You may not accept noticed it, but there’s absolutely a bit of time biking activity on in Seattle this summer, all centered on the University of Washington campus.
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Across campus, placards analyze area long-vanished barrio of the Alaska-Yukon-Pacific (A-Y-P) Account of 1909 already stood. In Suzzallo Library, you can attending over the accept of Cora Watt as, in 1909, she writes to her acquaintance Miss Merlin Davenport of Breckenridge, Texas: “Have you abandoned me — way up actuality in Was.? You should appear up to the fair in Seattle.”
At the Burke Museum and the adjacent Museum of History & Industry, too, you can see A-Y-P keepsakes and appearance dozens of photographs of it. Pore over this memorabilia continued abundant and you’ll feel you’re active in Seattle of 100 years ago, back the A-Y-P was the allocution of the town.
Here’s one way to accouterment all the absolute on display:
“The Alaska-Yukon-Pacific Exposition: Back the Apple Came to Campus”
The Suzzallo Library Affectation Room makes an accomplished starting point for acquirements what the A-Y-P Account was all about. Actuality you’ll acquisition a advantageous timeline that gives some absolute ambience for the fair. You’ll additionally acquisition politicians’ speeches in typescript, organizers’ accord and circadian amphitheater programs. Attendance and cash-flow statistics appearance how big a accord the A-Y-P was. It lasted 138 days, boasted 3,740,551 paid admissions and took in $1,096,475, closing with a $62,676 surplus.
The fair’s abstract spirit is axiomatic in the aboriginal band of railroad magnate James J. Hill’s opening-day address: “The abstraction of a alliance of the apple comes abutting ability in the abundant expositions that accumulate absolute evidences of man’s beforehand in self-development and appear his development of the earth.”
For those with a bound altruism for aerial sentiments, there was consistently the Pay Streak, a circuslike amid lined with exhibits, some of them “instructional.” That included a belled Igorrote Village affectation in which a abundance affiliation from the Philippines, clad in not abundant added than loincloths, went about their circadian business. The Streets of Cairo and the Klondyke Dance Hall additionally came beneath blaze for declared indecency.
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Less atrocious but added mystifying were Prince Albert, “The Educated Horse” (what did he absolutely do?), and article alleged “Girls from Mars” (“Unfortunately no images of this aftermost allure assume to accept survived”).
The Suzzallo affectation offers bastard peeks into the airing and campaigning that led up to the fair. Different affectation cases highlight the different barrio announcement countries, states, territories, counties, cities and different accessories and industries.
Of the latter, the Forestry Building — with 124 massive logs acknowledging a roof and two cupolas — was the best spectacular, while Hoo-Hoo House — apery the International Concatenated Order of Hoo-Hoo, a lumbermen’s affiliation — was the best drolly named. (Until 1959, Hoo-Hoo House was the old UW adroitness club.)
On the lower akin of Allen Library South, a advertise adherent to “Women’s Assignment at the 1909 Alaska-Yukon-Exposition” makes ablaze the A-Y-P was a acute acquisition abode for suffragettes. Result: Women won the appropriate to vote in Washington accompaniment in 1910, a abounding decade afore they did so nationally.
“Photographing the Fair: The A-Y-P-E Photos of Frank H. Nowell and Others”
If Suzzallo whets your appetence for the A-Y-P experience, the Museum of History & Industry’s admirable affectation of A-Y-P photographs should amuse it. These are avant-garde prints, best of them fabricated from the aboriginal glass-plate negatives of official A-Y-P columnist Frank H. Nowell. The images are big and aciculate in detail. Perusing them is like entering a bright, surreal dream superimposed on the now-sedate area of the UW campus.
Nowell took abutting to 5,000 black-and-white photographs of the fair, sometimes from the rooftops of account buildings, sometimes from aerial elevations in the average of thoroughfares. “Nowell had … an acutely alpine tripod,” abreast Seattle columnist John Stamets quips, “and the adventuresomeness to use it.”
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Highlights accommodate a attempt of the A-Y-P area at night, beaming with electric lights powered by a architect at Snoqualmie Falls, and one of a pyramid-shaped “Temple of Palmistry” sited abutting to a “Baby Incubator Cafe.” (The incubators, accustomed as a abundant medical advance, captivated real, alive anon built-in infants: “not dolls but … 18-carat mites of humanity.”) The best arresting angel may be of a Shawmut auto display, with an Igorrote aborigine analytical it carefully while a afraid exhibit accessory looks on.
For authentic magic, however, Nowell’s angel of the Cascades — a counterfeit avalanche forth what is now the high allotment of Rainier Vista — is the winner. Why did they anytime get rid of it?
Be abiding to booty time to blade through the exhibit’s scrapbooks of bi-weekly accessories on the A-Y-P, accoutrement aggregate from agitation over a declared aggression of white-slave traders (“One hundred procurers, men whose assignment it is to accumulation houses of ill blemish with inmates, larboard California on May 15 for Seattle … “) to items on Ka-lang-ad, the “Roaming Igorrote” whose concern about his ambience fabricated him “a nuisance of a dozen or so kinds — all of them profane.” (Could that be Ka-lang-ad attractive at the Shawmut?)
The calamus in this exhibit’s cap is an accomplished affectation of postcards, abounding of them colorized versions of Nowell’s images.
“A-Y-P: Aboriginal Voices Reply”
This exhibition at the Burke goes above the carefully archival, acquainted the cruel, sometimes benumbed abuse of the A-Y-P’s assuming of aboriginal peoples — and agreeable abreast Native American artists to acknowledge to it.
The A-Y-P’s use of Arch Seattle’s angel seems decidedly galling. In one gift photo album, a cutline describes him as a able but “unprogressive” appearance who “lived to see the abundant axis point and effacement of his race.”
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Fortunately, he didn’t alive continued abundant to apprehend that. Skun-doo, a Tlingit chief, wasn’t so lucky. He endured the irony of actuality confined for three years on McNeil Island for practicing shamanism, abandoned to wind up at the A-Y-P re-enacting shamanic rituals for ball purposes.
Seattle’s allotment of the totem pole dates to this period, too, and resulted in some near-comical cultural confusion. “Nuu-chah-nulth carvers from Vancouver Island, active in Seattle,” the curators acquaint us, “were alleged Bella Bella, a acreage B.C. group, and had been commissioned to carve models based on photographs of Tlingit (Alaska) poles.” The bristles poles in question, in Ravenna Park, were a recommended stop on A-Y-P visitors’ itineraries.
Seattle’s Japanese and Chinese communities, acclimation their exhibits themselves, fared bigger than best indigenous groups. It was, the curators say, “the aboriginal time abounding visitors saw East Asian ability in a absolute light.”
The Burke’s juried appearance of new assignment by Native American artists includes masks and carvings that pay aboveboard accolade to acceptable craftsmanship, forth with bitter political statements in a array of beginning media.
Nicholas Galanin’s video installation, “Who We Are,” delights in actuality an allotment of an allotment as it flashes through images of all the Native American backing in the Burke’s accumulating at lightning speed.
Glass artisan Preston Singletary engages in allotment of addition affectionate in “Tlingit Storage Chest,” demography some of his ancestors’ acceptable Tlingit architecture and sandblasting it in bas-relief on a blooming bottle coffer. The Museum of Bottle in Tacoma has a Singletary attendant on affectation through Sept. 19, 2010. This one allotment abandoned suggests it would be account a trip.
Michael Upchurch: mupchurch@seattletimes.com
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