Good morning everybody here today and very, very warm welcome to the first of December LUNS event of the Perform Europe OpenCore. I am Ausa Rekastokter, Secretary-General of ITN and Chair of Perform Europe and I will be your host today. For the next hour the team and the partners of Perform Europe will inform you about the new OpenCore, its criteria and requirements, the different tools we have created to assist the Perform Europe partnership process, the several infosessions and help desk sessions ahead as well as share with you our own thoughts on the importance of this European funding scheme for the Performing Arts. And on that note we want to state that has been very meaningful and a learning experience to develop Perform Europe with our founder the European Union through its Progressive Programme Creative Europe. And on that note we are thrilled to welcome our opening speaker of the day, Pia Aringilde Hansen, the Director-General for Education, Youth, Sport and Culture. Pia, the floor is yours. Thank you very much dear Perform Europe Chair and Mrs Ausa Rekastokter, dear consortium partners, dear colleagues. Thank you for this invitation. It's really a pleasure to meet all of you as we celebrate the success of Perform Europe. The Performing Arts sector suffered a lot over the last three years with the pandemic, with the energy crisis, with inflation. In 2020 alone the Performing Arts sector saw overall losses of revenue going beyond 70 percent and these challenges added to more structural difficulties like market and sector fragmentation, linguistic barriers or travel costs. And yet in the midst of these obstacles this community came together supported by Creative Europe. And when Europeans needed Performing Arts the most, when they needed connection and catharsis, you made sure that confinement was not an insurmountable obstacle. And this brings me to my first message. The work of Perform Europe underlines the strength, resilience and dedication of the Performing Arts sectors. It is this community we are supporting and celebrating today. A community that takes pride in being inclusive and diverse. A community that for a long time has put care into making sure everyone feels their emotions and expresses themselves. A community that leverages this emotional intelligence and persistently contributes to do good. For example, contributing to mitigate the damage of climate change preserving our planet. Your work has our full support, most notably through Creative Europe funding. Because these challenges are not in the past tense. COVID may have accelerated the digital transition in this sector. But it also brought up issues regarding skills, rights and revenue distribution. It is to tackle these challenges to make sure the sector finds its own solutions that we put forward 2.1 million euro for the current Perform Europe calls open until March next year. And we will support 35 projects with up to 60,000 euro and 5% of the total funding will be dedicated to collaborative projects involving Ukrainian partners or supporting initiatives in the Ukrainian performing arts sector. And these projects will explore innovative models for performance to continue to enrich our lives. Be it through rethinking the way we create, distribute or enjoy art. The commission may put forward the means, but you are at the steering wheel and you will already have the benefit of knowledge created by the 19 projects that we financed during the pilot phase of this initiative. Let me conclude by congratulating the Perform Europe consortium. International Network for Contemporary Performing Arts. Europe Dance House Network. European Network for Contemporary Circus and Outdoor Arts. European Festivals Association. And the Pearl Live Performance Europe. You contribute to Creative Europe, to the European Theatre Initiative, and to the performing arts sector has been invaluable. And I look forward to seeing the fruits of your collaborative work. And I hope to see this action grow towards new synergies. For example, with Culture Moves Europe or with the new culture and creativity, knowledge and innovation community of the European Institute of Innovation and Technology. And I cannot wait to hear the stories and inspiring projects that you will bring forward. I wish you a lot of success in your applications. Thank you. Thank you so much, Pia, for your kind and encouraging words. We will certainly keep them with us on the journey ahead. And speaking of journeys, Perform Europe is now beginning its journey from being an 18-month pilot to being a long-term standalone funding scheme, offering cascading grants to the performing arts. The learnings and successes of the pilot are many, and we encourage you to study the resources on the Perform Europe website. It was successful because its priorities align completely with the priorities of Europe. The European Green Deal, our strong intentions for an inclusive European society, our determination to offer just and democratic communities. These priorities find manifestations in so many different ways in the arts. And the Perform Europe pilot, the 88 partners which formed the 19 partnership selected, showed very innovative ways to tour and present 45 artistic works 250 times across more than 90 locations. They did so by offering inclusion of our European rural areas, bridging gaps between audiences and artists with disabilities, promoting queer, feminist, decolonial, migrant, human-centered, artist-led, ecological initiatives. They practised slow travel and replaced carbon-intensive practices with green solutions. Let's hear the voices of a few of them. Perform Europe as a new, totally new source of financing is giving us a chance to bring dance to many different cities out of Prague, not only to the capital city, to bring it also in the villages where normally you don't have infrastructure to present contemporary dance. Perform Europe was really something so accessible, so easy to apply. I mean, it was a process which I think was brilliant that we really gave the feedback, what do we need? What is it that we think is possible or is necessary? Well, for us, especially Project Woods was touring four different cities in the Czech Republic, starting in Brno going to Ostrava, Pilsen and Prague. And we were able to do 12 different body installations in squares and other parts of the cities with this concept of planting the trees from bodies, from legs, and the people were absolutely impressed. They were so happy to see something so specific and they were also surprised that they were not only women but also men participating in it. And for us it was also important that half of these performances were completed by Ukrainian dancers and for them it was a totally new experience. And the way that we could embrace each other, I think was the most memorable moment for me as well as the things that happen in between the processes. And that's what I kind of take back for, you know. All the breakdowns, tears, laughter, joys and the stories that came out from the participants of the project in a very short time, very personal experiences that I would think like twice probably sharing it with strangers but this kind of workshops and interventions kind of brought that space, a very collective safe space. We will hear from the Perform Europe partners, the representatives of the network organisations which have put their minds together to develop Perform Europe. And I'm proud to give the floor first to Katrin Deventer, Vice Chair of Perform Europe and Secretary-General of the European Festival Association. Good morning, everyone. I'm very happy also to bridge this little time and I'm very happy to see you all here and introduce IFA to the European Festival Association, Platform of Arts Festivals, reaching out obviously to festivals through membership but also various projects, such as the European Festival Fund for Emerging Artists with the main task to bring festivals in contact with each other across borders. We enjoy it and we enjoy still very much joining forces with colleague networks as well as with the European Commission to set up Perform Europe and to continue developing this platform for supporting performing arts practices in a meaningful way but also to engage into a conversation around topics as you mentioned AUSA that concern the sector. Perform Europe for me has always been that and for that very unique, it's not only an incentive for collaboration through a fund but it's also an invitation for collective thinking and for reflections within the sector and connecting those reflections back to the policy making levels. We hope not only with today's call but in the next weeks and months to be in touch with many festivals and presenting contacts and of course artists and producing companies as well and to see them back in Perform Europe and in the projects in the next years. Now over to you, Anita. Anita de Barre, the new kid of the network block in the Perform Europe Consortium, Director of Pearl. Yes, that's wonderful. Hello everyone, a very good, good morning to you all. Imagine, I can present myself as a newcomer. My name is Anita de Barre, I represent Pearl, live performance Europe and I hope you are a newcomer just like I am. So this is a very exciting and vibrant time that we are having and sharing. I really sense this over the Zoom wires that are crossing Europe. Now, getting serious now, why did we join and decided to join Perform Europe? It is because our members from across Europe, when they saw the first project, they were so excited. They, whether they were from the creation side or the presenter side, they said, yes, this is what we are waiting for, the European fund supporting mobility, supporting cross-border culture cooperation. And it is cooperation, it is in the genes, it's in the fundament of Europe. It's the real expression of culture diversity, which is valued so highly in Europe. So we're very pleased to be part of that and I hope you share my excitement as well. Now making it possible to work together across borders and art disciplines in the performing arts with a focus on the one hand on sustainability or on inclusion and or allows to create really added value to initiatives that grow with you in your organizations, in your creative process at a local level. But then it has your potential to be brought to a wider audience. So this is just fantastic. Now for all those reasons, Perform Europe is really the excellent opportunity for any one of you who is seeking to enhance its experience and to broaden its network. So again, we are very excited to take art in this journey and to contribute with the expertise and now how that we have on mobility questions. If you have anything, just meet us and we are there to help you. But to contribute in that sense to the totality of the Perform Europe project. So we are looking forward to give an opportunity to the great diversity of the performing arts that are also represented by our member federations and give new opportunities and chances to highlight projects with fit within the aims of Perform Europe with the focus on sustainability and inclusion. So I'm happy to hand over to Juris Jansens of Idea Consult and over to you, Juris. Thank you very much, Anita. And hello, everybody. Good morning. Very pleased to be here. Indeed, Idea Consult is the research partner in Perform Europe. During the first pilot, we carried out mapping research in this research, but also in the whole pilot. We saw that in the performing arts sector, there is a huge need and a big desire to develop and to innovate more sustainable practices with regards to ecological sustainability, with regards to a more inclusive approach towards touring and international presentation. And to boost this need and desire to innovate, Perform Europe will provide a much needed space for setting up experiments, for trying out new approaches with regards to ecological sustainability, the fight against climate change, and also to foster diversity and inclusion. We will allow for the space to set up experiments, but also to learn from these experiments, to document them, to share them, to share the lessons learned with the selected partnerships and also with the broader performing arts ecosystem. And that is why we have set up Perform Europe as a collective space for learning and development, for all the beneficiaries that will take our part in the journey, for all the performing arts sector, they will be able to learn also from what has been learned in these experiments, which will eventually also feed into further policy developments. And indeed the role of Hidia Consult right now in this edition of Perform Europe is to facilitate this collective learning and development trajectory. Now I give the floor to Eva Blobek, she is the Network Manager of EDM, European Dance Development Network. Well, it's good. Sorry. Hello, everyone. This is how it is to have a home office with sick kids. And thank you, Ihoris, for the introduction. My name is Eva Broberg, and I'm the European Dance Development Networks Network Manager. The mission is to do advocacy and research, competence, building and cooperation and collaboration for and with professionals in the European dance sector. One of the specificities of contemporary dance is its need for mobility. It collaborates and moves beyond national borders, pushing the settings of its aesthetics, production process and how to engage with its audience. EDM is very proud to be a partner of Perform Europe to have had the opportunity to create and develop a platform for professionals to connect outside existing connections and networks. And to give support for professionals to connect outside existing... Sorry. And to give support where artistic ideas can grow within these connections. Perform Europe provides a funding scheme supporting innovative thinking outside the box for performing arts work. These works can be sprouts of long-term, sustainable co-production thinking. Or they could bring a new narrative about what a good life can be in times of climate crisis. Or inspire others when emphasizing diversity in a work, its production process or how it meets its audience. We're looking forward to see many new performing arts work come alive and move soon. Thank you. And now I would like to give the screen to Stefan Segretto Aguilar, Network Coordinator of Circus Strada. Bringing in the contemporary circus and outdoor arts. Thanks, Eva. Hi, everyone. Much has been said already by my dear colleagues, but I would still like the chance to share with you two extra reasons on why Perform Europe is an extremely important funding scheme and on why I'm very excited about this new journey. First and foremost, when talking about inclusion, diversity and the fight against climate change, I believe that together we can act, that we can make a change, that we can show that a change is possible and that we can have a stronger impact if we is the stage, whether it is physical or digital and our tools are our voices, our minds and our bodies. So let's do this. Let's cooperate. Let's work together. Let's create these stories that will inspire, question, provoke and entertain. Let's engage with audiences differently and with different audiences. Let's contribute to pave the way for a society where freedom of expression is really valued, where well-being is properly put into practice, where social exclusion and discrimination are reversed and where we promote social justice and equality between genders. We can do all this also thanks to Perform Europe. The importance of this funding scheme resonates with me also for another reason. Apologies for preaching a little bit for my choir, but I'm excited to see how rich and diverse stories the contemporary circus and other arts can bring to form Europe values and priorities. I am really looking forward to this next to, of course, discovering partnerships and artistic project focusing more on theater than performance and puppetry. Thank you for listening. That's all for me. Over to you, Alsa. Thank you, Stefan, and thank you dear partners. It has been an absolute privilege to work on Perform Europe with these strong passionate partners. All of us care strongly and have a responsibility towards the enhancement of Perform Europe and we see our collaboration in Perform Europe as a testament of how the sector itself can take charts of its own destiny in shaping future funding schemes. And I am now going to hope that we will be able to bring you the voices of the Perform Europe pilot partner artists and presenters. I think if EU acknowledges the experiences of the marginalized communities, it would be helpful to build a much more cohesive and inclusive society. That's how I feel like this project is important in bringing forward the resistant voices that are still present in Europe in different locations, in different forms. Perform Europe was like a gigantic, democratic mobility funds scheme that then showed the potential of how we can reach all these places that we are reaching that would not be reached but also bring the artists to the home of Europe. This experience was life changing for me in terms of professionally. In the UK my work and that way of working and finding spaces to have slow work which is in a residency format that is not outcome based. That is migrant led that is diversity led. It's been a hard sell for a number of years, for a number of reasons. And that's not to say that there's a lot of people that are very supportive of this kind of work. So having an international funder who is up for exploration and testing has been an incredible game changer. This brings me to the most important part of this one hour webinar which is what you have been waiting for the new call of performance from Europe and I will note very happily give the floor to Karim Filinden the project coordinator of Perform Europe. Good morning everyone. I'm really happy to know that so many of you have registered and are here with us today tuning in from many different places for this official launch. I will now share with you as Asa said the most important information about the open call. I will talk about the call's priorities the different eligibility criteria I will tell you all about the matchmaking tool that we have developed and of course I will at the end also share the timeline with you. But let's start with the basics. The open call of Perform Europe is now officially launched and will be open for four months until the 31st of March 2024. In total there is a budget of 2.1 million euro available to be granted to at least 35 successful partnership projects. Perform Europe is a program for the entire performing arts community. With this open call we want to make change and therefore we are looking for new ideas and for proposals which will have a long lasting impact on the performing arts sector. We invite partnerships to come up with innovative proposals and courageous ideas to change the way in which we tour and performing arts across borders and to make it greener more diverse and more inclusive. This translates in the two priorities in focus of our open call. The first one being diversity and inclusion and the second one being the fight against climate change. Partnerships who apply will choose one or both of these priorities as a focus for their proposal. And then with the ambition to move towards a fairer sector we particularly welcome projects by or involving the areas and communities which are currently underrepresented in the performing arts mobility flows. These include but are not limited to members of the LGBTQIA plus community. People based in rural areas having underrepresented gender racial or ethnic backgrounds people with disabilities and other people that identify as members of an underrepresented group within the performing arts landscape. We acknowledge that Perform Europe operates in a highly diverse and unequal context in 40 different countries. Also Perform Europe's pilot research has revealed several disparities between countries and communities which are part of creative Europe. And we want to tell you that Perform Europe aims to move towards rectifying these disparities. Then a selection criteria next to the quality of the proposal in addressing one or both of the mentioned priorities. All Perform Europe proposals should implement the following cross-cutting criteria. All proposals should aim for quality and innovation. And all partnerships and proposals should be built on fair principles. This is essential to Perform Europe. 2.1 million euro will be awarded to at least 35 partnerships. Grants will be divided in three categories 12,000 32,000 and 62,000 euro with the 60,000 being the maximum grant available for each selected partnership. Applicants will choose the grant amount they apply for it is up to them to decide in relation to the project that they envision. We will incorporate specific support to the Ukrainian performing arts community as 5% of the total funding will be dedicated towards partnerships with Ukrainian partners or initiatives that support the Ukrainian performing arts sector. And then important to note is that Perform Europe does not cover production costs for new creations so it means that proposals will need to include a finished artistic work finished artistic production or an artistic concept which is ready to tour and can be presented across borders. Then on eligibility the call is open to performing arts professionals and organizations legally based in one of the 40 creative Europe countries. A partnership consists of a minimum of three partners from three creative Europe countries and in their proposal they will need to be presenting a minimum of one performing arts work also in three different creative Europe countries. Professionals and organizations based in the UK are unfortunately no longer eligible for Perform Europe. All performing arts disciplines are eligible under the call, excluding live music performances because we work complementary to the Music Moves Europe initiative. Now this is something that I'm quite excited to present to you. It has been developed uniquely for Perform Europe on our website applicants will have the opportunity to participate in our matchmaking. So potential applicants will be able to access their profile with all their relevant information and once they have their own profile they can use tags and filters to look for other partners. They can send each other match requests and upon a successful match their contact information will be unlocked for each other and they can connect and start building a partnership. We believe that this matchmaking tool will be highly beneficial in making sure that partnerships are created beyond the usual suspects for collaboration and will foster the diversity in the partnerships. Our new website was launched on the 1st of November you might have already seen and from today onwards it is also possible to create your own profile and participate in the matchmaking. This is an example of what a profile page will look like. You will have a photo a title of course a description of what you do. You will also be able to list what you can offer to perform your partnership and what you need from it or what you are looking for. You can indicate the topics you are working on and so on. As you see here the main contact information is still blurred because there hasn't been a successful match yet. This is what your matchmaking tool will look like where you can search for other partners maybe it's a bit small but in that black bar you will be able to indicate certain tags certain filters for searching. You can see who you have marked as favorites you can see the matches you have sent and what you have received. Then the toolkit this is another tool that has been specifically created for Perform Europe. It was developed by IDEA consult to help applicants in setting up meaningful partnerships and creating an impactful proposal. I will not say too much about it as Joris will present the toolkit to us later. Now how to apply it all happens on our website. If you want to apply make sure to read the open calling guidelines in detail register with an account maybe use a matchmaking tool to find partners. Set up your partnership plan your proposal of course apply in our digital application form where you also upload your budget form and submit before the deadline on the 31st of March of next year. Then as Perform Europe is also more than a funding scheme for selected partnerships we will be collecting the learnings of the selected projects throughout their implementation to contribute to further reflections on the transition of the performing arts sector we will share all these learnings with the broader performing arts community and policy stakeholders at all times relevant. And as promised at the end here's the timeline from today on the call is open for four months. Once the call is closed independent evaluators will assess and select the projects and by the 3rd of June we will be able to announce the selection. Then from the 1st of July 2024 until the 30th of November 2025 the partnerships will have 17 months to implement their proposal. Now I mentioned the toolkit briefly before so I would like to invite Joris Janssens from IDEA consults to tell us all about it. Thank you very much Karen. I will share my screen to present the Perform Europe Toolkit to explain to you what it is and what it is about. Indeed it is a PDF canvas that you will be able to find online and indeed it is a tool that is developed to help you develop proposals that are really aligned with the aims and objectives of Perform Europe which you know all about right now. It's a toolkit that is set up to really spark a conversation within potential partnerships to help share and exchange artistic ideas to identify common goals and challenges and well to develop strong projects that are really in line with the aims and objectives of Perform Europe. Who is it for? Indeed it is for everybody who has an interest in developing proposals. You can have different situations where there can be a situation where you already have a partnership. You already have a project idea and in that situation the toolkit can help you to really refine articulate align your proposal with Perform Europe objectives to really explain what you want to do and why this is important. It can also be another situation where you already have a partnership in mind you already have some partners around the table with a project idea and also in this situation the toolkit can help you to explore what do we want to achieve together what are the challenges we will face and this will help you to develop a strong proposal. The third situation is also possible where you sit around the table you don't know with these partners that you will develop a partnership but the toolkit will help you to explore to see whether you have a good partnership with the proposals with regards to Perform Europe. It's usable in different situations and you can also use it both in an online setting in Zoom Teams or other environments but you can also download and print the toolkit to use it in a physical setting in live meetings. That's all possible. It's a conversation starter about Perform Europe toolkit is a canvas with four levels and when you go through the levels you have different topics to explore. First you will talk about what are the artistic ideas that we want to further explore in a Perform Europe project proposal. Put them on the table, exchange about it get to know each other. Second there is room to explore common ground it's really the change we want to make with regards to the Perform Europe priorities. Climate change, diversity, inclusion what do we really want to achieve what's the impact we want to have on our practice on the Performing Art sector and exchange about that and find the common ground. Third level is indeed if you want to do that it's quite complicated and you will certainly meet some challenges individually but also as a partnership what are the challenges we think we will face resources are always limited so what are the challenges that we think we will face when trying to achieve this aim. And the last level is it will help you to design and perform your proposal to explain to each other and to design a number of activities and also explain how these activities will contribute to the aims that you want to achieve together with the change that you want to bring about with your Perform Europe project and proposal. So this is what the toolkit will do and it's part of a bigger plan as we already indicated Perform Europe is not about funding the status quo it starts from the belief that artistic projects and sharp artistic ideas can help to innovate with regards to fight against climate change and to foster inclusion and diversity and we will learn a lot about it throughout the whole process. We will encounter a number of challenges as I already said but we will also learn a lot about how to overcome these challenges and we will have learning and development trajectory where we will exchange about the lessons learned and in fact the toolkit is the start of this collective learning trajectory. Now let's have a few more minutes to look at the toolkit itself what does it look like as I said you can download it and find it on the website and how can you use it in fact before you will use it you will do a number of steps as Karen said that you register online that you make a profile and there you can already share some of the ideas that you want to further explore you can use the much making tool to find your partners it's also important before using the toolkit that you choose one or both or to perform your priorities it's important that you do that before using the toolkit. If you've done that you're ready to sit around the table you schedule a meeting and then before you start it's also good that you assign a number of roles everybody can contribute to the discussion of course but it's good to have a moderator that helps you to come to conclusions it's good to have a reporter that takes notes in the interactive PDF or just on paper it's also good to have a timekeeper who keeps track of time and guides you through the exercise and then you go through the exercise this is what one of the screens in our canvas looks like first level as I said we need to get to know each other explore your artistic interests and this is a screen where you will explain to each other who am I, where am I based you will pick a color perform your color that you will use through the different exercises and you will explain who you are and where you are based and it might look like this in a fictitious example also in this first level indeed you will explore artistic interests and you are asked, everybody is asked to come up with two ideas artistic ideas other ideas, any ideas that you really want to explore further perform Europe and we will ask you to put them on a gliding scale to the left it is the topic that you are really very much experienced in and you bring this experience to the table to the right if you have less experience but are very much interested to learn to explore these topics further and if you put them on the table on the color that you have chosen you will get an image like this and you will have a number of ideas for your conversation and maybe already have some building blocks for a common artistic vision we will ask you then to moderator will do that to come to a conclusion and to really identify what are the shared ideas that we want to further explore in a potential proposal for perform Europe so this is level one, explore your artistic interests and it can look like that and then indeed you are ready to find a common ground first with regards to really what is the change that we want to bring about with regards to our practice with regards to the practice in performing arts and this is a screen where we will collect your individual ideas bring them together cluster them and talk with each other exchange what is the change that you want to bring about individually and if you fill in the exercise you will find a number of major topics focus areas, focus points that you really want to work on and you will collect everybody's views ideas and ambitions with regards to these topics and then indeed you will come to a conclusion once more can you really find a common ground what will we try to explore what is the change we want to make with our potential partnership your moderator will help you with your conclusion and your reporter will write it down and it could look like this when it is filled in let's advance and this is indeed the end of each level will come to a point where you will ask yourself and your potential partnership are we ready to continue did we find a common ground if you didn't find a common ground if you're quite sure that this is not your partnership you will stop here and maybe you will go back to the matchmaking tool find other partners and you will get around the table in a different setting if you think maybe we will be able to develop a proposal but we need to find something out then you can maybe stop, schedule a new meeting have some time for reflection but if you think yes indeed we have found this common ground then you can advance to the next level of the Perform Europe Toolkit and indeed these are the kinds of exercises that you will find in the Perform Europe Toolkit in level 3 you will talk not only about the change that you want to make but the challenges that you will encounter along the way individually but also within your project and you will go through the same steps collect ideas come to a common conclusion and also do the exercise are we ready to continue or are there further things that we need to find out before we can continue and in the last level indeed you will design your Perform Europe proposal you will explain to each other and you will design what is the works that we will put on tour that we will present across borders where will this happen what other types of activities will we develop and importantly how will these activities really contribute to the change that we want to bring about with regards to for instance the fight against climate change or diversity and inclusion it can be for instance that we will share resources investing research and development that the activities will help us to innovate with regards to formats and processes just some examples so indeed this is the last level you design your Perform Europe proposal and if you have a green light there you can refine it further elaborate it and apply this in a nutshell is the Perform Europe toolkit indeed it's really a conversation starter to help the further development of proposals artistic innovative proposals that contribute to the aims of Perform Europe you'll be able to find it online and you can start using it starting today Thank you Joris Thanks a lot for this very comprehensive journey through the toolkit which we really hope you will all now take into and make use of for your upcoming applications we are now coming towards the end of this launch event but before we say goodbye we want to share with you information on the networking events coming up as well as some additional tips about things that are available to you in this Perform Europe open call period for the next four months as I said there's a lot of different things that are going to be available for you available to you from today until 31st of March when the call ends and first up it's the events there will be various events in connection to the open call the goal of the events is to inspire and inform the sector about Perform Europe's guiding values and visions and the importance of the many opportunities that it provides we will be organizing two specific Perform Europe online sessions open to the entire sector the first one is in two weeks on Friday the 15th of December and the second one is Friday the 2nd of February 2024 during both of these sessions we will be sharing information about the call answering questions about how to create opportunities for networking and we will also be assisting potential applicants in the use of the toolkit and the maps making platform so in a way in the next events we will sort of dig further into the tools of Perform Europe the networks who are partners in Perform Europe will also be hosting over 20 targeted infosessions and networking events to further disseminate the call amongst diverse professional audiences both online and in person in various cities across Europe next to these network events the Creative Europe Desks will be hosting information sessions often in local languages and on that note you should all know that Creative Europe Desks is in place in every single participating country and are available for questions and assistance in relation to Creative Europe Program and specifically for our case for Perform Europe and we are really sincerely thankful for that support please check out the events calendar on our website subscribe to the newsletter to stay up to date about events locations specific focuses and information on accessibility on the activities page on our website we gather not only all the information about the events but you can also find the section news there where we will be sharing important updates as we roll out the entire Perform Europe project another section under activities on our website is the page courses where we collect research and documentations about all the topics that are relevant to the Perform Europe priorities for example good practices on inclusion a handbook on greening practices and so on and so forth and last but not least please look at the section stories on our website where we share the inspiring journeys of the projects that were selected in the pilot and once the next projects will be selected in this call these stories will also be reflected there and if you still have any questions about the open call after reading the open call and the guidelines you can consult the document frequently asked questions on our website and you can also join our bi-weekly help desk sessions where the Perform Europe team will be able to answer any questions that you might have they will be online on Zoom every Tuesday morning from 10 to 11 Central European time and you find the link to register on our website we are now coming towards the end of the official launch event of Perform Europe as a closing word to thank all the speakers for their contributions HowlRound that has kindly assisted us in the live streaming of the event the international sign language interpreters and live text captioner for improving the accessibility of the event and last but not least all of you for your attendance and attention we really hope we have brought to you the enthusiasm we have for this open call and we warmly invite you to spread the word again, subscribe to our newsletter and social medias like and share and check out our new website and register and create profile on the website and of course become part of the Perform Europe journey and reimagine international touring with us thank you so much for being with us today and stay tuned


As the respiratory hospital marks its two-year anniversary since opening its doors, the celebration commenced with a Cuban day activity on the hospital grounds. Medical Director of the respiratory hospital, Dr. Alicia Eugene Ford, applauded the support from the Cuban Medical Brigade in the delivery of primary, secondary and tertiary levels of care in St. Lucia. At present, the Cuban Medical Brigade has 134 medical staff on Ireland, of which 71 of the members are with us at the respiratory hospital. They have been fighting the COVID-19 war alongside us, and for this, we will forever be grateful. Today, we will experience another face of Cuba, a vibrant island rich in music, poetry, dance and food. A multi-ethnic nation home to persons of different races, religions and backgrounds. Acting Permanent Secretary in the Ministry of Health, Jenny Daniel, expressed heartfelt gratitude to the staff at the respiratory hospital, especially the Cuban Medical Team, for assisting in the COVID-19 response. We thank you for the successes that have been made. We thank you for your support and the lessons that have been learned with your valuable assistance here in St. Lucia. St. Lucia will continue to partner with the government of Cuba as it pertains to beefing up our health delivery service here in St. Lucia. And we look forward to continuing that partnership in the future with further engagements. Cuban Ambassador to St. Lucia, his Excellency Bernardo Toscano-Sadinez, says he is pleased to be part of this activity, which is an expression of the friendship and solidarity between St. Lucia and Cuba. This event is also a recognition of the long and deep tradition of friendship between our two countries. It's a recognition to a long and strong solidarity between our peoples, St. Lucia and Cuban peoples. It's a recognition also to the achievements of Cuban medicine in the Atlantic Island, in the Caribbean nations. It's also a recognition to the mutual experience in the front lines to combat the pandemic COVID-19. The activity provided the Cuban medical professionals with the opportunity to showcase their culture for food and music. Reporting from the Communications Unit of the Ministry of Health, Wellness and Elderly Affairs, I am Funa Neptune.


t one thing I do care about is if you do use itunes and you Do listen to podcasts through it or even just regularly download music or whatever off of there If you would be so kind, please go give us a rating because even if If you really enjoy this podcast and you want to help us expand our audience Beyond sharing it with your friends and everything when you rate us on itunes It actually gets your podcast higher and higher up in terms of itunes suggested to other people when they're rousing for podcasts So if we get like 50 ratings and we end up as a four and a half star rating That's going to get us suggested to through a lot of other gaming podcasts for people to discover us So it's just a it's just a way to help us discuss. You don't have to do it I can't tell you to even go as a five star rating. Be honest. Yeah, right Exactly.  That's fine You don't want to give us a negative one.  We have a one star rating It is where it is like it's someone who just doesn't like my style of doing stuff, right? No for sure. It's cool Um, but yeah, just you know do that obviously like subscribe to our channel or pod bean or wherever else you want to Listen to it. Check us out on patreon.com because we have other things that go up besides the podcast um Yeah, follow us on twitter at ninty prime or at nate jance for my personal twitter Um, if you want to get any messages to eric just literally message one of those twitter accounts I will get it to him. Still have to get it twitter. Um, yeah, and by the way I might as well mention this because it's been a couple weeks now since we didn't have a podcast Yes, uh, we are trying to go to e3 this year, but we need your help Uh, nintendo prime is an entity that's solely ran by myself. I have a couple people that help sometimes I'm eric with the podcast Um, and he helps out with like if I go to e3 he's gonna be helping me out there Um, and then I also have martin who edits our podcast But like all other content in this channel is 100 done by me And I support my family with it and I do this for a career Um, I'm one of those struggling youtubers out there, but I'm not struggling so much at my family struggling yet So thank you guys so much for the support you've given me so far But we really want to go to e3 because we feel like we can do e3 different than other people Yeah, and it's not even for for us. It's for you guys. Yeah, we're it's A lot of people um even a lot of youtubers and they go to e3 a lot of times you see in their videos They're talking about how much fun they're having or and I'm not saying we won't have fun Right, but what I'm saying is they're not going there with the mindset that I'm here for work I go there with the mindset. This is my job. I am here to create the best damn content I can write guys to get the videos clips of the games You're not getting from anyone else to do things in the games You're not seeing from anyone else to get interviews if we possibly can to Hook up with other big influencers out there that you want to hear from and hear opinions from on certain things That you might not hear from normally right to tell cnd to get on our damn podcast I'm just saying like when we when I go there and Eric can attest to this when we went for zelda for back in 2016 It's business. Oh, yeah, there's not I don't want to say there's no pleasure We had one afternoon of pleasure. I went to a baseball game With the baseball game the first night. Yep, and we learned the last day before got on time We went to the beach for like an hour Yeah, but that was also we literally I was up all night long editing videos uploading Hotel Wi-Fi, you know, that could be I mean granted I basically got to the point where you upload and then you go to sleep and you pray to god It's down when you wake up. Uh-huh and a lot of times it wasn't you know what I just thought of what we don't have your alienware laptop No that cracked the ultimate speed Wi-Fi password No, I know Yeah, we were at the hotel like you We were supposed to have the high speed internet like they have the normal Wi-Fi And then you had the ultimate speed you had to pay for my laptop just accessed it without yeah passwords or anything Um, which really helped upload videos. It actually made a huge it was it made a surprising different stuff But whatever it is what it is. I forgot to pay for this. You gotta pay for it. Um, but yeah We really want to go but we need your help. Um, I know it sounds like a lot of money We're trying to raise $3,500 but remember it's not just to send me it's to also send Eric We're both going because this is at least a two-man job to get the kind of coverage We want because we always got to make sure that the cameras are being done right on the ground We're gonna have stands this time and right it's going to be a lot more professional than when it was with the seldom farmer And because we've been before we kind of get the shtick and I'm over some of the nerves I might have like I didn't handle business cards as much as I should have because just kind of nervous You know like not because I'm awestruck but just because I don't know Exactly how to approach things right or approach people. I've never talked to I'm like example if I see Bill Trennan and you know, it's like do I freeze up or do I say hi? No, you just say hi. Hey, man, dude. I'm Nate from the internal prime and love your stuff. Yeah, right, you know Yeah, it's you know, I don't know if you're ever going to contact me But here's a business card to be cool to get in touch sometime. Maybe we can uh Maybe even do an interview or something right, you know outside of e3 sometime, you know just for sure for sure Or or stuff like like like it's not just to obviously there's a big benefit to us So go in e3 But the the general idea is that the reason we want to go isn't no so much for us It's for you guys Because it is a lot of work. It is little sleep. It is long days long waits and lines to get you know a few hours of footage and in-person podcasts and special guests and interviews But all of this gives you something that I guarantee you're not going to get any other channel If you don't believe me go back and look at our coverage of e3 2016 when this channel was zeldin former We gave content that was not available on any other YouTube out there. So um, I The thing is I can't really Prove how different our content is going to be until we do it right and we need your help to do it And if you never want to support us going again, that's fine. And don't be wrong It's not like we're not going to put money towards it. It's going to cost more than $3,500 Right, but that's just going to get us there and get us the hotel and get us home We'll cover the food and all the other stuff and the equipment rentals that we're going to need to do and everything The the the ISD cards I'm going to have to buy But hell that pizza The the fat tomato pizza every other pizza better still be open. Oh, I know right anyways Thank you guys for tuning in I'm the thinner of a dance and this is eric more and we will catch you next week Prime things happen


Hello, in this lecture, I will again go back to the correlation function g of r t, whose double Fourier transform over time and momentum gives me the s q omega, the scattering law that I tend to measure in an experiment. I will try to familiarize you with g of r t and its physical significance and also since s of q omega and g of r t are Fourier space of each other, I will also introduce you to the design requirements of spectrometers depending on the kind of dynamics or kind of structure that you want to see because you need to decide it beforehand and that will dictate how the detects are positioned, how energies are measured everything. So, and then I will take you through a tour in the various neutron sources, major and our own source and various components that are present in a neutron scattering setup starting right from the source to the detector. I will take up all these description of all these of course, a little briefly to introduce you to the proper experimental facilities. Now, I go over to the lecture. So, this lecture so, as I said I will discuss the physical significance of the correlation function. I will also discuss the design of experiments versus resolution and then I will introduce you to elements of scattering setups, the source, the beam transportation, the beam monochromatization, two neutron detectors. I will touch upon all of them briefly, if not in this lecture then in the next lecture. So, I had indicated that s of q omega is a double Fourier transform of g of r t. So, d 3 r e to the power i q dot r is one integration was space that takes me to the q space and d t e to the power minus i omega t over time that takes me to the omega space. So, I measure instruments in which specifically I measure neutrons at a certain angle and if it is a attempt to understand dynamics then I also try to find out what is the energy of the neutron because the dynamical process in a system like phonons, diffusion, molecular vibrations they can exchange energy with the neutrons. Why it is not possible with x-rays is the fact that if I take a 1 angstrom x-ray the energy is about 10 kilo electron volts. So, the to measure the change of milli electron volt on a kilo electron volt x-ray is difficult if not impossible. Actually, presently in synchrotron sources using very high resolution backscattering instruments one can measure energy transfers even of that order, but in general I can broadly tell you that the energy transfer of milli electron to measure using a photon of kilo electron volt is like measure trying to measure a milli volt change in voltage using a volt a voltmeter which is calibrated for mega electron volt mega volt measurements. So, now let us come to the correlation function which describes the time space correlation between the scattering units. I mention this consider a wave phonon is a wave the position of one particle at time t allows me to predict the position of another particle at time t prime. Let me just tell you we know that if there is a chain of atoms let us just take a linear chain of atoms in a system. I know if there is a phonon then the phonon possibly goes like this the phonon that means the displacement of this is correlated to the displacement of this particle it is also correlated to the displacement of this particle and this particle. So, at any instant t if I know the position of this particle r or I call r comma t that is more conventional then position of all other particles at any other position any other position r prime at a time t prime is known for a phonon. So, that means this phonon dispersion relation gives me g of r t for this system. Now coming back to static system if I consider g of classical r t. Now at t equal to 0 if I consider this has got two parts because this is the sum of delta functions r 0 minus r j t. Now at I sum over all the partners and do a this is a ensemble averaging. The ensemble average is inherent because as I told you earlier when I do a measurement I do it over finite time that means I take frame after frame on to the detector and that does the ensemble averaging automatically. So, this ensemble average is shown by the brackets as I shown you. Now this has two parts a particle of course it is in its own location it will have a delta r, but then for all other partners of it there is that of a delta function peaks whenever r j minus r 0 hits another atom. So, let me again the same chain of atoms in the static thing. I have got this chain of atoms I have this chain of atoms this means one it has got a delta function at the origin and any particle can be the origin. So, it is a delta r for this for all the particles, but also whenever the distance this distance this is the let us call it the this is the jth particle jth particle jth. So, whenever the distance is such that there is a particle there I have got a delta function peak and this delta function peak gives me not only the delta r I have got plus I have got a pair correlation function g of r what do you mean by pair correlation function and these are ensemble average. A simplest example suppose I take a case of molten sodium chloride I am taking a simple example. So, there are Na plus and Cl minus ions at any instant of time if I look at this molten salt if I take a sodium I can assure you statistically they are surrounded by a circle of chlorine minus because their ions and they attract each other and then surrounded by the chlorine ions who will have maybe possibly another shell of sodium and statistically. So, this shell compared to this shell is more clearly defined as you go farther and farther the this shells that I am showing you they get diffuse and more diffuse and finally, I have constant density. So, starting with one sodium as origin I have got a pair correlation function which will possibly look something like this. So, I have got a peak the delta function peak here which I am not plotting now the pair correlation function should have a peak then smaller peak and then it will continue. So, I have got a first in the first shell I have got a peak if call it r 0 then whenever delta r r minus r r equal to r 0 I have this shell and I will have a peak. And this is actually later when I discuss that if the structure of liquid in our system it will come naturally I will introduce you to it more in more details at that time. But what I mean is that in a static system in a crystalline system you have got sharp delta function peaks. But does not mean that when we have a liquid or amorphous system there are no peaks there are diffuse, but there are very clear short range order in such systems and that can be found out from the GFR that we can measure in an experiment. But GFR I have taken out time. So, I am not doing now in for this experiment this is not a dynamics targeted experiment we are trying to look at the structure. So, this is if I may say a brief introduction to GFR or pair correlation function for a static case and for a dynamic case as I told you that given a phonon an acoustic phonon a transverse acoustic phonon which I was drawing for you transverse acoustic phonon then the displacement of all the particles are correlated and their GFR is also well known. So, you can find out s of q omega for this also this is a dynamics case the dynamic case. So, with this I have introduced you to GFR T and for a static case and for a dynamic case. Now, I will come to resolution of an experiment and what can I do about it. So, because q omega and R T. So, q and R q is basically momentum transfer h cross q is the momentum transfer. So, it is a momentum space and R is real space and they are related we know by the uncertainty relation delta P delta R should be of the order of h cross and or higher the greater than equal to h cross. Similarly, the energy transfer is h cross omega and energy and time they are also an uncertain relation because of Fourier inverse of each other in this expression. So, delta A delta T should be greater than equal to h cross or of the order at the best. Now, in an experiment the delta K is basically the range of momentum transfer that we measure in the experiment because that gives me the limit of momentum transfer or momentum and that is the gives me the limit of uncertainty for a given system and that tells me twice pi by h should tell me that how much is the quantum mechanical space resolution that I can achieve let me be little more specific. So, we need to design or choose the experiment depending on what you want to see. So, let me just write that for a diffraction experiment let us say the quantum mechanical quantum mechanics says the resolution in an experiment is 2 pi by q max 0 to q max measurement range and q max again let me go back to the board we know that q is equal to 4 I am sorry 4 pi by lambda sin theta when the actually the beam has deviated by 2 theta. So, half of that is sin theta and this is q is equal to 4 pi by lambda sin theta this comes from a very simple geometry this is K 1 K 1. That is a thread you are seeing this is K 2 outgoing this is your q vector if this is equal to this is 2 theta and the related q is 4 pi by lambda sin theta. So, for then I know when I say q max q max it is proportional to theta of how much theta I am covering in an experiment theta max if I am doing the if lambda equal to constant I make this comment over here because from this expression you can see they can I can also change the q by changing lambda I can go to smaller and smaller lambda and q will become larger and larger and that is what is done in pulse spallation neutron sources, but that will come later what I mean is that here in an angle dispersive experiment your q max depends on maximum angle of the experiment. Then I can evaluate let us say I want to go for a wave vector transfer of 10 angstrom inverse with 1.2 angstrom incident neutrons. One needs to go to scattering angles of around 140 degree 2 theta equal to 140 degree. In a typical powder diffractometer we have 10 to 12 angstrom inverse range. So, you can see that we had to have detector moving from 0 to 140 degree and this gives me a quantum resolution of 0.6 angstrom for measurement of the lattice parameters and that is reasonable because often lattice parameters are in the range of this. Now, suppose I want to broaden the resolution that means, I do not want to see the atomic structure I want to see some larger conglomeration. So, I make my resolution 30 angstrom this is not improving the resolution it is making the resolution poorer then and I am using let us say a 4 angstrom neutron. All these have meaning later why I am using 4 angstrom neutron because with a 4 angstrom neutron for having a resolution of 30 angstrom we need to go to about 4 degrees. If I use shorter wavelength neutrons shorter wavelength neutrons then to go to this kind of smaller q values a theta also has to be much smaller you can see that in that expression I wrote theta equal to 4 degree. Now, you have a direct beam and you have to measure up to 4 degree which is sorry. So, if I need to go to 4 degree is a reasonably small angle 4 degree. If we have to go to 1 degree let us say 1 degree because I want to go to 0.2 angstrom inverse using a shorter wavelength neutron then such small angles are difficult because you also have a direct beam which has got a beam width of certain angular spread and the direct beam might start getting into this. So, that is why I said that I will be using 4 angstrom neutrons and that is called a cold neutron. I will tell you how to how we get cold neutrons and so, we have to go to 4 degree. So, this one the top one the yellow rectangle this is a typical test for a powder diffractometer for crystallographic structure where we are going up to wave vector transfer 10 angstrom inverse. Similarly, for a resolution of 30 angstrom other way round we need to go to 0.2 angstrom inverse look at the difference 10 angstrom inverse 0.2 angstrom inverse with the 4 angstrom neutron we need to go to an angle of around 4 degrees. So, this is an example that I have taken which is a typical small angle neutron scattering of sands case. Here we do not see the medium as consisting of atoms and crystal crystallographic lattice, but we are looking at conglomerations which may be 30 angstrom sometimes it can be even large 100 angstrom 200 angstroms and these are in homogeneity center system that we can be studying. So, the need of what do we want to see dictates a spectrometer. So, and we have to design the spectrometer various spectrometers depending on this need. So, I will come back to this in the next part of the talk. So, what we can see with neutrons in conglomerates matter.


It's Hopalong Cassidy With action and suspense out of the Old West comes the most famous hero of them all Hopalong Cassidy starring William Boyd The ring of the silverspears heralds the most amazing man ever to ride the prairies of the early West Hopalong Cassidy This famous hero thrills his 60 million fans with action and dangerous adventure In the role of Hopalong Cassidy is the popular star of the motion picture series William Boyd And now another exciting story of the early West the mystery at Three Oaks There was a time when Three Oaks was a busy little town That was when the white lady gold mine was pouring out its wealth to those who bent their backs and took it from the bosom of Mother Earth But the mine simmered out and the town went back to normal The only business that flourished was the black deuce bar and dance hall run by Hank Butler a Stranger has just entered the black deuce asking for butler Luke said you want to talk to me stranger your name Hank Butler. That's right State your business. Well, I guess you're the man I want I'm Jim Acorn of the Tyrell Investment and Mining Corporation in Denver I'm here to offer you a fair price for your stock and their white lady gold mine white lady gold mine That mine ain't been worked for 10 years. I'm not here to discuss that my friend I'm here to make your bona fide offer a 50 cents a share for your 5,000 shares Hey, you bought any others. I'm buying 5,000 from Curley Waters buying 10,000 shares from a fellow named Clem Higby 5,000 from Hopalong Cassidy Hopalong Cassidy, huh? He don't live around here. I'm meeting him at the hotel this evening. He's riding in Uh 50 cents a share, eh? That's right, and I'm only making one offer You know fella, I'll be mighty glad to get anything from that stock, but Hey, what you so nervous about me nervous Well, how do you mean keep twisting your fingers like you twirl on a mustache and you ain't got one For the habit friend. I had one for 15 years just to shave it off today Yes, it can't be too particular who I'm dealing with as I'm only interested in cash You'll get cash my friend so will all the other stockholders GMA corn is an honest man. Hey, but look there's a cow folk calling the ruggers with the poor. Yes, eh? Excuse me a minute mystery corn before you leave. Maybe you should know who you're dealing with Here's my card and my letter from the firm. No need if you're seeing the letter It's a kind of private correspondence. Oh, it's all right with me. Just bring the cash That's the way I like to deal mr. Butler. I'm going over to the hotel now Lean up and get out to Clem Higby's ranch before dark You'll be open tonight sure I'll be here. Oh, he forgot his letter.  I'm the one who's gonna read James a corn square by every share available of white lady mine We'll pay two dollars a share, but only offer that as a last resort Signed Tyrol investment company Denver boy that crawling horn to what's wrong boys playing me for a sucker, eh? Show that dude a thing or two. I'm beating him out to Clem Higby's buying his shares for 50 cents and I'll collect two dollars Yeah, they got to get up early to beat you. Yeah, look. Yeah, trade that dude Don't let him out of your sight no matter what happens keep him from seeing Clem Higby I'll get there first and buy his stock Yeah, but somebody said hop along Cassidy was riding in town. Are you car and coyote? I ain't afraid of no man that includes Cassidy. He may be quick with a six-gun, but I'm quicker under my hat Yeah, I get out of here. Do as you're told. I'll handle this Cassidy like he's never been handled before Now back to hop along Cassidy and our story the mystery of three oaks Up along in his pal are riding into three oaks to meet a man named acorn who wants to buy some shares of stock from hoppy Shares on the white lady goldmine It's been a long hot ride under the broiling sun and they're mighty glad to tie off back of the sheriff's office So they can rest for a spell on the shady green veranda Oh Here's plenty of shade I gotta find me some of that there shade too or I curl up like a overdone flap jet I know how you feel California cool spot looks pretty inviting right now Yeah, we better get our business over and get back to the bar 20 them new hands and everything We'll get an early start in the morning Oh This is his first Armagon this first chair Don't ask me to move out in this chair till dark I won't you just rest now drop over to the cafe with a sheriff and get some food the food You mean vitals. Yeah. Oh now hoppy. Maybe I ain't as tired as I thought Oh, there's Sheriff Curtis now. Hello, Sheriff Hop along Cassidy. Howdy and welcome to three oaks. What brings you money? Yeah Huh got a letter from the fellow offered to buy 5,000 shares and white lady mine.  Huh curly waters got the same offer on his shares All set the cell when he's his ranch house was busted into in the shares stolen Happen the very night a corner right in town. I'm gonna meet him at the hotel. Oh Sit back and breath. I just saw him all dulled and duded up right now the town toward the thing He come Higby's range. Oh, then we'll have to wait Hey, you saddle bump get off this porch. Mm-hmm. Oh, why are you gonna hands want to sleep?  Well dog gone to California. Ha ha I didn't recognize you Trying to find how to do you stand there a lot in the name Forget it California Nothing wrong with you that a plate of beans won't fix up. You know, hubby I'm dog gone glad you come when you did so much money changing hands around here, but anything's apt to happen Well, that's all well and good But we'll be a darn sight more help to you with a full stomach than we will or starve into death Mm-hmm. The only thing it enters me share of outside of food is Meeting this fellow who's willing to pay for a stock in a mind that's full of shale and rock All right, told you to knock before you come in look I had to see your boss now don't get to jumping over the traces when I tell you what happened Oh, what happened?  And I got the 10,000 shares from Higby good and at 50 cents, too Of course didn't have no time to argue.  What do you mean boss? Nothing keep your lips sewed up about tonight. You don't have to tell me that Look here Luke. Let me tell you one thing. Oh, oh sounds like trouble out front It's a sheriff with a couple of cowpokes. Let me take a squint Hank is Cassidy. So yeah, I gotta get you do your own entertainment. I got other plans somewhere else My as well sit near the window here hoppy anywhere suits me here Just so they can get to the table with the grub another Stockhold in the mine runs this black deuce cafe hoppy. Yeah. Yeah, Hank Butler Kajah sort of fella doing right well with cards Ain't nobody can take him and poker and some of the dirtiest hands he gets four straight flushes Hank Butler You know I'm happy trying to think I don't remember that name the technique sounds familiar Well, you get to meet him. He's coming over this way. There's no card players here at this table Welcome to the black deuce cafe gentlemen. This year's up alone Cassidy and California Carlson Hey, how do you do gentlemen? Howdy, and they grab us on the house order up Well now that's right. I see a fella and what brings you to a fair city Cassidy Oh thought I'd sell a few shares in the white lady mine. Oh good Particularly about who you sell to not especially why I'm buying them up 50 cents a share or you can get You're buying them to all's fair in business gentlemen Well, I've made an appointment with a fellow by the name of acorn that dude who rode out the Higmas, right did He's too late. I have bought 10,000 shares from Hig me myself today. That leaves mr. Acorn high and dry I'm a businessman Cassidy You also play a little poker. I hear what do you mean by that? I'll wait a minute. Hey, no high-handed stuff here. I can handle this sheriff You know butler you couldn't buy one share for me at any price And I'm writing out the Higgies to find out how you got those 10,000 shares from him That's all there is to it. Mr. Cassidy butler got here first paid me a dollar share So I sold them. What do they corn say about it? Well, guess it's kind of mad But he only offered 50 cents. Of course. I can see why you made money on them Hank's a nice fella told me to drop into the black deuce tonight and everything's on the house Did he offer to play a little poker? I'm one fella.  I ain't no yearling. I've been weaned Cassidy Don't you worry none about me? Well, I guess we'll be going back to the hotel Get our business over with acorn and head to the bar 20. You'll get a better price from butler I did how can butler afford a dollar a share while acorn is offering 50 cents each shares numbered He'd better check them. Hey numbered Well, I couldn't tell you take no fair mine. No, I guess not. Well, you ready, California? Yep been ready for 10 minutes I'll see you in town tonight Cassidy. I'm sure you will. How do you mean that? You know Higgie? I'm sorry you asked that. Hmm. Yeah, I don't quite know myself what I meant yet Oh Hoppy you done all you could to keep that bullheaded Higbee from going in town tonight. Yeah California, how did butler know Higbee had 10,000 shares? And why would he pay a dollar a share? Figured he could get it back from him. It could be that acorn and butler and cohoops on this Yeah, but it don't make sense butler ain't paying for something that ain't no good Maybe when we talk to acorn, we'll have the answer. Well, we turn on the trail right up ahead. Yeah Hmm, what's wrong hoppy? Oh What what's wrong I asked you I was afraid of this, California It's a man laying on his face. Yeah, and I'll give you my 5,000 shares with the man's name isn't acorn Now back to hop along Cassidy in our story the mystery of three oaks Hop along Cassidy in his pal, California Carlson came to three oaks to sell 5,000 shares of the white lady mine to a fellow by the name of acorn Hoppy found that Hank Butler owner of the black deuce cafe had been doing some buy and two 10,000 shares at $1 a share from Clem Higbee Hoppy rode out to the Higbee ranch to find mr. Acorn and found him dead I built this in my bones hoppy since that acorn fella got in town not much you could do then share Yeah, and ain't a lot I can do now it'll I get some kind of evidence He seems to me you could start at that black deuce cafe. Yes. Yeah, I was thinking the same thing Hank Butler admitted he was out there on the Higbee ranch buying them shares. That's right share and that Luke fella has disappeared hired and hair He generally does but was dirty worthy of Butler didn't do his own I will soon know Deputy will it knows where Luke holds up when he's in trouble like it's not he's got him already And don't forget that Higbee acorn which killed on his way Yeah, but what would Higbee have to gain you already had his money butler. It don't make sense now I don't say Higbee did it it could have been possible for acorn to a met butler out there and Well disagreed. Yes, you're right. Hoppy. That's just what happened.  He had 10,000 because he can be relieved of that money without a killing. How do you mean hoppy poker butler? Yeah, oh, I'm beginning to see what you're driving at hoppy you do. What is it? Why a butler that is acorn tried to beat butler for the shares and Well, what did happen? We won't be sure till the killer tells us himself Well, let me be soon in your think hoppy. Yeah, I see I see deputy willard bringing in that Luke fella If we can get him to talk, it'll save a lot of time That ain't gonna do you one bit of good Luke to say that you wasn't around Higbee's place You were seen riding out that way just after this acorn fella left. There ain't no log in my riding that way There's a log in skill in a man. You got any proof I killed him? Not this minute, but I'll get the proof I weren't the only one who was out there butler You don't see me with no shares. Do you?  Well, I won't have to look for You'll be resting your bones in the cell Come on. Look get moving. You may be the law, but you'll pay for this. Yeah Well, suppose you tell me why you was found hiding out on that old spiritio I wasn't hiding I was rounding up a few straight. Yeah. Well, the only thing wrong with that story is it was dark And you ain't had a head of beef on that spread for five years Yep, I got that Luke hug tied in the cell. Yeah, darn good place for him. Just came from the hotel. I got my wire wire Yeah, when I left the bar 20, I wired the marshal at Denver. Here's the answer. We got a lot of help Does it tell us for sure who the killer is? No, but it gives us a pretty good idea Here's what it says no such investment company as Tyrol address given as residents of Sharper called George Watts Unable to locate. Well, go on it. Maybe the power acorn was really what no doubt about it, California Well, I'm only interested in who done the killer and I think I got him right back there in that cell That's Luke. Yeah, you're forgetting about Butler. No, I ain't You know happy I think I'll try a little that fancy stuff on this but fancy. Yeah Tell him that Luke's been talking then if he knows something he'll open up wide as a barn door Figuring that he'll he'll only tell one side up. Why don't go on it? Sheriff you go doing that and we'll have another killing You're a good lawman sheriff and I don't want to be offering advice Now don't feel that way at all hoppy two heads is better than one if they're not on the same man Yeah, but uh-huh. Oh, how do you mean hoppy? Well, I don't go much for this beating around the bush I'm right to the point and lock them up And then I figure it out. Mm-hmm Well, sheriff, uh, when do you say we take a walk down the black deuce cafe? I think you'll see a mighty interesting poker game Poker game with a killing waiting to be solved the black deuce might be a good place to solve it Yeah, and a fella can get a stack of flatjacks while he's figuring it out Always thinking your stomach aren't your California. I'm sure him team our stomachs learn a callus in my back boon Let's get down to that black deuce panel Don't look like the bar is doing much business No, everybody's standing around that table in the bank. Must be something big probably $10,000 Well, you think so?  Some tellers ain't got even horsehands. Let's move up there sheriff.  Only I'm facing you. You do your killing from the back That's fine up boys. Put up that six gun buddy. That's the chance you take when you play. All right boys, break it up Get moving. Come on All right, everybody come on with your business Eric Tony play some music any time a man beats me when I got four. He's a cheat All right. All right. Calm down. Nothing you can do now I'll be talking to butler hoppy. I'll see you in a minute. Right sheriff and time something. We're done with that sharper You say you had four. Yeah, that's right four queens. You threw away one card and drew one Yes, that's good poker and he drew one card too. Yeah. Yeah, that's what he done And he had a straight flush to beat you. Well, how do you know you wasn't here? I thought I recognized that technique from somewhere now. I remember you do Somebody you knew before hoppy. Uh, yeah Higby was acorn angry about you were selling those shares to butler. He sure was He twirled that big mustache ahead like he was going to twist it off He lit out of my place like he could tear butler park How long after butler left with the shares before acorn came? Oh, not more than 10 minutes caught up with him and butler fought him and killed him. Higby I'm going to get that $10,000 back from butler. Hey, hey there be shooting. No, I don't think so I'll get it back at his own poker table. Hoppy. You need gambling? No, california.  Nope deal the card Me deal. Sure. Let's make it one hand a draw Steaks the sky Kings are better to open right Getting warm in here sheriff. Sure is. I don't know what hoppy's up to It can be turned sure he does Hey, you open cassidy? Uh, yeah I'll open for 10,000 That caset is no fiker, but there's many matching this fella. Well state Sheriff hoppy's got full jash. I see him. How many cards you're drawing cassidy? Um, give me two Oh, the four he's throwing away four how many uh, you say two that's right and off the top too. Uh Yes, of course here one Do now he's only got threes I'm taking uh, I'm taking one I'm throwing in another 10,000 butler You win cassidy. I Can't call and I'll tell you why you can't call jim pageant.  I don't know what you mean Here's what I mean I drew the sick and lacer clubs If I'd have drawn none you'd have had one end if I draw one you'd have had the other end Why butler you've been cheating these folks for years and it cheated me out of my 10,000 too And that ain't all he's done california Let me see those shares you bought butler You accusing me of something else. Let him see him butler. Why are they right here in my inside coat pocket? Yeah Can you tell anything by him hoppy? Yes, I can california Acorn about about 5,000 shares from curly waters and no shares was found on acorn. That's right Whoever has curly shares don't not killin See anything hoppy. Yeah See sure these numbers They're not consecutive From two different owners. Well, now that's something we can use for proof. Come on butler Luke's getting lonesome just a minute sheriff. We forgot something Here higby. Here's the 10,000 dollars. You lost the butler. Well, thanks a lot hoppy Hadn't been for you that makes you square with butler. It's your dirt hoppy. I'm all square No higby you aren't square. Huh? Not till you're hanging on the end of a rope for killing jim acorn Now back to hop along Cassidy hoppy. Ah, you know, I I thought you was plumb loco when you said that higby was the killer Well, higby admitted it. He confessed. Yeah And when them numbers wasn't consecutive Higby knew that he'd got them shares he stole from curly waters mixed with his own that he sold to the butler Numbers sure them numbers on the shares. Oh, oh, well, uh, those numbers weren't different sheriff What they weren't any share numbers Those were the severe figures on the location of the mine. Why hoppy you tricked him Acorn and higby had planned this whole thing to unload worthless stock They knew if the word got around that a big company was buying up the stock Hank butler would try to beat them to it Uh, but higby got greedy when he had the cash in his pocket During if I can figure who's had you're on hoppy Me neither a minute ago you was risking your neck and our money playing poker with butler just to get higby's 10,000 back When all along you knew he was a murderer That's because I can't stand to see anyone deliberately cheated And then the side of me must be tearing your heart out. Huh? I know what's coming cause every minute we waste standing here jabbering He's just cheating me out of more of that barbecued steer back into bar 20 You see sheriff the only thing that's really close to california's heart is that big hungry stomach of his Good boy from hop along cassidy Hoppy in california will be back soon. And of course, we hope you'll be with us You won't want to miss this next experience of theirs. So don't forget it. Well you Hop along cassidy star and william boy. It is transcribed and produced in the west by water white junior The mystery of three oaks was written by howard swat All stories are based upon the characters created by clarence e mulford. This is a commodore production


Well, I got started at a fairly young age. I am originally from Argentina. My family migrated to the United States and immediately, for me, it was pretty obvious how different the living standards were. In spite of the fact that Argentina was not among the poorest countries of the developing world by far, it was evident that there was a significant gap between people living in the United States, people living in Argentina, even the same people. Like my family. So it got me intrigued at that time, what's behind the fact that you have inequality between countries and then I got more and more interested in terms of also inequality within a country, which the US, as we know, has a lot of it too. That actually was one of the very surprising facts. The project that led to the first analysis of declining inequality, which was published in 2010. Now other things have come out since. When we started it, I used to be at UNDP and the idea was we wanted to focus on why inequality was persistently high and lo and behold, what we found is that inequality was falling in Latin America. The question was what had happened to make this occur in the region where we know that that was very unusual. Also in a context in which in the rest of the world inequality was rising in many parts both in the developed and the developing world. So we came up with two main reasons. We call them proximate reasons because there may be factors behind them that we still don't know exactly what they are. The two main reasons, one which we know that have played a role is the fact that government policy became more pro-poor. In particular the invention, if you want, of the cash transfers or the conditional cash transfers on a very large scale, which started in Mexico with what then used to be called progresa, and then a lot of other countries started to replicate, had a role to play in the decline in inequality. However, the most important factor that explains the decline in equality was the compression of real wages. In particular, what happened is that wages of people with higher education, with tertiary education, fell relatively to people with no or low education levels. That was a surprise. And in fact, more recently we also found that they not only fell relatively but also wages, real wages of people with tertiary education in some of the countries fell. That's true for Brazil and Mexico. What's behind that is still not clear. That's what I'm saying. The proximate causes we know that happened. But why did that happen is not entirely clear. Was it because you had an increase in the supply of people with tertiary education levels that went up faster than the demand for them? Or was it that there's been a change in the quality of what is now tertiary education so that the wages of people are receiving a new entrance to the labor force with tertiary education? The wages they receive are different from the similar people with tertiary education in the past. And we think there might be something in that part of the story because there was a large expansion of education. But with that expansion, what happened also is that more and more, if you want tertiary education institutions, were appearing and not all of them of the same quality. So I think there's been a deterioration of the quality of tertiary education, and that explains in part why the wages at the top have fallen.  And there, we still also do not understand exactly what the reasons were, but one of them might have been that in some countries because of changes in demand patterns, people with lower skills were more in demand and their wages rose. Also in some countries, the minimum wages had something to do because the minimum wage was increased in countries like Brazil, Argentina. Even in Argentina, we had mandated wage increases in the private sector at the lower end of the wage spectrum. So those had a role to play in compressing the wage structure. And that is a core reason for the declining inequality in Latin America. This is actually currently one of the leading projects I'm involved in. And the idea is to use a common framework to do the analysis of the contribution of fiscal policy to the reduction or the change. It's not always a reduction to a change in inequality and poverty. So we use a technique which is known as fiscal incidence analysis. And we try to make it in a way so that we can compare across countries and also for one country over time. We started in Latin America, but now we have expanded to the entire world pretty much. And in the portfolio, there are 32 countries. We're about to have 18 of them finished. And we include in this portfolio even the biggest countries like China, India, Russia, Brazil, South Africa. We also have it on the US. So for Latin America, which was the first group of countries that we studied, I think that there are the two things that matter the most tend to be size. So how much you spend and progressivity. How progressive is a net fiscal system, meaning you cannot look at the tax side only. You cannot look at the spending side only, you have to look at both. And a combination of progressivity and pro-poorness, which is not exactly the same, a combination of progressivity and pro-poorness is what makes some of the systems more effective in reducing inequality and poverty. Problem is that what we discovered also is that it's very important not to look only at what people tend to look, which is personal income tax, or any other taxes that affect disposable income, but it's also important to see what happens when people spend. So consumption taxes are also important in analyzing the effect on poverty. And in some of the countries what we've found is that even though they may be incredibly successful in increasing people's money in their pocket, a lot gets taken away when people buy and have to pay consumption taxes. In fact, one of the cases is Brazil, which has these enormously successful Bolsa Familia program of cash transfers, but the basic goods are taxed at a very high level, rice and beans, for example. And therefore when people pay, when they consume, they pay to such an extent that for some of the poverty lines that we use when we make these kind of analysis, international poverty lines, but even the Brazilian ones that Brazil use, poverty is higher after taxes and transfers than market income poverty. So this was one of the findings that we have discovered occurs in more than one country and it gives you something to think about. So what's happening with the net fiscal system, even if some of the revenues are spent on public education and public health, you still don't want the poor to be poor in cash terms. And I think that's one of the messages we want to come out with. It's not so much a focus on inequality, it's a focus on absolute poverty and how your net fiscal system can be designed so you minimize that. And therefore even in countries where you have a lot of success in reducing inequality with the fiscal system, you may still have a problem of causing these increases in poverty which you want to vote, you want the fiscal not to create more poverty. Well I think that wider is one of the institutions that was pioneer in bringing people who are in academia from different parts of the world and think together under some sort of mentoring system in which you had a leader which is a renowned person in the field that helped do studies on very policy relevant issues. When I first came here I was just telling you was when wider was, right after wider was born and the study we were doing at the time was the successes and failures of stabilization policies in the developing world. It was after the debt crisis and this project was coordinated by Professor Lance Taylor who at that time was at MIT. And so it was a very, very nice way for people who you know at the time I was a scholar in Mexico where we were able not only to learn about the experiences in the rest of Latin America but there were people from Africa and Asia. And that created a network that I still use today. I still have that network as part of my professional life today and I'm sure that that's an experience that lots of people have had with wider as being a hub of bringing together researchers especially younger research from different parts of the world, bring them in a setting in which they have a mentoring system to work on policy relevant issues and creating lots of bridges and social capital that can be used during your entire life.