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Integrating Chinese Culture Into Sesame Street

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Integrating Chinese Culture Into Sesame Street Integrating Chinese Culture into Sesame Street A Thesis Submitted to the Faculty of Drexel University by Shengrui Wang in partial fulfillment of the requirements for the degree of Master of Science June 2011 ii © Copyright 2011 Shengrui Wang. All Rights Reserved. - ii -iiiiii101101101- iii ACKNOWLEDGEMENTS I want to thank my advisor, Albert Tedesco, who has helped me all along from the very beginning of the project. Step by step, the project goal has become clearer. Many thanks to Richard, for all the effort and time you’ve spent helping with proofreading. It’s you that made me think logically. I benefited a lot from discussing with you. Thank you, Kaiqin for making my Beibei the panda come alive. He’s so cute! Last but not least, thank you Mom and Dad for giving me the opportunity to study abroad. Without you, I wouldn’t have had all of these good experiences. I love you. - iii -iiiiiiiii101101101- iv TABLE OF CONTENTS LIST OF TABLES………………………………………………………………......v LIST OF FIGURES…………………………………………………………………vi ABSTRACT……………………………………………………….………………. vii 1.OVERVIEW ………………………………………………………………1-12 2.PROBLEM STATEMENT………………………………………………13-16 3.CONTENT ANALYSIS OF CHINESE CULTURE IN SESAME STREET…17-18 4.PROJECT DESCRIPTION………………………………….………………....19-28 5.CHARACTER DESIGN……………………………………….……………....29-33 6.SCRIPTS…………………………………………….……..............…………..34-53 7.CONCLUSION………………………………………………………………...54-55 BIBLIOGRAPHY………………………………………………………..............56-58 APPENDIX A……………………………………….……………………….....59-62 APPENDIX B…………………………………………….……………………...63-64 APPENDIX C……………………………………………..…………………….. 65-93 - iv -iviviv101101101- v List of Tables 1. 2010 FLAP Funded Foreign Language Programs in the U.S……………………….10 2. Summary of Chinese Content in Forty Years of Sesame Street…………………….18 3. Sesame Street Chinese curriculum………………………………………………….20 - v -vvv101101101- vi List of Figures 1. Growth in Chinese Language Courses……………………………………………….8 2. Erhu………………………………………………………………………………….14 3. Waterlight…………………………………………………………………………...23 4. Beibei the Panda…………………………………………………………………….27 5. Grover……………………………………………………………………………….31 6. Oscar the Grouch……………………………………………………………………34 7. Slimey……………………………………………………………………………….35 8. The Great Wall (1)…………………………………..………………………………41 9. The Great Wall (2)…………………………………………………………………..42 - vi -vivivi101101101- vii 10. ABSTRACT Integrating Chinese Culture into Sesame Street Shengrui Wang Albert Tedesco. Supervisor, Ph.D. This thesis demonstrates a way to integrate Chinese culture into the American television program, Sesame Street. With increased exposure to the program elements and strategies suggested herein, American children will draw creative ideas from Chinese culture. A Sesame Street Chinese curriculum has been designed which uses selected cultural aspects of Chinese culture as content to address the instructional goals of Sesame Street. A new puppet called Beibei the Panda will act as a medium to teach American children about Chinese culture in an entertaining and interesting manner. From February to July 2010, I interned at the Global Production department of the Sesame Workshop, the non-profit organization that produces Sesame Street. The internship provided me with precious opportunities to test my thesis ideas with the Sesame professionals. - vii -viiviivii101101101- viii - viii -viiiviiiviii101101101- 1 CHAPTER 1: OVERVIEW Sesame Street, that long street that circles the world, celebrated its 40th anniversary in 2009 with its audience of 8 million viewers, on 350 stations in 120 countries (Davis, 2008). Sesame Street was created in the late 1960s when, as Amber Smallwood (2008) put it, “early education seemed to offer the possibility of solving great social problems.”(p.1) The television program was, in part, a reaction to the chaos in the United States during the Vietnam War, assassinations and general public unrest. Additionally it was a response to what Newton Minow (1961), who was a former Chairman of the Federal Communications Commission, called the “vast wasteland” of programming offered by television stations at the time (p.4). In 1964, the federal government “The War on Poverty” was initiated. It was designed to enhance the standard living of the poor. The program was focused on, in part, improving the quality of schools and preparing children for entry into the US educational system. Joan Ganz Cooney, “a little-known public television producer,” as Davis (2008) put it, whose original vision would later become Sesame Street, seized the opportunity to use television as an educational tool to prepare children for school life (p.109). She discussed her idea with “educators, school practitioners, pediatricians, television and film producers” in search of the skills to make it happen. Eventually, with - 1 -111101101101- 2 the help of the Carnegie Corporation, the Ford Foundation, and the U.S. Office of Education, Cooney began planning out Sesame Street in 1968 (Fisch & Truglio 2001). This educational television program that debuted on public broadcasting television stations, began with the mission of helping children, especially underprivileged children, prepare for school (Palmer & Fisch 2001). The program has since been widely praised for its ability to promote school-readiness for children and for stressing the importance of providing children with intellectual stimulation and culture appreciation (Zill 2001). According to Sesame Workshop, about 8 million people in the U.S. watch Sesame Street every week and Sesame Street is the children's program most recognized by mothers of young children (Appendix B). Shortly after its first airing in 1969 in the United States, the show attracted the attention of producers from Brazil, Mexico and Canada who, expressed their interests in using the format of Sesame Street for addressing the local educational needs of each country (Cole, Richman, Brown; Children Television Workshop, 2001). Sesame Street co-productions which use Sesame Street content for localized programming are all over the world including: Bangladesh, Brazil, China, Egypt, France, Germany, Israel, Mexico, Russia, South Africa, Spain, Australia, India, Indonesia, Japan, Jordan, Kosovo, Netherlands, Northern Ireland and Palestine. The children of each country view a program that “has the same essence as the series produced in the United States, in a context that reflects local values and educational priorities” (Cole, Richman, Brown, 2001). Take Sesame China, or ‘Zhima Jie’ as an example. Sesame Street first appeared - 2 -222101101101- 3 in China in 1983 with Big Bird in China, a one-hour special produced with CCTV (Sesameworkshop.org). In 1998, Sesame Workshop launched a coproduction of Sesame Street, called Zhima Jie, in China. (Natural Resource Management.com) Its production team consulted with local experts in child development, education, and media. The most important educational needs were identified. These include basic skills, such as literacy, numeracy, and an appreciation for arts and they were focused on in the Chinese version of Sesame Street (Sesame Workshop.org). The educational curriculum for the first season of the U.S. Sesame Street set goals in the areas of social, moral, and affective development; as well as language, mathematics skills, reasoning, problem solving and perception skills (Fisch 2004). However, in order to avoid a situation in which none of the areas is addressed in depth, a curriculum focus has always been set for each season of production. One set of related objectives is specifically emphasized each season to expand on a certain area of child development. In some seasons, new concepts are focused on instead. For example, as during seasons 22-25 (1990-1994), race relations were the focus. In other seasons, existing areas were reexamined: emergent literacy was the center of attention in seasons 26-28 (1994-1997) (Lesser, Schneider 2001). Seasons 22-25 from 1990-1994 provided a concentrated effort to teach about cultural diversity using a four-year curriculum that focused on race relations. Positive interactions were modeled among five groups, African Americans, American Indians, Latinos, Asian Americans, and White Americans (Sesame Street Internal Research - 3 -333101101101- 4 Archive, 2010). In order to get some insight on how important cultural diversity is to the show, an interview was conducted with Carol-Lynn Parente, the current Executive Producer of Sesame Street. She said, “Culture diversity is very important to us. It has always been so, from the very beginning.” She explained that it has always been one of Sesame Street’s goals to weave culture diversity into the show. The diverse cultural backgrounds of the human cast are good asset for this purpose. Parente further stated that it is useful “to reflect the cultures in [the performers’] lives--to integrate something naturally part of the people into their acting roles,” (Carol-Lynn Parente, Personal Communication, May 6, 2010). Rosemarie Truglio, Vice President of Education and Research at Sesame Workshop, elaborated further on Sesame Street’s role in cultural exposure: “We try to show different cultures living together. The human cast on the Sesame Street set provides an opportunity for us to explore their culture backgrounds. We have an African American family, with Susan and Gordan; a Latino intact family, Maria and Luis. And Mr. Hooper store was run by an older Jewish man; now it’s being operated by a young Japanese American, Alan. The message has always been the same. We want to celebrate the uniqueness of a person’s culture
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