Historically witchy New Mexico.

Samhain, the Pagan New Year (for some Pagans, at least) -- aka Halloween -- is coming up at the end of this week. And like clockwork, intrepid local journalists around the country will interview some witch or another. It's all pretty harmless these days -- or it should be, unless somebody takes it upon themselves to declare witches brides of the Devil and try to have them executed, or at least shamed out of the community.

It has happened in the past, as you know if you've ever heard of the Inquisition in Europe, or the Salem witch trials here in the US. And New Mexico had a brush with the Inquisition in the 1760s. It happened in Abiquiú, a village better known now as the site of one of painter Georgia O'Keeffe's homes.

 A peaceful fall picture in Santa Fe.
Heatherms27 | Deposit Photos

And it started with a Franciscan priest named Fray Juan José Toledo, who came to Abiquiú from Mexico City with a manual of ways to spot witchcraft and sorcery -- brujería y hechizería -- and root them out, as missionaries were wont to do, to save the natives from their savagery and bring them to Christ.

I've just begun looking into this; I had a brainstorm yesterday while at Spirit Halloween to offer to portray a bruja during next year's Spirits of New Mexico event at El Rancho de las Golondrinas. The offer's been accepted, so I have a year to study up. But here's what I know so far. 

I talked about Abiquiú here on the blog a couple of weeks back -- about how it was created as a land grant to several families of genízaros. You may recall that genízaros were Native Americans of various tribes who were enslaved by Spanish settlers and eventually set free, after they'd been Hispanized and had lost most of their own tribal traditions. Genízaro communities acted as a buffer between communities of settlers and Native Americans looking to attack them. But the genízaros themselves were different -- and feared by some settlers because of those differences.

Enter Fray Toledo. He accused the local men running the town of being sorcerors (in Spanish, hechicero or brujo) and some of the women of being brujas and causing a horrible illness. The illness was real enough -- it caused a fever and a powerful thirst, blackened teeth, and, in some cases, death. There was also a rumor that the stomachs of some of the dead burst open and insects crawled out.

Fray Toledo made enough noise about it that eventually the territorial governor, Tomas Vélez Cachupin, arrested a group of the accused Abiquiú witches and sent to the office of the Inquisition in Mexico City to see what should be done.

By this point in time, the Catholic Church was winding down the Inquisition, and eventually accused Fray Toledo himself of stirring the pot, saying he should stop with the accusations, learn the natives' languages, and work harder on converting them to Catholicism.

So nobody was burned at the stake here in New Mexico. However, some of those suspected of witchcraft were sentenced to servitude in local Hispanic families. Imagine being a member one of these fine, upstanding Catholic families and being forced to take in someone suspected of being a witch! Not a prescription for sleeping soundly at night.

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As I said, I've just begun researching this. I'll let you know how it goes. For this post, I've relied heavily on this article written by Rob Martinez, the state historian of New Mexico.

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This weekend was the 2025 Spirits event at the ranch, our last of the season. It was, as always, a lot of fun. The ranch buildings are especially spooky at night, with the kiva fireplaces lit and candles everywhere. (These days we use LED candles, but the fires are the real thing. I was stationed in the Cuarto de la Familia -- the ranch owner's family's quarters -- and as the night got chillier, a whole lot of guests were happy to just come in and sit by the fire, warm up, and maybe dream a little.

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These moments of historically witchy blogginess have been brought to you, as a public service, by Lynne Cantwell. Happy Halloween! Blessed Samhain!

Indigenous Peoples' Day.

So this weekend, I did a thing I have never done, even though I've lived in Santa Fe for five years and vacationed here for much longer: I checked out a couple of art studio tours. These events are organized by artists who live in a specific location, whether a city, town, or village. Artists who live there agree to open their studios, even if they're in their own homes, and invite the hoi polloi to traipse through, chat with them about their work, and (the gods willing) buy something from them.

Since I rarely do things by halves, I hit two studio tours this weekend: the one in Abiquiu on Saturday and the one in Galisteo yesterday. After I got home, it dawned on me that both Abiquiu and Galisteo were originally pueblos -- that is, they were Native American settlements -- but neither is a pueblo today. So what happened to the Indians? As the saying goes, it's complicated -- and a fitting topic for Indigenous Peoples' Day. 

Let's talk about Galisteo first. This sign is right on State Road 41.

Lynne Cantwell 2025

Here's the gist of the text, with some amplification by me: When the Spanish conquistadores showed up in 1540 in what later became New Mexico, they found a bunch of Tano-speaking settlements in the Galisteo Basin, which is about 25 miles south of Santa Fe. The Spanish called the settlements "pueblos", the Spanish word for "village", which is how the inhabitants became known as Pueblo Indians. The sign says these folks were among the leaders of the Pueblo Revolt in 1680 -- the only time when Native Americans have ever succeeded in pushing the European invaders out. The Spanish came back, though, in 1692. In 1706, 150 Tano-speaking families were resettled (the sign doesn't say by whom, but it was the Spanish) in Galisteo Pueblo, but the pueblo was abandoned by 1788. Drought, famine, disease, and Comanche raids all played a part. The sign says most of the survivors moved to Santo Domingo Pueblo.

Here are more details from galisteo.nmarchaeology.org:

Early Spanish documents frequently mention Pueblo Galisteo, which has been tentatively identified as Pueblo Ximena, which was still occupied in 1540 when visited by Coronado. Castaño de Sosa saw the village in 1590 and called it San Lucas. [Don Juan de] Oñate visited the pueblo in 1598 and renamed it Santa Ana, but the name was changed to Santa Cruz de Galisteo. The pueblo participated in the Pueblo Revolt in 1680 and was abandoned when the populace, fearing reprisals, moved to Santa Fe, where they stayed until 1693, yielding the city to Don Diego de Vargas after a bitter fight. Many were killed or sold into slavery by de Vargas. In 1706 Governor Cuevo y Valdes collected the remnants, then living at Tesuque, and reestablished the pueblo under the name of Santa María de Galisteo. Ninety Tano Indians were moved at that time. In 1782 there were 52 families, but by 1794, smallpox and Comanche raids forced its inhabitants to move to Santo Domingo Pueblo.

I trust you noticed the part about some of them being sold into slavery? I've written here before that slavery worked differently here than it did in the American South. After a period of time, the slaves here were released. But they had lost their tribal identities and had been Catholicized and taught Spanish, so they created their own culture. They became known as genízaros, and they formed communities around northern New Mexico. Here's a link to an NPR story from a few years back about the genízaros in Abiquiu. "Genízaro" is the Spanish word for janissary; NPR says janissaries were war captives in Spain who were conscripted to fight against the Ottoman Sultan, and that some of genízaros in New Mexico gained their freedom by helping to protect their settlements against Indian raids. In the beginning, the word was used as a racial slur, but it has become more of a descriptor now.

Like I said: complicated. The histories of modern Native Americans are as varied as their languages and cultures.

Happy Indigenous People's Day.

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These moments of historical blogginess have been brought to you, as a public service, by Lynne Cantwell. Stay safe!

Behind the brown door.

I had every intention of writing a blog post last weekend while I was away, but time got away from me as I visited with friends, and I forgot to even put up the "on vacation" sign. I'm pretty sure it's the first time I've completely missed a week in the five years (five years!) I've been doing this blog. Still -- sorry about that. I hope I can make it up to you with this week's post, which is about Georgia O'Keeffe.

O'Keeffe is probably my favorite painter. I can take or leave her flower paintings -- which, by the way, she never meant to be sexual. "I hate flowers," she's quoted as saying. "I paint them because they're cheaper than models and they don't move." The art world pinned the "girl painting girl parts" label on her because her husband, Alfred Stieglitz, had used her as a nude model for his photography.

My favorite O'Keeffe works are those she painted after she discovered New Mexico: the bones, the amazing landscapes, and this one window. I loved the window painting so much when I saw it at the Museum of Fine Arts in Santa Fe that I bought a print and framed it. It's called In the Patio II and she painted it in 1948.

That wall fascinated O'Keeffe. She painted and sketched it at least twenty times. It's the reason she spent more than ten years convincing the Archdiocese of Santa Fe to sell her the crumbling ranch house with the patio -- a courtyard, really -- in the center.

The wall fascinated me, too. I wanted to know what was on the other side of the window. I was sure it was something magical.

But when I took a tour of her house and studio in Abiquiu, NM, this past week, I discovered it's not a window at all. It's a door. Here's a link to what the real thing looks like. I'm resorting to a link so that I don't violate any copyrights -- but I encourage you to click through so you can see what I'm talking about. In the photo at the link, see how the shadow of the adjoining wall slants across the wall with the door? Well, when I was there, the wall with the door was itself casting the shadow. Adobe is the same color as the dirt in the courtyard. And O'Keeffe was a Minimalist; she left out details to get at the essence of what she was painting. So for In the Patio II, she left out the line where the wall ends and the patio starts. The dark stripe under the door is the shadow of the wall; the brighter stripe beyond is sunlit dirt.

So what's behind the door? It's a storage room, according to our guide. O'Keeffe hated clutter. She kept all her extra canvases and brushes and paints and stuff in there.

Some folks might have been disappointed to hear that, but not me. I was charmed. For the tools and supplies are what O'Keeffe used to make her art. She kept magic behind that door -- just as I'd suspected all along.

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These moments of bloggy curiosity have been brought to you, as a public service, by Lynne Cantwell.