WORLD ACCORDING TO SESAME STREET, THE (TV)

Summary

This program explores the effects that third world countries have experienced from international productions of “Sesame Street,” the educational program that teaches numbers and the alphabet to pre-school children via Jim Henson's live-action Muppets, animation, short films, and a cast of adults and children. First, the program looks at how children learn values from watching television. At the Sesame Workshop in New York City, Cooper Wright, vice-president of international co-productions, gives an overview of the show’s ventures around the globe. Next, producer Nadine Zylstra tells how she was offered the opportunity to go to Dhaka, Bangladesh, to organize a version of “Sesame Street.” Sean Love, project manager for the Bangladesh co-production, discusses who will be targeted by the program and the level of literacy in Bangladesh. Mustafa Manwar, chief creative adviser for the Bangladesh co-production, tells of plans to develop puppets that reflect the country’s culture. Zylstra confers with Manwar and set designer Saidul Haque Juise about what subjects the show should cover. At the BTV Studio in Bangladesh, Love tries to get a broadcast commitment, then learns that the Bangladesh team must accomplish that goal, build a set and tape the show in twelve months. Joan Ganz Cooney, originator of “Sesame Street,” explains the goal of giving poorer children the same kind of preparation that middle class children have received prior to attending school. She also tells how co-productions began in other countries after the show’s success in America. Barbara Nikonorow, producer of a Kosovo-based co-production, tells how UNICEF officials suggested that a version of “Sesame Street” could aid in the peace process between Albanians and Serbs there. Fotos Berisha, director of the Kosovar Albanian co-production, notes that Serb and Albanian children have established deep-rooted prejudices at a young age after witnessing ongoing violence. Vjosa Berisha, Kosovar Albanian producer, mediates at a meeting in which Serb and Albanian staffers try to agree on what the program should cover. They decide to make two programs to reflect both ethnicities: “RRuga Sesam” and “Ulica Sezam.” In South Africa, another co-production has taken place, “Takalani Sesame.” Naila Farouky, producer of the South African co-production, talks about the risks undertaken when they focused the show around one of the country’s predominant problems: a population overwhelmed by HIV/AIDS. Indra de Lanerolle, executive producer of “Takalani Sesame,” discusses how recognition of the disease continues to be necessary for children. Robert Knezevic, project manager for “Takalani Sesame,” recalls how a decision was made to create Kami, a Muppet with HIV to help educate children. Footage shows how the plan set off a firestorm in America against PBS, but was later deemed an inspired idea by “Takalani Sesame.” Shaila Rahman, education and research leader for the Bangladeshi production, tells how crew members traveled to South Africa to learn how “Takalani Sesame” became a success. Other members of the education and research team explain the choices of Muppet characters for the Bangladeshi show, “Sisimpur.” Zylstra then tries to establish what qualities the show should project. Charlotte F. Cole, vice president of international education and research discusses how the adaptation of a model framework is important to avoid “cultural intrusions.” Staffers for “Sisimpur” explain how flooding in Bangladesh cancelled work on the show for a month. Footage shows cast and crew holding their first rehearsal on an unfinished set. At an international meeting for the Sesame shows, producers report on their progress, with news of ethnic tension resulting in riots and violence in Kosovo, thus delaying progress on both the Serbian and Albanian shows for three months. The programs finally aired “quietly” in February 2005. Zylstra explains to Cooney how a dispute on the Bangladeshi set concerning different puppets was resolved to everyone’s satisfaction. However, violence soon breaks out in Dhaka and production is brought to a halt. Zylstra soon hears that the show may never be aired. Later, Love tells Zylstra that Khurshid Zahan Haque, the country’s minister of women and children’s affairs, has agreed to come to the “Sisimpur” set. Upon attending, however, Haque fails to help secure a broadcast deal for the show with BTV. Later, in New York City, the minister agrees to meet with Zylstra, Love, and other Sesame Workshop staffers. There, Haque finally agrees to support the show, leading to it being aired on schedule in Bangladesh. Graphics tell where new “Sesame Street” international shows are being organized.

Details

  • NETWORK: PBS
  • DATE: October 24, 2006 9:00 PM
  • RUNNING TIME: 1:23:30
  • COLOR/B&W: Color
  • CATALOG ID: B:89201
  • GENRE: Arts documentaries
  • SUBJECT HEADING: Children and television; Children - Social conditions;
  • SERIES RUN: PBS - TV, 2006
  • COMMERCIALS: N/A

CREDITS

  • Jeff Skoll … Executive Producer
  • Mohiuddin Ahmed … Producer
  • Avni Ahmetaj … Producer
  • Nechama Goldstein … Producer
  • Sophie Barry … Producer
  • Naranhuah … Producer
  • Zanna Williams … Associate Producer
  • Patricia Bischetti … Line Producer
  • Linda Goldstein Knowlton … Director
  • Linda Hawkins Costigan … Director
  • Nathan Wang … Music by
  • Farhan Samad … Music by
  • Fotos Berisha
  • Vjosa Berisha
  • Charlotte F. Cole
  • Joan Ganz Cooney
  • Indra De Lanerolle
  • Naila Farouky
  • Khurshid Zahan Haque
  • Jim Henson
  • Saidul Haque Juise
  • Robert Knezevic
  • Sean Love
  • Mustafa Manwar
  • Barbara Nikonorow
  • Shaila Rahman
  • Cooper Wright
  • Nadine Zylstra