Seattle Aquarium opened its brand-new, $170 million Ocean Pavilion today, and having spent some time there yesterday, I can attest: The first thing people do upon approaching the building is look up.
That’s because the “oculus” suspended above the entrance to this 50,000-square-foot tropical-Pacific showcase is deliberately eye-catching.
The giant round window offers an alluring (and free) peek into a 500,000-gallon exhibit tank housing tropical species, including a leopard shark, unicorn fish and at least one very cute clown triggerfish.
Imagine a massive fish bowl suspended above your head — it’s impossible not to look.
If you’re lucky, you might see one of several spotted eagle rays float by. When I was standing below it, I glimpsed a ray’s extra-terrestrial underside, as well as two scuba divers diligently cleaning rocks in preparation for the grand opening.
But pull your eyes away from the oculus for a moment and you’ll notice the surrounding slatted ceiling, which starts to coalesce into trigons, ovoids and other geometries often seen in Pacific Northwest Coast Native formline art.
The idea came from Lummi artist Dan Friday (Kwul Kwul Tw), who as the Seattle Aquarium’s signature artist worked with LMN Architects and Thinc Design to incorporate Native art elements into the entryway.
The slatted design surrounding the “oculus” at the Ocean Pavilion entrance was conceived by Lummi artist Dan Friday. (Brangien Davis/Cascade PBS)
When Friday, who comes from a long line of weavers and fishermen, saw the oculus design, he was reminded of a Coast Salish spindle whorl — a flat, circular piece of wood, often carved or painted, with a hole in the middle.
Weavers insert a pole through the hole to spin and prepare wool. By adorning the oculus like a spindle whorl, Friday says, “I’m telling the story of Coast Salish people and my experience.”
Just below the oculus (and still in progress) is what Friday calls Grandmother Rock, a large black circle that will soon be embedded with cast-bronze crabs, shells and other coastal emblems.
Here too he’s telling a story of his people — a tale about a matriarch and little crabs who weather a stormy sea — and drawing a clear line through the region’s past, present and future.
(Friday’s great-grandfather, Joseph Hillaire, recorded the story and song for the Library of Congress in 1950; the Aquarium plans to make the recording available onsite soon.)
Inside, visitors are welcomed by a school of Friday’s signature hand-blown glass salmon — his abstract and colorful take on the keystone species. Given the importance of the fish to Coast Salish culture, he says, “[It] just seemed really appropriate to have them guiding you into the aquarium.”
Kisha Vaughan (at left, in 2023) brings her roving dance group to Bumbershoot again this year. (Daniel Spils)
And for another gathering of colorful and curious creatures …
Bumbershoot is back this weekend (Aug. 31 - Sept. 1) for its second iteration under the leadership of local producing collaborative New Rising Sun.
Billing it as “Seattle’s moss-covered Mardi Gras,” the group set forth last year with the goal of bringing Bumbershoot back to its weirder, artsier roots (less pop star; more cat circus). As someone who has attended every Bumbershoot since 1994, I thought it was a terrific success.
The 2023 event felt like a fest that truly welcomed all ages, with a wide mix of music and a ton of quirky “discovery” spread across the Seattle Center. One of my fave surprises from last year was a roving dance performance led by local choreographer Kisha Vaughan.
Wearing casual white suits, the freestyle group had a crowd of spectators including myself following them across the campus like rats after the Pied Piper (our ending was much happier than the fairy tale’s).
Vaughan returns this weekend with her Dope Girl Movement team, one of several dance companies billed as “Free Range Artists.” Also in the roving mix: contemporary dance with Whim W’Him; Bollywood-inspired style with Rangeela; danza Azteca with El Sueño and Tlalokan; and dragon dancing with Mak Fai Kung Fu.
Grit City Wrestling will once again bring its wrestling antics to Bumbershoot. In 2023, a match set Bill Gates against Clippy. (Daniel Spils)
Another unexpected treat is returning: Bumbermania! Live and extremely low-budget, these costumed ring matches, courtesy of Grit City Wrestling, were hilarious last year. “Bill Gates” wrangling with Microsoft’s “Clippy” — a monster of his own making — is an image that is now forever associated with Bumbershoot for me.
Also in the playful “Recess District” (behind MoPOP), watch for roller skating, double Dutch, a skateboard competition and Seattle’s own Massive Monkees — the long-standing crew who will show you what real break-dancing looks like. Let’s hope Raygun is watching too.
Also in the lineup is the Fashion District, which proved popular last year, with lots of designers, Indigenous fashion from Vancouver, B.C., runway shows and a wig farm (the last like a “U-pick” for hairstyles). A new Comedy Dome has been added, curated by local comic Dan Hurwitz, as well as an Animation District, brimming with indie films made from scratch.
The visual arts are once again emphasized, with a great big Bumbershoot Contemporary exhibit, curated by Ben Beres and Ellen Ito, in the Fisher Pavilion. Showing work from bonsai to AI, as well as painting, sculpture and photography, the 35 featured artists include Raven Skyriver, Io Palmer, Preston Wadley, Leah Nguyen, Jeffry Mitchell and Anna Mlasowsky.
Meanwhile, over at the Pacific Science Center plaza — redubbed the Century 21 District — a Sculpture Parking Lot features installations by Clyde Peterson & Nonamey, Sylwia Tur, Margie Livingston and Seattle Design Nerds, among other artists.
And as always, there is a ton of music at Bumbershoot too. To name just a few bands in the diverse mix: headliners Pavement, Cypress Hill and James Blake; local faves like ParisAlexa, Chastity Belt, Kim Gordon, Tres Leches and Stephanie Anne Johnson; plus Helado Negro, Ted Leo & the Pharmacists, Courtney Barnett and so many more. Not to mention: a warm and sunny forecast!
The namesake music festival curated by Erin Jorgensen (seen here in 2023) features a mellow mix of avant-garde local artists. (Brangien Davis/Cascade PBS)
Here are a few more ways to spend the unofficial last weekend of summer.
If you’re checking out the new Aquarium tomorrow, you’ll likely encounter the Waterfront Block Party (Aug. 30, noon - 8:30 p.m.). Stretching from the chill new Habitat Beach (just south of the Colman ferry terminal) all the way to the Olympic Sculpture Park, the event celebrates Seattle’s ongoing extreme makeover.
Live music at Pier 62 comes courtesy of the Anzanga Marimba Ensemble, Seattle funk band the True Loves, the Seahawks Blue Thunder Drumline and DJ SHESGUCCI.
While you’re on the waterfront, look for the short shipping containers selling wares from BIPOC artisans and small businesses. These “Promenade Pop-Ups,” decorated with murals by local artists, are a nice alternative to the traditional tourist fare.
And if you’d prefer to spend Labor Day Weekend at a calmer, gentler festival, head to 18th & Union Theater on Capitol Hill for the second annual Erin Jorgensen Festival (Aug. 31 - Sept. 2).
Curated by and named for the longtime local marimba artist, EJF is an extremely mellow, donation-based “mini music festival” that brings together some of the city’s most interesting artists.
I went to several of the events last year and loved the whole vibe. This year’s lineup is looking excellent as well, including cellist Gretchen Yanover, flutist Leanna Keith and synth player and local music-producer legend Steve Fisk. Plus, Jorgensen kicks off each day at noon by playing Bach on the marimba and serving up pancakes. Weekend made.