This recording is from Summer 2019, we're sharing it now in order to share the transcript.
In our first ever LIVE RECORDING of the Missing Witches podcast WE TOOK OVER A CHURCH! Together we explored how we use our bodies to connect to the divine through dance!! We are so grateful to the AJC conclave for inviting us to honour Witches from the pulpit of a sanctuary!! In part 1, Risa talks about how Anna Halprin used modern dance to heal , plus Mudang Shamanism and thoughts on connections between peace, peacemaking, dance and power!!
In part 2, Witches Found, we bring back two of our favourite guests and coven members Phoenix Inana and Jacqueline Beaumont to unpack words like divinity and femininity and discuss how we use our bodies to connect to spirit. Thanks again to Lindsay Braynen for contributing an essay Amy read as part of this conversation. THANKS X 1000 to our favourite clergyman Jonathan Stewart for inviting us to this sacred space.
Part 2 Witches Found - The Divine Invites You To Dance
And now, onto part two of Missing Witches Live, The Divine Invites You to Dance. Now we're joined by our wonderful guests, Phoenix Inanna and Jacqueline Beaumont. If you missed part one, be sure to listen to that next. Blessed be. Happy Letha. So,
we're going to come back to Monica Sjöö for a second and see what we have here. Now, Monica Sjöö was involved with her co writer. If any of you listen to the podcast, you're probably familiar with the name of the book, The Great COsmic Mother. It's one of Missing witch's favorite books. And it was co written by a woman named Barbara Moore.
Now, Barbara Moore got Monica Sjöö involved with this like feminist spirituality cult in the 70s. They formed a commune. They lived together without power or electricity. And they published this magazine called Women's Spirituality Magazine, and there are several volumes. We brought two. Because we thought, what other place were we looking for the divine feminine feminist spirituality?
Well, from the seventies. I think you'll all agree. So, Risa is going to read a letter that was written into the magazine and published. And please know that the woman who, the woman who wrote this letter of dance spells the word woman and women like three or four different ways. So it really is this anti patriarchy fresh, crazy movement that started with these women in a commune.
So I, before we can get started once again, in honor of the Divine Feminine, we are taking up a collection and we're donating the proceeds to the Native Women's Shelter of Montreal, the most divine, from the stolen land that we live on. So let's give back. I'm going to pass the collection plate while Risa reads this piece.
Dignity. So this comes to us from Louise in Key Biscayne, Florida. The Spring Equinox Issue, 1978, Dance, Woman, Being, Spirit. The spirit of dance is that which is, and that which without it the mind and body are incomplete. Women are the spirit of the rhythm of the pulse of the world. Women are the world's dancers.
They talk without athletics when, no, they dance without athletics when they walk. When they talk, they blend life into a perfection of living, gladly denying that other Olympic mistake of comparing themselves to others. They are happiest when they move, alert to their own rhythms, which are the rhythms of the universe, the rhythms of the stars, the rhythms of the days and nights of mood and change within themselves and in the hearts and minds and bodies of those near and dear.
They respond to the pulse of the world's turning. They listen, when they have been taught to listen, to the sound of their own spinning and inner convulsions. They feel the stars in their majestic orbit, lilting in the night as the sun in the hours of its presence lilts and lights the day. Women are pulled in and out.
Their spirit is the spirit of dance joy, dance speech, dance strength. Not proving power, not winning with tricks or games, not defeating others with dramatic context. This spirit of woman speaking is the light of the past that will light the way for the future of woman being woman. There are many ways to speak, but dance is the most natural.
The most easily understood of all languages. It is universal and all encompassing. Knowing our own being, spirit, woman, our own being, woman, spirit, our own spirit, being, woman is joy. For what other reason does life offer us this fluid changing body, these earth curved lines, this lift and fall and breadth of pace?
Woman open, woman closed, woman rhythmic as the sea, full and unful as the moon, steady as the mountains. This body that folds and unfolds, bends, twists, whirls, and is still. It contracts, expands, births, nourishes, this body that says more loudly than any spoken word, I am, you are, it is ours to speak our loneliness, our friendliness, our hopes, our joy.
So here's another thing in Women's Fair Magazine, I'll pass this one around in the meantime, so you guys can take a look at the artwork. And this is, Bellydance Instructor from Morning Spirit Magazine. Now, you probably expect that something that's about the divine and the feminine and a rhythm and a dance is going to be all over the menstrual cycle, and I'm here to tell you, it's not.
I personally found nothing miraculous about my menstrual cycle until I had the inside of my uterus burned out intentionally. So when I think about belly dancing, and as we go through this together, I remember that in ancient times, the belly, the stomach, was considered the seat of the soul. So when I think about belly dancing, and as we go through this together, I want you to move, or move us, if you're happy with your move, or you aren't happy with it.
We're talking about the fruition of the soul. We're not necessarily, although if that too, Risa has a beautiful new baby and we're super grand for that kind of fertility. But what we're talking about here is the divine. The divine. Something that is above what we as humans put onto each other. The divine has no binary proposition.
It's much too vast for that. So I'm going to ask you all to stand, if you're able. Stand if you're able. And if you're not, place your hands on your belly.
Now belly dance is an ancient art celebrating women as creator of life. We talked about that. Rules aside, think of your belly as the seat of your soul. Where you reproduce ideas. Where you're fertile with thoughts and feelings. Is everyone ready? Stand with feet about 14 inches apart. Stand with feet about 14 inches apart, knees slightly bent.
Put your two hands on the two pelvic bones, just above the joint where your leg meets the body. Relax your anus and buttocks. That's an important step. Now, give your hands a ride forward and up, slowly pushing your pelvis forward and up. You can exaggerate the forward pelvic push even more by tilting your shoulders and head back.
Slightly, and at the same time, slightly, sorry. Try to feel your genitals and the energy that begins to flow all throughout the buttocks, genitals, and pelvic area as you push it slowly forward and hold it there. You can also have fun lying on your back with your hair. We're gonna skip that. We're not doing that here, okay?
Alright, bend knees slightly and put feet about 14 inches apart. Tuck the pelvis back under you. Slide hips and pelvis out to the left. Slide hips and pelvis forward, so that you're leaning back slightly. Slide hips and pelvis out to the right. Slide pelvis back under you. And continue circling. Really good.
Now, again, the historical concept of belly dance is about childbirth. It wasn't a sexualized harem, you know, dance. It was about the fertility, again, not just of our human bodies, but of the soil. These dances were performed because they mimic the movements when a woman is trying when a person who is, gives birth, pushes that baby up.
But again, we're thinking this in terms of how we heal our soul. The fruit that we make from our bodies in dance. Move your arms. Hehehehe Sweep from side to side. Make that circle. And when you feel disconnected from your soul, remember it lives in your belly. And you can shake it up anytime you want to.
Anytime you want to. This is where your soul lives. This is where your fertility comes from. Fertility of the mind. Fertility. Keep dancing, keep dancing, keep dancing, keep dancing. He.
You're getting it! You're doing it! You're fertile! Your souls are fertile! Your minds are fertile!
And I'll pass this one around to see if anybody needs extra tips on cheating.
So now we're going to move on to what we call Witches Facts. Which is, which is, which is, which is, which is, which is, that we find contemporary witches, such as Dragunov. And, I have a lot of questions for you both. Now, I, I wanted to bring the two of you here first and foremost because you're both involved in this world of dance.
But also because you both contend with divinity and femininity in your arts and in your lives. So if we can start, whoever wants to start, how do we define divinity? Right? Uh, how do, how do I define divinity? How do you, how do you define it? Divinity to me is a connection to, first and foremost, to my ancestry and the, the relationship of my physical body through time and culture.
But also it's a connection to, it's a connection to the soil, actually, and the sky. And everything that's alive and everything that's dead it's like an expression of soul that is not necessarily unique, but multiplied, multiplus, and connected to other souls. How about you, Jackie, what's the divine the divine for me, takes so many different forms.
It's much louder. Yeah. So. So. So, to me the divine has so many different forms I think, to me, the most all encompassing way of defining what divinity is, is almost like a, something that runs through all existence and has an equal pull and push on different things depending on what you put out into the world and what it receives back, yeah, I think that's a very simplistic definition for me. And so how do we look at femininity then? Can you define it? No. No, we can't. Let's try! What are, what are our thoughts? What, what makes something feminine? I, femininity is completely defined by one's self. That, that, that feels within themselves.
It's something that is inherently there in all of us. And some people are more tapped into it than others. Some people, it just, it flows through them very naturally. So, unfortunately, I feel like a lot of people have been taught to block that flow. And so, yeah, I think that it's completely subjective on the person.
And it takes many. I think that femininity and masculinity are concepts that only exist in the physical world of human society. And like, you see it in the animal world too, but like, yeah, it's really a construct and we're starting to really like investigate that and get away from these ideas. But we have to use them because of the world we live in where things that are defined as feminine are like, you know, negatively affected.
So we, we use these words for the purpose of understanding the world that we live in, but when it relates to divinity, actually what exists exists like in a, in a, in like a whole and complete way. And so binaries and splits and divisions yeah, they're just like a way of seeing the world. And so like, I work with femininity in a way that is conscious that it, it's constructive.
And so I like to experiment and play with it and push its limits, but it's also just an easy, convenient word to describe things in a way that there's some sort of, people perceive that there's a consensus about what femininity is, so it makes communicating sometimes easier, but also it is reductive and it's kind of violent too, because it cuts people into pieces, and people and things are not pieces, I, I sort of think of myself as being post gender, but I think that's easy to say in your bubble of your mind and of your philosophy.
When you go out into the world, you have to contend with how women are treated differently, how males are treated differently, you know? And how patriarchy hurts us all. But certainly when we talk about the divine, I think we all agree that the masculine and feminine doesn't exist in the divine. So much as it does within humanity.
I agree. So again, when we talk about dance, this is bodily. So we have to be connected to our bodies in order to dance. Now, Phoenix, speaking of gender, you are a drag king and like a drag queen. Burlesque, you know, neo burlesque. So how how do you find that you're smashing the binary by enacting the binary?
Well, I like how you actually just started that because It's funny, it's so hard to define what I do and I, I have to use terms like burlesque and drag and all this stuff so that people understand how to book me . Very practical, like Yeah. Yeah. I do Practical, even just what I do is nebulous, like I'll belly dance.
I do goddess drag, which is not just traditional queen drag. It's a specific kind of feminine exploration or exploration of the idea of femininity. So I do like, I'm very flexible. I'm very fluid, not just in my gender. Identity, but in everything that I do and so that's one way that I smash binaries and move around definitions and navigate myself as like a jack of all trades kind of situation.
Yeah. So definitions are interesting. Names are interesting. Binaries are interesting. These are ways for which we feel control over the world and things. But it's an illusion of control because names are given. by humans. So why dance? Why dance? What else is there? What else is there? It is the most authentic way, in my opinion, to communicate and to relate to the world.
It is the primary, it is the authentic, it is like, the oldest thing we we know about ritual is like movement and interactivity. Dance, simply put, is a body in space. Even if you're just standing still, that can absolutely be seen as dense, so it's I don't know if it's come up yet, but I did put a clip from the OA.
If any of you have watched the show, the whole concept is that there are certain movements that are magical when put together that can move you. I love that you're loving this. I was going to text you to add it in! The specific choreographed by Ryan Evington, by the way. If you want to talk about dance, let's talk about Ryan Evington, but you can look that up on your own.
But the idea that ritual movement has magical power. Jackie, what do you think about that? Certainly. I think that there's I think that also, in terms of dance, it's not limited to just human life as well. There's so many different ways in which dance can take form within the rest of the biology. Can you tell us about how molecules dance?
Yeah. I mean, the way that they interact with each other, it's, it, the way that they move, their, their bodies in space determine the density of that object or the, the, the The characteristics that that object takes, or the life that that object takes. I mean, I've, I've also been thinking a lot about I've been thinking a lot about Venus lately as well, lately.
And how interesting how you can actually hear an electromagnetic pulse of Venus. And in space there's no sound. But you can, we figured out how to hear the sound of its body moving in space. And so that sound is actually its body whirling through the abyss. Relatable. Yeah, right? So, I, I've been, I've just been fascinated by the fact that like, this is actually just the sound of its body quivering or just dancing through space.
And now it's, it's not even, Perceivable in terms of, we can't hear it if we were out there. Obviously we're not going to be out there. But like, it's just so fascinating to me that it's not just, this bodily movement isn't just limited to humanity as well. It can take so many different forms. I mean, if you look at like, animal mating practices, there are so many different species.
Mating dances! Yeah, mating dances transcend past humanity and into like, Billions of species around the world where again, just the movement of bodies and the precision of bodies moving in space have, have like a life or death reaction. So, yeah, it's really interesting. I remember when we first interviewed you in your lab.
You guys described realizing that certain, when you were trying to enact certain protocols, that for you, they, they were, they were witchcraft. That it was kind of like a spell book that you guys were building of your scientific protocols. And I thought of that when you were saying that these specific movements create life.
That, that it's almost like a dance that you guys do in the lab. Definitely, definitely it is. And yeah, I've been, I've been working with genetic engineering as of recently. And just realizing And not, not just how precise you need to be, because obviously biology is very precise. But yet also completely not at the same time.
Sometimes it's just a complete fluke. But in a lab you run by a specific protocol that is down to like the microliter, like, like just the tiniest little amount that you would never even think about, but that will set all their bodies into movement, or they will set a reaction within themselves that will trigger something.
The, the way that you put them on a shaker and how they move around helps them to like develop themselves into life and at the end of it, you actually have a living organism that is conceived out of this dance, of this movement, a dance that develops into life. It is, yeah. Can somebody write that down?
Dance that develops into life. And I think that's really important. That's what we're talking about here. I Reached out to one of our friends named Lindsay, aka Dark Lake Tarot. Cause she's also a burlesque dancer, but she's of Caribbean heritage. And a lot of her Caribbean ancestry and spirituality comes out in her dance.
So I asked her to write a little something for this. I'm gonna read it quickly. Dance is an essential part of growing up in the Caribbean. Whether you grew up brookin it down the streets during Junkaroo, Carnival, or Crop Over, or if you were swaying to the voices of God and church every Sunday. But minutes away from stepping onto the stage to perform my act, Tribute to the Oia Man, part of the Vancouver International Burlesque Festival, I felt like I was drowning under the weight of expectation.
Sure, there were nerves attached to performing at such a prestigious event, but I felt woefully inadequate and unprepared. The enormity of the task at hand, representing my home country and the cultures that birthed me. The indigenous spiritual practices of my ancestors, successfully colonized and criminalized in modern society.
Communicating my existence in the intersection of women, behemoth, stripper, and witch. And attempting in my own imperfect, struggling way to begin what I now know to be the start of a lifetime of ancestral healing and reconnection. To be honest, I remember very little of the routine, and although there are pictures and video on the internet, Although there are pictures and video on the internet, I know I chose a song of cultural significance, Exuma Dei Obaiman, by Tony McKay, And the intention was the channel, to channel the spirit, or spirit, of the Obaiman, Read my heritage, my ancestry, my culture, my identity, through the routine.
Reconcile it all within my body. All I remember is a blinding spotlight and a primal pulsation from deep in my blood. But it wasn't through fear or even adrenaline, I think. I think it was something deeper. Drumlines and bloodlines stretching generations and miles and circumstances lit up like a circuit board calling me by name.
As if I never left those shores. I took flight and soared home triumphant, and I danced with the cosmos and innumerable ancestors unknown by sight. I communed with the spirits, jubilant and suffocant, and let their truths, my newfound sacred truth, move through my body as it felt led to move. When I came to, I had collapsed in the wings, in joyful tears, with friends and strangers alike weeping with me.
Seeing me and acknowledging me in my wholeness, just as I now acknowledge myself in my wholeness. Transfigured, humbled to dirt, and ordained. Now when I read this phoenix, I thought of you immediately because I know that you use your dance to connect to your ancestry. You mentioned it already. So how do we use our physical bodies to connect to the dead, or to our ancestry, or to our god?
How do you do that? Yeah, that's all I can really do. We collect perspectives one by one here. Yeah. Nobody has a universal perspective. Slow and steady, yeah. Wow, where do I begin? So like, everything that I do is for spirit. So like, even just from my name, Phoenix Inanna, Phoenix being the regenerative creation destruction cycle that is, It's so much home to me, but also like a part of the universal communication.
Inanna being the Sumerian goddess who, you know, is an ancestor to my Iraqi heritage and Isis being my Egyptian queen goddess who I choose to worship in feminine form because of my experiences with patriarchy and my need for healing from patriarchy. I explore goddesses. That's what I'm interested in.
That's what I'm drawn to. I've only got one act where I'm embodying male, masculine divinity. Because I have so much, like I've been raised as a woman, perceived as a woman, so I have that as part of my identity, regardless of whether or not I identify that way. So I also identify as a woman as well as non binary, and then I explore.
So like yesterday, you were there at the, the show. Yeah, I did a a performance where I, You know, wore these, like, house clothes that, you know, like, an African auntie would wear, like my mom would wear when she's cleaning out the house, you know. And I danced to a very aggressive, but really fun song called Get the Fuck Out of My House, and I, you know, I took to the stage and smoke cleansed the room because, you know, when you're performing you're really absorbing a lot of energy, and I feed off the audience, but sometimes that energy is wild and unpredictable, and so you have to kind of cleanse your space.
And then I started dancing vigorously, aggressively, viciously, unapologetically, and I broomed and cleaned that stage. With a broom. With a literal broom, because that is the power of the witch, that is the vehicle of the witch. And it's, you know, it's very important. And we were under a Scorpio full moon, which is a really good time to detox.
And what I'm going through in my life, I needed that. And so I choose to dance the things that I'm going through. And I choose to dance for myself. And when I perform it to others, it's It's with the intention of sharing what I know and knowing that the witness is privileged to witness and also feeding me.
So it's a mutual relationship. I am giving of myself in a way that is full of wisdom and access to a culture that people would not necessarily have access to, and that's very generous and vulnerable. And then I receive from the audience, I receive all of this like, you know, And I can see how people are affected and how their bodies are shifting in relation to what they're absorbing.
And so, it's like a mutual care. So yeah, for me it's like the relationship with audiences. A lot of connecting with spirituality through dance. The relationship to myself and my body and allowing the movement to guide me where I'm going. And trusting that process that I'm going to get there. Is that kind of an answer to your question?
I think so. That was an answer to a lot of questions. You brought up this the give and take between you and the audience. So I'll ask this of both of you because you're both performers. What's the difference between, or the difference in divinity, the difference in ritual, between performing a dance for an audience or just dancing in your own home, like most of us do.
I'm not a professional dancer, but I dance constantly. I'm not in front of an audience, right? So what's the, what's the spiritual difference between dancing alone and dancing for an audience? I mean, like, for me, when I, when I'm performing, I, depending on the performance I'm doing, if I am embodying a storyline which is more centered around, as you were talking about, more goddess based persona, it is I, I can feel Like, it, it's very close to what is, what I do at home, because it's, it's drawing myself down, it's connecting to it whatever you want to define goddess as and, and rooting that up and bringing it forth and sort of letting it live within you for me, I can, I can just feel it.
Pulsing through my veins. It's like it carries me through It's not like I'm in in that Aspect those performances aren't really me performing. It's almost like I'm The channel? Yeah, yeah, like I'm almost channeling something but That's something that Lindsey mentioned too, that she almost like came to at the end of her performance.
How do you feel, Phoenix? Is there like an element of possession? Yeah, there is. It's a big difference when you're dancing for yourself. It's like a real connection to yourself and just like, dancing for dance is safe moving for movements sake. So it's very self indulgent, which is really lovely and loving and important.
And I do that to prepare for performance. It's movement, like it's, it's yeah, like I stretch, I move, I dance, I kind of wiggle around, I like do some of this stuff, I breathe, that's all dance, right? And then when you're in front of an audience, this is actually my forte, I really enjoy performing because it's there's a different quality to it.
The anxiety, the fear, like of the vulnerability and the unpredictability of people and the relationships between physical bodies and souls and all this stuff and that consumption, the people consuming you and you trying to either be consumed or disrupt that consumption, all of those things create an energy in my performance that is completely unique and completely different from dancing by yourself.
And it's a gift, but it's also It's like, I want to say the word is contrived, but not in a negative connotation, but in an intentional way. Like, I'm not just doing whatever flopping around, I'm kind of like, you know, using specific movements that I feel are going to communicate an intention, either that's going to be understood or it doesn't matter if it's not understood, it can also just be for me.
Or knowing that that movement has its own power, regardless of whether it's understood or not. Can I ask, you make me think about Anna Halprin's idea of dancing to reconstitute the world. When you talk about a series of gestures being contrived to elicit a specific response, to elicit a specific change.
What did you think when you heard those descriptions of Anna Halprin's dance for peace? Is that, does that jive with something you think is possible? Incredible. Like, goosebumps. It's so generous and so, just fierce. It's fierce. Yeah, I think she's fucking fierce. I love the idea of this, like, 80 year old woman on a mountain, you know, outside of San Francisco, believing that 30 years of dancing can bring people closer to peace.
It's potent. Like, the feeling of impotence that we have in this world, the feeling of helplessness, that is how you counter it, you know? You're like, okay, well, I can't save the world. I'm not the messiah. I'm not like, I don't have ultimate power. I am not necessarily God or whatever. Maybe you disagree with that, but this is what I can do in my space, in my view.
My body is important. This movement is important. My life is important. These are huge ways to combat that feeling of despair that is just everywhere. And we're going through it right now with all that stuff happening in the States. It's terrifying. We live in a terrifying world. So people who do this kind of work are generous, are full of belief, which is something that is so underestimated, hope and faith.
I actually struggle with these things. So these are my elders, these are people I look to for the support to do the thing and believe that you are doing something and to keep doing that. Otherwise, what's the point? I think for the record too, every time I go to a drag show of any kind, I feel the same kind of hope.
That there's like a real act of bravery and of community building and of vulnerability and generosity that gives me hope that I take into activism or community organizing. So, I want to ask Jackie I know that, you know, Phoenix is, is connecting to her ancestors, but when you do your dance, it's more of a connection to our one common ancestor, that being Gaia, Mother Earth.
And I know you have kind of an interesting theory on why the Earth herself has been gender female. Can you talk about that a little bit? Yeah, definitely. So, if anyone is not familiar with the philosophy of Queer Ecology Queer Ecology is the practice of trying to erase gender when thinking about the Earth, instead of thinking about her as Mother Earth just acknowledging it as As its own autonomous living organism.
When, unfortunately, we live in a world where when we feminize something it means that they, therefore, it is if possible to have, like, to take from that person. Societally we believe that, yes. Societally we believe that a mother is to give, to care to nurture. And to never ask for anything in return.
And the same reason why most AI programs, or almost all AI programs, are gendered women, right? Because you can treat them as servants. Yeah, exactly, yeah. There's a huge history throughout the world where technology or robotics or even machinery has been labeled female because they're meant to serve for a purpose and not have anything in return.
And so if we, if we live in a, if we, Exists within a mindset where unfortunately society, society believes that it's mother earth and that it is, she gives and gives and just wants to keep giving eventually her sources will be depleted completely. And, I mean, I think for the majority of us we don't have the same notion of a mother.
We, yes, they, they want to give love and care and nurture. But there is also an equilibrium that needs to be reached within love and care that need, it is a two way street. And so that's where Queer Ecology is, is by, by addressing the earth as a non binary body and like recognizing it as a queer spirit.
We can, we can move towards a better mindset to address. questions about resource depletion, land ownership. Yeah, there's, there's an endless amount of things that can be changed when we change the mindset around the gender of the earth. So yeah, I think that's the question. That is the answer to the question.
Absolutely. I want to get into one thing before we move to Q and A. So, Brie, Brie is going to do a closing meditation, while I remind you of one thing the movie, Book Loose, was based on, or not based on, but inspired by real events. There was a Baptist town that Ed loved dancing. So, if you're sitting here thinking, dance can't possibly be as powerful as these people, these witches up here are making it out to me, just remember that it's been banned.
And it's been made illegal, and it has been forced into darkness, and forced into quarters, and if it weren't powerful, that would never have happened. Now Risa's going to lead us. Oh, yes. And I'm going to play guitar for them. So this is a healing, closing exercise that's adapted from Anaheim.
I'll start this and then we'll go into a final Burning Times chant. Hopefully we've sung it enough times now that you're willing to holler the names of some goddesses out loud with us in this beautifully resonant room. Thank you so much for coming. Take a minute to find your heartbeat again. When
you have it, turn to the person next to you, and with their consent, Tap your carpet against their back, or on the back of the chair in front of you if you prefer.
You know the story. Cells put into the same petri dish will quickly settle into a shared rhythm. We are those cells. Close your eyes and keep this beat. When you leave here today, carry this within you. The beat of our encounter hope, and fear, and illness, and wellness, and life, and life, and life. See it in the eyes and face of everyone you encounter.
May all your encounters become an urban ritual of becoming the divine dancer. Baby sucks. Bearing with you a rhythm of bliss and a feeling. Please continue to share your heartbeats with us as we join in our closing refrain.
I am such a star that I am not a position in each other's head. You're my rock. Such a star that I am. Such
a star that I am not. You're my rock. Now remember, I can dance.
If you wanna join us for Q&a, go be any other,
we didn't record the q and a, but if you have questions, please send them along to Missing firstname.lastname@example.org and we'll be sure to let Jackie or Phoenix, or Jonathan from the a GC know about your questions and hopefully we can get you some answers. Blessed bee and happy Letha, keep dancing.