¡Colores!; 505; Sharon Begay, Paul Barnes, Maria Hinojosa

Funding for COLORES was Frederick Hammersley Foundation >>THIS >>TO WALK IN BEAUTY - FAMILY'S STORY OF SHEEP AND THE SPIRITUAL HER FAMILY RECLAIMED STACIA SPRAGG- BRAUDE'S INTIMATE WINDOW INTO >>We went there and shot. Shot a >>EDITOR PAUL BARNES, WHO BURNS ON SOME OF PBS' MOST SHARES HOW EDITING IMPACTS CREATING THE VIETNAM WAR AND HIS >>It's time and again you of these great American have helped to develop and we have and the kind of think it's made me

>>JOURNALIST MARIA BORDERS THROUGH >>Because art does not beauty about art, IT'S ALL AHEAD ON COLORES! >>TO WALK IN BEAUTY SHARES CULTURAL IDENTITY. ♪ >>The Churro is kind It's a very strong >>What drew me to the It's about living for >>I'm just going to

I'm Shi eiya tabaaha baashchiin tsenjikini daashcheii I'm from the Edgewater Redhouse clan, and my they're called the paternal grandfathers are My grandfather just He says keep learning your Navajo, even if you have keep it inside yourself, you stop speaking Navajo, Navajo any longer. So, I was always afraid >>Sharon what is the sheep to you and to your >>Well, the churro was Spaniards brought in to

and the elders, they, you dreamt about this Somebody found a little knew they were coming, them we embraced them and In our language they're sheep, because they're a like, you know, seven And, they can- they're a they have the long fur wonderful for the rugs, surviving today. Some of them are like 300 Those are rugs that are >>How were they lost? >>They were killed off in the 1930s, <the 1930s?> Yes.

One of the reasons was, the, like the drought destroying the landscape, was hardly any more grass blaming the sheep. So, they came in and they and just shot them. And they didn't even They just, you know, And the people, you know, We get the meat. We get the wool, you know. We use it that way, sustenance that we have. And when that happened, much killed a lot of the you know, from They were happy when we brought They remembered the

My dad was really reintroducing, and he's know, those are the sheep growing up as a child. And, he said He said, you know, we because I don't know how back, but you know. And then right before truckload of them came He was happy, and we were we've gotten the sheep >>Stacia, how did you meet you to this story? >>You know, I met them it was for the first Sheep Sharon and her family As soon as I met them on a really blown away by the the family was able to

living, and see the bigger that the sheep embody people, and for And, I found myself >>Sharon what is the >>It's where I was raised, there, and my umbilical cord it And that's my connection matter where I go in return, and my He says, "Even if you here," he says, "I'm going going to come back here. I'm going to always find photography help explain >>Not so much explain,

hope, on a level where, dryness and hear the wind water on a daily basis. There's no running water. >>Is there a photo for you of this story? >>A lot of the pictures I later that I could see the the picture, and what One image that I really was during Heather's Her Kinaalda, she becomes air, and I just really is what this is all about. And it's not just about about bringing It's about saving >>I grew up in the Midwest in I didn't have any direct to my ancestors and what

experienced them from a connection to who generations that This wasn't just about This is what, you know, their great-great reconnect with their and, you know, what >>Sharon, how did the family to culture and >>Well, you know, at one in our family with some of our family members and by bringing the Churro family on that sheep. And also, because of because it's our everybody involved and it back together. And so, we still We're a very small family,

we help each other out. And for us, we need to be you know, go off the things, a lot of times I are afraid to go out and Churro, you know. Go out and you know know, get new knowledge. And my grandfather would be in the world, but your people." And that stuck in my mind, was kids, because he said, there's a whole line of that want to follow in to be a good role model. >>What has it meant to also give that to >>I think it really makes know, being a And there's another thing

She said, "This Mother and as a girl, as a woman, You're Mother Earth, so keep things moving." And it, and for the longest grandma and I am a grandma know (laughter). >>EDITOR PAUL BARNES TO LIFE AND THE ♪ >>Gustavus: What do

>>Barnes: I loved taking shot and figuring out how it dramatic and dynamic, make this raw footage that seems very dull, but then of it you can suddenly I get into this funny kind where the world disappears think of is what's in the absorbed in that, and it's What's the next shot? I should go to what's Do I need a sound effect Should I put in Is that the right image? And, the wheels in my But there's something all that, that, it's And when you see the end the scene and it's working the things that weren't sudden the directors through, the actors

through, the story through, it's >>Gustavus: How can the change certain stories? >>Barnes: First of all, like a blueprint, and then material. They're not finished works And in documentary it's Everything is so I mean, if you watch some Vietnam it's like some of were shooting, you know in a lot of dull stuff where behind a tree and you know nothing was happening. There's some distant and then every once in little scuffle, a little when you pull out all the a way to put all the suddenly pops and you can like they were really

you cut it. >>(From Film): One of the the war is that we're not planet, because We are a very It is in us. And, people talk a military turns, you know, killing machines and it's just >>Gustavus: When's a time helped tell the story >>Barnes: For example to which was, you know, the with Ken, you know pivot in the war. And we had to rely on difficult thing to do, but Gettysburg paintings. There's the Gettysburg at the park now, and we shot a lot of close-ups of battle, and I think the

that related a part of narrative that Jeff wrote, the battle sound effects of even the painting battle to life in an And he and I were both hard to make We didn't, we were We thought, we're not Battle of Gettysburg It worked like (From Film): Suddenly Cemetery Ridge and Little a great moan went up from We could not help hitting federal officer recalled. As many as 10 men at a single bursting shell. >>Gustavus: You have for

human experience to How important is it >>Barnes: Oh it's I think what Ken does describes it, he calls It's like, if you want make them feel it. So it's not just tell the it's explore the what was happening at the characters, with the bring the feeling out audience, and so that, you FDR having polio, I think the Roosevelt series. I mean, there are tons of you're going to feel like feel like you're in the feel like you're on the girl who got You're in the moment when officer shot the

It's all of those moments you in the gut and hit you affect the audience And, bringing history means more and people They remember it more and their consciousness, and I them into events that are going on in the world now. So, I think it's vital to >>Gustavus: As an editor with other people's at history, people's stories in the past. What has that taught you being a human being? >>Barnes: To be able to outs of these people's complexity of these the fraught politics in It's time and again, you of these great American

have helped to develop and we have and the kind of It's incredibly inspiring better human being I'm much more I'm much more empathetic. I'm much more willing to things and not immediately any issue, to want to point of view is, to I think all those things, so yeah it's been a great I'm, you know, I do feel like >>Gustavus: It was so nice editing process Thank you so much >>Barnes: Oh Thank you so much >>FOR JOURNALIST MARIA HINOJOSA >>Contreras: Let me ask

are borders a positive negative thing? What does it mean when >>Hinojosa: You know I don't live here. I wasn't raised here, but I'm always thinking about Where is this land? How did this come to be? And highly aware of the moved in a different be speaking Spanish and talking about these So, for me, at the same borders are something that feel very suffocating, at life has been spent So, I understand the it's, right now in 2018, gotten warped. And, I guess I just think

people who, because of they can't see each other. And how does that >>Contreras: So, you feel subjects of possibility >>Hinojosa: I don't think disappear so they have imagination and places that there's another thing which is the fear of not flexible and malleable and >>Contreras: Now, this Ultima," Rudolfo Anaya, Can literature help >>Hinojosa: Absolutely. If we don't have writers else is going to do it? And, you know "Bless remember my brother, And, I remember seeing He was older than me.

He was reading that book school, so a work like started this kind of literature and another way this area, it was not of the country. We were reading it all and like that book there helping us to So, what we need now is, We need more writers who their own voice and what there's so much shame I get this from my I'm a visiting scholar, shame and invisibility they're internalizing this that their stories And, of course, as a

professor what I'm telling document what you're, the having with your Mom and Write that down. It may not mean anything But that's, the written So, I'm telling all, of keeping a record >>Contreras: But can art cultures, whether it's the our multiple identities? Is it something that understanding between us? >>Hinojosa: I think that borders, so that, for work of Leafar Seyer, who's I can also love the work does not have borders. That's the That's the beauty It doesn't matter.

You can love Pablo Sometimes people think you're Latino. That must mean that you No, art is borderless and transformative So, I think that the has always been about having the possibility because art is really >>Contreras: Can you share done, and you've done stuck with you >>Hinojosa: You know, the say because it really is able to spend time with Supreme Court Justice. To just be in her presence worked her way up to being Rican woman in the entire the Supreme Court. But oftentimes it's the as being an other, who has So, right now we're about

our exclusive interview She's the undocumented was taken from a courtroom order of protection and courtroom by ICE agents, then put into It's important for us to So, you have human beings plain clothes agents and cars taken from courtrooms being in that courtroom. They actually put out an were not in Well actually a Latina there are cameras in the that they were there, that we got the interview with the most unsympathetic undocumented, deported, yet Estrella is fascinating people

And her, she is, I think of her voice. I realize that she is now and, it isn't the most who will say something >>Contreras: And what >>Hinojosa: So, what fact that I'm an American in Mexico, that I have voice, that I thank God and the people who are am able to tell these have my own company So, I'm training the journalists to own their So, if there was a fire ten years ago when the those numbers over the

has become a volcano and erupting out of passion, real hope for this part of no matter what what the president says. No matter how we're talked down to, no matter government officials use. We're here, we have been to going anywhere. No los vamos. So, I've got work to And I'm not slowing down. I'm following Dolores be there at 88 doing what conferences, talking, out dancing if I'm lucky. >>Funding for COLORES

Frederick Hammersley Foundation