Interview with Jackie Morris

 

Jackie Morris is a British writer and illustrator whose work is informed by a deep love of the natural world. Her books have been published in fourteen languages and The Lost Words, which she illustrated was voted the most beautiful book of 2016 by UK booksellers. She lives in Pembrokeshire by the sea and is fascinated by bears and myths of transformation.  Folk Horror Revival’s John Pilgrim was pleased to catch up with Jackie last year to make the following enquiries about her world.

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FHR: Let me firstly provide a bit of context for those Folk Horror Revivalists who may not be familiar with The Lost Worlds by quoting from the cover jacket of the book.

 

“All over the country, there are words disappearing from children’s lives. These are the words of the natural world — Dandelion, Otter, Bramble and Acorn, all gone. The rich landscape of wild imagination and wild play is rapidly fading from our children’s minds. The Lost Words stands against the disappearance of wild childhood. It is a joyful celebration of nature words and the natural world they invoke. With acrostic spell-poems by award-winning writer Robert Macfarlane and hand-painted illustration by Jackie Morris, this enchanting book captures the irreplaceable magic of language and nature for all ages.”

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FHR: The Lost Words has enchanted many people in the deepest sense of the word. Can you share some stories about the effect which it has had on people. How has their understanding and experience of the natural world changed?

 

JM: Since the launch of The Lost Words at Foyles in 2017 it has taken on a life of its own. Robert and I are both astonished and heart-glad at the way it has been taken into people’s hearts and homes. There have been so many tales sent to us, of how people have shared it with loved ones living with dementia, of how it has helped people to cope with depression, of how it links generations in families, how teachers respond to it, and children also.

 

It has an amazing wild life. I love how people send us pictures of the book outside in the world, tucked up with children, the work that children have done with the book as catalyst.

 

 

FHR: The introduction to The Lost Words warns us that the rich landscape of wild imagination and wild play is rapidly fading from children’s minds. It’s been inspiring to see the efforts that have been made to make the book freely available to children through schools and libraries. Can you tell us some more about this?

 

JM: It began with a tweet from a lady in Scotland who saw how the book could connect children to nature again.  She made it her mission to crowdfund to place a book in every school in Scotland.  Her success snowballed into several other campaigns, and I think the Explorer’s Notes, which are a wonderful guide to using the book in schools, also helped with this. Now almost half of the UK schools, hospices over the whole of the UK, care homes in Wales and other institutions have been gifted the book by what has grown to be a great community of crowdfunders. Their energy and enthusiasm for the book and for working beyond its pages to reconnect the lives of children and adults to the more than human world around us all is wonderful.

FHR:  The notion of wild imagination and wild play is one that strikes a chord – are there signs of hope in rekindling wildness which you’ve become aware of?

 

JM: The young people who are rising up against the ignorance, arrogance and greed of older generations gives me hope. The new wave of politically minded and erudite youngsters put our politicians and their self-serving party politics to shame.

 

 

FHR: What role does myth and folklore play in your artistic practice and experience of the natural world?

 

In the same way that some people see themselves as set apart from the natural world, when they are in fact only the tiniest part of the wonderful biosphere, so are storytellers the new myth makers. As a species we are hardwired to learn through the power of story.

I write, I illustrate, to try and make sense of the crazy world we live in, and my hope is that in so doing I help other people to do the same. And there are some powerful minds working in the field at the moment. Richard Powers’ Overstory is a case in point, teaching people to see, really see, and seek out the trees that every day are taken for granted.

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FHR: Having been being fascinated by peregrines as a boy while on holiday in Pembrokeshire I loved your book Queen of the Sky.   For those who aren’t familiar with this book, could you say a little about the themes which you explore here?

 

JM: Queen of the Sky is a book about how a friend of mine found and rescued a wild peregrine falcon and released her back into the wild. It’s a story of great patience. A love story in a way, but one where something is loved so much that the person who loves it sets it free, to be as it should be. It’s a story about respect. And if H is for Hawk is a tale of how a woman was saved by a hawk, this is a tale of how a hawk is saved by a woman.

 

FHR: What landscapes particularly inspire you?

JM: Terrestrial. Including the ocean, above and below.

 

FHR: I read that you have been learning to work with wood engravings. How has this been for you?

 

JM: I’ve moved away from wood engravings. My eyesight is perhaps not good enough for the fine detail. But also my language is liquid and sumi ink has taken over as my medium of choice. But as with everything it takes a lifetime to master. But I am learning.

FHR:  In his book Being a Beast Charles Foster relays his experiences of seeking to live as animals such as badgers and foxes. I’m not sure whether you would want to go as far as eating worms as Foster has done, but I sense that through your art you are seeking to bring us closer to animals as fellow spirits?

 

JM: I’ve not read it yet. I wanted to be a bear when I was young, but would happily become an otter. And most of my work is about shapeshifting.

FHR: To what extent do you think it is important to acknowledge that despite its beauty nature is also ‘red in tooth and claw’?  Are there dangers in projecting human characteristics on to animals?

 

JM: I’m not a fan of ego-centric anthropomorphism if that’s what you mean. Is nature ‘red in tooth and claw’? That implies some morality? It’s not always kind. But we know so little about the world around us. It has so much to teach us. We just need to listen.

 

 

FHR: Which fellow artists and writers do you admire?

 

JM: So many. I love Robin Hobb’s books. Robert Macfarlane is an exceptional writer, and I need to explore Richard Powers more. John Irving has long been a favourite of mine.  Katherine Arden, James Mayhew, Brian Wildsmith, Chagall, Tunnicliffe, Alan Garner, Shaun Tan, Frieda Kahlo, Tom Bullough. Nicola Bailey, oh, so many. Picasso.  Look at me with my gender imbalance of people who spring to mind! (Though Robin Hobb is a woman, who writes under a gender-neutral name, because many men don’t read books by women.)

 

 

FHR: What are you working on at the moment and what projects would you like to take forward in the future?

 

JM: I’m working with the finest group of musicians to make a cd/lp and show built around The Lost Words. I’m working on a book that was written almost a century ago, writing a forward to re-introduce it to the world and painting images to decorate/illustrate it [now published as The House Without Windows]. I’m working on a book called The Keeper of Lost Dreams that I hope will be a catalyst for dreaming and a solace for troubled souls in our curious and turbulent times. And I am beginning to work on a new book with Robert, but that’s under wraps at the moment until we understand more of what it is that we are making [Ed: this has now been published as The Lost Spells; other recent publications include Mrs Noah’s Garden, with James Mayhew, published by Otter-Barry Books and The Secret of the Tattered Shoes with Ehsan Abdollahi, a wonderful Iranian illustrator, published by Tiny Owl.]

 

I’m also trying to take time to open my eyes to the wonderful wild world around me, wide as wide can be, and understand what is important, what time is, and how to live.

 

More Tales from The Black Meadow …

The Black Meadow Archive
Arriving through the dark and sodden mists and across the bare, barren fields comes ‘The Black Meadow Archive Volume 1’, a follow up of sorts to the compelling and essential ‘Tales of the Black Meadow’, which charted the mysterious happenings and events in the Black Meadow area of the North Yorkshire moors via the work of the missing Professor R Mullins. Mullins’ papers, found after he had disappeared without trace, were the basis for the wyrd and eerie snapshots of such Black Meadow based entities as ‘The Rag And Bone Man’ and ‘The Meadow Hag’, truly chilling and disquieting reportages from what appeared to be a Tarkovsky styled ‘Stalker’ type tear or rend in the area’s dimensional fabric. Both’ Tales of…’ and its bewitching accompanying soundtrack by The Soulless Party are crucial reading and listening for those with an interest in both the folk horror or hauntological domains and are best enjoyed and experienced together. Now author Chris Lambert, also known for the follow up ‘Christmas on the Black Meadow’ as well as the excellent ‘Wyrd Kalendar’ book and accompanying album, has sired this new archive, replete with evocative illustrations by Nigel Wilson, John Chadwick and Folk Horror Revival’s Andy Paciorek. So, come, let us traverse this new mapping of the meadow for just a short while. But do stay on the paths…

This new publication draws from the government’s Brightwater Archives; reports, interviews, legends and hearsay from this spooked countryside collude to build a picture of a place that has long been a site of occult and deeply strange occurrences. The missing in action Mullins features, as do tales of unnatural creatures and incidences that stretch back from medieval times (‘Lair of the Coyle’) to the modern day, including an explanatory and insightful chapter that features none other than Pink Floyd’s Syd Barrett and his singular visit to the meadow. Elsewhere, and across the ages, we are introduced to shape shifting horse people (‘Legend of the White Horse’) in a beautiful fairy tale-esque sequence, the vengeance of a giant, brutal supernatural entity that seeks retribution for his stolen farm produce (‘The Ploughman’s Wrath’) and an emotive and touching story of grief and loss in ‘The Maiden of the Mist’. Indeed, one of Lambert’s strengths is his ability to move from the terrifying and grim to the darkly comic, as well as the heartfelt and appropriately sentimental, with apparent ease and certain skill.

The stories themselves are sequenced into relevant sections pertaining to groups of myths or site specific events; we have the ‘Heather and Bramble’ compilation, which includes a number of blood filled folktales such as ‘The Blackberry Ghost (whereupon a bullying older child receives a gruesome comeuppance from the land itself) and ‘The Heart of Blackberry Field’ (a recount of a sacrificial feeding of the local harvest with a truly disturbing twist). There follows a ‘The Mysteries of Flyingdales House’ compendium which recounts such happenings as ‘Dead Man on the Moor’, a chilling account of occult protection and the acute danger that the meadow’s mist holds, as well as the extended poem ‘He Took Her Hand’, which ends with the hanging of an innocent man and a lover’s final disappearance into the black meadow itself. The sub-section on ‘Creatures from the Meadow’ is particularly haunting and effective, introducing murderous meadow hags, witches and spectral supernatural entities; we also find such preternatural beings amongst ’20th century Encounters’ – the story of the grotesque ‘Ticking Policeman’ is one that will linger with the reader long after putting the book down.

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‘The Black Meadow Archive Volume 1’ then is a necessary addition to any bookshelf that holds other Black Meadow publications, or to those who have an interest in the worlds of Hookland, Scarfolk or A Year In the Country, who enjoys the wyrd fiction of Robert Aickman or the work of Nigel Kneale, or that has a predilection towards the paranormal and the disturbing. Special mention must go the beautiful illustrations which compliment the tales and add a striking visual dimension to these horrors, this reader is reminded of the ghost story books of his youth where the artwork was equally as memorable and disturbing as the text itself. And, as with the previous collection in this series, there is an accompanying album by The Soulless party that marries gorgeous electronics with several of the tales from the book; experience them together for a truly immersive journey. Spend some time exploring the Black Meadow then, but do stay clear of the mist…

Review by Grey Malkin

You can now buy the book here:

https://www.amazon.co.uk/Black-Meadow-Archive-1/dp/1688953167

And  the album here:

https://thesoullessparty-cis.bandcamp.com/album/the-black-meadow-archive-volume-1

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https://blackmeadowtales.blogspot.com/

Winter Ghosts ~ 2019 ~

Just to say a huge Thank You to Kt & Cobweb Mehers, Darren Charles, John Chadwick  – The Doorman, The Met Lounge & Ballroom, Esk Audio Ltd, The Ballroom at Hetty & Betty, George CromackSarah Caldwell Steele,  Peter Kennedy, Professor Barbara Ravelhofer (and team),  Al Ridenour and Lauren from LA Krampus Run, Elaine Edmunds and Laurence Mitchell for The Whitby Krampusae and The Threshold Art Exhibition, Chris Lambert,   Bob Fischer, Nigel, Kev Oyston of The Soulless Party, Burd Ellen, Big Hogg, Unearthing Forgotten Horrors, Hombre Verdąd, Scarlett Amaris, Melissa Saint-Hilaire, Gary Parsons,  Mark Goodall,  George Firth and finally our Founder The Art of Andy Paciorek

Big Thanks also to everyone who braved the cold nights, sea fret, Transylvanian vampires, gytrashes, amorous seamen, Padfoot, Bearded Fred and other perils to attend Winter Ghosts.
Hope you enjoyed it.

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Winter Ghosts Musical Lineup

With our Winter Ghosts event just days away we have decided that it feels appropriate to collate all the information about our musical acts for you. A little taster of what you can expect from the evening session and another chance for me to gush about the wealth of astonishing musical talent we have cajoled into performing for us in what promises to be a quite brilliant and intimate setting. Anyway, without further ado here we go.

The Soulless Party

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Our Master of Ceremonies Chris Lambert will be covering double duties this weekend and I can assure you he and his partner in crime Kev Oyston, who makes up the other half of The Soulless Party have a real treat in store for Revivalists this Saturday.

Formed in 2013 Chris and Kev have worked tirelessly to bring the mysteries and secrets of the Black Meadow into the public eye. As everyone knows The Black Meadow is located just a few miles from Whitby on the outskirts of the village of Sleights. A strange place where, it is said, that if the mist rises a village will appear. This a place populated by tales of horse-men, meadow hags, land spheres, rag and bone men, maidens of mist, strange rituals and unexplained phenomena. It is no coincidence that this is where the MOD chose to put one of their bases – RAF Fylingdales whose strange Golf Ball Radomes dominated the landscape until the early 1990’s. The Soulless Party will launch their new collection of findings at Whitby Ghosts as they share a haunting mix of music, song, stories, images and interviews. This will be a hauntological experience in which folk horror meets urban legend through the medium of electronica tinged memory and dream.

Find out more about Black Meadow and The Soulless Party by visiting:

http://www.blackmeadowtales.blogspot.co.uk

http://www.thesoullessparty.bandcamp.com

 

Big Hogg

Next up we have Scottish progressive rockers Big Hogg,  a 6 piece Canterbury influenced group mixing threads of acid folk , Dr John , Kevin Ayers and 60s and 70s west coast psych. They released their eponymous debut album on Neon Tetra in 2015 and built up a glowing live reputation following shows at the Barrowlands , Rockaway Beach ,Wickerman and Eden festivals. In 2017 they signed with London label BEM who released their critically acclaimed “Gargoyles” album in May of that year. Record Collector magazine described it as ” An epic fantasia through Glasgow’s grimy underbelly with tumbling brass and suspended jazz chords” , while prog magazine describes them as ” masters of weaving an aural tapestry of influences together to create some suitably brilliant and uplifting music in the true spirit of the Canterbury pioneers” The band are currently recording their third album.

Of added interest to Revivalists is the fact that one of our favourite artists, the supremely talented Julia Jeffrey supplied typically outstanding artwork for both albums. On top of that band leader and guitarist Justin Lumsden is also responsible for the rather excellent Duke ’72 who made their vinyl debut earlier this year with “The Mid Shire’s Herald” as well as working alongside Gillian Chadwick on Ex Reverie’s rather excellent 2019 release “Isobel Gowdie”. We can’t wait to unleash them on Whitby.

https://bighogg.bandcamp.com/

 

Burd Ellen

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Finally, our headline act is the sensational Burd Ellen, the new solo project from Debbie Armour (Alasdair Roberts, Green Ribbons, Alex Rex) featuring Gayle Brogan (Pefkin, Barrett’s Dottled Beauty) and Lucy Duncan (Luki). The group uses traditional song to explore and evoke dark landscapes and deep stories. Innovative instrumentation, drone and sound-wash support detailed vocal work to create a unique sonic atmosphere.

Burd Ellen self-released their debut album SILVER CAME in Feb 2019, on limited edition CD. A record exploring women’s narratives in British folk song, SILVER CAME investigates ideas of persistence, defiance, devotion and transformation. The album was recorded by Jer Reid (Painted X-Ray, Claquer, Glasgow Improvisers Orchestra) over two days in the rehearsal space of Glasgow Theatre Arts Collective.

I was lucky enough to catch them performing live in Newcastle earlier this year and was blown away by their unique sound.  Debbie Armour has an astonishing voice, and is backed so beautifully by Gayle and Lucy. If you’re still considering whether to attend or not they are planning a special seasonal setlist just for Winter Ghosts, you may not get another chance to see this one again.

“sonically adventurous … with an emotional range and a raw inventiveness which is all too rare in contemporary folk circles.” – Alex Neilson
“A masterclass in shimmering, ethereal folk music… Cannot recommend highly enough” – Kyle Lonsdale, Earth Recordings

burdellen.com – burdellen.bandcamp.com
Sweet Lemany music video – https://www.youtube.com/watch?v=PSRB5Vsvx2A 

So that’s prett much it, other than to say that after our bands finish I (Darren Charles) shall be spinning some tunes for your terpsichorian pleasure before we finish the evening with our short films. I’ll be covering all musical bases from folk, acid rock and prog, to goth, metal and electronica and everything in between. I will be hoping to get you all up on the dance floor for some Folk Horror inspired tunes.

Tickets will remain available until 6pm on Friday evening when they will be removed from sale, however we will have some availability to pay on the door for the same price of £13 for all day and £7 for the evening session.

https://www.eventbrite.co.uk/e/folk-horror-revival-presents-winter-ghosts-tickets-55468722442

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The Wick – A Folk Horror short.

Wick – The protector of a Witch is just as bad as a Witch.

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In August I had the tremendous honour of being invited to the wonderful Genesis cinema in Whitechapel for a private screening of the new Folk Horror short film `The Wick’. Written, produced by and starring the clearly very talented Michelle Coverley FHR caught up with her to discuss the film, how it has been received and what the future holds for her and The Wick.

Set in the early 19th century in rural England, ‘The Wick’ is a tale of deceit and persecution of a woman who fights for justice against a lawless witch hunter.

The story unfolds seventy-three years after witch trials were banned in the U.K. When Esther, a known herbal healer in a small close knit community, witnesses her friends murder at the hands of a lawless witch hunter, she finds herself entangled in a dangerous web of deceit, blind ignorance and superstition. We track Esther’s head on collision into this dark world and her realization that things clearly need to change. We follow her journey of attempting to put an end to the ignorance and barbarity of these outdated beliefs. This is a universal and timely story of a strong woman, striving for justice and fighting for the rights of the underrepresented and the misunderstood.

`THE WICK’ is a dark, period drama with the village that Esther, our female protagonist lives in, being extremely superstitious to the point that it is horrifying. What these villagers are led to believe, without much proof and the lengths that some of them go to, to ‘fix’ things is quite shocking. The deception and ignorance is quite barbaric, with folklore and religion being at the heart of it.

To this day, countless numbers of people are still being accused of witchcraft and persecuted around the world. They have no rights, no voice and are condemned by misguided beliefs

Folk Horror Revival: The Wick is a beautifully shot film with the landscape and nature very firmly embedded into the story telling adding to the sense of isolation that allows suspicion and paranoia to breed in the community. It has definite Folk Horror overtones not least in its subject matter – how do you feel now it is done and being presented as a finished piece? I guess really you are still working on it in a publicist capacity now.

Michelle Coverley: Thank you for such a great review. I’m so happy that people are picking up all those details from the film. That’s exactly what I wanted people to see in ‘The Wick’. I feel amazing now that it’s complete and that it’s setting off on its festival circuit. It was such a long journey to this point. Many ups and downs and so to finally have it finished is a big relief. Both, the director, Sabine Crossen and I are extremely proud of it.

FHR: You must be very pleased with the end result and how it has all come together – can you tell us a bit about some of those different components (location, music, costume, set dressing)

MC: I’m extremely pleased with what my team and I have accomplished. Everything was shot on location in Sussex and we were very lucky to have found those specific places. Thanks to the Weald and Downland museum, The national Trust and Sussex Wildlife Trust, we were able to achieve a very authentic look for ‘The Wick’. Our amazing costume designer, Emma Clark added to that by designing and singlehandedly making all our costumes from scratch. Without her dedication and sheer hard graft, we never would have done it. As well with our talented production designer, Karijn Nijmeijer, who transformed these amazing locations with her magic touch. She traveled all the way from Holland to be with us!

Apart from those visual aspects, the director and I felt it was important to give the film a modern feel, to accentuate the films topical themes so to help the audience observe and connect from a more contemporary point of view. We did this through working with the amazingly talented Micha Theofanopoulou & Hollie Buhagiar on the sound design & music and then with Pooya from Panchroma Studios on the colour grade, choosing vibrant colours and stark contrast.

 

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FHR: I really loved `The Wick’ and I know it got a big round of applause at the private screening I attended. How has it been received? It must be interesting to see how different people respond to the story and its message.

MC: We got an amazing response from all our guests at the private screening. Sabine, the director and I were pretty blown away with it all. Because we have been so close to it for the past year, and I for even longer, it was so amazing to hear the audience notice all the small nuances of the subject matter come though, as well as picking up the bigger picture of the societal corruption and female persecution and to realise that it still has relevance today. I had people coming up to me telling me it really affected them, that it was hard hitting, surprising and shocking but beautiful at the same time.

People wanted to see more which was fantastic to hear! They were also pretty

surprised of the style of music and sound design we chose as it was quite obscure and different to what a ‘classical’ period drama would have used. The director and I were intent on steering clear of making it look and sound like a classic period drama. It’s turned into a period thriller with a modern edge, which I love.

FHR What are you plans for the film now? Will people be able to see it at some point? (is there a feature length version in the pipeline maybe??)

MC: Yes, I would love to make ‘The Wick’ into a full-length feature film, which is the plan. I’m at this minute adapting a treatment I did for it some months ago with a friend who’s in the industry. Watch this space!

For ‘The Wick’ short film, it’s now in the film festival circuit stage. I can’t wait to share with you when it has its world premiere. Short films usually have a two year life span at festivals till you launch it on line or it gets taken up by a distributor. The point of this is to make contacts for future projects and to showcase everyone’s talent who worked on it. I feel indebted to all the amazing people who came on-board. So trying to get it into as many great film festivals as possible is what I’m aiming for. This stage is a whole other ball game. Since finishing post-production, I’ve been scouring the internet late into the night, submitting it into festivals all over the world. Fingers crossed, they start to bite.

FHR: And what about you – what are your plans? Any future projects you can share with folk yet??

MC: After the experience with writing and producing ‘The Wick’, I’m actually pretty interested in directing my next piece. I’ve been collecting images over this past year that inspire an idea I’ve had for a while. It’s still pretty raw and the framework is all over the place but it’s a psychological thriller piece with folk horror and magic realism at its core. I’m also very excited about putting my actor’s hat on again for other people’s projects. That was the whole point in fact with making ‘The Wick’, to showcase my acting. So I can’t wait to throw myself into that again.

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If you get the chance to catch The Wick at one of the many film festivals that will no doubt be clamouring to showcase Michelle’s wonderful creation then you are in for a real treat. The landscape and presence of nature is wonderfully represented throughout giving the film a reassuringly bucolic feel that balances perfectly with the dark story that gradually unfolds. At times I was reminded of the way the landscape was shot in Winstanley and Witchfinder General in which small isolated incidents of great importance are played out within the vast expanse of the English countryside. Alongside this is a fantastically atmospheric score, a deep sense of authenticity and attention to detail and a perfectly paced story…in short The Wick is a triumph and hopefully it’s just the start for Michelle.

Final Winter Ghosts Announcement!

So as the Autumn takes full hold it is time for us to announce the final acts for this year’s Folk Horror Revival – Winter Ghosts event that takes place December 14th at the Metropole in Whitby.

Our final musical act are the rather wonderful Scottish prog rockers Big Hogg.

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Big Hogg are a 6 piece Canterbury influenced progressive group mixing threads of acid folk , Dr John , Kevin Ayers and 60s and 70s west coast psych.They released their eponymous debut album on Neon Tetra in 2015 and built up a glowing live reputation following shows at the Barrowlands , Rockaway Beach ,Wickerman and Eden festivals. In 2017 they signed with London label BEM who released their critically acclaimed “Gargoyles” album in May of that year. Record Collector magazine described it as ” An epic fantasia through Glasgow’s grimy underbelly with tumbling brass and suspended jazz chords” , while prog magazine describes them as ” masters of weaving an aural tapestry of influences together to create some suitably brilliant and uplifting music in the true spirit of the Canterbury pioneers” The band are currently recording their third album.

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Joining the lineup is our very own Darren Charles who will be bringing his Unearthing Forgotten Horrors radio show to the event. Featuring an eclectic mix of music, Darren’s aim will be to get everyone up and dancing to the very best in prog, folk, metal, goth, alternative, electronica and psychedelic music.

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Finally we will be screening three rather fabulous short films.

 

American Witch

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Welcome to a voyage from novice to initiate. The chthonic path is the common thread that weaves together the various underground religions in America from Wicca to Voodoo and Stregheria to Santeria, and everything in between. Along our pilgrimage, we will unfold the historical background in places where witchcraft came into its own distinctive form such as Salem, New Orleans, New York City, and Los Angeles. American Witch will also explore the stories of practitioners and how it’s changed their lives.

Scarlett Amaris has co-written scripts for the seminal horror anthology THE THEATRE
BIZARRE (2011), the award-winning, supernatural documentary THE OTHERWORLD
(L’AUTRE MONDE) (2013), featuring years of her research into the mysteries of the South of France, in which she appears as a resident expert, and the horror film REPLACE (2017). She’s co-written the dark fantasy trilogy SAURIMONDE I, II & III, and her first contemporary fiction novel DESIRED PYROTECHNICS will debut in 2019. A well-regarded authority on alternative history, her research has been featured in numerous books and anthologies. She also teaches comparative mythology and witchcraft at The Crooked Path Occult Apothecary in Los Angeles, and is a founding member of the Tridents of Hekate coven. Scarlett’s screenplay for H.P. Lovecraft’s The Colour Out of Space is currently receiving a great deal of praise across the festival circuit ahead of its release.

Melissa St. Hilaire wrote film and music reviews for The Heights Inc. Her poetry has appeared in the periodicals Shards, The Outer Fringe, and The Laughing Medusa. She co-authored several scripts for Tone-East Productions. She has written articles for Feminine Power Circle, Savvy Authors, SF Signal, and The Qwillery, among others. She has also appeared in the anthology books Folk Horror Revival: Field Studies and Folk Horror Revival: Corpse Roads. Her debut book was a memoir titled In The Now. She co-wrote the dark fantasy series, Saurimonde, with Scarlett Amaris, and is currently finishing a sci-fi novel called X’odus. She is also a founding member of the Tridents of Hekate coven.

Conjuration

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Gary Parsons is an MA film graduate from Goldsmiths College London who specialises in short films. Utilizing both, elements of the surrealist genre and images of the occult, these films are both beautiful and at times disturbing. They also tap into the verisimilitude of the erotic and the unconventional.

Gary has been influenced by film-makers such as Jan Svankmajer, Kenneth Anger, Alejandro Jodorowsky, Luis Bunuel, Hans Richter, Man Ray and Jean Rollin. All these elements meet within a melting pot to find visual references within the work.

Gary’s films can be viewed in many different ways, as straight forward narrative pieces but also as ritual film as demonstrated by similar film-makers such as Maya Derren or even as music promo video. The films stand as an ongoing obsession of their maker as an overall understanding of the human psyche within certain specific landscapes.

Conjuration is Gary’s most recent film and is based around an Alexandrian ritual. It deals with modern day magick, but also correlates it with magick’s heritage through Gary’s impeccable choice of shooting locations. Several powerful ancient sites, notably Avebury, Glastonbury, Pompeii and Oslo were chosen for this purpose.

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Louhi, The Northern Witch

Directed by Lauri Löytökoski, Louhi, The Northern Witch is a silent film with an ambient-folk score, based on The Kalevala, the Finnish national epic, the story draws from its shamanistic aspects.

The lead character is Runoi; a nascent witch who confronts his mother’s night terrors and is quickly transported into the realm of Louhi, the witch-queen of the undead. He journeys to axis mundi, the mythical pillar connecting heaven, earth and the underworld.

Main characters of The Kalevala are introduced as vessels for him to pass through. In the lines of Carl G. Jung’s anima/animus theory, they represent subconscious element of one’s sexuality, the opposite of the dominant side.

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So, that pretty much completes this year’s action packed lineup. Tickets are currently available from the eventbrite page below. We hope to see you all there for what promises to be another spectacular weekend of music, film, talks and art.

https://www.eventbrite.co.uk/e/folk-horror-revival-presents-winter-ghosts-tickets-55468722442

Don’t forget as well as the main Saturday event there will be the Thresholds Art Show in conjunction with Decadent Drawing, the unofficial Friday ice-breaker featuring Storm Chorus at the Rifle Club, and the Ghost story readings at the Hetty and Betty Cafe in Baxtergate on Sunday 15th.

 

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https://www.eventbrite.co.uk/e/folk-horror-revival-presents-winter-ghosts-tickets-55468722442

New T-shirts ~ Folk Horror Revival – Winter Ghosts 2019

https://scontent-lhr3-1.xx.fbcdn.net/v/t1.15752-9/s2048x2048/70347624_355523121999042_3817249422379581440_n.jpg?_nc_cat=109&_nc_oc=AQkt5rRuU9X36BuguCcUFRmumZghFLZCLafoL9MZg7yQilhPJYUIkEqJCErfTbSZX08&_nc_ht=scontent-lhr3-1.xx&oh=4ae4791fa3ad5448d248d2caf739c983&oe=5E34E032

The official T shirt for the Winter Ghosts symposium 2019 is here !!

It Glows in the Dark!!!!

Print is a dark cream in daylight and is truly fluorescent under UV light. Once charged they glow an eerie green.

T shirts are black, universal, round-neck Ts.

Designed by our very own Cobweb Mehers​ of Eolith Designs

https://scontent-lhr3-1.xx.fbcdn.net/v/t1.15752-9/s2048x2048/70250807_952633421736809_7445152999606845440_n.jpg?_nc_cat=110&_nc_oc=AQlbSf4g-r-XXZoiyLI3oyB7wS8QID3noWWesNm-uTNBF-LHpBmO0_j7lJ4MtmZNgCI&_nc_ht=scontent-lhr3-1.xx&oh=4efed6cbbbe9ae79a971d92f2d6c9bed&oe=5E35B8A6

Printed by Tyrant Design & Print

http://tyrannical.co.uk/
https://www.facebook.com/wicked.tyrant/

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Sizes currently available:

4 x M
7 x XL
10 x XXL

UK Pricing
£15
P&P – £6

USA Pricing:
$19
P&P – $7.50

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To Purchase – email Kt for more details

at –

shekinah0711@talktalk.net

 

Folklore Thursday: Harvest Spirits ~ Black Earth

In the autumnal glow of Folklore Thursday’s Harvest theme, here are a few Slavic spirits of the grain

POLEVIK

Polevik

(Also known as Polewiki. Polevoy. Polovoi.)

The Polevik is a strange spirit of the grain fields. they are usually masculine though some accounts mention females and children of the species. The Polevik is described as a rugged dwarf with dark earthy skin and grass for hair. They are frequently dressed in white and each of their eyes is a different colour. It is sometimes claimed that their feet are cloven like those of goats.

When in a jovial mood, Polevik may amuse themselves by killing wild birds or by causing travellers to become way-led and confused in surroundings which may normally be familiar to them. In their more aggressive moods, which accounts for most tales about them, they are violent, dangerous creatures.

They do not like idlers, and lazy field-workers may be lucky just to receive a hefty kick from a Polevik, for if they chanced upon someone drunk and asleep in the fields they would strangle the person to death. Like the Rye Wolf and the Poludnitsa, tales of the Polevik may be told to children to stop them playing in the cereal fields and risk damaging valuable crops, but legitimate workers may too feel ill at ease working with a Polevik presence looming. Therefore it was hoped that they would be appeased with an offering of two eggs and a cockerel that could no longer crow, placed in a ditch alongside the field. The Polevik were most active at noon and dusk, so it was desirable not to be in the fields at those times.

It is said in Russia that the Polevik shrink to the size of chaff or stubble when the harvest is nearly complete and will hide in the last few stalks and be taken in to the sheds. As it is also claimed that the Polevik causes disease amongst those who displease him, it is possible that he is symbolic of Ergot fruitbodies. Ergot (Claviceps purpurea) is a fungus that infects cereal crops, especially Rye, sometimes with calamatic effect. Whilst its hard dark purple fruitbodies are quite apparent it can still get get into the food supply as it is not noticable when ground and cooked. If ingested by people or animals it can result in poisoning called Ergotism. Rather than kill the toxicity baking the grain may strengthen the effects.

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Rye Mother

(Also known as Rye Grandmother. Rugia Boba. Zalizna Baba. Rzhana Baba. Zhytnia. Zalizna Zhinka – The Iron Woman.)

The concept of a Corn Mother was prevalent in the faiths of many cultures across the world. She may have often had a dark side relating to her association with the natural cycle of life, death and rebirth, yet in Slavic and also Germanic lore her sinister side is most prevalent.

Manifesting as a sinister old crone, she hunts for children with her iron hook, and once captured she will take them to suckle upon her iron breasts, yet it is not white wholesome milk that the children will drink but black poison that will sicken, madden and perhaps kill them. In this dark aspect she is not the personification of the nourishing grain but perhaps the embodiment of the toxic fungi, Ergot (see also Polevik).

Whilst the causes of Ergotism or Holy Fire were only officially recognised by science in the 16th Century, it can be assumed that peasants whose lives depended on the land would have known the cause and effect of the dark smut growing on their crops, if only by the resulting condition of the consequences of their livestock having eaten infected grain. Superstition may have also developed blindly around Ergotism as when cooked in human bread it is not visibly discernible. Obviously good grain would be used in favour of bad, but in hard times it may be a choice of either starvation or eat infected crops – damned if you do, damned if you don’t. Alas in bad weather when yields may be low already, the climatic conditions are also better for Ergot to grow. In the Little Ice Ages (1150-1460 AD and 1560-1850 AD) ergotism outbreaks were prevalent across Europe. In Russia in 1926-27, approximately ten thousand people were reported with Ergot poisoning

Also in harsh times wolves may be more inclined to move closer to human habitation, if coupled with the hallucinatory effects of the Ergot, then it is possible to see how tales of werewolves may have evolved, it is noteworthy that Rye also has a supernatural association with wolves and in some regions the Rye Mother would be accompanied by a wolf. Ergotism outbreaks have been debatably associated with the Witchcraft panics in various countries, though the ‘Burning Times’ never really descended upon the Slav countries, though witches were certainly not unknown there. Ergot may be associated to the Witch-like figure of the Rye Mother by a number of factors. The word Baba means both the last sheaf of crop and witch. Her hard dark poisonous nipples may be indicative of Ergot fruitbodies and ergotism can be transferred to a child if the mother’s milk is infected. Also the decrepit Rye Mother may be seen as a failure of fertility, both in the crop and in people, as Ergotism can also cause infertility and can cause abortions of foetuses, indeed it was used deliberately in folk and traditional medicine for this purpose.

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Poludnica

(Also known as Polednica. Pryzpotudica. Psezpolnica. Polednice. Poludnitsa. Pudnitsa. Pscipolnitsa. Potundiowka.)

Known across the Slavic countries and neighbouring territories from Siberia to Moravia, the Poludnica is the Midday Spirit or Lady Midday that brought terror to the people. Because of her strong affinity to the fields and the assertation that in some regions she manifests as an ugly old hag, there may be association between the Poludnica and the Rye Mother; however she is also reported to assume the form of an adolescent girl with a whip whose lash will lead to a short life. More frequently she will appear as a tall, beautiful woman dressed in a white cloak or gown brandishing a scythe, sickle or shears. Her beauty however may only be skin deep as there is a cruel streak to her nature, yet ironically her presence is in some regions deemed healthy to the vitality of the crops.

The Poludnica deems that noon time is sacred to her to wander the fields and should she venture upon a man whom is not taking rest at midday, she will pull their hair and tickle or twist their necks, if they do not desist working there and then and return home she may continue tickling them until they die or strike them down with madness. For this reason she is considered the embodiment of sunstroke.

Yet in some regions there are other bizarre and sinister tales told of the Poludnica. If the weather were stormy she would sometimes suddenly appear in the peasants cottages; the uncomfortable inhabitants would have to sit out the storm on their very best behaviour lest they offend their strange, uninvited guest.

She may also appear in a sudden gust of wind or dust storm and kill anyone in her path, or approach people and ask them questions or riddles and if their answer is not to her liking she would inflict them with illness, misfortune or insanity.

At other times she would either lure children to become lost in the grain fields or kidnap ones who have been left unattended at harvesting time. She would sometimes also kidnap women in childbirth and keep them captive for a year, or assault women and children who were not at home at noon. In parts of Poland she was said to hunt down the children and women with a pack of seven large black dogs. She was often utilised in the words of parents to stop their children wandering in lonely places or strong sunshine, to keep them away from valuable crops and if they were generally being naughty – “Behave or the Poludnitsa will get you!”

from Black Earth: A Field Guide to the Slavic Otherworld by Andrew L. Paciorek

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Available to purchase from – https://www.blurb.co.uk/user/andypaciorek

Reece Dinsdale In Conversation

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Join acclaimed actor Reece Dinsdale for an intimate evening of nattering…

Sunday 3rd November, 8:00pm – 10:30pm

at The Waiting Room
9 Station Road, Eaglescliffe,
Stockton-on-Tees, TS16 0BU
01642 780465

2018 saw the reissue on DVD and Blu-ray of Threads… surely one of the most hard-hitting and frightening TV dramas ever made? Barry Hines’ BAFTA-winning depiction of a Britain struggling to exist in the wake of a cataclysmic nuclear war is shockingly and stunningly realised, with actor Reece Dinsdale gaining deserved plaudits in the role of terrified young father-to-be, Jimmy Kemp.

It was a breakthrough role for Reece, although he’d already enjoyed an acclaimed stage career, and had made an early film appearance alongside Michael Palin and Maggie Smith (and a wayward pig) in Alan Bennett’s A Private Function. Full-on TV fame followed, with 1985 seeing the debut of hugely popular ITV sitcom Home To Roost, in which Reece played the rebellious son of a divorced (and reluctant) father, forging a formidable sitcom double-act with the great John Thaw.

Deliciously eclectic film and TV success continued; he played Guildenstern opposite Timothy Spall’s Rosencrantz in Kenneth Branagh’s big-screen adaptation of Hamlet, and won Best Actor at the Geneva Film Festival for his lead role in ID, playing an undercover police officer dragged into the murky world of football hooliganism. Further TV credits include Spooks, Life on Mars and Silent Witness, and two years in Coronation Street as the ill-fated Joe McIntyre. In recent years, Reece has earned acclaim for his portrayal of Richard III at the West Yorkshire Playhouse, and has also moved behind the camera, directing episodes of BBC1’s drama anthology Moving On. He has also appeared in folk horror favourites Robin Hood and The Storyteller.

In the latest of our regular ‘live chat shows’, Reece will be interviewed onstage by writer, BBC broadcaster, Haunted Generation archivist and self-avowed film and telly geek Bob Fischer.

Tickets available from – https://www.seetickets.com/event/chinwag-reece-dinsdale-in-conversation/the-waiting-room/1413021

Article shared from here

FOLKLORE ON SCREEN: Conference reflection

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Friday 13th 2019 came with the Hunter’s Moon and Scooby Doo and the gang were celebrating 50 years of ghost-busting and so too began the 2 day Folklore On Screen Convention organised by David Clarke, Diane Rodgers and Andrew Robinson of the Centre For Contemporary Legend at Sheffield Hallam University.

Folk Horror Revival were honoured to have a presence there in form of myself founder Andy Paciorek talking about British Dystopia in relation to our side project the Urban Wyrd. Therefore it would be biased for me to pen a review as such but instead I present this as a reflection on what was a fantastic weekend.

The event kicked off with Mikel Koven’s talk Return of The Living Slave: Jordan Peele’s Get Out as a Zombie Film, which gave a very interesting consideration on the subject matter with relation to both traditional magical beliefs and also modern culture.
Get Out Topples The LEGO Batman Movie at the Box Office - IGN

Image: Get Out

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Image ; Mikel Koven by Centre for Contemporary Legend

From there we entered into the Monster Mash the first featured panel of the weekend with Matthew Cheeseman’s Dracula’s Fangs talk leading us from the vampire’s dentiture into Derby’s utterly bizarre House of Holes – an adult entertainment crazy golf club and bar. Housed in a haunted building that in a previous incarnation many moons earlier was one of the first theatres to present the stage play adaptation of Bram Stoker’s novel Dracula. From the images of the ‘murder hole’ the surreal, quirkily disturbing  featuring a host of punctured inflatable sex dolls, it would seem the spirit of the vampiric count maybe got a shock sinking his fangs into the necks of these ‘voluptuous’ maidens.
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Photo: Matthew Cheeseman by Diane A. Rodgers

Sneak peek inside adults-only crazy golf course opening in ...

House of Holes. Derby – photo via https://www.derbytelegraph.co.uk/

Craig Ian Mann then followed this with Pack Mentality: A Cultural Approach to the Werewolf Film in the 1970s, which as well as reminding me of some films I haven’t seen since I was a child and introducing me to a few unfamiliar ones, brought a smile to my face in seeing the fantastic poster  Werewolves on Wheels (1971) displayed in the presentation. It is not a film that was really in the Oscars running of that year but I do think it deserves more than its 4.3 IMDB rating … well maybe… With its dark age of Aquarius subtext and the presence of a satanic cult, Werewolves on Wheels deserves to be more widely known among the folk horror community too, if only as a peculiar guilty pleasure.

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Image: Werewolves on Wheels

Rebecca Bannon then brought us Ghost of the Past Sweeney Todd: The Demon Barber of Fleet Street and Liminality which discussed the haunting of the titular character and director Tim Burton’s aesthetic approach in bringing what was a rather corporeal down and dirty tale of cannibalism to the screen as an opulently Gothic ghostly musical.

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Image: Sweeney Todd

Then followed the parallel panels of the day. As it was unfortunately not possible to see all talks and difficult to choose which to watch, I will give the running list here but can only pass comment on those I saw; but from the engaged and enthusiastic conversations which surrounded the breaks in the event, it would appear that all the talks went down well and touched aspects of different people’s psyches.

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From the birth of a modern mass panic that arose from a strange piece of  to the cursed tales of Crying Boy paintings (which although being rather kitsch in style and with a grisly reputation of misfortune surrounding them I’d rather quite like one) to finding out about a dark artist previously unfamiliar to me but one whose work has intrigued me since and is something I brought away from the conference in my mind and perhaps under my skin.

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Image by Bragolin

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Photo by Centre For Folklore, Myth & Magic

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Image by Peter Booth

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Photo: Momo from Stella Gaynor’s talk

Then the talks ended for the day but not the entertainment as the night treated us to excellent music sets by Hawthonn, Phil Tyler and Sharron Kraus

And also a specially brewed beer for the weekend!!

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Photo by Diane A. Rodgers

The next morning brought the Haunted Generation of which I was delighted to be a part. Talking about nuclear war and the end of the world should perhaps not be so enjoyable but sharing the panel with the founding father of Hookland David Southwell and Fortean Times The Haunted Generation’s Bob Fischer was an absolute pleasure and the talks they both gave were fantastic.
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Photo: Bob Fischer by Centre for Folklore, Myth & Magic

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Photo: David Southwell by Diane A. Rodgers

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Photo: Andy Paciorek by Centre for Folklore, Myth & Magic

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Photo: The Haunted (Re)Generations by Adam Spellicy
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Then followed the Parallel Panels, which again it would’ve been nice to bi-locate like Padre Pio to see all, but between the two lecture halls were discussions on topics ranging from Cat People to the Wickerman to Invisible Women to the Children of the Stones. Devils, Witches, Fairies, Foundlings, Holy Fools and UFOs all put in an appearance in some fantastic talks.

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Photo: Tom Clark – The Devil Made me do it by Centre for Folklore, Myth & Magic

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Photo: Evelyn Koch by Diane A Rodgers
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Photo: Andrew Robinson by Diane A. Rodgers

The convention was rounded off with Helen Wheatley’s Haunted Landscapes: Trauma and Grief in the Contemporary Television Ghost Story which featured some of the beautiful cinematography and aesthetics that accompany modern telly’s tales of haunted places and haunted minds.

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Photo: Helen Wheatley by Diane A. Rodgers

A great weekend filled with intriguing talks, evocative music and some very interesting and fun conversations.

A big Thank You and Congratulations to Centre for Contemporary Legend for hosting a great event and hopefully more to come.

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Photo: Diane A. Rodgers by Paul Dorrington