The Muse and the Macaw
Julian Robles’ iconic portrait of Tanya Vigil
TANYA VIGIL WEARS many hats: Activist, Aztec Dancer, Gallery Director, School Arts Coordinator and more besides.
Vigil’s family’s ancestors were among those who settled the area around the plaza of Ranchos de Taos, which was completed in 1779 as a fort, of sorts, protecting early inhabitants from raiding Comanches in particular.
Both parents encouraged a love of the arts. One of Vigil’s earliest memories was seeing her neighbor, the famed Flamenco dancer Maria Benitez, perform at the San Geronimo Lodge, where she was initially captivated by dance.
When she was six, her parents moved to California and then to Wisconsin. In his job as a migrant worker coordinator for the State of Wisconsin, her father made sure people were treated with dignity and that their children were fed, clothed and schooled. His humanitarian approach, and belief that activism was akin to spirituality, led to Vigil’s involvement years later with the United Farm Workers.
In Wisconsin, her mother taught English as a Second Language to migrant workers and their children. After returning to Taos, she resumed her career as a school teacher. In her later years, she managed the Manos Amigos (Hands of Friends) thrift shop for the San Francisco de Asis Catholic Church and was also a member of the Secular Franciscans.
Her mother’s love for children and community involvement taught Vigil respect for all spiritual traditions and cultures. Vigil recalls her mother saying “We all have one thing in common: the color of our blood.” Asked about her mother’s legacy, Vigil feels called to “continue to bring light and compassion to others in need, to help and to love people.”
Growing up in a family of humanitarian activists and educators gifted Vigil with direction and purpose; her entire life has been dedicated to helping others; beginning with migrant workers in California in the United Farm Workers movement, and continuing in our schools with our children, fostering loving relationships with all people through the arts. Her depth of understanding is amplified by her own spiritual practice rooted in the art of the “dance.”
“I first saw Aztec dancers in Taos, I was completely taken by it. It called to that side of me that I had never realized: the mezclar or mix of Hispanic, Native and Mexican blood. So I wanted to learn the authentic Aztec dance, and studied with Moises Gonzalez Barrios,” Vigil told Liz Cunningham for “Remarkable Women of Taos.
“In 1990, the year I was made Capitana or leader, I founded Izcalli In Nanantzin Danza Azteca, my group of dancers based in Taos. I’m married to Michael, but I am married to the danza as well.”
For decades, she’s been instrumental in bringing creative learning processes to our schools (and to Tempo’s pages), curating shows of fabulous local artists along with continuously working on land use issues and historic preservation, but the “dance” remains at the core of her being.
When the great contemporary artist Julian Robles passed away, Vigil reached out to me to let me know she had modeled for the beautiful portrait I am sharing here, again, connecting a few of the dots: the woman, the muse, the art and the dance.
Tanya, please tell us how you came to pose for this extraordinary painting.
In 1982, I was in my early-20s and was working at a gallery on the Plaza. Julian, whom I had never met, approached me and asked if I would model for a painting that would be part of a large prestigious exhibition featuring his work and R.C. Gorman, Rod Gobel and Bill Acheff. He mentioned that all of them would be representing New Mexico during the visit of Prince Charles. It took about 50 or more hours to complete it.
Can you discuss the symbolism in the painting, the macaw in particular?
The title of the painting is “The Sacred Macaw of the Pueblo.” I am being depicted as a young woman feeding a Scarlet Macaw. Macaws were considered sacred by the Pueblo Native People of the Southwest. Her ancestors, the Anasazi people, began trading macaws from the Aztecs for turquoise about 700 A.D. Macaw feathers were used for sacred purposes, headdresses and adorning garments. Ironically, I had started the “Danza Azteca” and, to this day, that is what adorns my headdress and altar. I would say it’s a full circle.
Robles was a very religious and spiritual man — and he certainly captures an esoteric vibe here — what was your impression of this work when you first saw it?
I was captured by his impressionism, his use of color but, most importantly, how he worked in largescale pieces. I agree that Julian was a religious and spiritual man, he also was part of a spiritual group of Secular Franciscans who commit themselves to a life in Christ calling for a positive effort to promote gospel attitudes, among their contemporaries. They follow the teachings of St. Francis. Again, as with my late mother Flossie Ocanas, Mary Oliguin, Jane Mingenbach, Joyce Martinez and many other community members.
You shared a little-known snippet of information with me regarding the sale of that painting.
That painting was sold to the Monarch of Spain for $48,000.
I just wanted to share with you that it was such a privilege. I was honored that Julian choose me to share that experience of a lifetime. I met Prince (now King) Charles, Juan Carlos el Rey de Spain and the Duke and Duchess of Brandford. I will never forget that.
Robles’ painting ensures the Muse is not forgotten, either.