The Ark of Taste How to build the world’s largest catalog of flavors: a heritage to discover and to save. Contents What is the Ark of Taste? p. 4 What is its purpose? p. 5 How to identify a product for the Ark p. 6 What are the criteria in selecting a product? p. 9 General rules p. 19 How to nominate a product p. 21 How to communicate the Ark of Taste p. 24 What is the difference between p. 26 the Ark of Taste and the Presidia? Editors: Serena Milano, Raffaella Ponzio, Piero Sardo With the collaboration of: Francesca Baldereschi, Silvia Ceriani, Laura Drago, Eleonora Giannini, Ursula Hudson, Ludovico Roccatello, Veronica Veneziano With technical and scientific guidance from: Carlo Bazzocchi, Daniele Bigi, Sergio Capaldo, Mauro Cravero, Silvio Greco, Federico Infascelli, Gwyn Jones, Paola Migliorini, Luca Nicolandi, Cristiana Peano, Giovanni Perri, Andrea Pieroni, Francesco Sottile Translation and editing: Simone Gie, Bess Mucke, Sara Silvestri Layout and graphics: Alessia Paschetta Photos: © Xavier Bartaburu, Livio Bersano, Marco Bruzzo, Hilder Buer, Kunal Chandra, Giuseppe Cucco, Giuseppe Fassino, Michèle Mesmain, Oliver Migliore, Paolo Andrea Montanaro, Alberto Peroli, Henriette Smith, Francesco Sottile, Paola Viesi, Slow Food Archives Printing: La Stamperia – Carrù (Cn - Italy) – printed on recycled paper 2 3 What is the Ark of Taste? What is its purpose? The Ark of Taste is an online catalogue of foods at risk of disappearing that are a part The Ark was created to point out the existence of these products, draw attention to of the cultures and traditions of the entire world. the risk of their extinction and invite everyone to take action to help protect them: by seeking them out, buying and consuming them; telling their story; supporting their Plant and animal species are to be found onboard the Ark, but also processed products, producers; and, in some cases (such as the case of endangered wild species at risk of because, together with plant and animal biodiversity, cheeses, cured meats, breads and extinction) promoting their conservation and reproduction. sweets, expressions of farmers’ and artisans’ knowledge are also disappearing – knowl- edge that exists not in written recipes, but as complex and rich skills and practices The overall objective is not to create a seed bank, a collection of genetic material or passed down through generations. museum to exhibit traditional knowledge, but to rediscover and give value to these resources in order to support local economies. In October of 2012 in Turin, the Slow Food International Congress reaffirmed the cen- trality of biodiversity, relaunching the Ark of Taste project as a fundamental tool for In 1999, Slow Food used the Ark of Taste to launch the first Slow Food Presidia, and the future of the association that will involve convivia, producers and local commu- even today, nominating a product for the Ark is often the first step to it becoming a nities. The International Executive Committee asked the Slow Food Foundation for Slow Food Presidium. Biodiversity (Slow Food’s technical arm) to develop and coordinate the Ark of Taste project, using the International Technical Committee together with the National/ Regional Commissions and with the collaboration of the University of Gastronomic Sciences. 4 5 It is not necessary to visit producers The Ark selects a product and not producers. So it is not necessary to know the pro- ducers or to have visited their farms. We can discover Ark products by talking to the How to identify elderly, cooks, journalists, experts (e.g. local veterinarians, agronomists, food technolo- gists and anthropologists), market vendors, etc. Of course, if we can talk directly with the producer, we can obtain more detailed information, but it is not essential. a product for the Ark Visit farmers’ markets It is important to visit local markets, concentrating on the less common products and asking vendors questions. Note down product names (in all languages and dialects), buy samples of the most interesting products, take them home, taste them and show them Where to start? to local chefs, agronomists and elderly people, asking them if they recognize them, and whether they have maintained the same characteristics over time or if they have changed. Each of us has our own channels, experiences and networks. We need first of all to reflect and recall if we have come across a particular product in our professional or per- Ask lots of questions; never stop at the first answer sonal lives that is no longer present on the market or is available only in small quantities. The job of identifying and describing Ark products is enjoyable and fascinating but also Don’t reinvent the wheel complex. It is similar to the work of an investigative journalist, a sort of “taste investigator”. Describing a product requires patience. We need to ask many questions and often the It is important to understand whether any research has already been done in the re- same question to a number of people, comparing the responses. Never stop at the first gion, or if texts, catalogues of varieties and breeds, or recipe books that describe the answer. Those who produce, cook or consume a product might omit certain details raw ingredients already exist. It is also useful to visit botanical gardens; seed banks they take for granted. So we need to dig deeper. Often the particularity of a product and varietal collections at agrarian schools, universities or research centres. These can rests in those small details: a particular spice used, type of fermentation or smok- provide many interesting starting points. But it is not enough. ing method, for example. At times, in order to discover an interesting product, direct questioning (e.g. “Is anything particular produced in your area?” “Is there a product Talk to chefs, journalists, gastronomes, experts and producers that is or was eaten during festivals?” etc.) is not enough. It is not sufficient to have found a product in a catalogue, on the internet, in a museum, in a seed bank or a botanical garden to nominate it for the Ark of Taste. The questions For edible plants, describe the shape, weight, color, flavor, etc. Don’t stop at the spe- we must answer are: “Does this product still exist? Is it currently on the market? And if cies (it’s not enough to note that it’s a tomato or a cherry): we must note if it is a not, is it still produced at home?” specific variety, what distinguishes it from the others, if it is linked to a particular area and in what way, if it is propagated with local or commercial seeds, whether it is an ingredient in particular recipes, etc. For an animal breed, describe the animal’s characteristics – size, shape of horns, color of its hide/hair, etc. – and describe the purpose of its breeding, noting what products are made from it (meat, cured meats, cheeses, etc.). For a processed product, describe how it is made, including the various steps, and indi- cate if the ingredients are produced locally. Is it is linked to a specific variety (for exam- ple, if it is a type of bread, is it made with a particular wheat or rye variety?) or a native breed (if it is a cheese or cured meat, is it made with the milk or meat of a native breed?). If it is a cheese, check and note if it is made from raw milk or pasteurized milk. 7 Tasting Tasting is an essential instrument to evaluate a product. It is very important, however, to consider its subjective nature. Each tasting is conditioned by the personal prefer- ences and cultural background of the taster. What are the criteria For example, with a sausage, only a comparative tasting would allow one to under- stand that fennel, say, used by one producer is a personal variation, and is not one of the traditional ingredients characteristic of that particular sausage. for selecting a product? The sensory qualities of a food are defined by: • appearance • color • consistency (liquid, solid, crunchy, succulent, tender, smooth) 1. Products should be of interesting quality and can be: domestic • taste (sweet, salty, bitter, acidic) species (plant varieties, native animal breeds); wild species (only if • aroma related to techniques for collecting, processing or traditional uses); There are at least three elements needed to establish sensory qualities (also called processed products. organoleptic qualities): What are domestic species? • balance (the harmony between the aromatic and flavor components of a product) • terrior (the ability of a product to express organoleptic characteristics connected Alongside wild plants and animals, there are the plants and animal breeds selected by with the territory of origin) mankind. With domestication, nature becomes something familiar, controlled by hu- • complexity (how the organoleptic qualities evolve over the course of tasting) mans (domus = home). Domestication does not refer only to planting seeds or taming an animal, but means selecting and, therefore, progressively changing plants and ani- A simple product finishes on the nose and palate with the same organoleptic char- mals until they are best adapted to the environment and guarantee better production. acteristics as were present at the start. A complex product, on the other hand, will change during tasting; the perceptions will evolve and last longer. What is a cultivated variety (or cultivar) Tasting is more effective when it is comparative, done not with just a single sample of A variety (or cultivar) is a set of cultivated plants, clearly distinguishable by their mor- a product, but by trying to taste the product from multiple different producers. phological, physiological, chemical and qualitative characteristics. A variety is stable, A comparative tasting allows us to understand the basic characteristics, the qualities maintaining is distinctive characteristics even when it is reproduces (through seeds or that give a product a distinct identity. tissue, such as with grafting). Native or local varieties are clearly identifiable and usu- ally have a local name. These often arise from selection by individual farmers or com- munities and are characterized by good adaptation to the environmental conditions of an area. They are consequently more hardy, resistant to stress and have less need for external inputs such as water, fertilizers, etc. They are closely linked to the culture of a community (for example in customs, recipes, knowledge, and dialects). Some examples... Carla apple (Italy), brown beans from Öland Island (Sweden), Lori- ent cabbage (France) and the Ak- kajidaikon radish (Japan) are na- tive varieties. 8 9 What is a plant population (or ecotype)? Breeds originate in specific places, but in some cases—and this usually happens be- cause some of their characteristics are particularly useful—they can spread to other An ecotype is a population within a species (usually reproduced with seeds) that is parts of the world. A breed might be at risk of extinction in its native area but common genetically adapted to a specific territory, usually of a limited size. This definition in other parts of the world, like the Toggenburg goat, originally from the Swiss canton resembles that of a native variety (or cultivar). The difference is that ecotypes do not of St. Gallen but now found in many other Alpine regions. have a precise genetic identity, stable and defined, and they are not part of official classifications or registers. However they are very important for the protection of What is an animal population? cultivated biodiversity. It can happen that, if they are adequately studied and well A population is a group of individuals of the same species with related characteris- selected, they can enter into the classification of a cultivar. tics. Like in the case of breeds, the role of farmers is crucial in recognizing a popula- An example... tion based on visibile characteristics (feathers or plumage, size, shape of the horns or tails, etc.) and behavior (productivity, fertility, etc.) A population is to a breed what The various populations of pink apples from the Sibillini mountains, grown in Marche (Italy). an ecotype is to a cultivar, that is, it is less established and not officially part of a breed registry. An example... Animal populations of Mushunu Molo chickens (in Kenya) and the goats of Roccave- rano (in Italy). What is a breed? A breed can be defined as a group of domestic animals from the same species with defined and identifiable exterior traits (passed on to descendants through heredity), which can be distinguished and separated from others of the same species on the ba- sis of visible characteristics (size; color of coat or plumage; shape of the head, limbs, horns, tail, etc.). For a breed to be officially defined as such, it must be registered. The recognition of breeds and the registering of animals as belonging to that breed is something which has usually happened through the collaborative action of farmers. A native breed is linked to a specific area of varying size where it has developed or naturally adapted over time. They are more rustic and, even in extreme environments, generally require less attention and less food. For the Ark of Taste, it is important to Why can a wild species be nominated? connect a breed to a product like a meat, milk, cheese, or cured meat product. The Ark recognizes products connected with the knowledge and culture of a com- Some examples... munity. In fact, Slow Food considers biodiversity not only genetic material, and above Mirandaise cattle, a beef breed originally from Gers in the Midi-Pyrénées region of all, as part of culture (territory, know-how and traditional techniques). So, why cata- France; the Saluzzo white hen from Piedmont, Italy; and the Villsau sheep from Norway’s logue wild products as well? Because often they are connected to traditional har- northwest coast, one of the oldest sheep breeds still surviving in Northern Europe. vesting, fishing, or processing techniques and indigenous cultures. Safeguarding wild products means protecting the knowledge that is handed down within communities to preserve the ecosystems in which these products grow (like forests, mountains, and lakes). In the animal kingdom, fish are the most diverse group of large wild spe- cies. Therefore, it is also possible to nominate a variety of fish connected to a tradi- tional fishing technique or method of conservation (like salting, drying or smoking). 10 11 2. Products must be of particular sensory quality, as defined by Some examples... local traditions and uses. Some wild products are linked to complex techniques, such as Manoomin rice (USA), which is harvested by canoe and then dried and smoked, or wild coffee from Harenna Chemical or physical analyses are not sufficient to judge the quality of a product, but (Ethiopia), which is sun dried then toasted. Others are linked to simpler techniques, nor is tasting. such as radìc di mont (Italy), collected in the mountains and preserved in extra-virgin The origin of the product must be understood (In which area did it originate: in the olive oil. Wild products often have cosmetic and medicinal uses as well as culinary. mountains or plains? In an urban or isolated zone? In a humid or arid climate? In a narrowly-defined or vast area?). The communities must be consulted (Is the product known by everyone or by a small number of people? Is it considered a high-value product, destined for festivals and ceremonies, or a poor-man’s food?). Processing techniques must be understood (Is it a raw or pasteurized milk cheese? Is the curd cooked, uncooked stretched? Is the cheese fresh or aged?), as well as conservation methods (Is it smoked, wrapped in straw, etc?). Then of course, we taste to evaluate organoleptic aspects. A product is interesting if it is complex, meaning if it evolves in the mouth, offering perceptions that change and last. Tasting can identify potential defects (notes of rancidity, excessive acidity, etc.), identify the main organoleptic characteristics (aroma, taste, consistency), understand What are processed products? if there is equilibrium and harmony between the various taste and smell components, Processed products refer to cheeses, cured meats, breads, desserts, beverages, pre- and if the product expresses its territory and typology well. At times an element that serves and so on, which have evolved in order to conserve food (milk, meat, fish, seems a defect is actually typical for that area, for the local tastes or for the typology. cereals, fruit). These numerous products are the fruit of knowledge handed down For example, bitterness in goat’s cheese is a defect, but it is a typical characteristic of over generations in every corner of the world, the result of creativity and skill. The some alpine cow’s cheeses. smallest variations can result in very different foods – think of the thousands of types Ultimately, it is fundamental to consider the palate of the community from which a of cheeses that have come out of the same three ingredients (milk, rennet, salt), or product originates. A European product could be difficult to understand and appreci- cured meats, where at times the only difference is the cut of meat, a spice or the type ate for an African taster, just as an Asian product could be difficult to decipher and of wood used for smoking. Artisanal processing practices allow the creation of par- appreciate for a European. ticular products that are able to, more so than the raw materials alone, narrate a local culture and protect producers from fluctuations in the seasons and market. Often, it is 3. Products must be connected to a territory and to the memory, possible to safeguard varieties of plants and local breeds by promoting the processed identity and traditional local knowledge of a community. products connected with them (a cheese or cured meat can save an animal breed, a Territory is a key element for biodiversity. It is not sufficient for a product to be just bread can save a type of wheat, etc.) local. The adjective “local” tells us very little about the history and traditions of an For Slow Food, processed products are also biodiversity, together with the breeds or area. It is possible to locally produce recently introduced improved varieties, hybrids seeds of wild and domesticated species. or products unrelated to the local culture. The products that interest us, on the 12 13 other hand, are strongly linked to their territory, not just as in terms of climate and The same situation applies to a vast number of commercial varieties of peaches, environment, but also in a cultural and historical and physical context. grapes, plums etc. that are at least fifty or sixty years old. Territory is soil, air, water and climate, but also language, dialects, religion, craftsman- Slow Food answers this question by considering the collective memory of a com- ship, architecture and landscape. Far from its territory of origin, a seed, vegetable, munity. To decide whether a product can be considered traditional you need to fruit tree or animal breed becomes simply genetic material. answer the following questions: “Does the product belong to local culture? Is the Edible plant varieties and animal breeds are best able to fulfill their potential in the knowledge required to cultivate, process and consume it passed down through the territory in which they have acclimatized over centuries thanks to the activities of generations?” You can find this out by approaching the oldest producers in the com- humans. For this reason they are more resistant and require fewer external inputs munity and asking them whether the product was already cultivated or processed by (fertilizers and herbicides in the case of plants; veterinary care, water and food in the their parents and grandparents. One response is not enough. It is necessary to check case of animals). They are therefore more sustainable, both from an environmental whether it is a shared memory. and economic point of view. When you hear that a product is the same everywhere, Some pointers that may be helpful: Has the product left traces in the work of local that there are no differences between one region and another, between mountain artisans? Are there any artisanal tools (wood, copper, stone, reeds) used to work or and plains and so on (which happens a lot), don’t give up, continue to ask questions. preserve a particular cheese, or collect and dry a particular fruit? Are there mortars You will find the differences: it will be thanks to a particular terrain, the use of a herb and baskets to hold a certain cereal? Is it present in the language, dialect or folk or spice that is found only in a particular valley, and so on. The challenge is to try to songs? Has the product been present at fairs and markets for some time? Has it in- link a product and a vast territory with a precise identity: an island, a mountain, the fluenced local architecture – are there old mills or dairies?”. In addition to asking the path of a river, or a group of hills. If you cannot find a difference, not even in the elderly people of the community, make enquiries with women, chefs, food journal- smallest details, it means that this is not such an interesting product. ists, experts (agronomists, veterinarians, food technologists, etc.). It is also important to search the available literature: Are there cookbooks? Books on festivals and local traditions? Catalogues of products? It is essential to cross check by using as many sources of information as possible. Is it possible to nominate the same product in several countries? Yes, after having identified the differences, even if small. Artisanal products are never the same because they are influenced by many factors: altitude, soil composition, climate, local knowledge, personal creativity and so on. When a product is found in many countries with the same name we need to inves- tigate further. Ricotta, for example, is produced across Sicily, but if we dig deeper, we discover that it can be made from cow, sheep or goat or mixed milk; fresh or aged; baked; smoked; coagulated with fig branches, and so on. Couscous is produced across the Mediterranean, but looking deeper, we discover a universe of variations made of different cereals (wheat, millet, rice, corn) and of other raw materials (there is even a couscous made of water-lily seeds). And just wheat couscous, for example, How long before a product becomes traditional? can be made with different local wheat varieties, different sized grains, or flavored Some organizations have specified a minimum number of year after which a product with dried herbs, leaves or roots, etc.) can be defined as traditional: this may be 50, 30, or even 25 years. Slow Food consid- When there are no apparent distinctions, it is because the differences have not been ers that in fact a simple number of years is not enough to guarantee that a product is studied and described, not because they do not exist. In Italy in the 1960s, wine was traditional. Golden Delicious apples, for example, are grown around the world (from red or white. Today a universe of different wines exists, which change according to Chile to Europe and Australia) and account for 80% of world apple production. But the vine variety, the territory, winemaking techniques and ability of individual produc- this is not a traditional product because the link to a local community and area is ers. Promoting diversity is fundamental to saving small-scale producers. Uniformity, much less important than the genetic component (i.e. the variety, which is the same flattening and superficiality (those who say “this product is the same everywhere”) everywhere and particularly stable, expressing the same characteristics regardless of favor producers of large quantities at the expense of quality. The fact that a product the territory). Yet this variety is a hundred years old and was identified at the begin- could be widespread over very large areas, often with the same name, does not mean ning of the 20th century. that it is not at risk in each of the territories where it is traditionally prepared. 14 15 5. Products must be at risk of extinction. Some examples... We can allow on the Ark the plum slatko from Bosnia and Herzegovina and wild fig A traditional product’s risk of disappearing can be real, in other words imminent, slatko from Macedonia. We can nominate Jabal ‘Amel freekeh from Lebanon, freekeh when the knowledge and skills necessary to produce it belong to one or a few produc- from Jenin in Palestine, or that from Idleb in Syria. It is possible to nominate feta ers, mainly elderly. It is not enough to have a written recipe or simple oral explanation cheese (in its original version) in various areas of Greece, Turkey and Macedonia. Nat- in order to produce a cheese, cured meat or traditional dessert. Traditional processing urally, we would not nominate Danish feta, though the largest producer of feta in the methods are the work of artisans and learning the practices means working with them world operates in Denmark. for years. One must learn the skills, and acquire an indefinable but necessary sensitiv- ity to be able to maintain constant the quality of a product even when the condi- tions in which the production takes place (the temperature, humidity of the places of work and aging, the time of year, the state of the animals’ health, etc.) change. Only production-line, industrial productions do not allow for the possibility of individual interpretation, but demand, on the contrary, simplified processes suited to the com- puterized technology used in most stages of production. The risk of extinction is real also when a product is made for home consumption only. Or when the introduction of ultra-hygienic laws swiftly renders places of maturation or production, equipment, or materials that are important for the characterization of a product illegal. In case of a risk of extinction, the risk is real when the number of units 4. Products must be produced in limited quantities. still produced is small (a few hundred or thousand). It is difficult to reverse a process On the meaning of “limited quantity” or “small scale”, the debate is open and agreed of genetic erosion when numbers are so low. It requires a commitment from institu- definitions are few. It is, in fact, a relative concept that depends on context (the case of tions, experts and funds to support breeders and financing of reproductive projects. a Mediterranean island is very different from the Amazon) and the type of production The risk is potential – in other words medium- or long-term – when the social situa- (growing onions is not like producing saffron or an aged Alpine cheese), and it is very tion (of producers or consumers) and the environmental situation (of the ecosystem) difficult to give a certain number or precise formula. are such that a reduction in the quantity or number of producers can be predicted for In the case of the Ark of Taste (but also in other projects like the Presidia and Earth the coming years. The signs of risk are many and diverse: changing trends in consump- Markets) we are interested in selecting products that could not be mass- or indus- tion; a market that no longer appreciates the product and pays very little, gradually trially-produced. In practice, “we are not able to calculate what is right, be we know reducing its profitability; depopulation of the area and emigration in search of new very well how to recognize what is wrong” (Schumacher, 1973). livelihoods of people traditionally able to produce the product; loss of generational The products on the Ark are tied to a specific territory and the knowledge of a com- transmission; alteration or disappearance of rural ecosystems and landscapes; loss of munity, and it is precisely these two elements that define their limits. It is not possible support from national and international agricultural policies, and a lack of attention to increase the quantity produced over a certain limit without fundamentally chang- from institutions. The looming threat of industrial products similar to the traditional ing the nature of production. If the volumes produced grow too much or too quick- ly (time is also an important variable), it increases the production area of the crops (which moves towards the model of monoculture), multiplies the number of animals being raised, intensifies the growing methods or leads to importing primary materials from outside of the production area (sometimes from very far away), and mechanizes many if not all of the steps of the production chain, giving up craftsmanship at the risk of not obtaining the same quality. The Ark of Taste is a catalogue of products, not producers. Therefore, it is not neces- sary to have an exact figure for the quantity produced (data which is, however, es- sential in order to have a Presidium), but it is important to at least identify an order of magnitude, to establish if we are dealing with an artisan or an industrial product. To further understand this concept, you can read Small is Beautiful, published in 1973 by the economist and philosopher F. Schumacher. 16 17 ones, which confuse consumers and orientate them towards homogenized and stan- dardized versions, can quickly expel traditional products from the market, as they are more vulnerable, fragile and have less support from advertising and marketing. Can a food produced only for home consumption be nominated? Yes. A product that survives only in family traditions but is not present on the mar- ket, even if produced in abundance, represents an extremely fragile system that risks General rules disappearing in the space of a generation. In the Balkans and many other ex-Soviet Union countries for example, small pri- vately owned companies previously did not exist, only large public cooperatives. In these countries artisanal products have survived only in families, and now, little by little, some of these are returning to the market. Nomination of a product must also follow these general rules: Here two different situations exist. Either a product is made exclusively by families for home consumption and is not sold, or a product is also present on the market, The name of the product included on the Ark must be usable by any producer, and but in a non-authentic version, with a standardized recipe or with different raw not privately owned by any producer or collective entity: it cannot be a trademark. materials. In both cases it is important to nominate the product handed down in The products that board the Ark of Taste belong to the community, to the territory families before it is too late. It is not necessary to understand if the production in they come from and where they were developed, to the generations that have handed question has the necessary commercial or sanitation requirements. The product can them down, and to those who have preserved them. They are not the private property board the Ark regardless. of a single company. Any new business or young person living in the area must have the option to cultivate, raise, or transform a product from the Ark. Therefore, the Ark The interpretation and application of these criteria must always of Taste does not contain any brand name products registered or patented by the take into consideration the different local situations – the geo- private sector. graphical, cultural, societal, economic and political differences of Some practical examples include: Nutella® is not on the Ark, but a traditional gianduja the communities in question. chocolate-hazelnut spread could be; Marlene® apples would not join the Ark, but in- stead any of the hundreds of varieties of apples that have continued to survive around the world could. Huguenot® (a cow’s milk cheese invented by a South African pro- ducer that has given his product an invented name that can be copyrighted) would not board the Ark, but an Italian caciocavallo, a Polish oscypek, or an aged French pélardon, or other cheeses typical of their respective communities could. Using the Slow Food logo, name and trademark (or any variations thereof) is forbid- den on the labeling of Ark products. Correct use of the Slow Food trademark and the ‘Ark of Taste’ name is established by the guidelines in the document Code of Use for Slow Food Logos – an attachment to the Slow Food International Statute. The Ark selects a product and not individual producers. The Ark does not require the knowledge of producers, their involvement or control over the production chain. An Ark profile describes appearance, color, flavor, but it is not necessary to know the details of the entire production. To give a simple example: an apple variety selected for the Ark subsequently could be cultivated using organic or conventional methods. The Ark limits itself to drawing up a profile, highlighting that a particular product is disap- pearing. It is an alarm signal, an appeal to take action around the world. As a result, the label of products on the Ark may not use the logos, neither those of 18 19