 and we are live. Welcome everybody back to the Martin Siegel. Siegel talks here in New York City from the Graduate Center CUNY. My name is Frank Henschker and I'm the director of the Siegel Center. And for two weeks now, we have been live streaming with the great hall round conversations with theater artists from around the world about the time we live in the time of Corona, a time where the outside world is stranger than any fiction. We could have imagined a time in theater when people, tools have been taken away. Normally we already complain there's not enough space, not enough money, not enough opportunities, but this is all gone. We are sitting in our apartments on one way we are globally connected and the world got smaller that way. But now it's a micro world we all live in. But still, as someone said from our Taiwanese artists, perhaps it's the first time mankind is truly globally connected so that visible virus and it's heartbreaking times, especially here in New York City, we have more debt people than countries around the world. Everything is closed as in so many other cities. There are theaters, bars, restaurants, stores, kindergarten schools. It's in a way a horrible scenario. And of course we all think about theater and art and life and what does it mean? Should, what are we thinking about and what should we be thinking about? We hear a lot from politicians, from virologists, economists, and our TV faces, but I think it's a time where we need to hear from the audience, where we hear from leaders in our field to create meaning or to see what this new situation, this new world we are living in is all about. We, of course, too close, we cannot really see it, but it is clear like the end of the World War II about the fall of the wall, 9-11. This is a before and after corona and on the middle of the trenches. In a way, we had artists from around the world, Thomas Ostermeyer from Berlin. Yesterday we had Meredith Monk talking to us, Thomas who said, you know, stay sober. This is chaotic. There's no meaning to it. Prepare for what's coming up and take the moment to reflect. And Meredith, who says her Buddhist practice helps her, which has informed her work over so many. And decades to deal with this, but it's a scary time. Company members are infected. She possibly could have been infected and it's just unthinkable, you know, that lose someone like her. And she is all fine, of course. And we have two people from around the world chiming in, Italy and from Egypt, from Lebanon, the complicated situations. Everybody works and lives in now and what unites us is that we are alone. We live in solitude. It was our loved ones, if we are lucky. Everybody says, go back to your families. Some don't have families. Some are alone. It's not easy. And in a time, Taylor Mac who reminded us that, you know, where the AIDS crisis hit and everybody survived and now a handshake can kill you. You know, this is a terrible situation. He created actually Taylor Mac who is Kristen Martin Tricklap NYC, that organization that supports you, New York City artists. And so go on there. It's kind of a Netflix model. You pay $10 a month and then you can see work created by others and everything will go towards them. It's a terrific initiative next to many, many, many others. Now I think it's time for us to move to also another continent, a very significant force in theater. Always has been. It's the cradle of mankind, DNA shows. We all are Africans, but our skins are lighter or darker. This is who we all are. We are all part of a family. That is what DNA tells us, not racism is not only wrong because of all the political reasons. It's also completely wrong if you look at who we are as human beings. And in Africa, we have a great theater. Heather is with us, a professor of theater in Los Angeles who will translate, who has worked a lot and one of the great workers of theater in Africa at the moment, Aristide Tanagda is with us. He is a running a great theater festival in the Burkina Faso. He's a playwright and a director. He also has been at the Seedle Center for our pen world voices talk. Heather is one of the pioneers to also discover all the work that's done and it's even wrong to say to discover and speed all the way all the time. And we just haven't paid attention to it. It's a French speaking country and I think French government also pays attention the French cultural services here in New York to promote the work but it's extraordinary work that's going on. And now I think after hearing from Asia, after hearing from Europe, after hearing from our American friends and artists is it time to hear from Aristide. Aristide, welcome. Hello. Hello. And what time is it now in Burkina Faso and where are you? It's 16, I'm at Wagardukbuk. Heather, can you translate? Yes, I'm sorry, he understood you. He said it's four o'clock in the afternoon in Wagardukbuk, Burkina Faso. Okay, speak a little bit louder. Your sound is a bit quiet. So it's a six o'clock in Burkina Faso. So are you and your family at home, where are you? No, I'm not a family. I'm one of my friends. So a friend of the neighborhood with whom I spend time often to distract myself and then rest. So I'm in the house of his mother. I'm in the house of his mother. He said he's visiting his friend whom he often visits and he's actually in his friend's mother's house. Good. So what is the situation in Burkina Faso? Are people going out? Are there any government regulations? So what are the responsibilities now when the government is able to respond? Are they able to go out of the house? How many people are going to go out? Am I correct? What does the government say about the situation? Yes, I understand the government question. At Burkina Faso, while still working with some government, COVID-19, especially for the barriers to wash hands, wear masks, develop social distancing. That's what's not easy in cultures like ours, because we're really used to being together and being in touch. But I think that people, for example, are aware that the situation has changed. Let her translate a moment. And speak a bit louder, Heather, if possible. So he said that, like other countries, they are meant to wear masks when they go outside and basically stay in their houses. He didn't mention it, but I read elsewhere that the markets are closed. But he said that it's really strange in African cultures because so much of their society, so much of their life, is about being together. So to maintain social distance, as the government requested, there, as elsewhere, is antithetical to how the society usually functions. So for how many days? There are also other measures, such as the closure of schools, of markets, the ban on the closure of bars, of nightclubs, cultural places, theaters, cinemas. And, Aristide, we said, how long will it last? For the moment, until April 14. OK. So Frank, he said they closed the schools, they closed the markets, et cetera. And right now, it's only until the 14th of April. And when did it start? And Aristide, when did it start? Well, it started in us. The first case was on April 9. I think it started on April 12 or April 13, if you remember correctly. And March 12, March 13. So we just said, just for one month? No, first it was two weeks and then they OK. So it began about a month ago. And at first, it was for two weeks, mid-March. First, it was just for two weeks. And then they pushed it to a month. But the month is almost up. Thank you. Thank you, Aristide, for being with us. I know the internet in Pokina Faso or the laptop did not work, so Aristide is with us with his cell phone. And we can hear you and see you very, very well. Aristide, someone says we live now in the times, actually, of Artaud. It's Artaudian times. And we have to stay on the right side of madness in that moment where we live now. It's maddening what is happening. You, as an artist, how do you experience this moment? So Aristide, he said thank you for joining us. And then he said that we are a little bit in the time of Artaud. Anton Artaud. So he had asked... In the time of? Anton Artaud, the French artist from the beginning of the 20th century. Anton Artaud, yes, Anton Artaud. So he said, how do you support, as an artist, this time of madness? So, as long as you are human first, it's not obvious. Because, as I said, there is something extraordinary in the sense that we have never lived a total stop in a world like that. A fear of these ekkathoms all over the world. That, it gives you... And then a non-mastering of the situation of the virus. Let Hedda translate a little bit. So he says that just as a human, we've never been in a situation like this. We've never experienced a situation with a total shutdown, but worldwide. So the situation is delicate because everything is at the end. Especially for the... I live in a country where, for the majority of people, life is at the end of the day. So with measures that put an end to their work, their activities, it's not easy to live. And so, as an artist, it's also a difficult time because everything is at the end. We can no longer work, because an artist, at least an author, an emitter, a director of festivals like me and a festival that is implemented in a district, I'm used to working with people on a daily basis. It's challenging because everything is shut down and he's used to necessarily working with other people. So he was talking a little bit about the festival that he directs. The festival, which happens every other year in Ouagadougou, and would normally happen in this fall. And I think he's still waiting, you can ask him. But they have year-long activities. And so now everything's kind of halted. Including rehearsals, including development of the development of stages. Alessi, so I said that the director must normally have a place for this autumn. Yes, it's a process. It's normally a process. Normally, we finished the first step in February. We called it the quarantine. And we had to start a second step, which is the charnier step, between the launch and then the residencies and the festival platform. So what is the short side? We had to start the thirteenth, but we are forced to postpone it, to report it. This second step, the short side, in August, and then continue with the residencies, which will be very evident for the artists. So normally there is a second, they already finished the first development stage. It ended in February. Normally there would be a second development stage right now, which would precede the residencies of the artists. And so a lot of the development that happens is developing new work for writers and also young artists who are involved. So now that's been pushed back to August, but it's going to be complicated because then it will essentially happen at the same time as the residencies. So he said, to return to your question, Franck, as an artist, it's a moment of doubt and a moment of fear. But there's also the idea of it being a moment of in sowing hope. So to instill hope in people's hearts, because people are afraid, and it's part of the role of the artist is to give people hope. So it's a moment of liberating imaginations to make life possible. And he talked about to bring people to the theater, to the literature, to the poetry in order to accomplish it. It's moments like this when we're reminded of things that we've forgotten and taken for granted and moments like this that make us come back to the essential health piece. Because these are things that we take for granted. And it's a moment like this when we're really forced to think. Aristide, how do you feel yourself now sitting there in your room? How do you feel? What's on your mind as a person? So Aristide, at the moment, you're being an artist and a human being sitting there. What do you think of yourself? I think of a lot of things. I think of, I tell myself, is humanity really going to take a lesson? Are we going to definitely go back to this life that was based on the cupidity, the material, the capitalism, this life that was far from the essential? He asks if we as humans are actually going to take a lesson away from this. If we're going to reconsider the materialism of our lives, we consider these are ways of living that really take us away, distance us from what is the essential, what is necessary. In this moment, I'm constantly asking myself, what is the role of an artist in moments as difficult as this one for humanity? What theater should I write now? So he's asking himself, what is the role of the artist in moments like this? What type of theater should he be writing now? Must he write now and must he write after when this is over? So in this moment, as an artist, I live moments in peace, because the artist, from my point of view, I must never be in peace. But it's an exceptional moment where all the seconds of my life are in peace because I ask myself a lot of questions about measures taken by the government, for example. Are these measures just for everyone? Are these measures adapted? Otherwise, what measures should be taken in a country like Guquina Faso? For example, Guadalupe has been put in quarantine, and other cities in Guquina have been put in quarantine, and markets are closed. So every day, I think about how to finally take into account the consciousness of everyone, of the need to live a just world. Let her translate. Yeah, let her translate, so we don't lose your thoughts. I'm trying. So he said first that artists should never really be tranquil, relaxed, and so there's actually something good about moments because it forces artists to respond to them. But he is also questioning steps taken, measures taken by the government. He said Guadalupe and some other places are under quarantine, and I'm guessing I don't think everywhere is though. I know not everywhere in West Africa is. And so he's asking about whether these are the right decisions and whether everything is just being justly executed. And also, you know, in this moment, I know that Senegal, the most part of some countries in West Africa, have decided to unlock hundreds or thousands of billions to respond to this disease. And somewhere it's revolving, it's revolving because until now, the COVID, in this different country, you're less than the Panodism, less than the Ujjol, less than, that's it. And that's why all of a sudden, we unlock billions to save lives. It's very complicated for me. So he said that Senegal and other West African countries have released a lot of money, millions of dollars towards fighting COVID-19 coronavirus. And it's also frustrating and disgusting in a way because these actions are never taken in fighting things like malaria and measles, they have huge epidemics in Africa and kill more people on a regular scale than this is right now. And I would say also many, many people die of starvation or for famine. So he's discouraged by this. Yes, that's what I'm saying. What didn't work? Are there any mood effects? Is it a follow-up? Because it's normal in countries like France, like the United States, like Italy, like Spain. It's clear that the streets, the hospitals are full of corpses. So measures that are adequate and urgent must be taken. But here in Burkina Faso, for the moment, we are, I believe, not even close to COVID-19 on 300 and a few. But I know that the red light... Let's translate one second. Hold it. So he said that he understands that in Italy, for example, in the Western Europe and the United States, that so many people have been affected that he understands the necessity of taking these measures. But in West Africa, that's not really the case. It's not the same thing as opposed to other things like the measles, like malaria, but normally and are still affecting many, many people. Okay. Okay. So he said that, for instance, measles, for which there is a vaccine and a cure are treatments, it has killed 300,000 children. But nobody's done anything about this. And so he kind of feels like the world is, and then there's the opposite of the way it should be or everything's kind of topsy-turvy. But he said that this really makes you think about these realities and where we are with things today. And remembering the most important things of living and being alive and health. Go ahead. Go ahead. So as an artist, this situation is giving him the time to also think about the important things, the things that really matter. Important for you or for the human being in general? For me, this is my artistic practice. Right. So he's reflecting on his own artistic practice. Arresti, tell us a little bit about your day. When you get up in the morning, what do you do? Do you write? Do you listen to music? Do you read books? Are you busy with your family? Do you do that? I think it's all right. Who is it like? What are you in a new country? I don't even know you. Thomas Ostrom has a bus ever. He was on the bus. You can't do something. Our Italian friends. They, Lutia, the playwright said she cannot do anything. She moves objects in her home all day and has one or two hours where she can work. So how does your day look like? So, what do you do when you wake up, do you walk, do you listen to music, do you read things, do you arrange things, or do you come? So, when I wake up, I read books, I read, I write, I answer emails, and then I organize, because I continue to repeat, at the same time, because I organize moments of repetition with the site, the Carrefour International Center of Ouagadou, so we repeat at this moment a piece and how we are not... Wait a minute, one second. So, he said when he gets up he eats mangoes, because he really likes mangoes, and then he does some reading, he watches the news, and then he does a little bit of reading, writing, correspondence that he needs to, and then he was just talking about how he's arranging a schedule for, I think for rehearsals, for a new show at the Carrefour International Theater in Ouagadou. It's a relatively important theater complex in Ouagadou. Agassi, you said that it's a repetition that you organize. Yes, I repeat a piece with a few actors, so we organized ourselves to watch, to continue to watch the measures that are being taken, so the actors, as I said, we wear masks, we're all forced to wash our hands when we arrive, and then we respect the distance, we read the texts, we say the texts. Finally, we have to organize ourselves to keep in mind that life doesn't have to stop completely. It's a piece that is written, it's called Mirage and Perdition. Mirage and Perdition, okay. I don't know this play, it's Mirage and Disappearance, I think. It's about young people who get involved in terrorism, but anyway, they're meeting to actually rehearse anyways, but they maintain social distance, they wear masks, but they are still actually rehearsing this play. Where do you rehearse it? In Osito. Osito, Carrefour International Theater in Ouagadou. Franck, it has this big open area with a few buildings around, and I think most people wear it outside. You don't have a door, do you? It's outside, yeah. So that's where the outdoor courtyard is. Yeah, it's an open theater. And after that, I'm going to work in the recreator, because it's one of the recreators. And he also goes to his office for the recreator to organize. And there's not a lot of people there, right? There's no one, it's in the office, it's in the office. Nobody else is there because they've all gone home. I know a couple of the administrative members live in France, so they've returned to France, and other people have gone to their families. We had a Toshiki Okada on the last Friday who said he's rehearsing, but over the screen had an interesting idea. He said, you know, it's kind of democraticizing the idea that the actor is now as president of the director. But it's interesting that Aristide can work outside in a big open space where there is a social distancing as possible. And it's also a tradition they have done. And the rehearsals now, are they different than they would have been a month or two or three ago? Or is it just going on as normal? Oh yes, the rehearsals, does it look like that? Is it what we normally do, or has it changed since? No, it's changed. What has changed? It's the relationship between artists. Simply because we can no longer, we have to observe this social distancing. We have to be careful when we talk to others. We can't, I'll say, whatever we do, this kind of disease has made us suspicious. So what's changed is the reports between people because they have to maintain the social distancing. They can't respond normally as they would with one another. And what also has changed a little bit in the mentality of everybody during this situation is that everybody is a little bit suspicious of everybody else because you don't know where you're going to get an infection. Yes, in the eyes of others, there is a potential source of contagion. So the rehearsals are losing their intimacy, their sacredness. So it's lost, it's intimacy, and it's the sacredness of being really together. Aristide, you talked about malaria, about thousands and hundreds of thousands of people who die from it, and the measles and ongoing health crisis in Africa. Does it feel radically different for you now, the COVID-19 virus, or do you think this is just one more thing that we already have to deal with? So, since you made a comparison with hallowedism and the virus, do you think COVID-19, coronavirus, is it just another thing or is it still a disease, a problem that we have to deal with and so on? Well, I don't know because even scientists don't know exactly about this disease. I would say it would be too pretentious and imprudent of my part to want to give a point of view to this disease that is completely new. To answer that really, because even the scientists don't know exactly what this disease entails and the realities of it all are still being discovered. But is it for him as a feeling, we always lived in this time, for Europeans and Americans it's a complete chalk, something new, do you feel this is something we live with every day? Or is it also an interruption, a disruption? Well, in the United States and in Europe, it's really a shock for us because we are not used to subsisting with these things like COVID-19. While in Africa, there are other problems, so it's a new problem, but it still doesn't erase the other problems that are still there, like hallowedism, etc. Go ahead. So he asked how you see this as an African in Waga, because it's not the same, our point of view coming from the United States, for example. Yes, but in fact, it's clear that, as Achille Mbembe said, that is to say that the white man and the West and the Americans in general, make common sense with death. And that it wasn't the same situation with Africa. So Franky referenced Achille Mbembe, who pointed out that for white people, meaning Westerners in general, that they are coming face to face with death for the first time. And so what I saw on a daily basis here is that, in fact, when the government applied the measures here, the fear of people was just dying of hunger rather than of this disease. So if they can't go out to earn their daily bread, even if they don't get COVID-19, they're going to die. Once again, just because I don't see how, as I just said, no one is managing the disease, but it's the lack of pedagogy behind it. It's the lack of trust in the lives of the people, so that the people can organize themselves to be able to continue to exist, but not to the transmission chain. The problem is that there's a lack of pedagogy, a lot of understanding for people, so that they can figure out for themselves how to continue to live with the proper precautions necessary. Because it's a people, unlike this congressman, who has always been responsible, who has always organized themselves to ask for account to the government, to the state, who spontaneously takes his life in charge. We know how to live, right? Yes, for example, I'll give you an example. All these people we call the informal sector. Yes. These are people who have organized themselves without the help of the state, without anything, but who have their own imagination, their own strength, their own sense of responsibility to exist. And so they are created between banks, where they are made ready, without interest. So without an organized government structure for centuries, people have been able to come together to figure out, work out banks, work out commerce on their own. And that's the term responsibility. Everybody has their own sense of responsibility for living. And so, without your term, do what he was saying, without a sense of understanding fully what this is and how to deal with it. It's challenging for people who are used to living on their own. And not trusting the government and not getting normally the right information, so I am sure. Aristide, as a theater artist in Africa, do you feel connected to the world or do you feel your left alone? Right now or in general? Right now and in general. As an African artist, Aristide, do you feel that you are alone, that you are independent of the rest of the world or good, that you are connected? And so you can think now, at this moment, are we far from each other? Or do we still have an international artistic community? And then, in general, as an African artist, is it the case? So I think it's delicate, it's delicate because my answer could be both yes and no. Heather, maybe translate? Pardon? Heather, you want to translate? Oh yeah, I know, I just said that his answer is yes and no at the same time. Yes, because we still feel at the march of the world. As an artist, it has always been difficult for me to circulate in the world because I am always suspected. There is a look as a defender who has imposed on me the tension of the visors has always been problematic. So it has been challenging for him to circulate, to travel and to move as an artist, because there's always sort of a, directed his way. There are always challenges with getting visas with traveling, etc. And so I feel sometimes in a ghetto, because there are specific spaces that are reserved to my eyes, to put me on stage. So it's not obvious. He feels like he's in a ghetto in a way because there are always specific places reserved for his work, and the places that exist that are the only places for it. So you go to the Avignon Festival and where do you show your work, Norma? Show your work normally in Africa and outside? He asked where do you do your work? So you did part of the Avignon Festival? Yes, I did. In Africa it's in the theater, in the theater that exists in the continent or Congo. So he's done a lot of work internationally in the Congo, in Omalino. Where in Omalino? In Omalino. In general, part two in Africa, and took an African francophone, an African type. A little bit everywhere in Sub-Saharan, Francophone, Africa. How do you get support? Do you get any support from your government? Will you get support now in the corona crisis? He asked for support from the government. Have you received support from the creators, for example? Will it change? No, not yet. So you have not gotten any support? No, I haven't received any support from the creators yet, because I think it's new. But I think the most important thing is not that the creators receive support for the creators. So he said, for instance, his festival hasn't received any support from the government as of yet. But he doesn't think that that's necessarily the most important thing. I think that for the moment, the help that would be legitimate and just for the creators, is to give the means to this structure, to be able to survive COVID-19. So he said that it would be useful to have money for the festival, but also to support the artists to continue to make them work during this crisis. So he doesn't necessarily think it's about money or anything, but it's about the idea of support. And he wrote a letter that I translated about a letter in response to what the government said, because the government mentioned all other aspects, all other sectors of life and society, and completely neglected to talk about cultural workers, including others. I'm always trying to get money to make projects. I think money has to come after the project's dream, to realize the project's dream. Money coming from the government? All the money. It has to come after the project's dream. Okay. He said that he thinks that the money needs to be there earlier on when the dream of the project is realized, or is first imagined, instead of it being only for the finished project. Aristide, also slowly, we have a little bit of time still, we're getting towards the end of the session. I am not sure if everybody knows as much. I don't know enough about your theater festival at Burkina Faso. So tell us a little bit, how many years have you been doing the festival? How many shows do you have? I know you also host writers. Do you have buildings, and who comes to see the work? So tell us a little bit about your theater work, what you are doing under those difficult, already difficult circumstances. So tell us a little bit about your work as a theater artist in Burkina Faso. You also talk about the festival and about his own work, right? Yeah, but all of it, yeah. So tell a little bit so people know, but also about the festival and his own work. So what he does. So we should say that Aristide is not only a playwright, but he does direct the festival right now. He's also an actor and a director. So what do you want to say about the festival and your own work? So it's a unique festival in the world. How many years? When did it start? Since 2002. Since 2002. And it's every other year. That's it, every two years. That's it. And so why is he single? He is single in this sense that he is inscribed in the heart of the life of the citizens, of the public, of the people. It's unique because it is inscribed in the heart of the people. And that's why you want to say that since it develops and it takes place completely in the heart of the people. Yes, I'm coming. I want you to translate it. So in this sense that we are implanted in one district and that we receive artists from different countries, from Africa and the world, in the family classes of this district. In the city of Ouagadougou, away from the center of town. And all of the artists who come from all over Africa are lodged with families who live in this neighborhood. So it's both a district that opens to the world and that also opens to beauty, to culture, to dance, to music, to theater, to culture. In a way it's as if this neighborhood opens itself up to the world and also opens itself up to music, dance, theater. And so it's a beautiful lesson of hospitality that people who are called poor give to the rest of humanity. Because despite the fact that they are, because it's not true that they are poor, but they have a way of seeing, but despite the fact that these people are not extremely rich, they open their doors, their intimacy to strangers, to people from all over the world, without asking for a return, you will have to pay. So it's sort of an example of hospitality because people who are relatively poor, who are not rich in wealth, open their doors to the world in this way without asking for anything in return. Sorry, what was that from? So, and then what happens when the year of the festival, the season of festival, it's usually in late October, early November, is that hundreds of artists and thousands of art theater enthusiasts come and sort of descend on this one neighborhood in order to experience the theater. So also people who come to see the show are hosted by families? Not really, but the artists are. So how many companies, how many shows, how long is the festival, how many days, how many shows do we do you see? And just to clarify to that, Frank, so the plays are performed in the courtyards of these families. So even though the people coming don't stay in with people in their houses, they are basically welcomed into their, in the courtyards. And how many people watch and have tickets or it's just open door, how does that work? How many people, how many shows, how many spectators? So, no, I wanted to add something important before answering this question, that in fact, this neighborhood and these people are not happy to be welcomed. They help the festival organization. So people are recruited within this population, the games, the women, to help the festival organization. So you said that first you wanted to say that people who live in this area, not only do they just host the artists, but they also take part in helping to organize everything. And this includes women, the young and the old all help in organizing and making it, making all this possible. So generally there are 15 theater spaces and 15 shows. So in 15 family courtyards transformed into theaters. So there's also an area for children, for youth, theater for youth. There are also street performances, dancers, musicians, etc. So after all the performances have finished every day at 11 o'clock, there's also a music concert. And so what we added from two years ago is that we also try to imply the neighborhood artistically. With the neighborhood, the women, the old, the young, we do the opening show. And he's also starting, he started last time in 2018, that the people from the neighborhood also help participate in the opening ceremony, which is kind of like a big launching party. So for 2020 edition, he's created a piece, a performance that only includes the youth of the children of the neighborhood. So are there any thoughts about doing something live streamed on streams or computer other countries, of course, that's on their thought, is that even think about do you think about that as a screen presence. I think actually that, I should talk about with Aristide, I talked about with her around actually last time, and we didn't know that we had good enough streaming. But anyway, I'll ask him. Aristide, Franck said that it's interesting to do the live stream of festivals so that people who don't feel welcome can come to Ouaga and see the blue. If everything is closed, will you think of digital presence or is this unthinkable? Yes, we will try. The best thing is that we are looking at platform managers to actually allow those who have not been able to come, those who have not been able to do the placement, to live intensely, to have strong moments of the festival platform. Yes, and then if COVID-19, it's not over yet, it's autumn. It's going to be over before. So he said yes, they're from yesterday are considering streaming so that people can see it around the world. And I said, well, have you thought about filming if in the case where COVID-19 isn't over yet and he said, oh, it will be. So maybe for all of our listeners, instead of only just going to the great festivals, we do know the Avenon, the Constant Theater, the Berlin Festival, Vienna, and Salzburg Festival. Maybe it's also something to think about for the Lavazov Theater one day, please do go to Burkina Faso. It's a great place. And I will go, especially after this. Aristide, is it possible to show us your backyard if you have your camera? Meryl Desmarin took us around yesterday. Can we see the courtyard of your house where you live? A little bit. The other side of you. Eria, for example, Eria, the courtyard of the house. Here? Yes. There, where is my friend? Yes. I'm your friend, yes, yes. I'm your friend, I'm your friend's friend. Where is my friend's mother? She's very warm there, it's very hot right now. Can you show the street again? So people are outside, a little bit lower, yeah? People are outside. Aristide, put your video a little lower. But I think this is, this looks like the family. It's the family, the courtyards. And this is the courtyards where the theater's plays happen. Is there a special role in this role? No, I'm not the director, I'm in my neighborhood. So Aristide, because we are getting close as an end of a question. There's an artist trying to work in Burkina Faso and creating this incredible festival that should get more attention. What is your advice? What do you say to artists in the world who are now at home and thinking about doing work and whatnot? What is your advice for the artists or people at home? How to think about the time you live in? What is your advice, what to do? What is your advice to people who are now at home? What is your advice? What do you say to other artists who are now at home? Hello? Yes. I don't think you heard me. What is your advice to artists who are now at home? Yes, what I would suggest is the creative theme that we gave this year, without knowing that the world would know us and live this moment of uncertainty. I would like to ask all artists in the world to first stress the courage as we asked it two years ago, in 2018. Yes. Yes. And understand that humanity is one and that the world is one and that we have to work to create a human community and not... What are the challenges? The challenges are important for our artists because I think that when there are moments of uncertainty, moments of panic, of loss of memory, the artists are the ones who can work to bring back the care, the joy, the happiness and above all, the lucidity. First of all, I will do a part. So first, he said that he's reminded of a theme of the festival in 2018, which was about fixing your courage and being brave, being bold. And then about this year's theme, which is about asserting yourself and recognizing these artists and bringing the fossil, for example, that nobody knows about. So I said I was talking about the theme of the festival and then after that, I said that people should be aware that humanity is one and that we have to work on it. And so we need to be reminded in times like this that we are one, that humankind is one and we are together. And we need to work towards appreciating... He said that humankind and the center are all for the better. It's for humankind. It's not for banks. It's not for what? And also, humankind, for the better. And for a person. There is a question about how, how do we work together? And also to re-establish in our societies that humans and people are at the center of everything. What should be the priority is not banks and businesses, but people. Thank you. Thank you really, really. Aristeed, thank you so much for taking the time and giving us a view into your world. I think we need to hear more from the African. Thank you really so much. And this concludes our week two. And I hope you will be able to stay with us next week. We will post our program soon. It's going to be Keith Joseph Atkins with the blackface, with writers from his writing group up in Harlem and around America. We will have Big Dance Theater, Paul Lazar and E.B. Parson. They will be here from Kelly and Pavel from the National Theater of Oklahoma. Mara Nijosa from the Foundry, the great, great theater initiative. She created, she will be there was Aaron Lenzman and others are in Squire. We will hear from Tia Barsova in Poland who is doing very difficult work under a government that is hostile to the arts and that is thinking about how to create a new theater. They are going to build a new theater that also has a digital context and they are reinventing what they should be doing. And they are hit hard also in Poland now by the crisis. And we will hear from Shahid Nadeem from Pakistan and Abhishek Mubarak from India. So we will really get another update and to all our listeners really thank you for taking the time and for your interest in the work and thoughts. The troubles and sorrows of our global artists. I hope you all stay safe over the weekend. Easter weekend is a very unusual one. Of course, in our lifetime, our generations, we haven't seen that. And so stay safe, stay tuned. Wear the mask and I hope to hear and see you all next week. And Abhishek again, thank you for being with us, Heather, for translating. We are the great HowlRound team on Emerson College at VJ and the theater supporting us at May, San Yang and Jackie here at the Segal team, Happy Easter. And I hope we will see also in the coming weeks, see better news. And it is a devastating situation, especially in New York City and the others. But the whole world is working together, scientists and also artists and people are talking and we will see how the world will change. It has already changed. We don't know it yet, but I think this will be one of the things to find out also in our upcoming talks.