 Seven, six, five, four, three, welcome back. You guys ready to rock the world? So what's gonna happen next? We're gonna hear back from all of you and we're gonna begin our transition to tomorrow, which is our big day, right? Tomorrow's when we really start looking forward. But we're gonna hear back today after all of our conversations. And just so you know, my charge is timekeeper. Each of your groups are gonna have five minutes. So at four minutes, I'm gonna give you a yellow card. When you're done, I'm gonna hold up this red card. Why am I gonna do that? Because I was inspired. Tell you what I was inspired by. I was walking around, eavesdropping. I don't know if y'all, some of y'all saw me eavesdropping, but I heard a couple of things. So arbitrarily, I'm gonna pull these out and I'm not gonna attribute them to anyone. First thing I heard. Anglo-Western theater is Arthur Miller, Tennessee Williams and those other guys. People go to the movies. They do all these things. I mean, how much do people spend on soccer? There are tremendous stories written from state to state. Hopefully when I'm too old for this, there are 10 other people willing to do it. So I'm gonna leave you guys with that. Group number one, please step up to the mic. Fantastic and robust discussion. The kind of major theme that really came up for us was this, the conversation around our relationship to the regional institutions. You know, an image that was often described, an image that was used to describe the regional, it was a castle, a kind of castle on the hill, right? And we found that to be a very powerful kind of image. And we had a lot of conversation around how we negotiate our relationship and how artists negotiate that relationship between doing their work and wanting to be in this castle. But we felt like we want to shift the paradigm. We want to change the paradigm. We also had a really great conversation around how are we constantly analyzing our value to these institutions. I turn it over to Karen. So we're making a declaration. We are the protagonist of our own lives. That we are the lead characters around stories. The camera is shifting. We're no longer the main photobomb in the background. We're moving it to the center and we need to own that. And whereas it is healthy and good of the American theater canon. And whereas it is healthy and good for designers and directors and theater makers of all stripes in the Latino world to actually has a healthy ecology represented with individual artists and institutions. Whereas we believe we have powerful origin stories individually and collectively. And the extent to which we are naming those stories, saying them loudly and saying them often is the extent to which we are going to build that legacy, leave that legacy and forge the path ahead. For example, there wouldn't be an Erelina Fernandez with Al Teatro Esperanza. There wouldn't be a Diana Rodriguez a Kinan Valdez with Al Teatro Campesino. There wouldn't be a Crescivo without Hornerstone. There wouldn't be a Richard Montoya without Culture Clash. There wouldn't be a Cano Tirado with our Prepertor Español. There wouldn't be a Nabel Lopez with Al Gala Hispanic. And there wouldn't be a Tanya Saracho with Al Teatro Luna. We celebrated the tools we do have. And the truth is that we have the tools to build whatever castle or whatever house we want to go forward and live in and so on. Done with the metaphor. Good one. Well, it looks like group number one really set it off. So I hope group number two is a good follow-up. Group number two, you ready? All right, give it up for group number two. The first thing around the discussion that was about marketing. And we talked about developing in the whole world about all our world that we live in. And we talked about networking weather and how important that was and how to build certain things. And we came up with a metaphor. And we are going to present our metaphor in a very physical way to you. I do need help. We want to do the Marcha Sacatecas, right? And so I'm going to get started. But you guys, people know it, right? Take it, guys. One, two, three, four, da, da, da. Also meets educating our colleagues. A lot of the time. And we just want to acknowledge that we're educating our colleagues all of the time. And also creating bridges to the community. The second was dynamic modes of using university resources to help and to nurture working artists in a number of different ways, whether that is in terms of production, in terms of us being competent critics, helping you guys out, et cetera. It was really a model of scholar as a patron. The last is a complicated one, but maybe not. I don't have the kick line. It's going to go with this. So. That's my idea. Looking at the timeline behind this, we really want to make sure that we have a Latino history for everyone. So for those of you who don't know this, there are a number of different racialized, minoritarian groups that have a narrative history of our theater. And Latino theater doesn't really have that narrative history. So what we were talking about is making sure that we can write a history that's accessible for everyone that archives our history and realize that it's 500 years before the 1960s, you guys, that we create performance in this country. And one thing that we're very dedicated to is that moving 500 years back actually forces us to acknowledge indigenous and African roots in our culture and performance culture. I've got transitions to the kick line, but I'm about to find out. Just one kick line, one kick line from us to stars. I'm worried about time and taking like, I can't, I haven't even flashed a yellow card yet. I was hoping to do that. So just real quick, he now reminded me to remind us in terms of the composition of these groups and how they were configured initially. So at first we had the regional theater group. Secondly, we had culturally specific groups. And that third group was scholars. As someone said, they perform with their plans, right? Okay, so we have group number four coming up next. And I'm gonna ask group number four to say who you are in terms of your configuration. Okay, group number four, join me. Inclusivity, financial support. So is group number five ready for that? Yes, they are. You can imagine that we had quite an intense conversation. The entire time, it was intense. I think perhaps one of the most intense moments that I will take away from this entire experience. There was three things that we focused on and three things that rose out of the conversation. The first that we were passionate about was our story is the American story. Something we saw this earlier, that we need to recognize that there's a paradigm shift that's occurring right now. And that it's time to own our power and to find power in ourselves as delegates to the larger community and to honor our art. But we are the mainstream. We are the American story and we lead that story. We're multi-generational. And we wanted to talk about how we build bridges across generations honoring those that came in the beginning, at least according to this timeline. Recognizing the wounds that were, what happens to you when you get a wound? You what? Scars? Scars. The scars and wounds that people have from along the way and how can we reach back and honor those veteranos, the playwrights, the master playwrights and heal them and how can the master playwrights stay in long enough so that people coming up recognize that there's room for us all. And that we talked a lot about the conflict between gentle subversion and self-sabotage. That are, now is the moment to form friendships and alliances to subvert organizational structures and to recognize as Julianne's point, so brilliantly pointed out, that we often sabotage ourselves. Now is the moment to take power. And that we're going to ask each of the artists in this line to mention one word that comes from their heart that came out of our conversation. But it's actually legacy. And sisters. Responsibility. Thank you very much. Group number six. Group six! Y'all are dead. Group number six. I have to confess to you that I had a very boring group. After we finished talking to you, we all want to say at one time that issues in the infrastructure in producing and the climate of philanthropy and the institutional funders. So that obviously I'm the person that worked for the American Voices New Plain Institute because I just wrote all those words down. But basically what that means is there are things that are internal and external kind of like what I was talking about in this group that we need to define and address. We need to know what the issues are and as a group find out how we can address that. We need to find power and collaboration in our community both locally and internationally. This is a really great chance for us to kind of meet who's around and see who we work with. Celebrate our abundance because we are obviously a very abundant group. We need to assess where we are in relation to where we were in 1986. Are we reinventing the wheel? Are people that are starting companies now starting companies in innovative ways and are we supporting innovation? Where are we going? When we meet in 30 years, what will we say? I think the quality of what's, you know, work but really getting an understanding of why we do what we do and how we do it. And then there was the issue of visibility talking about the need for visibility and in that came an idea that Olga and I offered which I think is really great that we all kind of flashed on to which is finding a supported amount of money that can allow small companies to join organizations like TCG to help defer the costs of membership to meet more people like us and more models that we can learn from. Goodbye! Let's breathe, breathe. Two, three. Goodbye! Oh, number seven. Group number seven is coming up next. Extra production value. Everybody say, hey! We break it down like this so we discuss everything that is telling me. First of all, we have identity, everything we do, understand what we are usually. We buzz break it down and have a new time of exclusivity. We break it one time like this so we can break the intersectionality everything that we've created. Everything we can be boxed into the normal type of action. We have to break down what it is to be Latino and expanded in a different level. I understand it's really kind of obvious we need to try to cultivate and build a whole new audience. That comes from building communities and rappers connecting all the places and making some plays that matter. The people are connected every time we try to rock this but unfortunately we have those but so little access. That's to give me, thank you so much, team seven. These are our three. Write the check tomorrow. Group number eight. Last but not least, give it up for group number eight. Remember to identify. I'm sure we were all listening actively during those presentations as a group, right? All of us were, yes. What we're going to ask as we come to a close this evening is to just kind of what did you hear during the course of our presentations? Just themes. Just a raise in the hand and then I'll point out in the shower. Yes. Orguyo. Leadership. Dedication. Legacy. Esperanza. Economics. Ownership. Power. Hunger. Responsibility for the future. We'll just end it right there. Garinio. This is good because tomorrow we're going in, we're going to need some Garinio for your program. And so some hope for the future because that's going to be our focus and we want to take this energy, bound it up, right? And preserve it for tomorrow as we go into the big day and I'm going to ask that all of that coming to the south for the course of the evening. Thank you so much for the day I have a little bit of housekeeping notes all over. Tomorrow, a little team that won the World Series at some point around 10 o'clock in the morning however it's expected that 2 million people will descend upon the Commons not our Commons but the Boston Commons about 2 blocks away. And the point is that because it's a lot they actually may descend upon our Commons. And so what we're asking is that you please think about getting here at 8.30 so plan for 8.30 is supposed to 9 because we may find roadblocks and are walking here we may be perfectly fine but we may find roadblocks you may have to reorient take a look at your map your map to get from the hotel to here is in the book and just you know so we can start at 9 but just we know we have we have a huge parade happening oh right on you see lying around the housekeeping aside from this is us and so if you could please support the keeping the house clean that would be awesome it just is less work for all of all the tears thank you and for Jamie to be honest um come on let's be honest we would request that the people who are the plenary speakers tomorrow morning because that's what we started with is a plenary and you know who you are please arrive here but we did say 8.30 but at the latest really aimed to check in with us at 8.45 because there's some tech stuff that we'd love to work through with you and the last thing I have to say is that today is a special day for many people in the Latino community because it's the first day of Dia de los Muertos it is Dia de los Angelitos the the day that celebrates those ninos the children who have died too young and I was reflecting on this and thinking about us as a group of children and I mean that in the best way the childlike way the way in which you've so far approached this work with so much openness and trust and throwing ourselves into it wholeheartedly and this past thing was an expression of that and thank you for that but just that this is the first of Dia de los Muertos and we're honoring Los Angelitos and thank you all for being on Canitos a funny thing happened on the way to the convening there I was No a press release was created and translated and sent out across the country to announce this event it reached Boston City Hall Boston City Hall said wow that's really curious we'd like to honor that in a way can you write something up and so Lala Brillas and a few other folk to write a document that will now be read by Sandra Delgado a little shorter than always city of Boston official proclamation whereas the Latina Latino community is growing rapidly and creating positive impact in Boston and around the nation and Latina Latino theater is a prism through which communities view the multicultural qualities that support understanding and unity among all peoples and whereas the Latino Latina theater comments founded in 2012 is a new platform for Latina Latino theater artists and advocates to support and nurture the stories of Latina Latinos on US stages and is already recognized as a vital force in American theater and endeavors to fulfill its promise to reshape the narrative of Latina Latinos in the US and whereas the Latina Latina theater comments chose the city of Boston as the site for its first national gathering inspired by Boston's history as a city of change and innovation and supported by the hospitality and how around a center for the theater comments at Emerson College and the Doris Duke charitable foundation and whereas Latina Latino theater artists have a centuries long history of contributing major works to world theater and 21st century Latina Latino theater artists are carrying on that tradition now therefore I Thomas M. Menino city of Boston do hereby proclaim Friday November 1st 2013 to be Latina Latino theater day acclamation for everyone on your way out the door city of Boston mayor city of Boston for this incredible honor truly appreciate it Boston strong and finally yes eat I'm sorry here we go dinner I little Robert but we maps are in your program but we're going to walk over together please let's be pretty soon so we can rearrange for tomorrow wine and beer available on us thank you how around again as is dinner see you there thank you