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Dunk Island, known as Coonanglebah in the Warrgamay and Dyirbal languages, is an island within the locality of Dunk in the Cassowary Coast Region, Queensland, Australia. It lies 4 kilometres (2.5 mi) off the Australian east coast, opposite the town of Mission Beach. The island forms part of the Family Islands National Park and is in the larger Great Barrier Reef World Heritage Area.
The island is surrounded by reefs and has a diverse population of birds. The Bandjin and Djiru peoples once used the island as a source for food. Europeans first settled on the island in 1897. Dunk Island was used by the Royal Australian Air Force during World War II. In recent years the island and its resort facilities have been adversely affected by both Cyclone Larry and Cyclone Yasi.
The traditional Aboriginal owners of Dunk Island are the Bandjin and Djiru people, who have lived in this area for tens of thousands of years. After the sea level rise, they paddled to the islands in bark canoes to gather food and materials. The Warrgamay and Dyirbal name for Dunk Island is Coonanglebah, meaning "The Island of Peace and Plenty". It received its European name from Captain Cook, who sailed past it on 8 June 1770, remarked that it was a "tolerable high island" and named it after George Montague-Dunk, 2nd Earl of Halifax (a former First Lord of the Admiralty).
Europeans settled the nearby mainland during the 1800s, seeking gold, timber and grazing land. In 1848, John MacGillivray studied the fauna and flora of the island while HMS Rattlesnake was anchored off the island for ten days. He subsequently wrote of its natural features in the Narrative of the Voyage of HMS Rattlesnake, published in England in 1852.
Dunk Island, eight or nine miles in circumference, is well wooded—it has two conspicuous peaks, one of which (the North-West one) is 857 feet in height. Our excursions were confined to the vicinity of the watering place and the bay in which it is situated. The shores are rocky on one side and sandy on the other, where a low point runs out to the westward. At their junction, and under a sloping hill with large patches of brush, a small stream of fresh water, running out over the beach, furnished a supply for the ship, although the boats could approach the place closely only at high-water. — John MacGillivray, Narrative of the Voyage of HMS Rattlesnake
Edmund Banfield
In 1897, suffering from work anxiety and exhaustion, and advised by doctors that he had just six months to live, writer Edmund James Banfield moved to Dunk Island with his wife Bertha – so becoming the island's first white settlers. Previously a journalist and senior editor with the Townsville Daily Bulletin for fifteen years, Banfield let the tranquillity of this unspoilt tropical paradise weave its magic and he lived on Dunk Island for the remaining 26 years of his life until his death in 1923.
A small hut built with the assistance of an Aborigine called Tom was the Banfields' first home. Over a period of time they cleared four acres of land for a plantation of fruit and vegetables. Combined with their chickens, cows and goats as well as the abundance of seafood and mangrove vegetation, they lived very self-sufficiently. Fascinated by Dunk Island's flora and fauna Banfield meticulously recorded his observations and went on to write a series of articles about island life under the pseudonym Rob Krusoe. He was further inspired to write a full-length book entitled Confessions of a Beachcomber (1908). The book became a celebrated text for romantics and escapists and established Dunk Island's reputation as an exotic island paradise.
In the ensuing years, Banfield wrote several other books about Dunk including My Tropical Isle (1911) and Tropic Days (1918). In these he shared the secrets of nature that he had uncovered and described the customs and legends of the Aboriginal people on the island. E. J. Banfield died on 2 June 1923 and his final book Last Leaves from Dunk Island was published posthumously in 1925. His widow remained on the island for another year before moving to Brisbane where she died, ten years after her husband. Today both are buried on the trail to Mt Kootaloo.
Commencement of the resort and World War II
The island was bought in 1934 by Captain Brassey and Banfield's bungalow provided the basis for the beginnings of a resort. The resort was commenced in 1936. The Royal Australian Air Force occupied Dunk Island during World War II, building its airstrip in 1941. They installed a radar station on the island's highest point a year later, which was then dismantled when the war ended in 1945.
Post-war development of the resort
The Brassey family returned to run the resort for a period at the end of the war. The island then went through a succession of owners. In 1956, Gordon & Kathleen Stynes purchased it and relocated their family there from Victoria. They then redeveloped and upgraded the resort's facilities to establish the island as a tourist destination. As a result, Dunk Island became a popular destination for celebrities[11] including Sean Connery, Henry Ford II, and Australian Prime Ministers Harold Holt and Gough Whitlam. The Stynes Family owned and operated the island and resort until 1964, when it was sold to Eric McIlree, founder of Avis Rent-A-Car.
In 1976, Trans Australia Airlines purchased Dunk Island. Ownership passed to Qantas in 1992, following its merger with Australian Airlines. On 24 December 1997, the island was purchased by P&O Australian Resorts, which was acquired by Voyages in July 2004. In September 2009, both Dunk and Bedarra island resorts were purchased by Hideaway Resorts, a wholly owned subsidiary of Pamoja Capital.
Artists' colony
Dunk Island was also home to a small community of artists who lived, worked and showcased their work to many international and local visitors on a property on the southern side of the island. The Colony was established in 1974 by former Olympic wrestler Bruce Arthur, who died at his home on Island in March 1998 and continued to operate under resident metalsmith Susi Kirk until Cyclone Larry damaged much of the colony. Kirk continued to live at the colony until Cyclone Yasi destroyed her home in 2011, and has subsequently continued to live and work on Dunk Island as the last member of the artist colony.
After Cyclone Yasi, 2011–2020
After Cyclone Yasi, Dunk Island was bought by Australian entrepreneur Peter Bond and redevelopment of the resort commenced in 2014. This redevelopment never took place.
In September 2019 Mayfair 101, an Australian family-owned investment conglomerate led by James Mawhinney, purchased Dunk Island. Mayfair 101 also secured over 250 properties on mainland Mission Beach as part of its estimated AUD1.6 billion 10-15-year plan to restore the region. Mayfair 101 was awarded the Dunk Island Spit tender on 14 November 2019 by the Cassowary Coast Regional Council, providing the opportunity for Mayfair 101 to negotiate a 30-year lease over the iconic Dunk Island Spit. The island's redevelopment is being undertaken by Mayfair 101's property division, Mayfair Iconic Properties, which has established a team based at Mission Beach to undertake the significant rejuvenation of the region.
In August 2020, the previous owners of the island, Family Islands Operations, owned by the family of Australian businessman Peter Bond repossessed the island after the owners Mayfair 101 failed to meet their payment obligations.
Source: en.wikipedia.org/wiki/Dunk_Island
Image source: Queensland State Archives Item ID ITM435811 Islands - Barrier Reef
Created for HonestReporting.com on April 19, 2012.
Please credit as "CC BY-SA HonestReporting.com" (without quote marks) and link back to this page for attribution.
Original appearance: The So-Called Jenin “Massacre”: The Media at its Worst
Original interactive feature: The Big Lies
De Heilige Familiekerk - of simpelweg Heilige Familie - is een neogotische parochiekerk in de Belgische stad Lier. De kerk ligt aan de rand van de stad aan het kruispunt van de Berlaarsesteenweg en de Lierse Ring.
Geschiedenis,
Met de bouw van de kerk werd aangevangen in 1902 en twee jaar later in 1904 was ze voltooid. De kerk werd gebouwd omdat het inwonersaantal van Lier was toegenomen en de stad hierdoor uitgebreid. Rond die periode werden twee nieuwe parochies gesticht: de Heilige Familie en het Heilig Hart.
Ze is van de hand van de Lierse architect Edward Careels. De kerk is opgetrokken in natuursteen uit Montauban. Het interieur is afgewerkt met Euvillesteen.
De kerk is met haar opbouw als driebeukige hallenkerk met kruisribgewelven een uitzondering binnen de neogotische kerkenbouw. Ook de atypisch geplaatste toren tegen de zuidgevel en de ingebouwde biechtstoelen geven het exterieur van de kerk een extra dimensie. De toren staat namelijk niet centraal. Opvallend zijn ook de venstertraceringen naar gevarieerde neogotische patronen.[1]
Beschermd erfgoed,
In 2009 werd de kerk beschermd als monument.
The editing on this is atrocious, I did it more for the context rather than the actual photo graphical elements.
Edited: Vignette, Contrast, Overlay, Sharpening
.JUsta gota de sinismo .. A que te lleva la mentira ? cual es ese mundo bizarro en el cual quieres vivir , donde nadie hable con la verdad . donde la sinceridad simplemente sea una mentira , donde solo existe el engaño la traicion la falsedad . en ese Mundo tu quieres vivir ?
I am a sad robot,
These 1's and 0's melt into 2's before my lenses.
I wasnt always alone.
There must be more to me than my components.
i feel isolated,insulated,
disconnected.
i wasnt always alone.
prints available from my etsy shop
nx
UNESCO World Heritage Site - Vatican City
Brief Description
The Vatican City, one of the most sacred places in Christendom, attests to a great history and a formidable spiritual venture. A unique collection of artistic and architectural masterpieces lie within the boundaries of this small state. At its centre is St Peter's Basilica, with its double colonnade and a circular piazza in front and bordered by palaces and gardens. The basilica, erected over the tomb of St Peter the Apostle, is the largest religious building in the world, the fruit of the combined genius of Bramante, Raphael, Michelangelo, Bernini and Maderna.
Cité du Vatican
Haut lieu du monde chrétien, la Cité du Vatican témoigne d'une grande histoire et d'une prodigieuse aventure spirituelle. Dans les limites de ce minuscule État, on peut admirer une concentration unique de chefs-d'œuvre de l'art. Avec la place circulaire à double colonnade qui la précède, avec les palais et les jardins qui l'entourent, la basilique, élevée sur les lieux du martyre de l'apôtre Pierre, en constitue le centre. C'est le plus grand édifice religieux du monde, fruit des génies conjugués de Bramante, Raphaël, Michel-Ange, Bernin et Maderno.
حاضرة الفاتيكان
تشكل حاضرة الفاتيكان محجة العالم المسيحي وتشهد على تاريخ عظيم ومغامرة روحية هامة. ويمكن التمتع في تخوم هذه الدولة الصغيرة تمركزاً فريداً للتحف الفنية. وتحتل البازيليك المرتفعة في موقع الرسول الشهيد القديس بطرس قلب المدينة الى جانب الساحة المستديرة المحاطة بصفين من العواميد والقصور والحدائق المحيطة بها. وتعتبر البازيليك أضخم بناء ديني في العالم وهي ثمرة ابداعات برامانت ورافاييل ومايكل أنجلو وبيرنيني وماديرنو مجتمعة.
Source: UNESCO/BPI
梵蒂冈城
梵蒂冈城是基督教世界最神圣的地方之一，证明了过去辉煌的历史以及基督教神圣精神的发展进程。这个小国境内云集了大量艺术和建筑杰作。城中心坐落着圣彼得基督教堂，教堂正面是两条柱廊和圆形广场，有宫殿和花园环绕。这座矗立在使徒圣彼得陵墓上的长方形基督教堂，容取了布拉曼特、拉斐尔、米开朗基罗、贝尔尼尼和马德尔纳等大师的天才智慧，是世界上最大的宗教建筑。
Source: UNESCO/BPI
Ватикан – район Рима
Город-государство Ватикан, одно из самых священных мест христианского мира, имеет богатую историю и огромное духовное значение. В пределах этого крошечного государства находится уникальное собрание шедевров искусства и архитектуры. В центре Ватикана расположен собор Св. Петра с двойной колоннадой, круглой площадью перед ним и прилегающими дворцами и садами. Базилика, возведенная над гробницей Св. Петра Апостола, является крупнейшим религиозным зданием в мире. Это - результат соединения творческого гения Браманте, Рафаэля, Микеланджело, Бернини и Мадерны.
Source: UNESCO/BPI
Ciudad del Vaticano
Sitio sagrado de la cristiandad, la Ciudad del Vaticano es testigo de una gran historia y una prodigiosa empresa espiritual. El perímetro de este minúsculo Estado encierra un cúmulo ingente de obras de arte excepcionales. En su centro se yergue la gran basílica edificada sobre la tumba del apóstol San Pedro, precedida por una gran plaza circular con doble columnata y rodeada de palacios y jardines. Conceptuado como el mayor edificio religioso del mundo, este templo es obra del genio artístico de Bramante, Rafael, Miguel Ángel, Bernini y Maderna.
Source: UNESCO/BPI
Daily 4
04.01.17
Still making discoveries in our new house. First I ran the jaccuzi jets in the bathroom for about 10 minutes. Wife made a cameo appearance for this shot in anticipation of a relaxing end to the day.
Then I noticed a robust leak of water pouring out from a crack between the tiles at the base of the tub. Lies and bathtubs. Reminds me of a great old movie.
THE LIE MACHINE (2014)
Suitcase, computer, speaker, Voice Stress Analysis software, autobiographical read-by-the author audiobooks (Palin, Obama, Clinton, Bush)
Voice Stress Analysis (VSA) is a highly contested and controversial lie detection technology. Through the detection of variations in the microtremors of speech, truthfulness is evaluated through analysis of live or recorded voice. As a result, the technique can be applied surreptitiously, even posthumously, to the vast storehouses of spoken audio available.
The Lie Machine processes recorded audio with standard Voice Stress Analysis algorithms. The archive chosen for this analysis is a set of audiobook autobiographies, each read by its author: Decision Points by George W. Bush, Going Rogue: An American Life by Sarah Palin, A Journey: My Political Life by Tony Blair, My Life by Bill Clinton, The Audacity of Hope: Thoughts on Reclaiming the American Dream by Barack Obama.
The title, “The Lie Machine” is taken from a 1973 Playboy Magazine article by Craig Vetter of the same name, on the subject of the Psychological Stress Evaluator (PSE). The PSE was the first commercially available VSA-based instrument, “designed to fit into a Samsonite briefcase.” The algorithm gained notoriety recently in the U.S. trial of George Zimmerman for the charge of the second-degree murder of Trayvon Martin, where Zimmerman was cleared of the charges based partly on his successful passing of a CVSA test (Computer Voice Stress Analysis).
“We are not concerned with the guilt or innocence of a suspect, only in whether or not he seems to be lying. He’s either D.I. or N.D.I. -- deception indicated or no deception indicated.” (Playboy, 1973)
The project was produced and supported by LEAP Berlin. Many thanks to John McKiernan, Daniel Franke at LEAP, as well as Samo Tadin and Tuk Bredsdorff in Copenhagen, for their interests, generosity and contributions.
Opening: Friday 04.4.2014, 19:00
Exhibition:05.04.2014 – 26.04.2014, 12:00 – 18:00 Tuesday-Saturday
Participating Artists:
Jamie Allen, James Auger and Jimmy Loizeau, Ralf Baecker, Rosemary Lee, Sascha Pohflepp and Chris Woebken, Addie Wagenknecht
_____________________________________________________________
The group exhibition Obsessive Sensing features works which as their basis look at the programming of the world as an expression of artistic research. The participating artists aim to ‘’sense’’ with the help of complex systems and thus to reimagine how we perceive the world. How do we go about sensing that which we cannot perceive? This is reflected in the idea of technical images, as described by Vilém Flusser – the preparation of the information which we cannot perceive for our senses. ‘’This can be achieved neither with hands nor with eyes nor with fingers, for these elements are neither graspable, nor are they visible. For this reason, apparatuses must be developed that grasp the ungraspable, visualize the invisible, and conceptualize the inconceivable.’’ (Vilém Flusser, Into the Universe of Technical Images)
(Photos by LEAP)
true lies
Più recenti Meno recenti
Comune di Samugheo
e
MURATS Museo Unico Regionale dell’Arte Tessile Sarda
presentano il progetto
FACE OFF
TRUE LIES
Sergio Fronteddu/Vincenzo Pattusi
dal 18 gennaio al 02 marzo 2014
Inaugurazione sabato 18 gennaio ore 17:00
Museo MURATS
SERGIO FRONTEDDU E VINCENZO PATTUSI SARANNO I PRIMI DUE ARTISTI A ESPORRE PER IL PROGETTO FACE OFF CON LA MOSTRA DAL TITOLO TRUE LIES DOVE SI CONFRONTERANNO CON UN TEMA LEGATO AD UN IMPORTANTE AVVENIMENTO QUALE IL CARNEVALE. NELLO SPECIFICO ANALIZZERANNO, ATTRAVERSO LE LORO OPERE, IL CONCETTO DI MASCHERA E DISSIMULAZIONE.
Il Comune di Samugheo e il Museo MURATS, in linea con il programma di promozione delle attività museali e del territorio, presentano la mostra TRUE LIES che apre il progetto FACE OFF, rassegna che proseguirà per tutto il 2014. L’intento del progetto è quello di porre due artisti a confronto tra loro, ma anche con un determinato argomento, a volte legato ai più importanti eventi della comunità di Samugheo e a volte su tematiche più generali. Con la mostra TRUE LIES saranno esposte le opere di due artisti nuoresi, Sergio Fronteddu e Vincenzo Pattusi, i quali hanno creato una serie di lavori realizzando anche opere congiunte.
La mostra verrà inaugurata sabato 18 gennaio alle ore 17:00, presso il Museo MURATS, e occuperà la prima sala del Museo. Mentre nella altre due sale rimarranno visitabili la mostra fotografica Chiara Samugheo. La mia Sardegna e, al primo piano, la collezione tessile del Museo con l’esposizione di pregiati manufatti sardi del tessile.
La mostra TRUE LIES (ossimoro inglese che significa “autentiche bugie”) vuole essere un “omaggio” al carnevale inteso come momento dell’anno in cui, attraverso l’utilizzo delle maschere, si assumono identità differenti con l’intento di rappresentare qualcun altro o qualcos’altro. Con la mostra si vuole indagare il rapporto tra le persone e l’azione del mascherare, azione che permette il cambio di identità rendendo tutto più sfuggente e soggettivamente interpretabile. Le maschere, infatti, comunicano un messaggio attraverso ciò che appaiono ma allo steso tempo servono per occultare cose e significati che possono risultare più o meno evidenti. Questo gesto può essere volutamente riconoscibile creando allora, tra il soggetto mascherato e chi guarda, un gioco delle parti dove non tutto è ciò che appare, o per lo meno diventa qualcosa di incerto e sfuggente.
Le opere di Sergio Fronteddu, realizzate con materiali quali sapone e colla, riproducono oggetti che tutti siamo abituati a vedere nella quotidianità ma in realtà sono qualcosa di differente, con la colla che ha la funzione di creare e opacizzare le immagini. I lavori di Vincenzo Pattusi giocano sull’ambiguità di volti a cui mancano caratteri fisiognomici o possiedono elementi estranei al volto umano rendendoli indecifrabili, enigmatici, dubbiosi ma nel contempo penetranti.
Per il Direttore del MURATS Baingio Cuccu e il Sindaco di Samugheo Antonello Demelas questa mostra, che apre un progetto della durata di un anno, è un ulteriore passo verso un’apertura al vitalissimo ambiente culturale della Sardegna attraverso quelle contaminazioni positive tra arti, unioni tra abilità del passato e della tradizione con la vitalità e le visioni dell’arte contemporanea.
Sergio Fronteddu nasce a Nuoro, città dove tutt'ora risiede e lavora dopo gli anni sassaresi in cui ha frequentato l'Accademia di Belle Arti. Il suo percorso artistico si stabilizza sin dall'inizio su due paletti fondamentali: da un lato irriverenti interventi pubblici; dall'altro la passione della scultura, consolidata dagli studi accademici, che si esprime con l'attenzione verso materiali insoliti come il sapone, a cui dedica una lunga produzione tematicamente riferita all'alimentazione, e la colla nelle opere più recenti. Ha partecipato a numerose mostre e iniziative culturali.
Vincenzo Pattusi, in arte LUDO 1948, è nato a Nuoro nel 1978, dopo la laurea in Storia dell’Arte e un master in conservazione e restauro, entra in contatto con l'ambiente artistico nuorese muovendo i primi passi nella street art e portando avanti un discorso pittorico che dai muri fa ritorno alla tele in studio in un gioco continuo di rimandi e citazioni. Ha eseguito diverse commissioni pubbliche e partecipato a numerose mostre in Italia e all’estero. Attualmente vive e lavora e Nuoro dove dal 2008 condivide con altri artisti il Seuna Lab, contenitore creativo per le sperimentazioni artistiche contemporanee.
Wilyakali:
Wilyakali lies in the east of the state of South Australia, crossing into New South Wales, including the town of Broken Hill. The Wilyakali people traditionally visited the Paakantji people on the Menindee Lakes in the Darling Riverine Plains Bioregion each year.
The three Major language groups for the Broken Hill Region are the Paakantji, Mayyankapa, and Nyiimpaa.
Wilyakali and Danggali both lie east of the Ngadjuri language and north of the upper River Murray languages.
Wilyakali and Danggali are part of the Darling River Language Group or Paakantyi / Paakantji language group. This is a group of closely related languages in South Australia and New South Wales, which can be subdivided into two groups: the “Northern Dialects” and the “Southern Dialects.” Wilyakali and Danggali are both part of the “Southern Dialects.”
Other “Southern Dialects” include Pulaali, Southern Pankantyi, Pantyikali, Wanyuparlku and Marrawarra. Some of these languages have been recorded more than others. Although each language has its own distinguishing features, they are so similar they can be understood by speakers of other languages in this group. Therefore, the following reference list will include Southern Paakantyi references that may be helpful. The language name is noted in square brackets after each reference, when known.
Today the Wilyakali people are still the main Aboriginal group in Broken Hill, though there are a number of Aboriginal people that come from other language groups.
The Aboriginal people of Broken Hill have established working parties to pursue their vision of a better future. They continue to look after their traditional lands and are joint managers of the Mutawintji National Park which is the first national park handed back to the traditional owners in New South Wales. There are many strong elders who continue to maintain and pass on their traditional knowledge to their young people and, today, share their stories with the wider community.
Danggali:
The Danggali nation is located across plains southwest of Broken Hill from near Tandou Lake, southwestward to Mount Bryan and Burra Creek, northwest of Morgan, South Australia, chiefly in the more arid country extending generally eastward to within a few miles of the Darling River.
For most of the year, Danggali people depended on water from the roots of water mallee trees but came in to the Anabranch of the Darling in dry times. Eyre (1845) gives the general term Paritke for these scrub dwellers west and northwest of the Murray. Their language name was Jakumban and they extended eastward to the Darling. They were known farther east as the Jokajoka or Jakojako, a term based on ['ja:ko] their word for 'no.' Richardson indicated them as extending westward, presumably in the scrub country north of the Murray, as far as North West Bend.
Walyakali is to the north of Danggali. Wilyakali and Danggali both lie east of the Ngadjuri language and north of the upper River Murray languages. Wilyakali and Danggali are part of the Darling River Language Group or Paakantyi / Paakantji language group. This is a group of closely related languages in South Australia and New South Wales, which can be subdivided into two groups: the “Northern Dialects” and the “Southern Dialects.” Wilyakali and Danggali are both part of the “Southern Dialects.”
Other “Southern Dialects” include Pulaali, Southern Pankantyi, Pantyikali, Wanyuparlku and Marrawarra. Some of these languages have been recorded more than others. Although each language has its own distinguishing features, they are so similar they can be understood by speakers of other languages in this group. Therefore, the following reference list will include Southern Paakantyi references that may be helpful. The language name is noted in square brackets after each reference, when known.
Source: Mobile Language Team (mobilelanguageteam.com.au/languages/danggali/), Aboriginal Housing Office, & South Australian Musuem (www.samuseum.sa.gov.au/collection/archives/language_group...).
Ex Type 2211
Met watervaste panelen en luchtluiken
Als magazijnwagen van Infrabel in Lier
wagennummer: 943/113
Scanning a field with binoculars, I spotted this hare out in the middle. Using the cover of a patch of chicory, I was able to approach more closely. Lying motionless in its form, it seemed impervious to the steady drizzle. I watched for about 30 minutes and then crept away, leaving it to wait out the rain.
She is now fully deboxed, and is lying down on a counter.
Deboxing the 2014 Ariel Classic 12'' doll. First the front plastic cover is removed from the cardboard backing. The doll is attached to the backing, but is now in clear view. Next, the doll is removed from the backing, and placed next to it. Because of her outfit, it is very easy to remove the remaining restraints without having to loosen her clothing. Only her hair needs some tidying up.
The doll and her outfit are very similar to the 2013 model, but with some significant changes. The biggest change is in her tail, with is now a greener color, and made from a knit cloth that has imbedded tinsel instead of glued on glitter. Now you can hold her by her tail without glitter shedding all over your hands, which is a big improvement.
US Disney Store
Released Online 2014-06-09
Purchased online 2014-06-09
Received 2014-06-17
$14.95
Item No. 6070040901025P
Tall tail
Oceans of fun are guaranteed with this Ariel Classic Doll. Fully poseable with a glittery tail and red hair that sends many fins a flutter, the details on our Little Mermaid will entice you to make her part of your world.
Magic in the details...
• Costume features glitter mermaid tail with tulle detailing and glittering top
• Poseable arms and head
• Combine with our 12'' Prince Eric Classic Doll and Ursula Classic Doll, each sold separately
• Part of the Disney Princess Classic Doll Collection
The bare necessities
• Ages 3+
• Plastic/polyester
• 12'' H
• Imported
Safety
WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.