Pasatiempo, March 22, 2013 by The New Mexican

The New Mexicanâ&#x20AC;&#x2122;s Weekly Magazine of Arts, Entertainment & Culture March 22, 2013

“The greatest gift of the garden is the restoration of the ﬁve

senses.”

EVERYTHING’S COMING UP MOSES!

–Hanna Rion

HaMakom The Place for Passionate and Progressive Judaism

SECOND NIGHT PASSOVER SEDER Bishop’s Lodge Resort Tuesday, March 26 at 5:30 PM Reserva�ons Required 505.992.1905 526 Galisteo Street • 820.0919 www.restaurantmartin.com

Easter Brunch !

Sunday, March 31, 2013 10:00 a.m. - 2:30 p.m. a la carte menu from $10 patio seating weather permitting Pink Margarita w/ Peep - $5.00 & selection of Easter “Mocktails” ‘instant’ gift certificates available/walk-ins welcome!

Happy Hour Monday thru Friday 4-6 pm

231 washington ave. santa fe, nm 505•984•1788

March 22 - 28, 2013

$65 Member /$75 Non Member /$16 Children www.hamakomtheplace.org

Nature's Art and Functionals.

www.

s e q u o ia s a n t a f e

.com

201 Galisteo St, Santa Fe, NM 87501 Tel 505 982 7000

Arlo Guthrie Lensic Presents

H e r e C om e s t h e K i d

A M USI C A L TR I B U TE TO WO O DY G U T H R I E

J O I N F O L K I CO N A R LO G U T H R I e

for an unforgettable evening of music and stories celebrating his father, the legendary Woody Guthrie, in his 100th birthday year.

April 4

7: 3 0 p m

$ 2 0 -$ 4 5

Discounts for Lensic members & students

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

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

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

b o t w i n

e y e s

e y e

g r o u p

o p t i c s s a n ta

f e

Cartier, Chanel, Chrome Hearts, Anglo American, Anne et Valentin, Beausoleil Lunettes, Dolce & Gabbana, Etnia Barcelona, FACEaFACE , Ronit Furst, Gotti, i.c!berlin, Lindberg Denmark, RetroSpecs, Loree Rodkin, Theo, 2.5 Eyephoricsâ&#x20AC;Ś Dr . M a r k bot w i n Dr . Jonath an bot w i n Dr . J e r e M y bot w i n

Optometric Physicians

444 St Michaels Drive

5 0 5 . 9 5 4 . 4 4 4 2 BotwinEyeGroup.com PASATIEMPO

A la Carte Easter Menu – Sunday, March 31 - 11:30 am to 3 pm Children’s Menu Available

What’s happening tonight | gallery conversations Alcove 12.9

Join us for the final in our year-long series of contemporary conversations. Participate in an open discussion with the Alcove 12.9 artists. Meet Jeff Deemie, Teri Greeves, Joanne Lefrak and James Marshall as they share the spotlight in the gallery with their colleagues. Free.

day

■ aPril 7 sunday 1:00– 4:00 Pm

Explore the inner workings of an art museum. Staff members will be here to talk about the museum and their work, plus a hands-on family art activity. Free.

New Mexico MuseuM of Art

107 West Palace avenue · on the Plaza in santa Fe · 505.476.5072 · nmartmuseum.org

March 22 - 28, 2013

Palm Sunday Worship Services: 8:30 and 11:00 a.m. Combined Adult Choirs and Children’s Choir

■ march 22 friday 5:30– 7:00 Pm

coming up | family activity “Get to Know Your Art Museum”

Join In The Journey To New Life!

Maundy Thursday Communion Service: 7:00 p.m. Youth-led “Tenebrae” Passion Reading

Good Friday

Service Project: 8:30–11:30 am Good Friday Worship: 12:00 Noon (childcare) Music by Steinway Artist Jacquelyn Helin

EaSTEr!

6:30 a.m. Sunrise Outdoor Service 8:30 and ll:00 a.m. Easter Celebration for all ages with Santa Fe Brass and “Hallelujah Chorus.” Childcare all morning. Children’s Easter Egg Hunt after worship.

THE UNITED CHUrCH OF SaNTa FE “Love God, Love Neighbor, Love Creation”

Rev. Talitha Arnold, Sr. Minister; Rev. Brandon Johnson, Assoc. Minister Jacquelyn Helin, Pianist and Music Director; Karen Marrolli, Choral Director Andrea Hamilton, Children’s Director

1804 Arroyo Chamiso (at St. Michael’s Drive) 988-3295 unitedchurchofsantafe.org Facebook

•

. Bridal Fashion Show at 3 p.m FREE ADMISSION

Make all your wedding dreams come true at our

First Annual Wedding Fair

Saturday, March 23rd • 12 P.M. - 5 P.M. Wedding dresses by Laura Sheppherd, Atelier Designers, Conscious Clothing and Joyce Herrington Gowns. Jewelry by Jewel Mark and Jacqueline’s Place. Catering by Caffé Greco. Live music by DJ Zion and Rumelia. Wedding cake tasting by Tree House Bakery & Momo & Co. Bakery. Floral arrangements by Enchanted Leaf. Julie Pardee custom invitations • InSight Foto Inc. photography OPEN EVERY DAY 10-6 • 505.820.6304 • 233 Canyon Road • www.jewel-mark.com PASATIEMPO

THE SANTA FE NEW MEXICAN

March 22, 2013

On the cOver 34 a rubber pool, a dog, and a leica: david J. carol What appears to be a former Christmas tree lives on in a sunny spot outside a mobile home. Tourists wired into an audio tour shield their eyes, heads raised upward, in some unspecified historic space. On a stretch of heavily tracked beach a horse, carrying a rider, stands behind an ATV bearing a young man in a tank top. These are transmissions from the world of photographer David J. Carol. “This Is Why We Can’t Have Nice Things!,” Carol’s newest collection of images, takes the form of a Lucite box containing individual cards — most with photos, some with pithy observations from Confucius, Nietzsche, and others. Carol signs and discusses his work at Photo-eye Gallery on Saturday, March 23. On our cover is Carol’s Bumper Car Kid in Sunglasses, Maine, 2005.

BOOks 12 14 16 18

mOving images

in Other Words African-American poetry russell Banks Hold the sugarcoating Embracing Fry Bread Roger Welsch emily rapp Writing through the grief

48 Pasa Pics 52 Lore

calendar 56 Pasa Week

mUsic and PerfOrmance 20 22 24 27 42 46

terrell’s tune-Up Thurston Moore’s project Pasa reviews Lawrence Clark Trio Pasa tempos CD Reviews Onstage this Week Robert Earl Keen Clybourne Park Fusion Theatre Company the voices of Jon davis Reading at La Tienda

and 9 mixed media 11 star codes 54 restaurant review

art 28 My Dakota Rebecca Norris Webb 38 natural selection Tasha Ostrander

Visit us on the web at "*&*%$!)'(#"

advertising: 505-995-3819 santafenewmexican.com ad deadline 5 p.m. monday

Pasatiempo is an arts, entertainment & culture magazine published every friday by The New Mexican. Our offices are at 202 e. marcy st. santa fe, nm 87501. editorial: 505-986-3019. fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — kristina melcher 986-3044, kmelcher@sfnewmexican.com

tasha Ostrander: Death Wishes (detail), 1998; photo by margot geist

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art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com

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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com

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chief copy editor/Website editor — Jeff acker 986-3014, jcacker@sfnewmexican.com

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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com

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calendar editor — Pamela Beach 986-3019, pambeach@sfnewmexican.com

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staff Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com rob deWalt 986-3039, rdewalt@sfnewmexican.com James m. keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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cOntriBUtOrs laurel gladden, robert ker, Bill kohlhaase, Jennifer levin, adele Oliveira, robert nott, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, roger snodgrass, steve terrell, khristaan d. villela

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PrOdUctiOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Ginny Sohn Publisher

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advertising directOr Tamara Hand 986-3007

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marketing directOr Monica Taylor 995-3824

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art dePartment directOr Scott Fowler 995-3836

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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

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advertising sales mike flores 995-3840 stephanie green 995-3820 margaret henkels 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852

Rob Dean editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

Jeanette Pasin Sloan life mirrors march 22-april 28.2013

artist reception: friday, march 22, 5:30-7:30 pm

Crazy II, 2013, oil on linen, 32" x 38"

LewAllenGalleries d o w n t o w n

125 West Palace Avenue Santa Fe, NM 87501 tel 505.988.8997 www.lewallengalleries.com info@lewallengalleries.com

PASATIEMPO

annie leibOvitz

pilgrimage February 15 – may 5, 2O13

annie Leibovitz, The Cerro Pedernal from Georgia O’Keeffe’s patio at Ghost Ranch, New Mexico, 2010. © annie Leibovitz

20 BUFFALO THUNDER TRAIL • SANTA FE, NM • 505.819.2140

The Lensic Presents

World Music

FROM ZIMBABWE

Oliver Mtukudzi & The Black Spirits

Hypnotic melodies, irresistible rhythms, and songs about his people’s struggles have made Oliver Mtukudzi an Afropop superstar. Don’t miss this legendary musician, performing with his band, The Black Spirits!

March 28, 7 pm

this traveling exhibition, Annie Leibovitz: Pilgrimage charts a new direction for one of this country’s most revered and best known living photographers. it is, in a sense, a collection of portraits of subjects that have shaped leibovitz’s view of her cultural inheritance.

is organized by the Smithsonian american art museum. the bernie Stadiem endowment Fund provided support for the exhibition. the C. F. Foundation of atlanta supports the museum’s traveling exhibition program, Treasures to Go. For the georgia O’Keeffe museum, exhibition and related programming were made possible in part by a generous grant from the burnett Foundation. the georgia O’Keeffe museum also wishes to thank the following sponsors: Century bank, inn of the anasazi, mary & Charles Kehoe, los alamos national bank, new mexico gas, Santa Fe university of art and Design, Santa Fe Weaving gallery. the museum recognizes preferred hotels: bishop’s lodge; inn and Spa at loretto, Santa Fe; inn on the alameda; la Fonda on the plaza; eldorado Hotel & Spa. ANNie LeibOviTz: PiLGRiMAGe

$20–$40

217 Johnson Street Santa Fe 5O5.946.1OOO Learn more: okeeffemuseum.org

U N DERWRITI NG GEN EROUSLY PROVI DED BY

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

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

t h e l e n s i c i s a n o n p r o f i t, m e m b e r - s u p p o r t e d o r g a n i z at i o n

March 22 - 28, 2013

Partially funded by the City of santa fe arts Commission and the 1% Lodgers’ Tax.

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

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

(505) 989-3435

MIXED MEDIA

Jennifer Schlesinger-Hanson: Object Diaspora #27, #9, and #28, 2010, toned gelatin silver prints; above, Tony Abeyta, Chamisa Rains, 2013, oil on canvas

What’s past is prologue From early-20th-century modernists to 21st-century painters, artists have found inspiration in New Mexico. Curator and artist Lawrence Fodor explores the connections from past to present in a dynamic exhibition of new work that reflects the legacy of the modernists. Cumulous Skies: The Enduring Modernist Aesthetic in New Mexico features work by more than 25 artists, including Tony Abeyta, Tammy Garcia, Bob Haozous, and Dara Mark. Whether it is similarities between surface treatments in abstracted landscapes by modernist Jozef Bakos and in works by contemporary artist Darren Vigil Grey, or the influence of Agnes Martin’s grid work on artists such as Johnnie Winona Ross, Cumulous Skies considers direct and subtle impacts. Fodor writes, “There is a definite tenor of aesthetic sensibility based on the environment that is New Mexico and the continuum of artistic freedom that has made New Mexico a locus for inventive and highly creative people.” The work in the exhibit covers a spectrum of mediums — painting, sculpture, video, and photography — and a range of imagery, including representationalism and abstraction. Cumulous Skies opens Friday, March 22, with a 5 p.m. reception at the Santa Fe Arts Commission’s Community Gallery (inside the Santa Fe Community Convention Center, 201 W. Marcy St.). A PowerPoint presentation featuring material by author and art historian Sharyn Udall will play throughout the run of the show. The exhibition is free and runs through June 7. Call 955-6705. — Michael Abatemarco PASATIEMPO

CLYBOURNE

PARK March 22 & 23 Directed by Fred Franklin

Friday 8 pm Saturday 2 pm & 8 pm $20–$40/$10 students

A wickedly funny, fiercely provocative play about race, real estate, and the volatile values of each. Winner: 2011 Pulitzer Prize for Drama, 2012 Tony Award for Best Play

FUSIONTheatre Company Tradition // Innovation // Excellence

FUSIONnm.org

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

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

t h e l e n s i c i s a n o n p r o f i t, m e m b e r- s u p p o rt e d o r ga n i z at i o n

SEASON PRESENTING SPONSOR

ASPENSANTA FE BALLET

FUSION SANTA FE SEASON

Lensic Presents

BRUCE NORRIS

MARCH 29 & 30 7:30pm

The Lensic, Santa Fe’s Performing Arts Center

Veteran dancer Sam Chittenden’s final Santa Fe performances!!

Groups of 10 or more receive discounts of up to 40%! Call 505-983-5591 for more information.

Tickets: 505-988-1234 aspensantafeballet.com

CORPORATE SPONSORS 

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Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts.

March 22 - 28, 2013

STAR CODES Heather Roan Robbins

Celebrate Easter! March 31st Most Reverand Daniel Dangaran

Get out there in the stream of life. We get astrological green lights this week. Like crocuses coming up through the melting snow, new life reaches out for us. What gestated over the dark winter now comes alive. Plants rebel against winter’s death as Aries loans us the combative gumption to sprout and start anew. This fresh brash energy explodes this week with the sun, Venus, Mars, and Uranus all in fiery Mars-ruled Aries, while energizing Mars is hot-wired by a conjunction with electrifying Uranus. Aries energy has the innocent straightforwardness of a spring lamb and the firepower of rocket fuel. Although the general mood may be positive, we can expect a rash of volatile situations. Our instincts may call for a primal response to conflict. We do not suffer fools lightly. Spring fever can make us as lazy as a sleeping lamb, but we can tap into the ambient energy pool with any strong emotion. Allergies and headaches may improve with healthy self-expression. Luckily the quiet voice of intuition guides us with mental Mercury in sensitive, considered Pisces. As this exploratory, adventurous weekend begins, look for brilliant problem-solving and mechanical glitches that provoke the need for such brilliance. On Wednesday, a complicated full moon in Libra shines its lunar floodlights on any tension between our need for independence and for connection as well as between what we want and what is fair for others on the personal, international, and ecological levels. On Thursday, an exact Sun-Venus-Uranus conjunction can vivify a fresh approach to love, art, the freedom of women, and the anima within.

Meditation 8:45 AM

Come home to the traditions you love with the acceptance you’ve longed for!

Holy Eucharist 9:00 AM

Bishop Daniel Dangaran, Pastor, Presiding Rev. Mother Carol Calvert, Assoc. Pastor Madi Sato, Special Music

Information 505-983-9003

An Alternative Catholic Community. Independent of other Catholic Churches.

NO GIMMICKS E JUST GREAT CAR

Friday, March 22: Activity accelerates and willpower is activated as the moon enters extroverted Leo while Mars conjuncts Uranus; take healthy risks. Lead by empowering others; avoid clashing egos. Stay involved, particularly late afternoon as decisions are needed. The early evening is social but gets cranky later on.

“Holding your hand through the entire process”

Saturday, March 23: It’s an off-center, self-indulgent morning with karmic twists midday. Relationships are reactive and unsettled but also potentialfilled. There is volatile energy tonight. Enjoy the buzz.

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Sunday, March 24: Find a good cause to champion. It is easy to get prickly and fight under this Aries-stoked Virgo moon. Notice disputes about who’s in charge, and encourage autonomy with self-responsibility. Stay present and enjoy the magic around a confusing moment at dinnertime.

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Monday, March 25: Communication can be irrational unless we keep our hearts open. All will go faster with mutual respect and clear priorities as the moon trines Pluto. Work creatively with tension between generations or between authority and rebellion as Mars quincunxes Saturn.

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Tuesday, March 26: Fight a good fight and keep competition friendly as Mars sextiles Jupiter and squares Pluto. Enterprise and dominance games abound, and sabers will rattle — we don’t have to respond in kind. Later, as the moon enters Libra, seduce and persuade instead of coerce. Wednesday, March 27: The Libra full moon can break our hearts open; relationships quiver with potential and need fertilization and care. Even little interactions can feel fraught with importance; play them like a world in miniature, and make good magic.

Friday, August 10th Friday, February 1st to to Friday, Febry0th to Friday, December 2nd Friday March 22nd to Thursday, August 16th toThursday, Thursday, June Thursday, Fary 16th 7th Thursday February March 28th 4:30 –to6:30pm 4:30-6:30pm 4:30 to 6:30pm 4:30 6:30

Thursday, March 28: Anything is possible as the sun, Venus, and Uranus conjunct and awaken our hearts and our creative process. Mercury trines Saturn and calls for sanity and significance, so keep it real and potential-filled. The moon enters Scorpio tonight, sharpening our edges and bringing smoky, musky undertones. ◀

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PASATIEMPO

In Other wOrds Angles of Ascent: A Norton Anthology of Contemporary African American Poetry edited by Charles Henry Rowell; W.W. Norton & Company, 617 pages Is there good reason for an anthology of African-American poetry in today’s so-called postracial United States? It might have been necessary during Jim Crow segregation days, and imperative during the identity-conscious Black Arts Movement of the 1960s and ’70s — but now, beyond all that, shouldn’t poetry be just poetry? There’s a history of poets thinking that very thing. Langston Hughes’ contemporary and collaborator Arna Bontemps, in his introduction to his 1963 anthology American Negro Poetry, noted that writers of the Harlem Renaissance “felt an injustice in the critics’ insistence upon calling them Negro poets instead of poets.” Hughes himself was not one of these writers. In his introduction to The Poetry of the Negro: 1746-1949, written with co-editor Bontemps, he suggested that the common thread among the included poets was not specifically color but “the Negro’s experience in the Western world.” It’s the same thread — personal experience — that ties together all schools of poetry and their anthologies, whether regional, racial, masculine, feminine, transcendental, environmental, or urban. As Nikki Giovanni says in her ’60s-era poem “Nikki-Rosa,” “I really hope no white person ever has cause/to write about me/because they never understand.” Guilty. But a fair measure of understanding can be had from reading Angles of Ascent, an anthology of contemporary African-American poetry edited by Charles Henry Rowell, the founder of the African-American literary journal Callaloo. First to know, as Rowell says in his preface, is that there’s a lineage of African-American poetry, an aesthetic, and that what’s being written today springs from the Black Arts Movement and from the postHarlem Renaissance modernists who preceded it. The book is divided into two sections. The first, Precursors, includes three well-known modernist poets whose work spans the 1940s to the 1960s, the poets of the Black Arts Movement, and poets outside the movement. The second section, Heirs, begins with post1960s poets and is divided into three “waves” that roll into the present. The waves aren’t always easily delineated. Here’s Cyrus Cassells from the first wave: “When rice was our nemesis/and callous-making cotton, and the onus/of a Satan-hot tobacco/seemed to stain/our very souls”; and Crystal Williams from the third: “I tell you,/this sack,/this sock, thew & vein,/has been/a chronic problem, a condition.” The overlap is apparent; the distinction is not, especially compared to “precursor” Robert Hayden’s lines from decades earlier: “He strains, an awk-/ward patsy, sweating stains/leaping falling. Then — /silken rustling in the air,/ the angle of ascent/achieved.” The alliteration, the broken yet accessible beats, and the images of nemesis, chronic problems, and awkward ascensions all suggest threads pulled from the aesthetic’s whole cloth. The poets don’t fear stereotypes. “Negroes take to poetry as they do to music,” Bontemps wrote in the introduction to the 1963 anthology, and the varieties of style here — from formal to free-form and streetwise suggestions of rap lyrics — parallel the varieties of black music and sometimes use it as source material. Tyehimba Jess’ “leadbelly sings to his #1 crew” suggests Hughes’ “Ask Your Mama: 12 Moods for Jazz” in subject and form, right down to the side annotations that Hughes used to describe the poem’s musical inspiration. Dawn Lundy Martin’s prose poem “Negrotizing in Five or How to Write a Black Poem” avoids clichéd images completely while exploring a theme frequently shared by poets of all sorts: the body. Some poems unravel lifestyle as a means of fluffing language and culture. Terrance Hayes: “They have no idea/what I am. I might be the next Jordan-/god. They don’t know if Toni Morrison/is a woman or a man.” Poverty, or the memory of it, is a frequent topic. Tracy K. Smith: “We have rules:/Don’t flush/Unless necessary/And only four squares/Of tissue a day — .” Much of the poetry by the last wave of poets is universal in message by being specific, race aside, to modern experience. Introductions to each poet’s work, discussing the craft of poetry and written by the poets themselves, are fascinating and revealing. Some essays speak directly to racial considerations. Other resist them, as when Melvin B. Tolson calls for a “New Negro Poetry” that will spring from the work of Dylan Thomas, William Carlos Williams, and W.H. Auden, among the all-white others. A smaller number — can we call them postracial poets? — ignore color to go straight to addressing process. “During composition, I am less concerned with a potential reader’s stake in the poem than I am with my own sense of completing the movement from vague curiosity to palpable discovery,” writes Tracy K. Smith. Some hint at racial perspectives with language while expressing colorblind truth. “Poetry is the quest for freedom, born of silence and stutter and song (shackled tongue, but hopeful tongue),” writes Sharan Strange. The least interesting feature of the book is Rowell’s introductory essay, “Writing Self, Writing Community.” While championing the “black aesthetic” of African-American poetry, it discusses the dichotomous choice that black poets face: whether to emphasize the racial or the individual component. The argument that this is a false choice, though worthy, is better made by the poems themselves. Angles of Ascent proves Rowell’s black aesthetic. It brings together the work of fine, mostly unknown writers with that of accomplished and celebrated ones in a nonacademic collection that mines individual experience to make poetry that is smart, observant, honest, imaginative, and universal. — Bill Kohlhaase 12

March 22-28, 2013

book reviews

SubtextS

Take two: poets Arda Collins and Kathryn Ugoretz Some poets have a way of making one startlingly candid line upend all that comes before it, forcing a double take from the reader, a reevaluation of what you thought was happening, and a more cautious process forward. Arda Collins, winner of the 2008 Yale Series of Younger Poets competition for her collection It Is Daylight, uses a sudden, revealing line to move an emotional moment forward — to a conclusion or to a cliff. She strikes a narrative tone, such in the poem “Garden Apartments,” which is about the most mundane of days: it is raining; the narrator is driving. Later, on a walk, she passes a young couple on the street, and the girl smells of shampoo. The speaker begins to consider loneliness and at the end declares, “I was so ugly, I wasn’t sure I’d even be able to drive,” allowing the reader to see the dark truth of her unease. Kathryn Ugoretz, author of The Courtship and Other Tales and coordinator of Guts y Girls at the Santa Fe Institute, writes with equal psychological intensity. She tells brutal stories in short lines, as in her book’s title poem, which details a date rape through which the narrator loses her virginity: “He said he wanted to open me up/and watch my heart beat. I despised/my innocence, his blind/hunger for it.” It is bracing work with deceptively spare construction that demands much of the reader. The poets give a reading at Collected Works Bookstore (202 Galisteo St., 988-4226) on Thursday, March 28, at 6 p.m., as part of the Muse Times Two poetry series in which out-of-town headliners are paired with poets from New Mexico. — Jennifer Levin

Sugar in the Blood: A Family’s Story of Slavery and Empire by Andrea Stuart, Alfred A. Knopf/Random House, 358 pages The disastrous effect of sugar on our bodies is evident in thousands of obese Americans raised on 21st-century junk food and struggling with diet-related diseases such as diabetes. In her history of the rise of King Sugar, author Andrea Stuart establishes the way the mass production of the commodity once reshaped cultural norms, bending them to allow the accumulation of wealth at the expense of an entire race. Her story is a finely honed family history in which she uses her own lineage to focus on the plantation economy of Barbados. This easternmost island of the West Indies became the first slave society in the British Americas, one organized around an “elaborate system of repression maintained … by coercion and cruelty.” Stuart also explains how migration to Barbados for the production of sugar — voluntary by Europeans and involuntary by slaves — precipitated a worldwide redistribution of power. Sugar was then as oil is now — the commodity that drives geopolitics. Once available only to the elite, sugar had infiltrated the daily lives of even the lower classes by the 18th century — sometimes not as food but in the form of rum, one of sugar’s most lucrative byproducts. Stuart’s nonfiction account is loose enough that she can build long-dead characters into thinking, feeling people. Her ancestors’ fingerprints remain on the island, decades after its economy has shifted to tourism and its plantations have faded into romanticized icons of an era ready to be forgotten. She draws a clear line through 10 generations to her front door, starting with English colonist George Ashby, who arrived on the island in the 1630s. His descendants would rise to planter aristocracy the same way others did — on the backs of platoons of African slaves. The men would father vast numbers of children, recognizing some as their own and leaving many others to dwell in the hell of servitude. As generations of mixed-race Creoles on Barbados partnered and gave birth to new generations, the color of their skin remained a determining factor in their success. Stuart — known for her research through her first book, about Napoleon’s Creole lover Josephine — makes it clear when she is speculating. For example, she writes, “It is impossible to know whether George Ashby was a severe or considerate master, but the island’s planters had a poor reputation in this respect.” Later she notes that his descendant Robert Cooper Ashby most likely used the same “intimidatory violence that most planters employed.” If America’s worst notion of slavery drifts among tufts of white cotton in the South, Stuart seeks to inject an even worse reality, one that some compare to Dante’s inferno. Life for Afro-Caribbeans on sugar plantations, she writes, was “appreciably harsher” than the lives of slaves on mainland North America. Stuart spends most of the book with the two patriarchs before she moves to the often nameless women whose wombs became instruments of slowmoving social change. Over decades, mixed-race people finally began to disrupt “the binary opposition between black and white, a polarization that depended on a perception of skin colour as immutable.” Even so, Stuart writes, “My colour still enters the room before I do.” Modern society doesn’t appreciate or recognize how a captured portion of our human family produced the colonial-era cash crops, such as sugar, tobacco, and cotton, that built today’s cultural institutions, she argues, or how we all remain complicit, responsible parties, with histories tied to both the oppressor and the oppressed. — Julie Ann Grimm

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SPRING BOOK SALE

March 23 & 24, SouthSide Library, 6599 Jaguar Drive. All hours open to the public: Sat. 10-4, Sun.1-4 Saturday -- Discount books ($1 for hard cover and paperbacks are 3/$1) plus some specially-marked books of higher quality. Sunday is Bag Day -- $3 for all you can stuff in a bag (provided).

SponSoreD By the FrienDS oF the SF puBlic liBrAry.

PASATIEMPO

Jennifer Levin I For The New Mexican

REALITY SHOW Author Russell Banks gives us life without the sugarcoating

Marion Ettlinger

????. ? - ?, 2012

ome people cannot read books by Russell Banks. They are too dark and sad to bear. Children are neglected, molested, and beaten; people kill and die; some destroy their own lives. Banks is unapologetic. “I’ve heard people say that, of course, and I’ve read it,” he said in a recent interview with Pasatiempo. “I wonder how on earth they can watch the television news or read a newspaper without closing it or walking away. It’s reality. It’s what surrounds us. I watch the news every day, and by comparison my novels and stories seem positively uplifting. Almost comical. I really think that when people say that about my books, they’re describing their own desire to not face reality. Which they are perfectly entitled to do. But they can’t blame me. That’s their decision.” In the world of a Russell Banks novel — which might be set in upstate New York, Haiti, Jamaica, Africa, or Florida — people wrestle with their pasts. Their contexts in place and time, especially regarding socioeconomic class, matter. What their parents did to them matters, even though outside of literature, the world often demands that we put our pasts behind us and “get over it.” “William Faulkner said, ‘The past is never dead. It’s not even past,’ and I think I agree,” Banks said. “The past lives with us. It lives on into the present. In a funny way, the past only exists in the present.” Banks reads a new, unpublished short story on Wednesday, March 27, at the Lensic Performing Arts Center. He appears as part of the Lannan Literary series. Stona Fitch, founder of Concord Free Press, which publishes and distributes novels in exchange for donations to charity, is in conversation with Banks after the reading. In addition to working on a short-story collection, Banks is involved with two film adaptations of his books: Rule of the Bone with Debra Granick, who wrote and directed Winter’s Bone, and The Darling, which stars Jessica

details ▼ Russell Banks with Stona Fitch, Lannan Literary event ▼ 7 p.m. Wednesday, March 27 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, $3; 988-1234, www.ticketssantafe.org

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Chastain (Take Shelter, Zero Dark Thirty). Banks is signed on as executive producer for both movies. Banks’ most recent novel, Lost Memory of Skin, was published in 2011. It follows a 22-year-old protagonist called the Kid, who is on the National Sex Offender Registry. The specifics of his crime are revealed over the course of the novel, which features a cast of other sex offenders and an iguana. This isn’t the first time Banks has covered sexual abuse. The Reserve (2009) deals with its ramifications into adulthood and the terrible toll of exploitation and secrecy. The Sweet Hereafter (1991), which was made into a critically acclaimed film by Atom Egoyan, weaves incest into the story of a tragic bus crash that kills many children in a small town. The Sweet Hereafter is told in first person by four different narrators, each of whom rounds out the story by telling readers secrets that are kept from others. Banks’ use of perspective and point of view is one of the hallmarks of his novels. Even when told in the first person, the books have echoes of omniscience, yet they retain intimacy and immediacy. “When I write a first-person narrator, the first thing I do is figure out who that person is talking to. There is a quality, a kind of garrulousness maybe, in some of those narrators, because they’re explaining to a listener as best they can what they know of truth,” Banks said. In the case of Bone, the teenage narrator of Rule of the Bone (1995), who runs away from an abusive home and lands in Jamaica, Banks asked himself when a 14-year-old boy ever tells the truth. “Very rarely — we know that. But I remember myself. I told the truth about what I was afraid of, what I had truly done, what I wanted to do, only when I was talking late at night in the dark to my younger brother, when we shared a room. I pretended to be Bone’s brother. Once I had an idea of who he was talking to, I knew what he would say and what he would leave out, what tone of voice he would use.” Banks grew up in Massachusetts and New Hampshire. He began writing in the late 1950s and came to mainstream attention after the publication of Continental Drift in 1985. He is a recipient of the Ingram Merrill Award, the John Dos Passos Award, and the Literature Award from the American Academy of Arts and Letters, and he has twice been a finalist for the Pulitzer Prize. He taught undergraduates at Princeton University until 1998. He currently spends winters in Miami Beach and summers in the Adirondacks in upstate New York with his wife, poet Chase Twichell, The Adirondacks is the setting of the majority of Cloudsplitter (1998), an epistolary novel about the controversial abolitionist John Brown, as told by his son, Owen. In the author’s note that prefaces the book, Banks emphasizes that it is a work of imagination, not to be read as an attempt to expand the real-life history of the players. But it is tempting to take Owen’s words — as invented by Banks — as gospel, since he seems to know so much. “A novel’s greatest strength is its ability to present to us and make real the subjective inner life of someone we could never know otherwise. In terms of perspective, I wasn’t trying to get inside Brown. I was trying to get inside a person who would love him on the one hand, but also might find his life hurt severely in many ways by that love,” Banks said. Given the trials and tribulations Banks puts his characters through, it would be natural for the narrative goal to be redemption, but redemption is an overused phrase in literary criticism, and its meaning — release from sin — is malleable. Banks doesn’t hold it in high regard. “I think what’s important to me is the possibility of change. Most of my characters struggle to change over the course of a novel or short story. They don’t always succeed, but the struggle is, to me, an important one, one worthy of our respect and our attention. Some of them succeed — the younger ones more often than the older ones — but that’s true of life. Or at least they come to an awareness of their limitations and flaws, and I guess that’s as close to redemption as one can hope for.” ◀

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PASATIEMPO

The Grand Island Independent/Barrett Stinson

Roger Welsch

Rob DeWalt I The New Mexican

Roger Welsch finds his inner Indian

hen author and University of Nebraska adjunct professor of anthropology Roger Welsch was a young boy, “playing Indian” was a fairly normal routine. At the time Welsch accepted the Native Americanas-noble-savage stereotypes he found in books and magazines. All the while, unbeknown to him, he sat next to a Native American girl in school. His fascination with Indian culture never wavered, and in his new book, Embracing Fry Bread: Confessions of a Wannabe, Welsch tells how he came to be an adopted member of the Omaha and Pawnee nations. “I’ve written some serious books in the past, partly because of my academic background,” Welsch told Pasatiempo by phone from his Dannebrog, Nebraska, home. “I’ve been drawn to everything from antique tractors and outhouses to dogs. We folklorists tend to be eclectic, which is better than being dilettantish, I suppose. But all my life I’ve been interested in and found friends in the Native American community. Since I was an undergrad at the University of Nebraska some 60 years ago and started working with Native Americans, I have found that there is something important, as if it’s a necessity, in my relationships 16

March 22-28, 2013

Embraceable you

with indigenous communities. So at 76 years old, I decided it was time to really sum up, in part at least — especially for my friends and family — the kinds of experiences I’ve had and the impact that Native Americans have had on my life.” The author of 42 books, many of them humorous looks at life (such as Golden Years My Ass: Adventures in Geriatric Indignity, a witty treatise on aging), Welsch takes a more serious approach in writing about the Indians of the Northern Plains. However, there’s plenty of humor — much of it self-deprecating and more akin to tribal wit — in Welsch’s depictions of his admittedly sometimes-obsessive attitudes toward Native life and culture. Welsch initially wanted to use the subtitle of the book as the main title. “I’m careful to pronounce the word wannabe as wahh-nahhh-bay,” he joked. “An Indian friend told me it sounded much more dignified — like a casino. But I’m not a wannabe. I explain that I’m actually a gottabe, because I’ve got to be what I am. I haven’t sought out anything in the Indian community. Instead, it sort of seemed to come to me.” One section of the book is titled “The Contrary Lesson of the Prime Directive” — an allusion to the Star Trek Starfleet Command code of ethics that prohibits

symbols and artifacts. “That type of misappropriation is the real nature of the despised wannabe among the Indians here,” he said. “It’s using the sweat lodge, sage, or sweet grass — or even tobacco — without understanding the deep meaning behind their uses and ceremonial importance in some Native American communities. It’s carelessness. And that’s another reason I wrote the book: to suggest that people who admire or think they admire Native culture not simply go to powwows, which are a lot like human zoos for outsiders, if you ask me. “You can’t take the feathers, beads, and bells without spending more time learning more about the culture and trying to be more sensitive to it. Indians are very good anthropologists, because they have to deal with our mainstream culture all day, all the time. But non-Indians have a tougher time because they can almost dismiss Native Americans as being invisible if they choose to. George Will wrote a column recently about how wonderful homesteading was, because it let people from all over the world come onto the Plains and make something out of the empty wilderness. Almost no word about the tens of thousands of Indians who already lived here and considered it a fertile and sacred land. Will just ignored them. They were forgotten. Invisible. And it’s in that conspicuous invisibility of the past, both in the press and in textbooks, that the deep meaning of Native symbols becomes lost on us all.” In the last five to 15 years, more Pawnee have been returning to their native land in Nebraska. Welsch explained that a legal dust-up with the Nebraska State Historical Society some years ago over the retrieval of Pawnee bones for repatriation and reburial brought many Pawnee back to the state. They reacquainted themselves with the land and the river of their ancestors, and within the past five years, some residents — including Welsch and his wife — have deeded their land to the tribe. The quick tempo of the Pawnee resettlement of the Northern Plains has taken Welsch by surprise — happy surprise. In Embracing Fry Bread, he recounts numerous moments of cultural ignorance in his home state and beyond that continue to stand in the way of non-Natives truly understanding, and thus accepting and appreciating, certain Native life ways that he has been given access to through his delicate wannabe approach. Welsch writes in defense of his wannabe ways: “I have a feeling that one of the factors in my own long and serious association with Indians stems from my discontent with mainstream Anglo American culture, empty religiosity, and weak family structure and a need to be with the oppressed and abused — that is, it is essentially a political motivation. Is that acceptable? I don’t know. There’s not much I can do about it. That’s who I am.” ◀ “Embracing Fry Bread: Confessions of a Wannabe” by Roger Welsch is published by University of Nebraska Press.

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interference with the natural evolution and development of any alien culture (unless an earlier interference needs to be righted). Welsch writes, “It has been my experience in my own life ... that the flow of information and change is not from the visitor toward the other culture but exactly the reverse. It is the visitor who comes away changed. If the visitor finds it possible, in the end, to come away at all.” As a visitor, Welsch ventured (with permission) into a very different society and culture and found himself profoundly changed. If he was going to commit those changes to paper, he needed to get it right the first time. “I’ve published many books, but this one took the most amount of time, because I really wanted to be careful about how I presented the information contained in it,” Welsch said. “I needed to nail it, precisely because I did not want to offend my Indian friends and relatives. My primary audience is the non-Indian community, because I want to tell them about my experiences and why they should perhaps pay more attention to Native American culture and life. I was concerned about what my Native American community would think. To my immense relief, I haven’t had any intense criticism except about the use of the word wannabe in the title.” Actually, some of Welsch’s Native friends worried that he might insult his Anglo friends and readers by using a term like wannabe and that perhaps it was an unnecessary agitation. “And as I told them in my response, I used the term wannabe to claim ownership of it, thereby defusing it, like all cultures do. There’s always this secreted/exoteric thing where words start out as insults, sometimes profoundly bitter ones, but then within the target culture, the word is adapted and used as a word of pride.” Welsch writes a bit about his love and respect for the singularity of Native American humor, and he explained that it has hugely affected his own brand of wit as a storyteller. “My father was a storyteller, my wife has a great wit, and many of my stories deal with tall tales and humor,” he said. “One of the things I think is the least understood about the Native American community is the remarkable — if often esoteric — sense of humor that exists within it. And I like that kind of thing. You have to know a bit about whom you’re with before you can understand what they’re laughing about.” Welsch relayed an experience he had playing the Omaha hand game, a tradition that requires plenty of guessing. The first time he played the game with some Omaha friends, it took place at a municipal swimming pool and bathhouse. “Every once in a while, an Omaha would go rattle the chain that operated one of the showers,” Welsch explained. “Only later did I find out that, in Omaha culture, if you’re a really bad guesser, it’s a sign that you haven’t taken a shower or a bath lately. And then there’s the jokes, which sometimes can and are meant to dig at other Indian nations. I have [an adopted] Lakota brother, yet I’m deeply involved with the Pawnee where I live. There was a rivalry between these two tribes that ran very, very deep. There still is a rivalry, although it’s friendly. But my Lakota brother still often says that the way his ancestors started a fire while out on the cold Plains was by rubbing two Pawnee together.” A woman once came through Nebraska writing a book about Indian harvest festivals. She had collected stories about the Cherokee, the Omaha, the Winnebago, the Ponca, and the Pawnee — but she didn’t have anything yet from the Lakota. “Well,” Welsch said, “the Lakota prided themselves on not being farmers, exactly. They were nomadic hunters and warriors and often raided the Pawnee. But the woman made the mistake of asking my Lakota brother when the Lakota harvest festival was anyway. And he replied, with a straight face, ‘Oh, about two weeks after the Pawnee harvest festival,’ which, while the Pawnee probably don’t find it that funny, is historically accurate.” Welsch’s sensitivity to the history and culture of the Northern Plains tribes drove him to discuss at some length the misuse of Native American

Rock Hudson in Taza, Son of Cochise (1954) PASATIEMPO

Bill Kohlhaase I For The New Mexican

EMILY RAPP WRITING THROUGH THE GRIEF

riting about obstacles, hardships, misfortunes, tragedies — what to call the miseries inflicted so unevenly on us? — isn’t the only way to deal with them. But it’s an honest way and can be the most revealing. Finding the words to explain what we suffer, working through the thoughts these words provoke, and reconciling them with our philosophies, beliefs, and identities even as circumstances evolve and change us — this may grant some solace. If done deeply, respectfully, and seriously, this process may lead to something more — to revelation. And when the writer chooses the right words and discards the wrong ones, the work benefits not just him or her, but everyone else. Early on in her book The Still Point of the Turning World, Emily Rapp chooses the word agony to let us know what she’s suffering. The book recounts Rapp’s experiences with her son, Ronan, who was born with Tay-Sachs, a rare and fatal degenerative disease that typically claims the lives of its victims by age 4. (Ronan died on Feb. 15, just ahead of his third birthday.) On Tuesday, March 26, Rapp, who teaches at the Santa Fe University of Art and Design, reads from the book at Collected Works Bookstore. Rapp would question my use of the word victim. Ronan, she suggests, isn’t any more a victim than any of us. Mortality is all we really know of life and the one thing we all share. That’s the central revelation that Rapp comes to. All through the book, you can sense Rapp wrestling with the right words. What do they really mean? Are they fair descriptions, masks, or insults? This isn’t to suggest that reading her memoir is a struggle. On the contrary, it reads smoothly, the ideas coming from places she describes knowingly, the reasoning sensible. She plainly untangles problems of metaphysics and semantics: how to look at the things life holds, difficult things, things that embarrass us or that we fear. But she does wrestle, confronting the notions we have of loss, of grief, of sympathy, taking down the very meaning of the words we use in such situations and finding them, often enough, wanting. Rapp is practiced at this kind of deep, sometimes uncomfortable examination. Her first book, Poster Child: A Memoir, is a thoughtful telling of growing up with a birth defect that resulted in the amputation of her left leg at a young age. It’s the story of a child as she becomes conscious of the world and seeks, like all children, an identity. But her coming of age has special circumstances. She learns to cope with an evolving array of prostheses, acceptance and rejection by her peers, a series of painful surgeries, and the awkward sexual desires that all teenagers experience 18

March 22-28, 2013

but that are complicated by her specific self-consciousness. Her father is a minister, and questions of healing and the promise of being made whole after death shadow her childhood. Her story is all about attention: craving it, gaining it, holding onto it, avoiding it. At the age of 6, Rapp was chosen to represent the March of Dimes in the Wyoming county where she lived. She became a role model, a source of inspiration, and a symbol of bravery. The attention went to her young head. “I thought that as long as I was inspiring and fantastic, as long as I compensated for the missing leg by being smart, cute, intelligent, and fun, I would have a normal life. I would survive in the world. I even thought, for a long time, it would be easy.” In the book’s last pages, Rapp reveals that her disability — a word she is not afraid to use — is the result of a noninherited defect in her DNA. When she learned this, she realized that she cannot “argue with the realities of creation.” That realization surfaces again in The Still Point of the Turning World. She revisits many of the same subjects addressed in Poster Child: God, luck, the “why me?” questions, and the well-intentioned but often hurtful role of others. “One of the hardest parts of living with a disability is dealing with other people’s responses to it,” she writes. Worst of those is the idea that “what people view as the ‘tragedies’ of others makes them feel better about themselves. ... it upset me to think that Ronan and I had no purpose at all in this world other than to serve as reflections for situations other people feared.” Most of us think that avoiding hardship — the birth defect, the accident, the disease — has to do with luck (although many of us also credit ourselves, often mistakenly, with making “right choices” to avoid such things). After asking what lucky means and running through a list of popular applications and manifestations (“It’s an overpriced clothing brand and a silly magazine devoted to the ‘art’ of shopping”), she hits at the truth: “Luck is a word (just a word) that we use to describe an event that’s already happened. The word is wholly retrospective.” Guilt. She doesn’t wrestle with the word itself, but it becomes a nagging presence. There’s a prenatal test for Tay-Sachs. Others want to know why (not if) she wasn’t tested. Rapp can’t recall if she was. Finding out complicates the dilemma of causation. Were there better choices to be made? Again, there is no arguing with the realities of creation, no matter how inexplicable. Grief, separate from guilt, can’t be avoided. How do you describe it? In a fourpage chapter, Rapp offers a litany of definitions, some that seem to trivialize the emotion (“Stinky air fresheners with names like ‘Summer Daffodil’ and ‘Sporty Grape’) and others that are revealingly descriptive (“An endless conversation

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with past and future selves in shouts and whispers”) or deeply inspired (“endlessly resourceful”). Rapp not only writes well, but she reads well, too. She gains meaning and solace from Gerard Manley Hopkins, Cormac McCarthy, and J.D. Salinger, among many other poets, novelists, and philosophers. Theologians get their say and are often disputed. She quotes Thomas Mann (“What was life? No one knew”) and novelist J.M. Coetzee (“That, finally, is all it means to be alive: to be able to die”). Writing in an attempt to deal with agonies of this sort can be a selfish act, and Rapp doesn’t entirely avoid confusing readers as she writes through her experience. The section addressing her prenatal testing seems indulgent and drawn out, especially since we already know the outcome. And her attempts at escaping her grief — a disappointing visit to Ojo Caliente hotsprings resort and reiki healing — seem trivial compared to what she gains from hospice nurses and parents of other Tay-Sachs children. The dragon becomes a symbol of the mothers of terminally ill children — mothers who must navigate uncharted waters, whose grief “is primal and unwieldy and it embarrasses people.” Dragons are fierce, as Rapp feels she must be. “Dragons live forever, but not so boys and girls,” she reminds us in one of the book’s most heartbreaking lines. In that, she identifies all of us with her son. Ronan’s presence in the book — his looks, his sighs, his wavy hair and “impossibly long” eyelashes, his coos and wiggles — is palpable. Rapp examines his life in the same way all mothers contemplate their children’s lives with the future’s uncertainty. But Rapp does it fearlessly — fiercely is one of her favorite words — and without shame “What can be learned from a dying baby?” she asks. So much, so much. ◀

details ▼ Emily Rapp reads from The Still Point of the Turning World ▼ 6 p.m., Tuesday, March 26 ▼ Collected Works Bookstore, 202 Galisteo St., 988-4226

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PASATIEMPO

TERRELL’S TUNE-UP Steve Terrell

He’s about a mover

This is the closest thing you’re going to hear to a new Sonic Youth album in the foreseeable future. I’m talking about the new self-titled album by a band called Chelsea Light Moving, headed by Sonic Youth singer-guitarist Thurston Moore. The group is named after a New York moving company that was run by composer Philip Glass before he got famous. Moore and bassist Kim Gordon announced in late 2011 that their marriage was over and that the band, which had been exploring the furthest reaches of feedback screech for 30-some years, would be going on “hiatus” after it finished its tour. Except for an avantgarde project Moore and Gordon did with Yoko Ono that was released last year, we haven’t heard much of a peep from them since. But earlier this month, Moore and his new cronies came banging in with this album. Had I heard songs like “Burroughs” or “Sleeping Where I Fall” without first knowing anything about the project, I would have just assumed it was some Sonic Youth material I’d never heard before. In fact, it’s a huge relief to old fans that it sounds nothing like the folky, heavy-on-the-strings, look-ma-no-feedback, airy-fairy Demolished Thoughts, Moore’s most recent solo album. With the opening song, “Heavenmetal,” I was afraid Moore might be heading back toward that Demolished Thoughts state of mind. There are no harps or violins, just a laid-back acoustic tune with New Agey proclamations like “Be a warrior. Love life.” I guess he’s just trying to align his chakras and be the best Thurston he can be. Luckily, he and the band come roaring

March 22-28, 2013

‘Chelsea Light Moving’ is an enjoyable romp for those who have followed Thurston Moore all these years. If Sonic Youth can’t go home again, this is a tasty, if not completely satisfying, consolation prize. back in the next song, “Sleeping Where I Fall,” which starts off quietly but slowly builds to SY-like intensity. One of my favorites is the roughly eightminute tune “Alighted.” It goes through all sorts of changes in tone and tempo, including a fierce brontosaurus-rock interlude right before Moore’s vocals come in (nearly halfway through the song). This is followed by “Empires of Time,” another excursion into discordant craziness, with Moore declaring “We are the third eye of rock ‘n’ roll!” I’m not sure who the pounding “Groovy & Linda” is about, but it is centered around the line “Don’t shoot — we are your children.” It takes this old hippie back to the days of Kent State. In “Burroughs,” Moore pays tribute to Naked Lunch author William S. Burroughs, singing, “Ah, Billy, the sweetest drug is free/Will you, Billy, shoot it into me?” “Mohawk” features Moore reciting poetry instead of singing. Toward the end of the track, he invokes the memory of the late singer of The Germs, an early Los Angeles punk group: “Darby Crash came back from England with a mohawk, though he might have referred to it as a ‘Mohican’/Your laugh stays with me. It’s not the first time.” The memory of Mr. Crash is further honored in the last song, a high-charged cover of The Germs’ “Communist Eyes.” Chelsea Light Moving isn’t exactly an album for the ages. Though Moore’s bandmates are all fine musicians, guitarist Keith Wood is no Lee Ranaldo. And if Samara Lubelski has anything resembling Gordon’s snarling aura, it doesn’t

come out on the record. A larger problem is that with Moore handling all the vocal duties, old fans probably will miss the vocal variety of his old group, in which Ranaldo and Gordon also contributed lead vocals. But it’s an enjoyable romp for those who have followed Moore all these years. If Sonic Youth can’t go home again, this is a tasty, if not completely satisfying, consolation prize. (See http://store.matadorrecords.com/chelsea-lightmoving.) Sonic nostalgia: Sonic Youth was a wonderful thing. The group sprung out of New York in the early ’80s, heavily influenced by the avant-garde post-punk No Wave scene. It started getting mainstream attention with 1988’s Daydream Nation, rode the Nirvana-era alt-rock scare and braved on, true to its vision for nearly two more decades. Like The Beach Boys, who never changed their name to The Beach Men, Sonic Youth remained forever Youth well after the band and most of its fans reached middle age. I got to see the group four times in four different cities. I caught the musicians in Denver in 1995 when they were headlining Lollapolooza and working their then-current album, Washing Machine. Two years later, I was at the Freedom Tibet show in New York, where they played mostly long instrumentals. The following year, I caught them in Austin at South by Southwest, where they previewed material from A Thousand Leaves. The show was far better than the album. In the next couple of days, I happened to be in two different barbecue joints where Sonic Youth was eating. (I wasn’t stalking, honest.) But the best Sonic Youth show I ever saw was in Santa Fe in the summer of 1999. In a tent. It was for SITE Santa Fe’s third international biennial, back in the days when SITE had artsy rockers for fundraisers during that event. (Patti Smith and Laurie Anderson had performed in connection with previous biennial shows.) The night before, in Austin, someone stole Sonic Youth’s rented Ryder truck full of instruments and equipment, so the band had to rent all of that to perform. Then Moore got irked when he found out that tickets for the show were $50, which would exclude a lot of fans. The group demanded that kids from Warehouse 21 next door be let in for $1. (That’s what I remember. Some say the kids were let in for free.) Suddenly the tent was shaking with dozens of sonic teens rocking out, and the band seemed to feed off that injection of energy. ◀

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PROMOTIONS

caLendar of events THURSDAy

10 a.m. to 5 p.m., Jemez Rooms dreamsclubnm@gmail.com Informational workshops, resources and a fundraiser for people with disabilities, student leaders and those going into social and health services. Free.

1 OF 3

SFCC Planetarium: Backyard Astronomy

6 12 MUSTANG MADNESS

8 p.m. to 9 p.m. 505-428-1744 Enjoy a live presentation in the planetarium followed by an outdoor viewing of the night sky, if weather permits. Please see sfcc.edu for other events during this month. SATURDAy

At 10:30 pm all the qualifiers will spin the prize wheel to see who will drive home in a brand new Mustang!

Algae(Spirulina) Microfarming Class

9 a.m. to 4 p.m., Jemez Rooms 505-428-1270 Join two of the algae industry’s leading experts as they review small scale spirulina algae microfarming. Register at www.sfcc.edu or e-mail gordon.fluke@sfcc.edu. THURSDAy

Carbon Economy Series: Women’s Gardener, Farmer, Rancher Training

April 12 to April 15, Jemez Rooms 505-819-3828 A conference for women farmers and ranchers interested in improved quality of life, profitability and land health. Visit carboneconomyseries.com. THURSDAy

Santa Fe Higher Education Center Ground Breaking Please visit hec.sfcc.edu for more info.

505-428-1501

SFCC Fantastic Futures Career Fair

March 1 - 30

MUSTANG MADNESS GivEAwAyS will bE hElD oN MARCh 16, 23 & 30. Qualifying drawings at 6 pm, 7 pm, 8 pm, 9 pm and 10 pm.

Disability Awareness Fair

10 a.m. to 2 p.m., Main Hall and Campus Center 505-428-1406 Dress your best, bring your resume and be ready to make a great first impression with potential employers. Visit www.sfcc.edu/ career_services or e-mail patty.armstrong@sfcc.edu.

eartH weeK events

22 26

MONDAy

FRIDAy

Resource Fair and Bike Ride

10 a.m. to 2 p.m. 505-428-1266 Join our bike ride from Sirius Cycles at Rodeo Plaza to SFCC and visit with college resources, local nonprofits and others. FREE.

Solar Fiesta

On campus. Exhibits and workshops on renewable energy topics for children, homeowners and job-seekers. FREE.

SPECIAL AND ONGOING EVENTS Player receives one entry for every 30 points earned on their Lightning Rewards card, March 1 through March 30, 2013. Drawings will be simulcast at Cities of Gold. Management reserves all rights.

Summer and Fall 2013 Credit Registration Begins

505-428-1270

New Kids Campus Summer Program

505-428-1380

SFCC Strategic Planning

505-428-1765

Summer registration for New Mexico residents begins Monday, April 15 and fall semester registration begins Monday, April 22. Register at www.sfcc.edu.

Activities and field trips to areas of interest on the SFCC campus. Registration required. Visit kidscampus.sfcc.edu. For information on the college’s new strategic planning process, please contact Yash Morimoto at yash.morimoto@sfcc.edu.

HeLping students succeed. serving our community.

Individuals who need special accommodations should call the phone number listed for each event.

Learn more BuFFalOThunderReSORT.com

877-T h u n d e r

505-428-1000 www.sfcc.edu PASATIEMPO

PASA REVIEWS

Lawrence Clark Trio, presented by the SFé Jazz Club Festival The Den, March 15

His own sweet way

axophonist Lawrence Clark appeared at the first SFé Jazz Club Festival some eight years ago and has returned several times since. Most notably was the year he played with Rashied Ali. Ali was John Coltrane’s last drummer, famously heard as the only other musician on the revered saxophonist’s exemplary document of free play, Interstellar Space. Clark was the perfect choice to team with Ali for that Santa Fe concert. His sound, in both tone and attack, was eerily reminiscent of Coltrane’s, and his approach to the music was just as unbridled. Clark’s performance with bassist Eric Wheeler and drummer Kush Abadey on March 15 at The Den (located beneath Coyote Café and renamed Birdland for the event) showed that he still makes references to Coltrane’s influence but has largely developed a sound of his own, one that brings a certain phrase-wise lyricism to even the most unfettered play. The most obvious nods to Coltrane came in the opening number, Bronislaw Kaper’s “On Green Dolphin Street,” a song the late tenor titan recorded more than once with trumpeter Miles Davis. Clark’s soft yet fiercely delivered tone and his way of repeating phrases with slight variations, building tension as he went, recalled his predecessor’s spiraling, inquisitive way with a solo. Without a break, the tune morphed into a Clark original, one of its lines suggesting the light, lilting theme of “Tangerine” but with a minor-key resolution. Here, Clark seemed to channel Sonny Rollins, repeating lines note for note even as he

varied their dynamics. He dropped in quotes from other tunes and generally pumped sound into every cranny the music offered. From there, Clark became his own man, making only slight references to his forebears. He slid up a step into a phrase’s final tone, a wonderful way to signal’s a line’s end. But what came before that final note was dense and uniquely melodic, as if the saxophonist had several songs in mind at once. He let sustained tones teeter on Abadey’s driving rhythms before letting them cascade from that perilous perch. At his freest moments, he showed willful patience as he strung notes together, something that established a calm center inside a storm of bass and drums. Resolution of these fiery moments didn’t come with any grand flourish but with a subtle close that signaled a return to a pleasant melodicism. Clark’s rendition of Dave Brubeck’s “In Your Own Sweet Way” stood as a symbol of the saxophonist’s approach. After an attractive statement of the song’s endearing theme, Clark went his own way, maintaining the tune’s melodic attractions while stringing together compact, intense lines. At one point he slowed from a flurry of 16th notes to a casual canter over Wheeler’s speed walk and Abadey’s crushing press rolls. He followed with wails and overtones delivered with a confident assurance, strikingly different from the gnashing and crying associated with Coltrane when using the same technique. “Lourana,” a Clark original, was exotic and bracing, not the music of someone crying for deliverance but of one almost there. Wheeler and Abadey were strikingly assured despite the generation between them and their leader. Wheeler reflected something of Clark’s method, finding the lyricism in his play even when delivering double stops and passages played at a furious tempo. Despite his youth, Abadey displayed a deep grasp of rhythmic history, referencing the bop beats of Art Blakey, the

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Lawrence Clark

polyrhythms of Elvin Jones, and the funkiness of Jack DeJohnette, even as he split rhythms and snapped out breaks in ways that were unique to him. At one point, while Clark was spinning off corkscrew tenor lines, Abadey broke into a slappy classic jazz beat that seemed to meld the past with the avant-garde future. Another time he broke into a rock-steady 4/4 tempo that contrasted with Clark’s Middle Eastern sound. The standing-roomonly crowd broke into shouts of approval. — Bill Kohlhaase

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PASA TEMPOS

album reviews

Petra haden Lovers and refLections Swords Petra Goes to the Movies (self-released) From the moment (anti) Film lovers will recognize the first keyboard and vocal strains ring the themes in this clever collection, but out on the opening title track of Swords, it’s it’s guaranteed they’ve never heard them obvious that the musical interplay between quite like this. Petra Haden, always somesinger-songwriter Regan Rebecca and electhing of an eclectic, arranged 16 movie tronic musician/producer Chris Moore, of themes for her own voice and then dubbed Brooklyn waltz-y dream-pop duo Lovers and the parts. She mimics instruments and Reflections, is inspired by ’80s- and ’90s-era other sounds to harmonize, contrast, and, New Wave and pop bands like Missing admittedly, baffle listeners. Three of the Persons, Berlin, and 10,000 Maniacs. The pieces add instrumental guests, including 11-track album delivers a strong feminine her father, bassist Charlie Haden. These vocal presence threaded through a moody tapestry of bouncy-toaren’t the usual three- or four-part harmony arrangements. They’re droning synths and straightforward 4/4 and 3/4 time signatures. But complicated, in some cases counterpointed, and performed with it offers little else. Recorded in the duo’s home studio and billed as a respect and an ear for tone. Her trumpet vamp on “A Fistful of Dollars “numerically correct concept album based on the swords suite of the Theme” soars above a blend of almost choral purity. It’s immediately Tarot,” Swords angles for haunting, avant-garde cred in the vein of Chris followed by the pinpoint rhythmic “huhs” of “Psycho Main Title,” a com& Cosey. It falls far short, not because Rebecca and Moore aren’t bination that’s as amazing as it is humorous. She sings the lyrics talented musicians but because there is no discernible alchemy to “Goldfinger” after re-creating the tune’s brassy introducin their creative partnership here. Take, for instance, “The tion, and her rendition of “Calling You” from Bagdad Café Petra Haden, Gypsy’s Curse,” in which Moore’s pensive, quirky synth reminds us of the original’s charm. Most amazing is what lines clash with Rebecca’s best impression of Madonna she makes of “Superman Theme,” her slightly nasal always something of circa 1986. More down-tempo tracks, such as “Into the fanfare backed by soaring and percussive whooshes of an eclectic, arranged 16 movie breath, just like in the original. More than a novelty, Dark” and “The Passage,” find the pair on the same page and thus make for better listening. Let’s hope these pieces are marvels of transcription and vocal acrothemes for her own voice and the follow-up album, due in the fall, is more cohesive batics. Bonus: photos of Haden in various film roles, than this rickety full-length debut. — Rob DeWalt as Tootsie and as Janet Leigh in Psycho’s then dubbed the parts. She mimics including famous shower scene. Hilarious! — Bill Kohlhaase PhosPhorescent Muchacho (dead oceans) Matthew instruments and other sounds Houck, the Alabama-born musician who lives in New aUtre ne veUt Anxiety (software) At the Grammys York City and records as Phosphorescent, has taken the this year, mainstream audiences finally got to see how to harmonize, contrast, scenic route through his career. Since adopting this nom Frank Ocean and Miguel have been rescuing R & B from de plume, he’s crafted everything from surrealistic albums the R. Kelly strip-club soundtrack dead end. Joining these and, admittedly, saturated in haunted atmosphere to straightforward covers fellow travelers is Arthur Ashin, known by his stage name, baffle listeners. of Willie Nelson songs. His masterpiece to date, 2010’s Here’s Autre Ne Veut. Fond of quoting Freud and discussing his own psychoanalysis, Ashin sees in R & B an art as emotive as he is. The to Taking It Easy, bridged the gap between those approaches by result is an explosive album with an Otis Redding rhythm and some laying heartfelt country songs down next to more ambling excursions. Velvet Underground blues. In “Counting,” which mixes dubstep, free jazz, Muchacho does the same, while erring on the side of the abstract and accentuand blues guitar riffs, he sings what appears to be an impassioned lover’s ating the soulful, gospel-influenced aspects of Houck’s sound. The first side plea to stop time, his falsetto positively soaring through the chorus, “I’m is among the best music you’ll hear all year. “Song for Zula” is a glorious counting on the idea that you’ll stay.” That Ashin has revealed that the blend of Johnny Cash-inspired lyrics, Avalon-era Roxy Music instrumentasong is about his dying grandmother only adds to the aching earnesttion, and Sermon-on-the-Mount singing, while “Ride On/Right On” is ness undergirding this record. “Play by a bass-driven stomper that gains momentum Play” recalls Timbaland’s early producwith each turn of phrase. “A Charm/A Blade” tions with Aaliyah in its operatic layering keeps that ball rolling with joyful bursts of of synthesizers, church bells, and gospel horn-driven soul-revue chorus. The album’s samples. If there’s one disappointment second half cools this rollicking mood with on this album, it’s that “I Wanna Dance longer bouts of midtempo Southern rock that With Somebody” turns out not to be a sounds like a distant brother of the Allmans. cover of the Whitney Houston club romp. It’s not quite as engaging as Muchacho’s initial As it stands, Ashin’s song is perfectly burst, but it’s consistent with Houck’s impulse delightful, but he could have absolutely to stroll down back roads as often killed at delivering a fractured version as he cruises the highway. Both roads are worth taking. of the Houston original. — Robert Ker — Casey Sanchez

March 22-28, 2013

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March 22 - 28, 2013

ON STAGE Ke on country? Robert Earl Keen returns Keen

Texas-born singer-songwriter Robert Earl Keen, a frequent visitor to the Te Santa Fe stage, returns to town on Wednesday, March 27, for a 7 p.m. performance per at the Santa Fe Farmers Market Pavilion in the Railyard Railyar (1607 Paseo de Peralta). Known for his biting wit and ability to spin a good yarn in his tunes and in conversation, Keen has been a strong presence in the Texas country-music scene since releasing his debut self-financed album, No Kinda Dancer, in 1984. But Keen doesn’t relegate himself to a single genre. Folk, rock, and bluegrass are also in his repertoire, and he was a major player in helping Americana become popular throughout the U.S. in the ’90s. Eighteen solid albums (live, studio, and compilation) in 30 years have bought Keen a devoted fan base, but don’t worry, newbies — this is your chance to find out why he has so much staying power. Tickets for the 21-and-older show, $31, are available through Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org). — RDW

A mezzo in coloraturaland: Deborah Domanski

Singing for all Zimbabweans: Oliver Mtukudzi and The Black Spirits

A native of Zimbabwe, Oliver Mtukudzi (known as Tuku) is a living world-music legend. Since his debut single was released in 1975, Tuku, who has more than 60 albums to his name, has dedicated his life to ending hatred, oppression, and violence through the power of music. In 1979 he left ensemble performance to pursue a solo career and in the process formed his band The Black Spirits, which his website, www.tukumusik.com, describes as “a group of rag-tag young stylish ghetto boys who were to become a sure force on the music scene, progressing into a household name.” Singing in English and the Shona language, Tuku is a master of metaphor — he has had to be, because confronting the oppressive Rhodesian regime was a dangerous pursuit. He and his band take the stage at the Lensic Performing Arts Center (211 W. San Francisco St.) at 7 p.m. on Thursday, March 28. Tickets, $20 to $40, are available by calling 988-1234 and from www.ticketssantafe.org. — RDW

Photo courtesy Heads Up

We have been wondering all season why Santa Fe resident Deborah Domanski, an accomplished mezzo-soprano, has committed to singing Bach’s Cantata No. 51, Jauchzet Gott in allen Landen, which is famous as a showpiece for coloratura sopranos. We shall finally find out when she performs it, assisted by obbligato trumpet player Brian Shaw, at this week’s Baroque Holy Week concerts with the Santa Fe Pro Musica Baroque Ensemble. Also on the bill are chamber works by Georg Philipp Telemann and Jean-Marie Leclair, and the Trumpet Concerto No. 2 by Johann Melchior Molter. A slightly younger contemporary of Bach, Molter spent a lot of time in Bach’s natal city of Eisenach as well as in Karlsruhe, and he made trips to Italy to keep up on stylistic advances there. Concerts take place on Thursday, March 28, and Friday, March 29, both at 7:30 p.m., and on Saturday, March 30, at 6 p.m. at Loretto Chapel, 207 Old Santa Fe Trail. Tickets ($20 to $65) can be had from Santa Fe Pro Musica (988-4640) or from Tickets Santa Fe at the Lensic (988-1234, www. ticketssantafe.org). — JMK

THIS WEEK

A little night music: Apple Hill String Quartet

The Apple Hill String Quartet performs two wonderful quartets that don’t surface often on chamber music programs: the G-Minor Quartet by Edvard Grieg and the String Quartet No. 1, subtitled Métamorphoses nocturnes, by György Ligeti. The foursome is brought to town by Serenata of Santa Fe, and two of that organization’s mainstays will assist the quartet in the remainder of the concert. Pianist Debra Ayers performs in the Andante from Brahms’ Piano Quintet, and oboist Pamela Epple appears in Domenico Cimarosa’s Concerto for Oboe and Strings. The latter is actually an arrangement fashioned out of Cimarosa’s keyboard sonatas by the Australian-English composer Arthur Benjamin in 1942, which is why it doesn’t really sound like an 18th-century piece, but one accepts it for what it is. The concert begins at 6 p.m. on Friday, March 22, at the Scottish Rite Center (463 Paseo de Peralta). Tickets, $25 (discounts available), may be purchased through Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org). The group performs at 10:30 a.m. Sunday, March 24, in Albuquerque as part of the Sunday Chatter series (visit www.chatterchamber.org/sunday/calendar.html). — JMK

PASATIEMPO

Michael Abatemarco I The New Mexican

Badlands and good Photography of Rebecca Norris Webb and Alex Webb

hotographer Rebecca Norris Webb had not planned on turning a personal experience of loss into a book, but that is exactly what happened with My Dakota, published by Radius Books in 2012. “I’ve learned over the years not to intend, but to attend the work, Norris Webb told Pasatiempo. “I think I may know what a particular body of work is about, but all the while, the work keeps trying to tell me — quietly and persistently — what it’s really about.” In 2006 Norris Webb’s brother died of heart failure, and she found herself dealing with her grief by traveling through South Dakota and taking photographs. “For months, all I wanted to do was drive through the Badlands and prairies of my home state. I don’t even like to drive, and I was always getting lost. Looking now at My Dakota, I realize that I was photographing this particular dark time in my life in order to try to absorb it, to crystallize it, and ultimately, to let it go.” Norris Webb and her husband and sometime collaborator, Alex Webb, present a slide lecture, “Together and Apart,” at Tipton Hall at the Santa Fe University of Art and Design on Friday, March 22. The photographers will discuss their solo and joint book projects, including My Dakota; Alex Webb’s retrospective work The Suffering of Light, published by Aperture; and Violet Isle, a book they worked on together, also published by Radius. Norris Webb’s haunting, melancholic imagery conveys a palpable sense of loss. “What startled me most about my first grief of an immediate family member was its expansiveness. Maybe that’s why the Great Plains — with its rich familiar emptiness — kept drawing me west. My road map, so to speak, was a series of resonant images in the South Dakota landscape, ones that were luminous or mysterious enough to make me pull over and photograph.” One such photo, Blackbirds, captures a sense of mystery and beauty. “Driving alone on a country road that first fall after my brother died, I was startled by a flock of some thousand blackbirds. I was mesmerized by how they flew through the stormy, unsettled Great Plains sky as if they were one huge, dark, undulating, ravenous creature, picking clean the remains of the corn and sunflower fields in the last days of autumn. For days, when I’d least expect it, I’d see the blackbirds descend upon a field. It didn’t seem to matter how quickly I stopped the car and raised the camera to my eye. Inevitably, the dark flock vanished as quickly as it had appeared. For that entire week, I kept dreaming about those continued on Page 30

March 22-28, 2013

Rebecca Norris Webb: top, Ghost Mountain; below, Blackbirds; opposite page, Abandoned Farmhouse I

PASATIEMPO

Rebecca Norris Webb & Alex Webb, continued from Page 28

blackbirds. Finally, one afternoon near the small town of Gray Goose, South Dakota, I saw the flock hovering over a field of sunflowers. Then something happened I wasn’t expecting — the blackbirds lingered. Slowly and quietly, I inched closer. Beneath the bowed head of a sunflower, I clicked the shutter again and again until the dark flock vanished once more into the gray, blustery November sky.” The accompanying text in My Dakota is a meditation and searching inquiry into the nature of sorrow and is presented in a simple, handwritten format. “One of my responses to my brother’s death was writer’s block,” she said. “Only in the last

year of [creating] My Dakota did my writing finally return in the form of spare text pieces, often arriving whole when I’d awaken alone while traveling in the Dakota prairies and Badlands. I write my first drafts in pencil in a notebook I carry with me while working in the field. I love how David Chickey, the book’s designer and the creative director of Radius, echoed my working process by interweaving the handwritten text pieces in the book.” Chickey leads a question-and-answer session with the photographers after the talk. The poignant photographs in My Dakota are often sparse and unpopulated, and a number of images are shot, as though through a veil, from behind window glass and curtains. Inherent in such imagery is a kind of disconnect or separation, reflecting the photographer’s emotional state. “I guess you could say that this road trip of my grief for my brother was as much a journey through my own internal landscape as it was through the Badlands, prairies, and Black Hills of my home state.” What Alex Webb has captured in his more than 30 years as a photographer, revealed in The Suffering of Light, is a sense of the enduring spirit of peoples throughout the world in the face of hardship. He has shot in India, the United States, Paraguay, Greece, and Panama, among many other nations. He shoots with a street photographer’s candid, up-closeand-personal style. “My process is one of discovery, not one of preconception. I go out and explore the world with the camera, and what I end up photographing depends on what I find. That said, clearly I am drawn to certain kinds of situations and moments, just as I am drawn to certain kinds of places: borders and the edges of societies.” Violet Isle, their first joint project, is a luminous and poetic collection of images of contemporary Cuba, a large number of which are animals — particularly birds — and children. “I am attracted to children’s sense of play and spontaneity in the street,” Alex Webb said. “Street photography itself involves a kind of sense of play, spontaneity, and openness, so perhaps it is not surprising that I, like many street photographers, have been drawn at times to the world of children. I think that creating Violet Isle with Rebecca expanded what I felt I could do with my Cuba work. At different times I considered doing a Cuba book of my own. When we hit upon the notion of the collaboration, however, I began to see how much richer the portrait of Cuba could be with the mixture of our two distinct visions.” In addition to Violet Isle, the Webbs are working together on another book with Radius called Memory City, something of an ode to photography and to the city of Rochester, home of the Eastman Kodak Company. “It’s a kind of photographic exploration of this upstate New York city during what may very well be the last days of Kodak and perhaps even film itself,” Alex Webb said. “Since film has played an integral role in my and Rebecca’s creative lives, including helping us to find our own particular ways of seeing photographically, the project also includes a meditation on film and time and memory.” ◀

details ▼ “Together and Apart,” lecture with photographers Rebecca Norris Webb & Alex Webb ▼ 6 p.m. Friday, March 22

Alex Webb: Sancti Spíritus, 2008, from Violet Isle, Radius Books; above, Rebecca Norris Webb: Curtains; images by Norris Webb from My Dakota, Radius Books

March 22-28, 2013

▼ Tipton Hall, Santa Fe University of Art and Design, 1600 St. Michael’s Drive ▼ 424-5052, no charge

$4,000,000

Theater Grottesco and The Center for Contemporary Arts present

EVENTUA a series of cutting edge performances NOW t hru April 7

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returned to you.

exquisite absurdity: 30 years of looking forward Thursdays - Saturdays at 7pm sundays at 4pm

In 2012, our members earned

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Lisa Fay/Jeff Glassman Duo, Sandglass Theater, Faustwork Mask Theatre, Cole Bee Wilson, and CHERYL

GUEST ARTISTS:

over $4,000,000 through their participation in their credit union.

All Performances will be at the CCA’s Munoz–Waxman Gallery 1050 Old Pecos Trail, Santa Fe, NM 87505 FOR TICKETS:

Find out how you can Earn Your Return at nmefcu.org.

Call 505.474.8400

or visit www.theatergrottesco.org Ticket Prices: $10-$25. All Thursdays are Pay-What-You-Wish. Tickets available on a first-come, first-served basis 1 hour before the show at the theater. Full price tickets available in advance

1710 St. Michaels Drive 913 W. Alameda, inside La Montanita Co-op 505.476.6000 800.347.2838 nmefcu.org

This project is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts; the city of Santa Fe Arts Commission and the 1% Lodgers Tax; and The McCune Charitable Foundation. D-Generation: An Exaltation of Larks is funded in part by the NEFA National Theater Project with lead funding from the Andrew W. Mellon Foundation and the NEA.

Federally insured by NCUA

Thank You to All of Our Supporters of the Girl Scout Cookie Caper! March 7, chefs, potters, sponsors, and supporters of the Girl Scouts of New Mexico Trails joined us at the Inn & Spa at Loretto for a night of Girl Scout Cookie desserts created by local chefs. This delicious event helped raise funds for Girl Scouts across the state. Thank you to all who attended!

Participating Restaurants El Castillo, Santa Fe Luminaria at the Inn & Spa at Loretto, Santa Fe Osteria d’ Assisi, Santa Fe Pajarita Brew Pub and Grill, Los Alamos Rio Chama, Santa Fe Rosewood Inn at the Anasazi, Santa Fe Savory Fare, Albuquerque Zinc, Albuquerque

Congratulations to our Dessert & Pottery Winners! People’s Choice Winner: Luminaria, Chef Andrea Clover Winner Most Creative: Rosewood Inn at the Anasazi, Chef Natalie Jeffery Winner Cookies and Cream: Rio Chama, Chef Russ Thornton Best Thin Mint: El Castillo, Chef Sandra Grasdock with Allyson Rouston Pottery, Best in Show: Barbara Campbell

2013 Cookie Caper Sponsors

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PASATIEMPO

PAYNE’S

Celebrate Spring’s Arrival at Payne’s 10th Annual

Staff experts will be on hand to answer all your gardening questions.

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Payne’s North 304 Camino Alire 988-8011 Payne’s South 715 St. Michael’s 988-9626

Sam McCarthy

We want to say THANKS to our loyal customers and meet new people, too, so we’re inviting YOU to our FIESTA!

Spring Hours Start March 25

Saturday, March 23 and Sunday, March 24 10 am to 4 pm

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There will be lots of in-store specials, refreshments and drawings at each store for

Lynn and Judy Payne

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gift certificates valued at $60!

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The “Garden Guru”AKA Lynn Payne, will lead a workshop on “What to do in the Garden Now” at 11 am Saturday at our North Store on Camino Alire. Lynn will discuss garden clean up, pruning, watering and soil improving. Bring your questions!

SAVE THE DATE!

Upcoming Spring Workshops at the North Store at 11 am Saturday, March 30 Lynn Payne: Pruning Saturday April 6 Valerie Jones and Leanne Lopez: Introduction to NEW Plants for 2013

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It’s time to plant cold weather crops such as onion sets & garlic bulbs, lettuce, peas, leeks, spinach, broccoli, cabbage, cauliflower, kale & Brussel Sprouts. We have all you need to start vegetable & flower seeds indoors, plus insulated plant covers & Wall O’ Water season extenders.

+ 30% Off Black Gold All Purpose Fertilizer 15 lb. bag

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March 22 - 28, 2013

Hablamos Español!

We have a great selection of florist quality, flowering plants for Easter. Order today.

Discount Does Not Apply to Easter Lilies or Other Items on SALE.

*Total purchase price before tax is applied. Coupon must be presented at time of purchase. Limit one coupon per customer, please. Cannot be combined with any other coupon or offer. Good through 3/24/13. PASATIEMPO

Paul Weideman I The New Mexican

A rubber pool, a dog, and a Leica Photographer David J. Carol’s new book is called “This Is Why We Can’t Have Nice Things!,” but the thing about it is that the book itself is a nice thing. And also, it’s not a book. It amounts to 40 unbound 4-by-6-inch photos and 14 similarly sized text cards inside a Lucite box with a sliding top. “If you do not change direction, you may end up where you are heading”; this quotation from the 6th-century B.C. Taoist philosopher Laotzu occupies one of the cards. For others, Carol selected pithy phrases by Confucius, Lewis Hine, and the Buddha. “This Is Why We Can’t Have Nice Things!” (published by Kabloona Press) is available in a limited edition of 251 copies. The little box is a fun concept: you can spread the photos all over the place instead of going through them one by one. In anticipation of viewers flipping through the photos like mad, there’s even a card in the middle of the package (at least until you mix them up) that says “Pause” in the upper left corner; down diagonally across a few inches of restful empty space is the word “Continue” in the lower right corner. “Somebody said you could switch pictures around, using the box as a frame, and I made believe I thought of that,” Carol said. “My first two books looked kind of the same, and this time I wanted to do a crate — and at first it was going to be metal. I do most of the design myself, and then I get other people to figure it out.”

“This Is Why We Can’t Have Nice Things!” The New York City native attended the School of Visual Arts and The New School for Social Research, where he studied under Lisette Model. He writes for Emerging Photographer and Rangefinder magazines. His first two books are 40 Miles of Bad Road (published in 2004) and All My Lies are True ... (2009). Two of his primary influences in photography were Elliott Erwitt and Lee Friedlander. Their facility at capturing odd — or at least superbanal — moments in the realm of everyday people and places shows, for example, in the cover photo of 40 Miles of Bad Road. Carol depicts the iconic splendor of Monument Valley, but in context, with tourist facilities showing in the foreground and a dog relaxing under a picnic bench. “That’s the way I see everything. ... This is not conscious when I’m taking the picture, but yeah, the dog’s there like, ‘What? I’m sitting here.’ I don’t know, the whole thing is incongruous.” Carol’s passion for photography was ignited one day in his second year at the School of Visual Arts, when he came upon a bizarre but ordinary scene: a dog sitting in the middle of a rubber swimming pool that had exploded and was now empty. “It was 34

March 22-28, 2013

an epiphany, man. I shot it and printed it, and I thought I can do this forever. Screw money. I can just live on couches. I was so poor from when I was younger it didn’t even affect me. It was cool that I had something to do. And I was with like-minded people, you know?” Sometimes, of course, the career has been hard work. Most of those times, he said, have come on jobs in some of the earth’s far corners. One involved shooting Canada from one end to the other and up to Tuktoyaktuk in the Northwest Territories. “But that was just flying in and shooting. The first time I went to Baffin Island, I picked out an area, and you do the multiple flights and skip your way up to Baffin. So I’m on this cargo plane and it’s me, an RCMP [a member of the Royal Canadian Mounted Police], two Inuit women, and a bunch of mail, and we land on this tarmac and the guy throws my bag out and the plane leaves and the guy who was supposed to meet me wasn’t there. After a few minutes, the RCMP and the women have split, and I’m thinking, What have I got myself into? I’d never been in 40-below weather before.”

David J. Carol: clockwise from top left, Poolside Boy With a Cocktail, Mexico, 2010 Grandmother’s Pants, Akumal, Mexico, 2010 Theo Holding Photograph on Beach, 2008 World Cup, Venezia, Italia, 2010 Monument Valley Dog, Utah, 1994

The title 40 Miles of Bad Road implies travel, and in just the first few pages there are images taken in Miami Beach, at Baffin Island, and in Moscow. “That book was 10 years of me sort of starting to shoot my own stuff and not just trying to make money. I made a conscious decision in the late ’80s, when I started making really good money doing commercial work, that maybe this isn’t what I wanted to do. Financially it cost me, but I’m glad I bailed.” Today he is director of photography for CBS Outdoor; he said it’s “a straight job, and it doesn’t interfere with my personal work. What I was talking about is back when I was doing assignments. I was the first staff photographer with the Image Bank. Then I realized I wasn’t shooting my own stuff. I grew up with no money, and to be making $10,000 a month — it was a weird decision to get out of that, but I did.” Carol has always been a Leica man. At the beginning of his third year in art school, he used his student-loan money to buy a Leica and move to France. And except for the job work, for which he typically shoots digital color, he always takes pictures using film: continued on Page 36 PASATIEMPO

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David J. Carol, continued from Page 35

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Kodak Tri-X black-and-white film developed in Rodinal. All his developing and printing has been done by the same man since 1991: Chuck Kelton at Kelton Labs in New York. “I didn’t like the darkroom, although I did it for years because I had to. Now I’m writing the music, and he’s playing it. It’s a perfect symmetry. He knows what I want it to sound like. He does Helen Levitt and Lillian Bassman and Mary Ellen [Mark] and Danny Lyon, but he prints mine with a point source, a raw light bulb. It’s kind of like what [Czech photographer] Josef Koudelka uses, and I wanted mine to look like that.” Carol’s photographs in “This Is Why We Can’t Have Nice Things!” offer views of more or less everyday things, foraying through the gamut of emotions. Some are funny, like Grandmother’s Pants, Akumal, Mexico, 2010, with a woman standing, hand on hip, wearing gaudy slacks. Some are elegant: Running Nun, Roma, Italia, 2010 features a woman in simple white garb against an old dark wall. Poolside Boy With a Cocktail, Mexico, 2010 exhibits a wonderful perspective, fascinating geometries. The photographer approaches the realm of the grotesque with Cigars and Beer, Long Island, NY, 2010, a sequence of shots of some dude in a muscle shirt drinking beer and smoking a cigar. In another photo, Carol is austere and ironic, showing a blank, sandy expanse — perfect for flying a kite — with one sign stuck into the ground that reads, “No Kites.” Two cards at the beginning of the package bear an introduction by Jodi Peckman, Rolling Stone magazine’s creative director and director of photography. She tells of knowing Carol in his school days, when he roamed the streets rapidly taking pictures using a prefocused wide-angle lens. “I was more aggressive then, trying to figure out what I was doing,” Carol said. “I was like a mini Garry Winogrand; then I totally wasn’t Garry Winogrand; then I wanted to be poignant like Robert Frank. “I was having dinner with Anne Tucker, the curator at the Museum of Fine Arts in Houston, and I told her that all my pictures looked the same, and she was like, ‘But you’re funny, and that’s your style.’ And I said, Anne, I’m not funny. I’m really trying to be, like, way past funny.” ◀

details ▼ Photographer David J. Carol book signing & talk ▼ 3 p.m. Saturday, March 23 ▼ Photo-eye Gallery, 376-A Garcia St., 988-5152

March 22-28, 2013

Baroque Holy Week

Deborah Domanski, mezzo soprano | Brian Shaw, trumpet

Santa Fe Pro Musica Baroque Ensemble

Bach Cantata Jauchzet Gott in allen Landen BWV 51 and music by Telemann, Leclair and Molter

Loretto Chapel | Thursday, March 28 at 7:30pm Friday, March 29 at 7:30pm | Saturday, March 30 at 6pm $20-$65. | Santa Fe Pro Musica Box Office: 505.988.4640 (ext.1000) 800.960.6680 | Tickets Santa Fe at the Lensic: 505.988.1234 For complete season concert listing visit www.santafepromusica.com The 2012-2013 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.

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Michael Abatemarco I The New Mexican

NATURAL SELECTION TASHA OSTRANDER EXAMINES THE STUFF OF LIFE AND DEATH 38

March 22-28, 2013

IN 1996 SANTA FE ARTIST TASHA OSTRANDER COMPLETED SEVENTY-THREE IN A MOMENT, a large-scale wall-mounted piece composed of more than 26,000 paper butterflies. The title refers to what at the time was an average human life span and the significantly shorter life duration of a butterfly. Ostrander composed the piece by Xeroxing images of various butterfly species found in a field manual. She then hand-cut and attached them to a wooden surface built in segments. The butterflies are arranged in a series of concentric rings, and the overall piece — measuring 10 feet in diameter — is circular, giving it the appearance of a mandala. Seventy-Three in a Moment was in a private collection before being acquired for the permanent collection at the New Mexico Museum of Art, where it will be on exhibit later this year. The piece is now being treated at the conservation lab of the New Mexico History Museum. “It’s all being taken apart and cleaned and restored,” Ostrander told Pasatiempo. “It’s quite amazing to me that it lasted this long. It took me a year to make. I worked eight hours a day, no Sundays off. Quite often I’ve used just simple materials. It’s more about the time put into something than the preciousness of the materials. The butterfly mandala is a good example of that. It will decompose, eventually. The conservators said it would last maybe 25 to 30 years, which is a long time, because it’s already lasted over 15.” Seventy-Three in a Moment references the ephemeral and transient nature of life, and the simple materials Ostrander used in its making have an appropriately fragile quality. “I have always been interested in life and death. The more we’re aware of death, the more we’re alive.” Along with themes of life and death, the artificial means by which we experience nature — as specimens under glass, for instance — have preoccupied Ostrander throughout her career. She has worked in large and small formats, sometimes creating installations made up of wall-mounted and free-standing components. An example is her 1997 installation Quinter’s

Thought Trap, an environment intended to represent an abstract portrait of a fictional character, though inspired by an actual person. “Eric Quinter was a famed butterfly collector. What I was talking about in this piece is the strange things people do in order to connect with nature. Quinter deals with nature basically through capturing it and then putting it in these cases and attaching a title and language to it. I love obsessive occupations and people. I made different parts for the installation that represented his ways of thinking, that overrode his experience of nature, or they had become his experience of nature.” Quinter’s Thought Trap includes several steel cases that Ostrander fitted with electric light bulbs and mechanical parts. Real butterfly specimens whirl inside the cases, and a small desk with a built-in display case contains bits of text under glass that take on the same commodified appearance as a butterfly collection or a similar natural-history collection. Ostrander followed Quinter’s Thought Trap with Death Wishes, a large-scale installation dealing with life and death, this one based on her grandfather. The piece incorporates several chromogenic prints of a deer against a red background, a reference to her grandfather’s time as a big-game hunter. “I did another show at Chiaroscuro that was called Powder that was continued on Page 40

Tasha Ostrander: right, Alchemical Equation 4, 1995, steel, glass, and butterfly, 8 x 10 x 3 inches; above, Wabi-Sabi (detail), 2012, paper and varnish; opposite page, studio shot of Death Wishes, 1998, mixed media

PASATIEMPO

I ALWAYS WANT EVERYTHING TO TRANSLATE INTO A BEAUTIFUL INTERPRETATION IN THE END. AESTHETICS COME BEFORE THE CONCEPT. — TASHA OSTRANDER

Seventy-Three in a Moment (detail), 1996, 26,645 paper butterflies on Masonite, 10 feet in diameter; photos Margot Geist

Tasha Ostrander, continued from Page 39 also sort of about life and death — gunpowder and the powder from pollen in the forest, because it was about the death of the forest.” Ostrander works in a variety of mediums. Older works, such as those in her Alchemical Equation series, include steel-framed assemblages fitted with test tubes and glass jars containing organic materials. She has also made works on paper. “In the very beginning, I did a lot of paintings and work on paper that had to do with alchemy and mathematics — mostly geometry. What I’ve always been interested in with alchemy is this idea of taking a base material and transforming it into something else. I don’t do a lot of study for a piece because I feel my intuition is much stronger than my intellect. There’s a lot of technical problems to solve. I’ll get an idea really fast, and then it’s all about how to make it interesting, what materials to use, and how it’s going to come about. When a piece is actually done, I realize they’re very organized, very contained. I always want everything to translate into a beautiful interpretation in the end. Aesthetics come before the concept. The concept is important, but I believe a piece has to be beautiful because we’re losing a lot of that these days with a lot of conceptual art. It’s very dry and leaves you with this cold feeling, and I don’t think you remember those kinds of pieces that much.”

March 22-28, 2013

Ostrander’s more recent work includes a series of mandala images inspired by wabi-sabi, the Japanese principle of imperfect beauty. The wabi-sabi pieces are minimalist works composed of slivers of cut paper arranged in asymmetrical patterns. These pieces relate in terms of material to Seventy-Three in a Moment but contrast with her more involved, technical installations from the 1990s. “Over the lifetime experience of an artist, you finally get to a point where you can take any material and do something with it,” she said. “Recently I’ve worked in glass with Stacey Neff at the New Mexico Experimental Glass Workshop. That was something I had no experience in whatsoever. We ended up making some great pieces. Stacy really enjoyed working with mature artists because that’s what they could do; they could come into an environment with the materials and just start to work. There’s nothing that gets in the middle of that experience. The current works on paper, for me, are these organic, very peaceful pieces. The color varies, but I go through the same process for each one. The result is very different in subtle ways. That’s where that wabi-sabi idea comes in. I’m such a perfectionist that, in the beginning, if things didn’t go in the direction I wanted them to go, I wouldn’t finish the piece. Then I thought, I’ve got to give the piece a life of its own. I love this organic quality that comes out. The background theme is our inner nature in reference to the natural world. It’s a celebration, but there’s also sorrow. There’s a sadness to our loss of nature.” ◀

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James M. Keller I The New Mexican

50 years at

406

March 22-28, 2013

hen Americans think of the tumultuous days of the civil rights movement that transformed the nation during the 1950s and ’60s, certain locales loom large in the collective memory: Montgomery, Little Rock, Birmingham, Selma, Memphis. History was made in these places — messily, violently, in ways that made headlines then and are enshrined in textbooks today. But revolution was also taking hold away from the spotlight in neighborhoods across the country. One that lives on vividly in the American psyche is Clybourne Park, an unassuming suburb on the outskirts of Chicago. Clybourne Park does not literally exist. It was created in the mind of playwright Lorraine Hansberry for her 1959 play A Raisin in the Sun, serving as a symbol of middle-class aspiration for members of an African-American family that would break the color barrier if they managed to move there. This fictional suburb proved so credible, so “real,” that it even gave rise to a new generation of plays that pick up the story where Hansberry left off. The most remarkable of these successors is, in fact, titled Clybourne Park. Fusion Theatre Company of Albuquerque presents that play — in three performances on Friday, March 22, and Saturday, March 23 — as part of its current season at the Lensic Performing Arts Center. Clybourne Park proved a stunning success for its author, Bruce Norris, winning the 2011 Pulitzer Prize for Drama, the 2011 Laurence Olivier Award for Best New Play, and the 2012 Tony Award for Best Play — which firmly attests not only to its quality as a literary work but also to how impressively it came across the footlights when it was performed first at the Playwrights Horizons Mainstage Theater in New York and then the Royal Court Theatre in London’s tony Sloane Square and at the Walter Kerr Theater on Broadway. It stands perfectly well as a play in its own right, yet viewers can only benefit from some awareness of where the piece is coming from. A Raisin in the Sun is a domestic drama that takes place not in Clybourne Park but rather within the home rented by the Younger family on Chicago’s South Side. “Its furnishings are typical and undistinguished and their primary feature now is that they have clearly had to accommodate the living of too many people for too many years — and they are tired,” Hansberry states in a delectable stage direction. Lena Younger, the matriarch of the family, is expecting the imminent arrival of a $10,000 check, the death benefit from her late husband’s life insurance policy. Family members disagree about how the money should be spent. Lena’s son, Walter Lee, wants to invest in a business (a liquor store, which staunchly religious Lena doesn’t approve of); and her daughter, Beneatha, who is intent on forging a modern path that includes firm identity as an African-American with high-level professional achievement, could use some cash to fund her tuition for medical school. Rounding out the family is Walter Lee’s wife, Ruth, and their son, Travis, who is consigned to sleeping on the couch in these cramped quarters. He clearly needs room in which to flourish — plus another baby is on the way — so Ruth supports Lena’s plan, which is to use the money to buy a house that can properly accommodate the family. The scene in which Lena reveals that she has privately acted on her plan is potent with surprise. “It’s just a plain little old house — but it’s made good and solid — and it will be ours,” she states. “Walter Lee — it makes a difference in a man when he can walk on floors that belong to him.”

Fusion Theatre Company’s ‘Clybourne Park’ “Where is it?” Ruth asks. Lena responds, “Well — well — it’s out there in Clybourne Park … Four o six Clybourne Street, Clybourne Park.” “Clybourne Park?” Ruth responds incredulously. “Mama, there ain’t no colored people living in Clybourne Park.” “Well. I guess there’s going to be some now,” Lena says. Not if the Clybourne Park Improvement Association can help it. Enter Karl Lindner, representing the organization, which he nervously describes as a sort of welcoming committee. The association is so certain “that our Negro families are happier when they live in their own communities” that it is offering to buy out the Youngers for more than they paid. Other complications practically force the family into capitulating, but they decide to move forward because, as Walter Lee informs Lindner, “my father — my father — he earned it for us brick by brick.” A Raisin in the Sun rings true partly because it grew out of fact: Hansberry’s own parents went to court to fight such discrimination when they moved into a white neighborhood in Chicago two decades earlier. But it also rings true — and rang true in 1959 — because what it describes was so habitual in the 1950s and ’60s. The play, the first by an African-American woman ever to be produced on Broadway, stands as an essential piece of theatrical Americana, seizing the dreams and disillusionments of its time and place as surely as such other indispensable classics as Our Town, Death of a Salesman, American Buffalo, and Angels in America. Norris’ Clybourne Park unrolls entirely inside the house at “Four o six Clybourne Street.” Act 1 is set in 1959, and it views the impending real-estate transaction from the point of view of the white family selling the property. You can bet that their neighbor Karl Lindner is intent on unleashing his dubious power of persuasion on them just as he has on those intransigent Youngers. He points out that the community teeters above a slippery slope: “Who shall we invite next, the Red Chinese?” A constellation of secondary characters also inhabits this world. They include Mrs. Karl Lindner (a surprising personality), the African-American maid who currently works at the home, and her affable husband — an intriguing group that borders on the madcap thanks to Norris’ spirited writing. We move ahead to Act 2, and my how things have changed! The calendar has advanced by half a century, to 2009, and Clybourne Park, which has long since settled into being a black neighborhood, is suddenly proving a magnet for the gentrification crowd. A white couple that just purchased the house is intent on drastic renovation, and so we embark on a chaotic meeting, the goal of which is to gain construction approval from the neighborhood association, represented by a black couple, the wife being a relative of the pioneers who bought the place 50 years earlier. Of course, people in 2009 are no longer racist. Of course. Which is to say that Clybourne Park doesn’t let anyone in its audiences feel very smug, but it surely does entertain them as the fur flies.

Jen Grigg and Gregory Wagrowski in Fusion Theatre Company’s Clybourne Park; top, Hakim Bellamy and Angela Littleton; photos Eric Martinez Background photo, View from street level of the “L” elevated railway in Chicago, Illinois, 1949; photo Stanley Kubrick; LC-USZ6-2349; Library of Congress Prints and Photographs Division, Washington, D.C.

continued on Page 44

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Clybourne Park, continued from Page 43

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Walking through the looking glass in response to A Raisin in the Sun was a brilliant conceit, made all the richer by the fact that Norris happens to be white (you may have been wondering). But there’s more. Lincoln Center Theater in New York has just produced a fascinating new play by Kristen Greenidge titled Luck of the Irish, which traces its ancestry to both A Raisin in the Sun and Clybourne Park. The play ran for six weeks (through March 10) in the Claire Tow Theater, a comfortable 112-seat auditorium inaugurated last May and built atop the Vivian Beaumont Theater; it serves as home for LCT3, an incentive dedicated to new works and emerging actors. The place is earning a reputation for selecting smart plays, and every ticket for every performance costs a mere $20. Luck of the Irish (which I caught the day before closing in a tight, uncluttered performance directed by Rebecca Taichman) takes place on the outskirts of Boston rather than the outskirts of Chicago, but again the topic is the racial unease that can surround real-estate transactions. Like Clybourne Park, it divides its action between the late 1950s and five decades later, though with the action now intermingled in time, one era wafting dreamlike through the other. As in A Raisin in the Sun, the matriarch of an African-American family hovers as a powerful presence, living in her house for 50 years, treasuring the dry patch that is her backyard. (Acquiring a little plot in which to grow a few things meant a lot to Lena Younger, too.) She and her husband had managed to acquire the house through “ghost-buying” (a sleight-of-hand that playwright Greenidge’s own grandparents employed years ago). An Irish family had fronted the purchase for them, and now they want the property back. The plot hinges on whether or not the deed was actually transferred to the African-American family. (“Just hire a title company!” I wanted to shout; but theater is about suspension of disbelief, and here it all works out in an unanticipated way.) As in the earlier plays, communities change and they don’t. “We’re still only flies in the buttermilk around here,” laments one of the grandmother’s modern descendants. Certainly social mores are no longer what they were in the 1950s, but as Luck of the Irish suggests, the intersection of race and real estate continues to create high drama. ◀

details ▼ Clybourne Park presented by Fusion Theatre Company ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ 8 p.m. Friday, March 22; 2 & 8 p.m. Saturday, March 23 ▼ $20-$40 (discounts available); 988-1234, www.ticketssantafe.org

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Claudia McNeil and Sidney Poitier in A Raisin in the Sun (1961)

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anta Fe Poet Laureate Jon Davis has developed a highly characteristic and telltale talent for speaking through imaginary characters. “Preliminary Report From the Committee on Appropriate Postures for the Suffering,” the title poem of his most recent book ((Preliminary Report, 2010), is one of the best examples. It begins: We who wear clean socks and shoes are tired of your barefooted complaining, your dusty footprints on our just-cleaned rugs. Tired, too, of your endless ploys — the feigned amputations, the imaginary children you huddle with outside the malls, your rags and bottles, the inconvenient positions you assume. ... According to Davis, the poem was written by Chuck Calabrese, one of Davis’ main alter egos. Appearing frequently at poetry readings before or after Davis, with the help of a few props and simple costume changes, Calabrese is a thinly disguised version of the author as an unemployed, down-and-out bum who has written a dramatic monologue from the point of view of the chair of a bureaucratic committee. Calabrese, along with Davis, can be heard at The Performance Space at La Tienda on Sunday, March 24, at Santa Fe Poets 1, the first of six readings Davis will host over the 15 months remaining in his tenure as the city’s official poet. Reading with him at the event are poets Dana Levin, Gabe Gomez, Ungelbah Daniel-Davila, Deborah Casillas, and Ann Filemyr. “The voice I use a lot actually happened when I was revising the faculty handbook here over and over and over again,” Davis said during an interview in his office at the Institute of American Indian Arts, where he has taught creative writing since 1990. “I started writing these little memo poems. I wrote a whole chapbook of memo poems. I didn’t really write them. They were written by a guy named Milton Swift, all satirical memo poems, the official voice of the bureaucracy.” So “Preliminary Report From the Committee on Appropriate Postures for the Suffering” has Calabrese voicing the committee chair Swift, with Davis as a kind of executive author for the project. After starting the poem and pulling out the title, he just kept writing in search of an ending. “And when I got to the ending, I was really excited.” He ended it thus: Finally, to those who would recommend programs, who would call for funding and action, I must remind you we have been charged not with eliminating your suffering, but with managing it.

Roger Snodgrass I For The New Mexican

THE MANY VOICES OF

JON DAVIS 46

March 22-28, 2013

The poem, which is straightforward and comprehensible despite its hidden convolutions, creates just the kind of hall of mirrors in which Davis thrives. The poem also happens to engage a social issue and is highly effective in castigating the system virtually in its own words. Although the poem starts out funny, Davis warns that it doesn’t end that way: “I don’t want people to feel bad about laughing, because it’s absurd, and the whole world is a committee that’s taking care of the suffering by managing it, along with every other human problem.” Also in Preliminary Report is “Notes to The Haitian Poems of Madeleine du Plessix,” which Davis said was written by Felicia du Bois, another of his recurring characters. Thus the piece is written by an imaginary writer, writing about imaginary poems by another imaginary writer. The prose piece satirizes academic postmodern criticism, although its executive author, Davis, teaches theory, reads philosophers, and is well abreast of the intellectual currents in which he lives. As Davis frequently explains in his public performances, he was inspired by reading about the poet Fernando Pessoa (1888-1935) in a class on Portuguese literature while working on his M.F.A. at the University of Montana. As Davis put it, “When Pessoa died, he was basically the seven best poets of Portugal.” As Davis recently told a creative writing class at Santa Fe Prep, Pessoa called his imaginary other selves heteronyms. They were not aliases but rather virtual people, with their own personalities and life histories. One wrote in Latin, one in English, and the others in Portuguese. They wrote one another, got into feuds, and interfered in Pessoa’s life. “I was already inhabiting characters, or they were inhabiting me,” Davis said, adding that he became interested in this kind of meta-literature and

“CATE SHORTLAND’S PROMISE IS AMPLY, EVEN STARTLINGLY FULFILLED.”

now has a book by his own heteronyms in process. He also has several new books of poetry in the works, not to mention starting up a new fine arts master’s degree program at IAIA. Meanwhile, Calabrese and crew provide a kind of cover that allows Davis to step outside the orthodoxy of a fixed self in new ways, which is very useful during this age of culture wars. Issues of race, gender, and identity are so quickly reduced to the minimum, and the self needs a bit of protection when it gets into the cage with new gladiators. Although Davis published several chapbooks early in his career, his first full-blown book of poetry, Scrimmage of Appetite, came out in 1995. The work was highly praised by poet Robert Hass, who won the National Book Award and the Pulitzer Prize for his 2007 book Time and Materials. In the journal Rain Taxi, David Foster Wallace called Davis’ prose pieces “off-thecharts terrific” and bought an ad for Scrimmage of Appetite in the same issue. Davis has also been recognized with a Lannan Literary Award, two National Endowment for the Arts Fellowships, and the Peter I. B. Lavan Younger Poets Award from the Academy of American Poets. “I’m always fascinated by how poems happen and what they mean,” Davis said. “When I wrote Scrimmage of Appetite, I was deliberately trying to write a book I didn’t understand.” He decided to write things down as they occurred to him, making associations and assuming he could figure out what everything meant later. “I always try to let language drive the poems, because if that’s not driving, it’s the sound of language that’s driving the association of words,” he said. “And if that’s not driving, then I thought them up, and I don’t want to think my thoughts up. So in that book I wasn’t thinking at all. I just put it all down.” Along with poems, which make up more than half of his six published books, Davis writes a variety of short prose pieces, including parables, flash fiction, short-shorts, vignettes, memories, and verbal pen sketches. He has also written screenplays. His identity as a professor is evident in a piece of what he calls “odd humor,” which has the pedantic title “Compare and Contrast: Chris Isaak and Van Morrison” and which was recently published in McSweeney’s. “Chris Isaak arrives early in yellow swim trunks, a bright towel hanging like a horseshoe around his neck,” the piece begins, while “Van Morrison arrives late, coughing into his fist.” Isaak has an arugula salad, and Morrison slaughters a lamb, and so on. The popular musicians are outside the academic compass, although well within the arc of a writing assignment for a younger generation. The poet gets an A for his highly imaginative answer, creative licks, and superior value system. The professor gets a good grade, too, for selecting, like the Greek historian Plutarch, a highly instructive pair from whom a rewarding ethical and aesthetic lesson can be drawn. And hey, publishing in McSweeney’s is top of the class. (The magazine, apparently afraid of partisan feedback, tacked on an editor’s note clarifying that it likes both men.) “I celebrate myself, and sing myself,” begins Walt Whitman’s monumental Leaves of Grass, which evolved and grew until he died in 1892. This is the sprawling, ungovernable expanse of the American literary tradition in which Davis is coming into his prime — poignant, impudent, and sublime. “I am large, I contain multitudes,” Whitman wrote. Davis’ reach is also allinclusive. In “In the Sleep of Reason,” a poem based on the Goya etching The Sleep of Reason Produces Monsters, Davis wrote about bats as metaphors of “a dangerous chaos” of the imagination and by extension the eternal role of the artist:

-Joe Morgenstern, The Wall Street Journal

“A REMARKABLE VISUAL, CINEMATIC AND MORAL JOURNEY.” -Andrew O’Hehir, Salon

“INTENSE AND EMOTIONAL. Saskia Rosendahl is mesmerizing.” -Kenneth Turan, Los Angeles Times

-Stephen Holden

“BRILLIANT.”

-George Robinson, The Jewish Week

lore: Fri tHru tHurS 2:30 and 7:15

SHun li and tHe poet: Fri - tHurS 5:00

Happy people: Fri and Sat at 12:45

because their voices return with news of the solid world, because we are earthbound, light-locked, governed by appearance and theory, while they navigate the solid, glistening darkness. ◀

details

NOTrE-DAME DE PAriS (LA SCALA)

▼ Santa Fe Poets 1, readings by Jon Davis & other Santa Fe poets ▼ 3 p.m. Sunday, March 24 ▼ The Performance Space at La Tienda, 7 Caliente Road, Eldorado ▼ $2 suggested donation; for information call Davis, 310-0936

Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®

D I G I T A L

S U R R O U N D •E X

SUNDAY 11:00AM

SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com

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

MOVING IMAGES pasa pics

— compiled by Robert Ker

MURPH: THE PROTECTOR This documentary celebrates Lt. Michael Murphy, a U.S. Navy SEAL who sacrificed his life in 2005 and was awarded the Congressional Medal of Honor in 2007. Rated PG. 85 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) OLYMPUS HAS FALLEN The success of 1988’s Die Hard led to many rip-offs in different settings (1992’s Under Siege, for example, was regarded as “Die Hard on a boat”). Now, in the wake of the lousy A Good Day to Die Hard, we get a lousy-looking “Die Hard in the White House” movie. Gerard Butler plays the only Secret Service agent left alive after the building is taken over by terrorists; he must rescue the president (Aaron Eckhart) and save the day. Yippee-ki-yay. Rated R. 120 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

In an Ivy League of their own: Tina Fey and Paul Rudd in Admission, at Regal Stadium 14 in Santa Fe

opening this week ADMISSION Tina Fey plays Portia, an admissions officer at Princeton University. She is used to coldly rejecting prospective students, but then she finds one that she can’t help but bend the rules for: her estranged son (Nat Wolff), given up for adoption long ago. He’s a student at an alternative high school run by an old friend of Portia’s (Paul Rudd). If you think this reunion leads to romance and a newfound sense of responsibility, congratulations: you’ve been accepted into Rom-Com Formula University. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE CROODS It’s been a few months since we’ve had a quality family film — which makes no sense since many families across the country have been cooped up all winter and need to get out of the house. Here’s one about members of a Neanderthal family (voiced by Nicolas Cage, Ryan Reynolds, Emma Stone, and others) who just need to get out of the cave. Their adventure is set into motion because the land they live in is crumbling, which basically makes this Ice Age

March 22-28, 2013

with people. Rated PG. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) LORE Based on material found in Rachel Seiffert’s 2001 Booker Prizenominated novel The Dark Room, Lore tells the story of a teenage Bavarian girl of the same name who must protect her siblings from Allied troops in Germany after the fall of the Third Reich. When Lore’s Nazi-sympathizing parents are taken into Allied custody for interrogation, she and her younger brothers and sister are left to fend for themselves. Unaware of the atrocities their parents helped commit, the children begin a harrowing trek across Germany to join their grandmother in Hamburg. Screenwriters Cate Shortland (who also directed the film) and Robin Mukherjee approach the historically touchy material with grace and panache by turning the Nazi-cinema hunter/hunted formula on its head. Saskia Rosendahl delivers a hypnotizing performance as Lore, and cinematographer Adam Arkapaw applies a stunning impressionistic palette. Not rated. 108 minutes. In German with subtitles. The Screen, Santa Fe (Rob DeWalt). See review, Page 52.

PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with a showing of Notre-Dame de Paris — inspired by Victor Hugo’s novel, choreographed by Roland Petit, with music by Maurice Jarre and costumes by Yves Saint-Laurent, and starring Roberto Bolle and Natalia Osipova — danced by members of Milan’s Teatro alla Scala ballet company. 11 a.m. Sunday, March 24, only. Not rated. 120 minutes. The Screen, Santa Fe. (Not reviewed) SPRING BREAKERS In 1995, Harmony Korine made a splash with his screenplay for Kids, an indie film that exposed the shocking behavior of out-of-control teenagers. Now he’s showing us how bad college kids can be. This film ditches the cinema vérité realism of Kids film in favor of a zany tale about four young women (Selena Gomez, Vanessa Hudgens, Ashley Benson, and Rachel Korine) who resort to robbery in order to afford spring break. They get caught and are bailed out by a cornrow-sporting drug dealer ( James Franco). Skrillex supplies the soundtrack. Rated R. 90 minutes. Regal DeVargas, Santa Fe. (Not reviewed) STOKER Chan-wook Park, South Korean star director of Oldboy, makes his English-language debut with this twisted modern fairy tale about a young girl (Mia Wasikowska) whose father dies, leaving her with an emotionally unstable mother (Nicole Kidman). When her creepy uncle (Matthew Goode) comes to live with them, they form an unlikely and very unhealthy friendship. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Not reviewed) WARRIOR WOMAN This female-bonding story, which was made in New Mexico, centers on two women — one a cancer survivor in a troubled marriage and the other a victim of spousal abuse — who travel

into the desert together to heal emotional scars. Writer and director Julie Reichart appears in person. 7 p.m. Saturday, March 23, and 1 p.m. Sunday, March 24 only. Not rated. 97 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed)

now in theaters AMOUR This exquisitely crafted film is beautifully played by a couple of legends of French cinema. Jean-Louis Trintignant and Emmanuelle Riva portray retired musicians in their 80s. When she suffers a minor stroke and enters an inexorable decline after a botched surgery, he honors his promise to keep her at home in their Paris apartment, coping as his beloved wife sinks into a living hell. Austrian filmmaker Michael Haneke turns his unsparing lens on the indignities, sufferings, and helplessness that can attend the end of a long life. Depressing but riveting. Winner of the Academy Award for best Foreign Language Film. Not rated. 127 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) BIRTH STORY: INA MAY GASKIN & THE FARM MIDWIVES This documentary looks at one woman who teaches others to deliver babies naturally and finds an extensive network of willing participants. Not rated. 94 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) BLESS ME, ULTIMA In lesser hands, the film adaptation of Rudolfo Anaya’s classic novel could have been cloyingly precious magical realism. But Bless Me, Ultima, directed by Carl Franklin, was shot in and around Santa Fe, which imbues the story of murder and witches in World War II-era Northern New Mexico with authenticity. Antonio (Luke Ganalon) is 6 years old when his grandmother Ultima (Miriam Colon), a curandera, comes to stay with his family. Performances are mostly strong, and the dialogue moves quickly, as does the action. Rated PG-13. 105 minutes. In English and Spanish without subtitles. DreamCatcher, Española. ( Jennifer Levin) THE CALL Halle Berry plays a 911 operator who hears a woman being murdered at the other end of the phone line. When it happens again, everyone suspects a killer of the serial variety. When it happens a third time, the operator becomes determined to do whatever it takes not to let the young

abductee (Abigail Breslin, whose roles have clearly grown much darker since Little Miss Sunshine) die. Rated R. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) EMPEROR Tommy Lee Jones plays Gen. Douglas MacArthur just as the man finds himself in charge of the American occupation of Japan. He assigns Gen. Bonner Fellers (Matthew Fox), an expert in Japanese culture, to figure out what to do with Emperor Hirohito (Takatarô Kataoka) — hang him as a war criminal or save him? In English and Japanese with subtitles. Rated PG-13. 106 minutes. Regal DeVargas, Santa Fe. (Not reviewed) ESCAPE FROM PLANET EARTH This film about aliens who try to escape from an aggressive planet comes from Rainmaker Entertainment. The animation appears to be strong, but the jokes look like the usual wisecracks and burps. Rated PG. 95 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. (Not reviewed) THE GATEKEEPERS The questions that haunt this documentary are desperately basic ones: Do the things we do in the name of protecting our security work? Do they work on a moral level? Do they work on a practical level? Do they make things better? Or do they make things worse? Israeli cinematographerturned-director Dror Moreh makes a powerful case that the answer to the first three questions is mostly no. He interviews six former heads of Shin Bet, the Israeli antiterrorism security agency. Each expresses the conviction that the process of brutalizing a hostile occupied enemy is both immoral and counterproductive. The film, which was nominated for an Oscar, has not found favor with official Israel. Rated PG-13. 97 minutes. In Hebrew with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) HAPPY PEOPLE: A YEAR IN THE TAIGA Werner Herzog’s documentary deals with beauty and hardship as it follows a community of Russian fur trappers based in the Siberian wilderness village of Bakhtia. The footage is taken from a four-hour made-for-television Russian documentary. The focus is on the male trappers, whose most important relationship, apart from that with the land, is with their dogs. The conditions these isolated people face can be fierce. But acts of simple industry — the basic ritual chores required to survive — grant contentment. These people are, Herzog tells us, happy to be on their own, self-reliant, and “truly free.” Not rated. 94 minutes. In Russian with subtitles. The Screen, Santa Fe. (Bill Kohlhaase)

The Croods

IDENTITY THIEF Sandy Patterson ( Jason Bateman) discovers his identity has been stolen. He has one week to clear his name, so he goes to Florida to find the thief (Bridesmaids’ Melissa McCarthy), and they engage in a lot of insulting and punching. Rated R. 111 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE INCREDIBLE BURT WONDERSTONE Steve Carell and Steve Buscemi star as two flamboyant magicians who are made obsolete by a gimmicky, David Blaine-like upstart ( Jim Carrey). The title character (Carell) turns to the one man who can help him: his childhood idol, the retired Rance Holloway (Alan Arkin). The film is well crafted, and the actors settle nicely into their roles — Carrey lays it on thick, but you don’t cast him to do subtle. However, the comedy rarely connects, and the climax requires too much suspension of disbelief even for a goofy film like this. With all these gifted veteran actors (including James Gandolfini) draping themselves in velvet suits and funny wigs and pretending to be magicians or Las Vegas hotshots, few pictures better fit the old saying that it looks like it was more fun to make than it is to watch. Rated PG-13. 101 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) continued on Page 50

PASATIEMPO

MOVING IMAGES pasa pics

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JACK THE GIANT SLAYER Director Bryan Singer (of the first two X-Men films), a team of special-effects wizards, a crack art-direction crew, and an impressive array of actors — including Stanley Tucci, Ian McShane, and Ewan McGregor — try in vain to make audiences forget they’re watching a movie based on “Jack and the Beanstalk.” The film starts promisingly as an adventure with shades of The Incredible Shrinking Man, but as it lurches to the gigantic climactic battle, the script comes apart. Nicholas Hoult’s Jack is jarringly modern-looking in his leather hoodie, jeans, and Urban Outfitters-model hair. He also broods too much in a role that requires carefree swashbuckling, proving that all work and no play make Jack a dull movie. Rated PG-13. 115 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Robert Ker) LIFE OF PI Ang Lee won the Oscar for Best Director for his adaptation of Yann Martel’s bestselling novel, which is an intriguing exercise in going toward, intense being, and going away. The first and last are the frame in which the story, of a boy on a lifeboat with a Bengal tiger in a wild ocean, is set. That middle part is a fabulous creation of imagination. The lead-in sets it up with a promise of a story that “will make you believe in God.” The real star is the Academy-Award winning visual effects that will make you believe in tigers, at least. The film also won Oscars for Best Original Score and Best Cinematography. Rated PG. 127 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. ( Jonathan Richards) OZ THE GREAT AND POWERFUL If Wicked isn’t your cup of tea, try this flimsy prequel to the beloved 1939 classic. It opens in black-and-white Kansas, where seedy tent-circus magician Oscar ( James Franco, woefully miscast) breaks women’s hearts between shows. After his hot-air balloon gets caught in a twister, he lands in Oz, the image goes full-color, and he meets three witches (Mila Kunis, Rachel Weisz, and Michelle Williams). Local prophecy predicts that a wizard will save the kingdom and become its new ruler. Could it

spicy bland

medium

mild

heartburn

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

March 22-28, 2013

be Oscar? Problem is, it’s hard to care what happens to a guy who’s “weak, selfish, slightly egotistical, and a fibber” and his one-note sidekicks. To distract us from the lack of intelligent story and emotional depth, director Sam Raimi slings 3-D gimmicks and sets everything amid eye-popping CGI landscapes. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) QUARTET At 75, Dustin Hoffman makes his debut as a director with appealing geriatric material. Beecham House is a retirement home for musicians, among them brooding Reg (Tom Courtenay); sweet, daffy Cissy (Pauline Collins); and lecherous, fun-loving Wilf (Billy Connolly). When diva Jean (Maggie Smith) arrives, it completes a foursome who once starred together in a noted production of Verdi’s Rigoletto and sets the stage for an encore performance. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe; Taos Community Auditorium, 133 Paseo del Pueblo Norte, Taos, 575-758-2052. ( Jonathan Richards) SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the search for a talented musician named Sixto Diaz Rodríguez is a portrait of a humble man, a rock documentary, and a detective story all in one. It follows the triumphs and frustrations of a journalist and a record-store owner in their efforts to shed light on the mystery surrounding Rodríguez, a superstar in South Africa but virtually unknown in his native United States. The film, which won the Oscar for Best Documentary Feature, packs an emotional wallop. Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) SHUN LI AND THE POET A particular form of indentured servitude surrounds the subject of this poignant film by Italian director Andrea Segre. In his fiction feature debut, he tells the story of Shun Li (Tao Zhao), a Chinese woman who has immigrated to Italy, has wound up in a little island fishing community in the Venetian lagoon, and must work to pay off her debt to the Chinese syndicate that paid her passage and to raise money to send for her 8-year-old son. The shy café worker develops a friendship with the Poet (Rade Serbedzija), a middle-aged fisherman from the former Yugoslavia, to the growing displeasure of her Chinese bosses and the Italian locals. Against a lyrical backdrop — cinematographer Luca Bigazzi’s rendering of the Venetian setting — Segre explores issues of prejudice, xenophobia, exploitation, and cultural disconnection. Not rated. 92 minutes. In Italian with subtitles. The Screen, Santa Fe. ( Jonathan Richards)

SIDE EFFECTS Steven Soderbergh claims to be taking a sabbatical from making movies. He’s leaving us with a nifty psychological thriller starring Jude Law as an earnest shrink who prescribes a new drug to a depressed patient (Rooney Mara) and gets caught up in a maelstrom when a murder occurs. Catherine Zeta-Jones is smooth as a professional colleague, and beefy Channing Tatum is agreeable as the husband of Mara’s character. The movie revels in its twists and turns, and most of them work. Rated R. 105 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SILVER LININGS PLAYBOOK This story centers on Pat Solatano (Bradley Cooper), who after being released from a mental institution moves in with his parents ( Jacki Weaver and Robert De Niro) and vows to win back his estranged wife. When friends invite him to dinner, he meets Tiffany (Best Actress Oscar winner Jennifer Lawrence), who also has a couple of screws loose. She agrees to help him patch things up with his wife — but only if he will agree to be her partner in a dance competition. The story swerves hilariously around clichés, and the finely honed dialogue, attention to detail, and impressive performances make the movie a near-perfect oddball comedy. Rated R. 122 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) SNITCH Dwayne Johnson plays John, a dad who will do anything for his son. When the son is imprisoned for drug trafficking, John becomes an informant to spring him. If that sounds improbable, wait until you see the crazy gunfights and the tractor-trailer chase scene. Rated PG-13. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 21 AND OVER The writing team of Jon Lucas and Scott Moore made their names in Hollywood by penning 2009’s The Hangover. This, their directorial debut, focuses on the 21st birthday of Jeff Chang ( Justin Chon) and the outrageous antics that occur over the course of his big night out. Apparently if you go drinking with Lucas and Moore, you’re in for one wild evening. Rated R. 93 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

other screenings Regal Stadium 14 Tuesday-Thursday, March 26-28: G.I. Joe: Retaliation in 3D ◀

AN ADRENALINE SHOT

“

TO THE CEREBRAL CORTEX! ” – Marshall Fine, HUFFINGTON POST

What’s shoWing Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room

1050 Old Pecos Trail, 982-1338, ccasantafe.org Amour (PG-13) Fri. to Sun. 3 p.m. Mon. to Thurs. 2:30 p.m. Birth Story: Ina May Gaskin and The Farm Midwives (NR) Sat. 4 p.m. Sun. 3:30 p.m.

Mon. to Thurs. 3:45 p.m. The Gatekeepers (PG-13) Fri. and Sat. 12:45 p.m., 5:30 p.m., 7:45 p.m. Sun. 12:15 p.m., 5:30 p.m., 7:30 p.m. Mon. to Thurs. 12:30 p.m., 5 p.m., 7:15 p.m. Searching for Sugar Man (PG-13) Fri. 1:30 p.m. Sat. 2 p.m. Sun. 6 p.m. Mon. to Thurs. 1:30 p.m., 6:30 p.m. Warrior Woman (R) Sat. 7 p.m. Sun. 1 p.m. regAl deVArgAS

562 N. Guadalupe St., 988-2775, fandango.com Emperor (PG-13) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m. Quartet (PG-13) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:30 p.m. Side Effects (R) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7:20 p.m. Silver Linings Playbook (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:30 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. Spring Breakers (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m. Stoker (R) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m. regAl StAdium 14

3474 Zafarano Drive, 424-6296, fandango.com Call theater for other showtimes 21 and Over (R) Fri. to Mon. 10:30 p.m. Admission (PG-13) Fri. to Mon. 1:50 p.m., 4:45 p.m., 7:25 p.m., 10:10 p.m. The Call (R) Fri. to Mon. 1:40 p.m., 4:55 p.m., 7:55 p.m., 10:25 p.m. The Croods 3D (PG) Fri. to Mon. 1 p.m., 2 p.m., 4 p.m., 5 p.m., 7 p.m., 8 p.m., 9:45 p.m. The Croods (PG) Fri. to Mon. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:15 p.m. Escape From Planet Earth 3D (PG) Fri. to Mon. 2:05 p.m., 4:40 p.m. G.I. Joe: Retaliation 3D (PG-13) Tues. 7 p.m. Wed. 10 p.m. Thurs. 1 p.m., 4 p.m., 7 p.m., 9:50 p.m. Identity Thief (R) Fri. to Mon. 1:55 p.m., 4:55 p.m., 7:50 p.m., 10:35 p.m. The Incredible Burt Wonderstone (PG-13) Fri. to Mon. 2:10 p.m., 4:50 p.m., 7:40 p.m., 10:25 p.m. Jack the Giant Slayer 3D (PG-13) Fri. to Mon. 1:25 p.m., 7:05 p.m. Jack the Giant Slayer (PG-13) Fri. to Mon. 4:10 p.m., 9:55 p.m. Life of Pi 3D (PG) Fri. to Mon. 1:10 p.m., 7:20 p.m. Murph:The Protector (PG) Fri. to Mon. 1 p.m., 3:20 p.m., 5:40 p.m., 8 p.m., 10:35 p.m. Olympus Has Fallen (R) Fri. to Mon. 1:20 p.m., 4:25 p.m., 7:15 p.m., 7:45 p.m., 10:05 p.m., 10:35 p.m. Oz The Great and Powerful in 3D (PG) Fri. to Mon. 1:05 p.m., 4:05 p.m., 7:05 p.m., 10:10 p.m. Oz The Great and Powerful (PG) Fri. to Mon. 1:35 p.m., 4:35 p.m., 7:35 p.m., 10:40 p.m. Snitch (PG-13) Fri. to Mon. 4:20 p.m., 10:20 p.m. the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com Happy People:A Year in the Taiga (NR) Fri. and Sat. 12:45 p.m.

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Lore (NR) Fri. to Thurs. 2:30 p.m., 7:15 p.m. Teatro alla Scala Ballet: Notre-Dame de Paris (NR)

Sun. 11 a.m.

Shun Li and the Poet (NR) Fri. to Thurs. 5 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087 Bless Me, Ultima (PG-13) Fri. 4:50 p.m., 7:10 p.m., 9:40 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:10 p.m., 9:40 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:10 p.m. Mon. to Thurs. 4:50 p.m., 7:10 p.m. The Call (R) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. The Croods 3D (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. The Croods (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. The Incredible Burt Wonderstone (PG-13) Fri. 4:55 p.m., 7:30 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Jack the Giant Slayer (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Olympus Has Fallen (R) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Oz The Great and Powerful in 3D (PG) Fri. 6:55 p.m., 9:40 p.m. Sat. 2:35 p.m., 6:55 p.m., 9:40 p.m. Sun. 2:35 p.m., 6:55 p.m. Mon. to Thurs. 6:55 p.m. Oz The Great and Powerful (PG) Fri. 4:40 p.m., 7:25 p.m. Sat. 1:55 p.m., 4:40 p.m., 7:25 p.m. Sun. 1:55 p.m., 4:40 p.m. Mon. to Thurs. 4:40 p.m. Snitch (PG-13) Fri. 5 p.m., 7:35 p.m., 9:45 p.m. Sat. 2:30 p.m., 5 p.m., 7:35 p.m., 9:45 p.m. Sun. 2:30 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs. 5 p.m., 7:35 p.m.

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110 Old Talpa Canon Road, 575-751-4245 The Croods 3D (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. The Croods (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. The Incredible Burt Wonderstone (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. Jack the Giant Slayer (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Olympus Has Fallen (R) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Oz The Great and Powerful in 3D (PG) Fri. 6:55 p.m., 9:40 p.m. Sat. 2:20 p.m., 6:55 p.m., 9:40 p.m. Sun. 2:20 p.m., 6:55 p.m. Mon. to Thurs. 6:55 p.m. Oz The Great and Powerful (PG) Fri. 4:40 p.m., 7:25 p.m. Sat. 1:55 p.m., 4:40 p.m., 7:25 p.m. Sun. 1:55 p.m., 4:40 p.m. Mon. to Thurs. 4:40 p.m.

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War stories Rob DeWalt I The New Mexican Lore, historical drama, not rated, in German with subtitles, The Screen, 3.5 chiles Australian director Cate Shortland’s follow-up to Somersault, her well-received 2004 debut feature (it was an Un Certain Regard entry at Cannes before winning 13 Australian Film Institute awards), is based on material found in Rachel Seiffert’s 2001 Booker Prize-nominated triptych novel The Dark Room. For Lore, which was Australia’s best foreign language film entry into the 85th Academy Awards, Shortland leaves behind Somersault’s scenery — the lush expanse of present-day Jindabyne, New South Wales, and the hustle-bustle of Australia’s inland capital, Canberra — for the rivers, trees, forests, and farms of 1945 Germany. Set at the end of the Soviet and Allied overthrow of Hitler’s regime, Lore takes its name from the film’s title character: a 14-year-old girl (played by newcomer Saskia Rosendahl) whose parents are staunch supporters of the Third Reich. When “Vati,” Lore’s father and an SS officer (Hans-Jochen Wagner), and “Mutti,” her mother (Ursina Lardi), are taken into Allied custody for interrogation, Lore and her four younger siblings are left to fend for themselves at their upscale Bavarian home. Unaware of the genocide and other atrocities their parents must now answer for, the children begin a harrowing 900-kilometer trek across war-ravaged Germany to join “Omi,” their Nazi-sympathizing grandmother, in Hamburg. They make their journey while trying to evade Allied troops, who have effectively put an end to the Reich’s hopes for a “final victory.” As hunger, sickness, and despair replace zealous cries of “Heil Hitler” across the Motherland, and with U.S. troops closing in on the children, Lore meets Thomas (KaiPeter Malina), a handsome teenage drifter who from all indications is a concentration-camp survivor and who claims to have been imprisoned for theft. That Thomas says he’s Jewish and that he is an admitted thief plays into Lore’s deeply ingrained sense of superiority over, and boiling hatred for, Jews. That Thomas is also one of the few people who can help Lore and the children reach safety challenges everything Lore has been brainwashed to believe about “the enemy.” As her sexual awakening collides with her will to protect what is left of her family, Lore must decide whether or not she can trust Thomas. When she begins to comprehend the depth of the crimes perpetrated by her father and others during the war, Lore wonders if trust, or any good reason to foster it, truly exists anymore. The younger children — stubborn 52

March 22-28, 2013

Between a flock and a hard place: Saskia Rosendahl, center

12-year-old Liesel (Nele Trebs), 7-year-old twins Günther (André Frid) and Jürgen (Mika Seidel), and 7-month-old Peter (Nick Holaschke) — are still unaware of the trickling-in news and photos describing what will become known as the Holocaust. Lore must slip into the role of the family’s greatest liar, a role her parents once filled, if not to protect her siblings from being taken away by the Allies then to shield them from the horrifying truth behind their father’s military career. Screenwriters Shortland and Robin Mukherjee approach the historically touchy material in Lore cleverly and sensitively, turning the Nazi-cinema hunter/hunted formula on its head without turning the production into a revenge fantasy. Numerous dramatic films peddle in Nazi-hunting, but few ask what becomes of the innocent children of Nazis, who are, no doubt for good reason, among the silent victims of Hitler’s regime. Rosendahl’s subtle, magnetic performance captures the confluence of hatred, bubbling guilt, longing, and fear that Lore carries with her along the frightening — and ultimately tragic — journey to Hamburg. She also communicates, with incredible maturity and vulnerability, the confusing intersection of lust and disgust that Lore feels in the presence of Thomas. The rest of the core cast shines as well. Malina continues to hone his sharp acting skills, which were on display in Michael Haneke’s Oscar-nominated 2009 The White Ribbon. He, like many of the actors in Lore, is often at the mercy of director Shortland and cinematographer Adam Arkapaw (Animal Kingdom), who savor the cinematic poetry of prolonged, silent

pans across faces and Mother Nature. An impressionistic approach to lensing and editing is perhaps not the best way to keep the narrative flowing with ease all the way to grandma’s house in Hamburg, but getting lost in Rosendahl’s performance is frequently its own reward. German-born composer and found-sound fan Max Richter (Waltz With Bashir) has created a bewitching score to accompany Lore’s journey. Interspersed with snippets of Nazi-propaganda music, which is proudly sung by Lore’s twin brothers, the score makes for a profound sonic background that highlights an entire country’s feeling of sadness, shame, and dread. Shortland explains in her production notes that Seiffert’s stories in The Dark Room spoke to her because she understood what it meant to be the child of perpetrators. “Australia’s relationship to its colonial history is suppressed,” she writes. “What would I have done in the midst of genocide and horror? Would I have stood up for the weak and persecuted or rather, like most, been a silent bystander or even worse, complicit?” Her research into the era and the subject of the film speaks to the value she placed on telling the story, however fictional, with cultural and historical accuracy. From interviewing elderly members of the Hitler Youth and the Bund Deutscher Mädel (the League of German Maidens, the only female youth organization in the Nazi movement) to filming in abandoned armament factories once occupied by Jewish prisoners, Shortland took pains to understand how deeply rooted Lore’s anger and fear — and Thomas’ — must have been. ◀

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RESTAURANT REVIEW Bill Kohlhaase I For The New Mexican

Standing on ceremony San Q Sushi 3470 Zafarano Drive, 438-6222 Lunch 11:30 a.m.-2:30 p.m. Mondays-Saturdays; dinner 5-9:15 p.m. Mondays-Thursdays, 5-9:30 p.m. Fridays & Saturdays, 5-9 p.m. Sundays Vegetarian options Noise level: moderate to quiet Wheelchair-accessible Beer, wine & sake Credit cards, no checks

•

The Short Order San Q Sushi is a decent, if not exceptional, Japanese restaurant with a modest array of fresh seafood selections and a full array of grilled, steamed, and deep-fried dishes. Located among the cluster of restaurants around the Regal Stadium 14 theaters, it’s a great place to drop in for a light meal before a movie or for a more substantial repast after. A selection of sushi and sashimi is offered along with innovative variations on the California roll, some with cream cheese or mayonnaise and baked or deep-fried. The noodles, donburi bowls, tempura, yakitori, and teriyaki are only average, but the lunch specials, including attractive sashimi and sushi platters, make this a pleasant midday spot. Sushi-roll specials offered after 8:30 p.m. and special sake flights (offered any time) add to the evening attractions. Recommended: sushi and sashimi combinations, spicy tuna tempura roll, dynamite roll, beef short ribs, grilled yellowtail collar, and vegetable gyoza.

Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.

March 22-28, 2013

Sushi bars have always offered something of an open-kitchen experience — an unimpeded view of the preparation of your meal. Sit at the counter at San Q Sushi, sister restaurant to San Q Sushi and Tapas in Burro Alley, and you’ll get the full effect, especially if you go on a weekend evening when the sushi chefs are busy assembling plates for diners all around the restaurant. You survey the fish and mollusks in the trapezoidal cooler directly in front of you, choosing what looks best — or asking the chef for advice — then watch the vinegar-scented rice as it’s shaped into ovals and topped with a thread of wasabi, a touch of sauce, or maybe some thinly sliced vegetable. You see the fish respectfully unwrapped, sliced, and pressed on top of the rice, and see the finished product arranged on a lacquered tray that’s garnished with a dollop each of wasabi and pickled ginger. The ritual imparts something to the food: you’ve watched it being prepared just for you. And the craft that goes into it makes you savor it even more. The process, really more a ceremony, is part of the enjoyment. That doesn’t mean things are serious at San Q on the southside. The table servers, a friendly lot, facilitate good times with beer and sake recommendations. They’re attentive but not perfectly attuned to your needs or up to the minute with info on what the sushi chef has to offer. No matter. Sit with friends and indulge in flights of sake at the drinks bar or on one of the benches around the tucked-away group tables. The décor, unlike that at the downtown location, is contemporary rather than traditional. Paper lanterns hanging from the high ceiling add a tacky touch. The menu holds surprises. There are plenty of steamed, grilled, and deep-fried dishes — noodles, donburi bowls, tempura, yakitori, and teriyaki — to go with the sushi and sashimi plates. The variations on the popular California roll — such as deep-frying and the addition of cream cheese or Japanese Kewpie mayonnaise (not as sweet or as thick as commercial American mayonnaise) — were relatively new to me. The dynamite roll, topped with mayonnaise, a scallop, and smelt eggs before it’s baked, juxtaposes flavors that on paper seem at odds, but somehow — thanks to a light touch with the mayo — it succeeds. The spicy tuna tempura, which includes crunchy rice and deep-fried cream cheese decorated with slightly sweet eel sauce, was even better. While the Burro Alley location touts “Japanese tapas,” something of a stretch in cross-cultural dining fads, the word tapas does not appear anywhere on the San Q Sushi menu. But you can duplicate the little-plate effect by ordering appetizers. The tempura is just OK, not as light or crispy as one would hope, the vegetables not as finished by their frying. The green chile tempura would be a better idea if the green chile weren’t so chewy. (Maybe when it’s in season?) The chicken teriyaki was a bit dry, with no effort made to smother the fact under extra teriyaki sauce. The beef short ribs were better, cut thin across the bone and just a bit smoky. The vegetable gyozas were plump, flavorful, and nicely pan-fried. The hamachi kama, or grilled yellowtail collar, was perfect, the strongly flavored meat sliding easily from the pale collarbone. If only it hadn’t come dressed with

Kewpie! Presentation is central to Japanese cuisine, and these small plates were all temptingly attractive, decorated with mounds of daikon radishes and carrots, lettuce leaves, and sometimes slices of citrus. A lunchtime sashimi plate — fish slices without the rice — came in a beautiful colorwise layout. Ordering sushi and sashimi combinations can be a better deal than ordering single-selection two-piece plates. The fish selection at San Q isn’t as extensive as it is at the more exclusive (and expensive) sushi houses, but you can usually sample your favorites: salmon, yellowtail, fatty and ahi tuna, shrimp, octopus, freshwater eel, oily mackerel, and the like. The quality is what you might expect in a landlocked place with overnight air freight. One of our combination plates came with sea snail, its flesh, like conch, firm and delicately flavored. Sea urchin was on the menu but not available on my visit. My experience at the bar was everything I’d hoped for. Of course, most of the chef’s work has been done by that point: the fish selected, cleaned, sectioned, preserved with vinegar or pepper as necessary, and wrapped and ready for slicing. Some sushi chefs are so serious that they smirk at your choices and frown at the order in which you eat them. Not so here. I asked for three of what the chef considered the best he currently had to offer, and while his recommendations were predictable — yellowtail, salmon, and ahi tuna — they were exactly what looked the freshest to me. I enjoyed them with a plate of cold soba noodles decorated with shards of dried seaweed and a cup of jasmine tea. He suggested I finish with something sweet: freshwater eel lined with eel sauce and wrapped with a thread of seaweed. Then I watched him make it just for me. ◀

Check, please Dinner for three at San Q Sushi: Combo tempura ........................................................$ 9.95 Green chile tempura..................................................$ 5.95 Vegetable gyoza .........................................................$ 5.95 Sushi nigiri platter (nine pieces) ...............................$23.00 Dynamite roll.............................................................$14.00 Spicy tuna tempura roll .............................................$12.00 Hamachi kama (grilled yellowtail collar) ..................$10.95 TOTAL.......................................................................$81.80 (before tax and tip) Lunch for two, another visit: Sashimi and California roll platter.............................$13.95 Chicken teriyaki with miso soup, salad & rice ............$10.95 Kalbi teishoku (beef short ribs).................................$10.95 with miso soup, salad & rice Iced tea ......................................................................$ 2.00 TOTAL.......................................................................$37.85 (before tax and tip)

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22 Friday gallery/museum openings

Back street Bistro 513 Camino de los Marquez, 982-3500. Still lifes by Mary L. Parkes, reception 5:30-7:30 p.m., through June 2. el Zaguán 545 Canyon Rd., 983-2567. Work by Tess McArdle, reception 5-7 p.m. Flying Cow gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423. The Earth Was Like New, Institute of American Indian Arts student exhibit, reception 6-9 p.m. Johnny’s Classic Barber shop 855 Cerrillos Rd., 982-6154. Group show of photographs and paintings, reception 6 p.m. lewallen galleries Downtown 125 W. Palace Ave., 988-8997. Life Mirrors, paintings by Jeanette Pasin Sloan, reception 5:30-7:30 p.m., through April 28. santa Fe arts Commission Community gallery Santa Fe Community Convention Center, 201 W. Marcy St., 955-6705. Cumulous Skies: The Enduring Modernist Aesthetic in New Mexico, group show, reception 5-7 p.m., through June 7.

ClassiCal musiC

music on Barcelona Music of Dvoˇrák, Arrieu, and Mahler, 5:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., no charge, 424-0994. serenata of santa Fe The Apple Hill String Quartet in Outliers, featuring oboist Pamela Epple and pianist Debra Ayers, music of Brahms, Grieg, and Ligeti, 6 p.m., Scottish Rite Center, 463 Paseo de Peralta, $25, discounts available, 988-1234, ticketssantafe.org. TgiF Chancel Choir recital Bach’s Birthday Festival of Choral Music, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext.16.

TheaTer/DanCe

Santa Fe Photographic Workshops presents illustrated discussions of photographers’ works weekly at 8 p.m. Wednesdays, Immaculate Heart of Mary Retreat and Conference Center (Brenda Tharp’s Santa Fe shown)

Clybourne Park opening night Fusion Theatre Company presents the 2012 Tony Award-winning play by Bruce Norris, 8 p.m., the Lensic, $20-$40, students $10, ticketssantafe.org, 988-1234, continues Saturday, March 23 (see story, Page 42). Eventua: Exquisite Absurdity: 30 Years of Looking Forward Theater Grottesco presents re-created scenes of past performances and previews of works from its 2013 series, 7 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, discounts available, theatergrottesco.org, 474-8400, Thursday-Sunday through April 7. In the Time of the Butterflies Teatro Paraguas presents a new play by Caridad Svich, 7:30 p.m., 3205 Calle Marie, $15, discounts available, 424-1601, final weekend.

Pasa’s Little Black Book......... 57 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59

March 22-28, 2013

new mexico Dance Coalition 26th Annual Choreographers’ Showcase, 7:30 p.m., doors open at 7 p.m., companies include New Mexico School for the Arts, Pomegranate Studios, Dance Space Santa Fe, and Four Winds Belly Dance, Railyard Performance Space, 1611 Paseo de Peralta, $10-$15 sliding scale, ages 12 and under $5, 920-0554, encore Saturday, March 23. The Three Sisters Presented by Arden Shakespeare Festival, 8 p.m., Armory for the Arts, 1050 Old Pecos Trail, $20, discounts available, 984-1370, final weekend.

Books/Talks

gallery talk New Mexico Museum of Art’s Alcove 12.9 artists Jeff Deemie, Teri Greeves, Joanne Lefrack, and James Marshall, 5:30-7 p.m., 107 W. Palace Ave., 476-5072, no charge.

In the Wings....................... 60 Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Pasa Kids............................ 63

rebecca norris Webb and alex Webb Together and Apart, a talk by the photographers, 6 p.m., Tipton Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, 473-6341 (see story, Page 28). Women’s history month lecture Kathleen Walkup discusses the history of women printers in Your Hands Will Always be Covered With Ink: Nuns, Widows, Mavericks, and Other Passionate Printers, 6 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., no charge, 476-5200.

evenTs

Daffodil Days Annual event supporting Presbyterian Medical Services’ Hospice Center; held during hours of operation at Kaune’s Food Town, Sam’s Club, La Montañita Co-op, Sprouts Farmers Market (DeVargas Center), and Wal-Mart Supercenter, $6 a bunch, 988-2211, continues Saturday, March 23.

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

nighTliFe

(See Page 57 for addresses) Café Café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡Chispa! at el mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30-10:30 p.m., no cover. Cowgirl BBQ Singer/songwriter Chris Chickering, 5-7:30 p.m.; honky-tonk band Johnny Outlaw & The Johnson Creek Stranglers, 8:30 p.m.; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no 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 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.

El Farol Felix y Los Gatos, zydeco/Tejano/juke-swing, 9 p.m., call for cover. Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. La Fiesta Lounge at La Fonda Latin band Agüeybana, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin music, 6:30-9:30 p.m., no cover. The Legal Tender E. Christina Herr & Wild Frontier, Americana/alt-country/rock ’n’ roll blend, 6-9 p.m., no cover. The Locker Room Sports Bar & Grill Paul Pino and The Tone Daddies, 10 p.m.1:30 a.m., no cover. The Palace Restaurant & Saloon Vanilla Pop’s Spring Fling Party, ’40s standards to ’80s disco, 9:30 p.m., call for cover. Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover. Rouge Cat Gender-bender Bella Gigante with singer Julie Trujillo, 8 p.m., call for cover. Second Street Brewery Bill Hearne Trio, roadhouse honky-tonk, 6-9 p.m., no cover. Second Street Brewery at the Railyard Local string band The Free Range Ramblers, 7:30-10:30 p.m., no cover. Tiny’s Chris Abeyta, easy listening 5:30-8 p.m.; Anthony Leon & The Chain, country angst, 8:30 p.m.-close; no cover.

d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe a nt 315 Old Sa nt & Bar anasazi Restaura Anasazi, the of Rosewood Inn e., 988-3030 113 Washington Av nch Resort & Spa Ra Bishop’s Lodge Rd., 983-6377 1297 Bishops Lodge Café Café 6-1391 500 Sandoval St., 46 ón es M El at ¡Chispa! e., 983-6756 213 Washington Av uthside Cleopatra Café So 4-5644 47 ., Dr o an far Za 82 34 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. Dinner for Two , 820-2075 106 N. Guadalupe St. at The Pink The Dragon Room a Fe Trail, nt Sa d adobe 406 Ol 983-7712 lton El Cañon at the Hi 811 8-2 98 , St. al ov 100 Sand Spa Eldorado Hotel & St., 988-4455 o isc nc Fra 309 W. San El Farol 3-9912 808 Canyon Rd., 98 ill Gr & r El Paseo Ba 2-2848 99 , St. teo lis Ga 8 20

23 Saturday In ConCERT

new Mexico Guitar Duo Jeremy Mayne and Mickey Jones, 7:30 p.m., Gig Performance Space, 1808 Second Street, $15 at the door, gigsantafe.com. new Mexico Women’s Chorus Pop, jazz, and blues revue, 8 p.m., The Starlight Lounge, RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781, $10 donation at the door, call 310-5593 for more information. Santa Fe Concert Band Music of Sousa, Vaughan-Williams, and Joplin, 2 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations welcome, 471-4865, santafeconcertband.org.

THEaTER/DanCE

Clybourne Park Fusion Theatre Company presents the 2012 Tony Award-winning play by Bruce Norris, 2 and 8 p.m., the Lensic, $20-$40, students $10, ticketssantafe.org, 988-1234 (see story, Page 42). Eventua: Exquisite Absurdity: 30 Years of Looking Forward Theater Grottesco presents re-created scenes of past performances and previews of works from its 2013 series, 7 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, discounts available, theatergrottesco.org, 474-8400, Thursday-Sunday through April 7. In the Time of the Butterflies Teatro Paraguas presents a new play by Caridad Svich, 7:30 p.m., 3205 Calle Marie, $15, discounts available, 424-1601, final weekend.

Pasa’s little black book Evangelo’s o St., 982-9014 200 W. San Francisc Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina nt La Casa Sena Ca 8-9232 98 e., Av e lac 125 E. Pa at La Fonda La Fiesta Lounge , 982-5511 St. o isc nc 100 E. San Fra a Fe Resort nt Sa de da La Posa e Ave., 986-0000 lac Pa and Spa 330 E. at the The Legal Tender eum us M d oa ilr Ra y m La 466-1650 151 Old Lamy Trail, g arts Center Lensic Performin St., 988-1234 o isc nc 211 W. San Fra Sports Bar & Grill om Ro er The Lock 3-5259 47 ., 2841 Cerrillos Rd e Lodge Th at Lodge Lounge Francis Dr., St. N. 0 75 Fe a nt at Sa 992-5800 rider Bar Low ’n’ Slow Low ó ay at Hotel Chim e., 988-4900 125 Washington Av The Matador o St., 984-5050 116 W. San Francisc

Lezberados Stand-up comedians Mimi Gonzalez and Sandra Valls, 8 p.m., doors open at 7 p.m., María Benítez Theatre, The Lodge at Santa Fe, 750 N. St. Francis Dr., $20 at the door, VIP tickets $30, 310-3911. new Mexico Dance Coalition 26th Annual Choreographers’ Showcase, 7:30 p.m., doors open at 7 p.m., companies include New Mexico School for the Arts, Pomegranate Studios, Dance Space Santa Fe, and Four Winds Belly Dance, Railyard Performance Space, 1611 Paseo de Peralta, $10-$15 sliding scale, ages 12 and under $5, 920-0554. The Three Sisters Presented by Arden Shakespeare Festival, 8 p.m., Armory for the Arts, 1050 Old Pecos Trail, $20, discounts available, 984-1370, final weekend.

BookS/TaLkS

David J. Carol The photographer discusses and signs copies of 40 Miles of Bad Road, 3-6 p.m., Photo-eye Gallery, 376-A Garcia St., 988-5152 (see story, Page 34). Ecuador Indigenous Exploration Illustrated talk by Lisa Silva, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418. Life in the air age Interactive readings of fiction by Jeff Norris and performance-art pieces by Tess McArdle, 7 p.m., El Zaguán, 545 Canyon Rd., 983-2567. Sheila applegate The author discusses and signs copies of Enchanted One: The Portal to Love, 2-4 p.m., Ark Books, 133 Romero St., 988-3709.

Women naturalists Presentation by ranger Karen Herzenberg, 2 p.m., Cerrillos Hills State Park Visitor Center, 37 Main St., Cerrillos, donations welcome, 474-0196.

EvEnTS

10th annual Celebración gala Honoring Barbara Carpio Hoover and H. Earl (Bud) Hoover and Patrons of the Spanish Colonial Arts Society; dinner, silent and live auctions of art donated by Spanish Market artists, travel, and gift items, 5 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $150, 982-2226, Ext. 103. Proceeds benefit the Traditional Spanish Markets, the Museum of Spanish Colonial Art, educational programs for children and adults, and the society. Daffodil Days Annual event supporting Presbyterian Medical Services’ Hospice Center; held during hours of operation at Kaune’s Food Town, Sam’s Club, La Montañita Co-op, Sprouts Farmers Market (DeVargas Center), and Wal-Mart Supercenter, $6 a bunch, 988-2211. The Flea at El Museo 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April. The Food Depot’s Food Distribution and Education Center grand opening 1-4 p.m., ribbon-cutting ceremony 2 p.m., 1222 Siler Rd., behind Coll-Green Angel Depot, 471-1633. Japan and art Monte del Sol Charter School fundraiser; dinner and live music, 6-8 p.m., National Education Association New Mexico Building, 2007 Botulph Rd., $30; couples $50; children 10 and younger $15, 982-5225.

pasa week

The Mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 Molly’s kitchen & Lounge 1611 Calle Lorca, 983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 982-1851 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Pyramid Café 505 W. Cordova Rd., 989-1378 Revolution Bakery 1291 San Felipe Ave., 988-2100 Rouge Cat 101 W. Marcy St., 983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 982-2044 Santa Fe Community Convention Center 201 W. Marcy St., 955-6705 Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com

continued on Page 61

Second Street Brewer y 1814 Second St., 982-3030 Second Street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 Secreto Lounge at Hotel St. Francis 210 Don Gaspar Ave., 983-5700 The Starlight Lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & nightlife 135 W. Palace Ave., 982-7265 Steaksmith at El Gancho 104-B Old Las Vegas Highway, 988-3333 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Totemoff Lodge at the Santa Fe Ski Basin N.M. 475, 982-4429 The Underground at Evangelo’s 200 W. San Francisco St., 577-5893 vanessie 427 W. Water St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008

PASATIEMPO

exhibitionism

A peek at what’s showing around town

Jeanette Pasin sloan: Untitled (Gold Rims), 2012, graphite, ink, and watercolor on paper. Jeanette Pasin Sloan fuses hyperrealism and abstraction into her still-life paintings of reflective objects that dazzle with their intricacy. Life Mirrors, an exhibition of her work, opens Friday, March 22, at LewAllen Galleries Downtown (125 W. Palace Ave.), with a reception at 5:30 p.m. Call 988-8997.

mary L. Parkes: Mary’s Poppies, 2012, oil on canvas. Mary L. Parkes’ work evokes the Baroque still-life tradition. She infuses her paintings of flora and fauna with vibrant color. An exhibition of her art opens Friday, March 22, at Back Street Bistro (513 Camino De los Marquez), with a 5:30 p.m. reception. Call 982-3500.

Lee manning: Winter Solitude, 2011, gelatin silver print. Photography as Fine Art, an exhibition of work by Lee Manning, continues at the Southside branch of the Santa Fe Public Library (6599 Jaguar Drive). Manning’s classic black-and-white photos emphasize the contrast of light and shadow in dreamlike imagery. The exhibit runs through March. Call 955-2810.

tess mcArdle: I Should Have Known Better, 2011, sumi ink on linen. An exhibit of work by Tess McArdle opens at El Zaguán (545 Canyon Road) with a 5 p.m. reception on Friday, March 22. At 7 p.m. on Saturday, March 23, Jeff Norris, writer in residence at the historic location, teams with the artist for a multimedia event, Life in the Air Age. The event and the exhibit are free and take place at El Zaguán. Call 983-2567.

brigitte Carnochan: Gentian, 2012, platinum palladium print. An exhibition of work by Brigitte Carnochan, Henry Horenstein, and Linda Ingraham continues at Verve Gallery of Photography (219 E. Marcy St.). Horenstein presents Animalia, a series of closeup human and animal portraits that feature abstract patterns and textures. Ingraham’s lush and vibrant mixed-media work has a painterly aesthetic, and Carnochan’s Leaving My Garden: The Beauty of the Natural World is a series of black-and-white botanical imagery. The exhibit runs through May 4. Call 982-5009.

March 22-28, 2013

At the GAlleries Arroyo Gallery 200 Canyon Rd., 988-1002. Fine Equine Photography, work by Tony Stromberg, through April1. Axle Contemporary 670-7612 or 670-5854. (no)stalgia, installation by Cannupahanska Luger, visit axleart.com for van locations through Sunday, March 24. David Richard Gallery 544 S. Guadalupe St., 983-9555. The Tapestries — Forces of Nature and Beyond, work by June Wayne (1918-2011); Woven and Stitched, textiles by Judy Chicago; Stained and Unstretched, paintings by Paul Reed; through Saturday, March 23. Eight Modern 231 Delgado St., 995-0231. Year of the Snake, group show, through April 6. El Museo Cultural de Santa Fe 555 Camino de la Familia, 992-0591. Challa: Fiesta Carnaval del Valle de Codpa, photographs by Rodrigo Villalón Ardisoni, through April 5. Matthews Gallery 669 Canyon Rd., 992-2882. The Art of John McHugh, paintings, through Thursday, March 28. Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. Sid Avery: The Art of the Hollywood Snapshot, through Sunday, March 24. Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Art of Devotion, 20th annual exhibit of art and objects from the Spanish Colonial Americas combined with an inaugural exhibit of European Old Master works of the mid-1500s to the 1800s, through March. Santa Fe Art Institute Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. The China Express, photographs by Carlan Tapp, through April 5. Santa Fe Public Library Southside Branch, 6599 Jaguar Dr., 955-2820. Photography As Fine Art, work by Lee Manning, through March 30. Santa Fe University of Art & Design Fine Arts Gallery 1600 St. Michael’s Dr., 473-6500. Al-Mutanabbi Street Starts Here, traveling group show of book art, through Friday, March 22. Verve Gallery of Photography 219 E. Marcy St., 982-5009. Works by Henry Horenstein, Linda Ingraham, and Brigitte Carnochan, through May 4. Vivo Contemporary 725-A Canyon Rd., 982-1320. Giving Voice to Image, collaborative exhibit between New Mexico poets and gallery artists, through Tuesday, March 26. Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. Presentiment, paintings by David Nakabayashi, through Friday, March 22. Zaplin Lampert Gallery 651 Canyon Rd., 982-6100. Journey, new paintings by Joe Anna Arnett, through Saturday, March 23.

liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours.

Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday. Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Visit santafe.edu/library for online catalog. Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.

MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. El Otoño Mío es Tu Primavera, installation by Miguel Arzabe, through April 21, Spector Ripps Project Space • Revival, multimedia installation by Billy Joe Miller, through April 14, Muñoz Waxman Front Gallery. Gallery hours available online at ccasantafe.org or by phone, no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Annie Leibovitz: Pilgrimage, through May 5 • Georgia O’Keeffe and the Faraway: Nature and Image, through May 5. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; NM residents free 5-7 p.m. first Friday of the month. Museum of Contemporary Native Arts ` Burial, mixed media by Jason Lujan; through May 12 • Spyglass Field Recordings: Santa Fe; multimedia work by Nathan Pohio • Images of Life, portraits by Tyree Honga • Moccasins

Coming Down From the Mountain, by William schenck, in the New Mexico Museum of Art exhibit Back in the Saddle

and Microphones: Modern Storytelling Through Performance Poetry, documentary by Cordillera Productions; through March. Open 10 a.m.-5 p.m. Monday and Wednesday-Saturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Plain Geometry: Amish Quilts, textiles from the museum’s collection and collectors, through Sept.1 • New World Cuisine: The Histories of Chocolate, Mate y Más • Folk Art of the Andes, work from the 19th and 20th centuries • Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Stations of the Cross, group show of works by New Mexico artists, through Sept. 2 • Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, through May 27 • Metal and Mud — Iron and Pottery, works by Spanish Market artists, through April • San Ysidro Labrador/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 Spanish Market youth artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author • Telling New Mexico: Stories From Then and Now, core exhibition of chronological periods from the pre-Colonial era to the present. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; no charge on Fridays 5-8 p.m.; NM residents no charge on Sundays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.9, works by New Mexico artists Jeff Deemie, Teri Greeves, Joanne Lefrak, James Marshall, and Mary Tsiongas, through April 7 • Art on the Edge 2013, Friends of Contemporary Art and Photography’s biennial juried group show includes work by Santa Fe artists Donna Ruff and Greta Young, through April 14 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents no charge on Sundays. Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. State of Mind: New California Art Circa 1970, conceptual and avant-garde works of the late 60s and 70s; Linda Mary Montano: Always Creative, interactive performance; Mungo Thomson: Time, People, Money, Crickets, multimedia; through May 19. Open 10 a.m.-5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit, through April 14. Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays. PASATIEMPO

In the wings MUSIC

Schola Cantorum of Santa Fe The sacred music ensemble in Good Friday Reflections, 7 p.m. Friday, March 29, Shrine of Our Lady of Guadalupe Catholic Church, 417 Agua Fría St., no charge, schola-sf.org, 474-2815. Donald Rubinstein Folk-rock singer/songwriter, doors open at 7 p.m., concert begins at 7:30 p.m. Saturday, March 30, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com. Jeff Mangum Acoustic guitar and vocals, 7:30 p.m. Tuesday, April 2, the Lensic, $20-$32, a portion of the ticket sales benefits the nonprofit, Blue Skies for Children, ticketssantafe.org, 988-1234.

Arlo guthrie performs a Woody guthrie tribute concert, 7:30 p.m. thursday, April 4, at the Lensic.

Santa Fe Symphony Chorus, Chamber Ensemble, and Orchestra concerts The chorus and chamber ensemble perform in a free recital of Fauré’s Requiem, 7 p.m. Thursday, April 4, Cathedral Basilica of St. Francis of Assisi; the orchestra performs in April Joy, joined by the piano duo Anderson & Roe, music of Mozart and Dvoˇrák, 4 p.m. Sunday, April 21, pre-concert lecture 3 p.m.; the Lensic, $20-$70, 988-1234, ticketssantafe.org. Santa Fe Pro Musica Violinist Chad Hoopes in recital accompanied by Dina Vainshtein, 7:30 p.m. Friday, April 12, music of Bach, Brahms, and Prokofiev; 6 p.m. Saturday and 3 p.m. Sunday, April 13-14, the young violinist in concert with SFPM Orchestra, music of Beethoven and Tchaikovsky; the Lensic, $20-$65, 988-1234, ticketssantafe.org or 988-4640, Ext. 1002. Angel Olsen Singer/songwriter, Villages opens, 7:30 p.m. Saturday, April 13, High Mayhem Emerging Arts, 2811 Siler Lane., 438-2047, $10, 988-1234, ticketssantafe.org. Tony Furtado Indie folk-rock singer/songwriter, 7:30 p.m. Saturday, April 13, Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, $15 in advance, $20 at the door, brownpapertickets.com, call 577-8015 for information. 60

March 22-28, 2013

Upcoming events Humble Boy Fusion Theatre presents Charlotte Jones’ comedy, 8 p.m. Tuesday and Wednesday, May 7-8, the Lensic, $20-$40, students $10, ticketssantafe.org, 988-1234.

HAPPENINgS

Monterey Jazz Festival 55th anniversary tour featuring Dee Dee Bridgewater, Christian McBride, Benny Green, Lewis Nash, Chris Potter, and Ambrose Akinmusire, 7:30 p.m. Thursday, April 25, the Lensic, $25-$55, 988-1234, ticketssantafe.org. Signum Quartet Music of Haydn, Schubert, and Suk, 7:30 p.m. Thursday, April 25, pre-concert talk 6:30 p.m. (free with ticket price), St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, 988-1234, ticketssantafe.org. Bobby Shew Virtuoso jazz trumpeter, with Jim Ahrend on piano, Andy Zadrozny on bass, and John Trentracosta on drums, 7 p.m. Friday, April 26, KSFR Radio’s Music Café Series, 7 p.m., Museum Hill Café, Milner Plaza, 710 Camino Lejo, $20, 428-1527. Ozomatli The Los Angeles-based Latin-fusion band performs as part of Santa Fe University of Art & Design’s Artists for Positive Social Change series, Saturday, April 27, 1600 St. Michael’s Dr., no charge, but tickets required and available at the Lensic box office April 15-19, 473-6440. Darius Brubeck The jazz pianist (and son of the late Dave Brubeck) performs with local ensemble Straight Up and vocalist Maura Dhu Studi in a benefit concert for The Humankind Foundation, 4 p.m. Sunday, May 5, the Lensic, $25-$45, 988-1234, ticketssantafe.org. Lyle Lovett and Robert Earl Keen An acoustic evening with the Texas musicians, 7 p.m. Sunday, May 26, Santa Fe Opera, 301 Opera Dr., $27-$89, on sale March 29 at the SFO box office, santafeopera.org, 986-5900. First 50 tickets available Wednesday, March 27 at the Robert Earl Keen Barn Dance at the Santa Fe Farmers Market.

Bollywood Dance Invasion 2013 Fundraiser hosted by the nonprofit Amma Center of New Mexico; video/light show, vegetarian meal, and astrology readings, 7:30 p.m. Saturday, March 30, Warehouse 21, 1614 Paseo de Peralta, $15 at the door, child discounts available, 699-7275. Lannan Foundation literary event Authors Isabel Wilkerson and John Stauffer, 7 p.m. Wednesday, April 10; the Lensic, $6, discounts available, ticketssantafe.org, 988-1234. Earth Chronicles Project — The Artist’s Process: New Mexico Santa Fe Art Institute hosts a group show with an opening reception, Q & A, and documentary screening at 6 p.m. Monday, April 15, $10, discounts available; also, local poet Lauren Camp leads a workshop titled The Sound of Sunset: How to Write About the Edge of Time in conjunction with the exhibit at 6:30 p.m. Thursday, May 9, $25; 424-5050. Japanese Cultural Festival Santa Fe Japanese Intercultural Network presents its annual matsuri with a vintage kimono exhibit, fashion show, sale of Japanese goods, and Japanese food, 10 a.m.-5 p.m. Saturday, April 20, Santa Fe Community Convention Center, $3, children ages 12 and under no charge, proceeds benefit Japan Aid of Santa Fe recovery relief fund, santafejin.org. Dinner Onstage at the Lensic Fundraising gala for the venue; featuring cocktails, wine-paired dinner, live and silent auctions, and singer Sharon McNight and pianist David Geist, 6-11 p.m. Saturday, April 20, contact Laura Acquaviva for ticket information, 988-7050, Ext. 1212, lacquaviva@lensic.org. Kick up Your Heels for girls! Santa Fe Girls’ School fundraiser; VIP reception and auction 7-8 p.m. Saturday, April 20, Farmers Market Shops, $100; dance party 8-10:30 p.m.,

Farmers Market Pavilion, $30, students $20, 988-1234, ticketssantafe.org, for information call 820-3188. Comfort Food Classic Gerard’s House fundraiser; cook-off with local chefs including Rocky Durham and Ahmed Obo; also, silent auction and raffle, 1-3 p.m. Sunday, April 28, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $50, 424-1800, gerardshouse.org. 2013 Jewish Arts Festival May 3-5, includes multimedia works, gala reception, and music, Temple Beth Shalom, 205 E. Barcelona Rd., art show and sale no charge, gala reception $10 in advance and at the door, for events schedule and to view the artists’ work visit tbsartfest.org. Peter Sarkisian: Video Works 1994-2011 Retrospective exhibit of video and mixed-media installation, free opening reception Friday, May 3, New Mexico Museum of Art, 107 W. Palace Ave., 476-5072. ArtSpring 2013 New Mexico School for the Arts’ year-end performance gala featuring dance, theater, visual arts, music, and a live auction; 5:30 p.m. gala (venue TBA); performances 7 p.m. Friday and Saturday, May 10-11, the Lensic, performances only ($15 reserved seating; $50 preferred seating), $100 includes gala and performance, 988-1234, ticketssantafe.org. Santa Fe Opera opening night benefit The opening-night performance of Offenbach’s The Grand Duchess of Gérolstein is preceded by a gala buffet dinner and a talk by Tom Franks, Friday, June 28, Dapples Pavilion, 301 Opera Dr., $70 before March 31, $80 after, hosted by the Santa Fe Opera Guild, 629-1410, Ext. 113, guildsofsfo.org. Santa Fe Opera The season opens Friday, June 28, with Offenbach’s The Grand Duchess of Gérolstein; other offerings include the premiere of Theodore Morrison’s Oscar, SFO’s first mounting of Rossini’s La Donna del Lago, and two revivals, Mozart’s The Marriage of Figaro and Verdi’s La Traviata; also, two special concerts honoring Wagner, Britten, and Stravinsky; visit santafeopera.org or call 986-5900 for tickets and details on all SFO events.

THEATER/DANCE

Aspen Santa Fe Ballet The contemporary ballet company performs Jiˇrí Kylián’s Return to a Strange Land; Alejandro Cerrudo’s Last; and Trey McIntyre’s Like a Samba, 7:30 p.m. Friday-Saturday, March 29-30, the Lensic, $25-$72, discounts available, 988-1234, ticketssantafe.org. Einstein: A Stage Portrait Spoli Productions International presents Tom Schuch in Willard Simms’ one-man play, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, April 5-7, Teatro Paraguas, 3205 Calle Marie, $16, discounts available, 424-1601. Les Ballets Trockadero de Monte Carlo All-male drag dance company that parodies classical ballet, 7:30 p.m. Monday, April 15, the Lensic, $25-$72, 988-1234, ticketssantafe.org. Winning the Future Up & Down Theatre Company presents its satirical musical revue, 8 p.m. Friday and Saturday, 4 p.m. Sunday, April 19-21, Teatro Paraguas Studio, 3205 Calle Marie, $10, 424-1601. Trey McIntyre Poject The contemporary dance company presents Arrantza, Pass, Away, and Queen of the Goths, 7:30 p.m. Friday and Saturday, May 3-4, the Lensic, $20-$45, discounts available, 988-1234, ticketssantafe.org.

Angel olsen performs at High mayhem emerging Arts April 13.

pasa week

from Page 57

23 Saturday (continued) Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. Santa Fe Artists Market 8 a.m.-2 p.m., Saturdays at the Railyard plaza between the Farmers Market and REI, 310-1555. Santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098. Santa Fe Public Library book sale Southside Branch, 10 a.m.-4 p.m., discounted and specially priced books, 6599 Jaguar Dr., 955-2820, continues Sunday, March 24.

nighTLiFe

(See Page 57 for addresses) Café Café Los Primos Trio, traditional Latin songs, 6-9 p.m., no cover. ¡Chispa! at el Mesón Bert Dalton and The Brazilian Experience, jazz quintet, 7:30-10:30 p.m., no cover. Cowgirl BBQ Hot Club of Santa Fe, bluegrass, swing, and Gypsy jazz, 2-5 p.m.; Felix y Los Gatos, zydeco/Tejano/juke-swing, 8:30 p.m.-close; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Latin band Agüeybana, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Jazz vocalist Whitney and guitarist Pat Malone, 6-9 p.m., no cover. The Legal Tender Classic-country duo The WesternHers, 6-9 p.m., no cover. The Mine Shaft Tavern Americana duo Todd & The Fox, 8 p.m., call for cover. Pranzo italian grill David Geist and Julie Trujillo, piano and vocals, 6-9 p.m., call for cover.

Talking Heads

Collected Works open mic Free monthly event open to unpublished poets, acoustic musicians, writers, and stage performers, 3-4:30 p.m. Sunday, March 24, sign up for 10-minute spots at 2:45 p.m., Collected Works Bookstore, 202 Gaalisteo St., 988-4226.

Revolution Bakery Saturday Night Jazz Trio, guitarist Tony Cesarano, percussionist Peter Amahl, and bassist Lenny Tischler, 6-9 p.m., $3 suggested donation. Second Street Brewery Roots-rock duo Man No Sober, 6-9 p.m., no cover. Second Street Brewery at the Railyard Crow & The Captain, Gypsy-pirate blues, 7:30-10:30 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.

24 Sunday gALLeRy/MuSeuM oPeningS

Pop-up gallery at 312-A Lomita St. 670-6438. Drawings by Thais Mather, closing reception 4-6 p.m.

in ConCeRT

The Chet Baker-gerry Mulligan Project Jazz trumpeter Jan McDonald, saxophonist Arlen Asher, and the Bert Dalton Trio, 4 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $20 at the door, 662-7950.

TheATeR/dAnCe

Eventua: Exquisite Absurdity: 30 Years of Looking Forward Theater Grottesco presents re-created scenes of past performances and previews of works from its 2013 series, 4 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, discounts available, theatergrottesco.org, 474-8400, continues Thursday-Sunday through April 7. In the Time of the Butterflies Teatro Paraguas presents a new play by Caridad Svich, 2 p.m., 3205 Calle Marie, pay-what-youwish, 424-1601. Notre-Dame de Paris The Performance at The Screen broadcast series continues with the La Scala Theatre Ballet company in Milan, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494. The Three Sisters Presented by Arden Shakespeare Festival, 2 p.m., Armory for the Arts, 1050 Old Pecos Trail, $20, discounts available, 984-1370.

BookS/TALkS

The Art of Loving kindness Buddist teachings and meditation; led by Kelsang Jangchen, 12:30 p.m., Tushita Kadampa Buddist Center, 1583 Pacheco St., $10, 820-2226, second session Thursday, March 28. Collected Works open mic Monthly event open to unpublished poets, writers, acoustic musicians, and stage performers, 3-4:30 p.m., sign up at 2:45 p.m. for 10-minute spots, Collected Works Bookstore, 202 Galisteo St., no charge, 988-4226. Santa Fe Poets 1 First in a series of six readings hosted by Santa Fe Poet Laureate Jon Davis over the next 15 months (see story, Page 46), with Ungelbah Daniel-Dávila, Deborah Casillas, Gabe Gomez, and Dana Levin, 3-4:30 p.m., La Tienda Performance Space, 7 Caliente Rd., Eldorado, $2 suggested donation, 310-0936. Santa Fe Public Library book sale Southside Branch, bag day, 1-4 p.m., $3 per bag, 6599 Jaguar Dr., 955-2820.

David Richard Gallery shows tapestries by Judy Chicago.

eVenTS

The Flea at el Museo 10 a.m.-4 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April. international folk dances 6:30-8 p.m. weekly, followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, beginners welcome. Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com. Railyard Artisans Market Music of Ireland with Gerry Carthy 10 a.m.1 p.m.; guitarist/singer Carlos Aguirre 1-4 p.m.; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 983-4098, railyardartmarket.com, 10 a.m.-4 p.m. weekly. Santa Fe Farmers Market 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098.

nighTLiFe

(See Page 57 for addresses) Cowgirl BBQ Pappy O’Daniel’s Irish Biscuit Hour with The Backwoods Benders, noon-3 p.m., no cover. dinner for Two Classical guitarist Vernon de Aguero, 6 p.m., no cover. The dragon Room at The Pink Adobe Jazz guitarist Pat Malone, 6-8 p.m., call for cover. el Farol Nacha Mendez and guests, pan-Latin music, 7 p.m.-close, no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda La Fonda Talent Showcase, any music genre, stand-up comedy, and more welcome, $25 to the winners, 7-10 p.m., no cover. La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7 p.m., no cover.

Rouge Cat Julesworks Follies, local-talent showcase series, 6 p.m., $3 cover. Vanessie Sunday open mic with David Geist, 5-7 p.m.; Bob Finnie, pop standards piano and vocals, 7 p.m.-close; no cover.

25 Monday BookS/TALkS

ghost Towns of new Mexico Talk by Mary Mortensen Diecker, 2 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, $10, 982-2226. new San ildefonso Pottery: A Social history of a Pueblo Community A Southwest Seminars’ Ancient Sites and Ancient Stories lecture with Bruce Bernstein, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

eVenTS

Weekly all-ages informal swing dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.

nighTLiFe

(See Page 57 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. el Farol Geeks Who Drink Trivia Night, 7 p.m., no cover. La Casa Sena Cantina Singer/songwriter Matthew Andrae, 6 p.m., no cover. La Fiesta Lounge at La Fonda Zenobia, blues band, 7:30-11 p.m., no cover. Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover. ▶▶▶▶▶▶▶▶

PASATIEMPO

26 Tuesday

Lara Evans, noon, Meem Auditorium, Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, no charge, 954-7205. the art of loving kindness Buddist teachings and meditation, led by Kelsang Jangchen, 7 p.m., Tushita Kadampa Buddist Center, 1583 Pacheco St., $10, 820-2226. how to build a healthy Economy Conversation with editor Ron Schultz on Creating Good Work, 5:30-7:30 p.m., Santa Fe Community Foundation, 501 Halona St., no charge, 988-9715. Muse times two The poetry series continues with Arda Collins and Santa Fean Kathryn Ugoretz reading from their works, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 12). Renesan Institute for lifelong learning lecture Among the Righteous: The Holocaust and Efforts to Save the Jews of Europe, with K. Paul Jones, 1 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 982-9274. santa fe art Institute open studio Monthly readings and meet-and-greet with writers- and artists-in-residence, 5:30 p.m., University of Art & Design, 1600 St. Michael’s Dr., 424-5050.

books/talks

Emily Rapp The author reads from and signs copies of The Still Point of the Turning World, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 18).

EvEnts

Council on International Relations Buffet dinner followed by a screening of the film Cherry Blossoms, 5-9 p.m., Cowgirl BBQ, 319 S. Guadalupe St., dinner and film $35, film only $15, 982-4931, sfcir.org. Georgia o’keeffe Museum art & leadership for adults program Moved by Place, led by visual artist E. Klingner, 6-8 p.m., Education Annex, 123 Grant Ave., no charge, 946-1039. International folk dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome.

nIGhtlIfE

27 Wednesday In ConCERt

Robert Earl keen Singer/songwriter, 7 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $31, ticketssantafe.org, 988-1234.

books/talks

lannan foundation literary event Novelists Russell Banks and Stona Fitch, 7 p.m., the Lensic, $6, discounts available, ticketssantafe.org, 988-1234 (see story, Page 14). a sense of Place The New Mexico Museum of Art docent talks series continues with a discussion of works by Georgia O’Keeffe, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072. santa fe Photographic Workshops’ instructor image presentations Open conversation and slide presentation of work by Jay Maisel, Norman Mauskopf, Brenda Tharp, and Rick Allred, 8 p.m., Sunmount Room, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., no charge, 983-1400, Ext. 11.

March 22-28, 2013

nIGhtlIfE

Carrie McCarthy

(See Page 57 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30 p.m., call for cover. Cowgirl bbQ Experimental indie band Ribbons Make Music, 8 p.m., no cover. El farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la Casa sena Cantina Guitarist Ramon Bermudez Jr., contemporary Latin tunes, 6 p.m., no cover. la fiesta lounge at la fonda Zenobia, blues band, 7:30-11 p.m., no cover. second street brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 7-10 p.m., no cover. vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.

Matt Sanford and Kate Kita as Vince and Shelly in Buried Child, Thursday-Sunday, March 28, through April 14

nIGhtlIfE

(See Page 57 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Chuscales, 7-9 p.m., no cover. Cowgirl bbQ Aaron Sandoval Band, country licks, 8 p.m., no cover. El farol Salsa Caliente, 9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de santa fe Resort and spa Wily Jim, Western swingabilly, 7 p.m., no cover. the Palace Restaurant & saloon Local string band The Free Range Ramblers, 7:30 p.m., call for cover. the Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover. second street brewery Vinyl Listening Sessions with DJ Spinifex, 6-9 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ electric jam, 8-11 p.m., no cover. vanessie Cabaret Night with vocalists Christiana Miranda and Walter Dane and pianist Todd Lowry, 6:30 p.m.-close, no cover.

28 Thursday ClassICal MusIC

santa fe Pro Musica baroque Ensemble Joined by mezzo-soprano Deborah Domanski and trumpeter Brian Shaw, music of Bach and Telemann, 7:30 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, 988-4640, Ext.1000, or ticketssantafe.org, 988-1234, encores Friday and Saturday, March 29-30.

In ConCERt

oliver Mtukudzi and the black spirits R&B-inflected Zimbabwean music, 7 p.m., the Lensic, $20-$40, ticketssantafe.org, 988-1234.

thEatER/danCE

Buried Child opening night Ironweed Productions in co-production with Santa Fe Playhouse presents Sam Shepard’s drama, 7:30 p.m., 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262, Thursdays-Sundays through April14. Eventua: Exquisite Absurdity: 30 Years of Looking Forward Theater Grottesco presents re-created scenes of past performances and previews of works from its 2013 series, 7 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, paywhat-you-wish, theatergrottesco.org, 474-8400, continues Thursday-Sunday through April 7.

books/ talks

2013 Indian arts Research Center speaker series Is It Native Art?: Authenticity and Self-Determination, led by art historian

(See Page 57 for addresses) ¡Chispa! at El Mesón The Gruve, soul and blues duo Ron Crowder and Steve O’Neill, 7-9 p.m., no cover. Cowgirl bbQ Folk-rockers The Bus Tapes, with Heather Tanner on guitar and vocals, Case Tanner on bass guitar, David Gold on lead guitar, and Milton Villarubia on drums, 8 p.m., no cover. El farol Old-school rockabilly band Rob-A-Lou, 9 p.m., no cover. la boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda Bill Hearne Trio, roadhouse honky-tonk, 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., no cover. the Matador DJ Inky spinning soul/punk/ska, 8:30 p.m.-close, no cover. the Palace Restaurant & saloon Lime Light Karoake with Michele, 8:30 p.m., call for cover. tiny’s Americana band Boris & The Salt Licks, 8 p.m.-close, no cover. vanessie Jazz pianist John Rangel and vocalist Barbara Bentree, 6:30 p.m.-close, no cover. Zia diner Swing Soleil, Gypsy jazz and swing, 6:30-8:30 p.m., no cover.

▶ Elsewhere albuquErquE Museums/art spaces

albuquerque Museum of art & history 2000 Mountain Rd. N.W., 505-243-7255. Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.1 p.m. Sundays no charge.

Albuquerque Photographers Gallery 303 Romero St. N.W., Old Town, 505-244-9195. The Acoma Collection, work by Lee Marmon, through April. Indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50. UNM Art Museum Center for the Arts Building, 505-277-4001. Speak to Me, annual graduate show, reception 5-7 p.m. Friday, March 22, through May 4 • In the Wake of Juarez: Drawings of Alice Leora Briggs • Bound Together: Seeking Pleasure In Books, group show • Martin Stupich: Remnants of First World, inkjet prints, through May 25. Open 10 a.m.-4 p.m. TuesdaySaturday; $5 suggested donation.

Santa Fe Women’s Ensemble Always in need of ushers for concerts; to volunteer email info@sfwe.org or call 954-4922. Yardmasters Orientation If you are interested in helping out with the upkeep of the gardens at Railyard Park, Railyard Stewards hosts an orientation at 9 a.m. Saturday, March 23, at the Railyard Community Building located behind SITE Santa Fe at 1606 Paseo de Peralta; for more information contact Tina Ruiz, 316-3596, tina@railyardpark.org.

▶ Under 21

Events/Performances

Sunday Chatter Apple Hill String Quartet, music of Mozart, Stravinsky, and Piazzolla, 10:30 a.m. Sunday, March 24, poetry reading by Logan Phillips follows, The Kosmos, 1715 Fifth St. N.W., $15 at the door, chatterchamber.org. Bert Dalton Trio Time Out for Brubeck, tribute to the late jazz pianist/composer, 7:30 p.m. Thursday, March 28, Outpost Performance Space, 210 Yale Blvd. S.E., $20, students $15, 505-268-0044.

española

Bond House Museum 706 Bond St., 505-747-8535. De la Tierra y Cerca de la Tierra, group show, through Friday, March 22. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-3:45 p.m. Monday-Thursday, no charge.

los alamos Museums/Art Spaces

Bradbury Science Museum 15th and Central Avenues, 667-4444. Open 10 a.m.-5 p.m. Tuesday-Saturday, 1-5 p.m. Sunday-Monday; no charge. Pajarito Environmental Education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; live amphibians, an herbarium, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m. Saturday, no charge. Los Alamos Historical Museum 1050 Bathtub Row, 662-4493. Permanent exhibits on the geology of the Jémez volcano, the Manhattan Project, area anthropology, and the Ranch School for Boys. Open 9:30 a.m.-4 p.m. Monday-Friday, 11 a.m.4 p.m. Saturday, 1-4 p.m. Sunday; no charge. Events/Performances Authors Speak The free series continues with Sun Sticks & Mud: 1,000 Years of Earth Building in the Desert Southwest, with Bart Kaltenbach, Barbara Anschel, and Steve Fitch, 7 p.m. Thursday, March 28, Upstairs Rotunda, Mesa Public Library, 2400 Central Ave., 662-8247.

taos Museums/Art Spaces

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 10 a.m.-5 p.m. Monday-Saturday, noon-

Pull Me to You, by Eric Zener, Turner Carroll Gallery, 725 Canyon Rd.

5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday. Encore Gallery Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte, 575-758-2052. Corporal/Intangible, prints by Randall LaGro and Robbie Steinbach, through April 28. Harwood Museum of Art 238 Ledoux St., 575-758-9826. Red Willow: Portraits of a Town • Eah-Ha-Wa (Eva Mirabal) and Jonathan Warm Day Coming • Eli Levin: Social Realism and the Harwood Suite; exhibits celebrating Northern New Mexico, through May 5. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-4 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Director’s Choice: 14 Years at the Taos Art Museum, works from the collection, through June. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

▶ people who need people Artists/Photographers

2013 Governor’s Awards for Excellence in the Arts Nominate New Mexican artists, businesses, nonprofits/foundations, or individuals contributing to the arts; nominations may be mailed or hand-delivered no later than Friday, March 29, to New Mexico Arts, 407 Galisteo St., Suite 270, 87501; forms available online at nmarts.org, or call 827-6490.

Photobook workshop scholarship Open to photographers and students ages 27 and younger for a workshop hosted by Radius Books (983-4068) Friday-Sunday, March 22-24; for details contact Alex Webb and Rebecca Norris Webb at webbnorriswebb@gmail.com or visit magnumphotos.com.

Filmmakers/Playwrights/Writers

Santa Fe Independent Film Festival Film submissions sought for the Oct.16-20 festival; regular deadline Wednesday, May 1; late deadline July 1; final deadline Aug. 1. Visit santafeindependentfilmfestival.com for rules and guidelines. Santa Fe Playhouse 92nd season Accepting play proposals of all genres for the fall 2013-summer 2014 season from individuals who would like to direct; call 988-4262 or email playhouse@santafeplayhouse.org for proposal packets by Sunday, March 31. Tony Hillerman best first mystery novel contest Publishing contract with St. Martin’s Press and $10,000 advance offered to the winner; only authors of unpublished mysteries set in the Southwest may enter; manuscripts must be received or postmarked by June 1; further guidelines and entry forms available online at wordharvest.com.

Volunteers

Birders Lead ongoing birdwatching walks at Leonora Curtin Wetland Preserve, Ortiz Mountains Educational Preserve, and Santa Fe Botanical Garden at Museum Hill; call 471-9103 or email info@santafebotanicalgarden.org for more information. Gearing up for Earth Week Earth Care’s fifth annual Day of Service in celebration of Earth Day and Global Youth Service Days takes place Thursday, April 25, 9 a.m.-3 p.m.; volunteers are needed to assist with set-up, break-down, general logistics, and support; contact Casey Moir, casey@earthcarenm.org, 978-290-2792.

Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423. The Earth Was Like New, Institute of American Indian Arts student exhibit, reception 6-9 p.m. Friday, March 22. Clybourne Park Fusion Theatre Company presents the 2012 Tony Award-winning play by Bruce Norris, 8 p.m. Friday, 2 and 8 p.m. Saturday, March 22-23, the Lensic, $20-$40, students $10, ticketssantafe.org, 988-1234 (see story, Page 42). St. John’s College Community Seminars Read and discuss seminal works; free to 11th12th-grade students. Fakhruddin ’Iraqi’s Divine Flashes, 1-3 p.m. Saturdays, March 23-April 13, 1160 Camino de Cruz Blanca, call 984-6117 to register. Warehouse 21 benefit concert Metal show with Indemnified, Fear the Empire, and Throw The Temple, 7 p.m. Saturday, March 23, 1614 Paseo de Peralta, $5 at the door, 989-4423. Call for young artists and filmakers Fifth annual Art to Awaken: enter art in any media (performance, music, dance, spoken word) aimed at making a positive impact on the world; 2013 Youth Creating Change Film Fest, presented by Adelante and Earth Care’s Youth Allies: get your message out in 30-second to five-minute digital files of PSAs, short documentaries, or animated films; deadlines for both events is Friday, April 26; for details email youthallies@earthcarenm.org.

▶ pasa Kids New Mexico Dance Coalition 26th Annual Choreographers’ Showcase, 7:30 p.m. Friday and Saturday, March 22-23, doors open at 7 p.m., companies include New Mexico School for the Arts, Pomegranate Studios, Dance Space Santa Fe, and Four Winds Belly Dance, Railyard Performance Space, 1611 Paseo de Peralta, $10-$15 sliding scale, ages 12 and under $5, 920-0554. Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, by museum admission, 989-8359. Summer Camp Fair Brouse different camp displays, collect brochures, or register your children for camp, 10 a.m.-4 p.m. Saturday, April 13, La Tienda Shopping Center, 7 Caliente Rd., Eldorado, call 603-8811 or 466-1059 for information. ◀

— on on vacation vacation — back March March 29 29 back PASATIEMPO

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