Pasatiempo - Indian Market Aug. 16, 2024

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture

SACRED SPACES NATIVE ARTISTS MAKE THE INDIAN MARKET SCENE

August 16, 2024

Andrea Andrea Fisher Fisher Fine FinePottery Pottery

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Indian Market @ Hacer August 19-20

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Trunk Show Farmer’s Daughter Fibers Featuring Candice English of the Blackfeet Nation

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PASATIEMPOMAGAZINE.COM

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August 16, 2024

40

ON THE COVER

The world we make

by Luci Tapahonso

A poet’s words set the tone for the 102nd Santa Fe Indian Market, guiding us to this gathering place for connection, creators, and creation.

42 Market reflections by Ania Hull Choctaw-Chickasaw watercolorist Norma Howard left an indelible mark on Indian Market and the art world.

48 Dress for success by Ania Hull The SWAIA Native Fashion Show: Designer Jontay Kahm goes gaga on the road to glory.

52 A common thread by Ania Hull Two artists — Shawna McLeod and Kevin Aspaas — take a mindful approach as they sew and weave their way to this year’s Indian Market.

56 Immerse yourself by Carolyn Graham A guide to Indian Market-related events, exhibits, and learning opportunities.

26 A Handel on the season

by Mark Tiarks

The Santa Fe Chamber Music Festival wraps up this week with a U.S. premiere and a few prime composers.

28 Desert dome by Brian Sandford Meow Wolf’s new psychedelic exhibition at the House of Eternal Return gives the interactive artistic space an even more surreal spin.

34 Bring to bear by Brian Sandford The musical Grease gets a Indigenous upgrade and makes its Santa Fe return.

36 Future legends by Ania Hull The new 4Kinship Indigenous Futures 4Ever event in the Railyard makes space for young creators and artists.

Vendors gather under the portal of the Palace of the Governors in 1952.

Photo courtesy Palace of the Governors Photo Archives

OUT THERE 18 IndigenousWays Festival 18 Parallel Playground at Obscura Gallery and Indigenous Power at Turner Carroll 19 Polo Ralph Lauren x Naiomi Glasses collaboration at Malouf on the Plaza 20 Santa Fe Opera’s Apprentice Scenes 21 Chamber Music at San Miguel Chapel 21 Sunday Brunch and a Movie at the Historic Lobo Theater in Albuquerque

42

IN OTHER WORDS 24 Review The God of the Woods

by Liz Moore

COMIDAS Y MAS 60 Dishing with Johnny Vee: Two Mexican/New Mexican eateries square off

52 28

MOVING IMAGES 66 Review Dìdi 68 Screen Time In theaters and special screenings

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EXTRAS

CORRECTION

16 Editor’s Note: The right words 72 Star Codes 76 Pasa Week 80 Pasa Planner 82 Final Frame

The August 9 story about The Atomic Rocketeer incorrectly noted the timing and fate of the American flag that was planted on the moon 55 years ago. The flag pole might have been dislodged by a blast from the ascent module engine. Many thanks to our lunar landing expert readers for bringing this to our attention.

Cover: Norma Howard, Untitled (2003), watercolor on paper Design: Marcella Sandoval

PA S AT I E M P O MAG A Z I N E.CO M Visit Pasatiempo at pasatiempomagazine.com and on Facebook ©2024 The Santa Fe New Mexican Pasatiempo is an arts, entertainment, and culture magazine published every Friday by The New Mexican, P.O. Box 2048, Santa Fe, New Mexico, 87504.

Email: pasa@sfnewmexican.com • Editorial: 505-986-3019

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HOUSER

The Legacy Lives ON

“Prayer Song”

Bronze edition of 3, 1983 82” X 42” X 52” The Allan Houser Gallery 125 Lincoln Avenue, Suite 112 Santa Fe, NM 87501 10:00 am to 5:00 pm Extended Indian Market Hours - Call for details (505) 982-4705

The Allan Houser Sculpture Gardens and Gallery at Haozous Place 26 Haozous Road, Santa Fe, NM 87508 OPEN HOUSE Saturday, August 17 and Sunday, August 18 10:00 am to 4:00 pm daily Call (505) 471-7409

PASATIEMPO PASATIEMPO EDITOR Carolyn Graham 505-986-3044

P.O. Box 2048, Santa Fe NM 87504

ART DIRECTOR Marcella Sandoval 505-395-9466

PUBLISHER Pat Dorsey

ASSOCIATE ART DIRECTOR Taura Costidis 505-986-1310

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ahull@sfnewmexican.com

Brian Sandford 505-995-3862 bsandford@sfnewmexican.com

Kylie Garcia

TEXTILES

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RARE

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CONTRIBUTORS Heather Roan Robbins, Luci Tapahonso, Mark Tiarks, Johnny Vee, Deborah Villa

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PASATIEMPO I August 16-22, 2024

Wayne Aguilar Three Strand Barrel Bead Necklace Sterling Silver & Nevada Turquoise Sterling Silver Cuff Bracelet Royston Turquoise

Indian Market Trunk Show Thursday - Sunday

ON THE PLAZA

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Colina Yazzie Indian Market Trunk Show

ON THE PLAZA

Thursday - Sunday

Hubei Turqoise Nugget Necklace 1990’s Kingman Turquoise Heishi Necklace Vintage Turquoise Cuff c.1960’s Squash Blossom Earrings by Lenora Garcia

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Joseph Coriz Hand Carved Barrel Bead Necklaces Spirit Bear Pendant w/turquoise Cuff Bracelet w/turquoise Sterling Silver & 18k Gold

Indian Market Trunk Show Thursday - Sunday

ON THE PLAZA

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Edward Bohlin Indian Market Trunk Show

ON THE PLAZA

Thursday - Sunday

Buckles, Ranger Sets, Money Clips Sterling Silver, Green, Yellow & Rose 14K Gold Chief Red Wolf Buffalo Bill Show performer & family friend Star & Monogrammed Money Clips

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Bernyse Chavez & Rose Martin Murphy Platero Necklace & Earrings Set Cuff Bracelet Sterling Silver & Royston Turquoise

Indian Market Trunk Show Thursday - Sunday

ON THE PLAZA

61 Old Santa Fe Trail, Santa Fe, NM 87501 505-983-9241 maloufontheplaza.com Online Shopping Available

Indian Market Trunk Show Thursday - Sunday

ON THE PLAZA

18K Gold & Sterling Silver Diamond Rings 18K Gold Mother of Pearl, Quartz Doublet Cocktail Ring Cache Collection Leather Bracelet 18K Gold, Antique Gray & Champagne Diamonds

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Indian Market Trunk Show

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ON THE PLAZA

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EDITOR’S NOTE

The right words Unless you’ve been living under an adobe that doesn’t get cell reception (OK, that might apply to many of us), then you probably are aware that the grandmother of Santa Fe’s market season — Indian Market — takes place this weekend.

As we admire the rows and rows of booths filled with pottery lovingly formed by artists’ hands, bolo ties with such massive hunks of turquoise that my neck hurts just looking at them, the weavings that keep our walls and floors EAGLE POEM warm during Santa Fe winters, the To pray you open your whole self beadwork, the artwork, the fashion To sky, to earth, to sun, to moon (OH, the fashion!), it’s also a good To one whole voice that is you. time to remember those artists And know there is more whose work isn’t always seen but is That you can’t see, can’t hear; certainly called upon to help us open Can’t know except in moments our hearts and set the stage for this Steadily growing, and in languages auspicious event.

That aren’t always sound but other Here’s to the poets, whose words Circles of motion. summon the emotions, the memories, Like eagle that Sunday morning and the images that remind us that Over Salt River. Circled in blue sky this event is a celebration of many In wind, swept our hearts clean cultures and histories and peoples.

With sacred wings.

Deepest gratitude goes to inaugural We see you, see ourselves and know poet laureate of the Diné Nation That we must take the utmost care (2013-2015) and Santa Fe’s own Luci And kindness in all things.

Tapahonso, who penned “The world Breathe in, knowing we are made of we make” (see page 40), this year’s All this, and breathe, knowing poetic introduction to stories about We are truly blessed because we all things Indian Market.

Were born, and die soon within a While I’m on the topic of gratitude, True circle of motion, Pasa‘s annual Indian Market issue is Like eagle rounding out the morning a monster that requires all hands on Inside us. deck, and it wouldn’t happen without We pray that it will be done its incredibly talented staff: prolific In beauty. and eloquent writers Brian Sandford, In beauty.

Kylie Garcia, Mark Tiarks, and Ania

Hull; art director Marcella Sandoval, “Eagle Poem” from In Mad Love and War by who along with assistant art director Joy Harjo, 1990. Reprinted with permission Taura Costidis somehow makes our of Wesleyan University Press; weslpress.org. alphabet soups shimmer and leap off the page; copy editor and newsletter author Holly Weber, who hunts typos like a hungry lioness; and Pamela Beach, who herds all those calendar listings y’all email her into one heckuva guide to everything that you could ever think you might want to do in this city and beyond.

Cheers also to Pasa graphic designer extraordinaire Deborah Villa, who stepped out of retirement as The Santa Fe New Mexican‘s glossy magazine designer to chip in to keep the ship moving forward and looking beautiful.

I’ll wrap up the gratitude with a poem by Joy Harjo, the 23rd U.S. poet laureate and the first Native American to hold that title. Her words remind us that the markets, the city, and the world are bigger than ourselves, a good sentiment in this day and age.

Carolyn Graham, Editor cgraham@sfnewmexican.com Follow us: @ThePasatiempo @PasatiempoMag

16 PASATIEMPO I August 16-22, 2024

OUT THERE AT THE GALLERIES

Two exhibits not to miss

Pura Fé headlines the final 2024 IndigenousWays Festival performance.

RANDOM ACT

Musical accompaniment The final IndigenousWays Festival performance of the summer has the advantage of a built-in audience, as it coincides with Santa Fe Indian Market.

Pura Fé (Tuscarora/Taino), a Saskatchewan-born singer/songwriter and founding member of the Native American a cappella group Ulali, is the headliner. She cuts a distinctive figure on stage as she plays lap-style bottleneck guitar. Also featured are blues guitarist and storyteller Wade Fernandez (Menominee); Institute of American Indian Arts graduate Simona Rael, who will play original music; and IAIA students modeling Rael’s line of fashion designs.

IndigenousWays celebrates Native American, Indigenous, LGBTQAI2S+, the deaf and hard of hearing, and all others. The festival is in its third year. — Brian Sandford

It’s not every day that an artist has two shows opening in town at the same time. Douglas Miles (San Carlos Apache/Akimel O’odham) is one such artist — and a multifaceted one, too, as a painter, printmaker, muralist, designer, filmmaker, photographer, brand manager, installation artist, and the founder of Apache Skateboards. His work is represented by Obscura Gallery and his three-dimensional work and paintings by Turner Carroll Gallery on Canyon Road.

This week, both galleries launch exhibitions running through September 1 that showcase Miles’ work. (Stay tuned to a future issue of Pasatiempo for a deeper dive into these exhibitions and Miles’ work.) Parallel Playground at Obscura Gallery is a collaboration between Miles and multidisciplinary artist Al Díaz from Brooklyn. Díaz grew up in a Puerto Rican family in New York City and by age 15 was already a pioneering and influential subway graffiti artist. He is represented by Van Der Plas Gallery on the Lower East Side in Manhattan, where curators bring what they call “the lost histories of the Lower East Side and East Village art scene back to life.”

Miles had the idea for a photo-based collaboration with Díaz after meeting him at several art events around the country, from Arizona to Florida to New York. “This will be Douglas’ third exhibition at Obscura,” gallery founder and owner Jennifer Schlesinger says. “He is most known for his murals and his work with his community on the reservation, but he is always innovating, and his photography speaks to the Apache contemporary

culture. He always represents the youth he works with as strong and powerful.”

Just up Canyon Road from Obscura, Turner Carroll Gallery opens Indigenous Power, a group exhibition of work by a handful of out-of-the-box Native artists: Miles, Jeffrey Gibson (Mississippi Choctaw/ Cherokee), Jaune Quick-to-See Smith (citizen of the Confederated Salish and Kootenai Nation), Cara Romero (Chemehuevi Indian Tribe), Virgil Ortiz (Cochiti Pueblo), and Diego Romero (Cochiti Pueblo).

Supporting Native and Indigenous artists so they can not only preserve their cultural heritage but also foster artistic innovation — something the aforementioned artists stand for — is at the core of what gallerists Tonya Turner Carroll and Michael Carroll believe their gallery should do.

The works in the exhibition draw on traditional techniques and motifs but also push boundaries and buck stereotypes about Native peoples, as Cara Romero’s work exemplifies. Romero’s photos represent Native people and their communities as rooted in the present, not in the past, and her photographs adhere to those principles. — Ania Hull Parallel Playground Through September 1 Artist reception 5-7 p.m. Friday, August 16 Obscura Gallery 225 Delgado Street 505-577-6708; obscuragallery.net

IndigenousWays Festival Santa Fe Railyard Park

Indigenous Power

740 Cerrillos Road

Through September 1

5 p.m. Friday, August 16

Turner Carroll Gallery

Free

725 Canyon Road

indigenousways.org

505-986-9800; turnercarrollgallery.com Douglas Miles, Forced Removal Series Installation (2023) Top: Cara Romero, Gikendaaso (2022), photograph

18 PASATIEMPO I August 16-22, 2024

FASHION

Dreaming in indigo

PHOTO TYRA BLACKWATER/COURTESY RALPH LAUREN CORPORATION

PHOTO SHARIF HAMZA/COURTESY RALPH LAUREN CORPORATION/UNLIMITED WORLDWIDE MEDIA

Fashion can embody memories, associations, expression, and so much more. For textile artist and seventh-generation weaver Naiomi Glasses, fashion embodies tradition, history, culture, passion, and most recently, her roots in indigo-skyed rodeo.

Glasses, 27, a member of the Navajo Nation, lives in Arizona but has showcased her work in the Santa Fe Indian Market and throughout Santa Fe for years, earning awards and recognition from the Southwestern Association for Indian Arts.

As an intern in a program facilitated by the Creative Futures Collective, Glasses dreamed of breaking into the fashion industry with her craft of weaving. With timing that was nothing short of serendipitous, Glasses, a long-time fan of designer Ralph Lauren, appeared on Right: River Thomas the New York City company’s radar just as they were seeking models pieces from the third and final drop of the to shift focus from inspiration to collaboration.

Polo Ralph Lauren x Naiomi Polo Ralph Lauren, widely known for its collegiate Ivy Glasses 2024 collection League-inspired style, decided Glasses was a perfect fit for titled Denim Daydream. the company’s first-ever Artist in Residence program, which Below: Sketches for the seeks to partner and collaborate with artisans to feature new Denim Daydream collection illustrate the designer’s voices and skillsets in fashion. roots in rodeo.

Ralph Lauren announced the Polo Ralph Lauren x Naiomi Glasses collaboration in December, which encompasses a three-part collection that would be dropped throughout 2024, with each part representing a theme consistent with Glasses’ journey with weaving and life.

The first drop, titled Love of the Land, homed in on the early stages of Glasses learning how to weave with natural, undyed wool, featuring patterns that embody the land and rock formations of the Navajo Nation. A portion of the purchase price for this drop was dedicated to benefitting Native-led Change Labs.

The second drop, Color in Motion, highlights Glasses’ growing creativity in weaving and exploring bright, vibrant colors, as well as patterns connected to Glasses’ love for skateboarding. A portion of the purchase price for this drop is dedicated to benefitting Phoenix Children’s Foundation; Glasses has a special connection to the foundation as she underwent a cleft palate repair at Phoenix Children’s Hospital as a child.

The third and final drop of the collection is Denim Daydream,

centered around Glasses’ roots in rodeo, weaving saddle blankets and all things denim and indigo, which Glasses says “really reminds me of the beautiful big blue sky at home on Navajo Nation. It’s a beautiful color and it’s a key inspiration in this next chapter for me as an Artist in Residence for Polo Ralph Lauren.”

This final drop will benefit the Creative Futures Collective where this collaboration first began.

The collaboration is buzzing with full circle moments. Malouf on the Plaza was one of the first galleries to sell Glasses’ work, so it is fitting that it would be the place where Glasses and Ralph Lauren launch the final part of their collaborative collection.

The community can preview some of the collection’s designs and meet Glasses at Malouf on the Plaza on Friday, August 16. Now available for purchase at Ralph Lauren stores and online globally, this collection is the first Polo Ralph Lauren product that will also be available through some retailers, including Malouf on the Plaza.

Through the portion of proceeds dedicated to benefitting select philanthropic organizations, Ralph Lauren hoped to recognize, credit, and support the Native community’s ownership of the traditions and motifs featured in this collection.

Of the collaboration and the collection, Glasses says, “Being able to bring this clothing to life with my perspective as a Diné woman, I think it just makes sense.” — Kylie Garcia Meet-and-greet at Malouf on the Plaza Friday, August 16 2 to 4 p.m.

61 Old Santa Fe Trail maloufontheplaza.com; ralphlauren.com PASATIEMPOMAGAZINE.COM

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OUT THERE PHOTO CURTIS BROWN

HIGH NOTES

SFO apprentices take center stage Operagoing here doesn’t have to be pricey and involve a very late evening (or very early morning), and you can still tailgate to your heart’s content, at least on Sunday, August 18. That’s when the Santa Fe Opera’s apprentices commandeer the stage for their final program of opera scenes, in which the vocal apprentices sing all the roles, and the technical apprentices design all the costumes, wigs, make-up, and lighting.

There’s a nice balance of comedy and drama in the program’s six scenes, which span just over a century of opera history, from Gioachino Rossini’s Cinderella (1817) to Leoš Janáček’s The Cunning Little Vixen (1924). The latter, a charming and profound work about our relationship to nature and the cycle of life, received its American premiere here in 1975, but has been inexplicably absent in the decades since.

Here’s the August 18 program: Falstaff, Act I, Scene 2 Every character who sings other than Falstaff is in this superb demonstration that Verdi could write comedy just as well as tragedy. In it, Alice Ford and Meg Page discover that he has sent them identical letters and, joined by Mistress Quickly and Alice’s daughter Nannetta, they plot revenge. Ford has also been tipped off to the fat knight’s scheme and he bursts into their home intent on vengeance, while Nannetta simultaneously conducts a romance with her suitor Fenton and tries to repel the odious Dr. Caius.

Hilarity ensues.

Eugene Onegin, Act I quartet Tchaikovsky referred to Eugene Onegin not as an opera but as “lyrical scenes,” a judgment that is aptly demonstrated in this excerpt, during which the cynical and detached title character meets the dreamily romantic Tatyana. Their introduction comes via Lensky, who is enamored with Olga, Tatyana’s sister. In Onegin Tatyana sees the “somebody” for whom her soul had been pining, but he is occupied mostly with thoughts of how he just inherited the neighboring estate. Baritone Sejin Park (Baron Douphol in La Traviata) is Onegin, soprano Rachel Fitzgerald (Donna Anna in the first three Don Giovanni performances) is Tatyana, tenor Andrew Turner (Eli in The Righteous) is Lensky, and mezzo-soprano Ashlyn Brown is Olga.

PHOTO NORMAN DOGGETT

Il Trovatore, Act IV, Scene 2 duet First-year apprentice baritone Yeongtaek Yang is Count de Luna and soprano Kathryn Henry (Lucy in 2021’s The Lord of Cries during her first apprenticeship) is Leonora in Verdi’s blood-and-thunder tragedy. She has spurned the count’s love in favor of his defeated political opponent Manrico. When the count orders Manrico’s execution, Leonora offers

Apprentices Brandon Bell as Malatesta and Ilanah Nobel-Torres as Norina perform a scene from Donizetti’s Don Pasqual.

herself to him instead to save Manrico’s life. The count jubilantly agrees, not realizing that she has just swallowed a fatal poison.

La Rondine, Act II quartet Puccini’s late “lyrical comedy” La Rondine is a bittersweet tale that began its life as a through-composed operetta and still hews close to its origins after several revisions.

It centers on Magda, the swallow of the title, a courtesan who “flies south” to love and happiness, at least briefly, at a racy nightclub where she used to perform. There she meets handsome Ruggero, as well as her maid Lisette (disguised in one of Magda’s gowns) and the poet Prunier, who had prophesized Magda’s happiness. Sopranos Natasha Isabella Gesto and Jazmine Saunders (Deirdre and Shannon, respectively, in The Righteous) are Magda and Lisette; tenor David Bogaev is Ruggero, and tenor Ryan Bryce Johnson is Prunier.

The Cunning Little Vixen, Act III trio Soprano Cadie J. Bryan (Giannetta in The Elixir of Love) is the vixen, mezzo-soprano Shannon Keegan is the fox, and bass-baritone Sam Dhobhany is the poacher in this scene near the end of the opera. The vixen and the fox are planning to have even more children the following spring, only to be interrupted by the poacher, who fires his gun wildly when their brood of young foxes starts attacking his chickens, eventually killing the vixen.

Cinderella, Act I finale Rossini’s Age-of-Reason take on the classic fairy tale does away with the magic in favor of comedy, romance, and spectacular vocalism. In the Act I finale, the now-glamorous Cinderella arrives at the ball in a spectacular gown, instantly winning the heart of Prince Don Ramiro (in disguise as his own servant) and befuddling her two wicked stepsisters, who are competing for his attention, and her clueless stepfather, none of whom recognize their transformed scullery maid.

— Mark Tiarks/For The New Mexican 8 p.m. Sunday, August 18 Santa Fe Opera 301 Opera Drive $21-$31, with discounts available for ages 6-22

In a scene from Richard Strauss’ Der Rosenkavalier, apprentices Kathleen Felty and Emilie Kealani perform the roles of Octavian and Sophie, respectively.

20 PASATIEMPO I August 16-22, 2024

505-986-5900; santafeopera.org

PHOTO COURTESY LOBO THEATER

FOR THE EARS

Going to the chapel Chamber Music at San Miguel Chapel is one of the newer additions to the summer performance scene in Santa Fe. The brainchild of Grace Browning, the Santa Fe Opera’s principal harpist, it’s now in its seventh season of combining highquality artistry with a relaxed, casual vibe. (Not to mention the meet-the-performers and eat-the-pizza reception that follows each of its Saturday afternoon events at neighboring Upper Crust Pizza.)

In what has become a group trademark, the final concert will feature opera excerpts and instrumental interludes with special surprise guests from the Santa Fe Opera season.

Browning returns from maternity leave for this performance, which she co-curated with pianist Leslie Dala, an SFO music staff member. Destined to be a sure-fire and perhaps oncein-a-lifetime highlight, the famous “bromance” for tenor and baritone from Georges Bizet’s The Pearl Fishers will be performed

by Browning, bassoonist Elizabeth VanArsdale, and tuba player Jarrett McCourt. — M.T. 3 p.m. Saturday, August 17 San Miguel Chapel 401 Old Santa Fe Trail $35 with discounts available chambermusicatsanmiguel.com

JUST CAUSE

Bidding at the ball Forty-one pieces of art are available via a Montezuma Ball online auction, with the proceeds benefiting the nonprofit R4Creating in Rio Rancho and Mandy’s Farm in Albuquerque.

The auction opened August 1. Bidding runs through 7:30 p.m. August 23.

Pieces by New Mexico artists include the 1988 gouache painting Two Eagle Dancers by Pablita Velarde (Albuquerque), the first Indigenous woman commissioned by the New Deal-era Works Progress Administration, valued at $12,000; the oil painting Southwest Still Life by Edward Gonzales (Albuquerque), $5,000; the multi-patina bronze statue Zuni Woman With Pot by Tim Nicola (Penobscot/Algonquin, Santa Fe), $4,500; Alabaster Eagle by Jeff Grandbois (Turtle Mountain Chippewa), $3,000; a Santo Domingo Native American ceremonial necklace, $1,500; and Smirk, a giclee print by George Alexander II, $1,000.

The ball was created in 1902 as part of the New Mexico Territorial Fair. That version existed until 1968; in 2000, Heritage Hotels & Resorts resumed it at Hotel Albuquerque. This year’s ball focuses on science, technology, engineering, art, and mathematics.

To view the art, visit r4creating.org. — B.S.

The Historic Lobo Theater in Albuquerque hosts classic and cult film screenings.

OUTINGS

Movies and mimosas You know you’re about to have the best Sunday when just before noon, at that other golden hour known as brunch, your table neighbors at the Historic Lobo Theater raise their mimosas and Shirley Temples — and sausages on a fork — and join Meryl Streep as she sings on the big screen: “Mamma Mia, here I go again, My, my, how can I resist you?”

(Don’t deny it: You just read-sang that.)

In an instant, you and your pals join the choir: “Mamma Mia, does it show again, My, my, just how much I’ve missed you?”

And that’s just Mamma Mia (2008).

If you’re lucky enough to be watching The Princess Bride (1987) at the Lobo Theater, for example, get ready for all happiness to break loose inside you the moment everyone around you — young Mandy Patinkin on the screen included — recites in a solemn voice full of grace and wrath and proud vengeance: “Hello. My Name is Inigo Montoya. You killed my father. Prepare to die.”

Because truth be told, there’s something about food and spiked juice and Hollywood classics that, if put together, get an audience going — a social phenomenon exemplified by the Brunch and a Movie events every Sunday or so at the historic venue in Albuquerque’s Nob Hill.

“We have a very reactive audience — people will even cheer during some scenes of Star Wars,” says Nichole Harwood, the public relations representative for the Lobo Theater.

Harwood isn’t only referring to the theater’s Sunday brunch happenings but also the evening “Cult Movie Wednesday” screenings too. Harwood says J. Richard Rivas, the Lobo Theater’s new owner, had the idea of screening classics to celebrate films that may not have been seen on the big screen in a long time.

The brunch-and-movie idea came soon after.

This month and next, the Wednesday and Sunday cinematic menus at Lobo Theater offer screenings of School of Rock (2003), Who Framed Roger Rabbit? (1988), Willow (1988), The Witches (1990), Superbad (2007), and The Breakfast Club (1985).

On Sunday, August 18, you too can sing to all the tracks of Mamma Mia as you sip a cocktail or mocktail, muffin in hand, and watch Pierce Brosnan, Stellan Skarsgård, and Colin Firth wonder who of the three men is Sophie’s father, and the lovely Meryl wrap all three around her little finger. — A.H. Sunday Brunch and a Movie $10 movie only, $21 brunch only, $25 brunch and movie; does not include alcoholic beverages Doors open at 10:30 a.m.; movie starts at 11:30 a.m.

The Historic Lobo Theater 3013 Central Avenue NE, Albuquerque 505-876-7176; loboabq.com

PASATIEMPOMAGAZINE.COM

21

WILLIAM R. TALBOT FINE ART, ANTIQUE MAPS PRINTS

Nampeyo and Her Legacy Five Generations of the Sikyatki Revival Art Movement Artists Reception August 16, 2024, 5-7 p.m.

Featuring Personal Appearances by Master Potters Nyla Sahmie Nampeyo Vernida Polacca Nampeyo

AUGUST 15–18 | FREE

Don’t miss this annual celebration of the best in Indigenous film.

Venue: New Mexico History Museum 113 Lincoln Ave., Santa Fe, NM Special Performance by DJ Shub Saturday, August 17 7:00 p.m.

Scan for schedule This program is funded in part by the San Manuel Band of Mission Indians, and received support from the Smithsonian initiative, Our Shared Future: Reckoning with Our Racial Past.

AmericanIndian.si.edu 22 PASATIEMPO I August 16-22, 2024

IN OTHER WORDS

The God of the Woods

should be your next summer mystery Maureen Corrigan l For The Washington Post

FIC TION THE GOD OF THE WOODS

by Liz Moore, Riverhead, 496 pages

It was the summer of 1993, and my husband and I were taking our first road trip south on the legendary Pacific Coast Highway, starting our drive in San Francisco and ending in Los Angeles. Our rental car clung to the outside lane of the highway winding up into Big Sur and dipping down to rocky beaches where seals and sea lions sunned themselves. But even as I exclaimed over the natural beauty unspooling before us, I was itching to reach whatever cabin or motel we’d booked for the night, so that I could pick up Donna Tartt’s The Secret History and dive in where I’d left off.

Tartt’s best-selling debut novel had recently come out in paperback, and it was my “vacation read” — more like “vacation immersion.” The eerie atmosphere of that novel so affected my mood that, forevermore, California redwoods have been conflated in my mind with the dark forest surrounding a small Vermont college where a fictional murder occurred.

This summer, I once again felt that all-too-rare sense of being completely possessed by a story as I read The God of the Woods by Liz Moore. There are some superficial similarities between the two novels: Both are intricate narratives featuring young people isolated in enclosed worlds — in Tartt’s story, a small cohort of classics students at the aforementioned college (modeled on Bennington); in Moore’s, a summer camp within a vast forest in New York’s Adirondack Mountains. A sense of predetermined doom also pervades both books. But the most vital connection for me is the beguiling force of these two literary suspense novels. For those susceptible to its pull, The God of the Woods, like The Secret History, transports readers so deeply into its richly peopled, ominous world that, for hours, everything else falls away.

There’s more than a touch of Gothic excess about The God of the Woods, beginning with the premise that not one but two children from the wealthy Van Laar family have disappeared, 14 years apart.

When the novel opens in August 1975, an Emerson Camp counselor discovers that 13-year-old Barbara Van Laar is missing from her bunk. Barbara was conceived after the disappearance of her brother in 1961. Peter “Bear” Van Laar, a boy as playful and adventurous as his nickname, was 8 when he vanished from “Self-Reliance,” the Van Laars’ summer house that adjoins the camp. (The cosseted Van Laar family clearly has a weakness for referencing — if not internalizing — the do-it-yourself gospel of transcendentalist Ralph Waldo Emerson.) The surrounding woods and nearby Lake Joan were searched exhaustively, but no trace of the beloved Bear

24 PASATIEMPO I August 16-22, 2024

was ever found. Coincidentally, at the time of both disappearances, a convicted serial killer was spotted traipsing around the area. This fiend, named Jacob Sluiter, informally known as “Slitter,” belongs to an old family who once owned the land holdings that became the Van Laar Preserve.

To summarize the plot of The God of the Woods, thusly, risks making this nuanced novel sound like a campfire tale generated by AI. (A serial killer! Terrified campers lost in the woods!)

Rather than a straightforward sensational yarn, Moore’s story jumps around non-sequentially from the 1950s through the 1970s and is crowded with characters: campers, counselors, the Van Laars and their tony houseguests, townspeople, and local police. Throughout, Moore’s language is unflaggingly precise. Here’s her omniscient narrator describing a girl named Tracy, Barbara’s bunkmate, who suffers from low self-esteem.

And little wonder why: “[Tracy’s] father once told her casually that she was built like a plum on toothpicks, and the phrase was at once so cruel and so poetic that it clicked into place around her like a harness.”

As wise as it is about the vulnerability of adolescence, The God of the Woods is also chillingly astute about the invisible boundaries demarcating social class. Take, for instance, the character of Judyta “Judy” Luptack, a 26-year-old woman from a working-class Polish American family who’s been newly promoted to “junior investigator” on the otherwise all-male police team searching for Barbara. Stationed inside the Van Laar mansion, Judy has the increasingly urgent need “to pee”: “She’s not certain what procedure is. Nowhere in her training did she come across this exact scenario: What do you do if you’re in someone’s private home for hours and hours with no access to the outside world? Rich people especially. She doesn’t want to ask these people for anything. If she were a man, she’d [go] in the woods.”

Moore’s superb 2020 crime novel, Long Bright River, went deep into issues of addiction and entrenched poverty while exploring the opioid crisis in Philadelphia; The God of the Woods heads off into different territory — weird and uncanny — and yet, it too offers strong social criticism. As it unfolds, The God of the Woods becomes more and more focused on how its female characters break free — or don’t — of the constraints of their time and social class.

Whatever the case, breaking free of the spell Moore casts is close to impossible. ◀ Maureen Corrigan, who is the book critic for the NPR program Fresh Air, teaches literature at Georgetown University.

PASATIEMPOMAGAZINE.COM

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A Handel on the season THE SANTA FE CHAMBER MUSIC FESTIVAL WRAPS WITH A U.S. PREMIERE AND A FEW PRIME COMPOSERS Mark Tiarks l For The New Mexican

Gioachino Rossini wrote his six Sonatas a Quattro (Sonatas for Four) at the ripe old age of 12, making them his youngest compositions except for one song.

They’re scored for the unusual combination of two violins, cello, and bass, and are notable for their freshness and vigor; this performance opens with the first of the sonatas.

The festival’s fourth commissioned work of the season follows, with the U.S. premiere of Outi Tarkiainen’s Sensory Flashbacks for Clarinet, Piano, and Strings. Tarkiainen was born in 1985 in Finnish 26 PASATIEMPO I August 16-22, 2024

Lapland, where she still lives and draws much of her inspiration from. As commentator Andrew Mellor noted, “The wilderness of Europe’s northernmost reaches continues to find expression in her music’s engrossing combination of beauty and brutality, of richness and sparseness.”

“By this work I have freed myself of my last love.” So wrote Johannes Brahms of his String Sextet in G Major, Op. 36, which closes the program. Eight years earlier he had fallen deeply in love with Agathe von Siebold, a 23-year-old soprano and composition student, and the couple exchanged wedding rings. Shortly afterward,

following the initial failure of his first piano concerto, he unceremoniously dumped her.

In 1864, Brahms was overcome with nostalgia for their relationship and visited Agathe’s former hometown after learning she had moved to Ireland.

His memories and emotions of the affair fueled the composition of his string sextet, which includes a musical quotation of her name.

The first three movements have the sense of restrained resignation that was to mark many of Brahms’ subsequent compositions, while the much more boisterous finale suggests that he may have worked through the emotional issues surrounding the unhappy relationship. Agathe took the same artistic path to resolution, writing a novel based on their love affair later in her life.

6 p.m. Sunday, August 18 $22-$104 The festival finale opens with Leoš Janáček’s Sonata for Violin and Piano. “The whole life of man is in folk music,” the Moravian composer once said, and his unique musical voice is closely allied to the pitches and rhythms of the Czech language.

The initial inspiration for the sonata was Russia’s PHOTO JESSE HOLLAND

The Santa Fe Chamber Music Festival wraps up its 2024 season with three SANTA FE concert s at t he Len sic CHAMBER Performing Arts Center MUSIC featuring a U.S. premiere and m ajor work s by Handel, Brahms, Mozart, Dvořák, and Janáček.

Harry Bicket, the Santa Fe Opera music director whose conducting credits with the company go back to George Frideric Handel’s Agrippina in 2004, makes his chamber music festival debut with the same composer’s beloved Water Music.

It was written to entertain King George I on July 17, 1717, while the royal barge floated up the River Thames on the tide to Chelsea for a dinner party. About 50 musicians played from another barge floating nearby.

Water Music was a hit from the very beginning — the King liked it so much he had it encored on the way up, then played twice on the return downstream, a journey that started around 2 a.m.

Water Music consists of 22 sections, many of which are energetic dance forms, typically arranged into three suites based on their keys and instrumentation.

The Suite in G Major, for recorder, flute, and strings, was probably played indoors during the dinner itself.

The F Major and D Major suites were clearly meant to be performed outdoors, the former boasting horns, making their first appearance in an English orchestra, and the latter using horns and trumpets.

Most of the 24-player chamber orchestra here is drawn from the Santa Fe Opera orchestra; Bicket, whose distinguished conducting career was launched in the field of Baroque music, will play the harpsichord as well as conduct.

6 p.m. Saturday, August 17 $22-$69

The Dover Quartet will perform Mozart’s String Quartet in E-flat Major, K. 428.

PHOTO EETU LINNANKIVI

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The festival will premiere Sensory Flashbacks for Clarinet, Piano, and Strings by composer Outi Tarkiainen (above) in a program that closes with Johannes Brahms’ (opposite page, inset) String Sextet in G Major, Op. 36.

invasion of Moravia and Bohemia at the start of World War I in 1914. At the time, it was seen as a welcome development, as it ended centuries of rule by the Hapsburg Empire that tried to erase all aspects of Czech culture with almost complete success.

Janáček wrote most of the sonata during 1914 and 1915, adapting an earlier song for its “Ballada” movement. However, he ended up revising it at least three times before arriving at its final form in 1922.

The sonata is representative of Janáček’s late style, with its modal harmonies, short melodies, and rapid changes of tempo.

The second time was the charm for Antonín Dvořák, at least when it came to the piano quintet (piano plus string quartet). He wrote a very early one (his Opus 5) in 1872, was dissatisfied with it and seemed to abandon it, returned to it in 1887 for revisions, and abandoned it again. He was fascinated with the form, however, and started a new one, which turned out to be one of the great works in the chamber music repertory.

In it, Dvořák blended his mastery of the Western classical music tradition with aspects of his Bohemian culture, especially in its middle movements.

The quintet’s second movement is a dumka — originally a folk ballad common to all Slavic cultures that has a slow and pensive quality, sometimes alternated with faster sections, as it does here.

The third is a furiant, a type of Bohemian folk dance, marked molto vivace (very lively).

The Janáček and the Dvořák flank Mozart’s String Quartet in E-flat Major, K. 428, the most compact, most personal, and least traditional of the six quartets in the set the younger composer dedicated to Haydn in 1785, citing them as “the fruit of a long and laborious endeavor.”

The E-flat Major Quartet, which will be performed here by the Dover Quartet, seems to mirror Mozart’s impulsive personality. It begins with a nine-note melody, played in unison, in which no two notes are the same, giving it an unsettled quality from the very beginning.

The second movement is a boundary-pushing exploration of unusual harmonies, which some have analyzed as anticipating Richard Wagner’s Tristan und Isolde, some 80 years in the future. Even the finale, which is more straightforward, has some harmonic surprises, including a modulation from D Major to E-flat Major — two keys that have very little in common — made to sound as the most natural thing in the musical world.

6 p.m. Monday, August 19 $22-$104

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Ticket prices include service charges and are subject to change.

Discounts are available for those age 35 and younger.

505-982-1890; santafechambermusic.com ◀ PASATIEMPOMAGAZINE.COM

27

INSTALLATION PHOTOS KATE RUSSELL/COURTESY MEOW WOLF

DeserT dome MEOW WOLF’S NEW PSYCHEDELIC EXHIBITION GIVES THE INTERACTIVE ARTISTIC SPACE AN EVEN MORE SURREAL SPIN Brian Sandford l The New Mexican COURTESY JESS JOHNSON

A

RTIST JESS JOHNSON walked barefoot in the sand to grade school in a bucolic seaside town in New Zealand — widely considered one of the world’s most ruggedly beautiful countries — and has lived or had residencies in New York City, Berlin, Tokyo, Edinburgh, Scotland, and Melbourne, Australia.

Her favorite place she has lived? Roswell, where she recently spent a year in the Roswell Artist-in-Residence Program. That alone is compelling evidence that her perspective differs markedly from most people’s, but she says she feels activated by the desert.

Johnson has brought that unpredictable outlook to Santa Fe in the form of Necro Techno Flesh Complex, a multimedia room at Meow Wolf’s House of Eternal Return that opens Friday, August 16. It’s on the surreal side even by Meow Wolf standards, a mix of swirling designs surrounding an unexpected centerpiece.

“So there’s this central well that has a dome on it, with this full-dome movie projected into its interior,” she told Pasatiempo in April during an interview at the Roswell Artist-in-Residence Program compound. “It’s all decorated with mosaics, and then there are ceramic tiles on the floor. And then there are these relief columns I’ve been getting made, which were going to be carved by hand and from polystyrene and then coated with resin and painted.”

Johnson is both a world traveler and a world builder, drawing what she describes as an increasingly complicated fictional realm that includes alien symbology, humanoid clones, and messianic figures. She began working on

28 PASATIEMPO I August 16-22, 2024

Opposite page top, and right: A room featuring Jess Johnson’s Necro Techno Flesh Complex is one of the newest exhibitions to open at Meow Wolf’s House of Eternal Return.

Opposite page bottom: Johnson, a native of New Zealand, recently completed a stint with the Roswell Artist-in-Residence Program.

the works in Necro Techno Flesh Complex a couple of months before moving to New Mexico. While her one-year residency in Roswell ended May 1, she’s returning to the city next year for an indefinite stay. She has visited Meow Wolf once, mostly collaborating remotely with the staffers who assembled pieces for the room, bringing her vision to life.

“It’s important to me that the human hand is still in the materials and the fabrication of the room,” she says. “I like that there are artists on the other side who are actually making stuff.”

That preference for a personal touch is evident, says exhibition manager Todd Zonderman. He mistakenly assumed at the beginning of the project that Johnson was mostly a digital artist.

“What I discovered is that she starts by working on paper, by painting or drawing, and then moves on to digital,” he says. “Sometimes digital work can feel a little flat, but because she has a really expansive process where she’s working by hand, I think her work has a lot of depth.”

Johnson will be in New Mexico for several weeks before returning again in January for a longer stay. She’s set to deliver a talk and participate in a workshop September 28-29 at the House of Eternal Return; the times have yet to be finalized. It will be a happy return.

“I did a site visit when I first got here, and they took me through the big fabrication warehouse,” Johnson says. “Just seeing everyone’s workstations … it’s just so streamlined and organized and warm. I worked as an artist assistant. I always feel an affinity for the people who are actually making the stuff.”

Johnson received an unexpected email from Meow Wolf in 2016 about contributing to a project, but the timing wasn’t right. Her subsequent communication with director of artist collaboration Han Santana-Sayles offers clues about how Santana-Sayles’ job works.

“She was very friendly,” Johnson says. “She would send messages on Instagram or comment and stuff like that. I was trying to rent out my apartment in Auckland, New Zealand, to come to Roswell for a year, and I think she saw that and immediately sent me an email that said, ‘Oh, you’re going to be in New Mexico. Do you want to start chatting maybe about doing another project with us?’”

Santana-Sayles says Johnson’s work feels like a “futuristic relic.”

“She borrows symbols and patterning from various cultures freely, reimagining them in such a clear, illustrative way that it appears she is documenting a society that exists somewhere but we haven’t yet discovered it,” she says via email. “The symbols are cryptic, some downright eerie, yet I find the overall tone of her work to often be humorous. In this installation, there is a clear nod to Greco-Roman architecture remixed from the perspective of an alien civilization.”

Meow Wolf worked with a printer near Denver to fire-glaze or 3D-print elements of Necro Techno Flesh Complex.

“Some parts of the project, like the floor tiles, we were taking digital designs that she had done or hand drawings, then scanned them,” Zonderman says. “So we’ve got a combination of a very manual process and a very digital process that emerge in this really tactile space, which is a lot of fun when it works well. The columns were this kind of really fascinating combination of 3D printing, hand sculpting, and hand painting. Jess and Simon had worked together on the digital 3D models for the columns.”

The Simon whom Zonderman mentions is Johnson’s collaborator Simon Ward. Their previous projects include Terminus, described as a virtual reality experience in five parts; and XYZZY, a cinematic experience designed for planetariums. Details are at jessjohnson.org.

“All of the drawings get scanned, and then he translates them into the animations and video and VR stuff that we’ve done. We have a very similar upbringing of growing up in a very small town in New Zealand. There was not a lot of exposure to creative things. I think I didn’t visit an art gallery until I was in my late teens or 20s. You’re just very isolated from the rest of the world in New Zealand, which is good for the imagination, but …” Johnson trails off.

Johnson grew up in Mount Maunganui, on the west side of New Zealand’s north island, one time zone west of the International Date Line.

“We were right near the beach,” she says. “The town had a primary school, and it didn’t have a playground. So every lunchtime, the teachers would take us over to the beach and we’d just make sandcastles and swim and hang out in the dunes. The parents would get pissed off that the kids kept losing their shoes in the sand, so the school just made a rule that you had to come to school barefoot.”

Johnson was school-aged when her talents began revealing themselves.

“I think drawing was a way to focus my attention and calm my brain a little bit,” she says. “So I used to do that compulsively as a child; I would fill up a page with patterns and then turn it over and do the same on another page. Any project I had to handle would have very intricate borders of illustrations and stuff like that. That’s been around forever.” continued on Page 30

PASATIEMPOMAGAZINE.COM

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artists sha contem

Meow Wolf’s Han Santana-Sayles says, “There is a clear nod to Greco-Roman architecture remixed from the perspective of an alien civilization” in artist Jess Johnson’s Necro Techno Flesh Complex.

Members of Meow Wolf’s exhibition and technical teams work seven days a week on the property. Zonderman emphasizes that the digital elements of projects like Johnson’s still require plenty of human brains and brawn.

“The digital technology, the 3D printing, the additive manufacturing or subtractive manufacturing technology, it doesn’t replace people, especially in design-driven fields,” he says. “We’re using 3D printers or laser cutters in much the same way that we were using analog tools or conventional machinery. Jess Johnson’s room is a great example of how digital and human-crafted items get integrated.”

Zonderman came to Meow Wolf about 18 months ago from Scotland — not Auckland — and says the House of Eternal Return plans to install two to four new artist commissions a year. So Johnson will have to enjoy the title of “newest artist featured at the House of Eternal Return” while she can. She also will enjoy sticking around in a desert outpost that suits her sensibilities as an artist.

“I never expected to feel like I found a home in Roswell,” Johnson says. “But I think I realized the space and this pace of life are kind of beautiful. Previously, I’d always thought I had to be located in New York and places where there are career opportunities, but I don’t think that’s good for me, emotionally or psychologically. I feel a lot better in a place like this, where I’ve got space to think.” ◀ Necro Techno Flesh Complex opens at Meow Wolf’s House of Eternal Return Friday, August 16.

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Lensic 360 Concerts at the Santa Fe Opera

Songs & Stories: A special evening with the songwriters

Lyle Lovett Ray Wylie Hubbard Hayes Carll

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SEPT

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Rufus Wainwright

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produced with the Santa Fe Human Rights Alliance

T I C K E T S A N D M O R E AT L E N S I C 3 6 0 . O R G 32 PASATIEMPO I August 16-22, 2024

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PHOTOS DAVID STOBBE

Bring to bear THE MUSICAL GREASE GETS A INDIGENOUS UPGRADE

Brian Sandford l The New Mexican

I

T STARTED as an amusing thought experiment for wife-andhusband creative team Crystle Lightning and RedCloud: Wouldn’t it be great if there was an Indigenous version of the 1978 film classic Grease?

The Edmonton, Alberta, pair traded riffs on the lyrics to the Grease classic song Summer Nights, with RedCloud offering, “Summer snagging, had me a blast” and Lighting retorting, “Summer snagging, happened so fast.” They followed with: “I met a girl, sweet as can be.

I met a boy; he’s not related to me.”

“We were like, ‘This would be really cool, wouldn’t it?’” Lightning says. “Because we didn’t have that kind of representation when I was a kid; I never saw anybody who looked like me on the TV, especially in anything humorous. It was always period pieces and always on a horse, the stereotypical stuff. The pandemic hit, and we started writing it in our basement.”

The result of that collaboration is Bear Grease, a takeoff on the film that includes 14 traveling cast and crew members. Seven showings last summer at the Santa Fe Playhouse proved popular, so the Playhouse invited the group back and booked a larger venue: the Santa Fe Scottish Rite Center. The shows this weekend coincide with Santa Fe Indian Market.

“The theater we were at was 100 seats,” Lightning says of last year’s Santa Fe performances. “We sold it out to capacity every night. We even added two shows.”

Many of the melodies — but not the lyrics — will be familiar to

34 PASATIEMPO I August 16-22, 2024

those who’ve watched Grease. Lightning and RedCloud have recorded multiple albums as a hip-hop duo called LightningCloud, and some of their music also is featured in Bear Grease.

The show made its debut at the Edmonton International Fringe Festival in 2021. Organizers had approached Lightning and RedCloud about performing their music there.

“We said, ‘You know what? We actually have something in our back pocket,’” Lightning says of Bear Grease. “[One of the organizers] listened to our pitch and said, ‘Absolutely.’ So we had a month and a half to cast it and choreograph it. By this time, it was only a 30-minute show.”

In an early barometer of Bear Grease’s appeal, it sold out in less than 15 minutes.

“Then we were like, ‘OK, how is the audience going to take the show?’” Lightning says. “This is the real test. Our audience was predominantly Caucasian, and they were eating it up. They were laughing at every single joke. That’s when we knew we had something special.”

Three years later, the show has evolved in many ways, including in length — to 75 minutes. That’s a heavy lift when cast members perform three times in a day, as they will do at Scottish Rite, after spending many hours on the road.

Bear Grease, like Grease, is set in the 1950s. While it plays for laughs, it delivers some deeper messages.

“If colonization had never happened, we would be the cool guys at this school — getting the girl or getting the guy, dancing in the

streets like Olivia Newton-John and John Travolta,” Lightning says. “We do weave in a couple of Easter eggs about residential schools through the songs, but we don’t bang it on your head. It’s going to give you something to talk about on the way home. We want people to be entertained, but we also want to give little hints about, What if we hadn’t been colonized?

This is what it would look like, in a parallel universe.”

Lightning grew up in California and says Canada and the American Southwest have divergent attitudes toward Indigenous people.

“It is very different in those parts — Arizona, New Mexico — where Indigenous people have a presence,” she says. “There’s a lot more racism in Canada; I find there’s a lot more outward prejudice. In California, there’s a lot of Mexican culture, Hispanic culture. But as far as Native American/ Indigenous/First Nations, the presence just was very, very small. So I was considered exotic. When you come to Edmonton and Alberta, it’s such a different scene, such a different feeling.”

As in the U.S., young Indigenous people were taken from their families and forced into residential schools during white colonization, an atrocity the Canadian government has been slow to acknowledge or apologize for. The goal in both nations was indoctrinating the young people into the newcomers’ imported-from-Europe culture, whitewashing millennia of Indigenous traditions in the process.

The production obviously goes beyond the Great White North and is racking up miles on its touring schedule. Sixteen people are involved in making Bear Grease happen, and 14 of them travel to shows. That involves logging long distances on the highway and on occasional flights.

Edmonton is not a convenient hub; it’s about 200 miles north of Calgary and nearly 900 miles from the next-closest major city, Seattle. Edmonton to Miami would be a 3,000-mile drive, about 300 miles more than a road trip from Los Angeles to New York.

“If we have two shows in Florida, they’ll fly us out,” Lightning says.

“But for the most part, when we go on our tours, we use the two Bear Grease vans.”

Not everyone involved is based in Edmonton. In fact, Raven Bright (Diné) of Albuquerque plays Roger in the show. The traveling party includes 10 performers.

“People don’t understand the patience [the travel] takes; it’s tough being on the road at times,” Lightning says. “You’re in the car for eight hours at a time.

Sometimes, if we want to make it home before the morning comes, we’ll do a 12-, 13-hour drive. We take turns lying down, and we stay in hotels.

“But most of it is travel, and then you get to the venue, you do tech, you do a show for an hour and a half, and then you’re back on the road.

That’s why we love residencies, where we can stay in one place more than a couple of days so we can actually chill and have to go somewhere to go ‘home’ to at night.”

Lightning portrayed Sandy in early versions of Bear Grease but now is focusing on directing. Serving in that role, she’s intimately familiar with every character’s dialogue and is every performer’s stand-in. In Santa Fe, she’ll be on stage as Frenchie, filling in for the performer who normally plays the role.

Lightning predicts that Bear Grease will have plenty of staying power.

It recently was booked for an off-Broadway run in summer 2025.

“That’s been a goal and a dream of ours since we started this show,” she says. “So we finally got recognized by New York. But the thing is, we also have a tour booked during that time, so we have to find a whole other cast. It will be the road warriors and the New York cast. We’re already booked into 2026.”

In the meantime, Lightning and RedCloud are working on Bear Spray and Res Side Story — which, like Bear Grease, will use familiar tales as a template to deliver both laughs and truths — as well as a takeoff on the children’s television series Yo Gabba Gabba!. Between managing the current production and writing new ones, the couple is staying busy.

“The payoff is being on that stage in front of hundreds of people and entertaining them and making them laugh,” Lightning says. “There’s nothing like it. The exchange in theater, what you get from the audience and what you can give them, is just … you can’t buy it.” ◀ Bear Grease 1, 4, and 7 p.m. Saturday, August 17, and 1 and 4 p.m. Sunday, August 18 Alhambra Theater, Santa Fe Scottish Rite Center, 463 Paseo de Peralta $30-$50, santafeplayhouse.org/events/bear-grease

ON THE SCREEN Crystle Lightning has connections to two films airing in Santa Fe in August.

She’s an actor in Mary Margaret Road Grader, a short film directed by Steven Paul Judd (Kiowa/Choctaw) and produced by George R.R. Martin that will be shown at 7 p.m. Friday, August 16, at the New Mexico History Museum, 113 Lincoln Avenue. Admission is free. It also screens for free multiple times from Friday, August 16, through Wednesday, August 21, at Jean Cocteau Cinema, 418 Montezuma Avenue.

The 1998 film Smoke Signals highlights the lack of Indigenous representation in American popular culture. Lightning’s brother plays young Victor Joseph in the film. Smoke Signals screens at 4 and 7 p.m. Friday, August 16; 7 p.m. Saturday, August 17; and 6:30 p.m. Sunday, August 18, at Jean Cocteau Cinema. Admission is $10.

The cast and crew of Bear Grease (opposite and above), written and created by wife-and-husband team Crystle Lightning and RedCloud, put an Indigenous twist on the 1978 musical Grease.

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Future legends

A NEW EVENT IN THE RAILYARD MAKES SPACE FOR YOUNG, INDIGENOUS CREATORS

I PHOTOS OLIVER HALFIN

Photographer Oliver Halfin collaborated with 4Kinship on a project for camera manufacturer Leica to showcase Indigenous talent. Modeling Amy Denet Deal’s wearable art are Than Povi Martinez (above left and top), Stepha Murphy (above center), and Shawn Shine Harrison (above right and opposite page).

36 PASATIEMPO I August 16-22, 2024

Ania Hull l The New Mexican

T’S ONE THING to say that young people are our future — and another to walk the walk and do something to help them succeed in becoming just that.

This is also what Amy Denet Deal (Diné), founder of 4Kinship, a Native owned designer brand on Canyon Road, and of Diné Skate Garden Project, does best: She walks that walk for Indigenous youth as though the world is on fire. That’s because it is, in more than one way — and to survive and thrive in it, young people from underrepresented communities like hers need all the support they can get, from each other, from their community, and from those around them.

Starting Friday, August 16, 4Kinship will kick off a three-day, first-of-a-kind Indigenous youth celebration in Santa Fe called the 4Kinship Indigenous Futures 4Ever. The events will take place at the Mystic Santa Fe and on Canyon Road on Friday and then move to the Railyard Park on Saturday and Sunday. The event’s goal? To offer a youth-specific opportunity that will amplify and elevate young Indigenous creators.

“This event is all about heart, like a family reunion, to celebrate everyone,” Denet Deal says. “We will celebrate the Indigenous future.

The events are for them, for young people.”

Denet Deal hasn’t always been with her Native community — she was adopted as a young child by a white family in Indiana and only decades later found her biological Diné family and reunited with her Native relatives. Soon after, she left her career as an active wear designer for major corporations and founded 4Kinship, an Indigenous-owned business with Indigenous-made clothes and an activism component.

“That stepping into my Indigeneity came with a responsibility to my community,” Denet Deal says. “I didn’t take it lightly; it really was a transition and the beginning of my journey home. I left everything behind, and I started my life over again in New Mexico with my Indigenous relatives. It was a big thing for me.”

Six months later, when COVID-19 struck the Diné community, Denet Deal took part in mutual aid operations. Afterward, she decided to work with her community to provide Diné kids — many of whom had sheltered in place where they had no WiFi, electricity, or running water — with resources and a safe place to grow and be healthy. With her community, Denet Deal built a skatepark where kids could hang out.

The 4Kinship Indigenous Futures 4Ever events this weekend will be a celebration of young people from across Indigenous communities.

“It will be like an Indigenous block party,” Denet Deal says. “It’s also the first time Indigenous people will take over the Santa Fe Railyard.”

On the menu is a fashion summit and a fashion show artist benefit with livestreams, a maker space for young creators to sell their art and products, a skate demo and hangout with Diné skater Shawn Shine Harrison, a photo station, and a performance by Mato Wayuhi (Oglala Lakota) and others. The event will also include an Indigenous culinary fest provided by Yapopup Soul Circle with Chef Rainbird Taylor (Pueblo of Ohkay Owingeh).

“We want the kids to have a safe space just to hang out and get to know each other,” Denet Deal says. Midnight Disco Fungi, Howdy Cakes, 4Yourplatesonly, The Frybread Man, and Just Peachy Bischochitos will provide additional food.

4Kinship will also present at its 812 Canyon Road location the Indigenous Innovators Collective — a bespoke, sustainable, and

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505-919-9055 boutique maker space — to showcase the work of several Indigenous artists and artisans, including Ginew + Steven Paul Judd, Graciano and Gutierrez, Here’s to You, Moonture, Carmen Selam, Josh Tafoya, Kellen Trenal, Suni Upshaw, Mer Young, and Jennifer Younger.

To make all of this happen, 4Kinship partnered with Build Native with Shopify, Pinterest, and the Vancouver Indigenous Fashion Week.

“We also got sponsorship in order to reinvest in all these young people, and we will be investing the remaining profits from the shows into them,” Denet Deal says. “We are looking at things from a reciprocity point of view, and to help elevate and amplify our young creators. We wanted to make sure kids didn’t have to go through hardship to come here either, so we took care of their airfare and hotels.”

Denet Deal says the models, fashion designers, performers, and Indigenous and BIPOC contractors will be paid for their time and effort.

As for young creators ready to sell their work, 4Kinhship will provide 40 spots for next generation artists next to the Santa Fe Farmers’ Market.

All events are designed to be inclusive and free for all, so organizers request certain terms of engagement and that attendees respect cultural protocols, such as asking permission before taking a photo, respecting personal boundaries, using correct terminology and names, and supporting Indigenous initiatives. ◀ 4Kinship Indigenous Futures 4Ever events Friday, August 16, through Sunday, August 18 Venues include: Mystic Santa Fe, 2810 Cerillos Road (Friday) 4Kinship, 812 Canyon Road (Friday) Santa Fe Railyard (parking lot, community center, and other areas) (Saturday, Sunday) 4kinship.com

Icons of the West August 17, 10am-4pm 421 Canyon Rd 505.988.3444 Join Us to Meet Scott Rogers, Ed Aldrich, & J.R. Hess

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ROBERT TAYLOR

ANGIE HASKELL

JOIN US FOR AN EVENING OF CHARCUTERIE & WINE, AND MEET OUR ARTISTS BEHIND THE WORK

FRI AUG 16 - SUN, AUG 18 01:00 pm - 06:00 pm

INDIAN MARKET ======= ========

Famed pueblo potter Maria Martinez (San Ildefonso) poses alongside some of her finished pieces, circa 1950.

The world we MAKE A poet’s guide to the gathering place for connection, creators, and creation = == =

Luci Tapahonso l For The New Mexican

FOR

in life when we are at our strongest, most agile, and possess physical endurance. Accordingly, Tsoo dził represents the males in our families. Our teenage years and early adult years are a time we can explore options, set goals, and prepare for adulthood. We often form lasting bonds with friends, peers, and teachers.

So, we wear turquoise to honor our fathers, grandfathers, sons, brothers, and husbands; we wear turquoise daily to remind us of our own strength and to envision our goals.

We are urged to maintain a sense of humor and optimism and to share stories of our ancestors’ resilience so that we, too, can be as strong and enduring as the mountains surrounding us.

Further west lies the San Francisco Peaks (Dook’o’ooslííd); she is covered with abalone shells and represents the “autumn” of our lives, when we hopefully have fulfilled the lives envisioned for us at birth by the Holy People.

In adulthood, we strive to maintain strong families and to value our relatives. We aim to perfect our skills and hone all we have learned over the decades into intricate, incomparable concepts — creative or otherwise. This is manifested in the meticulous, painstaking efforts that result in a coveted space at the Indian Market.

Hesperus Peak was placed to the north, where blankets of darkness fold over us each night. She is adorned with jet stones and urges us to rest so as to renew our bodies and creativity. She taught us to hope for good things and to appreciate the “winter” of our lives. As stars glimmer overhead, we cherish our ancestors as we prepare for the days ahead. We exist because of them.

The mountains remind us that although the past was sometimes fraught with sorrow, it was fortified by the prayers of our ancestors. We strive to live the traditions they bestow and thus understand that all comes full circle. This is evident in today’s creations, which contain elements of the wisdom that has always sustained us as Indigenous people, evident in the beautiful clothing, graphic art, pottery, music, skateboard designs, textiles, sculptures, and jewelry displayed at this year’s Santa Fe Indian Market. ◀

Attending the Indian Market reminds us that our homeland has thrived on a glorious array of people and their cultures, talents, and beliefs.

Luci Tapahonso is Diné from Shiprock. She is professor emerita of English Literature at the University of New Mexico and served as the inaugural poet laureate of the Diné Nation from 2013 to 2015. She is the author of six award-winning books of poetry and prose, including A Radiant Curve and Blue Horses Rush In, as well as three children’s books. She also taught poetry writing and contemporary American and Navajo literature at the Universities of Kansas and Arizona. Luci lives in Santa Fe with her husband, Robert Martin, Ed.D., who is president of the Institute of American Indian Arts.

PHOTO JACQUE GALA

PHOTO TYLER DINGEE/COURTESY PALACE OF THE GOVERNORS PHOTO ARCHIVES

the last 101 years, Indigenous artists and their families have traveled to the Santa Fe Indian Market each August to share and hopefully sell their artistic creations. Many travel long distances, as the market also serves as a huge reunion of sorts, bringing together friends, old schoolmates, and relatives, while the art allows us to glimpse the dreams, memories, and histories of participants. Attending the market reminds us that our homeland has thrived on a glorious array of people and their cultures, talents, and beliefs. In gathering here, we acknowledge the generosity of our relatives, the Kiis’áanii, Pueblos, on whose land we meet, live, create, and celebrate.

Santa Fe, or Yootó (Navajo), is nestled in the foothills of the Sangre De Cristo Mountains; “Yootó” describes a necklace made from beads of cold, clear water, apropos of the market jewelry and nearby clear, cold rivers. Long ago, our primordial deity, Changing Woman, taught that the streaks of morning light represent one’s birth and early childhood, thus inspiring creativity. As an infant, she was found lying on a bed of white glistening shells in northwest New Mexico and named White Shell Girl. When she became an adult (Changing Woman), she created Diné Bikeyah (our land) and taught us how to live here. Eventually, she left to reside in the Pacific Ocean, thus beginning our connection to water and shells.

There are strong, similar bonds for many Indigenous peoples. Over time, this profound respect was incorporated into ceremonies, dances, and other events. Heishi, coral, jet, and turquoise stones often surround the iridescent smooth shells in jewelry. Each creation reminds us to remember the stories therein because it is only through stories that we can live full lives; thus, the stones contain our origin stories, ensuring an auspicious future, as seen in the Traditional Fashion Show on the plaza and the Haute Fashion Show on Sunday afternoon as well as the work of emerging and prominent filmmakers.

Each morning, we are blessed by fresh breezes, sometimes tinged with hints of rain (hope, hope!), as birds overhead soar between trees and rooftops. They vie over feeders as glistening hummingbirds swoop onto bulbous feeders. Others glide above in the clear morning air; some sip delicately from the bird baths, then splash happily in the cold water. Their existence reminds us that holiness exists in all aspects of our daily lives.

South of Yootó, Mount Taylor sits regal, surrounded by low clouds; it is known as Tsoo dził (Turquoise or Blue Mountain) and is adorned by blue lakes that sparkle in the midday light. Dzil implies that mountains are everlasting and is derived from the word “dziil,” which means strong.

For the Diné, Tsoo dził represents adolescence — that time

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INDIAN MARKET ======= ========

NORMA HOWARD ARTWORK COURTESY BLUE RAIN GALLERY

Market REFLECTIONS Choctaw-Chickasaw watercolorist Norma Howard left an indelible mark on Indian Market and the art world = == = Ania Hull l The New Mexican

IN

1903, Norma Howard’s grandmother, Ipokni, walked nearly 500 miles from Mississippi to Oklahoma, where she homesteaded a small parcel of land in the dusty cow town of Stigler, in what was then known as Indian Territory. This is also where Howard (Choctaw/Chickasaw), a beloved watercolorist and a warm presence for more than two decades at the Santa Fe Indian Market, was born in 1958 — and where she became an artist.

It is also where Howard died on April 30 at the age of 65, surrounded by her loved ones.

Howard spoke of her childhood and early artistic steps in an extensive interview she gave at her studio in Stigler in 2019 for the Oklahoma Native Artists Oral History Project.

42 PASATIEMPO I August 16-22, 2024

“When I was little, I went to a country school, just about three miles from here, and I went to school with all my brothers and sisters,” Howard said. “I would go to school, and I would see these little kids taking things to school, and I would wish I would have it, because I didn’t have the things that they did. But I still was a little girl, and I still liked dolls.

“This one little girl came to school with a little Chatty Cathy, and I always wanted one. Oh, and I wanted one so bad. So, what I did was, when I got home, I would draw it, and when I would draw it, it gave me that feeling like I had it. So, that was how I got my start.”

Her early artistic journey, however, did not have a happy beginning. When she spoke to the Oklahoma Native Artists Oral History Project, she remembered

an incident from the third grade. “I was on the chalkboard, and I was drawing Indians,” Howard said. “She [my teacher] got mad at me. She told me, ‘Norma, what are you doing?’ You know, being a little Indian girl in the ’60s, we were taught not to look at people in the eye. So I just put my head down and I just shrugged my shoulders like I didn’t know.

Then she said, ‘You aren’t supposed to be drawing what you’re drawing! You’re supposed to be drawing presidents and stuff like that.’

“Being a little girl, it kind of confuses you, because when you’re at home, your mother and dad, they let you draw what you want, and then when you go other places, you’re restricted,” Howard added.

“And it kind of confused me, but I thought she [the teacher] knew better, so I listened to her because she

was my teacher. It hurt my feelings that I couldn’t draw what I wanted.”

But by the time she was 13, Howard taught herself watercolor and went on to become an acclaimed watercolorist with a unique style, who used her art to tell stories of Native people. She painted scenes of her Choctaw and Chickasaw ancestors of the Southeastern Woodlands, who had been removed to Indian Territory in the first half of the 19th century during the Trail of Tears and Death; or who, like her grandmother Ipokni, had been forcibly removed from their homeland during the last wave of the Choctaw Trail of Tears. Howard painted children at play, women working in the fields, a little boy fishing in a lake surrounded by cypress, and other scenes.

She also developed a technique that, from a distance, reminds viewers of the delicate and precise

pointillism of French Neo-impressionist Maximilien Luce. Up close, however, Howard’s technique — which she called “basket weave” — uses wave-like strokes rather than dots.

Leroy Garcia, the founder of Blue Rain Gallery in Santa Fe, says Howard preferred the more pigmented gouache to finely ground classic watercolor paint. The latter saturates into the paper, whereas its more opaque cousin, gouache, doesn’t, and afforded Howard more pigment control.

Howard began her artistic career in earnest in her 30s and won her first artistic award in 1995 at the Red Earth Native American Cultural Festival in Oklahoma City. She participated for the first time in the Santa Fe Indian Market in 1997, and returned to market for more than two decades. She won several

The late Norma Howard (opposite page) was posthumously inducted into the Native American Artists Hall of Fame this year. The basket weave technique she developed is exemplified in her watercolors Carrying Wood (above, 2019) and General Store (opposite page, 2019).

continued on Page 44

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43

Indian Market highlights

A

fter years at the Santa Fe Community Convention Center, the Southwestern Association for Indian Arts Gala has moved to a venue with art in its mission: the Vladem Contemporary.

It’s the most notable change this year at the growing Indian Market, which received 1,300 artist applications this year — 100 more than last year — according to organizers. Following is a list of highlights. swaia.org — Brian Sandford

FRIDAY, AUGUST 16 Best of show ceremony, 11:30 a.m.-1 p.m.

Luncheon, 1-2 p.m.

Sneak peek at award-winning art, 2-4 p.m.

General preview of award-winning art, 4:30-6 p.m.

Santa Fe Community Convention Center ballroom, 201 W. Marcy Street SATURDAY, AUGUST 17 102nd Santa Fe Indian Market, 8 a.m.-5 p.m.

Plaza stage schedule: Opening prayer, 8 a.m.; Artificial Red, 9 a.m.; Red Feather Woman, 10 a.m.; Charly Lowry, 11 a.m.; Native American Rights Fund, noon; Lightning Boy Foundation, 1 p.m.; Chickasaw Panel, 2 p.m.; G Precious, 3 p.m.; Larry Yazzie, 4 p.m.

Cathedral stage schedule: Ryedale Largo & Diné Dancers, 10:30 a.m.; Tony Duncan, 12:30 p.m.; Red Feather Woman, 2:30 p.m.

Gala, live auction, and fashion show, 6 p.m.

Vladem Contemporary, 404 Montezuma Avenue SUNDAY, AUGUST 18 102nd Santa Fe Indian Market, 8 a.m.-5 p.m., Santa Fe Plaza Plaza stage schedule: Clothing showcase, 9 a.m.; Twin Rivers, 11 a.m.; NARF panel discussion, noon; Tony Duncan, 1 p.m.; Jacob Shije, 2 p.m.; Jir Project, 3 p.m.; closing prayer, 4 p.m.

Cathedral stage schedule: Charly Lowry, 10:30 a.m.; Larry Yazzie, 12:30 p.m.; Lightning Boy Foundation, 2:30 p.m.

Native American clothing showcase, 9 a.m., Santa Fe Community Convention Center Art and fashion talks, 11 a.m., Santa Fe Community Convention Center VIP fashion show pre-party, 1:30 p.m., Santa Fe Community Convention Center lobby SWAIA Native fashion show, 3 p.m., Santa Fe Community Convention Center ballroom

INDIAN MARKET ======= ========

Norma Howard, continued from Page 43 ribbons and awards, including Best of Classification for Painting in 2013 and 2014.

“Norma was very talented and very accomplished,” Garcia says.

“We [at Blue Rain Gallery] would take her work to our shows in Palm Springs and San Francisco and all over the United States.”

He adds that she chose the sizes of her paintings for economic balance, as so many painters do. “Her first paintings were really small, 3 inches by 3 inches,” he says. “Her largest paintings were 12 by 24 inches, and that was very big for her.”

The sweet nature of her work was a reflection of her personality, Garcia says. “The beauty within her exuded around her. You don’t meet a lot of people like that. When you meet a good person, you just know it in your soul. That’s Norma Howard.”

Howard was inducted posthumously into the Native American Artists Hall of Fame on May 18. Her husband, David Howard, accepted the award on her behalf. On June 7, she was honored at a reception at the Choctaw Nation Tribal Headquarters in Durant, Oklahoma, for “her contribution to the Choctaw Nation and its history and culture through her outstanding talent illustrating Chahta Spirit of Faith, Family, and Culture.”

Howard’s private collection will be offered for sale at Blue Rain Gallery this weekend. ◀ Blue Rain Gallery’s Annual Celebration of Native American Art group exhibition Through Sunday, August 18 544 S. Guadalupe Street 505-954-9902; blueraingallery.com

44 PASATIEMPO I August 16-22, 2024

“The beauty within her exuded around her. You don’t meet a lot of people like that. When you meet a good person, you just know it in your soul. That’s Norma Howard.”

— LEROY GARCIA, BLUE RAIN GALLERY

Artist Norma Howard was a fixture at Indian Market, receiving numerous awards for her paintings. At left and on the opposite page are untitled watercolors from 2016 and 2021, respectively; below is the artist’s Night Scene from 2019.

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Don’t miss Grammywinning Native flutist Robert Mirabal & the genre-defying string quartet ETHEL.

THURS | OCT 10

ETHEL & ROBERT MIRABAL The Red Willow

El Castillo / La Secoya Life Plan Community SE ASO N SPONSO RS

SE A SON ME DI A SPON SOR

SE A SON SUPPOR T

EV EN T S P O N S O R

L E N S I C .O R G 505-988-1234

Big things are happening at First Peoples Fund ...

We’re excited to announce the following new programs launching soon!

» Yéigo Action Grants

for individual Native artists and culture bearers

» Native Performing Arts Production Grants for Native-led performing arts productions

» Native Performing Arts Fellowships for Native performing artists

Detailed information coming this month!

Follow our social channels to be the first to know!

Proudly working alongside and supporting artists, culture bearers and Native communities for over 25 years.

46 PASATIEMPO I August 16-22, 2024

Learn more & support our work: FIRSTPEOPLESFUND.ORG | 605.348.0324

YAZZIE JOHNSON& GAIL BIRD New Work 2024 Opening Reception with the Artist tonight from 5 to 7pm

T H E OW I N G S G A L L E RY 120 East Marcy Street | Santa Fe, New Mexico 87501 | 505.982.6244 phone | 505.983.4215 fax info@owingsgallery.com | www.owingsgallery.com | Monday through Saturday, 10 to 5

Dress for SUCCESS

Fashion designer Jontay Kahm goes gaga on the road to glory = == = Ania Hull l The New Mexican

PHOTO RAZELLE BENALLY

“My mom is like, ’You need to clean up your mess! I’m stepping on beads all the time!’”

This is what Jontay Kahm says life is like for his mother, when her adult son — who happens to be a futuristic fashion designer — visits during the summer from New York and uses her Albuquerque home as his personal studio.

Kahm (Plains Cree) is a 28-year-old creative phenomenon originally from Saskatchewan. The Institute of American Indian Arts BFA graduate and current MFA candidate at Parsons School of Design in New York is the son of late abstract painter and IAIA professor Jeff Kahm, who died two years ago.

He is also the son of a very patient mother.

Kahm returns Sunday, August 18, to the SWAIA fashion events at the Santa Fe Community Convention Center to present his second collection, Ethereal Realms. He will also take part in a two-artist panel with Kent Monkman (Cree), a legendary artist from Canada. Amber-Dawn Bear Robe (Siksika Nation), SWAIA’s Fashion Coordinator and faculty member in the Art History Department at IAIA who introduced 48 PASATIEMPO I August 16-22, 2024

Kahm and her other students to Monkman’s work — will moderate the conversation.

Monkman is a painter and performance artist best known for his gender-fluid alter ego, Miss Chief Eagle Testickle, whom Monkman inserts into paintings of historical scenes, bringing a different spin to North American and Western European art history.

His paintings — often executed in a modern take on the Neoclassic style favored in Europe in the late 18th and early 19th centuries — feature Miss Chief Eagle Testickle in the middle, prompting viewers to ponder what gets written as history and what falls into oblivion.

Monkman’s works are part of public collections on both sides of the Atlantic, from the Met in New York to the Palais de Tokyo in Paris and the National Gallery of Canada. Surprisingly, the Toronto- and New York-based artist isn’t well known in the U.S. outside of elite art circles.

No wonder, Bear Robe says. “Indigenous representation in the United States is at least 20 years behind Canada,” she says. “There’s this view here that there’s a vast, open, uninhabited landscape across North America. Here, Native Americans are not even seen as a demographic on forms. Back in Canada, Kent is inserting the Indigenous dialogue that’s been missing. He’s inserting that intervention into a history that’s been intentionally voided and ignored.”

Kahm is still pinching himself. “Kent’s the one who wanted to do this,” he says. “All my art friends were like, ‘You’re talking with Kent Monkman?’ And all my fashion friends, they don’t know who he is. But it’s such a wonderful symbiosis of art and fashion together.”

Critics and fashionistas are eager to see where this weekend’s two events — his conversation with Monkman and his second fashion collection — will take Kahm next. This might be a turning point for the rising designer, and Pasatiempo grasped this fleeting moment to ask Kahm about his experiences and plans for the future.

You discovered fashion through a video of Lady Gaga’s song “Bad Romance.” When did you realize you wanted to pursue fashion design?

That’s the music video that changed my life, that opened up a world for me that I had no idea existed

as I was growing up in Saskatchewan. The internet became more accessible then, too, and music videos were accessible, and I was like, “Oh my gosh, what is this?” ... It really opened up a whole new world: to Lady Gaga and her team, and to her music videos, her style, her message, and her collaborations with designers like Alexander McQueen. And to Lady Gaga wearing the most extravagant stuff.

I always knew that I was going to be an artist, because my dad, Jeff Kahm, was an artist. But when fashion came into the picture, that’s when I knew what I really wanted to do. I could visualize these McQueen pieces in my head so clearly, and I knew how they were constructed without even having taken a lesson. Without those instructions on how to make a garment, I just knew how it was made.

What did you learn from you dad?

He was a professional artist, and he guided me. He wanted me to have my own path, but he also wanted me to be like an artist-artist. But I said, “No, this is not really my thing. I can’t really draw. I can’t really paint.”

So he was excited for me when I told him I wanted to be a fashion designer. He said, “Oh, this is amazing. Let’s look up schools.” So we started looking up schools, like Parsons. He said, “This is a really good one. We’ll get back to that.” And 10 years later, we toured Parsons together, and now I’m taking my master’s at Parsons. It’s a full circle moment.

He also told me that education was important. He instilled in me that getting a bachelor’s degree and a master’s degree would open doors for you. And I’m experiencing that right now. I’m in the middle of my master’s program, and it’s already opening up so many doors.

Tell me more about these doors opening. Your event with Kent Monkman feels like one.

That’s another thing that dad would say: that your gift will make room for you. ... Once I found that passion, that career choice, my trade, my practice — fashion design — life became easier, because my creativity was there and everything was there for me inside me to make dresses, pieces.

And Parsons is any fashion kid’s dream school. To be asked to apply to their MFA program while you’re continued on Page 50

PHOTO TIRA HOWARD

INDIAN MARKET

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Fashion designer Jontay Kahm (opposite page) is known for his use of feathers, ribbon, beading, and bold colors in his creations.

Kahm’s second collection can be seen on the runway during the SWAIA Native Fashion Show.

"Figuration x Three"

Bob Richardson | Ian Ratowsky | Greta Young

Through September 1, 2024

Jontay Kahm, continued from Page 48 still getting your BFA, that’s something that only God can do. And that path opened up for me, to go to Parsons and with a full ride.

And your chat with Kent Monkman?

Another open door. Like, this stuff just happens on its own.

You were quoted saying last year that it took “a lot of hot glue and a prayer” to create your first collection. You also said that you hoped to one day design more wearable dresses. Will your new collection reflect that wish?

Heck, yeah. That “glue and prayer” was art school talking. When I went to IAIA, they didn’t have a full fashion program, but they still let me do a whole fashion collection for my senior thesis. And it all took off from there for me. But now I’ve got to take fashion technique more seriously.

This new collection, Ethereal Realms, that I’ll be presenting on Sunday, it has a lot of separates, meaning skirts, tops, coats, jackets, but also solid dress pieces. Last year, I had mainly only solid dress pieces.

Bob Richardson Still Beautiful

The Wright Contemporary 627 Paseo del Pueblo Sur Taos, NM thewrightcontemporary.com

MICHAEL MARTIN MURPHEY An evening with Michael & his acoustic guitar in the NM Museum of Art

MEET & GREET WITH H MURPH H:

7pm- 8pm SHOWTIME:

e, fre e e Get Tickets at: www.redziaevents.com on cod t PRESENTED BY: ge unt M e o on disc GO3 y Bu use BO

8:30pm

50 PASATIEMPO I August 16-22, 2024

SWAIA Santa Fe Indian Market 2024 fashion events Sunday, August 18 Santa Fe Community Convention Center, 201 W. Marcy Street Art and Fashion Talk: 11 a.m. $25 VIP Fashion Show Pre-Party: 1:30 p.m.

Admission available only for first- and second-row guests Santa Fe Indian Market Indigenous Fashion Show: 3 p.m. $25 to $500 swaia.org

INDIAN MARKET

St. Francis Auditorrium

RELATED READINGS The Memoirs of Miss Chief Eagle Testickle: Vol. 1 and Vol. 2 — A True and Exact Accounting of the History of Turtle Island by Kent Monkman and Gisèle Gordon; Penguin Random House (McClelland & Stewart); November 2023; 264 pages.

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August 23, 2024

What’s your favorite material to work with? You definitely favored feathers last summer.

Oh, gosh. The aesthetic that I came out with from my BFA was a lot of feathers, ribbons, and color. So I have an identifiable aesthetic, which is valuable for a fashion designer. But I need to also not pigeonhole myself, or hold myself to this one aesthetic. Christian Allaire from Vogue gave me really valuable advice and said that I should use different materials, to branch out into different materials.

So that’s where the pony beads come in this season, and faux fur, and gosh, what else am I using? Lots of beading. My poor mom. It’s very heavily beaded. These dresses are very extravagant and very beautiful, I might add. But I don’t want to talk too much about it, if it doesn’t live up to expectations. I’d rather have people see it. ◀

A common THREAD Two artists take a mindful approach as they sew and weave their way to this year’s Indian Market = == = Ania Hull l The New Mexican

THE

========= ===== ==

INDIAN MARKET

Southwestern Association for Indian Arts Indian Market includes hundreds of artists representing hundreds of tribes, pueblos, and First Nations cultures; admittedly, honing in on those artists or booths that catch your eye or you want to learn more about can be overwhelming. So Pasatiempo plucked two artists that caught our eye — one a newcomer and one an up-and-comer — who both share the common thread of taking the slow road to developing and creating their art. Learn more at swaia.org.

PHOTO SHAWNA McLEOD

PHOTO NWT ARTS

52 PASATIEMPO I August 16-22, 2024

JUST SAY SEW: Indian Market first-timer Shawna McLeod has a bead on the future It’s Friday morning, and Shawna McLeod (Dehcho Dene and Métis) asks to move her Zoom interview with Pasatiempo by two hours. She has to send a group of young people on a plane into the wilderness, but she’ll be right back, she promises.

The jewelry, tufting, and bead artist grew up in the Indigenous community of Deh Gáh Got´¿ę First Nation (Fort Providence), in the Northwest Territories in Canada, in a family of artists and artisans. This weekend, she will participate for the first time in the Santa Fe Indian Market, as part of a delegation from the Northwest Territories through NWT Arts and alongside a delegation of artists from the Yukon.

McLeod says she’s grateful for all the support she’s received from NWT Arts and knows she will learn more than she can imagine in Santa Fe. “It was a long journey,” McLeod says of her artistic education. “When I was young, I was exposed to hide tanning and later learned to work with beads. I learned to stitch from an elder [in Fort Providence], Margaret

PHOTO SHAWNA McLEOD

LIVING ON THE WEDGE: Kevin Aspaas weaves his own path by raising his sheep and reviving long-lost techniques The many things that matter most to Kevin Aspaas (Diné) are timeconsuming by design. For one, the award-winning 29-year-old artist and weaver from Naat´áanii Nééz (Shiprock) — who will be participating in his seventh Indian Market this weekend — doesn’t just buy wool for his weaving.

While some of us took in puppies or kittens during the pandemic, Aspaas got a flock of sheep. He now raises his own Navajo-Churro sheep and sees first-hand every step of the production of his own wool, from pasture to loom.

Aspaas’s flock is 15-sheep strong. “Raising animals is not easy,” the artist says. “It’s a lot of work. I really eased myself into that aspect.”

His sheep, whom Aspaas doesn’t name for fear of one day having to serve one for a community meal, require plenty of attention. “You water them, feed them, let them graze, keep an eye on them,” he says. “They’re not like horses or cattle. Sheep are very easy prey for coyotes, feral dogs, mountain lions, bears. They’re like little kids, too, and you have to make sure they don’t get into any trouble.”

He even shears his sheep using hand shears rather than electric ones, which makes for a much longer process. “I should invest in electric shears, but I like the sound of the each clip and the nostalgia, plus electric shears freak me out!” he wrote in a comment on a reel on his Instagram account.

When he speaks with Pasatiempo by phone, he adds that he worries the sound of electric shears distresses his animals. continued on Page 54

Vandell. She was our Indigenous culture teacher. And I didn’t learn from just one teacher, either. There were several elders who taught me.

It takes a community to build an artist.”

She inherited many of her early sewing materials from her grandmother, Florestine McLeod. “I was probably 9 then,” she says. “Just before my grandmother passed on, she said that none of her other things mattered except her sewing kits. We found sewing materials from floor to ceiling, boxes and boxes of materials and patterns.”

Today, McLeod, 33, lives in Fort Simpson, above the 60th parallel, at the confluence of Liard River and the mighty Mackenzie, where she is the visitor experience manager for the Nahanni National Park Reserve, a designated UNESCO world heritage site that’s roughly the size of Belgium. “The park is located in a very remote location, which can only be accessed by air or canoe,” McLeod says. Her office is located in Fort Simpson, the gateway to the park. She works with interpreters and focuses on storytelling and connecting visitors to the area.

That’s her day job.

Sewing, on the other hand, saved her life and helped her on her sobriety journey a decade ago. Her art is where she found herself again.

“My family knows I need sewing, so when I have 10 minutes, whenever I’m free, I sew,” she says. “I sew in the truck — when I’m not driving, of course — on the plane, at the airport, at the campground, at a picnic table.

I just recently went camping with friends and family out by a waterfall, and I sewed there too.”

She sells her art under From the Land Creations, the brand she runs with her sister, Robyn McLeod (Dehcho Dene and Métis), a fashion designer who now lives in the Yukon.

Recently, the sisters completed a shawl via snail mail: Robyn designed and put the shawl together, sent it to Shawna, who received it two weeks later and sewed in beads. The sisters refer to it as “slow fashion” — many of their collaborative pieces can take six weeks or longer, depending on the materials they can find.

McLeod hopes this will be the first of many Indian Markets she’ll participate in, and that Robyn will one day join her in Santa Fe.

PHOTO MINESH BACRANIA/COURTESY KEVIN ASPAAS

Jewelry artist Shawna McLeod (opposite page) is inspired by the Dene and Métis style of bead work. The From the Land Creations earrings above are made with traditionally tanned moose hide and sterling silver or gold findings while the floral tufted earrings on the opposite page are made with traditionally tanned moose hide, beads, and reindeer hair tufts.

Artist Kevin Aspaas (Diné) specializes in the ancient Navajo technique of wedge weaving.

Common thread, continued from Page 53

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INDIAN MARKET

On top of raising his own wool, Aspaas also works with an ancient weaving technique, one of the most difficult ones he could find — it’s one he says Diné weavers must have abandoned in part because buyers at trading posts preferred straight edges and rugs that could lay flat and fit the box image they had of the Navajo rug, none of which applies to the wedge weave. Aspaas learned the technique a decade ago from his mentor, Roy Kady (Diné), a strong weaver but a shepherd first.

“Part of why I love wedge weave is because I’m a sucker for the underdog,” Aspaas says of why he picked the technique. “I root for the underdog every single time. The wedge weave is an orphan of Navajo textiles and is not widely practiced anymore. So I try my best to bring this style and technique into the limelight and change people’s perspectives.”

The technique is complex and demands more time of weavers than other styles. “It is an advanced technique to learn,” he says.

“I wouldn’t imagine any beginner picking it up.” When Aspaas first went to market in Santa Fe all those summers ago, he was the only wedge weaver around; today, he says, there are perhaps three artists at the market who specialize in the ancient technique, and he’s glad.

In contrast to most other weaving styles that require weaving on a horizontal plane, the wedge weave, popular among Diné weavers in the late 1800s, is woven diagonally on the loom. This creates scalloped edges, or soft, wave-like lines on the sides of each woven piece and makes his rugs and dresses look less “perfect.”

Aspaas accomplishes this design with such skill that you’d be hard-pressed to stop yourself from marveling at the precision and brilliance of his patterns.

“There’s something beautiful about imperfection,” Aspaas says. “None of us humans are perfect. Wedge weave is good at displaying that part of our humanity.” ◀

Kevin Aspaas raises his own flock of Navajo-Churro sheep, which yields the fibers for his complex weavings.

PH OTOS K E V I N A SPA A S

54 PASATIEMPO I August 16-22, 2024

Take Home A Treasure from Indian Country BUY WORKS PRODUCED BY MEMBERS OF FEDERALLY RECOGNIZED TRIBES The Indian Arts and Crafts Board offers a Source Directory of American Indian and Alaska Native Businesses that sell authentic Indian art and craftwork, available at www.doi.gov/iacb.

Under the Indian Arts and Crafts Act, it is unlawful to offer or display for sale, or sell, any art or craftwork in a manner that falsely suggests it is Indian made.

For a free brochure on the Indian Arts and Crafts Act, including how to file a complaint, please contact: U.S. Department of the Interior Indian Arts and Crafts Board Toll Free: 1-888-ART-FAKE or 1-888-278-3253 Email: iacb@ios.doi.gov Web: www.doi.gov/iacb Gerald Lomaventema, Hopi, Rain Dancer © 2022

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INDIAN MARKET ======= ========

IMMERSE yourself A guide to Indian Market-related events, exhibits, and learning opportunities = == =

D

uring Santa Fe’s annual Indian Market, the energy around town is palpable. Galleries are buzzing, restaurants are booked, and folks are strolling and exploring the plaza, the Railyard, Canyon Road, Museum Hill, and other pockets of the city offering antiques shops, bookstores, boutiques, museums, and coffeehouses.

Best advice for experiencing Indian Market is to go early and often. And be sure to also make time to explore and learn about the many Native American and Indigenous cultures that bring their arts and traditions to Santa Fe for everyone to experience through their creations and conversations.

Following are 10 ways to expand your knowledge and enhance your experiences during the SWAIA Indian Market season (and beyond) in Santa Fe.

PALACE OF THE GOVERNORS PHOTO ARCHIVES

Carolyn Graham l The New Mexican

❶ New on the scene: The Museum of Indian Arts and Culture’s grand opening of its JoAnn and Bob Balzer Native Market and Contemporary Art Gallery will be Sunday, August 18, with its first exhibition, Driving the Market: Award Winning Native Contemporary Art. The gallery will feature an array of contemporary Native artists and serve to spotlight the impact of Native arts markets around the U.S. 710 Camino Lejo, 505-476-1269; indianartsandculture.org ❷ Sneak peek: SWAIA Indian Market veterans know the Santa Fe Indian Market Preview Event is one of the best ways to peruse the award-winning artists from the market’s 10 categories. Tickets cost $50 for the event, which is from 4:30 to 6 p.m. on Friday, August 16. Santa Fe Community Convention Center ballroom. 201 W. Marcy Street; swaia.org

❹ Go deep: Santa Fe is home to an array of museums where you can study Native cultures and discover the roots and traditions of many arts 56 PASATIEMPO I August 16-22, 2024

COURTESY THE ARTIST

❸ Home of the free: The Indian Market booths fill the Santa Fe Plaza and stretch down several side streets, but don’t think you’ve finished gawking and talking to artists when you’ve seen all the rows of booths there. Just down Washington Avenue and South Federal Place is the Free Indian Market, which started in 2018 and has been growing ever since. You’ll find more than 600 artists as well as a concert stage, which this year features a performance by Ed Kabotie (Hopi) and the Yoties, which bills itself as “Hopi-style reggae.” 505-670-5918, 505-473-5375; freeindianmarket.org

and artists, from pottery and baskets to weaving and couture. On Museum Hill, explore the Museum of Indian Arts and Culture (710 Camino Lejo, 505-476-1269; indianartsandculture.org), which is dedicated to Native art and exhibits on Native culture, and the Wheelwright Museum of the American Indian (704 Camino Lejo, 505-982-4636; wheelwright.org) is a private nonprofit museum that’s focused on contemporary and historic Native art. The Institute of American Indian Arts oversees the Museum of Contemporary Native Arts downtown (108 Cathedral Place, 505-428-5912; iaia.edu). The Poeh Cultural Center (78 Cities of Gold Road, 505-455-5041; poehcenter.org) is located in the Pueblo of Pojoaque and offers exhibits on Tewa Puebloan history and its arts and artisans. The museum’s annual Pathways Indigenous Arts Festival is Friday, August 16, through Sunday, August 18, at Buffalo Thunder Resort and Casino. The School for Advanced Research (660 Garcia Street, 505-954-7200; sarweb.org) offers a Native speaker series, Indigenous Writer in Residence programs, and exhibits, among other educational resources. ❺ Keep it moving: The dragon-painted rolling stock of the Sky Railway in the Santa Fe Railyard offers a variety of themed train treks, and during Indian Market, the famed Lightning Boy Hoop Dancers perform with a moving New Mexico landscape as a backdrop. Tickets are $125. skyrailway.com ❻ Go for the gallery: Santa Fe has more than 300 galleries, and several of them host Indian Market-centric shows, receptions, and special events featuring Native artists. Check out shows and exhibitions opening Indian Market weekend at King Galleries (Ascendence), Manitou Galleries, Niman Fine Art, Blue Rain Gallery, and others. ❼ Tour to the epicenter: One of the best ways to explore Puebloan life, history, culture, and art is by taking a docent-led tour at the Indian Pueblo Cultural Center, which provides key insights into the 19 pueblos located in modern-day New Mexico. Visitors to the museum, located on the site of the former Albuquerque Indian School, learn that each pueblo has distinct traditions, languages, and governance and can discover the significance of many of the pueblos’ artistic traditions. Tours are offered Tuesdays and Thursdays, and the calendar also includes dance performances from a variety of Puebloan groups, story times, lectures, and other events. IPCC’s Indian Pueblo Kitchen serves dishes made with traditional ingredients and recipes. 2401 12th Street NW, Albuquerque, 505-843-7270; indianpueblo.org ❽ Written in stone: Learn about famed Chiricahua Apache sculptor Allan Houser (1914-1994) with a guided tour of the artist’s meandering sculpture garden and gallery. Tours are available on Tuesdays, Thursdays, and Saturdays. The annual open house of the sculpture gardens and gallery is 10 a.m. to 4 p.m. Saturday, August 17, and Sunday, August 18. 26 Haozous Road (gallery located at 125 Lincoln Avenue, Suite 112); 505-471-7409; allanhouser.com

Works from the Museum of Indian Arts and Culture’s new JoAnn and Bob Balzer Native Market and Contemporary Art Gallery exhibition include: Nocona Burgess (Comanche), Quanah Parker in Red Shirt (2002), acrylic on canvas (above); Triumph of Indian Art (2001, multiple artists for MIAC), 1974 TR6 Roadster, paint, hand-woven upholstery, beads, deer hide, sterling silver, multimedia (below) Opposite page: Guy Cross, Display at first Indian Fair, National Guard Armory on Washington Avenue, Santa Fe, New Mexico (1922), photograph Cara Romero, Kaa (2017), photograph Pottery by Maria and Julian Martinez (inset) that was a winner in the 1922 Southwest Indian Fair and Industrial Arts and Crafts Exhibition, a precursor to today’s Indian Market

❾ Ancient history: Learn about ancestral Puebloan peoples at various sites and dwellings in Northern New Mexico. Pecos National Historical Park (nps.gov/peco), Bandelier National Monument (nps.gov/band), and La Cieneguilla Petroglyph Site (blm.gov/visit/la-cieneguilla-petroglyphs) are just a few of the places that offer educational programs, exhibits, and trails to sites where ancient peoples lived, hunted, harvested, carved pictures into rocks, and established communities. ❿ Ready to roll: Chamisa Skateboards, which integrates the work of Native artists with skateboard culture, celebrates its 10th year with a pop-up shop from noon to 5 p.m. through Saturday, August 17, at Bishop’s Lodge. In addition, an exhibition called Routes in the resort’s Horseshoe Gallery showcases the work of Native photographer Kevin Beltran and printmaker Jimmy Dean Horn. An opening reception is Friday, August 16; the exhibition runs through August 26. 1297 Bishops Lodge Road, aubergeresorts.com/bishopslodge/experiences/chamisa-auction ◀

PHOTO TIRA HOWARD/ COURTESY NEW MEXICO DEPARTMENT OF CULTURAL AFFAIRS

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“

...one of the most prestigious chamber music festivals in the world...

”

~ The New York Times

51ST SEASON // JULY 14–AUGUST 19, 2024

THE RIGHT PA ATH FOR YOU

SEASON-FINALE CONCERTS! SATURDAY, AUGUST 17, 6 PM LENSIC HANDEL: WATER MUSIC

A R T S A N D C O M M U N I C AT I O N

Harry Bicket, conductor and harpsichord; Daniel Jordan, Jennifer Best Takeda, Ashley Vandiver, Kathleen Brauer, Christopher Takeda, L. P. How, Debra Fong, Carla Ecker, Lisa Ferguson, violin; Margaret Dyer Harris, Theresa Rudolph, Melissa Trier Kirk, viola; Alastair Eng, Mark Brandfonbrener, Christopher Schnell, cello; Anne Peterson, double bass; Bart Feller, flute; Robert Ingliss, Julia DeRosa, oboe; Julia Harguindey, bassoon; Julia Pilant, David Byrd-Marrow, horn; William Leathers, David Dash, trumpet

SUNDAY, AUGUST 18, 6 PM LENSIC ROSSINI & BRAHMS

Katia Skanavi, piano; Ida Kavafian, Bryan Lee, Joel Link, John Storgårds, violin; Julianne Lee, Steven Tenenbom, viola; Alastair Eng, Eric Kim, Camden Shaw, cello; Mark Tatum, double bass; Todd Levy, clarinet

MONDAY, AUGUST 19, 6 PM

LENSIC DVOŘÁK & JANÁČEK: CZECH ICONS Kirill Gerstein, piano; John Storgårds, violin; Dover Quartet (Joel Link, Bryan Lee, violin; Julianne Lee, viola; Camden Shaw, cello)

505.982.1890 // SantaFeChamberMusic.org // The Santa Fe Chamber Music Festival is funded, in part, by the City of Santa Fe; the National Endowment for the Arts; New Mexico Arts, a division of the Office of Cultural Affairs; and The City of Santa Fe Arts & Culture Department.

58 PASATIEMPO I August 16-22, 2024

SCAN FOR TICKETS AND DETAILS!

BUSINESS T E A C H E R E D U C AT I O N L AW A N D S O C I A L S C I E N C E S T R A D E S A N D S U S TA I N A B I L I T Y H E A LT H S C I E N C E S SCIENCE AND ENGINEERING

Educational Pathways at Santa Fe Community College help you identify an area of interest and guide you on your journey toward academic and career success.

sfcc.edu/pathways ®

TRAVELERS MARKET IS BACK A T

T H E

D E S I G N

C E N T E R

Artifacts · Textiles · Jewelry · Folk Art · Clothing

OPEN Mon – Sat: 11am – 5pm LOCATION 418 Cerrillos Rd, Unit 1 CD, Santa Fe, NM 87501 (505) 930-7373

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DISHING WITH JOHNNY VEE

COMIDAS Y MAS

La Fogata Grill and Casa Bonita Two traditional Mex-New Mex eateries bring their own tasty touches Stories Johnny Vee

FOR THE NEW MEXICAN

LA FOGATA GRILL 112 W. San Francisco Street Open 11 a.m. to 9 p.m. Friday through Tuesday; closed Wednesday and Thursday Hearty Mexican and New Mexican cuisine Entrees $15-$20 505-983-7302

60 PASATIEMPO I August 16-22, 2024

DON’T MISS Margaritas, table side guacamole, queso fundido, fried plantain chips, empanadas, mole enchiladas

Photos Gabriela Campos THE NEW MEXICAN

CASA BONITA 1814 Second Street Open daily 7 a.m. to 9 p.m. (till 10:30 p.m. Friday through Sunday) Similar menu to La Fogata but with full breakfast menu and many more appetizers, sandwiches, salads, and main courses Entrée $15-$25 505-365-2172; casabonita restaura8.wixsite.com

DON’T MISS Chips-guac-salsa-queso, green chile stew, coconut shrimp, Navajo Taco, chocolate flan

SIDE DISH Nibbles and news from the food and culinary scene

Grande dame Happy 80th birthday, Pink Adobe! In an old address book of mine from the early 1990s, I have a recommendation from a New York City friend that says if I ever get to Santa Fe, it’s the first place I should eat. When I arrived in 1993, I did, and I have enjoyed it and the famous Dragon Room for decades. I’m a huge fan of the Steak Dunigan, served with fiery roasted green chiles and spices and topped with buttery sautéed mushrooms. Rosalea Murphy’s famous French onion soup is a must in the winter months.

I noticed they now make guacamole at the table in the bar.

The Pink may well be Santa Fe’s first famous restaurant, so here’s to another 80 years and more! thepinkadobe.com

La Fogata Grill owner Jorge Santos (opposite page) whips up a classic batch of table side guacamole. The restaurant has a full bar, with creative cocktails such as the Hibiscus Mezcalita (left). The house empanadas (right) served with salsa verde, beans, and cilantro rice come highly recommended.

LET

me start with a thank you to readers who took the time to let us know they enjoyed the first review on Geronimo (see “Dishing with Johnny Vee: Geronimo,” June 28). I held my breath the first few days after it came out, wondering if there would be any disparagers who disagreed with my take on the popular restaurant. Hopefully by maintaining focus only on establishments deemed worthy and enjoyable tamped down the naysayers.

This month, my focus is on two decidedly more casual and affordable restaurants — two that I have never been to and both recommended to me by a friend whom I consider to have an excellent palate.

Both sport similar menus in what I call a “chips-guacsalsa-queso” ilk, dabbling in both Mexican and New Mexican cookery with some All-American dishes thrown in to expand their customer base.

Another similarity is that both are slightly off the beaten path, meaning you wouldn’t stumble across them if you were walking or driving down the street.

But I can heartily recommend that you seek them out.

The first place I visited with three regular dining friends on a quiet Monday night was La Fogata Grill, tucked into an older downtown multipurpose minimall that stands between West San Francisco and Water streets. I love eateries that have parking close by, and there were plenty of open spaces in the Water Street lot. The restaurant sits center court in the building’s atrium, which is so nice and airy and offers

large tables perfect for family or work gatherings. We opt for an inside booth close to the bar. The colorful hodgepodge of Mexican and pop art on the walls sets the tone, making it appropriately festive for this type of menu.

Given the restaurant’s downtown location, I suspect its nine-year-old cantina gets busy during the day and on weekends; we enjoy the calm and attentive service after our combined hectic workdays. A requirement for a successful restaurant of this kind is that is must have excellent margaritas, and La Fogata’s house version is perfectly tart, not too sweet, and nicely priced (given the proximity to the Plaza) at $11.

A spicy salsa and chips are delivered, and we immediately decide to add the table side guacamole.

Our waiter wheels up a cart filled with ingredients and quickly whips up a classic batch, perhaps more generic than you would get at Gabriel’s but tasty just the same. We declare the queso fundido a hit: It’s served with a yummy bubbling Mexican cheese and topped with salty chorizo, all sided by warmed corn and flour tortillas.

My friend had recommended the house empanadas offered with a variety of fillings; we choose a decidedly non-Latin filling of ham and Swiss cheese, which is delicious and wrapped with the almost-French-level flaky pastry crust. Fried plantain chips come with the appropriate salty kick and crunch. For main courses

Beautiful bubblies Throughout my career, both in New York City (when I had Champagne tastes but beer bottle pockets) and Sydney, Australia, my Champagne of choice has waffled between Moët and Veuve with the occasional Cristal thrown in when I felt rich. I was delighted to get an email from the Anasazi Restaurant at the Rosewood Inn of the Anasazi announcing that through the end of September, the eatery is teaming up with the Veuve Clicquot folks for a pop-up celebration of the popular nose tickler. Restaurant guests will have the opportunity to savor the entire Veuve Clicquot portfolio, available by both the glass and the bottle. To complement the bubbles, Anasazi’s Chef de Cuisine Oliver Cortez has designed a light fare summer menu, with dishes designed to enhance the flavors of the Champagne offerings (a grilled watermelon salad and a spicy tuna tostada, for example). I also learned Veuve Clicquot has been chosen as this year’s Champagne of the Year for the annual Wine & Chile Fiesta, which is September 25-29. So, I’ll be heading over the Anasazi to get in practice for Wine & Chile imbibing! sfnm.co/Anasazi Job opening The New York Times‘ longtime food critic Pete Wells recently announced he’s stepping down, partially because of alarming results he got after a physical and partly from exhaustion from the rigorous schedule of eating out six nights a week. I’ll miss his good palate and wicked barbs, like when he asked a rhetorical question regarding a burger condiment called “donkey sauce” on the menu of a Guy Fieri restaurant: “When we hear the words Donkey Sauce, which part of the donkey are we supposed to think about?” Or at Thomas Keller’s Per Se, his harsh reproach of a dumpling sauce noted “a lukewarm matsutake mushroom bouillon as murky and appealing as bong water.” I love it, but my editor is keeping me in check!

continued on Page 62

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Comidas y mas, continued from Page 61 we share mole enchiladas, which I appreciate given that I teach mole classes and know what goes into the preparation. La Fogata’s verson is very good and has all the elements working in harmony; no one flavor overwhelms another, which, in my book, is a must for a good mole.

One of my guests is a huge enchiladas suizas fan and makes it occasionally, so he ordered Fogata’s version. He was surprised that the one delivered was missing the creamy element often accomplished through the addition of cream, sour cream, or cream cheese to the tomatillo sauce base. I have even seen a recipe that includes Gruyere cheese to further suizas it up! Although not what we would consider a classic version, we enjoyed it nonetheless. The tomatillo sauce is zippy and the chicken moist.

Portions are large and the accompanying rice and beans are well seasoned and salted (a complaint I sometimes have for over or under salt use). Although we stick to the more traditional house margaritas, the restaurant has a full bar and some very tempting (and huge) cocktails served in whole pineapples and massive jugs. Maybe next time.

A few people also told me about the restaurant’s Taco Tuesdays, when, for $35, you get a platter filled with 12 tacos of your choice. Starting at 6:30 p.m., diners can enjoy dinner to the rousing strains of a live mariachi band. We decide we’ll soon return for the music and to try the Mexican street corn, Oaxacan barbacoa, and fisherman’s stew. +++ I decided to check out the four-month-old Casa Bonita for lunch and took a friend who herself ran a popular restaurant for more than 20 years in Santa Fe. Although I didn’t recognize the address when I put it in to GPS, I soon realized it is in the former location of the original Second Street Brewery. We found lots of parking here too as well as indoor and outdoor seating that offers a view of the trains that rumble through town. Service is friendly and swift, which is good to note if you are rushed for your lunch hour.

I noticed the menu is similar to La Fogata Grill’s and when we visit with the chef/owner Jorge Santos, 62 PASATIEMPO I August 16-22, 2024

Casa Bonita’s Navajo Taco (above left) is a flat sopaipilla topped with a choice of protein, pinto beans, chili, cheese, and guacamole. Everything on Casa Bonita’s menu is homemade, including the light and sweet coconut shrimp (above right) and the decadent chocolate flan (left).

he tell us he was once a partner in the downtown eatery. Each of the Casa Bonita dishes we sample is spot on, delicious, and impresses my restaurant veteran friend. The restaurant features a full bar, but we opt for Arnold Palmers. The house salsa that arrives has a real kick and is dark and smoky from a charring of the onions, tomatoes, and garlic that fuel it. The guacamole is chunky and rich and topped with a zippy pico de gallo, while the chile con queso includes pieces of jalapeño. Yum! We share a bowl of a classic no-surprise-here green chile stew that needs just a dash of salt to perk it up but is still enjoyable. The chef told us that everything on the menu is homemade, so we order coconut shrimp to confirm his claim. His version is perfectly fried, light and sweet, with a coconut crust that is miles from the Sysco version many restaurants dish up. It’s served with a zesty chipotle mayonnaise — we are impressed.

A whopping Navajo Taco is enough for two and comes with a classic red chile-rich carne adovada topped with beans, cheese, lettuce, tomato, guacamole, and sour cream; all of the ingredients appropriately flatten the lightly fried sopaipilla. Other heavy versions I’ve tried have been gut-bombs, but this version is classy and delicious.

The menu is extensive with many surprising dishes given the Mex-New Mex theme, but there is something for everyone, from tacos, enchiladas, and burgers to liver and onions and hot turkey sandwiches with gravy. Another perk is that the restaurant is open seven days a week, from 7 a.m. through the evening.

We kid the chef that he’s a madman for being open so much, but he is enthusiastic and energetic and loves his work; that shows in his cooking.

As we leave at 2 p.m., we notice several older couples walking in, arriving to take advantage of the half-price Happy Hour appetizers from 2 to 6 p.m.

Some drink prices are also reduced: House margaritas are $5, beers $4, and house wine is $5.

I don’t know if I’ll make it back anytime soon to try the vast breakfast menu, but the corned beef hash on biscuits with gravy and the migas look tempting.

And don’t miss the decadent, house-made two-layer chocolate flan, which is a how-did-they-do-it treat of a dark fudgy cake topped with creamy flan.

More yum!

Happily, there are many local restaurants to satisfy our daily yearning for all dishes New Mexican, and here are two new places to add to your go-to list.

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65

SCREEN TIME I REVIEW

Dìdi recalls the agonies and ecstasies of adolescence DÌDI

Ty Burr l For The Washington Post All unhappy teenage coming-of-age movies are unhappy in the same way — Tolstoy didn’t say that, I did — meaning that hormonal confusion, social insecurity, failed stabs at hipness, and mortification on a daily (if not hourly) basis are universal to the 13-year-old condition.

The trick is in the details — in letting the personal bring specificity to the universal while letting the universal illuminate the personal. It’s a balancing act, and writer/director/former teen disaster Sean Wang gets it mostly right in Dìdi, his fictionalized memory play of being a floundering Taiwanese American skate kid in 2008 Fremont, Calif.

The movie, Wang’s first narrative feature after an early documentary, was an audience award winner at Sundance in January, and his adorable short film about his grandmothers, Nai Nai & Wài Pó, was nominated for a 2023 Academy Award. At 30, the kid’s got a future. Dìdi, by contrast, commemorates his past as an aching adolescent twerp with a skill that positions it as the middle-school male’s answer to Bo Burnham’s Eighth Grade.

Sean Wang’s Sundance winner Dìdi dramatizes the familiar highs and lows of a Taiwanese American skate kid The hero, Chris Wang (Izaac Wang) — Dìdi to his family Chris Wang (Izaac Wang). (it means “little brother” in Mandarin) and Wang Wang to his friends — is in a turmoil of desire to be someone, anyone, cooler loneliness. Director Wang re-creates a very specific first- and second-genthan himself, a brace-faced former nerd practicing his skateboard moves eration American experience, watching to see where the two pieces in an empty driveway. His sister Vivian (Shirley Chen), with whom he’s chafe and where they fit, but while the film’s cultural and period details locked in eternal battle, is getting ready to leave for college, leaving Chris are precisely drawn, the landscape of feeling is eternal — and at times at home with his artist mother (a lovely, careworn performance from overly familiar. It’s a well-trod road traveled in Dìdi, and sometimes it’s Joan Chen) and testy grandmother (spitfire Zhang Li Hua, reprising her hard to see the hero’s footprints for the many that have come before. real-life role as the filmmaker’s nana in Nai Nai & Wài Pó). Father is The teenage cast is mostly made up of nonprofessional actors; lead away on business in Taiwan and never seen, an absence that unmoors Izaac Wang has had prior film experience, but, whether from skill, Chris even further in angry free fall. intuition, or direct experience, he conveys the stroppy insolence and There’s a girl — of course there’s a girl — and the surprise of the uncertainty, the hopes and humiliations, of a real boy. His director has early scenes in Dìdi is that Chris’s crush, Madi (Mahaela Park), finds referred to Wang (no relation) as “the perfect balance of an actor and a his tongue-tied shyness intriguing. A more rose-colored memoir might punk,” and there’s more than a bit of Truffaut’s Antoine Doinel to the lead to an uncomplicated first kiss, but Wang is more interested in the kid, down to the home-video freeze-frame that caps the film’s opening ways a smart but utterly clueless man-child would torpedo any chance segment. to show his emotional vulnerability.

Sean Wang knows that freeze-frames end, though, and life goes on.

So it goes, as Chris tries to find his way in an unfamiliar flip-phone/ Dìdi may recall stronger movies on the subject: the aforementioned Myspace/AIM world, one he keeps at bay only with an ever-present video The 400 Blows and Eighth Grade, Greta Gerwig’s Ladybird, and Jonah camera. It’s a universe triangulated by his socially glib middle-school Hill’s Mid90s, among many others. But the advantage of Wang’s film is best friend (Raul Dial), a trio of older skateboarders who ooze kneeultimately in particularity — the agonies and ecstasies of THIS kid in scabbed street cred, and his overachieving Asian American classmates THIS culture, trying desperately to figure out who he wants to be while — the “good” kids Chris defines himself against to the uncomprehending being cherished, in all his aggravating wonder, by the man he became. ◀ horror of his family.

At a certain point, Dìdi lifts its head to bring us into the mother’s world Ty Burr is the author of the movie recommendation newsletter Ty Burr’s and into the emotions coursing through this gentle woman — abandoned Watch List at tyburrswatchlist.com. by her husband, criticized by her mother-in-law, and ridiculed by her children — as her son contorts himself into a miserable pretzel of Comedy/drama, rated R, 94 minutes, Violet Crown

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MOVING IMAGES

SCREEN TIME compiled by Holly Weber

A terrifying, slobbery-toothed creature returns in Alien: Romulus, the latest offering in the Alien movie franchise opening this weekend.

Opening ALIEN: ROMULUS Space colonizers come face to face with the most terrifying life-form in the universe while scavenging the deep ends of a derelict space station. Horror/sci-fi, rated R, 119 minutes, Dreamcatcher 10, Regal Santa Fe Place 6, Violet Crown CALIGULA: THE ULTIMATE CUT (1980) Shadowed by the murder of his family, Caligula (Malcolm McDowell) eliminates his devious adoptive grandfather (Peter O’Toole) and seizes control of the Roman Empire alongside his wife, Caesonia (Helen Mirren), before descending into a spiral of depravity, destruction, and madness. This film is a complete reimagining of the 1979 version; never-before-seen footage recovered many years after its release served as the basis for this new version. The entire film was recut from scratch to create a unique version that doesn’t contain a single frame from the original but is as close to Gore Vidal’s original script as possible. Visual effects were used to enhance scenes, AI technology was used to restore dialogue performances that were previously unusable, and a new music score was composed for this new cut of the film. “This spruced up version certainly hangs together as a kind of sub-late-Fellini dark erotic reverie, and I admit it has ambition and reach, though tinged with a cynicism and violence that Fellini would never have countenanced.” (The Guardian) Drama, not rated, 156 minutes, CCA

68 PASATIEMPO I August 16-22, 2024

DÌDI In 2008, during the last month of summer before high school begins, an impressionable 13-year-old Taiwanese American boy learns what his family can’t teach him: how to skate, how to flirt, and how to love his mom. “A funny, heartfelt movie, tapping into the audience’s latent memories as well as our great relief at no longer being 13.” (New York Times) Comedy/drama, rated R, 93 minutes, Violet Crown. Review Page 66 FIRST WE BOMBED NEW MEXICO Director Lois Lipman’s untold story of Trinity, the world’s first nuclear bomb detonated in New Mexico one month before the bombing of Hiroshima. It is a story of government betrayal with tragic consequences. Thousands of New Mexicans — mostly Hispanic and Native American — were exposed to catastrophic levels of radioactive fallout, never warned, never acknowledged, and never helped afterward. Generations of cancers followed. New Mexico Hispanic cancer survivor Tina Cordova has catalyzed a movement seeking compensation for families who suffer multigenerational cancers tied to that bomb and who continue to be ignored. Screening as part of the 2024 Los Alamos Oppenheimer Festival. A Q&A with the director and Cordova follows a dinner and screening on Saturday, August 17. Documentary, not rated, 95 minutes, SALA

ROB PEACE Directed, adapted by, and starring Academy Award nominee Chiwetel Ejiofor, Rob Peace follows the true story of a brilliant young man (Jay Will) torn between his father’s shadowy past and his own promising future. Raised by his devoted mother (Mary J. Blige), Rob risks everything he has worked for to free his imprisoned father (Ejiofor). ”Rob Peace isn’t the story of an ‘Ivy League drug dealer;’ it’s the story of a human being who deserved way better than what society gave him. (The Wrap) Drama, rated R, 119 minutes, Violet Crown THE TIME MASTERS (1982) Directed by visionary science-fiction animator René Laloux and designed by the legendary Jean Giraud, The Time Masters is a visually fantastic foray into existentialist space adventure.

After his parents are killed on the dangerous planet Perdide, young Piel survives by maintaining radio contact with Jaffar, a pilot transporting the exiled Prince Matton and Princess Belle from their former kingdom. Jaffar seeks the help of Silbad, a cheerful old-timer who knows how to circumvent Perdide’s hazards, including brain-devouring insects and watery graves.

Along the way, Jaffar and company encounter a pair of impish homunculi stowaways, identity-less angels controlled by an amorphous hive mind, and the Masters of Time, mysterious beings who can bend reality and perhaps reveal to the heroes their secret origins and destinies. Restored in 4K in 2023.

Animated sci-fi/adventure, not rated, 88 minutes, CCA

Special screenings ALAMOGORDO, CENTER OF THE WORLD, TRINITY 1945 (2020) Saturday, August 17 Created by Larry L. Sheffield (The Atomic Rocketeer) and Trent DiGiulio, this film looks at how Alamogordo was chosen as the site for atomic bomb testing at what became the Trinity Site on what is now White Sands Missile Range. Historic trivia follows the film. Screening as part of the 2024 Los Alamos Oppenheimer Festival. Documentary, not rated, 28 minutes, SALA THE CROW (1994) Wednesday, August 21 The night before his wedding, musician Eric Draven (Brandon Lee) and his fiancée are brutally murdered by members of a violent inner-city gang. On the anniversary of their death, Eric rises from the grave and assumes the gothic mantle of The Crow, a supernatural avenger. Tracking down the thugs responsible for the crimes and mercilessly murdering them, Eric eventually confronts head gangster Top Dollar (Michael Wincott) to complete his macabre mission. Screening in advance of a remake opening August 23 and as a 30th anniversary tribute to Lee, who was killed by a prop gun on set. Action/fantasy, rated R, 102 minutes, Violet Crown ELECTRIC LADY STUDIOS: A JIMI HENDRIX VISION Saturday, August 17 This critically acclaimed documentary chronicles the creation of the legendary Electric Lady Studios, rising from the rubble of a bankrupt Manhattan nightclub to stateof-the-art recording facility inspired by Hendrix’s desire for a permanent space. Produced by Janie Hendrix, the film features exclusive interviews with Steve Winwood, Experience bassist Billy Cox, and original Electric Lady staff members who helped Hendrix realize his dream. With never-before-seen footage and photos as well as track breakdowns of Hendrix classics such as “Freedom,” “Angel,” and “Dolly Dagger” by recording engineer Eddie Kramer.

Part of the Violet Underground music documentary series.

Documentary, no rated, 90 minutes, Violet Crown FAT MAN AND LITTLE BOY (1989) Saturday, August 17, and Sunday, August 18 Assigned to oversee the development of the atomic bomb, General Leslie Groves (Paul Newman) is a stern military man determined to have the project go according to plan.

Groves selects J. Robert Oppenheimer as the key scientist on the top-secret operation, but the two men clash fiercely on a number of issues. Despite their frequent conflicts, Groves and Oppenheimer ultimately push ahead with two bomb designs — the bigger “Fat Man” and the more streamlined “Little Boy.” Screening as part of the 2024 Los Alamos Oppenheimer Festival. Drama, rated PG-13, 127 minutes, SALA THE IRON GIANT (1999) Saturday, August 17 In this animated adaptation of Ted Hughes’ Cold War fable, a giant alien robot (Vin Diesel) crash-lands near the small town of Rockwell, Maine, in 1957. Exploring the area, a local 9-year-old boy, Hogarth, discovers the robot, and soon forms an unlikely friendship with him. When a paranoid

government agent, Kent Mansley, becomes determined to destroy the robot, Hogarth and beatnik Dean McCoppin (Harry Connick Jr.) must do what they can to save the misunderstood machine. Part of the PJs and Movies Saturday morning series. Family/sci-fi, rated PG, 85 minutes, SALA JAPAN’S LONGEST DAY (1967) Saturday, August 17 The story of the end of World War II and the destruction faced by Japan on August 15, 1945, when the fate of 100 million people would be decided. Screening as part of the 2024 Los Alamos Oppenheimer Festival. Introduction and Q&A after the film with author Nancy Bartlit. Drama, not rated, 165 minutes, SALA OPPENHEIMER AFTER TRINITY (2023) Saturday, August 17 Declassified documents, rare film footage, and exclusive interviews reveal the burden carried by physicist J. Robert Oppenheimer, the father of the atomic bomb. Written and produced by Larry L. Sheffield (The Atomic Rocketeer).

Screening as part of the 2024 Los Alamos Oppenheimer Festival. Documentary, not rated, 58 minutes, SALA SMOKE SIGNALS (1998) Friday, August 16, through Sunday, August 18 Arnold (Gary Farmer) rescued Thomas (Evan Adams) from a fire when he was a child. Thomas thinks of Arnold as a hero, while Arnold’s son Victor (Adam Beach) resents his father’s alcoholism, violence, and abandonment of his family. Uneasy rivals and friends, Thomas and Victor spend their days killing time on a Coeur d’Alene reservation in Idaho and arguing about their cultural identities. When Arnold dies, the duo set out on a cross-country journey to Phoenix to retrieve Arnold’s ashes. Comedy/drama, rated PG-13, 89 minutes, Jean Cocteau Cinema

Box office Center for Contemporary Arts Cinema, 1050 Old Pecos Trail, 505-982-1338, ext.105, ccasantafe.org Dreamcatcher 10, 15 State Road 106, Española; dreamcatcher10.com Jean Cocteau Cinema, 418 Montezuma Avenue, 505-466-5528, jeancocteaucinema.com No Name Cinema, 2013 Piñon Street, nonamecinema.org Regal Santa Fe Place 6, 4250 Cerrillos Road, 505-424-6109, sfnm.co/3o2Cesk SALA Los Alamos Event Center, 2551 Central Avenue, Los Alamos; 505-412-6030; sala.losalamos.com Violet Crown, 106 Alcaldesa Street, 505-216-5678, santafe.violetcrown.com

TO LIVE AND DIE IN L.A. (1985) Monday, August 19 The Video Library, America’s oldest video rental store, hosts Video Club free movie screenings each Monday at Jean Cocteau Cinema. This week: When his longtime partner on the force is killed, U.S. Secret Service agent Richard Chance (William L. Petersen) vows revenge, setting out to nab dangerous counterfeit artist Eric Masters (Willem Dafoe). Along with his new partner, Chance sets up a scheme to entrap Masters, resulting in the accidental death of an undercover officer. As Chance’s desire for justice becomes an obsession, his partner questions his lawless methods. Crime/action, rated R, 116 minutes, Jean Cocteau Cinema

Continuing THE ATOMIC ROCKETEER The story of German scientist Wernher von Braun and his band of German Rocketeers acquired by the Americans days after the fall of Germany during WWII. Screening as part of the 2024 Los Alamos Oppenheimer Festival.

Documentary, not rated, 104 minutes, SALA BORDERLANDS Returning to her home planet Pandora, an infamous bounty hunter (Cate Blanchett) forms an unexpected alliance with a ragtag team of misfits. Together, they battle alien monsters and dangerous bandits to uncover one of Pandora’s most explosive secrets. Action/sci-fi, rated PG-13, 100 minutes, Dreamcatcher 10, Regal Santa Fe Place 6, Violet Crown COUP! Isolated on a seaside estate, an entitled journalist (Billy Magnussen) and his socialite wife (Sarah Gadon) take in a mysterious grifter as a private cook (Peter Sarsgaard). When a plague descends on the island, the wily cook rouses his fellow staff to rebel and take over the mansion. Their employer suspects the cook’s coup is part of a more sinister agenda, and mind games between master and servant escalate into all-out class warfare. Comedy/thriller, not rated, 98 minutes, CCA CUCKOO Teen Gretchen reluctantly leaves America to live with her father at a resort in the German Alps. Plagued by strange noises and bloody visions, she soon discovers a shocking secret that concerns her own family. Horror/mystery, rated R, 103 minutes, Dreamcatcher 10, Violet Crown DEADPOOL & WOLVERINE Wolverine (Hugh Jackman) is recovering from his injuries when he crosses paths with the loudmouth Deadpool (Ryan Reynolds). They team up to defeat a common enemy.

Comedy/action, rated R, 127 minutes, Dreamcatcher 10, Regal Santa Fe Place 6, SALA, Violet Crown DESPICABLE ME Gru and Lucy welcome a new member to the family, Gru Jr., who’s intent on tormenting his dad. However, their peaceful existence soon comes crashing down when criminal mastermind Maxime Le Mal escapes from prison and vows revenge against Gru. Family/comedy, rated PG, 95 minutes, Dreamcatcher 10, Violet Crown continued on Page 70

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Screen Time, continued from Page 69 FLY ME TO THE MOON Brought in to fix NASA’s public image ahead of the historic Apollo 11 moon landing, sparks fly as marketing maven Kelly Jones (Scarlett Johansson) wreaks havoc on launch director Cole Davis’ (Channing Tatum) already difficult task.

When the White House deems the mission too important to fail, Jones is directed to stage a fake moon landing as back-up. Comedy/drama, rated PG-13, 132 minutes, Violet Crown INSIDE OUT 2 The little voices inside Riley’s head know her inside and out. Joy, Sadness, Anger, Fear, and Disgust have been running a successful operation by all accounts. However, when Anxiety shows up, they aren’t sure how to feel.

Family/comedy, rated PG, 96 minutes, Dreamcatcher 10, Violet Crown IT ENDS WITH US Lily Bloom (Blake Lively) moves to Boston to chase her lifelong dream of opening her own business. A chance meeting with charming neurosurgeon Ryle Kincaid soon sparks an intense connection, but as the two fall deeply in love, she begins to see sides of Ryle that remind her of her parents’ relationship. When Lily’s first love, Atlas Corrigan, suddenly reenters her life, her relationship with Ryle gets upended, leaving her with an impossible choice. Romance/drama, rated PG-13, 130 minutes, Dreamcatcher 10, Regal Santa Fe Place 6, Violet Crown LONGLEGS FBI Agent Lee Harker (Maika Monroe) is assigned to an unsolved serial killer case that takes an unexpected turn, revealing evidence of the occult. Harker discovers a personal connection to the killer (Nicolas Cage) and must stop him before he strikes again. Horror, rated R, 101 minutes, Violet Crown OPPENHEIMER Christopher Nolan’s Oscar-winning biographical feature film about American scientist J. Robert Oppenheimer (Cillian Murphy) and his role in the development of the atomic bomb. With Robert Downey Jr., Emily Blunt, Matt Damon, and Florence Pugh. Drama, rated R, 180 minutes, SALA THELMA Thelma Post (June Squib) is a 93-year-old grandmother who loses $10,000 to a con artist on the phone. With help from a friend (Richard Roundtree) and his motorized scooter, she embarks on a treacherous journey across Los Angeles to reclaim what was taken from her. With Parker Posey, Clark Gregg, and Malcolm McDowell. Comedy/action, rated PG-13, 97 minutes, Violet Crown TRAP A man (Josh Hartnett) and his teenage daughter realize they’re at the center of a dark and sinister event while watching a concert. Written and directed by M. Night Shyamalan. Thriller/mystery, rated PG-13, 105 minutes, Violet Crown

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TWISTERS Haunted by an encounter with a tornado, Kate Cooper (Daisy Edgar-Jones) is lured back to the open plains to test a new tracking system. She crosses paths with Tyler Owens (Glen Powell), a charming but reckless social-media superstar who thrives on posting his storm-chasing adventures. As storm season intensifies, Kate, Tyler, and their competing teams find themselves in a fight for their lives as multiple systems converge over central Oklahoma. Action/thriller, rated PG-13, 122 minutes, Dreamcatcher 10, Regal Santa Fe Place 6, Violet Crown WIDOW CLICQUOT After her husband’s untimely death, Barbe-Nicole Ponsardin Clicquot (Haley Bennett) flouts convention by assuming the reins of the fledgling wine business they had nurtured together. to become one of the world’s first great businesswomen. Drama, rated R, 90 minutes, Violet Crown SOURCES: Google, IMDb.com, RottenTomatoes.com, Vimeo.com, YouTube.com

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72 PASATIEMPO I August 16-22, 2024

IT’S A BUSY WEEK AMONG THE PLANETS. The world is changing; anything is possible, and we’ll see the evidence. Mercury turns our thoughts inward for a review of the past as it retrogrades this week but also encourages us to contemplate potential transformation as it squares urgent, chaotic Uranus. Together they can help us change our minds or be aware of new opportunities and urgencies but can wear on already frayed nerves.

It can steady us to also reminisce about the good old days, wherever we thought those were, as heart-centered Venus in Virgo opposes history-loving Saturn this week. Choose what’s worthy to bring into the future. If trust issues get triggered, focus on what is true, solid, and makes it past a thorough fact check.

Martial Mars conjuncts Jupiter in the talkative air sign Gemini. Mars can bring up either a nasty adolescent fight, real war, or a heroic step forward and moments of astounding bravery in word and action, while Jupiter expands whatever it touches. We can look for inspiring speeches and wild tales, rabble-rousing pontification, and big winds and enjoy long talks late into the night.

Monday brings both the full moon in collective Aquarius and a square between expansive Jupiter and contractive Saturn; this combination points out our personal and political differences. Feel the enthusiasm and gather with great people, just watch polarized, oppositional thinking. We are under these same stars together.

FRIDAY, AUGUST 16: Get it done. In a month of wildcards this could be an unusually competent day if we have the patience to see each step through and not drop the ball. Afternoon brings the potential for good future planning as the Capricorn moon trines Venus; just see it as possibility rather than probability.

SATURDAY, AUGUST 17: Check lists and enjoy doing the needful as the moon trines Uranus. The emphasis shifts from accomplishment to connection this afternoon as the moon enters Aquarius, though serious issues hover in the background. Stay situationally aware and use discombobulated energy for good.

SUNDAY, AUGUST 18: Wild moments and clashing egos, humor and celebration as the sun and Mercury conjunct in Leo and both square change-inducing Uranus. We want enthusiasm, not logic. Tonight brings awkward moments with the potential for opening hearts as Venus squares Jupiter.

MONDAY, AUGUST 19: Morning could bring logistical challenges as Venus opposes Saturn; systems help. Under stress, use good relationship skills and do the right thing even if others are off track or grumpy. Change is in the wind, and the world can feel like it is shifting underneath. Be cautious around electrical systems and mechanical contraptions. Evening brings bittersweetness as the moon enters Pisces.

TUESDAY, AUGUST 20: Take a deep breath, catch up, process recently churned-up emotions. Trip down memory lane but take a lantern of love into those memories; remember what feeds the soul rather than doing a review of sore points. Choose carefully what to bring into the present; honor the feelings and move forward.

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WEDNESDAY, AUGUST 21: It’s easy to move into oppositional behavior as the moon opposes Venus and squares Mars, but it could be a great day to paddle one’s feet in the water. If our feelings get hurt, try to understand the other before insisting on being understood. The energy level cranks up as the moon enters Aries tonight; let people follow their own drum.

THURSDAY, AUGUST 22: School supplies look more interesting as the sun enters Virgo. Some event asks us what really matters as the sun forms an uncomfortable quincunx with Pluto; tend to urgencies. Be real but not belligerent.

Astrologer Heather Roan Robbins’ new book, Starcodes: Navigate Your Chart with Choice-Based Astrology (Hay House), was released June 11. Learn more at roanrobbins.com.

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Platero

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Come see us at Indian Market, located on Sheridan Street, Booth A Serving Lamb on Fry Bread and Neeshjizhii Bitoo (Chico Stew)!

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Nuages du Desert · Duke City Swamp Coolers · Trio CPR Oscar Butler · Rumelia Collective · ATC Stringband Hosted jams and workshops with performers and local instructors!

Family Zone with Queen Bee Music and community partners!

tickets at santafetradfest.org 74 PASATIEMPO I August 16-22, 2024

FIFTH ANNUAL

SANTA FE SOUL FESTIVAL

August 24, 2024

August 25, 2024

Reflections of a Sculptor

Sunday

The Life & Work of Michael Naranjo

FOOD FOR THE SOUL, SOUL FOOD PANEL DISCUSSION

AN AFTERNOON OF GOSPEL MUSIC, SONGS & DANCE

3:00–4:30 PM

4:00 PM

Saturday

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NM Museum of Art St. Francis Auditorium 107 West Palace Avenue Santa Fe, NM 87501

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A Retrospective Exhibition Celebrating an Amazing Artistic Career August 10-30, 2024

Nedra Matteucci Galleries 1075 Paseo de Peralta, Santa Fe, NM 87501 505-982-4631 • www.matteucci.com

INTERNATIONAL REALTY

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written by Pamela Beach

A R T S . E N T E R TA I N M E N T. C U LT U R E .

FRIDAY 8/16

Sorrel Sky Gallery

125 W. Palace Avenue, 505-501-6555 Works by gallery artists; reception 5-7:30 p.m.

A Life in Jewelry Arts, talk by Douglas Magnus 5 p.m. Saturday. Native Art & Weaving, lecture

by Jackson Clark 1 p.m. Sunday.

Art Openings

Andrea Fisher Fine Pottery

100 W. San Francisco Street, 505-986-1234 Work by ceramicist Richard Zane Smith; through Sunday.

Steve Elmore Indian Art

839-M Paseo de Peralta, 505-995-9677 Nampeyo and Her Legacy, pottery; reception 5-7 p.m.

Blue Rain Gallery

544 S. Guadalupe Street, 505-954-9902 Raven Opened the Door to the Ocean, glass sculpture by Preston Singletary; through August; reception 5-8 p.m. Glass-blowing demonstrations

by Dan Friday and Singletary, 11 a.m.-3 p.m. today and Saturday. Painting demonstration by Jesse Littlebird, 11 a.m.-4 p.m. today and Saturday.

Sugarman-Peterson Gallery

130 W. Palace Avenue, 505-982-0340 Paintings by Camille Engel; through September 8; reception 5-7:30 p.m.

Ventana Fine Art

400 Canyon Road, 505-983-8815 Paintings by Javier Lopez Barbosa, totems

by Cassidy Watt; through September 9; reception 4-6 p.m.

Bobby Beals Presents

Horseshoe Gallery at Bishop’s Lodge, 1297 Bishops Lodge Road, 888-741-0480 Routes, photographs by Kevin Beltran and prints by Jimmy Dean Horn; through August 26; reception 4-7 p.m.

Santa Fe Opera Don Giovanni

301 Opera Drive, 505-986-5900 Mozart’s comedy-drama; 8 p.m.; santafeopera.org.

Canyon Road Contemporary Art

409 Canyon Road, 505-983-0433 Native & Natural, sculpture by ceramicist Molly Heizer; through August 25; reception 5-7 p.m.

Performances

Andy Kingston Trio

Chiaroscuro Contemporary Art

La Fiesta Lounge at La Fonda, 100 E. San Francisco Street, 505-982-5511 Pop and jazz tunes; 7-9 p.m. today, Saturday, and Wednesday; no cover.

558 Canyon Road, 505-992-0711 Dream Voices, paintings by Rick Bartow; Annual Contemporary Native Group Show; through September 7; reception 5-7 p.m.

Annalisa Ewald

Convergence Gallery

Agave Restaurant & Lounge, Eldorado Hotel & Spa, 309 W. San Francisco Street, 505-995-4530 Classical guitarist; 6-9 p.m.; no cover.

634 Canyon Road, 505-986-1245 The Generosity of Light, paintings by Christy Henspetter; through August 29; reception 5-7 p.m.

Atacama

Glenn Green Galleries + Sculpture Garden

Teatro Paraguas, 3205 Calle Marie, 505-424-1601 Augusto Federico Amador’s play about General Pinochet’s regime; 7:30 p.m. Thursdays-Saturdays, 2 p.m. Sundays, through August 25; $15 and $25; teatroparaguasnm.org.

136 Tesuque Village Road, 505-820-0008 Group show of works by Indigenous artists; through Sunday.

IAIA Museum of Contemporary Native Arts

Cabaret Charles

108 Cathedral Place, 505-983-8900 Common Thread: Female Perspectives from the Arctic, through January 5, 2025, and Arctic Highways: Unbounded Indigenous People, through March 2, 2025; alumni and student pop-ups, 9 a.m.-5 p.m.; through Sunday, in the Museum Store; free admission.

Los Magueyes, 31 Burro Alley, 505-992-0304 Pianist-vocalist Charles Tichenor; 6-9 p.m. Fridays and Saturdays; no cover.

DJ Boost

Tesuque Casino, 7 Tesuque Road, 800-462-2635 Top 40 and Hispanic tunes; 7-11 p.m.; no cover.

King Galleries

Gary Farmer & the Troublemakers

130-D Lincoln Avenue, 480-481-0187 Ascendance, group show of pottery

by Native artists; reception 3-5 p.m.

LewAllen Galleries

1613 Paseo de Peralta, 505-988-3250 Formulas in Color, paintings by Jack Roth; through September 20.

Manitou Galleries

123 W. Palace Avenue, 505-986-0440 Tradition Reimagined, paintings by David Frederick Riley; through August 26; reception 5-7 p.m.

Meyer Gallery

225 Canyon Road, #14, 505-983-1434 Color Wanderings, paintings by Francis Livingston; through August 29; reception 4-6 p.m.

CALENDAR LISTING GUIDELINES

76 PASATIEMPO I August 16-22, 2024

Cowgirl BBQ, 319 S. Guadalupe Street, 505-982-2565 Blues band 8 p.m.-close; no cover.

Georgia and the Butch

Chiaroscuro Gallery (chiaroscurosantafe.com) shows paintings by Rick Bartow through September 7.

Obscura Gallery

The Signature Gallery

225 Delgado Street, 505-577-6708 Parallel Playground, photo-based works by Douglas Miles and Al Díaz; through September 1; reception 5-7 p.m.

102 E. Water Street, 505-983-1050 Fifteenth-anniversary group show; reception 5-7:30 p.m.

The Owings Gallery on Palace

616½ Canyon Road, 978-578-4939 REDHORN, bronzes and multimedia wall hangings

by Chaz John; When the Earth Was Young, group show; through September 22; reception 6-8 p.m.

100 E. Palace Avenue, 505-982-6244 Yazzie Johnson and Gail Bird: Summer 2024, jewelry; through August; reception 4-6 p.m.

smoke the moon

Email calendar submissions to pambeach@sfnewmexican.com at least two weeks prior to the event date.

Lab Theater, 1213 Parkway Drive, 505-395-6576 New Mexico Actors Lab’s reading of Carolyn Gage’s play using excerpts from letters between Maria Chabot and Georgia O’Keeffe; 7:30 p.m. today and Saturday, 2 p.m. Sunday; $35, discounts available; nmactorslab.com.

IVANOV

Center for Contemporary Arts, 1050 Old Pecos Trail Exodus Ensemble presents a family saga; 3-6:30 p.m.; free admission, with reservations; encores, 3-6:30 p.m. Sunday, 6-9:30 p.m. Thursday; exodusensemble.com.

Inclusion of free listings is dependent on space availability.

Native Cinema Showcase

8/16

Gary Farmer & The Troublemakers at Cowgirl BBQ The Levi Platero Band

Tumbleroot Brewery and Distillery, 2791 Agua Fría Street, 505-393-5135 Navajo blues guitarist-singer; 7:30 p.m.; $15-$20; tumblerootbreweryanddistillery.com/event.

Native Guitars Tour

Meow Wolf, 1352 Rufina Circle, 505-395-6369 Indigenous collective of visual artists, musicians, and fashion designers; doors 8 p.m.; $35 and $40, all ages, tickets.meowwolf.com.

Pat Malone Quartet

Paradiso Santa Fe, 903 Early Street, 505-577-5248 With Arnaldo Acosta, Jon Gagan, and Kanoa Kaluhiwa; 7:30 p.m.; $15 and $20; paradisosantafe.com and at the door.

Pueblo Revolt

Santa Fe Playhouse, 142 E. De Vargas Street, 505-988-4262 Script-in-hand staged workshop of Dillon Christopher’s comedy about Indigenous brothers living under Spanish Colonial rule; 7:30 p.m. today and Saturday, 2 p.m. Sunday; $30-$60, student discounts available; santafeplayhouse.org.

Schola Cantorum of Santa Fe

Shrine of Our Lady of Guadalupe, 100 S. Guadalupe Street Medieval chants, Renaissance polyphony, and contemporary choral selections; 6:30 p.m.; donations accepted; schola-sf.org.

New Mexico History Museum Auditorium, 113 Lincoln Avenue Free screenings of shorts and full-length films; 10 a.m.-10 p.m. through Sunday; americanindian .si.edu.

Painting demonstration

Alhambra Theater at the Scottish Rite Temple, 463 Paseo de Peralta All-Indigenous cast in an adaptation of the 1978 musical Grease; 1, 4, and 7 p.m. today, 1 and 4 p.m.

Sunday; $30-$50; 505-988-4262, santafeplayhouse .org. (See story, Page 34)

El Zaguán, 545 Canyon Road, 505-983-2567 Screenprinting demonstration with David -Alexander Hubbard Sloan (bring a cotton shirt or tote bag or print on supplied paper); 1-4 p.m.; $10 suggested donation.

Blue Rain Gallery, 544 S. Guadalupe Street, 505-954-9902 With Hyrum Joe; part of the Annual Celebration of Native American Art show; 11 a.m.-4 p.m.

Pathways Indigenous Art Festival

Hilton Santa Fe Buffalo Thunder, 20 Buffalo Thunder Trail, 505-455-5555 Featuring 350 artists, a film festival, live performances, and food trucks; 9 a.m.-5 p.m. today and Saturday, 9 a.m.-4 p.m. Sunday.

Ready to Roll: Chamisa Skateboards

Yarrow Room at Bishop’s Lodge, 1297 Bishops Lodge Road, 888-741-0480 Pop-up shop and auction of works by Native artists; 6-9 p.m.

Wheelwright Museum of the American Indian Annual Market & Benefit Sale

704 Camino Lejo, 505-982-4636 Free admission 8 a.m.-4 p.m. today, 10 a.m.-2 p.m.

Saturday; also, Chase Trading Post Artists’Market; wheelwright.org/benefit.

SATURDAY 8/17 Art Openings 5. Gallery

Events

Lloyd Kiva New Gallery, 108 Cathedral Place, 505-983-8900 Shannon Hooper — Numu, Newe “The People,” multidisciplinary works; IAIA Alumni and Student Pop-Up; 9 a.m.-5 p.m. through Sunday; free admission.

4Kinship Indigenous Futures 4Ever

102nd Santa Fe Indian Market events

Santa Fe Community Convention Center Ballroom, 201 W. Marcy Street Sneak preview 2 p.m., $100; general preview 4:30-6 p.m., $50; swaia.org. (See stories, Pages 40-57)

301 Opera Drive, 505-986-5900 Verdi’s romantic drama set in the decadent era of 1939 Paris; 8 p.m.; santafeopera.org.

Performances

Twelfth Night, or What You Will

Mystic Santa Fe, 2810 Cerillos Road, 4Kinship, 812 Canyon Road, Santa Fe Railyard A celebration of indigenous youth, running through Sunday; including fashion summit and show, market, skate demo with Diné skater Shawn Shine Harrison, photo station, and a performance

by Mato Wayuhi; 4kinship.com.

La Traviata

Out of the Sand

2351 Fox Road, Suite 700, 505-257-8417 they will bring you home again, group show; through September 14; noon-6 p.m.

Santa Fe Botanical Garden, 715 Camino Lejo, 505-471-9103 Santa Fe Classic Theater presents Shakespeare’s romantic comedy; 7 p.m. today through Sunday, $35-$55; santafeclassictheater.org.

Santa Fe Opera

IAIA Museum of Contemporary Native Arts

Randall Davey Audubon Center & Sanctuary

1800 Upper Canyon Road, 505-983-4609 Where There is No Name for Art, Ogha Po’oge, group show; reception noon-4 p.m.

Sage Creek Gallery

421 Canyon Road, 505- 988-3444 Icons of the West, multidisciplinary works by Ed Aldrich, J.R. Hess, and Scott Rogers; through September 7; artist demonstrations 10 a.m.-4 p.m.

Bear Grease

Chamber Music at San Miguel Chapel 401 Old Santa Fe Trail Opera excerpts and instrumental interludes

by Santa Fe Opera performers; 3 p.m.; $35, discounts available; 703-447-4075, chambermusicatsanmiguel.com.

Chatter North

Center for Contemporary Arts, 1050 Old Pecos Trail Pianist Natasha Stojanovska: music of Amy Beach, Shulamit Ran, and Stojanovska; 10:30 a.m.; $5-$17; chatterabq.org.

Danny Duran Band

Tesuque Casino Cottonwood Bar & Lounge, 7 Tesuque Road, 800-462-2635 Country tunes; 6 p.m.; no cover.

Hillary Smith Sings Jazz

Paradiso Santa Fe, 903 Early Street, 505-577-5248 Music of Irving Berlin, George Gershwin, and Cole Porter; 8 p.m.; $15 and $20; paradisosantafe.com.

Mac Sabbath’s 10-year anniversary tour

Meow Wolf, 1352 Rufina Circle, 505-395-6369 Parody-heavy metal tribute band; doors 8 p.m.; $25; tickets.meowwolf.com; 21+.

Market Music

Thaw Visual Arts Gallery at New Mexico School for the Arts, 500 Montezuma Avenue, 505-216-7888 Free concerts by early music ensemble Severall Friends; music of J.S. Bach, Handel, and Telemann; noon; severallfriends.org.

Native Guitars Tour

Tumbleroot Brewery and Distillery, 2791 Agua Fría Street, 505-393-5135 Indigenous collective of visual artists, musicians, and fashion designers; 7 p.m.; $25; tumblerootbreweryanddistillery.com; 21+.

Reflections on Land, Water, and Place

SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199 Part 1 (11 a.m.-1 p.m.): Artist Teresita Fernández, composer Raven Chacon, and poet Natalie Diaz in an immersive performance of sound and poetry; Part 2 (2:30-3:30 p.m.): Fernández, Chacon, and Diaz in conversation; $10 each; sitesantafe.org.

Santa Fe Chamber Music Festival

Lensic Performing Arts Center, 211 W. San Francisco Street Santa Fe Opera Music Director Harry Bicket leads the company in Handel’s Water Music; 6 p.m.; variable ticket prices; santafechambermusic.com.

(See story, Page 26)

Events

102nd Santa Fe Indian Market

Santa Fe Plaza Open 8 a.m.-5 p.m. through Sunday; Plaza stage performances: 9 a.m.-5 p.m.; Cathedral stage performances: 10:30 a.m., 12:30 p.m., and 2:30 p.m.; swaia.org. (See stories, Pages 40-57)

Allan Houser Sculpture Gardens at Haozous Place Open House

26 Haozous Road, off N.M. 14, 505-471-7409 Open 10 a.m.-4 p.m. today and Sunday; grand opening of the exhibit Water, artifacts from the Allan Houser Foundation; 10 a.m. Free concert

by Phillip Haozous and Hyda Maria; 1:30 p.m.

Arctic Highways

Allan Houser Art Park at IAIA Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-8900 Panel discussion with artists and co-curators Tomas Colbengtson, Gunvor Guttorm, and Britta Marakatt-Labba; 9:15 a.m.; free admission.

The Blonde with the Balls

Pie Projects Contemporary Art, 924-B Shoofly Street, 505-372-7681 Patricia Hamilton reads from and signs copies of her insider’s view of the art world; 3 p.m.

Common Thread

Allan Houser Art Park at IAIA Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-8900 Melissa Shaginoff discusses and demonstrates her work with tanning hides; 11 a.m.; free admission.

Free Indian Market

Federal Park, Federal Place and Washington Avenue Indigenous potters, jewelers, basketmakers, and beadworkers; 8 a.m.-5 p.m. today and Sunday; 505-670-5918.

IAIA student & graduates’ art market

Under the portal at the Museum of Contemporary Native Arts, 710 Camino Lejo, Museum Hill, 505-476-1269 Works by emerging artists; 9 a.m.-5 p.m. today and Sunday.

The Intersection of Land and Art

Evoke Contemporary, 550 S. Guadalupe Street, 505-995-9902 Artist Esha Chiocchio and Juliana Ciano, Reunity Resources program director, in conversation; 1 p.m.

Kathleen Piccione: Meet the Artist

Victory Contemporary, 124 W. Palace Avenue, 505-983-8589 Painting demonstration 1-3 p.m.

Artists’ Market

The Lodge at Santa Fe, 750 N. St. Francis Drive, 505-992-5800 Including jewelry, paintings, bead and quill work; 5-8 p.m.

Breakfast with the Curators

Museum Hill Café, 710 Camino Lejo Join Elisa Phelps, curator of the exhibit Driving the Market: Award-Winning Native Contemporary Art, for breakfast, followed by a tour of the Museum of Indian Arts and Culture; 8:30 a.m.; $35 and $40.

Call 505-476-1269 for reservations.

IndigenousWays Festival 2024

Santa Fe Railyard Park, 740 Cerrillos Road Pura Fé, Tuscarora/Taino singer-songwriter, Menominee blues guitarist-storyteller Wade Fernandez, and songwriter Simona Rael; 5-9 p.m.; free admission; indigenousways.org.

Blue Rain Gallery (blueraingallery.com) shows glasswork by Preston Singletary through August.

PASATIEMPOMAGAZINE.COM

77

MONDAY 8/19

WEDNESDAY 8/21

Performances

Santa Fe Opera

Tesuque Casino Cottonwood Bar & Lounge, 7 Tesuque Road, 800-462-2635 Jazz ensemble; 6 p.m.; no cover.

301 Opera Drive, 505-986-5900 Mozart’s comedy-drama; 8 p.m.; santafeopera.org.

Chief Sanchez & the Crawfish Boyz

Doug Montgomery

President Room at Rio Chama, 414 Old Santa Fe Trail, 505-955-0765 Great American Songbook; 6-9 p.m. Sundays and Mondays; no cover.

Mike Dawes

Paradiso Santa Fe, 903 Early Street, 505-577-5248 English fingerstyle guitarist; Christie Lenée opens; 7:30 p.m.; $25 in advance, $30 day of; paradisosantafe.com.

Santa Fe Chamber Music Festival

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Violinist John Storgårds, pianist Kirill Gerstein, and the Dover Quartet; music of Janácek, Mozart, and Dvořák; 6 p.m.; variable ticket prices; 505-982-1890, santafechambermusic.com.

(See story, Page 26)

Santa Fe Summer Scene

IAIA Museum of Contemporary Native Arts includes works by Sámi printmaker Tomas Colbengtson through March 2, 2025.

MoCNA Portal Columns

Allan Houser Art Park at IAIA Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-8900 A discussion with the artists who painted the exterior columns; 3 p.m.; free admission.

Okhúwa Munu: A Dialogue Between Cultures and Nature

Allan Houser Art Park at IAIA Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-8900 Muralists Stina Folkebrant and David Naranjo in conversation; 1:30 p.m.; free admission.

Doug Montgomery

President Room at Rio Chama, 414 Old Santa Fe Trail, 505-955-0765 Great American Songbook; 6-9 p.m. Sundays and Mondays; no cover.

Santa Fe Chamber Music Festival

Lensic Performing Arts Center, 211 W. San Francisco Street Rossini’s Sonata a quattro No. 1 and Brahms’String Sextet in G Major; 6 p.m.; variable ticket prices; 505-982-1890, santafechambermusic.com.

(See story, Page 26)

Santa Fe Public Library Indian Market book sale

Santa Fe Opera Apprentice Scenes

Santa Fe Public Radio KSFR 101.1 FM live broadcast

Events

Main Branch, 145 Washington Avenue, 505-955-6781 Market-centric selections; 9:30 a.m.-2:30 pm.

South Courtyard at IAIA Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-8900 Interviewing MoCNA staff, artists, and guest curators; also, Indigenous music program

by Tara Gatewood; 1-5 p.m.; free admission.

Santa Fe West Coast Swing Dance

Dance Station, 947-B W. Alameda Street, Solana Shopping Center Lesson with Lawrence Black 7 p.m.; dance 7:30 p.m.; no experience necessary; $15 cash.

SUNDAY 8/18 Art Openings

Museum of Indian Arts and Culture

710 Camino Lejo, Museum Hill, 505-476-1269 Grand opening of the JoAnn and Bob Balzer Native Market and Contemporary Art Gallery; Driving the Market, group show of contemporary works; through January 18, 2025; free admission.

Performances Bill Hearne

La Fiesta Lounge at La Fonda, 100 E. San Francisco Street, 505-982-5511 Americana singer-songwriter; 7-9 p.m.; no cover.

Dickie Cordova

Tesuque Casino Cottonwood Bar & Lounge, 7 Tesuque Road, 800-462-2635 Oldies and country; 6 p.m.; no cover.

78 PASATIEMPO I August 16-22, 2024

301 Opera Drive, 505-986-5900 Staged performances by apprentice singers and technical staff; 8 p.m.; $11-$31; santafeopera.org.

102nd Santa Fe Indian Market events

Santa Fe Community Convention Center Ballroom, 201 W. Marcy Street Native American clothing showcase, 9-11 a.m.; art and fashion talks, 11 a.m.-noon; VIP fashion show pre-party, 1:30-3 p.m.; SWAIA Native fashion show, 3-4 p.m.; tickets at swaia.org. (See stories, Pages 40-57)

Value Change for Survival

Hotel Santa Fe, 1501 Paseo de Peralta, 855-825-9876 Chief Oren Lyons, Turtle Clan of the Onondaga, in conversation with Anishinaabekwe activist Winona La Duke; noon; $50 suggested donation; 505-982-6761.

IAIA Research Center for Contemporary Native Arts panel discussion

Allan Houser Art Park at IAIA Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-8900 Moderated by Mary Deleary, with Felipe Colón, Tatiana Lomahaftewa-Singer, Ryan Flahive, and Angelica Gallegos; 10 a.m.; free admission.

IAIA MFA in creative writing readings

Allan Houser Art Park at IAIA Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-8900 Deborah Jackson Taffa and Jamie Figueroa read from and discuss their recent memoirs Whiskey Tender and Mother Island: A Daughter Claims Puerto Rico; 1 p.m.; free admission.

Santa Fe Plaza Black Pearl Band, horn-driven R&B and rancheras; 6 p.m.; lensic360.org; free admission.

TUESDAY 8/20 Art Openings

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1204 Lounging with Zozobra, vignette of works highlighting Zozobra’s 100th anniversary; through September 22.

Santa Fe Community College Visual Arts Gallery

6401 Richards Avenue, 505-428-1501 The Las Vegas Project: Contemporary Life on the Historic Santa Fe Trail, photographs

by Peter Schreyer and Crealdé School of Art students; through October 16; reception 3-5 p.m.

Santa Fe Opera

Don Giovanni

Performances

Sunset Concert Series

Santa Fe Botanical Garden, 715 Camino Lejo, Museum Hill, 505-471-9103 SFBG’s Sunset Concert series continues with flamenco singer Vicente Griego; 6:30-8:30 p.m.; $8 and $20; santafebotanicalgarden.org.

Wine & Jazz

Tesuque Casino Cottonwood Bar & Lounge, 7 Tesuque Road, 800-462-2635 Alex Murzyn Quartet; 6 p.m.; no cover.

Events

Turquoise 101 Tours

Gemsong Galleries at La Fonda, 100 San Francisco Street, 505-819-7227 Starts at Gemsong Galleries, ends at Gemsong Turquoise, Mineral and Gem Museum; 11 a.m.

Wednesdays-Sundays (approximately one hour); $30, discounts available.

THURSDAY 8/22 Santa Fe Opera Elixir of Love

301 Opera Drive, 505-986-5900 Donizetti’s comic melodrama; 8 p.m.; santafeopera.org.

Performances Annalisa Ewald

Agave Restaurant & Lounge, Eldorado Hotel & Spa, 309 W. San Francisco Street, 505-995-4530 Classical guitarist; 6-9 p.m.; no cover.

David Geist

Osteria d’Assisi Cabaret, 58 S. Federal Place, 505-986-5858 Geist Cabaret, Broadway, pop tunes, and originals; 7-10 p.m.; $5 cover.

Joaquin Gallegos Trio

La Traviata

La Fiesta Lounge at La Fonda, 100 E. San Francisco Street, 505-982-5511 Latin fusion; 7-9 p.m.; no cover.

Performances

Santa Fe Plaza Cajun band Beausoleil avec Michael Doucet; 6 p.m.; lensic360.org; free admission.

Tesuque Casino Cottonwood Bar & Lounge, 7 Tesuque Road, 800-462-2635 Country music; 6-9 p.m.; no cover.

OUT OF TOWN

301 Opera Drive, 505-986-5900 Verdi’s romantic drama set in the decadent era of 1939 Paris; 8 p.m.; santafeopera.org.

Danny Duran Trio

Santa Fé JAZZ

Joseph’s Culinary Pub, 428 Agua Fría Street, 505-670-6482 Quartet NYC: saxophonist Stacy Dillard, guitarist Marvin Sewell, bassist Dezron Douglas, and percussionist Jeremy“Bean”Clemons; 6 p.m.; $55-$150.

Santa Fe Summer Scene

Santa Fe Plaza Grateful Dead tribute band Detroit Lightning and Led Zeppelin homage band Moby Dick; 6 p.m.; lensic360.org; free admission.

Events

Santa Fe Farmers’ Market

1607 Paseo de Peralta, 505-983-4098 Open 8 a.m.-1 p.m. Tuesdays, through December 24; santafefarmersmarket.com.

Santa Fe Summer Scene

Angel Fire

Music From Angel Fire

Angel Fire Community Center, 15 CS Ranch Road Melodies of Elegance, music of Chopin, Fauré, and Mendelssohn; 6 p.m. Saturday, August 17; $45-$50; 575-377-3233, musicfromangelfire.org.

Music From Angel Fire

United Church of Angel Fire, 40 W. Ridge Road Chiaroscuro: Terror to Tranquility, music of Bunch, Dohnånyi, and J.S. Bach; 6 p.m. Wednesday, August 21; $45-$50; 575-377-3233, musicfromangelfire.org.

Los Alamos

Step Up Gallery

Mesa Public Library, 2400 Central Avenue, stepupgallery.org Beyond the Threshold: Nature, Myths, Dreams, paintings by Linda Storm and Sandra Duran Wilson; through September 18; reception 2-3:30 p.m.

Saturday, August 17; artists talks 2:30 p.m. ◀

AT THE GALLERIES Santa Fe

Adobe Gallery

221 Canyon Road, 505-955-0550 The Legacy of the Tafoya Family: A Journey Through Generations of Pueblo Pottery; through September 9.

Allá

102 W. San Francisco Street, Suite 20, 505-988-5416 Manuel Álvarez Bravo: Photographs; through August.

Cafe Pasqual’s Gallery

103 E. Water Street, second floor, 505-983-9340 Show Up for the Underdogs, group show benefiting Street Homeless Animal Project; through September 8.

form & concept

435 S. Guadalupe Street, 505-780-8312 My Hair Story: From Brunette to Gray, mixed media

by Rosemary Meza-DesPlas; through August 30.

Gaia Contemporary

225 Canyon Road, Suite 6, 505-577-8339 Visions of Life, paintings by Amy Donaldson; through August.

Giacobbe-Fritz Fine Art

702 Canyon Road, 505-986-1156 Elementals, paintings by Rebecca Haines; through August 25.

Hecho a Mano

129 W. Palace Avenue, 505-916-1341 Wai Ulana/Woven Waters, traditional Hawai’i textiles by Lehuauakea; mixed media by Ian Kuali’i; through September 2.

Keep Contemporary

142 Lincoln Avenue, Suite 102, 505-557-9574 The Silence of Shadows, sculpture by Yoann Penard; through Monday, August 19.

McLarry Fine Art

225 Canyon Road, 505-988-1161 Pueblo and Mimbres Pottery, paintings by Chuck Sabatino; through Wednesday, August 21.

Nüart Gallery

670 Canyon Road, 505-988-3888 Elevations, mixed media by Randall Reid and Emilio Lobato; through September 14.

TAI Modern

1601 Paseo de Peralta, 505-984-1387 Tradition & Innovation, Tanabe Chikuunsai IV and Apprentices, bamboo sculpture; through August.

Webster Collection

54½ Lincoln Avenue, 505-954-9500 Northern New Mexican Color, photographs by Alex Harris; The Space Between, photographs by William Greiner and Matt Clark; through August.

TEATRO PARAGUAS presents

Atacama

Aug 9 - 25 Thurs, Fri, Sat 7:30 pm, Sun 2 pm

Worrell Gallery

Art of Paper and Paste, historic sculptures from the collection; through November 3; moifa.org.

Zane Bennett Contemporary Art

1 Mansion Drive, 505-476-2800 Includes works by Marie Romero Cash, Gerald Cassidy, William Penhallow Henderson, and Willard Nash; newmexicogovernorsmansion.org.

103 Washington Avenue, 505-989-4900 A New Way of Seeing, landscapes by Matthew Higginbotham; through September 1.

435 S. Guadalupe Street, 505-982-8111 Showcase: Nathan Budoff & Wookjae Maeng, prints, paintings, and ceramic sculpture; through August.

MUSEUMS & ART SPACES Santa Fe

Allan Houser Sculpture Garden and Gallery at Haozous Place

26 Haozous Road, off N.M. 14 Tours Tuesdays, Thursdays, and Sundays by reservation; allanhouser.com/sculpture-garden.

Coe Center for the Arts

1590-B Pacheco Street, 505-983-6372 African, Asian, European, Native American, and Oceanic objects. Open by appointment.

Georgia O’Keeffe Museum

217 Johnson Street, 505-946-1000 Georgia O’Keeffe: Making a Life, art and objects from the collection; through November 2, 2025; okeeffemuseum.org.

El Rancho de las Golondrinas

334 Los Pinos Road, 505-471-2261 Living-history museum, dedicated to the heritage and culture of 18th- and 19th-century New Mexico; golondrinas.org.

IAIA Museum of Contemporary Native Arts

108 Cathedral Place, 505-983-8900 Common Thread: Female Perspectives from the Arctic, through January 5, 2025, and Arctic Highways: Unbounded Indigenous People, through March 2, 2025 • The Stories We Carry, contemporary jewelry; companion exhibit, Our Stories; through September 29, 2025; iaia.edu/mocna.

Meow Wolf

1352 Rufina Circle, 505-395-6369 The House of Eternal Return, over 70 rooms of immersive, evolving exhibits; meowwolf.com.

Museum of Indian Arts and Culture

710 Camino Lejo, Museum Hill, 505-476-1269 Here, Now and Always, themes of emergence, cycles, ancestors, language, and resilience; long term; indianartsandculture.org.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1204 Staff Picks: Favorites from the Collection, celebrating the museum’s 70th anniversary with artwork from 23 countries, by 37 artists; through Sunday, August 18 • La Cartonería Mexicana: The Mexican

New Mexico Governor’s Mansion

New Mexico History Museum

113 Lincoln Avenue, 505-476-5200 18 Miles and That’s As Far As It Got: The Lamy Branch of the Atchison, Topeka and Santa Fe Railroad, model train crafted by Santa Fe Model Railroad Club members; through January 16, 2025 • Everyday Odysseys: Relics of Life & Adventure in New Mexico, rotating exhibit of items from the collection; through July 8, 2025; nmhistorymuseum.org.

New Mexico Military Museum

1050 Old Pecos Trail, New Mexico Military Museum In The Presence of Heroes, photography archives of David Scheinbaum; through June 8, 2025.

New Mexico Museum of Art

107 W. Palace Avenue, 505-476-5072 Out West: Gay and Lesbian Artists in the Southwest 1900-1969; through September 2 • Saints & Santos: Picturing the Holy in New Spain, collections from Mexico and the U.S.; through January 12, 2025.; nmartmuseum.org.

New Mexico Museum of Art Vladem Contemporary

404 Montezuma Avenue, 505-476-5062 Oswaldo Maciá: El Cruce, sound sculpture; through September 22 • Line by Line, spanning works from the 1920s to the present; through March 9; 2025 • Off-Center: New Mexico Art, 1970-2000, rotating exhibit; through May 4, 2025; nmartmuseum.org/vladem-contemporary.

Nuevo Mexicano Heritage Arts Museum

Allan Houser Gallery (allanhouser.com) includes Native American artifacts from the Allan Houser Foundation Archives.

SITE Santa Fe

40 Years of Marcus Amerman, retrospective exhibit of beadwork, glass art, and paintings by the Choctaw Nation artist; through January 11, 2025; wheelwright.org.

750 Camino Lejo, museum@spanishcolonial.org Ugly History of Beautiful Things, historical and contemporary art; spanishcolonial.org.

Free docent tours 1 p.m. the first Wednesday of the month through December.

1606 Paseo de Peralta, 505-989-1199 I’m Nobody! Who Are You?, paintings by Carmen Herrera; through September 1 • Teresita Fernandez/Robert Smithson; multimedia installations; through October 28; sitesantafe.org.

Wheelwright Museum of the American Indian

704 Camino Lejo, Museum Hill, 505-982-4636 Masterglass: The Collaborative Spirit of Tony Jojola, blown and sculpted glass art by the late Isleta Pueblo artist; through September • Pathfinder:

Taos

Couse-Sharp Historic Site

138 & 146 Kit Carson Road, 575-751-0369 Joseph Henry Sharp: The Life and Work of an American Legend; through December; couse-sharp.org. Open by appointment.

Harwood Museum of Art

238 Ledoux Street, 575-758-9826 Luchita Hurtado: Earth & Sky Interjected, paintings; through February 23, 2025; harwoodmuseum.org.

¡Viva México! Music, Dance & Poetry of México

Sept 6 -15; Fri, Sat 7:30 pm & Sun 2 pm & Sept 20-22; Fri, Sat 8 pm & Sun 2 pm at the Museum of International Folk Art

In My Father’s House October 3-20, Thurs, Fri, Sat 7:30 pm, Sun 3 pm www.teatroparaguasnm.org

3205 Calle Marie Suite B, SFNM 87507 PASATIEMPOMAGAZINE.COM

79

A guide to performances & events for the weeks ahead

PASA PICKS Michael Martin Murphey

St. Francis Auditorium at New Mexico Museum of Art, 107 W. Palace Avenue Acoustic guitar performance; 7 p.m. August 23; $89 and $250; redziaevents.com.

Santa Fe Soul Festival

First Presbyterian Church of Santa Fe and St. Francis Auditorium Africa and America: What is Soul Food?, panel discussion between author Adrian Miller and Chef Ahmed Obo; 3 p.m. August 24 (reserve free tickets at sfsfest.org). An Afternoon of Gospel Music, Songs, and Dance; 4 p.m. August 25; $15-$125; sfsfest.org.

Son Como Son

Paradiso Santa Fe, 903 Early Street, 505-577-5248 Cuban-style salsa band; 8 p.m. August 24; $15 and $20; paradisosantafe.com.

Zozobra: The Revenge

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Composer Joe Illick and novelist Douglas Preston’s new opera; 7:30 p.m. Aug. 29; $29-$60; lensic.org/events.

The Melodrama

Santa Fe Playhouse, 142 E. De Vargas Street, 505-988-4262 Four short plays on the theme of fire, in honor of the 100th burning of Zozobra; August 29-September 15; $15-$60; santafeplayhouse.org.

100th burning of Zozobra

Fort Marcy Park, 490 Bishops Lodge Road Gates open at 4 p.m.August 30; $35 and $40 through August 29; $40 and $45 day of (online and at the gate); burnmygloom.com.

An Evening with the Songwriters Lyle Lovett, Ray Wylie Hubbard & Hayes Carll

Santa Fe Opera, 301 Opera Drive Texas icons; 7:30 p.m. September 1; $44-$134; tickets.lensic.360.org.

Burn This

Lab Theater, 1213 Parkway Drive, 505-395-6576 Landford Wilson’s character-driven drama about grief, loss, passion, and ambition; September 4-8, 12-15, and 19-22; $35, discounts available; nmactorslab.com.

Santana

Rufus Wainwright

Isleta Amphitheater, 5601 University Boulevard SE, Albuquerque, 505-452-5100 Concert 7:30 p.m. September 4; $72.85+; sfnm.co/3YoMHOk.

Santa Fe Opera, 301 Opera Drive With the Santa Fe Symphony; 7:30 p.m. September 9; $40-$127; tickets.lensic360.org.

Michael Anthony-Paul Gonzales Quartet

National Theatre Live: Vanya

Michael Hearne’s Big Barn Dance

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 The Rox(Postroph)y tour; 7:30 p.m. September 11; $49-$189; lensic.org/events.

Outpost Performance Space, 210 Yale Boulevard SE, Albuquerque, 505-268-0044 Kicking off the 18th annual New Mexico Jazz Festival; 7:30 p.m. September 5; $15-$50; outpostspace.org.

Kit Carson Park, 211 Paseo del Pueblo Norte, Taos Americana music festival; including Balsam Range, Bill Hearne, Shake Russell, Jim Lauderdale, and Trout Fishing in America; September 5-7; passes start at $195; bigbarndance.com.

Memoir and Mystery

Santa Fe Woman’s Club, 1616 Old Pecos Trail Readings by and discussions with Santa Fe authors Bettye Kearse, Anne Hillerman, Kim Fowler, Sonja Dewing, and others; 9 a.m.-5 p.m.

September 7; fundraiser held in association with Partners in Education Foundation for Santa Fe Public Schools; $99; sfnm.co/4dkmSUs.

Stand Up for Nature

Santa Fe Farmers’Market Pavilion, 1607 Paseo de Peralta A fundraiser for Santa Fe Conservation Trust; catered buffet; guest speaker journalist Bill McKibben; music by Eileen & the InBetweens; 6 p.m. September 7; $175; sfct.org/events/sun.

John Santos Sextet

Unit B at Chocolate Maven, 821-C W. San Mateo Road, 505-984-1980 Latin jazz guitarist, with John Calloway, Charlie Gurke, Marco Diaz, Saul Sierra, and David Flores; 7 p.m. September 7; $30 and $35; santafemusiccollective.org.

Los Lobos

National Hispanic Cultural Center, 1701 Fourth Street SW, Albuquerque Celebrating 50 years of genre-bending music; 7:30 p.m. September 7; $60-$85; tickets.lensic360.org.

Stepwise

GiG Performance Space, 1808 Second Street, gigsantafe.com Traditional Celtic music duo Liam Lewis and Olivia Breidenthal; 7:30 p.m. September 7; $25.80; gigsantafe.tickit.ca.

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Simon Stephen’s adaptation of Chechov’s play Uncle Vanya; 7 p.m.; September 10; $22; lensic.org/events.

Dweezil Zappa

Gary Clark Jr.

Santa Fe Opera, 301 Opera Drive The blues virtuoso performs selections off his new album, JPEG RAW; 7:30 p.m. September 11; $34-$94; tickets.lensic360.org.

Black Uhuru

The Bridge at Santa Fe Brewing, 37 Fire Place, 505-557-6182 Jamaican reggae; Boomroots Collective opens; 7:30 p.m.

September 12; $8-$25; ampconcerts.org.

Ranky Tanky with Lisa Fischer

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Jazz quintet; 7:30 p.m. September 12; $45-$69; lensic.org/events.

Joshua Redman Group

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Jazz saxophonist; featuring vocalist Gabrielle Cavassa; 7:30 p.m.

September 13; $45-$69; lensic.org/events.

The Marley Brothers Legacy Tour

Isleta Amphitheater, 5601 University Boulevard SE, Albuquerque, 505-452-5100 Ziggy, Stephen, Julian, Ky-Mani, and Damian; 7:30 p.m.

September 13; tickets start at $38; albuquerqueamphitheater.com.

Santa Fe Renaissance Faire

El Rancho de las Golondrinas, 334 Los Pinos Road, 505-471-2261 Jousting by the knights of the Order of Epona, juggling, magic tricks, stilt walking, fire-eating Clan Tinker troupe, food, and music; 10 a.m.-5 p.m. September 14 and 15; variable ticket prices; ages 11 and under no charge; golondrinas.org; advance sales only.

Dave Holland New Quartet

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 All jazz bandleader-composer ensemble; 7:30 p.m. September 14; $39-$65; lensic.org/events.

Dmitri Matheny Group

Unit B at Chocolate Maven, 821-C W. San Mateo Road, 505-984-1980 The flugelhornist pays tribute to Henry Mancini, with saxophonist Alex Murzyn, pianist John Funkhouser, bassist Terry Lee Burns, and percussionist John Trentacosta; 7:30 p.m. September 14; $30 and $35; santafemusiccollective.org.

Beppe Gambetta

GiG Performance Space, 1808 Second Street, gigsantafe.com Singer-guitarist; 7:30 p.m. September 15; $26.95; gigsantafe.tickit.ca.

Meshell Ndegeocello

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Jazz multi-instrumentalist and singer-songwriter; 7:30 p.m.

September 15; $39-$65; lensic.org/events.

Transatlantic Guitar Trio

GiG Performance Space, 1808 Second Street, gigsantafe.com Fingerstyle guitarist Richard Smith, gypsy jazz guitarist Joscho Stephan, and multi-instrumentalist Rory Hoffman; 7:30 p.m. September 16; $25.80; gigsantafe.tickit.ca.

A Complex World

Lensic 360 presents Rufus Wainwright at the Santa Fe Opera September 9.

80 PASATIEMPO I August 16-22, 2024

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Santa Fe Institute 29th Annual Stanislaw Ulam Memorial Lecture Series; Part One, David Krakauer addresses the limitations of simple assumptions in economics, healthcare, and global governance; 7:30 p.m. September 17; Part Two, A Complex Universe: Diverse Perspectives, a panel discussion among SFI scientists; 7:30 p.m.

September 18; free tickets at lensic.org/events.

Russell Malone Quartet

Unit B at Chocolate Maven, 821-C W. San Mateo Road, 505-984-1980 Jazz guitarist, Richard Germanson, Vincent DuPont, and Neal Smith; 7 p.m. September 20; $30 and $35; santafemusiccollective.org.

Alejandro Brittes

San Miguel Chapel, 401 Old Santa Fe Trail Composer-accordianist of traditional music of Argentina; 7:30 p.m. September 20; $30-$50; ampconcerts.org.

American in Paris

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Santa Fe Symphony’s season opener, led by Guillermo Figueroa, with pianist Clayton Stephenson; music of Mozart, Ravel, and Gershwin; 4 p.m. September 22; $25-$99; 505-983-1414, boxoffice.santafesymphony.org.

Eric Idle: Always Look on the Bright Side of Life, Live!

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 The 81-year-old’s one-man show; 7:30 p.m. September 24; $120-$249; lensic.org/events.

Santa Fe Wine & Chile Fiesta

Local venues Wine seminars, guest chef luncheons, dinners, and Sky Railway wine tours; September 25-29; tickets vary by event; 505-438-8060; santafewineandchile.org.

Lensic Performing Arts Center presents the Joshua Redman Group September 13.

Thee Sinseers & The Altons

The Historic El Rey Theater, 622 Central Avenue SW, Albuquerque, 505-510-2582 Soul bands; 8 p.m. September 27; $29; ticket.lensic360.org.

Santa Fe Pro Musica Orchestra

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 I Hear America Singing, 43rd season opener; music of Vivaldi, Gabriela Lene Frank, and Colin and Eric Jacobsen; 3 p.m.

September 29; $30-$102; sfpromusica.org.

Al Di Meola: The Electric Years

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Across the Universe world tour; 7:30 p.m. October 2; $45-$215; ampconcerts.org.

The Met: Live in HD/Le Contes D’Hoffmann

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Offenbach’s opéra fantastique; 10 a.m. October 5; $22-$28; lensic.org/events.

Bone Thugs-N-Harmony

The Bridge at Santa Fe Brewing Company, 37 Fire Place, 505-557-6182 Thirty-year anniversary tour; 7:30 p.m. August 29; $47-$52; tickets.lensic360.org.

Andrea Magee’s She Rises

Dave’s Jazz Bistro at the Santa Fe Cooking School, 125 N. Guadalupe Street, 505-983-4511 Jazz vocalist; 6:30 p.m. September 21; $185; santafeschoolofcooking .com.

SEPTEMBER

Grace Potter

Voices of Shekhinah: Four Illuminations

Trae Crowder

Jimmie Vaughan & the Tilt-A-Whirl Band

Teatro Paraguas, 3205 Calle Marie, 505-424-1601 An original production celebrating Mexican Independence Day; September 6-22; $15 and $25; teatroparaguasnm.org.

Kimo Theatre, 423 Central Avenue NW, Albuquerque, 505-768-3522 Blues artist; 7:30 p.m. October 18; tickets.lensic360.org.

The Hot Sardines

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Jazz band; 7:30 p.m. October 26; $55-$175 (proceeds benefit Kitchen Angels); lensic.org/events.

Poesía de México

Wyatt Flores

The Bridge at Santa Fe Brewing Company, 37 Fire Place, 505-557-6182 On tour in support of his album Half Life; 7:30 p.m. September 6; $30-$115; tickets.lensic360.org.

Tab Benoit

The Temptations

Fusion Theatre, 706 First Street NW, Albuquerque, 505-766-9412 Singer-guitarist; 7:30 p.m. September 10; $35 in advance, $40 day of; ampconcerts.org.

AUGUST

Ghost Ranch Education & Retreat Center, 280 Private Drive, Abiquiú Music festival, including Vance Joy, Lucinda Williams, The California Honeydrops, and Dakhabrakha; September 12-14; two-day passes $235, one-day pass $135; 505-685-1000, ghostranchmusicfest.com.

Hilton Santa Fe Buffalo Thunder, 20 Buffalo Thunder Trail, 505-455-5555 On tour; 8 p.m. January 10; $39-$89; hiltonbuffalothunder.com.

Santa Fe TradFest

Camp Stoney, 7855 Old Santa Fe Trail, 505-820-3166 August 23-25; including bluegrass band Special Consensus, Magnolia Sisters Cajun music quartet, Lightning Boy Foundation hoop dancers, Mariachi Sonidos del Monte, jam sessions, and workshops; $20-$60, ages 12 and younger no charge; santafetradfest.org.

New Mexico Governor’s Mansion Open House

1 Mansion Drive, 505-476-2800 Docent-lead Q&As on the history of New Mexico’s three Governor’s Mansions over four centuries, and current décor and artworks; 1-3 p.m. August 24; free admission; newmexicogovernorsmansion.org.

Dwight Yoakam

Kit Carson Park, 211 Paseo del Pueblo Norte, Taos With The Mavericks; 7:30 p.m. August 24; $55 and $95; tickets.lensic360.org.

Shakey Graves

The Mothership at Taos Mesa Brewing, 20 ABC Mesa Road, El Prado Austin, Texas-based one-man band fusing blues, folk, and rock; 7:30 p.m. August 25; $35; tickets.lensic360.org.

Carmen Bradford and the John Rangel Trio

Kit Carson Park, 211 Paseo del Pueblo Norte, Taos Showcase of female artists, including YOLA, Jade Bird, and KT Tunstall; noon August 31; $30-$275; ampconcerts.org.

Congregation Beit Tikva, 2230 Old Pecos Trail, 505-820-2991 Composer and librettist Valarie Morris’ opera, which tells the story of three important women in Jewish history and one contemporary teen; 4 p.m. September 1; donations accepted.

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Known by his YouTube moniker as “The Liberal Redneck;” 7:30 p.m. October 17; $20-$45; lensic.org/events.

Danza Tonantzin de Analco dancers, Cloud Eagle Dance Group, Mariache Euforia, and Tropa Magica; 1-6:30 p.m. September 21; food and beverage vendors on site; registration required; ampconcerts.org.

Blossoms & Bones

Gordon Lightfoot Tribute Show

San Miguel Chapel, 401 Old Santa Fe Trail Guitarist Robert Marcum, bassist Brian Dear, and guitarist-mandolin player Jim Lewin; 7 p.m. September 19; $25; robertmarcumtrio.com.

Kishi Bashi

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 The indie-rock multi-instrumentalist Kaoru Ishibashi on his Kantos tour; 7:30 p.m. September 19; $25-$45; lensic.org/events.

Keller Williams

Meow Wolf, 1352 Rufina Circle, 505-395-6369 Known as a one-man jam band; 8:30 p.m. September 20; $29; tickets.lensic360.org.

Extravaganza on Museum Hill

Milner Plaza Highlighting regional cultural traditions in the Museum of International Folk Art exhibition La Cartonería Mexicana/The Mexican Art of Paper and Paste, and honoring Indigenous communities of Mexico and New Mexico with a live luchador wrestling match;

The Bridge at Santa Fe Brewing, 37 Fire Place, 505-557-6182 Rock ‘n’ roll singer-songwriter; 7:30 p.m. September 21; $42; tickets.lensic360.org.

OCTOBER The Second City

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 The theater troupe’s Mo’ Funny Less Problems tour of scripted scenes, musical comedy, and improvisation; 7:30 p.m. October 3; $30-$55; lensic.org/events.

Pam Tillis

KiMo Theatre, 423 Central Avenue NW, Albuquerque, 505-768-3522 On her U.S. tour; 7:30 p.m. October 4; $42-$62; tickets.lensic360.org.

Robert Mirabal & ETHEL

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 A concert with the Taos Pueblo flutist and the New York-based string quartet; 7:30 p.m. October 10; $39-$65; lensic.org/events.

Catalyst String Quartet

St. Francis Auditorium at New Mexico Museum of Art, 107 W. Palace Avenue D’Rivera (Three Pieces), Piazzolla (Suite del Ángel), Gershwin (Lullaby), and Ravel (Quartet in F Major); 3 p.m. October 13; $26-$98; sfpromusica.org.

Blackberry Smoke

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Country rockers on their world tour; 7:30 p.m. October 13; $35-$55; lensic.org/events.

Transmission vs Truth: What Will it Take to Make an AI as Smart as a 4 Year Old?

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Santa Fe Institute presents a lecture by Alison Gopnik, professor of psychology at the University of California, Berkeley; 7:30 p.m.

October 15; free tickets at lensic.org/events.

Sammy Rae & The Friends

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Jazz rock band; 7:30 p.m. October 21; $41-$56; lensic.org/events.

Leslie Jones

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 On tour; 7:30 p.m. October 25; $65-$130; lensic.org/events.

Men at Work

Lensic Performing Arts Center, 211 W. San Francisco Street, 505-988-1234 Australian rock band; 7:30 p.m. October 30; $64-$96; lensic.org.

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FINAL FRAME

PHOTO COURTESY KING GALLERIES

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Mirror to our Past, to Ourselves, an 18-inch native clay and acrylic glazed piece created by Les Namingha (Hopi-Tewa/Zuni), is part of Ascendance, an exhibition coinciding with Indian Market featuring works by nearly 20 potters. 3-5 p.m. Friday, August 16, and 10 a.m.-5 p.m. Saturday and Sunday, August 17-18, King Galleries Santa Fe, 130 Lincoln Avenue, Suite D; 480-481-0187, kinggalleries.com — Brian Sandford

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