Woo Woo with Rachel Dratch

Episode: "Cara Romero: Ancestral Spirit Through a Modern Lens"

Date: September 24, 2025
Host: Rachel Dratch
Guest: Cara Romero (photographer, artist)
Co-Host: Irene Bremes

Episode Overview

This episode features acclaimed photographer Cara Romero, whose work explores the intersections of ancestral heritage, Native American identity, and contemporary expression through a modern, often theatrical lens. Rachel Dratch and co-host Irene Bremes delve into Romero’s creative journey, her unique approach to staged photography, thematic explorations of representation and indigeneity, and the presence of the unseen—ancestors, spirit, and the "woo woo"—in art and life. The discussion highlights both the personal and cultural dimensions of Romero's work, from Native representation in pop culture to indigenous futurism and the role of humor as both medicine and rebellion.

Key Discussion Points and Insights

1. Cara Romero’s Artistic Journey and Identity (03:38-09:30)

• Early Roots: Cara grew up on the Chemehuevi Valley Indian Reservation in the Mojave Desert, in a community of makers — learning traditional arts like beadwork and basket weaving.
• Transition to Photography: She stumbled into photography while at the University of Houston, where a formative professor emphasized narrative over technique.

  “I stumbled into the dark room in 1997...had one of those professors that changed my life that really emphasized content and narrative over technical ability.” (03:55)

• Career Evolution: Romero’s career blossomed from local arts markets (Santa Fe Indian Market, Herd Museum Market) into international recognition. She describes her path as following intuition and joy, with professional milestones coming through persistence, dedication to craft, and a changing American art landscape that now embraces more Native voices.

  “I feel lucky…I stuck with it, I kept making art...And just like anything, you get better, you mature, your voice gets better, you get better at what you do.” (06:17)

2. The Theatrical and Narrative Aspects of Romero’s Work (12:06-20:30)

• Staged Photography: As a young mother, Romero became more interested in staging and constructing photographic narratives rather than photojournalism.

  "I really was interested, even in the very beginning, in staging moments. I felt like it was a way to build story in one moment." (13:34)

• TV Indians Series: This body of work features Indigenous subjects in front of stacked televisions displaying stereotypical or problematic images of Native Americans from popular media, contrasted with their real-life regalia and presence.

  “On the TVs is how they’re represented in Hollywood…somewhat beloved but problematic…And then what they look like in real life.” (15:03)

• First American Doll Boxes: Inspired by her daughter and the lack of Native representation in toys, Romero created life-size doll boxes highlighting the individuality and regalia of Native people. Each subject chose design elements connected to their tribal heritage.

  “I wanted to make a series of dolls with real life people…To highlight the incredible regalia that our whole communities invest in…” (17:07)
  “Our design work is different. Our regalia emerges from our different bioregions…this is fun and beautiful and resilient…” (18:12)

3. Indigenous Futurism and Sci-Fi Motifs (23:26-27:13)

• Indigenous Futurism: Romero discusses her more experimental, sci-fi-inspired works that departed from ethnographic tropes and instead placed Indigenous identity into speculative, futuristic contexts.

  “This is the first time our communities are imagining themselves in the future as opposed to just like the exclamation that we’re here...we talk about our survivance and our resilience in the future.” (24:05)

• Symbolism of Corn: In one installation, floating corn cobs represent futuristic seed banks, blending traditional Native agricultural knowledge ("the first sciences of place") with speculative metaphors for survival and sustainability.

  “For Native people, it’s really rooted in ecosystem and interdependence…If we’re not able to grow heirloom corn anymore, we’re in a lot of trouble.” (25:27)

4. Ancestry, Spirit, and Coexistence Through Time (27:27-30:35)

• Ancestral Presence: Irene reflects on how Romero’s work gives the feeling that ancestors are always present and travel with us through time—visibly and invisibly.

  “The crux of the photographs...evoked this feeling of like, your ancestors are always with you through time travel...” (27:27 – Irene Bremes)

• Contemporary and Traditional Duality: Romero emphasizes the ongoing nature of culture — that tradition and change coexist, and Native youth, her primary audience, can embrace both regalia and modern streetwear.

  “We have all of that old stuff that we bring through time and we protect, but we also wear Chucks and sunglasses and have ipod phones…And it’s okay to be both, right?” (29:32)

• Spiritual Ecology: If people were more conscious of the spirits inhabiting our landscapes, Romero suggests, we would treat the land and each other with greater respect.

5. The Creative Process and the ‘Woo Woo’ of Inspiration (32:50-37:33)

• The Muse and Sudden Inspiration: Dratch asks about moments of sudden artistic inspiration, likening them to sketch comedy. Romero affirms that her process also includes bolts-from-the-blue and a need to “fan the flames” of an idea.

  “We never know where it’s going to come from...you have to continue writing the songs to get to those ones that, like, strike a chord…” (34:00) “You don’t have to understand everything, but you’re having a deep connection to something bigger than yourself, and that’s more important than what anybody thinks. And that’s my woo.” (36:47)

• Supernatural and Art: Romero was inspired by author Louise Erdrich’s blend of the supernatural with everyday reality, and strives to visually express Native beliefs in the supernatural and medicine through her photography.

  “When you put it in the art, it’s like a reminder of those stories…We do have like, medicine as human beings…why not put it in the art?” (38:01)

6. Humor as Medicine and Rebellion (40:15-45:20)

• Using Humor to Heal: Romero speaks about a recent panel on humor in contemporary Native art and describes humor as cross-cultural, universal “medicine,” and a subtle yet powerful tool to challenge stereotypes, create belonging, and address absurdity.

  “Humor is an incredible vehicle to create understanding for people’s humanity and really point out bad behavior…It’s part of the human experience, an important part.” (41:23)

• Native Representation in Media: Discusses the significance of emerging Native-led media (e.g., “Smoke Signals,” “Reservation Dogs”) and Rachel’s own experience acting in a Native sitcom pilot.

7. Where to See Cara Romero’s Work (46:29-47:59)

• Physical Locations & Exhibits:
  • Romero’s gallery in Santa Fe, NM
  • Website: cararomero.com
  • "Panapu Nuwugai”—a retrospective exhibit—travels to the Phoenix Art Museum (Feb 2026), then Jacksonville Museum of Contemporary Art, and another location TBD.
• The Hood Museum’s Role: Romero gives special credit to Dartmouth's Hood Museum for being a pioneering collector and exhibitor of contemporary Native work.

8. Playful and Personal Closing Moments

• Pendulum Reading: The hosts invite Romero for their regular pendulum reading segment. She gets a “yes” in answer to whether the sun will shine next week for her to create sun prints (cyanotypes).

  “I’m making some sun prints and it’s supposed to rain all week, so it was, is the sun gonna come out next week?” (50:29)

• Art Novices Welcome: The hosts express gratitude for Romero's generous explanations, noting how accessible she made high art themes to “art novices.”
• Affection and Admiration: Romero shares her nervousness and admiration for Dratch and Bremes, leading to a warm, mutual exchange of appreciation.

  “I admire both of you as artists, and I was more nervous for this podcast than any podcast I’ve ever been on.” (49:26 – Cara Romero)

Notable Quotes & Memorable Moments

• (03:55) Cara Romero:
  “I stumbled into the dark room in 1997 at the University of Houston and had one of those professors that changed my life...I was all about, like, what can you say through art and what can you say through a photograph?”
• (15:03) Cara Romero on TV Indians:
  “You have friends and family standing in front of about 40 TVs...On the TVs is how they’re represented in Hollywood and media…somewhat beloved, but problematic...and then what they look like in real life.”
• (18:12) Cara Romero on Doll Boxes:
  “We don’t all look alike, we don’t all dress alike. Our design work is different. Our regalia emerges from our different bioregions. And so this is like fun and beautiful and resilient and like a moment where people can learn really quickly through a photograph what it would take a really long time to write about.”
• (24:05) Cara Romero on Indigenous Futurism:
  “This is the first time our communities are imagining themselves in the future as opposed to just...the exclamation that we’re here.”
• (34:00) Cara Romero on Inspiration:
  “If something lands, and I find myself still thinking about it and still interested, then, like, you gotta fan those embers…If you fan those flames, you’re calling it all in.”
• (36:47) Cara Romero on Woo:
  “You don’t have to understand everything, but you’re having a deep connection to something bigger than yourself, and that’s more important than what anybody thinks. And that’s my woo.”
• (41:23) Cara Romero on Humor:
  “Humor is an incredible vehicle to create understanding for people’s humanity and really point out bad behavior too, in ourselves and in other people...It’s part of the human experience, an important part of the human experience.”

Timestamps for Major Segments

• Intro & Welcome: 00:54 – 02:57
• Cara's Artistic Roots: 03:38 – 06:00
• Artistic Evolution & Recognition: 06:00 – 09:30
• Staged Photography & Named Works (TV Indians, Doll Boxes): 12:06 – 20:30
• Indigenous Futurism & Sci-Fi Art: 23:26 – 27:13
• Ancestry, Spirit, Contemporary/Traditional Blending: 27:27 – 30:35
• Creative Process & Woo Woo Inspiration: 32:50 – 37:33
• Supernatural and Art: 37:59 – 40:15
• Humor in Art & Representation: 40:15 – 45:20
• Art in Media, Panels, and Representation: 45:20 – 46:28
• Where to See Romero’s Work: 46:29 – 47:59
• Pendulum & Sun Prints: 49:53 – 51:19
• Closing Affection, Gratitude: 49:26 – 52:35

Tone & Takeaways

The conversation is lively, curious, deeply respectful, and at times playful, reflecting a sense of awe at Romero’s work and worldview. The tone is inviting, accessible, and affirming of both cultural specificity and universal human creativity. Through humor, spirit, and open dialogue, this episode encourages listeners to look for the magic—ancestral and otherwise—within art and themselves.

For more on Cara Romero’s work:

• Visit cararomero.com
• Check upcoming exhibits at her Santa Fe gallery and major museums (Phoenix Art Museum, 2026)

Follow Rachel Dratch (@raedratch) and Irene Bremes (@irenebremis) for more Woo Woo adventures!