Some need a stand or a stool.

有些需要架子或板凳

But the cajon is a drum, a stand and a seat all in one convenient box.

但是木箱鼓是一個箱子中有鼓、鼓架及一個座椅

And this simplicity may be key to its journey across continents and cultures

這樣的簡化可能是木箱鼓跨越國家與文化的關鍵

to become one of the most popular percussion instruments in the world today.

而形成現今世界最受歡迎的打擊樂器之一

The cajon's story begins in West Africa,

木箱鼓的故事起源於西非

whose indigenous people had rich musical traditions

西非的土著人民有非常豐富的音樂傳統

centered on drumming and dancing.

並且以打鼓和跳舞為核心

When many of them were captured and brought to the Americas as slaves,

自從許多西非人被抓到美國當奴隸之後

they brought this culture with them,

他們帶著這些文化過去

but without their native instruments, they had to improvise.

但是，沒有原本的樂器，他們必須想辦法即興演出

African slaves in coastal Peru didn't have the materials

秘魯沿海的非洲奴隸並沒有這些材料

or the opportunity to craft one of their traditional drums

甚至也沒有製作傳統鼓的機會

such as a djembe or a djun djun.

例如非洲鼓或牛皮製非洲鼓

But what they did have were plenty of shipping crates.

但是他們有很多用來裝貨的箱子

Not only were these readily accessible,

這種箱子不但方便獲得

but their inconspicuous appearance

而且外觀也不顯眼

may have helped get around laws prohibiting slaves from playing music.

可以因為這樣，得以規避禁止奴隸玩音樂的法令

Early Peruvian cajons consisted of a simple box

早期的秘魯木箱鼓包含一個簡單的箱子

with five thick wooden sides.

箱子有 5 個厚的木質邊

The sixth side, made of a thinner sheet of wood,

第 6 個邊，是比較薄的木片

would be used as the striking surface,

用來當作打擊的面

or more commonly known as the tapa.

或者通常稱為鼓面

A sound hole was also cut into the back to allow the sound to escape.

鼓的背面有個洞，好讓聲音可以傳遞出去

As an Afro-Peruvian culture developed,

隨著非洲秘魯文化的發展

and new forms of music and dance, such as Zamacueca,

形成了諸如札馬卡卡之類的新式音樂與舞蹈

Festejo and Landó were born,

Festejo 和 Landó 也誕生了

the cajon became a dedicated musical instrument in its own right.

木箱鼓成為了專用的樂器

Early modifications involved simply bending the planks of the box

早期的修改只是彎曲箱子的木條

to tweak the sound,

來調整聲音

and when abolition of slavery introduced the cajon to a broader population,

奴隸制度廢除後，越來越多人使用木箱

more improvisation and experimentation soon followed.

之後的演奏也就更即興了

Perhaps the person most responsible for introducing the cajon

也許主要將木箱鼓

to European audiences was Spanish Flamenco guitarist Paco de Lucía.

引入歐洲聽眾的是西班牙佛朗明哥吉他手 Paco de Lucía

When touring in Peru in 1977,

1977 年，他在秘魯旅行時

he and his percussionist Rubem Dantas

和他的打擊樂手 Rubem Dantas

discovered the cajon and brought it back to Spain,

發現木箱鼓，並將木箱鼓帶回西班牙

recognizing its potential for use in Flamenco music.

並將它用在佛朗明哥音樂中

By stretching guitar strings along the inside of the tapa,

他們在鼓的內部裝上拉直的吉他弦

the flamenco musicians were able to create a buzz-like snare sound.

讓佛朗明哥音樂能夠產生像嗡嗡的聲音

Combined with the regular bass tone,

再結合一般的低音

this gave the cajon a sound close to a basic drum set.

讓木箱鼓的聲音更像一整組的基本鼓演奏

The cajon quickly caught on,

木箱鼓很快地就廣泛流行

not only becoming standard in Flamenco,

不只是融入了佛朗明哥音樂

but being used in genres like folk, jazz, blues and rock.

也被用於民歌、爵士、藍調和搖滾樂等類型

Today, many specialized cajons are manufactured,

現在還有很多特製的木箱鼓

some with adjustable strings,

有些有可調整的弦

some with multiple playing surfaces,

有些有多個打擊面

and some with a snare mechanism.

還有一些有響線調整的機制

But the basic concept remains the same,

但是基本概念是不變的

and the story of the cajon shows

木箱鼓的故事告訴我們

that the simplest things can have the most amazing potential

最簡單的事具有最驚人的潛力

when you think outside and inside the box.

只要你的思考不受局限，就能夠發現