 Well, here we are we're live to people who are watching. Thank you so much This is this event is a is a talk of artists in conversation This is a part of the Trojan women project festival at Lamama The project festival is the celebration of over five years Pretty much six years of a project that has been working in Guatemala, Cambodia and Kosovo Taking Lamamas the Trojan women Medium come in and we have a lot of our artists with us have a seat right here This is this this event with culture hub is allowing us to have a conversation With with people both in the room here in New York City and in other countries About the way we work as artists and any questions that we have for each other Part of the reason for this festival is a chance for people to come together and to and to have conversations like this What I would love to do to start is I'm gonna pass the mic around in New York and each person is going to say who they are and where they're from and Then we're going to go to both Kosovo and Cambodia and then we'll start the conversation We have we have problem with the sound in New York You are not hearing you at all this way No sound at all. I don't know if you hear us Guys we have problem with the sound in New York Yeah, we are not hearing zero. Can you eat me? Hello? Yeah, Kosovo. Can you hear us? Now we hear you but Completely blocked Now can you hear that's good? Yes Yes, but all of us also in Cambodia. They could not hear you. Yes. We both could hear each other, but not you Okay, okay. Well now hopefully we can hear each other Yeah, yeah, give me a mouth. Okay wonderful. Here we go Hello, my name is Michelle. I am from Guatemala Hello, my name is Lisbeth. I'm from Guatemala My name is Lisbeth. I'm from Guatemala Hello, my name is Javier and I am also from Guatemala So she I'm from Guatemala Hello, hello, my name is Stefan. I am from Kosovo So my name is Katya. I'm from Cambodia Hello, my name is Rose. I'm from Cambodia Yeah, so my name is Soi Chan. I come from Cambodia My name is Nann. I'm from Cambodia I'm Skender Kaplani. I'm a musician and I represent Kosovo group And says that he understood. Hi everyone. I'm Edis. I'm from Kosovo Hello, my name is Victor and I am from Guatemala too What's that? Hello, my name is Bertha Chirich. I'm from Guatemala Hola, mi nombre es Miriam. Chacachio Copsoy de Guatemala He understood you Hello, Yutan. Hello, Kosovo. I'm a leader and I come from Kosovo. Hi Hello, I'm Yolanda. I come from Athens, Greece Hello, you guys. This is Sarah. It's great to see you. I'm from Italy, New York Hi guys, it's Annie I'm from New York and how wonderful to see Yutan and Savon and Tully and Hi So now it's your turn Yutan do you want to start Yes, I'm Yutan. I'm from Prishtina Kosovo. Is that enough or shall I You can you will continue You could say a little bit more. Yes, sure No, I'm here sitting at the Chandra Multimedia Small production company that I work So I'm a playwright myself Thank you Savon, Savon My name is Savon I'm from Prishtina Kosovo But I work in Acompo Hello, team. Hello, Tully Yeah, I am Dali. I'm from Cambodia. Yes, I work in the big art Hello, I'm Jibri Psu. I am So me came from Cambodia to San and at the moment we at Epic Art Center in a small meeting room And so pleased to have some time with you all across the world. Thank you for having us Thank you. Thank you so much, especially you because it's 12 hours. You it's very late at night for you It's it's night time for you So it's very So really this is this is meant to be a conversation a chance for especially because Savon and Tully were supposed to come and We were not able to get successfully to get the visa and first of all I want to say we you are with us in spirit And we wish you were here And I also think just want to say that we thank you so much for your efforts to to try to come So this is a chance for us to talk to each other Since we're not in the room together and also to talk about how we work both in our In our near near our homes and also when we either travel or are able to reach each other in other ways So i'm just interested in opening it up to what questions you have for each other Or anything you want to share So Well, okay, how about this let's start with this not everyone especially people watching will know Ah, actually we have a few more people coming in Please tell me who you are and where you're from Daniela Markay from Kosovo Nora from Mexico Um When the Trojan women project travels to other places One of the things we we do is we look to meet playwrights and playwrights and other artists and community workers to See what is what they're doing, but also what are ways we may work be able to work together Um and also There's a hospitality. I think of it as hospitality of coming to whether it's coming into someone's theater or Having someone show us What they feel is important to see Where in where they live So let's start because it's so incredible to see all of you on the screen there If you could tell us a little bit about both of your organizations to start Especially for the people who who don't know So so do you want to start with uh yet on do you want to start? Sure, no problem I mean this uh, I'll be brief just so I don't take you I mean this time so we can have Other other questions to discuss. I mean the company this chandra multimedia was created founded in 2002 Back then just after the war With huge ambitions. I mean we wanted to do films television everything But of course we ended up doing theater and literature literature So what we do is we produce and we could produce theater plays mostly Two a year One of them is our own production. The second is some sort of co-production that we do with uh either regional or international theater companies We also run an international literature festival every year here in prishtina where we invite international Authors some 30 every year a next year will be the 10th edition. So the festival happens every year in in in may We have uh, I mean with our productions we tour first within kosovo Then we do a regional tour. So we go to belgrade scopia turana and then If the play is good enough or if the play is uh, interesting for the international audiences Then we start to get uh invitations to present the work internationally and This is you know has been going well and the In the last couple of years we had more than 200 international presentations in different In different places of europe and this year. We also made it to to new york at la mama as some of you know it From uh, from last year. We also started to organize uh cost of theater showcase in which we bring seven eight cost of theater shows In a weekend and we show them in front of the local audience But also in front of the international theater programmers Uh theater critics and other international theater guests that are willing to know and to see what kind of theater is being produced in in kosovo The type of work that we are mostly interested in in producing Could be uh called as political theater. So we are mostly Putting on stage Shows that deal with the social or political issues That do have some actual uh Resonant or to say with the actual uh Events but that are not necessary. You know daily politics or to say so Let's say our last work Uh in five seasons an enemy of the nation is some sort of uh play that was inspired by the enemy of the nation by Enemy of the people sorry by it by ipsen Which is in all version a play about a a cost of architect that was murdered after the war by the construction mafia Because he wanted to you know prevent them by building and by destroying the city Thank you Tell us about epic arts Can you can you tell us about epic arts? Yes And you can use translation however you want to do it a mix of english and kamae however you want Okay Um So epic art is an international art organization that we work with people with and without disability together Let's do it And uh epic work is to promote the right of people with disability Make sure people with and be treated with the disability at the same equal right So we work with different type of art is have different type of disability like physical disability Here with impairment and also wheelchair user as well Uh And epic art artistic work we focus on drama and contemporary dance that related with educational work and also we Based on the social issue in Cambodia and traveling in the work traveling in the country And also traveling international as well And um Dali said the strong message that we always Remember about epic message is every person is count that all our work is Promote that message and spread the message in the country and also in around the world Uh Apart from artistic, uh the work that we work with In art sector we also Work on education Special education that we're working with children with learn different learning disability Provide them education and also We have inclusive art course provide the opportunity for the use People with disability and without disability come together to learn Dance And dramas and also like skill bit of the two years And so it's that a new generation in 2020 Yeah Other project that we do as well, um is the social enterprise. That's how we fund our work continue funding our work So we have epic art cafe that provides your opportunity for um people with this written without disability In town and also we have encounter team. That's why uh Lama my project we didn't work without encounter team. We have two different team Seattle team and also the dance team as well And also we have the create and solve that's three different small project part of our social enterprise and how we Bring the money in to support the program. So the program that wants to spend the money The social enterprise the one trying to find the money to fund the project um because we um We really want to continue what we're doing So to be able to continue what we're doing in the long term we have to have our own funding to support what we're doing That's also we take a bit longer Are the other people who would like to do you want to talk about your company? Do you want to say Hello, hello Hello Yes, we do So they they have a company called uh Uh That's the name in in kakchikel language, which is a Mayan language. And that means Woman Moon light moon clarity Light of the moon. Yeah, something like We all women Nuestra directora también es mujer Our director is also a woman a woman Nuestra intención bueno de fundación bueno iniciamos en el 2012 We started in 2012 Y lo que queremos es a través del teatro Bueno a través del teatro trabajar o enfocar nos transmitir el mensaje De cómo poder luchar por los derechos de las mujeres So what we do is to Transmit to people To fight and to defend women's right through theater And also that becomes A healing tool For our society Not all not not only for women but for everyone Because all all of the social issues that we have in Guatemala Get Hi, my name is social and I am director of a group in Guatemala The name of the group is alquimia escena And we are improvisers too And we work with Javier and other people in Guatemala And I'm doing workshops for uh in communities For uh jump people, teenagers And the improv The improv helps to to improve some skills like the listening Acceptation Creativity What? Acceptations the ideas of the other people and That skills helps so much For the people The the development of that skills helps too much to the people who who who do improv And And they can apply The knowledge to to the to their everyday life not only for the theater works And I think of us and we can Thank you Okay, hi everyone. Um, my name is Katya and I'm together with some of my teams here. Um, we uh um, the from Cambodia and um, we from umberta collective And our collective is a contemporary dance collective that we um working With the missions of promoting Creativities and and using dance as a way to propose a social change and um, We just established it in 2019 very relatively new and um, hopefully that collective will Grow stronger and bigger in uh in the future and looking forward to work together with our international Friends in in the near futures. Thank you So, um, my my name is victor again I'm also from Guatemala, but I work in another organization. So we are three different organizations here um I work in an organization called caja ludica in where we develop different uh processes um To different to promote different processes Yeah So, um Towards social change. So we we we work in different social issues issues And um, we all the processes we work we we we use different artistic expressions to work those processes We work in all in all around the country in Guatemala Mostly in indigenous communities But not not only indigenous with everyone, but mostly in indigenous communities And um, it was founded in the year 2000 People Okay, once again, I'm eris from kosova from kosovo Um, I'd rather just switch the the the topic and the in the content of the conversation into what we have learned and what we can learn from this La mama and trojan women experience I first of all agreed yet on as a playwright and me myself in here I am one of the rare aroma playwrights who writes Theater shows in in romani language, which is sort of An old language which is spoken all around the world and in kosova as well Um, and I'd like to use this opportunity to tell that how inspired I was after seeing this Play first of all in kosovo in three places how that inspired me as a playwright to put um such Okay To to put such things into stage and to actually tell about the struggle of many people and about many social issues that we face In such a way. So I do uh hope that uh yet on as well was super inspired by uh the trojan women Play and I do hope that not you as a playwright, but the playwrights in in kosova Will uh once come with such powerful Show to show the struggle that what we have gone through as you know to do it well Um, and other than that, uh, I as a playwright. I was definitely inspired By the story because we know that the romani or the worldwide known pejorative name gypsies have struggled a lot and they've gone through A partially such struggle, but there are many other parts that they have struggled a lot So I as a playwright I was definitely inspired by the story and I can definitely assure That the trojan women festival will um Be my second part of the vision how I can put the romani struggle into stage on my, um, maybe third single act place because on the other hand this like my, um, my participation in trojan women festival was sort of With the Not very important role as a soldier, but however, I was all the time observing and that inspired me as a single act Actor or the amateur to put these things on a stage So I do believe that my next single act play will be sort of related to the stories that we heard here and once again, thank you and definitely I'm very proud that Kosovian group was represented into this festival with the most diverse group because we have Kosovians who speak Albanian we have Kosovians who speak Serbian and we have Kosovians who speak Roma Who are represented as a group into this super broad and super big project. So thank you once again Thank you very much. Thank you also for opening up the conversation that you can say anyone can say anything It's it's whatever people want to share because how wonderful it is that we're actually all here together Who wants the mic? I mean if If I might ask you because I'm really eager to to know if the Trojan woman show is over was I mean did the premiere happen or Is going to happen And how was it? Hey, Yatan. Hey everybody. Hey Cambodia The opening show happened Three days ago And of course, we were terrified at the opening We wanted to do our best and But we had the vision what we were Going to do we rehearsed a lot. It was not an easy process But it was a wonderful gift to share the stage with all these people From all around the world and to speak the one one language, which is the universal language of art and to share some of our specific cultural things during the whole show and the and The narrative of Trojan women Um It's also beautiful that we really could see And could feel from all the all the groups The true stories the experience is that we went through and they are still alive And somehow it resonates during the whole performance And I really want to thank The original team and Andrei Sherban and Maud who Yeah, her contribution was big and huge because thanks god she was in Kosovo And met us and worked for us and helped us. So this was a great opportunity again And big heart of La Mama opening The stage for all of these incredible artists. So thank you so much You And maybe Another question for the Trojan woman cast Maybe I don't know a a this or somebody else I'm interested to know how much because we've seen the the show in pristine I mean in I saw it in prison and actually I wanted to know how much from that, you know Uh Show that was produced here and elsewhere was Used and taken and how was the process of kind of melting it together now in in in new york um First of all, it was a super great opportunity for the original Players to see what they can bring together and I am I was sure after seeing Andrei Sherban in his eyes Bringing all these cultures from all around because the original stage manager didn't have the chance to travel where the original Team traveled and they made this the play But then after they brought all us into one And he was sort of trying to get every cultural bit that we are bringing And we had super guatemalian and cambodian cultural ritual issues Which were incorporated into a regional play which never happened and then we have this albanian morning Ritual which is sort of extinct in our culture anymore, but they uh illyrian edlir brought it very well so it was sort of an fusion of cultural issues which were for the first time brought into the show which is playing for Nearly 50 years now. So it was A one and very unique opportunity for new yorkers to meet with other cultures with the culture that they have Originally produced so they have originally produced the Trojan women But they have never had the chance to see the other cultures how they fuse into this super productive Job, so it was yeah, I think a great opportunity that we brought and it was qualitative as well And the last question eddy, maybe for you Uh, of course, I suppose It was hard process, but was there any cultural Complication that you couldn't handle because I don't know the cambodian group Do you want to do something or the cost of a group was not happy with something? I mean in terms of culture No, because The the entire group and the entire I mean every individual Had the chance to show what he brings as an individual and as a country and slash as a culture So I remember when we were on the on the circle like The original team and also andre asked like do you have any specific thing for sort of a ritual or Do you have any specific song that you bring but it wasn't sort of I don't know everybody had had the chance to speak out and to see what he brings But we definitely were first of all mesmerized with the cultures that we bring and that we are super diverse And other than that we had sort of this Opportunity to discuss as a group what we want to sort of give to this original play Hi, I will say that um that uh What while there are many cultural elements that have been added to this show and they're glorious and it and Some of the moments are are amazing and could we could go on and on and add and I add It hasn't been problem-free In in an effort to bring this This piece that was done 45 years ago to a contemporary audience in new york Which is very different than bringing it to other places that we've been with the project Andre made is is really searching for a way to Keep it immediate and that includes a lot Many instances of Portrails of violence particularly violence against women I think that's where we've had the most difficulties Or or differences with cultures because Though the way that violence against women is portrayed on stage In in for example in in we can be in Guatemala and the fact that a woman is just touched Roughly in front of a public audience has tremendous meaning And um the fact that a woman removes her clothes Is just it's unthinkable and would probably not be a valid theatrical Concept but here in new york Here it wouldn't it wouldn't have validity in other could you can't hear me. This is the best part. How could you not be here? But it was nice. It was nice So so okay only the last part we didn't hear you so what I said was that um that uh, we were talking nudity has been a big issue here and it has um for It for for many of the actors who have come to new york. It's been uh It's been a struggle and a breakthrough I I believe that it's a struggle for many people in the audience in new york to see some of the scenes that we have I don't think even that We have heard the last of how people view Our show but um, but it's interesting when those problems come up, isn't it? It's interesting when there are cultural differences like that and we have to discuss them and Was there a nudity in the end or no? Oh, yes Does anyone want to yes in the original production in 1974? There was actually a lot of nudity, but in 1974 My memory is that nobody ever wore clothes. We just ran around without our clothes. So but now it has a particularly particularly because of um, what is going on between men and women in this country, which is Not unlike in other countries. I mean it has a different meaning. Are you Still here. Yeah, okay. Good. Um, yeah, can you hear me? Yes, good. Okay. So, um, so we actually have not returned to the to the 1974 version We tried um, we tried one scene the kassandra scene. I don't know if you remember in 1974 Uh version or perversion Uh, I said version actually, but I don't know what you heard but um That's the next one. Oh, sorry version But there there it turned out that actually there was some Some nudity that was in the 1974 version that was gratuitous and has been taken out and So it's interesting how How we have reexamined what what you can show on stage and and what and how it will move an audience Rather than Have the audience rejected And And I want to say something just for you to know and that That we have every night we have we have a different cast Because we have like different people doing the same character and The director didn't say, okay, you are the one who's going to play the character But every night we uh, he changes the cast So every night we have different people doing the characters But is is Is everybody playing every night and then it's just the change between the same cast? Yes Yes, we are we are all Doing all the show every night Just the the main characters are different every night There are 50 of us on stage Five zero There's a many of us That's a huge Savon and Tully Since since you know, would you like to share anything about when you performed in the Trojan women's? We wish you were here right now, but you we did perform you did perform in in in cambodia Um, is there anything you'd like to share about that? Um So so Dali you want to ask person for visually said experience Yeah, Dali want to ask uh, if the the soul changed a lot uh from The one in cambodia to the new york it is a lot of changing the activity Oh Piazza Um We are very happy to be able to share this experience with you all. But I would like to thank everyone who has been with us for a long time. I would like to thank everyone who has been with us for a long time. I would like to thank everyone who has been with us for a long time. Thank you very much. Thank you. Thank you. Thank you very much. Thank you very much. Thank you very much. I would like to thank our translator. She said, the interesting experience in Cambodia. There are two different performances. One in Phnom Penh and one in Kiam Ho. Those two different performances are two different experiences and movements as well. It is a very interesting way to do things. And also, Dali said that he had such an amazing experience with the La Mama team. He learned so much more in a different way of doing the art in a different way. He especially created a new movement at the same time singing the Greek song. He just did something new for Dali. He never had that experience before. And also, because he only had experience with the contemporary dance and performance with education or theatre and also to promote the right of people with disability. This experience with the La Mama project is a very highlight experience. And he cannot forget about this experience. And he is very happy at the same time because he cannot join in New York. But he is happy now that he is joining in LAI at the moment. That is great. He feels still part of the project. Actually, it is a question, so it was not a greeting. A question for maybe, I don't know, Kiam Ho, somebody from the original cast. I would be interested to also hear if they could feel any difference in the way how the audience reacted. I mean, was there more or less enthusiasm now than before? Or also in personal terms, I mean, how was it then? How was it now? I mean, beside the fact that you are now a little bit older. You are from Kim, right? Or the team? Only or Kim or, I mean, Kim didn't speak so far. It is very hard to judge. My memories of doing this show in the early days were very much like the experience that we had in Pristina when we did the show in Pristina, which was that the audience was so huge. And the proximity of the actors to the audience was so intense that this wave of emotion came out. And now for, not because we are not selling tickets because it is sold out, but we have fewer people in the audience by half. So by the end of the show, there is almost a distance between the audience and the actors that I have to get used to. I don't know what it indicates, but it's a little bit more reserved. To our colleagues in Cambodia, if you are translating, if you can be a little bit low voice, because then the song gets mixed for me. Sorry. So my answer would be, and I learned the show in 1996 and have been with it in different tours, with different people, and then now with so many wonderful people in different countries, not performing it but teaching it. And now, the teachers and all the people who have been performing it, everyone is together. People from 1974 who joined in the 90s or 2002 or 2003 and then the past six years, is that what we all share is this material, are these same songs. So whether the staging changes a little bit, it always, for me, comes back to the material, to these scenarios and then what is it to stand with someone and to sing this song. And we may have different stories in our head or different resonances that bubble up in our hearts, but I find it very powerful. It's been, to have everyone here together, I'm not sure. It depends on the day. What is happening in the world? How is it going to resonate when we tell the story today, depending on what today's news is or what your personal news is? But one thing I do feel is that there are pieces like this and this project and this festival is around this piece that is a living legacy. It's an oral tradition. And there are many oral traditions or pieces like that to be a part of something like that is special. I feel like then each person, I want to thank each person because each person then helps continue it. How do we remember this song? How do we remember this ritual or this story together? And I have to say for everyone who was, that is here for the festival, I feel like it has just made, it just even makes it bigger. It just keeps growing what's possible with this show. The more people come into it, that's my feeling about it. Savone and Tully, if you don't know if you're watching this video or even for some of the people here might not know that Savone and Tully, we're going to be here in New York. And it's just the visa process is always difficult. And in recent years it can get even more difficult. And so you're not here with us but you are a part of what we're doing right now too. But Savone, did you want to say anything about your experience playing Polluxena or being in the show? If you want. Savone has a question to the La Mamma team. She asked the La Mamma, the Trojan Women Project, when it started to perform and how many countries the performer has been traveling so far? So how many countries? So the first, so we went to Guatemala and then Cambodia and then Kosovo. So those three countries, the whole play was performed like it was in Kampot and Phnom Penh. But we are looking to the future and I'm not sure what the future holds for the project. I know it will be different. But actually we've been to a fourth country. We did some work in Italy last summer with refugees in Umbria. And there's somebody with us today from Greece who also works with refugees in Greece. And we're hoping to do some kind of work there and in this country as well. So that will be, can we count America as another country? Hi. Coming from Greece where the Trojan Women, that's where they were first acted of course, many, many thousands of years ago. So it's very nice to see a play that we've grown up with since we were kids, played by so many different cultures, languages, backgrounds, and adding always to it so much. It would be very nice to see that in Greece at some point. But I think the most important thing is how you also can come to Greece, which means that how Greece can also receive, you know, all this history that you've created with the project, which I think is very important, and add something from Greece to it as well of course. Another question for the costumes. Did Gabriel use more or less the same style of the costumes of the original production or she created something completely new? I am going to answer to that. Well, it was for you, Mad. Oh, okay. When she first discussed with Andre, she was planning on using the costumes. Can you hear me? She was planning on using the costumes of the people coming from their country, which was very obvious with our friend from Komalapa. And Andre at the time was not too sure, but they sort of went into today's costume but using references from where they were coming from. So she worked very much with the actors and they gave some information about where they were. And basically, like Katie, coming from Cambodia is dressed like a Cambodian woman from the old days. And you have references from little exotic things from the Balkans on the costumes. Little mark here and there. And the only thing where Andre had a problem was with the soldiers because Gabriel wanted to put them on something which was not black because she was seeing the audience is going to be dark anyways and they don't need to be black. Mud, mud. Mud, can you bring the microphone closer? Okay. Yeah, that's better. So then... So yes, she presented some costume of soldiers and he said definitely no. And she was totally devastated. You know her. And she, overnight, she changed her costume. She found a great sales on the internet and she changed her costume and now people look more like ice, you know, the police which is bringing back the refugees to... They're all in black and Andre wanted them scary and so they are scary. And Maida, who you may not know, who is the original set designer, created some cask, mask, you know, and some very weird mask out of Coca-Cola can. And so there is this moment of OG at the time of Achilles, you know. So basically that's it. But I think that the different people are sort of wearing something which reminds them of their own country. Okay. I'll just take a minute just to show you people that we have still work to do. So our company from Kosovo, we have to go now to rehearse a piece that we will show soon. So I just wanted to say thank you. It was wonderful to be together in the room and virtually be all together from far away. So bye. Have a nice day. Thank you. My team, let's go home. So do we have a few more minutes? Okay. So the course of our team is going to rehearse. But we still have a few more minutes that we can talk. So really, I mean, it could be anything. Anything anyone wants to say? Hi. There's something that for me is the most valuable about this project that I like to share. The show itself talks about atrocities and injustices that are done to people. But I feel like what this festival specifically brought to what the Trojan Women Project is, which is using a theater piece to go to different places in the world and begin to exchange about those themes that are in the play through singing songs together and having conversations. This specific festival really helps to... Sara, we don't hear you, Sara. You can't hear me? And I have the impression that it's that microphone that is always making troubles, not the other one. Did you hear anything at all? Well, the first part, yes. So I feel that thanks to the vision of Kim and Ani, making this festival really allowed for the Trojan Women Project to go way further than what it began with. So the vision of this project really began to grow at such a level because of bringing all these people together in the same room. So even if we are talking about atrocities on stage, but really what this project has done, at least to me and I hope for other people in this room, is to bring us to know one another as human beings through singing songs together. So I've never been to Guatemala, but now I get to know people that come from there and begin to learn about their culture. I was lucky enough to go to Kosovo and to Cambodia and begin to know about those cultures, but now here we are and we can begin to let go of our prejudice and ideas about other people in the world because we actually get to meet one another. And so through this project, I think we have been talking about how we all do something that has to do with political theater or theater for social change. And I guess we all do it in a little bit different way from one another, right? But I think that the beauty of this project is that we are not trying to convince an audience about an idea we have. We are bringing themes that are universal and we are doing it through our own personal stories and through a language that is not understood by anybody. So we have the possibility to meet at a place where we are all equal and we can really begin to let go of barriers that are there, especially if we don't get to meet one another. So I feel that bringing this project in other countries and sharing this work with other people and finding more ways to bring these people that know this work together to meet one another is the best way to let go of fear, to let go of ideas that are not helpful to really overcome some of the major issues of our day, which is, you know, there's more racism than we've known. And this is the way to fight all of that. It's not about fighting, but it's about coming together and meeting one another. Then we really begin to change the world, I believe. So I thank you for being here with me. I thank you for having me in this project. It's an honor. And I really think that because it's so powerful we will be able to keep doing this and just wait and see what this will become. Thank you so much. Thank you. Sada, that was beautiful. Thank you. We have a few more minutes. Did anyone else have something they want to say? For me, it's nearly impossible to have this big project like this. You don't see this happening anymore. You had it maybe some years ago in the 1980s, but nobody is doing this. They all are kind of close to their own structures, producing small theater work. And that's it. This is really special. I know how much work you had to do, but it's a miracle, I would say. You use a template and then you fit all those cultures. They give, they take something. That's wonderful. I feel so sorry I'm not there to see it. We wish you were here. On Friday, there will be a live stream of the show. And also, I want to say a big thank you to everyone at Culture Hub and at HowlRound. And Culture Hub is incredible. And it's so important because in moments like this where you can't be in the same room, you can't get on a plane or you don't have the visa, more and more ways that we can both be in the same room and then also work together in ways like this. So that we are the ones who get to grab the hands and not wait for someone to tell us when we can, that we can really talk to each other. So we have to thank Zuckerberg as well. I'm sorry, I didn't hear what you just said. So we have to thank the one who invented the Internet as well. Ah, yes. Okay, so I think it's time to end this right now. And so it has been suggested. Oh, Miri. Yishel, Yishel. Yishel's going to say something. And then after that we'll have a closing action. Hola, mi nombre es Yishel. Soy una mujer Maya Cachiquel. My name is Yishel and I am a Mayan woman Cachiquel. Mayan Cachiquel woman. For me this has been such a wonderful experience to share music with some different musicians from different places. Eh, también es muy importante mencionar que gracias a la, bueno, a la compañía y a Kim, Oni, a todos los demás que están dentro de, como que se logró romper varias fronteras para encontrarnos con nuestros hermanos de otras raíces. And thanks to Oni and Kim and all the people in the team we could, we could broke borders to meet people from different places in different countries, brothers and sisters. Y poder compartir un poco de lo nuestro con todos los que están presentes acá y con ustedes también es muy de mucho valor para nosotras como mujeres mayas Cachiqueles. And for us as Mayan Cachiquel women it's a pleasure to share a little bit of our culture with all of you in Cambodia and you in Kosovo and all the people here in New York. And we hope life gives us more opportunities to keep sharing this and to go deeper in our roots. Thank you. Okay, so we're going to close with something that we learned in Cambodia. Do you want to explain? So at the end of rehearsals with Amrita, we count to three and we all hit the ground together. And so when you teach us first, do you want to teach? I will count in my number like a mui, pi, bay and then we clap. Thank you, thank you. Thank you, thank you.