After successfully maneuvering from east to west through the ice of the Northwest Passage, the classic wooden, custom-made, 86-foot Marconi-rigged Yawl “Nordwind” tied up in Homer harbor Monday and intends to remain here for the winter so she can cruise Alaska waters next summer, according to her Argentinean captain Alex Veccia. The Northwest Passage is the route through the Arctic Ocean connecting the Atlantic and Pacific Oceans and weaving through the Canadian archipelago.
According to her website, Nordwind has set impressive ocean racing records since she was built in Germany. After World War II she was confiscated and sent to England where she was bought by Lord Hugh Astor who raced her for many years in the Solent and on the North Sea.
Four of her crew will stay here with her, and two were preparing to fly home shortly after docking. Help for Homer businesses and for starting a business from the Center for Business DevelopmentAKSourceLink helps small businesses to grow and prosper by providing business owners with easy access to needed services.
The 1939 classic wooden sailboat started its journey in Maine on July 7 and sailed the Northwest Passage to Kachemak Bay. In the late 1970s, Dutch naval architect Gerald Dijksra turned her into one of the earliest classic yacht restoration projects. Most importantly, we strive to improve standards in the practice of the profession of journalism, and to promote a high standard of conduct and professional ethics in the business of newspaper publishing. She is sailed long distances by her crew and then representatives of the company that owns her, Deutsches Marinemeseum, fly in to enjoy sailing in a variety of remote oceans of the world. Unfortunately, the restoration of the hull was faulty at the time, hence another complete restoration became necessary which the present owner undertook from 2001 to 2004 in Spain. Except for her interior layout, where some of the modifications made by Dijkstra were maintained, Nordwind has been restored to her original plan. The land and waters provided rich natural resources through cedar and salmon, and highly structured cultures developed from relatively dense populations.


Within the Pacific Northwest, many different nations developed, each with their own distinct history, culture, and society. Some cultures in this region were very similar and share certain elements, such as the importance of salmon to their cultures, while others differed. Prior to contact, and for a brief time after colonisation, some of these groups regularly conducted war against each other through raids and attacks. Through warfare they gathered captives for slavery. The creation of beautiful and practical objects (for all tribal communities) served as a means of transmitting stories, history, wisdom and property from generation to generation. Art provided Indigenous people with a tie to the land by depicting their histories on totem poles the Big (Plank) Houses of the Pacific Northwest coast a€“ the symbols depicted were a constant reminder of their birth places, lineages and nations.
Due to the abundance of natural resources and the affluence of most Northwest tribes, there was plenty of leisure time to create art.
Therefore, it was not unusual for their worldly goods to be adorned with symbols, crests and totems that represented some important figure(s) from both the seen and unseen worlds. Such symbols could be compared to a coat of arms, or running up the flag of a country on a sailing ship, as it approached a harbour. After the arrival of the Europeans, Indigenous artefacts suddenly became a hot commodity to be collected and placed in museums and other institutions, and many tribal groups were looted of their precious items by over-zealous collectors. In this warmly coloured example, the shaman image reclines with clasped hands at his middle, on the backs of two (or an ambiguous combination of two) spirit images. On the right end, a head that may represent a salmon, or more likely a humpback whale, includes a protruding snout. Behind and below this head, elongated pectoral fins sweep back along the sides of the amulet. The head of the shaman is positioned in a way that allows it to double as the blowhole or breathing spout of the whale. Exposed vertebrae are a common shamanic symbol for spirit, rather than physical form. At the 'tail' end of the line of vertebrae, a bird's head is carved.


The true meaning or representation of this head is somewhat obscure, but it may depict a raven. MacMillan funds) The Skagit atlatl, an ancient spear-throwing device, provides an intriguing glimpse into the artistic power, spiritual beliefs and technology of Salish people living in the early years of the first millennium. This weapon survived for 1 700 years, buried in alluvium in the Skagit estuary, until dredged from these silts by a seine fisher's net in 1939 in the Lower Skagit between Townhead Island and Bald Head Island. The clubs were often beautifully carved, like this one which bears the image of a sea otter. 'They didnA’'t want to spoil the head because they were going to cook it, so they were very careful where they hit it [a halibut]. That stunned it and then you turned it over so the belly side was up and then it didnA’'t fight as much. It slipped and slithered down into her warm belly, where the Raven transformed himself again, this time into a tiny human. After sleeping and growing there for a very long time, at last the Raven emerged into the world once more, this time as a human infant.
Nonetheless the Raven child begged and begged to be allowed to hold the light just for a moment. Length 394 mm Augustus Bean (see photograph below) and Rudolf Walton were Tlingit carvers who trained at the Sheldon Jackson School (later Museum) in the later nineteenth century and subsequently ran a shop in Sitka, Alaska.



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