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wandaburton · 2 years ago

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Website : https://www.wandaburton.com/

Wanda Burton creates art that is for and about animals.

An animal lover all her life, she has always felt a spiritual connection to animals and she loves being in nature.

When you purchase from Wanda Burton's Etsy shop, you help her support non-profits that are dedicated to helping animals in need.

Her website features many of the paintings and drawings she has done over the past few years. To view items currently for sale, including original oil paintings, color pencil drawings, prints, and handmade prayer flags and patches, please visit her Etsy shop.

Pinterest : https://www.pinterest.com/wandaburtonanimalart/

Etsy : https://www.etsy.com/shop/WandaBurtonAnimalArt

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thenubianprincesse · 2 months ago

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Why Princess Dolls and Black Barbie Dolls with Braids Are Essential for Children’s Play?

The toy industry has come a long way in recognizing the need for dolls that celebrate diversity, and today’s princess dolls and black Barbie dolls with braids are shining examples of this progress. By offering children dolls that reflect their ethnicity and cultural heritage, parents are helping to foster positive self-identity and pride. With options such as Nubian Princess and African Princess dolls, as well as accompanying princess coloring books and children’s coloring books, children now have toys that help them see beauty in themselves and their backgrounds.

Nubian Princess Dolls – An Introduction to African Heritage

African Princess Dolls – Bridging the Gap Between Tradition and Play

Black Barbie Dolls with Braids – Reflecting Today’s Modern Beauty Standards

Modern and fashionable, black Barbie dolls with braids offer young children an inspiring representation of beauty that reflects contemporary African American hairstyles and fashion. The braids add a unique cultural touch, making these dolls relatable for children with similar hair textures. Barbie’s diverse collection now includes a variety of skin tones and hair textures, ensuring that every child can find a doll that feels personal to them. Whether they’re playing dress-up or styling hair, these dolls provide an enjoyable way for children to engage with fashion and beauty.

Enhancing Creativity with Princess Colouring Books

To complement their princess dolls, Princess Colouring Books and Childrens Colouring Book are excellent tools for encouraging creativity. By coloring scenes inspired by African and Nubian royalty, children can engage in self-expression and deepen their connection to their dolls’ stories. Coloring activities foster creativity and fine motor skills, making these books an educational and fun addition to playtime. Children can explore their creativity by coloring in characters that mirror their princess dolls, creating a cohesive and enjoyable play experience.

Conclusion

From Nubian Princess to black Barbie dolls with braids, these dolls provide children with an empowering image of beauty, heritage, and strength. With a variety of black dolls for sale that showcase different cultures, parents now have ample choices when it comes to introducing diversity into their children’s playtime. Adding princess coloring books to the mix can further enhance this experience, allowing children to color and bring their dolls’ stories to life.

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lboogie1906 · 5 months ago

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Barbara Elaine Smith (August 24, 1949 – February 22, 2020) known as B. Smith, was a restaurateur, model, author, businesswoman, and TV host.

She began her career in modeling; participating in the Ebony Fashion Fair and signing with Wilhelmina Models agency. She was the first African American model to be featured on the cover of Mademoiselle magazine.

She made two appearances on Mister Rogers’ Neighborhood, once as a model for Queen Sara’s wedding dress and once giving a tour of her restaurant, B. Smith, and making raspberry custard with Fred Rogers and her head chef, Henry. She taught child viewers about the importance of washing hands and shared the excitement of using huge bowls and mixers. She said her dream was to feed people, which began at an early age when she fed her dolls. Her weekly half-hour syndicated television show, B. Smith With Style, debuted in 1997 and aired weekdays on BTN and Bounce TV. It featured home decor and cooking segments.

She accepted a role in the Off-Broadway play Love, Loss, and What I Wore.

She owned multiple restaurants called B. Smith. The first opened in 1986, on Eighth Avenue at 47th Street in New York City, and moved around the corner to Restaurant Row on 46th Street; followed by another one in Sag Harbor, Long Island. She owned a restaurant in the historic Beaux-Arts Union Station In DC.

She married twice and although she had no biological children, she was stepmother to Dana Gasby. Her first marriage was to former HBO executive Donald “Don” Anderson. She married Dan Gasby, who was the executive producer of the Essence Awards and the senior vice president of marketing at Camelot Entertainment Sales Inc. #africanhistory365 #africanexcellence

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shefancdotcom · 2 years ago

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Check out this listing I just added to my Poshmark closet: Mattel Barbie 2015 African American Asian Doll GXY99-P041 With Pants & Shirt.

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swanlake1998 · 4 years ago

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Article: The Black Ballet Celeb Taking On Racism in Dance

Date: June 21, 2021

By: Mary Scott Manning

With a raft of Instagram followers and a modeling contract, the Washington Ballet’s Nardia Boodoo is as close as it gets to a pop celeb in the rarefied world of ballet. Now she’s trying to make that world more fair.

A ballerina, by definition, does not speak—at least not with words. The body is her language, and she spends her life mastering its vocabulary, usually at others’ direction: a casting list on the wall, a choreographer’s instructions, a critic’s review. For dancers of color, this fact has been doubly true.

But last year, after a Minneapolis police officer murdered George Floyd, and organizations across the professional spectrum were called out by people of color for furthering systemic racism, the overwhelmingly white world of ballet wasn’t spared. One of the most influential voices in that conversation was a dancer with the Washington Ballet, 27-year-old Nardia Boodoo.

You may have seen her onstage, one of the company’s five Black dancers, or in the pages of Marie Claire—she’s a model repped by Wilhelmina who has starred in campaigns for Tory Burch, Chanel Beauty, and Nike. She began dancing only 13 years ago, but Boodoo, whose roots are Indo-Trinidadian, has soared into the pantheon of ballet celebrities, the object of teen worship and the subject of fan art (plus at least one look-alike doll).

What was never visible was the racism she endured on the way up. “Despite the fact that I work hard in rehearsal, throw myself into my art form and perform on international stages,” as she put it on Instagram on May 31, 2020, “when I return home”—to Bethesda—”I’m still most likely to be questioned and harassed for walking my dog late at night in an affluent area…that I reside in.”

This month, Boodoo appears in one of the Washington Ballet’s latest productions, choreographed by the renowned Black dancer Silas Farely. Yet some of her most important recent work has occurred behind the scenes over the past year as she pushed the company to own ballet’s history of prejudice and its responsibility to change. “She’s just been a really, really important voice in helping us to galvanize and discuss all very important issues,” says Julie Kent, the company’s artistic director, issues that “haven’t really been addressed previously, and not just at the Washington Ballet but in ballet as an art form.”

When Boodoo started training at 14, Misty Copeland was making history as American Ballet Theatre’s first Black soloist in two decades, following trailblazing Black ballerinas such as Lauren Anderson and Raven Wilkinson. Boodoo’s peers at the Baltimore School for the Arts, meanwhile, were majority-African American, a “strong base,” she says, for a young artist of color. Boodoo earned a scholarship to Chicago’s Joffrey Ballet, then landed a coveted sport in the Washington Ballet’s studio company while still a teenager.

Leaving home, though, occasioned her first experiences with racial bias in ballet. “I’ve had someone who holds power say to me, ‘Well, because you stick out so much in the corps, you have to work so much harder, because everyone’s going to be looking at you,'” she says. “That’s not my fault that you only have one Black girl in the corps.”

It was the classic conundrum of a second generation. She wasn’t the one who broke down the door. But she still had to contend with an environment that was less than welcoming. And the pressure to fit a stereotype needled her. Virtually every professional Black dancer feels it: having to straighten curly hair, receiving costumes with mesh that doesn’t match their skin tone, wearing the pink tights that make light-skinned dancers look lithe but appear to chop inches off those with darker complexions. Sometimes Boodoo’s colleagues would make hurtful comments. “Stupid things,” she recalls, “like ‘Your hair smells like Black-girl hair.'”

Rachael Parini, a friend and the only other Black dancer when Boodoo joined the company, remembers when they were asked to wear white powder in Giselle, a tradition in the ballet but a loaded proposition for Black performers. At a rehearsal, the stager hollered over the loudspeaker: “Rachael and Nardia, why are you blue?” The powder apparently had turned their brown skin another hue under the cool stage lights.

Parini describes her friend as a force—”not one to back down from a fight.” But back then, the women endured the routine microaggression quietly. For all its glamour, a ballet company is a workplace like any other, governed by hierarchies and unwritten social codes. With one big difference: There’s usually no formal human-resources department. “You sort of get this vibe that this is how it is,” says Boodoo. “The more subservient you are…the better and the more instruction you’ll receive…the further your career will go on.”

After starting to model, Boodoo met a photographer who was perplexed by her acquiescence. He described how the New York dancers he knew were much more assertive. It was a revelation: Boodoo’s confidence and following grew. She became an apprentice at the Pennsylvania Ballet, then returned to DC, becoming a full company member in 2019.

By the time the country was protesting for racial justice and dancers of color began organizing over Zoom, she was ready to speak out. “To all the dancers that don’t feel supported by their companies,” she posted to Instagram on June 1, 2020, “I think it’s time to make some changes and to hold them accountable.” Andrea Long-Naidu, a former New York ballet star and a past teacher of Boodoo’s, looked on with pride: “When I had her at Dance Theatre of Harlem, she wasn’t aware of her powers yet.”

Seeing her staff in pain after George Floyd’s Killing, Kent convened an all-company Zoom. Voice cracking, Boodoo recounted her experiences, explaining that the bias often presented itself as overtly as it did implicitly: The problem wasn’t simply getting passed over for a role but also being told her face looked “too ethnic” for the part.

Kent, who is white, listened on the other side of the screen, distinctly aware of the vulnerability on display among her dancers. A former principal dancer with American Ballet Theatre, she performed on global stages and had a part in the beloved 2000 movie Center Stage. “I have a unique role and responsibility in order to move [the art form] forward,” she says, “and allow for the kind of career and love that I had to be possible for as many people as possible.”

Kent inherited one of the country’s most diverse companies from her predecessor, Septime Webre, who had recruited worldwide and electrified the institution’s cultural cachet. She had added 16 dancers to the corps, almost half of whom identify as BIPOC—and now they were hurting. There’s also the matter of competition. The Ballet has to compete with bigger acts imported by the Kennedy Center. In some ways, its relevance hinges on broadening ballet’s historically older, white audience with admirers whose woke-ness won’t tolerate notions of “diversity” that predate Black Lives Matter—or that feel performative.

Kent formed a working group with members from every department to tackle issues of inclusion and equity, and an outside consultant has been guiding their monthly meetings and homework. Boodoo, who represents the performers along with Oscar Sanchez, a Cuban dancer, had expected pushback. But her fan base and platform—a social-media audience that, at nearly 50,000 on Instagram, is within striking distance of some top New York ballerinas’—would have been tough for the company to ignore.

As wider discussions started, though, it became clear that white privilege was a new concept to some. Boodoo was dismayed that some colleagues were unfamiliar with certain civil-rights leaders, so she helped organize a remote study of the book The New Jim Crow. To prod management, she and fellow colleagues of color met privately to hash out ideas for the company at large. It’s been exhausting to divide her energy between institutional matters and the rigors of performing: “You want to just focus on your art form, you just want to focus on being beautiful, being a strong dancer, and contributing to the task at hand.”

Partly because of Covid limits on gatherings and partly because they had to start with building a shared vocabulary, the working group’s progress has felt slow. But they’re in the process of finalizing recommendations to address the places where inequity creeps in. Money, donors, time, and institutional commitment, meanwhile, all could limit their progress. The group, for instance, envisions a Nutcracker free of racist tropes—in particular, the traditional Arabian and Chinese dances, which play up offensive cultural stereotypes. But ticket sales help fund the annual budget. Will the public support changes to the beloved show? Can the company handle that financial risk?

The stakes—Black dancers continually being overlooked or leaving ballet—feel higher now that the work has begun. Still, Boodoo says she feels hopeful that the company will evolve. “She’ll be someone,” says Long-Naidu, “that’ll go down in the history books of Black ballerinas.” An artist who championed a new act for the ballet, or at least one who tried.

#article #nardia boodoo #ballet #racism #anti black racism

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tipsycad147 · 4 years ago

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Using Magical Poppets and Dolls

You're the only one who can decide what's ethically acceptable for you. Michelle Constantini/Getty Images

By Patti Wigington

Updated January 05, 2019

The magical poppet is one of the most commonly used implements in sympathetic magic, which follows along on the theory that “like creates like.” Although TV shows and movies typically show poppets as the stereotypical "voodoo doll," poppets have been around for a long time, and used in a number of different cultures and religious belief systems. There are many ways to create a poppet, and they can be used to harm or to heal; if you create a poppet of a person, anything done to the poppet will affect the person it represents. Bear in mind that some magical traditions discourage the use of poppets. If you're not sure whether or not it's okay for you to use poppet magic, you may want to check with someone in your tradition.

A poppet is usually made from cloth or fabric, but you can also make one from clay, wax, wood, or just about any other material. You can fill your poppet with herbs, stones, bits of wood, paper, or anything else that suits your needs. In addition to magical items, it's a good idea to include some cotton or polyfill as stuffing material.

Once the poppet is created, you'll need to connect it to the person it represents, which is typically done by using a magical link of some sort. Remember, the poppet is a useful magical tool, and can be used in a variety of workings. Use it for healing, to banish harmful people from your life, to bring abundance your way — the choices are practically limitless.

Poppet History

Fetish dolls on sale at a market in Togo. Danita Delimont/Getty Images

When most people think of a poppet, they automatically think of the Voodoo doll, thanks to this item's negative portrayal in movies and on television. However, the use of dolls in sympathetic magic goes back several millennia. Back in the days of ancient Egypt, the enemies of Ramses III (who were numerous, and included some of his harem women and at least one high-ranking official) used wax images of the Pharaoh, to bring about his death. Let's look at some of the historical uses of poppets in spellwork.

Greek Kolossi

It wasn't uncommon for the Greeks to use sympathetic magic in workings related to love or war. Christopher Faraone, Professor of Classical Languages and Literatures at the University of Chicago, is one of the foremost authorities on Greek magic today, and says that Greek poppets called Kolossoi were sometimes used to restrain a ghost or even a dangerous deity, or to bind two lovers together. In Idyll 2, The Witch (Pharmakeutria), written about 200 b.c.e., the tragedian Theocritus refers to melting and burning wax dolls. He relates the tale of Simaetha, rejected by Delphis, attempts to get her lover back with magic.

The Princess Who Played with Dolls

Wax dolls certainly weren't limited to the ancient classical world. The one-time Princess of Wales, Caroline of Brunswick, was married to the man who later became King George IV, and evidently couldn't stand him. She spent many hours forming wax dolls of her husband and jabbing them with pins. Although there's no concrete evidence as to what this may have done to George, when Caroline ran off to Italy with her young lover, George didn't object. The royal couple remained married but lived separately until Caroline’s death in 1821, according to Witchcraft and Evidence in Early Modern England by Malcolm Gaskill.

West African Fetish Magic

West African slaves brought with them a doll called a fetish when they were forced to leave their homes and come to the American colonies. In this case, the doll is not so much representative of an individual, but is in fact possessed by spirits connected to the doll’s owner. A fetish contains significant power and is typically worn or carried by its owner as a talisman. During America's Colonial period, slave owners were allowed to kill any slave found with a fetish in his possession.

American Hoodoo and Folk Magic

In American Hoodoo and folk magic, the use of poppets as a magical tool became popular following the Civil War. There is some dispute as to whether the dolls are used at all in Haiti, which is the home of Vodoun religion, and a few sources disagree on whether the use of poppets is truly a Vodoun practice or not. However, the Voodoo Museum of New Orleans does stock a variety of dolls in their gift shop.

Regardless of how you make your poppet — out of cloth, a chunk of meat, or a glob of wax, remember that poppets have a long tradition behind them, and that tradition is influenced by the magical practices of a wide range of cultures. Treat your poppets well, and they will do the same for you!

Make Your Own Poppet

Photomorgana/Getty Images

A poppet can be as simple or as elaborate as you like — it all depends on how much time and effort you want to put into it. You can construct one out of just about any material — cloth, clay, wood, wax. Use your imagination! In some magical traditions, it's believed that the more work you put into it, and the more complex it is, the stronger your link will be to your goal. Because a poppet is a device for sympathetic magic, all of its components will be symbols of what it is you hope to achieve.

You can do your poppet-making as part of the working itself, or it can be made ahead of time so you can use the poppet later on. Which method you choose is really up to you.

Remember, your poppet represents a person, so figure out before you begin who it symbolizes. Is it you? A friend who's asked you for help? An un-named lover you want to bring into your life? A gossip you want to shut up? The possibilities are endless, but just like in any spell working, you'll need to set a goal before you begin. It keeps you from having to deal with "do-overs" later. These instructions are for a basic poppet construction, using fabric. Feel free to modify your design as you need to.

Selecting Your Fabric

There are no real rules when it comes to choosing your material, but it's not a bad idea to select fabric based on your goal. If you're doing a money spell, use a piece of green or gold cloth. If you're looking at healing, perhaps something in a soft blue or silver would be best. Check out fabric stores around the holidays, and you can find all kinds of neat patterns.

Valentine's Day designs are perfect for matters of the heart, and there are plenty of prints with dollar signs, coins, stars and moons, and other fun designs.

Another option is to use fabric that links the poppet to the person it represents. Doing a healing spell for a friend? Ask the person for an old t-shirt. If you're trying to draw love into your life, consider using a scrap from that sexy lingerie you wore last night. If you just can't find the right material, use a plain muslin or white felt. Here are a few ideas for designs and colors for poppet magic.

Animals: Brown or green fabrics, patterns with cats or dogs, anything pet-related

Banishing: Black fabric, designs such as swords or wands, dragons or fire

Creativity: Orange or yellow fabric, prints of suns or other fire symbols

Healing: Silver, white or blue, with designs of clouds or other air symbols

Love: Pink or red material, designs like hearts, roses or other flowers, Cupids

Money: Silver, gold or green fabric, or designs of dollar bills or coins, cups or earthy symbols

Protection: Red or white material, with patterns of shields, keys or locks, fences, mistletoe

When it comes to types of fabric, use what's easiest for you to work with. Cotton prints are easy to sew, but if you've never used a needle and thread before, you might want to try something stiffer like felt — it comes in every color you can imagine, and will hold its shape as you sew. If you're an experienced sewer, use anything you like.

A poppet represents a person, so ideally it should look (sort of) like a person. Give it a head, two arms, two legs, a torso. You can make your own outline or you can use the ultimate poppet pattern — a gingerbread man. If you're doing a spell for an animal — such as a healing spell for a sick pet — make the poppet shape accordingly. Your poppet doesn't have to be huge, but it should be big enough that you can stuff it with your ingredients later.

Take two pieces of your fabric, and place them right side together on a flat surface. Place the pattern on top, pin it in place, and cut it out. Leave a little room around the edges for a seam allowance — usually a 3/8" margin is good. Remove the pattern, and there are your two poppet shapes. Time to start sewing!

If you've never sewn anything by hand before, don't panic. It's not hard, but it does require some patience. You could always use a sewing machine if you're pressed for time, but most experienced poppet-makers agree that it's worth the effort to do it by hand. Pin the two pieces of material with the right sides together, and stitch around the edges. Leave an opening somewhere, wide enough to stick a couple of fingers in. Turn the poppet inside out, and begin stuffing.

Personalize Your Poppet

Fill your poppet with something soft, like polyfill or cotton balls. Old pantyhose work nicely too. Work the stuffing all the way into the nooks and crannies of the arms and legs, and then fill the torso and head.

This is where you'll place your spell components — herbs, stones, whatever. In some magical traditions, something from the person represented goes inside the poppet. This is alternately referred to as a taglock or a magical link — it can be bits of hair, nail clippings, body fluids, a business card, or even a photograph. Once everything is inside, sew the poppet completely shut.

The more you can customize your poppet, the better. Even if you've placed a magical link, or taglock, inside, you'll want to decorate the outside too. Draw or paint or sew a face onto your doll. Add yard or string for hair. Dress your poppet in something that looks like the person's clothing. Copy any tattoos, scars, or distinguishing features onto the poppet as well. Add magical or astrological symbols if you like. While you're doing this, tell the poppet who it represents. You can say something along the lines of, "I have made you, and you are Jane Jones."

Your poppet can be used for any number of things—love, money, protection, healing, to get a job. Anything you can imagine, you can make a poppet to bring it about. Simply figure out your goal and the means to achieve it. The only limits on poppet construction are your own creativity and imagination.

6 Easy Poppet Projects

Make protective poppets for each member of your family with modeling clay. amanaimagesRF/Getty Images

Not sure what sort of poppets to create, or how you can use them in a practical application? Try one of these six easy ideas for making and using your own poppets.

1. To Get a Job You've Applied For

Material: satin, green or gold or silver

Herbs: clover, chamomile, ginger, cinnamon

Gemstones: snowflake obsidian or sodalite

Create a poppet to represent yourself. As you make it, focus on the positive attributes that you possess which will make you appealing to a potential employer. Another option is to create the poppet in the image of the employer (include business cards or letterhead inside, if you can get them) and tell the employer poppet why you're the best person for the job.

2. To Protect Your Family

Material: Modeling clay

Herbs: Basil, patchouli, coffee

Gemstones: Hematite, amethyst, black onyx.

Create poppets that represent each member of the family, blending herbs and stones into the clay. Put them in a safe place in your home, such as near your hearth, and utilize magical shielding or cast a circle of protection around them. This is actually a fun project you can get your kids involved in as well — let them each make their own poppet person!

3. To Heal a Sick Person

Material: White cotton or unbleached muslin

Herbs: Lemon balm, feverfew, ivy, and pine.

Gemstones: Bloodstone, turquoise

When you make this poppet, be sure to indicate what you are trying to heal, whether it's a case of tennis elbow, a chronic infection, or even a broken heart. Focus all of your energy on the ailment in question.

4. To Bring Love Into Your Life

Material: Red or pink silk or cotton

Herbs: Rose petals, parsley, and peppermint

Gemstones: Barite, jade, rose quartz

Make a poppet to represent the object of your affection — remember that in some magical traditions it is frowned upon to make a specific person the target of your working. If you are simply trying to attract love to yourself, but you don’t have a specific person in mind, focus on all the desirable qualities you want to see in a potential lover.

5. Silencing a Gossip

Material: Ground beef or other squishy meat

Herbs: Horseradish, pepper, rue, yarrow, valerian

Shape the meat and herbs into a person, and create a "meat puppet" in the same way you'd make a fabric one. As you make the doll, tell it that it's time to be silent, and tell no more gossipy stories. Remind it that people who can't say nice things shouldn't say anything at all. Dispose of the doll by either burning it on your grill and burying it someplace far away, feeding it to your dog, or leaving it out in the sun to rot.

6. Emergency Poppet on the Fly

Material: Aluminum foil

Perhaps something has come up in a hurry, and you feel it needs immediate magical attention. Use a piece of aluminum foil to whip together a quickie poppet — shape it into the figure of a person. Fill with any magical components that might be handy — bits of wood, dirt, grass, even a name scribbled on a piece of paper — and personalize the poppet.

Need additional poppetry ideas? Try making a magical gingerbread poppet, or put together a portable poppets kit to keep in your magical arsenal!

https://www.learnreligions.com/what-are-magical-poppets-4072783

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lboogie1906 · 2 years ago

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Barbara Elaine Smith (August 24, 1949 – February 22, 2020), professionally known as B. Smith, was a restaurateur, model, author, businesswoman, and TV host. She began her career in modeling; participating in the Ebony Fashion Fair and signing with Wilhelmina Models agency. She was the first African-American model to be featured on the cover of Mademoiselle magazine. She made two appearances on Mister Rogers' Neighborhood, once as a model for Queen Sara's wedding dress and once giving a tour of her restaurant, B. Smith, and making raspberry custard with Fred Rogers and her head chef, Henry. She taught child viewers about the importance of washing hands and shared the excitement of using huge bowls and mixers. She said her dream was to feed people, which began at an early age when she fed her dolls. Her weekly half-hour syndicated television show, B. Smith With Style, debuted in 1997 and aired weekdays on BTN and Bounce TV. It featured home decor and cooking segments. She accepted a role in the Off-Broadway play Love, Loss, and What I Wore. She owned multiple restaurants called B. Smith. The first opened in 1986, on Eighth Avenue at 47th Street in New York City, and moved around the corner to Restaurant Row on 46th Street; followed by another one in Sag Harbor, Long Island. She owned a restaurant in the historic Beaux-Arts Union Station In DC. She married twice and although she had no biological children, she was stepmother to Dana Gasby. Her first marriage was to former HBO executive Donald "Don" Anderson. She married Dan Gasby, who was the executive producer of the Essence Awards and the senior vice president of marketing at Camelot Entertainment Sales Inc. #africanhistory365 #africanexcellence https://www.instagram.com/p/Cho6SbbOOoilaKgPbcS-WPEgFXwy6En0khJa7c0/?igshid=NGJjMDIxMWI=

#africanhistory365 #africanexcellence

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aion-rsa · 4 years ago

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FrightFest 2020 Line Up Announced Including a Den Of Geek Panel

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Much to no one’s surprise annual horror celebration FrightFest has had to move its line up to an online only event to keep horror fans safe during this time of real life horror. But the good news is, the gang has still managed to source heaps of exciting things to watch on the August bank holiday weekend, from home.

Now the full line up has been announced and it’s packed with world and UK premieres. Unfortunately for US readers, the movies are geo-locked and only able to be watched from the UK (though the quiz and Den Of Geek’s panel are both free and available to watch from anywhere).

Den of Geek Presents: Horror In Lockdown Panel – Sunday 30 August, 7pm UK time.

Hosted by Rosie Fletcher, UK Editor of Den Of Geek the panel of special guests from the industry will discuss how the horror genre has been affected by the global pandemic. What does the shape of horror look like now we’re all actually living in a real life horror film? How are the stories we want to hear affected by our changed world? And what might the genre look like on the other side? The panel will run live for 90 minutes, with a chance for viewers to ask questions at the end.

It’s free to attend and we’ll have some fascinating guests from the world of horror, come and join us!

The main festival runs from Friday the 28th – Monday 31st of August, with a preview night including a special quiz on Thursday 27th run by Mike Muncer from The Evolution of Horror podcast – the quiz starts at 8pm and will be hosted on the Evolution of Horror YouTube Channel. Following the quiz there’s the UK premiere of the extremely silly sounding Sky Sharks, which features Nazi zombie piloted killer flying sharks. It’s German, it’s in English and it stars Tony Todd.

Sky Sharks

Passes and tickets go on sale on Saturday 1 August and details on how to access the event and choose which films to watch are on the FrightFest website. Warning – you won’t be able to watch everything because some screenings will be concurrent and in different ‘screens’ just like at the live festival, to pack more in over the weekend, so you’ll have to pick between some titles.

Friday

There’s No Such Thing as Vampires – an American action-horror which sees teenagers run into vamps in a remote outpost. This one actually began filming in 2015 and had a long post production period – this is the world premiere.

12 Hour Shift – Comedy horror starring Angela Bettis and David Arquette following an drug addicted nurse and some black market organ dealers who plan a heist. It’s the UK premiere, having screened at the Tribeca Film Festival in April and it comes from director Brea Grant.

Triggered

Triggered – This is the UK premiere of this high concept South African horror thriller from director Alastair Orr. It sees a bunch of friends on a woodland camping trip wake up with suicide bombs strapped to their chest set at different times. Things get messy when they learn that they can take each other’s remaining time by murdering one another.

I Am Lisa – A female werewolf movie which is an homage to Richard Matheson’s I Am Legend, from Patrick Rea who made 2013 horror Nailbiter. This is the world premiere.

Saturday

The Columnist – comedy horror from The Netherlands which sees a writer who’s constantly trolled with abuse and death threats on social media decide to take revenge. This is the UK premiere.

The Horror Crowd – a US documentary from Ruben Pla celebrating the horror community in Hollywood with lots of genre favourite talking heads. This is the world premiere.

Blind

Blind – American horror thriller which sees a former actress blinded by surgery living in the Hollywood Hills supported by her partially sighted friend and mute personal trainer until a masked stranger invades her home. This is the UK premiere.

Dark Place – This is a Australian horror anthology focusing on five Aboriginal tales with largely indigenous casts, focusing on post-colonial Aboriginal Australian history with a breezy 75 minute runtime. This is the UK premiere.

Don’t Click – Canadian internet horror which sees two friends zapped into a dank cellar by a vengeful porn website. Valter Skarsgård of the Skarsgård clan, stars. This is the world premiere.

The Honeymoon Phase – A couple short of cash checks into a testing programme that analyses relationships by monitoring couples in secluded smart homes in this US chiller with a tech bent that sounds Black Mirror-esque. This is the UK premiere.

They’re Outside – Emily Booth stars in this UK feature which sees a youtube psychologist attempt to coax an agoraphobic woman outside in 10 days until a local folk legend starts to become a reality. Found footage mixes with folklore in this adult fairytale. This is the world premiere.

Playhouse – A haunted castle in Scotland is the setting for this UK horror from debut directors Toby and Fionn Watts, which sees a horror writer attempt to create a macabre play to be set there, when supernatural forces begin to interfere. This is the world premiere.

Sunday

Two Heads Creek

Two Heads Creek – Cannibal comedy horror which sees a brother and sister escape post-Brexit Britain to seek their birth mother in a small town in Australia. This is the UK premiere of this Ozploitationer.

Aquaslash – Exploitation throwback to ‘80s slashers set in a waterpark where a murderer is messing with the water slides. This gory retro Canadian comedy is getting its UK premiere.

Skull: The Mask – This Brazilian horror sees Nazis discover an ancient artefact with supernatural powers which later pops up in Sao Paulo and possesses people to commit terrible crimes. Action horror getting its UK premiere.

Hall – Infection horror set in the hallway of a hotel where an airborne virus is causing carnage. Two women fight to survive and escape the hall in this Canadian mystery thriller that’s getting its world premiere.

Den of Geek Presents: Horror In Lockdown Panel – Sunday 30 August, 7pm UK time.

Clapboard Jungle: Surviving The Independent Film Business – documentary delving into the life of an independent filmmaker featuring interviews with a whole range of industry voices. This is the European premiere.

A Ghost Waits – second go round for this melancholy black and white indie which played FrightFest Glasgow earlier in the year, which sees a man doing up a house fall in love with the ghost that’s trying to drive people away from it.

Monday

AV: The Hunt – This killer thriller from Turkey sees a young woman pursued by the men in her family trying to kill her for a perceived affront to their honour in a violent actioner which has drawn comparisons to Revenge. This is the UK premiere.

The Swerve – This slow burn psychological thriller sees a woman battling depression struggle to cope after a fatal car accident. It’s the feature debut from Dean Kapsalis and comes from the US to make its UK premiere.

Dark Stories – Another five part anthology, which is also a snappy 75 minutes, this time from France. These stories are packed with zombies, Djinn, evil dolls and more in old-school supernatural style. This is a UK premiere.

Blinders – modern social media era chiller from the USA about a guy who relocates to LA after a breakup and befriends a rideshare driver who starts to behave strangely. A psychological thriller getting its UK premiere.

Enhanced

Enhanced – Mutant sci-fi in the vein of X-Men which sees a former mutant hunter join forces with a mutant he’s captured to stop an uber mutant from taking over the world. A UK premiere.

There’s also a shorts programme available on demand and Arrow Video will be presenting one of their podcasts with filmmaker and journalist Sam Ashurst and SFX guru Dan Martin

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