Pasatiempo January 23, 2015

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

January 23, 2015

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PASATIEMPO | January 23-29, 2015

HOME

Artwork by: Linda Montoya

Artwork By: Hal and Margie Hiestand

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PASATIEMPO | January 23-29, 2015

POPup

January 25, 2015 12pm-4pm

Fundraiser

benefiting Native american youth hoop dancers Native American artist show & Silent Auction hoop dancing every hour on the hour

AT La fonda on the santa fe plaza

special thank you to la fonda for sponsoring the event

funding supports travel & lodging to participate in world championship hoop dancing contest in phoenix, az, feb 7 & 8 P U E BL O

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THE SANTA FE NEW MEXICAN

January 23, 2015

www.pasatiempomagazine.com

ON THE COVER 28 Tools of engagement Star Wallowing Bull’s paintings in the exhibit Mechanistic Renderings represent a new direction for the Fargo-based artist, known for his intricate, Pop-inspired colored-pencil drawings. Like his works on paper, his recent paintings appropriate imagery from popular culture, but in them, he takes a more reductive, geometric approach to figuration, using representations of electronic components, nuts, bolts, and similar objects to form his robotic portraits. Mechanistic Renderings is one of four solo shows opening at the Museum of Contemporary Native Arts on Friday, Jan. 23. On the cover is Wallowing Bull’s 2013 painting Toxic Seahorse; all Wallowing Bull images courtesy Bockley Gallery.

MOVING IMAGES

BOOKS

Detail from A Most Imperfect Union by Ilan Stavans and Lalo Alcaraz

16 18 24 34

CALENDAR

MUSIC AND PERFORMANCE 20 23 32

38 Still Life 40 Free the Nipple 42 The Dybbuk 44 Chile Pages

In Other Words How to Be Both Tales from the dark side Karen Russell The sounds of science Peter Pesic The ever-bending story A Most Imperfect Union

Pasa Tempos Album reviews Random Acts Pato Banton Lessons in experiment Works by Meredith Monk & Simone Forti

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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. E-mail: pasa@sfnewmexican.com

Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com

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Assistant Editor — Madeleine Nicklin 505-986-3096, mnicklin@sfnewmexican.com

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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com

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Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com

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Copy Editor — Susan Heard 505-986-3014, sheard@sfnewmexican.com

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STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Jennifer Levin 505-986-3039, jlevin@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com CONTRIBUTORS Loren Bienvenu, Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Bill Kohlhaase, Iris McLister, James McGrath Morris, Robert Nott, Adele Oliveira, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Steve Terrell, Khristaan D. Villela PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2015 The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Mixed Media Star Codes Restaurant Review: The French Pastry Shop & Crêperie

ADVERTISING: 505-995-3852 santafenewmexican.com Ad deadline 5 p.m. Monday

PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com ■

Pasa Week

Tom Cross Publisher

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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007

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MARKETING DIRECTOR Monica Taylor 505-995-3824

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RETAIL SALES MANAGER - PASATIEMPO Art Trujillo 505-995-3852

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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Kelly Moon 505-995-3861 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830

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GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert, Joan Scholl

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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841

Ray Rivera Editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

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Santa Fe Community Orchestra

Oliver Prezant, Music Director 2014-2015 Concert Season

Elevating Santa Fe’s optical experience with refreshing & artistic independent eyewear.

Educate Your Ear Concert Schubert: Unfinished Symphony, Unfinished Life Oliver Prezant and the SFCO will explore Schubert’s “Unfinished” Symphony, including commentary and musical illustrations, followed by a full performance of the work.

Sunday, February 1st, at 2:30 pm St. Francis Auditorium at the New Mexico Museum of Art 107 West Palace Ave.

Most of the eyewear in the world is produced by a few companies.

We would like to show you something different!

Free admission, donations appreciated This concert is sponsored in part by Thornburg Investment Management. The SFCO is funded in part by the City of Santa Fe Arts Commission and the 1% Lodgers Tax and this project is made possible in part by New Mexico Arts,a division of the Office of Cultural Affairs, and the National Endowment for the Arts.

125 LincoLn Ave., Suite 114  988.4444

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GRANDEPLAY CREATIVE MOVEMENT T SERIES BACK BY POPULAR DEMAND Tuesdays, 9:30 -10:15 am January 13 – March 10 GATHER WITH OTHER PRESCHOOL FAMILIE ES TO ENLIVEN THE BRAIN AND BODY!

Grande Play Creative Movement instructor RGS alum mum DIANA OROZCOGARRETT has been a NDI New Mexico dance instructor since 2001 and has taught in the School for the Performing Arts, Outreach and Summer Institute programs.

Parents and caregivers are encouraged to partic cipate.

715 Camino Cabra – in the gym

983-1621

cullen_curtiss@riograndeschool.org

SPACE IS LIMITED; RESERVATIONS STRONGLY SUGGESTED

Rio Grande School does not discriminate on the basis of race, color, gender, sexual orientation, gender identity, or national or ethnic origin.

El Farol Restaurant 808 Canyon Road Santa Fe, NM 87501 505-983-9912 elfarolsf.com

Celebrating our 30th year Bring this flyer in and receive a free tapa for lunch or dinner Come for the food and stay for the entertainment 8

PASATIEMPO | January 23-29, 2015

CLASSICAL WEEKEND ORCHESTRA Lensic Performing Arts Center Saturday, January 24, 2015 at 4pm Sunday, January 25, 2015 at 3pm Santa Fe Pro Musica Orchestra Thomas O’Connor, conductor Per Tengstrand, piano

HAYDN STRAVINSKY MOZART MEET THE MUSIC one hour before each Orchestra concert at the Lensic.

ARTIST DINNER with Per Tengstrand Sunday, January 25 at 5:30pm* $20, $35, $45, $65 Discounts for students, teachers, families, and groups available through the Santa Fe Pro Musica Box Office.

Santa Fe Pro Musica Box Office: 505.988.4640 Tickets Santa Fe at the Lensic: 505.988.1234 www.santafepromusica.com *Limited seating, reservations required through the Pro Musica Box Office

The 2014-2015 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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GOVERNING BOARD CANDIDATES FORUM

LITERACY VOLUNTEERS OF SANTA FE Celebrating 30 Years of Service to the Community presents

Reads SANTA FE

READINGS & DISCUSSIONS WITH 5 NATIONALLY ACCLAIMED AUTHORS, ALL RESIDENTS OF NORTHERN NEW MEXICO

SALLIE BINGHAM is the author of nearly a dozen plays, a memoir, four novels and three collections of short stories. She is currently working on a biography of Doris Duke to be published in 2015.

NATALIE GOLDBERG

is the noted lecturer, teacher and author of 12 books including her best-selling guide for authors Writing Down the Bones which has sold more than 2 million copies.

ANNE HILLERMAN is a journalist and writer

whose first novel Spider Woman's Daughter has won a number of awards and a spot on the NY Times best seller list. She is the founding director of the Tony Hillerman Writers Conference.

JOHN NICHOLS is the author of 20 books

and screenplays. New Mexico has been the setting for most of his books, including the famed New Mexico trilogy: The Milagro Beanfield War, The Magic Journey and The Nirvana Blues.

VALERIE PLAME is the former covert CIA operations officer who is the author of the NY Times best-selling memoir Fair Game: My Life as a Spy, My Betrayal by the White House which became a major motion picture.

The panel will be moderated by KSFR Radio Cafe host MaryCharlotte Domandi and will focus on the transformational power of literacy. It will feature personal stories of inspiration and creativity that are especially meaningful to the panelists.

SUNDAY, FEBRUARY 8 AT 2 PM JAMES A LITTLE THEATER

1060 Cerrillos Road in Santa Fe Tickets $15. Call 505.428.1353 or at the door Autographed copies of the authors' books will be available for purchase through Collected Works Bookstore at the event.

Major Sponsor:

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PASATIEMPO | January 23-29, 2015

Tuesday, Jan. 27 • 5:30 to 7 p.m. • Board Room Position 1: Linda Siegle Position 2: Pablo Sedillo, Sr. Position 4: Jack Sullivan and Xubi Wilson LEARN MORE. 505-428-1148

sfcc.edu/about_SFCC/governing_board Sponsored by The League of Women Voters and American Association of University Women Santa Fe.

80 Fabulous Artists!

Something Wonderful for Everyone! !

“Psychic Celebration of the Heart” Sat. Feb. 14

Exceptional ‘Presenters’ all day.

Ongoing Readings, Channelling, Activations and Clearings.

Featuring the Crystalline Stellar Skulls & Anariya Rae of “Team Earth” Special lunch menu by Epazote “Flavors for the Heart” Drop by for our ‘Presenter list’ and sign up ~ space is limited.

86 Old Las Vegas Hwy (Before Harry’s) 10AM to 5PM (Closed Wed.) • 505-982-9944 • santafehillside.com

Sale 30% Off Entire Store Closing March 1, 2015

Dear Clients and Friends, I have chosen to close Jane Smith Home retail space transitioning into my Interior Design Business, as of March 1, 2015. I want to thank each and everyone of you for your patronage, support, and kindness throughout these many years of retail. I am extremely fortunate to have made some very dear, lasting friendships that I shall cherish. For this, I am forever grateful.

Once again, I thank you from my heart.

Very truly yours, Jane Smith

Jane Smith

Don’t MISSSSS OUT! Join us for the final events presented in conjunction with Wooden Menagerie, celebrrating the rich Hispano folk tradition off animal wood carving in New Mexic co.

SUNDAY, JANUARY 25 2:00 – 4:00 PM “Hear them Roar: New Mexican Animal Carvers and Contemporary American Folk Art” Panel discussion moderated by exhibition curator Andrew John Cecil, with Michael D. Hall, Christine and Davis Mather, Luis Tapia, and Ron Archuleta Rodríguez.

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COMING UP! SUNDAY, FEBRUARY 15 1:00 – 4:00 PM “Carving the Animal Kingdom” Artist demonstrations and last day to see the exhibition.

By museum admission. New Mexico residents with I.D. free on Sundays.

Youth 16 and under and MNMF members always free.

Funded by the International Folk Art Foundation.

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

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Winter Market at El Museo

MIXED MEDIA In the kitchen with Marcel Students in Santa Fe are collaborating with their Moengo, Suriname, counterparts on a monumental work that artist Marcel Pinas, a native of the small Suriname village of Pelgrimkondre, hopes will “make people become aware of their identities and where they fit in the world.” The piece, SITElab6: Marcel Pinas/Kukuu, amounts to a replication — though the materials used are kept local — of a similarly titled installation Pinas is creating with students in Moengo. Formerly an off-site part of SITE Santa Fe’s SITElines 2014: Unsettled Landscapes series, which officially ended earlier this month, it is now in the museum’s SITElab gallery, located in the lobby. “We have been working with 750 children already, and it is an ongoing project until the end of this year,” Pinas said. “This art piece will attract people from all over to see it in Moengo, and that will lead to economical empowerment of the community.”

The internationally known artist makes his works in order to call attention to Suriname’s minority group of Maroon peoples — the descendants of escaped African slaves — and to create platforms for the continued preservation and development of that culture. Kukuu, which was inspired by a piece of traditional Maroon furniture used to store spoons, plates, tea kettles, and other kitchen supplies, employs made, found, and bought materials that are relevant to the Santa Fe community but that also reference global trade routes.

The exhibition at SITE (1606 Paseo de Peralta) reflects collaboration from many educational partners, including Santa Fe University of Art and Design; Wood Gormley Elementary School; Capital High School; New Mexico School for the Arts; SFPS’ Adelante Program, which helps homeless students and their families; SFPS’ Transitional Education Program, which assists students serving long-term school suspensions; and Santa Fe County’s Youth Development Program.

The 5:30 p.m. opening reception takes place on Friday, Jan. 23; the exhibit is up through Feb. 15. Entrance is by museum admission (no charge on Fridays). Call 505-989-1199 for information.

— Paul Weideman

Saturday 8 am - 3 pm Sunday 9 am - 4 pm Art, Antiques, folk & Tribal Art, Books Jewelry, cowboys & indians, Hand made purses, beads, Glass, hides and much much more

El Museo Cultural de Santa Fe 555 Camino de la Familia, Santa Fe, NM 87501 (In the Railyard across the tracks from the Farmer’s Market) Info call: Steve at 505-250-8969 or Lesley at 760-727-8511

January Hours: 10-5 Monday-Friday | 10:30-4:30 saturday 18th and 19th CEntury PErioD FurniturE, Brass, CoPPEr, & PorCELain oriEntaL rugs | art | aCCEssoriEs Handmade, handpainted Chinese Export Blue & White Dragon Plate – $45

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1925 rosina street, suite a1 505-428-0889 www.pink-house-antiques.com

PASATIEMPO I January 23-29, 2015

Pair of Louis XV brass candlesticks c. 1735 – $985

SITElab6: Marcel Pinas/Kukuu, 2014, mixed media; courtesy of the artist

Top, Chris Zappe’s Complementary Left, John Flax in Henry and the Animals

All the world’s a movie That’s part of your problem, you know: You haven’t seen enough movies. — Steve Martin as Davis in Grand Canyon On Saturday, Jan. 24, the New Mexico Filmmakers Showcase, sponsored by the New Mexico Film Office, presents screenings of the “best of category” winners from the annual competition in the areas of animation, comedy, drama, documentary, experimental, fantasy/sci-fi, horror, and others. A panel of industry professionals judged the films. Screenings begin at 4 p.m. at the Jean Cocteau Cinema (418 Montezuma Ave., 505-466-5528) and are followed by a 6:30 p.m. networking reception, during which attendees can meet filmmakers and judges.

Other entries will screen on Sunday, Jan. 25, beginning at 10 a.m. with short animated films, including Alice & Dawn, an epic battle between good and evil on the domestic front, directed by Ryan Schofield, and Reverie, which involves a quest to vanquish a formidable foe of the imagination, directed by Geraldo I. Pena. Comedies screen at 10:15 a.m., starting with Catherine Ames’ Can’t Fight the Music, in which a woman encounters something surprising in an elevator. The documentaries begin at 11:20 a.m. and include David Ethan Ellis’ Rudolfo Anaya: The Magic of Words, about the author of Bless Me, Ultima, and Ana Aguilar’s Spirals in the Sky, about piloting a hot-air balloon at the Albuquerque International Balloon Fiesta.

The drama category starts at 12:50 p.m. and includes Chris McCann’s Fool’s Gold, a tale of love and greed, and Dennis Foulkrod’s Knots, about a hiker in peril. Experimental films screen at 2:20 p.m., starting with Denise Lynch’s Process, about making art from clay, and also featuring George Thomas’ Rock Star, about an arrogant musician facing judgment in purgatory. Films in the “horror, other, and sci-fi/fantasy” category begin showing at 3:30 p.m. and include Peter M. Kershaw’s Henry and the Animals, a modern parable about imagination, the natural world, and the wisdom of a child. The screenings conclude with Justin Golightly’s sci-fi film Void, about an astronaut facing madness as he attempts to guide his spaceship home.

All events are free. Winning showcase films will screen at local festivals throughout New Mexico in 2015. For a complete list of films, visit www.nmfilm.com or www.jeancocteaucinema.com.

— Michael Abatemarco

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

The Fire This Time: A Tribute to James Baldwin with Amy Bloom, Nikky Finney, Randall Kenan and Kevin Young WEDNESDAY 11 FEBRUARY AT 7 PM

Not everything that is faced can be changed, but nothing can be changed until it is faced.

—James Baldwin

James Baldwin (1924–1987), the great American novelist, poet, essayist, playwright and social critic, is celebrated in an evening of readings by poets and writers Amy Bloom, Nikky Finney, Randall Kenan and Kevin Young.

Amy Bloom is the author of three story collections and two novels, including the recent, Lucky Us of which The New York Times said, “She writes sharp, sparsely beautiful scenes that excitingly defy expectation, and part of the pleasure of reading her is simply keeping up with her.”

Nikky Finney is the author of four books of poetry and a collection of short stories. Born in South Carolina to activist parents, Finney came of age during the Civil Rights and Black Arts Movements, noting, “I’ve never been far away from the human-rights struggle black people have been involved with in the South. That has been one of the backdrops of my entire life.”

Randall Kenan is the author of the novel A Visitation of Spirits and the story collection Let the Dead Bury Their Dead. His other books include Walking on Water: Black American Lives at the Turn of the Twenty-First Century and The Fire This Time, a combination of memoir and essays in which the author asks how far have we come since Baldwin’s pivotal examination of our “racial nightmare” of the 1960s.

Kevin Young often finds meaning and inspiration for his poetry in African American music, particularly the blues. His publications include Ardency: A Chronicle of the Amistad Rebels and his recent poetry collection, Book of Hours, a work of both grief and birth. His book The Grey Album: On the Blackness of Blackness combines essay, cultural criticism, and lyrical chorus to illustrate ways African American culture is American culture.

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

www.lannan.org

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PASATIEMPO | January 23-29, 2015

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Heather Roan Robbins

Mercury just turned retrograde, which it does for three weeks

three times a year. This is always an occasion to review, refresh, remember, and pick up our pieces.

It’s important to practice basic Mercury retrograde skills and be careful of the messages you send, keep track of important personal items, and avoid accidents due to lack of attention. Confirm reservations. Assume conflict is based on a misunderstanding. When you schedule events, account for delays. Stop pushing new work forward and finish what’s already on the table.

This retrograde cycle may also bring us back to an old story about our personal or collective histories and ask us to look a little deeper, see things more clearly, and make reparations so the past can nourish us and not restrict us to old and unproductive patterns.

Over the weekend, an energized if feisty Aries moon instills an urge in us to create new beginnings, but it’s better to clear up unfinished business first.

The week starts slow under a Taurus moon. Seek out an urgent shortterm project that looks like it’s only a sidebar but needs to be dealt with now. Venus joins Mars and Neptune in Pisces on Tuesday and adds to this spacey, intuitive, and potentially passive-aggressive time. Watch political decisions being made on faith, imagination, and illusion instead of on logic and a clear grasp of facts. Let’s be careful how we proceed.

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Friday, Jan. 23: Energy swirls in place with little forward movement.

Keep practical expectations low under this subtle Pisces moon. We need low-key rest or a moment in a magical realm tonight.

Saturday, Jan. 24: The mood is antsy and ambitious but not efficient as the moon enters feisty Aries and trines serious Saturn. Be careful around an edgy irritation or a return to old anger. Tonight, suspend expectations and attend to the needs and joys of the moment.

Sunday, Jan. 25: We want to change it up this morning but may have some karmic responsibilities to complete or strangely pivotal events to respond to as the Aries moon squares Pluto. A potentially uncomfortable morning can unfold into a more expansive and generous afternoon as the moon trines Jupiter.

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Monday, Jan. 26: The mood is stubborn and settled today as the moon enters earthy Taurus. Get a steady groove going and pursue that which takes endurance rather than finesse or flexibility.

Tuesday, Jan. 27: We may feel squishy and tender as Venus enters Pisces.

Finesse a new understanding or sense of beauty or change some uncomfortable dynamics with empathy. Tonight, generosity brings ample returns as the Taurus moon squares Jupiter.

Wednesday, Jan. 28: Tend to mundane chores — like laundry or filing — this morning, when energy swirls in place, making it hard to build momentum. We get nervy and interactive this afternoon as the moon enters Gemini, but if we find ourselves at cross-purposes or unsettled by relationship oddities, stand back and feel the sympathy.

Thursday, Jan. 29: Take the opportunity to communicate while the Gemini moon trines Mercury midday. Just know that although we’re unusually open to conversation, our attention spans are short and nervous.

Around dinnertime, as the moon squares Mars, this can sharpen tempers or result in clumsiness if we feel pushed. Settle in tonight. ◀ www.roanrobbins.com 1-888-733-5238

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15

IN OTHER WORDS book reviews How to Be Both by Ali Smith, Pantheon Books, 372 pages Could a respected Renaissance court painter from 15th-century Italy have been a woman? Certainly the chances are slim, but in Ali Smith’s new book, How to Be Both (a finalist for the Man Booker Prize), the artist “Francescho” del Cossa was born a female and has returned to Earth in spirit form in the present day to watch over a troubled teenage girl. The book, which is divided into halves and has two protagonists, was printed randomly to make either part come first or second, depending on the copy you read. Francescho, one of the protagonists and a narrator, switches us back and forth between the 1400s of her lifetime and the present. The other protagonist is whip-smart Georgia, aka George, a precocious British sixteen-year-old whose mother has died suddenly from an unexpected illness.

Despite its title, How to Be Both asks more questions than it answers, exploring the nature of gender, sexuality, and, most of all, death. Its Scottish author, who is openly gay, once said, “My whole career has been about what women do and how we do it and how important it is that we listen to it.” In this book, Smith’s female characters exhibit incredible moxie and strength, but most of all, they’re warm and relatable and wonderfully human.

The version of the book I read begins with Francescho, whose decision to disguise herself as a man has its start when she’s a very young child and discovers that her love for creating art will not easily translate into a career in the maledominated Italian art world. Francescho describes shooting up through the earth’s crust, past maggots and roots, to be deposited into an unassuming anteroom in London’s National Gallery. Our immediately likable narrator recognizes a painting she did, of St. Vincent Ferrer, and is delighted to see it being studied by a teenage boy.

But just as soon as we sort of get our bearings, we’re launched back in time, to a dirt yard in Ferrara, Italy, where the young Francescho is absorbed in her drawing.

Before we know it, we’re back in 2014, in the bedroom of the boy from the museum — only he isn’t a boy at all, but a girl whose room is hung with photographs of her dead mother.

One of the most exciting things about this truly adventurous book is how it weaves together fact and fiction: The painter Francesco del Cossa really did exist. He was born to a stonemason in Ferrara in the 1430s and died in his early forties, most likely succumbing to the plague.

Del Cossa is best known for the elaborate allegorical frescoes he painted in the Palazzo Schifanoia, a ducal retreat located just outside Ferrara’s city gates. Full of richly colored and meticulously detailed human figures — including saints and goddesses — as well as animals, they were commissioned by the city’s duke, Borso d’Este, in the late 1460s but were wrongly attributed to another 16

PASATIEMPO I January 23-29, 2015

painter for centuries, until a letter discovered in the 1800s confirmed the artist’s real identity. In the letter, del Cossa appeals to Borso for more money, explaining that he is highly skilled and well trained and that the meager per-square-foot pay he received “leaves me on a par with the saddest apprentice in Ferrara.” We know that the duke didn’t budge, and we know that after the incident, del Cossa left Ferrara for Bologna, where he remained for the duration of his relatively short life.

Sure, it’s a giant leap to suggest that Francesco del Cossa was in fact a woman, making her way through the macho art world as a man, but the narrator’s sublime recollections place this possibility firmly within our imaginative reaches.

Sensitive and funny, George becomes obsessed with Francescho after her family travels to Ferrara to see the Palazzo Schifanoia frescoes. After that, and in the months following her mother’s death, George begins skipping school and going to the room in the National Gallery that houses Francescho’s painting of St. Vincent Ferrer in order to study it. There, George thinks about her mother, her dear little brother, and her inept father — and also about a blossoming romance. Like Francescho, George has an innate curiosity about the world, and her streamof-consciousness musings (looking at art makes her think of “all the paintings made with all the eggs laid all the hundreds of years ago and the blips of life that were the lives of the warmblooded chickens who laid them”) are endearing.

When Francescho first lands in the present-day world, she struggles to remember her own name and how she died. She has no trouble, however, tapping into memories and experiences from her life.

After all, as she maintains, “It is a feeling thing, to be a painter of things.” In addition to requiring great sensitivity, painting also produces great sensitivity and awareness in an artist; Francescho remarks that in painting a rose, the artist is forced to consider the true nature of its petals, which are “thinner and more feeling than an eyelid.” For Francescho, a picture does “2 opposing things at once.

The one is, it lets the world be seen and understood.

The other is, it unchains the eyes and the lives of those who see it and gives them a moment of freedom, from its world and from their world both.”

A fascinating examination of gender and sexuality, How to Be Both may certainly point to a goal of finding a balance between the feminine and masculine impulses we all emphasize — and conceal — to varying degrees.

And Smith explores the nature of duality itself, making us question whether elements we initially perceive as being contradictory or opposing are so different after all.

— Iris McLister

SUBTEXTS Spiels on wheels There’s a meditative quality to the chug-chug of a train engine. The steady pace is similar to that of the breath or the heartbeat — just as iambic pentameter is said to be. Trains also symbolize freedom and travel, the road taken by many poets seeking inspiration and experience. In the spirit of trains and what they represent, the “Poetry of Motion/ n/Poets’ / Day Trip to Santa Fe” arrives via the Rail Runner at the Santa Fe Depot on Saturday, Jan. 24, at 10:30 a.m. The adventure begins at 7:45 a.m., at the Bernalillo location of the Range Café, and goes on from there to the Bernalillo Station, which it leaves at 9:25 a.m. to head to the capital city. This is the first event in the nonprofit Exploding Poem series — organized by Stewart Warren, Jules Nyquist, and John Roche — which aims to connect poetry communities throughout New Mexico, blurring any boundaries. “Poetry is for everyone, everywhere,” Warren told Pasatiempo. On the train, participants can experiment with writing prompts, offer spontaneous oratory of their work, discuss writing with other poets, or simply watch the scenery fly fll by from their seat on the train. Once in Santa Fe, the group will hit some popular spots, including the Farmers Market, and then break for lunch before heading to Op.Cit. Books in Sanbusco Center (500 Montezuma Ave.) at 1:30 p.m. for a reading by the organizers, followed by an open mic for participants and audience members. The train leaves the Santa Fe Depot for Bernalillo at 3:27 p.m., and the southbound ride back (estimated arrival: 4:30 p.m.) serves as more open-mic time. There’s no admission charge, though travel and food expenses are the responsibility of participants. For information, visit www.heartlink.com/ m/exploding. / — Jennifer Levin

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A round of applause from Villa Therese Catholic Clinic to our event sponsors, auction donors and event volunteers for our December Fundraiser! Many thanks for your support and helping us to raise over $26,000 to provide free health care services to the uninsured and underserved children and families in Santa Fe! Thanks to Hotel Santa Fe, Todd Glatz, Chef Walter Dominguez and their Kitchen Staff and Waitstaff!

Silent Auction Donors Acme Tools Banjo Brothers International Bird Dog Bay Body of Santa Fe Calvin & Pilar Lovato Capitol Coffee Company Castaway Clothing Che Bella Salon Cynthia & Mike Lackner Eastern Serenity

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Stonewear Designs ten thousand waves The Famous Plaza Café The Giving Tree The Lensic Performing Arts Center The Shop ~ A Christmas Store The Whole Package Wild Birds Unlimited Wisteria

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Villa Therese Catholic Clinic ~ 219 Cathedral Place ~ Santa Fe, NM 87501 ~ 505-983-8561 ~ www.vtccsf.org ~ Follow Us on Facebook PASATIEMPOMAGAZINE.COM

17

Adele Oliveira I For The New Mexican

Tales from the dark side

IN

a Karen Russell story, readers might find themselves at an overnight camp for disordered sleepers, in a feudal Japanese silk factory, or on cliffs perched high above an Italian lemon grove. Her first novel, 2011’s Swamplandia!, takes place at a family-run gator theme park on an island off the Florida coast. But while the settings for Russell’s narratives are varied and exotic, to list them does little to convey the wonderful peculiarity of her worlds and characters. Her stories have certain elements in common, like a propensity for child and adolescent protagonists and a specific bent toward the fantastic that is Russell’s own, but each stands alone as a curious jewel.

In Vampires in the Lemon Grove (Vintage Books/Random House), Russell’s most recent collection of short stories, the vampires in the title story subsist on lemons instead of blood and change from human form into bats who sleep in the cliffs at night, but their arguments with one another are those of an ordinary, long-suffering married couple. Russell deals in fable and imagination, but her stories are unfailingly true in the emotional sense. On Wednesday, Jan. 28, Russell appears in a Lannan Literary series event at the Lensic Performing Arts Center in conversation with author Porochista Khakpour (whose most recent novel is 2014’s The Last Illusion).

author Karen Russell

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Pasatiempo: You’ve published one novel and many short stories, in collections and on their own. What do you like about each form, and how is writing stories different from writing novels?

Karen Russell: It’s funny, I’ve only managed to write the one novel, so I feel like I’m not a qualified expert — it’s not really a skill that generalizes. Writing Swamplandia!, I was growing up along with the characters, and my ideas were changing along with them. I got to juggle multiple worlds in this one book, and it had echoes and resonances that depended on the longevity of my relationships with the characters. In short stories, the compression of the form lends itself to a frenetic imagination; it’s like you hopscotch between a lot of different carnival tents, and you can range across bodies and continents.

Pasa: The characters and world of Swamplandia! appear in a story in your first collection, St. Lucy’s Home for Girls Raised by Wolves. Did you always know that story would be something longer?

Russell: No. There’s almost a necessary amnesia that happens; otherwise, you’d never take on a novel. My friend just became a mom, and it’s a little like that: It couldn’t be a decision made in noon light — you have to sidle into it. Writing stories feels like that, like you need to make it into a game or a joke. You need to create a paradox where writing feels playful and aimless. With every other story in that first collection, I felt like I’d exhausted what I wanted to say or like I had the right ending, but I kept thinking about these weird gator girls.

Pasa: Is there a tension between writing about what you know well and taking big imaginative leaps? Much of your work is set in familiar territory, like swampy Florida, but you’re equally adept at creating monsters and myths.

Russell: I think we’re implicated in many different kinds of realities. I grew up in Florida, which is already larger than life, on a literal periphery with the sea, and there’s a peninsular magic about it, a constant flux of people: grifters, outsiders, refugees.

Florida has a malleability that exists in contrast to all its crappy

PASATIEMPO I January 23-29, 2015

strip-mall developments and concrete and stucco; these manufactured fantasies are on top of something uncontrolled and wild and strange. I don’t see [the real world and fantasy] as being in tension; we live so much of our lives in fantasy realms. There’s this Flannery O’Connor quote, “The truth is not distorted here, but rather a distortion is used to get at truth.”

Pasa: When I was reading Sleep Donation, your e-novella published last February, it resonated with me in part because I had a terrible bout of insomnia as a kid, and so I “related” to the material. This is a weird, contemporary idea that I’ve seen a lot lately — that we’re supposed to somehow see ourselves in the entertainment we consume.

Russell: It’s tricky. With a character like Trish in Sleep Donation, it’s difficult to empathize with her, even as the writer, because she’s brittle and shut down. But some of my favorite books have characters and narrators that are reprehensible or certainly complex. They don’t have the potent charm of George Clooney or a dolphin, where everyone on earth is happy to succumb to it.

I think of a character like Nabokov’s Pnin or Humbert Humbert.

Books represent complexities, like how difficult it is to translate good intentions into action. There’s no other art that can do that, that gives you contact with the real messiness of being alive. I write about actual monsters, and it’s a bigger ask to say, Hey reader, come into this nightmare with me, into art that’s not going to soothe you but instead rile you up.

Pasa: Is it difficult or scary to write that stuff?

Russell: Swamplandia! was pretty uncomfortable the whole way through. The material is gushy and raw. Sometimes when I meet readers, I get the impression that they think I’m like the Marquis de Sade — some kind of sadist. But writing never feels that way, even if it’s uncomfortable. What I love most as a reader is that if you’re riled up and discomfited, the easy, ordinary way you see the world is loose, and it’s possible to see a new truth, maybe not a pleasant one, but one that enlarges what you think is possible.

Pasa: Sleep Donation was published as a Kindle single and only in digital form. I read that part of the reason you wanted to do that is because of its length — longer than a short story but not quite a novel. Were there other reasons?

Russell: It never felt like a novel to me — more a kind of experiment. What excited me is that the platform is perverse in the right way for a story about an insomnia crisis caused by global changes, like staring at screens.

Pasa: Oh, definitely. I read my Kindle in bed every night, even though looking at the screen supposedly makes it hard for you to sleep.

Russell: Right. It’s about our reaction to how quickly things change, and accelerated connectivity was part of the content of the story, like it was designed for that medium. I had fun with the idea of a network of minds reading glowing screens and getting infected by stories. ◀

details ▼ Author Karen Russell with author Porochista Khakpour, a Lannan Literary series event ▼ 7 p.m. Wednesday, Jan. 28 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, $3 students & seniors; 505-988-1234, www.ticketssantafe.org

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PASATIEMPO I January 23-29, 2015

PASA T E M P O S

album reviews

SON LITTLE Things I Forgot (ANTI-) Though titled Things I Forgot, this solo debut EP shows off the wide range of musical traditions that multi-instrumentalist and singer Son Little (aka Aaron Livingston) still remembers. Each of the six short tracks (the whole album clocks in at under 23 minutes) offers a sparse yet rich pop collage, bringing to mind Jimi Hendrix, Curtis Mayfield, Prince, and even the Black Keys. Son Little displays his vocal range especially well in “Your Love Will Blow Me Away When My Heart Aches,” which combines blues and roots overtones. But the reggae inflections take center stage in the final track, a remix by RJD2 of “Cross My Heart” (the original appears as the third track on the album). The poppy synth line featured in Son Little’s version has been excised by RJD2 in favor of shimmery melodics and a classic reggae one-drop drum pattern. In 2011, Livingston and RJD2 released a collaborative album, The Abandoned Lullaby, under the name Icebird. Their joint compositions are characterized by thickly layered instrumentation and fairly traditional song structures, whereas Son Little’s solo work shows a bit more range and daring. The weak point of this very-listenable EP may be its repetitious lyrics, which sometimes lean too heavily on the crutch of saying something two (or more) times in a row, when once would have sufficed. — Loren Bienvenu MEGAFORTRESS Believer (Driftless Records) In his one-man project known as Megafortress, musician (but primarily pianist) Bill Gillim studies themes of faith, feeling lost, and loneliness. He does so not with heavyhanded lyrics and grand overtures but by evoking these kinds of emotions through minimalist sound collages, through words that suggest more than they actually say, and through singing that seems in isolation from the rest of the world. “Fear,” for example, flutters about with an abstract flock of saxophone samples and Gillim’s nearimpossible falsetto, letting the song softly set as the fear he evokes slowly gives way to a meditative scattering of instruments that carries us away over the final few minutes. The musician appears to circle back to this theme of fear two songs later, opening “Believer” with gentle water sounds before singing, in an unaffected voice, “I was afraid/Now I’m not afraid/I won’t be afraid with all these white faces.” I’ve heard the song many times, and I’m still not sure whether he’s talking about race relations, ghosts, or something else entirely. The album’s second half shifts into more-abstract music as Gillim leans on his samples rather than on his vocals, but it remains thoughtfully constructed.

This is an extremely patient work, but never frustratingly so. Gillim chooses each gesture with the care of a kabuki performer, and nearly all of them unfurl at a pace akin to slow, deep breathing.

— Robert Ker

Finding Fred Harvey “History and Mystery: Uncovering the Past in Harvey Houses” Sunday, January 25, 2 pm Allan Affeldt, Jenny Kimball and Barbara Felix share their tales of renovating La Posada, the Castaneda Hotel and La Fonda.

Part of the exhibit Setting the Standard: The Fred Harvey Company and its Legacy. Free with admission; Sundays free to NM residents.

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21

February is National Cancer Prevention Month

Show someone you C.A.R R.E. a with

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Cost: $15 Ribbons pub blish Sunday, February 22.

Visit 202 E. Marcy St. or create yourr tribute online at

santafenewmexican.com/care Deadline is Friday, February 13

Join us!

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PASATIEMPO | January 23-29, 2015

RANDOM ACTS Back to basics: Big Head Todd and the Monsters

Drew Reynolds

Though more than two decades have elapsed since Big Head Todd and the Monsters released its platinumcertified album Sister Sweetly, the rock band from Colorado is still going strong. Its song “Blue Sky” received lots of exposure after being picked up as the theme song for Hillary Clinton’s 2008 presidential campaign. A few years after that, BHTM put out a well-received tribute album honoring blues pioneer Robert Johnson. Now the quartet is touring in support of 2014’s Black Beehive, a backto-basics collection of rock and blues originals. The band plays the Lensic Performing Arts Center (211 W. San Francisco St.) at 7:30 p.m., Tuesday, Jan. 27. Tickets, $30 to $42, are available by calling 505-988-1234 or visiting www.ticketssantafe.org.

— Loren Bienvenu

THIS WEEK

Music therapy: Gregg Turner

Claudia Passos

Gregg Turner, a founder back in the ’70s of the Los Angeles punk group Angry Samoans, says he suffers from SDD — “songwriter’s delusional disorder.” To relieve his pain, Turner is undertaking his second solo-recording project in three years. On Saturday, Jan. 24, he performs at Phil Space in order to bolster an active Kickstarter campaign to help fund the new album. Turner’s past work seems to indicate that he believes laughter to be the best medicine, and to medicate himself and the audience, he promises to perform humor-infused songs like “I Lost My Baby to the Guy at Bobcat Bite” as well as newer compositions from the upcoming album. The live portion of the fundraiser begins at 7 p.m. at the gallery (1410 Second St., 505-983-7945). There is no admission charge, though donations will be electronically facilitated for the Kickstarter campaign, which closes on Feb. 1. — L.B.

Good vibrations: Pato Banton Born in 1961, Pato Banton is a British reggae singer and DJ whose long career has been marked by deepening spirituality. The Grammy nominee’s upbeat originals combine elements of roots and ska and often feature teachings from The Urantia Book.

Of unknown authorship, the book originated in Chicago during the first half of the 20th century and unites unorthodox elements of Christian theology with cosmology. Banton’s most recent release, The Words of Christ, is a seven-disc collaboration that combines gospel and New Age music with the artist’s readings from The Urantia Book. Though the singer has increasingly devoted himself to religious studies in recent years, he still maintains a relentless touring schedule, and his live performances are well known for their energy. Banton performs at Skylight (139 W. San Francisco St., 505-982-0775) on Tuesday, Jan. 27, at 9 p.m. Tickets, $10, for the 21-and-over show are available at the door and from www.holdmyticket.com. — L.B.

Helen Hong subverts the stereotype

Helen Hong wears many hats, most of them humorous. She regularly travels the nation performing stand-up comedy, acts on television shows and in movies and commercials, and moonlights as a dating coach. Onstage, Hong subverts what she calls the “cute little Asian girl” stereotype by incorporating a healthy dose of lewd material into her sets.

Her 18-and-over event at Skylight (139 W. San Francisco St.) on Sunday, Jan. 25, comes with the disclaimer that some material may be inappropriate for younger audiences. The show, part of the Skylight Goes Bonkerz! comedy series, begins at 7 p.m. Tickets, $10 to 15, are available at the door and from www.holdmyticket.com.

Call 505-982-0775. — L.B.

PASATIEMPOMAGAZINE.COM

23

The sounds of science Peter Pesic James M. Keller I The New Mexican

F

or three decades, Peter Pesic held a twopronged position at St. John’s College in Santa Fe that was either unusual or inevitable, depending on how you look at it. On one hand, he was a tutor (roughly what other colleges would term professor), coaxing students through challenging texts of fiction, nonfiction, and speculation that are the ichor of the school’s “great books” curriculum. On the other, he was musician-in-residence, encouraging students in their musical endeavors and offering a stream of piano recitals on his own, often working his way through the keyboard oeuvre of a single composer in the course of a year. He recently turned the corner into the realm of tutor emeritus, though he continues in his musical capacity and, beginning this summer, will direct a new science institute that will take the form of intensive weeklong tutorial seminars at St. John’s. He also finds time to devote to projects elsewhere, which include serving as associate in Harvard University’s physics department and editor-in-chief of Physics in Perspectives, a journal that considers physics in cross-disciplinary contexts. He has published five books with MIT Press, of which the latest, Music and the Making of Modern Science, reflects the bifurcated proclivities of the author’s mind — or perhaps they aren’t bifurcated at all.

Pasatiempo: Rather than presuming to present a complete historical sweep of how music has inspired scientific inquiry through the centuries, your book offers a series of many case studies that focus on moments of that interaction. Why did you choose that approach?

Peter Pesic: Partly it was to avoid the trap that some histories fall into, which is that they try to see everything that ever was in terms of their topic. In the

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PASATIEMPO I January 23-29, 2015

history of ideas, the relationship between music and the sciences often involves a very complex causation that sometimes emerges through long conversations.

To reduce everything down to one narrative seems narrow, so I found it more honest to approach this through a series of cases.

Pasa: Your story begins with the ancient Greeks, with Pythagoras figuring out that different pitches bear dependable mathematical ratios to each other, that music is an audible manifestation of mathematics rather than something separate. How

closely connected were music and science in the minds of ancient thinkers?

Pesic: A unified system fell in place where what we view as four disciplines — the “quadrivium” of arithmetic, geometry, astronomy, and music — together make up philosophy. The largest theme of the book is how these four sisters give birth to the thing we call modern science, the understanding of the family bond, the meaning of modern science in terms of its four sibling-parents. That was a striking and helpful realization in intellectual history, and its story has not yet ended. It lives on today.

Pasa: How can this really be a living tradition when the scientific beliefs of the ancient Greeks are obviously outmoded?

Pesic: I have a complex reaction to that. What they were doing was science as they understood it — and in a sense, as it even remains now. Even something like Ptolemy’s view of the earth-centered universe remains scientific. If you asked people, I suppose they would say that the earth is not the center of the universe. But it’s ironic that today, after Einstein and relativity, it’s still possible to maintain the view that these things are relative in a certain way: You can view the cosmos with the earth at the center and view it with the sun at the center. The charts by which navigators travel are still earth-centered.

The huge controversy that got Galileo in so much trouble was in a sense relativized, and a quite different view of it was taken later on. The word science meant for the Greeks, in an Aristotelian sense, something like “secure knowledge that would stand.”

And their knowledge does still stand in a certain way. Our knowledge also won’t stand up to whatever they have for physics or biology in the 22nd century, but it still has a kind of validity and reliability even if it is restricted in some way. So I think when we read ancient writings about this, it is not merely an

antiquarian kind of thing to figure out what their quaint beliefs were. It’s the way they were thinking that is as interesting to me as what they actually found. It’s how they decided or tried to figure out “What would it take to persuade you that the earth is or is not at the center of the universe?” That happens at every point in science, from the beginning of natural philosophy, as they called it, to the present day. When people are trying to figure out if something really exists, what kind of evidence do they need?

Now it’s the dark matter and the dark energy that capture our attention; we don’t even know what they are. We’re at the very beginning, or even before the beginning, of the discovery of the universe, so I guess we’re in no great position to cast stones at earlier generations.

Pasa: As with the word science, the word music is not such a simple idea. You encourage people to think of it rather as the Greeks did — which is how?

Pesic: It’s a crucial point. To the ancient Greeks, the word musikei meant all the activities of the muses, what we think of as poetry, dance, music, the theoretical world of ratios that were most important in the music of the spheres. It embraced the cosmos as well as instruments and the human body as mediating between macrocosm and microcosm.

Pasa: It’s surprising how many pivotal scientists you introduce who were intimately involved with music.

Pesic: Many were even skilled in playing music. Take Euler. I was aware of him as a great mathematician, but his first book was actually about music. His life spanned the 18th century, and even at that time he didn’t acknowledge divisions we recognize as self-evident. Mathematics, music, engineering — he could move among them with a kind of freedom that has been pretty much lost. Wheatstone and Faraday are among the most important figures in the study of electricity, and they were deeply involved in experiments with sound at the same time they explored electricity. Wheatstone built an instrument called the enchanted lyre. A rod that was attached to the soundboard of a piano conveyed the sound to another room, where the music would appear mysteriously. It led to his discovery of telegraphy, continued on Page 26

Charles Wheatstone’s “Harmonic Diagram,” 1824 Opposite page, frontispiece of Marin Mersenne’s Harmonie Universelle, 1636

Two worlds

I

nterdisciplinary studies are sometimes viewed suspiciously by scholars, who are known to complain that “between the cracks” investigations may fall short when viewed from the informed perspectives of specialized disciplines. Peter Pesic, however, feels that interdisciplinary undertakings are natural reflections of deep-seated human, or even prehuman, proclivities: “I’ve sometimes pondered how the ancestors of human beings were amphibians — creatures that moved from the water to the land. It must have been a very painful and difficult process. What I try to offer in Music and the Making of Modern Science, and also in teaching, is a kind of amphibian view, moving between the water and the land. It has its difficulties. I’m sure that the other fish probably laughed or mocked that strange fish that had legs and lungs, which was probably a very ungainly creature. But that was our ancestor, the creature that was capable of moving, if with difficulty, between different elements. A lot of what is important to us, in music and in thought, comes exactly at those transitions where one world gives way to another.” — J.M.K.

PASATIEMPOMAGAZINE.COM

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Peter Pesic, continued from Page 25

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PASATIEMPO I January 23-29, 2015

a music-saturated invention. Even somebody like Schrödinger, who disliked music to the extent we could call him anti-musical, when he starts figuring out his quantum-mechanical wave equation, he is almost forced to fall back on musical metaphors involving overtones and vibrating strings.

Pasa: Some curious characters inhabit these pages. Any personal favorites among your new acquaintances?

Pesic: One who was new to me was Johann Ritter, another figure in the modern study of electricity. At the beginning of the 19th century, trying to find out how electricity is related to the senses, he carries out experiments by applying electricity to various parts of his own body and describing the results as musical notes. I couldn’t believe what I was reading. These were really perilous experiments. He seems like a character in a movie nobody was bold enough to make.

Pasa: Both music and science seem compelled by a quest for harmony.

Why do you think harmony is such a fundamental human motivation?

Pesic: In harmony there is a positive sense of wonder. It’s a way of grasping the awe-inspiring coherence of the world. Harmony is a human path for expressing what that coherence is all about. In science, as in music, harmony is a way of saying that coherence comes from ratios of numbers.

A very “harmonious” ratio like 1:2 registers a certain congruence in our mind. The other side of it has to do with dissonance. We are aware of so much dissonance, pain, cosmic disorder, catastrophe in the universe, and the mind finds in harmony a way to reconcile with the many dissonances it experiences. Perhaps the only way we can grasp the world is harmoniously, through relationships that are proportionate. Visceral experience goes far beyond words; it is overwhelming to

think that the same experience that happens between numbers may be the primordial wonder of the mind itself.

The idea that someone at some point understood ratios of numbers seems like a pattern for all discoveries, like the discovery of discovery.

Pasa: You make considerable demands of your readers, yet you guide them in a friendly way along arcane pathways.

How do you strike the balance?

Pesic: With all my books, I want to give people something serious and substantial and try to make it as easy as possible, but I also don’t want to dilute the subject. I get tired with popularizations, annoyed with the condescension that creeps in when an author goes too far in an attempt to simplify. I wanted to share these questions in as honest and direct a way as I could with readers who would take on the effort with some pleasure and joy. Occasionally I might reach a level of detail that wouldn’t “speak” to a lot of people — presenting mathematical equations, for example — so I would put that in a box on the page. People could take what they needed and go on. I was always asking myself, “Why does this matter? What’s the significance? Why should we care about it?”

In this book in particular, I was working on the edge between the scholarly and the general. It seems to me very important that there be some kind of interface, some connection between them that should be explored. That’s where I have lived all my life, moving between different subjects. ◀

details ▼ Peter Pesic reads from Music and the Making of Modern Science ▼ 2:30 p.m. Saturday, Jan. 24 ▼ Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca ▼ No charge; 505-984-6000

Babes on Stage For children aged 5-8 Starting Saturday January 24th, 10-11 am Eight Weeks: $160

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Michael Abatemarco I The New Mexican

IN

Tools of engagement Native artists reshape legacies 28

PASATIEMPO I January 23-29, 2015

Star Wallowing Bull: Five Star Double Feature, 2011, colored pencil on paper Right, Chris Pappan: Black Hawk’s Progeny, 2014, graphite, gold leaf, and map collage on Chicago jeweler’s ledger, circa 1872

the second half of the 19th century, when many Native Americans were incarcerated as prisoners of war in places like Fort Marion in St. Augustine, Florida, ledger books and ledger paper became their primary medium for artistic expression. At Fort Marion, Richard Henry Pratt was charged with command of prisoners from the Red River War, a military campaign to forcibly remove Southern Cheyenne, Arapaho, Kiowa, and Comanche peoples from the Great Plains to reservations on Indian Territory that resulted in clashes between indigenous tribes and the U.S. military. Pratt’s programs of cultural assimilation involved courses in Western history and the English language. Natives were encouraged to reject their tribal heritages because it was assumed that they’d be more likely to adjust to white society without them. As part of their learning, these prisoners were supplied with art materials that included ledger books, paints, pencils, and other supplies by the military officers, missionaries, and government agents. The drawings made in the ledger books and on other paper goods sometimes were self-portraits and sometimes captured such aspects of Native life as warfare, hunting, courtship, and religious practices. Ledger art became a widespread means of preserving Native identity, in particular among the Plains tribes — and versions of it are still produced today.

Contemporary pieces are often quite different stylistically from those of the first ledger drawings.

The 19th-century works were flat, pictographic scenes that often showed little in the background.

Contemporary artists working in this tradition tend to create more highly detailed, realistic drawings while still using ledgers as a surface.

Chicago-based artist Chris Pappan, one of four artists with solo exhibitions opening on Friday, Jan. 23, at the Museum of Contemporary Native Arts, is influenced by the ledger-art tradition but takes a conceptual approach, making the changing aspects of ledger art his theme.

“I try to push those boundaries of what people define ledger art as,” Pappan told Pasatiempo. His show Account Past Due, Ledger Art and Beyond is a selection of mixed-media works on paper and large-scale paintings. Where he incorporates actual ledgers and other kinds of historical ephemera (a U.S. Cavalry recruitment ledger, a jeweler’s ledger, a mining certificate, photographs, old maps) into his compositions, they become collaged elements and not, as in the past, pages, blank or otherwise, that he has drawn on.

Two of Pappan’s paintings are in the exhibit. Transitioning depicts a sexualized Native woman wearing a buffalo head — the idealized “Indian princess,” who stands counter to the stereotype of the “noble savage.” Unrelenting shows a nude

couple that, though unclothed, wears stereotypical indicators of “nativeness” — specifically, a deer head on the woman and a feather headdress on the man. The title hints at the persistence of stereotypes, which linger on even after cultural signifiers have been stripped away. In both paintings Pappan uses acrylics to replicate such aspects of old ledger books as their yellowed paper, blue lines, and margins. The imagery mixes contemporary realism with pictographic figures that are more typical of historical ledger drawings, including their sparse backgrounds. “The paintings incorporate some imagery from old ledger drawings that I researched here in Chicago at the Field Museum,” he said. “It references the importance of being able to remember things that have happened in the past to help us move forward in the future.

I do that a lot in my work: combine the old and the new. I work from old photographs and treat them in a modern, Pop-Surrealist way.”

Pappan’s mixed-media pieces are a combination of graphite drawing, gold leaf, and collaged elements.

Their detailed figures are made as if seen through an anamorphic lens.

The distortions suggest how perceptions of indigenous peoples can be skewed because they fail to consider contemporary contexts or even individual histories and experiences in favor of a more homogenous view of Native identity. “We, as Native people, will distort that image as well,” Pappan said. “The issue that I deal with is, How much do we decide to play that up? How do we as Native people play into that or not play into it? If we do play into it, do we perpetuate the stereotypes? For each individual Native person, it’s a personal thing.” But as his drawing Black Hawk’s Progeny indicates, Native artists are the inheritors of an evolving, rather than a fixed, tradition. Black Hawk, one of the better-known 19th-century ledger artists, is believed to have been killed during the 1890 massacre at Wounded Knee. By juxtaposing contemporary and older styles, Pappan sets out to demonstrate how ledger art has developed over the past century, where it came from, and where it’s going. This is also true of his paintings, where the influence of European aesthetics shares space with the pictographic Plains designs he adapted from the historic precedents he saw at the Field Museum. “Some of the old ideas are still relevant today,” he said. “There’s a lot of dichotomy going on visually, with figures being mirrored on the page.”

Like Pappan, Star Wallowing Bull is known primarily for his skillfully detailed drawings — but he has recently turned to painting as well. His exhibition Mechanistic Renderings, however, makes less explicit allusions to long-standing artistic continued on Page 30

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Tools of engagement, continued from Page 29

Mechanistic Renderings includes several examples of Wallowing Bull’s Prismacolor-pencil drawings, densely packed with representations from American pop culture, historical events, animals, symbols, and autobiographical content.

Wallowing Bull: top, Little Star, 2009, colored pencil on paper; bottom, The Optimator, 2014, acrylic on canvas

traditions. Wallowing Bull’s paintings are abstractions. He paints such things as computer circuit boards, spark plugs, and nuts and bolts arranged into geometricized, anthropomorphic figures. “That developed from when I was a kid. I loved Transformers,” he said. Wallowing Bull was raised in Minneapolis, where he struggled to make it as an artist. “Things weren’t really working out for me then, but I met [Pop artist] James Rosenquist, and he sort of took me in and mentored me.”

Mechanistic Renderings includes several examples of Wallowing Bull’s Prismacolor-pencil drawings, densely packed with representations from American pop culture, historical events, animals, symbols, and autobiographical content. His Little Star, included in the show, is a self-portrait, despite an abundance of seemingly unrelated images of such commercial memes as Pinocchio, Crayola crayons, a Rubik’s Cube, and Superman’s logo. At the center of the mandala-like composition is a small boy — Wallowing Bull as a child — and the various items around him have a connection to his past. In the lower right section of the work is a portrait of Rosenquist. Near the upper left corner is a portrait of Wallowing Bull’s father. “They were two of the biggest influences in my life. That drawing’s about where I was when I lived in Minneapolis, and when I moved to Fargo, things turned around, so I put in a lot of hopeful, positive things like the Superman symbol. I included Pinocchio because I could relate to not feeling like a real boy, but I do now. I finally turned things around.”

Wallowing Bull also has a fascination with cars and auto components such as chrome hood ornaments. Numerous works reference items related to oil and gas. A bottle of Mobil oil might be depicted, or as in his Toxic Seahorse, an allusion is made to the BP oil spill. There, the gas-mask-wearing creature, highlighted by brightly colored commercial logos, is surrounded by blackness. “When that happened, no one was really talking about how it impacted the animal life,” he said. “The black around it represents the oil in the water.”

Showing concurrently with Mechanistic Renderings and Account Past Due at MoCNA are Mihio Manus: Heavy Volume, Small Spaces and Dark Light: The Ceramics of Christine Nofchissey McHorse. The latter is a nationally touring exhibit that was curated by Santa Fe residents Garth Clark and Mark Del Vecchio, both of whom collect ceramics and have written extensively about them. This is the first traveling show of McHorse’s works (included is a range from 1997 to the present), black micaceous clay pieces that suggest traditional pottery designs but are more sculptural. “Her ceramics seem as much indebted to forms of modern sculpture as they do to traditional vessels,” said interim museum curator Candice Hopkins. Dark Light also includes a number of drawings the artist used as studies for her ceramic pieces. The to-scale drawings reveal the unusual approach McHorse takes in her art-making process.

“She determines the form from the outset,” Hopkins said, “unlike the way a lot of other artists work, where they feel like the clay itself determines the form.” ◀

details ▼ Star Wallowing Bull: Mechanistic Renderings Chris Pappan: Account Past Due, Ledger Art and Beyond Dark Light: The Ceramics of Christine Nofchissey McHorse Mihio Manus: Heavy Volume, Small Spaces ▼ Reception 5 p.m. Friday, Jan. 23; exhibits through July ▼ Museum of Contemporary Native Arts, 108 Cathedral Place ▼ By museum admission, 505-983-1777

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PASATIEMPO I January 23-29, 2015

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31

Michael Wade Simpson I For The New Mexican

Lessons in experiment

students perform pieces by Meredith Monk and Simone Forti

F

Meredith Monk; top, Monk in Quarry, 1976

32

PASATIEMPO I January 23-29, 2015

or roughly 50 years, performing artist and director Meredith Monk has straddled the worlds of dance, music, theater, and performance art. Her work has been called “landscapes of sound.” She uses the human voice as an instrument — her performers yelp and growl, hum and yodel. For students at the New Mexico School for the Arts, learning an excerpt from a piece by this preeminent artist meant moving into uncharted territory: dancing with their voices. “Now they’re using their whole bodies,” said Adam McKinney, chair of the school’s dance department. “It’s beautiful to see the power.”

The Monk piece appears as part of the school’s Winter Dances at the James A. Little Theater this weekend and in Albuquerque at the Hiland Theater next weekend. Rally, an excerpt from a full-length work by Monk called Quarry was set on the students by Paul Langland, who first worked with Monk in 1974. Langland, an associate professor at New York University’s Tisch School of the Arts and part-time Santa Fe resident, approached McKinney with the idea of introducing students to some of the dance pieces, along with performance concepts from the ’60s and ’70s. Langland’s curriculum with the young performers included working with them on Monk’s techniques, exposing them to contact improvisation and the work of choreographers aligned with New York’s Judson Dance Theater, and having them experience pedestrian and task-based dance vocabulary. “It’s good to understand unencumbered movement,” he said.

Quarry premiered in 1976, featuring 40 performers, and was presented at La MaMa Annex, the Brooklyn Academy of Music, the Venice Biennale, the Kennedy Center, and the Spoleto Festival. It won that year’s Obie, an award for off-Broadway excellence. “You attempt to refresh people’s perceptual awareness,” Langland said. “You create work where you don’t know where you’re going as a performer. Quarry is operalike in its complexity. The songs have no words, the characters don’t have lines, but poetry and the narrative are circular. When Quarry came out, no one had ever melded dancing with singing in this way. It was the same year as Einstein on the Beach [Philip Glass’ opera, originally directed by Robert Wilson]. Meredith was more organic and mythological. Wilson was high-tech. Cerebral.”

Monk owns a retreat in the Jemez Mountains, and she stopped by the school on her way there in October to watch a run-through. “She was really small, and she had an amazing amount of energy. We could feel ourselves feeding off her,” said Madrone Matysiak, one of the 24 dancers in the piece. “We did see videos, but Paul wanted us to come to it together. It can’t be set in stone. First we learned the vocal parts, then he taught us the movement. I think the dance hints at World War II, at the struggles families had to go through. It’s sorrowful, but there is also a peacefulness. At the end we’re all lying onstage, but we’re not dead.

We’re waiting for something. I think the piece has an ‘everything will be OK’ message underneath.”

Simone Forti performs in Los Angeles; right, a recent performance of Forti’s 1961 Huddle

“The thing that is really great about working with high-school students is that they are capable of incredibly sophisticated work, but where it comes from, they’re not always sure,” Langland said. “They’re so young. Their bodies have the ability to do really advanced work, but they’re not yet conscious of what power they hold. Seasoned performers have a way of reliably accessing inner presence and focus. When these kids find that, they’re amazing. Sometimes you have to explain it to them.”

Langland also taught the students Simone Forti’s 1961 piece Huddle.

He had performed with Forti, a key figure of experimental dance. Early on, Forti found improvisation and animal-based movements much more intriguing than the techniques of Martha Graham and Merce Cunningham, with whom she was studying in New York. She is known for her 1974 book, Handbook in Motion; for collaborating with Yoko Ono; and for teaching improv workshops to generations of dancers.

Huddle takes place in the lobby during intermission. “It’s a simple structure. Bodies climbing over each other one at a time,” Langland said. A 2010 review in The New York Times describes the piece as a cooperative rugby scrum. “It’s slow, simple yet intricate. …You have time to think about how fragile this whole human situation is, how sometimes you just have to withstand burdens and trust others to be careful with you.”

The NMSA students had the opportunity to work with the co-artistic directors and dancers of BodyTraffic, a contemporary ballet company based in Los Angeles. In fact, the directors set a new piece, A Trick of the Light, on the Santa Fe dancers before it had premiered with their own company. BodyTraffic was in Santa Fe in November for an engagement at the Lensic Performing Arts Center and spent several days with the students between their own rehearsals. A Trick of the Light was commissioned by the company from Joshua L. Peugh, originally from Las Cruces. Peugh was chosen as one of Dance Magazine’s “25 to Watch” for this year. “It’s 1950s-inspired,” McKinney said. “The music is like pop music — comedic.” “C’est Magnifique,” “I’d Like You for Christmas,” and “Mañana (Is Soon Enough for Me)” are some of the songs that make up the score. “It’s happy and uplifting,” Matysiak said. “I’m a

pretty serious person, but this piece is not so serious. It’s fun to dance.

It’s nice to have a break from the dark.”

NMSA’s dance students all study ballet as well as modern dance.

Also on the bill is Not Another Nutcracker — McKinney described it as “not a Christmas piece” — which uses music by Duke Ellington and Tchaikovsky. “It’s about two young adults going in and out of a dreamscape.” The concept was provided by members of the dance faculty and features work by a number of choreographers, including McKinney. Clash rounds out the program. It’s a five-minute work by McKinney for his advanced students — “a big, full-out dance with lots of lifts and turns. It’s a hard piece. They might need oxygen.” ◀

details ▼ New Mexico School for the Arts presents Winter Dances 7 p.m. Friday, Jan. 23 & Saturday, Jan. 24; 2 p.m. Sunday, Jan. 25 James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Road $10 adults, $5 students & seniors; www.nmschoolforthearts.org/tickets ▼ 7 p.m. Saturday, Jan. 31; 2:30 p.m. Sunday, Feb. 1 Hiland Theater, 4800 Central Ave. S.E., Albuquerque Tickets by donation at door

PASATIEMPOMAGAZINE.COM

33

THE

latest graphic novel from Ilan Stavans and illustrator Lalo Alcaraz — A Most Imperfect Union: A Contrarian History of the United States — is their take on the story of America. starts with It Columbus’ landing in the Caribbean in 1492 is and presented in nested media — a lecture inside a film inside a comic. It’s something of a hand-drawn TED talk delivered by a bespectacled professor whose PowerPoint presentation takes the form of cartoonish portraits and event depictions. Stavans and Alcaraz play themselves in the production: Stavans is the opinionated narrator, and Alcaraz sits at his drawing board, popping up in the bottom corner of a panel here and there to express an often contrary, sometimes radical, position. Stavans and Alcaraz signal seriousness with serious drawing; otherwise, comedy, or an attempt at it, rules. Sacagawea, for example, points out a great spot for a Wal-Mart. And a celebrant at the completion of the transcontinental railroad says of workers laying track from the other direction, “Hey, don’t give ’em our last whisky.”

A graphic novel reworks American history

Bill Kohlhaase I For The New Mexican

The ever-bending story 34

PASATIEMPO I January 23-29, 2015

Stavans and Alcaraz did something similar in 2000 with their Latino USA: A Cartoon History, presenting biographical sketches of great Latinos and Latinas. Their subjects ranged from César Chávez and Father Junípero Serra to charitable bandit Joaquin Murrieta and the Mexican comic actor Cantinflas, a Golden Globe winner in 1956 for Michael Todd’s Around the World in 80 Days.

That book takes little seriously, which results in a lot of serious fun, and this new book succeeds in the same manner. Alcaraz’s loose, playful black-and-white drawings and their comic asides and absurdist circumstances contrast with Stavans’ how-to-view-history polemic. It’s equally informative and entertaining. But its tone, both high-minded and irreverent, can be frustrating.

The setup of Imperfect Union recalls Howard Zinn’s graphic A People’s History of American Empire, adapted from his groundbreaking A People’s History of the United States. In his own graphic history, Zinn isn’t drawn as cartoonishly as Stavans is, but A People’s History often depicts Zinn lecturing from a podium in front of an audience. A Most Imperfect Union shows Stavans lecturing in front of a camera, which creates a place for a film-director character, who mirrors America’s appetite for action and drama. The director’s ongoing complaint is that Stavans isn’t mythologizing enough, so he exclaims, beneath an image of George Washington’s deathbed scene, “What a melodrama! You should add music in the background.” Like Zinn, Stavans embraces a peoplecentric perspective and decries the Great Man theory of continued on Page 36

Images courtesy Basic Books

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35

A Most Imperfect Union, continued from Page 34

history from the beginning: “In the United States, many of our myths revolve around Famous Men (and to a lesser extent women) ... portrayed as glamorous superheroes, swooping in at the last minute to save the day.” He goes on to say, “History should be of the people, by the people, and for the people. What do people eat? What do they dream about?” Yet there’s little of day-to-day life in A Most Imperfect Union, and there are dozens of great men — more, if you count Michael Jackson, vampireeyed as in his “Thriller” video. And only a few great women appear, most of them — Susan B. Anthony, Betty Friedan, Gloria Steinem — presented in discussions of women’s issues.

Stavans makes excuses for his not-so-contrary start in 1492. The professor appears on a full-page panel that shows the names of various tribes scattered across a map of the United States. “Beginning any earlier would be difficult,” he writes. “The Native peoples of what became the United States left no written records of their history.” The last panel before the epilogue shows the 2012 landing of the NASA rover Curiosity on Mars, with Stavans nar-

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PASATIEMPO I January 23-29, 2015

rating the scene in a spacesuit as an alien pokes its cylindrical head over the horizon. The coverage touches on everything from the Vikings’ arrival in North America to the 2012 killing of Florida teenager Trayvon Martin. It moves at a furious pace. The 1680 Pueblo Revolt in New Mexico gets half a page. So does James Dean. Alfred Kinsey and his research on sexual behavior get two full pages.

Stavans mixes cultural and social history together, and his personal biases are apparent in the events he chose to include from 500 years of history. The book follows only a rough chronology. Poet Robert Frost stumbles into the filming just as Columbus, with a flag declaring “Spain Inc.,” arrives onshore.

Coca-Cola and Bazooka Bubble Gum are introduced ahead of the Whiskey Rebellion of the 1790s, and John Adams and H.L. Mencken appear on facing pages that discuss codifying English as the official American language.

But is the book’s history contrary enough?

This question is asked by a woman in a sleeveless dress in the book’s first panel. The question begets another: What is contrary history contrary to? Contrary history isn’t what it used to be, certainly since Zinn’s 1980 book. Our traditionally

Anglocentric view of history has expanded, and most Americans today have a sense of our nation’s cruelty toward Native Americans and slaves, our exploitation of immigrant labor, and the lies and true motivations behind our wars of expansion. Much of what Stavans gets into isn’t contrary in the first place; what’s critical here is Stavans’ view of how to understand history, expressed in asides and a song-and-dance epilogue. “Facts are important!” he tells the film director. “The only way to delve into history is responsibly, with precision, paying attention to what happened, not what we wish happened.” All that irreverence serves a purpose. History, as the past has shown, is something of a fiction, depending on who’s exploiting it.

Stavans’ agenda is to make us see that. “I don’t see the point of treating America with muted reverence.

To help our country live up to its full potential, we must sometimes call our love of that country into question,” he writes in his introduction. Not so long ago, those were fighting words. ◀ “A Most Imperfect Union: A Contrarian History of the United States,” by Ilan Stavans and illustrated by Lalo Alcaraz, was published in July 2014 by Basic Books.

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film reviews

All the lonely people Still Life, dramedy, not rated, Center for Contemporary Arts, 3.5 chiles John May is an unassuming man who lives in a modest flat in a London apartment building, where he eats potted meat with plain toast for dinner every evening and devotes his nights to scrapbooking. He’s fastidious in his habits and unerringly polite, always looks both ways before crossing the street, and duly waits for the “walk” signal even when there’s no traffic. He has no family and no real friends. His life is not something to be envied.

By day May (Eddie Marsan) works for the local council in south London, attempting to locate family members of the recently dead. When none can be found, he arranges private funerals for them, which he attends himself, scattering their cremated remains at the cemetery. He even writes eulogies based on what he can find out about them through their personal effects, going far beyond his duties as a clerk. May is efficient but slow at his work. He has a backlog of cases, and his costly funerals for the unknown and unwanted eventually result in his dismissal. His agency would rather dispose of remains quickly, dumping ashes en masse without reverence for the people they previously were. May is given three days to close out his last case, that of a veteran named Billy Stoke, who resided in the apartment complex where May lives.

May’s scrapbook is filled with pictures of the forgotten dead, all those cases for which he could not locate any next of kin. At the end of the day he scrawls “case closed” across their files with mournful regret. He does them honor in remembering them when no one else does. At night, he looks through the faces in the scrapbook as if they were members of his own family or snapshots from his own life. He feels empathy for these people, whose quiet, stark lives mirror his own.

38

PASATIEMPO I January 23-29, 2015s

May’s book of days: Eddie Marsan

When he begins investigating the case of Stoke, an irascible man who alienated most of his loved ones, he seems hard-pressed to find anyone willing to attend the funeral. After much effort, he does track down a former co-worker, a former lover, an army buddy, and a daughter. But because Stoke had been absent from their lives for so long, they have no compelling reason to attend the funeral May has arranged. They have little good to say about Stoke, as May soon discovers, but that doesn’t stop him from seeking to redeem the man’s memory. One might think such a heroic undertaking as May’s would result in some kind of payoff — and there is one — but the film doesn’t deliver quite as expected.

The humor in Still Life is deadpan and understated.

Just listen to the priest read the eulogy May prepared for one recently deceased woman. She was a stranger, too, but the priest begins by talking about the joy her parents must have felt when she was born — all

speculation. Then he talks about her cat and her costume jewelry — items recovered during inventory — because that’s all he has to go on. Director Uberto Pasolini, producer of 1997’s The Full Monty, provides running sight gags that gain their full effect as the film transitions from one scene to the next.

Notice the contrast between one woman’s neat and tidy rack of underwear and a similar shot in the next scene of a man’s dirty briefs left drying on the radiator.

At one point, a blind aging veteran, an old friend of Stoke’s, offers to fix May some lunch and, by pure coincidence, prepares him some potted meat and plain toast. The fact that May almost never speaks to Stoke’s former friends without leaving with some kind of food item in hand also provides some laughs. Little niceties drop on him like blessings from above. They are small gifts in comparison to what he gives others, but when he’s thanked for his thoughtfulness, he merely replies, “It’s just my job.” The truth is, it isn’t just his job. It is his life and his passion.

Still Life is a fresh and satisfying film about a man who has devoted himself to the memories of total strangers. It’s an affecting story with an admirably nuanced lead performance full of heart and soul.

Marsan invests his character with compassion and concern. It’s satisfying to see May break his routine and change from a man of fixed habits to one who takes chances, even if they are only small ones. He isn’t someone who smiles often, but when he does smile for the first time, late in the film, you’ll smile, too. When he smiles for the second time, it’s because of the irony of a regrettable situation, but it’s touching that he actually sees the humor in it.

Still Life’s payoff is in its final shot, when the fate of one man is elevated from something to be pitied to something to be celebrated, and it provides some comforting thoughts about the destiny we all share.

— Michael Abatemarco

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film reviews

Body block: women protesting on Wall Street

Naked glunch Free the Nipple, semi-satirical propaganda film, not rated, Jean Cocteau Cinema, 1 chile

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PASATIEMPO I January 23-29, 2015

Free the Nipple was written and directed by Lina Esco, who plays this film’s protagonist, a twenty-something journalist named With, who lives in Brooklyn. In real life, Esco got involved with an anticensorship movement to “decriminalize women’s bodies,” and this is the movie she and her fellow activists made about the crusade. In it, she witnesses a topless run on Wall Street by women who wind up getting arrested, even though it’s been legal for women to go shirtless in public in New York City since 1992, and then meets the run’s leader, Liv (Lola Kirke), a self-described social revolutionary.

This earnest, misguided little film is a fine example of exactly the wrong way to use storytelling to further a political cause. It’s billed as satire, but what’s being satirized is a mystery. The only targets seem to be the women in the movement — the characters we’re supposed to be rooting for — who are intermittently revealed as self-righteous, naive fools, but the movie takes itself so seriously that the moments of satire don’t make sense, and they certainly don’t make the cause seem vital.

Worse yet, the dialogue is didactic and expository; most of the acting is uncomfortably amateurish; cringe-inducing improvised scenes are worse than the scripted portions; the soundtrack is too loud and prominent; and huge swaths of time are wasted on silly, twee shots of the subway, of people dancing and doing impromptu Pilates in a dirty squat in Red Hook, and of hair. The under-90-minute running time feels interminable after the first 30.

Audience members interested in the topic of public female nudity will be disappointed that the ideas behind the Free the Nipple movement aren’t discussed in any depth until the film’s last five minutes.

The characters don’t use the language of social justice or feminism, nor do they have a background in the history of censorship. It seems impossible that these women didn’t learn any of this in college or that they don’t read blogs that discuss these issues. They are schooled in censorship by a fifty-something male journalist (Zach Grenier) in a scene that smacks of educational films and that raises the question, Who is this movie for? Free the Nipple doesn’t tell a story well, nor does it indoctrinate well, unless the target audience is young enough to never have thought critically about gender equality or the representations of women’s bodies we see every day in the media.

— Jennifer Levin

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Monday-Thursday January 26-29 2:00p - She’s Beautiful When She’s Angry 3:00p - The Homesman* 4:30p - Dying To Know 5:30p - Still Life* 6:45p - Boyhood 7:45p - Son of a Gun*

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PASATIEMPO I January 23-29, 2015

Curse of the wedding planners: Lili Liliana

Possessed The Dybbuk, classic horror, not rated, in Yiddish with subtitles, Center for Contemporary Arts, 3.5 chiles Set in a Jewish village in Poland in the 19th century, The Dybbuk, a 1937 film based on a 1914 play of the same name by S. Ansky, a Russian, is a foreboding tale of love and greed put in motion by the appearance of a dybbuk, a wandering evil spirit. At the start, a title card ominously informs us that the soul of a man who has died an untimely death gets sent back to finish the deeds he has left undone. Just such a one appears on a country road and makes for a village with ill intent, uttering cryptic pronouncements to those he encounters.

At temple, Sender (Mojzesz Lipman) and his friend Nisn (Gerszon Lemberger) are taking instruction with the rabbi. The two have made a pact: Since both their young wives are pregnant and due on the same day, Sender and Nisn have vowed they will marry the children off to each other.

The spirit (Ajzik Samberg), who calls himself a messenger, offers dire warnings. Sender’s wife soon dies, right after giving birth to a girl, Leah, and Nisn, in another town, is swept off a boat and drowns during a storm. His wife has given birth to a son, Khonnon. Many years later, Khonnon (Leon Liebgold) travels to the village for instruction. He finds the Talmud to be dry and prefers studying the Kabbalah. Unbeknownst to him, he’s under the dybbuk’s spell. When he encounters Leah (Lili Liliana), they fall madly in love. But Leah’s father, having forgotten his oath, has arranged another marriage for her, and Khonnon turns to black magic in order to win her.

Possibly foreshadowing the star-crossed lovers’ fate, a tombstone erected as a morbid monument in the center of town commemorates another young couple, tragically killed years before while saying their wedding vows.

The Dybbuk, which is inspired by folk legend, is set in a place where belief in mysticism and magic is still strong. Efforts were made to make the ceremony and ritual scenes authentic; the filmmakers even employed historical advisors. The temple congregations sing haunting melodies, the mysterious appearances and disappearances of the messenger are eerie, and the movie features compelling dance performances, choreographed

by Judith Berg. It also contains some of the earliest depictions of exorcism in the history of cinema.

Director Michał Waszyn´ski was a celebrated filmmaker in Poland, but this movie is not without its weaknesses. The pacing is clunky, the dialogue unnatural, and the acting, like the acting in German Expressionist films, is of a grandiose sort more suited to the stage. The high contrasts often make the subtitles difficult to read. That said, the film deserves to be considered in context. It is now intact, due to the preservation efforts of the National Center for Jewish Film. The Dybbuk was shot on location in a Polish shtetl, where villagers were employed as extras. Within two years, Germany invaded Poland, and many in the cast and crew did not survive the Holocaust (Waszyn´ski died in 1965).

— Michael Abatemarco

Wednesday, January 28, 6–7:30 pm

“Caves, Cribs and Cathouses: How Frontier Prostitution Helped Build the West,” by Laura Gonzales-Meredith.

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MOVING IMAGES chile pages

— compiled by Robert Ker

THE GIRL AND DEATH A Russian doctor (Leonid Bichevin) on his way to Paris stops at a German hotel and falls in love with a woman kept (Sylvia Hoeks), which puts them both in doctor danger. The returns to the hotel several times the unable over years, to forget the unearthly, beautiful, doomed Elise. Wonderful costumes and a sustained surreal mood — as well as very effective expository scene-setting and gorgeous cinematography — do not quite make up for a thin story and excruciatingly slow pacing. Not rated. 127 minutes. In German, Russian, and French, with subtitles. The Screen, Santa Fe. ( Jennifer Levin)

Johnny Depp in Mortdecai, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week THE BOY NEXT DOOR Jennifer Lopez plays a high school teacher who takes up an ill-advised affair with the teenage boy who moves in next door (in J-Lo’s defense, he’s played by Ryan Guzman, who is 27 years old). The attraction proves fatal when he develops an unhealthy obsession with her.

Rated R. 91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) CAKE Very little is sweet about this pretty, well-meaning, but flawed indie. A conspicuously deglammed Jennifer Aniston plays Claire, a pill-popping woman with physical and emotional scars, a swanky house, and no friends.

When the ghost of Nina (Anna Kendrick), a woman from her support group who has killed herself, starts appearing, Claire begins to consider suicide.

Aniston’s performance is subtle, strong, and even occasionally funny, and the film trots out some interesting supporting players — Chris Messina as Claire’s estranged husband, Sam Worthington as Nina’s widower, and Adriana Barraza as Claire’s kind, loyal housekeeper, who drives her to Tijuana when she runs out of pain meds. It falls flat, though, by

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PASATIEMPO I January 23-29, 2015

trying to thrust sentimentality and profundity down your throat. Rated R. 102 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) THE DYBBUK Filmed in a Jewish shtetl in 1937, The Dybbuk is a haunting tale of love and greed set in the 19th century. Inspired by the folk belief in wandering spirits, lost souls sent back from death to finish deeds left undone, it tells the story of star-crossed lovers, destined since birth to marry but threatened by an evil presence. For many of the cast and crew, it would be their last film, their lives cut short by the events of World War II. Screens as part of the Santa Fe Jewish Film Festival at 11 a.m. on Sunday, Jan. 25, only. Lois Rudnick appears. Not rated. 108 minutes. In Yiddish with subtitles. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) See review, Page 42.

FREE THE NIPPLE This semi-satirical propaganda film is written and directed by Lina Esco, who plays the protagonist, a twenty-something journalist in Brooklyn named With. In real life, Esco got involved with an anti-censorship movement to “decriminalize women’s bodies,” and she and her fellow activists made this little film about their crusade.

It’s earnest, misguided, and a fine example of exactly the wrong way to use storytelling to further a political cause. Not rated. 84 minutes. Jean Cocteau Cinema, Santa Fe. ( Jennifer Levin) See review, Page 40.

A GIRL WALKS HOME AT NIGHT Shot in black and white with rich contrasts that lend it a bleak and claustrophobic atmosphere, this vampire movie sets the proper tone for gothic horror. The setting is contemporary Iran, and the subtext involves the ageold subservient role of women there. A female vampire stalks the desolate streets by night, preying on men — a story with roots in the succubus of folk legend, a female demon who uses sex to draw men to their doom. The lonesome vampire, played by Sheila Vand, speaks very little, but her hypnotic eyes express hunger and yearning. Not rated. 99 minutes. In Persian with subtitles. The Screen, Santa Fe. (Michael Abatemarco) MORTDECAI Johnny Depp tackles his first broad comedy in some time, growing out a carefully waxed mustache and playing Charles Mortdecai, a British art dealer and scoundrel, who travels to America to locate a stolen painting and finds himself in a Pink Pantherlike caper. Gwyneth Paltrow and Ewan McGregor co-star. Rated R. 106 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) NEW MEXICO FILMMAKERS SHOWCASE This annual event highlights local filmmaking talent, splitting their short films into groups by genre and having a panel of experts judge their efforts. Visit www.nmfilm.com for details and schedule. No charge.

Jean Cocteau Cinema, Santa Fe. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Yuri Grigorovich’s version of La Bayadère with members of Moscow’s Bolshoi Ballet. Svetlana Zakharova and Maria Alexandrova star. 11:15 a.m. Sunday, Jan. 25, only. Not rated. 175 minutes. The Screen, Santa Fe. (Not reviewed) REEL NEW MEXICO The monthly series showcasing independent films continues with a program of clips from movies in a variety of genres that have been filmed in or around Santa Fe since 1936. Film historian Jeff Berg speaks in between the clips. 6:45 p.m. Friday,

Jan. 23, only. Not rated. Vista Grande Library, 14 Avenida Torreón, Eldorado. (Not reviewed) SON OF A GUN This crime thriller from Australia centers on a young man named JR (Brenton Thwaites), who is protected in prison by a vicious criminal named Brendan Lynch (Ewan McGregor). Once JR gets out, Lynch calls on him to break him out of jail and join him in a heist. Not rated. 108 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) STILL LIFE From director Uberto Pasolini comes a poignant, heartwarming comedy about a quiet, unassuming whose man job is to locate the next of kin when people have died. John May (Eddie Marsan) has a growing backlog of cases. When he’s threatened with dismissal, he embarks on a series of misadventures to locate the family of a dead man from his own apartment building and convince them to come to the funeral so he can close out his last case. Marsan gives a touching, memorable performance as a man who honors society’s recluses and lost souls. Still Life’s humor is deadpan, but it has a humanizing message and a lot of heart. Not rated. 92 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) See review, Page 38.

STRANGE MAGIC George Lucas conceived and produced this animated comedy about a goblin (voiced

by Alan Cumming) who seeks to destroy all the primrose petals required to make love potions — until, of course, he falls in love. At that point he must compete with an elf (Elijah Kelley) to find them. Gary Rydstrom directs. Rated PG. 99 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) WEST SIDE STORY If you like to be in America, and if it’s OK by you in America, then you’ll be happy to know that the 1961 film version of the musical by Stephen Sondheim and Leonard Bernstein, directed by Jerome Robbins and Robert Wise, is back in theaters.

This is your chance see the Puerto Rican gangs reenact Romeo and Juliet all over again. Natalie Wood and Richard Beymer star. Not rated. 152 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed)

now in theaters AMERICAN SNIPER Director Clint Eastwood is eighty-four years old, but he’s showing no signs of slowing down: Roughly six months after Jersey Boys hit theaters, he returns with this war film. Bradley Cooper (Oscar nominee for best actor) plays Chris Kyle, a Navy SEAL sniper who killed more people than

any other sniper in U.S. military history. This film, based on Kyle’s memoir, balances his military and home lives. Nominated for best picture. Rated R. 132 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) In Alejandro González Iñárritu’s satire, Michael Keaton dazzles with his backstage brilliant dissection of a movie star, in artistic eclipse in the years since he sold his soul to play a masked comic-book superhero, looking for redemption on the Broadway stage. Aided by a terrific supporting cast that includes Edward Norton, Naomi Watts, and Emma Stone and shot by the great Emmanuel Lubezki, Birdman, a nominee for best picture, crackles with wit, fantasy, and penetrating insights about show business, cultural relevance, and the modern world. The film received a total of nine Oscar nominations, including ones for Iñárritu and Keaton. Rated R. 119 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) BLACKHAT In this Michael Mann-directed feature, Chris Hemsworth (Thor) plays a hacker serving a 15-year prison sentence who is recruited by government officials to help capture a villainous international hacker-terrorist. Viola Davis and Wei Tang co-star. Rated R. 135 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) BOYHOOD Richard Linklater’s extraordinary achievement (and recipient of six Oscar nominations, best including picture and best director) has been to one take boy, a six-year-old named Ellar Coltrane, and him shoot for a few days every year for a dozen years. wrote each screenplay segment based on Linklater with cast, talks his which includes Ethan Hawke and Arquette as Patricia the boy’s parents. We watch as grows up Mason and makes it safely through boyhood’s discoveries, adventures and arriving on the brink of adulthood the young as movie ends. Rated R. 165 Center Contemporary Arts, Santa Fe. minutes. for Jonathan ( Richards) CITIZENFOUR This documentary should be required viewing, whichever side of the Edward Snowden patriot/ traitor bias you fall on. Laura Poitras, the director contacted by Snowden to break his story, presents only one side here, but it’s a compelling brief that asks what constitutional freedoms we’re willing to surrender for security. Poitras pads her film with some sleepy footage of Snowden sitting in his hotel room, but there’s plenty of meat. Rated R. 114 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)

DYING TO KNOW Gay Dillingham’s profound, uplifting documentary takes us on a journey to that border no fence keep from crossing. Our guides are those can us irrepressible two icons of drugs and enlightenment, former Harvard professors Timothy Leary and Ram Dass. Local figures are among those interviewed, and there’s a nicely unobtrusive narration voiced by Robert Redford. Not rated. 99 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) THE HOBBIT: THE BATTLE OF THE FIVE ARMIES The story of Bilbo Baggins (Martin Freeman) concludes with a battle that makes this film feel like the third act of the previous movie rather than a stand-alone feature in its own right. Dwarves, elves, orcs, men, trolls, goblins, wizards, eagles, giant worms, and one hobbit collide in one big melee. It’s impressive but exhausting — which at this point is true of Peter Jackson’s entire foray into Middle Earth. Rated PG-13. 144 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Robert Ker) THE HOMESMAN Tommy Lee Jones directed and stars in this story of a woman (Hilary Swank) who teams up with a likable rascal ( Jones) to guide three insane women from the wilds of the Nevada Territory to the safety of the East in the mid-1800s. It’s an intriguing, haunting tale that pays homage to the pioneers who shaped the land. Rated R. 122 minutes. Center for Contemporary Arts, Santa Fe. (Robert Nott) THE IMITATION GAME This very entertaining movie, an Oscar nominee for best picture, could have been a lot more. Morten Tyldum (nominee for best director) has taken the engrossing story of Alan Turing (Benedict Cumberbatch, a nominee for best actor), the British war hero, computer pioneer, and homosexual martyr, and fit it into the familiar confines of a biopic stocked with Movie Moments, which never convince us that things really happened the way the film depicts them.

Rated PG-13. 114 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) INHERENT VICE Director Paul Thomas Anderson’s latest film is also the first-ever adaptation of a Thomas Pynchon novel, and it’s as shaggy and rambling as the author’s most celebrated work (Anderson is nominated for an Oscar for his adapted screenplay). Joaquin Phoenix plays a 1970s private investigator who looks into the whereabouts of a missing ex-girlfriend and winds up in a far-out world of murder, money, and characters continued on Page 46

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MOVING IMAGES chile pages

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with names like Wolfmann (Eric Roberts) and Bigfoot ( Josh Brolin). In classic noir style, the plot doesn’t always stay in focus, but somehow it gets you from point A to point B and invites you to sit back and enjoy the long, strange trip. Still, it could use more energy or a tighter edit. Rated R. 148 minutes. Regal DeVargas, Santa Fe. (Robert Ker) INTO THE WOODS Stephen Sondheim’s musical about psychological self-discovery gets Disneyfied (though tastefully) under Rob Marshall’s smart, sensitive direction. Top-drawer performances, with better singing than you might anticipate, come from Meryl Streep (Witch), a supporting-actress Oscar nominee; Johnny Depp (Wolf); Anna Kendrick (Cinderella); Tracey Ullman ( Jack’s Mother); and others. The score and dialogue remain largely intact, making this a must-see for Sondheimites. Rated PG. 124 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( James M. Keller) PADDINGTON The famous stuffed bear brings his toggle coat and red hat to the big screen, starring in a comedic caper in which he arrives in London, is taken in by a family (headed by Downton Abbey’s Hugh Bonneville), and attempts to escape a nasty taxidermist (Nicole Kidman). Paul King directs with charm and inventiveness, and the humor is a near-perfect mix of cartoony silliness for the children and wryly British wit for the adults. A bit too much of the former evaporates in the second half, which may get too dark and scary for smaller kids, but overall, it’s a delight. Rated PG. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) SELMA Half a century ago, the civil rights attack on Jim Crow in this country was just coming to a boil under the leadership the of Rev. Dr. Martin Luther King Jr. One of the watersheds of that movement was a massive protest march bound from Selma, Alabama, to Montgomery, 54 miles away, in support of the 1965 Voting Rights Act. That undertaking is the centerpiece and focus of this uneven but powerful film (an Oscar nominee for best picture) from director Ava DuVernay. David Oyelowo gives

spicy bland

medium

mild

heartburn

Read movie reviews online at www.santafenewmexican.com/pasatiempo

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PASATIEMPO I January 23-29, 2015

us an MLK in whom quiet, deeply religious social convictions triumph over human doubts and weaknesses. Rated PG-13. 127 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) SHE’S BEAUTIFUL WHEN SHE’S ANGRY This documentary chronicles the women’s movement between 1966 and 1971. Told through interviews with activists and archival footage (marches on Washington and bras burning in barrels plus a few minutes of 1920s suffragettes), the film could feel like eating your vegetables, but instead it is resonant, intimate, poignant, and funny as well as a good reminder that being a feminist is still as essential as it is radical. Not rated.

92 minutes. Center for Contemporary Arts, Santa Fe. (Adele Oliveira) TAKEN 3 When the small action film Taken was unceremoniously released in 2008, it was difficult to imagine that there would someday be two sequels.

People keep taking stuff from Liam Neeson’s Bryan Mills, so he must keep getting very cross with them.

This time around, he’s framed for his wife’s murder and has to clear his name while getting revenge. Rated PG-13. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE THEORY OF EVERYTHING A film about Stephen Hawking ought to be bursting with ideas. What director James Marsh has come up with is a watchable but conventionally structured romantic biopic. An Oscar nominee for best picture, its secret weapon is Eddie Redmayne (nominee for best actor), who is brilliant in his transformation into the Hawking we know, body confined to a wheelchair, voice produced by a machine. Costar Felicity Jones is a nominee for best actress. Rated PG-13. 123 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE WEDDING RINGER Kevin Hart plays Jimmy Callahan, a guy who makes himself available — for a fee — as a best man for grooms to be who don’t have many friends. Josh Gad plays a guy who doesn’t have any friends whatsoever, so he invents a whole wedding party that needs to be filled out by Callahan’s friends. Maybe they even become actual friends.

Rated R. 101 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) WHIPLASH Miles Teller plays teenage jazz drummer Andrew Neiman, whose dreams of becoming one of the greats hinge on surviving elite music instructor Terence Fletcher ( J.K. Simmons, nominated for an Oscar for best supporting actor), the sort of teacher who’s more likely to throw a chair at his student’s head than

say “please” when requesting a drumroll. An Oscar nominee for best picture, this indie-drama by Damien Chazelle compellingly explores the ways in which the power dynamics of a mentoring relationship can turn a teacher’s obsession into a student’s compulsion.

Rated R. 107 minutes. Regal DeVargas, Santa Fe. (Loren Bienvenu) WILD In 1995, inexperienced hiker and camper Cheryl Strayed strapped on a backpack and covered 1,100 miles the of Pacific Crest Trail. In this moving, ruggedly beautiful adaptation of her memoir — starring Reese Witherspoon (Oscar nominee for best actress) — director Jean-Marc Vallée captures scenery and settings with deft camerawork, and the storytelling is honest, vivid, and nonjudgmental, if sometimes a bit too on the nose. Rated R. 115 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) WINTER SLEEP Aydin (Haluk Bilginer), a former actor who owns a hotel in the mountains of Anatolia, is holed up with his young wife (Melisa Sözen) for a long winter. A minor incident early in the film sets off a chain of events with devastating consequences. Nuri Bilge Ceylan’s Turkish drama, winner of the Palme d’Or at Cannes, is a keenly observed exploration of a relationship built on superficialities and a portrait of a self-absorbed man with minor power who subtly wields his influence. Not rated. 196 minutes. In Turkish and English with subtitles. The Screen, Santa Fe. (Michael Abatemarco) THE WOMAN IN BLACK 2: ANGEL OF DEATH In this follow-up to a mildly popular movie of 2012, it’s the middle of World War II, and children are brought from London to a haunted mansion where the ghostly gal of the title gets a chance to scream at them from random corners of darkened rooms. Rated PG-13. 98 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

other screenings Jean Cocteau Cinema, 505-466-5528 4 p.m. Friday, Jan. 23: Predestination.

6:30 p.m. Sunday, Jan. 25: Jim. 3 p.m. Thursday, Jan. 29: The Interview.

Regal Stadium 14, 505-424-0799 Night at the Museum: Secret of the Tomb, Spare Parts, Unbroken.

Opening Thursday, Jan. 29: The Loft, Project Almanac. ◀

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WHAT’S SHOWING

BEST ACTRESS • REESE WITHERSPOON BEST SUPPORTING ACTRESS •LAURA DERN

Call theaters or check websites to confirm screening times.

CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Boyhood (R) Fri. to Sun. 11:30 a.m., 6:45 p.m.

Mon. to Thurs. 6:45 p.m.

Citizenfour (R) Fri. to Sun. 3 p.m.

The Dybbuk (NR) Sun. 11 a.m.

Dying to Know: Ram Dass & Timothy Leary (NR) Fri. to Thurs. 4:30 p.m.

The Homesman (R) Fri. and Sat. 2 p.m.

Mon. to Thurs. 3 p.m.

She’s Beautiful When She’s Angry (NR) Fri. and Sat. 12 p.m. Mon. to Thurs. 2 p.m.

Son of a Gun (R) Fri. to Thurs. 7:45 p.m.

Still Life (NR) Fri. to Thurs. 5:30 p.m.

JEAN COCTEAU CINEMA

418 Montezuma Avenue, 505-466-5528, www.jeancocteaucinema.com Free the Nipple (NR) Fri. 6:20 p.m. Sat. and Sun. 8:30 p.m. Wed. 6:20 p.m. Thurs. 8:20 p.m.

The Interview (R) Thurs. 3 p.m.

Jim (NR) Sun. 6:30 p.m.

New Mexico Filmmakers Showcase (NR) Sat. 4 p.m. Sun. 10 a.m., 12:30 p.m., 3 p.m.

Predestination (R) Fri. 4 p.m.

West Side Story (NR) Fri. 1 p.m., 8:20 p.m.

Tue. 7 p.m. Wed. 3 p.m., 8:20 p.m. Thurs. 5:30 p.m.

REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com Birdman (R) Fri. and Sat. 12:20 p.m., 3:10 p.m., 6:20 p.m., 9:05 p.m. Sun. to Thurs. 12:20 p.m., 3:10 p.m., 6:20 p.m.

Cake (R) Fri. and Sat. 12:50 p.m., 3:40 p.m., 6:50 p.m., 9:20 p.m. Sun. to Thurs. 12:50 p.m., 3:40 p.m., 6:50 p.m.

The Imitation Game (PG-13) Fri. and Sat. 12:40 p.m., 3:30 p.m., 6:40 p.m., 9:20 p.m.

Sun. to Thurs. 12:40 p.m., 3:30 p.m., 6:40 p.m.

Inherent Vice (R) Fri. and Sat. 2:45 p.m., 8:45 p.m.

Sun. to Thurs. 2:45 p.m.

TheTheory of Everything (PG-13) Fri. and Sat. 12:10 p.m., 3 p.m., 6:10 p.m., 9 p.m. Sun. to Thurs.

12:10 p.m., 3 p.m., 6:10 p.m.

Whiplash (R) Fri. to Thurs. 12 p.m., 6:30 p.m.

Wild (R) Fri. and Sat. 12:30 p.m., 3:20 p.m., 6:30 p.m., 9:10 p.m. Sun. to Thurs. 12:30 p.m., 3:20 p.m., 6:30 p.m.

REGAL STADIUM 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com Call theater for additional screenings and showtimes.

American Sniper (R) Fri. to Sun. 12:30 p.m., 1 p.m., 3:50 p.m., 4:20 p.m., 7:10 p.m., 7:30 p.m., 10:10 p.m., 10:30 p.m.

Blackhat (R) Fri. to Sun. 4:10 p.m., 10:25 p.m.

The Boy Next Door (R) Fri. to Sun. 12:30 p.m., 2:50 p.m., 5:10 p.m., 7:40 p.m., 10:10 p.m.

The Hobbit: The Battle of the Five Armies 3D (PG-13) Fri. to Sun. 12:15 p.m., 10:05 p.m.

The Hobbit: The Battle of the Five Armies (PG-13) Fri. to Sun. 3:30 p.m., 6:45 p.m.

Into the Woods (PG) Fri. to Sun. 1:35 p.m., 4:40 p.m., 7:35 p.m., 10:30 p.m.

The Loft (R) Thurs. 8 p.m., 10:35 p.m.

Mortdecai (R) Fri. to Sun. 12:05 p.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:30 p.m.

Night at the Museum: Secret of theTomb (PG) Fri. to Sun. 2:25 p.m., 4:50 p.m., 7:15 p.m., 9:55 p.m.

Paddington (PG) Fri. to Sun. 12:35 p.m., 2:50 p.m., 5:10 p.m., 7:40 p.m., 10 p.m.

Project Almanac (PG-13) Thurs. 7 p.m., 9:45 p.m.

Selma (PG-13) Fri. to Sun. 12:40 p.m., 4 p.m., 7:05 p.m., 10 p.m.

Spare Parts (PG-13) Fri. to Sun. 12:50 p.m., 4:05 p.m., 7:10 p.m., 9:55 p.m.

Strange Magic (PG) Fri. to Sun. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m., 10 p.m.

Taken 3 (PG-13) Fri. to Sun. 12 p.m., 2:35 p.m., 5:15 p.m., 7:55 p.m., 10:35 p.m.

Unbroken (PG-13) Fri. to Sun. 12:55 p.m., 7:20 p.m.

The Wedding Ringer (R) Fri. to Sun. 12:20 p.m., 3 p.m., 5:30 p.m., 8 p.m., 10:30 p.m.

The Woman in Black 2:Angel of Death (PG-13) Fri. to Sun. 12 p.m.

THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Bolshoi Ballet: La Bayadère (NR) Sun. 11:15 a.m.

A Girl Walks Home Alone at Night (NR) Fri. 8:15 p.m. Sun. 5 p.m. Mon. to Thurs. 7:30 p.m.

The Girl and Death (NR) Fri. and Sat. 12:15 p.m., 6:10 p.m. Sun. 2:30 p.m. Mon. to Thurs. 5:10 p.m.

Winter Sleep (NR) Fri. 2:35 p.m. Sun. 7:15 p.m.

Mon. to Thurs. 1:15 p.m.

MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com American Sniper (R) Fri. 4:30 p.m., 5 p.m., 7:15 p.m., 8 p.m., 10 p.m. Sat. 1:45 p.m., 2:10 p.m., 4:30 p.m., 5 p.m., 7:15 p.m., 8 p.m., 10 p.m.

Sun. 1:45 p.m., 2:10 p.m., 4:30 p.m., 5 p.m., 7:15 p.m.

Mon. to Thurs. 4:30 p.m., 5 p.m., 7:15 p.m.

Blackhat (R) Fri. to Thurs. 6:55 p.m.

The Boy Next Door (R) Fri. 4:50 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:30 p.m., 9:55 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.

Into the Woods (PG) Fri. 4:40 p.m., 7:20 p.m., 10 p.m. Sat. 1:55 p.m., 4:40 p.m., 7:20 p.m., 10 p.m.

Sun. 1:55 p.m., 4:40 p.m., 7:20 p.m. Mon. to Thurs.

4:40 p.m., 7:20 p.m.

Mortdecai (R) Fri. 4:45 p.m., 7:10 p.m., 9:45 p.m.

Sat. 2:10 p.m., 4:45 p.m., 7:10 p.m., 9:45 p.m.

Sun. 2:10 p.m., 4:45 p.m., 7:10 p.m. Mon. to Thurs.

4:45 p.m., 7:10 p.m.

Paddington (PG) Fri. 4:35 p.m., 7:05 p.m., 9:40 p.m.

Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:40 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.

Strange Magic (PG) Fri. 4:30 p.m., 7 p.m., 9:35 p.m.

Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:35 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.

Taken 3 (PG-13) Fri. 4:50 p.m., 7:20 p.m., 9:50 p.m.

Sat. 2:15 p.m., 4:50 p.m., 7:20 p.m., 9:50 p.m.

Sun. 2:15 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs.

4:50 p.m., 7:20 p.m.

The Wedding Ringer (R) Fri. 4:55 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:25 p.m.

Mon. to Thurs. 4:55 p.m., 7:25 p.m.

The Woman in Black 2:Angel of Death (PG-13) Fri. 4:25 p.m. Sat. and Sun. 1:50 p.m., 4:25 p.m.

Mon. to Thurs. 4:25 p.m.

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47

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

State of the onion The French Pastry Shop & Crêperie 100 E. San Francisco St. (in La Fonda), 505-983-6697, www.thefrenchpastryshop.com

Breakfast & lunch 6:30 a.m.-5 p.m. daily Vegetarian options Takeout available Handicapped accessible Noise level: quiet to loud, depending on the crowd No alcohol Cash only

] The Short Order Santa Fe has plenty of places like The French Pastry Shop & Crêperie — ones that serve good food; that offer fast, mostly friendly service; but that locals avoid or forget about because of tourist throngs.

Step in off San Francisco Street or from the lobby of La Fonda, and if you’re not distracted by the artful pastries in the case — everything from croissants and éclairs to Napoleons — choose a seat. About half the menu is devoted to sweet and savory crêpes, but there’s also a variety of hot and cold sandwiches, a phenomenal French onion soup, a Niçoise salad, and quiches.

Recommended: French onion soup, spinach and cheese crêpe, Niçoise salad, Nutella crêpe, pain au chocolat, and palmier.

Ratings range from 1 to 5 chiles, including half chiles.

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

5 = flawless 4 1/2 = extraordinary 4 = excellent 3 1/2 = very good 3 = good 2 1/2 = average 2 = fair 1 1/2 = questionable 1 = poor

48

PASATIEMPO I January 23-29, 2015

“Where is the French Pastry Shop?” a friend texted while I sat by the window sipping a café au lait. “In La Fonda, on San Francisco Street,” I told her, to which she replied, “Oh, that’s still open? I didn’t know!” Santa Fe has plenty of places like this — ones that serve very good food and that offer fast, mostly friendly service but that locals avoid or forget about because they’ve relinquished them to the throngs of tourists.

Sure, sometimes you can spot The French Pastry Shop and Crêperie from a distance because of the gaggle of outof-towners clustered around the door, but don’t let that deter you. Do make sure you have plenty of cash in your wallet — checks and credit cards aren’t accepted, and oddly, the menu doesn’t list prices. Step in off the street, and if you’re not distracted by the artful pastries — everything from croissants and éclairs to Napoleons, opera tortes, and colorful, fruit-based goodies — choose a seat at one of the sturdy, richly stained wood dining tables. Pause and giggle at the whimsical animal-shaped breads — frogs and alligators, among others — in a third display case.

Almost as soon as you’ve settled in, a server will swoop in to greet you and set the table. The utilitarian flatware, undersized paper napkins, and cafeteria-style plastic cups are a little off-putting, but this is a casual café and pastry shop, not Taillevent. Anyway, you should be relaxing and enjoying the cozy interior. With its dark bricks, rustic woodwork, vintage fireplace (it looks like it was once used for cooking), and copper-cookware accents, the aesthetic feels like French country kitchen — even akin to one of those “historically accurate” taverns you find in places like Colonial Williamsburg.

In these chilly months, it’s hard not to start off with a hot, frothy café au lait, especially if you’re eating pastry. The palmier (known in some circles as an elephant ear) is a tiny bit crunchy, the flaky pastry coated in a delightfully sticky glaze with a honeyed sweetness. In the pain au chocolate, airy and lightly sweet laminated pastry swaddles bars of deeply dark chocolate.

Half the menu here is dedicated to sweet and savory crêpes — fillings of meats, cheeses, fruits, and the classic chocolatehazelnut Nutella spread. I try to convince myself that it’s nutritionally virtuous to order a crêpe filled with a puree of deep-green spinach and nutty melted cheese, though I should probably stop kidding myself and just enjoy it for what it is. The egg, green chile, and cheese crêpe is a new addition (it’s not officially on the menu yet but is advertised on signs in the café). It’s basically a Frenchified breakfast quesadilla that’s a bit juicy and studded with aromatic chile — though you shouldn’t expect any spiciness from it.

The croque madame is not a sandwich for the faint of heart — ham, cheese, and bread encased in a layer of béchamel and topped with a sunshiney-golden over-easy egg. It’s a filling thing to tackle in the middle of the day, but it can fuel you for the duration. The French grilled cheese sandwich is a bit lighter — Swiss, tomatoes, and black olives on a section of baguette slightly crisped on the griddle. My main beef

is with the olives, which are bland and tinny rather than pungent and briny.

Those olives show up again on the Niçoise salad, which is otherwise nearly perfect: fresh mixed greens, fantastically fishy tuna (not a seared steak but the oily canned or jarred sort popular in Europe), perfect hard-cooked eggs with brightyellow yolks, tomato wedges, boiled potatoes, and an enticing dressing with aioli’s consistency and Dijon mustard’s tang.

The French Pastry Shop serves a number of quiches, including the classic Lorraine. Our slice was more than generous — it looked like a quarter of the whole tart. The crust was buttery and flaky but necessarily sturdy, and the fluffy, eggy filling was spotted with salty ham. Everything that should be hot here arrives piping and steaming — they must have a killer salamander and a high-powered microwave in that kitchen.

Beneath a generous topcoat of near-molten cheese and the requisite stratum of bread is onion soup with a dizzyingly rich and salty brown broth and onions that have been cooked just to the point before they dissolve completely. The whole thing has a deeply satisfying umami quality. Thankfully, the kitchen gives you a few extra hunks of baguette: Trust me, you’ll want them to dunk in that broth. I’ve eaten French onion soup on both sides of the Atlantic, and this some of the best I’ve ever had — without even having to leave town to get it. ◀

Lunch for three at The French Pastry Shop & Crêperie: Grilled cheese sandwich..............................................$ 9.00 Spinach and cheese crêpe............................................$ 8.50 Croque madame..........................................................$ 8.50 TOTAL........................................................................$26.00 (before tax and tip) Breakfast for two, another visit: Egg, green chile, and cheese crêpe..............................$ 9.00 Pain au chocolat..........................................................$ 3.25 Palmier.........................................................................$ 3.25 Café au lait..................................................................$ 3.25 TOTAL.........................................................................$18.75 (before tax and tip) Lunch for two, another visit: French onion soup......................................................$ 7.50 Quiche Lorraine..........................................................$ 7.50 Niçoise salad................................................................$ 9.50 Nutella crêpe...............................................................$ 6.50 TOTAL.........................................................................$31.00 (before tax and tip)

C.A.R.E..

CANCER AWAREN NESS RESOURCE & EDUCATION GUIIDE In honor of National Cancer Prevention Month, the Santa Fe New Mexican will publish C.A.R.E., a comprehensive Cancer Awareness, Resource and Education guide for those living with cancer, caregivers, friends and family.

The C.A.R.E. guide will include: • Cancer 101 • Preventative Care Information • Testimonies of those affected • Caregiver Guidance • Support Group Listings • Nutrition Details • Treatment/Hom me Health Options • Shopping, Financial and d Recreational Resources • 2015 Appointment Calendar/Sched dulle of Events AND MUCH MORE!

Produced In Collaboration With

Publishing Sunday y, February 22 in the Santa Fe New Mexican

santafenewmexican.com/care Published in Partnership with

FOR PARTNERSHIP AND ADVERTISING OPPORTUNITIES

505-995-3852

advertising@sfnewmexican.com PASATIEMPOMAGAZINE.COM

49

C A L E N D A R

L I S T I N G

G U I D E L I N E S

• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com.

• Send material no less than two weeks prior to the desired publication date.

• For each event, provide the following information: time, day, date, venue, venue address, ticket prices, web address, phone number, brief description of event (15 to 20 words).

• All submissions are welcome. However, events are included in Pasa Week as space allows. There is no charge for listings.

• Return of photos and other materials cannot be guaranteed.

• Pasatiempo reserves the right to publish received information and photographs on The New Mexican website.

• To add your event to The New Mexican online calendar, visit santafenewmexican. com and click on the Calendar tab.

• For further information contact Pamela Beach, pambeach@sfnewmexican.com, 202 E. Marcy St., Santa Fe, NM 87501, phone: 505-986-3019, fax: 505-820-0803.

ARTS AND ENTERTAINMENT CALENDAR

January 23-29, 2015

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 1/23

The Den

Gallery and Museum Openings

Ladies' Night, with DJ Luna spinning dance beats, 9 p.m.-close, call for cover.

Museum of Contemporary Native Arts

Duel Brewing

108 Cathedral Place, 505-983-1777 Star Wallowing Bull: Mechanistic Renderings, paintings and drawings; Chris Pappan: Account Past Due, Ledger Art and Beyond, drawings and paintings; Dark Light: The Ceramics of Christine Nofchissey McHorse; War Department, works from the museum's permanent collection depicting armed conflicts spanning 500 years; Mihio Manus: Heavy Volume, Small Spaces, music-scene themed photographs; reception 5-7 p.m., through July.

(See story, Page 28)

Singer/songwriter David Berkeley, 7-10 p.m., no cover.

El Farol

Rock band J.J. & the Hooligans, 9 p.m.-close; call for cover.

El Paseo Bar & Grill

DJ-driven dance beats, 9:30 p.m.-close, no cover.

La Fiesta Lounge at La Fonda

Bluegrass band Railyard Reunion, 8 p.m.-close, no cover.

SITE Santa Fe

1606 Paseo de Peralta, 505-989-1199 SITE Lab 6: Kukuu, collaborative installation by sculptor Marcel Pinas and local students, reception 5:30 p.m., through Feb. 15.

La Posada de Santa Fe Resort and Spa Nacha Mendez & Friends, 6:30-9:30 p.m., no cover.

Montecito Starlight Lounge

Classical Music

The Jazzbians, 7-9 p.m., call for cover.

Music on Barcelona

Omira Bar & Grill

Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona St. String and wind ensembles; music of Beethoven, Stravinsky, and Ravel, 5:30-6:30 p.m., donations welcome.

Friday night jazz, with saxophonist/vocalist Brian Wingard, 6-9 p.m., no cover.

Palace Restaurant & Saloon

Half Broke Horses, 4:30-7:30 p.m., no cover.

Santa Fe Pro Musica

Pranzo Italian Grill

Great Hall, Peterson Student Center, St. John's College, 1160 Camino de Cruz Blanca Music of Bach and Tchaikovsky, 7:30 p.m., no charge.

Pianist Robin Holloway, 6-9 p.m., call for cover.

Second Street Brewery

Greg Daigle Band, electric Americana, 6 p.m., no cover.

TGIF piano recital

Second Street Brewery at the Railyard

First Presbyterian Church of Santa Fe, 208 Grant Ave. Grisha Krivchenia: music of Chopin and Liszt, 5:30-6 p.m., donations accepted, 505-982-8544, Ext. 16.

Jazz ensemble MVIII Unplugged, 7 p.m., no cover.

Shadeh

DJ Quico, top 40/hip-hop/salsa, 9 p.m.-4 a.m., no cover.

Theater/Dance NMSA Fifth Annual Winter Dances

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. New Mexico School for the Arts student showcase of modern dance and classical ballet, 7 p.m., $10, nmschoolforthearts.org, discounts available, Saturday and Sunday encores.

(See story, Page 32)

The Madwoman of Chaillot

Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents Jean Giraudoux's 1943 satire, 7:30 p.m., $20, discounts available, 505-988-4262, brownpapertickets.com, runs Thursdays-Sundays through Feb. 1.

Mariela in the Desert

Teatro Paraguas Studio, 3205 Calle Marie A lyrical play by Karen Zacarías, 7:30 p.m., $17, discounts available, teatroparaguas.org, 505-424-1601, Thursdays-Sundays through Feb. 1.

50

PASATIEMPO I January 23-29, 2015

Skylight

Reggae Dancehall Fridays, with Brotherhood

The New Mexico History Museum exhibit Toys and Games: A New Mexico Childhood runs through Feb. 1, 113 Lincoln Ave. Sound System, 8 p.m.-close, in the Skylab;

Outdoors Arrowhead Ruins tour

Nightlife

(See Page 51 for addresses)

Pecos National Historic Park, NM 63, 505-757-7241 Guided one-mile hike to an off-trail site, 1:30 p.m., entrance fee $3, tour $2, call for details, open daily; visit nps.gov/pecos.

Blue Rooster

Events

¡Chispa! at El Mesón

WinterBrew

Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta Annual event hosted by New Mexico Brewers Guild; 16 local breweries and local food vendors, 4 p.m., $25, designated drivers $5, holdmyticket.com.

Pachanga! Latin club: DJ Aztech Sol spinning cumbia, bachata, and merengue, 9 p.m.-1:30 a.m., call for cover.

Three Faces of Jazz, with guest saxophonist Arlen Asher, 7:30-10:30 p.m., no cover.

Cowgirl BBQ

Jay Boy Adams & Zenobia, with Mister Sister, R & B, 8:30 p.m.-close; no cover.

The Alchemy party, with DJs Dynamite Sol and JuiceBox, 9 p.m.-close; call for cover.

Swiss Bistro

Irish multi-instrumentalist Gerry Carthy, 7-10 p.m., no cover.

Turquoise Trail

Dance band In the Moment, 9:30 p.m.-2 a.m., no cover.

Tiny’s

Blues/Americana singer/songwriter Jim Almand, 5:30-8 p.m.; classic-rock band The Jakes, 8:30 p.m.-close; no cover.

Vanessie

Piano bar: Doug Montgomery, 6 p.m., Bob Finnie, 8 p.m. call for cover.

SATURDAY 1/24

Cowgirl BBQ

Gallery and Museum Openings

Duel Brewing

129 W. San Francisco St., 505-982-1559 Winterscapes: 1920-1970, including works by modernist painters Louie Ewing, Jean Parrish, and Earl Stroh, through Feb. 28.

Classical Music Santa Fe Pro Musica Orchestra

The Lensic Featuring pianist Per Tengstrand; led by Thomas O'Connor; music of Haydn, Mozart, and Stravinsky, 4 p.m., $10-$65, 505-988-1234, ticketssantafe.org; 3 p.m. Meet the Music discussion with the conductor.

In Concert Gregg Turner

Phil Space, 1410 Second St., 505-983-7945 Recording-project fundraiser aiding the local songwriter, 7-10 p.m., no charge, electronic pledges accepted on site.

Theater/Dance NMSA Fifth Annual Winter Dances

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. New Mexico School for the Arts student showcase of modern dance and classical ballet, 7 p.m., $10, nmschoolforthearts.org, discounts available, Sunday encore. (See story, Page 32)

The Madwoman of Chaillot

Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents Jean Giraudoux's 1943 satire, 7:30 p.m., $20, discounts available, 505-988-4262, brownpapertickets.com, runs Thursdays-Sundays through Feb. 1.

Mariela in the Desert

Teatro Paraguas Studio, 3205 Calle Marie A lyrical play by Karen Zacarías, 7:30 p.m., $17, discounts available, 505-424-1601, teatroparaguas.org, continues ThursdaysSundays through Feb. 1.

Books/Talks Peter Pesic

Peterson Student Center, St. John's College, 1160 Camino de Cruz Blanca The tutor emeritus reads from his book Music and the Making of Modern Science, 2:30 p.m. (See story, Page 24)

Poetry in Motion

Op. Cit Books, 500 Montezuma Ave., Suite 101 Readings by Jules Nyquist, John Roche, and Stewart Warren; 1:30 p.m., also, open-mic readings.

(See Subtexts, Page 16)

Events

Contra dance

Odd Fellows Hall, 1125 Cerrillos Rd. Folk dance with easy walking steps; live music

by Academy for Technology and the Classics School String Band; beginners lesson 7 p.m., dance 7:30 p.m., $9, students $5, 505-820-3535.

New Mexico Filmmakers Showcase

Jean Cocteau Cinema Best of Category awards and screening, 4 p.m., networking event 6:30 p.m., screenings continue on Sunday, nmfilm.com, no charge.

Nightlife

(See addresses at right)

Blue Rooster

Trash Disco, with DJ Oona, 9 p.m.-2 a.m., no cover.

¡Chispa! at El Mesón

Guitarist Jono Manson, with Peter Wilson on bass and Mark Clark on drums, 7:30-10:30 p.m., no cover.

Guitarist Karen Jonas, alternative Americana, 7-10 p.m., no cover.

El Farol

Flamenco dinner show, 6:30 p.m.; country band The Reckless Group, 9 p.m.-close; call for cover.

El Paseo Bar & Grill

DJ-driven dance beats, 9:30 p.m.-close, no cover.

La Fiesta Lounge at La Fonda

Bluegrass band Railyard Reunion, 8 p.m., no cover.

Mariela in the Desert

Teatro Paraguas Studio, 3205 Calle Marie A lyrical play by Karen Zacarías, 2 p.m., $17, discounts available, teatroparaguas.org, 505-424-1601, continues Thursdays-Sundays through Feb. 1.

NMSA Fifth Annual Winter Dances

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. New Mexico School for the Arts student showcase of modern dance and classical ballet, 2 p.m., $10, nmschoolforthearts.org, discounts available. (See story, Page 32)

La Posada de Santa Fe Resort and Spa

Books/Talks David Grant Noble

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The Santa Fe author reads from Living the Ancient Southwest, 3 p.m.

Hear Them Roar: New Mexican Animal Carvers and Contemporary American Folk Art Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 505-476-1200 A panel discussion with Wooden Menagerie: Made in New Mexico exhibit curator Andrew John Cecil and artists, 2-4 p.m., by museum admission.

Pat Malone Jazz Trio, 6-9 p.m., no cover.

Low ‘n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe Irish multi-instrumentalist Gerry Carthy, 7:30 p.m.-close, no cover.

Mine Shaft Tavern

Green Billies, dance band, 7 p.m., call for cover.

Omira Bar & Grill

Jazz saxophonist/vocalist Brian Wingard, 6-9 p.m., no cover.

Pranzo Italian Grill

Pianist John Rangel and vocalist Barbara Bentree, 6-9 p.m., call for cover.

Second Street Brewery

Americana band Broomdust Caravan, 6-9 p.m.

Second Street Brewery at the Railyard

Blues Revue Trio, 7-10 p.m., no cover.

Shadeh

DJ Justin Credible, top 40 mixes, 9 p.m.-4 a.m., no cover.

Skylight

Gender-bending cabaret singer Bella Gigante's birthday bash, 10 p.m.-close, call for cover.

Sweetwater Harvest Kitchen

Saturdays with John Serkin on Hawaiian slack-key guitar, 6-8 p.m., no cover.

Tiny’s

Showcase karaoke, with Nanci and Cyndy, 8:30 p.m.-close, no cover.

The Underground at Evangelo's

DJs Xavier and 3MA, 9 p.m.-midnight, no cover.

Vanessie

Piano bar: Doug Montgomery, 6 p.m., Bob Finnie, 8 p.m., call for cover.

SUNDAY 1/25 Classical Music Santa Fe Pro Musica Orchestra

The Lensic Featuring pianist Per Tengstrand; led by Thomas O'Connor; music of Haydn, Mozart, and Stravinsky, 3 p.m., $10-$65, 505-988-1234, ticketssantafe.org; 2 p.m. Meet the Music discussion with the conductor.

Theater/Dance Helen Hong

Skylight Stand-up comic, 7 p.m., $10-$15, holdmyticket. com, part of the Skylight Goes Bonkerz! comedy series, 18+.

The Madwoman of Chaillot

Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents Jean Giraudoux's 1943 satire, 2 p.m., $20, discounts available, 505-988-4262, brownpapertickets.com, runs Thursdays-Sundays through Feb. 1.

Check with venues for updates and sp ecial events Anasazi Restauran t & Bar 11

3 Washington Ave., Mine Shaft Tavern 505-988-3030 2846 NM 14, Madr Bishop’s Lodge Ra id, 505-473-0743 nch Resort & Spa 1297 Bishops Lodg Molly's Kitchen & e Rd., 505-983-6377 Lounge 1611 Calle Lorca, 50 Blue Rooster 5-983-7577 101 W. Marcy St., 50 Mo ntecito Starlight Lo 5-206-2318 500 Rodeo Rd., 505-4 unge Burro Alley Café 28-7777 207 W. San Francisc Museum Hill Café o St., 505-982-0601 710 Camino Lejo, Mi Café Café lner Plaza, 505-984-8900 500 Sandoval St., 50 5-466-1391 Odd Fellows Hall ¡Chispa! at El Mesó n 1125 Cerrillos Rd., 213 Washington Av 505-473-0955 e., 505-983-6756 Omira Bar & Grill Cowgirl BBQ 1005 St. Francis Dr 319 S. Guadalupe St. ., 505-780-5483 , 505-982-2565 Palace Restaurant The Den & Saloon 142 W. Palace Ave., 132 W. Water St., 50 505-428-0690 5-983-1615 Pranzo Italian Grill Duel Brewing 540 Montezuma Av 1228 Parkway Dr., e., 505-984-2645 505-474-5301 Santa Fe Bar & Grill Eldorado Hotel & Spa 187 Paseo de Peral 309 W. San Francisc ta, DeVargas Cente o St., 505-988-4455 r, 505-982-3033 El Farol Santa Fe Commun 808 Canyon Rd., 50 ity Convention 5-983-9912 Center El Paseo Bar & Grill 201 W. Marcy St., 50 208 Galisteo St., 50 5-955-6705 5-992-2848 Santa Fe Sol Stage Evangelo’s & Grill 37 Fire Place, solof 200 W. San Francisc santafe.com o St., 505-982-9014 Sa n Q Sushi South Gig Performance Sp ac 3470 Zafarano Dr., 1808 Second St., gig e 505-438-6222 santafe.com Se cond Street Brewery Hilton Santa Fe 1814 Second St., 50 100 Sandoval St., 50 5-982-3030 5-988-2811 Se cond Street Brewer Hotel Santa Fe 1607 Paseo de Peral y at the Railyard 1501 Paseo de Peral ta, 505-989-3278 ta, 505-982-1200 Shadeh Jean Cocteau Cinem a Buffalo Thunder Re 418 Montezuma Av sort & Casino, e., 505-466-5528 30 Buffalo Thunde r Trail, 877-848-6337 Junction Skylight 530 S. Guadalupe St. , 505-988-7222 139 W. San Francisc o St., 505-982-0775 La Boca Sweetwater Harve 72 W. Marcy St., 50 st Kitchen 5-982-3433 1512-B Pacheco St. , 505-795-7383 La Casa Sena Cant ina Sw iss Bistro 125 E. Palace Ave., 505-988-9232 401 S. Guadalupe St. , 505-988-5500 La Fiesta Lounge at La Fonda Ta berna La Boca 100 E. San Francisc o St., 505-982-5511 125 Lincoln Ave., 50 5-988-7102 La Posada de Sant a Fe Resort and Sp Te rraCotta Wine Bistro a 330 E. Palace Ave., 505-986-0000 304 Johnson St., 50 5-989-1166 Lensic Performing Arts Center Tin y’s 211 W. San Francisc o St., 505-988-1234 1005 St. Francis Dr ive, Suite 117, The Lodge at Sant 505-983-9817 a Fe 750 N. St. Francis Dr ., 505-992-5800 Turquoise Trail Low ‘n’ Slow Lowride Buffalo Thunder Re r Bar sort & Casino, at Hotel Chimayó 30 Buffalo Thunde de Santa Fe r Trail, 877-848-6337 125 Washington Av e., 505-988-4900 The Underground at Evangelo’s The Matador 200 W. San Francisc o St. 116 W. San Francisc o St. Vanessie 434 W. San Francisc o St., 505-982-9966 Warehouse 21 1614 Paseo de Peral ta, 505-989-4423

C L U B S, R O O M S, V E N UES

William R. Talbot Fine Art, Antique Maps & Prints

Dance band Chango, 8:30 p.m.-close; no cover.

PASATIEMPOMAGAZINE.COM

51

Journey Santa Fe Presents

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 Forbes Magazine columnist Kate Stalter, 11 a.m.

Events Israeli dance

Odd Fellows Hall, 1125 Cerrillos Rd. Traditional folk dances; 8-10 p.m. weekly, $5 suggested donation, santafe.israeli.dance.com.

New Mexico Filmmakers Showcase

Jean Cocteau Cinema Animation, comedy, documentary, experimental, and horror categories; screenings begin at 10 a.m., visit nmfilm.com for full schedule and details, no charge.

Nightlife

(See Page 51 for addresses)

¡Chispa! at El Mesón

Argentine Tango Milonga, 7:30-11 p.m., no cover.

Cowgirl BBQ

Troy Browne Duo, Americana, 8 p.m., no cover.

El Farol

Canyon Road Blues Jam, 8:30 p.m., no cover.

Evangelo’s

Fat Tuesday, with Les Gens Bruyants, Cajun-style tunes, 7 p.m.-close, call for cover.

La Fiesta Lounge at La Fonda

Local country artist Bill Hearne, 7:30 p.m., no cover.

Nightlife

La Posada de Santa Fe Resort and Spa

Cowgirl BBQ

Skylight

(See Page 51 for addresses) Americana band Boris & The Salt Licks, noon-3 p.m.; Singer/songwriter Karen Jonas and Tim Bray, 6 p.m.-close; no cover.

El Farol

Nacha Mendez & Company, 7 p.m., call for cover.

Evangelo’s

Tone & Company Band, local musicians are welcome to jam, 9 p.m.-close, call for cover.

Events Swing dance

Mariela in the Desert

Teatro Paraguas Studio, 3205 Calle Marie A lyrical play by Karen Zacarías, 7:30 p.m., $17, discounts available, 505-424-1601, teatroparaguas.org, continues ThursdaysSundays through Feb. 1.

Radium Girls: opening night

Vanessie

Books/Talks Lannan Literary series

The Lensic Authors Karen Russell and Porochista Khakpour in conversation, 7 p.m., $6, 505-988-1234, ticketssantafe.org. (See story, Page 18)

Museum of Contemporary Native Arts artist talk

108 Cathedral Place, 505-983-1777 Ceramicist Christine Nofchissey McHorse discusses her work in the exhibit Dark Light with curators Garth Clark and Mark Del Vecchio, 6:30-7:30 p.m., no charge.

New Mexico Museum of Art Winter Lecture Series

New Mexico Arts Commission meeting

Electronic Expressions, 9 p.m.-2 a.m., call for cover.

¡Chispa! at El Mesón

American-gothic band Cloacas, 8 p.m., no cover.

El Farol

Guitarras con Sabor, Gipsy Kings-style rhythms, 8 p.m., no cover.

Evangelo’s

Thursdays with Little Leroy & His Pack of Lies, dance band, 9 p.m.-close, call for cover.

La Fiesta Lounge at La Fonda

¡Chispa! at El Mesón

The Matador

El Farol

Cowgirl BBQ

Vanessie

Piano bar: Doug Montgomery, 6 p.m., Bob Finnie, 8 p.m., call for cover.

TUESDAY 1/27 In Concert Big Head Todd and The Monsters

The Lensic Veteran rock and blues band, 7:30 p.m., $30-$42, discounts available, ticketssantafe.org, 505-988-1234.

52

PASATIEMPO I January 23-29, 2015

Guitarist/vocalist Jesus Bas, 7-10 p.m., no cover.

Rock band J.J. & The Hooligans, 8 p.m., no cover.

La Fiesta Lounge at La Fonda

Savor, Cuban rhythms, 7:30 p.m., no cover.

Palace Restaurant & Saloon

DJ Oona, trash disco, 9 p.m.-close, call for cover.

TerraCotta Wine Bistro

Guitarist Ramon Bermudez, 6-8 p.m., no cover.

Tiny’s

Electric-jam night with Nick Wymett, 9 p.m.-close, no cover.

The Underground at Evangelo’s

Take Over Wednesdays, with DJ Doer spinning hip-hop, 7 p.m.-close, call for cover.

Local nonprofit organization; The Choice Awards and Project Development; Sunday, Feb. 1, deadline; applications available online at visitcenter.org.

Community Tutors sought for local students at all grade levels; math and literacy support needed in particular; training provided; contact Cynthia Torcasso, 505-954-1880, ctorcasso@cisnm.org.

Santa Fe Botanical Garden volunteers

Filmmakers/Performers

Blue Rooster

Cowgirl BBQ

(See Page 51 for addresses)

Center: International calls for entry

Cowgirl BBQ

(See Page 51 for addresses)

Nightlife

Local country artist Bill Hearne, 7:30 p.m., no cover.

PEOPLE WHO NEED PEOPLE

Jazz pianist John Rangel, 7-9 p.m., no cover.

Nightlife

Nightlife

La Fiesta Lounge at La Fonda

NM 502, 15 miles north of Santa Fe off U.S. 84/285 Buffalo, Comanche, and deer dances held all day Friday, Jan. 23, indianpueblo.org.

Stuart L. Udall Center for Museum Resources, second floor, 725 Camino Lejo, Museum Hill Free training: Tuesday and Saturday, Feb. 3 and 21: history of SFBG and ecosystems; Wednesday and Saturday, Feb. 4 and 7: botany, botanical names, and water issues in New Mexico; Thursday and Saturday, Feb. 5 and March 7: SFBG plants and grounds tour; Friday and Saturday, Feb. 6 and March 21: policies and procedures; all sessions begin at 8:30 a.m., call 505-471-9103 to register.

The Lodge at Santa Fe

Blues singer Hillary Smith and company, 8:30 p.m.-close, call for cover.

San Ildefonso Pueblo Feast Day

John Gaw Meem Conference Room, 706 Camino Lejo, Museum Hill Quarterly meeting, 9:30-12:30 a.m., a copy of the agenda will be available 72 hours prior, 800-879-4278.

St. Francis Auditorium, 107 W. Palace Ave., 505-476-5072 Laura Gonzales-Meredith discusses Caves, Cribs & Cathouses: How Frontier Prostitution Helped Build the West, 6 p.m., no charge.

Karaoke, with Michele Leidig, 9 p.m., no cover.

San Ildefonso Pueblo

The Underground at Evangelo's

Odd Fellows Hall, 1125 Cerrillos Rd. Weekly all-ages informal swing dance; lesson 7-8 p.m., dance 8-10 p.m., dance $3, lesson and dance $8, 505-473-0955.

(See Page 51 for addresses)

The Kosmos, 1715 Fifth St. N.W. Music of Telemann, Muczynski, and Zelenka, 10:30 a.m., Sunday, Jan. 25, $15, discounts available, chatterabq.org.

Communities in Schools New Mexico

Open-mic night with Randy Mulkey, 7 p.m., no cover.

WEDNESDAY 1/28

Hotel Santa Fe, 1501 Paseo de Peralta The 13th-Century Northern San Juan Region: It Was the Best of Times, It Was the Worst of Times, with Kristen Kuckelman of Crow Canyon Archaeological Center, 6 p.m., $15 at the door, 505-466-2775, southwestseminars.org.

Chatter Sunday

Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents Jean Giraudoux's 1943 satire, 7:30 p.m., $10, 505-988-4262, brownpapertickets.com, runs Thursdays-Sundays through Feb. 1.

Books/Talks

Theater/Dance

Southwest Seminars lecture

The Madwoman of Chaillot

Tiny’s

TerraCotta Wine Bistro

Piano bar: Doug Montgomery, 6 p.m., Bob Finnie, 8 p.m., call for cover.

Books/Talks

Albuquerque

Jazz guitarist Pat Malone, 6-8 p.m., no cover.

British reggae singer Pato Banton, 9 p.m., call for cover.

MONDAY 1/26 Julesworks Follies

Theater/Dance

Artists/Designers

Latin Tuesdays, with DJ AdLib and The Sabrosura Sound System, 9 p.m.-close, call for cover.

Jean Cocteau Cinema The monthly variety show of local talent commemorates its 34th performance, 7 p.m., $7, discounts available, jeancocteaucinema.com.

OUT OF TOWN

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. New Mexico School for the Arts Theater Department presents D.W. Gregory's historical drama, 7 p.m., $10, discounts available, nmschoolforthearts.org, runs Friday and Saturday, Jan. 30-31.

Country singer Wiley Jim, 7 p.m., call for cover.

Vanessie

Pianist Doug Montgomery, 6:30 p.m., call for cover.

THURSDAY 1/ 29

Savor, Cuban rhythms, 7:30 p.m., no cover.

La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 6-9 p.m., call for cover.

Irish multi-instrumentalist Gerry Carthy, 7-9:30 p.m., call for cover.

DJ Inky Ink, soul/punk/ska, 8:30 p.m., no cover.

Palace Restaurant & Saloon

Get Smart (phone) Filmmaking Contest

Open to filmmakers worldwide; films must be seven to ten minutes long and made with a smart device, any genre; top ten submissions showcased at Albuquerque Film & Music Experience, May 31-June 7, first place awarded $500, final submission deadline Friday, Feb. 20, view guidelines and submit films online at abqfilmexperience.com.

PASA KIDS

NMSA Fifth Annual Winter Dances

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. New Mexico School for the Arts student showcase of modern dance and classical ballet, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Jan. 23-25, $10, nmschoolforthearts.org, discounts available. (See story, Page 32)

Creative Writing Workshop

Skylight

Bee Hive Kids Books, 328 Montezuma Ave., 505-780-8051 Write about space travel in this class geared toward second-grade students and up; 2-3 p.m. Saturday, Jan. 24, $10.

Swiss Bistro

Books and Babies

Limelight karaoke, 10 p.m.-close; call for cover.

Latin Night, with DJ Dany, 9 p.m.-close, call for cover.

Guitar duo Wes & Mito, 7:30 p.m.-close, no cover.

Taberna La Boca

Nacha Mendez, 7-9 p.m., no cover.

Tiny's

Cajun/honky-tonk band Greg Butera & The Gunsels, 8 p.m.-close, no cover.

Vanessie

Pianist Bob Finnie, 6:30 p.m., call for cover.

Santa Fe Public Library branches Led by singer/storytellers Michael and Lisa; children must be accompanied by an adult, 10:30 a.m. Tuesdays, Main Branch, 145 Washington Ave., 505-955-6783; 10:30 a.m. Wednesdays, La Farge Branch, 1730 Llano St., 505-955-4863; 10:45 a.m. Thursdays, Southside Branch, 6599 Jaguar Dr., 505-955-2828. ◀

Brush Up Your Shakespeare

UPCOMING EVENTS MUSIC

Leo Bud Welch

Skylight Veteran blues guitarist, Alex Maryol opens, 7:30 p.m. Friday, Jan. 30, $17 in advance at holdmyticket.com.

The Metropolitan Opera: Live in HD

The Lensic 11 a.m. and 6 p.m. Saturday, Jan. 31: Offenbach's Les Contes d'Hoffmann; 10:30 a.m. Saturday, Feb. 14, and 6 p.m. Tuesday, Feb. 17: Tchaikovsky's Iolanta and Bartók's Bluebeard's Castle; $22-$28, discounts available, 505-988-1234, ticketssantafe.org.

The Green

Skylight Hawaii-based reggae band, Through the Roots opens, 7:30 p.m. Monday, Feb. 2, $16 in advance at holdmyticket.com.

Dan Hicks and the Hotlicks

Skylight Folk/jazz, 7:30 p.m. Thursday, Feb. 5, $24, preferred seating $34, holdmyticket.com.

Santa Fe Community Orchestra

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. The series of open-rehearsal readings of new works

by New Mexico composers continues 6-7:30 p.m.

Fridays, Feb. 6 and March 20; donations welcome, 505-466-4879, sfco.org.

Santa Fe Pro Musica: Szymanowski String Quartet

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Music of Mozart, Haydn, Dvořák, and Szymanowski, 3 p.m. Sunday, Feb. 8, $10-$65; followed by 5:30 p.m. dinner with the quartet (limited seating), 505-988-1234, ticketssantafe.org, dinner reservations required, call 505-988-4640.

Serenata of Santa Fe

First Presbyterian Church, 208 Grant Ave. Common Tones, music of Barber, Dvořák, and Kenji Bunch, 3 p.m. Sunday, Feb. 8, $15-$30, 505-988-1234, ticketssantafe.org, discounted tickets for students and children ages 5 and under available at the door only.

Notes on Music: Jean Sibelius

United Church of Santa Fe, 1804 Arroyo Chamiso Rd. Celebrating the Finnish composer's 150th birthday; lecture by Joseph Illick, with musical illustrations, 7:30 p.m. Tuesday, Feb. 10, $25, performancesantafe.org.

Todd Snider

The Lensic Satirical folk singer/songwriter, 7:30 p.m. Tuesday, Feb. 10, $22-$42, 505-988-1234, ticketssantafe.org.

Dan Bern

Gig Performance Space Singer/songwriter, 7:30 p.m. Thursday, Feb. 12, $22 in advance, $25 at the door, gigsantafe.com.

New Mexico Bach Society and Chatter

Immaculate Heart of Mary Retreat Center Chapel, 50 Mount Carmel Rd. The ensembles perform Bach's Coffee Cantata, 7 p.m. Friday, Feb. 13, performers include tenor Andre Garcia-Nuthmann, cellist James Holland,

violinist David Felberg, and flutist Linda Marianiello, $28.50, discounts available, holdmyticket.com, visit nmperformingartssociety.org for details.

Santa Fe Music Collective jazz concerts

Museum Hill Café, 710 Camino Lejo 7 p.m. Friday, Feb. 13: the series continues with drummer Albert "Tootie" Heath joining pianist Bert Dalton and bassist Andy Zadrozny; 7 p.m.

Friday, March 6: singer Sheila Jordon and bassist Cameron Brown; $25, santafemusiccollective.org, 505-983-6820.

American Jem

La Tienda Performance Space, 7 Caliente Rd., Eldorado Acoustic Americana trio, 7 p.m. Saturday, Feb. 14, $55 includes three-course dinner and champagne, 505-670-8604 or triojem@outlook.com.

Eric Bibb

The Lensic Blues guitarist, 7 p.m. Sunday, Feb. 15, $15-$30, 505-988-1234, ticketssantafe.org.

Buffy Sainte-Marie

KiMo Theater, 423 Central Ave. N.W., Albuquerque Canadian Cree singer/songwriter, 7:30 p.m.

Sunday, Feb. 15, $15-$45 in advance, 505-886-1251, holdmyticket.com.

Lucinda Williams

The Lensic Blues and country singer/songwriter, 7:30 p.m.

Wednesday, Feb. 18, $46-$74, 505-988-1234, ticketssantafe.org.

Santa Fe Symphony

The Lensic A Shakespeare-inspired tribute with works

by Tchaikovsky, Mendelssohn, and Corigliano, with guest conductor Sarah Hicks, 4 p.m. Sunday, Feb. 22, $11-$72, discounts available, 505-988-1234, ticketssantafe.org.

Santa Fe Desert Chorale

Cristo Rey Church, 1120 Canyon Rd. Dancing the Mystery, works by Brahms, Duruflé, Eric Whitacre, and Abbie Betinis, set to vocals inspired by Sufi poets, 7 p.m. Sunday, Feb. 22, $25-$50 in advance at 505-988-2282 or online at desertchoral.tix.com.

András Schiff

The Lensic The pianist performs late works by Haydn, Mozart, and Beethoven, 7:30 p.m. Tuesday, Feb. 24, $13.50-$100, discounts available, 505-988-1234, ticketssantafe.org.

Immaculate Heart of Mary Retreat Center Chapel, 50 Mount Carmel Rd. Soprano Christina Martos, baritone Carlos Archuleta, and pianist Debra Ayers, 3 p.m. Saturday, March 7, music of Verdi, Argento, and Cole Porter, $34 in advance and at the door, student discounts available, holdmyticket.com or 505-866-1251.

Leni Stern African Trio

Gig Performance Space Jazz guitarist, 7:30 p.m. Saturday, March 7, $20 at the door, gigsantafe.com.

Susan Graham

The Lensic Music of Schumann and Mahler, 6:30 p.m. Thursday, March 12, tickets begin at $27, student discounts available, 505-988-1234, ticketssantafe.org.

Tweedy

The Lensic Acoustic duo songwriter/guitarist Jeff Tweedy (of Wilco) and percussionist Spencer Tweedy, 7:30 p.m. Thursday, March 26, 505-988-1234.

Mary Chapin Carpenter

The Lensic Singer/songwriter, 7 p.m. Wednesday, April 1, 505-988-1234, ticketssantafe.org.

X

The Lensic Veteran punk-rock band, 7:30 p.m. Tuesday, April 7, $34-$54, 505-988-1234, ticketssantafe.org.

THEATER/DANCE

Confessions of a Mexpatriate

Teatro Paraguas Studio, 3205-B Calle Marie Raul Garza's one-man play performed by Mical Trejo, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Feb. 6-8, $15, discounts available, 505-424-1601 or teatroparaguas@gmail.com.

Kimberly Akimbo

Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents David Lindsay-Abaire's 2000 dramedy, Thursday-Sunday, Feb. 12-March 1, 505-988-4262.

Annapurna

The Lensic Fusion Theatre Company presents Sharr White's two-hander dramedy, 7:30 p.m. Saturday, Feb. 21, $15-$35, 505-988-1234, ticketssantafe.org.

Stratford Festival HD

The Screen, Santa Fe University of Art & Design Sunday, March 1: the theater company presents King Lear; Sunday, April 12: King John; Sunday, May 24: Antony and Cleopatra, all screenings begin at 11:15 a.m., stratfordfestivalhd.com.

Playwrights Forum

Santa Fe Playhouse, 142 E. DeVargas St. An original full-length work directed by Cristina Duarte, Thursday-Sunday, March 12-22.

HAPPENINGS

New Mexico Italian Film & Culture Festival

Jean Cocteau Cinema The eighth annual event benefits UNM Children's Hospital; opening cocktail reception 3:30 p.m.

Thursday, Feb. 5, followed by a screening of Gabriele Salvatores' 2010 comedy Happy Family; the festival continues nightly through Saturday, Feb. 7; reception and film $30, film only $10, Saturday benefit dinner and silent auction $110, master pass $135, jeancocteaucinema.com.

Playwrights Workshop

Santa Fe Playhouse Workshops, 3205-B Richards Lane Writing the Ten-Minute Play, led by Leslie Harrell Dillen, 9 a.m.-4 p.m. Saturday, 1-5 p.m.

Sunday, Feb. 7-8, $65, for reservations email leslie.dillen@comcast.net.

Renesan Institute for Lifelong Learning lecture series

St. John's United Methodist Church, 1200 Old Pecos Trail Lectures are held 1-3 p.m. Thursdays beginning Feb. 5 to April 16; $10 per lecture, $66 for all 11, 505-982-9274, renesan@newmexico.com.

Cancer Foundation for New Mexico's Tenth Annual Sweetheart Auction

Santa Fe Community Convention Center, 201 W. Marcy St. Dinner and dessert buffet, open wine bar, and vacation raffle, 5 p.m. Saturday, Feb. 7, $75, 505-955-7931, Ext. 1, cffnm.org.

Lannan Foundation events

The Lensic 7 p.m. Wednesday, Feb. 11: The Fire This Time, a tribute to James Baldwin, with Nikky Finney, Randall Kenan, and Kevin Young; 7 p.m.

Wednesday, March 4: the Readings & Conversations series continues with Irish author Kevin Barry and editor Ethan Nosowsky; $6, 505-988-1234, ticketssantafe.org.

ARTsmart New Mexico: ARTfeast Art of Living fundraisers

It's 5 O'Clock Somewhere, featuring dancing, heavy appetizers, and silent and live auctions; also, showcasing work of fashion designer Patricia Michaels, 6 p.m. Friday, Feb. 20, Peters Projects, 1011 Paseo de Peralta, $75 in advance; Step Up to the Plate, gourmet dinner and auction, doors open at 6 p.m. Saturday, Feb. 21, Santa Fe Community Convention Center, $175 in advance; tickets available online at artfeast.org.

Lyle Lovett & The Acoustic Group

The Lensic Country singer/songwriter, 7:30 p.m.

Wednesday, Feb. 25, $69-$94, 505-988-1234, ticketssantafe.org.

Carlos Núñez

Albuquerque Journal Theater, National Hispanic Cultural Center, 1701 Fourth St. S.W. Galician bagpipe musician, 8 p.m. Saturday, Feb. 28, $22-$32, tickets available at NHCC box office, 505-724-4771.

Robert Cray Band

The Lensic Blues guitarist, 8 p.m. Tuesday, March 3, $39-$54, 505-988-1234, ticketssantafe.org.

Todd Snider performs Feb. 10 at the Lensic.

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Museum of Contemporary Native Arts

108 Cathedral Place, 505-983-1777 Opening reception 5-7 p.m. Friday, Jan. 23: Star Wallowing Bull: Mechanistic Renderings, paintings and drawings • Dark Light: The Ceramics of Christine Nofchissey McHorse • Chris Pappan: Account Past Due, Ledger Art and Beyond, drawings and paintings • War Department, group show of works from the museum collection depicting armed conflicts spanning 500 years • Mihio Manus: Heavy Volume, Small Spaces, music-scene themed photographs; all exhibits run through July (see story, Page 28). Closed Tuesdays; iaia.edu/museum.

Museum of Indian Arts & Culture

Harwood Museum of Art shows pastels by Becca in the exhibit Lowbrow Insurgence: The Rise of Post-Pop Art, 238 Ledoux St., Taos.

AT THE GALLERIES

Collected Works Bookstore

202 Galisteo St., 505-988-4226 Paintings From the Silk Road, work by Sandra Place, through Feb. 15, 15 percent of proceeds benefits Doctors Without Borders.

Jean Cocteau Cinema Gallery

Celtic Voice, paintings by Wendi Haas, through Feb. 16.

Offroad Productions

2891-B Trades West Rd., 505-670-9276 I Want to Believe (Maybe), group mixed-media show, through Saturday, Jan. 24.

Russian Art Gallery

216 Galisteo St., 505-989-9223 Motherland, paintings by Anatoly Kostovsky, through January.

Santa Fe Arts Commission Community Gallery

Santa Fe Community Convention Center, 201 W. Marcy St., 505-955-6705 End of Days, group show, including works

by Pilar Agoyo, Frank Buffalo Hyde, Joel Nakamura, and Bunny Tobias, through January.

Wheelhouse Art

418 Montezuma Ave., 505-919-9553 Studio 732, hand-built clay sculpture by Santa Fe Community College students, through Jan. 29.

MUSEUMS & ART SPACES Santa Fe Center for Contemporary Arts

1050 Old Pecos Trail, 505-982-1338 Art Collision & Repair Shop, interactive installation curated by Susan Begy and Kathryn M Davis, Muñoz Waxman Main Gallery • Undress, multimedia installation by Paula Wilson, Spector Ripps Project Space; through Feb. 1. Open Thursdays-Sundays; ccasantafe.org.

Georgia O’Keeffe Museum

217 Johnson St., 505-946-1000 Georgia O'Keeffe: Ghost Ranch Views, paintings from the 1930s and 1940s, through March 22; okeeffemuseum.org; open daily.

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PASATIEMPO I January 23-29, 2015

710 Camino Lejo, Museum Hill, 505-476-1250 Courage and Compassion: Native Women Sculpting Women, group show, through Oct. 19 • Footprints: The Inspiration and Influence of Allan Houser, five monumental works by the late Chiricahua Apache sculptor displayed outdoors; accompanied by works of other sculptors, including Houser’s sons Bob Haozous and Philip Mangas Haozous, plus works by Doug Hyde, Estella Loretto, and Robert Shorty; through May • Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection.

Closed Mondays; indianartsandculture.org.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 Between Two Worlds: Folk Artists Reflect on the Immigrant Experience • Wooden Menagerie: Made in New Mexico, early-20th-century carvings, through Feb. 15 • Multiple Visions: A Common Bond, international collection of toys and folk art.

Closed Mondays; internationalfolkart.org.

Museum of Spanish of Colonial Art

750 Camino Lejo, Museum Hill, 505-982-2226 Guadalupe, images of Our Lady of Guadalupe from the museum collection; Boxed In, contemporary artisan-made boxes from the collection, through May • Secrets of the Symbols: The Hidden Language of Spanish Colonial Art • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation; spanishcolonial.org; closed Mondays.

New Mexico History Museum/ Palace of the Governors

113 Lincoln Ave., 505-476-5200 Toys and Games: A New Mexico Childhood, through Feb. 1 • Setting the Standard: The Fred Harvey Company and Its Legacy, ephemera from the museum collection and photos from POG photo archives • Gustave Baumann and Friends: Artist Cards From Holidays Past, holiday cards by Baumann and other artists spanning the years 1918-1970 • Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings • Poetics of Light: Pinhole Photography; exhibits up through March 29 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Closed Mondays; nmhistorymuseum.org.

New Mexico Museum of Art

107 W. Palace Ave., 505-476-5072 Alcove Shows 1917-1927, works from the permanent collection, through Feb. 22 • North to South: Photographs by Edward Ranney, landscape studies • Hunting + Gathering: New Additions to the Museum Collection, recently acquired works by Ansel Adams, Gustave Baumann, and others, through March 29 • Syncretism, photographs by Delilah Montoya • Focus on Photography, rotating exhibits: Cameraless, photograms by Leigh Anne Langwell

• Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin • Spotlight on Gustave Baumann, works from the museum’s collection; exhibits through 2015. Closed Mondays; nmartmuseum.org.

Española

Pablita Velarde Museum of Indian Women in the Arts

1350 Central Ave., 505-667-4444 Saul Hertz: A Pioneer in the Use of Radioactive Isotopes, collection of handwritten data charts, personal letters, published papers, newspaper articles, and photographs from the late doctor's estate, through January • Environmental Research and Monitoring, an interactive exhibit on how to preserve archaeological sites, local wildlife, and fragile ecosystems. Core exhibits on the history of Los Alamos and the Manhattan Project as well as over 40 interactive exhibits; lanl.gov/museum; open daily.

213 Cathedral Place, 505-988-8900 Out of the Ordinary, retrospective exhibit of paintings by Velarde. Closed Mondays; pvmiwa.org.

Poeh Cultural Center and Museum

78 Cities of Gold Rd., 505-455-3334 The Why, group show of works by Native artists • Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists and Pueblo history; poehcenter.org; also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037; closed weekends; roxanneswentzell.net.

SITE Santa Fe

1606 Paseo de Peralta, 505-989-1199 SITE Lab 6: Kukuu/Kitchen, collaborative sculpture by sculptor Marcel Pinas and local students, opening Friday, Jan. 23, through Feb. 15. Open Thursdays-Sundays; sitesantafe.org.

Wheelwright Museum of the American Indian

704 Camino Lejo, Museum Hill, 505-982-4636 Adorn-aments, small works for the holidays, group show including pieces by Dennis Esquival, Liz Wallace, and Nathan Youngblood • works by Diné photographer Will Wilson, through June 21.

Core exhibits include historic and contemporary Native American art. Open daily; wheelwright.org.

Albuquerque Albuquerque Museum

2000 Mountain Rd. N.W., 505-243-7255 Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through Feb. 1 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, examples of craftsmanship and design distinctive to the charro; cabq.gov/culturalservices/albuquerque-museum; Closed Mondays.

Indian Pueblo Cultural Center

2401 12th St. N.W., 866-855-7902 Our Land, Our Culture, Our Story, historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos; indianpueblo.org; open daily; weekend Native dances.

National Hispanic Cultural Center

1701 Fourth St. S.W., 505-604-6896 AfroBrazil: Art and Identities, three-tiered exhibit of lithographs from Tamarind Institute, photographs and dressed figures by Paulo Lima, and ephemera representing popular cultural goods sold by Brazilian street vendors, through mid-August • ¡Papel! Pico, Rico y Chico, group show of works in the traditional art of papel picado (cut paper), through January. Closed Mondays; nationalhispaniccenter.org.

Bond House Museum and Misión Museum y Convento

706 Bond St., 505-747-8535 Historic and cultural objects exhibited in the home of railroad entrepreneur Frank Bond (1863-1945).

Call for hours; plazadeespanola.com.

Los Alamos Bradbury Science Museum

Los Alamos Historical Museum

1050 Bathtub Row, 505-662-4493 Tradition and Change in Córdova, New Mexico: The 1939 Photographs of Berlyn Brixner & the López Family of Wood Carvers. Core exhibits on area geology, homesteaders, and the Manhattan Project.

Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; losalamoshistory.org.

Pajarito Environmental Education Center

3540 Orange St., 505-662-0460 Exhibits of flora and fauna of the Pajarito Plateau; also, butterfly and xeric gardens; pajaritoeec.org; closed Sundays and Mondays.

Pecos Pecos National Historic Park

NM 63, 505-757-7241 Exhibits portraying the history of the Pecos Valley, including ruins, traces of the Santa Fe Trail, and artifacts from the Civil War Battle of Glorieta Pass. Open daily; nps.gov/pecos.

Taos E.L. Blumenschein Home and Museum

222 Ledoux St., 575-758-0505 Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques. Open daily; taoshistoricmuseums.org.

Harwood Museum of Art

238 Ledoux St., 575-758-9826 ¡Orale! Kings and Queens of Cool, a four-part exhibit focusing on Post-Pop and lowbrow art movements, including works by Robert Williams, Gary Baseman, Ron English, and R. Crumb, through Sunday, Jan. 25. Closed Mondays; harwoodmuseum.org.

La Hacienda de los Martinez

708 Hacienda Way, 575-758-1000 One of the few Northern New Mexico-style, Spanish colonial “great houses” remaining in the American Southwest. Built in 1804 by Severino Martinez; taoshistoricmuseums.org; open daily.

Millicent Rogers Museum

1504 Millicent Rogers Rd., 575-758-2462 Looking at Taos Pueblo: Albert Martinez, Juan Mirabal, and Albert Lujan, paintings • Fred Harvey and the Making of the American West, objects UNM Art Museum drawn from the Harvey family, through January.

1 University of New Mexico, 505-277-4001 Historical collections of Native American jewelry David Maisel/Black Maps: American Landscape and paintings; Hispanic textiles, metalwork, and the Apocalyptic Sublime, photographs by Maisel; and sculpture; and contemporary jewelry.

Beautiful Disintegrating Obstinate Horror Drawing Closed Mondays; millicentrogers.org. and Other Recent Acquisitions and Selections Taos Art Museum at Fechin House From the UNM Art Museum’s Permanent Collection; The Gift, woodcut prints by John Tatschl (1906-1982). 227 Paseo del Pueblo Norte, 575-758-2690 Open Tuesday-Saturday; unmartmuseum.org.

Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933; taosartmuseum.org; closed Mondays.

Sven Birger Sandzén: Afterglow 1919, woodcut New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072 Alcove Shows: 1917-1927 is an exhibit of more than 60 works from 24 artists, from the museum’s permanent collection, that were originally displayed during the early-20th-century alcove shows.

During that time, the museum had an open-door policy that allowed artists to sign up for small, one-person exhibitions.

Alcove Shows is on view through Feb. 23 and includes pieces by Ernest L. Blumenschein, William Penhallow Henderson, and Raymond Jonson.

Emmi Whitehorse: Swidden 2014, oil and chalk on paper mounted on canvas

Stephen Davis: Chair 9 2014, gesso, acrylic, charcoal, and oil on canvas David Richard Gallery 544 S. Guadalupe St., 505-983-9555 Margaret Fitzgerald: Water’s Edge continues through Feb. 21. The artist’s large-scale abstractions and smaller works on paper are inspired by nature. A reception is scheduled for 5 p.m. on Jan. 30; a free gallery talk, moderated by ArtBeat’s Kathryn M. Davis, will take place at 2 p.m. on Feb. 7.

Also showing through Feb. 21 is Stephen Davis: Domestic Interiors, a show of abstract paintings in which Davis combines negative space with representational imagery such as letters from the alphabet, chairs, and other domestic objects.

Earl Stroh: Snow Wave 1970, pastel on paper William R. Talbot Fine Art, 129 W. San Francisco St., 2nd floor, 505-982-1559 Winterscapes: 1920-1970 is an exhibit of 20th-century modernist paintings, drawings, and prints that includes works by Gene Kloss, Morris Blackburn, Jean Parrish, Earl Stroh, and other artists who helped form the Santa Fe and Taos art colonies. The show opens on Saturday, Jan. 24. There is no reception.

Chiaroscuro Contemporary Art, 702 ½ Canyon Road, 505-992-0711 Chiaroscuro’s Winter Group Show is a selection of photography, paintings, works on paper, and sculpture from gallery artists that includes Emmi Whitehorse’s mixed-media canvases, photographs from Renate Aller’s portfolio of ocean- and desertscapes, Gayle Crites’ brushand-ink drawings on pounded bark, and Rose B. Simpson’s figurative ceramics. The exhibit also features contemporary Australian Aboriginal paintings. The show is on view through March 21.

A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N

Will Wilson: Nimkii Osawamick, Citizen of the Ojibwe First Nation 2012, archival pigment print Wheelwright Museum of the American Indian, 704 Camino Lejo, 505-982-4636 The museum’s survey of works by Diné photographer Will Wilson continues through June 21 and includes pieces from his AIR (Auto Immune Response) series, an allegorical project that explores the relationship between a Navajo man and his toxic, post-apocalyptic environment, addressing strategies for cultural survival that include transformation within indigenous lifeways.

Images from Wilson’s CIPX (Critical Indigenous Photographic Exchange) project are also on display. The CIPX photographs are contemporary tintypes Wilson has made as a response to, and a continuation of, the portrait documentation of photographer Edward S. Curtis in the early 20th century.

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$750 OFF RENEWAL BY ANDERSEN PATIO DOORS

Superior Efficiency – Renewal by Andersen windows will help you save money on your energy bills. Our windows are 70% more efficient in summer and 45% more efficient in winter.** Sustainable – We’re Green Seal and SCS Indoor Advantage Gold ™ certified and our windows have achieved the highest SCS certified recycled content of any window replacement company.

Expert Installation - Many of our installers have 10+ years of experience installing windows and doors. Our skilled installers complete your installation so expertly and efficiently that most jobs, including cleanup, are completed in just one day.

Excellent Variety – Your windows are a part of your home’s aesthetics, on the inside and outside, and we offer endless design possibilities with over 5 million possible color, hardware, grill, and insect screen combinations.

Call for your FREE Window Diagnosis 992-7633

199 PASEO DE PERALTA, Devargas Center (east end) Dreamstyle Remodeling Inc. Lic. 91738

10% APR for 18 months available to well qualified buyers on approved credit only. Financing not valid with other offers or prior purchases. No Finance Charges will be assessed if promo balance is paid in full in 18 months. *See the Renewal by Andersen 20/2/10 limited warranty for details. **Values are based on comparison of Renewal by Andersen® double-hung insert window SHGC to the SHGC for clear dual pane glass non-metal frame default values from the 2006 and 2009 International Energy Conservation Code.

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PASATIEMPO | January 23-29, 2015