 Hey! Hello, hello, hello. It used to be a small group today, but small and mighty. What matters? Yes, I'm so excited. Thank you so much everyone for being in this space here today. I really appreciate it. Thank you so much for being here. I am so excited. I'm so excited every week, but I'm so excited this week too. Just being in this space and just being able to share time with Pazafina, who's a master and incredible human being. And so I cannot wait. I'm going to start by acknowledging that I am in the traditional ancestral and unceded territory of the Gabrielino and Tabonga peoples. And as I have mentioned before, even the words Gabrielino and Tabonga peoples are colonized words. So it's always interesting that even acknowledging the land that we're in colonization even falls through with this. And I also wanted to acknowledge that we are the writers are still on strike, and that actors are calling on a vote to see if they're going to be able to strike. So a lot of things are going on right now, and I'm just very grateful that folks are coming into the space and joining us and being here. So thank you so much for being in this space and being with us. I appreciate that. I wanted to acknowledge Trani and Benny, who will be joining us shortly as our ASL interpreters, and then Auden is doing our captioning. If anyone needs captioning live or we can put a little who's in the Zoom, we can put a little link for you so that you can see the live captions as well. But thank you so much everyone for being in this space with us. And I want to pass the baton over to the one and only Josefina Baez. Josefina! Oh, what a pleasure. Thank you. Thank you. It's like coming home somehow, twice. Thank you. Thank you. I couldn't be happier to share what I have done and what I do, seeing what have been shared already. I always say that we as a tribe, we are richer because of our differences and that's what makes us so rich. What you do, I need it. What you do complements me. So I'm very much honored to be here. My work as a playwright, as a devotee mainly for the arts, I will share my process as a writer and what feeds me and what maintains me. I'm very much in debit to the wellness, the physical, the mind and the conscience of the creator. So I would like to to geared the dialogue to that, given the times. So then as a playwright, I come from the orally too. It's more of the hyper quotidian, hyper personal sensist. I'm very much into the sensist. I don't start writing a theme. I write and I create this bank. I become rich. I create this bank of words. I became, I'm very slow in my processes. So I write every day. My discipline is to write and to read more than what I write, in fact. But what I do is that I, my general process in my creation, in writing specifically, I have at least three projects at the same time. And they have, they become, they are in different levels. The same, I'm very hyperactive. I get very bored easily. So I had, since this is my profession, I have to show up. I have to produce. There's no excuse. So I had to come up with a system that will work for me. So this is what I have come up on this, that was 30 some years ago, and it works still. So I'd have three, three, mainly three projects. At this point right now, I have five projects that are coming at the same time, but they are, they are in different levels. There's one that is in merely research. There's another one that I'm just taking photos and audio, and I have two that are in the editing phase right now, and one that is being seen by experts too, for criticisms. So then what I do is that I if I, if I'm not into getting out and taking pictures or that I have plenty of work, what to do, you know. So then what I create every single day. Few of my work, I start with a theme. Few, few of my, of my projects start with, with very concrete idea of what, what it is or what would be. It's always by accumulation. It's what I do every single day. So it's a playwright life, life and living, you know. So then it gives me centered and balanced, and it creates a rigorosity in me and my craft, me and my craft. And I'm always producing, I'm always producing, always producing and in every single aspect, I mean, very much taken for the research in, in, in the, for every single work, and every single project has its own life, its own take. I, I recall that I was writing about silence and I wanted to experience silence in the body. And I took a whole year of Japanese archery, yeah, to, because that was of everything that I have found around in physicality. I, that was the one that was going to challenge me more, you know, and it will be, it was going to give me the alertness that I was, that I was searching for in silence. So then every single, I keep my diaries of all, all my, all my certainties are not so certain faces of the project. And it will take me, have taken me to, to, to listen to a lot of conversations that are not mine in the streets, and taking a lot of photos, traveling, a lot of traveling, but the senses, the senses, the alertness of the body. So then I, for me to, to survive and to strive when I started working, I created a system that is called performance autology. Performance autology is for the wellness of, of the creator, physically, mentally, and the mental, I don't usually don't call the spiritual aspect, but I co-conscience that aspect. So then I, I was able to, to research different cultures and tea cultures, physicalities, non-medical remedies, and still, I mean, that's, that's an ongoing, so I created is an open system, a non-linear system that has work and very specific way of training for alertness in the physicality. In the physicality, I went to mainly Asia and Russia. I'd, one of the training that gave me the best alertness in my body was the major host, biomechanics. Yeah, I, I owned my, my position on stage to mayorals. I, I, I danced, danced, especially Meringue and Salsa. The, the work, joy for me is like the theme, and I can come to any, any aspect of life, and I, I claim it as, as my, my political river, you know, the joy, the joy, I will do everything if there's no joy, I don't want that revolution type of, type of logo, you know. I, so then I, I, I have been creating this, this open system, and other people were interested in, in healing with it, from it. And what happens is that we have a basic physicalities and for the mental health, for conscience, and each person create their own research and each, it's an autologies, the science of the self, applied to creation. So it had been an amazing ride, and I, a few months ago, is that I started to complete the structure of the entire system. And it includes a segment that is called vital presence, that it's for aging, the agent, the illness and dying of the performer. So then the, the entire is, it will take us to, to every aspect of the, of life, a life, living, dying and dead. For me, I, I'm an expert in the present. And at my present, I'm 63, and I'm getting old and I'm getting ill. So this is what I, what I'm researching. And this is, I work from there. So teaching it in the last, as a school, my Ayumbe Theater, we created the school as a retreat structures. You know, I don't want to see my students every single day. We are so intense. So we meet every, we were meeting for once a year, for 10 days for this intensity, and the creation of, of the, of each person's autology. Not every single autology is different. And what I, what I invite is to, to know the self, to know what you already have. You already have a system, because we are alive, and we have a system for creation. We have a system for, for in the ups and downs of life in everyday. I, I, as a dancer that I, that I, that I have been especially sacred dance that I, that I have done in my life. We train the body to dance for, for the highest, for the highest of, of the invisible, for the highest of our teachers, and for the highest of every, everybody in, in, in presence. So then with that, before that, we have to train the body, we have, and that, that goes every single day. Even if you perform or not, you have to train the body. So every single day, I mean, right now at 63, I have a whole different learning, a whole different training for, for myself and for my peers. And I'm still teaching what I used to train for eight, nine hours when I was very young. So then performance autology have been is the fuel for my writing. Because I mean, it have given me the mental strength throughout every single aspect of, of the creation and alive. I mean, I don't, I don't, I don't take creation and, and my life as, as a separate entity. You know, this is one. I'm a creator. I mean, we are creators. And my, my life in this world have, I have been touched by so many cultures, by so many teachers, by so many people in the audience that I still remember like they want. So that, that is part of my, my, the, the poetics of my, of my life in, specifically in my playwright, playwriting, I, I use the poetic forms. They already have their rhythm. And I am very much into, we all much into that rhythm. And all the rhythm that, that the, the poetic forms bring us. But it will take us to every single culture, poetic forms, every single culture have, have that and that you to enter poetic forms, you have to humble yourself. Because I mean, you will be touched, your heart will be touched. So then poetic, poetic forms will make my characters or myself as, as, as a solo performer will give me the, the rhythms that will help me dissect my body into many, many characters, many characters. And sometimes I'd, I'm saying one, one part of my, my face is, is one character and the other one is, is another and my hand is one, then that push and pull of writing and then in, in staging, it's what, what I'm very much interested in. Why? I ask what I know is the level of alertness that it gives me as a performer or as a writer. I, I have never wanted to understand, but I very much interested in feeling, very much interested in feeling. I'm, I'm part of this world and I have a responsibility. And my, my take on it is to, to a company, to company. So now my, my work as, as a playwright, in my present as, as this woman that, that have spent all that, those years in, in writing and performing is that, that my writing will accompany me in my getting older and crazier. The, the writing, the, one of the, what we do in performance autology, we invite people every single month of the year for full moon. We invite you to fast, fast as an act of solidarity, as an act of training, as an act of alertness and the spiritual aspect of that too, and the cleansing of the body that, you know, so that's part of our training too fast. We need to learn the systems, the body systems, you know, the, what do you do when you are going to on stage, what do you do before you write during the writing, after the writing, we need to know, we need to know the body, the lymphatic system, we have to know the, the circulatory system, we, from a non-medical approach that we have, we, we go to the, to the, to the medical experts when, when we need to know we are, when we are able to afford, you know, but, but we have that responsibility as, as artists, as performers, you know, so that I, I, all my, my, my work it's, it's devoted to that, to how do we, I have asked the elders in different communities, you know, what do we do for tension when you are, when we are traveling, what, what, what type of tea do you, do you carry, you know, before, for your performances, before the performances, all that, so that, that what we have, it's not packaged, because he's always alive, he's always changing, you know, so this, I started in 1986 to, to research performance autology, and it's just now that I'm, that it has a structure, you know, they have been the, the devotion to, to, to the body, I mean, I had surgery both knees, and I had to learn how to, how to deal with it, you know, how to, to work for it, you know, and, and, and through that, and all that just assisted me in my research, in my research, and I'm, I'm able to say that I'm, I'm able to, to give back when I'm directing or devising work, but I'm doing that a lot now, I, when we just don't do the, the, the work that, that, that will be seen, you know, the, the, the text or the performance piece to, in, in the contract, we work an essay that, that the person have to create, you know, for the analysis and understanding of the processes, you know, and, and to, to invest in the, in the, in the research, to know, to know every single aspect of, of the performance itself. And took the, so we have the performance, the essay, and they create a workshop of their own, what, what do you, I mean, I learned in Dominic Kanish one very specific physicality, but when you are creating a whole different piece, you, you will be asked to go and research, I don't know, martial arts or West African dance given by such and such teacher, you know, so then all that will give you the specificity of your, of your workshop. So then the, and for the economic aspect, you know, because sometimes you don't have people will not hire you for your performance piece, but they will hire you to give a workshop. So then to see us as in the many aspects that we are able to, you know, the, the, the research in the body that is, that is holding that in that body is able to articulate it. And for me, it's very, very much interested in that performance, autology. We have the nation, our main nation is childhood. And so I, I work a lot from with toys and games and the healing of where we're coming from and the celebrations are, are not seen as a celebration, but that as a base, you know, the nation, our nation is that, that is childhood, this childhood, totally. We, one of the training, the basic training is to walk. We call it joy walks, but to walk is, is, is vital for, for us as writers and as performers. It's the meditative aspect of it, what happens to the, to both sides of the brain, you know, to study that, to study that, what happens to you the before, during, and after the walk in, you know, yeah. In, in performance, autology, I organized the, the whole physical system. The base is called physical prayers. So they are physical prayers. I would like to share one before we go to the, to the question Q&A. One of the, the physical prayers, I mean, I don't want to read what you are able to, but it's for alertness and by alertness of the body. And the body will, will give the that, that centering and the great communication between brain and heart and, and I said hips, heart and, and head, you know, but it's, it's all, it's all. So then in alertness, for alertness and by alertness, it will be worked in space and time. It has all the physical prayers have a known trajectory. It's a meditative dance. It's part of our training. It's a training unit. It's, it's like the, the, the cell of our physical training and might be the, the, the, the cell for, for the physical material of writing. Most of the time I, I, I dance to write, you know, or I, my, my texts, most of the time come from physicality. Or the physicality that I have seen all the physicality that I, that I have a photograph. All the physical prayers work with the, the alignment of the back. It will give stamina and resistance. And it's a communal, communal right. It's a part of our training and it works as performance material for writing and for performance. It's a ritual of courtesy for the scene and the unseen. It's a sign of respect to all and invoke beauty. It's part of our, in our retreats, part of our next. This is the basic or the main physical prayer. It's called Tochka and Tochka is a word in Russian that, that is called like period, like punto point. So Tochka, it might be as the, as an honor in my, my Russian teacher. So it's hand over hand at the center of the chest. It's our main physical prayer. Every single hand of every person has a very particular song. It's a meditative gesture. It has a beginning, middle and end. And it has a, its own dance. That's Tochka. That's one. We do have Tochka that is just one hand at the center of the, of the chest too. Next. We are, today we are going to work with, it's called from Peace to Eternity. And this is one of, this is, I think the, the one that I like the most of the physical prayers. It's informed by, by the peace sign that started as the non nuclear, the nuclear disarmament signed in 1958. And it, it was informed that, that signed by the, the codes that are the, that they use either flat flags or, or lights depending on arms position. So imagine it, it's conveyed and information to a distant point. The poetics of that, you know, the poetics of that. It has an alphabet that is quite, quite interesting in that, that this specific prayer. Next. So then it, this was one of the first in 1986 that I was doing the, some drawings in that. I, now we do, since 1986 we have taken the Chinese calligraphy and Chinese painting. So it's quite different than, than that now. But I, I found that from 1986 and it was hilarious. So then we become the peace signed. So now we are going to do it for that sitting. And this is the way it's like a one third of the hands to the side and you are like 30 degree to, to from your, from your trunk, the trunk of your body. And the trajectory, it's like your, your arms will go all the way or go all the way around to the top. You don't look at them. And then you go, when they meet, you go all the way down as a praying position. And then you go to Tochka. They land in your heart. The trajectory of the arms we trained. So it will be half hour, 45 minutes. No, no, no, I won't do that today. But this is what, this is part of the training we are going to do. You can, when we are doing the trajectory, you can do, you can sing, you can, don't mention my mother, please, but the alignment that happens to the, to the, to the back and what happens to the brain, we are going to experiment now. Okay. So, yeah. So you will, we might, might do two or three minutes. And you can take what I'm sharing here for your physical trainings, for when you are not feeling, and this challenge in times we need, we need our body. Remember that this is the, the, this is the temple. This is the mayor hold used to call it the apparatus. I call it the temple. And this is, it's, it's quite important, the alertness of the body that will give us, that will lead us for decisions that are better for us. Certain moments, hopefully now. From peace to eternity, to divinity or eternity. It aligns the back, but I will not even say that I will prefer that you, that we practice it. And then you tell me what happens to you. Yeah. So, are we able to share to, to do the, yes. So we become the, the peace signed. Yes. I sit in the middle of the chair, not in the back, not in the room. Okay. For anyone who can turn their cameras on, this would be a great moment just to be present. Please work on this. Yeah. So yes. Okay. So yeah, Peggy said a little bit, not in, in the back, back, back, but in the middle. Yeah, there. So then shoulders to the back. So you become the peace signed. And you know the trajectory. So we are going to go very slow. I mean, painful, this low. Okay. So then shoulders to the back, shoulders to the back. And let's go. Let's go. Not so fast. Go in. Arms straight if you are able to. Okay. Very slow. Might go very slow. Okay. Aligned your back. Aligned your back. Feel it. Feel it. Shoulders to the back. Keep going. You might sing. Keep going. You might keep going very slow. Slow or Peggy? Straighten your, your elbows. Yeah. Yes. Perfect. Keep going. Keep going up. Keep going. Breathe. Peggy, chin a little bit down. Yes. Right there. Keep going. Keep going. Both palms will meet. But keep going slow. They will meet. You don't have to look at them. They know where they're going. Every part of the quadrant, every quadrant in that trajectory will trigger a very specific feeling. And it's out. We don't keep going till both palms meet. Yes. This is an excellent, excellent exercise to do before you write. Let's sit on right. Keep going till both palms meet. When they meet, all the strength that you have gathered, they embraced. Both hands stop there. Yeah. When they meet. So you're very, very slow. Both hands together. They're going to go to tuchka. Very slow. All the strength. All the strength. Thankfully, so, Margo, slower, slower. Keep going till you go to the heart. Going till you go to your heart. Going till you go to your heart. When you're in front, tuchka, hand over hand over your chest. Margo, shoulders up, shoulders up and down. Again, and down. Release, release. Yes. Definitely shoulders up, shoulders up, up, up, yeah. And down. Let's stay in tuchka. Open your eyes. Look at the hands of each person that has said, show your tuchka. Show your tuchka in your chest. Not just the hands, your chest. You see, each hand, we're doing the same gesture and each person is doing it in a very particular way. This is our autology. This is our autology. Thank you. Okay. Okay. Okay. On du, on du in the heart. And I'm all ears. All ears. Let's talk. Ready. I would love to hear about what happened now in the Peace to Eternity or Divinity, I call. Yes. Questions or comments? Thank you, Josefina. That was really very good. I felt like I released, it was a release. That's what it felt for me, just a release of a lot of, I don't know, a lot of energy. It's like I was bringing in a certain kind of energy and letting out a certain kind of energy. So yeah, that felt good. Thank you. That is yours for you to take. It is yours. Use them. Use these prayers. They are very, right now we need centering. We need grounding. And this is a perfect exercise. I organized all the stuff that I wanted to share and I said, no, that is crap. But no, no, no, no. This is all pretentious. I just need to share what I'm feeling it might be using. Yeah. Thank you. Questions or comments? To use this to then be able to like sit down and write, like it makes so much, like it centers you and like Margo said, you're releasing something and then you're also bringing some things. I can see why you use this before you start your writing practice, like use this prayer practice before you do a writing practice. Yes, totally. And people, some people will say that they have writer's block on all that. This is excellent to erase that. I mean, I don't go for that concept. But I mean, you are always writing. You have a block, you know. But the body, when you move the body, and in this case that is centering and is working both sides of your of your hemisphere are becoming one. So this has the quality of learning, of learning, of opening. That's why it's so important. Questions? I just wanted to comment on what you said about we're always writing because I really subscribe to that philosophy. I just feel like the world is my muse. And so as you know, thank you for saying that, because I know everyone has their own methodology for how they write. But, you know, I'm currently here in Southern California, but I'm about to go and it's hard to really connect with people in Southern California because we're always in our cars. But whenever I go to New York, and I spend a lot of time in New York, I always tell everyone, New York is my muse because as I walk down those streets, I hear these, you know, I may see Dominicanos, I may see Puerto Ricanos, I may see Hasidic Jews, I may see, you know, Haitians, you know. And my son-in-law is Haitian, so they speak French. And, you know, my grandchildren are speaking in French. And so, and I'm just soaking it all in and eavesdropping on everyone's conversation, writing down how they're interacting with each other in my phone. Thank goodness for cell phones. I mean, there is some advantage just to having the technology now. And so I just put it in my notes and it's, they're my little nuggets that I draw on. Yeah, so thank you for saying that. Yeah. Comments, questions about the physical prayers that we did? I have a lot of trouble with sustaining my arms up in several places. Like, I felt, I'm not going to lie, I was like, I want to quit. This is painful. Where was the worst? What quadrant was the worst? I think the worst quadrant for me was probably when I got here and you told me slow down and I was like, I'm trying to go faster so I don't stop. Do you, do you remember in your arsenal of images what we have here? What we have seen? I don't know, but I, right when I felt the pain. A hint, a hint. You die in the cross. Well, I was going there because I said, when I got here, I said, damn it, I don't want to quit. I don't want to be the punk that quits. I want to keep going. But it was so much that I was like, I give me, and when you told me sit up, I was like, I have no support now and I'm like this. I'm like, I don't feel. So I was thinking, I'm like, what is that about? And it's about the weight, for me, it's about the weight I carry on my shoulders. Basically, ancestrally, creatively, as a mother, as an artist, as a grandmother, I have a lot of weight I carry here. That's why I ask. When I went like this, I became super aware of like, I have to write all about that so that I can release that. Because once I got here, I was like, thank God. When you take it again, you will notice very, when you deep in the exercise, when I said deep is that you will do it, not every quadrant will bring very specific feelings. If you and it's the same feelings that you had today, that was your first time doing the from peace to eternity. And then it is worked out here. So it's one of the practices that I like the most in our group. I recall that I directed a piece and we trained one of the dancers that it did this for an hour and 15 minutes. The only thing that that person did in the performance and the other stuff was happening. But that was the only thing they did. And I recall from day one that it's like, I can, I can. And I said, that's all right. That's all right. And he happened to be the one that that was chosen to do that later on. But I mean, it's for me, my writing, it's in the body. It's with the body by the body. So I write from there what we have been feeling right now. We have to tend the body. We have to know what we, the intake, the to eat on it. We have to know systems for that. We have to learn systems and every season might be different and all that. But we, as creators, we, we must know this. We have to have the, this is our responsibility, you know, what we eat, what we eat, how we eat, to hydrate, to rest, to continue. Well, that, that's, that's, that's my mantra that I say a lot. Yeah. And this, for me, it's, it has so much, so much, this exercise, this prayer, this physical prayer. Questions or comments? Margo? I have another question. You mentioned throughout about performance autology. First of all, how, how do you spell autology? And, and can you tell me is that, is that an organization? Do you guys, you mentioned retreats? You know, I'm putting it in the chat for you so that you can also take a look at it later. So you have performance autology was the, it's the practice that I created. Okay. The practice that I created and I started is the research that I, since 1986 that I have been doing, and is for the wellness of the physical, mental unconscious of the creator. Okay. This is very specific training and we did, we have this beautiful history, how the school was created in the first retreat was done in New Zealand. And there were retreats in India, Chile, Dominican Republic, United States, India. So then it's 10 days that we, that we have this intense, intense meeting for, for the right now, we are doing one to one. Because I mean, it is easier for people to, to schedule that. So I'm doing just one to one until two more years. Because I mean, not people are creating and creating their own, their own, their own, their own autology and they are teaching performance autology. My students are ready. Oh, good. Yes. And they are much, much better than me. Yes. Yes. It's like, questions and comments. Yeah, yeah. The, the, the importance is the alertness of the body to be alive, living, you know, and that, that we have system, what do we, what do you do? I, one of the work that we do is castor oil packs, castor oil packs. And that is excellent for the nervous system. Yeah, we have a lot of people with depression. We have a lot of people with anxiety in our, in our work, in our drive. So then we need to have a hold of, of our non-medical techniques and practices from, you know, our elders. And that is one. Comments, questions. The practitioners who study performance autology, so they spend like 10 days and then in those 10 days, are they learning about performance autology or when they're working with you one-on-one and then they're working on their own performance? How do they sort of blend the two, like learning about performance autology and then incorporating into their own performance? Yeah, they'd, I will share with, with the group later on, people that have done the work with me for a while. I, in the, during the retreat, you embodied the training, you know. So we are very invested in silence, so we keep silence till, till breakfast. We start working at four o'clock in the morning. We meditate, we train, physically train. We have wonderful, we're treated as a window that is, is quite, a lot to learn, you know, and I'm still learning. I, in the research of the research and creation of performance autology, I learned that women, we have different levels of balance every single day. So then as a director and as a performer, I have to have that in my mind. So then I'm not able to ask my dancer or my actor to fly it when I know that. So I have to create a system that, that they feel secure, that they feel secure physically on stage, knowing that, that information. Yeah. So then a lot of things have happened to me that, that, that I, my, my way of directing, you know, my way of, of relating to, to, to the artists have to be different, you know, have to be different because of one little morsel of, of knowledge that I have, I have learned. What does autology mean? I mean, I know I can look it up. No, no, no, no, please ask here here. Autology is a science of self. And this, this word was used like three times before I used it. Okay. So performance autology, when I use performance is not the genre performing just, just the genre. It's about performance, the life, performance, the action, the, it had like all the layers of the, of the word, all the, the, the, the meanings, the possible meanings, including the, the, the action of life. It's interesting. Yeah. It affects us as, it all, it affects us as artists in so many ways. We are that. Yeah. I mean, our, our everyday existence is a performance. Entering certain spaces is a performance. Speaking of certain people is a performance. And I have a question in, in that realm, like when we are with ourselves, would that be considered a performance, or is it when we are with ourselves that are, that we are? This we are performing. We are more than performances. We are embodying our word, autology is the science of ourselves, regardless of with or without audience. It is, is the self. What is the prime motive is, is taking care of the doer, you know, it, we are, I'm not calling myself much of a performer, but a celebrant. Yeah. Yeah. That, that the doer, the doer, the action, but it's taking care of, taking care of the it is not, it's not fun anymore to be the, the artist that trashed his or herself. No, right now we want, I want my, I want my tribe. I want, I want us to succeed. I want us well. I want us well. And too many artists right now are not well. Yeah. Yeah. Right now there's very challenging times and we need to be responsible for, for the self and for, for the others, at least a company sometimes. Knowing if you take care of yourself, you're already doing great for, for our community. This is what we need, we need ourselves to do, take care of ourselves and the people around. I have, I don't have much to share or teach in terms of creation, artistically creation, because I really, I'm waiting for people to create, you know, I, I, I, and I, I'm interested in what people are, have already, I'm able to, to guide that, I'm able to, to, to invite or come on, come on, give me that, you know, but I, I, I, I, I, I own the theater is taking care of ourselves to, for us to be so brand, not for, for me to be taking care of you. No, no, no, no, go, go, go, come up, come up, come up, you can do it. Come on, I'm here, come on, just in case I'm here. But I mean, let's, let's do it, let's do it. We need, we need sanity in this time, because I mean, we need to, to do better decisions. And already the, our market, it is quite a lot of negations and a lot of noses. We deal with a lot of noses, you know, in, in, in our, in our work. So we need to have that, that the body and the mind to, to continue. How do we do that? How do we do that? We have to take care of it. There's a lot of, in all the indigenous cultures, we have a lot of training for that, for taking care of, you know. So this is what I, what I, I did and I'm still doing, you know, looking for that, for that information and, and, and applying it. It takes a long time. It does, it does cause you have to travel and you have to listen and, and, and try it. And then I'm not teaching what I was taught. I am teaching what, what gave me, I had a result. Because I mean what I, I was taught a lot of stuff and I, I was hurt physically. So I'm not teaching that. So I'm teaching what, what gave me results. So, so there was a lot of, you have to go back to the trainings and say this, this is statewide stage, you know. And, and each person will have their own set of, of physicalities and, and creation and we'll explore all the stuff and we'll come back and share it. So we are so rich. We are so rich. Questions or comments? Thank you. We have time for one more comment or one more question. What happens when you have pets? They jump on your stuff. One more comment or one more question from anyone? When's your next retreat? The next retreat, we are waiting for, we are waiting for to check what is happening overseas and stuff in, in, in the madness in the world. Because I mean it has to be very secure for, for me to do that. So I am waiting for my guides, the yes. So that, that, that I don't decide that. I don't decide that. But I mean, I, there's a lot of information there. I, I sometimes I am doing the workshops and we need, we, on Sundays we do board ammo that we, we do embroidering and it's the ammo type and we do a lot of, a lot of little things. But I own the theater. Thank you. Thank you. I mean, I really wanted to share autology as part of our, our quest for our writing that what a company is our writing for the wellness, for the well-being of, of the creator. Any of those of that? Yeah, the vital, you can go to my, my website and there's information about vital, vital presence and the work that I'm doing now. The last, now is the last five years. It's called testimony. Testaments and testimonies, testimonies and testaments today. Chat right now. Josefina, thank you again so much. Thank you. Thank you. I also wanted to thank Trani and Benny for being our ASL interpreters today and also thank our captioner and everyone that's in the space. Thank you so much. I really appreciate it. Same time, same place, y'all. So please join us, join us, join us, join us. Come into the space and again, thank you everyone. Thank you so much and bye everyone. Bye, bye, bye, bye, bye, bye. Have a beautiful night. Thank you. Gracias, Josefina. Muchas gracias. Un placer siempre. Bye, gracias. Ciao, bye.