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<v Speaker 1>Hey, let you know USA Listener Today a show from

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<v Speaker 1>our archives. In this episode, we break down the legacy

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<v Speaker 1>of Dora the Explorer. Producer Antoina Seihido is going to

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<v Speaker 1>take it from here.

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<v Speaker 2>One day in nineteen ninety eight, Chris Gifford and his

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<v Speaker 2>colleague Valerie Walsh were singled out by their boss. They

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<v Speaker 2>were working at Nick Junior, Nickelodeon's preschool programming, and they

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<v Speaker 2>were about to get a very exciting opportunity.

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<v Speaker 3>We were given an assignment come up with the next

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<v Speaker 3>hit show.

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<v Speaker 2>They brought on another writer, Eric Wiener, and the three

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<v Speaker 2>of them started to brainstorm potential ideas.

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<v Speaker 4>The bunny and the mom. We would go on an

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<v Speaker 4>adventure together and they'd go to the post office, and

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<v Speaker 4>then you had a treasure hunt with Kitty Kats.

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<v Speaker 3>Right, a group of rodents.

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<v Speaker 4>Stinky, I think it was a skunk.

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<v Speaker 2>They brainstormed a lot of options, but finally they decided

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<v Speaker 2>to keep it simple.

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<v Speaker 4>We went to a girl pretty quickly.

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<v Speaker 2>They were going to make a show about a young

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<v Speaker 2>girl who would ask the audience of preschoolers at home

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<v Speaker 2>to help her solve a problem. In every episode, Hi.

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<v Speaker 1>I'm Dora, what's your name? From Fudro Media and PRX.

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<v Speaker 1>It's Latino USA. I'm Marie nor Posa today a Latina

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<v Speaker 1>icon Dora the Explorer. We dive into what propelled Dora's

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<v Speaker 1>rise to preschool programming dominance.

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<v Speaker 5>It's storytime, storytime, story time, story time.

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<v Speaker 2>So today I'm joining the studio by fellow producer Gene

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<v Speaker 2>Amoka Antonia Hi Jannis. And so you and I actually

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<v Speaker 2>both independently pitched doing something about Dora the Explorer. And

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<v Speaker 2>that's obviously because there's a new film that just came out,

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<v Speaker 2>Dora and the loc City of Gold, and.

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<v Speaker 6>You can track our coordinates on your map. That is

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<v Speaker 6>not the same.

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<v Speaker 2>I'm an explorer like you, but also because you and

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<v Speaker 2>I both have very specific questions about Dora and the

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<v Speaker 2>Dora franchise. What sort of intrigued you about her?

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<v Speaker 7>I'm Peruvian and when I realized that there was an

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<v Speaker 7>indigenous angle to the film that was set in Peru,

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<v Speaker 7>for me, I was kind of just like, how are

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<v Speaker 7>they going to execute it? And with the history of

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<v Speaker 7>how indigenous people are treated in films, I was curious

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<v Speaker 7>to see where was it gonna go?

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<v Speaker 8>What made you curious about the film?

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<v Speaker 2>So I am actually interested in just Dora. Both you

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<v Speaker 2>and I are like a little too old to have

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<v Speaker 2>watched Dora, so we didn't grow up with her. But

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<v Speaker 2>I have this theory that Dora is the most recognizable

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<v Speaker 2>latinx icon in the US. And actually, I'm curious if

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<v Speaker 2>anyone would fight me on this. I mean, try to

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<v Speaker 2>name somebody more famous than Dora.

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<v Speaker 8>Jlo, I don't know. I don't know.

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<v Speaker 2>I think Dora is more famous.

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<v Speaker 9>I do.

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<v Speaker 2>I think it's probably a close tie between Jlo and Dora.

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<v Speaker 8>Either way, clearly.

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<v Speaker 2>She has become a really recognizable Latina symbol. So why

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<v Speaker 2>did she become so big? And what does that mean

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<v Speaker 2>for how we as a country think about Latini Da.

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<v Speaker 2>So later in the show, Jennis, You're going to tell

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<v Speaker 2>us about the new film Dora and the l City

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<v Speaker 2>of Gold. But first I'm going to tell you how

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<v Speaker 2>this all started. I went on a journey to find

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<v Speaker 2>out who is Dora and where did she come from.

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<v Speaker 2>At the top of the show, we heard from writer

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<v Speaker 2>and producer Chris Gifford. In the late nineteen nineties, when

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<v Speaker 2>he and his fellow writers were tasked with coming up

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<v Speaker 2>with the next hit TV show, there was another show

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<v Speaker 2>that was the king of preschool programming.

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<v Speaker 10>Have you seen Blue My puppy?

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<v Speaker 2>So blues clous was the show and Nick Junior. It

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<v Speaker 2>started a man named Steve and his dog Blue, who

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<v Speaker 2>was animated, and in every episode they would try and

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<v Speaker 2>solve a mystery.

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<v Speaker 6>We'll play blues Clues to figure out who's set up

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<v Speaker 6>the whole treasure hunt.

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<v Speaker 2>Cool our coworker, Maggie Feeling calls Blues Clues a true

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<v Speaker 2>crime show for kids, which is hilarious and also completely true,

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<v Speaker 2>like the reason why adults like true crime is the

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<v Speaker 2>same reason why kids like Blues Clues, because it asked

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<v Speaker 2>the kids to participate in sort of solving the mystery,

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<v Speaker 2>and Steve would do this in a very particular way.

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<v Speaker 2>He would look into the camera and directly ask the

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<v Speaker 2>viewer questions.

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<v Speaker 6>What letter does kangaroo start with.

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<v Speaker 2>And wait for the kids to answer, which they did, Okay, right,

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<v Speaker 2>And this strategy of asking kids a question and then

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<v Speaker 2>looking directly to camera and then pausing for what feels

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<v Speaker 2>like a really ridiculous amount of time is appropriately called

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<v Speaker 2>in the world of children's programming the pause.

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<v Speaker 4>And studies were done that resulted in kids learning more

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<v Speaker 4>vocabulary words when they would watch Blues Clues because they

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<v Speaker 4>were not passively sitting.

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<v Speaker 2>Because of how successful Blues Clues was, Chris and the

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<v Speaker 2>other TV writers, they wanted to use the same strategy.

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<v Speaker 2>They were going to use this like revolutionary pause. And

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<v Speaker 2>at the time, I actually imagined that the character would

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<v Speaker 2>be this young white girl, and so they knew that

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<v Speaker 2>those were sort of the basics of the show, and

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<v Speaker 2>then they started to come up with the other elements

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<v Speaker 2>that would make up this white girl's world. We had

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<v Speaker 2>the backpack to carry all her tools.

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<v Speaker 11>Back pack, backpack, sack, pack, backpack.

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<v Speaker 2>We had the map obviously to help navigate.

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<v Speaker 6>I'm the map, I'm the mapock.

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<v Speaker 2>Quite the lyrics in these songs.

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<v Speaker 4>We had the three locations.

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<v Speaker 2>She would visit three places in every episode.

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<v Speaker 8>Then you go across, cross.

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<v Speaker 4>The dial, swipe with the fox.

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<v Speaker 2>You're traditional bad boy, they're no sliping, oh me.

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<v Speaker 7>So these elements they stayed, but one of the main

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<v Speaker 7>character become Latina.

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<v Speaker 2>So they had been working on the show for months

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<v Speaker 2>and their boss went to a conference where she learned

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<v Speaker 2>that of the eighty Primetime youth characters under the age

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<v Speaker 2>of eighteen, not a single one was LATINX and then

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<v Speaker 2>the head of programming at Nick Junior came back from

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<v Speaker 2>this conference and she just announced she was like, Okay,

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<v Speaker 2>the character that we're working on, she's going to be

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<v Speaker 2>Latina and she's gonna be bilingual.

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<v Speaker 8>Were any of the creators latinx?

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<v Speaker 2>Okay? So no, definitely not. And so obviously I had

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<v Speaker 2>to ask him about this.

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<v Speaker 8>Were you at all.

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<v Speaker 2>Hesitant about that? I mean, you know, were you like, oh,

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<v Speaker 2>we are not Latinos?

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<v Speaker 8>Of course we were.

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<v Speaker 3>I mean we had all of us had kind of

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<v Speaker 3>grown up with Sesame Street in a very multicultural view

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<v Speaker 3>on TV of you know, what the world looked like,

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<v Speaker 3>and that was influential on us. But to come to

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<v Speaker 3>us and ask us to make a show about a

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<v Speaker 3>Latina heroin was you know, but.

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<v Speaker 4>That's not That's not how it worked though, because if

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<v Speaker 4>they were going to develop a show about a Latina heroin,

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<v Speaker 4>I don't think they would have come to us, but

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<v Speaker 4>probably would. No, we had a show that we yes,

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<v Speaker 4>and they came to us and they said, we like

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<v Speaker 4>to develop this character into Latina. So how do we

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<v Speaker 4>go about doing that?

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<v Speaker 2>What they did is go and look for a little help.

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<v Speaker 12>Well, at one point they were about eight or ten

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<v Speaker 12>or twelve consultants.

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<v Speaker 2>One of those many consultants was doctor Carlos Cortes, whose

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<v Speaker 2>voice you just heard. He's a professor at UC Riverside.

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<v Speaker 2>Once the New Nick Junior Show was going to be

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<v Speaker 2>a Latino show, there were some big questions he and

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<v Speaker 2>his fellow consultants had to address.

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<v Speaker 4>How will you use Spanish in a way where kids

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<v Speaker 4>feel engaged? What will the world look like? Where is

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<v Speaker 4>Dora from?

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<v Speaker 2>All right, so let's start there. Where is Dora from?

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<v Speaker 2>So this was a very important question because it would

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<v Speaker 2>dictate the rest of the show.

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<v Speaker 12>There was a disagreement among consultants, and some wanted her

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<v Speaker 12>to be We've got came up with the idea we

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<v Speaker 12>should make her very embedded in one culture, a Mexican

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<v Speaker 12>or Puerto Rican or Cuban or what have you.

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<v Speaker 2>Chris the creator was partial to Kostu.

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<v Speaker 4>Well, maybe we'll make her from Costa Rica. Because I

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<v Speaker 4>had been to Costa Rica.

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<v Speaker 12>I loved it.

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<v Speaker 4>I thought it was really nice.

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<v Speaker 2>But this is not what Carlos wanted.

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<v Speaker 12>I took it in the opposite position. I said, look,

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<v Speaker 12>there are Latinos in the United States of all kinds

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<v Speaker 12>of backgrounds and I think it's important that kids of

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<v Speaker 12>different Latino backgrounds be able to identify with Dora.

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<v Speaker 2>And as soon as Carlos suggested this, Chris and the

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<v Speaker 2>other creators loved the idea.

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<v Speaker 4>And Carlos came in and said, absolutely, she is Pan Latino.

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<v Speaker 4>We are building bridges, not erecting.

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<v Speaker 2>Barriers, And in general, this idea of not erecting barriers

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<v Speaker 2>was important. They wanted to empower that the next kids

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<v Speaker 2>in the US. This is Eric Winer again, one of

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<v Speaker 2>the creators.

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<v Speaker 13>At the time, Pat Buchanan was running for president, spewing

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<v Speaker 13>all this hatred about we don't want Spanish speakers in

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<v Speaker 13>our country.

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<v Speaker 2>And our Western heritage is going to be handed down

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<v Speaker 2>to future generations and not dumped onto some landfill called multiculturalism.

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<v Speaker 13>So this idea of not building barriers gave extra meaning

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<v Speaker 13>and heart and urgency to the mission of the show.

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<v Speaker 2>So in the late nineteen nineties, pap Buchanan was starting

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<v Speaker 2>his campaign to run for president. He would later release

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<v Speaker 2>this ad where there's a man at home eating spaghetti

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<v Speaker 2>and meatballs and listening to the radio I found of

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<v Speaker 2>the executive Order, saying that English is no longer America's

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<v Speaker 2>natural language. Then this man starts to choke, and he

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<v Speaker 2>rushes over to the phone and starts to dial nine.

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<v Speaker 1>One one listen for your language for Spanish, press, one

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<v Speaker 1>for Korean Press.

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<v Speaker 12>Two do you ever miss English?

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<v Speaker 4>Immigration is out of control?

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<v Speaker 12>Press?

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<v Speaker 4>Persian Gore writing off English for good?

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<v Speaker 8>What can you do?

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<v Speaker 4>Vote for the third party that puts Americans first? Vote

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<v Speaker 4>Buchanan for president.

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<v Speaker 8>Press wow, I can feel the scenophobia.

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<v Speaker 2>Pap Buchanan's campaign came off the heels of a strong

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<v Speaker 2>anti immigrant movement in California. In nineteen ninety four, Prop

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<v Speaker 2>one eight seven, a ballot initiative that tried to limit

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<v Speaker 2>undocumented immigrant to the state, was introduced, and at the

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<v Speaker 2>same time, John Tanton, a prominent anti immigrant activist, founded

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<v Speaker 2>a group called Pro English, which advocated for English to

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<v Speaker 2>be the only official language of the US. So, with

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<v Speaker 2>these developments as a backdrop, this question of how to

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<v Speaker 2>incorporate Spanish was a really important one. Carlos the consultant,

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<v Speaker 2>he had a very specific idea of how he thought

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<v Speaker 2>both Spanish and English should be treated on the show.

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<v Speaker 12>I suggested that they framed Dora as a cross cultural

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<v Speaker 12>problem solver, and because Dora was able to speak both

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<v Speaker 12>English and Spanish. She was able to bridge and build

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<v Speaker 12>a team with Monerol linguos of two different languages.

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<v Speaker 2>The idea was that bilingualism was going to be Dora's superpower,

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<v Speaker 2>and the fact that she spoke two languages was something

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<v Speaker 2>to be celebrated. The creators also figured out Dora's last name, so, Janie,

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<v Speaker 2>I don't know if you knew this, but it's not Explorer.

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<v Speaker 2>It's not no, it's not Explorer. It's Marquez. And they

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<v Speaker 2>also decided her age, which was seven.

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<v Speaker 7>Okay, so we have Dora. Her last name is Marquez,

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<v Speaker 7>and she's a seven year old girl living her best life.

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<v Speaker 2>Yes, all right, And then they had to figure out

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<v Speaker 2>what is this girl gonna look like. They gave her

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<v Speaker 2>that signature Bob, which actually was very controversial Nickelodeon.

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<v Speaker 13>Nickelodeon Products people said from the beginning is, guys, the

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<v Speaker 13>number one thing that kids like with dolls is hair play.

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<v Speaker 13>You've created the anti doll, you've created, and Chris had

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<v Speaker 13>to really do battle to preserve that, which was essential

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<v Speaker 13>to her character.

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<v Speaker 2>Valerie Walsh, one of the creators, found an image that

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<v Speaker 2>she just felt really captured sort of the vision of

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<v Speaker 2>who Dora the Explorer was.

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<v Speaker 3>I gonna say, like Miss Magazine or some magazine back

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<v Speaker 3>in nineteen ninety nine where there was a girl I

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<v Speaker 3>think her name was Daisy, and to go to school

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<v Speaker 3>every day she would have to zip cord across the

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<v Speaker 3>Rio n Negro, I think it's in Colombia, and she

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<v Speaker 3>had her brother with her in a beat like a sack.

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<v Speaker 3>She would have to put him in and zip cord

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<v Speaker 3>him across like thirty feet this river. And she had

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<v Speaker 3>all like her little backpack too. She was in her uniform,

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<v Speaker 3>her school uniform. So it was like, oh my, talk

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<v Speaker 3>about being prepared.

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<v Speaker 8>There seems to be a little romanticizing here.

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<v Speaker 2>Yeah, I feel that. In any case, this is how

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<v Speaker 2>Dora came to be. And on August fourteenth, two thousand,

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<v Speaker 2>Dora the Explorer aired on Nick Junior for the first time,

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<v Speaker 2>and the show was immediately popular. Within less than a year,

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<v Speaker 2>the show became the top commercial hit for preschoolers age

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<v Speaker 2>two to five, and part of the show's success was

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<v Speaker 2>the truly insane amount of research that went into every

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<v Speaker 2>single episode.

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<v Speaker 4>Each show would be seen by two hundred kids before

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<v Speaker 4>we ever.

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<v Speaker 2>Okay, so I'm fascinated by that process, how do you

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<v Speaker 2>even get two hundred kids like what?

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<v Speaker 4>But a wonderful research department who worked very hard.

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<v Speaker 2>The way it worked is that the creators would read

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<v Speaker 2>a storybook version of the episode to a smaller focused

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<v Speaker 2>group of kids, and then researchers would come and ask

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<v Speaker 2>the kids questions.

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<v Speaker 4>Did the story make you feel very happy, happy, okay, sad?

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<v Speaker 4>Or angry?

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<v Speaker 2>Why would the kids get angry?

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<v Speaker 13>I remember, well there was one time.

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<v Speaker 3>Oh no, you're gonna tell a lie story.

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<v Speaker 2>There were two kinds of stories that the kids really

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<v Speaker 2>didn't like.

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<v Speaker 13>Cases where our adult consciousness unconsciously had seeped into the story.

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<v Speaker 13>Like we were working on a story about an old

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<v Speaker 13>fire truck, could you do one last mission? And tires

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<v Speaker 13>were falling off the old fire truck and very angry

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<v Speaker 13>you know was the result. And we realized we were

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<v Speaker 13>doing a story that is the opposite of something that

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<v Speaker 13>is the way preschool was thinking.

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<v Speaker 2>Yeah, little kids are not thinking about that, right right.

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<v Speaker 13>So that turned into a young fire truck doing his

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<v Speaker 13>very first question.

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<v Speaker 4>We flipped it completely.

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<v Speaker 2>The second kind of story was one in which the

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<v Speaker 2>kids felt like a character was in real danger because

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<v Speaker 2>Dora was asking for their help, and so they felt responsible.

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<v Speaker 13>We had a story with the three little pigs get

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<v Speaker 13>out and Swiper was chasing them, and kids seemed like

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<v Speaker 13>they were so into it, like a rock concert. They

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<v Speaker 13>were screaming out the answers, and they were all picking,

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<v Speaker 13>not just picking angry, but telling the researchers things they

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<v Speaker 13>were scared about, like I need to go home and

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<v Speaker 13>lock the door. And the researchers came back and said, guys,

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<v Speaker 13>you can't have an interactive show where the preschool or

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<v Speaker 13>viewer feels like he's responsible for saving these pigs lives.

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<v Speaker 2>So we know how kids impacted the making of the show.

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<v Speaker 2>They were unofficial editors of each episode, But how did

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<v Speaker 2>Dora impact kids or society in general. To understand Dora's

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<v Speaker 2>cultural significance, I spoke to Nicole without the Hernandez.

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<v Speaker 14>Dora first piqued my interest, actually when I saw an

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<v Speaker 14>article about the series in Latino Magazine in two thousand

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<v Speaker 14>and five, and I started watching as a late twenty

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<v Speaker 14>or something.

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<v Speaker 2>She's a professor at the University of Texas in Austin,

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<v Speaker 2>and her article, Dora the Explorer, Constructing Latinias and the

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<v Speaker 2>Politics of Global Citizenship was actually one of the most

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<v Speaker 2>downloaded articles in the Journal of Latino Studies of all time,

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<v Speaker 2>and she says that because of Dora's huge popularity, her

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<v Speaker 2>representation has had implications on how people understand the Latinx identity.

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<v Speaker 14>You are presented with the kind of generic Latini dad

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<v Speaker 14>from Mexico, Porto, Rico, Cuba, the Dominican Republic, etc.

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<v Speaker 8>Yeah, and I agree with the professor.

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<v Speaker 7>I mean, I also understand why the creators wanted to

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<v Speaker 7>make Dora up on Latina. It may be more inclusive

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<v Speaker 7>and other kids feel like they can relate to her,

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<v Speaker 7>But then we're kind of erasing the differences between Latin

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<v Speaker 7>American countries, you know, culture, identity, all those things that

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<v Speaker 7>make us unique.

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<v Speaker 2>Just the way that Dora presents with her skin tone

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<v Speaker 2>and her straight hair and her brown eyes, it sort

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<v Speaker 2>of reinforces this like standard look of a Latina, specifically

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<v Speaker 2>that all Latinos are mestizos. This makes of Hispanic and

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<v Speaker 2>indigenous descent.

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<v Speaker 14>All of the recent scholarship and research that's come out

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<v Speaker 14>in the last five to seven years, especially in Afro

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<v Speaker 14>Latino studies, has really been invested in trying to look

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<v Speaker 14>at the ways that blackness and indigenity have been erased,

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<v Speaker 14>when in reality, if we look at especially new waves

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<v Speaker 14>of LATINX migration to the United States, predominantly black and

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<v Speaker 14>indigenous people.

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<v Speaker 2>Professor Ullote Vanez obviously has critiques for the way that

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<v Speaker 2>Dora represents Latinida, but there's actually one aspect of the

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<v Speaker 2>show that she thinks is pretty radical.

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<v Speaker 14>I think it's a very powerful message for young people

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<v Speaker 14>and for young girls of color in particular. She's sort

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<v Speaker 14>of taking command of the narrative about where she's going

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<v Speaker 14>to go and move in space.

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<v Speaker 2>So Professor weote there, and then this argues that there's

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<v Speaker 2>an anti colonial reading of Dora. You know, whereas once

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<v Speaker 2>conquistadors or colonists use maps to plunder and ravage communities,

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<v Speaker 2>specifically in Latin America, here's a young Latina brown girl

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<v Speaker 2>using maps to help her friends and just like live

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<v Speaker 2>her life. And there's a last thing to remember about

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<v Speaker 2>Dora that is beyond identity. The show centered kids in

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<v Speaker 2>a way that hadn't really happened before in children's programming,

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<v Speaker 2>and that's because of that pause that we were talking about.

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<v Speaker 1>I call my grandma Abuela.

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<v Speaker 3>Can you say, Abuela?

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<v Speaker 10>Say Abuela.

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<v Speaker 2>Dora had a very special connection with kids, and she

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<v Speaker 2>used that connection to try and teach them to keep

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<v Speaker 2>an open mind. Here's creator Chris Gifford again.

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<v Speaker 4>We hope that we had an impact on the way

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<v Speaker 4>kids felt about people who spoke a different language or

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<v Speaker 4>had a different skin color than they did. Hopefully that

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<v Speaker 4>we made a little impact in that way.

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<v Speaker 2>Coming up on that, you know, Usa, as Dora grows

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<v Speaker 2>up and her audience does too, how has the world

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<v Speaker 2>changed with them?

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<v Speaker 6>Stay with us, Hey, we're back.

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<v Speaker 1>When we left off, we learned about how Dora the

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<v Speaker 1>Explorer rose as an animated star in children's television. Now

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<v Speaker 1>we're going to take a look at the next phase

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<v Speaker 1>of Dora and her impact Today. Producer Antonia se Rahuido

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<v Speaker 1>as the rest of the story.

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<v Speaker 2>When we left off, we learned about how Dora the

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<v Speaker 2>Explorer rose as an animated star in children's television. Now

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<v Speaker 2>we're going to take a look at the next phase

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<v Speaker 2>of Dora and her impact Today Producer Jancy Emocha and

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<v Speaker 2>I continue the story as.

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<v Speaker 7>We know, Dora the Explorer became the top rated commercial

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<v Speaker 7>show for preschoolers, which led to Dora toys, clothes, and merchandise.

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<v Speaker 11>He did, dances, plays games, and speak Spanish.

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<v Speaker 7>Yeah, and the door craze didn't stop there. The show

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<v Speaker 7>was adapted into over twenty five languages la including Spanish.

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<v Speaker 7>It was called Dora Lexplora do.

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<v Speaker 8>Get it.

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<v Speaker 2>Yeah, it's so funny because obviously it works in Spanish

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<v Speaker 2>in a way it doesn't work in English. There's Explora Loda,

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<v Speaker 2>and then Explorer, which doesn't run with Dora.

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<v Speaker 8>Any new name er, I guess.

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<v Speaker 7>Dora the Explorer became one of the longest running shows

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<v Speaker 7>on Nick Junior. Now it's twenty nineteen and the kids

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<v Speaker 7>who have watched Dora are all grown up right now.

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<v Speaker 7>They're about early twenties to late teens.

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<v Speaker 2>Yeah, a lot of them are in college. Some of

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<v Speaker 2>them are starting to pay rent, probably getting ready to

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<v Speaker 2>vote in their first election.

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<v Speaker 7>Yeah, and I talked to someone who fits that age range.

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<v Speaker 7>So did you ever watch Dora growing up?

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<v Speaker 10>Yeah? I watched Dora pretty much every morning before school.

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<v Speaker 8>That's isaveda monair. She's an actress.

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<v Speaker 7>She's eighteen, so right around that original target audience age.

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<v Speaker 10>I would always get called Dora because I had the

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00:21:06.760 --> 00:21:10.280
<v Speaker 10>bangs and the haircut and pretty much I looked like her,

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<v Speaker 10>and so it's funny. It's all coming full circle.

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<v Speaker 7>Can you imagine how many brown girls with your hair

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<v Speaker 7>got called Dora in the last nineteen years?

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<v Speaker 2>Are we doing the pause? No, I'm sure it's so

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<v Speaker 2>many girls.

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<v Speaker 8>Anyways, it worked.

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<v Speaker 7>With Sabella because she's also currently starring in a little

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<v Speaker 7>film called Dora and the Lost City of Gold.

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00:21:33.400 --> 00:21:36.040
<v Speaker 10>And I'm actually getting to play her. It felt right,

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<v Speaker 10>you know, when they told me that I got the part.

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<v Speaker 4>But exploring is not a game, and you don't look

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<v Speaker 4>before you leave.

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<v Speaker 8>I'm okay. But Dora is no longer seven in the movie.

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<v Speaker 7>She's a teen and she's searching for Fada Patta, a

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<v Speaker 7>lost city of gold of the Incas, and Fatapata follows

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00:21:57.440 --> 00:21:59.360
<v Speaker 7>the same formula as El Dorado.

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<v Speaker 2>For those who don't now, of course, it's the legend

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<v Speaker 2>of an ancient, mythical place filled with goals that treasure

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<v Speaker 2>hunters are always looking for.

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<v Speaker 7>And of course Dora is looking to explore it, not

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<v Speaker 7>conquer it.

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<v Speaker 2>The other thing that I noticed is that there's this

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<v Speaker 2>huge push for these live action films, the ones that

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00:22:19.359 --> 00:22:23.040
<v Speaker 2>adapt shows or movies that were once cartoons and makes

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<v Speaker 2>them into three D or as close to reel as possible.

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<v Speaker 2>Most recently, there was a Laddin and the Lion.

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<v Speaker 8>King, your favorite CGI Lion.

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<v Speaker 2>Don't even get me started about how like it's not

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00:22:35.000 --> 00:22:37.360
<v Speaker 2>live action, they're not real liiance In.

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<v Speaker 7>The Dora movie, Swiper the Fox, the traditional bad boy,

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<v Speaker 7>and Dora's best friend Boots the Monkey are computer generated characters,

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00:22:44.720 --> 00:22:47.960
<v Speaker 7>and aside from effects, Dora in many ways is more

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<v Speaker 7>real than in the animated series, mostly because she's an

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<v Speaker 7>actual human being.

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<v Speaker 6>Just be yourself, Dora.

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<v Speaker 4>Okay, come on, and you're gonna miss your flight.

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<v Speaker 8>But one thing hasn't changed.

433
00:23:05.160 --> 00:23:09.000
<v Speaker 7>She still wears a backpack. Okay, fine, two things. Here's

434
00:23:09.000 --> 00:23:11.160
<v Speaker 7>Isabella again describing her character Dora.

435
00:23:11.280 --> 00:23:14.280
<v Speaker 10>They didn't want to claim her to like a specific place.

436
00:23:14.440 --> 00:23:17.280
<v Speaker 10>I think it's meant to be broad and mythical so

437
00:23:17.320 --> 00:23:20.120
<v Speaker 10>that people can really just put themselves in the story.

438
00:23:20.280 --> 00:23:23.199
<v Speaker 2>Ah. So Dora is still Panadina.

439
00:23:22.640 --> 00:23:25.000
<v Speaker 10>And I would like to think that everyone, no matter

440
00:23:25.040 --> 00:23:27.440
<v Speaker 10>where they come from, could relate to Dora, whether they're

441
00:23:27.440 --> 00:23:31.440
<v Speaker 10>from Ecuador or Peru or the States. But they have

442
00:23:32.000 --> 00:23:34.440
<v Speaker 10>hispatic parents, they can all say that.

443
00:23:34.560 --> 00:23:41.560
<v Speaker 8>They have some Dora in them. But some things are

444
00:23:41.560 --> 00:23:42.200
<v Speaker 8>more authentic.

445
00:23:42.240 --> 00:23:44.560
<v Speaker 7>In the film, the places are real, or at least

446
00:23:44.640 --> 00:23:48.240
<v Speaker 7>inspired by real places. Dora grows up in the Amazon jungle,

447
00:23:48.400 --> 00:23:50.159
<v Speaker 7>and when she leaves and goes to high school, she

448
00:23:50.280 --> 00:23:51.280
<v Speaker 7>moves to Los Angeles.

449
00:23:52.040 --> 00:23:53.680
<v Speaker 8>In her big adventure that.

450
00:23:53.720 --> 00:23:56.880
<v Speaker 7>Takes place in Peru, a place that Isabella is very

451
00:23:56.920 --> 00:23:57.520
<v Speaker 7>familiar with.

452
00:23:58.280 --> 00:24:00.800
<v Speaker 10>I go back like every year, so there's so much

453
00:24:00.800 --> 00:24:04.160
<v Speaker 10>to explore and then no pun intended.

454
00:24:06.040 --> 00:24:06.760
<v Speaker 8>As it happens.

455
00:24:06.840 --> 00:24:10.320
<v Speaker 7>Isabela, the actor playing Dora, also has a connection to Peru.

456
00:24:10.640 --> 00:24:11.840
<v Speaker 8>She's prouven American.

457
00:24:12.200 --> 00:24:13.679
<v Speaker 10>My family and I are very close, and a lot

458
00:24:13.720 --> 00:24:17.919
<v Speaker 10>of my really really like close relatives have already immigrated

459
00:24:17.960 --> 00:24:21.240
<v Speaker 10>to the States. But I've got a huge majority of

460
00:24:21.240 --> 00:24:25.000
<v Speaker 10>my family who like only speaks Spanish, who live in Peru,

461
00:24:25.520 --> 00:24:27.760
<v Speaker 10>and some of them speak Quechua.

462
00:24:27.800 --> 00:24:30.200
<v Speaker 7>Once she got the role of Dora, Isabella learned that

463
00:24:30.240 --> 00:24:32.959
<v Speaker 7>she would have to learn Quechua, an indigenous language that's

464
00:24:32.960 --> 00:24:33.480
<v Speaker 7>spoken in the.

465
00:24:33.480 --> 00:24:41.400
<v Speaker 10>Andes am Mananchai.

466
00:24:43.880 --> 00:24:49.520
<v Speaker 9>Ancientinka. Impressive, what does it mean all those that sick

467
00:24:52.119 --> 00:24:54.200
<v Speaker 9>shall surely perish?

468
00:24:54.359 --> 00:24:56.560
<v Speaker 7>She started by listening to an audio recording of her

469
00:24:56.640 --> 00:24:59.560
<v Speaker 7>lines in Quetchua, and they repeated it word for word

470
00:25:00.240 --> 00:25:02.720
<v Speaker 7>and over again. She said she had to learn about

471
00:25:02.760 --> 00:25:06.800
<v Speaker 7>three paragraphs in total, and sometimes in between scenes, Isabella

472
00:25:06.840 --> 00:25:08.160
<v Speaker 7>would call her aunt for help.

473
00:25:08.560 --> 00:25:11.520
<v Speaker 10>One time, she was like cooking and she's like, what

474
00:25:11.560 --> 00:25:13.840
<v Speaker 10>do you need? She kind of was annoyed, and I'm like,

475
00:25:14.400 --> 00:25:16.680
<v Speaker 10>I know you don't understand right now what this is for,

476
00:25:16.760 --> 00:25:17.200
<v Speaker 10>but I just.

477
00:25:17.240 --> 00:25:18.240
<v Speaker 2>Need your help right now.

478
00:25:18.280 --> 00:25:18.680
<v Speaker 8>Please.

479
00:25:19.760 --> 00:25:23.480
<v Speaker 10>She's like, yeah, okay, mammas it preciosa. So she calls

480
00:25:23.480 --> 00:25:24.040
<v Speaker 10>me every time.

481
00:25:24.400 --> 00:25:26.439
<v Speaker 2>What a family for if it's not to help you

482
00:25:26.440 --> 00:25:29.920
<v Speaker 2>figure out how to pronounce specific words in your ancestors language.

483
00:25:30.040 --> 00:25:33.639
<v Speaker 7>Hello, right, shout out to my grandparents who taught me

484
00:25:33.640 --> 00:25:35.440
<v Speaker 7>how to say a few words in Quechua and count

485
00:25:35.560 --> 00:25:39.000
<v Speaker 7>Oh my god, what are they? Hook is skuay quin

486
00:25:39.080 --> 00:25:41.520
<v Speaker 7>sat tho one two, three four. Look, I don't want

487
00:25:41.560 --> 00:25:44.080
<v Speaker 7>to show off too much. That's so cool, but counting

488
00:25:44.119 --> 00:25:47.680
<v Speaker 7>is so much different than saying actual sentences. Isabella and

489
00:25:47.720 --> 00:25:50.040
<v Speaker 7>the crew wanted to make sure that keetcho speakers would

490
00:25:50.040 --> 00:25:53.320
<v Speaker 7>be able to understand clearly, so words had to be corrected.

491
00:25:53.520 --> 00:25:55.040
<v Speaker 7>Even after the movie was done.

492
00:25:55.080 --> 00:25:57.520
<v Speaker 10>A fluent ketcho speaker would know like, hey, that's not right,

493
00:25:57.560 --> 00:26:00.600
<v Speaker 10>so we fixed it. And it's crazy, like the amount

494
00:26:00.640 --> 00:26:03.400
<v Speaker 10>of detail let's put into into movies like these.

495
00:26:03.320 --> 00:26:06.240
<v Speaker 7>And those details are important to get right because of

496
00:26:06.280 --> 00:26:10.880
<v Speaker 7>how wrong Hollywood has gotten it in the past. Here's

497
00:26:10.920 --> 00:26:12.840
<v Speaker 7>a clip from the two thousand and eight movie Indiana

498
00:26:12.920 --> 00:26:15.840
<v Speaker 7>Jones and the Kingdom of the Crystal School. In the

499
00:26:15.880 --> 00:26:18.000
<v Speaker 7>scene Indiana Jones is in Peru.

500
00:26:18.600 --> 00:26:20.280
<v Speaker 6>I took Spanish and I don't understand a word of that.

501
00:26:20.440 --> 00:26:20.840
<v Speaker 2>What was it?

502
00:26:21.040 --> 00:26:22.760
<v Speaker 12>Quechua local income dialect.

503
00:26:23.359 --> 00:26:24.480
<v Speaker 14>I rode with Pancho Villo.

504
00:26:24.480 --> 00:26:25.560
<v Speaker 1>A couple of this guy's.

505
00:26:25.280 --> 00:26:27.200
<v Speaker 6>Spoken Pancho Villa.

506
00:26:27.400 --> 00:26:30.439
<v Speaker 2>This clip blows my mind. I can't believe it. He

507
00:26:30.440 --> 00:26:33.240
<v Speaker 2>says he learned Quechua from Pancho Villa's man. Pancho Villa

508
00:26:33.359 --> 00:26:36.640
<v Speaker 2>was a Mexican revolutionary. Also, this is only ten years ago.

509
00:26:36.720 --> 00:26:38.520
<v Speaker 2>Like all of this is wild, right.

510
00:26:38.720 --> 00:26:42.960
<v Speaker 7>The film has other inaccuracies, like placing Meso American pairmids

511
00:26:43.040 --> 00:26:45.520
<v Speaker 7>that look like they belong to Toichitnizza in the middle

512
00:26:45.560 --> 00:26:46.720
<v Speaker 7>of Peru somewhere.

513
00:26:46.800 --> 00:26:50.360
<v Speaker 5>And unfortunately that could give the impression that the idea

514
00:26:50.480 --> 00:26:54.000
<v Speaker 5>that everything that is below Rio Grande is pretty much

515
00:26:54.000 --> 00:26:57.440
<v Speaker 5>the same thing, and we know that's not true.

516
00:26:57.640 --> 00:27:01.080
<v Speaker 7>That's Americo Mendosa Mori, he's a PFFT. Quechua and Spanish

517
00:27:01.160 --> 00:27:03.960
<v Speaker 7>at the University of Pennsylvania, one of the only programs

518
00:27:03.960 --> 00:27:06.919
<v Speaker 7>that promote the Quechua language in the US. America is

519
00:27:07.000 --> 00:27:09.880
<v Speaker 7>from Peru, and he identifies as indigenous.

520
00:27:10.040 --> 00:27:14.040
<v Speaker 5>There's a legacy of in the civilization of Indienus groups

521
00:27:14.119 --> 00:27:18.000
<v Speaker 5>and Indianus cultures, and even today we still have to

522
00:27:18.280 --> 00:27:22.800
<v Speaker 5>quote unquote prove the value and relevance and knowledge of

523
00:27:22.880 --> 00:27:28.840
<v Speaker 5>Indienus cultures and peoples. So when these representations and intentionally

524
00:27:29.240 --> 00:27:33.840
<v Speaker 5>misrepresent then we are reinforcing those stereotypes.

525
00:27:39.880 --> 00:27:42.840
<v Speaker 7>Just like the Door cartoon brought on consultants, America was

526
00:27:42.880 --> 00:27:44.840
<v Speaker 7>brought on to consult on the Door.

527
00:27:44.760 --> 00:27:49.480
<v Speaker 5>Film to represent Andian culture in a major film that

528
00:27:49.760 --> 00:27:53.440
<v Speaker 5>many people who maybe will learn for the very first

529
00:27:53.440 --> 00:27:56.440
<v Speaker 5>time about the Andes and Quechua. I saw it as

530
00:27:56.480 --> 00:28:00.240
<v Speaker 5>a unique opportunity.

531
00:28:00.480 --> 00:28:03.640
<v Speaker 7>Americo helped make sure that the Ketcho dialogue was accurate.

532
00:28:04.800 --> 00:28:07.960
<v Speaker 7>Inside note, there are many different dialects in the Quetchu language.

533
00:28:08.040 --> 00:28:11.080
<v Speaker 7>The one used in the film is called Gusco Goyao.

534
00:28:12.600 --> 00:28:16.159
<v Speaker 7>Aside from language, Americo also worked on incorporating fantasy with

535
00:28:16.240 --> 00:28:19.120
<v Speaker 7>reality and building a last city of the Incas in

536
00:28:19.160 --> 00:28:20.160
<v Speaker 7>the proven Amazon.

537
00:28:20.320 --> 00:28:23.960
<v Speaker 5>The movie is about a city called Parapata. Parapata is

538
00:28:24.000 --> 00:28:27.320
<v Speaker 5>a name in Quetcha which means the rainy place, the

539
00:28:27.440 --> 00:28:30.040
<v Speaker 5>rainy Golina.

540
00:28:29.400 --> 00:28:32.879
<v Speaker 7>Colina means helen Spanish. And there's also a nod to

541
00:28:32.960 --> 00:28:37.040
<v Speaker 7>Inca mythology with the incorporation of Kauaiyaka, an Inca princess

542
00:28:37.080 --> 00:28:40.640
<v Speaker 7>played by Krianka Kilcher who is of proven Indigenous ascent.

543
00:28:41.680 --> 00:28:44.080
<v Speaker 7>There's also a part where Dora interprets a set of

544
00:28:44.080 --> 00:28:47.440
<v Speaker 7>Inca constellations, which was a real tool that Incas used

545
00:28:47.480 --> 00:28:51.640
<v Speaker 7>to tell time. Even in an action scene, the writers

546
00:28:51.640 --> 00:28:55.320
<v Speaker 7>were able to add information about the Inca's irrigation systems.

547
00:28:58.000 --> 00:28:59.760
<v Speaker 3>I don't think this is a puzzle.

548
00:29:00.440 --> 00:29:03.000
<v Speaker 8>Is a pookiout? What a pokyo?

549
00:29:03.240 --> 00:29:06.720
<v Speaker 5>It's an agent underground Aqua doct Aca engineers built some

550
00:29:06.800 --> 00:29:10.040
<v Speaker 5>of the most elaborate irrigation systems ever devised water from

551
00:29:10.080 --> 00:29:10.600
<v Speaker 5>above us.

552
00:29:11.160 --> 00:29:13.880
<v Speaker 15>They have a four year old baby girl. She hasn't

553
00:29:14.200 --> 00:29:17.240
<v Speaker 15>seen the film, so I'm excited to show her. It's

554
00:29:17.280 --> 00:29:19.720
<v Speaker 15>going to be probably the first movie that I've done

555
00:29:19.720 --> 00:29:21.360
<v Speaker 15>that she's going to be able to watch.

556
00:29:21.560 --> 00:29:24.040
<v Speaker 8>That's who Henny that it is. He's part of the cast.

557
00:29:24.400 --> 00:29:27.000
<v Speaker 7>He plays the guide that leads Dora through the jungle

558
00:29:27.520 --> 00:29:30.480
<v Speaker 7>and if you recognize his voice, it's because he's also

559
00:29:30.520 --> 00:29:33.800
<v Speaker 7>a very famous Mexican comedian and he was also an

560
00:29:33.800 --> 00:29:35.120
<v Speaker 7>executive producer on the film.

561
00:29:35.440 --> 00:29:38.000
<v Speaker 2>So did you ask him why now? Why would they

562
00:29:38.000 --> 00:29:40.280
<v Speaker 2>make a Dora film in this very moment?

563
00:29:40.320 --> 00:29:42.680
<v Speaker 7>It's a great question, And yes, I did ask Ohenna,

564
00:29:43.160 --> 00:29:45.560
<v Speaker 7>why do we have a Dora film coming out in

565
00:29:45.680 --> 00:29:46.840
<v Speaker 7>twenty nineteen.

566
00:29:47.320 --> 00:29:51.080
<v Speaker 15>Right now, there's a fever for doing live action and

567
00:29:51.480 --> 00:29:55.600
<v Speaker 15>I think Dora is an icon for kids and now

568
00:29:55.680 --> 00:30:00.000
<v Speaker 15>that especially now that Latinos are being so let's say

569
00:30:00.080 --> 00:30:02.080
<v Speaker 15>I asked by this administration.

570
00:30:05.840 --> 00:30:09.280
<v Speaker 7>Ohenyo is of course talking about the anti immigrant rhetoric

571
00:30:09.280 --> 00:30:12.240
<v Speaker 7>that has come from President Trump and members of his administration.

572
00:30:12.920 --> 00:30:15.920
<v Speaker 2>It's such similar rhetoric to what Pap Buchanan was saying

573
00:30:16.200 --> 00:30:19.320
<v Speaker 2>when the creators first envisioned Dora. I think it's important

574
00:30:19.320 --> 00:30:21.680
<v Speaker 2>to emphasize that Pap Buchanan was a third party candidate

575
00:30:21.680 --> 00:30:25.120
<v Speaker 2>when he was running for president. Now those ideas are

576
00:30:25.160 --> 00:30:26.160
<v Speaker 2>coming from the White House.

577
00:30:30.920 --> 00:30:32.960
<v Speaker 7>It's interesting to think about Dora and her place in

578
00:30:33.000 --> 00:30:35.800
<v Speaker 7>our society today versus when Dora first came out.

579
00:30:36.160 --> 00:30:39.479
<v Speaker 2>Yeah, like, in the face of today's anti immigrant rhetoric,

580
00:30:39.920 --> 00:30:43.240
<v Speaker 2>what does Dora represent? And I asked Carlos Cortez, a

581
00:30:43.240 --> 00:30:46.840
<v Speaker 2>cultural consultant, about this, and he says that to understand

582
00:30:46.880 --> 00:30:49.719
<v Speaker 2>her impact on her legacy, you need to look at

583
00:30:49.760 --> 00:30:52.320
<v Speaker 2>what's happening in the generation that grew up watching Dora.

584
00:30:52.840 --> 00:30:55.480
<v Speaker 2>Most of those are college aged kids, gen zers.

585
00:30:55.800 --> 00:30:59.920
<v Speaker 12>What we're finding is that college kids today, when asked

586
00:31:00.200 --> 00:31:06.680
<v Speaker 12>question which is more important free speech or inclusivity, which

587
00:31:06.760 --> 00:31:10.560
<v Speaker 12>is the Dora message of being inclusive, they lean to

588
00:31:10.720 --> 00:31:13.320
<v Speaker 12>inclusivity as a larger value than free speech.

589
00:31:13.560 --> 00:31:16.600
<v Speaker 2>A twenty eighteen Knight Foundation survey found that over fifty

590
00:31:16.640 --> 00:31:20.920
<v Speaker 2>percent of college students value diversity and inclusivity over free speech.

591
00:31:21.160 --> 00:31:24.000
<v Speaker 2>And according to Carlos, even twenty years ago, people wouldn't

592
00:31:24.000 --> 00:31:26.920
<v Speaker 2>have even thought about asking that question. That's how radically

593
00:31:27.000 --> 00:31:29.720
<v Speaker 2>people have changed their opinions, specifically young people.

594
00:31:29.840 --> 00:31:32.680
<v Speaker 12>But I think Dora is part of the process of

595
00:31:32.720 --> 00:31:37.320
<v Speaker 12>affecting the values of young people to make inclusivity a

596
00:31:37.400 --> 00:31:40.280
<v Speaker 12>more important value. And I think to that degree, I

597
00:31:40.360 --> 00:31:41.320
<v Speaker 12>think it's fabulous.

598
00:31:41.440 --> 00:31:44.440
<v Speaker 7>This is an interesting example. But even if more college

599
00:31:44.440 --> 00:31:48.080
<v Speaker 7>age students value inclusivity, that's not reflected in our wider

600
00:31:48.120 --> 00:31:49.080
<v Speaker 7>political reality.

601
00:31:49.320 --> 00:31:50.840
<v Speaker 8>Yeah, people are divided.

602
00:31:50.520 --> 00:31:54.960
<v Speaker 2>Super divided and Nicolio Dirnandez, the academic that we spoke

603
00:31:55.000 --> 00:31:57.800
<v Speaker 2>to earlier who wrote that paper about Dora, she says

604
00:31:57.840 --> 00:32:01.200
<v Speaker 2>that there's a contrast between the sort of world that

605
00:32:01.240 --> 00:32:04.000
<v Speaker 2>was presented in Dora to kids, So this sort of

606
00:32:04.040 --> 00:32:06.960
<v Speaker 2>like borderless, open place where a young brown girl feels

607
00:32:07.000 --> 00:32:10.720
<v Speaker 2>really safe and welcome, and the reality of what the

608
00:32:10.840 --> 00:32:13.080
<v Speaker 2>US is right now. And she says that for her

609
00:32:13.080 --> 00:32:16.000
<v Speaker 2>students who grew up watching Dora, it's actually kind of

610
00:32:16.040 --> 00:32:18.200
<v Speaker 2>hard to stomach that contrast.

611
00:32:18.360 --> 00:32:20.800
<v Speaker 14>And so on the one hand, as you mentioned, Dora

612
00:32:20.880 --> 00:32:24.120
<v Speaker 14>represents this tremendous amount of freedom for young Latina girls,

613
00:32:24.320 --> 00:32:26.240
<v Speaker 14>and then you turn around and you sort of look at,

614
00:32:26.360 --> 00:32:29.680
<v Speaker 14>you know, the rise of the Karcial state via immigration

615
00:32:30.080 --> 00:32:34.400
<v Speaker 14>and anti Latino sentiment in the United States, and it

616
00:32:34.440 --> 00:32:38.080
<v Speaker 14>is confusing. I think it's very confusing. And we have

617
00:32:38.160 --> 00:32:41.640
<v Speaker 14>a young generation of latinx as they're calling themselves now,

618
00:32:41.800 --> 00:32:44.520
<v Speaker 14>kind of shaking their heads and saying, wait, Like, there

619
00:32:44.600 --> 00:32:47.160
<v Speaker 14>was this world that I imagined as a young person

620
00:32:47.600 --> 00:32:51.920
<v Speaker 14>that was about freedom, articulated in things like Dora the Explore,

621
00:32:52.200 --> 00:32:56.920
<v Speaker 14>and then I'm confronted instead with this highly policed existence

622
00:32:57.440 --> 00:32:59.960
<v Speaker 14>on the basis of my skin color or my act.

623
00:33:00.680 --> 00:33:03.920
<v Speaker 7>As we've been reporting the story, we've learned that cultural sensitivity.

624
00:33:04.080 --> 00:33:07.200
<v Speaker 7>It's something that's growing, and it's something that's becoming more

625
00:33:07.240 --> 00:33:10.440
<v Speaker 7>and more important in mass media, in films and TV shows.

626
00:33:10.600 --> 00:33:12.880
<v Speaker 2>Yeah, clearly we heard from the creators it was important

627
00:33:12.920 --> 00:33:15.280
<v Speaker 2>to them then, but now just like the conversation is

628
00:33:15.280 --> 00:33:16.160
<v Speaker 2>going to step further.

629
00:33:16.320 --> 00:33:18.520
<v Speaker 7>But at the same time, people are openly showing their

630
00:33:18.520 --> 00:33:20.720
<v Speaker 7>hate towards people of color, immigrant.

631
00:33:20.360 --> 00:33:23.120
<v Speaker 2>Communities, Latino specifically, and that's a question.

632
00:33:23.480 --> 00:33:25.280
<v Speaker 8>Nobody really knows what that means for us.

633
00:33:25.480 --> 00:33:27.520
<v Speaker 2>Yeah, like, why is it that at the same time

634
00:33:27.600 --> 00:33:30.960
<v Speaker 2>that there's sort of like a progression in representation, there's

635
00:33:31.000 --> 00:33:33.959
<v Speaker 2>also a progression in disdain for those communities that are

636
00:33:34.000 --> 00:33:36.320
<v Speaker 2>being represented. And I think that that just goes to

637
00:33:36.360 --> 00:33:39.600
<v Speaker 2>show that the values that Dora first tried to teach kids,

638
00:33:39.800 --> 00:33:48.280
<v Speaker 2>those are still really relevant. It's twenty years later and

639
00:33:48.320 --> 00:33:49.840
<v Speaker 2>her message hasn't changed.

640
00:33:57.880 --> 00:34:02.560
<v Speaker 7>On a final note, Antonia, Yah, we did it, naythmos.

641
00:34:12.160 --> 00:34:15.200
<v Speaker 1>This episode originally aired in twenty nineteen and was produced

642
00:34:15.200 --> 00:34:19.640
<v Speaker 1>by Janie Jamoca and Antonio Srijuido. The Latino USA team

643
00:34:19.640 --> 00:34:24.360
<v Speaker 1>includes Andrea Lopez Crusado, Marta Martinez, Daisy Contreres, Mike Sargent,

644
00:34:24.480 --> 00:34:30.520
<v Speaker 1>Victoria Strada, Rinaldo Leanos, Junior Alejandra Sarrasad, Patricia Sulbran and Julia.

645
00:34:30.320 --> 00:34:31.840
<v Speaker 4>Rocha, with help from raoulu Perees.

646
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<v Speaker 1>Our editorial director is Fernande Santos. Our director of Engineering

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<v Speaker 1>is Stephanie Lobo. Our senior engineer is Julia Caruso. Our

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<v Speaker 1>associate engineers are Gabriel Obias and jj Carubin. Our marketing

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<v Speaker 1>manager is Luis Luna. Our New York Women's Foundation Fellow

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<v Speaker 1>is Elizabeth Lenthal Torris. Our theme music was composed by

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<v Speaker 1>Zane Lubinos. I'm your host and executive producer Maria jo

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<v Speaker 1>Josa joined us and on our next episode. In the meantime,

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<v Speaker 1>look for us on social media, Act Let the USA,

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<v Speaker 1>and remember Don't Yes Joe.

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<v Speaker 11>Latino USA is made possible in part by the Annie E.

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<v Speaker 11>Casey Foundation, creates a brighter future for the nation's children

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<v Speaker 11>by strengthening families, building greater economic opportunity, and transforming communities.

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<v Speaker 11>The New York Women's Foundation funding women leaders that build

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<v Speaker 11>solutions in their communities, and celebrating thirty years of radical

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<v Speaker 11>generosity and funding for Latino usa is coverage of a

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<v Speaker 11>culture of health is made possible, in part by a

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<v Speaker 11>grant from the Robert Wood Johnson Foundation.

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<v Speaker 2>Breakdotology, break her down,