A Red, White & Zoo Weekend Pig Out is in the Works

A kunekune pig from New Zealand (Photo: Ryan Hawk)

The Woodland Park Zoo has been pigging out lately, first with Visayan warty pigs and warthogs, now with a pair of new kunekune pigs from New Zealand named Baxter and Barkley. Glance again at the photo and you will not be surprised to learn that “kunekune” means “fat and round” in Māori. The short-legged, short-snouted, and pot-bellied pigs, says the zoo, “are known to be very friendly, sociable, and intelligent and thrive on human company.”

The kunekune duo have their zoo debut during the annual Red, White & Zoo celebration, held at the zoo from June 30 to July 1 this year. The Zoo animals take a break from feeding-time routine with a menu of Fourth of July-themed treats–star-shaped popsicles, watermelon, corn on the cob and “other picnic fare”–which is supposed to “enrich the lives of the zoo’s animals, promote natural animal behavior, keep animals mentally stimulated, and engage zoo visitors.”

Drop in each day from 10 a.m. to about 3 p.m. for the mental stimulation of seeing an otter or orangutan feast like it’s the Fourth. It may not be quite as stimulating at the Pike Place Fish Market guys’ experience, tossing to grizzlies–look at the wary eye they keep on where the bears are:

 

Elwha River Gone Wild [Photo Gallery]

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Elwha River carrying sediment from Lake Mills (Photo: MvB)

Elwha River below the Glines Canyon Dam (Photo: MvB)

It's not a tropical rainforest, but it tries. (Photo: MvB)

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Cold and clear Elwha River water (Photo: MvB)

Goblin Gates on the Elwha (Photo: MvB)

Probably elves live here. (Photo: MvB)

On a rainy day, the forest alongside the Elwha is otherworldly. (Photo: MvB)

You are here. (Photo: MvB)

Straw mats cover the removed dam's berm, to help plants grow back (Photo: MvB)

View of removed dam from overlook (Photo: MvB)

Mel's Pond (Photo: MvB)

Whatever can take root gets plenty of water (Photo: MvB)

The invisible Elwha River at work below the line of sight (Photo: MvB)

Elwha River (Photo: MvB)

Life returns to the Elwha (Photo: MvB)

Organic bike tire rack (Photo: MvB)

Sediment terrace (Photo: MvB)

Elwha River (Photo: MvB)

Stump with plank (Photo: MvB)

Sediment terrace (Photo: MvB)

The Elwha River, carving through stumps and sediment (Photo: MvB)

Sediment terrace, supported by stump pillars (Photo: MvB)

The charred stump of a forest giant in the bed of Lake Aldwell (Photo: MvB)

On the far side of this ridge flows the new Elwha River. (Photo: MvB)

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Late last summer, destruction began on Elwha Dam, and then with the river no longer backed up, forming Lake Aldwell, the Elwha River rushed free. Now the Glines Canyon Dam is taking a beating, and that too should be down by the end of the summer. It’s part of a long-in-coming Elwha River Restoration project that will bring salmon back up the river, unhindered by the dams. Sediment dropped behind the dams is now being sluiced away, and forming new beachfront at the river’s mouth.

A rainy weekend in Seattle seemed as good a time as any to visit the sodden Olympic National Park (admission $15 per vehicle, $5 bicycle or motorcycle), so The SunBreak’s Dam Removal Assessment team, in a red rented Kia Soul from Budget, took off to see what we could see.

A ride on the Edmonds-Kingston ferry ($13.25 for car and driver, $7.70 per passenger) puts you on SR 104, which you take across the Hood Canal Bridge, and out to Olympic Highway 101. This takes you north, then west, out to Port Angeles and to the non-existent Lake Aldwell. An overlook off the highway is your indicator that you’re close.

(Earlier, you can take a right on the 112 to Lower Dam Road, which leads you to a lot and a gravel path, short, not too steep, that gives out on a view of the missing dam. But you probably want to get your boots muddy, so continue down 101.)

Then you have a choice between a left on Olympic Hot Springs Road (leading up toward the Glines Canyon Dam) and a right on Lake Aldwell Road (which gives out in a small parking lot at the edge of the lake bed). The Olympic Hot Springs Road takes you into the National Park, with its admission fee, and for safety reasons, the Park Service is not all that interested in having you poke around the dam deconstruction site.

From the Hot Springs Road, we took the Elwha Valley’s Whiskey Bend Road, a five-mile, one-lane, part-gravel, part-dirt forest road–but beginning today, that will close from 7 a.m. to 5:30 p.m. daily until June 29, to keep cars from “arguing” with heavy trucks carrying material away from the site. We had hopes of spying on the dam’s removal, but those turned out to be fruitless. Instead we hiked about two miles in along the river, dropping down to see its torrential twist through the Goblin Gates into Rica Canyon. Before the dam, the water is clear, a little greenish, but after it’s a dull gray, choked with sediment, and looks almost like a thin cement.

Back at the former Lake Aldwell, it’s at first hard to tell where the river might be. You drop down from the parking lot into a dry river-rocky channel, and then up and down bare or regrowing banks. Walking in the general direction of the river means working around the steeply cut banks, which can be terraced ten feet high or more. The river’s rush, down in its new channel, is overwhelmed by traffic noise until you’re right on it, and the last approach requires prudence. The river is eating away the silty banks you’re standing on, so watch for those cracks that signal another slice is being taken out.

Wandering up and down the lake bed is eerie. The charred stumps of giant cedars, hundreds of years old, half a millennium, still have cuts at their base, where loggers put planks to stand on. The ground shifts from sandy silt to rounded rocks to red clay. Hawks circle overhead. On one side, the river slices through it all, sluicing away tons of sediment piled up over the past century (the Elwha Dam v. 1.0 was built between 1910 and 1912, but it had to be partly reconstructed in 1913); on the other, nature is busy throwing out roots wherever possible.

Next come the chinook.

Koreeda Hirokazu Braves Girl-and-Boy-land with I Wish

It oughta be easy, to borrow a line from Bruce. Oughta be simple enough. Why, then, do so many child actors in Hollywood pictures come off stiff, stilted, implausible, and suffocatingly cute?

I don’t know and I wish I did. That isn’t the only wish I have of course, but I Wish (screening at the Varsity), the latest from Japanese director Koreeda Hirokazu, revolves, in one realm, around wishing. This is not the corn-syrup sweetness you expect from wishing kids. They run, jump, sweat, and occasionally burp and giggle, quite naturalistically. And gradually–not swiftly, for nothing important comes swiftly in a Koreeda Hirokazu movie–the kids’ lives evolve and thrive around their wishing.

Real-life siblings Maeda Koki and Maeda Oshiro co-star as two brothers separated by the separation of their parents. They keep in touch via their cells, excitedly sharing the play-by-play of their separate lives. But they are growing in two different directions, with two very different sets of supporting casts. One brother finds comfort in his mother and his mother’s family.

The other one mostly hangs out with his father, played both wisfully and hilariously by Odagiri Jō as a wanna-be rock star who never quite made it, and never quite got over the idea that one day, he could make it. I’m no almost-rock star, but I know the feeling, and the father, like anyone else in the film, gets his foibles exposed, but with a quiet respect not found in many Western films.

So the kids must make a monumental journey, and they will return from this journey with either reward or disappointment. Except that the director has his own casual, gentle way of guiding these things along. He makes sure that the boys bring plenty of friends, and plenty of things to talk and think about. The movie is sometimes a little too easygoing for its own good, but it shows us something we need to see onscreen. It shows us the best of our own lives, projected large.

What’s Love Got to Do with Spectrum Dance’s LOVE?

Spectrum Dance Theater’s LOVE (Photo: Nate Watters)

How would you describe love? Some ideas might include perhaps a yearning for close companionship, an irresistible attraction, tenderness, touching, feeling, warmth, affection, closeness, sharing, embraces and kisses.

Looking for these in Donald Byrd’s new work, Love, in performance this and next weekend at Daniels Hall, I saw some, usually in fleeting moments and a few longer, such as the sequence with five couples attached mouth to mouth but without apparent warmth. Indeed the only facial expressions of warmth I saw came from the eloquent dancer Jereboam Bozeman, the tenderness in a head dropping on a partner’s shoulder, a brief embrace, an occasional caress.

Mostly, it’s a work of non-stop movement for first one dancer, then two, then in varied groupings of up to the entire complement of eleven dancers on two connected square stages. One is slightly higher than the other, with most of the church pews pushed aside in what used to be the Methodist Church at Fifth and Marion. Pews for the audience ranged around three sides of one square, but it was possible to see every dancer from anywhere.

The men were in white stretch briefs and sometimes an open longsleeved white shirt which obscured lines and seemed to get in the way; the women in one- or two-piece swimsuits or long shifts and at the end, incongruous long, thin tutu skirts which bunched up, also all white.

The work was mostly about superb athletes in abstract movement, dancers in their fluidity and the way one movement flowed into the next, at times almost reaching pure acrobatics with many leg lifts and somersaults. At others, the movement verged on contortionism, saved by the extraordinary smoothness, apparent ease and beautiful control displayed by all the dancers and epitomized by Vincent Michael Lopez and Ty Alexander Cheng.

In the third section, six men lifted Jade Solomon Curtis high overhead, twisting, turning, swooping, and arching her in a myriad shapes, the most absorbing sequence of the performance. Had she not been so strong and so flexible, and had the supporters’ hands not all been in the right place at the right time, some moves could have been seen as downright dangerous in terms of breaking her back.

But what had this to do with love?

Similarly, Benjamin Britten’s solo Cello Suites Nos. 1-3 were music for Love, played live by Denise Djokic. She draws a warm resonant sound from her instrument and gave a fine performance. However, the dance seemed to have no connection to the music and vice versa.