Rhythmic Arts

 

Visionary Elders and Pioneers design the Primordial Park

Rhythmic Arts of Remembering, Discovery, Recovery

 

 

We seek to make enduring zones and arts to protect and pass on the knowledge of magically skillful traditions and pioneers.  We seek to bring enlivening intelligence to traumatized places and peoples.  We do this by: 1. making a primordial park comprising strikingly memorable zones of experiential learning designed by rotating bands of visionary elders.  2. We preserve techniques of the sacred by passing them onto children in memorable ways. These action mnemonics and exploratory games are called “Rhythmic Arts of Discovery, Remembering, Recovery”.  Rhythmic rites, roads, rhymes, rounds of discovery, remembering and recovery.

 

 “Those who perceive the as-yet-unnamed are vagabonds.”  Stanislas Szukawlski

 

New culture and languages emerge as hybrid lifeforms at the edges of established ecosystems and cultures.   In our ailing society, the  evolutionary pioneers, the advance guard are often hidden, unrecognized and unnamed.   To name these types of maverick explorers of soul helps to incorporate them into society. To recognize these maverick explorations as viable vocations will serve to include much-needed training and wisdom into the fabric of society. To incorporate what they know is healing for society.  Below we name sixteen types of evolutionary pioneers who may inform the future of education, through offering essential design elements of our Zones as well as Rhythmic Arts of Remembering, Discovery, Recovery.  (Hint: The mavericks are us.)

 

Zones of experiential learning at The Primordial Park are deeply memorable places where people encounter themselves and others in different ways to learn primal, essential lessons. Like the ancient memory palaces, our zones are populated by striking images and teachings that pierce the threshold of memory. The zones of the primordial park are portals to ancient and magical ways of knowing. They are storehouses informed and designed by visionary pioneers and elders. They are sometimes attended to by living teachers. Other times great souls may appear as projected moving portraits and voices from the ethnohistorical media archive.

 

In a series of meetings at the Virginia Satir Conceptual Art Center we invite visionary pioneers and elders to dream and design elements of zones of the primordial park as well as rhythmic arts of learning.

 

Dedicated to the Kids who love Harry Potter (and little else...)

Visionary Curriculum and Living Wizards Faculty

What follows is a list of transcultural explorers of soul that we will call:

The Strandwalkers.  (Hint #2: They are us.)

 

Sixteen Types of Strandwalkers: (This is not designed as a comprehensive system of archetypes, it is simply a list of vocations/explorers/explorations not yet included in mainstream education.)

 

1.    Two Spirits (androgynous elders adept at teaching mediation between opposing forces, peoples.)

2.    Nomads, Hobo Kings and Queens (teachers of tracking and survival.)

3.    Spirit Doctors (mediums of disincarnate doctors, forest shamans, psychic surgeons, saints, capable of inviting the participation of these entities in the healing of traumatized places and peoples.)

4.    Self-liberating Prison Houdinis (elders such as Hurricane Carter, Leonard Crow Dog, Baha'ullah, who have freed selves from physical prisons by freeing themselves from psychic prisons including self-limiting beliefs and reality structures.)

5.    Medicine Grandmothers (elders teaching nested orientation, interconnectedness, timekeeping as it relates to cyclical obligations and reciprocal maintenance)

6.    Sacred Clowns (heyokeh, koshari, holy fools who through acts of reversal turn the collective ego and falsehoods upside down so they can be known.)

7.    Walk Ins and Revivers (those who have survived physical death can transform the illusion of death and help others prepare for between-lives transit as well as to make alliances with disincarnate kin.)

8.    Devic Gardeners (adepts at reviving lands and waters due to the sensitive awakening of faculties that allow them to listen to the intelligences of the non-human world in order to follow specific instruction from them.)

9.    Blind Seers, Deep Listeners  (disabled adepts who have extended their sense faculties into formerly uncharted terrain to benefit themselves and the human soulstream.)

10.              Exorcists (elders who conduct and lead at-a-distance clearings of haunted places and peoples, from Tibetan, Catholic, Kabbalistic, Taoist, Aborigine and Shamanic traditions.)

11.              Awakened Ones (Illumined survivors of mental illness and kundalini awakening  have much to teach about healing the mind. They lend nurturing and practical support to institutionalized psychonauts and their families.)

12.              Soul Travelers (oneironauts/lucid dreamers, soul retrievers, astral travellers who know the dreamlike nature of reality and can train human co-creators of the waking dream.)

13.              Alchemists (teach the integration of heavenly and earthly energies by leading proper lives and cultivating essence.)

14.               Emissaries of the Cetacean Nation ( in continuous contact with dolphin and whale elders taking instruction from them, teach about acoustic bioremediation of waters, lands and other bodies.)

15.               Ayahuasceros/Peyoteros (teach purification, cultivation, preparation of sacred medicines and the potential learnings one may receive by traveling through the awakening dimensions assisted by the plant teachers.)

16.               Sineaters and Shadowcatchers (teach transformative arts of redemption through confession, forgiveness and integration of shadow)

 

Recently we've been dreaming rhythmic arts of remembering, discovery and recovery, enacted by groups of children and visiting Strandwalkers.  Here comes different kinds of  rhythmic arts, for all kinds of learning. They share certain elements in common. These enactments may be either elegantly spare of acoutrement or ornate in ceremony, according to the inspiration and energy of the  group creating them.  In this work I will name some of these, offer suggestions, and visualize them as invitations for teachers and parents to build their own.

 

Children have produced similar rhythmic arts and passed them on in distant groves, streets and playgrounds since the beginning of time but we haven't used them in our Western schools for a while.  Today we hear hip-hop, we watch Brazilian Capoeira which is taught in rhythmic circles. The body wants to learn from variety of  experiential rhythm and content  reflecting the diversity of a rainforest, and not merely the drop-forge tempo of machines.

 

The object is to physicalize and musicalize the learning rite. The learning art becomes a primal and heavenly experience, invoking invisible helpers and the spirit world.  The object is to begin by clarifying and focusing intention while bringing spiritual reinforcement to our work.  Children use call and response to develop the sincerity and authenticity of voice and gesture, reinforced by the others who return strong responses to  authentic, coherent calls and gestures. Rhythmic arts take the load off teachers, the children themselves distill essential poetry from their lessons and construct rhythmic poems/songs as mnemonics in which pairs of children offer prepared pieces to the circle.   Children collectively build and enact the days rhythmic lesson circles.  They learn variety in melody and rhythm and the various forms of the works keep their nervous systems engaged by offering a complexity of interpenetrating cycles, each unique as a flower.  There is an emphasis in discovering the essential questions and principles in the lessons  and making rhythmic poetry of those to remember the lessons.

 

The first group of rhythmic arts came in a tumbling stream of names and visualized enactments from the practical to the esoteric, working on psycho-spiritual roots of man-made problems and survival tools such as: 1. rhythmic arts of heartfelt thinking; 2. rhythmic arts of learning discernment; 3. rhythmic arts of nomad's math; 4. rhythmic arts of sacred anatomy; 5. rhythmic arts of loosening tongues; 6. rhythmic arts of welcoming the newcomer; 6. rhythmic arts of mind unbinding (limiting beliefs)  7. rhythmic arts of associative logic; 8. rhythmic arts of mediation; 9. rhythmic arts for the child at three, seven, nine, twelve; 10. rhythmic arts for the melancholic, sanguine, choleric, phlegmatic child; 11. rhythmic arts of alphabet running; 12. rhythmic arts of social incorporation

 

Then seeking order and asking what was most important to learn at this time, categories of arts streamed through:

 

1.    rhythmic arts of mediation; 2. rhythmic arts of exploration;  3. rhythmic arts of orientation (nested orientation ominiconsiderate of all beings including the elements and elementals); 4. rhythmic arts of liberation (mind unbinding) ;  6. rhythmic arts of  incorporation (rhythmic arts of welcoming); 7. rhythmic arts of redemption; 8. rhythmic arts of exorcism; 9. rhythmic arts of survival; 10. rhythmic arts of acoustic bioremediation; 11. rhythmic arts of reversal; 12. rhythmic arts of pattern thinking/ associative logic; 13. rhythmic arts of extension; 14. rhythmic arts of sacred sleeping; 15. rhythmic arts for between-life preparation

 

Using the list of Strandwalkers (visionary adepts)  named above we offer examples of names of zones and arts of learning:

 

1.    Rhythmic Arts of Mediation

informed and led by local Two Spirits

aka Rhythmic Arts of Two Spirits

Working with sibling, race, gang, territory, resource rivalries

Essential question for zone/practice development: What rhythmic practices, games

are conducive to helping us see from the other's perspective?  How do we identify

and feel the collective dream of peoples at odds?

1^st teaching objective: To see from the other's perspective

2^nd teaching objective: to identify  and feel the collective dream of the factions

Zone name suggestion:  Two Spirit Mediation Zone

with film footage and music to come to know the enemy

a film about the rival team or race with music to increase compassion for the others

followed by discussion groups and meeting with the others

or: Dreambody[1] Mediation Zone for People at Odds

or: Russell Tribunal Park for Collective Healing and Revisioning

or: Revival Tent for Wisdom Councils

Rhythmic arts example#1:

A poem or offering, an invocation/image projection of androgynous guardian spirits, saints from various traditions.

Kids make offerings by asking and answering the question?

“What's the heavy matter we must purify in the heart?”

Boys Talk. Girls Listen.

Girls Talk. Boys Listen.

Change roles (costumes)

Recapitulate what others have said with most sincerity

Sincerity in voice and gesture are rewarded

Reinforcement in call and response is given

to the ones most sincere and coherent in voice and gesture.

After Boys Talk. Girls Listen etc. is complete

We ask elemental questions.

What is different? (earth)  What is changing? (water) What is reversed? (air) What is whole? (fire)

Dedicated to children and adolescents uncertain about their gender and gender preferences.

 

2.    Rhythmic Arts of Exploration/Adaptation        photo: Count Leo Tolstoy as hobo

aka Rhythmic Arts of Nomads, Hobo Kings and Queens

informed by Nomads, Hobo Kings and Queens

Working with moving to new schools and unfamiliar towns

including mass migration, dislocation caused by earthquakes and hurricanes.

informed and led by guest Nomads, Hobo Kings and Queens

(poem identifying edible plants/how to build a pump)

Essential question for building zones and rhythmic arts: How do we use rhythmic, circular practices to explore the spirit of place and identify and remember the resources that live there?

1^st teaching objective: sourcing Genus Locii (how to know spirit of new places/peoples)

2^nd teaching objective: survival arts memory practices

Zone name example: Zone of Nomads, Hobo Kings and Queens

Rhythmic arts example: 

1. Rhythmic rite of exploration and orientation are musical instructions of how to enter and ground in a new school, new town, new camp

2.Sourcing Genus Locii (Geography lessons)

(seeking and finding the spirit of a new place)

Every child pair is assigned a neighborhood with its multiple layers of ghosts and times. For example: Ancient Brooklyn, its prehistoric/historic wildlife, its early settlers, its first cemeteries, historical hardships, legendary figures, geological survey, historical events

Other child pairs map their Brooklyn neighborhood with information necessary for survival after a flood or earthquake (What do we need? How much do we need? Where do we find it? How do we share it?)

3. Rhythmic arts of Nomad's Math

Moving from the whole to the part we follow the original experience of number

Sharing house means nomadic rhythms of trading

What does a nomad need on the road?  What does he keep and what does he trade?

How much of each?  Sizes. Quantities. 1 pot; 2 shoes; a bag of apples; 3. water purifier; 4. spark starter; 5. matches; 6. oatmeal; 7. cornmeal.

Dedicated to the new kids in school and the children who fear homelessness or homeless people.

 

3.    Rhythmic Arts of Trauma Resolution

aka Rhythmic Arts of Spirit Doctors

informed and led by children and trance mediums with alliances to invisible helpers

Essential Questions for designing zones and rhythmic arts: What effective practices for healing trauma may be applied to ceremonial forms that invite support of many incarnate and disincarnate helpers?

1^st teaching objective: collective trauma  resolution techniques (eg:EMDR) to relieve traumatized places and peoples. Trauma resolution techniques may be embedded in sacred ceremonies that call on the help of disincarnate spirit doctors. 

Zone name examples: Soul retrieval and trauma resolution coves

Rhythmic arts example#1: name the trauma and use techniques to collectively heal the traumatized children within sacred context

 

4.    Rhythmic Arts of Mental Liberation    

aka Rhythmic Arts of Prison Houdinis

informed and led by Prison Houdinis

(photo: Moines Volants/ Flying Monks, Aperture 164)

informed and led by self-liberated ex-convicts like Hurricane Carter,

Baha'ullah, Leonard Crowdog

Essential question for designing place and rhythmic arts practice: What are the elements and principles and watchwords of wisdom that liberate the mind and soul from limiting beliefs about self and others?  How to use these to remember what's important together?

1^st teaching objective: ways of liberating psyche from limiting beliefs and psychic

bondage

Zone name examples:

Wisdom zones of Unsnarling, Unknotting, Unravelling

Delphic Oration Visitation Stations

Rhythmic Arts#1: involve watchwords of wisdom rhythmically enacted

to help one another be aware of limiting belief spells

We convene Leonard Crowdog and Hurricane Carter to inform zone and arts.

 

5.    Rhythmic Arts of Orientation (nested life and timekeeping)

or Rhythmic Arts of Medicine Grandmothers

Led and informed by Medicine Grandmothers 

1^st teaching objective: expert care of all sacred children

Essential question for designing elements of zones and rhythmic arts practices: What are the principles of timekeeping that help us remember our cyclical obligations to the Earth, to each other?  What are principles of caring well for all children of the mother and for looking out for each other's well-being?

Zone name examples: Wallaby Dreaming Baby Care and Early Childhood

Training Grounds

Hearths of Song and Soulful Kindling

Rhythmic Art #1: How to orient in an atmosphere of care for all creatures.

Musical arts teach checking one's immediate environment to see if there is enough light, air circulation, clean water, food, nourishing help in case of emergency

Arts teach learning to quietly check to see if the one before you has all that they need to be well.

Rhythmic Art or Ceremony #2: The Approach of the Ancestors Ceremony

Big ceremony including grandparents, held in school gymnasiums.

Uses lighting conducive to casting big spooky shadows.  Epic ancestral music.

Each child is called on loudspeaker by name and sees projected image of ancestor

with epic ancestral music. Grandparents hand the child a gift and whisper special knowledge about what the child has received in his character from the ancestors.

In a circular processional including concentric circles, children exchange their ancestral gifts with other children from other lines.

Rhythmic arts #3: Mnemonic tools for memorizing endangered ways of knowing,

principles for stewardship and caring for each other.

We convene grandmothers to inform the elements and design of Zones of Medicine Grandmothers and Rhythmic arts.

 

6.    Rhythmic Arts of Reversal

aka Rhythmic Arts of Sacred Clowns

Led and informed by: Heyokeh, Holy Fools, Sacred Clowns or scholars of...

Essential questions to design zones and rhythmic arts: What are the lies of the collective ego and how do they impoverish lives and keep us separate?  What are the games that teach clowning and play?

1^st teaching objective: The illusions and lies of the collective ego

2^nd teaching objective: Teaching sacred forms of play and clowning

Zone name example: The Temple of the Sacred Clown

is an ethnohistorical media archive including footage of well-loved sacred clowns

and indigenous descriptions of ceremonies including heyokeh and koshari

Rhythmic arts example#1: Procession makes mockery of adult behaviors,

exposes lies of the collective ego such as the need for the collective ego's recognition.

(Carol K. Anthony: The collective ego diverts the individual from recognizing that the Cosmos fulfills his true needs by suggesting false needs, such as the need for the collective ego's recognition.  It then satisfies this need by granting titles, medals, degrees, and membership in groups which promise to recognize him.  However, these turn out to be empty of real nourishment, since they only nourish the ego, while keeping his true self enslaved and starved.)

 

7.     Rhythmic Arts of Bardo Preparation

aka: Rhythmic Arts of Walk Ins, Tulkus and Revivers

Informed and led by elders who have returned very differently from the Land of the Dead

Essential questions that inform design elements of zones and rhythmic arts practice: How do we theatrically create a minefield of challenges and distractions that allow youth to navigate the dream of life?  How do we help each other and ourselves prepare for the next world?

1^st teaching objective: We don't die

2^nd teaching objective: Preparation for between-lives travel

Zone name example: Bardo Transit Preparation Groves

Rhythmic arts example#1:  Priest training for helping selves to aim the intention and concentrate the mind through the chaotic field of the bardo. (the chaotic field enacted by human angels in disguise as demons).

 

8.      Rhythmic Arts of Earth Restoration

aka: Rhythmic Arts of Devic Gardeners

Informed and led by master gardener friends who receive guidance from devic elementals (fairies). Led by teachers of Steiner's biodynamic gardening

Essential questions that inform design elements of zones and rhythmic arts practice: What principles of master gardeners, permaculturists and friends of the devas can be memorized by singing and dancing?  What are the planting songs that help us to  connect with the spirits of individual plants and the devas of field and  forest?

1^st teaching objective: Co-creation with Mother Earth

advanced teaching objective: Plant allelochemistry for mediation purposes

(how plants communicate making alliances and boundary keeping with countless other creatures all at once)

^2rd teaching objective: Techniques of Earth restoration, revival of brown fields and desecrated lands inviting (fairies) devic intelligence

3^rd teaching objective: Biodynamic gardening and relationship of realms and species

Zone name example#1: Beds of Deep Mysteries Listening

or Zone name example #2: Zone of the Devic Gardeners

Rhythmic art #1: Biodynamic planting song and ritual

(teaches listening to the fairies, the wishes of the plants themselves, the nested cascade of elementals and creature companions.)

 

9.    Rhythmic Arts of Sense Extension

Rhythmic Arts of Blind Seers, Deep Listeners

Led by: Psychically gifted disabled people, people who have survived loss of limb or loved one who have extended their beings into new terrain for the benefit of all beings

Essential questions that inform design elements of zones and rhythmic arts practice:

What have sense impaired individuals developed that may be shared with the human community?  How do we collectively help and incorporate those who have suffered a loss while learning from them?

1^st teaching objective: The locus of loss is the access/axis point to communion and awakening of new faculties assisted by invisible helpers.

2^nd teaching objective: The extension and strengthening of super sense faculties to support missing senses; the extension and strengthening of heart/being to support others who have lost limb or sense faculties.

Zone name example #1: Zone of the Blind Seer are team-assisted practice places for those recently disabled. These are designed to train newcomers to extend their abilities with the support of other faculties or supersense faculties. 

Rhythmic arts #1: Ceremonies of social re-incorporation, that welcome people who are newly disabled, dispossessed, orphaned, widowed, divorced... to enter a realm of communion with the spirit world and others who suffered loss.  

 

10.               Rhythmic Arts of Distance Mass Clearing

Rhythmic Arts of Exorcists

informed and led by exorcists from Taoist,  Kabbalist, Catholic, Aborigine and Shamanic lines

Essential questions that inform design elements of zones and rhythmic arts practice:

How do we work together to safely clear large areas and individuals of ghosts?  What are the principles of invocation and clearing that may be used? 

1^st teaching objective: at-a-distance mass clearing of haunted places and traumatized peoples

2^nd teaching: how to send suffering spirits home with help of high spirits and by changing the frequency of the field

Zone name example #1 is Zone of Distance Exorcism or

#2: Zone of Mass Clearings: Is the storehouse of techniques where visitors may gather together to enact clearing of places and peoples

Rhythmic arts #1: of Mass Clearings: Teach techniques of clearing places and peoples of ghosts.

Dedicated to children like Danny Kho who see and feel ghosts.

 

11.               Rhythmic Arts of Co-Creation

Rhythmic arts of Soul Travellers

Informed and led by local lucid dreamers, Tibetan dream yogis, oneironauts, soul retrievers

Essential questions that inform design elements of zones and rhythmic arts practice: How do we learn lucid dreaming and soul retrieval together and practice sacred sleep? What games and songs may help to remember the dreamlike nature of reality?

1^st teaching objective: the dreamlike nature of reality

2^nd teaching objective: co-creative relationship with the waking dream

Zone name example: Lucid Dreaming  Practice Dens

Rhythmic arts of Sacred Sleep#1:

Scott Cunningham suggests the structure of dream rituals:

a. compose the question; b. compose the prayer; c. purify the self; d. don the special garment; e. create the altar; f. purify the bedroom; g. make offerings; h. make the invocation; i. Get in bed; j. assume the ritual posture; k. determine I will have a lucid dream; l. go to sleep saying: i am dreaming, i am dreaming....

Dedicated to children who are yelled at for daydreaming.

 

12.              Rhythmic Arts of Transmutation

Rhythmic Arts of Alchemists

led and informed by: local alchemists

Essential questions that inform design elements of zones and rhythmic arts practice:  What can we learn about the formation of bodies, the work of heavenly and earthly energies and practices to support enlivening tissue?

1^st teaching objective: the integration of heavenly and earth energies by leading proper lives and cultivating essence.

2^nd teaching objective: about time spirits, qualities of time.

3^rd teaching objective: mediation of opposing forces

Zone name example #1: The Alchemical Circus

Rhythmic Art #1 for Incorporating Temperments: Rhythmic arts for the sanguine child (she must fall in love with her teacher to anchor her shapeshifting nature), the melancholic child (he must universalize his feeling that life is suffering), the phlegmatic child (he must be stimulated by inspirations and input from the others), the choleric child (must be led by a heroic teacher).

Rhythmic Art #2: Use a mandalic operating theater to situate a complex of opposing forces, opposing ideas, opinions on either side of a circle.  Let the opposing forces become one in the middle as they change incrementally to become more like the other.

 

13.              Rhythmic Arts of Social Incorporation

Rhythmic Arts of Awakened Ones

led and informed by survivors of mental illness and kundalini awakening

Essential questions that inform design elements of zones and rhythmic arts practice:

What songs can be sung to remember the fool's journey, to increase understanding of human processes of breakdown and breakthrough?

1^st teaching objective: the universal process of soul traversal, breakdown and breakthrough

Zone name examples: of the Awakened Ones

Rhythmic arts #2: of the Awakened Ones may describe the fool's journey

Ceremony for the Awakening Ones describe the breakdown and awakening process to assist families of institutionalized psychonauts exploring painful psychic depths in mental hospitals and nursing homes.

 

14.              Rhythmic Arts of the Cetacean Nation

led and informed by emissaries who are in continous contact with dolphin and whale elders  taking instruction from them.

Essential questions that inform design elements of zones and rhythmic arts practice:

What can be collectively learned about the use of sound through song and rhythm?  How can we collectively keep connected to the creatures of the ocean and the wisdom of the cetaceans?

1^st teaching objective: Sacred sound healing arts.  Bioacoustic remediation of waters and lands.

2^nd teaching objective: Sacred forms of play

3^rd teaching objective: Interspecies communication and telepathy.

Zone name example: Zone of the Cetacean Nation: Real time telepathic contact with emissaries and members of the cetacean nation.

Rhythmic arts of the Cetacean Nation #1: for learning and performing sacred sounding, Bioacoustic Remediation of Waters and lands and healings.

 

15.              Rhythmic Arts of Transfiguration

Rhythmic Arts of Ayahuasceros/Peyoteros

led by medicine people from the Amazon and Andes who have long trained in working with potent mind-manifesting teas made from plants sacred to them.

Essential questions that inform design elements of zones and rhythmic arts practice:

What principles need to be stored in collective memory so as not to lose ancient arts of plant teachers?  What songs may be sung to remember the practical arts and wisdom of maintenance of these traditions?

1st teaching objective: Purification, Cultivation, Preparation of persons and plants seeking awakening through the plant teachers.

Zone name example:Zone of Transfiguration

Teaching sacred arts, songslines and ways of the plant teachers

 Rhythmic arts of Transfiguration #1: Include the singing of icaros, shamatas, hymns used as transport vehicles to the heavens.  Other songs are used as mnemonics to remember the potential learning one may receive by traveling these roads.

 

16. Rhythmic Arts of Redemption (Confession and Forgiveness)

aka Rhythmic Arts of Shadowcatchers

led by serious and non-judgemental priests and holy sineaters of all faiths

Essential questions that inform design elements of zones and rhythmic arts practice:

What ancient forms of public confession were effective in redeeming individuals and eliminating hierarchical rank?  How might circular rhythmic practices be used to express our desire to do better with witnesses and to offer forgiveness?

How do we study our enemies and aversions in order to incorporate shadow and integrate selves into Selfhood?

1st teaching objective: the redemptive and healing properties of confession and forgiveness as universally practiced by both Christian and pre-Christian native traditions

2^nd teaching objective: Self-study through study of shadow, including fears, phobias, enemies and aversions.

Zone name example: the Zone of Shadowcatchers

or Sacred Bonfire of Public Confession

Rhythmic arts of Redemption #1: Look to native practices, see Weston La Barre's essay on pre-christian forms of cathartic public confession.

Lizbeth Rymland Solstice 2005

 

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