Funding for COLORES was provided in part by: Frederick Hammersley Fund, New Mexico PBS Great Southwestern Arts & Education Endowment Fund, and the Nellita E. Walker Fund for KNME-TV 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!

INSPIRED BY THEIR EYE- OPENING VISIT TO THE US- MEXICO BORDER, ALBUQUERQUE'S SANDIA PREP STUDENTS TRANSFORM DOORS INTO POWERFUL PAINTINGS THAT CAPTURE THE REALITIES OF LIFE ON THE BORDER.

ADVOCATING FOR WOMEN SINCE 1881, THE AMERICAN ASSOCIATION OF UNIVERSITY WOMEN CURATED AN EXHIBITION DEDICATED TO EMPOWERING WOMEN IN THE ART WORLD.

COLUMBUS, OHIO’S JAZZ ARTS GROUP IS PRODUCING WORLD-CLASS JAZZ PERFORMANCES WHILE INSPIRING THE NEXT GENERATION OF MUSICIANS.

IT’S ALL AHEAD ON COLORES!

OPENING DOORS >>Claudio Perez: When I start my class, one of the things that I tell my students is that I don't care about their politics.

One of the most important things is I want them to see the, uh, human side of what immigration is.

So when I take the kids to the borders, I want them to speak to some of the, uh, immigrants that were deported back to Mexico, or people that live in El Paso.

>>Pastor Rosemary Guzman: It's a miracle how he, he was able to cross, um, he didn't have money.

>>Claudio Perez: It's really important for them to them to sort of put a face to some of the, some of the knowledge, some of the topics that we've been covering in class.

And their doors really depict the message they bring back from our border trip that we take every year.

>>Hiilani Alderete: One thing that I did learn was a story that this one woman told us, and that's what my door represents.

She told us this story of how her husband was traveling to go visit his mother back in Mexico, and when he was coming back into the United States, um, border patrol told him that his visa was fake, when in fact it wasn't, and they cut it in half, which takes so many years, um, to get, sorry, I'm, if I get emotional about, it's a, it was a very hard story to listen to.

But that's what my door represents.

That's why I have the phrase, "sin papeles,sin miedo."

But it's a very touching story and especially knowing relatives who have gone through that.

It's very near and dear to me.

>>Kiarra Rodriguez: I thought I had seen it all with my family and I thought that I didn't really need to learn anything else because my family are all immigrants.

But whenever I went over, I realized how much sacrifice goes into families coming over and taking their kids, taking their entire family, leaving everything that they had.

We've actually experienced a family telling their story, who had a very good life, I believe is in Colombia, and they had everything, but they decided to drop it all for their children's safety.

And now they basically have nothing and they were living in a church.

Um, and it was very powerful to see how much sacrifice and how much loss you can go through just for the people that you love.

>>Mya Lathon: In Spanish - "Puedo orar por ti?"

means, "can I pray for you?"

And um, that was part of something that I witnessed on the trip was, um, the pastor praying for people who were traveling.

When we got to meet people who were immigrating during our trip, uh, there was a lot that were like traveling for eight months, um, almost a year.

So it was really eye opening and I wanted to display that on my door, that it's a worldwide thing, like people from all over the world are dealing with issues and fleeing their countries.

>>Trina Ngyuen: I learned the most definitely about separation and learned families are being separated just to come here and work.

And although the United States doesn't offer the best resources, it's a new start and it's a new beginning for a lot of families.

So my quote means, "our race doesn't disconnect us.

Our religion doesn't separate us.

Our politics don't divide us and our money doesn't classify us."

And I thought that's important that we're all human at the end of the day and we all have different stories and we all need to come together.

>>Rowan McJimsey: I felt like I really sort of understood more of what immigrants go through, which is an incredibly heartbreaking experience.

I've learned about the reasons why people immigrate, which is family.

And this whole thing is very much a transformation.

>>Dylan Holtrop: All the immigrants we talked to came here for opportunity, especially for their family, but were still struggling, um, to meet those expectations that they had when they were coming to this country.

And so on my door, these people are looking to the city on a hill, but it's just an ideal because when they get here, their expectations aren't met and they come to like a crumbling city and there are a lot of adversities that they have to go through.

>>Sonya Patel: It was very, I would say, life changing just because you actually get to hear everyone's stories.

And it really made me realize how, how painful immigration can really be.

You don't always have all these opportunities that you think you do when you come to the United States and how, uh, family reunification it is possible, but it's also really, really hard.

It really made me realize how much strength it takes to really endure all of that.

>>Abby Hanosh: This family that we saw, there was this man there and he was so optimistic and he was so grateful to be in the United States, and he gave up his own company his entire life to be here.

So I wrote a poem about it called Monster of a Man.

It Is Here We unmask the monster to reveal a mere man who loves his family enough to dream of better than a nation.

I wanted to portray the feelings that I felt about meeting him and his family and how the United States kind of failed them, but I also wanted to show how there's still hope that we can do better, that we can help them.

I saw my dad in him, I saw my family in that family, and for me it was just this eye-opening experience of, okay, this actually is a personal issue.

This is something that it could have been me in a different life.

How would I want someone in my shoes to react.

>>Hiilani Alderete(In Spanish): Without papers, without fear.

>>Kiarra Rodriguez(In Spanish): Maybe we are all immigrants.

>>Rowan McJimsey(In Spanish): Stuck at the border for many days and months.

>>Sonya Patel(In Spanish): A broken immigration system means broken families.

>>Trina Ngyuen(In Spanish): We were all human until race disconnected us.

>>Abby Hanosh(In Spanish): A man who loves his family enough to dream of better than a nation.

>>Dylan Holtrop(In Spanish): The nation is no longer the shining city it once was.

>>Mya Lathon(In Spanish): We pray that we may pave the way to achieve God's vision of peace and justice for all.

CALLING ALL WOMEN!

- The American Association of University Women is an organization of university women throughout America.

We have about 170,000 members.

It was organized form back in 1881, and it has continued with the objective of providing equity and opportunities for women in Utah.

We have three branches.

We have two here in the Salt Lake area and one in Saint George.

The that we have a state organization and we all work together.

- Then on various equity projects for women.

We work with other organizations in the state to do whatever is needed for both women.

And we have approximately 170 members here in the state.

We didn't have a theme.

We said celebrate women's.

And that's all we said.

Women show in galleries and museums at a lower rate than men do.

And frankly, it's gone back to the Renaissance.

- And so it's important because there's two ways all artists make money, and it's to sell art, and there's not a lot of places that you can show your art.

And another thing that happens that I think is really important about this show is that we because we hire an out of state juror, there's no nepotism because you'll watch, you'll see the same artists come up, come up.

- And in this show, you see skilled artists, but they're professional.

They're different ages.

They're self-taught, and they're all good.

- But I think it's really important to carve out women only spaces so that you know, there is there's no overshadowing by male artists.

So, this is the first exhibition that I jury that was only women.

And I think I'll say I don't really know that that, you know, one could this sort of essentialist argument that, you know, maybe women produce more domestics scenes or maybe women work in textiles more or something like that.

- But I'll say as the juror looking, you know, looking over nearly 200 submissions, I mean, I just I was looking at the artwork from its technical, you know, from a technical standpoint, was it well-made?

That is always my first always the first criteria that I'm judging.

And then I'll start to think about, you know, the subject matter and, you know, sort of the composition as a whole.

- We've had found a home here at the Utah Cultural Celebration Center, and they've been wonderful to us.

They Michael, who hangs his work, is incredible.

And I don't think we want to go anywhere else because it's just been it's just a wonderful venue.

This is an important thing that we're excited that about this particular show, we had the most attendees.

- We expected 100.

We got 230.

It's the most amount of art sold.

And so that's exciting because that's the only way artists make a living is to sell art.

And that goes with the UW mission is equity and wage and a livable wage.

So, I think we're providing something that's really important.

- The winning artworks cover a very broad range because of course there are 16 artworks that that were awarded prizes.

So, the best of show is called Choose and it's by a very mature professional artist who is of Japanese descent, who spent time in an internment camp during World War Two.

The main figure stands, obviously, a woman stands with one arm raised in a gesture of protest in a in a sort of a power gesture, and is surrounded by origami cranes, made with gold colored paper and black colored paper.

- And the work is presented very much like a traditional Japanese scroll.

And as we were discussing it, Marilyn and I, you know, during this discussion about the awards, it was just so obvious that, you know, the work was technically so perfect and its meaning is so profound and really has to do with, you know, so many of the issues that that are affecting people today.

- If anything, I learn being new to this exhibition in a leadership position is revisiting how the artists, many of our artists don't know how to take it to market.

And so, what I hope to do in the future is for a UW to do more outreach in between, but also some educational pieces or workshops and the fact that we say how do we take it to market and important things.

- When you enter a show like you've got to know D.P.I and a JPEG and you've got to know, have photographed and you've got to be able to price it and it has to come with the hangar.

And there are a lot of things that self- trained artists really don't know how to enter the market.

They don't know about a bio.

- And so, yeah, that's what I hope we do better is more outreach and I also would like to bring in the Native American women, the Chicano women.

I want it to be more diverse and more outreach.

So that's part of our outreach, so that we include all women in the state.

SOULFUL CONNECTIONS My mission in playing music and delivering it to the Columbus community is bigger than just come see a concert.

There are connections that bring us together in terms of our unique similarity in humanity.

Humanity, a place where it can grow and come together.

You leave and you're changed.

There is something there that happens.

50 years means you have a legacy.

And that also means that word, responsibility.

It's planting seeds in a garden you never get to see.

I feel what we do educationally is exactly that.

Why do we do it?

Why we do education?

It's for those who do not feel comfortable in every class in school.

We have to fill this gap where people say, no more music.

We can't afford it.

To me that is like, no more heart but go with happiness.

When you take music away or theater or drama or all the beautiful artistic thing, no more, you're on your own.

Figure it out.

So, when we have art, you can use art as a delivery system for hope and healing and love and passion and all those things.

>> I was very lucky to be around when Hank Marr was still here.

I went to his house a few times.

And always wanted to have lessons with him, and he said, just come over to my house and I'll try to show you what I can.

And having that kind of mentorship, the organic mentorship.

I think it's so essential too the longevity of this music because It's very interactive.

You can listen to as many records as you want.

But unless you get real experience performing with all the musicians, you know, getting your butt whooped a little bit on the bandstand.

And gaining that kind of wisdom and knowledge that is so essential to the legacy.

>> for jazz, if we can engage these people when they're young, which is our responsibility to keep this music going, that’s part of our mission, is, is the education component of it, component of it.

If you have a power of musical experience when you're younger, and just seeing a concert -- because the distinction that is really important to remember is that what we sell, if you want to call it selling, what we sell is invisible, not tangible in the traditional ways.

You can't hold music in your hand.

You can hold a cd or a record.

Now it's virtual, so you really are not holding anything.

What we're selling is invisible.

We sell feeling.

And so, our idea is that when people come, there is a piece of hope, there is a piece of healing in what we do.

So, our goal is -- and the legacy now 50 years is to continue that, and even take it up a notch or two or three or 1,000.

>> music is so much a part of my being.

It has become so engrained into my life, into my everyday lifestyle and into who I am.

Every day, I’m listening to something or I’m playing something.

>> my time with jazz arts group had started in 2013 in the fall.

Going on nine quick years, nine eventful years, nine great years with the organization.

Starting in the youth jazz workshop ensemble.

After that, I was in the studio ensemble and finally getting in the pinnacle of the youth program, the Columbus youth jazz orchestra.

Around 2018 or so, my senior year in high school, they asked know do a little teaching with them, which is really a positive representation of my time well spent at jazz arts group and working up and building my confidence and refining my skills to get to that point to be able to talk to kids the way that at one point, Mark Stonham, Ron Hamilton spoke to me.

>> one you're playing music, it's something that forces one to make negotiations and compromises in -- if you're playing an ensemble, especially, knowing when it's time for you to shine or stick out, knowing when it's time to be supportive.

When to be bold.

When to be more in the background.

And understanding, you know, the essential nature of teamwork and working together, in a way that I think as great as sports are, you have some of the same ideals in sports, but in music, I don't necessarily think it's about the competitive nature of music.

It's more about the communication.

Learning how to communicate in a very rich and varied way, I think there is certainly a lot that can be learned from that.

>> every person in the Columbus jazz orchestra is a virtuoso on the instrument.

The thing about practicing and refining and shaping and sculpting your craft, you have to have credentials on stage.

If you want an audience to leave, don't have your credentials.

People expect something from you.

They don't know the nuance how got there.

But they know it feels good to them.

When team see the jazz orchestra, which is drawn from people in this community, those some people are the ones who are making dynamic things happen in the theater every time they perform.

Some of them teach a little bit.

That they are solely musicians, the next time they finish with us, they go to a night club or a go to a concert venue.

So, they drive an hour here or have a concert there.

So, they make their livings solely as musicians.

We have a system through the Columbus jazz orchestra here, and the jazz arts group that provides a place for musicians to grow but to showcase their talents.

That's all any artist wants.

They just want a place to showcase and make people feel good, and Columbus provides that.

>> it's so interesting to think about where I might be.

But I know that they really just provided some opportunities, number one a place to play and a place to meet.

Meet other musicians at that age in middle school and high school, and also an opportunity to meet professionals who do it big time, who did it professionally, just to be behind those folks is special.

It's a confidence builder.

It's something that we're able to witness what this is really like.

We are able to go home and have our own performances and apply what we saw and attempt to be that.

That is the incredible benefit that came with my associate with jazz arts group.

If we hadn't had that, if we were in any other city, if jazz art group wasn't in Columbus, I can't say I'd be the musician I am.

TO VIEW THIS AND OTHER COLORES PROGRAMS GO TO: New Mexico PBS dot org and look for COLORES under What We Do and Local Productions.

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“UNTIL NEXT WEEK, THANK YOU FOR WATCHING.” Funding for COLORES was provided in part by: Frederick Hammersley Fund, New Mexico PBS Great Southwestern Arts & Education Endowment Fund, and the Nellita E. Walker Fund for KNME-TV 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.