Pasatiempo, Dec. 7, 2012

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

December 7, 2012

NEW WAVE

PlazaGaleria.com

Free WiFi

Join us FINE SHOPS ï ART EVENTS ï CASUAL DINING Dreamcakes

Desires

CELEBRATE THE HOLIDAYS WITH US! Christmas Eve - 4pm–10pm Christmas Day - 3pm–9:30pm New Year’s Eve - 5pm–11pm New Year’s Day - 5pm–10pm

$4 LUNCH GIFT CERTIFICATE Visit Desires and Dreamcakes on the Plaza Level

66≠ 70 E. San Francisco Street & 115 Water Street Convenient City Parking Lot at Water Street Entrance

3 - Course Dinner Special $35 per person starts this Friday, December 7 Appetizer

Please select one:

Soup du Jour or

Hearts of Romaine w/ Avocado, Chimayo Red Chile “Caesar” Dressing & Ciabatta Croutons Entrée Apple Glazed Double Cut Pork Chop w/ Roasted Yukon Gold Potatoes, Carrots & Green Beans Dessert Any Dessert from our Menu

Open for Lunch & Dinner (Join us for Sunday Brunch, too) reservations, recipes & ‘instant’ gift certificates:

www.santacafe.com

231 washington ave.

505 ï 984 ï 1788 2

December 7-13, 2012

Present certificate Tues. - Sat., 11:30 - 2:30 through December 29 One certificate per person 548 Agua Fria / Santa Fe, New Mexico / 505-982-8608 R i s t r a R e s t a u r a n t . c o m

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IN N E R VISIO N, BALANCE, AND POI NTS OF LI GHT B ANGL E S YANTRA CO LLECTI ON

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Cartier Chanel Chrome Hearts Anglo American Anne et Valentin Beausoleil Lunettes Dolce & Gabbana Etnia Barcelona FACEaFACE Ronit Furst Gotti i.c!berlin Lindberg Denmark Oliver Peoples RetroSpecs Loree Rodkin Theo 2.5 Eyephorics…

Amy Conway 505≠ 992≠ 1041 ï www.amyconway.com Desert Son of Santa Fe ï 725 Canyon Rd. Santa Fe, NM 87501 DR . M A R K BOT W I N DR . JON ATH A N BOT W I N DR . J E R E M Y BOT W I N

Optometric Physicians

444 St Michaels Drive

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Oliver Prezant, Music Director 2012≠ 2013 Concert Season

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Rachmaninoff: Symphony No. 2 in E minor

Sunday *

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World Premiere Winner of the SFCO Composition Competition

December 9th

2:30 pm

St. Francis Auditorium, 107 W. Palace Ave.

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Free admission Donations appreciated

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AFTER the concert: Make the date extra special AND support the SFCO!!!

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Dine at

San Francisco Street Bar & Grill

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Present your concert program and the restaurant will donate 15% of your food cost to the SFCO.

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De Bella Collectibles Buying

RESERVATIONS ADVISED: 982-2044

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Your Personal Jeweler

DISCREETLY, CONFIDENTIALLY BUYING YOUR Gold, Platinum, Silver, Diamonds, Precious Stones, and Vintage & Heirloom Jewelry & Silver ï At a fair value with immediate payment ï Appointments in the safety of your home or in our office

Selling

50 E. San Francisco Street, Santa Fe SFCO projects are made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, the National Endowment for the Arts; the Santa Fe Arts Commission, and the 1% Lodgerí s Tax.

Lensic Presents

Washington Saxophone Quartet December 9 7 pm, $15–$30

Discounts for Lensic members & students

You’ve heard them on NPR’s “All Things Considered”—now join the Washington Saxophone Quartet for a holiday concert at The Lensic, featuring jazz and classical selections, plus songs from their 2011 album ’Tis the Season “ . . . the Quartet demonstrated the compelling qualities of its instruments . . . the players transported the saxophone far beyond its usual role in jazz, blues and swing.”

—The Washington Post

Recent Acquisitions now available for purchase: ï 1,500 carat, Natural Sapphire Crystal ≠ $1,500.00 ï 18 carat Diamond (GIA graded Fancy Intense Deep Yellow Brown) ≠ call for price ï Rolex Milgaus Green Sapphire Crystal new in the box ≠ $7,500.00 ï 2 carat Round Diamond ≠ $6,700.00 ï 3/4 carat Marquies Diamond Wed ≠ $1,000.00

By Appointment Only Contact Joe De Bella, Graduate Gemologist at 505.231.5357 or joseph.debella505@gmail.com

10% of all profits until the end of 2012 will be donated to Santa Fe Youth Shelters

Tickets: 505-988-1234 www.TicketsSantaFe.org S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E

t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n

4

December 7-13, 2012

25% Off All Sleepwear, Robes & Loungewear

Free Parking Thanksgiving weekend in the garage

150 Washington Ave ï 983≠ 9103 Mon. through Sat. 10-5:30, Sun. 12-4

Furnishing New Mexico’s Beautiful Homes Since 1987

Lensic Presents

Dining Room ï

Bedroom ï

Entertainment ï

Lighting ï

Accessories

Featuring Attractive Handcrafted Furniture Southwestern Style ï One≠ of≠ a kind Pieces

The world-renowned Chinese acrobats launch their 2013 national tour at The Lensic, with a new production featuring colorful costumes, spectacular sets, and amazing feats that will thrill the entire family.

December 20, 21 & 22

Thursday & Friday 7 pm Saturday 1 pm & 7 pm

$20–$35

Discounts for Lensic members and students Rio Grande Buffet with Iron Inlay Tropical Hardwood ï 74”w x 20”d x 45”h $2625

Tickets: 505-988-1234 www.TicketsSantaFe.org

PERFORMANCES SPONSORED BY

S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E

Reasonable prices every day of the year!

Please come in, you’ll be pleasantly surprised.

SANTA FE COUNTRY FURNITURE 525 Airport Road ï 660≠ 4003 ï Corner of Airport Rd. & Center Dr.

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TO FIND US ON GOOGLE MAPS USE: 273 AIRPORT RD. ï IPHONE SEARCH USE: “LOC: +35.638542, -106.024098”

PASATIEMPO

5

THE SANTA FE NEW MEXICAN

December 7 - 13, 2012

ON THE COVER 52 New Wave — The Santa Fe Film Festival More than 60 features screen at venues across town in the 13th incarnation of the Santa Fe Film Festival — although most of the films aren’t actually shown on film.

In movie houses around the globe, digital formats are taking over, as director of film programming Brent Kliewer told Pasatiempo. The good news is, the digital evolution is allowing more movies to be created and distributed outside of the major-studio channels.

Pasa’s extensive coverage of festival titles begins on Page 52. Our cover image is from Gregory Crewdson: Brief Encounters, a documentary about the photographer.

BOOKS

MOVING IMAGES

18 In Other Words Sherman Alexie collected

64 Pasa Pics

MUSIC AND PERFORMANCE 20 22 24 28 30 33 34 79

CALENDAR

Loud and cleer Chanticleer sings!

Pasa Reviews The Nutcracker The Mountain Goats Transcendental intonation Aaron Neville Raising his voice Terrell’s Tune-Up It came from the garage Onstage This Week Horse Feathers Pasa Tempos CD Reviews Sound Waves Zechs Marquise at W21

71 Pasa Week

AND 13 Mixed Media 15 Star Codes 68 Restaurant Review

TRADE ROUTES AND YOU 40 New World Cuisine A global banquet at MOIFA

STILL IMAGES 44 Rise up and shoot The Mexican Revolution 48 Farsighted Pentti Sammallahti

ADVERTISING: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday

Pasatiempo is an arts, entertainment & culture magazine published every Friday

by The New Mexican. Our offices are at 202 E. Marcy St. Santa Fe, NM 87501.

Editorial: 505-986-3019. Fax: 505-820-0803. E-mail: pasa@sfnewmexican.com PASATIEMPO EDITOR — KRISTINA MELCHER 986-3044, kmelcher@sfnewmexican.com

Photo by Kitty Leaken, from New World Cuisine: The Histories of Chocolate, Maté y Más

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Art Director — Marcella Sandoval 986-3025, msandoval@sfnewmexican.com

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Assistant Editor — Madeleine Nicklin 986-3096, mnicklin@sfnewmexican.com

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Chief Copy Editor — Jeff Acker 986-3014, jcacker@sfnewmexican.com

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Associate Art Director — Lori Johnson 986-3046, ljohnson@sfnewmexican.com

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Calendar Editor — Pamela Beach 986-3019, pambeach@sfnewmexican.com

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STAFF WRITERS Michael Abatemarco 986-3048, mabatemarco@sfnewmexican.com Rob DeWalt 986-3039, rdewalt@sfnewmexican.com James M. Keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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CONTRIBUTORS Jon Bowman, Laurel Gladden, Patricia Greathouse, Robert Ker, Bill Kohlhaase, Jennifer Levin, Adele Oliveira, Robert Nott, Jonathan Richards, Heather Roan-Robbins, Casey Sanchez, Michael Wade Simpson, Roger Snodgrass, Steve Terrell

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PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2012 The Santa Fe New Mexican

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Robin Martin Owner

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Ginny Sohn Publisher

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ADVERTISING DIRECTOR Tamara Hand 986-3007

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MARKETING DIRECTOR Monica Taylor 995-3824

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ART DEPARTMENT DIRECTOR Scott Fowler 995-3836

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GRAPHIC DESIGNERS Rick Artiaga, Dale Deforest, Elspeth Hilbert

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ADVERTISING SALES Mike Flores 995-3840 Stephanie Green 995-3820 Margaret Henkels 995-3820 Cristina Iverson 995-3830 Rob Newlin 995-3841 Wendy Ortega 995-3892 Art Trujillo 995-3852

Rob Dean Editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

December 13 Wine Dinner

Spend the day with Santa!

Sauvignon Blanc, Carol' s Vineyard, Napa, 2011 with Pizzeta & Stuffed Mushrooms & Diablo Shrimp

Riesling, Bay Mist, Monterrey County, 2011 with Tempura Fried Green Chile & Grilled Romaine

Pinot Noir, Fog' s Reach, Arroyo Seco, 2010 Confit of Duck Leg

Cabernet Sauvignon, Hilltop, Paso Robles, 2008 with Tenderloin of Beef and Lobster Mash

Late Harvest White Riesling, Arroyo Seco, 2007 Grilled D' Anjou Pear with Rosemary Goat Cheese

with Brenda Boychuk of J. Lohr reserve your spot today 505.988.2355 info@tantiluce221.com

Breakfast with Santa

December 8th ; 10am-2pm Bring the kids and enjoy a delicious breakfast with Mrs. Claus and her elves! Then get ready to meet the big guy himself who will be ready to listen to your child's Christmas wishes! $25 per person.

Cookies and Cocoa with Santa

December 8th ; 3-5pm Gather the kids for an afternoon of holiday cheer with Santa while decorating cookies and sipping cocoa! $10 per person.

To make reservations please call 505.995.4502.

221 Shelby Street

Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com

PASATIEMPO

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Guilty as Charged (Framers are people too.)

Saturday, December 8th 2:00-4:00

FINE ART FRAMERS, INC. 1415 W. ALAMEDA, SANTA FE, NM 87501

Holiday Benefit FOUNDATION

incredible collection of asian antiques

furniture ≠ home decor sacred art ≠ textiles rustic old world charm

elegant accents low ≠ low wholesale prices unique holiday gift choices

800 Juniper lane Saturday, Dec 8th noon≠4p m 505≠670≠1378 8

December 7-13, 2012

PASATIEMPO

9

B A B E T T E S F. C O M

1 1 0 D O N G A S PA R , S A N TA F E

(505) 989-3435

Santa Fe Women’s Ensemble

Winter Festival of Song 2012 SANTA FE NOW HAS AFFORDABLE ASSOCIATE, BACHELOR’S AND MASTER’S DEGREE PROGRAMS AVAILABLE IN ONE LOCATION.

Loretto Chapel at 7:00pm Friday, December 7 Sunday, December 9 Friday, December 14 Tickets: $20-35; $16 students/military

HEC.SFCC.EDU Study business, criminal justice, education, human services, indigenous studies, museum studies, writing, arts and more on the Santa Fe Community College campus. Start at SFCC and graduate from NMHU, UNM or IAIA.

REGISTRATION FOR SPRING IS UNDERWAY NOW

GET STARTED TODAY

Immaculate Heart of Mary Chapel at 3:00pm Saturday matinee, December 15 Carmelite Retreat Center Chapel 50 Mount Carmel Road, Santa Fe General Seating $25; $10 students/military

Consult with an adviser from the institution of your choice.

Accessible seating is available For tickets, please call (505) 954-4922 www.sfwe.org ~ email: info@sfwe.org This project is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts. Partially funded by the 1% Lodger’s Tax and the City of Santa Fe Arts Commission.

Tina Ludutsky Taylor tina.ludutskytaylor@sfcc.edu (505) 428-1182

Kelley Mitchell kmitchell@iaia.edu (505) 424-2311

Mary Anne Sandoval santafe@nmhu.edu (505) 424-9185

Carmen Lujan santafe@unm.edu (505) 428-1220

The Santa Fe Opera Annual

Holiday Sale

Beat the crowds this season and enjoy a warm, friendly environment, home-baked treats and plenty of free parking.

Discounts on most items

20% to 60 %

Holidays at the Palace Las Posadas

Christmas at the

Palace

11:00 to 4:00

Please join us!

The Santa Fe Opera Gift Shop

505-986-5949

The Santa Fe Opera Gift Shop Seven miles north of the Santa Fe Plaza on Hwy. 84/285. Exit at south Tesuque.

10

December 7-13, 2012

Young Natives Art Show & Sale

See the next generation of Portal artisans, in the Meem Community Room.

Saturday–Sunday, Dec.15–16, 9:30 AM–4 PM

Friday & Saturday December 7 & 8 Hours

Join a candlelit procession around the Plaza, and stay for carols and cookies in the Palace Courtyard. Free.

Sunday, Dec. 9, 5:30 – 7 PM

Santa Fe’s beloved tradition, with hot cider, live music, piñatas, and a visit by Santa, in the Palace and its Courtyard. Free.

Friday, December 7, 5:30–8 PM

On the Historic Santa Fe Plaza

|

nmhistorymuseum.org

Twice Blessed

See Illuminating the Word: The Saint John’s Bible and Contemplative Landscape, closing Dec. 30.

|

The Mystical Arts of Tibet DECEMBER 8-31

Seeking Outstanding Students!

Join the Fountain Valley School of Colorado Admission Office for a Santa Fe reception to discuss the unique academic and co-curricular opportunities our college preparatory school has to offer your student.

Mandala Sand Painting Live Exhibition December 8-31st Seret & Sons Gallery 121 Sandoval St (next to Alpine Sports) The monks of Drepung Loseling Monastery will construct an Akshobhya sand mandala. The Victor for Conflict Resolution and Peace

Opening Ceremony ï December 8th 2:00 p.m. ï FREE Closing Ceremony ï December 31st (New Yearí s Eve) 10:00 p.m.

Suggested donation $10

Sacred Music Sacred Dance Performance December 15th James A. Little Theater≠ 1060 Cerrillos Rd (bullet) December 15 7:00 p.m.

The framed multiphonic singers from Tibetí s Drepung Loseling Monastery Tickets available at the Ark Book Store, Seret Gallery, Project Tibet and at the Door.

Tickets: $20 ï seniors & children under 12: $15 ï children under 5: FREE

To schedule a houseblessing or other private ceremonies call Marcia Keegan at 660≠ 3352

O

Meet with Assistant Director of Admission O’Neal Turner, and current FVS parents and alumni from Santa Fe. For reception location, RSVP to O’Neal Turner at 719.391.5338 or oturner@fvs.edu.

, . 11 c e D . ay, 0 p.m d s Tue 0 -8: 0 6:0 Since 1930 Colorado Springs, Colo. Boarding and day Coeducational fvs.edu

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Bodhi Bazaar Chapare Dell Fox Jewelry Eidos Contemporary Jewelry El Tesoro Café Get It Together Kioti Lucky Bean Cafe Mercedes Isabel Velarde Fine Jewelry And Art On Your Feet On Your Little Feet Pandora’s

500 Montezuma Avenue Santa Fe www.sanbusco.com

F R E E PA R K I N G

Play Pranzo Italian Grill/Alto Raaga Restaurant Ristra Restaurant Rock Paper Scissor Salonspa Santa Fe Pens SoulfulSilks Teca Tu – A Pawsworthy Emporium The Reel Life Wink Salon World Market Cost Plus PASATIEMPO

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f One Saturday.

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$5 OFF PARTIES OF 3 OR MORE WITH THIS AD* *limit one coupon per group

SEE WHAT EVERYONE IS TALKING ABOUT!

Two Holiday Arts and Crafts Fairs.

Flying by Foy (Stunt coordination by the original Broadway flying company)

Saturday, Dec. 8 9 a.m. to 4 p.m.

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Santa Fe Community College

Works by more than 100 regional artists William C. Witter Fitness Education Center 6401 Richards Ave. | 505-428-1437

Institute of American Indian Arts

James A. Little Theater

Creations by IAIA students, alumni, staff and faculty 83 Avan Nu Po Rd. | 505-424-2310

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At the New Mexico School for the Deaf Featuring a Professional Chamber Orchestra

Dec. 7 at 7:30 pm; Dec. 8 at 2 pm & 7:30 pm; Dec. 9 at 2 pm

Tickets $10 students; $15 general admission Call 466-4656 to reserve your seats, order online at www.eldoradochildrenstheatre.org, or buy at the door.

Call for discounts of 20 or more

CELEBRATING 50 YEARS

r r w fo ea No ling ol Y l ro ho En 3 Sc 1 20

Coffee with The Head of School

Join Terry Passalacqua for Coffee & Conversation

Monday, December 10, 8:45am Tour of campus following

DON’T MISS OUR 25TH ANNIVERSARY SALE THROUGH NEW YEAR’S EVE 20% TO 30% OFF ALL INVENTORY

International Baccalaureate World School

Desert Academy

233 CANYON ROAD, SUITE 1 • SANTA FE • NEW MEXICO • 505.820.6304 • MAP #XX 12

December 7-13, 2012

COLLEGE PREPARATORY GRADES 7-12 7300 Old Santa Fe Trail ï Santa Fe, NM 87505 (505) 992-8284, ext. 14 ï www.desertacademy.org

MIXED MEDIA Extraordinary houses of cards No bending, no folding, no tape, no glue, and 1,800 decks of playing cards.

And what do you get? One example: a tower more than 25½ feet tall. This was just one of Bryan Berg’s card-stacking feats that earned him a Guinness World Record. One of his most difficult was the Bird’s Nest Stadium, designed by Herzog & de Meuron for the 2008 Summer Olympics in Beijing. But his current Guinness Record for largest playing-card structure is for a replica of the Venetian, Plaza, and Sands casino/hotels in Macau.

Requiring 44 days and 218,792 cards, it measured more than 34 feet long and 9 feet tall. Berg, who lives in Santa Fe, leads a free hands-on card-stacking workshop for kids at 6:30 p.m. Tuesday, Dec. 11, at Moving People Dance studios, 1583 Pacheco St.; call 501-2497.

One of the YouTube features about Berg shows him with a card-stacked city; on the tallest building, he experimented with card techniques to create diagonal shingling motifs.

He rigged the entire piece with “invisible” string — black string on the black carpet — which he pulls, off-camera, to slowly demolish the set.

“What people want to see the most is the implosion, for a number of reasons,” he says on another video.

“One, it’s just cool. And number two, it dispels all the rumors about falsities, so when I knock the house of cards down, it qualifies the work” — amazing structures with no tape and no glue.

According to one video tutorial, what he calls the “workhorse of card stacking” is a simple, one-level grid built off of a four-card “cell” — four cards slightly leaning against one another. The grid is very strong, the cards bracing one another and capable of supporting hundreds of times their weight. He says seven decks of cards weighs a pound, and he uses 10 to 25 pounds a day when he’s creating stacked-card structures. “You take all that mass, all that weight, and combine it with all that repetitive geometry, and you’re looking at something that’s incredibly strong.”

Now available is his toy for kids age 8 and up: Cardstackers, a boxed set with 825 cards, plus 16 devices to help you begin properly. With the kit you can build replicas of the Pyramids, the Empire State Building, and a Roman dome — and create your own unique architectural fantasies. You can buy Cardstackers and see tons of pictures and videos at www.cardstacker.com.

— Paul Weideman Left, Bryan Berg and one of his Guiness World Record-winning structures, 2007; © Bryan Berg, Cardstacker LLC

Discount Home Supplies

Monday - Saturday 9:00 a.m. - 5:00 p.m.

2414 Cerrillos Road  www.santaferestore.org  505-473-1114

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MYOFUNCTIONAL, IMPLANT & IV SEDATION DENTISTRY 982-6426 | ALPINELASERDENTAL.COM | CURTIS BROOKOVER, DDS, FAGD, AF-AAID

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Also, guide them in the Light Mirror.

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Readings from $100 an hour

Please call for your appointments ± 505 819 7220 PASATIEMPO

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58th Annual Holiday Tree & Train Celebration!

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Main Office on the Plaza For more information visit our website at www.fnb-sf.com, or find us on Facebook at facebook.com/fnbsf.

Santa Fe | Eldorado | Los Alamos | Albuquerque | Denver Member FDIC

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December 7-13, 2012

All offices 992-2000

STAR CODES Heather Roan Robbins

The world will probably not end, nor will we all ascend this week on 12/12/12. We still have a lot of work to do — it is an auspicious time to turn a corner and move into alignment with the inner rivers of our life.

This week brings steady progress if we have clear goals, deep feelings that need to be guided, concentration that can become obsessive unless we put it to good use, and a deep connection to our dreams and imagination.

Mars in efficient Capricorn encourages our ambition and determination but can leave us overwhelmed if we look far ahead and try to do everything at once. Have small, doable goals.

But we’re not all business. Mercury, Venus, and Saturn in Scorpio give us great emotional depth with less surface chatter and tolerance for nonessentials. Scorpio encourages us to do whatever we do to the max. Don’t play around with jealousy, territoriality, desire, or sibling rivalry — primal feelings get serious quickly and need to be treated with respect and loving kindness.

The weekend begins with some cross currents as energizing Mars makes small rebellious aspects so that it’s hard to do what’s expected. Though we would like to rebel, what we truly want may require more complex and sensitive determination.

The mood lightens next week as Mercury enters upbeat Sagittarius and brightens the following week when Venus follows. As Mercury squares Neptune early next week, we grow more flexible and festive and draw closer to our dreams. Let’s dream with intention.

Holiday Spa Special

BODY Receive

Appointment must be scheduled before 12/24/12. Must present coupon with payment. PT90FOR60

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ì The Mortgage Expertsî

Saturday, Dec. 8: After a moody morning in which dreams linger and inadequacies feel all too apparent as the sociable Libra moon squares Pluto, look for a social, effective day. Keep the warmth flowing, and follow your inner agenda. Don’t try to control others unnecessarily this afternoon. Put people first tonight.

Monday, Dec. 10: The world speeds up, but we may not feel quite ready as Mercury enters cheerful, celebratory Sagittarius and squares Neptune.

Progress becomes unstuck — we see movement but need to proceed carefully for the next few days. Watch for misunderstandings, forgotten or lost items, and a tendency to space out on important information.

RETURNING CLIENT Client formerly inactive for 12 months or more.

a complimentary 30-minute upgrade when you book a 60-minute massage.

Friday, Dec. 7: We can’t just muscle through — our craft needs finesse as well as force. A moment’s indecision may actually help us take in new information as Mars semisquares Neptune. Our social life moves to the forefront later as Venus sesquisquares Uranus.

Sunday, Dec. 9: It’s a dreamy day with snarky undertones. Be introspective.

Later in the day, unconscious undertones influence action. If we don’t communicate about what we’re doing, it may be because we won’t know until we do it.

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Tuesday, Dec. 11: It’s a busy if confusing day; check to see who’s on first and what happens next as the agenda is changing. Watch for weather and water damage and information about problems and projects that arose six weeks ago. Evening mellows with inspiration.

Wednesday, Dec. 12: Keep it short, sweet, honest, expansive, and openhearted with the sun, moon, and Mercury in honest Sagittarius. Tomorrow morning’s new moon launches a journey.

Thursday, Dec. 13: The new moon in Sagittarius tells us to get on with it.

New information and fresh humor ease the way. Though people’s patience may be thin, it gets easier to multitask. Some old issue may come back to haunt us midday but can be worked through with honesty instead of defense. Tonight the Capricorn moon calls us back to our work. ◀ See Heather Roan Robbins and friends on Friday, Dec 14: www.thesantafeastrologycircle.org PASATIEMPO

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Kingston Residence of Santa Fe Invites You to Our 13th Annual Breakfast with Santa Event

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Saturday, December 8, 2012 8:30 a.m. to 11:00 a.m.

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Join us for pancakes, sausage, coffee, juice and milk.

There will be lots of fun activities for the kids and pictures with Santa!

We ask that you bring a donation to benefit The Interfaith Community Shelter Group who house and feed the homeless in Santa Fe. They are in need of mens underwear, socks, warm gloves, indoor sleeping bags, shower gel and shampoo. Gently used winter coats are always needed as well.

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December 7-13, 2012

TONIGHT, FRIDAY, DECEMBER 7, 5:00-7:30 PM

LEWALLEN GALLERIES December Group Show

First Friday Art Walk

JOIN US FOR AN EVENING OF FINE & CONTEMPORARY ART IN THE HEART OF DOWNTOWN SANTA FE

S R BRENNEN GALLERIES Eustaquio Segrelles, Playa en Valencia

MANITOU GALLERIES Holiday Small Works Show

WADLE GALLERIES Sculpture by Sandi Clark

West Palace Arts District The WEST PALACE ARTS DISTRICT is a diverse group of museums and galleries located in the area bounded by the New Mexico Museum of Art, the Santa Fe Community Convention Center, and the Georgia O’Keeffe Museum.

FREE ADMISSION ON FIRST FRIDAYS, 5:00 – 7:00 PM FOR NEW MEXICO RESIDENTS AT THE GEORGIA O’KEEFFE MUSEUM AND THE NEW MEXICO MUSEUM OF ART

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17

IN OTHER WORDS

book reviews

Blasphemy, New and Selected Stories by Sherman Alexie, Grove Press, 465 pages By now, many readers have become acquainted with Sherman Alexie’s stock in trade — forlorn men and women forced to survive in limbo between Indian and white worlds. His work has been published in The New Yorker, produced in Hollywood, and remains wildly popular with teens — The Absolutely True Diary of a Part-Time Indian is a still selling briskly, five years after its publication.

Yet it is his style, rather than his subject matter, that gives him such a broad audience. He has a well-honed ability to inject mordant humor and biting jokes into deceptively simple sentences, as though Raymond Carver found himself edited by Richard Pryor instead of Gordon Lish. “If God really loved Indians, he would have made us white people,” Alexie writes in his 2009 story “War Dances,” one of 31 pieces included in Blasphemy.

While the book contains many stories from Alexie’s breakthrough 1993 collection, The Lone Ranger and Tonto Fistfight in Heaven, most longtime fans of the writer will be skipping straight to the new stories, like “Scenes From a Life.” The narrative follows an unnamed middle-aged white woman as she recounts a lifetime of questionable trysts, failed romances, and dead lovers. She muses, “Though I’ll dance with almost any man in a crowd, I prefer to grieve alone.” Eventually, she circles back to reveal the tender and uncompromising reason why she cannot give herself to a Native American man.

In “Basic Training,” another new one, a man named Deuce plods through rural towns and reservation villages while towing his trailer of asses, trained to provide donkey basketball nights for school fundraisers in the shrinking swath of America that still approves of the sport. His decision to enter the military and turn his back on the sad, declining family business literally ends up destroying the only things he has ever cared about.

Alexie’s fans will find themselves shuffling through pages trying to find the new pieces. Though the book contains 16 new stories and 15 old ones, many of the new works are short, impressionistic pieces. Radical departures from the gallows humor and Indian-vs.-white conflicts that characterize much of his writing, these bite-sized pieces feel like unfinished character sketches. In “Idolatry,” a vapid one-pager, an Indian woman is devastated to learn that she has only been featured on a national, televised singing competition because of her wretched voice.

These new works can often feel overshadowed by the inclusion of the well-known stories upon which Alexie’s career has been built. Reading them nearly 20 years later, it’s clear that “This Is What It Means to Say Phoenix, Arizona” and “Because My Father Always Said He Was the Only Indian Who Saw Jimi Hendrix Play ‘The Star-Spangled Banner’ At Woodstock” have not dimmed at all in their firepower and pathos.

The collection ends with “What You Pawn I Will Redeem,” originally published in The New Yorker in 2003. It stands shoulder to shoulder with any of Alexie’s novels and is a rollicking, unsentimental account of a homeless Indian man’s attempt to recover his dead grandmother’s powwow regalia, now up for sale in a Seattle pawnshop. A dark comedy cast as a biblical epic, the narrative follows an endlessly optimistic man named Jackson Jackson and his companions as they work the streets and stumble drunk in an epic quest to earn a thousand dollars in a single day, finding unexpected sympathy from a cop, a bartender, and a band of lonely Aleuts stranded in Seattle. From drinking to abandonment to broken families, the tale goes through every sad trope of homelessness, while managing to render the characters’ emotional lives in an ecstatic religious register.

For readers new to Alexie, this expansive book does a brilliant job of collecting his greatest hits.

His new material, however, is hit-or-miss. While he is willing to experiment with form and even depart from his traditional characters (many of the newest protagonists are urban whites or people with no particular cultural background assigned to them), you can’t help but get the feeling that the author was trying to sneak some unreleased B sides into his medley of number ones. Despite the book’s flaws, it remains an unusually strong collection by an author who has reinvigorated the short story and given it a cultural relevance largely unseen outside of creative-writing programs.

— Casey Sanchez

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December 7-13, 2012

SUBTEXTS Ho, ho, ho: story time Years ago, people told stories over the long cold winter months. Listening to tales helped them pass the time until the sun and planting season returned. In modern times, families are less likely to sit around the hearth telling tales. (We prefer to huddle over our iPhones and iPads instead.) But sharing stories is an activity that shouldn’t pass by the wayside, and some local institutions, especially Collected Works Bookstore, are keeping the tradition alive.

At 4 p.m. Sunday, Dec. 9, Collected Works (202 Galisteo St., 988-4226) invites the community to its fourth annual Christmas Stories event. Featuring the talents of performers Ali MacGraw, Jonathan Richards, Robert Martin, and Carol McGiffin, the no-charge event will be an afternoon of holiday stories and poems.

All four are regular readers at the Collected Works annual gathering. MacGraw has worked in the film industry for four decades. Richards, local author, journalist, Pasatiempo contributor, and actor, publishes his political cartoons in the Huffington Post. Martin, executive director of the Lensic Performing Arts Center, and McGiffin, a native Santa Fean and a director at the Santa Fe Playhouse, will also be on hand to share memorable holiday stories.

Collected Works doesn’t have a hearth to sit around, but its enticing café and cozy furniture provide a welcoming, warm atmosphere, perfect to nestle in with the family and listen to cheery holiday tales. Instead of the traditional tie for dad this year, why not pick up some books here instead?

— Lauren Elizabeth Gray

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Buddhaland Brooklyn by Richard C. Morais, Scribner/Simon & Schuster, 244 pages Of all the elements of fiction, character is perhaps the most vital to a good read. A plot might be simple, a setting minimal, a conflict minor, but unless the characters are complex, compelling, and believable, the reader isn’t likely to be engaged for long.

For that reason alone, Buddhaland Brooklyn — Richard C. Morais’ follow-up to his debut novel, The Hundred-Foot Journey — is remarkable. Not only does Morais deliver a full spate of colorful and empathetic characters, he creates a protagonist who is as different from himself as east is from west. Where Morais is an American raised in Switzerland and has worked overseas as Forbes’ European bureau chief, his narrator, Seido Oda, is a Japanese boy born in a mountain village in Fukushima Prefecture, brought up working in his parents’ inn. Oda’s was a hard but not exceptionally unhappy childhood, though “Below the surface there was darkness in our family,” Morais writes.

From there on, the plot unfolds like a lotus, requiring Oda to make a series of life changes and personal adjustments — many in response to forces beyond his control — that cause him to repeatedly leave his comfort zone and adopt new modes of coping. Indeed, Oda’s progression reflects the Buddhist saying that opens the book: “The life of a man is like a ball in the river.”

At age 11, he becomes an acolyte with the monks at the nearby Head Temple of the Headwater Sect of Mahayana Buddhism, allowed to see his family only 30 minutes a year. In this rigid environment, he grows up a mostly solitary figure, with few close friends. Yet he finds peace there, thriving on routine, painting, poetry, and intimacy with nature, especially in the towering mountains.

Just when it seems he will live out his days at the temple, he is sent to Brooklyn to open a new temple for the sect’s “American Believers.” Not surprisingly, Brooklyn brings severe culture shock — “a singularly belligerent attack on my central nervous system” — and he finds the Believers “petty and small,” with no unity or discipline.

Conflicts and disappointments inevitably ensue, but in time Oda begins to warm to his hosts, loosen his strict interpretation of the fundamentals of his faith, and accept his eccentric flock — and himself.

Morais uses the diverse cultural strands of Brooklyn to great, and sometimes hilarious, advantage, with culture-clashing scenes at cocktail parties, board meetings, a fashion show, and a voodoo gathering. Oda’s adoptive community is populated with peculiar yet ultimately endearing characters such as his boisterous Italian landlord, a psychotic student, a persnickety fashion editor, and, throughout, his spiky-haired, steadfast female assistant, Miss Jennifer, who is instrumental in his transformation.

Morais writes that his novel is “purely an act of imagination,” and his ability to make it feel familiar and authentic is testament to his extensive research and acute observation. He makes his fictitious Headwater Sect sound real enough to be a legitimate religion, his sensory-rich descriptions of rural Japan seem almost beyond the ken of a non-native, and his ability to get inside the head and speak in the voice of a Buddhist monk border on channeling.

Buddhaland Brooklyn is ultimately a book about faith, perseverance, courage, acceptance, and enlightenment. That it is written with such masterful command of all the elements of fiction should elevate Morais to the forefront of emerging American novelists.

— Wayne Lee

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A CHANTICLEER CHRISTMAS

he Christmas music coming to town with the Grammy Award-winning group Chanticleer, a 12-voice a-cappella men’s ensemble from San Francisco, won’t be competing with this year’s hot holiday albums by Rod Stewart, Cee Lo Green, or Olivia Newton-John and John Travolta. Chanticleer, celebrating its 35th anniversary during its 2012-2013 season, was founded to explore early music. Its sound is as austere as the Gregorian chants that open its concert at the Cathedral Basilica of St. Francis of Assisi on Friday, Dec. 7. To be sure, Christmas carols are on the program, just not the same versions you are likely to hear at a shopping mall.

“Come for a moment of peace,” said Jace Wittig, interim musical director. “More people tell us thank you in December than any other time of year. They say, Take me away. Our music is smart and engaging, and we have a unique sound, clear and precise.”

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December 7-13, 2012

Lisa Kohler

Michael Wade Simpson I For The New Mexican

Because men and women were not allowed to sing together in churches during the Renaissance, masterful works were written in that era for male ensembles, Wittig said. Among the singers of Chanticleer, however, are several countertenors, whose ability to sing in the highest range of the male voice enables the group to perform choral works written for men and women. Versatility is one of the group’s hallmarks.

In the decades the group has been touring (venturing out from California for six or seven months every year), its programming has broadened from early music to include American spirituals; original compositions (Chanticleer has commissioned work from more than 70 composers); show tunes; Asian, African, and other non-Western forms of music; and jazz. The Siren’s Call, a concert performed in San Francisco in the fall, “explored the mysteries of the unknown” and featured an arrangement of the Tom Waits tune “Temptation.” As an artistic

response to 9/11, Chanticleer toured the country with an all-American program called Our American Journey.

Chanticleer’s 2012 Christmas tour includes stops at the Metropolitan Museum of Art in New York as well as the Walt Disney Concert Hall in Los Angeles. A Chanticleer Christmas is broadcast annually on more than 300 public radio stations.

At the cathedral, the chorus begins divided into three groups, singing three different chants, which will be layered together as the performers approach the altar. At that point the singers perform “Nesciens Mater,” a motet by Jean Mouton, a leading French composer of the early 16th century.

“It’s one of the most transcendent pieces,” Wittig said. “It’s a big, eight-part motet with gentle, warm lines that just keep flowing.” Other pieces from the same era on the program include “Rorate caeli,” by the Slovenian composer Jacob Handl, “Angelus pastores ait,” by Andrea Gabrieli, who was once the organist at Venice’s San Marco Cathedral, and “Pastores dicite” by the 16thcentury Spanish composer Cristóbal de Morales.

The familiar German carol “In dulci jubilo” is performed in four verses, each by a different composer. The first is an anonymous version from the 16th century; the second is by Michael Praetorius; the third by Hieronymus Praetorius; and the last by Johann Sebastian Bach. “We don’t get to sing Bach too much. So much of it is so high and is meant to be accompanied, so it’s a real pleasure to have this little segment in our concert.”

Two works on the program are compositions by Arvo Pärt, an Estonian composer born in 1935. Pärt’s music is well suited to the voices of Chanticleer, Wittig said. His later compositions have a pointillistic quality that the composer once described as tintinnabulatio or “little bells.” “I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me,” Pärt wrote. His “O Adonai” is on the program, as well as “O Morgenstern.” Part of his Seven Magnificat Antiphons, “O Morgenstern” includes the lyrical phrase “O morning star, incandescence of pure light, radiant sun of righteousness: O come and enlighten those who sit there in darkness.”

In contrast to the austerity of Pärt’s compositions, the last piece on the first half of the program is “Svete tihiy” by Alexander Gretchaninoff (18641956). “It’s high-romantic Russian, with all the decadent, rich, stunning music you could want — a chance for us to show off our lowest notes,” Wittig said.

The Ave Maria by Franz Biebl (1906-2001) is one of the most requested pieces by Chanticleer during the holiday season. It opens the second half of the program. “It’s special to us,” Wittig said. “Joseph Jennings, our director in the 1980s, first heard the piece, which was unknown in the United States, and said, ‘We have to get our hands on it.’ It blends new and old traditions of chant and choral harmony. It’s one of our anthems.”

Many of the Christmas carols offered during the last part of the program were arranged especially to fit the “Chanticleer sound,” Wittig said. “A Spotless Rose,” by Herbert Howells, has a free-flowing, almost meterless movement that evokes plainsong. “A Christmas Carol” by Charles Ives, the experimental American composer, is “quietly rocking” according to the program notes. “Il est né le divin enfant” is a traditional French carol arranged by John Rutter. “The Town Lay Hushed,” by Thomas Tallis, is an English carol from the 1500s. It features a juxtaposition of major and minor sonorities to illustrate the contrast between Christ’s birth and the cold of winter.

“We bring panache and life to music,” Wittig said. “We don’t sing early music as if it were a painting on the wall of a museum that can’t be touched.

We dive into music that we are learning, find out what the words mean, and what were the passions and inspirations of the composer.” ◀

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Save the Date May 4, 2013 Time for 2012 taxes benefit museum educational programs at the to Donate Proceeds Museum of International Folk Art. Call the hotline (505) 476-1201.

For more info visit moifa.org/folkartlea.html MUSEUM OF NEW MEXICO FOUNDATION

FRIENDS OF FOLK ART

Museum Hill Off Old Santa Fe Trail

Jennie Cooley Gallery Presents:

CIRQUE de COOLEY Fine Art at Studio Prices, seven days a week till Christmas Dennis Larkins, Esteban Bojorquez, Joe Buffalo Nickels, Holly Wood, Mark West, Don Kennell, Michael Sharber, Gilbert Candelaria, Michael Stone, Kathleen O’Neill, Pamela Frankel Fiedler, Leah Saulnier, Jennie Cooley and Stan Solomon Unstuffed animal couches & the 16-foot man take Center Ring, along with new work by artists: Friday, December 7, 5pm - 7pm

Gallery open 10am - 5pm, Sunday - Thursday & Saturday; 10am - 7pm Friday Lucky Bean Cafe, Sanbusco (formerly Borders)

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details ▼ A Chanticleer Christmas, presented by the Santa Fe Concert Association ▼ 7:30 p.m. Friday, Dec. 7; preconcert talk 6:30 p.m. (free to ticket holders) ▼ Cathedral Basilica of St. Frances of Assisi, 131 Cathedral Place ▼ $10-$50; Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org)

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PASA REVIEWS The Nutcracker, Aspen Santa Fe Ballet Lensic Performing Arts Center, Dec. 1

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December 7-13, 2012

spen Santa Fe Ballet’s annual Christmas extravaganza is the one time of the year when this contemporary company gets classical. It’s time to don the white tights, toe shoes, and tulle; grab all the kids from the dance school; and hire some reinforcements. Save cutting edge for the rest of the year. It’s Nutcracker season!

This elaborately costumed and well-designed version of this familiar ballet (choreographed by company directors Tom Mossbrucker and JeanPhilippe Malaty) was quickly paced and managed to strike a successful balance between pure dance sections and the kinetic overload of kids fighting over Christmas presents, rats fighting toy soldiers, and a roundthe-world-in-30-minutes second act, ostensibly in the Land of the Sweets.

Unfortunately, the little girl at the center of the ballet, Clara, played by Ahna Alarcon, was not offered much of an opportunity to relate to the Nutcracker, the man of her dreams. The girl’s emotional awakening — which should be the narrative core of the ballet — got short shrift here. Still, there was plenty of magic, the unforgettable score by Tchaikovsky, and no shortage of cute kids parading across the stage. There’s something to be said for good, oldfashioned story ballets, and it was great fun to watch the company dancers immersed, temporarily, in such a different milieu.

An expanded corps de ballet offered some of the most memorable moments of the evening. After the pandemonium of the party scene and the subsequent trumpet-blaring battle between mice and toy soldiers, the arrival of snow — and 12 ballerinas in long white costumes — was like a cool glass of water after too much Christmas dinner. Company dancer Seia Rassenti, as the Snow Queen, was transcendent. Partnered by Joseph Watson, who had a couple of opportunities to dazzle the audience with his huge jumps, Rassenti had a luminous quality to her dancing, real confidence as a classical ballerina, and particularly expressive arms.

Act 2, Clara’s journey through the Land of the Sweets, was a kind of international vaudevillian variety show (in this production, with an elaborate carousel), with Spanish, Arabian, Chinese, and Russian variations, among others. Katherine Bolaños started things off as the Sugar Plum Fairy.

Hers was the most extensive and technically challenging role of the evening, and although she may look more at home throwing herself into the challenges of contemporary work, she was up to the demands of this classical role, although it seemed that she was so focused on the pointe work that her back and arms didn’t have as much fluidity as they might.

Beth Kaczmarek, who studied at the company’s school in Santa Fe, offered poise and attack in the Spanish variation as well as a clearly defined character, something dancers aren’t always able to accomplish. She also stood out as the Governess in Act 1. Katrina Amerine studied ballet before becoming an aerialist. Her Arabian variation took place in midair, but she had the placement of a ballerina instead of a gymnast. Danila Sherstobitov and Anna Zinenko brought genuine Russian heritage and professional folk-dance experience to the Russian variation, while Zhongmei Li, offering a ribbon dance in the Chinese variation, lent a slightly over-the-top quality to her role.

Norbert De La Cruz III played the Jack in the Box in the first act. A graduate of Juilliard along with several of the newest full-time dancers in ASFB, he has been making a name for himself as a choreographer. (He created a piece called Square None on the company last season.) His dancing was flashy and furious, but he also brought clarity and attention to detail to his every moment on stage.

— Michael Wade Simpson

PASATIEMPO

23

THE MOUNTAIN GOATS

From left, Jon Wurster, John Darnielle, and Peter Hughes

D.L. Anderson

Robert Ker I For The New Mexican

“D O

E V E R Y

S T U P I D

T H I N G

T H A T

barks John Darnielle on “Amy AKA Spent Gladiator 1,” the first song on the Mountain Goats’ latest album, Transcendental Youth. The lyric could double as a mantra; Darnielle has spent the better part of two decades singing about people who do whatever they can to feel alive, no matter how stupid it is. From the codependent married couple in 2002’s Tallahassee, to the methamphetamine addicts of 2004’s We Shall All Be Healed, up through the subjects of Transcendental Youth — often musicians who flamed out early, such as Amy Winehouse and Frankie Lymon — Darnielle sings about people who live life intensely, and he honors them by performing with the requisite level of urgency.

In the early part of Darnielle’s career — when he was the lone Mountain Goat — he filtered this intensity through lo-fi albums, often recorded on a boombox.

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December 7-13, 2012

M A K E S

Y O U

F E E L

A L I V E ,”

These homespun recordings suggested that the songs needed to get out of him by any means possible, and they showcased his literate songwriting, his gift for imaginative similes, and his ability to cut to the emotional core of his subjects.

With his albums and his fiery live show — which he brings to Santa Fe Sol on Friday, Dec. 7 — Darnielle won over a passionate fan base, which steadily grew throughout the 1990s. Eventually, he was able to quit his day job as a nurse.

“It was kicking and screaming,” Darnielle told Pasatiempo about the transition.

“I was really wedded to the day job. I think nursing is a noble calling, and I enjoyed it. But then it got to the point where I’d look at my year-end money situation and say, Well, I’m making better money touring than I am back home in Iowa nursing. And that’s how it happened to me.” When people ask him how

to become successful, he advises, “Resist it as long as you can! Do [your art] as a creative pursuit until it becomes so overwhelmingly consumptive of your day that you have to cut out your other pursuits. I didn’t have any ambitions to make music my day job, but it got to a point where more of my passion and more of my time was going into music.”

Over the years, he fleshed out that music. By the end of the 1990s, he stopped playing by himself and added other members to his band. In 2002, he put away the boombox for good and began recording albums in professional studios. Strings and brass started making their way onto the albums with 2005’s The Sunset Tree. With Transcendental Youth, a full horn section boosts “Cry for Judas” and other songs. All told, this was an evolution that took about 20 years.

“I’m stubborn about making changes,” Darnielle said. “You know how you have a day job, and they bring in someone to talk about team morale and all that kind of stuff? One thing they always talk about is how you have to be open to change. That was always the part of my workday where I said, Wait, what if the change isn’t good? Before I add something, I want to think the matter through super-hard. I don’t want to try it and then see if I like it.

I want to think about it, I want to consider what it might sound like, and I’ll pull the trigger on it if I think it’s going to be awesome.”

The protagonists in Darnielle’s songs are often distinctly more impulsive.

And thanks to his explosive imagery and vocal delivery — like a more nasal Lindsey Buckingham, with a range from tender to acidic — the conflicts and dilemmas of these people, whether they’re fending off a liquor store robbery or waking up the morning after a partner has moved out, are epic to near-biblical in proportion. (Indeed, Darnielle even structured a whole album around Bible verses.) Darnielle is unafraid of the darkness. He’s a big heavy-metal fan drawn to stories of tough people making it through a tough world. He recently had a son, but don’t expect the Mountain Goats Disney album anytime soon.

Darnielle said the birth of his son affected his writing “in terms of how much time I have to spend doing it. I’m not going to write about the sweetness of life all of a sudden. When people do that, I have a major attitude problem. It’s like, Waaaait. You were staring at the void until you became a dad, and suddenly there was no void! I hate that. I think that would be setting a very bad example for my son [to say]: I cultivated my muse, and I was careful to be faithful and true to it, and then a good thing happened in my life and I abandoned it. … The new album was written largely with an infant in the house, and it’s some of the darkest, hardest work we’ve done.”

He may be right. Transcendental Youth’s “In Memory of Satan,” with lyrics like, “In old movies people scream/Choking on their fists when they see shadows like these,” details a person deep in the throes of depression. But Darnielle’s characters never stay down for long; they are bracingly resilient and usually make it to the light at the end of the tunnel. One reason he has attracted such a devoted fan base is his skill at depicting life’s low points and his determination to get his characters through them. This mind-set is best summarized in his beloved “This Year,” a rousing anthem punctuated by the chorus, “I am going to make it through this year if it kills me.”

“I think it’s clear that I am an optimist by nature,” he said. “People in my songs tend not to die. They don’t give in to despair; they do something else with their despair. But it’s not the optimism of a purely cheerful perspective.

It’s the optimism of hard choices. If you’re going to be crushed by something, and it’s going to happen, and there’s no way of escaping from it, well, you can get mad or you can make a scene, but it’s still going to happen. My outlook tends to be: Do something cool, because the thing’s going to happen anyway. I think ‘cynical’ and ‘optimist’ are kind of a false binary. I’m someone who sees the darkness, but I also see that there is a light switch.” ◀

details ▼ The Mountain Goats with Matthew E. White ▼ 7:30 p.m. Friday, Dec. 7

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ENRIC MAJORAL Miraculous

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December 7 - January 6, 2013 Reception for the Artist Friday, December 7, 5:00 - 7:00 Open Sunday December 16, 23, 30 - 11 - 4 pm

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PASATIEMPO

27

ra

s i h g n i is VOICE

Aaron Neville gets high on carols, gospel, and doo-wop

Sarah A. Friedman

Bill Kohlhaase I For The New Mexican sk Aaron Neville what the holidays were like growing up in New Orleans, and his answer reveals a lot about the popular vocalist’s formative years. Neville, one of six children, grew up in the city’s Calliope Projects.

His gifts were mostly modest. “All six of us kids weren’t around all the time,” the singer said in a phone call from his home in the East Village. “[Brothers] Art and Charles were older, and they were out doing their own thing. My sister [Athelgra] and I were the closest.

Christmas was cool. We got a bicycle one year and took turns on it.” His favorite gift? “I loved to get marbles.

You had a pocket full of marbles growing up in the projects, you were cool. That was the most valuable thing.”

Neville’s sweet top-of-the-tree voice has been closely associated with the season since the release of his recording Aaron Neville’s Soulful Christmas in 1993. A mix of secular and sacred music, all done with soulful touches in that false-less falsetto, the collection is a perennial favorite. Its success led to an annual holiday tour for the singer — he lands at the Lensic Performing Arts Center on Monday, Dec. 10 — and a follow-up recording, 2005’s Christmas Prayer. Music, Neville said, was always a big part of the holidays. “We had all that Christmas music around home — Nat Cole, Charles Brown. Mom used to like Perry Como. We 28

December 7-13, 2012

were always listening to Ella Fitzgerald. I didn’t sing in the choir, but I grew up hearing ‘Ave Maria’ at church. I didn’t know what they were talking about, what the lyric meant. But I loved that song.” Neville knows the lyrics now. As heard on the Christmas Prayer recording, the devotional favorite is the perfect vehicle for Neville’s style and unique voice. He decorates Schubert’s melody with his characteristic vibrato and embellishments, adding rhythmic interest with calculated pauses and soulful interjections. The sincerity that he radiates adds emotion that less faithful singers couldn’t instill. “That’s all very important to me. I’ve been very close to gospel music all my life. The church has been important; it’s been an inspiration to me, both in my life and in music. It’s helped me out of some hard times.” The singer wears his religious devotion — he was raised Catholic and claims St. Jude as his protector — under his sleeve, where there’s a tattoo of Jesus, and on his face, where a simple cross is etched into his left cheek.

Neville’s 2010 recording, I Know I’ve Been Changed, is a testament to his love of church and gospel music. The liner notes to that recording recount how, as a toddler growing up in New Orleans (he was born in 1941), Neville would sit on his grandmother’s lap and listen to Sister Rosetta Tharpe, The Blind Boys of Alabama, and others. “So much of how I sing came from listening to that music,” he said. Indeed, gospel influence can be heard in Neville’s first break-out single, “Tell It Like It Is,” which reached No. 2 on Billboard’s Hot 100 chart in 1967.

Another major influence on Neville was Sam Cooke. Neville had a minor R & B

hit with Cooke’s “Over You,” which he recorded in 1960. The gospel group The Soul Stirrers, of which Cooke was a member, was an early inspiration.

An unmistakable and perhaps unavoidable influence on Neville’s career comes from his hometown. Among all the musicians associated with the Crescent City, the Nevilles and their various spin-offs, including The Funky Meters (now The Meters), hold a special place in contemporary New Orleans music. As a teenager, Neville worked with Larry Williams in New Orleans and recorded with him on Williams’ 1957 hit “Bony Maronie.”

Brother Art enlisted Aaron in 1958 to work as his replacement in the Hawkettes while Art was in the Navy. It was about this time that Aaron first began working with famed New Orleans producer, songwriter, and pianist Allen Toussaint. Some 50 years later, Neville enlisted Toussaint to play piano on I Know I’ve Been Changed. All four brothers — Arthur, Aaron, Cyril, and Charles — joined together in the late ’70s to become The Neville Brothers, a group that has had high moments (“Iko Iko”) and low ones (1987’s Neville-Ization II). The group gathered once again last May, as the brothers have done for many years, to close the New Orleans Jazz and Heritage Festival.

The other major influence on Neville’s music is the doo-wop tradition.

Not only did he listen to recordings from Pookie Hudson and The Spaniels, The Flamingos, the Clovers, Sonny Til and The Orioles, Clyde McPhatter, and other now-obscure groups while growing up, he had a family involvement. “My brother Art had a doo-wop group,” he explained. ”They’d sit on a park bench, and I’d go down there and listen to them. When I could hold a note, they finally let me sing and do the harmonies.”

Last spring, after signing with the prestigious jazz label Blue Note, Neville went into the studio to record My True Story, a collection of doo-wop favorites and other tunes, including Curtis Mayfield’s “Gypsy Woman” — done in the doo-wop style. Neville’s unlikely partner in the project? Rolling Stones guitarist Keith Richards. “Don Was [president of Blue Note] had produced the Stones and knew Keith was into doo-wop.

When they were working on [the Stones’ recording] Voodoo Lounge, Don had a room beneath Keith’s at the hotel and noticed that Keith kept playing this one doo-wop song — ‘My True Story’ — over and over. So when this project came along, he asked Keith if he’d like to get involved.” Richards and Neville shared more than an interest in the music. The Brothers opened for the Stones in 1981, and Aaron’s son Ivan Neville, a member of The Neville Brothers, was involved with Richards’ solo project The X-pensive Winos.

Richards plays guitar on the album’s cover of “My True Story.” “Yes, it’s appropriate,” Neville laughed. “It’s the story of my life” — “Love will make you happy/Love will make you cry,” go the lyrics. Eugene Pitt, who wrote the song a half-century ago as a founding member of The Jive Five, also makes an appearance. “It was like a dream come true, having [Pitt] on the recording. Keith knew him and called him up to get him involved.” The recording also includes doo-wop veterans Dickie Harmon of the Del-Vikings and Bobby Jay of The Teenagers. It’s set for release in January.

Life has been hard for Neville since Hurricane Katrina drove him from New Orleans. His wife of 47 years died in 2007. He has resettled — permanently, he said — in New York, where he’s spent the last four years.

On the day he spoke to Pasatiempo, he was celebrating his second wedding anniversary with his new wife, photographer Sarah A. Friedman. Neville said his health — he’s famous for his body-builder’s physique — and his faith remain strong. He turns 72 in January and suggested that he has made a decision to slow down. (He asked about the elevation in Santa Fe. The singer suffers from asthma.) “I’ve cut back,” he explained. “I’m not doing the thing with The Brothers anymore. I don’t want to be on the road as much as I used to be. It was killing me. But I’m fine — still work out and keep in shape. And I still love to perform. That’s the bottom line.” ◀

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PASATIEMPO

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TERRELL’S TUNE-UP Steve Terrell

Two-car studio Here are a few new, or at least fairly recent, records from the sonic garage. ▼ Just A.S.K. by Alien Space Kitchen. This Albuquerque group describes its sound as “hot interstellar space punk for consenting adults.”

Dr. Rox (Dru Vaughter) handles guitar bass and most of the lead vocals, and Chiffon (Noelle Graney) plays drums and sings. They create a pleasant, upbeat, kind of garagey, kind of poppy sound with catchy tunes that might remind you a little of early New Pornographers.

Did I say catchy? Some of these melodies will stick in your head all day. “Lucky Boy,” the opening track, might be the best one on the album.

It’s probably the hardest-rocking one, with lyrics extolling the joy of being a local rock hero. “Give those lucky bones another throw/Let’s get this rock ’n’ roll show on the road,” Vaughter sings.

In “Parallel Universe,” an acoustic guitar is prominent, and the lyrics are dark. “In the new world paradigm, everyone’s a whore.” Though it doesn’t sound like country music, in the last verse Vaughter name-checks the Hillbilly Shakespeare: “To quote the late Hank Williams, no one gets out alive.”

Graney sings lead on “Red Planet,” a dreamy tune aided by Steve Brittenham on organ and Vaughter’s wah-wah pedal. The group lives up to its space-alien heritage on “Alien Frontier,” thanks to guest theremin player Dan Vascko.

And even though “Funky Russia” doesn’t sound particularly funky or remotely Russian, it’s a punchy little number.

The least interesting songs here are the folkrock influenced numbers such as “I Can’t See It Anymore” and “The Cause.” Alien Space Kitchen should stick to the space pop and leave the warmed-over alt country to lesser mortals.

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December 7-13, 2012

The sound on LoveStruck’s new album is more varied, more experimental, and ultimately more memorable than before.

It’s the sound of a band that’s growing.

Just A.S.K. is available in vinyl, CD, and MP3 downloads. Check out www.alienspacekitchen. bandcamp.com. ▼ Glow in the Dark by LoveStruck. The group isn’t well known in these parts, but it is one of the finest bands I’ve ever met hiding out at the GaragePunk Hideout. LoveStruck is a basic guitar/bass/drums trio seeped in garage punk with recessive rockabilly DNA. The band is based in Brooklyn, though frontwoman Anne Mette Rasmussen is originally from Denmark. She sings and plays guitar. (Her day job is technical fashion designer.) Bassist Stu Spasm and drummer Rich Hutchins round out the band.

This is LoveStruck’s second full album, following 2010’s Will the Good Times Never End? And it’s no sophomore slump. The group hasn’t lost that original spitfire spirit and knack for writing good hooky tunes that made me like it in the first place. But the sound on the new album is more varied, more experimental (without sounding self-conscious), and ultimately more memorable than before. It’s the sound of a band that’s growing.

I love LoveStruck’s rocked-out tough-chick tunes like “Dogs and Dolls,” “Don’t Look Down,” and “Stick a Fork in It” as well as frantic sonic craziness like “Ji Ha.” Another standout is “The Wolf,” a minor-key psychedelia-infused track (someone’s playing a lysergic organ on this one) that Nick Cave might appreciate. I can’t tell what the song “Gypsy” is about, but the crazy rhythms are a nice showcase for drummer Hutchins. I’ve already praised the song “Shoot the Freak” in this column. Named after a nowdefunct game booth on Coney Island, this brash little cruncher — with Rasmussen shouting “I am a lunatic!” — is one of the strongest cuts on the recent GaragePunk Hideout Halloween collection, Garage Monsters.

But the song against which I’ll measure all future LoveStruck material is the title track. It’s a slow, sleazy minor-key tune that might best be described as “garage noir.” There’s even a cello that comes in in the middle of the song, but it’s mixed so masterfully that it’s not overwhelming, as cellos sometimes are with rock ’n’ roll songs.

I’m tempted to complain that the album is too short — 10 songs weighing in at just 23 minutes. It left me wanting more. But LoveStruck accomplishes more in 23 minutes than a lot of bands do in an hour. Get struck at www. lovestruckmusic.com. ▼ Now More Than Never by The Nevermores.

This high-energy St. Louis foursome is influenced by a lot of the usual garage-rock suspects — The Sonics, The Stooges, Billy Childish, Edgar Allan Poe — maybe Poe isn’t that usual. Actually, the band’s previous album, Nevereverafter, featured several songs ripped from the pages of the poet —“Annabel Lee,” “I Lost Lenore,” “Tell-Tale Heart.” They aren’t the first musicians to be inspired by Poe. Folkie Phil Ochs put the poem “The Bells” to music in the ’60s.

On this album, The Nevermores’ Poe lore isn’t quite so obvious. For instance, I don’t think Edgar Allan had anything to do with the song “Tangerine Submarine.” But there are plenty of tracks to give listeners a mild case of the creeps as they rock out. Among these are “Shallow Grave” (another one from Garage Monsters), “I’m Waiting” (in which the narrator appears to be a stalker), and “Adeline,” in which the narrator compares his love to the “ghostly remnants of an opium dream.” Visit www.troubleinrivercity.com/ thenevermores. ▼ What kind of message does this send to the children? You might know Gregg Turner as a former Angry Samoan, a Roky Erickson accolade, and a writer of crazy songs about chupacabras and hantavirus. But he also loves children and has two beautiful little girls. Turner got bent out of shape when he heard about the financial woes of the Santa Fe Children’s Museum, so he organized a benefit with local favorite Jono Manson — who, like me, has the weird distinction of singing at Turner’s wedding many years ago. Also on the bill are Turner, naturally, and Art of Flying from Taos. I’ll make one of my periodic comical attempts to play a couple of songs. The show is at 7:30 p.m. on Friday, Dec. 7, at Gig Performance Space, 1808-H Second St. (www.gigsantafe.com).

Admission is $10. ◀

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December 7-13, 2012

ON STAGE SFCO stirs up the holidays The Santa Fe Community Orchestra presents its annual Winter Concert at 2:30 p.m.

Sunday, Dec. 9, at the St. Francis Auditorium in the New Mexico Museum of Art (107 W. Palace Ave.). The concert showcases Rachmaninoff’s Symphony No. 2 in E Minor, op. 27; Vivaldi’s Concerto for Flute in F Major, featuring Carol Redman on flute; and a world premiere by Keith Allegretti (pictured). SFCO was founded in 1982 and was awarded a Mayor’s Recognition Award for Excellence in the Arts in 2007. The company hosts several events throughout the year, including instrumentmaking workshops and children’s concerts. There is no charge for admission, but donations are appreciated. The orchestra’s classical renditions are a stirring way to usher in the holiday season. Contact 466-4879 or visit www.sfco.org.

New blood at Sangre de Cristo Chorale The Sangre de Cristo Chorale, celebrating its 35th anniversary, also celebrates the arrival of a new music director, Maxine Thévenot — the director and founder of Polyphony: Voices of New Mexico and director of cathedral music and organist at the Cathedral of St. John in Albuquerque. The chorale’s holiday concert is Sunday, Dec. 9, at 2:30 p.m. at Santa Maria de la Paz Church, 11 College Ave. Two new works have been written and arranged for the chorale, “From East to West,” by Frederick Fram, and “The Snow Lay on the Ground,” by John Michael Luther. The chorale is joined by guest instrumentalists, including trombone, trumpet, and harp players and an African drummer. Music by Giovanni Gabrieli and Hans Leo Hassler and carols from Spain, Israel, Ukraine, Germany, Japan, and France are also performed.

Tickets are $20 (discounts available; those under 18 no charge when accompanied by an adult.). Tickets can be purchased from Tickets Santa Fe at the Lensic (988-1234, www. ticketssantafe.org).

THIS WEEK

Adventures in choral music: Santa Fe Women’s Ensemble The Santa Fe Women’s Ensemble won the 2012 Adventurous Programming Award from Chorus America and ASCAP last summer.

The 14-member group, under the direction of Linda Raney, brings its spirit of adventure into the holiday season with A Winter Festival of Song at 7 p.m. on Friday, Dec. 7; Sunday, Dec. 9; and Dec. 14, at Loretto Chapel (207 Old Santa Fe Trail), and 3 p.m. Saturday, Dec. 15, at Immaculate Heart of Mary Chapel (50 Mount Carmel Road). The program includes That Passeth All Understanding, a premiere

by New Mexico composer Bradley Ellingboe, inspired by a poem by Denise Levertov. For tickets ($25 to $35; student discounts available), call 954-4922.

Get your Irish up at Santa Fe Playhouse

John Clark

Santa Fe Playhouse (142 E. De Vargas St.) presents The Weir by Conor McPherson, an Irish ghost story that plays out in a familiar Irish locale — the pub. Featuring Carey Cox, Garth Fitzpatrick, Justin Golding, Kerry Kehoe, and Liam Lockhart, and directed by Matt Sanford, The Weir tells the story of group of pub-going friends whose lighthearted banter and ghost stories take an unanticipated turn when a Dublin newcomer arrives with profound stories of her own. The play won McPherson the Evening Standard Award for Most Promising Playwright in 1997. Tickets for the gala at 7:30 p.m. on Friday, Dec. 7, are $25 (doors open at 6:30 p.m.). After that, tickets cost $20, discounts available. Performances on Saturday and Thursday, Dec. 8 and 13, begin at 7:30 p.m.; the Sunday, Dec. 9, show starts at 2 p.m. The play runs Thursdays-Sundays through Dec. 23. Call 988-4262 or visit www.santafeplayhouse.org.

Just folksy: Horse Feathers Fans of stringed instruments will get their fix when chamberfolk band Horse Feathers comes to High Mayhem Emerging Arts (2811 Siler Lane) at 7:30 p.m. Saturday, Dec. 8. “It was exacerbated by moving to Portland and being broke,” Horse Feathers frontman Justin Ringle said of his change from rock to folk. “I didn’t have the means to have a house or rent a practice space, so the only thing I could really do is play an acoustic guitar. And I eventually realized ... the acoustic guitar was all I needed.” Now he has a cellist, a violinist, and a banjo player as well. Tickets are $12 in advance from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org); $15 at the door.

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PASA TEMPOS

album reviews

Argo: Original JOACHIM RAFF Motion Picture Soundtrack Piano Works, 1 (Grand (Water Tower Music) Composer Piano) European musical culture Alexandre Desplat’s ability has been was politically divided in the mid-19th shown in the classically orchestrated themes century, broadly split between composers he’s written for Harry Potter and the Deathly who upheld time-honored principles of Hollows, his Satie-like piano laments for form and harmony (like Mendelssohn the George Clooney-produced geopolitical and Schumann) and those who favored a thriller Syriana, and the down-home banjomore unfettered approach to structure and and-fiddle-laced tunes for the stop-action chromaticism (like Liszt and Wagner). The film The Fantastic Mr. Fox. His music for Argo, Swiss-born composer Joachim Raff, true the Ben Affleck vehicle about the rescue of American diplomats to his origins in the land of compromise, managed to finesse that from Iran in 1979, integrates Middle Eastern voices and instrumenaesthetic chasm. The chameleonic aspect of his talent emerges in Tra tation with chamber orchestra in a coming together of Western and Nguyen’s world-premiere recordings of three of his piano works, includIranian music traditions. When it works, as on “Tony Grills the Six,” it ing an ingenious Fantaisie discovered in 2010 tucked away among some works well. But in some of the 17 pieces, exotic effects from the ney (a Liszt pieces in a Dutch library. Since the score includes markings in Liszt’s traditional Iranian wind instrument), the three-stringed kemenche with its hand, it was probably played by him, most likely in the period 1850 to 1856, wiry ring, and the lutelike oud attempt to inject dread into the contrasting when Raff served as his personal secretary. Several movements of Raff’s cycle calm of the European instrumentation, suggesting a sort of nationalFrühlingsboten (Harbingers of Spring), certainly from that time, are istic good-and-bad attachment to certain instrumental sounds. deeply Lisztian: the searching “Annäherung” (Rapprochement), Other times, the reverse is true. The sustained tones with the demonic fugue “Wirrniss” (Confusion). Others of its metal-on-metal effects and the rumble of distant tympani movements are more like Schumann — the flickering explosions heard on “Bazaar” are softened with breathy nervousness of “Unruhe” (Agitation), the cheerful rhythAs The Babies, ney lines. Vocal percussive effects join hand drums mic displacements of “Frohe Kunde” (Good Tidings) — or to give the music a rhythmic immediacy. Take away Mendelssohn, in the “song without words” graciousness Cassie Ramone from the the Iranian influence and what are you left with? The of “Zu Zwei” (Both Together). Raff’s three Klaviersyrupy “The Mission,” an imperialistic anthem that Soli (1852) are the most ambitious pieces, and Tra’s Vivian Girls and Kevin sours the tense mood. Thank goodness the ney enters at precise, tasteful, yet emotionally charged interpretation, its close to provide some perspective. — Bill Kohlhaase especially in the wide-ranging variations of the Morby of Woods deliver concluding “Metamorphosen,” makes the case for Raff as MEMORY TAPES Grace/Confusion (Carpark Records) a figure who should not be overlooked. — James M. Keller wonderful lo-fi guitar Dayve Hawk, a bedroom producer who records as Memory Tapes, knows his sounds. His music is a Crayola box full THE BABIES Our House on the Hill (Woodist) Nostalgia licks in droves. of bright and shiny instrumentation, and though he usually for the ’90s abounds in a number of music scenes, and indie sits at the “indie dance” table in the cafeteria, the Jerseyrock is no exception. The Babies’ new record is a breezy stroll based stay-at-home dad has more of a knack for pop melody. through the guitar rock of My Bloody Valentine and Hüsker Grace/Confusion isn’t too different from his previous albums. There Dü. The duo, made up of Cassie Ramone from the Vivian Girls and Kevin Morby of Woods, delivers wonderful lo-fi guitar licks in are the midtempo ballads that approximate what would have been droves. Unfortunately, neither of their ambivalent, disaffected vocals quite the fourth single from a synth-pop album in the mid-’80s (“Neighborhood lives up to the powerful melodies that drive these songs. A mix of country Watch”), the Kraftwerk-inspired grooves (“Thru the Field”), and the almostblues and rainy-day sad pop, “Chase It to the Grave” nearly begs for a epic dance numbers that seem to want some of that lucrative M83 action booming singer to match its elegant song craft. Fans of ’90s nerd rock (“Safety” and “Sheila”). Despite Hawk’s gifts for composition, everything will adore “Alligator” — its quirky love lyrics go hand in hand with seems mixed at the same level and rounded out to the point where it romantic postpunk guitar riffs. “There’s no job to pay the rent/ sounds like background music. Even the bursts of enthusiasm that There’s no love to make it better/There’s should be grabbing you by the collar and no plans what you doing later/Take my commanding your attention are comfortable hand alligator.” With “Get Lost,” Morby hanging back and gingerly vying for your pushes his voice into a sort of caterwaul interest. Hawk hasn’t quite figured out what whose frequent breaks and falters add to to do with his voice yet; his singing is high the bohemianism of an ode to wanderlust. and tinny and lacks character or authority.

While the band’s sound plows some very He buries it in the mix in a way that makes well-tilled fields, fans of this twee garageit seem as if he’s self-conscious about it. pop sound, delivered in alternating bursts Hawk has all the right paints and a canvas of dreamy and mopey, will find much ready to go — he just needs to use to appreciate on this record. thicker, bolder brushstrokes.

— Casey Sanchez — Robert Ker more CD reviews on Page 36

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December 7-13, 2012

SYMPHONY

THE

ANTA FE

...bringing great music to life

Gregory Heltman, General Director ï

Steven Smith, Music Director

READINGS & CONVERSATIONS

brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.

BEETHOVEN’S

BIRTHDAY BASH Incidental Music from Egmont Triple Concerto Symphony No. 7

ZADIE SMITH with

Steven Smith Conducts

Gemma Sieff

WEDNESDAY 30 JANUARY AT 7 PM LENSIC PERFORMING ARTS CENTER

featuring the

Zadie Smith’s three novels, including the acclaimed White Teeth, tackle race, marriage, class, assimilation, aesthetics, and human frailty, often with a wicked wit.

Michiko Kakutani of The New York Times called her “A preternaturally gifted new writer [with] a voice that’s street-smart and learned, sassy and philosophical all at the same time.” Smith has also written a nonfiction book about writing, Fail Better, and a recent collection called Changing My Mind: Occasional Essays. A professor of Creative Writing at New York University, Smith’s new novel NW follows four Londoners as they try to make adult lives outside of the council estate of their childhood.

WEISS-KAPLANNEWMAN TRIO

D E L

E C N

CA

Three strong voices, locked in sequence.”

—The New York Times

SUNDAY DECEMBER 16, 4:00 PM Preview talk at 3:00 pm F at The Lensic F $20 – $70

505-983-1414 www.santafesymphony.org

SPONSORED IN PART BY

Fiction is a completely different kind of terror. … the thing I’m attracted to when writing nonfiction is that you don’t know, but you can know, right?

There’s a possibility of knowing. You can control the area in which you write. And to me it feels like a small formal garden and I can make it as nice as possible.

Whereas novels are absolutely chaotic and messy and embarrassing. —Zadie Smith

TICKETS ON SALE NOW

ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:

www.lannan.org

The 2012-2013 season is funded in part by the Santa Fe Arts Commission, and the 1% Lodger’s Tax, New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts.

PASATIEMPO

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December 7-13, 2012

VARIOUS ARTISTS Reggae Golden Jubilee, 50th Anniversary: Origins of Jamaican Music (VP Records) This year marks Jamaica’s 50th anniversary as an independent country, and according to Prime Minister Portia SimpsonMiller, it also marks a call by many in the island nation to sever all remaining ties with British rule. In her January inauguration speech, Simpson-Miller declared, “We now need to complete the circle of independence. In this regard, we will, therefore, initiate the process for our detachment from the monarch to become a republic with our own indigenous president as head of state.”

A quest for sovereignty, and, to broader degree, for a true post-colonial national identity, has always been a cornerstone of Jamaica’s relatively young popular-music culture, and very few people know the island’s turbulent politics and the sounds of reggae and its forebears quite like Edward Seaga, a former Jamaican prime minister and longtime leader of the Jamaica Labour Party (1974 to 2005). Seaga, who helped draft Jamaica’s constitution, founded the West Indies Records Limited label (WIRL) in the late ’50s and was instrumental in creating a sustainable market and mounds of international buzz for ska and the slower grooves of reggae that followed.

For Reggae Golden Jubilee, Seaga assembled a comprehensive collection of Jamaican music that begins with Theophilus Beckford’s 1959 pre-ska shuffleboogie track “Easy Snapping” and ends with reggae-dancehall star Mavado’s 2009 hit “I’m on the Rock.” While Seaga didn’t use chronology as the rule for the arrangement of the 100 tracks presented in this four-disc box set, 60-plus pages of liner notes in the package’s special hardcover booklet connect a lot of dots in the history of Jamaican music. Reggae fans who purchased VP Records’ three-disc set Out of Many: 50 Years of Jamaican Music, which was released in July, may wonder why another collection from the New York-based imprint — one with a seemingly identical curatorial impression — has dropped so soon. Whatever the reason, both sets share some of the same songs, although Reggae Golden Jubilee places more emphasis on the ska and rock-steady days of the ’60s, with selections by Higgs and Wilson, Prince Buster, Derrick Morgan, The Techniques, Alton Ellis, and others. Sound quality varies in this CD-only release. Given the age of some of the vinyl- and acetateonly songs reformatted for the collection, it’s perhaps the price one pays for access to the set’s more obscure material. Not so obscure, but curiously omitted from Seaga’s selection (and liner notes), are songs with misogynist and homophobic sentiments contained in the lyrics of reggae dancehall music. Dancehall artists such as Elephant Man, Capleton, Beenie Man, Buju Banton, and Shabba Ranks — all of whom have come under fire for anti-gay songwriting — are given a pass here for their hateful diatribes.

Hip-hop in the U.S., which owes its lifeblood to the bygone DJs of downtown Kingston, is swinging away from such homophobic attitudes. Perhaps that pattern will repeat itself in a more independent Jamaica in the years to come.

— Rob DeWalt

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Rob DeWalt I The New Mexican

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latest large-scale exhibition, New World Cuisine: The Histories of Chocolate, Maté y Más. The exhibit opens to the public on Sunday, Dec. 9, with a reception, a chocolate tasting, and a gourd-painting party.

“Growing up around museums,” Chávez told Pasatiempo, “and traveling internationally and learning a little bit about what real chocolate tastes like, as opposed to what a lot of people grow up with — you know, the Nestlé stuff — I found it fascinating how steeped in tradition a lot of our foods are, from New Mexico to Mexico to South America to Spain. Secondly, there were some items in our own collection that just lent themselves to this kind of exhibition.” And “some,” in this case, is an understatement. Roughly 400 pieces make up the exhibition, and about 90 percent of them come from MOIFA’s own collection.

“We had a small collection of yerba maté cups,” Chávez said, “and a beautiful collection of mancerinas, small saucers with fixed rims for holding cups that are used in the sipping of chocolate. The mancerinas were used by the original Spanish colonists here in New Mexico, and the fact that we had three of them in our collection was quite unusual.”

Outside of the Americas, Chávez said, the Spanish first cultivated the cacao bean — the primary ingredient in chocolate — in the late 1500s. Chocolate, which had won the hearts and palates of Spanish colonists (especially women) by 1630, shares a near parallel history of popularity among the Spanish in the New World with yerba maté, an evergreen in the holly family (Ilex paraguariensis). “The leaves of the yerba maté are dried and crushed and used as a tea,” Chávez explained, “and drinkers use a combination strainer/straw called a bombilla. Yerba maté, called just maté as a drink, isn’t just used for sustenance but is also utilized medicinally and ceremonially. And, like chocolate, indigenous populations had their hands on it first.”

Both chocolate and maté are rich in vitamins and antioxidants, and they have gods connected to them. “Both chocolate and maté have their own deities,” Chávez said. “When the

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Spanish came and discovered the chocolate drink and maté for themselves, they didn’t know what to do with them exactly.

People were beginning to like them, but there was a question: Is it OK, since they’re associated with pagan gods? There were a lot of debates about this, but at the same time you had a lot of enterprising Franciscans and mestizaje [people of mixed European and indigenous descent] that recognized the trade value in these items.”

The Jesuits were the first to aggressively grow, cultivate, and export maté for trade. Most maté is grown in the northeastern corner of Argentina in the Misiones Province, and in Paraguay and southern Brazil, where many Jesuit missions were established. (Curiously, although maté in its traditional form has only begun to catch on in the mainstream U.S. beverage market, one of the world’s largest buyers and consumers of maté is Syria, Chávez said.) In northeastern Argentina and southern and western Brazil, maté is served cold with lemon or orange zest, sometimes with other herbs mixed in, and called tereré.

Although yerba maté as a cooking ingredient hasn’t really caught on, in her travels, Chávez has seen yerba maté flan with

Blair Clark

addition to countless contributions by Pueblo peoples, New Mexico’s culinary traditions owe much to Spanish colonists, reaching as far back as the late 16th century, when Don Juan de Oñate and his expeditionary force settled along the Río Grande. They brought with them herbs, spices, wheat, barley, lettuce, cabbage, peas, turnips, carrots, garlic, onions, domesticated sheep, and other food items.

Less than three decades later, Franciscan monks brought wine grapes to the region, in defiance of a Spanish religious law prohibiting their presence or use in the New Mexico colony.

For all the delicious gifts brought here from Spain, however, one must remember that trade routes work both ways; without the New World’s contributions of tomatoes, potatoes, peanuts, chocolate, vanilla, beans, avocados, corn, squash, and plenty of other foods, the vaunted cuisines of Western Europe would probably look and taste much different today.

An interest in this kind of tasty cultural exchange led Nicolasa Chávez, a 14th-generation New Mexican and curator of Spanish Colonial & Contemporary Hispano/Latino Collections at the Museum of International Folk Art, to design the museum’s

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Several special events take place in conjunction with the New World Cuisine: The Histories of Chocolate, Maté y Más exhibition at the Museum of International Folk Art. The Museum Hill Café, just steps from MOIFA, offers an ongoing menu of dishes inspired by the exhibition, along with wine pairings.

At press time, café owner Weldon J. Fulton was serving sweet corn custard with poblano cream; a nopal cactus salad with chiles, tomatoes, onions, garlic, and queso fresco; chicken poblano mole; sopes (corn gorditas) with pinto beans and crema; and decadent chocolate treats. Chávez said that while it’s not especially traditional, she’s a big fan of the café’s habanero mocha latte. Fulton plans to have an integrative menu with wine pairings to honor the exhibition for the next 13 months.

The newly relocated Santa Fe School of Cooking offers special cooking classes that focus on New World foods, such as adobo marinades, chocolate, and the “three sisters”of Native cooking (squash, beans, and corn), and the school donates 20 percent of proceeds from class enrollment to benefit educational programs at MOIFA. Call 983-4511 for class availability, prices, and other information.

On Feb. 10, 2013, chocolate historian Mark Sciscenti presents a lecture and chocolate tasting at MOIFA, and on May 19, 2013, the museum presents a demonstration and talk on the healing traditions of the curandero, with details to be announced in coming months. Chávez also plans to hold an autumn harvest festival with ristra-tying workshops in September 2013. Don’t forget to bring your favorite traditional New Mexican recipes to MOIFA when you visit the New World Cuisine exhibit. Chávez has set up a recipe exchange — a sort of give-a-card-take-a-card system. — R.D.W.

Photos right and on opposite page Kitty Leaken

A celebration of culinary exchange

I

continued on Page 42

PASATIEMPO

41

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New World Cuisine, continued from Page 41 mate espuma, or foam, on a menu. During the interview, she pulled a container of maté chocolate tea bags from an office drawer.

Despite the occasional report that overconsumption of maté may be linked to certain cancers — one study blames the high temperature of the steeping and sipping water for increased incidences of esophageal cancer among devoted maté drinkers — the World Health Organization classifies yerba maté as a food due to its high level of antioxidants and nutrients. Chávez cited one study in the journal Molecular Nutrition & Food Research that suggests maté may actually help prevent colon cancer. It is also used in cosmetics.

Building blocks of an exhibition New World Cuisine is as much about food as it is about the tools and equipment used to plant, harvest, cook, preserve, store, and serve it. The exhibition includes a section devoted to agriculture, with diverse displays dealing with methods used to grow, harvest, and serve food in New Mexico. “The Spanish brought the blacksmithing tradition and new tools to New Mexico,” Chávez said, “and new foods that did really well in specific regions here, such as certain berries, peaches, apricots, apples, pomegranates, and fig trees.”

The agricultural section focuses mainly on 19th-century implements that are part of the permanent MOIFA collection, although some 20th-century items are also displayed. Chávez noted that many Spaniards who settled in the New Mexico region were originally city dwellers, not farmers, and had to establish rural homes, orchards, and vineyards with little prior agricultural or building experience. “They kind of had to learn this stuff firsthand,” she said. “In the exhibit next to the agricultural section, we’ve set up a New Mexican hearth vignette, basically a one-room home where one would construct a fireplace and then build outward from there. The hearth was at the center of it all.” The scene is mud-plastered and includes a 19th-century wooden door.

New agricultural traditions in New Mexico often segued into artistic traditions, such as the making of decorative chile ristras and wreaths from the autumn bounty, especially in southern parts of the state. Four beautiful pieces that demonstrate the artistry involved in ristra tying are on display. And one can’t separate early colonists working the land in New Mexico from the Catholic faith traditions that Spain exported here along with them. New World Cuisine includes a section that celebrates the Catholic saints of the field and kitchen, such as San Isidro, saint of agriculture and the harvest, and San Pasqual, the patron saint of cooking and cooks.

Visitors to the exhibit can feast their eyes on early winemaking equipment from southern New Mexico; an 18th-century colonial Mexican kitchen; a lavish table setting from the viceregal period, when Mexico and most of what is now New Mexico were parts of Virreinato de Nueva España (New Spain); and an early 19th-century Spanish kitchen. “There will also be a South American estrado scene from the early 19th century,” Chávez said. “It’s much like a parlor or tearoom and comes from the late period of Arabic-ruled Spain. There was usually a separate space for drinking chocolate, and these rooms could be found in Spain, Argentina, Mexico — even the Palace of the Governors had one.” ◀

details D E C . 0 7 . 1 2 5 - 7 P M G A L L E R Y TA L K @ 6 P M

▼ New World Cuisine: The Histories of Chocolate, Maté y Más ▼ Opening reception 1 p.m. Sunday, Dec. 9; exhibit through Jan. 5, 2014 ▼ Museum of International Folk Art, 706 Camino Lejo on Museum Hill ▼ By museum admission; 476-1200 (no charge for N.M. residents on Sundays)

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December 7-13, 2012

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43

Roger Snodgrass I For The New Mexican

RISE UP AND SHOOT THE MEXICAN REVOLUTION IN PHOTOS

A

fter losing the 1910 presidential election to the aging Mexican dictator Porfirio Díaz in July of that year, Francisco Madero, a wealthy and idealistic reformer, bonded out of prison and fled to San Antonio, Texas. There he issued a call to arms to begin at 6 p.m. on Nov. 20, a date that was later designated a national holiday, the “Day of Revolution.”

The date was hardly a definitive moment for a conflict that was both surprising and long overdue. The conflict began in fits and starts and saw several reversals. Many in Mexico, including the ruling Institutional Revolutionary Party, would say it is not over yet. It was nevertheless the beginning of the bloody and traumatic decade of what was undoubtedly the first great revolution of the 20th century.

An expert on Mexican photography, author of many books on the subject, and curator of the centennial photographic exhibit Testimonios de una guerra: Fotografía de la Revolución (Testimonies of a War: Photographs of the Revolution), John Mraz brings his extensive research to fruition in a narrative of the Mexican Revolution that is powered by a dramatic analysis of the visual record.

In Mraz’s introduction to his new book, Photographing the Mexican Revolution: Commitments, Testimonies, Icons, he establishes an impressive mindfulness not only about his intentions but also about the complex dimensions of the book: “This work centers on the photography made during the period 1910 to 1920 — above all by Mexicans — in an attempt to discover who made these images, why, to what ends, with what intentions, and for whom they were taken.” The photographs offer the historian a “double testimony,” through what they reveal about the photographer as well as through “their frozen fragments of past scenes.” The two kinds of evidence are different forms of inquiry, requiring different methods of research.

One way leads into the history of photography; the other branches into what Mraz calls “photohistory,” which means using photographs as documents and mining them for information about social and political relations and about the details of historical moments and the material aspects of daily life.

“No revolution has ever been so thoroughly photographed,” wrote George Leighton, who chose the photographs for Anita Brenner’s The Wind That Swept Mexico: The History of the Mexican Revolution 1910-1942, published in 1943. “Up to the outbreak of the Mexican Revolution in 1910, news photography was a simple and untroubled business. ... The business of news photography was to show, anonymously and as expertly as possible, a world in place.”

That world as it was in place can be perceived in a photo that Mraz uses near the front of his book. A dark-suited entourage of men — including Díaz advisor José Yves Limantour, who is holding an umbrella — is abstractly silhouetted in the top half of the image. The photograph was not published by the editor of the pro-Díaz newspaper El Imparcial, perhaps because of the social statement implied by the workers in sombreros and work shirts peering over a wall at the bottom of the frame. By contrast, Mraz juxtaposes a picture the editor did publish, a demonstration in support of the re-election of Díaz, led by the editor’s brother, raising his top hat to an unseen audience.

“Photographing the Mexican Revolution” is an especially apt title because of its emphasis on the present participle. This is, first, a book about photographers in the process of creating images under extreme circumstances. “How did they express their commitments visually?” Mraz asks.

“What aesthetic strategies did they employ to take sides and offer their bit to the struggle? What identities and identifications were generated with their continued on Page 46

44

December 7-13, 2012

Left, photo, perhaps by Miguel Casasola, of government minister JosĂŠ Yves Limantour (under umbrella) in Mexico City for the opening of the works to bring drinking water from Xochimilco, March 18, 1910 Below, Francisco Villa, better known as Pancho Villa, Las Mulas, Jan. 1914, shot by John Davidson Wheelan Opposite page, Hugo Brehmeâ&#x20AC;&#x2122;s image of Emiliano Zapata, circa June 1911

PASATIEMPO

45

The Mexican Revolution in photos, continued from Page 44 images? What sorts of fears must have been associated with appearing in photos, taking them, signing them, and circulating them?”

The photographers were workers and amateurs, cosmopolitan Mexico City elites and provincial entrepreneurs. There were flacks and provocateurs, and sometimes the roles would reverse. Photographers depended on and were constantly constrained by their technology, which was steadily improving, although the improvements were not always available or evenly distributed.

Shots depended on what kind of camera the operator used, how heavy it was, and whether there were tripods and time to set up.

Photographers who worked for newspapers or illustrated magazines took pictures that were chosen or rejected by editors with preconceptions about what their readers wanted, often supporting the faction in power. Others worked for printers, postcard distributors, established politicians, and publicity-seeking insurgents or philanthropical organizations like the Cruz Blanca (a volunteer relief organization founded in Mexico during the revolution), and all were influenced by geography, loyalties, bosses, clients, and the luck of the moment and situation.

“Readers may be surprised by the ‘primitive’ aesthetics of many photographs,” Mraz writes. He explains this deficiency in part by the fact that a lot of photographers were small-town studio owners relatively inexperienced in covering breaking news, but also by the battlefield reality, which affected everything. “It appears that photographing combat was ‘very near impossible’ at this time, and that many photos that purport to be of troops going ‘over the top’ were in fact training exercises.”

The book includes a number of fascinating character sketches of the photographers, including Sara Castrejón, who owned and operated a rural studio with her brother and sister in Teloloapan, in the state of Guerrero.

According to Mraz’s research, she was probably the first woman to photograph the revolution and “may have been the first woman in the world to photograph war.” She specialized in studio portraits, like her remarkable picture of the revolutionary colonel Amparo Salgado with a rifle and cartridge belt. “This image is beyond doubt the first made of a female revolutionary in Mexico,” Mraz writes. When the faction known as the Constitutionalists regained the upper hand, Castrejón’s studio worked for it as well. Among other jobs, she photographed executions — for the families of the victims and for federal officers (to verify their having performed their duties).

Photographs are subject to multiple interpretations, Mraz writes, using the word polysemic to emphasize that “they can be used for anything.” Photos can also be “thin” or “thick,” he adds, meaning that there is too much or too little information to interpret them correctly, except “by embedding them in the contexts from which they came as well as those which gave them subsequent meaning.”

The book leaves readers with the feeling that photographs in a political context should always be approached skeptically. Some of the staged combat photographs are lessons in how to add an impression of authenticity by shooting out of focus and with a more cluttered composition.

One of Mraz’s peeves has to do with historians who try to draw a psychological interpretation from facial expressions. To illustrate the point, the author focuses on two pictures taken of insurgents dressed in their country garb, sitting down for breakfast in a cosmopolitan restaurant in Mexico City.

The same two men are prominent in both pictures. In the first, they look rough and tumble with their scars and scowls; but in the other they appear harmless and lost. “Obviously, neither of these readings offers us the ‘truth,’ ” Mraz writes, which is really that the images, taken together, reveal a group of men who “were occupying a space that had formerly been denied them.”

The reader of Mraz’s book may be thought of in a similar way — discovering the secrets of how to read photographs of an old and unfamiliar place and thereby entering a restricted historical dimension for the first time. ◀ “Photographing the Mexican Revolution: Commitments, Testimonies, Icons”

by John Mraz was published by University of Texas Press in April.

From left, Abraham Lupercio’s photo of women demanding work, Mexico City, Dec. 1913; Zapatista colonel Amparo Salgado, 1911, in a photo by Sara Castrejón, who “may have been the first woman in the world to photograph war”; images from Photographing the Mexican Revolution: Commitments, Testimonies, Icons; courtesy University of Texas Press 46

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Michael Abatemarco I The New Mexican

FARSIGHTED Pentti Sammallahti depicts a stark and beautiful world.

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December 7-13, 2012

P

icture a black-and-white scene of snow and ice, with two riders on horseback moving along a road before a chapel in Russiaâ&#x20AC;&#x2122;s Solovki Islands. Two more figures, an adult and a child, are just outside the chapel doors, and another two traverse the snowy terrain by foot, heading toward distant buildings shrouded in mist. Incongruously, a small ship, possibly a merchant vessel, is anchored to the right of the receding figures.

Looking at this photograph by Finnish photographer Pentti Sammallahti, it takes a moment to register that the receding figures move across a sea of frozen water. Snow and sky blur with no discernible horizon line in a bleak and frigid landscape. The image is panoramic, and the people, boat, and buildings are arranged in nearly equitable distribution: on the left side the two figures by the chapel, the two riders in the center, and the other figures on the right.

The photograph is typical of the work of Sammallahti, who is attracted to the sea, to ice, and to the cold. His eye seeks out unstaged, natural compositions, sometimes difficult to achieve when the subject is a moving target such as a person or an animal. If there is a narrative thread running throughout his body of work, it lies in the day-to-day existence and struggles of people navigating a harsh but starkly beautiful world. Sammallahti tells this story with poignancy and compassion. Here Far Away, a retrospective exhibition of Sammallahti’s work, is currently on view at Photo-eye Gallery. A monograph of the same title, the first major publication of the artist’s work, accompanies the exhibition.

Here Far Away was published in French earlier this year by Actes Sud. An English edition is available from Dewi Lewis Publishing and can be purchased through Photo-eye.

A striking aspect of Sammallahti’s photography is the near-ubiquitous presence of dogs and, to a lesser extent, cats and birds. Whether the image was shot in Russia on the White Sea, in Sammallahti’s native Finland, in Ireland, Japan, India, or Nepal, the dog appears as humankind’s constant companion.

Sammallahti finds dogs inhabiting the same worlds as people, traveling the same roads, moving around the same temples and cityscapes. In one of his images, also shot in Solovki, a dog mounts the seat of a motorcycle modified with skis and chained tires for traversing ice and snow. The dog sits assuredly atop the vehicle as though it were driving. Other dogs surround the cycle, a few watching the seated dog with interest.

It is all too easy to read the human into Sammallahti’s social scenes of dogs; the terrain in which he finds them is mediated by human intervention. Seldom does he photograph a landscape in which human presence is not felt or seen.

In Nepal, a dog cranes its neck toward an icon in a small Buddhist shrine.

In Karelia in northwestern Russia, a dog turns toward an image of Lenin. In Cilento, Italy, one sits idly by a pile of old tires.

A moving undertone in Sammallahti’s portraits of animals lies in their curiosity about and interest in the human world and in their interactions with members of other species, including people, as well as members of their own.

In Swayambhunath, a religious complex in Nepal, a monkey climbs on the

back of a goat as a person would sit on a horse. In Varanasi, India, a dog sleeps soundly on the vast back of a resting ox.

Sammallahti’s images are as much about place and how people interact with the environment as they are about the serendipitous moment, the candid actions in which the photographer finds magic and truth. In Helsinki, for instance, a dog stretches, its back arched as if to mimic the lean of a nearby tree. It is the kind of image that requires the photographer to be in the right place at the right time. So, too, a shot along the Nile in Egypt, in which one arm of a flock of birds in V formation runs parallel to the mast of a boat. In Delhi, India, birds flock around a sculpture of a man; one bird flies right above the sculpture’s head like a great brimmed hat.

Within this extensive body of work is a range of tone and subject matter, but Sammallahti almost always seems drawn to natural contrasts. A shot of a lake in Martin Mere, England, contrasts darkly colored ducks with white geese.

Sammallahti structures some compositions with contrasting movement, as well, capturing the back and forth of activity at an intersection.

Built into Sammallahti’s narrative is a dialogue between simple life ways and traditions and the impact of the modern, industrial world. Much of Sammallahti’s photographs depict poverty. The people who live, work, and merely get by in these environments — whether in the crowded streets of Delhi or the icy ports of Northern Europe — do so out of necessity. Animals, in particular, are innocent in the terrain in which they scavenge, not victims so much as survivors, adapting as best they can. ◀

details ▼ Pentti Sammallahti: Here Far Away ▼ Opening reception 5 p.m. Friday, Dec. 7; through Feb. 9, 2013 ▼ Photo-eye Gallery, 376-A Garcia St., 988-5159

Pentti Sammallahti: left, Solovki, Russia, 1992, toned silver gelatin print; above, Roscigno Vecchia, Italy, 1999, toned silver gelatin print; opposite page, above, Helsinki, Finland, 1976, toned silver gelatin print

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sunday december 9 · 1:00–4:00 pm celebrate winter and the opening of

1:00–4:00 Music by Frank McCulloch y Sus Amigos Chocolate Tasting with Mark Sciscenti Gourd Painting for ages 3 to 103 with Monica Sosaya Halford 2:00–4:00 Reception by the Women’s Board of the Museum of New Mexico By museum admission. New Mexico Residents with i.d. free on Sundays. Youth 16 and under and mnmf members always free. Funded by the International Folk Art Foundation.

On Museum Hill in Santa Fe · www.InternationalFolkArt.org · (505) 476-1200 50

December 7-13, 2012

Join us this holiday season to help our communities Your donation to Esperanza Shelter or St. Elizabeth Shelter will help victims of abuse and homeless individuals and families.

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Jon Bowman I For The New Mexican

IT’S

the end of the line for the Santa Fe Film Festival this year. It’s not the end of the festival, but it’s possibly the last year patrons will see movies projected onto the big screen from 35 mm prints.

Brent Kliewer, the festival’s director of film programming, said that only a handful of the festival’s 60-plus titles are arriving as 35 mm prints. He doubts any more will be coming in future years as the movie industry has accelerated its conversion to digital projection. “This will be the last film festival with any 35 in it, unless it’s a restoration or an archival print or something like that,” Kliewer said.

What’s happening here mirrors a global phenomenon. At this fall’s Venice Film Festival, only two of the more than 300 works shown were actually shot on film. Kliewer has scored about a half-dozen examples of this dying and endangered species, so purists will probably want to reserve tickets for those titles, including Amour, In Another Country, On the Road, Quartet, and Rust and Bones.

If 35 mm is out, what’s taking its place? The majority of titles this year are on Blu-ray discs or HDCAM video cassettes, but other formats are also competing to replace celluloid. “We’re in a transitional phase right now, so we just have to adjust,” Kliewer said. “In time, it will all get sorted out.”

The digital revolution has posed nightmares for exhibitors, who have incurred enormous expenses retooling the projection systems in their halls. But on the flip side, digital has significantly reduced the costs of shooting films, allowing artists to create more personal, less commercial works that studios previously would have nixed.

Kliewer’s jazzed about that. This year’s festival has benefited by getting dozens of titles representing this new wave of expressive, low-budget, artist-driven cinema. One example: Any Day Now, the Heineken Audience Award winner from the Tribeca Film Festival. Director Travis Fine’s drama recounts the legal struggles of a gay couple from Los Angeles to adopt an abandoned teenager with Down syndrome. Fine is slated to attend the closing-night presentation on Sunday, Dec. 9, at The Screen. Several other directors, including Jaime Hook (Vacationland), Xachery Irving (Nothing Without You), George Jecel (Little Dancer), and Ben Shapiro (Gregory Crewdson: Brief Encounters), have confirmed they will attend the festival.

Running through Sunday night, this is the festival’s 13th season. The 2012 slate has grown modestly from last year’s program. Two new venues have been added — the Lensic Performing Arts Center, for a one-shot gala presentation of Dustin Hoffman’s British opera-themed drama Quartet on Friday, Dec. 7; and the New Mexico History Museum, for a full day of screenings on Saturday, Dec. 8. The balance of the festival unfolds at The Screen and at dual halls at the Center for Contemporary Arts.

The festival has an eclectic mix of narrative and documentary works, as well as international and homegrown, New Mexicobased titles. But certain common threads weave throughout the programming.

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For example, this year’s festival offers a bounty of musical documentaries and related fiction films. That’s not by design, Kliewer said, but rather reflects a rich pool of such titles currently in release. In this vein, A.K.A. Doc Pomus explores the life of a polio-stricken songwriter who penned thousands of hits, including “Save the Last Dance for Me,” from his wheelchair. Jake Shimabukuro: Life on Four Strings introduces a ukulele-playing virtuoso. Violeta Went to Heaven charts the story of legendary Chilean folk singer Violeta Parra.

In The Sapphires, four talented aboriginal young women from Australia form a Supremes-like pop quartet and journey to Vietnam at the peak of the war in the late 1960s, to entertain the U.S. troops. Kliewer called it “a big-time crowd pleaser.” It received a sneak earlier this fall at the Telluride Film Festival, but it isn’t scheduled to be widely released in the U.S. until much later in 2013.

Occupying the hot seat as the festival’s programming director, Kliewer isn’t in a position to play favorites and tout individual titles. But he couldn’t resist putting in a plug for Night Across the Street, a Chilean-French co-production and the last film by the late Raúl Ruiz. The drama follows an old man into retirement as he reflects on the life he led, the stories and memories merging as well as distorting and becoming fanciful in his mind. “This is the kind of cutting-edge work that is perfect in a festival environment,” Kliewer said. “It’s something that might not have an extended commercial run, but it’s the last film by a prolific and remarkable filmmaker — a real master.”

Another highly experimental title that Kliewer recommended is Leviathan. Eschewing narration and employing minimum dialogue, it captures the harsh, grueling regimen of fishermen on the North Atlantic. The co-director, Lucien Castaing-Taylor, an anthropologist by training, used 16 cameras to create an immersive portrait of this seagoing journey, even submerging some of his cameras to show fish being hauled up in nets.

Kliewer described it as “very strong visually,” evoking “the trail that Melville took to find Moby Dick.”

Besides film screenings, nightly parties are planned, as well as several panels bringing together visiting and local filmmakers. Visit www.santafefilmfestival.com. ◀

details ▼ 13th Santa Fe Film Festival ▼ Through Sunday, Dec. 9 ▼ Venues: The Screen (Santa Fe University of Art and Design, 1600 St. Michael’s Drive, 473-6494); Center for Contemporary Arts (1050 Old Pecos Trail, 982-1338); New Mexico History Museum (113 Lincoln Ave., 476-5200); Lensic Performing Arts Center (211 W. San Francisco St., 988-1234) ▼ $15 (with some exceptions); $10 students; $75 six-film pass, $125 10-film pass, $525 VIP all-access pass; Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org) & at venue on day of screening; www.santafefilmfestival.com/tickets

Pasatiempo critics preview Santa Fe Film Festival selections.

A.K.A. Doc Pomus

A.K.A DOC POMUS Based on his origins, Doc Pomus seems an unlikely candidate for the Rock and Roll Hall of Fame. But in 1992 he was inducted, ushered in by the words of legendary Atlantic Records impresario Jerry Wexler: “If the music industry had a heart, it would be Doc Pomus.”

He wasn’t always Doc Pomus. He was born and raised Jerome Solon Felder, a fat Jewish kid from Brooklyn. (His brother, Raoul, became a famous divorce lawyer.) Jerry contracted polio at 6 at a camp where his parents had sent him to escape the epidemic that was sweeping the city. He spent the rest of his life on crutches with his legs in braces.

His life changed when he discovered the blues. A recording by Big Joe Turner turned his head around. He started hanging out at a blues club and bluffed his way onto the stage, where he impressed with his singing. He needed a persona and invented Doc Pomus.

Pomus cut a few sides as a singer, but he really found his niche as one of the great songwriters of the early rock-and-roll era. He was a star of the famous New York songwriters’ mecca the Brill Building.

He wrote classics such as the Ray Charles hit “Lonely Avenue” and the Drifters’ “This Magic Moment.” He collaborated with Jerry Lieber and Mike Stoller on “Young Blood” and other Coasters hits.

Elvis Presley recorded at least 20 Pomus songs, including “Viva Las Vegas.” His writing partner for many years was Mort Shuman, who created the hit revue Jacques Brel Is Alive and Well and Living in Paris. Phil Spector was a Doc Pomus protégé.

This engrossing documentary features a wealth of rare footage and interviews with Dr. John, Ben E. King, Big Joe Turner, Lieber and Stoller, Shawn Colvin, B.B. King, and others. There are interviews with Pomus’ two children and his wife, who chokes up as she recalls their wedding, when the Doc urged her to get out there on the dance floor and enjoy herself. The incident was the inspiration for one of his greatest songs, “Save the Last Dance for Me.” To quote that song, “The music’s fine, like sparkling wine,” and the human story is deeply touching. Directors Peter Miller and Will Hechter have done a great service in putting together this tribute to a giant of the industry. 11:30 a.m. Friday, Dec. 7. Not rated.

99 minutes. Center for Contemporary Arts. ( Jonathan Richards) Gregory Crewdson: Brief Encounters

continued on Page 54

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Amour

AMOUR Before taking in this movie, you may want to make sure your membership in the Hemlock Society is up to date.

Austrian filmmaker Michael Haneke (The Piano Teacher) turns his unsparing lens on the indignities, humiliations, sufferings, and helplessness that can attend the end of a long life. If that sounds depressing, just wait till you see it.

This is an exquisitely crafted film, a Palme d’Or winner at Cannes, beautifully played by a couple of legends of French cinema. Jean-Louis Trintignant — who rose to prominence at the time of the French Nouvelle Vague, worked with some of its great directors, and won Best Actor at Cannes in 1969 for Z — is Georges, a retired music teacher. Emmanuelle Riva, who played the unnamed woman in Alain Resnais’ 1959 classic Hiroshima, Mon Amour, portrays his wife Anne, also retired from teaching music. Both characters (and actors) are in their 80s.

Haneke opens with the image of a team of firemen, summoned by neighbors, forcing the door of a Paris apartment. They find a bedroom door sealed with packing tape. Inside the room, an old lady is laid out alone on the bed, dressed and coiffed, with her hands folded across her chest and flower petals strewn on the pillow. Our first thought: euthanasia or suicide by gas. But the window is standing open. The officer in charge asks a subordinate if he opened it. No, that’s the way he found it. The odor in the room is not gas but decay. There is no sign of anyone else in the apartment.

Haneke makes no bones about where his story is headed. It ends in death.

The questions are how and why. And the film dials back in time to show us.

Georges and Anne have lived in a cultured, companionable, loving relationship for more than half a century. They don’t get around much any more, but they do attend the occasional concert, especially ones given by their former students. They come home after such a concert to find evidence of an attempted forced entry to their apartment. The world is pressing in; life grows fragile and risky.

On a morning not long after this incident, Anne suffers a minor stroke at the breakfast table. She recovers, unaware and disbelieving that she tuned out in a trance for a matter of minutes. Surgery to alleviate the likelihood of another stroke goes wrong, and Anne is paralyzed on one side of her body.

But her mind and her self-respect are still largely intact, and she exacts a promise from Georges: “Please,” she begs him, “whatever happens, don’t take me back to the hospital ever again.”

Her deterioration continues, inexorably. Bit by bit Anne’s abilities, faculties, and awareness ebb, until all she is left with is the pain. Doggedly,

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Any Day Now

fearfully, Georges holds on, feeding, bathing, wiping, diapering, somehow coping as his beloved wife sinks into a living hell. Their middle-aged daughter Eva (Isabelle Huppert) comes home to take stock of the situation and is appalled. Mother must go to the hospital. Testily, Georges refuses.

Eva isn’t especially insensitive, but an outsider, even a close family member, can’t begin to understand the commitment and the love that drives and sustains this relationship. There’s an unthinking condescension that issues reflexively from everyone else, especially the visiting nurses with their first-person-plural professional familiarity (“Let’s just get this tangle out of our hair. Now don’t we look nice.”).

Haneke, after that brief excursion to the concert, keeps the action claustrophobically confined to the apartment, where the camerawork of Darius Khondji (Midnight in Paris) prowls restlessly along the corridors and through book-lined rooms, the character of which is degenerating from home to prison to tomb. Haneke keeps the storytelling simple, austere, and unemotional, except for one digression into nightmare. There is no swelling music track to guide audience response. The temperature is cool.

There is a peculiarly opaque twist at the ending, which brings us back to the opening situation of firemen breaking in to find a single corpse arranged on the bed and the doors taped to retard the spread of the stench of death. It leads to some head-scratching, which, no doubt, is just what Haneke intended.

Amour is Haneke’s second consecutive feature, following 2009’s The White Ribbon, to win the top prize at Cannes. Riva has worked consistently in Europe over the decades. Trintignant gave up film work about 10 years ago and was lured out of retirement for this role. They both deliver exquisitely, excruciatingly human performances, unsentimental and uncompromising.

This is a picture that deserves to be seen. All it needs is an audience steeled to watch it. 6:30 p.m. Saturday, Dec. 8. Rated PG-13. 127 minutes. In French with subtitles. Center for Contemporary Arts. ( Jonathan Richards) ANY DAY NOW Director/screenwriter Travis Fine’s transformation from movie actor to commercially licensed airline pilot and conscientious filmmaker is steeped in his strong emotional reactions to the terrorist attacks of Sept. 11, 2001. The artistic transition to filmmaker led Fine to write and direct 2010’s The Space Between, a powerful drama that explores the heartbreak and tension of 9/11 through the unusual bond formed between two strangers: an alcoholic flight attendant and a 10-year-old Pakistani American boy traveling alone to

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reunite with his father, an employee at the World Trade Center’s Windows on the World restaurant on the 107th floor of the North Tower.

Any Day Now is also the story of an unlikely connection formed for the sake of a near-helpless child, but it is there that similarities between the two films end. Fine’s newest, a more intimate and intense character drama, is based on the true story of a ’70s-era Los Angeles gay couple’s attempt to adopt a mentally disabled child. In the film, that child is Marco (Isaac Leyva), a 14-year-old boy with Down syndrome who is abandoned by his drug-addicted mother, Marianna (Jamie Anne Allman).

Aging, broke, flamboyant drag performer Rudy Donatello — played brilliantly by Alan Cumming — and his newfound lover, closeted district attorney Paul Fleiger (Garret Dillahunt), quickly form a loving bond with Marco. But as they fight for full custody of the boy within an ignorant, paranoid, and prejudiced legal system that tends to favor drug addicts over homosexuals, Marianna is released from jail and also fights for custody.

Fine, reworking a three-decades-old screenplay by Canadian writer George Arthur Bloom (a regular My Little Pony Tales television writer), delicately balances the political and emotional aspects of this thoughtfully rendered period drama, which nails the 1970s details, from wide shirt collars and flared pants to song selections by music supervisor P.J. Bloom (Glee, CSI: Miami).

At its core, Any Day Now is a story of love, acceptance, and a broader definition of family, and Fine wisely keeps his well-tended characters, and not the tough and timely political gristle, at center stage. The performances are superb across the board, but it is perhaps Isaac Leyva as Marco who, in almost total silence, steals the show. 7 p.m. Sunday, Dec. 9. Rated R. 97 minutes. The Screen. (Rob DeWalt) BARBARA Barbara Wolf, a Berlin doctor, has run afoul of the East German authorities in 1980, receiving a demotion and exiled to a provincial hospital after she applies for an exit visa to join her West German boyfriend. Now she finds herself being tailed by undercover Stasi agents, who park ominously outside her flat and occasionally subject her to impromptu interrogations and strip searches to see if she’s carrying contraband. Unsurprisingly, Barbara stays tight lipped, rarely interacting with her neighbors or her colleagues at the hospital. continued on Page 56

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Gregory Crewdson: Brief Encounters

This drama, the fifth teaming of writer-director Christian Petzold and actress Nina Hoss, takes a while to build momentum owing to the restrained performances and Petzold’s subtle depiction of the claustrophobic Cold War milieu. But what begins as a study of a woman under duress evolves into something much more suspenseful. Barbara lets down her guard and shows signs of warming up to another doctor at her clinic, André (Ronald Zehrfeld), who seems to be making a play for her. What’s not clear, though, is whether he’s genuinely attracted to her or has been instructed to keep her under close surveillance and report suspicious behavior.

This ambiguity renders their incipient romance dangerous and unpredictable. They share a push-pull relationship that leaves them not only vulnerable to the Stasi but also having to make difficult ethical choices regarding treatment for their neediest patients. Hans Fromm’s cinematography is a strong suit in this feature, a Silver Bear winner at the Berlin International Film Festival. Much of it has been shot at night — the dark, elongated shadows recalling the netherworld of film noir. And Fromm works wonders with the wind whipping through the roadside foliage as Barbara cycles to the hospital. Perhaps it’s a small detail, but the turbulence brings to mind the rustling moors in Wuthering Heights as well as the doctor’s edgy mental state. 4:30 p.m. Saturday, Dec. 8. Rated PG-13.

105 minutes. In German with subtitles. The Screen. ( Jon Bowman) GREGORY CREWDSON: BRIEF ENCOUNTERS Ben Shapiro’s documentary is a fascinating glimpse into the working methods of photographer Gregory Crewdson, who creates enigmatic visions of small-town America. Brief Encounters focuses on the production of a number of photographs that make up a series called Beneath the Roses.

The creation of each photo is an elaborately staged affair, akin to a film production but on a smaller scale. Crewdson even refers to each shoot in moviemaking terms, and in this working environment he is clearly the director, staging every element with obsessive attention to detail.

No aspect is left to chance. Crewdson has an easygoing, likable personality that puts his models at ease. The resulting stills lie somewhere between cinematic narrative and documentary photography. There is always a sense of a moment captured in time, of people caught in an existential state of heightened emotion, such as sorrow or despair. Crewdson, we learn, was 56

December 7-13, 2012

Happy People: A Year in Taiga

inspired as a boy by an exhibition of the work of photographer Diane Arbus.

He also credits David Lynch’s 1986 film Blue Velvet as an early influence.

Most of the images were shot on location in western Massachusetts using models, lighting technicians, and set designers. Some interior photographs were shot on a soundstage with full sets. In the film, onlookers express surprise at how involved the production for a single photograph can be, although we learn that some images are actually composites done in postproduction. In between scenes of Crewdson on the set, Shapiro, who shot the documentary over the course of a decade, weaves in biographical content that in itself holds little interest. Crewdson’s early life, told through still images and footage from home movies, seems normal and undramatic. Watching each image from its inception to the final printed photograph is mesmerizing, however, and Crewdson is an artist with a clear sense of what he is trying to say. The images from Beneath the Roses are haunting, mysterious, and alive with a sense of possibility. 6:45 p.m. Friday, Dec. 7. Not rated. 77 minutes.

Center for Contemporary Arts. (Michael Abatemarco) HAPPY PEOPLE: A YEAR IN TAIGA Werner Herzog’s documentaries often contrast with the themes of his earlier movies. The early narrative films Aguirre: The Wrath of God, Woyzeck, and Fitzcarraldo deal with obsession, cruelty, and the terror of alienation. His later films, especially the documentary Encounters at the End of the World, discover serenity and hardship in exceptional, often beautiful environments. The fascinating Happy People: A Year in Taiga deals with both beauty and hardship as it follows a community of Russian fur trappers based in the Siberian wilderness village of Bakhtia. We watch as the villagers pursue a living in the most literal sense. The conditions these isolated people face can be fierce — certainly in winter but also in summer, with its marauding bears and swarms of bloodthirsty mosquitoes. They live along a majestic river surrounded by beautiful forests. But beauty isn’t the source of their happiness. Instead, acts of simple industry — the basic, ritual chores required to survive — grant contentment.

Like Herzog’s Grizzly Man, which used film shot in Alaska by its doomed subject, Happy People is taken from existing footage, a four-hour, made-fortelevision Russian documentary. Co-directed by Dmitry Vasyukov, the film has been edited to less than half its original length. Herzog’s phlegmatic

In Another Country

narrative, familiar to those who’ve seen his other documentaries, makes comment on the trappers’ comments. The voice-over translation of the discourse is the least-effective aspect of the film, coming off as trivial and filled with asides. But occasionally the trappers turn thoughtful, revealing something profound. They are happiest during the cruelest season. Alone, traveling between a series of huts through a wilderness buried in snow, the men visit their traps with their much-loved dogs. They are, Herzog tells us, content to be on their own, self-reliant, and “truly free.” Happiness, he suggests, is a job well done in a world without social, governmental, and technological tethers.

Not everyone is happy. The native people, reduced to drinking and gathering firewood, are culturally endangered. As each elder dies, another skill or practice dies as well. Lingering scenes of families on their porches are poignant, with everyone from grandparents to children looking lost. We see little of the trappers’ spouses and their children. They greet the returning trappers, participate in a Christmas pageant, and dance self-consciously during a surreal visit from a politician, who sings to them from his boat with a trio of female backup singers. But the focus is on the male trappers, whose most important relationship, apart from that with the land, is with their dogs.

Modern technology dilutes the purity of the trappers’ existence. They carve canoes from tree trunks and power them with outboard motors. They set handmade traps carved from trees, as well as traps manufactured of steel. They fashion skis using methods passed down through generations and ride snowmobiles. Helicopters occasionally land with supplies or to ferry off one of the citizens. But modern convenience is the exception here.

The trappers of Bakhtia, in cruel surroundings, are obsessed and alienated, like the characters in Herzog’s early films. Yet they’re happy. 5:15 p.m.

Saturday, Dec. 8. Not rated. 94 minutes. In Russian with subtitles. New Mexico History Museum. (Bill Kohlhaase) IN ANOTHER COUNTRY Korean auteur Hong Sang-soo likes to revisit favorite elements in his films, perhaps hoping to eventually get them right. These elements include famous Korean film directors, alcohol, beach resorts, infidelity, and Korean attitudes toward sex (which are not sharply different from those of other cultures). In Woman on

the Beach (2006), he explored Korean men’s insecurity about their women getting caught up with foreigners. Here, for the first time, Hong brings in an actual foreigner, French star Isabelle Huppert.

His tale, or tales — there are three of them, involving different mixings of the same themes and characters — are set in the framework of a young woman named Wonju ( Jung Yumi), who is stuck at the beach with her mother, worried about an uncle’s financial irresponsibility, and trying to pass the time by writing screenplays. Though he has many admirers, Hong has been accused of telling the same story over and over again in his films.

Here he meets that criticism head-on by telling variations on a story three times in the same film, as Wonju tries different tacks with her screenplays.

In the first story, a famous French film director named Anne (Huppert) is vacationing in the resort community of Mohang with a Korean film colleague, Jongsoo (Kwon Hyehyo), and his pregnant wife, Kumhee (Moon Sori). Jongsoo drinks a lot and tries to rekindle a brief romance that he and Anne shared at a film festival. In round two, Huppert again plays a Frenchwoman named Anne, this time the wife of a businessman. She has snuck away to Mohang for a fling with her lover Jongsoo, the same character from the first story, with the same wife. In the third version, she’s a divorcée named Anne who is visiting the resort with her lover Park Sook (Youn Yuhjung), a professor. He introduces her to a monk, from whom she hopes to get a glimpse into the meaning of life. A hunky lifeguard in all three stories provides some comic relief.

Hong’s movies have been compared to those of the great French director Eric Rohmer for the way they set attractive people to whiling away the hours in conversation in an atmosphere laden with sexual temptation.

There’s some justice to this comparison, though Hong’s conversations are less fascinating and his repetitions tend to dilute the impact of his stories.

4 p.m. Friday, Dec. 7. Not rated. 88 minutes. In Korean and English with subtitles. The Screen. ( Jonathan Richards) LEVIATHAN Filmmakers and anthropologists Lucien CastaingTaylor and Ilisa Barbash gained international acclaim with their 2009 documentary Sweetgrass, a stunning look at sheepherders leading their flock on one final trek through the Montana mountains.

Sweetgrass is an observational documentary, and the refreshing lack of talking heads or any kind of apparent agenda — coupled with a keen eye for men, animals, and landscape — won it a cult following. I watched the movie three times the first week it was out, captivated and even haunted by the images on the screen.

This time out, Castaing-Taylor teams with Verena Paravel, and they train their lenses on a relatively small commercial fishing vessel as its crew works off the coast of Massachusetts. This is a jarring shift from Sweetgrass’ bright, sweeping vistas and hypnotic shots of sheep passing across the frame.

Commercial fishing is ugly work, and Leviathan is an ugly movie, full of close-up shots of dead fish, their eyes bulging out and their heads rolling on the ship’s deck. Fishing is also grueling work, and this looks like a grueling film to have made. It takes place largely at night, and everyone looks so cold and wet that you’ll find yourself huddling up.

But if you don’t mind seeing where your sushi comes from, and you allow yourself to settle into the rhythm of the movie, you’ll be rewarded. The camera takes in the action through odd angles, whether it’s strapped to a fisherman’s helmet or sitting on the glistening wet floor of the deck. Often, the camera is cast underwater and left to trawl alongside the boat, capturing the waste as it’s dumped back into the ocean and the hypnotic sight of continued on Page 58

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Leviathan

seagull flocks scavenging for food. The sound mix is a feat unto itself; there are almost no spoken words or music, yet the sounds of the work — the slicing of sharp tools, the grinding of motors, the gargling of water — help bring the movie to vivid life.

Despite the fact that Castaing-Taylor and Paravel are two of the best documentarians working, Leviathan is a tough sell — the filmmakers themselves admit (in a New York Times article from earlier this year) they don’t know what it’s “about.” Is it about the relentless grind that the working-class man endures? The devastation we’re inflicting upon the planet? It could be about both of those things, it could be about neither, or it could be about something more. Like many great documentaries, it takes us to a corner of the world that we’d never otherwise see and shows us things as they are.

The film gazes, but it doesn’t judge. 12:15 p.m. Saturday, Dec. 8. Not rated.

87 minutes. The Screen. (Robert Ker) LITTLE DANCER A perky 13-year-old girl from a backwater Ukrainian village has big dreams of becoming a ballerina. She’s talented and dedicated to putting in the long hours of practice, “proud when her feet bleed.” But other obstacles stand in her way, not the least of which is that her village is swarming with low-level gangsters, always on the prowl for young girls to coerce into the prostitution racket.

Tatjiana knows exactly who the thugs are and knows well enough to keep her distance, but her weak and dirt-poor family leaves her defenseless in ways she can’t begin to imagine.

Little Dancer revolves around age-old melodramatic dichotomies — innocence versus treachery, country versus city, youth versus experience — but the film succeeds because it backs into its narrative rather than banging a drum too loudly. Austrian-born filmmaker George Jecel, who directed and co-wrote the story with Brook Fuller, spends quite a bit of time establishing Tatjiana’s village as an idyllic, magical place. One can easily be lulled by the bucolic atmosphere — the Eden-like forests, sunlit hills, and bubbling streams. Any moment, perhaps, Zorba the Greek will come strolling down the beaches, but the reality is more brutal. The reverie comes crashing down, disturbed by swift, sudden outbursts of violence.

The gangsters are usually lurkers and slackers, but when they do lash out, they don’t hold back.

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Jecel’s debut feature has a painterly quality to it, accentuated by Michael Kaufmann’s brilliant cinematography and an exceptionally rich musical score encompassing everything from Jimi Hendrix to folk songs as ancient as the steppes. But make no mistake about it — while the film looks stunning, it’s also a heartbreaking examination of the underworld surrounding the trafficking of children as sex slaves. A panel discussion on that topic follows the screening. 7:15 p.m. Saturday, Dec. 8. Not rated. 95 minutes. In Russian with subtitles. New Mexico History Museum. ( Jon Bowman) NIGHT ACROSS THE STREET The specter of death hovers over Night Across the Street, and with good reason: this is the last feature film fully directed by Chilean auteur Raúl Ruiz. (A work Ruiz left unfinished is being finalized by his widow.) The director passed away at age 70 in 2011 but had debilitating ailments before that. He died months after completing this film, and surely he knew his time was short as he shot it.

But just because the Grim Reaper was close doesn’t mean that Night Across the Street is grim. Quite the contrary: it’s a silly, surrealist portrait of the artist as an old man that might remind viewers in spirit of Federico Fellini’s 8½ or Bob Fosse’s All That Jazz. Ruiz sharpens the colors of his palette to comical extremes and frequently has characters walking clumsily in front of obvious blue-screen backdrops. One scene takes place inside the barrel of a gun. Long John Silver and Beethoven are both major characters; the latter at one point tries to interact with the actors on the screen in a movie theater.

Early in the picture, Ruiz’s front-of-camera surrogate, an older man named Don Celso (played by Sergio Hernández), remarks that time is like a game of marbles. The remark surfaces in the film’s imagery, which is rife with round objects and clocks. It also summarizes the film’s narrative flow, which hops to and fro between past, present, future, memory, and fantasy in a disjointed style that will turn off some viewers. It’s absurdist, but a fair amount of the humor doesn’t work, and some of the literary musings feel lost in translation.

The film’s third act doesn’t make sense of much of the seemingly free-associated setup, but it does offer more compelling cinema. Celso’s fears that an assassin is closing in on him come to fruition, his childhood flashbacks are resolved to some extent, and there’s even a scene that plays

FREE PARKING 3 Saturdays, December 8, 15 and 22 There will be TWO HOURS of free parking three Saturdays before Christmas.

Eleven hundred meters in downtown Santa Fe and Guadalupe street will be FREE! Free parking downtown brought to you by these participating merchants.

Night Across the Street

like a bizarre murder mystery. It’s a convoluted film, lifted by moments of poetry, that will surely delight fans of Ruiz and surrealist cinema. But it may frustrate and even bore those who fall into neither camp. 11:45 a.m. Sunday, Dec. 9. Not rated. 107 minutes. In Spanish and French with subtitles.

The Screen. (Robert Ker)

Full Bloom Goler Fine Imported Shoes Harry’s Clothing Il Piatto Izmi Sushi Restaurant James Reid Jett Keshi La Boca/Taberna La Fonda Laura Sheppherd Legends Santa Fe Marcy Street Card Shop Mira Native Jackets Etc. The New Mexican Origins Packards on the Plaza

More FREE PARKING At the Otero and Marcy Street lot, across from The Santa Fe New Mexican.

Patina Gallery Rainbow Man Rippel and Company Santa Fe Dry Goods Sign of the Pampered Maiden Santa Fe Hemp Santa Fe Reporter Shiprock The Shop A Christmas Store Spirit Things Finer Verve Uli’s Boutique Wear Abouts Windsor Betts Art Brokers

Otero Street

NOTHING WITHOUT YOU Xackery Irving’s story of murder, obsession, psychosis, and betrayal has a good twisty screenplay that would not be out of place at a gathering of Hitchcock, De Palma, and M. Night Shyamalan movies. Irving and his cast don’t have quite the chops to pull off a first-rate, professional thriller, but they’re good enough to deliver a diverting hour and a half of movie escapism.

Jennifer (Emily Fradenburgh) is a psychotic with a history of violence.

Incarcerated in a hospital, she meets clean-cut, sympathetic Michael Greenwood ( Joshua Loren), a city political figure, and falls madly in love with him. Falling madly in love is something she does a lot, especially when she’s off her meds, and she has a bit of the Fatal Attraction gene when it comes to inappropriate attachments. Out of the hospital, she manages a quick sexual liaison with the married Greenwood and then begins obsessively stalking him, hiding in his attic and observing Greenwood and his wife in their bedroom.

Greenwood’s wife (Kate Bringardner) is stabbed to death in the foyer of her house. Jennifer, lurking nearby, sees the crime, sees a hooded man escape, and arrives on the scene to help the victim — in time to be in that awkward position of being covered in blood and holding the murder weapon when people show up.

In a lockup for the criminally insane, Jennifer knows that her only salvation lies in solving the case herself. She is being treated by the patient, understanding Dr. Charles Branham (a nicely understated Keith McGill), and she convinces him of her innocence.

From here on, it’s a matter of escaping custody with the doctor’s reluctant complicity, breaking into a crooked security firm for evidence that is being covered up, dodging the law and the bad guys, and hairbreadth escapes, with a few extra twists tossed in to send everyone home happy.

Aaron Payne Fine Art Alan Houser Back At The Ranch Barker Properties Blue Rain Gallery Cafe Pasqual’s Charlotte Corsini Cowgirl BBQ Collected Works Bookstore Paul DeDomenico Dressman’s Gifts Design Warehouse Doodlet’s Ecco Espresso and Gelato Brian Egolf Evoke Contemporary Fairchild and Company

Marcy Street

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Nothing Without You

Shun Li and the Poet

Fradenburgh has a nicely psychotic vibe about her, Loren is smoothly creepy, and McGill as the sympathetic shrink gives an appealing performance that would hold up in a more assured movie. Irving, who wrote, directed, produced, and manned the camera, is a television producer making his debut with feature film. If some of it feels like an ill-fitting suit of clothes, at least they’re stylish clothes. 4 p.m. Saturday, Dec. 8. Not rated. 92 minutes.

Center for Contemporary Arts. ( Jonathan Richards)

Segre uses his talented leads and his appealing location (beautifully shot

by Luca Bigazzi) to weave a gentle story of cross-cultural friendship and to turn a sad eye on the prejudice that clings to the distinction between races and cultures, closing ranks to shut out the “other” when we should be embracing our differences and rejoicing in our common ground. 6 p.m.

Friday, Dec. 7. Not rated. 92 minutes. In Italian with subtitles. The Screen. ( Jonathan Richards)

SHUN LI AND THE POET A particular form of indentured servitude surrounds the subject matter of this poignant film by Italian director Andrea Segre, whose previous work has been in documentaries about immigrants. In his narrative feature debut, he tells the story of Shun Li (Tao Zhao), a Chinese woman who has emigrated to Italy and now must work to pay off her debt to the Chinese syndicate that paid her passage and to raise money to bring over her 8-year-old son.

Shun Li starts off in a factory in Rome, but as the movie opens, she learns that she is being transferred to Chioggia, an island fishing community in the Venetian lagoon. She is assigned to work behind the counter in a Chinese-owned workingmen’s café. She shares a room above the store with another Chinese woman.

The café is frequented by a cadre of regulars, mostly local fisherman who come there to drink and mind one another’s business. One of them is another foreigner, Bepi (the great Croatian actor Rade Serbedzija). His friends call him The Poet. He’s been a fisherman in Chioggia for decades, long enough to be practically accepted as a local. But when a bond begins to develop between Bepi and Shun Li, nobody likes it — not the Chinese and not the Italians. There’s not much tolerance for blurring the boundaries.

The relationship isn’t exactly a romance, but it isn’t exactly not a romance either; at one point Shun Li tells Bepi she wants to marry him. Their friendship grows out of a shared interest in poetry; Bepi is charmed to learn of the annual Chinese observance in which people honor the poet Qu Yuan by floating candles in paper lotuses on the water. Shun Li is not trying to get Bepi to pay off her debt; the syndicate’s rules, we learn, forbid a non-Chinese from doing that. Eventually, faced with having to start her repayment schedule all over again, Shun Li is pressured to put an end to the friendship.

THE SKIN I’M IN On July 23, 2005, the near-lifeless body of a gay American man named Broderick Fox was scooped off a set of Berlin train tracks by concerned passersby. A traumatic head injury and a blood-alcohol level of 0.47 had almost done Fox in, but when he began to heal physically, he realized that if his life was going to mean anything moving forward, he had some spiritual and emotional healing to do as well.

The desire to start anew and a compulsion to trace the scars of his former life in the process led Fox to the Pacific Northwest, where he met artist and Kwagiulth chief Rande Cook. Fox asked Cook to design a large tattoo for his back. For this autobiographical documentary, Fox — a self-described “son/Eagle Scout/valedictorian/professor/filmmaker/club kid/drag queen/ hustler/alcoholic” — went searching for his identity in the darkest recesses of his memory, re-examining the years in which he had exposed his body to extremes and put societal expectations to the test.

“Alienated by organized religion,” he writes on the film’s website, “I made the mistake of equating religion and spirituality, forsaking any personal cultivation of spirit. This led to a life of extreme duality. … My intellect was both my salvation and my taskmaster. Years of steady outward success … masked the private tyranny of my intellect over my body and spirit. In a world of uncertainty, the one thing I had absolute control over was my body.

I drove it to extremes: anorexia, compulsive exercise, cutting, smoking, and finally, drinking.”

Fox also developed a stable of personas that allowed him to explore his identity, sexual and otherwise, fairly anonymously, including Dina Brown (a drag queen) and a butch hustler named Rick. In The Skin I’m In, audiences get to know these personas intimately and get to bear witness to Fox’s

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uncommon path to transformation inside and out. Fox, an accomplished scholar and associate professor of media arts and culture at Occidental College’s Art History and Visual Arts Department, takes us with him as he hits rock bottom and brings us back up to a place where fearless self-examination can sometimes be the best — and only — medicine.

7:30 p.m. Friday, Dec. 7. Not rated. 86 minutes. Center for Contemporary Arts. (Rob DeWalt) VACATIONLAND Three of the four main characters who people the strangely disquieting comedy Vacationland act like ghosts who have no idea why they are frequenting an old graveyard. Michael (Peter Penz), Polly (Sarah Paul Ocampo), Polly’s daughter Iris (Ivy Girdwood), and Louise (Karen Black) show up for some sort of mysterious family reunion in an isolated section of Maine woodland. They hole up in a desolate, long-unused cabin and talk about nothing and everything at once while contemplating who set up the reunion in the first place.

And why are they the only ones who showed up? We learn little about the background of the characters, although it is revealed that Louise is Polly’s long-and-happily-lost mother and that Polly was once a performance artist who, among other credits, played a singing tree in a musical about global warming. Michael keeps taking photographs — Polaroids, at that — and never swings his arms when he walks. Iris finds a treasure map, which leads to a search. They take in a talent show at a nearby small town, reveal a few secrets, and take emotional risks with one another while waiting for something — anything — to happen. Vacationland is an odd, very likable mess of a movie anchored by four wonderfully real performances, with Black — who sometimes acts as if she is still possessed by the infamous devil doll from Trilogy of Terror — dominating the proceedings. Upon seeing her daughter Polly after years of separation, Louise notes, “You look just the same ... maybe a little fatter, but aside from that, you look fabulous.” And so does Black. It’s a picture that ends happily for some and ambiguously for others, but no one gets attacked by a psycho killer while wandering in the forest — something you think will happen every now and then as the story unfolds. 2 p.m. Sunday, Dec. 9. Not rated. 96 minutes. The Screen.

(Robert Nott)

Vacationland

Violeta Went to Heaven

VIOLETA WENT TO HEAVEN Much like Frida Kahlo, Chilean folk singer and artist Violeta Parra represented a bundle of contradictions. She could be deeply insecure and also intensely revolutionary. Heart-rending personal tragedies and psychological wounds often left her reeling, yet she refused to sacrifice or compromise her music, her paintings, or her tapestries. Violeta Went to Heaven, Chile’s official submission to the 2012 Oscars for best foreign language film, offers a kaleidoscopic portrait of this tormented but fiery artist, who was the first from Latin America to receive a solo show at the Louvre and whose nueva canción folk songs struck a chord for social justice in her homeland.

The film eschews the straightforward biographical approach in favor of an impressionistic swirl of vignettes that seek to define Parra’s character and the sources of her art. She’s presented warts and all, her neglect of her children, her stubbornness, and her frequent tirades recalling those of her late father, an inventive performer in his own right and a sweet man — but one prone to horrific mood swings and drunken outbursts.

Francisca Gavilán gives a powerhouse performance as Parra, singing all the songs, although Parra’s most famous tune, “Gracias a la vida” (Thank You Life), is conspicuously absent. Eliseo Altunaga adapted the script from a book by Parra’s son, Ángel. The direction, by Andrés Wood, takes a cue from the fluid visuals of Latin America’s magical realist classics. For instance, he films through the slat of a floorboard to capture a sweaty bout of lovemaking between Parra and her much younger boyfriend, a Swiss anthropologist-musician. Prior to this, Wood was best known for his 2004 drama Machuca, about a friendship between a rich student and a poor student in the waning years of Salvador Allende’s socialist government, immediately before the Pinochet coup. 2:15 p.m. Saturday, Dec. 8. Not rated. 110 minutes. In French and Spanish with subtitles. The Screen. ( Jon Bowman) ◀

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SA N TA FE FI L M FESTI VA L DE CE M BE R 6-9, 2012

Friday, 12/7 7:00 PM at The Lensic Dustin Hoffman’s directorial debut QUARTET starring Maggie Smith

PA N ELS • THE FUTURE OF FILM HISTORY • CURRENT TRENDS IN DISTRIBUTION • ART ON FILM • FILMS ON A MISSION • “ARTISTS IN CONVERSATION” • PORTRAYAL OF GAY MEN ON SCREEN CIRCA 2012 • SHORT FILMS, TALL TA LES Fo r more infor mation on 2012 SFFF’s screenings, panels, par ties, and net wo r k ing events visit: SANTAFEFILMFESTIVAL.COM | (505) 988-7414

You turn to us.

The Perfect Venue for Your Next Office, Family or Holiday Party!

Book Now for Your Next Holiday Event!

L E TAB L EAU La gu io n ie’s co n s i s te ntl y e n joyabl e, invent ive a n d be a u ti f u l l y c ra f te d ta l e i s a colo r r io t su i ta bl e fo r a l l a g e s.

NOT H I N G WIT H O U T YO U A t ru e in d ie f i l m, th i s f a s t- pa ce d th r i l l e r will keep yo u g u e s s i n g u nti l th e ve r y e n d.

ANY DAY NOW Q & A wit h D i re c to r Trav i s Fi n e : “ Powe r f u l !

S u p er b ! D e pi c ti o n s o f c u s to d y battl e s h ave b eco me a c i n e mati c s ta pl e, bu t fe w register wit h th e h e a r tfe l t e mo ti o n o f Any Day Now.” – Holly wood R epor ter

We will be offering a Christmas and New Years menu. There will also be the option for ordering ala carte.

Ti ckets on Sale Now at TicketsS antaFe.org | (505) 988-1234 at The Lensic, 211 W. S an Francisco St reet Hotel Santa Fe

welcomes the

Santa Fe Film Festival home

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www.osteriadassisi.com 58 S. Federal Place Santa Fe, NM 986-5858

Santa Fe’s only not-forprofit, community-supported independent theatre, showing the best in world and independent cinema.

What’s happening contemporary conversations continue

Alcove 12.7

1050 Old Pecos Trail ï 505.982.1338 ï ccasantafe.org

Tonight: Gallery Opening

december 7 friday Opening night of Alcove 12.7, part seven of the nine-part series presenting five New Mexico artists every five weeks. 5–8 p.m. Free.

Coming Up: Gallery Conversations

december 14 friday Meet the artists of Alcove 12.7 as they discuss their work in an open conversation. 5:30–7 p.m. Free.

Special Event: Public Reception

december 9 sunday Kid-Formed Kiln-Glass Rainbow Project. Celebrate the glass rainbow made by New Mexico students, elementary to high school, now installed in the museum patio. 2–4 p.m. Free.

SANTA FE INSTITUTE PRESENTS

NEW MEXICO MUSEUM OF ART

THE NATION’ S CRITICS AGREE

SCIENCE ON SCREEN with Murray Gell-Mann

“GRAND AND VIBRANT.” -A.O. SCOTT,

“AWESOME.”

“MAGNIFICENT.”

-LISA SCHWARZBAUM,

-ROGER EBERT,

“SUBLIME.”

“DAZZLING.”

107 WEST PALACE AVENUE · ON THE PLAZA IN SANTA FE · 505.476.5072 · NMARTMUSEUM.ORG

-ANDREW O’HEHIR,

-JOHN ANDERSON,

“It must be experienced on the BIG SCREEN.” -CHRISTOPHER CAMPBELL,

HELD OVER BY POPULAR DEMAND!!

SOME DISTURBING AND SEXUAL IMAGES

The NM Environmental Law Center presents

THE MILAGRO BEANFIELD WAR

7:00p Thurs Dec 13 $10 / $7 for CCA or SFI members

preceded by a new short film by Debra Anderson (Split Estate) Reception at 5:15p, Films at 6:00p $10 Suggested Donation

A Very Chaplin Holiday: The Kid December 7≠ 9 Full schedule available at santafefilmfestival.com Tickets available at ticketssantafe.org or by calling 988≠ 1234

Fri Dec 7 11:30a - SFFF: AKA Doc Pomus* 12:00p - SFFF: Dave 2:15p - SFFF: From Zimbabwe to Santa Fe 2:45p - SFFF: Shorts 1* 4:15p - The Sapphires 5:15p - SFFF: Shorts 2* 6:45p - SFFF: Gregory Crewdson 7:30p - SFFF: The Skin I’m In* 9:00p - SFFF: David Bromberg

Sat Dec 8

11:00a - SFFF: Chaplin’s The Kid 11:45a - SFFF: The Cardboard Bernini* 12:45p - SFFF: Jake Shimabukuro 2:00p - SFFF: Nairobi Half Life 2:30p - SFFF: Garifuna in Peril* 4:00p - SFFF: Nothing Without You 5:00p - SFFF: Le Tableau* 6:30p - SFFF: Amour 7:00p - SFFF: Uprising *

11:00a Sat & Sun 12/18-9 & A Benefit screening for the NM Coalition to End Homelessness 7:00p Mon 12/10 ï $10

Sun Dec 9

10:00a - SFFF: Shorts III* 11:00a - SFFF: Chaplin’s The Kid 12:00p - SFFF: Shorts IV* 12:45p - SFFF: NM Shorts 2:30p - SFFF: TBD* 3:15p - SFFF: The Deception 5:15p - Samsara* 5:45p - SFFF: Curators Choice

Weds Dec 12

Mon Dec 10 4:15p - Samsara* 5:00p - Sugar Man 6:30p - Samsara* 7:00p - Benefit for NM Homeless Coalition: Chaplin’s THE KID

Tues Dec 11 3:30p - Sugar Man 4:45p - Samsara* 6:00p - Fundraiser for NM Environmental Law Center: Milagro Beanfield War ($10 donation) 7:00p - Samsara*

Cinematheque Closed

Thurs Dec 13 3:45p - Samsara* 4:30p - Sugar Man 6:00p - Samsara* 7:00p - Science on Screen: Murray Gell-Mann: The Gods Must Be Crazy

* indicates show will be in The Studio at CCA

Concessions Provided by WHOLE FOODS MARKET PASATIEMPO

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MOVING IMAGES pasa pics

— compiled by Robert Ker

com. Rated PG-13. 106 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) THE SANTA FE FILM FESTIVAL The annual festival, now in its 13th season, has the usual eclectic mix of narrative and documentary works as well as international and homegrown, New Mexico-based titles. Certain common threads weave throughout the programming; for example, this year’s slate offers a bounty of musical documentaries and related narrative films. Nightly parties are also planned, as are panels bringing together visiting and local filmmakers. Runs through Sunday, Dec. 16, in multiple venues. Visit www.santafefilmfestival.com. See stories and reviews beginning on Page 52.

Someone here is being very childish: Jessica Biel, Noah Lomax, and Gerard Butler in Playing for Keeps, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week HECHO EN MÉXICO This lively documentary aims to cover as much of the geography, art, religion, and culture of Mexico as it possibly can, with a special focus on the country’s music, from traditional to modern to classical to pop. Rated R. 88 minutes.

In Spanish with subtitles. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE KID The holiday celebration of the films of Charlie Chaplin continues with his first feature-length picture. Chaplin’s Tramp is the protector of a young, unwanted child ( Jackie Coogan), who quickly becomes his partner in shady shenanigans. Perhaps the first “dramedy” film, The Kid promises that you’ll laugh and you’ll cry. Not rated. 68 minutes. 7 p.m. Monday, Dec. 10, screening benefits the New Mexico Coalition to End Homelessness. Center for Contemporary Arts, Santa Fe. (Robert Ker) LORD OF THE RINGS TRILOGY MARATHON To prepare viewers for The Hobbit: An Unexpected Journey

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(opening Dec. 14), New Line is re-releasing the entire Lord of the Rings trilogy — in extended editions, with introductions by director Peter Jackson — in one marathon viewing for fans with the deepest sense of patience and the hardest butts. You know the story: hobbit gets ring, hobbit destroys ring, filmmakers get Oscars, studio demands prequels. It’s a long time to sit in a theater, but these movies hold up incredibly well. 11:15 a.m. Saturday, Dec. 8, only. Rated PG-13.

777 total minutes. Regal Stadium 14, Santa Fe. (Robert Ker) THE MET LIVE IN HD: UN BALLO IN MASCHERA Marcelo Álvarez, Sondra Radvanovsky, and Dmitri Hvorostovsky star in director David Alden’s staging of Verdi’s opera, which is broadcast live from the Met. 11 a.m. Saturday, Dec. 8, with a 6 p.m. encore.

Lensic Performing Arts Center, Santa Fe. (Not reviewed) PLAYING FOR KEEPS Gerard Butler plays George, a hunky former soccer pro who ends up coaching a youth team in the suburbs, where local single housewives (played by Uma Thurman, Jessica Biel, Judy Greer, and Catherine Zeta-Jones) hope to score a gooooooal! But can George get his act together and settle down? Oh, the problems he faces. Gabriele Muccino (The Pursuit of Happyness) directs this rom-

SMASHED Solid performances illuminate an unflinching but unsurprising script in this Days of Wine and Roses tale of a young couple whose good times are fueled by alcohol. Kate (Mary Elizabeth Winstead) is a grade-school teacher by day and an increasingly out-of-control party girl by night, carousing with husband Charlie (Breaking Bad’s Aaron Paul). When she hits bottom, a caring (perhaps too caring) colleague (Nick Offerman) steers her into AA, but Charlie doesn’t follow. A first-rate supporting cast includes Octavia Spencer, Mary Kay Place, and Megan Mullally, but the story runs through paces as predictable as a 12-step program. Rated R. 85 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards)

now in theaters ANNA KARENINA This is not like any Anna Karenina you’ve ever seen.

Director Joe Wright (Atonement) and screenwriter Tom Stoppard have reimagined and restructured the classic story with a stunningly original vision that treads the border between triumph and disaster and manages to keep miraculously to the side of the angels. An Anna Karenina soars or sinks with its heroine, and while Keira Knightley can charm, swoon, and rage, when it comes to plumbing the depths of Tolstoy’s tragic heroine, she shows the strain of acting. She hits all the notes, but she doesn’t manage to play between the notes. Rated R. 129 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) ARGO Ben Affleck takes a true story by the throat and delivers a classic seatsquirming, pulse-pounding nail-biter.

In 1980, as the world watched the hostages in the U.S. embassy in Tehran, a small group of Americans made

it to the Canadian ambassador’s residence and hid out there while the White House and the CIA desperately tried to figure out how to spirit them out of the country. The plan? Pretend to be making a sci-fi film and disguise the Americans as members of a Canadian location-scouting crew. A terrific cast is headed by Affleck as the CIA operative, with Alan Arkin and John Goodman at the Hollywood end and a spot-on bunch of unknowns as the hiders. Rated R. 120 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) BLESS ME, ULTIMA In lesser hands, the film adaptation of Rudolfo Anaya’s classic novel could have been cloyingly precious magical realism. But Bless Me, Ultima, directed by Carl Franklin, was shot in and around Santa Fe with Spanish-speaking actors, which imbues the story of murder and witches in World War II-era Northern New Mexico with authenticity. Antonio (played by Luke Ganalon), is 6 years old when his grandmother Ultima (Miriam Colon), a curandera, comes to stay with his family. Antonio sees too much for a kid his age, but he is brave in the face of grown-up pressures.

Rated PG-13. 105 minutes. In English and Spanish, no subtitles. Regal Stadium 14, Santa Fe. ( Jennifer Levin) CLOUD ATLAS If you see only one film this year, perhaps it should be Cloud Atlas — not because it’s the best movie, but because it’s six movies for the price of one. It serves up some of your favorite actors, sometimes heavily disguised, in a half dozen different roles apiece. David Mitchell’s centuries-spanning 2004 bestseller is a complex challenge that the author thought could never be translated into a movie, and as he himself recently admitted, “I was half right.” Still, there’s no denying the film’s entertainment value and its technical accomplishment. Rated R. 172 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) DIANA VREELAND: THE EYE HAS TO TRAVEL The legendary Diana Vreeland — fashion editor for Harper’s Bazaar for more than 25 years and longtime editor-in-chief of Vogue — is the focus of this entertaining, reverential documentary, written and directed by Bent-Jorgen Perlmutt, Frédéric Tcheng, and Lisa Immordino Vreeland (the subject’s granddaughter-in-law).

Vreeland was born in 1903 and died in 1989, and any story about her life ends up also being a chronicle of significant 20th-century cultural events. The film is full of interviews with designers, models, photographers, and celebrities — so many it begins to get dizzying.

Anyone who is not familiar with Vreeland or who questions her impact on popular culture should watch and listen closely. Rated PG-13. 86 minutes.

Regal DeVargas, Santa Fe. (Laurel Gladden)

END OF WATCH Filmmaker David Ayer spent a large portion of his childhood in South Central Los Angeles and then allowed those experiences to inform his work as a writer (Training Day) and a writer/director (Harsh Times). He hits the streets again with this story of two cops ( Jake Gyllenhaal and Michael Peña) who make enemies of a drug cartel. Rated R. 109 minutes.

Regal DeVargas, Santa Fe. (Not reviewed) FLIGHT In director Robert Zemeckis’ first live-action film since 2000’s Cast Away, Denzel Washington plays a pilot who pulls off a miracle of an emergency landing.

The ensuing investigation into the near-crash turns up troubling facts — some of which implicate the pilot in the disaster, tearing his life apart. Rated R. 139 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) KILLING THEM SOFTLY A criminal (Vincent Curatola) hires two simple-minded thugs (Scoot McNairy and Ben Mendelsohn) to rob his rivals’ card game. They succeed at first, but this being a movie, things eventually go wrong. Ray Liotta and Brad Pitt play two of the rivals aiming to get their money back.

Uh-oh. Andrew Dominik (The Assassination of Jesse James by the Coward Robert Ford) directs. Rated R. 97 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) LIFE OF PI Ang Lee’s adaptation of Yann Martel’s best-selling novel is an intriguing exercise in going toward, intense being, and going away. The first and last are the frame in which the story, of a boy on a lifeboat with a man-eating Bengal tiger in a wild ocean, is set.

That middle part is a fabulous creation of imagination and CGI, and it is riveting. The lead-in sets it up with a promise of a story “that will make you believe in God.” The recessional discusses what we have seen, what it means, what may or may not be true, and what we’ve learned. Whether or not it makes you believe in anything is up to you. Suraj Sharma and Irrfan Khan play Pi, young and older. The real star is a collection of electronic impulses that will make you believe in tigers, at least. Rated PG. 127 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Jonathan Richards) LINCOLN Steven Spielberg’s Lincoln is a surprisingly small film, considering its subject. With the Civil War as background, it focuses on the passage of the 13th Amendment to the Constitution and what was required, politically, to achieve it. The president deals with the false choice of ending the war and ending slavery, hearty criticism from his political enemies, and dysfunction in his own

Smashed

family. Daniel Day-Lewis looks and sounds the part of the 16th president, though sometimes his words and the cadences at which they come feel self-conscious.

Sally Fields as Mary Todd Lincoln and Tommy Lee Jones as radical abolitionist Thaddeus Jones stand out from an otherwise unremarkable ensemble cast. Rated PG-13. 149 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Bill Kohlhaase) RED DAWN This revamp of John Milius’ 1984 film is a serviceable action flick, but that doesn’t mean it needed to be made. When North Korean forces invade Spokane, Washington, a group of teens, led by Iraq War veteran Jed (Chris Hemsworth) organize as a ragtag group of guerilla fighters, calling themselves the Wolverines. The performances are mostly fine, but there are unsettling racist and pro-citizens-militia undertones.

Rated PG-13. 93 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) RISE OF THE GUARDIANS This animated adventure stars a super team made up of Santa Claus (Alec Baldwin), the Easter Bunny (Hugh Jackman), the Tooth Fairy (Isla Fisher), and the Sandman. They join together with newbie Jack Frost (Chris Pine) to continued on Page 66

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combat an evil spirit named Pitch ( Jude Law). The plot is tightly woven, the jokes hit, the animation is captivating, and the world is realized with great depth and wonder. I would even go so far as to say the film is magical — for adults and children alike.

If you’re open to a sword-wielding Santa this holiday season, you’ll be won over by this fable. Rated PG. 97 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Robert Ker) A ROYAL AFFAIR In the 1760s, wellread English princess Caroline Mathilde (Alicia Vikander) is betrothed to Christian VII (Mikkel Boe Følsgaard), the mentally unstable king of Denmark and Norway. Christian hires a German physician, Johann Friedrich Struensee (Mads Mikkelsen), who comes to court, tends to the king’s health, and (ahem) cures what’s ailing the queen as well. This is an exemplary — if not gripping — period melodrama, with dewy-complexioned women, steely-eyed heroes, and a sweeping score.

Rated R. 137 minutes. In Danish, German, and French with subtitles. The Screen, Santa Fe. (Laurel Gladden) SAMSARA This documentary’s narrative and message are conveyed by director Ron Fricke’s (Baraka) sequence of stunning images, filmed in 70 mm and gathered from 25 countries on five continents. The visuals are extraordinary, but much of the time you may find yourself wondering where you are, even as you bathe in the beauty of nature’s abundance and culture’s triumphs or squirm at the robotic cruelty and soullessness of the modern world. Rated PG-13.

99 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the search for a talented musician named Sixto Diaz Rodriguez is a portrait of a humble man, a rock documentary, and a detective story all in one. It follows the triumphs and frustrations of a journalist and a record-store owner in their efforts to shed light

spicy bland

medium

mild

heartburn

Send comments on movie reviews to pasamovies@sfnewmexican.com.

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December 7-13, 2012

on the mystery surrounding Rodriguez, a superstar in South Africa but virtually unknown in his native United States. The film packs an emotional wallop.

Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) THE SESSIONS Mark O’Brien ( John Hawkes), a West Coast poet and journalist, has spent most of his life confined to an iron lung. He has a working head attached to a useless rag doll of a body, and he decides at the age of 38 to experience sex with a woman before his use-by date runs out. This movie tells the true story of his sessions with a sex surrogate (Helen Hunt) and recalls, with wry humor and touching tenderness, something of the extraordinary bond of connection and self-awareness that the sex act can access. Rated R. 95 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) SILVER LININGS PLAYBOOK This story, based on Matthew Quick’s novel, centers on Pat Solatano (Bradley Cooper), who after being released from a mental institution moves in with his parents ( Jacki Weaver and Robert De Niro) and vows to win back his estranged wife. When friends invite him to dinner, he meets Tiffany ( Jennifer Lawrence), who also has a couple of screws loose. She agrees to help him patch things up with his wife — but only if he will agree to be her partner in a dance competition. The story swerves hilariously around clichés, and finely honed dialogue, attention to detail, and impressive performances make the film perfect oddball comic relief for the holiday season. Rated R. 122 minutes.

Regal Stadium 14, Santa Fe. (Laurel Gladden) SISTER The acting in this unflinching portrayal of a little boy’s need for love is superb. Simon, age 12, steals for a living. He lives in the valley of a Swiss ski town with his sister, Louise, who isn’t much inclined toward mothering her little brother. Sister asks questions: What is the difference between love and obligation?

What does it mean to be wanted? And when we know that we are not, what becomes of us? The answers are among the most emotionally brutal ever captured on film. Not rated. 97 minutes. In French and English with subtitles. The Screen, Santa Fe. ( Jennifer Levin) SKYFALL In Daniel Craig’s third outing as James Bond, a terrorist declares war on MI6, and the agents go underground, holing up beneath the streets of London. Javier Bardem makes for a memorable, if campy, villain, and the acting from the British cast (including Judi

Dench, Ralph Fiennes, and Ben Whishaw) is superb, but the crisp dialogue holds up better than the overall plot. Cinematographer Roger Deakins gives the film a polished, sumptuous look. Rated PG-13. 143 minutes.

Regal Stadium 14, Santa Fe; Storyteller, Taos. ( Jeff Acker) THE TWILIGHT SAGA: BREAKING DAWN — PART 2 With this final installment of “As the Vampire Turns,” we can finally put the Twilight franchise in its grave. Our newly bloodsucking heroine Bella (Kristen Stewart) learns to hunt and discovers that her werewolf pal Jacob (Taylor Lautner) has “imprinted” on her newborn daughter, which means they will be mates for life. Twi-hard fans will appreciate the film’s fidelity to the novel and Lautner’s obligatory removing-ofthe-clothes moment. The rest of us should thank our lucky stars for the levity screenwriter Melissa Rosenberg injects into the story and a gripping battle scene. Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) WRECK-IT RALPH With its many nods to old-school video games, Wreck-It Ralph initially seems like a cartoon that panders to ex-geek parents. And then the story — about a villain (the title character, voiced by John C. Reilly) who breaks out of his video game to become a hero — kicks in. The action shifts to the fictional “Sugar Rush” racing game, and the film becomes a psychedelic swirl of adventure and imagination.

Wreck-It Ralph may be too long, but it racks up a high score when it comes to heart, cleverness, and humor.

Rated PG. 120 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Robert Ker)

other screenings Center for Contemporary Arts 6 p.m. Tuesday, Dec. 11: The Milagro Beanfield War. Preceded by a short film by Debra Anderson.

New Mexico Environmental Law Center presents the screenings and hosts a reception at 5:15 p.m.

7 p.m. Thursday, Dec. 13: The Gods Must Be Crazy.

Physicist Murray Gell-Mann speaks as part of the Santa Fe Institute’s Science on Screen series.

Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, Dec. 9-11: 2 Days in New York. ◀

WHAT’S SHOWING

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#

Call theaters or check websites to confirm screening times.

CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 982-1338, ccasantafe.org The Gods Must Be Crazy (PG) Thurs. 7 p.m.

The Kid (NR) Sat. and Sun. 11 a.m. Mon. 7 p.m.

The Milagro Beanfield War (NR) Tue. 6 p.m.

Samsara (PG-13) Sun. 5:15 p.m. Mon. 4:15 p.m., 6:30 p.m. Tue. 4:45 p.m., 7 p.m. Thurs. 3:45 p.m., 6 p.m.

Santa Fe Film Festival Fri. to Sun. For times, see www.santafefilmfestival.com Searching for Sugar Man (PG-13) Mon. 5 p.m.

Tue. 3:30 p.m. Thurs. 4:30 p.m.

REGAL DEVARGAS

562 N. Guadalupe St., 988-2775, fandango.com Anna Karenina (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:40 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m.

Argo (R) Fri. and Sat. 1:20 p.m., 4:30 p.m., 7:10 p.m., 9:55 p.m. Sun. to Thurs. 1:20 p.m., 4:30 p.m., 7:10 p.m.

Cloud Atlas (R) Fri. to Thurs. 12:50 p.m., 4:15 p.m., 7:40 p.m.

Diana Vreeland:The Eye Has to Travel (PG-13) Fri. to Thurs. 3:25 p.m., 5:30 p.m., 7:45 p.m.

End of Watch (R) Fri. and Sat. 12:55 p.m., 10 p.m.

Sun. to Thurs. 12:55 p.m.

The Sessions (R) Fri. and Sat. 1:05 p.m., 3:20 p.m., 5:35 p.m., 7:50 p.m., 10:05 p.m. Sun. to Thurs.

1:05 p.m., 3:20 p.m., 5:35 p.m., 7:50 p.m.

Smashed (R) Fri. and Sat. 1:10 p.m., 3:15 p.m., 5:25 p.m., 7:30 p.m., 9:50 p.m. Sun. to Thurs.

1:10 p.m., 3:15 p.m., 5:25 p.m., 7:30 p.m.

REGAL STADIUM 14

3474 Zafarano Drive, 424-6296, fandango.com Bless Me, Ultima (PG-13) Fri. to Wed. 1 p.m., 7 p.m.

Flight (R) Fri. to Wed. 3:30 p.m., 9:50 p.m.

Hecho en México (R) Fri. to Wed. 12:30 p.m., 2:50 p.m., 5:20 p.m., 7:50 p.m., 10:20 p.m.

The Hobbit:An Unexpected Journey 3D (PG-13) Thurs. midnight The Hobbit:An Unexpected Journey (PG-13) Thurs. midnight Killing Them Softly (R) Fri. to Wed. 12:20 p.m., 3 p.m., 5:25 p.m., 8 p.m., 10:30 p.m.

Life of Pi (PG) Fri. to Wed. 1:45 p.m., 7:45 p.m.

Life of Pi 3D (PG) Fri. to Wed. 1:15 p.m., 4:15 p.m., 4:45 p.m., 7:15 p.m., 10:15 p.m., 10:45 p.m.

Lincoln (PG-13) Fri. to Wed. 12:10 p.m., 3:45 p.m., 7:10 p.m., 10:30 p.m.

Lord of the Rings Marathon (NR) Sat. 11:15 a.m.

Playing for Keeps (PG-13) Fri. to Wed. 12:05 p.m., 2:30 p.m., 4:50 p.m., 7:45 p.m., 10:10 p.m.

Red Dawn (PG-13) Fri. to Wed. 12 p.m., 2:35 p.m., 5:15 p.m., 7:55 p.m., 10:35 p.m.

Rise of the Guardians (PG) Fri. to Wed. 12:10 p.m., 2:40 p.m., 5:10 p.m., 7:40 p.m., 10:10 p.m.

Rise of the Guardians 3D (PG) Fri. 4 p.m., 10 p.m.

Sun. to Wed. 4 p.m., 10 p.m.

Silver Linings Playbook (R) Fri. to Wed. 1:55 p.m., 4:45 p.m., 7:40 p.m., 10:25 p.m.

Skyfall (PG-13) Fri. to Wed. 12:55 p.m., 4:10 p.m., 7:30 p.m., 10:40 p.m.

TheTwilight Saga: Breaking Dawn — Part 2 (PG-13) Fri. 1 p.m., 1:30 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 10:30 p.m. Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:30 p.m. Sun. to Wed. 1 p.m., 1:30 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 10:30 p.m.

Wreck-It Ralph (PG) Fri. to Wed. 1:30 p.m., 4:20 p.m., 7 p.m., 9:45 p.m.

THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com A Royal Affair (R) Mon. 4 p.m. Tue. 6:30 p.m. Wed. 4 p.m. Thurs. 6:30 p.m.

Santa Fe Film Festival Fri. to Sun. For times, see www.santafefilmfestival.com Sister (NR) Mon. 2 p.m. Tue. 4:30 p.m. Wed. 2 p.m. Thurs. 4:30 p.m.

STORYTELLER DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, storytellertheatres.com Flight (R) Fri. 3:55 p.m., 6:50 p.m., 9:40 p.m. Sat. 12:45 p.m., 3:55 p.m., 6:50 p.m., 9:40 p.m. Sun. 12:45 p.m., 3:55 p.m., 6:50 p.m. Mon. to Thurs.

3:55 p.m., 6:50 p.m.

Hecho en México (R) Fri. 4:15 p.m., 6:55 p.m., 9:10 p.m. Sat. 1:25 p.m., 4:15 p.m., 6:55 p.m., 9:10 p.m. Sun. 1:25 p.m., 4:15 p.m., 6:55 p.m. Mon. to Thurs. 4:15 p.m., 6:55 p.m.

The Hobbit:An Unexpected Journey 3D (PG-13) Thurs. midnight The Hobbit:An Unexpected Journey (PG-13) Thurs. midnight KillingThem Softly (R) Fri. 4:20 p.m., 7:10 p.m., 9:20 p.m. Sat. 1:20 p.m., 4:20 p.m., 7:10 p.m., 9:20 p.m. Sun. 1:20 p.m., 4:20 p.m., 7:10 p.m.

Mon. to Thurs. 4:20 p.m., 7:10 p.m.

Life of Pi (PG) Fri. to Thurs. 3:50 p.m.

Life of Pi 3D (PG) Fri. 6:40 p.m., 9:25 p.m.

Sat. 1 p.m., 6:40 p.m., 9:25 p.m. Sun. 1 p.m., 6:40 p.m. Mon. to Thurs. 6:40 p.m.

Lincoln (PG-13) Fri. 3:45 p.m., 6:45 p.m. Sat. and Sun. 12:40 p.m., 3:45 p.m., 6:45 p.m. Mon. to Thurs.

3:45 p.m., 6:45 p.m.

Playing for Keeps (PG-13) Fri. 4 p.m., 6:35 p.m., 9:05 p.m. Sat. 12:50 p.m., 4 p.m., 6:35 p.m., 9:05 p.m.

Sun. 12:50 p.m., 4 p.m., 6:35 p.m. Mon. to Thurs.

4 p.m., 6:35 p.m.

Red Dawn (PG-13) Fri. 4:05 p.m., 7 p.m., 9:30 p.m.

Sat. 1:05 p.m., 4:05 p.m., 7 p.m., 9:30 p.m. Sun. 1:05 p.m., 4:05 p.m., 7 p.m. Mon. to Thurs.

4:05 p.m., 7 p.m.

Rise of the Guardians (PG) Fri. 4:25 p.m., 7:15 p.m., 9:45 p.m. Sat. 1:15 p.m., 4:25 p.m., 7:15 p.m., 9:45 p.m. Sun. 1:15 p.m., 4:25 p.m., 7:15 p.m.

Mon. to Thurs. 4:25 p.m., 7:15 p.m.

TheTwilight Saga: Breaking Dawn — Part 2 (PG-13) Fri. 3:40 p.m., 6:30 p.m., 9 p.m. Sat. 12:55 p.m., 3:40 p.m., 6:30 p.m., 9 p.m. Sun. 12:55 p.m., 3:40 p.m., 6:30 p.m. Mon. to Thurs. 3:40 p.m., 6:30 p.m.

Wreck-It Ralph (PG) Fri. 4:10 p.m., 7:05 p.m., 9:35 p.m. Sat. 1:10 p.m., 4:10 p.m., 7:05 p.m., 9:35 p.m. Sun. 1:10 p.m., 4:10 p.m., 7:05 p.m.

Mon. to Thurs. 4:10 p.m., 7:05 p.m.

$

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3474 Zafarano Drive, Santa Fe, 87507

Storyteller Dreamcatcher 10

33771 South US Highway 285, Espanola, NM 87532

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110 Old Talpa Canon Road, 575-751-4245 KillingThem Softly (R) Fri. 4:45 p.m., 7:15 p.m., 9:55 p.m. Sat. 2:30 p.m., 4:45 p.m., 7:15 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:45 p.m., 7:15 p.m.

Mon. to Thurs. 4:45 p.m., 7:15 p.m.

Life of Pi (PG) Fri. 4:30 p.m. Sat. and Sun. 1:50 p.m., 4:30 p.m. Mon. to Thurs. 4:30 p.m.

Life of Pi 3D (PG) Fri. and Sat. 7:10 p.m., 9:50 p.m.

Sun. to Thurs. 7:10 p.m.

Playing for Keeps (PG-13) Fri. 4:40 p.m., 7:20 p.m., 9:45 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:20 p.m., 9:45 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:20 p.m.

Mon. to Thurs. 4:40 p.m., 7:20 p.m.

Red Dawn (PG-13) Fri. 4:55 p.m., 7:30 p.m., 9:40 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:30 p.m., 9:40 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:30 p.m.

Mon. to Thurs. 4:55 p.m., 7:30 p.m.

Rise of the Guardians (PG) Fri. 4:35 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:35 p.m., 7 p.m., 9:30 p.m.

Sun. 2 p.m., 4:35 p.m., 7 p.m. Mon. to Thurs.

4:35 p.m., 7 p.m.

Skyfall (PG-13) Fri. 6:50 p.m., 9:45 p.m. Sat. 2:25 p.m., 6:50 p.m., 9:45 p.m. Sun. 2:25 p.m., 6:50 p.m. Mon. to Thurs. 6:50 p.m.

TheTwilight Saga: Breaking Dawn — Part 2 (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m.

WRITTEN FOR THE SCREEN AND DIRECTED BY

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RESTAURANT REVIEW Patricia Greathouse I For The New Mexican

Chef’s special Tomme 229 Galisteo St., 820-2253 Dinner 5:30-9 p.m. daily Patio dining in season Takeout Noise level: quiet Handicapped-accessible Wine & beer Credit cards, local checks

!

The Short Order Tomme sits in a prime corner location on the edge of downtown. None of the previous tenants have been as elegant or as promising as this venture by owner Maria “Max” Renteria and chef Joseph Wrede (formerly of Joseph’s Table in Taos and The Palace Restaurant & Saloon in Santa Fe). Wrede lets the ingredients drive the menu, presenting well-prepared, interesting food with takes on comforting favorites such as fried chicken and trout. The service is professional, friendly, and assured. The wine list is small yet extensive enough and reasonably priced. The ambience is modern and spare. Recommended: oysters, endive salad, trout, fried chicken, desserts, and anything with fries or frites.

Ratings range from 0 to 4 chiles, including half chiles.

This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.

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December 7-13, 2012

The story of Tomme is a winding tale, one of broken alliances, re-pairing, and redefining. Joseph Wrede, named one of the best new chefs in the country by Food & Wine magazine in 2000, helmed his Joseph’s Table in Taos until 2009. He arrived in Santa Fe a few years ago to head The Palace Restaurant & Saloon. The Palace, once our city’s grande dame, had been in reduced circumstances for several years. Santa Feans were thrilled at the potential of such a glorious match.

Fortunately for Maria Renteria, aka Max, owner of the now defunct Max’s, Wrede left The Palace after a year.

Renteria’s new restaurant, Tomme, had become her only child, and she formed a new partnership with Wrede.

The food at Max’s was delicious, but the servings and space were tiny, and ingredients were precious. Tomme is more gently priced, has more seating, and is more centrally located. The ambience is sparely elegant. The food is carefully prepared and taken seriously, but it swings through a broader range than the food at Max’s.

In short, this menu will appeal to a larger audience.

Wrede says he’s not a chef: he’s an artist running an art house in an art community. He points out that Santa Fe has a regular cadre of those who eat out, if only for special occasions. If they have not found their way to Tomme yet, they will soon.

It’s hard to find fault with a team that is trying so sincerely to make things work. Most of the food is excellent, but a few details need tweaking.

One of the most delicate and naturally delicious foods, fresh oysters come by the plateful at Tomme. The flavors are so complex and fresh that it’s hard to believe they have nothing added. (An apple mignonette sauce does accompany the oysters and is intended to heighten the flavor.) What a miracle it is to sit in Santa Fe and eat such a pure taste of the sea.

An amuse bouche of poached Mediterranean mussel with a dab of mignonette sauce came with both dinners.

A Mexican flavored salad of market-fresh vegetables, sweet roasted corn, slightly acidic yellow tomato, green bitter arugula, cotija cheese, and a dab of chile aioli was a fantastic balancing act. Each flavor contrasted yet combined beautifully. The salad will be off the menu by the time you read this; Wrede follows the seasons.

Wilted endive with a poached egg, smoked bacon chips, garlic chips, and blue cheese was perfection, the components combining to create an umami mouth party.

A small roll smeared with duck mousse came on the side. An appetizer-size bowl of very good briny mussels had an acidic, salty sauce, with crisp, freshly made frites on the side. Duck à l’orange, while cooked crisp on the outside and rosy inside, was underseasoned. The whole dish — sauce, green lentils, and duck — cried out for a little salt. A side salad of shaved pickled beets and arugula overpowered the rest of the dish.

Delicate halibut with potato gnocchi and kalamata olives came in a brown butter and aged balsamic sauce.

The dish was brown, colored by the olives and balsamic.

The fish was a trifle overcooked; the gnocchi gummy.

It was impossible to tell by looking if a bite was fish or gnocchi.

Two scrumptious quails stuffed with duck confit served in a Cumberland sauce heralded nippy fall weather. The fried chicken was divine and would make your Uncle Bud feel right at home; however, the roasted Golden Delicious rounds and fennel were underwhelming. Fillets of delicate, beautifully cooked Rocky Mountain trout with crunchy crisped skin strips came with another version of fries on the side. The whole plate was a treat.

An ethereal lemon mousse with fresh raspberries overflowed two puff-pastry sheets. A chocolate torte with port was also very good, but it paled next to the mousse. Dessert another night was a play on these two themes, with variations. A cheese board with seasonal fruit, offered in lieu of sweets, would be lovely paired with one of Tomme’s ports, moscatos, or sauternes.

A bottle of Gruet sparkling rosé, a deliciously celebratory treat at an unbelievably good price, went well with the whole meal. Service at Tomme is top notch.

Servers know the food and the wine and are efficient yet unobtrusive. ◀

Check, please Dinner for two at Tomme: Bowl of mussels ............................................... $ 14.00 Egg, endive, bacon, blue cheese salad ............. $ 13.00 Halibut flakes with gnocchi ............................. $ 29.00 Duck à l’orange ................................................ $ 26.00 Chocolate torte ................................................ $ 10.00 Lemon soufflé with puff pastry ........................ $ 9.00 Bottle, Gruet sparkling rosé ............................. $ 23.00 TOTAL ............................................................. $ 124.00 (before tax and tip) Dinner for two, another visit: Oysters ............................................................. $ 18.00 Mexican salad .................................................. $ 12.00 Trout ................................................................ $ 23.00 Quail ................................................................ $ 29.00 Chocolate gâteau ............................................. $ 10.00 Lemon raspberry tart ....................................... $ 10.00 Glass, Carmenere Casillero del Diablo ............ $ 9.00 TOTAL ............................................................. $ 111.00 (before tax and tip)

The

Candyman strings & things

Santa Fe’s Community Music Center

DECEMBER 7, 8 AND 9

Photo© Kate Russell, Styling by Greg Purdy

851 St. Michael’s Drive Santa Fe, NM 87505 505-983-5906 candymanstringsandthings.com

GO TO SANTAFEFILMFESTIVAL.COM FOR INFORMATION ON TITLES AND TICKETS

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Bargain Matinees Monday through Thursday (First Show ONLY) All Seats $7.50 PASATIEMPO

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ORACLE THEATER in association with Santa Fe Performing Arts presents

Santa Fe

Desert Chorale Joshua Habermann Music Director

Celebrate Your Holidays with Glorious Music

Saturday, December 15, 7:30pm

Armory for the Arts Theater ï 1050 Old Pecos Trail, Santa Fe A Celebration of the 2012 Winter Solstice Shift Point featuring The Santa Fe Astrology Circle & 2013: Planetary Theater, The Living Tarot and Mosaic Dance Company.

WINTER FESTIVAL DECEMBER 14-31, 2012

A benefit for the 1000 Mothers Fund Reserved Seats: $20 at The Lensic ï BirthOfHumanity.net or 920≠ 0199

Santa Fe Carols and Lullabies Cathedral Basilica of St. Francis Dec 14, 18, 20, 21, 22 8pm

The Big Holiday Sing with the University of New Mexico Concert Choir & the Rio Grande Youth Chorale

SHOP BOLDLY. LIVE BEAUTIFULLY.

Cristo Rey Church Dec 15 2pm

The Consignment Warehouse

The Lighter Side of Christmas Reception, Silent Auction, and Performance of Music from Memorable Christmas Movie Musicals LewAllen Gallery-Downtown Dec 19 5:30pm

Fine Furniture . Antiques

2357 FOX RD ï LOCATED BEHIND HOME DEPOT ï 471≠ 6921 ï OPEN EVERYDAY 10 ≠ 5

A Toast to the New Year Loretto Chapel Dec 28, 29, 30, 31 8pm Church of the Holy Faith Dec 29, 30 4pm Dec 31 6pm

Albuquerque

Cielo Bed and Bath

has moved.

The Big Holiday Sing Immanuel Presbyterian Church Dec 16 4pm

Carols and Lullabies Immanuel Presbyterian Church Dec 23 4pm

Now open with new items and all of your old favorites!

318 South Guadalupe Street (Next to Cielo Tabletop)

S a n t a Fe

DESERT CHORALE Glorious Voices. Timeless Music.

www.desertchorale.org Online tickets: www.ticketssantafe.org Tel 505 988 1234 Winter Festival 2012 is made possible, in part, by the National Endowment for the Arts; New Mexico Arts, a division of the Department of Cultural Affairs; and the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax.

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December 7-13, 2012

505-820-2151 Monday – Saturday 10-5, Sunday 12-5

pasa week 7 Friday GALLERY/MUSEUM OPENINGS Argos Studio & Santa Fe Etching Club 1211 Luisa St., 988-1814. The Portrait in the History of Printmaking, group show; lecture on 500 Years of the Portrait in Printmaking by collector Robert Bell 2 p.m.; reception 4:30-7 p.m., through Dec. 28.

Arrowhead Studios 22 Bisbee Ct., 603-4485. Christmas Gallery Show, work by Margaret Colette Herrera, reception 4-6 p.m., through December.

Arroyo Gallery 200 Canyon Rd., 988-1002. Chuck Voltz: Winter Impressions, paintings, reception 5-7 p.m., through Jan. 9.

Back Pew Gallery 208 Grant Ave., 982-8544.

Group show of photographs and poetry by First Presbyterian Church members, reception 6-7 p.m., through December.

Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Connecting Liminal Nowhere: Land Arts of the American West 2012, UNM student art program; Goldmines!, works by Patrick Kikut, David Jones, and Shelby Shadwell; reception 6:30-8 p.m., through Dec. 30.

Commissioner’s Gallery — New Mexico State Land Office 310 Old Santa Fe Trail, 827-5762. Showcase of works by office staff and their families, reception 4-6 p.m., through December.

Last Gallery on the Right 836 Canyon Rd., 660-5663. Make Merry With the Artists, fundraiser for The Food Depot, noon-7 p.m.

Lucky Bean Café 500 Montezuma Ave., Sanbusco Center, for information call Jennie Cooley, 490-1155. Cirque de Cooley Act III, pop-up group show, reception 5-7 p.m., Manitou Galleries 123 W. Palace Ave., 986-0440. Holiday Small Works Show, reception 5-7:30 p.m.

Mark White Fine Art 414 Canyon Rd., 982-2073. Art for the Holidays, reception 4-7 p.m., through Dec. 24.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.7, revolving exhibit of local artists’ works, artist reception 5-8 p.m., breakfast reception 9-10:30 a.m. Saturday, Dec. 8, through Jan. 13.

Patina Gallery 131 W. Palace Ave., 986-3432. Miraculous, studio jewelry, reception 5-7 p.m., through Jan. 6.

Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Art of Devotion, 20th annual exhibit of art and objects from the Spanish Colonial Americas combined with an inaugural exhibit of European Old Master works of the mid-1500s to the 1800s, reception 5-8 p.m., through March.

Soprano Mary-Jane Lee and tenor Matthew Grills perform Thursday, Dec. 13, at Cristo Rey Parish in the Santa Fe Opera’s holiday concert.

Photo-eye Gallery 376-A Garcia St., 988-5152. Here Far Away, photographs by Pentti Sammallahti, reception 5-7 p.m., through Feb. 9 (see story, Page 48).

Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334.

Núuphaa, traditional works by Pueblo of Pojoaque Poeh Arts Program students, through March 9.

Pop Gallery 142 Lincoln Ave., Suite 102, 820-0788.

Ted Geisel originals and production work from the 1966 film How the Grinch Stole Christmas, reception 5-7 p.m., through Jan.1.

Santa Fe Clay 545 Camino de la Familia, 984-1122. Annual holiday sale and open house 3-7 p.m., continues Saturday, Dec. 8.

Sugarman-Peterson Gallery 130 W. Palace Ave., 982-0340. Holiday Miniatures, group show of paintings, sculpture, and jewelry, reception 5-7:30 p.m.

Thaw Art History Center and Council 241 Gallery Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 577-6073.

Materialize, Art Department students’ group show including installations, performances, video, and sculpture, reception 5-7 p.m.

Tom Ross Gallery 409 Canyon Rd., 984-8434. Woodblock prints, recycled-materials sculpture, and functional art by New Mexico School for the Arts student Eva Ross, reception 5-7 p.m., tonight only.

Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Exuberance!, selected masterworks by Tadashi Mori, from the Paramita Museum exhibit, reception 5-7 p.m., through Dec. 28.

Verve Gallery of Photography 219 E. Marcy St., 982-5009. Floating World, photographs and poems translated by Brigitte Carnochan, reception and signing of Floating World: Allusions to Poems by Japanese Women of the 7th-20th Centuries 5-7 p.m., through Jan. 19.

CLASSICAL MUSIC Chanticleer A cappella men’s chorus, 7:30 p.m., pre-concert talk 6:30 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., $10-$50, 988-1234, ticketssantafe.org (see story, Page 20).

Peter Pesic Waltzes and Polonaises, piano recital, music of Berg, Chopin, and Schoenberg, 12:15-1:10 p.m., Junior Common Room, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge.

Santa Fe Women’s Ensemble A Winter Festival of Song 2012, 7 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20-$35, discounts available, 954-4922, encores Sunday, Dec. 9 and Friday and Saturday, Dec. 14-15.

TGIF organ recital Jan Worden-Lackey performs music of Daquin, Couperin, and Messiaen, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544.

IN CONCERT The Mountain Goats Folk-rock trio, Matthew E. White opens, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Place, $18 in advance, $20 at the door, ticketssantafe.org, 988-1234 (see story, Page 24).

Zechs Marquise Psychedelic-rock and funk band, As In We opens, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, $15 in advance, $20 at the door, 989-4423.

THEATER/DANCE ‘Count Dracula’ Greer Garson Theatre presents a new production of Ted Tiller’s adaptation of Bram Stoker’s tale of horror, 7 p.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $15, discounts available, ticketssantafe.org, 988-1234, final weekend.

compiled by Pamela Beach, pambeach@sfnewmexican.com

‘Kiss Me, Kate’ opening night St. John’s College faculty, staff, and students present the Cole Porter musical, 7:30 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, $5 at the door, continues Saturday and Sunday, Dec. 8-9.

‘Peter Pan’ Eldorado Children’s Theatre and Teen Players present the musical, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, eldoradochildrenstheatre.org, 466-4656, final weekend.

‘The Pink Panther’ Santa Fe Performing Arts Teen Ensemble presents its take on the 1963 film, 7 p.m., 1050 Old Pecos Trail, $8, 984-1370; final weekend.

‘The Truth About Santa’ opening night Southwest Rural Theatre Project of Albuquerque presents a holiday apocalyptic melodrama by Greg Kotis, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $10 and $12, 424-1601, teatroparaguas.org, continues Saturday and Sunday, Dec. 8-9.

‘The Weir’ gala opening Santa Fe Playhouse presents Conor McPherson’s Irish ghost story, reception 6:30 p.m., curtain 7:30 p.m., 142 E. DeVargas St., $25, 988-4262, Thursday-Sunday through Dec. 23.

BOOKS/TALKS John de Graaf on the Pursuit of Happiness PBS filmmaker in conversation with Unicopia Green Radio host Faren Dancer; introduction by journalist Zélie Pollon, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Steven E. Counsell The artist/author reads from and signs copies of Illuminations: The Geography of the Imagination, 5-7 p.m., San Francisco St. Bar & Grill, 50 E. San Francisco St., second floor, presented by Black Swan Editions, 231-4043.

EVENTS 12th annual Santa Fe Film Festival Screenings continue through Sunday, Dec. 9, schedule, venues, and tickets available online at santafefilmfestival.com, 988-7414 (see story, Page 52).

Christmas at the Palace The 27th anniversary of this free family event includes hot cider; live music with High Desert Harps, Enchanted Strings, and others; a piñata for kids, and quality time with Santa and Mrs. Claus; 5:30-8 p.m., Palace of the Governors, 105 W. Palace Ave., 476-5200.

Holiday Fiber Market Creations by members of the Española Valley Fiber Arts Center & Art Through the Loom, noon-7 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, 505-747-3577, continues Saturday, Dec. 8. ▶▶▶▶▶▶▶▶

Pasa’s Little Black Book......... 72 Exhibitionism...................... 74 At the Galleries.................... 75 Libraries.............................. 75 Museums & Art Spaces........ 75 In the Wings....................... 76

Elsewhere............................ 78 People Who Need People..... 79 Under 21............................. 79 Short People........................ 79 Sound Waves...................... 79

calendar guidelines Please submit information and listings for Pasa Week

no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. Follow Pasatiempo on Facebook and Twitter.

PASATIEMPO

71

Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through December.

NIGHTLIFE (See addresses below) ¡Chispa! at El Mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30 p.m., no cover.

Cowgirl BBQ Terry Diers, roots rock and Louisiana soul, 5-7:30 p.m., no cover. Americana band Boris & The Salt Licks, 8:30 p.m., $5 cover.

El Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover.

El Farol Funadix, rock ’n’ roll, 9 p.m., $5 cover.

Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover.

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda Los Wise Guys, oldies/country/rock, 8-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 p.m., no cover.

The Legal Tender at the Lamy Railroad Museum Country Blues Revue, 6-9 p.m., no cover.

PASA’S LITTLE BLACK BOOK d Wine Bar 315 Restaurant an 986-9190 il, 315 Old Santa Fe Tra nt & Bar ra au st Re i az as An Anasazi, the of Inn d Rosewoo 988-3030 e., Av 113 Washington h Resort & Spa nc Ra e dg Bishop’s Lo 983-6377 ., Rd 1297 Bishops Lodge ón es ¡Chispa! at El M e., 983-6756 213 Washington Av Cowgirl BBQ , 982-2565 319 S. Guadalupe St. lton El Cañon at the Hi 811 8-2 100 Sandoval St., 98 El Farol 3-9912 808 Canyon Rd., 98 ill Gr El Paseo Bar & 848 2-2 99 , St. teo lis 208 Ga Evangelo’s o St., 982-9014 200 W. San Francisc Santa Fe Hotel Chimayó de 988-4900 e., Av ton 125 Washing Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina La Casa Sena Cant 8-9232 98 e., Av e lac 125 E. Pa

72

December 7-13, 2012

The Mine Shaft Tavern Open-mic night, 8 p.m.-midnight, no cover.

Pranzo Italian Grill Vocalist Faith Amour and pianist John Rangel’s holiday show, 6-9 p.m., $2 cover.

Vanessie Pianist Robert Finnie, 6-7 p.m. and 10 p.m.close, no cover. Pianist Doug Montgomery, selections from the Great American Songbook, 8-10 p.m., no cover.

8 Saturday GALLERY/MUSEUM OPENINGS Cate Goedert Studio 6 Sabroso Ct., Eldorado, 670-6649. Holiday open house, 10 a.m.-4 p.m.

Hair by Anthony 1404 Second St., 982-0281. Group Show One, mixed-media wall sculptures, reception 5:30-7:30 p.m.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.7, revolving exhibit of local artists’ works, breakfast reception 9-10:30 a.m., through Jan. 13.

Santa Fe Clay 545 Camino de la Familia, 984-1122. Annual holiday sale and open house 9 a.m.-2 p.m.

Ventana Fine Art 400 Canyon Rd., 983-8815. Watercolors

by Tom Noble, reception 1-3 p.m., through December.

Warehouse 21 1614 Paseo de Peralta, 989-4423. Media Arts Student Showcase, works by Santa Fe Community College students, reception 4:30-7:30 p.m. today only.

La Fiesta Lounge at La Fonda 100 E. San Francisco St., 982-5511 La Posada de Santa Fe Resort and Spa 330 E. Palace Ave., 986-0000 The Legal Tender at the Lamy Railroad Museum 151 Old Lamy Trail, 466-1650 Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 992-5800 The Matador 116 W. San Francisco St., 984-5050 The Mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 983-7577 Ore House at Milagro 139 W. San Francisco St., 995-0139 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Rouge Cat 101 W. Marcy St., 983-6603

OPERA IN HD The Met Live in HD Verdi’s Un Ballo in Maschera, 11 a.m. and 6 p.m., Lensic Performing Arts Center, $22 and $28, discounts available, ticketssantafe.org, 988-1234, .

IN CONCERT Horse Feathers Chamber-folk band, 7:30 p.m., High Mayhem Studio, 2811 Siler Ln., $12 in advance, $15 at the door, ticketssantafe.org, 988-1234. ‘in:FAME’ Santa Fe Community College’s Intro to Reason and Live students’ electronic music and multimedia staged performance, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, no charge.

Santa Fe University of Art & Design Acoustic Americana and Funk/R & B ensembles 7 p.m., O’Shaughnessy Performance Space, Benildus Hall, 1600 St. Michael’s Dr., no charge, 473-6196.

THEATER/DANCE ‘Count Dracula’ Greer Garson Theatre presents a new production of Ted Tiller’s adaptation of Bram Stoker’s tale of horror, 7 p.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $15, discounts available, ticketssantafe.org, 988-1234, final weekend.

‘Kiss Me, Kate’ St. John’s College faculty, staff, and students present the Cole Porter musical, 3 and 8 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, $5 at the door, continues Sunday, Dec. 9.

Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030 Second Street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 The Starlight Lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & Nightlife 135 W. Palace Ave., 982-7265 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Tortilla Flats 3139 Cerrillos Rd., 471-8685 The Underground at Evangelo’s 200 W. San Francisco St., 577-5893 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 427 W. Water St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008

Moving People Dance A Holiday Treat, contemporary choreography, 7 p.m., Moving People Dance Theatre, 1583 Pacheco St., Suite A-2, $10, 438-9180, matinee Sunday, Dec. 9.

‘Peter Pan’ Eldorado Children’s Theatre and Teen Players present the musical, 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, eldoradochildrenstheatre.org, 466-4656, final weekend.

‘The Pink Panther’ Santa Fe Performing Arts Teen Ensemble presents its take on the 1963 film, 7 p.m., 1050 Old Pecos Trail, $8, 984-1370; final weekend.

Santa Fe Skating Club Holiday Ice Show Let’s Go to the Movies, performances by the SFSC, Desert Ice Figure Skating Club, Chavez Center Learn-to-Skate participants, and special guests, 4 p.m., Genoveva Chavez Community Center, 3221 Rodeo Road, $10; ages 2-11 $6; under 2 no charge, santafeskatingclub.org, 955-4033, continues Sunday, Dec. 9.

‘The Truth About Santa’ Southwest Rural Theatre Project of Albuquerque presents a holiday apocalyptic melodrama by Greg Kotis, 7 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $10 and $12, 424-1601, teatroparaguas.org, continues Sunday, Dec. 9.

‘The Weir’ Santa Fe Playhouse presents Conor McPherson’s Irish ghost story, 7:30 p.m., 142 E. DeVargas St., $15 and $20, 988-4262, Thursday-Sunday through Dec. 23.

BOOKS/TALKS New Mexico Book Association holiday book sale Authors available to discuss their works, 10 a.m.-4 p.m., Lucky Bean Café, 500 Montezuma Ave., Sanbusco Center, nmbook.org.

Opera Breakfast Lecture John Webber discusses Verdi’s Un Ballo in Maschera, part of an ongoing series of pre-opera lectures in conjunction with The Met at the Lensic season, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation at the door, 988-4226.

A Tongue to Love the Butter Poetry readings by Mary McGinnis, Jane Lipman, Georgia Santa Maria, Richard Wolfson, and others, 2 p.m., Lucky Bean Café, 500 Montezuma Ave., Sanbusco Center, no charge.

EVENTS 12th annual Santa Fe Film Festival Screenings continue through Sunday, Dec. 9, schedule, venues, and tickets available online at santafefilmfestival.com, 988-7414 (see story, Page 52).

The Flea at El Museo Holiday Market 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through Dec. 30.

Holiday Fiber Market Works by members of the Española Valley Fiber Arts Center & Art Through the Loom, 9 a.m.-5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, 505-747-3577.

Institute of American Indian Arts’ Holiday Art Market Works by alumni, students, faculty, and staff, 9 a.m.-4 p.m., 83 Avan Nu Po Rd., no charge, 424-2310, iaia.edu.

Poetry workshop Ekphrastic Ecstasy: Surreal Poetry From Boring Photographs, led by Nicholas Chiarella, 2-4 p.m., Room 509, Thaw Art Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge,

email snowpoemsproject@gmail.com to register, presented by the Santa Fe Art Institute, 424-5050, series concludes Wednesday, Dec. 12.

Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through December.

Railyard Artisans Market Holiday Show 4-8 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, railyardmarket.com, 983-4098, continues Sunday, Dec. 9.

Santa Fe Artists Market 8 a.m.-2 p.m. Saturdays through December, at the Railyard between the Farmers Market and REI, 310-1555.

Santa Fe Community College’s 23rd Annual Holiday Arts & Crafts Fair More than 100 participants from around the state, 9 a.m.-4 p.m., Witter Fitness Center, 6401 Richard’s Ave., 428-1437.

Santa Fe Farmers Holiday Market Farmers market 8 a.m.-1 p.m.; holiday market 4-8 p.m. with live music by saxophonist Brian Wingard and potluck meal; 1607 Paseo de Peralta, 983-4098, holiday market continues Sunday, Dec. 9.

A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Jan. 2, The Kid, 11 a.m., 1050 Old Pecos Trail. Screening schedule available online at ccasantafe.org, $9.50 general admission, series pass $30 (discounts available for both), tickets and passes available in advance by calling the box office, 982-1338.

NIGHTLIFE (See Page 72 for addresses) ¡Chispa! at El Mesón Bassist Jon Gagan and his trio Jazz Explosion, 7:30-10:30 p.m., no cover.

Cowgirl BBQ Santa Fe Chiles Traditional Dixieland Jazz Band, 2-5 p.m., no cover. Songwriter Jono Manson, rock and R & B, 8:30 p.m., $5 cover.

El Farol Dashboard Romeos, rock dance band, 9 p.m.close, $5 cover.

Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover.

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda Los Wise Guys, oldies/country/rock, 8-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa Jazz vocalist Whitney and guitarist Pat Malone, 8-11 p.m., no cover.

The Mine Shaft Tavern Classic rock band The Jakes, 7-11 p.m., no cover.

Pranzo Italian Grill Pianist J.J. Frank and vocalist Julie Trujillo, 6-9 p.m., $2 cover.

Taberna La Boca Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover.

Tortilla Flats Singer-songwriter Dave Maeslon, 6-9 p.m., no cover.

Vanessie Pianist Robert Finnie, 6-7 p.m. and 10 p.m.close, no cover. Pianist Doug Montgomery, selections from the Great American Songbook, 8-10 p.m., no cover.

Christy Hengst The public-art ceramicist signs copies of the monograph, Landings: Birds in the Park (documentary of the same name shown Sunday, Dec. 9, as part of the Santa Fe Film Festival), noon, Axle Contemporary, look for the mobile art van and Hengst’s installation outside the Center for Contemporary Arts, 1050 Old Pecos Trail, axleart.com.

Ecological History and Context for Forest Management in the Southwest Research ecologist Craig Allen in conversation with KSFR Radio host David Bacon, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Herbs of New Mexico Hands-on program for adults presented by medical herbalist Lynn Childson, 1:30 p.m., Santa Fe Public Library, Main Branch, 145 Washington Ave., no charge, registration 955-6717.

Ryan S. Flahive The author and Institute of American Indian Arts archivist discusses Celebrating Difference: Fifty Years of Contemporary Native Arts at IAIA, 1962-2012, 3 p.m., Museum of Contemporary Native Art Store, Lloyd Kiva New Gallery, 108 Cathedral Pl., 428-5912.

Beach at Night II, by Byron Browne, Yares Art Projects

9 Sunday

THEATER/DANCE

Música Antigua de Albuquerque Stella Nuova, Christmas music of the Middle Ages and Renaissance, 4:30 p.m., Christ Lutheran Church, 1701 Arroyo Chamiso, $16, discounts available, 505-842-9613.

Sangre de Cristo Chorale The 45-member chorale celebrates its 35th anniversary with a holiday concert, 2:30 p.m., Church of Santa Maria de la Paz, 11 College Ave., $20, discounts available, ticketssantafe.org, 988-1234.

Santa Fe Community Orchestra Winter Concert, music of Rachmaninoff, Vivaldi, and Santa Fean Keith Allegretti, 2:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated, 466-4879, sfco.org.

Santa Fe Women’s Ensemble A Winter Festival of Song 2012, 7 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20$35, discounts available, 954-4922, encores Friday and Saturday, Dec. 14-15.

Washington Saxophone Quartet 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $15-$30, 988-1234, ticketssantafe.org.

‘Count Dracula’ Greer Garson Theatre presents a new production of Ted Tiller’s adaptation of Bram Stoker’s tale of horror, 2 p.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $15, discounts available, ticketssantafe.org, 988-1234.

‘Kiss Me, Kate’ St. John’s College faculty, staff, and students present the Cole Porter musical, 3 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, $5 at the door.

Moving People Dance A Holiday Treat, contemporary choreography, 2 p.m., Moving People Dance Theatre, 1583 Pacheco St., Suite A-2, $10, 438-9180.

‘Peter Pan’ Eldorado Children’s Theatre and Teen Players present the musical, 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, eldoradochildrenstheatre.org, 466-4656.

‘The Pink Panther’ Santa Fe Performing Arts Teen Ensemble presents its take on the 1963 film, 2 p.m., 1050 Old Pecos Trail, $8, 984-1370.

Santa Fe Skating Club Holiday Ice Show Let’s Go to the Movies, performances by the SFSC, Desert Ice Figure Skating Club, Chavez Center Learn-to-Skate participants, and special guests, 1 p.m., Genoveva Chavez Community Center, 3221 Rodeo Road, $10, ages 2-11 $6, under 2 no charge, santafeskatingclub.org, 955-4033.

‘The Truth About Santa’ Southwest Rural Theatre Project of Albuquerque presents a holiday apocalyptic melodrama by Greg Kotis, 6 p.m., Teatro Paraguas Studio, 3205 Calle Marie, pay-what-you-wish, 424-1601, teatroparaguas.org.

‘The Weir’ Santa Fe Playhouse presents Conor McPherson’s Irish ghost story, 2 p.m., 142 E. DeVargas St., $15 and $20, 988-4262 Thursday-Sunday through Dec. 23.

IN CONCERT

BOOKS/TALKS

Santa Fe University of Art & Design Collegium XXI and Percussion ensembles 7 p.m., O’Shaughnessy Performance Space, Benildus Hall, 1600 St. Michael’s Dr., no charge, 473-6196.

Christmas Stories at Collected Works Annual reading of short stories and poems; Ali MacGraw, Bob Martin, Carol McGiffin, and Jonathan Richards, 4 p.m., 202 Galisteo St., 988-4226 (see Subtexts, Page 18).

GALLERY/MUSEUM OPENINGS Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200.

New World Cuisine: The Histories of Chocolate, Maté y Más, reception 1 p.m., (see story, Page 40).

Santa Fe Clay 545 Camino de la Familia, 984-1122.

Annual holiday sale and open house 9 a.m.-2 p.m.

CLASSICAL MUSIC

EVENTS 12th annual Santa Fe Film Festival Screening schedule, venues, and tickets available online at santafefilmfestival.com, 988-7414 (see story, Page 52).

The Flea at El Museo Holiday Market 9 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through Dec. 30.

International folk dances 6:30-8 p.m. weekly followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, beginners welcome.

Knotty but Nice Holiday ribbon-tying workshop (materials provided), led by Rusty Rodke, 3 p.m., Cerrillos Hills State Park Visitor Center, 37 Main St., 16 miles south of Santa Fe off NM 14, 474-0196.

Las Posadas Annual candlelit procession traveling around the Plaza and concluding at the Palace of the Governors’ Courtyard (105 W. Palace Ave.); stay afterwards for carols and refreshments; 5:30-7 p.m., no charge, 476-5100.

Lighting of the Menorah Rabbi Berel Levertov invites the community to join in a Chanukkah celebration on the Plaza; live music, latkes, and hot chocolate; 3-4:30 p.m., (candles on the giant candelabrum will be lit each night at sunset through Dec. 16), 983-2000 or 699-7934.

Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through December.

Railyard Artisans Market Holiday Show 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, railyardartmarket.com, 983-4098.

Sabor Flamenco Annual gala event in support of the Heart Gallery Foundation; flamenco show, DJ Oona spinning salsa, cash bar, and silent art auction; hosted

by Ali MacGraw; 4-8 p.m., Hotel St. Francis, 210 Don Gaspar Ave., $30, ticketssantafe.org, 988-1234.

Santa Fe Farmers Holiday Market 10 a.m.-4 p.m., refreshments served, 1607 Paseo de Peralta, 983-4098.

pasa week

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EXHIBITIONISM

A peek at what’s showing around town

Brigitte Carnochan: A Bird Comes, 2010, archival pigment ink print on Japanese mulberry paper. Verve Gallery of Photography (219 E. Marcy St.) presents Floating World: Allusions to Poems by Japanese Women of the 7th-20th Centuries, an exhibition of photographs printed on Japanese mulberry paper by Brigitte Carnochan. The artist’s sensual images are photographic interpretations of historic poems. The show opens Friday, Dec. 7, with a reception and book signing at 5 p.m. Call 982-5009.

Tadashi Mori: Toubako No. 1, 2006, Oribe five-layered box. Touching Stone Gallery’s latest exhibit, Exuberance!, features ceramics

by Tadashi Mori. The show includes the artist’s new work as well as selections from a recent retrospective.

There is a 5 p.m. reception on Friday, Dec. 7. The gallery is at 539 Old Santa Fe Trail.

Call 988-8072.

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December 7-13, 2012

Jasper Johns: Cup 2 Picasso, 1973, lithograph. Argos Studio and Santa Fe Etching Club (1211 Luisa St.) presents The Portrait in the History of Printmaking. The exhibition features prints from 500 years of printmaking, including work

by Kollwitz, Goya, and Picasso.

Argos also shows portraits by members of the Santa Fe Etching Club. The show opens with a 4:30 p.m. reception on Friday, Dec. 7. Print collector Robert Bell gives a lecture/presentation at Argos on Saturday, Dec. 8, at 3 p.m.

The lecture is by reservation; call 988-1814.

Penina Meisels: Bag, 2012, ceramic and wool. Santa Fe Clay (545 Camino de la Familia) is having its 18th annual open house and holiday sale this weekend. It’s a chance to buy ceramicware by studio members, teachers, students, and staff. The event takes place from 3 to 7 p.m. on Friday, Dec. 7, featuring music by classical guitarist David Yard; and from 9 a.m. to 2 p.m. on Saturday, Dec. 8, with music by jazz flutist Ferdi Serim.

Call 984-1122.

Eva Ross: Moonrise, 2012, woodblock print. An exhibition of new work by New Mexico School for the Arts student Eva Ross is held at Tom Ross Gallery (409 Canyon Road) for one night only on Friday, Dec. 7. The show includes the artist’s work in several mediums including woodblock prints and sculpture. There is a reception at 5 p.m. Call 984-8434.

AT THE GALLERIES Adobe Gallery 221 Canyon Rd., 629-4051. The Storage Jars of Margaret Tafoya [1904-2001], through Monday, Dec.10. Fifty-Year Span of Hopi Katsina Dolls, through December.

Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Beyond, paintings by Max Cole, through Dec. 30.

Chiaroscuro Contemporary Art 702½ and 708 Canyon Rd., 992-0711. The Lost Christmas Gift: Images & Artifacts, work by Andrew Beckham; Holiday Group Show, gallery artists; through Dec. 29.

David Richard Gallery 544 S. Guadalupe St., 983-9555. Optic Drive, paintings by Gabriel Evertz; Color Interference, paintings by Matthew Kluber; What a Long Strange Trip, acrylics by Jay Davis; through Dec. 15; Optic Drive, abstracts by Gabriele Evertz; paintings

by Sanford Wurmfeld; through Dec. 22.

Gerald Peters Gallery 1011 Paseo de Peralta, 954-5700. Nests, works by Bale Creek Allen and Malu Byrne, through Jan. 4.

Hill’s Gallery Remix: Then & Now 217 Galisteo St., 989-2779. Group retrospective exhibit honoring Hill’s Gallery, through Jan. 5.

Manitou Galleries 225 Canyon Rd., 986-9833. Painters of Taos: Don Brackett, Jeff Cochran & Jerry Jordan, through Dec. 14.

Radius Books 227 E. Palace Ave., Suite W, 983-4068. Sharon Core: Early American, exhibit of photographs, through December.

Red Dot Gallery 826 Canyon Rd., 820-7338. Remarkable, group show of contemporary works, through Sunday, Dec. 9.

Santa Fe University of Art & Design Fine Arts Gallery 1600 St. Michael’s Dr., 473-6508. Useless Things & Other Stuff, video and sculpture installations by Bachelor of Fine Arts student Sandra Halpin, through Dec. 14.

Santa Fe University of Art & Design — Marion Center for Photographic Arts 1600 St. Michael’s Dr., 473-6341. Atrium Gallery: Origins, group show of pinhole and alternativeprocesses photographs; Alumni Gallery: Michael Webb, photographs; through Friday, Dec. 7.

Santa Fe Weaving Gallery 124 ½ Galisteo St., 982-1737. Time Capsule, group show of textile designs, through Saturday, Dec. 8.

William R. Talbot Fine Art, Antique Maps & Prints 129 W. San Francisco St., second floor, 982-1559. Landscape Dreams, a New Mexico Portrait, photographs by Craig Varjabedian, through Dec. 29.

Yares Art Projects 123 Grant Ave., 984-0044. Mysteries: Full Circle, paintings by Kenneth Noland, through Saturday, Dec. 8. By the Sea: Paintings on Paper 1948-1955, work by Byron Browne (1907-1961), through December.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. A Square Foot of Humor, annual group show, through Jan. 8.

LIBRARIES Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only.

Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours.

Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours.

Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041.

Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty.

Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday.

Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264.

Open 1-5 p.m. Monday-Friday, by museum admission.

New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday.

Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours.

Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours.

Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Open 1-5 p.m.

Monday-Friday to current students (call for details).

Visit santafe.edu/library for online catalog.

Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday.

Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday.

Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday.

Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at supremecourtlawlibrary.org.

Open 8 a.m.-5 p.m. Monday-Friday.

MUSEUMS & ART SPACES Refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events.

Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Connecting Liminal Nowhere: Land Arts of the American West 2012, UNM student art program; Goldmines!, works by Patrick Kikut, David Jones, and Shelby Shadwell; reception 6:30-8 p.m. Friday, Dec. 7, through Dec. 30 ï Stitch Thought, installation of felt livingroom furnishings by Tamara Wilson, Spector Ripps Project Space, through Sunday, Dec. 9. Gallery hours available by phone or online at ccasantafe.org, no charge.

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe and the Faraway: Nature and Image, through May 5. Open 10 a.m.-5 p.m. Saturday-Thursday, open 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students18 and over $10; under 18 no charge; NM residents free 5-7 p.m. first Friday of the month.

Last NIght of Chanukah, 1998, pinhole photograph by Jo Babcock, courtesy Palace of the Governors Photo Archives (NMHM/ DCA), Neg. HP.2012.15.837

Governor’s Gallery State Capitol Building, fourth floor, Old Santa Fe Trail and Paseo de Peralta, 476-5058. Works by recipients of the Governor’s Awards for Excellence in the Arts, through Friday, Dec. 7.

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. 50/50: Fifty Artists, Fifty Years ï Dual(ing) Identities, work by Debra Yepa-Pappan ï Grab, screenings of a film by Billy Luther ï Red Meridian, paintings by Mateo Romero ï Vernacular, work by Jeff Kahm; all exhibits through December. Open 10 a.m.5 p.m. Monday and Wednesday-Saturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays.

Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250.

Woven Identities: Basketry Art From the Collections ï They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through March 4 ï Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 ï Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays.

Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200.

New World Cuisine: The Histories of Chocolate, Maté y Más, reception 1 p.m. Sunday, Dec. 9, through Jan. 5, 2014 (see story, Page 40) ï New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through February ï Young Brides, Old Treasures: Macedonian Embroidered Dress ï Folk Art of the Andes, work from the 19th and 20th centuries ï Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m.

Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays.

Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226.

New Deal Art: CCC Furniture and Tinwork; Transformations in Tin: Tinwork of Spanish Market Artists; through December ï Metal and Mud — Iron and Pottery, showcase of works by Spanish Market artists, through April ï San Ysidro Labrador/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin ï Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists ï The Delgado Room, late Colonial period re-creation. Open 10 a.m.5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Illuminating the Word: The St. John’s Bible, 44 pages from two of seven volumes, a page from the Gutenberg Bible, and early editions of the King James Bible; Contemplative Landscape, exhibit featuring work by photojournalist Tony O’Brien; through Dec. 30 ï Altared Spaces: The Shrines of New Mexico, photographs by Siegfried Halus, Jack Parsons, and Donald Woodman, through Feb. 10 ï Tall Tales of the Wild West: The Stories of Karl May, collection of photographs and ephemera in relation to the German author, longterm ï Telling New Mexico: Stories From Then and Now, core exhibition of chronological periods from the pre-Colonial era to the present.

Open 10 a.m.-5 p.m. Tuesda -Sunday; 5-8 p.m.

Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; no charge on Fridays 5-8 p.m.; NM residents no charge on Sundays.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.7, revolving exhibit of local artists’ works, opening reception 5-8 p.m. Friday, Dec. 7, breakfast reception 9-10:30 a.m. Saturday, Dec. 8, through Jan. 13 Chromatic Fusion: The Art of Fused Glass; Emerge 2012: A Showcase of Rising Talents in Kiln Glass; through Jan. 6 ï Treasures Seldom Seen, works from the permanent collection, through December ï It’s About Time: 14,000 Years of Art in New Mexico, through January 2014.

Open 10 a.m.-5 p.m. Tuesday-Sunday. Open 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; free for NM residents over 60 on Wednesdays; NM residents free on Sundays.

Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Núuphaa, works by Pueblo of Pojoaque Poeh Arts Program students, opening Friday, Dec. 7, through March 9.

Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m.

Saturday; donations accepted.

SITE Santa Fe 1606 Paseo de Peralta, 989-1199. More Real? Art in the Age of Truthiness, group show, through Jan. 6. Open 10 a.m.-5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge.

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit ï New work by Orlando Dugi and Ken Williams, Case Trading Post. Open 10 a.m.5 p.m. Monday-Saturday, 1-5 p.m. Sunday.

Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

PASATIEMPO

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In the wings

UPCOMING EVENTS

MUSIC

HOLIDAY FARE

The Met Live in HD Verdi’s Aida, 11 a.m and 6 p.m. Saturday, Dec. 15; Mozart’s La Clemenza di Tito, 11 a.m.

Saturday, Dec. 29 (no encore); Verdi’s Rigaletto encore 6 p.m. Wednesday, Jan. 16; Lensic Performing Arts Center, $22 and $28, discounts available, ticketssantafe.org, 988-1234.

Santa Fe Symphony Orchestra & Chorus The Weiss-Kaplan-Newman Trio joins SFSOC in a celebration of Beethoven, Sunday, Dec. 16; Winter Brilliance, music of Rachmaninov, Tchaikovsky, and Nielsen, Sunday, Jan. 20; performances 4 p.m., pre-concert lectures 3 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org.

Joshua Smith Quartet and Organism The jazz saxophonist’s ensembles; 7:30 p.m.

Wednesday, Dec. 19, O’Shaughnessy Performance Space, Benildus Hall, Santa Fe University of Art and Design, 1600 St. Michael’s Dr., $10 at the door, discounts available.

Sutton Foster Broadway artist, 7:30 p.m. Thursday, Dec. 27, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.

Carlton Pride and Mighty Zion Reggae, 10 p.m. Saturday, Dec. 29, doors open at 8:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, holdmytickets.com.

Neoglyphica 2013 Art/music collective Meow Wolf’s New Year’s Eve party with light sculptures/installations, live video projections, DJs, and light show, doors open at 8 p.m. Monday, Dec. 31, Molly’s Kitchen & Lounge, 1611 Calle Lorca, $10 in advance online at thevibehut.blogspot.com, $15 at the door.

Greg Brown Americana singer/songwriter, 7:30 p.m. Thursday, Jan. 10, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $29 and $39, 988-1234, ticketssantafe.org.

Serenata of Santa Fe The chamber music ensemble presents Harpsichord-Centric featuring Kathleen McIntosh, 3 p.m. Sunday, Jan. 20, $20, 989-7988.

Louis Lortie The French-Canadian pianist performs Liszt’s transcriptions of Wagner’s and Mozart’s operas, 7:30 p.m. Thursday, Jan. 24, Q & A follows, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, discounts available, ticketssantafe.org, 988-1234.

Notes on Music The performance/talk series continues with pianist Joseph Illick discussing Richard Wagner, 7:30 p.m. Tuesday, Jan. 29, United Church of Santa Fe, 1804 Arroyo Chamiso, $20, 988-1234, ticketssantafe.org.

Matisyahu Reggae and alt. rock songwriter, 7:30 p.m.

Thursday, Jan. 31, Lensic Performing Arts Center, 211 W. San Francisco St., $29-$47, 988-1234, ticketssantafe.org.

Eric Bibb and Habib Koité The guitarists perform in support of their album, Brothers in Bamako, 7 p.m. Saturday, Feb. 9, Lensic Performing Arts Center, 211 W. San Francisco St., $19-$39, 988-1234, ticketssantafe.org.

New Mexico Gay Men’s Chorus Lights in the Night, holiday concert 7:30 p.m.

Friday, Dec. 14, Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20 in advance online at nmgmc.org, discounts available, bring a new/unwrapped toy for the chorus’ annual toy drive.

Santa Fe Desert Chorale 8 p.m. Dec. 14, 18, 20, 21, and 22, Carols and Lullabies, Cathedral Basilica of St. Francis of Assisi, $15-$65; 2 p.m.

Saturday, Dec. 15, Cristo Rey Parish, The Big Holiday Sing, members of Desert Chorale with the University of New Mexico Concert Choir and the Río Grande Youth Chorale, $20 and $25; 5:30 p.m. Wednesday, Dec. 19, The Lighter Side of Christmas, concert preceded by champagne, hors d’oeuvres, and a silent auction benefitting the chorale’s education programs, LewAllen Galleries Downtown, $80; ticketssantafe.org, 988-1234.

Young Native Artists Show and Sale Children and grandchildren of the Palace of the Governors’ Portal artists display their works in the museum’s Meem Community Room (enter for free through the Washington Avenue door), 9:30 a.m.-4 p.m. Saturday and Sunday, Dec. 15-16, 476-5200.

‘Los Pastores’ Traditional re-enactment of the Christmas story presented by La Sociedad Folklorica de Santa Fe; 2 p.m. Saturday, Dec. 15, bizchochitos served, Santuario de Guadalupe, 100 N. Gualdalupe St., donations accepted, for information call 983-7839.

New Mexico Women’s Chorus Everything Possible: A Backpack of Holiday and Kids’ Music, 4 p.m. Saturday, Dec. 15, Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $10 in advance at Café Olé, 2411 Cerrillos Rd., or nmwomenschorus.org, $12 at the door, discounts available.

‘A Musical Piñata for Christmas’ Bilingual evening of live music, carols, and Oscar Hijuelos’ short play Fantasia de Navidad presented by Teatro Paraguas, 4 p.m. Saturday, 6 p.m. Sunday, Dec. 15-23, Teatro Paraguas Studio, 3205 Calle Marie, donations welcome, 424-1601, teatroparaguas.org.

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December 7-13, 2012

Gabriela Montero Solo piano recital, 4 p.m. Sunday, Feb. 10, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, 988-1234, ticketssantafe.org.

Peter Mulvey Singer/songwriter, 7:30 p.m. Friday, Feb. 15, doors open at 6:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $50, solofsantafe.com.

Hilary Hahn Solo violin recital, 7:30 p.m. Tuesday, Feb. 19, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.

Martin Sexton Singer/songwriter, 7:30 p.m.

Thursday, Feb. 28, Lensic Performing Arts Center, 211 W. San Francisco St., $22-$38, 988-1234, ticketssantafe.org.

THEATER/DANCE ‘Birth of Humanity’ Collaborative staged presentation reflecting on the winter solstice and the end of the Mayan calendar presented by Oracle Theater in association with Santa Fe Performing Arts; performers include actors Heather Roan Robbins and Kathleen Fontaine, dancer Myra Krien and troupe, and singer/songwriter Laurianne Fiorentino; 7:30 p.m. Saturday, Dec. 15, Armory for the Arts, 1050 Old Pecos Trail, reserved seats $20, discounts available, ticketssantafe.org, 988-1234, $20 requested donation at the door, 920-0199.

‘Bingo! Episode 2!’

Theater (and bingo game) series presented

by Meow Wolf and Santa Fe Performing Arts; featured pieces include Novelty by Vince Kadlubek and War Torn by Megan Burns and Joshua Laurenzi, 7 p.m. Friday and Saturday, 4 p.m. Sunday, Dec. 21-30, Armory for the Arts, 1050 Old Pecos Trail, $15, discounts available, 984-1370.

National Theatre of London in HD The series continues with Arthur Wing Pinero’s Victorian farce, The Magistrate, 7 p.m. Thursday, Jan. 17, Lensic Performing Arts Center, 211 W. San Francisco St., $15 and $22, 988-1234, ticketssantafe.org.

HAPPENINGS Souper Bowl XIX The Food Depot’s annual fundraiser continues the tradition of offering local chef-prepared soups and selling cookbooks with recipes for the creations from noon to 2:30 p.m. Saturday, Jan. 26, at the Santa Fe Community Convention Center, for information call 471-1633.

Annie Leibovitz: Pilgrimage Lecture and discussion benefitting the Georgia O’Keeffe Museum, 6 p.m. Tuesday, Feb. 12, Lensic Performing Arts Center, 211 W. San Francisco St., $35-$75, discounts available, ticketssantafe.org, 988-1234.

The Weiss-Kaplan-Newman Trio in a celebration of the music of Beethoven Sunday, Dec. 16, at the Lensic.

Dually Noted Dulcimer duo Wendy Songe and Jonathan Dowell in Celtic Christmas Showdown, carols and Celtic aires and dances, 4:30 p.m. Sunday, Dec. 16, Unity Santa Fe, 1212 Unity Way, $10, discounts available, facebook.com/ duallynotedmusic.

Schola Cantorum of Santa Fe The sacred music ensemble in Schola Christmas at the Loretto Chapel, concert preview 6:30 p.m.

Monday, Dec. 17, performance 8:45 p.m., tickets available at schola-sf.org; Noël Nouvelet — The First Christmas, 7 p.m. Sunday, Dec. 23, Shrine of Our Lady of Guadalupe, no charge; Gregorian chant during Christmas Eve Mass, 5 p.m. Monday, Dec. 24, San Miguel Mission, no charge.

Santa Fe Concert Band Annual holiday performance, 7 p.m.

Monday, Dec. 17, Lensic Performing Arts Center, 211 W. San Francisco St., no charge, 988-1234, ticketssantafe.org.

Concordia Santa Fe The wind ensemble in The Nucracker (Swing!), Duke Ellington and Billy Strayhorn’s jazz arrangement of Tchaikovsky’s Nutcracker Suite; also, chamber music renditions of the original Tchaikovsky movements; featured artists are John Rangel, Jon Gagan, and Cal Haines; 7 p.m. Wednesday and Thursday, Dec. 19-20, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $35, discounts available, 988-1234, ticketssantafe.org.

Santa Fe Pro Musica Baroque Orchestra A Baroque Christmas, music of Purcell, Vivaldi, and Corelli, 6 and 8 p.m. Thursday-Monday, Dec. 20-24, Loretto Chapel, $20-$65 ($5 premium for Christmas Eve); A Mozart Holiday, performers include soprano Kathryn Mueller and violinist Stephen Redfield, St. Francis Auditorium, New Mexico Museum of Art, 6 p.m. Saturday, Dec. 29, 3 p.m. Sunday, Dec. 30, $20-$65, discounts available; 988-1234, ticketssantafe.org.

Santa Fe Children’s Museum event Winter Solstice Festival, nightime farolito-lit labyrinth, flying farolitos, storytelling, and warm snacks, 6-8 p.m. Friday, Dec. 21, $6, 1050 Old Pecos Trail, 989-8359.

Annual Christmas Eve Farolito Walk Join the revelers on Canyon Road and soak up some holiday cheer from roving carolers while sipping hot cider at participating galleries. around dusk Monday, Dec. 24; pedestrian-only event.

Wise Fool New Mexico Circus arts and puppetry troupe in A Holiday Family Cabaret, 2 and 6 p.m. Sunday, Dec. 30, WFNM Studio, 2778-D Agua Fría St., $10-$15 sliding scale, kids $5, tickets available at the door starting at 1 p.m. Dec. 26, 992-2588.

22nd annual Light Up a Life The Hospice Center of Santa Fe’s sale and lighting of hundreds of farolitos celebrating the lives of loved ones past and present, ceremony 5:30-6 p.m. Monday, Dec. 31, on the Plaza, farolitos for sale in advance by calling 988-2211 or purchase at the event, bring a photo of a loved one to personalize your farolito.

Clock of Ages/Rock of Ages New Year’s celebration Headliners: Taylor Dayne and Tom Rheams Group, 9 p.m.-2 a.m. Monday, Dec. 31, Eldorado Hotel & Spa, 309 W. San Francisco St., $50 and $150, 505-216-1541.

from Page 73

9 Sunday (continued) A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Jan. 2, The Kid, 11 a.m., 1050 Old Pecos Trail. Screening schedule available online at ccasantafe.org, $9.50 general admission, series pass $30 (discounts available for both), tickets and passes available in advance by calling the box office, 982-1338.

NIGHTLIFE (See Page 72 for addresses) Cowgirl BBQ Hello Dollface, blues and soul, 8 p.m., no cover.

El Farol Nacha Mendez and guests, pan-Latin rhythms, 7-10 p.m., no cover.

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover.

The Mine Shaft Tavern Americana guitarist Gene Corbin, 3-7 p.m., call for cover.

Upper Crust Pizza Balladeer J. Michael Combs, 6-9 p.m.; joined by daughter Eagle Star 7-8 p.m.; no cover.

Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.

10 Monday IN CONCERT Aaron Neville Christmas Soul and R & B legend. 7:30 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $35-$62, 988-1234, ticketssantafe.org (see story, Page 28).

Talking Heads

The Romeros With Concerto Málaga The guitar quartet and the chamber ensemble offer seasonal favorites, 7:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, 988-1234, ticketssantafe.org.

BOOKS/TALKS Evolution of Life and Land in 365 Days: A Geologic Year Kirt Kempter speaks, 6 p.m., part of Southwest Seminars’ lecture series, Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

Hal Bolton The author discusses and signs copies of Transforming War Myths in the Workplace: Keys to Productivity, Profits, and Peace, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Nuevomexicanos and the Rhetoric of Statehood Elmo Baca, New Mexico Humanities Council member, speaks as part of the monthly Brainpower & Brownbag lecture series, noon, Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 476-5090.

Bring your lunch.

Stories of Old Santa Fe As told by Forrest Fenn, William Field, and Jack Loeffler, 2 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, $10, 982-2226.

EVENTS Santa Fe Community College film students’ Juried Winter Showcase More than 50 short works, 6-8 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, 428-1421.

State Wreath ceremony Honoring military service members, 10 a.m., State Capitol Building, Paseo de Peralta and Old Santa Fe Trail, part of a nationwide event marking the hour that Wreaths Across America begins its annual transport of gravesite wreaths to Arlington National Cemetery.

A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival continuing through Jan. 2; The Kid 7 p.m., special benefit screening for the New Mexico Coalition to End Homelessness; 1050 Old Pecos Trail. Screening schedule available online at ccasantafe.org, $10, all tickets available in advance by calling the box office, 982-1338.

Weekly all-ages informal swing dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.

NIGHTLIFE

Nuevomexicanos and the Rhetoric of Statehood Elmo Baca, New Mexico Humanities Council member, speaks at noon Monday, Dec. 10, as part of the monthly Brainpower & Brownbag lecture series in the Meem Community Room of the Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 476-5090. Bring your lunch.

(See Page 72 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover.

El Farol Geeks Who Drink Trivia Night, 7 p.m., no cover.

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda Soulstatic, funk and R & B, 8-11 p.m., no cover.

Taberna La Boca Flamenco guitarist Chuscales, 7-9 p.m., call for cover.

Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.

Mark Scharen

pasa week

Las Posadas procession, 2011, courtesy Palace of the Governors Photo Archives (NMHM/DCA)

11 Tuesday IN CONCERT Santa Fe High School student showcase Choir, band, orchestra, and guitar ensembles, 6:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $5 at the door for adults and children over 12.

BOOKS/TALKS Demetria Martinez The novelist discusses and signs copies of The Block Captain’s Daughter, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Working the Land: New Mexico Ranch and Farm Women Tell Their Stories Sandra Schackel speaks, 3-4 p.m., part of the Sparks: Off-Beat New Mexico lecture series presented by the School for Advanced Research, SAR Boardroom, 660 Garcia St., no charge, 954-7203.

EVENTS Cardstacking workshop Local cardstacker Bryan Berg brings his card construction tools known as Cardstackers (TM) to a free hands-on class at 6:30-7:30 p.m., Moving People Dance Studios, 1583 Pacheco St., Suite A-2, call 501-2497 for information.

International Folk Dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome.

New Mexico Environmental Law Center 25th anniversary kickoff Screenings of Debra Anderson’s short film Split Estate and Robert Redford’s adaptation of The Milagro Beanfield War; also, presentation of the Karl Souder Water Protection Award, 6 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $10 suggested donation in advance or at the door, 982-1338.

A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Jan. 2; The Kid, 6 p.m., 1050 Old Pecos Trail. Screening schedule

available online at ccasantafe.org, $9.50 general admission, series pass $30 (discounts available for both), tickets and passes available in advance by calling the box office, 982-1338.

NIGHTLIFE (See Page 72 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30-11 p.m., $5 cover.

Cowgirl BBQ Classic-country artist Bill Hearne, 8 p.m., no cover.

El Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover.

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda Soulstatic, funk and R & B, 8-11 p.m., no cover.

The Palace Restaurant & Saloon Singer/songwriter Scott Helmer, 6 p.m., no cover.

Donations of unwrapped toys accepted all week in support of Helmer’s Support Your Cause Tour for Toys for Tots.

Second Street Brewery at the Railyard Acoustic open mic with Case Tanner, 7:30-10:30 p.m., no cover.

Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.

12 Wednesday GALLERY/MUSEUM OPENINGS Axle Contemporary 670-7612 or 670-5854. Out of Site!, art donated to SITE Santa Fe’s annual fundraiser, SITE Unseen, opening 5:30-7:30 p.m., look for the mobile gallery’s van in front of SITE Santa Fe, 1606 Paseo de Peralta, visit axleart.com for van locations through Dec. 16. All artwork $150; proceeds benefit SSF and Axle. ▶▶▶▶▶▶▶▶ PASATIEMPO

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Events/Performances

Lucky Bean Café 500 Montezuma Ave., Sanbusco Center. Our Lady of Conquering Love: Work Celebrating the Cosmic Mother From Artists of All Backgrounds, reception 6-8 p.m., visit thesoftmuseum.com for information.

Sunday Chatter String quartets of Baermann and Debussy; also, a poetry reading by James Burbank followed by a video of the ensemble’s performance of John Adams’ Grand Pianola Music; 10:30 a.m.

Sunday, Dec. 9, Factory on 5th, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door, discounts available.

IN CONCERT Daniel Link Band Pop-rock singer/songwriter, 7 p.m., La Tienda Performance Space, 7 Caliente Rd., Eldorado, $10 in advance and at the door, daniellink.com.

ESPAÑOLA Bond House Museum 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-4 p.m. MondayFriday, no charge.

Misión Museum y Convento 1 Calle de los Españoles, 505-747-8535. A replica based on the 1944 University of New Mexico excavations of the original church built by the Spanish at the San Gabriel settlement in 1598.

Open noon-4 p.m. Wednesday-Friday, 11 a.m.3 p.m. Saturday; no charge.

THEATER/DANCE Santa Fe University of Art & Design Winter Dance Concert Mixed repertoire performed by Performing Arts Department students, guest artists, and dance instructor John Kloss, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., no charge.

BOOKS/TALKS Photo-eye Bookstore’s Photobook Series 2 Panel discussion on photobook publishing with Maggie Blanchard, Alexandra Huddleston, and Joanna Hurley, 6:30-8:30 p.m., Tipton Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., for information contact Melanie McWhorter, 988-5152, Ext. 112.

Tour Narratives of Race, Place, and History: Expanding the Borders of America’s Black Towns Anthropologist Karla Slocum speaks, noon-1 p.m., School for Advanced Research, 660 Garcia St., no charge, 954-7213.

EVENTS New Mexico Filmmakers showcase New Mexico State Film Office competition winners, 5-9 p.m., The Forum, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, 476-5671.

Poetry workshop What Winter Are You From?, led by Jamie Figueroa, 6-8 p.m.,Whole Foods Community Room, 753 Cerrillos Rd., no charge, email snowpoemsproject@gmail.com to register, presented by the Santa Fe Art Institute, 424-5050.

NIGHTLIFE (See Page 72 for addresses) 315 Restaurant and Wine Bar Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., call for cover. ¡Chispa! at El Mesón Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover.

Cowgirl BBQ Troy Browne Trio, alt. Americana/roots, 8 p.m., no cover.

El Farol Salsa Caliente, 9 p.m., no cover.

La Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover.

La Fiesta Lounge at La Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover.

La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover.

The Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8:30 p.m., call for cover.

Taberna La Boca Jazz guitarist Pat Malone, 7-9 p.m., no cover.

Vanessie Pianist/vocalist Robin Holloway and friends, 6:30 p.m.-close, call for cover.

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December 7-13, 2012

LOS ALAMOS Little House on the Prairie Marathon, by Siobhan McBride, Eight Modern, 231 Delgado St.

13 Thursday IN CONCERT St. Michael High School’s holiday student showcase Cadet and advanced bands, choir, and guitars, 6 p.m., Tipton Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, 983-7353.

Santa Fe Opera’s holiday concert Soprano Mary-Jane Lee and tenor Matthew Grills, joined by flutist Valerie Potter and members of Young Voices (the opera’s program for teens), in Arias, Carols, and Songs, classical and sacred works, 6 p.m., Cristo Rey Parish, 1120 Canyon Rd., no charge, 986-5955.

THEATER/DANCE ‘The Weir’ Santa Fe Playhouse presents Conor McPherson’s Irish ghost story, 7:30 p.m. $10, 988-4262, Thursday-Sunday through Dec. 23.

BOOKS/TALKS Nickel Stories Open five-minute prose readings, 6 p.m., Lucky Bean Café, 500 Montezuma Ave., Sanbusco Center, 438-8999.

OUTDOORS What’s Taking Root?

Landscape tour of the Academy for the Love of Learning grounds, led by landscape designer Christie Green, 11 a.m.-noon, optional sack lunch discussion follows noon-1 p.m. (bring your lunch), Seton Village, 133 Seton Village Rd., $10 suggested donation, RSVP by calling 995-1860.

NIGHTLIFE (See Page 72 for addresses) Cowgirl BBQ John Hogan & Maria Moss, scorch folk, 8 p.m., no cover.

El Farol Rob-A-Lou, rockabilly, 9 p.m.-close, no cover.

La Fiesta Lounge at La Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover.

La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio with Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 7-10 p.m., Staab House Salon, no cover.

Santa Fe Sol Stage & Grill Americana singer/songwriter Zach Broocke, 7 p.m., $7 cover.

Taberna La Boca Nacha Mendez, panLatin chanteuse, 6:30-9:30 p.m., no cover.

Vanessie Bert Dalton Duo, jazz, 6:30 p.m., call for cover.

▶ Elsewhere ALBUQUERQUE Museums/Art Spaces Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. 100 Years of State & Federal Policy: The Impact on Pueblo Nations, through February ï Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50.

National Hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261. Via Nuestros Maestros: The Legacy of Abad E. Lucero (1909-2009), paintings, sculpture, and furniture, through January ï Stitching Resistance: The History of Chilean Arpilleras, a collection of appliqué textiles crafted between 1973 and 1990, longterm ï ¡Aquí Estamos!, items from the permanent collection. Open 10 a.m.-5 p.m.

Tuesday-Sunday; adults $3; seniors $2; under 16 no charge; Sundays no charge.

New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. ISEA2012 Albuquerque: Machine Wilderness, international group show of prints, interactive installations, and sculpture, part of the International Symposium of Electronic Art, through Jan. 6 ï Dinosaur Century: 100 Years of Discovery in New Mexico, showcases of new finds change monthly through 2012. Open 9 a.m.-5 p.m. daily; adults $7, seniors $6, under 12 $4; NM seniors no charge on Wednesdays.

UNM Art Museum Center for the Arts Building, 505-277-4001.

Dancing in the Dark, Joan Snyder Prints 19632010, prints spanning 47 years of moments in Snyder’s life ï The Transformative Surface, film and digital works by faculty; both exhibits through Dec.15. Open 10 a.m.-4 p.m. Tuesday-Saturday; $5 donation.

Los Alamos Symphony Orchestra Annual holiday concert, 7 p.m. Friday, Dec. 7, Betty Ehart Senior Center, 1101 Bathtub Row, donations accepted, losalamossymphony.org.

WinterFest Annual celebration with a myriad of events Friday-Sunday, Dec. 7-9; includes a crèche show, a parade of lights, a ballet performance of Hansel and Gretel, and a Christkindlmarket; visit lamainstreet.com for full schedule.

Authors Speak series An exhibit of The Plazas of New Mexico, reception 2:30 p.m. Sunday, Dec. 9, discussion with author Chris Wilson and contributing architect José Zelaya 1:30 p.m., Upstairs Rotunda, Mesa Public Library, 2400 Central Ave., 662-8247, no charge.

MADRID 30th Annual Madrid Christmas Open House Enjoy Santa & Mrs. Claus, more than 40 shops and galleries, and holiday lights; festivities continue weekends through December, details available online at visitmadridnm.com.

Madrid Old Coal Town Mine Museum 2846 NM 14, 438-3780 or 473-0743. Madrid’s Famous Christmas Lights & Toyland, ephemera related to the town’s 30-year history of celebrating the holidays, through Jan. 13. Steam locomotive, mining equipment, and vintage automobiles.

Open 11 a.m.-6 p.m. Saturday and Sunday. $5, seniors and children $3.

TAOS Museums/Art Spaces E.L. Blumenschein Home and Museum 22 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.-5 p.m.

Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday.

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Maye Torres: Unbound, drawings, sculpture, and ceramics ï Three exhibits in collaboration with ISEA2012 Albuquerque: Machine Wilderness — Curiosity: From the Faraway Nearby ï Falling Without Fear ï Charles Luna. All exhibits through Jan. 27. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Cultural Threads: Nellie Dunton and the Colcha Revival in New Mexico, through Jan. 30. Open 10 a.m.5 p.m. Monday-Saturday, noon-4 p.m. Sunday.

Adults $8; under 16 $4; children under 5 no charge; Taos County residents with ID no charge on Sunday.

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462.

Unknown Was a Woman, group show of pottery, baskets, and weavings, through December. Open 10 a.m.-5 p.m. daily. $8, Taos County residents with ID no charge on Sunday.

Taos Artist Collective 106 Paseo del Pueblo Norte, 575-751-7122. Pencils, Paints and Photographs, new works by gallery artists, reception 4-7 p.m. Saturday, Dec. 8, through Jan. 4.

Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690.

Visual Impressions, paintings by Don Ward, weekend artist demonstrations through Jan. 6, in Fechin Studio. Open 10 a.m.-5 p.m.

Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

▶ People who need people Donations Santa Fe Farmers Market food drive 8 a.m.-1 p.m. Saturday, Dec. 8; food distributed to families in need by the Adelante Program; Farmers Market Pavilion, 1607 Paseo de Peralta, 983-4098.

Canyon Road — Giving Back to the Community The Canyon Road Merchants Association and participating galleries will provide food-collection barrels for The Food Depot through Dec. 14; drop off nonperishable food at Canyon Road Contemporary Art, Darnell Fine Art, Dominque Boisjoli Fine Art, William & Joseph Gallery, and Ventana Fine Art; contact Mary Bonney for information, 982-9404.

Smith’s Holiday Program Smith’s Food & Drug invites customers to add $5, $10, or $15 to their purchases for gift cards to be given to local food banks through Thursday, Dec. 29.

Sprouts Farmers Market Purchase pre-filled grocery bags ($10-$15 range) through Wednesday, Dec. 28, at both locations for distribution by The Food Depot.

Whole Foods’ Grab & Give program Donate $5, $10, or $25 tags at checkout counters for food distribution by The Food Depot; through Monday, Dec. 31.

Volunteers Reading Tutors Share your love of reading with children in the United Way Let’s Read Afterschool Program at Aspen Community Magnet School, 450 La Madera; grades K-5; MondaysThursdays; call Susan, 216-2983, or Erin, 670-5044.

Santa Fe Botanical Garden General help needed to guide garden tours, organize events, and help in the office; planners sought to organize the 2013 grand opening of the new garden at Museum Hill during a three-day period in July; 471-9103 or santafebotanicalgarden.org.

Actors/Filmmakers Benchwarmers 12 auditions All ages, all types invited at 1 p.m. Saturday, 6 p.m. Sunday, Dec. 15-16, for cold readings; Santa Fe Little Theatre, 142 E. DeVargas St.; call 988-4262 for more information.

Artists/Craftspeople 2012 PEN Literary Awards Send in submissions or nominate someone to be considered in the fields of fiction, science writing, essays, sports writing, biography, children’s literature, translation, drama, or poetry; deadline Feb. 1; visit pen.org or write to awards@pen.org for more information.

62nd Annual Traditional Spanish Market 2013 Artists may submit work for jurying on Feb. 2; applications due by Jan. 25; guidelines available upon request; visit spanishcolonial.org for details and applications, 992-8212, Ext. 111.

MasterWorks of New Mexico 2013 Entries open to New Mexico artists for the 15th Annual Spring Art Show, April 5-27, Expo New Mexico Hispanic Arts Building, fairgrounds, Albuquerque; miniatures, pastels, watercolors, oil/acrylics; deadline Jan. 25, details and prospectus available online at masterworksnm.org; for additional information contact Barbara Lohbeck, 505-260-9977.

Poets Snow Poems SITE Santa Fe’s SPREAD 3.0 winning community poetry project stenciling selected lines of poetry onto public windows, buildings, and schools throughout the city; one poem per person may be submitted online at snowpoemsproject.com through Monday, Dec. 17; presented by the Cut + Paste Society (cargocollective.com) and the Santa Fe Art Institute (sfai.org).

▶ Under 21 Zechs Marquise Psychedelic-rock and funk band, local band As In We opens, 7 p.m. Friday, Dec. 7, Warehouse 21, 1614 Paseo de Peralta, $15 in advance, $20 at the door, 989-4423.

▶ Short People ‘Peter Pan’ Eldorado Children’s Theatre and Teen Players present the musical, 7:30 p.m. Friday, 2 p.m. Saturday and Sunday, Dec. 7-9, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, eldoradochildrenstheatre.org, 466-4656.

A Very Chaplin Holiday Center for Contemporary Arts’ Charlie Chaplin film festival (through Jan. 2) continues with The Kid, 11 a.m. Saturday and Sunday, Dec. 8-9; benefit screening for the New Mexico Coalition to End Homelessness 7 p.m. Monday, Dec. 10, $10; 1050 Old Pecos Trail. Screening schedule available online at ccasantafe.org, $9.50 general admission, series pass $30 (discounts available for general admission and passes), all tickets available in advance by calling the box office, 982-1338.

Family animated movie matinees 2 p.m. Saturday, Dec. 8, Santa Fe Public Library, Southside Branch, 6599 Jaguar Dr., no charge, call 955-2820 for information.

Santa Fe Skating Club Holiday Ice Show Let’s Go to the Movies, performances by the SFSC, Desert Ice Figure Skating Club, Chavez Center Learn-to-Skate participants, and special guests, 4 p.m. Saturday, 1 p.m.

Sunday, Dec. 8-9, Genoveva Chavez Community Center, 3221 Rodeo Road, $10; ages 2-11 $6; under 2 no charge; santafeskatingclub.org, 955-4033.

Santa Fe Public Library Children’s Programs Books and Babies, 10:30-11 a.m.

Wednesdays, La Farge Branch, 1730 Llano St., and 10:30-11 a.m. Thursdays, Southside Branch, 6599 Jaguar Dr.; Family Story Hour, 6:30 p.m. the first Wednesday of every month; no charge, visit santafelibrary.org for other events. ◀

Worth Googling For Today, Friday, Dec. 7, is National Pearl Harbor Remembrance Day. If I were to compile a list of songs written about Pearl Harbor it would be relatively short, but it would demonstrate the ability of American crooners and big-band musicians of the period to respond to the attack — and the United States’ entry into World War II — at a whirlwind pace. Dick Zechs Marquise Robertson’s “We Did It Before and We’ll Do It Again” was recorded just nine days after Pearl Harbor, as was Teddy Powell’s “Goodbye, Mama (I’m Off To Yokohama).” Abe Lyman stepped into the studio to record “Let’s Put the Axe to the Axis” on Dec. 18, 1941, and “The Son-of-a-Gun Who Picks on Uncle Sam” by Carl Hoff was recorded on Dec. 23. The Pearl Harbor song most referred to in popular culture is perhaps “Praise the Lord and Pass the Ammunition,” written by Frank Loesser and published in 1942 by the Famous Music Corp. The song was made popular by The Merry Macs, The Jubalaires, and Kay Kyser and His Orchestra, and the title has been referenced in everything from Rush songs (“The Way the Wind Blows”) to video games (BioShock 2, Mafia II).

One of the best and most under-recognized songs written and recorded for the times is The Ink Spots’ “This Is Worth Fighting For.” Silky-voiced lead tenor Bill Kenny sings: Didn’t I build that cabin?/Didn’t I plant that corn?/Didn’t my folks before me/Fight for this country before I was born?/I gathered my loved ones around me/And I gazed at each face I adore/And I heard that voice within me thunder, This is worth fighting for.

Released in 1942, “This Is Worth Fighting For” reached the No. 9 position on the debut Harlem Hit Parade chart, the precursor to Billboard’s current Hot R&B/Hip-Hop Songs chart. There were other songs written about Pearl Harbor, although many of them wouldn’t be deemed politically correct in tone or title these days. A fantastic read on the subject is Peter Townsend’s book Pearl Harbor Jazz: Changes in Popular Music in the Early 1940s, which is available for preview online via Google Books.

I wanna Zechs you up There’s a great reason to be at Warehouse 21 (1614 Paseo de Peralta, 989-4423) this weekend. At 8 p.m. Friday, Dec. 7, local instrumental prog/math rockers As in We burn up the W21 stage to advance a performance by mind-blowing El Paso progressive psych-rock outfit Zechs Marquise.

The ensemble, a self-described purveyor of “space funk from the future” that includes percussionist/keyboardist Marcel Rodriguez-Lopez of The Mars Volta, is fresh off a tour of Europe in support of its sophomore album, 2011’s Getting Paid.

As of press time, the show at Warehouse 21 was the only stateside gig listed on the band’s website.

When Warehouse 21 describes a concert by writing on the event’s page, “Do not miss what is sure to be one of the most unique, powerful performances to grace this beautiful city,” it’s easy to think there’s some hyperbole stew bubbling away on the ol’ teen center’s promotional stovetop. But let me tell you something: this show is worthy of the hype, and Zechs Marquise has been given two hours of stage time to prove it. Advance tickets for the all-ages show, $15, are available until 4 p.m. Friday, Dec. 7, at Warehouse 21 and through As In We’s Facebook page.

Tickets at the door are $20. Visit www.zechsmarquise.bandcamp.com to stream and download Getting Paid.

— Rob DeWalt rdewalt@sfnewmexican.com Twitter: @PasaTweet @Flashpan

A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.

PASATIEMPO

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