 Could the music be cut? Great, thank you. Hi, everyone, and welcome to the second session of Our Bodies in the Commons. It's really lovely to see you all here today. Thanks for coming, even though the sun is shining out today. It's the first time we've gathered in three years. And personally, it's the first time I've gathered as a part of Performing Borders, because I joined during the pandemic. So it's really nice to meet friends that have been with the platform for a long time. Hi to the people also joining us on the live stream. For those of you that are new to Performing Borders and don't already know us, we're a curatorial research project led by Xavier de Souza, Alessianetti, and myself. And my name is Anai Sarabia-Ebreda. My name is Anai Sarabia-Ebreda. Thank you. And it's a project that explores the relationship between live art and intersectional and transnational borders. We're all here for the reading karaoke wrestling words, a session that takes our second e-journal, rallying the commons as its starting point, in the exploration of commoning and communing, moving beyond disembodied discourses of care and solidarity to suggestions of practices and models that bring back material, bring us back to the immediate, and also bring us back to our bodies. We're joined today by Yung Sik Choi, who is going to be our guide for the afternoon, as well as e-journal contributors, Helena Walsh, and Ximena Alarcon Diaz, as well as Harron Morrison, who will all make interventions this afternoon. You should all have a handout. And if not, there are some more over here with information and a QR code to the e-journal for you to look at now or later. Today's session will run between 4 and 6 PM, after which we'll end with a short screening of a performance to camera. As you will see, we have VSL interpretation. If any folks need it, please feel free to move closer to the lovely Debbie and Rachel, who are supporting us here today. And if you're sitting elsewhere and would like to move up front, just let one of us know and we'll make space for that. Live captioning is also available for the audience online. Thanks to the National Captioning Institute. And just before we begin, I'm just gonna do a couple of notes on the venue. So our host, BAC, is a relaxed venue, which means that you're welcome to move and make noise, and you don't need to feel constrained by the context of a theater. You can come and go as you need from this room, go to the bathroom, go get some snacks, go get some water, and that's totally fine. That also means that there might be some late joiners who come in, so yeah, be prepared for that too. And there's also a quiet space on the first floor of the building if you would need, and if you would like one of us to take you there, either ask a PV person, so that's me, Shav at the back, Ale in the lovely yellow, or Ella, who's also at the back. So any of us can help you access the quiet space, just let us know. The last thing is that there is photography during the event, so that's Jane over there who will be taking some photos of the interventions and of the afternoon. We hope that's okay with everyone, but of course, if you don't wanna be in images, that's completely fine. Just kind of signal with your body or let Jane know verbally that you would like to be excluded from the photos. Yeah, and that's how you can communicate that to us. We also have live streaming in place, as you've seen the cameras at the back, so that's what those are for. And those are being streamed onto HowlRound Theater Commons, which is really cool. The final thing is that we do ask that everyone in the audience is respectful towards each other, towards the performers, and towards the staff, and that everybody in the room, as well as online, is collectively trying to build and respectful of a safe space or as safe a space as we can possibly make these shared spaces. So I think that is everything on my list. I might, Ella, is there anything else you would like to add before we begin? Great, so I think that's everything. Yingsuk. Hello. Hello friends, dears, and darlings. Welcome everyone. Everyone, I mean everyone in this room. Physically, spiritually, and those in our hearts. Welcome everyone to Rustling Words, reading karaoke. But what is really reading karaoke? Let's first talk about the usual karaoke, as we know. Karaoke is not really singing competition to verify who's the best singer in the room. It's often joy practice. It's often the opportunity to take out what's lingering in our chest through singing, use your repertoire. And crucially, it comes with a trust. Trust upon people in the room that they would cheer for me. They would be empathetic. They would be emotionally present to my singing voice. So we're gonna apply this intimate care structure to our collective reading. So that's the reading karaoke. We are trying to bring together. So don't just fold your arms and sit back. We will need the voice of every one of you in this room. And so now we're wondering, what is our repertoire tonight to today? And as we know, first of all, we are here to celebrate the performing boarder's second journal, Relling the Commons. So based on that, we have a fantastic lineup in our reading karaoke book. First, we have a set of collective reading sections by using the extracts from the articles. And these sessions need all of your voices. We also have three fabulous artistic contributions from Elena Welch, Harron Morrison, and Jimena Alacundias. Elena Harron-Himena will introduce embodied readings through the acts of domestic labor, sonic ritual, and old factory reading. How exciting. Yeah, microphone is exciting. Yeah. And of course, because this is reading karaoke, and of course the stage is open for anyone who wants to share their own reading. It can be your own writing, or it can be any prompt you want to share at this moment in this room. So think about it, yeah, take the moment. So next slide, please. So we will start with the first set of collective reading. It's kind of a little word game involving the extract from the journal introduction written by the performing voters team, Anayi, Alacandra, and Xavier. As you can see, one word is a redacted. And our job is to guess or imagine or simply replace the word to reclaim this blank space. The hint for this word is this. The hint for this word is, so let's read this text out loud together, like a sing along, and replace the redacted word. We do your long end of day tiredness kind of sigh. Shall we try the sigh first? Three, two, one. Amazing. High quality audience. So we're gonna read the text and then replace that redacted part with our sigh. But before that, think of the pace of reading. Not everyone has the same pace of reading. And to many of us, English is not mother tongue. And also some of us have dyslexia. So listen to other voices as well while you're reading through this text and find the kind of white pace of reciprocity. So ready to read along? Because this is not karaoke, we don't have any backing track. So this bad will be our kind of signal to commence our collective reading. Yeah, ready? So I'm gonna chime three times and then we all start reading together. So Raleigh, I'm a lucky boy. The theme of this year's sense from this process of rallying together, of harmony and community, the obligations of something better and the maintenance of other ways of being. It is a movement away from disembodied discourse towards actions, gestures and gatherings that even for a moment, let us consider what we can do with only harness our resources, time, our bodies, and care to connect to the positive end. Almost ironically, putting Raleigh and the comments together felt more than the heart. Because as it turns out, that the comments are, but as it turns out, we're in a state where we're supposed to ring even more true. It's a hard smash but the fragments will rally. Beautiful. Now, reflect what your comments are like and how they are doing currently and think of what word could sum up or represent your comments right now. There are small papers and pens around. You can write down the word in your mind regarding your comments and how they're doing and then put it into our collective intelligence box that we'll be circulating around. So have a moment to think about your comments. What are my comments or communities? I mean, comments can start from our own body. Can you also please think of the sound that corresponds the word you are writing on the paper? And of course, while we're thinking, writing in and gathering all our answers together, the microphone is open for the audience who wants to try the reading karaoke. So don't be shy. Can you circulate the box so to collect the words people wrote? Fantastic. Okay, so maybe I'll need your help tonight. Yeah, so what we're gonna try is to make up collective poetry reading by randomly picking up the word and whoever wrote that word also needs to make that corresponding sound and the rest of us will emulate that sound with a great deal of empathy. So the poetry writing kind of rolls in a pair of words and sound. So the words, singular sound and the emulating collective sound. Shall we try that? Yeah? Okay, this is interesting. The commons are intimal. Int, int, int, int, int. The commons are threatened and important. The commons are stolen. Commons are peace. The commons are unbearable. The commons are messy. The commons are the sound of held breath. The commons are viving. Zzzz. The commons are dispersed. The commons are hopeful. Hey! The commons are depleted. The commons are joy. The commons are exhausted. The commons are reswinding. The commons are friendship. The commons are still fighting. The commons are happiness. The commons are feeling. The commons are commodified. The commons are waning. Again, the commons are exhausted. Commons are life. Commons are porous. Commons are liminalities. Commons are take care. Commons are don't forget to breathe. Commons are together. Commons are open-mindedness. Commons are emotion. Commons are my body. Commons are waiting. Commons are dispersed again. Commons are displaced. Commons are dormant. So what was the original word, redacted? Can you move to the next slide? And stroke any key to reveal? Yeah, yeah. Our commons are exhausted. I cannot find any better word than this right now. I mean, in the time we're living. Our commons are fucking exhausted. And Elena's contribution embodies our exhausted commons through a performative reading of undervalued, invisible, and almost never-ending labor of care. Here's Elena's reading invites, audience participation in the series of acts. So prepare your hands get dirty. Elena Welsh. So there's a lot of work to be done today. And I hope that you will work with me in solidarity. Feminists, artists, and activists, make care visible. Make labor visible. Make resistance visible. Performing care, performing labor, performing resistance. Performing care, performing labor, performing resistance. Somebody like to come and help me wash the laundry? Thank you so much. Here's an apron for you. Feminists, artists, and activists work collectively. Create networks of care. Forge solidarity across borders. Fighting for labor rights. Fighting for representation. Fighting for reproductive rights. Would somebody like to come and help wash the other laundry? Wages for housework. The Gorilla Girls, Women's Art Action Group. Northern Irish Women's Artist Group. Irish Women's Artist Link. Irish Women's Abortion Support Group. Speaking of Imelda, Array Collective. The artist campaign to repeal the Eighth Amendment. Feminists, artists, and activists have kicked open the door of cultural institutions. Demanded visibility for women and marginalized identities. Challenged patriarchal systems of representation. And all the while, and all the while, we fight to keep this door open. To hold it open. To hold it open. To hold it open. To hold it open. To hold it open. To hold it open. To hold it open. Would somebody like to come and mash potatoes? Cultural work is often voluntary. Cultural work is often unpaid. Cultural work is often precarious. Cultural work is often insecure. And there's a cost of living crisis. And there's rising inflation. And wages have stagnated. Would somebody like to help with the grazing? Thank you. And all the time, we are washing, cleaning, mashing, cooking, cradling, washing, cleaning, cooking, mashing, cradling, washing, cleaning, cooking, mashing, cradling, washing, cleaning, cooking, mashing, cradling, washing, cleaning, cooking, mashing, cradling. Would somebody like to cradle for me? Washing, cleaning, cooking, mashing, cradling, washing, cleaning, cooking, mashing, cradling, Washing, keep cleaning, cooking, washing, cleaning. Maybe, maybe, maybe we should strike, strike, strike, strike, strike. What are we doing? Thanks, Elena and the audience who participated. Strike. It is quite emotional, isn't it? Just looking closely, you know. So in these exhausted, messy, marquee commons, care becomes a highly political matter because it becomes about how we make our space and time and more crucially how we relate to one another. So here comes the second text. Next slide, please. The second set of collective reading. Oh, I forgot my. The reading is coming from Hebalty, Revolutionary Friendship as Radical Care, written by Eric Elif Sarikhan and Dilla Derrick. So let's read our first together. So I'll chime the bell three times again. Of the movement to one another, consequential and personal commitment, the human independence of intense bombardment, Kurdish guerrillas describe how this locality gives them the determination to continue to fight against the otherwise overwhelming right for the second largest NATO army. The locality is not incidental to the way the Kurdish movement organizes itself, but rather it's an essential foundation and is self-dependent for any organizing structure to function. For this reason, community, there is much to learn from the capability as a revolutionary method for radical care. Great, so for this round of collective reading, we can think of various methods of radical care. What methods make us to stop, pose, and turn our heads around for better taking care of ourselves and others around us? What methods of care could go against the grain of capitalism that keeps reducing our bodies, lives, relationships, and commons to mere resource for profit-making? It doesn't have to be the grand idea or theory or discourse. It can be simply your regular drinking gathering. It can be a cooking recipe linked to your heritage. It can be your allotment practice with your neighbors or simply WhatsApp message, WhatsApp group message towards your effective group. So again, write down your method of radical care, whether small or grand, on your paper, and then we'll gather our collective intelligence together again. Yeah, the methods of radical care. And I mean, how do you take care of yourself or others? Or how other people take care of you? It can be very small thing. You don't have to write sound, just the method, yeah. Yeah, so just let you know whenever a microphone isn't occupied, it's all yours. So this time, we're going to pass around this box and then each audience will pick up the method randomly and then read out loud so the microphone can travel together. But between the words, I'm going to chime the bell just to provide a little space of digesting the method. We can start with Elena. In no saying yes, making time, being kind, closing one eye. Voice messages, texts, sharing food, listening, holding space, sleep, stretching, meditation, hugs, sunshine, sounds of rain. Accepting food, eating together, harm reduction. Mutual aid. Checking in, listening, not advising. Cooking. Attunement. Gathering together and collective singing. What if you rested instead? Refusal. Representation. Allowing space for ranting and vitriol. Sharing moments of joy. Pramiscuousness. Drinking tea together. Listening to others and others listening to me. For me, radical care has been solitude. Therapeutic chilling time with the cat tickling her under her chin. We should take breaks from work as often as we can, and we should help others to take breaks from work. Friendship. Ethical foraging. Cooking for others. Thank you. Having solidarity with others, having each other's back. Is sleep enough? Is sleep enough? Feed each other, strangers, even better. The nap ministry, rest to resist grind culture. Yeah, we can carry on, yeah. Fostering spaces, relationships with ethical, radical communication at the priority. Slow walking, breathing, listening to everything, everyone without judgment, meeting friends every weekend. Group cooking and group eating. Walking mindfully through the city. Organize your community outside of hierarchy. Picking up my friend's prescription from the pharmacist, calling them when they need company, giving them a place to sleep when they are homeless. Reading for pleasure. Great, what a treasure box. So keeping all these beautiful methods of care in our hearts, we're going to take a 15-minute break. But this is also a fair chance to engage yourself in all-factory reading offered by Harun. Harun, in this journal, Rowling.com, has Harun contributed a chapter about alternative reading and embodiment of colonial histories. So let's find out how the particular smell invokes or even dictates the histories and our memories around the histories. So please encounter Harun's offering and have a good break and come back by quarter past five. Did you have a good break? I hope you had a chance to engage yourself with the Harun's all-factory reading. And I forgot to say what it was about. But it could be kind of a surprise if you actually tried all the collection of different scents. Harun basically tried to bring the collection of smells that are related to popular imagery of a Caribbean island. So yeah, basically trying of kind of invoking these stories and memories and our kind of popular imagery around a certain geography, because we all know the smell has a connotation with a certain ecology and the geographies and therefore the, you know, the histories and stories connotated to certain ecology and geographies. So if you haven't, please try and, you know, find the moment to engage yourself. So the second part of reading are okay. Going to share readings about resources. Very important, isn't it? Resources and collective agency and the practical questions around the care, especially for the cultural and arts practitioners. First, resource. To read the comments, we need the resources, but not the resource defined by our bank accounts or institutional fundings, but the one that radicalizes the very idea of resource itself. So in the journal, there are two articles suggesting alternative reasons around resource and budget. Jackie Tan wrote budget commission that touched upon the cultural and social dimensions of budget. And question of funding wrote about dyra. Dyra as the idea of circulating communal economic values and how we can transform the idea of debt, debt into a positive narrative of community building. It's interesting, isn't it? Debt into community building, which forms our last collective reading session. Can you move to the next slide, please? Yeah. So, as we all learned, we're gonna read that together after three times of the bell. Using Dyra, the engagement process of circulating debt, debt becomes a communal resource to be injected to community needs who are part of it. We all are indebted to someone to sustain our living and practice. So let's take a moment for this. Who are my communities and what am I indebted to them? This acknowledgement of indebtedness and sense of gratitude are often what makes us resilient and celebratory as a community. Who saved you when you're in the dark place? Have a moment to think of your critical debt and write a short story of your indebtedness in a few sentences. So you can find a small paper and a pen used to before. Yeah, I mean, the story of indebtedness, that, yeah, who are you indebted to? So try to make a simple short matter of fact because sometimes the story of debt can be highly emotional as well. If it regards to a person, maybe you can spell out the name of the person. If it regards to the certain community, yeah, just spell it out with a sense of gratitude. It can be very particular moment as well. Someone says hello and how are you? So simply when you're in a really dark place or someone asks you to do something together, it can be a very particular moment with a particular relationship or with a particular someone. I guess many people wrote down their story, so I'll chime the bell as an invitation of your story because I think the story of indebtedness is quite personal and emotional, so I think you should keep that story to yourself. So instead of circling around the story, I'll invite for you to share. So whoever wants to share, just give signal to have microphone. Does anyone, Anay, is a wireless microphone around? Yeah. I am indebted to the people before me that made it possible for me to exist authentically. To love who I love. I'm indebted to the people that fight for justice now and embody the potential political horizons I dream of. I wouldn't be the self I am today without them. I'm indebted to the community. I'm indebted to my mom. She brought me to points of great learning when I needed it the most without me realizing it. I'm indebted to my friend Eva Friedman. When she asked me, do you want to do a fun workshop about the history of alcohol? When I was such an adult mom with a two-year-old baby. Yeah, and we built illegal still. That was the best moment of my life. I am indebted to the warmth and kindness of a stranger called Danny. When I locked myself and my toddler out of my flat without my keys, the woman house sitting in front of my neighbor welcomed me and my toddler into her home, gave me tea and her baby's buggy for my toddler to sleep in. I'm indebted to my friends, two of them who are actually sitting next to me, who visited me in hospital, who supported me in the scarier stuff. I don't know if you've heard that before. I'm indebted to my parents, but this morning, or maybe it was yesterday, I was thinking Alessandra Chanetti has supported me in so many ways. I wish there was something I could do for her. I'm indebted to all of you for listening. Great, I think it was quite great moment. Also quite emotional to think about how much we actually indebted to people around us and how much support actually we're having from them. Throughout rainy days of our lives and even if the life looks perfectly fine and service sometimes the inside is not like that. So yeah, we need to have that support and we need to become that support. Yeah, so it's beautiful for sharing your story of inductiveness. So speaking of inductiveness and community building through it, I think the sense of collective agents is such a foundation for this community building through the sense of inductiveness. So the next contribution is from Jimena. Jimena will take us through the sonic ritual where we can build our collective agency temporarily at this moment right now. Jimena Alacondias. And you will need to scan the QR code to take part in this making of a collective agency. I'm really happy to be here and also about being indebted to listening. I think it was an amazing introduction, chance introduction to what will happen. So I will first invite you in your phones if you can just open this QR code. You just open it, you don't need to do anything else at the moment. Just to be sure. Okay, and just to leave your phone. Relax, so invitation now. We are going to do a kind of a warm up. The ones who feel comfortable standing, I'll invite you to stand up. The ones who want to remain seated is fine too. So just to be here with our full body. So I'll invite you to, even if you are seated, just to have your feet shoulder distance apart. Just to be here, bring. Feel your feet on the ground, the connection. And with your right hand, I'll invite you just to do some little tapping on your left shoulder. Recognizing that part of your body is between top and carries. And then we go down, down the arm, just gentle and firm so the body know we are here. And then we come back to the other side with the circulation. And then we invite the other hand to do the same with the other side, okay? We go down, take our hands and just warm. Lots of caloric energy, more than the one that we already have. And then with our fingertips, we just tap our foot, the top of the head. And then we go back to this part here. Taping. And then we come back for the head and the temple. And now with these warm hands, we are going to carry this area of the kidneys, which is really big area. It's a nice area to rub when we are kind of in fear. And they are known by Chinese traditions as the gate of life too, so it's good. And now with the same hands, we just carry now and it's the biggest muscle in the body. And then bringing more life here, all this energy and just feel the body. What woke up, what is dormant, just breathe. So in that state, I invite you to recall and immerse in the best ever dream and conscious dream that you have had. Could be at any age, dreams are timeless. Just bring it to your memory, the one that arrives is the one that is here. The dream comes to your memory, just bring it to your body, feel the sensations that this brings, the dream comes and brings, textures, sounds, and from this memory of the dream, selecting your mind two words. If you can in your native language, that would be great. Or in any language you know. If you have the eyes closed I invite you to softly open in your own time, grab your phone and type in that window these two words. And we are populating a collective sea of dreams. When you have given your words, just contemplate the common dreams. So it seems we have... Wow, it's coming more. The sea is moving. Give some seconds more. And if you have already contributed to the sea of dreams, also for the next part, I invite you to stand up or if you want to stay seated to dream. It seems anyone needs a bit more of time? Okay. So the next invitation with this sea of dreams is a performance called Grounding from the Sea of Dreams. And this is a voice score or invitation, ritual, which is in English and is in Spanish, my native language. So if you understand Spanish, great. If you don't understand, don't worry. Just treat it as music or some. And I'll invite you to respond freely to that recording voice that is there, voices. And the invitation involves moving so your movement is free and involves voicing. The voicing is free too. And we will depart from this moment in which we are sleeping and we are in this sea of dreams. Now it's a common sea of dreams. And when it's kind of hard to wake up, this is the moment, okay? So I'll invite you actually to close your... eyes and be relaxed as you feel more relaxed. And probably we put the lights... Can we put the lights a bit down? Okay. Okay, good. It's good like that. Okay, so I will indicate the starting of the ritual with the bell sound and also when the bell sounds again, the ritual has finished. So enjoy. So your dream is sleeping time and you're waking reality. Wake up listening within your body as a sea creature. As if you were swimming in a park of swings. Your body gently waves as if you were swimming in a sea of dreams impulsing new waves that are transmitting through your whole body. Breathe through your breathing through your blow holes exhale gently connecting yourself with your unique travels. Gently exhale connecting yourself to your dream job. Gently breathe through your breath through your breath connecting yourself to your dream job. Continue the cycle of breathing. Listen to the spontaneous sounds that come out of your voice. Continue the breathing cycle the spontaneous sounds that emerge from your cetacean voice. Follow freely the movements of the trance to your waking reality. Breathe Follow the transitional movements to your waking reality. Let your sounds unite in one humming song. When your song comes to an end listen to the sounds that your wave has awakened in your surroundings. Connecta tu polo a tierra ground yourself. Connecta tu polo a tierra ground yourself. Breathe Open the eyes softly and just act when we do and we just wake up. Just feeling your feet here I'll invite you to take a moment to this question for yourself. What is it like to be grounded? Look at the person who is to your left side and just left and just share for a minute between two. What is it like to be grounded for you? You start to wrap up the conversation the both have shared everyone has shared it seems here okay so it seems lots of ground here so I'll invite you now again going back to your devices and write one word could be something of the exchange to your original grounding or your partner's sharing anything that is for you the highlight or a combination do you need the code again? She wants the code okay you can write it let's see if when he changed the slide probably it will change for you let's see or if you just say okay I don't know just next it says next that's good is waiting okay that's good it's not working it's not refreshing it's not refreshing okay okay it seems it's not working it's a shame okay so because technology is not working we can go around of words probably it's nice to use the voices what is it like to be grounded and we can just have a sharing according to the time we have unity confident at ease a sense of belonging anxiety free so I've been breathing together perhaps so I'll and thanks for the grounding so we just warm up and just open the arms just bringing this collective energy together so imagine we are going to drink this energy of sharing and the commons here and we drink through the palms of our hands and the full body we lay that here in a very strong center that we remember when we need to remember it and rest thank you okay with your belly full of grounded energy reading karaoke is almost coming to an end we will end this gathering by extending listening as a reading listening as a careful deep reading the following performative reading is checklist of care written and performed by Shayla Dahlia Shayla's checklist beautifully intersects the practical with the poetic I think this juncture of the practical and the poetic lies in the critical language of care and commoning as in my grocery shopping receipt could be the critical repository of poetry reading in the time of living cost crisis so let's not separate our everyday shit from poetic execution so here I give you Shayla's checklist of care enjoy listening and thanks for participating with your beautiful contribution to rustling words the reading karaoke just engaging in this activity or events performance or act be nourishing and full of care towards me will I be looked after will I get paid if travelling where will I sleep what will I eat when will I eat will I be fed or is it self catering will I get pediums will I feel safe who will I be hanging out with can I bring someone with me if something goes wrong who do I contact and what is my exit strategy do I have any special health needs at the moment and will they be catered for have I informed anyone connected to the activity about these needs will there be any language barriers how can these be overcome am I insured health belongings public liability have I got a contract what press will I be expected to do and does this feel okay how does this activity or event or performance or act align with my politics and beliefs where is the funding coming from what is the overall environmental cost what do I know about the location or area in terms of human rights and politics what do I know about the organisation after the event has this activity had an impact on my politics and beliefs do I feel okay about the parts of myself I have revealed during the course of the activity and if not what do I need to do to make this okay again have I learned anything new about the common themes of my practice e.g. visibility or invisibility and hybridity whiteness trade and empire filthy lucre the precarity of a world that's tipped in favour of a few shaking hands screaming screams, care plants and animals, foliage certain landscapes this or down glass, kitschy hearts time, buried histories classification and anatomies families movement the choreography of objects cheap theatrics or magic intuitions gifts and chemistry you and words carefully arranged in patterns and shapes listing looping over and over playfully how does this align with my overall life where am I at at the moment will this activity be helpful in terms of my overall life aims whatever these happen to be at any given moment actually achievable in the first place or will this be a distraction others who will my audience be is what I'm doing accessible in terms of language non arts audiences or for those who are visually impaired wheelchair users have limited mobility are big D slash small D deaf hard of hearing if not why not and how can I overcome this how can I be a good guest reciprocity what will I be leaving behind afterwards both literally and in terms of legacy are those I'm working with being looked after too for example pay accommodation, per diems being do they have any special needs could I employ local people instead of bringing others with me who should I try to make contact with whilst I'm in the area and what's the mutual benefit flora and fauna are the materials I'm using good for the environment what about after I've left what will I be leaving behind what about travel is the environmental cost worth it society in general what is the long term message of what I'm conveying have I checked all of my language and actions to ensure I'm being inclusive am I reaching outside of my everyday circle of peers or friends and if not why not if conflict or debate is impossible to avoid what is the best way to deal with this am I self-censoring my practice to fit in and if so why is this the right thing to do in the particular context I'm working in and if not what should I do thanks I just wanted to clap for me joking thank you very much for such a great special session my name is yeah my name is Xavi and my pronouns are he they I want to thank everyone to be here today as I mentioned earlier it is our first live hybrid event since before the pandemic and first I want to acknowledge the atmosphere in this room and throughout the whole day which has been nothing short of emotional and special so thank you all as well for coming here today and for making such a great environment and I hope that it has at least some of it has at least translated well online hi everyone hi mum before we go to the next session we are going to say a big thank you obviously to Yongsuk Choi, Haran Morrison Heelina Walsh and him and Alakon Diaz for an incredible session today and for BAC for hosting us so brilliantly thank you for taking care thanks also to Rachel and Rebecca for BSL and for the babysitting group for taking care of the little ones obviously a big big thank you to Inclusive Digital and HowlRound and the National Captioning Institute who are all the way over in America doing live captions for us online and for all the amazing work that you guys done on broadcasting we hope it's been as special for you at home for us here last but definitely not least we are going to screen both here and for those watching at home a performance to camera by artist Seraphine1369 titled it is impossible to say everything here so I will leave you with this which we commissioned and premiered last year and is also available on our website just as a warning the performance to camera has a deep nasty base but nasty in a good way and just as a warning it's going to be quite strong so if that affects you just be aware of that thank you again thank you everyone for coming and I hope you enjoy it