 Okay, so we're going to start. I'm going to bring out my dreaded timer, so you're going to have three minutes to report. I just want to make a quick comment at the top, which is to say it's worth reminding ourselves that the focus has been for us here on theater and dance, and that we know the world is bigger than that, and that art can speak to us more broadly, but that's been sort of the focus. So we will not solve all the problems of the world in this 20 minutes, and we have exactly 20 minutes. So I'm going to ask group one to start. If you can just hold your post it up or have one of your group do it, and then I'm going to give you three minutes, and I'll cut you off at that point. So, all right. Yeah, and please come up here and use the mic. Group one. Who's ever going to speak can come up, I think. Yeah, great. And you can tag team if you want to. That's fine. Good morning, everyone. Marisa Call. Andrea Saff. So what we were thinking, ways that we might be able to operationalize us, artists, I suppose. Yeah. So one of the things that we talked about is mentorship. And by mentorship, I think what we were thinking is people who are already doing this work, veteran artists and artists in general are already doing this sort of work and have had success. How do we then leverage that success with new people coming into the field? So mentoring or setting up modes of mentorship for new veteran artists coming into the field. So that's one way. We talked about network mapping. Would you like to talk about that a little bit more, Bart? Yeah, because I was working on a third party report with Ford Foundation supporting diverse art spaces. And so it's kind of something that's really present in my mind is this idea that we need some kind of network map that looks and focuses on the end user, end user, the end artist recipient. And how do nodes within that network map appear, disappear over time, you know, vis-a-vis the funding, vis-a-vis the kinds of logistical support and mentorship. And so right now, like what I think we need is to kind of look at this idea of network mapping and laying down this, yeah, this network map. And I said, maybe that's a way to engage the Ford Foundation in this work, network mapping. And then we talked about, rather than best practices, recommended practices or practices that our groups have developed that we might want to actually articulate and propose to the field and to people who want to do this work and how to collect and disseminate those. I'll also do activate existing networks. We talked about there is a veteran arts network that mostly focuses on visual arts, but maybe there's a way to connect and build performing arts with a network that already exists. And we also talked about the TCG Blue Star Theaters Network and maybe partnering with TCG, APAP, and regional convenings to do perhaps a pre-conference. In other words, how do we share this information and these learnings with more colleagues of ours across the field? Thank you. And the last thing that we talked about was leveraging on media contacts. So outside of this room, I mean, this is a pretty specialized conversation, right? Outside of this room, how do we leverage the people that we know, the contacts that we have in media, print, television, et cetera, to then get this word, get this conversation out to a broader world? Because at the end of the day, what we're really trying to do is engage Americans, right? And bring people into the theater or into the space in some way. And the way that I think you do that is by actually going and talking with them. So leveraging on media contacts, getting the word out beyond this room to as many people as possible. I think it's not good for us. We also ended with a conversation about what our goals and why we do this work. And we all kind of convened around the idea of having a better understanding of the true impact of war and all the communities that connects so that we as a society can make better decisions in the future. Thank you. Thank you so much, Group 1. Group 2. Group 2 was also artists. By request, his request. And what a fine, what a fine job. Megan's gonna take us through the list. And then if we have anybody in our group has a short brief edition, come on up. Okay, we talked about what we were calling best practices and also frictions, and that kind of led us to this list, which starts with reciprocal and participating process that creates space for all points of view. So non-didactic and complicated, inviting it all in, inviting it all in. High expectations. Okay. High expectations of the artistic potential for each participant. This was responding to some questions about quality. And Kita offered up that the National Theater Project replaced quality with excellence. So we were kind of getting a story conversation going about that. Raise visibility of the continuum, the range of projects. So articles, documentation about things that are happening that might not be rising up at the national radar. So thanks for that invitation from HowlRound. Each element is a whole. The performance is its own thing. The talk back is its own thing. The workshops, the story circle, the partnership meeting, all of these things have value and each of them can be considered part of the products that we are making. And some kind of analysis or understanding of the resources and the power of distribution for this kind of work that allows for us to be working at different scales, at different sizes, with different goals, with different understandings in different regional contexts, and on and on and on. That's our list. I wonder if anyone from the group wants to add in. The thing about artistic potential or excellence or quality, I think that I think a lot of times it is understood in the framework of the kinds of education that some people got as artists or the times of audiences were trying to meet and funding were trying to procure. But the notion that there's an inherent artistic excellence within each of us, that this is something that's already in each person, and that part of what we get to do as the artists engage is figure out how each person can hit the bell, ring the bell louder than they've ever gotten to ring it before. And what does that look like in the context of our engagement with them? And then it's a part of the work, whatever your multiple goals are, whether it's healing, whether it's outreach, whether it's great, you know, whatever, that that's a part. And one last thing included kind of small in here is in that process, the dynamic partnerships are really essential in doing this work. So that's like a lot of ideas that got condensed into one big one big overriding. Great. Thank you guys. Group three. Group three. Come on up. Okay, I want you to know the draft is alive and well. I got drafted. You can dispel that myth that it's not going on. Oh, we have three major thoughts. The team is going to go after this here. So the first thing we recognize that in the conversation we've had here this week that in terms of this notion of how do you operationalize and we felt that some framework needs to be kind of a strategy around a framework of what what you're talking about, we recognize that the work can can range from the individual level out to the community level. We could be talking about the individual experience all the way up to the human experience, right? So if you think of that x y kind of playing there, which quadrant are you working in? Or you want to focus on the individual? Do you want to be individual community? Or do you want to do individual that's also dealing with the human experience at a much broader level? So we felt that because this work is so large, and many questions I get oftentimes is where do I get started Nolan? There needs to be some strategy of a framework so that the two communities can understand you could either work purely on the individual aspect of this, or you could be dealing at the much larger community level of drawing things together. Oh, and I guess this is just you can't see it, but that's kind of the idea. Awesome. Awesome. I'll just say that was it was a very combative group. There was a lot of knife hands going on. So the second point, this was probably the most hotly contested thing mostly by me. But we got to a point of agreement and it's this sense of kind of we talked we talked about this in the group about, you know, where art came in with with Annie. Art to grow, not art abstractly. I'm sorry, that's important. And, you know, the value of a designated or understood intermediary in a community. And so for for Annie, that was art and his ability to kind of connect the dots with the different stakeholders. From our experience, it's ASAP and our ability on one hand to have a kind of a channel to speak with the military and veteran service organization world, but also at the same time talk to performance groups like William Ametheter, which we did a workshop with last week and improv groups and be at the middle of that to to gather people together. And also a big piece that came up is like, how do we convene around funding. And this was one of the areas that I didn't know where I came in. But the idea that how do we bring people together to understand what is out there and then provide funding and what is the role of the VSO or MSO in that space. Kind of a just a tag to that. We said we ought to still a page out of the entrepreneurial book every Saturday morning in America. If you're a young entrepreneur and you're looking for money, you're doing what's called pitch sessions, right? So what is a pitch? And pitch is simply you're bringing an investor, a banker, a person with an idea and the community is listening in. And you say, I've got this idea and I think it can go. Well, let's still a page from the book and have a Saturday morning session where you have artists that have veteran owned projects that they're oriented towards. Certain individuals find the funders, you get the bankers and everybody else to corporations from the community. And primarily you're pitching that to get an idea of what could be in a backlog or pipeline of new things coming along that presenters could actually look at years before as they are being developed and you can kind of project that out. So the idea was to to bring that context in the last one. We're going to we'll hold the last one. Sorry, you're we got to keep going. All right, group four. Yeah, that is say it as you walk away. Say it as the walk away. Give the last one. Okay, all right. Thank you. Okay, group four. The size of this alone should scare you, right? Yeah, pretend Melissa's not there. And and the draft is alive and well. Thank you, Nolan. I just noticed two military people got tasked with doing this. This is our where the healthcare group, this is our prescription for success. I'm going to go through it pretty quickly here because we don't have much time. But please know each of these were parsed out with a lot of thought the first and some of these have been already talked about. So communication, building trusted relationships, really bridging the cultural gaps and understanding that health care is a different culture. Arts is a different culture, the military is a different culture, and really working at real collaboration across those. The second is stigma, the sense of that of the experience of vets as valuable and sightful rather than damage. I think this has come up multiple times. But we think that's really an important point to step on and through the arts, we see the possibility, not the disability. So that's our point on that. Third is the process is a multiple points of contact. This has been talked about before, but it's pre production, it's production and it's post production. And it's about processing all along that way that if we forget about the processing, both at the individual and the group level afterwards, we've missed a very important part. So we want to reiterate that next is complexity of this work. Obviously, there's there's concern that a lot of the people in the room here are your experts, you've been doing this for a long time. Our concern is that as people are getting into the field, they don't know what you have learned. And that scares the health care side a little bit. And so we just want to really emphasize the importance of building those networks. We've talked about that homework, homework, homework. We want the lexicon discussion we think was really important because we do speak different languages. And then understanding that landscape and knowing who it is that you need to talk to and that these are complex systems and bring all of those people in. The third is our fifth, sorry. Why why are you doing this and what are the benefits? I think that came up earlier. We really think it's very important upfront to define what is it you're trying to accomplish and some theory of how you will measure it, not necessarily not everything that can be measured as valuable and not all those valuable can be measured. We get that but having some theory of how you're going to make sure that you accomplish what you set out to accomplish. So that's real quick measurement and evaluation, clarity of the desired outcomes, needs assessment that drives the process and then think about how to engage the circle of experts to help you really define that project. Sixth, incorporate clinical research and expertise in the development of the projects and grounding it. I think that where we get into this field where it kind of dabbles into health care being informed by what health care research has been accomplished will help in your research of the production that you do. And then lastly is authenticity. We start out by saying this is a two-way street and change it to an intersection that's sort of where we all meet together. And we think that it's just really important that we all seek the value of what you can bring and yet respect the boundaries of your own training and the gaps that you have and then seek out the professionals and the partners who can help you to fill that. I think we talked about that a number of times is that the health care system is not going to heal the wounds of the veteran population. We all need to do it together. But we need to know the language and we need to know the boundaries and then we need to work together. I think that was it. Thank you. Thank you. Thank you so much. Group five. Arts presenters roll deep. So we came up with three succinct sticky points that we thought we could move forward immediately. The first one being putting this work on the agenda on a consistent basis in our regional presenter meetings, peer based meetings such as MUPS that acronym stands for major university presenters and like APAP at the national level but also to Madison's point linking some of our research entities within our universities together as a way to also put this work on the agenda. The second one, soft and high visibility touches using the hashtag arts and military. Some of us acknowledged in our panel yesterday that we're small scale. But we can support the development of work that you may not see. It might be in two week residency to advance something that's as important as things that might be more high visibility such as Madison is working on a project that might take place at the ATL airport. You know, so how do we track those things? Easy way. Use the hashtag arts and military for everything. We'll be able to see that grow in the context of just data capture. And then finally, advocacy and communications in support of the arts and the intersection of military communities. We know it's not a monolith. We acknowledge that several times over the course of the last two days. But Colleen and a few others, can you talk a little bit more about the communication side piece? I also want to say about the advocacy piece. It is more than just advocating your own community. It's looking at state legislation and federal legislation and who will carry our water jointly there and finding those partnerships because veterans have advocates on the hill, presenters have advocates on the hill and we all work together there. And then the communication is really about a press strategy. So it's great that we have howl around. But this is now a national arc that we are building. And press, television, radio, pencil press are all looking for content. But it's not just one side of the story. Madison knows someone in the New York Times. That's great. Who knows someone in the armed forces newspaper so that the story gets out across the country. The dialogue has begun. Things are happening. Please join along. And I use an example of Hamilton. When I go to the hill to advocate, there isn't a single legislator that doesn't know that work, doesn't you know refer to it and doesn't ask me for tickets. Anyone else want to add anything? Just a real quick translation to the Hamilton. The Hamilton in this context I think might be one example is all the great work that's happening at Walter Reed around rehabilitation of returning vets through the arts. And so when you go to the hill and you go to the hill with that advocacy group and the arts advocacy group, then you're getting the things that might help the NEA that might help. Great. Great. Thank you guys. Thank you. That was great. Group 6. Last but not least. And this was funders, regional arts organizations, agencies. So what's ironic is that being funders we're all administrators and so we thought very linearly. But it's very, this is all applicable. So the first thing we talked about was a toolkit for program development. And this was mentioned yesterday, but this is based on kind of the model of the creative aging toolkit which is not dissimilar to some of the things that we've been talking about here for the last three days. So that toolkit would be, and that's a great, it's a great basis to start a program. But it'd be for artists as well as collaborators as well as anybody who's interested in this topic. It would include professional development suggestions, the lexicon, the taxonomy, case studies, and identifying resources would all be part of that toolkit. And also this was very much about implementation. How are we going to implement this? How are we going to get this out? So the next was funding and strategies for engagement beyond the performance. So what kind of funding do we need to connect with and what do we need as far as strategies to get this part of our programming? Number three was foster and connect cross-sector partnerships. Obviously in funding that's actually buried there. Foster and connect cross-sectors and partnerships, we obviously need that in order to make all of this happen and you've talked about that a bit. Research, we really felt like the medical research as well as the ongoing research is a bedrock to make this happen and to actually communicate that to the legislature, whether it's the state legislature or the national, the federal legislators, in order to get them to understand the value of this work. We think that's really critical. Doris Duke is funding some of that right now and there's some other things going on. We want to know, we also talked about asset mapping and how important that would be and then we need to determine what our outcomes are and to find the endgame of the different modalities that connect all of these sectors together. And then number five was amass resources for longer sustainability, both financial and non-financial and institutionalize the program. So all of these pieces would help us as funders to institutionalize this. Great, thank you. Hold on. There was one more point from the military group, Nolan. Do you want to make your last point? Where was Nolan? Did he go? Yeah, what was the last point? I hate that I cut you off and they they didn't take 30 seconds. Last point. I'm gonna have a little challenge with Al here this morning, so there with me. Oh, the last point was narrative. And I think the group that perhaps came after us kind of touched it tangentially. We've heard the idea that it's the issue of empathy, sympathy, or contributor. So what is the perspective that we as an art community have of the veteran? And what is the national or the narrative that we are collectively communicating? Do we see it as empathy? Do we see it as sympathy? Or do we see them in terms of contributing to think one of the points? So we felt a strategy for a narrative nationally integrated among the arts community needs to be out there, recognizing that everybody will probably come at it from a different perspective. But what is our position? What is our thought on this? Do we see that as a we see them as contributors, bringing something in as artists or whatever. That's got to get out in front of what we're talking about or else we'll be potentially at risk of everybody thinking it as a dependency or something like that. That's a great last point and I'm glad we put it in there. So we're going to move. You want to go? Yep. So we are going to transition quickly in five minutes.