FEATURES PAGE 8
Celebrating 25 years: The Alaska Native Heritage Center
FEATURES PAGE 5
Photos: Musk ox, bison and reindeer at the Large Animal Research Station
Risk of ammonia leak causes mass building closures at UAA: A timeline
Another string of building closures hit campus — this time impacting multiple facilities.
By Mark Zimmerman reporter4@thenorthernlight.org
A potential ammonia leak in the Avis Alaska Sports Complex-adjacent ice plant system was reported to UAA’s Incident Management Team on May 24. A pipe that carried the refrigerant to a condenser in the refrigeration system was the culprit.
Emergency manager for UAA’s Environmental Health & Safety department, John Huffman, talked to The Northern Light over the phone on June 3.
“As we were pulling the ice out of the building, the ice itself was starting to melt, meaning there were small microscopic areas [in the system] where a leak
could occur,” said Huffman.
Administrative Services Vice Chancellor Ryan Bucholdt told Alaska’s News Source a small leak occurred earlier in May which put the university on high alert for similar future incidents.
Huffman and his staff immediately held a meeting on the first night of May 24 to fully diagnose the issue and direct a plan of action. He said that because of the requirements for emergency response, the Anchorage Fire Department needed more information from the Incident Management Team and its partners to respond to the alert.
Huffman said that this was standard procedure and that the departments worked closely together to prevent any leak risks.
Huffman said they also worked with the Alaska National Guard’s 103rd Civil Support Team, who had been on-campus last year for an “anhydrous ammonia exercise.”
This exercise trained university personnel on the process for response to a hypothetical ammonia leak.
Upon identifying the risk for another potential leak, the Incident Management Team closed the facility the following day with the help of the fire department.. Temporary signage was erected, informing students of building closures in the Avis Alaska Sports Complex, the Student Union, General Support Services, Enrollment Services, and the Spine.
According to their May 25 press release, the Incident Management Team had “not identified an immediate physical risk
to the public,” but advised campus and community members to avoid the closed structures.
Classes, planned events, and departmental work were either suspended or moved during this time.
Remote monitoring of the ice plant commenced on May 25.
In their first release, the Incident Management Team said organizations with facilities in the U-Med district such as the Alaska Tribal Health Consortium, Alaska Pacific University, Providence, and in-area residents had been notified of the potential for ammonia contamination.
Members of departments impacted by closures were updated similarly to the rest of the community. According to messages over Instagram between The Northern Light and marketing specialist Courtney Millslagle with General Support Services,
their department also stayed updated through university communications and press releases.
A communication in the Green and Gold on May 29 indicated no additional risk of ammonia leaks. All buildings including the spine were reopened for normal hours of operation.
Huffman said that his team and their partners will put their response under an “internal and external after-action review,” citing the potential personal and financial cost of the emergency. Though the overall response was standard procedure, the challenge faced by the Incident Management Team and its collaborators “had its own particular nuances.”
Despite these nuances, UAA’s Emergency Management was able to avoid any injuries.
UAA Automotive and Diesel professors go to prison
Prisoners experienced a hands-on automotive course taught by UAA professors.
By Hannah Dillon reporter1@thenorthernlight.org
UAA’s Automotive and Diesel department held a three week class, introduction to automotive technology, for prisoners at the Palmer Correctional Facility in May.
Automotive and Diesel Director Darrin Marshall spoke with The Northern Light about the program.
Marshall said that the Department of Corrections reached out to UAA to provide prisoners with hands-on learning experiences.
Marshall said the entire Automotive and Diesel department took part in the formation of the unique teaching experience for 11 minimum security prisoners, with the intention to “give them the tools they need to be a success.”
The classes were held five days a week, six and a half hours a day for three weeks.
Marshall said the class provided some of the prisoners with a feeling of competency and a taste of what it is like to be in the automotive industry.
“I feel that they want an avenue to be a success when their sentence is over. I think the majority of them are looking at this as ‘is this a trade that I can be a success in and could I get started in this trade?’ and that has made them very eager,” said Marshall.
Marshall also said that the captive audience has “eaten up” everything that the department had planned to teach –so much so that professors had to travel between UAA and the facility to provide
more learning equipment.
The prisoner’s retention of the material led Marshall and other professors to lean into more advanced automotive techniques.
Marshall said the department began teaching how to fix central vehicle axles, rear differential problems and advanced electrical issues.
Those who participated throughout the class’ duration will receive a certification of completion and three credits toward an automotive degree at UAA. Upon registration, students will not have to complete the introduction to automotive technology class as they had already completed the class at the Palmer Correctional Facility.
A few of the prisoners talked to Marshall about their intentions after finishing their sentence. Marshall said that the curiosity of multiple prisoners about admittance into the Automotive and Diesel program left him to believe UAA and other UA universities may have new students in the coming years.
Marshall said that UAA’s relationship with the Department of Corrections is in its infancy but the potential for another class seems hopeful.
According to an email from Department of Corrections’ criminal justice planner Kris Black, “The Introduction to Automotive course at Palmer Minimum goes beyond teaching car repair; it’s about building futures and enhancing public safety. Reentering society from prison can be daunting, but this course offers a beacon of hope, equipping inmates with
the skills they need to succeed.”
In an interview with The Northern Light, Black said surveys were given to both instructors and students before and after the class to evaluate the consensus on the automotive instructing experience.
The survey before the beginning of the course showed that instructor expectations were neutral when addressing concerns of safety, enjoyment and educational relationships between students and instructors.
The survey after the course revealed that what concerns the instructors did have were mitigated upon beginning the class. The survey showed that both instructors and students rated the experience very positively – with some suggesting another class be held in the future.
Black wrote in his email that the program “stands as a testament to the profound impact of second chances and the value of investing in the futures of all individuals, regardless of their past.”
Mount POW/MIA hike review
For Memorial Day weekend, The Northern Light reporter Amelia McCormack hiked Mount POW/MIA, a peak near Eklutna Lake.
By Amelia McCormack reporter2@thenorthernlight.org
Mount POW/MIA was named in 1999 in honor of those who had suffered as prisoners of war or declared missing in action. It is the largest and tallest natural “living” military monument.
The mountain was renamed from its original name, Anvil Peak, to Mount POW/MIA on veterans day of 1999 thanks to the efforts of Vietnam war veteran John Morrissey and veteran advocate Leo Kaye. More than 80,000 Americans are currently considered missing as prisoners of war or as missing in action according to the U.S. Department of Defense.
Mount POW/MIA is a mountain with no official trailhead and no nearby official parking.
It boasts an elevation gain of approximately 3,000 feet in only roughly 2.5 miles, standing at an elevation of 4,314 feet.
The hike is short but steep, leveling out once before a further hike to the saddle – or the low point between two peaks – of the ridge where the journey continues for another half hour or more to reach the peak.
While hiking Mount POW/MIA on Memorial Day, I made the saddle before the summit in roughly two hours, while my mom reached the summit in about three hours.
After the saddle there are two peaks – Gold Star Peak, then followed by the POW Peak, which flies the American and POW/MIA flags.
According to Military.com, “Before arriving on POW/MIA hikers must also cross Gold Star Peak, where an evergrowing memorial to fallen service members looks out over the Cook Inlet and back across the Chugach Range. “
According to Summitpost.org, “The overall effort is comparable to Bird Ridge, but this is a steeper hike with
sketchier route finding.” For my first hike of the season however, I found it quite difficult and did not summit.
For people who are familiar with hiking, it is a relatively normal elevation based hike, and the trail will only improve as the snow continues to melt and the mud dries.
The trail was relatively clear but wet and muddy in some places, and after the first plateau of the trail, the second incline still featured snow and mud that made it difficult to hike given the steepness of the incline.
The lack of dust and burning sun however was of benefit, and the spring weather keeps the trail clear until the brush and plants grow in.
The trail is off the road leading to Eklutna Lake and unmarked. I was pleasantly surprised to find many people hiking – not enough to be considered crowded by any means – but enough that people were always hiking up and down. Because of the mountain’s name and it being Memorial Day weekend, the trail was also a more popular choice.
At the top of the POW/MIA Peak is a memorial featuring the American and POW/MIA flags and an ammo can with a logbook.
and themes.
KRUA album review: ‘Model’
By Josh Pacillo
Los Angeles Indie rock band Wallows released their third album “Model” Friday, May 24. It has been two years since their last full length, “Tell Me That It’s Over.” Model feels both like the band is trying to appeal to fans who loved their debut album “Nothing Happens” while also trying to appeal to a wider audience.
Unfortunately this dilemma led to the trio taking less risks, becoming too comfortable lyrically and sonically while simultaneously taking risks that were missteps in songs that could have been great.
According to the band in a Rolling Stone interview, the album took only 7 weeks to make
compared to their previous outing which took 10 months.
The quick turnaround time on “Model” shows with confusing and downright bad audio mixing — coupled with the feeling that these tracks if given more thought and more time they could truly shine.
The intro track, “Your Apartment,” sets a beautiful tone and expectation for the album; it feels like a natural progression for the bands’ style — bringing in a lot of energy for a great first track. Unfortunately they could not keep up with the quality of the opening track for the rest of the album.
Some songs felt flat and barebones, specifically, “Anytime, Always,” “A Warning,” “Bad Dream,” and “Only Ecstacy.” “A Warning” and “Bad Dream” felt like they nearly could have
merged into one another. I enjoyed them and their slower and moodier melodies. The dreamlike synth that backs both tracks along with the punchy drums helps both songs land on their feet. Thematically both are nearly identical. One track could have been cut. “Anytime, Always” is fairly inoffensive but it leaves much to be desired like more intricate riffs and drum beats.
Breaking out of the sameness of “Anytime Always,” “Calling After Me” grabs your attention immediately. “Calling After Me” is the brightest song on the album, lyrically and sonically it’s fun and plucky though gets repetitive by the end. The lyrics resonate differently than their last two LPs; there is far more confidence and young love than their more introspective lyrics
Movie review: ‘Bad Boys: Ride or Die’
One part who-dun-it, one part spiritual journey, one part redemption arc – all Bad Boys action. Spoiler free!
By Tanner Croft reporter3@thenorthernlight.org
Will Smith and Martin Lawrence return to the big screen with their iconic characters Mike Lowrey and Marcus Burnett for the fourth installment in this now iconic franchise. “Bad Boys: Ride or Die” released in theaters on June 7 and has stood out among recent box office flops like “IF” and “Furiosa: A Mad Max Saga,” netting $104 million as of when this was written.
Where does this success come from, though? What makes “Bad Boys: Ride or Die” stand out? Could it be the fact that movie-goers are happy to see another good addition to a trusted series such as the Bad Boys franchise? Or is it the failures of the other films at the box office that created the positive reception of this movie?
By no means is this article meant to slam ‘Bad Boys: Ride or Die,’ but it is quite simply just
more Bad Boys – which is absolutely a good thing.
In this trying time filled with movies that are just production company cash grabs filling the box office, it is nice to see a film that is self-aware, and this is the reason that ‘Bad Boys: Ride or Die’ has gained the traction that it has.
‘Bad Boys: Ride or Die’ is exactly what the world of cinema needs right now, and the film knows exactly what it is. A buddy cop comedy with beloved characters and a script that is funny, while also maintaining a story that viewers can actually immerse themselves and invest in because of the characters that are involved.
The plot is nothing special. Mike and Marcus must uncover a plot to discover who is attempting to frame their Captain, Conrad Howard – played by Joe Pantoliano. Viewers may remember previous ‘Bad Boys’ scenes and will be pleasantly surprised by a minor reappearance from Pantoliano within this film.
This fourth installment to the series puts the boys’ age on full display, even having the characters finally undergo some much needed development and growth.
Viewers may wonder how Mike and Marcus are still doing the classic ‘Bad Boys’ action now that the characters are just as old as the actors themselves?
Will Smith and Martin Lawrence have undoubtedly aged like fine wine, but the film actually uses their age as a plot point. Jokes and remarks exchanged between characters put the boys’ age on full display.
And a significant plot event creates a spiritual journey involving their souls and a donkey.
The new installment introduces a new antagonist, portrayed by Eric Dane, who some viewers may recognize from his character Cal Jacobs in “Euphoria.”
Sadly, Dane does not get enough screen time to test his skills as an actor in the villain role, but when he is on screen it is convincing enough. Maybe sometime in the future Dane will be cast as an iconic villain
Star Peak features a memorial with a growing collection of dog tags, photos and information about the troops captured and killed in Iraq. These features are maintained by Army veteran Kirk
and other veterans
hike the mountain multiple times a year. More about Alkire’s story can be read at military.com.
“You (Show Me Where My Days Went)” while not doing anything experimental, is a solid track on an album that keeps you wanting more.
The most disappointing song on the album by far is the track “Canada,” plagued by potential. Canada has such a beautiful and melancholic instrumental reminiscent of the bands’ first album, Nothing Happens, and alt rock roots. Many paths could have been taken on the track but instead weak conversational vocals with even weaker mixing draw away from its beauty.
The absolute highlight of “Model,” “Don’t You Think It’s Strange?,” redeems some of the ills of the album. It experiments and builds upon indie rock and feels like a proper Wallows song and then some. The lyrics and vocals performed by Lemasters are an interrogation of his motivations for being in a rela-
and truly stretch his legs as an actor.
Since this is the fourth film in a long running series, viewers should go into it after watching the previous three films. Especially since this film picks up right where the last movie, “Bad Boys for Life,” left off.
The film featured several returning characters who are important to the plot. The son of Mike, Armando – played by Jacob Scipio – was one of the previous film’s antagonists.
Throughout the film, viewers may begin to view Armando in a better light while others may have mixed feelings because of events that transpired in the previous installment.
When it comes to returning characters, the cameos must be mentioned. There are quite a few returning cameos such as DJ Khalid, Michael Bay – who directed the first two films in the series – and John Salley, who makes a reappearance as his character Fletcher from previous films.
There are also new cameos to keep an eye out for including social media personality Khaby Lame and rapper Joyner Lucas.
This film is R-rated, but similar to other films in the series, it
tionship and being unable to be what that other person needs. Lemasters is the heart and soul of “Model” bringing the most emotion in his respective songs.
“Going Under” feels the most experimental of the tracks; the rough distortion and delay in the guitar gives a psychedelic feel and Lemasters’ intensifying vocals till he’s screaming his throat raw feel cathartic. This song is packed with emotion you can’t help but resonate with — finally a song in “Model” that makes me feel something. The switch up style of singing may be offputting to old and new fans alike but the ambition of this track cements it as one of the best tracks on the album.
Though “Model” as a whole was disappointing, some of the groups’ best work to date is present, but be prepared to skip around the album from the lack of cohesion.
is not overly gory or gruesome –with the exception of one or two scenes.
There is strong language throughout, but not so much that audiences will choke on the dialogue. Even though it holds an R-rating, it is palatable for most viewers.
Martin Lawrence carried most of the comedy, as he has with the whole series. For the most part, the comedy comes off genuine and not too cheesy. There are some jokes that won’t land, but that is to be expected of any film. This film does come off as a bit more memorable and comedic than the 2020 entry ‘Bad Boys for Life.’
The explosions look cool and the cinematography is good, but overall it is nothing unique. This film is good because it does not try too hard to be something that it is not. The directors understood that the film’s role is to be a lighthearted buddy cop movie, and it does it well.
‘Bad Boys: Ride or Die’ satiated the desire for comedy and action with a plot that isn’t atrocious. If you are tired of seeing box office slop, this is just a good old fashioned dumb action movie that will appeal to a majority of audiences.
Gold
Alkire
who
PHOTO BY ANDREA MCCORMACK.
A dog tag memorial at the top of Gold Star Peak.
Movie
review: ‘In a Violent Nature’
Chris Nash gives us a unique perspective on the slasher-horror genre. Mild spoilers.
By Tanner Croft reporter3@thenorthernlight.org
Chris Nash made his directorial debut on May 31 with “In a Violent Nature,” the new horror film produced by IFC Films and Shudder. This film adheres to the stereotypical camp-slasher vibe that most horror films set in the woods have become accustomed to – with one small twist.
“In a Violent Nature” is filmed almost entirely from behind the back of the killer and main antagonist of the film.
The story began with a small group of college-aged kids making a reference to the massacre that had happened on the spot where they were standing. One of the characters spots a necklace dangling from a pipe that is stuck in the ground and decides to take it.
Viewers quickly realize that this decision was a mistake.
Taking the seemingly innocent necklace is the point where we see our antagonist emerge. The killer is awakened and we see him journey into the world in an effort to retrieve the necklace stolen from his grave –which turns out to be the only thing that holds his soul in place.
If you find yourself thinking that this sounds just like every other horror film ever made, you would be correct. In terms of story building, there really is none throughout the film.
The story that we as viewers get is passed onto us by a conversation that the killer overhears while he is stalking the young adults surrounding a campfire telling an urban legend story that happens to be about him.
This is where we discover that our killer is named Johnny.
Almost all of the lore surrounding Johnny comes from this “ghost story” around a campfire, which feels like an homage to the camp-horror classics of the 80s and 90s. However, this is the extent of everything that we learn about Johnny, and it is all that we really need to know as viewers because of the way that this movie is filmed.
The third-person perspective is what sets this movie apart from any other in this genre. With our perspective as viewers being almost entirely from behind the back of Johnny, we are not given the opportunity to develop a connection to any of the people that he kills. We are simply along for the ride as he methodically eliminates everyone in his path to find the necklace that was stolen from him.
“In a Violent Nature” is an incredibly gory film, which contains almost indescribable acts. Johnny is a self-aware zombie who only cares about mindless violence in the most gruesome ways possible. He seemingly hunts for sport.
“In a Violent Nature” lives up to its title when it gets truly creative with the executions that are shown. This is not a film that will sit well with light stomachs and even features some scenes that may stick with even the most grizzled horror-film watchers. It gets extremely violent, and then just when you think it’s as bad as it’s going to get, Nash pushes the envelope a bit further and makes the scene even more macabre.
Another thing that sets this film apart is the sound design. For most of the film, almost all of the sound comes from birds or crickets and are accompanied by the slow crunching of foot-
steps coming from Johnny as he walks at a leisurely pace.
Other than the natural silence that occurs, viewers experience sections where they hear conversations or music in the distance. It is important to note that the music selection, although brief, is good – and fits the camp-horror vibe.
The ambient sounds, including music and conversations, help viewers distance themselves from anything that Johnny is not focusing on by simply existing as background noise. This helps viewers keep their focus on Johnny. Sudden loud noises in the midst of quiet and peaceful sounds shock viewers and emphasize the escalation of violent scenes.
These quietly violent and audibly realistic scenes create a sense of unease. These heightened moments of sound can be attributed to car horns, generators and other heavy machinery. The sudden loud and unnatural noise for the first time can be a little bit of a jolt on your senses.
The film can feel a bit slow as we follow Johnny’s footsteps as he walks his way from victim to victim at an easy and relaxed pace. Although, these slow scenes add a nice break from the incredible amount of violence that we ultimately see when the killer catches up to each victim.
Towards the end of the film the camera angle switches to follow the back of one of the survivors. With the camera switch, the audio also changes drastically to emphasize the paranoia caused within the surviving victim.
The interesting change in perspective allows the viewer to directly feel the anxiety that the victim feels. The film holds the anxiety-inducing perspective on the victim long past where any other film would roll the credits, until it becomes incredibly tense
Album review: ‘POST HUMAN: NeX
By Kaitlyn Gaub admanager@thenorthernlight.org
On May 24 Bring Me The Horizon debuted the long-awaited second installment of the “POST HUMAN” series. This is a follow up to their album “POST HUMAN: SURVIVAL HORROR.”
“NeX GEn” is an interesting addition to Bring Me The Horizon’s discography. From deathcore, metalcore and post-hardcore, to their current style of electronic post-hardcore, hyperpop and glitchcore, the band has pushed the boundaries of genre in alternative music.
The band’s departure from traditional metalcore has received mixed reception from fans. This album is more electronic emo with an injection of metalcore. If you go into the album expecting heavier music, you will be disappointed.
This album carries the level of drama that their other works carry. Much of their music feels like it creates a world within itself, which can be heard on “POST HUMAN: NeX GEn.”
The “POST HUMAN” series is a nihilistic reflection on the state of the world, as “POST HUMAN: SURVIVAL HORROR” was inspired by the COVID-19 pandemic. “NeX GEn”
carries an existential dread of an increasingly digital and rapidly changing world throughout its 16 tracks.
This is the first album made mostly without Jordan Fish, a longtime band member and producer. Despite the change, the album carries a similar sound and energy to their prior works.
The band continues their tradition of guest artists featured on the album, including AURORA, Lil Uzi Vert, and metalcore veterans Underoath and Glassjaw.
This combination of features in itself reflects the diverse soundscape offered in this album.
My favorite tracks from “POST HUMAN: NeX GEn” are “Kool-Aid,” “DArkSide” and “AmEN!” These tracks carry the level of emotion I think is necessitated by the theme of the album and are more metalcore with just enough experimental moments to stay interesting.
This album has sonic similarities to “POST HUMAN: SURVIVAL HORROR” and “That’s The Spirit” with songs like “DArkSide” that feature metalcore riffs, catchy choruses and breakdowns.
Lyrically, the album leaves something to be desired. While themes discussed across the tracks include depression, anxiety and substance abuse, it
and uneasy to watch.
This is the only scene in the entire movie where tension is felt, and it is done quite well. Especially once the survivor makes it out of the woods and into a car that serves as the first symbol of safety for the character. In the car, with a kind stranger, viewers are filled with an incredible sense of dread for this long segment of “peace” to imitate what it is like to survive something so horrific.
The ending is ambiguous, creepy, and uneasy – it is sure to please some horror fans who would otherwise be unhappy with the lack of horror or scares throughout the film.
doesn’t feel fresh. The lyrics pertaining to mental health particularly feel generic to me.
Songs from the record that I liked the least were “Top 10 staTues tHat CriEd bloOd,” “DiE4u” and “n/A.” These tracks feel the most predictable on the record. They are fine songs, just nothing special in my opinion.
A track that stands out in this album is “[ost] p.u.s.s.-e” — a fast-tempo breakcore EDM song with dramatic samples. It offers a newer sound from Bring Me The Horizon, and is unexpected when listening through the album.
The setting and vibe of the album is reminiscent of a videogame, that can feel overdone, like on “Top 10 staTues tHat CriEd bloOd.”
I liked the conclusion track “Dig It” with a somber tone to conclude the album that otherwise leans busy pop-punk.
My biggest criticism of Bring Me The Horizon in the past seven years is how they’ve diluted their hardcore side in favor of digestible electronic pop-punk. It is disappointing when you know what they are capable of creating, like their classic record “Sempiternal.”
One could view their ever changing style as a positive, as they are creating experimental
Overall, “In a Violent Nature” is for viewers who get annoyed by pesky things like character development and plot building. It is perfect for those who want to see carnage.
The unique perspective while watching everything unfold is a neat experience. However, it detracts from the scary nature of a horror film. If you like gore, this is a good way to kill an hour and a half, literally. If you enjoy cinematography and sound design, this film is best viewed in theaters or with headphones at home once it finally releases to streaming services.
genre-bending music. A lot of the current music scene seems to lean more toward the hyperpop and ultra-produced songs rather than raw, breakdown focused music of their “Suicide Season” and “Count Your Blessings” days, so the pivot makes sense to appeal to the current music trends.
Overall, I liked “POST HUMAN: NeX GEn” more than
I expected. Barring a couple of songs, the album is enjoyable, clean and well produced. This album could be enjoyed by people who listen to different genres, not just metalcore — because at the end of the day it is not traditional metalcore. I am looking forward to how Bring Me The Horizon continues to evolve in the next installment of “POST HUMAN.”
PHOTO COURTESY OF IFC FILMS SHUDDER.
A poster for “In a Violent Nature.”
ARTWORK BY ALISSA SALLS. Bring Me The Horizon “POST HUMAN: NeX GEn” cover.
Photos: Midtown Farmers Market
Photos by Sarah Bennett photographer1@thenorthernlight.org
The Anchorage Midtown Farmers Market — located at the 900 E. Benson Blvd parking lot — is open every Saturday from 9 a.m. to 2 p.m. Recurring weekly on Saturdays until Oct. 12, many local small and large businesses gather in one location to share seasonal varieties of fresh produce, crafts, and community engagement.
The Midtown Farmers Market offers a farm- to-table experience. Educational and sustainable information is provided at many booths, explaining where, when and how things are produced. If you’re lucky, you can try samples offered at various tables.
Rainbow Royale: Pride Month’s last two weeks are also its busiest In Anchorage
From pub crawls to parades, the latter days of June are chock full of Pride events for all tastes.
By Mark Zimmerman reporter4@thenorthernlight.org
“Yikes, we’re already mostly through June and I haven’t been to any fun pride events yet!”
I understand, June is busy for Alaskans. Our first “real” month of summer is usually a time of travel, both in-state or out of state. Many of us will be fishing, hunting and jetting off to wherever those Alaska Airlines Cards are able to take us. Not to mention summer jobs that may take up a large chunk of time for us youngsters.
Fear not! Most of the fun of Anchorage Pride is piled on at the end of the month.
June 22, 1 to 8:59 p.m. —
The Anchorage PrideFest Official Pride Bar Crawl at the Avenue Bar
At only $10 a ticket, this crawl starting at 4th Avenue’s Avenue Bar gives participants an opportunity to don festive clothing and explore the city’s 21-plus scene with an entourage of fellow residents.
June 24, 8 — “But I’m a Cheerleader” Screening at Bear Tooth Theatrepub by Anchorage PrideFest
The 1999 queer-cult-classic
starring Natasha Lyonne tells the tale of a high school girl sent to a gay-conversion-camp after her homophobic parents suspect she may be a lesbian. This teen romantic comedy is an exploration of same-sex love amidst the backdrop of the ineffectuality of gay conversion practices still present in parts of the United States.
June 25, 8 to 11:59 p.m. — Snow City Rainbow Run 5K at Snow City Café
Downtown Anchorage brunch-mainstay Snow City Cafe is inviting participants of all ages and speeds to run — or walk — a 5K in the heart of Anchorage’s downtown. Pride garb is encouraged and booths will be set up by local businesses to add a dash of commerce to Anchoragites’ exercise.
June 29, 11:30 a.m. to 5 p.m. — The Anchorage PrideFest and Parade at the Delaney Park Strip
According to Alaska Public Media, the Park Strip’s annual LGBTQ extravaganza includes a parade tradition that began in 1977 — when LGBTQ residents of Anchorage would march with bags over their faces to avoid being fired or ridiculed. Today, the parade is a celebration of the community’s strength
and resilience in supporting diversity and acceptance, and even includes an open-air market and live performances that go into the evening. The parade itself returned last year after being put on a pandemic-long pause, and it starts at 11:30 a.m., ending at noon.
June 29, 12 to 7 p.m. — Pride Block Party at The
Writer’s Block Bookstore & Cafe
There’s another big open air celebration on the 29th! A bookthemed café in Anchorage’s artoriented Spenard neighborhood – the Writer’s Block – has hosted Pride Events for a number of years in its parking lot with vendor booths, food and live DJs. The all-ages event will be hosted by UAA-alum M.C. MoHogani
Magnetek and features DJs Ms. Mixx, KE and also-UAA-alum Aud Pleas Spin.
Disclaimer: Aud Pleas is a member of the media board that oversees The Northern Light.
June 29-30, 7:30 p.m. to 2:00 a.m. — Anchorage PrideFest official afterparty at Williwaw Social
Not tired enough after all of that celebrating on the 29th? Williwaw Social — one of Anchorage’s most popular night clubs — will be housing a pastmidnight 21-plus celebration.
The “Viva Pride Doom Haus” drag show will require ticketed admission and features headliner Gigi Monroe as well as Anchorage drag performers Krustyna Clown, Lamia Monroe, Elle Emerald and Misty May. Frankie Doom will be hosting the live show. After the show, DJ Fan Service will play a set for a live dance party.
July 20, 12 to 7 p.m. — Underground Pride at the Alaska State Fair Grounds
As a bonus, who says the fun needs to stop in June? Palmer may be a 48-minute drive from Anchorage, but the lengthy commute ends with a market boasting food, locally-made wares and live drag performances. Underground Pride is organized by LGBTQ advocacy organization the Queen’s Guard.
PHOTO BY MATTHEW SCHMITZ.
A poster in the Student Union commemorating Pride Month with a quote from LGBTQ activist Harvey Milk.
The Anchorage Midtown Farmers Market provides free parking.
Motley Crew Bakery, a program of Bean’s Cafe, sells baked goods.
Alaska Grown tomatoes sold at $5 a pound.
The Happy Mushroom sold several types of mushroom jerky, tinctures and powers.
Music was provided by local entertainers and musicians.
Handcrafted Alaska salmon cakes and dips.
Fresh or frozen seafood delivered by Arctic Choice.
Photos: UAA hosts summer dance camp
Photos by Justin Cox sports.photographer@thenorthernlight.org
From June 3 to 7, UAA’s College of Arts and Science Department of Theater and Dance hosted a dance camp led by term assistant professor of dance Katie O’Loughlin.
Over the week, the campers learned about various styles of dance as well as warm up routines and choreography. At the culmination of the camp, the campers performed for their families as well as faculty and staff with the College of Arts and Sciences.
Photos: Musk ox, bison and reindeer at the Large Animal Research Station
Photos by Vadim Bledsoe video1@thenorthernlight.org
The Large Animal Research Station run by the University of Alaska Fairbanks hosted a birthday bash for recently birthed 3-month-old musk-oxen “The top one and two males will gather females for mating season” said Bonnie Mariott, a staff member at LARS.
“These Musk Oxen will be going to Minto flats with the Alaska Department of Fish and Game, they might leave mothers and calves”
The average lifespan of musk ox is up to 20 years in the wild while up to 25 years in captivity. The research station is maintained for a wide variety of research and educational projects and are valuable for research in biology, biomedicine, wildlife protocols and evaluating use in Alaska’s agricultural field.
City Nerd Nite: A forum for Anchorage community discussion
City Nerd Nite was a unique opportunity to hear from local “city nerds.”
By Kaitlyn Gaub admanager@thenorthernlight.org
The Anchorage Assembly hosted an event for people passionate about Anchorage city projects and improvements: City Nerd Nite on May 30 at Akela Space.
The theme of this meeting was transportation. Speakers had seven minutes each to discuss their ideas for improving transportation in the municipality.
This event occurred alongside the ribbon cutting on a new — temporary — protected bike lane and sixth avenue, a project intended to improve safety and ease of bicycle travel in downtown Anchorage.
In an interview with The Northern Light, the communications director for the Assem-
bly and organizer of City Nerd Nite, Allie Hartman, said that the Assembly has been working on getting input from the community, especially younger Anchorage citizens.
“We launched City Nerd Nite during the fall of last year, during housing action week, which was a week of programming … hosted around the topic of Anchorage’s housing shortage crisis … We had so much fun. And so in 2024 we decided to make it this series.”
Topics discussed at the meeting included issues surrounding pedestrian safety, snow removal, pedestrian accessibility on sidewalks and criticisms of urban planning methods such as traffic impact analysis and the 85th percentile speed.
One of the speakers, Emily, proposed a bike system across
town.
Evan Leaf, a UAA civil engineering major, discussed his proposal for Anchorage to adopt a tram system to limit congestion, pollution, and safety hazards in the city — as well as to add a convenient transportation option for college students, the elderly, and anyone else that needs reliable transportation across town.
He discussed how other countries and cities comparable to Anchorage have implemented a tram system with heated rails and snowplows to adapt to harsh winter conditions.
Speaker Mary Dean discussed “woonerfs,” streets designed to be shared by pedestrians, bicyclists and low-speed vehicles to improve city walkability — particularly in the winter months when the roads are less
maintained.
Assemblymember Daniel Volland spoke at the event about road ownership and maintenance responsibilities across the municipality, as well as emphasizing the pedestrian safety issues on our streets.
The meeting ended with a brief Q&A, which featured discussion about the history of racism in urban planning. One instance discussed was the case of the Gambell-Ingra couplet, a high-speed road connecting to the Seward Highway that was built through the Fairview neighborhood.
A key takeaway of the meeting was Anchorage citizens wanting to see their city thrive in the future.
When asked what the Assembly does with the ideas discussed at Nerd Nite, Hartman said, “One of the key audiences of City Nerd Nite is really Assembly members as elected of-
ficials and policy makers. They are constantly just absorbing information and thinking about how they want to craft the vision of our city.”
“I, as a staff member, love to invite city nerds, as we call them, to submit opinion pieces in local publications and to keep that conversation going. So, if there’s a really good idea or a good nugget … trying to give those ideas some legs,” Hartman said.
To engage with Anchorage issues and legislation, visit the municipality’s website, sign up for the Assembly newsletter or contact the office of legislative services with your ideas or opinions at wwmasls@anchorageak. gov.
Live streams of City Nerd Nites can be found at the Assembly’s YouTube channel. The next City Nerd Nite will occur in August.
A reindeer at the Large Animal Research Station. Musk ox have been in Alaska and the northern hemisphere for over 600,000 years.
This event attracted many attendees from the Fairbanks area.
A musk ox at the Large Animal Research Station.
The Large Animal Research Station currently houses a herd of 42 Alaskan reindeer for research.
A camper performs a spin to showcase some of the across the floor warm up exercises during the final performance of the dance camp.
Campers practicing choreography from “Hairspray” during the week-long camp.
Assistant camp instructor and local Anchorage dancer Teigan Akagi demonstrates choreography for the campers.
O’Loughlin demonstrates a section of choreography for the campers.
OPINION
I hope you let them go, but never let them leave
If we regret not spending more time with someone we’ve lost, we can always spend time with what they’ve left behind.
By Mark Zimmerman reporter4@thenorthernlight.org
It’s difficult coming to terms with someone I’ve known so well suddenly disappearing from my physical life. Their smile fades into a memory only captured by photographs. Their voice trails off into a disembodied recording from a memo or video. Their physical touch simply ceases to exist in any recordable manner.
The loss of life’s permanence can feel so jarring in a world where death isn’t a part of our day-to-day experience. We’re more than content to let a day or week go by without talking to someone because we’re confident we’ll still be around them in ten years’ time. The people closest to us simply become representations of themselves — live figments tied coincidentally to the mortal world.
When they finally leave for good, however, those physical constructs slip away and we find ourselves confronted with two choices: let them go for good or let your relationship with them transform.
Eleanor Haley has a M.S. in counseling psychology. She explores this concept in a 2022 blog post, where she advocates for the latter.
Haley writes in her post “People often keep their relationships with deceased loved ones private for many reasons,” while noting that the aggrieved may be afraid that “they’ll be misunderstood by a society that still partly believes ongoing connections are odd.”
Haley’s outlook is framed in the context of her late mother, comparing their relationship after her passing to that of an inventive child’s “imaginary friend.” Haley “began to see [her mother’s] presence everywhere.” Perhaps it’s in this
framing that we can avoid the self-deprecation of loss — what Berly McCoy at NPR calls the “would’ve, could’ve, should’ve” thoughts of our time with loved ones.
Self-deprecation is an inevitable consequence of regret: “I didn’t spend enough time with her,” “I wasn’t a good enough partner to them,” “I didn’t give him enough to succeed” and similar reflections tie us to the physical life the departed leave behind.
As Haley writes, we limit people’s presence to these physical bounds and allow this regret to fester. I believe we need to remain in touch with people, rather than trying to “move on.”
Haley was unsatisfied with decades of grief theory which argued to the contrary.
In the past year, I have lost two grandparents I was very close to and a dog that stayed with my family for 17 years. It’s heartbreaking to see people struggle to stay alive in their last days.
In my grandpa’s case, the last time I hugged him was June of 2023, chair-ridden but still holding on to his joyful spirit at his home near Winona, Minnesota. He passed away the following September, in the company of those he loved.
For my grandmother on my Mom’s side, she remained strong, humorous and stubborn well into her twilight years. I saw her last in August of 2023 at a Wedding in Minocqua, Wisconsin. She passed away in April under the care of a hospital in Bradenton, Florida also in the company of her loved ones. I was not present to watch her condition deteriorate, but in my conversations over video calls with her she remained peaceful — but not afraid to aim facetious pot-shots at her friends, much to their amusement.
This was my blessing in life, watching my elder relatives pass
with their heads still about them. Every precious moment I had was spent with the parts of them I loved the most.
In that light, I understand my experience is not like everyone else’s. Many of us want to let go because the dead leave nothing but painful memories in their wake.
Some people may have watched their aged beloved succumb to dementia. Perhaps they had a troubled, even abusive relationship with the deceased. All I ask is that if those grieving have any good left to hold on to, then they should try to see that good in the rest of the world.
When my grandpa passed, my first trip to the supermarket — replete with the sweet corn and tomatoes of an imported fall harvest — reminded me of his passion for growing things. In Winona, I saw five-story offices and gigantic historic buildings that he rebuilt and made into thriving spaces of commerce and work. The night of his funeral was coincidentally also the night of a harvest moon, befitting of a lifelong farmer.
On the night of my grandma’s passing, I felt compelled to make a fluffy egg salad sandwich, one of the thousands she probably would have made while packing lunches for delivery in suburban Chicago. She also followed me for every meal I would make for those close to me, as she was a regular provider of food to the few neighborhoods she would inhabit in her life. I would also remember those little “Joanisms,” laconic metaphor and observations that always felt like tomes of ancient wisdom from the library of her storied life.
I formed something of a relationship with the dead, creating and growing as if they compelled me to. I loved the world around me and held my tongue as if my dearly departed were guiding my inhibitions and emotions.
Our old dog in her first month was fittingly named “Joanie” after our equally opinionated and stubborn grandmother. She always argued with the neighbor dogs, never liked being dressed up and remained loyal to but one human at a time. Now we see her loyalty, her perseverance and her courage everywhere we look.
I feel like she’s still following me, her presence demanding my attention as she did in life. She never let me take her on walks of course, but she never left me out of her intense attachment to our family.
She was the one consistent thing in my life for the time she was here, and now I seek to practice that steadfastness in my own relationships in these weeks following her death.
I want to have the same re-
lationship now with every creature in my care as I had with her – because it’s what she would have wanted.
Take this grief-speckled year of my life as an example of what happens when you forget about “moving on” and instead start “carrying on.” I never regret my busy adulthood that prevented me from spending time with them, because now I spend time with them everywhere I go.
As I said to my family many times during my grandpa’s autumn-colored funeral, “Good people never truly leave us.” I may never be able to move on from the past year, but I think I’ve done something a lot better for myself.
Never stop loving and communing with the people who leave you. As for the pain you felt when they left you behind, I hope you let it go.
Does the 40-hour work-week actually work?
The 40 hour work week has been the core of the United States’ labor goals since the early 20th century, but is that where we must draw the line in labor law improvement?
By Hannah Dillon reporter1@thenorthernlight.org
The early 1900s – and long before – had no labor standard. Some people worked 10 to 14 hours a day, six days a week, and this was often considered normal or necessary.
Automotive industry mogul Henry Ford – with the help of his son Edsel Ford – proposed the idea of the eight hour, five day work week in 1922.
This idea was considered revolutionary for the time and the new standard created room for families to spend time together and allowed workers to have Saturday and Sunday off for – in the words of Henry Ford – “rest and recreation.”
The Literary Digest mentioned a quote from The New York Herald: “The Ford plan is joyous news to all who like to think of bringing work down
to the irreducible minimum, later we shall have a thirty-hour week, then a twenty-hour week. Perfectly fascinating.”
By 1938 President Franklin D. Roosevelt signed the Fair Labour Standards Act, which federally established overtime pay and, later on, the five-day, eighthour work-week.
But after almost 100 years, the less-than-40 hour workweek is nothing but inconceivable and is still considered just a fascination.
According to Pew Research Center, “only about half of U.S. workers say they are extremely or very satisfied with their job overall…” and even then, many of those who claimed they were satisfied with their job were paid more on average.
Personally, I found myself sobbing at the front doors of previous workplaces simply because I could not handle one more day suffering the tedium
and stress of my underpaid 40 hour work-week or 12 hour labor intensive shifts, only to come home and still have to work to take care of myself, my responsibilities and my home.
The average work day is said to be equally split: Eight hours for work, eight hours for sleep, and eight hours for recreation.
I guess that makes the 40 hour work week equal – but we are no longer in the era of begging for the simple request of equality; we can now demand equity.
According to Bankrate, the average one-way commute time for Anchorage is 19.3 minutes but this does not include commuting by bicycle or public transportation, which often has a longer travel time. But this is not the only work minded task that begins each morning.
Preparing for work starts the moment the deafening phone alarm awakens the sleep-de-
prived employee. Shuffling to the shower, eating breakfast, getting kids ready for school –anything done before work is strained for time.
When finally getting home, people have to choose between losing hard-earned money to order takeout, or spend the next hour and a half making dinner.
So how should the United States government go about reforming the work-week?
The 10-hour day, four-day a week work schedule is probably the most common solution to the labor issue. Three day weekends allows the employee to take care of the home for one day and leaves the additional two free days for leisure.
But a 10-hour work day can be quite exhausting itself, especially since lunches are often unpaid, lasting between 30 minutes and an hour. This solution means an even longer day – up to 11 hours – at work.
Customized schedules are common for college students and offer the freedom to decide when they would like to work
and for how long.
Customized schedules can also become relatively hard to manage, creating a chaotic work schedule for major corporations.
In my opinion, the hardest to imagine but the most ethical solution to the labor issue is a working environment where employees are paid enough to live comfortably working 20 to 30 hours a week.
Many of us may curse Henry Ford’s name in the height of a stressful work day, but our current employers should be held accountable for evolving economic and labor standards.
When arguing for the 40hour work week, Ford’s son, Edsel Ford said, according to the Library of Congress Blog, “The goal cannot be fully realized at once.”
I understand that even today, “the goal cannot be fully realized at once” but we must begin the conversation on conserving the average working-class, underpaid and undervalued communities.
ILLUSTRATION BY MARK ZIMMERMAN
People have a habit of lingering after they’re gone, so why not embrace it?
Let’s talk about zoning
No one likes talking about it – housing policy is complicated and people have different needs. But it’s time to stop pretending our current housing paradigm addresses any existing problems.
By Mark Zimmerman reporter4@thenorthernlight.org
Anchorage’s home and rental market is a joke. According to the Anchorage Daily News, at the turn of 2024, Anchorage homeowners were delighted to receive notice that their resale value would theoretically increase by 9.2%. Great news! Until you realize where this increase is coming from.
Rental units in the city had an abysmal average of 4.1% vacancy in 2023, according to a report from the state’s Department of Labor and Workforce Development. The same report pinned median rental costs at about $1,275 on average. Meanwhile, according to Alaska Business Magazine, our state is barely able to recover from years of recession and Anchorage still suffers from an acute homelessness problem.
People who visit or reside in Anchorage are often left in a state of wonder. They wonder why everything from road maintenance to policing is under-
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staffed. They wonder why sensible, single-bed rentals are massively overpriced. They wonder why it takes so long to get anywhere or do anything useful. They also wonder why Anchorage, despite having so many supposedly adorable neighborhoods like Spenard and Roger’s Park, seems to blend into itself. I bet folks are also wondering why the frequently-heralded mixed-use developments of Anchorage’s sluggishly-recovering downtown aren’t being repeated elsewhere.
An answer may lie in the befuddling zoning paradigm the
city seems intent on keeping. This Anchorage land use map, developed by city planners, was drafted in 2016. See the soulcrushing expanse of yellow sections? That’s all single-familyexclusive development.
Good thing poor people don’t exist, because that would quickly become too expensive for them to afford as residents inevitably fill those homes in.
See the absolutely diminutive purple and pink sections? That’s available space for mixed-use development. It’s a good thing people never shop, work or do anything outside their homes,
otherwise the National Association of Realtors would be documenting our harrowing commercial vacancy and an Associated Press Study would find our residents would need to commute about 23 minutes on average to get to work.
See the narrow corridors of brown and orange sections? That’s where all the multifamily housing is. Notice how far they are from the purple and pink sections? It’s a good thing the Anchorage Daily News found owning a car is such a cheap and totally not nightmarish thing thing to do in a cold and isolated state, otherwise people in those multifamily developments would spend large swaths of their income on vehicle ownership.
The best part? This 100% intuitive and not-overly burdensome land use pattern is currently being enabled and championed by whiny homeowners.
An op-ed in the Anchorage Daily News moaned about how part of their sunlight throughout the day is mildly impeded by an accessory dwelling unit. So sad, heartbreaking even. Won’t someone think of our half-million-dollar-on-average money pits?
In another ADN editorial, we also have similarly concerned
citizens lamenting that the assembly’s later horribly defanged zoning revisions would erase “neighborhoods with distinctive character and harmony with the natural setting.”
Oh wise Sharon Stockard, in response I must ask: what character? Does “The Terraces” subdivision near Lake Otis have character? How about “White Hawk” near Elmore? Maybe Columbia Park near Milky Way? Drive up and down Abbott and Tudor, you’ll notice similar unremarkable expanses of cookie-cutter subdivisions are bisected by strip malls and six-lane 45-mile-an-hour thoroughfares. How lovely. How picturesque. What an efficient and economically sustainable use of space.
Our city is currently recovering from decades of minimum parking requirements choking commercial spaces. Citizens are finally starting to see mixed-use spaces provide business owners with cheaper, safer places to set up shop.
Unfortunately, vacancy was still slim last year. Residential property values come with the sinister undertone of limited affordable places to live near anywhere decent to work.
By bullying the city government into reluctantly accepting ridiculous non-concerns, entitled homeowners are punishing Anchorage residents for wanting a sociable, sensible place to live.
ASSOCIATED COLLEGIATE PRESS
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PHOTO BY MARK ZIMMERMAN
Anchorage is a land of endearing backdrops behind not-so-endearing suburban sprawl.
FEATURES
Celebrating 25 years: The Alaska Native Heritage Center
By Sarah Bennett photographer1@thenorthernlight.org
The Alaska Native Heritage Center celebrated its 25th anniversary of the grand opening. The heritage center opened its doors to the public on May 1, 1999 and is located on 26 acres of land on the traditional territory of the native village of Eklutna.
The center features a variety of indoor and outdoor exhibits. Tour times are 9:30 a.m., 11:30 a.m. and 1:30 p.m., while demonstrations are 10 a.m., 12 p.m. and 3 p.m.
Self-guided tours are available during open hours – 9 a.m. to 5 p.m.
Those who are interested can find audio or visual guides available for download on the Alaska Native Heritage Center’s website. There is an admission fee, and prices can be found at the entrance of the building or online.
A Raven the Creator statue stands at the main entrance – enticing curious audiences – while the heritage center allows visiting attendees to immerse themselves in the art and culture of Alaska’s first people.
The Ch’k’iqadi Gallery displays both modern and traditional masks and offers a chance to view art, jewelry and products that support Alaska Native artists.
Collectively, the gallery introduces both Native and tribe owned businesses.
The gallery features art pieces by Sugpiaq painter Perry Eaton. Eaton is a mask maker and carver and is known as a talented artist. He is also the former founder and CEO of the heritage center.
The current President and CEO is UAA Alumna Emily Edenshaw. The Alaska Native Heritage Center is a non-profit organization and was created in 1987 after a unanimous vote of the Alaska Federation of Natives.
The heritage center provides a place for sharing, preserving – and most importantly – education
The Gathering Place is in the center after entering the building. This is where a stage is designed for performance, demonstrations and storytelling as they are scheduled throughout the day.
The upstage center features a colorized topographic map of Alaska’s five major culture groups. The Hall of Cultures is closed due to renovation but is expected to reopen June 16. The Hall of Culture features exhibitions that change regularly .
The Indigenous Garden overlooks Lake Tiulana. Tents are provided for local artists to showcase their art for sale. All profits from sales go directly to the artist.
Tour guide Sakkaaluk and an Intern Markell introduce themselves in their native language while directing a tour group through the village sites. Each speech provided by the group leaders was followed by questions.
Standing 20-feet-tall was the first healing totem pole in remembrance of boarding school attendees, survivors and descendants.
The Talking Circle is a seating area overlooking garden plots and creates a healing space for the multiple generations affected by U.S boarding schools.
Along the path toward the southeast village setting, visitors can find petroglyphs – images carved into stone with several infographics along the way to educate visitors.
Sakkaaluk explained to his group the different types of dwellings throughout the village site. At each dwelling items are passed around to view the craft and tools that were used.
When visitors view each site they will see how the diverse land influences the way of living – recognizing the similarities yet differences in heritage and culture throughout Alaska and the importance of appreciation for the seasons.
Gathering of valuable information and educating the public on Alaska Native cultures is shown throughout the center’s entirety. As a collaborative effort by both guide and intern, this educational topic is valued and respected.
Gray whale exhibits and whale bones are found about halfway through touring the village sites. Circling back around the lake, heading towards the Village Circle where the tour began, there were a few more stops to view before ending at the Athabascan Village site where the fish rack and fish smoke house is located.
Fish smoking took place at the Athabascan Village site. As the tour ended at the artist tent. The chance of watching Alaska Native Dancers or sports Demonstration taking place at The Gathering Place.
Cafe’ Di’eshchin - Dena’ina Athabascan word “I’m hungry,” offers an option of coffee or a sweet treat with an outdoor area for seating.
Donations are accepted online or at a donating location on site. All donations support the mission of Alaska Native Heritage Center. A variety of sponsorships are also available to show support. These actions help revitalize language and support all generations of Alaska Native communities.
Touring the Alaska Native Heritage Center offers
abundant educational opportunities for all and is open year round. Touring times may vary as exhibits open. Ticketing and Information can be found at the entrance of the building or online.
PHOTOS BY SARAH BENNETT.
Raven The Creator welcomes visitors at the entry of Alaska Native Heritage Center.
Bench overlooking Lake Tiulana viewing the village site.
Alaska Southeast area site.
Items passed around to view the craftsmanship.
The first healing totem pole standing 20 feet tall.
One of four poles in Clan house representing
“Respect for Self.”
Doorway of dwelling viewing Lake Tiulana.
The Gathering place was newly renovated for demonstrations.