Rayma Suprani: Dictators hate political cartoons -- so I keep drawing them | TED

93,662 views ใƒป 2020-02-27

TED


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืชืจื’ื•ื: Shlomo Adam ืขืจื™ื›ื”: Shai Hakim
00:12
[This talk is delivered in Spanish with consecutive English translation]
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[ื”ืจืฆืื” ื–ื• ืžื•ื‘ืืช ื‘ืกืคืจื“ื™ืช ืขื ืชืจื’ื•ื ืจืฆื™ืฃ ื‘ืื ื’ืœื™ืช]
00:16
(Rayma Suprani: Speaks Spanish)
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(ืจื™ื™ืžื” ืกื•ืคืจืื ื™, ืžื“ื‘ืจืช ื‘ืกืคืจื“ื™ืช)
00:20
Cloe Shasha: When I was a little girl,
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ืงืœื•ืื™ ืฉืืฉื”: ื›ืฉื”ื™ื™ืชื™ ื™ืœื“ื”, ื”ื™ื™ืชื™ ืžืฆื™ื™ืจืช ืขืœ ื›ืœ ื”ืงื™ืจื•ืช ื‘ื‘ื™ืช.
00:22
I used to draw on all the walls of my house.
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00:25
(RS: Speaks Spanish)
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(ืจื™ื™ืžื” ืกื•ืคืจืื ื™ ืžื“ื‘ืจืช ื‘ืกืคืจื“ื™ืช)
00:33
CS: Until one day, my mother got angry and told me,
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ืง"ืฉ: ืขื“ ืฉื™ื•ื ืื—ื“ ืื™ืžื™ ื”ืชืจื’ื–ื” ื•ืืžืจื” ืœื™,
00:36
"You can only draw on one wall.
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"ืžื•ืชืจ ืœืš ืœืฆื™ื™ืจ ืจืง ืขืœ ืงื™ืจ ืื—ื“.
"ืืœ ืชืฆื™ื™ืจื™ ืขืœ ืฉืืจ ื”ืงื™ืจื•ืช."
00:38
Don't draw on any others."
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00:39
(Laughter)
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(ืฆื—ื•ืง)
00:41
(Speaks Spanish)
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(ืจื™ื™ืžื” ืกื•ืคืจืื ื™ ืžื“ื‘ืจืช ื‘ืกืคืจื“ื™ืช)
00:44
That was the first time I experienced an act of totalitarian censorship.
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ื–ืืช ื”ื™ืชื” ื”ื”ืชื ืกื•ืช ื”ืจืืฉื•ื ื” ืฉืœื™ ื‘ืฆื ื–ื•ืจื” ืจื•ื“ื ื™ืช.
00:48
(Laughter)
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(ืฆื—ื•ืง)
00:51
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
00:56
But a lack of freedom stimulates creativity and empowers it.
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ืื‘ืœ ื”ืขื“ืจ ื—ื™ืจื•ืช ืžืขื•ืจืจ ื•ืžืขื•ื“ื“ ื™ืฆื™ืจืชื™ื•ืช.
01:00
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
01:19
Many years have passed since my childhood,
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ื”ืจื‘ื” ืฉื ื™ื ืขื‘ืจื• ืžืื– ื™ืœื“ื•ืชื™,
01:21
but throughout my formal studies,
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ืื‘ืœ ืœืื•ืจืš ื”ืœื™ืžื•ื“ื™ื ื”ืจืฉืžื™ื™ื ืฉืœื™,
01:23
I found myself drawing in the margins of my notebooks
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ืžืฆืืชื™ ืืช ืขืฆืžื™ ืžืฆื™ื™ืจืช ืขืœ ื”ืฉื•ืœื™ื™ื ืฉืœ ืžื—ื‘ืจื•ืชื™
01:25
instead of paying attention to my professors.
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ื‘ืžืงื•ื ืœืฉื™ื ืœื‘ ืœืžืจืฆื™ื.
01:28
I studied journalism in college
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ืœืžื“ืชื™ ืขื™ืชื•ื ืื•ืช ื‘ืžื›ืœืœื”.
01:30
with the intention of expanding my communication and writing skills,
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ืžืชื•ืš ื›ื•ื•ื ื” ืœื”ืจื—ื™ื‘ ืืช ื›ื™ืฉื•ืจื™ ื”ืชืงืฉื•ืจืช ื•ื”ื›ืชื™ื‘ื” ืฉืœื™,
01:33
but the only thing that I felt connected to in life
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ืื‘ืœ ื”ื“ื‘ืจ ื”ื™ื—ื™ื“ ืฉืืœื™ื• ื”ืจื’ืฉืชื™ ืžื—ื•ื‘ืจืช
01:36
was drawing.
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ื”ื™ื” ื”ืฆื™ื•ืจ.
01:37
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
01:43
I was born in a democracy,
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ื ื•ืœื“ืชื™ ื‘ื“ืžื•ืงืจื˜ื™ื”,
01:45
in a country called Venezuela, which is now a dictatorship.
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ื‘ืžื“ื™ื ื” ื‘ืฉื ื•ื ืฆื•ืืœื”, ืฉื”ื™ื ื›ื™ื•ื ืจื•ื“ื ื•ืช.
01:49
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
02:01
For 19 years,
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ื‘ืžืฉืš 19 ืฉื ื”
02:02
I was the daily cartoonist for "El Universal,"
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ืฆื™ื™ืจืชื™ ืืช ื”ืงืจื™ืงื˜ื•ืจื” ื”ื™ื•ืžื™ืช ื‘"ืืœ ืื•ื ื™ื‘ืจืกืœ",
02:05
one of the biggest newspapers in Venezuela.
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ืื—ื“ ื”ืขื™ืชื•ื ื™ื ื”ื’ื“ื•ืœื™ื ื‘ื™ื•ืชืจ ื‘ื•ื•ื ืฆื•ืืœื”.
02:07
I really enjoyed translating political and cultural current events into drawings.
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ื ื”ื ื™ืชื™ ืžืื“ ืœืชืจื’ื ืื™ืจื•ืขื™ื ืืงื˜ื•ืืœื™ื™ื ื‘ืคื•ืœื™ื˜ื™ืงื” ื•ื‘ืชืจื‘ื•ืช - ืœืฆื™ื•ืจื™ื.
02:12
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
02:25
In the year 2014,
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ื‘ืฉื ืช 2014,
02:26
I got fired from my job at the newspaper over a cartoon that I drew
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ืคื•ื˜ืจืชื™ ืžืขื‘ื•ื“ืชื™ ื‘ืขื™ืชื•ืŸ ื‘ื’ืœืœ ืงืจื™ืงื˜ื•ืจื” ืฉืฆื™ื™ืจืชื™
02:30
alluding to the health care system in Venezuela.
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ื•ืฉื”ืชื™ื™ื—ืกื” ืœืžืขืจื›ืช ื”ื‘ืจื™ืื•ืช ื‘ื•ื•ื ืฆื•ืืœื”.
02:33
I drew a flat line of a heartbeat monitor,
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ืฆื™ื™ืจืชื™ ืงื• ื™ืฉืจ ืฉืœ ืงื•ืฆื‘-ืœื‘
02:35
but I intentionally drew the heartbeat line
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ืื‘ืœ ื‘ื›ื•ื•ื ื” ืฆื™ื™ืจืชื™ ืืช ื”ืงื•,
02:37
in a way that resembled the signature of Hugo Chavez,
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ื›ืš ืฉื™ื–ื›ื™ืจ ืืช ื”ื—ืชื™ืžื” ืฉืœ ื”ื•ื’ื• ืฆ'ืื‘ื–,
02:40
the former president of Venezuela.
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ื ืฉื™ื ื•ื ืฆื•ืืœื” ืœืฉืขื‘ืจ.
02:42
(Laughter)
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(ืฆื—ื•ืง)
02:43
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
02:51
All of this happened after the newspaper was bought
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ื›ืœ ื–ื” ืงืจื” ืื—ืจื™ ืฉื”ืขื™ืชื•ืŸ ื ืจื›ืฉ ืข"ื™ ื—ื‘ืจื” ืืœืžื•ื ื™ืช,
02:54
by an unknown company,
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02:55
and some of us suspect
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ื•ื—ืœืง ืžืื™ืชื ื• ื—ื•ืฉื“ื™ื
02:57
that it was the Venezuelan government who was behind that deal.
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ืฉืžืžืฉืœืช ื•ื ืฆื•ืืœื” ื”ื™ื ื–ื• ืฉืขืžื“ื” ืžืื—ื•ืจื™ ื”ืขืกืงื”.
03:00
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
03:11
My work as a cartoonist became more and more of a nuisance
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ืขื‘ื•ื“ืชื™ ื›ืงืจื™ืงื˜ื•ืจื™ืกื˜ื™ืช ื”ืคื›ื” ื™ื•ืชืจ ื•ื™ื•ืชืจ ืœืžื˜ืจื“
03:14
for the dictatorship.
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ื‘ืขื™ื ื™ ื”ืžืฉื˜ืจ ื”ืจื•ื“ื ื™.
03:15
They have no tolerance for any freedom of expression
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ืื™ืŸ ืœื”ื ืฉื•ื ืกื•ื‘ืœื ื•ืช ืœื›ืœ ืฆื•ืจื” ืฉืœ ื—ื•ืคืฉ ื‘ื™ื˜ื•ื™ ืื• ื—ืฉื™ื‘ื”
03:18
or free thinking.
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03:20
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
03:37
After I got fired,
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ืื—ืจื™ ืฉืคื•ื˜ืจืชื™,
03:38
I started to feel unsafe in my own country.
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ื”ืชื—ืœืชื™ ืœื—ื•ืฉ ื—ื•ืกืจ-ื‘ื˜ื—ื•ืŸ ื‘ืืจืฅ ืžื•ืœื“ืชื™.
03:41
I received anonymous calls and death threats.
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ืงื™ื‘ืœืชื™ ืฉื™ื—ื•ืช ื‘ืขื™ืœื•ื ืฉื ื•ืื™ื•ืžื™ื ื‘ืจืฆื—.
03:44
I was mocked publicly on national television.
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ื‘ื˜ืœื•ื•ื™ื–ื™ื” ื”ืœืื•ืžื™ืช ืœืขื’ื• ืœื™ ื‘ืคื•ืžื‘ื™.
03:47
I was eventually forced out of Venezuela,
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ื‘ืกื•ืคื• ืฉืœ ื“ื‘ืจ ื”ื’ืœื• ืื•ืชื™ ืžื•ื•ื ืฆื•ืืœื”,
03:49
and I now live in Miami, Florida,
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ื•ื›ื™ื•ื ืื ื™ ืžืชื’ื•ืจืจืช ื‘ืžื™ืืžื™ ืฉื‘ืคืœื•ืจื™ื“ื”,
03:51
where I am free to be my own editor for my work.
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ื•ืื ื™ ื—ื•ืคืฉื™ื” ืœื”ื™ื•ืช ื”ืขื•ืจื›ืช ืฉืœ ื”ืขื‘ื•ื“ื” ืฉืœื™.
03:54
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
04:07
A political cartoon is a barometer of freedom in a country.
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ื”ืงืจื™ืงื˜ื•ืจื” ื”ืคื•ืœื™ื˜ื™ืช ื”ื™ื ื‘ืจื•ืžื˜ืจ ืฉืœ ื”ื—ื•ืคืฉ ื‘ืžื“ื™ื ื”.
04:10
That's why dictators hate cartoonists
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ื•ืœื›ืŸ ืจื•ื“ื ื™ื ืฉื•ื ืื™ื ืงืจื™ืงื˜ื•ืจื™ืกื˜ื™ื
04:13
and try to eradicate everything that involves humor
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ื•ืžื ืกื™ื ืœืžื—ื•ืง ื›ืœ ื“ื‘ืจ ืฉืžืฉืชืžืฉ ื‘ื”ื•ืžื•ืจ
04:16
as a mirror for social and political issues.
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ื›ื“ื™ ืœืฉืงืฃ ื ื•ืฉืื™ื ื—ื‘ืจืชื™ื™ื ื•ืคื•ืœื™ื˜ื™ื™ื.
04:19
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
04:26
A cartoon involves a delicate balance of ideas and drawings
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ื‘ืงืจื™ืงื˜ื•ืจื” ืงื™ื™ื ืื™ื–ื•ืŸ ืขื“ื™ืŸ ื‘ื™ืŸ ืจืขื™ื•ื ื•ืช ื•ืฆื™ื•ืจ
04:30
that reveal a hidden truth.
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ืฉื—ื•ืฉืฃ ืื™ื–ื• ืืžืช ื ืกืชืจืช.
04:32
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
04:37
And a good cartoon is one that conveys a plot of a full-length movie
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ื•ืงืจื™ืงื˜ื•ืจื” ื˜ื•ื‘ื” ื”ื™ื ื–ื• ืฉืžื‘ื™ืขื” ืขืœื™ืœื” ืฉืœ ืกืจื˜ ื‘ืื•ืจืš ืžืœื
04:40
in a single frame.
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ื‘ืชืžื•ื ื” ื™ื—ื™ื“ื”.
04:42
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
04:56
A cartoon needs to communicate the core of a story with its precision.
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ืงืจื™ืงื˜ื•ืจื” ืฆืจื™ื›ื” ืœื‘ื˜ื ืืช ืœื‘ ื”ืกื™ืคื•ืจ ื‘ืžื“ื•ื™ืง.
05:00
And when it succeeds,
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ื•ื›ืฉื”ื™ื ืžืฆืœื™ื—ื” ื‘ื›ืš,
05:01
its message can have the effect of inoculating people
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ืœืžืกืจ ืฉืœื” ืขืฉื•ื™ ืœื—ืกืŸ ืื ืฉื™ื ื‘ืžื™ื ื•ืŸ ืฉืœ ืกืคืงื ื•ืช.
05:04
with a dose of skepticism.
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05:06
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
05:22
Cartoons are drawn from observation and analysis.
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ืฆื™ื•ืจ ืงืจื™ืงื˜ื•ืจื•ืช ื ืขืฉื” ืขืœ ื‘ืกื™ืก ื”ืชื‘ื•ื ื ื•ืช ื•ื ื™ืชื•ื—.
05:26
They are inspired by muses of mythology,
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ื”ืงืจื™ืงื˜ื•ืจื” ืฉื•ืื‘ืช ื”ืฉืจืื” ืžืžื•ื–ื•ืช ืžื™ืชื•ืœื•ื’ื™ื•ืช,
05:28
as well as classical, modern and paleolithic tales.
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ื•ืžืกื™ืคื•ืจื™ื ืงืœืกื™ื™ื, ืžื•ื“ืจื ื™ื™ื ื•ื’ื ืžืชืงื•ืคืช ื”ืื‘ืŸ.
05:32
(Laughter)
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(ืฆื—ื•ืง)
05:34
When we are told that a modern-day emperor is wearing new clothes,
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ื›ืฉืžืกืคืจื™ื ืœื ื• ืฉืžืœืš ื‘ืŸ-ื–ืžื ื ื• ืœื•ื‘ืฉ ื‘ื’ื“ื™ื ื—ื“ืฉื™ื,
05:38
cartoons reveal that the emperor just might still be naked.
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ื”ืงืจื™ืงื˜ื•ืจื” ืžื’ืœื” ืœื ื• ืฉื™ื™ืชื›ืŸ ืฉื”ืžืœืš ื‘ื›ืœ ื–ืืช ืขื™ืจื•ื.
05:42
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
05:58
At one point in my career,
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ื‘ืงืจื™ื™ืจื” ืฉืœื™,
05:59
I drew pigs and compared them with politicians and national guards
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ืฆื™ื™ืจืชื™ ืคืขื ื—ื–ื™ืจื™ื ื•ื”ืฉื•ื•ื™ืชื™ ืื•ืชื ืœืคื•ืœื™ื˜ื™ืงืื™ื ื•ืœื—ื™ื™ืœื™ ื”ืžืฉืžืจ ื”ืœืื•ืžื™
06:03
who were responsible for stopping peaceful student demonstrations.
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ืฉื”ื™ื• ืื—ืจืื™ื™ื ืœืคื™ื–ื•ืจ ื”ืคื’ื ื•ืช ืกื˜ื•ื“ื ื˜ื™ื ืฉืœื•ื•ืช.
06:07
One day, when I got back to my office,
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ื™ื•ื ืื—ื“, ื›ืฉื—ื–ืจืชื™ ืœืžืฉืจื“ ืฉืœื™,
06:09
I had a letter on my desk.
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ืžืฆืืชื™ ืขืœ ืฉื•ืœื—ื ื™ ืžื›ืชื‘.
06:11
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
06:16
The letter was from the Venezuelan Swine Federation.
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ื”ืžื›ืชื‘ ื”ื™ื” ืžืืช ืื™ื—ื•ื“ ืžื’ื“ืœื™ ื”ื—ื–ื™ืจื™ื ืฉืœ ื•ื ืฆื•ืืœื”.
06:19
(Laughter)
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(ืฆื—ื•ืง)
06:20
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
06:42
The letter said,
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ื‘ืžื›ืชื‘ ื ืืžืจ:
06:43
"Please do not compare an animal as wonderful as a pig with politicians.
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"ื‘ื‘ืงืฉื”, ืืœ ืชืฉื•ื•ื™ ืœืคื•ืœื™ื˜ื™ืงืื™ื ื—ื™ื” ื ืคืœืื” ื›ืžื• ื—ื–ื™ืจ.
06:46
(Laughter)
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(ืฆื—ื•ืง)
06:47
Pigs are very friendly and noble,
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"ื”ื—ื–ื™ืจ ื”ื•ื ื™ื“ื™ื“ื•ืชื™ ื•ืืฆื™ืœ,
06:49
they can be a great mascot,
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"ื”ื•ื ื™ื›ื•ืœ ืœืฉืžืฉ ืงืžื™ืข ื ื”ื“ืจ,
06:50
they make good pets
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"ื—ื™ื™ืช-ืžื—ืžื“ ืžืขื•ืœื”
06:52
and they provide sustenance to us in the form of pork."
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ื•ื”ื ืžืกืคืงื™ื ืžื–ื•ืŸ ื”ื›ืจื—ื™ ืœื ื•, ื‘ืฉืจ-ื—ื–ื™ืจ."
06:56
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
07:01
I think they were absolutely right.
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ืื ื™ ื—ื•ืฉื‘ืช ืฉื”ื ืฆื“ืงื• ืœื’ืžืจื™.
07:03
I didn't draw any more pigs,
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ืžืื– ืœื ืฆื™ื™ืจืชื™ ื—ื–ื™ืจื™ื,
07:05
but I did keep drawing politicians.
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ืื‘ืœ ื”ืžืฉื›ืชื™ ืœืฆื™ื™ืจ ืคื•ืœื™ื˜ื™ืงืื™ื.
07:07
(Laughter)
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(ืฆื—ื•ืง)
07:08
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
07:26
A cartoon travels on an information highway,
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ืงืจื™ืงื˜ื•ืจื” ื ืขื” ื‘ืื•ื˜ื•ืกื˜ืจื“ืช ื”ืžื™ื“ืข,
07:29
which seems like it has multiple lanes,
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ืฉื ืจืื™ืช ื›ืื™ืœื• ื™ืฉ ื‘ื” ื ืชื™ื‘ื™ื ืจื‘ื™ื,
07:31
but in reality, all of these lanes
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ืื‘ืœ ื‘ืžืฆื™ืื•ืช, ื›ืœ ื”ื ืชื™ื‘ื™ื ื”ืืœื”
07:33
lead to a binary response of either positivity or rage.
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ืžื•ื‘ื™ืœื™ื ืœืชื’ื•ื‘ื” ื‘ื™ื ืืจื™ืช: ืชื’ื•ื‘ื” ื—ื™ื•ื‘ื™ืช ืื• ื–ืขื.
07:37
"I like it" or "I don't like it."
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"ืื ื™ ืื•ื”ื‘ ืืช ื–ื”" ืื• "ืื ื™ ืœื ืื•ื”ื‘ ืืช ื–ื”".
ืืœื” ื”ืชื’ื•ื‘ื•ืช ื”ื™ื—ื™ื“ื•ืช ืฉืžื•ืฉืœื•ืช ื‘ื—ืฉื™ื‘ื” ื”ื“ืžื•ืงืจื˜ื™ืช ื‘ืื™ื ื˜ืจื ื˜.
07:40
Those are the only responses
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07:41
that govern democratic thinking on the internet.
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07:44
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
07:55
We have lost the space for nuanced debate,
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ืื™ื‘ื“ื ื• ืืช ื”ืžืจื—ื‘ ืœื“ื•ืŸ ื‘ื“ืงื•ื™ื•ืช,
07:58
we have no time,
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ืื™ืŸ ืœื ื• ื–ืžืŸ,
07:59
so we simply respond with approval or disdain,
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ื•ืœื›ืŸ ืื ื• ืžื’ื™ื‘ื™ื ืคืฉื•ื˜ ื‘ื”ืกื›ืžื” ืื• ื‘ืžื™ืื•ืก,
08:01
and we let algorithms take over.
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ื•ืื ื—ื ื• ืžื ื™ื—ื™ื ืœืืœื’ื•ืจื™ืชืžื™ื ืœื”ืฉืชืœื˜.
08:04
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
08:20
But a cartoon is born from a space of deep, nuanced thinking.
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ืื‘ืœ ื”ืงืจื™ืงื˜ื•ืจื•ืช ื‘ืื•ืช ืžืžืงื•ื ืฉืœ ื—ืฉื™ื‘ื” ืžืขืžื™ืงื” ื•ื‘ืขืœืช ื“ืงื•ื™ื•ืช.
08:24
Creating a good cartoon involves repeated failures,
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ื™ืฆื™ืจื” ืฉืœ ืงืจื™ืงื˜ื•ืจื” ื˜ื•ื‘ื” ื›ืจื•ื›ื” ื‘ื›ืฉืœื•ื ื•ืช ื—ื•ื–ืจื™ื ื•ื ืฉื ื™ื,
08:27
draft after draft.
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ื‘ื˜ื™ื•ื˜ื” ืื—ืจ ื˜ื™ื•ื˜ื”.
08:29
And a cartoonist must shed their own taboos
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ื•ื”ืงืจื™ืงื˜ื•ืจื™ืกื˜ ืฆืจื™ืš ื’ื ืœื”ืฉืชื—ืจืจ ืžื›ืœ ื˜ืื‘ื• ืฉื™ืฉ ืœื•
08:32
to spark a conversation, rather than a confrontation,
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ื›ื“ื™ ืฉื™ื•ื›ืœ ืœืขื•ืจืจ ืฉื™ื— ื•ืœื ืขื™ืžื•ืช,
08:35
through their work.
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ื‘ืืžืฆืขื•ืช ืขื‘ื•ื“ืชื•.
08:36
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
08:54
In the year 2013, President Chavez died,
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ื‘ืฉื ืช 2013 ื”ื ืฉื™ื ืฆ'ืื‘ื– ืžืช,
08:58
and I had to think about what to draw as the cartoon of the day
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ื•ื”ื™ื” ืขืœื™ ืœื—ืฉื•ื‘ ืื™ืš ืœืฆื™ื™ืจ ืืช ื”ืงืจื™ืงื˜ื•ืจื” ื”ื™ื•ืžื™ืช
ื‘"ืืœ ืื•ื ื™ื‘ืจืกืœ".
09:01
at "El Universal."
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09:02
I was personally happy that he had passed away,
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ืื™ืฉื™ืช, ืฉืžื—ืชื™ ืฉื”ื•ื ื ืคื˜ืจ,
09:04
because I thought that the end of his power
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ื›ื™ ื—ืฉื‘ืชื™ ืฉืกื•ืฃ ืฉืœื˜ื•ื ื•
09:06
would potentially bring our country closer to freedom and better times.
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ืขืฉื•ื™ ืœืงืจื‘ ื‘ืืจืฆื ื• ืืช ื”ื—ื™ืจื•ืช ื•ื”ื–ืžื ื™ื ื”ื˜ื•ื‘ื™ื ื™ื•ืชืจ.
09:10
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
09:20
But there were many other people who were mourning the death of Chavez,
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ืื‘ืœ ื”ื™ื• ื”ืจื‘ื” ืื ืฉื™ื ืฉื”ืชืื‘ืœื• ืขืœ ืžื•ืชื• ืฉืœ ืฆ'ืื‘ื–,
09:23
so there was a divided sentiment in Venezuela.
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ื•ื”ืจื’ืฉื•ืช ื‘ื•ื•ื ืฆื•ืืœื” ื”ื™ื• ืžืขื•ืจื‘ื™ื.
09:25
Some were celebrating,
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ื”ื™ื• ืฉื—ื’ื’ื•,
09:26
and others were crying at the loss of their leader.
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ื‘ืขื•ื“ ืื—ืจื™ื ื‘ื›ื• ืขืœ ืื•ื‘ื“ืŸ ืžื ื”ื™ื’ื.
09:30
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
09:45
I felt stuck,
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ื”ืจื’ืฉืชื™ ืชืงื•ืขื”,
09:46
I really didn't know what to draw in this historic moment.
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ื•ืžืžืฉ ืœื ื™ื“ืขืชื™ ืžื” ืœืฆื™ื™ืจ ื‘ืื•ืชื• ืจื’ืข ื”ื™ืกื˜ื•ืจื™.
09:49
And I knew that I couldn't allow my happiness to seep into my work,
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ื•ื”ื™ื” ืœื™ ื‘ืจื•ืจ ืฉืืกื•ืจ ืœื™ ืœืชืช ืœืฉืžื—ื” ืฉืœื™ ืœื—ืœื—ืœ ืœืชื•ืš ืขื‘ื•ื“ืชื™,
09:52
that I should take the higher road and respect people's grief.
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ื•ืฉืขืœื™ ืœื”ืชืขืœื•ืช, ื•ืœื›ื‘ื“ ืืช ื™ื’ื•ื ื ืฉืœ ืื ืฉื™ื.
09:55
So what could I draw?
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ืื– ืžื” ืื•ื›ืœ ืœืฆื™ื™ืจ?
09:57
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
10:15
I spent many hours drafting and throwing out papers.
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ื‘ืžืฉืš ืฉืขื•ืช ืจื‘ื•ืช ืฆื™ื™ืจืชื™ ื˜ื™ื•ื˜ื•ืช ื•ื–ืจืงืชื™ ื”ืžื•ืŸ ื“ืคื™ื.
10:18
My editor called me and said
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ื”ืขื•ืจืš ืฉืœื™ ื–ื™ืžืŸ ืื•ืชื™ ืืœื™ื•:
10:19
everything was late for that day's newspaper
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"ื”ื›ืœ ืžืชืื—ืจ ื‘ืขื™ืชื•ืŸ ืฉืœ ื”ื™ื•ื."
ื•ื”ื•ื ืฉืืœ ืžืชื™ ืืกื™ื™ื.
10:22
and asked me when I'd be done.
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10:23
It was in the middle of the night that the idea came to me.
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ืจืง ื‘ืืžืฆืข ื”ืœื™ืœื” ื”ื™ื” ืœื™ ืจืขื™ื•ืŸ.
10:26
And we then published a cartoon
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ื•ืื– ืคืจืกืžื ื• ืงืจื™ืงื˜ื•ืจื”
10:28
that represented a historical moment in time.
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ืฉื™ื™ืฆื’ื” ืจื’ืข ื”ื™ืกื˜ื•ืจื™.
10:31
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
10:35
A fallen king chess piece in red.
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ืžืœืš ืฉื—ืžื˜ ืžื•ื˜ืœ ื‘ืื“ื•ื.
10:38
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
10:50
A good cartoon has a lot of power.
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ืœืงืจื™ืงื˜ื•ืจื” ื˜ื•ื‘ื” ื™ืฉ ื”ืžื•ืŸ ืขื•ืฆืžื”.
10:53
It can generate action and reaction.
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ื”ื™ื ืžืกื•ื’ืœืช ืœื—ื•ืœืœ ืคืขื•ืœื” ื•ืชื’ื•ื‘ื”.
10:55
That's why a cartoonist must exercise their power responsibly,
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ื•ืœื›ืŸ ื”ืงืจื™ืงื˜ื•ืจื™ืกื˜ื™ื ืฆืจื™ื›ื™ื ืœื”ืฉืชืžืฉ ื‘ื›ื•ื—ื ื‘ืฆื•ืจื” ืื—ืจืื™ืช,
10:59
showcasing the truth
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ืœื”ืฆื™ื’ ืœืจืื•ื•ื” ืืช ื”ืืžืช
11:00
and drawing without the fear of consequences.
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ื•ืœืฆื™ื™ืจ ืžื‘ืœื™ ืœื—ืฉื•ืฉ ืžื”ืชื•ืฆืื•ืช.
11:03
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
11:08
Having an opinion has a cost,
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ืœื”ื™ื•ืช ื‘ืขืœ ื“ื™ืขื” ืคื™ืจื•ืฉื• ืœืฉืœื ืžื—ื™ืจ,
11:09
and in some countries, that cost is high.
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ื•ื‘ืžื“ื™ื ื•ืช ืžืกื•ื™ืžื•ืช, ื”ืžื—ื™ืจ ื”ื–ื” ื’ื‘ื•ื”.
11:12
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
11:29
In Venezuela,
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ื‘ื•ื•ื ืฆื•ืืœื”,
ืฆืขื™ืจื™ื ืจื‘ื™ื ื ื”ืจื’ื• ื‘ื”ืคื’ื ื•ืช ืฉืœื•ื•ืช.
11:31
many young people have been killed for protesting peacefully.
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11:34
There are men and women who are stuck behind bars
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ื™ืฉ ื’ื‘ืจื™ื ื•ื ืฉื™ื ืฉืชืงื•ืขื™ื ืžืื—ื•ืจื™ ืกื•ืจื’ื™ื
11:36
as political prisoners.
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ื›ืืกื™ืจื™ื ืคื•ืœื™ื˜ื™ื™ื.
11:38
So over the years,
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ื•ื‘ืžืฉืš ื”ืฉื ื™ื ืฆื™ื™ืจืชื™ ืืช ืคื ื™ื”ืŸ ืฉืœ ืืกื™ืจื•ืช
11:39
I've drawn the faces of imprisoned women,
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11:41
because I don't want them to be forgotten by the community.
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ื›ื™ ืื ื™ ืœื ืจื•ืฆื” ืฉื”ืงื”ื™ืœื” ืชืฉื›ื— ืื•ืชืŸ.
11:45
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
12:06
This year at an event called El Foro Penal,
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ื”ืฉื ื”, ื‘ืื™ืจื•ืข ื‘ืฉื "ืืœ ืคื•ืจื• ืคื ืืœ",
12:09
which is a criminal forum
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ืคื•ืจื•ื ืคืœื™ืœื™
ืฉื‘ื• ืงื‘ื•ืฆืช ืขื•ืจื›ื™ ื“ื™ืŸ ืขื•ื‘ื“ื™ื ื‘ื”ืชื ื“ื‘ื•ืช
12:11
where a group of lawyers do pro bono work
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ื‘ืฉื‘ื™ืœ ืืกื™ืจื™ื ื•ื ืฆื•ืืœื™ื™ื ืคื•ืœื™ื˜ื™ื™ื,
12:13
for Venezuelan political prisoners,
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12:15
a young woman approached me and she said,
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ืฆืขื™ืจื” ืื—ืช ื ื™ื’ืฉื” ืืœื™ ื•ืืžืจื”,
12:17
"I was imprisoned,
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"ื”ื™ื™ืชื™ ื‘ื›ืœื,
12:19
and then you drew my face and my story.
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"ื•ืืช ืฆื™ื™ืจืช ืืช ืคื ื™ ื•ืืช ืกื™ืคื•ืจื™.
12:21
It's because of that drawing that people knew who I was.
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"ื•ื”ื•ื“ื•ืช ืœืฆื™ื•ืจ ื”ื”ื•ื ืื ืฉื™ื ื™ื“ืขื• ืžื™ ืื ื™.
12:24
Your cartoon helped me survive my days in prison.
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"ื”ืงืจื™ืงื˜ื•ืจื” ืฉืœืš ืขื–ืจื” ืœื™ ืœืฉืจื•ื“ ืืช ื”ื™ืžื™ื ื‘ื›ืœื.
12:27
Thank you."
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"ืชื•ื“ื”."
12:29
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
12:36
This was a moment that meant a lot to me,
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ื”ืจื’ืข ื”ื”ื•ื ื”ื™ื” ื‘ืฉื‘ื™ืœื™ ืžืฉืžืขื•ืชื™ ืžืื“,
ืžืฉื•ื ืฉืžืฆืืชื™ ื“ืจืš ืœืขื‘ื•ื“ ืขื ื”ื–ื›ืจื•ื ื•ืช ืฉืœ ืืจืฆื™ ื•ืื ืฉื™ื”.
12:38
because I had found a way to collaborate
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12:40
with the memories of my country and its people.
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(ืกืคืจื“ื™ืช)
12:42
(Speaks Spanish)
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13:01
Last year, I started making drawings about immigration.
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ื‘ืฉื ื” ืฉืขื‘ืจื” ื”ืชื—ืœืชื™ ืœืฆื™ื™ืจ ืฆื™ื•ืจื™ื ืขืœ ื”ื’ื™ืจื”.
13:05
I drew my own world, my fears,
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ืฆื™ื™ืจืชื™ ืืช ืขื•ืœืžื™, ืืช ืคื—ื“ื™,
13:08
my suitcase, my roots
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ืืช ื”ืžื–ื•ื•ื“ื” ืฉืœื™, ืืช ืฉื•ืจืฉื™
13:10
and everything that I had to leave behind in Venezuela.
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ื•ืืช ื›ืœ ืžื” ืฉื ืืœืฆืชื™ ืœื”ืฉืื™ืจ ื‘ื•ื•ื ืฆื•ืืœื”.
13:13
I also drew my joy in the face of this new opportunity
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ืฆื™ื™ืจืชื™ ื’ื ืืช ื”ืฉืžื—ื” ืฉืœื™ ืœื ื•ื›ื— ื”ื”ื–ื“ืžื ื•ืช ื”ื—ื“ืฉื” ื”ื–ืืช
13:16
as an immigrant in the United States.
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ื›ืžื”ื’ืจืช ื‘ืืจืฆื•ืช ื”ื‘ืจื™ืช.
13:18
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
13:25
From there, I worked on a series of drawings
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ืื—ืจ-ื›ืš ืขื‘ื“ืชื™ ืขืœ ืกื“ืจืช ืฆื™ื•ืจื™ื
13:27
that represented the experience and psychology of immigration.
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ืฉืžื™ื™ืฆื’ื™ื ืืช ื”ื—ื•ื•ื™ื” ื•ืืช ื”ื”ื™ื‘ื˜ ื”ื ืคืฉื™ ืฉืœ ื”ื”ื’ื™ืจื”.
13:31
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
13:45
Being an immigrant is like moving to another planet.
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ืœื”ื’ืจ ื–ื” ื›ืžื• ืœืขื‘ื•ืจ ืœื›ื•ื›ื‘-ืœื›ืช ืื—ืจ.
13:48
At first, you don't understand anything about your new world.
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ื‘ื”ืชื—ืœื” ืืช ืœื ืžื‘ื™ื ื” ื›ืœื•ื ืขืœ ื”ืขื•ืœื ื”ื—ื“ืฉ ืฉืœืš.
13:51
There are new codes, a new language
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ื”ืงื•ื“ื™ื ืฉื•ื ื™ื, ื”ืฉืคื” ืฉื•ื ื”
13:53
and unfamiliar tools you need to learn how to use
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ื•ืืช ืฆืจื™ื›ื” ืœืœืžื•ื“ ืœื”ืฉืชืžืฉ ื’ื ื‘ื›ืœื™ื ืฉื•ื ื™ื
13:56
in order to adapt to your new life.
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ื›ื“ื™ ืœื”ืกืชื’ืœ ืœื—ื™ื™ืš ื”ื—ื“ืฉื™ื.
13:59
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
14:04
Being an immigrant is the closest thing to being an astronaut
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ืœื”ื™ื•ืช ืžื”ื’ืจืช ื–ื” ื”ื“ื‘ืจ ื”ื›ื™ ื“ื•ืžื” ืœืืกื˜ืจื•ื ืื•ื˜ื™ืช
14:07
who landed on the moon.
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ืฉื ื—ืชื” ืขืœ ื”ื™ืจื—.
14:09
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
14:25
Over time, that series of drawings became a traveling exhibition,
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ื‘ื”ืžืฉืš, ืกื“ืจืช ื”ืฆื™ื•ืจื™ื ื”ืคื›ื” ืœืชืขืจื•ื›ื” ื ื•ื“ื“ืช
14:28
called "I, Immigrant."
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ื‘ืฉื "ืื ื™, ืžื”ื’ืจืช."
14:30
And the exhibition traveled to multiple cities,
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ื”ืชืขืจื•ื›ื” ื ื“ื“ื” ืœืขืจื™ื ืจื‘ื•ืช
ื›ื•ืœืœ ืžื™ืืžื™, ื™ื•ืกื˜ื•ืŸ, ืžื“ืจื™ื“, ื‘ืจืฆืœื•ื ื”
14:33
including Miami, Houston, Madrid, Barcelona,
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14:36
and we're hoping for more places.
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ื•ืื ื• ืžืงื•ื•ื™ื ืœื”ื’ื™ืข ืœืžืงื•ืžื•ืช ื ื•ืกืคื™ื.
14:38
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
14:46
The show has become a meeting space for the diaspora,
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ื”ืชืขืจื•ื›ื” ื”ืคื›ื” ืœืžืงื•ื ืžืคื’ืฉ ืœื’ื•ืœื™ื,
14:49
for people to gather and recognize their shared experiences of suffering
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ืœืื ืฉื™ื ืฉื ืืกืคื™ื ื•ืžื–ื”ื™ื ืืช ื—ื•ื•ื™ื•ืช ื”ืกื‘ืœ ื”ืžืฉื•ืชืคื•ืช ืœื›ื•ืœื
14:53
that come with immigration.
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ื•ืฉืžืชืœื•ื•ืช ืœื”ื’ื™ืจื”.
14:55
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
15:15
What I want these drawings to convey
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ืื ื™ ืจื•ืฆื” ืฉื”ืฆื™ื•ืจื™ื ื”ืืœื” ื™ื‘ื˜ืื•
15:16
is that an immigrant is not a criminal.
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ืฉืœื”ื™ื•ืช ืžื”ื’ืจ ืื™ื ื ื• ืคืฉืข.
15:19
An immigrant is a person whose life has been broken.
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ืžื”ื’ืจ ื”ื•ื ืื“ื ืฉื—ื™ื™ื• ื ื”ืจืกื•.
15:22
A person who has very likely been separated from their family
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ืื“ื ืฉื›ื›ืœ ื”ื ืจืื” ื”ื•ืคืจื“ ืžืžืฉืคื—ืชื•
15:25
under inhumane conditions.
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ื‘ืชื ืื™ื ืœื-ืื ื•ืฉื™ื™ื.
15:27
Who has been forced to leave their country in search of a better life.
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ืฉื ืืœืฅ ืœืขื–ื•ื‘ ืืช ืืจืฆื• ื•ืœื—ืคืฉ ื—ื™ื™ื ื˜ื•ื‘ื™ื ื™ื•ืชืจ.
15:31
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
15:43
A drawing can be a synthesis of a place,
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ืฆื™ื•ืจ ื™ื›ื•ืœ ืœื”ื™ื•ืช ืกื™ื ืชื–ื” ืฉืœ ืžืงื•ื
15:45
a universe, a country or a society.
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ื™ืงื•ื, ืืจืฅ ืื• ื—ื‘ืจื”.
15:49
It can also represent the inner workings of someone's mind.
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ื”ื•ื ื’ื ื™ื›ื•ืœ ืœื™ื™ืฆื’ ืืช ืื•ืคืŸ ืคืขื•ืœืช ืžื•ื—ื• ืฉืœ ืžื™ืฉื”ื•.
15:52
For me, drawing cartoons is a form of resistance.
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ืขื‘ื•ืจื™, ืฆื™ื•ืจ ืงืจื™ืงื˜ื•ืจื•ืช ื”ื•ื ืฆื•ืจื” ืฉืœ ืžืจื™.
15:56
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
16:09
A cartoon is like a Rosetta stone.
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ื”ืงืจื™ืงื˜ื•ืจื” ื”ื™ื ื›ืžื• ืื‘ืŸ ืจื•ื–ื˜ื”.
16:12
If we throw it into outer space,
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ืื ื ืฉืœื™ืš ืื•ืชื” ืœื—ืœืœ ื”ื—ื™ืฆื•ืŸ,
16:13
a future alien would be able to know with certainty
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ื—ื™ื™ื–ืจ ื™ื•ื›ืœ ื‘ืขืชื™ื“ ืœื“ืขืช ื‘ื•ื•ื“ืื•ืช
16:16
that in the past,
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ืฉื‘ืขื‘ืจ,
16:17
we once had a civilized world with free thinking.
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ื”ื™ื™ื ื• ืคืขื ืขื•ืœื ืžืชื•ืจื‘ืช ืขื ืžื—ืฉื‘ื” ื—ื•ืคืฉื™ืช.
16:20
(Speaks Spanish)
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(ืกืคืจื“ื™ืช)
16:27
That one wall that my mother gave me the freedom to draw on feels infinite.
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ื”ืงื™ืจ ื”ื™ื—ื™ื“ ืฉืื™ืžื™ ื”ืจืฉืชื” ืœื™ ืœืฆื™ื™ืจ ืขืœื™ื• ื ืจืื” ืื™ื ืกื•ืคื™.
16:31
And it's for that reason that I am still drawing.
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ื•ืžืกื™ื‘ื” ื–ื• ืื ื™ ืžืžืฉื™ื›ื” ืœืฆื™ื™ืจ.
16:34
Thank you very much.
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ืชื•ื“ื” ืจื‘ื” ืœื›ื.
16:35
(Cheers and applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื ื•ืชืจื•ืขื•ืช)
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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