Seattle, WA. The Seattle Aquarium is open with timed ticketing and limited attendance, which means you’ll get up close to the animals and not other visitors. Seattle Aquarium staffers have worked closely with local health experts to provide a safe and fun experience.
There’s plenty of space to maintain distance as you stroll the wide sidewalk along Alaskan Way, taking in views of Elliott Bay and enjoying the sights and sounds of Seattle’s historic waterfront.
There are some changes you need to know about before visiting:
ONLINE TICKETS MUST BE RESERVED IN ADVANCE for all guests, whether you’re a first-time visitor or a long-time member.
YOUR TIMED TICKET indicates your arrival window. There is no limit to how long you can spend at the Aquarium.
FACE COVERINGS/MASKS ARE REQUIRED during your visit. Exemptions to this order include babies/toddlers under age 2; anyone with a disability that makes it hard for them to wear or remove a face covering; anyone who is deaf and moves their face and mouth to communicate; and anyone who has been advised by a medical professional to not wear a face-covering because of personal health issues.
A ONE-WAY PATHWAY with clear physical distance markers will guide you through the Aquarium and help protect everyone’s health.
Here’s a video with more information:
Opened in 1977, the Seattle Aquarium was owned and operated by the City of Seattle Department of Parks and Recreation until 2010, when the nonprofit Seattle Aquarium Society assumed its management—a model used by most leading zoos and aquariums across the country.
From the Seattle Aquarium: The Seattle Aquarium is one of Washington state’s leading environmental education and stewardship institutions, and the region’s gathering place for discussion and sharing information about marine conservation. It maintains a number of research initiatives in cooperation with federal, state, zoological and university partners. The Aquarium is located on Pier 59, at 1483 Alaskan Way.
Seattle, WA. Due to COVID-19, ChickTech has transitioned all of its programs online; this includes ChickTech’s K-8 and high school programs, and its ACT-W conferences and events. Although this transition has left ChickTech unable to do its signature in-person events, ChickTech program manager Ivette Cortez has found that “anything is virtually possible.”
“In the past, we needed the space and the finances,” says Cortez. Virtually, programs can be easier to coordinate.
High school students working in VR with ChickTech.
Students code with ChickTech in-person before the pandemic.
ChickTech’s new virtual mentorship program has reached over 150 high schoolers, a handful of which are returning students. According to Cortez, ChickTech’s online platform has created new mentorship opportunities. Before the pandemic, ChickTech struggled to coordinate mentorship opportunities in person, but staffers have found that mentorship is more manageable online.
ChickTech’s ACT-W (Advancing the Careers of Technical Womxn) conferences and events have also grown in the online format. ChickTech expects attendance to double at this year’s ACT-W (Advancing the Careers of Technical Womxn) conference (August 26th-28th). Previous ACT-W conferences have reached about 500 people, but Cortez believes that the virtual format will make the conference accessible many more.
This year’s ACT-W conference will focus on inclusion in the tech field and include speaking sessions, technical workshops, one-on-one career coaching, and a virtual career fair. People from all backgrounds and genders who are in the tech field, or interested in tech can register for the conference here. Proceeds will go toward ChickTech’s high school program
ChickTech is also making strides in the realm of inclusion and diversity. This last week, ChickTech’s board has been in the process of reviewing a DEI (diversity, equity, and inclusion) portfolio, which includes learning hours for staff to develop best practices for working with diverse populations. “We want to continue learning,” says Cortez, “We’re very dedicated to creating a more inclusive and diverse landscape.”
From ChickTech:
Founded in 2012, ChickTech is a Portland, Oregon-based national nonprofit dedicated to retaining womxn (including non-binary and transgender individuals) in the technology workforce and increasing the number of diverse youth pursuing technology-based careers. We currently have over 25 chapters across North America, engaging a community of over 20,000 women and girls.
Seattle, WA. Seattle Dance Collective’s new project Continuum: Bridging the Distance will broadcast digitally to the public for five weeks. Continuum includes five works of art performed by Seattle Dance Collective members, filmed by Seattle-based filmmaker Henry Wurtz. New work will premiere each week beginning July 2 until July 30. Each work will be accompanied by a behind-the-scenes video citing the challenges and discoveries artists uncovered while creating art during a pandemic. Continuum: Bridging the Distance can be viewed on SDC’s website and Facebook page. Seattle Dance Collective will also provide online classes throughout the series, taught by artists involved in each week’s newly released work. There will be classes for dancers of varying skill levels, and all are free to the public.
Elle Macy and Dylan Ward in Home by Penny Saunders. Photo by Henry Wurtz
Since COVID-19 hit Seattle, co-founder and artistic director of Seattle Dance Collective Noelani Pantastico says “it was clear that [SDC] had to cancel [its] summer program” and re-imagine how to create art “under the constraints of social distancing.” Due to the absence of live audiences, Seattle Dance Collective “had to think very differently about how to bring artists together” and “engage audiences in a brand-new way.” Ultimately, Seattle Dance Collective “shifted [its] artist workshops online” and collaborated with colleagues to conceive Continuum: Bridging the Distance. Pantastico shares that “capturing SDC’s work on film and sharing it online has added an exciting element to [its] offerings.”
Founding Artistic Directors Noelani Pantastico and James Yoichi Moore. Photo by Lindsay Thomas
Pantastico and fellow SDC co-founder and artistic director James Yoichi Moore have been pushed to “learn new sets of skills.” Specifically, giving artistic feedback while reviewing and editing dance footage is a “new territory” for the artistic directors. Pantastico says that “responding to filmed product” differs greatly from the typical rehearsal process of communicating with dancers in real-time. Additionally, the artistic directors must give opinions on additional factors of the work aside from the dancers’ performances, including light, opacity, music, and film editing to ensure the “dance and dancers shine more.”
Amanda Morgan in Musings by Amanda Morgan. Photo by Henry Wurtz
Moore shares that Seattle Dance Collective’s “artists have also been stretched during this unconventional process,” as “creating dance for film is different in many ways from the traditional theater production.” Moore states that “dance is an art form that demands physicality and close contact,” so Seattle Dance Collective’s “choreographers had to completely adjust their method and figure out how to successfully develop and rehearse a new piece remotely via video call, rather than in the studio.” There are also added elements choreographers must consider in their creation process, including “taking advantage of close-ups and multiple camera angles.”
Lucien Postlewaite in A Headlamp or Two by Beth Tellwilleger. Photo by Henry Wurtz.
Dancers also had to adapt to rehearsing in the confines of their home and many of them had to rehearse in separate spaces, away from one another. Moore states that “in some cases, dancers were only able to experience the full breadth of movement when on location for the first time, before filming.” SDC’s filmmaker also learned to work in an “entirely new way” as he needed to “conceptualize camera work with very limited on-location rehearsal time.”
Leah Terada and Myles Pertl in The Only Thing You See Now by SeaPertls
Moore says that Seattle Dance Collective has always believed that “dance is a vital form of storytelling and emotional expression.” For this reason, “being able to offer artists the opportunity to continue practicing their art… when most artists have suddenly found themselves unemployed, is not only extremely rewarding” for SDC, but “crucial for the continued development of the arts.” Moore says that “people need art more than ever, and it is [Seattle Dance Collective’s] responsibility to put it out there”
From Seattle Dance Collective:
To support Seattle Dance Collective, people are encouraged to visit the organization’s website to “watch new films, register for classes, and share broadly.” Seattle Dance Collective relies on the generosity of supporters to “continue creating meaningful art” so any donation is “appreciated and essential to [SDC’s] future.”
Seattle Dance Collective is dedicated to nurturing collaboration between dancers and choreographers and introducing audiences to transformative programs of artistic excellence. SDC was founded in 2019 by Noelani Pantastico and James Yoichi Moore and made its debut that summer with four sold-out performances at Vashon Center for the Arts.
Seattle, WA. Three Dollar Bill Cinema‘s video production and media literacy program, Reel Queer Youth, will be held online this summer from August 3rd through August 7th. During the program, LGBTQ+ youth and allies ages 13-18 will explore filmmaking and make documentaries using whatever tech and media they have available at home.
Three Dollar Bill Cinema launched Reel Queer Youth many years ago and the program has since reached more than 100 students. “This year will probably be a little different,” says Kathleen Mullen, Three Dollar Cinema’s interim executive director. Due to COVID-19, Three Dollar Bill Cinema is partnering with Northwest Film Forum to offer Reel Queer Youth virtually. The program will include daily Zoom meetings and opportunities for one on one mentorship. Participants will have the chance to explore what they want to say about themselves in the media and build connections with other LGBTQ+ and allied youth and filmmakers.
2019 Reel Queer Youth participants at Kaladi Brothers Coffee
According to Mullen, with the Black Lives Matter movement and the pandemic going on, “it’s a really important time to talk about media literacy.”
In a letter to Three Dollar Bill Cinema’s supporters, Mullen and Clay Warner, the president of Three Dollar Bill Cinema’s Board, wrote “Three Dollar Bill Cinema’s mission is to strengthen, connect, and reflect diverse communities through queer film and media. We will continue this work and do better to work towards a more equitable, pluralistic, and decolonization framework.” Reel Queer Youth plays a role in this mission by connecting a diverse group of LGBTQ+ youth and allies and arming them with the skills to decide how they want to represent themselves in media.
Last year, program participants worked with professional industry mentors to create documentaries about local LGBTQ+ non-profits
Carter and Dakota, ages 13 and 16, created Three Dollar Bill Cinema, a short film, included below, about Three Dollar Bill Cinema, and how it works to make LGBTQ+ lives visible through film and video.
Registration for Reel Queer Youth is still open to LGBTQ+ & Ally Youth, ages 13-18 who are interested in filmmaking.
From Three Dollar Bill Cinema:
We provide access to films by, for, and about lesbian, gay, bisexual, transgender, and queer (LGBTQ2+) people and their families, and a forum for LGBTQ2+ filmmakers to share and discuss their work with audiences. We curate themed screenings throughout the year and produce programs in partnership with other arts, cultural, and service delivery organizations in the Greater Seattle area.
Seattle, WA. Travel is a big part of adopting internationally, so travel bans due to COVID-19 have delayed the adoption process for many families. “I think it depends on where you are in the process,” says Joleigh Little-Bass, an author, and mother of two. She adopted from Bulgaria about ten years ago and just knows how it feels to be delayed while adopting. “The closer you are to travel either to meet your child or to pick her up, the harder the delays are!” Little-Bass explains. “I ate a lot of junk food and cried a lot,” she says, “I think earlier in the process it would be less frustrating. Maybe. It’s just hard to know that someone you love is on the other side of the world needing you, and you can’t get to them!”
Now that some European countries are loosening travel restrictions, more families adopting from abroad have been able to move forward. In the last week, multiple families partnering with Agape Adoptions have been able to travel to Bulgaria to meet or pick up their children.
Families adopting from Bulgaria must travel there twice. During their first trip to Bulgaria, families meet their child, and during their second trip, families pick their child up and bring them home. China, the largest country working with Agape Adoptions, remains closed to travel from the United States.
According to Myriam Avery, Agape’s executive director, Agape Adoptions did not experience delays in the early stages of the COVID-19 pandemic. In fact, many families trying to use their increased free time positively began the adoption process in April and May.
Moreover, delays and complications are common in international adoptions, and most families are prepared for the adoption process to be challenging. “International adoptions are very complicated and complex,” says Avery, “this isn’t new to families.” In Avery’s experience, families tend to do well with delays for the first five or six months, but “we’re at that place where their patience is wearing thin.”
Newly adopted children walk with their father down a Bulgarian street.
During these trying times, Avery wishes to stress that “the need for a family will not go away because of COVID.” “These are the most vulnerable children in the world,” she says, “children don’t care about political things or COVID things.” According to Avery, the most important thing you can do to help Agape Adoptions, even more so than donations, is to spread the information that “This will go away. COVID will go away. But children will still need families.”
Adopted Child, Zahari. Current Photo
From Agape Adoptions:
Agape Adoptions is a licensed placement and home study agency located in Sumner, WA. We serve adoptive families across the U.S. and work in six countries globally. Agape Adoptions provides professional adoption services marked by personalized care and passionate advocacy.
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