莉莎·唐納利（Liza Donnelly）：借助幽默繪畫求改變

(Laughter)

I was afraid of womanhood. Not that I'm not afraid now, but I've learned to pretend. I've learned to be flexible. In fact, I've developed some interesting tools to help me deal with this fear. Let me explain. Back in the '50s and '60s, when I was growing up, little girls were supposed to be kind and thoughtful and pretty and gentle and soft. And we were supposed to fit into roles that were sort of shadowy. Really not quite clear what we were supposed to be.

(Laughter)

There were plenty of role models all around us. We had our mothers, our aunts, our cousins, our sisters, and of course, the ever-present media bombarding us with images and words, telling us how to be. Now my mother was different. She was a homemaker, but she and I didn't go out and do girlie things together. And she didn't buy me pink outfits. Instead, she knew what I needed, and she bought me a book of cartoons. And I just ate it up. I drew, and I drew, and since I knew that humor was acceptable in my family, I could draw, do what I wanted to do, and not have to perform, not have to speak -- I was very shy -- and I could still get approval. I was launched as a cartoonist. Now when we're young, we don't always know -- we know there are rules out there, but we don't always know -- we don't perform them right, even though we are imprinted at birth with these things, and we're told what the most important color in the world is. We're told what shape we're supposed to be in. (Laughter) We're told what to wear -- (Laughter) -- and how to do our hair -- (Laughter) -- and how to behave.

Now the rules that I'm talking about are constantly being monitored by the culture. We're being corrected. And the primary policemen are women, because we are the carriers of the tradition. We pass it down from generation to generation. Not only, we always have this vague notion that something's expected of us. And on top of all off these rules, they keep changing. (Laughter) We don't know what's going on half the time, so it puts us in a very tenuous position.

(Laughter)

Now if you don't like these rules, and many of us don't -- I know I didn't, and I still don't, even though I follow them half the time, not quite aware that I'm following them -- what better way than to change them with humor? Humor relies on the traditions of a society. It takes what we know, and it twists it. It takes the codes of behavior and the codes of dress, and it makes it unexpected, and that's what elicits a laugh. Now what if you put together women and humor? I think you can get change. Because women are on the ground floor, and we know the traditions so well, we can bring a different voice to the table.

Now I started drawing in the middle of a lot of chaos. I grew up not far from here in Washington D.C. during the Civil Rights movement, the assassinations, the Watergate hearings and then the feminist movement. And I think I was drawing, trying to figure out what was going on. And then also my family was in chaos. And I drew to try to bring my family together -- (Laughter) -- try to bring my family together with laughter. It didn't work. My parents got divorced, and my sister was arrested. But I found my place. I found that I didn't have to wear high heels, I didn't have to wear pink, and I could feel like I fit in.

Now when I was a little older in my 20s, I realized there are not many women in cartooning. And I thought, "Well, maybe I can break the little glass ceiling of cartooning." And so I did; I became a cartoonist. And then I thought, in my 40s I started thinking, "Well, why don't I do something? I always loved political cartoons, so why don't I do something with the content of my cartoons to make people think about the stupid rules that we're following as well as laugh?"

Now my perspective is a particularly -- (Laughter) -- my perspective is a particularly American perspective. I can't help it. I live here. Even though I've traveled a lot, I still think like an American woman. But I believe that the rules that I'm talking about are universal, of course -- that each culture has its different codes of behavior and dress and traditions, and each woman has to deal with these same things that we do here in the U.S. Consequently, we have -- women, because we're on the ground, we know the tradition -- we have amazing antenna.

Now my work lately has been to collaborate with international cartoonists, which I so enjoy. And it's given me a greater appreciation for the power of cartoons to get at the truth, to get at the issues quickly and succinctly. And not only that, it can get to the viewer through, not only the intellect, but through the heart. My work also has allowed me to collaborate with women cartoonists from across the world -- countries such as Saudi Arabia, Iran, Turkey, Argentina, France -- and we have sat together and laughed and talked and shared our difficulties. And these women are working so hard to get their voices heard in some very difficult circumstances. But I feel blessed to be able to work with them.

And we talk about how women have such strong perceptions, because of our tenuous position and our role as tradition-keepers, that we can have the great potential to be change-agents. And I think, I truly believe, that we change this thing one laugh at a time.

Thank you.

(Applause)

（眾笑）

我曾經很怕女性特質。 我不能說我現在不害怕了， 但我已經學會了偽裝。 我已經學會了靈活。 事實上，我已經開發了一些有趣的工具 來幫助我對付這種恐懼。 讓我解釋一下。 早在50年代和60年代，就是我成長的年代， 小女孩應該是善良、體貼、 漂亮、溫婉和輕柔的。 而我們應該適應角色 是有點朦朧。 真的不是很清楚什麼應該是我們。

（眾笑）

我們周圍有很多榜樣。 我們有我們的母親、我們的阿姨、我們的堂表姐妹、姐妹， 以及，當然，永遠存在的媒體 用圖像和文字轟炸我們， 告訴我們應該如何做。 而我的母親是不同的。 她是一個家庭主婦， 但她和我沒有出去一起做娘娘腔的東西。 她並沒有給我買粉紅色的衣服。 相反，她知道我需要什麼，她給我買了漫畫書。 而我對它愛不釋手。 我畫了又畫， 因為我知道在我家是可以接受幽默的， 我可以畫畫，做我想做的事， 而不用表演、不用說話 -- 我曾經很害羞 -- 而我仍然可以得到認同。 我被推為一個漫畫家。 正當我們年輕的時候， 我們並不總是知道 -- 我們知道外面有規則， 但我們並不總是知道 -- 我們沒有正確執行它們， 儘管在我們出生時就存在 有這些東西， 我們被告知 什麼是世界上最重要的顏色。 我們被告知我們應該是什麼形狀。 （眾笑） 我們被告知應該穿什麼衣服 -- （笑） -- 和我們的頭髮應該怎麼辦 -- （笑） -- 還有如何行為舉止。

現在我在說的規則 是不斷地被文化監測的。 我們被糾正。 而這些基層民警是女性， 因為我們正是這傳統的繼承者。 我們將它傳遞了一代又一代。 此外， 我們總是有種模糊的概念 有些什麼東西在期望著我們。 而在所有這些規則之上， 他們不斷發生變化。 （眾笑） 我們在一半的時間裡不知道發生了什麼事， 所以這讓我們置身於一個非常脆弱的位置。

（眾笑）

現在，如果你不喜歡這些規則， 而我們很多人都不喜歡 -- 我知道我之前不喜歡，我仍然不喜歡， 雖然有一半時間我遵守著它們， 而並不清楚我在遵守它們 -- 還有什麼比幽默更好的辦法去改變他們？ 幽默依賴於社會的傳統。 它將我們所知道的，做了些扭曲。 它隱身於行為守則和社會規範， 而製造出意外效(笑)果， 而這正是如此 能讓人會心一笑。 現在，如果你把婦女和幽默放在一起會怎樣？ 我想你可以得到改變。 因為婦女就是基層， 而且我們最了解傳統， 我們可以把不同的聲音帶上檯面。

現在我開始在 混亂之中畫畫。 我在離這裡不遠的華盛頓特區長大。 歷經民權運動，暗殺事件， 水門事件聽證會，然後到女權運動。 而我覺得我是在透過繪畫， 試圖找出到底發生了什麼事。 然後我的家人也是在一片混亂之中。 而我用繪畫設法把我的家人放在一起 -- （眾笑） -- 用笑聲盡量把我的家人放在一起。 它沒有成功。 我的父母離婚了，妹妹被逮捕。 但是我找到屬於我的地方。 我發現我不需要穿高跟鞋， 我不需要穿粉紅色， 而我能感覺到自己很自在。

當我年紀大一點的時候，20多歲， 我意識到沒有太多的婦女在畫漫畫。 我想，“嗯，也許我可以打破 漫畫界的小小玻璃天花板。” 而我就這樣做了；我成為了一個漫畫家。 後來我又想到，在我40多歲的時候，我開始想， “哦，為什麼我不做些什麼呢？ 我一直喜歡政治漫畫， 為什麼我不用我的漫畫做一些有關的內容 使人們在思考的那些我們一直遵循的愚蠢規則的同時， 也會心一笑？“

現在我的觀點 是一個特別 - （眾笑） -- 我的觀點是特別美國的觀點。 我不能擺脫它。我住在這裡。 儘管我經常旅遊， 我仍然像一個美國女人般思考。 但我相信，那些我說的規則 是普遍的，當然 -- 這每一種文化都有其不同的行為模式 和服飾和傳統， 而每個女人都要處理同樣的這些事， 像我們在美國這裡做的。 因此，我們 -- 婦女，因為我們就是基層，我們知道傳統 -- 我們有驚人的敏銳度。

我最近的工作 與國際漫畫家合作， 這個我很享受。 而它讓我更欣賞 用漫畫的力量 來獲得真相， 迅速和簡潔的獲得問題關鍵。 不僅如此，它可以傳達給觀眾， 不只是經由智識，也同時能深入人心。 我的工作也使我與 來自世界各地的女漫畫家合作 -- 國家，如沙特阿拉伯、 伊朗、土耳其、 阿根廷、法國 -- 我們坐在一起，笑著聊天， 共享我們的困難。 而這些婦女很努力的工作讓她們的聲音 在一些非常困難的情況下被聽見。 但能夠與她們合作我覺得很幸運。

我們還談到 為何婦女有如此強烈的看法， 因為我們脆弱的地位 和我們作為傳統保持者的角色， 我們可以有很大的潛力 成為可變革推動者。 我認為，我真的相信， 我們可以改變這種事情， 每次一笑。

謝謝。

（鼓掌）

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Wake Up Everybody

Wake up everybody
No more sleepin' in bed
No more backward thinkin'
Time for thinkin' ahead

The world has changed
So very much
From what it used to be
There is so much hatred
War and poverty, whoa, oh

Wake up, all the teachers
Time to teach a new way
Maybe then they'll listen
To what'cha have to say

'Cause they're the ones who's coming up
And the world is in their hands
When you teach the children
Teach 'em the very best you can

The world won't get no better
If we just let it be, na, na, na
The world won't get no better
We gotta change it, yeah
Just you and me

Wake up, all the doctors
Make the old people well
They're the ones who suffer
And who catch all the hell

But they don't have so very long
Before the Judgment Day
So wont'cha make them happy
Before they pass away

Wake up, all the builders
Time to build a new land
I know we can do it
If we all lend a hand



The only thing we have to do
Is put it in our mind
Surely things will work out
They do it every time

The world won't get no better
If we just let it be, na, na, na
The world won't get no better
We gotta change it, yeah
Just you and me

It's the god hour
The morning I wake up
Just for the breath of life I thank my maker
My mom say I come from hustlers and shakers
My mom built it on skyscrapers and acres
He said take us back to where we belong
I try to write a song
As sweet as these arms the one the type to bare arms
And wear my heart on my sleeve
Even when I fell in God I believe
Read the days that weave through the maze
The seasons so amazing
Feed them and raised them
Seasons are aging
Earthquakes, wars, and rumors
I want us to get by but
We're more than consumers
We more than shooters, more than looters
Created in this image so God live through us
And even in this generation, living through computers
Only love love love can reboot u

Wake up, everybody
Wake up, everybody
Need a little help, y'all
Yes I do, need a little help

Need a little help, y'all ay
Wake up everybody
Wake up everybody
Wake up everybody

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