¡Colores!; 305; Frederico Vigil, Cipriano Frederico Vigil, Jesse Nusbaum

Funding for COLORES was provided in part by: The Nellita E. Walker Fund KNME-TV Endowment Fund The Great Southwestern Arts & Education Endowment Fund ...and Viewers Like You >>THIS TIME, ON COLORES! AFTER NINE YEARS OF TREMENDOUS EFFORT, FREDERICO VIGIL COMPLETED ONE OF NEW MEXICO'S GREAT ARTWORKS,THE TORREON FRESCO, "MUNDOS DE MESTIZAJE." >>When I walked into this space and they said - here is the wall for you - I felt like one of the Luckiest guys in the world. >>MUSICIAN CIPRIANO VIGIL KEEPS NORTHERN NEW MEXICO'S FOLK MUSIC TRADITION ALIVE. THE STORIES AND THE MUSIC ALSO TELL THE REGION'S HISTORY. >>It is important to have the family involved in the music, not only to preserve it but for them to also learn the culture, learn the traditions. >>JESSE NUSBAUM PLAYED A SIGNIFICANT ROLE IN DEVELOPING THE SPANISH

PUEBLO REVIVAL STYLE. A PROLIFICPHOTOGRAPHER IN THE EARLY 20TH CENTURY HE DOCUMENTED SANTA FE AND NEW MEXICO. >>IT'S ALL AHEAD ON COLORES! FREDERICO VIGIL SHARES THE PROCESS FOR CREATING AN EPIC STORY IN ONE OF THE WORLDS OLDEST ARTFORMS. >>Vigil: I was always wondering when it was gonna finish. Or if I was gonna be into this space and they said - here is the wall for you - I felt like one of the luckiest guys in the world. The fresco is

over 4000 square feet of concave wall. Little did we realize, upon the completion of it, that we were gonna create the largest concave fresco inNorth America. One of the largest in the world.

From start to finish, the painting process took about 8 years. Seeing it completed, it's like a dream. Chocmul stayed, Wedarocha , the Inca, I moved over here.

Pyramids, and Itook Cortez off. You can see here, father Martinez stayed, Maleecha and Montezuma. I think, the idea and the vision was to figure out the mixture genetically through civilization and through cultures. Every image on this fresco is true history, facts. There were seven scholars, PhDs, and they would sit down in the conference room and dialogue. So I would take notes and from there, something hit me that I think I would like, or there was a vision that I would like to pursue, I would research more. Fresco, to me, is one of the most noble of the painting techniques.

I think if somebody is gonna spend time, Fresco is durable and it's gonna last. I think an artist or a painter to a vision of what they want to say, for me, fresco is the one. Each painted section has five coats of plaster. The wall is craving water and you're bringing a pigment with water and it's pulling the water in. Bon fresco is a chemical interaction between inorganic pigments and lime. Topaint fresco demands hours and hours and hours

of painting because if the wall dries, you cannot paint anymore. Once you have a feeling and taste of painting fresco, it's a passion, it's a craving that I seek. It is public art and that's a blessing. To let people come in and look at it, critique it, enjoy it, and learn from it. The people that do come in here to see their part of their history from this area, in the Southwest, see the wars that occurred and also the positive things that have developed - the intermingling,

compadrazgo, compadre, which is one of the most important and sacred components of what was brought over here. Where I become a compadre.The event happened in 1692, the reenter of the European Spanish of De Vargas moving into Pecos, a pueblo, and De Vargas made that decision - do I fight or do Ibecome a compadre to the Chief, which in turn, developed the concept of compadrazgo here in New Mexico. What I've tried to leave is true, historical imagery and facts so that when an individual will come in here, they hopefully will understand who they are

if they're from here, to find out more about what is here. And for those that do not knowtheir history that are from here, to maybe be proud of what has occurred in this area. >>CIPRIANO VIGIL SHARES HIS LOVE FOR PLAYING AND TEACHING MUSIC. (nature sounds) (music from a wood saw) >>Cipriano: Anything can become a musical instrument.

instrument do you not play? And I tell them, the one I don't have. (cigar box guitar) >>Cipriano: In northern New Mexico, we have a huge variety of different styles of music and rhythms,you might say. Each style has its unique style and rhythm, but we have like the Romances, Decimas, Inditas, the Cuandos, Chotisas, Cutillos, all of this. Some of them were developed here. Some were brought here by the Spaniards.

Some migrated here from Europe later on, but once they've been here for a while they're considered traditional New Mexican folk music. The Cancion style is where In fact, how this originated was, way back when people were isolated, you know. They lived far apart. Sometimes they needed to send a message to the woman that they loved, so they would write it into a Cancion and send it with a messenger. (performance) Thank you. Thank you!

>>Cipriano: It is important, to have the family involved in the music, not only to preserve it but for them to also learn the culture, learn the tradition. I was very unfortunate that I wasn't (performance) >>All of these songs have

stories behind them, how they were developed and that's one of the important things in maintaining this tradition because we're preserving all those stories which are true and that makes the history of the people here as well. In my point of view, I think maintaining the traditions, keeping them alive teaches the younger generation, and all our generations or other cultures, of the wealth, the richness that we have which as a people, and we need to be able to show who we are in a beautiful way. (performance) >>Cipriano: Muchas Gracias,

yes, thank you, thank you. Felicita, Mitzael, Marisol, Cipriano, and Alonzo. Thank you, thank you. If I could make somebody be moved by our music I have accomplished what I wanted, and it makes somebody feel good about themselves through the music. >>JESSE NUSBAUM HAD A MAJOR ROLE IN CREATING SANTA FE'S SPANISH PUEBLO REVIVAL STYLE. >>Bellamy: Why is Jesse

Nusbaum's work significant and Santa Fe in particular? >>Villela: I think most people know him as a very important photographer of our region. He took thousands of photographs between about nineteen seven and about the early nineteen of northern New Mexico. He's also important to Southwestern history because he played akey role in the movement to make Santa Fe look like it looks today. So in terms of the Spanish Pueblo Revival architecture, so Nusbaum was a member of a really small group who devised what that Spanish Pueblo architecture was going to look like and then they brought these through to completion. >>Villela: Two of the most recognizable projects that Nusbaum worked on were the restoration of the Palace

of the Governors. He oversaw the restoration of both inside and outside but they rebuilt the portal that faces the Santa Fe Plaza. >>Villela: And in 1917 he worked on the project for the new art museum. >>Villela: He was the right person for the job I think by temperament he also was a person who seemed to have been a jack of all trades, a person who mastered building. He also was a master woodworkerand also he was an archaeologist and he had a real skill in photography, and they employed other

photographers also, but it was always Nusbaum that that they went back to bring home of the digs, or the buildings, or any of those other projects that were afoot in Santa Fe duringhis time period. >>Villela: He spent many years driving around the south west on his motorcycle taking photographs ofPueblo architecture at all the pueblos north and south of Santa Fe. >>Villela: He also spent a great deal of time driving around a Four Corners area making photographs of archaeological ruins. When they decided to think about how those those architectural styles mightrepresent Santa Fe and New Mexico in general to the world, he had a great archive of information todraw

on. >>Bellamy: I'm struck by the intention of how this style is still with us today. Can you talk a little bit about why moving forward that was important to Santa Fe and to the American Southwest? >>Villela: It was always important from both a scientific perspective and also from the perspective of cultural tourism. So, from the very beginning leaders like that likearchaeologists Edgar Hewett or another archaeologist Sylvanus Morley, who were working with Nusbaumtogether to learn about the archaeology and culture of this region. Very early on when Edgar Hewittfounded his museum of New Mexico and the School of American Archaeology in Santa Fe, that was in 1907 and 1909, they began to think about how Santa Fe might be a destination for tourism. Remember, this is

during the time period when New Mexico is trying to gain statehood, and also they began to work very closely with Chamber of Commerce and the issue is "How do we attract more business and tourism to Santa Fe?" And, the solution that was the most workable solution was to think about how we could could understand and mine the culture of the region. >>Bellamy: What was their job as cultural agents in the preservation of heritage as we see it, and the things that they built, the things that they left us? >>Villela: During this time period, it was by no means certain that that the Spanish Pueblo Revival style was going to be Santa Fe's ticket to fame, so in contrast during the territorial period beforestatehood there was widespread demolition of the old adobe buildings and they were thought to be backwards, they were thought to be unadaptable for modern

living and we have a large number of buildings going up in other historical styles. >>Villela: In fact, there were articles in the newspapers in Santa Fe saying "thank goodness the last of some of these adobe buildings are being torn down in Santa Fe." This is in the early 1890s, so it's amazing that just twenty years later there was a revival of this kind of architecture. >>Bellamy: How does architecture impact our day to day in the southwest, in the American Southwest and in Santa Fe? >>Villela: The Spanish Pueblo Revival style, it's one that tried to pull the best

qualities from several different historical styles. So it's it's a hybrid, and the fact that its architecture that in its purest form is adobe architecture is ideally suited for life in northern New Mexico's desert. >>Bellamy: What did Jesse Nusbaum leave us with? >>Villela: Well, apart from an archive of more than 10,000 items, Santa Fe's status as a leader in cultural tourism is closely linked to the activities of Nusbaum and his colleagues a hundred years ago. There are some very specific reason why Santa Fe and northern New Mexico look as they do today. These reasons are related to why we value this architecture and the cultures, the cultural heritage from the native peoples in this area and the Spanish Colonial inhabitants and there was a time when that was not the case. They were not valued and Nusbaum was a key figure >>Funding for COLORES was

provided in part by: The Nellita E. Walker Fund KNME-TV Endowment Fund, The Great Southwestern Arts & Education Endowment Fund...