Get ready, art enthusiasts! The Edward Hopper House Museum & Study Center (EHHM) in Nyack, NY, is buzzing with excitement as it announces its landmark "55 x 2" Annual Juried Exhibition, running from February 20 to April 26, 2026. This highly anticipated event isn't just another show; it's a vibrant celebration marking the 55th anniversary of the Hopper House becoming a nonprofit arts organization! đ
The intriguing title, Hopper House "55 x 2" Exhibition"," reflects the extra special structure. To honor the 55th milestone, the show will be presented in two distinct parts, with each section proudly showcasing works by 55 different artists. That's a grand total of 110 talented artists contributing to this celebratory display!
This competitive exhibition is a fantastic opportunity for both established and emerging artists, 18 years or older, to showcase their work. Submissions are open to both EHHM Artist Members and Non-Member Artists. EHHM members enjoy the perks of lower entry fees and an additional submission slot â a great reason to join the family!
Key Artwork Guidelines:
Must have been completed after January 1, 2023.
Never previously exhibited at the EHHM.
Must fall within stated size and medium guidelines (check the ArtCall link below for full details!).
Mark your calendars! The exhibition unfolds in two exciting phases:
Part 1: February 20 â March 22, 2026
Opening Reception: Friday, February 20, 5-7 pm
Part 2: March 27 â April 26, 2026
Opening Reception: Friday, March 27, 5-7 pm
Both opening receptions are free and open to Exhibiting Artists, Guests, and the Public, with online RSVP encouraged.
This year, the submitted works will be reviewed by Indira A. Abiskaroon Valbuena, a distinguished New York-based art historian, curator, and writer, currently serving as Curatorial Assistant of Modern and Contemporary Art at the Brooklyn Museum. She will select the final 55 pieces for each part of the show, ensuring each chosen artist is represented by one juried-in piece.
And for the first time ever, EHHM is delighted to announce $1,000 in prize money in honor of its 55th Anniversary!
First Prize: $500 đ°
Second Prize: $300
Third Prize: $200
Jurorâs Award: Upgraded 1-year Artist Membership to Friends of the Museum ($150 value)
Visitorâs Choice Award: Upgraded 1-year Artist Membership to Friends of the Museum ($150 value)
Don't miss these crucial deadlines!
| Event | Date |
| Submissions Open | Monday, November 24, 2025 (10:00 am) |
| Deadline for Submissions | Monday, January 5, 2026 (11:59 pm) â° |
| Notification of Juried-in Artists and Works | Monday, January 26, 2026 |
| Part 1: Artwork Drop Off | Mon-Tues, February 16-17 (10am-4pm) |
| Part 2: Artwork Drop Off | Tues-Wed, March 24-25 (10am-4pm) |
(See Terms and Conditions for shipping details.)
The EHHM is located in the charming Hudson River village of Nyack, NY, at 82 N. Broadway. It's the very family home of the iconic American artist Edward Hopper (1882-1967) and continues to fuel his creative legacy through engaging exhibitions, education programs, and community outreach.
Museum Hours during the exhibition:
Wednesday-Friday: 1-5 pm
Saturday-Sunday: 12-5 pm
Admission tickets can be booked online or purchased in person. Members receive FREE admission! Accepted exhibiting artists will also receive five (5) complimentary admission tickets. Plus, enjoy a 50% discount ($5 ticket) on Juried Exhibition visits (excluding Hopper House tours) on Wednesdays to Fridays.
Becoming an EHHM Member offers fantastic benefits, including lower entry fees and an additional submission! (Membership must be active through April 2026.)
| Status | Total Submissions | Fee Structure | Student Discount Code |
| EHHM Member | Max 3 | $25 (first two) + $10 (third) | 2026StudMember ($20 off) |
| Non-Member | Max 2 | $50 (first) + $20 (second) | 2026Student ($10 off) |
Exhibited artwork may be sold directly through the Museum Store and via the show's gallery page on ArtCall.org. EHHM's Museum Store will receive a 35% commission on all sales during the run of the show. If the artist arranges the sale privately, the same commission will apply.
This is quick video tutorial to help with the submission process for Art Call.
Manchester, UK â Beneath the vibrant façade of one of Britain's most dynamic cities, a heartbreaking reality continues to unfold. This week, the dedicated volunteers of the Manchester Homeless Group encountered a scene that laid bare the profound cracks in our social safety net: a family of five â a mother, father, and their three young children â enduring a third night on the streets, with nowhere else to turn.
The distress of the situation was palpable. For three consecutive nights, a family, usually considered a priority for housing services, had been invisible to the official systems designed to protect them. As the Manchester Homeless Group team scrambled, making repeated calls to the police and children's homeless services, their pleas for help met with silence. No one, it seemed, was able to respond to the quiet desperation of a family sleeping rough.
"Tonight was a sad one,"
shared the Manchester Homeless Group in a raw, honest account.
"We found a family of 5 mother, father and 3 children who have been living on the streets for 3 nights and no one cared for them."
The stark contrast in official response was particularly jarring. While calls for assistance for the vulnerable family went unanswered, a sudden public disturbance quickly drew a heavy police presence.
"Then a fight broke out and police were all over it in a flash,"
the group noted, highlighting a painful disparity in how different forms of crisis are prioritized. The immediate intervention for public order contrasted sharply with the lack of response for human welfare.
Yet, amidst this heartbreaking scene, the unwavering spirit of community shone brightly. Generous donations from the public, gathered by the Manchester Homeless Group, became a lifeline. Food, warmth, and clothing were swiftly provided to the family, offering a small measure of comfort in an otherwise bleak situation.
"Well done to the people who have donated the clothing and the food too and big shout out to the Manchester homeless group team for helping out the homeless community one love and see you all Thursday."
This incident is a stark reminder that 21st century homelessness is not a distant problem affecting a few individuals; it is a profound societal challenge that can engulf families, children, and those we least expect to see without shelter. The hidden nature of family homelessness often means it goes unreported until it reaches a crisis point on our streets.
The Manchester Homeless Group, a grassroots organization powered by compassion and determination, continues its vital work, week in and week out. Their tireless efforts fill critical gaps, providing not just physical aid but also dignity, a listening ear, and the unwavering belief that everyone deserves a home.
As we reflect on this distressing incident, it compels us to ask: What kind of society allows families with children to fall through such glaring gaps? And how can we, as a community, strengthen the safety nets so that no child in Manchester, or anywhere else, ever has to call the streets their home?
This story isn't just about a single family; it's a call to action, a plea for greater empathy, improved systemic responses, and continued support for the incredible grassroots heroes who stand on the front lines of our community, offering a hand up where the system too often lets people down.
The Peoples Hub is dedicated to amplifying community voices and highlighting social issues. If you wish to support the Manchester Homeless Group, please seek out their official channels.
In the vibrant, beating heart of Stockport, nestled within an area of Heaton Chapel in the UK often characterized by its socio-economic challenges, a profound and inspiring transformation is unfolding. This remarkable change is spearheaded by a local visionary named Kell, whose deep-seated love and extensive knowledge of the environment have breathed new life into an otherwise neglected patch of land on Marbury Road. What was once an unloved, unremarkable grassy area has, under Kell's tireless dedication, blossomed into a flourishing Marbury Road Edible Garden. A true testament to the power cultivating community, nature, and unwavering passion. This volunteer-led initiative isn't just about growing produce. It's about growing people and fostering connection. By providing a vital resource specifically tailored for residents. Particularly those living in social housing who often face significant economic hardship and social exclusion.
Kell's ambition transcends the simple act of growing plants. Her endeavour is a holistic approach to community upliftment and direct intervention in local well-being. The Marbury Road Edible Garden serves as a dynamic, living classroom. A verdant hub where local people are warmly invited to volunteer and gain invaluable skills. Here, hands-on learning flourishes, encompassing a diverse array of practical environmental and horticultural knowledge. Participants delve into the intricacies of sustainable gardening. From understanding the symbiotic relationships within healthy soil and mastering efficient planting techniques to nurturing growth, harvesting bountiful produce, and maintaining the garden's vitality through responsible stewardship.
These tangible skills are an invaluable asset. Empowering individuals with knowledge that can enrich their personal lives. It can potentially open doors to new vocational paths and foster a deeper sense of self-reliance and achievement. In an area often facing economic hurdles, such accessible, practical education offers a powerful pathway to personal and collective empowerment.
Beyond the cultivation of food and skills, the Marbury Road Edible Garden actively provides free access to fresh, healthy produce, directly addressing food insecurity within the community. But its impact stretches far beyond the plate. The project is meticulously designed to create a deeply therapeutic environment. Focusing significantly on improving mental and physical health, supporting drug recovery, and combating social isolation. For residents, especially those in social housing, this garden offers a much-needed sanctuary. Where they can develop crucial life skills and build confidence through regular, supportive gardening sessions.
The act of tending to the earth, witnessing growth, and collaborating with others fosters a sense of purpose and belonging that is profoundly healing. Reducing stress and anxiety, and enhancing overall well-being. This inclusive space aims to make horticultural therapy accessible to individuals who might otherwise face barriers to participation due to financial or social constraints. Empowering them to cultivate resilience and self-sufficiency.
The ripples of Kell's dedication extend deeply into the everyday lives of the residents surrounding Marbury Road. By meticulously crafting this accessible green sanctuary, she actively fosters an environment where people are encouraged to discover and immerse themselves in the inherent beauty of nature, both within the garden's peaceful confines and its verdant surroundings. In the midst of an urban landscape, readily available natural spaces aren't just pleasant amenities; they're vital for mental and physical well-being.
Kell's garden provides a tranquil retreat from the bustle of daily life. A space for quiet contemplation, and a tangible, grounding connection to the cyclical rhythms of the natural world. Significantly enhancing the quality of life for countless individuals. Offering solace, inspiration, and a renewed sense of place.
Kell's spirit is defined by an extraordinary passion and an unyielding motivation. She isn't content to merely cultivate her own project; her vision is far broader. Aligning with a growing network of community-driven initiatives that are transforming lives across Stockport and beyond. Her work at the Marbury Road Edible Garden echoes the vital efforts seen in other community projects, from those fostering mental well-being through sensory gardens and outdoor learning, to those addressing homelessness and social isolation through shared green spaces.
With an infectious enthusiasm, Kell proactively seeks out and immerses herself in any local initiatives where their core goals resonate with her own profound commitment to the betterment of the environment and the welfare of the people of Stockport. This powerful collaborative ethos amplifies her individual impact exponentially, showcasing a deep-seated dedication to broader community improvement and robust environmental stewardship. Her unwavering cultivating community efforts serve as a beacon. Illustrating how the focused dedication of one individual can create widespread positive change, inspiring others to join forces and collectively build a more resilient, sustainable, and connected community.
Kell's Marbury Road Edible Garden in Heaton Chapel is far more than a verdant space; it's a cultivating community, a living and breathing testament to the transformative power of community action, the boundless potential of environmental passion, and the steadfast belief that even the most overlooked or unloved areas can flourish and thrive with consistent care and dedicated effort. It stands proudly as a symbol of hope, demonstrating how grassroots initiatives can nurture not only the growth of plants but also the development of vital skills, the enhancement of well-being, and the forging of a stronger, healthier, and more deeply connected community, setting an example for similar ventures everywhere.
The dynamic environment of the Humber Estuary and the North Sea coast defines the character and history of Kingston upon Hull. As participants in The Shorelines Project, we are actively engaged in demanding a safer, more resilient future for our city. Therefore, understanding the technical language of coastal defense and geography is a crucial step in our advocacy. This resource is designed to serve as a foundational guide. Providing clear information on the types of shorelines, the different coastal zones, and the key geomorphological processes that continually reshape the land around us. Ultimately, grasping these scientific concepts will empower our community to better assess risks, engage meaningfully with policymakers, and understand why the artwork of the Shorelines Project focuses so acutely on the need for effective, long-term coastal management strategies right here in Hull.
The shoreline represents the constantly shifting boundary where land meets a large body of water, such as an ocean, sea, or lake. It is a highly dynamic environment shaped by the combined forces of waves, currents, tides, climate, and the geology of the coast itself.
A typical beach profile or shoreline is divided into distinct zones based on the influence of wave action and water depth.
| Zone | Location | Description |
|---|---|---|
| Offshore Zone | Seaward of the nearshore. | Always submerged; water depths are greater than wave base (where waves begin to "feel" the bottom). Geologically active due to turbidity currents. |
| Nearshore Zone | Extends from the surf zone to the point where waves start to break. | Water depth is less than one-half the wavelength. Sediment is disturbed and transported here, forming features like longshore bars. |
| Surf Zone | Where waves break (the point of maximum energy release). | The area of turbulent, frothing water where wave energy is dissipated. |
| Foreshore Zone | Between the high-tide and low-tide marks. | Periodically wet and dry due to waves and tides. Features the beach face (where swash and backwash occur) and the berm. |
| Backshore Zone | Landward of the high-tide mark. | Always dry under normal conditions, only affected by extremely high tides and storm waves. Often features dunes formed by wind-blown sand. |
Shorelines are generally classified based on the dominant geological process shaping them: erosion (removal of material) or deposition (accumulation of material).
These shorelines are characterized by rugged, steep terrain and rapid land loss. They form where the coast is made of resistant bedrock and where wave energy is high.
| Erosional Feature | Description | Formation Process |
|---|---|---|
| Sea Cliffs | Steep rock face created by the undercutting action of waves. | Wave action causes a wave-cut notch at the base, leading to collapse. |
| Wave-Cut Platforms | A flat, gently sloping surface formed at the base of retreating sea cliffs. | The cliff retreats inland as waves abrade the rock at the base. |
| Headlands and Bays | Headlands are narrow strips of hard rock projecting out that take the full force of waves. Bays are recessed areas of softer rock between them. | Wave refraction concentrates energy on headlands, eroding them quickly. |
| Sea Caves, Arches, & Stacks | Sequential features formed as headlands are eroded. | Waves cut a cave, which erodes all the way through to form an arch. When the arch roof collapses, a sea stack (isolated rock column) is left. |
These shorelines are characterized by gentle slopes, low relief, and the accumulation of vast amounts of sediment, forming beaches and sandy landforms. They typically occur where wave energy is lower or where there is a substantial supply of sediment.
| Depositional Feature | Description | Formation Process |
|---|---|---|
| Beaches | An accumulation of loose sediment (sand, pebbles) along the foreshore and backshore. | Deposition by constructive waves (strong swash, weak backwash). |
| Spits | An elongated ridge of sand extending from the shore into a body of water, often across a bay mouth. | Formed by longshore drift, which deposits sediment when the coastline changes direction or current velocity decreases. |
| Barrier Islands | Long, narrow islands running parallel to the mainland coast, separated by a lagoon or bay. | Created by wave action piling up offshore sediment, often migrating landward over time. |
| Tombolos | A bar of sand that connects an island to the mainland or to another island. | Formed by wave refraction patterns that converge and deposit sediment between the landmasses. |
| Deltas | A depositional feature formed at the mouth of a river where sediment is dropped as the river enters a standing body of water. | River velocity decreases rapidly, causing massive sediment deposition. |
The continuous sculpting of the shoreline is driven by mechanical and chemical processes, largely powered by water movement.
Waves rarely hit the beach head-on; they strike at an angle.
The rate of erosion or deposition is influenced by a combination of natural and human-induced factors:
The Humber Estuary, where Hull is situated, provides a prime example of a depositional, macrotidal (large tidal range) coastal plain estuary heavily managed by human engineering.
| Characteristic | Description | Significance |
|---|---|---|
| Geology | The Estuary itself is primarily built upon deep layers of post-glacial deposits (mud, sand, and clay), making it low-relief and naturally prone to flooding. | The primary sediment source is the rapid erosion of the Holderness Coast to the north (composed of soft boulder clay), which feeds the Estuary via longshore drift. |
| Tidal Range | Classified as macrotidal, the spring tidal range can exceed 7 meters in some areas near Hull (e.g., Saltend). | High tidal energy dominates hydrodynamics, leading to huge volumes of suspended sediment (turbidity) and the constant shaping of intertidal features like mudflats and salt marshes. |
| Depositional Features | Key landforms include the extensive intertidal mudflats and sand flats (visible at low tide) and salt marshes (high ecological value), all maintained by the constant influx of sediment. The most famous feature is the Spurn Point spit, a long, narrow sand and shingle spit that extends across the mouth of the Estuary, constantly migrating. |
Because Hull is a major port, industrial centre, and densely populated urban area, the shoreline management approach is almost entirely focused on Hold the Lineâusing hard engineering to defend against tidal flooding and erosion.
| Defence Scheme | Type of Management | Purpose and Impact |
|---|---|---|
| Humber Hull Frontages Scheme | Seawalls, concrete flood walls, and embankments (Hard Engineering). | A multi-million-pound scheme (completed around 2021) to raise defences along approximately 7km of the Hull shoreline, protecting over 113,000 homes and businesses from tidal surges, especially in light of predicted sea-level rise. |
| River Hull Tidal Barrier | Movable flood gate. | Installed across the River Hull near its confluence with the Humber, this barrier can be closed to prevent extreme tidal surges from moving up the river and flooding the city centre. |
| Managed Realignment | Nature-based solutions (Soft Engineering). | While Hull's immediate frontage is protected, strategic areas outside the main city (e.g., Paull Holme Strays) use managed realignment, where existing flood defences are breached to allow the sea to flood low-lying land, creating new salt marsh habitat. This reduces pressure on urban defences and compensates for habitat loss elsewhere. |
| Dredging | Human-induced sediment transport. | Extensive dredging is required in the Humber Estuary to maintain deep shipping channels for the port complex. This constantly alters the local sediment balance and movement within the Estuary. |
The Hull coastline is therefore a critical area where human infrastructure and natural, dynamic depositional processes are in direct competition, requiring continuous and significant investment in flood and coastal erosion risk management. To get involved please get in touch direct with the Shorelines Project.
The Justice Sector Equalities Conference 2025 convened in Edinburgh on August 28th. This significant event advanced Scotland's ongoing push for Forging a Fairer Future and a more just society. Hosted by the Fair Justice System for Scotland (FJSS) Group, this full-day conference gathered key leaders. Attendees included legal experts, policymakers, and human rights advocates. Together, they actively confronted systemic inequalities embedded in the justice system.
These inequalities form a complex web of challenges. Crucially, they affect all marginalized communities, including working-class people and women. While initial discussions focused on Black representation in law and the devastating Windrush legacy, the dialogue consistently stressed intersectionality. This crucial concept acknowledges identity's complexity. Race, beliefs, and background shape every individual, therefore creating unique barriers to justice.
The Rt. Hon. Angela Constance MSP delivered the keynote, firmly underscoring the governmentâs commitment to this cause. Subsequent discussions actively explored how the justice system has historically failed marginalized groups. Specifically, the Windrush session shifted the focus. It challenged the UK-wide scandal narrative, addressing the devastating impact on working-class families in Scotland. These families, the backbone of post-war labor, endured years of hardship and fear. Their basic rights were often stripped away. Consequently, the conference established a crucial platform for Forging a Fairer Future. It translates historical injustice into actionable policy changes today, ensuring dignity and fairness for all working-class migrants and asylum seekers.
Representation issues were not confined to race alone. For instance, women now enter the law as a majority. However, they remain underrepresented in senior leadership positions. This disparity grows for working-class women and women of color, who face additional hurdles of class and racial bias. Conference talks thus aimed to identify tangible steps. The goal: dismantle these pervasive "glass ceilings" and create a profession that truly reflects Scotland's diverse social fabric, thereby Forging a Fairer Future within the legal profession.
The success of the event was a testament to the power of collaboration and community. Volunteers from The Peoples Hub, including Hannah Fleetwood and Rosie Weir, played a vital role in the conference. Their commitment to the FJSS Group's mission showcases how grassroots action is essential to driving meaningful, on-the-ground change. By bridging the gap between community-based initiatives and high-level policy discussions, their involvement helped ensure that the voices and lived experiences of those most affected by systemic inequality were at the forefront of every conversation.
Ultimately, the Justice Sector Equalities Conference 2025 was more than a series of discussions; it was a call to action. By focusing on a human rights-based approach to justice, it challenged all participants to move beyond acknowledgment and work toward a future where justice is not a privilege, but a right accessible to all. The event served as an essential opportunity to learn from the past and to inspire policy and practice changes that will create a more equitable Scotland for everyone.
Tomorrow, the animated short directed by Aryasb Feiz and co-written with Amir Zoghi and Kaveh Ruintan, transcends its one-to-one narrative to become a resonant piece of social commentary on childhood, poverty, and the profound human need for connection. Set against the richly rendered, yet harsh, backdrop of 1970s Shiraz, Iran, the film introduces us to a resilient 10-year-old street urchin burdened with an adult responsibility: sustaining his own meager existence while simultaneously procuring vital, life-saving medicine for his ailing father. The narrative pivots on a deeply felt, entirely non-verbal relationship that develops between the boy and a stray dog, a bond that offers both emotional refuge and, ultimately, physical salvation.
The acclaim garnered by Tomorrowâincluding its Oscar longlistingâis a testament to its compelling blend of narrative sincerity and unflinching realism. Unlike many animated shorts that gravitate toward fantasy or idealized emotional landscapes, Tomorrow embraces a
"grittier, even brutal portrayal of a deprived and difficult childhood."
The film's aesthetic foundation is built upon a detailed and evocative rendering of 1970s Shiraz. This environment is far more than a backdrop; it is a vital, active character that dictates the protagonist's movements, opportunities, and constraints.
The choice of time and place is deliberate and layered with semiotic meaning. The 1970s in Iran, a period immediately preceding immense political and social upheaval, represents a moment of visible societal stratification and economic disparity. The boyâs existenceâeking out a living in "corners and alleys"âhighlights the marginalized existence of the urban poor. The animationâs use of Computer-Generated (CG) style is notable for its refusal to sanitize the environment. The streets are dusty, the textures of the stone and brick are worn, and the market scenes are crowded and chaotic.
This visual commitment to social realism ensures that the audience immediately understands the precarious nature of the boyâs life. The warmth of the "autumnal colors" is not romantic; it is the color of dry heat and aging infrastructure, creating a nostalgic yet melancholic atmosphere that perfectly mirrors the boy's emotional state.
Director Aryasb Feiz masterfully utilizes composition and color grading to define two crucial psychological spaces in the film. Each corresponding to a different emotional load carried by the boy:
The filmâs decision to operate entirely without dialogue is its most crucial artistic choice, forcing the audience to connect directly with the raw, non-mediated emotions of the characters. This demands a high degree of precision in character design and animation.
The 10-year-old protagonist is designed to embody a tension between necessity and nature.
The development of the boy's friendship with the stray dog is a masterclass in narrative economy. The filmmakers do not need extensive exposition; instead, they rely on universal, immediately relatable gestures of trust.
Initial Distrust and Parallelism: Initially, the dog, a stray, mirrors the boy's social status: marginalized, hungry, and wary. Consequently, their first encounters are defined by mutual caution. However, the first offering of food, the shared shelter from the rain, and the synchronized moments of rest quickly establish their parallel needs.
The Unconditional Acceptance: Furthermore, the dog offers a form of unconditional acceptance that the boy cannot find in the harsh human world. Crucially, this relationship provides the boy with psychological and emotional stabilityâa foundational need often absent in his life. As the analysis notes, this companionship thereby becomes the boyâs "solace and connection," offering him a necessary anchor of hope against the relentless tide of daily struggles.
In Tomorrow, the classical score is arguably the most dominant narrative voice. It compensates for the lack of dialogue, translating the complex internal emotions of the characters into a language the audience can process viscerally.
The "plaintive, expressive classical score" serves several distinct functions:
The scoreâs ability to range from "fear to anger to expressiveness" demonstrates the director's sophisticated understanding of how sound can be used to manipulate narrative pace and emotional depth, ensuring the audience is never lost, even in the non-verbal landscape.
The narrative of Tomorrow extends beyond a simple story of friendship. It engages with complex thematic layers concerning moral responsibility and the harsh erasure of childhood identity.
The most devastating aspect of the boyâs life is his enforced departure from childhood. His primary objectiveâsecuring medicine for his fatherâis an existential burden. This task requires him to perform activities that are morally ambiguous or outright dangerous for a child: hustling, scavenging, and dealing with unscrupulous adults.
The theme of loyalty is multifaceted, applying not only to the dog but to the boy himself:
The filmâs conclusion is arguably its most artistically successful decision. By opting for a "measured, triumphant yet bittersweet" resolution, the filmmakers reject the facile comfort of a typical Hollywood ending.
Beyond the narrative, Tomorrow is noteworthy for its sophisticated use of cinematic techniques, which maximize the emotional impact within the short-film format.
Feiz employs strong mise-en-scène to tell the story visually. Every frame is packed with details that inform the viewer about the boy's circumstances:
The filmâs pacing is strategically manipulated. The early acts proceed with a quiet, observational pace. Allowing the audience to absorb the setting and the development of the bond. The third act, however, introduces rapid cutting, close-ups on the boyâs face and the dogâs protective stance, and dynamic camera work to accentuate the escalation of tension. This sudden acceleration in pacing is a directorial choice that effectively shocks the audience. Disrupting the previously established rhythm of quiet struggle and signaling the shift into "thriller territory."
Tomorrow is a profoundly resonant animated short film distributed by Omeleto that succeeds because of its discipline and its empathy. Aryasb Feiz and his team demonstrate that animation can be a powerful vehicle for social realism. It is capable of conveying the complexity and brutality of life with an emotional clarity often unmatched by live-action.
The film's greatness lies in its refusal to simplify its narrative or its setting. It anchors its universal themesâthe necessity of love, the endurance of loyalty, and the crushing weight of circumstanceâwithin the specific, meticulously rendered world of 1970s Shiraz. The enduring image is not one of fantasy or escape, but of two marginalized beingsâa boy and a dogâwalking side-by-side. Their fierce, tested bond providing the only true certainty in an uncertain world. The conclusion is not a promise of an easy future, but the solid, undeniable consolation that they will face whatever comes tomorrow together. The film leaves the audience deeply moved. Affirming the fundamental truth that connection, even in its simplest, non-verbal form, is the ultimate engine of resilience and hope.
The Perth Suffragette Protest of 1914âa mass protest of thousands of women in Perth in the summerâwas a direct and furious response to the brutal practice of forcible feeding. Authorities were administering this procedure to militant suffragette prisoners inside Perth Prison. Suffragettes, members of the Women's Social and Political Union (WSPU), had adopted the strategy of hunger striking in prison. They protested their designation as common criminals rather than political prisoners.
The discovery of an old coin bearing the inscription "Votes For Women" by a metal detectorist in Scotland provides a potent physical link to this very era. Therefore, these coins were deliberately defaced pennies, stamped with the suffragette slogan as an act of political vandalism and widespread protest. This subtle, non-violent form of militancy was designed to spread the WSPU's message. Consequently, the finding of a coin in the Perthshire area strongly suggests that one of the thousands of women who descended upon Perth that summer dropped it while picketing the prison and demonstrating their outrage at the government's cruelty.
Perth Prison became the notorious hub for the forced feeding of suffragettes in Scotland in 1914. The Perth Suffragette Protest of 1914 focused specifically on women who were militant suffragettes. Police had imprisoned them for acts of civil disobedience and criminal damage, such as attempted arson, intended to draw attention to their cause.
The protest in the summer of 1914 focused heavily on the treatment of several key figures, including:
This teacher and militant suffragette from Edinburgh was serving a nine-month sentence for attempted fire-raising. Furthermore, Arabella Scott became one of the most prominent victims of forced feeding in Perth Prison. The prison doctor subjected her to the procedure for a significant period. The doctor considered the attempt to successfully force-feed her (leading to her gaining weight) a success. However, the WSPU condemned it medically and morally.
She was jailed for breaking into a mansion house with the intent to set it on fire. Moreover, Gordon's treatment in Perth Prison caused a national outcry. The medical officer, Dr. Hugh Ferguson Watson, not only force-fed her via a nasal tube but also allegedly administered nutrient enemas (rectal feeding) after she violently resisted and vomited the tube-fed food. Medical reports on her release described her as looking like a "famine victim." Her body was left physically damaged, and her skin discoloured. In fact, her case was raised in the House of Commons.
A niece of Lord Kitchener, Frances Parker was arrested after attempting to destroy Robert Burns' Cottage in Ayrshire with explosives. Following this, she was transferred to Perth and subjected to force-feeding. She and Frances Gordon alleged that the feeding involved attempts through the rectum and vagina, resulting in serious injuries. Clearly, the state used this tactic to shame, punish, and mentally break the prisoners.
In summary, these women were on a hunger strike because they demanded recognition as political prisoners. The government sought to delegitimise their political campaign by treating them as common criminals. The women's response, the hunger strike, turned their bodies into the final battleground.
Forcible feeding was a barbaric and degrading procedure. British prisons introduced it after suffragettes began adopting the hunger strike in 1909. Ultimately, the government used it as a political tool to circumvent the suffragettes' tactic of martyrdom. The state feared that a suffragette dying in prison would create a wave of public sympathy and outrage that would further their cause.
The process was inherently violent. Several female wardresses would restrain the women while a male doctor inserted a tubeâeither through the nose or down the throat.
Nasal Feeding: A rubber tube coated in Vaseline was pushed up the nostril and down the throat into the stomach.
Mouth Feeding: The prison staff prised the prisoner's mouth open using a steel gag. This metal device was designed to wrench the jaws apart, often damaging the gums and teeth. Afterward, a larger tube was forced down the throat.
Then, a liquid mixture of eggs, sweetened milk, and meat juice was poured through a funnel into the stomach. The act was not merely unpleasant; it was a form of torture. Often, it was done roughly, causing nosebleeds, throat infections, and vomiting. For example, in Ethel Moorhead's case, food entered her lungs, leading to a dangerous case of pneumonia.
The medical officer at Perth Prison, Dr. Hugh Ferguson Watson, was known for his eagerness to carry out the procedure and was a source of great public anger. Therefore, the widespread public knowledge that the government was sanctioning this treatment of often well-educated, middle and upper-class women fuelled the protest. The WSPU referred to it as a "torture" and a violation.
The entire situation was compounded by the notorious Prisoners (Temporary Discharge for Ill Health) Act 1913, nicknamed the "Cat and Mouse" Act. This act allowed authorities to release hunger-striking suffragettes when they became gravely illâon the brink of death. Crucially, the authorities then re-arrested them once they had recovered their health outside of prison. The name came from the cruel game a cat plays with a mouse, deliberately prolonging its victim's suffering. The protestors in Perth demanded the unconditional release of the prisoners. They recognised that their cyclical imprisonment, hunger strike, release, and re-arrest under the "Cat and Mouse" Act was a form of psychological and physical persecution.
The massive demonstration in Perth in June and July of 1914 was a peak moment of militancy and public outcry in Scotland. Thousands of women, including not just WSPU members but also local supporters, converged on the city. First, they picketed the gates of Perth Prison. Next, they sang hymns and shouted words of support through a megaphone, hoping to encourage the women inside. Finally, they interrupted public events, including church services and a royal visit, to draw attention to the suffering in the prison just a mile away. The protest was so disruptive that officials abandoned a cinema screening, shut down public buildings, and drafted extra police into the city.
The "Votes For Women" coin found in Scotlandâa penny or silver coin stamped with the militant sloganâis an artifact of this fierce struggle. Significantly, this act of defacing the King's image was a direct challenge to the patriarchal authority of the state.
The Perth Suffragette Protest of 1914, alongside the stories of the women like Arabella Scott and Frances Gordon who endured torture for their political beliefs, represents the final, desperate surge of the suffragette movement before the outbreak of World War I. Ultimately, the government's decision in August 1914 to release all women's suffrage prisoners and the WSPU's subsequent decision to suspend militancy in support of the war effort brought an end to this chapter of prison brutality. Nevertheless, the sacrifices made in Perth were instrumental in galvanising public opinion against the government's cruelty. Consequently, the coin and the protest are forever linked. Encapsulating the radical methods women used to demand their rights in the face of violent state repression.
The Persephone Project is the outreach arm of the Still Point Theatre Collective that works specifically with currently and formerly incarcerated women. Using the power of theatre and creative writing to foster healing, community, and re-entry success.
The project began in 1998 and is named after the Greek myth of Persephone, who was separated from her mother, Demeter, and taken to the underworld. The incarcerated women resonated deeply with this theme of separation and feeling "in hell", making it a powerful metaphor for their own experiences.
Impact: The workshops help the women articulate their thoughts and feelings, see their fellow inmates in a new light (as creative, intelligent women), and combat the sense of isolation and loss of identity that incarceration imposes.
Recognizing the immense challenges faced by women after releaseâthe critical and difficult time of re-entryâStill Point created an extension of this work called Sisters Rising.
Through both projects, Lisa Wagner-Carollo and the Still Point Theatre Collective use the transformative power of art to affirm the human dignity and creative potential of women in the criminal justice system.
