1 00:00:07,560 --> 00:00:11,320 Speaker 1: Welcome to Morenita, your deep dive into the Latin X experience. 2 00:00:11,800 --> 00:00:21,479 Speaker 1: My name is Darryln Castillo Vito. My guest today is 3 00:00:21,520 --> 00:00:25,200 Speaker 1: Manuel Antonio Morang. Dr Moran was born in San Juan, 4 00:00:25,239 --> 00:00:30,040 Speaker 1: Puerto Rico and has worked as an actor, singer, writer, composer, puppeteer, 5 00:00:30,320 --> 00:00:33,760 Speaker 1: theater and film director. He is the founder and artistic 6 00:00:33,800 --> 00:00:37,720 Speaker 1: director of SAIA Society of the Educational Arts, Inc. He 7 00:00:37,880 --> 00:00:41,080 Speaker 1: is a published author with multiple children's books, and his 8 00:00:41,159 --> 00:00:45,000 Speaker 1: current show is the La ViOn the Airplane dot Com 9 00:00:45,120 --> 00:00:49,560 Speaker 1: e l A v i o n the Airplane dot Com. 10 00:00:49,600 --> 00:00:52,800 Speaker 1: I think you'll really enjoy getting to know Dr Manuel Morang. 11 00:00:55,920 --> 00:00:59,920 Speaker 1: Hello Manuel, and welcome to Morenita. We are so excited 12 00:01:00,200 --> 00:01:05,240 Speaker 1: to have you. Everyone is bursting with joy because I 13 00:01:05,240 --> 00:01:07,080 Speaker 1: think we're going to have a lot of things to 14 00:01:07,200 --> 00:01:12,000 Speaker 1: talk about because you do so much. Such a pleasure 15 00:01:12,120 --> 00:01:14,800 Speaker 1: and honor to be here with you talking about all 16 00:01:14,840 --> 00:01:17,720 Speaker 1: the things I do, all the skills that you have, 17 00:01:18,000 --> 00:01:21,280 Speaker 1: and as I discussed in your beautiful bio, all the 18 00:01:21,319 --> 00:01:25,080 Speaker 1: things that you do. What is your favorite and why 19 00:01:25,640 --> 00:01:28,640 Speaker 1: I would say that above all, I mean I love 20 00:01:28,680 --> 00:01:33,200 Speaker 1: to be on stage, performing, especially performing for for family audiences. 21 00:01:33,200 --> 00:01:36,520 Speaker 1: For kids. Why I'm doing theater. When I was in 22 00:01:36,600 --> 00:01:40,560 Speaker 1: third grade back in my homeland, Vegabaha, Puerto Rico, my 23 00:01:40,560 --> 00:01:43,360 Speaker 1: my hometown, a group of the company that I have 24 00:01:43,560 --> 00:01:46,759 Speaker 1: now went to my school to present the show for us. 25 00:01:47,040 --> 00:01:49,800 Speaker 1: I remember they took us out to the the party 26 00:01:49,800 --> 00:01:52,640 Speaker 1: of the school under the beautiful Son of Puerto Rico. 27 00:01:53,160 --> 00:01:57,080 Speaker 1: They settles down and then we saw this amazing show 28 00:01:57,240 --> 00:02:00,920 Speaker 1: that had live musicians, puppets, act or they were seeing 29 00:02:00,960 --> 00:02:05,480 Speaker 1: in dancing, beautifully done lots of colors. I was mecemarized. 30 00:02:05,560 --> 00:02:07,960 Speaker 1: It was like a magical moment for me. It was 31 00:02:08,000 --> 00:02:11,240 Speaker 1: the first time that I saw live theater, and I 32 00:02:11,360 --> 00:02:13,840 Speaker 1: knew at that moment that that's what I wanted to do, 33 00:02:14,040 --> 00:02:17,400 Speaker 1: and that's what I've been doing since then. So I 34 00:02:17,440 --> 00:02:22,760 Speaker 1: feel that when I'm performing, even when i'm performing myself 35 00:02:22,880 --> 00:02:26,720 Speaker 1: or presenting some of my work, I might be producing 36 00:02:26,840 --> 00:02:30,080 Speaker 1: the same kind of reaction in some of these kids. 37 00:02:30,600 --> 00:02:33,200 Speaker 1: When the curtain opens and you see their faces and 38 00:02:33,240 --> 00:02:36,560 Speaker 1: you see how you know the their their eyes are 39 00:02:36,639 --> 00:02:41,320 Speaker 1: like shining and up. Yes, it's a magical moment. They 40 00:02:41,360 --> 00:02:44,040 Speaker 1: are feeling that same feeling that you felt when you 41 00:02:44,080 --> 00:02:47,040 Speaker 1: were into That's right and it's really sad that we 42 00:02:47,160 --> 00:02:49,760 Speaker 1: have not been able to do that for almost two years. 43 00:02:49,840 --> 00:02:54,000 Speaker 1: Actually on stage, we've been performing on streets and parts 44 00:02:54,120 --> 00:02:56,480 Speaker 1: that you know, but because of the pandemic, the theater 45 00:02:56,720 --> 00:03:00,920 Speaker 1: has been closed, and because the kids are notvaccinated yet, 46 00:03:01,160 --> 00:03:03,040 Speaker 1: we have not been able to go back to do 47 00:03:03,200 --> 00:03:06,760 Speaker 1: family performances inside the theater. Yeah, how did the pandemic 48 00:03:07,000 --> 00:03:10,000 Speaker 1: shift that? For you? Are you doing more things online? 49 00:03:10,120 --> 00:03:12,320 Speaker 1: But in the beginning, what was the effects of that? 50 00:03:12,400 --> 00:03:15,240 Speaker 1: Because everything you do seems it's so important to be 51 00:03:15,320 --> 00:03:19,520 Speaker 1: in person. That's right. It's really being devastating in one aspect, 52 00:03:19,520 --> 00:03:22,400 Speaker 1: but at the same time, it has been very rewarding 53 00:03:22,440 --> 00:03:26,120 Speaker 1: in another aspect because it has pushed me and us 54 00:03:26,280 --> 00:03:30,720 Speaker 1: to reinvent ourselves, to rethink what we're doing, to be 55 00:03:30,880 --> 00:03:34,240 Speaker 1: more creative. I think the pandemic have shift the way 56 00:03:34,400 --> 00:03:38,680 Speaker 1: everybody is thinking about life and about everything. But in 57 00:03:39,080 --> 00:03:42,360 Speaker 1: our case, because we're very mission oriented, we're very clear 58 00:03:42,400 --> 00:03:46,320 Speaker 1: on what we do. It has also helped us reshaped 59 00:03:46,440 --> 00:03:51,160 Speaker 1: that mission. And yes, we move everything to virtuality, to online, 60 00:03:51,360 --> 00:03:54,400 Speaker 1: and that has been also very rewarding. It really has 61 00:03:54,480 --> 00:03:57,280 Speaker 1: helped us span our audiences because now we're not talking 62 00:03:57,320 --> 00:04:01,119 Speaker 1: about just our immediate community or new your city alone. 63 00:04:01,320 --> 00:04:04,600 Speaker 1: We're actually seeing that people from many different countries are 64 00:04:04,640 --> 00:04:08,360 Speaker 1: actually enjoying what we're doing, and it has been very successful. 65 00:04:08,400 --> 00:04:11,080 Speaker 1: So I think that from now on, I don't think 66 00:04:11,080 --> 00:04:14,280 Speaker 1: we're going to go back just to do the presential stuff. 67 00:04:14,320 --> 00:04:17,800 Speaker 1: I think it's always going to be a combination of 68 00:04:17,839 --> 00:04:22,160 Speaker 1: the virtuality well and the presential world as well. The 69 00:04:22,200 --> 00:04:24,600 Speaker 1: only thing is that you don't have the media reaction. 70 00:04:24,720 --> 00:04:27,560 Speaker 1: You can only imagine how people are reacting to what 71 00:04:27,600 --> 00:04:31,240 Speaker 1: you're doing. Yeah, and just sudjusting has been so interesting 72 00:04:31,279 --> 00:04:34,960 Speaker 1: in the world of arts in theater nowadays. Our world 73 00:04:34,960 --> 00:04:37,279 Speaker 1: of art is always changing also, you know, as the 74 00:04:37,279 --> 00:04:40,120 Speaker 1: world socially is changing, so it's always an adjustment. This 75 00:04:40,200 --> 00:04:42,400 Speaker 1: is just another portion. So I'm glad to hear that 76 00:04:42,480 --> 00:04:48,240 Speaker 1: it's been reinventing, reimagining moment for both ends of the spectrum. 77 00:04:48,279 --> 00:04:51,360 Speaker 1: My only ever attraction with popetry I did Lyon Kings, 78 00:04:51,440 --> 00:04:54,360 Speaker 1: So that was like the only thing that I've ever 79 00:04:54,440 --> 00:04:58,920 Speaker 1: experienced because in theater nowadays it's not very often, it's 80 00:04:59,160 --> 00:05:03,120 Speaker 1: very rare to do puppetry nowadays. Tell me more, you 81 00:05:03,160 --> 00:05:06,039 Speaker 1: know that the fact that Lion King, it's you know, 82 00:05:06,200 --> 00:05:09,520 Speaker 1: that's one of the most beautiful pieces I've seen. You know, 83 00:05:09,800 --> 00:05:13,960 Speaker 1: how to integrate puppetry into life theater. I see puppetry 84 00:05:13,960 --> 00:05:17,240 Speaker 1: as a theatrical resource. It's a very complete art form 85 00:05:17,360 --> 00:05:21,560 Speaker 1: because it includes many different art forms, like you need 86 00:05:21,680 --> 00:05:24,159 Speaker 1: this kind of like dance choreography to it. You have 87 00:05:24,279 --> 00:05:27,320 Speaker 1: to perform in it, the craft of a puppet. You 88 00:05:27,360 --> 00:05:31,320 Speaker 1: need to not only be a good creator, a good designer, 89 00:05:31,520 --> 00:05:35,800 Speaker 1: a good painter, a good sculpture all the arts are 90 00:05:35,839 --> 00:05:40,119 Speaker 1: involved in puppetry. And it's also a very amazing way 91 00:05:40,240 --> 00:05:42,960 Speaker 1: to to use in theater because then you can actually 92 00:05:43,000 --> 00:05:45,760 Speaker 1: transport audiences to other things and do things on stage 93 00:05:45,800 --> 00:05:49,240 Speaker 1: that you cannot do with humans period puppets. I mean, 94 00:05:49,279 --> 00:05:52,160 Speaker 1: like Lion King for example, How can we recreate all 95 00:05:52,200 --> 00:05:55,080 Speaker 1: these animals and bring them to life? And I've seen 96 00:05:55,160 --> 00:05:57,680 Speaker 1: performances of The Lion King and it's just really a 97 00:05:57,720 --> 00:06:02,320 Speaker 1: magical world creative with puppet. So puppetry does that on stage. 98 00:06:02,440 --> 00:06:06,039 Speaker 1: And I, like I said, talking about my original, my 99 00:06:06,120 --> 00:06:10,760 Speaker 1: first encounter with theater, puppets were involved as well, so 100 00:06:11,560 --> 00:06:13,960 Speaker 1: I actually fell in love with that as well. I 101 00:06:14,000 --> 00:06:16,040 Speaker 1: wanted to learn and thank god I had a family 102 00:06:16,080 --> 00:06:18,600 Speaker 1: and a mom that I still have them. I love 103 00:06:18,680 --> 00:06:23,360 Speaker 1: them very much. That really encouraged this kid, this curious 104 00:06:23,440 --> 00:06:27,280 Speaker 1: kid that wanted to learn and to integrate puppetry into 105 00:06:27,360 --> 00:06:31,280 Speaker 1: the performing aspect. In the United States, poppetry sometimes it 106 00:06:31,440 --> 00:06:34,039 Speaker 1: seems that it is only for kids, and when the 107 00:06:34,160 --> 00:06:38,080 Speaker 1: fact is historically it's a popular art form um that 108 00:06:38,160 --> 00:06:40,600 Speaker 1: has been used and has been part of our cultures 109 00:06:40,680 --> 00:06:44,240 Speaker 1: for centuries, and it's in many different countries it is 110 00:06:44,279 --> 00:06:48,920 Speaker 1: actually used for adult theater more than for families. Yes, 111 00:06:49,560 --> 00:06:52,440 Speaker 1: and here in the United States that that has been shifting, 112 00:06:52,560 --> 00:06:55,200 Speaker 1: especially because now on the main stream on Broadway and 113 00:06:55,240 --> 00:06:57,680 Speaker 1: all that, they've been integrated in puppetry more and more. 114 00:06:58,080 --> 00:07:01,480 Speaker 1: Believe me, I see it more and more, and I 115 00:07:01,480 --> 00:07:03,600 Speaker 1: think it's going to keep growing and growing and growing 116 00:07:03,720 --> 00:07:07,679 Speaker 1: because puppets allowed the audience is to connect in ways 117 00:07:07,760 --> 00:07:11,360 Speaker 1: that actors cannot do. Yeah, it's a whole different level. 118 00:07:11,760 --> 00:07:14,559 Speaker 1: And also I've been using it also for adult theater 119 00:07:14,760 --> 00:07:17,080 Speaker 1: as well. I call it adults and children's theater, but 120 00:07:17,120 --> 00:07:19,720 Speaker 1: you know, it's not really adult theater. It's it's theater 121 00:07:19,840 --> 00:07:22,560 Speaker 1: for adults for adults. We're going to change that with 122 00:07:22,720 --> 00:07:26,680 Speaker 1: a theater for adults my beginning of my career acting career, 123 00:07:26,800 --> 00:07:28,480 Speaker 1: I did a lot of children's work, a lot of 124 00:07:28,560 --> 00:07:32,080 Speaker 1: children's theater here in the city. And bless your heart 125 00:07:32,480 --> 00:07:35,240 Speaker 1: for the children, because they are more cut thro out 126 00:07:35,240 --> 00:07:39,480 Speaker 1: than the adults. What is um I mean? I think 127 00:07:39,520 --> 00:07:43,560 Speaker 1: so because they're just more honest. You can't totally transparent. 128 00:07:44,000 --> 00:07:47,200 Speaker 1: I really want to reinforce the self esteem of the 129 00:07:47,320 --> 00:07:49,800 Speaker 1: kids and for them to feel proud of who they are. 130 00:07:50,200 --> 00:07:52,960 Speaker 1: And this by culturalism, where you know, people are telling 131 00:07:53,080 --> 00:07:55,560 Speaker 1: us that, you know, sometimes we don't belong to once 132 00:07:55,680 --> 00:07:58,040 Speaker 1: I know the other we're like in the middle, you 133 00:07:58,120 --> 00:08:02,880 Speaker 1: know what it's called. By culturalism. Yes, we want to 134 00:08:02,920 --> 00:08:06,760 Speaker 1: say that's fantastic, that's rich, that's amazing, you know, and 135 00:08:06,840 --> 00:08:10,640 Speaker 1: we do it through theater. Um So, I feel that 136 00:08:11,080 --> 00:08:14,480 Speaker 1: kids audiences and family audiences are the hardest one to 137 00:08:14,560 --> 00:08:18,120 Speaker 1: perform because if they if you're not really being honest 138 00:08:18,120 --> 00:08:20,880 Speaker 1: and if you do not present equality work that it 139 00:08:20,960 --> 00:08:24,120 Speaker 1: really means something to the kids. The kids will just 140 00:08:24,160 --> 00:08:28,200 Speaker 1: lose attention in two seconds and that's it. So I 141 00:08:28,280 --> 00:08:33,160 Speaker 1: feel very sad and also sometimes a little frustrated people 142 00:08:33,320 --> 00:08:36,640 Speaker 1: from in the arts work when they because there's kind 143 00:08:36,640 --> 00:08:39,440 Speaker 1: of like a little prejudice or a big prejudice against 144 00:08:39,559 --> 00:08:43,320 Speaker 1: children's theater for your audiences. There is. Yeah, people think 145 00:08:43,360 --> 00:08:46,160 Speaker 1: that it's a lesser art form, when in fact it 146 00:08:46,280 --> 00:08:49,440 Speaker 1: is not. It's the opposite. I feel that you need 147 00:08:49,520 --> 00:08:52,200 Speaker 1: to to be like what you present. You have to 148 00:08:52,240 --> 00:08:55,760 Speaker 1: be so careful, so it has to be so well done. 149 00:08:55,760 --> 00:08:59,520 Speaker 1: The quality has to be high level because otherwise they 150 00:08:59,520 --> 00:09:02,680 Speaker 1: will not work, you understand. So it's the hardest correct 151 00:09:03,640 --> 00:09:06,200 Speaker 1: that's right. And when I hear people, you know, putting 152 00:09:06,240 --> 00:09:10,000 Speaker 1: down children's theater or theater for your audiences, I, first 153 00:09:10,040 --> 00:09:11,959 Speaker 1: of all, I think it's that's kind of like an 154 00:09:12,000 --> 00:09:17,000 Speaker 1: ignorant position because on the opposite, I feel that, you know, 155 00:09:17,120 --> 00:09:20,440 Speaker 1: that is the theater well theater in general, but I 156 00:09:20,480 --> 00:09:24,800 Speaker 1: feel that that theater has to be extremely well done 157 00:09:24,920 --> 00:09:27,160 Speaker 1: and the artistry has to be at a high level 158 00:09:27,480 --> 00:09:30,000 Speaker 1: in order for us to reach our audience are very 159 00:09:30,120 --> 00:09:34,200 Speaker 1: demanding audience. I completely agree with you. I played Cinderella 160 00:09:34,520 --> 00:09:37,520 Speaker 1: for the show, and it was for a children's theater company, 161 00:09:38,559 --> 00:09:42,319 Speaker 1: and the fact that young kids were even seeing in 162 00:09:42,440 --> 00:09:46,480 Speaker 1: After Latina playing Cinderella, I remember a little girl came 163 00:09:46,480 --> 00:09:49,000 Speaker 1: out to me and she was like, how are you 164 00:09:49,080 --> 00:09:51,880 Speaker 1: Cinderella and but but it was an honest question. She 165 00:09:52,040 --> 00:09:55,319 Speaker 1: just had never seen something like that and to be 166 00:09:55,880 --> 00:09:59,040 Speaker 1: given that honor to like be like, well, just so 167 00:09:59,080 --> 00:10:02,400 Speaker 1: you know, like Cinderella can be anyone. You can be Cinderella, 168 00:10:02,520 --> 00:10:05,880 Speaker 1: he can be Cinderella. Your dog can be Cinderella. And 169 00:10:05,960 --> 00:10:09,520 Speaker 1: exploring that imagination. And I love what you stated a 170 00:10:09,520 --> 00:10:12,439 Speaker 1: little bit ago when you mentioned about your family, because 171 00:10:12,480 --> 00:10:14,880 Speaker 1: I share the same with my family. They're very supportive 172 00:10:15,320 --> 00:10:18,560 Speaker 1: but allowing you to explore, and that's what you're providing. 173 00:10:18,720 --> 00:10:21,600 Speaker 1: It's very amazing what you just say. I really love 174 00:10:21,960 --> 00:10:24,760 Speaker 1: your story about Cinderella because that's what we're doing and 175 00:10:25,720 --> 00:10:29,720 Speaker 1: with the work I do, we're trying to rethink, to present, 176 00:10:29,840 --> 00:10:32,120 Speaker 1: to give tools to these kids or for them to 177 00:10:32,200 --> 00:10:36,160 Speaker 1: see themselves reflected on stage and see the diversity. We're 178 00:10:36,160 --> 00:10:39,800 Speaker 1: saying in my theater, all the colors, all the accents, 179 00:10:40,080 --> 00:10:44,040 Speaker 1: everything is allowed because that's who we are, that's really 180 00:10:44,040 --> 00:10:48,120 Speaker 1: our society. So we have a series called Latin Nice 181 00:10:48,480 --> 00:10:53,360 Speaker 1: Children's Classics, and we do that. We have like we change. 182 00:10:53,520 --> 00:10:57,080 Speaker 1: We we have a Cinderella. It's a tango dancing Cinderella 183 00:10:57,160 --> 00:11:01,240 Speaker 1: and it's based on Argentina and in South America and 184 00:11:01,240 --> 00:11:04,760 Speaker 1: all the syncrosism and the way they speak and the music. 185 00:11:05,160 --> 00:11:08,840 Speaker 1: We have a Pinocchio, but our Pinocchio is a Mexican Pinocchio. 186 00:11:08,880 --> 00:11:12,000 Speaker 1: It's called Pino Natural and we talked about actually we 187 00:11:12,080 --> 00:11:15,800 Speaker 1: talk about immigration. One of the things that we do 188 00:11:16,200 --> 00:11:18,040 Speaker 1: in the work that I do is that we try 189 00:11:18,080 --> 00:11:21,760 Speaker 1: to bring important topics that people think that because their 190 00:11:21,840 --> 00:11:24,560 Speaker 1: kids is the favorite topic of media when they talk 191 00:11:24,600 --> 00:11:28,480 Speaker 1: about latinos and who's talking to the kids about it? 192 00:11:28,800 --> 00:11:31,760 Speaker 1: So through theater and through a story of Pinocchio in 193 00:11:31,840 --> 00:11:37,360 Speaker 1: our case, Pino Nactual, we can actually engage into a 194 00:11:37,400 --> 00:11:41,520 Speaker 1: conversation with the audience. Because after every show we have conversations. 195 00:11:41,760 --> 00:11:45,960 Speaker 1: We use different European stories or traditional stories and we 196 00:11:46,040 --> 00:11:50,600 Speaker 1: transform them into we latinize them, even Shaspeare. We have 197 00:11:50,679 --> 00:11:54,000 Speaker 1: done that with Oh my God. So that's the kind 198 00:11:54,000 --> 00:11:57,200 Speaker 1: of work that I do. Also we do original stories. 199 00:11:57,320 --> 00:12:01,080 Speaker 1: We do folks stories from from Latin America. So it's 200 00:12:01,120 --> 00:12:05,640 Speaker 1: really a place I feel that our theater is. I mean, 201 00:12:05,800 --> 00:12:08,600 Speaker 1: and I'm saying this because many parents and grandparents and 202 00:12:08,720 --> 00:12:12,040 Speaker 1: uncles and aunts are telling me this after performances, that 203 00:12:12,120 --> 00:12:15,200 Speaker 1: they are so thrilled that they can share their culture 204 00:12:16,040 --> 00:12:18,960 Speaker 1: with their kids because they're struggling every day to try 205 00:12:19,000 --> 00:12:21,760 Speaker 1: to preserve the language, to try to preserve the culture, 206 00:12:21,960 --> 00:12:26,720 Speaker 1: to make the kids understand that there biculturalism is something 207 00:12:27,440 --> 00:12:31,760 Speaker 1: valuable and the theater that we do really offers that experience. 208 00:12:31,960 --> 00:12:35,160 Speaker 1: And you see the kids and the families feeling proud 209 00:12:35,320 --> 00:12:38,000 Speaker 1: when they hear that these actor is from Dominican Republic, 210 00:12:38,040 --> 00:12:41,240 Speaker 1: that that other actor is from Puerto Rico, the actor 211 00:12:41,320 --> 00:12:46,640 Speaker 1: is from Ecuador, representing it. We value those things because 212 00:12:46,679 --> 00:12:49,880 Speaker 1: that's what we need to do in order to strengthen 213 00:12:49,920 --> 00:12:53,920 Speaker 1: our community. Right you're providing conversation for children, and that's 214 00:12:54,080 --> 00:12:57,960 Speaker 1: incredible because in our culture, the kids be quiet, sit 215 00:12:58,000 --> 00:13:03,360 Speaker 1: down and be children. So you're providing an avenue for 216 00:13:03,880 --> 00:13:08,440 Speaker 1: children to have conversations about these adult things and it 217 00:13:08,520 --> 00:13:24,400 Speaker 1: actually makes sense for them. It's brilliant. Thank you. I 218 00:13:24,480 --> 00:13:26,640 Speaker 1: know that you are from Puerto Rico. And then what 219 00:13:26,720 --> 00:13:28,920 Speaker 1: was your journey coming to New York and when was 220 00:13:29,040 --> 00:13:32,320 Speaker 1: that transition and bringing theater to New York. He was 221 00:13:33,000 --> 00:13:37,240 Speaker 1: a tough decision and also a tough process. My family 222 00:13:37,360 --> 00:13:40,000 Speaker 1: encouraged me and then they got me enrolling every single 223 00:13:40,080 --> 00:13:44,000 Speaker 1: thing related to theater in church in the community. In school, 224 00:13:44,360 --> 00:13:47,680 Speaker 1: I was always involved in that. So I went to 225 00:13:47,720 --> 00:13:51,640 Speaker 1: the University of Puerto Rico veryon. I started college at sixteen. 226 00:13:52,520 --> 00:13:56,199 Speaker 1: That's another story, but I did start very young and 227 00:13:56,240 --> 00:13:58,400 Speaker 1: they I went to the Department of Drama of the 228 00:13:58,480 --> 00:14:00,160 Speaker 1: University of Puerto Rico, which is said, I'm it is 229 00:14:00,240 --> 00:14:04,360 Speaker 1: in school of theater. And then I started meeting tears 230 00:14:04,559 --> 00:14:08,240 Speaker 1: and studying professionalizing myself. And of course I was already 231 00:14:08,280 --> 00:14:11,760 Speaker 1: doing theater in my town. We had a company, it 232 00:14:11,880 --> 00:14:14,120 Speaker 1: was more like a community theater company that started the 233 00:14:14,120 --> 00:14:17,680 Speaker 1: beginnings of the and then obviously when I go to school, 234 00:14:17,679 --> 00:14:20,720 Speaker 1: I started professionalizing. Then we started doing theater in San 235 00:14:20,800 --> 00:14:25,760 Speaker 1: Juan while I was in school, producing very successfully producing theater. 236 00:14:26,240 --> 00:14:28,720 Speaker 1: And then I decided that I was going to continue 237 00:14:28,720 --> 00:14:30,960 Speaker 1: my studies and I decided to come to well the 238 00:14:31,080 --> 00:14:35,120 Speaker 1: maker of the theater of New York, the New York 239 00:14:35,120 --> 00:14:40,320 Speaker 1: City exactly. So I applied to the musical theater program 240 00:14:40,400 --> 00:14:43,360 Speaker 1: of n y U, and which is a very difficult 241 00:14:43,360 --> 00:14:46,000 Speaker 1: program to get into. You know, you went right for 242 00:14:46,040 --> 00:14:49,760 Speaker 1: the stars. It went to the musical theater and to 243 00:14:49,840 --> 00:14:53,160 Speaker 1: the educational theater because I wanted to continue doing both things. 244 00:14:53,920 --> 00:14:56,440 Speaker 1: Because I had a very clear idea that I wanted 245 00:14:56,480 --> 00:15:00,000 Speaker 1: to do educational theater as well, and theater for family 246 00:15:00,280 --> 00:15:03,160 Speaker 1: audiences and musical theater, which is my passion as well. 247 00:15:04,120 --> 00:15:07,600 Speaker 1: Because I seeing, you know, all that audition and I 248 00:15:08,040 --> 00:15:11,400 Speaker 1: got accepted, and you know, literally I was the only 249 00:15:11,480 --> 00:15:16,120 Speaker 1: Latino you know at that time. Well, actually Carmen Riveta, 250 00:15:16,240 --> 00:15:20,320 Speaker 1: with the playwright, came. She was actually doing her masters 251 00:15:20,360 --> 00:15:23,200 Speaker 1: as well, I think, if not in my program, but 252 00:15:23,320 --> 00:15:27,520 Speaker 1: we were taking some classes together. She was also very 253 00:15:27,560 --> 00:15:30,320 Speaker 1: important to teach me a lot about the diaspora and 254 00:15:30,320 --> 00:15:33,200 Speaker 1: about because I came. It was a total different experience 255 00:15:33,240 --> 00:15:35,960 Speaker 1: for me coming from Puerto Rico, growing up in Puerto Rico, 256 00:15:36,440 --> 00:15:39,720 Speaker 1: so I decided to emerge myself into It was hard 257 00:15:39,800 --> 00:15:43,720 Speaker 1: because of the language. Obviously, I had to start from beginning. 258 00:15:43,720 --> 00:15:47,840 Speaker 1: Even though I knew English, I'm still no fluent, but 259 00:15:47,760 --> 00:15:51,200 Speaker 1: but you're making your way through. Yes, in in the 260 00:15:51,200 --> 00:15:55,000 Speaker 1: theater program and having a thick accent. I went through 261 00:15:55,000 --> 00:15:57,720 Speaker 1: many different things. I had to face tons of comments, 262 00:15:57,840 --> 00:16:00,960 Speaker 1: I mean comments like absurd comments. Oh I'm sorry you 263 00:16:01,000 --> 00:16:02,680 Speaker 1: cannot be in this show. You're a great actor, a 264 00:16:02,680 --> 00:16:05,560 Speaker 1: great singer, but this is too American for you. That 265 00:16:05,640 --> 00:16:07,880 Speaker 1: kind of think, oh, yeah, what happened to me? I 266 00:16:07,920 --> 00:16:10,200 Speaker 1: have tons of stories of things that happened to me, 267 00:16:10,560 --> 00:16:13,880 Speaker 1: but I had to face that cultural shock. Jesus, how 268 00:16:13,880 --> 00:16:15,880 Speaker 1: did you come out from that? Because I have a 269 00:16:15,920 --> 00:16:18,360 Speaker 1: passion and I knew what I wanted to go, they 270 00:16:18,440 --> 00:16:21,560 Speaker 1: forced the talent to achieve this that obviously I have 271 00:16:21,640 --> 00:16:24,080 Speaker 1: an accent, So what I'm going to use it, you know, 272 00:16:24,120 --> 00:16:27,040 Speaker 1: to in order for me to advance what I want. 273 00:16:27,080 --> 00:16:30,000 Speaker 1: I was kind of clear, but then many times I 274 00:16:30,120 --> 00:16:34,280 Speaker 1: was actually hurt. Myself esteem of course suffered. I put 275 00:16:34,360 --> 00:16:36,920 Speaker 1: myself this is why I decided to do what I do. 276 00:16:37,000 --> 00:16:39,480 Speaker 1: And this is when I switched the name to say 277 00:16:40,080 --> 00:16:42,320 Speaker 1: and actually, well it was what I was in ny 278 00:16:42,400 --> 00:16:45,640 Speaker 1: U because I realized that if me as an adult, 279 00:16:45,680 --> 00:16:48,120 Speaker 1: as a young adult, I decided to come to the 280 00:16:48,200 --> 00:16:51,920 Speaker 1: United States to pursue graduate studies in a very prestigious university, 281 00:16:51,960 --> 00:16:55,160 Speaker 1: blah blah blah blah. Can you imagine kids that are 282 00:16:55,200 --> 00:16:59,080 Speaker 1: brought here with no explanation, like many cases that I found, 283 00:16:59,120 --> 00:17:01,280 Speaker 1: you know, like they it's okay, we're gonna visit your 284 00:17:01,320 --> 00:17:04,040 Speaker 1: customs and you never come back. The cultural show that 285 00:17:04,080 --> 00:17:06,320 Speaker 1: I was going through, it was tough, and it was 286 00:17:06,359 --> 00:17:09,320 Speaker 1: by choice of an adult. Can you imagine a kid? 287 00:17:09,840 --> 00:17:14,040 Speaker 1: So that really made me commit to this idea. No, 288 00:17:14,200 --> 00:17:17,920 Speaker 1: I want to use my passion and my talent which 289 00:17:18,000 --> 00:17:21,080 Speaker 1: is in theater and the yards to talk to deal 290 00:17:21,160 --> 00:17:24,800 Speaker 1: with that cultural shock that kids are going through because 291 00:17:24,840 --> 00:17:27,359 Speaker 1: I felt it in a different way, and that also 292 00:17:27,440 --> 00:17:30,680 Speaker 1: gave me the courage and the power, I will say, 293 00:17:30,840 --> 00:17:33,800 Speaker 1: to continue and to establish what I have established in 294 00:17:33,800 --> 00:17:37,439 Speaker 1: New York, which is a very strong institution and with 295 00:17:37,480 --> 00:17:41,120 Speaker 1: a lot of visibility, and it's serving thousands and thousands 296 00:17:41,119 --> 00:17:44,800 Speaker 1: of kids, not only Latinos and not only immigrant kids, 297 00:17:44,840 --> 00:17:51,240 Speaker 1: but also serving everyone. But with that very specific team. 298 00:17:51,320 --> 00:17:54,000 Speaker 1: Many people have advised me, well, I mean one way, 299 00:17:54,119 --> 00:17:56,320 Speaker 1: I think you could be even more successful if you 300 00:17:56,400 --> 00:18:01,720 Speaker 1: take the Latin X label out and just really that's 301 00:18:01,760 --> 00:18:07,880 Speaker 1: why we are. You know, we are very cultural specific, 302 00:18:07,960 --> 00:18:11,440 Speaker 1: but not excluding anyone. We're doing this for everyone. That's 303 00:18:11,440 --> 00:18:14,840 Speaker 1: what we performed in Spanish, English, bi lingual. That's why 304 00:18:14,880 --> 00:18:17,760 Speaker 1: we do many different things. What I love about what 305 00:18:17,800 --> 00:18:21,200 Speaker 1: you just said is that this is not a one 306 00:18:21,280 --> 00:18:24,280 Speaker 1: sided conversation, and that's exactly what we're doing here on 307 00:18:24,359 --> 00:18:28,080 Speaker 1: mo Anita as well. We're trying to have these conversations 308 00:18:28,119 --> 00:18:34,639 Speaker 1: of our cultural experiences and not only educate our community, 309 00:18:34,720 --> 00:18:38,479 Speaker 1: but educate the community that doesn't really know much about 310 00:18:38,800 --> 00:18:41,680 Speaker 1: what we experience, what we go through, And the fact 311 00:18:41,680 --> 00:18:46,480 Speaker 1: that you're providing that for children is just triple of 312 00:18:46,560 --> 00:18:49,439 Speaker 1: importance because it's so necessary at a young age. I 313 00:18:49,480 --> 00:18:52,639 Speaker 1: wish I got to experience something like this when I 314 00:18:52,680 --> 00:18:54,919 Speaker 1: was younger, because I grew up in a predominantly white 315 00:18:55,480 --> 00:19:00,640 Speaker 1: neighborhood where I didn't know where I fit. I wasn't black, 316 00:19:00,680 --> 00:19:03,960 Speaker 1: I wasn't white, but I wasn't Mexican, so that I 317 00:19:04,000 --> 00:19:08,160 Speaker 1: wasn't Latina apparently. So there was that exploration of trying 318 00:19:08,160 --> 00:19:12,800 Speaker 1: to find my people in my community and who I was. 319 00:19:13,080 --> 00:19:17,240 Speaker 1: And that's what you are doing with It's beautiful and 320 00:19:17,280 --> 00:19:21,840 Speaker 1: it's very inspiring. Identity is something so essential. I see 321 00:19:21,840 --> 00:19:25,080 Speaker 1: that the majority of the problems that many of our 322 00:19:25,119 --> 00:19:28,240 Speaker 1: youth are going through or went through, you know, it 323 00:19:28,359 --> 00:19:32,119 Speaker 1: is because of that lack of identity. They don't know 324 00:19:32,160 --> 00:19:35,280 Speaker 1: where they belong. And what we're trying to create here 325 00:19:35,280 --> 00:19:37,320 Speaker 1: and what we're trying to teach and what we're trying 326 00:19:37,359 --> 00:19:40,080 Speaker 1: to to share with people is that we built our 327 00:19:40,119 --> 00:19:43,000 Speaker 1: own identity we don't have to be black or white. 328 00:19:43,000 --> 00:19:44,840 Speaker 1: We don't have to be this and that, you know, 329 00:19:44,880 --> 00:19:48,159 Speaker 1: we have to be who we are so and that 330 00:19:48,320 --> 00:19:51,560 Speaker 1: who we are is a combination of many different things 331 00:19:51,640 --> 00:19:54,280 Speaker 1: and that makes us stronger than makes us richer, That 332 00:19:54,480 --> 00:19:57,679 Speaker 1: makes us uh special, you know, and we need to 333 00:19:57,720 --> 00:20:00,359 Speaker 1: believe that. And that's what we're trying to say to 334 00:20:00,400 --> 00:20:05,520 Speaker 1: the kids when we say b say yes almost. I said, 335 00:20:05,680 --> 00:20:07,400 Speaker 1: that's what we're saying, you know, That's what we're saying 336 00:20:07,400 --> 00:20:09,359 Speaker 1: through that through the work we do. I know that 337 00:20:09,640 --> 00:20:13,280 Speaker 1: you had the documentary film of puppetry and um I 338 00:20:13,320 --> 00:20:16,639 Speaker 1: believe was it in Puerto Rico, Cuba and Dominican Republic? 339 00:20:17,000 --> 00:20:21,320 Speaker 1: That's right? Now? How did those come about? What was 340 00:20:21,359 --> 00:20:25,640 Speaker 1: the specialty of that for you? I just finished my 341 00:20:26,280 --> 00:20:29,160 Speaker 1: tenure as the vice president of UNIMA, unimized, the world 342 00:20:29,240 --> 00:20:34,880 Speaker 1: largest organization of puppeteers you know, nine thank you, which 343 00:20:35,680 --> 00:20:39,760 Speaker 1: I was vice president for thirteen years actually of that organization, 344 00:20:40,280 --> 00:20:42,760 Speaker 1: or I was involved in the leadership eight nine years. 345 00:20:42,760 --> 00:20:45,600 Speaker 1: I was the vice president. So I had the opportunity 346 00:20:45,600 --> 00:20:48,000 Speaker 1: and the blessing of being able to travel around the 347 00:20:48,000 --> 00:20:53,280 Speaker 1: world Latin America and Asia, and you know, the only 348 00:20:53,280 --> 00:20:55,600 Speaker 1: countries that I didn't go was actually Africa, and I 349 00:20:56,240 --> 00:20:58,240 Speaker 1: want like I wanted to go, but I wouldn't go. 350 00:20:58,680 --> 00:21:01,120 Speaker 1: I would go, but be where. You know, I went 351 00:21:01,119 --> 00:21:04,680 Speaker 1: from Russia to Australia, through China. I mean, like so 352 00:21:04,720 --> 00:21:08,720 Speaker 1: many countries during all this time in my leadership to 353 00:21:09,000 --> 00:21:13,120 Speaker 1: festivals too. When I went to Cuba for the first time, 354 00:21:13,600 --> 00:21:17,080 Speaker 1: I saw what I have not seen in many different countries. 355 00:21:17,280 --> 00:21:20,359 Speaker 1: I saw it a flourishing puppetry movement that I was 356 00:21:20,400 --> 00:21:23,840 Speaker 1: actually moved. Really, I need to tell the story to 357 00:21:24,000 --> 00:21:27,520 Speaker 1: the world of what's happening here, what's happening in Dominican Republic, 358 00:21:27,560 --> 00:21:29,840 Speaker 1: what's happening in Puerto Rico, in my in my area 359 00:21:30,359 --> 00:21:34,000 Speaker 1: from the Caribbean. I'm also a researcher. I have a PhD. 360 00:21:34,080 --> 00:21:38,240 Speaker 1: And part of my dissertation was to talk about the 361 00:21:38,640 --> 00:21:42,359 Speaker 1: development of puppetry in Puerto Rico and and also the 362 00:21:42,400 --> 00:21:46,240 Speaker 1: development of educational theater in Puerto Rico. So I me 363 00:21:46,359 --> 00:21:49,880 Speaker 1: being also a scholar, I wanted to do one documentary 364 00:21:49,920 --> 00:21:53,439 Speaker 1: on the history of popetry in the Caribbean, in the 365 00:21:53,480 --> 00:21:57,000 Speaker 1: Spanish Caribbean, in the three main countries, which is Crue 366 00:21:57,000 --> 00:22:00,159 Speaker 1: of Puerto Rico and Dominican Republic. So I and not 367 00:22:00,280 --> 00:22:03,920 Speaker 1: knowing that this was going to be like a menormous endeavor. 368 00:22:05,200 --> 00:22:08,919 Speaker 1: I started with my nephew um who is also a filmmaker, 369 00:22:09,600 --> 00:22:12,240 Speaker 1: Christiano Pero, and with a group of a lot of 370 00:22:12,280 --> 00:22:18,600 Speaker 1: people who really help us researching an interviewing people. And 371 00:22:18,760 --> 00:22:22,960 Speaker 1: out of that work, which lasted many years, three films 372 00:22:23,040 --> 00:22:27,560 Speaker 1: came out of that. It's called Spano and we have 373 00:22:27,640 --> 00:22:32,159 Speaker 1: three different episodes of an hour each with like twenty 374 00:22:32,400 --> 00:22:38,119 Speaker 1: two interviews each of them of many poppeteers and practitioners 375 00:22:38,560 --> 00:22:42,680 Speaker 1: from Pound, from pioneers, people who also many people have 376 00:22:42,800 --> 00:22:45,880 Speaker 1: passed away and I had the blessing of being able 377 00:22:45,920 --> 00:22:49,600 Speaker 1: to preserve their voices through this film. It's the first 378 00:22:49,600 --> 00:22:53,480 Speaker 1: documentary about poppetry in Puerto Rico, the first documentary about 379 00:22:53,480 --> 00:22:57,560 Speaker 1: popetry in Dominican Republic, the first documentary about popetry in Cuba. 380 00:22:58,240 --> 00:23:02,160 Speaker 1: And it was Premiera they Havana Festival to great reviews. 381 00:23:02,680 --> 00:23:06,879 Speaker 1: We have won some awards also many different festivals. It 382 00:23:07,040 --> 00:23:11,440 Speaker 1: was also premier at the National Theater of Santo Domingo. 383 00:23:11,880 --> 00:23:16,040 Speaker 1: He was also premier in Puerto Rico. And it's right now, 384 00:23:16,160 --> 00:23:18,840 Speaker 1: you know, like it's going through many different festivals around 385 00:23:18,880 --> 00:23:21,800 Speaker 1: the world, and the idea was to tell the story 386 00:23:22,400 --> 00:23:26,560 Speaker 1: that that propetry is not just what's happening in Europe 387 00:23:26,720 --> 00:23:29,880 Speaker 1: or what's happening in other countries with a very long 388 00:23:29,960 --> 00:23:32,960 Speaker 1: tradition of property. There's also pope between the Caribbean. And 389 00:23:33,080 --> 00:23:37,560 Speaker 1: also to provide something that there wasn't like there nobody 390 00:23:37,760 --> 00:23:40,680 Speaker 1: was recording the history, at least in film. I didn't 391 00:23:40,680 --> 00:23:46,160 Speaker 1: know about puppetry in Dominican Republic until it's on my list. 392 00:23:46,280 --> 00:23:48,240 Speaker 1: It's top on my list. I'm not kidding. I have 393 00:23:48,320 --> 00:23:49,840 Speaker 1: the right in front of me to on my list 394 00:23:49,920 --> 00:23:53,879 Speaker 1: to dive into because I had no idea growing up. 395 00:23:53,920 --> 00:23:56,639 Speaker 1: Puppetry is like, oh, you know, you see in Asia. 396 00:23:56,720 --> 00:23:58,719 Speaker 1: I've seen it a lot, you know, and the influences 397 00:23:58,800 --> 00:24:02,520 Speaker 1: there and and other movies, especially even like musical theater movies. 398 00:24:02,560 --> 00:24:05,120 Speaker 1: Growing up, I never knew that we did that too. 399 00:24:05,280 --> 00:24:08,000 Speaker 1: I'm like, okay, we have it too, we have it all. 400 00:24:08,840 --> 00:24:11,720 Speaker 1: It's just that we need to tell our stories. And 401 00:24:11,840 --> 00:24:14,080 Speaker 1: also there has to be a space for us to 402 00:24:14,200 --> 00:24:17,040 Speaker 1: tell our stories, which is another thing you know, we 403 00:24:17,200 --> 00:24:21,800 Speaker 1: do not know because that space has not been provided. Uh, 404 00:24:22,080 --> 00:24:24,680 Speaker 1: And I feel that that's another way of doing this 405 00:24:24,920 --> 00:24:29,560 Speaker 1: acolaso sometimes like opening ourselves at the space. And I 406 00:24:29,800 --> 00:24:32,320 Speaker 1: was going throughout the world. Everybody was knowing that I 407 00:24:32,400 --> 00:24:35,600 Speaker 1: was from the Caribbean. People didn't know where Puerto Rico was. 408 00:24:36,440 --> 00:24:41,520 Speaker 1: The biggest closest reference in Asia was like either Cuba 409 00:24:41,640 --> 00:24:44,320 Speaker 1: or West Side Story, which was like, you know what, 410 00:24:44,760 --> 00:24:47,600 Speaker 1: We're more than that. There's so much more. And I 411 00:24:47,760 --> 00:24:50,959 Speaker 1: love that you just said, um, this is my motto. 412 00:24:51,280 --> 00:24:55,639 Speaker 1: And it's been very difficult for me, especially being an 413 00:24:55,640 --> 00:24:59,760 Speaker 1: Afro Latina and a woman in this industry. But making 414 00:25:00,000 --> 00:25:02,440 Speaker 1: space for yourself. Can we just talk about that for 415 00:25:02,480 --> 00:25:06,280 Speaker 1: a second, because it's easier said than done. You know, Yes, 416 00:25:06,640 --> 00:25:08,440 Speaker 1: you have to be centered and secure on who you 417 00:25:08,520 --> 00:25:11,639 Speaker 1: are because and and the thing is that how you 418 00:25:11,760 --> 00:25:15,560 Speaker 1: get to that position when you know your history, if 419 00:25:15,640 --> 00:25:21,800 Speaker 1: you knew very link that Pta will pray and Afro 420 00:25:22,119 --> 00:25:27,040 Speaker 1: Latina after Puerto Ricana in the nineteen twenties in New 421 00:25:27,160 --> 00:25:31,080 Speaker 1: York City. In my documentary it's actually she opens my 422 00:25:31,200 --> 00:25:33,960 Speaker 1: Puerto Rican documentary because she was a puppeteer and the 423 00:25:34,119 --> 00:25:39,280 Speaker 1: first librarian Latina in the New York public libraries, and 424 00:25:39,440 --> 00:25:42,600 Speaker 1: she until her eighties was doing puppetry and reading books 425 00:25:42,640 --> 00:25:47,080 Speaker 1: two kids throughout the city. There's actually the national Award 426 00:25:47,280 --> 00:25:50,960 Speaker 1: of planished Books or bilingual books for kids. It's called 427 00:25:50,960 --> 00:25:58,120 Speaker 1: the Prey Award. Is the first recorded puppeteer Latino poppeteer 428 00:25:58,280 --> 00:26:01,560 Speaker 1: in in Puerto Rico, for example, the first woman who 429 00:26:01,800 --> 00:26:06,840 Speaker 1: Latino woman who published bilingual books for kids. So we 430 00:26:07,080 --> 00:26:09,520 Speaker 1: know that story. We tell the kids. We actually have 431 00:26:09,560 --> 00:26:12,520 Speaker 1: a show called the Project and it's called like that 432 00:26:12,720 --> 00:26:18,160 Speaker 1: because it's a project that I have to tell all everybody, 433 00:26:18,200 --> 00:26:22,520 Speaker 1: but especially for young latin As that they know how 434 00:26:22,640 --> 00:26:26,600 Speaker 1: this woman, you know, young woman from Cedra, Puerto Rico, 435 00:26:26,920 --> 00:26:29,800 Speaker 1: decided to come to New York. There's a lot of stories, 436 00:26:29,960 --> 00:26:33,120 Speaker 1: but we don't know them, and we have to tell 437 00:26:33,200 --> 00:26:35,800 Speaker 1: people when people say no, but that's not possible, Yes 438 00:26:35,880 --> 00:26:38,960 Speaker 1: it is possible. Look what happened sent tree ago, Look 439 00:26:39,040 --> 00:26:42,280 Speaker 1: what's happening. There's so many stories that we need to 440 00:26:42,440 --> 00:26:47,119 Speaker 1: tell our kids because when they know whoever Roberto Clemente was, 441 00:26:47,280 --> 00:26:51,480 Speaker 1: who on our turo chamber was, who pray was? You know, 442 00:26:51,720 --> 00:26:54,200 Speaker 1: we can tell many different names, not only from the 443 00:26:54,240 --> 00:26:57,640 Speaker 1: Puerto Rican community, from the Latino community, that who says 444 00:26:57,640 --> 00:27:01,080 Speaker 1: our Chavis wasn't writing a playobbut says Challenge Who Media 445 00:27:01,119 --> 00:27:04,800 Speaker 1: and Cologne was three that if we do not share 446 00:27:04,880 --> 00:27:09,359 Speaker 1: that story with our kids, they will not feel empowered, 447 00:27:09,440 --> 00:27:12,359 Speaker 1: they will not have references, and they would think that 448 00:27:12,440 --> 00:27:16,160 Speaker 1: it's not possible. And that's why history is so important. 449 00:27:16,320 --> 00:27:20,440 Speaker 1: And you're telling the stories through this magical way of theater, 450 00:27:20,960 --> 00:27:37,719 Speaker 1: which is just incredible. So, um Manuel, what's next? How 451 00:27:37,760 --> 00:27:42,080 Speaker 1: are we storytelling more? What news stories are you preparing? 452 00:27:42,440 --> 00:27:44,960 Speaker 1: If I don't create, I die. It's like it's something 453 00:27:45,080 --> 00:27:48,000 Speaker 1: like I had to have been producing a lot of 454 00:27:48,119 --> 00:27:51,800 Speaker 1: things and also thinking about it. Many different themes and 455 00:27:51,920 --> 00:27:55,680 Speaker 1: topics that kids need to hear and to understand. But 456 00:27:55,760 --> 00:27:59,000 Speaker 1: also I wanted to talk about, you know, different types 457 00:27:59,080 --> 00:28:03,639 Speaker 1: of family. I want to talk about the elderly seniors, 458 00:28:04,359 --> 00:28:08,560 Speaker 1: which they have been forgotten. Uh and also through during 459 00:28:08,600 --> 00:28:11,480 Speaker 1: this pandemic they have been hit like I mean, we 460 00:28:11,600 --> 00:28:14,800 Speaker 1: lost so many people. I wanted to talk about death 461 00:28:15,760 --> 00:28:19,280 Speaker 1: because that's we're facing and nobody talks to the kids 462 00:28:19,320 --> 00:28:23,120 Speaker 1: about this. So I've been writing, um many different things. 463 00:28:23,240 --> 00:28:25,880 Speaker 1: I am actually quite happy with some of the work 464 00:28:26,119 --> 00:28:29,240 Speaker 1: we are publishing. Actually now our books. This is the 465 00:28:29,320 --> 00:28:31,760 Speaker 1: new thing that we're just going to announce and you 466 00:28:31,840 --> 00:28:34,000 Speaker 1: guys are going to be the one of the first 467 00:28:34,040 --> 00:28:38,760 Speaker 1: ones to know we're bringing We're doing a new series 468 00:28:38,840 --> 00:28:44,560 Speaker 1: called Liberal Statros or Theater Books. Were publishing the scripts 469 00:28:45,000 --> 00:28:49,280 Speaker 1: that we produce and we are illustrating them as children's books. 470 00:28:49,400 --> 00:28:52,600 Speaker 1: Oh I love that. So kids can actually from an 471 00:28:52,640 --> 00:28:57,040 Speaker 1: early age started reading theater as theater. So we just 472 00:28:57,240 --> 00:29:01,080 Speaker 1: published nine books, like Totroom, which is the largest distributor 473 00:29:01,200 --> 00:29:03,200 Speaker 1: of bilingual books in the United States, is going to 474 00:29:03,240 --> 00:29:08,120 Speaker 1: be distributing them. Congratulations. Yes, they're beautiful. We are actually 475 00:29:08,440 --> 00:29:12,640 Speaker 1: encouraging kids to read about not only to see the theater, 476 00:29:13,160 --> 00:29:16,120 Speaker 1: but to be able to read theater. Yes, in high 477 00:29:16,160 --> 00:29:20,440 Speaker 1: school if we have a progressive English teacher or Spanish teacher, 478 00:29:20,760 --> 00:29:24,680 Speaker 1: but mostly in college. So theater is is a form 479 00:29:24,800 --> 00:29:29,600 Speaker 1: of literature too. So encouraging kids to read from an 480 00:29:29,640 --> 00:29:33,600 Speaker 1: early age theater will also help us in the theater 481 00:29:33,800 --> 00:29:37,239 Speaker 1: as well. Yes, so we're bringing all these stories, uh 482 00:29:37,560 --> 00:29:42,680 Speaker 1: Lost Colors, the Freda, my superhero Roberto Clement, stories from 483 00:29:42,880 --> 00:29:47,040 Speaker 1: our folklore. For example, I think the Pimas story, which 484 00:29:47,160 --> 00:29:51,080 Speaker 1: is a very important story oral from the oral traditional 485 00:29:51,160 --> 00:29:54,200 Speaker 1: Dominican Republic. Yes, I don't think it has been published 486 00:29:54,240 --> 00:29:57,760 Speaker 1: for kids. Never I've never read it on paper before. 487 00:29:58,080 --> 00:30:01,520 Speaker 1: This is a mora. We have some April Latinos on 488 00:30:01,600 --> 00:30:03,719 Speaker 1: the cover. Oh my god, I wish the listeners can 489 00:30:03,760 --> 00:30:06,360 Speaker 1: see they see the shades and colors here. And not 490 00:30:06,440 --> 00:30:09,120 Speaker 1: only that, you see it in Spanish in one side 491 00:30:09,320 --> 00:30:11,720 Speaker 1: and turn it to the other side and it's in English, 492 00:30:13,120 --> 00:30:17,280 Speaker 1: and it's really you know, it's like the script but illustrated. 493 00:30:18,120 --> 00:30:20,920 Speaker 1: Oh I cannot wait for these listeners to purchase one 494 00:30:20,960 --> 00:30:23,520 Speaker 1: of these and see this. This is stunning. So the 495 00:30:23,680 --> 00:30:29,120 Speaker 1: books are really beautifully illustrated by illustrators from Latin America, 496 00:30:29,280 --> 00:30:35,240 Speaker 1: from Cuba. We have Michamhica, my magical Colombian boss. We 497 00:30:35,520 --> 00:30:39,440 Speaker 1: use like symbols of a Columbia wizard of us, so 498 00:30:39,640 --> 00:30:42,640 Speaker 1: the Pinocchio. So this is one of the newest projects 499 00:30:43,360 --> 00:30:47,640 Speaker 1: of Saya. We are started announcing. This series is actually 500 00:30:47,720 --> 00:30:52,280 Speaker 1: twenty five books. We only published right now. Nine we're 501 00:30:52,320 --> 00:30:55,080 Speaker 1: working on the other books. So and that would be 502 00:30:55,160 --> 00:30:58,080 Speaker 1: a way to also not only promote all these stories 503 00:30:58,200 --> 00:31:01,120 Speaker 1: and everything that we have done for thirty plus years, 504 00:31:01,560 --> 00:31:05,120 Speaker 1: but also to encourage kids to read, to have the 505 00:31:05,200 --> 00:31:08,560 Speaker 1: option of reading in Spanish or English, and also to 506 00:31:08,680 --> 00:31:11,600 Speaker 1: be able to see and and and to enjoy a 507 00:31:11,680 --> 00:31:14,560 Speaker 1: little bit even on a book, on a theater book. 508 00:31:14,760 --> 00:31:17,000 Speaker 1: That's how we call it a theater book. So that's 509 00:31:17,080 --> 00:31:20,760 Speaker 1: new and that's so important because kids need a lot 510 00:31:20,920 --> 00:31:24,480 Speaker 1: more than just a book to keep them preoccupied nowadays, 511 00:31:24,640 --> 00:31:29,120 Speaker 1: especially with our age of social media, phones and and 512 00:31:29,480 --> 00:31:32,120 Speaker 1: and iPads and da da da da da. So like 513 00:31:32,760 --> 00:31:38,960 Speaker 1: you're providing multiple avenues of excitement um for them in 514 00:31:39,120 --> 00:31:46,040 Speaker 1: this incredible theatrical children's book. It's not only that we're 515 00:31:46,040 --> 00:31:49,120 Speaker 1: actually covering all the basis. We're actually moving also to 516 00:31:49,280 --> 00:31:55,200 Speaker 1: media and we we we launch channel on YouTube, say 517 00:31:55,240 --> 00:31:58,360 Speaker 1: a kids network and is um we have a web 518 00:31:58,480 --> 00:32:00,840 Speaker 1: series there that we're producing that is called elb on 519 00:32:00,960 --> 00:32:04,720 Speaker 1: the Airplane. And we are so fortunate even though we 520 00:32:04,760 --> 00:32:08,000 Speaker 1: don't have that many subscribers, so please everybody subscribed. I 521 00:32:08,040 --> 00:32:13,560 Speaker 1: mean we have eight hundred something, but we have to start. 522 00:32:14,000 --> 00:32:16,960 Speaker 1: But what I'm most impressed is that between social media 523 00:32:17,400 --> 00:32:20,880 Speaker 1: and the and the channel, there has been close to 524 00:32:20,960 --> 00:32:24,240 Speaker 1: four D views in a few bocks, So that is 525 00:32:24,360 --> 00:32:27,960 Speaker 1: really uh, it's something that we're very very proud. We 526 00:32:28,040 --> 00:32:31,440 Speaker 1: did it during the Pandemics beautiful project that is dedicated 527 00:32:31,600 --> 00:32:35,680 Speaker 1: to everyone, but focusing on teams for the migrants and 528 00:32:35,840 --> 00:32:40,239 Speaker 1: the refugee kids. And there's like twenty four episodes right 529 00:32:40,320 --> 00:32:44,160 Speaker 1: now in English and the same episode in Spanish. So 530 00:32:44,320 --> 00:32:48,720 Speaker 1: it's for everyone about you know, telling kids reaffirment. You 531 00:32:48,800 --> 00:32:53,880 Speaker 1: are special, you're intelligent, you're talented, you're beautiful. And it's 532 00:32:53,920 --> 00:32:58,280 Speaker 1: called on the Airplane is a Latino airline of humans 533 00:32:58,400 --> 00:33:03,760 Speaker 1: and monsters, and it's really people can actually go to see. 534 00:33:03,960 --> 00:33:07,920 Speaker 1: The website is called on the Airplane dot Com is 535 00:33:08,000 --> 00:33:11,120 Speaker 1: also a musical band and we just released an album, 536 00:33:11,240 --> 00:33:13,680 Speaker 1: a musical album. Many of the things that I do, 537 00:33:13,800 --> 00:33:16,840 Speaker 1: I do it for my kid too. I create with 538 00:33:17,080 --> 00:33:21,880 Speaker 1: him and so it's part of that relationship that I 539 00:33:22,000 --> 00:33:25,360 Speaker 1: have with my son now that is really have re 540 00:33:25,640 --> 00:33:28,720 Speaker 1: energize me. And he brings so much to these projects 541 00:33:28,840 --> 00:33:33,040 Speaker 1: as well. He's my minds through he's teaching me so 542 00:33:33,200 --> 00:33:36,400 Speaker 1: I can teach other people. You have a live critic. 543 00:33:36,520 --> 00:33:40,400 Speaker 1: He's right there, he's oh, yeah, what's his name again? 544 00:33:40,760 --> 00:33:45,560 Speaker 1: His name is Manuel Garvriel, Manuel Garriell. And here you 545 00:33:45,600 --> 00:33:48,400 Speaker 1: have to know your right hand. Yes, And he actually 546 00:33:48,480 --> 00:33:51,520 Speaker 1: performs with me in that channel too. He we have 547 00:33:51,640 --> 00:33:55,160 Speaker 1: a segment called Leader Pilot, Big pilot because I played 548 00:33:55,200 --> 00:33:58,120 Speaker 1: the pilot and he's the leader pilot. So now people 549 00:33:58,240 --> 00:34:02,280 Speaker 1: know even Manuel as leader pilot. That's so beautiful that 550 00:34:02,480 --> 00:34:04,480 Speaker 1: I love this. I love the story because it's about 551 00:34:04,600 --> 00:34:08,360 Speaker 1: it's about storytelling, but passing on, passing it down, you know, 552 00:34:08,560 --> 00:34:12,520 Speaker 1: to the younger generation, so it continues to live on um. 553 00:34:13,040 --> 00:34:16,000 Speaker 1: And that is just that is the goal. That is 554 00:34:16,080 --> 00:34:19,279 Speaker 1: the ultimate goal, um Manuel. So if we want to 555 00:34:19,320 --> 00:34:22,560 Speaker 1: follow your journey, you gave us all these amazing, you know, 556 00:34:22,719 --> 00:34:26,080 Speaker 1: things to look upon the airplane and always incredible new 557 00:34:26,120 --> 00:34:28,960 Speaker 1: projects that you have, the books coming out. Um. Is 558 00:34:29,000 --> 00:34:31,360 Speaker 1: there a place we can follow you on Instagram or 559 00:34:31,760 --> 00:34:35,440 Speaker 1: on social media? You want to share this listeners, So 560 00:34:35,960 --> 00:34:39,880 Speaker 1: my Instagram is the r Manuel Mora. My doctor title 561 00:34:40,000 --> 00:34:43,200 Speaker 1: there Manuel Morang. And also you can follow us in 562 00:34:44,480 --> 00:34:47,840 Speaker 1: um you know, on all social media also Manuel Morang 563 00:34:47,920 --> 00:34:51,680 Speaker 1: in Facebook. On the airplane has its own Instagram. You 564 00:34:51,719 --> 00:34:54,279 Speaker 1: can also put a levy on the airplane and you'll 565 00:34:54,360 --> 00:34:57,359 Speaker 1: find it. So it would be wonderful to share all 566 00:34:57,440 --> 00:34:59,800 Speaker 1: these things that we're doing with people, and also for 567 00:35:00,080 --> 00:35:04,680 Speaker 1: parents and an uncle's and on send grandma's and grandparents 568 00:35:04,800 --> 00:35:08,279 Speaker 1: to use as a resource. Because I do know that 569 00:35:08,480 --> 00:35:13,120 Speaker 1: that our community it's very eager to preserve our culture, 570 00:35:13,360 --> 00:35:16,520 Speaker 1: and through theater and the work we're doing, we're helping 571 00:35:16,880 --> 00:35:20,680 Speaker 1: them in that endeavor. So I am very thankful for 572 00:35:20,760 --> 00:35:24,319 Speaker 1: this opportunity to share my story. Thank you, very nice 573 00:35:24,360 --> 00:35:27,279 Speaker 1: meeting you, lovely to meet you, so thank you so much, 574 00:35:27,320 --> 00:35:29,960 Speaker 1: Manuel for coming here to more Anita, for being with us, 575 00:35:30,040 --> 00:35:33,600 Speaker 1: for sharing your story and how you're passing these beautiful 576 00:35:33,640 --> 00:35:36,320 Speaker 1: stories on and on and on, and look forward to 577 00:35:36,480 --> 00:35:39,759 Speaker 1: hearing and seeing all the amazing things you're doing after 578 00:35:39,880 --> 00:35:49,880 Speaker 1: this same here. Thank you so much. Thank you. How 579 00:35:49,960 --> 00:35:52,680 Speaker 1: did the stories you heard as a child shape your identity? 580 00:35:53,080 --> 00:35:56,160 Speaker 1: Manuel was inspired as a child, and he's dedicated his 581 00:35:56,360 --> 00:36:00,560 Speaker 1: life to inspiring children today. He reminded us that identity 582 00:36:00,719 --> 00:36:03,080 Speaker 1: is essential and it can be formed by the power 583 00:36:03,200 --> 00:36:07,399 Speaker 1: of storytelling. Through storytelling, he's helping create a world where 584 00:36:07,440 --> 00:36:11,080 Speaker 1: by cultural children feel seen and heard, and he's a 585 00:36:11,200 --> 00:36:14,480 Speaker 1: powerful voice that reminds us that what children here can 586 00:36:14,560 --> 00:36:18,120 Speaker 1: impact them forever. It's a powerful reminder to us all 587 00:36:18,480 --> 00:36:20,840 Speaker 1: that how we live our lives and the example that 588 00:36:20,960 --> 00:36:28,560 Speaker 1: we set is seen today but remembered for years. Mon 589 00:36:28,640 --> 00:36:31,400 Speaker 1: Anita is a production of Sonato and partnership with I 590 00:36:31,520 --> 00:36:35,200 Speaker 1: heart Radio is micro Luda podcast Network. For more podcasts 591 00:36:35,200 --> 00:36:37,879 Speaker 1: from I heart Radio, visit the i heart Radio app, 592 00:36:38,120 --> 00:36:41,200 Speaker 1: Apple podcast, or wherever you listen to your favorite shows.