You're a little girl of five years old.

我想請各位花點時間和我一起想像。

Sitting in front of a mirror,

你是個五歲的小女孩，

you ask yourself,

坐在一面鏡子前，

"Do I exist?"

問自己：

In this space, there is very little context,

「我存在嗎？」

and so you move into a different one,

這個空間中的情境太少，

one filled with people.

所以你移到另一個不同的空間，

Surely, now you know you're not a figment of your own imagination.

一個滿滿是人的空間中。

You breathe their air.

當然，現在你知道你不是 自己想像出來的虛構人物。

You see them,

你呼吸著他們的空氣。

so they must see you.

你看見他們，

And yet, you still can't help but wonder:

所以他們一定也看見了你。

Do I only exist when people speak to me?

但是，你忍不住會想：

Pretty heavy thoughts for a child, right?

只有當人們對我說話時， 我才存在嗎？

But through various artworks that reflect upon our society,

對孩子而言，這些想法挺沉重吧？

I came to understand how a young black girl can grow up

但是透過反映我們社會的 各種藝術作品，

feeling as if she's not seen, and perhaps she doesn't exist.

我開始了解到，

You see, if young people don't have positive images of themselves

年輕的黑人女孩在成長過程中 會覺得她彷彿被視而不見，

and all that remains are negative stereotypes,

甚至或許不存在。

this affects their self-image.

要知道，如果年輕人 沒有正面的自我印象，

But it also affects the way that the rest of society treats them.

只剩下負面的刻板印象，

I discovered this

會影響到他們的自我形象，

having lived in Cape Town for about five years at the time.

也會影響社會上其他人 對待他們的方式。

I felt a deep sense of dislocation and invisibility.

我會發現這一點，

I couldn't see myself represented.

是因為當時在開普敦住了約五年，

I couldn't see the women who've raised me,

深深感受到混亂和隱形。

the ones who've influenced me,

我看不見自己呈現出來，

and the ones that have made South Africa what it is today.

看不見養育我的婦女，

I decided to do something about it.

那些影響我的人，

What do you think when you see this?

以及那些讓南非有了今日樣貌的人。

If you were a black girl,

我決定要做點什麼。

how would it make you feel?

看見這個，使你想到什麼？

Walking down the street,

如果你是個黑人女孩，

what does the city you live in say to you?

這會讓你有什麼感覺？

What symbols are present?

沿著街道走著，

Which histories are celebrated?

你所居住的城市對你說了些什麼？

And on the other hand,

呈現了哪些象徵？

which ones are omitted?

哪些歷史被頌揚？

You see, public spaces are hardly ever as neutral as they may seem.

而另一方面，

I discovered this when I made this performance in 2013 on Heritage Day.

哪些被忽略了？

Cape Town is teeming with masculine architecture,

要知道，公共場所一點也不像 表面看來那麼中立。

monuments and statues,

我在 2013 年的文化遺產日 表演時發現到這一點。

such as Louis Botha in that photograph.

開普敦充滿了男子氣概的建築、

This overt presence of white colonial and Afrikaner nationalist men

紀念古蹟和雕像，

not only echoes a social, gender and racial divide,

就像那張照片中的路易斯博塔。

but it also continues to affect the way that women --

這樣公開地展現白人殖民 和荷裔南非民族主義男子，

and the way, particularly, black women --

不僅呼應社會、性別和種族的分裂，

see themselves in relation to dominant male figures

還持續地影響女性──

in public spaces.

特別是黑人女性──

For this reason, among others,

相對於主宰的男性，

I don't believe that we need statues.

在公共場所看待她們自己的方式。

The preservation of history and the act of remembering

因為這個和其他的理由，

can be achieved in more memorable and effective ways.

我不認為我們需要雕像。

As part of a year-long public holiday series,

保存歷史和緬懷歷史的行動，

I use performance art as a form of social commentary

可以用更難忘、更有效的方式。

to draw people's attention to certain issues,

做為長達一年 公定假日系列的一部分，

as well as addressing the absence of the black female body

我把表演藝術當作一種 評論社會的形式，

in memorialized public spaces,

來吸引人們注意某些議題，

especially on public holidays.

以及處理在公共紀念場所裡

Women's Day was coming up.

沒有黑人女性身影的問題，

I looked at what the day means --

特別是在公定假日裡。

the Women's March to the union buildings in 1956,

婦女節快到了。

petitioning against the pass laws.

我查了這個日子的意義──

Juxtaposed with the hypocrisy of how women are treated,

1956 年女性朝著聯邦大樓遊行，

especially in public spaces today,

請願反對那限制黑人 自由遷徙的法律。

I decided to do something about it.

對照女性如何被對待的偽善現況，

Headline:

尤其是在現今的公共場所裡，

[Women in miniskirt attacked at taxi rank]

我決定要做點什麼。

How do I comment on such polar opposites?

標題：

In the guise of my great-grandmother,

【穿迷你裙的婦女 在計程車等候站受到攻擊】

I performed bare-breasted,

我要如何評論這樣的兩極對立？

close to the taxi rank in KwaLanga.

我裝扮成曾祖母的樣子，

This space is also called Freedom Square,

以袒露胸部的方式，

where women were a part of demonstrations against apartheid laws.

在關拉加的計程車等候站附近表演。

I was not comfortable with women being seen as only victims in society.

這個場所也稱為自由廣場，

You might wonder how people reacted to this.

是婦女參與示威 抗議種族隔離政策的地方。

(Video) Woman: (Cheering)

我不太能接受婦女在社會裡 只被視為受害者。

Woman 2 (offscreen): Yes!

或許你們會好奇 人們對這表演如何反應。

Sethembile Msezane: Pretty cool, huh?

（影片）女子甲：（歡呼）

(Applause)

女子乙（畫面外）：好啊！

So I realized that through my performances,

西珊比勒梅詹妮：很酷，是吧？

I've been able to make regular people reflect upon their society,

（掌聲）

looking at the past as well as the current democracy.

我了解到，透過我的表演，

(Video) Man (offscreen): She's been there since three o'clock.

能使一般人思考反省他們的社會，

Man 2 (offscreen): Just before three. About an hour still?

審視過去以及目前的民主。

Man 1: Yeah. It's just a really hot day.

（影片）男子甲（畫面外）： 她自三點起就一直站在那裡了。

Man 1: It's very interesting.

男子乙（畫面外）： 比三點早一點。約站了一小時吧？

It's very powerful.

男子甲：是啊。只是今天好熱。

I think it's cool.

男子甲：非常有意思。

I think a lot of people are quick to join a group

非常強而有力。

that's a movement towards something,

我覺得很酷。

but not many people are ready to do something as an individual.

我想有很多人很快地加入一個團體，

Man 2: So it's the individual versus the collective.

關注某樣議題的運動，

Man 1: Yeah.

但沒有多少人已準備好 要以個人身分盡一份力。

So I think her pushing her own individual message in performance ...

男子乙：這是個人對上集體。

it's powerful.

男子甲：是啊。

Yeah, I think it's quite powerful that she's doing it on her own.

我認為她把自己個人的訊息 置入她的表演中 ……

I'd be interested to know why she's using hair extensions as wings,

強而有力。

or whatever those things are meant to be.

是啊，她靠自己做這件事， 這一點真的是強而有力。

They are wings, yes?

我會想要知道 為什麼她將頭髮延伸為翅膀，

Woman 3: With her standing there right now,

不論那些是什麼，我想知道。

I think it's just my interpretation

是翅膀，對吧？

that we are bringing the statue down

女子丙：現在她站在那裡，

and bringing up something

我想，這只是我自己的詮釋，

that's supposed to represent African pride, I think.

我們要拆除這座雕像，

Or something like that.

換成其他東西，

Something should stand while Rhodes falls,

我想是換成能代表非洲自豪

I think that's what it's saying. Yeah.

或類似的東西吧。

Yes. Thank you.

取下羅德斯，原地應要擺個什麼。

Man 3: What is behind me represents the African culture.

我想這是它所要表達的。對。

We can't have the colonialist law,

是的，謝謝你。

so we need to remove all these colonial statues.

男子丙：在我身後的是 非洲文化的象徵。

We have have our own statues now,

我們不能有殖民主義法律，

our African leaders -- Bhambatha, Moshoeshoe, Kwame Nkrumah --

所以我們得要移除 所有這些殖民主義的雕像。

all those who paid their lives for our liberation.

現在我們有自己的雕像了，

We can't continue in the 21st century,

我們的非洲領袖──班巴薩、 莫舒舒、夸梅恩克魯瑪──

and after 21 years of democracy,

所有為解放我們 而付出生命的那些人。

have the colonizers in our own country.

進入 21 世紀，

They belong somewhere. Maybe in a museum; not here.

有了 21 年民主之後，

I mean learning institutions, places where young people,

我國不應持續有著殖民主義者。

young minds are being shaped.

他們可以被擺在某處， 也許博物館，但不是這裡。

So we cannot continue to have Louis Botha, Rhodes, all these people,

我指的是學習機構，

because they're representing the colonialism.

那些培育年輕人、年輕才子的地方。

(Applause)

所以我們不能繼續保有路昜斯博塔、 羅德斯、所有這類的人，

Sethembile Msezane: On April 9, 2015,

因為他們代表殖民主義。

the Cecil John Rhodes statue was scheduled to be removed

（掌聲）

after a month of debates for and against its removal

西珊比勒梅詹妮： 2015 年 4 月 9 日，

by various stakeholders.

預定要移除塞西爾 羅德斯雕像的那一天，

This caused a widespread interest in statues in South Africa.

在各利害關係人辯論了一個月

Opinions varied, but the media focused on problematizing

是否要移除之後。

the removal of statues.

這事件引起南非各界 對雕像的廣泛興趣。

On that -- well, that year, I had just begun my master's

各種意見都有，但媒體卻著重在

at the University of Cape Town.

把移除雕像一事問題化。

During the time of the debate of the statue,

關於那點──嗯，

I had been having reoccurring dreams

那年我剛開始在開普頓大學 攻讀碩士學位。

about a bird.

在辯論雕像的那段期間，

And so I started conjuring her

我反覆做同樣的夢，

mentally, spiritually and through dress.

與一隻鳥有關。

On that day,

所以我開始召喚她，

I happened to be having a meeting with my supervisors,

心靈上、靈性上，以及透過服裝。

and they told me that the statue was going to fall on that day.

那一天，

I told them that I'd explain later,

我正好與主管開會，

but we had to postpone the meeting

他們說雕像將會在那天被取下。

because I was going to perform her as the statue came down.

我告訴他們隨後我將會解釋，

Her name was Chapungu.

但現在必須要延後會議，

She was a soapstone bird that was looted from Great Zimbabwe

因為在雕像被移下時我要扮演她。

in the late 1800s,

她的名字叫查蓬古，

and is still currently housed in Cecil John Rhodes's estate

是一隻皂石鳥，

in Cape Town.

於十九世紀末從大辛巴威被劫走，

On that day,

目前仍被放在開普頓的

I embodied her existence using my body,

塞西爾羅德斯地產上。

while standing in the blazing sun for nearly four hours.

那天，

As the time came,

我用自己的身體將她的存在具體化，

the crane came alive.

在烈日下站了將近四個小時。

The people did, too --

時候到了，

shouting,

起重機動起來了。

screaming,

人們也動起來了──

clenching their fists

他們大叫、

and taking pictures of the moment on their phones and cameras.

尖叫、

Chapungu's wings,

緊握拳頭、

along with the crane,

用手機和相機拍照記錄下那個時刻。

rose to declare the fall of Cecil John Rhodes.

查蓬古的翅膀

(Applause)

和起重機一起升起，

Euphoria filled the air as he became absent from his base,

宣告塞西爾羅德斯的殞落。

while she remained still,

（掌聲）

very present,

空氣中充滿了狂喜， 他不再站立在基座上，

half an hour after his removal.

而她屹立不搖，

Twenty-three years after apartheid,

一直在現場，

a new generation of radicals has arisen in South Africa.

他被移除後半小時她還在。

The story of Chapungu and Rhodes in the same space and time

種族隔離政策後 23 年，

asks important questions

南非出現了激進的新世代。

related to gender,

查蓬古和羅德斯 出現在同一時空的故事

power,

帶出一個重要問題，

self-representation,

這問題與性別、

history making

權力、

and repatriation.

自我表徵、

From then on,

創造歷史，

I realized that my spiritual beliefs and dreams

以及遣送回國有關。

texture my material reality.

從那時開始，

But for me, Chapungu's story felt incomplete.

我明白

This soapstone bird,

是我的靈性信仰以及夢想 構成了我的物質現實。

a spiritual medium and messenger of God and the ancestors,

但對我而言，查蓬古的故事 似乎並不完整。

needed me to continue her story.

這隻皂石鳥，

And so I dabbled in the dream space a little bit more,

靈性的媒介，神祇與祖先的信差，

and this is how "Falling" was born.

需要我來繼續她的故事。

[A film by Sethembile Msezane]

因此我又再涉入夢想空間一點點，

(Video) (A capella singing)

「殞落」就是這樣誕生的。

[FALLING]

【影片製作：西珊比勒梅詹妮】

(Applause)

（影片）（清唱）

In the film,

【殞落】

Zimbabwe, South Africa and Germany share a common story

（掌聲）

about the soapstone birds that were looted from Great Zimbabwe.

在這部影片中，

After Zimbabwe gained its independence,

辛巴威、南非、德國 都有個共同的故事，

all the birds except for one were returned to the monument.

關於皂石鳥從大辛巴威 被掠劫走的故事。

"Falling" explores the mythological belief that there will be unrest

在辛巴威獨立之後，

until the final bird is returned.

除一隻外，所有的鳥兒 都回到紀念碑原址。

Through my work,

「殞落」探討一個神話信仰：

I have realized a lot about the world around me:

動盪將會持續不止， 直到最後一隻鳥兒返巢。

how we move through spaces,

透過我的作品，

who we choose to celebrate

我對周遭的世界瞭解了很多：

and who we remember.

我們如何在空間裡移動、

Now I look in the mirror and not only see an image of myself,

我們選擇去讚頌誰，

but of the women who have made me who I am today.

以及我們紀念誰。

I stand tall in my work,

現在我看向鏡子， 不只看見自己的影像，

celebrating women's histories,

也看見讓我成為今日之我的女人。

in the hope that perhaps one day,

我挺立在我的作品中，

no little black girl has to ever feel

讚頌女性的歷史，

like she doesn't exist.

希望也許有一天，

Thank you.

不再有任何一個黑人小女孩

(Applause)

會覺得她似乎並不存在。