Give to the Gulf!

Do you want to help the people living in the gulf area? Here’s a joyful and uplifting way. Check out www.givetothegulf.com and download their great music from iTunes. Check out the video here: http://www.youtube.com/watch?v=fxYU37nUxds

New Haven Green Juggler

Music: “Palmistry” by Tabla Beat Science.

Very Verde Oaxaca

Is it Sustainable?

This is the question we would do well to ask across the spectrum of industries and ‘lifestyle’ choices, wherever it is we call ‘Home’. Whether we are discussing farming practices, urban infrastructure, tourism or transportation, with sustainability as a yard stick,we can measure methods, designs and systems with an eye to the future. In Oaxaca State, the question of sustainability is both old and new. With the largest percentage of indigenous population in all of Mexico, many of the traditional practices – particularly with regard to farming and construction – remain in place. But the State is also facing many of the hazards of modernity which bring with it a host of environmental challenges that, if not met with sustainable plans, will continue to degrade the environment.

Of particular concern in Oaxaca are deforestation, water pollution and uncheck, high-energy consuming construction. What this means for locals and the ecosystem is not encouraging and Oaxacans are beginning to recognize the risks of continuing on such a path. At the grassroots level, however, people are beginning to measure progress and success in sustainable terms. Lets take a look at a few Verde efforts – some small, some large in scope, that are focused on keeping the State sustainable for future generations.

Coffee Growing

Thanks to its mountainous terrain and tropical climate, Oaxaca has one of the largest coffee growing regions in Mexico. And in the realm sustainable practices that benefit both the environment and the small farmers who cultivate these crops, Oaxaca’s CEPCO, (Oaxacan State Coffee Producers Network), has been at the forefront.  CEPCO was established in 1989. It is Oaxaca’s largest association of coffee growers, with 16,000 farmers and 44 cooperatives. Many CEPCO campesinos (more than 6,000 to date) now practice organic farming, and most of them cultivate shade-grown crops.

“Shade-grown” is the key phrase to note with regard to coffee growing. This is the traditional method of cultivation but today, much of the world’s coffee is grown under full sunlight. Conscientious consumers are now choosing shade-grown beans when available because of their eco-friendly nature and arguably, better taste.

The coffee plant is a small shrub that grows naturally in the under-story of a higher canopy of indigenous trees. When coffee is grown under these conditions its yields run between 35-65%. For increased – and faster – yields however, in the past two decades many coffee farmers have replaced traditional or ‘shade grown’ plantations with full-sun farms. In Central America alone, more than 2.5 million forest acres were destroyed in order to ‘technify’ coffee-growing. Such monoculture resulted in a huge blow to topsoil quality due to erosion, as well as the obvious destruction of local biodiversity.

While sun-gown coffee provides the highest yields, the environmental cost is even higher. With more exposure to the elements such as wind and tropical rains, soil erosion and the resulting water pollution from leached pesticides and fertilizers are almost immediate consequences. In addition, sun-grown coffee loses the benefits of a diverse environment. With the protection of a native tree canopy, crops suffer less from frost and benefit from the nutrient-rich mulch of decaying leaves. This naturally discourage the growth of unwanted weeds and eliminates the need for chemical fertilizers or herbicides.  The over-story of trees also supports native fauna, particularly birds and pollinators that keep unwanted pests in-check. An added benefit, according to some farmers and coffee drinkers, is that, thanks to a slower ripening time for shade-grown beans, the coffee’s flavor is more complex and appealing.

Over the past 20 years, CEPCO has worked with small farmers to improve their production via traditional,shade-growing methods and organic practices. Through their cooperative marketing branch CAEO, the Agricultural Marketing Agency of the State of Oaxaca, Inc., these farmers have also increased their profit

margins, providing a sustainable livelihood for themselves and their families.CEPCO also offers micro-loans, has an established credit union, and supports an active women’s association.

Grass Roots Efforts

Outside of sustainable and organic farming collectives such as CEPCO, Oaxaca’s green ‘movement’ is in its infancy, and small-scale projects are more common than widespread organized efforts. “I am convinced that environmentalism in Oaxaca is basically, today, a grassroots initiative” says Gustavo Esteva. Member of Universidad de la Tierra en Oaxaca (Unitierra). “It comes from Indigenous communities and from activists associated with them and with people in the cities also concerned with the environment.”

Jesus León Santos is an example of just such grassroots organizing. In 2008 he won the Goldman Prize for outstanding environmental achievement in North America thanks to his land renewal project in Oaxaca’s Mixteca region. By employing traditional agricultural practices of the local, Mixteca population, his organization, the Center for Integral Small Farmer Development in the Mixteca (CEDICAM) transformed an eroded landscape into arable land that has regained its  biodiversity of both flora and fauna.

In 1980, León organized this democratically run, farmer-led group which went about transforming the landscape, returning it to its pre-hispanic state. They have built 1200+ miles of  ditches which captures 90% of the area’s rainfall, prevents erosion, and irrigate crops. CEDICAM farmers have also planted some two million native trees, and  follow agro-ecological practices such as planting only  native corn species which can handle drought, developing native seed banks and employing local, organic fertilizers that do not harm the soil.

The work of Dr. Gino Cacciotti  M.M.  Ba. Arch. E, a traditional Stone Mason and Professional Blacksmith is another example of grassroots initiative. Cacciotti has been conducting ecological building workshops through the Natural Building Institute of Ontario in Oaxaca for the past 25 years. Projects are funded by individuals and private sponsors who hire him to create infrastructural buildings such as libraries, schools and healthcare facilities in rural areas. Cacciotti builds with sustainable, local materials such as mud and stone to create energy efficient structures that stand the test of time.

Norma Hawthorne, Oaxaca Cultural Navigator and Professional Weaver offers weaving and natural dyeing workshops with master weaver Federico Chavez Sosa in Teotitlan del Valle. Workshop participants stay at a B&B where “all the food is homemade, and there is attention to providing a small group, low impact experience.” In addition, explains Hawthorne, ”recycling, use of natural materials and food sources are of primary consideration [with their programs]. We want to support local indigenous culture and step lightly, so we provide a very personal experience while respecting Zapotec traditions.”

She also points out that the Teotitlan weaving cooperative Bii Dauu Centro de Arte Textil de Oaxaca “uses solar power, wind power, and sustainable organic agriculture as part of their mission to keep the culture and traditions alive. ” These are examples of a small-scale effort that apply the principles of sustainability and bring awareness to all those who intersect with these projects – including indigenous populations, international workshop participants and end service users.

Traditional practices which by their very nature, tend to be sustainable, are also worth noting. As Hawthorne points out, “all buildings constructed of adobe fit into the category of “green”, since adobe is constructed of earth, donkey dung, and water.” Cacciotti concurs, adding that traditional food sourcing, such as the “100 Mile Diet” (eating locally grown foods) is still common in rural areas. “Most of the movements in Oaxaca,” argues Cacciotti, “are focused on sustaining these types of century-old practices.”

Other ‘Green’ Initiatives

Centeotl, the Centro de Desarrollo Comunitario Cenéotl, is a foundation working in Zimitlan de Avarez and the Valles Centrales de Oaxaca where, according to their website, they “promote sustainable development, environmental education and the development of gender equality”, among other activities. Their initial project, begun about 15 years ago, was to encourage amaranth farming. This highly nutritious grain is a traditional, Mesoamerican crop that was once banned by Hispanic colonizers. Centeotl operates Project Amaranto following a three-point criteria of autonomy for growers, sustainable growing practices and social responsibility.

The Oaxaca Community Foundation is also involved in sustainable endeavors. Its mission, according to the website, is to “support marginalized and vulnerable population groups within Oaxaca” with an emphasis on “fair practice towards, and fair relationships between, people and nature.” The Foundation has supported a number of environmentally-oriented projects. In conjunction with the Oaxacan Fund for Nature Conservation, for example, the Foundation has established a number of conservation initiatives such as “Sea Turtles of Oaxaca and Local Development.” The program assists three coastal groups in their development of activities related to sea turtle education and protection.  These activities not only conserve and protect a threatened species,they also generate sustainable employment opportunities for locals.

Forum on Appropriate Technology

Juan Jose Consejo, Director of the Instituto de la Naturaleza y la Sociedad de Oaxaca says that while there is indeed “a growing green movement in Oaxaca,” it is not unified. Rather, he explains, “it is a complex array of movements in different fields and regions.”With this in mind, Consejo, representatives of the Universidad de la Tierra en Oaxaca A.C. (Unitierra) and several others organized a gathering in March of this year. The Forum on Appropriate Technology was held in Oaxaca and attended by representatives from a variety of industries and civil associations. The event was “very successful,” says Consejo.

“The Forum addressed common issues in the field of appropriate technologies: water, energy and waste; devoting special attention to our daily needs: food, health, learning, sharing, building and living,” explains Nicole Kast, Administrative Assistant at Unitierra.  “It also addressed various aspects of the social economy and the political dimensions of ecology,” she adds.

The four days of training and discussion concluded with several key resolutions related to “food soveriegnty (“opposition to the use of contaminated, transgenetic corn”), as well as opposition to the illegal destruction of green spaces, a call for freedom of political prisoners and a demand for honesty among elected officials.

“Unitierra hopes to continue the work of the Forum through a long-term project to disseminate didactic materials detailing the ideas, equipment and techniques discussed during the Forum,” says Kast. “This long-term project may include the creation of appropriate technologies centers in distinct parts of the Republic and the development of a workshop series.”

While Oaxacan’s green initiatives may not yet be unified, efforts like those of CEPCO, León Santos, Centeotl, Unitierra and many others give hope for what is to come. In the mean time, the use of technologies both old and new, education, and a reclaiming of the land by indigenous populations seeking a viable livelihood and economic justice are making inroads into a future that measures success in terms of sustainability for all.

Monte Alban, Oaxaca Mexico

At 1300 feet above the Central Valley floor, (6391 feet above sea level) the views from Oaxaca’s White Mountain are breath taking. Known as Monte Alban locally, this flat-topped pea k to the southwest of Oaxaca City is also the name of one of Mesoamerica’s earliest empires.

Beginning as early as 500 BCE, the hilltop was occupied by the Zapotec people, and it is here that they built a power-base which reached its peak some 1200 years later.Monte Alban was a carefully organized society dominated by a priestly class and the people who called it home came to dominate the surrounding mountains of the Valles Centrales through economic, ideological and political control until around 750 CE.

We know that approximately 4,000 years ago, village dwellers who may have been Olmec moved into the valleys of Oaxaca. Around 1500 years later, the Zapotec people began moving into the area. One of these groups then began to flatten the top of White Mountain, which is located at the intersection of three valleys. Eventually, these people built the city of Monte Alban, which, in addition to its above-ground structures, included a labyrinth of underground water drainage and storage systems, rooms and passages. Architectural motifs as well as archeological finds such as sculptures and masks indicate that these people were in contact with other powerful city-states such as the Maya.

While there is still argument among some scholars as to who flattened the mountain top and built the city’s earliest structures  – the Olmec or the Zapotec people – what we know is that the distinctive architectural style of the Zapotecs found at Monte Alban during its rise to power coincides with Olmec culture’s decline.

Monte Alban had two peak or ‘golden’ ages. The first was between 100 BCE and 100 CE; the second was between 600 and 750 CE. During these periods, the city’s surrounding hillsides were terraced for homes, and during the second golden age, the area supported as many as 35,000 people within a 161 acre radius. Each of the peak ages were followed by a period of decline. The second and final major decline, during the late eighth century, left the ancient city uninhabited for about 500 years. Archeologists are still uncertain about the causes of the empire’s final decline.

By the beginning of the 13th century, the nearby Mixtec people, who had lived for hundreds of years alongside the Zapotec of Monte Alban, were in a period of expansion. They eventually reoccupied Monte Alban, adding many tombs but leaving most of the remaining Zapotec structures in tact. The most famous Mixtec remain is Tumba (tomb) 7. Although the structure was built during the height of Zapotec inhabitation (Monte Alban III), the Mixtecs reused it to bury a dignitary and two of his sacrificed servants. What makes this tomb so remarkable was not the official buried there, but what accompanied him. When archeologists opened the tomb, they found one of the greatest hoards of treasure ever discovered in the Americas. The treasure can be viewed at Oaxaca City’s Museo de la Culturas de Oaxaca.

Like many Mesoamerican empire sites, Monte Alban features pyramidal towers, a central plaza, a ball court for juego de pelota and numerous other structures intended for sacred rites and the political management of an empire. In 1931, Mexican archeologist Dr. Alfonso Caso began exploring and restoring the site. His 22 year study drew him to the conclusion that the city’s history could be divided into five different periods or epochs which span 20 centuries between 500 BCE and 1521 CE. Caso based these periods on varying types of exchange systems, population densities and social organization found during those times. Thus today we have Monte Alban I, II, III, IV and V.

Today, Monte Alban is an archeological site that is open to the public. It is considered of great import because it represents the roots of Oaxaca’s Mesoamerican culture. It is a popular destination for visitors to Oaxaca as well as bird watchers and hikers. The site can be reached by car in about 20 minutes from central Oaxaca. For the adventurous, a walk from the city center takes about an hour and a half.

The Pampered Pooch

originally published in Local Flavor magazine, December, 2009

Sal’s my name and sniffin’ out stories is my game. Wanna know where ole Mrs. Smithton’s cat Lucy went? Wonderin’ which street scrapper dumped the Almont’s garbage last week and ran off with the turkey carcass? I’m you canine, your street beat hound on the ground, ready to find out!

My human, she’s a writer, so I guess that’s why we get along. She comes to me last month and she says, “Salvadog,” (that’s my full name), “we’ve got a story to do.” Well this was music to my ears! What dirt might we dig up? What scoops to report? Shoot, we might even solve a crime or two!  I was thinkin’ maybe this was the start of a new era of canine-human journalism. You know, seeing the whole picture instead of just the human take on things. So I wagged a big “yes!”, gave her a “thank you” slobber and sat like a good dog, awaiting my assignment.

As it turns out, the ‘assignment’ wasn’t exactly what I had in mind. I was thinkin’ crime scenes, orange tape, a missing brood of pups or a rowdy rottweiler on the lamb. But she said we had to find out about ‘pet pampering’ – and I don’t mean diapers. Bummer, no thrills or chills on this beat. But she said there’d be some perks in it for me if I helped her, so I figured, “what the heck?” and went along.

Our first stop was a place called Emilia Poochie. We walked into this boutique pet store and there were a few small dogs runnin’ around the place, hoppin’ on and off these fancy beds. There were four-posters and fat round cushions, there was a big, wood box thing and even one trimmed in fur (fake fur, I later sniffed out). The bed that caught my eye was called the Anichini Mamounia. Its headboard was shaped like those Arabian doorways.  It looked too tempting so I went and tested it. Mmm . . . all I needed was a couple of feline fan wallas and some of those peanut butter paw lickers they had on the counter and I’d be set. “I could get used to this!” I thought, with phrases like “meet me in Aqaba!” and “open sesame,” running through my head.

After a short snooze I got up to continue my investigation. I rounded a corner and there it was – behind a wall of human husbands looking bored and tired as their wives mewed over pink things – was the most remarkable, the slickest, coolest thing I’ve ever seen. It was a genuine, fiberglass and wood air stream trailer bed. Man oh man did I want that thing! It was all I could do not to go over and lift a leg to it.

As we left the place, I peeked through a door into a private room. Standing there was one big hound. Mottled beyond recognition, bull chested and with these multi-colored, glassy eyes, I knew right away this must be a Catahoula Cur. He wasn’t lookin’ too happy just then – and they never look thrilled, these Curs. A human had ahold of one of his paws and was paintin’ his nails! Turns out, Emilia Poochie has a few humans who bring their dogs for an O.P.I. Pawlish. Their most popular, according to manager Lisa Boegl is the “Yuppy Puppy Silver”. She says it dries real fast so canines aren’t tempted to lick it off.

Next stop was Teca Tu, and my nose found the place long before my human did. Garlic, chicken, tomatoes . . . wow! In front of the shop were a bunch of pups, cats, and humans, all playing and snuggling with each other. It was one of Teca Tu’s weekend adoption gathering and there were a bunch of eager lookin’ critters hopin’ for a human to call their own.

I dragged my human through the crowd, aimin’ for those smells. I eyed little Begonia and her buddy Java. The two terriers had the most colorful coats and I always spotted them a mile off when they came to the park.  Mystery solved! I thought that’s how they popped out – all red and green and blue and yellow – but no, they were wearing vestidos made by Teca Tu. These are dog coats and vests made from Pendleton wool trade blankets, and the place had bunches of them for sale. I like the colors alright, but balked when my human tried to put one on me. She said I looked handsome in the red – and I’ll admit, it felt pretty good wearin’ it, but I couldn’t decide between a top hat or sombrero to match. I had to draw the line at the beanie hat complete with spinning propeller though, I’m a street beat journo after all, and I don’t need to be standin’ that far outta the crowd!

Before we left, my human gave me some of those treats I was smellin’. I scarfed up three, garlic flavored mini hotdogs and two taco-shaped treats that tasted just like chicken! I looked up to see my human nibbling one as well, then found out these are fresh-baked, ‘human grade’ cookies. I don’t think she was as thrilled as me about them, but then again, I’ve never seen her eat a hotdog – in any flavor.

After Teca Tu, my human told me I was gonna take a class with her. I’d been to obedience training oh, a dog’s year ago or so, and I’m a well-mannered mutt, what other kind of ‘class’ did I need? At Zoe and Guidos I found out: ballroom dancing. Now I’m not the dancin’ type, but in the name of fair journalism – and the promise of plenty of treats – I played along.

She decided on a tango for us and I gotta tell ya, it wasn’t so bad. Okay, so I had to figure out how to cruzada and giro to amuse my human, but the instructor, Mary Leatherberry was a real nice lady. I made new friends there too, and even fell in love – with a silky-haired Japanese Chin named Reiko. My human says we’re going back next month for a painting party. Its a fund raiser and apparently a fun time for us four-leggeds, what with all the colors to step in and spread around on paper. I sure hope Reiko will be there!

Next on the list was Barks and Bubbles where they have a dog spa, toys, treats and boarding too. My human ordered me a facial and massage and it was great! The therapist started rubbing my head, then she put some kind of good smelling stuff on my face for awhile – made everything tingle. Then she rubbed my whole body, part by part. Before I knew it I was asleep, dreaming of Reiko eating taco cookies and wearing a propellered beanie cap.

I’m happy to report that our next stop, Pet Suites, was sweet indeed. They have humans who actually live at the place, a huge outside play area, rooms for private cuddling, and even a special kind of massage to help my immune system, called K-9 Immuno Massage©. I stayed there for a night that went faster than the tabby I chased up a tree back in ’04. I played frisbee with an Aussie Shepherd who couldn’t stop calling me ‘mate’, got my portrait done by Award-Winning Artist, Melissa Bartlett, had a therapeudic bath with mint aromas, and even stayed in one of their luxurious suites!

After Pet Suites we had one more stop – a genuine resort – in Taos! At 10,000 Wags Pet Resort my human put me up in a luxury suite for the night. The resort smelled great, with incense burning from some mysterious perch. No smoke mind you – just good smell. It was everything a hound could want – good play time, good food, and more new friends. I even had a blueberry facial and a good tooth-brushing. My suite was big. It had a living room, a covered patio, and even my own yard. I chilled out

to cool jazz music and a little Jimmy Buffet while I nibbled on some healthy, raw food – a 10,000 Wags specialty – before bed. I don’t think I’ve ever been so relaxed in my life.

So that’s my report on pet pampering. It was a rough assignment but some dog had to do it. I don’t know if I’ll be up for nail Pawlish any time soon, and I’ll give the propeller beanie a miss, but I’m game anytime my human wants to spoil me with resorts, massages, cool play toys, parties and healthy snacks.

Discover Hoi An

originally published in Beyond magazine, June, 2009

“Eating noodles without chili is like making love without kissing,” said Ngoc, the 20-something office worker, as he bit into a tiny green pepper at one of Hoi An’s busiest street corners. It was seven am and the ancient port town of Vietnam’s central coast was buzzing with bicycles, motorcycles, cars and people on the move. The cao lao vendor before us was doing a brisk trade preparing  bowl after bowl of the town’s signature noodle dish. The low stools surrounding this little kitchen set-up were no more than 10cm high. One of the other diners, a well-dressed young woman, sported 5cm heels. I marveled at her ability to squat with such comportment.

Ngoc was one of many locals I was to meet during my visit in March. Most of them were eager to make my acquaintance and practice their English. All of them gave me some insight into a people and a nation on the rise after long years under the thumbs of first colonialism, then war, then communist isolation.

My Journey began in Hanoi, where I spent three days steering my way through the noise and bustle of a city burgeoning from new wealth  amidst old infrastructure. Here I discovered that the Vietnamese use their traffic horn as a navigational device and, thanks to an exponential influx of motor vehicles in the last decade,  face masks have become fashion statements.

After the chaos and smog of Vietnam’s capitol city, it was literally a breath of fresh air to head to the central coast. My aim: To spend some time in Hoi An, a UNESCO World Heritage town which was spared the ravages of the American War; to view the South China Sea from Vietnam’s (relatively)undeveloped central coast;  and to visit My Son, home to temple ruins of  Southeast Asia’s earliest Hinduized civilization.

Today, both Hoi An and My Son are tourist hot-spots, and the area is one of Vietnam’s most popular destinations.  Hoi An’s Old Town, which was built at the edge of the Thu Bon River, boasts no less than 800 historic structures,  a bounty of restaurants serving fresh, authentic meals,inviting little shops selling an array of hand-made items and furnishings, and the ubiquitous tailor shops offering custom-made clothing in the finest Vietnamese silk.

There is a sheer physical beauty to Hoi An. Family compounds made of richly hued hardwoods, ornate and colourfully detailed  Chinese assembly halls, French colonial buildings with their signature, mustard yellow stucco facades, and Sino-Portuguese shop houses stretch along a handful of charming lanes.  One of the most fetching contrasts of the Old Town are the brightly coloured silk lanterns. They hang everywhere and stand in cheery opposition to the dark woods and earthen tones of building facades. Together, they make up some of the best examples of fine craftsmanship influenced by a host of cultures, then weathered by centuries of wind and water.

Between the 17th and 19th centuries the city, once called Faifo by western traders, was one of Southeast Asia’s most important international sea ports, thanks to its deep water river and close proximity to the South China Sea. But Hoi An’s history began long before that. As far back as the 2nd century C.E. the town was the Champa Kingdom’s biggest port of call. Chinese and Japanese traders used it as a provisioning stop before sailing onward. For eight centuries,  and then two more, Hoi An flourished and the influence of its visitors remains in the architecture and the business-savvy character of  its denizens.

This long history of merchants and merchandising paired with a newly opened economy, UNESCO status and rising tourist boom can be a deadly mix for a visitor’s wallet. Locals sell and they sell hard.  “Hello madam, you buy.” or “Hello, you come into my shop please.” or plain old, “You buy something from me.” are called out to tourists from smiling merchants selling everything from fine silk garments to tiger balm.

Town for Walkers

Hoi An is called the “Town for walkers” thanks to the close proximity of everything and a city ordinance that bans motorized traffic in the Old Town four days a week during prime tourist shopping hours. Most visitors, myself included, begin by purchasing a ticket for the  Hoi An Town Walking Tour. The ticket,good for three days, gives you entry into a choice of heritage attractions with particular cultural or historic significance, as well as a cultural performance, a boat tour and visit to a handicraft workshop.

On my first afternoon I waded through the crowded, central market. The tarp covered stretch of sidewalk along the river was packed with merchants selling fresh produce, meats, seafood and household items. The smell of fish and fragrant herbs like mint, basil and coriander – those culinary necessities of Vietnamese dining – seemed to fill every space within the tight confines of the bazaar. The hot, sticky air was heavier still with the noise of clamoring buyers and sellers deep in price negotiations. A woman came up to me with a thin string stretched between both hands. She twisted and snapped it near my face “clean eyebrows,” she said, “you like – look pretty!” Looked pretty scary to me. “No thanks,” I smiled and moved on.

When I cleared the market, I headed north up Phan Boi Chau street. Formerly Courbet Street, it had been named after a French admiral who once held sway here. The lane’s row of mustard coloured, 19th century houses define the French quarter, which was once the popular haunt of colonial sailors on R&R.

Number 25 Phan Boi Chau is home to Mr. Tran Duong, a sixth generation local who is happy to welcome guests for a visit. This retired math teacher speaks fluent French and English. He gave me a tour of his home and told me about its history and structure.

Along with most of its neighbors in the quarter,the house was built in the late 19th century by a French resident. Mr. Doung’s great, great grandfather purchased it in 1910 and it has been in the family ever since. High and narrow with four ironwood beams to support the roof, the 60 metre long, two story home has withstood countless typhoons over the decades. The house has many French features which Mr. Duong happily pointed out: the balcony and balustrades, slated window shutters, an ebony wardrobe more than a century old, and a 3×2 metre, solid ebony bed where, each night, the entire family still sleeps communally – adult children and their spouses included.

“I have always lived here, and I have seen many changes,” he reflected. “Twenty years ago, there was one hotel in Hoi An, now there are 82.” His statistics go on: according to Mr. Duong, two decades have brought to this small town almost 700 tailors. He did not venture to speculate on the increase of restaurants or gift shops from two decades ago, but from the look of Hoi An today, I would guess their percentages are equally as high.

Besides visiting the town’s historic sites, a stroll along the Bach Dang road is a must. Here, cafe’s oozing charm look out over the tranquil river, people stroll slowly, ride bicycles in singles or pairs, and aging fishermen (and women) solicit rides on their tiny vessels to passers-by. The view of Hoi An from the water is especially picturesque, and an hour aboard ship is a rare opportunity to meet a local elder – something almost impossible to experience at highly developed tourist destinations in other parts of the world.

Beyond Hoi An

I walked along the beach one morning before dawn. The horizon was thick with fog and I could see almost nothing beyond the wave break as my feet slipped step by step through white sand. I marveled at how secluded I felt, for there is little evidence of tourism’s unsightly face along much of Vietnam’s central coast: plastic flotsam, make shift bars, or lines of chairs are noticeably absent.

I squinted to the sea, eyeing dark specs in the distance. As the fog lifted with the sunrise, I saw many more of what looked like enormous, black swans with long necks and round bodies gliding smoothly over the surface of the water. As they moved closer to the wave break I saw that they were fishermen, each one standing in his own small boat – a totally round vessel made of wide, bamboo strips. There were as many as 100 of these lonely fishermen, silently plying the tumultuous South China Sea.Their traditional basket boats are extremely light weight which makes them appealing even today because they are easy to carry and can be used to fish in very shallow waters.

Late one afternoon I headed to Cam Kim Island aboard a ferry boat. It was standing room only on this open-decked ship, and I crowded in with locals, motorcycles and bikes for a 15 minute journey upstream. Cam Kim is know for its master wood carvers, and the village echoes with the sounds of chisels and hammers. I walked through scenic neighborhoods of private homes and untouristed  gift shops. At one family compound I stood under a trellis bursting with fuchsia-coloured bougainvillea while two artisans carefully detailed a statue of Kuan Yin, (a female deity commonly seem in Vietnamese Buddhist iconography). They smiled but remained focussed on their work and didn’t seem to notice when I moved on, aiming for the mainland as the sun set behind me.

The next day I went to a pottery village just west of town.We stopped at the outdoor workshop of Mrs. Ahn,a 76 year old potter. She  has been crafting pots, piggy banks, lantern covers and housewares beside a walk-in kiln for 60 years. She squatted on a low stool before her potter’s wheel, turning a small vessel. Her niece stood above her with one foot on a brick while other pawed the wheel in a rhythmic beat to keep it spinning. As I marveled over their collaborative effort, Mrs. Anh motioned for me to give the wheel a whirl. It was easier than it looked, and they complimented me profusely. But I imagined that a few hours a day of this repetitious action would  wear on my steadiness, leaving me lopsided and tired.

My Son

No visit to Hoi An is complete without a tour of  My Son, the holy city of Champa’s kings, built between the 4th and 13th centuries CE. At its height, Champa’s influence stretched from DaNang in the north to Nha Trang in the south, with Hoi An as it’s commercial hub and My Son as its religious centre.Today, this UNESCO World Heritage Sanctuary is a collection of temple ruins, some surprisingly well-preserved, set within a lush jungle valley. Carved with exquisite detail and exhibiting influences from India, Malay-Polynesia and the Cham’s own stylistic preferences, these carefully-wrought brick towers cannot but impress.

My visit coincided with a tour group of Junior College students from Hanoi. As I reached the third cluster of structures, most of them bombed to smithereens during the American war, a gaggle of girls crowded before me, attempting to communicate. My French companion and I – already struggling to communicate with each other – found ourselves conducting brief language lessons and practicing xin chao (hello), cam on (thank you) and khong co chi (you’re welcome), to peels of laughter over our strange accents. Once again I was struck by how friendly the locals are to the Americans and the French – and equally surprised to see how these two nationalities seemed to dominate the tourist market. Old ties die hard, perhaps – for better or worse. These days, it definitely seems to be for the better.

During the tour of Mr. Duong’s century-old home on my first day in Hoi An, he led me to a 120 year old table with mother-of-pearl inlay of the most extraordinary, golden hue. “In Vietnam legend, the peach tree is the symbol of longevity,” he told me as he pointed to its image embedded in the wood. Having defeated three United Nations security council countries over the course of 12 centuries – and survived -  perhaps the tree more aptly symbolizes the Vietnamese themselves. Like the hearty peach, they’ve weathered a lot of storms yet still manage to bear fruit.

Luxury by Design: Phuket Resorts and Boutique Hotels

originally published in Beyond magazine April 2009

With its pristine beaches, abundance of indigenous greenery and the kingdom’s consummate art and architectural style, Phuket Thailand’s luxury resort designs reach impressive heights that range from unfaltering Asian to modernist chic.

Absolute beach front is a Phuket rarity when it comes to the hospitality business, and few hotels enjoy stone’s throw access to the shore. Of those, none offer both location and boutique accommodations like Mom Tri’s Boathouse on Kata Beach.

The Boathouse has an easy aesthetic, with a design incorporating natural and local materials that are friendly to the environment. “You’ll find no marble or other high-priced imported materials here,” says PR Manager Lisa Sol. Instead, expect stylish treatments in local hardwoods, sustainable, split bamboo and terra cotta tiling for floors.

Since 1989, Mom Tri Devakul, artist, architect and Phuket personality, has been offering a handful of visitors “a hotel for people who prefer not to stay at hotels.” Two decades later, this boutique auberge is a landmark, and has become a classic Phuket enclave with a loyal following of return visitors.

The hotel has a total of only 38 rooms, all facing the sea. Their two new Dolphin Pool Villas (opened in December 2007) are the most luxurious of the lot, each boasting 122 square metres of space, including terrace and private plunge pool.

The villas’ contemporary Asian design is complimented by details which evoke Thailand’s current dynastic style. Much of the woodwork has been stenciled and partially gilded with scrolled, lotus bud motifs like those you would find in a Bangkok temple or royal compound. The result is a tasteful combination of contemporary tropical with timeless Thai style.

Indigo Pearl is an excellent example of what can happen when a creative genius is let loose with a bounty of materials and a unifying theme. Bill Bensley is the visionary behind this design-driven resort on the west coast of Phuket. Winning accolades and topping travelers’ ‘It’ lists since its opening in 2006, Indigo Pearl has quickly become a hot spot for design junkies and style mavens.

Centered on a theme inspired by the island’s tin mining history, every element of Indigo Pearl reflects a post-modern interpretation of a 19th century factory. Industrial sized installation pieces, iron work objets, brass, rivets, polished cement and hand tool-like flatware are the touchstones of the resort, their sharp edges and contrasting textures softened by Thai silk and lush landscaping.

The resort rooms, villas and suites include quirky, inviting elements such as punkha ceiling fans, massive, pulley-wheel doors or black bath tubs atop private, outdoor balconies.

The scale is large, like the man himself, and the factory theme off which he plays. A grand reception pavilion stands at least double height, with exposed trusses made of massive, recycled beams and held together with lag bolts. Pillared lights clad in iron lattice and dotted by bottle blue glass rise metres high over blue couches and iron tables. Resort decor elements scattered about the property include plenty of found industrial pieces like vice grips, antique scales and presses for weighing and molding tin.

“Bensley designed most of the items here,” says Arnaud Girodon, General Manager of the resort. “Everything was custom made for us,” he explains, “and much of it from found or recycled materials.” Sustainable, and highly contextual, each item, according to Girodon, has a story behind it. “With Indigo Pearl, Bensley has gone beyond his own creative vision by incorporating this theme of place.”

With 11 hectares of property,  265 guest Rooms, 280 Marriott Vacation Club Units, Phuket’s JW Marriott Resort and Spa is huge. But lest you think that size sacrifices charm or good design, think again.

Based on elements of Southern Thailand’s distinct art and architectural vernacular, the resort combines the influences of three distinct ethnic groups: Thais, Malays and Chinese. ” “It was the mixture of these three art and architectural traditions that influenced much of the design of the resort,” says Samantha Lightbody, Creative Design Director of Abacus Design Company.

Abacus was responsible for the  resort’s master plan, following guidelines set by Marriott’s own team of advisors.  Their challenge, according to Lightbody, was to source those local influences. “Unlike the north,” she says, “there is very little written about southern art and decoration, so we had to travel to some very remote areas such as Yala, Narathiwat and Songkla to source items.” Things like colourful batik fabrics, brightly painted fishing boats, weavings and stamped hide shadow puppets became thematic sources. “Many of these products influenced the designs of lamps and displays in the lobby, screens at the entrance and brass cooking pots in the dining venues,” she says.

But of everything, it is the guest rooms that are the best examples of the resort’s overall design concept. “It was here that we managed to introduce the bright, vibrant colours associated with batik sarongs in both duvet covers and area rug designs,” Lightbody explains. “We also feature the fret work carvings associated with colonial/Chinese influences, while most of the upholstery fabrics were custom made in silk and cotton by the Jim Thompson Fabric Company.”

New to the Phuket scene, the all-villa Vijitt Resort was once home to a family fruit plantation. Located on the south of the Island, Vijitt is situated along the east coast on Friendship Beach. Villas blending traditional Thai and contemporary elements were built to conform to the undulating landscape, amidst mature coconut palms and fruit trees, meandering pathways and a stone bordered canal that runs diagonally through the property.

Each of the resorts 92 villas include teak wood finishings, cedar shingled, Thai-style roof tops and signature bamboo-clad gateways enclosing small, private gardens.

Villa interiors incorporate a few interesting details that connect space with place. Circular slices of bamboo have been embedded into the floor, while coconut husk hairs were mixed into the stucco wall finish.

Perhaps the most striking feature of the resort is the oversized, infinity edge pool. With dark brown tiles and a location close to the shore, the views from the edge lead your eye seamlessly beyond the property and right into the sea.

Two dining outlets, a gymnasium and delightful, private villa Spa round out the offerings at Vijitt, providing an east coast alternative in Phuket Resort accommodations.

Water is the theme of Anantara Phuket Resort and Spa. This former coconut plantation has been revisioned as a magnificent, all-villa retreat based on a traditional, southern Thai village. A total of 83 private pool villas surround a free form lagoon dotted with islets and lotus blossoms, and big enough to attract water birds in abundance.

“This land dictated the design,” explains Bill Heinecke, Chairman and CEO of the Minor Group, Anantara’s parent company. “Because it was flat, we decided to create a canal like setting with waterways like the old klongs,” he explains. In the process, they managed to preserve all the old coconut palms. “We didn’t lose a single one!” he enthuses.

Exotic gardens and grand entryways that evoke a sense of mystery are Anatara trademarks, and these two elements are taken to a provocative high at their Phuket property. With Bill Bensley as the mastermind behind all of the outdoor elements, the result is a landscape brimming with life: Water birds, jasmine, orchids, birds of paradise, and plenty of statuesque palms all underscore the bounty of tropical Thailand.

The resort’s imposing facade cannot but draw the eye. A high wall made of indigenous, red laterite bricks is bisected by a narrow, torch-lit corridor forming the entry. Soaring iron sconces in a contemporary herring bone motif line the passage, while matching pendant lights hang from the vaulted brackets above.

Anantara’s villas are designed like a luxurious Thai family compound. The ultra-private spaces include large bedrooms, outdoor pool, hardwood decking and private sala – perfect for an afternoon nap in the shade.

Poole Associates out of Singapore were responsible for the resorts three food and beverage outlets. In keeping with the water-inspired theme, the team designed “rain chandeliers” for the Tree House tapas bar and the Tasting Room wine cellar. Made of long, fibre optic threads, these rain-like strands sway in the breeze and illuminate with coloured lights. The effect is dramatic, and as one guest enthused, “gorgeous!”

For those with an eye for contemporary design, Twinpalms Phuket is an exciting alternative to more traditional Thai style. Edgy and chic, the large, modernist, spaces of this boutique hotel and residence are the masterwork of architect Martin Palleros, known for his compelling treatments of other regional landmarks such as Bangkok’s Metropolitan Hotel, Baan Yamu residential development in Phuket and Singapore’s Plaza Singapura.

“A harmonious, tranquil modern environment with reference to traditional Thai architecture,” is what Palleros has to say about his creation. Those references include bell-shaped chedis atop  marble dais in the reception area, an oversized sala floating above the resort’s 1,600 metre square lagoon pool, antique chao fah temple finials as a center piece in the lounge, and extensive water gardens throughout the property.

The hotel’s 21 new, Residence Suites each boast more than 150 metres square of interior space plus a private, 9×3 metre pool located on the rooftop or in the garden terrace adjacent to the living area. A double height first floor, bespoke furnishings, and four metre high windows welcome you as you enter. The second floor’s wide hall overlooks the living area and opens into an extra-large bedroom with en-suite bath, including separate rain shower and oversized stone tub.

The spaces present a daring union of bold lines and minimalist accents that cannot but catch the eye. Expect marble, teak, and plenty of clean, white spaces.  Contemporary works by local artisans bring colour and cultural flavour to the otherwise monochromatic theme. A well-stocked, private wine cellar, Cuban cigar humidor, fully integrated home theatre system and 24 hour, personal Residence Host cross-trained in all departments from house keeping to basic oenology are all part of the Residence experience. Comfort and effortless living are the inevitable result in these engaging enclaves.

A Taste of Kandy: Kandy City, Sri Lanka

originally published in &beyond magazine, April 2010

Nestled in a tight valley north of Sri Lanka’s high hill country, charming Kandy has a cool climate, friendly people and a rich cultural heritage. It is one of Sri Lanka’s seven UNESCO World Heritage Sites, and is revered among the nation’s majority Buddhist population as home to a 2500 year old incisor said to be none other than the Gautama’s himself.

My first impression of Kandy was that it was small. I was expecting a Ceylonese version of Chiang Mai or Yogyakarta, something sprawling and worthy of its ‘second city’ title. But looks can be deceiving. Unlike some of the region’s other urban landscapes, Kandy is tucked into a tight valley of mountains, giving it the illusion of a compact enclave. With much of the commercial district clustered into a handful of busy streets, Kandy is, in fact, small enough to maneuver on foot or by trishaw. But just beyond the initial grid of business, traffic and lively street markets, the city continues around and beyond a 4KM lake, then spreads along tentacle-like roads reaching into the surrounding hills.

At 500 metres above sea level, Kandy’s cooler climate makes it a great place to escape Sri Lanka’s heat, and has long been a popular retreat for Sri Lankans on holiday and British colonials of the past. Days are often marked by misty, cloudy skies, and the jungle-clad hills – now dotted with many rooftops – remain verdant and alive, with massive trees, lots of monkeys, and birds in abundance.

“Good city Kandy, yes?” asked a wiry little man whose shock of white hair and deeply grooved smile gave testament to his decades of home town pride. He had caught me scribbling notes at a busy street corner and waddled up to investigate. “Yes,” I replied, smiling as I met his eyes, “Kandy is a good city!” The interaction seemed to encapsulated the nature of the Kandyan people – confident, friendly and certain of their city’s prominent place within Sri Lankan culture.

Over the centuries, Kandyan monarchs held off both Portuguese and Dutch colonizers, maintaining an independent kingdom until 1815, when the British took control. Perhaps because they had not succumb to foreign overlordship until relatively late in the colonial game, locals maintained a singular, independent character, highly developed art forms and elaborate celebrations that are both unique and decidedly influential to Sri Lankan culture.

The city is most famous for its annual Esala Perahera or “Festival of the Tooth”, which temporarily mushrooms the population – and the traffic. This grand processional is held during the lunar month of Esala (July-August) each year, drawing thousands for five days of Mardi Gras-like processionals. Acrobats, whip-crackers, jugglers, dancers, and ornately attired elephants parade nightly.  Several locals encouraged me to return during Perahera, certain is was the very best possible entertainment I could consider. Rather than ford future crowds, I opted to watch the dancers on a stage and view the dentine’s gilded container (the tooth itself is never revealed) at its home, The Temple of the Tooth (Dalada Maligawa).

The latter was built to house one of the Buddha’s incisors, (apparently snatched from his funeral pyre and brought to Sri Lanka hidden in the hair of an Indian princess), drawing pilgrims and tourists to Kandy throughout the year. While the temple is an excellent example of Kandyan period architecture, some find the entire concept of visiting a tooth – which cannot be seen in any case – to be a bit gruesome. My quick pass by the second-story altar revealed little more than a colorful wooden cage fronted by a table overflowing with flower blossoms and a walkway crowded by solemn devotees.

Much more exciting were the Kandyan Dancers at the Cultural Center. Here I watched colorfully costumed women and men perform welcome dances, peacock dances, snake charming dances, wild acrobatics and even a masked battle between a bird hero and a snake demon. The highlight of the night, however, were the fire “dances”, involving two men doing various pyrotechnic daredevilries, from rolling burning torches along their bare, upper bodies to taking leisurely strolls over white-hot coals, and of course, confidently ‘eating’ mouthfuls of the stuff.

Kandy may boast a ‘cool’ climate by regional standards, but it is still very much the tropics, and very much a crowded, noisy city that can be taxing after several days. So it was a definitive pleasure to spend an afternoon at the nearby, Peradeniya Royal Botanical Gardens. I don’t generally have much curiositas botanicus and had planned to skip the Gardens, but after two buff, tattooed Italians fawned on about its beauty and tranquility, I decided it must be worth a visit.

“Some say this is as good as London’s Kew Gardens” said Ervin, my chauffeur and guide. While I’ve not been to Kew, I can say it was the best botanical garden I could imagine. It was big and cool and green beyond belief, with an enormous diversity of flora, broad avenues and quiet little corners where lovers conspired or families took their ease. Probably the single most impressive plant is a 3000 sqm ficus benjamina (Java fig tree). A veritable village – or at least an extended family – could live beneath it’s branches. There are also (among more things than I can list here), bamboo forests, medicinal herb gardens, a Jurassic-like Fern park, a boulevard lined with towering royal palms, a Japanese Garden, and a greenhouse dedicated to the most exotic collection of orchids I’ve ever seen.

The fresh air and tranquility of the Gardens indeed refreshed me, and I returned to the city ready to dive into the hustle and bustle of the Central Market for a little shopping. The Market is a two-story affair that opens onto an outdoor courtyard. Small stalls packed with household items, foodstuffs and decor line every inch of the place. Stall number 43, is Mr. Banda’s corner of this world. Kandyan self-possession is a noted trait, as Mr. Banda clearly illustrated for me. A man of few words – and fewer smiles – he sized me up quickly and, apparently, determined that my ignorance of Sri Lankan spices needed immediate attention. Before I could ask him the price of a bag of peppercorns, he expounded upon the difference between vegetarian and meat curry ingredients. (According to Mr. Banda and just about every other Sri Lankan I met, one must never add cinnamon and cardamon to a vegetarian curry!) Then he had me compare ‘sweet’ and ‘hot’ cinnamon followed by crushing mixes of curry spices in his palm for me to smell. Before I could say “Thank you, can I buy some spices now?” he wanted me to sample Sri Lankan fruit from his neighbor’s stall. Feeding me bits of jack fruit and rambutan, he made sure I tried a little pineapple, and absolutely insisted I taste several types of banana for comparison. Only when he felt complete did he accept payment for my selection. Duly prepped for Sri Lankan curry cooking, I headed back into the market’s melee in search of batiks.

Kandy was well worth the visit. While the town’s central area is somewhat worse for the ware by traffic, car exhaust and tropic decay, I found the locals to be an engaging lot, there were plenty of spice and batik shops to peruse, the curries were tasty, the dancers exciting, and the surrounding hills, central lake and nearby botanical gardens meant a cool retreat into nature was never more than a few minutes away.

Coming Back for More: Long-time Supporters know Wine&Chile is a Real Winner

Originally published in Local Flavor magazine, December, 2009

With its superb dining venues and unbeatable atmosphere, it’s no surprise that Santa Fe is an exceptional venue for a culinary event. The city’s 19th annual Wine&Chile Fiesta, held this month between the 23rd and 27th, will welcome 104 wine makers and 71 restaurants to host another series of outstanding tastings. Over the years Wine&Chile has drawn 1000s of wine makers,  importers and master sommeliers from around the country. Several have been long-time supporters of the event, pouring some of their best vintages year after year. Local Flavor interviewed four of the Fiesta’s regular participants to find out what makes this event special for them and what keeps them coming back.

“I have to confess we could have easily passed on the first year’s invitation,”  says Nancy Ponzi, owner of Ponzi Vineyards and winner of this year’s Honorary Wine Achievement Award. “Wineries have to be practical,” she explains. “New Mexico was a minor market for Ponzi and frankly, the basic concept of pairing wine with chiles left us skeptical.” In retrospect, Nancy is glad she took the chance.  “We love Santa Fe!” she enthuses. Not only is it her family’s favorite vacation destination, “the food is exciting, the hotels great, the history, landscape, art community, spas, and winter skiing are all excellent. And,” she adds, “we have hospitable relatives living here!”

Ponzi Vineyards was founded in 1970 in Oregon’s  Willamette Valley. The Ponzi family was one of the first to plant and bottle Pinot Noir. Since then, Nancy and her husband Dick have been instrumental in developing the foundation of Oregon’s wine industry. They helped found the Oregon Wine growers Association and the Oregon Wine Advisory Board (now the Oregon Wine Board), and continue to be active supporters of the State’s land use goals of sustainable agricultural and business practices. All 120 vineyard acres are LIVE Certified Sustainable, producing Pinot Noir, Pinot Gris, Pinot Blanc, Chardonnay and White Riesling, along with two Italian varietals, Arneis and Dolcetto.

During this year’s Fiesta, the Ponzis will be releasing their 2007 Ponzi Pinot Noir and Ponzi Chardonnay Reserves. Both, according to Nancy, express the “slow, full ripening” of Willamette Valley fruit. They will also conduct a Retrospective Wine Tasting where they will include a five vintage vertical of their Pinot Noir.

“This is the only wine festival I know that truly incorporates and promotes the local restaurants,” says Nancy. “The guests are enchanted with the diversity of venues and the sophisticated yet casual ambiance. Inviting the public to the Grande Finale at Santa Fe Opera,” she adds, “is a coup for the Fiesta and a rare treat for participants – a winner all around!”

Jason Haas of Tablas Creek Vineyard has been attending the Fiesta for five years, but Tablas Creek has been represented for eleven.  “I love Santa Fe,” says Jason. “It’s such a beautiful place anyway, and in late September, with the aspens on the hillsides changing color and a chill in the air at night, it’s stunning.”

Jason agrees with Nancy that Wine&Chile’s recipe of food, venues, atmosphere and wine is a real winner. “I love the way the festival really combines wine and food,” he says, pointing out that “many wine festivals are just that: wine festivals, with food an afterthought. Wine&Chile gets great participation from the local restaurants so attendees enjoy a great food and wine experience.”

“Because of this,” Jason adds, “the event gets one of the best crowds of attendees of any festival in which we participate, drawing wine enthusiasts and foodies from the entire Southwest.” This, along with feeling well taken care of during their stay, keeps Tablas coming back. “Greg O’Byrne and his staff really make us feel welcome. They’ve built an event that has exceptional educational components (seminars), great walk-around tastings, and a wonderful collection of wine dinners.”

Jason’s father Robert is the co-founder of Tablas Creek with the Perrin brothers of Chateau de Beaucastel.  The vineyards, located in Paso Robles California, are known for their Rhone varietals and blends in the Châteauneuf-du-Pape tradition. This year, Tablas national sales manager Tommy Oldre will represent Tablas, making his third visit. Tommy will be pouring  new releases of their signature Esprit de Beaucastel and Esprit de Beaucastel Blanc, along with their “always-popular-in-Santa Fe” 2008 Rosé. Tablas Creek will also join the Inn of the Anasazi for a Friday evening wine dinner.

Sandy Day, the Rocky Mountain Manager of Vineyard Brands National Import Company will be attending Wine&Chile for the 17th time this year.  Sandy imports many excellent wines from around the world. ”This is one of the best food and wine festivals in the country,” says Sandy, and along with Nancy and Jason, she appreciates the inclusion of food. “There is a very strong participation from the restaurant segment, making it a true culinary festival,” she says, pointing out that similar festivals often “become diminished over time” thanks to large sponsorships from appliance companies or car manufacturers with deep, advertising pockets. While the money is often helpful, the agendas of such sponsors detract from the pure wine, or food and wine focus.

Sandy considers Santa Fe to be one of the nation’s culinary capitols, and particularly appreciates the natural beauty of the area. “The cultural mix and stunning high desert beauty make for a lovely setting that sets the location apart. In september the natural light plays in a magical way that accentuates all of the area’s attributes.”

This year Sandy will be pouring a variety of world wines, including samples from France, Germany, Portugal, South Africa, New Zealand, Chile and Argentina. Expect to see labels such as Villa Maria Private Bin Sauvignon Blanc, Domaines Perrin Chateauneuf-du-Pape Les Sinards, Cono Sur “20 Barrels” Pinot Noir, Jean Marc Boillot Rully Meix Cadot,and Warre’s Warrior Port, to name a few.

Although Sandy will not conduct any seminars this year, she will be pouring Chateau de Beaucastel ‘s Chateauneuf-du-Pape Blanc and Rouge 2006, both from France’s Rhone Valley, at the Reserve Tasting on Friday.  “The Chile Fiesta is extremely well organized,” she concludes, “and attended by an interesting mix of fun folks.”

Dick Reeves is the National Sales Manager for Heck Estates, representing Kenwood Vineyards, Korbel Brandies, Valley of the Moon, and Lake Sonoma wines. Dick has attended Wine&Chile for fifteen out of the last eighteen years. What brought him here in the first place is the beauty of the city and what brings him back is the event itself. “It’s a wonderful event,” says Dick. “The people who attend are warm, fun-loving, wine and food interested folks.  And the food is spectacular – always!” he adds.

In fact, Dick and his team at Heck are so fond of Santa Fe and Wine&Chile and the city that they use the event as an incentive for their sales team. “One of the great pleasures surrounding Wine&Chile for me is that I have had the opportunity to introduce many people to the event and the city,” he explains. ”My company has run incentive programs for the past few years for distributor sales contest winners to come spend the weekend and attend the Reserve and Grand Tastings.” Since they started the program, Heck Estates has brought more than 200 sales representatives and their partners to Santa Fe. “They’ve all raved about both Wine&Chile and Santa Fe afterwards,” says Dick.

This year,  Terry Armentor, Heck Estate’s Southwestern US Manager will be representing Heck Estates at the Fiesta. He will be pouring a number of wines with a focus on “wines that pair well with chile-based meals.” This will include Sauvignon Blanc, Pinot Noir, Merlot, and Zinfandel from Kenwood; Pinot Blanc, Unoaked Chardonnay, Syrah, and Sangiovese from Valley of the Moon; and Sauvignon Blanc and Old Vine Zin from Lake Sonoma.

Dick echoes the sentiments of all four participants – and no doubt, many more who come back to Santa Fe for Wine&Chile year after year – when he says, “It’s nice to return to places, especially beautiful ones where you feel welcome.”

ART Santa Fe: An International Event with Local Impact

Originally published in Local Flavor magazine, July, 2009

“We are really interested in making this a community event,” says Charlotte Grey Jackson, director of the ART Santa Fe international contemporary art fair. “We strongly encourage dealers to visit Santa Fe’s many galleries, dine at our restaurants and explore our city during their stay,” she explains, “and we want local artists to come in and meet the international dealers showing at the fair.”

Held this year from July 23-26, the 9th edition of ART Santa Fe will again draw gallery owners and art dealers from around the world to our city. They’ll be showing contemporary art and cutting edge installation pieces in a range of mediums.  London International, producer of the fair, founded ART Santa Fe in 1995. According to a statement made by Jackson for the fair’s 2008 magazine, the expressed purpose of the event is to “enhance Santa Fe’s contemporary art market and thereby make an important contribution to the city’s entire art community.”

And enhance this market the event most certainly has. Jackson points out that ART Santa Fe has had a definite impact on the community’s local art scene. In addition to growing local attendance, the fair generates business and attention in other ways. “People have good experiences here in Santa Fe,” she explains, and this inspires them to return. “For example, there have been exhibitors such as the William Shearburn Gallery of St. Louis which, after the 2007 fair, returned to open a gallery here.”  This, in turn, expands the city’s contemporary offerings and enhances its appeal as a destination for art buyer.

ART Santa Fe also exposes the city to the international, contemporary art world in a big way and the event has been a major contributor to Santa Fe’s reputation as a cosmopolitan arts center on the rise. “People come here to look at art and the word gets out about Santa Fe” says Jackson. Thanks to ART Santa Fe’s rising popularity and its exposure in the international press, Santa Fe is becoming known “not just as a location for this event, but as a growing center for contemporary art.”

Perhaps the biggest influence ART Santa Fe has had locally, however, is on tourism, providing the area with direct, international exposure. Since 1995, when the first fair was held, ART Santa Fe has hosted a significant cross section of international gallerists and other dealers. They’ve represented countries from all over Europe, Asia and recently, Latin American nations. In 2008 alone the event hosted 59 exhibitors from 19 different countries around the world. Once they are here, they are exposed to Santa Fe’s galleries and artists, as well as the city’s unique cultural mix, historic architecture, fabulous dining and tremendous natural beauty in ways that would have been impossible otherwise. In short, they fall in love with the place and want to come back.

“All of our exhibitors seem to love New Mexico,” Jackson effuses. “For many, especially the Asians, it is like a giant movie set. Most do not simply come for the fair, but stay on for a week or so, traveling to other parts of the State.” She also points out that some of them return to Santa Fe with their families, making this their holiday destination.

For art buyers, art appreciators and artists, ART Santa Fe has the advantage of being accessible. Thanks to its small size, the fair offers something more than an exercise in crowd control or conversation sound bites. “It’s big enough to be interesting and small enough to be digestible,” says Jackson. Some of the large fairs host two- to three hundred galleries, making it impossible – or at least extremely difficult – for visitors to see everything. “This is a boutique fair with between 35-40 galleries showing work,” Jackson explains. “”You can do this fair two times in one day and actually re-locate a booth if you want to,” she points out.

Size also benefits local artists who have the opportunity to meet and make connections with international dealers.  “Artists can actually talk with dealers. It has an intimate feel, and one-on-one conversations are not only possible but probable,” Jackson says, pointing out that such connections “have far-reaching tentacles for future art and art sales.” At  $8.00 per ticket, ART Santa Fe is also financially accessible to upcoming artists, students and art appreciators without deep pockets.

In recent years, organizers have expanded their efforts to involve the greater Santa Fe community in the fair. This has included special openings at other Santa Fe galleries, and gala events. This year there will be a series of extra-fair activities that ensure exhibitors and international guests will be exposed to the local culture. A champagne buffet for exhibitors will start the festivities on Thursday night, followed by an Art in America party held at LewAllen Gallery on Friday. In addition, local galleries have been invited to submit sculptures for consideration as installation pieces on the venue’s facade for the duration of the event.

This year’s fair will also include a special, “How Things are Made” event offered by local gallery Landfall Press. Landfall will be presenting a hands-on demonstration throughout fair, showing the step-by-step process of lithograph making. Finally, organizers have enlisted the talents of local theatre and puppetry troupe Wise Fools to meet-and-greet the public with elaborate costumes and carnival-like fan-fare.

For the third year, ART Santa Fe will be held at El Mueso Cultural, just steps from the new Railyard Art District. Here, exhibitors have direct exposure to one of Santa Fe’s vital art centers. “With the Railyard looking so great, we are really able to bring these international dealers into our community,” says Jackson. “We will be encouraging exhibitors to walk through the Railyard, have a meal, look at art in the galleries there and elsewhere in town.”