When "Dancing With the Stars" first hit the airwaves, that is not what it looked like.
当“与星共舞”首次出现在电视上，不是看上去的那个样子。
Jeff and I were full-time ballroom dance instructors when the big TV ballroom revival hit, and this was incredible.
当电视上的交谊舞再度引爆热潮时，杰夫和我还是全职的交谊舞老师，这太令人不可置信了。
I mean, one day we would say "foxtrot," and people were like "Foxes trotting."
我是指，某天当我们说“狐步舞。”人们会想“狐狸在慢跑。”
And the next day they were telling us the finer points of a good feather step. And this blew our minds.
然后第二天他们竟会告诉我们跳好羽步的微小细节。这对我们的思维产生了冲击。
I mean, all of the ballroom dance geeking out that we had always done on why salsa worked differently than the competitive rumba
我的意思是，与交谊舞有关的内容，比如说为什么萨尔萨舞和竞技伦巴舞不同，
and why tango traveled unlike the waltz, all of that just hit the public consciousness, and it changed everything.
为什么探戈舞步和华尔兹不同，所有的这些冲击了公众的意识，改变了一切。
But running parallel to this excitement, the excitement that suddenly, somehow, we were cool --
伴随着突然间出现的交际舞疯潮而来的，就是不知为何，我们变得很酷 !
there was also this reservation. Why this and why now?
当然还有这样的保留意见。为什么是交际舞，为什么是现在？
When Trevor and I would get together for training seminars or just for fun,
当特雷弗和我因为训练课程或好玩而聚在一起练舞时，
we'd toss each other around, mix it up, take a break from having to lead all the time.
我们将对方抛出去、接回来，轮流交换，这可以让我们相互喘口气，不用从头领舞到尾。
We even came up with a system for switching lead and follow while we were dancing, as a way of taking turns and playing fair.
我们甚至在跳舞当中，想出了一套可以相互轮流、公平地领舞与跟舞的方法。
It wasn't until we used that system as part of a performance in a small festival that we got an important tap on the shoulder.
直到有次在一个小型活动中，我们将轮流领舞的方法带入演出中，这套方法才受到重量级的关注。
Lisa O'Connell, a dramaturge and director of a playwright center,
莉萨·欧康乃尔，戏剧家兼剧作中心主任，
pulled us aside after the show and said, "Do you have any idea how political that was?"
于演出后把我们拉到一旁说道: “你们知道这多么有政治意义吗？”
So that began an eight-year collaboration to create a play which not only further developed our system for switching
从此我们展开了8年的合作，并打造了一出戏剧，这不仅进一步开发了轮流领舞的系统，
but also explored the impact of being locked into a single role, and what's worse, being defined by that single role.
而且也能探究被局限在单一角色，更甚者，被单一角色画地自限所带来的影响。
Because, of course, classic Latin and ballroom dancing isn't just a system of dancing;
因为，当然，传统的拉丁和交际舞不仅只是一套舞蹈系统；
it's a way of thinking, of being, of relating to each other that captured a whole period's values.
它是一种思维、存在、人际间互动连结的展现方式，记录了整个时期的价值观。
There's one thing that stayed consistent, though: the man leads and the woman follows.
然而，有一件事却始终不变：男士领舞，女士跟舞。
So street salsa, championship tango, it's all the same -- he leads, she follows.
所以，从街边的萨尔萨舞到探戈舞锦标赛，全都一样，他领舞，她跟舞。
So this was gender training. You weren't just learning to dance -- you were learning to "man" and to "woman." It's a relic.
这是性别的训练。你不只是学习跳舞，你还要学习“男性”与“女性”，这是传统的遗风。
And in the way of relics, you don't throw it out, but you need to know that this is the past.
传统的遗风，不代表我们要将之舍弃，但我们要知道那是过去式了。
This isn't the present. It's like Shakespeare: respect it, revive it -- great!
它并不适合现在。就像莎士比亚：尊重它，复兴它--很好!
But know that this is history. This doesn't represent how we think today.
但是，这是历史。它不代表现代人们的思维。
So we asked ourselves: If you strip it all down, what is at the core of partner dancing?
所以我们扪心自问：假如你追根究底，双人舞的核心特质是什么？
Well, the core principle of partner dancing is that one person leads, the other one follows.
双人舞的核心原则是一个人领舞，另一个人跟舞。
The machine works the same, regardless of who's playing which role.
机器的运作也是一样的，不管是谁在操作它。
The physics of movement doesn't really give a crap about your gender.
物理的运动现象也不会因为你的性别而有所改变。
So if we were to update the existing form, we would need to make it more representative of how we interact here, now, in 2015.
如果我们要让现有的模式更合乎时代，我们就要让之间的互动更具代表性，从现在开始，从2015年开始。
When you watch ballroom, don't just watch what's there. Watch what's not.
当你们观赏交际舞时，不要只是看那里有什么，而是要看那里少了什么。
The couple is always only a man and a woman. Together. Only. Ever.
双人舞的搭档总是一男一女。一起。就这样。一成不变。
So, same-sex and gender nonconformist couples just disappear.
相同性别、不落俗套的搭档却不存在。
In most mainstream international ballroom competitions,
绝大多数主流的世界交际舞竞赛中，
same-sex couples are rarely recognized on the floor, and in many cases, the rules prohibit them completely.
同性的舞伴极少在舞池上被认可，从多数的例子来看，大会的规则对此是完全禁止的。
Try this: Google-image, "professional Latin dancer," and then look for an actual Latino person.
试着在谷歌图片中搜寻“专业拉丁舞者”，然后寻找一位真正的拉丁裔舞者。
You'll be there for days. What you will get is page after page of white, straight Russian couples spray-tanned to the point of mahogany.
你将会花上好几天。因为你看到的会是一页接着一页的白皮肤、纯正的俄国舞者，全身使用定色喷雾喷成小麦色。
There are no black people, there are no Asians, no mixed-race couples, so basically, non-white people just disappeared.
没有黑人、没有亚洲人、没有跨种族的搭档，所以基本上，没有非白人的舞者。
Even within the white-straight- couple-only paradigm -- she can't be taller, he can't be shorter.
即便是在只有纯白人搭档的唯一制式范例中，她不能比较高，他不能比较矮。
She can't be bolder, he can't be gentler.
她不能大胆些，他不能温柔些。
If you were to take a ballroom dance and translate that into a conversation and drop that into a movie, we, as a culture, would never stand for this.
假如将交际舞转化成对话、演绎成电影，我们在文化层面上绝不会容许这样的现象。
He dictates, she reacts.
他命令主导，她响应跟随。
No relationship -- gay, straight or anything
不管在任何关系上--同性恋、异性恋或其他关系，
that we would regard as remotely healthy or functional looks like that, and yet somehow, you put it on prime time, you slap some makeup on it,
我们都会认为是不健康、不可行的。然而，不知何故，你把它放在黄金时段，妆点上胭脂彩粉，
throw the glitter on, put it out there as movement, not as text, and we, as a culture, tune in and clap. We are applauding our own absence.
洒上晶亮的五颜六色，以动作的形式而非本质内涵来展现，在文化上，我们观赏它并给予掌声。我们在为自己的缺席而鼓掌。

Too many people have disappeared from partner dancing.
有太多人在双人舞中缺席。
Now, you just saw two men dancing together.
现在，你看到两个男人在跳舞。
And you thought it looked ... a little strange. Interesting -- appealing, even -- but a little bit odd.
你觉得它看起来...有点奇怪。有趣、甚至有魅力...但是有点古怪。
Even avid followers of the same-sex ballroom circuit can attest that while same-sex partner dancing can be dynamic and strong and exciting,
即便同性交际舞联合会的狂热追随者，可以证明与同性舞伴共舞是充满活力、张力和令人振奋的，
it just doesn't quite seem to fit.
但看起来就是不怎么搭。
Aesthetically speaking, if Alida and I take the classic closed ballroom hold ... this is considered beautiful. But why not this?
以美学的角度来看，假如婀丽达和我做出贴身握抱...大家会觉得很美。但为什么这个就不美了呢？
See, the standard image that the leader must be larger and masculine and the follower smaller and feminine -- this is a stumbling point.
看，领舞者必须身材高大些、具男子气概，跟舞者则须娇小些、具女人味的制式印象--这就是障碍点。
So we wanted to look at this from a totally different angle.
我们想从全然不同的角度来审视这件事。
So, what if we could keep the idea of lead and follow but toss the idea that this was connected to gender?
如果我们保留住领舞和跟舞的观念，但是舍弃掉性别的概念，会是如何呢？
Further, what if a couple could lead and follow each other and then switch? And then switch back?
更甚者，如果舞伴间可以交替领舞和跟舞，又会如何呢？然后再互换？
What if it could be like a conversation, taking turns listening and speaking, just like we do in life?
如果可以将它变成一种沟通、对话，就像日常生活中彼此相互地倾听与诉说呢？
What if we could dance like that? We call it "Liquid Lead Dancing."
如果我们能够像那样地跳着舞呢？我们称它为“流动领舞”。
Let's try this with a Latin dance, salsa. In salsa, there's a key transitional step, called the cross-body lead.
让我们试着用这种方法来跳拉丁舞、萨尔萨舞。萨尔萨舞中有一个重要的过渡舞步，称为身体交错引导。
We use it as punctuation to break up the improvisation.
我们把它当成标点符号来分解即兴发挥。
It can be a little tricky to spot if you're not used to looking for it, so here it is. One more time for the cheap seats.
如果你不习惯去注意它的话，会比较难看出来。就像这样。再一次，给坐在后面的观众。
And here's the action one more time, nice and slow.
再做一次动作给大家看，放慢步调。
Now, if we apply liquid-lead thinking to this transitional step, the cross-body lead becomes a point where the lead and the follow can switch.
现在，如果我们将流动领舞的思维应用在过渡舞步的话，身体交错引导，将会是领舞与跟舞的关键转换点。
The person following can elect to take over the lead, or the person leading can choose to surrender it,
跟舞者可以成为领舞者，而领舞者换位成为跟舞者，
essentially making it a counter-cross-body lead. Here's how that looks in slow motion.
实际上就是相对的身体交错引导。慢动作看起来是这样的。
And here's how it looked when we danced it in the opening dance.
在开场舞中，它看起是这样的。
With this simple tweak, the dance moves from being a dictation to a negotiation.
一个简单的扭转动作，舞蹈就从主导变成了协商。
Anyone can lead. Anyone can follow. And more importantly, you can change your mind.
任何人都可以领舞；任何人都可以跟舞。更重要的是，你可以改变心意。
Now, this is only one example of how this applies, but once the blinkers come off, anything can happen.
这只是其中的一个例子，一旦灯光熄灭，任何事都可能发生。
Let's look at how Liquid Lead thinking could apply to a classic waltz.
让我们看看流动领舞的思维是如何应用在经典的华尔兹上的。
Because, of course, it isn't just a system of switching leads;
当然，因为它不仅只是轮流领舞的系统，
it's a way of thinking that can actually make the dance itself more efficient.
它是一种思维方式，可以让舞跳起来更轻松优美。
So: the waltz. The waltz is a turning dance.
看一下爱华尔兹。华尔兹是一种旋转的舞蹈。
This means that for the lead, you spend half of the dance traveling backwards, completely blind.
这意味着领舞者一半的时间都是背对行进的方向，完全看不到。
And because of the follower's position, basically, no one can see where they're going.
因为跟舞者的位置，基本上没有人知道他们要跳去哪里。
So you're out here on the floor, and then imagine that coming right at you.
你在舞池的这里，然后想象他们向你逼近的情形。
There are actually a lot of accidents out there that happen as a result of this blind spot.
实际上，因为这个视觉的盲点，造成了很多的意外。
But what if the partners were to just allow for a switch of posture for a moment?
但是如果可以暂时让舞伴变换一下姿势呢？
A lot of accidents could be avoided. Even if one person led the whole dance but allowed this switch to happen,
那就可以避免很多意外的发生。即便只有一个人领完整首舞曲，但是允许舞伴们互换姿势，
it would be a lot safer, while at the same time, offering new aesthetics into the waltz.
不仅跳起来更加安全，同时也将新的审美观带入华尔兹。
Because physics doesn't give a damn about your gender.
因为物理学才不在乎你的性别。
Now, we've danced Liquid Lead in clubs, convention centers
现在，我们在俱乐部、会议中心表演流动领舞，
and as part of "First Dance," the play we created with Lisa, on stages in North America and in Europe.
并且作为我们和莉萨一起创作的舞台剧“第一支舞”的一部分，还在北美与欧洲的舞台上表演。
And it never fails to engage.
这种表演从不缺乏参与者。
I mean, beyond the unusual sight of seeing two men dancing together, it always evokes and engages. But why?
我是说，在罕见的两个男人共舞的画面之外，它总能唤起人们的参与和互动。但是为什么呢？
The secret lies in what made Lisa see our initial demonstration as "political."
秘诀就在于，当初莉萨洞悉到我们最初示范时的政治意涵。
It wasn't just that we were switching lead and follow;
它不仅只是大家表面上看到的轮流地领舞和跟舞，
it's that we stayed consistent in our presence, our personality and our power, regardless of which role we were playing. We were still us.
而是不论我们的角色为何，我们的本质、个性与力度展现，始终如一。我们还是最真实的自我。
And that's where the true freedom lies -- not just the freedom to switch roles,
那是真正自由的所在，不是只有舞伴角色的互换而已，
but the freedom from being defined by whichever role you're playing, the freedom to always remain true to yourself.
而是不论你的角色如何被界定，你始终都忠于自我的表现。
Forget what a lead is supposed to look like, or a follow.
忘掉领舞或跟舞者应该看起来要像什么样子。
Be a masculine follow or a feminine lead. Just be yourself.
做个有男子气概的跟舞者，或女人味十足的领舞者。做你自己。
Obviously, this applies off the dance floor as well, but on the floor,
显然，这也适用与舞池之外，但在舞池上，
it gives us the perfect opportunity to update an old paradigm, reinvigorate an old relic,
它给了我们绝妙的机会来创新旧有的典型，复兴优良的遗风，
and make it more representative of our era and our current way of being.
使其在当今时代更具有代表性。
Jeff and I dance partner dancing all the time with women and men and we love it.
杰夫和我一直与男性或女性搭档双人舞，我们很喜欢这样。
But we dance with a consciousness that this is a historic form
但我们跳舞时意识到，这是具历史意义的呈现形式，
that can produce silence and produce invisibility across the spectrum of identity that we enjoy today.
可使人们忘掉并无视于制式的角色认同，尽情地享受跳舞的乐趣。
We invented Liquid Lead as a way of stripping out all the ideas
我们创造了流动领舞，褪去了所有不属于我们的想法，
that don't belong to us and taking partner dancing back to what it really always was: the fine art of taking care of each other.
把交谊舞跳回本来该有的样子：彼此互相照顾的高雅艺术。