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.

THE VOICES OF MILLIONS OF ENSLAVED INDIGENOUS PEOPLES HAVE BEEN OVERLOOKED, DESTINED TO BE LOST TO TIME.

DR. ESTEVAN RAEL-GÁLVEZ IS DETERMINED TO TELL THEIR STORIES THROUGH HIS "NATIVE BOUND, UNBOUND: ARCHIVE OF THE INDIGENOUS SLAVERY."

MATT GOAD TELLS THE STORY OF OKLAHOMA CITY IN HIS IMPRESSIVE 40,000 SQUARE FOOT TERRAZZO AND GLASS INSTALLATION AT THE WILL ROGERS WORLD AIRPORT.

LOVINGLY RESTORED, THE VICTORIAN MAY-STRINGER HOUSE OVERLOOKING THE CITY OF BROOKSVILLE IS KNOWN AS ONE OF FLORIDA'S MOST HAUNTED SPOTS.

IT'S ALL AHEAD ON COLORES!

STORIES UNTOLD >>Dr.

Estevan Rael-Gálvez: Native Bound Unbound: Archive of Indigenous Slavery is a project I've been dreaming about for decades.

The whole objective is to build an interactive website and back-end repository of every single instance, every single document, every single name, every single story of Indigenous slavery across the entire Western Hemisphere.

There's so many stories, every single one of them worth remembering.

One I've been thinking about for many years, at least since the mid 90's, is by a woman- who came to be baptized and remembered as Rosario Romero.

According to a memoir written about her, she remembered her indigenous name, her Dine.

She was a Navajo- woman when she was taken, and that was Ated-bah-Hozhoni, which evidently means, "happy girl."

She was taken likely in the 1850's or 60's and when she was captured, she had her baby girl with her.

Her infant child would come to be known as Soledad.

They were taken and sold into a Taos family, the very famous New Mexican known as Padre Jose Antonio Martinez.

He at first sold the- the infant was sold away from the mother, but eventually the two were reunited in the same household and there's so much to her story.

We started to document it with different types of documents and photographs that we have of Rosario.

I've interviewed many of her descendants.

Including a gentleman that I spoke to this morning, her great, great, great grandson.

>>Faith Perez: That's amazing.

Can you tell me about Jose Maria Mares' story?

>>Estevan: A man by the name of- last name Tejada, he went into a Village East of Taos called Black Lake Laguna Negra and in 1938 he came to the door and sat down and interviewed with Jose Maria Mares who was also Dine, Navajo, taken as a very young child along with three others.

His older brother was sold to a man by the name of Cristobal Mares, but Jose Maria was taken into another Mares family and he lived his entire life there.

He was an 83 year old man, I believe, when Tejada came to interview him.

So, he was one of the only first-hand testimonies that we have from an indigenous perspective at that time period.

>>Faith Perez: - and Antonio, right?

She is actually an ancestor of yours?

>>Estevan: You know, for me Faith, this draw to recover the stories of indigenous slavery started for me as a very young boy.

As I like to say, the first time I could hear a story, I heard the stories of enslavement in our family.

Recently, in the past few years we were tracing my mom's last known maternal line.

We had not been able to trace it for a very long time, but um- we found the first mention of Antonia was in 1750, she's identified in a census for Santa Fe where she's listed simply as, India in a household of a man by the name of Manuel Sáenz Garvisu, a man who was a well-known slaver, was one of the wealthiest men in in all of Santa Fe.

Another document in 1739, has Manuel actually purchasing a house for 50 pesos and an indigenous woman that was not Antonia, but it was one of her contemporaries.

Someone she knew probably.

So, I mean, these individuals are used as property, they're chattel.

>>Faith Perez: Why is this project important to you?

>>Dr.

Estevan Rael-Gálvez: Let me be very clear who we're doing this for, for descendants.

Whether they know about this, or whether they don't know about it.

You know, for me it's really important that we actually um- provide those openings for descendants and others to actually learn from this history.

I believe in stories.

I believe in the recovery of this particular story that has been obscured for so long, not just here, but throughout the Americas.

I believe it's foundational to who we are and it's also important that we learn from this history.

BUILDING PAINTINGS [MUSIC] I'm Matt Goad.

I am an Oklahoma City resident since about the year 1990ish.

And I do visual stuff like art and graphics.

People ask me what my style is and I guess it's an amalgamation of all the things that I've always loved.

You know, you, you become a fan of a bunch of stuff and then it all kind of gets mixed together and it becomes who you are.

At least that's the way it is for me.

I worked at, uh, at an ad agency for a few years in the '90s... that, uh, allowed me to get some of the graphics I did out in the public where people saw them.

I did the E for EDMOND with the tree, the "Oklahoma Keep Our Land Grand" going into the trash... the Film Row logo...

I've done the Midtown Vets downtown, the Elk Valley Brewery... Eva is my little girl.

She says 1964 Volkswagen type one.

I think Eva, in a way, unintentionally has become part of my trademark.

I always love, uh, photographing her in front of, uh, a lot of the cool mid- century structures around Oklahoma.

I love the Egg Church for so many reasons.

It's so dynamic the way it looks.

And when you see it poking up over the trees, you feel like you're in a Star Wars movie or something.

I think we got a really good shot, kinda seeing that, that, um, that, that curve, the beetle with the curve of the church.

I've never been a good photographer as far as, you know, the f-stops and all that, but I'm pretty good with the iPhone.

(Camera clicks) "Ladies and gentlemen, welcome to Oklahoma City.

The local time is 10:07am central time.

Please keep your seat belts fastened until we are parked at the gate."

It's such a wonderful addition to our airport.

Encompassing 134,000 square feet of new space and many new amenities, including a new checkpoint, new airline gates, new concession spaces, and wonderful new art.

I'm so excited for you and all the people of Oklahoma City to see this new front door to our great city.

In 2019, they had a call for entries for artists to submit for a 40,000-square-foot floor.

You know, I assumed, of course, there's no way I could even become a finalist, but it was worth, it was worth a shot.

Frankly, Matt made the decision fairly easy.

I've done a number of art selection committees, and Matt's was by far the most thoughtful presentation that I've ever seen.

I think when people come to the airport and, and see this, they're going to be wowed.

Growing up wanting to be a professional artist, you never dreamed that, uh, the biggest project of your life is something everybody's going to walk on... (laughs) All I remember as far as my earliest memories is drawing.

I was always, always had a pencil.

My mother was extremely, uh, supportive and she's the one that kept the scrapbook.

It's like a time machine, you know.

You know, this could actually be in MoMA now, I mean... (laughs).

I grew up the son of a traveling preacher man.

We lived in about a different city every, almost every year.

Um, by the time I was 12, I had lived in, I think, eight states and, uh, about 11 cities.

I came to go to school at Oklahoma Christian in the 19, the fall of 1988.

They were one of the only schools that had a good graphic design program.

And I didn't know really what that was at first.

It was, but they said it's something to do with art.

And you can get a job in it.

That led to an internship with a real design studio... that was when my eyes were opened to, this isn't just a job.

This is awesome.

This is like, you know, this is wow, super cool.

I'm a big fan of a mid- century modern.

If you couldn't tell already.

The aesthetic of it is to me, just something that's, it's a positive.

It's like I'm looking forward in a positive way to the future.

And that always makes me happy.

So I don't ever really say I paint paintings.

I say I build paintings because the way I do it is not like a normal painter in the classical sense.

It's like an architect draws, it, draws it out, and then you build the house from the drawings.

As far as how I do my work, I always, it's always an idea.

And then it becomes a sketch.

All of these are mental notes to myself.

I can do 50 of them and I might like two or so.

Um, but once I have one that I like, I cannot stop working on it.

Usually I'm like giggling... You know, I'm having fun (giggles).

I'll take that line drawing, um, and I will bring it into the computer and make a stencil out of it.

Yeah.

I'm kind of a Jedi wizard with the illustrator.

I still got some tape.

I've got it ready.

And it's in a little bit of stencil.... Then what I'll do is put a clear over those spots, then I'm going to prime it.

And then once I have that stencil built, that's when the color comes in.

For me color is the hardest part, that's why it's the most fulfilling when I feel I've accomplished it.

I call this checker-boarding, and it's kind of where you don't have a color touching exactly.

It's almost like a square dance of colors that happens in my paintings.

It's funny how every color has its own little personality.

How it, how it behaves.

Some are more opaque.

Some are just beautiful.

It's kind of like people...

This paint is going to be in- tents, like Boy Scouts.

It's my joke, get it?

In-tents.

Matt is the coolest guy I know.

And he doesn't even know how cool he is and that's why I love it.

I think we needed some bigger artist to give the space legitimacy, so we could be a platform for more emerging artists.

And I always had the dream of having an original Matt Goad.

Really the only guidance we told him was big.

As long as it could fit through the door...

I feel like the more you look at this piece, just the more you discover, like the little nod to the Dali clock in the corner.

And the submarine and the infinity couple...

It's very Matt Goad.

See how this works... That's going to be good...

I think I love it.

I think I'm in love.

Some people in that canyon, a little touch up here and there.

My perfectionism is the compensation for the craziness of my head.

So terrazzo is a medium.

It's 2000-plus years old.

What it is is it's a mixture of a bunch of different rocks that are all kind of mixed together in a binding agent, and they all have different colors.

A lot of public buildings and public facilities have it.

Everyone's seen it.

It's beautiful and you can, you know, roll your luggage on it with ease.

Maybe January 2020, they started to put in the metal strips.

So once I saw those going in, that's when I kinda got to see how vast this was.

Every part of that, um, of that project started with the little doodle.

And I knew that I wanted to have Will somewhere in it.

And over here, he's tipping his hat to the visitor saying "welcome to Oklahoma City."

I tried to break it down into what represents the cultures of Oklahoma.

And the, uh, you know, I thought sports, music, hospitality, and then places of course.

The goal is to kind of just give them an excitement that you're in a world-class city.

The glass curtain wall represents the sky.

If you know Oklahoma at all, you know we're a weather center.

And each symbol represents a different weather event.

And if you go around, it kinda creates a flow.

I still, um, can't really grasp the reality of the, this project for an artist that, you know, wasn't really great at school was kind of okay at drawing.

I don't know, I still am pinching myself.

I hope that when people come to Oklahoma City and land in that area... they're going to have an instant, positive feeling about the city.

A HAUNTED HISTORY Bonnie Letourneau: The May-Stringer House is the oldest restored home in the county.

It was condemned and that was when the Museum Association was formed, our nonprofit, all volunteer group, and money was raised to purchase the property and begin the restoration.

Mary Sheldon: Preserving the May-Stringer House has been an act of love.

We have to take care of this place in a way that is a little more detailed than taking care of your home.

I tell people that this building is our largest artifact.

Bonnie Letourneau: The May-Stringer house is basically a Victorian, but it's specifically a Queen Anne Victorian.

It's also, in its current state, what we call a painted lady.

It has more than one color on the building.

The gingerbread was very indicative of the period.

Mary Sheldon: We try, we try, we try to be historically accurate when we do things.

Bonnie Letourneau: Restoration versus renovation.

And because we're on the National Register of Historic Places that governs how the work is done in the house.

So we still have lath and plaster on the walls and we still have the original floors.

Everything has to be restored to the way it was back in I think they chose 1890 as the target date.

Some of the artifacts we've tried to be true to the time period.

So when you walk into the May-Stringer House, you step back to 1890.

Mary Sheldon: This building was no doubt built by John May.

He was here in 1856, and the story goes that this house started out as a four room house and was added on to.

Bonnie Letourneau: Around 1880 was when Dr. Sheldon Stringer bought the property and he began to add on to the house.

He added a total of ten rooms and it made it a four story, 14 room house.

But it took several years.

He added it on in, in pieces.

So the house wasn't really complete until after 1890, which is why that was the target date for the restoration.

We were approached back in about 2004 by a group of paranormal investigators.

They came from Fort Lauderdale, and they had heard that the May-Stringer House was haunted and they wanted to come in and do an investigation at night.

And we did the first investigation, and they got so much evidence that they came back five more times.

They did six investigations.

And they are the ones that told us, this is a great fundraiser.

Why aren't you doing ghost tours?

This is a very haunted house.

Basically we bring groups in and we lock the doors and they belong to the house for the next 2 to 6 hours, depending on which session we're doing.

We have been visited by over 80 different ghost hunting teams in the last 17 years, and most of them have certified us haunted because they got evidence.

Gina Panepinto: The May- Stringer House has a special event every October.

It is a haunted house where we turn the actual haunted house into a haunted attraction for our guests.

We have about 30 volunteers that run the haunted house for us.

They live in the community.

They've been sucked into the house like the rest of us have and they come back every year, and our volunteers doing such a fantastic job.

They are acting.

They're, they're doing their own make up.

They're building sets.

It is an all out experience.

Bonnie Letourneau: Brooksville is a very old town and there are many historic buildings here, most of which have been renovated into private homes.

But this house, the, the May-Stringer House, is very special because it's been set back in time to 1890.

There's a big difference, and the important thing is that we're preserving this for future generations.

Amber Swartz: I would say most people that come here, they're very amazed as to how much stuff we have here, how much history we have here, because in the house, all of the artifacts that you see in here have been donated.

Bonnie Letourneau: We have over 11,000 artifacts housed in the building.

We have some original artifacts from the Stringer family.

Rooms like the communications room.

The retired telephone workers who brought the working parts of the original switchboard from 1926.

And I'll tell you, children come in here, they have no idea what that is.

None whatsoever.

Amber Swartz: Having people come here and be able to see not just history and things that we used to have or how it used to be, but even just learning a little bit about the history of Brooksville here and how it all started.

Mary Sheldon: When you're looking at the details of an older house, you will find an intricacy that we don't find today.

And if you can appreciate the artistry, bring children to museums and historic sites, I think it's one of the best things you can do as a parent.

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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.