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Jane:\u003c/strong\u003e Our speaker for tonight is Cecile Guidote Alvarez","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103477#t=7.757,10.86"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103477/transcript/21239/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and she's","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103477#t=10.86,11.693"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103477/transcript/21239/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"one of the 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[Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103477/transcript/21240/annotation/864","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"- [Jane] Our speaker for tonight is Cecile Guidote Alvarez and she's one of the foremost producers and directors in the Philippines theater. And she is a self exile here in the United States, I don't know whether Cecile remembers this, but I first met her when she came back from graduate school in the Philippines wanting to establish, National Philippines Theater Association, I guess I was a little in awe of theater and all of those activities that made me... That was enough to make me back out. But, since then I had seen how she had developed this national theater group into an institution in the country, and saw how much good it had done, it's still going on right now, and they still have... They have penetrated the rural areas as well as the urban area. Here in New York, Cecile is established a third world institute of theater art studies out of the La MaMa theater, and the programs in this theater art studies are designed to foster a partnership between the developing nations of Asia, Africa, and South America and ethnic minority artists in more developed countries, which is something that we really need. Also, she has established the International Arm of the Philippine Educational Theater Association known as the Philippine Educational Theater Arts League out of New York. In addition to that, she is also in charge of the Folk Arts for Communication and Education and works with the United nations programs. And she was also very active in... During the International Year of the Child, without continuing this long introduction, ladies and gentlemen, I'd like to present Mrs Cecile Guidote Alvarez.\r\n\r\n- [Cecile] Excuse me I'll just take a little Oh, thank you Jane and good evening, ladies and gentlemen, it has been exactly 20 years since I finished college in 1962 with a twin degree of bachelor of arts and bachelor of science in education. Just about ready to go into the college of law, hoping for a career in public service when I got detoured and somehow just found myself fully involved in the arts, it was to the great dismay of my mother who always thought that artists would always be starving, she wasn't far from it though, we have been struggling, but we have been surviving, and basically you don't have a woman giving you some clues about her age, but I suppose I must tell you the truth because it has really been about 20 years now that I have engaged myself in a work in the arts. It's divided into two decades, I'd say the first 10 years, it was devoted to developing theater in the Philippines, to some of you who don't know much about the Philippines briefly it's composed of 7,100 islands, it's now having a population of about 50 million and about 87 existing languages and dialects, just like any developing country, we do have a very rich natural resources we have a large manpower capabilities, but there is also pervasive poverty there's widespread malnutrition, high inflation and unemployment, and a large foreign debt. Our people are basically in their Malayan in stock, but we went through 350 years of Spanish domination, 50 years of American culmisation and three years of Japanese occupation, before we were able to restore democratic government in the Philippines but unfortunately, as you know, since 1972, it has been subverted and transformed into a dictatorship with the imposition of Marshall rule. The last 10 years have been spent in exile abroad, mainly working in America, a highly organized urban and technologically advanced society, working with ethnic minorities in New York, where third world peoples make up the vast working class. It is an involvement that is committed to building an intercultural partnership between developed and developing countries, in applying their respective indigenous artistic traditions as a dynamic vehicle for promoting national identity and global consciousness of the interdependence of peoples. It is an involvement that began not so much out of an academic study or a theoretical analysis, but it grew out of a period of development in my life from a direct experience of perceiving the power of theater as an effective tool for education, and realizing its immense value in the development of the total being and the forming of character and the preserving of broad human values, which like religion can cement a society together. As a young student of 16, I have been deeply impressed with enormous instructional benefits afforded by the theater, working as a volunteer with priests and nuns, I had to do some work with the orthopedic hospital, we were going to do a play with the patients and I was charged to coach one of the patients, she was crippled, very young, she was in crutches and she was to play Laura in the Glass Menagerie. She would have been perfect for Laura, but offhand, you would say as a director that she was impossible because first of all, she was totally withdrawn, she was like in a shell of her own, her head was always bent, her eyes were downcast and if she stared at you, it was flashing with bitterness and with anger, she wouldn't communicate her voice was hardly audible and her hands were always trembling and sweaty, but somehow through a process of workshops of rehearsals, of some creative artistic exercises, it became a discovery, it became a way of blowing off steam, it became an adventure and gradually, but steadily, she actually developed confidence, physical and emotional control, she started concentrating, observing, talking, expressing some ideas, she had really metamorphosed into a happy person with a healthy frame of mind for learning, she knew the lines, she emoted very well she was beautiful on stage, and she actually after the performance was graciously responding to the cheers of the audience, she was shaking hands, she was giggling, her voice was ringing out to the back of the hall. It was a great experience, it's... There was summer of 1962, it's an image that cannot be erased from my mind. Her participation undeniably led to her personality development and social adjustment, for me and others who witnessed this magical transformation, the joy was exhilarating, it was like perhaps that experienced by people, digging with great difficulty with a lot of sacrifice for a long time and suddenly they discover an oil well or a gold mine, for after all, we were able to unleash a creative power that I think was useful to herself and eventually to society. Then again, sometime about two years later, still as a teenager, my involvement was deepened when I was thrust with the task of producing and directing alive TV drama series, which we called teenagers, it was by for and with teenagers. I was working with a priest, father and all of a sudden channel 11 gave him an extra public service time and he couldn't bi locate and he said, \"Cecile, here is free time on television, we should do something about it, we shouldn't waste it.\" And that was the time 1962, when juvenile delinquency was rampant, it was hitting the newspapers, everything was like made or copied after or patterned after James Dean, rebel without a cause. Our television stations were filled with canned, films from a broad, or whatever was being done was copied or imitations of, some of these things, and so it was one of the first live drama series, it was on public service time, there was no budget, but the drama episode done by some of the young people we gathered from both public and private schools, became a most effective means of influencing thought, and it served as an arena for social action where affinities to the past were established and present problems and future goals of the youth were discussed. I saw weekly how participants' minds were inspired to be resourceful, opening up to new vistas, finding exciting alternative solutions to problems. Having no money, everybody had to be involved, everybody contributed their time and energy, and somehow, everyone became self-reliant and determined to put up the show week after week for two years, every Sunday live, props gathered from their houses, banana trees cut from the fields from the streets, anything picked up, it was just pure resourcefulness and creativity, the scripts were written by them, and it touched on any subject which they felt was necessary to probe, it dealt with dope addiction, teenage pregnancy, cheating in schools, family relationships, and also projected very good values about friendships and other concerns. The series provided... Its power came from the fact that it gave emotional power of identification, and the liberating effect of carrying the youth beyond identification to understanding, it also gave an opportunity of merging individual lives and consciousness with a whole of sharing experience with others, and looking their destiny with the past and the future. We had lots of fun mail, parents, teachers, school administrators, the youth were all sending us letters, giving in their suggestions, visiting us in the studio, telephoning us. There was an incredible participation that it evolved from the people who were watching the show, somehow, the series offered the actor and audience a means for understanding the nature of conflicts in our world and for conceiving for themselves a change reality by recognizing the existing reality. It was, to the best of my mind a very good mirror for themselves, to join the images of who they are, and who they have been, and who they will be. This experience, totally convinced me of the need for a national design to make theater available to every citizen in my country, young and old should have the opportunity, should have the right to play this kind of play, a play of the mind, a play of the spirit, a play of imagination, so that it can help them affect change or even transform society in a manner that would provide a dignified existence for all. Studying abroad, afterwards and away from home for about two years, I gained even a deeper awareness of myself, my people and the world, I came to feel though, the pain of being virtually ignorant, of my own culture, while being quite conversant, with Western culture, I knew I was raised in singing Baa Baa Black Sheep, Jack and Jill, but I was not at all acquainted with the beautiful songs of our tribal people or a Muslim people, their songs of joy, their songs of lament, their lullabies, this was absent in my consciousness, but somehow being abroad it was a time for rediscovering my Asian roots, and stripping myself of homegrown prejudices, as I began to appreciate the arts and theater across national, ideological and religious barriers through travels to different countries and exposure to international theater traditions in conferences and in dialogue with other nationalities, I knew then profoundly how artists are indeed the logical facilitators of people to people exchange, how artists could bring people together, in a ritual of recognition, sharing our common humanity, and accepting and respecting our differences. I was fortunate to have been able to study in that part of the States, at the Dallas Theater Center in the South, where I could relate to a number of blacks and Chicanos in the community, while having a number of Asian student friends. History has made the American people a unique blend of cultures, it's composite ethnic population and numerous immigrants have links to all countries in the world. My stay in the United States gave me the environment and perspective to write a prospectus for a Philippine national theater, that would strike a creative balance between art as national and international expression. It made me see theater, and the arts as a forum for celebration, for expression of the origin development and destiny of every people's cultural heritage, through which all can claim their rightful place in our planet earth. And in one of my site visit to Mexico, being very near to Dallas, I saw how Indians in a nearby Pueblo were convinced to be vaccinated after watching a puppet show that dealt with health concerns, right then and then, I had become hopelessly passionate in my concern, that indigenous cultures, constituted a major investment to peace, and a rich resource for enhancing the common life of people and of even greater importance, it constituted a crucial component, for energizing development programs at the grassroots. It is clear then, that the task of national development does not rest solely on programs that seek economic growth, effective nation building also rests upon the full development of people through the arts, the people's creativity, this is the greatest resource of a country, their self-confidence, their initiative, their inner power to release ideas, the freedom to express these ideas and to realize cherished visions of a meaningful and fulfilled life, this must be part and parcel of programs, toward building a strong nation, and thus, contribute to creating one world where all people may live in freedom, justice, equality and peace. The development process must take into account the liberation of people from the shackles of conservative practices and the transformation of their national spirit and aspirations. This is particularly essential in the third world, where the common characteristics of people in traditional villages, is resignation to the will of the supreme being, absolute subjection to fate decided by unpredictable outside forces, in an utter dependence on blind control by the government, moreover, the historical colonial past of developing countries, has generated a common identity crisis, which reduces the so to impotency and sterility, their educational systems and social structures still suffer from both an unconscious and conscious perpetration, of a super-imposed matrix of values borrowed from imported cultures, this has indirectly resulted in an average relative luck, not only of a total awareness of real life conditions, but also of an honestly felt sense of commitment, to uplift one's own life, and those of one's fellows, thus there is a general displacement or disorientation of human resources, which should have been tapped and mobilized to answer basic needs, related to the people's wellbeing and development. The brutalizing facts of one's existence must be exposed to general awareness to elicit a positive desire for a different reality, and an energy to affect change in one's community life, to enter into this, is nothing less than to claim one's identity. In the developed countries, the ethnic minorities which have become an indispensable component in its economic life, encounter complex social problems, that are parallel if not identical to the social cultural dilemma, encountered in developing countries, the lack of relevant educational opportunities, identity crisis, family disorientation, adequate housing, unemployment, nutrition, childcare, the status of women, and many others are socially interconnected problems, which could only be addressed through a process of cultural understanding, by allowing ethnic minorities to strengthen their cultural bonds, looking into their roots and historical origins, they can draw from the mainspring of spiritual resources, to grow in the capacity to build and develop their own lifestyles and traditions within the context of American or European freedom and diversity. This process of cultural understanding provides the key, to overcoming many common problems, and introducing a change of attitude, that can elicit or generate full participation in the total development effort. In spite of the availability in past years of huge amounts of money, time and energy, for development programs in third world regions, the projected desired results, have been far from achieved, a major failure to come to terms with pressures related to development goals, is not only due to unjust systems and misdirected political policies, that it can also be traced, to an inability to handle them within a broad outlook of respect and concern for the total gamut of social attitudes and human values within the respective cultural setting, and work experience of countries, the effectiveness of a total cultural approach, in communicating to the people, the basic issues and ideas on development needs, license it's immediacy to offer them the opportunities for understanding the problem within the context of their own culture, and resolving it within that same context. Within every culture, there is a strain of positive elements, which when understood and you... Provides the needed motivation for responsibility in all aspects of life, a bold creative and imaginative approach to development, should include the application of a country's folk arts and mass media resources, as an educational tool of accelerating social change, the arts can move people to actual understanding of what the world is, what it ought to be, preaching virtue feeling in a natural sense of self in the world. Theater arts through intellectual insights and emotional excitation can lead man to recognize his ability to shape his own destiny, with the freedom to act meaningfully and in acting, the capability to transform substantially the texture and tone of contemporary life. The development of creativity through the arts involves having goals, objectives, commitments, dreams, and innovation, a truth, which one passionately and indefatigably pursues, it means joyfully learning to be sensitive to ones inner self and therefore being sensitive to others, inevitably it involves, a sensitivity to the universal human condition that binds all men, the communal sense of purpose encouraged by creative participation, could go so far beyond parochial interests to building a national spirit and eventually embracing the whole community of mankind. Along these lines, our energies have been geared, first to developing a national model animating many activities in the Philippines, as a way of contributing to a third world cultural movement, and simultaneously, spearheading an international network of folklorist artists, communicators and educators whose expertise and resources could be harnessed as partners for development. In 1967, we organized the Philippine Educational Theater Association to foster the health of theater arts so that they could become an integral part of the life of all Filipinos, the direction of the theater was set, not for the country or the elite, but for the masses, theater that drew meaning and power from the lives of these people speaking in the language of the people, it was urgent to withdraw, from the narrow vision of imported and borrowed culture, and the false attitudes attached to theater as personal exhibitionism and social frivolity, we had to focus on its educational values, at that time, most of the theaters presented, were imports from Broadway, any of the Western plays, those package in the some what French catalogs, and most of them done in English, by some of the private schools, and rarely were plays being done in public schools, so there was a tremendous need, to have, or to provide varied and relevant experiences to different sorts of groups of different age levels, embracing not only the capital city, but all the provinces, towns, cities and Barrios as a national theater, its concern was to develop and encourage artists to take our own culture seriously, to ask play rights, to draw from the wealth of indigenous folklore, legends and history, and to focus upon this with the challenges of the times, this required artists to understand these rich sources, to teach from them to improve upon them, providing a knowledge and insight into the regions temper, tradition, figures of speech, historical trends and future possibilities. How did we go about it? There wasn't any money, we had to depend, on the commitment of young people and the key was training, we developed a training ground for young people, train them in all the media in terms of arts, music, dance drama, and also, try to do a number of research into our indigenous cultures, and in training them build a production company, that would set standards in performing pieces that were meaningful to our people. We evolved the , and we also opened up, an open air theater in the Fort. A lot of times theater was associated with curtains, platforms, doors, people coming in high heels all dressed up, and this was not the way to build the people's theater, we had to, expose people to the fact that theater is any space, as long as you fill it up with ideas, we could be in a Church Plaza, we could be under a tree, we could be in the streets, what was important, was that we were communicating to our people and expressing their feelings, their thoughts, their aspirations, and letting them reflect on their problems and their needs. The other possibility of sustaining the program was to work in media, we evolved a television drama series like what we had done before I had left for studies, we called it balintataw it was a dramatic ontology, that could bring into the consciousness of the people, a number of Philippine short stories, dramatic episodes from contemporary life, from history, things that were relevant really to their own life and conditions, but what was most important for us was our outreach to the communities, to the Barrios, There was a network of theater arts programs that we initiated and developed for enriching curriculum, and enhancing educational techniques for community development of creative human resources. After training people we designed programs to improve on rural workers and farmers, promote health and family planning, rehabilitate prisoners, provide specialized workshops for out of school youth, for adult literacy, for the mentally retarded and the physically handicap, and to contribute to the integration of ethnic cultural minorities, it was a whole new kind of teaching and group work leadership technique, it gave a sense of what drama can do with and for people, a new way of reaching people with relevant ideas and problems, a basis for creating improvise dramas which eliminates social political, economic and moral issues and a vehicle for generating discussion and positive action. The creative training processes, were designed to educate the Filipino people into thinking and feeling, as responsible and responsive citizens equipped for survival in a challenging and changing world. And so, we would have, to work with a number of community-based organizations, like the Philippine Rural Reconstruction Movement, we tried to train rural workers so that they could use, creative theater techniques to mobilize the community to focus on certain issues, not so much in a banking method where you come in and you dictate to them what should be done, but rather in a participatory way, where as facilitators the artists or the rural workers could come in and draw the opinions of the people about what were their priority needs, what were the real problems? How did they feel they could respond to this problems? And it was a theater then that meant something to them and could energize development programs within the community, besides using theater for development purposes, we also used it as an instrument for international understanding, we hope that our movement was geared to serve as an avenue to facilitate bridges of goodwill with the rest of the world, particularly in the absence of diplomatic arrangements, or where political negotiations remain unsuccessful. At that time we had no cultural contacts or no political relations with Eastern Europe, and so we endeavored to bring in guest artists from Czechoslovakia, from the German democratic Republic, from Poland, and it was a way for the Filipinos to see these artists... These people, from the so-called communist block, they thought they were different, I mean some people really if you talk to them, having had no relationship with them thought that they were any different, but the arts was a way again, for us to perceive a common humanity with these people. Another kind of exercise in terms of the arts of dealing with problems or racial issues, we had invited a Korean artist to work with our company, basically because of the Japanese occupation, where there were a number of Korean soldiers with the Japanese army, there was some kind of a negative feeling, not just with the Japanese, but with the Koreans, also within our communities, there was some kind of bias with the Chinese population, but in creating this piece, we precisely drew on Chinese I think came to training with us and some of our artists go into Asia and have some exchanges with them, because for us, as a country located in Asia, we had felt a great and deep need to relate to our Asian brothers, and we felt that culturally, this could be at ones done in perhaps a better way or hand in hand with other political methods, such as the organization of Asian and other kind of political movements or institutions. And as we were working in this level, we felt a greater need to reach out and link our activities to other cultural groups in the developing countries, to link ourselves to interact and correspond and grow with the dynamism of other nations in the third world, and we found the forum in the International Theater Institute, and we proposed and hosted the first third world theater festival, strangely enough at first, when we were proposing this festival, most of the festivals were being held in Europe and some in America, people said, \"where... How is it going to be done?\" They couldn't think that a country, as small as the Philippines, or with such a limited economy compared to developed countries, could organize the third world festival, but somehow through the creativity of the people involve young people contributed their time, we got hotels giving in rooms for free for exchange of advertisements, we got airline tickets, by having our artists teach in the Philippine airlines to their employees and give creative drama sessions, the festival was held and it set a precedent, and now the festival is a regular feature of the UNESCO International Theater Institute, and then the UNESCO director general, and the secretary general of the International Theater Institute, finally sent in the messages, and hailed the festival, and I will quote, \"it is more and better, from any other festival throughout the world, it is an act of faith of the theater people of Asia, Africa, and Latin America, whose presence is absolutely necessary for the world, as much for the future of our theater, as for indispensable peace.\" Working with the third world committee of the International Theater Institute, we felt the need to involve ethnic minorities within developed countries, such as in the US or in Australia, the Aborigines or the Māoris in New Zealand, and I was unable to leave, with travel restrictions, but I had decided anyway to leave because I felt that, the international programs, that had started had to be continued and there was enough talent and energy in the country to sustain our national programs, and so I left in exile to carry on some of our programs, which then developed into a third world institute of theater art studies, where we could have a consistent laboratory for the research training production and documentation of the artistic treasures of the third world, and to develop cross-cultural fertilization and basis for inspiration, for our ethnic minority, artistic expressions here in America. Some of the productions for instance, that were being done, were with multinational participants, for instance, like working on the Ramayana an Indian epic, we did not, limit it to just an Indian expression or an Indonesian expression, or a Malaysian expression, it had a third world cast Sita was Indian, she was using Bharatanatyam traditions, we had Rama and Laxamana from the Afro-Caribbean traditions by having some Dominican Republic, we had a Malaysian doing The Golden Deer, we had a Filipino artist doing the sister of Ravana, we had a Chinese with a Peking opera tradition, doing Hanuman, and it was a whole synthesis and a con celebration of various artistic traditions in staging, one particular tradition from a given country. Another experiment we did for instance, was the third world liturgy, we utilized 15 different religious traditions, Buddhism, Shango, a Judaism, Islam, using the framework of the mass, we inter wove all of these values, artistic traditions, and built it up, so that it was organized for the intention of the rights of the child. Now this was the kind of work that the third world institute was doing, at the same time it was trying to encourage values ethnic groups, to cultivate and develop their own cultural presentations to serve their own respective communities, and thus from the Philippine point of view, we also organized our own ethnic community, Filipino American group, which also served as a coordinating secretariat in launching the movement, which we had called FACE Folk Arts for Communication and Education, which we were relating to the United nations development concerns. We had always felt that the artistic resources and expertise in a given country, was not really harnessed or recognized by government leaders, as crucial to facilitating development programs, and so in 1974, the world population conference, were able to hold a parallel cultural activity, a FACE, so that we could demonstrate, to this conference of government leaders that artists could expound on the issues that they were discussing, and translate it in cultural symbols, that the people could easily relate and understand, rather than having reams and reams of paper being produced in the secretariat of the UN, which hardly trickled down to the grass roots. We felt that communications and motivation and mobilization could be facilitated if they were transformed, if they were coached in this indigenous cultural symbols of the people that we were trying to reach, and so we proceeded to the women's conference in Mexico, and again to the human settlements conference, and we felt that we made a major breakthrough during the International Year of a Child, because here we were able to gather a number of artists to train them, as leaders, to use folk arts in the classroom and in production, and to build a pilot third world arts curriculum that we could introduce to children, we tested this for children, of a headstart ages, three to five, we gift the children, with retarded children, with juvenile delinquents in Spofford, and the effect was incredible, because here were children ordinarily, who would have no relationship with these other cultures, with these other peoples being very early on, acquainted with this heritage, given some kind of understanding of other peoples, which inevitably really again, were going to the topic of an investment into peace, because it does really reduce racialists estrangement, when people very early on are exposed, and appreciate other people's cultures, and get to learn about people, through their artistic expressions, and.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103477#t=0.0,2692.04898"}]}]},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478","type":"Canvas","label":{"en":["Media File 2 of 2 - 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[Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e And now we're hoping to carry on this kind of training,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=5.53,10.53"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and transferring it into media.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=11.68,14.26"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Next year, the United Nations","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=14.26,16.14"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is celebrating World Communications Year.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=16.14,18.523"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"At the UNESCO conference in Mexico City, just this year,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=19.461,24.07"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the United States and other developed countries","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=24.07,26.72"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"were being brow beaten with a transfer of technology.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=26.72,31.09"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They say that it is a means for cultural imperialism.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=31.09,35.01"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But we hope that through this kind of a training,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=35.01,38.18"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"we don't have to be afraid of technology.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=38.18,41.51"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that we can train our own folk arts people","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=41.51,45.88"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to use technology, so that it is there to enhance,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=45.88,50.41"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to preserve and to develop our artistic traditions.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=50.41,54.01"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so we hope that we shall have a 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cartoons,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=62.21,64.49"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"into a radio series, into comics forms.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=64.49,69.03"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I know as a mother, I have been very 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affirming","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=313.27,317.75"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"our common humanity and love for everyone.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=317.75,321.54"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thank you very much.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=321.54,323.024"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience applauds)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=323.024,326.024"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e We now open the floor for questions.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=335.05,337.653"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Yes?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=346.42,347.96"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Can you tell us how long you've been in the United States,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=347.96,351.2"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"what exactly your theater group in New York does?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=351.2,353.69"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"What ethnic groups you work 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theater?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=360.148,361.648"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e I left the Philippines in 1973.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=365.19,367.933"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I came as a consultant for ethnic 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we","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=756.25,758.69"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/226","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"were selecting from Asia, Africa and Latin America.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=758.69,762.27"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/227","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We tried to get USAID to fund this. It was a big battle.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=762.27,765.9"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/228","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"USAID told me that, \"Oh, we can't find these projects.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=765.9,769.9"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/229","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We get people to train in this different 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deprivation,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=825.54,828.38"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/254","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"or the same kind of limitations that they would encounter.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=828.38,832.16"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/255","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We trained them to go into the Bronx,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=832.16,835.43"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/256","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"into the bad sections of all the thing","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=835.43,839.35"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/257","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in order to feel how they could really go back","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=839.35,842.67"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/258","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to their own blessed communities,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=842.67,844.66"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/259","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and work and be effective, and really serve the community.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=844.66,848.88"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/260","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And not be disenchanted, because they don't have","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=848.88,852.26"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/261","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the blessed technological advances,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=852.26,854.14"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/262","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which they have been trained in.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=854.14,855.74"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/263","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'm sorry. I get very passionate about this.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=857.3,859.538"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/264","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience laughs)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=859.538,862.52"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/265","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Is there anything else?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=862.52,863.733"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/266","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Does that answer your question? I'm sorry.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=864.678,867.36"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/267","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Yes.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=867.36,868.193"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/268","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Since we had to come to you in Europe,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=868.193,870.257"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/269","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(man speaks faintly off microphone)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=871.212,873.83"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/270","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Actually you could do a chair anywhere you are, actually.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=873.83,878.42"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/271","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'm sure you have a number of foreign students here.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=878.42,881.67"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/272","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Somewhere, somehow, if you run a little workshop,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=881.67,885.863"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/273","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"gather all these foreign students, somehow,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=886.72,891.05"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/274","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"maybe somebody knows a lullaby,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=891.05,893.1"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/275","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"somebody knows a certain dance.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=893.1,895.24"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/276","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And have some sessions once a week.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=895.24,898.35"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/277","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And develop a kind of an encounter with each other.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=898.35,902.83"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/278","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And you find what the great social experience it is.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=902.83,907.68"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/279","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You may find some dates besides.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=907.68,909.7"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/280","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Sloshing of the oil well.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1016.34,1017.44"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/281","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You have it in you, and all you need is just to do it.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1017.44,1021.51"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/282","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Because theater, the arts is doing.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1021.51,1024.07"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/283","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And it is through experience,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1024.07,1026.73"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/284","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"it is through doing it's trial and error.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1026.73,1029.41"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/285","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And there's really nothing wrong.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1029.41,1030.84"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/286","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Everything you do is correct, you just keep on,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1030.84,1033.97"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/287","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"you know, doing, and doing and doing until you arrive","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1033.97,1037.41"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/288","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"at your most precious expression.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1037.41,1039.493"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/289","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But everything you do has a valid thing,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1040.71,1044.4"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/290","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"it's nothing that's wrong, or nothing.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1044.4,1047.04"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/291","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"A lot of times everything starts from fear.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1047.04,1050.67"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/292","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Creativity is the freedom from fear.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1050.67,1053.67"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/293","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It is the boldness to have ideas,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1053.67,1056.07"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/294","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and a boldness to express those ideas.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1056.07,1059.29"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/295","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And that's all you need. The absence of fear.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1059.29,1061.9"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/296","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This is why I feel when I had to leave","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1061.9,1065.27"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/297","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"people think it's a self exile,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1065.27,1067.09"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/298","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but I could not in conscience,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1067.09,1069.423"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/299","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"lend myself to a regime","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1070.41,1074.28"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/300","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that is basically ritual aggressive,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1074.28,1077.49"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/301","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in creating an atmosphere of fear.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1077.49,1080.75"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/302","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In reducing really that power of our people","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1080.75,1085.75"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/303","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to really cope with their reality,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1087.39,1090.71"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/304","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and to transform their reality,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1090.71,1093.0"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/305","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and to have a dignified existence.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1093.0,1095.51"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/306","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That's the only reason it's not politics,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1095.51,1097.48"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/307","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"it's not anything, I speak as an artist.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1097.48,1099.923"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/308","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"A lot of people are afraid.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1101.76,1103.01"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/309","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But fear means to be paralyzed, not to do anything,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1103.01,1107.69"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/310","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and to be uncreative and to be sterile.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1107.69,1110.283"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/311","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Yes.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1114.42,1115.253"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/312","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Is there anything else?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1119.63,1121.19"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/313","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thank you.\n(audience applauds)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=1127.302,1132.302"}]},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21241/annotation/314","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/021/241/original/AV203281_The_Arts_as_a_Force_for_National_Development_and_Internal_Understanding_b.vtt?1608542145","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/021/241/original/AV203281_The_Arts_as_a_Force_for_National_Development_and_Internal_Understanding_b.vtt?1608542145"}]},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21242","type":"AnnotationPage","label":{"en":["AV203281_The_Arts_as_a_Force_for_National_Development_and_Internal_Understanding_b.txt [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478/transcript/21242/annotation/315","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"- And now we're hoping to carry on this kind of training, and transferring it into media. Next year, the United Nations is celebrating World Communications Year. At the UNESCO conference in Mexico City, just this year, the United States and other developed countries were being brow beaten with a transfer of technology. They say that it is a means for cultural imperialism. But we hope that through this kind of a training, we don't have to be afraid of technology. that we can train our own folk arts people to use technology, so that it is there to enhance, to preserve and to develop our artistic traditions. And so we hope that we shall have a training where the rich folklore, our legends could be transferred into animated films, cartoons, into a radio series, into comics forms. I know as a mother, I have been very upset to see my child glued to the television. And only is acquainted with Popeye, and all kinds of cartoons. And there's no way for him through the cartoons to learn of some of these other legends, and some of these interesting characters and epics from the countries of Asia, Africa, and Latin America. But more than anything else now FACE is endeavoring to launch a campaign to seek for a UN Year for Indigenous Cultures and Development. And everybody's support is being asked for this. Because the declaration of such a year could add a rich, vital, cultural component, oftentimes missing in development schemes of many international agencies, and national programs of government. A year would be able to involve people worldwide, relating them directly to the dynamism of their own artistic heritage, while developing their appreciation of the values of many other cultures. It would broaden people's consciousness of their own creative potential, individually and collectively for personal, social, economic and cultural development. And it could readily promote a global cultural plan of action that can facilitate grassroots acceptance, and involvement in development goals. We hope that we can have a global conference that would interface bureaucrats, technocrats, a number of development planners with people in folklore, arts, communications and education. So that we could begin to reconcile, to confront each other, and reconcile the survival of indigenous cultures with the advancement of technology or development plans. A number of times development planners would come into a community with their blueprints for development, and totally disregard the traditions and values of that community. This happens in so many communities. Very recently, the New York Times had an editorial about this indigenous cultures, the Aborigines, the American Indians in Brazil, and our own tribal people in the Philippines. There's going to be a construction of a dam, which is being protested by our tribal people, where they would have their ancestral land. their way of life would be wiped out, and destroyed with the construction of a dam. The dam was brought in without any discussion with the people. And somehow, not that we are against development, but somehow, perhaps this would provide the occasion, where UN could set out principles, guidelines that can somehow be followed whenever we would come in and try and plan the development goals for a given community. So that we don't go roughshod against, and trample all this basic traditions and way of life, a whole spiritual heritage of a people that does not have to be negated in the name of progress. So we hope that with this kind of an effort, you would always lend your support to developing the arts in your community. Actually, education doesn't end until we are in the grave. And when we think about that, we could always think for how many communities, how many thousands, how many millions there should be millions of actors to be acting, to be performing? And we hope that the curtains will rise everywhere in the world in theater, as a factory of thought, a prompter of social conscience, a vehicle for social change. And I'm only against despair and repression. And also a temple for the ascent of man affirming our common humanity and love for everyone. Thank you very much.\r\n\r\n- We now open the floor for questions.\r\n\r\n- Yes?\r\n\r\n- Can you tell us how long you've been in the United States, what exactly your theater group in New York does? What ethnic groups you work with? Who funds that theater, and what your plans are with that theater?\r\n\r\n- I left the Philippines in 1973. I came as a consultant for ethnic minorities for the International Theater Institute to observe and evaluate certain programs. And out of this process of observation, we felt compelled to organize the Third World Institute of Theater Arts Studies. It engages in research, in training, in production and in documentation. Surprisingly, it has survived with basic volunteer services from a core of people. Most of them are Filipinos from our group. The facilities are provided by the La Mama Theater. La Mama Theater, under Ellen Stewart, some of you may know, is the pioneer of the off off-Broadway movement. They have the facilities, and we use the rehearsal spaces. We use the theaters for our production. And use it as a base to go into basic communities or schools where we do our services. We have a very small budget of $10,500, which is very small, from the New York State Council of the Arts. Which is the spine for having a year round workshop, where the different participants share their own traditions. And out of this workshop, various projects evolve, or develop. For instance, the participants, you will find an Indonesian, you will find an Indian, you will find a Ghanaian. You will find a Filipino, a Korean, a Japanese, a Dominican Republic, a Puerto Rican, a Brazilian. And our sessions revolve, or, you know, shift. So that for instance, in a week or two weeks, the Indonesian will be teaching something about Gamelan music, or about Balinese dance, or mask dance. And then we find some parallel studies with this. And you would also have, also a parallel mask dance from Korea being taught. We go into comparative studies, we share each other's artistic traditions. We try and identify those traditions that are very useful and essential for the training of the actor, for the voice, for movement, for composing music, for writing pieces. We talk about each other's history, about each other's cultural traditions. We teach each other about our legends, our epics. And from these values projects evolve. For instance, just very recently, a Korean legend was used. The Korean legend was created into a dramatic piece, but while it was Korean, essentially its soul was Korean, the performances evolved, or utilized other artistic traditions. For instance, the battle scenes would use the Capoeira dance tradition from Brazil, which is African in its origin. This was when the Africans in the plantations, taken into the plantations, your sugar canes. You know, they use it machetes actually to try and sort of polish themselves in martial arts. Which they were going to use for, for their own way of getting out of their slavery condition. But somehow when some of the plantation people found this out, then they could not use the machete. But they continued training with it by using sugar canes, or other kinds of sticks. And again, for instance, martial arts, when we're doing some martial arts studies, we pick up from Pencak silat from Indonesia, or pick up from the Arnis tradition from the Philippines. We do comparative studies, and it's a way of harvesting these rich artistic traditions from the third world. It's very strange, but it's only now really where we're beginning to appreciate these artistic traditions. Most of the time we got to appreciate our artistic traditions via Europe or America, because Peter Brook was interested in it. Peter Brooks starts now on Mahabharata Project. Or because, for instance, Atol, and Yates, got interested, and Bret got interested in Chinese theater, or Indonesian theater. Between the Philippines before we got to really appreciate Indonesian theater, as I was explaining, it took some time before we really did this. And yet, Indonesia and the Philippines, I think we're brothers and sisters. I mean, we look alike. You go to Indonesia and I almost faint, because I think I see somebody who I know, and he's Indonesian. We're really from the same blood, from the same ancestors. And this is the kind of work we do. But we have also evolved what we call FACE, where we relate to the UN programs. Now, this is where we are able to get some funding, occasionally when we do UN projects. When we went to Bucharest, we had to remain in government hosting us. Because it was a UN project, our secretary could write to governments, and governments would fund the delegates. We asked for the delegates we wanted. And then the governments responded, and either sent them for travel. And the Romanian government agreed to give them board and lodging for the occasion. We had troops, for instance, at that time, we had 112 folk artists sent by the government of Gabon. Only because we were relating to the UN. And all the effort that was done was our volunteer services. And we had to spend for stamps, and the envelopes, and the paper and just the energy. When we did the Year of the Child, this was the most expensive project we had to do, it was based here in New York. We were able to draw the support of Mrs. Andrew Young, who was then the chairperson of the Year of the Child Committee of the US. We wanted fellowships for the artists we were selecting from Asia, Africa and Latin America. We tried to get USAID to fund this. It was a big battle. USAID told me that, \"Oh, we can't find these projects. We get people to train in this different country. I mean, you know, to come here, they already have these projects. Or unless it's a priority need of that government, and we can't give this.\" But luckily it was a Year of the Child. We were able to talk for three hours. Mrs. Young was able to say, \"Well, even if you've rejected Cecile, will you see her again, and really try and listen to what she's trying to do?\" So we were able to hold them for three hours, and explain to them why it was crucial that we bring in these people and train them within the context of a developing country experience. Which was to provide the ethnic minority experience or context. A lot of times a number of people come from a developing country, train in a very advanced kind of thing, and sometimes get alienated when they go back, because, \"Oh, I don't have the computer system that I want. I don't have the great lights that I need for this.\" But we were trying to train them to approximate the same kind of deprivation, or the same kind of limitations that they would encounter. We trained them to go into the Bronx, into the bad sections of all the thing in order to feel how they could really go back to their own blessed communities, and work and be effective, and really serve the community. And not be disenchanted, because they don't have the blessed technological advances, which they have been trained in. I'm sorry. I get very passionate about this. Is there anything else? Does that answer your question? I'm sorry. Yes.\r\n\r\n- Since we had to come to you in Europe,\r\n\r\n- Actually you could do a chair anywhere you are, actually. I'm sure you have a number of foreign students here. Somewhere, somehow, if you run a little workshop, gather all these foreign students, somehow, maybe somebody knows a lullaby, somebody knows a certain dance. And have some sessions once a week. And develop a kind of an encounter with each other. And you find what the great social experience it is. You may find some dates besides. Sloshing of the oil well. You have it in you, and all you need is just to do it. Because theater, the arts is doing. And it is through experience, it is through doing it's trial and error. And there's really nothing wrong. Everything you do is correct, you just keep on, you know, doing, and doing and doing until you arrive at your most precious expression. But everything you do has a valid thing, it's nothing that's wrong, or nothing. A lot of times everything starts from fear. Creativity is the freedom from fear. It is the boldness to have ideas, and a boldness to express those ideas. And that's all you need. The absence of fear. This is why I feel when I had to leave people think it's a self exile, but I could not in conscience, lend myself to a regime that is basically ritual aggressive, in creating an atmosphere of fear. In reducing really that power of our people to really cope with their reality, and to transform their reality, and to have a dignified existence. That's the only reason it's not politics, it's not anything, I speak as an artist. A lot of people are afraid. But fear means to be paralyzed, not to do anything, and to be uncreative and to be sterile. Yes. Is there anything else? Thank you.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/34613/file/103478#t=0.0,1143.19674"}]}]}]}