Ask for a Rum Map and tour the Caribbean through 60 rums of your choosing. You will receive your very own Rumba DTO coin, your name on our wall, and bragging rights for life. You can view the illustrations and buy one for yourself at The Art of Tony Canepa. To accompany the vegan fare, find drinks made with fresh fruit juices and spirits from local distilleries. There was a time when it tried harder and it had a few tiki drinks on the menu and I remember an awesome Black Velvet Painting show they had about 15 years ago.
The most tiki thing about it now is probably the awesome mural by Joe Nix in the front, though the inside is rather Witkoesque with lots of dark carved wood. They have an outpost in Issaquah! Finally, a reason to go to Bothell! Anderson, the art-deco style Anderson School is now a Pacific Northwest resort of mammoth size and of particular interest, of course, is the Tiki Bar and Pool!
Moi monolithic Polynesian statues greet visitors to the North Shore Lagoon. Carved sandstone from Bali points your way inside. Head upstairs to view the paneling made from recycled teak and the year-old Balinese fishing boats and see the fixtures made from Balinese chicken cages and hand-blown glass. VIew masks from New Guinea, sit on a a bench of a Teak tree trunk pulled from a river in Bali, or the oil drum furniture from Indonesia, or the hanging boat, or bar made of Balinese Monkey Pod Tree.
Below, take in the grandeur of the swimming pool-McMenamins first full-sized pool, flanked with Hawaiian plants and the Balinese lychee tree sun carving looking down upon the waters. The elements are welcomed in through numerous massive skylights, so feel the rain, or sleet or sunbeams as you cast yourself in this degree water. Float or backstroke through the intriguing waters of the pool, open every day, which may just take on a South-Seas inlet in your mind.
Three restaurants. Three small bars. The Art-Deco school building with classrooms-turned-hotel-rooms. A movie theater. Weekly music. Fire pits. Learn more about Equity at SAM. You may be trying to access this site from a secured browser on the server.
Please enable scripts and reload this page. Turn on more accessible mode. Having performed in over We specialize in children parties and corporate events of all sizes. Unlike many other costumed character companies you may come Experience an authentic and colorful journey through the isles of the South Pacific. We provide lu'au entertainment for all your occasions.
Ivory also highlights the three registers of designs including a second set of eyes below the horizontally projecting bar, relating some of the designs to tattooing found in the Marquesas. The large stone moai left , moaikavakava figures right , and barkcloth figures not included are three instances of figural arts on Rapa Nui also called Easter Island , 2, miles off the coast of present-day Chile.
The large moai carved from volcanic tuff are the most recognizable. The largest monolithic figural carving in Polynesia, the composition of a moai is one-third head and two-thirds body, emphasizing the head, the part of the body with the most mana.
Moai faces have elongated noses and ears and heavy eyebrow ridges, and the carving on the chest emphasizes the clavicle. They likely had inlaid shell eyes no longer in situ. Some moai have topknots called pukao made from scoria, a red volcanic stone also quarried on the island. Of the moai positioned on ahu around the island, all except one group face inland, with their backs to the sea. Thought to have been carved between and the broadest date ranges , a number of scholarly mysteries surround the moai ; for example, how were they moved see a number of theories here?
Ahu Tongariki , pictured, is the largest, with fifteen moai on the ahu. The moai are related to ancestors, and ahu are sacred spaces. Moai kavakava are smaller, wooden figures also carved on Rapa Nui. Like moai , these figures have elongated earlobes, pronounced brow ridges and chins, and carved clavicles.
They often have inlaid bone, shell, and obsidian eyes. Their skeletal forms emphasize the backbone and ribs of the figure, visually linking the figures to concepts of genealogical heritage and the ancestors.
Like other Polynesian figures, the moai kavakava have bent knees and distinctively carved heads. They may have been worn around the neck and wrapped in barkcloth when not in use. Many moai kavakava feature incised designs on top of their heads.
Tiki as mentioned above is a general term for human figures embodying the first man, and hei means something suspended from the neck. Both men and women wear the hei tiki , and while their meanings are varied, all are considered taonga treasures , passed through families as heirlooms, and some are given specific names. All are imbued with mana and the histories and power of their previous owners. Compositionally, the figure here is typical, with tilted head resting on a bilaterally symmetrical body, open legs, and inlaid eyes of shell, or, post-contact with Europeans, red sealing wax.
Although tiki figures are found throughout Polynesia, the meaning of hei tiki pendants are less clear. Some figures, like the one pictured here, take figural form in sennit , emphasizing the face, arms and hands, and navel. Although they may not look like other Polynesian figures in the lesson, the aspects of the human form included indicate the most important human features that are repositories for mana especially the head or connections to the ancestors the navel.
The material, sennit , is spiritually important, and the skillful manipulation of the medium increases its value.
Thus, the object renewed relationships between the spiritual and earthly realms through the practices associated with its use. Without them we have no position in society and we have no social reality. With their parents still joined, the children debated how to separate them and bring light to the world. With Tawhiri dissenting, the others attempted to separate Rangi and Papa —with Tane succeeding by pushing his head against mother earth and his feet up towards father sky. Tawhiri rose with Rangi , letting loose his offspring the winds, clouds, and hurricanes against his brother.
Rongo and Haumia hid inside mother earth. Traditionally the pataka was the most important structure on a marae , but today it is the meetinghouse that is the most important and largest structure.
The large structure is constructed in an A-frame shape with a recessed entry leading into an open interior space through an off-center door to the left with a carved lintel atop the entryway, marking the sacred space. The pointed roof is supported by central column posts that are carved and painted. The space is organized both vertically and horizontally modeling the cosmos, as an historical metaphor and an embodiment of the ancestors. Building materials come from the domain of Tane , and carved ancestors in posts and panels express genealogical relationships of members of the group to whom the house belongs.
Painted rafters are his ribs, and carved slabs around the sides of the house are more recent ancestors, joining the roof to the floor. These alternate with plaited wall panels, which also cover the floor.
The right side the important side is considered tapu , reserved for visitors and men, and is associated with death.
The left side, less important for locals and women, is associated with life. Meetinghouses often represent male ancestors, but have also incorporated female ancestors into the house. Carving must visually convey metaphor and allusions to cultural values and is a sacred act embedded with tapu. The spaces and objects of the meetinghouse are so culturally defined that, when painting replaced carving in meetinghouses, they carried the same meanings through a transfer of medium.
However, after the s, local histories and identities not regulated by tapu emerged in communities. More on British colonialism in New Zealand can be found here. As in other visual art forms in this lesson, the meetinghouse and its various parts and visual structures are augmented by the actions and events that occur within the space.
Understanding the multiple layers of meaning embedded in and designed on a meetinghouse can only happen after a person spends time within the community and space; often, different meanings are unraveled over a long period of time. Belonging to and touched by powerful ancestors, the objects accrued mana as they were passed down through lineages, conveying that spiritual power to the present chief.
0コメント