¡Colores!; 2528; Authors Enrique Lamadrid and Moises Gonzales, Celestial Stained-Glass Windows, Poet and Dancer Joanie Smith

Funding for COLORES was Frederick Hammersley ...and Viewers Like You THIS TIME, ON COLORES! AN UNTOLD STORY OF EXPANDS THE UNDERSTANDING IMAGES FROM THE HUBBLE CELESTIAL STAINED GLASS JOANIE SMITH USES POETRY RELATIONSHIP IN, "TO IT'S ALL AHEAD ON COLORES! REDEFINING NEW ♪ ♪ >>Kamerick: Enrique and

Genízaro is a new Who were the Genízaros? >>Lamadrid: The Genízaros population of what the Hispanic, New >>Kamerick: What time In the late 1900's? >>Lamadrid: By the, uh by figures start popping out, Genízaro and some you Genízaros by the use of a And, certain professions professions because they >>Kamerick: So, these were and sold to families? To Hispanic families? >>Gonzales: There was definitely a there was also by the late Governor, Tomás Vélez because the population

century, he had a vision ring of buffer settlements such as Belen, Carnue, Miguel Vado, just >>Kamerick: So, they were Genízaro families. These were land grants on frontier and between the >>Gonzales: Yeah, I mean placed between, say by the South, Carnue and Las entrance of Tijeras buffer lands, the You had Abiquiu, which was Navajo and Ute territory, these were often communities were >>Kamerick: You said that

population by that census so these were people who of slaves who were >>Lamdrid: Well, they slaves, they were would pay a ransom, people called a rescate, which brought on an obligation They would learn Spanish, Catholicism, they would that they could learn in only hold them legally for Others sought their wish to marry. Some women would get stuck having kids with the there's stuff in the archives where you'll

petitioning to marry her get out of the family demanding her freedom you get a sizable Genízaros by 1710-1720. >>Kamerick: There's a New Mexico about slavery, are the people who were the capturing and who >>Gonzales: Well I mean let's, you know one that after the >>Kamerick: In 1680... >>Gonzales: 1680, you know horses and a lot of the introduced to the The Comanche's on the range to the east and the their whole culture based

After, by the early 1700s Ute and Comanche and other you had raids that were Rio Grande, upper Rio Grande Valley, raiding pueblos Then there was retaliated, In this process, captive both directions. As you enter, as you settlements like Abiquiu then what happens is you experiencing raids of going off on So, by the time you reach period of the Mexican period was probably the You even had more of retaliated raids There was even a whole

called the Nakai Diné captives that went >>Kamerick: Enrique, even wedding presents? Can you talk about that? >>Lamadrid: Young couples, small child a small Indian >>Kamerick: To >>Lamadrid: To be a children of the family. Sometimes it worked out in and sometimes it didn't. ♪ ♪ >>Lamdrid: This was a late 18th century and century. >>Kamerick: What happened >>Gonzales: >>Kamerick: Because >>Gonzales: Yeah, I'm from of Las Huertas.

I'm a member of the Las Sandia's and I'm actually de Carnue Land Grant. So a lot of people historians will say ,well that, you know, the taken off and therefore being Mexican. And, although that was government, to kind of indigenous identity as with a mestizo That didn't happen. You had a lot of maintain their culture go to communities like know, observe ritual Matachines or Or you go to places There was a lot of effort Mexican identity in New create a mythical, Spanish American

fundamental of the school Hispanic identity, which us from the mountain are exposed, every the history and legacy of Apache people and At least specifically >>Kamerick: Talk about are still celebrated, even trace their history We have some photos - ♪ ♪ >>Gonzales: That remembers while through the Sandia would leave on the buffalo women would have to communities such as la San Antonio de Padua The men would leave on the

back in October right There's an initiation of probably with Comanches other tribes that were ritual dance that the community that are >>Kamerick: Enrique what a photo as well of >>Lamdrid: Yeah, captives these celebrations and saying, that Genízaro it's continuous in these that were long ways from population in many cases. >> The majority of Hispano, Nuevo Mexicano some assimilated into

And so, the majority of population becomes but the communities, these celebrate captives because If you go to a dance in captive yourself and then I own - >>Kamerick: So, if I go - you >>Lamdrid: I own an name of Brenda Romero. We were in Abiquiu captured, and people say vouch for her, does And I said, "I do!" and I bought her for pantomime and it's ♪ ♪ >>Lamdrid: Up in Ranchos taking as well, even with

actually honor the them into the culture. ♪ ♪ >>Kamerick: How does the challenge our current Mexico identity? >>Gonzales: I think understand is that it The tricultural myth cultures - Pueblo, in this simultaneous erases the historical through iterations Genízaro identity places cultural myth and it races the realization of the ways in which we colonial history and then identity that says we can

of this tri cultural myth notions and meanwhile we the state and we render ritual and our own history with each other. >>Kamerick: Well, I want coming and talking about this SCIENCE AND RELIGION >>Coenen: We are at Saint Paul's Bay also referred to as We're about 2 Some of the astronauts And which we >>Noto: In 2005 we started a

us start building our new beginning that we wanted something from NASA parishioners from here space related We spoke with our asked how we can the heavens and our up with these celestial choose an image from >>Reeves: I was the lead flight shuttle mission that telescope The objective we could get it with the 300 nautical miles above

could get the telescope atmosphere so that the distorted by any Those of us who worked the up there were really on a the mission successfully - And then when the first images I got on the head set and team at that time, "You have just done. This telescope will books" I'm not an the science end of it. But I'm just a dumb old engineer The imagery though When you are here on earth night its dark and you

You just don't realize on these windows The other beauty of the looking at space with the back in time. The light from the stars star hundreds of >>Coenen: Well I think when we space, itself It almost brings us to the Of an orderly god, And so that spiritual space center and the And how close they come in venture out into space. And they realize the And the magnitude of god

brought back into Saint With That Perspective our so great that it As we look toward the almost feel the >>Noto: I was very happy for worked at NASA and all sacrificed quite a bit achieve what we have And I was very happy that them in that way within FINDING A RHYTHM WITH >>Poem: Have you noticed? For you.

It's a question Where do you buy Enough for a mattress. >>Smith: >>Poem: Enough to lie down. >>Smith: The actual poem The text has its own rhythm and the dance imagery and rhythm. And every now and then >>Poem: An evening long past. >>Smith: They heighten each I use it to sort of It lets you know clearly This relationship is older which might have taken a very And so I think placing it

word is midnight. Boom. There we are in the Obviously It locates us Why are we eating so late? Relationships always seem in the work that I make. I find that so interesting have on one another or Because we all see how we fit in the world other people very Shapiro and Smith At first it was this dream We wanted to choreograph. We found somehow together The first dances were possibilities got too

and we got more That was a whole amazing different voices that not It was like going from orchestra the structures the harmonies became so much more To have and to hold bench, We had just returned to Everything had changed. It was a time of AIDS. It just seemed that It seemed that we couldn't suddenly started thinking people were waiting. We thought of three and as we started sort of we got into sliding across

to us in the imagery like life sliding by something and >>Virtucio: And it starts out and the desire as a youthful something and to conquer to find a partner. And by the end of the letting these partners So the journey from not having to let >>Smith: It's about the beneath the bench reach up and To me that image was There you are. And you suddenly smell a The memories come back. Danny and I could never figure Six hundred dancers

So many companies so us to restage it. It seems to still Danny added for those we not forgotten because so Little did we know it Danny died in He died of cancer. He was diagnosed Because he thought he until he was 48. During that time he And he really intended to he left us instead. We did dance bench and his That was tough. My relationship with the

since Danny died. I found it really myself making decisions So I have more and more to participate >> Virtucio: She sees our unique that really challenge us show us in our best challenges us. Which is a gift as an choreographer. >>Smith: They enjoy that a lot. They really enjoy Sometimes they improvise into something that they this an interesting idea. I love that there's the in the room.

We also have regular This year Sally Ruess We've had Judith That's an interesting way company is to bring in We're interested in If I actually pay and the time and the shape that the effort, And it's different than Because I paid attention energy and that's And it's just with Because I'm paying the emotion is it. TO VIEW THIS AND OTHER

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Frederick Hammersley ...and Viewers Like You