November 18, 2018November 18, 2018 2min readBy Nargis Rahman
[Photos Courtesy of Nargis Rahman]
Bangladeshis are one of the fastest growing minority groups in the U.S. Detroit is home to the third largest concentration of Bangladeshis, followed by New York and Washington D.C. Recently a large mural was placed in Detroit to showcase the Bangladeshi community and commemorate the legacy of a late community member Abu Hanif. As a first generation Bangladeshi American who has grown up in the U.S., the mural honors our past, celebrates our present and provides hope for future generations.
I was born in Bangladesh and immigrated to the U.S. with my parents as a two-year-old. My father was providing financial support to his family back home and we struggled as a low-income family.
In 2000, our family moved to Hamtramck, Michigan, to join Bangladeshis from New York during the “second migration.” Families moved to the Detroit area for cheaper housing and factory jobs. For my family, this meant that we were able to purchase our first house.
Hamtramck is an immigration hub and a starting point for many newcomers. I now have a family of my own and raising my children here as part of the Bangladeshi American community. While we are American, we are also Bangladeshi. This mission to build bridges between the rich history of the Bangladeshi people and the aspirations of the second generation and onwards is the essence of what the Bangladeshi American community here in Hamtramck represents.
Bangladeshis are a vital part of American society. Today the Bangladeshi community in Metro Detroit is 15,000 strong. Bangladeshis are entrepreneurs, teachers, engineers, doctors, homemakers and more. Landmarks such as the mural in Detroit are a reminder of our past, anchor for our present and aspiration for our future.
Bharatanatyam is a traditional Indian dance form and the oldest classical dance tradition in India. Bharatanatyam, originally a dance performed by women in temples of Tamil Nadu, is often used to convey Hindu religious tales and devotions. It is taught by a teacher known as a guru. The dance costume resembles that of a South Indian bride and the dancer wears anklets, called ghungroos, to keep the rhythm while dancing to the music. While Bharatanatyam is still taught all over the world in the traditional way, the styles of teaching have changed over the years. For the last six years, my sister and I have been taught modernized styles of Bharatnatyam in the USA.
An Arangetram lasts approximately three hours and has nine, or in our case 10, dances in total. It begins with an introduction dance called a Mallari or Pushpanjali following the guru’s nattuvangam (rhythm kept using symbols). In the middle of the program is a Varnam — a centerpiece dance that lasts about 30 to 40 minutes. This dance tests the dancer’s endurance as well as their storytelling ability. The performance is concluded with a Thillana which is seen as the last glimpse into the dancer’s full capacity. The Thillana is followed by a Mangalam, the closing dance of the Arangetram.
My sister and I began learning Bharatanatyam in 2016 when we were nine years old. Despite our instant attachment to the art form, we were always daunted by the idea of having an Arangetram of our own. It would be challenging, mainly because we are twins, and our performance would have to be suitable for two people to perform side by side. We began preparing for this event in the summer of 2021. Our guru would make us run for the first half hour of class to build our stamina — much-needed for a three-hour repertoire. We would spend the next two and a half hours learning our repertoire. The first dance we learned together during this time was our Varnam. Learning this dance took a month and we spent a lot of time memorizing it. Our Varnam was dedicated to Lord Krishna, one of the many Hindu gods, known for his charm, wit, and being a master Guru whose philosophies were immortalized through the Gita — the Hindu Holy scripture.
An Arangetram is the on-stage debut of a traditional Bharatanatyam dancer following years of training and discipline under the able guidance of a guru. This is a milestone for young artists as it opens up the opportunity for solo performances, choreographing individual pieces, and instructing other dancers.
By January, we had learned our entire repertoire and were starting to memorize it while adding expressions, poses, and building up our stamina, making them look effortless. Some dances were more difficult to memorize than others, particularly dances that were story-based. Because most Bharatanatyam dance music is in either Sanskrit or Tamil so we couldn’t understand the lyrics right away. Our guru helped us interpret the stories before teaching us the choreography making them easier to commit to memory. We also had help from our mother who listened to all our songs and gave us keywords that corresponded with our dance moves. Listening to dance music on the way to school, dance, or while getting ready for bed, became a part of our daily routine as it helped us internalize the rhythms.
Although a year seems like a long time to prepare for an event, the day of the Arangetram came before we knew it. The morning started off with family and friends coming to our house to help us transport decorations and essentials we would need backstage. We arrived at our venue — the Balaji temple in Bridgewater, New Jersey — and made our way to the green rooms. Our makeup artists assisted us with hair and makeup, which lasted four hours. During this time we were going through the dances in our heads and mentally preparing for the performance to come. Once we were dressed in costume, we headed for the stage pooja, a prayer session on the Arangetram stage with close friends and family, to invoke a successful performance. This was also the time when jitters started kicking in. It had just occurred to us that the performance we’d been preparing for our entire dance careers was about to happen and this was the only chance we had to show the audience our very best.
A person can only have one Arangetram in their lifetime, and this huge milestone comes with pressure given how special the performance is.
As the masters of ceremony were introducing our first number all I could do was stare at my sister standing in the other wing, and I knew we had the same thoughts going through our minds.
As we began dancing I felt almost a sense of relief because of how well we knew the dance. Every single dance was so ingrained in our muscle memory that it felt like second nature even in front of such a large audience. During the repertoire, we had two costume changes, with three costumes in total. Each costume change took 15 minutes while the audience was learning about SAMHAJ or listening to speeches from our friends and family. Backstage, our makeup artists and backstage moms were busy helping us change our costumes and jewelry, adjusting them to make sure nothing would move while dancing. We also had some of our fellow dance girls backstage giving us water and fruit as well as tightening our ghungroos so they wouldn’t fall off on stage.
Our Varnam was a huge success, resulting in a standing ovation from the audience. After the Varnam, we performed a slower dance called Ramabajanam, telling all the stories about Lord Ram, another Hindu god known for his chivalry and virtue. We decided to dedicate this dance to our parents since it was always their favorite to watch and listen to. My mom was heavily involved in helping us memorize this dance by telling us the stories so we wouldn’t forget the choreography. Right before the last dance, we acknowledged all of the people who helped us backstage and were presented with our graduation certificates. In order to give the audience a peek at the effort that went into the performance they were watching, we shared our experience with the audience as well as our guru’s message during this time. Our last dance surprised the audience, as our mother joined us on stage and danced with us. She always dreamt of being a dancer as a child but was never able to learn. Sharing one dance meant a lot to us, and watching it was very entertaining for the audience as well. After all the dances were over, all our guests proceeded to the banquet hall for dinner where we were able to greet all our guests and thank them for coming. When the night ended we were exhausted but still full of adrenaline.
Even though the tension that had built-up in my head over the last few months had now subsided, I was somewhat disappointed that the process had come to an end. I wouldn’t exactly call my Arangetram journey perfect or effortless, but I grew so much this past year as a dancer and as well as a person. The lessons I learned from dance about hard work and resilience will carry on with me for the rest of my life and for that I am forever grateful. The event itself brought so many people together such as my aunt and cousin, who came all the way from India to attend, as well as so many relatives that we hadn’t seen in years. Grandparents, as well as young children all gathered in the audience to watch a display of their culture, or for some audience members, learn a new one. Not only did we spread awareness for this beautiful art form, but we also raised awareness on mental health amongst South Asians — an issue we’re passionate about.
Along with our guru, we decided to leverage this event to create awareness for mental health amongst South Asians in the United States. We decided to advocate for SAMHAJ, a charity that provides education and support for South Asians affected by serious mental illnesses. In order to educate people about mental health, SAMHAJ offers workshops to social service organizations, schools, and mental health professionals as well as provides culturally competent mental health services by creating bilingual support groups. You can donate to SAMHAJ via this link.
Overall, this process has been immensely gratifying and I simply cannot wait to see what the future has in store for me with Bharatanatyam.
In celebration of Kirthana Ramisetthi’s second novel “Advika and the Hollywood Wives,” BGM literary editor Nimarta Narang is publishing this short story by the acclaimed author. This piece chronicles the evolution of a writer’s life through their ever-changing author’s bio. In the details, from the change in last name to the new address, we observe how Gigi grows into Genevieve and the life events that make her into the writer she becomes.
“My Picnic,” published in the Oakwood Elementary Storytime Scrapbook
Gigi Maguire loves strawberries, “Smurfs,” and being a first grader. Her favorite word is ‘hooray.’ This is her first short story.
“Sunshine Day,”published in Oakwood Elementary KidTale
Gigi Maguire is a fifth grader in Ms. Troll’s class. She loves writing stories more than anything in the whole world, except for peanut butter.
“What Rhymes with Witch?,” published in BeezKneez.com
Gigi Maguire is a high school junior living in the Bay Area. Her favorite writers are Sylvia Plath and J.K. Rowling. If she can’t attend Hogwarts, she’ll settle for Sarah Lawrence or NYU.
“On Her 21st Birthday,” published in LitEnds
Gigi Laurene Maguire is a writer and recent graduate from Sarah Lawrence College. Her favorite writers are Sylvia Plath, Alice Munro, and Mahatma Gandhi. She is making her big move to New York City in the fall.
“Valentine’s Day in a Can,” published in Writerly
Gigi Laurene Maguire is a freelance writer who loves the written word, Ireland in springtime, and “La Vie En Rose.” She lives in Hoboken, New Jersey.
“Unspoken Ballads of Literal Heartbreak,” published in Weau Dunque Review
Gigi Laurene Maguire is an assistant editor at ScienceLife.com. Her work has appeared in Writerly and is forthcoming in Pancake House and Schooner’s Weekly. She lives in Hoboken, New Jersey.
“The Mistress of Self-Loathing,” published in Story Day
Gigi L. Maguire is the editor-in-chief of Small Business Weekly. Her work has appeared Writerly, Story Day, Pancake House, and Schooner’s Weekly. She’s currently working on a novel about witches. She lives in Hoboken, New Jersey, with her tabby cat Sabrina.
“The Distance in Your Eyes,” published in The Canton Review
Gigi L. Maguire is a freelance writer and digital marketing specialist. Her work has appeared in Writerly, Story Day, and is forthcoming in Idaho Centennial. She’s working on a novel and a short story collection. She lives in Hoboken, New Jersey.
“Auspicious,” published in BookWorks
Genevieve L. Maguire’s work appears or will appear in The Canton Review, Mark’s End, Bishop Quarterly, and Idaho Centennial. A second runner-up for the Imelda Granteaux Award for Fiction, she is writing a novel and a memoir. Genevieve lives in Brooklyn.
“Meditate, Mediate,” published in Ripcord
Genevieve L. Maguire’s fiction appears or will appear in BookWorks, The Canton Review, Berkeley Standard, and elsewhere. A graduate of Sarah Lawrence College, she is an MFA candidate at New York University. She lives in Brooklyn with her boyfriend and their two cats.
“Chaat & Chew,” published in The Carnegie Review
Genevieve L. Maguire’s fiction appears in Ploughshares, Ripcord, The Cambridge Review, and elsewhere. She received her master’s in creative writing from New York University. Her short story “Meditate, Mediate” has been optioned by Academy Award nominee Janet De La Mer’s production company, Femme! Productions. She lives in Brooklyn with her fiancé, their three cats, and a non-singing canary.
“Urdhva Hastasana Under a Banyan Tree” published in The Paris Review
Genevieve Maguire-Mehta’s fiction has been hailed as “breathtakingly lyrical” by Margaret Atwood. She is the recipient of the Whiting Prize for Short Fiction and an Ivy Fellow. Her fiction has appeared in The Carnegie Review, Ploughshares, and elsewhere. She lives with her husband Manoj in Park Slope, Brooklyn.
“Reaching New (Jackson) Heights,” performed by Lana Del Rey on NPR’s “Shorts” series
Genevieve Maguire-Mehta’s fiction has been hailed as “effervescent” by Alice Munro and “breathtakingly lyrical” by Margaret Atwood. She is the recipient of the Whiting Prize for Short Fiction and an Ivy Fellow. Her work appears or has appeared in The Paris Review,Elle, The Carnegie Review, and elsewhere. She lives with her husband in Park Slope, Brooklyn with their feisty menagerie of animals.
“The Bhagavad Gina,” published in The New Yorker
Genevieve Maguire-Mehta is the recipient of the Whiting Prize of Short Fiction and is a McClennen Arts Colony scholar. Her work appears or has appeared in The Paris Review,Elle, and elsewhere. She is currently working on a novel. She lives with her husband and daughter in Park Slope, Brooklyn.
“When Two Becomes None,” published in American Quarterly
Genevieve Maguire’s writing has received dozens of accolades, most recently the Luciana Vowel Prize for Female Fiction. Praised by Alice Munro as “effervescent,” her work has appeared in more than twenty publications, including The New Yorker, and The Paris Review. She lives with her daughter Priyanka in Park Slope, Brooklyn.
“The Day We Learned Desire is a Winding Path,” published by Capricorn Rising Press
Genevieve Maguire is an award-winning writer whose work has appeared in more than thirty publications, including The New Yorker and The Paris Review. She lives with her daughter in a 100-year-old farmhouse in Woodstock, New York. “The Day We Learned Desire is a Winding Path” is her first novel. Visit her website at genevievemagauthor.com.
“Hairy Arms and Coconut Oil,” published in MotherReader
Genevieve MaguireDunblatt is a novelist, homeopath, and part-time yoga instructor. She has seen her critically-acclaimed short stories published in The New Yorker, The Paris Review, and elsewhere. She lives with her husband Benji and daughter Priyanka in Jacksonville, Florida.
“Priya Pinker’s Mother Gets a Life,” published by Capricorn Rising Press
Genevieve M.Dunblatt is the author of two novels, including “The Day We Learned Desire is a Winding Path.” An aura reader, faith healer, and yoga instructor, she has seen her critically-acclaimed short stories published in The New Yorker, The Paris Review, and elsewhere. She lives with her husband in Jacksonville, Florida. Visit genevieveauthormag.com to learn more about her writing, and genevieveauthormag.com/hearthappy for her wellness services.
“Comma, Coma,” published in Read-A-Day Journal
Genevieve Maguire is the author of “The Day We Learned Desire is a Winding Path” and “Priya Pinker’s Mother Gets a Life.” She has seen her critically-acclaimed short stories published in The New Yorker, The Paris Review, and elsewhere. Alice Munro has called her writing “effervescent.” She lives in Jacksonville, Florida.
“Next Stop New York,” published in The Lunar Reader
Genevieve Maguire is the author of “The Day We Learned Desire is a Winding Path” and “Priya Pinker’s Mother Gets a Life.” She lives in New Jersey.
January 18, 2023January 18, 2023 9min readBy Arun S.
Aam
Neha Samdaria is the founder and CEO of Aam, a new type of fashion label. Aam’s mission is to change the way womxn with the hourglass and pear-shaped body types shop for clothing. The word Aam means ordinary in Hindi. The community consists predominantly of womxn of colour with naturally curvier hips. Aam has a low return rate of 3%. The team at Aam has built sizing charts and tested them over a 10-month period. The clothing was made with sustainable materials in ethical factories. If you are struggling to find clothes that fit appropriately check out Aam today. Continue reading to learn more about Neha Samadria’s company Aam!
What were your personal struggles with shopping for clothing that fit and how did these experiences inspire you to start a company?
I have what you would call a “pear shaped” body, meaning my hips and thighs are wider than my upper half. I’m 1-2 sizes bigger on the bottom than on the top and for years, I’ve struggled to find clothes – especially pants – that fit me correctly. Too tight on the hips? Size up. Too loose on the waist? Wear a belt. My entire life, I felt alone in my struggle. Eventually, the pant shopping experience became so unpleasant that I started avoiding them entirely – choosing to opt for dresses, skirts and stretchy leggings instead.
When I arrived at Stanford Business School in 2016, I learned that I was far from alone in my experience. 1 in 4 American women – predominantly women of color – shared my struggles. And when I dug deeper to understand why, I uncovered the bias-riddled foundation of size charts in the United States. When I learned that the fit issue was systemic and rooted in bad data, I felt inspired to do something.
You’ve had a range of experiences working in consulting, marketing, as well as completing an MBA program. How have these range of experiences helped you start a company?
On a practical level, acquiring a range of skills helps with the various hats you have to wear as a CEO. On a daily basis, I am a strategist, marketer, fulfiller, accountant and designer. But the biggest thing I feel I’ve gained is an approach to tackling new problems. One of the toughest things about being a solo Founder is that the buck stops with you. You have to have faith that even if a problem is brand new and well outside your area of expertise, you’ll be able to forge a path forward. My life before Aam gave me a lot of practice in that.
Have you faced adversity as a newcomer in this space?
The biggest adversity we’ve faced is in marketing and sales. As a bootstrapped e-commerce business with no outside investment, it’s been tough to compete with large retailers with big marketing budgets. How do you get noticed as a small brand? Through trial and error we’ve found success in niche influencers who are excited by the problem we’re solving and are keen to support, in-person markets and events, and organic, word of mouth referral. We’re also beginning to partner with marketplaces and small retailers, to expand our brand reach.
Who are some mentors and leaders you look up to and what characteristics do they possess that you sought to emulate while starting your own company?
My biggest mentors are bootstrapped entrepreneurs who built up their businesses brick by brick. My father is one such example, and I have a handful of folks in my circle who have done the same. I find their grit and scrappiness inspiring; most of them don’t have a professional degree and gained their business acumen on the field.
I also admire kind and supportive leaders; team culture is one of the most difficult things to nail, and you have to be intentional from the beginning. I had a wonderful boss at my first job out of college. He knew how to nurture the strengths of his direct reports and wasn’t afraid to task them with challenging, meaningful work. Crucially, he was always there as our safety net in case we had questions or needed help along the way. I’ve tried to build the same type of ethos within Aam.
Do you see Aam as a strong contender in the fashion industry helping a wide variety of individuals?
I do! We’re one of the only brands catering to pear and hourglass shapes, perhaps because the fit issue is so fundamental and expensive to fix (see Q7). But beyond this, we’re one of the only brands that focuses on fit – period. The entire industry – from runways to fast fashion brands – is focused largely on design, when poor fit is actually the #1 driver of returns. Aam’s return rate is just 3%, vs. an e-commerce industry standard of ~30%. We can make the industry more customer-centric and less wasteful by investing in the early steps of proper sizing and fit testing.
In terms of helping a “wide variety” of individuals, Aam is a niche brand that is committed to helping the 1 in 4 women with curvy hips and thighs. I don’t plan to expand to other shapes at this time because I believe that in order to add value, you can’t be all things to all people. Our community has been underserved for almost 100 years and we’re here for them.
What made you decide to name the company Aam?
“Aam” means “ordinary” in Hindi, my native tongue. The company’s approach to design – starting with the consumer, and designing entirely for her – runs counter to the industry. My goal with this business is to make this consumer-centric approach to design more “ordinary,” giving power back to the women who wear our clothes, and elevating their voices on a global stage.
What is the process of rethinking fit standards?
Modern size charts are based largely off of a 1939 study that surveyed 15,000 women across the U.S. This study was flawed for several reasons including: 1) it relied on bust measurements, assuming women are proportional throughout and 2) it excluded women who were not Caucasian from the final results, thereby underrepresenting body shapes that are more commonly found among women of color.
At Aam, we’ve rebuilt a fresh dataset of 314 women across the U.S. who have pear and hourglass shapes, and are using this dataset to inform all of our collections. By fixing bad data, we’re addressing the root cause of poor fit and rethinking fit standards.
Where do you feel the fashion industry can improve?
There are big opportunities for improvement in supply chain, fit and inclusion.
On the supply chain side, there’s still a long way to go when it comes to ethics and sustainability. There are great auditing standards out there (SEDEX, OEKO-TEX, GOTS, for example), but only a small percentage of factories are certified. In 2021, as I was building out my supply chain in India, I visited factories that spanned the full gamut, from regularly-audited, responsible manufacturers to those who enforced 14+ hour daily shifts and refused even chairs for their workers to sit on. Brands are engaging in conversations about diversity and inclusion but it’s often on the consumer side; few are willing to be as transparent when it comes to their supply chains, where women of color are disproportionately exploited. As consumers, one easy thing we can all do is check the Ethics & Sustainability page of the brands we love. Do they talk about certified factories, third party audits and following sustainability standards? If not, we have the power to ask – why?
I’ve shared a bit above about the issues surrounding fit – it is the single biggest driver of returns, an issue that has been plaguing retailers for decades. It’s costly, harms the environment and (in the long term) hurts your brand. I believe that investing in better upstream processes – improved size charts and more rigorous fit testing – will lead to huge improvements down the line.
And finally, inclusion. One of my pet peeves is seeing brands design styles that are clearly intended for straight shapes and small sizes and then scale them up to mid and plus sizes claiming that they now design “for all bodies.” Putting ill-fitted pieces on models of different shapes and sizes doesn’t mean you understand or care about that customer. We should be asking ourselves – what does this customer really want? How is this garment going to make her feel? How can we design FOR her, first and foremost? This is being inclusive in a real way.
As a CEO of a company what is your daily routine?
My day starts the night prior, when I write down my priorities for the upcoming day. I use this great planner by Kindred Braverly that helps break down my activities into bite size segments. I’m not a morning person and part of my team is based in India (with a flipped schedule), so I usually start my date late around 9am.
First, I workout, so I can feel like I’ve accomplished something early in the day. Then, I grab breakfast, coffee and start work around 10:30. I start with the highest priority items on my list, which can range anywhere from sales and marketing to strategic planning and design. I work in 1hr increments with 10-15 mins of break in between. During these breaks, I’ll step outside, hydrate or crank up some music and just free dance. I try to get away from a screen, so I can return to my work with fresh eyes.
I then have a hard stop from 7-9pm to spend time with my husband, and then I’ll usually squeeze in an additional hour or two of work with my India team, before heading to bed.
Early in my Founder journey, I started tracking productivity patterns during my week. For example, I’m usually less productive on Mondays than I am later in the week. So I try to schedule more interesting, strategic work early in the week in order to stay motivated. I also work a half day on Sundays, to take some of the pressure off of the following week.
As there are many companies interested in fast fashion, how does your company differ in terms of sustainable materials and ethical factories?
Responsible production is one of our brand pillars, so we think about it in each step of the process. All of our suppliers must be third-party certified for ethical working conditions from one of the leading, global certification programs (more info here).
Additionally, we use sustainable fabrics in all of our collections. For example, we work with organic cotton (vs. regular cotton), which saves water and is made without toxic pesticides. We work with new fabrics, like lyocell, that can emulate the handfeel and durability of less sustainable fibers without the environmental footprint. In our most recent collection, we introduced premium deadstock wool, which is fabric that was produced in excess by brands and would have otherwise gone to waste. We also ensure that all of our dyes are free of Azo compounds (several of which are carcinogenic) via rigorous testing.
On the production side, we rely on a combination of third-party audits as well as personal, first-party checks. I’ve spent days in each of our factories, observing the working conditions and interacting with the team.
On the packaging side, we spent a great deal of time thinking about how to recycle and reuse. Each Aam pant comes inside a reusable cotton cover, inspired by the beautiful saree covers you see in southern India. This cotton cover is placed inside a fully recyclable box, with a simple packing slip and card. There’s no excess paper, bubble wrap, or cardboard.
I’m proud of where we are in terms of ethics and sustainability – and I think we can still do better!
We would love to hear some testimonials from previous customers.
“I have paid hundreds of dollars for ‘custom fit pants’ from various brands, and none of them fit quite as well as this pant did straight out of the box.” – The Flex Waist Pant, Size S
“This pant is amazing!! It is so lightweight and breathable… the material is so soft and silky, it feels like you’re wearing PJs but they look like elegant chic work/business pants.” – The Wide Leg Pant, Size M
“Never have I ever been able to easily pull a pair of pants over my thighs. I have ALWAYS had to jump to pull my pants up comfortably. These pants are amazing.” – The Crop Pant, Size L
“I can tell these are Aam pants instantly from how they taper at the waist. No other pants do that.” – The Limited Edition Wool Wide Leg Pant, Size S
Where do you see the company expanding in terms of different types of clothing offered?
I see bottoms as the biggest area of need, so we’ll first expand to other types of bottoms or clothes with bottoms: skirts, dresses, jumpsuits, potentially underwear and swim. Then, we’ll start expanding into other categories.
What is the toughest part of running your own company?
Staying motivated and showing up every day – even the bad days. As a Founder, there’s no one to answer to, no fixed schedule, and progress can sometimes feel very slow. There are weeks where I feel frustrated because I keep missing targets. Other weeks, we get a string of wins. It’s important to detach myself from both types of outcomes (wins and losses) and take neither very personally. This helps me commit instead to the process and just focus on the next small step forward.
But, easier said than done!
Lastly, what do you hope individuals take away from this interview with Brown Girl Magazine?
I’ve read Brown Girl Magazine for years and am so honored to be featured. I hope folks reading this feel inspired to tackle whatever problem – small or large – that they understand innately. Personal experience is a powerful motivator and difficult for others to replicate.
