 Director of Urban Bush Women Dance Company. Urban Bush Women's Ensemble, I should say, is based in Brooklyn, and we are thrilled beyond belief to be here at ASU for this amazing 10 days that we've been here for our 18th Summer Leadership Institute. This is our first time being hosted by ASU, projecting all voices, and all of the wonderful, amazing support that has come with that. The Institute is 10 days, 10 days of learning together and looking at what does it mean to look at our values, to look at anti-racist organizing, to look at our values around entering, building, and exiting community, and how do we take that learning and put it into our bodies, into our songs, into our hearts and minds as a way to reinforce, deepen, strengthen, and integrate what we've been through and what we know in life from these last 10 days. We are thrilled that our partners of People's Institute for Survival and Beyond have been with us for the whole 10 days of this work. And if you haven't had a workshop with People's Institute Understanding and Undoing Racism, we invite you to find them, run to them, go to them, so that we can all do this great work together to be whole as a country, to be whole as individuals, and to find that deep, humanistic, beautiful expression of our full, fullest greatest selves. In this process of the last 10 days, one of the processes we use is asset mapping. And in asset mapping, we look at what are the assets in the room? And out of the assets in the room, the performance is created. So everything that you will see on stage was created by the people who have been participants in these last 10 days. They have developed songs and dances and ways of really deepening what has come up, the questions, the affirmations, the challenges, and deepened that into our art making. So thank you very much for being here. And we are thrilled, delighted, and to be here. I'm Judy Spargo. Everything has a cost, my mom would say. And I think, surely not language. How can something that at its essence is pure and free have a cost? It's felt innate, received by all, given freely. How can it have a cost? It can convey remorse, pain, joy. That was my reality. But then I grew, I learned, I experienced. And I realized, like with most things, my mom's right. There had been a cost, and I had been paying on it the whole time. And finally, my debt had come due. Under all of the watchful eyes, the uninformed spectators, I had been paying the cost the whole time. Through all of the, excuse me, what's that? The pure brown girl, wear these pink tights. The tuck your butt. I had been paying the cost the whole time. Now, I probably could have continued to pay the cost physically. But I realized that the emotional and mental costs were way too high. Ultimately, I decided to relinquish my first tongue. I took on the language of my oppressive. Home, the Treaty of La Messia, the Chinese exclusive three-fifths decision, Dread Scott, Blessing versus Ferguson. Westminster versus Mendes, SB 1070, HB 2281, the Muslim ban. Brown versus Board of Education, 1954. Kill the Indians, save the man, without changing the conversation. That's the things that I am not. I'm not my mother, and I have mixed feelings about my father, causing me to simultaneously distance myself from the feelings that I crave, those being affection and intimacy, to myself into a language not meant for me. And I feel it. I feel it in the rolls of my stomach, in the thickness of my thighs. I feel it in my hips, and I feel it in my womb. And I've been here, liberating my pelvis, moving in my body, living in my body. And I'm starting to think, maybe I can be a house for myself. Maybe I can dance in this body. And maybe I could be a home to a new life, possibly, hopefully. Here was how I feel to the world. Girls, don't you want to be an engineer? The ugly with that frizzy hair kind, the kind with a white mother, two generations from Portugal here, the kind with a black father, been here working generations, generations, generations. What kind of black am I, the kind that's never confused, clear as both my grandmother's stories, clear as a one-drop rule. I'm a home, I've never met, and the daughter of Gary Cassman, and I'm a friend, but I've heard more about living in the next house. I've heard more about the people who are here, and I've heard more about the members of the family. We are making sales. I've heard more about this, and I've heard more about that. My father's mother, I just learned her name two days ago, Elizabeth Bussy Thomas. Now, about two years ago, I had a dream. I had twins, Eli and Eliza. Now, I just learned my grandmother's name, Elizabeth Bussy Thomas, Eliza, Elizabeth. They both mean the same thing. God is my older. Am I supposed to find out my grandmother's legacy and her characteristics for my daughter? I may be lost, but I will be found.