Ray and Angela Pérez
Father and daughter, Ray and Angela Pérez, from Albuquerque’s San José parish, celebrate Christmas with a performance of Las Posadas.
Funding for COLORES was provided in part by:
Frederick Hammersley Foundation ...and Viewers Like You
>>THIS TIME, ON COLORES!
>>FATHER AND DAUGHTER, RAY AND ANGELA PÃ‰REZ, FROM
ALBUQUERQUE'S SAN JOSÃ‰ PARISH, CELEBRATE
CHRISTMAS WITH A PERFORMANCE OF LAS POSADAS.
>>MURALS, SCULPTURE AND NEON, RENO'S HIGH ENERGY
PUBLIC ART PROJECTS KNOW NO BOUNDRIES.
>>VISITORS TO THE MENIL DRAWING INSTITUTE EXPLORE
WHAT A DRAWING IS AND IT'S POTENTIAL.
>>TRADITIONAL FOLKLORE DANCES...
BAILE FOLCLORICO, BRIDGE GENERATIONAL DIVIDES AND
CONNECTS YOUNG PEOPLE TO THEIR MEXICAN HERITAGE.
>>IT'S ALL AHEAD ON COLORES!
>>A HOLIDAY GIFT OF MUSIC AND STORY.
>>Ray Perez: One of the things that inspires me about
The Posadas is the gathering of people.
>>Gwyneth Doland: Tell me what Las Posadas is about?
What is the story?
>>Ray PÃ©rez: The word in Spanish "posada" means a
lodge, an inn.
And this is what we, this is what Mary and Joseph
were doing no?
The story goes that they were looking for a place
to stay to have the baby Jesus, no?
It dates back to the 1500's.
They came from Spain.
Spain brought it to the Indians in Mexico and the
Indians there started doing a novena, which is a
novena, for nine days.
A novena means just like I guess, ah something that
you pray every night.
It's a custom that that we've followed for many years.
It just, we reenact the way of Mary and Joseph then.
What we do is we dress up the kids.
We have kids that dress up like little angels.
We have shepherds that dress like shepherds and
then we have Mary and Joseph dressed like them.
I think it's a little deeper than that you know.
It's not just because we take the angels and Mary
and Joseph like that.
I think that we really get to feel is the light of
Christ which is supposed to be you know, he is the
light and this is why we do it, I do it, for that
>>Gwyneth Doland: And how did you begin performing
>>Angela: My parents have been in the choir since
the year I was born and so I just grew up going
through Posadas and I was that little girl who was
an angel and as I get older I was Virgin Mary
and I started playing the violin when I was 8.
>>Gwyneth: How did you get started?
>>Ray: The priest that that came in.
He came in from from, he was he was he was born and
raised here in Alameda, New Mexico, in Albuquerque.
He wanted, he wanted to bring this tradition back
you know and I think that basically the main reason:
there was something to have community, build community.
This is one form of the priests and the people
around us going to different houses and
meeting people where they are at.
It's been like 47 years for me, so...
We visit we the homeless, we visit like Paloma
Blanca down the road here.
We bring we the music to them and it gives them a
big lift you know.
It just touches you. You know?
>>Gwyneth: This is such an old tradition.
Why is it still relevant to you now?
>>Angela: It's just a reflection, just of every
year we go through and repeat the history.
It's a way of bringing it back to life again and
just teaching, sharing the story over and over again.
>>Ray: People in the choir tell me you know, it's not
a Christmas if we don't have Posada.
It's just something that's part of you, anymore you know?
It's not, you miss it just like I guess, I'm missing
like pumpkin pie at Thanksgiving, no?
>>Angela: Yeah, like you don't know what to do.
It's community, because anybody can come and we
pass out the paper so anybody can sing along if
they want to.
>>Gwyneth Doland: Does it bring different groups of
people in the community together?
>>Ray: Oh yeah. We have all races you know?
We don't tell anybody you can't come because you're
like this or like that you know?
You don't ever know who you're going to touch and
you know people come up to us and say, "you know this
was the most beautiful thing I've ever seen," you know?
>>Ray: The things that you really see when you're
actually going to people's homes and bringing the
Posadas - they open up with their own lives.
They may ask for Posadas because they want to, they
want to call people over, maybe a friend, a neighbor
that they're not doing very well with them, it
makes me feel that I'm doing something that God
wants me to do you know?
We figure that God gives us talents not just to
keep for ourselves but to share.
Things have changed a lot you know within the few
years you know we've gotten a lot of the
immigrants coming in and things like that.
San JosÃ© has been a place of worship for everybody
and they cater a lot to them and I think we used
to have like three English masses and one Spanish
mass and now it's turned around.
Now there's three Spanish masses and one English and
we're out you know we've just been able to mix and
mingle and to me it's no different, you know, just,
we have to be generous of what we have, no?
>>Gwyneth: So why is it important to you to carry
on this tradition?
>>Ray: The youth need something and they need
somebody to teach that something you know?
People with kids have to know that.
We have to know where we came from.
What, what we used to do and what we're still doing
and what we should keep doing.
>>Angela: You have to think about the future so
we have to carry the torch if you will and pass on
just sharing our talents and hopefully the
tradition keeps going because Christmas is not
There's other forms of giving and this is part of it.
It's the time of reflection with these, the
Novena and that's what a Novena is.
It's, it's giving yourself time to pray about
something and then when the day comes it's, you
know, it's Christmas it means something, there's a
reason behind it.
>>BRINGING TO LIFE THE CHARACTER OF A CITY.
>>Megan Berner: The Art Belongs Here grants
initiative is a neighborhood creative
place making project for public art.
The idea behind it is to get people in
neighborhoods to work with artists and collaborate
with each other to create art projects that exist
outdoors in public space in their neighborhood.
Projects that reflect community identity,
heritage, the personality or character of a place.
One of the projects that got approved is a
sculpture titled "Good Luck Horseshoe." That's
happening, um, at the Reno Rodeo.
So, the Reno Rodeo partnered with artist
Michael Gray to bring this sculpture to Reno and
permanently locate it.
>>Michael Gray: We had to use the chipping hammer to
bust out the concrete so that it would sit flat.
And then we drilled holes on the outsides for
>>Deb Armstrong: And then we put the, the banner on
the top for stability.
>>Gray: It keeps the horseshoe from separating
because you know people are gonna climb all over it.
>>Armstrong: The "Good Luck Horseshoe," to me, is
a real piece of inspiration I think that
Mike had to take something out to the Black Rock
Desert that sort of symbolized the horses of
our area, the Western culture, and things like
that, and be able to provide it to the people
that were at Burning Man.
And it's just completely appropriate that it ends
up full circle back here.
Mike was able to source the materials like the,
the horseshoes that are in the "Good Luck Horseshoe"
are all repurposed horseshoes that he
collected from different farriers and different
people with horses in the area.
But, a lot of those folks that are our neighbors
they have horses that are in the drill team and
things like that, so the likelihood that those
horse shoes have been in the actual Re- Reno Rodeo
grounds are probably pretty good.
>>Berner: There's a project happening along
Fourth Street, an artist that's working on that is
actually doing bike benches.
So, he's taking bike parts and making them into these
really cool benches.
>>Mike Burke: I'm involved with the Reno bike project
and the brewery arts district on Fourth Street.
We're putting out a series of artistic bike benches
that are also bike racks.
It provides somewhere for cyclists to park on Fourth
Street and produces some art for the community and
promotes cycling in the area.
Today I'm assembling the first finished version of
our latest prototype.
While working on this project a lot of things
have affected our overall design.
We've had to take into account ADA regulations,
as well as sidewalk regulations in developing
a bench that will conform to the codes, as well as
be a piece of art and be functional as far as
parking a bike, and noticeable that it is a
bike rack and a bench and for cyclists.
>>Berner: Another project that's happening is on
Wedekind road at the 395 overpass.
And that is a community mural project.
It's "Be The Change Project," working with
artist Asa Kennedy.
>>Kyle Chandler-Isacksen: The mural is going to be a
Day of the Dead themed piece.
The wall behind us is just, it's ugly, and it's
always been ugly, and it gets tagged and it gets
painted over gray and it gets tagged again and that
can easily be changed.
And as we talk to the community and kind of got
some feedback, people were really positive about the
idea and we just, we just went with it after that.
>>Asa Kennedy: About a week or two ago we went to
the elementary school, kind of ran through the
concept with them about what it was gonna be and
went through some small exercises asking them what
images, what elements and ideas do you kids think
represent this cultural festival.
And from then we went from the answers being provided
to them drawing.
Part of their actual more direct inclusion is gonna
be structuring some of the panels and the work for
students own original work where my job as the lead
artist is to come in and weave all that together.
>>Chandler-Isacksen: Part of it is incorporating
their own designs and bringing their, their
ideas right to the wall itself so that at the end
of the day, when, when the mural is done, and they're
walking past it to go to school, they can say, you
know, I did that.
>>Berner: We see public art as being an integral
part of city life.
>>Burke: A lot of times while I'm working on
public art, people, when they see it, they get so
excited and they really do feel like a sense of
ownership over some of the art.
>>Armstrong: It's good for the people.
It's good for the town.
It's good for the city itself.
I mean it's, art makes people happy.
>>Gray: I want people to come here that haven't,
that aren't from here, and they're traveling and visiting.
They see it and its character. It's our city.
>>DRAWING, A SHARED EXPERIENCE.
>>Rebecca Rabinow: Drawings, in many ways,
are a very personal way for a, a viewer to connect
with an artist, but they're also an integral
part of our experience as humans.
Every culture has drawing as a part of it.
We all draw.
And this is a building that celebrates that.
The Menil Drawing Institute was founded at
the end of 2007 to promote modern and contemporary drawing.
It has created many exhibitions.
It has published catalogues that have
traveled around the world.
And so now we inaugurate an actual physical space
for that institute, and it's devoted to the
acquisition, the study, the exhibition,
conservation, and storage of drawings.
So, it's very purpose-built architecture.
>>Sharon Johnston: The Drawing Institute is an
interesting building type, um, both because of its
focus on, on drawing and works on paper, but also its scale.
It's 30,000 square feet.
So, it's, it's really somewhere between a house
and a museum in terms of its size.
>>Mark Lee: You know, when we studied the campus, we
also noticed there is a kind of, um, liturgical
quality about the building types.
You know, certainly the Rothko Chapel and
Byzantine Chapel is a liturgical type.
The Flavin installation has this crypt like quality.
You know, this whole idea of sacred and domestic
kind of came together in this building.
>>Johnston: I mean we're sitting in a room that's
got light sort of coming from every direction.
I think that gives it a sense of time, the
I mean there's a kind of connection to the outside
that's very different here than a more typical museum.
Because it's a space for work and scholars and
conservation, each one of those programs has a
different light need, so I think that's something
that, that defines the Drawing Institute is the
qualities of light and atmosphere that are very
calibrated, but, um, have a quite a wide range
that's from the museum institutional condition to
a domestic setting.
>>Lee: Paper is very fragile and sensitive to light.
Drawing curators will tell you that the room for the
paper has to have a, a light level of like
five-foot candles or less.
So, when you're outside in the Houston sun it could
be as high as 15,000 to 18,000-foot candles.
So, I think this whole procession of having a
courtyard that is partially indoors and
partially outdoors working in concert with the trees
are ways to slowly help your eye adjust as you
come and finally to the gallery that you don't
feel like you're entering a dark room.
>>Rabinow: So, we inaugurate the building
with an exhibition of drawings by Jasper Johns.
They're drawn entirely from the Menil's permanent
collection, promised gifts, and then seven
loans from the artist himself.
He's one of the greatest artists of our time.
Also, on view is a wall drawing by Roni Horn
created this year, so as contemporary as you can
get, that is an eclectic group of aphorisms, which
are silk screened onto a wall.
This is the first of a series of wall drawing
commissions that we will have in this building.
And then the third work on view in our main space is
a sculpture by Ruth Asawa.
And you might say, why, why have a sculpture in a
building devoted to drawings?
She used wire to create these amazing orbs that
are suspended in space and she always referred to
that work as drawing in space.
So here you have an artist who pushes the, the
typical definition of a drawing as an original
work of art on a paper support in an entirely new way.
We're pushing the definition of drawing
because this is a building that will really explore
what a drawing is and what its potential could be.
>>KEEPING CULTURE ALIVE!
>> MY MOM TOLD ME STORIES THAT SHE WANTED TO DANCE
WHEN SHE WAS LITTLE AND THAT SHE DANCED THE HAPPY
CAUSE SHE DANCED.
>> WHEN I WAS YOUNGER, I-IT WAS REWARDING TO BE
ON THE STAGE AND TO BE IN FRONT OF THOUSANDS OF
PEOPLE AND, LIKE, I USED TO GET, LIKE, SO MUCH
CONFIDENCE AND ENERGY FROM THAT AND MOST RECENTLY I
FIND IT REWARDING, LIKE, TRANSFERRING ALL
THAT TO MY STUDENTS.
THE SPARKLE THAT THEY HAVE IN THEIR EYE BEFORE THEY
GO ON THE STAGE AND, LIKE, THE BUTTERFLIES THEY GET
IN THEIR STOMACH IS WHAT I USED TO HAVE AS A KID, AND
I'M JUST SO EXCITED THAT I'M ABLE TO PASS THAT ON
TO THE NEXT GENERATION OF STUDENTS.
THE SORT OF EXPERIENCE THAT IS VERY UNIQUE AND
VERY COMMON IN COLUMBUS.
>> THIS IS THE HAT WE HAVE TO WEAR.
IT'S CALLED A SOMBRERO AND THEN A REBOZO THEN IF YOU
WANTED, YOU COULD WEAR BRACELETS AND GOLD
earring, THE SUIT, uh, I DON'T WHAT IT'S CALLED,
AND THEN THE SKIRT AND THE SHOES.
WE'RE SUPPOSED TO BRING THE BRAIDS, LIKE THIS.
>> AS A SECOND GENERATION MEXICAN AMERICAN, YOU
KNOW, I THINK IT'S IMPORTANT TO CONNECT TO
OUR CULTURES, MAKE SURE IT DOESN'T GET LOST.
SO IT'S ONE OF THE GREATEST WAYS TO DO THAT
AND TO REALLY EDUCATE THE GREATER COMMUNITY ABOUT
HOW DIVERSE AND UNIQUE EACH PART OF LATIN AMERICA IS.
>> IT'S DISCOVERING, WE'RE DISCOVERING.
MY MOM WANTS ME TO KEEP GOING DANCING AND GROW UP
>>TO VIEW THIS AND OTHER COLORES PROGRAMS GO TO:
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"UNTIL NEXT WEEK, THANK YOU FOR WATCHING."
>>Funding for COLORES was provided in part by: Frederick
Hammersley Foundation...and Viewers Like You