This is Think Tech Hawaii, Community Matters here. I'm Jay Fidel. This is Think Tech Hawaii, the state of clean energy. We are honored to have at our table this afternoon Alan Rashima, the CEO of Hawaii Electric Companies. Thank you so much for coming back. Thanks, Jay. Yeah, great to see you. Thank you. I get to see you at this table every three years. Yes. It's been three years. I want to renew old times here. So yeah, let's talk about Hawaii Electric Companies. This is why Electric Companies, you know, we were just about to talk about this beforehand. You know, it strikes me that just as the computer has become the center of our sort of social and intellectual world, we have to treat electricity as the center of our community and our society. It is really foundational, isn't it? I mean, what we're seeing with all the recent storms and the recovery from that, how essential a strong grid of reliable power is to our lifestyle, whether we're in Puerto Rico or Hawaii or Houston or Florida is essential. Yeah. I was telling you here in Think Tech, you know, we've learned that you need computers, you need electronic gear to do things you have to do. It's the only way to do it efficiently. And so everyone is finding that out and that means electricity and you cannot exist in this society without having plenty of it and reliable. And you provide that so you become more critical as the days go forward. Well, you know, it's a good point. I think that people think of computers as that hard thing on a desk. And of course, the computer that everyone uses every day now is a cell phone, right? The cell phone has more computing power, the smartphone, than I have running the Navy Regional Finance data center in San Diego when I was in the Navy with the big hard drives and tape drives, et cetera, and 52 people punching cards in the back room. What we have in our cell phones has more computing power than that. And it really carries our whole life, right? Our photos, our music, our records, contacts. Lose one and you'll see how you feel about it. Absolutely. Right. Bills. Email. So access to the Internet.  And not only that, now as we have consumer electronics, also having the Internet of Things, everything is smart. So your coffee maker, your refrigerator, everything is connected and can provide information that's useful to our lifestyle. And all of that runs on electricity. And what I've seen is the electric company over the past few years has become more and more a study of technology. And in order to build the grid you need to have in these days, you really must have the technology to balance it all, make it work, make it service. And so, since our last discussion here at this table three years ago when you first took office, which I remember so well, I wanted to ask you how has that transition been in terms of using technology, changing the company as you said you would? Yeah. It's been great. I think that I see it on a day-to-day basis, so it's almost like watching something grow. I see the growth. I see the progress. It may not be as visible to people who only see bits and pieces of our company. We were national—today I got an email from Public Utilities Fortnightly congratulating Erlen Miley and Lani Shinsato, our co-managers, even that is the departure, our co-managers of Distributed Energy Resources, Rooftop Solar, DER, co-managers. They have been named as one of the 40 innovators in the public utility world. In the country. In the country. That's fabulous. Investor-owned, municipal-owned co-ops. They are among the 40 top innovators and that's because we've now innovated with our customer information technology where all applications for Rooftop Solar and other things, customer facing contractors, can go online and do all of their applications and get immediate feedback on what's missing and really complete it in a much faster time. I mean, we're doing a lot of things that maybe a lot of people don't see. Well, moving ahead to 100% renewable—that's 30 years away, or 28 as a case, but it just strikes me that in order to move there, you have to follow the technology because that's the enabler to get to where we need to go. You have to be ahead of the technology. People are always asking, and so I will say that we've done a—we've put a lot of work into it. Our transformation includes setting up a whole technology and innovation space headed by Colton Cheng because we're in constant planning and really trying to be ahead. We have new business development. We just hired a new returning Hawaii resident to head that up with a lot of background in the communication space, et cetera, where a lot of things are happening. Brennan Morioka has joined us. We had our electrification efforts. A.J. Holigau is now our marketing manager, and we've hired another person who's going to run our polls. I attended an Emory-Eppry Electric Power Research Institute summer meeting where the head of the California PUC of all things talked about the value of the wood pole. I was really heartened to hear it because the wood pole is really the infrastructure we have in every neighborhood. Or the telephone pole. Except in our neighborhood where it's underground. We're in the same neighborhood. And as we go to smart cities, sustainable communities, that infrastructure is very valuable for things like sensors that will connect up with smart cars, security systems, even allowing you to know where cars are parked, where's the space available. The poles become valuable. So we have a new group that's just going to be looking at managing poles from a different viewpoint. Putting nodules on them, wireless nodules and all that. And bringing additional revenue to the company to make up for the decline in customer load. Because the more customers we have, the lower the rates are for everyone. And if we don't have that, then we have to find other sources of revenue to make it equitable for everyone. And you spoke before the show began about drones, which is very interesting technology. One has to think a little about why a utility company would be so interested in drones. Why? Well, I think about a month ago we showed you how we've used drones for electromagnetic kind of serving of the site of our new grid solar farm in Westlock. And for things that you otherwise would have to have hard ground kind of contact, we can put sensors on drones and do the survey. Lot of effort, lot less effort, better results. So you can reduce cost. When you look at Hawaii with our mountains, and we have transmission lines growing over mountains, now drones have only line of sight kind of pilotability. But as things improve, we can use drones for things that we now hire helicopters to do, cutting the cost, improving reliability. In our industry meetings after Hurricane Harvey, right, Houston, which was a water disaster, the report back from center point was that the two takeaways were the value of the drones in assessing damage and recovery and communications. So those were the two takeaways that we need, the internal communications with cellular serving the company or hardwired fiber. And we absolutely have to deploy more drone technology to assist in lowering cost and better reliability. I think it's a good example of how technology comes from the side, from places you wouldn't even expect, and all of a sudden it can help you big time. So you mentioned when I saw you at the Verge conference a few months ago, that you were engaged or already completed a significant reorganization of the company, can you talk about that? Yeah, we knew we had to transform. I think we talked about it early on. And then of course we were delayed in the transformation actual implementation because we didn't know whether the merger would be approved or not approved. Once we knew that it wasn't going to be approved, then we could act on it. And so we really created a whole new aspect of our business so that all of our five islands are now day-to-day managed under leadership, what we call our one company initiative, so that we can use best practices across all the islands. We can purchase things more efficiently. And finding those little nuggets that we have to change in our systems of getting better. Among the things that we changed was the foreign managers that we talked about. New revenue sources, new ways of connecting with our customers, bring customer value, staying ahead of technology, even offering consulting services to others. Because there's so much that we've done in Hawaii that maybe doesn't get the press here, it gets the press nationally and internationally, and people are always asking us to speak. And I think there's a revenue opportunity for our customers' benefit if we can capture some of that and use some of the things we've learned to help others. So you spoke early on about trying to change a culture, change the old culture into a more modern, high-tech culture, if you will, a culture appropriate for the time of fast transition, which we're in. And I wonder how that has happened and what the status of it now? We're getting there. And I think the transformation, the reorganization is an indication, the one company effort is an indication. First, we needed to build trust. We needed to build trust among our employees that were all headed in the same direction, working for the same cause, getting customer value, being willing to accept some measure of failure. Engineering companies, engineers are trained to be perfect. Because we all saw in the old days, Jay, we saw the guys marching across the bridge and the residents would topple the bridge. And the engineers have to make sure it doesn't topple. Nowadays, technology is moving so quickly, where we have to get to is, what is an A plus work, B work, C work, D work? Because some things we can take measured risks to get better value faster. And that's the change in the culture. But we have to know what is required, A plus, right? We're not going to give up anything there because that's safety, reliability, resiliency. We're willing to take some chances here. To just test it. So more pilots, we're already doing it. And we've got countless kinds of things on the system that are providing results. Allow us to incorporate more rooftop solar, safely, without threatening the grid. We're installing a flywheel at Camel Industrial Park in place of a battery. That's the first time in Hawaii, isn't it? To test it. And some of these are in conjunction with Elemental Accelerator. So that partnership is really productive. Yeah. Good organization. NHNEI really assists us as well. And every, I mean, all these partnerships really help. And they're tech partnerships and entrepreneurial partnerships. Exactly. And you're the hub of the wheel, but all these people are helping you out in one way or another on contract by consulting or engineering. I'll give you one example. When I spoke to a management meeting, we bring all of our managers together. And it was time when solar impulse was kind of waiting in Hawaii for the opportunity to leave again. And I borrowed a slide with permission. And that was FAIL. Because I asked him, how did he ever get this done? And he said, fail. He had to convince his crew that fail was first attempt in learning. It's OK to fail in a measured way. But unless you do it, you'll never get where you need to be. If you never take that chance, right? So you've mentioned change in culture. And you've mentioned bringing some of the younger executives up in an ultimate succession. And things are changing. And I'd like to ask you about whether leadership is changing. Because leadership in a utility company is different than leadership in other corporate experiences, which you had. And how is it changing under you, with you, in Hawaiian Electric over the past few years? Let me just say, I think basic leadership is the same in any organization. I mean, you have to have trust. You have to have vision. You have to have management tools that can get you there. Trust is the most important in my mind. So you have to have a corporate culture with a tone at the top that reflects how you want people to operate in the space. It has to be porno. In Hawaii, it has to be porno. And people have to understand that. Once you're there, then each component has to act in accordance, but act holding hands. Because with everything that's happening, no one part of the company can act without input from everyone. It's so highly matrixed. I will say that it's not only us. I think every company is undergoing change. And those that don't understand that they're undergoing change are really going to get black. Technology disruption is occurring everywhere. It is not the way we've known it to be. Retail. Everything is changing. So we're fortunate that it hit us a while back with renewable energy and various policies, oil crises. It forced us to change. So it's going well. We're trying to get a development plan for all of our people knowing where they're going to land up, where they want to land in the company, what they need to get there. Our board is really keen on succession planning. And I think we're doing a pretty good job of developing people, identifying high potentials, and then coming up with programs that will develop. Well, it seems to me the company is doing much better than it was when you first took office. The next-air thing was not a happy time. I'm sure it was stressful, and it stood in the way of some of your programs. And it created a certain amount of polarization in the community that was regrettable. And it accentuated some of the trouble about DER that was happening before. It delayed your planning, all that. Those things have subsequently been resolved, no? Right. But let me say, I mean, from our standpoint, Next-Aero would have been an exceptionally strong partner. And they really supported our transformation. It's unfortunate, I think, how long it took and what happened, but we're beyond that. As soon as we're- That's your point. Yeah. Once a decision was made, we're there. We're moving on, we're ready to move. And we're still, you know, we learned a lot during that process, and we're putting it to good use. But to your point, we have to change. We know we have to change, and we're still doing it. Yeah. But things look, to me, anyway, they look brighter now. You can see down the track better. The company is sort of more in harmony with the public and with the regulators. All of this seems to be a good time for you. Am I right? All right. Thank you for saying that. It's hard for us to say some of those things. We can switch chairs. Yeah. We are trying really hard to be good listeners and not- It came across in the past that what we were trying to do, and we were really trying our best to provide solutions. But sometimes we may have been solving a problem that people didn't want to solve. I mean, they saw something else. So really being good listeners and bringing all the stakeholders together first, getting input, coming to some common understanding, not that we'll all be agreeing, but at least we're being respectful of parties' input and then developing plans and then going together, right? As much as we can to come to some agreement because everybody has to be accountable if we're gonna reach this audacious goal in 30 years. And we can't, and right now it's only on the backs of KIUC and Hawaiian Electric on the renewable portfolio standards of how we generate electricity. But it's a leaky system, as you know. And we really have to get more transportation converted to clean energy. Benefits everybody, right? More uses of daytime electricity allows us to take on more renewable energy and lower the cost at the same time for everyone. That sounds like a plan. And after this break, Alan, I'd like to talk about the DER, how it's changed and how it's emerged and the PSIP and how it's changed and emerged and what it looks like for you going forward. Let's take a short one minute break as Alan Oshima is the CEO of Hawaiian Electric Companies and we are honored to have him here. We'll be right back for more. This is Think Tech Hawaii, raising public awareness. Okay, we're back, we're live. We're so happy to have Alan Oshima, president or rather CEO of Hawaiian Electric Companies, talk about how the company's been doing. And one of the things I wanted to ask you about is DER, I mean, all that with the grid and how much energy you can take in renewables and everything is moving at the same time, just like watching a panoply of activity. And now it seems to be in better shape. There was a time when everybody was arguing with you about whether they could give it back, I mean, sell you electricity, renewable electricity or not. Well, it seems to have come to a better time. Am I right? I think so and I commend the commission for basically the decisions on kind of resolving some of that on the net energy metering, some of their newer decisions on smart energy programs, CGS plus. Self supply as I said. Self supply, which smart energy where it allows you to have your batteries at your home, supply the battery and then discharge at the evening peak to lower the system requirements to provide that load. It's working together. Yeah, I mean, I think there is a much better understanding. And I think that the public will come to see that we all, it cannot just benefit some people for us to reach the goal line. It has to be fair. It has to keep the grid alive because it is the backbone for our economy, for our lifestyles, et cetera. So it has to be fair to everyone. But for that, everybody's accountable, right? You can't just be a taker. You have to also be a contributor in some way. So it's complicated, but I think as we keep going, people will have a better understanding what it is to be accountable on an islanded grid. And you finally got approval of the plan. I think that was really troubling for such a long time that there was no agreed plan. Now you have an agreed plan and it's a matter of implementing which you are doing. You are actually implementing that plan. What do you see in that? I mean, are we gonna need more plans? Are we gonna have to tune that up? How often? And how much reliability will we have going forward to actually reach the goal, right? Well, basically all of the plans have to pass a reliability test, right? You can't compromise the reliability of the grid and just do things willy-nilly. That's the hard part, but we've done a lot. The plans are in constant flux. It's great that we have a five-year action plan, but I will tell you that every week there's another developer coming in with another idea that might supplant or change the plan. And we are open to good ideas. I think one of the planning principles we have is so critical that we only have so much room in an islanded grid to take on big investments, whether it's ours or developers, right? Because otherwise, you've obviated the ability to get new technology in different-sized chunks. So how you phase these things in to make a resource mix that is the best for our customers. On the other hand, you can't wait forever, right? I remember being the president of the PTA and we raised all this money to, it'll sound funny now, to cable the school so we could get televisions and computers in the classroom. And the principal was saying, I'm not doing it yet because the computer prices are gonna drop next year. And I'm saying- No story. We're gonna sunset the funding. You don't get it while our kids are still in school, right? So you can't put it off forever, but you have to do it in a prudent way that makes sense for everyone. And that's a challenge. But there are good things happening in Hawaii. It's being recognized nationally, internationally. For our advances and renewables. And I think that's one of the things we don't sell enough because in a sense, we pick at the disagreement parts rather than celebrating we're in total alignment. And outsiders coming in say it's amazing how aligned the stakeholders are in Hawaii. And we need to build on that alignment to really leverage Hawaii's reputation as vector out of New Zealand. And we quote them in our PSIP as the Silicon Valley for green energy. I mean, outsiders see it, but we don't consider ourselves to be in that space. So our self-identity has to change among all of us. Is to appreciate ourselves. Right, right. We're not just sun and fun. We're doing some great things in Hawaii. So what do you think renewables, where are they gonna go? I mean, there's so many, I went to Nelha a couple of weeks ago just to see some of their things. It was very interesting because algae, nothing really. And of course, Otec, I'm not sure anything is happening on that. Maybe it will, but not yet. Wind seems to be alive at the cable. That's probably not gonna happen. And solar is king. Solar has emerged as king and it fits with all the technology which kind of makes it king. I'm not sure what you think. Can you paint me a picture of which renewables you think will be the ones in priority going forward? Well, our PSIP does that, right? We have a lot of solar, a lot of rooftop solar, grid solar. We have even space for offshore wind. And it just came back from Scotland where I saw some of the efforts there. And there's been an offshore wind development in the US too. First one. But, again, you can't generalize from other states because they have a continental shelf, relatively shelf. Right, right. Relatively close. You have a drop-off. We have a steep drop-off and we've got other activity including marine mammals and military and shipping. Environmental questions, no. All kinds of stuff. So you cannot just say it happened here, therefore it can happen here. People have got to really honor science and the facts. But that's what we do. I mean, we're looking at all of these potentials and making decisions on what the resource mix can be. I would love that we had more, Big Island will get to 100% faster than, because it's got such great resources. But if we had more load on the Big Island, we could do it even cheaper. Isn't that so, yeah. Don't you agree? So all the load is on Oahu. We're not cabled and there's some issues there. So seeing the totality of what we face, it makes it different. We don't have an energy market where we can dump excess solar that is overproduced here to stabilize. We can't dump it into our neighboring state, nor can we import when we need it. Every system, every island is self-reliant. And so basic physics controls and basic economics control. And so that's a rub for Hawaii. That's what makes it so interesting. Yeah, it's a canvas that, I say it's you, but it's we. It's all of us. We have this canvas to paint and we can come up with creative ideas. We know the general outline of where we're going, but the possibilities are enormous in terms of new technology and new creative thinking. Exactly. I'm wondering, you know, back when when the cable was under discussion, there was the notion that maybe someday we could equalize the load and the power so that there'd be a statewide rate. And it's clear now that we're gonna have to go island by island, at least as far as I can see, but query whether it ever is possible logically, technologically, regulatory, legally to have a uniform rate. So let me separate what you just said. I don't think a statewide rate is totally dependent on technology. I mean, we have regulatory ability to do a statewide rate. The systems don't have to be connected in order to do that. Sure. And it makes a lot of sense, by the way, in some ways to do that because we're all in the renewable race together. And some places are paying much more based upon the small size of the population, right? Economies of scale for the new technology. If we spread it out, we got a bigger piece of bread to spread it out, then it's easier. So I think all of those things are on the table. We're constantly looking at it. We have a one company initiative that could lead to that if we were doing it for other reasons, but it could lead to that. So there are many things that we should consider as we move forward. One of the words that we use a lot in the company is hybrid. So people tend to look at solar as the solution. Well, solar plus storage is a hybrid. Solar plus wind plus storage is another hybrid. Microgrids separating far flung population centers that are small that are now served with expensive and expensive to maintain transmission lines, putting them on a microgrid, right? May make sense for everyone. So these hybrid solutions are things that we look at. And how do we use electrification to build low during the day so we can have more solar energy in our system with uses? So it's a Rubik's Cube, but that's what makes it fun. Where does community solar fit in this? Do you see that as an important part going forward? Absolutely. So we have gone through stakeholder discussions. It's at the PUC now for a decision. And we have some opinions on it that we should phase it in and learn. And so even that, it's gonna happen and it'll benefit those who cannot or who don't have roof to put solar. But I will say that we're with NRG, the successor to the Sun Edison bankruptcy is now putting on a process of 110 megawatts of new grid solar at a low cost. And that may benefit more people just through just paying the bill rather than doing anything on their own as we get more grid resources. So I think it's not gonna be a binary decision. I think people will have to look at all of their options but that's our job, to give them options, give customers choice, right? Complicated question is the relationship of all of this generating power through ideally increasing renewables and transportation and Brennan Morioka is very skilled in that. And where does that fit in the big picture for you because transportation is not something utility classically has done. And all of a sudden you find yourself linked to it per force. Well, I think the genie's out of the bottle. Electrification is gonna happen. Autonomous driving is already happening. We'll become more commonplace. So for us as the electric utility, how do we plan to meet that need and how do we use that to support our customers? As I said, more customers, more load decreases the kilowatt hour rate for everyone, right? But it also allows us to use more solar energy if we charge during the day, charge electric vehicles during the day. And there are ways to do that. So we're coming up with pilot workplace charging plans. Driving distances in Honolulu, I'll just use Honolulu. Maui has a very robust charging plan. Big Island has different issues because of the distance involved. But in Honolulu, the average driving distance is relatively short, even with a smaller battery. What you need when you park your car for eight hours, maybe what we call trickle charging, just plug in, charge what you can, it'll get you home, right? And you can do the big charging elsewhere. So it's not like the mainland where you're on a freeway and you have to depend upon a fast charge to keep you going from LA to San Francisco. It's easier here. And by the way, I don't know if anybody who would even wait at a service station for 20 minutes of fast charge for that person to exit the charging station. Right, so the psychology of this is where we have to be. And so I think constant sipping as we go along to keep it going, plus fast charging in some circumstances is what the mix is gonna be. You know, Alan, you and me were pretty much in the same boat about whether we're gonna be around in 2045. We're gonna be around. Sure, thank you for that. But how does it look for you?  And it hasn't hurt you. You're having a good time, it looks like. And the question I put to you is how much longer? I don't know. My board knows. We've had discussions, but it's not like we haven't had these discussions. But I am happy because of the progress we're making. What sustains me is the quality of our employees. It's an exceptional company, Jay. We've got some really, really smart, hardworking people. And they're yearning to do more. So that's what keeps me going. So thank you for saying that. If I didn't have that, it would not be worth it. If it's all about technology, if it's all about science, that doesn't float my boat. And then I think we are becoming better at being transparent and really becoming more accepting of listening to our customers and providing customer value. So we see the numbers going up. We get the mahalograms even after outages. Our app is getting wider acceptance. I hope you downloaded it because it'll give you outage. I have, as a matter of fact. And time for restoration, which cuts down anxiety, right? And it's just the foundation. Our app is gonna get better so that you can do start-stop service on the app. I mean, we're gonna get better. You can see where we're headed. And it's all about customer connectivity. To answer your question, I'm really working hard to develop the strong bench so that the board has some, they already have good choices that they can have even better choices. Thank you, Alan. Alan Roshima, my friend and CEO of Hawaiian Electric Cooperation, thank you so much. Thank you. Thanks for having me. You'll come back soon. Anytime. Thanks. Thanks. Thanks.


To watercolor some easy snow branches, start by just sketching in some lines for the branches and then use some blue pigment to watercolor in about half to two-thirds of each of the chunks of snow. Paint the background color in, a duller color in general works well, and then you can start after it's dry painting in the branches themselves. Let them skip around, don't make the branches super solid, and then start adding in the needles, working them in so that some of them are in front of the snow clumps and some of them are behind. The placement of and the density of the pine needles will also help to define all those negative spaces that you created by painting in the background in the first place. Is this something that you might try? I hope so!


The World Economic Forum is perhaps an unusual place to share scientific evidence that money won't necessarily make you happy, but here we are, and it gets worse. I'm here to suggest that certain kinds of money might even make you less happy. At first, this may seem to contradict the classic economic model of human nature, Homo economicus, whose happiness depends solely on maximizing material self-interest. But research in psychology and neuroscience suggests maybe a better model is Homo moralis, whose happiness depends not just on self-interest, but also the welfare of others. In my lab, we've been studying how the value of money itself depends on whether it was earned morally. Now, the idea that money can be tainted can be traced back at least two biblical times, where we see the first mention of the term filthy lucre, or money earned in a dishonest or dishonorable way. We've been testing this idea in the lab with experiments where we give people the opportunity to earn some money for themselves by delivering mildly painful electric shocks to either themselves or a stranger. The shocks feel a bit like a bee sting that lasts for half a second. They don't cause any physical damage, I assure you, but they are unpleasant. So when people in our experiments make these decisions, they face a moral dilemma. Now, crucially, the decisions are totally private and unobserved. So we might expect people to be pretty selfish in this situation, because there are no extrinsic incentives, like fear of judgment or punishment, to prevent someone from shocking a stranger for money. In these studies, we observe a wide range of behaviors. We see people who refuse to deliver a single shock to another person in exchange for even $30. We also see people who will deliver 20 painful shocks to another person in exchange for just $0.10. What's especially interesting, though, is to compare the average price per shock for a stranger versus oneself, and we see ill-gotten gains are less valuable than money earned decently. On average, people require about twice as much money to shock a stranger than themselves. So how can we explain this behavior? To find out, we put people inside a brain scanner, like this. By measuring blood flow in the brain, as people make these decisions, we can ask how the brain's reward circuitry responds to an ill-gotten gain. Or in other words, does the brain treat ill-gotten gains as less valuable? This is the striatum. It's a brain area that consistently responds to rewards like money. And here's the response in the striatum to money earned from shocking oneself versus a stranger. As you can see, ill-gotten gains are worth less in the brain's reward circuitry. And individual differences in these brain responses track with individual differences in behavior. So those who show a larger devaluation in the reward network's response to an ill-gotten gain show larger differences in the price of pain for oneself versus a stranger. In other words, we can predict moral behavior by looking at the brain's response to an ill-gotten gain. Now, you might be wondering at this point, if ill-gotten gains are truly less valuable, how can we explain corruption? We're curious about the same thing. And we have a hunch that if people believe or can convince themselves that the money goes to a good cause, this might restore the value of an ill-gotten gain. To test this in some preliminary studies, we added a twist to our experiment. In the profit condition, as before, people can earn money for themselves by shocking themselves or a stranger. In the charity condition, the money goes to a children's cancer charity instead. The differences between these conditions were quite striking. As we saw before, with profit, most people would rather personally profit from their own pain than a stranger's pain. But this was not the case when the money went to charity. If anything, people seemed to be slightly more willing to shock another person than themselves for a good cause. What this suggests is that the value of money depends not just on its moral consequences. It also might depend on the stories we can tell about our choices. It's pretty difficult to justify hurting a stranger for your own personal profit, but it's for the greater good. This might counteract the corruption of value. Or in other words, ill-gotten gains might be able to be laundered with good storytelling. So what does this mean for our models of human nature? On the one hand, we clearly care not just about our self-interest, but also the interest of others. At the same time, we seem to be able to trick ourselves back into selfishness with a good story. Maybe a better model we might call homo neuratus. If so, what kinds of stories are you going to choose? Thank you.


Hey guys, this is Monica. I'm coming to you with a very quick wig review and this is by the wig company This is their statements line And this is energize She's actually energizing me. I think this is a very trendy sort of I Don't know, you know sort of cutting edge so to speak. I really like this now I will tell you this has absolutely Hadley if any permatease it might be a little bit right here on the crown But hardly any at all. It is cut to have side swept bangs that frame your face And shorter on one side. I'm gonna do a spin so you can see Is that not cute? I think that's so cute Anyways, this was sent to me complimentary in exchange for a view I'm gonna show you the inside of the cap and I'm gonna take you outside and do some outside shots as well of this Really cute style. I love it. I do So I hope you enjoyed the outside shots. I think looking at you know the wigs and the outside I think is so important, but in the wig company's catalog They have they send the catalog out and on the front cover is the the wig I have on energize so they have four new styles and they have some new colors and the color that I have is Really really pretty. This is super super cute and right now in the catalog This is on sale for eighty nine dollars and this is I have to tell you guys. This is a heat-friendly style Heat-friendly, so it is really really pretty. It is a basic cap seeds got a lot of stretch It's extremely light Very very comfortable on but the fibers are heat-friendly, so you can do some styling I don't know if you'd really want to I think the most that I would do is maybe some peace out cream and You know give it a little bit more lift if you want because this is definitely low volume and No permatease in my opinion and it is designed to have this side swept bang and to be very what you call it Asymmetrical or whatever you don't even longer on one side shorter on the other So it is I hope you enjoy this take this peek at this brand new style from the wig company They have sent me wigs before for review. I have had and I have another one too. They sent me summer heat I have summer heat in a different shade, so they sent me another summer heat I'm going to compare those two shades in an upcoming win video Yeah, I like this See the front You see just a little bit of permatease just a little bit and hardly any at all very stretchable cap open-wefted Gives you good ventilation. Oh always sows the color in which is really I think an awesome feature because Sometimes I leave the tags on for a while because I forget but this is SS 14 88 So you can see you've got a brown or a root Very very natural shading on this very natural and I love it. I think this is such a pretty pretty style Very small ear tabs Right there just sort of at the very corner Super cute super cute Yeah, I definitely think a little piece out cream little more fluff Because the fibers are sewn down.  There is no lace front and there is no monofilament But you don't need it because this is the way it serves me style


was the idea of the education departments as sort of incubators of change agents and within the organization and how the education departments relate to the rest of the organization. And so we have a great quick fortune to have three very different organizations here with us represented on this panel who are innovators in their organizational structure and in their education practice in their own distinctive ways. So I'm going to start back here then talk about their process. I know I think we're going to pause at various moments in the conversation just to ask for questions sort of throughout. So the risk of that of course being is that I'm going to have to be bossy and say normal questions. And we are moving on. So there's, you know, that just dispenses everything. Anyway, so I would like to introduce our wonderful panel. We have pairings from three organizations from the artistic leadership and the education leadership. Sorry. You have to why. I don't know. And you can now argue who's the peanut butter? Who's the jelly? Who's the bagel? The cream cheese? You can form the center for as much as you want. So on the table we have Ryan Bacchan who is the executive artistic director of the Cleveland Public Theater and his colleague Faye Hargan, who is the director of community ensembles. We have Chris Moses who is the associate artistic director and the director of education at the Alliance Theater. And Susan Booth who is the Jenny Spurz artistic director of the Alliance. And over here we have two people from P. Robert Dorey Theater, Jessica Das, who's the artistic director. And Jeremy Morales is the education director and also on the board of TCG. I just want to mention that because it is so wonderful for all of us as an education staff and education directors to have that education, to know that there's that education. For each of these institutions and how the education department relates to the larger institution and sort of the ruffling of the kinds of programs that you run and what you do with it and what's the relationship between education. So yeah, we should try to figure out how to split this up. Brief context on pre-rep that'll kind of inform the rest of this conversation. We're very unlikely theater. We're at 100,000 feet in the Rocky Mountains in Southwest Colorado. In a county of 750 residents, we have the unique position of being a theater nonprofit in the economic engine of our town. We bring it, but we sell about, you know, 20,000 or so tickets every year in Crete bringing tourism through. We produce eight productions, two of which are fully produced education department world premieres and our Ted Waters new play program every year. And we reach many more people outside of Crete through our education programs, which is how we can talk about. Another thing that's unique about us is we run in rep and I sometimes like to say we run in extreme rep. We hire a resident company of 90 people from around the country every season and they produce all of these shows including everything in the education department as well. So there's this wonderful cross-pollination that comes with rep. When you're doing rep, you can't do one thing. And I suppose personally one of the coolest things about the way education works at CRT is kind of exemplified in some ways by my journey through the organization. I feel like many of the leadership of CRT were developed as artists through the education program. I was commissioned to compose six scores to six original education department shows as I was coming up through the organization. And many other people and other artists have the same storage experience as the education department kind of made us who we are. So as the education director I run five different programs within the department. So we do community outreach which is residencies and workshops with local communities and schools. We also do the kitchen production which is a new work that Jackson is talking about that we produce every year. So we have the opportunity to bring in a playwright, director and artistic team to work with students in the room which is a really exciting opportunity for them to be able to mount a production from the idea and then be able to collaborate with the playwright in the room to produce this new work. And then we do our summer day camps which we do in the summer to provide opportunities for students that are interested in, you know, dabbling a little bit or curious about a specific area of expertise in the theater field. And then we run also the young audience outreach tour that is also an original piece that we produce every year and then we travel all over the Southwest around Colorado, New Mexico, Utah, Oklahoma, Arizona and Nevada. And then this year we're expanding to two tours which is really exciting for us and to help pool funding for the second tour. And we'll be expanding out into the Northwest Kansas and then Southern California. And then the last program which is kind of a new program that we've been in partnership with the artistic team as well as the managing director at CRT is an internship fellowship program which is an interview that we are exploring a little bit with and then trying to see and evaluate what are the resources that we need. And so the really exciting thing I think of what we're doing is we're really taking the idea of rap and really infusing all the work that we do. I feel really lucky to be in a place where it's taking some work and it's taking some challenge, you know, and a learning process for us to be able to really start learning and listening to each other about how we can continue to collaborate and be more effective and also be able to utilize our resources more effectively. Let's turn to the alliance. Yeah, I'll start. So we're at the Alliance Theater in Atlanta, Georgia. A couple things that are I think worth noting is that since the inception of our theater 50 years ago there was this commitment to producing work from all ages. So that's just been a kind of governing aesthetic from the beginning. So the education department at the theater involves both producing work for all ages. So we do have a series of programs starting with theater to the very young for zero to five-year-olds. We produce shows from elementary school in between that age group, middle school where we're conceiving a pretty large-scale idea around high school performances. But that's one element. There's the experiencing the art form. We feel like that is critical for every age group. So we want to make sure that we have a material that is designed and created with that audience in mind. This is professional theater for those folks. Then there's the idea of making. We have classes and opportunities to roll up your sleeves and learn about this art form for all of those same ages. This goes all the way through with adults. The summer camp is like you probably one of our busiest times because it's going throughout the year. And in fact it's that and now there's a boom in the film market. There's so many adults who happen to be curious and want to learn more about entering into this profession. And then the other side is kind of crudely stated, but I say used. I think applied theater is what may be a more sophisticated version. But how do we use our art form to advance other disciplines? Ask this through partnerships with the public school systems in Atlanta. There's some really dire statistics about public education in our city. And since we traffic in an art form that can promote literacy, we've really taken that on as a major area of operation. So we're going to have a conversation between theater to help teachers teach literacy in the classroom better. So we're in over 400 classrooms a year, minimum of 12 sessions, working with educators to use our art form in the service of larger hands. And then on the other side, we're also doing that for our corporate community with programs that take that same philosophy. How do we use theater as a way to solve the effects of the problems in the corporate community? It started out pretty pedestrian. People were asking about presentation skills and those sorts of things. But the more we listened, they were asking us for help in customer experience design. One of the funniest examples is this Chick-fil-A reached out and wanted to figure out how best is that to be a drive-through. So we have this simulated environment. We use theater in that setting to actually help them figure this out meaningful. A really meaningful application. We just worked with our Metro Chamber of Commerce to use theater as a tool for promoting civility in the workplace. So we have the data to understand power dynamics. In total, it's about 95,000 people were serving through all of these programs. And it's roughly a third of our programs. So just context-wise, as Chris said, the Alliance has always had a commitment to reaching all generations. The Alliance has also long had a service equal. We are not interested in theater as a pen. We are interested in theater as a means to a community pen. How can we be the exclusion of somebody else's challenge? And I will just say this. Some years ago, there was a local chapter of young audiences that had come to be a part of the arts center where the Alliance Theater resides. And then we were asked to look at a merger. And as part of a strategic consideration process, Chris and I were sitting side-by-side in a meeting where a consultant said, I'd like to know the mission statements thorough for your theater and for your education department. And we both did head swirls, looked back and pretty much simultaneously said there's absolutely no difference. We have exactly the same mission, expanding hearts and minds on stage. So we're sort of the middle size of the theater. Passion and raised consciousness through ground-breaking education programs. Ground- sorry. Ground- we can switch that. Actually, ground-breaking performance and life-changing education programs. We are modeled in kind of a strange way. We have a core of artists. There are five people who are in a core ensemble, which is primarily a devising group but not always. And about four other artists that are sort of constellated in this core. These are artists we're investing in year-round in their professional work. Those artists also participate not only in their own research and play development, but in our season of plays. We do radical theater, sort of theater that no one else in town would do. And a lot of new play development. And then we have this next kind of run of work that we do, which is educational work, yes, we would call it, where we serve 800 children and family members who live in public housing with ongoing after-school and summertime programming. We're in residence in four public housing states actually. We have a teen program in the summer. Many teen programs, we employ children aged 14 to 19 to write and produce their own plays and perform in parks throughout the city. The median council income of those children is $18,000 a year, so these are very poor families. We also have a program where we develop original work with homeless men who are in the treatment center that we've done for many years. And a couple of other New York programs working, one of them working with immigrant children. And then we do these big community projects where we're dealing with social justice outside of the theater. And other weird ways, like we have an event called Station Ho, which happens in a church that was a stop on the Underground Railroad, and we apply that lesson to contemporary issues of social justice. And the cool thing about CPT is those core artists travel through or actually run are the most important part of every single one of those programs. So education programs are run by that core ensemble and those core artists. They are the education program in some ways is the center of theater. And so the cool thing is not only is their research and their development and their work going out into the community, but of course those artists are being changed fundamentally. And that change that comes back through all those layers. Community ensembles, a heavily involved education program that is in partnership with our public housing. So running that program and the chance to be like in the weeds and in the clouds. So being both developing for classroom. In the past two years, we've been tripling that program so that's how we have expanded to that 800 and really advising and that expansion. And then also with our, you know, there's a lot of like chorus layers at the People's Public Theater, which is why it's such a dynamic and awesome place to work. So our education and our community engagement, there's a lot of epithet movement between those. So I also work with Raymond and the community in a community ensemble group called The Actual People of Cleveland, which is now in its fifth year. And this is a group of theater makers who are of Cleveland who are self-identified as Latina, Latinx, Latino, Hispanic. And that company has grown from about 12 to 35 active members and we are now in the process of a strategic plan and like what does the future look like for that company. And then also we are in the process of starting initiatives with the Arabic-speaking communities. So how does theater serve as a platform for multiple stories in Cleveland to be heard, respected, cherished and to teach? So if I can state with you guys for a moment, I knew that Raymond used to be the Education Director of the Cleveland Theater. And it sounds like that's sort of a common theme, but there's a lot of sort of porosity between artistic and separate common mission statement about how your education work and your artistic work are just overlap where they don't and how you communicate artists who come in and are sort of community and maybe just to say how your job is different now and sort of what different parts of your career you're using and what continuity you're in there. A big thing for me, so I came through, I made a lot of theater, as many of you did, my high school and college years, and at some point became disillusioned and went to work with Jersey Kratowski, so I was in a very narrow-minded, I was almost saying, kind of a way of thinking about theater, quote-unquote, and really missed that sort of how theater also needs to be connected to community. And so, but I think for me a lot of, I was just asked, will you go do this? Will you go teach here? I didn't know what I was doing the second day when money was suddenly shifting and a lot of theaters in the, I guess that would have been the early 90s, and suddenly theaters like, oh, we need to have education programs, let's hire an artist to go out there and we don't know what to think back to right now, but just send them, it'll be fine. And that's how I learned, and it was just a job for me. And over the course of a few years, I began to have these weird experiences where I'd be teaching like a movement theater workshop to MFA students and two days later doing a similar workshop with a group of homeless men and saying, oh my god, these men are so much better at this and they're so much more ready to be vulnerable and actually really curious about the craft that this is sort of more exciting to me. And so I think for me what just started happening, whereas it started sort of as a way to make ends meet while I did this other thing, shifted into something where this has to be a part of my practice, even though I continue to be told throughout my career by other artistic directors like, hey, when you put your resume out there to work at other theaters, make sure you take all that education stuff off. Because god knows no artistic director can hire you once they see all that, which was really eye-opening for me and for me that just made me more want to be like, we're gonna have these things stay united. And then I would just say when we, when I took over the leadership position, I wasn't the education director anymore because the artistic director applied for the leadership role. I told the board from the beginning that education hadn't explicitly stated in the mission, which it had never before, so that we could stop having the conversation about why we're doing these things because that should just be part of it. As it was.  You have a season. There's a lot of how do you clean college division of being an artistic institution to all of those various stakeholders. Somebody really smart at one of these conferences a bunch of years ago, if it's not in your budget, it's not in your culture. If you take that very seriously, this is ironic. I'm much more interested in showing it and doing it than yeah, think about it. We have a commitment to new work and it's very little to do with aesthetic and everything to do with belief that you have the luxury of living in a radically diverse community and diversity of aesthetic and education of age, political view, and religion. If you have that luxury, then why would you put work on the stage that automatically privileges people who have canonical literary, right? Got to look at classical theater, seriously. But it's not us. And what's cool is, is the theater as a whole started shifting to almost exclusively new work and production. Chris was commissioning these amazing voices to create work for three roles, right? As opposed to motivated by the saying back to the means to an end, now more than ever, the capacity for empathetic and compassionate stability is terrifying. So, we're doing the same thing. I do it a little bit more with the grown-ups. You think it's a full conversation title? Okay, let's start with Dan. We recently did a first in our 50-year history capital and endowment. One of the first major endowment gifts came to support Chris's work in education. Here's what I love. The gentleman who gave a, let's just call it, really healthy six-figure gift had never donated more than $30,000 to any single organization before this life, right? So that's the Dan Reardon part. The director of education part. I accosted Chris in a hallway once. This is partly director of education and partly the assistant director. I accosted him in a hallway. Yeah, and Chris was working in our education department, and every time there was a meeting, he had the best idea in the room, and he doesn't stay in his lane, and that's a virtue in the alliance. You don't really do that as a practice.  Where do you want to be? Where would you like to end up? And because I can't ask questions without the answering them, this is a fail. Could you imagine being an associate artistic director? Yeah. It's not an honorific. This is my primary artistic colleague, and that, for the most part, I work with grown folks, and he works, well, he works with grown folks and practically in utero.  Can you talk about how that integrates even more from not even an administrative point of view, but from a philosophical point of view, as a colleague who's very interested in integration from the artistic office down the line in between departments, I'm very, very intrigued about how this works, because I believe it's the present future. Good. Anybody should feel free to. We don't have to go forward with this. Your powers. Yeah, I think that, well, there's a few levels of it. I think one of the gifts of working with Susan, and by making that clear, both in budgetary that this matters, but also in the name of this was also the way our board accepted it. So it started really there as well. So every executive board meeting was about, what are we doing artistically, educationally? And these things were not mixed off the time that education reported about artistic work that is happening. So it started from that level. And then organizationally, I do think there is this ethos that is partly our city, but also more specifically the alliance where it forced a collaboration with the production department, with marketing development. So it's just, it's held organizationally in a way that I've not seen. I agree. I think it, I hope it is user-state, but I mean, as far as granularly, you know, I tend to have artistic meetings with part of that staff, that's, you know, I know some education report always bad. It's just a Marxist notion. The notion that we have big vertical hierarchies in what we do just blows my mind. So as much as possible, the Liz Lerman idea, you can have a hierarchy like this, or you can have a hierarchy like this, and then it's not a hierarchy, it's a conversation. We are in a cross-industrial where there's been a lot of shift and change in the organization, which change can be scary, but also it gives us a really great opportunity to jump into something new or to re-look at something that we never really looked at if it was specific. I think one of the things that I would say that we're doing in that process is, and that's a lot of the language that I use to devise it. You know, we're devising something that is, as we're learning what's working and what's not, we are cultivating what that relationship is in that environment we're creating for our company to come in and work with us. One of the visions that I see when the artistic team is in collaboration with education is that we look to our community. We are very fortunate in a way that we have a very unique place where it's a really small community, a very diverse community. So it gives us the leverage to be able to have those face-to-face conversations when we're not in the city where there's so many people. So we get to really listen to our community and I think for me, education, the way that I see it is that education is almost like a bridge between the organization and the community. And how do we continue to work and ask each other questions and challenge each other in a way that's going to benefit the organization just as much as it's going to benefit the community. So that's a little bit of how I see us working together more of a devising and learning, really. We don't have all the answers but we're starting to find something that might be the console of something that's really important for us and our community. Yeah, I agree. And I'm totally here to do one. We have a nine-person year-round staff so even if we wanted to have restrictions, there's no way to do it. I think that's one of our strengths as a small organization is having this tight group that is really like all any truly important decision, all nine people are there in a room together and it makes for a healthy lead, I think, between the departments and then all of our all the wonderful juicy artistic blood of our departments gets to mix of it and that's really wonderful. And to the second one, it is so good for an organization to, I think, there's something kind of magical and investment-building for an education department to be in a way the the vanguard going out into especially in a remote place. We all are remote. And the school tour hits all these communities you know, very far from us and in a way the tour, the first people they encounter from pre-rep because yeah, and that's just a really wonderful way to kind of reach schools and children first and use those to help kind of build relationships for the whole organization. So you guys have another question about this relationship between artistic and education and structure. Yeah, come back. Let me figure out about it. This is actually the big question I came here to ask. Do you does anyone on the panel see the work done in education as a part of the artistic curation, not just an extension, but it's on freestanding expression of the company. So are there education programs that do not tidy your season and those that do tidy your season are they a part of the narrative of the theater and then how do you how can you share how you've worked with other departments such as your marketing and your production and your box office departments to support that work. They see artists who are leading the work in the community are also leading the work inside the artistic season that the learning is going to go like this. I've changed when I go to New Orleans and perform. I also grow here. I'm an artist and I create with Raymond I'm part of his ensemble and it's amazing. I can't believe I forgot to say that. But when I go to New Orleans and perform in that professional show experience or performing on the stages in CPT I am changed. I bring my experience into the classroom sharing that experience with Tsunami. And Tsunami is changing me because I've known her for eight years. Right? And those things and I'm a teacher and I'm in the state so we are teaching each other if I say I'm not changed through the work that I do in my community or I'm not learning something and bringing that into the organization that's a gross error. Right? And also it's based like the ecosystem of CPT is also in response to the people who are doing this. So it's like we say hey this is happening how in our community how are we going to address that in our artistic work? How are we going to speak to what's happening so we can have dialogue and be responsible for that? The organization working with all these different departments is that I mean education can the education department and educational programming can't exist without what we do as a total season right as a breath. And in many ways I mean with the history of CRT in terms of how the organization started being a mining town and then from a mining town it became this place to see theater in a very rural and remote place it's also important that there's a mutual relationship back and forth and sometimes the spotlight is an educational program and sometimes it's that season breath or production that we have that allows us to play back and forth. We can't exist without what we do as a whole and the whole is can't exist without education because a lot of the people that come to our company are people that started in our education programs. So I think there's a natural organic way of co-existing even though we are separate entities but also together that we work side by side I think it's just I think there are different models of working that you know according to the organization it can work and then we're asking each other questions about what is working and what is not and what can we do better to really advance our organization in terms of the mission and then how it all comes back to us because we are an organization that serves our community and we serve in the many ways we have to serve because we're the only organization in a 200 mile radius outside of us so I think it asks of us to have to collaborate in a way that we have to be responsible to what our community is telling us and it's not easy and it's not pretty and it can get dirty sometimes and frustrations but I think those emotions are so important to have there because then how are we going to be able to make art that really speaks to us Yeah, we're doing a lot really important work very very little resources and to not rely like what she was saying is so true about our season I don't think like what we're trying to do with the productions that aren't part of the education department things wouldn't work without the talent Juhami's bringing in two and we have conversations when I'm casting this rep company can I use your cast for the tour in this show I would really love that it does the schedule work out I mean I'm trying to use as many of her people as she's trying to use the people I hire and in the end they just become our people like they're all in one company and then the second thing that I think is so integrated about what we're doing is part of our mission statement diverse repertory season dynamic education programs and new place the new place part is huge the education department we're a prerep is able to say that every season 25 to 35% of what we put on stage is the original work and that's because there's usually one or two on our other stages and two in the education department and our headwaters new play program is really half DOA work and that's the work too that has gone on to coder in other places and you know brought a little freedom to the world that is so huge inside your question there's a nature because of the history of theater in the United States that there's an art and artistic department that has more status than an education department and I think and that might not be the case internally inside of an organization so inside my organization sometimes artistic programs come and complain to me because they feel like they're not getting enough attention or something you know from education that does happen and I just think that part of our mission is because I think what you're hearing is we all don't actually think of them as artistic and education we think they're just two different kinds of art programs but we have to communicate to a public and inside of our field and we get found by that and so we use terms like education director and things like that even though we really mean artistic director and that's like the tension in the title and all these things there's tension between education for adults and education for young people too because Johan is our education director but the artistic associate handles a lot of our audience in Bridgeman which is really kind of engagement in education and it's very much important who I run and how he does and they work together very well and it's yeah the title is that's I think I just wanted to add I think also we you know in terms of our art form we get stuck in using certain vocabulary and I mean like and I hear it in us as well but you know it's like I think that there's a change happening and it's slow that we have to in this room start to shift that mindset so that then we can actually go out and start shifting that vocabulary that we use when it comes to the culture of education within an organization Do you have any questions? I do it's rather existential I guess but why is this happening now to you all? What's what's the shift that's why are you saying this more in terms of the conversation that we're having can you say something more about that more why am I able to sit here now I've been in this field for 15 years and here from this end of the table say that you're really looking at education and in artistic programs as one why wasn't that happening for 15 years so here's a theory Emory Neuroscience his medical neuroscience has partnered with this on a couple of projects with friends and Dr. Mark Rappaport who runs Emory Neuroscience shared a really horrifying series of studies for this a bunch of years ago which is we now have the first generation of grown folks who've received from 0 to 11 more sensory input from single dimensions than from three dimensions and mirror neurons which which are essentially the brain matter that allows us the capacity for empathetic experience have to have a certain amount of three-dimensional input to develop and so we're now seeing a generation of grown folks who literally do not have neuro physical capacity for empathy at the same level than the generation above them and that I get out of that shit but it's interesting on paper when you experience it in practice you understand that we're in an absolutely critical juncture where there is a a generation with diminished empathy raising children Chris alluded to the literacy statistics in our city where only 40% not even 40% of the students in our public school system are reading on grade level at third grade and that is the extrapolator for prison systems going forward third grade literacy we're at a developmental price point and realizing that rather than being the need-mongering ornament of American society we're actually a solution set in an ever-diminishing toolbox organizations where all of the your work seems very uniquely integrated as you've spoken it seems like for a lot of us the their initiatives like engagement and outreach and education that all kind of swirl around the same essential work and yet they seem sometimes to reside in different departments and they also seem to be somewhat different initiatives can you speak a little bit about how you think about those things are they all sort of the same thing to you as this sort of formation of education are they different how how do you try to sort of jungle those those different attention a lot I observe along what the the staff brings in so because I've learned as much as I want to do everything and I want to help and serve as much as I can in my community I can't do it all I'm only one person but what I've learned I think in terms of also leadership it's really starting to think about what my team that I'm working would have to offer so for us I think it's really unique that it's hard to get people out there agreed and to recruit and then also sustain our staff so that there's consistency and so but when we bring in people it's really taking the time to see oh well like Jenna who is now we have a strong person doing our marketing communications work how can I use some of those resources and not only be like here's the things that you're going to work on Jenna but really being able to bring her in and have her take ownership of the programming that I'm leading but have her also feel like this is also my program this is us building a goal of what we're trying to achieve and so it's I think for me it's just really and then get excited about the possibility of like if we collaborate like imagine what we can do together versus what I can do by myself in a bubble because that's what happens with education so collaboration and in the true sense of I guess you know I think the most damaging thing with coded language or something else and we became kind of clear the quality engagement in our theater the power of the work was all around audience about we also realized that the work that it became long long before being like in the education work like that was truly the education in the community so a lot of it was there but I think again it lives out the organization in terms of what we're producing why where we're producing specifically this year it's like some folks over the line we've been on the road you know with us throughout Atlanta trying to narrate the narrative to the complexity but that's much more interesting than trying to figure out how we think about the engagement we talk about audience engagement all of our programs that other theaters might call community engagement we just normally somehow call it artistic but they's coordinating them so is that education is that artistic it's really like those outside outside boxes that sometimes come under or to a colleague or even to stakeholders like a partner you know if I come in and say oh they are artistic directors that are going to be confused so these titles sometimes come up that but these are just boxes and I think for us at CPT the box sort of happens near the end or after something's going then when we're starting we don't say we need a new almost no Latinx theater artist in Cleveland and what can we do about that when in our neighborhood 30% of the community is Latinx as you're going out in the community that you are kind of instituting inside of I don't know if I use that word right or if it's a word but that you're kind of hard wiring inside of your organizations such as language approaches to hosting their practices that are evident in your communities where you're citizens that you're bringing in and hard wiring because there's a lot of the word decolonizing comes up a lot and I'm wondering what are we bringing into the theater that starts to to show the identity and the intelligence of the communities that we're looking to reach having in our box office someone look by language is huge language is very powerful and signage you know when and I think someone spoke to this before but you know when we came in the pictures that are on the wall right the counter the space and how are they affirmed and I also think something in the last five years that we have grown and learned a lot about are like how do you run a community about where people do feel about them and where you're using your skills your skills as a theater producing models and then with your community partners learning okay and how do you what are they teaching you right so it's like not again we have all the answers obviously but it's like and sometimes those producing models have to change significantly it's like sometimes it's okay for someone to be 30 minutes lead to something and for you to keep those doors open or break their own family break their own family and and put a blanket down and figure out a way for everyone ready to feel right even if you're like oh my god they did not turn on their phones so I think there's there's there's that as well of like when do you check yourself and that's something that I'm really excited to speak with the panels before of like where there are opportunities of learning that happen on their side where there were some maybe theater practices that you were anticipating would work that just didn't work you know but they were like oh I just I gotta do it a new way wow that's a learning growth opportunity for me I'm actually adding a new method like sometimes I like to say like you're learning a new language or you're adding another color to your palette that you have that you are gaining some fluency but it's not your state knows this you're learning a new way I think like you said so much better but in a totally different setting like the opposite of the other we have the same experience with our community and that they really taught us new meanings of what accessibility means and what it means to be inviting be inviting rather than look inviting and and for our community being inviting looks looks like face to face connection it doesn't necessarily reflect it's like you were saying an existing fully in the third dimension with your community and the language we use is very important we we are good but we are not lead is a big distinction that we have to really you know so does anybody remember that moment in whatever class or conversation that you've learned that approximately 3% of the American public has this theater on a regular basis tell the truth if I'm alone in this it's going to be you williating how many of you have learned that your first hopefully internal thought was what's wrong with them so maybe the what's wrong with us question is something that working with a younger and more completely transparent in their feelings audience base would be a great lesson right we back to the question about engagement outreach all those terms we've finally put our arms around the idea that yes we do crave an audience but that audience could be a 3 year old who spends 40 minutes in the babies in space space that could be a corporate type who's learning strategic storytelling so we can be a more effective in his boardroom or that could be and this is no more and sometimes maybe less important that person that person who sits in the dark for two hours that's all audience and if we're going to change the 3% perhaps we need to maybe so so as we talk about change I'm wondering if maybe that's going to talk about your programs and what you know when you look at your programs you think four years and in the four years and the span of four years that I've been there it's been a constant question of like where are we reaching out where are we losing an opportunity and continue some of these conversations within our our community we started to realize that there has been a huge community that we have not at all in the history of CRT really connected and that's been to the valley community outside of Crete and there's a huge Latino and Native American population out there and we you know the organization the history of CRT itself really being connected to the community but we've packed in certain places and so I think one of the opportunities that we have and a responsibility that maybe that's me speaking is I have the responsibility to to find why we have done that and how we better for me I need to reflect and not say we have we've done it all at least or you know but where can we do better to do that I think as an artist you know to figure Pico inside and say I'm going to really dig in in the places where we haven't and how can we do it together as opposed to just sending off education doing the tour and then we can check it off we've done our outreach part of it but how do we then bring that back and then I was being like oh sorry I was really like to don't tell off that I'm asking the same questions and then these these things we feel strong that we need to do and just sort of I'm always like balancing our dreams and what could we know is out there to be done that we can do with our sustainability as well and figuring out how those two things can become pointed in the same direction yeah can we just I just want to hear from the rest of them and come back to you, alright? Did anybody have a question? Sure I was like one different element of education and what I'm really especially on is the mentoring of the next generation which I think is key I think can make you toward your question is constantly coming up how can we better a full-true question for the organization which is we've what does that mean we've gone from a place where everyone knows everyone and I have a very close relationship to everyone because we're not everyone reports to me and we're not all just hanging out talking about the same things anymore we have to divide and conquer and that's been a really huge we're trying to figure it out and how do we not create those silos and all those things another big issue for us has to do is as the brick city theater program on the public housing expands and our team program expands we begin to really think a lot about sustainability for those teachers both how to attract the right talent because these are very, very specialized teaching environments that are probably unlike maybe brick city might be unlike anything anyone in this room does just never seen a classroom like this it's very weird and so how do you get the right talent but also we have had a horrible couple of years where we've lost family members where parents of parents that we know closely have been shot and on and on where literally they had to reach out because of a parent reaching out to her and had to sort of engage with all these social services organization to essentially I don't want to say track to convince one of the girls she worked with to come in and meet with her in the social service organization and we've just had a horrible couple of years and that's going to happen because we work in the communities of trauma and how do we take care how do we begin to think more about that missing piece of our education program which is about social service workers being in the room there's a huge question for me financially and training-wise and how do I make sure that my staff can get the self-care that they need as long as I don't make a question? No, I should say like knowing how well I mean sure responding in those situations you know like being the well and then seeking that and being able to say to I do not know so let me find the answer let me try to be a bridge for you Question? Yeah, thank you I used to being in education director for a few years and one of the things I was feeling from the room I had to ask the group this is clearly three theaters that I did not experience 20 years ago that were having a symbiotic relationship which is a beautiful thing we all know that a lot of that's the dynamic leadership an artistic director whether they had that vision for birth or whether they've learned it on the job or whatever it is so God bless you guys but what advice might you give not something neat to me anymore but to colleagues here were saying yeah the table might have some of those answers but maybe for the artistic directors specifically to say you know here are some of the language some of the powerful language I could have used at board meetings or with colleagues to get people on board I think this is what was going on That was exactly what I was going to ask right I think these two questions here is kind of like some thoughts right one thing that I heard and it just occurred to me is 50 years ago 60 years ago theaters escaped right people had categories from the world went into a dark theater and escaped we're talking about the theater for people who are going through trauma and the crisis that the theme is like that we're not running away we're running towards and so restaurants close theaters close if no one needs to go to them anymore right why have them so we have some language about why I think theater I think would be really great to hear from the artistic team how do we communicate that to these guys to maybe manage up to our artistic directors and boards boards well you know I'm going to go there because I do think we all we all code switch and all you and I can geek on mission right but Chris will share with our executive committee the percentage increase in dollars and bodies in any given program and it is the most compelling upward trendline of anything we're doing he will never tell you this but we have a very influential board member former board chair who refers to him as the golden child a lot that this particular cohort is most invested in are they most invested in numbers well if you've got an education based story to tell that has that upward trajectory make sure you're telling it or far more important make sure that your colleague has the platform to tell it and this is ironic I'm talking right now don't talk for give your colleague their platform with the people that you report to we need to raise more money so we can do more efficient work and we realize that actually the circle and that was a really powerful sentiment that actually investing in doing more missions also needs more money so it continues this this virtuous circle you know I think that's a powerful metaphor for the board I have the competition a little bit I also am very fortunate in our organization to be more in this relationship but I think that it goes back to funding and who has access to the funding and to advocate for their own funding so who has the voice at the table and that just might be an opportunity of saying and asking the question or is it asking the question about is it possible to have an education community engagement committee of the board I'm just wondering if we could maybe get some voices that are the community on our board to be talking about the same work that we can maybe then talk about mission more holistically also I think that it's important and Colorado the metro area Colorado Denver metro area has a sales tax we've been very fortunate and it was established many many years ago and it just got voted in so we now have 12 years where now the arts organizations are asking how are we stewards for that money that we literally our community has said okay we're going to invest in you so now we're asking about we have a responsibility as an profit of how we are stewards for that money back into the community which I just don't know if there could be more energy especially for us as education leaders to maybe be going to the state level to the federal level and saying how could there be support around this and we promise to be in partnership with you to be the stewards of that money and we're in partnership with you the Natural History Museum the Art Museum of really asking those questions about okay we want to talk about access roll up your sleeves we're responsible for this and how are we paying that for it and making sure that it's working in the community which you know we're so grateful to be in the organization the first thing is I think for a lot of larger arts organizations these days there's actually a sort of fear and jealousy of the education program and so I think you should acknowledge that and then an intellectual argument like if you can deliver on action that's one thing but an intellectual argument is not necessarily going to win the day it might just increase that jealousy and that polarization because that's how we work as humans and so the other thing I would say is like if your programs are delivering an amazing experience an amazing work of art which I think many of us are then having that artistic department in the room and just getting them there and they will remember like something that they got into this field for that is the best thing you can do and the other best thing is when you have guest artists or celebrated artists that might not be guests that are part of your organization to get them involved somehow even if it's in a small way because those are the artists who are going to say when they're leaving the theater I had this great experience where I wrote this play for your theater and I will never forget this next thing that happened with the education program and that's highly incentivizing towards the suit tractors so I think you know think of it less of arguing a case and more seduction I would say I would say Raymond and Alice, thank you for saying those what I was going to gentlemen to say is you have to do the work at CRT when I first started there this was not the relationship that was happening with an education and the rest of the artistic team as a matter of fact it was a very isolated department and I've had to work really hard and we've had to have really difficult conversations of putting things on the table and say like this is not working this is why this is how I feel within the department and Jack's been able to do those same things so you're going to have to roll over sleeves you're going to have to do the work because if you don't do it if you don't create the change the idea of who wants change the image that we saw he was the cold hat up here and at the end of the day you're not going to do the work you're not going to be in there at the meeting then what's the point, right? then why are we doing what we do and so you have to do really the challenging part and you'll be able to do those things if you have the patience and willingness to see what is working what is... I have this question about the act and we're talking about getting attention in the organization and getting education to be as valued as it is if you're having that trouble like two things like convince your artistic director to give it a stage I mean like give it a stage like put it in front you know it's not just going to schools which are so important if you're getting adults to see it too and you're getting we have our board as a whole during the board meeting will sometimes come to our new play festival and see the premiere of the touring show and when the board is seeing they're sobbing at the end of it you've got them they value education and the other one is a little more radical it might be slightly harder to do but get your artistic director to do the work like be a part of the education department direct T.U.A. Asia direct um teach a camp do something to get kind of in the trenches and on the ground and no it'll change your life it's amazing I'm afraid that will be for events we've done today and continue this conversation we'll see you back


So Selina, what is your definition of service design? Well, for me, service design is the take on design as something bigger and more holistic that just putting stuff together. It's like going to the core of what people do, need and expect and providing them with solutions that are relevant. So this video is just one piece of the puzzle. Make sure to check out some of the other videos that are on this playlist. And if you're interested to learn how to explain service design in plain English without confusing people, check the free course that I've got for you over here. Thanks so much for watching and I look forward to seeing you in the next video.


Another feature that is particularly relevant to API use and developers that are interacting with DHS2 is the introduction of personal access tokens. So personal access tokens are a new API authentication method, which is similar to and a replacement for basic auth for using the DHS2 API. Similar to using basic authentication where you pass the username and password with the request to DHS2, a personal access token is scoped to a specific user. So it's recommended if you're using personal access tokens for scripts or integration services or those types of things to create a user specifically for that integration and then create a personal access token for that user. This way you can control the rights that are granted to that user so that they can be given exactly the access that they need and nothing that they don't need, and that will help to protect the data that is accessible using that integration. This is the recommended approach for authentication when building any sort of server-side integration or script. It also supports browser-based access to DHS2, though that's not recommended in most cases if you have public DHS2 instances, unless you also implement some rate limiting and caching in front of the server to protect it from public access. Importantly a single user in DHS2 can also have multiple personal access tokens that can each be configured independently for different security rules and access controls. And then those personal access tokens can also be deleted. So if one is ever obtained by someone that shouldn't have access to it and instead of needing to delete the user or change the user's password or lock them out completely or something like that, you can remove that specific personal access token which was compromised and no longer allow anyone with that personal access token to access DHS2. It's also important that these are used for API authentication, but you can't use a personal access token to log in to the interface of DHS2, which is another level of security when using this over basic authentication because if you accidentally expose the username and password for a particular user, then someone that has access to that can do everything in DHS2. It can log in, can create new personal access tokens, can do everything else. So this is another advantage of the personal access token over basic authentication for APIs. This is a screenshot of the interface for creation of these personal access tokens. I'm actually going to go ahead and demonstrate that so that we can see how that works. So here I have a 237 version of DHS2 on the play servers. I'm going to go ahead and click settings for my particular user. And then on the left here we have a new item which says manage personal access tokens. I click on that. I have the option of generating a new one. And this is that interface that I was just showing in the screenshot. I'm going to show creation of a server or script context personal access token. I then have some options as I mentioned to configure this particular token and how it can be, yeah, how it's protected or what restrictions are put on anyone that tries to use this to authenticate with DHS2. For example, the default expiration is 30 days, which means after 30 days this token will stop working. This is a good practice to have when creating new tokens because it means that you can't accidentally forget about one that then gets posted on Twitter or something and then you have anyone with that token can access your server forever unless you notice that somebody is doing something wrong. So if you have expiration dates set on those tokens, you can have some more control over how those tokens can be used to access DHS2. So let's go ahead and set this for seven days. You can also set specific IP addresses with which this token can be used to access DHS2 from which. And that's important for server side scripts because if you add a specific IP address where your integration service is running or some other service that you're talking to, that will prevent this token from being used anywhere else. And that's a big advantage. If you're in a browser context, which again has some security implications, so it's discouraged to use this unless you really know what you're doing, you can also restrict the domain names from which this token can be used. So you can specify the referrers which are allowed to use this particular token. In the server script context and the browser context, you can also specify which HDG methods are allowed. This means whether you can access data or change data in different ways and you can turn that on and off for different tokens. Obviously GET is much safer than being able to create new data or modify existing data or delete data. So being able to just access and read information is an important restriction that you can put on a personal access token, which is not possible or it's more difficult to apply to basic authentication when using the API. Also, this is a very long list in this case, but this will show you exactly which authorities are granted to the current user and will be available to anyone using the personal access token to authenticate against the API. This is quite a long list here, but it will be shorter for most users that you create and the idea is to make this as short as possible because you should be creating a new user for this particular integration that you're building to create basically to restrict the authorities that are granted to that token as much as possible. So if we go ahead and generate this new token, you'll see that we have created a token here. This is a random string that should be unguessable and then you can click copy to clipboard or copy it directly. Importantly, you won't be able to see this again once you move away from this page. So this token will still be available and valid, but after you see it for the first time, you can't see it again and that's a security feature as well. You can delete it, which will remove access to that particular token if you would like. So that's personal access tokens, which are important security feature of the DHS2 API, introduced in 237.0.