 One, say hello! Okay, this is pretty exciting. Yeah, we have five regions that are skyping in. This here, just so you know, even though you're looking at the screen, that's actually the camera that is picking you up. So I'm wondering, Vijay, great. Or maybe somebody else might be on this camera just so we can pan it a little bit so everybody can see. Joanne, smile. I'm trying to get as many of the images up. So I'm going to speak really, really quickly about what's going on. So regions, this is everybody in the room in Boston. And we're going to allow everybody of course to introduce themselves because that is the function of this exercise. One second. Because exercise is a strange word, but it is an experiment because this is the first time I know I have ever done anything like this. This is the first time it's ever been done in the Commons. Even the tech has been really, really interesting. So just so you know, some of the things that are happening is that we might lose audio. We might lose video. We might have all of it. We've had little problems with reverb. It's an imperfect thing that we're trying here as is life and art. But we're going to do our best. So please bear with us when we have technical things. We would hope for you to stick around. The main focus of this conversation is to hear from these centers in the west, in the south, southeast, the east and the north about how they are bringing their communities together in order to empower their efforts as Latino theater makers. So we're going to get a chance to hear from all of them. We would request from you. Yeah, we're going to put everybody up. I need to have a copy or maybe you can remind me. I was supposed to read the six stances and it's in my papers, but I was teching so I didn't get it to pull out in the front. Do you have those? Deep listening. Oh, thank you. Thank you so much. So and this is our request to you all because it's going to be kind of strange to be in this room. And this is something I think I don't know if you folks have heard and forget part of my back. But this is something we've been talking about in the nature of how we're how we're participating. And there's six stances deep listening, which means not just hearing but really taking in the what we hear through all our senses. Suspension of certainty. And this is going to be very clear. We don't know it all. And we don't even know what we think we might know. Seeking whole systems and diverse perspectives. That's exactly what's happening here is you've got perspectives coming from different parts of the country as well as ourselves in this room. Respect for others. So we would ask in this room if we could keep the talking down because it's going to be a little hard to hear. I'm assuming all that is arising. So in particular maybe any tech glitches and stuff. And then finally trust in the transcendent. The transcendent technology. I feel like I'm echoing echoing echoing. How transcendent is that that that that. Okay, we have five communities. I'm going to stop talking now. I'm going to move this over. I didn't stop talking. And we're going to allow everybody to introduce themselves. Let's start with Miami. Can we get Miami up on the screen first? Please, Vijay. Saludos to Miami. Right on. Okay. Quick question now. Who's in the room and then you'll take it and turn it and turn it and turn it. Thank you. Okay. Can you all hear me? Yeah. Great. Wonderful. Hola, cómo estás? Thank you so much for inviting us. It's a real honor to be a part of this. And I'm Joe Añaro. I'm the director of Prometheus Theater, which is the only Spanish language conservatory in the United States. That was formed 40 years ago. And with me, I have Jorge Hernandez. Hey, hello. Hello. My name is Jorge. I am an actor in the community. I don't, I don't know if you want to start talking about a little bit about the only Spanish. I'm Jorge Hernandez. I'm an actor. I've lived in Miami for 17 years, working in different projects and TV and everything that comes along. And here with us, we have students from Prometheus Theater that also have come to watch this and be a part of this history. So thank you all very much. Thank you. Briefly, Joanne, where are you? And I will send it to New York. Where? At the... What location? Okay. Yes. Okay, great. Yeah, so the room's pretty diverse. A pretty good room for around like 15 or 16 people. Representing a lot of different places, a lot of different boroughs, a lot of different stages of career. And also wanted to point out that not just New York is represented in this room, we also have D.C. over here. We also have Hartford Connecticut over here as well. You can see what this really speaks to the necessity of this conversation that so many people wanted to come and participate. And so I think I'm heading it over now to LA, right? So... Chicago. Over to you, Armando. The Theater Center operated by the currently working on the World Premiere of Said by Karen Anzotegi, premiering here next month. I'm here with a few people. Fanny Garcia. Tom Sagoval. Hello. Christina Hale. And Jeff Rivas in the back. Chicago. Let's go back to Chicago. Perfect. It's here. Can you hear me? Yes, thank you. Which is the Theater of North Texas Theater. And I'm the rest of Garcia. I'm a member at downtown. And we have several other folks here that I'd like to introduce. I was going to introduce myself very quickly. Frida Lozano from Caramilla. Federico Gonzalez. Caramilla. And Tampoli. Carlos Sotega from Teatro Froncandela. Natalia Lopro. Great. We are happy. Thank you. So just a quick note. Sorry. Okay. Just a quick note. Yes. So one of the beauties of this. We're able to see most of the groups that we've had a little bit of trouble getting a visual image, a video image from Dallas. So they've got their logo up, which is great. So now we're going to go on to the second question. And we're going to go around the same way. Miami, New York, Chicago, LA, Dallas. And the circle of this question is briefly, a couple of minutes. And this is a big question. But how do you describe your Latino-making community? Your Latino-theater-making community. Latino-theater-making community. Miami. Joanne. Say hello to Mario and Beatriz, part of our Latino theater community. And I'm very excited that you're there. We've been watching you. In Miami, as I'm sure you've heard, because the majority of our theaters and theater makers do so in Spanish, primarily. Very rarely, I think, do Hispanic plays in English, possibly in the other universities. We have a very unique situation with Prometeo. Because Prometeo, like I said, is a place that all these Hispanic actors from different countries in Latin America can come and continue to work and continue to grow and learn. And directors and writers also get to work with us. I've asked Jorge to come because Jorge is also part of the professional Latino-theater community and has worked with other theater companies here. It's a very difficult way that it's one of our challenges in terms of us getting together. Because it has been very difficult to even sustain doing theater in Spanish. It is a true, you know, it's a true struggle. And right now Miami, I think, has grown so much because we have such an amazing amount of theater in Spanish and a lot of theater makers that are doing theater in Spanish. I don't know, Jorge, if you want to say a couple of words. No, what I wanted to say is that I moved to Miami in 1997 and at that time my first work was with Mario Arnesto that he was preparing a play for the International Festival Theatre and it was my first artistic activity in Miami. And at that time you could find some actors that came from all Latin America but the heads of all the projects usually were Cubans. And that is the truth at that time. I think that in the last six or seven years all the different communities in Miami like Venezuela, Mexico, Colombia they had started with projects by themselves. I think that the first thing that we have, that's now our goal is to get together. You know, no programs, no meetings to say what is the goal that we are going to pursue, but to get together. And I think for me, for example, in these last two years I have been involved in many different projects and perhaps the head of the production is from Venezuela or Colombia, you know. Now I'm doing some works as well in the Art Center and it's in English. Last year I took part in a project in opposite New York in a Shakespeare Festival. And I think that that's the main characteristic of the theater community in Miami that now I think that we are getting together. Also I just want to say, you know, Prometeo and the festival, Marionettos Festival we work together, we partner, we share space with Beatriz, we work together to form the educational component. We're very interested in making our theater community an intellectually stimulating theater community, a place where other artists want to come and we've been very lucky, I think, that we've been able to, through the festival and then through our local communities, inspire artists to write new plays, directors to direct different things. And I think the most challenging thing and I think one of the things that we're working with now is getting the English speaking audience to come and see our plays and they come and they go, we have super titles in English so we will include you so that it's not a segregated community but an inclusive community. Beautiful. Not because last year, last year I was performing in a play, there was a project here in Miami just the first project is the one that I work on is to make a play from Argentina with the same cast, one day in Spanish and one day in English. Wonderful. I think that is interesting but actually the English-spoken community they are not so attractive, they're not so involved in this kind of very few that are actors, directors that want to know something about the Latin movement in the city but not great audience yet. Thank you. I appreciate that. Joanne, I'm going to pause for just a second for two reasons. One, our third round of questions is going to be how you're addressing those together as a community so I want to hold off on that but the other point is we're getting this circular feedback and we think it might be one of the five locations has their live streaming audio still on and that may be causing the loop of repetition of echo so if each of you in your five regions could please just take a look and see if you are also live streaming please turn off that audio and that should remove the echo. Is it howl round? No. Yeah, no. Howl round is? Could you please turn off the howl round? I guess, right? The joke here is that that's what howl round actually means is that feedback loop. Wow, learn something. Suspend certainty, right? Get out. Okay, thank you. So then we're going to move forward. We need to keep moving because we only have about another 50 minutes to do all of it and we want to get to Q&A so and I'm just going to leap in, to tell us a little bit and this is big. It's big but please keep it down to like two to three minutes about describe your Latino theater making community in New York City. Thanks. The word multi really is the thing for me. I don't know if anyone else has something to chime in. There's so many different types. Multi ethnic, multi visual, multi cultural, multi language interdisciplinary are seen. I mean that's what I'm thinking. Hi, I'm Rosalba and I'm from New York Generations and when we say multi cultural, multi racial we have a very, very large practitioners in Teadreros in New York that are from mixed races that identify themselves with both of their heritage but they are contributing a lot to their landscape. New York is a very, very complex combination. We're working always at the intersection of that commercial temptation that is a Broadway and the rest of the state and even the rest of the region. There are some 12 to 15 venues, theaters and also hundreds of affiliated and unaffiliated individual practitioners and I'm not talking only about playwrights and actors but stage managers and designers and composers and yay! We want to include them. We have a Latino theater alliance in New York City I believe Louis in Bostonized, I think and that alliance is of venues and so there are in no way does that mean that that's the only representation of New York but that we depend actually on the whole community behind us. So it is a complex landscape. I do want to take this opportunity to introduce you to a very self-indulgent and I am so amazed that the entire country is in this call as Peregonis and the Puerto Lican Travelling Theater will announce our merger on Monday. I think you announced it today. Yes. Okay, check out my room. I'm Gomes and I'm the literary intern here at the Goodman Theater and so we've had some really exciting conversations today among the several different theater companies in the city talking about what Latino theater is what are issues and in what ways they can move forward and so in discussing the kinds of Latino theater that we are seeing in the city throughout history there's such an array and transformation and evolution from the experimental and poetic kind of theater from the Latino experimental theater group in the 70s and 80s to some of the more contemporary device pieces that we're seeing in our younger and newer Latino theater companies within the city. In doing some popcorn dialogue with the people in the room we've come up with some really great terms to describe what Latino theater here is in Chicago and so some of these terms are you're gonna love these. Refreshing, loud, sexy, crispy, chew humble homogeneous, not enough messy, fendulce, experimental, reflective, politicized, not allowed to fail still European in nature. So as you can see there's such and that's just a small fragment of a lot of discussion that happened this morning here at the Goodman with the artists in Chicago and in saying that we are aware that we're in such a good place yet there's still so much work to do and largely it stems from bridging the gap between older and Latino stories and communities and with energized and young Latino artists in the city we're seeing such a dramatic increase of young and excited actors and performers and writers and so that is how our Latino theater making has transformed over time and where we hope to see it in the future. And now I humbly turn it over to Los Angeles. That's what we call a hell round. I would say it's LA city, it's kind of regional so informing our alliance here locally we have contingency in Orange County we have people that come up from San Diego at our regional in Guentro and over the summer we had people come down from that provision which is quite wonderful so it's very regional and it's scope. It's very diverse interdisciplinary and I think the LTC really exemplifies that. They have a show here The Road Weeps by Marques Guardoli which is an inter-type section between Seminole and the Black community and then a Latino play right now Wild and Wichita it's a couple that comes together one's Mexican, one's Puerto Rican and that one I came up to Repertorio Español through their playwriting competition and then it went to the BFA and then it came here so that's sort of an example of the theaters here working together it transferred from the bilingual foundation of the arts to the LTC for a second run we counted during the Alliance meetings about nine spaces Latino operated including the LTC the Frida Kahlo Theater Casa 101 I'm going to forget them all off the tracks and the list goes on so something else is education is a big component the LTC here had a summer conservatory with youth J. Ed who's with us is the chairman of the MFA acting program at UCLA Jose Luis Valenzuela who's at the Commons is the chairman of the directing program Edith Villarreal is the head of playwriting so there's three Latinos in that institution at UCLA and that professional down to like Jose Fina mentioned I think yesterday sort of the entry level people can come in and access theater over at Casa and so it really ranges in that level of like the kinds of theater and then it's very historical some examples would be the Latino lab at the Mark Taper Forum the Hispanic playwrights project over at South Coast Rep and so we're in a very cool place here and the theater we're actually in many many companies nationally have passed through here and this theater we're in their theater too is going to be renovated it's going to be called the Lupe Conti Veros theater thank you thank you and Dallas would love to hear from you what's the theater community like there oh if you're muted please unmute we can't hear you yet we're here we'd like to emphasize first that again we're an alliance no I'm not muted we can hear you now can you do us a favor because because we can't see you if you could speak a little bit slower it'll actually help us hear a little bit better okay great and if you are live streaming can you please turn it off the access theaters in North Texas organizations we are not live streaming and we are going to be one year old in December as an organization and we meet once a month with that in mind so it's important to keep in mind that we meet as a group and what you see represented here is a group so I will start the conversation and then my colleagues will join in we are an alliance of six to seven theater companies that are spread across North Texas which includes Dallas and Fort Worth we have companies that have been existing over 28 years and some just a few years so again runs the gamut of history here some of the companies do all their work in Spanish and some of the companies combine Spanish in English and then of course we have a large contingency of independent artists that perform at different times with the various companies and now perhaps we have other members about who that might want to further contextualize their sense of work in Dallas, Fort Worth I'm Ms. Frida Lozano I am an ensemble member of Karamiya Theater Company that have been living here for about eight years and doing this have also worked with other different companies like Deatro Dallas Floor Candela to some individual work living in this country and doing theater in this country I have found something that I didn't found in my own country that is this mission to take the possibility to reflect ourselves because in Mexico we represent all kind of theater that is beautiful and it is important as well but here people needs people is in need to look plays and to read literature that talks about their own experiences and we can offer that means and that is something that I want to share with you can we move thank you so much is it okay with you if we I want to say that I am really happy to see the theater community is growing all around the United States in Spanish and English but in Spanish it is stronger now so I am really happy to see that and we see that we might be united instead of be alive in the theater in the art because it has been difficult in this country to to maintain or working just in theater it is kind of hard but now we are united and we support it in different ways so I am really happy to see all this community united and this to this meeting and we want to be united and for example today we are going to do an open house for the house of the theater it is our big opening today and I am really excited about it and everybody can buy it today we are going to do a celebration so now it is everywhere all around the world so I just want to say good morning thank you beautiful so we are going to move into the next and last question hello excuse me can I interrupt can I interrupt hello I feel so rude hello please am I muted okay excuse me please hello Dallas so this is a very exciting time we have all these different peers that are collaborating Dallas please thank you we need to move forward because we have a very limited time so please give us as we go forward we need to hear from all of the five groups and quickly because it has taken time so we would like to answer the question how does your community work together to address the shared concerns and goals and visions of your Latino theater makers how do you work together so give us that model that you have developed or that you are developing to work together and we want to have enough time for Q&A so please forgive me we may have to interrupt please be conscious of how much time we have let's say max five minutes cool thank you Miami can you hear me in terms of a model we don't necessarily have a model we are still trying to find our way in terms of the Miami community I think that one of the things that has been happening is that there are a lot of smaller festivals that have been occurring in Miami such as micro teatro which is a festival a 15 minute place that are done in 10 by 10 containers we also have Temfest which is run by Sandra Garcia we have Marionnesto's Festival we have these small Festival del Monólogo there are these small little get-togethers that we decide we have to start creating something so even if it's 15 minutes or if it's a monologue or if it's children's theater we get together and say how can we start sharing resources right now Teatro Prometeo is doing an International Children's Theater Festival as part of the Miami Book Fair so I think that in terms of what Prometeo does because we are a teaching institution but we're a non-credit institution so we our community we want to invite all the other communities to also come to us the idea is not to make Miami the forgotten city at the bottom of the peninsula which it has been for a very long time you don't really think of oh let's all go to Miami and do something amazing there but now I think the things have changed we've been partnering with playwrights Nilo Cruz is resident here, Oliver Mayer I've done a couple of shows with him and we are working a lot with doing plays that have been written by Latino playwrights in English we are working to get them translated and adapted into Spanish and that I say adapted because it changes because our culture is different and I think that's been a very exciting process we've reached out with our friends in LA and New York and said we are so different and yet we're the same so how can we start to unite the very Spanish language community with the rest of the community which is the United States so in terms of Prometeo we have a lot of artists to come and work with us not just the US but also Latin America because as Diane had said earlier there is an amazing resource of theater artists coming from Latin America we've worked with Uyashkan we've worked with groups from Colombia and their training methodologies are so fresh and exciting to us and language is in a barrier to work with playwrights we try to let the community know that it needs to be seen and it needs to go out so we also tour as well and as Jorge said he's just come back from New York and I think that our biggest challenge in Miami is saying hey we're a part of the United States and we've also said we're the peninsula of Latin America so both things Thank you New York I think along with the same question but it's difficult for me to define one or two things I can talk about myself personally as an individual artist and as a playwright I think in New York one of the things that I found when I moved here a couple years ago was how many different development opportunities there were and how much great I thought that was shortly after moving here I participated in the Reafford and Suspended Playwrights and Residence Lab at Intar and that was a really transformative experience for me as a playwright and as an artist working here in New York and I think that there's a lot of opportunities like that that exist here I think that's really, really valuable One of the other things I think too is that my work tends to focus on kind of cross-cultural collaborations and one of the things that I recently did with my producing organization, Radical Evolution was a collaboration with an African-American theater company called the Movement Theater Company in Harlem where we presented a play together and I thought that the intersection that collaboration we put together was really, really valuable and really amazing and we're looking to try and do that kind of work more Does anyone else want to speak about and answer and respond to this question? Yes? No? I want to just talk a little bit about it I'm Christina Quintana and I'm a playwright and I just love to say we just had a really awesome discussion unless we're all such different artists and I think we all come from such interesting backgrounds and one of the big things that's like it's New York we are from so many different Latin American backgrounds and a big thing we talked about was America and like how being American is a big part of who we are and how that becomes part of our Hispanic identity and I think that's something that I'm really interested personally in how we can further explore that like how are all of our different parts as we talked a lot about being others within another so how are we other within another and how we connect the different forces of the Latin American community that are so varied so that it's more than just Chicano theater more than just Cuban American theater like how do all the boroughs of Manhattan live just want to add Hi, I'm Carmen I'm Kara, I playwright and we were just to follow up with the students he's getting people the image is frozen one of the things that we discussed was at some point when do we take our own careers or pass it to our own hands knowing that there's another within another and how the changing landscape not just in New York but of America there is a changing paradigm of culture and it's evolving pretty quickly so as far as we can't get into a place that we might just have to take our own you know form of the alternatives to take our own paths into our own hands whether we produce our own it's different from a company so that was something felt like in New York there was somewhat access to do I mean not easy but at least there's a lot of us that have bigger numbers so there's a way for us to make a lot of access anybody else one other thing that I think is important to think about in New York and I was talking to a sophomore about this a minute ago one of the challenges I have is making sure that I'm aware of everything that's going on and an aware and enough ability to be able to to go and support everything that I want to go and support to you I feel like I wake up in the morning at 7 and I blink and it's 11 o'clock at night and so how will we do that and how we do that as a group and I want to charge our group here to kind of have a conversation about that and maybe you guys over in Boston or in other places that have you know built networks that have that in place to where you can you know it's really easy to understand what else is going on so it's a big challenge for me here and I think other people feel too okay I think we're going to pass it on to Chicago Thank you Hi everyone my name is Elizabeth and I am artistic associate with Bachelor Luna so one of the things we are talking about is how the Chicago community is united and diverse and it's striving to be more than one sector of Latino theater and instead of segregating ourselves from the Latino from the fear community we should be inclusive to it without losing our identity in it so one of the things that we are also talking about breaking the single story and form other aesthetics of theater that are aesthetic comes from our culture and that's something that we're not going to compromise and it's not something that we have to be in the mold of theater and that's the only way to really create it and in order to in order to share the diversity and the Latino community whether it is race or nationality we need to become self-scientific financially and recognize our mark without being exclusive to other Latino communities for example we realize that we need to be able to tap into like other Latino businesses because that is where our audience is and if that's where our audience is if you want to be in the mainstream of theater we have to be able to tell them hey we have a market we have we are financially stable and we are part of the community you can't if our money talks then you have to listen and in order to promote our vision of being our bodies without being politicized we need we need and our we are in the process of really combining the foundation of education and marketing and businesses because that is really going to our arts to a higher level right and so that was a large part of what we talked about when we were talking about the issues that we are facing currently in Chicago but in addition to that where a lot of that also stem from is the lack of Latino representation among larger leadership roles which is obviously a problem for almost everybody so I'm reading on the live Twitter feed so you know addressing that will be a challenge for one that we are very willing to strive towards in attaining some tangible goals and because because of the surge of young and excited young Latino artists that are coming into the city Chicago is a hub for that and there isn't enough space for them so these kinds of implementing more opportunities for Latino artistic administrative casting will help the larger Latino community exceed and in addition to that Chicago is very excited to be hosting the theater festival in 2015 and to add on to that we're proud because this is a step forward sit in a room, we have these conversations and we're like how often and I'm actually quoting the figure how often do we sit together and complain about what it is that we're working towards and then we seldom ever come up with strategic plans and because of people like how around and because of organizations like having us all come together on this really awesome virtual connection we're able to see some sort of tangible realistic goals achieved attaining and so seeing the Latino theater festival happening at DePaul University with their new facilities in 2015 is sure enough going to help boost not only participation among the Latino community in Chicago which I don't necessarily think that there's a lack of that but increasing exposure and possibly even providing more between these for the large number of young Latino makers such as Latino theater makers who are just arriving into the city and also just to add on to that in addition to that with institutions like the Goodman Theater who are carving spaces in the regular programming i.e. our new theater just with November is solely of Latino work and with things like that Chicago is definitely seeing an increase in representation among Latino theater in the state and I think I think that's it Thank you so let's pass it on to thank you we're moving quick we're moving quick hold up I'm sorry stop a second sorry sorry sorry sorry thank you Armando can you please stop we have two community thank you he's from LA Salvadorian American he decided to start his own company and at first it was all English productions but now he's doing productions in Spanish to the Spanish speaking community here so that's an example of someone that was mentored here in LA and went on to start their own theater company also the Latino theater company and at LATC will be having a Latino national Latino theater festival here in 2014 that will hopefully go towards really concretizing their mission which is about representing the colors and the diversity that the city of angels really is and they've done that they're doing it now they have a production called The Road Weeps The Well Runs Dry that has traveled that has been produced at four different theater companies throughout the country and it's a multi-cultural cast Native Americans and African Americans on stage but not just on stage the crew is also diverse and it's bringing in diverse audiences really diverse audiences I've seen many different colors in those seats so it's a wonderful opportunity to be here in LA to be working in LA and we mentioned this before but I wanted to mention it again that we kind of live history every day here the Latino theater company started out of the Latino civil rights movement and a lot of artists have come from that Diana Rodriguez, Luis Sanfato and so we're continuing the work that they've established and I think we're doing we're taking it into diverse very diverse and very different paths and there's a lot to do the future really looks bright in LA and that's not just the sun diversity from east to west maybe say something oh sure hi I'm Leslie Ishi and I work with Eastwood I want to share that we stand in solidarity with your communities to move your agendas forward we're organizing here where we are the oldest version of color theater in the country to work and collaborate with the Latino communities and to move diversity and inclusion forward we are majority people of color in this state already wow for this country so thank you we stand in solidarity with all of you alright we're handing it to Dallas Dallas Hola Dallas Hola Dallas Senor Jaron Claro que pena hello hi again I want to reiterate that we're an alliance ready this is Dallas ready yep yep we can hear you alright so with that in mind is that okay we're going to think about we of course we have challenging challenges as well as small science and those those science of course revolve around basically two overriding issues for us as an organization we come together and formulate goals and then projects to meet those particular goals and one of those projects was about basically a goal was securing city funding and of course to secure and enhance sense of visibility throughout the city and that included of course even with the city manager in terms of being our concerns known as well as wanting greater access to performance and rehearsal spaces in particular spaces run by the Latino cultural center for example in terms of visibility we're hard on all the companies working on their own in terms of national visibility but we also recently Latino cultural centers one act play festival which we had a very strong presence there we're also very proud of this fact and we also like to go on record as support mentoring among companies particularly comes to grant proposals and so we ask our more established companies that have had a successful track record getting grant money to help those that are struggling with that or getting that particular process securing city funding and then the last things we want to talk about in terms of mechanisms for exchanges to occur Delta has his own Facebook page and now Delta also has his own website we encourage all of you to look on there we hope our website will be a place of destination in which people will be able to see what things are happening but also how to locate particular people beautiful thank you so much and thank you everybody bravo everybody for your participation in this we're going to wrap it up right on right on everybody thank you can you turn the mic we're going to wrap it up now so I'm just going to kind of quickly tell everybody for your attention as far as I could tell because it is hard it's a hard technology it's hard to pay attention to and and that's where those six stances come in right but I think what I heard just some themes to coalesce and I'm just going to do that thing is we heard about some isolation a sense of isolation in Miami from the rest of the country but that they are also able to pull together from all the different nations that are coming there that are representing that are working in all different ways to bridge that gap to bridge not only into their English speaking community but also to the rest of the country in New York City there's just so much going on and how do they keep that information together and they have formed an active alliance in Chicago how do they explain the Latino aesthetic how do they connect with their own Latino community to build up their own economic position so that they are strong with the rest of the theater community and the community at large and how do they ally themselves with larger institutions to galvanize their community the festival as in Miami the festivals seem to be galvanizing action in Los Angeles they talked about mentorship about passing on information about reaching out into the Spanish speaking community even more and forming alliance and keeping that together and that again the festival is a way to galvanize their efforts and in Dallas the need for spaces there's a lot of companies working on their own there's a lot of sort of language barriers that are happening but they're bridging that by forming this organization this Tanto the theater and I'm sorry can David could you Tanto I don't want to mess it up Tanto stands for theater alliance of North Texas organization Tanto has a Facebook page and a website as well so then they were encouraging us to look at it over so communities in Miami New York Chicago, Los Angeles and Dallas thank you so much for your time and energy and being here with us and thank you Boston for being here with us I'm going to hand this over to Keenan okay how about that we had an opportunity to talk with five different regions of the country what we're going to do in this space now and is that we're going to take a quick 15 minute break and then we're going to come back but before we go to the break for the strategy group leaders of the next session I need you to come see me everybody else will be wrangling you in 15 minutes see you in 15 also just quick housekeeping for those thinking around to do the transition for the party make sure you see Thea in the back by Jamie so she's taking our dinner orders because we're going to work and eat to get the space going for the party for those of y'all sticking around go see her put your order in so group leaders I need you to come see me please group leaders for the last session