 I think we should just see if we can figure out what's important to figure out what's important to figure out what's important to figure out. Hi, Livestream. We're super excited that you're here. We're going to give you a couple of instructions right now so that you can participate for this first activity. Slash R-Y-T-POL. So that's tinyurl.com. Slash R-Y-T-P-O-L-L. And there will be instructions there. Yeah, if you want to use your phone, you can text 2233. And then on the message bar, you'll say Rising Youth T738. And then once that sends, you'll get some instructions. And then you can send the answer to the question, who are you? Thanks guys. Thank you so much. Hello, hello. We're already in the room. I'm going to translate in Spanish. I'm not a professional, so if I say something wrong, please correct me. I like transparency. Transparency. Transparency? Thank you. My name is Paula Ortega. I'm also not bilingual, so I'm working on this. We'll take a minute. My name is Ricky. And thank you very much for coming to our workshop. From Cara a Cara. Welcome. Welcome. This is Face to Face. We're going to share a kind of work that we do in our company. We're collaborating with Teatro Bravo and we're Rising Youth Theater. We're focused on Phoenix Arizona. This is a collaboration between two theater companies in Phoenix Arizona, Rising Youth Theater and Teatro Bravo. And we're going to ask them to help us participate in this exercise that we're going to do. Are you ready? Yes. The first exercise that we're going to do is, we're seeing each other with a different person. Look at each other's eyes. Look at each other's eyes. I saw them talking to each other a while ago. It's perfect that they're talking and trying to get to know each other better. This is going to be a blast. Yeah. Go ahead and let each other get to know each other. Questions. And you're going to answer these questions against you two. And the first question is, who are you? Each person is going to say who you are ten times. So for example, who are you? Latinx. Who are you? Artist. Who are you? Brother. Who are you? Son. Who are you? Pauro. Who are you? Woman. Who are you? Creatine. Who are you? Artist. Who are you? Mexican. Who are you? Intelligente. So, así va a servir. Preguntas. So you'll do that ten times each. Cool. And I will tie. So I will tie here. And when you hear the duck, John. El está por el tiempo y cuando escuchen el pato, ya se les termina el tiempo. So each of you will have three minutes to complete the task. Cool. Yup. Three minutes. Ask who are you ten times. Ready? And go. You want to start? Okay. Latinx. Latinx. Latinx. Latinx. Fuerng. Yes. Director. Yes. Comments. Hi. Hi. Hi son. I said pato. All right, so for this next round before we start, everyone up, musical chairs, find a new partner. For this next round each of you will have one minute to respond. And the question you will respond to is, how do other people in the world see you? Next question is, how do people see you in the world? Next question is, how do people see you in the world? So if you are in the survey, you should be able to access it pretty easily. Do you want to give us a quick switch? People will look at you in this world. Question this time. For one minute each person gets one minute. How do you wish to be seen in the world? The question we're asking now is, how do you wish to be seen in the world? So same website, same texting. Thanks guys. Let's get started. And time! Now switch! Can I have your hand? Yes. Okay, so the two of you... I'm leaving you to put the cards in the middle. Yes! Time! So, For this next part... For this... Okay, actually, no. Let's go ahead... Musical chairs? Up! Okay. Okay! So, for this next part... What we will do is it will still be a minute each... responding to the question. But... Sorry. Yes. We will do a minute each. Then, we will ask to switch to do the musical chairs again. When we do musical chairs, some of the chairs will be removed. When you do the musical chairs, if you find yourself without a chair, you then become a listener. So, So, when you become a listener, as you're listening to the conversations, respectfully, at a distance, once you're listening, if you feel engaged to participate in the conversation, as a listener, as an example, you will tap the person talking. If you are tapped, you sit in. You can either continue the conversation or change the conversation. So, the question this round... How do the intersections of race, class, and age get in the way? Wow. Okay. Yes. I got it. Okay. So, the question this round... How do the intersections of race, class, and age get in the way? Wow. Okay. Yes. Okay. Okay. Okay. Okay. Okay. Okay. Okay. What do you mean? What do you mean? The context. What do you mean? How do the intersections of race, class, and age get in the way, as a listener, accept the conversation? The context. How do you get in the way? The context? Yes. How do you get in the way? Yes. Okay. Okay. Good. Okay. So, one minute each. Okay. Okay. Okay. And here we go. Let's go. Okay. Everyone up, musical chairs! Everyone! Okay, you do not need a man at each, it's just free flow. It's just free flow. Sorry if I can read. Same question. Same question. Three, two, one, go! It's just free flow. And time! One, two, three, four, three! And musical chairs. There's two chairs over here. And when you're ready, go! Oh, yes! A little more, it's 27. No. Yeah. Yeah, I think that's pretty interesting. Yeah, I'd like to come around. I like to come around. Okay. Yeah. Okay, see. I mean, it's always a little bit weird to believe that it's different, but it's the same for us. Because I feel that in a way the social networks have made it easier for us to think. But nowadays many of the public things offend others. I mean, like, I think it's the kind of American group with contradictions. I mean, we can't use it, and for what reasons, we have to be more medial with the rules. Because, you know, for all the people who think that we can overpower and speak their minds, you know? I mean, that's just what she has to say. So, is she a person who has an idea? Be sure to roam around and hear other conversations that are happening at other parents. Do you have time to share? Feel comfortable to also tap the shoulder. There are so many things that you try to go for, but I feel like this is just an assumption. And also the fact that I don't have a lot of experience or knowledge or what not. How do I get in and make that? I feel like I look really young, so people do assume I'm like 18 or 19. And they also assume that I have no life experience, but in actuality, I have a lot of life experience. I've experienced a lot. And on the thing about, like, economics, that is, like I was telling other people, I've been poor since birth. My family's been poor. My mom tells this really heartbreaking story about having to pawn off a wedding ring or a ring to give us an apple to eat. And yeah, so that's something that I face. I didn't have the same opportunities when it came to college. I went to a state school, and before that I even went to junior college, before actual college. And now I'm still in debt, but what's funny is the government isn't taking any money from me because I don't make enough to take. Exactly, yeah. You make under 18 grand if you don't have to pay. I don't make just barely too much for free health insurance, and I'm like, cool, not only do I not have any money, I still really don't have money, but I have to pay for my insurance. I can't pay for other things, but yeah, that's a real thing, for sure. I had mentioned earlier that race doesn't end my way. I think my culture does. When it consider race, also I come from a context that specifically, it's in proximity to blackness as well. So I've grown up with predominantly a black context environment when I moved away from Houston, and that was at 12. So I recognize how my culture and the culture around me that has nothing to do with the culture that I was born in impacts some of the ways that we interpret race, color, and class. I do think specifically class has gotten, and capitalism specifically, also patriarchy has gotten in the way of a lot of the way my mother, my sisters have grown up, and I can see the difference that, as a man, the privileges that I have and the safety net that I don't see impacting, getting in also my way and creating genuine interaction with people. And I guess the fear of which, because I guess people are getting hurt, are afraid of dying in real ways. And I'm genuinely conscious, like my friends are the ones to get pulled over. My friends are the ones to get... Is it race? Yeah. Because of perceived race. So I was explaining to someone earlier that race, even though it's genetically not real, races all perception. So for example, I'm in this like, personally I feel that I'm in this weird in between space of, oh, I feel like growing up I would be like, why do you talk white? Why do you look white? Why do you like to read like white people all the time? So I grew up, and no being blankita and everyone saying that I was white, and then all of a sudden now I'm like, oh, well, I'm for sure Mexican, and then I'm just in this weird spot where sometimes I am the only person of color in the room, which is very uncomfortable because I feel like I do not represent. Of course. Well, right now that you were talking about that, I have a personal conflict with what you are trying to do, because I have lived in the United States for some time now, I'm Mexican, but I feel like I'm very heavy, I mean, in a very sad way, I realize that many times the racism that has come from my own circle of Latin people, I mean, many times that happens to me that I'm not Latin enough because I'm Mexican, I mean, I'm not Mexican enough, but I'm not Mexican enough to participate in some groups or... Yes. You know, I mean, I feel like sometimes that becomes a conflict to be able to participate. Five. I would say that before... Four. And all of them too. Three. My conflict is that I want to return to my indigenous roots. One. And I don't want to. Thank you very much. That's sort of an introduction to our project. Thank you very much for being with us today. We are working on this project called Caracar Face to Face, and we are experimenting with certain concepts to develop, to have a discussion about these topics, and this was an attempt, an experiment. We are two companies. We are Rise and View Theater, the people raise their hands. Rise and View Theater. Okay. So, Rise and View Theater is a Phoenix-based theater company who creates original plays with young artists and adult artists and uses adult work collaboratively in Rise and View Theater to create device art. And Theatre Bravo is the Latinx theater company in Phoenix that centers the voices and experiences of the Latinx population in the Americas. And Theatre Bravo is a company based in Phoenix, Arizona, which focuses on the experiences and experiences of the Latinx population in the Americas. So, Rise and View Theater and Theatre Bravo seek support from the Children's Theater Foundation of America, CTFA, to do face to face. So, we'd like to thank them. We'd like to thank the Children's Theater Foundation of America, CTFA, for supporting us in this project. Thank you very much. Thank you very much. We'd like to thank the Children's Theater Foundation of America, CTFA, for supporting us in this project, because they're supporting us for two years. It's a long term project. So, we're in the, I don't know if I mentioned this, the early research phases of face to face right now. So, we're really sort of testing things out. So, thank you for participating. And this, yeah, this is the first time we're doing this. Yes, and as we said before, we're at the beginning of our project. And that's why we're doing everything we're going to do today. We're going to do experiments to see how our work works and how we can develop our workshops on what we're going to do this year. Okay. I'm Cuen, I don't know if I know who Cuen is. Cuen. Okay. My name is Curiosa Ser. My name is Paula Ortega, and I'm a leader at Prentice in the second year with Rising in Theater. Oh wait, as a leader at Prentice. I'm also a second year apprentice. My name is Ty Mohammed. Hi, I'm Trinity. I'm a first year apprentice for Rising in Theater. I'm a dancer. I'm one of the artistic directors. I'm Sarah. I'm also one of the artistic directors. Did you say your titles? No. General Manager. Apprentice Artist. Cool. And then with the other artist director. Alright, so I think we're ready to hand it over to Ty and Cuen. Alright, sounds good. Thank you. So if we can actually take a moment to make a U, so we can all scoot that way so we can see the screen. Thank you. One company from the nation that works with young artists in collaboration. We're very interested to work with young artists. That's a great part of how we develop our company, but also this project of Face2Face. I know a little Spanish, so I'm gonna try to translate for her. But, so, Rising Theater and Tieto Bravo, we're trying to collaborate and use youth leadership to experience the project face to face. Keep going, we'll do it one more time. Oh, yeah, sounds good. All right, so the way that we are trying to like flip the narrative is usually it's like a top down situation where adults are helping young people create or maybe young people are on the top and the adults are on the bottom. But we're trying to make it an even playing field where adults and youth are working collaboratively together. And so one of the tools that we use to look at youth leadership and youth participation is actually Hart's Ladder of participation. So one of the things that we use to organize these ideas is Hart's Ladder of Participation. Do you know the meme, the ladder or what? We'll share it later. Yeah, it's a meme. So Hart's Ladder looks at the ways that young people participate and we're going to use it in an artistic sense. So at the bottom of the ladder, the ways that young people are not really participating, but they might be manipulated, used to securation, or used to tokenism. So aquí abajo son las maneras en que los jóvenes no participan. So el tocanismo, la decoración y manipulación. And in a way that we try to change that narrative, we go on the higher realms of the ladder. So assigned but informed, the young people are. Young people are consulted and informed. It is adult initiated, shared decisions with youth, youth initiated, and directed. And youth initiated, shared decisions with adults. And overall, we're trying to get at this path run. But it fluctuates depending on the project and the type of people in the room. So lo que intentamos hacer es subir la escalera. So eso es que los jóvenes están asignados. Asign? Sí. OK. OK. OK. Consultados, que los adultos empiezan, pero comparten decisiones con jóvenes, que los jóvenes empiezan y también los jóvenes actualizan. Y eso aquí arriba es que los jóvenes empiezan, pero comparten y colaboran con los adultos. Y eso es lo que queremos hacer todo el tiempo, pero también entendemos que hay muchas cosas que considerar. Y en varios momentos vamos a estar en varios partes de esta escalera, pero nunca queremos bajar aquí. So we want to try to stay in the participation area rather than non-participation for young people. Also, like I said earlier, we try to look at this a lot as rising in theater. And the ways that we do this are allowing young people to be on the board. We allow people to lead workshops. We also have different ways that young people are participating in the rehearsal room. And some young people are also teaching artists in different residencies. So in nuestra compañía tenemos jóvenes y adultos en nuestro board of directors. También tenemos un equipo de siete personas en nuestra cofres de staff, personal. Nuestra personal, cuatro jóvenes, tres adultos, todos somos aquí. Y también pagamos a los jóvenes para el trabajo que hacen con nosotros. We also like to be transparent, not only about the latter, but about how we as young people and adult artists collaborate and work together. Sí, mantenemos transparencia en todo porque no es perfecto. Es algo que siempre está cambiando. Estamos aprendiendo. Estamos organizando nuestra colaboración. Y la meta es eso y también es de ser transparente de todas las cosas que se hacen difícil o fácil de realizar esto. Yeah. Any questions about the latter? Hay preguntas. Yo. Sí. Qué tokenismo. Tokenismo. Oh, yeah. What's tokenism? Yeah, you know. So tocanismo o para nosotros es un elitismo de tokenismo. Sí. You want to share? Let's do it together. Tokenismo es eso lo vemos frecuentemente, por ejemplo, buscando apoyo para cierto, un taller, por ejemplo. Y yo escribo todo, hago todo el trabajo. Y luego cuando vamos al evento, yo le digo a la joven, presentate tú como la voz del trabajo. Y es una manera de establecer que estamos trabajando con jóvenes. Pero ella simplemente viene, yo le doy el papel y tú y esto, esto y esto y esto. Y tú habla, se la cara y yo voy a hacer el trabajo intelectual. Y ella no ha tomado ni una decisión, ¿verdad? So in English. Por ejemplo, no. Por ejemplo, hay veces que personas usan como las historias de, oh, yo salve este joven para ser persona mejor en la vida y agarran dinero de jóvenes y sus historias. Eso también es tokenismo. Just to translate that, so if I were to write a script for a fundraiser, and then I was like, Ty, come to this fundraiser with me, we need to earn money for the organization, here's your script. Oh my gosh, Shresley Theater is amazing, you guys, so like. And then at the end, I took that money and did all the things that I decided to do with it, and I didn't consult my collaborator at all. But she was actually the reason why people are supporting us. That's tokenism. Is so this ladder, is there a race one, or did it get started on a race one, or? I don't know, I don't know that much about heart. I don't even know its first name. But this is for youth participation and the way that we're using it is just for theater, I'm sure. I've seen it used in social justice spaces too. The principles apply in a lot of spaces, and I think that's a really interesting question for us as a creative team to explore as we dig into a project about the intersections of race, class, and age. Something that I would like to go back to is that this is not a perfect model yet. But we're working on it, and that's something that we continue to work on, is to continue to work towards that place. And something that really has come up a lot in our conversations is to be thinking about access, is to be thinking about race, and to be thinking about the way that we word things, and what connotations or what kind of meaning that means to people in our community, and to really be taking into account those things. So it's changing, but Heart's model, it really focuses on youth involvement, youth participation with adults. So the question was, is there a ladder for race, and what is it now? But this works for collaborations between youth and adults. But we're very interested in how this is all about the ways in which people participate in various forms of power. I'm sure you have a lot more questions about the ladder, and you can find it online literally if you just type in Heart's Ladder Participation. But right now I'd like you to turn to somebody next to you, and talk about the way that your artistic practice, whether that's you as a personal artist, or with the company, or the way that you practice art, where do you live on the ladder? And it's okay if you're not at the top of the ladder yet. It took us a long time, and we're not even still there yet, or we're not there yet. And there's a lot of space on this ladder. So you don't have to feel bad if you don't get here. It's just to reflect and think. We'll leave you a minute to talk about it with somebody next to you. What do you feel like you live on the ladder? Your art, your artistic practice, and your work. If you work with them, let's see. See if it's not built on the top of the ladder. And I think if you're not at the top of the ladder, it's okay. Right now I have a theater company, and so we do, like, new works, and then we'll do Shakespeare and stuff like that. My ambition, I mean, is to write a new book. I know it's really, really awesome. I think we value it as open and creative work. But we don't have to do that. We just work for the vision of Shakespeare, and we see it as an actor. And that usually incorporates the voice of the teachers. I'll give you three, five. Five, four, three, two, one. Alice? Let's move on to another exercise. We also have more time at the end to talk more. Sorry to cut you guys off. Los sentimos por cortarle la conversación. Vamos a tener tiempo para hablar más después de que se acaba el taller. Okay. So in the interest of where we're at in this project, which is a new project in trying things out for the first time, we want to explore something with you. A huge component of our work and how we make work is the idea of story circles, is obviously not something we made up. It's part of a long tradition of practice, but it really informs the way in which we start our processes. And face-to-face is all about... Yes, okay. Este ejercicio lo hacemos en los ensayos que hacemos cuando creamos nuestros proyectos y los vamos a compartir con ustedes. Vamos a hacer círculos que vamos a compartir historias. Historias que hemos experimentado en nuestra vida. So face-to-face is a project. Again, where it is living at all of these intersections, we're going to start these story circles in specific groups based on our racial identities. Vamos a empezar estos círculos, otra vez como cara a cara, estos círculos donde viven las intersecciones de raza, clase económica y edad. Pero este círculo de historias va a se va a enfocar más en raza. So we're going to try this right now breaking into groups based on our self-identified racial identities. And we're experimenting with the way in which we do this. I'm going to start us out. I identify as a white person. So I'm going to invite anyone else who identifies as a white person to come and join me in the white person group. Vamos a hacer estos grupos basados en tu raza. Por ejemplo, el grupo de Sara son personas blancas. O si ustedes se identifican como una persona blanca, vayan al equipo de Sara. Mi grupo, yo me identifico como una persona mexicana. Son los que se identifican mexicanos, vengan al grupo de los mexicanos. Los que tienen diferentes, los diferentes razas creen la suya. ¿Qué raza son ustedes? ¿O cómo se identifican? ¿Mexicano, americano? ¿OK, mexicano, americano? A lo que me gustaría explorar es hispanohablante y no hispanohablante. ¿Hispanohablante? Porque eso va a cambiar la conversación. Spanish-speaking or non-spanish-speaking. So I think that those would be bigger umbrellas and they would give us more. Non-spanish-speaking Mexicans? Non-spanish-speaking Mexicans, you all want to go over here? So, Latinos, no hispanohablantes, acá. Are you all going to speak Spanish? Are you all going to speak Spanish? I'm sorry. No, sorry, that's because I lost something. Say that again, ma'am, sorry. So we're going, we're going. I think it's better to go Latinx, just because you have a lot of people that are not in Latinx. So yeah, so Spanish-speaking, no. Spanish-speaking. Non-spanish-speaking over here. Well, what I mean, what I think what we're trying to avoid is a person who is not able and it's trying to see it. Not having to speak Spanish. So give it a say. Spanish-speaking. Spanish-speaking. Please get all your guys' attention over here. Attention. I'm going to talk about that then. Siona Trinity. Story Circles. I want to remind you of a few tips before we jump into the question. So one, please use active listening. Please wait your turn. Please don't speak ahead. Really listen and concentrate on the person. Also, no side conversations. No laughing. No mocking. Respect one another. Also a tip from Tai. When someone else is speaking, try not to think of what you're going to say because it makes you out of it and you won't understand. All right. So jumping into it, your... One of the rules we have in the history circles is that please pay attention to the person who is speaking. Don't make faces. Don't laugh at them. You have to create a space for people to be able to speak. To be able to tell their stories. To feel comfortable. To feel comfortable. To talk together. And something that... Can I go? Just go. Wait. So there will be a time for you. Well, time you one minute each to go around the circle. You guys ready? Question. Each person will have one minute in each circle to go. In this circle, I'm going to be the leader. So I'm going to... I'm going to... track down time. Each circle has its own person that will track down time. Question is, what conversations around race and class did you have as a young person? So I can repeat it again. So what conversations around race and class did you have as a young person? Can you time keep for the group? I can do that. That circle is going to be on the back. I got you. Can we start in the center? Do you want to go first? No. Can I go? I can start right here. So... Spanish. Spanish. So... I don't know how many questions you have because I know that you were born in the city of Juarez. But... This is my father. He was born in the city of Juarez. When I was three years old, the two cities are one to the other. But... It's totally different from the culture of the race and class of Juarez. Basically, I grew up in Juarez and it could be like...