 Good afternoon, everyone. I'm Priya Sarkar, Director of Arts at Knight Foundation. Please let me know if you can't hear me and I'll adjust. My colleague Adam Ghanusa and I will be going through some information about the Knight New Work open call today. And we want to thank you so much for taking time today out of your busy schedules to learn more about this funding opportunity. We are really excited to share this information and we will be doing Q&A toward the end of this hour. So please feel free to drop in any questions you have using the Q&A function in Zoom. And we will try to get through as many of those as possible once we go through the overview of the information. And you may find that some of your questions might be answered as we go through this. So Knight New Work, you may be familiar with it from when the program was premiered in 2018 as a way to support the creation of new work in the performing arts, particularly in dance, music and theater. And we're excited to offer it again this year, but in a way that we have rethought it to really match what we're seeing you all doing in the performing arts. As we all know, the arts have been really hard hit during the pandemic and that so many things about how we experience the performing arts, how we make performing art is changing and has changed. But we have been so inspired to see how so many of you artists and organizations are rethinking how you do that work and you still found ways to create new art to engage with your audiences and share what you're creating. And that's been so inspiring to the Knight Foundation. And so we thought, well, if you all are adapting and being innovative, let us rethink what Knight New Work is for 2020 and how can we support the great work that you're all doing. So that's what Knight New Work 2020 is all about and we'll spend the next little while telling you more about this opportunity. So, Adam, if you could go on ahead and take over, Adam is going to walk through kind of the nuts and bolts of how the program is designed and also give us a look at the application, which is now open and we're accepting applications through September 7. And so hopefully that'll be helpful as we give you some tips on kind of how to think about applying for this opportunity. Fabulous. Well, thank you. Thank you so much, Priya, for that lovely introduction. And I'm really excited to be able to talk about Knight New Work, this opportunity that is an open call to commission and ultimately premiere new works of dance, music and theater or some combination thereof. Now, this is, broadly speaking, a two-phased program. And so the bulk of the time that we're going to be spending today, we're going to be talking about the first phase of this program. That's the phase that we are currently receiving applications for, which you can apply at the link that just popped up into the chat between now and September 7. Winners, people will submit an application, which is a fairly simple application and an effect is a pitch for a concept for a new work. What folks are going to be competing for is a $10,000 prize to further develop that work concept that gets presented in the application. And we'll talk a little bit about what that means. But first, a bit about eligibility. It is individuals, collectives and artists, collectives and organizations are eligible to apply. You do not have to be a 501C3. If you're applying as a nonprofit organization, you do not need to have a 501C3 status. And an artist collective, when we say artist collective, we are referring to an informal organization that comes together for a specific project or for a specific body of work and doesn't have a formal, it's not formally organized. So that could be, let's say, me and my friend who worked together on this particular project, we consider ourselves an artist collective for this particular, or maybe it's a group of friends, we'll consider ourselves an artist collective for this particular work of art. You must be based, currently based in Miami-Dade County. If you're an organization, you will have to demonstrate that you've operated in Miami-Dade County for a substantial amount of time. Now, this proposed work should be of dance, or should be in dance, in music, or in theater, or some combination of those things. The proposed work must be new, and by new, we mean that it has not been premiered yet. Okay, so it doesn't have to be new in the fact that you've just come up with the just conceived of the concept. What we consider new is that it has not been premiered. And most importantly, this idea has to be feasible in the context of physical distancing and other health and safety protocols. What we're looking to support through this program are arts ideas, or concepts for new works that can help inform what a post-pandemic future for performing arts is. Hence, the necessity that it be able to be feasible within the constraints that we're seeing on the ground now. Again, we're going to save, please, if you have questions, you can drop into a Q&A function at the bottom of your screen. We're going to save time at the end of our presentation to be able to answer the questions. We're going to go until three o'clock today. We'll go until three, or until we answer all the questions, whichever comes first. Now, the application itself has a few simple parts to it. It is through submitable.com, which is, if you are familiar with our Knights application process, particularly with the Knight Arts Challenge, then you'll be familiar with submitable. It's a third party web platform that allows you to submit an application and you have to establish a username and a password, and then you'll be able to submit your application. But you can save, you can save drafts on there. And I'm going to show, I'm going to show us that in just a second. The application is fairly simple, right? It has an artist statement. It has asked for people to describe the concept for your new work. Then you have to have a sort of feasibility statement. So how is it that this would actually work in the context of coronavirus? We'll have asked you to present some work samples and any supplemental materials that help may better illustrate your work or what you're expecting, kind of your plan for the conceptual, for this new work concept. And that could be things like, you know, media coverage of previous events. It could be, it could, it could be a selfie style kind of video introducing yourself to being able to talk about yourself in the same words. So we'll see a couple of examples of what that can be when we go through the application, which I'm going to bring up right now. Once you log in, you're going to see that it's going to, it's going, you're going to, you're going to see, this is going to be the page where you'll land on here. You're going to click apply now. Great. It'll open up the application. These, this is a little bit of kind of background information. You, you have a link to the frequently asked questions about some more information about you work, then you submit your address, whatever it could be. This is your physical address. This is a little one, two, three. Easy straight. And then we'll just, we're kind of filling it out with fake information here. And we'll get to the application itself. It's very, it's very, it's very straightforward. Create a title for your project. You can select which type of, which type of entity you'll be applying as an individual artist, an artist collective or presenting or commissioning organization. The questions are all the same regardless of which type of entity, you are applying as the only, the only difference is, for instance, if you're applying as an organization, it will say, you know, it'll ask for your organization. It'll ask for your organizational name, not your, not your individual name. Okay. All right. As we come down, ask if you're based in Miami-Dade County, et cetera, et cetera. These are all dropdowns you put in your website. This can, I'm going to do this from the perspective of an individual artist as much as you'll put in your artist statement is 500 words. This is sort of the five long version form version of the concept for your new work, 500 words, and then you can do like a tweet. We asked that you do like a short description. This is kind of like a tweet length, like one or two sentence description of what it is. And then this, this big feasibility statement here where you have to describe, you know, the plan for the eventual production and premiere of the new work and talk about how it accounts how that plan accounts for the health and safety health and safety protocols. You get, you upload your work samples here. As you can tell, there's all sorts of different files that are acceptable. Um, file types that are acceptable as well as your supplemental materials. There's quite a wide range of file types that are acceptable and listed over here are some examples of what the supplemental materials can be. The rest is just kind of contact information questions. Very straightforward. At the end, you will have to certify that this is your original work. You have to agree to receive communications from Knife Foundation regarding this application and other related news, aka that you end up on our main list. And that you're at least 18 years, 18 years old, and our terms and agree with our terms of views. Once you're done, apply now. You're all done. You can also save your save save a draft if you need to come back at a later time. Super, super straightforward. Now let me get back to this presentation presentation. Now, the applications themselves will be reviewed by an advisory panel of national practitioners. These are people who are national leaders in the performing arts as well as in technology, especially as it relates to the use of technology with respect to the performing arts. They'll read and score applications, and then we'll do a round of interviews with finalists. Winners of this first phase will be announced publicly in December of this year. Winners can choose to be connected to each other and to the advisory panel for his collaboration, inspiration, and motivation. Listen, these are big questions that folks are dealing with. It's kind of uncharted territory. And so we felt that the opportunity to be able to collaborate with to collaborate with our peers, as well as these these group of national advisors was going to is going to benefit. Okay. All right, next. At the end of about a four month period, so sometime in late February, maybe three month period, sometime in late, late February, we're going to add all the winners are going to ask to participate in an optional workshop day, or days really, where they're going to be able to share the progress on their progress in their project with the group as an opportunity to get some feedback and to proudly display all the work that the particular winner was able to do over the previous three months or so. That ties directly into the second phase of this project, which is, which is that projects will be considered for a second round of funding from night to support their full production and premiere by the end of 2021. So again, in this first part of Night New Work 2020. People are applying for a $10,000 prize to be to to fled to fully develop or to develop this concept for a new work of the performing arts. That work the depending on that work is going to be presented to the group is going to be developed people don't work on it, etc, etc. From those projects night will select some to be fully funded so that they can be premiered by the end of 2021 and all total all told night has $500,000 to award for Night New Work so that's $500,000 that's going to be all in inclusive inclusive of the $10,000. First round phase one prizes and the subsequent follow follow. Okay. So, if you need more information about this. All this is in writing, we also have a pretty extensive frequently asked question available. And the link to the application is all online at this website which is kf.org slash new work 2020. Or you can just go you go to kf.org and you can navigate in there and you'll find just again, we're accepting applications now through September 7. No late applications are accepted. There's like no exceptions to that rule. So please submit submit your application and when you do so, try and do it. Try to do it a day or two early because you never know what this with these this stuff. Always something always comes up. So it's better to leave more time available than to wait until you know 1158 p.m. on September 7. Okay, so with that in mind, I'm going to leave this slide open. I'm going to ask to see if, if Priya has anything else that she would like to share before we jump into the question and answers. If not, we'll just get right into it. Thanks, Adam. That was that was great. I would just add a couple of things. So one is very important, which is that we are doing, you know, we usually you usually do these in person but of course with the pandemic protocols for public health safety, we're doing virtual sort of office hours so to speak. And so we encourage you if you're interested in just chatting with us one on one. Please do sign up for those and I wonder if we could ask our colleague Raul to please drop a link into the chat function where you can see where to sign up for those it's just a calendar link and those are just kind of short phone calls where we would love to hear about your idea and just kind of talk it through with you and help you figure out if it would be a good fit for this. Or if you have specific questions about the application. So I think that that's a great resource. We hope to be helpful with that so just wanted to mention that. Thank you for bringing it up. I'm like, this is all my, this is every afternoon of mine for the next two weeks. I can't believe I forgot it. The link to be the link to be able to sign up for for a time slot is available on that same same page of kf.org slash new work 2020 you're going to find everything there application FAQ press release as well as the link to sign up for those those virtual coffee hours. Thank you. 15 minute, 20 minute time conversations that they happen over zoom. Yeah, over the next couple weeks. So thank you. Thank you for mentioning it is on the website. And the other couple things is just to clarify a couple of, you know, two two ideas. So one is that when we talk about how this would be feasible, you know, to happen in a sort of during or post covid sort of world. That's that we mean that, you know, it looks like COVID-19 is going to be around for a bit, you know, they're there will likely be waves of maybe shutting down opening up shutting down it's so it's so hard to know. And so given that it we're really interested in seeing what you all have in mind so that could be physically distanced in person, you know, experiences that arts that shared is shared in that way. Or it could be completely online, you know, it could be a completely digital sort of performing arts work and experience for the audience members, or it could be some kind of hybrid. And we know that we've been seeing some really interesting things happening on all of those fronts and so it's really more about what you envision for the piece that you are working on or that you're interested in creating. And, and you can, you know, we look forward to reading an application, how you envision about working. So that's what we mean by just some something that can actually be created and shared and experienced by audiences eventually, you know, given the restrictions that are probably going to be in place in some form or fashion for the next maybe year or more. And the last thing I just would, and I think some of these I'm touching on a few of the questions that have come in but the last thing I would also just do is, is to echo Adam in kind of underscoring the difference between phase one and phase two. And I think this is something that for those of you who might have been familiar with the process back in 2018. It's a bit different than that. So, this in this iteration of 90 work. The first phase, you don't have to present the work and premiere it. Really, it's about giving you all as the artists, the, you know, $10,000 toward your time, your fees, if you need to rent space to say choreograph or something like that, you know, it's giving you funds toward all of that unrestricted so that you can have the time and space to it could be develop a new work of dance, you know, it could be choreographing it could be and maybe you are rehearsing with someone in some way. It could be composing a new music work. It could be writing a play writing and developing a play. So it could be or some hybrid of those as Adam said earlier. So, it's really that that is this first phase of work that we're accepting you know applications for right now. And phase two, that's where with from the works that results, you know, and those could be, you know, your draft of a play, or it could be a complete, you know, could be a very far along work in progress. So, you know, it could be about three to four months after the decisions are announced in December of this year. In spring of next year from those night would select a subset of those a handful for follow on funding that goes toward the presentation, and it's at that point that those phase two works would be, you know, we would, we would ask for a budget for a budget for how you know what would it cost to present that and and then those funds, or those works would be expected to, you know, premiere in some way again the way that you've envisioned by the end of 2021 so just want to really clarify the difference between phase one and phase two. So, let's see and I think we've got some questions in the Q&A and some questions in the chat as well. So, one of the questions is for music entries how much work is expected to be included in this grant an entire concert worth or a single piece is part of a larger program. That is a great question. I would say we leave it up to you. You know, the duration of any any work. It, it so varies, you know, so I think it probably more depends on, you know, what, what you're envisioning, maybe sort of where you are in the process and what you think you might be able to develop over the course of a few months with the support of $10,000. I think that's, we kind of, we try to leave that open and keep and ourselves keep an open mind as to what what you, you might be wanting to work on and what you might submit. And also I'd like to add to this is not exactly what you're asked with the person's question asking, but it's good to bring up anyway, that there are the, we ask, there are time limits with respects to what you submit as a work sample in the, in the application. And I would say you keep songs, audio files and video files anywhere between like two and five minutes, and then just kind of leave it about that much or else become very difficult to be able to get through everything. That's a, that's a great point, Adam, and I think I might actually just jump to a question that was just submitted that is on that topic, since you mentioned work samples, Adam. A question, is the work samples section intended to share previous work or should the space also be used to share additional media to support the proposed concept. I think it could be either, you know, really the work samples, we are interested in previous work. But if you have something that it's part, you know, what you're applying for is something that's, you're already working on. If you have something that you can share that helps illustrate what your concept is. That would be very helpful. So really this is intended to be, these are intended to be things that help us and the advisory panel of practitioners to get as strong a sense as possible of what your concept is, and maybe what you've done in the past that that leads into this work that you're, you're working on now. The, I would like to think of the, you know, what we're trying, the point you're trying to get across in the, in the application with the written narratives as well as the work samples is to give somebody who has no, who has zero background information on you, as good as a look and feel and taste to what a final product, they can expect. That's, that's the picture that that that you're trying to paint with the with everything that goes into this application. Yes, that's great. That's helpful. Thanks, Adam. Um, let's see, go for it. We've got two streams of questions here. So I'm going to, I'll try this one, which is, since we're talking about the application, it says, you know, with the feasibility statement, what are examples of partners to include? That again depends on the concept that you're that you're presenting. If, for instance, your idea is, oh, I'm going to, I'm going to present this work in a theater, but the theater is going to be, you know, not only is like the how, how is the crew is going to work, but how the audience is going to sit is going to be a very specific setup so that everybody is, you know, physically distance, blah, blah, blah, blah, blah. In that instance, it would be, it would be worth noting that you're working with some with a theater, a place that has the capacity to be able to be flexible, to be able to be arranged in that direction. And that, you know, and if you are working with someone specific who is going to help advise on to what those health and safety kind of measurements or protocols would be, that would be a good person to include. For instance, if your project has a strong tech component to it, and you yourself may not be a real technique, super technical person in that respect, then it will be worth noting, oh, I'm let's say I'll be doing the dance choreography but all the other tech stuff that's happening, you know, we're working with XYZ who, you know, has that sort of background. Again, what in that particular part of the feasibility statement, the point that you're trying to, to, what you're saying is, which you can read the application like this like everything else is like look at this fabulous idea that we have about this incredible groundbreaking piece concept for a new piece of performing art, just new work. And, and here is the feasibility statement shows illustrates that you've thought through the actual like practical logistics of making something like that happen. So I'm going to dismiss that. Okay. Go ahead, you can pick the next one. Thanks. Okay, so one of the questions is, are 2018 Night New Works winners eligible to apply again now in 2020. I'm going to give a broad. I'm going to give a two part answer. So one is that I think if, if your project is complete, then I think it could work for for you to apply again. But I would encourage you to reach out to Adam as the relationship manager on your Night New Work grant from 2018 to discuss the particulars because I know that so many of those works were slated to premiere this year and 2020 has been thrown for a loop. So, so in that sense, I would really encourage you to just kind of email Adam and and, you know, we can, we can kind of take it from there. Does that sound good to you Adam? You can give me a thumbs up for. Yeah, that's great. It's not that there's not that many people on that list. Exactly. I'm happy to do it. Cool. Great. You wanted to you want to choose the next question. Okay, so here's a question that says, you know, can, can you submit an idea of what was considered a prelude of already premiered work or an extension like a part two or a sequel? I would say if that sequel hasn't premiered then it would count as a, it would count as a new work. So, sure. That was an easy one. Yes. Okay. Maybe I'll choose one Adam that I think several people have asked. So, could you have a team made up of Miami-Dade, a Miami-Dade artist or artists collaborating with art and artists or artists from elsewhere. Yes, that, that is fine with us. I think the lead applicant or group needs to be Miami-Dade based and by lead applicant that person should have a, that person being you should have a really significant, you know, lead role in the development of the work. It's, it's okay if you're collaborating with folks elsewhere and you, we would just like to know who those folks are or if it's a group from elsewhere, let us know who they are and you know what, what role each collaborator is doing. If you're applying as an artist collective, you will be asked to list the names of the people that you consider part of the collective and kind of like what their specialty is or what their, what their particular role in the, in the, in the project is. Sounds good. Adam, do you want to choose the next sentence? I mean, next question on the list. Sure, and I'm going to be muting myself on and on, because I have an unruly toddler in the room next door. You know, trying to keep the, keep things professional. Okay, so here's what I said is, can the new work be a continuation of a series, e.g., a music festival or master class series that has taken place in the past but is now being reimagined for the COVID world. I think, sure. We're okay with that. I mean, one of the, and here's, here's the reason why I say sure. But we're looking that we're, that we're hoping that will come out of this experiment or these experiments that we're going to be funding is models that models for the performing arts that could inform other people's work, right. So like, in other words, every every performing art presenter performing artists in the world right just about in the world right now trying to figure, figure this out. If some of the experiments that we've funded that night has funded here in Miami can serve as models for the rest of the world, that would be a massive, that would be a massive success on our part. So I'm going to say, I'm going to say yes. Adam, can I just add one thing to that? I agree. I think as long as the, the focus of the application, the concept that's being developed application is the work itself. So it's the, it's, it's the content and not necessarily like the structure or event. So what we're interested in through Night New Work as opposed to perhaps Night Arts Challenge projects that you might also be familiar with is not necessarily the just like the events of how, how they're presented and experienced like we're interested in how eventually the work will be experienced and how that would be presented. But what these $10,000 prizes are meant to do is support the development of the content. And so I would, that's the, that's the sort of one piece I would add to, to what Adam said. Great. Thank you. And then I'm going to, I'm going to pick up next one because I got it right here in front of me, which is how many applications can we submit from, we got a couple of different versions of that question. That's one application per person. More specifically it's one, and it's one application per email. So, so please make it count. Go ahead, Priya, your choice. Sure, sure. Let's see. I think it would, if the commissioned work is the part that would be a fit for this, for this open call. I would say this is one where it might be helpful if you were to schedule one of, you know, one of these one-on-one chats that we have available just to get into the nitty gritty, but based on the description here, I think that that sounds like it would be, would be eligible. Okay. Now, we have a couple of really great questions here. Here's the next another one that says, it says, you know, for the actual premiere, are you offering any additional funding support to a presenter. So, if the concept that's developed in phase one gets selected for for full funding, follow-on funding in phase two, there is going to be, there'll be a budget involved. So, it would be much more along the lines of what, of the conventional kind of grant proceedings. And so, as part of that budget, there's going to be money to cover all the associated that would cover the associated associated expenses with the premiere. And that part of that would be towards support for, for the presenter, you know, for everybody else that's involved in the marketing and et cetera, et cetera, et cetera. Can I add something to that? Yeah, of course. So, this kind of relates to, there's another question that was asked about how many projects would be selected in phase one. And so, in phase one, we anticipate that likely 15 to 20 projects would be selected. It really depends on what comes through and kind of, you know, just how, how, how everything shakes out. But our, our guess right now is that about 15 to 20 projects would receive $10,000 each in that of those initial unrestricted funds. And the remainder out of the $500,000, you know, potential dollars that we have to award through this open call, the remainder is what would be available to go toward the follow on funding to the projects that are selected in phase two for presentation funds, for production funds. And then we have a couple, we had, we had a couple of questions about the sort of evaluation process. So I can get into, I'll get into that really, really quickly. And so, so we have each application is going to be read by, I don't know what the number is, but it's going to be probably at least six people are going to read each application. And maybe even more. And those applications get scored evaluated along four dimensions. Right. And so, first dimension is kind of around artistic, artistic rigor. How is there a real rigor to the work? Is there a sort of thoughtfulness to the practice? Is it connected to, is it connected to a lineage of artistic, of artistic thought and work? Does it display high levels of craftsmanship, that kind of thing? Then the second dimension is around artist voice and vision. So does this person have a very clear voice? Do they have a unique perspective? Are these, are these stories, are these types of stories very, very important for one to understand if they really want to understand what, understand Miami and its people, its culture, etc. The third dimension is around, you know, is this thing feasible? Like, does it, does it, does the application demonstrate that the applicants has thought through the practical, logistical considerations to make what they are proposing happen actually happen. And then the fourth dimension is, would this have, would this work shape the performing arts industry? Like, is this going to make people think differently about how it is that they can present work? Or how it is that they present dance, for instance? Like, does this have, does this particular project have the potential to have a transformative impact to the field as a whole? And that's the, that's the four basic, four basic areas there. I hope that answers people's questions. Okay, we got about 10 minutes left, and we got a whole bunch of questions. We will just kind of like, kind of, I think, I think some of them, we've already, we've already actually answered. We have some repeated questions. So, so along the same lines. Another question about the process is, is about just talking about the judging process. So, Adam, do you want, I don't know if you want to kind of walk through a little bit, how, how that works? The judging, the judging process, also we have the four, you know, you have those four kind of axes. And, and the evaluators, they're framed as a question, where it's like, does this project, you know, I can't remember the exact phrasing, but it's definitely effective. Does this project demonstrate artistic rigor? And then the end, and then, and then the evaluator responds as like, definitely yes. As like a maybe leaning towards yes, maybe leaning towards no, or definitely no. And each one of those answers has a different numerical value associated with it. And then at the end, we tally, we tally the, tally the scores. And from there, there'll be some kind of natural breaking point. We'll take, we'll probably take, you know, the top 40, 50, something like that. And then we're going to do interviews. We're going to do interviews with folks, just a quick conversation just to kind of get a sense of the people that we're talking to, you know what I mean. At the end, what we're trying to do is we're really like recruiting for like, for a whole cohort of people, not just, not just, not a, it's not a collection of individuals as much as it is as a cohort of people. And, and then from those, those interviews will make a final night staff will make a final decision on who those first round people are. And then they'll be sort of similar process around the second second round that is a lot of a lot of evaluation and discussions and that sort of thing. Thanks, Adam. And one thing I'd add is that the panel, the advisory panel of practitioners in the various disciplines, they'll, they also participate in the evaluation of the applications and discussion of those as well. And then the ultimate, ultimate fault in funding decisions are made by night staff, or I should say ultimate funding recommendations are made by night staff, and ultimately approved, the ultimate approval comes from the board. That's another, another question. There's some questions about what, what types of things could be supported by the $10,000. So this is meant to be unrestricted in support of you as you, you developed this work so you can pay yourself and artists who are involved in the development of this work. You could pay for space. You could, you could pay for expenses that are incurred, you know, in the development of it, you know, outside of even space so I mean let's just say there's some sort of technological, platform or something that you're using in the development of your work that's a new expense for you or it's critical to what you're doing that qualifies as well. So it's really meant to be a flexible $10,000 that that you can allocate as you need to, to, to, to work on this piece. There is, there is the $10,000, the $10,000 can be, there's only really two, two restrictions on what the money could be used for, and that's from the IRS. The first one is, you can't re grant them, you can't re grant the dollars to another so you can't, you can't try and act as a, as a kind of a pass through to re grant the, re grant the dollars. The second one is around travel. I think it travels as far as it gets a little bit a little bit dicey, but everything else that is involved with the practice of with the practice of art making or the pursuit of art making is a charitable duty in the eyes of the IRS. So, like Priya mentioned, that means you can take the $10,000, you can just take it as income, and then use that money by groceries, pay rent, blah, blah, blah, whatever. The money, the money can be split between you and people that you're collaborating with. That's fine too. You can have the money go paid directly into a space rental or two supplies. Anything that is anything that is linked to your, to your practice as an artist is okay. Cool. So I'm just looking at the last few questions we have. So, another question is, let's see, if we're able to have two presenters willing to premiere the work. Are you okay with that. I think we're fine with that. I don't, I don't, I wonder, would both of them consider it a premiere if they're two different organizations? That would be a logistical question I would wonder, but we, if you have multiple presenters who want to show the work, more power to you. That's great. You know, we, we, we are interested in how you are going to get the work out in the world and how people will experience it. Let's see, what if a dance is based on the tenets of a literary work? Should the work be abstract? I think it's fine for a dance to be based on the tenets of a literary work and should it be abstract? I don't think it has to be abstract. It may, this one, this is where it might be helpful to kind of understand the concept better in one of the one-on-one conversations. But just based on those couple of questions, you know, we're, we're open to many, many different types of, of works. So I think we don't, we don't really have parameters on, on those aspects. Yeah, there was a, there was a question that we got in the, in our last information session with respect to, like, our sensibility on specific topics or if they could be risqué in their, in the concept for the new work. Let me tell you, you're not going to offend anybody over here with, with the particular subject matter that is going to be that, that you'll be talking about. I mean, Knight is not in the business of telling, of telling artists what to make and what to say. And of course, a belief in the First Amendment is, is a core, it's core to, to Knight's mission and one of the main, and one of the big reasons behind our funding of the arts. So you can say, you can flex your right as Americans to say whatever you want. So another question is, what a project that seems like an arts education program online that combines as benefits artists in all the areas of performance covered by the application, music, dance, theater and other art forms fit in this application. So the combination of the different art forms would, would totally be fine with this application. The key is that the, that Night New Work is supporting creation of new artworks by artists. So that's, that's the focus of this. So if it's an arts education sort of curriculum or, or a project that's more about arts education. Then it probably isn't a fit for this. It's really more about, you know, artists who are artists or organization that's creating a new piece of some kind, or collection of pieces. If you, if you still have questions where it feels like, you know, maybe, maybe it still could be a fit. Again, I think, we encourage you to do one of those conversations with us where we can really understand the details of what you have in mind. And there's still many, there's still many slots available. So don't be shy. Just to be a quick browse at him, but I think we may have actually answered all the questions. All the questions or categories of questions. I think we've. Yeah, I think there's one one last one I'm seeing here that's new and then and then we can sign off because we're getting pretty close to three o'clock. So it says, it says, you mentioned Miami and coven should the work be based on something about Miami and what is happening. Well, I think that goes back ties in very nicely with my, the comments I just made with respect to the first amendment. We don't tell people what their work should be about granted. So it doesn't have to specifically be about Miami and it doesn't specifically have to be about what is happening in as in as much that the, the themes or the topics covered in the piece don't have to be about coronavirus. So being said, the piece has to work in the context of the pandemic, and the restrictions that that's put on the way that we can experience performing arts or how we can create the performing arts. Yeah, well said. I'm just seeing one more. Oh, sorry, one more. I know, which is probably a good, good one to close on, which is will this info will the info session recordings be posted publicly. Yes. In fact, our previous one is already posted on the website and this one I think I believe will also be posted. It's not much the same, the same information. So yes, you would be able to access this reference this in future, if you want to take a look back. Yeah, great. And so, and so with that, I want to thank everybody for taking the time to to be with us here this afternoon I know if you got kids right now it's crazy for you. So we appreciate it. Thank you, Priya for for joining me. No, thank you. Thank you all I just want to echo Adam's gratitude for for you all for what you're doing out there, still making art. I really appreciate you and appreciate that you took the time to learn more about this opportunity. So thank you. Thank you, Adam. Thank you, Raul, our colleague who's behind the scenes. And, and we look forward to to staying in touch and learning more about what you're working on.