Welcome to Access to Trader, the number one community for those who are committed to taking control of their trading in order to achieve success, profitability, and longevity. Thank you for joining us. Here's Dan Shapiro to help you find your edge, master your process, and own your future. Hey, guys, giving everybody welcome to another edition of the access to the trade.com nightly wrap up show. So let's talk about the tape. So a couple of things that we are looking at today, OK? Number one, Trump is speaking 5.30 or 6 o'clock Eastern time today. By the time that this video goes out, obviously he already will have said what he has said. And obviously the futures will reflect basically anything comes out of his mouth. So that's a very, very important note coming out tonight from the White House. As we expect to hear what the general consensus is, when do they believe that it's the right thing to do to let everybody back out? Having said that, over 4,500 more cases, new cases in New Jersey, South Korea has repeated cases of coronavirus survivors. Now, again, getting it back, again, I don't know. If it's true, if it's not true, we don't know. But two things more important from the trading aspect, everything else we can't control in the world. We could control staying home, practicing common sense, being grown up, so all that social distancing stuff. And for me, again, I've been literally outside my property 10 minutes in the last two months, OK? Maybe a little extreme, but hey, knock on wood, so far so good. But here's for the trading aspect, this is where we try to make heads of tails of it. Number one, we've been talking about this two 1275, 213 areas on the bulls. They needed to reclaim. Check, check, right? The Qs did that, the NASDAQ 100. The NASDAQ was up 1.6% today, or 140 points. I think that was the case. The Dow squeaked out again. Again, nobody cares about the Dow. It's 30 stocks. Again, no disrespect, anybody trades Dow stocks. But again, it's much easier to move 30 stocks up 1,000 points than it is to move 100 stocks, 130 points, just the reality. So that is good, right? And the most amazing part is where we've been talking about going back to about a week and change ago that's saying, stop thinking. Stop overthinking, OK? Forget about your opinion. Again, have your research bias, sentiment bias from your research from the night before. Let it try to play out in the morning. And if it doesn't confirm your specific mindset, go back to the other side. And just when you think, these stocks just can't go up anymore, right? They can't go up anymore. Google, Amazon, can't go up 450 points. Tesla can't go up 250 points. Netflix, no way it's going up 75, 80 points. How can Roku just go from 105, right? 105, 106 from yesterday's pivot. There's no way it can go to 120 today, right? Again, this is where price action is incredibly important. Our opinions mean, zilch, zilp, nada, nobody cares, trade price action. And unfortunately, you see a lot of new traders. And you could tell they're new traders because it's the same thing that's coming out of them else. The market is rigged. It's all manipulated. It's all the market made. Where the hell all this started from, OK? Stocks go up when there's more buyers and sellers. And stocks go down when there's more sellers and buyers. That's just what it is. If you look at any single chart that's supported by technical analysis that makes its natural organic move after a stock confirms, whether it's an intraday channel or a daily channel, you're usually going to have price action to follow. So for example, if there's a 60 minute channel, we'll talk about the pivots in a second, very, very aggressive, again. And you look at a 60 minute channel versus a daily channel and they both confirm there is a good chance they're both probably going to work. Because again, that's what technical analysis is.  No, this is what the market is. This is what the market is. It's always been abnormal. People are trying to put a label to make themselves feel better that they can't make heads and tails. Of course, does it make sense that Tesla just ran up 300 points or the hell it was? Does it make sense? Of course not. Does it make sense where it's 6 million people unemployment and people dying every single day in the market just doesn't care and the queues reclaim the major supply zone? No, it doesn't make sense. But again, where is there in the rule book that says something to make sense? In the outside world, when it's minus 10 degrees outside, you don't put a bikini on to go outside.  In the stock market, it means nothing.   They're burning money. The CEO is a fraud. They're free. The stock is up 250 points. Again, it's all about technical analysis. If there's more buyers and sellers, the stock will go higher. That's all it is. I give you my word. I promise you, hand to God, hand on the Bible, hand on everything. There is no body sitting there in the back room pulling the strings. I don't know where everybody picked up this whole. The market makers is a control. But what are market makers controlling? In 2000 and 2001, that's when market makers kept the book. A friend of mine ran this firm called Fleet, Fleet Trading. If you guys, all you guys remember, that's when market makers were there. When Night Try Mark was running things. When Herzog, that got bought out by Merrill Lynch for $900 million, by the way, which they're still probably laughing to the bank. That's when the market makers made a difference because they were keeping a book. They were trading for the book. Any market maker right now, I guarantee you as a 22 year old kid taking 100 share orders from somebody from Wichita, Kansas, they don't control a book anymore. 99, I give you my word. So I don't know where people ran with this thing. Oh, the algos are controlling. The algorithms are made up by smart people with a specific trading strategy that's taking an advantage of an arbitrage. That's what's basically what I'm trying to do every single day on a manual way via these pivots. So the idea that there's a guy behind a curtain, like the Wizard of Oz, and he's pulling strings and the market does this because he wants and the market does that because he wants. Again, guys, I don't know where these stories started from.  Any professional trader's been doing this for a very, very long time. We look at these statements, we hear these statements, we laugh and we just don't understand where they came from, but it is what it is, right? It's a new social media word. As soon as somebody says something and there's any type of spice or sizzle or sexiness, people run with it. New traders, I give you my word. It's all technical analysis. Buyers clean up, sellers clean up. Buyers, there is no magic man. I give you my word. If you wanna run with that statement to make yourself feel better, it's up to you. But again, let's get back to the stock market. It's on a runaway trade right now. The beta names are going absolutely nuts. And just when you think, again, just when you think, and I said this today pre-market, when I was putting in these pivots, I go, this has to be the last time, right? This has to be the last time. This is the last push. When the pivots today, I was trading NVIDIA, Roku, Tesla, Tesla a little bit towards late afternoon. I said to myself, this is the last time. I swear this is the last time. How much more can we possibly go to the well without these things getting rejected and completely coming down on our faces? And the more time you say it, the more times you think it just keeps on going and going and going. And the most amazing part was, towards the afternoon, you started seeing, and again, I wanna show you this, it's not just trying to pick a top. Again, I don't care about being right. I don't care about picking tops or bottoms or any of this stuff. Again, sometimes you're just trying to trade as much common sense as possible. And you start looking at charts on the 60 minute channel and I said to myself, all right, look at Tesla. This is after we took our trade today on the 731 pivot. We'll talk about that in a second. I don't know why my e-signal is not working. Okay, so here it is. So you look at Tesla and you start seeing all these lower high candles. You look at Amazon, you say to yourself, all these lower high candles. And you look at Netflix and the same thing. And you look at Roku, right? The same thing. And you look in the video. Same thing. You say to yourself, okay, tomorrow's the day. If they gap up tomorrow and they hit to supply, we're gonna have a massive reversal. I've been saying this literally for three days in my brain and literally every single day I find myself trading the top of the, top of the middle of the channel to the long side. So again, I'm going back again with the same sentiment going into tomorrow's session. If they're gonna pull the plug, they're gonna pull the plug in the most egregious, aggressive possible way when the most traders have the rose colored glasses on. The problem is it might not happen, right? It might not happen. Again, I've been thinking this enough for two days already. And it still hasn't played out. Again, it doesn't make a difference that if you're wrong in your thinking, just wait till confirmation finally plays it out. And that's the name of the game right now. It's, again, for all you guys who are pouting yourself on the back, oh, I made this call. I don't say what a call is. What exactly is a call? It's like me turning around and saying, you know, I mentioned Apple like nine years ago when it was like at $47. You guys remember that? I did, that was me. So forget about that.  You're your own entity. Make smart decisions. Nobody cares about, nobody's gonna remember your call. No, nobody cares, okay? Trade smart, trade responsibly. Don't spread ridiculous market makers of controlling the market and the algorithms of, right? Said no professional trader ever, by the way, okay? So be smart. Continue to trade the channels. Trade every single trade on its own individual merit. If something looks very, very extended, again, look, can it go higher, of course. But again, use common sense. It's not a 10-star play when the stock made already 26% move in three days. So be very, very smart. So going into tomorrow, we got a couple of things that we like, right? We finally got the cues, they're over daily supply. Now daily supply suggests, doesn't need to happen, but daily supply suggests that now that we've captured a new ceiling and now it's a new floor, that we have all this room up to the 225, 228 area. Depending what Trump says, depending how much we can actually slow down this horrific, horrific virus that's been plagued all of our lives now for the last several months, we should get there. But again, deep in my mind, I know, well, the cues just ran up from 180 to 214. Shouldn't we get a little bit of a back test? So I'm kind of conflicted going into tomorrow. I will be looking at both sides of the market.  I have some really specific plays that I am watching, especially to the downside. Again, if I start seeing lower highs in the first two candles on the Tesla, on Amazon, on a Netflix, those are the biggest movers on the way up, then yes, absolutely. Those are gonna be my top three ideas on the way down because again, when it goes up, must go down and gravity is always most aggressive to the ones who've committed the biggest moves.  But again, there are some good value plays, both long and short, that have nothing to do with beta, right? And I think, again, Fridays have been traditionally very, very strong as I'm watching Tesla right now about the bus through after-hour highs. I don't know what's going on there. But again, Fridays have been very, very aggressive sessions just because people are making very, very aggressive bets in the options market via the weeklies and that will dictate some price action. So going into tomorrow, man, I'm 50-50, okay? I'm 50-50 bullish. Can we say that? Does that even make sense? I'm 50-50 bullish. If that makes sense, if the new math is working, then I'm 50-50 bullish tomorrow. But again, I have the right to reserve to see how the market opens up, how the bulls live with their brand new found glory, above technical supply and let's see what happens. So look at the pivots today. Again, it's just the same names doing exactly the same thing. Again, number one, congratulations to all you guys who came in Long Roku from yesterday. This is the big pivot yesterday, the big macro pivot. That was the after-hours high when they guided higher, 112, 80, 113, that was from yesterday. So when it opened up today, it gapped up pretty aggressively and we'll get to that in a second. But Tesla, there was two-sided pivot today. We were watching the 709 area for a move to 694. We knew it was gonna stop around 706 because that was the daily supply, a daily support. So there was no second entry. So we watched it and never retested. There was no trade there. ZM, again, 146 was the pre-market low and never came close to there. I think Verizon started, I think that was, I mean, it's such a long day. I think the news was Verizon came out their own webinar, I don't know, nobody cares. The video was big. This was my first trade of the day. The video was big. I took this on a second entry. 288, 75, 289 needs to build. I took the 290, that was the first move.  So here was the 290 opening range and just absolutely exploded. Big move, big move on the video. You started seeing the 295, the 305 calls, even the 310 calls coming in very, very aggressively. And then I caught Roku. This is an aggressive continuation play for experienced traders. Congrats to all who caught this overnight, but for this to get more. And again, when you're thinking more, you're not thinking 134, 133. I'm thinking 120, right? 120, the top of the upper Bollinger Band at that time was 1934. So I get long and my highest sale was 19 and it pulls back in for like 30 seconds, literally it goes up $14. Okay. Square, can't be perfect, right? Square 5860, if it builds, can go lower. Square got a nasty downgrade today from Raymond James. Here's the 5860 and it went all the way down to the 5660s level. For all you guys who did trade square, I did not. I caught Tesla, I had to re-enter twice. This is, again, when you're trading equity versus options, a whole big different story. If something stalls out, the last thing you want to do is be a deer in headlights, but it's all good. 731 needs to build. I said there's a shot at 748. The reason why I said there was a shot at 748 was if you look at Tesla, right? If you look at Tesla, this was the top of supply. 748, here's the 731, this whole macro area here. As you can see here, 731, 731, 731, 731, 731, right? 731, it just explodes and goes to like 759. I thought it was a stop at 48, went to 59, excuse me. But Tesla, again, the greatest thing ever. Roku, Bingo, just, yeah, Bingo. This was before an extra $14, excuse me, Bingo. Perfect move there. Square, new lows and the video. Really good move on the video. Just an amazing market. I said, like I was sitting there, as I was sitting there, I was like, this market is insane. Just absolutely insane. So crazy market. But again, there are opportunities on both sides. This was a nice move. I think tomorrow, Bowen could test that lows from a couple of days ago. 137.70, if it builds below, can flush more. Bowen never rallied today and that's the first tell-tale sign. Here is the 137.70 and went all the way down to 134. Honestly, I like it. This thing starts building this channel here. It's gonna go lower, man.  Ironically, we did see a lot of really aggressive 145 weekly call buying that expires tomorrow. So it's very, very odd. But again, to the most part, I wanna see it confirmed as daily channel here. And if it does, it's gonna see 120. So Bowen could be a pretty big mover tomorrow if it confirms to the downside. Again, best stock ever. 744 supply, test is on fire. And again, who would've thunk it, right? General Mills. You never think you'd see General Mills on this feed, but General Mills, we had an alert set for like three months ago. 60 was a big spot. This is not a day trading stock. Any close above 60 is super bullish. General Mills, food, right? They make cereal. They make oatmeal, blah, blah, blah, blah, blah, blah, blah. And General Mills went from 60 and it almost went to 61. I still like it. I still think it goes higher. But again, who would've thunk it, right? Who would've thunk you to start General Mills today on the feed? Bowen New Long, again, very, very strong pivots today. All week. All week has been very, very strong pivots. So going into tomorrow, like I said, tongue in cheek, I am 50-50 bullish, right? It's been a long week. I'm not the sharpest tool in the shed. But I am 50-50 bullish. There's some definitely longs that I like with some good value. There are definitely some shorts that I like that have nothing to do. That have nothing to do with beta that I've been watching for a couple of weeks that are very, very close to breaking down. I'm gonna keep an eye on that. As you can see, your stocks are rallying or at least trying to rally ahead of the Trump speech, right? So we will see what happens there. It's Friday tomorrow, guys. Last day of the week. Hope you guys are doing well. Hope everybody is happy and staying at home and trying to make heads and tails on life right now. Have a smile. It doesn't usually work. It will make you feel better. But, God's help, I'll see you all tomorrow. Take care, guys. Congratulations for putting in the time to take control of your trading. You're one step closer to owning your future and achieving the success you desire. Want daily trade ideas directly from Dan? Straight off his personal watch list? Unlock our free PS60 vault where you'll get nightly updates on pivot opportunities we're watching for the next day's session. Click the link in the description to get started today.


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I better not follow these steps. In this video we're going to just do a couple of problems actually only five and we're going to look at the arc length of a parametric curve. Now we've looked at I think when you did for single variable calculus you looked at the length of a curve on some interval and we're going to generalize that and it becomes very easy when we just deal with or change them at least to parametric equations. So any five problems just to get you just to get the idea the first one's going to be how do we derive an equation for the the arc length, the length of a section of a parametric curve and then we're just going to do four problems. These are all pretty much the same and what you might find in your homework or what you have to do is just to dig into single variable calculus trying to remember how to do these problems in single variable calculus. Of course so we'll just do a couple of them just as I said to get the ball rolling. So we get to the arc length of a parametric curve and with these problems we really are just going to well some of them would be easy because we just do derivatives and integrals of polynomials some are going to be more difficult and they might be forcing you just to remember your single variable calculus and how to do derivatives and integrals and all the different techniques. So if you are required to remember all of those these arc length problems are going to be you know very good for you if you don't have to do them you can use the warframe language for instance it's easy to get these derivatives or they might just be given to you and just a sheet you know with all these with all the derivatives of transcendental functions etc. But first of all we need to understand what this what this arc length of a parametric curve is all about and the way to do that is just to derive an equation for a parametric curve. So in the natural sea we have to we have to be clear about a few things so we want this length of the arc over this the length of this parametric curve going from a starting point to an end position on this curve and if so so that means we have this parameter t and we're going from a to b on this parameter but then the first derivative of x with respect to t and the first derivative of y with respect to t they've got to be continuous on this interval for this arc and this arc can also not intersect itself from the starting to the end position of t except perhaps at a finite number of points it can't happen at an infinite number of points it's got to be finite number of points and that must be so because of the way that we're going to construct this derivation. So we've got this arc length that's part of this parametric curve and let's call it c and it's an equation of x as an equation of t and y as an equation of t or function of t and we're going to go from we have this idea that we're going to go from a less than equal to t less than equal to b that's our starting end position on this curve. So we've got to have as I said x and y both the functions of t and the first derivatives with respect to t they must be continuous on this closed interval and then as I said the curve cannot intersect itself other than perhaps at a finite number of points because what we're going to do is we're going to take this closed interval of us a to b and we're going to divide that up divide and conquer divide and and we're going to divide it into equal length sections and we're going to have divide up into end of these sections end of these sections so if we divided that up into these equal lengths little bits so if we have our curve there we're just going to divide it up in these equal little and remember they're all going to have a specific t value so what we're going to have here we're going to start at a and that's a t sub zero for instance and that's going to be less than t1 and less than t2 and then all the way less than tn at the end which is b so the fact that we can write this delta t is this b minus a divided by n that's how long each one of these you know how long each one of these are and what really happens there is or this delta t at least delta t remember that is just if we go from we subtract t sub i wherever we are now and we subtract from that i minus one the previous point where we were because they all have equal length and that means you know when we at let's just look at these these these two points where are we at these two points so when we start so let's just write here when we start what what values of x and y do we have well the value for x and y what we have at the start that's going to be x of t and that's going to be at i minus one and we're going to be at y of t i minus one that's where we start and we're going to end our x and y where we end well that's going to be x of t at this i position and y of t at this i position that's where we start and that's where we end now if you think about it if we zoom in very closely that's this curve running there but we have you know we have an x delta x and a delta y for that and because these are very small we're sort of approximating that by a straight line there we're approximating that by a straight line and you know because we're making these very very small and if we do that we can make use of just the Pythagorean theorem because it's this length squared plus this length squared and we just take the square root of that and we get the length of the hypotenuse so we can really say as let's just take one of these little segments and we call its arc length as s i that's the one we're dealing with so that's going to be approximately equal to depending on how small this little segment is that's the square root of the one side squared and the other side squared so when we go from x we will go from there to there in other words we're going from there from this one to this one so it's just the difference of those two squared so let's put it in this order so that's going to be the x of t sub i minus x of t sub i minus one and we square that and we're going to do exactly the same for for the y so the delta y in other words is y of t sub i minus y of t sub i minus one and we square all of that so we just make use there of the Pythagorean theorem it's going from this in position to the start position and we just use the linear this approximation here because it's very small and that piece of the curve there is very close and that's why we also want this finite number of intersections and as much as we can divide this curve up into bits so that we incorporate these intersections so what we have to remember here and that's the sort of the big jump here is just the the uh this mean value theorem and that says look if i've got this curve going here and i connect the start and the end position that gives me a slope somewhere along the line there's lots of slopes here along the line somewhere along the line we've got to have this equality between this slope here connecting the two and the slope right there somewhere along the line at some point we're going to call that point c sub i so we're going to have this fact that dx dt dx dt at this point ci at this point ci that is going to be this delta x divided by delta t at that point and that's you know going from start to end so that's going to be x of t sub i minus x of t sub i minus one the previous one and we divide that by delta t just this little gap that we have and that means we can sort of rewrite this as the x of t sub i minus the x of t sub i minus one and that is just going to equal the x dt at c sub at the c sub i so let's just write that as x prime because that becomes very difficult x prime at that very little point delta t so that was just going to be some just some algebra so i'm just taking this delta t over to the other side and what we'll see is as far as dy dt is concerned if we do dy dt we're going to get exactly the same thing but instead of it being at one point c sub i it's going to be at some other point so let's just make it d sub i so we're going to get this exact same thing that y of t sub t sub i minus y of t sub i minus one that's going to be y prime of let's make a di delta t for that same sort of the same argument but now if delta t goes to zero if it approaches zero these become so small that ci and di they're going to coincide they're going to be they're going to coincide so i can just rewrite this i can rewrite all of this as this si that is going to equal and instead of using this one squared and this one squared as we used it there we're going to just use this we're going to say x prime at c sub i delta t and remember that's all squared and then we're going to have y prime and instead of c sub i i can put d sub i we can put c sub i and delta t and this is all going to be squared so just squaring all of those and then it's easy to see that we can take a delta t out as a common factor delta t squared and the square root of delta t that's this delta t so what we're going to have here is s sub i is going to be approximately equal to so we're going to have this x prime at c sub i and that's all squared plus y prime at c sub i and that's all squared and that's the square root of that oh that's so ugly let's do this so it's all of that delta t because we had a delta t squared there delta t squared we took that out so common factor it is the square root of a square and that just leaves us with that so what we all we have to do now is just sum up all of these to get all of these little segments we just sum them up and if we sum them up s it's still going to be approximately equal to but now we're just summing all of the all of these so we're going to have i equals one to n over all of them square root of x prime c sub i squared plus c prime at c sub i squared delta t and we can easily go from there we can easily go from there to the integral because we're summing over these small things so we just need this limit as n goes to infinity so the arc length then is this going to be this limit as n goes to infinity we just have infinite number of these little segments of this summation here so of this summation the sum of i equals one to n of the square root of x sub i at c sub i remember all of that is squared and y prime c sub i all of that is squared delta t and the limit as n goes to infinity of all of this remember that becomes the integral and from our starting position to our ending position and now the c sub i at that this is now so small as the as n goes to infinity on this delta t goes to zero it becomes so small that that point c sub c sub i well that's just at every point t so we can just have the square root of now x prime let's just write that out as dx dt squared plus dy dt squared dt that's just in the limit and as I say we go from the c to the t there because these little line segments are so short we're taking the we're taking the derivative there with respect to t at every one of those little points they're just on top of each other basically and that is it that is the equation for the arc length very simple the arc length of a parametric curve going from start to an end positions the definite integral going from the start to the finish of the square root and we just square the first derivative of x with respect to t and we square the first derivative y with respect to t you know we just square them add them take the square root of all of that dt and it's as simple as that now that we know what this equation is and let's just write it down the more you write it down the more that you remember that so that's s that's our arc length that's going to be the square root of dx dt all squared plus dy dt all squared and that's the integral remember going from a to b and there's my ruler dt so it's as simple as that so the first thing we need to do let's just do some side work so we need to know what dx dt is and this first problem dx dt and we can see that that is the equation of a circle if you pop this parametric equation into the Wolfram language you're going to see that on on our parameters theta in this instance but we have this interval for theta being from 0 to 2 pi so let's just do that that's going to be minus r times the sine of theta and if we do dy dt that is going to be r times the cosine of theta and if we square these dx dt should make my axis a bit better that's going to be r squared sine squared of theta and if we do dy dt and we square that that's going to be r squared and we have cosine squared of theta great so let's do let's tackle the problem so the arc length is then going to be the definite integral and going from 0 to 2 pi of the square root and we have r squared sine squared of theta plus r squared cosine squared of theta d theta d theta what am i writing dt for our problem is the moment is d theta theta here is our parameter for this parametric equation so s is going to be the definite integral going from 0 to 2 pi and i see i think you can see let's just do another color again we're going to take under this square sign we're going to take our squared arc as a common factor and then we're going to have cosine squared theta plus sine squared theta and we know that from the trigonometric identities that's just equal to 1 and we have the square root of r squared and that's just r good and you can see where this is going to go so what we have at the moment here is just r d theta we just have r d theta and now what we have to do is we can take the r out because it's not part of the integral it is just a constant d theta and that is just equal to r and then theta but theta going from 0 to 2 pi and that is r of 2 pi minus 0 and that is just 2 pi r so the length of a circle in other words the circumference of a circle is 2 pi r and that's where the equation comes from from for the circumference of a circle let's calculate the length of this parametric curve half t squared that's our x and then for y we have 1 over 9 60 plus 9 to the power 3 over 2 and then t goes from 0 to 4 plot that in the Wolfram language and you can see what this parametric curve looks like first of all let's just remember what our equation is for the arc length of a parametric curve so that's the definite integral going from a to b of the square root of dx dt all squared plus dy dt all squared dt and we just have to close down our square root symbol there so once again let's have a look at this what is dx dt well dx dt as far as x concerned 2 comes to the front so that is just going to equal t that's just going to equal t and if we square that that is going to be t squared and dy dt is a bit more involved we have 3 over 2 which we now have to bring to the to the front so we're going to have 1 over 9 we're going to multiply that by 3 over 2 and we're going to have 60 plus 9 and 3 over 2 minus 2 over 2 that's 1 over 2 and by the chain rule we still have to have a 6 there because we still have to integrate the inside expression so dy dt so it's a bit more involved we can cancel out the 3 there and this becomes a 3 and then we have 6 divided by 6 because 3 times 2 3 times 2 is 6 times that's 6 or 6 times the 6 that's just 1 so we have here in effect the square root of 60 plus 9 because it's to the power half and if we square that dy dt squared that's going to be 60 plus 9 so we can eventually start doing our problem here so we're going to say the arc length is going to be this definite integral in going from and going from 0 to 4 and what we have for x squared plus y squared so all of this is still square root so that's going to be t squared plus 6t plus 9 there's my ruler and then dt well if we look at it what is t squared plus 6t plus 9 well that's just going to be t plus 3 squared and the square root of t plus 3 squared well that's just t plus 3 so when it comes to our s here our arc length that is going to be 0 to 4 t plus 3 dt problem becomes becomes really simple so if we do that that's going to be a half t squared plus 3t and we're going to go from 0 to 4 we can forget the 0 because we've got two t's there so that's going to be 0 plus 0 so arc length is going to be a half 4 squared plus 3 times 4 and 4 squared is 16 divided by 2 is 8 and 3 times 4 is 12 so our arc length is 20 so this is just a nice exercise in a bit of simple algebra and just remembering what the equation is for the arc length problem number four calculate the arc length of the parametric equation x comma y equals the cosine of t plus t times the sine of t and then the sine of t minus t times the cosine of t and we've got this interesting interval for our parameter goes from pi over 6 to pi over 4 so the reason why we're doing all these problems to write down these equations until they become second nature so the arc length is going to be the definite integral and going from a to b square root of dx dt all squared plus dy dt all squared and we close our square root symbol there all of that with respect to t so let's do some side work let's just have a look at what dx dt is going to look like so dx dt we have cosine of t there that's first derivative with respect to t is negative the sine of t and then we add to that now we have to make use of the product rule so let's keep t first and then take the derivative of sine t with respect to t that's this cosine of t and then we're going to keep the sine of t but we take the first derivative of t with respect to t that's just one so we left with sine of t and then very nicely for us let's take another color just to show negative sine of t positive sine of t so that's very nice and if we square dx dt that just means it's t squared plus cosine squared of t let's have a look at dy dt so dy dt we have the sine of t first derivative of that with respect to t is the cosine of t then we have a minus sign so let's just keep that separate so let's keep the t and then differentiate cosine of t so that's negative sine of t so that becomes negative t sine of t and then the other way around we're going to keep cosine of t take the first derivative of t with respect to t that just leaves us with a cosine of t and so if we write this out that's going to be the cosine of t minus times minus is positive t sine of t and we have negative the cosine of t and again again that's very nice because we have cosine of t negative cosine of t that's the way this problem was designed so if we square this we're just going to be left with t squared plus sine squared of t so let's get some work done so we're going to have the arc length that's going to be the definite integral going from pi over 6 to pi over 4 again draw that curve in the Wolfram language you can see what it looks like and that's going to be the square root of t squared cosine squared of t plus t squared sine squared of t and I think you can immediately see what's going to happen there let's just close our square root symbol there this is do it on the side so if we have the square root we're going to take t squared out as a common factor and we left with cosine squared of t plus sine squared of t and that's a trigonometric identity remember which is just one so we left with the square root of t squared and that's just t so that makes life very simple for us so we're going to have arc length that's going to be this definite integral and going from pi over 6 to pi over 4 and that's just going to be t all of that just becomes t dt and if we take the integral of that that's going to be a half t squared and we have to go from pi over 6 to pi over 4 so that's going to be a half and what do we have we have pi squared over 4 squared oh what am I writing now pi over 4 pi squared over 4 squared and we subtract from that pi squared over 6 squared so that's still going to be this half that we have and we have pi squared over 16 minus pi squared over 36 and so we have to have a common factor there and I think I did it before that's going to be 144 times the half that we have to have there and that leaves us with check just check that it's correct 5 pi squared divided by 288 there we go so again this is just a just a friendly exercise and doing these very simple integrals and I'm going to do one more problem and what you're going to see is with your problems doing this arc length you're just going to get more and more complicated single variable calculus problems you're going to have single variable integration and it's going to become more and more complex and you might have to do that or you might you know just use the orphan language to do those those integrals for you or you'll just have to remember all the techniques that we do have to get these definite integrals calculate the arc length of the parametric curve x comma y that's half times the natural log of 1 plus t squared and then the inverse tangent or arc tangent function of t over the interval for this parameter t going from 0 to 1 as always just do it every time you do these exercises arc length is the definite integral and going from the a to b and that is a there remember let's be there of the square root of dx dt all squared plus dy dt and that's all squared and we close our square root symbol there dt and now we just have to do some side work let's have a look at what the x dt is the x dt and that's why I said these problems are now going to become that you just have to remember what your first variable calculus single variable calculus was was all about and how do we take the the derivative first derivative of the natural log of something with respect to to your variable and if we just have a look at at at doing this dx dt and you'll remember that we have the half out in the front that's just a constant and as far as the natural log of something is going to constants so for instance what is the natural log of x so natural log of x first derivative of that with respect to x well that's just going to be one over x so this is going to be one over and the x here was this t squared plus one or one plus t squared and with a chain rule we just have to remember that we still have to do we still have to do the inside function and that's just going to give us a two t so if we put all of that together the twos are going to go so I'm left with t over t squared plus one or one plus t squared and remember we have to square that so we have to square all of that let's look at dy dt so the first derivative of the inverse tangent of t with respect to t well that's very simple if you remember your arc tangent derivatives that's just going to be one over one plus t squared or t squared plus one and if we square that we have to square that so that's why I say these problems are just going to be either they're going to give you this in the exam or you just have to remember sort of these single variable calculus derivatives and how to do the derivatives in the integrals so that's going to go from we have zero to one and we have the square root of that squared plus that squared so that's just going to be t over t squared plus one all of that squared and then we're going to have one over t squared plus one all of that squared dt so we have this common denominator here so let's just do that on the side as well so we've got this t squared plus one all squared is the common denominator and so that's just going to be on the top we have a t squared plus one and now we can cancel one of them out so that will go and that will go and that will just be one so that's one over t squared plus one and I think you remember those kind of substitutions so that goes from zero to one so we still we are still left with the square root symbol here so that's one over t squared plus one and close our square root symbol there oh why am I writing d theta I don't know where that d theta came from dt of course well I suppose it comes from the fact that we now have to do some substitution so let's do that so let's say t equals the tangent of theta remember those substitutions when we have one over x squared plus one so dt d theta so we're going to have dt d theta remember what that's going to be what is the first derivative of the tangent of a function well that's the secant squared of that function so we have the fact that dt is now the secant squared of theta d theta so just bringing that d theta over to the other side so we can replace that or substitute that dt and all we have to remember now what you can do otherwise you can bring it back is just to say what is going to be when is the tangent of theta going to equal zero because we're going from zero to one remember so we just want to replace those well that happens when theta equals zero and when is the tangent of theta equal to one well that's when theta equals pi over four remember so we can replace those so we can now say the arc length is going from zero to pi over four got a slightly different blue color here and now we have this one over and we have this secant or remember t is now the tangent of t so that's going to be the tangent squared plus one remember this this t here we're just replacing that and then dt we're replacing this is closed there dt we're replacing with secant squared secant squared d theta so now it's this whole problem in theta so we are fortunate here because we remember that the tangent squared of an angle the tangent squared of an angle plus one well that's just the secant squared of that angle so we have one over the secant squared but the square root of all of that oops that would be totally the wrong color let's just go back so s is going to be this definite integral and going from zero to pi over four so it's one over secant squared but the square root of all of that so that's just one over secant but we've got secant squared of theta there so let me just write it out secant squared of theta forgive me for leaving out these parameters so there should be a theta there as well over secant of theta d theta but that is just the different integral going from zero to pi over four of the secant of the secant without the square the secant of theta d theta and now you'll just have to remember what that is and if you do remember what that is that's going to be the absolute the natural log of the absolute value of the secant i can't write today secant of theta plus the tangent of theta okay and all of this has got to go from zero to pi over four so that leaves us with the natural log of the absolute value of so what is the secant of pi over four that's square root of two that's going to be square root of two and then plus a tangent of that that's one and we're going to subtract from that the natural log of the absolute value of if we put zero in there we just left with one and because this is a negative remember we can also just divide those so s is this going to be this natural log of the absolute value or then the positive square root of two plus one you just write that as natural log of the square root of two and it's just the positive one that we're taking plus one and there you go so this all your other problems you're basically going to see that it all boils down to can you remember your single variable calculus so as I mentioned it's either going to be given to you or you'll just have to remember these and if you have to remember your single variable calculus how to do derivatives and integrals of that these problems are good and just to do your exercises to remember all those techniques of getting the derivative and the integral so that's it for these five problems and arc length quite a bit of fun and of course it has a lot of real-world uses to calculate the arc length of a parametric curve


I'm going to pull that out now.  Most of you also just got to see the first crowd bag lunch with Hubein, and I want to remind you that his country and the whole country from Cuba will be performing tomorrow up at the Hilltop Montessori School in their space at 11. See what you just heard about. So to transition into our next interview, we're even interspersing what we're calling our bursts in the tradition of interviews or within the interviews so that we can continue to meld together the dialogue with the arts. So in that spirit, are they all the loves and can we're attached here to perform a little cranky? We have this message, I think it's a box store. Well good afternoon, and now it's up to us three little fishies here. Tough act to follow. I'm the former arts editor of the Brattleboro Reformer. I'm now the executive director of the very honored and privileged to have been asked by Sanglass to help facilitate these conversations, hopefully for all of you as well. I'm here now today with Kimi Maeda, the creator of the piece Bend, which has festival, and we'll talk more about that with her. And also here with Julie Lichter of Springfield Mass and has some other projects to talk about. We'll find out what you do as well. So our general generations and generations of believe it at that and we'll explore that idea. So maybe we could start by having folks here about Bend and how it came about and what you were hoping to explore. This is a live performance piece where I do sand drawing on the floor, but I have live feed video of the sand drawing, but I combine that with the projection internment camps. And sorry, what was the other question? And the story in Mandarin? Yeah, so the story is about my father and his experience. He was nine years old when he had to go to the Japanese-American internment camp in Poston, Arizona and in the same sculptor who voluntarily went to the camp. He thought it was the best way for him to help the Japanese-Americans. He didn't actually have to go because he was based in the East Coast at the time he was in California, but he wasn't required. And so there's a big part about memory and forgetting I guess and especially now so many of the survivors of the internment camps are dying. My dad is 82, so he was nine, he's 82 now and so we're losing those stories now. Julie, a little bit about what you do and then we'll delve a little deeper. Okay, I collaborate with young people in Springfield, young adults between the ages of 15 and to create performances that weave together personal narratives and themes that bring in larger systemic issues. But specifically the young people identify as first generation and we use that term to mean the first in their families to be growing up in this country, the first to be speaking English in their families. It could be the first in their families to be graduating from high school or going to college, the first in their families to not be incarcerated in several generations, the first in their families to be a Muslim feminist, the first in their family to be an artist. So really what began as immigrants and refugees expanded will be in anywhere from five to eight languages and we do. If I could talk a little bit about that and maybe have a little talk with me. So for me personally I came into this work as an artist but kept, could not get away, which I look at the world, which is as the daughter of a Holocaust survivor, someone who was in France between the ages of five and ten years old. And I grew up with my mother's stories and really what, how that happened as an artist is that I really, I think I really identified, I was able to identify with oppression, oppressions from a very young age, especially racism in this country. And so all the work that I strive to identify those oppressions but also what I feel is to achieve a sense of interconnectedness. So for Kimi, I was so intrigued by your choosing the two stories of your father and Nuguchi to pass through a band. If you could tell me about how that sort of came to you as something and why you made that choice as an art historian. Yeah, my father was an art historian and he started out studying Chinese landscape painting but because that's what you did then, not many people were studying Japanese-American or Japanese in his career. He did start studying Nuguchi and was really fascinated by this man that he remembers seeing in the camp. Nuguchi would have been in his mid-thirties. My dad would have been nine, so it's not like him and his work. And never finished it. And so in some ways I think of this piece as what my dad started and try to bring some conclusions. Nuguchi's life really fascinating. His whole family going back and forth from Japan to America, his mother was Irish-American, had an affair with this Japanese and had this baby. Nuguchi's father would have left at that point but she made the decision to go to Japan, which is kind of Isamu. Isamu's dad had already formed this other family with another woman so it was a very complicated relationship. But it was a really interesting character and then Nuguchi's father was also an interesting character. He was a poet. He came to America when he was a young man and he learned from these American poets and was writing in English, not in Japanese actually, not writing in Japanese but in English. And then he went back to Japan where he became famous because he was famous in America. So it's this funny sort of back and forth kind of thing. And then Isamu's wife even was surely but she was actually a Chinese film star and then became a Japanese film star and was actually in American movies as well. But she had trouble after World War II because the Japanese thought she was a spy. So all of these Nuguchi's life really interesting because I also feel, or I felt growing up kind of in between two different cultures. You know, I grew up in New England in the end of two Asian kids and my family adopted Korean. So, you know, in some ways I felt like I didn't belong there but then when my mom would take, we'd go to Japan every other summer and I definitely did not belong there. I find this idea of being in between two different places really interesting. Thank you. Could you put that into that otherness? In an email you said that you had just been at the Alternative Roots conference and that was something that had sort of roiled up with you. If you could just talk about that. You know, obviously you grew up in New England and we would think that that may not be something that you would deal with so much. Yeah, there weren't a lot of people that looked like me in New England. So, yeah, it's important in my work. It's true all the time and I think that in a way I felt like when I was growing up like a lot of theater productions that I would think that I've come to this place where I'm trying to create my own stories and tell things from the way that I've seen things. So, it's listening to the Mexicans the other day. I think it's what I find so great about puppetry, especially is that through the art of puppetry. And Bend is part of a trilogy of pieces. Could you talk about the other legs of the school there? The first two pieces are more shadow puppet based and they're all still about family but the first piece is more about my mom's journey from Japan to America. She's funny in the Japanese-American community. First generation is Issei or the ones who came over from Japan. So, she's Issei. And the second piece, it's more just a nostalgic piece about home and what home means, which I think I've handled with a lot. I do feel very much that New England is my home but what exactly is that? And I think for people who don't live in different places I think the idea of home isn't quite as complicated but I think it always is actually. I also thought a lot about so you can travel a million places but if you have a sense that can be a grounding thing but if you've never lived in your homeland that can be a very... Julie, could you elaborate a little bit on how you go about your work? Okay, I'll speak up. Could you elaborate on how you go about creating your pieces with your groups? The piece that we created was called, in the end it was called which is Haitian Creole for We Must Go. And it took us a little over a year to create it. The group comes together in what we call our group building, skill building phase. Is that a good volume for you? And that means getting to know each other, building trust, like in terms of sharing life experiences, learning to move together as an ensemble and also learning each other's languages and I mean that not just in terms of the fact that we had Amharic, Spanish, English, Kurundi, Nepali in that performance. So not just those languages but also just the ways that people communicate beyond that language. So that was the first three or four months and then we start looking, we start based on the stories that people are telling and the themes that they're bringing to the group, we start developing text and movement and a lot of exercises and a lot of thinking. So for example, for Fonale I used two jumping off points, departure points. One was a question I always ask the youth that I'm working with which is if you have an hour to speak to the world what would you want to say? And I do that because I want us to go deep right away. I want to dispel any idea that we're going to be doing entertainment. What's the most important thing that you could possibly say? So that's a long brainstorm and a long conversation and then I add on to that because you have knowledge that nobody else has because nobody else has lived your life or walked in your shoes. So based on your life experience what knowledge or questions might you want to share with the world? The second big departure point for Fonale was they were leaving their homeland or when they left their homeland and it couldn't be documents or photographs or writing, it couldn't be flat. And why? What's the story that opened a lot of doors for stories? With the kids who were born and raised in Springfield we define journey as going from here to there perhaps emotionally. Because in your life explain to the group what there to here was and what here to the next place. And so for some people it was a journey from Tanzania to the U.S. or a journey from informed by, I mean, triggered by the Rwandan genocide triggered by the Bhutanese ethnic cleansing or for some people it was a journey live in one apartment for more than six months or a year or going from a sense of deep disconnection to lack of so the objects brought us into these stories and then we work physically with the objects we write about them and a lot of times it's the initial skills that are already in the group like somebody might be an incredible singer an incredible writer, an incredible mover those are all, we use those as the the paint, the palette in a sense and then after, oh I interview everyone so that's how the text comes together either through writing improvisation that gets videotaped and transcribed or and there was one last interesting process that I have been working with so many of the people that I work with they're English, they might just be coming the last four to six months in this country so for instance, Gita and Deepika really one of our shows but I really wanted them to have it was a very funny interaction so I said well I'm going to ask you questions and you don't understand me and I'm like I don't care I'm going to audiotape you because that's the three English words that you can say so in Nepal so I got this interview that I really didn't understand at all and I gave it to they transcribed it and translated it into English I edited the English, gave it back I edited version back into Nepali and then I had the English and the Nepali Arabic and we've done the same thing with Karundi so the scripts come together like that and my background is in visual art so after we have a script sequence on it or something like that and we go into rehearsal and that's how our pieces come together could you elaborate a little bit on your work having people tell you about objects because you gave a couple of examples when we talked and that really was very helpful to me to understand and what these objects might be so for example in Phonale this young woman we say her object was a tree and so we used a tree in the performance and it was because growing up she would always go to this one tree when she wasn't feeling good when she got yelled at or was feeling years old this is in the refugee camp so that was one of the objects one of the most pivotal objects I would say in Phonale was the water tap because Gita from Nepal identified the water tap as the place where if she could go back to anywhere any one spot in Nepal it would be the water tap because the whole community gathered twice a day to get water and they would get on line long lines and argue about who was first and who was cheating to skip ahead and it was where they would get the news of who was leaving for America or Australia getting married or who had died and people would do each other's hair and the kids would be running around and playing and the old people would be taking care of people and the water tap became the metaphor for the whole piece in that that place connected the group the community and so we acknowledged at that moment that everyone who was coming to Springfield and the countries lost that and couldn't find it in Springfield they couldn't find a water tap because especially if you're coming from a warm country in the winter in Springfield nobody goes out and they're used to living with their neighbors and seeing each other every day on either side of Springfield or maybe in Australia or in Canada so for us we acknowledged that first generation was becoming a water tap and that was something that is lost in the transition from other communities and cultures but we also then began to explore water as a theme and so later on in the piece when we were looking for part of Weize's story which was that when she came to this country at 10 nobody told her that there was a different language there was such a thing as a different language she went to school there was no translator no grammar until one teacher began to sit down with her and somehow I mean it almost sounded like a Helen Keller situation because no so in our piece there's this one scene towards the end where she's running around looking for water and everyone in the it's like a tower of babble everyone in the community is speaking a different language and nobody can understand her they pull these objects throughout that show and it branches off into different stories but everybody is on the same journey and they're moving with their objects in the piece what observations have you gleaned about their experience of otherness how does otherness make them feel that kind of thing what are you observing from them about what's going on with them because of otherness it's really well in Springfield we have bigger populations of people from around the world so in Springfield Springfield was you know primarily African American and so and not good relationships between those groups in fact I think it was in the New York Times a couple years ago that it was so there's a lot of beef in Springfield on all levels politics which principals can control a particular school district it's really sad and then of course those are the models that the young people go by so when the Nepali youth start coming into the city or the Guatemalan African youth from Somalia, Sudan Burundi, Tanzania they're really isolated so they experience a tremendous amount of isolation or otherness in the sense, especially with the African kids because the African American youth very often want to separate themselves from them and say you're a lot of slurs on the other end of things a lot of the African kids are like well I'm not African American you know I have a much better ancestry than you I have an intact family you know there's a lot of observation on the part of the refugee and immigrant kids about what's going on in the people living in poverty in Springfield so there's a lot of Nepali kids everyone thinks they're Latino so it's an ongoing it's an ongoing situation and then when we come to first generation we have an opening ritual which is a welcome that is so we've made sure that in terms of creating a space where with some rebalancing as we say of the priorities thank you one of the things that has struck me a very simple medium-warm material can be used to make a very powerful artistic statement when we talked with the Mexican artists they work in paper because it's a common everyday material and they hope that they can put it in their voice very powerful on the same panel we had an activist who helps migrants who have come over and are struggling to get across the desert and you know the most help them survive I began thinking of her as an artist who works in water to a certain extent and we heard from the Cubans today how they fashioned one 20-foot skein of blue fabric and Kimmy you work in sand another very basic elemental medium which is then used to create some very powerful and beautiful images and could you tell me about it and the power of the impermanence I think and how that's used in bands so talk a little bit about that I'm not inventing anything new I did see there are some really amazing sand artists if you ever look up Ukraine's Got Talent I've seen other people do it and a few years ago I was commissioned by the Southern Foodways Alliance which is an amazing organization by the way to do a piece celebrating pit masters and the motion of salting a pig I thought looked a lot like sand and so we created a light box and a sand table and I was doing that with a partner but I found that I really liked the meeting again in another piece and then for this piece I thought it fit just because the sand and also because it relates to the land really fitting I think I've done a few workshops it's a great medium I think it encourages people to experiment because it's not permanent and I think it's really forgiving in that app to try things and it's more it's less about them creating pretty pictures and more about them being able to tell stories medium to use what kind of feedback do you hope to get from them or what they might carry with them afterward it's been interesting doing the piece for different people some people relate more to the Japanese-American aspect of it and I think having people be able to react and having them be able to relate emotionally to it or just learn the history that's also been an important thing I think some people have come from in Arkansas and some people were saying they never learned this in school so they told the story so that people know what happened Is there been a particularly moving particular interaction that you could share a story that maybe someone brought to you it was great doing the show for my dad's colleagues we did it up at Brandeis University so there were people in the audience from people that my dad had worked with in the past and they were able to see it and my dad's colleagues were able to see it and there are some photos in the piece of those people or their voices are actually in the piece so it was nice to do it for people who had a relationship to my father and so I think they had a unique experience with the piece or how does it make you feel when you encounter people who had never heard of this chapter in history I guess I'm just glad that I'm able to tell this story but yeah I wish it were a little bit more well known I guess a little bit surprised and yeah Thank you Julie, talk about outcomes that might come from the work that you do what do you hope your groups accomplish and both as groups and audiences I think in some ways those are equal partners but especially the first generation vision or mission the performing piece and the equal weight as the social justice piece and for us social justice is not just in the themes that we're asking people to think about but it's also in creating a space a group in Springfield of peer mentors who are mentors to other youth and also within their communities and communities work together and then sometimes they work at odds with each other so we're always doing leadership trainings our youth are learning how to facilitate circles and they are taking workshops around many social justice issues and hoping to facilitate that and pass it on so there's that piece but at the same time when we perform school recitals we get access to college campuses and theater festivals and then our youth are on college campuses and they start to feel like they belong there and that's incredible Sabrina Hamilton has we're partners now with her we live on Amherst college campus when we do that for a week some of them never leave Springfield otherwise or some of them never leave since they got there let's say we're invited to perform at another festival in Albuquerque and we perform at Hampshire and UMass so they get to know the local colleges we just had a young woman who to be raised by family had an extremely traumatic life came back to the states and lived in Springfield she just got a full scholarship to Hampshire college and she had already social justice to me it really does social justice isn't just issues and theoretical it's on the ground change yeah but in terms of audiences and performances the most powerful the stories and realize people say why don't you tell your story to me about your ancestry your family experience your history and that's what I want people to get you know this is I think an earlier chapter for you but could you tell us about your work in prisons which I think in some ways was a seed of this so that was like the unknown to me it was like the trigger I don't have a formal theater background I have a physical theater and then I went to school for visual art and when I was living in Connecticut I was hired to teach a drawing and painting class in a prison in a big prison that I walked into that prison I think a little switch was flipped in my mind and I just saw concentration camp couldn't help it and without knowing it I had a full career in 1990s I just got it on a gut level but then of course I had to educate myself as to what was really going on that drawing and painting class which I was paid to do for about 20 weeks ended up evolving into a theater project which I worked on with a friend called boom theater which went for about four years in Carl Robinson in field Connecticut and we kind of invented together a process to create and a lot of the guys there were locked up for like 30 years sentenced it was a real collaboration that went on for quite a few years and then I continued to do that in the Hampshire jail and we started not with ELSA so that work I think understanding the potential for creating community through artistic process and also creating opportunity for stories to be told that work that early work is what really informed me about that and also understanding the connection slowly but surely of my own ancestry I think now I'm almost in a studying diaspora you know I'm just there's something so powerful for me meeting someone who's just arrived in the United States and now it's on the news to get in and not being allowed to leave but when first generation started in 2008 I remember feeling so honored to witness a family's six months or a year in this country because I was getting fresh eyes in the United States and the way someone has to deal with the systems here and navigate and how they're perceived and seen in first generation there's a lot of really interesting conversation about why the African-American students or young people are poly kids and the Sudanese kids even though you know or two centuries or whatever it is into their diaspora and didn't come have to but when Africans came here as slaves it was a much worse case scenario and continued to be so the Nepali families or the Sudanese families are all the education is just like rolling forward people own a car within a year you know they're all enrolled in community college or four-year colleges and it makes for really interesting conversations can you can you expand a little we haven't explored dementia in your work and just what that and it's importance to the work so my dad's form of dementia has been so much that he's forgetting names and things although that's out of it it's been that he's had he has a lot of delusions about things that are happening it's confusion about what's real and what's not real has been very interesting and frightening but yeah especially with the piece it was really interesting he kept thinking or radio program or a TV program they were all about him and he didn't know why but he would think oh it's it's happening next week or it's you know it's on Broadway but I yeah so it was you know thinking about him and his childhood sort of escaping into the movies and so this seemed in a way like his way of escaping so yeah the confusion aspect I think was interesting in the way that the sand is able to transform from one image to another I think kind of reflects that so yeah and also I guess this is sort of a TV as a young kid in the piece I show this Three Stooges clip but thinking that there were these really racist things going on that he was probably seeing he talks about how he would watch these westerns like you know cowboys and Indians identifying as the cowboy or the Indian so yeah all of those things interesting I think now might be a good time to open up to some questions so I'd be happy to entertain some questions anybody it was very interesting to hear about this engagement of these young people to come to their own sense of themselves and wholeness their healing, their empowerment but how does this first generation project so tell that part of the story well it's never enough you know like we just I have so many ideas what I'd like to do what we do do is family events at least four or five times a year where these are different from our performance and we invite families to come and maybe they have a story that they want to tell or something that they want to share and also we have other performers that come and first gen youth perform so that's one way that people participate they do get to know me because I often interview parents and grandparents as part of the artistic process or Weezy's mom's voice is singing one of our shows so they know us as like a safe place where their kids can go because they we go away sometimes for three or four days or a week to go and it's the only time that this is with us sometimes so it's a huge trust thing that develops I think they see us as a resource for their children they recognize that we're going to help them get to college they recognize that we can be an advocate for them if they're having trouble with the food stamp thing or a court date we're a resource in that sense medical like doctor's appointments navigating mass health Medicare and Medicaid it's just stop shopping or we can refer people so they definitely see us as a resource and it's a rare thing you have to spend two hours on hold but with us it's by cell phone it's an extended family what we would like to do more of is some support communities to establish their cultural tradition some Burundi dancers to rehearse in our space we collaborated for the first this is where I got all choked up because our first generation of a first generation identity the challenge is a lot of them end up in school and want to be American and throw it all out the window and that really is a tremendous loss we know what it means to suddenly be white and not have any culture it's a loss so first generation started to say how can you be a young person be an ancestry, your culture, your language so when the Nepali community wanted to have a cultural festival we helped them rent the space rent the school auditorium deal with printing flyers stuff that they didn't know how to do yet so that's a way I would want to do so much more of that so those little things there's one of the Ethiopian families the woman wants to open someone does hair braiding we made hair braiding business cards it's kind of like all over the place little bit here, little bit there I was interested in the combination of what seemed to be a really serious process at the same time and I wondered if you could say something about that yes I never really thought of the pieces spontaneous, well I guess because I'm drawing live in the sense that drawing is always detours I mean I've practiced those drawings over and over and over so the marks that I'm making are pretty choreographed but which which I think is necessary and as much as I do practice it I'm not a machine so it does change from performance to performance and again this isn't quite relating to your question but I was really struck by this I don't know if you listen to a radio I did a piece about memory I think I guess a year and a half or two years ago where they were talking about but where they were actually able to it's a little complicated but this idea of memory this idea that storytelling and me doing these drawings for you is a way of you guys a creative thing I'm kind of answering your question yes I'm wondering if you can project yourself in the future and just imagine a time when you're done performing then or that you're taking a pause and then thinking of the sand that's been holding your family's stories I'm not that precious with it I mean it's a material and I think a lot of being able to let go of things and let go of the drawings and so I think it is just sand that I bought at Home Depot whether I I'm going to make a video tape of the show and I think actually while there is a video just for archival purposes I don't really want there to be a video of the piece that I share with people because I think it's important that it's something that is questions for you I assume part of your otherness quandary has to do with wanting people to understand something about your culture, your father the determined camp you're obviously not first generation I was duly spoken about but I just wonder along the way in your life with your family as one of the places Japanese heritage you have whether there's places within your family or educational or people you meet where do you want to hold on to kind of goes all over the place you'll find a way culture has been really important to me in my life that's been a big issue for me but yeah we used to go school and middle school but nostalgia for me so this do memories but I don't belong there and so that's growing up answering your question doing so well economically Japanese people were coming and buying so much real estate and you'd watch movies from that time period and they were the Japanese tourists and I think when I was growing up I really actually cameras and taking pictures with cameras has always been has a lot of weight to it which I think other people don't so yeah it's yeah Japan's very much a part of my life but at the same time it's that aspect in which something very specific socially specific like dementia or like isolation because of two languages not being able to share words becomes metaphorical for culture as a whole right and that dementia is is a concrete in your family in your father and potential dementia of forgetting where we come from forgetting our history not as individuals but as as an entire culture even if we have the same words are we not speaking different languages and what is lost by that and so my question is it work recognizes the breath of those metaphors or is that your work or is that our work is the audience to see that can you repeat the question yeah interesting I want the piece to work on those much larger levels I guess also in terms of dementia I because it's taking someone that is really familiar and making them strange to you and making you strange to them and so in a way I think it's a way for people to understand otherness actually but yeah it's and when we met you talked about Eric and his this piece Bend and I was feeling a little stuck it was feeling a little bit too much like I was just relating things that were happening and I was so struck by these very concrete historical things that had happened these genocides and yet he was able to use this really poetic language and I thought you know that's what I needed I needed I've got to tell it the way it happens the way it was but you know actually if you do open it up to this poetic language you're opening up the experience to people in a very different way and I think a way where some people can enter it you know where they might I haven't so much thought about the dementia I saw your show your puppet show but I haven't like the blurb about funale one of the things that I tried to capture was the idea that experiences and if we then tell the story or put them in they become crystallized in a certain way whether the experience is good or bad it takes on a like these memories that you tell it as a story I think we carry our memories with us and they they inform us in terms of who they are they can be or they can be sources of strength and fuel us and empower us for me it's really you can change the way that memory informs our life is an interpretation in and of itself right the work that I might touching upon all these things but it's really it the I don't know what I'm trying to say I think it's to make their own story about it or get what they get about it is that I don't know that didn't really answer your question every working with them and then re-depositing them having been changed is not only a change that happens to the memory but it's also a change that happens within the person as the memory and the for me the interest also on the individual level grows in their vocation and vision you as a people bring forth things that have been very hidden, covered with dust and they inform everyone who hears them everyone who shares them and that becomes a collective memory and the talent of that collective memory is it can be a very healing and very magic and it doesn't always work but I'm hearing connections between the two of you share I think elephants also do it I have to say for those of us who love elephants I was just talking about that but they live longer fruit flies do not do it they live the lives are too short but we're supposed to be doing it that's our job so in some ways losing it not so much to let it go but to have worked it through so that it is like the sand and then the sand is just collectively I just came back from Rwanda and was just learning about reconciliation a Jewish person who doesn't walk around hearing about the Holocaust on a daily basis here in the US but it's the lens that's really comfortable for me I learned so much and you couldn't have a single conversation with someone without the reconciliation and the genocide being part of it all their family work all their community work is all inclusive including peace work and reconciliation and it's I think we have time maybe for one more question and if I don't can you share some more experiences of the people that actually have gone through your program and just how you've seen things change for them or for the people that witnessed it um hmm I've been watching people grow up you know for a few a couple interactions that I can think of are like in hunger who was in Funale who never really had his father or his mother growing up um it was a very scary piece for him to share it was a very raw cry and he actually would like audience some men would come up to him and say thank you because I've never talked about how much I wanted to be held by my father I was never able to say that but he was not alone and it was also a great moment for the audience you know to connect with it like that well in particular Jamari who in ripple effect this other piece that we did he told the story of losing friends who became child soldiers and by the army that enticed them by offering them money and then would tell them to shoot someone who had a bag over their head and their parents and from that point on the child has nothing to lose and they become that's how they train their child soldiers in one of their ways and Jamari told that story and we had really interesting conversations in the group about what forms of gang because we've had gang members in first gen as well and what are the moments in their lives where they felt they had nothing to lose so these had one crazy situation where there was one guy who came into the ensemble and he was he had been incarcerated he was young he was like 17 and he had kind of one foot in each world and he came up to co with us spent four days and then he said he had to go back to Springfield to Springfield we got together and it turned out that he had realized that he had robbed one of our members and so there was this you know this guy said to this guy I realized when you were talking about getting robbed because Bush had been robbed and it had been a very traumatic experience and he was still recovering from it he had been in a car accident and been robbed in one year so he was talking about that the other guy had realized it so he came to him and he was like I love you guys I've never had to confront one of my victims and we were all crying so that's another example I guess I want to thank all of you for being so engaged and being here well thank you