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.

LA CARTONERÍA MEXICANA AT THE MUSEUM OF INTERNATIONAL FOLK ART SHOWCASES OVER 100 HISTORIC PAPER MACHE SCULPTURES, CAPTURING THE HEART OF MEXICAN CULTURE AND RELIGIOUS TRADITIONS.

A RIVER FOR MONARCHS.

SANDIA HIGH SCHOOL STUDENTS PLANT MILKWEED SEEDS IN ANTICIPATION OF RESTORING RIO GRANDE HABITAT FOR MONARCH BUTTERFLIES.

TO CREATE AN INCLUSIVE AND WELCOMING ENVIRONMENT FOR EVERYONE, THE 'ART AMBASSADORS' PROGRAM AT THE UTAH MUSEUM OF FINE ARTS EMPOWERS COMMUNITY MEMBERS AND STUDENTS TO CREATE AND LEAD THEIR OWN MUSEUM TOURS IT'S ALL AHEAD ON COLORES THE ART OF PAPER AND PASTE [MUSIC] >> Faith Perez: So, the Museum of International Folk Art has dedicated an exhibit to this vibrant and colorful world of Cartoneria and I'd love to learn more about that world.

So, can you tell me a little bit more about like the art and the history of Cartoneria?

>> Kemely Gomez: Of course, yeah.

So, the exhibit La Cartoneria Mexicana: The Art of Paper Mâché from Mexico, really highlights the practice of using just basic materials like paper and glue to create these beautiful three- dimensional pieces.

And it's something that is part of many different communities across Mexico.

But in the exhibit, we're actually highlighting three major areas.

Uh, la Ciudad de Mexico, Celaya Guanajuato, and Nayarit.

And you know like the history of Cartoneria is kind of hard to trace.

A lot of historians believe that it was brought by Catholic priests coming to Mexico during the colonial period.

It's very interesting.

The way that we also laid out the exhibit is to highlight that aspect of, uh, Cartoneria, and how it's connected with a lot of festivals that are connected with the Catholic religion.

[Music] >>Faith Perez: So, can you tell me a little bit about the Fire of Holy Week?

>>Kemely Gomez: So that's one of my, actually, one of my favorite sections, um, in the exhibit.

Because we actually have a lot of pieces that are kind of part of, uh, the ephemeral aspects of Cartoneria.

So, we have this large Judas figure, uh, representing the Apostle that betrayed Jesus.

And in this celebration a lot of cartoneros create these large sculptures representing Judas, right?

And some of them are looking more like Devils, right?

So, some of them may have like horns, and they're red.

Some other ones may have even more decorative elements, like a lot of beautiful bright colors.

Um, but what happens with those sculptures after they're created they're actually burned down by using different fireworks that are attached to the figure.

And so, after creating this beautiful piece, right, it it's just destroyed during that celebration, right, on Holy Saturday.

Something that was happening in the 1960s is that cartoneros began to create a lot of figures and toys to sell to the children who were attending the festivals or being part of those processions.

Many of the toys that you see, and uh, vendors creating around this time were like, like dolls.

Uh, also cartoon figures.

It's really interesting to see how pop culture played a huge influence in a lot of that.

[Music] >> Faith Perez: The exhibit spans Cartoneria, roughly like 40 years, 1960 to 2000.

So, how does this time frame reflect the changes that Cartoneria has gone through?

>>Kemely Gomez: Yeah so, as you move through the exhibit, we don't have as many names of the artists, because they're meant to be used right?

Objects that were part of celebrations.

As you move a little bit farther into the exhibit, you begin to see names of artists like Pedro Linares, right, who was one of the, um, early artists who started innovating in that form, creating objects that were meant to be collected.

Because they were finely painted, or they were so elaborative, right?

They had so many details.

Pedro Linares is an artist from Mexico City, and he was the creator of the Alibrijes, these mythical monster-like creatures.

And then also that there's a long lineage of family that continue that tradition.

So, the piece with the skeleton, that was created by Felipe Linares, who is one of his sons.

And I believe he wanted to represent, like, the idea of death also being so alive, right, with all the creatures crawling up.

Um, but it's such a magnificent piece that shows like, all the detail and like, all the intricacy that can be applied to such a basic art form, right?

So, it's a really fascinating way how artists have just expanded that and not just limited to the traditional forms.

[Music] >> Faith Perez: And what's your favorite part of the exhibit?

>>Kemely Gomez: I love the piñatas.

Especially as an educator trying to walk a lot of children through the gallery and teaching them about these traditions, it's really fascinating when they find something that they're connected to.

One of the interesting ones that I always love to share is the seven-point star.

The seven-point star in the exhibit represents like, the seven deadly sins, right?

So, each point of the star represents one of the deadly sins.

That is part of the belief in the Catholic religion.

And so, one of the ideas is that after you break the piñata, right, and a lot of the candy comes out, uh, each, it's kind of your treat for holding and uh, not falling into doing those sins.

Uh so, it's kind of your reward, right?

And so that's something that is very interesting to me, how, um, all of those forms have been created inspired by those ideals, right?

Belief systems.

[Music] I think that it's important to share this kind of art form of these traditions with people because of the, just the amazing creativity that, um, is showcased in each of the pieces.

But it's also the ingenuity of the artist as well.

Thinking of the very basic materials of using just any paper available, you know, water and flour to create, like, their paste, to create these forms.

And how Cartoneria is such a big part of community as well.

I think that's something that is very important to think of.

Like art is around us all the time and its part of us, right?

Like we cannot disconnect that.

And so, for me, that's very valuable.

And also, thinking of that how important this, this art form is for a lot of Mexican individuals, right?

A lot of people who are being able to still be surrounded by this art form and be connected by it, um, which I think is really beautiful.

And also there's just so much joy around it as well that I think anyone can really connect with.

[Music] RIVER FOR MONARCHS [Music] >>Tyler Turk: We're going to plant in the greenhouse, and you'll see these plants here in the greenhouse for the next few months.

So, they will get planted next fall and that will give them lots of time to grow and get nice roots so that we can put them out in the field.

Alright, so you guys can head in the greenhouse.

Is anyone excited about mixing soil and getting really dirty?

>>Erika Kent: I got so messy today.

There was a lot of dirt, but it was fun, very fun.

>>Alexandra Blind: I love monarchs.

I have been interested them forever.

And, we're helping the monarchs because there's lots of invasive species in New Mexico that are interfering with the milkweed's growth.

The monarch's caterpillars can only eat off of the milkweed, so it's crucial that we plant those milkweed out there, in areas where the butterflies will be migrating from the US to Mexico.

We need to get two species of milk weed planted that are native to New Mexico by the rivers.

That way the um monarchs can lay their eggs and caterpillars can hatch and feed off of them.

And, I see this beautiful little creature that is pollinating different plants and really helping our environment.

I think all species are crucial to keep an ecosystem running because if one of those species falls down it, it's a chain reaction.

And so, species after species, plant or animal is going to get affected.

Everything's connected somehow.

In some way.

>>Erika Kent: In 2024, they're going to plant it by the bosque.

And yeah, we're just going to wait for the plants to grow in the greenhouse.

>>Joy Gbara: I think this is really important because our environment isn't the best.

So, planting in general is really good, especially having a community like a school come together and plant, it gets the job done faster.

>>Jason Roback: When we went out today to plant the milkweeds, we had several stations where students were split up into different groups.

The first group was preparing the soil to get it ready for the seeds.

When they got a wheelbarrow that's full, they went to the next group, and what that group is doing was taking the seed trays that have 98 pots each, and we were filling those with soil.

We were tamping them down to get the air pockets out and kind of topping them off.

>>Student: Oh my god, sorry.

>>Jason Roback: When that was finished, we went to the third and last station is where we brought them physically into the greenhouse.

And then the students were taking two or three milkweed seeds each and putting them into each of the pots very carefully.

>>Tyler Turk: So, if you're doing seedlings, you can do like three of them like this, just put them all together.

We don't want any more than about an inch of space between the top and the top of the pot and the top of the soil.

And then just cover them up.

So, it's an entire tray.

Thank you.

>>Jason Roback: And that took the longest part, is that step, and then of course, watering throughout this whole process.

[Music] This is all new to them.

I'm sure most of them have not had any experience like this whatsoever, and so I think between myself and folks at the Institute for Applied Ecology, just to kind of show them it is just dirt.

You do have to do things right, but if, you know, a little dirt falls out, it's okay.

You know, like if one seat falls, it's okay.

And, it's not so serious that they can't crack a smile or something, it's going to work out.

We're still planting thousands of milkweeds.

There's no divorce between having enjoyment and doing something important.

One of my goals is to just kind of open their eyes to this, how amazing a place New Mexico is, like environmentally speaking, we have so many biomes that meet right here, Albuquerque is on one of five rift valleys in the world.

We have more volcanoes than almost any other state, and it's such a great place, and so, our natural area out here is just nothing but native species.

The monarchs are one of those, and the milkweeds are one of those.

By protecting and restoring some of this habitat for milkweeds, we're also inadvertently protecting it from many other species.

And so, I think maybe the importance of intact habitat is crucial.

A lot of vacant lots are going to have like your handful of you know tumbleweeds, goat heads, ragweed, these invasive species.

And so, if we're out there actively planting some of the natives and get them a foothold and get them established, and natives beget natives, beget natives.

Milkweeds are going to help the golden rods to come in and the grama grass.

Just kind of like a snowball effect hopefully, right?

So, one native species protecting that one's going to protect this one.

And because that one comes back, the third one comes in and hopefully we'll see this project just kind of blossom and grow.

I think for me, a really important part of being part of this project is I like teaching the theory of biology stuff from the book, but instead of just lecturing on the steps of mitosis or the importance of keystone species, I can go out there say, here kids, let's go out and let's actually work with this and let's make a difference with this.

>>Jason Roback: Not only even planting the seed, but getting the seed ready to wake up, waking the seeds up, planting the seeds, taking care of these plants for months and months and months until they are mature enough and large enough to take care of themselves in the wild.

We get to go out to the wild.

We get to plant these in these compromised right now ecosystems and watch how what we've done is going to help restore these habitats.

And by doing so, it's going to be more of a resource for the monarchs, many other species.

And my students get to be one of the steps in the many steps it takes to kind of bring the native New Mexico ecosystem back to where they should be.

I can go out there and say, here kids, here's how we helped and here's how it's going to make an impact, a positive, and this is how you're going to be able to see it.

You made this happen.

And so, I think that is, how do you put a price on that you know for students?

I think that's great.

LEARNING TOGETHER >>Jorge Rojas: The Art Ambassadors Program is a new initiative here at the museum that's really designed to bring in new voices into the museum.

Our museum is committed to being a more inclusive, accessible, diverse, welcoming space.

And one of the ways that we're wanting to do that, is by having.

creating opportunities for people in the community that may otherwise not have had these opportunities to come in and create and design their own tours based on their own cultural, artistic, any kind of interest that they may have, we've really want to create an opportunity for people to feel like they have, they're welcome to come and, and help us think about our art collection from their perspectives.

This is a long- term play.

We're committed to this for the long haul, but we're confident that with time, more and more people will understand this effort, what it means as far as opening up our museum in more welcoming and authentic ways.

>>Ashley Farmer: We've never really before, not quite like this, ever had a tour program where people bring their own particular focus, perspective, background, language, expertise, whatever that may be, to something that they've created.

And.and we're excited for the opportunities to find the right audiences for that work that you're doing, and.and we think that it's special, and so we're excited and we're thankful that you're part of it.

Each art Ambassador will create a tour that is really based on something they're passionate about, their background, their interests, their language, their area of expertise.

And so, depending on who the audience is for that, and also what their ability to commit looks like, we'll work with them one-on-one to bring our visitors to that particular tour.

So, I think in terms of the longevity of a certain tour might just depend on the art ambassador, as well as the nature of the tour that they plan.

>>Drew Reynolds: Personally, I want to be able to, I want to be a curator, that's my career goal, and they give tours, and so I feel like this will help me just as a jumping off point, if that make sense.

Then I feel like museums, kind of censor.not censor, but they don't really include like queer voices, and so I feel like, with my tour, I'll be able to like bring queerness in the Museum.

>>Monique Ho Ching: I wanted to be able to get into this space to make the changes, and it would mean until much more if it was coming from a Pacific Islander.

I know how it is to enter entire institution places and higher education systems and not seeing myself, because, a lot of times, it's hard to be what you can't see.

And so, yeah, that hit heavy, hit home and on that community level, I just know that I want my nieces and nephews to be able to walk in to the UMFA.

Born and raised here in Utah, they're very Utahn to the core, but being able to walk in and say, "Oh, I've seen this in my grandma's home.

I know what this means, I know where that comes from."

Stuff like that.

It's just seeing themselves reflected in space like this.

So, yeah.

>>Sandra: Art is not only what you can see, it's also what you can feel, it's also what you can hear, what you can smell.

Because if you can look at the picture, it's more than just what you can see.

I always like to get kids the feeling that, maybe if they look at the painting and I would show them some music, that they can see even more, or if they would touch something.

It's like a 3D or fourth dimensional experience that I'm hoping to give them.

>>Ashley: I think my, sort of, first hope for this program is that people involved in this, these 18 individuals that we have involved right now, feel that the museum is theirs, that they have a voice in what we do here, that they're leading some of the conversations, and that we're sharing in those with them, learning with them.

I feel like that's really important.

I think it's part of our role as the Museum for the state of Utah and as a University Museum, to create opportunities for people to really feel like this is theirs.

And so, that's one of my hopes for the program.

The other is, I'm really excited and curious about what people come up with, as they get to know the collection, as they find works that they think are interesting or important, I think that what excites them will excite other people.

And so, I'm hopeful that it might bring other people to the museum that maybe haven't connected with it before also, but through these tours, find that this is a place where they want to be too.

>>Sandra: I really enjoyed it.

It was fun and I was surprised how many people were there.

And I really liked it.

You learn a lot, you get together with a lot of different people from different backgrounds and I just talked to another art ambassador, and the last time we met, because then we met in smaller groups, but altogether, it was still search and progress, and you think, "Will we get back together?"

Now everybody has its tour, and it worked out so fine.

All of them are super interesting, I would take all of them.

So yeah, it's a good thing to do.

> I think it went well, I was really nervous before, but now I'm relieved because everything's over and it went better than I expected.

There was a lot more interaction and people actually seemed interested in nudity, which I didn't think they were going to be.

I guess, just like the connections that I made between cultures and art objects, like coming into the Museum, I was dead-set on doing something about like LGBTQ people, but then walking through the galleries and talking with the curators, it sort of like opened my mind and open the door to new ideas and connections between art works that I never had made before.

> When I had envisioned my tour and what I was going to be doing, I only thought of Pacific Islanders and that demographic of giving them that tour, and so I had to step back of, what if this person that's coming into this tour had no connection or ties to the Pacific or no understandings in background knowledge?

I was fearful of this first one, because I knew that there wasn't going to be a lot of PIs coming, that it would flop, but I was so surprised and amazed about how people can make connections regardless of like the knowledge that they do or do not have.

So, it was really great.

I think that was the most surprising thing of tonight, but it was cool, so, yeah.

[inaudible].

>The biggest takeaway that I've had is how much power there is in sharing authority and being willing to share authority with our community.

What does it mean for us as an institution to open up our doors to invite people in and saying, your voice matters, your story matters, we want to hear your story and your perspective as it relates to our art collection or to your own experiences.

We value that, and we welcome you, and we're offering you a space to come and do that.

That, in itself, is not normally I think how a lot of art museums operate or how a lot of museums operate.

So, I think my biggest takeaway is that, we're doing the right thing.

I would encourage any Museum to find ways to engage their communities in these more meaningful direct ways, because there is so much for us to learn as institutions by not being the ones that have all the answers, not being the all-knowing, I'm just saying we can learn together, and what's important to you as a member of our community, from whatever background, from whatever your story is, that's going to help us connect with you in more meaningful ways, connect with our community and give much broader meaning to the objects in our art collection.

The award-winning arts and culture series ¡COLORES!

is now available on the PBS App, YouTube, Instagram, Facebook and at NMPBS.org From classic episodes to brand new shows, ¡COLORES!

is everywhere!

Watch now on your favorite NMPBS platforms.

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, by the National Endowment for the Arts.

and Viewers Like You.