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VIDEOSCRIPTS FROM LIFE “NATIONAL GEOGRAPHIC LEARNING” STUDENT’S BOOK ADVANCED (SECOND
EDITION), WRITTEN BY PAUL DUMMET, JOHN HUGHES, HELEN STEPHENSON
UNIT 1F: ARTIC WISDOM
The mission of explore is to champion the selfless acts of others. Explore traveled to the artic, on a philanthropic, fact- finding mission to uncover the traditions of Inuit people Charlie : Hi, my name is Charlie. Welcome to explore. We’re in the Arctic. I’ve a great job. I travel to different places and try to find positive people doing good things on the planet. Then we help fund some of them. Now we’re doing something on the Arctic. Here’s a photograph of the mayor. Elisapee Sheutiapik : My name is Elisapee Sheutiapik. I’m the mayor of the city of Iqaluit. Iqaluit is the capital of a new territory called Nunavut, which became its own territory in ‘99. Charlie : As mayor, what are some of the changes you’d like to implement? Elisapee : Right now, I’m going through a long-term planning and visioning. I understand our elders have always been really good at planning. They’ve gone through and seen so much change in a very short time. Their words are very important to us. Even at a government level, they have a committee of elders. There’s an elders society where they meet every day and this is also another opportunity for us to go and seek advice. Charlie : So the phrase ‘Respect your elders’ is very alive and well in Iqaluit? Elisapee : Oh, very much! Charlie : When we went to the Iqaluit elders centre, it struck me that we were visiting the first settled generation. The parents of these men and women lived as nomadic hunters. Also, up until this generation, all of the Inuit traditions and history were passed down orally. Nothing had been written down, making their knowledge of the past invaluable. Charlie : This is great … great stuff. Great photography! Charlie : Has the role of the elder changed from when you were growing up? Jonah Kelly : Yes, I think so. It has changed. Elders would always play advisors to generation to generation. Advisors meaning that no one person makes a decision to survive. Everybody makes the decision to survive. One will be expert on the weather, one will be expert on environment, one will be expert on different kinds of animals. So in our society today, in our generation today, it’s hard to imagine how they were. Elisapee Sheutiapik : I believe that Inuits are very happy with the very basics and it’s about life experience that’s brought us to where we are today. So one thing my mother always said was never forget who you are. She went from living on the land to settling to a community and saw a lot of changes in a short time, but she reminded me that we will probably forever be changing, seeing change, but not to forget who we are. Charlie : Another reason this group of elders is so special is the disproportionate age groups of Iqaluit. Factors such as lower infant mortality and improved healthcare have allowed the population to grow but means more young people and fewer elders. All the more reason to now obtain their advice and unique perspective. Charlie : What is the key to living a happy life? Woman (words translated): Respect yourself and those around you. It’s important to have high self-esteem and encourage yourself and others to be positive. Charlie : How has life changed today versus when you grew up? Woman (words translated): It’s a challenge to pass on words of wisdom to the youth because the communication barrier. Some of them understand basic Inuktitut language, but not enough for me to converse with them. Woman : We have such a young population that our average age in Iqaluit, for example, is 23 years old. We had a culture where it was all verbal, and the youth they acknowledge that they have to hear these stories and they think it only helps them understand where their ancestors came from. Charlie : Tradition, culture history. The future can only be improved by knowing the past. Only two per cent of the entire population of Iqaluit is aged 65 or older. Responsibility now lies with today’s generation to record and pass on the wisdom of the ages.
UNIT 2F: CLIMBING YOSEMITE
Jimmy Chin : Ultimately, like, the process of climbing is very rewarding to people. It’s very difficult physically, but it’s also a very kind of cerebral sport. It’s slow and methodical and you have to think. You can’t move very well when you’re scared. You have to be able to control that fear and maintain your breathing because there’s very real consequences when you make mistakes. You can make a wrong move when you’re free soloing and you fall hundreds or thousands of feet and die. In college I found … I skied on the ski team and then I … found climbing, and so after college, you know, I went to the Bay area and I was looking for a job … trying to … you know, thinking that I would find something in the professional realm. But then, it just didn’t … I couldn’t get myself excited about it and so I kind of made up my mind … I had this great idea. And I was like: ‘Hey, Mom, Dad, I’m going to take a year off. I’m just going to get it out of my system. I’m going to climb and ski full- time. Don’t freak out – it’s really temporary. I just, I got to do it for me.’ So essentially their worst nightmare was realised when probably close to seven years later I was still living in the back of my car, just doing odds and ends for jobs, shovelling roofs, waiting tables. But really, you know, in love with what I was doing and where I was spending my time. I would wake up in the back of my Subaru in Yosemite or in the Eastern Sierras or in the Tetons and I would just think, like, you know, there’s no other place that I would rather be. I just felt so fortunate and every day I would, you know, I knew that since I wasn’t doing anything else, I was going to throw myself at climbing and skiing and really kind of taking myself as far as I could in that realm. So Yosemite was a very, kind of, influential home for me. I spent a lot of time there over the course of seven years. Made a lot of friends. I felt like I found my community there. People that were really passionate about what they were doing and every day, you know, you’d go out and climb and … I mean, really living the good life. After spending a lot of time there, you know, my aspirations changed, and I really wanted to go and take what I learned in Yosemite to some of the greater ranges of the world. And it was in Yosemite that I picked up a camera for the first time. I took a photo with a friend’s camera who wanted to be a photographer. I took a photo with it and he eventually tried to sell his photos and a client bought one photo and it happened to be the one that I took. So, and they paid me and at the time, you know, I could live on nothing forever, basically, and they paid five hundred dollars for this photo. Of course, now I know for the usages that they used it for, they should have paid me like many thousands of dollars, but at the time I didn’t know and I was like: ‘If I take one photo a month, I could do this forever,’ you know, and I was like: ‘OK, this is awesome’ so … I wish, I, you know, I’m sure some photographers probably cringe and they’re like: ‘God, he has no sense of creativity or the tradition of photography,’ but that was really how I started. I didn’t really have a sense of, like, wanting to be an artist or photographer in any other way than to continue what I was doing. So I took, you know, a camera and I started to head out into the world and really, you know, Yosemite is a special place for me because it launched me into this career. And, you know, over the course of the next ten, eleven, twelve years I … travelled the world and really got to shoot on some really insane assignments with some amazing people and some amazing locations. 3F: A STORY OF SOLUTIONS Sarah Curry : A lot of homes were burning down. The closest fire station was in Greensboro. So by the time the Greensboro fire department was running down the…like fifteen-minute drive to get to anyone’s house in Newbern, Alabama, not only the house probably already burned down, but then their fire insurance goes up. So they have to deal with that on top f being homeless and working on finding a new place to live. Andrew Freear : We got together as a community, as a group and said, “How can we do this?”. So their focus was the organization and we were able to help them with the building, ‘cos that’s what we do, right? Rural Studio is a partnership between Auburn University’s School of Architecture and the citizens of Hale Country, Alabama. Andrew Freear : The firehouse – that was the first public building in Newbern for 110 years. Patrick Braxton : The first time we got a call out and they, it was like, everybody, they were like, “For real?”. We had a grass fire. We treated it like a house fire. Everybody come, suit up, that was our first call. Interviewer : How many people do you typically need for a grass fire? Patrick Braxton : Two of three. Interviewer : How many people did you have with you?
So I went, two weeks, I guess … I … but I’d no, then there was no Internet or anything to find out anything and I didn’t know, I never heard of the Camino de Santiago, which is this old pilgrim’s route across the north of Spain that started in the eighth century, you know, the crusades and reconquests of Spain from the Moors, and … so I … It was written by a guy named Jack Hitt who … I didn’t know, I didn’t know anyone who wrote books, and so … I … It said he wrote for, I think Harper ’s magazine, or something. Anyway, I called up whatever magazine it was and I said: ‘Hi. I’m looking for Jack Hitt.’ ‘Hold on.’ And the guy: ‘Yeah, Jack Hitt.’ ‘Hi, Jack. My name’s Andrew McCarthy. I read your book. It was so cool.’ And he was like: ‘You read my book?’ And so I said: ‘Yeah,’ you know, so I said: ‘I want to go do that. How do I do it?’ And so he started to tell me and then he sort of told me and then I … ‘Thanks a lot’ and ‘Bye’ and I had some more questions and the next day, I called him up again. And he goes: ‘I can’t talk. Call me at home later.’ Well, that was a mistake. So he gave me his home phone number, so I called him that night and I go: ‘Listen, how do … so, how do … I need a backpack.’ So anyway, I called him pretty much every day for … And finally, his wife started answering the phone and: ‘Jack’s not in. Jack’s not in.’ And so I went to Spain and I walked across Spain for a month. And it was … yeah … it was just a transformative experience for me. I found it terrifying and I was lonely and miserable for most of it and then something happened, and I had, sort of, one of those experiences that you have, and it just … I went there to see if I could take care of myself, in a certain way, though I didn’t know that at the time. But then I sort of, I just discovered that I was taken care of, in a certain way. I mean, it wasn’t a religious experience, but it was some kind of experience that I had where I felt … unafraid in the world for the first time, on a deep level for the first time. I had the experience of being unafraid and I didn’t … I was … carried so much fear with me in the world all the time that I didn’t even know that I carried it until it was suddenly absent for a short time. And that changed my life. And that started me travelling, that experience. Yeah. Interviewer : That’s great. McCarthy : It was great. Yeah I’d love to do it again someday. With my son if he wants to do it or my daughter, but … But it’s one of those things: do you really want to go do those things again? … You know? I don’t know. But it was good yeah, it changed my life. Interviewer : How long did it take? McCarthy : A month. Interviewer : And you’re staying in little inns? McCarthy : You’re staying in little … um … uh … little refugios, little sort of pilgrim hostels. Which … you know, truth be told, at a certain point I was a gold card pilgrim. I just said ‘I can’t take this’. You know? Where’s the pensione? You know, I mean … and then I justified this by ‘I want to meet the locals; I don’t want to meet the Germans walking. I want to meet, you know, the people who live here, you know, and have that experience.’ And so … yeah half the time I slept with the sweaty pilgrims in, you know, with my backpack rolled out on the bunkbeds and half the time I checked into the little inns. You know. Interviewer : It works McCarthy : It was great, It was great. I much preferred sleeping at the inns. Yeah 6F: THE ART OF PARKOUR Interviewer : Various claims are made about who started the sport of parkour, but as this 1940s footage shows, stuntman John Ciampa must have one of the strongest. John Ciampa’s Mother : Go ahead, eat all of this spaghetti, son, so you get stronger. Come on. John Ciampa : All right. Interviewer : His name is John Ciampa, aged twenty and he’s looking for a job. References? Ability? Well, John’s quite an unusual guy. Here’s what he can do. He can climb a picket fence – no special shoes, no balancing pole, just nerve and an uncanny sense of balance. John has just reached draft age and he’s developing tactics that could make him a one-man commando squad. 20, 30, 40 feet – no wall to high nor too difficult for this lad. Watch him in slow motion. The modern craze for parkour started in the suburbs of Paris in the late 1980s before spreading to other cities all over the world, like here in China. Jin Yun Bao is one of a growing number of young city dwellers who have taken up the sport – of perhaps we should call it a form of self-expression – which involves navigating the urban landscape by moving on, off and around obstacles without using any other equipment. The beauty of parkour is that you just improvise with the environment around you: stairways, railings, walls and ledges – making it a sport that’s accessible to everyone. So perhaps it’s not surprising that such an affordable and creative form of exercise has caught on among groups of young people in areas of the world where opportunities are more limited, such as in the Gaza strip in Palestine.
Abed Allah Neshi : My name is Abed Allah Neshi, 22 years old from Khan Younis in southern Gaza Strip. Mohammed Jamal Jakeer : I am Mohammed Jamal Jakeer, 21, from Khan Younis in Southern Gaza Strip. We practise a sport called parkour, which means the art of moving from one part to another as fast and easily as possible by using physical strength and ability. This is the definition of the parkour that we’ve been practising for five years. Interviewer : With unemployment at over 40%, and 35% of the population living below the poverty line, opportunities are limited here. But there is no sense of apathy amongst these youngsters who are highly focused on staying fit and active and enjoy expressing themselves at the same time. Abed Allah Neshi : If I do not practise this sport, I feel something away from me, so I can’t leave it. I love it. It became part of my life. Abed Allah Neshi’s Mother : I am very proud of him. I encourage him and I’m happy for him, although he finds some obstacles in this game. His tooth was broken, once he came to me and his mouth was all like this and I was very sad. But now it’s fine. Here he is. I am proud of him, and I encourage him and his friends. Interviewer : Injuries – sprains, broken limbs or worse – are an ever-present risk. Landing awkwardly on concrete is a very different matter from landing on a rubber practice mat. So one of the first lesson there parkour artists learn is how to fall. Mohammed Jamal Jakeer : At the beginning, they opposed me a little bit, because it’s dangerous and it requires high abilities and skills. But after a period of time, I convinced them and I convinced all people around me about this sport. Thanks for our God because we reached this very good level in this sport. Interviewer : As well as giving them a sense of personal achievement, there is always the hope for practitioners of this cool sport that they may one day be asked to perform their art in a competition, a film even as professional stuntmen, like John Ciampa before them. 7F: TALKING DICTIONARIES David Harrison : It’s been estimated that of the 7,000 languages in the world, half of them are endangered and may disappear in this century. And this is happening for a variety of reasons, mostly because of social pressure and attitudes that devalue those small languages and tell people that they’re not worthwhile, they’re not modern enough to continue using. Some people see technology as a threat to the existence of small languages, but the really savvy small language communities are using technology to sustain themselves, to expand their reach, to broadcast themselves out through many different channels, whether it be social media, text messaging, to use technology as a way to survive. Under their Enduring Voices programme, which I co-direct, we’ve been building talking dictionaries. And the goal of the talking dictionaries is to give some very small languages a first-ever presence on the Internet. We’ve been working with a variety of communities around the world. One of them is the Siletz Dee-ni language, which is spoken in the state of Oregon. Siletz Dee-ni has probably one fluent speaker and a small handful of people who have some knowledge of the language. And we’ve been working with Bud Lane, who’s the … acknowledged as the fluent speaker. He has sat down and patiently recorded thousands and thousands of words in the language. And we bring these recordings back to my lab at Swarthmore College and my students work on them and create a talking dictionary. So, you can go to the Siletz Dee-ni talking dictionary, type in the word ‘salmon’ or the word ‘basket’ and you begin to see the very rich lexicon of terms that they have and you can start to appreciate some of the cultural knowledge. The Siletz nation is using this talking dictionary as a tool to revitalise the language as they are conducting language classes and helping the younger generation acquire some of the language through the talking dictionary. We’ve also built a talking dictionary for a language called Matukar Panau. This is a very small language spoken in Papua New Guinea by six hundred people. They all live in one village. They knew about the Internet before they had ever actually seen the Internet and when our National Geographic team visited the village a couple of years ago, they said: ‘We would like our language to be on the Internet.’ And this was really interesting because they hadn’t seen the Internet yet, they had heard about the Internet. And so with collaboration from the community, we built a talking dictionary for the language. The following year, they got electricity in the village and then eventually they got an Internet connection. And the very first time they went on the Internet, they were able to see and hear their own language spoken. And this sends a very powerful message that their language is just as good as any other, even though it may be very small and no-one has ever heard of it, it’s just as good as any other – it can exist in a high-tech medium. The very first talking dictionary I built was for the Tuvan language. Tuvan is spoken by nomadic people in Siberia. They’re migratory, they raise animals: goats and sheep and camels. They have a very rich lexicon pertaining to the natural world and the environment that they live in. I built the Tuvan talking dictionary and I also launched it as an iPhone application, so you can actually hear the Tuvan language, and many other languages in the future, I hope, on a smartphone platform.
Narrator : An emperor’s own calligraphy and imperial edicts written onto scrolls – a very small part of the total hoard Mr Chan spent 25 years and over 100 million dollars collecting. He’s part of a growing breed of wealthy buyers who scan the catalogues of auction houses around the world looking to repatriate pieces from China’s imperial past. Auctioneer : Any kind of Chinese activity, they’ll go after it and it will often be Chinese versus Chinese versus Chinese with all the European or American collectors being left behind, sometimes not even being able to raise their hand at the auction. Narrator : Fierce bidding is making prices soar. Last year, Christie’s most expensive Chinese lot was this pair of crane statues which sold for 16.7 million dollars. As well as dozens of dollar billionaires, China now counts almost one million millionaires, potential buyers with cash to spend who are emerging as a powerful force in the global art market. Some dealers say they’ve seen this all before. Dealer : The late 70s and 80s were the Japanese. Originally, they bought very important works of art which they had lost from their country – bought them back from the West, bought them back into Japan. But then soon after that, they still had an interest and a desire to buy, and the wealth, and they bought more affordable decorative pieces. Narrator : But for now it’s the big money that speaks loudest. Each year, record sales keep smashing the old. As auction houses prepare for their spring sales, they’ll be looking to meet the demands of clients who have one eye on a good investment and another on bringing a piece of their heritage home. 10F: INITIATION WITH ANTS Narrator : In the remote Amazonian village of Inhube, the moan of the horns means a gruelling initiation is about to begin. Several times a year, the Sateré-Mawé Indians hold a painful eleven-hour ritual in which boys as young as 12 must stick their hands into a pair of specially-made gloves, each one infested with a swarm of angry, stinging jungle carnivores – giant tropical bullet ants. No initiate can be considered a true Indian, a warrior, until he has worn the gloves not just once, but 20 times. Ted : People say that I don’t have the courage to do it. I have and I will do it. Narrator : The men face the prospect of getting stung even before the ritual starts, when they head off to capture the ants. A stab from this predator’s abdominal spear is 30 times worse than a bee sting. The tribe’s medicine man drugs the ants by soaking them in an herbal solution. But their stupor will only last long enough for them to be thrust, one by one, stinger first, into the gloves. According to the Sateré-Mawé legend, these menaces provide the perfect test of one’s worthiness to take on adult roles. In less than an hour, the ants are awake. Trapped in the woven mitt, they writhe in angry desperation. They’re ready to be inserted into the ceremonial gloves. One by one, each young man steps up to the sacred pole and submits his hands to the swarm. Their agony is unmistakeable. To help distract them, the medicine man leads them in a dance around the pole. To be seen as a true tribal warrior, each must endure the ants’ punishment for more than ten minutes. With each sting, the bullet ants’ neurotoxic venom attacks the nerves, causing paralysis and terrible pain, and this is only the beginning. Once the gloves are off, the stinging and burning will only grow more excruciating. Now, after watching the others suffer, Ted’s moment of truth has arrived. Unfazed, he keeps dancing while all around him the others succumb to the poison. Slowly, the neurotoxic venom is turning their hands into swollen, simmering, paralysed stumps. Finally, the gloves come off and Ted remains standing. Ted : My body feels like a motor that’s heating up. If you throw water here, a lot of smoke will come out. Narrator : It takes 24 hours for the toxins to dissipate completely. As the chief sees it, the ritual not only marks the initiate’s entrance into adulthood, it makes them better men. Chief : If you live your life without suffering anything, or without any kind of effort, it won’t be worth anything to you. Narrator : Despite his long hours of agony, Ted has promised the chief he will wear the gloves 19 more times, until he becomes a true adult. 11F: MADELINE THE ROBOT TIMER Narrator : Humans and robots are companion species on this planet. We need each other. But it’s also a scary thing. It replaces the need for some of what we do, of our own labour. In my mind, we need to change these systems, from replacing human labour to augmenting and expanding and incorporating humans into the process. The ideal scenario is to find the win- win: that what I do with a robot is exponentially better than what a person can do alone, or what a robot can do alone. What we see now are a global community of researches and designers and artists really challenging the basic premise of what these machines should be doing and can do. They can be basically reconfigured to put the human at the centre of that experience and interaction.
We are in the Boston dry docks at Autodesk’s brand-new build space. So this is the robot I’ve been working with for the past ten weeks. This is a ABB IRB-6700 and it’s a machine that can move up to seven meters per second; it can hold 300 kilograms, over 600 pounds. What we did here is we just gave this robot the ability to see us as we moved around the space around it. So we hooked up a bunch of cameras onto the ceiling and we create some software that lets the robot see basically the entire environment around it. And what we’re trying to show here is that we can actually, with really simple tweaks to this existing technology, we can make it responsive to people and make easy to use by people. So just through your natural gesture, the way you might communicate with another person, you can tell the robot to come a little closer or to come over here, to come pick something up. So a lot of what we’re doing here is really pushing the boundaries of what natural gesture can communicate with this machine. The goal is to make this experience with the robot as intuitive as possible and the fact that you’re getting constant feedback between what you’re doing and how the robot is responding – it lets you discover how to control and interact with it. Someone who’s never even seen this robot before can begin interacting with it and controlling it. For people that have used and seen industrial robots, they probably have never seen it without it doing something or having something on the end of it, a tool for spot-welding or a gripper. So I’m hoping that it’s a new experience for them too, to be able to see maybe more potentials for it because they’ve never seen a robot that’s moved quite like this, never seen it so open-ended. There are rally two sides of making this project and bringing this project to life. One half of it is the engineering and the logistics side of this, where you’re on the computer ten, twelve hours a day. And then, when everything comes together and you’re in the space with the robot and you just have a very raw experience with this animal-like machine responding to your every move, all the technical aspects sort of melt away into the background. It’s incredibly important to have opportunities and spaces to come in and experiment and misuse these existing technologies, because that’s how you find innovations around our current problems. By doing this, by open-sourcing these tools, and by making it available and by sharing the knowledge behind this, then together a community we keep on lowering those barriers and making it more accessible. And making it more exciting for people who don’t see themselves as traditional roboticists or computer scientists – people that just want to nerd out about robots. You don’t need to be an expert to do that; everyone has permission to do that. 12F: THREE YEARS AND 6,000 MILES ON A HORSE Tim Cope : When I was 21 years old, I found myself in the Gobi Desert and that’s when I first came across these amazing nomadic people. So, I came with this idea that I too could get up on a horse and ride all the way from Mongolia to the edge of the Steppe in Hungary. And to ride through Kazakhstan, southern Russia, Crimea, Ukraine, learning to look at the world through a nomad’s eyes. The only problem was I couldn0t ride a horse. I set off and within five days my world had come crashing down. The horses were stolen. Life on the Steppe without a horse is like being on the ocean without a yacht. You’re really in trouble. I kind of miraculously found them. And the guys who had my horses, they said, “Well, you must have tied them really badly. They came to me themselves.” But they taught me a very valuable lesson. And there’s this Mongol saying that “If you ever have to rush in life, rush slowly”. Why are you rushing? Why are you trying to leave this place? You just cursing yourself. And that was the turning point for me on this trip. Just to let go of my plans; to accept that humans don’t get to dictate. It’s the environment that decides when you can leave, when you can go and time’s more measured by the rise and fall of the sun, the seasons, by the availability of grass. I’d planned the journey to take eighteen months and it’s three and half years by the time I’d arrive on the Danube. By that stage I couldn’t live without horses. And there’s no turning back after a journey like that.
