Hello and welcome to NewsClick, this program with Real News. We're going to discuss the effect of demonetization, the black money hunt as it is being portrayed by the government, and the possible impact on the economy with Shankar Aguraman, who is a senior journalist, economic journalist with the Times of India group. So what is really happening? What's the story? Why is there a shortage of cash in the economy still? If you look at the statement they've made, the one that you refer to about 50% of the cash having been brought back into circulation. It's a very cleverly worded statement. What it says is that 50% of the cash which was actually in circulation has been brought back. Now it's anybody's estimate how much of the cash that was out there is really in circulation at any given point in time. So the estimate of the amount of money that was in the system in the form of 500 and 1000 rupee notes has been revised a little bit over time, but the last figure we've heard is about 15.4 lakh crore. Now half of that would be 7.5, 7.7 lakh crore. Whereas what the government is actually claiming is only about 5 lakh crore having come back in the form of new currency notes. So that's nowhere near 50% of what's been taken out. But then if you say that of that 15 lakh crore, about 4 lakh crore was actually just sitting in people's homes and never came out of their vaults, then you can make whatever assumptions you like about how much money was stashed away and correspondingly reduce your own target for how much money is needed to come back into the system. Remember that by their own admission, in the initial phase they've been focusing on getting out 2000 rupee notes because they'll be able to get a lot more of cash into the system quicker. But this can't be sustained as they themselves said. We're going to now start focusing on the 500 rupee note. Did it never strike the government that if you want to use the 2000 rupee notes effectively, you actually need 500 rupee notes otherwise it really doesn't enter circulation? Well, it seems unbelievable that nobody in government could figure that one out. It's plain common sense that you can't have a 1 to 20 ratio between two consecutive notes. So if you take out the 500 rupee note, you essentially have a 2000 rupee note and the next level is a 100 rupee note. I think part of the problem is also that this obsession with secrecy I suspect meant that very few people were in the know. So it's possible that if more people had been involved in planning the exercise, somebody would have had the common sense to point out that you can't have a system operating solely with 100 rupee notes and 2000 rupee notes with nothing in between. You were talking about it before we had the interview about the fact that we are now using our credit card for small value transactions. For the big value transactions you are using the 2000 rupee notes. Exactly the opposite of what would normally have been happening. Normally you use cash for small value transactions like buying a packet of cigarettes and use the credit card for larger transactions. But now because the 2000 rupee note seems pretty pointless, there's hardly a place where you can get change for it. You use it wherever there is a large transaction where you think you can get change for it. What is the, if circulation of money has dropped and with this 2000 rupee notes and 100 rupee notes, what's really happening is the circulation of money is really slowing down. What is its likely impact on the GDP? Particularly if we take the, that it is going to take at this rate at least another 3 months for the system to put back the cash. First let me point out that the denominations are not the only thing reducing the circulation of money. The circulation of money is getting reduced also because of the normal reaction to any shortage of anything. If you believe something is in short supply and that you won't be able to get hold of it in a hurry tomorrow, the natural tendency is to say let me keep some in reserve. So what this demonetization has actually achieved is that in most honest taxpayers' homes there's a lot more cash today than was ever the case before the 8th of November because it's elementary common sense again, I mean which as you say is rare, that if I feel I cannot, let's say I have an emergency in the middle of the night, in a normal situation I would have said no problem, I'll just go to the nearest ATM and withdraw the money. But today I know I can't do that. So I need to keep a stash of cash at home to protect myself against possible contingencies. Now if you think about the arithmetic of it, we have GDP of about 135 lakh crore, which was operating on the basis of cash of about 19 odd lakh crore, right? So you have a 1 is to 6, 1 is to 6.5 kind of ratio between the GDP and the amount of cash. Which means each note theoretically was reduced 6 times. If two things happen, one, the amount of money available goes down and B, the number of times it goes around comes down, you can see the effect of that immediately. So instead of 19 lakh odd crore going around 6 times, if you have let's say 14 lakh crore going around 5 times, you immediately reduce the GDP by that much. So almost it would be by this calculation would be almost a 30% to 40% reduction of the GDP. See, it's anybody's guess how much the drop would actually be. Because a lot of it is not cash, so that transaction will still remain. So those transactions will still continue. But also what you are seeing right now are first order effects, right? Let's take the issue of the GDP issue. About 40% of the transactions were in cash in the Indian economy. Would that figure be right? Roughly. Again these are estimates. These are estimates. So effectively a sharp drop in those would have taken place. Exactly. So which means that there is one level of chilling effect in terms of the transactions themselves becoming relatively much smaller. So that itself would be a 20% reduction for the 6 months in the GDP if this continues. And one needs to remember that there is a distributional effect to this as well. I mean who are the people who are most affected by cash transactions coming down? Those who have no option but to deal in cash. Clearly this applies far more to the poorer sections than to people like you and me who have things like credit cards and debit cards which we use for things other than withdrawing money from an ATM. So it's not only a decline in overall economic activity, it is a decline in economic activity that particularly targets the poor. This instead of targeting the rich as Mr Modi said this seems to have at the moment targeted the poor much more. Absolutely. But looking at the GDP effect, there is also the second order effect. If for instance like shortage, if there is an expectation that there is going to be slowdown in the economy then you don't buy. Do you see that effect also taking place? Absolutely. Absolutely. You don't buy and because there is an expectation that there will be a slowdown in the economy, companies don't invest, they don't anticipate future demand and therefore don't invest for that. And then it becomes a self fulfilling prophecy. If everybody holds back in the expectation that others will not spend then of course it becomes a reality that the economy is a whole spending a lot less. Do you think that this measure has in fact initiated a recessionary situation in the Indian economy? I think there is very little doubt about that and there seems to be a popular misconception that this is a temporary problem that is created by cash being in short supply at the moment and the moment you have the cash back things are going to get back to normal. It doesn't work like that. It's like if you've got a car travelling on an expressway 200 km per hour and you slam on the brakes and bring it to a dead halt, you aren't going to go back to 200 km per hour the next second. It's not going to happen. So that applies as much to an economy. The last point, Mr Jaitley, our finance minister has been talking about how banks will be able to lend because they have more cash. Now assuming that people don't take back the cash which they have deposited in the bank even if making the assumption, who's going to borrow if there is no demand in the economy? Absolutely. As I said, if as an industrialist, if I believe that the demand for my goods is actually going to slacken, not improve, what am I borrowing for? What will I do with the money I borrow? I still have to pay interest on that money and if I don't expect to earn a return on that money which is higher than the interest I have to pay, I have no reason to borrow. Mr Jaitley is a good lawyer. Mr Modi may be a good administrator but there doesn't seem to be any willingness to listen to elementary economic wisdom. What thing is happening in the government? We haven't heard anything from the economic advisor. We haven't heard anything. It's amazing that something that involves such major changes in currency regulations, you've heard hardly anything from the governor of the Reserve Bank of India. I mean ultimately it's the Reserve Bank which is responsible for regulating the supply of money and you've heard nothing from them. So yes, the sense one gets is that, I mean let's leave the quality of, the possible quality of advice they could have got aside for the moment. I don't think it would have mattered because I don't think anybody is in a mood to listen. I think these are decisions taken on the basis of political gambles where the economic rationale behind it is not particularly important. The fact that matters is that if you look at the government's own statements on the rationale behind this move, it's changing by the day. It started off with the very first line of the RBI press release on the 8th of November and the Prime Minister's address to the nation spoke about terror funding, counterfeit money. It was supposed to be a dead blow to those things. You don't hear anything about it anymore. Then it turned out to be about curbing the black economy. Now you don't even hear about that anymore. All we now hear about is digital and cashless. Well, people are cashless. I mean that's why they are in lines because they are cashless. I don't know why he's exhorting them to become even more cashless. In retrospect, this seems to not only be badly thought out, badly executed, but the continuous slew of notifications coming out seems to be they really don't know what they're doing every day trying to try out something new. Absolutely. The sense you get is that each day there's a knee-jerk reaction to a specific crisis that they seem to have discovered that morning. So you get up one morning and say, oh, hang on. Apparently it's wedding season now. We need to do something about that. Then somebody else gets up and says, you know, there's sewing going on at the moment. So they say, oh, sewing? Okay, fine. Let's allow old cash to be used for sewing and so on and so forth. Thank you very much, Shankar. Any last words on the subject? What do you think this is going to turn out politically? I think the last word is going to be heard in UP and Punjab. And I suspect it's the last word which the BJP won't particularly like. Thank you very much, Shankar, to have you with us. And we will come back to you with the issue of the digital economy. Thank you very much.


Good day everybody. Dr. Sanjeev Sanyal, Professor, Department Chair. So this is going to be a demonstration, preliminary demonstration of the contents of the abdomen. So this is a supine kit ever. I'm standing on the right side. Camera person is on the right side. And I've got numerous assistants who are all over the place. So we have opened up the abdomen and we have retracted the abdominal wall. This is the liver, which one of my assistants is lifting up here. And you can see this is the right anatomical lobe of the liver. And this is the left anatomical lobe of the liver. Above that we can see this is the right dome of the diaphragm. And this is the left dome of the diaphragm. Okay. Having given you the orientation, just a quick backward glance. This can ever had undergone a surgery at intra-abdominal, intra-umbular surgery. Midline laparotomy was done and you can see the remnants of the suture material. So therefore, understandably, when we opened the abdomen, there was dense additions all over the place. And therefore many structures could not be visualized. And especially this greater omentum, we could salvage only a small portion of it. The whole thing was completely matted and the abdomen was frozen. So we managed to salvage a little bit of it. So what you see here is the remnant of the greater omentum. Ideally, the greater omentum is supposed to hang down like an apron from the greater curvature of the stomach. So this is how it is supposed to have been and this is how it was. So we removed most of the frozen fibro-structures and we retracted it. Having done that, now let's take a look at what are the structures we can see here. Okay. So I have put the stomach in its relative anatomical position or the way it is supposed to be. Let's start from the beginning. We can see this structure here. This is the abdominal portion of the esophagus. And this abdominal portion of the esophagus is coming through this opening here. This is the esophageal hiatus. And if you look, this is the open mouth thorax. You can see the esophagus is in the mediastinal. My finger is tracing that. So the thoracic portion of the esophagus does not have any cirrhosis. But as we go into the abdomen, there is a little bit of cirrhosis and we have retained a portion of it. Again, this was also highly fibrozed and we had to remove quite a bit of it. We can see this structure here. This is the anterior vagus. But we cannot see the posterior vagus because it was part of the fibro-stissue. To continue down further, we can see this is the cardiac notch where my instrument is moving right now. And extending from the cardiac notch, we have this portion of the stomach. This is the fundus of the stomach. Tracing the fundus, this is the greater curvature of the stomach. And this is the greater curvature ending into the diurnal. To continue from the right margin of the esophagus, we can see this is the lesser curvature. And if we keep the stomach in its anatomical position, we find that at one place, the lesser curvature is most dependent. This is known as the incissura angularis. So therefore, if we drop a vertical line from here and if we drop a horizontal line from here, this portion of the stomach is the corpus or the body of the stomach. The portion of the stomach above this horizontal line is the fundus of the stomach, which is normally located under the left dome of the diaphragm, which is held up by my assistant here. And this is always filled with gas, which is called the gastric bubble in an X-ray. And then the portion after the vertical line from here, this is the pyloric anterum. And if you feel here, you'll feel a thick portion here. This is the pylorus or the pyloric sphincter. And after that is the beginning of the diurnal. This is the superior part of the diurnal or D1. This is the descending part of the diurnal or D2. And the rest of the diurnal, we have not yet dissected out, but we will do it in a subsequent video. So this is about the stomach. Now I'm going to lift up the stomach to show you the posterior surface. This is the posterior surface of the stomach. This is the anterior surface. The stomach was resting on this portion here. This is the region of the bed of the stomach. And in front of that was a space, which is known as the lesser sac or the omental bursa. But like when I was dissecting it out, the omental bursa had to be completely cleared off. That brings me to the next point. How do we enter? What is the doorway to the omental bursa? I put my finger in one space here. This is the doorway to the omental bursa. In front of my finger are three structures. And I will draw your attention to the three structures one by one. The first one is this one here on the right side. This one. This is the common bile duct. That's the first structure. The next structure in front of my finger is this one here, which I have lifted up. This is the hepatic artery proper. I will come more into the hepatic artery just a little later. And behind of these two structures is this bluish. This is the portal vein. So these three structures are referred to as the extra hepatic portal triad. Duct artery vein. And these three were enclosed in the hepato-deodernal ligament. And that constituted the anterior border of the doorway, which is called the epiploid for oven of Binslow. And through that, you can enter into the lesser side. The inferior boundary of this is formed by the first part of the deodernum, which is here. The superior boundary is formed by the caudate lobe of the liver. And the posterior boundary is formed by the inferior vena keva, which you cannot see here because we have not yet decided to go out. That's the next important point I wanted to mention. So in cases of during gallbladder surgery or during any hepatic surgery, if there's excessive bleeding and we want to stop it, we do this maneuver here. This is called the Pringle maneuver. And by so doing, we can compress the hepatic artery and the portal vein between the thumb and the index finger, and we can stop the bleeding and so that we can find the source of bleeding and clamp it. Now I will bring your attention to the next structure here. That is the three branches of the celiac trunk. So let's take them one by one. That incidentally will also be the branches of the stomach, which supply the arteries, which supply the stomach. This artery that we see here, this is the left gastric artery. Left gastric artery gives a branch. These are visual branch, and then it continues, and we can see that continuing along the lesser curvature of the stomach here. This is the left gastric artery, which runs from left to right. So you will ask me, where is the right gastric artery? This right gastric artery was enclosed in a dense mass of adhesions, as I said earlier, but we can see the beginning of the right gastric artery here. I am holding up the stump of the right gastric artery. This right gastric artery arises from the hepatic artery proper, and it runs from right to left, and the two of them will anastomose in the lesser momentum, in the lesser curvature. Now let's continue further. The next branch of the celiac trunk is this one here. This is the second largest branch of the celiac trunk. This is the common hepatic artery. It runs transversely, and then it makes a sharp bend upwards, as you can see very clearly here. So this is the hepatic artery proper, and at the place where it makes a 90 degrees bend, we can see this branch coming out. This is the gastrodural artery, and we can see the gastrodural artery is running behind the first part of the diurnal. This is the source of bleeding in a posterior diurnal ulcer. It can perforate into the gastrodural artery, and the patient can have profuse hematomasis. To continue this gastrodural artery, we will trace it further, and we can see it is dividing into two branches. We can see it is giving rise to this branch here. This is the right gastroepiploid or the right gastroomental artery, and this is the superior pancreatic or diurnal artery. The right gastroepiploid artery runs on the greater curvature of the stomach in the leaves of the gastrocolic ligament or the greater omentum. So now you will be asking, where is the left gastroepiploid artery? Again, the left gastroepiploid artery arises from this clinic artery, which I am going to show you just now. So for that, I have retracted the stomach to my side. Now, let's focus the camera more clearly, and we can see this artery here. This artery, I have lifted it up here. This is the splenic artery, and I have traced the full course here. Just to bring up to speed, this was the select trunk. This was the right hepatic, common hepatic artery. This is the splenic artery. This splenic artery is highly tortuous, and it runs along the superior border of the pancrease, and it forms part of the bed of the stomach, and you can see how tortuous it is. This is the superior border of the pancrease, and this is entering into the spleen, and you can see this is the spleen here. And as it enters into the spleen and ramifies, it has given off this branch here. This is the remnant of the left gastroepiploid, which was running in the greater omentum, but as I told you, we had to remove most of it because it is all fibros. So this left gastroepiploid artery, runs from left to right, and the right gastroepiploid artery runs from right to left. They supply branches to the stomach, so the gastric branches, and they supply the great omentum, by means of omental branches. So these are the branches that we see of the select trunk and the blood supply of the stomach. So these are the structures which I wanted to show you in this particular section of the cadaver.  Thank you very much for watching. Dr. Sanjay Sanyal signing out. Have a nice day. Please like and subscribe.


So here you are once again the oldest story in the book. It's 3 a.m. And you're here watching cat videos on YouTube Your assignments due tomorrow, and you haven't started yet.  It doesn't have to be that hard guys. It doesn't have to be this way Why do we procrastinate?  Maybe just write the introduction If you have to do some math problems Just start off by doing one math problem. If you have to make a video for YouTube just do the recording Just motivate yourself to start think of the smallest thing the smallest unit of activity that you can do and do that What you notice is half the time Procrastination is simply the inertia that's stopping you the inertia of the task once you get a little bit of momentum It's like rolling a ball down freaking Mount Everest. It's gonna keep going So that's half your bow down there if you just start Start for five minutes figure out the smallest thing you can do and then get that our tip number three Change your thinking change your thoughts. See when we procrastinate a lot of times We have negative thoughts about the activity we have to do Generally will be thinking oh man.  I don't want to do it. Oh, it's gonna be so much work. No Why me you see you gotta change that that's a that's a bullshit mentality You want to be excited about the results think about what can happen when you complete this task What's the results? Are you gonna get high distinction from university? Are you gonna make all kinds of money once you write this book and sell it? Or perhaps your boss is gonna graduate you and say hey, man. You did a good job. He's a promotion think of the positive Think of the upside don't think about the task itself think about how much better the consequences Will be if you do the task well alright because I love you.   You guys have rewards for yourself You gotta have something to work for human beings were influenced by incentives So what is your incentive to do the work?   I'll be seeing you guys soon.


What's your name? Felix Favorite Lolly? Candy Nice What's your name? Lolly Favorite Candy? Marshmallows Marshmallows!  Hillary Favorite Lolly? Both of them All of them? Ooh What's your name? Dylan Favorite Lolly? Mentos Mentos What color of Mentos? Orange Nice, man, a culture Is this the footy club you play for? Yeah Nice Who's your favorite footy player? I Never heard of her


Thorsten says, I have the following problem and hope to find a solution or some ideas in our company. We use Office 365 mainly Outlook and Teams. Now we have a new project with a new customer in which more than 30 colleagues will work. One requirement from the customer is that all people on the project have to work in the Office 365 of the customer. So in the customer's tenant, pretty standard. Our main problem is that everybody now has now two Office 365 accounts. And so we have two calendars that are independent. Now my question, do you have a solution idea for how we sync both Office 365 accounts, mainly the calendars? I have an account user at company.de, so one and one from usercompany.com. I would like to sync all appointments from one to two just with the information that there is an appointment and from one with more details. I tried it with ICS files, but only I can see them locally and nobody nor in Teams calendar. I hope you understand my problem and eventually you have ideas how to solve it. This is probably the most common question that we feel is a different flavor of the sharing calendars problem. Yeah, and we have it all the time because we're dealing with often so many clients and partners and Microsoft. And so it can be challenging on the PC, but mobile is your friend.  That's right, yeah, yeah. I live in this world every single day and that was my biggest challenge. So the only thing that I have found that consistently syncs and works is I actually use calendar bridge and you use calendar D2 as well. But if you set that up, it connects them. When it connects them, it actually syncs them across both of them. So if you look in any of my clients that I have to be in theirs, they see every meeting that's booked from every other client, but it doesn't show the information, but it shows it saying that I'm blocked so they can't schedule a meeting. So in each, every one of them, they all know when I'm available every single day because they're synced, but you have to use that third priority tool. There's nothing native out of the box that works. The only other thing for visibility is that you can share your calendar with each of your profiles. Then it gives you a visibility, but it doesn't do what you're talking about and blocking out the space. Yeah, yeah. You don't have to actually sync, yeah. Right, I just had that problem today where somebody said, hey, are you available? It looks like you're open and they scheduled the meeting. I'm like, no, actually I'm double booked already and so no, I won't be able to make it. And it was because I could see that because I've shared between my profiles. The other thing I'll say is that Microsoft of course has been harassed by the MVPs in the world, all of us together in unified voice on this problem. And on multi-tenant and being able to do more across within the team's view of the world and things are getting better there. But this calendaring problem, and without look. Yeah, I don't know that there's anything on the horizon other than third party. Yeah, the only way I do it is I have the many accounts on my mobile phone and then I will, I can then kind of, I have that open, I have my calendaring for the day, I have it open on my phone, it's sort of beside me plugged into power and I keep an eye out on so that if I'm talking to people I can work with it because with their multiple accounts added in that way. And I mean, if you can add in multiple accounts to your outlook and you can do it that way and you're able to because a lot of organizations don't allow it. If you can add that account as well to your outlook you can then choose both calendars and have them so that you can put them in overlay. You can see them, but the thing is it's not stopping people from booking the same time. So that's the difference that piece where you're talking about Stacy where they can see that it's actually blocked out unless you've got a rule or automation that you can say that anything you get in your calendar they can't afford to one or the other. But the potential downside of that is some of the confidentiality of having things going into other people, like forwarding it and having it across the two. So I've done it that way as well. The sync side of things. When you automate, unfortunately, it brings that data over, you can't hide it. So like I have the multiple profiles in my outlook and then I have them all overlay. So I used to literally take screenshots and send it to my partners each week, right? But still, if they didn't look at it they could still go schedule something when I already had something. So when I got a calendar, now I'm just like, here's a link go book a meeting and I don't have to go look on four different calendars or anything, right? And every one of them, they go into their system and they can see when I'm available and I've been in heaven ever since. What I found is the pricing is very different. Calendary, calendar bridge, all of them are very similar in pricing, especially for large organizations. So it's, I mean, if it's for this project for 30 people and if it's only a short period of time maybe try it out, see what you think. Yeah. It's good to know. I wasn't aware of calendar bridge. So I learned something, appreciate that. Oh, I will never go back now. Yeah, I know it's been a real challenge the amount of times I've been just busy like working and then totally missed something else because I'm on another laptop or with another client or a, you know, working out of and I've gone, oops, sorry. So yeah, it is absolutely a challenge. I call it my game changer. I'll get on that one.


the inside is on the case. The case is on the case. We have the audience and the project. We can actually have the discussion. The samples of women sharing ways to share how they do that. There's no way you can ignore that from us anymore. Come on, come on. I'm going to push out of this as well. Here we are. I'm going to start with the screen. I'll see a amount here for everyone. That's it for tuning in. I'm going to start with the audience. So welcome everybody to the Marquee's Theatre Centre here, the Graduate Centre CUNY and thank you for waiting a couple of and it says some people are late, are sort of supported from the National Black Theater who helped us. But I think we now wanna go and start. My name is Frank Henschker and the director of the Martin's Theater Center and together with Ancher Uebel, who's my co-director of programs. Ancher who's here, we prepared this, what we think will be an extraordinary in evening celebrating the art and cultural life and spiritual forces of Yoruba. It's a fantastic project that was developed by the world crew in the Young Vic and we have with us Elise Döndsen, who is the mentor of the project. She coordinated all the five players. She will tell a little bit more about the project just for you to know. She runs a program that is actually legendary in the world for over 25 years. She creates, runs and develops the international writers program of the Royal Court. I think it is without any equals around the globe and it has done so much for the world, the global world and for an understanding. So it's a really big, big honor to have you here. She flew in from London to be with us and also to make sure we do it right. And we did, I hope. So again, thank you for coming. And she will say a very few words then our director will say some introductory words. The reading will be about 85 to 90 minutes and there will be a little panel discussion here. You don't have to stay, but if you want, you come here then after the discussion as a reward is a little reception in case you're still here for longer. It is some wine, but I don't think you all can get it. So, but we have water and pretzels and that's exciting. So now is the moment if you have a cell phone, take it out and I'll do the same and make sure it is off. Sound off, is it? Oops, yeah, okay. Well then, so again, thank you for coming, especially in this busy time, the holidays, we need great theater, but we also really do need a good and great audience. So it means a lot for us that you come here. And I hope you will see the world a little bit differently whenever it comes to Yoruba and after the evening. Elise, give us a little... Just a little, this project started in 2007 more or less because by sheer coincidence, we were working as Frank says, we were with writers all over the world and we had a project in Nigeria, we had another one in Cuba and we had another one in Brazil. And I always say the project started on a beach in Lagos where some of the writers said, where are you going next? And I said, well, we have a long-term project in Cuba. And they said, oh no, no, you must tell us about our religion in Cuba, Santoria. And then it moved on where the writers in Brazil actually asked if I could bring some soil from Nigeria to them. And we did all of that. And it took many years, but by 2010, we had the young Vic on board and the director, Rufus Norris. And by 2013, we produced Feast at the young Vic. And it's absolutely thrilling to see it having a further life here. Thank you. Hey everybody, how you guys doing? Great, good. Thank you so much for being here. We have been working a little bit last night and most of today to present a little taste of this amazing thing for you. So what you're gonna see is a staged reading of this piece to bring to life a little bit of what the production was in London a couple of years ago. There's music and projections and a little bit of dance and some amazing actors. But most of us wanted to say thank you for being here and enjoy Feast. Okay, Ori, Ori, Ori, Ori, your head. Ori, the in my head, the entire yoruba kocha comes down to Ori, see your in my head, who you really are, whether you know it or not. The whole of this universal belief system comes down to this concept. Ori, your advice work is to know you're Ori and live by it. Know you and be, be, be, be, be, be, be, be, be, be, be. Just be. So thank you all for staying and first of all, and first of all, I think Agulia is the director but also the actress to deserve really another round of applause. Maybe I ask Elise first, what comes to your mind when you see the New York one day rehearsal of a project you worked over for a year in the UK? Just amazing. And to see your responses is really just shows how the story works everywhere. Tell us a little bit more about the original idea. It's such an unusual project. Tell us a little bit, mention it, but how did it work and what countries would playwrights, how do you coordinate the? Well, we had playwrights originally from the three countries that we've been working on in this project, Nigeria, Cuba and Brazil, but we decided to bring in the United States because there were so many great writers, we could work with them because we know that there's, you know, that this is really related. And of course, how could we do that and not bring in the UK as well? And there's a huge European culture there. So in the end, we knew we would go for five writers, but the original project had probably, oh, between 15 and 20 writers from all of those countries coming over to London on two occasions, it should have been more, but we couldn't always afford it. And walking together in this workshop with Rufus Norris and myself and musicians, we had a Cuban choreographer and we had a Shola Akingbole who did the music and Michael Henry, so from Britain. And over a period of time, we had to hone it down to the five writers. So Brazil was Marcus Barbosa, Cuba was Junior Aguilera, the UK was Bollehan and the US was Tanya Barfield, which is a shame because she's in LA, so she's not here. And I forgot, oh, Nigeria was Ratsumi Babatunde. So in the end, those were the five writers and of course, in weaving the stories, the actors and the director all managed to put that together too. What did you discover on the process of developing the project and it surprised you that you... I think almost the same thing that surprised me today, that there are just some forces working in this story that's sort of beyond any of us and that touches all of us. It very specifically touches the journey that was made and the cultures that have been so deeply affected and have had such an effect on other cultures. But I think anyone who sees this work really respects how much of the story is part of them. I saw that here. Yeah, so thank you. Rufus, by the way, now became the director of the National Theater in London. So that is also quite... His god, Hisorisha, is a Shossi who has one arrow but always gets a bullseye. But that is amazing. How was, as the last question, how was the audience reaction in London? How long was the run? Tell us the space where it was done. It was at the Young Vic, a beautiful theater in the main house and the audience was absolutely packed and full and lively and participating. You can imagine there was lots of opportunity to participate. So it was absolutely joyful, as well as being a very deep and profound and tragic story as well. Thank you. We asked you some time ago, but not too long ago, when to put your teeth into this apple of a play. What was your experience? It's been amazing. It's been such a whirlwind. I mean, for me, the thing I was so excited about is I feel like we're in this moment in history where we get to kind of put pieces together that feel like they spent centuries getting torn apart. So it's really exciting to be able to think about Euroboy culture, West African culture, African culture as a large and where the bonds between Africa and the rest of the world have been maintained, you know? And I mean, it's so the kind of classic example of what this means to put everything together. We were having rehearsal today and Larry, our amazing musician, Max, who's our amazing tap dancer who studied African music, he's from Austria and then our dancer who's from Cuba. We're rehearsing and she started doing a dance such as a Legba's dance and both of them just started singing a Legba song and they just created this amazing music together. They've never met each other before. They come from three different countries, but there's something that unites all of them. So it's been fun to kind of see where all those pieces are and to bring in these amazing actors, many of whom are Nigerian, some of whom are American and just kind of see what all those kind of connections and fusions are. So it's been fun, yeah. And do you have a personal connection also to Yoruba or how do you know? You know, it's so interesting. I mean, for me, what's been great is I also get to learn, so my family's from Ghana and but it's so interesting because as I was talking to a Nigerian Yoruba scholar the other day, my family, my name is from the Ewi tribe in Ghana which kind of spreads from Ghana to Togo to Ben Min which kind of sits on the border of where Yoruba is also. So there's like even just linguistically these kind of connections even though it's not my particular cultural religion or anything like that. So for me, it's been also a great learning experience too. You know, I mean, I think there's a lot of things within our larger continental African culture that we can all connect to but learning about the different orishes and the gods and all these kinds of things I've been learning for years to be able to bring that all together now as the tour. Yeah. And so very often what we see in New York is in quotation marks the well-made British play that has a beginning and an end and people sit around the table and then they talk and things, this is so different in the structure. I mean, the way it's a collage perhaps the great art form coming out of the 20th century but how do you feel, does that work theatrically and the dramaturgy of it and would audiences respond to this year? What is your? I feel like actually people can respond to it almost sometimes even more deeply when things are set up in vignettes than when they're set up in a narrative through line just because the way that we talk and we think and we remember the way that we have memory is not linear, you know what I mean? So it's really, I feel like all of these vignettes it's about us capturing the spirit of each of those vignettes and letting those things live together. But I think that that kind of floating nature of it that feeling of, oh, this thing is present but it's also ancient. Those two things are living with each other at the same time. So I feel like in a way it feels almost more natural than structuring everything It's like it's just being in a way, you know what I mean? Yeah, absolutely, I do. And I do like the archeology of the project and it really feels like there was some digging over centuries and taking things out and the temporality that actually perhaps life and life was not linear like one, this one dies and maybe it is a circle, maybe things are connected. You know, there is no history of theater. It sort of was the Greek and then there was a time nothing and then the French and the Germans and then Dada and this and then project.  So it really made me think of ways how that's a temporality of the modernity of a culture and this archeology could be brought on a stage and such a lively matter. And I thought it is quite inspiring to see and also perhaps a model for projects about many, many other subjects, about many other cultures because that could be the case made. This is what works here, it could work for others and perhaps it is a playwriting of a 21st century to go away from the one author and to collage material and still have a dramaturgy. Shadeis, thank you. I think you just discovered that Western culture isn't the only form of fire. No, no, no, no, actually we do a lot here. No, I don't know, but what I just mean is that what you articulated beautifully is the drumbeat of indigenous cultures around the world. We have been expressing ourselves from an indigenous point of view that has been powerful and that has created transcontinental languages and rituals and ways of understanding and being that have sustained this globe. And I think that it's brave and exciting that this piece is brought here because what we can see is that this... And it's reflective of what's happening in the world right now, right? These kind of the coming down of walls, the coming down of colonial thinking, of linear thinking, ways to rethink our wellbeing and our holistic care of each other comes from these nonlinear kind of indigenous ritualistic cultures and languages that tip the mainstream art world on its head and creates possibilities for what can be, which is so exciting. And like now more than ever in this day and age, how exciting to have something where you can recontextualize something as traditional as the derivation of some of the institutions that brought this here with this wonderful folkloric stories that kind of are a quilt of indigenous culture. So what was your reaction to the story watching it and seeing it? My reaction, that's an interesting question. I would just say this, National Black Theater was founded in 1968. So we kind of tackle a bit of that time period. And what we were committed to when my mother founded the theater was ritualistic theater. She didn't believe in the fourth wall. She didn't believe in art for art's sake, right? So she believed that our purpose for creating art was to create dialogue, to create healing within our communities. And you couldn't do that if you didn't tell your stories from your purview, from your PO view. And that if Black folks in particular were going to find any liberation in a country that brought them here enslaved, we had to have a past that did not begin at our enslavement. And so that the natural connection would be to the continent. Now, the continent is huge, right? Why Yoruba? And so what I found to be about this piece in particular that was so interesting, what kept popping up for me in a way you did an amazing job, was that Yoruba culture was like the Underground Railroad, right? This common language spoken on transcontinental, in transcontinental ways that created a common language hidden by Catholicism, by colonialism, by all of these things. But it's point of preservation with liberation. And we see that from the 1700s to today in this play. And so for me, that was remarkable to be able to kind of trace through narrative this journey of our liberation by any means necessary. The play did start in the 1700s.  So would that be a play that could be put on? What do you think? Would people come in New York? Would it have to be changed? Who could put this on? Or is that something that is better suited for London? No, I mean, so that's the thing. We've been doing Yoruba plays since time immemorial, like since the beginning. If you come to the theater, all of our walls are created with art that tells the folklore of Yoruba. Who's the playwright who's in the blue and brown waters? It's a Roma training. So he's doing Yoruba stories. So can it be done? Yes, it hasn't been done since for centuries. Now, who's the audience? And how do you turn on an audience, a traditional theater audience, to something that may feel less traditional? I think that's the key, but will it work as theater? It worked tonight. It's worked for the last 50 years that we've been doing it, it continues to work in modern playwrights. And I'm sure what you found with all the playwrights that you worked with, that it was an incredible experience that really translated to audiences. But finding the audience that can really appreciate not only the cultural references, but the power of what you were describing in non-linear ways to perform and look at theater. I think that's what we have to figure out completely. Any more? Comment people, maybe we open up to some questions, but some more? I think one of the things that's really tremendous about this piece that Shade is kind of touching on as well is about where do stories get told and how do those stories get told? So for example, the work that MBT has been doing for the past 15, 48 years now is all about how to tell stories about black people from around the diaspora. I think the thing that's really exciting about the piece is these stories are stories that we hear. I mean, I'm first generation American. It's like when I hear them arguing around the dinner table, it's like that's a story I know. It's like I understand that dichotomy of existing kind of also between two cultures. It's very familiar. So then it's not about is it understandable or relatable or accessible, but more about where are all these stories gonna get told? Not that they are difficult to understand but who is getting to hear these stories and where are the stories getting told? And I think that in a place also where we are as a country figuring out how to rewrite narratives, how to rewrite the narratives of who we are and kind of our popular culture, we have to take all of the core of who we are and make sure all the stories are getting told so that we can make sure that we're telling a correct and true narrative of who we are. You know what I mean? Thank you. I think that's two notes for your comments and to see where is the audience, but I also might bring in an audience, a new audience center and another one. So I can't wait to see that. And I wish I had a little magic hat. I say, here's enough money, do it, work three months on it. I think it would be a sensational production actually. I do think quite a landmark play and that could be maybe even variations. I think written again, right now, so another one. So that is what would bring you back. Elise is actually a Brooklyn girl, right? And now since 25 years at the Royal Court in London, but maybe some comments or questions from the audience, some impressions that would be very meaningful for Elise and for the director for you to hear some. It's a great project, but there is a little trap. I mean, it's too early to see if you are gonna fall on the trap, but it's kind of like a view of the African identity from outside. So it's kind of like a colonial view of African culture. So my question that the segue is, do you plan to do other projects, let's say for East African languages and stories and South African and because Africa, I think it's kind of like a colonial view that it's like this one unique like block, but it's very diverse and very profound and very diverse.  I think, I just want to say that I call all of this work told from the inside, not from the outside and that all of the writers were telling it from their own experience, which was mostly inside the culture. But yes, to answer your question, we work all over the world and we've just had an incredible project in South Africa with 12 writers working in many different languages. And also we actually started our work 25 years ago in Uganda and East Africa. So this isn't telling the story of Africa. It's telling a very specific story, but where we say the more specific, the more universal it becomes. I'm just curious why you thought it was not in any kind of, what felt colonial about it? I mean, I don't know about the project, but I didn't know if there were more languages. Like... Oh, that they were speaking English, is that why? No, no, no, no, no, no. They're like picking Yoruba and then making the connections, like the Nigerian connections, let's say with Brazil and Cuba, while, why Nigeria? It could be like other places. Well, that's the seat of the Yoruba is in Nigeria. So you can go to Oshogbo to the bush, go to the Oshun groves. I mean, it is the seat of Yoruba culture worldwide is in Nigeria. And it has roots and diasporic reaches out throughout the continent and throughout Brazil, Cuba, America, Nice. So, yeah, but maybe let's go with you had it one and then two and then three. Then four, maybe. So that was definitely a provocative question. I'm tempted to answer that, but I think that more people have things to say. I wanna say that I really enjoyed the play. So, I think everybody who was involved in it, I'm a graduate student here in urban education and I'm particularly interested in linguistics. So I saw myself reflected throughout it. I'm also an initiated priestess in Haitian voodoo. So I'm looking at it and I'm seeing myself reflected. I'm seeing what I call in this trans-languaging happening, there's trans-dialecting happening that I can relate to growing up in New York City, being African-American, being growing up in Brooklyn, New York, Flatbush, Brooklyn, where there's all kinds of multi, there's a multi-ethnic black identity throughout New York City and then particularly in those areas. When I think about, in terms of the audience, I think, wow, how wonderful would it be for youth, particularly in New York City, to be able to be exposed to that? So the children who were here, they were a little bit young for some of the content, but for more mature audience, for high school, I think that it's crucial to have this kind of work because it's speaking to their experience, it's speaking to that third space, that you were talking about, kind of third world, third culture children, it's speaking to that identity. So I think it's really important. And then I also wanna say that, as I was watching it, I was thinking about, I'm not too much read up on it, but I was thinking about Vedic Clark, thinking about literary theory, I was thinking about Vedic Clark's idea of, what is it, it's diasporic literacy. So it's something that I'm really interested in, it's the idea that you're interpreting that there's certain forms, certain folklore forms, certain forms of expression that it's critical, you have to have this kind of diasporic perspective in order to translate it, in order to understand it. So it's because it's not rooted in one tradition, but it's something that kind of happens, like this creolization that happens with language, with expression, with identity. And so that's what was running through my mind, is this, wow, we really need more of this diasporic literacy, we need more texts, we need more, just more forms of literary expression that reflects that, because so many children, I grew up in the 80s, and forget about it now, these children who are growing up now, it's even more so. So I think that a play like this is something that more accurately reflects their lived experiences. So I think that it'll really take off in other, really throughout, wherever you have black people, it's gonna take off. And then I think other people will be able to connect to it too, but I'm particularly interested in the children. Thank you, yeah, thank you. What was number two, was there, yes? Thank you. Sereme, with Ushungu Bay, Uyunle, I'm speaking Garifuna, is a language that my ethnic group, from where I come from, speaks still, and we're strictly connected with Daruba, of course, because the African from where we descend, came to San Vincent, the Grenadines, where they mix with Caribbean and other indigenous people, Ladawaks, and we are the results and still, my people still lives in Central America, where we developed and still fighting. Something that is very important, I really appreciate of this play, is the fact that it's not resolved. What I mean by that is that you just picture yourself and identify yourself with that, because you're looking everybody very well defined, but because you go deep into the spiritual part and you have to find yourself. And I think that is a very important thing for us to connect and not forget the aspect, the aspect that really holds off. Shadee, that's your name. You mentioned something that really strikes me very much, is that you said that in order to identify yourself, we have to go to all the aspects of the Yoruba tradition, the religion aspect. And I find that in us, and it's important in order to be strong in this actual time in 21st century, we need to connect and to connect with our identity. And that force, also I saw it in the representation of different deities, is that we as a woman, we represent that. And we need to connect with that. Thank you. Hi, I'm of course an academic and an Africanist, and my work is exactly this.  And I'm writing, my next book is actually on dramaturgy and on literature and the connections in all of these using the Yoruba paradigms. So I'm very interested in finding out if there's a text, you know, written text that I could use because I already have the paper in my head that I'm going to write. There is a text, yes. And where I can get it. And also I would love to speak to you more because I work with an Afro-Brazilian theater group in Brazil, Bando de Teatro doom. And they're doing... In Salvador. In Salvador, yeah. They've been one of the groups that have been involved in this project. Yeah, and I was like, this is exactly what they would do and kind of like bringing that stuff, bringing it all together. And I'm working in translations of the Bando's work. So, you know, this is really bringing all the work full circle. And I congratulate you on this. Tell us a bit, what did you see in the play when you watched it? Well, definitely the connections and the way that the deities are expressed all across the, you know, in the different realms. And even the fact that at the very end you brought in the Shangot. Like, well, you brought back to Trinidad and, you know, I immediately thought of the Trinidadian Baptist, you know. And then, of course, the white priest who was initiated. There's a whole new layer of phenomena that's coming out in the African world. And so it's like, and of course, Assesse, you know, Yemoja, the songs and everything, those songs are very pan African, pan diasporic. There are songs that are very particular, but those songs in particular that you use, you find them everywhere.  So there's so much. Everything is there. And the characteristics of the deities, it's all there, you know. I have to say, I love the white bubble owl because one, you know, you see more and more of it. And it's always when you walk into a room, like. But then when you think about it too, like one of, so my head is Yemoja. And one of the places that I was raised was in the Oshun groves in Oshokvo. And if you've ever been, it's a UNESCO sacred site and it's all carved with new sacred artwork. And the mother of the grove is a German woman, Susan Wenger, who passed away a few years ago, but she was a Oshun priestess and the artwork that has come out of Nigeria for the last however long, she was really the foremother of protecting and making sure that that work got into the world and preserved. And so I love that, even that bridge. Well, I'm working basically like in this genre as well, but I'm just starting into it. But from a dance perspective, yes. And I'm gonna do a project this coming spring. So I was like, that's why I came out to see it. So I really appreciate this is going on and I would love it like the text as well. But first I want to say that this particular format of nonlinear storytelling kept me present. So it was very like what she said that the children can really relate to it because it keeps you so present, you don't have to think about the past. And you're thinking about the past, you're thinking about your present, you're thinking about your future. And that nonlinear thinking actually like affords us that and like lets us be able to create from this moment because it keeps us right here in the moment, like while it's happening, as opposed to thinking like things are happening in this timeline, but things are happening. And right now, so that was, that was really appreciated. But I have a very specific question. It deals with the like toward the end, the last text when the white Bible out came, right? And when he spoke at the end, so I was thinking, okay, I would love to know, like have a translation for what he was saying to him. So that was the only part where I was like, okay, I was just very curious. Like I got the point, but then I also wanted to know like what was being said. Think about it like opera. Half the time you don't know what they're saying, but you can feel it, you know? And I think it's powerful that the year, yeah, the year of a language is being spoken. One of the plays that we developed through our playwright residency was in a BBO, 30% of it was an in BBO. So the opening scene is two Nigerian women at JFK airport speaking their native language. And the playwright who's a Ghanaian, no, Nigerian, first generation Nigerian, she made sure that 30% was done in a BBO because, because this is what I thought you were getting at was, Africa is not a country, it's a continent. And the tongue of our people is very, and we never get to hear our tongue, right? We hear English, we hear French, we hear all of the derivations of the colonial, of the people that colonized the continent, but to have that moment where you actually get to hear your, but you don't know what it is, but you could feel it. And that's what, and it happens all the time. Opera is perfect, it's all in Italian.  I don't know, but I love it. And I'm a subscription holder. So I think it's just going off of that too. And all these different things that we're saying about connectivity between places. It's that, you know, like one of the really interesting things in the script, the way that the language is written out to guide the actors is phonetically so they can, they can hear it, but the Yoruba language is a tonal language. And so when we think about the way language is spoken and then a language that gets stripped away, but then gets pushed into other things like music, right? So suddenly there's like a new vocab, like the music has taken over the vocabulary of the voice and that's something that has pulsed through time, right? So that even someone as a tap, I mean a tap dancer, the evolution of that form of dance is all connected to those rhythms. So the things that he's speaking are the rhythms that we feel inside of us. It's our pulse. It's like the way we understand the breath and who we are. So even without, even without the words, I think that was the intent of having him speak and it wasn't projected exactly, exactly. And in the sense that this person, there's a truth to him that is connecting to the truth of the father, you know what I mean? Yeah. I should just add that of course the play was written partly in the Spanish and Brazilian Portuguese and they would, and that bit was translated, but so there were many languages involved in the play. Yeah, I was just gonna echo what they both talked about in terms of, to me the flash point was the white bubble out. I was in Cuba yesterday and I went to a rumba ceremony and half of the dancers were white. And I walked in and I was really shocked but it was momentary because it was so, everything just gelled. It was like I saw that for a minute and afterwards I did ask one of the performers, I said, oh, how did you come to do it? And he said, oh, a British guy too. And he said, oh, I just took a million and one classes, that's all, you know? But it was with so much ease and just the communication between all of it and it was really impressive for me and I really actually liked that about the ceremony that they were really, that the language of the dances and the culture and was sort of transcended all of that. Which you don't see here as much, which I think was beautiful for me and seeing it there, just sort of again with the white guy just sort of brought it alive. And not to say that sometimes that is problematic, right? Like it's not, and what was great about that scene was everybody had a different reaction, you know? And ultimately the blessing was recognized by the elder and that's what really mattered. But that dynamic can be troublesome, it's not all gravy. I just wanted to add that many of the people I've talked to over the years, one of the things they talk about is how Africa is colonizing everybody and how in fact the powers are being inverted through the spiritual paradigm. And within the spiritual paradigm, everyone comes to the sources of knowledge who are usually black folks and they're bowing down to these sources of knowledge because they recognize that this transcendent sphere, this kind of other articulate, this other knowledge is something that they need. Like the young man, the man who needed the instruction from Yemezah to go get his biofuel wealth, you know? That they're understanding that there's something else that they're gaining and so they're willing to forget or they transcend their ethnicities and their colors in order to kind of bow to what Africa has given the world. Okay, thank you. Actually I'm a Yoruba person so I grew up in Nigeria so I really enjoy the place so I like the culture and the tradition that it portray and then the links between the Orishas, the Yemoja, the ocean. And I think a long thing that I mean, that was missing like we didn't see, I mean, Ogun, I mean, which is a very important Orisha Yoruba land as one of the, I mean, characters there and also towards the end, I think instead of Babalaw revealing something of, I mean, it should have been Romila so because he's the grand priest. And I think another thing maybe in the play, like Kola not also playing potential in Yoruba land and I think it may be that or Kola also set certain stage maybe when you are talking about Ruri, for example. So Kola not will have been an important symbol that can be used so in the early guide. So I really enjoy it. I think it's really good. It's so many difficult choices to make because I agree that Ogun is a very important deity too. But I think that there's also something to be said for breaking from tradition because you're right, you're absolutely right. And I think that's the, that when you start to link the tradition with theater. And especially, I don't know the playwrights but a lot of first generation have one step removed from the tradition tradition. So they may not throw Kola not, but they understand who's the Orisha for their head. And I think it's important to start telling also first generation stories of how their culture got translated through their other, their that third experience. So you're absolutely correct about the symbols and the way the tradition is traditionally practiced. I also wanna add that there is something very exciting about the mundanity of the transatlantic translation of tradition. And of course, to focus on the women. I mean, that was a decision that all the writers made that they would choose the three female, the strongest female deities. I was excited to see the children here. I think that was, I'm just so sad to see not here for the Q and A because they could have really given us an insight into their culture. In late nineties, I helped develop the New York City Board of Ed Project Arts website. And one of the things that I tried to do and did was try and look at where the kids were coming from and what their interest was but music, language, fashion, and sex. But a lot of their culture, especially the black kids, came from Africa and they didn't know that. So one of the things that we were trying to do was show them their language and their music that it came from there so they would have roots because many of us don't have roots whether we're black or wherever. We come from some other place. And I loved your comments about what I call experiential storytelling, the nonlinear storytelling because that really engaged you. And I loved that it was in the middle because we felt like we were not just we versus them. And I think that's one of those things that's there. The question is, how do you bring this to young people and revise it so that maybe they catch on and wanna learn more about their culture? I mean, at National Black Theater, we do, I mean, we've done Orisha plays forever. I think the folklore of Orisha plays and indigenous cultural plays is, just lends itself to young people but our founder, my mother, Dr. Barbara Antier, the point of putting on these kinds of productions were for, I mean, our first ensemble like our opening company, we're all teenagers. I mean, now they run the show and they're elders but it started out to give youth an identity in this country that gave them roots past their enslavement. I would like, no, I'm sorry, I'll ask one of the actors. I think that, you know, I think the interesting thing about a piece like this is because it's something that we, it's something that we don't see very often. I think we're tempted to frame it as something outside of ourselves when it's not, when it's something that's very integral to who we are on every level. So in terms of, I think bringing young people in, bringing all audiences in, it's about just making the connection of who we are fundamentally as people rather than yours. I was saying this about Shakespeare, people say, oh, I feel like it's something outside of themselves. It's not outside of us talking about something very essential to human nature. And I feel like that's the thing that this play captures too. It's like, what is the, how, how is it, how is it, how, how, what's the way that we're all connected? Not that we have to reach outside of ourselves to access something. How does it affect us at our core? I would like to, I'm so sorry, but one of the, one of our actors, how did it maybe come a bit closer here and Yuchen can give you a mic, but how did it feel to be asked to be in the play? What did you expect and what came out of it? And so what was your experience? Actually, I'm gonna try not to cry. It's very emotional for me and I'm surprising because I have been in Washington state actually doing a teaching artist residency out there and I have a two month gap. So I came to New York and then I think the day after I landed, I got an email from Awoye, like, would you like to be in this reading? I got your contact from Chinere Anyangu who is a really phenomenal casting director who really does a great job of staying in touch with actors of African descent, usually first generation African-American. And it's been emotional for me because first of all, I'm sitting in this room and I think for the first time in my life, I'm realizing that, well, I'm Yoruba and I'm first generation Nigerian-American and growing up, I grew up in New York City and I would meet people who were first generation, Caribbean-American, first generation, Puerto Rican-American, first generation, Dominican-American. And I always felt some sort of tie to them but I never knew exactly what it was and now I'm 30, I'm gonna turn 31 on Wednesday and just being back in New York and specifically being in this room, I'm seeing people who are from St. Vincent's and I see the Yoruba and them, Haiti and I see the Yoruba and them and Trinidad and I see the Yoruba and them and that's like, whoa, Yoruba is, most people, there's a lot of people who are Yoruba. You know, it's not just Nigeria anymore. So now I feel like, okay, I've got these cousins across the world and that's why all these years they've been somewhat speaking to me spiritually. It's also emotional for me because when I have finished reading the script, I was reminded of a romantic relationship that I was in. It was my first relationship and it was with a man who was Igbo-American and he was a little bit older than me and he practiced capoeira and so he would tell me these things about Ifa and I didn't know anything about Ifa. My parents raised me Christian. My father was Muslim. There were a lot of Muslims in Nigeria and usually people who go down that path choose to, well, I can't even say it's a choice because of the type of schools they go to. They're not encouraged to embrace Ifa.  So being in that relationship, it made me open my eyes and sort of reconnect with Yoruba heritage and so this play reminded me of that reconnection and how important it is for me to hold on to that, especially now that I'm coming into a time in my life where I'm thinking about family and what am I gonna pass down to my children? Are they gonna be watered down or because I know I'm already watered down and I don't want them to water down anymore. So it's been very crucial for me, not just as an artist, but personally to be a part of this reading and I really do hope that it becomes a production here in the U.S. Thank you so much, thank you. Thank you. Well, I think that it was a wonderful, I think a moment to keep in the room and think about it and approach it, but I think I would like to thank you all for coming or so thank you so much for Shadeh for joining us again. I believe this is a remarkable and at least to have the vision with the writers to create something. It's an experiment. You never know how do things work out or they come out as a very courage and I think you found something in there and it is really our hope that it works out. So perhaps if you know people who are in the position to make decisions, you don't tell about the story or maybe somewhere you do your own work or included whatever it is, but I think this was a remarkable evening. I'm so honored and proud that we could do this here at the Siegel Center. I was the summer in Sao Paulo and I saw the Afro-Brazilian Museum and you told me about the play and it was such a world, somehow something that spoke to me is that we now finally should do it and I'm really, really honored. Also thanks for answering. I said, no, it's not possible. Yeah, she said, Frank, forget about it. You can't do this. It's confusing, dance, how can you do it as a reading? And I said, that's a good reason to say, yes, we can, but we went back and forth and she said, you have to watch the DVD, at least, yes. But I also want to thank Anshir for helping us to make that happen and to everybody. So thank you and join us for a little reception. Thank you.


Can you go off to your left?  I'm going to tell these people ask them if they need medical assistance. No, just this right here. That's what I'm going to say to them. That's what they have. Right behind you, you have an amnesia box, anything that will legally apply on drugs, munitions, bags over 66 pounds, it's going to be there. You have to give them all the information they ask. If not, then I'm sorry, but you're not going to be able to take them. So the more you apply, the faster everything will go. And then from there, you go to MBARC. From MBARC, y'all go around and then you'll be led to y'all's birds accordingly. So right now, I'm going to take all American citizens and family members. Thank you. Look like you're working hard for my class. I don't know. I don't know. I'm sure you're going to go down to that table. How are you, sir? How are you? Good. How's your nation? How are you, sir? How are you? How are you? How are you? How are you? How are you? Thank you. How are you? Like, this one is left for us. Follow me, this one's right. Or this one is left. Are you just going right here? I'm taking you all the way around. Haha! I mean, it is what it is, sir.


This study evaluates the utility of using structure for motion, SFM, to create high-resolution digital surface models, DSMs, of coastal environments using low-altitude aerial images collected by unmanned aerial vehicles, UAVs. The SFM image-based approach was chosen for its rapid, inexpensive, and automated method of producing 3D information from unstructured aerial images. The study generated a dense point cloud and DSM of a beach-dune system in Marina di Ravenna, Italy, using UAVS-FM. The quality of the elevation dataset was evaluated by comparing it with point clouds generated by terrestrial laser scanning, TLS, surveys, and found an average difference of 0.05 m, RMS equals 0.19 m. DSMs were also generated from UAV and TLS points clouds, and the vertical absolute accuracies were assessed by comparing with a global navigation satellite system, GNSS, survey. The vertical comparison of UAV and TLS DSMs with respect to GNSS measurements pointed out an average distance at CM level, RMS equals 0.011 m. The successive point-by-point direct comparison between UAV and TLS elevations show a very small average distance, 0.015 m, with RMS equals 0.220 m, larger values are encountered in areas where sudden changes in topography are present. The study demonstrated that the UAV-based approach was straightforward and the accuracy of the vertical dataset was comparable with results obtained by TLS technology. This article was authored by Francesco Mancini, Marco Dabbini, Mario Gatelli, and others. We are article.tv. Links in the description below.


Okay, then then welcome back to the working group two session of this afternoon and Before starting the presentations I would just like to give a brief overview of the past activities of the of the working group and what is expected Yeah, according to the memorandum of understanding So objective of this working group was to get a categorization of the available as HM technologies in regard to the measured quantities and The related structural performance So girl was also to formulate a link between the measured quantities and the structural performance of interest With consistent treatment of uncertainties and for the for diverse application areas so milestone as the publication of the Categorization and information modeling as a cost report at the end of this year In order to do that we developed a scheme to position the various aspects of SHM strategies and structural performance in relation to life cycle asset management Because we have many different contributions. There are many different perspectives many different as HM technologies different performance indicators for different structural types and with with that scheme while we can have a collective view of Presenting the diverse work that we have in this working group in a general context and also showing the different ways to link SHM with different aspects of performance So here's the here is that scheme where we have Yeah, different performance Concepts different performance indicators that go with these performance concepts Measurements observations that we get from our SHM technologies this everything in relation to the different structural types for which we have had presentations also and How this all goes together then into decision and actions for life cycle assessment The blue arrows that we have here. They refer mainly down to methods and tools that are in link with working group three So our activities until now we have had presentations at all the workshops I think the slides are available on the cost website for these workshops out of these presentations We've got a couple of papers and fact sheets Some of them are already available on the cost website the fact sheets will be published soon, I guess and We've also organized a mini symposium at the European workshop of structural health monitoring where we had 15 contributions from cost participants and also external contributors to disseminate What we've been doing in the cost action So we got a couple of papers And a couple of fact sheets that covered Yeah, different structural types. So we have Bridges performance on bridges on masonry structures dams Etc. We have different Monitoring techniques from vibration monitoring corrosion monitoring Thermal monitoring way in motion and traffic Monitoring and yeah other different aspects Up so these are the presentations for today So I would like to give the bird to Jan Winkler for structural health monitoring using digital image correlation So, please go ahead


of the Woodland! Ranger Bill, warrior of the Woodland, struggling against extreme odds, traveling dangerous trails, showing rare courage in the face of disaster, in the air, on horseback, or in a screaming squad car. Ranger Bill, his mind alert, a ready smile, unswerving, loyal to his mission, and all this in exchange for the satisfaction and pride of a job well done. A ranger's life is jam-packed with danger, and the dangers may come at him one at a time or in bunches like bananas, dangerous animals and reptiles, floods, storms, forest fire, and I could make the list much longer. But there's one danger that turns a ranger's blood into chilled water, and that's the sound, now you've heard the sound, snow avalanche. Hundreds and thousands of tons of snow catapulting down the slope of a mountain, smashing, crushing, and covering everything in its path. There's little chance for escape. You can't swim it, crawl under or over it, or run from it. Henry and I have been on ski patrol up in the Big Six country. The Big Six are mountains on top of mountains, and only the most experienced skiers can attempt the Big Six. Big Six Lodge is located on a sort of giant plateau so as to attract all skiers of varying experience. Skiing can be done on the gentler slopes below the Lodge, and also from the Big Six and their dangerously fast slopes. Our job, keep the Lodge and the Big Six country safe from snow slimes. Find the baby avalanches and kill them. Well, there's another baby avalanche that won't grow up to be a big and mean granddaddy killer snow slide. You said it, pal. We didn't blow up this snow collecting point it would build and build, but someday some poor skier would blow his nose too hard and pow, down the mountain this killer would roll. Boy, and how. Hey, you remember about five years ago the one that pulverized Little Six Lodge and everybody in it? Yeah, I sure remember, all right, pal. And so do you. We dug out at least a dozen bodies. That's why they built the reinforced concrete room under the Big Six Lodge, just in case. I don't think they'll ever have to use it now that we're scouting for the little fellas and blowing them down the mountain. I hope you're right, but we've had more snow than usual this winter and you and I have been pretty busy lately trying to keep up with the avalanche hatching department. Yeah, you said it, but it's fun. You know this sure gives me lots of skiing time and I love it. I'll say young fellas getting late. You better start heading for that large pronto. Hey, I'll beat you to the Lodge if you're not too tired for a race. Well, you young whippersnapper, I'll be down there having supper before you shift into the Lodge. Oh, yeah? I'll see you catch me. Here I come. Jenny, I wish you'd stop looking at the Big Six like a lovesick calf.  I can and I will ski them. Oh, you're impossible. You've got to be the best to take the Big Six and that's not all. There's avalanches. That can't be so tough.  Those are the Rangers.  Rangers? What are they doing up there? Well, their job is to find where the snow is building up for potential avalanches and blow them up with explosives so they can't grow any bigger. Oh, look at them. They must be awfully good skiers. They're among the top skiers in the area. They have to be to stay alive up there. Look at the ski. Oh, how wonderful. I know who they are. Bill Jefferson and Henry Scott. Yes, Bill is the boss ranger and Henry is his right hand. Married? Jenny. No, they're single. Good looking. Oh, yes. Very handsome and very rugged. Don't waste your time, Jenny.  I'll say they won't. They're tough. I've never had any trouble before getting my way with men. I'll ski the Big Six. Jenny, I'm warning you.  What happened, pal? You were so slow. Well, I let you win out of respect to your senior years. Hi, Paul. Hi, Henry. What's tickling Bill? Oh, he's laughing at his old age. You fellas didn't ski like old age. In fact, you had quite an audience. Come on, Paul. You didn't just stop by to tell us that. What's up? Who didn't check in and we've got to go and look for them? Well, there aren't any missing skiers, but there's libel to be. Huh? Are you a prophet? Well, this is what I know right now. Not a prophecy. All right, who's the trouble this time? Boy, you must read my mind. He or she or is it a thing? Well, offhand, I'd say it's a female thing. Her father neglected to do one thing when he raised her. He neglected the paddle. You said it and I don't mean canoe paddle. Well, Paul, what's your name? Jenny. Jenny Bender. And she's very beautiful, I might add.  Great beauty doesn't stop a snow slide. Now that you've seen the two Rangers, what do you think of them? Oh, they're the two most handsome and rugged men I've ever seen. Henry Scott seems awfully young, but oh, that Bill Jefferson, dreamy. Just dreamy. And tough as nails for those who break the law or don't follow safety rules. Edie, dear child, don't you know rules and regulations were never made for a woman like me? Jenny, dear child, you're not a woman yet and you're no older than I am, so don't pull that stuff on me.   No skiers allowed on the big six until the ski patrol has cleared it of potential avalanche build-up locations. This order applies to all skiers, no exceptions. Bill Jefferson, chief ranger. I'm glad you young ladies can read.  Pish-tish, Paul, my father is a big supporter of your lodge and I'll ski where I want and when I want. Need I remind you that your father's parting words were for me to make sure you stayed out of trouble? Oh, he was just talking like a father. I don't pay any attention to him. Fathers can be so square sometimes. Jenny, how you talk? Well, it's the truth. I wouldn't dare say that about my father. Perhaps, but you'll think it. Well, I'm sure I thought that about my father too when I was in my late teens. That is until something happened and I found out dear old dad wasn't a square after all, but a pretty smart fella, but I didn't play around with death.  Jenny, I don't care what you say or think, but you'd better obey the rangers' orders and stay off the big six. Understand? Stay off the big six until the snow slide danger is over. And what will you do if I don't? Well, I'll be best manager funeral.  Good morning, Paul. It is Paul, isn't it? I think so, Paul. However, I think Paul has two eyes instead of only half of one eye. Half? His good eye is an open morn than a slit. You'd better watch where you're walking, Paul, or you'll run into something. Well, I'd get plenty of sleep if there weren't so many crazy people in the lodge. Do you guys realize it's only 5.30 in the morning? Man, that's late. You know, we've got to climb the big six on our own steam. None of this soft stuff like riding the ski tow for us. Oh, that's right. Say, have you fellas had breakfast? Sure. Cookie is a good friend of ours. Is it bad up on the big six? I think so. We're changing our tactics today, Paul. Instead of spotting baby avalanches and blowing them right up then and there, we're going to try and survey the whole big six today. And tomorrow we'll go back and start the demolition. That way, we might be able to open up part of the big six in just a few days. Say, how about Jenny Bender? What do you mean, how about her? You know the orders.  Does she have the experience and common sense to ski the killer slopes? No, but she thinks she has.  Places crawling with baby avalanches. Hey, look at that one up there. Looks like it's in a good spot for a fast and large growth. Maybe we better climb up there and knock it down. If we do, we'll never finish our survey. Nice sure. I hate to leave it, even overnight. Maybe I can shot it down. Say, you just gave me an idea, pal. Rifle shot? Right. Now watch. Hey, good shot. Yes, sir. That shot was too good. There's another one coming down behind us. Let's get out of here. Head for the lodge. That was a sleeper. You said it. Pull up. Man, that was a close squeak. And how? Now, there's a class A example of how those killer avalanches work. And how? They wouldn't have found us until a spring thaw. Come on. Let's go back to the lodge. We lost too much ground to climb back up and finish the survey today. Boy, am I glad to see you guys. We heard them. What happened? Bill shot one down and another snuck up behind us. We heard them, so I grabbed the glasses just in time to see you two come racing down the gap like you were being chased. That was close. Now you're right. How much for supper? How can you guys be so nonchalant and relaxed after a narrow escape like that? We always say a mist as good as a mile. Yeah, but this is dangerous business, pal. Sooner or later, we're about to have a close one. Right. That's why it's so important to be spiritually and mentally ready to face death. We're not afraid of dying. But on the other hand, Paul, the Lord doesn't want us to shortcut our lives by foolish action. This is risky business. We try to stay in top condition and be prepared for emergencies. We're not afraid to die. We got roast beef for dinner. Hey, Jenny, here come the dreamboats. What a hunk of man. Here's my chance. Jenny, don't. Not now. No, Piszczisz, child. You're afraid. Wait here and finish your dinner. Bill Jefferson. Mr. Jefferson, I don't like to be ignored when I talk to you.   Jenny Bender. Oh, Jenny Bender. So you're the one. Yes, I'm the Jenny Bender. Don't you have sense enough not to interrupt people when they're praying?  Is that why you had your head down? That's old fashioned. You know, old hat strictly for squares. And I'm a square, Miss Bender. I'm also a Christian. Henry and I pray before every meal. Yeah, and we also read our Bibles and go to church and Sunday school. Bill, I want to ski the big six. You know what happened up there today. Of course.  Doesn't that register in the common sense department of your brain? Yes. You two can teach me to ski the big six. And I'd really like you to teach me, Bill. How about starting tomorrow morning? Young lady, I'm a ranger, not a ski instructor. And what a ranger. What a man. My kind of man. Miss Bender. Oh, call me Jenny. All my friends do. Miss Bender, the answer is no. Absolutely and flatly no. Now, will you please allow us to have dinner in peace and quiet? Well, I can take a hint, but I am going to ski the big six with or without you.  Oh, he makes me so furious.  I told you he's tough. Well, I'll show him. Oh, stop.  You know you're not going to ski the big six, so why talk about it? I am going to ski it.  Bill and Henry almost got it up there today. The only reason they didn't is because they're experts and they've had a lot of skiing experience. I have a lot of skiing experience, too. But not enough for up there. Even some of the best men's skiers won't try it because it's too dangerous. Too many snow slides. I'm going to do it. Not really. You don't really mean it. I'm going to do it, even if it kills me. Oh, this is a cat's meow. That fire sure feels good. Arms right down to me, creaking old bag of oars. It sure is cozy, all right. Yeah, I think I would have taken that. Afterward, I'll settle down to some real sleep. You'll be too, likewise. Let the winter winds blow. Let there be ice and snow. I don't care, though. It's so comfy. Eat it for the love of Mike. We go to bed early up here, you know. Skiers are supposed to get tired from all the fresh air and that sort of stuff. I'm sorry, Paul. Have you seen Jenny? Oh, I don't care if I ever do. Well, I'm worried. She hasn't come to bed and I can't find her anywhere. Hmm, that's too bad. Maybe she's making goo goo eyes at Bill or on a manhunt. Paul, wake up. This could be serious. She said she's going to ski the big six. At night? Oh, good, I bet, Edith. Paul, will you please wake up and pay attention? What's the ironclad rule about skis? Over Pete's sake, let me get some sleep. All skis have to be in the rack, don't they? Of course. Why? So we can count noses. Well, let me go to sleep, district attorney. Jenny's skis aren't in the rack. Look, I counted all ski racks before dark and all hands are safely tucked in. I'll go away, will you? Paul, her skis aren't there. I just locked. Are you sure? Oh, man, I have two good eyes. Go sleep for yourself. Come on, and be quiet. Bill and Henry are sleeping in the lounge. They need their rest. Okay, but hurry. Why don't I grab a coat? Okay, come on, let's go. You're right, they're gone. Oh, I never thought she meant it. What'll we do? How about her ski clothes? She had them on late this afternoon, but I didn't think anything of it because she hardly ever changes until after dinner. Well, we better make sure she isn't around here somewhere. Let's get Bill and Henry to help. No, let the poor guys relax. If we can't find her, then there'll be plenty of time to get them. Well, how are we going to search for her? How far? Well, you go out this end of the lodge, and I'll go around the other end, and we'll meet in front. Now, be sure and look everywhere, but don't call out. Okay. Oh, they're crazy. Rangers up at 5.30. Crazy women disappearing up early into bed light. This is nuttier than a fruitcake factory. Paul, I didn't find her. Neither did I. Are you sure you looked everywhere? Yes. What's that noise? What noise? Avalanche. No, it can't be. Jenny's out there. It's too late now. I'm going to sound the alarm and get everyone into the shelter. Come on. Paul, how close is it? Sounds far away, but... But is right. At 150 mile an hour clip, it won't take long to get here. Come on, pal. We're the last ones. Let's get down in the shelter before it's too late. Having a microphone on the outside so you can hear the slide coming sure is clever. But I don't think it's going to reach the lodge. Oh, that's good. Well, it's dying off. Must be a mile short of the lodge, thank the Lord. All right, folks. It's safe to go back to bed now. Come on, everybody. The job over. Jenny.  What's going on, Paul? Well, Jenny Bender's missing. What? Why thought you counted all the skis before dinner? She left the lodge after dark. Now, wait a minute. Maybe she didn't head for the big six. Oh, Bill, you know that's where she went. You know it was the one thing that possessed her. Well, we might as well get started looking for her. She's under the slide. I just know she is. Well, there's one way to find out. We'll go up and take a look. Well, you don't know how much area this one covered. Good idea. Come on. Oh, no. She's under it all right. Another half mile, and we'd be under it too. All right, pal. Let's suit up and get our skis on. Okay, Bill. She got the big six all right. Right on top of her. Let's hold up a minute, huh? Yeah. Well, we've covered both sides of the slide. I'll say we didn't. Boy, it's cold up here tonight. Yeah. You said it. Jenny didn't have a prayer of a chance, Bill. I know she didn't, Bill. But we had to try. Sure we did. I wouldn't sleep nights if we hadn't. Tell me something. I can. Shoot. Well, why did a beautiful young woman like Jenny throw her life away like this? Proverbs 13, 24, it says, He that spareth his rod, hated his son. He that loveeth him, chastened him. Yeah, that makes a fella stop and think. Jenny never learned to take instruction. All right, she received the benefits of constructive discipline. Well, have you gotten your wind back, pal? Yeah, how many when you are. All right, let's head back to the lodge. I'd like to call Jenny's father and tell him the tragic news. Hey, wait a minute. What's the matter? You see something move? No. But there's a black speck down there below us. It looks like a small piece of charred wood sticking out of the snow. Where about? Follow my point. You see it? Yeah, I see it. You're right. It does look like charred, of course. It's like charred wood because it's the tip of a chimney to a small cabin down there. Could she be it? It's a slim hope, a mighty slim one. But at least it's hope. Come on, let's go. Careful, pal. There could be air pockets under the snow around the building. Yeah, watch it. Hey, there's the black speck we saw. It's the chimney top, all right. Let's clean away this snow. Yeah, I'll watch this side, pal. Okay. Hey, this chimney is pretty big inside. That's what I was thinking. Hello. Anybody down there? Thank the Lord, she's alive. Amen, pal. I haven't got any time to waste. Jenny, this is Bill Jefferson and Henry. Can you get in the fireplace? We're at the top of the chimney. Never mind that. Tie the end of this rope around and under your arms.  Now don't panic. Your life depends on it. Now is too. We don't know if there's more avalanche to come. Now hurry up. I'll try, but my hands are shaking so badly. You can do it. Now tie that rope, right now. All right. Ready? Is it a stout knot? Yes.  Now close your eyes. I'm all set. Now. Okay. Pull. Little more. Here she comes. I'm out. I'm out. Oh, you're wonderful. Henry, put her on my back. Jenny, you'll have to ride piggyback. All right. Up you go. Oh, there. There we are. All right, Henry. I'm set. Break trail force. Head for the protection of those rock overhangs at the edge of the slide. And step on it. All right. Come on, Bill. It's only a few more steps. I'll make it. Get against the wall. Flat. The chimney's completely covered. I would have died. Get me. Oh, look what a mess I am. Thanks to you, Bill Jefferson. My hair is black. My ski clothes. They're, look at them. They're all covered with soot. I'm just a horrible mess. Stop staring at me. Well, I'll be a busted ski. She didn't even thank you, fellas, for saving her life. Of all that. Paul, skip it. It's all right. Huh? It is. Yes. She's partially in shock, but mostly embarrassed. You see, this is her first taste of discipline. It hit her like an avalanche. See you next week for more adventure with... Ranger Bill is a moody radio network production.