YCSC Grand Rounds: Black History Month Special Session

February 20, 2024

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YCSC Grand Rounds February 20, 2024

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00:00Welcome everyone. Thank you for your
00:02patience and welcome to Grand Round.
00:05Before we get started,
00:06just want to remind you a little
00:08housekeeping for next week,
00:10which is that we'll continue the
00:12leadership series in which we'll welcome
00:15President and CEO of Gaylord Healthcare,
00:18Sonia Labarbera to the Child Study Center.
00:20So join us here in the Cohen for that
00:23and welcome today for what has become an
00:26annual Black History Month celebration.
00:28And I'm sorry, a little flustered
00:31because we have a lot going on.
00:33I also just found out we have a little
00:35curveball, but we'll keep it going.
00:37So in essence,
00:40we've been having this event with the support
00:43of volunteers from the Child Study Center.
00:46So Many thanks to all of the volunteers
00:49who've done in the past and special thanks
00:52to Brianna Browser who helped get the
00:56ball rolling on getting the word out.
00:58And of course to our folks
00:59who you'll hear from today,
01:00who I'll let you know of in a moment.
01:02But what the focus of of the
01:06grand rounds and the celebration
01:09is arts and the African diaspora.
01:12And so,
01:12quoting from the Association of
01:14African American Life and History,
01:16African American art is infused
01:19with African Caribbean and the
01:22black American lived experiences.
01:24In the fields of visual and performing arts,
01:26literature, fashion, folklore, language,
01:28film, music, architecture, culinary,
01:31and other forms of cultural expression.
01:33The influence of the African
01:35diaspora has been paramount.
01:37The influence has been deep and varied,
01:39bringing a richness to
01:41culture across the globe.
01:42In my own home growing up,
01:44the two art forms that I had most
01:46exposure to was food and music.
01:49Puerto Rican food is called Comida Creolea,
01:52which is Creole food and it
01:56brings together African,
01:57Taino and Spanish influences.
01:59So I that was always such a big part
02:03of my life that music was the other
02:05and music was varied including artists
02:07such as Celia Cruz and Johnny Ventura,
02:09Smokey Robinson, Benny King,
02:10Isaac Hayes, The Isley Brothers.
02:12And then as a teen and college student
02:15it evolved to East and West Coast
02:17hip hop and with Doctor Dre, Snoop,
02:19Tupac and A Tribe Called Quest.
02:21And as an adult I find myself boldly
02:24embarrassing my children as I wrap
02:26along with what is now considered
02:28old school hip hop so as well as
02:32Motown favourites.
02:33So today some of our community
02:34members have volunteered to share the
02:36influence of arts in their lives.
02:38So again,
02:39I think Rihanna Brauer for her help,
02:41but also Amy Myers who will be
02:43joining us and share some information
02:46about one of her favorite artists.
02:48Tangela Irby will share her family's
02:51legacy of quilt making and some new
02:54things that she's learned about that.
02:56IO Ayotune will share with us his
02:58own artistic journey and innovation
03:00that has been born of that.
03:02And I will be pinch hitting for Chris
03:04Edwards, who unfortunately has the flu,
03:07to share a little bit of
03:08information about the
03:09steel pan in his life.
03:11And we have Mr. Kenneth Joseph
03:13who will demonstrate for us.
03:15He's also going to play us
03:17into the reception which will
03:19be here afterwards as well.
03:20So without further ado, Amy,
03:27good afternoon.
03:30Thanks for being here.
03:32So, so I do
03:33have some notes I am going to read
03:35from along with some slides here today.
03:39So I heard the
03:40the national theme.
03:41I actually didn't realize until this
03:42year that there was a national theme
03:44every year for Black History Month.
03:46But I heard this year that the
03:48national theme was the contribution
03:49of black people to the arts,
03:51and I immediate immediately thought of Mr.
03:54Winfred Rembert,
03:55who is a treasure that we had right
03:58here in New Haven for several decades.
04:01And so I'll be talking a
04:03little bit about his artwork.
04:07Mr. Rembert was born in Georgia,
04:09and like millions of other black people,
04:12he migrated to the N 1st to New York and
04:16then settling in New Haven in the 1980s.
04:20And he stayed here in New Haven
04:22until he died in 2021. Mr.
04:26Remember is a visual storyteller
04:29and most of his stories
04:30are from his life in the South.
04:33And as I became acquainted with his art,
04:35it was with the stories as much as
04:38with the art that I was drawn in.
04:40And as I became acquainted with them,
04:42I found a kind of familiarity and
04:44something that really spoke to you and
04:46sounded a lot like families that I are
04:49stories that I heard from my own family.
04:52My parents too migrated to the north
04:55from the rural S 1st, also to New York,
04:58and finally to Connecticut.
05:01And once in a while, and when they
05:03were in the right frame of mind,
05:05my dad might tell a little bit of a
05:07story about his life as a kid on a
05:11sharecropping farm in South Carolina.
05:13Or my mom might talk a little bit
05:16about harvesting and drying tobacco,
05:18which she did as a kid in North Carolina.
05:22But these stories were rare in our household,
05:24and they were only told in
05:26the privacy of our home.
05:27And I kind of came to think of them as
05:31secrets and stories that I shouldn't retell,
05:33and that they only belonged in
05:35the past but not in the present.
05:38And sometime in the 1990s, I met Mr.
05:41Rembert here in New Haven,
05:43and I met a man who very courageously
05:45confronted his past and shared it
05:47with the world in the present.
05:53This is one of his pieces
05:55called Picking Cotton.
05:56It was painted in 2005,
05:58and here we see a number of people with
06:02the huge sacks that they wore that
06:05collected the cotton that they picked.
06:08And Mr. Rembert remembers being dragged
06:11through the rows of cotton as a child,
06:14laying atop one of the heavy stacks
06:16and one of the heavy sacks of cottons.
06:18As one of his family
06:19members worked in the field,
06:22he painted numerous scenes
06:23of people picking cotton,
06:25and as he described,
06:26folks working in the field from
06:29what he called from can't to can't,
06:31which meant working in the field
06:33from when you can't see the sun
06:35in the morning until you can't
06:37see it again at night.
06:41Mr. Remember was given by his
06:44mother to his aunt who raised him,
06:47and during his life he was very
06:49open about how much this pained him
06:52and eventually came to understand
06:54as an adult the racial and social
06:57structures that impeded his mother
06:59from being able to maintain his care.
07:02And so we see this is a detail of one of
07:05his other pieces that's called The Beginning,
07:08which which memorializes his passing
07:11from his mother to his aunt as a baby.
07:15And in this you can see a little
07:17bit of the texture. Mr.
07:18Rembert's art form was that he created
07:21art and leather canvases that he
07:24carved and tulled and dyed by hand.
07:30We also see in this piece a chronicle,
07:32a family separation that disproportionately
07:35still impacts black families,
07:37more so than other families today.
07:42While Mr. Remember always
07:43loved to draw as a child and as an adult,
07:45he didn't believe that his art was something
07:48that others would be interested in.
07:50His wife, Patsy, encouraged and
07:51convinced him not only to make her art,
07:54but to share it and also to share
07:58the stories that birthed his art.
08:00He started creating in earnest
08:02when he was in his 50s,
08:04and Paxi talked about the intense
08:06purging that Mister Rembert experienced
08:08after completing a piece that she
08:10said often made him physically. I'll
08:14Mr. Rembert's life is nothing
08:17short of extraordinary,
08:18and one of the pivotal experiences
08:20that he speaks about quite a bit and
08:23is the subject of much of his art,
08:24is that he survived A lynching.
08:28He survived, if we kind of think
08:30about those words, that someone survived
08:33a lynching by brutal racial
08:35racial attack that was not
08:37intended to have a survivor.
08:40And following that lynching,
08:42he was incarcerated on a chain gang
08:45for seven years of his adult life.
08:48And this painting is called All
08:50of Me and was done in 2002.
08:54And in this we see what looks
08:56to be several men, and what Mr.
08:59Rembert explains are actually all
09:02him and multiple facets of his
09:04forced labor throughout the day.
09:08It was in prison, actually, that Mister
09:10Rembert discovered and started to craft,
09:12tooling and carving, carving leather.
09:19Mr. Remember illustrated so many of
09:21his life's narratives, and for me,
09:24his art shifts these experiences
09:26from private hushed conversations
09:28at home to public truth telling.
09:31He shifts the experiences
09:33from singular to collective,
09:36and as so many people recognize themselves
09:39and their families on his canvases.
09:42This is a detail from another
09:44piece called The Dirty Spoon Cafe,
09:46and as you can see,
09:47there's some dancing and there's some music,
09:49and this is set in a Juke joint.
09:53This is a scene from his experience
09:56of the segregated South and it
09:58shows a place of community created
10:00by black people
10:01for black people.
10:06Here's another scene of gathering and
10:09community and creating of safe haven.
10:11This piece is called Bubba
10:13Dukes and Feats Pool Hall.
10:15One of the real places in Mr.
10:17Rembert's life in Georgia,
10:19and one of the real places of
10:21his experience of Black Joy,
10:27and this piece is called The Curvy, which is
10:32a scene of boyhood,
10:35seemingly pretty simple yet profound when
10:38we think about the limited spaces for
10:42black boys to be carefree, particularly
10:45in the segregated South of the 1950s.
10:51Well, Mr. Rembrandt's art is a summons
10:53to examine and bear witness to the
10:55American tragedy of racism and injustice.
10:58His art is also an invitation to view
11:01the landscapes of family, boyhood care,
11:04caregiving between family members,
11:07community resistance and recovery.
11:09And because of this,
11:11I I really am quite drawn to his work.
11:14And I try to find any opportunity
11:17I can to to share with him,
11:20with other people who he is
11:22about his life and his legacy.
11:25So I'll leave you with just a
11:27few words directly from from Mr.
11:29Rembert
11:50and for those who are interested,
11:53other ways that you can read
11:55about or see films about him.
11:57His 2021 biography actually won
12:01the Pulitzer Prize for biography.
12:02There are some pieces that you
12:04can see here in New Haven.
12:06There's lots and lots of
12:07opportunity to see his artwork
12:09and to read more about him.
12:17Thanks so much. I'm not sure if
12:18I should stop sharing because
12:19you don't have slides. I'm
12:20going to introduce Tangela Irby next
12:38and I just want to add that we
12:40will have raffles at the end and
12:42his autobiography will be one of
12:43the items that will be raffled.
12:45Can everyone hear me OK? Awesome.
12:48Well, would you believe that what
12:50started out as a means for women
12:53to keep their babies warm in a
12:56time when Holmes had no heat and
12:58families had upwards of 10 children?
13:03It's now being called by art historians,
13:07curator, curators and collectors.
13:09They recognize this artwork as essential
13:13to the history of American art.
13:15The magic that the GS Bin quilters
13:18created with needle and thread can
13:20now be found on US postage stamps.
13:22And I have some for you to take a look at.
13:24They're in books.
13:25My grandmother is in that book.
13:27She is on page 144, Rugs.
13:31They've been in the Metropolitan Museum
13:33of Art. They've been in the Systonian.
13:35They're even in clothing that
13:37have walked the runway in Paris.
13:40There's a cover that you can see
13:42the dress that when it came out it
13:45had a price tag of over $20,000.
13:48OK, not a proud moment,
13:52but do you remember the Will Smith
13:55Chris Rock slap at the Oscars?
13:58Definitely not a proud moment for many of us,
14:01but did you know that right
14:04after that incident,
14:05Questlove accepted his Oscar wearing
14:08a garment that had been produced,
14:12bought through the Greg, Lauren,
14:14and Geez Ben collaboration moment
14:18was totally overshadowed by a Slack.
14:21But I saw it.
14:23I knew exactly what was going on.
14:26The pieces that come from these
14:28collaborations have a hefty price tag.
14:30Many of them are items that I could not.
14:34Maybe one day I could,
14:36but right now I could not
14:37even afford those pieces.
14:39And unfortunately not in the Greg Loren case,
14:41not in the things that are happening now.
14:43But in many cases,
14:45the quilters were not compensated
14:46for all of their hard work,
14:48which has led to a lot of
14:50mistrust when people see G's
14:52Ben products in the marketplace.
14:53And I'll circle back to that for a minute.
14:56So my grandmothers were both G's
14:58Ben quilters and unfortunately,
15:00they died long before the world came to
15:04recognize their talents and their gifts.
15:07But what is Jeez Ben?
15:08Some of you may be asking.
15:09Right.
15:09So Jeez Ben is an area that's in Alabama.
15:13It's about about 40 minutes
15:15southwest of Selma.
15:15And everyone's heard of Selma, Correct.
15:19If you were to look on the map
15:20right now and look up, Jeez Ben,
15:21I always say this because I don't
15:23want someone to Fact Check me.
15:24And they go and they look up Jeez
15:25Ben and they can't find it or like,
15:27what is she talking about?
15:28Because it is now known as Boykin,
15:30Alabama.
15:30So you will not find Jeez Ben on the map,
15:33but thanks to these quilters and
15:36my ancestors, it is on the map.
15:39So when I think back to Jeez Ben,
15:41I think back to our visits
15:43there in the summer,
15:43visiting my grandparents.
15:44And so I'll tell you what I think
15:46about when I think about those days.
15:48I think about sweet tea.
15:51I think about smothered chicken
15:52for breakfast, lunch or dinner.
15:54It didn't matter.
15:55I think about collard greens from
15:57the garden that my family grew.
15:59I think about going from house
16:00to house and how I didn't like.
16:02I still don't really care for collard greens,
16:04right? So I think about,
16:05so you're I'm at grandma's and
16:07we're going somewhere else. Good.
16:08Maybe I can eat something when I get there.
16:11And guess what they're offering
16:13collard greens go to the next.
16:15So we often just visit it and guess what?
16:16Everyone served it was collard greens.
16:19So you know what?
16:20OK, I had to eat it because
16:21that's what I had to eat.
16:22It wasn't a time when you didn't
16:24have multiple options, right?
16:25You had to cook what?
16:26Eat what was on the table.
16:28We also had Grandma's famous tea cakes.
16:31They made their own soap.
16:33They canned their vegetables.
16:35They canned soup. They canned Peaches.
16:37They raised pigs.
16:39Yes, we had homemade sausage.
16:41There were chickens. There were cows.
16:43There were blackberries.
16:44There were pecans.
16:45There was homemade pecan candy.
16:48The list goes on and on.
16:50And this is because my grandparents grew up
16:52in a time when you use everything you had.
16:55If you didn't grow it,
16:56if you couldn't borrow it
16:57from the person next door,
16:58you went without it.
17:01They didn't have much back then,
17:03but care went into every stitch and
17:05every block of everything that they did.
17:10I told you that they had
17:11a lot of kids, right?
17:12So that same care went into their children.
17:15When I think about my paternal grandmother,
17:17who had nine, and back then children,
17:21maybe you went to school, maybe you didn't.
17:23Your job was to work the land, right?
17:26But my grandmother, and I'm going to
17:28quote what my aunt told me, she said.
17:30My grandmother said I plowed the I plowed the
17:33mule so that my kids never would have to.
17:37So unlike most of the children who
17:39grew up in my mother's generation,
17:41my father's generation,
17:42many of them could not go to school,
17:44like I said. So think about that.
17:46You know, I'm older. I'm older, right?
17:50But just one generation before me,
17:53they did not have the opportunity
17:55to go to school like we did, right?
17:57So that has an impact on your life.
18:00It has an impact on your lifestyle.
18:02So quilting basically started off as utility.
18:05Like I said,
18:06they did it because they needed
18:07to keep their babies warm.
18:09They had a lot of them and they
18:10didn't have heat in the houses.
18:12So with the formation of what was
18:14called the Freedom quilting Bee,
18:15it allowed the women in the community
18:17to actually be paid for their talents.
18:20So they had contracts.
18:21For example,
18:21they had a contract with Sears and
18:23said they were able to make things
18:25and they were able to make money.
18:27But unfortunately what happened is
18:29a lot of times obviously they wanted
18:31those items to be mass produced.
18:33And so we think about, geez,
18:34bank filters,
18:35it was all about the women's freedom.
18:37They did things the way they wanted to.
18:40No one could tell them you can't
18:41put orange and purple together.
18:42It didn't matter because they
18:44use whatever they had.
18:46And so no matter what it was that
18:47they were doing and I'm so glad.
18:48Tara, you mentioned food as an art form,
18:51right?
18:51So whether it was cooking a dish,
18:53whether it was canning,
18:55whether it was raising the animals,
18:57there was an art to it because they had
18:59to use their creativity to make it work.
19:01There was no other way.
19:03So when I think about those women
19:04working at the Freedom quilting be,
19:06I think about them building community.
19:08Could you imagine being a woman back then
19:10where you really didn't have a lot of say?
19:12So they had a couple of things
19:14that were strikes against them.
19:15They were black and they were women.
19:17So even among their own community,
19:19guess what?
19:20The men didn't always ask
19:21women what they wanted, right?
19:23They did what they wanted to do,
19:25and a lot of times women weren't consulted.
19:27So again, this creativity was birthed
19:30out of this is the one space.
19:33This is an area where I can do
19:35things the way I want to do them.
19:37So again,
19:38creativity was a way of life.
19:40So I think about when Doctor
19:42King visited Jeez Ben
19:44and Doctor King actually visited 2 times
19:46and one of the times that he came,
19:48he got the people in G's been fired up.
19:51He said we need, you need to vote,
19:52this is your right,
19:53you need to you need to go vote.
19:55And So what did they do?
19:56They had a ferry and so if many of
19:58you are familiar with the Long Island
20:00Ferry in Bridgeport, that wasn't it.
20:03That definitely was not what would take
20:05people from GS Bend over to Camden.
20:07I don't think I would have
20:08gotten on this thing.
20:08When I hear about school buses,
20:10they got on this ferry and
20:11went across the Camden.
20:12So I'm telling you that they were up a
20:14lot of against a lot of different odds,
20:17but Doctor King got them excited
20:19and ready to vote.
20:20So they started going over there.
20:22They went over and they registered to vote.
20:24They got up one morning and guess what?
20:28The ferry was gone,
20:30so now they no longer had a way
20:31to go and register.
20:33They no longer had a way to get to town,
20:35to get the things that they needed.
20:37They were cut off from the rest of the world.
20:39So it has always been an isolated area.
20:42It wasn't until 2006 that they
20:45put the ferry back.
20:49So again, think about it.
20:50When you think about all these different
20:51things, they say that, you know,
20:52we need to get over this, things are equal.
20:54Now think about all the time that was lost
20:57in terms of advancement for that area.
20:59And this is just one area, right?
21:02So I think about they had to be creative
21:05because they had to make it work.
21:06I also think about the fact that
21:08the children, they didn't have TV,
21:09they didn't have dials,
21:10they didn't have games that we
21:12can go to the store and buy.
21:13They didn't have any of that.
21:15So again, think about the creativity
21:16that it would take to entertain.
21:18How many children, 9/10/11.
21:21I've heard of some families having 16,
21:23three sets of twins.
21:25I mean,
21:26just a lot of different variations in
21:28terms of what they were dealing with also.
21:31I want you to think about
21:36the fact that you had to be creative
21:38when your mother would say to you
21:40you're ready to migrate up north.
21:42You know, you waited all your life.
21:43You're going to go and have a better life.
21:45And your mother says you're not
21:48going unless you make a quilt.
21:51And then your mother says even worse.
21:52I'm not going to give you a quote if you go.
21:56So the women, the young girls had to
21:58learn how to quote and to sit in an
22:01audience about three months ago with
22:03Jeez Ben Descendant who shared that
22:05quote that is over 60 years old now And
22:08to talk about how she made that quote,
22:11she fought tooth and nail because
22:12she didn't want to.
22:13And now the fact that that was the biggest
22:15gift that her mother has given her,
22:17right, because she has this quote and
22:19she learned to quote the jeez Ben way.
22:21So again, you have to be creative.
22:24You have to be creative when you find
22:27out that your ancestors quilt the same
22:31way the women in Benin would weave.
22:34So there's a connection, right?
22:35You have to be creative when
22:37that's a part of your DNA,
22:39when you find out that your great,
22:40great, great grandmother,
22:43who is Dinah Miller,
22:45was captured in Africa, enslaved,
22:49and brought to the shores of the US
22:52at a time when doing so was illegal.
22:55So my great, great,
22:57great grandmother was on the last
22:59slave ship that came to America.
23:01So I am a descendant of Jesus then,
23:03and I am also a descendant of the Clotilda.
23:06So if you don't know that story,
23:08it's the there's a documentary on Netflix,
23:10and now there are many,
23:11many books about it because it was folklore
23:13that you hear people talk about things,
23:16but they've actually found the
23:18remains so that they know that the
23:20stories that have been passed down
23:21from generation to generation.
23:23And I'm sure there are people
23:24who said that didn't happen.
23:25Why are you still talking about that?
23:26Right.
23:27It turns out that is actually true.
23:31As I think about the work that I do hear,
23:33the YC, I I am reminded about the
23:37relationship between art and emotion.
23:39And one specific,
23:40specific example I can give to you is
23:42that my aunt sends me things all the time.
23:44And I have one of the pieces
23:46that she sent to me over there,
23:47and I will open the box and I'm looking at
23:50all these different pieces and I'm like,
23:52oh, what was she thinking?
23:53That is like the ugliest thing
23:55I've ever seen, right?
23:56I could put it away.
23:58And then two weeks later,
23:59two months later, open it up and like,
24:00Oh my God, this is gorgeous.
24:02This is what was I thinking, right?
24:05Did the scraps of material change?
24:06Did their placement change?
24:08Did the colors change?
24:09No.
24:09It was all about me and my
24:11emotional state where I was when
24:13I opened up those pieces.
24:14So for me, I'm drawn to whether it's an
24:19art piece of art on canvas, on leather,
24:22whether it is flowers in the vase,
24:26I'm drawn to something within
24:29me right when I look at it.
24:31So depending on what day I'm
24:32looking at it that's going to,
24:33that will really help in terms of
24:36connection that I have with the
24:38piece of art or even with my life.
24:40But here lately,
24:42it is the warmth of what used to be.
24:46It is the fulfillment of my grandmother's
24:48prayers that live in me today,
24:51and the promise that I want to leave
24:54this world better than I found it.
24:56And that is why I've taken what I
24:59have learned and I have written
25:02children's books that share these
25:04stories with the next generation.
25:05Because if we don't share our stories,
25:07all of that stuff is going to be lost.
25:10And when I think about what I
25:12just found out with the Clatilda,
25:13there was a reason why I was drawn to this.
25:15Like, yes, I had notes and I wanted,
25:17but then part of me was like,
25:18don't do this, you know,
25:19who are you to release this
25:20story into the world, right.
25:21But I was drawn to it.
25:23I couldn't rest until I
25:24released this into the world.
25:26So now to find out, there's an even close,
25:28bigger connection that I
25:30need to do more research on.
25:32And So what I will leave to
25:33you with you is this.
25:35So for my family, it's the art,
25:37it's the quilting.
25:38But every family has a story,
25:40so it is your job,
25:41if you don't already know what that story is,
25:43to do some research and find out
25:45what that story is and make sure
25:47that that story isn't lost and that
25:49it goes on to the next generation.
25:51And if you don't have someone that you
25:53can go and ask and find the story out about,
25:56then I say your legacy starts with you.
25:58What are the things that are most
26:00precious to you that you want to
26:01pass down to the next generation?
26:04And so that with that,
26:05I will say thank you for your
26:06time and I'm going to call IO,
26:08so please come forward.
26:21All right.
26:24Can everyone hear me? OK, great.
26:28All right. So I am IO and I
26:32think I will move this on.
26:37Oops.
26:40There we go. OK, so I am IO and I'm
26:44super excited to be here today.
26:47I was super excited when I heard about
26:51the theme of this month's, you know,
26:54Black History Month in relation to
26:57artists and in relation to artistry.
27:00Because I, you know,
27:02consider myself an artist.
27:04I am also a psychiatrist,
27:05as many of you know.
27:07I have a lot of my teachers and
27:11mentors here and I was a fellow here
27:14for my Child Psychiatry Fellowship.
27:17So I consider myself a psychiatrist,
27:22artist, art.
27:24But I wanted to talk today about
27:28innovation and the intersection
27:30of visual arts and psychiatry
27:33because the arts in general have
27:35played a huge role in my life.
27:38You know, not just professionally,
27:40but as you know, a therapeutic tool,
27:45you know, channel for healing,
27:47channel for growth.
27:49And I am really excited to share
27:53some paintings that I made.
27:56I'm gonna be sharing 4 paintings
27:59and they are just really important
28:02paintings and just the course of
28:05my life as a trainee and you know,
28:07my journey to where I am right now.
28:11And I will also be talking about
28:13how the visual arts has inspired
28:16innovation and growth and I hope you
28:20can all pick up something from it.
28:22So we will get started real
28:25quick with the first painting.
28:27It's a little scary and as you can
28:31see it is a self-portrait that I
28:34made in 2017 and it is called Depth
28:38confront in psychiatry resident.
28:40It is pretty clear who death is,
28:43this picture.
28:46But there's a, there's a more,
28:48you know, sinister story behind this.
28:51I painted this in 2017,
28:54in my intern year after I got
28:57into a car accident.
28:59And I got into the car
29:01accident after working,
29:02I don't remember 18 hours straight
29:05or something, you know, ridiculous.
29:08And as I was driving back home from work,
29:12I fell asleep behind the wheel
29:15and had a car accident.
29:17And, you know,
29:19and the split second when right
29:21before I had the accident, I,
29:23you know the story of how people say,
29:25oh, you see your life flash.
29:27It's real like it's you,
29:29you really see it's like things slow down.
29:33And it was a very traumatic incident for me.
29:37And I decided that I was going
29:39to translate that,
29:41translate that experience into art.
29:43And I made this painting in
29:462017 and you know,
29:47as you can see that's me with my little
29:50lab coat and my eyes like heavy with sleep.
29:54But then there's also the aspect of death,
29:57you know, visiting.
29:59And while it was very morbid,
30:01you know,
30:02it was very healing from me to
30:05actually make this painting.
30:06Because if you think about the
30:08process of making a painting,
30:09you have to really recollect
30:12and remember and rehash,
30:15you know situations and you know experiences.
30:19And I think that's one of the
30:21key principles of trauma therapy
30:24where you sort of rework the
30:26narrative and rework how things
30:29played out. And so this was very cathartic
30:32for me and it was one of my very first
30:36paintings that were self portraits.
30:40My work contains a lot of detail.
30:44This is like a closer picture and you know,
30:49texture, you know,
30:50plays a big role in my art.
30:53And so we have a closer view there.
30:58The second piece that I'd like to
31:00share is called internal turmoil.
31:03And I painted this in my second
31:05year as a psychiatry resident.
31:07And you know, it is also very graphic and,
31:11you know, imbued with a lot of meaning.
31:14So in my second year,
31:16as most psychiatry residents know,
31:18that's the year where you
31:20actually start to do psychiatry.
31:21And I really had a chance to meet
31:24a lot of people who taught me a
31:28lot of things and this particular,
31:31you know,
31:32painted and was inspired by
31:36a patient that I worked with who
31:38appeared on the outside to be very
31:41calm and very put together, you know.
31:44But when I started to,
31:45like interact with her,
31:47I noticed that her whole world was
31:50basically on fire with, you know,
31:53personal experiences with trauma,
31:54with addiction.
31:56And I painted this piece to really,
32:01you know, draw to the fact that a
32:04lot of people might be experiencing
32:06things that you have no idea of.
32:09And you know,
32:10a lot of times it's not apparent,
32:12you know, on the surface, but it's it's,
32:15it's possible that there is a lot going on.
32:18And so the message is really to be kind
32:21and to be mindful about things like that.
32:24So this was the second piece,
32:29and the third piece is a is
32:32a little brighter.
32:33I'm sure everyone was getting worried,
32:35but this this was done in my third
32:40year of residency and this is
32:43called Sunflowers and mortality
32:45and it is another self-portrait.
32:48But this,
32:49this has a more symbolic meaning to it.
32:53This piece is imbued with
32:56symbolism and as you can see,
32:58that is me, you know,
33:00walking through what appears to be a field of
33:04sunflowers and it looks all beautiful and,
33:06you know, bright.
33:08But there's a scary looking bull behind me.
33:12I'm sure everyone noticed that and this this
33:16piece was inspired by some family tragedies.
33:20You know,
33:21that had happened in my life.
33:22I had two aunts, you know,
33:25pass away from cancer.
33:27My father passed away from
33:29cancer a couple of years back.
33:32And so there was this family history
33:35of cancer that have started to grow
33:38and it it has continued to grow.
33:43And you know,
33:44I sort of had this moment where I I
33:48felt that mortality was something that
33:50everyone would eventually have to face.
33:53And you know, while we,
33:55you know, spend life, you know,
33:59you know, really, you know,
34:00enjoying all the pleasures and all
34:02the positive things that come from,
34:05you know,
34:06either our careers or our
34:08children or our hobbies.
34:10You know,
34:11we also have this bull in the background
34:15that we all have to be sort of mindful of.
34:18That is like always in the background and
34:23always stuck in and always approaching us.
34:26And you know,
34:28this piece,
34:28you know,
34:29always reminds me to remember
34:31the end goal and remember that
34:34eventually that bull will get me.
34:36But you know,
34:37in the process I want to be
34:40able to have lived a life that
34:43is fulfilling and a life that
34:45impacted people and helped people.
34:48So this piece is very iconic for me and
34:52it was shown in the journal of a cap.
34:56It's the long word.
34:58But it was,
34:59it was shown in the journal and
35:01I was very proud of this piece.
35:04And then the last piece that I'm gonna show,
35:07and that's a little detail.
35:10Well,
35:10the last piece I'm gonna show
35:12is probably my favorite.
35:14It is my favorite piece.
35:16And this piece is called Arella and Rooster.
35:19And I realize my daughter,
35:22she recently turned 10,
35:24but in this painting, she was 5 and
35:27we had visited a farm in New Jersey.
35:31And we sort of, you know,
35:32just let her roam, run around and,
35:36you know, a few minutes later she
35:38returned and she was holding a rooster.
35:41And you know, I I grew up in Nigeria
35:45and like you don't mess with Roosters.
35:48Like that's just,
35:49that's just everyone knows that, you know.
35:51So the fact that she, like had a rooster,
35:55like just terrified us.
35:58And you know,
35:58she had this look of innocence in her eyes.
36:01And when she sort of saw the fear
36:07in her parents eyes, you know,
36:09I could see that look of
36:11innocence sort of disappear.
36:13And she, she like, took in our fear.
36:16And that particular moment really
36:18taught me a lot about, you know,
36:21the courage that children have and the
36:24impact that we as adults and as the world
36:27have in sort of nurturing that courage.
36:30Because after she saw how terrified,
36:33you know, her parents were,
36:34she was, she was terrified too.
36:37But that that moment was iconic for me.
36:40And I, you know made made a painting of it
36:43and it is absolutely one of my favorite.
36:45So that is that is the final piece.
36:50So I will move on to the next segment of
36:56my talk which has to do with innovation.
37:00So innovation is one of my favorite
37:03words because I just like the idea of,
37:06you know,
37:07taking knowledge and experience from 1
37:09field and combining it with knowledge
37:12and experience from a different field
37:14and coming up with something new.
37:16So I'm in the process of my
37:19training and my life.
37:21I have, you know,
37:23had the opportunity to
37:25innovate in different ways.
37:26And one of my favorite ways is,
37:29you know what I'm going to share now?
37:31But there's no innovation
37:33without collaboration.
37:34And so one of my favorite people to
37:40collaborate with is my friend and one of
37:44my best friends and neighbor Nicholas.
37:47And we, we have really great
37:50conversations about different things,
37:52about life, about.
37:55Yeah, design adventure, you know,
38:00his wife Lelia is right there,
38:03just had a baby, you know,
38:04So a lot going on.
38:06But the the recent conversation
38:08we had was really about child
38:11mental health and how innovation,
38:14you know, is required in the field.
38:17And you know, innovation is required to,
38:22you know, make progress.
38:23As we know there's a child
38:25mental health crisis.
38:26And as I, you know,
38:28transition from being a trainee to,
38:31you know, my work as an attendant and,
38:33you know, my private practice, one problem,
38:36you know, really stuck with me.
38:38And, you know,
38:39I I came to the understanding of a problem,
38:41which is that children and adolescents
38:44are not really well educated and
38:47all the aspects that play a role in
38:50Wellness and positive mental health.
38:53So I started to do something in
38:56my practice because I would have,
38:58you know,
38:59parents and children coming to me
39:02with the belief or the expectation
39:04that I would have like a magic pill
39:07that would make anxiety disappear and
39:10make depression, you know, disappear.
39:12And so I started to explain that,
39:15you know, medications is really
39:17just one piece of the puzzle.
39:20And I started to do a visual with
39:24the kids that I worked with.
39:25I hope this works.
39:27Let's see.
39:28Perfect.
39:29So I would tell my kiddos to draw a circle.
39:33And after they drew the circle,
39:35I would ask them to divide the
39:38circle up sort of like a pizza.
39:40So I'd say,
39:41you know,
39:41divide it in, you know,
39:43half and then divided in another
39:46half and then I'll tell them to
39:48divide it again sort of like a pizza.
39:50And I would explain that,
39:51OK, you think medications,
39:53it's really important.
39:54Let's put medications as one of
39:57the pieces that you think is
39:59important for your Wellness.
40:01So you know, I have the kids
40:03write down medications and
40:04then I'd ask them what else is,
40:06you know, important to you?
40:07What else do you think plays
40:09a role in your Wellness?
40:11And then they might say, oh, you know,
40:12I like to paint or I like to draw.
40:14And so I'd say, OK, write that as well.
40:17And then what else?
40:18And then they'll say, oh,
40:19I like to play lacrosse or
40:21soccer or basketball.
40:23And I'll be like, OK, write that as well.
40:25What else do you like to do?
40:26And then, you know, they might say,
40:28I like to play with my friends
40:29and hang out with my family.
40:31And so we would start to
40:34construct this pizza.
40:35But then I would also start to help them and,
40:38you know, make suggestions like how about,
40:40you know, something like maybe sleep,
40:43sleep important to you.
40:44And they're like, no,
40:45I prefer to just play video
40:46games and I'm like, OK, whatever.
40:48But eventually I'll convince them to,
40:51you know, write down things like sleep or,
40:54you know, talk about like nutrition,
40:56you know what they eat or, you know,
40:59talk about, you know, self-care,
41:01you know, taking care of yourself.
41:02So eventually we would build this,
41:06you know, pizza.
41:07That was what I started to call it.
41:09And you know, what I noticed was,
41:12you know,
41:13I would basically tell the kids that,
41:15OK,
41:15now that we have this pizza,
41:17I would encourage you to try
41:20to do everything that's on this
41:23pizza by the end of the day.
41:24So by the time you go to bed,
41:25you can say I have a complete pizza.
41:29And I've done all these things on my pizza.
41:32And what I started to notice was, you know,
41:35the kids who did these things and,
41:38you know,
41:39worked on their pizzas started to do
41:42better and started to feel better.
41:44And so my practice and my kiddos,
41:49you know, started to look like this,
41:51where everyone started to have
41:53a pizza and everyone, you know,
41:56sort of had their own flavour
41:59to their pizzas.
42:00So it was,
42:01it was pretty incredible to see
42:03the variation and the growth.
42:05And then I started to think I was like,
42:09wait a minute, you know,
42:12but I think I might, you know,
42:14be able to use this pizza and this,
42:17you know,
42:17art and actually bring this to life.
42:20And so that's where, you know,
42:21the conversations with my neighbor
42:24and friend, you know, Nicholas,
42:26you know, really, you know,
42:28exploded and we went straight
42:32to work and started to innovate.
42:35So we went to Home Depot,
42:38got, you know, a slab of wood,
42:40you know, you know, worked on some software,
42:43some coding and came up with a actual pizza.
42:48And you know, we came up with a product that,
42:53you know, so far has been really wonderful,
42:57not just the product,
42:59the experience of using, you know,
43:02sort of the visual arts and a simple
43:04drawing on a piece of paper and you know,
43:07bringing something to life.
43:09And so we've worked on it severally
43:11and we developed the Wellness Pizza,
43:14which is a baby that we have right now.
43:19But the Wellness Pizza basically
43:21is a therapeutic tool that is
43:24used by professionals that work
43:26with children and adolescents.
43:28And it is really a way for,
43:31for you know,
43:33professionals whether it be therapists,
43:36clinicians, pediatricians,
43:38child psychiatrists,
43:39educators to really teach children
43:42about Wellness and you know
43:45mental health and you know the the
43:48missions you know of the Wellness.
43:50Pizza is really improving the Wellness
43:53of children and adolescents exchange in
43:55the passive archetype of mental health
43:58for a new proactive model and also
44:01supporting screen free kiddo powered play,
44:04that's what I like to call it.
44:05And to also harness the power of
44:08creativity and play to improve Wellness.
44:11So this is one example of how just you know,
44:16the visual arts in general has played
44:19a big role in like just innovation.
44:22And you know, my own journey and,
44:25you know, a shameless plug.
44:26If you have a,
44:28if you have a cell phone or smartphone,
44:31you can take a picture of the QR code
44:34and learn more about the Wellness pizza.
44:38And I believe we have one here
44:40available for a raffle as well.
44:42So thank you all.
44:45And yeah, that is the end of my talk.
44:47Thank you.
44:55So, thank you.
44:56So, just so interesting to hear
44:59because like sitting here with
45:01each of you sharing your stories,
45:03I learned something new and
45:04different about each of you.
45:06And it was all through this
45:08artistic endeavour.
45:09So one thing I wanted to make sure,
45:11so I am not Christian Edwards,
45:13but I will be sharing some
45:14words that Chris shared with me.
45:15But also like Tangela was talking about
45:18the journey of the geez bend quilts.
45:21Well, they have journeyed all
45:22the way to Target this year.
45:24And so there's actually a
45:25collaboration with Target in
45:27which there's a number of products
45:28inspired by geez bend quilt designs.
45:30Like are you wearing one?
45:31She is wearing the jacket and some
45:33of the pieces she has up there.
45:35So just wanted to point that
45:37out and also to let folks know
45:39that the raffles that we have,
45:41we'll have two of the autobiographies of Mr.
45:44Rembert.
45:45We have a Wellness pizza and we also
45:49have Tangela's book as well as a Geez
45:54Ben Quilt Square as part of of the raffles.
45:57And there are also items
45:59from Tierra Soap Company,
46:00which is an Afro Latino soap
46:03company here in New Haven.
46:04So we do have Mr.
46:07Joseph to join us in a few moments.
46:10If you want to set up while I do this,
46:11that's totally OK.
46:12So Christian Edwards is one
46:14of our social work fellows.
46:16He is diagnosed with the flu
46:18today and unable to join us,
46:20but he did send me some of his remarks.
46:23And so he was very excited to invite Mr.
46:28Joseph here to join us,
46:31and he really had hoped to
46:32introduce him himself.
46:33But he learned of Mr.
46:34Joseph Threw,
46:35a former Saint Luke's steel band student,
46:38and he reached out to that person to to him,
46:40excuse me,
46:41to inquire about lessons,
46:42and they've been connected ever since.
46:44So the sounds of the steel pan take Chris
46:47back to his childhood when his family
46:50would visit Pan Yards in Brooklyn, NY.
46:53They enjoyed the sounds of different
46:55bands as they competed in Panorama,
46:57a steel pan competition.
46:59His favorite part of attending Panorama
47:01was enjoying popular Trinidadian St.
47:04foods like corn soup and Double S Lots
47:09of food in our stories today as well.
47:13Chris's grandparents often encouraged him
47:15to take lessons, but he always refused.
47:17At the time, it didn't seem like
47:20a cool thing to do, he said.
47:22He didn't know any kids his age
47:24that had played 20 years later.
47:27He wished that he or he wishes
47:28that he had accepted the offer.
47:31And that's part of why he reached out to Mr.
47:33Joseph, actually.
47:34So, Chris, thank you for inviting Mr.
47:38Joseph to join us. And Mr.
47:41Joseph's going to talk a little bit,
47:42I think, about the steel pan,
47:44but also demonstrate I'm fine.
47:47Are you good? OK.
47:50Well, good afternoon.
47:51Thank you for having me.
47:52You know, I have to just to connect the
47:55dots with the last presentation from IO
47:59in terms of the pizza for two reasons.
48:02One, of course I love pizza
48:04like everybody else.
48:05And then the second thing is
48:07when I saw Music theory would
48:10use the same model so kids can
48:13understand about whole notes,
48:15half notes, quarter notes,
48:188th notes through the form of the pizza.
48:20So you know, good job of what you're doing.
48:22So yeah, so here we have the steel pad
48:31looks like this.
48:32You know everyone when you see
48:33from the very first majority,
48:34it's like not marvel about it.
48:36And I I'm going to play a little bit
48:39for you later on, but I'll also,
48:41you know talk about it first.
48:45It wasn't a hung because my,
48:46I brought the wrong stand today
48:48and this stand is missing a screw.
48:50So I'm hoping that it stays
48:53connected for the most part.
48:55So the steel plant instrument,
48:57it's from the tiny island of turn on Tobago.
48:59If you can hear my accents, great,
49:01that's where I'm from, turn on Tobago.
49:04And this instrument I would say
49:07started and evolved from a need.
49:11So at the end of slavery,
49:13you had the folks in Trinidad
49:15who wanted just to celebrate
49:16themselves and that's to be free.
49:17Like, hey,
49:18we're free like let's go on and celebrate.
49:20So the the carnival culture rather is a
49:26French culture that they left in Trinidad.
49:29So hence why like Carnival in
49:32Trinidad is celebrated around the
49:33world the same time as Mardi Gras
49:36in Brazil and the same time in
49:38Louisiana as well to New Orleans.
49:40But at the end of slavery,
49:42wanted to express themselves.
49:43So they took to the streets and they paraded.
49:46Yeah, they paraded and they,
49:49you know, had a good time.
49:50But then they were in the
49:53streets with their African drums.
49:56But let's just think back before
49:58when slaves came from Africa,
49:59they all spoke different languages
50:01and they used African drums
50:03to speak to each other.
50:05So the African drums were
50:07outlawed and they were banned.
50:09Like, just stop all this talking.
50:11So they then went from the African drums
50:14to what's called the Tambu bamboos.
50:16And those are just different bamboos,
50:20some smaller, some thicker and larger
50:23and thicker and larger, like bass.
50:25And then obviously the smaller
50:27ones are like higher pitches.
50:29Those were also outlawed and banned.
50:32So they moved to to paint tins
50:36and then those paintings,
50:38guess what, you guessed it,
50:39they were outlawed.
50:41But they began to try to experiment
50:42and and continue experimenting.
50:44So they had,
50:45they found those 55 gallon oil drums.
50:50And because of this time
50:52the tradition in Trinidad,
50:53it was more of an oral history and
50:55it wasn't documented properly.
50:57You have different stories.
50:59The one I love to to share is the
51:02one that someone had an oil drum
51:05and they threw a rock over a fence
51:09and it dented one side of the drum.
51:13So therefore you had a drum with
51:17the same flat surface and one that
51:20was dented and the part that was
51:23dented sounded different to the flat
51:26surface and through experimentation
51:27they they realized like you know what?
51:30Wait, if this sounds differently,
51:31maybe if I sink the other side,
51:35I might have a different sound.
51:37So through experimentation again
51:38and it so steel pan kind of evolved
51:41into what it is today.
51:42So you had those two instruments,
51:44I'm sorry,
51:45those two dance with different sounds.
51:48Let's do a third dance,
51:50let's do a fourth.
51:51Let's just keep building and building and
51:54building until what we have here today.
51:56And this steel pan here has
51:5829 different notes,
52:00so they've got different dance in that right.
52:03When you think about the piano,
52:05it's the same notes in the same range,
52:08not as wide, but it's 2 1/2 octaves
52:11and and this and I'll explain
52:12to you about the white keys,
52:14The Black Keys in a second.
52:15So let's say about my history
52:17of steel band playing.
52:18I began playing not so long ago about
52:21this year makes it 30-4 years and
52:27this year is 34 years.
52:29But the fun thing I I hated steel band
52:31and because my my godmother at the time,
52:34she passed away now.
52:36But she said you're doing so
52:38well in school here's a treat for
52:40you to learn to play steel band
52:42and I absolutely hated it.
52:44I felt kind of like how how crocheted
52:46like it was just loud and noisy
52:50and no one's doing this but I said
52:54I'll give it a try the the saving
52:57grace for me on a personal level
52:59bad for the country but in in June.
53:02In July. Sorry 1991991990,
53:05sorry it was an attempted coup and
53:08try not to bagel and at that time we
53:12were in our houses they were curfews
53:15and we had to stay in stay put.
53:18So therefore steel pan.
53:20There was no more for me.
53:22So within that month that I
53:23wasn't able to play steel band,
53:25something clicked and it just felt
53:30right coming back, I zoom it,
53:34it just felt right.
53:35Coming back to it afterwards and
53:37I'm really I can't tell you I was 8
53:39at that and I can't tell you what
53:40really made me feel differently but
53:42it just felt right in the moment.
53:45I'm going to Fast forward.
53:46You know,
53:47you don't hear all the the nitty gritty ears.
53:49But I began at the end of high school.
53:52I began working at fast food restaurants.
53:54I think still to this day my best
53:57job ever because I learned so many
54:00different things in that restaurant.
54:01But my assistant manager at that time,
54:04she said to me, she said,
54:05can I see you're doing so well here
54:07because now after six months you're
54:09being promoted to be a supervisor.
54:12What is your next step?
54:14You need to go back to college.
54:17And which I did,
54:18and I took my love and passion for
54:21music and I went to college and
54:24studied music and love kind of,
54:26mainly because of her and other folks
54:29who I was strongly influenced by.
54:33I took a music degree at the end
54:35of my degree. I was doing fine.
54:37I was teaching music in Trinidad,
54:39living with my parents,
54:40so I had a great salary,
54:41like my friends every weekend.
54:43We had a great time.
54:44But then then my professor in college,
54:49he said, yeah,
54:50I do a graduate degree and I
54:52thought to myself, like, why?
54:54Like, I'm, I'm good.
54:55Like, so I I did that.
54:58I went to Northern Illinois
55:01University out in DeKalb, Illinois.
55:03It's 60 miles West of Chicago.
55:06You would not think that there
55:07were steel pans out there,
55:09but it is the only university that
55:11offers a degree, a graduate degree.
55:13Sorry.
55:13In steel pan performance you would not.
55:19You would not think that,
55:20but there's a lot of history
55:21with that as well too.
55:22Why it happened?
55:23I think the zoom may have cut off.
55:25Not sure. It
55:27still has you. Thank you.
55:31So yeah, and so I've been in New
55:33Haven now for the last 14 years.
55:35I am the director of the Saint Luke
55:37Steel band, steel band in New Haven.
55:39I know Tara just she saw us performing
55:42at the end of the CP unveiling of Ruby
55:47Bridges the when she got her stamp.
55:49So we perform in around New Haven.
55:52We have gone outside of the city.
55:55We have gone in different states as well too.
55:57But for me on a personal level,
55:59you know steel pan has done
56:00a lot for me in the arts.
56:01I have been to different countries,
56:04I've been to Japan, Europe,
56:07a lot of the Caribbean islands,
56:08many parts of the US performing steel pan,
56:10whether it's teaching, adjudicating,
56:13whether it's just performing,
56:15writing music as well to
56:18I've been doing that.
56:19So I wanted to do a little playing
56:22for you and then if you have
56:24any questions about steel pan,
56:26I'm definitely open to answering it
56:29because one thing about this instrument
56:31because it's from where I'm from,
56:33there are folks who died like fighting to
56:36make this instrument be be very prominent.
56:38I'm very passionate about it.
56:39So any questions you have I'll
56:41be happy to answer.
56:45So
56:51what steel pan can play?
56:52You put it here if you want.
56:54Yes, you can't complete anything.
56:57And I mentioned before,
56:59when we had two notes only,
57:03you had to adapt and then they
57:05began to play three and four.
57:07But in the very beginning
57:09you had very simple melodies.
57:10One of them is this little embellishments,
57:39so my favorite song of course.
57:43So that's one style of music,
57:46steel packing, playing.
58:06When we began, before we
58:08had music for steel bands,
58:09we took music written primarily for
58:14string instruments because the notes fits
58:17perfectly into our steel band instruments.
58:20So we would read that and just
58:21transcribe it to instruments.
58:22So of course that was in the whole of
58:24the modern king, if you knew the melody.
58:27And then of course with steel bands
58:29we played primarily, not primarily,
58:31sorry, we play calypso music.
58:33So here's one of them
59:10that is a piece of a song called
59:14Pan in A Minor. It's by the Lord
59:18Kitchener written for steel pans.
59:20As we got before we had
59:21stuff written for steel pans,
59:23and it's one of the steel pan classics
59:27in the steel band world for competitions.
59:30So I just use those two words
59:32interchangeably. I said steel pan,
59:34that's one instrument and steel band,
59:38it's a multiple array of steel punishments.
59:41So you have like 4 primary instruments.
59:44Kind of like if you compare to the voice
59:46you have in the voice you have soprano,
59:49Alto, tenor, bass.
59:49In the steel pan family you have tenor,
59:53I'll tell you why in a second.
59:54So the tenor steel pan is the soprano voice.
59:59You have a double second steel pan.
01:00:02That's the Alto voice,
01:00:04a double guitar, It's the tenor voice.
01:00:08And a bass steel pan.
01:00:10It's the bass voice.
01:00:12Now why does this call the
01:00:15tenor for the soprano range?
01:00:17It is very macho of us
01:00:22steel pan became was initially
01:00:25a a male dominated fielder.
01:00:28Women were not allowed to play steel pants.
01:00:32I wasn't there, though,
01:00:35but they weren't allowed to play steel pants.
01:00:36And when they began to evolve and and
01:00:39create a name for this because only
01:00:41men were playing it, they weren't
01:00:44going to call it soprano Steel Pants.
01:00:46So they called it the Terror.
01:00:49I apologize, ladies,
01:00:50but that's where we are and we're
01:00:53just going to go with it for now.
01:00:55All right.
01:00:59I'm going to play a quick song
01:01:00for you and then we can get some
01:01:02questions if it's time for it.
01:02:006
01:02:40None,
01:03:09None.
01:03:48None.
01:04:23None.
01:04:40None.
01:05:24So if sign permits and any
01:05:28questions about steel,
01:05:29but I'm happy to, if not, we can.
01:05:32We're happy to do both because
01:05:33we actually have this space to
01:05:35go into some time for reception.
01:05:36So if you're able to stay and have
01:05:38some snacks and treats in the back,
01:05:40we also have some raffles in the
01:05:43back as well as I mentioned and
01:05:46we can ringle and ask questions.
01:05:48And I think Mr.
01:05:49Joseph something a little bit
01:05:51for us a little later too.
01:05:52But thank you so much everyone for
01:05:54being here and for coming and for
01:05:57sharing of your music and for sharing
01:05:59of your art and of yourselves.
01:06:01So we really appreciate that.
01:06:03So but if you have questions
01:06:06please excuse me.
01:06:16So this particular one, this is metal.
01:06:19We can use wood as well too but then
01:06:22these are just like surgical tips.
01:06:24We also use like gloves and cut
01:06:27them and just wrap them but these
01:06:29are just an easier but this is
01:06:32this is metal but also use wood.