0:00:13.891,0:00:26.728
(Tap dancing)

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(Tap dancing)

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(Child calls)

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(Environmental sounds)

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(Tap dancing)

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(Man sings on cue with tap dancing)

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(Man joins in clapping hands)

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(People join in, calling)

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(Applause)

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Thank you.

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This was a little -- the begining part [br]of my new movie "One Million Steps".

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It's not finished yet.[br]We're still working really hard on it.

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I've been doing a lot of steps [br]for you, just now

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-- also in the movie.

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And they are poetic steps,

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creative steps.

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I don't move from A to B.

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I just stay in A

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and really have --

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-- fun there.

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And when I look at what happens

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when I'm tap dancing,

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I realize

0:04:03.706,0:04:05.405
the sounds is what you hear,

0:04:05.405,0:04:07.934
what actually communicates[br]the rhythm and the music.

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But all my activity

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happens in between the sounds.

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In between the beats.

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In the silence.

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(Tap dancing)

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All my impulses, [br]my movements,

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it happens before, [br]in the silence.

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And it was funny, but

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when started tap dancing,[br]I didn't notice I was fixated on the beat.

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Really doing it.[br]Putting the sound there.

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And when I realized[br]it happens in the silence,

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this was a real breakthrough for me.

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To learn that you throw [br]the beat in front of you

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and then ... (Tap)

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... it happens there.

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We all take a lot of steps in our lives.

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Someone actually [br]took the trouble to count them

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and came to this incredible number

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of 1.825.000 steps in a year

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for every average human being.

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So, you all do this. [br]Well done!

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(Applause)

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Big steps, small steps,[br]you don't really give them much thought.

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They just take you from A to B

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where you need to go.

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And when you do them, [br]when you're walking

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your body automatically [br]falls in a rhythm.

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A pulse... (Clicks fingers)

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And this saves you energy[br]and makes you go a long way

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without having to think about every step.

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(Walks)

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I don't really have to take care

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or think about what I'm doing right now.

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But something happens when[br]you start playing with the silences

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and the breaks, the pauses [br]in between your steps.

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(Tap dances)

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Suddenly this very normal thing of walking

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becomes music and rhythm,

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and for me

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tap dancing in this way becomes walking poetry

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You take the breaks, the silences[br]you make them very small or very large

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and this is how you get this playful mode.

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And somehow underneath - (Clicks fingers)[br]there's still the pulse.

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But because I'm playing with these pauses

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and stopping sometimes...

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(Tap dances)

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...and then I riff on this pulse of normality,

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it becomes playful and[br]generates a lot of ideas.

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So, this was a thing [br]that I was intrigued by:

0:07:05.778,0:07:08.350
silence... [br]pause...

0:07:08.350,0:07:10.876
... and how it becomes poetry.

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And I was intrigued, together with my friend[br]Eva Stotz, from Berlin, a film maker,

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and we thought: wouldn't it be great[br]to put these poetically walking feet

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and confront them with[br]functionally walking feet in the big city,

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just to see what happens when they meet.

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These two modes, [br]can they inspire each other?

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Maybe the poetic feet [br]can bring something loose

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to the functionally, hastily [br]walking steps of normal life.

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So we went to Istanbul

0:07:44.383,0:07:47.116
because we thought intuitively: [br]this is a great place,

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lots of things are happening there[br]-- let's do it there.

0:07:51.121,0:07:56.123
And this would become the movie[br]"One Million Steps".

0:07:56.123,0:07:59.665
Something incredible happened, though.

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The second time we were in Istanbul to film

0:08:03.124,0:08:05.558
was in June 2013.

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And I don't know if you remember, but

0:08:08.036,0:08:11.204
Istanbul exploded at that moment.

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Thousands of people stopped their daily lives,

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their daily routines,

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and went into the streets and just said "No.

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Not any longer.

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We need to create a break, a pause.

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Because this machine[br]of the city, of the government

0:08:28.883,0:08:31.370
is just rolling too fast

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and it's breaking us."

0:08:34.203,0:08:39.129
The incredible energy that happened there,[br]we were in the middle of it --

0:08:39.129,0:08:43.653
-- is very intense.[br]All these people just couldn't go on.

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And what they did was very symbolic[br]and beautiful to me.

0:08:47.332,0:08:51.125
They built a barricade [br]around Taksim Square.

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And "Taksim", by the way, [br]means "improvisation",

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so it was strangely fitting.

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Around Taksim Square, [br]where Gezi Park is --

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this was the park that was threatened,

0:09:02.428,0:09:08.544
it was the issue that made everything explode --

0:09:08.544,0:09:11.938
they cordoned off this space.

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And inside was a safe space,

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a space outside of normality and functionality.

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And there life was different.

0:09:21.349,0:09:26.628
They were not busy making ten points[br]for a new political program

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or choosing a leader[br]that would speak for everyone. No.

0:09:30.887,0:09:35.287
They we using this space[br]as a silence, as a pause.

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There was music, dancing...[br]and most importantly

0:09:39.183,0:09:41.996
-- sorry, I shouldn't say music is not important --

0:09:41.996,0:09:45.173
most importantly, people were talking.

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And generating seeds for new ideas

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because it was a place outside of normality,[br]outside of functionality.

0:09:53.095,0:09:57.134
I would like to show you [br]a fragment of the film.

0:09:57.134,0:09:58.855
We filmed in Gezi park.

0:09:58.855,0:10:03.581
It was one of the most intense moments[br]for me, on the barricades.

0:10:03.581,0:10:07.442
One side is protesters[br]the other side is police,

0:10:07.442,0:10:11.089
and we were in the middle, making music.

0:10:13.338,0:10:15.723
(Percussion)

0:10:19.078,0:10:26.220
(Joins in with tap dancing)

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(People join in, clapping)

0:10:48.930,0:10:51.243
(Rhythm picks up)

0:10:51.243,0:10:53.475
(Whistles join in)

0:11:13.230,0:11:21.859
(Applause)

0:11:21.859,0:11:30.488
(Applause and cheering)

0:11:30.488,0:11:39.118
(Clapping and trumpet)

0:11:39.118,0:11:43.394
(Tap dancing cues in)

0:12:00.151,0:12:11.328
(People join in, singing 'Bella ciao')

0:12:18.198,0:12:26.003
(Applause, percussion and whistling)

0:12:26.213,0:12:43.988
Crowd chanting: [br]"Everywhere Taksim, everywhere resistance"

0:12:44.988,0:12:56.513
(Percussion, whistling and shouting [br]continue in background)

0:12:56.513,0:13:04.050
(Applause)

0:13:04.050,0:13:06.517
It was so incredible...

0:13:06.517,0:13:12.074
I always go back to this moment[br]when I see the movie, this part.

0:13:13.714,0:13:17.777
Silence. Pause. Poetry.

0:13:17.777,0:13:19.967
It's what happened in Gezi Park.

0:13:19.967,0:13:23.285
It's what's happening in my feet.

0:13:23.285,0:13:26.259
And with this talk

0:13:26.259,0:13:29.832
I would like to inspire you

0:13:30.664,0:13:33.500
to do this at home.

0:13:33.500,0:13:36.406
This was the theme [of the TEDx conference][br]-- how to do it at home.

0:13:36.421,0:13:40.152
I see you in your kitchen tables,[br]making pauses and breaks...

0:13:41.382,0:13:43.294
But how do we do it?

0:13:43.294,0:13:49.295
I think the only thing I want to say about it,[br]because it's different for every person,

0:13:49.295,0:13:54.763
is the attention that you can put[br]on the silence, on the break.

0:13:54.763,0:14:00.370
It's not just relaxing, turning on[br]your television, and doing nothing.

0:14:00.370,0:14:05.905
It's actually a very powerful, full moment

0:14:05.905,0:14:13.604
when you're allowed to be [br]outside of functional steps.

0:14:13.604,0:14:16.833
The only thing I would like to make a case for

0:14:16.833,0:14:19.524
is to use these moments and value them.

0:14:19.524,0:14:25.119
Play, make music,[br]make poetry of your steps.

0:14:25.982,0:14:29.583
(Applause)