--- author: TVO Today date: '2026-10-01' guest: '' layout: post.njk source: https://www.youtube.com/watch?v=TfrNDiZN8AI speaker: TVO Today tags: - indigenous-rights - civil-disobedience - cultural-identity - land-rights title: 悬索之上的抗争宣言：1973年原住民土地权利标语的秘密历史 summary: 1973年秋天，安大略省花园河原住民保留地的七名年轻人在一座高桥上冒险垂降，用油漆喷涂下标志性的抗争口号。受到伤膝谷事件与全美印第安人运动的鼓舞，他们以极其简陋的工具完成了一次反抗系统性压迫的非暴力行动，并保守秘密长达47年。这一历史印记如今已成为整个龟岛原住民文化认同与土地权利的永恒图腾。 insight: '' draft: true series: '' category: culture-history area: society-thinking project: [] people: [] companies_orgs: - American Indian Movement products_models: [] media_books: [] status: evergreen --- ### 悬索与木板：高空桥梁上的秘密书写 1973年的一个深秋傍晚，天色渐暗，**威利·博西诺**（Willie Boissoneau）叫醒了他的兄弟和伙伴们，宣布他们要去干一件大事：“我们要在那里立一个标语。”当大家顺着他手指的方向看向桥下深处时，心中充满了困惑与震惊，纷纷质问在没有任何专业装备的情况下究竟该如何下去。威利的回答简单而果断——他早早准备好了一捆粗绳和一块木板。在现场，他们用麻绳将木板紧密缠绕固定，做成了一个极其简陋的悬吊秋千。参与这次行动的共有七个人，分别是**基思·博西诺**（Keith Boissoneau）、**鲍勃·博西诺**（Bob Boissoneau）、**威利·博西诺**、**斯科特·勒萨热**（Scott LeSage）、**安德烈·勒萨热**（Andre LeSage）以及**幸运·勒萨热**（Lucky LeSage）。他们自嘲是这幅巨作的“原始艺术家”。 整个行动充斥着巨大的生命危险：没有任何安全绳、安全网或现代防护设备，仅靠一根普通绳索穿过双腿间夹着的一块 2x4 木方，就这样直接探出桥梁边缘悬空作业。他们调侃当年建造**胡佛水坝**（Hoover Dam）的工人也是采用类似的悬吊方式。当时他们手中没有任何写在纸上的底稿或字样模板，全凭威利在上方指挥。悬挂在桥身边缘的作业难度极大，行动整整持续了数个小时。他们轮流上阵：一人坐在木板上被绳索缓缓放入半空喷涂字母，其余几人则在桥面上死死拉住绳索作为生命支撑；写完一个词后再将人拉上来，换下一个人下沉继续喷涂。起初大家并不知道最终要拼出什么内容，直到威利逐字念出拼写，完整的标语才最终成型——“**这是印第安人的土地**”（This is Indian Land）、“**1973**”以及“**红色力量**”（Red Power）。行动结束后，七名青年立下誓言绝不走漏风声，这一秘密被他们整整保守了47年。
Original English One evening, it was fall and it was getting dark when my brother come and woke us up and says we're going to do something. He said, "We're going to put a sign here." Where are we going to put this sign? He said, "Down there." And we looked down there and said, "Willie, how the heck we going to get down there?" He said, "Well, that's why I bought that rope and that board." Started wrapping this rope around the board there, tightening it as much as he could. We were doing painting something on the bridge. One was sitting on the board and start painting. And the rest of us were holding him. There was Keith Bosineau. There was Bob Bosineau. There was Willie Bosineau. There was Scott Lesage. There was Andre Lesage. And there was Lucky Lesage. Seven of us. We were the original artists. So, okay, you guys, he said, "Lower me down." And on the rope, no safety, no nothing, just over the edge. Just a twine rope with a 2x4 between your legs. They built the Hoover Dam like that. And what is the statement that we're going to do? I mean, you didn't have nothing written down on paper or anything like that. It does us a little while to do it, couple hours because it's not exactly easy hanging over the edge of a bridge. Starting off with this. And here we wrote "THIS". And then they pulled me back up and they put the next guy down. And finished that word, pulled everybody up again. Now we move over. "Willie, we still don't know what are we putting here?" "I'll spell it out." Indian. 1973. It was Indian. Red power. And finally, land. And we said to ourselves, "Don't say nothing." We kept it a secret 47 years.
### 压迫与觉醒：从保留地歧视到伤膝谷回响 这一标语的诞生地是位于安大略省北部的**花园河第一民族**（Garden River First Nation），这是一个拥有悠久世代传承的**奥吉布瓦族**（Ojibway）社区。然而在20世纪60年代末和70年代初，这里的居民生活极度贫困，保留地上的家庭普遍在艰难中求生。尽管物质匮乏，那时的孩子们依然有着纯朴的童年连结，大家在夏天结伴寻找天然水坑游泳，或者沿着铁轨散步。但随着年龄增长，现实的残酷逐渐显露。按照当时的政策，保留地的孩子们被强制送往日校以及邻近城市的公立学校就读。在那里，他们从幼年起便直面深重的种族主义和歧视。主流教育系统抹杀了他们的具体文化身份：他们不被承认为奥吉布瓦人或克里人，而是被统称为具有贬义与同化色彩的“印第安人”。 在年轻一代感到迷茫与屈辱之际，比他们年长的青年领袖**威尔弗里德·巴齐内**（Wilfrid Bazinet，即前文提到的威利）成为了关键的思想启蒙者。威尔弗里德深刻洞察了本民族文化所遭受的系统性剥夺，并将当地青年的切身经历与正在北美各地爆发的原住民权利运动紧密联系起来。1973年初，**美洲印第安人运动**（American Indian Movement: 旨在捍卫北美原住民人权、文化及条约权利的激进民权组织）的约200名成员占领了南达科他州的**伤膝谷**（Wounded Knee），以此抗议当地腐败、深重贫困以及联邦政府对原住民条约的蓄意践踏。联邦执法部队随后包围了该地，引发了长达70天、伴随激烈交火的武装对峙，最终导致两名原住民活动家丧生。这一抗争正发生在1890年美军屠杀数百名拉科塔妇孺的伤膝谷惨案遗址之上。 伤膝谷事件深深震动了花园河的年轻人，它如同一面镜子映照出他们自身面临的深层困境：母语遭到压制、文化遭到抹杀、传统习俗被迫隐匿，保留地社区面临恶劣的医疗条件、匮乏的社会保障与极高的失业率，甚至族人仅仅因为举行本民族的传统宗教仪式，就会遭到警方的突袭、摧毁与监禁。在条约承诺屡遭背弃的现实面前，他们认识到自己是一个拥有独立主权与悠久历史的民族，必须发出自己的声音、表明自己的立场。正是这份深植于内心的觉醒，促使威利带领伙伴们做出了在交通要道大桥上公开宣誓的决定。
Original English Garden River First Nation in northern Ontario is an Ojibway community with a history stretching back generations. Today, a piece of art created by a group of community members decades ago remains a visible part of that history. It was a time of discovery and it was a time of finding out where we belonged in the world. Garden River was a great place, but at the time we didn't know it, but we were poor. Everybody on the reserve was poor. When we were young, we all got along together. Some people who had a little harder than others. We'd always get together say in summertime there. You want to go visit your friends? You found a swimming hole. They were all there. So, we'd go and have fun. And we'd all come around together, either it was swimming or walked the railroad tracks. As children in the late '60s and '70s, members of the group attended day schools and schools in nearby cities, where they say they experienced racism and discrimination from an early age. They took us off the First Nation and shipped us to the schools in the city. We weren't called Ojibwe, we weren't called Cree, we were just called Indian. There's one guy, Wilfrid Bazinet. He was older than us. But he gave us more of the insight of what was happening with our culture and how we were being discriminated in certain ways. Wilfrid Bazinet. Number one guy. Wilfrid's activism had a significant influence on the teenagers, connecting their own experiences to indigenous rights movements unfolding elsewhere. And the one place that really caught our attention was the 1973 occupation of Wounded Knee. In early 1973, around 200 members of the activist group American Indian Movement occupied the town of Wounded Knee in South Dakota to protest corruption, poverty, and broken treaty promises. Federal law enforcement surrounded the site, leading to a 70-day standoff that included exchanges of gunfire. Two indigenous activists were killed. The conflict took place at the site of the 1890 Wounded Knee Massacre where US soldiers killed hundreds of Lakota people including women and children. For the boys from Garden River, the American Indian Movement reflected many of the issues they were confronting in their own community. Our language oppressed, our culture oppressed, our tradition is oppressed. The poverty in our communities, inadequate health care, you know, broken treaty promises. They come and tear everything down and take everybody out and take them to jail just for doing the ceremony, our ceremony. Employment. Better social services. Our voice being heard. We are a national native people. We are Indians. We have to do something. What can we do? And that's when my older brother had all these different ideas. We decided to make a stand. Being that young, we didn't fully grasp everything. We didn't realize at the time but it really did make a statement after a while.
### 不熄的图腾：重写地标与文化认同的回归 当年那些年轻气盛的抗争者坦言，由于年少，他们最初并未完全预料到这一举动将在漫长岁月中激起何等深远的回响。数十年过去，这项在黑夜中冒险完成的抗争举动及其所铸就的视觉图像，已经超越了一次单纯的街头涂鸦，升华为了当代原住民艺术与政治抗争的重要母题。当事人回忆，这次行动表面上是由威利带头策划，但在更深层次上，是整个民族的精神与灵魂在指引他们走向那座大桥，将属于原住民的尊严铭刻在公共空间中。 在标语出现的多年间，有关当局曾多次试图用黑漆将其覆盖抹去，但花园河社区的居民与年轻后代始终拒绝让这一标志消失。每当标语被遮盖，总有人会再次潜入桥梁，重新用鲜明的大字将其喷涂复原。这种自发的集体守护，使得这行标语成为了进入花园河领地时不可动摇的永恒地标。这一宣言的影响力早已突破了地域界限，传遍了整个**龟岛**（Turtle Island: 北美原住民对北美大陆的传统称呼）乃至国际社会。它不仅是一项针对历史不公的公开控诉，更成为了激励几代原住民重新认识自我、摆脱污名化阴影、并为自身民族身份感到自豪的精神灯塔。
Original English Decades later, that act of protest and the image it created continues to appear in contemporary and indigenous art. You know, led by our brother Willie Bazinet, but led by the movement of the spirit, and the spirit brought us to the bridge. They repainted it black. And then somebody put the sign back up. I was just absolutely astonished when I seen the go back up on the bridge again. Our guys in Garden River just don't want to see it disappear. They want it on there. Entering Garden River today, that legacy is still visible. I think that it has impacted people right across Turtle Island. In fact, the world is proud of what you've done, and we are grateful that the message continues there today. It took that time of our people to learn who we are and to be proud of who we are.