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I have crossed the Atlantic to ride the railroads of North America | 0:00:02 | 0:00:07 | |
with my reliable Appletons' Guide. | 0:00:07 | 0:00:09 | |
Published in the late 19th century, | 0:00:12 | 0:00:14 | |
Appletons' General Guide to North America will direct me to all that's | 0:00:14 | 0:00:19 | |
novel, beautiful, memorable and striking in the United States. | 0:00:19 | 0:00:26 | |
-ALL: -Goed! | 0:00:26 | 0:00:28 | |
As I journey across this vast continent | 0:00:28 | 0:00:30 | |
I'll discover how pioneers and cowboys conquered the West. | 0:00:30 | 0:00:34 | |
MEDLEY OF GUNSHOTS | 0:00:34 | 0:00:35 | |
And how the railroads tied this nation together, | 0:00:35 | 0:00:39 | |
helping to create the global superstate of today. | 0:00:39 | 0:00:42 | |
By the time of my guidebook, | 0:01:11 | 0:01:13 | |
railroad tracks stretched across the continent, | 0:01:13 | 0:01:16 | |
and Americans were using them to tour their land for pleasure. | 0:01:16 | 0:01:20 | |
My rail journey westward from St Louis to the Grand Canyon, | 0:01:27 | 0:01:32 | |
covering maybe 1,700 miles, is reaching its climax. | 0:01:32 | 0:01:37 | |
I've hugged the banks of the Missouri and Arkansas rivers. | 0:01:37 | 0:01:41 | |
I've followed the wagons along the old Santa Fe Trail. | 0:01:41 | 0:01:45 | |
And I've ridden on transcontinental tracks first laid in the 1870s. | 0:01:45 | 0:01:51 | |
Now it's time to wallow in some of the luxury offered by the West today | 0:01:51 | 0:01:56 | |
before witnessing one of the greatest sights on earth. | 0:01:56 | 0:02:00 | |
I began my journey in St Louis, Missouri. | 0:02:05 | 0:02:08 | |
Then headed to Kansas City. | 0:02:08 | 0:02:11 | |
From there I struck out west across the plains to gun-toting Dodge City | 0:02:11 | 0:02:16 | |
before arriving in the Rocky Mountains at Colorado Springs. | 0:02:16 | 0:02:20 | |
Now I'm heading south, through New Mexico, | 0:02:21 | 0:02:24 | |
ending at the spectacular natural wonder of Arizona's Grand Canyon. | 0:02:24 | 0:02:29 | |
Today, I explore Santa Fe, | 0:02:34 | 0:02:37 | |
then turn south to a Native American settlement in Acoma. | 0:02:37 | 0:02:41 | |
I discover how the great outdoors adds to the drama of opera. | 0:02:44 | 0:02:49 | |
John Crosby thought that it would be a shame to enclose the theatre when | 0:02:49 | 0:02:54 | |
we are surrounded by such incredible natural beauty. | 0:02:54 | 0:02:58 | |
Uncover Santa Fe's historic past. | 0:02:59 | 0:03:02 | |
It's the longest continuously occupied public building | 0:03:02 | 0:03:06 | |
in the whole United States. | 0:03:06 | 0:03:07 | |
When the White House was built, it was 200 years old already. | 0:03:07 | 0:03:11 | |
And I'm privileged to be invited to visit | 0:03:11 | 0:03:14 | |
an ancient Native American pueblo. | 0:03:14 | 0:03:17 | |
How long has there been a settlement up here? | 0:03:17 | 0:03:20 | |
The way we describe it to ourselves is, | 0:03:20 | 0:03:23 | |
we've been here since the beginning of time. | 0:03:23 | 0:03:25 | |
Amtrak's Southwest Chief service crosses eight states between Chicago | 0:03:36 | 0:03:41 | |
and Los Angeles in three days. | 0:03:41 | 0:03:44 | |
A full restaurant service means that hungry passengers | 0:03:47 | 0:03:51 | |
can eat great food, as some of the world's | 0:03:51 | 0:03:53 | |
most awesome landscape rolls by. | 0:03:53 | 0:03:55 | |
-Your steak, sir. -Thank you. | 0:04:04 | 0:04:07 | |
Steak knife for you. | 0:04:07 | 0:04:08 | |
Is there anything else I can bring you right now, Michael? | 0:04:08 | 0:04:11 | |
Oh, Linda, it looks great. | 0:04:11 | 0:04:12 | |
I'm going to be just fine. | 0:04:12 | 0:04:15 | |
Thank you. | 0:04:15 | 0:04:16 | |
Look at that - perfect. | 0:04:21 | 0:04:22 | |
Mmm! | 0:04:23 | 0:04:24 | |
My journey West has brought me into the state of New Mexico, | 0:04:41 | 0:04:45 | |
which retains its Hispanic heritage dating back to the time before its | 0:04:45 | 0:04:50 | |
conquest by the United States. | 0:04:50 | 0:04:53 | |
After the rough-and-tumble of the Wild West, | 0:04:53 | 0:04:56 | |
it's time for some luxury, | 0:04:56 | 0:04:58 | |
and to discover how, in Santa Fe, there arose a biblical epic, | 0:04:58 | 0:05:03 | |
appropriately, perhaps, since the city's name | 0:05:03 | 0:05:07 | |
translates as "holy faith". | 0:05:07 | 0:05:09 | |
Founded in 1607, | 0:05:18 | 0:05:20 | |
Santa Fe was the capital of the Spanish kingdom of New Mexico, | 0:05:20 | 0:05:24 | |
and is the state capital today. | 0:05:24 | 0:05:26 | |
The city's distinctive low adobe buildings | 0:05:30 | 0:05:33 | |
with their round walls and flat roofs | 0:05:33 | 0:05:35 | |
are made from bricks formed of sun-dried earth and straw. | 0:05:35 | 0:05:39 | |
The architecture of Santa Fe is delightfully dominated | 0:05:59 | 0:06:02 | |
by the Spanish colonial period. | 0:06:02 | 0:06:05 | |
We Europeans scoff at the Americans | 0:06:05 | 0:06:07 | |
because they don't have many old buildings. | 0:06:07 | 0:06:09 | |
Well, the mission of San Miguel was built at the beginning of | 0:06:09 | 0:06:12 | |
the 17th century, which makes it older | 0:06:12 | 0:06:15 | |
than London's St Paul's Cathedral, | 0:06:15 | 0:06:17 | |
or France's Palace of Versailles. | 0:06:17 | 0:06:20 | |
So perhaps we should show some humility. | 0:06:20 | 0:06:23 | |
In the late 19th century, | 0:06:32 | 0:06:34 | |
railroad refreshment was a much less leisurely experience | 0:06:34 | 0:06:37 | |
than mine aboard the Southwest Chief. | 0:06:37 | 0:06:40 | |
Passengers had to disembark and were given 15 minutes | 0:06:40 | 0:06:44 | |
to eat and freshen up before re-boarding. | 0:06:44 | 0:06:46 | |
Thanks to a British immigrant named Fred Harvey, | 0:06:48 | 0:06:52 | |
arrangements began to improve. | 0:06:52 | 0:06:53 | |
'I'm meeting Jenny Kimball at La Fonda Hotel.' | 0:06:55 | 0:06:58 | |
Jenny, now, I believe it was once a Harvey hotel, what did that mean? | 0:06:59 | 0:07:04 | |
Well, Fred Harvey operated hotels all along the railroad line. | 0:07:04 | 0:07:10 | |
And the Fred Harvey Company bought it in the early '20s. | 0:07:10 | 0:07:14 | |
Which meant it was part of the Harvey chain. | 0:07:14 | 0:07:17 | |
Fred Harvey had worked as a railroad caterer | 0:07:19 | 0:07:21 | |
which is how he spotted a gap in the market | 0:07:21 | 0:07:25 | |
for good food on long journeys. | 0:07:25 | 0:07:27 | |
In 1876, he struck out on his own | 0:07:27 | 0:07:29 | |
and opened the first of his restaurants | 0:07:29 | 0:07:32 | |
on the Atchison, Topeka and Santa Fe Railroad. | 0:07:32 | 0:07:35 | |
At its peak in 1928, Fred Harvey's empire, | 0:07:37 | 0:07:41 | |
comprised nearly 100 restaurants and 25 hotels known as Harvey Houses. | 0:07:41 | 0:07:46 | |
Within his hotels and restaurants | 0:07:48 | 0:07:50 | |
tell me about the sort of service you could expect? | 0:07:50 | 0:07:53 | |
Service was impeccable, only the best, | 0:07:53 | 0:07:56 | |
white glove silver service. | 0:07:56 | 0:07:58 | |
And it was mainly because of the Harvey Girls. | 0:07:58 | 0:08:00 | |
The Harvey Girls were educated women, mainly from the East Coast, | 0:08:00 | 0:08:04 | |
that wanted an adventure. | 0:08:04 | 0:08:06 | |
They were trained in manners, service. | 0:08:06 | 0:08:10 | |
They had impeccable starched uniforms. | 0:08:10 | 0:08:13 | |
And they couldn't be married. | 0:08:13 | 0:08:15 | |
They couldn't fraternise with the guests. | 0:08:15 | 0:08:18 | |
So, I mean, they had a whole list of dos and don'ts. | 0:08:18 | 0:08:21 | |
But they really elevated the service at all of the Harvey Hotels. | 0:08:21 | 0:08:25 | |
The Santa Fe Railroad Company | 0:08:25 | 0:08:27 | |
introduced Pullman dining cars in 1888. | 0:08:27 | 0:08:30 | |
And Fred Harvey provided both the menu and the staff. | 0:08:30 | 0:08:34 | |
What was served until then was what they called slop, the Western slop. | 0:08:35 | 0:08:40 | |
He served lobster. | 0:08:40 | 0:08:42 | |
He served very sophisticated European food on the train. | 0:08:42 | 0:08:47 | |
May have been kind of the precursor to first class on an aeroplane. | 0:08:47 | 0:08:51 | |
He didn't do badly for a lad from Lancashire, England. | 0:08:51 | 0:08:54 | |
No, he did not do badly, yeah. | 0:08:54 | 0:08:55 | |
With good quality food and impeccable service, | 0:08:58 | 0:09:01 | |
the Fred Harvey Brand became widely known in America. | 0:09:01 | 0:09:05 | |
And in 1946, Fred's Harvey Girls were immortalised in a film | 0:09:05 | 0:09:10 | |
starring Judy Garland. | 0:09:10 | 0:09:12 | |
'Bernette Jarvis and Beverly Ireland worked at La Fonda Hotel | 0:09:13 | 0:09:18 | |
'in the 1950s.' | 0:09:18 | 0:09:19 | |
How did you get the job of being a Harvey Girl? | 0:09:20 | 0:09:23 | |
We moved here from Minnesota in 1955. | 0:09:23 | 0:09:28 | |
We thought it was a temporary job. | 0:09:28 | 0:09:30 | |
It turned out to be several years of a wonderful experience. | 0:09:30 | 0:09:35 | |
What attracted you about the reputation of Harvey Girls? | 0:09:35 | 0:09:39 | |
Find service, elegant dishes, food was marvellous. | 0:09:39 | 0:09:45 | |
It just was a prestige job. | 0:09:45 | 0:09:49 | |
It was the only place in Santa Fe that was a nice hotel. | 0:09:49 | 0:09:55 | |
And we worked breakfast and lunch | 0:09:55 | 0:09:57 | |
only because we were 18 years old and couldn't serve liquor. | 0:09:57 | 0:10:01 | |
Looking back, are you pleased that you were Harvey Girls? | 0:10:01 | 0:10:05 | |
Absolutely. | 0:10:05 | 0:10:06 | |
It was a hard job because of the standard | 0:10:06 | 0:10:12 | |
but it was a way to get ladies a job. | 0:10:12 | 0:10:16 | |
To get away from home. | 0:10:17 | 0:10:19 | |
And to be in the workforce. | 0:10:19 | 0:10:22 | |
I wouldn't trade it for anything. | 0:10:22 | 0:10:23 | |
I'm heading seven miles north of Santa Fe | 0:10:36 | 0:10:39 | |
to an adobe building inspired by the high desert landscape | 0:10:39 | 0:10:43 | |
which it inhabits. | 0:10:43 | 0:10:44 | |
As though to symbolise the civilisation of the West, | 0:10:53 | 0:10:57 | |
Santa Fe has an opera house of global renown, | 0:10:57 | 0:11:01 | |
attracting the best talent. | 0:11:01 | 0:11:03 | |
Audiences travel for thousands of miles. | 0:11:03 | 0:11:06 | |
I made the pilgrimage myself some years ago. | 0:11:06 | 0:11:10 | |
The auditorium is like no other. | 0:11:10 | 0:11:12 | |
It has no sides. | 0:11:12 | 0:11:13 | |
For many productions, the backdrop is provided by the mountains and the | 0:11:13 | 0:11:17 | |
sunsets of New Mexico. | 0:11:17 | 0:11:20 | |
What better place to perform Puccini's La Fancuilla del West - | 0:11:20 | 0:11:23 | |
The Girl of the Golden West? | 0:11:24 | 0:11:26 | |
The general director of the Santa Fe Opera is Charles MacKay. | 0:11:37 | 0:11:41 | |
Charles, how and why did they think of building an opera house here? | 0:11:45 | 0:11:50 | |
60 years ago John Crosby, the founder, | 0:11:50 | 0:11:53 | |
had always had the dream of founding an opera company here. | 0:11:53 | 0:11:57 | |
And so, lo and behold, | 0:11:57 | 0:11:59 | |
he talked his parents into fronting the money | 0:11:59 | 0:12:02 | |
to build the first theatre | 0:12:02 | 0:12:04 | |
and persuaded a group of businessmen in Santa Fe to back it | 0:12:04 | 0:12:07 | |
and the company got started. | 0:12:07 | 0:12:09 | |
John Crosby was a New York musician with a passion for opera. | 0:12:11 | 0:12:15 | |
Santa Fe had a long connection with visual artists and writers | 0:12:15 | 0:12:19 | |
but little with musical life. | 0:12:19 | 0:12:21 | |
Crosby set out to change that in 1957 by building | 0:12:22 | 0:12:26 | |
a 480-seat wooden theatre | 0:12:26 | 0:12:28 | |
and inaugurating a summer opera festival. | 0:12:28 | 0:12:31 | |
He always had the idea of doing something that was very different, | 0:12:33 | 0:12:36 | |
to combine standard, rarely performed and new works, | 0:12:36 | 0:12:41 | |
and to create the first apprentice programme for singers | 0:12:41 | 0:12:45 | |
in the United States. | 0:12:45 | 0:12:47 | |
Fire destroyed Crosby's Theatre in 1967. | 0:12:48 | 0:12:52 | |
Within a year it was replaced with a larger structure. | 0:12:52 | 0:12:56 | |
And in 1998, the present 2000-seat auditorium opened. | 0:12:56 | 0:13:01 | |
Was it always the idea from the beginning | 0:13:04 | 0:13:06 | |
-to have a sideless and backless opera house? -It was. | 0:13:06 | 0:13:10 | |
John Crosby thought that it would be a shame to enclose the theatre when | 0:13:11 | 0:13:16 | |
we are surrounded by such incredible natural beauty. | 0:13:16 | 0:13:20 | |
And to have a beautiful sunset as the performance is beginning. | 0:13:20 | 0:13:25 | |
And occasionally that the elements | 0:13:25 | 0:13:28 | |
contribute to the telling of the story. | 0:13:28 | 0:13:31 | |
So what happens when you get torrential rain? | 0:13:31 | 0:13:34 | |
If the rain is coming down vertically, everything is fine. | 0:13:36 | 0:13:41 | |
But when it's coming horizontally that's a little bit of a problem. | 0:13:41 | 0:13:46 | |
It can get a little bit dicey if the rain gets into the orchestra pit. | 0:13:46 | 0:13:51 | |
Sometimes you might end up with a performance | 0:13:51 | 0:13:53 | |
where there's just one first violin playing at the end of the opera. | 0:13:53 | 0:13:58 | |
Puccini's The Girl of the Golden West is a love story between Minnie, | 0:14:08 | 0:14:13 | |
a saloon owner, and a bandit called Dick Johnson. | 0:14:13 | 0:14:16 | |
And is set during the California gold rush of 1849. | 0:14:16 | 0:14:20 | |
Cooper Nolan is an apprentice singer at the opera. | 0:14:22 | 0:14:27 | |
Cooper. Good to see you. | 0:14:27 | 0:14:28 | |
-Good to see you, how's it going? -Very well. | 0:14:28 | 0:14:30 | |
I understand you're on the Santa Fe Opera apprenticeship programme. | 0:14:30 | 0:14:34 | |
Yes, I am. This is my second year. | 0:14:34 | 0:14:36 | |
Now you're studying the role of Dick Johnson? | 0:14:36 | 0:14:38 | |
-Correct. -In The Girl of the Golden West. | 0:14:38 | 0:14:40 | |
Would you be so kind as to sing me a little bit? | 0:14:40 | 0:14:43 | |
-Sure, absolutely. -What are you going to sing? | 0:14:43 | 0:14:45 | |
So this is the second act aria after she's discovered | 0:14:45 | 0:14:48 | |
that Dick Johnson is not who he says he is. | 0:14:48 | 0:14:50 | |
He still loves her, but he's been lying. | 0:14:50 | 0:14:52 | |
He's actually the bandit that everyone's been looking for. | 0:14:52 | 0:14:55 | |
# Or son sei mesi che mio padre mori | 0:15:02 | 0:15:04 | |
# E il labbro mio mormoro un'ardente preghiera | 0:15:13 | 0:15:21 | |
# Oh Dio! | 0:15:23 | 0:15:24 | |
# Ch'ella non sappia mai | 0:15:24 | 0:15:28 | |
# Non sappia mai la mia vergogna! | 0:15:28 | 0:15:36 | |
# Non sappia mia! | 0:15:36 | 0:15:44 | |
# Il sogno e stato vano! | 0:15:47 | 0:15:53 | |
# Ora ho finito. # | 0:15:54 | 0:16:01 | |
Well done. You've convinced me you're a good guy. | 0:16:04 | 0:16:07 | |
Thank you very much. Appreciate it. Thanks for coming around. | 0:16:07 | 0:16:09 | |
-And a very good singer. -Thank you. | 0:16:09 | 0:16:11 | |
NOTES ON XYLOPHONE RING OUT | 0:16:11 | 0:16:14 | |
When the railroad arrived in 1880 it followed the route of the earlier | 0:16:37 | 0:16:41 | |
Santa Fe Trail, which had brought pioneers from Missouri. | 0:16:41 | 0:16:45 | |
As people in the eastern states grew wealthier, | 0:16:47 | 0:16:50 | |
the more intrepid among them began to venture west as tourists. | 0:16:50 | 0:16:54 | |
Appletons' quotes the writings of a Mrs Wallace who was married to the | 0:16:57 | 0:17:00 | |
United States Governor before New Mexico was a state. | 0:17:00 | 0:17:05 | |
"The ancient governor's palace | 0:17:05 | 0:17:07 | |
"extends along one whole side of the plaza, | 0:17:07 | 0:17:10 | |
"a long low structure built of adobe. | 0:17:10 | 0:17:14 | |
"Santa Fe was a stronghold before | 0:17:14 | 0:17:16 | |
the Spanish conquest and a town of some | 0:17:16 | 0:17:19 | |
"importance to the white race when Pennsylvania was still a wilderness. | 0:17:19 | 0:17:24 | |
"It is rich in historic interest." | 0:17:24 | 0:17:27 | |
Time to discover more about the palace and about the Wallaces. | 0:17:27 | 0:17:31 | |
'Meredith Davidson is curator at the Palace of the Governors, | 0:17:47 | 0:17:51 | |
'a New Mexico history museum.' | 0:17:51 | 0:17:53 | |
Meredith, I'm very struck by the depth of history here. | 0:17:58 | 0:18:01 | |
The number of regimes that there have been in Santa Fe, | 0:18:01 | 0:18:05 | |
and specifically in this governors palace. | 0:18:05 | 0:18:07 | |
It was built in 1610. | 0:18:07 | 0:18:09 | |
It's the longest continuously occupied public building | 0:18:09 | 0:18:12 | |
in the whole United States. | 0:18:12 | 0:18:13 | |
When the White House was built, it was 200 years old already. | 0:18:13 | 0:18:17 | |
It's seen five separate governments across its history. | 0:18:17 | 0:18:21 | |
Before it was cited in 1608, | 0:18:21 | 0:18:23 | |
New Mexico was occupied by Native Americans. | 0:18:23 | 0:18:27 | |
It was part of the Spanish Empire from 1610 on. | 0:18:27 | 0:18:31 | |
After that it was briefly part of Mexico, | 0:18:31 | 0:18:33 | |
when Mexico declared independence in 1821. | 0:18:33 | 0:18:37 | |
And following that it became a US territory. | 0:18:37 | 0:18:40 | |
And then later became a state in 1912. | 0:18:40 | 0:18:43 | |
I'm in search of one particular governor mentioned in Appletons'. | 0:18:43 | 0:18:47 | |
Governor Wallace. | 0:18:47 | 0:18:48 | |
Yes, Governor Wallace was our governor from 1878 to 1881. | 0:18:48 | 0:18:55 | |
And he was here at a really fascinating moment | 0:18:55 | 0:18:58 | |
where the railroads were coming into New Mexico for the first time, | 0:18:58 | 0:19:03 | |
where there was still quite an environment | 0:19:03 | 0:19:07 | |
of what romantically is sort of called the Wild West. | 0:19:07 | 0:19:11 | |
Lew Wallace was a Union general in the Civil War. | 0:19:12 | 0:19:16 | |
A lawyer and diplomat. | 0:19:16 | 0:19:18 | |
But his fame today largely rests on his work as a writer. | 0:19:18 | 0:19:21 | |
So we've come down here to look at the chair | 0:19:28 | 0:19:30 | |
that belonged to Governor Lew Wallace. | 0:19:30 | 0:19:33 | |
It was from here that he wrote or presumably wrote the book that | 0:19:33 | 0:19:37 | |
he became most well known for, Ben Hur, which came out in 1880. | 0:19:37 | 0:19:42 | |
So, he would sit there, and this is his writing desk, his table. | 0:19:42 | 0:19:46 | |
-He has it on his lap. -Right. | 0:19:46 | 0:19:47 | |
Exactly. | 0:19:47 | 0:19:48 | |
Set in the Roman Empire, | 0:19:50 | 0:19:51 | |
the novel tells the story of a young Jewish man of means who loses his | 0:19:51 | 0:19:56 | |
family and freedom because of the injustice of a Roman officer. | 0:19:56 | 0:20:00 | |
But eventually triumphs through his own determination | 0:20:00 | 0:20:04 | |
and the intervention of Jesus Christ. | 0:20:04 | 0:20:07 | |
Adaptations for stage and screen followed, most famously in 1959, | 0:20:07 | 0:20:12 | |
starring Charlton Heston as Ben Hur. | 0:20:12 | 0:20:15 | |
Was it a successful book? | 0:20:15 | 0:20:17 | |
Ben Hur was really an instant success. | 0:20:17 | 0:20:20 | |
It very quickly surpassed sales of Uncle Tom's Cabin. | 0:20:20 | 0:20:24 | |
A book that had been, since the Civil War, really, | 0:20:24 | 0:20:27 | |
one of the most purchased books in the nation. | 0:20:27 | 0:20:30 | |
I'm continuing my journey from Santa Fe south west, | 0:20:50 | 0:20:53 | |
on an excursion recommended by my Appletons'. | 0:20:53 | 0:20:56 | |
My next destination will be Acoma. | 0:21:08 | 0:21:11 | |
Appletons' says, "the towns of these Indians are similarly interesting | 0:21:11 | 0:21:15 | |
"and well worth a visit. On an eminence commanding a view | 0:21:15 | 0:21:19 | |
"so situated that they can be approached | 0:21:19 | 0:21:22 | |
"only through a narrow defile. | 0:21:22 | 0:21:24 | |
"The houses are two or three storeys, | 0:21:24 | 0:21:27 | |
"ranged in the form of hollow squares. | 0:21:27 | 0:21:29 | |
"Access can be had only by ladders to the second storeys. | 0:21:29 | 0:21:33 | |
"The first being built solid without an opening." | 0:21:33 | 0:21:37 | |
By the end of the 19th century | 0:21:37 | 0:21:39 | |
the Native American had become a curiosity, | 0:21:39 | 0:21:42 | |
a tourist attraction. | 0:21:42 | 0:21:43 | |
The Pueblo Indians of the South West | 0:21:48 | 0:21:50 | |
take their name from the Spanish word used by the first explorers | 0:21:50 | 0:21:54 | |
to describe the apartment-like buildings in which they live. | 0:21:54 | 0:21:58 | |
19 Pueblo communities remain in New Mexico. | 0:22:01 | 0:22:06 | |
They welcome tourists to buy the pottery for which they're renowned, | 0:22:06 | 0:22:09 | |
but filming is rarely allowed. | 0:22:09 | 0:22:11 | |
It's a privilege for me to be invited to visit Acoma Pueblo | 0:22:18 | 0:22:23 | |
on its sandstone bluff 367 feet high. | 0:22:23 | 0:22:28 | |
'I'm meeting tribal secretary John Sims.' | 0:22:32 | 0:22:35 | |
These houses are very much as described in my guidebook | 0:22:41 | 0:22:45 | |
with the ladders. | 0:22:45 | 0:22:46 | |
It says that in those days there was no opening on the ground floor. | 0:22:46 | 0:22:49 | |
Yes. You know, the ground floor was basically meant for storage | 0:22:49 | 0:22:53 | |
and in case there was intruders or anything like that | 0:22:53 | 0:22:57 | |
you would pull the ladders up | 0:22:57 | 0:22:58 | |
and the living quarters were on the second storey, | 0:22:58 | 0:23:01 | |
so everybody was nice and safe. | 0:23:01 | 0:23:02 | |
The view from here is absolutely breathtaking. | 0:23:20 | 0:23:23 | |
How long has there been a settlement up here? | 0:23:23 | 0:23:25 | |
The way we describe it to ourselves | 0:23:25 | 0:23:27 | |
is we've been here since the beginning of time, | 0:23:27 | 0:23:32 | |
but in terms of anthropology, you can date us to 1500 AD. | 0:23:32 | 0:23:38 | |
Did they settle here for defensive for religious reasons? | 0:23:38 | 0:23:41 | |
The mesa top here was chosen I think more particularly for defence | 0:23:41 | 0:23:45 | |
than anything else. | 0:23:45 | 0:23:47 | |
How did you fare with the Spanish when they arrived? | 0:23:47 | 0:23:50 | |
They originally came in, and for the most part the Pueblos welcomed them. | 0:23:50 | 0:23:56 | |
The Spanish had other things in mind, | 0:23:56 | 0:23:58 | |
which was to take over land and territories | 0:23:58 | 0:24:01 | |
and for the most part they were also looking for riches. | 0:24:01 | 0:24:04 | |
They were looking for gold and they didn't find them. | 0:24:04 | 0:24:07 | |
You know, the battle for Acoma is definitely a large one | 0:24:07 | 0:24:11 | |
in the context of the Pueblo world. | 0:24:11 | 0:24:13 | |
The battle of Acoma between the Spanish and the Pueblo Indians | 0:24:15 | 0:24:20 | |
in 1598 was devastating, with up to 1,500 native Americans killed. | 0:24:20 | 0:24:25 | |
Over the following decades the Spanish continued | 0:24:25 | 0:24:28 | |
to repress the Pueblos, until in 1680, the tribes united in revolt. | 0:24:28 | 0:24:34 | |
The Pueblos got together and through force | 0:24:34 | 0:24:37 | |
drove the Spanish out of New Mexico | 0:24:37 | 0:24:40 | |
and the Spanish basically did not enter New Mexico territory for | 0:24:40 | 0:24:44 | |
about a decade, for almost ten years | 0:24:44 | 0:24:46 | |
and in those ten years it allowed the Pueblos to rebuild | 0:24:46 | 0:24:50 | |
and to basically bring back their traditions. | 0:24:50 | 0:24:54 | |
With regard to the present day, | 0:24:54 | 0:24:56 | |
do you think that the Pueblos have survived better | 0:24:56 | 0:24:59 | |
than some other tribe? | 0:24:59 | 0:25:00 | |
The Pueblos have survived a lot better | 0:25:00 | 0:25:03 | |
than our brothers and sister tribes out in the rest of North America. | 0:25:03 | 0:25:08 | |
For one instance, a lot of us weren't pushed onto reservations. | 0:25:08 | 0:25:12 | |
We got to stay in our homeland, like you see us here today. | 0:25:12 | 0:25:15 | |
And secondly, our culture and language survived. | 0:25:16 | 0:25:20 | |
When the railroad came through, | 0:25:26 | 0:25:27 | |
not only did it bring jobs, | 0:25:28 | 0:25:30 | |
but it brought commerce, it brought tourism. | 0:25:30 | 0:25:33 | |
Up to that point our people were basically farmers, hunters, | 0:25:33 | 0:25:38 | |
but with tourism, brought money. | 0:25:38 | 0:25:40 | |
We took an item that was traditionally used... | 0:25:40 | 0:25:43 | |
..in the homes and so our ladies started to make | 0:25:44 | 0:25:47 | |
pottery for these people that were coming through the railroads. | 0:25:47 | 0:25:51 | |
Later on as the train kept building and the lines kept building, | 0:25:51 | 0:25:56 | |
our people found work with them and so to this day | 0:25:56 | 0:26:00 | |
you find large numbers of Acoma people in places like Sacramento, | 0:26:00 | 0:26:05 | |
in places like Arizona and that was the total direct result of them | 0:26:05 | 0:26:10 | |
working for the railroad. | 0:26:10 | 0:26:11 | |
How would you say the United States treats the Pueblo people today? | 0:26:34 | 0:26:37 | |
The overall thing is that you hear in Acoma we have been here | 0:26:38 | 0:26:42 | |
through the Spanish, we were part once of Mexico also, you know? | 0:26:42 | 0:26:47 | |
And then we're here through the American government and as strong as | 0:26:47 | 0:26:54 | |
America is, once the Spanish thought they were just as strong and just as | 0:26:54 | 0:26:57 | |
mighty, and so for Acoma people, | 0:26:57 | 0:27:00 | |
we're going to be here till the end of time. | 0:27:00 | 0:27:02 | |
In 1492, Columbus discovered America. | 0:27:17 | 0:27:20 | |
That's what I was taught at school, | 0:27:20 | 0:27:23 | |
but that Europe-centric view has been discredited for neglecting the | 0:27:23 | 0:27:27 | |
millions of Native Americans who lived at one with nature | 0:27:27 | 0:27:31 | |
in dramatic scenery such as this. | 0:27:31 | 0:27:34 | |
Nowadays, this Pueblo town benefits from tourists, | 0:27:34 | 0:27:37 | |
attracted not least by its pottery. | 0:27:37 | 0:27:40 | |
At least that way the Pueblos are recognised | 0:27:40 | 0:27:44 | |
and regain a foothold | 0:27:44 | 0:27:45 | |
in the historical landscape of North America... | 0:27:45 | 0:27:48 | |
Next time, I'll marvel at American steam technology. | 0:27:52 | 0:27:57 | |
My goodness, John, that is enormous! | 0:27:58 | 0:28:00 | |
..discover the flavours of New Mexico... | 0:28:02 | 0:28:05 | |
That's perfect. Excellent. | 0:28:05 | 0:28:07 | |
More chilli on top. | 0:28:07 | 0:28:09 | |
..and watch the earth open below me. | 0:28:09 | 0:28:13 | |
Here we go over the edge and the ground falls away beneath us. | 0:28:13 | 0:28:18 |