TEDSalon London Spring 2012
Beeban Kidron: The shared wonder of film
Beeban Kidron: Det delte filmvidunder
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Film har magten til at skabe en delt narrativ oplevelse og til at skabe minder og verdensopfattelser. Den britiske instruktør Beeban Kidron fremmaner ikoniske film scener -- fra MIraklet i Milano til Boyz n the Hood -- i takt med at hun viser hvordan hendes gruppe FILMCLUB deler store film med børn.
Baroness Beeban Kidron - Film director
Beeban Kidron directed Bridget Jones: The Edge of Reason and Oranges Are Not the Only Fruit. She also cofounded FILMCLUB, a charity for students devoted to the art of storytelling through film. Full bio
Beeban Kidron directed Bridget Jones: The Edge of Reason and Oranges Are Not the Only Fruit. She also cofounded FILMCLUB, a charity for students devoted to the art of storytelling through film. Full bio
Double-click the English transcript below to play the video.
00:16
Evidence suggests that humans in all ages and from all cultures
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Beviser tyder på, at mennesker i alle aldre i alle kulturer
00:21
create their identity in some kind of narrative form.
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har skabt deres identitet på en eller anden narrativ form.
00:25
From mother to daughter, preacher to congregant,
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Fra mor til datter, fra præst til forsamling,
00:28
teacher to pupil, storyteller to audience.
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lærer til elev, fortæller til tilhørere.
00:31
Whether in cave paintings
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Hvad enten i hulemalerier
00:32
or the latest uses of the Internet,
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eller den seneste brug af internettet,
00:35
human beings have always told their histories and truths
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har mennesker altid fortalt deres historier og sandheder
00:39
through parable and fable.
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gennem lignelse og fabel.
00:41
We are inveterate storytellers.
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Vi er inkarnerede fortællere.
00:45
But where, in our increasingly secular and fragmented world,
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Men hvor, i vores stigende sekulariserede og fragmenterede verden,
00:49
do we offer communality of experience,
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tilbyder vi et fællesskab af erfaring,
00:53
unmediated by our own furious consumerism?
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direkte af vores egen rasende forbrugerisme?
00:58
And what narrative, what history,
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Og hvilken fortælling, hvilken historie,
01:01
what identity, what moral code
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hvilken identitet, hvilket moralkodeks,
01:04
are we imparting to our young?
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giver vi videre til vores unge?
01:07
Cinema is arguably
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Filmkunst er vel sagtens
01:10
the 20th century's most influential art form.
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det 20 århundredes mest indflydelsesrige kunstform.
01:13
Its artists told stories
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Det er kunstnere der fortæller historier
01:15
across national boundaries,
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på tværs af nationale grænser,
01:16
in as many languages, genres and philosophies
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i så mange sprog, genrer og filosofier
01:19
as one can imagine.
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som man kan forestille sig.
01:20
Indeed, it is hard to find a subject
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Bestemt, det er svært at finde et emne
01:23
that film has yet to tackle.
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som film endnu ikke har taklet.
01:25
During the last decade
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I løbet af det sidste årti
01:26
we've seen a vast integration of global media,
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har vi set en stor integration af globale medier,
01:29
now dominated by a culture of the Hollywood blockbuster.
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nu domineret af en kultur af Hollywood blockbusteren.
01:32
We are increasingly offered a diet
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Vi bliver i stigende grad tilbudt en diæt
01:35
in which sensation, not story, is king.
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hvor sensation, ikke historie, er kongen.
01:38
What was common to us all 40 years ago --
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Det der var almindeligt for os alle for 40 år siden --
01:41
the telling of stories between generations --
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historiefortællingen mellem generationer --
01:43
is now rarified.
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er nu fortyndet.
01:45
As a filmmaker, it worried me.
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Som filmskaber, bekymrede det mig.
01:48
As a human being, it puts the fear of God in me.
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Som menneske, gør det mig gudfrygtig.
01:52
What future could the young build
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Hvilken fremtid kunne de unge bygge
01:54
with so little grasp
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med så lidt forståelse
01:55
of where they've come from
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af hvor vi er kommet fra,
01:57
and so few narratives of what's possible?
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og så få fortællinger om hvad der er muligt?
02:00
The irony is palpable;
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Ironien er tyk;
02:02
technical access has never been greater,
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teknisk tilgængelighed har aldrig været større,
02:05
cultural access never weaker.
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kulturel tilgængelig har aldrig været svagere.
02:08
And so in 2006 we set up FILMCLUB,
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Så i 2006 startede vi FILMCLUB,
02:13
an organization that ran weekly film screenings in schools
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en organisation der hver uge viste film i skoler
02:17
followed by discussions.
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efterfulgt af diskussioner.
02:19
If we could raid the annals of 100 years of film,
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Hvis vi kunne bruge 100 års film,
02:23
maybe we could build a narrative
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kunne vi måske bygge en fortælling
02:25
that would deliver meaning
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der kunne give mening
02:26
to the fragmented and restless world of the young.
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til den fragmenterede og rastløse verden de unge lever i.
02:29
Given the access to technology,
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Med tilgang til teknologi,
02:31
even a school in a tiny rural hamlet
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selv en lille skole på landet
02:35
could project a DVD onto a white board.
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kunne projektere en DVD på en hvid væg.
02:38
In the first nine months
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I løbet af de første ni måneder
02:40
we ran 25 clubs across the U.K.,
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havde vi 25 klubber i hele England,
02:43
with kids in age groups between five and 18
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med børn i aldersgrupper mellem fem og 18
02:46
watching a film uninterrupted for 90 minutes.
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der så en film, uafbrudt i 90 minutter.
02:49
The films were curated and contextualized.
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Filmene blev organiseret og sat i kontekst.
02:52
But the choice was theirs,
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Men det var deres valg,
02:53
and our audience quickly grew
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og vores publikum voksede hurtigt
02:55
to choose the richest and most varied diet that we could provide.
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til at vælge den rigeste mest varierede kost som vi kunne give.
02:59
The outcome, immediate.
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Resultatet, med det samme.
03:02
It was an education of the most profound and transformative kind.
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Det var en uddannelse af den mest overraskende og ændrende måde.
03:08
In groups as large as 150 and as small as three,
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I grupper så store som 150 og så små som tre,
03:11
these young people discovered new places,
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opdagede disse unge mennesker nye steder,
03:14
new thoughts, new perspectives.
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nye tanker, nye perspektiver.
03:16
By the time the pilot had finished,
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Da den første udsendelse var slut,
03:18
we had the names of a thousand schools
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havde vi navnene på tusind skoler
03:21
that wished to join.
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der ville være med.
03:24
The film that changed my life
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Den film der ændrede mit liv
03:26
is a 1951 film by Vittorio De Sica, "Miracle in Milan."
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er en film fra 1951 af Vittorio De Sica, "Miraklet i Milano."
03:31
It's a remarkable comment
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Det er en bemærkelsesværdig kommentar
03:33
on slums, poverty and aspiration.
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på slum, fattigdom og ambition.
03:36
I had seen the film on the occasion of my father's 50th birthday.
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Jeg så filmen i anledning af min fars 50 års fødselsdag.
03:40
Technology then meant we had to hire a viewing cinema,
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Datidens teknologi gjorde at vi måtte leje en biograf,
03:44
find and pay for the print and the projectionist.
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finde og betale for printet og operatøren.
03:47
But for my father,
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Men for min far,
03:49
the emotional and artistic importance of De Sica's vision was so great
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var den følelsesmæssige og artistiske vigtighed af De Sicas vision så stor
03:55
that he chose to celebrate his half-century
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at han valgte at fejre hans halve århundrede
03:57
with his three teenage children and 30 of their friends,
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med hans tre børn og 30 af deres venner.
04:01
"In order," he said,
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"For at," sagde han,
04:03
"to pass the baton of concern and hope
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"videregive stafetten af bekymring og håb
04:06
on to the next generation."
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til den næste generation."
04:09
In the last shot of "Miracle in Milan,"
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I den sidste scene af "Miraklet i Milano,"
04:11
slum-dwellers float skyward on flying brooms.
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flyver folk fra slummen på flyvende koste.
04:15
Sixty years after the film was made
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Tres år efter filmen blev lavet
04:18
and 30 years after I first saw it,
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og tredive år efter jeg først så den,
04:20
I see young faces tilt up in awe,
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ser jeg unge ansigter kigge op i dyb respekt
04:23
their incredulity matching mine.
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deres skepsis matcher min.
04:25
And the speed with which they associate it
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Og hastigheden hvormed de associerer det
04:27
with "Slumdog Millionaire" or the favelas in Rio
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med "Slumdog Millionaire" eller favelaerne i Rio
04:31
speaks to the enduring nature.
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taler til det varige væsen.
04:34
In a FILMCLUB season about democracy and government,
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I en FILMCLUB sæson om demokrati og regering,
04:37
we screened "Mr. Smith Goes to Washington."
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vi viste "Mr. Smith kommer til byen."
04:39
Made in 1939, the film is older than most of our members' grandparents.
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Lavet i 1939, filmen er ældre end de fleste af vores medlemmers bedsteforældre.
04:45
Frank Capra's classic values independence and propriety.
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Frank Capras klassiske værdier om uafhængighed og anstændighed.
04:49
It shows how to do right,
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Det viser hvordan man gør det rigtigt,
04:51
how to be heroically awkward.
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hvordan man er heroisk akavet.
04:53
It is also an expression of faith
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Det er også et udtryk for tro
04:56
in the political machine as a force of honor.
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på den politiske maskine som en ærens kraft.
04:59
Shortly after "Mr. Smith" became a FILMCLUB classic,
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Kort efter "Mr. Smith" blev en FILMCLUB klassiker,
05:03
there was a week of all-night filibustering in the House of Lords.
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der var en uges med nætter af filibustering i Overhuset.
05:07
And it was with great delight
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Og det var med stor fornøjelse
05:08
that we found young people up and down the country
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at vi fandt ud af at unge mennesker fra hele landet
05:11
explaining with authority
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med kompetent myndighed forklarede
05:13
what filibustering was
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hvad filibustering var
05:15
and why the Lords might defy their bedtime on a point of principle.
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og hvorfor medemmer af Overhuset trodsede deres sengetid på grund af et princip.
05:20
After all, Jimmy Stewart filibustered for two entire reels.
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Jimmi Stewart havde trods alt filibustered to hele filmruller.
05:25
In choosing "Hotel Rwanda,"
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Da vi valgte "Hotel Rwanda",
05:28
they explored genocide of the most brutal kind.
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udforskede de folkemordets brutale natur.
05:31
It provoked tears as well as incisive questions
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Det fremprovokerede tårer lige så vel som skarpe spørgsmål
05:35
about unarmed peace-keeping forces
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om ubevæbnede fredsbevarende styrker
05:36
and the double-dealing of a Western society
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og det dobbeltmoralske vestlige samfund
05:39
that picks its moral fights with commodities in mind.
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der vælger dens moralske kampe med forbrugsartikler i tankerne.
05:43
And when "Schindler's List" demanded that they never forget,
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Og da "Schindlers Liste" krævede at de aldrig ville glemme,
05:47
one child, full of the pain of consciousness, remarked,
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et barn, fuldt med smerten om bevidstheden, bemærkede,
05:51
"We already forgot,
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"Vi havde allerede glemt det,
05:52
otherwise how did 'Hotel Rwanda' happen?"
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hvordan kunne 'Hotel Rwanda' ske?"
05:56
As they watch more films their lives got palpably richer.
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I takt med at de så flere film, blev deres liv mærkbart rigere.
06:00
"Pickpocket" started a debate about criminality disenfranchisement.
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"Lommetyven" startede en debat om kriminel fratagelse af stemmeretten.
06:05
"To Sir, with Love" ignited its teen audience.
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"Den hårde klasse" tændte sig teenager tilskuerne.
06:09
They celebrated a change in attitude
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De fejrede en holdningsændring
06:11
towards non-white Britons,
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til ikke-hvide englændere,
06:13
but railed against our restless school system
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men rasede over vores rastløse skole system
06:16
that does not value collective identity,
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der ikke værdsætter vores kollektive identitet,
06:19
unlike that offered by Sidney Poitier's careful tutelage.
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i modsætning til Sidney Poitiers forsigtige vejledning.
06:26
By now, these thoughtful, opinionated, curious young people
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Nu havde disse eftertænksomme, påståelige, nysgerrige, unge mennesker
06:30
thought nothing of tackling films of all forms --
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ikke nogen betænkeligheder ved at tackle alle former for film --
06:33
black and white, subtitled,
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sort og hvid, undertekster,
06:34
documentary, non-narrative, fantasy --
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dokumentarer, ikke-narrativer, fantasier --
06:37
and thought nothing of writing detailed reviews
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og så det som en selvfølge at skrive detaljerede anmeldelser
06:39
that competed to favor one film over another
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der konkurrerede om at favorisere en film frem for en anden
06:43
in passionate and increasingly sophisticated prose.
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i passioneret og stigende sofistikeret prosa.
06:47
Six thousand reviews each school week
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Seks tusinde anmeldelser per skoleuge
06:50
vying for the honor of being review of the week.
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konkurrerede hver uge efter æren af et være ugens anmeldelse.
06:54
From 25 clubs, we became hundreds, then thousands,
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Fra 25 klubber, blev vi hundrede, derefter tusinde,
06:58
until we were nearly a quarter of a million kids
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indtil vi næsten hver en kvart million børn
07:01
in 7,000 clubs right across the country.
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i 7.000 klubber over hele landet.
07:05
And although the numbers were, and continue to be, extraordinary,
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Og selv antallet var, og stadig er, forbløffende,
07:08
what became more extraordinary
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det der var mere forbløffende
07:10
was how the experience of critical and curious questioning
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var oplevelsen af kritiske og nysgerrige spørgsmål
07:14
translated into life.
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oversat til liv.
07:16
Some of our kids started talking with their parents,
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Nogle af vores børn begyndte at tale med deres forældre,
07:19
others with their teachers,
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andre med deres lærere,
07:21
or with their friends.
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eller med deres venner.
07:22
And those without friends
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Og dem uden venner
07:23
started making them.
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begyndte at få dem.
07:26
The films provided communality across all manner of divide.
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Filmene sørgede for fællesskab tværs over alle slags skel.
07:31
And the stories they held provided a shared experience.
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Og historierne de fortalte gav en delt oplevelse.
07:34
"Persepolis" brought a daughter closer to her Iranian mother,
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"Persepolis" bragte en datter tættere på hendes mor,
07:38
and "Jaws" became the way in which one young boy
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og "Dødens Gab" blev måden hvorpå en ung dreng
07:42
was able to articulate the fear he'd experienced
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var i stand til at udtrykke den skræk han havde oplevet
07:46
in flight from violence
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i flugten fra volden
07:47
that killed first his father then his mother,
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der først dræbte hans far, derefter hans mor,
07:50
the latter thrown overboard on a boat journey.
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den sidstnævnte blev smidt overbord på en bådtur.
07:55
Who was right, who wrong?
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Hvem havde ret, hvem havde uret?
07:57
What would they do under the same conditions?
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Hvad ville de gøre under de samme vilkår?
07:59
Was the tale told well?
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Var historien godt fortalt?
08:01
Was there a hidden message?
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Var det et skjult budskab?
08:02
How has the world changed? How could it be different?
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Hvordan har verden ændret sig? Hvordan kunne det være anderledes?
08:05
A tsunami of questions flew out of the mouths of children
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En tsunami af spørgsmål fløj ud af munden på børnene
08:10
who the world didn't think were interested.
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som verden ikke troede der var interesserede.
08:12
And they themselves had not known they cared.
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Og de troede selv de ikke havde bekymret sig om det.
08:15
And as they wrote and debated,
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Og som de skrev og debatterede,
08:17
rather than seeing the films as artifacts,
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i stedet for at se filmene som produkter,
08:20
they began to see themselves.
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begyndte de at se sig selv.
08:25
I have an aunt who is a wonderful storyteller.
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Jeg har en tante der er en vidunderlig historiefortæller.
08:28
In a moment she can invoke images
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På et øjeblik kan hun fremkalde billeder
08:31
of running barefoot on Table Mountain and playing cops and robbers.
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af at løbe barfodet på Table Mountain og lege røvere og soldater.
08:34
Quite recently she told me
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For nylig fortalte hun mig
08:36
that in 1948, two of her sisters and my father
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at i 1948, rejste to af hendes søstre og min far
08:39
traveled on a boat to Israel without my grandparents.
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på en båd til Israel uden mine bedsteforældre.
08:42
When the sailors mutinied at sea in a demand for humane conditions,
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Da søfolkene begik mytteri på åbent hav, med krav om menneskelige forhold,
08:47
it was these teenagers that fed the crew.
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var det disse teenagere der fodrede bemandingen.
08:50
I was past 40 when my father died.
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Jeg var forbi de 40 da min far døde.
08:52
He never mentioned that journey.
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Han nævnte aldrig den rejse.
08:55
My mother's mother left Europe in a hurry
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Min moders moder forlod Europa i en fart
08:59
without her husband, but with her three-year-old daughter
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uden hendes mand, men med hendes tre-årige datter
09:02
and diamonds sewn into the hem of her skirt.
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og diamanter der var syet ind i folderne i hendes nederdel.
09:06
After two years in hiding,
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Efter at være under jorden i to år,
09:07
my grandfather appeared in London.
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dukke min farfar om i London.
09:10
He was never right again.
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Han blev aldrig normal igen.
09:12
And his story was hushed as he assimilated.
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Og hans historie blev holdt hemmelig i takt med at han blev integreret.
09:17
My story started in England
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Min historie startede i England
09:21
with a clean slate and the silence of immigrant parents.
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med en ren tavle og tavsheden fra de immigrerede forældre.
09:25
I had "Anne Frank," "The Great Escape,"
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Jeg havde "Anne Frank", "Den store flugt",
09:27
"Shoah," "Triumph of the Will."
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"Shoah", "Viljens triumf".
09:30
It was Leni Riefenstahl
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Det var Leni Riefenstahl
09:32
in her elegant Nazi propaganda
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i hendes elegante Nazi propaganda
09:35
who gave context to what the family had to endure.
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der gav en kontekst til det familien skulle udholde.
09:39
These films held what was too hurtful to say out loud,
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Disse film indholdte det der var for sårende at sige højt,
09:44
and they became more useful to me
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og de blev mere nyttige for mig
09:47
than the whispers of survivors
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end de overlevendes hvisken
09:49
and the occasional glimpse of a tattoo
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og det lejlighedsvise glimt af en tatovering
09:52
on a maiden aunt's wrist.
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på en ugift tantes håndled.
09:55
Purists may feel that fiction dissipates
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Purister føler måske at fiktion formøbler
09:58
the quest of real human understanding,
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en søgen efter virkelig, menneskelig forståelse,
10:01
that film is too crude
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at film er for primitive
10:02
to tell a complex and detailed history,
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til at fortælle en kompleks og detaljeret historie,
10:05
or that filmmakers always serve drama over truth.
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eller at filmskabere altid serverer drama frem for sandhed.
10:09
But within the reels lie purpose and meaning.
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Men i disse filmruller, ligger der et formål og en mening.
10:12
As one 12-year-old said after watching "Wizard of Oz,"
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Som en 12-årig sagde efter at have set "Troldmanden fra Oz",
10:16
"Every person should watch this,
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"Alle mennesker skulle se den,
10:18
because unless you do
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fordi hvis man ikke gør
10:20
you may not know that you too have a heart."
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finder man måske aldrig ud af at man også har et hjerte".
10:24
We honor reading, why not honor watching with the same passion?
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Vi honorerer læsning, hvorfor ikke også honorere kigning med samme passion?
10:29
Consider "Citizen Kane" as valuable as Jane Austen.
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Overvej "Den store mand" værende lige så værdifuldt som Jane Austen.
10:32
Agree that "Boyz n the Hood," like Tennyson,
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Være enig i, at "Boyz n the Hood", ligesom Tennyson,
10:35
offers an emotional landscape and a heightened understanding
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tilbyder et følelsesmæssigt landskab og en forøget forståelse
10:39
that work together.
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der arbejder sammen.
10:41
Each a piece of memorable art,
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Hvert et billede af mindeværdig kunst,
10:43
each a brick in the wall of who we are.
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hvert en mursten i væggen af hvem vi er.
10:46
And it's okay if we remember Tom Hanks
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Og det er okay hvis vi husker Tom Hanks
10:49
better than astronaut Jim Lovell
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bedre end astronauten Jom Lovell
10:51
or have Ben Kingsley's face superimposed onto that of Gandhi's.
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eller at Ben Kingsleys ansigt huskes bedre end Gandhis.
10:55
And though not real, Eve Harrington, Howard Beale, Mildred Pierce
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Og selvom de ikke er ægte, Eve Harrington, Howard Beale, Mildred Pierce
10:59
are an opportunity to discover
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er en mulighed for at opdage
11:02
what it is to be human,
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hvad det er at være et menneske,
11:04
and no less helpful to understanding our life and times
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og ikke mindre nyttigt til at forstå vores liv og vores tid
11:08
as Shakespeare is in illuminating the world of Elizabethan England.
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ligesom Shakespeare oplyste det elizabethianske England.
11:14
We guessed that film,
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Vi gættede på at film,
11:15
whose stories are a meeting place
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hvis historie er et mødested
11:17
of drama, music, literature and human experience,
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for drama, musik, litteratur og menneskelige oplevelser,
11:20
would engage and inspire the young people participating in FILMCLUB.
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ville engagere og inspirere de unge mennesker der deltog i FILMCLUB.
11:24
What we could not have foreseen
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Hvad vi ikke kunne have forudset
11:26
was the measurable improvements
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var de målelige forbedringer
11:27
in behavior, confidence and academic achievement.
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i opførsel, selvtillid, og akademiske præstationer.
11:31
Once-reluctant students now race to school, talk to their teachers,
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Tidligere tilbageholdende studerende skynder sig nu i skole, taler med deres lærere,
11:35
fight, not on the playground,
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slås, ikke på legepladsen,
11:37
but to choose next week's film --
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men om at vælge næste uges film --
11:39
young people who have found self-definition, ambition
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unge mennesker der har fundet selv-definition, ambition
11:43
and an appetite for education and social engagement
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og en appetit for uddannelse og social engagement
11:47
from the stories they have witnessed.
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fra de historier de har været vidner til.
11:50
Our members defy the binary description
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Vores medlemmer trodser den smalsporede beskrivelse
11:53
of how we so often describe our young.
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af hvordan vi så tit beskriver vores unge.
11:56
They are neither feral nor myopically self-absorbed.
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De er hverken vilde eller snæversynede og selvoptagede.
12:01
They are, like other young people,
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De, ligesom andre unge mennesker,
12:03
negotiating a world with infinite choice,
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forhandler med en verden med uendelige muligheder,
12:06
but little culture of how to find meaningful experience.
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men meget lidt kultur i hvordan man finder en meningsfyldt oplevelse.
12:11
We appeared surprised at the behaviors
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Vi synede overraskede over deres opførsel
12:14
of those who define themselves
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af dem der definerede sig selv
12:16
by the size of the tick on their shoes,
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på størrelsen af mærket på deres sko,
12:18
yet acquisition has been the narrative we have offered.
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men tilegnelsen har været den narrativ vi har tilbudt.
12:22
If we want different values
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Hvis vi vil have andre værdier
12:24
we have to tell a different story,
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må vi fortælle en anden fortælling,
12:27
a story that understands that an individual narrative
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en fortælling der forstår at en individuel narrativ
12:31
is an essential component of a person's identity,
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er en essentiel del af et menneskes identitet,
12:35
that a collective narrative
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at en kollektiv narrativ
12:37
is an essential component of a cultural identity,
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er en essentiel del af en kulturel identitet,
12:41
and without it it is impossible to imagine yourself
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og uden det er det umuligt at forestille en selv
12:45
as part of a group.
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som en del af en gruppe.
12:46
Because when these people get home
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Fordi disse mennesker kommer hjem
12:49
after a screening of "Rear Window"
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efter en visning af "Skjulte øjne",
12:52
and raise their gaze to the building next door,
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og løfter blikket mod bygningen ved siden af,
12:54
they have the tools to wonder who, apart from them,
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har de værktøjerne til at undre sig over hvem, ud over sig selv,
12:58
is out there
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er derude
13:00
and what is their story.
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og hvad deres historie er.
13:02
Thank you.
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Tak.
13:04
(Applause)
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(Bifald)
ABOUT THE SPEAKER
Baroness Beeban Kidron - Film directorBeeban Kidron directed Bridget Jones: The Edge of Reason and Oranges Are Not the Only Fruit. She also cofounded FILMCLUB, a charity for students devoted to the art of storytelling through film.
Why you should listen
Beeban Kidron is a British filmmaker who successfully navigates between pop culture and society’s darkest underworlds. Kidron is best known for directing Bridget Jones: The Edge of Reason (2004) and the Bafta-winning miniseries Oranges Are Not the Only Fruit (1989), adapted from Jeannette Winterson’s novel of the same name. She is also the director of To Wong Foo Thanks for Everything, Julie Newmar (1995) and Antonia and Jane (1991), as well as two documentaries on prostitution: Hookers, Hustlers, Pimps and their Johns (1993) and Sex, Death and the Gods (2011), a film about “devadasi,” or Indian “sacred prostitutes.”
In 2006 Kidron, with journalist and film critic Lindsay Mackie, founded FILMCLUB, an educational charity aimed at transforming the lives of young people through film. Through FILMCLUB, schools can screen films at no cost, and afterwards students discuss and review the films. Each week the charity reaches 220,000 children, in over 7,000 clubs.
Baroness Beeban Kidron | Speaker | TED.com