1
00:00:13,891 --> 00:00:26,728
(Tap dancing)

2
00:01:27,256 --> 00:01:36,538
(Tap dancing)

3
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(Child calls)

4
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(Environmental sounds)

5
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(Tap dancing)

6
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(Man sings on cue with tap dancing)

7
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(Man joins in clapping hands)

8
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(People join in, calling)

9
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(Applause)

10
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Thank you.

11
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This was a little -- the begining part 
of my new movie "One Million Steps".

12
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It's not finished yet.
We're still working really hard on it.

13
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I've been doing a lot of steps 
for you, just now

14
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-- also in the movie.

15
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And they are poetic steps,

16
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creative steps.

17
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I don't move from A to B.

18
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I just stay in A

19
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and really have --

20
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-- fun there.

21
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And when I look at what happens

22
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when I'm tap dancing,

23
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I realize

24
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the sounds is what you hear,

25
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what actually communicates
the rhythm and the music.

26
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But all my activity

27
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happens in between the sounds.

28
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In between the beats.

29
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In the silence.

30
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(Tap dancing)

31
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All my impulses, 
my movements,

32
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it happens before, 
in the silence.

33
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And it was funny, but

34
00:04:27,119 --> 00:04:31,501
when started tap dancing,
I didn't notice I was fixated on the beat.

35
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Really doing it.
Putting the sound there.

36
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And when I realized
it happens in the silence,

37
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this was a real breakthrough for me.

38
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To learn that you throw 
the beat in front of you

39
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and then ... (Tap)

40
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... it happens there.

41
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We all take a lot of steps in our lives.

42
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Someone actually 
took the trouble to count them

43
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and came to this incredible number

44
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of 1.825.000 steps in a year

45
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for every average human being.

46
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So, you all do this. 
Well done!

47
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(Applause)

48
00:05:17,138 --> 00:05:20,847
Big steps, small steps,
you don't really give them much thought.

49
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They just take you from A to B

50
00:05:22,879 --> 00:05:25,565
where you need to go.

51
00:05:25,565 --> 00:05:29,302
And when you do them, 
when you're walking

52
00:05:29,302 --> 00:05:32,109
your body automatically 
falls in a rhythm.

53
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A pulse... (Clicks fingers)

54
00:05:33,749 --> 00:05:37,188
And this saves you energy
and makes you go a long way

55
00:05:37,188 --> 00:05:39,945
without having to think about every step.

56
00:05:39,945 --> 00:05:41,993
(Walks)

57
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I don't really have to take care

58
00:05:45,081 --> 00:05:49,011
or think about what I'm doing right now.

59
00:05:51,119 --> 00:05:56,700
But something happens when
you start playing with the silences

60
00:05:56,700 --> 00:05:59,669
and the breaks, the pauses 
in between your steps.

61
00:05:59,669 --> 00:06:02,362
(Tap dances)

62
00:06:15,760 --> 00:06:19,597
Suddenly this very normal thing of walking

63
00:06:19,597 --> 00:06:22,481
becomes music and rhythm,

64
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and for me

65
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tap dancing in this way becomes walking poetry

66
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You take the breaks, the silences
you make them very small or very large

67
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and this is how you get this playful mode.

68
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And somehow underneath - (Clicks fingers)
there's still the pulse.

69
00:06:41,130 --> 00:06:44,286
But because I'm playing with these pauses

70
00:06:44,286 --> 00:06:46,004
and stopping sometimes...

71
00:06:46,004 --> 00:06:48,245
(Tap dances)

72
00:06:51,784 --> 00:06:55,425
...and then I riff on this pulse of normality,

73
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it becomes playful and
generates a lot of ideas.

74
00:07:00,700 --> 00:07:05,778
So, this was a thing 
that I was intrigued by:

75
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silence... 
pause...

76
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... and how it becomes poetry.

77
00:07:10,876 --> 00:07:16,655
And I was intrigued, together with my friend
Eva Stotz, from Berlin, a film maker,

78
00:07:16,655 --> 00:07:21,523
and we thought: wouldn't it be great
to put these poetically walking feet

79
00:07:21,523 --> 00:07:28,556
and confront them with
functionally walking feet in the big city,

80
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just to see what happens when they meet.

81
00:07:30,778 --> 00:07:32,969
These two modes, 
can they inspire each other?

82
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Maybe the poetic feet 
can bring something loose

83
00:07:37,090 --> 00:07:41,868
to the functionally, hastily 
walking steps of normal life.

84
00:07:41,868 --> 00:07:44,383
So we went to Istanbul

85
00:07:44,383 --> 00:07:47,116
because we thought intuitively: 
this is a great place,

86
00:07:47,116 --> 00:07:51,121
lots of things are happening there
-- let's do it there.

87
00:07:51,121 --> 00:07:56,123
And this would become the movie
"One Million Steps".

88
00:07:56,123 --> 00:07:59,665
Something incredible happened, though.

89
00:07:59,665 --> 00:08:03,124
The second time we were in Istanbul to film

90
00:08:03,124 --> 00:08:05,558
was in June 2013.

91
00:08:05,558 --> 00:08:08,036
And I don't know if you remember, but

92
00:08:08,036 --> 00:08:11,204
Istanbul exploded at that moment.

93
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Thousands of people stopped their daily lives,

94
00:08:14,562 --> 00:08:16,070
their daily routines,

95
00:08:16,070 --> 00:08:19,664
and went into the streets and just said "No.

96
00:08:19,664 --> 00:08:21,292
Not any longer.

97
00:08:21,292 --> 00:08:24,847
We need to create a break, a pause.

98
00:08:24,847 --> 00:08:28,883
Because this machine
of the city, of the government

99
00:08:28,883 --> 00:08:31,370
is just rolling too fast

100
00:08:31,370 --> 00:08:34,203
and it's breaking us."

101
00:08:34,203 --> 00:08:39,129
The incredible energy that happened there,
we were in the middle of it --

102
00:08:39,129 --> 00:08:43,653
-- is very intense.
All these people just couldn't go on.

103
00:08:43,653 --> 00:08:47,332
And what they did was very symbolic
and beautiful to me.

104
00:08:47,332 --> 00:08:51,125
They built a barricade 
around Taksim Square.

105
00:08:51,125 --> 00:08:53,324
And "Taksim", by the way, 
means "improvisation",

106
00:08:53,324 --> 00:08:56,043
so it was strangely fitting.

107
00:08:56,043 --> 00:08:59,956
Around Taksim Square, 
where Gezi Park is --

108
00:08:59,956 --> 00:09:02,428
this was the park that was threatened,

109
00:09:02,428 --> 00:09:08,544
it was the issue that made everything explode --

110
00:09:08,544 --> 00:09:11,938
they cordoned off this space.

111
00:09:11,938 --> 00:09:15,233
And inside was a safe space,

112
00:09:15,233 --> 00:09:18,384
a space outside of normality and functionality.

113
00:09:18,384 --> 00:09:21,349
And there life was different.

114
00:09:21,349 --> 00:09:26,628
They were not busy making ten points
for a new political program

115
00:09:27,707 --> 00:09:30,887
or choosing a leader
that would speak for everyone. No.

116
00:09:30,887 --> 00:09:35,287
They we using this space
as a silence, as a pause.

117
00:09:35,287 --> 00:09:39,183
There was music, dancing...
and most importantly

118
00:09:39,183 --> 00:09:41,996
-- sorry, I shouldn't say music is not important --

119
00:09:41,996 --> 00:09:45,173
most importantly, people were talking.

120
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And generating seeds for new ideas

121
00:09:47,743 --> 00:09:53,095
because it was a place outside of normality,
outside of functionality.

122
00:09:53,095 --> 00:09:57,134
I would like to show you 
a fragment of the film.

123
00:09:57,134 --> 00:09:58,855
We filmed in Gezi park.

124
00:09:58,855 --> 00:10:03,581
It was one of the most intense moments
for me, on the barricades.

125
00:10:03,581 --> 00:10:07,442
One side is protesters
the other side is police,

126
00:10:07,442 --> 00:10:11,089
and we were in the middle, making music.

127
00:10:13,338 --> 00:10:15,723
(Percussion)

128
00:10:19,078 --> 00:10:26,220
(Joins in with tap dancing)

129
00:10:44,829 --> 00:10:48,930
(People join in, clapping)

130
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(Rhythm picks up)

131
00:10:51,243 --> 00:10:53,475
(Whistles join in)

132
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(Applause)

133
00:11:21,859 --> 00:11:30,488
(Applause and cheering)

134
00:11:30,488 --> 00:11:39,118
(Clapping and trumpet)

135
00:11:39,118 --> 00:11:43,394
(Tap dancing cues in)

136
00:12:00,151 --> 00:12:11,328
(People join in, singing 'Bella ciao')

137
00:12:18,198 --> 00:12:26,003
(Applause, percussion and whistling)

138
00:12:26,213 --> 00:12:43,988
Crowd chanting: 
"Everywhere Taksim, everywhere resistance"

139
00:12:44,988 --> 00:12:56,513
(Percussion, whistling and shouting 
continue in background)

140
00:12:56,513 --> 00:13:04,050
(Applause)

141
00:13:04,050 --> 00:13:06,517
It was so incredible...

142
00:13:06,517 --> 00:13:12,074
I always go back to this moment
when I see the movie, this part.

143
00:13:13,714 --> 00:13:17,777
Silence. Pause. Poetry.

144
00:13:17,777 --> 00:13:19,967
It's what happened in Gezi Park.

145
00:13:19,967 --> 00:13:23,285
It's what's happening in my feet.

146
00:13:23,285 --> 00:13:26,259
And with this talk

147
00:13:26,259 --> 00:13:29,832
I would like to inspire you

148
00:13:30,664 --> 00:13:33,500
to do this at home.

149
00:13:33,500 --> 00:13:36,406
This was the theme [of the TEDx conference]
-- how to do it at home.

150
00:13:36,421 --> 00:13:40,152
I see you in your kitchen tables,
making pauses and breaks...

151
00:13:41,382 --> 00:13:43,294
But how do we do it?

152
00:13:43,294 --> 00:13:49,295
I think the only thing I want to say about it,
because it's different for every person,

153
00:13:49,295 --> 00:13:54,763
is the attention that you can put
on the silence, on the break.

154
00:13:54,763 --> 00:14:00,370
It's not just relaxing, turning on
your television, and doing nothing.

155
00:14:00,370 --> 00:14:05,905
It's actually a very powerful, full moment

156
00:14:05,905 --> 00:14:13,604
when you're allowed to be 
outside of functional steps.

157
00:14:13,604 --> 00:14:16,833
The only thing I would like to make a case for

158
00:14:16,833 --> 00:14:19,524
is to use these moments and value them.

159
00:14:19,524 --> 00:14:25,119
Play, make music,
make poetry of your steps.

160
00:14:25,982 --> 00:14:29,583
(Applause)