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| The woman’s first doppa was embroidered with a rose bed and intertwining black leaves — a motif signifying beauty, spiritual connectedness and resistance. | 她的第一顶朵帕绣着玫瑰花丛和缠绕的黑色叶子——一个象征着美丽、灵魂相通和抵抗的图案。 |
| The doppa, a traditional skullcap worn across Central Asia, was passed down to the woman, Subhi Bora, as a girl by her mother, who is Uyghur, a predominantly Muslim, Turkic group from the autonomous region of Xinjiang in northwestern China. | 这种中亚地区的传统无边帽是素卜易·博拉的母亲在她小时候传给她的，母亲是维吾尔人——生活在中国西北新疆自治区的一个讲突厥语、以穆斯林为主的群体。 |
| Ms. Bora, 31, who grew up in Sydney after her parents fled China, had conflicting feelings about her different cultural identities and never wore the hat outside her home. But as the repression against Uyghurs in Xinjiang has become more brutal in recent years, the crisis ignited a sense of urgency to reconnect with her heritage. | 父母逃亡到悉尼后，博拉在这里长大，现在已经31岁。有些纠结于文化身份的她从未在出门的时候戴过这顶朵帕。然而随着近年对新疆维吾尔人的镇压日趋残酷，危机激发了一种寻回族裔出身的紧迫感。 |
| That set Ms. Bora on a trip to Central Asia to find a traditional doppa like the one she was given as a child. That journey turned into a storytelling project and an initiative to connect doppa makers and buyers online, which has gained momentum in recent months. | 这促使博拉开始了一场中亚之旅，寻找一顶跟她小时候得到的朵帕类似的帽子。此行变成了一个叙述计划，以及在线上为朵帕匠人和买家搭线的项目，近几个月里渐渐开始集聚人气。 |
| “As an Uyghur person,” Ms. Bora said, “if I don’t hold onto this doppa, it might just disappear one day.” | “作为一个维吾尔人，”博拉说，“如果我不能攥住这顶朵帕，它有一天可能就会消失。” |
| Ms. Bora’s mother and her father, an ethnic Uzbek, both made a point of passing along their traditions. Ms. Bora recalls a childhood filled with hand-pulled laghman noodles (a Uyghur delicacy), the Atlas silk dresses of Central Asia she wore at Uyghur protests, and the melodious sound of the dutar, a two-stringed instrument played by her father. | 博拉的母亲和身为乌兹别克人的父亲都重视传统的延续，博拉记忆中的童年充满了手工制作的拉格曼（一种维吾尔美食）、她在维吾尔抗议活动中穿过的中亚艾德莱丝绸裙子，还有父亲弹奏二弦乐器都塔尔时发出的优美旋律。 |
| As Ms. Bora grew older, she became more invested in her Uyghur heritage, an interest that was nurtured by a 2018 visit from a friend, Nadir Nahdi, a British filmmaker. Like Ms. Bora, Mr. Nahdi, now 30, had struggled as a child with his mixed identity. (He was born and raised in England and has roots in Indonesia, Kenya, Yemen and Pakistan.) | 长大后，博拉发现自己越来越被维吾尔传统所吸引，2018年一位朋友的来访更是滋养了这种兴趣，这位朋友就是英国电影人纳迪尔·纳赫迪。和博拉一样，现年30岁的纳赫迪儿时也纠结于自己的多族裔身份。（他在英格兰出生、长大，有印度尼西亚、肯尼亚、也门和巴基斯坦血统。） |
| Intrigued by the delicate doppa, he suggested that Ms. Bora explore her heritage by traveling with him to Central Asia to make a documentary that used the hat as a symbol of her journey. | 精致的朵帕给他带来触动，于是建议博拉和他一起去中亚旅行，探索她的民族文化遗产，以帽子作为她旅程的象征来制作一部纪录片。 |
| The doppa comes in numerous shapes, colors and styles. Traditionally, it was hand-embroidered with naturally dyed silk, and included intricate patterns that revealed details about the hat wearer. | 朵帕有多种形状、颜色和款式。传统来说，它是用天然方法染色的丝绸手工刺绣制成的，使用复杂的图案来暗示帽子佩戴者的身份。 |
| “It is something which tells you a lot of things about a person,” said Lola Shamukhitdinova, an expert in Central Asian textiles. “Who are you? From what place do you come from? What are you? How many children do you have? What is your social status?” | “它可以告诉你关于一个人的许多事情，”中亚纺织品专家萝拉·夏穆希蒂诺娃说。“你是谁？你来自哪个地方？你是做什么的？你有多少个小孩？你的社会地位如何？” |
| In the days of the ancient Silk Road — the 4,000-mile trading route that connected China with Europe — Central Asia was renowned for its silk houses and varied styles of embroidery. But imperial Russia’s conquest of the region in the 19th century introduced methods of mass production, and artificial dyes supplanted those made with pomegranate husks, onion skin and acacia flowers. In more recent years, even doppa makers who had continued in the traditional ways have turned to machine-made designs and synthetic silk to cut costs. | 在古代丝绸之路（连接中国和欧洲的4000英里贸易路线）的时代，中亚以其丝绸作坊和各种风格的刺绣而闻名。但19世纪俄罗斯帝国征服了该地区，引入了大规模生产的方法，人造染料取代了用石榴壳、洋葱皮和金合欢花制成的染料。近年来，即使是延续传统方式的朵帕匠人也转向用机械设计和合成丝绸以降低成本。 |
| Steering clear of Xinjiang because of safety concerns, Ms. Bora and Mr. Nahdi traveled in 2019 to Uzbekistan, another Turkic culture where Ms. Bora has family. They searched bazaars across the country, where vendors told them that handmade doppas with natural materials were scarce because of insufficient demand. | 出于安全考虑，博拉和纳赫迪避开了新疆，于2019年前往乌兹别克斯坦，那是博拉家庭里的另一种突厥文化。他们在全国各地的集市上搜寻，那里的小贩告诉他们，由于需求不足，用天然材料手工制作的朵帕较为稀有。 |
| But the traditional craft had not entirely vanished. In the southern city of Shahrisabz, outside the turquoise-domed Kok Gumbaz Mosque, Mr. Nahdi and Ms. Bora met their first doppa master, Gulnara Choriyeva. | 但传统工艺并没有完全消失。在南部城市沙赫里萨布兹的绿松石圆顶清真寺外，纳赫迪和博拉遇到了他们的第一位朵帕匠人古尔娜拉·乔里耶娃。 |
| Ms. Choriyeva started a collective for handmade doppas in 1991, after the collapse of the Soviet Union and during a renaissance in traditional artisan work in Uzbekistan. Her parents had hoped she would become a doctor like them, but Ms. Choriyeva, 54, was drawn to the vibrant floral motifs of her city’s traditional iroki embroidery style, a craft she learned from her grandmother, and has now taught her own children and granddaughter. | 1991年，在苏联解体后的乌兹别克斯坦传统手工艺复兴期间，乔里耶娃开创了一个手工制作朵帕的团体。她的父母曾希望她能成为像他们一样的医生，但54岁的乔里耶娃被她所在城市传统十字绣风格的鲜艳花卉图案所吸引，这是她从祖母那里学来的一种工艺，现在已经传授给她自己的孩子和孙女。 |
| “It is human nature to be pulled toward what is in your bloodline,” Ms. Choriyeva said. | “向骨子里的东西靠近是人类的天性，”乔里耶娃说。 |
| Her collective of about 45 female artisans is now producing three doppa designs for the project, two in the Shahrisabz style. The third, in the Uyghur style, was based on Ms. Bora’s rose-garden doppa. | 她的团体由大约45名女性工匠组成，现在正在为该项目制作三款朵帕设计，其中两款采用沙赫里萨布兹风格。第三个是基于博拉的玫瑰园朵帕的维吾尔风格。 |
| Each doppa takes about two weeks to make. | 每顶朵帕的制作大约需要两周。 |
| “They give pieces of themselves and their souls to these doppis,” Ms. Choriyeva said of the artisans. (“Doppi” is the Uzbek word for the hat.) | “他们将自己的一部分和他们的灵魂注入到这些Doppi里，”乔里耶娃谈到工匠时说。（“Doppi”是朵帕的乌兹别克语写法。） |
| For the project’s final design, Mr. Nahdi and Ms. Bora went to Bukhara, an ancient caravan city that became an emirate in the late 18th century. There they met Manzila Zakirova, now 38, a doppa master in the city’s distinctive gold-embroidery technique. | 为了项目的最终设计，纳赫迪和博拉去了布哈拉——一座古老的商队城市，在18世纪后期成为了一个酋长国。在那里，他们遇到了38岁的曼齐拉·扎基罗娃，他是这座城市里拥有独特的金色刺绣技术的朵帕匠人。 |
| In Bukhara’s emirate period, gold embroidery was a secret craft taught only to men and reserved exclusively for the emir and his court. When the emirate was defeated by Soviet forces in 1920, Bukhara’s sumptuous gold embroidery almost disappeared. | 在布哈拉酋长国时期，金绣是一种秘密工艺，只传授给男性，专供酋长及其宫廷使用。当酋长国在1920年被苏联军队击败时，布哈拉华丽的金色刺绣几乎消失了。 |
| “But the masters continued their art,” said Ms. Zakirova, whose grandfather taught her the technique when she was 12. | “但匠人们继续他们的艺术，”扎基罗娃说，她的祖父在她12岁时将这项技术传授给她。 |
| Ms. Bora and Mr. Nahdi’s trip to Central Asia turned into “The Doppi Project” — a documentary available on YouTube and an initiative to raise awareness of Uyghur culture and the threats it faces. | 博拉和纳赫迪的中亚之行变成了《朵帕计划》(The Doppi Project)——一部可在YouTube上观看的纪录片，也是一项倡议，旨在提高人们对维吾尔文化及其面临的威胁的认识。 |
| One inspiration for the work was Mr. Nahdi’s journey to Indonesia in 2018 to learn more about his paternal grandmother, Ilyeh. A photo of her in a traditional batik dress was the only clue he had about her early life. | 这项工作的灵感之一来自于纳赫迪在2018年的印度尼西亚之旅，那次旅行是为了更多地了解他的祖母伊利耶。她穿着传统蜡染连衣裙的照片，是他关于她早年生活的唯一线索。 |
| “There is a really sacred connection between cloth and human,” Mr. Nahdi said. It “ties us to place, identity and people,” he added, noting that he believed that migration and modernization had weakened that connection. | “布料和人类之间有着真正神圣的联系，”纳赫迪说。他还说，布料“将我们与地方、身份和人联系在一起”，并指出他认为移民和现代化削弱了这种联系。 |
| Guided by the Ethical Fashion Initiative, Mr. Nahdi and Ms. Bora negotiated a price with the artisans that was above market rates but wouldn’t disrupt the local industry. After briefly stalling because of the coronavirus pandemic, the project has sold almost 1,000 doppas in the past year, with a portion of the profits going to support Uyghur storytelling efforts. | 在道德时尚倡议(Ethical Fashion Initiative)的指导下，纳赫迪和博拉与工匠协商了一个高于市场价格但不会扰乱当地行业的价格。新冠病毒大流行使其停滞了一小段时间，在那之后，该项目在过去一年已售出近1000顶朵帕，其中一部分利润将用于支持讲述维吾尔语故事的工作。 |
| “There is very little emotional investment in the Uyghur community, because people do not know who the Uyghurs are,” said Mr. Nahdi, who hopes the project will help foreground the humanity and rich culture of the Uyghurs. | “维吾尔族社区很少有情感投入，因为人们不知道何为维吾尔人，”纳赫迪说，他希望该项目有助于突出维吾尔人的仁爱和丰富的文化。 |
| Ms. Bora, who recently gave birth to her first child, said she intended to pass on a doppa to her daughter. She also said that before embarking on the project, she had “felt like a diaspora kid, a bit of a foreigner that was visiting.” That changed when an artisan at a silk factory in the city of Margilan told Ms. Bora that she was proud of her for taking an interest in her heritage. | 刚生下第一个孩子的博拉说，她打算将朵帕传给女儿。她还说，在开始这个项目之前，她“感觉自己像一个流落他乡的孩子，有点像来访的外国人”。马尔吉兰市一家丝绸工厂的工匠告诉博拉，她为博拉对自己的民族文化感兴趣而感到自豪，在那一刻，情况发生了变化。 |
| After that, Ms. Bora said, “it felt like coming to a place I can call home.” | 在那之后，博拉说，“感觉就像来到了一个我可以称之为家的地方。” |
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