 Well, in the traditional introduction, I was a Angelo Bacca, I was born in Kisla, Bacca, Chichina. So my name is Angelo Bacca. I'm Navajo and Hopi, and I actually live and have grown up in San Juan County in the various areas of the region. So for indigenous communities, we're always thinking about our children's children's children having this kind of seventh generation thinking of the future. And I think that's a different approach than most Americans, most Westerners have when it comes to thinking about heritage and observing it for future generations. So I do like that framing and that theoretical idea of being in the forever business because we actually do need to shift our attentions and our focus towards the future. So we need to have people who are both in the private sector and in government and in public policymaking actually have that long-term thinking about preserving our heritage for the future. I think land is something that people see materially, visibly in front of them, and that helps because people can position themselves in that landscape, right? But the intangible cultural heritage piece is significant because it makes the intersection between objects or materials interact with human beings. So you can have a pot or a basket or sandals and you know what the materials are. You can carbon-date it. You can say what basket maker to a period it's from or what design that this particular painting was made from these materials that were gathered. But you don't have the other half of the information. What was that used for? Who was using it? What were the songs affiliated with it? What were the ceremonies that were done, rituals, for what purpose and for what specific reason? And what is it that we still use that is just like it or is exactly like it? And so that's the living cultural heritage piece that you have to complete with your materials. You both go together. The land and the people cannot be separated. Otherwise, you are limiting yourself and the information that the cultural heritage can give you. So you're only giving yourself half of the complete story. Because I think you'll find that once you actually do have a good, positive, productive working relationship with indigenous communities, that many of the same interests and the same allyships that are being built, the movements will start to happen and it will happen easier and in a very smooth and efficient way. And I think the coalition is a good example of that. Like having the acknowledgement of our previous history and what our limitations are, but also what our strengths are, that really helped galvanize us as a single entity, one unit that had one heart and one mind to protect a sacred place that we all thought was important to us. So I think that goes for government offices, for organizations, for nonprofits, for conservation groups. They all could stand to improve their working relationships with indigenous communities. We have working professionals. We have scholars. We have professors. We have lawyers. We have, you know, public officers. We have many different kinds of resources within ourselves, but we still have to be put on an equal and respectful ground with everybody else. Stories are very important because will they hold knowledge? And it's important for us to understand that even the oral traditions, the legends, the myths, all these things that talk about the time before what we understand now actually are very well built in a lecture series of large information that itself is a resource. Traditional knowledge has all of these included elements of things that are being talked about both in behavior of people, in social and cultural building, but also with the environment and how you manage it, how your relationship as a human being is meaningful and significant to other living beings like plants and animals and the elements and, you know, other than human beings, other spirits that live among us. The ability to tell a story and have a narrative, whether that's spoken in oral or through media and film and audio and visual or different kinds of imagery that's like art, like these are very important powerful tools that still persist today telling us the story of the past. Even in various years we can see like all the rock art and petroglyphs, like these are our living histories. They are archives. It's like having the Library of Congress on the wall and nobody's wanting to protect that. That's kind of, you know, it seems like the inverse is happening when really all of us should be working together to protect cultural heritage.