Pasatiempo, February 14, 2014 by The New Mexican

The New Mexicanâ&#x20AC;&#x2122;s Weekly Magazine of Arts, Entertainment & Culture

February 14, 2014

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Join us this Friday for

Valentine’s Day Friday, February 14, 2014 Lunch from 11:30 – 2:00 Dinner from 5:30

Choose our ‘Romance Menu’ or Dine a la Carte!

231 Washington Ave • Reservations 505 984 1788 Menu details: www.Santacafe.Com 2

PASATIEMPO I February 14 - 20, 2014

15% Locals Discount Open daily 11:30am till close Heated Balcony Happy Hour twice daily

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Designer Fashions Fine Jewelry gift certificates wrapped as gifts winter hours: sunday-thursday 11-6 Friday & saturday 10:30-6:30

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St. John’s College presents

Music on the Hill

™

In Honor of LIncoLn

ELEVATED Jazz Concert Series

Saturday, February 22, 7:30 p.m.

JOHN WILLIAMS GEORGE WALKER JARED BACA COPLAND DVOŘÁK

Liberty Fanfare Pageant and Proclamation Ascension Lincoln Portrait, Symphony No. 9 “From the New World”

Chase Baird Great Hall, Peterson Student Center 1160 Camino Cruz Blanca (Doors open at 7:00 p.m.)

$25 admission at the door; wine, beer, and small plates available for purchase, $7 each. Concerts continue March 15 and March 29. For advance tickets, call 505-984-6118. Proceeds of the event support financial aid for New Mexico students attending St. John’s College.

1160 Camino Cruz Blanca| Santa Fe| New Mexico 87505 | www.stjohnscollege.edu

Jill Scott Momaday, Narrator

IMS

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MEDICINE SPECIALISTS

Taking New Patients and Same Day Appointments!

Tickets $20 to $70 half-price tickets for children, with purchase of adult ticket

Danny Mays, PA (working with Josh Brown, MD) Over 20 years experience in primary care

APPOINTMENT line: (505) 395-3003 IMS’s independent staff is here to take care of you at our modern, new ofﬁce and at the hospital. 1650 Hospital Drive, Suite 800

PASATIEMPO I February 14 - 20, 2014

Santa Fe, NM 87505

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Lensic Presents

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Furnishing New Mexico’s Beautiful Homes Since 1987

War Horse WarHorse

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In association with the award-winning Handspring Puppet Company

February 27, 7 pm

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“A landmark theatre event.”

Reasonable Prices every day of the year!

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The Lensic & the Academy Film Archive present 35mm Archival Film Festival

A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.

Wizard ofOz

The

Starring Judy Garland

February 15 7 pm $7 in Technicolor Print courtesy of the Constellation Center Collection at the Academy Film Archive

GREG GRANDIN Tickets: 505-988-1234 www.TicketsSantaFe.org the lensic is a nonprofit, member-supported organization

SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE

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Santa Fe: February 21-23, 2014 Purchase your tickets today!

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LEWIS

WEDNESDAY 26 FEBRUARY AT 7PM LENSIC PERFORMING ARTS CENTER Since the end of the Cold War, extractive capitalism has spread over our post–industrialized world with a predatory force that would shock even Karl Marx. From the mineral–rich Congo to the fracking ﬁelds of Pennsylvania and the melting Arctic north, there is no crevice where some useful rock, liquid, or gas can hide, no jungle forbidden enough to keep out the oil rigs and elephant killers, no citadel–like glacier, no hard–baked shale that can’t be cracked open, no ocean that can’t be poisoned. To transform this lethal system, we have to dig it out from its roots—which means confronting the barbarism of our own ﬁrst colonial experiments, the human exploitation, and environmental destruction that marked the early years of American expansion. — Greg Grandin

Greg Grandin is a professor of history at New York University

Friday: Edible Art Tour (EAT) $35 Friday: NEW: Fashion Feast $40 (EAT & Fashion Feast Combined $70) Sat & Sun: Home Tour Free Saturday Gourmet Dinner & Auction $200* Sunday Artists’ Brunch & Auction $80* *Call for discounts on tables of 10 Tickets: artsmartnm.org 505.603.4643 speterson@artsmartnm.org ARTsmart ofﬁce at 102 E. Water St. EAT tickets also available at participating galleries and Tickets Santa Fe, Lensic Box Ofﬁce, 505.988.1234 ticketssantafe.com.

and the author of several books on Latin America, including A Century of Revolution: Insurgent and Counterinsurgent Violence during Latin America’s Long Cold War; Empire’s Workshop: Latin America, the United States, and the Rise of the New Imperialism; and Fordlandia: The Rise and Fall of Henry Ford’s Forgotten Jungle City. Grandin has published extensively on issues of revolution, popular memory, U.S.— Latin American relations, photography, genocide, truth commissions, human rights, disease and political violence. His newest work is The Empire of Necessity: Slavery, Freedom and Deception in the New World.

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 PASATIEMPOMAGAZINE.COM

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CLEARANCE SALE

PianoWerkes is dedicated to making a contribution to our community by loaning fine pianos to local schools and arts organizations at no charge. These pianos along with overstocked new and used pianos, are gathered one time a year and sold to the public at drastically reduced prices. Thursday February 20- by appoinTmenT open To The public- Friday & saTurday 10am-5pm - February 21 & 22

Yamaha, Clavinova Digitals, Disklavier Wireless Player Pianos, Avant Hybrid Pianos-Silent Pianos, Bรถsendorfer, Mason & Hamlin, Charles R. Walter Schimmel, Vintage Steinway & More

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2014 major exhibitions

spring thaw

featuring five guest artists march 28 - april 26

walter nelson: the black place photography may 2 - 31

australian contemporary indigenous art iii

rose b. simpson & yatika starr fields indian market solo shows august 9 - september 6 renate aller: ocean & large scale photography september 12 - october 18

third bi-annual aboriginal group show june 27 - august 3

desert

orbiting each major exhibition is a distilled selection of new work by gallery artists. see website for listings.

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PASATIEMPO I February 14 - 20, 2014

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MIXED MEDIA

Valentine’s Dayy at the Old House Celebrate C elebratte Love Love with the Aphrodisiac Ap Aphro phrrodisiac Menu Menu

Friday through th ary 14-16 14 16 Sunday, February This Valentine’s Day weekend, celebrate your beloved with our special four-course menu that features an array of aphrodisiac favorites including oysters, lobster cake, pan roasted scallops, bittersweet chocolate pyramid! $119 per couple. $139 per couple with wine pairings.

Reservations recommended. Please call 505.995.4530 309 W. San Francisco Street | EldoradoHotel.com

Lee Marmon: Self Portrait, 1950, gelatin silver print; courtesy Lee Marmon and the Center for Southwest Research, University of New Mexico

Double take If you missed the exhibition Native Portraits: Points of Inquiry, which opened at the New Mexico History Museum in 2012, you have a chance to see an expanded version of it at the Museum of Indian Arts & Culture (710 Camino Lejo on Museum Hill), where it reopens this weekend with additional historical material and portraits by contemporary photographers Lee Marmon and Will Wilson. The exhibition — co-curated by Palace of the Governors photo archivist Daniel Kosharek, MIAC archivist Diane Bird, and gallerist Andrew Smith — includes vintage photographs by De Lancey Gill, Carl Moon, Edward S. Curtis, and T. Harmon Parkhurst, many of them culled from the thousands of prints and negatives in the collection of the Palace of the Governors Photo Archives. The exhibit focuses on photographers active from the post-Civil War period through 1935, and it includes ethnographic imagery of Native dignitaries by Charles M. Bell and A. Zeno Shindler. The museum encourages Native visitors to bring heirloom photographs to the exhibit to be scanned and added to a community gallery of rotating images that runs through the length of the show. The opening reception takes place from 2 to 4 p.m. on Sunday, Feb. 16. The day’s events include a 2 p.m. talk on “Photography and the Pueblo Imagination” by Marmon and performances at 1 and 3 p.m. by the Dine’tah Dance Group. Wilson’s portable wet-plate collodion portrait studio is available for visitors interested in getting a photo taken as a contemporary tintype from 11 a.m. to 4 p.m. There is no charge for the reception; entrance is by museum admission (free on Sundays for New Mexico residents). See www.indianartsandculture.org. — Michael Abatemarco

Restaurant Week is your opportunity to try Chef Deena Chafetz’s fresh, contemporary cuisine at the Quail Run Grille. The Grille serves lunch and dinner during the week and brunch on weekends for those with the most distinguished tastes! Try the Grille and learn about our dining and Club memberships. Call today for reservations and more details.

Be our guest and enjoy a three-course prix fixe dinner for $30 or a two-course prix fixe lunch for $15 during Restaurant Week, February 23-March 2 3101 Old Pecos Trail 505.795.7218 quailrunsantafe.org PASATIEMPOMAGAZINE.COM

Santa Fe Animal Shelter Brings You an Adoption Event Weekend ...

Valentine’s Day Doggy Date Night... Come celebrate Valentine’s Day with the Santa Fe Animal Shelter! Bring your single dogs and make a canine match or come by yourself and meet the love of your life!

National Adoption Weekend Join the Santa Fe Animal Shelter, Española Valley Humane Society, Felines and Friends and the New Mexico House Rabbit Society for a fabulous adoption event sponsored by our friends at PetSmart Charities!

Free Pizza & Free Kisses! from our Canine Kissing Booth.

Look What the Cat Dragged In 2 541 W. Cordova Road, Santa Fe Friday, Feb. 14th from 4 - 7 p.m.

PASATIEMPO I February 14 - 20, 2014

PetSmart Santa Fe

3561 Zafarano Drive, Santa Fe Saturday, Feb. 15th, 11 a.m. to 4 p.m. Sunday, Feb. 16th, noon to 4 p.m.

STAR CODES

Heather Roan Robbins

Valentine’s Day is always tricky — so loaded with expectations and potential disappointments. It is a true Aquarian holiday, and Aquarius encourages us to search for the ideal. This Valentine’s Day can be particularly tricky, as Mercury is now retrograde in Aquarius and can make us unusually forgetful, emotionally sensitive, and not so observant. It can also instigate technical snafus or complicate reservations and assignations — all as the full moon in extroverted, expressive Leo cranks up our desire to express ourselves generously, speak in hyperbole, and be treated like royalty. Let Valentine’s Day be an opportunity to express feelings. Make the most of the evening. Spontaneous, last-minute activities will probably be more successful than complex plans. The moon moves into more workmanlike Virgo on Saturday and Sunday and brings us back down to earth, making it a time for long baths and deep analysis. Let’s keep that critical thinking entwined with kindness. Mercury forms an uncomfortable semisquare to Uranus and Pluto on Sunday and Monday and exacerbates our concerns. Subtle anxiety can make us act out, unless we stay conscious of our responses and manage it well. This can also be an accident-prone time, so play it safe around cars and equipment. The mood may still be rocky on Monday morning. Put interpersonal relationships ahead of efficiency while the moon works through friendly Libra; goodwill can smooth small delays. We move into a deeper relationship with our muse or our internal demons on Tuesday as the sun enters intuitive, sensitive Pisces, the last and most introspective month of the year, and on Wednesday as the moon enters brooding introspective Scorpio. Friday, Feb. 14: Morning is energized and ingenious as Mars trines the sun. Midday we tend to bump egos, get discouraged, or get bored easily. The full moon peaks in melodramatic Leo around dinnertime and splashes our emotions all over the place. Leo can be abundantly generous, and generosity can be the cure for loneliness. Celebrate early; communication is more challenging later on. Saturday, Feb. 15: We’re concerned this morning as thoughtful Mercury semisquares deep Pluto under a task-oriented Virgo moon. Put the mind to work improving the world rather than criticizing people; keep the heart in Virgo compassion. Catch up on less romantic, more cerebral events. Celebrate the spoken word tonight though conversation, poetry, theater, or debate. Sunday, Feb. 16: Correct misperceptions about the past; dig out a closet, face an old adversary, or honestly reassess a charged event. We can choose to get snarky or do this with love and get old splinters out. Be cautious around difficult equipment and manage anxiety with love. Monday, Feb. 17: The mood may be out of sorts this morning; let’s settle in before we launch the week. Look at the concerns on the table but don’t let them run the show. Creative solutions are easier to find later as the moon enters collaborative Libra. Tuesday, Feb. 18: Check for changes in plans early on as the moon squares Uranus; then spend the next few days socializing, adjusting, and connecting. Work on relationships, have meetings, call difficult relatives; use goodwill to progress gracefully. Wednesday, Feb. 19: Work around transportation difficulties this morning as Mercury squares Saturn. If communication clashes, slow down and define terms. Take any frustration and use it as a reason to focus. Find diplomatic ways around confusion about who’s in charge of what. Thursday, Feb. 20: The mood is sensitive and squirrelly; we can get grim or go to dark corners as the Scorpio moon approaches Saturn. Don’t push people away or poke their tender places; do set clean, kind boundaries. Afternoon is more expansive. Let feelings flow through. ◀ www.roanrobbins.com

Seeing new patients in our Santa Fe office! Appointments scheduled through Los Alamos office: 662-4351 Most insurance accepted! (not contracted with Tricare)

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In Other wOrds book reviews

Tracks and Shadows: Field Biology as Art by Harry W. Greene, University of California Press, 280 pages Last month my 85-year-old, 4-foot-10-inch mother reported by email that, using a garden trowel, she had killed a snake she saw slithering in the backyard of her San Antonio home. “I just cut it in half,’’ she said. “Then I covered it up with soil. I just hate snakes.’’ I was appalled. How could I, a hiker who goes purposely in search of snakes, be the spawn of this tool-wielding murderer? I wrote back, chastising her for killing an innocent animal that was probably helping keep in check a rodent population far more troublesome than any garden-variety serpent. But I knew my pleas would fall on deaf ears. My mother grew up on farms in western Kansas, where snakes were viewed as threats to people, domestic animals, and livestock, and where she’d also probably internalized the Christian prejudice against snakes as representatives of Satan. She didn’t even respond to my tirade. Her very common mind-set about snakes is the kind of attitude Harry W. Greene would like to change. We must abandon our current role as “thieves, pillaging the future,” he asserts, if humans are to save ourselves from destroying the planet’s flora and fauna. “We twenty-first-century humans are saddled with terrible dilemmas,’’ Greene writes, “willy-nilly shaping the future yet bereft of consensus over what to save, let alone how to do so. Amid shrinking resources, should we care more about pandas than crocodiles, especially if the latter eat us? How can we yearn for places untrammeled by humans yet also bemoan disconnectedness from nature — can we really connect without trammeling?’’

SubtextS

Greene is the Stephen Weiss Presidential Fellow and a professor of ecology and evolutionary biology at Cornell University. He previously spent 20 years on the faculty of the University of California at Berkeley. His book Snakes: The Evolution of Mystery in Nature won a PEN Literary Award. A field biologist and herpetologist, Greene is an expert data collector, critical thinker, and reporter of scientific findings. He’s also a wonderfully engaging writer who asks a lot of deep questions about the interface between humans and the rest of the natural world and, thankfully, doesn’t pretend to have all the answers. Nor do his ideas fall neatly into any political camp. That said, Tracks and Shadows — though enjoyable reading for most people interested in natural history — does not feature a cohesive narrative. The book is part memoir, part biography (of Greene’s mentor Henry Fitch), part tribute (to other scientists, including his lifelong friend and research colleague Ben Dial), and part natural history. It’s all worthwhile reading, though some lauding of the author’s former students and colleagues verges on treacle. The net result is that the reader is left with the suspicion that the author was afraid he might not get to write another book and thus had to fit everything he wanted to impart into this one. Also problematic is the expectation set up by the book’s subtitle, Field Biology as Art, a provocative idea that the author fails to adequately address. It sounds better than it plays. Still, could anyone stop reading a paragraph that begins, “In the summer of 1980 I manually restrained a western rattlesnake in Berkeley’s Strawberry Canyon”? Who would not be fascinated by the fact that some cobras spit “venom streams for six feet or more, prior to which they track an antagonist’s head movements and accurately aim for its eyes”? Surely even a serious ophidiophobe (one who is unreasonably afraid of snakes) would be reassured by the fact that while some 8,000 people are bitten by snakes in the United States annually, fewer than a dozen die, and they’re usually snake handlers. During the time I was reading this book, I was unable to restrain myself from memorizing snake names (eyelash palm pitvipers, rhinoceros adders, spotted leaf-nosed snakes) and facts, as if someday I might be on Jeopardy! and the Final Jeopardy question would be, “What female animal can grow

Poetry in tune Nathan Brown, the current poet laureate for the state of Oklahoma, is also a singer-songwriter and something of a traveling troubadour. Poet Lauren Camp — her most recent collection is The Dailiness — is also a visual artist; her solo exhibit The Fabric of Jazz: A Tribute to the Genius of American Music was displayed at Kansas City’s American Jazz Museum and at the Delta Blues Museum in Clarksdale, Mississippi. The two artists read their poems at Collected Works Bookstore (202 Galisteo St., 505-988-4226) at 4 p.m. on Saturday, Feb. 15. Brown — his latest book is Less Is More, More or Less — writes in a self-deprecating style, taking a certain delight in his own misconceptions. He is not afraid to address silence, as he does in “The Sign,” a poem from his book Two Tables Over. Here his assumption about a young couple with a baby unravels as they begin to converse in sign language: “The baby’s eyes glow in the wave/and trickle of mom’s fingers that

PASATIEMPO I February 14-20, 2014

must/look like birds close enough to touch./And the trusses of my preconceptions/Begin to buckle.” Brown’s poems, accessible and almost conversational in tone, uncover the sort of life experiences that speak to all of us. Camp does something similar, taking everyday occurrences and making music of them. From The Dailiness’ title poem: “A woman/keeps sticking her hands in the bulk bin: all crystal ginger.” When she writes about jazz, surprises come with rhythm. In “Thelonious Monk on a Subway,” she says, “Intervals rode/the track with us: E-flat, D/C and D. Harmonious fifths, and mismatched chords./He explained that the melodies/were dots/his hands wanted to connect.” Seen on the page, the staggered lines of this poem seem to prove the old jazz truism that the spaces between phrases are as important as the phrases themselves. Camp is an engaging reader of her work, putting each word before us as if it’s a gift. We look forward to hearing both these writers make their poems sing. — Bill Kohlhaase

to 30 feet, weigh 200 pounds, lay more than 70 eggs at a time, and eat pigs, deer, and porcupines?’’ I don’t mean to suggest that through attention to these “sexy” details about snakes Greene is using sensation to convince the reader of his environmental philosophy. But they do help carry the reader through text that is sometimes dense. The author’s poetic language also helps. In a description of the Mojave Desert, he notes, “From overhead in a jet it looks like elephant skin, etched with dry washes that merge into empty riverbeds, their fractal tendrils dotted with shrubs and occasional trees. … A friend’s boots crunch with metronomic cadence from an arroyo below, and the buzzing of a pesky fly feels like starlight, crisp but vanishingly small. … Creatures that perish here dry quickly, minus the tariffs of scavengers, and drift off on the wind.’’ The snake factoids, the poetic descriptions, the heroizing of fellow scientists, and even Greene’s chapter on taking up hunting remind us that appreciation of the natural world is important to us as individuals and collectively. For many readers, Greene’s adventures in the field will spark memories such as dissecting bear scat on a scouting campout, discovering baby birds in a backyard nest, or even the simple joy of spotting elk in a meadow on a mountain drive. I recalled coming upon a dead sea lion that had washed up on a Northern California beach a few years ago and feeling self-conscious about my fascination with its innards. A boy of 6 or so joined me in the mild surf, each of us staring intently into the hole where a ship’s rudder had ripped open the marine mammal. His grandmother stood nearby, looking bored. I felt reassured by the boy’s reaction. Surely this was a kid whose life — like that of most kids these days — was dominated by iPads, video games, and on-demand everything. Nevertheless, the stark reality of nature in collision with humanity called to him. Surely here was hope that we can stop “pillaging the future’’ through our fear of, ignorance about, and lack of concern for the natural world. “Tell your friends something good about rattlesnakes,’’ Greene urges. If I had read this book before my mother troweled her snake to death, perhaps I could have made an argument that would have changed her mind. Though Greene argues against anthropomorphizing animals, he notes that blacktail and timber rattlesnakes “hunt mammals, lie around after big meals, search for mates and wrestle with rivals, court and mate, give birth, and attend their young. They visit certain places repeatedly within well-circumscribed home ranges. They occasionally and inexplicably climb trees.’’ In short, we have a lot in common with them. Yet rattlesnakes can eat as few as three to five meals a year; their courtship takes just days; and copulation can last more than 22 hours. And, when threatened, they can be aggressive and dangerous. “For many folks, embracing life’s violent side is especially problematic in terms of caring about nature,’’ Greene concedes. Envision a 25-foot reticulated python struggling to digest a deer and you get the picture. (And the answer to my imaginary Final Jeopardy question.) “Here’s an answer for those who ask what it all means,’’ the author writes in a late response to a student who, after Greene’s last Berkeley lecture, proffered that question. “I believe that like all living things, we are for a while and then we aren’t, that Camus was right: life is how we find it and what we make of it. Each of us leaves behind tracks and shadows, but inevitably they fade and we end up one with the water and the rocks.’’ — Hollis Walker

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502 W. Cordova Rd, Suite B • Santa Fe • 505-428-0331 more book reviews on Page 16

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In Other wOrds book reviews The Snowden Files: The Inside Story of the World’s Most Wanted Man by Luke Harding, Vintage Books, 345 pages In 2009 a young man who posted regularly in a chat room on the popular technology website Ars Technica waxed apoplectic over a New York Times report on a secret Israeli plan to attack Iran. The story was based in part on leaks from highly placed sources in the U.S. government. The writer, who had been a regular on the site for eight years using the handle TheTrueHOOHAH, was incensed over the security breach: <TheTrueHOOHAH> <TheTrueHOOHAH>

WTF, NYTIMES Are they TRYING to start a war? Jesus Christ they’re like wikileaks they’re just reporting, dude They’re reporting classified shit

After some back and forth about leaks, the conversation continued: <User19> <TheTrueHOOHAH> <User19> <User19> <TheTrueHOOHAH> <TheTrueHOOHAH>

Is it unethical to report on the government’s intrigue? VIOLATING NATIONAL SECURITY? no meh. national security. Um, YEEEEEEEEEEEES. That shit is classified for a reason.

You may by now have guessed the identity of TheTrueHOOHAH. He was a young computer wizard who had recently left the CIA to take a job as a contractor for the NSA. His name was Edward Snowden. In his new book on Snowden, Harding, a reporter for The Guardian, observes: “Certainly Snowden’s anti-leaking invective seems stunningly at odds with his own later behavior.” The difference, Snowden has explained, is between secrets about people and secrets about machines: “I didn’t feel comfortable with disclosures that I thought could endanger anyone.” In 2013, Snowden shocked the world as the source of the most comprehensive leaking of U.S. national security secrets in history. Working as an infrastructure analyst, he swept up all the NSA files he could get his

hands on, hundreds of thousands of them, and put them in the hands of the independent journalist Glenn Greenwald, at the time a columnist for The Guardian, and the documentary filmmaker Laura Poitras. He fled to Hong Kong, where Greenwald and Poitras and another Guardian journalist met him. He hid out in a hotel room there while the material was sifted through by The Guardian’s team of journalists. Snowden left it to them to decide what was suitable for publication. It was never his intention to remain anonymous. “I’m not cleaning the metadata,” he told them. “I hope you will paint a target on my back and tell the world I did this on my own.” Days after The Guardian broke the story, Snowden revealed himself publicly, knowing that he would be reviled and hounded as a traitor. “That Snowden saw it as an act of patriotism, a defense of American values,” Harding writes, “would soften Washington’s vengeance not a bit.” Harding paints a fascinating picture of a person he describes as “the world’s most wanted man” (although “America’s most wanted” might be more accurate). A military brat, a high school dropout, a “thoughtful conservative” who kept a copy of the Constitution on his desk, Snowden joined the Army during the Iraq War because he “felt like I had an obligation as a human being to help free people from repression.” But he broke his legs during training and was mustered out. The Snowden who emerges on these pages is an idealist whose illusions are repeatedly being shattered. As his work brought him increasingly into contact with what he came to see as the vast, overreaching, and illegal surveillance of domestic and international communication on a frightening scale, he felt a growing urgency to blow the whistle. But he knew from the case of an earlier NSA whistleblower, Thomas Drake, that the pursuit of regular channels was not going to do any good. “The system does not work,” Snowden later told an interviewer. “You have to report wrongdoing to those most responsible for it.” Harding spins a tense story of espionage that takes us through Snowden’s gathering of the data, his disclosures to Greenwald and the others in Hong Kong, and his subsequent flight to Moscow, where he remains. Along the way, the emphasis shifts to the editorial staff of The Guardian and the publication’s confrontations

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with outraged representatives of the American and British security apparatuses — and officials of the Obama and Cameron administrations. The Americans, for all their heavy-handedness, come off a little better than the Brits, whose journalists, Harding points out, “do not enjoy the constitutional free speech protections of their U.S. counterparts.” In a scene that has almost comic overtones, he describes a couple of thugs from a British intelligence agency descending on The Guardian’s London offices to smash and dismantle their computers, apparently under the delusion that this would destroy the existence of the NSA documents. The Snowden Files loses some of its fascination as it leaves Snowden behind and slogs on through an alphabet soup of file names and government snoop programs. The book sometimes has a hurried feel to it, with the looming specter of Greenwald’s own book on the Snowden affair slated to arrive in March. There are some minor inconsistencies in Harding’s effort to dress the narrative up with human flourishes: “Returning to his Hong Kong hotel room early the next morning,” he writes, “the three reporters found the whistleblower ecstatic.” But on the next page, “Remarkably, he was totally impassive.” These, however, are not serious problems in a story that treats this stunning chapter in our nation’s post-9/11 struggle between the stifling interests of blanket security and the Fourth Amendment rights of the American public to freedom from unreasonable search and seizure. Patriot or traitor? Harding makes no secret where he comes down on the issue. He acknowledges the bitterness of the hostility from administration and mainstream media figures against Snowden, but he observes that the whistleblower’s supporters include such people as diverse as Glenn Beck and Michael Moore, Ron Paul and Al Gore. The American public seems divided at this point, with “patriot” edging out “traitor” in a recent poll by a 51-49 percent margin. — Jonathan Richards

Clear Conscientious Expect More andand GetCaring It!

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Now accepting former patients and inviting new patients. Call 466-2575

Hours by Appointment • 1925 Aspen Drive, Ste. 500-B

www.manymothers.org 16

PASATIEMPO I February 14-20, 2014

Accepting Most Insurance

SAR School for Advanced Research

Wayward Shamans: The Prehistory of an Idea A lecture by Silvia Tomášková

(University of North Carolina, Chapel Hill)

Thursday, February 20, 6:30 pm NM History Museum Auditorium (Washington Ave. entrance)

Free for SAR members • $10 for nonmembers 954-7203 • lectures.sarweb.org (no reservations or advanced tickets)

Sponsored by Santa Fe Audio Visual. Lecture series sponsored by SAR President’s Council, Betty and Luke Vortman, and Thornburg Investment Management. Image: Copper carving depicting a Sámi shaman with his magic drum, O. H. von Lode [Public domain], via Wikimedia Commons.

opening sunday, February 16 noon–4 pM 18th Annual

1 and 3 pm

oss r c a

SHABBAT

AMERICA

On Friday night, March 7, Kol BeRamah will join hundreds of synagogues across the continent in a national Jewish event to celebrate Shabbat! Everyone’s invited -singles, couples, families -- all ages. Bring a friend and let’s celebrate together!

Services & Delicious Kosher Community Dinner begin at 5:30pm, Friday, March 7 Reservations required! Save your free seats at KolBeRamah.org/Shabbat Deadline: March 1

More info at KolBeRamah.org

551 W Cordova Road, Suite F • 505-216-6136

2 pm noon –4 pm

Performances by the Diné Tah dancers. Photographer Lee Marmon (Laguna) speaks on “Photography and the Pueblo Imagination.” Will Wilson (Diné) brings his Critical Indigenous Photographic Exchange portable portrait studio. Plus, hands-on activities for all ages.

bring your own heirloom or historic photographs to scan and print. Reception hosted by Women’s Board of the Museum of New Mexico. NM residents with id free on Sundays, children under 17 always free.

Museum of Indian Arts and Culture Museum Hill off Old Santa Fe Trail

(505) 476-1250 | indianartsandculture.org | PASATIEMPOMAGAZINE.COM

Type A

A column exploring the changing world of publishing and reading

James McGrath Morris

Clicking our way to distraction One only had to read the first sentence in the “Deluxe Reading Group Edition” ebook of Paula McLain’s novel The Paris Wife, based on the love affair between Ernest Hemingway and his wife Hadley, to come across a striking example of the promise and pitfalls of electronic publishing. “Though I often looked for one,” reads the opening sentence, “I finally had to admit that there could be no cure for Paris.” The last word appears in blue. Tapping the word with a finger, the reader is transported to a five-paragraph essay about Hemingway’s arrival in Paris and what the city was like at the time. Two pages (actually, two finger swipes) later, the words “cafés of Montparnasse” also appear in blue. Tapping here, one learns about the famed Paris neighborhood, along 18

PASATIEMPO I February 14-20, 2014

with how Hemingway included scenes from its iconic cafés in The Sun Also Rises. The blue links are now part of the textual landscape in many ebooks. “Digital reading platforms provide writers, storytellers and producers with the opportunity to enrich, enliven and deepen the reading experience,” writes David Wilk, a longtime veteran of the publishing industry turned digital guru, in a post on www.digitalbookworld.com. But publishers are not merely content to include textual links. They are adding audio, video, and pop-up graphics such as maps as well. In the hands of the designers, ordinary ebooks seem as static as, well, books. In its first foray into “enhanced” ebooks, Simon & Schuster issued a version of Rick Perlstein’s remarkable Nixonland with more than two dozen CBS News

video segments and an interview with the author. Penguin brought out what it calls an “Amplified Edition” of Ayn Rand’s Atlas Shrugged that features original manuscript pages, audio clips of the author, and an easy way to post quotes from the book on social media. The company also produced a special electronic edition of Jane Austen’s Pride and Prejudice complete with a filmography, a guide to etiquette and dancing in Austen’s day, and instruction on making tea. Children’s books have also become a frequent target of the enhancers. The electronic edition of The Fantastic Flying Books of Mr. Morris Lessmore includes sheet music and a keyboard to play “Pop Goes the Weasel.” It’s not clear that the reading world has yet developed a taste for these whizbang additions to books. So far,

enhanced ebooks have not sold well. When Stephen King’s 2012 novel 11/22/63 arrived in stores, the publisher also brought out an enhanced version that included a 13-minute film written and narrated by the author. In 2012, The Wall Street Journal reported that the hardcover version had sold nearly a million copies, the plain ebook almost 300,000 copies and the enhanced version only 45,000 copies. To be fair, most technology is not a success in its earliest iterations. Think back to the early years of large clumsy cellphones and car phones. The fragmented ebook market, with readers using different types of machines and software, pose enormous challenge to the designers of enhanced ebooks.

Exp. 3/31/2014 Limited Offer

Researchers in New York recently gave print editions and enhanced ebook versions of the same book to 32 sets of parents with 3- to

328 S. Guadalupe St. Santa Fe - 505.986.1260 - lbvbags.com

6-year-old children. They found that the children who got the ebooks were distracted by the enhancements and remembered fewer narrative details than those who read the print editions. Nonetheless, even in their earliest incarnation, enhanced ebooks are promising to alter the reading landscape in a way that could profoundly change the narrative art. Take for instance, Katherine Boo’s Behind the Beautiful Forevers: Life, Death, and Hope in a Mumbai Undercity. The National Book Award winner is available in an enhanced version with photos and videos and photos that the author shot during her three years of research, as well as commentary. The print version was widely praised for its prose and portrayal of the residents of Mumbai. “It’s a stunning style, and it makes the narrative immersive in a way first-person journalism can’t touch,” reports Nico Vreeland in his review on the blog Chamber Four (www.chamberfour.com). Might readers find the enhancement unnecessary, perhaps even distracting from the compelling prose? Not so, according to Vreeland. “It’s such a powerful narrative, with such well-defined characters, that I often forgot that it was all true. Until, that is, I hit the first video.” He found it “an elegant use of ereading’s capabilities.” Others, particularly authors, are not so convinced of the virtues of these enhancements. Biographer Carl Rollyson is among the wary. “I always thought that, say a biography of Marilyn Monroe, would be cool if I could include video clips,” he says. “Aside from the legal and financial problems entailed in try to use video in an ebook, it seems that many readers find video attached to text simply annoying. They want to read.” But the choice between enhanced and plain vanilla reading poses a further challenge to reading as we know it. For example, researchers in New York recently gave print editions and enhanced ebook versions of the same book to 32 sets of parents with 3- to 6-year-old children. They found that the children who got the ebooks were distracted by the enhancements and remembered fewer narrative details than those who read the print editions. So far, adults have not been subjected to a similar experiment, but anecdotal evidence suggests a similar possibility. As the Prospero blog of the venerable Economist noted, “with literature, especially, many readers remain rightly sceptical of narrative intrusions that disrupt the creation of what Robert Olen Butler, an American novelist, calls ‘the cinema of the mind.’ ” Ian Karr, a filmmaker and producer of ebooks apps, thinks too much is being made of the distractibility issue. “I’m of the belief that any kind of prompt that encourages more exploration and discovery isn’t bad,” he told a Forbes writer. “People are constantly interrupted by the phone, by the doorbell, by kids screaming — but they keep coming back to their book. Giving a richer experience is really the key.” In short, some are asking whether enhanced ebooks remains books, items which require a cultivated skill on the part of readers. Perhaps they are so altered by the introduction of film, audio, and gadgetry that they are rather some kind of multimedia entertainment device. To purposefully mix my metaphors, stay tuned — another chapter is yet to be written. ◀

NO GIMMICKS E JUST GREAT CAR

Valentine’s Days! Celebrating February 14th and 15th with Sweetheart Specials Please see ziadiner.com for full menu and make your reservation today

326 S. Guadalupe • 988-7008 • www.ziadiner.com

Book Launch Celebration: Hotel Mariachi

lecture • book signing • mariachi music

Sunday, February 16, 2–4 PM New Mexico History Museum

Join UNM Press authors Catherine L. Kurland, Enrique R. Lamadrid, and Miguel A. Gandert in celebrating the release of

Hotel Mariachi: Urban Space and Cultural Heritage in Los Angeles free with admission; sundays are free to nm residents nmhistorymuseum.org PASATIEMPOMAGAZINE.COM

PASA TEMPOS ANGEL OLSEN Burn Your Fire for No Witness ( Jagjaguwar) Armed with a voice that a poltergeist would envy and an album (Half Way Home) that turned ears all over the indie music landscape, Angel Olsen spent the last two years rising from the pack of acoustic folkies. But then, she never quite belonged there. Listen closely, and you’ll hear hints of Neil Young and even Phil Spector around the edges of Half Way Home. Perhaps you’ve gone to one of her live shows and seen her tunnel-vision focus in front of a turned-up amp, and you know she has her sights set on joints that sell beer, not coffee. “Forgiven/Forgotten,” a song she has played on tour, sets the tone with a lively rhythm and crunchy chords. I miss the introspective lyrics; there’s a directness here that befits the electricity but steals some nuance from her compositions. This is not always the case, however. “Lights Out,” one of the album’s strongest songs — a kick in the pants imploring someone to try harder in life — contains peaks and valleys and a bold, soulful chorus. It’s not all rock, however. Olsen channels Songs From a Room-era Leonard Cohen brilliantly on “White Fire,” shows off the breathy, evocative side to her vocals on “Iota,” and ends the album with two jaw-dropping As long as ballads. As long as she’s got that voice, she’ll have an audience no matter what she does. — Robert Ker

album reviews

JEFF BALLARD TRIO Time’s Tales (OKeh) Jeff Ballard is known for his work with Brad Mehldau’s trio and as part of the Fly jazz collective, as well as his sideman projects with Ray Charles, Chick Corea, and Maria Schneider. As Ballard is a big fan of the music of Africa and South America, it was a natural for him to hit the studio with Benin-born guitarist Lionel Loueke and Puerto Rican saxophonist Miguel Zenón. “Virgin Forest,” the opener, has a loose, African feel with thumpy drums and a bright, irresistible forward motion. “Western Wren (A Bird Call)” is a fun little thing based on an actual birdsong recording and featuring fleet unison work, then traded improvs, by Zenón and Loueke. On the Gershwin tune “The Man I Love,” Zenon sweetly “sings” with a lovely, fat vibrato and Loueke exhibits great range, summoning Wes Montgomery and strains of flamenco. “Hangin’ Tree” is a raunchy but slightly laid-back cover of the 2002 song by Queens of the Stone Age. The fascinating “Dal (A Rhythm Song)” is based on Bartók’s “44 Duos for Two Violins,” while Silvio Rodriguez’ “El Reparador de Sueños” is given a breezy, well-syncopated treatment. The closer, “Free 3,” is not particularly free, although it gets going slowly, charging the atmosphere with silences, short phrases, and tentative sounds. Time’s Tales is musiAngel Olsen cally a mixed but enjoyable bag.— Paul Weideman

has that voice, she’ll have

DAWN UPSHAW, MARIA SCHNEIDER Winter Morning Walks (ArtistShare) Those familiar with MORGAN DELT Morgan Delt (Trouble in Mind) an audience no matter Maria Schneider, previous winner of Grammys for Delt gained recognition in 2013 with a homemade best jazz instrumental composition and best large jazz six-song cassette. Five of those songs are on his selfwhat she does. ensemble, were probably not surprised that Winter titled debut LP, along with six brand-new tracks. If The Morning Walks, her collaboration with soprano Dawn Byrds had composed the soundtrack for A Clockwork Upshaw, just won three Grammys in the classical category. Orange, and then left the reels out in the sun until the The ambitious project is of two parts: the first a lyrical tape warped slightly, the result might have sounded somepresentation of former U.S. poet laureate Ted Kooser’s poetry thing like Delt’s work. Though many younger musicians today sung by Upshaw and framed by Schneider’s orchestral score are riding the lo-fi bandwagon, Delt creates songs that are performed by the Australian Chamber Orchestra, the second a voicing dynamically teeming — even with the familiar overuse of distortion of poetry from Brazilian Carlos Drummond de Andrade backed by the Saint and reverb that many lo-fi acolytes employ as a smoke shield for uninPaul Chamber Orchestra. The two programs are as different in tone and spired compositions. A number of pieces, most notably “Barbarian Kings,” temper as is the work of the two poets. Kooser’s pieces, written as he create an atmosphere of foreboding that brings to mind “Paint It Black” recovered from cancer treatments, make a personal connection with the and other dark Rolling Stones experiments. Listening to the album natural world. Drummond’s poems describe the world in consequenall the way through is like taking a journey through a psychotic yet tial, sometimes surreal terms. Schneider’s music not only reflects the subdued fun house. The drumbeats and basslines plod along with mood of the pieces but accents their meaning with wonderfully steady intensity, while the guitar and synth parts intermingle with orchestrated, gently paced passages that avoid sentimentality. charged zeal. Delt’s washed-out lyrics guide us along the way, Harmonies suggesting Schneider’s mentor, covering topics like ringing bells, sharks, jazz composer Gil Evans, combine with and brains of various colors. In “Beneath impressionism and infrequent rhythmic the Black and Purple,” Dealt shows t u r b u l e n c e . U p s h a w ’s t r a n s l u c e n t awareness of the environment created voice illuminates the images and their by his music, pleading, “Please let meanings with a mix of lightness and me out, please let me out!” Though exclamation. This engaging mix of words we partially share his yearning for and music is thoughtful, moving, escape, the desire to hear what’s and remarkably comforting. around the corner triumphs. — Bill Kohlhaase — Loren Bienvenu

PASATIEMPO I February 14-20, 2014

0 2

Excerpted from a speech by 11th grade Speech and Debate team member, Taylor B.

SFCA

The SanTa Fe ConCerT aSSoCiaTion An Evening with

Joyce

DiDonato

“With the support of my amazing coach and fantastic team, I won the state track and cross country championships. These are the kinds of experiences our community fosters. We learn that with dedication to a challenge, problem solving, and hard work, you can do anything you could ever dream of.”

International Baccalaureate World School

College PreParatory grades 6-12

Presents

Monday, March 31, 2014 6:30 pm Santa Fe, new Mexico

7300 Old Santa Fe Trail Santa Fe, New Mexico 87505 (505) 992-8284, ext. 14 www.desertacademy.org

style & flair

we l c o m e s

debi Bragg

St y list & Color Spec ialist

25 years of experience allows me to provide a high level of service, talent and Touch. let me customize your look with a complete consultation, formulation of color and cut for maximum results.

hair & nai l s

1 0 1 2 marquez pl ac e # 1 0 5 a s a n ta f e , n m 8 7 5 0 5 · 5 0 5 9 8 9 8 8 1 1 é·lan [ey-lahn]; noun, (1877,from Fr.élan -16c.) a combination of style and flair

“As for DiDonato, words fail.

.... Go, listen, and marvel.” —The Independent (UK)

TiCKeTS:

$25-$95 | ticketssantafe.org | (505)988-1234 or Santa Fe Concert Association (505)984-8759

LoCaTion:

The Lensic Performing Arts Center

inForMaTion: www.santafeconcerts.org

Santa Fe Concert Association, 324 Paseo de Peralta, Santa Fe, NM 87501 (505) 984-8759

PASATIEMPOMAGAZINE.COM

TERRELL’S TUNE-UP Steve Terrell

“Surfin’ Bird” off the No. 1 spot on my local radio station’s Top 50. The Trashmen were robbed, just like poor Fred Kaps, the hapless Dutch magician who followed The Beatles on Sullivan’s show that week with a card-trick act. But it’s hard to underestimate the significance of the rush of optimism and joy we felt in this country on the night the four lovable mop tops performed on television. The Beatles, during their (mercifully short) Maharishi period, would help make “mantra” a household word in the West, but that night in 1964, America had a common mantra: “Yeah, yeah yeah.” And it was far more cosmic than anything the Maharishi ever gave us. Historical flashback: On the morning of Nov. 22, 1963, CBS Morning News aired a short feature from its London bureau about a band called The Beatles that was driving the kids wild over there. It had footage of the group singing “She Loves You,” complete with screaming girls. Newsman Alexander Kendrick said in the report, “Besides being merely the latest objects of adolescent adulation and culturally the modern manifestation of compulsive tribal singing and dancing, The Beatles are said by sociologists to have a deeper meaning. Some say they are the authentic voice of the proletariat.” Kendrick’s report was supposed to air that night on the evening news as well. But it was preempted by news of a certain murder in Dallas that occurred that afternoon. Some say that Feb. 9, 1964, was the night that “youth culture” was born. Maybe so, but the first thing I thought of while listening to that radio

The Associated Press archives

The unbeatable Beatles Many people tell me I remind them a lot of John Lennon. The three major reasons are: (1) Like Lennon, my uncompromising idealism and sharp wit often get me in trouble; (2) I think I’m bigger than Jesus; and (3) I began my career entertaining sailors onstage with a toilet seat around my neck. No, not really. In real life, nobody ever tells me I remind them of John Lennon. Not even Ringo. Truth is, I just wanted to start this column with a joke instead of melancholy, nostalgia, and reverence — which is what I felt when I was driving last Sunday and heard a radio report about the 50th anniversary of The Beatles appearing on The Ed Sullivan Show. I’m far from the first to observe this, but it’s true that The Beatles arrived at a perfect time for America — less than three months after the assassination of President Kennedy. In a spiritual sense, the moment Paul McCartney opened his mouth to sing “Close your eyes and I’ll kiss you, tomorrow I’ll miss you” was the moment the national mourning for JFK ended. And a new era began. I’m an old baby boomer, but I’m not one of those old baby boomers who wistfully thinks The Beatles were the alpha and the omega of popular music. Even back then, as the British Invasion unfolded, I loved The Beatles, but I loved The Animals even more. (I thought Eric Burdon and crew were even uglier than The Rolling Stones, and to an ugly kid, that was important.) And I was disappointed the week after the Sullivan show when “I Want to Hold Your Hand” knocked The Trashmen’s

Ed Sullivan rehearses with The Beatles (from left) for their first appearance on live U.S. TV on his variety show on Feb. 9, 1964.

PASATIEMPO I February 14-20, 2014

report Sunday was my grandfather. He was there with us that night watching Ed Sullivan. I’m not sure whether Papa actually liked The Beatles’ music, but he sure got a kick out of them. For months afterward, anytime a friend would come over to the house, he’d ask, “What do you think of those long-haired boys from England?” (He was 60 years old then. I’m 60 now, and here I am talking about those long-haired boys from England.) Not surprisingly, back in those crew-cut days, The Beatles’ hair seemed to fascinate a lot of people. But watching them that night, my biggest surprise wasn’t the long hair; it was their white faces. The radio had been playing “I Saw Her Standing There” — still one of my favorite Beatles songs — and “I Want to Hold Your Hand” — still one of my least favorites — in the days leading up to Sullivan’s show, and I just assumed The Beatles were a black R & B band. One thing The Beatles had going for them is that virtually everyone back then watched Sullivan’s show — at least that night. Only three major networks were on TV. (Any old-timers out there remember what was showing on NBC and ABC that night?) Today there are dozens of networks — and surprisingly little music on any of them. (“57 Channels and Nothing On,” as Bruce Springsteen sang.) Meanwhile, music fans are fragmented into hundreds of little tribes. Since the murder of John Lennon in 1980, I rarely listen to The Beatles. The songs are all so etched in my mind that it’s almost as if I don’t need to listen anymore. I didn’t go nuts when they first released The Beatles on CD or when the corporate hacks who own their music these days finally released their material on iTunes. I thought those “lost” Beatles songs “Free as a Bird” and “Real Love,” released in the 1990s, should have stayed lost. I did, however, buy the DVD set The Four Complete Historic Ed Sullivan Shows Featuring the Beatles about 10 years ago. As soon as I get done writing this, I think I’ll watch it again, if only to try to figure out how Kaps worked those cards. As you can surely tell, the anniversary opened a floodgate of memories for this old rocker. While music groups are routinely hyped today with an intensity that makes Brian Epstein and even Col. Tom Parker look like amateurs, no other rock ’n’ roll band and no other pop singer has had the cultural impact The Beatles did. Plenty of good music is still being made, but nobody has come close to The Beatles’ stature in their heyday. I hope someone eventually proves me wrong, but I don’t think anyone ever will. ◀

The MASTERS Program

Early College Charter High School On the campus of Santa Fe Community College

Announces its lottery for school-year 2014-15 on March 4 at 4 PM Applications must be received by Friday, February 28 midnight Successful students at TMP are self-motivated, committed to learning, and enjoy the freedom of a college program, whether taking high school level or college classes. We pay attention to the whole student, academically and personally, offering challenging academics and feedback on personal character, while providing individual attention and support from teachers and tutors. Entry level year is 10th grade. Lottery applications available on our website: themastersprogram.net Call 428-7320 for more information.

Santa Fe Community Orchestra Oliver Prezant, Music Director

Let’s Dance! The SFCO’s Annual Swing and Ballroom Dance Event

Saturday, February 15, 2014 7:00 – 10:00 pm (dance lesson at 6 pm) at the Santa Fe Convention Center General admission: FREE (donations appreciated)

Reserved Table for 10: $200 (seating may be limited)

A live orchestra – the SFCO! • The Santa Fe Great Big Jazz Band • Santa Fe’s biggest dance floor Dance competition with cash prizes • Silent auction and other activities • Affordable food and a cash bar

Information & table reservations: 466-4879 • sfcoinfo@gmail.com • www.sfco.org Proceeds & donations support the SFCO’s free concerts and education programs.

PASATIEMPOMAGAZINE.COM

SOUND WAVES Loren Bienvenu

We are the 1 percent: Part 1

Discussions about city funding for the arts are likely to overuse words like should, must, and ought to and underuse words like do. According to those frustrated with the city’s current actions and inaction, Santa Fe should give more money to developing arts organizations, must actively foster nightlife to appeal to and maintain a young demographic, and ought to focus more resources on easing the financial burdens of struggling artists. The other side says the city should incentivize small business to develop an economy more conducive to the arts, must be fiscally cautious and limit unessential expenditures, and ought to focus its energies on other issues: education, income inequality, and crime. In late January, City Councilor Rebecca Wurzburger proposed a resolution to establish a Nighttime Economy Task Force as well as a pilot program to award up to $5,000 to projects aimed at “invigorating the nighttime economy.” Following a series of committee reviews, the proposal is slated for a Feb. 26 City Council vote. Though indirectly targeted at the arts, as related to nightlife, this is the most recent of the “shoulds” added to the conversation — and, coming in the form of a sponsored City Council resolution, it is perhaps the most likely “should” to join that second, smaller category of things the city actually does. What does the city currently do? By far the most prominent example of city-sponsored arts-related funding is the Santa Fe Arts Commission grants program. This complex and much-discussed funding program — multiple programs, actually — is frequently misunderstood. With the application cycle for the 2014 fiscal year open and set to close at 5 p.m. Thursday, March 6, it is the aim of this article to explain the various grant categories and eligibility requirements. Established in 1987, the Santa Fe Arts Commission is charged with a number of duties. These include overseeing the Art in Public Places program, the Community Gallery in the Santa Fe Community Convention Center, the Creative Tourism program and website, the annual Mayor’s Awards for Excellence in the Arts, and, arguably most important, grant programs that have provided around $20 million to nonprofit organizations since 1987. The grants are divided among three programs. The first two programs are funded by the 1% Lodgers’ Tax, a tax on commercial lodging authorized by city ordinance to be used for nonprofit arts promotion and advertisement. These programs are designed to support a cyclical, tourism-based economy. As stated in the city’s official description of the funding programs, recipients “must play a role in promoting tourism and apply the funding received primarily toward the project’s promotional, advertising, and marketing costs.” The largest of the two programs backed by the lodgers’ tax, both in terms of applicants and funds awarded, is the Community Arts Promotion Program (CAPP). According to data from the last eight fiscal years, the top CAPP grantee has been the Santa Fe 24

PASATIEMPO I February 14-20, 2014

Opera, receiving as much as $124,887 in fiscal year 2008-2009, down to $68,100 in the most recent fiscal year. Such fluctuations directly reflect the yearly rise and fall of Santa Fe’s tourist economy. In keeping with the program’s emphasis on marketing, the Santa Fe Opera’s $100,000 request for 2012-2013 itemized $50,000 for printing costs, $20,000 for promotional design and production, $20,000 for advertising placements, and $10,000 for contracted marketing and promotion. Other repeat CAPP recipients include the Santa Fe Chamber Music Festival ($79,537 in 2008-2009) and the Georgia O’Keeffe Museum ($62,963 the same year). To be eligible for CAPP money, an organization must have received Arts Commission funding in the other lodgers’ tax program — the Special & New Projects Program (SNPP) — for at least two years. This is in addition to meeting the eligibility requirements for all Arts Commission programs: an applicant must be a Santa Fe-based arts organization with a two-year history of having a 501(c)(3) designation and be incorporated in the state. Groups or individuals that do not meet these requirements may apply through a fiscal agent that does. As its name indicates, SNPP considers special and new projects in addition to established programming. Being funded by the lodgers’ tax, it too is designed to promote tourism. For 2013-2014, Parallel Studios (producer of the Currents New Media Festival) received the highest amount given that year: $8,500. In its application, Parallel Studios requested the maximum of $10,000 — CAPP’s limit is exactly 10 times that at present — half for marketing and public relations, and the other half for administrative salaries and benefits. In 2013-2014, SNPP recipients netted a total of $36,500 in lodgers’ tax funds, compared with $671,250 for CAPP recipients. The last of the three Arts Commission programs may be aimed at countering the tourism-centric focus of the

lodgers’ tax grants. The Community Arts Development (CAD) program is financed through the Quality of Life Fund, which is paid for with gross receipts taxes. The award is for organizations that “provide arts services to the local community, with an emphasis on projects that bring the community together to celebrate the diversity of artistic heritage.” The National Dance Institute of New Mexico was awarded the second-highest grant in this category for 2013-2014, receiving $4,250 (behind Outside In’s $6,500 award). Because CAD does not prioritize marketing and promotions, NDI’s $6,000 request was entirely devoted to artistic salaries and benefits. Total CAD funding last year was $42,250. One final difference between the categories is that CAD recipients can renew their contracts for a second year if they meet the requirements, whereas SNPP and CAPP recipients must reapply annually. In the most recent funding cycle, 67 eligible organizations applied across all three programs, and 54 received funding, according to Debra Garcia y Griego, Arts Commission director. To clarify: the reason the Santa Fe Opera receives the lodgers’ tax funding and NDI does not involves tourism. Visitors from Albuquerque, Dallas, and Beijing are presumed more likely to attend the opera than an NDI performance. Who decides which organizations get what? Next week’s column will deal with the review process, the arts commissioners, and how the funds are actually used. We’ll also hear feedback from supporters and detractors alike. ◀ Contact Loren Bienvenu at lbienvenu@sfnewmexican. com. Interested applicants may contact the Santa Fe Arts Commission at 505-955-6707 to learn more about eligibility requirements and funding programs. The online-only application is available at http://santafenm. culturegrants.org.

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James M. Keller

Antony and Cleopatra by Lawrence Alma-Tadema

Love notes “Give me some music; music, moody food/Of us that trade in love,” Cleopatra commands her attendants in Act 2 of Shakespeare’s Antony and Cleopatra. She is smitten with Mark Antony, the handsome Roman general with whom she has been enjoying a fling, and music seems to be the first thing that enters her mind when she contemplates him. It is not the only thing. No sooner does she call for music than her mind leaps to billiards, and thence to fishing. “We’ll to the river,” she decides. “There,/My music playing far off, I will betray/ Tawny-finn’d fishes … and, as I draw them up,/I’ll think them every one an Antony,/And say ‘Ah, ha! you’re caught.’ ” Still, even as she angles for romance, she envisions music in the background, as it often seems to be when love is in the air. Valentine’s Day, our annual celebration of love, would be practically unrecognizable without sweet 26

PASATIEMPO I February 14-20, 2014

music attached. Poets since time immemorial have infused their love scenes with references to music, the implication being that sensory pleasures are enhanced by a piling on of stimuli from various senses. So suggests Duke Orsino at the outset of Twelfth Night, even to the point of wishing that an overdose of music might lead to a breaking point that will alleviate his lovesickness: “If music be the food of love, play on;/Give me excess of it, that, surfeiting,/The appetite may sicken, and so die.” “You and the night and the music/Fill me with flaming desire/Setting my being completely on fire,” run Howard Dietz’s lyrics for a famous torch song that is as steamy today as it was when it was unveiled in 1934. He then worries that it may lead to hopes too high, to expectations that will not be met: “You and the night and the music/Thrill me but will we be one/After the night and the music are done?” I cannot say who first got the idea that love and music were joined at the hip, but others have been less hesitant. As dispassionate a soul as Charles Darwin made bold to disagree with the polymath Herbert Spencer’s assertion that music evolved out of language, that it was a residue of speech, nothing more than the emotional resonances, contours, and emphases that remain once words drop out of language. “Mr. Spencer comes to an exactly opposite conclusion to that at which I have arrived,” wrote Darwin in 1871 in The Descent of Man. “He concludes that the cadences used in emotional speech afford the foundation from which music has developed; whilst I conclude that musical notes and rhythm were first acquired by the male or female progenitors of mankind for the sake of charming the opposite sex. Thus musical tones became firmly associated with some of the strongest passions an animal is capable of feeling, and are consequently used instinctively, or through association, when strong emotions are expressed in speech.” It’s all speculation, of course, but nothing seems to have been off-limits to Victorian thinkers as long as it was discussed with a degree of delicacy. Consider, by way of contrast, the more guarded response of a grade-school student being quizzed on music, as reported in 1975 by Music Journal: “I know what a sextet is but I had rather not say.”

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Valentine’s Day, our annual celebration of love, would be practically unrecognizable without sweet music attached. Composers have tended to avoid discussing the amatory aspects of music, although a few — usually those of a decidedly Romantic temperament — have weighed in on the topic. Carl Maria von Weber said or, beginning in the 1890s (the better part of a century after his lifetime), was widely quoted as having said: “What love is to man, music is to the arts and mankind. Music is love itself — it is the purest, most ethereal language of passion, showing in a thousand ways all possible changes of colour and feeling; and though only true in a single instance, it yet can be understood by thousands of men — who all feel differently.” Hector Berlioz, arguably the most passionate of the Romantics, could not steer clear of the subject. On the first day of January 1865, at the very end of his engaging Memoirs, he ponders a love affair that failed to flourish and writes: “Love or music — which power can uplift man to the sublimest heights? It is a large question; yet it seems to me that one should answer it in this way: love cannot give an idea of music; music can give an idea of love. But why separate them? They are the two wings of the soul.” ◀ On Saturday, Feb. 15, at 7 p.m., the New Mexico Performing Arts Society presents its annual Valentine’s concert. The program includes no music explicitly connected to the topic of love, but it does feature, among other items, Mozart’s C-Major Flute Quartet and movements from chamber work by Amy Beach, Turina, and Brahms. The music is in the hands of pianist Debra Ayers, flutist Linda Marianiello, and the La Catrina Quartet. The concert takes place at the Immaculate Heart of Mary Chapel, 50 Mount Carmel Road. For tickets ($25, discounts available), call 505-474-4513. PASATIEMPOMAGAZINE.COM

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PASATIEMPO I February 14 - 20, 2014

ON STAGE Valentine’s Day for swingers: Cathy Faber

Polished western swing and classic country sound come to the Independent Order of Odd Fellows Lodge on Saturday, Feb. 15, courtesy of Cathy Faber. The most recent winner of the New Mexico Music Award for Best Country CD (2013’s Lights of Santa Fe), Cathy Faber’s Swingin’ Country Band plays energetic tunes for toe-tappin’ and two-steppin’. Any toe-tappers ready to join the two-steppers are invited to attend a preshow lesson taught by Donna Howell at 6 p.m. The dance itself kicks off at 7 p.m., and entrance (including the lesson) costs $15 per person; $8 for those 21 and under. The Odd Fellows Lodge is at 1125 Cerrillos Road. Visit the www.ioofsfnm.org for more details. — L.B.

THIS WEEK

Sing and swoon: Jesus Bas

Born and raised in Madrid, Jesus Bas is an authentic cantautor (singer-songwriter). He plays acoustic guitar and sings Spanishlanguage ballads and folk songs that “will make you fall in love with Spain, and maybe the person across the table from you,” as noted in event materials. So take extra care in choosing your seat — it could change your life. Bas’ latest release, Ruta 66, contains 13 original compositions, some of which pay homage to New Mexico, the cantautor’s home-away-from-Spain. One of Taberna La Boca’s talented regular artists, Bas plays his next no-cover set at 7 p.m. Friday, Feb. 14. Taberna La Boca is at 125 Lincoln Ave. Call 505-988-7102 for details. — L.B.

Honoring Lincoln: Santa Fe Symphony

Doctor in the house

William Carlos Williams channeled his experience as a rural physician into poetry; Dr. Charles Maynard’s outlet of choice is comedy. The native New Mexican has performed his touring routine Adventures of a Small Town Doctor across the nation. Now, for the first time, he brings the show to Santa Fe. Following opening sets by Southwest Saxophone Quartet and singer Fitzhugh Cline, Maynard performs on Saturday, Feb. 15, at The Space at Casweck Galleries (203 W. Water St.). Filmmaker and actress Debrianna Mansini emcees the event, which starts at 7 p.m. and benefits the St. John’s United Methodist Church Boiler Fund — established after the church’s boiler was destroyed during a burglary. Tickets, $20, can be bought at the door. — L.B.

Abraham Lincoln, said to have loved Friedrich von Flotow’s opera Martha as well as the songs of Stephen Foster, is a never-ending source of inspiration for composers and music programmers. At 4 p.m. on Sunday, Feb. 16, the Santa Fe Symphony brings Robert Treviño, associate conductor of the Cincinnati Symphony Orchestra and a candidate for the post of SFS’s principal conductor, to direct a concert honoring the 16th president at the Lensic Performing Arts Center (211 W. San Francisco St.). Works include Aaron Copland’s Lincoln Portrait with actress Jill Scott Momaday as narrator and Jared Baca’s Ascension for winds and percussion. Also on the program are George Walker’s Pageant and Proclamation (the nonagenarian Pulitzer winner plans to attend); John Williams’ short piece Liberty Fanfare, written for the centennial of the Statue of Liberty; and Anton Dvoˇrák’s Symphony No. 9. Tickets, $20 to $70, are available by calling 505-988-1234 and at www. ticketssantafe.org. A 3 p.m. lecture is free to ticket holders. — B.K.

Debrianna Mansini

PASATIEMPOMAGAZINE.COM

Paul Weideman I The New Mexican

POWER FORWARD spirit of

UGANDA he young people with Spirit of Uganda, a dance troupe performing at the Greer Garson Theatre on Saturday, Feb. 15, put on a razzle-dazzle show of mostly traditional music from their African homeland. All proceeds benefit Empower African Children, a nonprofit that works to provide scholarships for impoverished Ugandan children and that produces Spirit of Uganda. EAC was founded in 2006 by Alexis Hefley and Donna Malouf. “Empower African Children is eight years old, but I’ve been working in Uganda 21 years,” said Hefley, president of the organization, which is headquartered in Dallas and in Kampala, Uganda. “After a time working in banking in San Antonio, I moved to Washington, D.C., and I learned 34

PASATIEMPO I February 14-20, 2014

about the number of orphans in Uganda — there are 2.7 million orphans there today — from a congressman who was working with Third World countries.” The legislator asked Hefley if she would be interested in working on orphan-related projects with the first lady of Uganda, Janet Museveni. “I went there in 1993 and I met a Ugandan nun who had worked with orphans since 1972, when Idi Amin was in power. I asked Ms. Museveni if I could work with her. We had about 1,200 children in three orphanages.” After a year and a half, Hefley returned to the States and founded Uganda Children’s Charity Foundation, directing it for a decade before establishing Empower African Children. “What’s different about EAC is that we believe in a deep, personal investment in each of our children,” she said. “We don’t have a sponsorship program; we have scholarship programs.”

The children who benefit from EAC have lost parents to AIDS or war, are from very poor families, or both. Hefley said only 19 percent of the country’s primary-school students advance to secondary school, often because their parents can’t afford it. EAC has 50 students in its scholarship programs at this time. One goal is to build a new secondary school on an EACowned 10-acre tract of land near Kampala. Spirit of Uganda is another of the organization’s scholarship programs. Among the nonprofit’s success stories are Peter Kasule and Peter Mugga. Kasule, a Ugandan orphan whose parents were AIDS victims, started performing 20 years ago, at age 12. For the past 10 years he has worked as artistic director for Spirit of Uganda. He attended an arts high school in Dallas prior to attending the College of Santa Fe, where in 2007 he earned a degree in music technology.

“Peter Mugga scored the highest score in all of Uganda in music, then pursued academic opportunities in the United States and received a scholarship from Santa Fe University,” Hefley said, referring to the Santa Fe University of Art & Design, which occupies the campus that was formerly home to the College of Santa Fe. “I was one of the original members of the Spirit of Uganda,” said Mugga, on tour in California at the beginning of February. “Actually, Peter Kasule was in the group before I was. I am thankful because in a way he paved the way for me to come here. We kind of have the same story, having a scholarship and ending up at the same university. “I come from a family of 14, and education wasn’t valued. My parents were just peasant farmers, and they didn’t have any money to pay for school, but with my music, being able to play and having a talent, Empower African Children gave me the support to join the organization, and that’s why the opportunities opened up for me in Santa Fe.” Mugga was a performing member of Spirit of Uganda from 2002 to 2008. Now he is the group’s audio supervisor/engineer and assistant production manager. U.S. tours take place every two years. The 2014 show has 21 performers ranging in age from 12 to 20. “You can join very young, as long as you meet the requirements, but then to come on tour there are auditions,” Mugga said. “They want the best performers, but also some can’t go on tour because they care for other children at home. For those that don’t come here, they get to go to university back in Kampala.” He first saw Santa Fe when the troupe performed at the Lensic in 2006. While in town, Mugga visited the College of Santa Fe; met Steven Paxton, head of the school’s Contemporary Music Department; and loved what he saw. He graduated from high school in Uganda in 2007. Then Empower African Children gave him a scholarship to attend university in the U.S. He attended two years of community college in Dallas and then went to SFUAD, where he studied percussion and recording and played with the Balkan/Mideast Ensemble. He graduated in 2013. During his last semester, Mugga was coordinator for the SFUAD recording studio. “The college has a fantastic recording studio for classes and for students to use for their projects, but also we had groups from the community that recorded,” he said. Mugga co-produced and engineered the 2012 and 2013 Spirit of Uganda tour CDs. Most of the music featured thereon and the music people will hear in the Feb. 15 performance is based on the traditional music of Uganda. And that means quite a few musical variants. “Uganda is very small, about the size of Oregon, but within it we have 52 different ethnic groups, and so there are many different languages and dances and music. The show tries to imitate most of that, so we do dances and rhythms from all over Uganda. And also the show features compositions from some of the children.” When he was a student at SFUAD, one of his goals was to bring African culture to the local community. Attending colleges in Dallas and Santa Fe, he noticed that East African culture and music was

underrepresented. “It is easier to find culture of the Middle East and the Caribbean, and if there are universities doing African music, it is mostly West African, like from Mali and Ivory Coast, so my mission was to spread East African culture.” In line with that, he brought the adungu — a Ugandan stringed instrument — and East African drums and taught his fellow SFUAD students how to play them. “We did a few performances then, and what we are planning to do on February 15 is have some of the Santa Fe University students play some of this African music in the lobby. We also want to feature them in one of the stage pieces, so maybe there will be a collaboration between the Spirit of Uganda and the Contemporary Music Program.” Mugga recently applied to graduate school at Southern Methodist University in Dallas. He wants to go into music education as a profession, although his big dream is to have a production company back in Uganda. “There are so many talented youth, but they have no platform to show off their talent,” he said. “I want to be that person. I want to give them that platform with performing and recording.” ◀

details

Peter Mugga

▼ Spirit of Uganda dance troupe performance ▼ 7 p.m. Saturday, Feb. 15 ▼ Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Drive ▼ $25 at the door and from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org)

PASATIEMPOMAGAZINE.COM

Michael Abatemarco I The New Mexican

Faces in the crowd Painter Paul-Henri Bourguignon

elgian artist and critic Paul-Henri Bourguignon (1906-1988) arrived in Haiti in 1947 under the auspices of the Belgian newspaper Le Phare, with the intention of staying for a only a brief time. More than a year later, Bourguignon was still there, enraptured by the people, culture, and natural beauty of the Caribbean nation. The war in Europe had ended, and with it the German occupation of Belgium that had prevented Bourguignon from indulging a passion for travel to exotic lands. In Haiti, he was among a group of European and American artists and writers, including filmmaker and writer Maya Deren, Surrealist poet André Breton, and author Truman Capote, then on assignment for Harper’s Bazaar. According to his wife, anthropologist Erika Bourguignon, who met her husband in Haiti when she was engaged in ethnographic fieldwork there, the late 1940s was a peaceful time in the island nation. The arts were flourishing, thanks in part to efforts of American painter DeWitt Peters, who had founded the Centre D’Art in Port-au-Prince in 1944. Bourguignon was there to cover the art scene for Le Phare. It would be some years before Bourguignon, an artist as well as a novelist, journalist, and photographer, who had studied art and art history in Belgium, would take up Haiti as a subject in paint. He had exhibited his paintings in Belgium, but he concentrated on writing and photographing in Haiti. In his photographs, he didn’t shy away from depicting the squalor of the ramshackle villages, the poverty of the Haitian people, and the deforested landscapes. As for the nation’s art, Haiti was split in two by an artificial distinction: the so-called primitive art and

PASATIEMPO I February 14-20, 2014

folkways of the native population, and the introduced fine and plastic arts of the European traditions. “Bourguignon appreciated the work of the Haitian ‘primitive’ painters for the expression of their lived experience and their imaginal world,” writes Erika Bourguignon in her essay “Haiti and the Art of PaulHenri Bourguignon.” “His own art drew on other sources, on his experience, and on the art traditions he knew.” While there are no direct references to Haitian culture in Faces of 20th Century Modernism, an exhibition of Bourguignon’s portraits on view at Ventana Fine Art, it can be assumed that his interest in captur-

He wanted to express a person’s personality in color. ... It was always about the human element. — Jane Hoffelt ing the expressive and emotive qualities of his human subjects was cemented in his time there, drawn less from the art he encountered and more from the people he met and the places he visited. “It was part of the tapestry of what he experienced,” Jane Hoffelt, executor of Bourguignon’s estate, told Pasatiempo, “and many of these things are coming out in his brush 10, 20, 30, 40 years later.” Technically, Bourguignon’s portraits are composite images drawn from memory, but in essence each is idiosyncratic, depicting individual personas. “He col-

lected these faces in his mind like one would collect string or rubber bands and put them in their pocket and use them at different times,” Hoffelt said. “For example — as his wife Erika tells this story — they were walking on Ohio State University’s campus, and she remembers being embarrassed because he was staring at someone, whose eyes showed up in a portrait three days later. He might use a set of eyes from one person and a gesture from another, but he never did them from photographs.” In 1950 Bourguignon moved to Columbus with Erika, who took a position teaching at Ohio State University, where she is now a professor emerita in the anthropology department. Bourguignon remained in Ohio with Erika until his death in 1988. “So here he is in Columbus, Ohio, where there’s not much of an art world,” Hoffelt said, “and he didn’t really feel like marketing his work. He said, My joy is to paint it. He had some exhibitions. He had a solo show at what was then the Columbus Gallery of Fine Arts in 1964, but he didn’t really show. That wasn’t his concern. After he died, Erika decided it was time for her to do something about this body of work that should be shared. I met with Erika once a week for 12 years. We started to get it cataloged and photographed to get it out there.” Now Bourguignon is represented by several galleries — in New York City, Sedona, and Santa Fe — and a retrospective of his work is planned for the Columbus Museum of Art in October. Far from being realist portraits, the images in Faces of 20th Century Modernism are reductive forms, often imbued with a patchwork of layered textures and colors and with simply rendered lines of brushwork to indicate, with the barest possible detail, distinguishing characteristics such as eyes, lips,

Paul-Henri Bourguignon (1906-1988): clockwise from opposite page, Young Girl, ink wash, 1964; Mystery Woman, gouache, 1956; The Redhead, gouache, 1966; Purple Hat, gouache, 1955; Brave Woman, acrylic, 1988

and other facial features. The apparent primitivism is reminiscent of work by contemporaries such as Pablo Picasso and of earlier images, such as the French Polynesian Post-Impressionist work of Paul Gauguin. But in Bourguignon’s portraits, what reads as primitivism may instead be simply a kind of pure expression that naturally lends itself to his unsentimental and uncomplicated vision. An aspect of some paintings is his manner of outlining features of his subjects using negative space rather than dark lines. The colors of the faces themselves recall the intensity of Fauvist imagery. “He wanted to express a person’s personality in color,” Hoffelt said. “Even in the pieces that are dark — some of them are very dark — there’s always color that shines through. He tried to express a person the same way a Fauvist would try to express a landscape — in feelings. But it was never just about color. It was always about the human element. He tried to capture the soul.” ◀

details ▼ Paul-Henri Bourguignon: Faces of 20th Century Modernism ▼ Reception 5 p.m. Friday, Feb. 14; exhibit through March 5 ▼ Ventana Fine Art, 400 Canyon Road, 505-983-8815

PASATIEMPOMAGAZINE.COM

Paul Weideman I The New Mexican

SET IN

he image on the cover of Silvia Tomášková’s new book, Wayward Shamans: The Prehistory of an Idea, is arresting, but it doesn’t tell the whole story. The cover shows a prehistoric rock art painting of the head of an eland, Africa’s largest antelope, but when you see the original photograph, it is apparent that it was nature that “cropped out” the animal’s body. “If you look at the whole rock face, a large piece fell off, so we only have a piece of the eland,” the author said. “To me it’s symbolic of the fact that it’s always just a piece we’re looking at. And the eland seems to be looking at us from behind the crack, which is more recent. We make interpretations based on the small pieces we see. Then it’s just a question of how convincing the stories are.” Tomášková is an associate professor at the University of North Carolina, Chapel Hill, teaching both in the department of women’s and gender studies and in the department of anthropology. She was a resident scholar at the School for Advanced Research in Santa Fe in 2007 and 2008. She is back in Santa Fe on the evening of Thursday, Feb. 20, to give a lecture about her work. She has investigated the beginnings of shamanism from Siberia to South Africa. Shamans have been described as “proto-priests, religious leaders, artists, and healers,” according to a Carolina Arts & 38

PASATIEMPO I February 14-20, 2014

Sciences story about her work. At the beginning of this decade, she spent a year and a half studying rock art in South Africa as part of her research for Wayward Shamans. While in that country, Tomášková taught at the University of Cape Town and joined the South African Archaeological Society, participating in that organization’s field surveys in the Cederberg and Drakensberg mountain ranges. There she saw many of the approximately two million examples of rock art left by the San people — some of the paintings 10,000 years old. Pasatiempo: The paintings by the San people are sometimes layered, as they also are sometimes in the Southwest. Have you had particular insights about why ancient peoples painted something over an older image? Silvia Tomášková: I generally tend to try to shy away from what does it all mean. But I do think that if something is painted over something else, it is being done on purpose. I have seen lots of rock art all over the world, and there’s always plenty of space adjacent to it, and yet the choice was to put it on top of it, which to me evokes a conversation. Pasa: You’ve said that these San drawings are very hard to reach. Was that done to make them invisible to other people? Tomášková: I don’t think it’s about protection, but there’s something about the creative process when it involves effort. By having to walk a way to a certain place, it’s a bodily experience of removal from the mundane. By having to work to get to the place, that allows you that mental and physical separation.

Pasa: It’s interesting trying to imagine what was in the artist’s mind as he or she headed out to paint. Tomášková: In pretty much all these images, it’s not the “I’m thinking of dinner, so let me paint my menu.” It’s never the animals they hunted or the animals they’re looking at. Pasa: And they are very colorful. The colors were made with red ochre and other ground mineral powders? Tomášková: Yes, from locally obtained minerals. And for the most part they are mixtures, so people had a very good understanding of combining for specific colors. The nuance and shading are phenomenal. These people had a very profound knowledge of how color emerges from the palest to darkest. It’s reflective of the natural color, but the way they’re shaded you can even see the texture of the animal’s skin changing. They have to add some kind of liquid, and it could be blood or urine or saliva. Pasa: Any ideas about the gender of the ancient rock artists? Tomášková: I’ve been working on gender archaeology for 20-some years, and the general assumption has always been that it was men, because they were men of power. But we now know that in many societies it is more about special skill or age. So women who are elders could be makers of this just as much as men. My recent thoughts are that it might hinge on who gets to be in the position of power and knowledge. Pasa: And with the San people? Tomášková: Well, the San stopped painting 250 to 300 years ago, so all we have are interpretations based on ethnographies.

Pasa: One of the images you sent Pasatiempo is a pictograph of a dark figure with a headdress, perhaps falling, with dotted lines that perhaps denote bleeding, and that one sort of hovering over another dark figure. Tomášková: That is an image from South Africa in the Eastern Cape [province]. There is a South African scholar now in England, Anne Solomon, and she argued against the shamanic model in rock art by suggesting that a number of these images are about puberty rituals. This one she uses to argue that these are girls and the dotted lines are menstruation. And when girls went to their rituals, they went to these secluded places, and things were sort of illustrated to them, but they were also symbolic images related to that rite of passage. Anne Solomon claims this shows a young girl and an eland below, and that animals and humans go through certain stages that are very similar. She argues that there is a greater diversity to these images than that shamans made them all. Pasa: You’re investigating another realm, what you’re calling “the Cinderella of rock art,” which are more like petroglyphs and are more abstract. You’re going to be mapping some of these this year? Tomášková: Yes, I am. Most of the rock paintings are in the Western Cape and the Drakensberg Mountains, but these engravings are inland in the Northern Cape. What we do is photograph very close up, and whenever I can get the time, I feed them into a computer and look at 3-D digital reconstructions, hoping to see the traces of how they were made. Pasa: What’s the main advantage of using that technology? Tomášková: Much greater magnification. I take up to a hundred photos, from all angles, of each engraving and then create a composite image. So I actually can go into the grooves of the engravings, and I’m hoping that will allow me to see the basics of the mechanics but also to see whether people came back and corrected them. Pasa: What do the engravings depict? Tomášková: Some are abstract, but there are rhinos, elands, and other animals. One I can show in my talk

is like a swirl, and somebody later created a lion with the swirl as the lion’s head and mane. It’s so clever and funny. Pasa: One of the common conceptions is that prehistoric rock art was made by shamans in hallucinogenic trance. Have you found evidence that this was not the case? Tomášková: I have no evidence, but I think that idea is a leap of guesswork, and it’s all based on archival historical evidence that the San people engaged in trance dances and that they ingested drugs. If you use some drugs and do repeated drumming and dancing, you can get into an altered delirium. But we have no evidence. Pasa: It sounds like a Hollywood script. Tomášková: It does. The person who has promoted this model looked at EEG neuroimaging. When you go into trance or you have an epileptic seizure, you see swirl patterns, and some of this rock art has swirly patterns. To me it’s a stretch, but it has been very popular because we have been stumped by what it all means. ◀

details ▼ “Wayward Shamans: The Prehistory of an Idea,” lecture by Silvia Tomášková, presented by the School for Advanced Research ▼ 6:30 p.m. Thursday, Feb. 20 ▼ New Mexico History Museum, 113 Lincoln Ave. ▼ $10; 505-954-7245

Prehistoric rock art, South Africa; photos courtesy Silvia Tomášková

PASATIEMPOMAGAZINE.COM

movIng Images film reviews

They’ll always have Paris Jonathan Richards I For The New Mexican The Past, drama, rated PG-13, in French with subtitles, Center for Contemporary Arts, 3.5 chiles In his 2011 Oscar-winning film A Separation, Iranian filmmaker Asghar Farhadi vaulted into the first rank of world cinema with a complex drama of a family coming apart. His new film, The Past, treats a similar situation, with many of the same thematic elements and character assignments. And if the plot twists seem a little more contrived this time, the impact is still stunning. Farhadi is a master at spreading responsibility and guilt among the players in his convoluted dramas. Nobody is blameless, nobody is completely at fault, and each painful situation has multiple authors. While a sense of melodrama is more apparent here than in his previous film, the writer-director’s sure hand with dialogue and the humanity of his characters keep it honest. In A Separation, a driving conflict was the desire of one of the characters to leave Iran and another’s equally compelling need to stay. With his new film, that impasse has been resolved. This is Farhadi’s first film shot outside of his native country. The story opens in a Paris airport, where Frenchwoman Marie (Bérénice Bejo, The Artist) has come to meet her estranged Iranian husband, Ahmad (Ali Mosaffa), who is flying in from Tehran. They spot each other through the thick glass of the arrivals area, where they communicate by waving and

Tahar Rahim and Elyes Aguis

PASATIEMPO I February 14-20, 2014

Damage à trois: Tahar Rahim, Bérénice Bejo, and Ali Mosaffa

signaling. They can see each other, but they can’t hear each other; you could say it’s a metaphor for their relationship. Marie has asked Ahmad to come back to Paris so they can end their limbo of marriage with a divorce. She’s met a new guy, another Middle Eastern immigrant named Samir (Tahar Rahim), and she plans to marry him. It’s time to move on. As in A Separation, children are involved — in this case, three of them — but none are Ahmad’s. Teenaged Lucie (Pauline Burlet, who was the young Edith Piaf in La Vie en Rose) and her little sister, Léa ( Jeanne Jestin), are the issue of Marie’s previous marriage to a Belgian man. Samir’s son Fouad (Elyes Aguis), who is Léa’s best friend, rounds out the household, though Samir still has his own place, the apartment above his dry-cleaning shop. The boy’s mother is not entirely out of the picture, and her situation is a central element of the plot. The divorce itself is not at issue. Ahmad has been gone for four years and has come back to Paris only at Marie’s request to get it done. We’re never specifically told why he left, although Marie’s manipulative ways and her volcanic rages hint at what their marriage might have been like. But some issues seem unsettled. Marie has not reserved him a hotel room, as they had arranged; instead, she says he will stay at her house. Their bickering begins on the ride in from the airport. As Samir later observes, when two people take up fighting again where they left off, unresolved feelings probably exist. Though he is not their father, Ahmad seems to have been close to his stepdaughters, especially Lucie. If she’s about 17 now, she would have been 13 when he left, but she doesn’t seem to hold his departure against him. Perhaps it’s because she gets

along so badly with her mother, whose remarriage plans she bitterly resents. “Since I was born, she’s changed guys three times,” she vents to Ahmad. “And it’s always the same story.” Farhadi, whose background is in theater and who has cited Chekhov, Harold Pinter, and Tennessee Williams as influences, is a master of revealing character. There are no villains here; all the players are human and sympathetic, and each is a complex mix of flaws and nobility. Ahmad, who may represent the director’s sensibility, is the least flawed of the bunch, but as the guy who skipped out on his family four years ago, whatever the provocation, he is not without stain. The plot takes us through a series of reveals, each turn leading to another that deepens and complicates the one before. Farhadi keeps peeling away layers like the proverbial onion, and to give any of them away in advance would be a disservice to his elegantly constructed drama. The performances are wonderful. Bejo won the best actress award at the 2013 Cannes Film Festival, where the film won the prize of the ecumenical jury and was nominated for the Palme d’Or. It was Iran’s selection for the Oscars but didn’t make the cut. The director’s gift for working with children, which was apparent in A Separation, is on display again here, particularly in some poignant scenes with little Fouad. Rahim and Burlet are nuanced in their complicated characters, and Sabrina Ouazani is touching and bewildered as Samir’s dry-cleaning employee, an illegal immigrant who may love her job a little too much. But it is the solid, deeply sympathetic work of Mosaffa as Ahmad that holds the story together. Farhadi keeps us in thrall to the end, although by the final scene, the plot succumbs to a sense of a melodramatic bridge too far. ◀

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movIng Images film reviews

Guppy love: Laura Dekker

Hell or high water Jennifer Levin I For The New Mexican Maidentrip, documentary, not rated, in English and Dutch with subtitles, The Screen, 2.5 chiles Laura Dekker, a 14-year-old girl from Holland, made international headlines when she fought the courts for the right to sail around the world alone. She won the legal battle and then conquered the high seas — sailing for nearly two years on a boat named Guppy and recording some of her thoughts and adventures on videotape, working in conjunction with documentary filmmaker Jillian Schlesinger. The resulting movie, Maidentrip, is sometimes windless and slow, sometimes stormy and dramatic, sometimes joyous with accomplishment, and sometimes maddening in its loneliness. Its pace mimics that of the voyage itself, which is charted in fits and starts by Dekker’s intermittent interest in recording herself, as well as by animated nautical maps that showcase just how far the headstrong, preternaturally confident child sailor actually traveled. Driving the outcry of Dutch authorities, the media, and the general public was concern over Dekker’s safety at sea, as well as a cynical, sometimes hateful-sounding demand to know why a 14-year-old girl needed to sail around the world by herself — as though why she wanted to do it should determine whether or not she should be allowed to do it. Yet the question looms large over the movie and goes mostly unanswered. We learn that Dekker feels most comfortable at sea. She doesn’t like school and doesn’t have many friends. She also claims not to miss her father, and when they meet up in Australia for a visit and some boat repairs, she is annoyed by his attempts to parent her now that she’s been on her own for more than a year. Dekker’s tolerance for the self-imposed isolation of her trip is staggeringly impressive. Though she makes some friends when she hits land from time to time, crossing the Indian Ocean requires 48 days at sea. She says that it’s this leg of the trip that makes her truly appreciate being alone. One wonders at what point in her life she might think to add a romantic partner to this equation, and it’s oddly refreshing that this is not the first thing on the teenager’s mind. Though she agreed to record her trip for the film, she did not set sail for fame, and the attention she has garnered seems to confuse her rather than bolster her. Maidentrip falters because Dekker is too young (or too eccentric) to convey much introspection or self-discovery, but watching her sail fearlessly through treacherous water, trusting Guppy to get her safely to Cape Town, is ridiculously inspiring. ◀ 42

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PASATIEMPO I February 14-20, 2014

Santa Fe 141 Paseo de Peralta, Suite C Mon Wed -- Fri Fri 505-983-2909

If you’re a fading action hero and you’re not ready to retire, you have two options: you can star in the kinds of lame-o action movies that fail to pick up major distribution, or you can branch out into comedy and blow some wind into the sails of a second career. Here, Jean-Claude Van Damme has done a bit of both: he’s made a comedy that’s failed to pick up major distribution. This doesn’t mean the movie is a failure. The story — about a corporate team-building retreat that quickly devolves into Lord of the Flies territory — is certainly funnier than more mainstream muscleman-turned-comic turns, such as Schwarzenegger’s Kindergarten Cop or Stallone’s Stop! Or My Mom Will Shoot, or even recent comedies such as The Hangover Part III or The Internship. This is an extraordinarily dumb movie, but with comedy, that isn’t necessarily a barrier. If only director Rob Meltzer trusted his material (from a script by Jeff Kauffmann) to work. The movie opens by establishing the workplace politics of a marketing firm, with a special emphasis on our young hero Chris (Adam Brody), who is embroiled in a conflict with overbearing Phil (Rob Huebel), a bully who steals Chris’ ideas and pushes him around. Meltzer aims for the zaniness of Mike Judge’s Office Space by overselling the scenes with busy camerawork and wacky music. It’s not needed; the approach may turn off apprehensive viewers, and playing the scenes straight would have nicely set up the insanity to come. Once Van Damme’s Storm Rothchild takes the department to a remote island and the airplane pilot dies, the film quickly escalates to an extreme level of folly. Responsible Chris and power-mad Phil establish two divergent factions on the island. Meltzer and Kauffmann throw out a hodgepodge of gags and plot twists with a randomness that seems inspired by the best seasons of The Simpsons. Some of these jokes work, some don’t work, and some really don’t, but the film’s madcap glee and odd internal logic make it go down easily. For his part, Van Damme is fantastic. He’s not in the film as much as his prominent position on the poster would suggest, but whenever he’s on screen, he lifts the material simply because his presence is so jarring. That he’s good isn’t a surprise; he was always a better actor than his fellow 1990s tough guy Steven Seagal (which may be Van Damming him with faint praise). His willingness to play with his image is more of a revelation. For him to succeed in a picture like this, he doesn’t need to be Peter Sellers; he just needs to be game. To enjoy a picture like this, that’s all audiences need as well. ◀

GeorGe WashinGton

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Oliver Prezant, Music Director

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Mid-season Concert

Sunday, February 23rd at 2:30pm St. Francis Auditorium

New Mexico Museum of Art, 107 W. Palace Ave.

A. Dvorak: Concerto for Cello in B minor Peter Stoffer, cello Winner, SFCO 2013-14 Concerto Competition

M. Bowen: Land of Enchantment

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Directory

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Santa Fe’s comprehensive directory of traditional and alternative medical practitioners. Also featuring: Early learning: Preparing Children for Success A Shopper’s Guide to Pesticides in Produce New Coverage Options of the Affordable Care Act Cooking with Kids: Self Empowerment in the Kitchen Short on Sleep? Advice from local professionals AlternativeTreatments for PTSD

PASATIEMPO I February 14 - 20, 2014

Saturday, February 15 in the

pasa week Valentine’s Day Friday, Feb. 14

Wednesdays and Fridays through February, 11 a.m.-1 p.m., $20, preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd., contact Michelle Rogers, 505-955-4047, or visit chavezcenter.com,

GALLERY/MUSEUM OPENINGS

Abbate Fine Art 713 Canyon Rd., 505-438-8881. The Heart Never Forgets, memorial show for Carrie Lynn Korzak, reception 5-8 p.m., through Feb. 16. Alexandra Stevens Gallery 820 Canyon Rd., 505-988-1311. Heartfelt Expressions, group show, reception 5:30-7 p.m., through February. Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 505-989-4423. Just Art, group show, part of the One Billion Rising for Justice global-activist movement, reception 2-5 p.m. Friday, Feb. 14, through Thursday. Gallery 822 822 Canyon Rd., 505-989-1700. Group Valentine’s Day show. Monroe Gallery of Photography 112 Don Gaspar Ave., 505-992-0800. When Cool Was King, photos of celebrities, reception 5-7 p.m., through April 20. New Concept Gallery 610-A Canyon Rd., 505-795-7570. Women Painters, group show in honor of the globalactivist movement One Billion Rising for Justice, reception and talk by gallerist Linda Durham 5-7 p.m., through March 14. Santa Fe Clay 545 Camino de la Familia, 505-984-1122. Expansion open house 1-6 p.m. Ventana Fine Art 400 Canyon Rd., 505-983-8815. Paul-Henri Bourguignon: Faces of 20th-Century Modernism, paintings by the late artist, reception 5-7 p.m., through March 5. (See story, Page 36) William & Joseph Gallery 727 Canyon Rd., 505-982-9404. V-Day: Love Rising, mixed media by Shirley Klinghoffer, reception 5-7 p.m., through March 4.

CLASSICAL MUSIC

Piano recital The lunchtime series continues with Peter Pesic; music of Chopin and Debussy, 12:10-1:15 p.m., Junior Common Room, St. John’s College, 1160 Camino de Cruz Blanca, no charge. TGIF recital Mezzo-sopranos Sarah Ihlefeld and Sarah Weiler perform music of Handel, Brahms, and Sondheim, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations accepted.

IN CONCERT

A Valentine’s Day Comedy Concert Charles Maynard performs his one-man routine, Adventures of a Small Town Doctor, following opening sets by Southwest Saxophone Quartet and singer Fitzhugh Cline, 7 p.m., Casweck Galleries, 203 W. Water St., $20 at the door.

Pasa’s Little Black Book......... 54 Elsewhere............................ 56 People Who Need People..... 56 Under 21............................. 56 Pasa Kids............................ 56

compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com

EVENTS

At the Artist’s Table Valentine’s Day dinner prepared by chef Michelle Roetzer and conversation with Roetzer and artist Susan Contreras, held in support of Partners in Education Foundation for Santa Fe Public Schools, 6-9 p.m., Santa Fe School of Cooking, 125 N. Guadalupe St., $175, couples $300, 505-474-0240, eventbrite.com. New Mexico Museum of Art Valentine’s Day celebration Renaissance to Romance, enjoy music, tapas, and chocolate, 5-7 p.m., 107 W. Palace Ave., no charge, 505-476-5072. V-Day One Billion Rising for Justice parade A global-activist event to end violence against women and girls, starts at the State Capitol (Old Santa Fe Trail and Paseo de Peralta) at 12:45 p.m. and continues to the Farmers Market Pavilion, 1607 Paseo de Peralta.

NIGHTLIFE

Scheinbaum & Russek Ltd., 505-988-5116, shows work by Eugene Atget (1857-1927).

THEATER/DANCE

Benchwarmers 13 Eight 15-minute playlets by local playwrights, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, ages 17 and under $15, 505-988-4262, santafeplayhouse.org, runs through March 2. Give It All Away Linda Bonadies’ one-woman musical directed by Tanya Taylor Rubinstein, 7:30 p.m. today and Saturday, The Lodge at Santa Fe, 750 N. St. Francis Dr., $15, 505-470-5267.

BOOKS/TALKS

N. Scott Momaday, Kathleen Johnson, and Lisa Marie Stuart An evening of poetry and music, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

In the Wings....................... 57 At the Galleries.................... 58 Museums & Art Spaces........ 58 Exhibitionism...................... 59

OUTDOORS

Santa Fe Botanical Garden Valentine’s Community Day Chocolates and winter-garden tours; 10 a.m.-3 p.m., tours 11 a.m. and 1 p.m., Santa Fe Botanical Garden, 725 Camino Lejo, no charge to New Mexico residents and students, 505-471-9103, santafebotanicalgarden.org. Valentine moonlight hike A romantic stroll under the light of the full snow moon with close-up views through a telescope, 6 p.m., Cerrillos Hills State Park, 16 miles south of Santa Fe off NM 14, $5 per vehicle, 505-474-0196. Winter hiking sessions The City of Santa Fe Recreation Division offers local trail hikes ranging from easy to moderate;

(See Page 54 for addresses) Bishop’s Lodge Ranch Resort & Spa Flamenco guitarist Joaquin Gallegos, 6 p.m., no cover. Café Café Trio Los Primos, Latin favorites, 6 p.m., no cover. Cowgirl BBQ Americana/folk/rock guitarist Michael Kirkpatrick, 5-7:30 p.m.; alt-country band The Far West, 8 p.m., no cover. Duel Brewing Americana/folk singer Melanie Devaney, 4-6 p.m.; local musicians Anthony Leon and Joe West’s Valentine’s Day serenade, 7-10 p.m., no cover. El Farol Rolling Stones tribute band Little Leroy & His Pack of Lies, 9 p.m., call for cover. Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover. Lodge Lounge at The Lodge at Santa Fe DJ Gabriel “Aztec Sol” Ortega spinning salsa, cumbia, bachata, and merenge, dance lesson, 8:30-9:30 p.m., call for cover. Low ’n’ Slow Lowrider Bar at Hotel Chimayó Jazz off the Plaza, Loren Bienvenu on drums, Robin Holloway on piano, and Justin Bransford on bass, 9:30 p.m., no cover. Mine Shaft Tavern DJ Sass-a-Frass 5 p.m.; prog-bluegrass band The Santa Fe Revue, 8 p.m., call for cover. Palace Restaurant & Saloon Sean Healen Band, Western-tinged rock ’n’ roll, 10 p.m., call for cover. ▶▶▶▶▶▶▶▶

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 505-820-0803. 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 505-986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM

Pizzeria da Lino Accordionist Dadou, European and American favorites, 6-9 p.m., no cover. Second Street Brewery Swing Soleil, Gypsy jazz and swing, 6-9 p.m., no cover. Second Street Brewery at the Railyard Banjo-driven roots-rock duo Todd & The Fox, 7-10 p.m., no cover. Taberna La Boca Singer/songwriter Jesus Bas, 7 p.m., no cover. Vanessie Pianists/vocalists Doug Montgomery (6-8 p.m.); Bob Finnie (8-11 p.m.), call for cover.

15 Saturday CLASSICAL MUSIC

La Catrina Quartet Violinists Daniel Vega-Albela and Roberta Aruda, violist Jorge Martínez, and cellist Javier Arias, music of Brahms, Mozart, and Amy Beach, 7 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $25, discounts available, 505-474-4513.

THEATER/DANCE

Benchwarmers 13 Fesitval of eight 15-minute playlets by local playwrights, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, ages 17 and under $15, 505-988-4262, santafeplayhouse.org, runs through March 2. Give It All Away Linda Bonadies’ onewoman musical directed by Tanya Taylor Rubinstein, 7:30 p.m., The Lodge at Santa Fe, 750 N. St. Francis Dr., $15, 505-4705267. The Jewel in the Manuscript Rosemary Zibart’s play about Fyodor Dostoevsky, 7:30 p.m., Warehouse 21, 1614 Paseo de Peralta, $20, students $10, 505-989-4423, closes Sunday.

317 Aztec 20-0150 317 Aztec St., 505-8 the Inn at ge un Agoyo Lo a on the Alamed 505-984-2121 303 E. Alameda St., nt & Bar Anasazi Restaura Anasazi, the of Inn d Rosewoo e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 , 50 905 W. Alameda St. nch Resort & Spa Ra Bishop’s Lodge Rd., 505-983-6377 1297 Bishops Lodge Café Café 5-466-1391 500 Sandoval St., 50 Casa Chimayó 5-428-0391 409 W. Water St., 50 ón es M El ¡Chispa! at e., 505-983-6756 Av ton ing ash W 3 21 Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. te Café The Den at Coyo 5-983-1615 50 , St. r ate 132 W. W Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton Hi e th at El Cañon 5-988-2811 50 , St. al ov nd Sa 0 10

PASATIEMPO I February 14-20, 2014

Spirit of Uganda Dance troupe, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $25, proceeds benefit the nonprofit organization Empower African Children, 505-988-1234, ticketssantafe.org. (See story, Page 34)

BOOKS/TALKS

Gabe Galambos The author discusses The Nation by the River, his book on Crypto Jews in America, 5:30 p.m., Inn on the Alameda, 303 Alameda St., no charge, 505-984-2121. Lauren Camp and Nathan Brown The poets read from their respective books The Dailiness and Less Is More, More or Less, 4 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. (See Subtexts, Page 14) Memoir writing workshop Led by Pamela Boyd, 3-4:30 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, no charge, 505-428-0321.

OUTDOORS

Great Backyard Bird Count Bird identification walk with Rocky Tucker, 9-10 a.m., Leonora Curtin Wetland Preserve, 27283 W. Frontage Rd., adjacent to El Rancho de las Golondrinas, no charge, 505-471-9103, santafebotanicalgarden.org.

EVENTS

Cathy Faber’s Swingin’ Country Band Valentine’s dance party and potluck for two-step and swing dancers, 7 p.m., complimentary dance lesson 6 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $15 at the door, 21 and under $8. Directing-actors workshop Part 2, led by Wendy Chapin, 9 a.m.-noon, Santa Fe Playhouse, 142 E. De Vargas St., wendychapin@cybermesa.com, $50.

Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o isc nc Fra n Sa . W 9 30 El Farol 5-983-9912 808 Canyon Rd., 50 ill Gr & r El Paseo Ba 5-992-2848 50 , St. teo lis Ga 8 20 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em 38-2047 5-4 50 , ne La 2811 Siler Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 1600 Lena St., 505-4 La Boca 5-982-3433 72 W. Marcy St., 50 ina nt Ca na La Casa Se 505-988-9232 125 E. Palace Ave., at La Fonda La Fiesta Lounge , 505-982-5511 St. 100 E. San Francisco a Fe Resort La Posada de Sant e Ave., lac Pa E. 0 33 a and Sp 505-986-0000 g Arts Center Lensic Performin St., 505-988-1234 o 211 W. San Francisc

Kindred Spirits Valentine’s Day Party For the Love of Our Senior Animals, 1-4 p.m., tour at 2 p.m., Kindred Spirits Animal Sanctuary, 3749-A NM 14, donations appreciated, 505-471-5366. Let’s Dance Santa Fe Community Orchestra’s annual swing and ballroom dance event, 7-10 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., donations appreciated; table reservations 05-466-4879, sfcoinfo@gmail.com. Santa Fe Farmers Market Local goods sold weekly on Saturday; this week’s live music by Pedro Romero, 8 a.m.1 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge, santafefarmersmarket.com. Trader Walt’s Southwestern & International Marketplace More than 100 vendor booths with antiques, folk and fine art, books, jewelry, and snacks, 8 a.m.3 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge.

NIGHTLIFE

(See addresses below) Anasazi Restaurant & Bar Guitarist Jesus Bas, 7-10 p.m., no cover. Bishop’s Lodge Ranch Resort & Spa Flamenco guitarist Joaquin Gallegos, 6 p.m., no cover. Café Café Contemporary-Latin guitarist Ramón Bermudez, 6 p.m., no cover. ¡Chispa! at El Mesón Bert Dalton Trio, Dalton on piano, Milo Jaramillo on bass, and John Bartlet on drums, 7:30 p.m., no cover. Cowgirl BBQ Roots- and blues-infused Americana band

Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 505-992-5800 Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 N.M. 14, Madrid, 505-473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pizzaeria da Lino 204 N. Guadalupe St., 505-982-8474 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645

Lance Canales & The Flood, 2-5 p.m.; The Santa Fe Revue, country/R & B/bluegrass mash-up, 8:30 p.m., no cover. Duel Brewing Tom Petty and The Heartbreakers tribute band Petty Theft, 7-10 p.m., no cover. El Farol Rocker Sean Healen, 9 p.m., call for cover. Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 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 Jazz guitarist Pat Malone and vocalist Whitney Carroll Malone, 6-9 p.m., call for cover. Mine Shaft Tavern Todd Tijerina Band, blues, funk, and rock, 8 p.m., call for cover. Palace Restaurant & Saloon C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 9:30 p.m., call for cover. Second Street Brewery Pollo Frito, New Orleans jazz and funk, 6-9 p.m., no cover. Second Street Brewery at the Railyard Neil Young tribute band Drastic Andrew & The Cinnamon Girls, 7-10 p.m., no cover. Sweetwater Harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover. Upper Crust Pizza Singer/songwriter Dana Smith, country-tinged folk tunes, 6-9 p.m., no cover.

Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705 Santa Fe Sol Stage & Grill 37 Fire Place, solofsantafe.com Second Street Brewer y 1814 Second St., 505-982-3030 Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 505-989-3278 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Tiny’s 1005 St. Francis Drive, Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St. Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 434 W. San Francisco St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St., 505-988-7008

16 Sunday

El Farol Canyon Road Blues Jam, 8:30 p.m., no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. The Pantry Restaurant Gary Vigil, acoustic guitar and vocals, 5:30-8 p.m., no cover. Vanessie Guitarist Marc Yaxley, Latin and classical music, 7 p.m., call for cover. Zia Diner Weekly Santa Fe bluegrass jam, 6-8 p.m., no cover.

GALLERY/MUSEUM OPENINGS

Jean Cocteau Cinema Gallery 418 Montezuma Ave., 505-466-5528. Photographs of abandoned theaters by Matt Lambros, reception 5 p.m. Last Gallery on the Right 836-A Canyon Rd., 505-660-5663. For You With Love, Art That Creates an Altered State, reception noon-6 p.m. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269. Native American Portraits: Points of Inquiry, historic and contemporary photographs, reception and lecture 2 p.m., portable portrait studio open 11 a.m.-4 p.m., exhibit up through Jan. 5, 2015.

19 Wednesday BOOKS/TALKS

CLASSICAL MUSIC

Santa Fe Symphony: In Honor of Lincoln Presentations include Copland’s Lincoln Portrait with narration by actress Jill Scott Momaday, and George Walker’s Pageant and Proclamation, with Walker in attendance, 4 p.m., lecture 3 p.m., the Lensic, $20-$76, 505-988-1234, ticketssantafe.org.

IN CONCERT

New Mexico History Museum hosts a UNM Press book reading and signing for Hotel Mariachi: Urban Space and Cultural Heritage in Los Angeles at 2 p.m. Sunday, Feb. 16; shown, At the Foot of the Pyramid, by Miguel Gandert.

EVENTS

McFish Trio Cellist Erika Duke Kirkpatrick, violist Marlow Fisher, and harpsichordist Kathleen McIntosh, 3 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $5 at the door, 505-670-8273. Melanie Monsour Piano recital with bassist Paul Brown; jazz, Middle Eastern, and Latin music, noon-2 p.m., Museum Hill Café, 710 Camino Lejo, no charge, melaniemonsour.com.

Railyard Artisan Market Weekly event with live music, entertainment, and local artists, 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge, artmarketsantafe.com. Trader Walt’s Southwestern & International Marketplace More than 100 vendor booths with antiques, folk and fine art, books, jewelry, and snacks, 9 a.m.4 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge.

THEATER/DANCE

NIGHTLIFE

Benchwarmers 13 Festival of eight 15-minute playlets by local playwrights, 4 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, ages 17 and under $15, 505-988-4262, santafeplayhouse.org, runs through March 2. The Jewel in the Manuscript Rosemary Zibart’s play about Fyodor Dostoevsky, 2 p.m., Warehouse 21, 1614 Paseo de Peralta, $20, students $10, 505-989-4423.

BOOKS/TALKS

Journey Santa Fe Former New Mexico state senator Dede Feldman discusses her book The New Mexico Legislature: Boots, Suits and Citizens, 11 a.m., Collected Works Bookstore, 202 Galisteo St., for details on the series call 505-570-1282. UNM Press book event Photographer Miguel Gandert joins authors Catherine L. Kurland and Enrique R. Lamadrid to read from and sign copies of Hotel Mariachi: Urban Space and Cultural Heritage in Los Angeles, with music by the Santa Fe High School Mariachi Band, 2-4 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., by museum admission, 505-476-5200. What’s Spanish About New Mexico Art? Some Things to Look for in Renaissance to Goya Illustrated exhibit talk with NMMA museum curator of education Ellen Zieselman, 2-3 p.m., New Mexico Museum of Art, 107 W. Palace Ave., no charge, 505-476-5072.

(See Page 54 for addresses) Bishop’s Lodge Ranch Resort & Spa Jazz ensemble Max Manzanares & The Max Pack, with Gabby Ottersberg, 5:30 p.m.; flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover. Cowgirl BBQ Country Blues Revue, noon-3 p.m.; Americana/indie-rock duo 22 Kings, 8 p.m.; no cover. El Farol Pan-Latin chanteuse Nacha Mendez, 6-9 p.m., call for 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. Vanessie Pianist Doug Montgomery, 6:30-9:30 p.m., call for cover.

17 Monday BOOKS/TALKS

Exploring Mars: Curiosity Rover and Its Laser A Southwest Seminars lecture with Mars rover team leader Roger Wiens, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775. Matt Lambros The photographer discusses his exhibit of photos of abandoned theaters, 6:20 p.m., Jean Cocteau Gallery, 418 Montezuma Ave., 505-466-5528.

NIGHTLIFE

(See Page 54 for addresses) Cowgirl BBQ Cowgirl karaoke hosted by Michele Leidig, 8 p.m., no cover. El Farol Tiho Dimitrov, R & B, 8 p.m., call for cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

18 Tuesday BOOKS/TALKS

Georgia O’Keeffe Museum Readers’ Club The discussion series continues with Patrica Jennings and Maria Ausherman’s Georgia O’Keeffe’s Hawaii and Theresa Papanikolas and Anne Hammond’s Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures, 6-7:30 p.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., no charge, 505-946-1039. SFUA&D visiting writers event Gina Frangello and T Cooper read from and sign copies of their respective books A Life in Men and Real Man Adventures, 7 p.m., O’Shaughnessy Performance Space, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., call 505-473-6200 for information,

EVENTS

International folk dances Weekly on Tuesdays, dance 8 p.m., lessons 7 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920.

NIGHTLIFE

(See Page 54 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30-11 p.m., no cover. Cowgirl BBQ Folk singer/songwriter Eryn Bent, 8 p.m., no cover.

Brainpower & Brownbags lecture The monthly series continues with a talk by Stefanie Beninato on Land Grants and Water Rights: Fighting Words in the 21st Century, noon-1 p.m., Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 505-476-5200. Bring your lunch. Friends of Wheelwright Book Club Join a discussion about Adolf Bandelier’s The Delight Makers, 1:30 p.m., Wheelwright Museum of the American Indian, 704 Camino Lejo, Museum Hill, no charge, 505-471-4970. Richard McCord The local author reads from No Halls of Ivy: The Gritty Story of the College of Santa Fe (1947-2009), 6-7 p.m., doors open at 5:30 p.m., Tipton Hall, SFUA&D, 1600 St. Michael’s Dr., call 505-988-2264 for more information.

OUTDOORS

Gentle walk A one- to two-mile walk along a relatively flat trail; 9:15 a.m. Meet at Pajarito Environmental Education Center, 3540 Orange St., Los Alamos, no charge, 505-662-0460. Winter hiking sessions The City of Santa Fe Recreation Division offers local trail hikes ranging from easy to moderate; Wednesdays and Fridays through February, 11 a.m.-1 p.m., $20, preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd., contact Michelle Rogers, 505-955-4047, or visit chavezcenter.com.

NIGHTLIFE

(See Page 54 for addresses) ¡Chispa! at El Mesón Guitarist and singer/songwriter Jesus Bas, 7-9 p.m., no cover. Cowgirl BBQ Contemporary-folk singer/songwriter Chris Jamison, 8 p.m., no cover. El Farol Nacha Mendez with Santastico, 7:30-10 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover. La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover. Palace Restaurant & Saloon Folk singer/songwriter Eryn Bent, 7:30-10:30 p.m., no cover. Tiny’s 505 Electric-Blues Jam, with Nick Wimett and M.C. Clymer, 8 p.m., no cover. ▶▶▶▶▶▶▶▶

PASATIEMPOMAGAZINE.COM

20 Thursday

Santa fe Society of Artists spring jury New Mexico artisans are invited to apply for weekly Saturday outdoor art shows located downtown; jury held on Feb. 22; for application forms visit santafesocietyofartists.com; 505-455-3496.

BOOKS/TALKS

Craig Barnes lecture The Empire, Capitalism, and Inequality series continues, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Renesan Institute for Lifelong Learning lecture The series continues with a discussion by LANL astrophysicist Ed Fenimore, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 505-982-9274, renesan.org. Wayard Shamans: The Prehistory of an Idea The School for Advanced Research presents a lecture by Silvia Tomášková on humanity’s earliest expressions of art, religion, and creativity through shamanism, 6:30 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., $10, 505-954-7245. (See story, Page 38)

Musicians

Southwest Regional folk Alliance Conference Free music-industry networking event held from 9:30 a.m. to 9 p.m. Friday, March 28, at Hotel Santa Fe; register by Saturday, March 1. Visit swfolkalliance.org/swrfa-nm/ for details.

Volunteers

(See Page 54 for addresses) ¡Chispa! at el Mesón Jazz pianist John Rangel, 7 p.m., no cover. Cowgirl BBQ Folk rockers The Bus Tapes, 8 p.m., no cover. Duel Brewing Zydeco/Tejano/juke-swing band Felix y Los Gatos, 7-10 p.m., no cover. el farol Guitarists Chusco and Ramón Bermudez, and percussionist Mark Clark, 7-9:30 p.m., call for cover. La fiesta Lounge at La fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover. La Posada de Santa fe Resort and Spa Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6-9 p.m., call for cover. Low ’n’ Slow Lowrider Bar at hotel Chimayó Tenor guitarist and flutist Gerry Carthy, 9 p.m., no cover. Palace Restaurant & Saloon Thursday limelight karaoke, 10 p.m., no cover. Santa fe Capitol grill Guitarists Chusco and Ramón Bermudez, and percussionist Mark Clark, 4-6 p.m., no cover. The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. Tiny’s “Sister Mary” Evans with Tiho Dimitrov, Brant Leeper, and Mo Roberts, soul/blues/jazz, 8 p.m.-midnight, no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

▶ Elsewhere AlbuquErquE events/Performances

Sue Monk Kidd The author reads from The Invention of Wings, 7 p.m. Friday, Feb. 14, Simms Auditorium, Albuquerque Academy, 6400 Wyoming Blvd. N.E., $5, bkwrks.com, 505-344-8139. Contra-Tiempo Contemporary Latin dance company, 7:30 p.m. Friday, Feb. 14, Albuquerque Journal Theater, National Hispanic Cultural Center, 1701 Fourth St. S.W. $17-$27 in advance at nhccnm.org, discounts available.

PASATIEMPO I February 14-20, 2014

Tyrone Domingo

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Contra-Tiempo dance company on stage Feb. 14 at Albuquerque’s National Hispanic Cultural Center.

Chatter Sunday Pianist Gints Berzins performs music of Mozart, 10:30 a.m. Sunday, Feb. 16, author Justin St. Germain follows with a reading from Son of a Gun, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterabq.org.

▶ People who need people Actors

Ray Drew gallery Donnelly Library, NMHU. I Sing the Body Eclectic, work by Dia Atman, closing reception 2-4 p.m. Sunday, Feb. 16.

Santa fe Performing Arts audition Looking for one man and one woman for David Ives’ play Venus in Fur. To make an appointment, call 505-982-7992 or email sabato@sfperformingarts.org.

TAos

Artists

lAs VEgAs

greg Moon Art 109-A Kit Carson Rd., 575-770-4463. Waking Dreams, figurative work by Catherine Porter-Brown, reception 5-7 p.m. Saturday, Feb. 15, through February. Taos Chamber Music group Heaven Sent, music of Mendelssohn, Bach, and Schumann, 5 p.m. Saturday and Sunday, Feb. 15-16, Harwood Museum of Art, 238 Ledoux St., $20 in advance, $22 at the door, taoschambermusicgroup.org. Taos Americaños concert Americana singer/songwriter Jim Lauderdale, fiddler Ollie O’Shea, and accordionist Phil Parlapiano, 7 p.m. Saturday, Feb. 15, doors open at 6 p.m., $25, solarmusicfest.com. SOMOS Winter Writers Series Spoken-word performance by Albuquerque’s poet laureate Hakim Bellamy, 7 p.m. Wednesday Feb. 19, Harwood Museum of Art, 238 Ledoux St., 575-758-9826. $10 suggested donation in support of the Society of the Muse of the Southwest Young Writers Mentorship Program, somostaos.org.

Call for artists and fashion designers Santa Fe Arts Commission Community Gallery seeks apocalypse-themed works for its November exhibit End of Days; submit portfolios (5-10 images, artist statement, and/or bio) no later than March 14 to Rod Lambert, Community Gallery, P.O. Box 909, Santa Fe, NM, 875040909; santafeartscommission.org, 505-955-6705. Call for sculpture One-inch-high sculptures sought for The Royal Breadshow; sculptures will be exhibited and then baked into breads; March 31 deadline; see theroyalbreadshow.com or axleart.com for submission guidelines. MasterWorks of New Mexico 2014 Open to all New Mexico artists; accepting miniatures, pastels, watercolors, and oils/ acrylics; miniatures must be shipped by March 15 or hand-delivered by March 22; for prospectus and information visit masterworksnm.org.

Cerrillos hills State Park volunteer training Seeking weekend receptionists, park greeters, and help serving refreshments during public programs; training held 10 a.m.1 p.m. Saturday, March 8; call for reservations, 505-474-0196, Visitor’s Center, 37 Main St., Cerrillos. food for Santa fe The nonprofit needs help packing and distributing groceries between the hours of 6 and 8 a.m. Wednesdays and Thursdays, 505-471-1187 or 505-603-6600. New Mexico history Museum historical Downtown Walking Tours Those interested in acting as tour guides are encouraged to attend an event at 9:30 a.m. Tuesday, March 4, for an illustrated presentation on the city’s downtown core with archaeologist Cordelia Thomas Snow. Tour-guide training sessions run 3-5 p.m. Thursdays, March 13 and 20, and 10 a.m.-noon and 1-5 p.m. Saturday, March 29. Contacts: Peter Sinclaire, 505-983-7744 and Linda Clarke, 505-989-1405. People for Native ecosystems Join the feeding team for prairie dogs two-three hours weekly; call Pat Carlton, 505-988-1596. St. elizabeth Shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org. Santa fe Stories Project The Santa Fe V.I.P. seeks material on the post-World War II era in Santa Fe; to submit stories or images, visit santafestories.com; submissions accepted through March.

▶ under 21 Punk and metal concert Choking on Air, On Believer, and Exalt, 7 p.m. Friday, Feb. 14. Warehouse 21, 1614 Paseo de Peralta. $5 at the door. The Slam Up Tour Musical spoken-word performance by Cali Bulmash and Emily Lowinger, 7 p.m. Thursday, Feb. 20. Warehouse 21, 1614 Paseo de Peralta. $5 at the door, 505-989-4423.

▶ Pasa Kids Bee hive Kids Books crafts class Hearts and lollipop flowers, 11 a.m.-noon Saturday, Feb. 15. Bee Hive Kids Books, 328 Montezuma Ave., no charge. Renewable energy Day at the Roundhouse Ecological art table, electric cars, solar ovens, and other family-friendly displays, 10 a.m-2 p.m. Sunday, Feb. 16, Governor’s Gallery, State Capitol Building, fourth floor, Old Santa Fe Trail and Paseo de Peralta. ◀

In the wings MUSIC

John McCutcheon Folk instrumentalist, 7 p.m. Saturday, Feb. 22, James A. Little Theater, 1060 Cerrillos Rd., $10-$35, 505-988-1234, ticketssantafe.org, or call 505-454-4228, proceeds benefit Río Gallinas School. Santa Fe Community Orchestra The season continues with music of Dvoˇrák, Sibelius, and Michael Bowen, 2:30 p.m. Sunday, Feb. 23, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated, 505-466-4879. Peter Mulvey Singer/songwriter, 7:30 p.m. Sunday, Feb. 23, Gig Performance Space, 1808-H Second St., $20 in advance online at brownpapertickets.com, $23 at the door. Pixies Alt-rock band, 7:30 p.m. Tuesday, Feb. 25, Albuquerque Convention Center, 401 Second St. N.W., $39-$58 in advance, ampconcerts.org or holdmyticket.com, 505-886-1251. Legends of the Celtic Harp Acoustic trio, with Patrick Ball, Lisa Lynne, and Aryeh Frankfurter, 7:30 p.m. Friday, Feb. 28, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Jonathan Wilson Psychedelic-folk singer/songwriter and his band, 7:30 p.m. Friday, Feb. 28, Santa Fe Sol Stage & Gril, 37 Fire Place, $12 in advance, 505-988-1234, ticketssantafe.org, $15 at the door. Santa Fe Music Collective The jazz series continues with Albert “Tootie” Heath on drums, Bert Dalton on piano, and Andy Zadrozny on bass, 7 p.m. Friday, Feb. 28, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. Santa Fe Pro Musica Orchestra Featuring mezzo-soprano Deborah Domanski, music of Debussy, Mahler, and Shostakovich, 3 p.m. Sunday, March 2, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $15-$65, discounts available, 505-988-1234, ticketssantafe.org. Lenny Tischler The local composer/musician debuts his jazz suite Freedom Work: Folk Forms and Variations in commemoration of Black History Month, 7 p.m. Saturday, March 1, First Presbyterian Church of Santa Fe, 208 Grant Ave., $20 through Feb. 24, $25 in advance and at the door afterward, 505-652-2403, naacpsf.blogspot.com. David Russell Classical guitarist, 7:30 p.m. Friday, March 7, Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, $40 at the door, 505-984-6000. Serenata of Santa Fe Here & Now, works by Kelvin McNeal and Ron Strauss, 7 p.m. Friday, March 7; performers include oboist Pamela Epple, cellist Sally Guenther, and French hornist Scott Temple, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org. Notes on Music: Mendelssohn Illustrated talk with Santa Fe Concert Association artistic director Joseph Illick, 7:30 p.m. Tuesday, March 11, Temple Beth Shalom, 205 E. Barcelona Rd., $20, discounts available, SFCA box office, 505-984-8759 or 505-988-1234, ticketssantafe.org.

Greensky Bluegrass Prog. bluegrass band, 7:30 p.m. Wednesday, March 12, Santa Fe Sol Stage & Grill, 37 Fire Place, $15 in advance, $20 at the door, 505-988-1234, ticketssantafe.org. Yacouba Sissoko Kora player, 7:30 p.m. Friday, March 14, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Yolanda Kondonassis and Jason Vieaux Harp and guitar recital, 4 p.m. Sunday, March 16, Duane Smith Auditorium, 1300 Diamond Dr., Los Alamos, $30, 505-988-1234, ticketssantafe.org. Sharon Jones and the Dap-Kings Soul and funk; Valerie June opens, 7:30 p.m. Tuesday, March 18, Lensic Performing Arts Center, 211 W. San Francisco St., $34-$54, 505-988-1234, ticketssantafe.org. Santa Fe Symphony Featuring violinist Clara-Jumi Kang; music of Bruch, Rachmaninov, and Borodin, 4 p.m. Sunday, March 23, the Lensic, $22-$76, 505-988-1234, ticketssantafe.org. Sounds of Santa Fe 2 Local musicians showcase, 7:30 p.m. Friday, March 28, Lensic Performing Arts Center, 211 W. San Francisco St., $12, 505-988-1234,

Upcoming events ticketssantafe.org. An Evening With Joyce DiDonato Mezzo-soprano, 6:30 p.m. Monday, March 31, the Lensic, 211 W. San Francisco St., concert only $25-$95, 505-988-1234, ticketssantafe.org; premium seats and dinner $325, tickets available through the Santa Fe Concert Association, 505-984-8759. Joshua Redman Jazz saxophonist, 7 p.m. Friday, April 4, Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque, $30, students $25, holdmyticket.com. Neko Case Singer/songwriter, with The Dodos, 7:30 p.m. Monday, April 14, Lensic Performing Arts Center, 211 W. San Francisco St., $34-$44, 505-988-1234, ticketssantafe.org. The Dandy Warhols Power-pop rockers, 7:30 p.m. Tuesday, April 29, Santa Fe Sol Stage & Grill, 37 Fire Place, $27 in advance, 505-988-1234, ticketssantafe.org, $35 at the door.

THEATER/DANCE

Magic shows Magic and Mystery, three performances by Misty Lee, 6:20 p.m. Friday, 2 and 9 p.m. Saturday, Feb. 21-22, Jean Cocteau Cinema, 418 Montezuma Ave., $20, discounts available, 505-466-5528. Parallel Lives A play by Kathy Najimy and Mo Geffney presented by Teatro Serpiente, 7:30 p.m. Friday and Saturday, Feb. 21-22, Teatro Paraguas Studio, 3205 Calle Marie, $16 and $18, 505-424-1601, teatroparaguas.org. National Theatre Live in HD War Horse, based on Michael Morpurgo’s novel set in France during WWI, 7 p.m. Thursday, Feb. 27, the Lensic, 211 W. San Francisco St., $22, student discounts available, ticketssantafe.org, 505-988-1234. Water by the Spoonful

peter mulvey performs at gig performance space Feb. 23.

Teatro Paraguas presents Quiara Alegria Hudes’ drama, 7:30 p.m. Thursdays-Saturdays, 2 p.m. Sundays, March 6-16, 3205 Calle Marie, $15, discounts available, 505-424-1601, teatroparaguas.org. Les Liaisons Dangereuses Playwright Christopher Hampton’s adaptation of the novel about seduction and revenge, 7 p.m. Friday and Saturday and 2 p.m. Sunday, March 7-16, Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketsantafe.org, 505-988-1234. The Other Place Fusion Theatre Company presents Shar White’s drama, 8 p.m. Friday, 2 and 8 p.m. Saturday, March 7-8, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$40, 505-988-1234, ticketssantafe.org. The Queen of Madison Avenue A reading of Ron Bloomberg’s new play, 7 p.m. Thursday, March 13, the Lensic, 211 W. San Francisco St., $10, 505-988-1234, ticketssantafe.org. Aspen Santa Fe Ballet Choreography by Nicolo Fonte, Cayetano Soto, and Norbert de la Cruz, 7:30 p.m. Friday and Saturday, March 21-22, the Lensic, 211 W. San Francisco St., $25-$72, 505-988-1234, ticketssantafe.org. Southwest Irish Theater Festival Theaterwork presents four plays and a concert, March 21-30, James A. Little Theater, 1060 Cerrillos Rd., reservations 505-471-1799.

HAPPENINGS

Edible Art Tour (EAT) Members of the Santa Fe Gallery Association team with local restaurants; stroll from doorway to doorway or take shuttle buses between downtown and Canyon Road; 5-8 p.m. Friday, Feb. 21, EAT $35; EAT and Fashion Feast dance party $70, artfeast.com, 505-603-4643. Santa Fe Council on International Relations for WorldQuest 2014 College bowl-style game of international trivia, 5:45-9 p.m. Friday, Feb. 21, Jemez Room, Santa Fe Community College, 6401 Richards Ave., $40 includes dinner, register online at sfcir.org or call 505-982-4931. Lannan Foundation literary event Greg Grandin, author and New York University professor, with Canadian television journalist Avi Lewis, 7 p.m. Wednesday, Feb. 26, the Lensic, 211 W. San Francisco St., $6, discounts available, 505-988-1234, ticketssantafe.org. AHA Festival of Progressive Arts Application-launch party presented by After Hours Alliance; pop-up performances by Max Friedenberg, Aunt Cackle and The Coleslaw King, DJ Feathericci, Johnny Bell, Lady Gloves, and others, Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, $5-$20 sliding scale, 505-982-1338. Queen Bees & Masterminds: Creating a Culture of Dignity and Respect Amongst Teens Presentation by author Rosalind Wiseman in support of Santa Fe Mountain Center, 7 p.m. Wednesday, March 12, Lensic Performing Arts Center, 211 W. San Francisco St., $15, 505-988-1234, ticketssantafe.org. Paper Dosa Collaborative event between the owners of the San Francisco restaurant Dosa and the local art collective SCUBA in support of the CCA; sample South Indian fare on handmade plates, 7-10 p.m. Saturday, March 29, Center for Contemporary Arts, 1050 Old Pecos Trail, $50, 505-982-1338, ccasantafe.org. PASATIEMPOMAGAZINE.COM

At the GAlleries Andrew Smith Gallery Annex 203 W. San Francisco St., 505-984-1234. Outer/Inner: Contemplation on the Physical and the Spiritual, work by photographer Patrick Nagatani, through March 14. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Gesture Then and Now: The Legacy of Abstract Expressionism, group show, through Feb. 22; Oli Sihvonen: In Motion, paintings from 1988 to 1991, through March 8; Thomas Downing: Paintings From the 1970s, through Feb. 28. Selections From June Wayne’s Friends, mixed media from the Robin Park Collection, through March 1. Ellsworth Gallery 215 E. Palace Ave., 505-989-7900. Illuminated sculptures by Ilan Ashkenazi, through Feb. 22. Peyton Wright Gallery 237 E. Palace Ave., 505-989-9888. Art of Devotion, historic art of the Americas, through March 9. Photo-eye Gallery 370-A Garcia St., 505-988-5159. Conventional Entropy, works by photographer Kevin O’Connell, through April 5. Scheinbaum & Russek Call 505-988-5116 for directions. On View, group show of vintage and contemporary B & W photographs, through March.

MuseuMs & Art spAces Santa Fe

Center for Contemporary Arts 1050 Old Pecos Trail, 505-216-0672. Icepop, installation by Sandra Wang and Crockett Bodelson of the art collective SCUBA, through March 30, Muñoz Waxman Gallery • All the News That’s Fit to Print, group show, SpectorRipps Project Space, both shows through March 30. Open Thursdays-Saturdays; visit ccasantafe.org. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 14. Paintings, drawings, sculptures, sketches, and photographs by O’Keeffe in the permanent collection. Open daily; visit okeeffemuseum.org. Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1666. Articulations in Print, group show, through July • Bon a Tirer, prints from the permanent collection, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. Closed Tuesdays; visit iaia.edu/museum. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269. Native American Portraits: Points of Inquiry, historic and contemporary photographs, through Jan. 5, 2015; opening reception and lecture 2 p.m. Sunday, Feb. 16, and a portable portrait studio open 11 a.m.-4 p.m. • Woven Identities, baskets representing 60 culture areas of western North America, through Feb. 24 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, more than 1,300 artifacts from the museum collection. Closed Mondays; visit indianartsandculture.org.

PASATIEMPO I February 14-20, 2014

UNM Art Museum 1 University of New Mexico Blvd., 505-277-4001. Melanie Yazzie: Geographies of Memory, works by the printmaker and sculptor • 400 Years of Remembering and Forgetting: The Graphic Art of Floyd Solomon, etchings by the late artist • The Blinding Light of History: Genia Chef, Ilya Kabakov, and Oleg Vassiliev, Russian paintings and drawings • Breakthroughs: The Twentieth Annual Juried Graduate Exhibition, all through May 17. Closed Sundays and Mondays; visit unmartmuseum.org.

eSpanola

Bond House Museum and Musión Museum y Convento 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; visit plazadeespanola.com.

loS alamoS

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open daily; visit wheelwright.org.

Bradbury Science Museum 1350 Central Ave., 505-667-4444. Information on the history of Los Alamos and the Manhattan Project, as well as over 40 interactive exhibits. Open daily; visit lanl.gov/museum. Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens. Closed Sundays; visit pajaritoeec.org.

albuquerque

taoS

uNM Art Museum shows work by ilya Kabakov in the exhibit The Blinding Light of History.

Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through March • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s Brazilian collection, through Aug.10. Closed Mondays; visit internationalfolkart.org. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through spring 2014 • Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation. Closed Mondays; visit spanishcolonialblog.org. New Mexico History Museum/ Palace of the Governors 113 Lincoln Ave., 505-476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16 • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Closed Mondays; visit nmhistorymuseum.org. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Renaissance to Goya: Prints and Drawings From Spain, through March 9 • 50 Works for 50 States: New Mexico, through April 13. Closed Mondays; visit nmartmuseum.org. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. Gathering of Dolls: A History of Native Dolls, through April 27. Closed Mondays; visit pvmiwa.org. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Feast: Radical Hospitality in Contemporary Art, group show, through May 18. Closed MondaysWednesdays; visit sitesantafe.org.

Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Behind Closed Doors: Art in the Spanish American Home, 1492-1898, works from the Brooklyn Museum, reception 2-5 p.m. Saturday, Feb. 15, through May 18; Latin jazz set with Steve Figueroa Trio followed by a talk with curator Andrew Connors 5-8:30 p.m. Thursday, Feb. 20 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro • African American Art From the Permanent Collection, installation of drawings, prints, photographs, and paintings by New Mexico African American artists, through May 4. Closed Mondays; visit cabq. gov/culturalservices/albuquerque-museum/ general-museum-information. Holocaust and Intolerance Museum of New Mexico 616 Central Ave. S.W., 505-247-0606. Exhibits on overcoming intolerance and prejudice. Closed Sundays and Mondays; visit nmholocaustmuseum.org. Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. Our Land, Our Culture, Our Story a brief historical overview of the pueblo world, and exhibit of contemporary artwork and craftsmanship of each of the 19 pueblos. Open daily; visit indianpueblo.org. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896. En la Cocina With San Pascual, works by New Mexico artists. Hispanic visual arts, drama, traditional and contemporary music, dance, literary arts, film, and culinary arts. Closed Mondays; visit nationalhispaniccenter.org. New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. Timetracks, core exhibits offer a journey through billions of years of history, from the formation of the universe to the present. Open daily; visit nmnaturalhistory.org.

E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques. Open daily; visit taoshistoricmuseums.org. Harwood Museum of Art 238 Ledoux St., 575-758-9826. Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • Death Shrine I, work by the late Ken Price • works of the Taos Society of Artists and Taos Pueblo Artists. Closed Mondays; visit harwoodmuseum.org. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson displaying artifacts, antique firearms, pioneer belongings, Carson memorabilia, and books about New Mexico. Open daily; visit kitcarsonhomeandmuseum.com. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. One of the few Northern New Mexico-style, late-Spanish-colonial-period “great houses” remaining in the American Southwest. Built in 1804 by Severino Martin. Open daily; visit taoshistoricmuseums.org. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Twelfth Annual Miniatures Show & Sale, through March 2. Historical collections of Native American jewelry, ceramics, and paintings; Hispanic textiles, metalwork, and sculpture; and a wide range of contemporary jewelry. Closed Mondays through March; visit millicentrogers.org. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. The Animal World of Eugenie Glaman, etchings and paintings, through March 2. Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933. Open 10 a.m.-4 p.m. Closed Mondays; visit taosartmuseum.org.

exhibitioniSM

A peek at what’s showing around town

Shirley Klinghoffer: She Cradle, 2006, antique wood, rubber vulval castings, and fabric. V-Day: Love Rising is a retrospective exhibition of work by Shirley Klinghoffer at the William and Joseph Gallery (727 Canyon Road, 505-982-9404). It includes wall art, pieces in bronze, and installations. Klinghoffer makes provocative use of female body parts in her work, which often deals with sexual abuse, body image, and gender. A 5 p.m. reception on Friday, Feb. 14, is part of the local activities for One Billion Rising for Justice (www.onebillionrising.org), a campaign that raises global awareness of violence to women.

Peter Krusko: Broken Canyon Edge, 2013, watercolor. Gallery 822 (822 Canyon Road) presents a Valentine’s Day group show that includes woven horsehair baskets by Jane Chavez, acrylics by Sandy Keller, watercolors by Peter Krusko, and wildlife bronzes by James Moore. The reception is Friday, Feb. 14, at 5 p.m. Call 505-989-1700.

Steve Shapiro: Andy Warhol, Nico, and the Velvet Underground, Los Angeles, California, 1965, silver gelatin print. Monroe Gallery of Photography presents When Cool Was King, an exhibition of photographs by Steve Shapiro, Bill Ray, Richard C. Miller, and others whose images of Marlon Brando, Arlo Guthrie, Allen Ginsberg, and other celebrities from the ’50s and ’60s helped define what was cool for a generation. The exhibition opens with a reception on Friday, Feb. 14, at 5 p.m. The gallery is at 112 Don Gaspar Ave. Call 505-992-0800.

Matt Lambros: Paramount Theater, digital print. “I’ve spent ten years composing photographic obituaries for once-thriving buildings that are now crumbled and forgotten,” writes photographer Matt Lambros. “My hope for my work is that it will shine light on beautiful, dated architecture and on the equal yet sinister beauty in decay.” An exhibition of Lambros’ photographs of abandoned buildings and theaters opens at the Jean Cocteau Cinema Gallery (418 Montezuma St.) on Sunday, Feb. 16, with a 5 p.m. reception. Lambros gives an illustrated lecture at 6:20 p.m. on Monday, Feb. 17. Tickets for the lecture are $7. Call 505-466-5528.

Ann hosfeld: Jungle Spirits, 2004, acrylic on canvas. New Concept Gallery presents Women Painters, an exhibit of work by Linda Petersen, Cecilia Kirby Binkley, Jane Abrams, Ann Hosfeld, and Kathleen Doyle Cook. The 5 p.m. reception on Friday, Feb. 14, includes a 6 p.m. talk by gallerist Linda Durham on the “The Power of Women’s Voices.” The event is part of the One Billion Rising for Justice local activities. The gallery is at 610 Canyon Road. Call 505-795-7570.

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