Separate things at the same time . Yeah, i mean, its awkward for me, just because, you know, as a person, i hate to wear that, even though some people identify that. But its good to make work; i mean, thats what it comes down to. Its good to make work, and for me, its just as an artist not as a native person or an american person, but as an artist its important to make things that kind of explore, you know, who we are as americans, who i am as a native american, what tribalism means, and so thats all just, you know, part of it. Hinojosa you, though. The film that everybody has seen Smoke Signals was extraordinary, because it was the first feature film directed by a native american director that made it to national release. Had a huge following; in fact, you said that the film kind of went on and on and on. Yeah. Hinojosa . For a long time. What was the impact of Smoke Signals, now that you stand back and kind of look at it . You know, the funny thing is that myself and Sherman Alexie,
Time . Yeah, i mean, its awkward for me, just because, you know, as a person, i hate to wear that, even though some people identify that. But its good to make work; i mean, thats what it comes down to. Its good to make work, and for me, its just as an artist not as a native person or an american person, but as an artist its important to make things that kind of explore, you know, who we are as americans, who i am as a native american, what tribalism means, and so thats all just, you know, part of it. Hinojosa you, though. The film that everybody has seen Smoke Signals was extraordinary, because it was the first feature film directed by a native american director that made it to national release. Had a huge following; in fact, you said that the film kind of went on and on and on. Yeah. Hinojosa . For a long time. What was the impact of Smoke Signals, now that you stand back and kind of look at it . You know, the funny thing is that myself and Sherman Alexie, the writer of Smoke Signals,
Time . Yeah, i mean, its awkward for me, just because, you know, as a person, i hate to wear that, even though some people identify that. But its good to make work; i mean, thats what it comes down to. Its good to make work, and for me, its just as an artist not as a native person or an american person, but as an artist its important to make things that kind of explore, you know, who we are as americans, who i am as a native american, what tribalism means, and so thats all just, you know, part of it. Hinojosa you, though. The film that everybody has seen Smoke Signals was extraordinary, because it was the first feature film directed by a native american director that made it to national release. Had a huge following; in fact, you said that the film kind of went on and on and on. Yeah. Hinojosa . For a long time. What was the impact of Smoke Signals, now that you stand back and kind of look at it . You know, the funny thing is that myself and Sherman Alexie, the writer of Smoke Signals,
<b>American Experience PBS</b> presents a conversation with the filmmakers of our two new films <b>The Busing Battleground</b> and <b>The Harvest: Integrating Mississippi's Schools</b> exploring the struggle for school integration in the United States. The conversation will feature clips from both films and discussions with the filmmakers on the progress of educational equity and the work that remains to be done.<br/><br/>The event will be held at the <b>Jack Morton Auditorium</b> on the campus of the George Washington University, 805 21st St NW, Washington, DC 20052 and will be livestreamed on the <a href="https://www.youtube.com/@AmericanExperiencePBS">American Experience YouTube channel</a>.<br/><br/>Both <a href="https://www.pbs.org/wgbh/americanexperience/films/busing-battleground/"><b>The Busing Battleground </b></a>and <a href="
On September 12, 1974, police were stationed outside schools across Boston as Black and white students were bused for the first time between neighborhoods to comply with a federal court desegregation order. The cross-town busing was met with shocking violence, much of it directed at children: angry white protestors threw rocks at school buses carrying Black children and hurled racial epithets at the students as they walked into their new schools. The chaos and racial unrest would escalate and continue for years. Using eyewitness accounts, oral histories and news footage that hasn’t been seen in decades, The Busing Battleground pulls back the curtain on the volatile effort to end school segregation, detailing the decades-long struggle for educational equity that preceded the crisis. It illustrates how civil rights battles had to be fought across the North as well as the South and reckons with the class dimensions of the desegregation saga, exploring how the neighborhoods most impacted