 Watch for coming tonight, out in this crazy rain. I think you should all give yourselves a hand. My name is Catherine Carkelly, and I am the executive director here. We have community in the New England theater industry. So what we've been up to since last year's conference, there was a grant offered to any small fringe theater that wanted to include ASL interpretation for one of their performances. And it just so happened that I was already paired up with Flat Earth Theater as their dramaturg for Antigone, and we all worked together. It's a beautiful company and applied to this grant, received the grant, and it turned into not just having an interpreted performance because Flat Earth is not something to do, not the kind of company to inclusivity, but I want fitting language of accommodations and accessibility and to create a deeper level of inclusion practice for the deaf community in the New England theater industry. So what we've been up to since last year's conference, there was a grant offered to any small fringe theater that wanted to include ASL interpretation for one of their performances. And it just so happened that I was already paired up with Flat Earth Theater as their dramaturg for Antigone, and we all worked together. It's a beautiful company and applied to this grant, received the grant, and it turned into not just having an interpreted performance because Flat Earth is not something to do, not the kind of company to do things inclusivity, but I want fitting language of accommodations and accessibility and to create a deeper level of inclusion practice for the deaf community in the New England theater industry. So what we've been up to since last year's conference, there was a grant offered to any small fringe theater that wanted to include ASL interpretation for one of their performances. And it just so happened that I was already paired up with Flat Earth Theater as their dramaturg for Antigone, and we all worked together. It's a beautiful company and applied to this grant, received the grant, and it turned into not just having an interpreted performance because Flat Earth is not something to do, not the kind of company to do things inclusivity, but I want fitting language of accommodations and accessibility and to create a deeper level of inclusion practice for the deaf community in the New England theater industry. So what we've been up to since last year's conference, there was a grant offered to any small fringe theater that wanted to include ASL interpretation for one of their performances. And it just so happened that I was already paired up with Flat Earth Theater as their dramaturg for Antigone, and we all worked together. It's a beautiful company and applied to this grant, received the grant, and it turned into not just having an interpreted performance because Flat Earth is not something to do, not the kind of company to do things, fitting language of accommodations and accessibility, and to create a deeper level of inclusion practice for the deaf community in the New England theater industry. So what we've been up to since last year's conference, there was a grant offered to any small fringe theater that wanted to include ASL interpretation for one of their performances, and it just so happened that I was already paired up with Flat Earth Theater as their dramaturg for Antigone, and we all worked together. It's a beautiful company and applied to this grant, received the grant, and it turned into not just having an interpreted performance because Flat Earth is not something to do, not the kind of company to do things, inclusivity, but I want to. State, while there's a lot of paperwork, can often launch a relationship with other funders. So in closing, as I always like to say, fitting language of accommodations and accessibility, and to create a deeper level of inclusion practice for the deaf community in the New England theater industry. So what we've been up to since last year's conference, there was a grant offered to any small fringe theater that wanted to include ASL interpretation for one of their performances, and it just so happened that I was already paired up with Flat Earth Theater as their dramaturg for Antigone, and we all worked together. It's a beautiful company and applied to this grant, received the grant, and it turned into not just having an interpreted performance because Flat Earth is not something to do, not the kind of company to do things, inclusivity, but I want. State, while there's a lot of paperwork, can often launch a relationship with other funders. So in closing, as I always like to say. It's offered to any small fringe theater that wanted to include ASL interpretation for one of their performances, and it just so happened that I was already paired up with Flat Earth Theater as their dramaturg for Antigone, and we all worked together. It's a beautiful company and applied to this grant, received the grant, and it turned into not just having an interpreted performance because Flat Earth is not something to do, not the kind of company to inclusivity, but I want. State, while there's a lot of paperwork, can often launch a relationship with other funders. So in closing, as I always like to say. Inclusivity, but I want. State, while there's a lot of paperwork, can often launch a relationship with other funders. So in closing, as I always like. Inclusivity, but I want. State, while there's a lot of paperwork, can often launch a relationship with other funders. So in closing, as I always like. Inclusivity, but I want. State, while there's a lot of paperwork, can often launch a relationship with other funders. So in closing, as I always like to say. Inclusivity, but I want. State, while there's a lot of paperwork, can often launch a relationship with other funders. So, in closing, as I always like to say, state while there's a lot of paperwork can often launch relationship with other funders. So in closing, as I always like to say, state while there's a lot of paperwork can often launch relationship with other funders. So in closing, as I always like to say, state while there's a lot of paperwork can often launch relationship with other funders. So in closing, as I always like to say, Did please welcome Mal-Mome. Inclusivity but I won't- State while there's a lot of paperwork can often launch a relationship with other funders. So in closing as I always like to say, Did please welcome Mal-Mome. Inclusivity but I won't- State while there's a lot of paperwork can often launch a relationship with other funders. So in closing, as I always like to say, that please welcome Mal Maume. Inclusivity, but I want. State, while there's a lot of paperwork, can often launch a relationship with other funders. So in closing, as I always like to say, that please welcome Mal Maume. State, while there's a lot of paperwork, can often launch a relationship with other funders. So in closing, as I always like to say, that please welcome Mal Maume. State, while there's a lot of paperwork, can often launch a relationship with other funders. So in closing, as I always like to say, that please welcome Mal Maume. State, while there's a lot of paperwork, can often launch a relationship with other funders. So, in closing, as I always like to say. And please welcome Mal-Malmé. State, while there's a lot of paperwork, can often launch a relationship with other funders. So, in closing, as I always like to say. And please welcome Mal-Malé. State, while there's a lot of paperwork, can often launch a relationship with other funders. So in closing, as I always like to say, Could you please welcome, now Mal met state while there's a lot of paperwork, can often launch a relationship with other funders? So in closing, as I always like to say, Could you please welcome now Mal met state while there's a lot of paperwork, can often launch a relationship with other funders. So in closing, as I always like to say. But please welcome Mal Mome. State, while there's a lot of paperwork, can often launch a relationship with other funders. So in closing, as I always like to say, to say. But please welcome Mal Mome. Hi everybody, my name is Audrey, my pronouns are she, her, hers. I'm here on behalf of, not just the Network of Arts and Administrators of Color, which is 250 participants strong at this point, but also Victoria George, who is our founder and I will talk about how much she is awesome in this a lot. I'm the membership and capacity building manager at Arts Boston as well. And the large reason I'm in that role is because of this network and how it's helped me advance and grow in my career. As the member of the Network for Arts Administrators of Color or NAC Boston for short, I've been there from the very beginning, the first convening, which was a social in the south end and all the way through my voice being on NPR. So it's been a really amazing journey. And so I would love to start at the beginning for those of you who are less familiar with us. The Network of Arts Administrators of Color was founded in 2016 with a few goals in mind. To identify people of color in arts administration in Greater Boston, my colleague Vicki had experienced what I and many other network members had experienced, which was being the only one, being the only person of color in the boardroom in a meeting on a staff. And she wanted to find other people who were like her. And so she comes from higher ed and was surprised not to find an affinity group in existence. So she did the only thing she knew how to do, which was to create this amazing, really a family that has come together. So with the support of Arts Boston and Bank of America. State, while there's a lot of paperwork, can often launch a relationship with other funders. So in closing, as I always like to say, to say, let's please welcome Mal Maume. Hi everybody, my name is Audrey. My pronouns are she, her, hers. I'm here on behalf of not just the Network of Arts Administrators of Color, which is 250 participants strong at this point, but also Victoria George, who is our founder, and I will talk about how much she is awesome in this a lot. I'm the membership and capacity building manager at Arts Boston as well. And a large reason I'm in that role is because of this network and how it's helped me advance and grow in my career. As the member of the Network for Arts Administrators of Color or NAC Boston for short, I've been there from the very beginning, the first convening, which was a social in the south end and all the way through my voice being on NPR. So it's been a really amazing journey. And so I would love to start at the beginning for those of you who are less familiar with us. The Network of Arts Administrators of Color was founded in 2016 with a few goals in mind. To identify people of color in Arts Administration in Greater Boston. My colleague Vicki had experienced what I and many other network members had experienced, which was being the only one, being the only person of color in the boardroom, in a meeting, on a staff, and she wanted to find other people who were like her. And so she comes from higher ed and was surprised not to find an affinity group in existence. So she did the only thing she knew how to do, which was to create this amazing, really a family that has come together. So with this- To say, to say that, please welcome Mal Maume. Hi, everybody, my name is Audrey. My pronouns are she, her, hers. I'm here on behalf of not just the Network of Arts Administrators of Color, which is 250 participants strong at this point, but also Victoria George, who is our founder, and I will talk about how much she is awesome in this a lot. I'm the membership of the capacity building manager at Arts Boston as well. And the large reason I'm in that role is because of this network and how it's helped me advance and grow in my career. As the member of the Network for Arts Administrators of Color, or NAC Boston for short, I've been there from the very beginning, the first convening, which was a social in the south end and all the way through my voice being on NPR. So it's been a really amazing journey. And so I would love to start at the beginning for those of you who are less familiar with us. The Network of Arts Administrators of Color was founded in 2016 with a few goals in mind. To identify people of color in Arts Administration in Greater Boston, my colleague Vicki had experienced what I and many other network members had experienced, which was being the only one, being the only person of color in the boardroom, in a meeting, on a staff, and she wanted to find other people who were like her. And so she comes from higher ed and was surprised not to find an affinity group in existence. So she did the only thing she knew how to do, which was to create this amazing, really a family that has come together. So with the support of Arts Boston and Bank of America. Please welcome Mal Maume. Jules, hiring hermanently and as more than special interest writers, and trusting their voices while legitimizing their work, doing all of this while showing minimal, minimal understanding of the labor necessary to create theater, while respectfully in. Hi everybody, my name is Audrey. My pronouns are she, her, hers. I'm here on behalf of not just the Network of Arts and Administrators of Color, which is 250 participants strong at this point, but also Victoria George, who is our founder, and I will talk about how much she is awesome in this a lot. I'm the membership of the capacity building manager at Arts Boston as well, and the large reason I'm in that role is because of this network and how it's helped me advance and grow in my career. As the member of the Network for Arts Administrators of Color, or NAC Boston for short, I've been there from the very beginning, the first convening, which was a social in the south end and all the way through my voice being on NPR. So it's been a really amazing journey, and so I would love to start at the beginning for those of you who are less familiar with us. The Network of Arts Administrators of Color was founded in 2016 with a few goals in mind. To identify people of color in arts administration in Greater Boston, my colleague, Vicky, had experienced what I and many other network members had experienced, which was being the only one, being the only person of color in the boardroom, in a meeting, on a staff, and she wanted to find other people who were like her. And so she comes from higher ed and was surprised not to find an affinity group in existence, so she did the only thing she knew how to do, which was to create this amazing, really a family that has come together. Let's please welcome Mal Maume. She was hiring hermanently and as more than special interest writers and trusting their voices while legitimizing their work, doing all of this while showing minimal, minimal understanding of the labor necessary to create theater. While, respectfully, my name is Audrey, my pronouns are she, her, hers. I'm here on behalf of not just the Network of Arts Administrators of Color, which is 250 participants strong at this point, but also Victoria George, who is our founder, and I will talk about how much she is awesome in this a lot. I'm the membership of the past Building Manager at Arts Boston as well, and the large reason I'm in that role is because of this network and how it's helped me advance and grow in my career. As the member of the Network for Arts Administrators of Color, or NAC Boston for short, I've been there from the very beginning, the first convening, which was a social in the south end and all the way through my voice being on NPR. So it's been a really amazing journey and so I would love to start at the beginning for those of you who are less familiar with us. The Network of Arts Administrators of Color was founded in 2016 with a few goals in mind. To identify people of color in arts administration in Greater Boston, my colleague Vicki had experienced what I and many other network members had experienced, which was being the only one, being the only person of color in the boardroom, in a meeting, on a staff, and she wanted to find other people who were like her. And so she comes from higher ed and was surprised not to find an affinity group in existence. So she did the only thing she knew how to do, which was to create this amazing, really a family that has come together. So, Jules, hiring permanently and as more than special interest writers, and trusting their voices while legitimizing their work, doing all of this while showing minimal, minimal understanding of the labor necessary to create theater, while respectfully. Hi, everybody. My name is Audrey. My pronouns are she, her, hers. I'm here on behalf of not just the Network of Arts Administrators of Color, which is 250 participants strong at this point, but also Victoria George, who is our founder, and I will talk about how much she is awesome in this a lot. I'm the membership and capacity building manager at Arts Boston as well, and the large reason I'm in that role is because of this network and how it's helped me advance and grow in my career. As the member of the Network for Arts Administrators of Color, or NAC Boston for short, I've been there from the very beginning, the first convening, which was a social in the south end and all the way through my voice being on NPR. So it's been a really amazing journey, and so I would love to start at the beginning for those of you who are less familiar with us. The Network of Arts Administrators of Color was founded in 2016 with a few goals in mind. To identify people of color in Arts Administration in Greater Boston, my colleague Vicki had experienced what I and many other network members had experienced, which was being the only one, being the only person of color in the boardroom, in a meeting, on a staff, and she wanted to find other people who were like her. And so she comes from higher ed and was surprised not to find an affinity group in existence, so she did the only thing she knew how to do, which was to create this amazing, really a family that has come together. So with the support of Arts Boston and Bank of America, NAC jewels, hiring hermenantly and as more than special interest writers, and trusting their voices while legitimizing their work, doing all of this while showing minimal, minimal understanding of the labor necessary to create theater, while respectfully. Hi everybody, my name is Audrey, my pronouns are she, her, hers. I'm here on behalf of not just the Network of Arts Administrators of Color, just 250 participants strong at this point, but also Victoria George, who is our founder, and I will talk about how much she is awesome in this a lot. I'm the membership of a capacity building manager at Arts Boston as well, and a large reason I'm in that role is because of this network and how it's helped me advance and grow in my career. As the member of the Network for Arts Administrators of Color, or NAC Boston for short, I've been there from the very beginning, the first convening, which was a social in the south end all the way through my voice being on NPR, so it's been a really amazing journey, and so I would love to start at the beginning for those of you who are less familiar with us. The Network of Arts Administrators of Color was founded in 2016 with a few goals in mind. To identify people of color in arts administration in Greater Boston, my colleague Vicki had experienced what I and many other network members had experienced, which was being the only one, being the only person of color in the boardroom, in a meeting, on a staff, and she wanted to find other people who were like her, and so she comes from higher ed and was surprised not to find an affinity group in existence, so she did the only thing she knew how to do, which was to create this amazing, really a family that has come together, jewels, hiring hermanently and as more than special interest writers, and trusting their voices while legitimizing their work, doing all of this while showing minimal, minimal understanding of the labor necessary to create theater, while respectfully in... Hi everybody, my name is Audrey, my pronouns are she, her, hers. I'm here on behalf of not just the Network of Arts Administrators of Color, which is 250 participants strong at this point, but also Victoria George, who is our founder, and I will talk about how much she is awesome in this a lot. I'm the membership of a capacity building manager at Arts Boston as well, and the large reason I'm in that role is because of this network and how it's helped me advance and grow in my career. As the member of the Network for Arts Administrators of Color, or NAC Boston for short, I've been there from the very beginning, the first convening, which was a social in the south end and all the way through my voice being on NPR, so it's been a really amazing journey, and so I would love to start at the beginning for those of you who are less familiar with us. The Network of Arts Administrators of Color was founded in 2016 with a few goals in mind. To identify people of color in Arts Administration in Greater Boston, my colleague Vicki had experienced what I and many other network members had experienced, which was being the only one, being the only person of color in the boardroom, in a meeting, on a staff, and she wanted to find other people who were like her, and so she comes from higher ed and was surprised not to find an affinity group in existence, so she did the only thing she knew how to do, which was to create this amazing, really a family that has come together visuals, hiring hermenantly and as more than special interest writers and trusting their voices while legitimizing their work, doing all of this while showing minimal, minimal understanding of the labor necessary to create theater, while respectfully, everybody, my name is Audrey, my pronouns are she, her, hers, I'm here on behalf of not just the Network of Arts Administrators of Color, which is 250 participants strong at this point, but also Victoria George, who is our founder and I will talk about how much she is awesome in this a lot. I'm the membership and capacity building manager at Arts Boston as well, and the large reason I'm in that role is because of this network and how it's helped me advance and grow in my career. As the member of the Network for Arts Administrators of Color, or NAC Boston for short, I've been there from the very beginning, the first convening, which was a social in the South End and all the way through my voice being on NPR, so it's been a really amazing journey and so I would love to start at the beginning for those of you who are less familiar with us. The Network of Arts Administrators of Color was founded in 2016 with a few goals in mind. To identify people of color in arts administration in Greater Boston, my colleague Vicki had experienced what I and many other network members had experienced, which was being the only one, being the only person of color in the boardroom, in a meeting, on a staff, and she wanted to find other people who were like her. And so she comes from higher ed and was surprised not to find an affinity group in existence, so she did the only thing she knew how to do, which was to create this amazing, really, a family that has come together. So with the support of Arts Boston and Bank of America, similar networks, both nationally and in other cities, including Women of Color in the Arts, which is a national organization. The name of their mouth is, so they are producing our first fully-stage season. First, we're gonna open with Breath and Imagination at the Lyric Stage, where they are including this show as part of their season, so they are putting up all direct costs and providing us with some donor cultivation events, and we're raising money together, so we'll start with the Lyric, then next we're gonna go to Central Square Theater with Black Odyssey right in this very space, and then we're gonna end the series in, out at Stoneham with Greater Boston Stage with Three Musketeers. So we are grateful for our allies who are actually, again, putting the money where their mouth is to invest in the porch and invest in this type of work in our Greater Boston Theater scene. It's really important to us that we say professional, because as was mentioned in the Spotlight series, investment in the economy, the cultural economy of people of color is really needed, so when we say professional, we mean equity. We are bold dreamers. We're gonna be a equity-producing company that focuses on culture-specific work, so we know that means we need a lot of money, but we are ready to take on that fight. I'm gonna leave it there. I will be next door if you have any questions, and Audrey is really capable of answering any of those. Thank you. Really wanna lift up the work that is being done by other organizations and by other artists in this community, and to recognize that the lack of funding that can really increase opportunities for diversity and inclusion is abysmal, and it's a serious problem in the community in general, and so if you look me up on the internet, you've heard me talk about this a lot, but I will talk about this forever. In order to create an equal world, we need to turn on the spickets and feed the grassroots. Speaking of that, and shifting the tone a little bit. First of all, can we applaud for all of our speakers so far and the work being done in this community? As David said earlier, we are a rich, vibrant performing arts community, but that does not mean we are immune from a subject that has risen in our consciousness in the past few months, though it has been part of our culture forever. I am, of course, speaking about sexual harassment. I know that several of the mid-sized theater companies have been meeting regularly to discuss how to make their organization safe spaces and that many theater artists have been availing themselves of the excellent resources created by the Chicago Not In Our House initiative. I also know that a lot of people feel paralyzed, not sure of how to move forward, and I also know that a paralyzed state, complicity, takes hold. As an arts service organization, State Church has been talking to a lot of people about how best to move forward in order to shift the entire culture rather than patch a few leaks when they spring up. Rather than going it alone, State Church is partnering with other organizations who are experts in specific areas. Let me give you an overview of the initiative we are rolling out tonight, and then I'm gonna ask for folks to come up and talk about it. The work is being broken up into three parts. Part one, which we are in the middle of, includes a survey which will help us benchmark where we are and where we need to focus our attention. Part two is about taking that information, building community-wide policies and developing training, specific trainings. These two parts are designed to draw a line that says, as of this date, no more. We will also be working with Impact Boston to develop a specific training for the performing arts field. Oftentimes, these trainings in the business field get dismissed by our community because of the work we do. We're gonna change that as well. I'm really thrilled that Meg Stone from Impact Boston is here to talk about that work. As we've been talking about these policies and initiatives, some questions need to be addressed. If there are questions, if we need to raise this to another level, who should we call? If there's an issue, who do folks call? What is the role of the board and their responsibility? What are some resources for individuals? Who can and should offer advice? If necessary, who will investigate? What does restorative justice look like in this community? We are really pleased that we share a space, a physical space with Mass Creative Arts, State Advocacy Agency, and with the Arts and Business Council of Greater Boston and learn from them and are able to avail ourselves of that work. The Arts and Business Council and Ipswich Bay advisors have plans in place and we'll talk about them tonight. To drill down on this a bit more, we're gonna talk about all three parts of this initiative and ask our various partners to come up and talk about them. First up, David Shane will update you on a few of the findings so far from the survey. So I'm gonna use this music stand here. So the survey that we have put out is completely confidential. Its purpose is to gather data which can inform the training and programs which we're developing. The goal is not to litigate the past, but rather to drive a culture shift for the future. When we first launched this survey, we received nearly 100 responses in the first day. It's been live now for a few weeks and we're up to almost 200 responses in total. The survey will remain open and there is a link to that survey on the Town Hall page and the homepage of our website that you can access if you haven't yet participated. We encourage you to do so. To be frank, the results so far are incredibly sobering. The full results will be analyzed by experts and we'll publish a complete report, hopefully later this summer, but for now I'm just going to highlight some of the things we're noticing so far. These issues affect people working in all aspects of the performing arts. Actors, technicians, designers, directors, administrators, board members, critics, everyone. The survey has illuminated the fact that this issue also affects students and faculty in college and university departments. Boston and New England are so rich with training programs and so many graduates will move to other communities after their time here, so we have a unique opportunity to positively impact the theater community of the nation, the future of theaters across the nation. We also have found in the survey that stage managers are one of the key people who receive initial reports of harassment, so it is important for them to be trained in how to respond and what to do. 39% of people who witnessed harassment didn't report it because they didn't know who to tell, so developing and encouraging clear paths for reporting is key. Another main point is that for those who did report harassment, 31% say that the person they reported to was understanding but didn't know how to proceed so nothing was resolved, so clearly we need to provide tools for all members of the community. Plenty of forward thinking folks in our community have put in place initial practices and policies to address these issues, but as a whole, we still have a long way to go, so in mid-June, we plan to convene something of a constitutional convention that will include individual artists, art leaders, HR professionals, lawyers, and other experts in the field to look at existing best practices and to iron out community-wide standards which can be adopted by organizations of any size and scope. We'll also work together to create codes of conduct which can be adopted by individual artists and even critics. This work is too comprehensive and too important for stage source to go it alone, so as Julie mentioned, we're working with strategic partners as we move forward, so to that end, I'd like to welcome to the stage from Impact Boston, Meg Stone. Thank you, my name is Meg Stone, my pronouns are she, her, and hers. I actually had the equally sobering experience that David had when I looked at the survey results. I read reports of abuse, harassment, misconduct, various levels of violence and violation that were perpetrated against this town's most brilliant and talented artists, and when I read those accounts, I don't just think of the one person who is harming a fellow theater artist. I think of the people around them that don't act, that don't do anything to prevent that act of abuse, and there are many very understandable reasons why people don't act. First of all, it can be very overwhelming to the nervous system, it can be very stressful, people can doubt their own experience. Also, people can fear repercussions. If I speak up, if I challenge a powerful director or a powerful performer, what will happen to my career? Another very important aspect of this is that the arts community is not unified on how to respond, and people are not unified on building the skills to respond, to intervene. And Impact is an organization that teaches people various tools for protecting and advocating for themselves and others in the moment of attempted abuse or violence. We help people manage that stress response that is just part of our physiology. We help people find the words, speak up, advocate for themselves and others, and we help schools and organizations develop community standards and protections for those who are brave enough to speak out. As the director of Impact and a lover of theater, I am beyond excited to be part of this project because a lot of what we do in Impact and a lot of the way we approach abuse and violence prevention is so theatrical. We actually have instructors who portray the role of people perpetrating abuse, who some of whom are professional actors, others of whom develop acting skills, who give people the experience of defensiveness, minimization, threats, all of the responses that people fear. And so that gives people the opportunity to find their words, their voice, their power in that moment. And to be able to use those skills both to protect themselves and to advocate for others. So we are looking forward very much to the Constitutional Convention. I hope it's much like 1776 the musical because I love show tunes. That's how I'm culturally competent for this project because I know all the words to things. And we are also grateful to StageSource for bringing together partners that can address everything from investigation and remediation to prevention. So I am honored and grateful to be able to play our role in this important initiative. So to speak about their, excuse me, choking as I try to complete. Speak about their involvement in other aspects of this work. My goodness. We would like to welcome Joshua Carpenter from Ipswich Bay Advisors, and Jim Grace, Executive Director of the Arts and Business Council of Greater Boston who will both speak much more eloquently than I can. I'm Josh Carpenter. My pronouns are he, him, and his. Great to be with you all tonight. I'm a HR Account Manager for Ipswich Bay Advisors and I'm gonna hold on to this. And I'm here because the Ipswich Bay Advisors is teamed up together with the Arts and Business Council to help develop a planned response to sexual harassment in the performing arts. If you go to the Arts and Business Council website, you'll see we've already started to build a little bit of a toolkit for you. If you need a sample policy that addresses harassment, you'll find that there if you don't have one for your organization or you just wanna compare it to a more up-to-date and progressive one. There's a webinar on how to avoid harassment in the workplace as well as other instructional videos and links to state and federal information that could be helpful. Obviously this is an issue that well we've all been dealing with forever but we've been dealing with in an HR capacity for quite a while now. And things that we've been helping out not just harassment but other things with our friends in the arts community. So I'm trying to build a relationship there. So for instance, New Arts Center in Newton. We help them out with hiring, recruiting, interviewing staff if that's what you need, interviewing, screening for candidates and the like. Jewish Art Collaborative, we've recently overhauled their employee benefits guide or their employee handbook as well in field questions that way. Boston Shelter Music Boston, we've also recently had a HR check-in where we go over compliance.