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Prices: Adults - s4
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| China wants its values shown in cartoons
CARTOUJMS from page 11
commentators worry that same foreign
comics, particularly violent, sexy Japa
nese cartoons, are a bad influence. And
they complain they don't teach kids
about China or Chinese things.
Parents browsing through the
children’s section of a big state-run
bookstore in Beijing said they are picky
about what their kids read.
“Children can’t choose for them
selves,” said a politics teacher from
neighboring Hebei province who iden
tified himself only as Mr. Luo.
“I choose bools I think will be good
for my child,” he said, referring to his
5-year-old daughter. “You have to be
careful because some books aren’t
healthy.”
A recent investigation in the cen
tral city of Wuhan found that 80 per
cent of children’s bods were based chi
foreign cartoons. Many were violent
and bawdy, the China Education Daily
said.
“One problem with some imported
cartoons is their contents are unhealthy.
Also, the life and family values they
promote do not meet the country’s re
quirements regarding children’s devel
opment,” said Kou Xiaowei, a senior
publishing official.
“The children we rear today are
China’s builders of the next century. So
first and foremost, we should give diem
things to read that reflect the special
qualities of the Chinese race and cul
66
One problem with some imported
cartoons is their contents are unhealthy
Kou XlAOWEI
senior publishing official
ture,” said Kou, the book publishing
director of the Press and Publication
Administration.
The administration, the
government’s overseer of books, in
cluding conics, has teamed up with the
Propaganda Ministry to promote 15
Chinese-style cartoons.
Among the four already written are
“Young Chinese Genius,” which tells
the stories of historical figures includ
ing Confucius, the godfather of Chi
nese philosophy, anti-opium cam
paigner Lin Zexu, and Li Bai, one of
China’s most revered poets.
It seems to matter little to officials
that Li was also a drunkard who reput
edly drowned, inebriated, in a stream.
More than 200,000 copies have sold,
netting the publishers $120,500 in
profits, Kou said.
“Soccer Boy” is another govern
ment favorite. It follows its young pro
tagonist, Xindi, as he rises to the na
tional team under a coach who
preaches obedience and teamwork —
qualities the Communist Party is pro
moting in a public morality campaign
that started this month.
“It reflects the life of young Chi
nese today,” Kou said of “Soccer Boy,”
which is supposed to be on shelves
before the year’s end.
According to the official
Guangming Daily, the government
plans to pay bonuses to TV networks
that broadcast Chinese-made cartoons,
and tax the imports. That might help
publishers of domestic cartoons com
pete with foreign companies, some of
which have provided cartoons to
broadcasters for free.
Kou said the government does not
intend to ban high-quality cartoons,
including Disney’s, but “unhealthy
publications” will have to go.
Ultimately, kids likely will decide
the winner of China’s cartoon conflict,
said Kou’s colleague, Chen Yingming:
“If China’s 300 million children all like
Mickey Mouse, there’s not much to be
done.”
‘Sesame Street’takes on a Russian air
iviuoluw — ocaainc
Street” is brought to you today by
the letter “Ya.”
The Russian version of the
popular American children’s pro
gram hit TV screens this week.
Along with numbers and Cyrillic
letters, producers hope it will help
teach a new generation of Russians
to live in a democratic society.
Ulitsa Sezam, as the show is
called here, is not a pure American
transplant and has a distinctly Rus
sian air, reflecting Russian life and
values.
The set has moved from New
York’s brownstones to a Moscow
courtyard, the home of three new
brightly colored Muppets, a Russian
family and their neighbors.
Scenes filmed in Russia are;
combined with segments featuring
familiar “Sesame Street” characters
for messages that cross cultural
boundaries.
Bert and Ernie have become
Vlas and Enik, and the Cookie
Monster is Keks, a kind of Russian
muffin.
The Russian version is produced
jointly by Children’s Television
Workshop in New York and the
Russian firm VideoArt, relying on
lunmng irom me u.o. Agency ior
International Development, the
Soros Foundation and the Nestle
food company.
The producers sought sugges
tions from teachers and families on
the show’s content, and the new
characters reflect their concerns.
For instance, a big blue Muppet
named Zeliboba tries hard to be
polite and show good manners.
The other Muppets—or Mukli
in Russian,adapted from Kukli, the
word for puppets—are bright pink
Businka, who finds joy in every
thing, and neon orange Kubik, a
pensive problem-solver.
“In the Russian program, we
want to focus on independence and
on building self-confidence, and
give children the feeling that they
can accomplish anything they want
to,” Natasha Lance Rogoff of CTW
told The Moscow Times.
Action revolves around the
home of 8-year-old Katya and her
parents. Her mother is a pediatri
cian who tends a garden, while her
father, a store manager, challenges
the stereotype of a Russian man by
cooking and helping care for his
daughter.
They are joined by Aunt Dasha,
a nciguuur, wnu is a preserver ui
Russian folklore and traditions.
The producers said one of their
main goals was to help children un
derstand what it means to live in a
democratic, diverse society and give
them confidence in a world vastly
different from the one their parents
knew.
Like the American program, the
Russian version of “Sesame Street”
promises to promote racial harmony
and celebrate cultural diversity.
Although the Soviet state offi
cially touted ethnic friendship, it
persecuted some groups and did not
address other, often bitter divisions
that since have come to the surface
in Russia.
Chechens and other people from
the Caucasus Mountains face par
ticularly harsh discrimination in
Russia, and the Ulitsa Sezam pro
ducers have plans to introduce a
family from the region.
The program airs during prime
time, just before the evening news
on NTV, Russia’s top private tele
vision station.
“Sesame Street”, which began in
the United States in 1969, now has
productions in 40 other countries in
14 languages. The American ver
sion is shown in 50 countries.
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Groups, Teams
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Smithsonian exhibit displays
great American musicals
WASHINGTON (AP) — Take the
oompah of a German beer-hall band,
the rhythm of African drums, the
warble of Italian opera, the shuffle of
an Irish jig, a twitter from England’s
Gilbert and Sullivan.
Throw them all into the melting pot
and you get an American musical.
Two museums of the Smithsonian
Institution have put them all together.
They came up with “Red, Hot & Blue”
—a show of some 400 videos, nickel
odeons, sheet music by George and Ira
Gershwin and Irving Berlin and Judy
Garland’s red velvet dress from “Meet
Me in St. Louis,”
“When I went through it, I felt as if
I were drowning — my whole life
passed before my eyes,” said Kitty
Carlisle Hart, 82, actress, operetta
singer, television star and two-term
chairman of the New York State Coun
cil on the Arts. " ::
She appeared at a news conference
Tuesday to launch the show, , which
opens Friday at the National Portrait
Gallery. It takes its title from a Cole
Porter hit of 1936.
4
Dwight Blocker Bowers, co-cura
tor of the exhibit from the National
Museum of American History, said the
American musical goes back long be
fore that — to the day in 1866 when
the New York Academy of Music
burned down.
The 100 dancers of the Great Pari
sian Ballet Troupe had no place to per
form. The manager of Niblo’s Garden,
a New York theater, was persuaded to
incorporate thenv into “The Black
Crook,” a not-very-good drama
adapted from a German opera.
“It was a great success,” Bowers
said. “The dancers didn’t have anything
to do with the play, but they wore flesh
colored tights and looked as if they
were naked.”
Or as the New York Tribune re
ported at the time:
“Though we cannot say that any
thing was done for the dramatic art...
we can heartily testify that Scenic Art
has never, within our knowledge, been
so amply and splendidly exemplified.”
Please see MUSICALS on 13
