A trip to the Sugar Hill Children’s Museum of Art and Storytelling in Harlem, a building designed by the internationally acclaimed architect David Adjaye. The Museum celebrates the cultural legacy of the neighborhood, giving children access to the arts and working artists, and nurturing the next generation of creative thinkers.

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ON THIS EVENING'S PROGRAM, WE WILL TAKE A TRIP UPTOWN TO THE SUGAR HILL CHILDREN'S MUSEUM OF ART AND STORYTELLING IN HARLEM.

THE BUILDING, WHICH INCLUDES 124 UNITS OF AFFORDABLE HOUSING AND AN EARLY EDUCATION CENTER WAS DESIGNED BY THE ARCHITECT DAVID AJAY.

HE IS PERHAPS BEST KNOWN FOR HIS WORK ON THE NATIONAL MUSEUM OF AFRICAN-AMERICAN CULTURE IN WASHINGTON, D.C.

HERE IN NEW YORK, THE SUGAR HILL NEIGHBORHOOD OF THE EARLY 20th CENTURY WAS HOME TO SUCH NOTABLE FIGURES AS DUKE ELLINGTON, LENA HORN ANDE MUSEUM CELEBRATES THE NEIGHBORHOOD, GIVING CHILDREN ACCESS TO THE ARTS AND WORKING ARTISTS AND NURTURING THE NEXT GENERATION OF CREATIVE THINKERS.

BROADWAY HOUSING COMMUNITIES IS A NON-PROFIT ORGANIZATION IN NEW YORK CITY AND OUR FOCUS IS PRIMARILY HOUSING, ART AND EDUCATION.

WE HAVE BEEN WORKING IN THE NEIGHBORHOODS OF WEST HARLEM AND WASHINGTON HEIGHTS SINCE THE EARLY 1980s.

CREATING HOUSING FOR PEOPLE ON THE LOWEST ECONOMIC BAND, INCLUDING FORMERLY HOMELESS FAMILIES AND INDIVIDUALS.

CREATING EDUCATIONAL OPPORTUNITIES AND INTEGRATING HOUSING AND EDUCATIONAL PROGRAMS WITH THE CULTURAL ARTS.

THE SUGAR HILL PROJECT IS A PLACE WHERE ALL OF THE THINGS THAT BROADWAY HOUSING HAS LEARNED OVER 35 YEARS HAS COME ALIVE.

WE NOW HAVE AFFORDABLE HOUSING WHERE IT'S A VERY DIVERSE P POPULATION THAT RESIDE WITHIN THE UNITS.

WE HAVE AN EARLY CHILDHOOD CENTER, WHICH IS ONE OF THE FIRST MUSEUM PRESCHOOLS HERE IN NEW YORK CITY.

WE ALSO HAVE A CHILDREN'S MUSEUM OF ART AND STORYTELLING.

THIS NEIGHBORHOOD HAS A VERY HIGH PROPORTION OF CHILDREN THAT ARE BORN INTO POVERTY.

IT'S LARGELY A NEW IMMIGRANT COMMUNITY.

IT'S ONE OF THE HIGHEST BIRTH RATES IN MANHATTAN.

I'VE BEEN LIVING IN THE NEIGHBORHOOD FOR TEN YEARS NOW.

MY WORK IS ABOUT RESPONDING TO THE PLACES THAT I LIVE IN AND THE SPACES THAT I WALK AROUND, THE PEOPLE I SEE.

I'M FROM THE DOMINICAN REPUBLIC.

WHEN I FIRST CAME HERE, I DID NOT SPEAK ENGLISH.

SO I FELT RIGHT AT HOME HAVING THIS SPANISH SPEAKING COMMUNITY.

PEOPLE FROM PUERTO RICO, COLUMBIA.

THE NAME SUGAR HILL CHILDREN'S MUSEUM OF ART AND STORYTELLING WAS CONCEIVED BECAUSE WE KNOW THAT CHILDREN ARE NATURAL ARTISTS AND THEY ARE ALSO NATURAL STORYTELLERS.

AND WE WANTED TO CREATE AN INSTITUTION DEDICATED TO THEIR CREATIVE POTENTIAL.

THE MISSION OF THE SUGAR HILL CHILDREN'S MUSEUM IS TO NURTURE THE CREATIVE AND COGNITIVE GENIUS OF CHILDREN BETWEEN THE AGES OF 3 TO 8.

WE ARE HERE AS A SPACE TO PLACE ARTISTS AND STORYTELLERS AND ACTORS AND WRITERS IN DIALOGUE WITH CHILDREN SO THE CHILDREN ARE INSPIRED TO CREATE THEIR OWN ART AND STORIES.

UNLIKE MOST CHILDREN'S MUSEUMS THAT ARE INDOOR PLAY SPACES, THIS IS A CONTEMPORARY ART MUSEUM FOR CHILDREN.

THE FOCUS ON THE ARTS AND THE SERIOUSNESS WITH WHICH WE TAKE THE ARTS AND THE CAPACITY OF CHILDREN TO UNDERSTAND AND THINK ABOUT THE DIMENSIONS OF A CREATIVE EXPERIENCE IN ART IS QUITE EXPANSIVE.

STORYTELLING AND ART EXPERIENCES, NOT JUST VIEWING, HAPPEN IN LOTS OF DIFFERENT WAYS.

WE HAVE OUR STORY HOUR.

THEN THERE IS STORY TIME, WHICH IS A MORE MUSICAL OR DANCE PRODUCTION WITH ART MAKING AFTERWARDS.

THERE'S OUR STUDIO LAB, WHICH IS A SPACE FOR INDEPENDENT EXPLORATION AND THINKING ABOUT MATERIALS THAT ARE -- THE COLORS AND CONCEPTS ON VIEW.

CHILDREN HAVE THE OPPORTUNITY TO ENGAGE WITH THAT.

THEN WE HAVE THESE READING NOOKS WHERE WE HAVE A SELECTION OF BOOKS THAT ARE CURATED, SOMETIMES INSPIRED BY THE EXHIBITION, SOMETIMES BY THE THEMES OF THE MONTH.

PARENTS HAVE THE OPPORTUNITY TO INTIMATELY SHARE A STORY WITH THEIR CHILD OR CHILDREN HAVE THE OPPORTUNITY TO FIGURE IT OUT THEMSELVES.

MUSEUMS SHOULD HAVE MOMENTS AND SPACES WHERE CHILDREN DO NOT ONLY ENGAGE BY LOOKING BUT ALSO THEY ARE ACTIVE.

THEY HAVE ALREADY A LOT OF STIMULATION CATERED TO THEM THROUGH MEDIA, THROUGH THE CLOTHING INDUSTRY, TOY INDUSTRY.

THE MUSEUM ROLE IS TO PROVIDE THOSE OTHER ELEMENTS THEY ARE NOT GETTING AND HAVE THIS ENVIRONMENT AS PART OF SOMETHING THAT THEY BELONG TO AND THAT THEY DESERVE TO HAVE ACCESS TO.

THE ART ISTS HAVE 450 PFEET PRIVATE SPACE.

ONCE A MONTH, WE ASK THEY OPEN UP THEIR DOORS, OFFICE HOURS FOR PARENTS AND CHILDREN, TO JUST OBSERVE.

WE DO NOT LOOK SPECIFICALLY FOR ARTISTS WHO WORK WITH CHILDREN.

IF THAT WERE THE CASE, WE WOULD BE ONLY LOOKING FOR TEACHING ARTISTS.

WE ARE LOOKING FOR ARTISTS WHO ARE COMMITTED TO THEIR PRACTICE AND ALSO HAVE A SENSE OF COMFORT IN SHARING THEIR PRACTICE WITH CHILDREN.

THE MATERIALS I USE, MOST OF THE TIME HAVE THIS QUALITY OF TRANSLUCENCY.

I USE POLYESTER THREAD TO CREATE LINES.

I ALSO USE VERY TRANSPARENT KIND OF MYLAR TO CREATE WORK WHERE THE LINES ARE THE MAIN ELEMENT.

I ALSO LIKE TO COMBINE GLASS, THREAD AND COTTON AND CANVAS AND LINEN.

THIS IS WHAT I HAVE BEEN BRINGING TO THE CHILDREN OR SHARING WITH THE CHILDREN.

ONE OF THE PROJECTS THAT WE HAVE BEEN WORKING ON IS CREATING IMAGES THAT HAVE TO DO WITH ARCHITECTURE.

TWO WINDOWS.

ALSO, THINKING ABOUT HOW THE PLACES THAT WE ARE, HOW THEY ALSO SHAPE THE WAY WE BEHAVE AND THE WAY THAT WE FEEL.

I LIKE THAT.

THEY HAVE SO MUCH TO OFFER AND SO MUCH TO BRING.

ESPECIALLY IN HOW PURE THEY ARE AND HOW HONEST AND OPEN THEY ARE AND SUSCEPTIBLE TO LEARNING.

THEY ARE NOT FIXATED IN ONE OUTCOME.

THEY ARE NOT OBSESSING OVER THE W RESULT OF THE THING THEY ARE MAKING.

THEY ARE PRETTY MUCH LEARNING AS THEY MAKE.

THEY HAVE THE SENSE OF CURIOSITY.

THIS EXCITEMENT.

LET'S UNVEIL THE MASTERPIECE.

ONE OF THE IDEAS THAT WE ARE THINKING ABOUT IS THIS INTERGENERATIONAL IDEA.

YOU HAVE YOUNG CHILDREN WORKING ALONGSIDE ADULTS, WHETHER IT'S THEIR PARENTS OR GRANDPARENTS OR SOMEONE ELSE WHO IS REALLY CLOSE TO THEM.

WHAT'S THE EXCHANGE THAT CAN HAPPEN THERE?

ALL THE PEOPLE REPRESENTED IN MY WORK, THEY ARE ALL LOCAL PEOPLE.

THEY ARE ALL PEOPLE WHO WORK IN THE NEIGHBORHOOD OR WALK AROUND THE NEIGHBORHOOD OR LIVE IN THE NEIGHBORHOOD.

I'M ALSO VERY INTERESTED IN CREATING AN IMAGERY THAT REFLECTS THOSE CHILDREN.

CHANGE A LITTLE BIT WHAT MY DAUGHTER SEES IN BOOKS.

I WANT HER TO BE ABLE TO SEE HERSELF IN BOOKS.

CHILDREN THAT LOOK LIKE HER.

THIS IS A REALLY EXCITING PART WHERE ALL OF THE CHILDREN THAT HAVE COME IN HERE AND THEY RECOGNIZE THEMSELVES IN THE DRAWINGS.

IT'S MAGICAL TO SEE THAT.

TO MAKE ART WHERE THE PEOPLE SEE THEMSELVES REPRESENTED, I THINK IT HAS A STRONG IMPACT.

AND IT BRINGS THIS SENSE OF OWNERSHIP OF THE CREATIVE PROCESS OF A LOCAL ARTIST.

ALL OF THIS WORK HAS TO DO WITH REPRESENTATION AND DRAWING PEOPLE AND CHILDREN.

CREATE A VISUAL ARCHIVE THAT WILL ALLOW PEOPLE TO SEE THEMSELVES IN THE WORK THAT I HAVE PRESENTED.

I FEEL PRETTY STRONGLY ABOUT THAT.

MANY TIMES CHILDREN'S MUSEUMS UNDERESTIMATE THE TYPES OF QUESTIONS THAT CHILDREN ARE CAPABLE OF ASKING OR UNDERESTIMATE THE QUESTIONS THAT ARE BEING POSED.

WE ARE LOOKING TO CONTEMPORARY ARTISTS AND SEEING IF THEY CAN HELP US DO THAT IN THOUGHTFUL WAYS, POSE QUESTIONS, GIVE THEM OPPORTUNITIES TO THINK.

WE TRIED TO CONCEIVE OF WHAT WOULD BE THE MOST LONGSTANDING CONTRIBUTION THAT WE COULD MAKE TO THIS NEIGHBORHOOD.

AND THAT WAS THE MUSEUM, BECAUSE THE MUSEUM IS A SYMBOL OF A COMMUNITY THAT IS PROSPEROUS, THAT'S HEALTHY, THAT CHERISHES ITS HISTORY AND ALL ITS PEOPLE.

A MUSEUM IS A COMMITMENT TO THE FUTURE AND TO THE FUTURE OF THE CHILDREN OF THIS NEIGHBORHOOD.