WEBVTT

00:00:01.690 --> 00:00:06.165
 Uh, before I talk to you, I just wanted to take up to remind you, do you

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wanna turn off your cell phone?

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Remind you that at number point to do
phone,

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no recording of any kind is
prohibited. I think video, cameras,

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r flash photography and you regular
camera flip, cameras, whatever you got.

00:00:29.649 --> 00:00:32.976
 Um, no recording at any time

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to give you a second. Yeah. Oh yeah.

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And um, I'm gonna go ahead and hand
over the chest chair. Well, if you can

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notice right now, we're not in a
traditional theater setting, right? And

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this is where we begin the dance
concert in a nontraditional kind of

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setting right here in this lobby is
where the first piece will take place.

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Um, and then we will guide you past
the staircase into the hallway and

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you will see the second piece you are
here. And then after that, you will

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be guided into the theater where for
exactly five minutes to get to your

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seats before the piece in the theater
starts just to give you an idea of

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the flow of the evening so that you
don't feel frantic about not being in

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the right place. Or be about being in
your right seat, we'll direct you

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and you'll be fine. Just, just be
patient with a new perhaps give you.

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OK. Um As Holly and I started
researcher or um police pursue the research

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that we, this M fa project, we noticed
that we share a lot of common

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ground, although maybe we have
different ways of achieving um our end goal

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or um different ways of um
choreographing pieces and different ways of

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working through a process. We
recognized that we had some fundamental

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questions that we were looking at
questions including who gets to dance?

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How do we frame dance and how do we
experience them both as dancers and as

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people viewing dance? Right? And um so
as you were going through this

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process, we started to,

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we question those a lot. Also, Holly
and I share a lot of common ground in

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that it's important to us that
everyone experience that I would say

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aesthetically, right? On a, on a body
level, not just um a a viewing level

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, right? And not just seeing it, but
being active participants in actually

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feeling what it's like to move. Um
Because not everybody gets that

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opportunity. So we've done a lot of
work both with dancers crave dancers

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who danced their entire life and spent
a lot of time in dance studios.

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We've done a lot of work with people
who have never taken the dance

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classes ever in their life. And
everybody is dancing by the, by the end of

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whatever our process is. Um So
hopefully we d into right, the first piece

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that we have are right here.

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Um Kendall and Milton is my dear
friend and a beautiful dancer and a

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beautiful artist also herself. So I'm
turning the time over to Kendall to

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guide you through the rules of the
game. Common ground. OK. So this

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experience that we're gonna have is
called common ground like you hucked

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up. Um Let me just read you a little
something about it. Give you a feel

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of, you know what you should be
looking for. Um Common ground movement

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experience designed to provide an
equal opportunity for audience members

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and performers to participate by
observing and or moving as a collective

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group. The goal of this piece is to
facilitate these questions. How do you

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frame dance? How do you kin
aesthetically experience him to talk about

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that a little bit? So here's the
rules. I'm gonna show you the gestures

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first. This is number one, pretty
simple and make sure that if you get

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lost or if you forget we're gonna do
them a few times. These dance matter

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shirt people in red, you can always
follow them. You can't see me if

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you're way back or something, they're
all over. So this is number one,

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number two, is this

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hands down tight

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three

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or can I

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OK, here's some more rules. We'll do
the gestures again. So you don't

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forget. Um, you can enter or exit the
space, whatever you want to totally

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up to you. Um, you can participate by
either observing or physically

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coming into the space. Either way
you're still participating. Even if

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you're just watching, it's everyone
together. Um, the music signals the

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beginning and the end. So you'll hear
the music start when it comes to an

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end, I'll bring you all too close. Um,
let's do the three gestures again.

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 Number one,

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thank you,

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breath when we breathe, use these
three gestures when you willing. Um And

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now we'll begin and I'll just point
out if, if you're a person who

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sometimes needs to read instructions,
sometimes I feel that way there's

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also an insert in your program that
says, you know. Yeah,

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inspired.

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Ok.

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That was beautiful. Thank you.

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We're gonna have a fun this way.
There's a ok.

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Ok,

00:12:10.629 --> 00:12:16.956
that now

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bye.

00:12:22.000 --> 00:12:24.436
Yeah,

00:12:24.469 --> 00:12:32.076
like guys

00:12:32.109 --> 00:12:35.096
you want to make,

00:12:35.129 --> 00:12:38.167
you are an ancient priest.

00:12:38.200 --> 00:12:43.307
You want to mention, please. Indian
Airlines announced the departure of

00:12:43.340 --> 00:12:51.340
their flight IC 408 to China. I think
you are requested to proceed today.

00:13:08.469 --> 00:13:10.469
Ladies and gentlemen, on behalf of internet and captain

00:13:13.219 --> 00:13:16.667
on what applied I see

00:13:16.700 --> 00:13:21.336
want to take off currently closing
your seat belts, keep your seat

00:13:21.369 --> 00:13:25.775
separate and free from smoking by
smoking.

00:13:25.808 --> 00:13:30.986
I hope you enjoy your flight. Thank
you.

00:13:31.019 --> 00:13:33.557
I

00:13:33.590 --> 00:13:41.590
it's

00:13:49.389 --> 00:13:57.389
like lighting 408

00:18:22.729 --> 00:18:30.729
flight IC 408

00:18:59.529 --> 00:19:03.486
um because there was some difficulty
seeing it for some people. Um We have

00:19:03.519 --> 00:19:07.107
decided that we are gonna do the piece
again at intermission. So if you

00:19:07.140 --> 00:19:10.256
feel like you had a difficult time
seeing it and you'd like to get a

00:19:10.289 --> 00:19:16.180
better view of it, we will repeat it
at intermission so you can come out.

00:20:56.009 --> 00:20:58.009
Yeah.

00:23:00.009 --> 00:23:08.009
Yeah.

00:33:49.400 --> 00:33:52.186
And

00:33:52.219 --> 00:33:58.236
side of

00:33:58.269 --> 00:34:06.269
that, it

00:34:12.329 --> 00:34:15.816
just a reminder for those of you who
checked your messages or otherwise

00:34:15.849 --> 00:34:19.956
made a call once again, please turn
your cell phones off during the

00:34:19.989 --> 00:34:27.989
performance. Thank you.

00:35:56.369 --> 00:36:04.369
Yeah,

00:36:54.708 --> 00:37:02.708
this

00:43:04.590 --> 00:43:12.590
Yeah.

00:43:24.208 --> 00:43:26.486
Ok.

00:43:26.519 --> 00:43:34.519
Ok.

00:44:58.659 --> 00:45:03.577
In Aqua I,

00:45:03.610 --> 00:45:11.610
you can

00:45:55.289 --> 00:45:57.557
irritate

00:45:57.590 --> 00:46:01.566
you. See

00:46:01.599 --> 00:46:03.997
la

00:46:04.030 --> 00:46:12.030
la la.

00:46:22.329 --> 00:46:24.675
Yeah.

00:46:24.708 --> 00:46:28.557
Ok.

00:46:28.590 --> 00:46:36.590
Yes. Yes.

00:46:42.898 --> 00:46:50.898
Uh

00:46:51.000 --> 00:46:59.000
and

00:47:07.250 --> 00:47:15.250
good.

00:47:20.329 --> 00:47:28.329
My

00:47:35.438 --> 00:47:37.467
right,

00:47:37.500 --> 00:47:39.686
right.

00:47:39.719 --> 00:47:47.719
Netflix

00:47:48.840 --> 00:47:54.106
again,

00:47:54.139 --> 00:48:02.139
that's my question

00:49:15.590 --> 00:49:23.590
behind you.

00:49:25.719 --> 00:49:33.719
Leven me, me live not hard to

00:49:35.438 --> 00:49:41.365
if you don't set the situation

00:49:41.398 --> 00:49:44.287
to

00:49:44.320 --> 00:49:52.320
the, to the mass

00:49:57.438 --> 00:50:05.438
V to do so.

00:50:10.898 --> 00:50:18.898
So says

00:50:20.949 --> 00:50:26.776
ma

00:50:26.809 --> 00:50:34.809
you say we,

00:50:41.320 --> 00:50:49.320
how will the travel or?

00:52:26.289 --> 00:52:29.497
Right?

00:52:29.530 --> 00:52:37.530
Yeah.

00:52:51.750 --> 00:52:55.175
Figure to

00:52:55.208 --> 00:53:00.635
and figure one

00:53:00.668 --> 00:53:02.646
de

00:53:02.679 --> 00:53:06.635
de de de de

00:53:06.668 --> 00:53:12.595
but say don't you now take his so or I
you go to the zoo

00:53:12.628 --> 00:53:20.115
and you said to the very soon in
France.

00:53:20.148 --> 00:53:28.148
So to the Rame Brass. No. Work on that
route

00:53:29.409 --> 00:53:37.409
of

00:54:13.188 --> 00:54:21.188
FJ.

00:55:51.610 --> 00:55:54.626
So

00:55:54.659 --> 00:56:02.659
you need

00:57:42.320 --> 00:57:48.126
ska

00:57:48.159 --> 00:57:56.159
back up Barbara. The

00:57:59.000 --> 00:58:01.557
boy

00:58:01.590 --> 00:58:06.595
should be

00:58:06.628 --> 00:58:08.628
we.