 Good afternoon. I'm Elizabeth Sackler, and it's a pleasure to welcome you here today. I'd like to wish you happy holidays and happy Hanukkah. The programs that we have, the Elizabeth A. Sackler Center for Feminist Art, that we have here in the auditorium, are an extension of the center. And we use the auditorium when we know we have special programming that's going to draw a lot of people or requires a good view. And the screening that we're going to see today deserves this auditorium and many, many more. We've had an incredible two and a half years since the center opened. Come March, it will be our third anniversary. We're an exhibition space. Many of you know us as an education facility dedicated to feminist art. And our mission is to raise the awareness, public's awareness of the contributions of feminism and feminist art to our entire landscape, our political landscape, our artistic landscape, and our social and cultural landscapes. Today is a special day. It's the, I can't remember if it's the third or fourth of this year. It's the third wild card. And most people don't know what it is or care what it is. I care what it is because part of my agreement with the museum and putting the center together was my request and their agreement to give me three days a year or four, if it merited it, to bring in guests that I felt were particularly important that aren't necessarily connected, if you will, to the museum world. So it gives me an opportunity to bring in people associated with women's struggles and activism, with women's rights and politics. And we've had panel discussions from funding a revolution to the war that we have to wage on the global international sex trafficking problems. Our guests have included the great and wonderful Gloria Steinem, Jennifer Buffett, Carol Jenkins, Lowry Sims, and many more. And it's always wonderful and an exciting opportunity to hear some very important people. Today we are screening the award winning documentary, Pray the Devil Back to Hell, which was produced by my good friend, Abby Disney, and directed by the very talented Ginny Rettiker. And we will follow the screening of Pray the Devil Back to Hell with a discussion. It is an absolutely extraordinary story of a small group of Liberian women whose peaceful protests in 2003 against and amidst a very bloody civil war, took on the violent warlords and corrupt Charles Taylor regime. And they won a long-awaited peace. They took their country back. We talk about taking back the night. They took back their country. They ended the horrors of war where children and women were the primary targets and the victims of this horrendous period of time. Today's screening has been coordinated with UNIFEM, the United Nations International Fund for Women at work since 1976. And I would like to introduce you to the president of the Metropolitan New York Chapter of the U.S. National Committee for UNIFEM and Vice President of the National Board, Leslie Wright. And Leslie is the reason that we are here today about to experience this moving and inspirational film. UNIFEM is distributing Pray the Devil Back to Hell. And my invitation for a wild card, Leslie met it with great enthusiasm to have Pray the Devil Back to Hell. Here, let's put the devil in heaven. Maybe we'll have a changed world. Maybe that's my dream. Leslie believes, as do I, in empowering women to make a difference in the world as we know it. And Leslie believes that the world as we know it might be changed by this film. So please help me welcome Leslie Wright. Well, thank you so much for that introduction, Dr. Sackler. And I would like to thank both Dr. Sackler and Ginny Rattaker for being here today to be able to screen this film with us because the film itself almost needs no introduction at this point in time. The U.S. National Committee took on the project with many other nonprofit organizations of getting the word out about the film and of doing screenings all over the country. And in our case, we had all 12 of our national chapters screen the film in their communities. And in the case of North Carolina in New York, there have been at least 20 screenings of the film that have taken place. That means that the word has gotten out about the story of the Liberian women. A story that would have been left untold had it not been for the work of Ginny and Abby Disney really being committed to making certain that this story was researched, put together as a documentary film and distributed widely for all of us to get some inspiration from. When you see it, you'll see what I mean. Now, the U.S. National Committee, as I said, has 12 chapters. The Metropolitan New York chapter meets in the New York City community. We have several more screenings that we hope to be able to do of this film in Queens and on Long Island. And we hope that for those persons that you know who would be interested in those films that you would tell them about us. We have a website. You can find our website listed on the brochures that are out on the table in the back. There's also a sign-up sheet there if you would like to participate in any of our additional programs. We hope to have a fundraising event where we have invited Gillian Sorenson and her husband Ted Sorenson to speak about politics in the United States and how it affects women. We hope that that will take place at the end of January. In March we do our luncheon, which is where I met Abby Disney actually. I invited her to speak at our luncheon and she was so moving and inspirational that I knew that even before the film was completed that we wanted to be part of the group that really pushed to have it exposed widely in the United States. Then, in addition to that, we'll be doing a conference in June on violence against women. That's June 11th and 12th and I do invite you to put your names on the sign-up sheet if you'd like further information about any of these programs. Thank you so much and without further ado I'd really like to invite Dr. Sackler back to the podium to kick off this film and I do look forward so much to the talk back with Ginny Rettiker. Thank you. Thank you very much Leslie. It's wonderful that UNIFM is doing the work that it's doing. It's wonderful that they're here with us to see and screen Pray the Devil Back to Hell so if we could lower the lights and enjoy. I think you're in for a wonderful treat. Fabulous. It's just so uplifting. This is Ginny Rettiker, the director of Pray the Devil Back to Hell. It's just incredibly fabulous. Every time I see it, it's just better and better. As you know, we had promised a conversation with Ginny and myself and with Abby Disney. Abby called last night and she's had an emergency with her family so she's unable to join us today but we are going to sit down Ginny and I and talk. They're incredible. So I'm curious to know from you how you got involved, what you found when you were in Liberia and how, these are three questions, how you determined, how you, as a filmmaker, sculpted this story so that we have the full gist of it. Well, I got involved because of Abby and Abby had gone to Liberia. She's been a philanthropist and been involved with women movement for many years and she went to Liberia after Ellen Johnson Sirleaf was elected to support her presidency. And while she was there, she heard all these women talking about, oh, remember the day that we were in the field or remember the day that we confronted Taylor or the remember the day that we surrounded the peace hall and Abby kept saying, what are you talking about? Because somehow the story was not heard and Abby figured, well, if she didn't hear about it, it couldn't possibly be true. And coincidentally, Abby and I ran into each other after not having seen each other for like 12 years at our daughter's softball game. And I had been making documentary films covering many different issues for a long time. And Abby said, I think there's an incredible story about what happened in Liberia. And I had actually the same initial response that Abby did, which is this couldn't possibly be true because I actually have made other films in Africa. I knew a lot about what had happened in Liberia. And Abby said, well, would I make this film with her? And I was quite concerned because when you make a documentary film, you really live it, you breathe it. That's all you think about. And everything I'd heard was really about how many women had been raped and the brutality of it and the children having their limbs cut off. And I thought, I don't know if I could do this. And then- Before you continue, will you hold that? Because I would like to read your bio so that everybody can fully, I got so carried away with the film wanting to hear from you. But I think you'd like to know a little bit, so everybody will know. You are one of the world's leading filmmakers on women's issues. She produced Asylum, the 2004 Academy Award, nominated Short, focusing on the story of Gennian women who fled female general mutilation to seek political asylum in the U.S. And was the producer director of the 1994 Sundance Award-winning Heart of the Matter, first full-length documentary about the impact of HIV on women in the U.S. She produced and directed the 2005 Emmy Award-winning documentary Ladies First for the PBS series Wide Angle, which focuses on the role of women in rebuilding the post-genocide Wanda. For Wide Angle, she also directed the Class of 2006, which spotlights the first 50 women in Morocco to graduate from an imam academy in Rabat. And there are many other credits, many Emmy nominations. And you, oh, Michael Moore, Roger and me, that's where you started in film as an editor. And with PBS, a lot of things. So we'll talk about that later. But you were coming to this, and you and Abby did get together and Abby knew that you had all of this grit behind you. Because Abby had actually hosted a fundraising party for me for one of my first films. Okay. But I was nervous until Lima came to speak to United Nations. I think actually at the invitation of UNIFEM to speak about the importance of women in peace and security. And we met Lima at that point. And when I met Lima, I thought, oh, there's no problem. We definitely have a film. Because I realized, as you said, it wasn't just a film that was horribly depressing, but that it was a wonderfully inspiring story. And so that was kind of where we started. But we really had to document that the story was true. So the first thing that we did is we went and we did a fact-finding trip where we went, I think, in December of 2006. And we got about 20 or 30 of the women who had been involved to come and meet with us. And we invited everybody who wanted to come and talk to us. And we sat around for hours listening to women's stories. And we also shot that not with professional cameras or whatever, but to document. And it was just one of the most emotional days of my life because these women were telling incredible stories where one of them left off, the other one would start. And I felt incredibly responsible to really do the best job I could in conveying their stories. And at that point, I really made a commitment that I would not use a narrator, there would be no voice of God, that I would let these women speak in their own voice and tell their own story. And that was what we did. So since you weren't in real time, but you were reconstructing the events, how did you get all of this footage and this? So the first thing I did is actually, we took from that first meeting, and then I put all the women's stories in a chronological order. And certain events that everybody always talks about no matter what you do. And I knew those events to be true. And I got my hands on as many other documents that I could and started searching through footage. And one of the things that was interesting about it was it was incredibly easy actually to find the war footage. I have to say that I probably spent in an edit room, I think at least three weeks straight, say 40 hours a week looking at horrible images of what boys with guns and men with guns were doing. But it was incredibly difficult to find the footage of the women. That was a really hard material to find. That something we've become accustomed to hearing over and over and over again. That's one of the things that I think your film is beginning to address as we try to address here at the center. What I notice in this particularly stunning are the young ages of the boys in this. And it seems as though in the very beginning, it talks about what it is to capture boys at a certain age, prepubescent, when a lot of hormones are going and things are going, and to really bring them into a mindset. And did you meet any of the surviving boys? Well, the last scene is with the guys who are talking about, you know, that they disarmed the women. They had been child soldiers. And I mean, there was kids as young as six that had guns. And some of the women tell stories of having a six-year-old boy who can't even hold the gun. So he's sitting on the ground and holding it and pointing at you and ordering you what to do. You know, just incredibly dangerous. And these kids were drugged and, you know, fed drugs. But again, what was interesting is there was, I had journalists say to me, I saw the women on the field, but I thought they were so pathetic looking that I didn't film them. So, you know, it was much, and when we stayed in Liberia, we stayed at this hotel that had stayed open the whole time during the whole war. And the hotel was had, the lobby was like decorated with cartoons of young boys with guns posing for journalists. So in some ways, the boys would play to the journalists and that the women's story was right there and people missed it. Why do you think that? Why do you think that you didn't know about the women's story? Or Abby didn't hear about it, or we didn't hear about it? I think two things. One is that this was happening exactly at the same point that we were, this country was involved in invading Iraq, exactly that point. And I think that war is told from the point of view of people with guns and what controls it. And yet, any general, anybody will tell you that the hearts and minds of the population are the most important thing. I mean, I think that we're going to watch how this unfolds now in Afghanistan. All the stories about what's happening with the guns and the surge, but what's going to happen with the civilians? I mean, I'm really curious about that. What are the women in Afghanistan going to do? So I think it's a story that people don't often follow. And what kind of distribution will this film be getting internationally? Maybe that's a Unifem question, but I'm just curious to know whether or not we're going to, the other women are going to have an opportunity to see this. The film has already played on all seven continents. We've been playing, we've played in conflict zones with Unifem. We're doing distribution with Oxfam as they asked if they can distribute the film in conflict zones around the world. Abby and I have taken it personally to places like Israel and Palestine, and it's been in Iraq, it's been shown in places in Afghanistan and Sudan, in Bosnia, in Georgia before the war started, and it's often had an incredible impact. And women have come together and started working together. And often women say, wow, I recognize this is my story. In the United States, we are going to be on WNET and Channel 13 is part of the Wide Angle series. And because of this and what's come out of this is that actually we're now going to do a four-part series, or five parts, because this will be the first, about women war and peace on a global level. Because we feel that what we saw, both the fact that there wasn't footage of it, that there wasn't coverage of this kind of story, and also that a lot of the elements of what we saw in this film, that war being the purpose of the war, not to win the war, but to keep the war going, civilians being under attack, rape being used as a tool of war, a strategy of war. The same things we're seeing happening on a global level. I had an opportunity a couple of months ago to host at the Foundation a fundraiser for women war and peace for Wide Angle for WNET. I know you're hoping to start production in January with the year start date. And just so everybody knows, I don't know if there's any place online. It seems like everything's online. But I think WNET is still continuing to look for sponsorship. And I had suggested to them that it would be a wonderful thing to have women's organizations, national women's organizations, and local women's organizations in this country band together and make contributions towards women war and peace. So that when you have the credits rolling at the end, you have a very nice, long solidarity having to do with that. I have a question for you. There are two things that are in my mind. One is about women war and peace. And I am curious to know the punctuation of women, comma, war, comma, and peace, or women, comma, war, and peace, or how is it going? Women, war, no commas, and peace, and percent, and peace. So that's the way. So with that, what described to me precisely then what, how that will manifest itself in the four parts? Well, I think actually we're still determining that because what we had decided was to not decide exactly what the stories were until we went into production because things change. But we'll really be looking at many, not only the role that women play as, and are so often seen as collateral damage or as victims, but what role women play in keeping life going, what role women are playing at the peace table. And as I said, we'll have a global perspective. So we'll be looking at, I'm sure we're going to look at Colombia because I want to do something in this hemisphere. And it's kind of unknown to people that there's more displaced people in Colombia than there are anyplace else outside of Sudan. Colombia is a terrorism. Right. Yeah. And we'll do something in Asia. I think that we have to do something in Afghanistan and we'll do a story in Africa. And we'll look at how things are related. Also, we'll really track how the absolute proliferation of weapons in this world is contributing to all of this. Yeah. Well, the second piece that I was thinking about is that when at the peace talks, the discussion or the context is made that it is bad luck or against God to see your mother naked. So that's a cultural thing. So one of the one of the power tools that these women had at that moment when they were about to be arrested and pulled out of the peace talks, which then became the turning point, was the threat to undress and that stopped them from being arrested. Do you think that worked in that culture and it might not work in other parts of the world? No. I think it would work in every single part of the world because I think what the women did first is they got women from both sides. So that Taylor's aunt could have been in that room and could have been threatening to undress. I think if Barbara Bush or Lauren Bush or Michelle would not have been successful had they not done it with all eyes in the world on them. And I think that we could do the same thing here. But I think that they really banded together. I think it's not as cultural. I think it wouldn't work anywhere. But I just want to say thank you for the plug for WNEC for forgetting people to come to our website. Oh, yeah. It's really important. I think the idea of having a series of women worn pieces is long overdue. And I think the thing that's exciting I think about this film is, I don't know for myself, is that it speaks to, it reminds us of the power that we hold and that in doing nothing what it is that we are participating in. And all of the even small work that was done, I mean there were women at every level on this, including this great strategic thinking. I mean it was just phenomenal. It was really wonderful. On October 6th, The New York Times had a front page that said, in a guinea seized by violence, women are prey. And it's the first time in my memory, and please correct me if I'm wrong, that I've seen an acknowledgement in the press of the toll that a war-torn situation is taking on women and that it's really front and center in the horror that women confront. I've heard it said that it is more dangerous to be a woman than it is to be a soldier in many countries. Well I mean I think that you know war has changed so in less I think really over the last century but really in the last 20 years and so civilians are the target and women and children are the majority of the population. And we're targeted not just to kill but in order to control a population. I mean as someone said to me about the Congo it didn't take a gender analyst to understand that if you rape a woman in front of her village you control the village because you've emasculated the man you've terrorized everybody and you control it. So if you're trying to extract the wealth of the country and you need people to work it's a good way to do it. So I think that we're seeing that in a lot of places. Do you think the fact that the Times had this front and center on the front page means or am I being optimistic that there is maybe a global consciousness of that opening possibility for our cry for a stop against the atrocities that are. I do think that there's a momentum for it. Yes I very strongly feel that there's a momentum for that. Well that's the good news. I'd like to we have two microphones and we have 15, 10, 15 minutes. Are there some questions for Ginny or statements? Yes please Deborah. No. I would just take the mic please. It's not on. We have to turn the mic on. Oh you have to keep this. Let's turn it on and let's leave it on so we don't turn it off. There you are. Okay. I confess to knowing next to nothing about Liberia. So where does the new president Ms. Johnson, Mrs. Johnson, how does she relate to the women in that community? Did she have any involvement? Did she come from somewhere else? Was there a relationship between them before during the war? There was no relationship between them during the war. Actually Ellen Johnson Sirleaf had a long political history in Liberia but at that point she was living in exile outside the country and so she didn't really know about the women's movement and what was happening. I mean she was a delegate representing civil society at the peace talks so she certainly knew about them taking over the peace hall and then the process that was after the war when the whole period of election, I mean that period was a two and a half year transitional period to justice that was a, I think the first round of elections there was 33 people who were running for president and so it got down to the election, got down to a runoff between Ellen Johnson Sirleaf and George Weah who's a very famous and beloved soccer player and it was, you know, if the women had any doubt about who they were going to support at that point it became very clear to them that they wanted to make sure that a woman got elected and you know she had worked for the World Bank, she's a very stable, you know, very bright woman who really they felt really knew how to run the country and so it was during that period that the women in Ellen became much closer together. But it also looked like there was a lot of grassroots educating about the voting process and how, is that part of how it was rested assured that there was in fact a democratic process going on? I mean who was watching the polls? Well I think that, I mean that's true and I think it's one of the things that's very interesting is that there had been, I think in 14 years there had been as many different broken peace treaties in Liberia and one of the things that the women did was they got the benchmarks from the peace talk, from the treaty and they made sure they really held everybody's feet to the fire so if at a certain day in a certain community disarmament was supposed to happen they made sure that it happened. If a voting thing was supposed to happen the women made sure that it was that was happening. They relieved the market women from their stance that the market women could go to vote. They made sure that everybody had their voting cards. They, you know, they might have made sure that their husbands couldn't get out of the house if they didn't want to vote for Ellen. I mean I think they did whatever they could to make sure that she was alive. So in addition to Les Estrada and in work at work right here we also had major major voting education going on. Right and again I think this is something that we need that more in this country. I think this is also something that Unifem was very very involved in. Yes are there other questions? Yes please over here. Hello Linda. I just want to thank you very very much because this was so very exciting and before coming here I thought can women really counter attack the guns and can women really make a difference? And I've been in so many marches where we haven't made a difference. We've had a hundred thousand people at a march, an anti-war march and we weren't really able to make a difference. Are you inspired to to work in this country too? Yeah and what is the difference? Why can't we do it here? You know I'm definitely inspired to work in this country and I would also say that one of the most inspiring screenings that I've done of this film was about a month ago in Philadelphia with a group called Mothers in Charge and it was a group that was started by mothers whose children had been murdered in Philadelphia and again there's just such a proliferation of weapons and there was the screening there was 400 people at the screening there was men and women they made sure that there was both Muslim and Christians represented it was amazing screening where at the end of it everybody stood up and took a pledge what they were personally going to do to end violence in their community what they were going to do to end the guns in their community these women had clothes there was a gun store in Philadelphia where most of the weapons that were that were being retrieved during the crimes were coming from because someone was so loose with the paperwork so I mean I was I was like bowled away by these women and I would so I'd love to work with them here I think that that you know what what the women in Liberia had and what these women in Philadelphia it's like it's not about somebody else it's really about us and I think that that's what what was really recognized and and the fact that people of really different walks of life were coming together so I definitely am inspired to work here and I you know definitely and I think we can do things in Liberia thank you Linda in Liberia and in other countries oh who is where the guns coming from and why are they so cheap and why is there such easy access I mean I think that the guns are pretty easy to get everywhere and the the five biggest gun manufacturer these are major guns we're well there are pgs and they're light they're actually they're light they're light weapons and they're they're made in the soviet union I mean the Russia the United States France the the the five biggest members the five trafficking them well I think several things happening one is that you know there's a oh there's the arms traffickers that were used to run proxy wars the United States and the soviet union they've gone rogue so to speak and people like Victor bout who's now been captured and executive decisions that came out of South Africa there was this whole apparatus that used to keep that going and they still had the planes they sell the guns and they're they're arms trafficking and that's one of the things we're going to track and in we're going to follow also the implications of that on women we'll follow that as part of the women war and peace series wonderful so you're going to take a thread throughout the four is this film going to be included as one of the four no it's a fifth it will be five hours all together it'll be a separate film yeah are you going to be on target with starting in January we're starting in January you are starting in January wonderful are there are the yes there are there are two three questions yeah no well wherever you are we'll catch everybody we have time the second time I've seen this film and it's still just as empowering so thank you I agree a few months ago I know the New York Times 10 article about how sexual violence against women in Liberia is still extraordinarily pervasive because not just through the last war but through generations of words all that they know do you see opportunities for the women for this movement to confront that culture moving forward I think that they are trying to confront that and you're right that that the there's actually been an increase in rape since the war ended and I think that that's actually something that there's been an increase in rape since the war ended and I think that this is something that's being seen in a lot of post conflict societies like the the men come home they have nothing that there's 80% unemployment rate in Liberia as you said that the violence is something that people have known for a long time also I understand from Leslie that that there's a market women who are trading on the borders and they're being raped at the borders it's a huge problem and not a very functioning judicial system so people are working to to address that problem but it is definitely a huge problem this is something that we we're seeing here more and more the more people women who come and speak is the war that is being waged globally against women on so many different levels I have heard that there's more women there are more women being trafficked than arms there are as we know multitude of rape camps around what happens to a culture what happens to a country what happens to a world where this kind of trauma has gone on not only for women and daughters but then for sons who are raised up with that and how do we begin to break these cycles I post that as a very big question I don't expect that Ginny is going to answer that in the next five minutes there's there was another question and in the back somebody else had their hands up with this one right here in the front and somebody else had their hand up in the back yeah thank you for a most moving and powerful film I was especially struck by a point made by one of the women at the end about peace as a process and the meaning of reconciliation in that process I'm sort of wondering where I am with that now given the information we've just had about the in the increase of rapes since the end of this conflict but it strikes me that that is that reconciliation is such a necessary element in thinking about peace certainly so absent from the processes that are in motion now in this country for example with the prospect of the trials that will be held in Manhattan for the some of the detainees at Guantanamo and to contrast that prospect with the idea of reconciliation it seems like such a huge gap I wonder what your thoughts are on the significance of a reconciliation process in the longer process of peace I think the concept that that peace is a process not an event when I heard sugar say that I was like wow that's such an interesting concept that I had never thought about it and to me not only as part of the end but as part of the beginning like we can jump in anytime and start and start working for peace and I think reconciliation must be all you know I think it must always be very difficult for people who I think and I think that people in Liberia women in Liberia are divided about it as you saw in the film and yet in order for the library to move forward they have to reconcile I mean I think that it's kind of like in after you know Hitler I don't think that there was a lot of Jews left in Germany but I think that's like in what's happening in in Liberia they all have to live together and move forward and that must be incredibly difficult in terms of the World Trade Center and the bombing and the trial I don't know that's like I haven't thought about all that in that context at all yes hi um I wanted to ask you about balancing your communication strategy I know it's very important to have success stories that come out of these places um and then at the same time there's the danger of living by these positive anecdotes that you know sometimes might leave an audience thinking that things are fine now and I was wondering when you're going through your process of creating this storyline or any other how you try to think about both sides and balance your message to make sure that people are left empowered yet with honesty at the same time um well I think that I I guess I probably made that decision about what stories I tell because I think if it's just horror horror horror horror horror I think it's just what's the point it just it's it demobilizes you it's and I can't think of any point to tell that story so I was more attracted to this story because it had some hope in it a lot of hope in it and I think in general um you know I I'd believe in redemption and I believe I believe that in and I like narrative really a lot I like stories and so I I'm always more interested in telling stories that have some glimmer there for us um I just to me it seems to me that that the rest of the press is or there's so much of negative around us that it's for me to do a positive story is enough balance if you ask me there last question yes in the back and thank you so much as everybody else has said um I was just wondering at towards the end of the film the the women were very critical of the the actions or rather inactions of the UN um but you then spoke about some of the things that that UNEFEM did in terms of democratizing the process um I was just curious to hear your sense of the role of the international community in this whole story I think it's been mixed um but I think that the UN peacekeeping force has done a fabulous job I think that that without the UN peacekeeping force there for the number the length of time and that they've been there it would have been a disaster and I think everybody in Liberia feels that way they've done I think a great job um I think that during the war you know a lot of people felt like they wish that the international forces had stepped in sooner um but I do also think that the U.S. the the U.S. the ambassador there kept the embassy open he didn't have to but he did he chose to he gave people refuge he was very involved in some of the local negotiations with people to put their guns down so I think it was um a mixed bag but I wouldn't and that day where the where communications broke down and and fighting broke out you know I've talked to the people who were involved in the UN in planning that day they agreed that they made major mistakes they then began to work with the women so I I don't think that it's been without problems but I think on the whole it's been very good. Jenny I want to thank you from the bottom of my heart for a wonderful film for coming here today. Thank you. Thank you. Thank you. Thank you very much. You know thank you. When one sees this film and when I hear women in this country talking about a post-feminist era I think that even talking about a post-feminist era uh is embarrassing. Um I would like to to thank Tracy actually who's an intern here with the Department of Education she is single-handedly along with the wonderful staff but gotten us up on the stage today because a lot of people are out so I want to thank you very much Tracy and and UNIFEM where's Leslie Leslie thank you so much and thank you for distributing and thank you for everything that you're doing and have been doing for so many years I think one of the things that we're hearing here is constancy that without diligence and without constancy we can't make strides so I thank you for continuing with UNIFEM and as you leave you're going to be hearing a tape and there'll be a visual we can touch the sun which is this theme song for the U.S. National Committee for UNIFEM. I thank you all very much for coming stay dry have a happy holiday season and a happy new year thank you so much