All right. Hello and good afternoon and welcome everyone to this afternoon's session on music in musical heritage of the Kathmandu Valley. My name is Amina Yakin. I'm the director of the SOA's Festival of Ideas. The festival theme this year is on, it's our inaugural festival, it's our first festival and we are dedicating this festival to the theme of decolonizing knowledge. Decolonizing means a lot of things in a lot of situations and contexts and therefore we are not assuming that everybody agrees on this particular definition and indeed we would welcome contribution from participants in all our panels with regards to what they think this means to them. With regards to our particular initiative we want to include a wider knowledge of Africa and Asia in the teaching and the research that we do. This is a research led festival and we are celebrating the work of our researchers and our collaborators and partners in the Global South with whom we work to make so as the kind of institution it is and the kind of work that we do. So I hope that you will take a moment to look at our overall programme which is a range of panel discussions, masterclasses and book talks as well as many more things. We have a debate on Saturday and a play as well so please do tune in if you can but this afternoon you're in for a real treat. I am personally looking forward to this afternoon's session. It is with my colleague who I have had the opportunity and great I think experience of getting to to know him at SOAS in the Department of Music and to learn from him. Professor Richard Brides has been researching the musical traditions of South Asia at SOAS for over 40 years and the other collaborator in this afternoon's session is Chouette Films. I've also had a chance to get to know the team in Chouette Films as well and this particular afternoon session is a celebration of the ongoing collaboration between Richard's work and Chouette Films and the heritage of Nepal and the local community music traditions and Chouette Films is a small company based at SOAS they specialize in ethical and environmentally friendly documentaries on social issues so ethics is the word that we are very much in tune with in decolonizing knowledge because that's a very important part of how we connect with heritage and the heritage of music in South Asia and I am delighted this afternoon that we are joined by Shashi Amathya from the apologies Shashi Chandra Amathya from the who is from the Mathina Foundation, General Secretary at the Mathina Foundation and he's a Chief Editor of Mathina Magazine and World Never Organization and advisor to the Pasapuchaguti UK. Apologies if I'm getting my pronunciations wrong his place of birth is Kathmandu and he is currently living in the UK and is here to be part of this particular festival and will speak and say a few words about the musical heritage of the Kathmandu values so can I Shashi welcome to the session thank you for joining us and I'll hand over to you. Good afternoon, can you see me? No we can't see you Shashi, I'll mute myself. Yeah can you see me now? Yes we can see you now. Yeah good afternoon my name is Shashi Amathya and I'd like to thank you all for giving me this opportunity sorry. I'm the General Secretary of Mathina Foundation which is based in London and the objective of Mathina Foundation is to preserve and promote the language and culture of Neva people. As an organization we have started off publishing Mathina and Neva Sociocultural Magazine. We are organizing a important ritual of young female in a year or two depending upon the number of participants and by annual literary event to commemorate our heroes. I'm not a musician but as a Neva I used to wake up every morning with heme singings in the area. We used to have faltsas it's a kind of raised house and those faltsas are almost everywhere other corner of the streets in Kathmandu where locals sing hemes every morning besides this even at home ringing a traditional bell and blowing a shanka that is kong with Vazhan early morning is a common practice in every household. So our daily routine starts with worshipping deities playing music singing hemes in the temples and Kathmandu Valley and the 12 districts of Corinth Nepal where under Nepal Mandal Nepal in short the people of this area were called Neva and Nevar in derogative term their language is called Nepal Vasa also known as Neva Bhai or Newari in derogative term again unlike other ethnic groups of Nepal Neva are the groups of different caste with different religions mainly Hindus and Buddhists sharing the same language and same culture they celebrate all festivals together with many minor variations Nevar shrines whether it be Buddhist or Hindu wouldn't be complete without a faltsa a raised house to play music and to sing hemes where they also use these raised houses for other religious activities and Nevar people are always busy celebrating festivals throughout the year we have festivals almost every two weeks and all these festivals are not complete without the music so different festivals are devoted to the different deities and there is different music to play in different celebrations even musical instruments will be different in the meantime different cosplay different musical instruments in different occasions like Sake, Bajrasari and Udaya Udaya that is Dooladar, Tamrakar they play Gula Bazaar and even some some Manandas also play Gula Bazaar and Naki played by Butchers and the Dapha group consists of different castes mainly farmers and Nevar people have Guthis that is Guthi Guthi is a trust to protect the cultural activities including music most of the traditional music are related to the devotional songs however there are other journals too like Raja Mati Kumati is the oldest love song of Nepal this song is almost 200 years old and it is still popular and interesting event about this love song that it was played as a national anthem of Nepal in London during the visit of Rana Prime Minister Janga Bahadur and that was in 1850 and similarly there is a popular ballet in Nepali Munamadan that is called Munamadan and that is also based on a popular Nevar song Nevar love song but later Nepal Bazaar Nevar language and the Nevar music started to die on the rise of Saha and Rana rulers and Prithvi Nala and Saha destroyed the hundreds of Nepali Bazaar manuscripts and Rana regime banned Nepali Bazaar from official use Mahendra Saha stopped teaching Nepali Bazaar in schools however some Dafa scholars survived till today they are musicians musical groups they survived till today because of Guthi's trust Nepalese media corporations like Radio Nepal Nepal television they never gave any space during Panchaat regime it is only after democracy in the 90s they gave a little space to the Nevar music language and culture the only government owned Nepal film corporation they never spent any penny on Nevar music Nevar movies etc Nevar traditional music is dying fast due to the lack of government initiation there is no government assistance and there is no any government policy to save the heritage heritage so young people they do not see their future and they are they are attracted to the other opportunities they also like to move to the foreign countries however new emerging technologies technologies are making music lovers to involve in their project there are few groups like Project Bazaar Nepal who are trying to revive traditional music the most positive side of preserving traditional music is the participation of females nowadays many women are learning traditional instruments however all efforts of preserving and promoting Nevar music are happening only from the private sector with their own resources and this may not be sustainable in long one for any group without the involvement of government that's all I can say thank you for giving me an opportunity thank you back to you hello hello and welcome thank you very much Shashi for that introduction to the general subject of Nevar music my name is Richard Woodis I've been working with musicians in the Kathmandu valley since about 1990 but last year September 2019 I had the novel experience for me of visiting the valley with Anna and Remy Sova of Shouet films with a view to experimenting with film technology for documenting Nevar traditional music including virtual reality filming as well as conventional film we enjoyed the support of Kathmandu University Music Department through its director Lurchen Rajal and the very valuable assistance of Shamsha Britan in Bogdapur and subsequently of Shashi Amartya in London who helped us with the subtitles and we're very grateful to Sirus for funding for this project from a seed called Fund the films we show today may or may not appear in very high quality on your screens depending on internet speeds at both ends but I've put into the chat links to the videos online so please watch them again afterwards especially if you haven't seen them in very high quality because the films have extremely high quality definition and sound so we do want you to enjoy them at their best so please do go and look them up again at your leisure if you have any comments or questions please use the Q and A function rather than the chat if you'd just like to say hello and hello to those who have already done so by all means use the chat but if you actually would like to ask a question or make a comment that you'd like us to discuss then please use the Q and A button at the bottom of the zoom screen and if there's time we would like to discuss any questions that you raise at the end I'm going to show a short PowerPoint presentation first to continue setting the scene as Shashi Amartya has already begun to do for the films and introduce some of the issues they raise which again Shashi has already introduced in some cases so I'm going to share my screen and start my PowerPoint presentation so what I'm going to do is briefly introduce the musical heritage of the Kathmandu Valley so a few words about the theme of this festival decolonization in relation to documentation I'll talk a little bit about the virtual reality technology in relation to filming musical heritage and I'll try to show you a short example of that I hope that the technology permits we'll then go to the main film which I will introduce briefly Guna Music for a Sacred Time which is a selection of the material that we filmed during our two-week stay in the Kathmandu Valley last year and then after the film the producer Anna Sova will give us some reflections on filming musical heritage so a brief introduction to musical heritage of the Kathmandu Valley Kathmandu is the capital of Nepal and I've worked mainly in the city of Bagdapur which is about 10 miles outside the capital it's a very historic city with splendid architecture temples and the former royal palace and the majority population belong indeed to the Newar ethnic group which Shashi has mentioned who speak the language Newari or Nehapal Pasha there are two religions Hinduism and Buddhism very closely interconnected and society is much divided into different social groups different castes different occupations different neighborhood communities and of course two genders and these are factors that music articulates and expresses musical heritage in Bagdapur goes back many centuries to the elite courts of local rulers as we can see from historic paintings and documents but today it is largely practiced by the farmers of Bagdapur who have preserved many traditions that would formally have been performed in the palaces of the Newar kings another musical community is the buddhist community a minority in Bagdapur but they use music in particular to celebrate the season of Guna which was the season while that we were there in Bagdapur last year which is a devotional and auspicious season but in general the many hundreds of different music groups in Bagdapur and other towns and villages of the Kathmandu valley they share some common features one of which is that it's almost always a group activity not a solo activity and for most people not a professional activity it is a participatory tradition people sing and play for their own pleasure and enjoyment and to express devotion to the gods and only secondarily if at all for the enjoyment of an audience thinking about decolonization in this context is slightly a challenge because of course Nepal has never been the colony and in that respect it contrasts very interestingly with for example India next door with its long colonial experience but of course the decolonization agenda is about decolonizing ourselves and our approach to studying our disciplines in my case musicology it's about recognizing valuing and seeking to understand different knowledge systems and music is a knowledge system albeit usually transmitted through practice rather than through language or writing the discipline of eth musicology which we pursue at Siris is about understanding different musical systems and how they're integrated with other cultural systems and processes and how individuals and communities experience their own music so Siris has for several decades now been at the forefront of decentering the western classical music repertoire and approaches for studying it which predominantly constitutes the discipline of musicology in western academia in this respect we we share a lot with our filmmaker friends at Chouette Films because we are equally concerned to facilitate communities in telling their own stories rather than imposing our own preconceptions and Anna will have something to say about this later I think an important fact to hear as Shashi Amartya has mentioned is that many music traditions in the Kathmandu Valley as elsewhere are in danger many know us like Shashi are concerned at the decline of musical traditions and the risk of their imminent disappearance this has many causes including social and economic changes in Bhaktapur the gradual population shift to Kathmandu for example but also natural disasters do not help earthquakes such as the massive earthquake in 2015 and I'm sorry to say the current pandemic consequently documentation I think is increasingly important for curating heritage for future understanding for supporting communities in valuing their own heritage and researching the history of that heritage VR filming is a technique that Chouette Films are developing for documentation of cultural heritage a VR camera is placed in the center of a space and captures everything around it all sides above and below and Chouette Films had already used this technique in the multimedia Yasuna project on Zoroastrian ritual led by Saras Professor Almot Hintzer we wanted to try it out in Bhaktapur for various reasons music groups there tend to face inwards towards the center of the group and this is difficult to film from outside the circle so another advantage is and this ties in very much with the decolonization theme VR allows the viewer to select what to look at it de-centers the filmmaker you can watch many times with different focus each time the 360 degree view also captures what is going on around the musical performance the context including both the social and the physical environment and finally one view to the VR headset which is the ideal way of watching a VR film it gives a very vivid sense of being present in the event so our VR example features a Dafa group and Dafa is a style of group devotional singing performed by men of the farmer and other social groups and it's sung by two equal groups of singers sitting opposite each other singing alternately and playing cymbals and accompanied by drums our VR film shows the Dafa group of Chandeshwari temple in Bhaktapur who sing every morning at 4 30 for a couple of hours before going to work i'll play a short example of a Dafa song or part of it focusing initially on the musicians looking right and left as the two groups of singers sing alternately i'll then play that again but turn around through 180 degrees to look at what's happening in the wider context people on their way to work calling in at the local temple blessing the crossroads with small offerings and so on so technology permitting i will now attempt to show a little bit of VR documentation okay it's not moving so i'll just have to reopen the file bear with me so close the application one more please service will be resumed in a moment so i will attempt to share my screen again i'm sorry that zoom is not allowing the video to move hopefully you might be hearing a bit of the sound but i can probably rotate the picture at least to show the whole group of musicians the two groups of singers with the drum players in the middle but the great advantage well one of the advantages i said of VR is that you can look all around and see the context here is the temple of Chandeshwari for whom the singers sing every day here we have passersby these ladies wearing traditional noir dress are visiting the temple to say their morning prayers and to make a small offering at the crossroads which is at the center of their neighborhood community and here's somebody on the way to work this platform is one of the many foxars that shashi shashi mentioned as places platforms covered platforms where music groups can gather to sing and play so i'm sorry the um uh vr from the park but please look it up on the internet via the link that i've given and um uh you may also need to download the gopro vr viewer in order to see it in uh full glory so um i'll go back to my powerpoint very briefly to introduce the main film so um the first part of the film focuses on a daffar group a different daffar group that's associated with the temple of dhattrae one of the largest and oldest temples in bhakta poor this group meets every day of the year 365 days of the year um barring emergencies such as coronavirus pandemic uh and the second part of the film focuses on the festival of punj dhan and the gullambajar musical genre this is a festival in which five buddha statues are carried through the streets of bhakta poor and they're accompanied by music groups of various kinds including the gullambajar drum and wind ensemble this is music played by members of the buddha community including as you will see um children and young people um and so we interviewed one of the young people um and this is included in the film similarly we interviewed the leader of the daffar group punj dhan and uh i hope you enjoy hearing from them their view of their own traditions and then just at the very end of the film you'll get a glimpse of the dhij festival which happens also at about that time of year in september also um and this is a festival celebrated by women of the brahman caste from katmandu who come to bhakta poor to celebrate the festival and they fast for the entire day um to ensure the long life of their husbands so this is in fact the only day of the year in which uh respectable ladies would be allowed to dance and sing in public in this way and it's interesting that traditionally they would sing songs in praise of the god shiva on behalf of their husbands but since the mid 20th century the songs have included increasingly social commentary and political protest so there's clearly an interesting story that's to be told about music and society there so um i'll turn to the main film and after we've seen the film ana will be here to share some reflections on her objectives and making it and her experience in doing so um uh We are not going to let them do what they want. We are not going to let them do what they want. We are going to let them do what they want. We are going to let them do what they want. The people of Bang語, the people of Juhu, they were all in the villages. They had no income in the village. They were all in the villages. Because of the villagers, I did not have a single penny on hand. The people of the village were not in the village. They were all in the villages. Guin э 책 ra thao mi a lui av ghàung fy hantá. Thín ó thín á tít áng, tít áng thin táng r спасибо áy mághí á sā refund ám á⚠ á rcipe ládi á xáa ŏn á á réi háuthéəaçãoaw rإá axéth wa Bangkok ám ágáá régh á áxéth álélisc átí sóngining á ámber áa axéth á苹á á局 á earette á nga á khe á sí Jiá á á á á á á á á á á á á áá á a thá á á á áə áu á á á2020 á á á á á á á á á á á á á á á á á á á á á derecho They were very happy. They gave a lot of attention to the daily life that they were going through. But Kathmandu people were very excited. They thought, let's try to live a happy life. They did everything they could to find the best life for the people in Kathmandu. And they were very happy to live a healthy life they were going through in Kathmandu. It was very positive for Kathmandu people. It's been seven years since I started working in the field. It's been seven years since I started working in the field. It's been eight years. I'm an engineer. I was working in the field for a long time. I used to work for the field. It was difficult to find a job. I was at home for two years, The last year, many people were assigned to work in the police station, such as the chief inspector, Ashtar. And then the next year, some would be assigned, like the chief inspector, so the charges were off, and the police wouldn't even speak to me. The police would not even take a moment to turn their head. It was hard. I needed to stop it completely. So, I went to themer, then I left. So, I went to themer. I was very tired. I was going to sleep in the hotel room, I had to rest for a little bit. I had to sleep in cold water. And then after that I went to themer. I went to my mother's house. Excellent, excellent, excellent. We are just wonderful, we are also great at music. I love music, I love music, I love music, I play the guitar. When things change, the skills change, and it's important. I love music so much, My dream is to be able to stay in Thailand for a month. I feel uncomfortable when I am in the middle of the night. I feel different when I am in the middle of the night. I am very happy. I am very happy because I am able to play music, music, and other things. I am very cultured and talented. I am also very happy because I am learning music from life. I was able to get a discount of 50 studs from the school. I was able to stay at the school for a month without giving up. I am from a family of three, and I was born and raised in a village called Apo Thaim. The village is a cultural area, and I was born and raised in a village called Baja Pinnipalai. I grew up in Pizovia, whereas I was born in Dokosh. When I was 7 or 8 years old, I was born and raised in Bresa, which is a place with identity and a passion for people. I grew up with the many parents of my family. I have been working on this film for a long time. Hello everyone. Thank you so much for inviting me this afternoon and for taking the time to watch the film and wonderful comments that everyone is leaving now. So as you have seen in the film, Nepal is a filmmaker's dream, stunning landscapes of the fire with diversity of colors, people and cultures. You can see easily how a place of such beauty, character and interest can easily be drawn into the one would say exoticized picture. Throughout our work at Shred Films, we learn that people have different experiences of the camera. Whereas in the UK and many other parts of the world, most people might have experience being filmed or filming others. We have to stop ourselves from making any assumptions about the relationship that other cultures might have with the relationship to in their relationship with film and photography. As a filmmaker in Nepal, we have to keep in mind that we have no knowledge of the kind of images moving or still that an individual in Nepal might have been exposed to in relation to their own culture or themselves. We have to be aware that anyone we approach for filming might have been able to feel exoticized or excluded by images in the past. Film has a long history of taking advantage of people. It is a compelling tool, but it is also susceptible to misrepresentation and affective in manipulating the truth to spice up the narrative. It is all too easy to overlook the importance of involving the people you are filming in a project and find yourself treating them as objects rather than subjects of the documentary. Many people who have been the subjects of film around the world might have never been shown the work or pay the royalties. So at the core of all this is the question, who really benefits from the entire endeavor, from the filmmaking project? Who is the film seeking to please? Who are the real beneficiaries? Is it the commissioner or is it the social actors whose voices the film strives to make heard? It is certain that filmmakers, the ones behind the camera, unfortunately often benefit significantly more than those in front of it. This is the tragic original sin of documentary and avoid falling into the same exploitative pattern. We try to let the social actors lead the narrative of the documentary. So instead of arriving with a preconceived idea of what we want to do or what we want the film to say, we begin by asking questions. So going to the power of Richard was a great privilege for us. As an initial trip, the main agenda was simply to meet the people, hear the music and find out what is it that they would like to tell us about their music? What is it that they would like to tell us about the role the music plays in the community? We did not come to the community as strangers, just the opposite. Our relationship with them was based on Richard's 30 years of experience and research in the town. We were working pro bono on a trip that would be a start of a great conversation and a collaboration. And on the first night that we arrived, we were welcomed by a special mention of us to the gods in the Daffy ritual. We were given flour necklaces and a bindi, which is the Hindu dot where on the forehead. And naturally all of this was followed by a great festive meal. We believe that developing a genuine and a positive relationship with contributors is crucial to creating a successful and a meaningful documentary. So we were absolutely thrilled to share many pots of tea, many meals and many chats with members of the community throughout our time there. And the trip would have never been the same. The whole project would have never been the same without the experience of going there. And obviously the exciting outcomes wouldn't be this stunning. So as filmmakers, we usually ask ourselves the same three questions in relation to documentary. That is, who is your audience? What are you trying to say? In other words, why is it important? And what would you like people to think, do or feel after watching the film? But in this case, it is not only our opinion that matters. Our role is to ensure that everyone involved in the project is welcome to participate freely and equally. In practice, this means that we do our best to give voice to people who might not otherwise have the opportunity to speak out. For example, young women or people living in isolated communities. We wanted to make sure that the community was equally involved in the planning and truly happy and committed to the project. Together we have considered countless questions such as who is allowed to speak in the film? Who is allowed to be represented? How are people represented? What do we should film and how? And what languages we should use? So through discussions, meals and spending time as a group, together we identified aspects of life that mattered most to the community in relation to music. For the community, music is about maintaining a relationship with the gods, expressing social identity and enjoying the psychological benefits of group participation. The community members interviewed each other with self-written questions developed around some suggestions and areas of particular interest from us. And we sought the community's feedback at every stage. For example, we have run a number of recording sessions, each with a different setup of microphones and then gathered feedback from the musicians as to which setup variation captured the sound in the way that represented the music they best. Also on the day of the Panjadan Festival, we asked to enter different houses to film the procession from different angles. This gave us an amazing and fully flavoured, rounded understanding of the celebration and there's no way we would have accessed those perspectives without the help of the community. So you might ask a question, why should we bother to organise so much time for conversations and questions? What's the advantage of trying all these interviews and feedback sessions? Well, I would say that thanks to this trip, we had a much rich intellectual understanding of the issues at stake and a much closer cultural understanding of the subjects. Together with the community, we have come up with more examples and more case studies that we could potentially draw on from. And we hope and believe that this collaborating and learning experience is hugely enriching for everyone involved. Broaching the big ethical issues of exploitation, inequality and misrepresentation in filmmaking is vital to creating a meaningful film which is positive for everyone involved. And we are learning a lot from the whole process. We're making ourselves reflect more our own ways of working as well as strengthening our critical thinking and our readiness to open up to conversations. This project is providing a opportunity for us to keep broadening our frames of reference, challenge the assumptions and include a more diverse range of people in our work at Shred Films. Filmmakers have responsibility for their films, for the films that they make. And we need to live up to this. We need to not only protect our contributors but also ensure that they benefit from the whole process in the equal matter. So that's probably all I wanted to say this afternoon. If you have any questions, please feel free to type them. But I think I'll pass on to Richard at this point. Thank you. Thank you, Anna, for those very, very interesting remarks. We now come to the final and completely unplanned section of this presentation because this is where we discuss any questions that you have raised in the Q&A. I'm just looking at the questions now and a number of them. There's a very interesting and perhaps problematic question about the internal colonisation within Nepal. And of course this is a very big factor in the history of Nepal. As I'm sure many of you know, the Kathmandu Valley used to be divided into three independent Nawar kingdoms. But these were conquered and absorbed into a wider empire of the originally Gorkali king in 1768-9. And since then Kathmandu has been the capital of a much larger area, the country that we now know as Nepal. So there are many different communities involved in this much larger political unit now. And certainly in the past the Nawars found themselves to be an oppressed community within the valley that they used to rule. That is, I hope, no longer perceived to be the case, but it's certainly a big factor in the history of the valley. For example, and this is where music comes into the picture, in the past, farmers in Paktupur were not allowed to be literate. The only education that they were allowed to have was Darfa and other musical genres. So music has played a very large part in the culture and identity of some of the communities in Paktupur for many, many centuries. But Shashi, I don't know if you would like to come back in on this and consider how outside observers like myself and filmmakers like Shwet films might deal with such issues since we are not internal to the situation ourselves. Perhaps you might turn your microphone on. Sorry, I didn't get the questions. The question just summarizes that while some don't consider non-colonialism to be colonialism, and some may not view the indigenous populations of Nepal as having been colonized, Nepal has had a history of oppression of its indigenous minority communities, including laws that made the Nehwar language illegal. How are you dealing with this legacy of oppression when working with Nehwar musicians? Well, you've already referred to Shashi too, the problems of maintaining the Nehwar language. Is there anything else you would like to say about this? Yes, we faced a lot of challenges during the panchayat regime and Rana regime. However, it is a bit relaxed and we can enjoy. But in the meantime, there are not enough resources I had mentioned earlier as well. Whatever we are doing is all from our own resources and which is not enough to support our activities. In Nepal, Richard, you already know that Nehwar culture is the most advanced culture and the Nehwar language has got all sorts of literary literatures. In the meantime, Nehwar music is also advanced music in Nepal. But during the panchayat system, even though there were lots of Nehwar musicians, popular musicians, they were never encouraged to play their music, play their songs. Now, because of democracy, we are doing a bit better than before, but it is not enough. And the main thing is the language that still we are not being able to use our language in administration. So that is the main thing that it pushes us back behind from the other people, especially from the Brahman and Baon and Chhetris, because the language, the official language in Nepal is your language, is not our language. So we are not competent to them. So we don't get the proper job. We don't get the government job. I mean, we don't have access because to get into the government job, it must be competent in Nepali language. So, yeah, these things still we are facing. Thank you. Thank you very much, Shashi for that comment. I think as outsiders to the culture ourselves, that we have to respect the history, but also respect the diversity of culture in Nepal. This is a source of great richness, of course, and to know our culture and music are not the only culture and music worth examining in Nepal. It's a question of helping all communities perhaps to value their own culture and also to be aware of and value that of the other communities with whom they live. Let me go on to another question from Kevin Webb on whether the Buddhists you featured in the film just go through the rituals, but don't practice Buddhism, e.g. meditation study of the sacred texts, etc. Well, I think it would be true to say that religion in general, whether Buddhist or Hindu in Bhaktipur is very much, for most people, is very much a question of practice. It's the rituals you perform, the festivals you observe, the obligations to commemorating the deceased, and so that matter more than study of sacred texts or practice of meditation. However, in the Buddhist community there are priests who are certainly aware of other aspects of Buddhism such as meditation and sacred texts, and I think it's true to say that anyone who has the interest can learn these perhaps more hysteric aspects. The form of Buddhism that is practiced in Bhaktipur and elsewhere in the Kathmandu Valley is certainly a very syncretic form. Hindus and Buddhists have been living side by side for centuries in the millennia in the Kathmandu Valley, and so it's not surprising that Hindus and Buddhists participate in each other's festivals, particularly I have to say musicians are quite likely to play one day for a Buddhist group and the next day for a Hindu group. So in a way there isn't the same watertight division between religions that we might assume would be the case. I'm just reading another couple of questions. Yes, a question from Krishali Shingala. A question, what more can be done in participatory filmmaking for the communities once the filmmakers, stroke anthropologists, leave the country? I'm glad you liked the film Krishali. So yeah, this is a huge question of course, and in a way I would have thought that what we can do for the communities is principally once we have left the country by disseminating the product of our work, like the films that we make. Anna, I don't know if you have any further comments on that, you've already perhaps partly answered that question, but would you like to come in again and say something about that? Yes, thank you so much. I think this is a question that keeps reoccurring filmmakers. How can we do our work better? How can we make it more meaningful for the communities that we work with? And I think now with COVID and obviously everyone being not able to travel, this is something that is high on the agenda as well. And I think the simple answer to that is very much training people as well to film themselves. You don't have to have fancy equipment anymore these days. Our mobile phones are sophisticated enough to capture decent footage. Do that for posterity. Do that while you can when filmmakers are not there, when exciting stuff is happening, where you know you cannot miss the opportunity to film something. And then once we have all this data stored and collected later on, we can work together on editing. We can work to produce a film together. And as Richard said, I would again emphasize the importance of distribution. I would emphasize the importance of events like this one where I can see a lot of people actually have joined us from Nepal as well. It's really refreshing to see that kind of thing happening that you know those events are not happening in London only for London audiences. I'm not sure if I explained enough, but yes I would love to hear your contributions as well. What ideas people might have. Thank you. Thank you Anna. Do any other panelists would like to contribute to that? Please unmute yourself if so. So if not perhaps one last question from Jody who noted the clarinet being played. I'm wondering if we could say a little bit about that. But yes, of course the clarinet and also trumpets were there. Western trumpets. The clarinet is a Western orchestral instrument. So what are these instruments doing in Nehwal culture you might ask? Well I'm not sure about the exact history of these instruments. But there are of course clarinets and trumpets being played in neighboring India in many wedding bands for example or similar wedding bands in Nepal. Equally there has been a long-standing association between Nepal and the British army which uses similar wind instruments in army bands. This connection of course comes through the Gurko regiment. So by whatever means Western instruments have arrived in Nepal they've been there for some time. The particular group that we were watching was a group of high caste Buddhists, traditionally goldsmiths and silversmiths, prosperous and educated. And they prefer their music to be accompanied by these perhaps they feel more sophisticated Western instruments. Lower caste Buddhists, the oil presser caste, prefer to use the more traditional wind instrument, the moaling which is a shawm, an obo type of instrument. So what we're seeing here is the replacement or the substitution of Western instruments for local instruments. So not as a direct result of colonisation but as a result of international influence of various kinds. And this is surely an ongoing process. I don't know if any other panelists would like to join in with that discussion. If not, then I think all that remains is for me to thank everybody for participating in this event. Shashi, is there anything more you would like to add specifically about this event and I noticed that you've mentioned in the chat that you will be open to further discussion about Neowar culture for those interested. So would you like to say anything finally? I'm just curious to know that you have included a scene of tea in the documentary but tea is Neowar culture, Neowar music and I'm just interested why it's there, why is it there? Yes, I thought you might have an issue with that because as I think I said the women who perform these songs at tea, who celebrate tea, are not Neowar women from Bhaktipur itself. They are women of the Brahmin caste from Kathmandu and other villages around who like to come into Bhaktipur to the temple of Dr. Treya which is after all a Shiva temple and this is a Shiva festival and so they spend the whole morning. Something that happens at this same time of year but since we were there, of course you can't stop filmmakers from filming something that is so obviously very beautiful and very fascinating and so I think they were a little uncertain about whether to include those shots just at the end but I thought it was worth including them just to illustrate that there is a wider context of music and culture in the Kathmandu valley alone to say nothing of the rest of Nepal so it's just a little insight into a completely different aspect which who knows in future we might choose to explore in more detail. Thank you. Sorry. No please. It's regarding Dafa, I mean Dafa is all over Kathmandu. There are lots of groups in Kathmandu, lots of groups in Patan, Bhaktipur but you are always interested about only Bhaktipur and Dafa. Well, in another life of course to investigate Dafa more widely and indeed I hope to do so one day but one has to draw a line somewhere to maintain focus and to get more deeply into the subject so yes there are of course Dafa traditions and many other Nehwar music traditions in Kathmandu and Lollipur and in villages around about from what I've seen often they are all fascinating equally fascinating as they to the Bhaktipur traditions but until recently when Gatwagna counted them back in the 1980s there was something like 70 different Dafa groups just in Bhaktipur alone so it is a very rich and diverse aspect of musical culture. Thank you. So I think it's time we should wrap up thank you very much to the panelists to Amina for introducing us to Anna and Shashi and to our technical support team in the background who didn't appear in front of the camera but we're very grateful for their support and reassurance and of course to everyone who helped us with the project which is ongoing and we hope to do more in the future so I have put links to the films in the chat I hope you've been able to see those and I'll just put my email address in there in case anybody wishes to contact me going in now don't hesitate to contact me if you would like to but for now that is the end of the event and thank you all very very much for attending I hope you've enjoyed it thank you thank you and goodbye


There are various communication tools for individual with hearing loss. The simple method is the hearing aid. There are various types, one which can be worn outside and the one which can be worn inside the ear tunnel. So, the second type includes the middle ear implants, which includes the pistons if there is oscular damage and the third part is the bone anchored hearing aid where there will be a titanium screw which can be fitted to the mastoid bone and through the transducer the sound signals will be connected to the cochlea. The fourth part of surgical approach is the cochlear implants, so where the electrodes will be inserted into the cochlea and the sound conduction usually takes place through the help of the transducer. The fifth type is those who have a complete hearing loss, it's only the sign language which helps them to understand.


His Eminence the Archbishop Metropolitan and Primate of all Nigeria, the most reverent Chukudum Dukuba, and his dear wife, Mrs. Angela Dukuba. His Grace, the Bishop of the Badun Dioses, the most reverent Josefa Kinfeiwa, my Lord's Archbishops and Bishops present, priests and deacons of the Anglican Communion, the Chancellor of the Church of Nigeria, Anglican Communion and Abuja Dioses, the Honorable Henry O'Dayn Ajumogobia. Members and participants of this 11th Synod of the Dioses of Abuja, brethren and friends, honored guests, ladies and gentlemen. Let me say how very honored I am to have been invited to another Synod of the Church of Nigeria, Anglican Communion, Abuja Dioses and profoundly grateful to our new Primate, his Eminence the most reverent Henry Chukudum Dukuba, Archbishop Metropolitan, Primate of all Nigeria and Bishop of Abuja. I say our Primate because I am one of your congregants, haven't been born of Anglican parents and raised in the Church. My father until his death served in various lay capacities in the Dioses of Lagos and the Dioses of Remo and my mother remains a committed member of the St. Jude's Church, Abutimeta. Your Eminence I have earnestly looked forward to meeting you personally since your investiture in March. Certainly this Synod would have afforded me that opportunity but the realities of the new normal in the COVID-19 pandemic dictate the maintaining of some form of social distance. It is my firm belief that by the grace of God, very soon, this pandemic will be defeated and I will have the privilege of that personal meeting with you. The selection of the theme of this Synod, building a sure foundation, is certainly divinely inspired. Everything around us has been shaken and has been shaken by the greatest global threat to mankind in a century. We are in the midst of the greatest economic slump in history. Every region of the world is experiencing an unprecedented slowdown in growth. There was a day in April of this year when our precious oil was selling for less than the cost of production. No one was even willing to buy. Suddenly all that we took for granted, from air travel to hugs and even handshakes, have become neither safe nor advisable. Our own economy faces its worst period in history. We are earning 40% less than we should because all prices have fallen and few today can even afford to pay taxes. The sum and substance of what I am saying is that these past few months have shown us that human ingenuity and planning cannot even assure us that we will live to see the next day. Any hopes built on the foundation of human understanding and effort is a shaky and unsure foundation and is bound to fail when the storms and the turbulence come. But there is a sure foundation, one that never fails, one that cannot fail because the cornerstone and the rock on which it stands is the creator of life itself, the one who made all things on earth, beneath the earth and in the heavens, our Lord Jesus Christ. Indeed, scripture reminds us of the futility of trying to lay any other foundation. 1 Corinthians 3 verse 11 reminds us, for no one can lay any foundation other than the one already laid, which is Christ Jesus. That foundation, because it is based on the righteousness of the Son of God and not on our own righteousness or effort, because it is based on His grace, His love for us, because it is given to us as a gift from the owner of life itself, cannot fail us. So in these uncertain times, those who know Him, those who know the Lord Jesus Christ will do great exploits. We will rise above every challenge because we are the righteousness of God in Christ Jesus and His promise to us is contained in the words of the prophet Isaiah. In Isaiah 3 verse 10, where it says, say to the righteous that it shall be well with them.  We will rise from the despair and pain of this pandemic, from the tragedies of insecurity and deprivations of our economic circumstances to a bright new day of abundance, of prosperity and joy in the mighty name of Jesus. Once more I congratulate your eminence, our primate and their lordships, bishops, archbishops and bishops present and all members of the clergy of the Anglican Communion and friends from other denominations on this auspicious occasion of the 11 Synod and I pray that the Almighty God will bless and prosper the church of Nigeria, Anglican Communion and all of you in Jesus' mighty name. Amen.


from Miami Beach, Florida. It's theCUBE. Covering VeeamON 2019, brought to you by Veeam. Welcome back to Miami, everybody. This is theCUBE, the leader in live tech coverage. My name is Dave Vellante. I'm here with my co-host, Peter Burris, two days of wall-to-wall coverage of VeeamON 2019. They selected the Fontainebleau Hotel in hip, swanky Miami. Tad Brockway is here. He's the corporate VP of Azure Storage. Good to see you. Yeah, great to see you. Thanks for having me. You know, it worked for a pretty hip company, Microsoft, Azure is where all the growth is, 70 plus percent growth, and you're doing some cool stuff with storage. So let's get into it. Sure. Let's start with your role and kind of your swim lane, if you will. Sure. So our team is responsible for our storage platform that includes our disk service for IaaS virtual machines, our scale-out storage. We call Azure Blob Storage. We have support for files as well with a product called Azure Files. We support SMB-based files, NFS-based files. We have a partnership with NetApp. We're bringing Azure NetApp files as what we call it. We're bringing NetApp on tap into our data centers, delivering that as a first-party service. We're pretty excited about that. And then a number of other services around those core capabilities. And that's really grown over the last several years. Optionality is really the watchword there, right? Given customers as many options, file, block, object, et cetera. How would you summarize the Azure Storage strategy? Yeah, so, and I like that point, optionality and really flexibility for customers to approach storage in whatever way makes sense. So there may be customers, there are customers who are developing brand new cloud-based apps. Maybe they'll go straight to object storage or Blobs. There are many customers who have data sets and workloads on-prem that are NFS-based and SMB-based. They can bring those assets to our cloud as well. We also have, we're the only vendor in the industry that has a server-side implementation of HDFS. So for analytics workloads, we bring file system semantics for those large-scale HDFS workloads. We bring them into our storage environment so that the customer can do all of the things that are possible with the file system, create hierarchy keys for organizing their data, use ACLs to protect their data assets, and that's a pretty revolutionary thing that we've done. But to your point, though, optionality is the key in being able to do all of those things for all of those different access types, and then being able to do that for multiple economic tiers as well, from hot storage all the way down to our archive storage tier. And, Todd, I sure changed you on your title because you're also responsible for media and edge, right? So that includes Azure Stack, is that right? Right, so we have Azure Stack as well within our area and DataBox and DataBox Edge. Those are, DataBox Edge and Azure Stack are our Edge portfolio platforms so the customers can bring cloud-based applications right into their on-prem environments. Peter, you were making a point this morning about the cloud and its distributed nature. Can you make that point? I'd love to hear Todd's reaction and response. Yes, so, Todd, we've been arguing in our research here at Wikibon SiliconANGLE for quite some time that the common parlance, the common concept of cloud, move everything to the center was wrong. And we've been saying this for probably four or five years. And we believe very strongly that the cloud really is a technology for further distributing data, further distributing computing, so that you can locate data approximate to the activity that it's going to support. But do so in a way that's coherent, comprehensive, and quite frankly, competent. And that's what's been missing in the industry for a long time. So if you look at it that way, tell us a little bit about how that approach or that thinking informs what you're doing with Adger and specifically one of the other challenges how does then data services impact that? So we'll come to that in a second. Great insight, by the way. I agree that the assumption had been that everything is going to move to these large data centers in the cloud. And I think that is happening for sure. But what we're seeing now is that there's a greater understanding of the longer term requirements for compute and that there are a bunch of workloads that need to be in proximity to where the data is being generated and to where it's being acted upon. And there are tons of scenarios here. Manufacturing is an example where we have one of our customers who's using our data box edge product to monitor an assembly line. As parts come out of the assembly line, our data box edge device is used with a camera system attached to it. AI inferencing to detect defects in the assembly line and then stop the assembly line with very low latency where a round trip back to the cloud and back to do all the AI inferencing and then do the command and control to stop the assembly line, that would just be too much round trip time. So in many different verticals, we're seeing this awareness that there are very good reasons to have compute and storage on-prem. And so that's why we're investing in Azure Stack and data box edge in particular. Now you asked, well, how does data factor into that? Because it turns out in a world of IoT and basically an infinite number of devices over time, more and more data is going to be generated. That data needs to be archived somewhere. So that's where public cloud comes in and all the elasticity and the scale economies of cloud. But in terms of processing that data, you need to be able to have a nice, a strong connection between what's going on in the public cloud and then what's going on on-prem. So the killer scenario here is AI, right? Being able to grab data as it's being generated on-prem routed into a product like data box edge. Data box edge is a storage gateway device so you can map your cameras in the use case I mentioned or for other scenarios, you can route the data directly into a file share and NFS, blob or SMB file share, dropping into data box edge. Then data box edge will automatically copy it over to the cloud but allow for local processing to local applications as if it were, in fact it is local, running in a hot SSD and VME tier and the beautiful thing about data box edge, it includes an FPGA device to do AI inference offloading. So this is a very modern device that intersects a whole bunch of things all in one very simple self-contained unit. Then the data flows into the cloud where it can be archived for, you know, permanently in the cloud and then AI models can be updated using the elastic scale of cloud compute. Then those models can be brought back on-prem for enhanced processing over time. So you can sort of see this virtuous cycle happening over time where the edge is getting smarter and smarter and smarter. It's pretty cool stuff. Okay, so that's what you mean kind of, when you talked about the intelligent cloud and the intelligent edge, I was going to ask you, you just kind of explained it. That's right. And you can automate this, use machine intelligence to actually determine where the data should land. That's right. And minimize human involvement. You talked about driving marginal cost of storing your data to zero, which we've always talked about doing that from the standpoint of reducing or even eliminating labor costs through automation. But you've also got some cool projects to reduce the cost of storing a bit. Maybe you could talk about some of those projects a little bit. That's right. And that was mentioned in the keynote this morning. And so our vision is that we want for our customers to be able to keep their artifacts that they store in our cloud platform for thousands of years. And if you think about, you know, sort of the history of humanity, that's not outside the question at all. In fact, wouldn't it be great to have everything that was ever generated by humankind for the thousands of years of modern or human history? We'll be able to do that with technology that we're developing. So we're investing in technology to store data virtually and definitely on glass, as well as even in DNA. And by investing in those advanced types of storage, that is going to allow us to drive that marginal cost down to zero over time. Epigenetic storage systems. I want to come back to this notion of services though and where data is located. So again, from our research, what we see is we see, as you said, data being proximate or being housed, proximate to us created and acted upon. That's right. But that increasingly businesses want the options to be able to replicate that or replicates wrong words. That's a loaded word. To be able to do something similar in some other location if the action is taking place in that location too. That's what Kubernetes is kind of about and serverless computing and some of these other things are about. But it's more than just the data. It's also the data, it's the data services. It's the metadata associated with that. How do you foresee at Microsoft and what role might be in play in this notion of a greater federation of data services that are made, that make possible like a policy driven backup, restore data protection architecture that's really driven by what the business needs and where the action is taking place. Is that something you're seeing in a direction that you see it going? Yeah, absolutely. And so I'll talk conceptually about our strategy in that regard and where we see that going for customers and then maybe we can come back to the Veeam partnership as well because I think this is all connected up. Our approach to storage, our view is that storage should be, you should be able to drop all of your data assets into a single storage system like we talked about that supports all the different protocols that are required can automatically tear from very hot storage all the way down to overtime, glass and DNA. And we do all of that within one storage system and then the movement across those different vertical and horizontal slices that can all be done programmatically or via policy. And so customers can make a choice in the near term about how they drop their data into the cloud but then they have a lot of flexibility to do all kinds of things with it over time. And then with that we layer on the Microsoft whole set of analytics services. So all of our analytics, all of our data and analytics products they layer on top of this disaggregated storage system so that there can be late binding of the type or processing that's used, including AI, to reason over that data relative to where and how and when the data entered into the platform. So that sort of modularity, it really future-proofs the use of data over the long haul, we're really excited about that. And then that those data assets can then be replicated to use your term to other regions around the globe as well using our backbone, right? So the customers can use our network, our network is a customer's network. And then the way that docks into the partnership with Veeam is that just as I mentioned in the keynote this morning, data protection is a use case that is just fundamental to enterprise IT. We can make together with customers and with Veeam, we can make data protection better today using the cloud and with the work that Veeam has done in integrating with O365, the integration from there into Azure Storage. And then over time, customers can start down this path of something that feels sort of mundane and this has been a part of daily life in enterprise IT. And then that becomes an entry point into our broader long-term data strategy in the cloud. So pretty cool. But following up on this, so if we agree that data is not going to be entirely centralized, it's going to be more broadly distributed and that there is a need for a common set of capabilities around data protection, which is a very narrowly defined term today and it's probably going to evolve over the next few years. I agree with that. We think that, and this is what I want to test, we think you're going to have a federated model for data protection that provides for local autonomous data protection activities that is consistent with the needs of those local data assets, but under a common policy-based framework that a company like Veeam's going to be able to provide. What do you think? So first of all, a core principle of ours is that while we're creating these platforms for large data sets to move into Azure, the most important thing is that customers own their own data. So it's kind of this, there's this balance that has to be reached in terms of cloud scale and cloud the federated nature of cloud and these common platforms and ways of approaching data, while simultaneously making sure that customers and users are in charge of their own data assets. So those are the principles that we'll use to guide our innovation moving forward. And then I agree, I think we're going to see a lot of innovation when it comes to taking advantage of cloud scale, cloud flexibility and economics, but then also empowering customers to take advantage of these things, but do it on their terms. I think there's like the future's pretty bright in that regard. And the operative term there is their terms.   You've never sort of run away from it. You never said everything's going to go into the clouds. Right. And that's now evolving to the edge. And so my question is, what are the big gaps? Not necessarily organizationally or process-wise, but from a technology standpoint that the industry, generally in Microsoft specifically, have to fill to make that sort of federated vision a reality. Well, there's, I mean, we're just at the early stages of all this for sure. In fact, as we talked about this morning, the notion of hybrid, which started out with use cases like backup, is rapidly evolving toward a more sort of modern, enduring view. I think in a lot of ways, hybrid was used as this kind of temporary stop along a path to cloud. And back to our earlier discussion, by some I guess, maybe there's a debate you all are having there. But what we're seeing is the emergence of edge as being an enduring location for compute and for data. And that's where the concept of intelligent edge comes in. So the model that I talked about earlier today is hybrid is about extending on-prem data center assets into the cloud, whereas intelligent edge is taking cloud concepts and bringing them back to the edge in an enduring way. So it's pretty neat stuff. And a big part of that is that much of the data, if not most of the data, the vast majority even might stay at the edge permanently and of course you want to run your models up in the cloud. But at least for real time processing, yes. Right, right. You just don't have the time to do the round trip. So, cool. All right, Ted, I'll give you a last word on Azure, direction, your relationship with Veeam, the conference, take your pick. Yeah, well, I thank you. Thanks, thanks. Great to be here. As I mentioned earlier today, the partnership with Veeam and then this conference in particular is great because I really love the idea of solving a very real and urgent problem for customers today and then helping them along that journey to the cloud. So that's one of the things that makes my job a great one. Well, we talk about digital transformation all the time in theCUBE. It's real. It's not just a buzzword. It can't happen without the cloud. But it's not all in the central location. It's extending now to other locations. Your data assets. And where your data wants to live. So, Ted, thanks very much for coming on theCUBE. It's great to have you. Okay, thanks guys. All right, keep it right there. Everybody will be back with our next guest. This is Veeam on 2019 and you're watching theCUBE.


From Hollywood by tape Suspense Tonight marks two auspicious occasions on radio's outstanding theater of thrills Tonight suspense begins its 15th season on the air Tonight suspense welcomes as its producer director the distinguished master of mystery and adventure William and Robeson Ladies and gentlemen, mr. Robeson. Good evening On this first program of our new series We are proud to bring you miss patty McCormick the young star of the Warner Brothers picture the bad seed in a play written Especially for her by Peggy Chandler Other stars will follow her in a succession of chilling tales of suspense next week read Hadley in red cloud Mesa based upon the recent Collier's magazine story where the Warriors crossed Then Charles Dickens immortal story of terror the signal man Starring miss Sarah Churchill. This is the shape of things to come in the weeks to come We invite your apprehensive listening We promise never to relax our efforts to chill your blood and fill your sleeping hours with dreams of horror We shall begin now with patty McCormick in the doll a Play well calculated to keep you in suspense Tomorrow's my birthday But I don't think my father remembers He didn't ask me what I wanted for a present like he always used to Before Paula came to live at our house When people forget your birthday Even if it's your father, I Guess that means they don't like you so much anymore Valerie it's your bedtime just five minutes more Paula daddy may I please When it comes to bedtime Val Paula's the boss, but on special nights. I'm always allowed is this a special night Well sort of tomorrow. That'll be enough stalling. I'm not stalling value mustn't shout at Paula Apologize forget it George the child's tired. I'm not Valerie I'm sorry Paula. I apologize.  Well, let's see. It's not Christmas Eve or the 4th of July Or the first day of school or I know what she's talking about George her birthday. It's tomorrow. Oh Well, I'm sorry, baby. I guess I forgot. Oh, but I've I've had a lot of things on my mind lately things at the office and Valerie don't look at your father that way. He said he was sorry. Oh, it's okay, dad He I guess I'm too big to care about birthdays anymore Well, then I guess you don't want the present I got for you. Oh, you're wonderful. So they tell me see Val your birthday Wasn't forgotten after all Paula remembered Thank you very much Paula. Don't you want to see your present? Not till tomorrow. We never opened presents ahead of time daddy and me Good night Paula. Good night dear. Good night daddy. I I know I don't deserve it But I sure like a kiss. Okay Good night Thanks for remembering darling if you hadn't we'd have had a family crisis on our hands the poor little kid credit My little black book right after the wedding. I listed all dates the forgetting of which would cause crises You're either a witch or a wonder and I don't care to find out which and no pun intended Come on darling. It's our bedtime, too It's not polite to listen when people are having a private conversation So I ran upstairs and crawled into bed quick and pull the covers over my head It took me a long time to fall asleep But I kept thinking about Was that maybe my father would figure out some way to get me his own present by morning? Now it's tomorrow And I've been waiting downstairs an awfully long time. I Always have to wait an awfully long time before they get up on Sundays Good morning, Val. Happy birthday. Here's your present. Thank you and seven kisses for seven years Well, aren't you going to open it all right a beautiful doll and she has real blonde hair see Same as my mother's That's what color her hair was Blonde now baby Let's not talk about that What are you going to name your new doll? Hennie like my mother But Val that makes two teddy bears Three dolls in a jack-in-the-box all named Hennie Wouldn't it be easier to keep them straight if you gave her a different name? How about Patricia? That's a pretty name her names Hennie Well, I guess that settles that Let me have her a minute Valerie. I want to show you her gadget. I don't want it to have a gadget Oh, you'll have fun with this one give Paula the doll Val Now let's see. Oh, here it is right in the middle of her back under her dress Now you just wind the key up like this Does it hurt her? Of course not just remember to wind her up carefully so you won't break the spring Here now listen What is it? It's her heart beating isn't that fun? She's like a real-life person Here Val Holder What happens if if it stops nothing you just wind her up again. Oh Yes, why didn't you wind my mother up again? Well Val It's not quite the same with people as it is with dolls If you wound her up her heart wouldn't have stopped And she wouldn't be dead But but Val did you want her to get dead so you and Paula could get that's enough You can't wind people up again, and that's all there is to it you could if you really wanted to know Val Not even if you wanted to very very much. I don't believe you Well, I don't know about the rest of you, but I'm starving. How about some breakfast? I'm for that. Come on Val. You can help flip the pancakes. I don't want to well I'll call you whenever things ready Val. Come on George I'll take care of you, Henny. I won't ever let you get dead. I promise What's the matter with the hotcakes Val don't you like them? Yes, then why aren't you eating them? I'm not hungry Val that racket makes me nervous. It's not a racket. It's Henny's heart. All right. All right But why don't you put the doll in the other room? Her name's Henny. All right Why don't you take Henny into the living room until we finish breakfast? Because I promised her I'd never leave her alone not ever ever No, this is going to be jolly. I don't care and I'm not going to leave her alone Then I'll hardly stop and then she'll be dead just like that's enough Valerie. I take the doll into the living room. No Very well then go to your room George. What's the point in making a scene now? Let us stay There's a whole pile of hotcakes going begging here Daddy, thank you May I please be excused not until you finished your breakfast? I can't I'm not hungry then go and take that That thing with you took any to my secret place down at the end of the garden with a big cool vines make a little house That's all hidden from everyone No one knows about it except me and now Henny Every time her heart starts to slow down. I wind her up again But very carefully so I won't break the spring about Henny and my mother about Henny and me It's sort of like if she stops I'll stop too Funny to feel this way Scary now here comes Paul and my father Have to be very quiet now, so they won't find out about my secret place Why not wait till tonight? She'll have to go to sleep sooner or later When she wakes up the doll can be just one more ash in the incinerator I'll never let them do that to you Henny never I promise We'll run away and I'll never go to sleep. We'll run away and hide in the woods He's scared Henny. He's just fishing you won't hurt us. I don't think he will I said who's there? He was just out for a walk and you decided to come around to scare all the fish, you know I didn't mean to What's making that noise? Henny, it's her heart.  I don't know. Well, I like funny kids. I was one myself Big ears, pigeon toes, freckles, you know the words. I have braces on my teeth, too. See That's mighty important looking. Do you really think so? You bet. I Never thought of them as being important Can we watch your fish sure if you're quiet, okay? sleepy A little bit I guess Why don't you stretch out there and catch 40 wings? Oh, I couldn't do that or not Well, I told you I have to keep any wound up. I'll tell you what I'll take care of her while you were asleep Well, it would be good to take a nap. I've got a hard day ahead of me, but you go ahead I'll watch her on her bright on her bright All right See the keys right here in the middle of her back and you have to be sure to wind her up before she stops And you have to do it very carefully so as not to break the spring There's an awful lot of instructions, but I think I can manage Thank you. Thank you very much. This is nice soft grass. It feels good the fish Go to sleep.  I bet it weighs five pounds easy You broke your promise. What's the matter? She almost died and you said on her bright. Gee. I'm sorry. I didn't think she'd run down so soon I got this bike here where to go. I didn't know any place that would be safe for Henny and me Where I could keep her from dying So I just held her and kept winding her up and walking around for an awfully long time And now it's starting to rain And that makes everything worse because when it rains at thunders and lightnings Wouldn't be so bad to be home in bed with Henny and pull all the covers up over our heads And I wish I'd eaten breakfast because now I wouldn't be so hungry Maybe I can get some popcorn from that popcorn man Want some popcorn Henny thing is I don't like his mom He looks kind of mean Jumps around so quick How much does it cost I only have a nickel But we're awfully hungry So it costs 10 cents a bag to pop corn can I buy a half a bag? Yeah, what kind of noise is that? It's my doll's heart. Her name's Henny. What's your monkey's name? He got no name Doesn't he get lonely without a name?  He'll help me. He's my best friend after run away with Henny This is Henny like my mother You could take care of her when I go to sleep then you could go to sleep and I'd watch her It would be like playing house And then she'll never die Please please from our house Did I guess they're all looking for you with sirens and badges and everything, but I didn't do anything wrong Chris Why did he have to call the police? I don't know I have to go now there. Oh, no Chris Please no your father told me you're missing and all about how you looked and what you're wearing What do they do to us if they catch us? Will they send us to jail? Will they Chris? No, they'll just make it go home. That's all but I can't go home They'll put Henny in the incinerator Paula said so I'm not she's Henny and if she dies something will happen to me I know it.  No, not unless they make me Garage and put on Chris's clothes and fixed Henny up in the box as fast as I could then we started running away Wasn't raining anymore, but it was getting pretty dark. I was scared and all of a sudden I bumped right into somebody It was a policeman. What's the big idea? Well, I'm very sorry about bumping into you Look where you're going. I know I'm sorry Shouldn't you be home having your supper? Well, no, I mean what's your name? Henrietta Henrietta, what? Christopher Henrietta Christopher. It's pretty name. Thank you. What have you got in that box? Well, see that's why I'm not supposed to be home having my supper Because there's a picnic luncheon here, and I'm taking it over to my friend's house, and we're going to eat it there How about a sample? Oh, I don't think you'd care for it. It's just plain old peanut butter and mayonnaise sandwiches On whole wheat bread. You must have an awful lot of them in there Pretty big box. Oh my friend and I we just love them. Hmm. We're running along now. Have you saved the ball? Doctor and doctor and I didn't know where to go or what to do I couldn't keep walking around because maybe the next policeman might look into the box and see Henny And it was very hard finding hiding places to stop and wind her up I had to go someplace that somebody in the whole world didn't know about except me Then I could sit down and hold Henny in my lap and take care of her and we'd be together forever and ever So I decided my secret place down at the end of the garden would be the best place That's where we are now just hanging me alone The light in my father's room just went out It's awfully dark because there isn't even any moonlight and all the noises of the night sound funny and close Not like when you're asleep in bed And you can hear the clock on the dresser ticking ticking You're up just as fast as I can Henny dear. They know be alive again. I broke your heart, Henny Oh, I didn't mean to Please oh, please don't stay dead.  I'm afraid it is a heart attack a Fatal one doctor. It's too soon to tell Well, of course doctor We've had to be prepared for something like this knowing that she inherited the condition from her mother. Yes, of course the doll brought it on What do you mean surely you must realize it was an ill-chosen gift It never occurred to me doctor. It didn't George really it didn't I Had no idea it was just a silly little doll with a gadget a different gadget from most doll George starred in the doll by Peggy Chandler listen Listen again next week when we return with another play well-calculated to keep you in Suspense suspense is produced directed and taped in Hollywood by William and Robeson The special score for tonight's play was composed and conducted by Lynn Murray Featured in the cast were Richard Beals, Mary Jane Croft, Shepard Menken, Dick LeGrand and Louis Van Rooton Brought to you by radio classics.com all copyrights are the property of their respective owners


Hi, before we start the tutorial on the Prisma 20 Transflow Diagram app, I just want to quickly introduce myself. My name's Chris Prachard, I'm a Senior Lecturer in Paramedic Practice and Emergency Care at Nottingham Trent University and I'm also the maintainer of the Prisma 20 Flow Diagram app and I got involved with it just because I saw that there were some bugs that needed addressing and I was in a position to address them and I did and here I am now maintaining the package so I guess what I wanted to say with that is you know the evidence synthesis community is a really welcoming one and if you do see a package then you think oh you know what actually there's something that I want from that or there is a bug that needs fixing and you're in a position where you can help with that just do it submit a pull request and who knows you know it could well be that you've addressed some issues that have been outstanding for a while and so absolutely really hope you enjoy our package and hope you find this tutorial useful and yeah just remember to kind of get stuck in with the community thank you hello welcome to this tutorial on the Prisma Flow Diagram app which we hope is very useful for you in making those flow diagrams saving you fiddling around with word processes and all of that stuff so I was going to talk through the website first and the web app version and then after that go into a little bit more detail into using the template file to change specific aspects of the flow diagram and also how you can use the R package so to start with we'll talk about the website so all you need to do is visit the hosted shiny app or you can you know host it yourself from the shiny app directly from the R console it's entirely up to you how you do this but the hosted version is available and it's used by thousands of people so it's kind of stood the test of repeated access and high volume use and so the first thing you notice on the shiny app is it takes you to the main home screen so it's quite simple to get started click create flow down R of or read the instructions below for more information so we'll talk a bit about the stuff that's below and how to use the template csv file a bit later but for now it's as simple as just going into create flow diagram and you can see you've got a flow diagram and all you need to do is choose your options so do you want to include previous studies if a previous review has been done and you're including those studies in your and your review or not you know and it just changes the changes to flow diagram for you and the other thing is study searches where you've searched for studies through websites organizations citation searching etc these you will turn that on or off depending on whether you've done that and again it just makes a section of the personal diagram available or not and the other option and this is new over the last sort of year or so is the ability to report on and include individual databases and registers so all you do to turn that on is change that to included and you'll see the relevant option appears there and then it is just filling the numbers and if there is however something that you didn't do so you didn't actually search registers even if you should have done you can just delete that zero from the box and it will not show up on your flow diagram so if you've got anything that you specifically didn't want to show up you can just delete the number from the box and then it's as simple you change the number and the flow diagram changes now the other thing with the specific database results is it's again as simple you just you can see here this this text here we changed text database one to say Sinal and say we found five results from Sinal it is just as easy as as that so you've got your database name a comma the space and then number and then the semicolon separate records and you can actually put as many of these as you want in so if I were to you can see the flow diagram itself grows as you add more databases in so really this is really handy and again you can also go down to just just the one so so that's that's really useful and again just not including and it goes and included and it comes back and the and then it is just filling the numbers with the the numbers that you've got and it should automatically generate in terms of excluded reports and any box really where there's reasons it's again the reason and then a comma then the number then a semicolon and that's all you need to do that's as simple as it is and that will generate you a nice straightforward flow diagram in English for you to use in your paper which way more simple than fapping around with text boxes and stuff and you can download the image in any format you want amongst these choices we've got PDFs, PNGs, SVTs and also you can actually generate an interactive HTML file and so this is a standalone HTML file which contains all the resources bundled with it and this one is a zip file containing an HTML file and and the relevant assets now is entirely up to you which of those you choose if you if you are going to use if you are going to use one and we'll talk about the interactive HTML function a bit later but if you want to find out more about that you can read our paper the Prisma 2020 our package and shiny app for producing Prisma 2020 compliant flow diagrams with interactivity for optimized digital transparency and open synthesis and you can read that in Campbell systematic reviews the other thing is please do please remember to reference us when you when you do use our app so all you do you can see the reference comes up when you download a copy of the flow diagram so it's fine if you want to do your very straightforward flow diagrams you can also click button to reset back to the default if you've made any mistakes or don't know where to start so you've deleted a box or something but the next thing we're going to talk about is a bit more about the the template csv file because that allows for a bit more customization so we've got the template csv file here you just download it straight off the shiny app and you can see here we've actually got things that say box test box text and tool text and so these can actually be customized by by you to say previous studies so I wanted that title box to say old reviews I can save that in there choose my csv file and if you look here now you can see that I've actually changed the title of the box so if you're doing a review in a language other than English you can use that csv file to actually alter the text of the of the relevant parts of your of your reviews that's really useful with in order to generate as I said flow diagrams in languages other than English it's the same as on the web app you put your numbers in the column labeled n so that's as simple as possible and again it's comma it's the name of the database comma space and then the number with semicolon so that's all there is to filling in your own numbers there and you'll see this box labeled URL and so what that means is that when if we generate an interactive html version of the app so there's a flow chart as you saw there was that option on the on the website to download them and this is basically the URL the link to the html page that that's going to link to so that means that what you can have is a flow diagram that if we download an interactive html version actually links different bits will link to an html file called the the title that you've put in the URL box which is really handy if you wanted to if you wanted to kind of link across into more information so I'll just quickly show you an example of that so if we have a look here you can see that we've got the flow diagram here and if I click on this here you can see that that's then taken as to another page with some more information about the about the search results so you can use that really to be extremely novel in your way of reporting so you can even have links so here what we've done is in and information and use studies for database and registers have actually reported our search strategies on that page so you can you can really make that as interactive as you want in order to in order to kind of make your flow diagram a key part of your reporting particularly if you're using a sort of non-traditional format of reporting so you saw that we had a demonstration website which it could be a really accessible way of reporting your review to lay audiences whilst also making sure that you have the rigour in your reporting available for those who want it so that was just a quick overview really of the website version of the Prisma Flow Diagram app I hope you found it really helpful the next thing I was going to talk about was the R package so you can also use the Prisma Flow Diagram app in your in your R project so I'm using Visual Studio Code instead of R Studio but that's just personal preference and so it's pretty straightforward to use so basically you read in this CSV file using read.csv so make sure you're in the correct directory and then read in the CSV file so I use read.csv and that goes there and then you need to so after you've installed the package which is available from CRAN you can use the Prisma Data function to import the CSV file basically into your into your project so Prisma Data CSV so you do that and then data contains the CSV file basically formatted in such a way that the the the next function that we're going to use we'll use it so you just read in the template CSV so you can see that here and what that's going to do is actually generate the flow diagram so that's the Prisma Flow Diagram function that you can see here so again if I just go okay so you can see that there's actually quite a few options available so many of which have defaults so interactive the default is false but if you set it true or generate one of those interactive HTML files for you previous other that's those options to show previous or other versions of the study detailed database detail registers again showing the detail of those extra things so let's make detailed databases is actually going to be true now and you can customize the font size and font you can change the color of any boxes that you want as well and you can also remove the side boxes you know the these blue boxes again if you would like so that's that so if I run that see that and then if I open the if I open flow you can see that I've actually created a flow diagram and it's used the data that's on my sorry it's a bit small you can't really see it because it's open and visual studio code but it's actually used the data that we we were looking at earlier with my Prisma CSV and then the next function that you might want to to look at is the Prisma save function so pretty much that will allow you to save a flow diagram so you need to add a plot object so plot obj is actually the flow diagram that we've just created and then it defaults to saving it as an HTML file however we can call it whatever we want um so I wanted to call it um what it will do is it will pick up the extension of your file name and um smartly um select the appropriate output function uh output type um from that file name so flow dot png if I run that um you will be able to see that um takes a little while to save it um you'll be able to see that it's creating an output file it's it's actually output the name of that file um and then if I just open that you can see that I've I've created a png file um and I can do the same with a um an svg so or so again takes a little while to to save um and this is all that the website's doing behind the scenes um the shiny app is just running these these commands with with with this package um so again um we've got an svg and a pdf so let's look at the svg if I just open that we've got the svg um and pdf um I would say that your svg is probably the the best option um because it zooms in it's a vector format um much like pdf but probably more um widely supported by like web browsers and stuff um and then you can also output your interactive html and save that as well so I hope that was helpful for you all um you know as I said um it's a useful way of generating these picture flow diagrams um and uh improving the um standard of your paper very easily without having to fiddle around with Microsoft Word and uh text box positioning and stuff um hopefully you found it really easy to use and the other thing I just wanted to to show you um on the website actually um while I remember was um we've now got the ability to actually import results um put results directly into the um the website so all you do is um the columns on the csv and so the uh data column has um as you can see some specific arguments there some some titles all you do is you append those titles with the equal and the thing any numeric ones so I can't not the specific databases or specific registers where you've got to do um commas and semicodons but any any numbers you can just import directly and you can see here that websites and organizations have now been prefilled there um and um if you've used rayanne I don't know um if you have um but this was contributed uh back into our um our code base by by them um because they've implemented it um in their um in in their sort of um web app um so the online version of their web app actually has a flow diagram built in um and you can can launch our app straight from um straight from there and it will pull across your results so um again really handy um and a big thanks to them for for contributing that back to us um because it's um it's a very useful feature to enable you to integrate the app um directly into your own um your own tools so thank you very much and um I hope you enjoy the rest of the conference