 ¡Bienvenidos a nuestra última sesión antes de la cena y para cerrar nuestro condición! Queremos agradecerle por su paciencia y su flexibilidad. Gracias, gracias. Queremos que todos podamos compartir. Estamos aquí para compartir todos los trabajos que hemos hecho en nuestros pequeños grupos. Cada grupo tiene 3 minutos para presentar. Si puedes mantenerlo a 2 minutos, más o menos. Cuando llegas, veas a Jamie Galun, aquí en la primera ronda. Ella te dará un minuto de noticias. Vamos a escuchar más de eso que queremos respetar y asegurar que todos podamos presentar. ¿Estamos en agreemente? ¿Estamos aquí para todos? ¡Wonderful! ¡Suscríbete! ¡Suscríbete! ¿Estamos aquí conmigo? ¿Estamos conmigo? ¡Suscríbete! ¡Suscríbete! ¡Suscríbete! ¡Suscríbete! ¡Ven fial plato Marike! ¡Ven! ¡Ven! ¡Ven! ¿No Buzzard pesados? ¡Wonderful! ¡Ven! ¡Ven! ¿Estábamos imaginando algo? ¡Ven! El tiempo empieza ahora. I'm Armando Wipe, they are then there. I help moderate cumbia with Alex Meda. We started out the week doing an exercise where we looked at systems and the way that systems move and reflected on how we can make systemic change in that opening up our perspective to that. And then on the second day we broached the subject talking about shows, even tried to find our critical feedback rhythm in that. And then today we got into a spirited conversation about the representation of the women on our stages this week. And the approach is taken to representing misogin, transphobia, homofobia, et cetera, more to be named. Sorry, I'm not naming them now. But we came up with a question that we want to pose to all of you, that we want you to reflect on. And I wish there was a way to collect these questions if you have a notebook, tear out a page and hand it to me. Please, I wore this scarf so that I could be identifiable. Not really, but it was. So our question that we want to pose to you all is what is our responsibility, if any, as artists to our politic and how we represent misogin, racism, queerness, transphobia, class, ability, and so on on our stages. How do we hold ourselves accountable to our politic when we do that? Is it enough to represent it and people be uncomfortable? Does it matter how we represent it and how it's received? Thank you. Thank you for modeling that with less than three minutes. Big round of applause to Cumbia. All our maillachas are ready. Let's do it. Siguiente grupo mariachi. Time. Oh, wait, we got to get in our work. Start. Your heartbeat. Manifesto el mariachi. Nos comprometemos al traer más gente a nuestro círculo, a través de los demandamos que nada uno de nosotros se levante, advent, advocate, for each other, every chance that we get. We stop, the bloody week, we deconstruct, and time begins. Now, we are Heropo, we are very grateful for the small groups and the organization and thought that was put into them for allowing us to meet a diverse group of people within our own convenient. On our first day, one word to bring up each idea or for each person to express, and let me reason for you, ensemble, women, expression, diversity, design, empowerment, building relationships, new artistry, peace, disconnection, identity. Here we go. We are interested in planning ahead. How can we establish more formal networking to balance the informal networking that happens at the convening? How can we prepare as individuals before the convening so that we can take a deeper dive into what already exists so that we're not reinventing the wheel every time? And that means for all of us to do a little bit of pre-homework on the resources that already exist. And more directed conversations for the cafecitos to advance the conversation. Hi, transparency. We'd like the voice of designers, those who need to be at their job to be present in the room. We need dates and focus for convenings and carnival ahead of time so we can plan ahead and prioritize our attendance. What are we trying to achieve by meeting each time? Is it for artists? Is it for exchange of ideas? Is it for others? We're not clear what the purpose of each convening is. So my word is diversifying, but I don't like the word diversity because I think it's lost its meaning, so I'd like to think equity, diversity, and inclusion. So what we want to learn more about is more about the process and the methodology in the workroom or the rehearsal room. We want to see what you're going to be doing and we think that a great way to do that is by creating workshops because there's a lot of people who cannot afford to take three weeks or a month off of work or even the weekend off of work because they're working and they have to live. So we thought that workshops would be a great idea for them to just be able to come in and out no where they can and go. Another thing that I want to propose is that we have gender-neutral restrooms. So there's no longer misgendering in the restroom. And also, we should definitely be including different levels of ability. We talked a lot about language and we talked about deaf artists and how other languages, how we can use other languages than just English and Spanish because Latin America is not limited to that binary. We miss the voice of the actors. We think that the actors are not so represented here. We miss to hear from the craft, the process of the play, the contribution to the final product and the Q&A sessions after the performances. I think that's a perfect place to talk to a international Latin American. Piero Festival, and that's when the actors que realmente no nos puede contar todo sobre ellos. También queremos ver más a nivel medio. También queremos más representación que haya más representación de la población profesional en diferentes momentos de la carrera. All right, thank you, Joropo. We are bringing down Bolero. Can we have Bolero to the stage? And one more thing, I know we're all preparing for the next, for our turn, but please, as soon as the group takes the stage, let's give them the respect they deserve. Pero por favor, en el momento en que empezamos, prestemos atención. Hi, everyone. We decided that we would ask a series. We would approach this, this exercise in a series of questions, dramaturgical questions that we would ask the artists. We'll ask the body. And also, they're all up in the, these questions are listed on the doors of the interns or the fellows, fellows, offices of you, if you guys want that. Okay, great. So, we're going up that way. Oh, interesting, okay. All right, I will fall in. Seven. So, I will kick things, I will kick things off. So, one of the first questions that we pondered was whether or not the curatorial process of the pieces was working. Y si ese proceso curatorio en el festival está funcionando o no, otra pregunta es? Overall, how do we measure the success in the long-term? How do we measure success in the long-term? And another question was, who is the Encuentro anymore? And is the Encuentro considered a conference or a conference? ¿Es una conferencia o es un encuentro entre profesionales? Another question, what are the benefits of the curatorial model? ¿Cuáles son los beneficios de este modelo? In addition to that, the third, bless you. The third question we had was, do we have a shared understanding of what success is? La quinta pregunta que hace el grupo es, ¿qué estamos haciendo para que el festival sea accesible y posible internacionalmente? The fifth question is, what are we doing to make this festival accessible and open to all? Is the first schedule overwhelming for the artist, for the participants, or for everyone here? Está muy cargado de actividades y no tenemos que preparar actividades. Should we re-look at how super titles are used, translated, and placed? Es importante considerar dónde están los super titles. ¿Qué estamos ganando, o lo perdemos cuando nos tourmos un show? ¿Qué estamos ganando, y qué perdemos cuando nos vamos de tour con nuestras opciones? ¿Qué es un académico? ¿Y cómo se ve el trabajo? ¿Cómo hablamos de los trabajos problemáticos en una manera constructiva, manteniendo en mente que lo que sea considerado es problemático en un país, por lo que no sea considerado es problemático en otro? ¿Y qué tal vez no sean lo consideradas igualmente problemáticas en otra cúlpira? ¿Cómo podemos hablar constructivamente? 9A, ¿debe haber mejor balance entre la interacción artística y la escolaridad? ¡Bolero! ¿Algún tipo de balance entre el trabajo artístico y el trabajo académico? Muchas gracias al grupo bolero, y seguimos con el grupo Samba. Pero sí, sí lo hiciste, sí lo hiciste. ¡Grupo Samba, comienza ya! Challenge the sacred, challenge the sacred, stay. Retamos los sagrados, retamos los sagrados. Inclusividad, exclusividad. Inclusión, exclusión. Inclusión, exclusión. Inclinaciones internacionales. Imaginación, labor answers, boilers, discern between countries. Diferentes poetices, diferentes estéticas, días puestos, diversas estéticas, Abre las puertas, abre las puertas. Usted es mi sinio y yo lo respeto, pero el trabajo no ha terminado. Usted tiene mayor que yo, pero el trabajo no se ha terminado. Estamos escuchando, estamos escuchando. Usted es mayor que yo y lo admiro, pero el trabajo no se ha terminado. La conciencia primero. La conciencia, consciousness first. Consciousness first. Consciousness first. I want to have a chance so anyone can shave off some seconds in the upcoming presentations. Please do. Directed right at you, Ms. Elizabeth Nungarai. All right, bomba, your time. We will make a quick start now. Okay, so bulleted points where what still needs to be said. Access to funding, how that's different in various communities, how we can learn from different countries, and find more ways to collaborate around funding within and across countries, and the orange economy, the orange industry. Intergenerational audiences and how that dialogue can go both ways. Creating space for young people listening in that exchange and who has brought in to determine the conversation. As for aesthetics, we talked about creating a space to talk about art as art. There's art integral to this process. We also would call for a go to explain to the company what their purpose is, what their vision is. Diversity, the word is as diverse as the community it is from. That's what we want to see. Inclusion is different than diversity. And we also discussed how do we decolonize our Latinx spaces. We need to focus on healing from our white institutions as well as reclaiming and disrupting white spaces without being apologetic about it. Where do we go from here? Young lawyers need to be part of the planning. And for a definition of young, what is young? We're considering age and where we're at within our careers. Resources to digest the work, so something that we can take with us and something that take a ways. Thank you. And with a minute and a half to spare. All right, let's bring down Huayno. Can we give him a big round of applause as they make their way? Thank you guys. Huayno, and we are doing a performance, an abstract performance of our experience in the small groups. We have a few people that join us now that we're here this morning, so we're going to wing it. Entonces, es un poco improvisado. Está en la aplicación, estará en la aplicación, yo creo que sí. Mucho gusto, gusto en conocerte, ya me tengo que ir. Esto sobre comunidad. Aquí estamos. So, let's bring down Tango. And if you are up, let's prep you and get you down while Tango comes. To now, wait a minute. Thank you guys so much. If Salsa is up high, please come down to be ready. All right, Tango. Your time starts now. Hola, everyone, this is Tango, I'm Adriana, and this is our host, Adriana. Y estas son nuestras preguntas. We believe we still need to find a way to have a conversation in our gatherings about aesthetics. We believe we need to find ways to escape polite or informal conversations that perhaps avoid difficult yet necessary debates and conversations. We believe there needs to be targeted, thoughtful, and expansive discussions of the art form of theater in the convening's conversations. We believe that discussion about race and identity is not solely US-Latinx discussions. They involve black and indigenous racism in both US and Latin America. We would like more space in the convening to have time to talk back with the artists. We also would like talk boxes or discussions about the shows after the convening after we have had the time to process all the process we have seen. We need spaces that are more friendly or helpful to introverts, rooms of quiet, where we can have a place to retreat to and have some free others. What still needs to be said. We want to have an exchange or marketplace of some sort at the convenience where a place of art can have information, publication, or goods, so that we can exchange them and take them home. We should implement a buddy system where first-time conveners are paired with those who have been to previous convenings. This helps to build and friendship, connections, and advice. Make each other accessible one with another as artists and academics to have the same clinical language. We need the same language to be able to discuss more profoundly in depth about how we do our art. A point of common ground that we discovered is that we are all struggling with similar issues of producing theater in our communities and it is comforting to hear that we are not alone in this. We will take this knowledge and use it to fortify ourselves as we move forward in our own work. Thank you guys so much. In only two minutes. All right, Salsa, take the stage. Oh, sorry. Basanova, you are on deck. If you are up high, please come down. So we spent a lot of time getting to know each other, our peers, our challenges, our goals, our experiences. We talked, we are going to pose a lot of questions that we discuss deeply and several questions that we did not discuss at all, but we are important. We also thought it important that the translation be done live, so I will be doing the translation of the questions. Great. How can we replicate this Latinx theater comments experience in our communities now? ¿Cómo podemos volver a hacer este tipo de encuentro en nuestras comunidades ahora? Si creemos en los principios de justicia que se presentaron al principio de todo este convivio. ¿Cómo podemos hacer que... ¿Cómo podemos trabajar hacia una sociedad más justa? ¿Dónde está la equidad de género? ¿Cómo comentar sobre cómo abordamos el tema de la violencia de género en el escenario y la violencia en nuestro lugar de trabajo? ¿Cómo es que todos... ¿Cómo somos guardianes? ¿Cómo somos todos los que tenemos el poder de dar entrada o reconocimiento, o transporteros, permisos? ¿Cómo pedimos ayuda en el sistema de mentiración? ¿Cómo podemos romper el encuentro y en nuestras comunidades? ¿Cómo podemos romper esas barreras de colorismo de diferentes colores de piel tanto en el encuentro como en nuestras comunidades? ¿Cómo podemos crear un espacio intencional para hablar sobre daños como daños como microagresiones y violencia? ¿Cómo podemos romper las barreras de la narrativa de lo que significa ser cuando uno es exitoso y cuando uno es académico? ¿Cómo podemos romper la narrativa de la que la universidad y el suceso deberían ver una manera? ¿Tenemos más? ¿Tenemos más? Es tiempo, estoy muy segura. ¡Muchas gracias! ¡Vamos a Novo! ¡Vamos a Novo! ¡Vamos a New York! ¡Muchas gracias! ¡Vamos a Novo! ¡Vamos a Novo! ¡Vamos a New York! ¡Vamos a New York! ¡Vamos a Novo! ¡Vamos a New York! ¡Vamos a New York! ¡Vamos a Novo! ¡Vamos a New York! ¡Vamos a Novo! ¡Vamos a New York! ¡Vamos a New York! ¡Vamos a New York! se ha hartado para hablar sobre the actions en peppers de raza mezcladas y de mezclos en el teatro. Vamos a hablar acerca de continuo conectividad. Necesitamos hablar acerca de el negado y cómo afecta el futuro. ¿Tú lo que tenemos en común es que queremos interuver uno de los otros? ¿Cómo sería un festival el fuego internacional? ¿Qué más? Necesitamos una énfasis de lo que la latina es de la Unidad de Estados Unidos, pero hay personas de América Latina que se sientan incómodos y dicen cómo se sientan ustedes. Necesitamos archivar aquí. Gracias, muchachita. Y ahora, Bachata, presenta el preparador reggaeton. Ahora. OK, gracias. Mi grupo está all the way there, so let's give it a hand. OK. So I have some bullet points of common ground. Common ground is that two or more people agree with this point. And I have a few differences. There are pretty unique points that I felt were really important to bring up. So our common ground is there was a big appreciation of the intersection between U.S. Latinx and Latin American theater. There seemed to be an interest and urgency to engage community to question ticket prices to see theater as a right and theater as activism. There was an interest in delving deeper in the control. The work both from the U.S. and the LA is being developed. And there was a common thread of tiredness. And I decided to have deeper conversations and make more connections and engage further. Some of the difference to how it had a very interesting point about how language is an essential point of communication for theater and how, when you're mixing Spanish and English, this number of our group felt taken out of it because they have such different contexts, different cadences, different applications. And on the other hand, somebody else felt sick like they've never seen seen before. Pero otra persona dijo no se sentía. There was what else. There was somebody felt that there's a tendency to take out specific cultural influences from the work for international settings that there was a need for space for practical engagement with the artist to know more about the company's work, practices, and other things. Y en la práctica de conocer más acerca de la compañía y, last but not least, there was also an acknowledgement that yesterday's the desire to do all these things and that visa issues and all of the obstacles that we run in front of these events like these may force us to prioritize what we're requiring from the artist invited. So, thank you. Muchísimas gracias, bachata. We are over trying, but we're not going to deny de los grupos que vienen a participar. Bachata, no le vamos a quitar el tiempo. Bajen, por favor, al escenario. Aunque estamos sobre el tiempo, igual van a hablar. Together, that we cannot do alone. From Sacramento, California, with a dash of Toronto, Canada, and a pinch of London, England, and I bring an immensely grateful heart and a contemporary indigenous female perspective. I come from Sacramento and I bring intercultural collaboration. I come from Puerto Rico and Boston and I bring my queerness and Latins experiences, last but not least. I come from Casordium of Asian American theaters and artists and I bring Ally Building with great love and a commitment to all our liberation. I come from Milagro in Oregon. I bring social justice theater and theater for young audiences. I come from Arabs and mestizos. I am American. I bring responsibility and gratitude. I come from Staten Island, New York and the Pacific Northwest and I bring my heart. I come from Canada and I bring my passion for innovative storytelling. I come from National City, California y traigo una ojo tototana. I have something to say. I come from Mexico, Texas and New York and I bring love and balls to your storytelling. I come from Dallas, Bahia, Brooklyn, New York City and we are Sevillacena. We on going to have a show! So really, do get out. Thank you.