kara walker: darkytown rebellion, 2001

Fresh out of graduate school, Kara Walker succeeded in shocking the nearly shock-proof art world of the 1990s with her wall-sized cut paper silhouettes. Gone is a nod to Margaret Mitchell's 1936 novel Gone with the Wind, set during the American Civil War. Retrieved from the University of Minnesota Digital Conservancy, https://hdl . Walker also references a passage in Thomas Dixon, Jr.'s The Clansman (a primary Ku Klux Klan text) devoted to the manipulative power of the tawny negress., The form of the tableau appears to tell a tale of storybook romance, indicated by the two loved-up figures to the left. Walker's form - the silhouette - is essential to the meaning of her work. Installation - Domino Sugar Plant, Williamsburg, Brooklyn. The Domino Sugar Factory is doing a large part of the work, says Walker of the piece. Photograph courtesy the artist and Sikkema Jenkins & Co., New York "Ms. Walker's style is magneticBrilliant is the word for it, and the brilliance grows over the survey's decade . Cut paper; about 457.2 x 1,005.8 cm projected on wall. Skip to main content Accessibility help We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Review of Darkytown Rebellion Installation by Kara Walker. I don't need to go very far back in my history--my great grandmother was a slave--so this is not something that we're talking about that happened that long ago.". Dimensions Dimensions variable. 3 (#99152), Dr. Elena FitzPatrick Sifford on casta paintings. Learn About This Versatile Medium, Learn How Color Theory Can Push Your Creativity to the Next Level, Charming Little Fairy Dresses Made Entirely Out of Flowers and Leaves, Yayoi Kusamas Iconic Polka Dots Take Over Louis Vuitton Stores Around the World, Artist Tucks Detailed Little Landscapes Inside Antique Suitcases, Banksy Is Releasing a Limited-Edition Print as a Fundraiser for Ukraine, Art Trend of 2022: How AI Art Emerged and Polarized the Art World. The most intriguing piece for me at the Walker Art Center's show "Kara Walker: My Complement, My Enemy, My Oppressor, My Love" (Feb 17May 13, 2007) is "Darkytown Rebellion," which fea- Collecting, cataloging, restoring and protecting a wide variety of film, video and digital works. On a screen, one of her short films is playing over and over. [Internet]. They need to understand it, they need to understand the impact of it. I didnt want a completely passive viewer, she says. 2001 C.E. Through these ways, he tries to illustrate the history, which is happened in last century to racism and violence against indigenous peoples in Australia in his artwork. Darkytown Rebellion Kara Walker. Douglass piece Afro-American Solidarity with the Oppressed is currently at the Oakland Museum of California, a gift of the Rossman family. At least Rumpf has the nerve to voice her opinion. Artist Kara Walker explores the color line in her body of work at the Walker Art Center. Read on to discover five of Walkers most famous works. Her apparent lack of reverence for these traditional heroes and willingness to revise history as she saw fit disturbed many viewers at the time. Using specific evidence, explain how Walker used both the form and the content to elicit a response from her audience. Kara Walker was born in Stockton, California, in 1969. She says, My work has always been a time machine looking backwards across decades and centuries to arrive at some understanding of my place in the contemporary moment., Walkers work most often depicts disturbing scenes of violence and oppression, which she hopes will trigger uncomfortable feelings within the viewer. And the other thing that makes me angry is that Tommy Hilfiger was at the Martin Luther King memorial." She almost single-handedly revived the grand tradition of European history painting - creating scenes based on history, literature and the bible, making it new and relevant to the contemporary world. Black Soil: White Light Red City 01 is a chromogenic print and size 47 1/4 x 59 1/16. June 2016, By Tiffany Johnson Bidler / One of the most effective ways that blacks have found to bridge this gap, was to create a new way for society to see the struggles on an entire race; this way was created through art. Kara Walker, Darkytown Rebellion, 2001, cut paper and projection on wall, 4.3 x 11.3m, (Muse d'Art Moderne Grand-Duc Jean, Luxembourg) Kara Walker In contrast to larger-scale works like the 85 foot, Slavery! She explores African American racial identity by creating works inspired by the pre-Civil War American South. Does anyone know of a place where the original 19th century drawing can be seen? xiii+338+11 figs. Her images are drawn from stereotypes of slaves and masters, colonists and the colonized, as well as from romance novels. The light even allowed the viewers shadows to interact with Walkers cast of cut-out characters. "I wanted to make a piece that was incredibly sad," Walker stated in an interview regarding this work. Interviews with Walker over the years reveal the care and exacting precision with which she plans each project. Here we have Darkytown Rebellion by kara walker . Local student Sylvia Abernathys layout was chosen as a blueprint for the mural. I never learned how to be black at all. Astonished witnesses accounted that on his way to his own execution, Brown stopped to kiss a black child in the arms of its mother. Darkytown Rebellion, 2001, features a jaunty company of banner-waving hybrids that marches with uncertain purpose across a fractured landscape of projected foliage and luminous color, a fairy tale from the dark side conflating history and self-awareness into Walker's politically agnostic pantheism. The artist debuted her signature medium: black cut-out silhouettes of figures in 19th-century costume, arranged on a white wall. Taking its cue from the cyclorama, a 360-degree view popularized in the 19th century, its form surrounds us, alluding to the inescapable horror of the past - and the cycle of racial inequality that continues to play itself out in history. Flack has a laser-sharp focus on her topic and rarely diverges from her message. That is, until we notice the horrifying content: nightmarish vignettes illustrating the history of the American South. Kara Walker: Website | Instagram |Twitter, 8 Groundbreaking African American Artists to Celebrate This Black History Month, Augusta Savage: How a Black Art Teacher and Sculptor Helped Shape the Harlem Renaissance, Henry Ossawa Tanner: The Life and Work of a 19th-Century Black Artist, Painting by Civil War-Era Black Artist Is Presented as Smithsonians Inaugural Gift. He lives and works in Brisbane. Additionally, the arrangement of Brown with slave mother and child weaves in the insinuation of interracial sexual relations, alluding to the expectation for women to comply with their masters' advances. The books and articles below constitute a bibliography of the sources used in the writing of this page. What I recognize, besides narrative and historicity and racism, was very physical displacement: the paradox of removing a form from a blank surface that in turn creates a black hole. You can see Walker in the background manipulating them with sticks and wires. It is a potent metaphor for the stereotype, which, as she puts it, also "says a lot with very little information." The piece is called "Cut. The spatialisation through colour accentuates the terrifying aspect of this little theatre of cruelty which is Darkytown Rebellion. The impossibility of answering these questions finds a visual equivalent in the silhouetted voids in Walkers artistic practice. For . He also uses linear perspective which are the parallel lines in the background. Throughout its hard fight many people captured the turmoil that they were faced with by painting, some sculpted, and most photographed. The sixties in America saw a substantial cultural and social change through activism against the Vietnam war, womens right and against the segregation of the African - American communities. The painting is colorful and stands out against a white background. He is a modern photographer and the names of his work are Blow Up #1; and Black Soil: White Light Red City 01. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more, http://www.mudam.lu/en/le-musee/la-collection/details/artist/kara-walker/. On a screen, one of her short films is playing over and over. This and several other works by Walker are displayed in curved spaces. Kara Walker, Darkytown Rebellion, 2001, cut paper and projection on wall, 4.3 x 11.3m, (Muse d'Art Moderne Grand-Duc Jean, Luxembourg) Kara Walker In contrast to larger-scale works like the 85 foot, Slavery! Walker felt unwelcome, isolated, and expected to conform to a stereotype in a culture that did not seem to fit her. All cut from black paper by the able hand of Kara Elizabeth Walker, an Emancipated Negress and leader in her Cause" 1997. A post shared by Quantumartreview (@quantum_art_review). http://www.annezeygerman.com/art-reviews/2014/6/6/draped-in-melting-sugar-and-rust-a-look-in-to-kara-walkers-art. By Pamela J. Walker. Altarpieces are usually reserved to tell biblical tales, but Walker reinterprets the art form to create a narrative of American history and African American identity. The characters are shadow puppets. HVMo7.( uA^(Y;M\ /(N_h$|H~v?Lxi#O\,9^J5\vg=. The full title of the work is: A Subtlety, or the Marvelous Sugar Baby an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant. And she looks a little bewildered. The spatialisation through colour accentuates the terrifying aspect of this little theatre of cruelty which is Darkytown Rebellion. This film is titled "Testimony: Narrative of a Negress Burdened by Good Intentions. Civil Rights have been the long and dreadful fight against desegregation in many places of the world. (right: Kara Walker, Darkytown Rebellion, 2001, projection, cut paper, and adhesive on wall, 14 x 37 ft. (4.3 x 11.3 m) overall. On a Saturday afternoon, Christine Rumpf sits on a staircase in the middle of the exhibit, waiting for her friends. Wall installation - San Francisco Museum of Modern Art. May 8, 2014, By Blake Gopnik / Initial audiences condemned her work as obscenely offensive, and the art world was divided about what to do. While she writes every day, shes also devoted to her own creative outletEmma hand-draws illustrations and is currently learning 2D animation. In Darkytown Rebellion, in addition to the silhouetted figures (over a dozen) pasted onto 37 feet of a corner gallery wall, Walker projected colored light onto the ceiling, walls, and floor. Silhouetting was an art form considered "feminine" in the 19th century, and it may well have been within reach of female African American artists. Loosely inspired by Uncle Tom's Cabin (Harriet Beecher Stowe's famous abolitionist novel of 1852) it surrounds us with a series of horrifying vignettes reenacting the torture, murder and assault on the enslaved population of the American South. "I've seen audiences glaze over when they're confronted with racism," she says. Kara Walker uses whimsical angles and decorative details to keep people looking at what are often disturbing images of sexual subjugation, violence and, in this case, suicide. All Rights Reserved, Seeing the Unspeakable: The Art of Kara Walker, Kara Walker: My Complement, My Enemy, My Oppressor, My Love, Kara Walker: Dust Jackets for the Niggerati, Kara Walker: A Black Hole Is Everything a Star Longs to Be, Consuming Stories: Kara Walker and the Imagining of American Race, The Ecstasy of St. Kara: Kara Walker, New Work, Odes to Blackness: Gender Representation in the Art of Jean-Michel Basquiat and Kara Walker, Making Mourning from Melancholia: The Art of Kara Walker, A Subtlety by Kara Walker: Teaching Vulnerable Art, Suicide and Survival in the Work of Kara Walker, Kara Walker, A Subtlety, or the Marvelous Sugar Baby, Kara Walker depicts violence and sadness that can't be seen, Kara Walker on the Dark Side of Imagination, Kara Walker's Never-Before-Seen Drawings on Race and Gender, Artist Kara Walker 'I'm an Unreliable Narrator: Fons Americanus. Celebrating creativity and promoting a positive culture by spotlighting the best sides of humanityfrom the lighthearted and fun to the thought-provoking and enlightening. The exhibit is titled "My Complement, My Enemy, My Oppressor, My Love." The outrageousness and crudeness of her narrations denounce these racist and sexual clichs while deflecting certain allusions to bourgeois culture, like a character from Slovenly Peter or Liberty Leading the People by Eugne Delacroix. Vernon Ah Kee comes from the Kuku Yalanji, Waanyi, Yidinyji, Gugu Yimithirr and Kokoberrin North Queensland. (as the rest of the Blow Up series). Walker, still in mid-career, continues to work steadily. The medium vary from different printing methods. Were also on Pinterest, Tumblr, and Flipboard. As you walk into the exhibit, the first image you'll see is of a woman in colonial dress. In the three-panel work, Walker juxtaposes the silhouette's beauty with scenes of violence and exploitation. Blow Up #1 is light jet print, mounted on aluminum and size 96 x 72 in. White sugar, a later invention, was bleached by slaves until the 19th century in greater and greater quantities to satisfy the Western appetite for rum and confections. The painting is of a old Missing poster of a man on a brick wall. In Darkytown Rebellion (2001), Afro-American artist Kara Walker (1969) displays a group of silhouettes on the walls, projecting the viewer, through his own shadow, into the midst of the scene. (1997), Darkytown Rebellion occupies a 37 foot wide corner of a gallery. I mean, whiteness is just as artificial a construct as blackness is. Emma Taggart is a Contributing Writer at My Modern Met. She plays idealized images of white women off of what she calls pickaninny images of young black women with big lips and short little braids. Attending her were sculptures of young black boys, made of molasses and resin that melted away in the summer heat over the course of the exhibition. Using the slightly outdated technique of the silhouette, she cuts out lifted scenes with startling contents: violence and sexual obscenities are skillfully and minutely presented. "Her storyline is not one that I can relate to, Rumpf says. But this is the underlying mythology And we buy into it. The content of the Darkytown Rebellion inspiration draws from past documents from the civil war era, She said Ive seen audiences glaze over when they are confronted with racism, theres nothing more damning and demeaning to having kinfof ideology than people just walking the walk and nodding and saying what therere supposed to say and nobody feels anything. All in walkers idea of gathering multiple interpretations from the viewer to reveal discrimination among the audience. If you're behind a web filter, please make sure that the domains *.kastatic.org and *.kasandbox.org are unblocked. The work is presented as one of a few Mexican artists that share an interest in their painting primarily figurative style, political in nature, that often narrated the history of Mexico or the indigenous culture. The cover art symbolizes the authors style. The works elaborate title makes a number of references. The New York Times, review by Holland Cotter, Kara Walker, You Do, (Detail), 1993-94. Using the slightly outdated technique of the silhouette, she cuts out lifted scenes with startling contents: violence and sexual obscenities are skillfully and minutely presented. Once Johnson graduated he moved to Paris where he was exposed to different artists, various artistic abilities, and evolutionary creations. Kara Walker, Darkytown Rebellion (2001): Eigth in our series of nine pivotal artworks either made by an African-American artist or important in its depiction of African-Americans for Black History Month . Photograph courtesy the artist and Sikkema Jenkins & Co., Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more, http://www.mudam.lu/en/le-musee/la-collection/details/artist/kara-walker/. She is too focused on themselves have a relation with the events and aspects of the civil war. Slavery!, 1997, Darkytown Rebellion occupies a 37 foot wide corner of a gallery. Recording the stories, experiences and interpretations of L.A. But this is the underlying mythology And we buy into it. Figure 23 shows what seems to be a parade, with many soldiers and American flags. Searching obituaries is a great place to start your family tree research. I wanted to make work where the viewer wouldnt walk away; he would either giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful.. Kara Walker on the dark side of imagination. [I wanted] to make a piece that would complement it, echo it, and hopefully contain these assorted meanings about imperialism, about slavery, about the slave trade that traded sugar for bodies and bodies for sugar., A post shared by Berman Museum of Art (@bermanmuseum). Throughout Johnsons time in Paris he grew as an artist, and adapted a folk style where he used lively colors and flat figures. Drawing from textbooks and illustrated novels, her scenes tell a story of horrific violence against the image of the genteel Antebellum South. Walker works predominantly with cut-out paper figures. What made it stand out in my eyes was the fact that it looked to be a three dimensional object on what looked like real bricks with the words wanted by mother on the top. That is what slavery was about and people need to see that. It was because of contemporary African American artists art that I realized what beauty and truth could do to a persons perspective. rom May 10 to July 6, 2014, the African American artist Kara Walker's "A Subtlety, or The Marvelous Sugar Baby" existed as a tem- porary, site-specific installation at the Domino Sugar Factory in Brook- lyn, New York (Figure 1). One anonymous landscape, mysteriously titled Darkytown, intrigued Walker and inspired her to remove the over-sized African-American caricatures. Rebellion filmmakers. Collection Muse d'Art Moderne . Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more, http://www.mudam.lu/en/le-musee/la-collection/details/artist/kara-walker/. This work, Walker's largest and most ambitious work to date, was commissioned by the public arts organization Creative Time, and displayed in what was once the largest sugar refinery in the world. In Darkytown Rebellion (2001), Afro-American artist Kara Walker (1969) displays a group of silhouettes on the walls, projecting the viewer, through his own shadow, into the midst of the scene. She placed them, along with more figures (a jockey, a rebel, and others), within a scene of rebellion, hence the re-worked title of her 2001 installation. The woman appears to be leaping into the air, her heels kicking together, and her arms raised high in ecstatic joy. 2023 The Art Story Foundation. Walker's images are really about racism in the present, and the vast social and economic inequalities that persist in dividing America. Materials Cut paper and projection on wall. She almost single-handedly revived the grand tradition of European history painting - creating scenes based on history, literature and the bible, making it new and relevant to the contemporary world. Thelma Golden, curator of the Studio Museum in Harlem, says Walker gets at the heart of issues of race and gender in contemporary life by putting them into stark black-and-white terms that allow them to be seen and thought about. ", Wall Installation - The Museum of Modern Art, New York. Most of which related to slavery in African-American history. Collections of Peter Norton and Eileen Harris Norton. The outrageousness and crudeness of her narrations denounce these racist and sexual clichs while deflecting certain allusions to bourgeois culture, like a character from Slovenly Peter or Liberty Leading the People by Eugne Delacroix. Walker's most ambitious project to date was a large sculptural installation on view for several months at the former Domino Sugar Factory in the summer of 2014. . Despite ongoing star status since her twenties, she has kept a low profile. Many people looking at the work decline to comment, seemingly fearful of saying the wrong thing about such a racially and sexually charged body of work. Scholarly Text or Essay . There is often not enough information to determine what limbs belong to which figures, or which are in front and behind, ambiguities that force us to question what we know and see. Jaune Quick-To-See Smith's, Daniel Libeskind, Imperial War Museum North, Manchester, UK, Contemporary Native American Architecture, Birdhead We Photograph Things That Are Meaningful To Us, Artist Richard Bell My Art is an Act of Protest, Contemporary politics and classical architecture, Artist Dale Harding Environment is Part of Who You Are, Art, Race, and the Internet: Mendi + Keith Obadikes, Magdalene Anyango N. Odundo, Symmetrical Reduced Black Narrow-Necked Tall Piece, Mickalene Thomas on her Materials and Artistic Influences, Mona Hatoum Nothing Is a Finished Project, Artist Profile: Sopheap Pich on Rattan, Sculpture, and Abstraction, https://smarthistory.org/kara-walker-darkytown-rebellion/. A DVD set of 25 short films that represent a broad selection of L.A. This site-specific work, rich with historical significance, calls our attention to the geo-political circumstances that produced, and continue to perpetuate, social, economic, and racial inequity. I created this video with the YouTube Video Editor (http://www.youtube.com/editor) Douglas also makes use of colors in this piece to add meaning to it. New York, Ms. Fierce initial resistance to Walker's work stimulated greater awareness of the artist, and pushed conversations about racism in visual culture forward. More like riddles than one-liners, these are complex, multi-layered works that reveal their meaning slowly and over time. "There's nothing more damning and demeaning to having any kind of ideology than people just walking the walk and nodding and saying what they're supposed to say and nobody feels anything". July 11, 2014, By Laura K. Reeder / In sharp contrast with the widespread multi-cultural environment Walker had enjoyed in coastal California, Stone Mountain still held Klu Klux Klan rallies. To examine how a specific movement can have a profound effects on the visual art, this essay will focus on the black art movement of the 1960s and, Faith Ringgold composed this piece by using oil paints on a 31 by 19 inch canvas. View this post on Instagram . These include two women and a child nursing each other, three small children standing around a mistress wielding an axe, a peg-legged gentleman resting his weight on a saber, pinning one child to the ground while sodomizing another, and a man with his pants down linked by a cord (umbilical or fecal) to a fetus. Her design allocated a section of the wall for each artist to paint a prominent Black figure that adhered to a certain category (literature, music, religion, government, athletics, etc.). These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet. For example, is the leg under the peg-legged figure part of the child's body or the man's? Our shadows mingle with the silhouettes of fictitious stereotypes, inviting us to compare the two and challenging us to decide where our own lives fit in the progression of history. Commissioned by public arts organization Creative Time, this is Walkers largest piece to date. Wall installation - The Modern Art Museum of Fort Worth. The light blue and dark blue of the sky is different because the stars are illuminating one section of the sky. Rising above the storm of criticism, Walker always insisted that her job was to jolt viewers out of their comfort zone, and even make them angry, once remarking "I make art for anyone who's forgot what it feels like to put up a fight." Darkytown Rebellion does not attempt to stitch together facts, but rather to create something more potent, to imagine the unimaginable brutalities of an era in a single glance. And it is undeniably seen that the world today embraces multi-cultural and sexual orientation, yet there is still an unsupportable intolerance towards ethnicities and difference. After making several cut-out works in black and white, Walker began experimenting with light in the early 2000s. Her silhouettes examine racial stereotypes and sexual subjugation both in the past and present. Kara Walker uses her silhouettes to create short films, often revealing herself in the background as the black woman controlling all the action. 0 520 22591 0 - Volume 54 Issue 1. The incredible installation was made from 330 styrofoam blocks and 40 tons of sugar. "There is nothing in this exhibit, quite frankly, that is exaggerated. However, the pictures then move to show a child drummer, with no shoes, and clothes that are too big for him, most likely symbolizing that the war is forcing children to lose their youth and childhood. Cauduro uses texture to represent the look of brick by applying thick strokes of paint creating a body of its own as and mimics the look and shape of brick. A post shared by club SociART (@sociartclub). It references the artists 2016 residency at the American Academy in Rome. In Darkytown Rebellion (2001), Afro-American artist Kara Walker (1969) displays a group of silhouettes on the walls, projecting the viewer, through his own shadow, into the midst of the scene. A post shared by Mrs. Franklin (@jmhs_vocalrhapsody), Artist Kara Walker is one of todays most celebrated, internationally recognized American artists. "One thing that makes me angry," Walker says, "is the prevalence of so many brown bodies around the world being destroyed. Kara Walker 2001 Mudam Luxembourg - The Contemporary Art Museum of Luxembourg 1499, Luxembourg In Darkytown Rebellion (2001), Afro-American artist Kara Walker (1969) displays a. Johnson began exploring his level of creativity as a child, and it only amplified from there because he discovered that he wanted to be an artist. Walker's use of the silhouette, which depicts everything on the same plane and in one color, introduces an element of formal ambiguity that lends itself to multiple interpretations. There are three movements the renaissance, civil rights, and the black lives matter movements that we have focused on. Walker is a well-rounded multimedia artist, having begun her career in painting and expanded into film as well as works on paper. The work's epic title refers to numerous sources, including Margaret Mitchell's Gone with the Wind (1936) set during the Civil War, and a passage in Thomas Dixon, Jr's The Clansman (a foundational Ku Klux Klan text) devoted to the manipulative power of the "tawny negress." Recently I visit the Savannah Civil right Museum to share some of the major history that was capture in the during the 1960s time err. The most intriguing piece for me at the Walker Art Center's show "Kara Walker: My Complement, My Enemy, My Oppressor, My Love" (Feb 17May 13, 2007) is "Darkytown Rebellion," which fea- All cut from black paper by the able hand of Kara Elizabeth Walker, an Emancipated Negress and leader in her Cause, 1997. For many years, Walker has been tackling, in her work, the history of black people from the southern states before the abolition of slavery, while placing them in a more contemporary perspective. Water is perhaps the most important element of the piece, as it represents the oceans that slaves were forcibly transported across when they were traded. Cut paper and projection on wall, 14 x 37 ft. (4.3 x 11.3 m) overall. The biggest issue in the world today is the struggle for African Americans to end racial stereotypes that they have inherited from their past, and to bridge the gap between acceptance and social justice. Luxembourg, Photo courtesy of Kara Walker and Sikkema Jenkins and Co., New York. Against a dark background, white swans emerge, glowing against the black backdrop. Like other works by Walker in the 1990s, this received mixed reviews. One man admits he doesn't want to be "the white male" in the Kara Walker story. What does that mean? When asked what she had been thinking about when she made this work, Walker responded, "The history of America is built on this inequalityThe gross, brutal manhandling of one group of people, dominant with one kind of skin color and one kind of perception of themselves, versus another group of people with a different kind of skin color and a different social standing. Mythread this artwork comes from Australian artist Vernon Ah Kee. Instead, Kara Walker hopes the exhibit leaves people unsettled and questioning. This ensemble, made up of over a dozen characters, plays out a . For many years, Walker has been tackling, in her work, the history of black people from the southern states before the abolition of slavery, while placing them in a more contemporary perspective. becky hoarders update, a scientist intends to study alternative explanations,

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