“There Must Come a Change…” 「改变必将到来」
（声明：此文经原作者 
市镇的公共空间被雕像与纪念碑所满布。公共艺术是一种认定我们是谁及对我们何等重要的方式。有几百（不，几千）各式纹理的华盛顿、林肯、建国者和将军雕像呢？
Public spaces in cities and towns are peppered with statues and monuments. Public art is one of the ways we acknowledge who we are and what’s important to us. How many hundreds (no, thousands) of statues are there of Washington, Lincoln, founders and generals of various stripes?
这些意识形态的凝聚，造就了用青铜与大理石打造之国家同温层。女性在哪里？非寓言、神话或虚构的角色——而是真人，相对于美国原住民从故事书中出来被呈现。有色人种呢？在费城，非裔美国人的青铜塑像倾向以运动英雄的形式安置于球场外，有无数马丁·路德·金雕像在西费城的安全岛上，但还有什么？
Together, these representations comprise a national echo chamber in bronze and marble. Where are the women? Not allegorical, mythological or fictional characters—but real people. When Native Americans are represented, they, too, are straight out of storybooks. People of color? In Philadelphia, the African-American legacy in bronze tends to be in the form of sports heroes installed outside the stadiums. There's an underwhelming bust of Martin Luther King, Jr. on a traffic island in West Philadelphia, but what else?
公众的记忆被掌控，而且未来也将如是——那是卑劣的人之本性。事实始终如一，但不论我们想要相信甚么，历史与文化皆为被挑拣之事实的诠释。它们是创造出的构想、虚构物，安插于公众想象中，扭曲了群体意志。
Public memory is managed. And so it will always be—that’s the nature of the beast. Facts are one thing, but no matter what we want to believe, history and culture are interpretations of selected facts. They are constructs, fabrications arranged in the public imagination, bent to the collective will.
但我们是谁，甚至于我们能同意何者、何事、何如被认可与什么被庆祝吗？ 1934年5月30日，the All Wars Memorial to Colored Soldiers and Sailors（细节如下）被建造在费城费尔蒙公园深处。起初21英尺高之纪念碑不允许放置于任何显着公共地点，其花了60年修正这错误而安放在明显的费城公园大道上。
But who are we, and can we even agree on who, what and how to acknowledge and what to celebrate? On May 30, 1934, the All Wars Memorial to Colored Soldiers and Sailors (detail below) was dedicated at a site deep in Philadelphia’s Fairmount Park. Originally, the 21-foot-tall monument wasn't permitted on any prominent, public site. It took 60 years to correct the mistake and install the monument prominently on the Parkway in Philadelphia.
All soldiers - wikipedia commons.jpg
Credit: Wikipedia Commons 图片授权：维基共享资源
非裔美国军事人物的侧面，是一位手持荣耀花环的高加索女性。男性则是没有特征的一般人物。尽管他们可能是由移情作用而产生的作品，但他们仍意义非凡——没有什么比真实历史人物更有文化魅力了。
African-American military figures flank an allegorical Caucasian female holding wreaths of honor. The men are anonymous, generic figures. They may have been the product of empathetic intentions, but they remain abstract—nowhere as culturally engaging as real historical figures.
PHL's Two Slave Statues.jpg
Credits: Wikimedia Commons and the author 图片授权：维基共享资源及作者
代表着奴役者的抽象艺术雕塑和无名氏雕塑数不胜数。上面就是两个经典范例的展示。左边的是《奴隶》，由海琳·萨多尔于1940年所创作，陈列于凯利车道的艾伦·菲利普斯·塞缪尔纪念馆中。右边是帕斯托利斯纪念碑上的一块浮雕，该纪念碑位于弗农公园，艾伯特·耶格斯于1917年受托所作。它是为了纪念“1688年2月18日，日耳曼敦镇上的德国人反对奴隶制的抗议”。尽管这两个作品都非常有影响力，但仍要屈尊于强大并且真实的历史人物布萨，一位在200多年前，于巴巴多斯岛带领400个男性和女性起义的男性奴役。这个雕塑位于巴巴多斯岛的布里奇顿。
Still more abstract and anonymous are statues representing the enslaved. Two remarkable examples are illustrated above. At left is The Slave, by Helene Sardeau in 1940, at the Ellen Phillips Samuel Memorial on Kelly Drive. On the right is a panel from the Pastorius Monument in Vernon Park by Albert Jaegers commissioned in 1917. It commemorates “The Protest of the Germans of Germantown Against Slavery on February 18, 1688.” Both are powerful, but also curiously patronizing compared with the powerful and actual historical figure of Bussa, an enslaved man who led 400 men and women in a revolt in Barbados more than 200 years ago. That's in Bridgetown, Barbados.
Bussa monument.jpg
Credit: wanderant.com 图片授权：wanderant.com
我们不禁要问，美国将如何向这些为了自由而书写了不朽史诗的人们致敬？几周之后，费城将为一个史无前例的巨型纪念碑命名，为一位真实的非裔美国英雄，他追求的公共时刻终于到来，而距离他被暗杀的1871年10月的选举日已经将近150年。
So where's the American tribute to real people who made real history in the name of freedom? In a few weeks, Philadelphia will dedicate a larger-than-life monument to an actual African-American hero whose public moment has finally arrived, nearly 150 years after his assassination on election day in October 1871.
Catto Model - PHL Trib.jpg
Credit: The Philadelphia Tribune 图片授权：费城论坛报（The Philadelphia Tribune）
屋大维乌斯·卡托（Octavius V. Catto）将是继百货商店之父约翰·沃纳梅克（John Wanamaker）之后，第一个被展示在费城市政厅人行道上的雕像。当卡托投入废除费城大众运输系统种族隔离的斗争之时，沃纳梅克发明了商品退回制度。当卡托领导平等权力运动之时，沃纳梅克开张了他的第二家零售店。因此，沃纳梅克雕像的名字下有“公民”一词。 而在卡托雕像的名字下则是：“改变必将到来...”。所以，他们这系列的雕像就被称为“平等的追寻”。
这是一个开始。
Octavius V. Catto will be the first figure installed on the sidewalk of Philadelphia City Hall since retailer John Wanamaker in 1923. While Catto desegregated streetcars, Wanamaker invented the idea of returnable merchandise. As Catto led the effort guaranteeing the right to vote, Wanamaker opened his second store. Under Wanamaker's name is the word "CITIZEN." Under Catto's his words will be carved in stone: “There Must Come a Change…” The installation is aptly titled “A Quest for Parity.”
It's a beginning.
Credit: Association for Public Art 图片授权：公共艺术协会（Association for Public Art）
当我们近距离看“1934 All Wars Memorial to Colored Soldiers and Sailors”时，它逼真得就像真人。所以，事实证明，他们可能是人物肖像，而不仅仅是寓言中的人物。 在1994年的纪念馆搬迁仪式上，公共艺术协会执行董事潘妮·巴尔金巴赫发现一名女士竟然认识雕像上的人物，并说那是她的大叔。 然而现在还有谁记得他的名字与其他真实人物的名字？
Looking closer at the faces of the 1934 All Wars Memorial to Colored Soldiers and Sailors, we wonder if these are real men. As it turns out, they may be portraits, not just allegorical figures. At the memorial's relocation ceremony in 1994, Penny Balkin Bach, executive director of the Association for Public Art, heard from a woman in attendance. She looked at the faces and recognized her great-uncle. His name? The names of the other real figures?
对于公众，此时认识和了解抽象历史还不算太晚。 如果情况允许，他们将是历史上第一批闻名于一座城市的公共艺术，当然，也是闻名于自由精神的非裔美国人。
Maybe it's not too late to breathe real life into abstract history. And if so, these would be the first historical African-Americans represented in a city known for public art, and, of course, for freedom.
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