Subtitle created via greatdreamers.sinaapp.com/tedsubs
Both myself and my brother
belong to the under 30 demographic,
which Pat said makes 70 percent,
but according to our statistics
it makes 60 percent of the region's population.
Qatar is no exception to the region.
It's a very young nation led by young people.
We have been reminiscing about the latest technologies
and the iPods,
and for me the abaya,
my traditional dress that I'm wearing today.
Now this is not a religious garment,
nor is it a religious statement.
Instead, it's a diverse cultural statement
that we choose to wear.
Now I remember a few years ago,
a journalist asked Dr. Sheikha, who's sitting here,
president of Qatar University --
who, by the way, is a woman --
he asked her whether she thought
the abaya hindered or infringed her freedom in any way.
Her answer was quite the contrary.
Instead, she felt more free,
more free because she could wear whatever she wanted
under the abaya.
She could come to work in her pajamas and nobody would care.
(Laughter)
Not that you do; I'm just saying.
(Laughter)
My point is here, people have a choice --
just like the Indian lady could wear her sari
or the Japanese woman could wear her kimono.
We are changing our culture from within,
but at the same time
we are reconnecting with our traditions.
We know that modernization is happening.
And yes, Qatar wants to be a modern nation.
But at the same time
we are reconnecting and reasserting our Arab heritage.
It's important for us to grow organically.
And we continuously make the conscious decision
to reach that balance.
In fact, research has shown
that the more the world is flat,
if I use Tom Friedman's analogy,
or global,
the more and more people are wanting to be different.
And for us young people,
they're looking to become individuals
and find their differences amongst themselves.
Which is why I prefer the Richard Wilk analogy
of globalizing the local
and localizing the global.
We don't want to be all the same,
but we want to respect each other and understand each other.
And therefore tradition becomes more important,
not less important.
Life necessitates a universal world,
however, we believe in the security
of having a local identity.
And this is what the leaders of this region
are trying to do.
We're trying to be part of this global village,
but at the same time we're revising ourselves
through our cultural institutions and cultural development.
I'm a representation of that phenomenon.
And I think a lot of people in this room,
I can see a lot of you are in the same position as myself.
And I'm sure, although we can't see the people in Washington,
they are in the same position.
We're continuously trying to straddle
different worlds, different cultures
and trying to meet the challenges
of a different expectation
from ourselves and from others.
So I want to ask a question:
What should culture in the 21st century look like?
In a time where the world is becoming personalized,
when the mobile phone, the burger, the telephone,
everything has its own personal identity,
how should we perceive ourselves
and how should we perceive others?
How does that impact our desert culture?
I'm not sure of how many of you in Washington
are aware of the cultural developments happening in the region
and, the more recent, Museum of Islamic Art
opened in Qatar in 2008.
I myself am personalizing these cultural developments,
but I also understand
that this has to be done organically.
Yes, we do have all the resources that we need
in order to develop new cultural institutions,
but what I think is more important
is that we are very fortunate
to have visionary leaders
who understand that this can't happen from outside,
it has to come from within.
And guess what?
You might be surprised to know that most people in the Gulf
who are leading these cultural initiatives
happen to be women.
I want to ask you, why do you think this is?
Is it because it's a soft option;
we have nothing else to do?
No, I don't think so.
I think that women in this part of the world
realize that culture is an important component
to connect people
both locally and regionally.
It's a natural component
for bringing people together, discussing ideas --
in the same way we're doing here at TED.
We're here, we're part of a community,
sharing out ideas and discussing them.
Art becomes a very important part
of our national identity.
The existential and social and political impact
an artist has
on his nation's development of cultural identity
is very important.
You know, art and culture is big business.
Ask me.
Ask the chairpersons and CEOs
of Sotheby's and Christie's.
Ask Charles Saatchi about great art.
They make a lot of money.
So I think women in our society
are becoming leaders,
because they realize
that for their future generations,
it's very important
to maintain our cultural identities.
Why else do Greeks demand the return
of the Elgin Marbles?
And why is there an uproar
when a private collector tries to sell his collection
to a foreign museum?
Why does it take me months on end
to get an export license from London or New York
in order to get pieces into my country?
In few hours, Shirin Neshat, my friend from Iran
who's a very important artist for us
will be talking to you.
She lives in New York City, but she doesn't try to be a Western artist.
Instead, she tries to engage
in a very important dialogue
about her culture, nation and heritage.
She does that through important visual forms
of photography and film.
In the same way, Qatar is trying to grow its national museums
through an organic process from within.
Our mission is of cultural integration and independence.
We don't want to have what there is in the West.
We don't want their collections.
We want to build our own identities, our own fabric,
create an open dialogue
so that we share our ideas
and share yours with us.
In a few days,
we will be opening the Arab Museum of Modern Art.
We have done extensive research
to ensure that Arab and Muslim artists,
and Arabs who are not Muslims --
not all Arabs are Muslims, by the way --
but we make sure that they are represented
in this new institution.
This institution is government-backed
and it has been the case
for the past three decades.
We will open the museum in a few days,
and I welcome all of you to get on Qatar Airways
and come and join us.
(Laughter)
Now this museum is just as important to us as the West.
Some of you might have heard
of the Algerian artist Baya Mahieddine,
but I doubt a lot of people know
that this artist worked in Picasso's studio
in Paris in the 1930s.
For me it was a new discovery.
And I think with time, in the years to come
we'll be learning a lot about our Picassos,
our Legers and our Cezannes.
We do have artists,
but unfortunately we have not discovered them yet.
Now visual expression is just one form
of culture integration.
We have realized that recently
more and more people
are using the means of YouTube and social networking
to express their stories, share their photos
and tell their own stories through their own voices.
In a similar way,
we have created the Doha Film Institute.
Now the Doha Film Institute is an organization
to teach people about film and filmmaking.
Last year we didn't have one Qatari woman filmmaker.
Today I am proud to say
we have trained and educated
over 66 Qatari women filmmakers
to edit, tell their own stories
in their own voices.
(Applause)
Now if you'll allow me, I would love to share a one-minute film
that has proven to show
that a 60-sec film can be as powerful as a haiku
in telling a big picture.
And this is one of our filmmakers' products.
(Video) Boy: Hey listen! Did you know that the stocks are up?
Who are you playing?
Girl: Uncle Khaled. Here, put on the headscarf.
Khaled: Why would I want to put it on?
Girl: Do as you're told, young girl.
Boy: No, you play mom and I play dad. (Girl: But it's my game.)
Play by yourself then.
Girl: Women! One word and they get upset.
Useless.
Thank you. Thank you!
(Applause)
SM: Going back to straddling between East and West,
last month we had our second Doha Tribeca Film Festival
here in Doha.
The Doha Tribeca Film Festival
was held at our new cultural hub, Katara.
It attracted 42,000 people,
and we showcased 51 films.
Now the Doha Tribeca Film Festival
is not an imported festival,
but rather an important festival
between the cities of New York and Doha.
It's important for two things.
First, it allows us to showcase
our Arab filmmakers and voices
to one of the most cosmopolitan cities in the world,
New York City.
At the same time, we are inviting them
to come and explore our part of the world.
They're learning our culture, our language, our heritage
and realizing we're just as different
and just the same as each other.
Now over and over again,
people have said, "Let's build bridges,"
and frankly, I want to do more than that.
I would like break the walls of ignorance
between East and West --
no, not the soft option that we have discussed before,
but rather the soft power
that Joseph Nye has spoken about before.
Culture's a very important tool to bring people together.
We should not underestimate it.
"Know thyself,"
that is the journey of self-expression and self-realization
that we are traveling.
Now I don't pretend to have all the answers,
but I know that me as an individual
and we as a nation
welcome this community
of ideas worth spreading.
This is a very interesting journey.
I welcome you on board
for us to engage and discuss new ideas
of how to bring people together
through cultural initiatives and discussions.
Familiarity destroys and trumps fear. Try it.
Ladies and gentlemen, thank you very much. Shokran.
(Applause)
Subtitle created via greatdreamers.sinaapp.com/tedsubs
我和我的哥哥
都是30岁以下的人
Pat说，这一群体占了地区总人口的70%
但是根据我们的数据
它占了60%
卡塔尔也是如此
卡塔尔是由一群年轻人领导的年轻的国家
我们已经谈论过最新的科技
还有iPods
还有这件阿拉伯长袍
我今天所穿的传统服装
现今，这件长袍已不是宗教服装
也不代表宗教性质的宣言
相反，它是我们所选择的
多样性文化的象征
我记得几年前
一个记者问卡塔尔大学的校长
现在在场的Sheikha博士
顺便说一句，Sheikha博士是位女校长
他问她是否认为
穿阿拉伯长袍在任何形式上阻碍或者侵犯了她的自由
她的答案恰恰相反
她反而觉得更加自由
这是因为在长袍里面
她可以穿任何她想穿的
她可以穿睡衣来上班，并且没有人会在意
（笑声）
我只是说说而已，并不是她真的会这样
（笑声）
我是想说，每个人都有一个选择
就像印度妇女可以穿莎丽服
或者是日本妇女可以选择穿和服
我们正在从内部改变着我们的文化
与此同时
我们也在追念我们的传统文化
我们知道现代化正在成为一个趋势
而且，卡塔尔想成为一个现代化的国家
但是与此同时
我们要延承阿拉伯的文化传统
井而有序的发展是很重要的
我们一直在有意的想要达到
现代化与传统文化之间的平衡
事实上，调查显示
世界越平
如果我引用托马斯·弗里德曼（《世界是平的》的作者）的话
或者是越全球化
就会有越来越多的人想要与众不同
对我们年轻人来说
我们想要独立
并且找到自己与众不同的地方
这就是为什么我崇尚Richard Wilk教授
关于地域全球化
全球地域化的比喻
我们不想要千篇一律
但是我们也希望互相尊重并理解
因此，传统文化变得更加重要
而不是不重要
全球化是有必要的
但是，我们相信保留本地的特性
是必不可少的
这也是这个地区的领导人
正在尝试做到的
我们想要成为地球村的一部分
与此同时我们也在改善并发扬
我们的文化机构和传统
我是这一现象的代表之一
并且我认为这里的很多人
跟我一样也代表着这一改变
并且我相信，华盛顿的人也是一样的
尽管我们看不到他们
我们一直不断地接触着
不同的世界与不同的文化
并且尝试着满足
我们对自己
以及别人对我们的不同的期望
所以，我想问一个问题：
21世纪的文化应该是什么样的
这个世界正变得个性化
手机，汉堡，电话
所有的事物都有自己独特的特性
我们应该如何来看待自己
如何看待他人？
这些会对我们的沙漠文化产生怎样的影响？
我不知道在华盛顿有多少人
了解这个地区文化的进展
最近的一件是，在2008年
伊斯兰艺术博物馆在卡塔尔开放
这些文化上的发展是很个性化的
但是我也明白
这些发展必须要有机性的进行
我们拥有开发新的文化机构
所需的所有资源
但我认为最重要的是
我们很幸运的拥有
有远见的领导者
他们明白这些改变不能在外部发生
必须要从内部改变
你猜怎么着
你会惊讶的发现，大部分在阿拉伯地区
引导者这些文化运动的人
都是女性
请问，为什么是这样的呢
因为文化变革是个简单的选择
或者是我们没有其他的事可做？
我不这样认为
我认为这个地区的妇女
意识到文化是
连接本地和周边人民
的重要途径
这是一种自然而然的方式
让大家聚在一起，探讨观点
就像我们在这里举行TED会议一样
在这里，我们是社区团体的一部分
分享并探讨着意见与看法
艺术变成了我们民族特征的
重要组成部分
一个艺术家对于一个民族的
文化特征的发展
有着社会上与政治上的
重要影响
艺术和文化潜藏着巨大的商机
你可以问我
可以问苏富比拍卖行，
或佳士得拍卖行的主席和CEO
问问Charles Saatchi那些伟大的艺术品
他们都拥有巨大的财富
所以我认为我们这里的女性
成为领导人的原因
是因为她们意识到
对于她们的子孙来说
保留我们的文化特征
是非常重要的
要不然为什么希腊要求归还
埃尔金大理石雕？
为什么当一个收藏家
要把他的收藏卖给外国博物馆的时候
引起了骚动？
为什么我花了数月
拿到从伦敦和纽约的出口许可证
从而得以运送物品回国？
很快，我的朋友，Shirin Neshat
一位对我们很重要的伊朗艺术家
将会与大家见面
她住在纽约，但是她并不尝试要变成以为西方艺术家
相反，她正在尝试参与
一场与她的文化和民族遗产相关的
非常重要的讨论
她用视觉表达的形式，摄影以及电影
来表达她的观点
卡塔尔也正在用相同的方式
有组织的从内部加强我们的国家博物馆
我们的任务是文化融合与文化独立
我们不想重复西方国家所拥有的
我们不想要他们的收藏
我们想要建立属于我们自己的特征，自己的作品
我们要创建一个自由的讨论
在这里我们可以分享我们的创意
也可以倾听你们的创意
再过几天
我们就会开放阿拉伯现代艺术博物馆
我们做了大量的调查
来确保阿拉伯和穆斯林艺术家
还有非穆斯林的阿拉伯艺术家
顺便说一句，并不是所有的阿拉伯人是穆斯林
我们要确保他们在这个新博物馆中
都得以表现
这个博物馆是政府支持的
在过去的30年来
一直都是这样
我们过几天将开放这个博物馆
欢迎大家乘坐卡塔尔航空公司的航班
过来加入我们
（笑声）
现在这个博物馆对我们来说跟西方文化一样重要
你们也许听说过
安吉利亚艺术家Baya Mahieddine
但是只有少数人知道
在三十年代
她曾在毕加索的巴黎工作室工作过
对我来说，这是一个新发现
我认为在不久的将来
我们将会向
我们的毕加索，雷格尔，塞尚学到很多
我们拥有很多艺术家
只是不幸的是，我们还没有发现他们
现今视觉表现只是文化融合的
一种形式
我们意识到，最近
越来越多的人
正在用YouTube和社交网络
来讲述着他们的故事，分享他们的照片
用他们自己的声音来叙述他们的故事
同样的
我们创建了多哈电影学院
现在多哈电影学院是一个
教大家电影与影视制作的机构
去年，我们没有任何女电影制片人
今天，我很自豪地说
我们有超过66个
受过训练和教育的女制片人
她们用她们的自己声音
编辑并讲述着她们自己的故事
（掌声）
现在，如果大家允许的话，我希望分享一个一分钟长的电影
研究证明
60秒电影可以跟三行俳句诗一样
有效地展现大局
这是其中一位制片人的作品
（视频）男孩：哎听着！你知道股票长了吗？
你扮演谁？
女孩：Khaled叔叔。来，把头巾带上
Khaled：我凭什么想要带头巾
女孩：按我说的办，小女孩
男孩：不，你扮演妈妈，我扮演爸爸。（女孩：才不，这是我的游戏）
你自己玩儿吧
女孩：女人！一句话就不高兴了
一无是处
谢谢。谢谢！
（掌声）
说道跨越东方与西方，
上个月，在多哈，我们举行了
第二节多哈翠贝卡电影节
这届多哈翠贝卡电影节
在我们的新文化中心Katara举行
这届电影节吸引了四万两千人
展出了51部电影
现在多哈翠贝卡电影节
不是一个从外国引入的节日
而是一个连接纽约和多哈的
重要的庆典
它重要在两方面
第一，我们可以
向纽约市，最繁华的大都会之一
展示我们阿拉伯的电影制片人
以及他们的作品
与此同时，我们邀请他们
来我们这边的世界
他们学习我们的文化，语言，和遗产
并意识到我们彼此都拥有各自的特点
但又很相似
人们不断的说
“让我们建起沟通的桥梁”
坦率的讲，我想要做的不止这些
我更想推倒东方与西方之间
无知的墙
并不是我们之前讨论的温和的文化变革
而是Joseph Nye之前说过的
柔和的力量
文化是团结人们的非常重要的方法
我们不应该低估它
“认识你自己”
那是一场自我表现
与自我实现的旅程
现在我不想说我有所有的答案
但是我知道，我，作为一个个体
我们，作为一个民族
欢迎这个
鼓励创新思想展示的平台
这将是一场非常有趣的旅程
我欢迎你来
与我们一起积极讨论
如何通过文化活动与讨论
把人们聚在一起
驾轻就熟，就不再畏惧，让我们拭目以待
女士们，先生们，非常感谢。Shokran（阿拉伯与的谢谢）
（掌声）