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Star-studded lineup of artists at North Omaha Summer Arts Crawl – Friday, August 8 from 6-9 pm


It’s a star-studded lineup of artists at this Friday’s North Omaha Summer Arts Crawl. Stroll or drive to five venues (listed below) near and along North 30th Street. 6-9 pm. Food and beverages served at each site. It’s all free.

For details, visit www.facebook.com/NorthOmahaSummerArts or check out the Facebook Events page for the Arts Crawl post.

 

Photo: Join us for the 4th annual Summer Arts crawl August 8th!!! We are seeking volunteers so if you'd like to participate please reach out here!

 

Participating artists include:

Artists from Metropolitan Community College
(various mediums)

Sam Herron
(photography)

Pamela Conyers-Hinson
(sculpture)

Richard Harrison
(painting-mural)

Mike Giron
(painting-mural

Paul Konchagulian
(sculpture)

Brett Henderson
(painting)

Edith Buis
(drawing)

Evance Soash
(quilter)

Ashley Spitsnogle
(painting)

Hanne Kruse
(sculpture)

Pamela Jo Berry
(mixed media)

Kenneth Be
(lute)

Kim Whiteside (Kim Louise)
(poetry)

 

The five Arts Crawl venues are:

Metropolitan Community College, Fort Omaha Campus, Mule Barn (Building 21)

Church of the Resurrection, 3004 Belvedere Blvd.

Trinity Lutheran Church, 6340 North 30th Street

Parkside Baptist Church, 3008 Newport Avenue

Heartland Family Service, 6720 North 30th Street

 

At some venues artists will be on hand to discuss their work. Free food and beverages will be available at each stop.

For more information, call 402-502-4669 or 402-445-4666.

Please share this info with family, friends and coworkers in support of this grassroots community event that enriches and engages North Omaha with art.

 

 

 

Linda Meigs Brings Agriculture, History and Art Together at Florence Mill

August 1, 2014 1 comment

Cover Photo

New Horizons Newspaper

 

If you ever doubt what difference an artist can make in a community, consider Linda Meigs.  The Omaha native has found a way to connect her love of history, art, and preservation in a labor of love project and site, the Historic Florence Mill in North Omaha, that is equal parts museum, gallery, installation, and gathering spot.  In so doing , she has gifted one of Omaha’s oldest neighborhoods with an attraction and resource that, were it not for her, would probably have never happened.  She saved the Mill, which has a rich history closely related to the Great Western Mormon Migration, from almost certain demolition and she’s lovingly preserved it as a landmark and transformed the site into a communal space that connects agriculture, history, and art.  It is a story of one woman’s passion and magnificent obsession, which if you read this blog you know by now is the kind of story I love to sink my teeth into.  You can find this story in the August 2014 New Horizons.

 

 

Linda Meigs, ©Allen Irwin blog

 

Linda Meigs Brings Agriculture, History and Art Together at Florence Mill

©by Leo Adam Biga

Now appearing in the New Horizons

 

Artist, history buff, preservationist Linda Meigs didn’t set out to be the Mill Lady but that’s what she’s known as at the Historic Florence Mill, 9012 North 30th Street. It’s appropriate, too, because ever since saving this landmark from likely demolition it’s been her baby.

The wood structure dates back to the 1840s and boasts direct ties to the Great Mormon westward migration and to Church of Latter Day Saints leader Brigham Young. After near continuous use as a flour and lumber mill it was abandoned in the 1970s-1980s. Sitting vacant, the interior was exposed to the elements from a damaged roof and broken windows. Vandals released stored grain from the chutes. Heaps of matted oats and dried pigeon-rodent droppings covered the floors.

Meigs acquired the Mill in 1998 when no one else wanted it. She purchased the-then wreck for $63,000 and much more than that has gone Into its cleanup, repair and restoration. The Mill’s become her magnificent obsession and all-consuming art project.

Today, Meigs, 64, operates the site as a historical museum. Photographs, interpretive text panels, tools, implements, letters and posters tell the story of the Mill and the people behind it. Because she’s retained the historical character of the building, including original timber, the Mill also speaks for itself. The ArtLoft Gallery she created on the second floor is dedicated to her late son Connor Meigs, who followed her path to become an artist. He was a sophomore at her alma mater, the University of Kansas, when killed in a 2004 automobile accident. She was already six years into the project when he died and since then she’s only thrown herself more into it.

An outdoor farmer’s market happens Sundays on the grounds, which she leases from the Nebraska Department of Roads. She also hosts special events at the Mill. This full-fledged cultural attraction began as a cockeyed dream that nearly everyone but her architect husband John Meigs tried talking her out of. It’s turned into a life’s work endeavor that’s preserved history, created a new community space and spurred tourism in one of Omaha’s oldest sections. Her efforts have earned recognition from several quarters.

She’s owner, caretaker, curator and everything else there.

“I’m doing everything here the executive director of any historical society does, only they have paid staff,” she says. “I’m the executive director, docent, historian, janitor, public relations person, events programmer, grant writer, and it just goes on and on.”

She could have added market master. She “runs the show” at the Florence Farmers Market on Sundays in her gaudy market hat.

Those roles are in addition to being a wife, mother and rental property owner-manager. The Mill though requires most of her attention.

“I’m the unpaid slave of the Mill.”

She’s glad to be in service to it, saying, “This is my gift to the city – to keep it open to the public.” She adds, “I’ve always been interested in preservation. My husband John, too. He worked on the restoration of the Orpheum Theatre and Union Station. We have a hundred year-old apartment building, the West Farnam, at 3817 Dewey Avenue.

“I was an officer with Landmarks Inc.. It makes me sick when we tear our history down and go to Europe for history. The Mill is wonderful history. The building is really an encyclopedia of the grain industry. It has a unique niche as the only building in this region that bridges the eras of the overland pioneer trails and territorial settlement. I get a lot of visitors from outside Omaha, really from all across the country, who retrace the Mormon and Gold Rush trails.”

 

 

The Mill today

 

 

This intersection with history would probably have been razed if not for her passion and perseverance.

The Mill’s been endangered several times, first by the people who built it, the Mormon pioneers, when they left their winter quarters settlement to journey west to Utah. Brigham Young himself supervised the Mill’s construction. But after serving its purpose for that caravan of faithful it was left to the Indians and nature. Scottish emigre Alexander Hunter was on his way to the California Gold Rush when he saw an opportunity to rescue the Mill. He rebuilt it. An employee, Jacob Weber, later bought it. The Mill remained in the Weber family for more than a century, thus it’s often called the Weber Mill and Elevator.

A 1930s flood nearly claimed it. The threat of future floods motivated Jacob’s grandson, Lyman Weber, to move the building, intact, to higher ground. In 1964 the Webers sold out to Ernie and Ruthie Harpster. Interstate 680 construction in the 1970s was slated to run right through the property before Ernie Harpster secured historic status for the site, which necessitated the Interstate being re-routed around it.

Meigs first learned of the Mill when Haprster put it up for sale in 1997. Despite its awful condition Meigs saw potential where others saw ruin.

“My role was to have it make a career change from an obsolete mill and grain elevator into a cultural site. And it took me years to figure out what its theme was, and it was just in the last year or two I recognized the obvious – it connects agriculture, history and art. I never would have thought I’d be able to choreograph my life so that those very separate things would come together in anything as good as this building. It’s like they all tied together in this serendipity project.

“I feel I was the right person at the right time for this to steer it in a different direction – in an attraction direction.”

Indeed, it’s unlikely anyone else possessed the necessary skills and interests, plus will and vision, to take on the Mill and repurpose it.

The oldest of three siblings, Meigs is the only daughter of Francis and Pauline Sorensen. Her parents grew up on north-central Neb farms. Linda spent her early childhood in the Dundee neighborhood, where she and John have resided since 1975, before her family moved to southwest Omaha’s Sunset Hills.

Though she grew up in the city, Meigs gained an appreciation for agriculture visiting her maternal grandparents’ farm.

“My mother’s family farm was my second home. We went out there weekends and holidays. In fact. I’ve used it for my artwork quite a bit,” says the veteran visual artist who’s shown at the Artists Cooperative and Anderson O’Brien galleries.

In contrast to this bucolic idyll was her “Edgar Allan Poe childhood.” Her mother sang at funerals and Linda accompanied her to the dark Victorian gothic mansions where these somber services were held.

She’d sit on a red velvet settee outside the viewing room and wait for mom to finish “Danny Boy,” “In the Garden” and “The Lord’s Prayer.”

Meigs traces her love of old buildings to those times.

 

 

 

 

 

 

Linda’s talent for art asserted itself early. As a girl she drew and colored on any paper she could lay her hands on, filling reams of notebooks with her Childcraft book-inspired designs,

“i won a Walt Disney coloring contest before kindergarten. I got free tickets to Westward Ho the Wagons at the Dundee Theater. That was the payoff. In grade school I got a scholarship to an art class at Joslyn Art Museum. The teachers were always reinforcing about my artwork.”

Westside High School art teachers Ken Heimbuch and Diane (Hansen) Murphy were particularly “encouraging.”

“I still keep in touch with them and they come to my art shows here at the mill. We have a nice relationship.”

Her talent netted a scholarship to the University of Kansas art camp, but her parents couldn’t afford to send her. Heartbroken though she was she still fixed her sights on studying art in college. She started at the University of Nebraska-Lincoln before switching to KU.

“I went to UNL my first year but I wasn’t very happy there. The art department wasn’t as large then as it is now. (Landscape painter) Keith Jacobshagen was a graduate student at the time and he encouraged me to check out KU, where he’d gotten his bachelor’s degree.”

The state university in Lawrence proved a good fit.

“It turned out my current husband was down there. It all came together. I loved the campus – you’re on a hill and you can see the horizon from three directions. Aesthetically, it’s very beautiful.”

Her insurance adjustor father and homemaker mother never opposed her pursuing art.

“My parents were very accepting, they knew I had a gift in that area and we’re encouraging. They were proud of me – even to the day I graduated with a totally useless BFA in printmaking. My folks never pressured me about how I was going to make a living. I never worried about it because I always felt, and I raised my kids this way, that if you’re a creative person you could figure out what to do.”

She and John made a go of it after marrying in 1975. He worked as an architect for Leo A. Daly before going into the building supplies business. She worked in a design studio before going off on her own as a freelance illustrator. She’s taught art at Joslyn and Metropolitan Community College and more recently with Why Arts?

She kept her hand in art in other ways, too.

“I was the cultural arts chair of Washington Elementary School for nine years. I invented a theme every year. The first one was Artists in Our Midst and every month I brought in a different artist. Whether they did pottery or silkscreen or painting, there was an artist in residence in the hallway demonstrating their work. I leaned on my artist friends for that to make this program for the school.

“One year we did a history theme and we had an all-school quilting bee. Each class designed a different block for this school quilt that won two blue ribbons at the Douglas County Fair. All of that was practice for events at the Mill. I learned how to be an event producer.”

Her and John’s appreciation for history developed into a hobby of driving around to admire houses and buildings in the old parts of town.

When they had four kids in six years, including twins, they developed an extra income stream by buying older residential properties and renting them out. That led to her day job as “a landlady.”

 

 

 

Then in 1997 she saw an Omaha World-Herald article that changed her life. Headlined “History for Sale,” it detailed the Mill’s colorful past. Having come to the end of its commercial life, the Mill was for sale.

“When I read the article I had a sinking premonition it (the Mill) would be my job,” she says with a laugh.

When she and John toured the Mill for the first time it marked her first visit to Florence. The building was a mess.

“It was boarded up and pitch black inside. We used flashlights to see. It had 2,000 pounds of fermented grain in a bin. Another 12,000 pounds were on the floor. We shuffled through piles of grain, dirt, dead animals and pigeon poop. It was stinky, dark, scary and unhealthy in there.

“Another couple went through it. The woman was Mormon and wanted to do a restaurant there. She asked me, ‘Are you interested in it?’ and I said, ‘Oh, I don’t know, it’s pretty rough,’ and I said, ‘Are you interested in it?’ and she said, ‘Oh, no, it’s too far gone for me.”

It wasn’t too far gone for Linda, though. Not by a long shot.

“I thought, I can do this. It was a commitment, sure, but I thought this was a gem. I wasn’t afraid of it. I was used to working with old buildings. I didn’t know why there weren’t hundreds of people that wanted to buy an 1800s building.”

Still, it was a huge decision. After weeks hemming and hawing about its potential she recalls, “On Valentine’s Day my husband came home with a loaf of my favorite bread, I set it out on the counter, and he said, ‘Well, aren’t you going to open it?’ So I opened it and underneath the bread was a purchase agreement that if I wanted to do this he would stand with me. That was lovely.”

If she hadn’t gone through with it, she says, “the Mill probably would have been bulldozed. It was falling on its own. There were letters to the editor asking why doesn’t somebody tear that ruin of a building down and others saying it needed to be fixed up. So there were two sides – there always is in preservation. There are those who think it’s served its purpose, and so let it go. Then there’s those who say it’s a link to our past and heritage that should be salvaged, and I’m in that camp.”

“The writer David Bristow may have best captured its magic when he said, ‘I feel like I’m standing inside of a tree with the rings of history around me.’ I love that – I think it’s such a perfect metaphor for this building. From the outside you don’t know what to expect from this industrial-looking building but the inside is very lovely and soulful.”

For Meigs, the Mill is a living history lesson.

“The wood in here tells a story if you know where to look.”

She says the original hand-hewn timbers felled and erected by the Mormons are intact, as are the timbers Alexander Hunter used in rebuilding it. The circular marks from Hunter’s saw are visible in the timbers. There are vintage signs, pay stubs and time cards about.

Getting things up to code meant addressing myriad problems, from fixing huge holes in the roof to replacing rotted windows to draining fetid water in the basement she called “a stinky swimming pool” to removing seven tons of gunk.

“It was a big project.”

 

 

 

 

Her first order of business was cleaning all the walls and floors and open surfaces – “I scrubbed the entire building with trisodium phosphate and a brush” – and repairing the leaking roof.

She got a pleasant surprise when she discovered all those strewn oats acted as a sealant that protected the wood floors. “So the bane of the building was its blessing,” she says.

The building today “is a lot more solid than it was,” she says thanks to the new roof, siding, windows and insulation. “We did the restoration on the outside to preserve the inside because it’s the inside of this building that’s historical. It’s just the opposite of most restoration projects, where they’ll keep the facade and gut the inside. We didn’t want to do that because it would ruin the building.”

It wasn’t long before she got a sense the Mill just might be the attraction she thought it could be.

“That first summer I was in here cleaning I had a thousand visitors and it wasn’t even open. Actually the Mill told me through all those visitors that it needed to be open as a historical site. I had very vague ideas what to do with it. It’s an odd building functionally. As an artist I thought there would be a good gallery space here.

“I decided to open it up to the public as a museum.”

Meigs may have come to Florence as an outsider but she soon established herself as a good neighbor dedicated to building community and boosting economic development.

“It bothered me the historic sites of Florence were closed most of the summer, the Mill included, except for the Mormon Trails Center,” she says. “Kiwanis was keeping the historic depot and bank open on summer Sundays. I got a grant from the Mammel Foundation to staff those sites every day during the summer. It was a three-year grant and we kept them open with paid staff from Kiwanis clubs. It was a lovely relationship of improving Omaha.”

When the grant ended the depot and bank went back to being open a few select days but she decided to keep the Mill open on a regular basis, she says, “because I could do it – I’m donating my time.”

The Mill’s open seasonally, May through October. It goes in hibernation for the winter as it’s without heat and indoor restrooms.

Although still a newcomer to Florence, she’s become one of its biggest champions and feels it’s often overlooked considering its rich history.

“This is an unknown part of town. I call it the forgotten fringe. When i got the Mill and I started doing the research I realized the depth of the history here and I got involved in the neighborhood.”

She chaired the group Florence Futures that developed the master redevelopment plan for the Florence neighborhood.

When the Mormon Winter Quarters Temple opened she organized a  Lunch in Historic Florence event that gave visitors to the Temple a button for a discounted lunch at area restaurants.

“It was the first time the community had done a project with the Temple,” she says, adding the promotion won a state tourism award.

Much sweat equity and money went into getting the Mill into its present restored state.

“It’s taken 17 years to do what we’ve done. It’s not been overnight.”

With no paid admission, the trickle of income from vendor rentals and gift shop sales isn’t nearly enough to keep the Mill open and maintained. She depends on grants and donations. She and John also “pitch in money to keep this afloat.” She estimates more than $300,000 has been invested in the building thus far from various sources.

“I have a Friends of the Mill group and people kindly donate to that. It fluctuates from year to year but the funds from that do not cover the operating costs.”

Some major donors have come through for pricy projects, such as automatic barn doors. The Peter Kiewit Foundation and the Lozier Corporation helped fund their purchase and installation.

“A Questers group won a grant from the statewide Questers to replace the basement windows. It’s not like that happens all the time but there’s enough that it helps. When the need arises, good things happen, angels appear.”

She’s proud of how she converted the mill’s loft into a rustic art gallery bathed in natural light.

“I put some things up there early on. The first show was a show of my farm photographs with fiber art by Dorothy Tuma.”

The space didn’t become a full-fledged gallery though until her son Connor’s death.

“Loss is hard. Losing a child is pretty unacceptable because it’s out of the order of things. He died from injuries in a car accident on Christmas Eve of 2004. He was 19.”

 

 

Two images above are of the ArtLoft Gallery

 

 

 

Connor was an award-winning editorial cartoonist with the Omaha Central High Register and the Daily Kansan. He was home for the holidays, driving with his twin brother Doug, when the collision happened near the south side of Elmwood Park.

“We were over at John’s parents’ house waiting for Doug and Connor to come over to play board games with us,” says Linda. “The roads turned to black ice. Both boys suffered injuries and lost consciousness.

“Doug came out of it and Connor did not.”

There was a huge outpouring of support, including $10,000 in memorial gifts to the Mill.

She also wanted to do something to commemorate his love for art.

“It was actually in the wilderness of British Columbia that the idea came to me to give an art award in his memory,” Meigs explains. “I had promised Connor a show at the gallery when he graduated. I decided to give one young person a year what I promised to give Connor.”

The Connor Meigs Art Award is a merit award to help launch a young artist’s career. It includes a month-long solo exhibit, mentoring, artist’s reception, lodging and $1,000 honorarium.

Because Connor was an organ donor his mother knew he helped give life to others and would live on through the recipients.

“I wrote a letter to the families of the transplant patients who received his organs about what kind of a young man he was. I wrote that he was a hockey player and an award-winning artist. It had been six months since his passing and I had not heard any response.”

Linda had been waiting for a letter but she got a personal visit instead.

“We were here working at the Mill on a Sunday cleaning pigeon poop when a couple drove up in a car with outstate license plates. The woman got out and said, ‘We’d like to see Connor’s work.’ I said, ‘How did you know there was an exhibit?’ She looked down and after a pause she looked up to say, ‘I have Connor’s liver.'”

There had been a recent article about the Mill’s renovation and Connor’s show. Maggie Steele of Norfolk, Neb. contacted the Nebraska Organ Donors Society saying she wanted to meet Connor’s family. She was told protocol requires a recipient correspond a year with the family before a meeting is set. Meigs says Steele persisted until the organization finally gave in and said, “follow your heart.”

“Maggie and her husband Phil stop by to visit the Mill nearly every summer,” Meigs says. “Though I wrote a letter to all the organ recipients, Maggie was the only one we heard from. We are grateful to have heard from her.”

 

Another view of the ArtLoft Gallery at the Mill

Plaque commemorating Linda’s late son Connor

Maggie Steele with Connor’s work in background, ©Dennis Meyer/Norfolk Daily News

 

Historically, the Mill’s always been a landmark for travelers. whether on foot, by wagon or motor vehicle, and it remains a magnet for all kinds of visitors and events.

“Its still a natural meeting place,” Meigs says. “It’s right next to the Interstate, it’s very easy access, it’s on the way to the airport.”

Warren Buffett’s been there. The grounds have accommodated campers following the Mormon Trail. it hosted a Great Plains Theatre Conference program in May that drew hundreds. Each fall it’s a site on the North Omaha Pottery Tour. The gallery hosts several exhibits annually. The farmers market features dozens of vendors on Sundays from June through September.

Meigs says the Mill gets 8,000 to 10,000 visitors each summer and the farmer’s market, begun in 2009, is a major draw. It’s an eclectic scene where you can listen to live bluegrass music and get a massage. Children can ride ponies and pet alpacas. Linda sometimes joins the circle jam of fiddle and dulcimer musicians to play the washboard.

The laid-back vibe is largely attributed to Meigs.

“I get a lot of thank yous and gratitude from some people for saving this building but it’s blessed me back. I’ve met so many wonderful friends in this part of town. It’s enriched my life.”

Two measures of how much her efforts are appreciated happened this summer. She went with her family on a Bucket List trip to British Columbia and artist friends ran the Mill in her absence. “I almost wept when people stepped forward to say, ‘I’ll help.'” Folks in Florence organized a Thank You for the Mill party. “What a nice thing for people to do,” she says. “It’s nice to be appreciated.”

She says fellow creatives “always understand the building itself is my art project – it is the creation, it is an art and history installation.”

She feels she’s part of a long lineage of people who have been entrusted with the Mill.

“All of the owners of the building have honored that pioneer heritage and have had a role to play in the building’s preservation”

Meigs doesn’t have a succession plan for handing-off the Mill when she retires or dies. She says the Douglas County Historical Society or the Nebraska State Historical Society may be possibilities. She even thinks there’s a chance the Mormon Church might have interest in it.

She’s not giving it up anytime soon, though. Besides, she’s become so identified with it that she and the Mill are synonymous.

“People want me to be here. When they come here and I’m not here they’re disappointed. I guess my personality’s ingrained in this thing.  I’m the Mill lady.”

It may not be exactly what she she had in mind as a young artist. Nevertheless, she says, “it’s my dream.”

For Mill hours and activities visit http://www.theflorencemill.org.

 

Arts Crawl Concludes North Omaha Summer Arts; Friday, August 8 from 6-9 p.m.

July 31, 2014 1 comment

Arts Crawl Concludes North Omaha Summer Arts – Friday, August 8 from 6-9 p.m.

Please join us for the conclusion of North Omaha Summer Arts (NOSA) at an Arts Crawl on Friday, August 8 from 6 to 9 p.m.  Take a leisurely stroll or drive to sample a wide variety of visual and performing art at venues up and down a stretch of the North 30th Street corridor.

NOSA founder and director Pamela Jo Berry, who resides in the area, saw a need for more art in her underserved community and formed the annual North Omaha Summer Arts as a response. The free, summer-long festival, now in its fourth year, held a women’s writing workshop and an outdoor gospel concert earlier this summer. The Arts Crawl is the festival’s traditional culminating event.

On Friday, August 8 enjoy the work of established and emerging artists at the following sites:

Metropolitan Community College, Fort Omaha Campus, Mule Barn (Building 21)

Church of the Resurrection, 3004 Belvedere Blvd.

Trinity Lutheran Church, 6340 North 30th Street

Parkside Baptist Church, 3008 Newport Avenue

Heartland Family Service, 6720 North 30th Street

At some venues artists will be on hand to discuss their work. Free food and beverages will be available at each stop.

For more information, visit www.facebook.com/NorthOmahaSummerArts or call 402-502-4669 or 402-445-4666.

Please share this info with family, friends and coworkers in support of this grassroots community event that enriches and engages North Omaha with art.

Details coming regarding the featured artists.

 

Photo: Join us for the 4th annual Summer Arts crawl August 8th!!! We are seeking volunteers so if you'd like to participate please reach out here!

North Omaha Summer Arts Presents: Gospel in the Park

June 17, 2014 2 comments

My beloved, Pamela Jo Berry, has a big heart for her community.  It’s what led her to found North Omaha Summer Arts, an annual festival that infuses different art forms into the underserved North Omaha community she grew up in and still resides in.  This is the festival’s fourth year.  Saturday, June 21 NOSA presents a gospel concert at Miller Park.  Like all NOSA events, it’s free and open to the public.  Details below.  Before Pam and I became a couple, I profiled her and her passion behind the festival for The Reader.  You can find that story, Matter of the Heart: Pamela Jo Berry’s Love for Her Community Brings Art Fest to North Omaha, on this blog.  The link to it is: http://leoadambiga.wordpress.com/2013/08/08/pamela-jo-berry-brings-art-fest-to-north-omaha-artist-and-friends-engage-community-in-diverse-work/

In addition to the concert, there is a women’s writing workshop in progress.  On Friday, August 8 from 6 to 9 p.m. there will be an Arts Crawl up and down a swath of the North 30th Street Corridor featuring works by some of Omaha’s leading artists. Venues to be announced.

 

North Omaha Summer Arts's photo.
North Omaha Summer Arts presents a joyous, music-filled occasion-
Gospel Concert 4

Saturday, June 21
5:30-7:30 pm
24th and Kansas Ave. (next to the old ballfield)
Free and open to the public

Bring a picnic dinner and blanket or enjoy free grilled hot dogs and cool refeshing lemonade courtesy of Trinity Lutheran Church for this family-friendly concert featuring some of Omaha’s most gifted performers.

Featuring-
Eric and Doriette Jordan
Trinity Lutheran Choir
Sudanese Worship Band
Cadence
New Bethel Church of God Choir
and more…

“…for the Lord is great and greatly to be praised.” Psalm 96:4

For more info, call NOSA founder Pamela Jo Berry at 402-502-4669.

 

Wanda Ewing Exhibit: Bougie is as Bougie Does

December 8, 2013 2 comments

Omaha has lost one of its most respected and exibited artists, Wanda Ewing.  As a memoriam to her, I am posting for the first on this blog a story I did about an exhibition of hers some years ago.  When the assignment came I already knew her work and like most folks who experienced it I was quite impressed.  I very much wanted to do a full-blown profile of her but I only got the go-ahead to focus on the exhibit.  She was very gracious with her time in helping me understand where she was coming from in her work.  Her untimely death has taken most of us, even though who knew her far better than me, by complete surprise.  Facebook posts about her are filled with shock and admiration.

You can appreciate her work at http://www.wandaewing.com.  The Omaha World-Herald should have a notice in the next day or so.

 

 

 

Wanda Ewing Exhibit: Bougie is as Bougie Does

©by Leo Adam Biga

Originally appeared in The Reader (www.thereader.com)

 

 

 

 

Wanda Ewing is at it again. The Omaha printmaker known for her provocative spin on African-American images has created a sardonic collection of reductive linocuts and acrylic paintings that considers aspects of beauty, race and social status. The work has been organized in the solo exhibition, Bougie, at the Sheldon Memorial Art Gallery in Lincoln, where it continues through December 2.

The title comes from a slang term, derived from the French word bourgeois, used in the black community as a put down for anyone acting “uppity,” said Ewing, an assistant professor in the Department of Art and Art History at the University of Nebraska at Omaha. “It speaks to the level of acceptance due to your social and economic background, your physical appearance, all of it.”

She explores bougie through the template of popular magazine culture and its vacuous lifestyle advice. The heart of the show is 12 faux glossy covers, each a reductive linocut with vinyl lettering on acetate, depicting a slick monthly women’s mag of her imagination called Bougie. The garish covers are inspired by Essence and other Cosmo knockoffs whose content places style over substance.

Among the “bougie markers,” as Ewing calls them, are black cover girls with straight or long hair and “story tags” that embody those things compelling to bougie women — shopping, how to lose weight, money and getting a man. Some of the teasers get right to the point: “Not Hood enough? 25 ways to get ghetto fabulous.” Another reads, “It’s what’s on the outside that counts.” Among the many double entendres are, “Tom Tom Club, back on the scene” and “I’m dreaming of a white Christmas.”

“I wanted to achieve something that was funny to read, but had some grit to it,” she said.

Each “issue” is adorned by a head and shoulders illustration of a black glamazoid female, the features made just monstrous enough that it’s hard to recognize the real-life celebs Ewing based them on. One vixen is based on home girl Gabrielle Union. Other iconic models include Halle Berry, Mariah Carey, Beyonce, Tyra Banks, Janet Jackson, Eve, Star Jones and Queen Latifah.

Ewing “distorted” the images, in part, she said, as “I didn’t want them to be necessarily commentary on the celebrity, because it’s not about that,”

These cover girls represent impossible beauty standards and thus, in Ewing’s hands, become primping, leering creatures for the fashionista industry. Like the figures in her popular Pinup suite, she said, bougie women “are not shrinking violets.”

Contrasted with the plastic mag images are big, bold, beautiful head portraits of more realistically rendered black women and their different hair styles — bald, straight, permed, afroed, cornrowed — executed in intense acrylic and latex on canvas. These are celebratory tributes of black womanhood. The figures-colors jump out in the manner of comic book or billboard art. “I’m still holding onto being influenced by Pop Art,” Ewing said. “I love color. I’m not afraid of color.” The Hair Dresser Dummy works, as she calls them, are a reaction to the stamped-out glam look of the old Barbie Dress Doll series. Ewing’s “dolls” embody the inner and outer beauty of black

 

women, distinct features and all. We’re talking serious soul, here.

 

 

There are also fetching portraits of women that play with the images of Aunt Jemima and Mammy and that refer to German half-doll figures Ewing ran across. Another painting, Cornucopia, is of a reposed woman’s opened legs amid a cascade of flowers — an ode to the source of life that a woman’s loins represent.

All these variations on the female form also comment on how “the art world likes to celebrate women,” she said, “especially if they’re naked and in pieces.”

Bougie
 examines women as objects and the whole “black is-black ain’t” debate that Ewing’s work often engages. Glam mags help inform the discussion. Ewing said black models were once shades darker and displayed kinkier hair than today, when they have a decidedly more European appearance. “I grew up looking at these images and felt bad because as hard as I tried, I couldn’t achieve what was being shown,” she said. At least before, she said, publications offered “a variety of the ways black women looked. Now, these magazines idealize the same type of woman with the same kind of features. I find that interesting and damaging on so many levels.”

Like the figures in her Pinup series, Bougie’s women are too self-possessed or confident to care what anyone thinks of them.

Leave it to a master satirist, Omaha author Timothy Schaffert, to put Ewing’s new work in relief. In an essay accompanying the show, he comments:

“The women…demonstrate a giddy indifference to their objectification, defying any interpretations other than the ones they choose to convey. See what you want to see, the women seem to be saying. You can’t change who I am, they taunt. Ewing portrays women in the act of posing, women possibly conscious of their degradation yet nonetheless seducing us with their self confidence. For Ewing’s women, the beauty myth becomes just another beauty mark…

“And yet the politics of fashion are what give Ewing’s work its sinister and satirical bent. Just beyond the coy winks and the toothpaste-peddling smiles and curve-hugging skirts of these fine black women is the sense that the images aren’t just about them” but about “the various co-conspirators in the invention of glamour. In Ewing’s work, black women assert themselves into the commercial, white-centric iconography of prettiness, and the result is at times funny, at times sad, at times grotesque, but often charming. Her women rise above the didactic, each one becoming a character in her own right, in full control of her lovely image.”

In the final analysis, beauty is in the eye of the beholder.

“Although this work is coming from an artist who is black, it is not limited to just the black community,” Ewing said. “Ultimately, the work is about beauty. That’s a conversation everyone can contribute to.”

A conversation is exactly what her work will provoke.

The Sheldon Gallery is located at 12th & R Streets. Admission is free. For gallery hours, call 402.472.2461 or visit www.sheldonartgallery.org.

Charles Ahovissi and His African Culture Connection Enrich Nebraska Youth Through Performance and Teaching Programs

October 8, 2013 Leave a comment

Thousands of miles from his homeland, Charles Ahovissi is living a dream to share his culture with the world.  The native of Benin, West African resides in Omaha, Neb., where he fell in love while on tour and married and started a family here, and this acomplished dancer, choreographer, and drummer now exposes aspects of African cultures to student and adult audiences throughout this Midwest state under the auspices of his African Culture Connection.  His small but mighty nonprofit is still basking in the glow of a major national award it was recognized with last year.  It’s not the first significant recognition he and his performing and teaching troupe has received and it’s not likely to be the last either.  My story about Charles and the ACC is still looking for a publication home but for now you can read it right here on my blog.

 

 

African Culture Connection Founder, Charles Ahovissi joins Victoria Beaugard,  participant in African Culture Connection’s program at Girls Inc, in receiving the                                                                                                                                                                                                                                                                                                                      2012 National Arts and Humanities Youth Program Award from First Lady Michelle Obama at the White House on November 19th, 2012

 

 

 

Charles Ahovissi and His African Culture Connection Enrich Nebraska Youth Through Performance and Teaching Programs 

©by Leo Adam Biga

 

Between the beating drums and the whirling dancers the energy rises to a fever pitch during African Culture Connection performances like the one Sept, 5 at the Westside Community Conference Center.

Led by Benin, West Africa native Charles Ahovissi, a professional dancer and choreographer, the Omaha-based ACC is dedicated to presenting the vibrant rhythms, movements, colors and costumes of African tribal tradition and culture.

ACC performances are always dynamic but last month’s by-invitation-only event carried even more vitality because it celebrated a milestone in the young organization’s life. In late 2012 ACC became one of only a dozen organizations in the U.S. and the first ever in Nebraska to receive the National Arts & Humanities Youth Arts Award. It’s a major honor for any group but particularly one as new as ACC, which formed only in 2006.

Ahovissi, ACC’s high-energy founder, president and artistic director, accepted the award from First Lady Michelle Obama at the White House on Nov. 19. Accompanying him at the ceremony was Victoria Baeugard of Omaha Girls Inc., an organization that ACC ofter serves. Baeugard is part of a troupe of Girls Inc. members who’ve learned to perform African dances under Ahovissi’s tutelage. In addition to the award, ACC received a  $10.000 grant to support and expand its programming. This came on top of ACC winning the Nebraska Governor’s Arts Heritage Award.

All of it is more than enough reason to celebrate and so many of ACC’s board members, donors and supporters gathered for food, drink, conversation and congratulations last month. Even the beaming, ever-optimistic Ahovissi finds it hard to believe his little organization did what none of the state’s larger, more established arts programs managed doing.

“I just don’t know how we got here,” he says. “It was surprising.”

 

 

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Nebraska Arts Council director of programs Marty Skomal says “the award is given to an arts or humanities program for youth that takes place outside of the school day which also promotes youth development. No other arts group in Neb. has succeeded in demonstrating ACC’s masterful combination of high artistic quality with genuine and significant community engagement. Each time I see his troupe perform, I am impressed by the level of dedication, attention to detail and commitment. It becomes contagious. Kids can sense this authenticity, and they respond to it instantly. It is ACC’s unique way of inspiring youth by example that motivates kids to take pride in their own cultural heritage, whatever its origin. In brief, ACC is able to do what its name implies – make a connection.”

Ahvossi knows ACC is well thought of by the positive feedback he gets from teachers, administrators and program directors about the African immersion experience he provides. Ahovissi says the glowing evaluations and notes “confirm that after we work with kids they learn how to respect, they learn how to behave and some kids who were shy become engaged in the classroom,” adding, “All the teachers tell us thank you for making a big impact on kids’ lives.”

Then there’s the fact ACC offers programming that no one else does in this area.

“It is a very unique program,” he says. “You don’t see it in this state. You cannot get what we teach kids in a library. In schools kids barely get the cultural activities we provide them. That’s why it’s very unique, very special and engaging.”

Omaha Girls Inc. executive director Robera Wilhelm says Ahovissi “has helped girls learn about Africa in ways they simply never would in a classroom or from a textbook,” adding, “The girls connect to the lessons in a very visceral way. He and his team help the girls ‘feel’ Africa when they drum and dance. They prepare and taste African food, they create printed fabric to wear while they dance and they hear African stories. They also learn lessons about creativity, collaborative work, self-expression, delayed gratification, responsibility and pride of accomplishment.”

Ahovissi conducts residencies around the state through NAC. He brings not just the music and dance of Africa, but the stories behind them.

“I know all the cities and towns in Neb. I just pack my car with my costume and drum and travel one week, two weeks at a time. I cannot count how many places I’ve been to. I travel a lot through the Nebraska Arts Council. I’m grateful for that.  I do love teaching, performing and sharing my culture.”

He’s also trains a group of teaching and performing artists to join him at some venues to immerse participants in various elements of African culture.

“Every life aspect in Africa has a specific dance, rhythm, music and all that, so at the same time I’m teaching kids a dance I’m also teaching them the culture, the tradition, the story behind that dance and music. For example, farming is a big deal in Africa. Before farming there is preparation, during and after farming there’s a celebration. That is like story. The way we farm in Africa is not the same as it’s done in America. How we pick the fruit, why we pick that fruit, that is dance movement that has a story.

“There’s a reason why we do any traditional dance and drumming.

“Another example is the initiation of youths. When you reach a certain age you need to go see the elders. They will teach you life skills, what is right to do, what is wrong to do. During an initiation in a village we play certain music and do special dances. So when I’m teaching kids the initiation dance I’m also teaching them this story, this culture, the way we do things.”

The dances performed at the Sept. 5 celebration included the Sinte dance. He exp;lains, “Sinte comes from the Boke and Boffa area in the northwest of Guinea. The Landonma, Nalo, and Baga ethnic groups, who have been living together in this region for many years, play it before the initiation of the youth.” Another number ACC performed at the event was the Djole dance. “Djole is a dance organized to showcase different masks,” says Ahovissi. “Djole comes from the region in the southwest of Guinea and the northwest of Sierra Leone. The Temine, Mandenyi and Soussou ethnic groups share this rhythm.” Finally, he says the Kete dance executed by the Girls Inc. members is from the Allada Region of southern Benin, adding, “The music and dance can be heard on many occasions and festivals, particularly at funeral ceremonies.”

 

 

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Ahovissi says students who participate in his programs, including members of Girls Inc., learn rituals and lessons with deep, universal meaning.

“We say it takes a whole village to raise a child. That simple statement means a lot,. From generation to generation we pass on the culture. In Africa everything kind of ties together.”

He strongly feels that American children need to expand their knowledge of diverse cultures in this ever shrinking world.

“It is so important for them to learn about other cultures. They have to open their minds, they have to allow themselves to appreciate other cultures, they have to accept their friends who are not like them. Since Omaha is becoming more diverse we need to be more diverse, too. We all need to be together and move forward.”

He says as Omaha’s welcomed migrant populations from Sudan, Togo, Bhutan and several Central American countries “there is a need for global understanding in our community. It’s not just African culture. We need to be learning about all these different cultures.” He loves that America is still a melting pot. “You teach me about your culture, I teach you about mine, and we share it . That’s how we become   open-minded and free and live in a peaceful way.”

Growing up in Benin he absorbed dance and drumming through repeated exposure to it.

“My mom took me from village to village to the ceremonies,. I just picked it up from that,” he says.

In his early teens he joined a local arts group. “They taught me how to be more professional,” he says. He then won a competition that enabled him to perform with the National Ballet of Benin beginning in 1984 at age 16.

“That allowed me the opportunity to travel and perform with that company. I was very honored to be selected.”

Later he joined the Super Anges dance troupe. He was touring the U.S. with that company when he met the woman who is now his wife. The former Karen McCormick, an Omaha native, did a Peace Corps stint in Africa, including service in Ahovissi’s native country, Benin. In Omaha she volunteered with the La Belle Afrique presenting group that brought Ahovissi’s dance company to Omaha in 1999. The two met, fell in love and married. They have two children together. Ahovissi moved to Omaha in 2000 and became a Nebraska Arts Council touring artist in 2001.

Ahovissi sends money back home every month to his large family – he has 21 brothers and sisters living in Benin. “I’m they’re hope,” he says.

Leo Adam Biga, Author of ‘Alexander Payne: His Journey in Film,’ to Serve as Panelist and Moderator at (downtown) Omaha Lit Fest

September 30, 2013 2 comments

Yours truly will be a panelist and a moderator at the 2013 Omaha Lit Fest, October 18-19, at the downtown W. Dale Clark Library.

 

 

 

 

 

 

Under the Skin:
Literary Obsessions & Cult Followings
Featured authors delve into their own preoccupations, nervous habits, bad influences and literary obsessions. Nationally acclaimed writers will discuss the appeal of dangerous characters, the danger of appealing characters, the experimental, the sentimental, the personal and the impersonal. Hosted by Omaha Public Library, the (downtown) omaha lit fest features author panel discussions, an art exhibit and an opening-night party.

FRIDAY, OCT 18, 6:30-9:30 pm
In a partnership with AIGA: Nebraska, (downtown) omaha lit fest kicks off on Friday night with A Carnival of Souls opening-night party & exhibit. Members of AIGA: Nebraska, a professional association of designers, will exhibit their own versions of classic movie posters from the golden age of low-budget horror and drive-in theater (think: Attack of the 50 Ft. WomanLittle Shop of HorrorsNight of the Living DeadMothra), in celebration of B-grade cult cinema, cheap thrills, exploitation and scary carnivals.  Among the authors in attendance is Owen King, whose debut novel Double Feature tells the story of fictional B-movie actor Booth Dolan.

SATURDAY, OCT 19 / 12:30 pm
Love/Hate: The villain as hero in contemporary fiction.
Moderator Annasue Wilson kicked off a national debate earlier with a 2013 controversial interview in Publishers Weekly on the topic of whether literary characters should be likable. Annasue will explore this topic with Lit Fest authors: Carolyn Turgeon, whose The Fairest of Them All tells the story of a fairy-tale heroine-turned-villain; Monica Drake, whose The Stud Book is “the freshest look at the tyranny of the baby bump since Rosemary got pregnant,” according to Chelsea Cain; Alissa Nutting, whose Tampa was declared the “sickest, most controversial book of the summer” by Cosmopolitan; and Kelly Braffet, whose Save Yourself is “an electrifying tomahawk missile of a thriller with honest-to-God people at its core,” according to Dennis Lehane.

SATURDAY, OCT 19 / 1:30
Obsessed: Research and biography.
Authors discuss the rigorous, obsessive (and sometimes unhealthy) pursuit of their subjects. Panelists: Author and journalist Leo Adam Biga (Alexander Payne: His Journey in Film), who’s long followed the career of the Oscar-winning filmmaker and visited the set of Nebraska; Mary K. Stillwell, whose The Life and Poetry of Ted Kooser is the first critical biography to consider the poet’s life and work together; Owen King, who researched Double Feature by watching hours and hours of horror films and is now furthering his obsession with baseball; and Timothy Schaffert, whose forthcoming novel The Swan Gondola involved full immersion into 1898 Omaha.

SATURDAY, OCT 19 / 2:30
Experiments: Writing around the mainstream.
Authors talk about risk, invention, small-press publishing, dangerous subjects and the literary underground. Panelists include: Elwin Cotman, author of Jack Daniels Sessions EP: A Collection of Fantasies; Brion Poloncic, author of Xanthous Mermaid Mechanics; and Thom Sibbitt, who explores sex, death and drugs in his novel The Turnpike.

SATURDAY, OCT 19 / 3:30
Cinematic: Movies as subject, inspiration, and influence.
Leo Adam Biga, whose extensive journalism about Alexander Payne is the basis of his book Alexander Payne: His Journey in Film, moderates a panel on how movies shape a novelist’s vision. Panelists: Owen King; Monica Drake, author of Clown Girl (optioned for film by Kristen Wiig); Carolyn Turgeon, whose novel Mermaid has been optioned for film; and Sean Doolittle, recently involved with the development of an adaptation of his thriller The Cleanup.

SATURDAY, OCT 19 / 4:30
Trigger Warnings:
Our semi-annual “writing about sex” panel. Panelists: Alissa Nutting, whose Tampa centers on a sexual deviant; Kelly Braffet, whose first novel was written with a “restraint” that “lends the novel a prim mystery, deepening its creepy intensity,” according to the New York Times; and Elwin Cotman, who is a “synthesizer… of lewd dialect and high lyricism,” according to Karen Russell.

SATURDAY, OCT 19 / 5:30
Book signings by lit fest authors.

For more details, visit http://omahalitfest.com.

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