Question: What stage is the black swan at?

Answer: American Ballet Theater and New York City Ballet

Finally a major New York ballet company has a black swan. Misty Copeland’s promotion to principal dancer at American Ballet Theater this summer put ballet back on popular culture’s map and ushered in a conversation about diversity in ballet. So what now? Classical ballet is still overwhelmingly white, but over the past few years diversity has finally become a priority. <hl> On the stages of American Ballet Theater and New York City Ballet black, Asian, Latino and multiracial dancers are beginning to change the face of ballet where it matters most: Lincoln Center, home base to both companies. <hl>

Finally a major New York ballet company has a black swan. Misty Copeland’s promotion to principal dancer at American Ballet Theater this summer put ballet back on popular culture’s map and ushered in a conversation about diversity in ballet. So what now? Classical ballet is still overwhelmingly white, but over the past few years diversity has finally become a priority. On the stages of <hl> American Ballet Theater and New York City Ballet <hl> black, Asian, Latino and multiracial dancers are beginning to change the face of ballet where it matters most: Lincoln Center, home base to both companies.


Question: Lincoln Center is known as what in terms of ballet?

Finally a major New York ballet company has a black swan. Misty Copeland’s promotion to principal dancer at American Ballet Theater this summer put ballet back on popular culture’s map and ushered in a conversation about diversity in ballet. So what now? Classical ballet is still overwhelmingly white, but over the past few years diversity has finally become a priority. On the stages of American Ballet Theater and New York City Ballet black, Asian, Latino and multiracial dancers are beginning to change the face of ballet where it matters most: Lincoln Center, home base to both companies.

Answer: home base to both companies

Finally a major New York ballet company has a black swan. Misty Copeland’s promotion to principal dancer at American Ballet Theater this summer put ballet back on popular culture’s map and ushered in a conversation about diversity in ballet. So what now? Classical ballet is still overwhelmingly white, but over the past few years diversity has finally become a priority. <hl> On the stages of American Ballet Theater and New York City Ballet black, Asian, Latino and multiracial dancers are beginning to change the face of ballet where it matters most: Lincoln Center, home base to both companies . <hl>

Finally a major New York ballet company has a black swan. Misty Copeland’s promotion to principal dancer at American Ballet Theater this summer put ballet back on popular culture’s map and ushered in a conversation about diversity in ballet. So what now? Classical ballet is still overwhelmingly white, but over the past few years diversity has finally become a priority. On the stages of American Ballet Theater and New York City Ballet black, Asian, Latino and multiracial dancers are beginning to change the face of ballet where it matters most: Lincoln Center, <hl> home base to both companies <hl>.

On the stages of American Ballet Theater and New York City Ballet black, Asian, Latino and multiracial dancers are beginning to change the face of ballet where it matters most: Lincoln Center, <hl> home base to both companies <hl> .


Question: There is diversity in ballet now, what dancers are changing that?

Answer: Asian, Latino and multiracial

Finally a major New York ballet company has a black swan. Misty Copeland’s promotion to principal dancer at American Ballet Theater this summer put ballet back on popular culture’s map and ushered in a conversation about diversity in ballet. So what now? Classical ballet is still overwhelmingly white, but over the past few years diversity has finally become a priority. <hl> On the stages of American Ballet Theater and New York City Ballet black, Asian, Latino and multiracial dancers are beginning to change the face of ballet where it matters most: Lincoln Center, home base to both companies. <hl>

Finally a major New York ballet company has a black swan. Misty Copeland’s promotion to principal dancer at American Ballet Theater this summer put ballet back on popular culture’s map and ushered in a conversation about diversity in ballet. So what now? Classical ballet is still overwhelmingly white, but over the past few years diversity has finally become a priority. On the stages of American Ballet Theater and New York City Ballet black, <hl> Asian, Latino and multiracial <hl> dancers are beginning to change the face of ballet where it matters most: Lincoln Center, home base to both companies.


Question: Who is the first African-American principle dancer?

More than equality is at stake when Ms. Copeland — the first African-American principal female dancer in the company’s 75-year history — dances. When a company is diverse, the audience becomes more diverse, too, and for those faced with aging, dwindling audiences, that is priceless. Money is another incentive to change: The Rockefeller Brothers Fund, the Ford Foundation and the Andrew W. Mellon Foundation have financed recent diversity initiatives. The two major New York companies have realized that change starts with the schools. If it takes 10 years to make a dancer — and you can’t waste a minute — diversifying ballet must begin with children. Both Ballet Theater’s Jacqueline Kennedy Onassis School and the School of American Ballet, the training ground for City Ballet, have initiated programs to spot and recruit young minority dancers.

Answer: Ms. Copeland

<hl> More than equality is at stake when Ms. Copeland — the first African-American principal female dancer in the company’s 75-year history — dances. <hl> When a company is diverse, the audience becomes more diverse, too, and for those faced with aging, dwindling audiences, that is priceless. Money is another incentive to change: The Rockefeller Brothers Fund, the Ford Foundation and the Andrew W. Mellon Foundation have financed recent diversity initiatives. The two major New York companies have realized that change starts with the schools. If it takes 10 years to make a dancer — and you can’t waste a minute — diversifying ballet must begin with children. Both Ballet Theater’s Jacqueline Kennedy Onassis School and the School of American Ballet, the training ground for City Ballet, have initiated programs to spot and recruit young minority dancers.

More than equality is at stake when <hl> Ms. Copeland <hl> — the first African-American principal female dancer in the company’s 75-year history — dances. When a company is diverse, the audience becomes more diverse, too, and for those faced with aging, dwindling audiences, that is priceless. Money is another incentive to change: The Rockefeller Brothers Fund, the Ford Foundation and the Andrew W. Mellon Foundation have financed recent diversity initiatives. The two major New York companies have realized that change starts with the schools. If it takes 10 years to make a dancer — and you can’t waste a minute — diversifying ballet must begin with children. Both Ballet Theater’s Jacqueline Kennedy Onassis School and the School of American Ballet, the training ground for City Ballet, have initiated programs to spot and recruit young minority dancers.


Question: What is the main incentive for the company to change?

Answer: Money

More than equality is at stake when Ms. Copeland — the first African-American principal female dancer in the company’s 75-year history — dances. When a company is diverse, the audience becomes more diverse, too, and for those faced with aging, dwindling audiences, that is priceless. <hl> Money is another incentive to change: The Rockefeller Brothers Fund, the Ford Foundation and the Andrew W. Mellon Foundation have financed recent diversity initiatives. <hl> The two major New York companies have realized that change starts with the schools. If it takes 10 years to make a dancer — and you can’t waste a minute — diversifying ballet must begin with children. Both Ballet Theater’s Jacqueline Kennedy Onassis School and the School of American Ballet, the training ground for City Ballet, have initiated programs to spot and recruit young minority dancers.

More than equality is at stake when Ms. Copeland — the first African-American principal female dancer in the company’s 75-year history — dances. When a company is diverse, the audience becomes more diverse, too, and for those faced with aging, dwindling audiences, that is priceless. <hl> Money <hl> is another incentive to change: The Rockefeller Brothers Fund, the Ford Foundation and the Andrew W. Mellon Foundation have financed recent diversity initiatives. The two major New York companies have realized that change starts with the schools. If it takes 10 years to make a dancer — and you can’t waste a minute — diversifying ballet must begin with children. Both Ballet Theater’s Jacqueline Kennedy Onassis School and the School of American Ballet, the training ground for City Ballet, have initiated programs to spot and recruit young minority dancers.


Question: How long does it take to become a dancer?

Answer: 10 years

More than equality is at stake when Ms. Copeland — the first African-American principal female dancer in the company’s 75-year history — dances. When a company is diverse, the audience becomes more diverse, too, and for those faced with aging, dwindling audiences, that is priceless. Money is another incentive to change: The Rockefeller Brothers Fund, the Ford Foundation and the Andrew W. Mellon Foundation have financed recent diversity initiatives. The two major New York companies have realized that change starts with the schools. <hl> If it takes 10 years to make a dancer — and you can’t waste a minute — diversifying ballet must begin with children. <hl> Both Ballet Theater’s Jacqueline Kennedy Onassis School and the School of American Ballet, the training ground for City Ballet, have initiated programs to spot and recruit young minority dancers.

More than equality is at stake when Ms. Copeland — the first African-American principal female dancer in the company’s 75-year history — dances. When a company is diverse, the audience becomes more diverse, too, and for those faced with aging, dwindling audiences, that is priceless. Money is another incentive to change: The Rockefeller Brothers Fund, the Ford Foundation and the Andrew W. Mellon Foundation have financed recent diversity initiatives. The two major New York companies have realized that change starts with the schools. If it takes <hl> 10 years <hl> to make a dancer — and you can’t waste a minute — diversifying ballet must begin with children. Both Ballet Theater’s Jacqueline Kennedy Onassis School and the School of American Ballet, the training ground for City Ballet, have initiated programs to spot and recruit young minority dancers.


Question: The City Ballet recruited mainly what?

Answer: young minority dancers.

More than equality is at stake when Ms. Copeland — the first African-American principal female dancer in the company’s 75-year history — dances. When a company is diverse, the audience becomes more diverse, too, and for those faced with aging, dwindling audiences, that is priceless. Money is another incentive to change: The Rockefeller Brothers Fund, the Ford Foundation and the Andrew W. Mellon Foundation have financed recent diversity initiatives. The two major New York companies have realized that change starts with the schools. If it takes 10 years to make a dancer — and you can’t waste a minute — diversifying ballet must begin with children. <hl> Both Ballet Theater’s Jacqueline Kennedy Onassis School and the School of American Ballet, the training ground for City Ballet, have initiated programs to spot and recruit young minority dancers. <hl>

More than equality is at stake when Ms. Copeland — the first African-American principal female dancer in the company’s 75-year history — dances. When a company is diverse, the audience becomes more diverse, too, and for those faced with aging, dwindling audiences, that is priceless. Money is another incentive to change: The Rockefeller Brothers Fund, the Ford Foundation and the Andrew W. Mellon Foundation have financed recent diversity initiatives. The two major New York companies have realized that change starts with the schools. If it takes 10 years to make a dancer — and you can’t waste a minute — diversifying ballet must begin with children. Both Ballet Theater’s Jacqueline Kennedy Onassis School and the School of American Ballet, the training ground for City Ballet, have initiated programs to spot and recruit <hl> young minority dancers. <hl>


Question: Funding from two big companies financed what initiative in the schools?

Answer: diversity

More than equality is at stake when Ms. Copeland — the first African-American principal female dancer in the company’s 75-year history — dances. When a company is diverse, the audience becomes more diverse, too, and for those faced with aging, dwindling audiences, that is priceless. <hl> Money is another incentive to change: The Rockefeller Brothers Fund, the Ford Foundation and the Andrew W. Mellon Foundation have financed recent diversity initiatives. <hl> The two major New York companies have realized that change starts with the schools. If it takes 10 years to make a dancer — and you can’t waste a minute — diversifying ballet must begin with children. Both Ballet Theater’s Jacqueline Kennedy Onassis School and the School of American Ballet, the training ground for City Ballet, have initiated programs to spot and recruit young minority dancers.

More than equality is at stake when Ms. Copeland — the first African-American principal female dancer in the company’s 75-year history — dances. When a company is diverse, the audience becomes more diverse, too, and for those faced with aging, dwindling audiences, that is priceless. Money is another incentive to change: The Rockefeller Brothers Fund, the Ford Foundation and the Andrew W. Mellon Foundation have financed recent <hl> diversity <hl> initiatives. The two major New York companies have realized that change starts with the schools. If it takes 10 years to make a dancer — and you can’t waste a minute — diversifying ballet must begin with children. Both Ballet Theater’s Jacqueline Kennedy Onassis School and the School of American Ballet, the training ground for City Ballet, have initiated programs to spot and recruit young minority dancers.


Question: What does Silas Farley's father refer himself as?

That seemingly small step led to an increased turnout for the school’s free community auditions, which has dramatically shifted the minority presence in the children division. “It’s gone Technicolor fast,” said Silas Farley, a 21-year-old member of City Ballet whose mother is black and father is white. (He refers to himself as “a cultural gumbo.”) Peter Martins, the ballet master in chief of City Ballet as well as the artistic director and chairman of faculty at the School of American Ballet, says that substantial change may take time, but it will happen. “We are not a white company,” he said. “We don’t seek to be a black company. We don’t seek to be half and half. I just want to be American.” While it’s still too soon to tell if the children discovered through recent community auditions will make it into City Ballet, since 2008-9, the school has graduated 36 minority dancers who have gone on to join professional companies. Eleven of those joined City Ballet. India Bradley, a 17-year-old advanced student at the school said her ambition — obsession really — is to become one of them. “More than anything in life,” she said. “I have actual dreams.” Ms. Bradley, a Detroit native, found her way to the School of American Ballet through the Dance Theater of Harlem. One of her teachers, Andrea Long-Naidu — a former City Ballet dancer — encouraged her to audition for the school.

Answer: “a cultural gumbo.”

That seemingly small step led to an increased turnout for the school’s free community auditions, which has dramatically shifted the minority presence in the children division. “It’s gone Technicolor fast,” said Silas Farley, a 21-year-old member of City Ballet whose mother is black and father is white. <hl> (He refers to himself as “a cultural gumbo.” ) Peter Martins, the ballet master in chief of City Ballet as well as the artistic director and chairman of faculty at the School of American Ballet, says that substantial change may take time, but it will happen. <hl> “We are not a white company,” he said. “We don’t seek to be a black company. We don’t seek to be half and half. I just want to be American.” While it’s still too soon to tell if the children discovered through recent community auditions will make it into City Ballet, since 2008-9, the school has graduated 36 minority dancers who have gone on to join professional companies. Eleven of those joined City Ballet. India Bradley, a 17-year-old advanced student at the school said her ambition — obsession really — is to become one of them. “More than anything in life,” she said. “I have actual dreams.” Ms. Bradley, a Detroit native, found her way to the School of American Ballet through the Dance Theater of Harlem. One of her teachers, Andrea Long-Naidu — a former City Ballet dancer — encouraged her to audition for the school.

That seemingly small step led to an increased turnout for the school’s free community auditions, which has dramatically shifted the minority presence in the children division. “It’s gone Technicolor fast,” said Silas Farley, a 21-year-old member of City Ballet whose mother is black and father is white. (He refers to himself as <hl> “a cultural gumbo.” <hl>) Peter Martins, the ballet master in chief of City Ballet as well as the artistic director and chairman of faculty at the School of American Ballet, says that substantial change may take time, but it will happen. “We are not a white company,” he said. “We don’t seek to be a black company. We don’t seek to be half and half. I just want to be American.” While it’s still too soon to tell if the children discovered through recent community auditions will make it into City Ballet, since 2008-9, the school has graduated 36 minority dancers who have gone on to join professional companies. Eleven of those joined City Ballet. India Bradley, a 17-year-old advanced student at the school said her ambition — obsession really — is to become one of them. “More than anything in life,” she said. “I have actual dreams.” Ms. Bradley, a Detroit native, found her way to the School of American Ballet through the Dance Theater of Harlem. One of her teachers, Andrea Long-Naidu — a former City Ballet dancer — encouraged her to audition for the school.

(He refers to himself as <hl> “a cultural gumbo.” <hl> ) Peter Martins, the ballet master in chief of City Ballet as well as the artistic director and chairman of faculty at the School of American Ballet, says that substantial change may take time, but it will happen.


Question: How many minority dancers have graduated since 2008/2009?

Answer: 36

That seemingly small step led to an increased turnout for the school’s free community auditions, which has dramatically shifted the minority presence in the children division. “It’s gone Technicolor fast,” said Silas Farley, a 21-year-old member of City Ballet whose mother is black and father is white. (He refers to himself as “a cultural gumbo.”) Peter Martins, the ballet master in chief of City Ballet as well as the artistic director and chairman of faculty at the School of American Ballet, says that substantial change may take time, but it will happen. “We are not a white company,” he said. “We don’t seek to be a black company. We don’t seek to be half and half. I just want to be American.” <hl> While it’s still too soon to tell if the children discovered through recent community auditions will make it into City Ballet, since 2008-9, the school has graduated 36 minority dancers who have gone on to join professional companies. <hl> Eleven of those joined City Ballet. India Bradley, a 17-year-old advanced student at the school said her ambition — obsession really — is to become one of them. “More than anything in life,” she said. “I have actual dreams.” Ms. Bradley, a Detroit native, found her way to the School of American Ballet through the Dance Theater of Harlem. One of her teachers, Andrea Long-Naidu — a former City Ballet dancer — encouraged her to audition for the school.

That seemingly small step led to an increased turnout for the school’s free community auditions, which has dramatically shifted the minority presence in the children division. “It’s gone Technicolor fast,” said Silas Farley, a 21-year-old member of City Ballet whose mother is black and father is white. (He refers to himself as “a cultural gumbo.”) Peter Martins, the ballet master in chief of City Ballet as well as the artistic director and chairman of faculty at the School of American Ballet, says that substantial change may take time, but it will happen. “We are not a white company,” he said. “We don’t seek to be a black company. We don’t seek to be half and half. I just want to be American.” While it’s still too soon to tell if the children discovered through recent community auditions will make it into City Ballet, since 2008-9, the school has graduated <hl> 36 <hl> minority dancers who have gone on to join professional companies. Eleven of those joined City Ballet. India Bradley, a 17-year-old advanced student at the school said her ambition — obsession really — is to become one of them. “More than anything in life,” she said. “I have actual dreams.” Ms. Bradley, a Detroit native, found her way to the School of American Ballet through the Dance Theater of Harlem. One of her teachers, Andrea Long-Naidu — a former City Ballet dancer — encouraged her to audition for the school.


Question: What does Peter Martins do at  City Ballet?

Answer: ballet master in chief

That seemingly small step led to an increased turnout for the school’s free community auditions, which has dramatically shifted the minority presence in the children division. “It’s gone Technicolor fast,” said Silas Farley, a 21-year-old member of City Ballet whose mother is black and father is white. (He refers to himself as “a cultural gumbo.”) <hl> Peter Martins, the ballet master in chief of City Ballet as well as the artistic director and chairman of faculty at the School of American Ballet, says that substantial change may take time, but it will happen. <hl> “We are not a white company,” he said. “We don’t seek to be a black company. We don’t seek to be half and half. I just want to be American.” While it’s still too soon to tell if the children discovered through recent community auditions will make it into City Ballet, since 2008-9, the school has graduated 36 minority dancers who have gone on to join professional companies. Eleven of those joined City Ballet. India Bradley, a 17-year-old advanced student at the school said her ambition — obsession really — is to become one of them. “More than anything in life,” she said. “I have actual dreams.” Ms. Bradley, a Detroit native, found her way to the School of American Ballet through the Dance Theater of Harlem. One of her teachers, Andrea Long-Naidu — a former City Ballet dancer — encouraged her to audition for the school.

That seemingly small step led to an increased turnout for the school’s free community auditions, which has dramatically shifted the minority presence in the children division. “It’s gone Technicolor fast,” said Silas Farley, a 21-year-old member of City Ballet whose mother is black and father is white. (He refers to himself as “a cultural gumbo.”) Peter Martins, the <hl> ballet master in chief <hl> of City Ballet as well as the artistic director and chairman of faculty at the School of American Ballet, says that substantial change may take time, but it will happen. “We are not a white company,” he said. “We don’t seek to be a black company. We don’t seek to be half and half. I just want to be American.” While it’s still too soon to tell if the children discovered through recent community auditions will make it into City Ballet, since 2008-9, the school has graduated 36 minority dancers who have gone on to join professional companies. Eleven of those joined City Ballet. India Bradley, a 17-year-old advanced student at the school said her ambition — obsession really — is to become one of them. “More than anything in life,” she said. “I have actual dreams.” Ms. Bradley, a Detroit native, found her way to the School of American Ballet through the Dance Theater of Harlem. One of her teachers, Andrea Long-Naidu — a former City Ballet dancer — encouraged her to audition for the school.


Question: Who started at a theater in Harlem?

Answer: India Bradley

That seemingly small step led to an increased turnout for the school’s free community auditions, which has dramatically shifted the minority presence in the children division. “It’s gone Technicolor fast,” said Silas Farley, a 21-year-old member of City Ballet whose mother is black and father is white. (He refers to himself as “a cultural gumbo.”) Peter Martins, the ballet master in chief of City Ballet as well as the artistic director and chairman of faculty at the School of American Ballet, says that substantial change may take time, but it will happen. “We are not a white company,” he said. “We don’t seek to be a black company. We don’t seek to be half and half. I just want to be American.” While it’s still too soon to tell if the children discovered through recent community auditions will make it into City Ballet, since 2008-9, the school has graduated 36 minority dancers who have gone on to join professional companies. Eleven of those joined City Ballet. <hl> India Bradley , a 17-year-old advanced student at the school said her ambition — obsession really — is to become one of them. <hl> “More than anything in life,” she said. “I have actual dreams.” Ms. Bradley, a Detroit native, found her way to the School of American Ballet through the Dance Theater of Harlem. One of her teachers, Andrea Long-Naidu — a former City Ballet dancer — encouraged her to audition for the school.

That seemingly small step led to an increased turnout for the school’s free community auditions, which has dramatically shifted the minority presence in the children division. “It’s gone Technicolor fast,” said Silas Farley, a 21-year-old member of City Ballet whose mother is black and father is white. (He refers to himself as “a cultural gumbo.”) Peter Martins, the ballet master in chief of City Ballet as well as the artistic director and chairman of faculty at the School of American Ballet, says that substantial change may take time, but it will happen. “We are not a white company,” he said. “We don’t seek to be a black company. We don’t seek to be half and half. I just want to be American.” While it’s still too soon to tell if the children discovered through recent community auditions will make it into City Ballet, since 2008-9, the school has graduated 36 minority dancers who have gone on to join professional companies. Eleven of those joined City Ballet. <hl> India Bradley <hl>, a 17-year-old advanced student at the school said her ambition — obsession really — is to become one of them. “More than anything in life,” she said. “I have actual dreams.” Ms. Bradley, a Detroit native, found her way to the School of American Ballet through the Dance Theater of Harlem. One of her teachers, Andrea Long-Naidu — a former City Ballet dancer — encouraged her to audition for the school.

<hl> India Bradley <hl> , a 17-year-old advanced student at the school said her ambition — obsession really — is to become one of them.


Question: Prior to being a teacher who was Andrea Long-Naidu?

Answer: a former City Ballet dancer

That seemingly small step led to an increased turnout for the school’s free community auditions, which has dramatically shifted the minority presence in the children division. “It’s gone Technicolor fast,” said Silas Farley, a 21-year-old member of City Ballet whose mother is black and father is white. (He refers to himself as “a cultural gumbo.”) Peter Martins, the ballet master in chief of City Ballet as well as the artistic director and chairman of faculty at the School of American Ballet, says that substantial change may take time, but it will happen. “We are not a white company,” he said. “We don’t seek to be a black company. We don’t seek to be half and half. I just want to be American.” While it’s still too soon to tell if the children discovered through recent community auditions will make it into City Ballet, since 2008-9, the school has graduated 36 minority dancers who have gone on to join professional companies. Eleven of those joined City Ballet. India Bradley, a 17-year-old advanced student at the school said her ambition — obsession really — is to become one of them. “More than anything in life,” she said. “I have actual dreams.” Ms. Bradley, a Detroit native, found her way to the School of American Ballet through the Dance Theater of Harlem. <hl> One of her teachers, Andrea Long-Naidu — a former City Ballet dancer — encouraged her to audition for the school. <hl>

That seemingly small step led to an increased turnout for the school’s free community auditions, which has dramatically shifted the minority presence in the children division. “It’s gone Technicolor fast,” said Silas Farley, a 21-year-old member of City Ballet whose mother is black and father is white. (He refers to himself as “a cultural gumbo.”) Peter Martins, the ballet master in chief of City Ballet as well as the artistic director and chairman of faculty at the School of American Ballet, says that substantial change may take time, but it will happen. “We are not a white company,” he said. “We don’t seek to be a black company. We don’t seek to be half and half. I just want to be American.” While it’s still too soon to tell if the children discovered through recent community auditions will make it into City Ballet, since 2008-9, the school has graduated 36 minority dancers who have gone on to join professional companies. Eleven of those joined City Ballet. India Bradley, a 17-year-old advanced student at the school said her ambition — obsession really — is to become one of them. “More than anything in life,” she said. “I have actual dreams.” Ms. Bradley, a Detroit native, found her way to the School of American Ballet through the Dance Theater of Harlem. One of her teachers, Andrea Long-Naidu — <hl> a former City Ballet dancer <hl> — encouraged her to audition for the school.


Question: What school rarely accepts dancers?

“Maybe she wanted me to follow in her footsteps,” Ms. Bradley said. And now Ms. Bradley has a chance to get into City Ballet, which rarely accepts dancers who have not trained at its school. Still, she said that she has had friends tell her that the school “probably needs a black girl to make it look more diverse.” She disagrees. “The teachers don’t care about that,” she said. “They just want you to do your tendu. I’m glad S.A.B. is like that. Lately, with this whole Misty Copeland thing — she’s black. It just shouldn’t have anything to do with that. It should just be like, she’s so good at ballet, she should be a principal. Now she is a principal, but it shouldn’t have taken all of that.” Last spring, of the five apprentices Mr. Martins named for City Ballet only one was white. In the main company, Mr. Farley, Olivia Boisson, Preston Chamblee, Taylor Stanley and Lara Tong have become familiar dancers. Is the company ready for a black female principal, too? “We’ve always been ready!” Mr. Martins exclaimed. “But where is she? Show me her. I’ll take her in a minute.”

Answer: City Ballet

“Maybe she wanted me to follow in her footsteps,” Ms. Bradley said. <hl> And now Ms. Bradley has a chance to get into City Ballet , which rarely accepts dancers who have not trained at its school. <hl> Still, she said that she has had friends tell her that the school “probably needs a black girl to make it look more diverse.” She disagrees. “The teachers don’t care about that,” she said. “They just want you to do your tendu. I’m glad S.A.B. is like that. Lately, with this whole Misty Copeland thing — she’s black. It just shouldn’t have anything to do with that. It should just be like, she’s so good at ballet, she should be a principal. Now she is a principal, but it shouldn’t have taken all of that.” Last spring, of the five apprentices Mr. Martins named for City Ballet only one was white. In the main company, Mr. Farley, Olivia Boisson, Preston Chamblee, Taylor Stanley and Lara Tong have become familiar dancers. Is the company ready for a black female principal, too? “We’ve always been ready!” Mr. Martins exclaimed. “But where is she? Show me her. I’ll take her in a minute.”

“Maybe she wanted me to follow in her footsteps,” Ms. Bradley said. And now Ms. Bradley has a chance to get into <hl> City Ballet <hl>, which rarely accepts dancers who have not trained at its school. Still, she said that she has had friends tell her that the school “probably needs a black girl to make it look more diverse.” She disagrees. “The teachers don’t care about that,” she said. “They just want you to do your tendu. I’m glad S.A.B. is like that. Lately, with this whole Misty Copeland thing — she’s black. It just shouldn’t have anything to do with that. It should just be like, she’s so good at ballet, she should be a principal. Now she is a principal, but it shouldn’t have taken all of that.” Last spring, of the five apprentices Mr. Martins named for City Ballet only one was white. In the main company, Mr. Farley, Olivia Boisson, Preston Chamblee, Taylor Stanley and Lara Tong have become familiar dancers. Is the company ready for a black female principal, too? “We’ve always been ready!” Mr. Martins exclaimed. “But where is she? Show me her. I’ll take her in a minute.”

And now Ms. Bradley has a chance to get into <hl> City Ballet <hl> , which rarely accepts dancers who have not trained at its school.


Question: Who named the apprentice's at the school?

Answer: Mr. Martins

“Maybe she wanted me to follow in her footsteps,” Ms. Bradley said. And now Ms. Bradley has a chance to get into City Ballet, which rarely accepts dancers who have not trained at its school. Still, she said that she has had friends tell her that the school “probably needs a black girl to make it look more diverse.” She disagrees. “The teachers don’t care about that,” she said. “They just want you to do your tendu. I’m glad S.A.B. is like that. Lately, with this whole Misty Copeland thing — she’s black. It just shouldn’t have anything to do with that. It should just be like, she’s so good at ballet, she should be a principal. Now she is a principal, but it shouldn’t have taken all of that.” <hl> Last spring, of the five apprentices Mr. Martins named for City Ballet only one was white. <hl> In the main company, Mr. Farley, Olivia Boisson, Preston Chamblee, Taylor Stanley and Lara Tong have become familiar dancers. Is the company ready for a black female principal, too? “We’ve always been ready!” Mr. Martins exclaimed. “But where is she? Show me her. I’ll take her in a minute.”

“Maybe she wanted me to follow in her footsteps,” Ms. Bradley said. And now Ms. Bradley has a chance to get into City Ballet, which rarely accepts dancers who have not trained at its school. Still, she said that she has had friends tell her that the school “probably needs a black girl to make it look more diverse.” She disagrees. “The teachers don’t care about that,” she said. “They just want you to do your tendu. I’m glad S.A.B. is like that. Lately, with this whole Misty Copeland thing — she’s black. It just shouldn’t have anything to do with that. It should just be like, she’s so good at ballet, she should be a principal. Now she is a principal, but it shouldn’t have taken all of that.” Last spring, of the five apprentices <hl> Mr. Martins <hl> named for City Ballet only one was white. In the main company, Mr. Farley, Olivia Boisson, Preston Chamblee, Taylor Stanley and Lara Tong have become familiar dancers. Is the company ready for a black female principal, too? “We’ve always been ready!” Mr. Martins exclaimed. “But where is she? Show me her. I’ll take her in a minute.”


Question: What do the teachers want the dancers to do?

Answer: your tendu

“They just want you to do your tendu .

“Maybe she wanted me to follow in her footsteps,” Ms. Bradley said. And now Ms. Bradley has a chance to get into City Ballet, which rarely accepts dancers who have not trained at its school. Still, she said that she has had friends tell her that the school “probably needs a black girl to make it look more diverse.” She disagrees. “The teachers don’t care about that,” she said. <hl> “They just want you to do your tendu . <hl> I’m glad S.A.B. is like that. Lately, with this whole Misty Copeland thing — she’s black. It just shouldn’t have anything to do with that. It should just be like, she’s so good at ballet, she should be a principal. Now she is a principal, but it shouldn’t have taken all of that.” Last spring, of the five apprentices Mr. Martins named for City Ballet only one was white. In the main company, Mr. Farley, Olivia Boisson, Preston Chamblee, Taylor Stanley and Lara Tong have become familiar dancers. Is the company ready for a black female principal, too? “We’ve always been ready!” Mr. Martins exclaimed. “But where is she? Show me her. I’ll take her in a minute.”

“Maybe she wanted me to follow in her footsteps,” Ms. Bradley said. And now Ms. Bradley has a chance to get into City Ballet, which rarely accepts dancers who have not trained at its school. Still, she said that she has had friends tell her that the school “probably needs a black girl to make it look more diverse.” She disagrees. “The teachers don’t care about that,” she said. “They just want you to do <hl> your tendu <hl>. I’m glad S.A.B. is like that. Lately, with this whole Misty Copeland thing — she’s black. It just shouldn’t have anything to do with that. It should just be like, she’s so good at ballet, she should be a principal. Now she is a principal, but it shouldn’t have taken all of that.” Last spring, of the five apprentices Mr. Martins named for City Ballet only one was white. In the main company, Mr. Farley, Olivia Boisson, Preston Chamblee, Taylor Stanley and Lara Tong have become familiar dancers. Is the company ready for a black female principal, too? “We’ve always been ready!” Mr. Martins exclaimed. “But where is she? Show me her. I’ll take her in a minute.”

“They just want you to do <hl> your tendu <hl> .


Question: How many apprentices were named at City Ballet?

Answer: five

“Maybe she wanted me to follow in her footsteps,” Ms. Bradley said. And now Ms. Bradley has a chance to get into City Ballet, which rarely accepts dancers who have not trained at its school. Still, she said that she has had friends tell her that the school “probably needs a black girl to make it look more diverse.” She disagrees. “The teachers don’t care about that,” she said. “They just want you to do your tendu. I’m glad S.A.B. is like that. Lately, with this whole Misty Copeland thing — she’s black. It just shouldn’t have anything to do with that. It should just be like, she’s so good at ballet, she should be a principal. Now she is a principal, but it shouldn’t have taken all of that.” <hl> Last spring, of the five apprentices Mr. Martins named for City Ballet only one was white. <hl> In the main company, Mr. Farley, Olivia Boisson, Preston Chamblee, Taylor Stanley and Lara Tong have become familiar dancers. Is the company ready for a black female principal, too? “We’ve always been ready!” Mr. Martins exclaimed. “But where is she? Show me her. I’ll take her in a minute.”

“Maybe she wanted me to follow in her footsteps,” Ms. Bradley said. And now Ms. Bradley has a chance to get into City Ballet, which rarely accepts dancers who have not trained at its school. Still, she said that she has had friends tell her that the school “probably needs a black girl to make it look more diverse.” She disagrees. “The teachers don’t care about that,” she said. “They just want you to do your tendu. I’m glad S.A.B. is like that. Lately, with this whole Misty Copeland thing — she’s black. It just shouldn’t have anything to do with that. It should just be like, she’s so good at ballet, she should be a principal. Now she is a principal, but it shouldn’t have taken all of that.” Last spring, of the <hl> five <hl> apprentices Mr. Martins named for City Ballet only one was white. In the main company, Mr. Farley, Olivia Boisson, Preston Chamblee, Taylor Stanley and Lara Tong have become familiar dancers. Is the company ready for a black female principal, too? “We’ve always been ready!” Mr. Martins exclaimed. “But where is she? Show me her. I’ll take her in a minute.”


Question: How many of the apprentices where white?

Answer: one

“Maybe she wanted me to follow in her footsteps,” Ms. Bradley said. And now Ms. Bradley has a chance to get into City Ballet, which rarely accepts dancers who have not trained at its school. Still, she said that she has had friends tell her that the school “probably needs a black girl to make it look more diverse.” She disagrees. “The teachers don’t care about that,” she said. “They just want you to do your tendu. I’m glad S.A.B. is like that. Lately, with this whole Misty Copeland thing — she’s black. It just shouldn’t have anything to do with that. It should just be like, she’s so good at ballet, she should be a principal. Now she is a principal, but it shouldn’t have taken all of that.” <hl> Last spring, of the five apprentices Mr. Martins named for City Ballet only one was white. <hl> In the main company, Mr. Farley, Olivia Boisson, Preston Chamblee, Taylor Stanley and Lara Tong have become familiar dancers. Is the company ready for a black female principal, too? “We’ve always been ready!” Mr. Martins exclaimed. “But where is she? Show me her. I’ll take her in a minute.”

“Maybe she wanted me to follow in her footsteps,” Ms. Bradley said. And now Ms. Bradley has a chance to get into City Ballet, which rarely accepts dancers who have not trained at its school. Still, she said that she has had friends tell her that the school “probably needs a black girl to make it look more diverse.” She disagrees. “The teachers don’t care about that,” she said. “They just want you to do your tendu. I’m glad S.A.B. is like that. Lately, with this whole Misty Copeland thing — she’s black. It just shouldn’t have anything to do with that. It should just be like, she’s so good at ballet, she should be a principal. Now she is a principal, but it shouldn’t have taken all of that.” Last spring, of the five apprentices Mr. Martins named for City Ballet only <hl> one <hl> was white. In the main company, Mr. Farley, Olivia Boisson, Preston Chamblee, Taylor Stanley and Lara Tong have become familiar dancers. Is the company ready for a black female principal, too? “We’ve always been ready!” Mr. Martins exclaimed. “But where is she? Show me her. I’ll take her in a minute.”


Question: Who thinks it's a dancer's gift that makes them succeed?

Mr. Farley is firm about what it takes for a ballet dancer to succeed. “It’s about the particular person and about their particular gifts,” he said. “And the dancer’s race and their socio-economic background and their parents’ education — all of that is secondary or tertiary.” But there’s more to changing the racial makeup of ballet companies than the determination of individual dancers. And different generations see the issue differently. Theresa Ruth Howard, a teacher and former member of Dance Theater of Harlem who wrote a much-talked-about piece for the website My Body My Image focusing on the many black ballerinas that preceded Ms. Copeland, can’t help but view diversity initiatives with some skepticism.

Answer: Mr. Farley

<hl> Mr. Farley is firm about what it takes for a ballet dancer to succeed. <hl> “It’s about the particular person and about their particular gifts,” he said. “And the dancer’s race and their socio-economic background and their parents’ education — all of that is secondary or tertiary.” But there’s more to changing the racial makeup of ballet companies than the determination of individual dancers. And different generations see the issue differently. Theresa Ruth Howard, a teacher and former member of Dance Theater of Harlem who wrote a much-talked-about piece for the website My Body My Image focusing on the many black ballerinas that preceded Ms. Copeland, can’t help but view diversity initiatives with some skepticism.

<hl> Mr. Farley <hl> is firm about what it takes for a ballet dancer to succeed. “It’s about the particular person and about their particular gifts,” he said. “And the dancer’s race and their socio-economic background and their parents’ education — all of that is secondary or tertiary.” But there’s more to changing the racial makeup of ballet companies than the determination of individual dancers. And different generations see the issue differently. Theresa Ruth Howard, a teacher and former member of Dance Theater of Harlem who wrote a much-talked-about piece for the website My Body My Image focusing on the many black ballerinas that preceded Ms. Copeland, can’t help but view diversity initiatives with some skepticism.


Question: Who see's the issues differently when it comes to diversity?

Answer: different generations

Mr. Farley is firm about what it takes for a ballet dancer to succeed. “It’s about the particular person and about their particular gifts,” he said. “And the dancer’s race and their socio-economic background and their parents’ education — all of that is secondary or tertiary.” But there’s more to changing the racial makeup of ballet companies than the determination of individual dancers. <hl> And different generations see the issue differently. <hl> Theresa Ruth Howard, a teacher and former member of Dance Theater of Harlem who wrote a much-talked-about piece for the website My Body My Image focusing on the many black ballerinas that preceded Ms. Copeland, can’t help but view diversity initiatives with some skepticism.

Mr. Farley is firm about what it takes for a ballet dancer to succeed. “It’s about the particular person and about their particular gifts,” he said. “And the dancer’s race and their socio-economic background and their parents’ education — all of that is secondary or tertiary.” But there’s more to changing the racial makeup of ballet companies than the determination of individual dancers. And <hl> different generations <hl> see the issue differently. Theresa Ruth Howard, a teacher and former member of Dance Theater of Harlem who wrote a much-talked-about piece for the website My Body My Image focusing on the many black ballerinas that preceded Ms. Copeland, can’t help but view diversity initiatives with some skepticism.


Question: Who was a former member of Dance Theater of Harlem?

Answer: Theresa Ruth Howard

Mr. Farley is firm about what it takes for a ballet dancer to succeed. “It’s about the particular person and about their particular gifts,” he said. “And the dancer’s race and their socio-economic background and their parents’ education — all of that is secondary or tertiary.” But there’s more to changing the racial makeup of ballet companies than the determination of individual dancers. And different generations see the issue differently. <hl> Theresa Ruth Howard , a teacher and former member of Dance Theater of Harlem who wrote a much-talked-about piece for the website My Body My Image focusing on the many black ballerinas that preceded Ms. Copeland, can’t help but view diversity initiatives with some skepticism. <hl>

Mr. Farley is firm about what it takes for a ballet dancer to succeed. “It’s about the particular person and about their particular gifts,” he said. “And the dancer’s race and their socio-economic background and their parents’ education — all of that is secondary or tertiary.” But there’s more to changing the racial makeup of ballet companies than the determination of individual dancers. And different generations see the issue differently. <hl> Theresa Ruth Howard <hl>, a teacher and former member of Dance Theater of Harlem who wrote a much-talked-about piece for the website My Body My Image focusing on the many black ballerinas that preceded Ms. Copeland, can’t help but view diversity initiatives with some skepticism.

<hl> Theresa Ruth Howard <hl> , a teacher and former member of Dance Theater of Harlem who wrote a much-talked-about piece for the website My Body My Image focusing on the many black ballerinas that preceded Ms. Copeland, can’t help but view diversity initiatives with some skepticism.


Question: A teacher wrote an article for what website?

Answer: My Body My Image

Mr. Farley is firm about what it takes for a ballet dancer to succeed. “It’s about the particular person and about their particular gifts,” he said. “And the dancer’s race and their socio-economic background and their parents’ education — all of that is secondary or tertiary.” But there’s more to changing the racial makeup of ballet companies than the determination of individual dancers. And different generations see the issue differently. <hl> Theresa Ruth Howard, a teacher and former member of Dance Theater of Harlem who wrote a much-talked-about piece for the website My Body My Image focusing on the many black ballerinas that preceded Ms. Copeland, can’t help but view diversity initiatives with some skepticism. <hl>

Mr. Farley is firm about what it takes for a ballet dancer to succeed. “It’s about the particular person and about their particular gifts,” he said. “And the dancer’s race and their socio-economic background and their parents’ education — all of that is secondary or tertiary.” But there’s more to changing the racial makeup of ballet companies than the determination of individual dancers. And different generations see the issue differently. Theresa Ruth Howard, a teacher and former member of Dance Theater of Harlem who wrote a much-talked-about piece for the website <hl> My Body My Image <hl> focusing on the many black ballerinas that preceded Ms. Copeland, can’t help but view diversity initiatives with some skepticism.


Question: What did a particular website focus on?

Answer: black ballerinas that preceded Ms. Copeland

Mr. Farley is firm about what it takes for a ballet dancer to succeed. “It’s about the particular person and about their particular gifts,” he said. “And the dancer’s race and their socio-economic background and their parents’ education — all of that is secondary or tertiary.” But there’s more to changing the racial makeup of ballet companies than the determination of individual dancers. And different generations see the issue differently. <hl> Theresa Ruth Howard, a teacher and former member of Dance Theater of Harlem who wrote a much-talked-about piece for the website My Body My Image focusing on the many black ballerinas that preceded Ms. Copeland , can’t help but view diversity initiatives with some skepticism. <hl>

Mr. Farley is firm about what it takes for a ballet dancer to succeed. “It’s about the particular person and about their particular gifts,” he said. “And the dancer’s race and their socio-economic background and their parents’ education — all of that is secondary or tertiary.” But there’s more to changing the racial makeup of ballet companies than the determination of individual dancers. And different generations see the issue differently. Theresa Ruth Howard, a teacher and former member of Dance Theater of Harlem who wrote a much-talked-about piece for the website My Body My Image focusing on the many <hl> black ballerinas that preceded Ms. Copeland <hl>, can’t help but view diversity initiatives with some skepticism.

Theresa Ruth Howard, a teacher and former member of Dance Theater of Harlem who wrote a much-talked-about piece for the website My Body My Image focusing on the many <hl> black ballerinas that preceded Ms. Copeland <hl> , can’t help but view diversity initiatives with some skepticism.


Question: What were some of the panelists on a South Korean talk show about female defectors complaining about privately?

SEOUL, South Korea —  North Korean defectors can usually tell when other defectors are lying about their past. As a panelist on a South Korean talk show that features female defectors like me, I heard other panelists complain privately that a few of the guests must have been embellishing their stories. It’s not uncommon to hear defectors claim they graduated from a prestigious North Korean university, for example, while the rest of the details of their lives suggest this was highly unlikely. If defectors say they had high-level connections in Pyongyang or came from an esteemed institution in the North, they can gain better employment in the South, where life can be very difficult for North Koreans.

Answer: that a few of the guests must have been embellishing their stories

SEOUL, South Korea — North Korean defectors can usually tell when other defectors are lying about their past. <hl> As a panelist on a South Korean talk show that features female defectors like me, I heard other panelists complain privately that a few of the guests must have been embellishing their stories . <hl> It’s not uncommon to hear defectors claim they graduated from a prestigious North Korean university, for example, while the rest of the details of their lives suggest this was highly unlikely. If defectors say they had high-level connections in Pyongyang or came from an esteemed institution in the North, they can gain better employment in the South, where life can be very difficult for North Koreans.

SEOUL, South Korea — North Korean defectors can usually tell when other defectors are lying about their past. As a panelist on a South Korean talk show that features female defectors like me, I heard other panelists complain privately <hl> that a few of the guests must have been embellishing their stories <hl>. It’s not uncommon to hear defectors claim they graduated from a prestigious North Korean university, for example, while the rest of the details of their lives suggest this was highly unlikely. If defectors say they had high-level connections in Pyongyang or came from an esteemed institution in the North, they can gain better employment in the South, where life can be very difficult for North Koreans.

As a panelist on a South Korean talk show that features female defectors like me, I heard other panelists complain privately <hl> that a few of the guests must have been embellishing their stories <hl> .


Question: What do some defectors lie about that some North Korean defectors can detect?

Answer: their past

<hl> SEOUL, South Korea — North Korean defectors can usually tell when other defectors are lying about their past . <hl> As a panelist on a South Korean talk show that features female defectors like me, I heard other panelists complain privately that a few of the guests must have been embellishing their stories. It’s not uncommon to hear defectors claim they graduated from a prestigious North Korean university, for example, while the rest of the details of their lives suggest this was highly unlikely. If defectors say they had high-level connections in Pyongyang or came from an esteemed institution in the North, they can gain better employment in the South, where life can be very difficult for North Koreans.

SEOUL, South Korea — North Korean defectors can usually tell when other defectors are lying about <hl> their past <hl>. As a panelist on a South Korean talk show that features female defectors like me, I heard other panelists complain privately that a few of the guests must have been embellishing their stories. It’s not uncommon to hear defectors claim they graduated from a prestigious North Korean university, for example, while the rest of the details of their lives suggest this was highly unlikely. If defectors say they had high-level connections in Pyongyang or came from an esteemed institution in the North, they can gain better employment in the South, where life can be very difficult for North Koreans.

SEOUL, South Korea — North Korean defectors can usually tell when other defectors are lying about <hl> their past <hl> .


Question: What lies do some North Korean defectors tell to gain better employment in the South??

Answer: they had high-level connections in Pyongyang or came from an esteemed institution in the North

SEOUL, South Korea — North Korean defectors can usually tell when other defectors are lying about their past. As a panelist on a South Korean talk show that features female defectors like me, I heard other panelists complain privately that a few of the guests must have been embellishing their stories. It’s not uncommon to hear defectors claim they graduated from a prestigious North Korean university, for example, while the rest of the details of their lives suggest this was highly unlikely. <hl> If defectors say they had high-level connections in Pyongyang or came from an esteemed institution in the North , they can gain better employment in the South, where life can be very difficult for North Koreans. <hl>

SEOUL, South Korea — North Korean defectors can usually tell when other defectors are lying about their past. As a panelist on a South Korean talk show that features female defectors like me, I heard other panelists complain privately that a few of the guests must have been embellishing their stories. It’s not uncommon to hear defectors claim they graduated from a prestigious North Korean university, for example, while the rest of the details of their lives suggest this was highly unlikely. If defectors say <hl> they had high-level connections in Pyongyang or came from an esteemed institution in the North <hl>, they can gain better employment in the South, where life can be very difficult for North Koreans.

If defectors say <hl> they had high-level connections in Pyongyang or came from an esteemed institution in the North <hl> , they can gain better employment in the South, where life can be very difficult for North Koreans.


Question: What kind of talk show did the author mention being on?

Answer: a South Korean talk show that features female defectors

SEOUL, South Korea — North Korean defectors can usually tell when other defectors are lying about their past. <hl> As a panelist on a South Korean talk show that features female defectors like me, I heard other panelists complain privately that a few of the guests must have been embellishing their stories. <hl> It’s not uncommon to hear defectors claim they graduated from a prestigious North Korean university, for example, while the rest of the details of their lives suggest this was highly unlikely. If defectors say they had high-level connections in Pyongyang or came from an esteemed institution in the North, they can gain better employment in the South, where life can be very difficult for North Koreans.

SEOUL, South Korea — North Korean defectors can usually tell when other defectors are lying about their past. As a panelist on <hl> a South Korean talk show that features female defectors <hl> like me, I heard other panelists complain privately that a few of the guests must have been embellishing their stories. It’s not uncommon to hear defectors claim they graduated from a prestigious North Korean university, for example, while the rest of the details of their lives suggest this was highly unlikely. If defectors say they had high-level connections in Pyongyang or came from an esteemed institution in the North, they can gain better employment in the South, where life can be very difficult for North Koreans.


Question: Where is North Korea do most of the defectors  who lie claim to have high-level connections in?

Answer: Pyongyang

SEOUL, South Korea — North Korean defectors can usually tell when other defectors are lying about their past. As a panelist on a South Korean talk show that features female defectors like me, I heard other panelists complain privately that a few of the guests must have been embellishing their stories. It’s not uncommon to hear defectors claim they graduated from a prestigious North Korean university, for example, while the rest of the details of their lives suggest this was highly unlikely. <hl> If defectors say they had high-level connections in Pyongyang or came from an esteemed institution in the North, they can gain better employment in the South, where life can be very difficult for North Koreans. <hl>

SEOUL, South Korea — North Korean defectors can usually tell when other defectors are lying about their past. As a panelist on a South Korean talk show that features female defectors like me, I heard other panelists complain privately that a few of the guests must have been embellishing their stories. It’s not uncommon to hear defectors claim they graduated from a prestigious North Korean university, for example, while the rest of the details of their lives suggest this was highly unlikely. If defectors say they had high-level connections in <hl> Pyongyang <hl> or came from an esteemed institution in the North, they can gain better employment in the South, where life can be very difficult for North Koreans.


Question: What is the name of the prominent defector who told disturbing tales of torture?

Shin Dong-hyuk, a prominent defector who shocked the world several years back with his disturbing tales of torture in North Korean gulags, confessed last month that parts of the personal history he had told the public were inaccurate. His dramatic story, which included being forced to watch the execution of his mother and brother, led to a lot of publicity and his role as a key witness for a United Nations inquiry into North Korean atrocities. He now says that instead of growing up in the notorious Camp 14, where most prisoners go to die, he spent most of his time in the less draconian Camp 18.

Answer: Shin Dong-hyuk

<hl> Shin Dong-hyuk , a prominent defector who shocked the world several years back with his disturbing tales of torture in North Korean gulags, confessed last month that parts of the personal history he had told the public were inaccurate. <hl> His dramatic story, which included being forced to watch the execution of his mother and brother, led to a lot of publicity and his role as a key witness for a United Nations inquiry into North Korean atrocities. He now says that instead of growing up in the notorious Camp 14, where most prisoners go to die, he spent most of his time in the less draconian Camp 18.

<hl> Shin Dong-hyuk <hl>, a prominent defector who shocked the world several years back with his disturbing tales of torture in North Korean gulags, confessed last month that parts of the personal history he had told the public were inaccurate. His dramatic story, which included being forced to watch the execution of his mother and brother, led to a lot of publicity and his role as a key witness for a United Nations inquiry into North Korean atrocities. He now says that instead of growing up in the notorious Camp 14, where most prisoners go to die, he spent most of his time in the less draconian Camp 18.

<hl> Shin Dong-hyuk <hl> , a prominent defector who shocked the world several years back with his disturbing tales of torture in North Korean gulags, confessed last month that parts of the personal history he had told the public were inaccurate.


Question: How did Shin Dong-Hyuk shock the world several years ago?

Answer: with his disturbing tales of torture in North Korean gulags

<hl> Shin Dong-hyuk, a prominent defector who shocked the world several years back with his disturbing tales of torture in North Korean gulags , confessed last month that parts of the personal history he had told the public were inaccurate. <hl> His dramatic story, which included being forced to watch the execution of his mother and brother, led to a lot of publicity and his role as a key witness for a United Nations inquiry into North Korean atrocities. He now says that instead of growing up in the notorious Camp 14, where most prisoners go to die, he spent most of his time in the less draconian Camp 18.

Shin Dong-hyuk, a prominent defector who shocked the world several years back <hl> with his disturbing tales of torture in North Korean gulags <hl>, confessed last month that parts of the personal history he had told the public were inaccurate. His dramatic story, which included being forced to watch the execution of his mother and brother, led to a lot of publicity and his role as a key witness for a United Nations inquiry into North Korean atrocities. He now says that instead of growing up in the notorious Camp 14, where most prisoners go to die, he spent most of his time in the less draconian Camp 18.

Shin Dong-hyuk, a prominent defector who shocked the world several years back <hl> with his disturbing tales of torture in North Korean gulags <hl> , confessed last month that parts of the personal history he had told the public were inaccurate.


Question: What did Shin Dong-Hyuk confess to last month?

Answer: that parts of the personal history he had told the public were inaccurate

<hl> Shin Dong-hyuk, a prominent defector who shocked the world several years back with his disturbing tales of torture in North Korean gulags, confessed last month that parts of the personal history he had told the public were inaccurate . <hl> His dramatic story, which included being forced to watch the execution of his mother and brother, led to a lot of publicity and his role as a key witness for a United Nations inquiry into North Korean atrocities. He now says that instead of growing up in the notorious Camp 14, where most prisoners go to die, he spent most of his time in the less draconian Camp 18.

Shin Dong-hyuk, a prominent defector who shocked the world several years back with his disturbing tales of torture in North Korean gulags, confessed last month <hl> that parts of the personal history he had told the public were inaccurate <hl>. His dramatic story, which included being forced to watch the execution of his mother and brother, led to a lot of publicity and his role as a key witness for a United Nations inquiry into North Korean atrocities. He now says that instead of growing up in the notorious Camp 14, where most prisoners go to die, he spent most of his time in the less draconian Camp 18.

Shin Dong-hyuk, a prominent defector who shocked the world several years back with his disturbing tales of torture in North Korean gulags, confessed last month <hl> that parts of the personal history he had told the public were inaccurate <hl> .


Question: Whose execution did Shin Dong-Hyuk claim to be forced to watch?

Answer: his mother and brother

Shin Dong-hyuk, a prominent defector who shocked the world several years back with his disturbing tales of torture in North Korean gulags, confessed last month that parts of the personal history he had told the public were inaccurate. <hl> His dramatic story, which included being forced to watch the execution of his mother and brother , led to a lot of publicity and his role as a key witness for a United Nations inquiry into North Korean atrocities. <hl> He now says that instead of growing up in the notorious Camp 14, where most prisoners go to die, he spent most of his time in the less draconian Camp 18.

Shin Dong-hyuk, a prominent defector who shocked the world several years back with his disturbing tales of torture in North Korean gulags, confessed last month that parts of the personal history he had told the public were inaccurate. His dramatic story, which included being forced to watch the execution of <hl> his mother and brother <hl>, led to a lot of publicity and his role as a key witness for a United Nations inquiry into North Korean atrocities. He now says that instead of growing up in the notorious Camp 14, where most prisoners go to die, he spent most of his time in the less draconian Camp 18.

His dramatic story, which included being forced to watch the execution of <hl> his mother and brother <hl> , led to a lot of publicity and his role as a key witness for a United Nations inquiry into North Korean atrocities.


Question: What did Shin Dong-Hyuk's lie about having to witness his mother and brother's execution lead to?

Answer: a lot of publicity and his role as a key witness for a United Nations inquiry into North Korean atrocities

Shin Dong-hyuk, a prominent defector who shocked the world several years back with his disturbing tales of torture in North Korean gulags, confessed last month that parts of the personal history he had told the public were inaccurate. <hl> His dramatic story, which included being forced to watch the execution of his mother and brother, led to a lot of publicity and his role as a key witness for a United Nations inquiry into North Korean atrocities . <hl> He now says that instead of growing up in the notorious Camp 14, where most prisoners go to die, he spent most of his time in the less draconian Camp 18.

Shin Dong-hyuk, a prominent defector who shocked the world several years back with his disturbing tales of torture in North Korean gulags, confessed last month that parts of the personal history he had told the public were inaccurate. His dramatic story, which included being forced to watch the execution of his mother and brother, led to <hl> a lot of publicity and his role as a key witness for a United Nations inquiry into North Korean atrocities <hl>. He now says that instead of growing up in the notorious Camp 14, where most prisoners go to die, he spent most of his time in the less draconian Camp 18.

His dramatic story, which included being forced to watch the execution of his mother and brother, led to <hl> a lot of publicity and his role as a key witness for a United Nations inquiry into North Korean atrocities <hl> .


Question: When did the United Nations release its damning report?

After the United Nations came out with its damning report in February 2014, Pyongyang’s propaganda officials circulated a video featuring wild accusations against Mr. Shin. It alleged he raped a 13-year-old girl and featured an interview with his father in North Korea who said they had never lived in a “so-called political prison camp.” At least one defector from Camp 18 recognized Mr. Shin’s father as a fellow inmate, pressuring Mr. Shin to admit that his story didn’t hold together, leading to the retraction.

Answer: February 2014

<hl> After the United Nations came out with its damning report in February 2014 , Pyongyang’s propaganda officials circulated a video featuring wild accusations against Mr. Shin. <hl> It alleged he raped a 13-year-old girl and featured an interview with his father in North Korea who said they had never lived in a “so-called political prison camp.” At least one defector from Camp 18 recognized Mr. Shin’s father as a fellow inmate, pressuring Mr. Shin to admit that his story didn’t hold together, leading to the retraction.

After the United Nations came out with its damning report in <hl> February 2014 <hl>, Pyongyang’s propaganda officials circulated a video featuring wild accusations against Mr. Shin. It alleged he raped a 13-year-old girl and featured an interview with his father in North Korea who said they had never lived in a “so-called political prison camp.” At least one defector from Camp 18 recognized Mr. Shin’s father as a fellow inmate, pressuring Mr. Shin to admit that his story didn’t hold together, leading to the retraction.

After the United Nations came out with its damning report in <hl> February 2014 <hl> , Pyongyang’s propaganda officials circulated a video featuring wild accusations against Mr. Shin.


Question: What did Pyongyang's propaganda officials circulate?

Answer: a video featuring wild accusations against Mr. Shin

<hl> After the United Nations came out with its damning report in February 2014, Pyongyang’s propaganda officials circulated a video featuring wild accusations against Mr. Shin . <hl> It alleged he raped a 13-year-old girl and featured an interview with his father in North Korea who said they had never lived in a “so-called political prison camp.” At least one defector from Camp 18 recognized Mr. Shin’s father as a fellow inmate, pressuring Mr. Shin to admit that his story didn’t hold together, leading to the retraction.

After the United Nations came out with its damning report in February 2014, Pyongyang’s propaganda officials circulated <hl> a video featuring wild accusations against Mr. Shin <hl>. It alleged he raped a 13-year-old girl and featured an interview with his father in North Korea who said they had never lived in a “so-called political prison camp.” At least one defector from Camp 18 recognized Mr. Shin’s father as a fellow inmate, pressuring Mr. Shin to admit that his story didn’t hold together, leading to the retraction.

After the United Nations came out with its damning report in February 2014, Pyongyang’s propaganda officials circulated <hl> a video featuring wild accusations against Mr. Shin <hl> .


Question: Who did the video feature wild accusations against?

Answer: Mr. Shin

<hl> After the United Nations came out with its damning report in February 2014, Pyongyang’s propaganda officials circulated a video featuring wild accusations against Mr. Shin . <hl> It alleged he raped a 13-year-old girl and featured an interview with his father in North Korea who said they had never lived in a “so-called political prison camp.” At least one defector from Camp 18 recognized Mr. Shin’s father as a fellow inmate, pressuring Mr. Shin to admit that his story didn’t hold together, leading to the retraction.

After the United Nations came out with its damning report in February 2014, Pyongyang’s propaganda officials circulated a video featuring wild accusations against <hl> Mr. Shin <hl>. It alleged he raped a 13-year-old girl and featured an interview with his father in North Korea who said they had never lived in a “so-called political prison camp.” At least one defector from Camp 18 recognized Mr. Shin’s father as a fellow inmate, pressuring Mr. Shin to admit that his story didn’t hold together, leading to the retraction.

After the United Nations came out with its damning report in February 2014, Pyongyang’s propaganda officials circulated a video featuring wild accusations against <hl> Mr. Shin <hl> .


Question: Who did the video allege that Mr. Shin raped?

Answer: a 13-year-old girl

After the United Nations came out with its damning report in February 2014, Pyongyang’s propaganda officials circulated a video featuring wild accusations against Mr. Shin. <hl> It alleged he raped a 13-year-old girl and featured an interview with his father in North Korea who said they had never lived in a “so-called political prison camp.” <hl> At least one defector from Camp 18 recognized Mr. Shin’s father as a fellow inmate, pressuring Mr. Shin to admit that his story didn’t hold together, leading to the retraction.

After the United Nations came out with its damning report in February 2014, Pyongyang’s propaganda officials circulated a video featuring wild accusations against Mr. Shin. It alleged he raped <hl> a 13-year-old girl <hl> and featured an interview with his father in North Korea who said they had never lived in a “so-called political prison camp.” At least one defector from Camp 18 recognized Mr. Shin’s father as a fellow inmate, pressuring Mr. Shin to admit that his story didn’t hold together, leading to the retraction.


Question: Who was interviewed in the video released by Pyongyang's propaganda officials?

Answer: Mr. Shin’s father

After the United Nations came out with its damning report in February 2014, Pyongyang’s propaganda officials circulated a video featuring wild accusations against Mr. Shin. It alleged he raped a 13-year-old girl and featured an interview with his father in North Korea who said they had never lived in a “so-called political prison camp.” <hl> At least one defector from Camp 18 recognized Mr. Shin’s father as a fellow inmate, pressuring Mr. Shin to admit that his story didn’t hold together, leading to the retraction. <hl>

After the United Nations came out with its damning report in February 2014, Pyongyang’s propaganda officials circulated a video featuring wild accusations against Mr. Shin. It alleged he raped a 13-year-old girl and featured an interview with his father in North Korea who said they had never lived in a “so-called political prison camp.” At least one defector from Camp 18 recognized <hl> Mr. Shin’s father <hl> as a fellow inmate, pressuring Mr. Shin to admit that his story didn’t hold together, leading to the retraction.


Question: What do the doctors who examined Mr. Shin believe?

Mr. Shin has been examined by doctors who believe he was subjected to torture and child labor, given the evidence of his scars and unnaturally bowed arms. We shouldn’t lose sight of that when discussing his lies. It’s easy to see how Mr. Shin was tempted to obscure the truth. For defectors, sometimes doing so is the only way to survive. My own story starts with my escape in 1997, when I was 17. I did not crawl through a tunnel or over an electrified-wire fence, nor was I spirited in disguise across the demilitarized zone. I lived near the border with China, and one night I simply left home and walked across the iced-over river that separated the two countries. I was fortunate that my family had close relationships with some of the border guards, so I was able to cross without incident. At the time, I thought I would return home after a brief visit. I stayed in hiding for a while, learning Chinese. Eventually my Chinese became so fluent that I could pass for a local. Still, I was terrified of being captured or betrayed, so I created a false identity. Staying in China provided me with the opportunity to adjust to life outside of North Korea, and to gain a sense of perspective, most importantly, by learning that so much of what I had been taught about my country was a lie. In the early days, I considered going to South Korea, but I had internalized everything I had been told my whole life: South Korea was the enemy. I believed going there would be a betrayal of my country — and that my family might be punished as a result. Ultimately, I learned that I could go to South Korea by giving up my real identity, which would ensure my family back home would be safe. Once I got there, I faced the same challenges as the 27,000 other defectors who have now made it to the South. They struggle from a lack of education and job skills, discrimination, loneliness and emotional turmoil. Many drop out of school. Suicide rates are unusually high. Many defectors who fail to acclimatize even return to the North. We have no way of knowing how many have returned — and it’s unclear what eventually happens to them — but Pyongyang has started using these “double defectors” for its propaganda.

Answer: he was subjected to torture and child labor

<hl> Mr. Shin has been examined by doctors who believe he was subjected to torture and child labor , given the evidence of his scars and unnaturally bowed arms. <hl> We shouldn’t lose sight of that when discussing his lies. It’s easy to see how Mr. Shin was tempted to obscure the truth. For defectors, sometimes doing so is the only way to survive. My own story starts with my escape in 1997, when I was 17. I did not crawl through a tunnel or over an electrified-wire fence, nor was I spirited in disguise across the demilitarized zone. I lived near the border with China, and one night I simply left home and walked across the iced-over river that separated the two countries. I was fortunate that my family had close relationships with some of the border guards, so I was able to cross without incident. At the time, I thought I would return home after a brief visit. I stayed in hiding for a while, learning Chinese. Eventually my Chinese became so fluent that I could pass for a local. Still, I was terrified of being captured or betrayed, so I created a false identity. Staying in China provided me with the opportunity to adjust to life outside of North Korea, and to gain a sense of perspective, most importantly, by learning that so much of what I had been taught about my country was a lie. In the early days, I considered going to South Korea, but I had internalized everything I had been told my whole life: South Korea was the enemy. I believed going there would be a betrayal of my country — and that my family might be punished as a result. Ultimately, I learned that I could go to South Korea by giving up my real identity, which would ensure my family back home would be safe. Once I got there, I faced the same challenges as the 27,000 other defectors who have now made it to the South. They struggle from a lack of education and job skills, discrimination, loneliness and emotional turmoil. Many drop out of school. Suicide rates are unusually high. Many defectors who fail to acclimatize even return to the North. We have no way of knowing how many have returned — and it’s unclear what eventually happens to them — but Pyongyang has started using these “double defectors” for its propaganda.

Mr. Shin has been examined by doctors who believe <hl> he was subjected to torture and child labor <hl>, given the evidence of his scars and unnaturally bowed arms. We shouldn’t lose sight of that when discussing his lies. It’s easy to see how Mr. Shin was tempted to obscure the truth. For defectors, sometimes doing so is the only way to survive. My own story starts with my escape in 1997, when I was 17. I did not crawl through a tunnel or over an electrified-wire fence, nor was I spirited in disguise across the demilitarized zone. I lived near the border with China, and one night I simply left home and walked across the iced-over river that separated the two countries. I was fortunate that my family had close relationships with some of the border guards, so I was able to cross without incident. At the time, I thought I would return home after a brief visit. I stayed in hiding for a while, learning Chinese. Eventually my Chinese became so fluent that I could pass for a local. Still, I was terrified of being captured or betrayed, so I created a false identity. Staying in China provided me with the opportunity to adjust to life outside of North Korea, and to gain a sense of perspective, most importantly, by learning that so much of what I had been taught about my country was a lie. In the early days, I considered going to South Korea, but I had internalized everything I had been told my whole life: South Korea was the enemy. I believed going there would be a betrayal of my country — and that my family might be punished as a result. Ultimately, I learned that I could go to South Korea by giving up my real identity, which would ensure my family back home would be safe. Once I got there, I faced the same challenges as the 27,000 other defectors who have now made it to the South. They struggle from a lack of education and job skills, discrimination, loneliness and emotional turmoil. Many drop out of school. Suicide rates are unusually high. Many defectors who fail to acclimatize even return to the North. We have no way of knowing how many have returned — and it’s unclear what eventually happens to them — but Pyongyang has started using these “double defectors” for its propaganda.

Mr. Shin has been examined by doctors who believe <hl> he was subjected to torture and child labor <hl> , given the evidence of his scars and unnaturally bowed arms.


Question: What evidence did the doctors have to support their belief that Mr. Shin was subjected to torture and child labor?

Answer: his scars and unnaturally bowed arms

<hl> Mr. Shin has been examined by doctors who believe he was subjected to torture and child labor, given the evidence of his scars and unnaturally bowed arms . <hl> We shouldn’t lose sight of that when discussing his lies. It’s easy to see how Mr. Shin was tempted to obscure the truth. For defectors, sometimes doing so is the only way to survive. My own story starts with my escape in 1997, when I was 17. I did not crawl through a tunnel or over an electrified-wire fence, nor was I spirited in disguise across the demilitarized zone. I lived near the border with China, and one night I simply left home and walked across the iced-over river that separated the two countries. I was fortunate that my family had close relationships with some of the border guards, so I was able to cross without incident. At the time, I thought I would return home after a brief visit. I stayed in hiding for a while, learning Chinese. Eventually my Chinese became so fluent that I could pass for a local. Still, I was terrified of being captured or betrayed, so I created a false identity. Staying in China provided me with the opportunity to adjust to life outside of North Korea, and to gain a sense of perspective, most importantly, by learning that so much of what I had been taught about my country was a lie. In the early days, I considered going to South Korea, but I had internalized everything I had been told my whole life: South Korea was the enemy. I believed going there would be a betrayal of my country — and that my family might be punished as a result. Ultimately, I learned that I could go to South Korea by giving up my real identity, which would ensure my family back home would be safe. Once I got there, I faced the same challenges as the 27,000 other defectors who have now made it to the South. They struggle from a lack of education and job skills, discrimination, loneliness and emotional turmoil. Many drop out of school. Suicide rates are unusually high. Many defectors who fail to acclimatize even return to the North. We have no way of knowing how many have returned — and it’s unclear what eventually happens to them — but Pyongyang has started using these “double defectors” for its propaganda.

Mr. Shin has been examined by doctors who believe he was subjected to torture and child labor, given the evidence of <hl> his scars and unnaturally bowed arms <hl>. We shouldn’t lose sight of that when discussing his lies. It’s easy to see how Mr. Shin was tempted to obscure the truth. For defectors, sometimes doing so is the only way to survive. My own story starts with my escape in 1997, when I was 17. I did not crawl through a tunnel or over an electrified-wire fence, nor was I spirited in disguise across the demilitarized zone. I lived near the border with China, and one night I simply left home and walked across the iced-over river that separated the two countries. I was fortunate that my family had close relationships with some of the border guards, so I was able to cross without incident. At the time, I thought I would return home after a brief visit. I stayed in hiding for a while, learning Chinese. Eventually my Chinese became so fluent that I could pass for a local. Still, I was terrified of being captured or betrayed, so I created a false identity. Staying in China provided me with the opportunity to adjust to life outside of North Korea, and to gain a sense of perspective, most importantly, by learning that so much of what I had been taught about my country was a lie. In the early days, I considered going to South Korea, but I had internalized everything I had been told my whole life: South Korea was the enemy. I believed going there would be a betrayal of my country — and that my family might be punished as a result. Ultimately, I learned that I could go to South Korea by giving up my real identity, which would ensure my family back home would be safe. Once I got there, I faced the same challenges as the 27,000 other defectors who have now made it to the South. They struggle from a lack of education and job skills, discrimination, loneliness and emotional turmoil. Many drop out of school. Suicide rates are unusually high. Many defectors who fail to acclimatize even return to the North. We have no way of knowing how many have returned — and it’s unclear what eventually happens to them — but Pyongyang has started using these “double defectors” for its propaganda.

Mr. Shin has been examined by doctors who believe he was subjected to torture and child labor, given the evidence of <hl> his scars and unnaturally bowed arms <hl> .


Question: Why are defectors like Mr. Shin tempted to obscure the truth?

Answer: sometimes doing so is the only way to survive

Mr. Shin has been examined by doctors who believe he was subjected to torture and child labor, given the evidence of his scars and unnaturally bowed arms. We shouldn’t lose sight of that when discussing his lies. It’s easy to see how Mr. Shin was tempted to obscure the truth. <hl> For defectors, sometimes doing so is the only way to survive . <hl> My own story starts with my escape in 1997, when I was 17. I did not crawl through a tunnel or over an electrified-wire fence, nor was I spirited in disguise across the demilitarized zone. I lived near the border with China, and one night I simply left home and walked across the iced-over river that separated the two countries. I was fortunate that my family had close relationships with some of the border guards, so I was able to cross without incident. At the time, I thought I would return home after a brief visit. I stayed in hiding for a while, learning Chinese. Eventually my Chinese became so fluent that I could pass for a local. Still, I was terrified of being captured or betrayed, so I created a false identity. Staying in China provided me with the opportunity to adjust to life outside of North Korea, and to gain a sense of perspective, most importantly, by learning that so much of what I had been taught about my country was a lie. In the early days, I considered going to South Korea, but I had internalized everything I had been told my whole life: South Korea was the enemy. I believed going there would be a betrayal of my country — and that my family might be punished as a result. Ultimately, I learned that I could go to South Korea by giving up my real identity, which would ensure my family back home would be safe. Once I got there, I faced the same challenges as the 27,000 other defectors who have now made it to the South. They struggle from a lack of education and job skills, discrimination, loneliness and emotional turmoil. Many drop out of school. Suicide rates are unusually high. Many defectors who fail to acclimatize even return to the North. We have no way of knowing how many have returned — and it’s unclear what eventually happens to them — but Pyongyang has started using these “double defectors” for its propaganda.

Mr. Shin has been examined by doctors who believe he was subjected to torture and child labor, given the evidence of his scars and unnaturally bowed arms. We shouldn’t lose sight of that when discussing his lies. It’s easy to see how Mr. Shin was tempted to obscure the truth. For defectors, <hl> sometimes doing so is the only way to survive <hl>. My own story starts with my escape in 1997, when I was 17. I did not crawl through a tunnel or over an electrified-wire fence, nor was I spirited in disguise across the demilitarized zone. I lived near the border with China, and one night I simply left home and walked across the iced-over river that separated the two countries. I was fortunate that my family had close relationships with some of the border guards, so I was able to cross without incident. At the time, I thought I would return home after a brief visit. I stayed in hiding for a while, learning Chinese. Eventually my Chinese became so fluent that I could pass for a local. Still, I was terrified of being captured or betrayed, so I created a false identity. Staying in China provided me with the opportunity to adjust to life outside of North Korea, and to gain a sense of perspective, most importantly, by learning that so much of what I had been taught about my country was a lie. In the early days, I considered going to South Korea, but I had internalized everything I had been told my whole life: South Korea was the enemy. I believed going there would be a betrayal of my country — and that my family might be punished as a result. Ultimately, I learned that I could go to South Korea by giving up my real identity, which would ensure my family back home would be safe. Once I got there, I faced the same challenges as the 27,000 other defectors who have now made it to the South. They struggle from a lack of education and job skills, discrimination, loneliness and emotional turmoil. Many drop out of school. Suicide rates are unusually high. Many defectors who fail to acclimatize even return to the North. We have no way of knowing how many have returned — and it’s unclear what eventually happens to them — but Pyongyang has started using these “double defectors” for its propaganda.

For defectors, <hl> sometimes doing so is the only way to survive <hl> .


Question: When did the author escape to China?

Answer: in 1997

Mr. Shin has been examined by doctors who believe he was subjected to torture and child labor, given the evidence of his scars and unnaturally bowed arms. We shouldn’t lose sight of that when discussing his lies. It’s easy to see how Mr. Shin was tempted to obscure the truth. For defectors, sometimes doing so is the only way to survive. <hl> My own story starts with my escape in 1997 , when I was 17. <hl> I did not crawl through a tunnel or over an electrified-wire fence, nor was I spirited in disguise across the demilitarized zone. I lived near the border with China, and one night I simply left home and walked across the iced-over river that separated the two countries. I was fortunate that my family had close relationships with some of the border guards, so I was able to cross without incident. At the time, I thought I would return home after a brief visit. I stayed in hiding for a while, learning Chinese. Eventually my Chinese became so fluent that I could pass for a local. Still, I was terrified of being captured or betrayed, so I created a false identity. Staying in China provided me with the opportunity to adjust to life outside of North Korea, and to gain a sense of perspective, most importantly, by learning that so much of what I had been taught about my country was a lie. In the early days, I considered going to South Korea, but I had internalized everything I had been told my whole life: South Korea was the enemy. I believed going there would be a betrayal of my country — and that my family might be punished as a result. Ultimately, I learned that I could go to South Korea by giving up my real identity, which would ensure my family back home would be safe. Once I got there, I faced the same challenges as the 27,000 other defectors who have now made it to the South. They struggle from a lack of education and job skills, discrimination, loneliness and emotional turmoil. Many drop out of school. Suicide rates are unusually high. Many defectors who fail to acclimatize even return to the North. We have no way of knowing how many have returned — and it’s unclear what eventually happens to them — but Pyongyang has started using these “double defectors” for its propaganda.

Mr. Shin has been examined by doctors who believe he was subjected to torture and child labor, given the evidence of his scars and unnaturally bowed arms. We shouldn’t lose sight of that when discussing his lies. It’s easy to see how Mr. Shin was tempted to obscure the truth. For defectors, sometimes doing so is the only way to survive. My own story starts with my escape <hl> in 1997 <hl>, when I was 17. I did not crawl through a tunnel or over an electrified-wire fence, nor was I spirited in disguise across the demilitarized zone. I lived near the border with China, and one night I simply left home and walked across the iced-over river that separated the two countries. I was fortunate that my family had close relationships with some of the border guards, so I was able to cross without incident. At the time, I thought I would return home after a brief visit. I stayed in hiding for a while, learning Chinese. Eventually my Chinese became so fluent that I could pass for a local. Still, I was terrified of being captured or betrayed, so I created a false identity. Staying in China provided me with the opportunity to adjust to life outside of North Korea, and to gain a sense of perspective, most importantly, by learning that so much of what I had been taught about my country was a lie. In the early days, I considered going to South Korea, but I had internalized everything I had been told my whole life: South Korea was the enemy. I believed going there would be a betrayal of my country — and that my family might be punished as a result. Ultimately, I learned that I could go to South Korea by giving up my real identity, which would ensure my family back home would be safe. Once I got there, I faced the same challenges as the 27,000 other defectors who have now made it to the South. They struggle from a lack of education and job skills, discrimination, loneliness and emotional turmoil. Many drop out of school. Suicide rates are unusually high. Many defectors who fail to acclimatize even return to the North. We have no way of knowing how many have returned — and it’s unclear what eventually happens to them — but Pyongyang has started using these “double defectors” for its propaganda.

My own story starts with my escape <hl> in 1997 <hl> , when I was 17.