communities from crime and their country from its chronic disorder.
这种方法被冠以“音乐救助体系”的名字，虽然艾伯鲁强调，它还未成体系。它是一项社会项目，几乎是宗教性的，他能通过努力工作和共同协作激励委内瑞拉的年轻人，特别是穷苦的年轻人，激发他们身体、头脑和精神的全部潜能。在Los Ranchos这个到处杂乱无章地搭着铁皮屋顶的屋棚，排水沟臭气熏天的小镇里，能看到一个正举起琴弓，拉着小提琴的男孩儿，而他的父亲正在工作台上敲敲打打，奋力干活；或是一个练习者竖笛的小女孩，她的母亲却在叠衣服。这样的小孩不再贫穷，而是变得高贵了，同时也让父母感到骄傲。受到鼓舞的青年就不会再在街角抽大麻或卖淫了。拯救他们自己，就是拯救了社区，拯救了国家；渐渐地，社区不再有人犯法，国家也不再混乱。
He stressed the word “social” in his plans, as a trained economist whose studies, rather than his life, had introduced him to desperate poverty. (His childhood in an Andean town had been hard, but not like that; there was a piano in the house, and a family history of music-making in Italy.) “Social” also expressed the first purpose of El Sistema, playing together, rather than having music theory drilled into young heads. Its funding, in fact, came through social services, not the cultural department.
他在自己的计划中强调了“社会”这个词。作为一位专业的经济学家，他虽然生活上不愁吃穿，但他的科研却让他见识了极度的贫穷。（他在安第斯山脉的小镇上的童年很艰辛，但要比Los Ranchos的情况好；他的家里有一架钢琴，而且他的家族有在意大利制作音乐的历史。）“社会”也阐述了“音乐救助体系”的首要目的，在一起演奏，而不是将音乐知识灌入孩子的脑中。它的资金实际上是来自于社会公益，而不是文化部。
“Socialist” he did not say, though his language often strayed that way. Music was not a monopoly of elites. It was an inalienable right of the masses, as was beauty. Surely Beethoven, that profoundly democratic humanist, would be outraged to see it now, an exclusive and privileged thing, while the weak cried out for it.
他不曾提及“社会主义者”，尽管他的话风经常偏向该旨意。 音乐不该为精英阶层所垄断。如爱美之心，音乐也是大众不可剥夺的权利。 毫无疑问，倘若那位极度民主的人文主义者贝多芬还在世的话，看到音乐为特权阶层独享于私囊，弱者呼喊争取而不得，必定也会义愤填膺。
The Chávez problem
关于查韦斯
It would have pleased Maestro Abreu to keep El Sistema out of politics, but that proved impossible. His founding motivation was part-patriotic anyway: he wanted Venezuela to have a classical-music culture as good as Mexico’s or Argentina’s. His principal orchestra was named after the great regional liberator and its child-players shone in the national colours, red, yellow and blue. For a few years, in the social-democratic period later mocked by Hugo Chávez, he was a congressman and culture minister; he knew the ropes. Nine successive governments funded him, none more generously than that of Chávez, so to keep the orchestra afloat he dared not cross him. But chavismo was not his creed. He believed in the emancipation, even perfectibility, of human beings through music.
如果音乐大师艾伯鲁能够让委内瑞拉国立青少年管弦乐团系统摆脱政治，那将是件多么欣慰的事，但事实证明这是不可能的。无论如何，他的创始动机部分原因是出于爱国：他希望委内瑞拉拥有墨西哥或阿根廷那样的古典音乐文化。他的主管弦乐队是以伟大的地区解放者名字命名的，而其儿童乐手演奏时闪耀的布景灯是国旗色彩，红色，黄色和蓝色。在后来被乌戈·查韦斯嘲笑的社会民主时期，他任国会议员和文化部长数载; 深谙吏途宦海中的门道。连续九届政府都资助他，查韦斯是最慷慨的，所以为了保持乐团壮大局势，他不敢得罪他。但他不信查韦斯主义。他相信人类可以通过音乐解放自己，遂臻于化境。
That required exhausting discipline. The children rehearsed for four hours after school, 22 hours a week, playing until they were tired out, for this ideal. He drove them as he drove himself, convinced from that first session in the car park by the spark he had seen in their eyes. As more and more núcleos sprang up, he made sure his will was vehemently channelled through them. Tocar y luchar. When El Sistema produced a star in Gustavo Dudamel, now director of the Los Angeles Philharmonic, he took him firmly under his wing, even standing beside him, small, gaunt and ghostlike in coat and scarf, vestigially conducting while Mr Dudamel did. Some thought him more or less a tyrant, and questioned whether El Sistema had done any good, since weak players did not advance and Venezuela was falling even faster to pieces. But there was no doubt, in his mind or most others, that he had raised the aspirations and, with them, the prospects of thousands of young Venezuelans.
这需要倾注心血。为了实现目标，孩子们每天放学后排练4个小时，每周22个小时，直到筋疲力尽。他以高标准要求自己，也同样要求乐团。在停车场的第一次试演，他看到了孩子们眼中闪耀的火花，更加坚定了信念。随着组建的乐队越来越多出现，艾伯鲁要阿布勒乌确保自己的意志得到彻底贯彻。“TOCAR Y LUCHAR”，“去演奏、去战斗”。现任洛杉矶爱乐乐团总监古斯塔夫·杜达梅尔（Gustavo Dudamel），就是从委内瑞拉青少年国家体系基金会走出的一位艺术家。当时，艾伯鲁阿布勒乌对杜达梅尔的细心呵护，无微不至、如影随形，没有他的付出，就没有今天的指挥家杜达梅尔先生。鉴于基础差的演奏者们没有取得进步知名度并不高，并且委内瑞拉当时正经历着国家四分五裂，程度不断加深，一些人认为艾伯鲁阿布勒乌有些专横武断，质疑并觉得基金会存在的意义十分鸡肋。但毫无疑问的是艾伯鲁基金会唤醒了人们的希望，并让上千万委内瑞拉年轻人看到，他们的前途是一片光明。对于这一点，不仅艾伯鲁自己深信不疑，大部分人也都认同。
He was certain it would work, because it had worked on him. Once he knew, at nine, the joy of a piano, a musician was all he wanted to be. He had studied economics only because it fitted round his course in composition. For that he won prizes, producing a cantata on the Samaritan woman, an oratorio on the Apocalypse, and a wind quintet. His conducting was rigorous and reverent, searching the depths, always challenging his players. For what he wanted them to find was not only self-esteem and solidarity, but the sacred life within music which was Being, Truth and Goodness, God himself. This, the final transformation, was also why he had set up the music stands in that underground car park that day, and waited.
他肯定音乐的作用，因为他就深受音乐的影响。九岁时，他就体会到了钢琴的乐趣，便一心想成为一名音乐家。他进修了经济学，仅仅是因为课程与作曲课不冲突。依据圣经中“撒玛利亚妇人”情节创作的清唱剧，按照启示录创作的宗教献歌和木管五重奏，使艾伯鲁荣获作曲奖项无数。他的指挥严谨而虔诚，探索着不同层次，给乐手们带来挑战。因为他想让他们发现的不仅是自尊与团结，还有音乐中的神圣生命，即存在、真理和善良、更有上帝本身。这最后的升华，就是为什么他那天要在地下停车场摆起那些乐谱架，然后殷切地开始等待的原因。
翻译组：
Yi, 女，财务民工，经济学人爱好者
Cece，女，消防工作者，CATTI三笔
Samantha，女，滑冰狂人，邓伦未婚妻
Lee，男，医学英译 Timberland爱好者
校核组：
Dave，大学老师，二级口译笔译，科幻文学译者
Lucia，女，翻译学硕士三年制，经济学人爱好者
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观点 |评论|思考
说到委内瑞拉，不知道大家首先想到的是啥，石油？选美? 通货膨胀？对，各位大佬说的都对，石油储量世界第一，盛产世界小姐冠军，通货膨胀大的超乎你的想想，夸张的说买个手机要背一书包的钱。（至于具体原因你懂的：太依赖美元，所以中国的石油期货可谓是给委内瑞拉点了一盏灯，搞死美国佬。）
今天读完这篇文章，发现El Sistema这个音乐体系竟然这么溜。回想国内音乐，小编似乎说不出一个特别厉害的体系，民歌？通俗？应该也算吧，但是身边通晓这两个的基本也是寥寥无几，不知道是国家不重视呢？还是把重心放在了德智体美劳上而忽略了音乐。
小编是一位来自农村的80后中年小编，其实从小就受到音乐“熏陶”，即从小就有音乐课，但是仔细回想感觉基本都是打酱油（老师），音乐老师是体育老师兼职（这是真事），难道只是国家要求各个中小学必须有音乐课，然后学校找个人滥竽充数而已？（此处大家可以留言反驳，我说的是个人经历）
当然很多时候，我们不得不说教学方法也是特别重要。举例说明：小编小时候学古诗都是死记硬背，而现在的小一代或两代用的是婷婷诗教，用唱歌的方式学古诗，既轻松又记得住，真的不得不说中国原来的教育体系是有多大的问题啊，再加之这几年频频爆出某某大学研究生导师，性侵xx学生，令人不禁遐想，这真的是中国教育之悲哀？还只是个例？不管怎样，都值得深思。当然，小编相信，我们的未来是光明的，说错了，我们下一代以及下下一代的前途是光明的。
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