Frederick Hammersley Fund for the Arts at the Albuquerque Community Foundation and the New Mexico PBS Great Southwestern Arts & Education Endowment Fund at the Albuquerque Community Foundation... ...New Mexico Arts, a division of the Department of Cultural Affairs, and by the National Endowment for the Arts.

...and Viewers Like You.

THIS TIME, ON COLORES!

AT THE SANTA FE SPANISH MARKET ANDREW MONTOYA DISCOVERED HIS LIFELONG PASSION FOR THE ART OF RETABLO.

NOW, HE KEEPS THAT PASSION ALIVE THROUGH MENTORING.

WITH SOUL IN HER HEART AND A STYLE ALL HER OWN, JAZZ LEGEND KITTY DANIELS PERFORMED ALONGSIDE SUCH TALENTS AS ETTA JAMES, B.B.

KING, AND DIZZY GILLESPIE.

AN AUDACIOUS DREAM AND AN ATYPICAL GALLERY SPACE, THROUGH ADAPTIVE REUSE A 1926 HIGH SCHOOL IS REBORN INTO THE SARASOTA ART MUSEUM.

A PLACE ABOUT IDEAS AND WHAT THE FUTURE LOOKS LIKE.

VULCAN'S FORGE PERFORMING ARTS PROVIDES A SPACE FOR ARTISTS WITH DISABILITIES TO SHARE THEIR STORIES.

IT'S ALL AHEAD ON COLORES!

KEEPING THE FLAME ALIVE [MUSIC] >>Andrew Montoya: It was this big tent at Spanish Market.

My brother was participating.

My auntie was participating.

And I managed to make my way over to this little tent that had some of what I would consider the "Masters" carving in this tent and just talking to each other in Spanish and carving and just enjoying things.

And I'm watching the chips of the wood fall on the floor, on the grass, and I'm just like, this i amazing.

And Manuel Lopez told me, "sit down, grab a chair," and explain to you what I'm doing over here.

And for me, that was interesting because this guy couldn't pick me out of a group.

I mean, who's going to sit there and teach a nine-year-old, ten- year-old kid and try to explain to them what you're doing?

So I grabbed a chair from the bandstand and I sat right next to this gentleman, and he was creating this big giant Saint James on a horse.

And I just, I couldn't believe how beautiful it was to make something like that out of wood.

The reason I began mentoring was for one purpose in itself, and that was because I had to pass on what had been given to me.

We have a large amount of individuals that participate in youth market that never go on to adult market.

To actually continue the tradition.

But it saddens my heart because if we keep what we do close to our heart and don't pass it along, it's going to die.

It's going to be gone.

Today, we are prepping for our annual tradition of Spanish Market as it comes into Santa Fe.

I'm working with my son and my two nieces here.

We prep our boards.

We put hangers and we also write down the names of the Saints and who we chose and why we chose to do them, including their patronages or what they did in their lives or what they're known for.

As I teach my kids and my nieces and anybody that comes into the studio that wants to learn, being a teacher requires a lot of patience.

Sometimes I get very territorial and I'm like, "oh, just give me the brush, I'l do it," or, "oh, just give me the knife, let me show you how."

And sometimes you have to allow them to make that mistake.

So that way they can learn from that mistake.

There's a reason why there's a box full of heads and hands and pieces that never worked out because they weren't supposed to at the time.

Alright, you did Mary Magdalene, right?

>>Hailey Valdevia: Yes.

>>Andrew: Let's see if you can remember his one.

What's Mary Magdalene patron of?

There's a purpose.

What's that right there?

>>Hailey: The medicine jar.

Doctor's.

>>Andrew: Close.

Not doctors, but what else do they do?

But what else does, so... the medicine jar, although it was used to carry medicine, it also carried oils.

But there was a purpose.

>>Hailey: I thought it was massages.

>>Andrew: No, not massage therapists.

>>Hailey: Like physical therapy?

>>Andrew: Patron Saint of Pharmacists, pharmacy, the ones that dispersed medicines.

>>Xavier Montoya: Yeah, like Walgreens.

>>Andrew: Like Walgreens.

Yes, like Walgreens.

>>Hailey Valdevia: I used to watch my uncle when he did it.

Like I would come over and just hang out with the kids, and I would see him do it.

Then when he asked me, I'm just like super excited.

I like, couldn't wait to do it.

>>Andrew: Nadi, tell me about that piece.

>>Kianna Trujillo: So this story, it's just always stood out to me because I've learned in school and it was Jesus's first miracle.

So, that's kind of how I got connected to it.

I like learning about the different Saints that I do.

I think that's a pretty cool part about it.

My favorite part, like painting wise, I like doing the faces.

That's like my favorite part to do, just like giving people something to look at, something to pray to.

>>Andrew: Okay, James, these three angels all represent something special.

What do they represent?

>>Xavier: Um... voice, strength and friendship.

>>Andrew: Friendship.

Very good.

Awesome.

Okay.

>>Xavier Montoya: I just like painting.

It's like, you know, fun.

>>Andrew Montoya: I think the challenge is, how do we get more of those kids involved to start doing it more frequent and make it make it more enjoyable and more popular?

So, it's kind of that communication barrier.

It's kind of learning how to make the art seem like it's not scary.

You know, it's a beautiful thing.

And this is the attribute behind it.

What does it mean?

And see if they take it up and maybe they will.

[MUSIC] The most important lesson, I think, for a young artist has always been to believe in themselves and also establish a style that works for them.

Everybody wants to be accepted when it comes to art but I always tell my son and my nieces, "do it because you believe in yourself and do it because it's yours."

And also, just know that there's no wrong way to do it.

[MUSIC] For me, it just speaks volumes when you hear people that say, "I've devoted my life to the Saints."

I think that that's such a great thing and I like to consider myself doing that.

But for me, I've always said I devoted my life to the Saints, but those lives are going to continue to pass on as my kids start to do the process and their kids will start to do the process.

>>Hailey: She's a Patron Saint.

That's Saint Philomena.

So, they shot her with arrows, but the angels protecting her.

And then they tried to drown her with the anchor, but the angels protected her and saved her.

>>Guest: Nice.

Very nice.

Thank you.

>>Andrew Montoya: You know, something that's been around for 300 plus years and has shrunk tremendously.

I feel like it's my life's duty to make sure that that continues >>Kianna: Oh, yeah baby!

>>Xavier Oh, yeah!

FINDING THE RIGHT NOTES [SINGING] >>Kitty: I was told that I was eight months old when I started playing piano.

I started taking piano lessons when I was six, but I was playing the piano before then.

"I know I'll see you a little later on" Mom used to talk a lot about the fact that I could play the piano.

She was very proud of her little girl.

"Felt like I'd bet the bank."

So one lady from our church who played piano came to our house one day, and she put one of the songs in front of me out of one of the hymnals, and she told me to play it.

So I played it just like they play it in church, but I played it in a different key, and that's when they found out that I was playing by ear.

I was playing it like I heard it.

I learned to read music when I went to high school instead of just playing it by ear.

I started writing music maybe a year ago.

I will play something when I write music, and I'll write that down.

And when I write it down, I try to think of a melody, and I start humming.

[Hum, Hum, Hum] That's usually how I start writing music.

>>John: She's a fixture of jazz and blues here in the Tampa Bay area, and we're super excited to have the opportunity to present her here.

- Thank you.

Thank you so much.

This first little song is called "In Shore, Off, Shore," and it was written by the drummer that usually plays with me.

His name is Majid.

I prefer performing in front of live audiences.

I like to see the reaction of the people when I play.

"In shore, off shore" >>Bob Seymour: Kitty is just extraordinary with her own approach to the piano and a beautiful vocal style.

Some hear Billie Holiday.

Everything she does is really, really her own approach.

She's largely self- taught at the piano and just a remarkable person to have in our lives in Tampa.

Kitty Daniels started by working as a bartender at the Cotton Club on Tampa's fabled Central Avenue in the 1960s.

It was owned by Henry Joiner.

Kitty would play the piano when the band took a break.

Singer, Jackie Wilson, wanted her to go on the road.

She had a number of other offers too, but Kitty's husband at the time didn't want her to travel.

>>Kitty:I was invited to go on the road with several people, but I didn't like to fly.

I wanted to stay with the children, and my boss didn't want me to leave the place where I was playing.

>>Bob: In the late sixties, B.B.

King was in Club Rowls when Kitty was playing "The Nearness of You," which she'd changed the chords.

>>Kitty:So he sent his arranger out to my house, and I wrote it out for him.

One night, Etta James' piano player got sick, and they called up and said they needed a piano player so I went over and played with her.

I played her book, and she liked my arrangements better than she liked the arrangements in her book.

Dizzy Gillespie played at Ruth Eckerd Hall.

He wanted me to play the pre-show before.

And so I played the pre-show for about an hour.

>>Bob:Kitty challenged discrimination practices that were prevalent in the Musicians Union.

- We'd get little jobs, you know, little private things, but we couldn't get into the clubs that paid the most money, and they wanted to hire us, but they were afraid to hire us because we weren't in the musicians union.

I'm playing at a place on Dale Mabry in Tampa called Donatello.

I've been playing there for 22 years.

>> Gino Tiazzo: At Donatello, we have a deep tradition in hospitality, and our hospitality is a big part of our approach towards a customer, making people feel at home in our restaurant.

And Miss Kitty has an amazing approach to her customers, to her clients, to the people that she knows.

Her approach to what she does is the same as what we try to do here at Donatello.

>>Bob: Kitty's nurtured other singers, including Pete Caldera, the New York area sports writer who started singing with Kitty at Donatello just for fun and is now heard regularly in New York City nightclubs.

"But each day when she walks to the sea" >>Kitty: And he sounded just like Frank Sinatra, and I started calling him Pete Sinatra.

I hope I helped others when I spoke at places like Coleman Middle School and HCC College.

And some of the kids to the restaurants that I've worked in and said that they were inspired, and they liked my playing.

All that kind stuff makes you feel good, you know, when the kids like what you do.

"While I'm alone and blue as can be, dream a little dream of me" RELEARNING [MUSIC] When you walk into this museum, you get a brisk slap in the face of color, of energy and excitement.

- Sarasota Art Museum was founded in 2003.

It's what I like to say, an audacious dream that could only happen in Sarasota.

There were 13 wonderful founders who came together.

They really felt that there was a need in this community to focus on modern and contemporary art.

- It's always nice to have another competing facet of a genre of art in a community.

I think the Sarasota Art Museum is just that.

It specializes in contemporary art and I think it pushes the other museums and other venues to enhance and forward their own exhibits as far as the contemporary art is concerned.

[MUSIC] - So, from those early days, this passionate group of people really knew that the museum would need a great partner to be successful.

And, the museum, Sarasota Art Museum was born under the auspices of Ringling College of Art and Design.

And, from there, this community stepped in to essentially be the supporters for the museum's bid for the 1926 Elliott Building otherwise known as Sarasota High School.

- Because the museum was an old high school when they did the adaptive reuse project, of course they wanted to stay true in some areas to the original architecture which is a collegiate gothic building.

So, we like to bring exhibitions that are site specific.

So, really responding to the original architecture, and then building on them with new works.

And then, we have the great skylights as well which brings in a lot of natural light And, it just flatters the works in a different way that you might not otherwise get in a typical gallery space.

- A lot of museums have the same exhibit over and over, and people walk in and they're, you know, they're looking at the same thing.

But, you never know what you're going to see at the Sarasota Art Museum.

It's new.

The freshness.

The different mediums.

It's all so special.

- Sarasota Art Museum is a contemporary kunsthalle which is a German word meaning that we don't have a permanent collection.

So, we rotate our exhibitions roughly every four to five months which means that we can always respond to the current moment what's happening globally and also here in Sarasota.

So, this exhibition season at Sarasota Art Museum, we really wanted to offer visitors different experiences to engage in new ways.

So, I think a lot of times, people will go to a museum and they're very used to just seeing two dimensional works on a wall and moving through a space, but we really wanted to force people to slow down and to think about works in new ways, so, we have some interactive works like the Felix Gonzalez-Torres Candy Spill which is in our historic lobby as well as the immersive installation with Danner Washburn's work which is titled Effigy: Hemric.

And, it's really important that we sort of give visitors this opportunity to break from the mold of what a museum typically does.

So, not only do we give space for artists to respond to the current moment, but we're also asking visitors to be present in the current moment.

And, to really reflect and think more about the ideas that the artists are presenting.

- This room right here, this studio loft area, I really appreciate all the artists in their studios, because as an artist myself, I'm getting to see an insight to their process.

It creates those questions that I think about of how work is done.

And, how things are handled.

Getting into the Sarasota Art Museum has helped my growth in staying with the arts, being proactive in my own art practices.

- We really are a school within a school.

So, we're Ringling College of Art and Design's living laboratory for contemporary art.

We're the museum of the college, but we also have our own educational programming that happens here on site too.

From the very beginning, the community, the founders, and Ringling College of Art and Design really saw that there is a need to help educate people around the arts and around contemporary art, but also a chance for people to be creative.

So, we were really built purpose built, so to speak, so that that creativity piece is embedded within our culture here.

We are home to what's called an Osher Lifelong Learning Institute or OLLIE, and that is one of the most amazing things that happens on our campus.

We have people 55 plus lifelong learners coming to take classes, to teach classes, share their experience.

We also have gallery tours.

We have talks by artists and with artists.

And, we have art making in all of our wonderful spaces as well as programs for school children.

- Ringling has done a great job with having all of these different moving pieces.

And, it allows people with backgrounds like myself to find a little place to share.

And so, the OLLIE became the natural for me, because it's something that I like to do.

I like to talk about the apparel industry.

And, it was a lot of fun.

- It's a place about ideas, learning.

It's a place about what the future looks like.

And, it's about the human condition and how we share this life experience together.

And, what's wonderful is that we have really, really passionate people who are engaged with us every day.

THE SKY IS THE LIMIT [MUSIC] There is something inside all of us that wants to create and the arts helps bring that out.

It overcomes our limitations and it helps us fulfill ourselves.

Getting past the disabilities, the little boxes we put one another in, the labels we put on one another.

Art kind of transcends all of that.

My name is Juan Miller and I'm the Executive Producer of Vulcan's Forge Performing Arts Collaborative, and also Chairman of the Board.

Basically, we are a production company for people with disabilities in the region.

We serve challenged artists with the help of unchallenged artists.

Our idea is total inclusion.

We hope to bring the art of challenged artists to Cincinnati public with both challenged and unchallenged artists alike.

"Push...pull...expand...retract.

expand... retract...other side.

Push...pull..." I'm a creative person, I'm a creative soul.

I enjoyed the workshop.

It's also fun and inspiring for me because I'm seeing people with various types of disabilities and to watch them, the enthusiasm, they were living!

And that to me was what it was all about, to enjoy life.

What caused me to work with Juan Miller and others to create Vulcan's Forge is very simple.

A recognition that I was not being valued for the talents and skills that I have.

That my friend, Juan, was not being valued for his talent and skills that he has and that there are thousands and maybe even hundreds of thousands of people like us, who are not being recognized, who are being overlooked for what they can bring to this world.

And Vulcan's Forge is working hard to open up those doors of opportunity.

"I want you to see me, I want you to see me.

I want you to see me, I really hope you can see me now."

Wheels On Fire was kind of a brainchild of mine.

I'm not sure exactly where I'd heard first about Dancing Wheels but I thought their mission and our mission was so right on-point with one another.

I had to find a way to bring them to Cincinnati.

They have been performing for 40 years now, I think this is their 40th anniversary and they are headed by Mary Fletcher.

I know her mother was a dancer and so she always wanted to be a dancer and didn't let her disability stop her.

We see ourselves as an umbrella organization, trying to bring together various groups that serve disabilities, together into a cohesive performance art.

We also would like to be able to teach people the arts and drama and writing and theatrical production and those kinds of things, farther down the line is where we see ourselves going eventually.

Not even the sky is the limit and the possibilities for any and everybody, especially in the arts, if you can believe it, you can create it.

There's an audience out there for it and we would like to take your art and bring it to that audience.

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"UNTIL NEXT WEEK, THANK YOU FOR WATCHING."

Funding for COLORES was provided in part by: Frederick Hammersley Fund for the Arts at the Albuquerque Community Foundation and the New Mexico PBS Great Southwestern Arts & Education Endowment Fund at the Albuquerque Community Foundation... ...New Mexico Arts, a division of the Department of Cultural Affairs, and by the National Endowment for the Arts.

...and Viewers Like You.