 So, come around. Come around. So, here we have a lot of people. Yeah. Yeah. I think we have a lot of people here. Yeah. Yeah. Yeah, but here is too much. Yeah. Yeah. Yeah, but that is not the same thing. Yeah. I think we have a lot of people here. Yeah. Yeah. Yeah. See you next time. Thank you. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Can we have a seat? Can we have a seat? Can we have a seat? We can have a seat. This is open for everyone. Okay. So we are at the center? Yeah, and then I only have two next. I'll go when there might be some last minutes. Yeah. I have the Yami Kodak and the I have the Yami Kodak and the I have the Yami Kodak and the I have the Yami Kodak and the Nami Kodak and the I have the Nami Kodak and the And the And the What do you have so far? Maybe it will be. My second on this, my second on this, which Speaker So what will be the next? Yeah the next , The I have the Yeah the next, Hello, how are you doing? Hi, I'm Veerle from Bruns. Veerle from Bruns, the company. OK, you found this one? Yeah, yeah, yeah, amazing. I saw you yesterday, right? I saw it in the morning. And then I wanted to see it again. And I found a ticket for the six. Yeah, six o'clock, yeah. And I went, OK? That's nice, because then you see the difference. Can I read your name for me? Veerle. Veerle. Veerle. Veerle. Veerle. Veerle. OK. Veerle. Veerle. The artistic director of the company. Yeah. Congratulations. Thank you. Congratulations. It's nice if you saw it twice because it's different. From the morning, yeah, yeah, yeah. Yeah, yeah, but I wanted to, yeah, I had a chance. And someone who knows, you might not have any chance anymore. And I wanted to see it again. I had a perfect chance. And I found a way to go before. I can say it because it's the stuff that we know, the craziness. Yeah. I will tell them. I will tell them. Yes. It's not a great time for the company. We played a lot for two years. Because I have mixed information about Bronx. Because it's a theater and then there's a company depending on... No, it's infected. We don't have to fix artists. It's more like an artistic production. Yeah? Okay. But I have like... How do you say leaflets? Maybe I have one. This is what we do. Bronx. This is Rita? Yes. It's in English too. We make productions. What we do, we are a theater that has a festival. We make workshops with youngsters. We do international... We do all kinds of stuff. Okay. But it's not a company. We make like two, three productions a year. Two years. But it's always with other artistic groups. Okay. But of course some of the artists are linked to Bronx. Like Andy, the performer. Yeah, Rita? He made already ten productions for us. And you? Yes. So we have like artists that are linked. But they are not all the time working for us. Yeah. Because they do other projects. And because we don't have the funds to pay them for us. Yeah, yeah. Can I check out? Sure. I don't know how you call. For me, but not like a company. Yeah. I'm here. And you are the house manager. But is this private or is it founded? It's founded in the time ago. Okay. Great. It's not really private. There's a lot of view of your work, but it's a kind of... Yeah, you didn't see, but a lot of people saw the previous one. Ask them about terrorism. No, no. It's great. Yeah. It's a new website. You can see the new shows and also image what we do. Okay. Sometimes difficult to explain. Yeah, yeah. And it's changing maybe. Of course, because we have applications and touring. Yeah. Yeah, of course. Yeah, of course. Thank you. Yeah. Thank you. Thank you. We appreciate it. Thank you. Bye. Bye. Bye. Bye. Bye. Bye. Bye. Bye. So you can walk a little bit, because I'm standing in front of this sign. I'm just going to turn around. I'm just going to turn around. I'm just going to turn around. I'm just going to turn around. I'm just going to turn around. I'm just going to turn around. I'm just going to turn around. I'm just going to turn around. I'm just going to turn around. I'm just going to turn around. I'm just going to turn around. I'm just going to turn around. I'm just going to turn around. Projects from around the world. My name is Siri, and I'm from the board of the Aztej Norway, and got the great pleasure to be the hostess of this informal meeting, which we have at every festival and every gathering, and also hello to those watching us from live stream today. That's the reason I'm using a microphone, and I have to ask all of you to use it, even though we're in such a small venue, so it might feel weird, but it's for the greater audience out there. We have one hour today, so it's quite a strict schedule. We have seven who said in advance they wanted to talk today, so I can't promise you there will be time for any last minutes, but if there is, just raise your hand at the end, and I'll put you up on the list, and hopefully some more will be able to present projects. That's the only thing that we have in common today. It's that we're presenting projects. Everything from small performances to big festivals, et cetera. We'll start out with Ria-Liz and their project Exchange. It seems yours. Hello, everybody. I'm Ria-Liz, and I'm a creative producer based in Scotland. Hello, I'm Melly Brooms. I'm a dancer, a choreographer and director based in Glasgow. And I'm Ashanti Harris. I'm a digital artist and researcher also based in Glasgow. And collectively, we run an organization called Project X. So we're just going to show a little video to you just now. Project X celebrates and champions dance within the African Diaspora in Scotland through workshops, performances, artistic opportunities, discussions, film screening, a symposium, and more. We platform contemporary and traditional dance forms as broadening perceptions and representation. Yeah, I'll just give you... Well, that was just a little snapshot of some of the work that we do. And basically, our work is kind of across four strands. So we have community, which is our work that we do with children, young people and adults, and that's workshops. We have conversations, so like the symposium we mentioned, but we also hold post-different events and conversations to do with the sector and increasing representation in Scotland. We also have our exchange, which is our international collaborations, which Mellie will tell you a little bit more about. And we have platform, and that's our work to support artists who identify as people of colour and as well as having heritage within the African Caribbean Diaspora. And platform also includes our professional productions as well. Work with young people has kind of come a little, almost a little bit backwards. So we started by doing workshops, and our intention was to teach people in Scotland about African Caribbean heritage and its place within Scottish cultural heritage. So we started doing summer schools with young people where we would choose a theme and we kind of expand on the theme. We do costume making, we learn lots of different dance classes, and we also learn about the kind of chronicles of how traditional dances have led to a lot of the contemporary dances that you see today. And from that we started doing a lot more kind of thinking about carnival as a performance, and also thinking about how we could use the same format to create performances, not just for young people, but with young people. So our next project was called Chronicles, and it was in collaboration with the National Museum of Scotland and National Theatre of Scotland, and we worked with young people aged 15 to 25, who we called our young experts, and we looked at how museums represent history and heritage, and how we can kind of subvert the ways that people interact with museums, and kind of thinking about museums' roles within colonisation and how we can kind of address that in the way that we want to think about what. So this was a travelling performance. It was done in the style of an audio tar performance, so everybody watching had the headsets and all of the writing, and it was written by the young people, and the young people led everyone, sorry, the young people led everyone kind of on a tar through the museum, it incorporated dance and theatre, and it was just a really, really brilliant, brilliant show. And then we also have what were the other pictures of? A carnival. Okay, so then the carnival performances. One of our most recent performances as well was called Ocean and the Gold, a pan-temporary enanti failed, and that was taking Caribbean folk tales about enanti and African folk tales about ocean and looking at how we could kind of rewrite some of those stories based on the kids who come to our groups, kind of contemporary experience of living in a city in Scotland. So that was performed as part of the European Championships across two different outdoor stages as well. I just talked to you a little bit about project exchange. This is a conversation with artists and makers that are potentially not in Scotland. It's kind of a broad term, but mainly we're having a conversation with international artists. Most recently, we've put on a collaboration or a response to a performance called Rachel Young Nightclubbing where we had 14 choreographers and makers that presented 45-second videos in response to Rachel Young's nightclubbing, and our most current project is with Dance International Grasgo where we're platforming an artist from Lagos and two artists from England and one from Scotland. Overall project exchange is just about being able to talk and communicate with people and being aware that there are borders and what that means and how we get people in and out of the country and how we continue a creative dialogue. We are here today with Imaginate to hopefully create a new theatre, children's theatre piece, so we're doing research by watching work and hopefully be able to have a conversation with people in this room or outside this room if you would like to chat to us or see some of our work. Our website is www.projectplatform.co.uk Thank you. Thank you so much. Next up is from Acetay Belgium, Yannick Bodol. Thank you, Sari. Hi, everyone. I'm very happy to present you the new festival that Acetay Belgium has created. It's a very unique festival because Acetay Belgium is a very, very young association. It was created four years ago and before that the three communities, linguistic communities in Belgium did not very connect and we decided to connect finally so what was totally unthinkable like four or five years ago now became reality and we decided in an assembly, general assembly that would be very nice to create a whole festival, a Belgian festival. What does that mean, a Belgian festival? A Belgian festival is a festival with shows from the French speaking part, the Flemish part and the German speaking part. So you see you have three different communities so it's not really easy to connect all those people and since it's a Belgian festival the festival will be implemented in three different cities in Brussels which is the capital of Belgium, in Liege which is in Wallonia, French speaking part and in Kent which is in Flanders. The festival, of course we had many, many ideas and we wanted for several times what kind of name we should take for that festival. So there were B, giant, there were Belgian for beginners there was one I really loved but it was too alcoholic, it was called triple de luxe so if you know what is a Belgian beer, triple beer it was like ah, that's really no. So we decided to call it Barak Belgique the idea is that Barak for Flemish, for French, Francophone and also for the German it means something, you know it's a Barak, it's a kind of a house with lopsided walls it's kind of realistic improvised shelter it's a little bit like Belgium so that's why we decided to call it Barak we really have strong sessions of brainstorming and in this Barak Belgique which will be held from the 8th of November to 11th of November, you can see here so please bookmark the dates in your calendar you will have a chance ladies and gentlemen to watch 15 shows from the three different communities I will not go through all the shows of course because it will be too long but you will find here downstairs the flyers of the festival and also you will find all the needed information on the Barak Belgique.pe website where you have all the information about how to come to Brussels what to do, well mainly what you have to do is to watch shows, to party, to network there will be lots of, of course, Belgian beers, fries you will be able to buy some chocolate for your loved ones so there will be many things to do for those four days you will be travelling in Belgium so not only in Brussels but also in Liège which is like 80 kilometers from Brussels and in Hent, which is like 60 kilometers from Brussels we will organize everything around everything so that you won't feel alone in this weird country don't worry and we all hope that you will be having fun during this festival we're very happy to welcome all on board and all delegates to share with us during the network meeting to share with us concerning the different aesthetic the different languages we have in Belgium which makes the diversity of the country and not on the contrary just to have one small language now there are three languages and more actually so you will be able to watch shows for very small children for adolescents you will be able to show, to see dance theatre with text best takes theatre, installation theatre or any kind of theatre so please bookmark the dates on your calendar and I'm sure you will have a wonderful time in Belgium between November 8th and 11th thank you then next up from the Connect UP EU program Dirk Nellner anything because I can't show anything I want to present you a new European cooperation granted by the EU which will start next year called Connect UP and the leading organization is the University of Akta here in Christianland and one of our partners is the Aktae in Norway in many of our European countries we see that our societies are in a process of cultural social and political division and we that are 14 European theatre companies festivals and two universities have in mind to work against that with our audience to diversify our audience therefore we will produce we want to have festivals but we also think that we need to train our artists the ability to work as a theatre mediator to bring a new type or new type groups to our audience not only for one production so on a long term and that they can mix with the existing audience which is in most of our countries the white middle class therefore we think we need a special effort to train artists and the university will have an e-learning program for theatre mediation which is as you can imagine as e-learning open for others as well and that's why I'm talking to you because we want to invite Aktae members all over the world to be part of that e-learning program we will have three halves beyond Europe where we invite artists for a workshop a week and after that they can work with our European partners on that e-learning that e-learning will be a process of giving a moderation guidance from artists within our group and a collection of direct working examples best practice examples and a change by chat rooms webinars video tutorials so that we hope within one and a half year and that will be the running time of each program we can learn from different examples from each other and the artist will get a kind of a moderation from experts here at the university in Aktae and the university Derby in UK it's even that we didn't start now that I only have a web address for you but you don't find anything behind it but we will have workshops and seminars in Tokyo and the first run of our e-learning program will be in spring 2021 so a little bit of time till then but we thought because we are here in Christendom that we should at least start with you and give you the information then next up from Acetaze Serbria to tell us about a new festival, Diane I'm happy to be here, I'm sorry no worries we'll have a little change of scenery hello we are ready my name is Diana Karzhenich-Tepovac I know it's hard to pronounce it from my previous experience and I'm an actress and I'm a theater pedagogue and I'm president of Acetaze Serbria still and this is one not so hard to pronounce I'm vice president of Acetaze Serbria I'm a playwright and dramaturg at work in an institutional theater in Belgrade called Boško Bułcha and my English is usually very good but excuse me for holding on to this paper when I start talking about our project and that's because we have, can you imagine Acetaze Serbria is one of the founders of Acetaze International in 1965 I have found this in our archive it was a previous I mean we are, you know that we have been some other country that time but it was also another time and it's interesting that we as Acetaze Serbria and Acetaze Yugoslavia X1 we never had an Acetaze Festival Acetaze Serbria is actually now in the last three years trying to find the way how to strengthen the power of the membership and one of the best one is to really make Acetaze national festival so I have wonderful colleagues in a board, they are all women but they are all very keen on working on it, on this festival of the concert and we have worked for two years to make one and it is very nice we had in May the very first some, we had the very first festival in May from 9 to 11 this year and I would like to ask Milena to give you a idea about the concept of it because it's quite different I think so Yes, we think it's very unique because it was made up by two theatre directors, one actress one playwright, two producers and one choreographer that's that's us in our executive board so what so unique and special about our festival it's a national festival that for all ages, for all forms of performance arts for all members of Acetaze Serbia who are willing to take part this year, there were nine productions I think it will just become bigger and bigger and we are certain it will about the concept we don't have a figure of a selector and we don't have a typical jury which we think it's very good our members are all selectors, they all pick one of the productions they think it's the best to participate in the festival and each production is one representative in the jury so after in the end of every festival day all the members of the jury gather and talk about what they've seen every day and that's the way we worked on the community we wanted our members to see each other, talk to each others to get familiar to what the others are doing so we succeeded that we have also another jury it's the pedagogy jury who watch the festival program from the other perspective we have three members of the pedagogy jury and each year we have a different host of the festival so the festival was in Belgrade this year but the plan is to move all over Serbia and different venues in Belgrade also what else did we want to say we just want to say that there are no limits about the genre of the theater performances the only limit what we have been asked we asked our members this is our members festival so what we have asked them just to make the limitation in a year when it comes to the first production it means we had this festival in 2019 based and selected the performances that have been produced in 2018 from 1st of January to 31 of December that means that nine performances we had have been totally different for different age of the children and audiences and also different genre it was a contemporary dance it was also included one completely like this for example performance that is really interactive with the children and it's about the epic you know the whole epic story about our nationality and everything is completely different very very modern and then the classical mainstream thing so it is quite hard it is very hard to talk about different different productions but these people who are coming from different part of the mainstream or freelancers the very modern or very classical theater they have managed at the end of the everyday and even at the end of the festival to make a consensus about what is it and that was the goal to talk what is the theater in Sylvia now and the awards I'm honored to pronounce the winners of our first festival the jury has talked for much time and we couldn't decide between two performances the first one was a puppet production from Novi Sad the youth theater Novi Sad it was based on Jack London's call of the wild from the wild the exact English translation it's a production it's a complete theater with live music with live sounds with puppets, with actors really overwhelming experience and the other I'm very proud to say this in Norway because the other winner was production based on Ellen Luz Kurt Kvova this book for children by the theater I worked in I made dramatization and it's produced by the theater by the theater and the pedagogue also selected this based on Ellen Luz to the world so we don't have many awards only two of them and that's for the main performance in last year and we would like very much to have it like every year each year in different cities and we would like very much to invite you next time when we find out exactly the city you're very welcome to see us and to help us to be seen outside from our country and also to take a part in a conversation with our members of the jury who are really members of Aceter Sylvia that are going to be in the jury next year is that right? thank you very much for your attention is that our dear president okay we'll see if the pictures work but if they don't it's fine so I wanted to talk about Cradle of Creativity which has just happened I've literally just come from Cradle of Creativity in Cape Town and when I look around I see many people here who were at the Congress the Cradle of Creativity in 2017 and it was an incredibly special event that was the closing event and because of the success of that event Aceter South Africa decided to do this mad crazy which is to host an international Theatre for Young audiences festival every two years in South Africa as a traveling festival just to make things more complicated for ourselves of course but the first one was in Cape Town so we wanted to be in a space which we had some knowledge of now having hosted in 2017 and this was a brochure you would have seen and it was an event which had 32 productions across four venues the main venue was the Baxter Theatre we were also in two smaller theatres Magnet Theatre and Theatre Arts Admin Collective and in one of the townships in Lunga at a place called Gugus Tebe and there was international work unfortunately not as much African work as we would have liked we had two African productions from outside of South Africa but it is one of the hardest things in the world to get the funding to bring African artists to a festival and you know we have to find ways to shift that because this is one of the main reasons for doing this platform is to be able to present African work but we had a lot of international work we had of course a lot of South African productions there's a Magnet Theatre production called Rock and Number Cordo Lunga Market Play for 5-6 year olds some early years work you can meet Margot Wood from Sailor Way up in the corner there you can meet Jane who was involved in the Company of Trees song who is on the next generation program some more South African work this is more sort of for the 10-13 year olds and this is some of the teen work this is our opening production Burning Rebellion which is speaking very much to what's happening in terms of kind of change at the moment and it was a very powerful opening this was our closing production Haini the Legacy which is a fantastic hip hop kind of answer to Hamilton but about Chris Haini one of the great South African heroes of the struggle who was assassinated and this was Grigastabe and The Hub and of course there was a conference program Brazil, Russia, India and China all represented and we had a lot of conversations around making work a lot of different kind of themes we had two very important projects within the festival which I'd like to just highlight because they will be ongoing the one is a project to develop dance for young audiences in South Africa we have an extraordinary range of contemporary dance fantastic choreographers fantastic dancers but virtually no dance specifically made for young audiences so we are in a partnership with Distilta and it's been kind of a long process of development and we had around 10 South African choreographers who were able to do workshops at Distilta in Cape Town and then to have other workshops and to see work together and talk about dance for young audiences and this is going to lead into a bigger residency and workshop program which is going to be happening next year and then the second one which was a really exciting project for us was a project with Flemish artists around child participation and we were able to work with three different companies with Bronx with Kuba Heteray and with Company Babri to explore different approaches and different strands if you like within child participation so the child is a creative collaborator in making work the child as a dramaturg to work being made and theater mediation exploring that space of child participation and it was a very rich challenging series of workshops and we are going to continue the process we don't know exactly what shape that will take we're going to have conversations here to talk about it but it was really exciting and this is one of the groups of children who were involved in the project so we had three Flemish artists working with a different group of South African artists and with a group of children of different ages one group was around 8, one group was around 10 and one group was kind of 15 year olds and then of course there were the audiences and I want to say thank you to those of you who gave money to the Bus a Child to Cradle campaign because there they are on the bus coming and you made that possible so thank you very very much but really it is one of the huge challenges of doing something like this in South Africa and we got virtually no official funding from government it was how to support audiences to see the work because it's all very well to have this beautiful work but if only those people with money can pay for it what's the point so it was really about trying to build access as well and then there were lots of other workshops I mentioned some more dance workshops we had a benefit concert also to raise more money in the middle of everything we had some site specific performances and I think what I would really like to say about it is that it had a fantastic feeling it really had such an amazing feeling of sharing of learning of engagement from people and while the size of the event was much smaller than obviously the congress in 2017 it felt like the richness of the exchange was really there so what I want to say to you all is that it's happened once it can happen it can happen again it might kill me but it will happen again and next year 2021 2021 it'll be at the market theater in Johannesburg and one of the best things that came out of this festival was the fact that we got the market theater to commit publicly to hosting it in 2021 and to helping us fund raise for 2021 which is great so it really is a space for intercultural exchange it's a space for you to come and see african and south african work it's a chance for you to work with us in different ways through different kinds of projects if you've got ideas we're very open to ideas we really want to make this an open invitation for you to engage with africa through cradle creativity thank you the next speaker is up is from our next generation program so yeah I'm part of next generation which is an amazing week and I just wanted to come up and talk today because I have written a play and it's a project called if you're infinite and it explores parent-child relationships and it asks who are the parents, who are the kids and who is protecting who and I went to that festival not this year but last year the work there that I was seeing from different countries and different places I found really striking and interesting and there was a company called cabinet K who do a lot of work with adult children together and that's something I'm really interested as well so this I'm going to show you a trailer of the piece which has been supported by a company called fevered sleep who also explore how men and girls dance how men and girls can be together in positive and interesting ways of the stage so I'll just show you the piece and then I'll kind of tell you why I'm talking a beautiful story of what it means to be a child of what it means to be a parent and the ebb and flow between the two I watched it with my beautiful daughter and we went the whole way through it was a lovely way to love each other and I really enjoyed it much enough when is it too much pressure there is so much pressure and there's just risk assessments, forms data collection, allergies and the thing I find myself thinking is I'm not actually worried about protecting the children I know I can do that to the best of my ability the thing I find scary the thing I find so fucking terrifying to be honest with you is what's happened to me the one time that I'm not 100% on it it was just so thought-provoking I think it's one of those things that you're going to talk about it and you're going to talk about it with not just adults but with children as well and anyone in the audience could relate to at least one thing in that writing I work in a school but when he's not wearing his backyard you don't want to put yourself in any situations where you could be vulnerable where you could be vulnerable scared lonely wanting that connection wishing it was different wishing it could change having to do this fucking speech vulnerable end of full stop so so that was just after a week's R&D with the professional actors working with young people and the children we did an audition at that stage it was just an open workshop for young people to come along but the reason I'm here some pictures from the next week of R&D as well you okay just to show some of them just these black and white ones but yeah I'm interested in how adult bodies and young bodies can be together on stage and I'm interested in how childhood is different in different cultures in different countries so and the play is a kind of mosaic of text form scenes of different angles on parent-child relationships so I'm interested in kind of new forms as well and I just think it would be really interesting if anyone wants to like make for a tea or a conversation they could develop your creative practice I could apply for that to come and sit in a rehearsal room or work with someone or have a conversation about I find it interesting just where I am how those relationships are and what it means to be a child and a parent and a teenager but I think I'd find it even more interesting to think about how that could work cross-culturally and what that could teach me or bring to the piece that I don't already know and what the young people would say about that process and how that would be different I'd love to connect with some people in different places that's the main reason I'm sharing it thank you Rachel next up is a member of the Acetage Norway, Yvonne while Yvonne is getting ready this is the last name on my list so if there are anyone last minute who wish to present something just raise your hand or come talk to me in the corner and I'll put you on the list yeah I just decided to raise spontaneously to take this chat very scary so this is the link and you can do that and I'm going to start hello everybody please use the mic because of the streaming thank you hello everybody my name is Yvonne I'm a physical actress working with the physical theater did our language so this is really scary I'm fascinated with materials finding out how to tell stories through the interaction with materials different materials and every material has a quality like every person has a quality and there are stories you can tell with some of these materials and others you can't but what is very fascinating for me is the it's natural law how we relate to materials is also how we relate to people physical laws is not only for materials but also for us but we human beings often forget that so this is my solo performance where I started this kind of work telling stories through different kind of latex balls, different sizes and we can just look at it a little bit yes I think that's it and then I talk and then I just talk over what's happening yeah and I developed and I thought I was an adult but then I was born and they thought it was scary oh yeah about languages not the very conscious person about languages sorry yes, what did I say yes, this was for adults but they came also families did performance and the kids liked it and they thought it was really fun, they understood it and the feedback I got was always well, very different stories, some said it was about pregnancy, another friend of mine he is a theologian and he thought oh it was just like this philosophy about this guy he read about so all these stories came to me so it was very fascinating that everybody sees different stories and then also out there the small kids five year old said it was enough just one little ball because I'm trying to then get control of all these balls so that was very fascinating to me and then I started to think that it's also investigating to the specific audiences so we made a performance for three to six year olds and then we tried out one and two re-olds and then and it is very fascinating how fascinated kids are with objects too and I thought when they told me I should make a performance for these young audiences they should go into the forest and play but then when we tried it out I mean these one and two year olds they were just so fascinated and so with it because I think it is the material it's natural laws that are working on different levels so anyway that's me artistically trying to yeah so I think now we are working on the third one it's for the babies it's the first time we're going to try out that how it works with this scenic material but I would like just to show you when we tried out the performance for the one and two year old the reaction of this kindergarten I thought that was very nice after that experience after that experience I thought I just have to continue investigating in that and sound there's no sound then we have to go back and it's a very simple action I just open a bag with walls 500 of them yeah so that's what I'm working with and I also hope to reach out to most audiences it would be perfect for the festival in Belgium Barak Barak because there's no language but it's stories anyway for all ages so the Flemish and French and the German can understand okay thank you for me presentation made by Sean Lee you here thank you thank you hi everyone my name is Sean Lee actually this is a very very very last minute thing I was actually here because I was attending the presentation for you guys actually I didn't know what was happening then I saw so many wonderful works and I was like I really want to let you know about our company and I really want to create more possibilities in the future actually myself as I'm sorry I have no videos or anything I didn't prepare anything but here is a short introduction about our company we can pass around and you guys can get to know a little bit about us actually myself is an actress and a songwriter and I started to work with this company called Songmark from 2017 the end of 2017 and at the time I didn't know so as I know we were in the previous three years we were doing all the classic things like orchestras and from 2019 we are now building a space for family this is a very new thing for us and I am very excited about that that is one of the reasons that we are here at AAG to see all those great presentations and great performances and this space actually we are for families that's for performances for kids from a 0 year old to 12 sometimes like 8 year old for kids and we really want to build a space like to make families get close to each other that's one of the reasons we want to do that actually my boss he is a very successful businessman and every time we introduce our company or business people know how many theaters we are cooperating with in China and how many shows we are doing but be honest he is not here today actually be honest as an artist myself I really want to let people know what we are really doing from inside out the art side of what we are doing I am not saying the number is not important it is very important in business side I am more focusing on the art side so I really want to let you guys know that even all the theaters we are cooperating it is over 60 theaters in China now it is called Poly Theater one of our biggest cooperation partners so it is not only in the biggest city in China like Shanghai, like Beijing or Guangzhou some of you guys know it is also in some small cities in China probably some of you guys never heard of it so that is the thing that people can't see the greatest art from the world from families in Shanghai or Beijing so that is what we really want to do we want to bring the best art to different cities or towns even China is big every town is like a city because we have so many people but it is a little town actually we really want to bring so many good art into those little towns and into those families and make them more unique and open their mind to have a better life or have a different aspect of art that is what we really want to do so actually we do we don't have any things here but some of you guys from Beijing we like to talk to you in the future in a little bit I do have a business card with me that is the contact thing that you can contact me so if you are interested in you are more than welcome to come and talk to me thank you very much for your attention thank you that is it for today thank you for coming to listen to projects from around the world and for the rest of your festival thank you