 So, we ended up having three groups total, two of the groups combined, so basically we have until 4.30 at 4.30, we're going to let you go downstairs to the second floor and socialize, so we have food and alcohol, and I think we have non-alcoholic stuff too, exactly. So, all we want to do is hear the report, so, and also just let you know that we are going to compile all of this information, all of the notes, all of the audio recordings, and all of the visual, the graphic facilitation, it may take us some time to get it all together, but if any of you want any of these pieces, this is for the community, so please don't hesitate to reach out to us. We're at the BU Arts Initiative, you can email any of us there and we're easy to find on the website. All right, so, let's start with Alana's group, is that all right? Sure, and again, if you do have, we're going to do this primarily as a reporting, if you have a burning, burning question, that's totally fine, but we need to run to you with a mic, so please remember that if you have a question, go ahead and make it known, but we're going to have to bring you a mic. Thanks, Ty. Hi, I'm Alana, I am on faculty here at BU in the School of Theatre, and I also am the Director of New Work at Company One Theatre Company, Company One Theatre Company. So we had a small but very fertile conversation about artistic decision making and how performers with disabilities and companies who do not traditionally work with performers with disabilities can come together in better collaboration. So we did not have four action items, but we had two really deep ones and an offshoot of one of those two. So one thing that came up is a desire for companies that have the willingness and interest in working with performers with disabilities to get into a resource sharing mode with other companies who are better at that. One of the things that might mean is sharing captioning technologies or sharing training modules, for example, working with autism friendly performances, there was an offer of a training module that Open Door Theatre uses. So thinking about a way to set up a formalized platform or instead of duplicating work, using pre-existing sharing platforms, there's a couple of Facebook groups that share technology, theater tech, so this is one way that we thought about doing that. Importantly that platform should have no promotion, not show promotion, but rather just about identifying resources and sharing them. The other thing we talked about was specific to deaf actors. We were talking about how deaf actors are only seen, if they're seen at all in Boston Theater, they're only seen for roles that are deaf. And we were talking about why it is that theater companies have sort of a stop or a perception against seeing deaf actors for hearing roles. We talked about the funding challenges or the perceptions of obstacles that a company might encounter. One of the things that came off of that was training, not just training for performers but training for companies in terms of how to work with performers with disabilities in general and in the deaf community specifically. And we also talked about another action item that came out of that very specifically is to think about is there space at the stage source conference, hi Julie, is there space at the stage source conference to talk about rethinking how acting training works in the fringe community in Boston, like at the company one's PDA training classes or other training classes that happen for actors. Can they be more accessible and what are the obstacles that keep us from doing that? And then we also talked about, sorry Chris, you're going to be another example, we talked about for companies that wish to do more work in communities where they don't have much familiarity, just storming into those communities and declaring your willingness is not going to get you very far. So instead finding and working with bridge builders who have cultural capital, who are also, who position themselves as educators. So not asking people to teach you when that's not their job, but rather working with folks who identify as educators and who have the cultural capital to connect you to the communities you're interested in. If you're a company that doesn't usually work with performers with disabilities. So those were some action items we took away, happy to answer questions or simply pass the mic to the next group. I do want to hand it to Yol. Thank you so much. So I'm Corey, we were talking about training which was a very wide ranging discussion, it was hard to come to bring it down to just a couple of points. So some things we talked about were to offer training like today's symposium on a larger scale that brings together a larger community. Because we have a lot of people in this room who are already the converted. I think there was a little mention of this earlier today, but how do we get people from other places in on this conversation and expand it and scale it up. Another suggestion is to have more funding for staff and training in pedagogy and disability services. We were talking particularly about within BU, but I think this can kind of translate to other places as well to make sure that not just the staff of the disability services department, but also other members of the faculty and staff getting training about how to interact with people with disabilities. And somebody mentioned something very similar to this. I think Yolana said something similar to this about offering training for cultural institutions, possibly using online platforms of one sort or another. And I have a feeling everybody has that going on in their mind somewhere. And then the last thing we had was a basic requirement that cultural institutions, we might want to figure out some kind of basic requirement on disability sensitivity for all employees. Like is there some sort of certification program or project? That's such a teensy little piece of what we talked about, but there you go. As leaders and activists, we merged. We did merge. We found the slight curtain between the two of us was not really going to allow us to have separate conversations, so we thought that we would just become one conversation. And neither Don or I kept notes, so thank you for our visual display. But we talked about leadership and activism. And we do, I think we were able to merge so easily and quickly is that we believe that to be a leader in this current movement is activism. We did talk a little bit about how 20 years have seen some changes. But maybe this is the nexus or the tipping point that will really be able to be sustainable for speeding up some of our ideas. We also talked about training and education. And what is crucially important is that it shouldn't be a one-off. Is that it should continue. The process is not done because you've taken a class and requires refreshment. And there's new people who may become a part of this movement. And there's a nimbleness that needs to really be a part of the training so that really embraces all people who feel like they're on the margins. And our ability to work and embrace them. And we talked a little bit through my perspective on the work, which was to be mindful of the fact that there are people with disabilities. Their disability is on the cognitive and the developmental spectrum. And to be mindful that that is a population that is frequently forgotten about in the spectrum of disability. But we talked, I want to highlight some of the ones that were really meaningful for me. We talked about and made connections between the leadership and the activism about the power of storytelling. And also being resourceful. Those were, those resonated for me. But the one that was really, really strong was being a deliberate messer-upper. You know, deliberately challenging, challenging audience, challenging artists, to sort of redefine and mess you up. It was well said and said, I'm going to mess you up on purpose in order to go forward, to have a place to go forward from. And to not be afraid to mess up. And then acknowledge what was messy about it. How to clean it up, if to clean it up at all. Yeah, anything? And I think the mess up tends to risk. Where sometimes those of us in administration are adverse to risk. We're constantly aware of financial bottom line or not wanting to offend people. But I think mess up ties to risk. And the very nature of art making and being innovative means we need to take those risks. And as Keith was saying earlier in the day, it's not a miracle. We need to actually push ourselves for excellence and the discipline behind that. Funding, which we'll just hop right over. I just also, I mean, Charlie made a really good point too to not really beat ourselves up because 20 years ago, there are aspects of what's happening today and happening this week. And the people that are in this room 20 years ago might not have happened. So to not be so self-deprecating is to say that we have not taken steps because we have taken steps. I wouldn't have been here 20 years ago. And it's not because I'm 29, no, I'm not 29. Well, and I think that ties in nicely to these points. Helping younger people find their voice. 20 years ago, as I said, things were different. But the ADA has passed. The ADA has passed long ago. Can we, with the young people who are becoming administrators, artists, people involved in the support of the arts, can we infiltrate all aspects of the program and think about access and inclusion beyond just architectural regulations, but to really infiltrate everything? And then I think this is key, and this ties to something that I learned early on from Jody Steiner with us, not for us. Seek out people with disabilities for input. Your boards, your staff, actors, performers, crew people. Again, audience. It really just is part of developing a true sense of belonging. And I think that's what we got. Thank you, thank you, thank you. Just again, a quick thank you to our facilitators for each of the sessions. We're so grateful for your time. And to Halal, and to HowlRound, and to the interpreters, and to staff colleagues who went way above and beyond to make sure this stuff worked today. So please, please, please don't hesitate to reach out to us. Like I said, we have this documentation. We will be figuring out ways to disseminate and put it up and spread it around. And hopefully, we can all keep continuing this conversation over drinks and snacks down on the second floor. So thank you again, yes. Are we going to get documentation of those, too? Because a shout out to whoever did these. I love them, I love them. Yes, that's Carhartt Creative. You can find them on the web. Yes, we have, we're getting very solid, clear visuals. These will live with us, right? They live with us. So yes, this will be available as well. Yeah. No, I just heard a rumor that perhaps tomorrow's panel will be online. So if that's possible for us to get on it. So we have, so there were a few, so the residency is happening this week. There were a few things that were essentially labeled as class visits that weren't put out to the public. But this, now we are potentially figuring out that one of the panel discussions might be online. We're still waiting for the official snow call. It's going to happen. We all know that. And so, yes. BU.edu slash arts ARTS. Our main web page has the access right on the front. If you click that, we'll make sure Sarah and I will update with all the relevant information and any links you need. So BU.edu slash arts. Thank you. Enjoy the beverages.