Good afternoon! On behalf of all my wonderful Barnes colleagues, I want to welcome you to this virtual member talk and thank you so much for joining us today. We are incredibly grateful to all of our members for the critical support that you provide to the Barnes. I also want to thank the members of the 1922 Barnes Legacy Society who have made a commitment to the institution's future by including the Barnes and their estate plans. Before we get started, I want to invite you to participate in today's talk in the chat. I'll be in the chat with you. We'll have some time for Q&A at the end. Thank you to everyone sort of saying hello as we kick off here and feel free to post your questions throughout so we'll take a look. We'll get them queued up and ready to go. Our speaker today, Michael Williamson, is a member of the Barnes art team and he has been a teacher of studio art and survey art history at Germantown front school. He completed his BA at Yale University, received an MFA in painting at Bard College. When not at the Barnes Foundation, Michael pursues his painting art practice and exhibits work in the Delaware Valley area. So without further ado, I will turn you over to Michael. Okay. Good afternoon. I'm going to start with a quote and the quote is one that I find that is really interesting and it creates a sense of sort of wonder and magic and it's a quote from a title from a Paul Gaugat painting. Where do we come from? What are we? Where are we going? And I think that this really underscores like sort of the power of art and the power of stories to tell us about sort of lives long ago or even currently. So my talk today is entitled the ballet door in context and I wanted to give sort of a larger understanding of the door sort of beyond the aesthetic qualities that obviously are incredibly important. I'm going to also toggle between reading a little bit and then sort of speaking more extemporaneously. It's my goal in this discussion to examine the door, the ballet door in the collection of the Barnes Foundation, not only as an aesthetic object but also as an expression of the cultural and spiritual life of the ballet people of West Africa. The door had great significance to Dr. Barnes as an object of aesthetic beauty and as an object imbued with power and mystery. In his writings from the 1920s, when he first acquired the bulk of his African sculpture from the French dealer Paul Guillaume, he envisioned ancient Negro sculpture as a vital sort of cultural currency for the American new Negro to claim pride of place alongside equal in artistry to the art of Europe. The idea of equality among the races, political, artistic, and cultural context in 1920s America was a stance that Dr. Barnes boldly staked his reputation on as a collector and as a largely self-taught art scholar. He engaged the great African American minds of the day to join him in extolling the value of what he called ancient Negro sculpture. Land Locke, who was also a Central High School graduate, as was Dr. Barnes, Locke went on to graduate from Harvard University. He was a Rhodes scholar and the writer of a manifesto called The Legacy of Ancestral Hearts. Dr. Barnes also enlisted Charles Johnson, who went on to become the first black president of the historically black Fisk University, and then Arthur Fawcett, another Central High School graduate. He was a revered public school teacher, a folklorist, and anthropologist. So, Barnes was really intending, a quote he hear is, to try to have the best private collection of Negro sculpture in the world. Dr. Barnes saw in ancient Negro sculpture old form, syncopated rhythms, and uniting harmonies that he felt were also intrinsic to the American Negro spirituals he loved and he learned of when he was about eight years old. Often during the early years of the Barnes Foundation, Dr. Barnes would host musical recitals of Negro spirituals in the main gallery. Now, in close reading of Dr. Barnes writing from the 1920s, regarding African sculpture, we see both his revolutionary vision and the limitations of his somewhat romanticized view of African art. Both Dr. Barnes and Paul Guillaume placed most of the African sculpture in the collection with the dates that range from before the 10th century through the 15th century. We now know much of the sculpture dates from the late 19th century and early 20th century. In fact, it's really contemporaneous with the development of sort of post-impressionism in the early moderns. On the May 1926 cover of Opportunity Journal of Negro Life, the ballet door has the grandiose title, Temple Door of the 16th Century. In African art in the Barnes Foundation, Susan Mullen Vogel describes it simply as a door for an inner room. What I've come to discern is to see this door as typical of a greenery door, as I've been looking at other types of doors and what their functions are. What Dr. Barnes seemed to intuitively understand, however, was the aesthetic power of the work, its spiritual depth, and the legacy of all world cultures to create meaning and beauty reflecting their worldview. He also deeply valued the voices of African American scholars of his day, urging them to tell the story of African art. So it's essential to me to grasp the scale of the continent of Africa as this helps us understand the variety and the range of material objects created by the African people. The socio-political effect of colonialism on the continent cannot be ignored. West African indigenous groups whose lands were reconstituted in colonial times, lumped together groups in ways that merged traditions, experiences, and cultures. Groups living by the Atlantic shore or the grassland savanna or the interior forests have different materials available. Most objects are made of wood. The traditions of carving or weaving are handed down generation to generation. Wood and rafia rot, but to the tradition of making and creating go on. The ballet people are descended from the Akan people and you can see sort of on the map on the left, little circle, red circle where it says cout de voire, that's Ivory Coast. They traditionally lived in family compounds with a head chief, the oldest being the oldest son, a revered leader, and then his wife were wives and then other brothers and their wives and lived in the compound and there'd be a sort of a low wall surrounding that compound. There would be a collective granary that holds the wealth, the health, and the spiritual continuity of the community and that major sort of granary would be sort of in the sort of next to the head chief and it's likely that our door is a granary door. The core food crops for the ballet are sorghum and sweet potatoes. They also have chickens and they have other things and sweet potatoes are pretty much a sort of cash crop and they can use that for trade and sorghum is the core and sorghum when it's threshed is like sand and it pours like sand or like water and when it's threshed, when it's unthreshed, you can cook it easily. It's kind of like a hominy grits and it can be as fluid and sand when it's stored and the granaries are said to resemble the bellies of pregnant women. So the examples that I have here of the granaries are reconstructions of granaries. Now people would probably use brick, cinderblock and have corrugated roof but this is kind of a traditional look of a village and that the work of building the granaries is shared between men and women and it's also very gendered. So the men tend to do sort of a gathering of the wood, the cutting of the wood and this creating of a structured wood and then women will dig to get clay and they'll add cow dung and straw and they will do sort of a clay work so it's kind of divided along gender lines. Of course here all of these are reproductions of people building granaries and so here is a woman who is creating a large granary. You can look at the granary almost as if it's like a coil pot made out of terracotta and it's just very very large and you can see that she's taking sort of roughly made blocks and putting them together on top of a base that has that has mud brick on the bottom and then you can see this close up where you can see the idea of using cow dung and clay and straw may seem unusual. I've done this in South Africa and in Botswana. The cow dung is very dry and it doesn't smell at all. You can use your bare hands to create this and you can see in this picture again a reconstruction is that they're placing a door within sort of the walled structure of a granary and in this case the wood looks like it comes from Home Depot. There's a lock that you could buy at Lowe's and there are metal hinges but again this is a reproduction but you can see sort of how it fits together and this is a more traditional granary and you can see in the granary to the left the carved door so this is why I've come to the conclusion that this is a granary door. It could have been a door for the walled entrance into the compound but it's a little small for that. It could be the door for the chief's house but again it would be pretty narrow for people to try to get through so it seems as if the granary door is the likely thing that it is. So once the granary is built people would use the blood of a sacrificial chicken and anoint the interior and the idea is to ward off evil spirit. In fact the door itself is less a functional door to stop people from going in but it's more a boundary door to ward off evil spirits to ward off curious children and I think we should think about the sort of the actual function of the door because it's a boundary and the boundary exists between those who possess knowledge about what's inside and those who don't. There are boundaries that we experience in all kinds of aspects of our lives, spatial, social and spiritual. The spatial in terms of seating and houses of faith based on gender there might be a rude screen that separates the congregation from the high altar, in the synagogue, the Bhima, the Ark they hold and protect the Torah and then socially there's the red carpet, there's velvet rope. We should look at these doors as boundaries. They're also spiritual and I would like us to think maybe about the door being less of an art object and more of a reliquary, an object that is used in very powerful symbolic ways and perhaps also in rituals. When I was looking at the description and the building of works using a mud brick and wood I was thinking about well in other cultures this happens as well so this is just a little sort of a side example of a sort of Tudor building. It's timber framed with waddle and dob waddle and is the wooden part which is usually made of willow and it's kind of woven together. It fits within the framework of the building and then of course then clay is placed in that. You can see that the structure especially on the right you can see how it's been sort of stuccoed with a mud and then of course it's got a thatched roof and if the thatched roof extends beyond the walls and a little bit beyond the foundation then that will protect the building in the rain and we know that Tudor buildings can last for a long time as would a granary in Côte d'Ivoire. I had the experience of traveling many years ago to South Africa and to Botswana and to actually build some houses in Botswana so these came from my sketchbook so I thought I would share them with you because although Botswana and South Africa are thousands and thousands of miles away from West Africa the building technique in Botswana is almost identical. The buildings they are around in their cauldron dobbles and now they're made mostly of sort of cinder block. So all that to say we're getting to the ballet door that is part of the barn's collection so I wanted to frame it in the context of how it would have functioned in a ballet community. Our door commands pride of place on the second floor hallway opposite Matisse's Bonaire de Viva or Joy of Life. It was acquired in 1922-1923 from the French dealer Paul Guillaume. There's a picture of Paul Guillaume at his desk there along with a number of other African works. These were originally the spoils of colonial conquest. They were purchased, freely given, stolen, bought for a pittance. We don't really know. Côte d'Ivoire after it was the French left in the late 19th century, it was left in the care of merchants, of resident merchants. In 1883 it was a protectorate, a colony in 1893, a territory of France in 1904 and independent in 1960. So the whole history of Côte d'Ivoire and the acquisition of objects is a very curious one, a very interesting one. Now Paul Guillaume is quite the character. He came from very humble beginnings. His father had been a tax collector in Paris and Paul Guillaume began his career as a clerk in an auto garage and the African sculpture was from Côte d'Ivoire, arrived in crates of rubber for rubber tires. So of course there was a sort of rubber trade and Paul Guillaume liked what he saw and he placed these works in the window of the shop. Artists such as Picasso, Andre Duran, Georges Braque, Maurice de Blemink, and Henri Matisse saw these and when Guillaume saw the interest that early moderns had in African sculpture, he opened his own gallery, he displayed the African works along with the works of the early moderns and that was the beginning of his career as a gallerist. And as we know, the Barnes Foundation collection was largely, the African art collection was largely purchased from Paul Guillaume. So our door, our door is carved in a bar relief and bar relief is simply sort of about a quarter of an inch deep, no deeper than about a quarter an inch. And on one side on the lower half is curiously rendered crocodile. It's seen from sort of an aerial view and that's typical of the presentation of the crocodile. The crocodile is bilaterally symmetrical and it slightly is sort of tilted to the right. Simultaneously, I think we could see the crocodiles as two crocodiles back to back in profile. The idea of a profile, the crocodile, stylistically for the ballet people is really unusual. I think this is one of the things that really got Dr. Barnes interested in this, that this is a very unusual presentation of the imagers. I find that the door itself is, and the sort of presentation of a crocodile is boldly and confidently ambiguous. And I think that is something that is really intriguing visually about the door. The body shows rows of triangular scales. The tails are long and curved and have in sized lines infilled with white kaolin. Kaolin is a kind of white clay. It can be used as a marker for your body as well as a coloring for a wooden door. And the red comes from red iron oxide that could have easily been dug and found locally. On the upper half above the crocodile is a mask. And this particular mask is typical of the ballet people. The image appears to be a female figure with braided hair, with antelope horns, a narrow chin, and a small mouth. Noting that under that small mouth is a little bit of a hole, and we're going to see that hole on the other side as well. We've seen other masks and a statuary of a similar form. And these were known as spirit wives. The idea that a man would have sort of one woman who would have been his kind of spiritual sort of partner in life, and he would often sort of carve the image of the spirit wife as sculpture. It would be hidden in his home only to be shown or taken out very rarely. So we see examples of these three-dimensional objects, and here it's carved into the surface. Often these spirit wives were an homage to a really powerful woman or a mother. They were carved by men to honor a woman for her wisdom, for her beauty, and her dance skills. Now above that we see the bird figures perched on top, and they can have a range of meaning. Clairvoyance, love, fertility, power, danger, discipline, prudence, and laughter. The combination of symbols, or what art historians call iconography, is obscured to us. It's symbolic to the maker and the recipient of the door. Generally, again, the granary doors were there to ward off evil spirits and curious children. The surface of the wooden doors bi-colored. It's deep red, rent iron oxide, white from kaolin. And as I said before, both of these kinds of colorings are also used as facial decorations for rituals. The reverse side is also a bar relief in a kind of checkerboard in, again, white kaolin and red iron oxide. The hole that we saw under the chin of the mask on the opposite reverse side sits nearly center of the checkerboard pattern. It's placed within a kind of covered square, like a square within a square, within a square. And this hole would have had a handle fashioned from hide or from rope or raffia that had been woven. To our sensibility, it might seem as if this hole is distracting in terms of from the overall aesthetic of this side. But we also need to remember that the creator of the door was not making art. It was made to conceal and reveal, to conceal and safeguard the grain within to reveal the powerful crocodile symbol. The meaning of the design is open for interpretation. Often the checkerboard pattern with its contrasts of dark and light represent duality. Light and dark, night and day, male and female, opposing forces, good and evil. And the diamond pattern, when it's turned on the side, it almost looks like a harlequin pattern. It references frogs or fertility. So in this door from the museum, we can see that example of sort of fertility. As a greenery door, its function is symbolic of the unity of the family and the jurisdiction of the family compound elder. It's interesting that the barn store features crocodiles and waterfowl. So this kind of brings us to this sort of interpretation of the sort of symbolism and that there are some of the symbols we're just not going to know. But when we see these water symbols, it's fairly apparent that this is probably referencing a kind of creation myth of the ballet people, which I find really fascinating and comes back to the idea of the power of the story, the power of the narrative when we interpret the symbols. So the myth of the ballet people is that their Queen Abla Poku needed to move her people from the area in Ghana to the present day Côte d'Ivoire. And so it was her job to get her people sort of across the Moe River. When they got to the river, the river was so fierce that they weren't able to cross. And so Queen Abla Poku needed to make a sacrifice. And so she sacrificed what was most dear to her, which was her only son.  So the idea that the crocodiles, the birds as water fowl reference water, that there's a foundational notion of water as a threshold. Also the word ballet is actually two words, bow and lay. And ballet means together, it means the sun is dead. So that the very core of the name of the people references that original myth of sacrificing a son so that the people are safe. In this door on the left, you can see that there's sort of a pin lock, which I think is a really fascinating thing. And partly that pin lock is a symbol of the unity of male and female, which seems obviously very appropriate, or a granary door. And to the right of that, you can see a sort of pair of masks, and then between that pair of masks, a tortoise. Now I found this is really interesting that the pairing of two masks together is the double mask represents the marriage of the sun and moon, and it also represents twins, whose birth is always an absolute wonderful and good omen. I found in doing this research that there's one place in the world where there's the highest form of having twins. And the idea is in Nigeria, that Nigeria of all the world has the largest number of twins. So twins are really an important aspect. And Nigeria and Ghana and Côte d'Ivoire share many same sort of traditions and traits. So I'm going to make a little bit of a shift, and that shift is going to sort of move us in a slightly different direction, but I think you'll see why I'm doing this. Because I'm interested in looking at the door in a larger context, and the relationship of African art to European modernism within the Barnes Foundation. And I was curious in doing my research, like who were Dr. Barnes collaborators, how did these people influence Dr. Barnes as a collector and as a thinker? So what I sort of put together is this group of images. So on the upper left is Alan Locke. I mentioned him before. He was a Central Graduate. He went to Harvard, and he was a great writer and a public intellectual. He was really involved in helping to shape this image of the new Negro and the Harlem Renaissance. So Dr. Barnes really wanted to be able to have Alan Locke tell the story of ancient Negro art as a way to support the new movement of Harlem Renaissance. In the picture next to that, there's Violet Demesia and with a friend, George O'Keefe, and they are standing looking in the main gallery at Cezanne's card players. And then next to them is a photograph of George Santayana, who was a philosopher and who also just studied at Harvard and was very influential in Dr. Barnes structuring his approach to education. And then, of course, John Dewey, on the far right, is a very important, again, personal help Dr. Barnes shape his philosophy around education and around talking about art. And then, of course, at the bottom, a little detail of a painting by Picasso, D'Avignon, and then next to that, our painting by Matisse, Bonaire de Viva. Bonaire de Viva was completed in about 1905, 1906. And then Picasso sees that in the apartment of Leo and Gertrude Stein. And a year later, he paints D'Avignon. Both artists vary influence by looking at African sculpture, things that were outside of the tradition of Europe. And then, of course, Paul Guillaume, which I've shown you before. And the last photograph is of a horseman bond, who was the president of Lincoln University. And he is presenting Albert Einstein with an honorary degree. So these are just some of the people and some of the influences on Dr. Barnes as he's developing his idea around the collection and the primacy of African art within the collection. So here we have the exterior of the original building of the Barnes Foundation, designed by Paul Philippe Cray. And then within the entry area, the entry portico, Dr. Barnes did something that was just really extraordinary, starting really in 1925, when the Barnes Foundation opens, is the entrance is framed by African art from the collection. So in this particular instance, he's got the Ballet d'Or imagery interpreted in Enfield tile polychrome clay. So I've got my colleague, Kedra, there, looking there. And then you can see in the center, the original signage for the Barnes Foundation, established 1922 on the gates outside of the Barnes Foundation latches lane. And you can see that Barnes was interested in having the Ballet d'Or really as the first sort of branding for the Barnes Foundation. So how do the contemporary architects, Billy Shed and Todd Williams, take the Parkway building and frame that within the context of African art? They do this in a particularly, I believe, interesting and subtle way. They have a quote from them, which says that they wanted to wrap the building in a cloth of stone. So here we have a photograph of Ghanaian men making kente cloth. So these are looms that can make actually very, very long strips of cloth. They're about six inches wide and sort of unlimited lengths. And they would have had traditionally carved eddles and parts. But now you can see a combination of handmade works and then pieces of rubber and plastic to make the kente cloth. The kente cloth can be worn as a sash and single sash. People may have seen these graduation ceremonies, often sort of African American students like to express their solidarity and heritage by wearing it as a sash. Also the kente cloth can be sewn together to make a larger piece of cloth. So the architects tell us that they were inspired by kente cloth, the rhythms of kente cloth. And you can see here the horizontal bands on the exterior of the building of the kente cloth. And then within the larger rectangular spaces, the stone spaces, there are variations on that kind of stone texture. And when you enter into the Annenberg light cord, you'll cross a mosaic on the floor. The mosaic was drawn by Billy Sheehan and then interpreted by a mosaic artist. And it is based on the kente cloth, which is called the Liars cloth, L-I-A-R apostrophe S, liar, as in someone who's not telling the truth. The idea was that the Liars cloth would be worn by the chief in the family compound when he had to make some sort of distinction between who's telling the truth and who's lying. And then of course in the main gallery, when you enter in the original building, the plaster frieze and his interpretation of African sculpture and masks that were within the collection and also real sort of masks that they used. And the architects in the Parkway building chose Cuba cloth as the motif. And even in the light cord in the Florence Knoll seating arrangements, the artists from Senegal made the patterns for the textiles. And then when you're exiting the building, you'll see sort of a large bronze wall and it's etched with the image from the ballet door. So the architects used subtle textile patterns as well as the original ballet door image as they tried to make the image modern. The word that continues to resurface for me and assessing Barnes as a collector and his particular attachment to the ballet door is prescient. The idea of having or showing knowledge of events before they take place. He was one of the first collectors in America to pair African art with the early moderns. He disliked the notion that African art, Native American art and material culture from non-Western cultures were relegated to ethnographic museums. He chose as his brand the ballet door at the inception of the foundation. I think that's pretty extraordinary. When Dr. Barnes made his second trip in 1912 to Paris and he met Leo and Gertrude Stein, he saw an extraordinary painting in their apartments and the Matisse's Bonaire de Viva. And he was startled by the painting because of its vivid colors, its crude painting, its being curvilinear ambiguous forms. But he was simultaneously attracted and sort of repulsed by the painting. But he also recognized its position in art history. The image clearly rumated in his head for years and then in 1923 he was able to purchase that painting. So my argument is the painting didn't change. Dr. Barnes was transformed by it. Barnes championed African American culture and for his time was considered progressive in terms of race and class. He yearned for America to fully accept the new Negro of the Harlem Renaissance as an equal. He established the Barnes Foundation as an educational institution challenging the visual status quo in Philadelphia and I dare say in America. He was extremely confident in the transformational experience of art. By the way on that image of Dr. Barnes on the left at the bottom there's a sort of furry like sort of black and white image and I believe that is Dr. Barnes dog Fidel who traveled with him sort of everywhere. So I love this photograph because Dr. Barnes clearly felt such a passion around the ballet door and about the centrality of African art within the collection of the Barnes. That's it. Thank you. Thank you so much Michael. That was fascinating. Just as you're concluding with that photograph I was thinking how I'm always so struck by the archival photos of Dr. Barnes touching. He's got that grip there. He's got that grip. The other thing about the door that's really interesting is it's so very pristine. I mean it doesn't show the sense of where that you would have an ador to a chief's house or to the family compound. So the granary seems like the logical place for it and also I want to mention that there are pins at the top and the bottom. You can see that they fit into the door stand and those pins would have been made to fit within the clay and dung door walls around the around the granary. So just a little technical thing. Yeah so we got a number of questions throughout the presentation that I've compiled and I tried to sort of mark in my own notes whether you would later address that. So but I just I may not have I may be asking questions that you may repeat a little bit. So one of the questions that we got is did each family within the ballet people have its own granary or were they shared? Oh that's a great question. So let's see I had a diagram of the family compounds. They are there might have been 10 to 15 families living within a family compound. The walls are about four feet high so I mean you can see obviously into the family compound the floor of the compound gets swept every morning so it's nice and neat and they would have had their own granaries. They could they had the option of having their own granaries which would have been smaller and then of course they had the large granary that was the granary for the entire community and that represented the community wealth. So I think I answered that question yeah so there are multiple granaries within one compound. We're just as you're answering that I think I just saw a question pop up on how did they get the grains in and out? Oh there let's see there was a photograph earlier on I don't want to go back to it but there is a ladder and the ladder is made from a piece of wood that is a it's kind of a Y shape it almost looks like a slingshot like a giant slingshot that's what it looks like it could have a Y at the top and then their notches leading that so that you can climb up into it so they I don't know how they got things out but I know how they got through that door. Well great yeah okay so we had a few questions on the colors and I do know this is something you did address so I'll just kind of give you a few of these questions maybe you can just share a little more information on them. We did get a few people asking if they were intentionally different colors which I think you then really spent some time on but some of our members are wondering if the iron oxide was found in nature or is that something they kind of had to make and then also I wonder if you could share a little bit about how you think those colors aged you know are they is that color what you might have expected to see back when it was originally created or do you think there's been a lot of sort of change there? Oh these are great questions um red iron oxide occurs naturally in the ground and so people uh it's it's kind of like digging clay if you go next to a stream that you can look and you'll find some uh deposits of clay that are um they'd have to sort of break them apart and get some of the rocks out but that's useful and it's the same thing with the red iron oxide it's a naturally occurring material they'd have to do anything to it and kaolin also is naturally occurring it's a sort of a white clay it's added to porcelain it's one of the things that used to create porcelain so those would have been all naturally occurring and the question the other part of the question was is this the condition that it was in originally I think that was the the core of the question now this creates a certain kind of problematic idea is that a lot of the art from the latter half of the 19th century that came from West Africa were objects I shouldn't necessarily call them art reliquary that they were cleaned up for the market so some of the things that we see that um are kind of very black and clean and shiny were um were washed and cleaned and buffed and blackened that there had been raffaea which is a kind of um occurs in nature you can use it for weaving that would have been included in in masks especially also there would have been calorie shells that are often attached to masks and those are taken off so we do know that there's a lot of changes in the way that people created works of works of importance in their culture and in fact by the latter half of the 19th century probably the 1880s 1890s people in cote d'voire were actually creating some works for the sort of european trade in in objects in african objects so what we see in terms of their condition is unlikely to have been sort of the original condition in fact many of the objects i'm thinking of sculpture in the rituals would have been sort of anointed with um blood um either human sacrificed blood or probably an animal like a chicken and those things would have been cleaned off if you see original works they will be often caked with blood because they were used over and over again in different rituals interesting well i suppose i must be glad that uh the barn's ballet door is not caked in blood yeah it would be unlikely for the doors to have been used caked in in blood because they didn't do that right right okay understood i say um okay i'm gonna jump back a little bit to the idea of different granaries within compound and ask if different granaries um if those different granaries would have different designs on their doors there should be a uniformity or or would there be different designs oh let's see the doors that i have seen crocodiles uh turtles sometimes a fish again water related and it seems to be water related based on that early sort of creation myth uh with abla puka the um queen yeah so um the range of images but the range of images is relatively narrow hmm i think okay and we did get a question which i think ties in here is asking um were hippos used in the design i know you mentioned that the hippopotamus was a big part of that um sort of founding uh mythology and perhaps we did see some different designs so i think maybe if you could just unpack whether we were looking at were we looking at hippos were we looking at crocodiles uh we were looking at crocodiles turtles um there were some uh men on horseback with um from that this is from a the door from the mat and they didn't know what the symbolism was i just um didn't talk about them uh and they were probably later and they were related to like the colonial history of kutvar apparently in kutvar um the uh people who were living there uh really resisted uh french rule so there was a fair amount of um of sort of warfare back and forth and skirmish issues so uh so you know that this door i don't know um it it's provenance around the the horse horsemen but mostly it's crocodiles fish turtle birds interesting yeah um on that door actually that we just took a look at there were you know the people on horseback and on the upper right there's that long object with two circles is that what you're saying you're not sure what that is and that could be related to colonialism it's sort of okay interesting yeah and it's interesting because um interpreting the symbols is relatively hard to do and um i because people they're they're sort of idiosyncratic based on the maker and the person who was being made for um so i i don't know okay yeah that makes sense um maybe and this this is a question we received what what type of art are the ballet people making now or if if any oh wow that is a great question um they are uh let's see as far as i know i mean some people are making works for the trade so they're making imitations of doors and uh masks and sculpture but they're doing them for the trade they're not doing them for a symbolic reason uh the spirit uh wives or the spirit spouses uh people are still carving and they really don't share those they are hidden away and uh they will take them out for sort of limited ceremonies then i mean they're making art that is informed by the west uh so um you know architecturally you know sort of western influenced uh i don't really have like a great answer for that other than in Nigeria there is an artist who's passed away his name is Twin77 and he did very large figures and animals uh highly decorated and his name comes from he was the seventh twin to survive uh his sort of a live birth so that's how we got the name Twin77 so that's kind of related back to the image of the two spirit wife masks but um i don't know all kinds of work yeah it's a broad a broad question but no i think that's a good that's a great answer very interesting of course once a market has been created you want to fill that market but it doesn't necessarily mean that that's sort of what they're currently interested in how can you tell oh i think this is a really fascinating question how can you tell which reliquaries are authentic versus those made for trade and maybe we can't oh okay uh i am not an expert uh so i don't i don't know and i think people actually really have a hard time with that it's kind of people really have a hard time remember that their wood things don't last a long time so uh they would tend to rot if they were in sort of an area there was lots of moisture so we're not an expert on authentication of african objects um yeah well that makes sense we appreciate your sharing your knowledge with us authentication or not so here's um something i think you did um touch on briefly but maybe we can just spend another moment on it is how would these objects have been procured from the ballet people oh that's interesting so uh at the time as i understand it when paul geome was actually acquiring objects uh cote d'voire was in the hands of these sort of resident merchants so you can imagine like just people going there and buying stuff people go into a village uh and purchase things or trade objects um the ballet people were really interested in sort of western objects so they were pretty much except for the spirit wives happy to trade things um so that was it they also could in sort of ripped out of a village i mean i really don't know um and uh it is um one of the great um dilemmas of the 21st century is how people acquire objects from all different cultures um and how people um bring objects back uh to their sort of rightful owners so i think that exists for african objects as well yeah i think that makes a lot of sense so we have i think you know really we do have other questions that really want to dig into some of the technical things that you covered but um we're coming close to the end of our program and i kind of like uh ending on that ambiguous note you know we can appreciate um our opportunity to take a look at these works but always nice to sort of wonder about their past lives and how they ended up here at the barns but um i really want to thank you so much for taking the time to um to share all of this incredible research and knowledge uh with us here today um this is quite a fascinating presentation um for myself and we've gotten a lot of positive feedback um in the chat as well um anyone listening who wants to hear more from michael you can do that at at the barns um he gives our team talks in the annenberg court so um whenever you are ready to visit i encourage you to um to stop by you'll be able to to hear more from him um as you may know we are open we're excited to welcome you back you can learn more about our safety procedures on the website um we'll post that link in the chat and we ask that you make a reservation to visit in advance our capacity is quite limited um so we can keep everybody uh safe and spread out um in march we will open a new exhibition soutine de kooning conversations in paint which explore the affinities between the work of heim soutine and william de kooning uh this exhibition has been called the season's major art exhibition by the philadelphia inquire and it will be open to members first on march fourth and fifth before it opens to the public on march six we'll also be hosting a virtual curatorial preview on march third so i hope you'll join us online for that you can register for that on our website additional virtual programming continues as well we post a new barns takeout video on our youtube channel every friday and for members we have another exclusive lecture in march with tamer mason another member of our incredible barns our team it's titled soutine rembrandt and hardy so she will be looking at the way uh soutine was influenced by artists that came before a nice tie into the exhibition will kind of consider how um de kooning was inspired in a lot of ways by soutine our winter adult education classes are enrolling now we have a number of semester long courses as well as monthly offerings as a member you get a 10 discount on your registration if you need assistance registering please give us a call at<PHONE_NUMBER> we are so grateful for your interest in and support of the barns we miss you and we look forward to seeing you again hopefully here for the curatorial preview or for our next talk um and please feel free to post additional questions in the chat or reach out to us at members at barnsfoundation.org happy valentine's day and have a great weekend


In this video, we'll be looking at some best practices when uploading videos to YouTube and the actual process of uploading videos to YouTube. So if that sounds like something that is of interest to you, then stick around because this video is for you. Hello and welcome to Take One Tech, my name's Alec. Now a little while ago, I did a whole introductory video to the YouTube Studio interface and went through all the different sort of menus and sections and options that you have available to you within there to give a bit of an overview of how to use it really. So I'll leave a link to that video up in the top corner and also down in the description. And this is sort of a follow on for it from it because what I didn't cover in that video was exactly how you upload a video to YouTube. Now incidentally, I did also do a video on how to set up a live stream to YouTube. So I'll link to that one in the top corner as well and also in the description of course. But let's get on to the actual uploading of a video to YouTube because there are a few sort of best practices that you might want to follow. Now there is a little way that you can get coached on this on an ongoing basis by a little thing called TubeBuddy but I'll talk about that a little bit later because it's something that I use and I find it very useful to just remind me to do all of the things that I'm supposed to be doing. Although I've got a bit of a confession to make. There's a couple of things that I've not really been keeping on top of lately. So I'll touch on that a little bit later as well. But first of all, let me just go straight over to my screen sharing and I can show you, here we are in my page. By the way, my subscriber count is creeping up if you haven't subscribed already. Don't forget to subscribe to the channel and turn on those notifications so that you get notified the moment that I make any new videos. And let's come over to create a video. And by the way, if you are a subscriber and there's anything that you think that I could be doing better, I'm always open to feedback and creative criticism and also suggestions of anything that you'd like to see covered on the channel as well. So I have been known to bump up videos up my list. If somebody have requested specific videos and also just create entirely new videos for people who have asked for them. So feel free to leave your suggestions and comments in the description below as well. So I'm gonna go over to here to the upload video. So I've clicked on the create menu at the top and then upload video. If you watched the streaming one before, then that's where you set up a stream. But we're just going to upload a video. And then once the little window pops up, did I even press that? Clearly not. There we go. I don't know quite what happened there. It took a little bit of time, didn't it? But there you go. So I'm just gonna drag and drop a little test recording that I did onto here to show you the process because it'd be nice and quick to upload as well. So you just drag it on. You don't actually have to wait for it to upload. It will just immediately pop up into this box and it will give it the name of the file as a default, which I call test recording, as you can see down here. So that is the name that it has given it. And full disclosure, if suddenly there's been a bit of a jump on the screen, it's because I inadvertently press my finish button on my stream deck instead of the little zoom button. So I wanted to press, so I have to stitch these two files together afterwards, but never mind. So there you go. You can see the name of the title of the video has been given the same as the title of the file that I uploaded. The description has already pre-populated with some information. Now you can set a sort of default introduction that you want to have included. So I have all of this at the bottom of all my videos. It includes some links to some of the software and programs that I use and a few other sort of useful links and things like that at the bottom as well. So I just have that going in there as a default and I explained how to do that in that other video that I mentioned, which was all about the YouTube interface. And in there I talked about how you can set these sort of presets up from the beginning. So I just normally go into here and then I would just click down a couple of paragraphs, a couple of rows rather lines and then type in my new description for whatever this video was going to be about. Now I'm not going to actually go in and edit this too much in here because I want to show you some of the best practices and I'm basically going to steal them from TubeBuddy because it tells me what to do every time I upload a video. So I think that that is useful. So we'll come in, have a look at that afterwards. So here you've got a place to upload a thumbnail and it's simply a case of dragging the thumbnail and dropping it onto here. If not, then it will, if you don't upload a thumbnail manually, it will just pull out some random frames from the video and you can actually select which frame to use as a thumbnail. Obviously I totally recommend creating a proper custom thumbnail. Here you've got the ability to add it to a playlist as well by clicking the little drop down and then you can just select which playlist you want to add it to. So I suppose I should add this to my YouTube channel Tools playlist and then click done and you can highlight multiple different playlists if you want and then I'll come down here a little bit further and this one is just default. I've set that not made for children and then there's a little show more icon but I'm not actually going to edit this all in here. I want to just sort of click through this and we'll come into the main editing interface afterwards because it's got a bit more information on it there and I'll leave end screens and all of these things as well but we all be able to just obviously do them as you go through them in here as well but I'm just going to get this loaded into the interface first so that I can show you some of these best practices. No copyrights found, fortunately because I use Epidemic Sound. So incidentally, if you are a creator and are looking to use music in your videos then I can highly recommend heading over to Epidemic Sound and the way to get there is to go to takeonetech.io slash epidemic and sign up for a free trial there and that gives you an access to a huge catalog of really high quality music that you can use in your videos and sound effects by the way I'm not too big on the sound effects personally but I know that some people can carry them off. I personally can't so but I do have music obviously at the beginning and the end of my videos and also in my intro and I use it on my live streams and things like that as well. So Epidemic just gives you access to, as I say, a huge library and allows you to whitelist your YouTube channel, your Facebook page, Twitter, Instagram, wherever you want to use it or maybe even on your podcast as well and yet you get access to this library and then you don't have to worry about copyright strikes so you hopefully, when you're on this page in YouTube, you won't ever need to worry about any copyright infringements or anything like that. So I highly, highly recommend that. And by the way, the quality of the music in there is absolutely excellent, proper real musicians rather than just sort of generic stock music. So in here you have the ability to choose whether you want to make it a private video that only you can watch. You can actually share a link by email to people with that but it is essentially private. The next option is unlisted which means that it won't be shown in anybody's feeds, it won't be put into any searches or anything like that on YouTube. However, anybody who does have the link for the video which is by the way here, this video link, anybody who has that link would be able to watch it and they would be able to forward that link onto other people and they could watch it if that is what you wanted. Or the other option is public. There is also the option to set as instant premiere and with the instant premiere it is essentially, the video is plain but it is intended for you to be sort of watching along with it so that you can sort of have it as a premiere and comment and so on with anybody else watching at the time but it's not a live stream as such if you see what I mean. The next option is to schedule and so if you click on that one you can just basically schedule a date when you want it to go live and that would be then public but you can also set it as a premiere at a particular time as well. So I'm going to just come back to this one and I'm just gonna make this a private video for the moment or an unlisted video and then that's be a fairly good example. So if I click on save and then you'll think about it for a moment and save the video and you can see at the bottom by the way the upload status. So it doesn't actually have to have uploaded, the upload doesn't have to have completed for you to complete this process. It will continue to upload in the background. As it happens, it was a pretty short file and the upload has completed. So from here you can copy the link and share that if you want or you can simply just click on here to share it out to any of your social profiles but as you will remember we didn't actually go through the process of setting up all of that information. So I want to come and show you how you can add sort of more complete information than you can add in that first full window some things you will need to actually come back in to adjust potentially. So let me just close that down and then the place where you will find this is in your content. So I'll click in my content section. You will remember this from the first video about the YouTube Studio interface. So this is my little test recording here. So what I'm gonna do is I'm gonna just click on that to go and edit the details and here is where I'm gonna sneakily share with you some of the top tips that I get from TubeBuddy. So just before I go on, what is TubeBuddy? Well TubeBuddy is as you will find out a sort of interface which is or a service rather that is very deeply integrated with YouTube and it allows you to do things like searching for optimized keywords, things like that, assessing your YouTube channel and your videos for the performance that they have and also how well they are set up. If you have been following the best practices and so on it gives you little check marks to make sure that you have done all of the things that you're supposed to do for each video which I'll show you in a moment. And yet it's a really good service. I believe it's $8 a month or $7.99 for the basic level and if you've got less than a thousand subscribers then it's actually half price. So only $4 a month, but for me it is worth the price because it enables me to go through this process of uploading videos and just serves as my little coach and checklist to make sure that I am ticking all these boxes. Although I'll show you, I'm not quite ticking every box at the moment so I need to up my game a little bit there. And it also does have a really advanced keyword search which I've demonstrated on a video I did all about TubeBuddy itself. So I'll leave a link to that video up in the top corner and in the description as well. And so with all of that waffling complete let me get back to my screen sharing. So now here we have got the video details loaded up and you can actually see that TubeBuddy sits up in the top corner here. So we've got a whole set of menu items here but I'm not gonna go through all of these because as I say, I did cover those in another video but what I want to show you is the sort of best practices for actually the video upload itself. And here you can see we've got exactly the same information that we've just looked at the title and so on and what I did was purposely, purposefully didn't do this too well because down here you can see the TubeBuddy integration and it's telling us best practices. So this is the little checklist that you get with the TubeBuddy interface that will help you as you are uploading your videos. And what I'm gonna do is I'm gonna just actually tell you what it's suggesting so that you can learn from this and then if you want to see more of this TubeBuddy goodness then you can go over to takeonetech.io slash TubeBuddy and try it out for yourself. But this is, yeah, best practices as I say for uploading your videos. So here we can see the first one that we have on the list. Down here you can see I've got one of eight completed. So if I click on show completed it will show what I've done. So I've added it to a playlist. So that is one that is a best practice is to sort of be able to organize your videos as you start growing your channel to have more and more then being able to add them to a playlist. And in that other video I did about the YouTube Studio interface I covered all about playlists, how to set them up and how to have them featuring on your channel. So there we go. I've got one little green tick. We're obviously aiming for eight ticks here. But at the moment I've only got one. Now the next thing is the title should be between 20 and 70 characters long. Now if you come up to the top here it does actually tell you the character count and with YouTube the maximum you've got is a hundred characters. So at the moment I'm only using 14 of a hundred characters. So I suppose there is a thinking that obviously if you use the full amount of a hundred characters maybe it takes up a little bit too much space people aren't going to necessarily read it all. And so here they're recommending title between 20 and 70 characters. I tend to always aim for the higher end of that just to be able to get in as much of the information I want to get over about what's included in the video. So I tend to aim for 70 characters to be honest with you and that's just my personal preference. But here you can see that is a sort of best practice to go for. The next one is to add chapters. Now chapter marks is the one thing that I've been a bit lax on really. Well that and also cards. So we'll come into cards in a moment but cards are where I say I'll leave a link up in the top corner and that little bar appears up in the top corner with a link to another video. So but here we're talking about chapters and chapters are the markers that you get on a video along the bottom of the sort of, oops sorry for knocking the microphone, along the sort of bar at the bottom which mark different sections in the video. Now why is this important? Well it's important for a couple of reasons. First of all it is just generally a good navigation aid for people who are watching your videos that they can sort of skip forward to a particular chapter or if they are rewatching a video because you've got such great content in there and they keep going back for more than having those markers in so that they can easily find the section especially when it's things like the sort of things I'm doing which are sort of tutorials, people may want to go back to a specific point to watch them again. And especially so if you're making sort of longer form videos as well. So that's sort of one reason but also for search it is a very important factor in getting found on YouTube and also just in Google and let me just give you an example of this. So I've just done a quick Google search for Stream Deck Profiles. It's something that I did a video about recently and so if you do a search for Stream Deck Profiles in Google, not in YouTube, in Google you will get the usual results so how can I add Stream Deck Profiles, things like this and you'll get some links to some pages but given that Google owns YouTube surprisingly they do feature YouTube quite heavily and in fact it's right at the top here. You'll often see something like this and you may have often wondered as well how does it know where the little snippet of information that I'm looking for is in the video because you can see here we've got a video and it says six key moments in this video relate to profiles, how to create a Stream Deck Profile method one create a new profile in Stream Deck and so on and so on and so on. So here you can see the actual timestamp markers where these particular bits of information are and that's because there is actually two reasons going on here. The first and predominant one though is because the content creator has put in these timestamps these chapter markers. The other way is that Google's getting very clever at not that it ever wasn't but is getting very clever at actually listening to the audio and generating captions or you upload in your own captions and yeah just actually figuring out where in the videos this stuff is being mentioned but chapter markers certainly help and having them there in your descriptions, in your titles, in your headers and also in your chapter markers all add to the search engine optimization of your channel. So let me just show you how easy this is to do in theory. So if I wanted to add chapter markers in here let me just take you two to a video which I have done and I've purposely chosen a long video. This was my longest video to date actually at four hours, 24 minutes long and it was my, I called it the zero to hero tutorial which is a bit of a bold claim I suppose but it was all about how to use Ecum Live which is the software that I'm using to produce this video and it was all about how to basically go from almost a clean install of that all the way through to a fully built out live production environment which is what I'm using here and incidentally it's probably a good time to mention Ecum Live because for the whole month of July in 2021 which is where we are at the moment they have a 30% discount offer. So if you head over to takeonetech.io slash Ecum or Ecum Live either of those will get you there then that will take you over to the site where you can download a free trial and give it a go yourself. If you've heard about OBS, Open Broadcast Software then it's similar to that except far more user friendly and just a much nicer experience. In my humble opinion I've tried them both and I opted for the Ecum Roots myself and as I say it's what I used to do all of the sort of live production of this video and all my videos on the fly in one take. Highly recommend that piece of software but in any case so this was a four and a half hour video and yes I did that in one take. I sat down for four and a half hours and made this video. And so this video that I'm talking about here and so obviously having that broken up by chapter markers was pretty much essential if anyone was gonna watch it and get some value from it and be able to go back to the point where they were if they didn't wanna sit through four and a half hours of me which I doubt anybody really does. But the way that you add in the chapter markers is simply a case of just adding it into the description somewhere. You don't need any special formatting or anything like that. The only thing you need to do is just make sure that you put in timestamps and then the title of that particular chapter. And you always need to start with this zero zero colon zero zero and call that whatever you want. I've called it intro, you can call it whatever but that sort of signifies to YouTube that that is the start of your chapter markers. And then you just simply go down and just put it in this format of minutes and seconds, minutes and seconds all the way down. If you do actually get to long videos like this one of up mine then you just simply add on the hours in front of that as well. All the way down to, well where did we get to?  So there you go. And just add in those titles. And then when you watch your video or somebody else hopefully watches your video they'll see all these little chapter markers on your video. And then when they hover over them they'll get these little snippets of information pop up so that they can see where to go to. And crucially Google and YouTube will be searching these particular titles that you've given them, the chapter titles and taking that into consideration when ranking your video. So it's definitely an important one to do. And this is where I've been a bit lax recently I'm afraid because it does involve for me because I do these videos in one take it does involve me going back and watching them to in order to figure out exactly what the time stamps are for these chapter markers. So imagine that I had to go back and watch my four hour video albeit at double speed to actually pull out these. Now you can obviously as somebody pointed out to me get a VA to do this if you really want to but not everybody is in a position necessarily to want to do that but that is one option. And it's probably one I'm gonna look at relatively soon actually because it doesn't take an awful lot of time for somebody to do and somebody who can probably do it for a hell of a lot cheaper than you could do it yourself if you were sitting down and having to watch all your videos back. Nevermind the mental scarring that you might get from watching your own videos. So in any case that is what that one is. So that is if I need to go back to my other video and that is what chapters are. So definitely a good thing to do if you are wanting more and more people to find your videos which presumably you are if you're putting your stuff out into the world in the first place. The next one, this is a best practice but it's not a huge amount that you can do about it except it says get a like on Facebook.  Make sure you tell your connections on Facebook about it. So I suppose it is best practice because it's just about sharing your videos to other social platforms in the first place but then here it will, TubeBuddy will detect if you have actually got a like on the video on Facebook and it will mark that with a little tick. And incidentally, if you do want to know how to easily cross post your videos from YouTube to social media, I guess what, I did a video about it about how you can automate the process. So I'll leave a video to that up in the top corner as well. Bear in mind, all of these things that I'm telling you that I'm gonna leave a link in the top corner, I have to actually physically go back and do this. So that is part of this process is making sure that I do go back and do these things. And we'll come on to that in a little moment. The next one is adding more tags. So if I scroll down for a moment, a little bit further down, we've got an area here where you can add tags. So let me just say that this one is going to be about YouTube, for example. YouTube content creation, let me call it that. So you just simply type a tag in and press the comma and it will pop in like that. So you'll notice that that is now, it's got a sort of little box around it and a little cross next to it, so you can delete it that way as well. But that is now a tag that you've got. Another one of TubeBuddy's great little features is this window that comes underneath where it will actually suggest a whole load of other tags that it thinks are similar. I've mentioned this before, so I'm not gonna play on the TubeBuddy stuff too much in this video, it's more about the overall best practices, but it is worth a mention and you can sort these tags by relevance, by the keyword score. So TubeBuddy gives keywords a particular score based on a number of different factors. So you can search by that or you can just look at by search traffic, so which keywords are getting searched for most. But as I say, this is a TubeBuddy specific little feature down here. The best practice part that you want to remember if you're not gonna sign up for TubeBuddy is that in the keywords, you have up to 500 characters. So if you are only using a few of those, you're not really giving yourself the best possible chance to get found by keywords. Obviously, you don't wanna put things in there that are not related to your video. That certainly will be harmful rather than helpful. But if you can think of other ways to express what it is that is contained within your video in the content and how people might be searching in order to find your video, then do fill out this with as many as you can think of and ideally up to as close to 500 as you can get because it all helps with the, as I say, the search engine optimization. So the next one is it says add more tags, which we've just looked at, but the next one is add tags to your title. So what you are looking for is everything being a single sort of cohesive message that you're putting out there, bearing in mind that you will have captions that will come under captions in a moment as well on your either ones that you generate or auto-generated. So the YouTube algorithm, if you like, or the mind behind it, will be able to look at the content of your video.  So we certainly don't want any tags, as I say, that aren't related to your video, but also if you have got tags in there, make sure those tags are also featuring in the title because presumably that is what you think people are gonna be searching for. So trying to work those into the title is certainly a best practice. So TubeBuddy is just noticing that we've got a title and we've got a couple of tags, but they don't actually match at the moment. So make sure that you do have those tags in your titles. Now, the next one down is info cards and that is, as I say, those little things where you say I'm gonna link to another video or whatever up in the top corner. I'll do a little demonstration of that afterwards. I'll just cover this last one because there's a few things to point out about that. The last one here is add an end screen and this is when your video is over. If you go to a screen, if I like I go to a screen a bit like this, where I say if you've enjoyed this video, I've got more videos coming up next, but don't go anywhere. It's not really the end. Those sorts of end screens where it pops up with a couple of videos and things like that and maybe a subscribe button, that is the end screen. So make sure that you do set one of those. Guess what, I made a video about it. I made a video about how to add in an end screen and also how to set this up with the ECAM Live to create the end screen in that as well. So I'll leave a link to that video. Now, one thing to bear in mind with info cards is you can only have five in a video. So I think I've used up my five. So I mustn't promise that I'm going to link to another video in the top corner now. If I've used all five, I'll have to watch the video back to see if I really have or if it's four. I can't quite remember. But yeah, add in that end screen.  So I'll just come up to the top and here is where we add in the end screen. So as I say, I've made a separate video about that. So I shall, in fact, I'll just quickly show you because it is quite straightforward. Save you going and rooting around for another video somewhere in my channel. So the end screen, this can come on up to 20 seconds before the end of the video and it will automatically pull up some sort of previous end screens that you've got. So this one just here is the one that I've used last and it's actually the template that I've got for all of my videos really because what it's done here is over in this window it's just pulled up an example or rather the last 20 seconds, 20 seconds out from the end of my video. And you can see that I've timed everything so that I've got this little frame here and I can pop in a video in each of these two boxes. And the way you do that is by selecting an end screen and if I select that one, then you'll see what it'll do is it's loaded up these different elements. Now they don't have to all come in at the same time but I basically have a video coming in at the top right and then I usually have a playlist coming in at the bottom right which is relevant to whatever the topic is. I've only got say five or six different playlists that I generally have for the sort of content that I'm creating. So I just put the most relevant one down there and then the top one is a video. You can add elements here by clicking on this plus. You can have up to four sort of those larger elements and then also you can add your subscribe button. So I have my subscribe button coming up slightly later because I do my little outro and then for five seconds and then the last 15 seconds it shows the videos staying on there and also at 15 seconds out the subscribe button comes up. So that is what I do. As I say, I've explained this in a lot more depth and how to set all the timings up and everything like that in that other video but you can basically add either a video, a playlist or you can actually link to another channel if you want to do that. And when you get to a certain level in terms of subscribers in YouTube I think it's linked to that anyway. Then you can also put external links to websites and things like that. So that is how you add in the end scenes but as I say, there's a much more thorough video on that. So I'm just gonna come back out of this. In fact, let me click save. But the cards you just come into here and I'll click on this little pencil icon next to where it says cards. So this is where we're gonna add in these little info cards or the little links that come up partway through your videos. And here you have an option to add in either a video. So if you want to link to one of your own videos or you want to link to a playlist in fact, it doesn't have to be one of your own videos and also a channel if you want to link to an external channel and then also you've got this one to add a link to a website or whatever. But as I say, that needs to be, you need to be at a certain level in terms of number of subscribers in order for that to be active. But simply you click on, let's say I want to link to one of my other videos. You just simply click the button here. Notice also that we've got a little TubeBuddy thing that said apply a template. So once again, you can create templates and things like that in TubeBuddy to automatically add certain videos and certain links in at certain times. So that's something to bear in mind with TubeBuddy. But like I say, I'm going to show you how to do this manually. Now in terms of adding a specific video, you've basically got two search boxes at the top and then you've got a series of videos which is all of your videos underneath or a selection of them. And then you can search either search for your own video or you could search for any other video on YouTube. So if you want to link to somebody else's video you can do that as well. But let's say I just want to link to this one which is one idea to all about how you can do on-screen telestration using an iPad linked to Ecam Live. So you can see that I've selected that and it's dropped in the video there and that is how it would look on the screen. Suggested and then it's got the title of the video up at the top and then a little info button and people when they click on that it would take them through to that video. Now the timestamp has come up with a 000 to start with. But as you can see it says minutes, seconds and frames is the split there. So don't get fooled into thinking that's hours, minutes and seconds. If you know the timestamp because you've either in the editing you know where it comes or you've sadly had to sit through watching yourself like I'm going to have to do and you know the exact time that it is then you can just put the time in there. And as I say just remember it is in minutes and seconds and then that is frames. So the exact number of frames in that second. Whatever your frame rate is. Mine's 30 frames per second in case you're interested. So I could actually put it down to that level of granularity but I tend to just put it in roughly and approximately using the old minutes and seconds method and leave the frames alone. I'm never needing, feel the need to be quiet that precise with it. But rather than have it show the full title like that you can also add a custom message in. So you can put the custom message and the teaser text. The teaser text, although it comes second is the text that will appear here. So if I put in this bit, this is my video. That is what appears here. The custom message is what will appear in the actual information box. So hello, check out my video. There we go. I didn't really need to type all of that, did I? But there you go. As you can see, you've got a 30 character limit on the teaser text and also on the custom message as well. So the teaser text is the one that you'll see on screen or your viewers will see. And then the custom message is what will appear when they click on the little information box before they actually go over to view that video. And as you can see, if I put a time on here, so let me say I'll put this at 20 seconds. 20 seconds, if I can type the number two for a moment. It is not allowing me to type that for some reason, just one second. Well, there was me. I was trying to type in 20 minutes and I only uploaded a two minute video. So what I should probably try and do is actually type something that is within the time limit. So the video was about a minute long that I did as a sample. So if I just come in here and type 20 seconds in there, that's a bit better. I thought I was going mad for a moment. So what that's done is it's moved that little marker out there to 20 seconds along in the timeline just to give you a little visual of exactly where it appears in your overall timeline. And then as I say, you can just add more of these. You can collapse this one up by pressing the little arrow there. And then you can add another card. And as I say, you can add a link to a playlist as well if you want, and it's the exact same process. So you can link to a channel or a playlist. So just quickly show you this one. If I wanted to link to a particular playlist, it brings up a list of all your playlists. And let's say I'm going to link to my Stream Deck one or my YouTube channel tools maybe. And I'll add that one in there. And then there it's popped in. And again, I can just put the time in. You can also just drag the timestump as well. So that's fine, but obviously you do need to know where you're going to put it before you drag it. So then I'll click on save. So now we have got our cards in. Those are called cards. So now we've got our cards in. And we've got a few more of our best practices complete. And we've added our end screen. We've had our cards and so on. Now there are a couple of other best practices which aren't actually specifically named in here. So I just want to talk about those as well. So when you come down to the bottom a bit further down than the tags, then you'll have some other information. Now actually as a default, some of this might not show up. So what you'll notice is there will be a little show more. In fact, it's here at the moment says show less. So sometimes when you come in, it will say show more. And if I just come down, there we go. Click on it down there. Now in this one, we've got a little checkbox there. This video contains paid promotion like a product placement sponsorship or endorsement. So if you are taking sponsorships or things like that then that's where you would just toggle that one on or off. And then we've already covered the tags. This is the TubeBuddy interface. And now there is another section down here which is language for captions. So we've got the video language. So do make sure that you select that. You've also got some caption certification which is basically saying that it is never aired on US television. As you can see that there's a few different options in here when it finally appears. So the options are this content has never aired on television in the US or it has, one second, decided to shut itself down again. This content has only ever aired on television in the US without captions and so on and so on. So there's lots of different options there. I'm guessing that for most people their content will be new and unique and so it will just be that first option. The next option down is the, whoops, there we go. The next option down is for the language of the title and description. So again, do get into the habit of selecting these but if you recall, or maybe you don't because you maybe haven't watched it but in that video that I talked about earlier that I did all about the YouTube settings you can select defaults for these. So you would do that at that stage and have these default to whatever the language is that your videos were in and your descriptions. Next is recording date and location. So it says add when and where your video was recorded. Viewers can search for videos by location and also by date. So the date that they were recorded. So you may want to add those in as well. I actually do my recording date usually but because my videos are pretty sort of location agnostic if that is a word, it doesn't really matter where they were recorded for the sort of content that I'm producing. So I usually leave that one blank. Here you can change your license type either Creative Commons or the YouTube Standard License. I have mine as Creative Commons.  So I do embed my videos on my website which if you haven't already seen is takeonetech.io. So if you head over there, you will see up at the top there for example on my homepage then there is one of these videos up at the top and then I've also got a page of my videos where I feature some of the videos that I make and incidentally that is a great way if you do want to get in touch then you can head over to my website and there's a contact page there and then also if I'm online at the time there is a little chatbot which features in the bottom right hand corner of the website as well. So yeah, if you haven't been already then do go over and check that out and feel free to send me any feedback or anything like that you want to do through there. But this is where you would need to have this switched on if you did want to allow these videos to be embedded anywhere. So that's just one thing. Publish subscription feed and notify subscribers that is if you are actually taking subscriptions on your YouTube channel. Again, you have to have reached a certain number of subscribers to be open to that but you can select videos to be published just to your subscribers in that way. Allow people to sample the content. That means that people can take your videos and they can sample it and make shorts out of it and things like that. But it will always be linked back to your original content anyway. So I have that one switched on. You've got the category here so these are the standard YouTube categories that you can choose from. And so this is depending on obviously the sort of videos that you are producing will depend on the category that you've got them. And then here we've got some things about commenting. Again, these things can be selected as global settings. So do go back and watch that video about the general YouTube settings if you have not done already but this is just about whether you allow comments whether you hold them for a review or whatever. And then also you can show or hide how many viewers have liked or disliked this video. Personally, I don't see the point of hiding it because it is at the end of the day giving feedback on the video. So if you've, unless you're producing content that nobody's liking and you're getting lots of thumbs down then you may want to hide that but I don't know, personally I just leave that on all the time. But I mentioned all of these things because this one in particular about the language is one important one because when you come back up to the top you also have the option to add subtitles. So I'm sure you've seen videos that have popped up and maybe even some of your own videos that have popped up where they've got subtitles on them. Well, YouTube will add subtitles to your videos automatically but you do have the option to go in and edit them. And so here where it says subtitles assuming that you have got the text selected as the language has been selected then you can go in here and you can actually edit your subtitles. So that's what I'm gonna do now. Now, YouTube as I say will generate captions but as you can see it says it takes some time for this to happen because obviously I've just uploaded this video so it will take some time for the captions to be generated. And once they've uploaded you can go back in and edit them. And apparently, so I've heard a little birdie has told me, a birdie by the name of Mr. Rock that you will actually get credit for going back in and editing your captions even the ones that have been created by YouTube. So just going back in and editing them it will just make, it will assume that you have been through and checked everything. And even by making a few minor adjustments to it we'll just assume as I say that they are checked and are more accurate and more relevant. And so this will help your video in terms of the ratings that it gets I suppose by the algorithm. But there is another way to do it which is to actually upload your own captions. And there are a few different ways that you can do this but I'm going to dig into this in a little bit more detail and start using a service called Descript and then I'll leave a video about that because I have been using Descript already which is a really quite an interesting program where you can drop in videos or audios and it will create all the captions for you but then you can actually edit the video content or the audio content by simply editing the text. So it means you can go and remove filler words like oms and urs and things like that. Or you can even add in new bits of text and the AI artificial intelligence within the app will actually add in your voice to add in those extra sections. So not so sure how well that works for video but I have used it for my audio podcast to remove some filler words or just some gaps in the delivery just like I was doing there really. So it is something that I've used for that but I hadn't actually used it for creating captions so that's one of my missions for this week actually is to really dig into it and I will report back on my findings but yet adding in captions yourself is certainly from a search engine optimization point of view and a sort of YouTube algorithm if you believe in such things then it does certainly help with that so that is just something that I wanted to mention as another best practice. So that about covers all of the best practices that TubeBuddy's recommended. It also includes a couple of other best practices in terms of adding in those subtitles, those closed captions and then that is about it in terms of the upload process. There is also here you can obviously change the visibility from unlisted to private or whatever you can change that after the effect and if you have got any sort of content restrictions or anything like that copyright claims then just so that you know those will appear here. I did start out on my YouTube journey with an Adobe Stock subscription which I already had and that gave me access to some music through Epidemic but through Adobe but it meant that every time I'd uploaded a video I had to manually go in and enter my license code and that's why I ultimately ended up going with the full Epidemic subscription in the end instead because now I never have to worry about this box with my content being flagged for copyright infringement. So that is about all for this video but like I say do go ahead and check out those other videos that I've done about YouTube and if you found this useful then please do go ahead and give it a like and also subscribe to the channel and turn on notifications. It does help this channel and it also helps me knowing that I'm heading in the right direction because this is all just a learning process for me as much as it is for you I'm sure as well. And also if you know anybody else who might benefit from this content then do go ahead and share it with them as well. Now speaking of more videos as I say I do have a YouTube playlist as a by YouTube playlist I mean content on my YouTube channel related to YouTube channels so that's where you'll find all of the videos that I've mentioned here today as well anyway and I'll leave a link to that playlist over at the bottom right hand corner and another suitably good video up in the top right. So have a great day and I'll see you again soon.