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.
- Bougie… Insult or Badge of Honour? (crazyramblingsofaconversatingadult.wordpress.com)
- Black women need more self esteem. (blacksforabetterlife.wordpress.com)
Food, wonderful food. A food movement and subculture is well under way in America that finds urban dwellers growing their own organic produce, even tending chickens for fresh eggs and raising rabbits for fresh meat, in order to create healthy, sustainable, self-reliant food production and distribution models that bypass dependence on corporate, profit-driven systems with their higly processed, pre-packaged products and that provide relief for the food deserts found in many inner cities. This trend towards fresh, locally produced ingredients is well-entrenched among the culinary set, where enligntened chefs and restaurants often grow much of their own produce or else get it from local farmers. At Metroplitan Community College the Institute for Culinary Arts operates the Sage Student Bistro, a public eating venue whose gourmet meals are prepared by students under chef instructor supervision. The Bistro works closely with the Horticulture program across the street to serve up menus thick with fresh ingredients grown in the campus gardens and greenhouses and aquaponic tanks. My new cover story for Edible Omaha features this culinary-horticulure marriage. You can find my related stories on this blog about the Omaha ventures No More Empty Pots and Minne Lusa House.
©by Leo Adam Biga
Now appearing in the Harvest issue of Edible Omaha
Culinary arts and horticulture studies are close, interdisciplinary tracks and next door neighbors at Metropolitan Community College’s Fort Omaha campus.
With the whole farm to table and sustainable movements in full bloom, it’s no surprise collaboration happens there to give students and diners at MCC’s Sage Student Bistro fresh, organic food grown by the horticulture team.
It’s all about working with and enjoying quality ingredients as close to the source and ground as possible.
Metro’s quarter-acre production garden is just a few hundred feet from the Bistro, which also has a cutting herb garden on its patio dining area. Locally sourced food “doesn’t get any closer than this,” says chef instructor Oystein Solberg.
“It’s hyper local,” says horticulture instructor and garden manager Patrick Duffy.
“It’s an incredible difference being able to talk to guests about it and point to where a lot of the vegetables grow,” says Solberg. “During the summer when we’ve got the herb garden going our guests can sit out there and smell the basil and mint and oregano we’re using to cook with.
“There’s few restaurants that do what we do, that are a learning environment teaching both our guests and our students.”
Solberg says this is only the third or fourth harvest season for the garden and the Bistro is making more and more use of it.
“It’s marvelous. By growing we’ve been able to use more local than we’ve ever done. Keeping it growing and evolving is excellent.”
He says having the school’s horticulture program be a key producer for its culinary program is “a little bit outside the box,” adding, “There’s not that many schools that have it, but there’s a lot of restaurants starting to have it. Like they maybe have a little garden up on the roof. When you go to Calif., really all along the west coast, there’s a lot of restaurants that have attached gardens, so it’s getting more common
“Our goal is not really to try and be as everybody else, we want to try and push the boundaries and see how far we can go with it.”
Institute for Culinary Arts dean Jim Trebbien says, “We have had people come to study our model from across the country. It is quite unusual because most culinary programs do not operate a restaurant such as ours and have the expertise we do and most horticulture programs have not adopted new sustainability methods into their curriculum as quickly as we have.” He says this integrated, collaborative resulted from discussions with local leaders in food sustainability, including MCC’s own Brian O’Malley, Jen Valandra and Todd Morrissey and No More Empty Pots’ Nancy Williams and Susan Whitfield.
Solberg oversees the Bistro. Under his and fellow instructors’ supervision culinary students prepare gourmet meals for paying customers and are graded on their performance. Solberg works closely with Duffy to determine what can be effectively grown and delivered to meet the Bistro’s schedule and end up on its menus. The garden is also a teaching tool for both horticulture and culinary students. The Food Cultivation course uses the garden as an outdoor laboratory.
“Patrick tells me what they want to do with their classes and then I write a menu of what I want to do with my classes. We met back in Jan.-Feb. and tried to figure out what they were going to plant, what was going to be done when, then we tried to make the menus out of that. With the greenhouses they have over there we can start growing fairly early because they keep the temperature and the soil fairly high.
“Then if I’ve got some changes, if i have other stuff I want to play with, to kind of fit in spots here and there, or I randomly think of something I haven’t worked with in a while, I’ll pitch it by him to see if it’s something he can grow. We’ve got to work within the timeline. Starting in Jan. we’ve got to have ready greens by June. We have to see what we’re able to get with the weather and climate. It’s a lot of stuff that has to match up. It’s kind of a never-ending process.”
Sage Student Bistro
Duffy says, “I’m getting better at timing things out. We need to make sure our peaks coincide with the school quarter, so we don’t have too much excess. It’s challenging. Down the road we’d love to do a farmer’s market where that excess would feed into, but that’s a couple years away. But it’s certainly like the next level where we would bleed off that excess. Right now it gets composted.”
For this summer’s menu Solberg’s arranged for Duffy to grow a long list of ingredients to be used in various ways and dishes:
“It’s an early summer menu, so there’s no tomatoes, and there’s more likely zucchini blossoms than zucchinis,” says Duffy. “Then when the Bistro opens again in Sept. there’ll be big sexy stuff like tomatoes. We’ll grow a lot of tomatoes. We do a pretty intense production. We do vertical trellising. We’ll focus more on red tomatoes this year and less colored tomatoes. We’ll play around a lot. We’ve done some grafting on tomatoes. To up the vigor of our hybrids we take an heirloom and graft it onto a hybrid root.
“We’ve backed off on things like pumpkins because they take up so much space and we don’t have that much use for them. When you go from being a backyard gardener to a production grower you need to start doing more lettuces and cabbages and lots of them and all these background things that go into salads.”
Duffy says young culinary students can particularly benefit from learning about the production side.
“The truth is they don’t know what’s available, they don’t know there are white tomatoes, white watermelons. One thing I do is walk them through everything and say, ‘These are your options.’ I tell them you’re only as good as what’s coming off the truck if that’s what you’re going off. Wholesale distributors are only delivering certain things. Once you know your options then you and your imagination as a chef is the limiting factor.
“So I try to push them.”
The more students understand the food chain, Solberg says, the better. “It just makes them respect the food in a whole different way. It makes them see what labor and blood, sweat and tears go into growing those things. It makes them think twice before throwing it away or using it carelessly.” Solberg also impresses upon students the varieties available to them. He uses tomatoes as an example.
“Some are better for roasting, some are better for stewing. You can use different tomatoes for different end products. Like the Striped Cavern has thick hearty walls great for scooping out and filling and roasting. There are differences in flavor and texture. The Nebraska Wedding and Amish Paste are sweet and delicious.”
He always advises to go with what’s fresh and best.
“Like getting tomatoes in Dec..Yes, you can do it but you really shouldn’t. You shouldn’t be doing BLTs and caprese salads in Dec. It just ties into menu-writing and the way you think. It ties into everything we should be about. If you’re writing a Christmas menu you use more winter hearty greens because the product will be at its best instead of getting cardboard tomatoes from wherever. It’s just wrong.”
Solberg says he’s learning all the time himself about varieties. “It’s awesome.”
Duffy’s also open to Oystein’s opinions. He recalls first meeting the chef, a native of Norway, at the Metro garden and Oystein asking, “Where are the currant bushes going to go?” Duffy says, “I had not even thought about putting currant bushes in but being from Norway he immediately went to berries and I went and bought 10 currant bushes and we’ve grown that. They’re a permanent part of the garden. It’s a commitment you make.” Duffy also added raspberries.
Additionally, Duffy grows apples and pears on the trellises “Those are just now starting to come into their own,” he says.
Horticulture supplies more than just things that grow in the ground. Its aquaponics tank raises tilapia and its barnyard provides fresh eggs, rabbit, squab and honey.
As a result Metro is offering a small animal husbandry class and a small farming degree. “We’ve had a lot of interest already,” says Duffy. “It’s going to start this fall.”
The more the relationship between horticulture and culinary grows, says Duffy, “I’m learning what to bring – greens, root vegetables. We grew potatoes one year but those take up a lot of space. I bring catalogs and we go through them together. I usually start with what I call the Christmas List and have them say everything they want. I don’t want them to edit themselves on their side and then I see what I can do on my side and then we try to meet in the middle. It’s a back and forth.”
Duffy adds, “When I deliver things I try not to edit myself. I was at first. Like I was cutting off the radish tops before I brought the radishes but he (Solberg) wanted the radish tops too, so I have to make sure I don’t edit myself and just give them as raw and complete a product as I can because then they have more uses.” And when he sees something like bok choy on a menu plan he inquires what variety’s desired.
He says he occasionally pitches things to the chefs. One year he tried selling them on dandelions. “It didn’t really fly. Too bitter. I might try it again sometime.”
His goal is for the garden to receive USDA organic certification. He envisions more gardens around campus one day. The barnyard could one day also raise pigs and goats.
Both men agree the collaborative is a success.
Duffy says the burgeoning relationship “better then we ever could have imagined.”
“It’s been a joint effort really,” says Solberg. “Like I’ve always enjoyed cooking out of the garden and they’ve always enjoyed growing stuff for us to use. It just happened pretty organically. It didn’t ever have to be forced.”
And if some things don’t turn out, Solberg adds, “I’m flexible, I just work with whatever Patrick gives me.”
The Bistro is open for lunch and dinner this fall. For menus, hours and reservations, call 402-457-2328.
- New film ‘Growing Cities’ takes road trip look at urban farmers cultivating a healthy, sustainable food culture (leoadambiga.wordpress.com)
- The Top 10 Best Jobs For Foodies (collegefeed.com)
- Culinary Arts Club Expose (denobis.wordpress.com)
- How to Grow Your Own Herb Garden (epicahome.com)
- Crops and the Classroom: Milton Hershey School Culinary Students Get Creative With Produce During Pa.’s Peak Growing Season (prweb.com)
Charles Ahovissi and His African Culture Connection Enrich Nebraska Youth Through Performance and Teaching Programs
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.”
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.”
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.
- The African Cultural Renaissance Movement (theiamvibration.wordpress.com)
- Elements of African Traditions and Culture (africa.answers.com)
- African Dance and Drum Festival at Little Haiti Cultural Center Aug. 3-5 (bloggingblackmiami.com)
- Drum Dances (vcharlesworth.wordpress.com)
- Interesting Articles About True African Culture (africa.answers.com)