61˚N: The Arts Issue | Fall 2015

FALL 2015

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ALASKANA 6 A Discerning Space

by Dawnell Smith

Alice Rogoff / Publisher Maia Nolan-Partnow / Editorial Director Jamie Gonzales / Editor Viki Spiroska / Production Coordinator Aaron Jansen / Creative Director Joshua Genuino / Art Director Kelly Day-Lewis / Layout PHOTOGRAPHY Alethea Busch, Josh Genuino, Philip Hall, Christopher Hogan, Maleesa Johnson, Todd Paris, Kevin G. Smith, Kerry Tasker SALES Joy Bax, Lana Covert, Linda Gutierrez, Patrice Hannan, Nick Humphreys, Meghan Mackey, Brianna McKibben, Brandi Nelson, David Nolen, Cyndi Ramirez, Emily Rohrabaugh, Erika Watsjold

8 Capturing a Sense of Place in Public Space

by Jamey Bradbury 13 Becoming Local

by Jamie Gonzales 16 Live from Sitka

by Michaela Goertzen

PUDDLE JUMPER 18 Fresh Perspective

by Michaela Goertzen 21 Island Retreat

by Matt Reed

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6 From the left, Aiden SmithVale, Teeka Ballas, Dawnell Smith and Sawyer SmithVale pose for a photo with Alaska art journals at Hugi-Lewis Studio in Anchorage.

T A FIRST FRIDAY opening years ago, my youngest child paused to study a piece of art. Hinged double doors, it looked like a portal in the wall; you had to pull the wooden doors open to see the image behind.

His idyll lasted only a moment.

Without pausing or asking, an artist I know opened the small doors while peering at

us with a lingering smile. Behind the gateway was a painting or illustration of a nude or partially nude woman, I can’t remember which, because what jarred me wasn’t the image, but how the man’s gesture undermined my son’s chance to ponder the piece at his own pace, interpret the depth or dearth of meaning—and, indeed, to open the door himself.

There’s no way of getting that moment back to extract the child’s unadulterated impression.

I hold onto this memory like a worry stone,

7 perhaps to remind me of the importance of having a sacred space to sit with an idea or complexity of emotions, to clearly see and comprehend them.

How else do you learn what’s of worth and what’s only a distraction? How else do you navigate a world of consumption where words like “value” and “worth” apply only to stock prices and commodities? How else do you learn who you are and what you want to be?

Years ago, I wrote about beer and art for the Anchorage Daily News. People would say, “Wow, a brewer and beer writer, now that’s a job,” and I agree, but when it came down to it, I preferred interviewing artists. It takes some descriptive mettle to describe beer after beer, but figuring out the tendrils of an artist’s ideas, well, that tests the drive to dive in and take a stab at the undercurrents of meaning.

Looking at artwork that way begins with noting what’s actually seen and then analyzing and evaluating form, mastery, execution. What is the artist trying to say? What caused the artist to say it? What’s the context for the piece?

How successful or important is the work?

The line of inquiry matters—what if we really looked at, analyzed and evaluated what’s actually presented or proposed before every purchase we make, every business decision, every vote, every act of charity? What incorrect presumptions would we eliminate? What biased conclusions would we elude?

Discernment takes practice, of course. My kids and I got into the habit of practicing.

They grew up in two houses where both parents took them to art galleries and plays, folk concerts and dance recitals. With me, they got used to talking about plot logic and the meaning behind art materials. They grew accustomed to dissecting the violence in animated films, the corporatization of music, the heartless brush strokes of most hotel paintings.

They joined in carefully or absentmindedly—however their moods guided them—in breaking down the components of a film, poem, sculpture or performance piece to try to interpret it emotionally and intellectually, historically and viscerally.

Ingesting and digesting what you see, hear, touch and sense in a piece of art can sustain the heart and mind; it

matters what you consume. It’s easy to fill up on junk.

My big fat Oxford compact English dictionary, which requires a magnifying glass to read, defines discernment as intellectual perception. It’s just about looking below and beyond the surface of things.

When I was in my early teens, a bit younger than my own kids now, my parents decided to start a weekly “family music night.” It only lasted weeks, I bet, but it sticks as a communal memory. Substance abuse and loss had left its mark in our house by then, and sifting through vinyl seemed like a good way to reconnect. I don’t know what music I played my night at the turntable, but I remember sitting on the living room carpet with my dad’s albums splayed out—Pink Floyd, Miles Davis, Janis Joplin, the stray Lenny Bruce.

I was just another latchkey kid back then, prone to gobbling up what was spoon-fed by my peers and the media, but I caught a sigh of remorse after those family music nights ended. My dad played saxophone as a kid, but he pawned it off after my brothers and I were born. I never got to hear him play.

My kids wander their own paths and set their own standards. When asked what he remembers of art, my older boy mentions all the “Lord of the Flies” gatherings where he roamed the topography of the audacious, amazing and “Wait, you can do that?”

His younger brother finds little of importance in the art he sees these days, or so he says, but maybe that’s indifference speaking. He, of all of us, will look closely at the threads, welds and brushstrokes of a piece, or the lines, sounds and white space within a poem.

A year ago, we pulled out the “should we see it” flow chart for a well-reviewed movie and he voted against it because it failed the Bechdel Test, a simple measure of the active presence of women in a film. (To pass the test, the film has to have two named women in it, who talk to each other about something besides a man.)

When standing before the double doors to art, culture, life, you can open them up or leave them be; you can jump through them or walk on by. It’s hard to remember that with all the noise and meddling. It’s hard to find a space for distinguishing what matters from the bright, loud, giant and popular.

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HE STUDENTS AT Bethel’s M.E. Elementary School couldn’t stop talking about their tire swing. The memory of their enthusiasm stuck with Seward-based artist Justine Pechuzal as she pored over the photographs she’d collected on her visit to the school. “It was one of the things that struck me—the sense of wonder and play and possibility the children had,” she recalled.

Pechuzal captured that childlike wonder in a public art piece that depicts three children soaring on their tire swing above the town and into a starry night sky. The project, along with Pechuzal’s stint as a teaching artist at the pre-K through second grade M.E. School, was made possible by Percent for Art, a state program that requires one percent (or half a percent for rural Alaska)

9

of the existing construction budget to be set aside for site-specific artwork in new or renovated buildings.

Now in its 30th year, the program is administered jointly by the Alaska State Council on the Arts and the Department of Transportation with the mission to provide access to works of art in public spaces and contribute to the development of Alaska’s professional artistic community.

“The artworks commissioned through this program are almost like mini construction projects within the larger construction project,” explained Alaska State Council on the Arts executive director Shannon Daut.

As an arts program, Percent for Art often finds itself on the chopping block whenever the State faces budget woes; as recently as this March, program supporters

testified to the importance of Percent for Art in an effort to quash House Bill 160, which would have imposed a moratorium and sunset on the program.

PUBLIC PERCEPTION Part of the problem, said Daut, comes from a misunderstanding of how Percent for Art works. “People hear ‘public art’ and think it’s like writing a giant check to an artist for a painting.”

In fact, each commission includes a variety of items— everything from the artist’s design fee to materials, to travel and accommodations—and makes possible the kind of unique opportunity the Bethel students enjoyed when Pechuzal became M.E. School’s teaching artist.

“Process in art is often not seen or understood

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because we see artwork already on a building or in a museum, and it’s sort of a mystery how it went from point A to point B,” Pechuzal said. Instead, her students got to see and participate in every part of the artistic process, from coming up with a concept to sketching to working with color and shape, as she developed her lightbox installation and helped the children design a mural that reflects the plants and wildlife native to their community.

That’s the beauty of the “public” part of public art, Pechuzal added. “It’s a visual statement about who people are and what’s important to them.”

COMMUNITY INPUT Public art has come a long way since the “plop art” of the 1970s, said Daut, when it amounted to “a big sculpture plopped down on a lawn.” Thanks to programs like Percent for Art, the creation of public art today is much more grassroots. The committee that designs each project’s request for qualifications and ultimately commissions the artists includes architects, project managers and DOT representatives, but is mostly made up of the community members who will enjoy and benefit from the art.

“Having public art that’s meaningful to a place is especially important in rural Alaska, where the

connection to community is much stronger,” said Andrea Noble-Pelant, Visual and Literary Arts Program director for the state council. “Rural schools aren’t just places where students learn during the day; they’re community hubs. Successful public art projects create spaces that engage the whole community.”

These projects also record the history and heritage of a village. Through Percent for Art, photographer Kevin Smith has completed photo murals for as many as 16 rural schools, from Akiachak to Noatak, that incorporate archival photos with life-sized portraits of elders and other locals. “When these projects go up, it’s a huge sense of community pride,” he said. “You get the ancestry of three, four generations of people on the wall, and it ties the community into the school. I’ve even heard reports that kids behave better in these spaces, as though they feel their elders are watching them.”

Smith also gives 8-by-10-inch prints to each person who sits for a portrait and donates copies of his images to the local school for archival use.

For the artists, said Daut, “The program can be a game changer because there’s consistent funding for public art projects. It’s hard to make a living as an artist anywhere, but especially in Alaska because there’s such a limited market.”

11 Students learned painting techniques in preparation for the children’s mural creation.

BIG OPPORTUNITIES

Each grade completed their own three-paneled painting; sky, river and tundra themes respectively.

“It’s great for rural artists because when you apply, you’re all on the same playing field, and selection is based on your work, not where you live,” said Gail Niebrugge, a painter who now resides in Palmer but lived in Copper Center when she got her first commission with Percent for Art. Painting a panorama of Seward for the Alaska Skills Center enabled her to complete a large-scale piece—something few artists can afford to do on their own—and garnered attention for her work that led to further commissions, greater exposure and multiple shows and exhibits.

While the council doesn’t offer a formal mentorship program, Percent for Art allows Daut and Noble-Pelant to connect emerging artists with seasoned artists who can help them navigate and coordinate the requirements of a state arts program. The council

also works closely with artists to develop their project budgets or help them transition from two-dimensional pieces to three-dimensional work.

“Public art allows artists to experiment while staying within a budget; it’s planned experimentation,” Noble-Pelant said.

Experimentation like the kind that led to the creation of Pechuzal’s lightbox installation at M.E. School, the result of her first Percent for Art commission.

She hopes that this experience helps her win future commissions so she can keep creating and teaching.

“It’s great working with the state arts council because of the guidance and support they give. It’s clear they’re interested in creating good public artwork, but also in creating new generations of artists.”

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An Effective Alternative to Braces Q

during the day. It actually guides your child’s teeth into the correct position, before more severe crowding or bite problems arise.

Why have I never heard of the Ortho-tain?

By: Owen Mandanas, DDS

In my 14 years as a dentist in Alaska, I have focused a lot on preventive dentistry.

Usually it involves prevention of cavities and gum disease. For the past four years, however, I have been using an appliance with my patients, called the Ortho-tain, that can effectively prevent the need for orthodontics. I am truly excited to share this with you and it is a goal of mine to straighten as many young smiles as possible with the Ortho-tain.

I truly am amazed by the results I have seen to the point that I think it is crazy that the public is not aware of its existence.

There is an alternative to traditional braces and, yes, it actually works!

Q

What exactly is Ortho-tain?

A:

The Ortho-tain is a mouthguard appliance that can straighten your teeth without brackets or wires. It is generally worn at night and a few hours

A:

The appliance has been around since the 1970’s. I believe you have never heard of it because it is not as lucrative as traditional orthodontics, yet it is as good, or more effective, in most people. It was invented

by Dr. Earl Bergersen, a humble and caring orthodontist, not a salesman. I had the pleasure of meeting him in 2012 and he was very excited to share and teach this technology which relies on an understanding of growth and development.

Q

My dentist said that it is too early to worry about braces for my 7-year old daughter, but I can already tell she is going to have problems.

I had braces when I was a child and I don’t want her to go through what I did.

Will the Ortho-tain work on kids this young?

A: I have placed children as young as 5 or 6 years old on this appliance. It is ideal to start them at a younger age because compliance is usually better in younger children. Also, at this

age they only need to sleep in the appliance. It can correct cross-bites, overbites and deepbites. These are growth and development problems that can be challenging to correct with braces or may even require surgery as an adult.

Q

Can I afford Ortho-tain?

A: Definitely. The appliance is

1/3 to 1/2 the costs of traditional orthodontics.

Q

I am glad that my child will not need a retainer after treatment.

How come you need one after braces?

A: Your teeth are connected to your jawbones with a periodontal ligament.

With normal braces we wait for the adult teeth to come in all crooked and twisted (after the ligaments are set) and we untwist them. Microscopically these ligaments are like rubber bands and they want to move back to where they were. This is called relapse and is why many people get braces over and over again.

Since the Ortho-tain guides teeth in straight as they erupt in the first place, the ligaments form and end up exactly where we want them. It’s actually one of the most remarkable things about the appliance.

13

by Jamie Gonzales

ONTEMPORARY ARTIST HONOR BOWMAN pulled into Anchorage in November 2013. A New York transplant by way of Savannah, Ga., she was initially worried she wouldn’t find her tribe in the frozen North.

Now, just shy of her two-year chip as an Alaskan, she’s slated to exhibit her second body of paintings highlighting her (relatively) new hometown. In September, she and a graduate school colleague from Charleston, S.C., will stage a joint exhibition at the International Gallery of Contemporary Art called “Broad Spectrum: Painting from the Low Country to the Last Frontier.”

“This place has been such a blessing,” she said, standing in the IGCA Center Gallery, surrounded by sculptor Alanna DeRocchi graphite-enhanced figures.

DeRocchi’s show, titled “On Migrating,” provides an easy segue to ask Bowman about her transition from Savannah to Anchorage. As a recent graduate of Savannah College of Art and Design’s Master of Fine Arts program, Bowman knew she would miss the collaboration and community of graduate school and wanted to connect with other local artists.

“I emailed the (IGCA) director when I first got here and she said come volunteer,” said Bowman. That connection with director Enzina Marrari, a visual artist, turned out to be pivotal.

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URBAN CONNECTIONS “One day Enzina said, ‘We have a hole in our programming and need a show ASAP, in two months. Can you make a show MAKING HER OWN WAY of paintings?’” said Bowman, recalling the exchange with Every artist struggles for legitimaMarrari that led to her first Anchorage exhibition. Marrari cy, said Bowman. You become adept at was also able to rent Bowman a studio at IGCA (they have explaining—or avoiding—conversations three available to local artists). All logistical barriers to about what, exactly, it is you do. creativity addressed, Bowman got to work exploring her “It hurts when anyone questions it: ‘Is this new city. even a thing? Can you do this?’” she said.

“My work is all about place. And going to a new place is “Because you know somewhere in your mind really renewing for me,” she said. “When you’re looking you’re thinking, ‘I don’t know, can I?’” at something for the first time through fresh eyes, you’re She admits she’s lucky to have parents who noticing the details. How things tie together, commonhave always encouraged her to pursue art alities, color combinations. Those visual things really and music—she earned a scholarship to play pop out for me. I love looking at things from a fresh cello in her undergraduate college orchestra perspective, then that will turn into a body of work.” and considered making music her career. But Her first show came together as “Modern Frontier immersing herself in New York’s art scene after Living,” and it unintentionally became her introduccollege tipped the scales toward visual art. tion to the University of Alaska Anchorage DepartSix months after she met her now-fiancé, phoment of Art. The department chair, Steve Godfrey, tographer Philip Hall, she told him, “Listen, I feel came to her opening and urged her to fill out an like a fraud. You’re dating this girl who has monadjunct professor application. ey, has her own apartment in New York, has this “Within three days, I was hired,” she said. “It’s job in the music industry, is doing well. But really helped me feel cemented. You don’t want to just sit I’m just thinking about not doing this anymore and and work in a vacuum. For me, it’s important to totally just being a hobo.” She told him she wanted have students.” to take a year off to build a portfolio and apply to In addition to teaching college students, graduate school.

Bowman moved from IGCA volunteer to IGCA “He barely knew me and was like, ‘You should do manager—the gallery’s only paid position—and it. I will help you. Go to grad school.’” has also taken on some classes and private art She did and her ties to Savannah College of Art and students through Blaine’s Art Supply.

Design remain strong even after graduation. In fact, “I just love it. I come home excited. My last the school bought out her first IGCA show, so there’s a class of the day (at UAA) ends at 9:45 p.m., little bit of Anchorage now living in the deep South. so I come home and I’m jazzed and I have to Bowman is currently hard at work on two upcoming try and go to sleep,” she said with a smile. shows—one the joint exhibition in September at IGCA, “Seeing students start to process their ideas and the other a solo exhibition at Anchorage Community using the skills you’re giving them is not Works called “Settlers” that explores Anchorage’s mobile just refreshing, but kind of sustaining. It home communities. sustains me knowing people want to make “People want you to tell them what your next step on art.” the ladder is, but there is no ladder,” she said. “I’m making my own career.” Alaska, she added, is great as a place that embraces that mentality. “It’s kind of a do-it-yourself and do-it-your-way culture. That’s kind of freeing.”

Cover art for this issue of 61° North was created by Honor Bowman.

16 Students of the Native Jazz Workshop join composer and musician Dennis Yerry on stage during a live performance in Sitka.

NATIVE JAZZ THREADS ANCIENT MELODIES THROUGH WORLD RHYTHMS

by Michaela Goertzen IVE FROM SITKA, the Native Jazz Trio entertained a local audience of enthusiastic concert-goers in sundresses and Xtratufs in July.

Featuring special guest Dennis Yerry on flute and keys, the trio performed a series of all-original Native jazz melodies. They opened with percussionist Ed Littlefield’s arrangement of a Tlingit lullaby and closed with Yerry’s performance of a Lakota tune from Black Elk Speaks, the classic 1932 book about the Oglala Lakota medicine man.

The trio is made up of Littlefield, an Alaska Native of Tlingit heritage; Christian Fabian, of Swedish-German descent; and Reuel Lubag, a Filipino. A fourth member, Jason Marsalis, though unable to attend this performance, brings his venerable New Orleans jazz family heritage to complete the quartet.

“This group is a stew, but we’re all playing jazz,” Littlefield said of the group’s dynamic.

While jazz originated in the U.S., its rhythms have become universal, Littlefield said. “We take Native

17 melodies and merge them with African rhythm and European harmony,” he explained of the group’s Native jazz fusion.

Since the group released its first record, NJQ: Stories, in 2012, its indigenous take on jazz compositions has been well received. In 2014, the U.S. Department of State selected the quartet as the nation’s jazz ambassador, and the group traveled to Central and South America performing their music. Now they’ve attracted Yerry— an accomplished musician, composer and director— for the recording of a DVD. Performing the music, using it, sharing it and creating new music is the group’s bottom line.

“Indigenous music is not dead; it’s not just a song on a record,” Littlefield said. “[Live performance] is a big part of what I do.”

NEXT GEN JAZZ The group’s performance in Sitka was also a capstone concert for the 4th annual Native jazz workshop, a week-long intensive jazz camp that attracted tweens to adults from North Pole to Minnesota.

Although a jazz scene in Sitka may seem surprising, there has been a concerted effort by the Native Jazz Trio to develop its potential in Littlefield’s hometown.

“We wanted to establish Sitka as a Native jazz mecca,” Littlefield said.

The community already had the Sitka Fine Arts Camp going for it, and then the Sheldon Jackson College campus space was donated to the camp.

“I thought it was a great fit [for the Native jazz workshop],” Littlefield said.

Overall camp participation in dance, music, theater and art classes has swelled to 700 students—up from 70 in the 1980s—and program duration has increased from two weeks to two months.

The quartet hosted the first Native jazz workshop in conjunction with the Sitka Fine Arts Camp “as a vehicle to promote jazz” and to teach students about it in the context of their heritage.

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They teach the students rhythm and blues, as well as composing, arranging, jazz improvisation, history of Native music and jazz music, as well as stage performance. By the end of the week, students are expected to have accomplished two things: to have created two fully-formed arrangements and to give a public performance. That said, Littlefield emphasized that the workshop is not performance based, but rather about helping the students create their own music and giving them the tools they need to continue to do so.

“I learned that most Native songs are in the minor pentatonic scale,” said one precocious, young pupil.

During their end-of-week concert, a Filipino student from Sitka sang a song in Tagalog that she had transposed into jazz style, and a percussion student from North Pole whose great-grandfather was full-blooded Cherokee performed a Cherokee melody that he had arranged for jazz.

A great performance is about creating positive energy and sharing it with your audience, being confident and having fun, Littlefield said. “You don’t have to play all the right notes as long as you’re confident about it.”

It’s a great lesson for the students—for jazz and for life.

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18

ALASKA ARTISTS TRAVERSE THE STATE TO SHARE IDEAS AND EXPERIENCE NEW LANDSCAPES Betany Porter

Nancy Lord

by Michaela Goertzen

BETANY PORTER, PAINTER As a resident artist in the Kobuk Valley National Park, painter Betany Porter spent four days last August on the Kobuk sand dunes with four other artists (a poet, filmmaker, educator and curator), each documenting their experience and impressions through their various mediums. Sponsored by the Anchorage Museum, the goal of the residency was to highlight the geographic diversity of the state and to get an outsider’s perspective of this Northwest Arctic desert. Porter focused on micro-scale images: a satellite phone, camping gear in the sand, sand flies, bug bites. All unfamiliar with the area, “It was interesting to see what other people found important,” Porter said. The educator documented her findings of plant life; the curator interviewed local residents to reveal the human story of the park. After their week of camping in the Kobuk, the group hosted a hands-on science exhibit at the Kotzebue National Park Service offices and did a radio segment on the local Kotzebue station describing their experience.

Drew Michael

Jimmy Riordan

NANCY LORD, WRITER Homer-based writer Nancy Lord has traveled to Denali, McCarthy and Prince William Sound through programs offered by Denali National Park, the Wrangell Mountain Center and the U.S. Forest Service. Each residency, ranging from one to two weeks, has allowed her time to experience, reflect upon and produce new material—all with a goal “to publish something that will be useful for the promotion and protection of a particular place,” Lord said. She hopes her work during these residencies reflects well on the place and helps others understand its values. In Denali National Park, she spent 10 days in a cabin, creating poetry and a short story for use in the visitors’ center; during her time in McCarthy, she spent time hiking, exploring and viewing wildlife; in Prince William Sound she traveled by kayak with a U.S. Forest Service ranger patrol to the Harriman Fjord and produced a video essay along with a photographer. As a professor for UAA’s MFA program, she advises a similar approach to inspiration and creativity: “I encourage all my students to try experiential writing—getting out and having an adventure and writing about it.”

19 DREW MICHAEL, MASK CARVER An Alaska Native adopted out of his Yu’pik/Inupiaq culture, Drew Michael was raised by a mother who wanted to make sure he and his twin brother learned about their heritage during their upbringing in Eagle River.

As Michael developed an interest in mask carving, he pursued training at UAA and the Alaska Native Heritage Center, “but the rest of it has been trial and error,” he said.

In the same way his mother encouraged him, he has spent his career sharing his skill and knowledge with Native youth, so they can learn about their culture, as well. He has worked with students statewide—from Bethel to Unalakleet to Tatitlek. “When we learn about history, we often go to objects—usually art,” Michael said of his medium for teaching Native heritage to Native youth.

“All art is a time-capsule; it represents a place, a time and a perspective.” Using materials such as driftwood, metal and organic items (grass, roots, feathers, hair), Michael discusses the importance of place, how place influences culture, and how culture influences identity. “A way of life is just as important as history in understanding identity,” he said.

JIMMY RIORDAN, ILLUSTRATOR, PRINTMAKER, BOOKBINDER, CREATIVE PLACEMAKER Over the past five years, artist Jimmy Riordan has shared his diverse set of skills with an even more diverse set of communities. From Moose Pass to the Pribilof Islands, Riordan has traveled to more than 10 rural communities teaching students techniques in illustration, printmaking and bookbinding. Bookbinding may seem boring, Riordan admits, but it involves math (measurement of materials, page counts), history, art, science (the fiber make up of paper) and English. In each case, he arrives with the materials he needs to do a variety of things and can adjust and shift projects based on the interests of the school and its students. Whether he’s helping youth create a mural in Golovin or a new school sign in Cooper Landing, it’s all a part of what has become a trend in creative placemaking. “You can’t make an assumption about what rural Alaska is as a whole,” he said. “It’s very relative to where it is and the people that make up that community.” He continues to help communities express what sets them apart through art.

Celebrating our 70th season, your Anchorage Symphony invites you to engage in a fabulous array of musical experiences from Beethoven to Bond, Copland to Chaplin, Carnival of the Animals to Disney in Concert.

Season tickets are available in packages to match your schedule, wallet, and musical tastes!

ASO musician photo by Clark James Mishler. No animals were harmed in the Photoshop process.

The Anchorage Symphony Orchestra is funded, in part, by the Municipality of Anchorage, Anchorage Assembly, Alaska State Council on the Arts, National Endowment for the Arts and through the generosity of many individuals and corporate community leaders.

Anchorage Symphony Orchestra 70th Anniversary Season

Randall Craig Fleischer, Music Director

21

OYSTERS, ADVENTURE AND THE ART OF HOMEMAKING IN HALIBUT COVE

N MY FIRST MORNING at the Ridgewood Wilderness Lodge, we woke up with no power, a fact I didn’t realize until owner Lucinda Sidelinger, bright-eyed and quick-talking even at 7:30 in the morning, mentioned it almost in passing as she served up a breakfast of pancakes, eggs poached in individual ramekins and fruit smoothies. There had been a brownout somewhere along the power cables that extend across the floor of Kachemak Bay between Homer and Halibut Cove.

Kevin, Lucinda’s husband, had called Homer Electric and service was expected to return sometime that day. I imagine the Sidelingers had been working on contingencies and plan Bs for the better part of the morning, but as a guest, slowly rising and finding his morning feet in the naturally lit hallways and sitting rooms of the lodge, I was none the wiser. That’s the magic of the Ridgewood.

Owned and operated by Kevin and Lucinda

Sidelinger along with their son, Bowman, and his wife, Jess, the Ridgewood manages to be homey and spectacular at the same time. It sits on a clearing among steep grassy hills and ponds on the Eastern-most edge of Ismailof Island in Halibut Cove, a boat-in/fly-in lagoon across the bay from Homer.

A vegetable garden has been cut into a nearby hillside.

You’ll frequently find Lucinda—a talented chef and the heart of Ridgewood—crouched over with clippers and a handful of rhubarb that will later find itself in homemade coffee cakes and pies. The lodge itself, Kevin and Lucinda’s home for the last 20-plus years, was hand built by Kevin. The large wooden two-story chalet has floor-to-ceiling windows in the dining room, a space that once served as a hay barn and basketball court.

Venture out onto the wraparound deck and you’ll find views of Kachemak Bay State Park and the blue floats of the Sidelinger’s nearby oyster farm. You might also find Bowman and Jess’s two bike-riding sons, Talon, age six, and Chase, age three, patrolling the deck with foam swords.

But of course, while the lodge is a comfortable place to kick up your heels, the Sidelingers, with an ATV, a skiff and a small armada of kayaks, have long used their lodge as a jumping-off point for adventures along Kachemak Bay and the nearby glaciers.

22

GLACIERS, JELLIES AND THE INTERNATIONAL LANGUAGE OF DINOSAURS For a moment we thought we were goners. Bowman, who that day had guided us safely up and down from Grewingk Glacier and toured us around the family’s oyster farm, and who we had complete trust in, had managed to get the front of the six-person ATV around the switchback, and now, as the rear of the vehicle crept around the 180-degree turn, it had begun to feel— at least to the uninitiated—a little tippy. Among the uninitiated were Ueli and Marlena Sahli, a semi-retired couple from Switzerland sitting in front with Bowman, and their adult children, Johnny and Fabia, in back with me. The five of us scrambled to lean into the middle of the turn, while Bowman sat upright and relaxed as he pointed out the differences in the various kinds of vegetation thwacking our shoulders and ears.

After some patient downshifting, the side-by-side ATV righted itself and we rumbled out into a clearing. Next to me, Johnny pointed toward a fenced-in pasture covered in high grass: “Look, a triceratops.”

After a day and a half of eating sack lunches at the foot of Grewingk in gale force winds, poking jellyfish and watching them undulate away from our fingers and slurping down oysters on the halfshell, I had become fast friends with the Sahlis. But after struggling to bridge the German-English language barrier with talk about the Eurozone crisis, taxes and different forms of representative governments, we had found a subject we could discuss easily: Jurassic Park. The German for velociraptor, I learned, is...velociraptor.

We were settling into the easy camaraderie of shared adventure, nudged along by good food and our honorary membership in the Sidelinger extended family. At least for one weekend.

AT HOME ON THE ISLAND Our first evening at Ridgewood Wilderness Lodge, Kevin had taken us on a tour of Ismailof Island. If you visit Halibut Cove, this is likely where you’ll spend your time. It’s a small narrow island, mostly privately-owned, with boardwalks along the water and narrow jeep roads snaking up among the hills to homes and rental cottages.

While the Ridgewood claims Eastern frontage, the far Western end of the island is home to a gazebo on a cleared hillside overlooking Kachemak Bay. On the floor is a marker for Diana Tillion, the renowned Alaska artist who lived and worked in Halibut Cove for most of her career. In 1958 she began painting and drawing in octopus ink, sometimes using as little as a drop to complete an entire canvas. It was a medium she would work to perfect until her death in 2010. Next to her marker is a space reserved for her husband, Clem.

It was hard to know whether or not it was okay to stand in the gazebo—it was intimate and moving, and also seemed to be performing a sleight of hand. Where most graves bring your gaze down to the earth, this memorial had a roof and railings and places on which to lean. Instead of looking down, you found yourself taking in the wide mountain views of Kachemak Bay, experiencing just a taste of what led Diana and Clem to make their lifelong home in Halibut Cove.

When Kevin got the bug to go north 40 years ago, he was living and working in Connecticut. And when he told his boss he was moving to Canada, his boss said, “Don’t go to Canada. Canada’s a different country. Go to Alaska.” He smiles when he tells this story. Like the Tillions and other long-time Halibut Cove residents, he and Lucinda have turned the smallest wisp of a notion into a life. And every summer they open their doors to outsiders so we can get a glimpse—and a taste—of what it’s like to be anchored in the Cove.

Call 257-4242 to learn how your business can claim center stage in the next issue of

ROM THE HIGH-FASHION RUNWAY to the streets of the city, there’s no doubt that beards are having a major moment. Here in the great wilds of Alaska, facial hair—and lots of it—has always been in style among those who prefer a rugged look, or perhaps because there’s nothing quite like a big full beard to keep a man’s face from freezing solid during the long Alaska winters.

“It goes back to the pioneering days of Alaska, even before it was a state,” said Adam “Capo” Capossela, owner of Capo’s Alaskan Beard Oil, a line of facial hair grooming products made in Anchorage. “The trappers, the hunters, they are busy doing a subsistence lifestyle; they didn’t have time to shave.”

His own beard is a thick, dark rectangle that brushes his camouflage t-shirt. “It’s part of Alaskan culture to be bearded,” he said, adding, “It’s part of my culture now.

I own a strongman gym, and beards are very heavy in the strength community.” At his Heavy Metal Gym in Anchorage, tough guys (and gals, too) train to become “strongman” fit by dead lifting beer kegs and flipping giant tires. It’s a kind of lifestyle meant to be relevant to real-world pursuits like hunting or surviving in the wild.

Just like regular workouts, the care and grooming for a full beard is a daily task—shampoo, condition, brush, oil and trim regularly. It’s why Capossela developed his own line of beard oils and balms—he saw a hole in the market for masculine grooming products, and his products—well, they are definitely unafraid to capitalize on the strong Alaska man image. Photos of snarling wolves, gleaming hatchets and foggy forests decorate the website where he sells his merchandise to all 50 U.S. states and 14 countries.

A DIFFERENT KIND OF HAIR CLUB FOR MEN Jon Smiley, president of the South Central Alaska Beard and Mustache Club, agrees that caring for his own thick, long beard and full mustache requires a lot of daily upkeep. “I shampoo and condition every day and oil at least a couple times a week. I brush it twice a day. It’s a lot of work.” More work than many women put into their hair on a daily basis, I commented. “True, but you don’t put food and beverages in your hair daily, either,” he said, moments after automatically brushing his mustache aside to take a sip of coffee.

So, are any foods or drinks off limits then? “Yeah, we were camping last weekend and everyone was eating s’mores, and melted marshmallows aren’t a good thing,” he said, adding, “and soups, I don’t really eat soups.”

Smiley said the club originally grew out of the Mr. Fur Face competition held annually during Fur Rendezvous in Anchorage. The guys had such a good time with one another that many now plan and travel to national and international competitions as a group.

It’s what binds them together as a club—that and getting “involved in at least two charity events every year,” Smiley said. He and the 10-15 active members have raised money for autism awareness and testicular cancer research.

At monthly club meetings they discuss facial hair upkeep, yes, but, according to Smiley, mostly they’re “a bunch of easygoing and fun-loving guys. In the summertime most of us are out fishing or hunting. We like to hang out, have fun, drink a couple beers.”

A LITTLE OFF THE TOP Alaska guys can also be found hanging out at AK FADEZ, a hip, new barbershop in Anchorage where it’s not uncommon for clients to stick around after a haircut for an impromptu barbecue or after-hours poker game. Owner Alex Von Dincklage, a tall, tattooed, soft-spoken father of four with salt-and-pepper hair and a full beard, said their most popular service is the hot towel shave, a slow, relaxing facial hair clean-up for guys wanting that old school treatment. But his place is about much more than getting your beard lines straight.

“We’re an ‘urban barbershop,’” he emphasized. “It’s a place where guys go to feel comfortable, watch a lot of sports and listen to good vibe music.”

Here they do everything from a standard buzzcut to more intricate designs resembling tattoo art. The shop’s Instagram account is filled with photos of hair “carvings” or tight cuts portraying sports team logos or graffiti-like design all done with a razor.

It’s clear that for these guys there’s nothing girly about getting groomed; it’s a matter of pride, of feeling good.

MANLY PEDIS Lorraine Park, vice president of the Spa Division for Remington Hotels that manages the ICE Spa at the Anchorage Sheraton, knows this very well. She’s helped to design a masculine space that combats the (perhaps waning) male stigma attached to going to the spa.

She said the percentage of their male clientele (made up of “business travelers… local military and oilfield workers”) has grown from 8 percent to “more than 35 percent” since they began also catering to men in 2008.

A menu of men’s treatments like the deep tissue massage and a “sports pedicure” are popular. The atmosphere appeals to guys, explained Park. “Once

we tour them through our facility and they see its masculine design of the rugged fireplace, dark woods, rich steel gray colors… the eucalyptus steam room in the men’s locker room and other men in the facility, they really start to relax.”

And relaxing seems to be entirely the point for these laid-back Alaska men who are ultimately more focused on the communities they are forming than on following any current trends.

But don’t discount the popularity of beards any time soon. “As far as Alaska goes, I think it’s here to stay,” said Capossela. “I mean, I don’t see it changing. Ever.”

Capo’s Alaskan Beard Oil: caposbeardoil.com AK FADEZ: instagram.com/907allstarbarber South Central Alaska Beard & Mustache Club: facebook.com/SCAKBMC Sheraton ICE Spa: sheratonicespa.com

FOR FRESH FEET: “An easy at home tip to do in your shower is to mix white sugar with coconut oil to a paste-like consistency and rub that on your feet in the shower.

Add some essential oil of sweet orange, mint or eucalyptus to your liking.

The sugar will help exfoliate rough skin, the oil will help to hydrate your feet and the scented oil helps to deodorize the feet.”

–Lorraine Park, VP Spa Division, Remington Hotels FOR A FRESH BEARD: “Wash your beard every day and apply beard oil when hair is damp but water is no longer coming off on your hands. Watch online videos for instruction if needed.”

–Adam “Capo” Capossela, Owner, Capo’s Alaskan Beard Oil FOR FRESH HAIR: “Men should wash, comb and use a product of their choice on a daily basis.

I recommend Layrite pomade or Elegance pomade and hair gel. And get it cut every other week.”

–Alex Von Dincklage, Owner, AK FADEZ barbershop FOR FRESH OVERALL STYLE: “Do what makes you comfortable. You don’t have to spend a lot of time or money to look good; it’s more about your attitude anyway.” –Jon Smiley, President, South Central Alaska Beard & Moustache Club

Q: WHAT’S THE LAST BOOK/STORY

beloved, 13-year old daughter Payton Lee.

A: Anything outdoors with my

DAY?

Q: HOW WOULD YOU SPEND YOUR PERFECT

PERFORMANCE YOU LOVED?

Q: WHO DO YOU GO TO FOR ADVICE? A: Jesus.

A: Dave Matthews Band.

Q: WHAT’S THE LAST CONCERT OR

DAM IS THE FOUNDER and owner of Capo’s Alaskan Beard Oil (caposbeardoil.com) and Heavy Metal Gym (801 E. 82nd Ave.) in Anchorage.

He is 39 years old and was born and raised in Alaska.

Q: WHAT WAS YOUR FIRST JOB? A: Bag boy at the Safeway at the University Center.

PLACE TO EAT? A: Jackie’s Place restaurant.

Q: WHAT’S YOUR FAVORITE

UNWIND? A: Travel to the woods to be one with nature.

Q: WHAT DO YOU DO TO

Q: HOW DO YOU FEEL ABOUT SKINNY JEANS? A: I think they are ridiculous!

NOT WOULD YOU WANT TO HAVE A BEER WITH? A: I no longer drink. Eight years sober.

Q: WHAT PERSON LIVING OR

STILL TRYING TO ANSWER? A: How and/or what God has planned for me.

Q: WHAT LIFE QUESTION ARE YOU

SHOW? A: The Sopranos.

Q: WHAT’S YOUR FAVORITE TV

YOU REMEMBER ENJOYING? A: Alaskan Bear Tales by Larry Kaniut (Alaska Northwest Books, 2003). My great uncle, Raymond Capossela, was featured in it. He was killed by a grizzly in 1972.

the woods with all wild life. As I stated, my great uncle was killed by a grizz, and I have had many close encounters. I am a backwoods bushcraft man, I will either be killed or I will conquer! No fear, man vs. wild. That is how I would prefer to expire.

A: I enjoy getting lost and having to share

YOU’VE EVER HAD?

Q: WHAT’S THE MOST ALASKAN ADVENTURE

Q: WHAT’S YOUR SPIRIT ANIMAL? A: Owl.

A: Riding my Harley Davidson Springer.

ACTIVITY?

Q: WHAT’S YOUR FAVORITE OUTDOOR

body parts freeze easily in the winter.

A: Summers! I have many broken bones, and

WINTERS?

Q: PICK ONE: ALASKA SUMMERS OR ALASKA

find in our Alaskan woods.

A: I make and enjoy various teas from what I

BEVERAGE?

Q: DO YOU HAVE A FAVORITE ALASKA

Q: WHO ARE YOU NAMED AFTER? A: Adam, the first son.

Q: WHAT DO YOU COLLECT? A: Various knives, guns, survival gear.

instruction at Heavy Metal Gym at 8 a.m.

Q: WHAT IS YOUR MORNING ROUTINE? A: Coffee, shower, breakfast, start

A: My go bag.

SAVE IN AN EARTHQUAKE?

Q: WHAT ITEM FROM YOUR HOME WOULD YOU

23

EWS FLASH: TRENDY AND AFFORDABLE FALL FASHION is within your grasp, and your budget.

When shopping for seasonal items to freshen up your wardrobe, don’t overlook local consignment and secondhand stores to piece together a perfectly personalized look. From consignment to secondhand shops, we went door to door in Alaska’s largest city searching for the most upscale styles and lowest price tags.

Disclaimer: If you’re looking for a gently used Gucci clutch, it will still be priced as such. You get what you’re willing to pay for.

HIP HUNTRESS Xtratufs are great, but they don’t define Alaska fashion. Keep an eye out for flirty puddle jumpers this fall: Black mud boots with brown top cuffs and yellow bows: $72, Joules, Clothesline Consignment.

ESSENTIAL CROSSBODY BAG Every woman needs a little black dress and a little black leather purse, which luckily are easy to come by in Anchorage—if you’re looking in the right stores. Medium crossbody bag: $82, Fossil, Clothesline Consignment.

EFFORTLESS FALL LOOK Yellow and brown leaf print scarf: $14, Collection Eighteen, Clothesline Consignment; Graphic Tee: $18, All Saints, Second Run; Faded green shirt jacket: $36, Madewell, Second Run; Dark wash jeans, $56, Citizens of Humanity, Plain Jane; Red leather purse: $165, Marc by Marc Jacobs, Second Run; Cowboy style short boots: $85, FRYE, Second Run.

It has been said again and again: layer. This fall is no exception. It’s easy to mix pieces from spring with items from winter if you stick to a toned-down color palate. Use vibrant patterns (conservatively) in purses, shoes and jacket liners for a touch of sass.

24 There’s no reason to break the bank when buying clothes for children. They will outgrow their (and your) favorite pieces in the blink of an eye and stains will only accumulate. Kid to Kid is a used children’s clothing store where parents can sell, browse and buy the latest trends at reasonable rates. Here are three outfits we put together: GIRLS’ DAY OUT If you’re five years old, you’re adorable and can get away with a lot. This includes mixing and matching patterns and textures in a more liberal manner than adults. Army green cinched waist jacket: $11.24; Grey cardigan with vertical black lace trim: $5.99, JC Penney; Blue babydoll dress with polka dots: $7.50, Room Seven; Black leggings: $5.99, H&M; Black boots: $15, Timberland.

GIRLS’ NIGHT OUT Every little girl wants to feel like a princess, even if just for a night. Don’t be afraid to pair more mature dark colors with pales, they can work together! Pink wool coat with faux fur trim: $16.99, Rothschild; Party dress with sequin collar: $17.99, Isobella & Chloe; Pink flats with toe ruffle flower: $7.99, Gap.

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25

BOYS’ DAY OUT From playing outside to shopping with mom, boys need an outfit that can not only withstand wear and tear but can look good dirty. Black and grey grandpa sweater: $9.99, Rag & Bone (Neiman Marcus for Target); Picnic patterned button up: $6.99, Land’s End; Light wash blue jeans: $6.99, Cherokee; Corduroy jacket w/ elbow pads and flannel interior: $12.99, Gymboree; Sheepskin boots: $7.99, no label.

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27 Molly Williams works on a drawing at Hope Studios

HOPE STUDIOS PROVIDES SPACE, COMMUNITY AND RESOURCES TO ARTISTS WITH DISABILITIES

by Amy Newman

TEP INSIDE HOPE STU DIOS, the col laborat ive a r t st ud io loc ated on International Airport Road in Anchorage, and chances are good you’ll be greeted with a “Hey, pretty gorgeous!” from Kristine Whalen, one of the many artists who frequent the studio on a regular basis.

On any given day Hope Studios, part of Hope Community Resources, a statewide nonprofit that serves children and adults with disabilities, is alive with artistic activity. Each of the studio’s artists have an intellectual or developmental disability—but within these walls, disability is no barrier to creativity.

A staffer helps a woman balance a canvas across her wheelchair, holding up pots of paint so she can use her hands to spread large swaths of color across its surface. Paint brushes are arranged in such a way to allow an artist with limited fine motor skills to grab them independently. While staff is on hand to set the artists up for success and offer suggestions when asked, the artists themselves take the lead on designing every piece of work completed in the studio.

“When you open the ability for people to express themselves creatively, magic happens,” said Katie Johnston, Hope’s development officer.

28

Mary Edgren, on the right, interacts with Duane Read as he works on a painting.

Kristine Whalen holds up one of her paintings.

FOSTERING CREATIVITY AND INGENUITY Hope Studios’ goal is to provide artists with a space to express themselves through different mediums, whether drawing, painting, sewing or papier-mâché.

The studio’s collaborative approach means that an artist contributes his individual talent to a piece, and final ownership is shared by the group.

“We find where their talents lie and put it together in one big piece,” said Jenny Moore, the studio’s director of artistic expression. “The key is to keep your mind open to whatever they produce.”

What the artists produce are whimsical pieces with a childlike feel that exude the sense of joy that permeates the studio.

Each piece begins with an original drawing. Some are painted or colored and used as the basis for t-shirts, mugs, pillows or bibs. Others are enlarged on a smart board, which allows woodworkers to make two-dimensional cutouts that they then sand and prime for painting; depending on size, these cutouts may become wall art, pencil holders or magnets. Painted canvases may be cut, and the pieces decoupaged onto the cutout as embellishments, such as the feathers of an owl or scales on a dragon.

The finished pieces are displayed and sold in the attached Hope Gallery and at First Friday events. Others are made part of permanent exhibits throughout the state, such as the newly renovated children’s area at Loussac Library.

But providing an outlet for Finished pieces of art hang in the gallery for sale at Hope Studios.

Marina Moore, on the right, helps Jena Eby with a painting.

artistic expression is just one of the studio’s functions.

Equally important is the sense of community and friendship forged during the creative process, as well as the sense of pride that accompanies creating something of value.

‘NEVER WOULD HAVE HAPPENED WITHOUT THE STUDIO’ “What’s been so brilliant about the studio is he’s developed relationships with the other artists,” said Michele Girault, senior deputy director at Hope and guardian of Duane Read, who paints at the studio.

Despite having a job he enjoys with supportive employers—Duane currently works at Ling & Louie’s, and was at Chili’s before that—Duane was “pretty reticent around people and kind of shy,” disliked being touched and rarely initiated interactions with others, she said.

But that changed once he began going to the studio. Now, she said, he happily greets his friends in public. His language has increased, he tells jokes and laughs more. He has even begun to initiate physical contact with others, whether a handshake or hugging, without prompting from Girault or her husband.

“That never would have happened without the studio,” Girault said.

Johnston, who escapes her desk as often as she can to spend time with the artists in the studio, said she believes it is the way staff and artists interact that helps draw the artists out.

“People talk to people in the studio, and they involve them in conversations about themselves,

29 about what they want to do, and what they’re doing,” she said. “They don’t just talk about them. That was a concept I never understood until working here.”

Girault agreed.

“You walk into the studio and there’s just a sense of happiness, and laughter, and people that care about each other,” she said. “It’s a community within a community that he feels a part of. The artists are his peers.”

For many, being part of a group that accepted them for who they were is something new. Bullied as a child by family and friends, Whalen said she never felt like part of a group. But at the studio, she feels “part of the people” and enjoys creating with her fellow artists.

“It’s our art,” she said. “Not my art, or her art, or his art. It’s everybody’s art.”

CREATING A FEELING OF WORTH For painter Chuck Mears, the studio has given him a renewed sense of purpose and self-worth in the face of diminishing skills. Chuck suffers from a degenerative disease that has caused his muscles to slowly waste away, robbing him of the ability to walk and speak, said Kelley Clouser, who has known Chuck for 18 years and currently lives with him.

“When he started to lose his dexterity and he couldn’t hold his pencils, he was so angry he even stopped going

to church,” Clouser said. “For him that’s really big—he believes that if you didn’t go to church, you wouldn’t go to heaven.”

But since he began attending the studio, she said his feelings of value have returned. Staff helped modify the paint brushes, making it easier for him to handle them, and gave him blank canvases to paint, to help minimize his frustration at being unable to remain inside the lines. Clouser said the pride Chuck now takes in his work, and the joy it brings him, moves her to tears.

“He is so proud of his artwork,” she said. “He’ll start crying, that’s how happy he is when he finishes something. Or if somebody recognizes (his work), he’ll just start bawling out of joy.”

The brilliance of the studio, Girault said, isn’t necessarily the artistic aspect, but rather the outright joy and sense of belonging the studio creates for its artists.

“When you have shared relationships with other people, it brings out the best in you,” she said. “And that’s what the studio has done for Duane. At the end of the day, he has joy. And that’s a pretty good life, I think.”

Hope Studios Gallery is located at 650 W. International Airport Road. The gallery is open Monday - Saturday, 10 a.m.-6 p.m.

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30 A student at Aerial Yoga of Alaska in Fairbanks.

AERIAL YOGA NEWBIE LEARNS HE’S NOT MEANT TO FLY

by Glenn BurnSilver

ANGING UPSIDE DOWN is not my cup of tea.

This much I learned during my first session with Fairbanks’ Aerial Yoga of Alaska. Though I have done hatha, vinyasa and even Bikram yoga, nothing quite prepared me for aerial yoga—something akin to the aerial ballet of Cirque du Soleil combined with a fitness-training regimen.

The relatively new concept, also called anti-gravity yoga, was intriguing, and I went to sweat, burn calories and challenge myself. Check, check and check. Yet, unexpected was the dizziness and nausea.

Let’s set the pre-vertigo scene. More than a dozen colorful silks and hammocks—red, green, yellow, blue, pink and purple—hung in the mirrored room inside

the Artisan’s Courtyard. Purple indoor rock climbing pads rested under each silk. The circus-like atmosphere felt warm and inviting. Gentle music played while instructor Bethany Russell and her assistants—including studio owner Shelly Yoshida—kept energy levels up, demonstrating poses and aiding the dozen participants in attaining proper positioning and movements.

The class began with a series of stretches using the silks.

My hamstrings, calves and quads alternately burned while the silks supported my weight and allowed for greater range of motion and deeper stretches. The stretches were thorough; all impact non-existent.

Following the first series, where at least one foot remained on the ground, and a second where hands remained on the ground with both feet in the air for aerial pushups (killer!), we took to the air for a series of

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In the intermediate class, Cora Delaca strikes a precarious balance.

movements that worked the lower back as well as the abs.

After a grueling set of air crunches (sit-ups), we did, uh, something else. Many of the posture names escaped me as I was just trying to keep up and avoid too many, “Huh?” moments. Next, it was time to swing upside down. With feet hopefully wrapped securely around the silks (Yoshida assured me they were), I took a deep breath and went over backwards. The motion was awkward and a little unnerving. Fully trusting my instructors, I released the silks, hanging downward. This posture felt liberating, but a little weird. Though the stretch felt elongating, the reflected image confronting me didn’t appear entirely relaxed. I was a kid on the monkey bars

the last time I was suspended upside down. A kid no more, my 52-year-old body experienced an “uh-oh!” sensation.

A brief moment of panic set in.

Russell, an aerial yoga practitioner for three years, one as an instructor, warned us about sitting up too fast—but I had swing upright. The head rush was a whopper. The zebra stripes on the unitard in front of me blurred. This worried me slightly as Russell would undoubtedly flip us upside down again—and again.

The Upside Down Buddha presented the next inverted challenge. For this pose, I stood on the silk, wrapped a leg around each side, placed my soles together and slid downward into a sitting position.

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Scott Van Sice stretches out during warm-ups.

So far, so good. Then it was over backward once more—though more controlled this time. Maybe it was the blood rushing to my head, or the prolonged abdominal flex required to hold the pose, but it was the beginning of the end.

“It’s completely normal to feel dizzy or nauseous the first time,” Yoshida reassured me. “We’re not used to being upside down, but in time you get used to it.”

I paused for some water, not sure if the sweat on my brow came from exertion or that clammy I’mgonna-be-sick feeling. I sat out a few movements, watching others perform postures high above the ground with grace and fluidity. It was beautiful observing the more seasoned participants twist themselves into stars.

Inspired to continue, I rejoined the session for newbies as they moved to the hammocks—strong enough to support an adult male grizzly bear.

Climbing inside, I horizontally positioned myself with a fold of cloth over my legs. I felt queasy, but nevertheless pushed my hips upward, legs going up and over in full flip. Trust! Suspended in the cloth, fully extended, I was The Bat! This was cool. There were other hammock moves, including a final cool down, stretching fully out in the dark.

Though this initial session left me feeling slightly “off,” it also had me contemplating revisiting aerial yoga in the future. That is, once I get used to being upside down.

Aerial Yoga of Alaska is located in Fairbanks at 1755 Westwood Way. For more information, go to http://aerialyogaak.com.

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MASSAGE, ACUPUNCTURE AND HYDROTHERAPY FOR CANINE COMPANIONS ARLIER THIS SUMMER Amber Poe wanted to go camping with her 9-year-old Great Dane, Loki, but Loki wasn’t walking right. She was concerned about his hips and considered canceling the trip.

“I don’t feel good until he feels much better,” she said, as the grey and black dog pushed his massive body against her legs.

Poe had tried massage for her own body and it helped ease her aches and pains, so she decided to try dog massage for Loki. The effects, she said, were almost immediate, and they happily went camping.

Loki’s masseuse is Amanda Miller, who shares retail space with Poe’s dog boutique in South Anchorage. Miller earned her certification in small animal massage from the Northwest School of Animal Massage, where she learned about dog anatomy and had practical lessons working with animals. She opened Compassionate Canine Massage in December 2014 and has about 35 regular clients.

Miller reached down and rubbed around Loki’s hips as he melted into her. “When I’m actually massaging the dog, if you get to an area that’s sore, they’ll let you know,” she said.

“They’ll turn back and look at me like ‘hey, hey!’ and I’ll know it’s a sore spot.”

Miller is careful to say that though massage helps dogs recover after intense workouts and relaxes muscles, she cannot make any therapeutic claims about the technique. She emphasized all animals should receive proper veterinary care.

GOING UNDER THE NEEDLE Massage isn’t the only alternative therapy available for dogs in Anchorage. A number of veterinary clinics offer acupuncture.

Tina Simmons first learned about the ancient Chinese practice in 2000, when she and her severely arthritic dog were living in Colorado, and Simmons was going to veterinary school.

“I originally found it because nothing else worked with my dog,” she recalled. She said while the acupuncture didn’t solve his problems, it helped.

Simmons became certified in the technique, which was originally developed for farm animals, and now offers it along with more typical veterinary treatments at VCA Alpine Animal Hospital in Anchorage.

Acupuncture stimulates nerve bundles that can then relieve stiff and sore joints, help reduce nerve dysfunctions like seizures, or even help treat organ troubles like inflammatory

34 bowel disease. Simmons said the number of sessions depends on the individual animal; she works with both cats and dogs.

Unlike human acupuncture, the animals don’t have to lie still on a table. Some older dogs like to pace, Simmons said, so she just puts needles in them as they walk by. She also uses electrodes and medical grade lasers to do similar work.

In her experience, the dogs are not afraid and after a few appointments, they figure out that it helps and are happy to see her.

For Simmons, acupuncture is just one of the many tools she relies on to improve the quality of life for the animals she sees.

TAKING THE PLUNGE In 2014, Kim Lawrence brought her old lab-mix Mocha to K-9 Aquatics. At first, it was just for exercise. The aging dog needed to lose weight and didn’t walk very well. But Mocha is not a water dog. “We had to put her in—drag her in,” Lawrence recalled.

Even now, more than a year later, Mocha will enter the water wearing a life jacket and a neck float, but a human has to join her to make sure she doesn’t try to cut corners when doing laps in the pool.

At one point, Mocha’s back legs stopped working altogether, and she couldn’t walk independently. She had diabetes and

pancreatitis. Lawrence tried massage and acupuncture for her then 11-year-old dog, but nothing helped. She ramped up the number of times Mocha went swimming, and now, five months later, Mocha can walk on her own again.

Lawrence attributed her dog’s recovery to her time at the indoor swimming pool built exclusively for dogs.

K-9 Aquatics owner Martina Richardson said that people often bring their dogs to the center before the canines undergo ACL surgery. It gets them used to water before they use a water treadmill at a vet’s office. They also come after surgery for low-impact exercise.

Like Miller, the dog masseuse, Richardson emphasizes that she and her husband are not trained in veterinary medicine or physical therapy. They decided to build the pool when their own dogs started aging. One had severe arthritis and another had knee surgery. They felt a pool would help them transition into old age more smoothly. And now, with help from area vets, the idea is catching on.

Whether it’s traditional veterinary medicine or complementary therapies like swimming, massage or acupuncture, in the end it’s about finding a therapy that helps your furry companion live a healthy life.

“Part of my belief is you don’t want to give up until the very end for something you love,” said Simmons.

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KINCAID GRILL: CRÈME BRÛLÉE Pastry Chef Amber Poston has expertly crafted a rich and velvety custard covered with a perfectly thin layer of caramelized sugar. Topped with ripe berries, whipped cream, an orchid blossom and drizzled with raspberry sauce, the dessert is as exciting on the palate as it appears on the plate.

KINLEY’S: MOCHA BOURBON PECAN TORTE Created by pastry chef Liz Madsen, Kinley’s signature torte is encased inside an edible cylinder made of marbled chocolate and red cocoa butter; it layers caramel, espresso-soaked cake, pecan ganache and coffee sabayan; and is decorated with berries and chocolate curls. Rich, decadent and scrumptious all apply.

SACKS CAFE & RESTAURANT: LEMON POT DE CRÈME Sacks’ signature dessert has been a part of its menu since 1983. Created by Margie Brown, one of Sacks original partners, the lemon pot de creme is equal parts sweet, tart and silk. “It’s almost cleansing,” said owner JoAnn Asher of this fresh, light custard.

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CROW’S NEST: BANANA SPLIT Presented upright, this adult version of the well-loved banana split is stabilized by a Florentine cookie and drizzled with caramel sauce. Chocolate sticks, caramelized bananas, pistachios and fresh berries round out the toppings. This is a grown-up approved treat, for the kid in all of us.

SWEET CHALET: AURORA CHOCOLATE BON BONS Ingrid Shim’s galactic bon bons are hand-painted using a cocoa butter-infused edible paint. Each bon bon is a work of art and comes in milk or dark chocolate with flavor combinations including cherry confit and balsamic, caramelized pear with saffron or salted butter caramel. First-time chocolate shop guests are treated to a plated confection tasting that begins with cookies, progresses to chocolates and ends with caramels.

SWEET CARIBOU: PARISIAN MACARONS Specializing in Parisian macarons, the Sweet Caribou team traveled to Paris to perfect their craft last year. Pastry chef Alicia Beattie and flavorologist, Barbara Strong, work together to concoct flavors from exotic passionfruit to elegant Earl Grey. The confections are available every Wednesday and Saturday at the Sears Mall Center Market.

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SUBZERO: NEIN POPPY In addition to vibrant color and sparkle, this drink comes with a silly backstory served on the side. It was named after former bartender Courtney Gritsch’s pup, Poppy, who was trained in German and often reprimanded with the command, “Nein!” Comprised of pearl pomegranate vodka, Cointreau, pomegranate puree, fresh lemons and a champagne float, and garnished with a lemon twist and sugar rim, this is one drink you won’t want to say “nein” to.

GINGER: THE DRINK WITH NO NAME Crafted as a one-night-only drink special by bar manager Justin Duffin and bartender Quinlan Harris, this nutmeg and fresh peach-garnished Drink with No Name made its way onto Ginger’s new cocktail menu following an enthusiastic response from customers. “The craft cocktail is all about fresh ingredients,” said Harris, as he muddled ingredients.

This fresh concoction is made with Buleit Bourbon, Domaine De Canton, fresh peach puree, fresh lemon juice, fresh ginger, honey syrup and vanilla bitters.

*Ginger’s tip for the home bartender: Invest in a jigger to consistently measure drink ingredients, and fill your fridge with fresh fruit juice mixers before a party to impress your guests.

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SIMON AND SEAFORT’S: LAVENDER COSMO “It’s like a Sweet Tart in a glass,” bartender JT Bryant said as he coated the outside of a martini glass with fresh lime juice to get the sugar to stick. Made of crème de violette, mandarin Absolut vodka, Cointreau, lime juice and cranberry juice, Bryant was spot on in his taste description. If there were high-end juice boxes for adults, they’d fill them with these lavender cosmos.

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ILLIONS OF PARENTS can’t be wrong: Kid art deserves a prominent place on the refrigerator. Here are some of our favorites, shared by preschools, summer camps and proud moms and dads.

1. SEA OTTER IN SOFT PASTEL Claire O. Age 10 “I like the piece because of the texture of the fur and the different shades of brown. I especially like the ginormous nose.”

The Art House, Anchorage 2. GREAT HORNED OWL IN CHARCOAL Ella C. Age 8 “I like that the owl’s feathers are soft.

I like that it looks like it’s thinking.

Learning to shade with charcoal using my fingers was fun.”

The Art House, Anchorage

3. FIVE SURVIVAL BRACELETS Rachel Hermes (12), Arianna Applegate (11), Dawson Metcalf (13), Colin MacKenzie (12), Brandon Foster (12) “The green bracelet was made with a special knot I call ‘snake in the grass.’”

– Rachel Hermes Photo taken by Bambi (Ana Rosado), Camp Fire Alaska’s Camp Si-La-Meo, Survivor Session 4. HEART PEOPLE Julia R. Age 4

5. DOUGHNUT Iliana G. Age 10 “I tried to make it as unique as possible.”

6. PAINTY TOES Luna Age 4 “The kids loved the feel of the paint squishing between their toes” – Linda Shepherd, Anchorage Waldorf School Enrollment Director

Email us with ideas for our next What We Love feature.

Send submissions to special@alaskadispatch.com, subject: What We Love.

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