Junior Art Studio exhibit explores inner growth and spatial importance

By Lily Hoffman Strickler ’23

Staff Writer

Photo by Jenny Yu ‘24

On March 25, 10 pieces of art created by the Spring 2022 Junior Art Studio class adorned the second floor gallery of Blanchard Hall. The show, titled “Evoking Reality: Space and Self,” ran until April 2 and included artwork featuring a wide variety of mediums, ranging from 3D sculptures to digital and acrylic paintings. 

According to Associate Professor of Art and Chair of Art Studio Ligia Bouton, the pieces featured in the exhibition took three weeks for the artists to complete, with some of the pieces being a mashup of previously completed art projects from earlier in the semester. The exhibition was a walkthrough of the significant aspects of life and creativity for each artist, covering subjects such as the sexualization of women of color, the impact of human life on certain communities and even an ode to a deceased horse. Each piece included a wide range of differing artistic mediums, creating an air of vibrancy and inventiveness that expressed the passion that went into creating each piece of art.

Regarding the process that went into creating the artwork, Bouton explained, “There was no prompt; students were encouraged to follow their own creative trajectories.” 

This encouragement of creative freedom was clearly reflected in the art. Each piece served as an in-depth look into the lives, morals and mindsets of the Junior Art Studio artists. 

The artwork by Sarah Miller-Bartley ’24, titled “Strawberry Milk,” featured pink-painted plastic cows which were hung loosely in the folds of an equally pink canvas, attached by the canvas’ own threads. As written in Miller-Bartley’s artist statement, it is through this inclusion of both artistic material and mass-produced objects that they explore the hierarchy of art materials, bringing into question the validity of such classification in artistic environments. 

Miller-Bartley reflected on what it meant to display artwork at an in-person exhibition after such a long time of not being able to do so because of COVID-19. “It was really exciting to see everyone’s work together, especially after a long period of remote work,” Miller-Bartley said. “It’s satisfying to display a piece in an intentional and more final way, for viewing beyond the classroom.” 

For Laura Hinojosa ’23, another Junior Art Studio student, the process of developing her artwork and interest in pop culture began during the pandemic, when she returned home to Lima, Peru. 

“Due to the limited ability to leave my apartment building, I used media to entertain myself: watching movies, reading comic books, scrolling through Instagram/Tiktok/Twitter,” Hinojosa recalled.

This increase in Hinojosa’s social media usage led her to begin the process of creating her piece “Olympus,” a mixed digital art piece featuring American singer Doja Cat. According to Hinojosa, the piece is reflective of the stereotyping of women of color in media, and how they have been reclaiming their sexuality over time. 

“I became curious once more about media consumption and pop culture when I realized I was engaging with it a lot less,” Hinojosa said.“And so, I began to explore the Pop Art movement — Keith Haring, Yayoi Kusama, Yoshitomo Nara and Andy Warhol.” This rediscovery of pop culture and media led Hinjosa to create an art piece reflective of this thought process. 

“Evolving Reality: Space and Self” served as a space for artists to reflect on themselves as individuals through their artwork in a time where much of the outside world and our own inner selves are changing or have changed drastically. It was a personal look into an aspect of life each artist finds significance in, whether it be outward or inward, widely discussed or intimately individualized, all through a largely vibrant and liberally creative atmosphere.

Dearest Gentle Reader, ‘Bridgerton’ has returned with improved representation

By Jendayi Leben-Martin ’24

Staff Writer

Graphic courtesy of Gabby Gagnon ‘24

At the beginning of 2021, I wrote a review of the first season of “Bridgerton” in which I expressed that I was less than impressed with the series. However, the recently released second season has flipped my perception of the show, so much so that I’ve even been recommending it to anyone I can. Set in the early 1810s of England’s Regency era, this season turns its focus from Daphne (Phoebe Dynevor), the eldest sister of the Bridgterton family, to Anthony (Jonathan Bailey), the family’s eldest son. Through Anthony’s journey to wed, viewers are introduced to new characters and new schemes, all with the same “Bridgerton” magic.

This season approaches race differently than the last. The first season of “Bridgerton” used colorblind casting and relied on insufficient justifications to explain the historically inaccurate racial diversity of London’s wealthy social scene, as the show suggested that racism ended when the king married a Black woman, making her queen. The second season, however, takes more care in exploring the narratives of its characters of color. Enter Kate and Edwina Sharma (Simone Ashley and Charithra Chandran), two sisters from India who have come to London for the courting season in order to marry off the youngest sister to a “respectable” man. Though there are times when they express their distaste for London — often portrayed by Kate’s hatred for English tea — the show depicts the two girls and their mother using traditional South Asian practices, and the representation is refreshing.

 Maahi Jaiswal ’24 spoke highly of the portrayal of a traditional wedding practice called a Haldi Ceremony, in which women rub turmeric on their skin. 

“I definitely think in other media in the past, that’s made by Western directors, it’s portrayed as really messy and really dirty,” Maahi said, referring to the ceremony. “But I think the way they portrayed it was really nice because they were together as a family. … It seemed really beautiful and respectful.”

While I have no complaints about the racial diversity this season, the show’s creators seemed to have done away with what little LGBTQ+ representation they had. In the first season, Benedict (Luke Thompson), the second eldest Bridgerton brother, had an ambiguous relationship with a married, gay artist, which threw his morality into question. However, this storyline is completely ignored in the recently released episodes. Of course, it is not expected that every detail from one season follows into another, but this change feels purposeful and — similarly to how this storyline was dealt with in the first season — not very thoughtful.

The new episodes of “Bridgerton” are a much needed redemption from those of the last season. They give viewers the same slow-burn, period piece romance that was featured previously, but with a bit less of the hyped up horniness — a welcome change. While this season showed improvement in its handling of race, it’s still not enough to be the show’s main draw. If you’re looking for a love story with endless drama, unmatched chemistry and stunning wardrobes, this season of “Bridgerton” is a must-see.

‘Red Rainbow’ staged at Rooke Theatre

By Rowan Berstein ’22 & Rose Cohen ’22

Staff Writer | Arts & Entertainment Editor

Photo courtesy of Wei Shao ‘22

The show’s lighting was by Rori Haft ‘25, with set design by Wei Shao ‘22

Beginning on March 31 and running through April 3, Rooke Theatre staged the first live, in-person production of Azure D. Osborne-Lee’s new full-length play, “Red Rainbow.” The play, which has its characters embark on a fantastical journey through a strange world, was selected as a part of the film, media, theater department’s effort to center nonwhite narratives.

Photo courtesy of Wei Shao ‘22

Mount Holyoke student actors perform in the first live, in-production of Azure D. Osborne Lee’s new full-length play, “Red Rainbow,” which ran from March 31 to April 3

“Red Rainbow,” directed by Theatre Arts major Zoë Fieldman ’22, follows a young woman named Ixchel (Arianna Peña ’25) as she and her friend Nathaniel (Adjoa Baidoo ’24) are transported through a circle of mushrooms to a magical world. Along with strange beings, like a sentient network of mushrooms, Ixchel meets gods and humans who help her connect with her Mayan heritage. They also teach her how to give her abuelita, whose spirit is caught between life and death, a proper funeral — one appropriate to her culture. 

Ixchel shares her name with a Mayan goddess of healing and midwifery, a fact that was explained in an insert in the show’s program, which elaborated on some of the cultural details found in the play.

Georgia Rose ’25, who played Sunface or El Sol Sí Mismo , an antagonist who pursues the main characters on their journey, had a positive experience acting in the play. “What I loved so much about this production was that it was very collaborative,” Rose said. “Whenever we had an idea or a concern, [Fieldman] was so open and took our thoughts into consideration much more than any other production I’ve been in.” 

Maelyn Brade ’25, who took on the role of Officer, echoed what Rose said about being involved in “Red Rainbow.”

“My experience working on ‘Red Rainbow’ has been nothing but magical, in more ways than one,” Brade said. “Throughout the process I feel I got to know more about the theater department, while also bonding with some amazing people.” 

Fieldman found it important to foster this kind of environment during the duration of the play and the rehearsals leading up to it. “I am much more interested in experimental and non-traditional work … under which the role ‘director’ looks much different than as we learn about it to be,” they said. “I wanted to choose a cast that would work with me and be excited about collaborating on their performance.”

Part of this collaborative process included stage combat, choreographed by Assistant Professor of Film Media Theater Noah Ilya-Alexis Tuleja. Sunface wields an axe in the play, intending to participate in a ceremonial battle between the Sun and the Morning Star, or Venus, representing the eternal conflict of the two celestial bodies. This relationship becomes a problem for the protagonists, as Sunface expects Nathaniel to take on the role of his adversary. 

“My quarantine hobby was learning from lightsaber videos on TikTok,” Rose said, “so, I think I was well prepared to handle the axe.”

It’s fitting that Rose drew inspiration for the role from her time in quarantine, as “Red Rainbow” takes place during the COVID-19 pandemic. Feelings of isolation and a desire to escape influence the characters’ motivations throughout the play. In fact, their journey begins with Nathaniel trying to get Ixchel out of the house after months of isolation. Additionally, many moments of comedy come from references to the pandemic, like Ixchel and Nathaniel struggling to put on their gloves and face masks. 

In an unexpected moment during the Saturday evening performance, one of Nathaniel’s ear loops snapped as he attempted to put on his mask. Baidoo quickly recovered with an improvised line about always bringing a spare, and was met with laughter from members of the audience ⁠— it seemed that many could relate to the feeling of a mask mishap.

Fieldman commented on Baidoo’s improvisation, “I encouraged the cast to have some fun with the script and to improvise a bit — though not too much or else our stage manager would have difficulty calling the show — as an attempt to work with a script that was also still in process.” 

The script of “Red Rainbow” is described as a “living document” in Fieldman’s director’s note, and the production at Rooke Theatre was the first time the show was staged in person after it was written in 2020 and initially premiered over Zoom. 

“It was my intention to find a new play going into this process,” Fieldman said. “ I am more interested in process oriented art making versus a more final product focus.” Future productions of “Red Rainbow” will likely look quite different from this one, but Mount Holyoke had a unique opportunity to showcase the play so early in its life. 

Editor’s note: Arianna Peña ’25 is a member of Mount Holyoke News.

Indigenous artists in residence present ‘Ancestral Memories’

By Lucy Oster ’23

Staff Writer

Photo courtesy of Ellen Alvord ‘89

At “Ancestral Memories: Artists in Conversation,” a team of Indigenous Australian artists stand in front of a sculpture by Hector Dionico Mendoza

The Mount Holyoke College Art Museum, in collaboration with the University of Melbourne and a team of Indigenous Australian artists, hosted an event on Thursday, April 7, called “Ancestral Memories: Artists in Conversation.” 

The artists, Maree Clarke (Mutti Mutti/Wamba Wamba/Yorta Yorta/Boonwurrung), Nicholas Hovington (Palawa), Kerri Clarke (Boonwurrung/Wemba Wemba), Mitch Mahoney (Boonwurrung/Wemba Wemba/Barkindji) and Molly Mahoney (Boonwurrung/Wemba Wemba/Barkindji), are currently in residence at Mount Holyoke as a part of Assistant Professor of Anthropology Sabra Thorner’s “Special Topics in Anthropology: Decolonizing Museums” seminar. The class has been focusing on centering Indigenous knowledge practices and art making over a more colonial lens. 

Associate Curator of Visual and Material Culture and Native American Graves Protection and Repatriation Act Coordinator Aaron Miller and Thorner opened the Ancestral Memories event. Thorner gave an updated version of the usual Mount Holyoke College land acknowledgment, urging audience members to understand the history of the Nonotuck land that the College is situated on. 

“I encourage all of you to learn about and to amplify the contemporary work of the Indigenous nations whose land you’re on, and also endeavor to support Indigenous sovereignty in all the ways that you can,” she said.

Thorner also connected her land acknowledgment to the artists. “Your engagement with and your witnessing of the work of these artists is part of that process, so I extend my gratitude to you for coming here today,” she said. 

“My own use of my own land acknowledgment is going rogue, right? I used my own because I feel like it’s more meaningful and more impactful and more accurate and more thoughtful than the one that is being presented to us to offer up as the official body of the College,” Thorner later shared.

After Thorner’s statement, Maree Clarke, one of the visiting artists, took over. Maree Clarke gave a presentation about her work as an artist reviving cultural practices in Southeastern Australia. She described herself as an “independent multidisciplinary artist and curator with more than 30 years working with First Nations people.” She spoke about Aboriginal art practices and how they are connected to country, culture and place, and shared stories about taking the teeth out of kangaroo roadkill to make necklaces. 

“[Maree Clarke] described the PowerPoint she presented as her life’s work. … It was going through everything she had done artistically and it was really cool to see how it had changed over the years, but also how she had gotten more influence from her family,” ​​Domenica Guaman ’22, an anthropology and Spanish major who attended the event, said. Guaman is also a student in Thorner’s seminar. 

Ellen Alvord ’89, the associate director for engagement and Weatherbie curator of academic programs, shared a similar sentiment to Guaman. 

“Understanding the scope of what [Maree Clarke has] done in her lifetime, to bring those practices back in her research, and in her connection with her family, and bringing in new generations to take up that practice — I thought that was really inspiring,” she said. 

Much of Maree Clarke’s presentation heavily involved her family, who were also present at the Ancestral Memories event. They sat at a table next to where Maree Clarke presented, acting as a panel for the question and answer session that followed Maree Clarke’s presentation. 

Erin Foley ’24, an anthropology and political science major who attended the event, said, “It was … really cool to see a multigenerational family working together collectively as artists.” Foley asked a question during the question and answer session about how their community has changed over the years, to which Kerri Clarke mentioned feeling “secure” in passing on cultural practices to the younger members of the family, Mitch and Molly Mahoney. 

The final product of Thorner’s “Special Topics in Anthropology: Decolonizing Museums” seminar is a collaboratively-made possum skin cloak as a form of Indigenous knowledge transmission. The visiting artists are at Mount Holyoke, guiding and teaching the students in that class how to make the cloak. The cloak is not yet complete, but the MHCAM is looking to acquire it once it is. 

“We are planning on putting the work into a show for the fall that focuses on some broad themes and conversations around indigeneity,” Miller said.

“The cloak and the conversation about the project on campus and the work that [Maree Clarke] and her family are doing: that’s going to be one conversation in a broader exhibition. Thinking about place, thinking about how objects end up in museums and then go home again. This is about reclaiming traditional ways and sharing those with communities,” Miller added.

Community was a common theme at the event. “I think that for me, [the event] really became about not only having the artists speak to and reach a broader audience in this bigger context of decolonizing museums,” Thorner said. “It also became about a kind of mission for me, to be like, ‘this has been so hard. I am going to stand up and thank everyone.’ And part of that is about forging community. This is hard, we’re in a hard moment, but it can be done. And it is so necessary to be in community and in solidarity with each other.”

Alvord concluded, “There’s just so much meaning, and so to think about having Mount Holyoke students be a part of that process, and have something involved in storytelling that’s meaningful in this moment, to that group, is really exciting.”

‘The Batman’ is a promising new take on a classic character

Rowan Bernstein ’22

Staff Writer

Graphic by Sunny Wei ‘23

If you, like me, have grown tired of watching the same kind of superhero movies in recent years, Warner Bros.’ most recent DC film, “The Batman,” might be the breath of fresh air you need. “The Batman” takes a different direction from previous DC and Batman films, functioning primarily as a noir-style mystery that showcases the caped crusader’s detective skills alongside his physical prowess.

Though it is a reboot of sorts, “The Batman” is not an origin story. Instead, director Matt Reeves relies on audiences already being familiar with the character of Bruce Wayne and his alter ego, Batman, thanks to numerous retellings on film and television throughout the years. Though Bruce’s iconic backstory ⁠— witnessing the murder of his wealthy parents at a very young age ⁠— is often referenced and plays a role in the film’s story, it is not fully rehashed. This decision pays off. In its three hour runtime, the film rarely drags, in part thanks to the omission of this already familiar information. We are introduced to a version of Bruce Wayne (Robert Pattinson) already in his second year as a masked vigilante, investigating a serial killer known as the Riddler (Paul Dano). Pattinson’s Bruce Wayne, too, is still learning what it means to be his city’s protector. 

This interpretation of Bruce Wayne is considerably different from the playboy type seen in films like the earlier “The Dark Knight” trilogy. Rather than putting on a sociable public facing persona and brooding in private, this version of the character struggles to hide his angst, only making public appearances in his fictional home of Gotham City when absolutely necessary, such as a funeral for the mayor. As Batman, he is skilled in combat as well as deduction, directly assisting the police in investigating crime scenes. Robert Pattinson is a perfect fit for the role, nailing Bruce Wayne’s frenzied drive to solve the case at hand and stop the Riddler, even at the expense of his own health. 

Batman may be a skilled detective, but Dano’s Riddler is always two steps ahead of him. As he systematically takes out corrupt police officers and politicians, he leaves greeting cards addressed to Batman, filled with clues to deeper mystery surrounding his victims, which Batman must solve before he can get to the Riddler. A far cry from earlier, more cartoonish portrayals, like Jim Carrey in “Batman Forever,” this version of the character draws inspiration from the Zodiac Killer and his use of ciphers to communicate with the police. As he lurks in the shadows and stalks his prey, The Riddler makes for a terrifying and formidable foe.

Selina Kyle, aka Catwoman (Zoë Kravitz), is another key player in the film. Bruce first encounters her while following a clue from the Riddler, investigating a young woman who works at a nightclub where Selina is also employed. This young woman turns out to be Selina’s roommate and partner, who soon goes missing. Thanks to her job in the club ⁠— and her skills as a burglar ⁠— Catwoman is able to assist Batman in his investigation, as well as seek out her own revenge. While there is a spark of attraction between her and Bruce, Selina’s personal motivations and role in the story are well fleshed out and always take precedence over romance.

Each of these characters, along with supporting figures like police commissioner James Gordon (Jeffrey Wright), has a believable and vital connection to the plot, and every individual piece weaves together to tell a complex and engaging story supplemented by exciting action sequences. 

For instance, there’s a mid-movie car chase that showcases the Batmobile’s high tech capabilities and an exciting sequence illuminated by strobing nightclub lights. The fight choreography throughout the film is impressive and exciting to watch, with up close and brutal combat visually reminiscent of video game fights. 

“The Batman” also has the one thing I find most important in a superhero film: a clear love for the comics and interest in the characters as people. You don’t need to be a comic fan to enjoy the movie — I haven’t read many Batman comics myself yet — but it’s obvious that Reeves wanted to tell a story that could have come straight off of the page. This shows in the film’s sense of sincerity. Rather than wink and nod about the silliness of costumed vigilantes, the film treats its characters and their stories as worth taking seriously. There is plenty of comedy, but it never overshadows the story’s earnestness, and that is why it works.

Lucy Dacus brings ‘couch tour’ to Gateway City Arts

By Declan Langton ’22

Editor-in-Chief

Photo courtesy of Ali Meizels

Dressed in a jean jacket and bright red jumpsuit, singer-songwriter Lucy Dacus took to the Gateway City Arts stage on March 1 as a part of her spring “couch tour.” Rather than postpone the last portion of her North American tour due to two herniated discs, Dacus came up with a solution — bring a couch on stage and lay down while singing. 

At Gateway City Arts, Dacus continued the tour for her third album “Home Video” (2021). The show’s setup took place in front of a stream of home videos from Dacus’s own collection. On a screen behind the stage, clips played of her being held by her mother, performing in a school choir and showing off a scenic view in a rocky desert. Before the drums and mics were set up, two members of the stage crew carried out Dacus’s couch. As they placed it at the center of the stage, the crew was met by applause — and some chuckling — from members of the crowd. 

The room grew hot as the audience filed in during the opener, which featured addy, a musing folk rock band led by Adam Watkins, who, like Dacus, got their start in the Richmond, Virginia music scene. 

Laying on her couch bordered with a fake ivy vine, Dacus opened the show with “Triple Dog Dare,” the nearly eight minute album closer from “Home Video.” The song tells the dramatized story of a childhood friendship that borders on something more. “Triple Dog Dare” ends hauntingly, with the two girls running away together and later becoming missing “milk carton kids — ” their faces  plastered on the side of the beverage’s container. During this song, and the others she sang from the couch, Dacus’s voice seemingly emerged from nowhere. Her body was invisible to the majority of the crowd, blocked by those standing in the first few rows. Despite this, her sonic presence was dominating. 

Zoe Fieldman ’22, who attended the show, commented on this arrangement. 

“At first, I felt frustrated at not being able to see her. I had known she was injured, and expected the couch performance, but thought they would loft the sofa so that the audience might have a better view. This was not the case,” Fieldman explained. “However, I was incredibly impressed by their use of animation to supplement not being able to see the performer.”

Projected on the wall behind Dacus and her band were animations created specifically for each song. As she performed her song “Cartwheel” — about a childhood friend-turned-crush — the graphic featured children on a swing set, fireflies, a crescent moon and dark trees, mirroring the nostalgia of both the song and all of “Home Video.” 

“The animations were captivating and beautiful in addition to giving my eyes something to focus on without it distracting too much from the music itself. They also really captured the recurring themes of childhood, growing up,” Fieldman observed. 

At first, Dacus’s concealment seemingly caused a disconnect in the show. Two completely separate experiences were present in the room: one for those in the front row — nearly face to face with Dacus — and the rest of the room, who became reliant on the reactions of those sitting in the first row. 

Lucy James-Olson ’22, who attended the show alongside Fieldman, appreciated the setup, even if it was initially strange to adapt to. 

“It actually was kind of fun to not be able to see [Dacus] for the majority of the time — it encouraged me … to get immersed in the music and close my eyes and really listen, which was cool,” James-Olson said. 

Dacus’s lyrics are crafted, nostalgic storytelling, featuring vivid characters from friends to lovers to fathers. In her elegant voice, she flirts with inherent sadness and solitude, even when performing in front of a crowd humming and singing her words back toward the stage. 

Her song “Thumbs,” which Dacus released in two versions, is one of these songs built around characters. In the lyrics, Dacus tells the story of a dinner which she attends alongside her friend and her friend’s absent father. The twist: Dacus hates the father so violently that she spends a verse discussing how she would like to press her thumbs into his eyes “until they burst,” she sings. On March 1, she performed an alternate version of this song called “Thumbs Again” which came out a few months after the original version on “Home Video.” “Thumbs Again” replaces the droning synths of “Thumbs” with a pulsing, darker beat, adding layers to the frightening song, seemingly giving strength to the narrator. 

Photo courtesy of Ali Meizels

Despite limited visibility from the couch, Dacus continually addressed the members of the crowd she couldn’t see. “Hello, people I can’t see from my couch,” she said, the first time she sat up. Later, referencing the standing room only venue layout, she said, “I feel like I should stand more.” 

Stand more she did. Dacus’ March 1 performance was the first time she stood for three songs since injuring her back in early February. One of those songs was “Going Going Gone,” which she structured like a sing-along for the crowd. “Going gone, going going gone,” she sang along with members of the audience. 

Dacus’s setlist also featured well-known songs from her previous albums. From the 2016 album “No Burden,” Dacus delivered her song “I Don’t Wanna Be Funny Anymore.” 

“I wrote that when I was a teen,” Dacus told the crowd, smirking. 

From her second album, “Historian,” Dacus played “Yours & Mine” and “Addictions.” For “Addictions,” Dacus grabbed a guitar, playing it while continuing to lay on the couch — something you may expect to see in a living room kickback but was an exciting surprise at Gateway City Arts. 

“Yours & Mine” stunned Fieldman when Dacus performed it at the show. 

“I have not been able to stop listening to Yours & Mine since hearing it live. The performance was amazing and now it is one of my favorite songs,” Fieldman said.

“Night Shift,” the “Historian” opening track and one of Dacus’ most well-known songs, served as the show’s closer. The breakup ballad turned rock anthem is by far her most streamed song, amassing over 42 million streams on Spotify. 

With “Night Shift,” the energy at Gateway City Arts seemed to adjust. Members of the crowd moved closer to the stage and threw their hands into the air, dancing. Voices of those singing along started to become more clear, but Dacus’ powerful swell was never eclipsed as she led the room to the end of the night. 

Before leaving the stage, Dacus said, “This is a cool job, thank you for letting me have it.”

“Crossing Cultures: Family, Memory and Displacement,” arrives at APE Arts Gallery

By Rose Cohen ’22

Arts & Entertainment Editor 

Art to see in the area this week

The art exhibition “Crossing Cultures: Family, Memory and Displacement,” will take place at the A.P.E. Arts Gallery in Northampton until April 1. The show, which had its premiere on March 9, revolves around themes of family, memory, displacement and identity. The six visual artists whose work make up the exhibition — Nilou Moochhala ’94, Astrid Reischwitz, Claudia Ruiz Gustafson, Vivian Poey, Shabnam Jannesari and Nicolas Hyacinthe — use vintage family photographs and paintings, among other mediums, to examine what the idea of “home” means when many people are currently migrating from country to country.