Joanne V. Gabbin
Preferred Citation:
Joanne V. Gabbin Interview, 9/24/2004 (FF153). Transcribed and edited by Evan Sizemore, 2021-2022, part of the Mellon-funded AudiAnnotate Audiovisual Extensible Workflow Project. Based on video recordings made by WVPT to document the second Furious Flower Poetry Center decennial meeting, September 23-25, 2004. Part of the Furious Flower Poetry Center Conference Records, 1970-2015, UA 0018, Special Collections, Carrier Library, James Madison University Libraries, Harrisonburg, Virginia, media file FF153. Collection finding aid: https://aspace.lib.jmu.edu/repositories/4/resources/487.
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| Time | Annotation | Layer |
|---|---|---|
| 0:39 - 0:41 | [Laughter] | Environment |
| 17:36 - 17:38 | [Muffled mic] | Environment |
| 17:55 - 18:02 | [Laughter] | Environment |
| 22:37 - 22:45 | [Audio cuts out] | Environment |
| 0:04 - 0:10 | Joanne Gabbin, September the 25th, 2004. | Transcription |
| 0:12 - 0:15 | Angela Shannon, S-h-a-n-n-o-n. | Transcription |
| 0:19 - 0:29 | Angela, Angela your hair's [inaudible] sort of, like just hang it to the side. | Transcription |
| 0:29 - 0:39 | The side. There it is. Yeah. Yeah that's pretty. Say that's a pretty person. | Transcription |
| 0:41 - 0:54 | Dr. Gabbin, before I even came to Furious Flower, I had heard so much about it. And still I don't really know the history of it as new writer. Can you tell me about the history of | Transcription |
| 0:54 - 0:55 | Furious Flower? | Transcription |
| 0:55 - 1:16 | I'd be happy to. I think Furious Flower really began in Chicago. As I remember, in 1971, I taught at Roosevelt University. I was a new teacher, very navy. And I was teaching a course | Transcription |
| 1:16 - 1:29 | called 'Revolutionary Self-consciousness in Literature'. And I was teaching the new works of Amiri Baraka, Sonia Sanchez, Nikki Giovanni, you know, new turks on the block. | Transcription |
| 1:30 - 1:47 | And I realized that I had this treasure trove of writers in Chicago: Gwendolyn Brooks, Haki Madhubuti, Margaret Burroughs. And I decided to invite Margaret Burroughs and Gwendolyn Brooks to Roosevelt | Transcription |
| 1:47 - 1:50 | University. Well, I wanted to invite Gwendolyn Brooks first. | Transcription |
| 1:52 - 2:04 | And when I was telling a colleague that I wanted to do this, he said, Well, you know, we had the opportunity of having her come here to teach creative writing. And I said, Well, what happened? He | Transcription |
| 2:04 - 2:16 | said, some of my colleagues decided that because she didn't have the credentials, she didn't have the degree, that she wouldn't be invited to apply. | Transcription |
| 2:17 - 2:35 | Well, you can imagine, Angela, that shocked me. I was thinking: here I am, very navy, just received my MA in English and I'm teaching at Roosevelt University. This woman had just received her-- had | Transcription |
| 2:35 - 2:49 | just written books, she had received the Pulitzer 20 years before that. And she was not invited to teach at Roosevelt University. | Transcription |
| 2:50 - 3:05 | So I decided at that moment that I would do everything I could to get her to come to Roosevelt to, if not teach, to speak. Well, I invited her there to speak. And I vowed when she was there, because | Transcription |
| 3:05 - 3:15 | she was so wonderful, so dynamic, so kind to the students, that every place I taught, she would come to speak. I would invite her to speak. | Transcription |
| 3:15 - 3:33 | Well, that happened when I taught at Roosevelt. When I taught at Lincoln, when I taught at Chicago State. I invited her to come. So in 1986, when I was just here for a year, I invited Gwendolyn Brooks | Transcription |
| 3:33 - 3:37 | to come. And she spoke and she did a wonderful job. | Transcription |
| 3:37 - 3:52 | And so now we have to fast forward to 1993. She is teaching at-- she's not teaching, but she's working at Chicago State. I think she is teaching creative writing. She came to Piedmont Community | Transcription |
| 3:52 - 4:07 | College to do a reading. And I took my students there. And the students were so taken with this woman, she was so gracious and giving and generous in her time. And I called her the morning before she | Transcription |
| 4:07 - 4:12 | left from this area. And I said, Gwen, you have to come to JMU to speak. | Transcription |
| 4:13 - 4:29 | Well, that was 1993, and she said, I won't come this year, but I'll come next year. And so I had a whole year to think about her coming to JMU. And in thinking about her coming to JMU I decided to | Transcription |
| 4:29 - 4:41 | build around her visit a small conference, what I thought was going to be a small conference of people who enjoyed her work, who would come to honor her. | Transcription |
| 4:42 - 4:59 | And that's how it began. I invited Sonia. I invited Nikki, then I had to invite Haki Madhubuti, then I had to invite Amiri Baraka. Then it just mushroomed. And as I was thinking about what I would | Transcription |
| 4:59 - 5:15 | call this conference-- would I call it the Gwendolyn Brooks conference?-- I decided that it was going to be something that would end up being a tribute to her, but probably even bigger than her. | Transcription |
| 5:16 - 5:29 | And I looked at her poetry and I saw these lines in her poem, The Second Sermon on the Warpland: 'The time/ cracks into furious flower. Lifts its face/ all unashamed. And sways and wicked | Transcription |
| 5:29 - 5:47 | grace.' And I realized that that term Furious Flower really had some resonance, if you will. I could see not only in that phrase, something about the woman Gwendolyn Brooks herself, but also something | Transcription |
| 5:47 - 5:52 | about poetry, especially poetry that was written since 1950, 1960. | Transcription |
| 5:53 - 6:10 | So it became a wonderful metaphor for what she was doing and what other poets were doing. And I invited first 10 poets, then 20, then 30. And before it was over, I had 35 poets and critics who were | Transcription |
| 6:10 - 6:23 | coming, in 1994, to this conference. So that's how it started. And then, once we had the conference, we realized that those poets who came to this conference really needed it. | Transcription |
| 6:24 - 6:37 | Michael Harper, I remember his telling me, Joanne, you're setting up the ingredients for a time bomb. You're inviting all of these people to come to one place, people with different ideologies, people | Transcription |
| 6:37 - 6:52 | from different generations, people who have different ways of thinking about poetry and different preferences, you're going to set up a very negative opportunity for clashing. And I said, well, I'll | Transcription |
| 6:52 - 6:59 | have to take that risk. And as it turned out, this was almost a lovefeast in 1994. | Transcription |
| 6:59 - 7:12 | And it's been a lovefeast in 2004. And the wonderful thing I think also about the term Furious Flower is that it's all-inclusive, and it has-- it carries with it Gwendolyn Brooks' | Transcription |
| 7:12 - 7:13 | spirit. | Transcription |
| 7:13 - 7:13 | Yeah. | Transcription |
| 7:13 - 7:27 | And it's wonderful that there's such a wide range of writers. There's such a wide range of voices, the voices are so diverse. There isn't one type of writer, so there's no one role | Transcription |
| 7:27 - 7:32 | model for a Black writer, but we're able to write outside of the box. | Transcription |
| 7:32 - 7:33 | Right. | Transcription |
| 7:33 - 7:37 | And Furious Flower is an example of how that can be done. | Transcription |
| 7:37 - 7:58 | Well, I'm glad you think that. I hope that is the case. I did not choose people from one political position or one type of poetry. I was inclusive. I chose good poets to come to this | Transcription |
| 7:58 - 8:12 | conference. And they're good poets who are elders, they're good poets who are younger people, good poets who are I suppose those who have their own style. | Transcription |
| 8:13 - 8:29 | I was thinking about Kalamu's reading yesterday and how dynamic it was. He has his own style, and he's on the same program with Jessica Care Moore, who has her own unique style-- more performance | Transcription |
| 8:29 - 8:41 | poet. Both of them performance poets, but she has her way of reaching her audience and he has his. So it is eclectic in that sense. | Transcription |
| 8:41 - 8:55 | And in every way. There's the generational diversity that you have. There's the range, there's the types of voices-- there's Rita Dove, and Baraka, and Sonia Sanchez, and Brenda Osbey | Transcription |
| 8:56 - 9:03 | and Lucille Clifton. And it's like a huge anthology-- living anthology. | Transcription |
| 9:03 - 9:21 | And as a writer to witness that. It's empowering. Because as a writer, when you see so many different voices in front of you that are acknowledged and recognized, it empowers others in the sense that | Transcription |
| 9:21 - 9:34 | we don't have to write in any one particular style, but we could truly write from our own voices because all the voices are there. And we don't have to imitate. So it's a wonderful example, to model | Transcription |
| 9:34 - 9:41 | for a conference to have out there. There's nothing else I think that touches it. | Transcription |
| 9:41 - 9:53 | Well, you know, we were hoping that when we came together to do the first conference, that something would come out of it. And so many good things came out of that conference-- we | Transcription |
| 9:53 - 10:06 | had an anthology of African American poetry that came out of the conference, we had a collection of essays coming out of the conference, and a video series. There were also things that we can't put | Transcription |
| 10:06 - 10:13 | our hands on that came out of this conference. I know that careers were launched at Furious Flower. | Transcription |
| 10:14 - 10:29 | Poets, who were probably not sure that they were poets, became poets because of Furious Flower. Organizations that may not have existed came into existence because of Furious Flower. I give you two | Transcription |
| 10:29 - 10:43 | examples. Cave Canem, and we have a reunion of Cave Canem poets here at 2004 Furious Flower. Well, that organization didn't exist in 1994. | Transcription |
| 10:43 - 10:60 | It was founded in 1996, by Cornelius Eady and Toi Derricotte. And I think Toi Derricotte had the idea that she wanted to have a workshop for writers of poetry. And I think that idea occurred to her, | Transcription |
| 11:01 - 11:07 | or at least, it was energized when she came to Furious Flower in 1994, | Transcription |
| 11:07 - 11:19 | because two weeks after the conference she called me and she said, 'Joanne, that was just wonderful. We have to continue this. We have to have a place for poets to write, and to feel safe writing | Transcription |
| 11:20 - 11:32 | their work.' And I really think that was the little seed that was planted in Capri when they decided, she and Cornelius Eady, to found Cave Canem. | Transcription |
| 11:34 - 11:51 | Trudier Harris, critic at University of North Carolina Chapel Hill, said we don't have an anthology that-- or a collection, I should say-- of critical pieces on the teaching of poetry, especially | Transcription |
| 11:51 - 12:02 | African American poetry. So I set out to take the papers from that conference, and put them into a volume that teachers could use to teach African American poetry. | Transcription |
| 12:02 - 12:16 | And so that became The Furious Flowering of African American Poetry. The video series that came out of this conference and 1994 conference, has been used by teachers all over the United States | Transcription |
| 12:16 - 12:20 | and I dare say some places outside of these borders. | Transcription |
| 12:21 - 12:35 | Some woman told me that she was told about Furious Flower by a Turkish woman who had the video series. So that made me feel extremely good that, you know, Furious Flower has an impact internationally. | Transcription |
| 12:35 - 12:41 | In fact, that was the reason for the themes for the 2004 conference, this conference. | Transcription |
| 12:41 - 12:60 | We're looking at three distinct themes during these three days, we want to look at our vernacular tradition. We have one that's called Roots and First Fruits, where we honor our cultural heritage and | Transcription |
| 12:60 - 13:10 | we honor those poets who were first, I suppose, to-- first representing what we call genius works. | Transcription |
| 13:11 - 13:29 | And then the second day, we looked at Cross-pollination in the Diaspora. Looking at the influence of African American poetry on poets and writers in other countries, and vice versa. How that-- does a | Transcription |
| 13:29 - 13:37 | poet in Afghanistan, or Pakistan see what we're doing in this country. | Transcription |
| 13:37 - 13:50 | And then the final day is Blooming in the Whirlwind. We know that many of our younger poets still have to deal with the political issues that face us today. So how do they do that in an atmosphere of | Transcription |
| 13:50 - 14:06 | chaos and an atmosphere of war? So those are, those are the things we're pursuing, and we're finding that our poets are energized by talking about these. And these themes that are simple on the | Transcription |
| 14:06 - 14:13 | outside, become layered and textured and really rich when you get them in the mouths of our poets. | Transcription |
| 14:14 - 14:26 | Also, it's also been a wonderful place to just be around the elders. There are-- the people that are here are so esteemed. Baraka and Lucille Clifton, Sonia Sanchez that we mention | Transcription |
| 14:26 - 14:37 | going just to be able to sit next to them and to touch them and to have a-- sit down and have a conversation with them. There are all these torches that are here. There's not one light, but there are | Transcription |
| 14:37 - 14:42 | many, many lights and there's a sense that they are passing it on. | Transcription |
| 14:42 - 14:55 | Sonia Sanchez, she's an incredible model, and she's so giving to the younger generations. She's not only just passing the torch. She's, she's forcing you to take it. You know, she's saying stand up. | Transcription |
| 14:55 - 15:03 | It's okay, do what do what it is that you want to do. Write your poems. And she demands it, and it's wonderful. | Transcription |
| 15:03 - 15:03 | Right, yes. | Transcription |
| 15:03 - 15:15 | But you know, it's interesting that you say that. Yes, you're right. There are many, many lights here. But if you could judge by the coverage that we got in the local newspaper, there was only one | Transcription |
| 15:15 - 15:29 | poet here and only one poem read. Baraka's poem, Somebody Blew Up America is the only poem that they were interested in because they wanted to find something controversial about it. They don't | Transcription |
| 15:29 - 15:36 | see the richness that we have gathered here in this place at this particular time. | Transcription |
| 15:37 - 15:48 | And that's why it's important that we document our own-- because there are so many writers here and Baraka is an incredible voice but he's one voice. | Transcription |
| 15:48 - 15:49 | He's one voice. | Transcription |
| 15:50 - 15:57 | And like I said incredible. Genius. But there's so many others here and we are fed through all of them. | Transcription |
| 15:58 - 15:58 | That's right. | Transcription |
| 15:58 - 16:08 | And the others we-- the others couldn't be, or-- It takes the group for there to be a Baraka, and for there to be a Lucille Clifton there should be a Baraka and there should be a Rita | Transcription |
| 16:08 - 16:20 | Dove. And for there to be a Rita Dove there needs to be a Marilyn Nelson. So because there is a group, we have these others, these ones that can stand. But there's a community here. | Transcription |
| 16:20 - 16:24 | Yeah, yeah exactly. Exactly. I, you know, I'm tired. | Transcription |
| 16:25 - 16:25 | We're over 15. | Transcription |
| 16:26 - 16:28 | I was thinking that. | Transcription |
| 16:28 - 16:34 | I want you guys to do one re-ask for me, because, Angela if you would-- this was great and we can cut it [inaudible]. | Transcription |
| 16:34 - 16:34 | Okay. | Transcription |
| 16:34 - 16:36 | About the conference being made into a video series. | Transcription |
| 16:36 - 16:37 | Okay, Okay. | Transcription |
| 16:37 - 16:48 | But if (I can't read my own)-- oh, when you were talking Joanne about the Furious Flower speaks to the wide range of writers, right after [inaudible] poetry, I want you to, I want you | Transcription |
| 16:48 - 16:60 | to give that kind of answer, but Angela, you ask her by saying what does the video series represent? You know that we have this collective under Furious Flower that we're representing in this series | Transcription |
| 16:60 - 16:60 | that are... | Transcription |
| 17:01 - 17:03 | So what does the video series represent? | Transcription |
| 17:04 - 17:13 | The video series really represents. Oh, I should start again. I get-- I'm not sure. I thought you were, now what-- | Transcription |
| 17:18 - 17:20 | What does the video series represent? | Transcription |
| 17:20 - 17:31 | Well, you know, I thought it would be my opportunity to show a wide variety of poets, those who really are speaking to many of the important issues that we have facing us today. | Transcription |
| 17:32 - 17:47 | I have invited people like Lucille Clifton, Rita Dove, Cornelius Eady, Sonia Sanchez, Amiri Baraka, Toi Derricotte, and the list goes on and on. And they all have different perspectives that we should | Transcription |
| 17:47 - 17:58 | hear. And we will hear those perspectives on these videos. Oh I mentioned some that we probably won't hear. I just thought, I just thought about that. | Transcription |
| 17:58 - 18:03 | Now say the whole thing again, but don't mention any names. We know the names becuase they come up [inaudible]. | Transcription |
| 18:03 - 18:11 | That's right, that's right, that's right. Now, who's-- the new ones, Cornelius Eady, and... I have to put on this dress again, maybe. | Transcription |
| 18:13 - 18:14 | Or a new dress and new setup. | Transcription |
| 18:14 - 18:14 | Different setup I think. | Transcription |
| 18:15 - 18:18 | Okay, alright. Okay. | Transcription |
| 18:20 - 18:22 | What does the video series represent? | Transcription |
| 18:23 - 18:36 | Well, I think it represents the opportunity to see a variety of poets doing their thing, in this venue where we have gathered poets from around the country, and indeed from around | Transcription |
| 18:36 - 18:48 | the world to respond to the importance of the word, the power of the word, if you will. Furious Flower for me is a metaphor of poetry, for poetry. | Transcription |
| 18:48 - 19:05 | Poetry that is beautiful, poetry that is a poetry of resistance, therefore fierce, therefore sometimes dangerous. You will see in this particular video series, an opportunity for poets to talk about | Transcription |
| 19:06 - 19:16 | the war. To talk about... I'm tired, I'm tired. Yeah, let me, let me just, let me just, let me just stop. | Transcription |
| 19:16 - 19:26 | Just say you will see in this series, a variety of viewpoints on a variety of political, historical, social, artistic, aesthetics, and stop. | Transcription |
| 19:26 - 19:28 | Okay. Just, okay. | Transcription |
| 19:30 - 19:34 | The first part of the work is, all Angela and you kept saying is "you will see here..." | Transcription |
| 19:34 - 19:46 | Okay. You will see in this video series a variety of perspectives. You'll see poets talking about the war, you'll see poets talking about our community. Some of the problems in our | Transcription |
| 19:46 - 19:60 | community, like Sonia Sanchez, talking about a crack mother, who takes her child into a crack house, you will hear Baraka doing his poem Somebody Blew Up America. You will see Rita Dove talking | Transcription |
| 19:60 - 20:09 | about swing dancing. You will see the energy that these poets bring to bear on those things that are near and dear to them. | Transcription |
| 20:11 - 20:18 | Is that alright? Alright. Well, we really, I really changed it that time. But I think I-- | Transcription |
| 20:18 - 20:18 | But it worked. [Inaudible] I'm coming back. | Transcription |
| 20:18 - 20:25 | Yeah, it worked. Okay. Yeah, you know what I started thinking, you know what I started thinking about? | Transcription |
| 20:25 - 20:25 | Time. | Transcription |
| 20:25 - 20:26 | Yeah. | Transcription |
| 20:26 - 20:27 | No, no, no don't move. Don't move. | Transcription |
| 20:27 - 20:32 | Okay, okay, okay. Okay. Good. Thank you | Transcription |
| 20:32 - 20:34 | Take it down. [Inaudible]. | Transcription |
| 20:36 - 20:43 | Oh my goodness. Well you know I feel unplugged right now. And I hope you can use something. | Transcription |
| 20:44 - 20:49 | Wherever, wherever you, wherever it's coming out of [inaudible]. Here it is. | Transcription |
| 20:51 - 20:52 | Angela, you did well! | Transcription |
| 20:52 - 20:58 | You did. You did great. Thank you. And thank you for coming up with the idea, because your right [inaudible]. | Transcription |
| 20:58 - 20:60 | I wouldn't be in it but it's important that you know, she [inaudible]. | Transcription |
| 20:60 - 21:02 | We're gonna do it, we're gonna do it, we're gonna get it right. | Transcription |
| 21:02 - 21:03 | Yeah. | Transcription |
| 21:03 - 21:05 | But I just thought, I just thought mostly she-- | Transcription |
| 21:05 - 21:08 | And you know you, and you're sounding more concise and cogent in your thinking [inaudible]. | Transcription |
| 21:09 - 21:11 | Oh, I don't feel like I'm cogent right now. | Transcription |
| 21:11 - 21:17 | Beause you're overwhelmed, you got a lot on your mind, you're tired, but it sounded-- even up until when you stopped yourself, it was like all [inaudible]. | Transcription |
| 21:19 - 21:19 | [Inaudible] again? | Transcription |
| 21:19 - 21:26 | They're from Wednesday's four-frames and specs. And to me [inaudible] same thing, but I told them the items you requested are backstage. | Transcription |
| 21:26 - 21:27 | They haven't started yet? | Transcription |
| 21:27 - 21:30 | No, there're still people filtering in. | Transcription |
| 21:30 - 21:31 | Oh my goodness, okay. | Transcription |
| 21:31 - 21:32 | See you later. | Transcription |
| 21:32 - 21:33 | Alright, thank you so much! | Transcription |
| 21:34 - 21:37 | So Joanne, is tonight going until how long? Till 8? | Transcription |
| 21:38 - 21:39 | Until about 10:30. | Transcription |
| 21:39 - 21:46 | Thank you, thank you. [Inaudible], but I'll call you. | Transcription |
| 21:46 - 21:46 | But call me. | Transcription |
| 21:46 - 21:46 | [Inaudible] | Transcription |
| 21:53 - 21:53 | All right. | Transcription |
| 22:09 - 22:12 | Thank you. It was an experience. | Transcription |
| 22:12 - 22:16 | It was. I think it was, that other's a wrap. | Transcription |
| 22:16 - 22:17 | It's a wrap. | Transcription |
| 22:18 - 22:19 | If we need to go on [inaudible]. | Transcription |
| 22:20 - 22:33 | Ok well I'm just gonna [inaudible] because this is my [inaudible] | Transcription |
| 22:33 - 22:37 | Let me, let me label the last two tapes. And all the tapes-- | Transcription |
| 0:04 - 0:10 | Joanne V. Gabbin | Speaker |
| 0:12 - 0:15 | Angela Shannon | Speaker |
| 0:19 - 0:29 | Speaker Unknown | Speaker |
| 0:29 - 0:39 | Joanne V. Gabbin | Speaker |
| 0:41 - 0:54 | Angela Shannon | Speaker |
| 0:54 - 1:16 | Joanne V. Gabbin | Speaker |
| 6:59 - 7:12 | Angela Shannon | Speaker |
| 7:13 - 7:13 | Joanne V. Gabbin | Speaker |
| 7:13 - 7:27 | Angela Shannon | Speaker |
| 7:32 - 7:33 | Joanne V. Gabbin | Speaker |
| 7:33 - 7:37 | Angela Shannon | Speaker |
| 7:37 - 7:58 | Joanne V. Gabbin | Speaker |
| 8:40 - 8:55 | Angela Shannon | Speaker |
| 9:41 - 9:53 | Joanne V. Gabbin | Speaker |
| 14:14 - 14:26 | Angela Shannon | Speaker |
| 15:02 - 15:03 | Joanne V. Gabbin | Speaker |
| 15:37 - 15:48 | Angela Shannon | Speaker |
| 15:48 - 15:49 | Joanne V. Gabbin | Speaker |
| 15:50 - 15:57 | Angela Shannon | Speaker |
| 15:58 - 15:58 | Joanne V. Gabbin | Speaker |
| 15:58 - 16:08 | Angela Shannon | Speaker |
| 16:20 - 16:24 | Joanne V. Gabbin | Speaker |
| 16:25 - 16:25 | Speaker Unknown | Speaker |
| 16:26 - 16:28 | Joanne V. Gabbin | Speaker |
| 16:27 - 16:34 | Speaker Unknown | Speaker |
| 16:34 - 16:34 | Joanne V. Gabbin | Speaker |
| 16:34 - 16:36 | Speaker Unknown | Speaker |
| 16:36 - 16:37 | Joanne V. Gabbin | Speaker |
| 16:37 - 16:48 | Speaker Unknown | Speaker |
| 17:01 - 17:03 | Angela Shannon | Speaker |
| 17:04 - 17:13 | Joanne V. Gabbin | Speaker |
| 17:18 - 17:20 | Angela Shannon | Speaker |
| 17:20 - 17:31 | Joanne V. Gabbin | Speaker |
| 17:58 - 18:03 | Speaker Unknown | Speaker |
| 18:03 - 18:11 | Joanne V. Gabbin | Speaker |
| 18:13 - 18:14 | Speaker Unknown | Speaker |
| 18:15 - 18:18 | Joanne V. Gabbin | Speaker |
| 18:20 - 18:22 | Angela Shannon | Speaker |
| 18:23 - 18:36 | Joanne V. Gabbin | Speaker |
| 19:15 - 19:26 | Speaker Unknown | Speaker |
| 19:26 - 19:28 | Joanne V. Gabbin | Speaker |
| 19:30 - 19:34 | Angela Shannon | Speaker |
| 19:34 - 19:46 | Joanne V. Gabbin | Speaker |
| 20:18 - 20:18 | Speaker Unknown | Speaker |
| 20:18 - 20:25 | Joanne V. Gabbin | Speaker |
| 20:25 - 20:25 | Speaker Unknown | Speaker |
| 20:25 - 20:26 | Joanne V. Gabbin | Speaker |
| 20:26 - 20:27 | Speaker Unknown | Speaker |
| 20:27 - 20:32 | Joanne V. Gabbin | Speaker |
| 20:32 - 20:34 | Speaker Unknown | Speaker |
| 20:36 - 20:43 | Joanne V. Gabbin | Speaker |
| 20:52 - 20:58 | Speaker Unknown | Speaker |
| 20:58 - 20:60 | Angela Shannon | Speaker |
| 20:60 - 21:02 | Joanne V. Gabbin | Speaker |
| 21:02 - 21:03 | Speaker Unknown | Speaker |
| 21:03 - 21:05 | Joanne V. Gabbin | Speaker |
| 21:05 - 21:08 | Angela Shannon | Speaker |
| 21:09 - 21:11 | Joanne V. Gabbin | Speaker |
| 21:11 - 21:17 | Speaker Unknown | Speaker |
| 21:19 - 21:19 | Joanne V. Gabbin | Speaker |
| 21:19 - 21:26 | Angela Shannon | Speaker |
| 21:26 - 21:27 | Joanne V. Gabbin | Speaker |
| 21:27 - 21:30 | Speaker Unknown | Speaker |
| 21:30 - 21:31 | Joanne V. Gabbin | Speaker |
| 21:31 - 21:32 | Speaker Unknown | Speaker |
| 21:32 - 21:33 | Joanne V. Gabbin | Speaker |
| 21:34 - 21:37 | Angela Shannon | Speaker |
| 21:38 - 21:39 | Joanne V. Gabbin | Speaker |
| 21:39 - 21:46 | Speaker Unknown | Speaker |
| 21:46 - 21:46 | Joanne V. Gabbin | Speaker |
| 21:46 - 21:46 | Speaker Unknown | Speaker |
| 21:52 - 21:53 | Joanne V. Gabbin | Speaker |
| 22:09 - 22:12 | Speaker Unknown | Speaker |