thank you, Kismet!

Thank you to Sarah and Deana (Kismet) for a wonderful Sunday workshop( ATS ) I think my beginner students have grasped a lot of he fundamentals- they just looked great dancing together in confidence, even having a go at the zills.

Thanks too, to those Nottingham girls, (Denise, Jenny and the rest) some whom i haven't seen for probably more than four or five years. Thanks for coming and making it so enjoyable and fun and stimulating. It was also lovely to see new faces and dancers learning this art.
it's always good to go over the basics, as we pick up bad habits that are very difficult to shake off. The teaching was thorough, answering all the questions we could throw at them ( they didn't seem to mind!), they both never missed a trick, correcting weaknesses and faults, zaghareeting our best bits, giving sensible and practical advice, useful learner imagery, and they were actually gentle but firm, but PERSISTENT. They were both full of humour and seriousness. They both work very well, together- complementing and supporting each other.
Before, we knew it, the workshop had finished. A wealth of information and practice given, in a short 3 hours ,

Energising, productive, intense, motivating and friendly. Thanks too for your thoughts and ideas on the Dance and the philosophy which people often forget. This is not just about the technique and the performance, but it stills speaks about empowerment, health, ftness, friendships and community. I think sometimes, this has been lost on us, so we need reminding......

.....Deana and Sarah- Keep the Faith
xx

Homage to Vashti ( Cathy Selford) a British Middle Eastern dancer of Note

"There's a wonderful dancer in England named Vashti (Cathy Selford) who could probably give you chapter and verse on who's learned from whom ....."

(Morocco, speaking to Kajira Djoumahna, Jareeda magazine , September 1998, www.casbahdance.org/KAJIRA.htm )

*****

As with Afra Al-Kahira, every bellydancer in the UK should know about International Middle Eastern dancer Vashti (Cathy Selford).
Uk ( London- based) she has been dancing for at least 40 years, having performed and taught in about 35 countries. She started at a time, when there were no videos, dvds, workshops, no weekly classes, perhaps a smattering of books- but it was nothing to what it is now.
But Vashti trained and studied hard, learning from the source: either by going to the countries themselves and seeking out , master teachers and dancers or learning, as she did initially by watching dancers and performers.

She was also part of the dance scene in London, in established and pioneering Arab clubs such as the Omar Khayyam , where the most experienced and best Middle Eastern dancers performed, during the 1970's. London was a very important meeting place and base many Middle Easterners.

Vashti originally was training to be a pianist, and then one day, on seeing her first belly dancer perform, that all changed. Her life changed.


***********
With such a wealth of experience, Vashti has so many vivid, amusing and inspiring stories, with a huge appreciation of excellent dancers, a respect for the past masters/mistresses of this art. Her experience leads her to be one of the most versatile dancers and teachers in the UK: she has specialisms or expert knowledge on Egyptian, Turkish, Turkish Rom, Khaleegy, Moroccan Schikhatt, Persian/Iranian, Rai, zill work, Turkish spoon........... for starters: what she doesn't know , isn't probably worth knowing..... it's incredible- in painstaking detail, context, nuance.

She is a very generous, fun, and excellent teacher , checking for health and safety and well- being, as well as drawing out the historical and cultural/spiritual backgrounds. She puts you at ease, and yet she is very serious about what she teaches. She's sharp and doesn't miss anything.

To boot, she is a linguist, well- a read, an academic, thoughtful, sensitive, warm-hearted and humorous, refined, sophisticated and elegant.
She's also a funny mimic and natural actress, who with her many accomplishments and achievements, she is very down- to earth and humble, I think.
She's contributed to dance magazines and reviews and so on, applying much of her knowledge, common sense and generosity.

Vashti, whose name, is that of a Persian/Iranian queen ( mentioned, I believe in the Biblical book of Daniel) has taught at many establiished Uk Bellydance festivals such as Celebrating Dance, Fantasia, Majma, plus numerous workshops, classes and private classes around the Uk. She's currently holding dance classes at the British Museum, for staff there. This is something she derives much pleasure and satisfaction from. In addition, she gives excellent lectures on dance styles, Middle Eastern rhythms and music, costuming, customs, etc: a woman after my own heart!


********************
Her dance performances are electric, energising, sensuous, utterly feminine, smooth , lyrical, with a strong stage/theatrical presence, which as with Afra. suggests an acting background, too. With her big , expressive liquid brown eyes and flawless complexion, she is very beautiful, physically and commands attention: Queen Vashti, indeed. In fact she could just casually walk on stage, and still command applause!
She performs regularly at events such as Planet Egypt (in London) organised by another well- established Middle Eastern dancer Anne White, which showcases some of the best known and professional bellydancers.
Vashti's craft and standards are every high, which accounts for why she still teaches and performs and shares her knowledge.

***********

I spent an invaluable and priceless afternoon with her, more recently, trying to get to grips with the Baladi style. I think I learned such a lot in say a space of half an hour, with her showing me an overall view of the style ( different dancers) and the essence of the style, along with working with the
music, the spirit of the moves, posture and arm carriage, facial expression and so on.

We all think she should write her memoirs, as she has such much to tell and teach to the new generations of dancers, and none of it should be forgotten.


**************
Contact her for detail on classes, workshops and performances via Afra ( www.afraalkahira.com). You won't be disappointed......



Photo of Vashti ( Cathy Selford) taken by Derek Lee.

More Updates on the Zambra Mora - a new link

I have had a new contact concerning the Zambra Mora style, today, for all you devotees of this beautiful and elusive style. It was from myspace! It's from Ana Ruiz, whose website link www.geocities.com/alahabibi provides probably the most to up to date information so far. I am updating my own research here, as I write this blog.

Some aspects of it will be similar to Ana's and other areas won't, as some of this information is very new to me. I'd like to share it ;). Ana also has another website : www.geocities.com/anaisha2002/ , with more details about herself and dance interests.

Needless to say, I was very excited about it.! Ruiz ( who has obvious Spanish links) has travelled to Spain, where she was able to access library research, dance in Sacremento (Andalucia) at Gitano festivals. Ruiz dances both flamenco and Middle Eastern dance and has also been able to communicate with Morocco, the dancer, and Amaya of New Mexico ,which I thought was wonderful.
She mentions Puela Lunaris' own contribution to the Zambra dance development.

Ruiz perhaps was able to penetrate the mystery and elusiveness of this so-called dance, further than anyone else has been able to do so far.

In a nutshell,the Zambra as a dance form,doesn't actually exist, she concludes (and other researchers/dancers/writers certainly concur on this), but is a description of the music style/palos: Zambra, a 4/4 beat, with a more Oriental sound- with a slow tempo. In addition, the zambra was a description of a theatrical music 'song styling popular during the mid- 20th century ( Ruiz , 2008), with songs composed by Quintero, Leon and Quiroga. Their music is used in Puela Lunaris'( Pilar Sanchez) video : Zambra Flamenca.

Sabicas (1912-1990) composed many "Zambra pieces, called "Danza Mora"/Danza Arabe".

There is agreement that zambra refers to a party or festival,originally and formed/forms part of the Gitano three-part wedding rituals ( Ruiz and Navalon).

Because the Gitano communities , who stayed behind after the expulsion/conversion of the Moors , ( which ever happened first) continued to develop and evolve Moorish music, language references/culture , etc, any song/dance /art etc, which remotely resembled Muslim or Jewish styles, was forbidden by the Catholic Church, 16th-17th century. ( Ruiz)

Hence the label "Forbidden Dance" given to the Zambra festival ( and the dance/music etc by this association) - see the Zambra video by Puela Lunaris, for an introductory commentary on the Moorish presence in Spain, and the result of invasion from the Spanish North/Queen Isabella and King Ferdinand, and including the expulsions of/ conversions of Moors/Moriscos ( also known as La Reconquista) .

Other points of interest: although it has been mentioned by commentators that Carmen Amaya popularised the Zambra, Ruiz ,(2002) points out that Carmen only danced in a Zambra ( festival) with other Gitanas, as opposed to performing this dance style.

Ruiz , who is Madrid born , agrees that La Chunga danced barefoot with scarf tied around her waist, but she didn't use finger cymbals. Ruiz's own parents actually witnessed La Chunga dancing, so here is something from a primary source, which is very important!

There are some splendid Youtube video clips of Carmen Amaya ( type in Carmen Amaya) and a lovely Flamenco Arabe fusion number by Ana herself, which I think most of you will love: ( type in Arrinconamela- flamenco arabe ) . Ana welcomes the variety of creative Flamenco/zambra fusions out there, and warns us not to try to pass this dance off as an ancient dance since no one has real proof of it truly existing, or where it all started from- which is very fair comment indeed.

Catch Ana's weblink and see what you think.

I apologise (!) if there has been any inconsistencies or contradictions in the research presented about the Zambra Mora- i've used many different sources, in an area where information has been absolutely minimal. Hopefully, the picture is a lot clearer and people will be able to share with confidence , more of what they know about this.

I'd like to thank Ana for being so very generous.

She has just written a book "Vibrant Andalusia, " available form Amazom.com, which explores Spain's Moorish past, with something on music, art, dance, culture as well as her research on the Zambra. She describes dance movements that she saw, while in Spain researching.


Thanks once again, Ana! ;)


References:


Navalon Susana www.esflamenco.com ( Zambra)

Ruiz Ana 2008 www.geocities.com/alahabibi ( The Truth about the Zambra Mora )

UK bellydancers to watch: Afra Alkahira

This is the second of an occasional series of Uk bellydancers of note and ones to watch out for.

I wanted to write something about prominent Uk dancers, because British Bellydancers have somehow acquired a reputation of having poor technique, or are "just hobbyists" . Even if some of us are "hobbyists" or have poor technique, there are some excellent teachers, dancers and performers out there, who have out there a long while, and who should be mentioned with pride.

Afra Alkahira, is one of my many respected teachers and role dancers. She has been a dancer all her life and a bellydancer for around 30 years. She is a pioneer , to my mind, warm, generous, cultured and fiercely intelligent with great integrity, innovation and creativity. She has ballet, ballroom and jazz experience which reflects profoundly on her sense of discipline, dance education, teaching methodology, health and safety, performance and stage skills . Her website is www.afraalkahira.com.


She organises Celebrating Dance every Autumn, in Torquay, ensembling together a range of experienced Middle Eastern/bellydance teachers/performers, here and abroad, for one weekend, where one can participate in the various workshops and dance styles.
Afra also offers an in depth and comprehensive Middle Eastern dance teacher training programme, which details can be looked at, on her website, or by contacting her directly.

Her website has some well-written, thought-provoking articles, from body fascism, to male bellydancers ( yes, they exist and they are here to stay!), different Oriental dance styles, Standards in dance, for starters. She has an interest in dance anthropology and is always interested in looking at the background to and evolution of Middle Eastern dance, dance and art in general.

And her dancing is graceful, ethereal/betwitching, fiery and dramatic. I don't know how old Afra is ( and I would never ask a lady her age!) but she has such a youthful presence, in turn mischievous and audacious, daring and always strong. Her oce speciality is her word and sagat number. My heart is always in my mouth, when I watch it, every time. Is the sword going to slide off, as she zills nonchalantly away, or glides into effortless floor work.? of course not!!!! But she keeps you on your toes, everytime.......

Her specialities are Egyptian (Danse Orientale/Modern) wings of Isis ( she was the first to bring these over to the Uk, and perform with them,) she also performs the Zambra Mora, and uses a wide range of props with great expertise. With her extensive dance background and acting training, she does a lot of experimental / fusion. This experience means she can successfully and dramatically fuse ideas together with skill and creativity, with a fluidity of some one who knows styles inside and out. This is important, s successful fusion is the in depth knowledge of two or more styles. She teaches workshops, as opposed to weekly classes, here and abroad,( she's done a fair amount of work in the USA, namely New York) and often hosts teachers from other countries, exposing British dancers to newer techniques, fresh ideas...

She's always encouraging and up to date , enthusiastic and a tower of strength for a lot of new dancers around. if you haven't heard of her, you should do by now. Check out her website too!



painting by Jean Leon Gerome ( France, 19th Century)

Tribalondon (Shoreditch, London, 8-10 February 2008)

This was a compact and well-organised set of workshops, open stage performances and a truly beautiful evening professional show on the Saturday night. I think a wonderful time of dance, training, study, hard work and shopping(!) was had by all.

I didn't see many of the open stage performances, which was a great shame. I managed to watch Neo-hips, and I was totally entranced. It was a circus-themed choreography, which was so unusual and different. I loved it.

The comments on the workshops were that they were excellent, of a very high standard.



I did Wendy Marlatt's Flamenco Fusion and Dawn O'Brien Floorwork and Bellyrolls.

Wendy's workshop was well-paced, well - thought out and explained, providing us with plenty of drilling and a chance to improvise and cue with the newly learned combos. I adored the music, it seemed to go with the slow and fast combos. There was a useful review at the end of the workshop, and we covered so much.

Wendy's got excellent flamenco technique- i think she ought to take up flamenco again, at some point. The rewards are many ; D.

Dawn worked on strength training to prepare us, for the floorwork, and also covered different types of bellyrolls. She worked us hard, and again we covered a lot., she reminded us about health and safety: warming up adequately, wearing knees supports when practising and working on strengthening muscles in thighs, stomach ec before working on backbends).
It was well-paced, organised, and everyone managed to a fair bit of the floorwork techniques: Berber or floor walking or attempting to backbend once on the floor. We worked with partners, to help with safety and knowing one's limits. And everyone could do a lovely set of bellyrolls- top to bottom roll, bottom to top, horizontal and the cheat's way ( haha!).


The Saturday night performance was amazing- so much innovation, strength, creativity and beauty- the first part was reserved for the British/Irish-based instructors, ranging from more experimental Tribal Fusion, ATS, ATS with Fusion. I hope that there are some photos out there to capture this.

( Kismet, Dawn O'Brien, Joyleaf, Wendy Marlatt/Rashani etc- I'm sorry if I've missed any one out). They all pulled out the stops here.
The second half had Sam Hasthorpe, Sharon Kihara and Kami Liddell, being their usual excellent selves- very high standards as usual- a rotation of trios, duets and solos . I loved the set up of the show- it seemed to keep to moving and no one was disappointed. Understated and powerful I'd say.

It was a good weekend. I'm not sure if more are planned, but it was a great sample of some excellent teaching and performances.

Happy Christmas, Happy New Year. Eid Mubarak, Chanukah....etc... ;D

Happy Christmas to all my tribe friends. Thanks too for all your support and care.
And those who have been celebrating Eid and Chanukah, Special Wishes to you, too!!!

Have a fabulous new year 2008, too ;) XXXX

Orientalism- a summary of A European Art Movement

Orientalism


"Like meets Unlike" ( Christine Peltre , p.11)

1.
This was an artistic movement that had its roots in Europe, from the 18th century onwards, reaching a peak in the 19th century, after much sustained contact with the Near, Middle East and Southern Spain.

It has to be said, that there were two competing strands to this movement: that of the obvious colonialist /racist /fantasist/ and Other attitudes towards the East, and the second, that of creativity, exploration , faithful documentation and openness to cultures different from one's own.

( Two French artists such as Delacroix and Etienne Dinet were profoundly influenced by their travels, on a deeper level. Dinet, for example, converted to Islam, emigrated to Algeria and married an Algerian woman. Dinet's paintings are amazing examples of sensitive and warm renderings of North African life. Delacroix, an essentially Romantic ** painter, brought raw passion and fire to his Oriental paintings)


The ability to travel , obviously helped this movement.

"While clearly marked these (early) influences (... e.g Rembrandt's paintings inspired by both the Old Testament and the Jewish community, from Amsterdam...) Orientalism truly blossomed in the 19th century, when steam navigation and the railroad made travel easier and facilitated hose contacts with t he other landscapes and people-that help define one's own existence...."
(Peltre, 2004, p.12)

There were some incredibly, realistic and life-like paintings done of the Orient (city scenes, landscapes etc), which brought comments of either incredulity, or admiration or a desire to go there.

"A typical response is that of Theophile Gautier, on seeing one of Prosper Marihat's early view of Cairo in 1834. 'His landscape seems to me to err on the side of heaviness and crudeness of tone. It might be accurate, but does not appear to be. To judge competently, one must go to Egypt. I shall go"(Peltre, 2004, p 12 ) And he did. I believed he travelled there, with fellow country man and writer Flaubert, three years before his death, at 61.


The British Lord Frederic Leighton, a talented and multi -skilled artist painted some very impressive and detailed interiors, on his travels to the Middle East. Orientalist painters from Germany, Spain, Italy, for example, often produced detailed portraits and scenes, reminiscent of the Neo-Classic ** period (18th century to early 19h cenury) with its emphasis on line, bold stature and dramatic posture and poses.


** The Neo- Classic Period came before the Romantic Art period. The Romantic Period ( more early 19th century) gave birth to the Gothic Novel (Frankenstein and others) artists and writers who extolled the power of nature and emotion.

2.

As mentioned before, travel opened up the world to the seeds for the art movement. With it, through military, diplomatic and scholarly channels (Peltre). The whole of (western) Europe became involved with this Romance, with a diversity of art "schools", producing their own take on "Orientalism".


Orientalism often captures however, as stated earlier, a specific perception, which has to this day, ravaged both European and North American consciousness, affecting too, the attitudes of people from Middle Eastern cultures and non-European cultures, which have been previously colonised by European powers.

These are seen in the shape of stereotypes, exoticism, and choosing not to see detail, but only fantasy, that has no basis in truth, but IS seen as the truth.

3.

Edward Said's seminal book "Orientalism" (1978) asks us, on a deper level, to look beyong colonialism, fantasy making promoted as truth and Othernesss. He asks us to look deeper to create a multi-layered human/humane understanding and contacts between different cultures and group, without making them Others.

It is important, however to give credit to works and genuine anthropological contributions and knowledge, that many Orientalists made to understanding a time and point in history , but also to be aware too of the eroticism of the "over-voluptuous Scheherazade," (Peltre) many European painters and artists, even audiences "were fond of" ( Peltre, p14)


In the context of the world of dancers or even consumers of Middle Eastern dance and art, in the West and in other cultures, how far removed are we from stereotyping
and making fantasy as the truth? Are we blinded by the other , untruthful side to Orientalism, rather than be open to genuine understanding and knowledge and experience ... But do we know the difference?


References

Peltre Christine (2004) Orientalism

Published by Terrail



Said Edward (1978) Orientalism



Thornton Lynne (1994) Women as Portrayed in Orientalist Painting

Published by PocheCouleur




A list of some European Orientalist painters for further research:
`
Jose Tapiro y Bara
Fabbio Fabbi
Gaston Saintpierre
Alfred Chataud
Jean-Leon Gerome ( Sword Dance in a Cafe)- He is also seen as a Neo- Classic painter.
Luis Ricardo Falero
Vincent Stiepevitch
Georges Clairin
Jean-Auguste Ingres ( seen as a Neo-Classic painter)
Andre Sureda
Edouard Richter
Frederick Arthur Bridgman
Eugene Delacroix
Etienne Dinet

Tarab, November 10th 2007, Birmingham, W.Midlands, an evening of dance and music by Rashani International, Pedralta Dance and Phil Thornton: A Review

This was a lovely evening, where every dance member ( Rashani International and Pedralta Dance ) shone. Each had her own dance personality, who all work wonderfully as a team.

It was a combination of traditional ATS, and Tribal Fusion, plus Fusions with Flamenco, Saidi, Turkish and so on. Phil Thornton provided haunting , thought-provoking and sensitive music. The backdrop was excellent , complementing the dancers and ambience very well.

All dance members, new and established had plenty to say. Wendy' Marlatt's always a pleasure to watch- and it was very mesmerizing to watch her herself and her troupe's skilful execution with sword in the opening parts, very dramatic and strong. Loved the floorwork. Their tribal fusion number towards the end was lovely to watch, with their use of gliding footwork, precise isolations and dark undertoned moves.

Plenty of gems with dynamic variations of chorus line work : with vibrant interaction and seamless improvisation, with some innovative, well thought out and feisty flamenco combos and well-worked saiidi stick work , flowing veil work, ( Lez and Donna, who dance very well together and complement one another) as well as the afore-mentioned dramatic Tribal fusion choreography, (Wendy and Rashani members ).

There was a cheeky Spanish /flamenco-styled piece, and also a very competent ,crisp and articulate Tribal fusion solo , both by Wendy, an uplifting, grounded and charismatic West African piece by Deirdre, not mention some of the new comers such as Amanda, who projected brilliantly , danced very well, and seemed to having such a great time, well-supported and show-cased by Lez and Donna.

The other newer dancers danced like the pros, they were, projecting sheer enjoyment and skill , great timing and cuieng, strong with their upper bodies , swfit hips and the most beauitiful smiles

Katherine was very inspiring as a lead dancer, tall and commanding wearing the most warm , attractive and sunny colours to brighten up an Autumn's night.
Did I forget the adorable Bollywood number? That was a marvellous! trio! And the finale showed very confident and bold dancers, constantly swirling and interweaving to a very infectiously catchy melody. The stage space was well filled.

It was nice to watch the detail on the arabic shimmies, tummy flutters, choo-choo and arc arms (one of my favourite moves), spins, the eye contact between dancers and the different swapping of leads between them.

The costumes were just gorgeous, very well-designed, moving well and complemented all the dances.

All in all, well- organised, well-rehearsed ,improvised and choreographed, tight and organic.


The only down side, was the theatre was half -full. It had been well-advertised for some months before, so maybe it was the cold weather that deterred people.


They sure missed a treat............ ; D


M xx

www.strongdancer.com : Elizabeth Strong (California, USA) bellydancer

Elizabeth Strong (USA) is a dancer, I've admired for a very long while. I guess " strong dancer" is the most apt and true name for her.

She's had a life-long appreciation of Middle Eastern music and dance, starting her formal Middle Eastern dance studies at 18, in 1996.
'Her amazingly emotional and personal style has captivated audiences in the Bay Area "(San Francisco, California) and abroad" :
www.strongdancer.com (biography).

What's more, Elizabeth has travelled to countries to get to the sources of these dances, Norh Africa/Middle East , including Turkey. Elizabeth is especially famous for her Turkish Roma interpretations ( see Youtube for some beautiful examples). In Turkey, she studied with many Turkish Romany men and women, and dancers such as the Roman Reyhan Tuszuz and daughter Meltem. Elizabeth is considered an up and coming specialist in Turkish Rom dance; maybe she'll take up the mantle of Artemis Mourat and Dalia Carella one day, on Turkish/Turkish Rom dancing.

Elizabeth is also in demand as a Tribal Fusion artist and teacher. Catch her on the Evolution Dvd, for her amazing sword dance and floor work.

Her dance heroes/heroines have included Rachel Brice, Jon Compton ( of the Legendary Habi'ru troupe, and former student of Jamila Salimpour) Suzan Tebilek ( Turkish dance), Sahra Saeda, Suhaila Salimpour.

Her website is www.strongdancer.com. She definitely inspires me ;) A great and empowering title for a dancer's website.......

Uk Bellydancers, Performers and Teachers to watch: Dawn O'Brien

Dawn O'brien is my dance teacher. She has been dancing for something like 10 years or so, specialising in many styles, including cabaret, ATS, Tribal Fusion, Cyber Fusion ( a style that she's pioneered) sword, zill/ sagat as well as Middle Eastern drumming. She's also got DJ skills, up her sleeves, and a wonderfully melodic voice ( she used to sing in with a band and she has beenknown to break out in song, once in a while),. Dawn has also studied capoeira and keeps herself challenged to the limits of physical endurance: with yoga, poi and gymnastics and has a love of break dancing. She's a versatile natural....

Dawn's first teacher was Janet Keates ( now retired) at Park Hall community school, Walsall, West Midlands, England, Uk. Janet introduced ATS to the Uk and is truly a pioneer. Janet co-directed Khalgani, her troupe with Dawn, who's now taken over this responibility.

Dawn has had many other teachers and mentors from various workshops and also networks which she has made over the years. Mentors include Rachel Brice and Geneva Bybee.

Dawn has truly excelled in her art and has a powerful style which is fluid, smooth, vibrant, physically strong and confident. She has a strong visual impact, an independent and charismatic presence on stage, infused with a whacky sense of humour, cheekines and "what is she going to do next?" feel. You can guarantee her timing is impeccable. She isn't afraid to take chances in style, direction or costuming. Never a dull moment!


Her own Cyber Fusion style has brought her new realms of fans, as well as help raise, with other talented established teachers raise the standards of UK bellydance technique, creativity and dedication.

She is also warm, witty and enthusiastic to boot, with serious and clear views on spirituality and the world.



Dawn is very much in demand and is coming into her own as an established and recognised teacher and performer in the UK


Catch her on www.myspace.com/dawnobrien , www.myspace.com/khalgani , and on tribe.net too: stardawn



This girl is master/mistress of what she does and is a true professional...




This first appeared in www.myspace.com/khalgani blog, but I thought it would be lovely to share it with my tribe friends! :)