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Ekeko
God of abundance
Other namesAymara: iqiqu
Quechua: ekjakjo
RegionAndean high plateau
Ethnic groupAymara
FestivalsAlasitas
Representation of the Ekeko in La Paz, Bolivia

The Ekeko (contemporary Aymara spelling: Iqiqu) is the Tiwanakan (pre-Columbian civilization) god of abundance and prosperity in the mythology and folklore of the people from the Altiplano.[1] Its chief importance in popular culture is as the main figure of the annual Alasitas fair, a cultural event that happens every January 24 in La Paz, Bolivia.[2] The Ekeko is a traditional god of luck and prosperity popular in the western region of Bolivia. In Peru the main festival is celebrated on May 3 of every year in the city of Puno, on the Machallata hill.

Etymology

[edit]

The name Ekeko comes from the alteration of the original term Ekhako or Eqaqo, popularized as Ekhekho which was the ancient god of fortune and prosperity in the Qullasuyu. The Ekhako was often invoked when a disgrace disturbed their homes.[3]

Origins

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Pre-Columbian references

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The scholar Ernesto Cavour in his book Alasitas makes reference to anthropomorphic and zoomorphic stone, mud and gold figures that were found in the areas belonging to the Bolivian departments of La Paz, Oruro and Potosí. Cavour considers that these figures were made using basalt—extracted from the pre-Columbian mines in the shores of the Lake Poopó—and andesite from the Copacabana peninsula.[3]

Carlos Ponce Sanginés, for his part, focus his researches in the anthropomorphic figures with phallic elements and prominent humps which, in his opinion, go back to the Inca civilization and, according to his observations, they would correspond to the predecessors of the colonial Ekeko.[3]

The historian Antonio Paredes Candia considers that these figures would be the remains of ancient sacred festivities during the summer solstice in the Southern Hemisphere. Arthur Posnansky also observes that in dates near the 22 December, in the Tiwanaku culture, the population used to worship their deities to ask for good luck, offering miniatures of what they wished to have or achieve.[3]

Characteristics

[edit]

Description

[edit]
Representation of the Ekeko, in Puno, Perú

The Ekeko is depicted as a man with a mustache wearing traditional Andean clothes (especially the poncho) and completely loaded with bags and baskets with grain and food, (compare with the cornucopia of some Greco-Roman deities), household objects, and currency bills, and basically anything that a person is thought to want or need to have a comfortable and prosperous life; he is commonly found as a little statue to be put in some place of the house, preferably a comfortable one, but also as an amulet attached to key rings; modern statues of the god include a circular opening in his mouth in which to place a cigarette for Ekeko's pleasure. Latest tradition has the Ekeko "smoke" a lit cigarette once a year to ensure a full year of prosperity.

Ekeko should be placed in a place of honor at home. Some versions can be carried in necklaces or key chains.[4]

Purpose

[edit]

Ekeko brings monetary wealth to its worshippers. An offering is generally required before he provides his services. Banknotes are often clipped to the Ekeko as offerings, but some statuettes allow for a cigarette to be lit as an offering. The figurines which allow for cigarette offerings have mouth openings large enough for cigarettes to be inserted. Ekeko additionally provides good harvests when offered grain.[5]

Legend of Ekeko

[edit]

The legend of the Ekeko, as narrated by Antonio Díaz Villamil, dates around 1781 in La Paz, Bolivia.[6] At this time, the city of La Paz was under siege by indigenous people, who were still at war with Spanish forces.

The story of the origin of the Ekeko starts with Paulita Tintaya, an Indian girl who worked for Doña Josefa Ursula de Rojas Foronda, in La Paz.

The girl was in love with Isidoro Choquehuanca. Years before, she had left the hacienda where they both had grown up. Before her departure, Isidoro gave her a small statue to protect her. This small statue was the Ekeko, which was known to the Andean people to be a god of fortune and luck.

At the time of the siege, people were starving to death. Isidoro was enrolled in the indigenous army, and he manage to reach Paulita's house. Every week, he left her food near the statue, which was placed outside the house, but nobody knew he was doing it. Both Paulita and her boss, Doña Josefa, were able to survive the siege because of the food left near the statue by Isidoro. That is the origin of the beliefs of Ekeko's powers in providing abundance.[7]

Central role in the Alasitas festival

[edit]
Another artist impression of a Ekeko in Bolivia.

In March 2011 Elizabeth Salguero, Minister of Cultures, nominated Alasitas along with two other Bolivian festivals to UNESCO for World Heritage recognition as part of the cultural and intangible heritage of humanity.[8] People attend the event from all over the city and even travel from other cities inside Bolivia to buy miniature versions of goods to give to others, in the hope that the recipient will receive the real item during the coming year.

Throughout other regions the festival for the Ekeko is held in October and known by the name Calvario.[9]

Notes

[edit]
[edit]
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Ekeko

View on Grokipedia
from Grokipedia

Ekeko, also known as Iqiqu in the , is a in Andean indigenous mythology revered primarily by Aymara communities in and as a bringer of abundance, , and good fortune.
Typically represented as a squat, rotund male figurine carrying miniature sacks, tools, animals, and money pouches symbolizing material and , Ekeko serves as a believed to protect homes and businesses while fulfilling the desires of its owners when ritually tended, such as by offering it cigarettes or leaves.
His cultural prominence peaks during Bolivia's annual Alasitas fair in , held starting January 24, where devotees purchase miniature replicas of desired items—like houses, vehicles, or diplomas—to place before Ekeko statues, consecrating them in rituals invoking ; this tradition, rooted in pre-Columbian beliefs and syncretized with colonial influences, was recognized by in 2011 as an through the associated ritual journeys.
Tracing origins to civilization influences and possibly pre-Inca gods, modern Ekeko iconography emerged in the colonial era via legends like that of Isidro Choquehuanca, who repurposed an ancient idol into the figure still crafted today from materials like metal or .

Etymology

Linguistic Roots and Variations

The term "Ekeko" originates in the , deriving from "iqiqu," which means "dwarf" and aligns with the compact form of associated cultural artifacts. In modern Aymara , the spelling is standardized as "Iqiqu," preserving its phonetic roots in the jaqi aru linguistic family spoken across the Andean highlands. Regional dialects exhibit spelling variations such as Ekako, Ekkeko, Equeco, Ecaco, Eqaqo, Ekhako, and Ekhekho, arising from differences in pronunciation—typically rendered as "eh-keh-koh" or "eh-kah-koh"—between and Aymara communities. These forms predominate in western , the core area of Aymara cultural continuity, with extensions into southern near , but show no etymological links to Quechua or Inca-derived terms, underscoring the figure's distinct Aymara linguistic heritage.

Historical Origins

Pre-Columbian Foundations in Tiwanaku Culture

The Ekeko figure finds its earliest verifiable archaeological linkage to the civilization through a small stone statuette, approximately 15.5 cm in height, discovered at the site near . This Pucara-style artifact, depicting a dwarf-like male form laden with symbols of prosperity such as pouches and goods, was removed from the site in 1858 by Swiss naturalist Johann Jakob von Tschudi during his expeditions in the . Although stylistically attributable to the preceding Pucara culture (ca. 200 BCE–200 CE), its presence at Tiwanaku—a major urban center flourishing from approximately 500 to 1000 CE—indicates cultural continuity in highland Andean iconography representing abundance and among proto-Aymara populations. Tiwanaku artifacts, including kerbstones and monumental sculptures like the chachapuma (hybrid feline figures), emphasize themes of agricultural productivity and ritual potency, but smaller portable idols akin to the Ekeko statuette suggest localized veneration of diminutive prosperity entities in domestic or contexts. These figures, often carved from stone or modeled in clay, embody a compact, rotund with exaggerated features symbolizing accumulation—pouches for seeds, miniature tools, and —aligning with of Tiwanaku's raised-field systems that supported densities exceeding 20,000 in the . Such representations prefigure the Aymara Ekeko ("iqiqu," meaning dwarf) as a household talisman for ensuring bountiful harvests in the harsh highland environment. In religious practices, structures like the Akapana served as earth shrines invoking fertility and agricultural abundance through subterranean water rituals and offerings, evidenced by drainage systems and linking human figures to crop cycles. The Ekeko prototype likely functioned in analogous pre-Inca Aymara rituals, where small idols were interred or carried to invoke (earth mother) blessings for quinoa, potatoes, and herds, distinct from the later Inca state's centralized worship or veneration imposed during their expansion after 1438 CE. 's collapse around 1000 CE, prior to Inca influence, underscores Ekeko's roots in independent highland cosmology rather than imperial .

Post-Conquest Adaptations and Syncretism

During the Spanish and subsequent colonial rule beginning in 1532, evangelization campaigns systematically suppressed indigenous religious practices in the , including survivals of Tiwanaku-era worship among Aymara groups, through the destruction of sacred sites, idols, and huacas as part of extirpation efforts led by religious orders from the 1550s to the late . Colonial decrees and inquisitorial oversight enforced Catholic exclusivity, driving Tiwanaku-derived veneration underground into clandestine household rituals that evaded detection by mimicking domestic . Aymara emerged as a causal response to these pressures, blending Ekeko's attributes of and with Catholic notions of saintly and household protection, as observed in broader Andean religious hybridization documented in 17th- and 18th-century accounts. While direct colonial references to Ekeko remain sparse—likely due to its covert status—parallels exist with syncretic figures like folk guardians equated to Catholic domestic icons, allowing indigenous agency to sustain core beliefs under imposed without open confrontation. By the late , the portable figurine representation of Ekeko crystallized as an adaptive strategy for mobility and concealment, with small clay or metal statuettes enabling private veneration amid urban displacements and periodic persecutions; this form proliferated in the following Bolivian and Peruvian in 1825, as artisan markets formalized production for everyday use. Such miniaturization pragmatically aligned with colonial-era migrations and post-independence economic shifts, preserving Ekeko's functionality while reducing visibility to authorities.

Physical Characteristics

Iconographic Description

Ekeko s are characteristically portrayed as diminutive male figures, measuring 10 to 20 centimeters in height, with a squat and rotund physique emphasizing a prominent belly. Crafted primarily from or , though earlier exemplars may employ clay, , or metal, these statuettes exhibit a broad, grinning mouth and are attired in Andean garments such as a and cap. The arms of the figure are invariably outstretched and overloaded with sacks, baskets, and miniature goods, underscoring a corpulent form laden with material accoutrements. Bolivian variants frequently incorporate a mustache and a or protruding from the , while Peruvian counterparts display marginally more refined stylization in facial and bodily proportions, preserving the essential squat . Archaeological precursors, including Pucara-style stone sculptures recovered from dating to approximately 2000 years ago, represent foundational forms linked to Ekeko iconography, though they exhibit cruder, less anthropomorphized traits compared to post-colonial renditions.

Symbolic Attributes and Variations

Ekeko figurines consistently depict a rotund, smiling figure approximately 15-20 cm tall, with an exaggerated belly symbolizing and accumulation, and small pouches or pockets on the body or clothing designed to hold miniature replicas of everyday goods. These miniatures, including tiny houses, automobiles, farm animals, tools, and banknotes, represent the owner's specific desires for prosperity and are affixed or inserted to materialize wishes through . The figure's open mouth accommodates leaves or cigarettes, a fixed attribute invoking offerings that purportedly "feed" the Ekeko and activate its efficacy, drawing from pre-colonial Andean practices of using coca in supplications tied to planting and harvest seasons. While core attributes like the pouch-laden body and coca insertion persist across depictions, regional variations reflect local artisanal traditions without evidence of centralized standardization before the early , when commercial production in urban markets amplified uniformity. In Bolivian versions, prevalent in the , symbols prioritize material abundance, with miniatures favoring trade goods like vehicles and currency to align with and economies. Peruvian Ekekos, as seen in southern highland crafts, incorporate similar prosperity icons but occasionally emphasize fertility through added motifs like exaggerated genitalia or agrarian tools, echoing broader Aymara-Quechua where abundance extends to , though such distinctions remain inconsistent across ethnographic records. These deviations arise from oral traditions and localized clay-working techniques rather than doctrinal mandates, with no archaeological uniformity predating colonial .

Theological and Functional Role

Associations with Abundance and Fertility

In Aymara systems, Ekeko functions primarily as a dispenser of suerte (luck) tied to material prosperity, invoked through household s to secure fortune, good business, and overall well-being in exchange for ritual care such as offerings of cigarettes, , and coca leaves on Tuesdays and Fridays. These practices reflect the practical needs of highland agrarian communities, where Ekeko's blessings extend to yields and amid risks like frost, drought, and poor soil in the Bolivian , as evidenced by festivals historically aimed at ensuring bountiful harvests. Anthropological accounts emphasize its role in fostering household wealth via symbolic miniatures of attached to the , which represent desired acquisitions like tools or , underscoring a transactional cosmology where prosperity demands reciprocal nurturing of the as a living entity. While Ekeko exhibits phallic attributes symbolizing male —rooted in pre-colonial depictions as a naked figure linked to communal —such elements are secondary in contemporary ethnographic records, subordinated to economic abundance amid colonial-era shifts that recast the figure with features and symbols of wealth like clothing and commodities. Ethnographic studies in , , portray Ekeko not as a hierarchical within a pantheon but as a localized , activated through personal rituals rather than temple , aligning with Aymara emphases on immediate, pragmatic aid over abstract . This functional specificity highlights causal ties to survival in subsistence economies, where invocations prioritize tangible outcomes like sustained food production over generalized .

Trickster Elements in Aymara Folklore

In Aymara oral traditions, Ekeko embodies qualities through his portrayal as a cunning, diminutive figure adept at acquiring and safeguarding resources amid scarcity, often manifesting as a hunchbacked dwarf laden with goods symbolizing shrewd accumulation rather than mere benevolence. This characterization aligns with the archetype prevalent in Andean , where such entities employ wit and deception to navigate harsh environmental constraints of the , such as unpredictable and limited networks, reflecting adaptive realism in resource-poor settings. Ethnographic analyses, including those drawing on 20th-century fieldwork among Aymara communities, describe Ekeko's and bartering as magical yet opportunistic acts, evoking the transformative mischief of precursor deities like Tunupa, a wandering highland figure credited with originating peoples through clever interventions. These elements contrast Ekeko's dominant prosperity associations by introducing ambivalence: his insatiable pursuit of abundance can border on excess, serving in narratives to underscore the perils of unchecked accumulation in communal societies where individual gain risks social discord. Accounts from anthropologists like Thomas Abercrombie, based on extended immersion in Bolivian Andean groups during the 1970s and 1980s, portray Ekeko as a "mestizo trader-turned-," facilitating commodity access via guile rather than straightforward , thereby cautioning against naive trust in material pursuits while valorizing strategic opportunism under colonial legacies of exploitation. Such depictions parallel broader Aymara folktale motifs of sly protagonists outmaneuvering authoritative or physically superior foes, as documented in regional compilations, embodying causal strategies for survival in stratified, resource-scarce ecologies. The facet of Ekeko, evident in these traditions, draws from pre-colonial influences syncretized with post-conquest realities, where cunning trade evaded Spanish monopolies on goods like and textiles, as inferred from historical-linguistic reconstructions in ethnographic . Unlike idealized abundance icons, this role highlights Ekeko's boundary-crossing nature—shifting from beggar-like wanderer to affluent hoarder—mirroring Aymara resilience tactics against both natural adversities and imposed hierarchies, without endorsing greed but illustrating its instrumental utility in . 20th-century ethnographies emphasize this duality, attributing it to oral transmissions preserved in highland rituals, though varying by locale due to localized adaptations.

Associated Legends

The Isidro Choquehuanca Narrative

The Isidro Choquehuanca narrative, a prominent folk legend in Bolivian Aymara , attributes the origin of the modern, portable Ekeko to a romantic gesture during the 1781 indigenous siege of led by . In the story, Isidro Choquehuanca, a young Aymara man employed by a Spanish landowner near Laja, falls in love with Paulita (or Paulina Tintaya), another indigenous servant sent to work in the besieged for the governor's household. To sustain her amid the famine, Isidro carves and gifts her a small clay amulet replicating an ancient idol, instructing her to display it openly and speak her wishes to it. According to the , Paulita places the —depicted as a squat, pot-bellied male laden with miniature goods—in her window, where it purportedly attracts abundance: coins, food, and goods appear, ensuring her survival and drawing envy from neighbors who copy the practice. This miracle reunites the lovers after the siege, with the amulet credited for granting prosperity through spoken desires, thus popularizing compact, personal Ekeko replicas over larger, fixed idols. The tale underscores romantic devotion as the catalyst for the figurine's efficacy, rather than inherent divine power, emphasizing human agency in its creation and ritual use. Despite its cultural endurance, the narrative lacks corroboration from 18th-century primary documents, such as colonial records or eyewitness accounts from , positioning it as oral likely retroactively shaped to link Ekeko with historical events. Bolivian cultural accounts, often derived from 20th-century retellings by authors like Díaz Villamil, preserve variations where the carving's success stems purely from Isidro's affection and ingenuity, without supernatural intervention beyond the amulet's symbolic . This romantic framing reinforces Ekeko's role as a folk for material wishes, disseminated through portable forms that democratized access beyond temple worship.

Alternative Folk Traditions

In pre-colonial Aymara , Ekeko—known variably as Iqiqu, Ekhako, or Ecaco—is sometimes identified with Tunupa (or Thunupa), a Tiwanaku-era governing , , and elemental abundance, portraying the figure less as a mere dwarf and more as a potent spirit facilitating natural prosperity through seasonal renewal. This association, drawn from early ethnographic interpretations of Aymara cosmology, contrasts with later dwarfish depictions and underscores Ekeko's roots in broader animistic beliefs tied to highland ecosystems, where prosperity emerges cyclically from earth and weather forces rather than personal talismans. Regional folk variants further diversify Ekeko's lore, with Bolivian Altiplano traditions emphasizing agrarian dimensions of abundance, linking the to in highland farming, crop yields, and pastoral wealth amid the harsh plateau environment. In contrast, Peruvian narratives, especially those from and the southern , accentuate commercial fortune, positioning Ekeko as a patron of market transactions, goods, and entrepreneurial success, as evidenced in local rituals involving miniatures of merchandise and symbols. These divergences reflect adaptive responses to local economies—pastoral-agricultural in versus market-oriented in —without a singular version dominating Aymara oral histories.

Integration in Alasitas Festival

Historical Development of the Festival

The Alasitas festival originated in pre-Columbian Aymara harvest rituals linked to the civilization, which flourished from approximately 500 to 1000 CE in the Andean highlands, where communities offered symbolic items to deities for agricultural abundance and prosperity. These practices, centered on and economic well-being, drew from the Aymara term alasitas or chhalasita, meaning "buy me" or "purchase for me," reflecting petitions for material gain through miniature representations. Evidence from archaeological contexts in the region supports such rites, though direct continuity to modern forms remains inferential due to the civilization's decline around 1000 CE and subsequent Inca influences. Under Spanish colonial rule, the festival's timing shifted from its original alignment with the Southern Hemisphere's harvest season around September to January 24, adapting to the imposed and possibly commemorating the 1781 siege of by Aymara leader Túpac Katari during an indigenous rebellion against colonial authorities. This relocation facilitated with Catholic feast days while preserving core Aymara elements, as colonial records note persistent indigenous fairs blending native petitions with market exchanges amid economic pressures on highland communities. In , informal pre-1920s gatherings among Aymara migrants evolved into structured annual fairs by the early , integrating traditional abundance rites with expanding urban markets as the city's population grew from driven by booms. Post-1950s, amid Bolivia's national revolutions and rural-to-urban migrations—evidenced by La Paz's population surging from 200,000 in 1950 to over 700,000 by 1970—the event gained municipal oversight, standardizing it as a month-long exposition starting to channel economic aspirations in a modernizing context. This progression marked a causal shift from agrarian petitions to formalized cultural-economic institutions, supported by archival municipal decrees formalizing vendor regulations in the mid-century.

Core Rituals and Miniature Offerings

Participants in the Alasitas festival purchase miniature replicas representing aspirational items, including houses, vehicles, diplomas, and bundles of , which are placed near or upon Ekeko figurines to symbolize future prosperity. These acquisitions occur amid a bustling where vendors display thousands of such items, attracting crowds that exchange and miniatures alongside cash transactions. Central to the practices is the ch'alla blessing performed by yatiris, Aymara ritual specialists, who sprinkle a mixture of alcohol and over the purchased miniatures and Ekeko idols to activate their , typically on at the festival's outset. This draws both indigenous Aymara attendees and urban dwellers, who participate in the blessings and offerings regardless of strict ethnic boundaries, underscoring a functional in daily observance. The collective buying generates measurable economic activity for artisan vendors, with reports of thousands converging on La Paz streets to acquire items, sustaining a temporary market surge in miniature production and sales.

Cultural Significance and Evolution

Anthropological Interpretations

Anthropologists interpret Ekeko's prominence in Aymara culture as an adaptive response to the Altiplano's severe environmental and economic challenges, including high-altitude aridity, frost risks, and unpredictability that foster chronic uncertainty in subsistence farming and . In this , veneration of Ekeko figurines, laden with symbolic , functions as a mechanism for psychological and social risk mitigation, channeling hopes for prosperity amid volatile markets and limited resources. This perspective emphasizes Ekeko's role in bolstering communal resilience, where offerings to the reinforce reciprocity networks and , aiding survival in ecologically marginal zones. Scholarly analyses, particularly through Marxist lenses, frame Ekeko as embodying , wherein miniature replicas of desired items—houses, vehicles, currency—acquire autonomous agency to procure abundance, mirroring capitalist reification of objects over labor. Jim Weil's ethnographic study of the Alasitas illustrates this ideological hybridity, tracing Ekeko's transformation from a pre-colonial abundance spirit to a syncretic icon incorporating modern consumer symbols like Disney's , thus facilitating Aymara integration into Bolivia's without full cultural erasure. Such interpretations highlight Ekeko's functionality in ideological adaptation, enabling traditional cosmology to absorb neoliberal influences while preserving ethnic continuity against assimilation pressures. Debates persist on Ekeko's epistemic status, balancing its observed social utility against superstitious foundations lacking empirical validation for causal prosperity effects. Proponents of functionalist views credit it with enhancing well-being through ritualized optimism in poverty-stricken settings like , where beliefs in luck (suerte) tied to Ekeko mitigate despair from structural inequities. Rationalist critiques, drawn from , caution that overemphasis on charms may entrench , potentially constraining adaptive innovations like diversified or technology adoption in Andean communities exhibiting high . Empirical studies affirm cultural persistence—Ekeko rituals sustain Aymara agency amid —but underscore limitations, as prosperity outcomes correlate more robustly with socioeconomic factors than ritual adherence.

Modern Commercialization and Global Presence

The expansion of in since the 1990s has driven the of Ekeko figurines as commercial souvenirs, particularly in , where vendors offer affordable, standardized versions laden with symbolic miniatures to appeal to visitors seeking cultural artifacts associated with prosperity. This commercialization aligns with the broader economic activities of the Alasitas festival, where sales of such items contribute to local commerce amid the event's annual influx of participants. Ekeko representations have achieved global visibility through museum exhibitions and repatriations, including a stone statuette depicting the , acquired from by Swiss explorer Johann Jakob von Tschudi in 1858 and displayed in the Swiss National Museum until its return to in 2014 following diplomatic requests from Bolivian officials. The 2017 UNESCO inscription of the ritual journeys during Alasitas in on the Representative List of the Intangible Cultural Heritage of Humanity has amplified international awareness, fostering diaspora interest and cultural exchanges. In , Ekeko maintains a presence through contemporary festivals, notably the May 3 celebrations in , where fairs feature similar miniature offerings and figurines, blending indigenous traditions with modern artisanal sales. Despite Bolivia's political turbulence in the 2020s, including disqualifications and protests linked to former President , Alasitas events continued uninterrupted, as documented in 2025 coverage, demonstrating the tradition's commercial endurance and appeal even amid instability.

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  54. https://www.theguardian.com/world/2016/jan/25/bolivia-alacitas-festival-economy-wishes-good-luck
  55. https://apnews.com/travel-general-news-d1efa03c56414cf39325caa7c1c4931f
  56. https://www.swissinfo.ch/eng/culture/bern-returns-deity-statuette-to-bolivia/41124210
  57. http://www.aboutcusco.com/blog/meet-el-ekeko-the-charming-deity-bringing-blessings/
  58. https://www.youtube.com/watch?v=E_7msi4AIm0
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