So everybody, it is so great to be with you. My name is Kathy Edwards, and I am the director of the New England Foundation for the Arts. Thank you. So yeah, I'm the director of the New England Foundation for the Arts, which we all call NIFA. So for those of you who, you know, keep getting confused when you hear NIFA, that's the short version for us here in New England. And with me here from NIFA is a great team, including Jane Preston, who you're gonna hear from in a few minutes. But our partners in hosting this convening are the incredibly brilliant folks at HowlRound. And it is my pleasure to turn things over to David Dower on behalf of team HowlRound. I love the applause, let's keep, let's, I'll hand it to someone else and we'll applaud them. Good morning. Okay, that's gonna be a convention, so good morning. There we go, that's where you are. I am going to read the land acknowledgement this morning before we begin. And I would like to acknowledge the traditional owners of the land on which this event is taking place. The Massachusetts people, the Massachusetts and Wampanoag people, and pay my respect to their elders, past and present. Thank you, David. A few words about the New England Foundation for the Arts. NIFA invests in the arts to enrich communities. And we accomplish that in several ways. We grant funds to artists and arts organizations to make work and bring that work to communities here in New England and around the United States. We connect our constituents to knowledge, learning, networks and relationships that allow them to do their work better. And we conduct research into the creative sector and its impact. We do that in partnership with the National Endowment for the Arts and with the six state arts agencies in New England and also with private foundations and individual donors. As part of our grant making portfolio over the past five years, NIFA has made a series of grants to a fantastic group of artists who made work that told powerful and moving, even brilliant stories about the military experience. And they developed those stories in really interesting, genuine collaboration with members of the military communities that they chose to focus on. And we wanted to gather them and their peers because there are a number of brilliant artists working in this space and their partners from military communities, from healthcare communities and some of us in the kind of funding and philanthropic sector who really care and wanna learn from this work. To be here for this convening. So I'm so thrilled to be here with those artists, with other artists, with other experts folks with really informed perspectives and all of you. And now I'm gonna turn things over to P. Carl to represent HowlRound again. We're doing the mic handoff.  So yeah. It's an incredible staff of people and Jamie Galoon on our team who's sitting there has been incredible as you know from putting this convening together. I'm gonna just say a couple words about HowlRound. HowlRound is primarily an online resource. We connect people through nuanced, complex, controversial dialogue conversation around the globe. And then sometimes we bring people together in a convening setting like we're doing here to talk about really interesting and provocative challenges in the theater field and the performance field. So that's why we partnered with Nifa on this event. And then just one other thing to say, which is in case you aren't 100% clear where you are, you are at Emerson College in Boston. Sometimes people don't know that. You're at Emerson College in Boston. It's a downtown vertical campus. It's a kind of downtown off the Boston Common here. And Emerson College has a thing called the Office of the Arts. And HowlRound lives inside the Office of the Arts and the Office of the Arts manages all these beautiful theater spaces, some of which you will see this weekend. So that's where you are. And next off, back to Kathy. This is the last you will hear from me. But before we continue and I turn things over to others, we thought it would be a good idea to formally share some of our top desired outcomes for this time together in the next few days. We hope to leave with a sense of community amongst ourselves as a cohort with a shared understanding of why participants come to this work and of how to build trust between artists, arts presenters, healthcare providers and military communities who don't often partner together. And we hope to develop clarity on best practices for practitioners working in this field so that those practices can be shared more widely after this convening and so that they can inform future investments in this work. And I would say underlying the whole thing, we really had three key questions. And I'm gonna give a shout out to Jeremy Nobel who kind of informed these when he led a panel for us a number of months ago. What makes this work important? What makes this work successful? And what can make this work even better? Thank you. So I just wanted to talk a little bit about the form that a lot of these conversations are going to be taking and our role, all of us in the room about around this conversation. Let me start with our role. You know, we do these two or three a year how around does these convenings? And every time there's a convening, there are more people in the practice who are left out than are in the room. And so we always start with a reminder that you're not anointed necessarily, you're delegates to a larger field of practice that is attempting to interrogate those questions that Kathy just raised. And so if you could keep that in mind as you move through the weekend, you are both contributing from your experience and then hopefully going back into the field and disseminating what's discussed here and during the conversation, most of the conversations will be streamed and there are people who will be watching live who consider themselves part of the field of practice, also part of the conversation. We may actually hear from some of them via Twitter during the conversation at various points and then it will be archived for anybody who wasn't able to watch it live, they'll be able to engage it there. And so if you could just sort of keep in mind this notion of yourself as a delegate, it has as much to do with what you've learned bringing into the whole conversation and less to be about let's look at my work right now or let's look at my opinions right now. It's a subtle shift that helps with the fishbowl conversations. Some of you have done these with HowlRound before. Some of you have done them in other circumstances and so I wanted to just describe quickly how these fishbowl conversations work as it relates to the way HowlRound works because it's slightly different I think than some of the more standard processes. It'll look familiar. There will be a center table and there will be a listening circle on the outside of the table. What I'm hoping and Karl and I will be facilitating them, what we're hoping in the conversation is that the people at the table will speak to each other, that the conversation becomes informal around a table and that the people on the listening circle are actively listening. You're gathering for the field, the conversation that's taking place in the center. At the center of the table you don't have to be speaking for anybody other than yourself. We on the listening circle are actively listening for the learning and there will be a moment where the whole circle reflects back. This actually comes from work that David Bohm did. I don't know how many of you ever read or study David Bohm's work but and I've adapted it based on some experiences that I had in the Southwest with the Seed Institute if anybody's ever been to any of these conversations. There's actually an ongoing conversation between native elders and Western scientists trying to map a language bridge between native ways of knowing and Western science and it's science broadly. And part of the philosophy of this particular conversation and the way we manage it is that the dialogue actually exists. There's a field of practice, there's a conversation going on and our circle is about bringing what's needed to be said into the center of the room and that if anything's missed that didn't get to the table the listening circle will pick it up. So you're really being asked to listen for what's not here, what's missing in this conversation thus far. What's my contribution to this that only I have that if I sit here quietly, won't get in the room but if it's already in the room I don't need to say it again. So that's kind of the mindset of the experience of these official settings. So there won't be tapping in and out. Again, you're not anointed necessarily you're not the biggest expert in the room because you're in the center. You're actually an expert on equal footing with everybody else in the room around this field of practice and you have information that needs to come into the room in order for us to achieve the goals that Kathy had laid out. So that's just a little context. I'm happy to talk more about it. Once it's going you'll get a better sense of whether or not we're actually doing that and I'm happy to talk more about that as we're in it. So Jane. Thanks, David. I'm Jane Preston from NIFA. And good afternoon everyone. I can't tell you how excited I am to actually be in this room with all of you because you have all been part of the planning for today and tomorrow and Sunday. It has been a truly collaborative effort and I'm just so grateful to every one of you and for the people that I've met and I feel as if Jamie and I really already know all of you and I think if we were to put out our intention and our hope for the few days is that all of you will feel the same way about everyone in the room and just have these relationships that I know we'll just build and build. From the very beginning of the National Theater Project in 2010 we started to support in the very first cohort work that artists were doing with military and veterans communities and that is built with other grants in NTP and also over the same period of time the grants through the National Dance Project and I want to acknowledge Kita Sullivan who is NIFA's director of theater and Sarah Nash who is NIFA's director of dance because they were instrumental in the first visioning of bringing these artists whom we've supported together and those artists, the lead artists who are Liz Lerman, KJ Sanchez, Linda Parris Bailey, Andrea Assef, Ann Hamburger and Judith Smith really became the core of the planning and we're talking almost two years ago to start to work toward this day and that core group identified their collaborators, other artists whom they respected who were doing this work and so the invitation list and the topics were all built again by all of you in this room so that's why we're I think so ready to have these conversations over the next few days. The artists, the NDP and NTP supported artists have prepared kind of live case studies for us to have and to experience the art throughout the convening and those are interspersed with the fish bowls or the discussions that David just outlined to take a really deep dive into the various perspectives that we have here and then to bring them all together and on Sunday morning we're gonna do some reflection about what are the key things that you're taking away from these discussions and that you will bring into your work going forward. So we really view this as a beginning. We have a wonderful documenter in the room who is way back there, Maureen White, whom you will see throughout the days. Maureen will report back on the beginnings of what we learned and found through the convening and we will then as I said start to distribute that and start to build upon it. None of this of course would be possible without funding support and as I was saying about two years ago that's where we, Sarah and Keita particular were taking the lead on a proposal to the Doris Duke Charitable Foundation Fund for National Projects and Duke's funding is so important to NEPA in so many different ways but certainly for these few days and additional support from our great friends at the Andrew W. Mellon Foundation and at the National Endowment for the Arts. So welcome, welcome and we'll get to work pretty soon. I'm gonna turn it over to Jamie. Because she's been, this has been a wonderful collaboration for me so I so appreciate Jamie's work. The feeling is mutual. Welcome, welcome everyone once more. So I am Jamie Galoon. I'm the Senior Creative Producer for HowlRound for the purposes of this weekend. I am your logistical any kind of question person so you're gonna be hearing different housekeeping items from me throughout the weekend. This is one of those times. Anyone who is on HowlRound staff or NEPA staff has some handy dandy tape on their name tag to make it pop a little bit. Just know that if you have a question about Boston or where to find a pharmacy or what restaurant is good we are good people to ask those kind of questions too. Also really important to note we all need to use microphones when we're speaking in this room and there's a couple reasons for that. One, we want everyone to hear what is being said but two, as previously mentioned we are live streaming a lot of these conversations and it's very important for the sound of that broadcast that everybody uses the microphones. We are also going to encourage you to say your name before you speak. There's a lot of us here and while we have name tags it's hard to read from across the room. We are also live captioning the conversations in these rooms so there is somebody watching the video in Texas transcribing what is being said and if we say our names it's easier for them to be able to obviously type along more accurately. I also want to remind everyone that we have our journal series on HowlRound is not over yet. We have a piece today by Nolan Bivens and a piece tomorrow by Roman Baca and so please keep reading along as we finish out the wonderful week. And oh, last but not least I just wanted to give an opportunity for folks who are planning to go to the Longwood Symphony Orchestra Concert to raise their hands or just indicate if that's part of your plan so that folks can look around and see each other and in case you want to go together tomorrow. Can you please raise your hand if that's something that you're interested in or have thought about? Amazing! I know you're not the only one because I didn't get, oh, Michelle is going, definitely. And maybe this provides the opportunity for other folks to think about if they want to go and take advantage of the generous half-off discount that was provided to us. Okay, great, well that is all from me for now. We are going to transition into our introduction session at 12.45, it is now 12.37. If you have not written your 55 words story, you have seven minutes to write it and put it in this basket before we get going. Thanks so much, everyone. Welcome to Boston. So excited you're here. This is your two-minute warning, restrooms or coffee or story. This is your two-minute warning and then we will begin. So we're going to go ahead and begin. I guess we begin. We're going to go ahead and start this part. So many of you have done this particular set of exercises that we're beginning with. Jacqueline was quite a proponent. No, no, I'm just kidding, see if you're listening. We're going to do a little bit of a cultural mapping exercise and one of the reasons that I wanted to spend time on this and that we put it at the top of the agenda. It's unusual for us, I don't know if it is for you guys, but it's unusual for us that we would have such diverse communities in terms of practice in a single conversation. Normally HowlRound is focused very directly on the theater field or performance field and in this case we've got people from multiple walks of this field of practice. And so I wanted an opportunity for you guys to meet each other in that way. And then also there are lots of us in the room who have different expertise and some of it is singular and some of it is part of a larger conversation. And there's also every one of us has big gaps for what this conversation is. And so we want to enter the vulnerability part of it. And so part of this exercise is to sort of point out that we're all equally vulnerable in different directions in terms of not being an expert in a certain part of the topic. Okay, so it's going to involve moving about the room and it'll be a little chaotic. And every time when you get to where you're going, if you would take the time it's taking for the rest of the room to settle down, to just introduce, just share your name with each other, just your name you don't need at any affiliation. Some affiliation will be implied by where you wind up. We're going to use different parts of the room so you're going to be literally walking from one place to another depending on which part of the map you're in. Okay, you ready for the walking? All right, so I'm going to begin. This is a personal relationship to the military is the first question. I can't see you and the paper with my glasses on so I'm going to do this and now I can't see you. So I'm counting it. I shouldn't have said anything. All right, so we're going to go to four different groups. And then if there's no group for you that I've named then you'll stand here in the center, okay? Hopefully that will be empty but if not it'll be an interesting conversation starter. Okay, so if you are current active military, why don't you come stand here? If you are a veteran, not currently active, stand here. If you have an immediate family member in the military, stand there behind that row of seats and if you have no direct personal relationship to the military currently, stand in that corner behind those chairs. So in the time it takes to get there, give each other your first names. Oh, well, Jean, I've talked about it. That's it. Okay, you can call that a direct personal relationship. So that would be immediate family member in the military. There's active duty. Yes, so current active duty. Veteran, immediate family member in the military. Well, like Bill's father is deceased so he's going to that place but he's not current or no direct current relationship with the military. Personal relationship, not professional. Any relatives or you yourself? And I'll do this. I'm asking first, that's why that's turning up. Thank you. All right, so I'm gonna just do a little bit of noting this map, okay? So there are a couple of things. We have two active duty. I'm surprised by that. Thank you for your service. I thought there might be more. And this is veterans. Thank you for your service. We had a lot of confusion about, we had a lot of confusion for this group over here which was immediate family member in the military, correct? Or no direct relationship. Immediate family member, yeah. Immediate family member. And then no direct personal relationship to the military. And at this moment today, immediate family. Yeah, so yeah, spouse, children, parents. Let's just do that. Spouse, children, parents, sibling. Spouse, children, parents, sibling. Whoa, the group changed. Sorry, currently. Yeah, and one of the other questions that came up which I didn't anticipate but I should have, this is, I should have highlighted it's personal, not professional. Many of you have a professional relationship to the military. That's partly why we're here. But what's your personal relationship? That, and so family relationships, immediate family, or parents, siblings, children. Currently, today, right now. Don't get, the main thing is for you to meet people you didn't know when you came in. So take all your questions, turn them to each other and say hello, all right? It's not a debate and there's no grades. All right, if I could get your attention one more time we're gonna move again, we're gonna move again. Make your best guess and if you really can't go anywhere stand here in the center, okay? So here is your personal experience of making art. Your personal experience of making art. So current active practitioners, currently making art, here, have practiced professionally but not currently, you go here. One is currently an active professional practitioner, that's here. Practice professionally but not currently, you don't have to move until you've heard all the choices. It might speed things up. Currently an active professional practitioner over here of the arts. In the arts, have practiced professionally but not currently are going here. Have an artistic practice or hobby but I don't pursue it professionally over there. Had past tense, an artistic practice or hobby but I gave it up over there. No direct experience of making art. No direct experience of making art will be right here. And again, meet the people you arrived to and it's about understanding each other's areas of expertise and holes in expertise. Got a lot of practitioners in the room. We got some, say hello. Okay, I'm gonna move you on again. I'm gonna move you on again. Take note of who you were in that circle with. Did you get where? Okay, good. Yeah, there are some people who sit in many communities. This is a question about your professional role that you're in today at this convening. Your professional role today at this convening. So if you are a military professional or veteran, go here. If you are an artist, go here since there's so many of you are already there. Today in your professional role in this convening, if you're here as an artist, if you're here as a military professional, if you're here as a presenter, go there. And if you're here as a funder, go there. I would say funders and service organizations there. Yeah, that's where you would be, yeah. Direct service funders that corner. Presenters that corner. Yes. And say hello, do you know everybody in it already? Good, so introduce yourself here. Are you stuck? Because reporter, service organization. Yeah, I think service organization there. And your role? Yes. Great, can you do me a favor? Would you go just say your name in each circle? I would let, I'll be, when you're done with that one. Find someone you don't know yet and say hello. It's interesting how many people had to be in more than one of these circles today. And are you guys in this circle? Oh yes. Just making sure I didn't have another one by mistake. Okay, all right, here comes the next thing. This is a different exercise, a little more complicated.  All right, so you see the circle that you're standing in currently. And even if you have more than one circle that you stood in, work from the one you're in currently. It's your professional role. How long have you been in it? Just put that number in your head. How long have you been in the role that you're in now? You don't have to necessarily say it out loud to the room, but you're gonna, it's gonna be revealed in a moment. Okay, so we're gonna use this side of the room and we're gonna make the circle here. It's gonna be a circle that goes down this aisle, that aisle and somehow circles in this open space, okay? So let's, your, can we just organize ourselves in relation to Judy in a circle here based on how long you've been in your role? So Judy, what number is this? 30. So this is 30 over here and it's gonna go up clockwise. All right, so it's gonna go up clockwise. So we're at 30, we're gonna be at one over there and just organize yourselves. You're gonna have to talk to each other to do it. It's sort of like boarding at Southwest. What number do you have? So it's like a clock. In the job, in the job, in the job. Yeah, so zero to one is up there and it goes up to 30 over here and 30 and beyond. And if it needs to spread back this way, it can spread back this way. So I'm gonna say it again. In the job, in the job, in the job. So this is over 30 and that's less than 30. All right, so let's pull this, let's pull this part of the circle closer around cause we're gonna make a whole circle. So let's, let's pull it back. You're 55? Great. And you, what are you at? One, good, okay. So Liz, you're probably, you're probably here in the job that you're in, in this room today. What, when I said your professional role in the circle you were standing in. So yeah, you were in the presenter's circle, so your role in that, your time in that role. Oh, I'm a presenter at different places. Yeah. How many years have you been a presenter? Pick your choice, whichever you'd rather do.  All right, so let's pull this. So let's go ahead and close up the circle. So are you at like zero, one? Early, yeah. So let's close up the circle. Close up the circle. Can you guys close up the circle so you're in single file shoulder to shoulder there? Close up the circle. There you go, there you go. Great. There we go. So I believe Liz made a bold statement and Liz said she was the longest. Ah, I see, all right.  44. 42. So 44, 42, she wants 50, give her 50. Again, this is all self-reporting. No one's keeping score here, and you? I wanna say two to three. Two to three? Where's two to three? Welcome, you're two to three. Okay, so take a look at who you're standing with. And is there anybody who's on the circle who's saying, yeah, I'm standing someplace, but that doesn't represent my time in this work. Raise your hand if you're standing somewhere but have much different experience of the amount of time that you've spent in the work. Okay, so just shout out the amount of time you've spent in the work. 15 years, 24, seven years. Who else had their hand up that it's really? Four years, yeah. Margaret, 30, 40, and where are you standing? 20 something there. Yeah, well, in this job, you can go wherever you want. Yeah, yeah. Who else feels really misrepresented by where you're standing? Yes, Rob? Okay, so there's a 30 there too. And yes, there, okay. You feel misrepresented by where you're standing too? Yeah, say it, number, 28, great. So we have jobs and we have time in the field. We have both things. They're separate things and some of us have spent a lot more time in the field than in our current job. And some of us have been in the job the whole time. Yeah? Yeah. All right, from here, I think we'll just deal with, kind of, raise your hands for these things if you can. And is that all right for everybody? All right, so here we go. Raise your hands if you've never been on the stage performing and take a look. This is all about how many gaps and expertise there are in the room. Raise your hand if you've never been on a military base. Never been on a military base. That you remember. Were you? Raise your hand if you've never been in a VA hospital. If you've never entered it, entered a building, visitor or for care or as a professional.  Raise your hand if you've never been to Iraq or Afghanistan. Okay, raise your hand if you've never written a grant. A lot of fundraisers in the room. Raise your hand. Raise your hand if you live in the city, town, or general area where you were born. If you currently live in the same general area where you were born. Raise your hand if you've ever worked outside the United States. Worked outside the United States. That could even mean on tour. Raise your hand if you've worked, okay, put your hands back up if you've worked outside the United States. If you've worked outside the United States in more than two other countries besides the United States. More than three countries. I'm sorry. Interesting, volunteer, go ahead if you've volunteered and you've been in other countries volunteering, yes. If you've, so more than three, more than five, more than 10, more than 15, who's left? Okay, Margaret, how many countries have you worked in? Ha ha ha, Keith, how many have you been in? Okay, yeah, great. And then now raise your hand if you've never left the United States. Great. So that whole thing was just about getting an understanding of the range of experience in the room. And hopefully you found yourself in the majority on some things and in the minority on other things and you can appreciate both sides of that equation. Where you are vulnerable, others are vulnerable. And today is about moving out of that, moving from that space of vulnerability to sharing what your expertise is in it, okay? So that's what we're gonna do. I'm gonna start now with this experience of the stories. So has everybody turned in their story? Yes, do you have it? It goes in the basket. If you haven't turned it in, it goes in the basket. So we're gonna start this process. So why don't you guys go ahead and take a seat while we get this started? Take your seats. Oh. That's quite right, no problem. Yeah, good. Okay. So now we're gonna get this, we're gonna kick this off. And we did a little bit of cheating on the exercise. But essentially the way this exercise is going to run is we're going to read a story. Someone's going to read a story. I'll start it. The person whose story that is will step up, introduce themselves, just your name and your affiliation, and then pick another story out of the basket, read that story. And the person whose story that is steps up, says their name and their affiliation, picks the next story, reads it. The person whose story just got read, steps up, says their name and affiliation and reads it, okay? Clear enough? Here we go, let's try it. So I have the first story. Julian, beloved father to me, World War II Navy Cross, USS Savannah, bombed September 11th, 1943. You pulled shipmates from burning turrets, brilliant literary editor, teller of stories, what went untold, unknown, what if you had written? Age 90, hospice nurse saw PTSD, asked you about nightmares. You said you'd never dreamed since the war. Then when you're done, you put it here. I just blew it. Jane Preston, Nepha, nothing on stage, but chairs and a few lights. Five veterans shared stories, interwoven monologues of wars unknown to me beyond protests and a TV screen. They played themselves and it was powerful. After, we all talked to each other. Some people cried. I felt the distance between us narrow. It moved me beyond words. Jamie Gleam, howl round? I remember him as a baby, banging a wooden spoon against the carpet. Now wearing boots and khakis, he is disassembling and cleaning his rifle against that same carpet on leave for the weekend before his wedding. My nephew says, in the English he does not use during his Israeli army conscription, startling, isn't it? Deborah Cash, Boston Dance Alliance. Texted photo of my daughter and I on the Mekong River to Paul Chudy, I hope I got that right, veteran who participated in healing wars. He had told me the first thing he did in Vietnam was thrust his hand in boiling water so he wouldn't have to carry a gun. The message reply, Mekong, my favorite place in the world. I'm Liz Lerman, a choreographer and at the Institute Professor at Herberger Institute for Design and the Arts at ASU. So tell me about yourself, mama. I need to trust you. I am granddaughter of a five-star great-grandmother. I am honored to work with you and the brave men and women that served our country and keeping our nation safe. My experience with members of the armed services has been humbling, inspirational and inspiring. Thank you. I'm Dr. Michelle Steffanelli from the VA Healthcare System in Porto Vaco, Washington. There was a time I thought the military and art would oppose forces. Art is civil and social and the man said, fighting for the one's country can round out be unfit, it's citizen. I have swag, Leonard. Art will heal. Art helps us win hearts and minds and becomes a bigger win soldier. I'm Christopher Boucher, performer with On Guard Arts. Performer with On Guard Arts. The arts have changed the direction of my life. I imagined being in law enforcement, but through by pure chance I ended up in a writing group and then as a playwright. Maurice to call, TCG. Our first year of the military family first program became a moving lesson in the power of shared family arts experienced to heal deep wounds. Example, estranged family. Coming together, oh, okay. Coming together traumatized vets find laughter with their kids for the first time in years. I'm Michael Reed from Arizona State University, Gammage. Veterans, artists. Veterans, artists. Veterans are not victims. I'm sorry, yeah, that's bad. Trauma doesn't always need to be tragic. I'm sorry. Sam Pressler, Armed Services Arts Partnership and Comedy Bootcamp, not that basket. Didn't have a good penmanship teacher growing up. I visited you in your space. I chose my music carefully, thinking about how it might make you feel. What memories were sparked by the melody? What buried emotions arose from the harmony? Why is it that the music has brought tears to both your eyes and mine? What new memory have we forged together? Hi, I'm Lisa Wong. I'm a physician at Harvard Medical School and part of the Arts and Humanities Initiative there. Love the art in yourself.  Love yourself in context, but only with your family, your friend, your team, in big pictures of our town, from our planet. Love us hard, love us deep. Love to serve, serve to love. Loving, we are worth the fight. Yeah, Susan made me do the salty version. I was so hoping she had to read it. Bill O'Brien, NEA and the NEA Military Healing, Creative Forces, NEA Military Healing Arts Network. My father saw World War II Pacific action. Speaking fluent Japanese, he was on staff of the Sugamo prison during the occupation. When I was four, we joined him. I no longer have the doll houses, prisoners. I no longer have the doll houses, prisoners made for me. I do have dad's words. Quote, the Japanese are good people. They're like us. Only their leaders were wrong. Chris Dwyer, RMC Research. This is written as a poem and the title is Rewards. I'll become a family physician, birthing babies, healing, caring, curing. That will be rewarding. And it was. Then to the dark side, administration, paperwork, policies, budgets, board meetings, ah, board meeting, I'm late, rushing. She grabs my arm, recognition. You run this place, right? Yes.  Thank you. How rewarding. I'm Sarah Cass. I'm with Creative Forces, the NEA Military Healing Arts Partnership. Raised in a military family, my dad is a retired Marine and my mom is an active duty Navy nurse. I used to visit my mom on her ward for lunch at Bethesda Naval Hospital before I joined the Navy. Then one day, I woke up on the other side of the curtain, leg gone. Hello, I'm Paul Hurley. I'm a performer in Healing Wars. I was created and put on this earth to bring. To bring. Bring, make, and. And take. And take art to places where it needs to be. Born in a coastal town where the tide ebbed and flowed and painted my environment. Pianos and saxophones, my lullaby and soundtrack. Hey, I'm Bert with Carpetback Theater. Speedkill my cousin tonight at eight o'clock in this theater. Shameless plug. Tell him what you're gonna tell him and tell him again. The smoke session, freshly minted civil servant on an active duty installation quickly learns the importance of understanding Army culture, language, and history. Patient, I want to smoke my first sergeant. Psychologist, imagining a gun and cloud of smoke following bullet discharge. Doc seeks help. Give me a second. Supervisor, belly laughing uncontrollably. No, he is not homicidal. Scott Engel, Intrepid Spirit Center, Fort Hood, Texas. I am a daughter of a retired colonel with one of the highest discharge records in the US Air Force, nicknamed Darth Vega. Working in theater wakes no sense to my flight line weathered father. But once when I was dealing with a difficult partner, theater, he referred to them as a hostile enemy. So I think he gets it. I'm Abigail Vega, Latinx Theater Commons and HowlRound, daughter of Darth. What defines the life of so many, I only encounter as a headline. Except at tax time, as I write the check, pay for the bombs, wonder from afar whose lives will be forever changed. War, three letters so concrete, but also abstract, existing only on TV in the news over there. Never for me. Hi, I'm Maureen White. I'm a consultant to NIFA doing documentation for this weekend. Strategically pick a typed one to avoid the unreadable handwriting. Memory, in my youth, age is irrelevant. Military hospital, Father Air Force, mom hospital procedure, feeling anxious to visit. Father driving in car, white walls, beds, nurses, doctors, voices speaking, chilled, smell, mom in bed, tubes, machines. Sick, helpless, take away her pain, she assures me, feeling helpless. Let me take any pain. Hi, Keith Thompson, Liz Lerman Projects, and Rutgers University. Sorry, it's just because the font is so small. I helped organize an arts residency, despite not knowing what a dance company was. I recruited other war veterans without involving myself in the process. I did not believe dance would convey a veteran's story. During the performance, I cried, unlike ever before, and discovered the power of performing art for veterans. In my voice. Is it yours? I helped organize an arts residency. So, Artie Grote, director of military affairs at Kansas State University and an Army veteran. And he got me in trouble already. She got here late and got me in trouble. I have to do this trick, too. Four veterans convened, four intensive months. Stories were told, common experiences shared. A masterful teacher taught how vulnerabilities can become strengths. Suffering is optional that within us runs the blood of, we should know that word, griots. Griots and shamans. The stage has become a hallowed ground, a temple, a sacred space. Collective healing has occurred. This is post-traumatic growth. Hi, everyone. Anthony Torres, combat hippies. When there are no words, look inward. Symbolize the unknown until it becomes clear. Take form right before you, from you. The colors of your soul emerge from a paintbrush. Embrace your emotions. Do the shapes you mold with clay. This is your voice, your visual voice. Talk to me. My eyes are listening. I'm Melissa Walker. I'm an art therapist for the Department of Defense and also part of the creative forces team. When my grandfather got back from World War II, my five-year-old dad asked him why he didn't have a purple heart like his brothers. Dad held guilt about that, even as an adult. Grandpa died on September 14th, 2001, and dad prayed he was too out of it to understand what had happened three days earlier. Hi, I'm Andrew Carlson, University of Texas at Austin. Volunteer hospice care for a woman on Medicaid. Cancer in her spine. Drug addicted in pain, selling legal scripts through her eight-year-old son on the street. Not this theater of war, but a theater of war all the same with a similar recipe. Class, race, pain, loss on the ground, healthy and heavy in the streets, in the states. I'm Carla Peterson. I'm a Mangalisi National Center for Meeting with the Brass. Military conference room meeting on real estate and environmental issues. Civilian state employees on one side, uniforms on the other, highly stylized negotiation. I hear lots of sirs, intermittent vocal projection and acronyms. Things do get done eventually if it's done their way. That was not strange, but their way was, to me at least. Dave Slatery, sorry. Dave Slatery, Massachusetts Cultural Council. Fallujah 2004, Operation Phantom Fury. You step on an IED that doesn't detonate, then one of your men steps on it, killing him. Quantico, Virginia, 2010.  Jeremy Nobel, Foundation for Art and Healing, Harvard Medical School, Center for Primary Care, and the Arts and Humanities Initiative, thanks. The first time I worked with a veteran was Ilya Arca, Arsas. 2005 project, The S Commandment, with Matthew Howard, co-founder of Iraq Veterans Against the War. In 2012, I joined Speed, killed my cousin as the director, and have been facilitating arts workshops for veterans in partnership with the Carpetbag Theater ever since. Hi, I'm Andrea Saf, Artistic Director of Art to Action and Artist in Residence at the University of South Florida. And that was Ilya Arsas, The Fifth Commandment, that I was referring to. OK. First time, John Bisbee, a Vietnam veteran with PTSD featured in my play, The Draft, attended an early-stage reading of the play. It was the first time he had heard his story told in public. John called the next day. He said he'd slept through the night for the first time since the war. Hi, I'm Peter Snow, and I'm a playwright. I live right here in Boston. Art brings us into unknown worlds, enabling us to perceive the other with fresh ideas, fresh eyes. We can then bring this to others. War spelled backwards is raw. Hi, everybody. I'm the Artistic Director of On Guard Arts. I'm very happy to be here. I did. I said Anne Hamburger, didn't I? Oh my god, I'm so tired. I'm sorry. Jesus. Anyway, straight off the train. Multitasking. OK. Yo, yo, ma. Here is why I went. Passion, beautiful music, and inspiration. It was the Nancy Hanks lecture I almost didn't go. Near the end, veterans walked and wheeled on stage, instruments in hand. The music began. The song was about coming home, not a dry eye in the house. Music corpse rocked, an unforgettable night. I'm Julie Richard. I'm the Executive Director of the Main Arts Commission. Uncle Perry, career army, veteran of three wars. My earliest memory of him was 1966 in our living room sobbing with his sister, my mom. Five-year-old ears could not make sense of the words, but I remember them still. Germany, camps, ashes, ghosts, children. He carried those heavy fragments, and I never knew him whole. Hi, I'm Ruth Walks. I'm at Virginia Tech, Executive Director of the Moss Art Center. The Lige, dinner at the American Legion every Monday. The food isn't that good, but it's cheap. I like the applesauce. My grandparents, my parents, my sisters and me, and our waitress, Edith, our regular round table in the back. The bar is hazy with smoke. My clothes smell like smoke. Dad will do the laundry tonight. Hi, I'm Madeline Bell from the Flynn Center in Burlington, Vermont. I've learned most of what I know about the world, suffering, far places, dreams, through the arts. When I don't know how to react or process something, death, boyfriends, political turmoil, I find some art that might lead the way. I have a lot more to read and experience. Hi, I'm Travis Amiel. I work with HowlRound. I recognize it in performance. 9-Eleven on screen. This just in, a plane has crashed. While Wagner's I'm Cherie Puss, Morn's white ashes are poured on the dancer's head. She explodes into a hip hop frenzy of anger, then suddenly pirouettes soar on tiptoes, floating. Repeat, repeat, repeat. The frenzied battle, the soaring beauty, our eternal dance. Hi, I'm Helen Stoltzfuss, and I'm co-artistic director of Black Swan Arts and Media in Oakland, California. I can't talk to veterans. I do not have the right. All of my dances are about AIDS, about living in the Castro, about gender and the struggles of marginalized queer people. Linda says you're wrong. Your stuff is about understanding human struggle. Some of these vets are struggling. At least give them an ear. Joe Good, artistic director of Joe Good Performance Group and professor at UC Berkeley. As a World War II Navy surgeon, my father-in-law was twice shipped home from the South Pacific with battle fatigue. A loving family man and cardiologist into his 80s. Alvin, nonetheless, suffered from depression and nightmares. Years after his death, we found a cache of contemporaneous letters heavily censored. He evidently did an ungodly amount of laundry. Susan Fader, Mellon Foundation. Several years ago, I volunteered in pastoral care at a local hospital. I realized what it truly means to encounter human interaction without any foregone expectations or conclusions. Without judgment, I met people without knowing the answers, being present to their needs and with an open heart. Doctors heal the body. Who heals the soul? Cheryl, I came in with the Doris Duke Charitable Foundation in New York. I was once asked what I do by a stranger in line at the bank. I told her I was a dancer. She just couldn't put dance and me together. She thought for a moment, then said, oh, you can walk. When I said no, she laughed and said, I was very funny. I'm Judith Smith, and I am the founder and director of Axis Dance Company. And we're based in Oakland, California. I probably should have brought my glasses. Yeah, I just can't get used to having things on my face, which is kind of funny since I use a wheelchair. Growing up with men who were either being drafted or in fear of being drafted, service was not optional. C&A was a real part of family discussion. My sister, Marcy, a marine, my brothers joined the Navy. My West Seniors encounter, no, my next serious encounter was with the children of company members who needed employment without glasses. Hi, I'm Linda Parris Bailey with the Carpet Bag Theater. Play right. OK, it was highly edited. Oh, OK. I was honorably discharged from the US Army in 2001. In 2012, 11 years later, I shared my story for the first time in a story circle with a nonprofit community-based arts organization, Carpet Bag Theater.  That was not planned. Drop the mic into my hand. Patricia Jones, Carpet Bag Theater Creative Arts Reintegration Program, CAR. I want to find one that's short. I don't know who wrote that. That was not it. My patient with cancer was admitted. I went to see him asleep when I got there, decided to wait. He woke up, saw me and smiled. Years later, he was back with reoccurrence. Told me how comfortable, told me how comforting it was to see me that day. At time of fear and anxiety, he would never forget effort, minimal, impact, priceless. You just must stop. Thank you. That was beautiful. Mora McWire. Mora McWire, a nurse at Walter Reed National Military Medical Center and a daughter of a World War II and Korean vet. And that is actually a very special story to me, because it reminds me of how sometimes we impact people in ways we don't even realize at all, like ever, unless that person comes back and shares it with you. So that's my little piece that I think about all the time. Need glasses in the opposite direction. The day before, he was shouting firing commands to his artillery battery. Today, he was completing an improvisational, choreographic exercise. He rolled, jumped, supported, and was supported, his body by another 7,612 miles away from the war. Through these exercises, I felt needed by others. Through these, I discovered that I can still contribute. I guess we're providing context. That army veteran just got back from his honeymoon. He married one of my dancers. Sorry. I also have a little bit of a cold. I'm not this Basie. Roman Baca, exit 12 dance company. Infographic of the Clinical Trial Supply Market Survey that was conducted by Arena, Sonoco, ThermoSafe, and Berlinger last year. Have him remind them that if they attended any of the CTS events last year, they were probably asked to fill one of these out. And this is the compilation of the results. A third point to mention is that before lunch, Bob Albanese from Clinical Supplies Management and Brooke Naples from Sonoco ThermoSafe will be presenting the results and taking questions. Did I just read a pharmaceutical ad? Advertising is everywhere. Should I read another? I think you should read another. Some comedians slip that in. Take two. Those were some hard words. I ain't that educated. All right. The applause stopped. Our eyes met and instantly became wet with tears. This is my story, she said. And for eight years, I've held it in and you just embodied it and allowed me to release. We embraced. I understood. I'm an advocate in workshops, host veterans, open mic.  Thank you for putting your name because then, you know, it's not weird. Andrea Mosley with Carpetback Theater. Mommy, can you come home with me? No. You know I have to stay here. I see tears in their eyes. Let's gather in a circle, I say. We all sing and sign. Mother God's child. I say love. It is a flower. And you, it's only need. Movement and words reunites them in love. Rob Richter, Connecticut College with my glasses. Using the arts to heal and advocate for social change has been my focus for much of my professional career. Before coming to the State of Connecticut Office of the Arts, I was the Executive Director at the Writers Block Inc. One of my most memorable projects was while working with the Safe Futures Women's Center on our Raising Voice Against Domestic Violence Program. During the course of the project, we offered free open arts student sessions to victims, survivors, and witnesses of domestic violence as a means of healing through the power of the arts. I've also seen how the arts can be an empowering influence in young people's lives. The arts is a healing mechanism for those fighting through statistical barriers and gives voices to those who have been historically underrepresented. In April, Connecticut Office of the Arts will be hosting an NEA sponsored roundtable discussion on the arts and healing. One of the topics will be on arts and veterans. This is a subject that I am greatly interested in as my mother is a veteran of the United States Air Force. I am hoping that I will learn this weekend, what I will learn this weekend will help to inform my agency's conversation and greatly influence our work. It's my neighbor. I'm Adrienne, a Jefferson Connecticut Office of the Arts Program Associate and Special Projects Coordinator. All my information was in that. Healing began the moment I started to accept all the means I am. Without judgment or expectation, I stay open to an experience myself. I'm constantly shifting, artist, mentor, queer, veteran, curator, trans, guide, technologist. I come out every day. And that's more than okay because encouraging and witnessing change is a beautiful joy field thing. Madison Cario, Office of the Arts, Georgia Tech. I gotta put the glasses on. There were 12 active and veteran military collaborating with songwriters during a retreat weekend in Austin, Texas. Each of them carrying their own personal trauma from the war.  Their catharsis became music. I'm Todd Stein with Mid-America Arts Alliance in Kansas City, Missouri. After pizza, Manuel leans back, describing the smell of the oil, fires and flesh in Kuwait. He's deep in the process of remembering. John interrupts, stop it, stop talking about this. Manuel pauses, embarrassed and confused. Should the story not be told? Or is it that Manuel should not tell the story? Learning new things. Victoria Marks, Choreographer, Professor at UCLA. Dartmouth's undergraduate veterans are 23 young men, but not as young as the other undergraduates. They're pretty serious. They think before they speak. It must be strange to have been so far beyond the campus life before coming here and be drawn to comment on the military strategy of Agamemnon in the Iliad. Margaret Lawrence Hopkins Center at Dartmouth College in New Hampshire. My dad went to college courtesy of ROTC. He was a small town kid who saw the world with the Navy. He loved travel, but not the regimentation of Navy life. He read books on the deck of the naval destroyers, ripping pages out as he went and letting them float to the sea. Their blank faces are staring back at me as we are engulfed by the sterile white glow of the room. I freeze, just start. Semper paratus, nothing. Official US Air Force song, mumbled singing. Anchors away, movement singing. The Marines hymn, cheering, singing, shouting, clapping. The Army goes rolling along, crying, singing, clapping, dancing, tears. Hi, I'm Brittany Costa. I'm in the Army National Guard Band, and that's actually from Playing for Veterans. And I'm also here with Berkeley College of Music, Music Therapy Department. My father, Ernest Eugene Jennings, was a senior master sergeant in US Air Force. I loved him dearly, and he showed us the world. From Naha, Okinawa, to Rapid City, South Dakota, to learn to love, underserved. Hmm, this is hard to read. So, love to learn culture, understand people from Yanabaru, fish harvests, to celebrations at Devil's Tower, to flying black squirrels. I'm Colleen Jennings, Rogansock, Executive Director, Arizona State University, Gammage. And I have worse handwriting than you'll ever have. My parents had hoped it meant I was going to be a doctor. Didn't happen? When I was seven, a family friend came back from Vietnam. Philip was staying with us to recuperate. My mother had tried to prepare us for his stay using Life Magazine photographs. I answered the door the day he arrived. He was backlit by the sun, all silhouette and shadow, a hunting rifle over his back. I vomited on his boots. I tried to slip it in the end so I'd go last, but it floated up. I only knew Granddaddy for a little while before he died. He gave me my favorite stuffed animal, Mr. Rabbit. Years later, I heard he fought in World War II. So I searched for his name in my history books hoping, but his name was nowhere to be found, nor anyone who looked like him. Hi, my name is Ada Wumi Ok, and I'm with HowlRound. I was born on an air force base in Cleveland, Ohio. My father's job in the military was to get gay men in the military to confess to their homosexuality. He's done pretty well with his ultra queer child after many long conversations. I'm still Carl from HowlRound. This is called Music As Healing. In jail, a preacher came and during a service wanted to pray for us individually, playing a country gospel tune no one responded. I offered to play using gospel and soul chords I began. They opened up slowly one by one, and the whole atmosphere changed as the hardcore broken men were led to tears. I'm not reading that.  Carlton Relaford, also known as Star, from Carbetback Theater. Spear killed my cousin tonight at eight. Not in this theater, but in this building in the other theater. I'ma find it, trying to hide. Overhead as a child, maybe that, okay. Overhead as a child, jets streaked across the sky. I learned not to mind their shriek, which my mother calls the sound of freedom. Where I come from, frogs and sails abound, but not the kind you might think. My brother grew up to be one. I grew up dancing, and now help artists do the same. Sarah Nash, New England Foundation for the Arts. This is called Thank You So Much, Please Don't Use My Name. Raised Deep South, MP number one, watches as a truckload of Iraqi prisoners pulls up. All skinny, all standing. She sees young boys, old men, and soldier age. MP number two laughs, tossing three titsy rolls in the middle of them. Three bend, retrieve, slowly unwrapping.  Pass it on. I was trying to watch how to do this. Hey, Marty Pottinger, just came up from Philadelphia. Good morning. Daddy, yes. Did you know the ocean is coming here? Yes. What if when we wake up tomorrow, the water is here, and I'm like, ah, can we take a boat to school? You'll be grown up already. Probably after college. Why is there pollution? I don't know. Can we stop it? I don't know. Nice to see you. I'm Vijay Mathew with HowlRound. Always up for a challenge, willing to take risks, shamans travel to other worlds, and bring back the elixir that heals their communities. These warriors have traveled to the depths of hell, scorched themselves, and bring back the tonic for our burns. Marcel Castellanos, a theater maker and artistic director of the combat hippies. We always dance for our warriors. Honors, beats, fists and feathers raised, water warriors, culture warriors, fighting warriors, jailed warriors. Sun defense our cultures from your feminists who don't understand. Those on the outside see only the fighters and not left behind. Not the left behind trauma. We know the eagle sores on the prayers of all warriors. Keeta Sullivan, New England Foundation for the Arts. And I get the last one. Poppy was in the Air Force. He died when I was a baby, but I look happy in photos with him. Grandpa Bing was in the Navy and Grandma Joyce flew from Massachusetts to Guam by herself with my infant aunt on her lap. I feel removed from their stories, but would like to learn. And I'm Ramona Ostrowski and I'm the Associate Producer of HowlRound. Thank you so much. This was so lovely. And so there you are. I believe we're on our way to a break. Jamie, do you wanna, 15 minutes? Is that where we are? Yeah, we have a little, we finished early. I'm so impressed with us. This bodes well. We are now on a break until


Proudly, we hail. From New York City, where the American stage begins, here is another program with a cast of outstanding players. Public service time has been made available by this station for your Army and your Air Force to bring you this story as Proudly, we hail Major Dana Stacey, U.S. Air Force. Our story is entitled, The Old Probe. The story of a daring jet fighter pilot as Proudly, we hail Major Dana Stacey of the U.S. Air Force and all the officers and men of the 25th Fighter Interceptor Squadron and the 51st Fighter Interceptor Group. Our first act curtain will rise in just a moment, but first, young man take your place in the new jet age as an Air Force aviation cadet. You'll get 18 months of intensive training, learn all about jet operation, and you'll be surprised how easy jets are to fly and how safe, too. Our aviation cadets graduate as Air Force lieutenants with earnings of over $5,000 a year. To qualify, you must be between the ages of 19 and 26 and a half, single and have at least two years of college. Visit your nearest United States Army and United States Air Force Recruiting Station for details. And now, your Army and your Air Force present the Proudly, we hail production, The Old Probe.  Your name is Major Dana Stacey. Welcome back to your squadron in South Korea after rest and recuperation leave in Tokyo.  So you look out the window of the C-47 down at the dark blue flatness of the Sea of Japan below, and you talk to the war correspondent Kogan on the bucket seat next to you.  Major, Major Stacey, wake up. What's the matter? We're almost at the field, thought you'd want to know. Oh, yeah, yeah, so we are. It's supposed to fasten safety belts. Yeah, right. Hey, you were really pounding your ear. Dreaming beautiful dreams, Kogan. About a leave in Tokyo, I didn't get the finish. Tough. Say, what do you suppose your squadron's got scheduled?  How long have you been a war correspondent, Kogan? About a year? Why? Well, then you ought to know I couldn't tell you even if I knew. I'm sorry. How long you been in the service, Major? Since 42. Not counting a few years as a civilian after the big war. And you ought to be used to these things happening. Yeah, you're right, Kogan. I'm sorry I blew my top. Ah, you didn't exactly flip it. It's just that after you've been at it for a while, getting back to your squadron isn't the kick it used to be. How old are you, Major? 29. A real old timer. The kind they call the old pros, huh? Yeah, that's what these buck lieutenants call us. Flowing the last war? Yeah, yeah. Italy, 15th Air Force, P-51s. I used to think they were hot ships. I'll say we're about to land. Any minute. We're the landing pattern now. Well, what made you come back in, Major? Didn't like civilian life? Oh, I guess you've heard all the standard answers to that one. But for me, once you've flown a combat ship, nothing else is quite enough. I wanted to climb into a jet and see what made it tick. Something like that. All I needed was a reason. And this career business? That was the reason I needed. What's this all about, Colonel Payton? You'll get brief, but I can tell you this much now. Tomorrow we're going to clobber a new red airfield, this side of the Yalu. A maximum effort by the group, huh? Yep. Hey, what's that? Looks like someone's in trouble. Spotting states? Yeah. There he is, Jeff. That F-86 on the approach to runway 1-7. What's the matter with him? He's coming in dead stick. Well, isn't he coming in too steep? He's got to. He needs a speed. Yeah, he's leveling off now. He's got the runway made. All right, easy. Boy, level those wings. That's it. That's it. Now, just pull her back a little. That's it. I'll put her down. Okay. Thought for a minute he was going to undershoot it. We need that boy in his plane for tomorrow. Man, that is one devil of a sight. You were sweating. Think about that boy.  Whenever it happens, it's too often. Must be some trick to make a landing like that. Without any power, you only get one shot at the runway. And, uh, if they foul up? They usually don't. They can't. Ever make a dead stick landing in a jet, Major? Not yet, Colgan. And I just assumed put it off for a while. How's that for a meal, Dana? Better than that sukiyaki? Yeah, yeah, except the sukiyakis in Tokyo. Now, there's six weeks and we'll hit Japan together, eh, boy? Oh, good deal. Say, meanwhile, clue me in on tomorrow's mission, will you? Yeah. Well, it's strictly Max's effort. And with everything we've got against everything they've got. Hey, uh, Lieutenant Simmons. Yes, Colonel? Tell Major Stacy here what happened to your flight yesterday.  What happened? Well, there were these eight migs in a ragged formation, like when the new boys, you know, first trip out. Uh-huh. So we tore into them. Turned out they were anything but new. They brought us down to the deck and back up again, using every trick in the book. Man, it was rough, toxin rough. Yeah, but I mean stays. Oh, excuse me. The old man's waving. Yes, sir. But, uh, next time I see one of those jokers, I won't be caught with my flaps down. I'll clobber him for sure. Lieutenant, you're sure one, uh, fire-eating fly boy. World War II, Vett, to know I can bounce a jet around the sky as well as anyone. And I mean anyone. Uh-huh.  No one ever got on my tail, including combat instructors, except one mick. And he didn't stay there long. Well, kid, you got a lot to learn. Don't you know there's always someone somewhere who can outfly you? No one in this man's squadron, including the fellas with World War II air medals and DFCs. Old pros. Old schmoes. Well, we may be old schmoes, buddy, but we learn how to fly wing first. Meaning what? Meaning when you left your leader's wing last month to go after a mick.  Yeah, and more.  I'm not the only one who's done that. Look, Summers, the minute you left O'Hara's wing, you jeopardized the life of a guy who was depending on you. And the quicker you learn that a wingman is supposed to fly wing to protect his leader and himself, the better off we'll all be. And I'll tell you this, buddy, you ever leave my wing, I'll see you court-martialed. I'm not planning to fly your wing, Major. Well, I hope you don't. You'd really get a workout. Are you kidding? Flying wing on a cautious old pro is the safest work there is. That's good duty. The old man wanted to know how many airplanes we'll have in commission. Uh-huh. Why don't you get Major Stacey here, the word, Lieutenant? The ungarbled word, Colonel. The straight cadet school poop. The Lieutenant doesn't know it, Jeff, but someone's gonna fix his wagon one of these days in the air or on the deck. Hey, anything wrong here? No, no, no. Well, are you leaving, Lieutenant? Yes, sir, right away, sir. Good night, sir. Major, sir? Colonel? What's that all about, Stacey? You smart buck, Lieutenant. What makes these kids so almighty cocky? Stacey, 10 years ago we were the same way. And you were worse than any of us. Yeah, I guess you're right. Well, I'll see you in the morning. Good night. In the ready room at briefing. Jeff! Right. Look at that flight board. What's up, Stacey? Well, I'm still eating a flight, but look who's on my wing. Oh, that kid's a summer, isn't he? Not my doing, Stacey. But this summer's Jeff. I have no use for him, nor he for me. Sorry, buddy. Really, I am, but he's your wingman today. As Colonel Vargas just pointed out, moving into this new field at Kawong Poe, this side of the Yalu's, part of the Reds' tribe for air supremacy. Our fighter bomber detects new operations, cutting them back. Come in a little bit. 100 miles closer than they're nest across the river. Almost. But he's sharp. And once they set up shop, it'll be rough, rooting them out of there. So today we've got to stop them. All that's going to stop the 800 or so mages that they throw against us is our 150 sabers fly on top cover for the fighter bomber. Now, Major Stacey? Yeah, back here. Call sign for your flight. It'll be doctor. Right. The station will be 40,000 feet, right about here. See what I'm putting on the map? In the bend of the river just west of Kawong Poe. Grid coordinates are Uncle Roger 2170. Got it? Yeah, Angel's 40, Uncle Roger 2170. Got it. Takeoff time for Doctor Flight 0900. You all see you're in and out courses here on the map. Don't forget to check operational control center. Punch drunk before you cross the bomb line and control ship Blackjack after you're across. Now, Captain Romain, your flight will follow the Colonel's flight. You're strapped in the cockpit of your F-86 Saberjet now. Home.    Tower, this is Doctor Flight with four patients. Taxi and takeoff instructions, please. Doctor, this is Tower. Clear to runway 17. Altimeter 29.92. Wind south, southeast at 1-5. Roger, Tower, and out. So you swing out to the taxiway. Your flight strung out behind you in single file. Up ahead you see a leader and his wingman rushing down the runway in the twin and a snorting tail-up charge lifting eagerly into the air then climbing sharply away in beautifully paired precision. Suddenly there are silhouettes and you are ready for takeoff.  Tower, this is Doctor. Now we clear to roll. Cleared for takeoff, Doctor. You slowly open the throttle holding the brakes as hard as you can.  Then your controls take hold of the airspeed indicator rises and you pull back on the stick and you're airborne. You trim for a long straight climb and wait for your other two boys taking off 30 seconds behind you to join up. 40,000 feet now heading north the four of you in a tight, shiny V with you at the head. You're approaching the bomb line, a red jagged line on your map and two end forces from the commies. So you contact the operational control center. Punch drunk, this is Doctor. How do you read me? Over. Doctor, they read you loud and clear. Over. Punch drunk, this is Doctor with four patients heading north. Over. Roger, Doctor. Hand out. Now you've punched in for work and when you put in your time as long as your fuel lasts you'll punch out on the way home.  Ahead, big alley, no man's land. This is back in the middle of it. 40,000 feet, MiG altitude. Below the broad mouth of the Yalu River empties into the Yellow Sea. Far off on the horizon across the river is Antung the MiG's biggest nest. Time to call into the control ship. Blackjack, this is Doctor. How do you read me? Over. Doctor, this is... Blackjack, I'm on station at Angels 40. Standing by, over. Roger, Doctor. Hand out. Standing by, waiting for MiG's. Blackjack, to tell you radar has picked up MiG bandits heading your way. Staring into the sky, waiting for one tell-tale gleam of silver. Knowing their radar has picked you up by now and the fighter bombers who are now winging into Plaster Kiwanpo field, waiting here. Doctor, this is Blackjack, over. Go ahead, Blackjack. Enemy aircraft departing station. Roger, Blackjack, hand out. So you call your boys. Doctor, flight, they're on their way. Keep your eyes peeled, they'll be above us. Roger, Doctor. Roger, Doctor. Five minutes later, or is it five seconds later? Doctor, this is Blackjack. Bandits, three o'clock high. Three o'clock high, Roger, Blackjack. Radar tells Blackjack which way you're pointed and that the MiGs are above you to your right. But radar can't get in the cockpit and spot them for you, so you have to eyeball it yourself. Eight pairs of eyes are riveted on three o'clock high when... Telly, oh, bandits, three o'clock, very high. Eight of them, Doctor. Blackjack, we have bandits inside, out. They're starting to run. Turn into them, Doctor, flight. Here we go, fly boys. Turning now, stick close. Doctor, this is Blackjack. More enemy aircraft departing station. You are listening to the proudly-behaved production The Old Pro. We'll return in just a moment for the second act. College men, you can learn to fly the latest and fastest jets easily and safely as an Air Force aviation cadet. Aviation cadets get 18 months of tough concentrated jet training leading to a lieutenant's commission in the Air Force and earnings of more than $5,000 a year. Your future is unlimited. To qualify, you must be between the ages of 19 and 26 and a half, single and have at least two years of college. Visit your local United States Army and United States Air Force Recruiting Station now. You are listening to Proudly We Hail and now we present the second act of The Old Pro. This is it. A dogfight. Not a one-pass brush with the reds running for cover but a big old hairy dogfight. Your formation meshes with theirs closing at 1,000 miles per hour and you answer the red-winking cannons from their noses with your fifties. Then suddenly you're through their formation turning sharply to avoid a collision twisting to get another bandit in your sights for a split second and then rocking your ship around in a seat-heavy stomach-pulling turn ready for the next pass. Still with you doctor, let's go get them. Where are you? Bandit, nine o'clock, busy over here. Doctor, can't rejoin you. Doctor, this is Blackjack enemy aircraft departing today.  Could be every man for himself but Summers hangs on to you. Lone wolf below, doctor, shall we? Negative. Bandit's coming in at six. Diving with you. Let these new boys make their pass then we'll go help tiner. Read me? Roger doctor, here we go. And this new flight of migs barrels with great sleek cannon platforms pouring hot embers at you as you turn sharply into them and then you break loose. Tiner, where are you? Have him in sight doctor, three o'clock, low, alone. Doctor three, get on up here fast. Looking for four, he's gone. Doctor, he's got trouble on his tail, two of them. Breaking down fast to help him. Stick Summers? With you. All right, over on you, back and down. They're stayin' the sights, big boy. You've got him, doctor. Thanks, doctor, joining you. Hurry it up. Doctor, have you in sight, joining you? When you've been winged, man's shakin' off a bandit then clippin' him. Stop the chatter, here they come again. There's a mig comin' in on your tail, doctor. Turning into him. Turning with you. Wow! And as the firing mig flashes past, you turn to look at Summers who've been protecting your tail and time to see another mig pulling up in a steep recovery from a run, a firing pass that ripped off half of Summers' wing. Summers, how bad is it? I only got half a right wing. Can you stay with it? Not very long, buddy. You okay? Can you jump? I'm okay. All right, trim her up the best you can and point south while I check my map. Roger, doctor. I've already got as much left rudder as I can hold to compensate for the wing.  You're easy meat to these migs now, buddy. Oh, Roger, Roger, Roger. Far as I can figure, we're not too far from the bomb line.  We're losing altitude steadily, and I can make it if a mig doesn't have other ideas. Well, I'll run you interference, boy. You got enough fuel to stick with me? Oh, toxin fuel, fat with it. Don't kid me. My fuel counter said you ought to return to base. I can handle myself. Now, look. You got a wingman now to keep the big bad migs from picking on you. Toxin. Company? Plenty. Three o'clock high. Toxin bandits.  Four slim migs jockeying for position to start their runs. This should be cold meat for them. One limping saber with only you to protect him. Summers, can you turn into them when they make their runs? Negative, you'll spin. Well, then hold your course. I'll do the turning. Cardinal Rua for fighter pilots. Always turn into your attacker. Don't let them get on your tail. But Summers can't turn, so it's up to you. You'll have to always be between Summers and the migs and turn into each pass they make. The hair on the back of your neck bristles, but suddenly you know what it is to be the hunted, the target. And then it starts. Here they come, doctor. Dive! When Summers dives, you turn into the first mig meeting him head on. For a breathless instant you face each other, his nose winking brightly as he lobs cannon shells out to your fifties pouring into him.  And pieces of metal spray from his plane before he's gone. Get that back!  And then a mig stands big and fat in your sight thinking he's got a clear shot at Summers, not knowing you're on his tail, so you pour your fifties into him.  And suddenly it's all over there isn't another plane in the sky except Summers down below. They gone Summers? See any good down?  Hey doctor isn't that the bomb line below? Yeah it looks like. We made it. No sweat I told you. Look Summers we're at twelve thousand now. We get to five thousand make a slight bank and bail out but fast. You know maybe I could take this baby in.  Could be done. You bail out boy. Roger doctor you're the doctor. Once you're down safely I'll call a helicopter for you. Good deal. Five thousand. You ready? Okay out you go. Aim for that clearing. Roger. See you around campus buddy. Punch drunk this is doctor leader. Four entered one returning. Two already returned. Is that right doctor? Repeat two already returned. Is that correct? Affirmative Punch drunk. Have a man down south of bomb line. Can you get a helicopter to him? Roger doctor. Have a chopper in vicinity. What are your coordinates? Wait a minute let me see. Uh. Oboe Baker fifty nine eighteen got it? Oboe Baker fifty nine eighteen. Roger doctor. Returning to pigeon now Punch drunk. Roger doctor. Hand out. Returning out of base if you're lucky. Your fuel counter shows you couldn't fly more than five minutes and you've got several hundred miles to go. So what do you do? You make a decision. It'll be tricky. But maybe first climb up to where you don't eat fuel up so fast. Climb forty thousand feet. Now a little faster. Rate of fuel consumption distance to travel amount of fuel left altitude. And the answer always comes out the same. Not enough fuel. If you want to have power to land with you've got to do without power now. More arithmetic. And here's an answer you like. Without power you can glide maybe a hundred miles. Then start your engine and land with power. Simple. Well it might be done.  The quiet is eerie. You pop your stick forward slightly pushing the nose down. Now you're committed to the arithmetic that your life is dependent upon. Somewhere off on the horizon is your field. You're high now but your altimeter hand is turning counterclockwise relentlessly as you steadily lose altitude in your desperate glide. And then suddenly too suddenly you're at eight thousand feet. Time for an air start now or never. You flip your air start switch and the engine sings. You check your instruments then cut in your fuel. The spark is there with a fire. Now now now before you lose any more altitude. And it does catch slamming you back in your seat with its sudden power. You climb again to conserve fuel. The head you can see the field. But in your cockpit the fuel counter says you only have ten gallons. Barely enough for a landing. Tower this is Doctor. Emergency. Flow on fuel. Request straight in approach. Over. Cleared for straight in. Landing runway one seven over. Ten miles from touchdown now it's going to be close. Roger Doctor. We're standing by. You better clear the... Mayday. Tower Mayday. I'm dry. Engine just cut out. Roger Tower. Oh Jeff I was sure I under shot it. Skillful execution as the old man would say. I still say one dead stick landing is one too many. Big day for you buddy. Successful air start and dead stick landing. Two MiGs and a probable. Looks like I'm not the only one to nail a MiG. I never saw a mess hall so happy. Have a big day for everyone. The squadron, the group, the wing. The fighter bomber boys plastered that field. And we took care of the MiGs. An unqualified success as the old man. Seen summer stays. Last time I saw him we were sitting on a rock. This side of the bomb line. Someone says he's back. There he is bouncing into the mess hold on. Thought I told you to stay on my wing. You'll beat up major you. How'd you get back? Trust the F-86 and its beautiful glide ratio. You know that helicopter you got just delivered me. Those choppers aren't bad considering they got no wing. Last time I saw you boy you were missing half a wing.  Wasn't for him I wouldn't be here. Shot down too big mix he did.  As he did and he knew all the time he didn't have the fuel to afford to stay with me.  When I tell a wingman to stick with me I see that he sticks. Oh that's the ungarbled word. Sure. Couple are really lucky boys. You know with our luck summers we gotta find ourselves a poker game. I'm with you buddy all the way. Hey what is this I thought you didn't like the major. Yeah you and Stace you had no use for each other. Are you kidding Stace is my buddy. That's a straight poop. Why he's an old pro.  There's a future for you as an aviation cadet in the U.S. Air Force. You'll receive 18 months of the world's finest flight training. Fly the latest jets easily and safely. And graduate as an Air Force Lieutenant with earnings of more than $5,000 a year. The aviation cadets of today will be the leaders of the jet age. Be one of them. Visit your nearest United States Army and United States Air Force Recruiting Station today. This has been another program on proudly we hail presented transcribed in cooperation with the station. Proudly we hail is produced by the Recruiting Publicity Center for the United States Army and United States Air Force Recruiting Service. This is Kenneth Banghart speaking and inviting you to tune in the same station next week for another interesting story on proudly we hail.


How do we know the state of the learner arriving in our classrooms? How do we know if they are motivated to learn? What does a motivated student look like? Let's take a look at the student in this picture. While we think they look motivated to learn, their interest may be peaked by something completely different. Students will come to the classroom with a complex range of social and cultural contexts, schooling experiences, and educational beliefs. And it will always be a challenge to find the ingredients to motivate individual students. We know that the motivational state of students when they arrive in the classroom will influence a multitude of factors affecting learning, including memory, attention, information processing, decision making, problem solving, and social interaction. Many of these factors are not always observable, creating a challenge for teachers in harnessing every student's abilities for deep learning. Fuhrer and Skinner suggest that the essential mechanism that enables motivation to facilitate deep student learning is student engagement. When students are engaged, they can move from being motivated to deep active learning. I have a favourite saying that relates directly to deep learning. The best teachers tell you where to look, but not what to see. Keep this in mind as you take a look at the students in this video. As you watch the beginning of the lesson, think about how the students are being motivated for deep learning. Write down three things that you think are preparing them to be engaged in the learning activity.


It was 1997, and I was moving from the United States to White Horse Yukon. It was a local flight on a single-engine plane from Washington, and as far as everyone else knows, Air Canada Flight 52 never happened. But it did, and I was there to witness the horror that happened on it. I'd gotten onto the plane to see my friend Sophie. I'd met her online while I was in college four years ago. She's the one who convinced me to go to Canada. The plane took off half an hour late due to a quick change of the pilot. I found this odd at the time, since I'd never heard of pilots needing to change on such short notice. About three hours in, we saw the first sign of the storm. A large grayish-green thunderstorm rumbled around us. It practically came out of nowhere. I hadn't noticed at first as I was listening to my Walkman and trying to ignore the crying child behind me. I looked outside of my window and saw what at first was the most beautiful thing in my life, Aurora Borealis. In a thunderstorm, I ignored the weirdness at the time and admired the flowing lights. Then a blot of lightning shot upwards, right past the left wing. My eyes widened as the cabin lights flickered. The lights shut off, and a red light slowly blinked from above the pilot's door. The baby wasn't crying anymore, and my heart stopped as a screen momentarily sounded, then cut off. The light snapped back on, and I jumped out of my seat. The other passengers gave me weird looks before seeming to notice what was wrong. Where did that lady and her child go? An old lady asked. A man responded. Maybe she took the child to the bathroom? A lump formed in my throat. What about the lights? I shouted. Everyone else looked at me like I'd spoken in alien language. What about them? The man responded.  Didn't you see it? I demanded. I couldn't help how scared I sounded. The old lady shook her head slowly. Sorry, dear. I know my memory isn't great, but I don't remember that. She said. I felt hysterical. Did I imagine that? Is it a trick of the lights? But where was the woman? I clutched my arm, trying to stop it from shaking. I'm sure she'll come back soon, I thought to myself.  Some people read books as well. I stared out at the aurora, watching it move like distant waves. The plane shook and I nearly fell out of my seat. Sorry about that, folks. Just some turbulence, said the pilot. Across from my row was a kid, only 12 years old at the time.  Then the light shut off again. That flashing red light slowly illuminating the cabin. I looked around wildly and saw a blur. I still can't decide what color it was.   Then the lights came back on and the cabin was returned to its pristine condition. No blood, no anomaly, and no front row. My God! A woman screamed from the second row. I ran up to the front of the cabin and I saw bones. Where each passenger once sat was now a cage of bones with the skull barely visible in the middle. Did you see what did this? I asked the woman who'd screamed. She met my eyes. No, I woke up during the turbulence and was asking a gentleman up here when we were landing when she trailed off. My skin felt hot. I looked back at the kid. She was covering her face and sobbing quietly. I walked down the row to her. Hey, did you? Did you see what did this? I asked softly, crouching down. She was sitting alone on the right now. Nobody else sat near her. She wiped a tear from her eye and she looked at me. I felt whatever soul I had shiver like I jumped into an Arctic lake. You didn't see it. She whispered her eyes pride open. She looked like she'd seen a ghost, an incredibly murderous ghost. I made a quick decision in case it came after her next. Come sit with me, I said. She looked around the cabin before undoing her seatbelt and walking with me to my row. The others were looking at the bone boxes out of the 21 passengers. Only 15 were left. A British couple in the fourth row was gossiping. I was in the eighth row with the kid. When something hit the plane, not lightning and not turbulence, it was something solid. I couldn't see it, but I felt it scratch the plane side. The light shot off again and this time no red light. The kid gripped my hand. I felt something breathing down my neck hotter and hotter with each breath. When the lights flicked back on, only six of us remained. That's when I had a thought and I couldn't help but say it aloud. Are the pilots still here? I asked. A man looked at me. I got out of my seat and rushed with him to the pilot's cabin. We busted the door open and they were gone. Shit, I yelled. Only the plane made a large screeching sound and the four of us standing fell onto the floor. My heart dropped as fast as the plane. We were descending. Get ready. I yelled. We're about to. I'm not sure what happened at that moment, but everything went black. And when I came to I was laying in the snow sirens wind behind me. I sat up and I was in pain. The plane had crashed into the side of a mountain. A deep scratch was dug into the left side of it. It's beautiful white paint ripped open in a dark metal gash. The nose was broken. The pilot's cabin was completely wrecked. I stood up and walked up to the left wing. It was dipped into the thick snow. I looked up at the top of the plane and I felt my heart go numb. My hands felt drained of blood and my head seemed to be melting. Up in the storm was a large group of people holding hands, floating in the northern lights. Thunder beat my eardrums and a bolt of lightning made them vanish. I walked up to the wing and pride opened the door. I looked into the cabin to find no one there except kid. I yelled I ran over to her and knelt beside her. She looked up at me and hugged me. I was shocked, but I hugged her back. I was just glad that she was alive.  On the other side was blood gallons upon gallons of blood. I held on to the kid and I jumped out sliding down the wing. I held the kid in my arms as we staggered to the other survivors. My feet were soaked in the blood from the plane and I passed out soon after that. When I finally got to Sophie, I told her what happened. She believed me, which I shouldn't have been surprised about since she was a huge paranormal fan. I still keep in touch with some of the survivors. Their stories are the same as mine without the anomaly of the lights. I married Sophie in 2001 and am still happily living with her to this day. I thought that part of my life was over, that I could move on. Until tonight, when I looked outside of my window and I saw those same lights.