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Representation matters. Authentic representations of women matter.
呈现很重要。女性的真实呈现很重要。
I think that too often, our public representations of women are enveloped in the language of the extraordinary.
我认为，我们的女性公众呈现太常使用非凡的表意方式来包装。
The first American woman to become a self-made millionaire: Madam C. J. Walker
第一位白手起家成为百万富翁的美国女性：C·J·沃克夫人，
The dresses of the first ladies of the United States
美国第一夫人的服饰...
Shirley Chisholm, the first woman to seek the US Democratic party's presidential nomination...
雪莉·奇泽姆，第一位寻求美国民主党总统候选人提名的女性。
As a museum curator, I understand why these stories are so seductive.
身为博物馆策展人，我能了解这些故事为何如此诱人。
Exceptional women are inspiring and aspirational. But those stories are limiting.
出色的女性能够鼓舞、激励人心。但那些故事很有限。
By definition, being extraordinary is nonrepresentative. It's atypical.
就定义来说，非凡的意思就是没有代表性。不是典型的。
Those stories do not create a broad base for incorporating women's history, and they don't reflect our daily realities.
那些故事无法成为女性历史的广大基础，无法反映出我们日常的现实。
If we can collectively apply that radical notion that women are people,
如果我们大家都能采纳“女性是人”的基础概念，
it becomes easier to show women as people are: familiar, diverse, present.
就会比较容易展现出这些身为人的女性是常见的、多样的、当前的。
In everyone's everyday throughout history, women exist positively not as a matter of interpretation, but as a matter of fact.
在整个历史上，在每个人的日常生活中，女性都以正面的方式存在--这并不是诠释，而是事实。
And beyond a more accurate representation of human life,
除了让人类生活有更正确的呈现之外，
including women considers the quotidian experiences of the almost 3.8 billion people identified as female on this planet.
将女性纳入，也是考量了地球上近38亿女性的每日经验。
In this now notorious museum scene from the "Black Panther" movie,
电影《黑豹》中这个博物馆的桥段现在恶名昭彰，
a white curator erroneously explains an artifact to Michael B. Jordan's character seen here, an artifact from his own culture.
一位白人策展人向画面中迈克尔·B·乔丹的角色错误地解释一项文物，这项文物来自他自己的文化。
This fictional scene caused real debates in our museum communities
这个虚构的桥段在我们的博物馆圈内引发了真实的辩论，
about who is shaping the narratives and the bias that those narratives hold.
争论是谁形塑了那些说法以及说法背后的偏见。
Museums are actually rated one of the most trustworthy sources of information in the United States,
在美国，博物馆被评为最值得信赖的信息来源之一，
and with hundreds of millions of visitors from all over the world, we should tell accurate histories, but we don't.
有数十亿来自世界各地的人造访，我们应该要诉说出正确的历史，但我们却没有。
There is a movement from within museums themselves to help combat this bias.
在博物馆自己内部有一项运动，就是在协助对抗这种偏见。
The simple acknowledgment that museums are not neutral.
坦率承认博物馆并不中立。
Museums are didactic. Through the display of art and artifacts,
博物馆是在说教。通过艺术和文物的展示，
we can incite creativity and foster inclusion, but we are guilty of historical misrepresentation.
我们能够激发创意，培养包容，但历史的错误呈现，确实是我们的过错。
Our male-centered histories have left our herstories hidden.
我们的历史以男性为中心，让女性的故事被隐藏起来。
And there are hard truths about being a woman, especially a woman of color in this industry,
女性有一些难以理解的事实，特别是这个行业中有色人种的女性，
that prevents us from centering inclusive examples of women's lives.
这使我们无法将女性生活的包容性例子集中在一起。
Museum leadership: predominantly white and male, despite women comprising some 60 percent of museum staffs.
博物馆领导职位：明显都是白种男性，尽管博物馆员工有60%左右是女性。
Pipelines to leadership for women are bleak -- bleakest for women of color.
女性通往领导职位的管道十分严峻--且对有色人种女性是最严峻的。
And the presence of women does not in and of itself guarantee an increase in women's public representation.
单单有女性存在，并不能表示女性的公众呈现会增加。
Not all women are gender equity allies. In the words of feminist theorist Bell Hooks, "Patriarchy has no gender."
并非所有女性都是性别平等的盟友。女性主义理论家贝尔·胡克斯就说过：“父权制没有性别。”
Women can support the system of patriarchy just as men can support the fight for gender equity.
女性可以支持父权制度，就如同男性可以支持性别平等的奋斗。
And we often downplay the importance of intersectionality.
并且我们通常低估了交织的重要性。
Marian Anderson was one of the most celebrated voices of the 20th century, and the Smithsonian collected her 1939 outfit.
玛丽安·安德森是二十世纪最被赞扬的歌手之一，而史密森尼收藏了她1939年的服装。
After the white Daughters of the American Revolution denied her access to sing in Constitution Hall,
因为她是黑人，白人的美国革命女儿会否决了她在宪政大厅演唱的申请，
because she was black, she famously sang instead on the steps of the Lincoln Memorial, to a crowd of over 75,000 people.
之后造成了她在林肯纪念堂阶梯上演唱的著名事件，当时的观众有七万五千人以上。
And in libraries all over, including museums, you can still find the groundbreaking 1982 anthology,
在各地的图书馆，包括博物馆，你仍然可以找到开创性的1982年选集，
entitled "All the Women Are White, All the Blacks Are Men, But Some of Us Are Brave."
名为《所有的妇女都是白人，所有的黑人都是男性，但是我们有些人是勇敢的》
Demands for the increase of women's representation does not automatically include Afro-Latinas like me
希望增加女性呈现的要求并不会自动包含像我这样的拉丁裔黑人，
or immigrant women, or Asian women, or Native women, or trans women,
或是移民女性，或亚洲女性，或原住民女性，或变性女性，
or undocumented women, or women over 65, or girls -- the list can go on and on and on.
或无正式文件的女性，或65岁以上的女性，或女孩--我还可以继续不断列下去。
So what do we do? Targeted initiatives have helped incorporate perspectives that should have always been included.
所以我们要做什么？有针对性的计划已经协助纳入了过去本来就应该要被纳入的观点。
I arrived at the Smithsonian through a Latino curatorial initiative whose hiring of Latinx curators,
我通过拉丁策展计划到了史密森尼（美国国立自然史博物馆），他们要僱用拉丁美洲策展人，
mostly women, by the way, has raised the profile for Latinx narratives across our institution.
顺便一提，大多是女性，他们这么做，让整个机构中的拉丁美洲呈现形式受到更多关注。
And it served as a model for our much larger Smithsonian American Women's History Initiative,
它是个模范，供后来更大型的史密森尼美国妇女历史倡议做参考，
which seeks to amplify diverse representations of women in every possible way, so that women show up,
该倡议的目的是要用各种可能的方式来扩大女性呈现的多样性，
not only in the imagery of our contemporary realities, but in our historical representations, because we've always been here.
这么一来，女性就不只会出现在我们当代现实的意象中，也会在我们历史的呈现中，因为我们一直都在这里。
Right now though, in 2018, I can still walk into professional spaces and be the only
不过现在，2018年，我仍然会走进专业的空间中，然后发现我是唯一一个
the only person under 40, the only black person, the only black woman, the only Latina, sometimes, the only woman.
不到四十岁，唯一的黑人女性，唯一的拉丁美洲裔，有时还是唯一的女性。
My mother is African-American and my father is Afro-Panamanian.
我母亲是非裔美国人，我父亲是巴拿马黑人。
I am so proudly and inextricably both.
我无可避免有这两边的血统，而我很骄傲。
As an Afro-Latina, I'm one of millions. As an Afro-Latina curator, I'm one of very few.
我只是数百万名拉丁裔黑人之一。我却是非常少数的拉丁裔黑人策展人之一。
And bringing my whole self into the professional realm can feel like an act of bravery,
把我整个自己带到这个专业领域中，感觉象是个很勇敢的举动，
and I'll admit to you that I was not always up for that challenge, whether from fear of rejection or self-preservation.
我向各位承认，我并非一直都准备好面对那个挑战，不论是怕被拒绝的恐惧或自卫的本能。
In meetings, I would only speak up when I had a fully developed comment to share.
在会议上，我只有在我的意见很完善的时候才敢发言分享。
No audible brainstorming or riffing off of colleagues.
同事间没有能听见的脑力激荡或是辩论。
For a long time, I denied myself the joy of wearing my beloved hoop earrings or nameplate necklace to work,
有很长的时间，我都不容许我自己享受戴着我最爱的环形耳环或名牌项链去工作的喜悦，
thinking that they were too loud or unscholarly or unprofessional.
认为它们太炫耀了，或不像学者，或不够专业。
I wondered how people would react to my natural hair,
我不知道大家对我天然的头发会有什么反应，
or if they viewed me as more acceptable or less authentic when I straightened it.
或者，若我把头发弄直，他们会比较接受我或觉得我不够真实。
And anyone who has felt outside of mainstream representations understands
任何觉得自己在主流呈现之外的人，都能了解
that there are basic elements just of our everyday being that can make other people uncomfortable.
光是我们日常生活中的一些基本元素，就可能造成其他人不舒服。
But because I am passionate about the everyday representation of women as we are,
但因为我对于女性真实日常生活的呈现抱持着热情，
I stopped presenting an inauthentic representation of myself or my work.
我停止不再为我自己或我的工作做不真实的呈现。
And I have been tested. This is me pointing at my hoop earring in my office...
我受到了考验。这是我在我的办公室中，指着我的环形耳环...
Just last month, I was invited to keynote a Latino Heritage Month event.
上个月，我被邀请到拉美裔传统月的活动做主题演讲。
The week of the presentation, the organization expressed concerns.
在演说的那一周，该组织表示有些忧心。
They called my slides "activist," and they meant that negatively.
他们认为我的投影片很“激进”，他们是指负面的意思。
Two days before the presentation, they requested that I not show a two-minute video affirming natural hair,
在演说的前两天，他们要求我不要播出一段关于肯定天然头发的两分钟的视频，
because "it may create a barrier to the learning process for some of the participants."
原因是“它可能会对一些参与者的学习过程造成阻碍。”
That poem, "Hair," was written and performed by Elizabeth Acevedo, a Dominican-American 2018 National Book Award winner,
《头发》那首诗，由伊丽莎白·阿塞维多撰写和表演，她是多米尼加裔的美国人，2018年美国国家图书奖得主，
and it appeared in an award-winning Smithsonian exhibit that I curated.
它出现在我所策划且得奖的一项史密森尼展览中。
I canceled the talk, explaining to them that their censorship of me and my work made me uncomfortable.
我取消了那场演说，向他们解释，他们针对我和我的作品所做的审查让我感到不舒服。
Respectability politics and idealized femininity influence how we display women and which women we choose to display.
体面政治和理想化的女性气质会影响我们如何展示出女性，及我们选择要展示哪些女性。
And that display has skewed toward successful and extraordinary and reputable and desirable,
并且那种展示会偏向成功、非凡、声誉好、令人满意的女性，
which maintains the systemic exclusion and marginalization of the everyday, the regular, the underrepresented and usually, the nonwhite.
这就让一般人、没有得到足够代表的人，且通常不是白人，继续被体制给排挤和边缘化。
As a museum curator, I am empowered to change that narrative.
身为博物馆策展人，我有能力可以改变那种表述方式。
I research, collect and interpret objects and images of significance.
我研究、收集、诠释重要的物品和影像。
Celia Cruz, the queen of Salsa -- yes -- is significant. And an Afro-Latina.
塞利娜·克鲁兹，骚沙女王--是的，她很重要，且是拉丁裔黑人。
The Smithsonian has collected her costumes, her shoes, her portrait, her postage stamp and this reimagining by artist Tony Peralta.
史密斯尼收集了她的服装、她的鞋子、她的画像、她的邮票，还有这幅重新成像之作...作者是艺术家托尼·佩拉塔。
When I collected and displayed this work, it was a victory for symbolic contradictions.
当我收集并展示这件作品时，它是象形性矛盾的胜利。
Pride in displaying a dark-skinned Latina, a black woman,
很骄傲地展示出一名暗色皮肤的拉丁美洲裔，黑人女性，
whose hair is in large rollers which straighten your hair, perhaps a nod to white beauty standards.
她的头发上有大发卷，是用来将头发拉直用的，也许是在向白人的美丽标准致敬。
A refined, glamorous woman in oversized, chunky gold jewelry.
一位优雅迷人的女子，戴着过大的大块金饰。
When this work was on view, it was one of our most Instagrammed pieces,
这件作品被陈列后，成为我们在Instagram上最热门的作品，
and visitors told me they connected with the everyday elements of her brown skin or her rollers or her jewelry.
访客告诉我，他们能够和她褐色皮肤、发卷，或饰品的日常生活元素连接。
Our collections include Celia Cruz and a rare portrait of a young Harriet Tubman
我们的收集品包括塞利娜·克鲁兹及年轻的哈丽特·塔布曼的一幅稀有画像，
iconic clothing from the incomparable Oprah Winfrey.
无与伦比的奥普拉·温弗瑞的标志性服装。
But museums can literally change how hundreds of millions of people see women and which women they see.
但博物馆真的可以改变数亿人看待女性的方式，以及他们看见哪些女性。
So rather than always the first or the famous, it's also our responsibility to show a regular Saturday at the beauty salon,
所以，不能总是只展现出最先的或最有名的人事物，我们也有责任要展现出平凡星期六的美容院，
the art of door-knocker earrings ... fashionable sisterhood ... and cultural pride at all ages.
门把式耳环的艺术...时髦的姐妹之谊...以及各种年龄的文化骄傲。
Stories of everyday women whose stories have been knowingly omitted from our national and global histories.
平凡女性的故事，我们国家以及全球的历史都故意遗漏了她们的故事。
And oftentimes in museums, you see women represented by clothing or portraits or photography
通常，在博物馆中，你会看到女性是用衣着、画像或照片来呈现，
but impactful, life-changing stories from everyday women can also look like this Esmeraldan boat seat.
但平凡女性的那些有影响力、能改变人生的故事，也可能看起来象是埃斯梅拉达斯的船上座椅。
Esmeraldas, Ecuador was a maroon community.
厄瓜多尔的埃斯梅拉达斯是逃亡黑奴聚集的地方。
Its dense rainforest protected indigenous and African populations from Spanish colonizers.
那里的雨林很茂密，能保护原住民和非洲人，不受西班牙殖民者侵犯。
There are roads now, but there are some parts inland that are still only accessible by canoe.
现在有道路了，但内陆有些地区还是只能靠独木舟才能到达。
Débora Nazareno frequently traveled those Ecuadorian waterways by canoe, so she had her own boat seat.
黛柏拉·纳扎雷努常常靠独木舟走厄瓜多尔的那些水路，所以她有她自己的船座椅。
Hers personalized with a spiderweb and a spider, representing Anansi, a character in West African folklore.
她的座椅被个人化，特色是一个蜘蛛网和一只蜘蛛，代表西非民间传说中的一个人物--阿南西。
Débora also sat on this seat at home, telling stories to her grandson, Juan.
黛柏拉在家时也坐在这个座椅上，给她的孙子胡安讲故事。
And this intangible ritual of love in the form of intergenerational storytelling is common in communities across the African diaspora.
这种无形的爱的仪式以代际故事的形式存在，在非洲侨民的社区中很常见。
And this everyday act sparked in Juan the desire to collect and preserve over 50,000 documents related to Afro-Indian culture.
这种日常的小动作，点燃了胡安的欲望，他想要收集和保存和非裔印度文化相关的超过五万份文件。
In 2005, Juan García Salazar, Débora's grandson,
2005年，胡安·加西亚·萨拉查，黛柏拉的孙子，
and by now a world-renowned Afro-Ecuadorian scholar, traveled to Washington, D.C.
也是现在世界知名的非裔厄瓜多尔学者，前往华盛顿特区。
He met with Lonnie Bunch, the director of the museum where I work,
他见到了朗尼·邦奇，也就是我工作的博物馆的馆长，
and toward the end of their conversation, Juan reached into his bag and said, "I'd like to give you a present."
在他们谈话接近尾声时，胡安把手伸到他的袋子中说：“我有一个礼物要给你。”
On that day, Débora Nazareno's humble wooden boat seat
那天，黛柏拉·纳扎雷努的简约木制船座椅，
became the very first object donated to the Smithsonian National Museum of African-American History and Culture.
成了第一件被捐赠给史密斯尼美国国立非裔美国人历史和文化博物馆的物品。
It is encased, displayed and has been seen by almost five million visitors from all over the world.
它被罩起来，展示出来，已有来自全世界近五百万访客看过它。
I will continue to collect from extraordinary historymakers. Their stories are important.
我会继续向创造历史的非凡者收集收藏品。他们的故事很重要。
But what drives me to show up today and every day is the simple passion to write our names in history,
但让我今天，每天，出来露面的动因，则是很单纯的一份热情，想要把我们的名字写入历史，
display them publicly for millions to see and walk in the ever-present light that is woman. Thank you.
将它们公开展示，让数百万人看见，走在永远存在的女人的光芒中。谢谢。
