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Four Months, 5,000 Miles: A Refugee Puppet Looks for Home

In “The Walk,” a 12-foot tall, 9-year-old Syrian girl named Amal trekked from Turkey to Britain to find her mother. In a politically divided continent, were any minds changed?

Puppeteers operating the 12-foot-tall Amal, a 9-year-old Syrian refugee on a journey to find her mother, in “The Walk.” Credit... Elliott Verdier for The New York Times

Supported by

By Alex Marshall ,  Carlotta Gall and Elisabetta Povoledo

  • Nov. 10, 2021

LONDON — A dozen puppeteers were crouched in a rehearsal room here studying the every move of a cheeky 8-year-old girl named Tamara, who was trying to steal a bright pink soccer ball from the middle of the floor.

Tamara looked nervous and kept glancing over her shoulder, as if to make sure no one was behind her. Then, suddenly, she ran straight for the ball, scooped it up in her arms and ran off.

Amir Nizar Zuabi, a Palestinian theater director and Tamara’s father, seemed pleased. “See, everything she does is with urgency,” he told the puppeteers in June. “Everything is life and death.”

The puppeteers were watching Tamara closely in order to mimic her behavior and create a 9-year-old Syrian refugee named Little Amal , the lead character in “The Walk,” one of the year’s most ambitious pieces of theater — and certainly the piece of theater with the biggest stage.

The plot of “The Walk” was simple: Little Amal had lost her mother, and was looking to find her. But the logistics to pull off the almost $4 million project — a 5,000 mile journey from Turkey to England — were anything but.

Throughout the trek, the 12-foot-tall puppet — which required up to four people to control — would make over 140 stops in eight countries, at venues ranging from refugee camps to the Royal Opera House in London. Those would include theatrical spectacles, including a final event in Manchester, England, as well as spontaneous encounters, with Amal (whose name means hope in Arabic) simply walking through a city or village and seeing what happens.

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Refugees had dominated Europe’s newspapers in 2015-16, when millions fled Syria’s civil war, but people are still crossing the continent every day. And with the coronavirus pandemic, the conditions in which refugees and migrants have been living, and the treatment they have met, have only gotten worse.

David Lan, the former artistic director of London’s Young Vic Theater and one of the project’s producers, said in a break from the rehearsals that the meaning of “The Walk” was obvious: “Don’t forget us.”

But he said the team didn’t want to achieve that by only focusing on the horrors that refugees face. “She is a child, so she will have terrifying times and be lonely and frightened,” Lan said. “But our focus is on the potential, the joyfulness, that she can bring.”

“The Walk” evolved out of “The Jungle,” an immersive play set in a refugee camp that had acclaimed runs both on London’s West End and at St. Ann’s Warehouse in Brooklyn .

But the new show was a different proposition, mostly taking place outside traditional venues. And hard-line immigration measures were surging as the project got going. Just days before the rehearsal, Denmark passed a law allowing the nation to relocate asylum seekers outside of Europe while assessing their claims. Soon, Britain, where some ministers had trumpeted a desire to create a “hostile environment” for migrants , said it wanted to do the same . In other countries, barriers were being proposed to keep migrants out .

In that context, “The Walk” seemed as much a provocation as theater. Zuabi insisted that wasn’t the case. “We’re not coming to provoke. We’re walking a 9-year-old to find her mother.”

“If you don’t like it, it’s OK,” he added, gently.

Whether locals across Europe would agree, Zuabi would soon find out.

Gaziantep, Turkey

On a balmy evening in July, Little Amal took her first stumbling steps in the narrow alleyways of Gaziantep, a city in southern Turkey just 40 miles from the Syrian border. It’s the city where many of the 3.6 million Syrian refugees have settled.

Excited children and adults crowded around the puppet, and raised lanterns and lights to guide her way.

Designed and operated by a team that includes members of Handspring, the company best known for its work in “ War Horse ,” she towered above the crowds, but, like a toddler, looked unnerved by them. She often hesitated as she walked, swaying slightly, her chest rising, before suddenly rushing forward with rapid, unsteady strides.

The four puppeteers controlling her — one inside on stilts, two operating her hands and a fourth to steady her from behind when needed — made her turn repeatedly to look back, as if searching for her mother. Then she’d cast her eyes down in disappointment, and walk on.

Those involved in the project said they hoped events like this would prove that art can create a connection between Turks and Syrians, the residents and the refugees.

“When people have a hard time understanding each other, culture and art have always been a very important unifying method” said Recep Tuna, the Turkish co-producer of the “The Walk.” But as Little Amal kept moving, it was already clear that the project wouldn’t convince everyone.

Sherif Chinar, a barber who’d just closed his shop for the day, beamed with excitement at the procession. He immediately understood the concept, he said. “It’s someone who loses their family and is walking on foot to find them.” The project was a great idea, he added.

But further along stood Ugur Taschi, a hotel owner, complaining loudly. “I hate them,” he said, jutting his chin toward the crowd. “They make a big crush just for Syrian refugees. I don’t need the Syrians here.”

Despite her enormous height, big red boots and determined expression, Amal appeared vulnerable. Her long hair, made of ribbons, lifted in the breeze. Her upper body and arms, made of bamboo canes, looked like they could snap.

Eventually, the puppeteers walked her to a park where Syrian children sang to her, in both Turkish and Arabic, and another group gave her a handmade trunk, filled with gifts for the journey ahead.

The next day, she was supposed to undertake her second walk. But like a real refugee, her trip was interrupted. A Turkish soldier had been killed on operations in northern Iraq, and was scheduled to be buried just outside the city. In deference to local sensibilities, “The Walk” — just one day old — came to a stop.

Meteora, Greece

From Gaziantep, Little Amal’s journey went smoothly. In Adana, Turkey, children flew flocks of homemade birds around her. In Cesme, she looked out to sea while surrounded by hundreds of empty pairs of shoes , a reminder of those who’d gone before her (and not made it). While she was on the Greek island of Chios, choirs sang to welcome her.

But then the team — about 25 people — tried to visit the Greek World Heritage site of Meteora, known for Orthodox monasteries perched upon towering rocks. Amal was supposed to have a picnic with local children, the monasteries a scenic backdrop. But the local council banned the event .

Council members tried to explain the decision by saying a “Muslim doll from Syria” shouldn’t be performing in a space important to Greek Orthodox believers. (Amal’s religion, in fact, has never been specified.) But for some, the cancellation was about more than religious differences. With the escalating crisis in Afghanistan, tensions around migration were once again rising in Europe. In Greece, some feared a repeat of 2015-16 when more than a million refugees passed through the country, using it as a gateway to Germany, France, England or elsewhere.

A heritage association in Meteora made its opposition clear on its website : “The bitter truth is those who said ‘Yes’ to Little Amal actually said ‘Yes’ to all those who come after her.”

Lan, the producer, didn’t try to change the council’s mind. “If we’re not welcome, we don’t go,” he said, and the team rushed into planning a new event.

But things didn’t calm down.

Just days later, in Larissa, central Greece, people pelted Amal with eggs, fruit and even stones . Others thrust religious symbols at her. Fans tried to defend her. Police intervened.

Then in Athens, right-wing groups said they’d protest her planned event, anti-fascists said they’d protest in support of her, and the police had to use tear gas to dispel the crowds.

While the organizers downplayed the hostility, the puppeteers found it telling. “It was scary, shocking, but I think it was really important,” said the puppeteer Emma Longthorne . If everyone embraced Amal and the world’s refugees, she added, the company would not need to be walking at all.

Perhaps surprisingly, resistance to Little Amal stopped as she crossed from Greece to Italy, another country where politicians have often let anti-immigrant sentiment boil .

On the morning of Sept. 10, she stepped into the opulence of the Vatican. Her puppeteers — who Lan said had grown in confidence and became more playful as they knew she wasn’t suddenly going to fall over — took her on a stroll through St. Peter’s Square. There, she bent down to hug a bronze statue depicting 140 migrants — that included Jews fleeing the Nazis — as if she recognized herself among them.

Then, she met the Pope .

When Pope Francis, who has long been vocal in support of refugees, saw Amal, he tried to shake her hand , settling on a finger as it was all he could grasp, smiling throughout. The encounter “was such a theatrical moment,” said Roberto Roberto, the project’s Italian co-producer. “It was all very simple and affectionate.”

The next night the puppeteers took Amal to the Teatro India, one of Rome’s main theaters, where they placed her on an oversized mattress in an outside courtyard and tried to make her look like she was sleeping.

Paintings, collages and digital works by the Syrian artist Tammam Azzam flashed up a wall behind the puppet. They were nightmarish visions of the war-torn home she’d left behind — bullet- and shrapnel-riddled apartment blocks, their facades blown off to reveal long-abandoned homes.

Azzam, who left Syria in 2011 and now lives in Germany, called it a “moving dream” of a decidedly unsafe place.

Zuabi, the project’s artistic director, said he’d chosen Rome for Amal’s nightmares because of the stark contrast between the city’s wondrous architecture and the realities that the project was trying to draw attention to.

“This voyage,” he said, “is hardship and beauty combined.”

Calais, France

“The Walk” was a project whose ambitions required constant cash injections, including for regular Covid-19 tests. By the end, it would cost more than 2.8 million pounds, about $3.8 million.

“We never stopped fund-raising,” Lan said. They even sold T-shirts online to bring in money.

The project’s most symbolic moments would occur beachside in France.

Around 10 a.m. one bright Sunday, Little Amal’s team and fans gathered in a church parking lot in Grande-Synthe, a small town near the north coast, trying not to get mixed up with two families waiting to baptize their newborns.

A group of refugees and migrants was soon meant to rap for Amal, but Céline Brunelle, an artist helping with the event, said they hadn’t all shown up. “It’s early,” she said, by way of explanation. “And they might have spent the night trying to get to England.”

Migrants daily try to cross the English Channel, by boat or by hiding on trucks. Brunelle said she was quite happy if the rappers missed the show if it meant they had made it.

Amal eventually set off from the church, but was met by a policeman blocking her way. She stamped her huge shoes at him in frustration, paced forward and back as if unable to work out what to do next, until the rappers appeared, red scarves tied round their heads, and starting calling for her to follow.

They led Amal to a town square — locals leaning out of apartment windows along the route, hoping to get a better view — then performed a track in French, telling Little Amal they understood her pain but “we know you’ll make it.” As the bass pounded, the puppeteers tried their best to make Amal look like a music fan, spinning her around repeatedly.

“I see myself in her, even though she’s a small girl,” José Manzambi, one of the rappers, said afterward.

He’d come to France from Angola four years ago and, now 21, was hoping to stay and become an actor. But he was still waiting for a residence permit.

Northern towns like Grand-Synthe and, on the coast, Calais, are divided on the issue of refugees . The political climate in France is also moving to the right ahead of presidential elections next year.

Natacha Bouchart, the mayor of Calais, refused “The Walk” a permit for the day’s final event on the city’s beaches, so it had to be moved some 30 miles away to the resort of Bray-Dunes. (A spokesman for Bouchart declined to comment).

A few hours later, on the beach, Amal walked out toward the sea, her hair blowing in the cold wind.

She was joined by 30 other huge puppets — some made to look like fish, others dressed like kings. Then Joyce DiDonato, the famed American opera singer, began serenading them all from a boat stuck on the sand.

After a half-hour concert, Little Amal’s time in France was over. The lead puppeteer, with the help of several assistants, extricated himself and stepped off the stilts. Amal was packed into a crate, ready for a train trip under the sea. Unlike many refugees, hundreds of whom you can see daily seeking help around Calais, she would make it to England before morning.

Manchester, England

Little Amal’s journey was meant to end on a cold, wet Wednesday night in Manchester, with a parade through the city’s streets overseen by Simon Stone , the Australian theater and movie director.

A few hours beforehand, several of the puppeteers reflected on the experience. Fidaa Zidan, a Palestinian actor, said she felt overwhelmed but also exhausted. “Like Amal, I want to go back home,” she said.

Mouaiad Roumieh, a Syrian refugee living in France, said he didn’t want the trip to end. “The group here, they are now like my family,” he said.

But what had the huge theatrical project actually achieved? Were any minds changed? Little Amal had trekked up and down England, met by cheering families, but the country’s conservative press, which can be hostile to immigration, barely paid attention.

In the British tabloid The Mail on Sunday, Peter Hitchens, a columnist, wrote that he’d seen one of Amal’s events . “Syrian refugees are not little girls but strapping young men,” he contended. “I wonder how a huge puppet of such a person would be greeted.”

Zuabi, the project’s artistic director, said that changing views wasn’t the point. “As artists we felt this is an issue we had to engage with,” he said. “If I was a cobbler, I’d be fixing shoes for her.”

“I’m happy we’ve touched hearts,” he said. “I hope we also touched minds.”

In an outdoor arena in Manchester, as Little Amal took her final steps, she was surrounded by a flock of wooden puppet swallows. Then a burst of smoke appeared in front of her.

Onto it an image of a woman’s face shone, fleetingly. Then a gentle voice could be heard from the arena’s speakers.

“Daughter, you’ve got so far — so very far away from home — and it’s cold, so stay warm,” the voice said in Arabic. “I’m proud of you.” It was Little Amal’s mother, now, apparently, a ghost or a memory. “Be kind to people,” she added, “and always remember where you came from.”

The 4,000-strong crowd turned toward Little Amal, who stood straight and defiant as the puppeteers pulled her up to full height. She seemed to take a deep breath, her chest rising, and exhaled. And then she strode forward, out into her new city, to try and build a new home.

Alex Marshall reported from London and Manchester, England, as well as Calais, France; Carlotta Gall from Gaziantep, Turkey; and Elisabetta Povoledo from Rome. Niki Kitsantonis contributed reporting from Athens.

Alex Marshall is a European culture reporter, based in London. More about Alex Marshall

Carlotta Gall is the Istanbul bureau chief, covering Turkey. She previously covered the aftershocks of the Arab Spring from Tunisia, reported from the Balkans during the war in Kosovo and Serbia, and covered Afghanistan and Pakistan. More about Carlotta Gall

Elisabetta Povoledo has been writing about Italy for nearly three decades, and has been working for The Times and its affiliates since 1992. More about Elisabetta Povoledo

Advertisement

The Journey of Little Amal

  • Alan Taylor
  • November 9, 2021

For the past several months, Little Amal, an 11-foot-tall puppet depicting a Syrian refugee girl, has been on a 5,000-mile trek across Europe, bringing attention to the plight of millions of refugees and displaced children around the world. The Handspring Puppet Company and Good Chance Theatre worked together to build the character and embark on the months-long project titled “The Walk,” beginning on the Syrian border with Turkey, passing through dozens of cities and towns in Europe and ending in the United Kingdom. Amir Nizar Zuabi, the project’s artistic director, says, “The purpose of The Walk is to highlight the potential of the refugee, not just their dire circumstances. Little Amal is 3.5 meters tall because we want the world to grow big enough to greet her.”

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An 11-foot-tall puppet of a young girl stand surrounded by a crowd looking at it in front of a cathedral.

Little Amal arrives at St. Paul's Cathedral on October 23, 2021, in London, England. The 11-foot-tall puppet representing a migrant Syrian girl had nearly completed its 5,000-mile journey across Europe, starting in Gaziantep, Turkey, and culminating in Manchester, England, in early November. #

More than a dozen children carry bird puppets on long sticks while walking over a bridge.

Children carry bird puppets alongside Little Amal in Adana, Turkey, en route to the U.K., on July 28, 2021. #

A tall puppet of a girl walks alongside people carrying bird puppets on sticks.

Little Amal walks among children in Adana, Turkey, on July 28, 2021. #

A giant puppet of a girl looks in the window of a building.

Little Amal leans down to look inside a building in the Eleusis district of Athens, Greece, during her visit on September 1, 2021. #

A crowd watches as two giant puppets embrace.

Little Amal arrives in Bari at Torre a Mare and meets and embraces the Great Grandmother in Corso Vittorio Emanuele, a work in papier-mâché, on September 7, 2021, in Italy. #

People greet a giant puppet in a street.

People greet Little Amal as she walks in Rome, Italy, on September 12, 2021. #

A giant puppet peers around a white stone wall.

Little Amal arrives at Saint Peter's Square in Vatican City on September 10, 2021. #

A giant puppet walks near a boat on a beach.

Amal arrives in Torre a Mare, where she greets amused people who welcome her, as she walks the streets of the old city, on September 7, 2021, in Bari, Italy. #

People watch as a giant puppet walks past an ornate museum wall.

Little Amal walks beside the Mucem museum in Marseille, France, on September 22, 2021. #

A giant puppet "sleeps," laying down outside a theater at night.

Members of the public approach Little Amal outside the Piraeus Municipal Theatre on September 4, 2021, in Piraeus, Greece. #

A giant puppet walks across a pedestrian bridge, with ocean and mountains visible in the background.

Little Amal moves through the Mucem museum in Marseille on September 22, 2021. #

Audience members observe a giant puppet inside a theatre space.

A public mini-concert takes place for Little Amal at the Grand Théâtre de Genève in Geneva, Switzerland, on September 28, 2021. #

A giant puppet embraces a statue depicting huddled refugees.

Little Amal embraces the Angels Unawares sculpture, depicting migrants and refugees, in the Vatican's Saint Peter's Square on September 10, 2021. #

People gather around a giant puppet and wave together in front of the Eiffel Tower.

Little Amal arrives at Human Rights Square near the Eiffel Tower in Paris, France, on October 15, 2021. #

People atop a van reach out to greet a tall puppet.

Little Amal meets people while strolling through the streets of the city of Calais, France, on October 17, 2021. #

A giant puppet is walked along a broad beach.

Little Amal walks the shore of Bray-Dunes beach, looking toward the United Kingdom, on October 17, 2021, near Dunkirk, France. #

Several children reach up to touch the hand of a giant puppet.

Children from St. Mary's Primary Academy hold the hand of Little Amal in Folkestone, England, on October 19, 2021. #

Actor Jude Law interacts with a giant puppet.

The actor Jude Law holds the hand of Little Amal in Folkestone, England, on October 19, 2021. #

A giant puppet walks through a very crowded street in an English town.

Little Amal walks through the town of Canterbury, England, followed by hundreds of members of the public and schoolchildren on October 21, 2021. #

A giant puppet reaches out to a cardinal in a cathedral in London.

Little Amal is addressed by the archbishop of Westminster, Cardinal Vincent Nichols, in London's Westminster Cathedral as she continues on her trip across Europe, on October 25, 2021. #

We want to hear what you think about this article. Submit a letter to the editor or write to [email protected].

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Giant puppet Little Amal visits LA school to shine spotlight on young refugees

Jaysha Patel Image

LOS ANGELES (KABC) -- For the past two years, a giant puppet has been traveling the world, spreading a message about human rights and the plight of refugees.

Little Amal is here in Southern California this week.

The 12-foot-tall puppet, who represents the story of a 10-year-old Syrian refugee girl, is making three visits around Los Angeles as part of Amal Walks across America, a nationwide journey.

Tenth grader Tala Sultan said the character resonates with her.

"I was actually born in Syria - I came here when I was really young, probably two years old," Sultan said. "And seeing that Amal is actually Syrian and that's she's in this world kind of like me - I'm not a refugee but she's describing what other Syrian kids and other Syrian people are going through - is just a feeling that I can't really explain,"

The goal is to highlight the urgent needs of refugees, immigrants and asylum seekers and bring attention to what they go through.

"There's just a natural emotional response to her and that's the purpose of Amal is to get people to sink into their humanity and exercise this large muscle of empathy," said Khadijat Oseni, artistic associate with Little Amal U.S.

"I learned some of the puppet's background story she's like 10 years old and she's trying to look for her mother. She can't find her and it's really sad, that's like reality," said sixth grader Ryan Sultan.

Amal was designed and built by the Handspring Puppet Company. She joined students at Robert F. Kennedy Community Schools in Los Angeles.

"We've been working with these students for the last six to eight weeks doing creative writing, visual art, poetry, flower making, all around the themes of Amal and these themes of immigration, finding home and what you carry in your head, in your heart," said Theresa Willis Peters with the UCLA Center for the Art of Performance.

Amal brings hope at a time when so much is happening in the world especially as children in Israel and Gaza experience war.

"It's of course not acceptable for any people to die cause they have families, they have children, they have mothers, they're people," said Sultan. "I just really think it's important for the world to see the truth that the leaders act in the right way that a ceasefire happens because it's enough."

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Walk with Little Amal, a theatrical journey celebrating the refugee experience

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Little Amal at the Plaza de la Mexicanidad in Ciudad Juárez, Mexico, on 26 October.

‘She gave me hope’: puppet Little Amal publicizes migrant plight on US-Mexico border

Puppet depicting migrant Syrian girl has walked halfway around to the world, now at border comforting refugees and asylum seekers

After two years of walking halfway around the world searching for her mother and a new home, a 10-year-old Syrian girl made it to the US-Mexico border .

She reached gate 36 of the port of entry in the border fence, where crowds of asylum seekers and refugees have crossed into the US.

Standing on Mexican soil, she waved at a clutch of Venezuelans sitting amid trash and pieces of clothing on the north bank of the Rio Grande. Two children by the river waved back – in awe of her 12-foot height and larger-than-life features.

Like her, they were just a few feet from reaching Texas and looked conflicted, confronted by razor wire and a heavily guarded border. Unlike her, they did not have authorization from the authorities to cross.

The name of the “girl” is Little Amal and she is a puppet, towering but childlike, the central figure of an international theater arts project called The Walk, designed to project hope, encouragement and solidarity to those fleeing war, violence, poverty and persecution.

The puppet’s creators began propelling her on a winding odyssey that started at the Syrian border with Turkey in 2021. Representing an unaccompanied refugee searching for family and community, she visited more than 90 cities, with a mixed reception , on a trek to the UK.

In September she began a new 6,000-mile journey through 35 US cities.

Little Amal’s journeys aim to evoke empathy and compassion for the struggles of displaced people. In the twin cities of El Paso, Texas, and Juárez, Mexico, bisected by the border, she was also celebrating and paying tribute to the local communities, the project producer David Lan said.

“How amazing it is to look at El Paso and Juárez’s relationship. It’s poetic, but also tragic,” he said.

Little Amal walks along the banks of the Rio Grande, in front of the United States border wall, in Chihuahua state, Mexico, on 26 October 26.

The interdependent cities share the river and their history, culture and language.

They have also faced the same challenges in coping with tens of thousands of people from other parts of Mexico , Central and South America and dozens of other countries arriving and needing help en route to safe harbor in the US.

Locals have witnessed scenes of humanitarian hardship and even death, affecting migrants but also residents.

Before crossing into Mexico last week, Little Amal visited the site of the racially motivated mass shooting at the Walmart in El Paso in 2019 . The 23 people killed in that attack included Mexicans and Americans from both sides of the border in a tragedy which strained but did not break the communities’ resilience and binational ties.

At the Healing Garden national memorial to honor the victims, Little Amal paid tribute to the victims, in an event organized by Creative Kids, an organization serving children and families directly affected by the shooting.

Seven-year-old Olivia Izquierdo couldn’t refrain from shouting an exuberant “Welcome to El Paso!” during a moment of silence.

Then the girl reached up to give a huge bunch of paper flowers to Little Amal. The four puppeteers, operating 70lb of cane and carbon fiber, manipulated the puppet so that it placed the bouquet beneath the illuminated memorial installation.

Little Amal didn’t give a speech – she doesn’t talk but relies on her expressive face and delicate hand gestures to communicate feelings of empathy, tenderness, joy or sadness, often clearly transcending the limits of spoken words and language.

“Amal is a beacon of hope, resilience and forgiveness,” said Andrea Gates, co-founder of Creative Kids. “And that is what this community represents.”

She was warmly embraced at free public events and festivals during her two-day, cross-border visit. A mariachi band serenaded Little Amal in downtown El Paso at a festival to highlight the plight of the displaced, where she danced and strolled with migrant children who had made cardboard versions of hummingbirds, which migrate between South and North America.

Little Amal plays with migrant children in a park during her journey along the US-Mexico border in El Paso, Texas, on 25 October.

Little Amal played with the kids on swings and a slide at the park, before celebrating her “birthday” with a traditional Mexican celebration in which she hit a piñata.

Then as she walked, representatives of community and religious organizations gave her food and water, emulating how volunteers help hungry and thirsty migrants on their journeys.

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Francielis Montoya saw herself in Little Amal. She said El Paso is where she had felt the most welcomed and helped among all the cities in Argentina, Colombia and Bolivia where she’s lived since fleeing extreme poverty in her native Venezuela in 2014.

“I felt like her, accepted,” said Montoya, 23, who was with her one-year-old boy and four-year-old twin girls at the park.

She was staying at Casa Carmelita, a local shelter, after crossing the border and while making plans to travel to Virginia.

Little Amal journeyed the next day to Juárez, her first time in Mexico and the first Latin American and Spanish-speaking country of her long journey.

She joined hundreds of children in a carnival-like celebration at the Plaza de la Mexicanidad, just over the Mexican side of the border. She interacted with children and adults, most of whom took selfies and wanted a chance to touch the puppet, and she also danced with four Mexican folkloric dancers.

“Mexico is your house and Juárez your home,” Rubí Enríquez, head of the municipal family and children’s services and wife of the city’s mayor, said.

Watching the evocative scene was Monserrat Meléndez, who works for Caena, a Juárez organization that helps migrant children find schooling.

For years, the city has been a refuge for displaced children who, like Little Amal, fled violence, not only in other countries but also inside Mexico, said Meléndez.

She currently teaches first grade to Mexican children who, with their families, have left their hometowns in the Mexican states of Michoacán, Guerrero and Chiapas because of drug-related gang violence, she said.

“It’s heartbreaking what these children go through, but seeing this puppet and interacting with it is a positive distraction for them,” she said.

Although she’s hard to miss, even from a distance, Little Amal suddenly looked tiny as she contemplated the nearby huge red stylized X sculpture, La Equis, by Enrique Carbajal González, alias Sebastian, which represents the historical intersection in Mexico of Indigenous people and the Spanish. It overlooks the border and Little Amal ran north to peek from Juárez into El Paso, then appeared daunted by the border fence blocking her path.

She later rode along a Juárez highway parallel to the fence, waving at surprised drivers, then crossed back into the US through an international port of entry that night.

Little Amal’s last stop before leaving for California and then seven more Mexican cities was the Sacred Heart Catholic church shelter in El Paso, where thousands of migrants have passed through.

One resident, Esaú Colindres, 21, admitted being scared at the uncertain path ahead of him since he’d crossed the border without authorization five days earlier. But he said what he’d endured in his native Honduras was much worse, where he was bullied and threatened for living with his same-sex partner.

“Amal made me feel happy and at peace again. For a moment, I forgot all my hardships,” Colindres said. “She gave me hope.”

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A giant puppet of a refugee girl to travel 8,000 km across Turkey and Europe

The Walk is a collaboration between Good Chance Theatre and the creators of the world-famous puppets from War Horse.

Good Chance, the humanitarian theatre company founded in 2015 in the unofficial refugee camp in Calais often called “The Jungle”, is behind an ambitious new public art project that will traverse continents and national borders. The Walk will see a 3.5-metre puppet of a nine-year-old girl called Little Amal travel over 8,000 kilometres across Turkey and Europe in search of her mother. According to the organisers, she is “an emblem of the millions of displaced refugee children separated from their families”.

The theatre group, which made its name co-creating theatrical shows with communities living in the Calais camp, has teamed up with Handspring Puppet Company, the award-winning creators of the puppets in the hugely successful production of War Horse . From April to July 2021, Amal will travel from the Turkey-Syria border through Greece, Italy, Switzerland, Germany, Belgium and France to reach the UK, culminating in a large-scale outdoor participatory event at Manchester International Festival (MIF).

Along the way, over 70 cities, towns and villages will welcome Little Amal with art, from major street parades and city-wide performances of music, dance and theatre, to intimate community events. With each step of the journey documented and shared online, international audiences are invited to share Amal’s story and the stories of the thousands of people she will meet.

An education programme will also run in tandem with The Walk’s artistic events. Before, during and after her journey, Little Amal will connect with young people from refugee and non-refugee communities through creative learning projects, developed specifically for each location. The programme will seek to highlight the millions of displaced children who are more vulnerable than ever during the global pandemic.

This will be accompanied by a fundraising campaign to help support refugees, which will take place as Little Amal travels across Turkey and Europe.

The Walk is produced by Good Chance Theatre, Stephen Daldry, David Lan and Tracey Seaward and led by artistic director Amir Nizar Zuabi. There are also hundreds of international partners who will support the journey, including The International Rescue Committee (IRC), Bloomberg Philanthropies, Comic Relief, Manchester International Festival, Counterpoint Arts, Mayor of London, National Theatre, Roundhouse, Royal Opera House, and Sadler’s Wells.

Gallery Good Chance Theatre and Handspring Puppet Company: Little Amal (Photography: Bevan Roos)

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Good Chance Theatre and Handspring Puppet Company: Little Amal (Photography: Bevan Roos)

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NBC San Diego

‘Little Amal,' giant puppet of a Syrian refugee girl, stops in San Diego

A 12-foot puppet on an international journey stopped in San Diego on Saturday. The puppet named Little Amal, meaning “hope” in Arabic, represents a 10-year-old girl who is a refugee from Syria.

“I think that she’s a symbol of resilience,” Vrisika Chauhan, a UC San Diego student, told NBC 7. “She represents the story of so many individuals in our country and stories that are not told.”

Chauhan has been studying Amal in her UCSD dance class. She explained that she was speechless when she saw the puppet in person.

“She, herself, represents us and people and community,” she said.

Chauhan joined a few hundred other community members in San Ysidro to walk with Amal. The puppet has been to 13 countries and met more than 1 million people, according to her team.

“Greece, Italy, France, Germany, Switzerland, Belgium,” David Lan, one of Amal’s producers, told NBC 7. “And tomorrow, she will cross the border and spend three weeks traveling south through Mexico.”

Amal has been on the road since 2021, but her U.S. visit started in early September. She has gone to Boston, Chicago, Los Angeles, Nashville and many other cities.

“I always thought maybe she would come to San Diego, and I thought, well maybe she would be downtown or Seaport Village or something like that,” Denise Lopez, a lifelong San Ysidro resident, told NBC 7. “But when I heard San Ysidro, I thought, ‘Woah! Look at us!'"

Lopez said she was familiar with Amal because of her adventures in other far-away places.

“It was like seeing an opportunity coming to a place where opportunities aren’t always there,” Lopez said. “It was like a door opening for the arts and theater to come to San Ysidro.”

Lan shared that one of the primary goals of bringing Amal to so many different cultures, places and environments is to bring awareness to the challenges refugees face. 

“One of Amal’s talents is to give people courage, is to remind them that even though they’ve been supporting asylum seekers, migrants, refugees for years, there’s always more to do and there’s always more people to support you,” Lan said.

Amal planned to make several other stops on Saturday in San Diego including in Balboa Park and Mission Beach.

To learn more about Amal and her mission, click here .

‘Little Amal,' giant puppet of a Syrian refugee girl, stops in San Diego

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