VOA – CONNECT
EPISODE 113
AIR DATE 03 13 2020
TRANSCRIPT
OPEN ((VO/NAT))
((Banner))
Artist’s Space
((SOT))
((John Douglas Powers, Artist))
The overlay in a lot of cases comes out of more historical
narratives. A lot of the philosophical questions that are
embedded in the work for me are ancient questions.
((Animation Transition))
((Banner))
Communal Space
((SOT))
((Julie, Maryland Hair Braiders Association))
The only place, where we are able to actually come together
as African-American Africans, is the braiding shop.
((Animation Transition))
((Banner))
Creative Space
((SOT))
((Jess Griffin, Artist, NOVA Reuse Center Owner))
So many things in such a small space. It could take you
hours to see every little thing, pompoms and buttons and
pipe cleaners.
((Open Animation))
BLOCK A
((PKG)) APPALACHIAN ARTIST
((Banner: Cropland Artist))
((Reporter/Camera: Arturo Martinez))
((Extra sound credits: Guitar songs by John Douglas
Powers))
((Map: Knoxville, Tennessee))
((Main characters: 1 male))
((NATS))
((John Douglas Powers, Artist))
I went to high school in a really rural place and I didn't know
that being an artist was still a thing. When I was in high
school, it was sort of on a list with like blacksmiths and
cobblers like people used to do that.
((NATS))
((John Douglas Powers, Artist))
I was born in a very rural part of the country. These
agricultural landscapes and the machinery and the
equipment that goes with that was an early influence in the
work and I think still kind of permeates the work.
((NATS))
((John Douglas Powers, Artist))
So, this piece called Ialu is probably from about 10 years
ago, from this body of work kind of looking at fields, the visual
of the motion of tall grass and the wind. You never see the
wind. You always see the effects of the wind. But also, for
me is sort of calling to mind of the front end of a harvest or a
reaper and the way that this machine enters the field and sort
of like cuts the grain down and processes the grain.
((NATS))
((John Douglas Powers, Artist))
I don't think of it as a robot creating art. These are no more
robots than just sort of like atoms that are moving through
space right now. This is just a sort of device that helps
visualize or record that phenomenon. So, it appears
inorganic but it's actually quite organic. But the heart of it
really is controlled chance, that you create a barrier and
make some selections in terms of color.
((NATS))
((John Douglas Powers, Artist))
Some of my favorite moments are like in the corner. This is
like highway roadmap business of LA.
((NATS/MUSIC))
((John Douglas Powers, Artist))
The overlay in a lot of cases comes out of more historical
narratives. A lot of the philosophical questions that are
embedded in the work for me are ancient questions. Where
do you go when you die? Or, what is the wind? Or, where
does the wind come from?
((NATS))
((John Douglas Powers, Artist))
I'm also very interested in getting out of my routine and
seeing the world.
((NATS))
((John Douglas Powers, Artist))
Remarkable things can be found all over the place,
sometimes just up the road from where you live. It's a
question of deviating from your normal path.
((NATS))
((John Douglas Powers, Artist))
We are on our way to the museum of Appalachia which is a
collection of historic artifacts from the region that go back
really to early settlers in the area.
((NATS/MUSIC))
((John Douglas Powers, Artist))
What's really exciting to me is that a lot of these are utilitarian
things, but they end up being these aesthetic qualities to
objects that are not always intentional, but as an artist, it's
very inspirational.
((NATS))
((John Douglas Powers, Artist))
As a sculptural object this is amazing and it's so intriguing to
be able to come and see the tool marks still on here, the way
that this was shaped.
((NATS))
((John Douglas Powers, Artist))
Man, I would take this thing home and hang it on my wall.
These millstones are amazing.
((NATS))
((John Douglas Powers, Artist))
There was a moment in time when you saw how things
worked and you saw how they were made and even saw
who made them and that's not really a part of society
anymore.
((NATS))
((John Douglas Powers, Artist))
It’s just amazing. There are all these gears and all these
chains and weights to make two hands on a clock go around.
((NATS))
((John Douglas Powers, Artist))
The work is engineering without being an engineer. But a lot
of it is very much kind of trial and error or discovery.
((NATS))
((John Powers, Artist))
So, this is a prototype for a section of a much larger piece
with these gears driven by a large central gear.
((NATS))
((John Douglas Powers, Artist))
This is a piece called Grist, based off of the same lantern
gears that were in the mechanism of the mill. So, it's a piece
that eats itself over time with an overlay of this more
conceptual question for me about time or timeliness.
Influences a lot of the works are 17th, 18th, 19th century
implements, historical technology that fed contemporary
technology.
((NATS))
((John Douglas Powers, Artist))
All the woodwork is done by hand here in the studio and I
guess the obvious gap in that would be the found objects.
This is the same model of typewriter that my grandparents
had when I was young.
((NATS))
((John Douglas Powers, Artist))
It's already on. This was a commissioned piece. So, it's
typing the sentence, "I will not talk in class". As I was looking
at it, the "Coronet" is the model of typewriter, but a "coronet"
is also a musical instrument. Turned it on for the first time
and then it, there was also all this sound that was coming out
of the very imperfect mechanism that I had built. That's not to
be done away with and solved. It’s to be embraced and sort
of grown as part of the content of the work.
((NATS))
((John Douglas Powers, Artist))
Sound is really essential for these pieces. You know, a lot of
times the sound is not necessarily a really pleasant tone.
The idea that the unpleasant thing and the pleasant thing are
originating from the same mechanism kind of mirrors like the
idea of life and death not being opposite things but sort of two
sides of the same thing.
((NATS))
((John Douglas Powers, Artist))
So, I'm supported in part by my teaching appointment and
supplemented significantly by the work that I'm able to sell
out of the studio on my own.
((NATS))
((John Douglas Powers, Artist))
I think at the end of the day, it's too much work to do unless
you love it and so, part of it, I think, this is something that
connects all creative people but there's a certain compulsion
like, I can't not make the things. And for the most part, I'm
making the work that I want to see in the world and there's a
hope that making that work leads to opportunities for
conversation.
((NATS/MUSIC))
TEASE ((VO/NAT))
Coming up…..
((Banner))
Art and Opportunity
((SOT))
((Christine, Supply Store Manager))
He helps me, I help him. Like, he tells me, ‘Christine, you’ve
got to put this product because you know this works really
well.
BREAK ONE
BUMP IN ((ANIM))
BLOCK B
((PKG)) WOMEN HAIR BRAIDER
((VOA French to Africa))
((Banner: Braids and Society))
((Reporter/Camera: Arzouma Kompaoré))
((Additional Camera: Mariam Traoré))
((Adapted by: Martin Secrest))
((Map: New York City, New York))
((Main characters: 3 females; 1 male))
((NATS: Street))
((Popup Banner: Hair braiding is a popular job choice for
newly-arrived African women in the US))
((Pauline Tapsoba, Hair Braider (in French) ))
All women who come here, who don't have legal papers and
don't know anyone, regardless if they have a high school
diploma or even a Ph.D, they start braiding hair until they can
do something else.
((NATS: Street))
((Hassana Zampaligré, Owner, Soraya’s House of
Beauty))
I was a shopkeeper in Burkina Faso. I used to buy goods
there and sell them to my African sisters here. When I would
come in their hair salons, it was always busy with clients
waiting. First, I didn’t know how to weave. So, they taught
me how to finish the ends. At the end of the day, they
sometimes gave me 100 dollars to 200 U.S. dollars. I
thought, ‘There's money to be made here.’
((NATS: Hassana: You look beautiful!))
((Popup Banner: In New York, licensing can be an
impediment for braiders))
((Hassana Zampaligré, Owner, Soraya’s House of
Beauty))
It's not easy for us. The government is asking us for licenses.
Many women hide because they do not have the license.
((Locater: Waldorf, Maryland))
((NATS: Salon))
((Banner: In Maryland, braiders organized a town hall to
convince lawmakers to drop a license bill))
((Julie, Maryland Hair Braiders Association))
It started three years ago, where the African-American salon
owners decided to go to the Maryland House of Delegates
and have them (not) pass a law that would make the braider
go to school for 1500 hours. Of course, it didn’t make any
sense to anybody. We decided to, we walked around and
mobilized with phone calls everywhere to everybody to show
we could get. We presented our case to the delegate. At the
end, they were like, ‘Oh, we don’t know what is that. What is
braiding? We don’t know what it is.’ Because I mean, they
really didn’t have no idea.
((William C. Smith, Maryland State Senator))
We decided not to do the bill because it would have
foreclosed a lot of economic opportunity for immigrants. We
were trying to regulate something that we really didn't
understand. The cultural, the techniques, the safety
procedures that are put in, that really make this type of
regulation unnecessary based on the conversations that I
had at that town hall, which was tremendously enlightening
and invigorating, frankly.
((Julie, Maryland Hair Braiders Association))
The only place, where we are able to actually come together
as African- American Africans, is the braiding shop. And the
only place where, as Africans, we can actually have the
opportunity to educate African-Americans about our culture,
about who we are. So, by actually doing the braiding, I feel
like the braiding shop is a place where people, who come
newly from Africa, is a place where they can come and get
used to the American culture. So, because this place here is
a place where you need somebody to help you.
((NATS: Salon))
((PKG)) MALE HAIR BRAIDER
((VOA French to Africa))
((Banner: Not Just for Women))
((Reporter/Camera: Arzouma Kompaoré))
((Additional Camera: Mariam Traoré))
((Adapted by: Martin Secrest))
((Map: Detroit, Michigan))
((Main characters: 1 male))
((Sub characters: 4 females))
((NATS: Street))
((Popup Banner: Salian Kouyaté grew up in Mali. He
braids hair for women in Detroit))
((Salian Kouyaté, Hair Braider (in French) ))
My first love is the braid. When I see a woman with braided
hair, a beautiful hairstyle, I fall in love. Like now, I'm in love
with these braids. They're well twisted. They're beautiful.
So, when my client goes home today, the love that I feel in
my heart will be the same love in the heart of her husband.
((NATS: Salon))
((Salian Kouyaté, Hair Braider (in French) ))
Braiding is my job and my life revolves around braids. As
soon as I touch someone's hair, I start braiding automatically.
While braiding, I think about my problems, the solutions, my
future projects.
((Popup Banner: Kouyaté braided hair as a child in
Bamako, Mali))
((Djaka Damba Diarra, Salian’s Cousin (in French) ))
He learned a lot during his childhood. When our hair was not
made, he was the one who would braid us.
((Mame Sissoko, Salian’s Cousin (in French) ))
At the time, there was a popular hairstyle called Kara in
Bamako and everyone wanted Salian to braid their hair with
this style.
((Salian Kouyaté, Hair Braider (in French) ))
At first, I was told that it was a curse for a boy to braid hair,
which made me have some doubts. Does my religion accept
this profession? I kept questioning myself even when I was
learning how to braid and starting my own business.
((NATS: Salon))
((Client, Woman #1 (in French) ))
When he braids your hair, you can feel the love. He’s not just
doing your hair. He’s making you look more beautiful.
((NATS))
((Client, Woman #2))
This is the first time I’ve had a man braid my hair. When he
said he’s going to braid my hair, I said, ‘Oh my God, I’m about
to have a power drill on my head.’ But he’s more softer than
it is when working with the women. Because I have seen
some mean women with their mean vice grips on top of my
head. I can’t even tell that he’s in my hair compared to the
women. Every time he did a braid, I touched the braid that he
does and it actually feels perfect.
((Rachara, Client))
I’d say, it’s about 700 (dollars) a month. So, it’s 700 times 12.
I spend a lot of money (laughs).
((MUSIC/NATS))
((Salian Kouyaté, Hair Braider (in French) ))
This job is not just about the money. It's about putting joy in
people's hearts. It's a positive energy that you can give to
someone who is depressed. It helped me learn about other
people and other cultures. Every time I braid, I discover
something new.
((NATS))
((Christine, Supply Store Manager))
Salian has been coming here for more than like 15 years
actually. He’s kind of like family. I don’t feel any hesitation.
I’m very confident in being able to send my customers over
there and they’re going to be treated well. He helps me, I
help him. Like, he tells me, ‘Christine, you’ve got to put this
product because you know this works really well because
sometimes we don’t know either.
((NATS))
((Salian Kouyaté, Hair Braider (in French) ))
To my friends who laughed at me when I was little, I would
like to say to them today, ‘Your teasing encouraged me to be
better.’ The little boy has become a great hair braider. My
only advice to any parent or anyone, who sees someone
doing something out of the ordinary, is to never make fun of
them. There are no foolish jobs. There are only foolish
people.
((NATS))
TEASE ((VO/NAT))
Coming up…..
((Banner))
Yoga for Kids
((SOT))
((Yalda Soheil, Yoga Instructor))
I started Starlight Yoga because I wanted to give kids the
tools they need to help them regulate themselves, help them
build self-confidence, help them deal with their feelings and
learn how to take deep breaths.
BREAK TWO
BUMP IN ((ANIM))
BLOCK C
((PKG)) CREATIVE RE-USE CENTER
((Banner: Creative Re-Use))
((Reporter: Faiza ElMasry))
((Camera: Adam Greenbaum))
((Map: Paeonian Springs, Virginia))
((Main characters: 1 female))
((Sub characters: 2 females))
((NATS: Jess walking, opening door and coming in store))
((Jess Griffin, Artist, NOVA Reuse Center Owner))
It is a nonprofit dedicated to encouraging re-use in our
community, providing affordable materials to artists and
teachers and all creative minds in the area.
((Jess Griffin, Artist, NOVA Reuse Center Owner))
I learned about creative re-use centers over a decade ago
and they really sparked something in me because I’d always
been a creative re-use artist, but I didn’t know there was a
name for it really and there is a community for it.
((NATS: Jess Old Project))
When I was a lot younger, one of the first inspirations that I
had was someone was throwing away this baking tin. And I
was like, ‘Don’t throw that away. I could do something with
that.’ I didn’t know what, but we drove the hole in the middle
and turned it into a clock. I called it my cupcake clock.
((NATS: CD Art Piece))
I like to do a lot of CD mosaics. I did a series of all of the
local colleges that people seem to really like and it’s on an
old pantry door that got discarded.
((NATS: Ripping paper out of map))
And I also make tiny little earrings out of paper like maps,
music paper, old books, things like that.
((NATS: Car driving by))
((Jess Griffin, Artist, NOVA Reuse Center Owner))
We’re just outside of Leesburg, Virginia which is kind of the
keystone of Loudoun County. And it’s a wonderful
community that embraces arts and small businesses.
((NATS: Unpacking donations))
((Jess Griffin, Artist, NOVA Reuse Center Owner))
Donations come in very willingly, all kinds of things, fabrics,
sewing nations, paper, office supplies, lots of creative things
that kids like to use like pompoms and buttons and pipe
cleaners.
((NATS: Cutting paper))
((Jess Griffin, Artist, NOVA Reuse Center Owner))
All kinds of materials that might otherwise go to the waste,
we take in and we try to find a new home for them.
((Jess Griffin, Artist, NOVA Reuse Center Owner))
Our center attracts a wide range of people, ages and coming
for all types of reasons.
((NATS: Sonia & Jess))
Jess: Alright, Sonia, so what have you made today?
Sonia: I made a house like with flowers and apples and
cookies.
Jess: Is that where the house would go?
Sonia: Yeah, but it is a little big.
((Jess laughing))
Jess: I think it is awesome. I love the colors you used and
how you used some of the flowers to decorate and the plastic
bags to the windows. It looks great!
((Karishma, High School Student))
I found out about this place through Girl Scouts and with my
mom finding it. And she’s like, ‘Hey, this is a good way to get
stuff for Girl Scout projects at a lower price and also saving
the environment at the same time by not using brand new
stuff.’
((Karishma, High School Student))
You create like little designs. Like, you can make them in
key chains or if you want them really long, you can make
them into this chain for a necklace or whatever. And you use
craft lace and you like do a bunch of different knots and you
create this.
((Jess Griffin, Artist, NOVA Reuse Center Owner))
So many things in such a small space that it could take you
hours to see every little thing and I think that excites people.
((NATS: Sorting buttons in a drawer))
((PKG)) KIDS YOGA
((Banner: Kids Yoga))
((Reporter: Karina Choudhury; Sahar Mohammadi))
((Camera: Karina Choudhury))
((Adapted by: Zdenko Novacki))
((Map: Kensington, Maryland))
((Main characters: 1 female))
((Sub characters: 2 males; 2 females))
((NATS))
((Yalda Soheil, Yoga Instructor))
There are a lot of benefits to yoga and it's especially
beneficial to have kids start doing yoga at an early age. The
reason why is because kids experience a lot of emotions and
feelings that a lot of times they don't know how to process or
don't know how to talk about. As people say, it's not what
happens to you, it's how you respond to what happens to
you. So, with the tools that you learn through meditation and
mindfulness, kids can use those every day in order to better
deal with their feelings.
((NATS))
((Yalda Soheil, Yoga Instructor))
My name is Yalda Soheil and I'm the founder of Starlight
Yoga. I teach kids and family yoga classes.
((NATS))
((Yalda Soheil, Yoga Instructor))
I started Starlight Yoga because I wanted to give kids the
tools they need to help them regulate themselves, help them
build self-confidence, help them deal with their feelings and
learn how to take deep breaths.
((NATS))
Yalda Soheil, Yoga Instructor:
Inhale.
How does it taste?
Is it good?
Is it good enough for one more bite?
Let’s see.
((Karla Barbosa, Mother))
It was a very good way to start my morning. Always my back
feels great after yoga.
((NATS))
((Zach Christensen, Father))
It gives me a chance to pause and interrupt and really trying
to understand their perspectives and their needs, their
physical needs, which I think are really easy to overlook
sometimes as adults. But I think this way, we're able to all be
more mindful together.
((NATS))
((Yalda Soheil, Yoga Instructor))
Family yoga, I believe, is the greatest thing ever. In today's
society, everything is moving so fast and a lot of times,
families are struggling to find ways to truly connect with each
other.
((NATS))
Praneetha Akula, Mother: Did you feel happy being an
elephant? Yeah.
Sunil Arthur, Son: And a giraffe.
Praneetha Akula, Mother: Yes, you are many animals.
((Praneetha Akula, Mother))
That was what was so wonderful about the class today. We
really enjoyed being here. My son is almost three years old.
So, he enjoys the stories that Yalda developed within the
class.
((NATS))
Yalda Soheil, Yoga Instructor: I see a great big lion. So, I
want everyone on their knees like this. Let's see if we can
scare the lion away with a great big roar.
((Praneetha Akula, Mother))
That really engaged his interest and it was great for me
because this is the time for myself and my son to bond.
((NATS))
Yalda Soheil, Yoga Instructor: And the frog. What kind of
sound do frogs make? Ribbit! Ribbit! Good work!
((NATS))
((Yalda Soheil, Yoga Instructor))
Children are extremely compassionate by nature. And the
more that we teach them that, you know, it's good to help
others. It's good to be kind to others. It's good to, you know,
take a break and pause and think about what you're doing. I
believe that they'll just grow up and be stronger, healthier
individuals mentally, emotionally, physically.
((NATS))
CLOSING ((ANIM))
voanews.com/connect
EXPLAINER -- PANDEMICS ((ANIM+GFX))
Pandemics are a worst-case scenario for infectious diseases.
The World Health Organization describes a process
through which a disease can reach the pandemic level.
First, the disease is present in animals and the risk of
human infection is low.
Then the disease begins to infect humans.
Human to human transmission is the next stage.
Clusters of infection arise in certain geographic areas.
The disease reaches pandemic proportions when it
spreads from continent to continent and establishes itself
throughout the general population.
PANDEMICS:
HIV/AIDS
Zika Virus
Bird Flu
Spanish Flu
On March 11, 2020 the World Health Organization added
Coronavirus/COVid-19 to the list.
CLOSING ((ANIM))
voanews.com/connect
((PKG)) FREE PRESS MATTERS
((NATS))
((Popup captions over B Roll))
Near the Turkish Embassy
Washington, D.C.
May 16, 2017
President Erdogan’s bodyguard attacks peaceful protesters
“Those terrorists deserved to be beaten”
“They should not be protesting our president”
“They got what they asked for”
While some people may turn away from the news
We cover it
reliably
accurately
objectively
comprehensively
wherever the news matters
VOA
A Free Press Matters
BREAK THREE
BUMP IN ((ANIM))
((PKG)) FREE PRESS MATTERS
((NATS))
((Popup captions over B Roll))
We make a difference
When we unmask terror
When we explain the impossible
When we confront an uncertain future
When we give voice to the voiceless
The difference is Freedom of the Press
We are the Voice of America where
A Free Press Matters
SHOW ENDS
EPISODE 113
AIR DATE 03 13 2020
TRANSCRIPT
OPEN ((VO/NAT))
((Banner))
Artist’s Space
((SOT))
((John Douglas Powers, Artist))
The overlay in a lot of cases comes out of more historical
narratives. A lot of the philosophical questions that are
embedded in the work for me are ancient questions.
((Animation Transition))
((Banner))
Communal Space
((SOT))
((Julie, Maryland Hair Braiders Association))
The only place, where we are able to actually come together
as African-American Africans, is the braiding shop.
((Animation Transition))
((Banner))
Creative Space
((SOT))
((Jess Griffin, Artist, NOVA Reuse Center Owner))
So many things in such a small space. It could take you
hours to see every little thing, pompoms and buttons and
pipe cleaners.
((Open Animation))
BLOCK A
((PKG)) APPALACHIAN ARTIST
((Banner: Cropland Artist))
((Reporter/Camera: Arturo Martinez))
((Extra sound credits: Guitar songs by John Douglas
Powers))
((Map: Knoxville, Tennessee))
((Main characters: 1 male))
((NATS))
((John Douglas Powers, Artist))
I went to high school in a really rural place and I didn't know
that being an artist was still a thing. When I was in high
school, it was sort of on a list with like blacksmiths and
cobblers like people used to do that.
((NATS))
((John Douglas Powers, Artist))
I was born in a very rural part of the country. These
agricultural landscapes and the machinery and the
equipment that goes with that was an early influence in the
work and I think still kind of permeates the work.
((NATS))
((John Douglas Powers, Artist))
So, this piece called Ialu is probably from about 10 years
ago, from this body of work kind of looking at fields, the visual
of the motion of tall grass and the wind. You never see the
wind. You always see the effects of the wind. But also, for
me is sort of calling to mind of the front end of a harvest or a
reaper and the way that this machine enters the field and sort
of like cuts the grain down and processes the grain.
((NATS))
((John Douglas Powers, Artist))
I don't think of it as a robot creating art. These are no more
robots than just sort of like atoms that are moving through
space right now. This is just a sort of device that helps
visualize or record that phenomenon. So, it appears
inorganic but it's actually quite organic. But the heart of it
really is controlled chance, that you create a barrier and
make some selections in terms of color.
((NATS))
((John Douglas Powers, Artist))
Some of my favorite moments are like in the corner. This is
like highway roadmap business of LA.
((NATS/MUSIC))
((John Douglas Powers, Artist))
The overlay in a lot of cases comes out of more historical
narratives. A lot of the philosophical questions that are
embedded in the work for me are ancient questions. Where
do you go when you die? Or, what is the wind? Or, where
does the wind come from?
((NATS))
((John Douglas Powers, Artist))
I'm also very interested in getting out of my routine and
seeing the world.
((NATS))
((John Douglas Powers, Artist))
Remarkable things can be found all over the place,
sometimes just up the road from where you live. It's a
question of deviating from your normal path.
((NATS))
((John Douglas Powers, Artist))
We are on our way to the museum of Appalachia which is a
collection of historic artifacts from the region that go back
really to early settlers in the area.
((NATS/MUSIC))
((John Douglas Powers, Artist))
What's really exciting to me is that a lot of these are utilitarian
things, but they end up being these aesthetic qualities to
objects that are not always intentional, but as an artist, it's
very inspirational.
((NATS))
((John Douglas Powers, Artist))
As a sculptural object this is amazing and it's so intriguing to
be able to come and see the tool marks still on here, the way
that this was shaped.
((NATS))
((John Douglas Powers, Artist))
Man, I would take this thing home and hang it on my wall.
These millstones are amazing.
((NATS))
((John Douglas Powers, Artist))
There was a moment in time when you saw how things
worked and you saw how they were made and even saw
who made them and that's not really a part of society
anymore.
((NATS))
((John Douglas Powers, Artist))
It’s just amazing. There are all these gears and all these
chains and weights to make two hands on a clock go around.
((NATS))
((John Douglas Powers, Artist))
The work is engineering without being an engineer. But a lot
of it is very much kind of trial and error or discovery.
((NATS))
((John Powers, Artist))
So, this is a prototype for a section of a much larger piece
with these gears driven by a large central gear.
((NATS))
((John Douglas Powers, Artist))
This is a piece called Grist, based off of the same lantern
gears that were in the mechanism of the mill. So, it's a piece
that eats itself over time with an overlay of this more
conceptual question for me about time or timeliness.
Influences a lot of the works are 17th, 18th, 19th century
implements, historical technology that fed contemporary
technology.
((NATS))
((John Douglas Powers, Artist))
All the woodwork is done by hand here in the studio and I
guess the obvious gap in that would be the found objects.
This is the same model of typewriter that my grandparents
had when I was young.
((NATS))
((John Douglas Powers, Artist))
It's already on. This was a commissioned piece. So, it's
typing the sentence, "I will not talk in class". As I was looking
at it, the "Coronet" is the model of typewriter, but a "coronet"
is also a musical instrument. Turned it on for the first time
and then it, there was also all this sound that was coming out
of the very imperfect mechanism that I had built. That's not to
be done away with and solved. It’s to be embraced and sort
of grown as part of the content of the work.
((NATS))
((John Douglas Powers, Artist))
Sound is really essential for these pieces. You know, a lot of
times the sound is not necessarily a really pleasant tone.
The idea that the unpleasant thing and the pleasant thing are
originating from the same mechanism kind of mirrors like the
idea of life and death not being opposite things but sort of two
sides of the same thing.
((NATS))
((John Douglas Powers, Artist))
So, I'm supported in part by my teaching appointment and
supplemented significantly by the work that I'm able to sell
out of the studio on my own.
((NATS))
((John Douglas Powers, Artist))
I think at the end of the day, it's too much work to do unless
you love it and so, part of it, I think, this is something that
connects all creative people but there's a certain compulsion
like, I can't not make the things. And for the most part, I'm
making the work that I want to see in the world and there's a
hope that making that work leads to opportunities for
conversation.
((NATS/MUSIC))
TEASE ((VO/NAT))
Coming up…..
((Banner))
Art and Opportunity
((SOT))
((Christine, Supply Store Manager))
He helps me, I help him. Like, he tells me, ‘Christine, you’ve
got to put this product because you know this works really
well.
BREAK ONE
BUMP IN ((ANIM))
BLOCK B
((PKG)) WOMEN HAIR BRAIDER
((VOA French to Africa))
((Banner: Braids and Society))
((Reporter/Camera: Arzouma Kompaoré))
((Additional Camera: Mariam Traoré))
((Adapted by: Martin Secrest))
((Map: New York City, New York))
((Main characters: 3 females; 1 male))
((NATS: Street))
((Popup Banner: Hair braiding is a popular job choice for
newly-arrived African women in the US))
((Pauline Tapsoba, Hair Braider (in French) ))
All women who come here, who don't have legal papers and
don't know anyone, regardless if they have a high school
diploma or even a Ph.D, they start braiding hair until they can
do something else.
((NATS: Street))
((Hassana Zampaligré, Owner, Soraya’s House of
Beauty))
I was a shopkeeper in Burkina Faso. I used to buy goods
there and sell them to my African sisters here. When I would
come in their hair salons, it was always busy with clients
waiting. First, I didn’t know how to weave. So, they taught
me how to finish the ends. At the end of the day, they
sometimes gave me 100 dollars to 200 U.S. dollars. I
thought, ‘There's money to be made here.’
((NATS: Hassana: You look beautiful!))
((Popup Banner: In New York, licensing can be an
impediment for braiders))
((Hassana Zampaligré, Owner, Soraya’s House of
Beauty))
It's not easy for us. The government is asking us for licenses.
Many women hide because they do not have the license.
((Locater: Waldorf, Maryland))
((NATS: Salon))
((Banner: In Maryland, braiders organized a town hall to
convince lawmakers to drop a license bill))
((Julie, Maryland Hair Braiders Association))
It started three years ago, where the African-American salon
owners decided to go to the Maryland House of Delegates
and have them (not) pass a law that would make the braider
go to school for 1500 hours. Of course, it didn’t make any
sense to anybody. We decided to, we walked around and
mobilized with phone calls everywhere to everybody to show
we could get. We presented our case to the delegate. At the
end, they were like, ‘Oh, we don’t know what is that. What is
braiding? We don’t know what it is.’ Because I mean, they
really didn’t have no idea.
((William C. Smith, Maryland State Senator))
We decided not to do the bill because it would have
foreclosed a lot of economic opportunity for immigrants. We
were trying to regulate something that we really didn't
understand. The cultural, the techniques, the safety
procedures that are put in, that really make this type of
regulation unnecessary based on the conversations that I
had at that town hall, which was tremendously enlightening
and invigorating, frankly.
((Julie, Maryland Hair Braiders Association))
The only place, where we are able to actually come together
as African- American Africans, is the braiding shop. And the
only place where, as Africans, we can actually have the
opportunity to educate African-Americans about our culture,
about who we are. So, by actually doing the braiding, I feel
like the braiding shop is a place where people, who come
newly from Africa, is a place where they can come and get
used to the American culture. So, because this place here is
a place where you need somebody to help you.
((NATS: Salon))
((PKG)) MALE HAIR BRAIDER
((VOA French to Africa))
((Banner: Not Just for Women))
((Reporter/Camera: Arzouma Kompaoré))
((Additional Camera: Mariam Traoré))
((Adapted by: Martin Secrest))
((Map: Detroit, Michigan))
((Main characters: 1 male))
((Sub characters: 4 females))
((NATS: Street))
((Popup Banner: Salian Kouyaté grew up in Mali. He
braids hair for women in Detroit))
((Salian Kouyaté, Hair Braider (in French) ))
My first love is the braid. When I see a woman with braided
hair, a beautiful hairstyle, I fall in love. Like now, I'm in love
with these braids. They're well twisted. They're beautiful.
So, when my client goes home today, the love that I feel in
my heart will be the same love in the heart of her husband.
((NATS: Salon))
((Salian Kouyaté, Hair Braider (in French) ))
Braiding is my job and my life revolves around braids. As
soon as I touch someone's hair, I start braiding automatically.
While braiding, I think about my problems, the solutions, my
future projects.
((Popup Banner: Kouyaté braided hair as a child in
Bamako, Mali))
((Djaka Damba Diarra, Salian’s Cousin (in French) ))
He learned a lot during his childhood. When our hair was not
made, he was the one who would braid us.
((Mame Sissoko, Salian’s Cousin (in French) ))
At the time, there was a popular hairstyle called Kara in
Bamako and everyone wanted Salian to braid their hair with
this style.
((Salian Kouyaté, Hair Braider (in French) ))
At first, I was told that it was a curse for a boy to braid hair,
which made me have some doubts. Does my religion accept
this profession? I kept questioning myself even when I was
learning how to braid and starting my own business.
((NATS: Salon))
((Client, Woman #1 (in French) ))
When he braids your hair, you can feel the love. He’s not just
doing your hair. He’s making you look more beautiful.
((NATS))
((Client, Woman #2))
This is the first time I’ve had a man braid my hair. When he
said he’s going to braid my hair, I said, ‘Oh my God, I’m about
to have a power drill on my head.’ But he’s more softer than
it is when working with the women. Because I have seen
some mean women with their mean vice grips on top of my
head. I can’t even tell that he’s in my hair compared to the
women. Every time he did a braid, I touched the braid that he
does and it actually feels perfect.
((Rachara, Client))
I’d say, it’s about 700 (dollars) a month. So, it’s 700 times 12.
I spend a lot of money (laughs).
((MUSIC/NATS))
((Salian Kouyaté, Hair Braider (in French) ))
This job is not just about the money. It's about putting joy in
people's hearts. It's a positive energy that you can give to
someone who is depressed. It helped me learn about other
people and other cultures. Every time I braid, I discover
something new.
((NATS))
((Christine, Supply Store Manager))
Salian has been coming here for more than like 15 years
actually. He’s kind of like family. I don’t feel any hesitation.
I’m very confident in being able to send my customers over
there and they’re going to be treated well. He helps me, I
help him. Like, he tells me, ‘Christine, you’ve got to put this
product because you know this works really well because
sometimes we don’t know either.
((NATS))
((Salian Kouyaté, Hair Braider (in French) ))
To my friends who laughed at me when I was little, I would
like to say to them today, ‘Your teasing encouraged me to be
better.’ The little boy has become a great hair braider. My
only advice to any parent or anyone, who sees someone
doing something out of the ordinary, is to never make fun of
them. There are no foolish jobs. There are only foolish
people.
((NATS))
TEASE ((VO/NAT))
Coming up…..
((Banner))
Yoga for Kids
((SOT))
((Yalda Soheil, Yoga Instructor))
I started Starlight Yoga because I wanted to give kids the
tools they need to help them regulate themselves, help them
build self-confidence, help them deal with their feelings and
learn how to take deep breaths.
BREAK TWO
BUMP IN ((ANIM))
BLOCK C
((PKG)) CREATIVE RE-USE CENTER
((Banner: Creative Re-Use))
((Reporter: Faiza ElMasry))
((Camera: Adam Greenbaum))
((Map: Paeonian Springs, Virginia))
((Main characters: 1 female))
((Sub characters: 2 females))
((NATS: Jess walking, opening door and coming in store))
((Jess Griffin, Artist, NOVA Reuse Center Owner))
It is a nonprofit dedicated to encouraging re-use in our
community, providing affordable materials to artists and
teachers and all creative minds in the area.
((Jess Griffin, Artist, NOVA Reuse Center Owner))
I learned about creative re-use centers over a decade ago
and they really sparked something in me because I’d always
been a creative re-use artist, but I didn’t know there was a
name for it really and there is a community for it.
((NATS: Jess Old Project))
When I was a lot younger, one of the first inspirations that I
had was someone was throwing away this baking tin. And I
was like, ‘Don’t throw that away. I could do something with
that.’ I didn’t know what, but we drove the hole in the middle
and turned it into a clock. I called it my cupcake clock.
((NATS: CD Art Piece))
I like to do a lot of CD mosaics. I did a series of all of the
local colleges that people seem to really like and it’s on an
old pantry door that got discarded.
((NATS: Ripping paper out of map))
And I also make tiny little earrings out of paper like maps,
music paper, old books, things like that.
((NATS: Car driving by))
((Jess Griffin, Artist, NOVA Reuse Center Owner))
We’re just outside of Leesburg, Virginia which is kind of the
keystone of Loudoun County. And it’s a wonderful
community that embraces arts and small businesses.
((NATS: Unpacking donations))
((Jess Griffin, Artist, NOVA Reuse Center Owner))
Donations come in very willingly, all kinds of things, fabrics,
sewing nations, paper, office supplies, lots of creative things
that kids like to use like pompoms and buttons and pipe
cleaners.
((NATS: Cutting paper))
((Jess Griffin, Artist, NOVA Reuse Center Owner))
All kinds of materials that might otherwise go to the waste,
we take in and we try to find a new home for them.
((Jess Griffin, Artist, NOVA Reuse Center Owner))
Our center attracts a wide range of people, ages and coming
for all types of reasons.
((NATS: Sonia & Jess))
Jess: Alright, Sonia, so what have you made today?
Sonia: I made a house like with flowers and apples and
cookies.
Jess: Is that where the house would go?
Sonia: Yeah, but it is a little big.
((Jess laughing))
Jess: I think it is awesome. I love the colors you used and
how you used some of the flowers to decorate and the plastic
bags to the windows. It looks great!
((Karishma, High School Student))
I found out about this place through Girl Scouts and with my
mom finding it. And she’s like, ‘Hey, this is a good way to get
stuff for Girl Scout projects at a lower price and also saving
the environment at the same time by not using brand new
stuff.’
((Karishma, High School Student))
You create like little designs. Like, you can make them in
key chains or if you want them really long, you can make
them into this chain for a necklace or whatever. And you use
craft lace and you like do a bunch of different knots and you
create this.
((Jess Griffin, Artist, NOVA Reuse Center Owner))
So many things in such a small space that it could take you
hours to see every little thing and I think that excites people.
((NATS: Sorting buttons in a drawer))
((PKG)) KIDS YOGA
((Banner: Kids Yoga))
((Reporter: Karina Choudhury; Sahar Mohammadi))
((Camera: Karina Choudhury))
((Adapted by: Zdenko Novacki))
((Map: Kensington, Maryland))
((Main characters: 1 female))
((Sub characters: 2 males; 2 females))
((NATS))
((Yalda Soheil, Yoga Instructor))
There are a lot of benefits to yoga and it's especially
beneficial to have kids start doing yoga at an early age. The
reason why is because kids experience a lot of emotions and
feelings that a lot of times they don't know how to process or
don't know how to talk about. As people say, it's not what
happens to you, it's how you respond to what happens to
you. So, with the tools that you learn through meditation and
mindfulness, kids can use those every day in order to better
deal with their feelings.
((NATS))
((Yalda Soheil, Yoga Instructor))
My name is Yalda Soheil and I'm the founder of Starlight
Yoga. I teach kids and family yoga classes.
((NATS))
((Yalda Soheil, Yoga Instructor))
I started Starlight Yoga because I wanted to give kids the
tools they need to help them regulate themselves, help them
build self-confidence, help them deal with their feelings and
learn how to take deep breaths.
((NATS))
Yalda Soheil, Yoga Instructor:
Inhale.
How does it taste?
Is it good?
Is it good enough for one more bite?
Let’s see.
((Karla Barbosa, Mother))
It was a very good way to start my morning. Always my back
feels great after yoga.
((NATS))
((Zach Christensen, Father))
It gives me a chance to pause and interrupt and really trying
to understand their perspectives and their needs, their
physical needs, which I think are really easy to overlook
sometimes as adults. But I think this way, we're able to all be
more mindful together.
((NATS))
((Yalda Soheil, Yoga Instructor))
Family yoga, I believe, is the greatest thing ever. In today's
society, everything is moving so fast and a lot of times,
families are struggling to find ways to truly connect with each
other.
((NATS))
Praneetha Akula, Mother: Did you feel happy being an
elephant? Yeah.
Sunil Arthur, Son: And a giraffe.
Praneetha Akula, Mother: Yes, you are many animals.
((Praneetha Akula, Mother))
That was what was so wonderful about the class today. We
really enjoyed being here. My son is almost three years old.
So, he enjoys the stories that Yalda developed within the
class.
((NATS))
Yalda Soheil, Yoga Instructor: I see a great big lion. So, I
want everyone on their knees like this. Let's see if we can
scare the lion away with a great big roar.
((Praneetha Akula, Mother))
That really engaged his interest and it was great for me
because this is the time for myself and my son to bond.
((NATS))
Yalda Soheil, Yoga Instructor: And the frog. What kind of
sound do frogs make? Ribbit! Ribbit! Good work!
((NATS))
((Yalda Soheil, Yoga Instructor))
Children are extremely compassionate by nature. And the
more that we teach them that, you know, it's good to help
others. It's good to be kind to others. It's good to, you know,
take a break and pause and think about what you're doing. I
believe that they'll just grow up and be stronger, healthier
individuals mentally, emotionally, physically.
((NATS))
CLOSING ((ANIM))
voanews.com/connect
EXPLAINER -- PANDEMICS ((ANIM+GFX))
Pandemics are a worst-case scenario for infectious diseases.
The World Health Organization describes a process
through which a disease can reach the pandemic level.
First, the disease is present in animals and the risk of
human infection is low.
Then the disease begins to infect humans.
Human to human transmission is the next stage.
Clusters of infection arise in certain geographic areas.
The disease reaches pandemic proportions when it
spreads from continent to continent and establishes itself
throughout the general population.
PANDEMICS:
HIV/AIDS
Zika Virus
Bird Flu
Spanish Flu
On March 11, 2020 the World Health Organization added
Coronavirus/COVid-19 to the list.
CLOSING ((ANIM))
voanews.com/connect
((PKG)) FREE PRESS MATTERS
((NATS))
((Popup captions over B Roll))
Near the Turkish Embassy
Washington, D.C.
May 16, 2017
President Erdogan’s bodyguard attacks peaceful protesters
“Those terrorists deserved to be beaten”
“They should not be protesting our president”
“They got what they asked for”
While some people may turn away from the news
We cover it
reliably
accurately
objectively
comprehensively
wherever the news matters
VOA
A Free Press Matters
BREAK THREE
BUMP IN ((ANIM))
((PKG)) FREE PRESS MATTERS
((NATS))
((Popup captions over B Roll))
We make a difference
When we unmask terror
When we explain the impossible
When we confront an uncertain future
When we give voice to the voiceless
The difference is Freedom of the Press
We are the Voice of America where
A Free Press Matters
SHOW ENDS
