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CONTENTS FOREWORD 8 FIVE DECADES ON SESAME STREET

INTRODUCTION 10 THE LONGEST STREET IN THE WORLD

1960s/70s

ENTERTAINMENT MEETS EDUCATION HOPE BEHIND BARS THE QUINTESSENTIAL AMERICAN SHOW?

1980s

A STREET FOR EVERYONE SAYING GOODBYE SEEN AND HEARD

Sesame Workshop is the nonprofit educational organization behind Sesame Street, the pioneering television show that has been reaching and teaching children since 1969. Today, Sesame Workshop is an innovative force for change, with a mission to help children everywhere grow smarter, stronger, and kinder. We’re present in more than 150 countries, serving vulnerable children through a wide range of media, formal education, and philanthropically funded social impact programs, each grounded in rigorous research and tailored to the needs and cultures of the communities we serve. For more information, please visit sesameworkshop.org ©2019 Sesame Workshop. Sesame Street® and associated characters, trademarks, and design elements are owned and licensed by Sesame Workshop. All Rights Reserved.

1990s

RESPECTING DIFFERENCES MEET KAMI

2000s

TACKLING TRAGEDY

WE ALL LIVE TOGETHER “ME LOVE BROCCOLI” WHEN NATURAL DISASTER STRIKES SUPPORTING MILITARY FAMILIES

2010s BIGGER DREAMS, BETTER FUTURES LIFE-SAVING HABITS SEE AMAZING IN ALL CHILDREN FAR FROM HOME COPING WITH BIG FEELINGS

Sesame Workshop is indebted to the many generous funders, partners, board members, donors, advocates, and government agencies around the world who have made our work possible over the past 50 years.

FOREWORD

FIVE DECADES ON SESAME STREET Half a century. 25 x 2. Brought to you by the numbers 5 and 0. However you say it, the numbers are amazing. This is the year Sesame Street turns 50. It was back in 1966 when I wrote my original report, The Potential Uses of Television in Preschool Education. That study was supported by Lloyd Morrisett, who went on two years later to join me in cofounding the Children’s Television Workshop (CTW), which in 2000 was renamed Sesame Workshop.

From the beginning, Lloyd and I were both convinced that television — which was capturing the attention of children as nothing else was — had the power to educate as well as to entertain. In fact, it could do both at once. As we know, Sesame Street was an overnight sensation. But even with our early success, none of us could have predicted the sort of impact it would go on to make, and is still making, 50 years later. We’ve collaborated with countless extraordinary people to help hundreds of millions of children, wherever those children are and whatever their needs may be. Thanks in large part to the generosity of our philanthropic supporters, we’ve been able to help deliver groundbreaking educational projects across the United States and around the world –– from Afghanistan to Australia; Brazil to Bangladesh.

We couldn’t have done it without help from our original funders: the Carnegie Corporation of New York, the Ford Foundation, and the U.S. Department of Education. Their support has been a testament to the audacious power of philanthropy.

As President Obama, the first U.S. President to grow up watching Sesame Street, remarked, “Sesame Street has — over the course of four decades — managed to remain at once relevant in changing times and timeless in the values that it instills in our children. There are many adults that could stand to learn the lessons that Sesame Street offers.”

And we couldn’t have done it without the distribution and reach of PBS, partners for 50 years in bringing all children early and equal access to education, regardless of their financial circumstances.

And with your help, we’ll be here offering those timeless lessons for another 50 years, helping children everywhere grow smarter, stronger, and kinder.

Jim Henson’s design for Big Bird. – 1969

JOAN GANZ COONEY Cofounder Sesame Workshop

INTRODUCTION

THE LONGEST STREET IN THE WORLD Sesame Street began as a domestic television show with a mission. Fifty years later, Sesame Workshop is a mission-driven, global nonprofit organization that operates across every media platform and delivers targeted social impact programs to many of the world’s most vulnerable children. Today, we are the world’s largest informal educator, reaching more than 150 million children across more than 150 countries. Sesame Street literally circles the globe.

There has never been a greater need for the work that Sesame does or the values it espouses. History will judge these times of inequality and intolerance. We intend to lead and make a difference as makers of great content, researchers of the needs of children and their families, and instigators of others to join us and share our mission and our values.

Our mission is to help children everywhere grow smarter, stronger, and kinder. Our theory of change is time-tested: Early access to quality education matters enormously to the proper development of the mind; media and technology can deliver educational enrichment cost-efficiently and at large scale; and our Muppets model behaviors that can help change attitudes and cultural norms.

I think I speak for everyone at the Workshop when I say it is an honor to be a part of this iconic organization as we celebrate our golden anniversary. The Sesame family is one that never grows smaller — it contains the innumerable employees, partners, funders, fans, and furry, feathered friends who got us where we are today. May it ever continue to grow to include, educate, and entertain children around the world for generations to come.

Time and time again, Sesame Workshop has risen to the challenge of helping to nourish the minds and lift the hearts of the world’s young children. Whether fighting childhood obesity, intolerance, unsanitary health or hygiene behaviors, or the lack of resources available to young girls, Sesame has stood for respect, kindness, a sense of humor, and

equal access to education. And we have done it across Latin America, Europe, Africa, the Middle East, India, and Asia, in addition to our home here in the United States.

JEFFREY D. DUNN President and Chief Executive Officer Sesame Workshop

1960s/ 70s

1960s/70s

ENTERTAINMENT MEETS EDUCATION Could TV Help Children Learn and Thrive? At the end of the Sixties, a young public television producer named Joan Ganz Cooney had a crazy idea: What if TV could help children learn? It grew out of a dinner party she hosted in 1966, at which the guests discussed their children’s love of TV. One of them, Lloyd Morrisett, described how his 3-year-old daughter, Sarah, would sit in front of the test pattern at 6:30 on Sunday mornings, before programming started at 7:00. Joan was fascinated. She knew Lloyd’s story wasn’t unique. Across America, in homes rich and poor, millions of children were glued to the box. And in that fact, Joan saw potential. Only two years prior, President Lyndon B. Johnson had launched his “War on Poverty,” vowing to close the large educational gap between the rich and the poor. It was the perfect time for big, bold ideas in education. Joan soon published a report, The Potential Uses of Television in Preschool

Education.1 It was a blueprint for a new kind of show — one that brought together education and entertainment. Earlier in the decade, the Federal Communications Commission chairman had famously referred to television as a “vast wasteland.” Joan saw something else: a way to narrow the educational gap by giving preschoolers from more deprived backgrounds some of the same advantages enjoyed by their middle-class peers.

his iconic Muppets, as well as Jon Stone and Frank Oz, two visionaries who helped shape the show in its early days.

They set about creating something that was different from any show that came before it.

In November 1969, the first episode of Sesame Street aired on Public Broadcasting Service (PBS) stations across the country — where it has been airing continuously ever since. The Children’s Television Workshop was on its way. To make this new kind of TV show happen, Joan assembled a formidable group of people. There was Lloyd Morrisett, an educational psychologist and vice president at the Carnegie Corporation of New York, who helped secure funding. There was Dave Connell, the executive producer of the successful Captain Kangaroo television show. There was Jim Henson, who brought with him

President Lyndon B. Johnson speaks to students who benefited from his War on Poverty Head Start program. Public School 192, Harlem, N.Y. – 1968

1960s/70s For one thing, there was the setting. Sesame Street is an urban street, “really funky and down-to-earth,” as Stone put it. In other words, it was just like the streets on which many of its viewers lived. A similar philosophy extended to the cast. “I wanted to see a multiracial cast and both sexes on the show,” Joan explained. She was adamant that young viewers of all backgrounds would see people on the show who looked like them — a bold idea just a year after Martin Luther King Jr.’s assassination. Two African American actors, Loretta Long (Susan Robinson) and Matt Robinson (Gordon Robinson), were part of the original cast, and the first Hispanic cast member, Sonia Manzano (Maria Figueroa Rodriguez), joined in 1971. From the start, we also welcomed children with disabilities. Even before anyone spoke, Sesame Street projected an important message of inclusion.

A group of children in a daycare center enjoying an early episode of Sesame Street. Sessions such as this helped researchers understand the best ways to teach children through television.

And then there was the action: a heady mix of animations, songs, and real human stories. Celebrity cameos and parodies

were included with a deliberate intention to appeal to adults, as we believed learning would be deeper if an adult were watching with a child. Segments about letters and numbers were styled after commercials, breaking up the main action. The cast of humans and Muppets were lighthearted one moment, then turned to a serious topic the next. The show, which embraced a whole-child curriculum, taught academic basics plus the socioemotional skills every child needs to thrive. The show was eclectic. It was unusual. And children and adults alike quickly fell in love with it. An early challenge came in 1970 when Mississippi’s State Commission for Educational Television voted to ban the show due to its diverse cast. It was a sad moment, but we knew we were on the right side of history. And, just 22 days later, the ban was overturned. Within a decade, 9 million American children under the age of 6 were watching Sesame Street daily.2 This revolutionary show had changed television forever.

– 1970

1960s/70s

HOPE BEHIND BARS Helping Children and Incarcerated Parents Stay Close In 1975, Sesame Street arrived in prisons across the country. The goal: to bring families together and help inmates escape the cycle of recidivism. From the very start, Sesame Street wasn’t afraid to tackle big social issues. That became clear in 1975 when we launched our Prison Project. It was our first move from the screen to real life. The Attica prison riot of 1971 had led to a national conversation about prisoner rights and racial inequality. It sparked major reforms to treatment and rehabilitation models in the prison system. At CTW, we were beginning to highlight issues concerning prisoners and their families — making connections that few others were able to do. Studies of recidivism among prisoners showed that those who lost touch with their families while inside were more likely to be violent and more likely to return to prison after their release.

Children were often nervous about visiting parents in prison. Families and caregivers worried that seeing an incarcerated parent — or just being in prison in general — could do a child more harm than good. That made separation almost inevitable for many families. The trouble was, these children were still children. They missed Mom or Dad and didn’t understand why things had changed. All they wanted to do was play and spend time with their parents. And their parents, of course, felt exactly the same. So we decided to help. In 1975, CTW established a series of children’s centers in prisons across the country, complete with toys, books, and child-size furniture. It was the first time inmates were given a way to socialize with their children and form better relationships. It was a revelation. And there was more. As well as spending time with their own children, inmates

As part of our Prison Project, inmates were trained as tutors to teach visiting children. Here, a group watch Sesame Street together. Metropolitan Correction Center, N.Y. – 1975

1960s/70s

THE QUINTESSENTIAL AMERICAN SHOW? Our First International Coproductions Take Shape could apply to be tutors — an invaluable experience for children and inmates alike. When they were released, many of the tutors went on to work with children as counselors. After establishing the centers, we handed control over to community, religious, and medical groups, who kept them running for many years. The then-director of the Federal Bureau of Prisons said that the program “help[ed] strengthen family ties, which our experience shows us is one of the most important factors in an inmate’s successful readjustment into society.” In 2013, we renewed our efforts on this issue, launching our Little Children, Big Challenges program. This included a new set of resources — videos, activities, and handouts offering advice and encouragement, and games to play when visiting Mom or Dad in prison — to help young children and their families stay connected. Fostering these kinds of bonds benefits everyone. After the launch of the original

Prison Project, we received letters of thanks from many prisoners. The positive impact was clear. As one prisoner put it, “The children enjoy the program very much, and speaking for myself, I know I enjoy it twice as much, just observing the interest and happiness shown in a child’s face during the hours with us.”3

Our Prison Project established children’s centers in prisons across the country, helping maintain and strengthen ties between inmates and their families. Sesame Street Goes To Prison materials – Published 1975

Sesame Street was originally created for children in the United States. As our popularity grew, people around the world saw that this new way of reaching preschoolers — mixing education with a healthy dose of fun — could help children in their countries, too. Soon, they were approaching us for help in creating local versions of the show. This came as a shock to some of the Workshop team, including Joan Ganz Cooney herself. She said, “I thought we were creating the quintessential American television show — hip, on a brownstone in Harlem. I couldn’t imagine that a foreign country would be interested. But they were, immediately, and wanted their own street... along with the preschool education and the Muppets.” To be successful, each show would need to be a local coproduction, not a reproduction. Working hand in hand

with local educators, writers, artists, producers, and researchers, we began to create new versions of Sesame Street tailored to meet the specific needs of children, using their language and based on their own culture. Doing things this way meant these children could relate to their version of Sesame Street as strongly as their American counterparts did. One of the first coproductions was Vila Sésamo, a Portuguese-language Sesame Street created in Brazil in 1972. That same year, we launched a Spanish-language version, Plaza Sésamo, in Mexico. Plaza Sésamo is one of our longest-running and most successful coproductions. It’s also a good example of our partnership model in action. We needed a clear-cut educational plan to make sure Plaza Sésamo addressed the specific needs of Latin American preschoolers. A team of producers, writers, and media and education experts from around the region sat down with staff from the U.S. version of Sesame Street.

1960s/70s Together, they created the first curriculum for the show, focusing on early literacy and numeracy skills. Season 1 introduced local Muppets Abelardo (a soft-spoken orange and yellow crocodile) and Paco (a grumpy, green parrot), along with a human cast. On the show, the Sésamo neighbors

gathered in an open town plaza, instead of on a street. This felt like a more authentic locale for Latin American audiences. The show’s first two seasons were extremely well received. In fact, they had the highest ratings of any TV show ever broadcast in Mexico.4

It didn’t stop there. Series in Canada and Germany followed in the early 1970s. And in the years since, many more have been created. Each coproduction has the spirit and ethos of Sesame Street, but it’s always firmly grounded in local culture. Today, we reach 150 million children every day in more than 150 countries.5 We had never anticipated such global success. Some of the international coproductions that have made the most powerful difference were born out of conflict. They have served as a way to help communities heal, such as in Israel and Palestine in the wake of the 1993 and 1995 peace agreements known as the Oslo Accords. Local coproduction Rechov Sumsum / Shara’a Simsim focused on “humanizing the other” — helping children to look past stereotypes and respect one another.

Cast, crew, and Muppets after a long day on the set. In the early 70s, word of Sesame Street’s success was beginning to spread around the world. Sesame Street set – 1970

We call this “Muppet Diplomacy”: the capacity for Sesame Street to bring children of different backgrounds together, even in the most challenging of circumstances.

Plaza Sésamo, our first coproduction, premiered in 1972. It featured two new Muppets: Abelardo, a soft-spoken orange and yellow crocodile, and Paco, a grumpy green parrot. Plaza Sésamo set – 1972

1980s

A STREET FOR EVERYONE Reaching Out to Communities in Need Over the years, we’ve made a concerted effort to address the unmet needs of young children, wherever they are. Our community outreach began with our Prison Project and soon expanded to health and safety topics, such as teaching children about the risks of fire. Sesame Street started out on TV, but reaching children directly in their communities was always an essential part of our model. By communicating with families in new and creative ways and going out to meet them wherever they were, we could address specific needs in an even more direct and impactful way. In February 1979, we began researching how Sesame Street could deliver simple safety messages to preschoolers. We looked into a range of topics from traffic safety to preventing poisoning in the home. Burn prevention and fire safety

emerged as the areas where we could have the biggest impact. The challenge was to deliver these messages in a way that wasn’t too frightening and didn’t inadvertently model dangerous behaviors (such as setting fire to things, or picking up hot pans). This effort began with our eleventh season, which aired in 1979–80. In the episodes, we promoted simple, memorable messages, such as the fact that fire is hot and that children should go toward firefighters, not run away from them.

Take asthma, for example. For children under the age of 5, asthma was one of the most common causes of visits to the emergency room. We helped families put together asthma management teams

so children could access help for their asthma wherever they were throughout the day. We showed that, with the right preparation, children with asthma can lead healthy, active lives.

To bring these messages home, we worked with various fire departments, arranging for firefighters to visit young children in preschools and community programs. The Sesame Street Fire Safety Program materials are still used today. And fire safety was just the start. Throughout the 1980s, we launched a range of outreach programs, covering the issues affecting young children most.

In 1979, we used a $10,000 grant to study the best ways of incorporating fire safety messages into children’s television. The results informed our eleventh season and helped us develop educational materials that are still in use today. Fire Safety on Television for Preschoolers – Published 1979

1980s

Awareness of the dangers of lead was another important issue. Young children in particular were at risk of exposure to lead-based paint. In public housing communities, the risks were even higher. And often, children were afraid of being tested. We were there to offer reassurance — as well as vital education — for all members of the family. Today, we’re building on this work with new programs that reach even more children all over the world. Consider our road-safety campaigns. In 2011, Grover became a road safety ambassador as part of the United Nations’ Decade of Action for Road Safety. We created three public

service announcements for children in Africa, Asia, Europe, Latin America, and the Middle East. We’ve updated these programs and created new ones as part of Sesame Street in Communities, our domestic initiative that offers resources, support, and strategies to community programs that help children and families in need. This work doesn’t stop, because the world in which young children live is always changing. That’s why we are always looking at the most pressing issues affecting children, to see where we can help.

Grover entertains children at the Estrada Courts housing project in Los Angeles, as part one of our Community Education Services outreach programs. Los Angeles, California – 1978

1980s

SAYING GOODBYE How to Help a Child Understand Death In 1983, we helped millions of American children say goodbye to Mr. Hooper — a first for children’s TV. Mr. Hooper was one of the first human characters on Sesame Street. At the time, young viewers recognized him more strongly than the rest of the cast. In the beginning, the store owner was portrayed as a somewhat curmudgeonly character. But over the years, he softened and came to epitomize the spirit of the show. So when Will Lee, the actor who played Mr. Hooper, died suddenly of a heart attack in late 1982, one thing was certain: Sesame Street would never be the same. The problem was how to handle this loss. Should another actor take his place? Or should we write Mr. Hooper neatly out of the show?

Both options felt dishonest and would have shortchanged the millions of children for whom Mr. Hooper was a part of daily life. The obvious temptation was to avoid the subject. But every child will encounter death eventually and will need to know how to deal with it. We wanted to honor our friend by helping our young viewers understand and process their feelings. So instead of sugarcoating Mr. Hooper’s death, we decided to tell the truth in a simple, honest, and straightforward way. To put together the Sesame Street special “Farewell, Mr. Hooper,” we called on child psychologists, religious leaders, and other professionals. This was new territory for a children’s show. So we wanted to make sure we got it right.

Mr. Hooper, played by Will Lee, at his newsstand on Sesame Street. When Lee died in 1982, Sesame Street said farewell in an episode that helped children understand and come to terms with death. Season 15 – 1983

1980s

1980s This was the Sesame Street model in action: rigorous planning, input from experts, and creativity from the program’s writers, producers, and directors. “Farewell, Mr. Hooper” aired on Thanksgiving Day 1983, a day we knew

most parents would be home to discuss the show with their children. In it, Big Bird draws portraits for all of his friends, including Mr. Hooper. He’s excited to give the picture to his friend, and the visibly moved cast has to explain to him that Mr. Hooper died and isn’t coming back.

“Why does it have to be this way?” Big Bird asks, angry and confused. Gordon’s response, “Because,” recalls the beginning of the episode, when Big Bird was walking around with his head between his legs “just because.” We deliberately chose this open-ended reply to give parents the opportunity to continue the conversation with their children, based on their own cultural or religious beliefs. The lesson is clear: Not everything has a reason. Unfair things happen. And it’s OK to be upset about that. But the cast also reassures Big Bird that they are there for him and that — while things won’t ever be the same — they’ll always have memories of their beloved neighbor. “We can remember him, and remember him, and remember him as much as we want to,” agrees Big Bird.

A storybook adapted from episode 1839’s script, designed to help children cope with death and loss. On the cover, Big Bird holds a drawing of his dear friend Mr. Hooper.

Millions of American children joined Big Bird in saying goodbye to their friend. Our researchers spoke to children before and after they watched the episode, to

learn as much as possible from this groundbreaking moment. They found that almost three-quarters of 4- and 5-year-olds understood that Mr. Hooper was dead, and 88% understood that Mr. Hooper was not coming back. Most of them also understood that Big Bird and the adults were sad.6 We also spoke to parents, who reported “overwhelmingly positive” reactions to the show. Half of them said they had discussed death with their children afterward. Critically, there were no reports of negative reactions.7 The children met our honesty with acceptance. We’re still building on Mr. Hooper’s legacy today. When Families Grieve, our program targeted to both military families and the general public, supports millions of children who experience the death of a parent. That kind of loss will always be devastating, but we’re making sure that children have the support they need to deal with death and move forward in their lives.

I’ll Miss You, Mr. Hooper – Published 1984

1980s

SEEN AND HEARD Showing Children We Believe What They Tell Us In the wake of national headlines about child abuse, Mr. Snuffleupagus taught the cast of Sesame Street an important lesson: We should believe what children say. In the early 1980s, news programs such as 60 Minutes reported on the shocking prevalence of child abuse in homes and daycare centers across America. Highprofile cases in California, North Carolina, New Jersey, Massachusetts, Minnesota, and other states led to widespread fear. Worryingly, reports emerged that some children suffering abuse had told their parents, but their parents hadn’t believed them. The stories had a big impact on everyone at Sesame Street — so much so, that we decided to change how one of our most popular characters was portrayed.

Snuffy (full name Aloysius Snuffleupagus) had appeared on Sesame Street since 1971. He was the biggest Muppet of all, even bigger than Big Bird — but only Big Bird ever saw him. The human cast believed he was Big Bird’s imaginary friend. There were regular near misses; in one episode, Snuffy joined a game of follow the leader at the back of the line but left before anyone noticed. Snuffy’s performer later commented, “He was my character; he was never imaginary. He was shy, he had bad timing, and the joke was he’s big, you can’t miss him, but adults being the way they are — preoccupied, going to work — they miss those little details.” To begin with, the joke seemed harmless. But when the 60 Minutes story broke, we realized that — whether Snuffy was imaginary or just unlucky — his portrayal could make problems like this worse.

The children watching Sesame Street knew Snuffy was real. They believed Big Bird. But if the grown-ups on the show didn’t believe him, then what was the point of speaking up? This certainly wasn’t the message we wanted to send our young viewers.

And so, in a memorable 1985 episode, Mr. Snuffleupagus finally came out of the shadows. After a few final near misses, the whole cast got to meet Big Bird’s best friend. At first, they were shocked, then later, delighted. So was Snuffy. And so was Big Bird.

In the early 1980s, a series of shocking reports such as this one emerged, revealing that some children suffering abuse had told their parents, but their parents hadn’t believed them. "Sex Abuse: The Child’s Word Isn’t Enough," New York Times Style – Published 1983

1980s

In the episode, Big Bird declares, “I told you all along that there was a Snuffleupagus… You never believed me!” The cast apologizes to him. “From now on, we’ll believe you whenever you tell us something,” Bob promises. Snuffy’s comment? “Perhaps we should get that in writing.” Dulcy Singer — one of Sesame Street’s executive producers at the time —

explained the thinking behind Snuffy’s big reveal. “We didn’t want to do anything to discourage children from going to their parents,” she said. “We wanted every child who watched the show to know that the things they say matter and will be listened to.” Now, everyone gets to hang out with Snuffy. But his best friend is still the bird who believed in him all along.

After years of not seeing him, and many near-misses, the adults of Sesame Street finally come face-to-face with Mr. Snuffleupagus, revealing that Big Bird had been telling the truth about his friend's existence all along. Season 17 – 1985

1990s

RESPECTING DIFFERENCES Seeking Common Ground in the Middle East The 1993 and 1995 Oslo Accords brought hope for peace in Israel and Palestine after centuries of conflict. We recognized that Sesame Street could play a role in helping transform how a generation saw “the other side.” A powerful new model for Muppet Diplomacy was born. In the 1980s, violence between Israel and various Palestinian groups intensified. A series of air strikes, bombings, and invasions fueled one another. The cycle of violence claimed thousands of lives. But the Oslo Accords, signed by Israel and the Palestinian Liberation Organization, promised a brighter future. It was a major milestone in the peace process, sending a rush of optimism through the region — and we seized the opportunity to act. We wanted to work with local educators and producers to help children from both sides understand what they had in common. It was a radical idea: using a

children’s TV show to promote mutual respect and understanding in a new generation. But we couldn’t shy away from the fact that Israeli and Palestinian children were experiencing very different realities. We wanted to give children hope, of course, but our show had to be credible or it wouldn’t ring true and the hope would feel false. Depicting one single multicultural street like the American Sesame Street wouldn’t work. Rechov Sumsum launched in Israel in 1982 and aired for 15 years. In 1998, our Israeli-Palestinian coproduction, Rechov Sumsum / Shara’a Simsim, debuted. On the show, the Israeli and Palestinian characters lived on separate streets but met up on friendly visits. On both streets, characters had vibrant conversations in both Hebrew and Arabic with subtitles provided in each language. By inviting each other onto their own streets, they were crossing boundaries that were all but impassable in real life.

President Clinton shares the moment Yitzhak Rabin and Yasir Arafat shake hands after signing the Middle East Peace Agreement. White House lawn, Washington, D.C. – 1993

1990s In one episode, an Israeli boy gets lost in a Palestinian neighborhood when his bike tire goes flat. “Oh no,” he says in Hebrew, “what am I to do?” Two furry and friendly Muppets poke their heads up and ask in Arabic, “What’s the matter? Can we help you?” Together they rebuild his bike. We worked with psychologists, writers, educators, and community leaders from both sides. Together we considered the cultural and political nuance of every line. The production process itself was a powerful model of collaboration.

After watching the show, Israeli children were more likely to suggest democratic solutions to conflict — such as talking to one another rather than fighting.8 Meanwhile, young Palestinian viewers had better skills in “cooperation” (18% higher), “sharing” (15% higher), and “helping others” (nearly 11% higher) compared with those who didn’t watch the show.9 Overall, after children watched the show for four months, the number of them who used positive adjectives to describe those on the other side of the conflict rose from 21% to 42%.10 Since launching Rechov Sumsum / Shara’a Simsim, we’ve built on this model of Muppet Diplomacy in other places emerging from conflict, including Kosovo, Northern Ireland, and the Syrian response region. And we’ll continue to use our unique position to speak to children in their words, helping them see what a shared future might look like.

Rechov Sumsum / Shara’a Simsim celebrates the things Israelis and Palestinians have in common. In this episode, Haneen, a Palestinian Muppet, realizes that Dafi, an Israeli Muppet, loves hummus and falafel just like she does.

The opening credits of Rechov Sumsum / Shara'a Simsim depict a sign with the Sesame Street names in Arabic and Hebrew. The cast and Muppets on the show were able to cross boundaries that were all but impassable in real life.

– 1998

Rechov Sumsum / Shara'a Simsim opening credits – 1998

1990s

MEET KAMI How a Feisty Muppet Tackled a Taboo In South Africa in the late 1990s and early 2000s, our groundbreaking Muppet Kami, who is HIV-positive, helped reduce the stigma surrounding HIV/AIDS. At that time, the HIV/AIDS epidemic was affecting almost every family in South Africa. Seven million people there lived with the disease, which had orphaned more than 2 million South African children.11 As if the physical and emotional effects weren’t serious enough, children also had to contend with a culture of stigma connected with HIV/AIDS. Widespread unwillingness to discuss the disease led to ignorance, fear, and misconceptions — all of which made the illness even more dangerous. Our local partners in the country thought Takalani Sesame — our South African coproduction — could help break down these barriers. Research showed that children in South Africa had very little

factual knowledge about HIV/AIDS. And the stigma made dealing with the situation even harder for parents and caregivers.

dealing with loss and grief, such as cherishing her “memory box” of mementos of her mom.

Most important of all, Kami was cheerful and open about discussing her condition. That was a powerful antidote to stigma

Working closely with South Africa’s Department of Basic Education, we developed the first ever HIV/AIDS curriculum for young children, focusing on three areas: knowledge, attitudes, and skills. From there, we built a range of TV and radio programs and outreach initiatives. Bringing it all home was Kami, the bright yellow, furry, 5-year-old Muppet from Takalani Sesame, who also happened to be HIV-positive and an AIDS orphan. Kami addressed a number of issues just by being who she is. We consciously made her female, as HIV disproportionately affects girls and young women. She’s asymptomatic, helping counter the perception that all HIV-positive people are sickly. And because Kami lost her mom to AIDS, she could model ways of

Former South African president Nelson Mandela hands out gifts to children who have HIV/AIDS at the Beautiful Gate Ministries HIV/AIDS Care Centre in Crossroads, Cape Town. Cape Town, South Africa

1990s and silence. And it allowed Kami to tell her young fans some basic facts. In one episode, Kami and her friends play the “train game,” linking up to chug along together. This directly contradicts the harmful misconception that touching HIV-positive people is risky. Research shows that Takalani Sesame creates real change. In one study, children who watched the show for 10 weeks were 4 times more likely to have some knowledge of the disease. And their attitude toward destigmatization improved fivefold over those who were not exposed to the show.12 Another study shows that parents and caregivers who watched the Takalani Sesame special “Talk to Me,” in which children and parents openly discussed HIV and AIDS, were twice as likely to talk with their children about HIV as those who didn’t.13 The show gave them the language they needed to break the barrier of silence.

Kami makes a surprise appearance on the streets of Soweto, Johannesburg. Kami’s name is derived from Kamogelo, meaning “acceptance” in Setswana.

Kami continued to foster an open, informed discussion about HIV/AIDS

in South Africa. In 2003, UNICEF acknowledged this by appointing Kami a global Champion for Children. But perhaps the most affecting recognition has come from South African children themselves, such as 9-year-old Tamryn, from the province of Free State, who lost both parents to AIDS. Kami helped Tamryn speak freely and comfortably about the disease, without fear of stigma. She says she learned this ease in part from her parents — but also from Takalani Sesame and Kami, whom she describes as her “favorite, favorite, favorite” character. Among the many lessons Tamryn says Kami has taught her, she specifically recalls “If someone is sad, you must cheer them up” and “Sometimes when you’re ill, you mustn’t keep it a secret; you must tell people.” With simple lessons such as these, Kami has played her part in saving lives and helping a whole nation work toward breaking the culture of silence around HIV/AIDS.

Soweto, South Africa

2000s

TACKLING TRAGEDY How Sesame Street Dealt with 9/11 After one of America’s darkest days, we helped preschoolers feel safe again. The events of September 11, 2001 were devastating to all Americans. The nation was confused about what had happened and terrified of what would come next. For weeks, turning on the TV meant bracing for waves of horrific images, rolling analysis, and talk of war. In the aftermath, parents faced a dilemma: How do you explain any of this to a child? We wanted to help. We knew different children comprehended what had happened in dramatically different ways. Some children knew that bad people had attacked America, others only that big buildings had fallen down. Some parents tried to shield their young children from the tragedy by turning off the TV. In New York, however, some children had experienced the event firsthand or knew victims personally.

We had a unique access into homes and a credibility among parents and children. The question was how to talk to all of these children at once. And, at a time when many parents were using children’s television as a safe haven, should we? We assembled a team of child psychologists and experts in emergency response to help us answer these questions. The solution we came up with was to use analogies. We wouldn’t talk about 9/11 directly. Instead, we would show children how to process the feelings that this kind of tragedy triggers. That way, whatever children knew or didn’t know, we could comfort them and help them move forward. One of the unfortunate outcomes from 9/11 that affected children was bullying. Children who looked Middle Eastern were being singled out by bullies because of the nationalities of the 9/11 attackers. Enter Gulliver the seagull, Big Bird’s pen pal, who pays him a visit on Sesame Street.

The World Trade Center burns over Manhattan after the 9/11 attacks. The tragedy had a devastating effect on the mental health of children in New York and beyond. Manhattan, N.Y., as seen from the Brooklyn-Queens Expressway — 2001

2000s When Gulliver refuses to play with Snuffy because he’s not a bird like him, Big Bird tells him, “If you can’t play with Snuffy, I won’t play with you.” Our message to preschoolers? That you can — and should — include others who are different. In another episode, a fire breaks out in the kitchen of Hooper’s Store. On-screen, we don’t see the fire directly, only the smoke pouring into the store. Maria ushers Elmo out the front door, modeling and reinforcing simple messages about what to do if there’s a fire: Tell a grown-up. Get low and go. Get out and stay out. Once the firefighters tackled the blaze, they tell Alan, Elmo, and Maria that it’s safe to go back inside — but Elmo refuses. He’s visibly shaking, traumatized by everything he’s seen and heard: the smoke, the flashing lights, the sirens, and the firefighters with their strange equipment. “Elmo doesn’t want to go back into Hooper’s Store ever again!” he shouts. That’s when Bill — a friendly FDNY firefighter — steps in. Elmo is wary, but as Bill patiently shows him what all his equipment is for, he gradually opens

up. Bill invites Elmo and Maria to the firehouse so they can meet his crew. It was an opportunity for us to tip our hats to the firefighters of New York and, at the same time, teach children that it’s OK to be scared — but that they should also know there are adults to protect and take care of them. Our response didn’t stop with these stories. Two more episodes dealt with other aspects of the tragedy, such as coping with loss. And together with the New York State Office of Mental Health, we created a set of evergreen resources, You Can Ask, to help parents and caregivers support children in stressful situations. The resources were produced in English and Spanish, as well as in Mandarin, to support families in New York City’s Chinatown. We’ve built on this work in our ongoing response to natural disasters and global tragedies, including Hurricane Katrina in 2005 and the Tōhoku earthquake and tsunami that devastated Japan in 2011. When disaster strikes, our goal remains the same: to help children feel safe again.

An FDNY firefighter comforts Elmo after a fire at Hooper’s Store. Broadcast in the wake of 9/11, the episode was designed to help children process trauma. Season 33 – 2002

2000s

WE ALL LIVE TOGETHER Finding Common Ground Across Ethnic Lines in Kosovo After conflict, reconciliation must start with children in order to have the best chance of success. In partnership with UNICEF, we used Muppet Diplomacy to bridge ethnic divides in postwar Kosovo. The 1998–99 Kosovo War tore apart the fabric of Kosovar society and crystallized longstanding ethnic hostilities. In its wake, there was widespread distrust and patchy access to education — as well as little hope for the future. Our work in Israel and Palestine had taught us that Sesame Street could help children find common ground, even in the most difficult circumstances. But the situation in Kosovo was complex. The war had created an atmosphere of bitter distrust between the country’s ethnic groups — and distrust of Americans, too, because of NATO’s role in the war. The challenge seemed insurmountable. But we had to try.

In 2004, we launched a new coproduction in two languages: Rruga Sesam in Albanian and Ulica Sezam in Serbian. They were the first educational media ever to be produced locally in Kosovo. As well as providing essential early learning, they carried a vital message: See our similarities rather than be blinded by our differences. In Kosovo at that time, children from different ethnicities led entirely separate lives. They went to separate schools, rode separate buses, and even had separate postal systems. Language created another practical barrier. Serbian children used the Cyrillic alphabet; Albanians used the Latin. Merely showing the other alphabet on-screen would be divisive. How could we teach literacy without written words? We worked with local partners to meet these challenges. This involved creating several films threaded together, each showing children from a different

Children running through the ravaged streets of Pristina, Kosovo, after the explosion of a NATO bomb. Pristina, Kosovo – 1999

2000s ethnicity — not just Serbian and Albanian, but Turkish, Bosnian, Croatian, Roma, and Gorani. As part of this effort, we created a visual dictionary: short clips of children from different groups holding objects and saying the objects’ names in their own language. The style was easy and rhythmic — using sounds that anyone could copy. Language had once divided Kosovo. Now, it could conquer differences and educate at the same time.

And it worked. Just seeing that other children did similar things, had similar frames of reference, played with their siblings, and spent time with their grandparents helped young Kosovans understand — and unlearn — the stereotypes that long and bitter histories had taught them. Four years after the launch, the difference we were making was clear. Our research showed that children who watched Rruga Sesam / Ulica Sezam were 74% more likely to demonstrate positive attitudes toward children from different ethnic backgrounds than those who didn’t.14

at least when they grow up to be parents, they’ll be more tolerant than their parents were, and the next generation will have a much better chance.”15

this time that the focus [of Sesame Tree] is on helping children learn about each other and the diverse society in which they live,” said McGuinness.

In 2008, we took our Muppet Diplomacy to another part of Europe emerging from conflict. Sesame Tree launched in Northern Ireland, with a similar mission to heal old divisions and promote respect, understanding, and sharing among children from different backgrounds.

Though perhaps it’s the show’s characters Hilda and Potto who put it better than anyone else.

It soon saw success. In November 2010, former opposition leaders Peter Robinson and Martin McGuinness stood together and spoke of their support for the show’s second season. “It is especially apt at

Apologizing as he removes the barrier that splits a tree in two, Potto concedes: “There are things on my side of the tree that you need… and there are things on your side of the tree that I need.” Hilda agrees. “That sounds like our answer.”

As one of our local partners said, “It would be irresponsible… not to start trying to do something with preschool children now, in the realm of peace building and tolerance. Even if Sesame can’t completely convert them, if you like, into being openly accepting of each other,

Rruga Sesam / Ulica Sezam live-action films show Kosovar-Albanian and Kosovar-Serbian children the many things they have in common. This scene shows a Kosovar-Albanian grandfather teaching his grandson how to make a traditional Kosovan flute. Rruga Sesam / Ulica Sezam – Season 2, 2006

2000s

“ME LOVE BROCCOLI” Could Cookie Monster Really Be an Advocate for Healthy Living? In the early 2000s, 1 in 3 children and adolescents in the United States were obese or overweight.16 We tackled the issue head-on, with a little help from a bunch of singing vegetables.

The materials were based on simple key messages that children would understand and remember, such as “Eat the colors of the rainbow,” “Get up and move your body,” and the concepts of “sometime foods” and “anytime foods.”

Once established, unhealthy behaviors are much harder to change. So developing healthy habits at a young age is crucial — an idea that Sesame Street is well positioned to promote.

In one episode, First Lady Michelle Obama dropped by Sesame Street to plant a vegetable garden with Elmo. She explained how foods children grow help them grow up big and strong, like her and Big Bird.

In 2010, a research study found that preschoolers were more likely to eat fruits and vegetables –– even broccoli –– when they were linked with their favorite characters from Sesame Street.17 Soon after, Healthy Habits for Life was born. We set out to use our Muppets to encourage children, their parents, and their caregivers to make healthier choices. Working with nutritional and preschool health experts, we developed a set of healthy habits resources.

It was important to connect with as many children as possible in as many ways as possible. Segments on Sesame Street were a great place to start. We then created public service announcements, online games, books, podcasts, and a traveling exhibit, and we developed partnerships with healthy-food brands.

By 2004, obesity levels in the United States had reached epidemic levels. Time magazine published a special issue on the crisis, featuring a section on how to speak to children. “Overcoming Obesity in America,” Time – 2004

It was also important to reach adults — the ultimate decision-makers. Our health-focused outreach kits for parents and childcare centers did just that. Parents said they were more likely to change their eating and feeding behaviors after being given the kit.18 And 98% of childcare providers reported that children either “improved” or “greatly improved” their food choices while taking part in the program.19 To date, nearly 6 million community programs, childcare centers,

and families have received one of our healthy habits kits.20 The concepts of “sometime foods” and “anytime foods” were particularly useful for helping grown-ups motivate children to make better choices. One mother said, “Now I can tell them why they can’t have that cookie… It’s a sometime food!” Even Cookie Monster came around to the idea. Poverty can make eating healthy even more challenging. That’s why we followed the success of Healthy Habits for Life with Food for Thought: Eating Well on a Budget. This effort was designed to give parents and caregivers with limited resources the confidence and tools to eat healthy. But more than this, the kits provided much-needed emotional support, helping families cope with the stigma and embarrassment resulting from hunger and food insecurity. We also created a primetime special for PBS, “Growing Hope Against Hunger”—

2000s

WHEN NATURAL DISASTER STRIKES The Sesame Street Neighborhood Faces a Crisis Together which was awarded our first Primetime Emmy — to make the general public aware of just how many young children in the United States were affected by hunger. In the years following our Healthy Habits for Life initiative, obesity rates among

2- to 5-year-old children dropped from 14% to 8%.21 We’re proud to have played a role in this achievement and will continue to help even more children lead fuller, richer, and longer lives by assisting them in the cultivation of healthy habits.

When you’re a 6-year-old child, natural disasters don’t make much sense. If your house is destroyed by a storm, you’re confused, upset, and angry — just as Big Bird was in our 5-episode series, “Hurricane on Sesame Street.”

There were three parts to our natural disaster program. We wanted to teach children how communities prepare for a storm, how to stay calm during one, and ways to deal with the aftermath.

We developed the concept for the series to help children deal with the complex emotions that can be triggered by natural disasters. We wanted to show that bad things do happen, but communities rally.

Big Bird, Elmo, and friends plant a vegetable garden with Michelle Obama. The First Lady appeared on the show to help promote our Healthy Habits for Life initiative.

“Hurricane on Sesame Street” has re-aired multiple times since it was first shown in 2001, for example in 2005, when Hurricane Katrina ravaged the U.S. Gulf Coast. More than a million people were displaced 22 in what FEMA called “the single most catastrophic natural disaster in U.S. history.”23 We showed it again in 2012, when Hurricane Sandy hit the Eastern United States.

Victims survey the devastation caused by Hurricane Katrina in the Pointe Cadet neighborhood of Biloxi, Mississippi. Biloxi, Miss. – 2006

Sesame Street set – 2009

On the show, we demonstrated how the Sesame Street neighborhood banded together before, during, and after a hurricane. Big Bird was at the center of the story. In one episode, he’s coming to terms with the fact that his nest has been destroyed by the storm. At first, he is visibly upset and overwhelmed, but his friends comfort him and work together to rebuild his nest, and he begins to feel better. This storyline was written for children who might find themselves in circumstances similar to Big Bird’s. We wanted to help them understand the situation and feel reassured that what’s broken can be mended, that things can get better. In the aftermath of Hurricane Katrina, we took the Muppets off-screen and into some of the worst-affected communities. Elmo, Rosita, and friends went on the road, visiting shelters to deliver words of comfort (and hugs) to thousands impacted by the disaster. We developed a suite of resources for families and caregivers on this topic.

We adapted our You Can Ask materials and created new ones with strategies for coping with hurricanes. These resources cover ways to explain a hurricane, ways to ease fear and stress, and ways to restore some degree of normalcy. They were distributed by PBS stations in the worst-hit areas. Being well-prepared for a storm is just as important as dealing with the aftermath. So we also created emergency preparation kits in response to the rising number of natural disasters. Sesame Street is here to help, whatever the disaster, whether it be a hurricane such as Katrina, a tragedy such as the 9/11 attacks, or others. Knowing the sheer number of children who are experiencing some form of trauma or childhood adversity, we’ve always believed we can do more to help. Or as Mr. Snuffleupagus put it, “Even though the hurricane blew away your house, it didn’t blow away your friends.”

Gordon comforts Big Bird after his nest is lost in a storm. The hurricane episodes, which first aired in 2001, were broadcast again in 2005 and 2012, after hurricanes Katrina and Sandy devastated the Gulf and East Coasts. Season 32 – 2001

2000s

SUPPORTING MILITARY FAMILIES Zeroing In on the Challenges Military Children Experience Since 2006, our Talk, Listen, Connect initiative has served as a lifeline for military families around the world, helping children deal with deployment, disability, and the loss of a parent. Imagine what it’s like. You’re a preschool child who suddenly finds out Mom or Dad is going away for a long time. You have no idea where she or he is going or for how long. How do you begin to deal with that situation? In the 2000s, the wars in Iraq and Afghanistan put 800,000 American children under the age of six in this exact situation.24 Somehow, they had to adapt to life without a parent. And when Mom or Dad came home, the aftereffects of deployment often meant that life was different and difficult to adjust to. And yet there were few, if any, resources for the youngest members of our military

families. These children needed our support. So in 2006, we launched Talk, Listen, Connect — a pioneering initiative to support military families across the U.S. We created practical advice for families coping with the inherent challenges of military life, and simple tools to help them stay connected during deployment. In the first PBS Primetime special, “Talk, Listen, Connect: Deployments,” Elmo’s dad, Louie, has to go away for a very long time. He helps Elmo cope with the situation by starting a new bedtime ritual. At the end of each day, they both say goodnight to the same moon. The episode also deals with the opposite challenge, as Elmo and Louie get used to being together after months of separation. The episode was invaluable for parents who wanted a way to discuss deployment with their children. Other resources focus on the trauma of war. In the storybook Something Small, Elmo’s cousin Jesse learns simple ways

A solider and his family spend precious moments together before another long tour in Iraq. Irving, Texas – 2008

2000s

to remember her father, who died in combat. In another special, “Talk, Listen, Connect: Changes,” Rosita is frightened by her father’s new wheelchair, until military children show her how they’ve gotten used to their parents’ visible and invisible injuries. So far, we have distributed more than 5 million outreach toolkits to military families across America.25 We’ve also created a website full of resources for military families and have aired multiple primetime TV specials, the last being “When Families Grieve.” And our Muppets have performed for nearly 200,000 people at USO events around the world.

That means we’ve reached almost every U.S. military family with young children. Moreover, 80% say that our program is helping them deal with the challenges of deployment.26 We’re honored to be giving back to the families who’ve given so much. Of course, there are more military families who need our help every day. And we’re busy addressing some of the biggest needs, like helping military families transition to civilian life and supporting caregivers of wounded, ill, or injured service members or veterans. Families who have put their lives on the line deserve the best possible support. We’re making sure they receive it.

Elmo with a young girl and boy, their mom, and their dad, who has an artificial hand. As well as explaining military deployment to children, Sesame Street helps military families deal with the physical and emotional changes that can follow. New York City – 2008

2010s

BIGGER DREAMS, BETTER FUTURES How Local Muppets Are Inspiring a Generation of Girls All children should have the right to pursue their dreams. Around the world, local coproductions of Sesame Street are breaking down the barriers that hold girls back. In Afghanistan under the Taliban, girls were prohibited from attending school and left with few opportunities. Even today, girls’ schools in rural areas are bombed, and schoolgirls have been attacked with acid. In 2015, the literacy rate for women remained 24%27 — one of the lowest in the world. Our coproduction, Baghch-e-Simsim, is broadcast on TV and radio in the nation’s two official languages, Pashto and Dari, and has become the audience favorite: at 81%, it has the highest awareness among children’s television shows in the country.28 In 2016, we introduced 6-year-old Zari, the first original Afghan Muppet. She proudly wears her school uniform, including the cream-colored hijab compulsory for schoolgirls. She’s confident

and smart, with big dreams for her future. In one episode, she asks a doctor what she must do to follow in his footsteps. Zari quickly became a role model for girls and boys alike — and in 2017, her younger brother Zeerak was introduced. His respect for Zari furthers the lessons of equity and empowerment, and we have seen the influence the show is having: One study showed that girls and boys who tune in to Baghch-e-Simsim score nearly 30% higher than their peers on attitudes of gender equity,29 and another revealed that parents who watch are more likely to send daughters to school.30 In India, where 40% of girls don’t go to secondary school,31 our coproduction Galli Galli Sim Sim features Chamki, a vibrant and curious 5-year-old girl Muppet who loves going to school, learning new things each day, and solving problems with her best friend Elmo. A bright and energetic role model, Chamki inspires young girls to pursue education and helps them see possibilities for themselves they may never have imagined.

Even in a post-Taliban era, many girls in Afghanistan lack access to the kind of quality education that can provide opportunities and open doors to a more equitable future. Kabul, Afghanistan – 2001

2010s Lola hails from Mexico and appears on Sésamo, our Latin American coproduction. A furry, pink, adventure-loving 4-year-old, she is a natural leader, always encouraging her friends to try new things. Lola appears alongside her friend Abby Cadabby in a segment called Pequeñas Aventureras, which inspires girls across Mexico and Latin America to engage in STEM learning and strengthens their sense of belonging in the worlds of science, technology, engineering, and math.

Girls’ education and gender equity is a theme that cuts across all of our local coproductions. Full of strong and inspiring female characters, our programs are designed to challenge gender stereotypes that prevent girls from following their dreams. Galli Galli Sim Sim, broadcast in Hindi and other regional languages on TV and radio since 2006, is helping to shift attitudes — as in the case of a father from a remote village who listens to the radio program with his family. He said, “According to what I hear from Galli Galli Sim Sim, my girls need to continue their education. For them to be able to study, this can help the country.”

In Bangladesh, Tuktuki is a central part of the Sisimpur cast. An insatiably curious young girl Muppet, Tuktuki represents a child from a low-income family who has just begun school. She demonstrates the potential for girls to excel — an important lesson in a country where more than half of the adults without basic literacy skills are women.32

Other girl Muppets are also changing perceptions and behaviors in important, even life-saving ways. Raya, our global health ambassador, teaches children and families in 11 countries about water, sanitation, and hygiene, helping them learn how to prevent disease with behaviors like hand-washing and drinking clean water. In South Africa, a 5-year-old HIV-positive Muppet named Kami helps children understand and talk about HIV/AIDS, helping to break down stereotypes and reduce stigma. Gender limits and inequity are social constructs: the best way to counter them long-term is to change attitudes of children and families. By modeling gender equity, educating girls and boys equally, and inspiring young girls to dream big, we can achieve measurable change. Thanks to our girl Muppets, more and more children around the world will have the chance to pursue their dreams and reach their full potential.

Chamki serves as a bright and energetic role model for girls across India, helping foster the belief that girls and boys should have equal opportunities. New Delhi, India - 2010

2010s

LIFE-SAVING HABITS Fighting Serious Illness through Education Poor sanitation poses a huge threat to children’s health. But with the help of Raya, our global health ambassador, we’re changing behaviors and saving lives. Pneumonia and diarrhea are the leading causes of death for children under the age of five. Together, they claim more lives than measles, AIDS, and malaria combined.33 These diseases — and others linked to water, sanitation, and hygiene (WASH) — are easy to prevent. Often, all it takes is one or two simple behavior changes. But getting the message out can be difficult, particularly in countries with large rural populations and poor education systems. And taboos around subjects such as toilet habits can make things even harder. With our global reach and with coproductions in many of the countries most affected, we saw an opportunity to

make a difference. Thanks to the generous support of the Bill & Melinda Gates Foundation, we launched our WASH initiative in Bangladesh, India, and Nigeria in 2014. In partnership with World Vision, our WASH UP! program expanded to Lebanon, Jordan, the Kurdish Region of Iraq, Afghanistan, Honduras, Zambia, and five other countries in sub-Saharan Africa. Global health is an enormous challenge. There are no easy answers. But with the expertise of our local partners and characters such as Raya, we’re making a positive difference. Raya is our first global health ambassador. She’s a Muppet on a mission, and she’s serious about sanitation. She likes the smell of clean hands. She’s also lots of fun and connects with young children in a way no adult could.

A child navigates a street flooded with contaminated water. Dhaka, Bangladesh – 2017

2010s That’s partly because of how Raya looks. With thoughtful input from three local teams, we were able to create a character who reflected a variety of cultures. We tied her hair back in a ponytail to suggest tidiness and cleanliness. Her sandals helped reinforce the importance of wearing footwear to the latrine. And we decided on green for her felt color, so as not to reflect one particular skin tone. We took care to choose the right shade of green: not one so dark it would evoke the Nigerian flag, or one so light she would appear sickly. Raya needed to look healthy and strong. Raya’s message is simple. She focuses on just a few behavior changes that massively reduce the risk of infection — from washing hands before meals to wearing sandals to the latrine. As well as being featured in teacher guides, Raya appears in storybooks, classroom games, and videos dubbed into 30 local languages. The approach is an extension of what we’ve always known at Sesame Street: a simple message, communicated in a fun way, can change the world.

Raya is doing just that. Children who participated in our WASH program in Nigeria were twice as likely to wash their hands after going to the toilet.34 And in Bangladesh, 49% more children wore sandals consistently when going to the bathroom than they did before the program.35 “The great thing about working with Raya is that kids love her. And that means that they’ll retain the messages they’ve learned from her,” said one of our partners rolling out the program.36 And when children learn healthy habits they often pass them on to the rest of their family. The health of entire households has been impacted by WASH UP!. One parent whose daughter participated in the program said: “I’ve learned a lot of things from Nyonga. She has taught me how you’re supposed to use the tippy tap [hand-washing station], and how you’re supposed to wash the hands.” As we work with local partners to bring WASH UP! to more countries and more children, Raya will continue saving lives with simple behavior changes. It’s amazing what one Muppet with a bar of soap can do.

Raya teaches a young girl how to use a ‘tippy tap’ to wash her hands. Tippy taps are used for hand sanitation in rural areas without running water. Dhaka, Bangladesh – 2015

2010s

SEE AMAZING IN ALL CHILDREN A New Friend Joins Sesame Street Sesame Street can be a lifeline for people with atypical needs. Julia, our first-ever Muppet with autism, helps children navigate the challenges autism can pose. She also helps to raise awareness and understanding. Diversity and inclusion were baked into Sesame Street from the start. Our goal was to represent and support those with different backgrounds and needs, and to foster respect and understanding. An early example is Jason Kingsley, who first came to Sesame Street in 1975 and went on to appear in more than 50 episodes. Jason — who still works as an actor today — has Down syndrome. His regular appearances on Sesame Street gave a voice to the Down syndrome community and dispelled many myths about the disorder.

Similarly, autism is widely misunderstood. Stereotypes are still treated as accurate, and parents continue to feel their children with autism are stigmatized. The 2010s saw a dramatic rise in the number of children recognized as having autism. Today, 1 in 59 American children is identified with autism spectrum disorder.37 In 2017, we introduced a new Muppet on Sesame Street: Julia, our first character with autism. Julia first appeared in the digital storybook We’re Amazing, 1, 2, 3!, which encouraged readers to “see amazing in all children.” We created this storybook to help dispel the stigma connected with autism. Families were so receptive to Julia that we quickly decided to bring her onto the show with an episode called “Meet Julia.”

Julia is an adorable 4-year-old Muppet who loves to play and learn. She’s very sensitive to loud noises and sometimes struggles with physical contact. When Julia is doing something she loves — such as painting — she often gets totally absorbed in it and doesn’t respond right away when people talk to her.

and accepting way. One mother told us how she used our book We’re Amazing, 1, 2, 3! to explain to her daughter that, like Julia, she had autism. Her daughter responded, “So I’m amazing too, right?” We worked with 14 autism organizations to create the See Amazing in All Children initiative. There were two objectives:

When Big Bird meets Julia for the first time, he doesn’t understand some of her behavior and thinks she doesn’t want to be his friend. Alan explains to Big Bird that Julia has autism and does things in a “Julia sort of way.” Abby adds, “You’re a bird, Elmo’s a monster, and I’m a fairy. We’re all different!” Big Bird understands that Julia does things differently, and soon the pair become good friends. The response to Julia from the autism community has been overwhelming. Parents tell us that, because of Julia, their children are now invited to more playdates; teachers report that their pupils play in a much more inclusive

Children with autism and their siblings meet and play with Julia at a get-together in Houston, Texas. – 2018

2010s

One was to create a resource for families of children with autism, to make everyday moments easier. And another was to destigmatize autism for the community at large. We wanted to create greater understanding and awareness of autism in order to increase empathy and inclusion. Since her debut, Julia has touched the hearts and lives of millions of children and families around the world. Our “Meet Julia” episode was warmly received by audiences in Japan, the United Kingdom, Mexico, Singapore,

and New Zealand — and the first international Julia Muppet was introduced in Japan, where she is the face of autism awareness initiatives and featured in a diversity and inclusion curriculum taught in public schools. Just as Sesame Street itself was almost immediately sought after in other countries, Julia is poised to become an internationally beloved character with the potential to raise awareness across the globe.

The impact of our autism initiative has been nothing short of amazing. For the children and their families who rarely see people like themselves on television, Julia is quietly changing the world. Houston, Texas – 2018

2010s

FAR FROM HOME Helping Refugee Children Learn, Build Resilience, and Thrive There are more displaced people around the world today than at any time since the end of World War II — and nearly half of them are children.38 Many refugees will spend their entire childhoods in exile. Yet less than 3% of humanitarian funding goes toward education in crisis contexts, and just a fraction of that is dedicated to early childhood.39 Given our mission and expertise, we knew we had an opportunity, and an obligation, to help. Refugee children face the kinds of traumatic experiences that can have lasting effects throughout their lives, including poor physical and mental health. And when so many children grow up without opportunities to thrive, society loses out too. This is the greatest humanitarian challenge of our time. To address it, we are leveraging the power of audacious philanthropy to transform the role of early education in the humanitarian landscape, starting

in the Syrian response region, and now expanding to Bangladesh. The civil war in Syria has left millions of children growing up amidst violence, neglect, and insecurity. Their lives have been uprooted, loved ones and homes have been lost. In Bangladesh, close to one million Rohingya people who fled violence and ethnic persecution in neighboring Myanmar now live in makeshift camp settlements.40

same hopes for the future as mothers and fathers everywhere. And yet children are remarkably resilient. If we reach them early, we can help them overcome the trauma of displacement. Research shows that nurturing care, including early learning and play-based interaction, is critical to mitigating the effects of trauma.41

But we know we can’t do it alone. That’s why we've teamed up with implementation partners on the ground. With historic support from the MacArthur Foundation and the LEGO Foundation, we’re working with the International Rescue Committee (IRC), BRAC, and others to bring hope and opportunity to a generation of refugee children.

Yet even in the most desperate circumstances, we see hope. Take 5-year-old Islam. She lives with her mother and younger brothers in a tented settlement outside of Mafraq, Jordan — virtually the only home she and her siblings have ever known. Islam attends an informal school and dreams of becoming a doctor when she grows up, so she can help people. Her mother believes only education will empower her children to create a better future for themselves. They have lost their homes, communities, and any sense of stability, but parents of displaced Syrian and Rohingya children — and so many others like them — have the

Record numbers of Syrian refugees have fled to safety in the northern part of Jordan. Za’atari refugee camp, Jordan – 2013 83

2010s

Mohammed, age 3, and Islam, age 5, play with Elmo in an informal tented settlement, the only home these children have ever known. Mafraq, Jordan – 2017

We’re reaching Rohingya children and families with powerful play-based learning. Cox's Bazar refugee settlement, Bangladesh – 2018

Together with the IRC, we’re rolling out the largest early childhood intervention in the history of humanitarian response. In 2017, our program was selected from over 1,900 applicants to receive a $100 million grant from the MacArthur Foundation. We’re using it to bring early learning and nurturing care to displaced children, as well as those in host communities, across Iraq, Jordan, Lebanon, and Syria. Through home visits and learning centers, and extended through a new local version of Sesame Street, our program will give millions of children resources to build resilience and surmount traumatic experiences.

learning to children in and around the massive refugee settlement at Cox’s Bazar. Sesame videos, storybooks, and games address the developmental needs of Rohingya children and their Bangladeshi neighbors, fostering engagement between children and caregivers and building resilience. And since many have no access to TV or mobile phones, we bring our engaging content directly to families through community viewings. We do this through animated and nonverbal formats, so that we can provide vital education for displaced children no matter where they live or what language they speak.

One of our original goals was to shine a light on the critical need for early learning in humanitarian settings. The MacArthur Foundation did just that, with the kind of audacious philanthropy that acts as a catalyst — not only bringing attention to the issue, but inspiring others to step up. The LEGO Foundation committed another landmark $100 million that enables us to advance this work, greatly expanding our ability to help young children and families.

As we bring joyful learning to bleak circumstances, we’ll help parents and caregivers use the power of play to aid their children’s learning and development, and highlight to the humanitarian community the proven value of early learning.

In Bangladesh, we’re working with partners like BRAC, the world’s largest development NGO, to bring play-based

And we hope this work is just the beginning. Our rigorous research will refine our project model and inform the humanitarian field. Thanks to the MacArthur Foundation and the LEGO Foundation, our model will help transform humanitarian response for displaced children wherever they may be.

2010s

COPING WITH BIG FEELINGS How Sesame Street Helps Children Handle Trauma A child’s early life can shape everything that follows. With our Sesame Street in Communities initiative, we’re helping children overcome traumatic experiences and grow up smarter, stronger, and kinder. Traumatic experiences come in all shapes and sizes. For some children, it’s living through abuse or neglect. For others, it’s losing a loved one or growing up in the kind of poverty that means basic needs such as food and shelter aren’t met. In the United States, almost half of children under the age of 18 have experienced some form of trauma — also known as an Adverse Childhood Experience (ACE).42 Such experiences can have a profound effect on a child’s development. Research has shown that ACEs can create chronic stress and hormonal imbalances, which affect brain development, learning, and long-term health.43 What happens in childhood shouldn’t define a person’s whole life. Children are

incredibly resilient, but the right support is critical for recovery. They need to learn ways to express big feelings, ways to understand the effects of trauma, and the means to feel safe and secure. Through Sesame Street in Communities, we’re arming adults with the skills and materials they need to offer better support to children, building on everything we’ve learned over the course of 50 years on Sesame Street. Our initiative includes bilingual videos, storybooks, games, and activities, all featuring our beloved Muppets. Together, they help children understand what they’ve been through and show them they aren’t alone. In one video, Elmo's dad talks with him about losing a loved one. In another, Grover learns how laughter can make a person feel better. Sesame Street in Communities deals with a huge range of topics such as grief, divorce, homelessness, and the incarceration of a parent. Basic literacy and numeracy resources are also provided as well as ones that help children maintain healthy habits.

Grover provides a little laughter where it's needed most. Houston, Texas – 2018

Each resource comes with how-to guides and information for parents, caregivers, and practitioners.

opportunities to thrive. Sesame Street in Communities is designed to help us continue to deliver on that goal.

But Sesame Street in Communities is more than a library of online resources. We work directly with service providers in every area of children’s well-being –– in health, child welfare, school, library, home visiting, and other community-based programs and settings –– to reach the children who need us most.

Thanks to the generous support of the Robert Wood Johnson Foundation, the Sesame Street in Communities initiative was established. We are now in several communities across the nation with the goal of expanding to 35 new communities, reaching 4.5 million children under the age of 6. Additionally, the subsequent establishment of the Joan Ganz Cooney Fund for Vulnerable Children, made possible by our founder Joan Ganz Cooney’s late husband, Peter G. Peterson, further supports the ongoing development of content and resources to address the needs of the most vulnerable children and families.

We first piloted Sesame Street in Communities in Kansas City, Missouri, where 25% of children live below the poverty level.44 We know such poverty can put children under incredible stress as families struggle to meet basic needs. So we’re working closely with families and community groups to nurture children through these challenges. From day one, Sesame Street was designed to give less-advantaged children greater

We’ve got 50 years of incredible work under our belts, and we’re proud of everything we’ve achieved. But we’re just getting started.

Sesame Street in Communities helps children find different ways to cope with traumatic experiences. Even something as simple as a big hug can help. Sesame Street set – 2017

CITATIONS

1 Cooney, J.G. (1967). The potential uses of television in preschool education. New York, NY: Children's Television Workshop. 2 Zill, N. (2001). Does Sesame Street enhance school readiness? Evidence from a national survey of children. In Fisch, S.M. & Truglio, R.T. (Eds.) "G" is for growing: Thirty years of research on children and Sesame Street. Mahwah, New Jersey: Lawrence Erlbaum Associates. 3 Davis, K. “Snake.” (1979, March 29). Scanned letter, Kirkland Correctional Institution.

8 Walden, T., Arafat, S.H., Yahia, G.H., Sandbank, A., Wertheim C., & Zimmerman, H. (2009). The contribution of initiated viewing of Rechov Sumsum to the social perceptions of kindergarten-aged children. Beit Berl, Israel: Beit Berl Academic College.

4 Gettas, G.J. (1994). The globalization of Sesame Street: A producer’s perspective. Educational Technology Research and Development, 4(38), 55–63.

9 Fluent Public Opinion & Market Research (2011). Shara’a Simsim impact assessment: Report of research findings. New York, NY: Fluent.

5 Sesame Workshop Ratings & Market Research / 2018 international census data. Target age children across the globe.

6,7 Truglio, R.T., Lovelace, V.O., Sequi, I. & Scheiner, S. (2001). The varied role of formative research: Case studies from 30 years. In Fisch, S.M. & Truglio, R.T. (Eds.) “G” is for growing: Thirty years of research on children and Sesame Street. Mahwah, New Jersey: Lawrence Erlbaum Associates, pp. 61–82.

10 Cole, C.F., Arafat, C., Tidhar, C., Tafesh, W.Z., Fox, N.A.,…Yung, F. (2003). The educational impact of Rechov Sumsum / Shara’a Simsim: A Sesame Street television series to promote respect and understanding among children living in Israel, the West Bank, and Gaza. International Journal of Behavioral Development, 27(5), 409–422.

11 UNAIDS (2015). HIV and AIDS estimates. Retrieved from http://www.unaids.org/ en/regionscountries/countries/ southafrica. 12 Khulisa Management Services (2005). Impact assessment of Takalani Sesame Season II programme. Johannesburg, South Africa. 13 Health and Development Africa (2005). Impact assessment of a new programming component on HIV/AIDS for Takalani Sesame. Johannesburg, South Africa. 14 Fluent Public Opinion & Market Research (2008). Assessment of Educational Impact of Rruga Sesam and Ulica Sezam in Kosovo: Report of findings. New York, NY: Fluent. 15 R. Fieth, former Head of Office, UNICEF Kosovo. 16 Ogden, C.L., Carroll, M.D., Kit, B.K. & Flegal, K.M. (2014). Prevalence of childhood and adult obesity in the United States, 2011– 2012. JAMA, 288(14), 806–814.

17 Kotler, J.A., Schiffman, J.M., & Hanson, K.G. (2012). The influence of media characters on children’s food choices. Journal of Health Communication: International Perspectives, 17, 886–898, Doi:10. 1080/10810730.2011.650822. 18 Ritchie, L.D., et al. (2010). Favorable impact of nutrition education on California WIC families. Journal of Nutrition Education and Behavior, 42(3), 2–10. 19 Andrews, D. and Buettner, C. (2009). Healthy habits for life: Child care resource kit evaluation report. Unpublished Report, KidPoint LLC. 20 Sesame Workshop project records, 2011. 21 Ogden C.L., et al. (2016). Trends in obesity prevalence among children and adolescents in the United States, 1988-1994 through 2013-2014. JAMA, 315(21), 2292–2299. 22 Plyer A. (2016). Facts for features: Katrina impact. The Data Center. Retrieved from https:// www.datacenterresearch.org/dataresources/katrina/facts-for-impact/.

23 CNN Library (2017). Hurricane Katrina statistics fast facts. CNN. Retrieved from https://edition.cnn. com/2013/08/23/us/hurricanekatrina-statistics-fast-facts/ index.html.

29 Glevum Associates (2013). An impact assessment of Baghch-e-Simsim: A report on findings from a pilot experimental study. Gloucester, MA: Glevum Associates.

24 Department of Defense, Office of the Deputy Assistant Secretary of Defense for Military Community and Family Policy (2016). 2016 Demographics report: Profile of the military community, p. 119. Washington, D.C.

30 Glevum International (2012). Focus group report: Sesame Street, p. 3. Gloucester, MA: Glevum Associates.

25 Sesame Workshop Talk, Listen, Connect, military families outreach toolkits distributed from October 2006 to September 2018. 26 Russell Research (2006). Findings from the Talk, Listen, Connect Kit Evaluation. 27 Central Intelligence Agency (2018). The World Factbook. Retrieved from https://www.cia. gov/library/publications/the-worldfactbook/geos/af.html. 28 Sesame Workshop Afghanistan research (2017). Parents with children ages 3 to 7; among children who watch TV.

31 "Literacy and Level of Education," Census of India Website, Office of the Registrar General. Retrieved from http:// censusindia.gov.in/Census_ And_You/literacy_and_level_of_ education.aspx. 32 UNESCO Bangkok (2012). Removing gender barriers to literacy for women and girls in Asia and the Pacific, p. 3. Retrieved from http://unesdoc.unesco.org/ images/0021/002175/217543e.pdf. 33 World Health Organization (2016). Retrieved from http://www. who.int/gho/child_health/mortality/ causes/en/.

CITATIONS

34 Borzekowski, D.L.G., Bickford, A. & Afolabi, S. (2015). The impact of the Cleaner, Happier, Healthier, knowledge, attitudes, and behaviors in Nigeria. College Park, MD: University of Maryland. 35 Borzekowski, D.L.G. (2015). Sesame Street in the tea estates: A multi-media intervention to improve sanitation and hygiene among Bangladesh's most vulnerable youth. Annals of Global Health, 81(1), 107-108. 36 G. Allgood, Vice President, World Vision. Personal correspondence (Dec. 2015). 37 Centers for Disease Control and Prevention (2018). Baio, J., Wiggins, L., Christensen, D.L., Maenner, M.J., Daniels, J,...Dowling, N.F.(2018) Prevalence of autism spectrum disorder among children aged 8 years - Autism and Developmental Disabilities Monitoring Network, 11 sites, United States, 2014. Surveillance Summaries, 67(6);1-23. Retrieved from https://www.cdc.gov/mmwr/ volumes/67/ss/ss6706a1.htm.

38 UNICEF (2018). Children on the move: Key facts & figures. Retrieved from: https://data.unicef. org/resources/children-move-keyfacts-figures/. 39 UNESCO (2018). Global Education Monitoring Report 2019: Migration, Displacement and Education – Building Bridges, not Walls. Paris, UNESCO. Retrieved from http://unesdoc.unesco.org/ images/0026/002658/265866E.pdf. 40 United Nations High Commissioner for Refugees (2018). Bangladesh refugee emergency population fact sheet. Retrieved from https://data2.unhcr.org/en/ documents/details/66823. 41 Britto, P.R., Lye, S.J., Proulx, K., Yousafzai, A.K., Matthews, S.G., Vaivada, T…,. Bhutta, Z.A. (2016). Nurturing care: Promoting early childhood development. The Lancet, 389, 91–102. Retrieved from http://www.thelancet.com/ pdfs/journals/lancet/PIIS01406736(16)31390-3.pdf.

PHOTOGRAPHY CREDITS

42 Bethell, C.D., Davis, M.B., Gombojav, N., Stumbo, S. & Powers, K. (2017). Issue brief: A national and across-state profile on adverse childhood experiences among children and possibilities to heal and thrive. Johns Hopkins Bloomberg School of Public Health. Retrieved from http://www.cahmi. org/wp=content/uploads/2018/05/ aces_brief_final.pdf. 43 Felitti, V.J., Anda, R.F., Nordenberg, D., Williamson, D.F., Spitz, A.M., Edwards, V.,... Marks, J.S.(1998). Relationship of childhood abuse and household dysfunction to many of the leading causes of death in Adults. American Journal of Preventive Medicine, 14(4), 245–258. 44 City-Data.com (2018). Kansas City, Missouri (MO) poverty rate data: Information about poor and low income residents. Retrieved from http://www.city-data.com/ poverty/poverty-Kansas-CityMissouri.html.

Every effort has been made to contact the copyright holders of the images within this book. We apologize for any omissions and errors. p. 8 Courtesy of The Jim Henson Company; pp. 12–13 Sesame Workshop archives (photographer unknown); p. 15 Afro Newspaper / Gado / Getty Images; p. 16 Robert Fuhring; p. 19 Sesame Workshop archives (photographer unknown); p. 20 Sesame Workshop archives; p. 22 Robert Fuhring; p. 23 Leigh Wiener; pp. 24–25 Stephen Shames; p. 27 Sesame Workshop archives; p. 28 Sesame Workshop archives (photographer unknown); p. 31 Sesame Workshop archives (photographer unknown); p. 32 Artist: Joe Matthieu / Writer: Norman Stiles / Publisher: Random House; p. 35 From The New York Times, July 11 © 1983 The New York Times. All rights reserved. Used by permission and protected by the Copyright Laws of the United States. The printing, copying, redistribution, or retransmission of this Content without express written permission is prohibited; p. 36 Sesame Workshop archives (photographer unknown); pp. 38–39 Ryan Donnell; p. 41 Paul Hosefros / The New York Times / Redux; p. 42 From Rechov Sumsum / Shara’a Simsim segment; p. 43 From Rechov Sumsum / Shara’a Simsim opening credits; p. 45 Anna Zieminski / Getty Images; p. 46 Ryan Heffernan; pp. 48-49 Ryan Heffernan; p. 51 Ruth Fremson / The New York Times / Redux; p. 53 Richard Termine; p. 55 Stephen J. Boitano / Getty Images; p. 56 Rruga Sesam / Ulica Sezam live-action film; p. 58 From TIME, June 7 © 2004 Time Inc. Used under license. TIME and Time Inc. are not affiliated with, and do not endorse products or services of, Sesame Workshop; p. 60 Richard Termine; p. 61 Erik S. Lesser / The New York Times / Redux; p. 63 Eduardo Patino; p. 65 Rick Gershon / Getty Images; p. 66 Ryan Heffernan; p. 68–69 Ryan Heffernan; p. 71 Gilles Bassignac / Getty Images; p. 72 John E. Barrett; p. 73 Ryan Heffernan; p. 75 Daniel Rodrigues / The New York Times / Redux; p. 77 Sesame Workshop archives, girls’ education video / Schnitt Edit; p. 79 Ryan Donnell; p. 80 Ryan Donnell; p. 83 Jeff J Mitchell / Getty Images; p. 84 Ryan Heffernan (left); p. 84 Ryan Donnell (right); p. 87 Ryan Donnell; p. 89 Zach Hyman.

It’s easy to sing the praises of Sesame Street, but it’s a monumental challenge to gather 50 years of meaningful stories, unforgettable moments, and Sesame magic into one book. For their generosity of spirit and unflagging efforts we thank all the talented writers at Reed Words, the New York Times photo department, Getty Images, The Henson Foundation, and many, many others from the bottom of our furry hearts.

“

A legacy is when something’s over. And this isn’t over; it just goes on.

”

- JOAN GANZ COONEY