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When cancer struck beloved Omaha performer Camille Metoyer Moten, she shared her odyssey and faith on Facebook

December 13, 2014 Leave a comment

Here’s another piece that didn’t make it into print, and so I’m publishing it here. It’s the story of how beloved Omaha performing artist Camille Metoyer Moten used social media as a communnication and connection point to share her odyssey with cancer and her reliance on faith for getting through the illness. On my blog you can find other stories I’ve done on Camille, who is an inspiration through her work and her life.

 

 

When cancer struck beloved Omaha performer Camille Metoyer Moten, she shared her odyssey and faith on Facebook
©by Leo Adam Biga
Popular singer-actress Camille Metoyer Moten is a fun-loving, free-spirited soldier of faith.

That faith got tested starting with an April 2012 breast cancer diagnosis. After treatments and surgeries over two years she gratefully proclaims, “I am healed.” Anyone unfamiliar with her spiritual side before discovered it once she began posting positive, faith-filled Facebook messages about her odyssey and ultimate healing, which she attributes to a Higher Power.

Her frequent “Fabulous Cancer-Free Babe” posts gained a loyal following. Many “Facebook Prayer Warriors” commented on her at-once intimate, inspirational and humorous musings. One follower quipped, “Your posts are like going to church at the Funny Bone.”

Metoyer Moten decided cancer was an experience she couldn’t deny.

“When you perform your whole thing is pulling people into this artistic moment with you. When I got the cancer and started posting about it I thought, Well, this is my song, this is the song I have right now and I want people to feel everything I’m feeling, the good parts and the bad parts, and at the end I want them to see the glory of God in it.”

The humor, too. She described the asymmetry of her reconstructed breasts. While losing and regaining hair she called her bald head “Nicki MiNoggin,” then once patches came back – “Chia Rivera.” She’s since dubbed her swept-back scraggle, “Frederick Douglass.”

“I wrote it as I saw it. If it struck me funny, that’s what it was. I will talk about anything, I just will. I’m just like this open book.”

That extended to shares about weight gain and radiation burns

Mainly, she was a vehicle for loving affirmations in a communal space.

What support most touched her?

“Probably just the amount of prayer,” says Metoyer Moten, whose husband Michael Moten heads One Way Ministry. “Every time I said, ‘Please pray,’ there were people right there and sometimes they would put their prayer right on the post, which was awesome. Some of the encouraging things they would say were really special. The Facebook people really did help to keep me lifted and encouraged and they said I did the same for them.

“It almost never failed there were things I read I needed to hear. We had this beautiful circle going of building each other up.”

 

 

 

 

The sharing didn’t stop at social media exchanges.

“The thing I loved were the personal notes I got from people asking me to write to loved ones going through something, and I wrote to them just to encourage them because that was the whole purpose – to tell people who you go to in time of trouble.”

She’s writing a book from her Facebook posts.

“My goal is to encourage people and to glorify God and to talk about how social media can be a meaningful thing.”

Camille being Camille, she went beyond virtual sharing to invite Facebook friends, all 2,000-plus of them, to “chemo parties” at Methodist Estabrook Cancer Center. “I usually had about 12 to 15 people. The nurses were very sweet because sometimes we’d get too loud and people would bring food. Other patients sometimes joined the party, which was kind of my point – to liven it up. We just had a ball.”

It wasn’t all frivolity.

“We would pray on the chemo machine that the chemo would affect only the cancer cells and leave the good cells alone. Once, a woman rolled her machine over for us to lay hands on hers as well. It was just a beautiful testimony.”

Cancer didn’t stop Metoyer Moten from cabaret singing or acting

“Even though I had a little harder time every now and again it didn’t stop me from doing anything.”

She even believes she came out of it a better performer.

“I’m not a very emotional person but sometimes to connect spiritually you have to have a little more emotion involved. I think now the stuff I’m doing on stage is better because I think I’ve connected to myself better emotionally. I think I had stuffed things down a long time ago. This made me realize it’s okay to have some emotions.”

Fellow performers David Murphy and Jill Anderson walked with her on her journey. Now that they’re battling their own health crises, she’s
there for them.

She’s glad her saga helps others but doesn’t want cancer defining her.

“A long time ago I decided there’s no one thing that’s the sum total of your entire life. I’m happy to talk about what God did for me during this experience, but I’m not going to dwell on the cancer bit forever.

“I don’t want people to look at me and say, ‘Cancer.’ I want them to look at me and say, ‘Healthy…healed.'”

Charles Ahovissi brings West African culture to the Heartland: African Culture Connection uses dance, music to tell indigenous yet universal stories

December 12, 2014 Leave a comment

Here’s the story I wrote for The Reader (http://www.thereader.com/) about the African Culture Connection and its founder-artistic director Charles Ahovissi in advance of their Dec. 8 production at the Omaha Community Playhouse. Pam and I went to that show expecting we would be thoroughly entertained having seen the company perform before and if anything our expectations were surpassed. There may be more positive energy and life-affirming love in a single ACC show than there is in a season’s worth of shows by other troupes. Combine that with the fact that there just isn’t anything else like what the ACC does in these parts and you have the makings for a singular experience that as my story tries to communicate is a rich cultural immersion not to be missed. It was a packed auditorium and those of us in the audience returned the energy and love received with our own warm, good vibes. By the way, the ACC show on the 8th was part of an alternative programming series the OCP offers. The programs are free and a welcome change of pace from the usual.

 

 

 

Charles Ahovissi

 

 

Charles Ahovissi brings West African culture to the Heartland

African Culture Connection uses dance, music to tell indigenous yet universal stories

©by Leo Adam Biga

Originally appeared in The Reader (http://www.thereader.com/)

 

Art often expresses culturally-specific stories but until the Omaha-based African Culture Connection surfaced in 2006 West African tales were rarely if ever explored here.

Led by Benin, West Africa native and veteran dancer-choreographer Charles Ahovissi, ACC’s dedicated to presenting the vibrant rhythms, movements, colors and costumes of African tribal tradition and culture.

In upcoming appearances he and his troupe will enact lively interpretations of African proverbs through song, music and dance. On Friday they perform during the Ethnic Holiday Festival at the Durham Museum. On Saturday they offer dance instruction at the South Omaha Library. On Monday they present the story of the Iroko tree in the Omaha Community Playhouse’s Alternative Programming Series.

Alternative well fits ACC, whose programming nearly stands it alone among area arts groups. As a Nebraska Arts Council (NAC) touring artist, Ahovissi brings his cultural showcase to schools and youth serving organizations, where African studies are negligible.

“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 Roberta Wilhelm says, “Charles has helped our girls learn about Africa in ways they simply never would in a classroom or from a textbook. 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, create printed fabric to wear while they dance and hear African stories. They also learn lessons about creativity, collaborative work, self-expression, delayed gratification, responsibility and pride of accomplishment.”

At the free 7:30 p.m. Playhouse show the featured Iroko dance imparts a lesson through a cautionary parable about the dangers of putting self before community and not respecting nature. In West Africa the Iroko tree is held sacred for supposed mystical powers and medicinal properties. In the dance a young woman ignores a prohibition to cut the tree and goes mad as a result. After being saved by the village’s purification ceremony she vows never to violate the Iroko again.

Ahovissi says, “”There’s a reason why we do any traditional dance and drumming. Every life aspect in Africa has a specific dance, rhythm, music, so at the same time I’m teaching a dance I’m also teaching the culture, the tradition, the story behind that dance and music. For example, when it comes to farming in Africa there is preparation and celebration. How we pick the fruit, why we pick that fruit is dance movement that has a story.

“Another example is the special music and dances we do for the initiation of youth in a village. When I’m teaching kids here the initiation dance I’m also teaching this story, this culture, this way we do things.”

Between the beating drums and the whirling dancers the energy rises to a fever pitch at ACC performances. The nonprofit’s on quite a roll, too. In late 2012 it became one of only a dozen organizations in the U.S. that year and the first ever in Neb. to receive the National Arts & Humanities Youth Arts Award. It’s a major honor for any group but particularly one as new as ACC.

Ahovissi, ACC’s ebullient founder, president and artistic director, accepted the award from First Lady Michelle Obama at the White House. Additionally, ACC received a $10.000 grant to support and expand its programming. This came on top of winning the Nebraska Governor’s Arts Heritage Award.

Even Ahovissi finds it hard to believe his 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.”

NAC director of programs Marty Skomal says, “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 the troupe perform, I am impressed by the level of dedication, attention to detail and commitment. It becomes contagious. Kids can sense this authenticity, and respond to it instantly. ACC is able to do what its name implies – make a connection.”

Ahovissi appreciates the positive feedback he gets from teachers, administrators and program directors about the immersion experience he provides. He says the glowing evaluations “confirm that after we work with kids they learn how to respect and 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.”

He says the rituals and lessons taught have deep, universal meaning.

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

In a real sense he’s carrying on traditions handed down to him in Benin, where dance and drumming were part of his growing up..

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

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 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 an NAC touring artist in 2001.

He conducts NAC residencies around the state.

“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’m grateful for that because I do love teaching, performing and sharing my culture.”

He trains teaching and performing artists to join him at some venues.
His multicultural troupe present African music and dance and the stories behind these traditions. He feels 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 welcomes migrant populations from around the world “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. 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.”

Ahovissi’s still deeply tied to Benin, so far spared from the raging Ebola epidemic. He sends money back every month to his large family living there. “I’m they’re hope,” he says. They’re his roots and inspiration.

Visit africancultureconnection.org.

 

 

Charles Ahovissi's photo.
Charles Ahovissi's photo.
Charles Ahovissi's photo.
Charles Ahovissi's photo.
Charles Ahovissi's photo.
Glimpses from the Dec. 8 performance of the Iroka legend dance

 

Breaking the mold: Opera Omaha re-imagines the gala

December 11, 2014 Leave a comment

Depending on the crowd or circle you travel in, bring up opera in conversation and expect a glassy-eyed look on some people’s faces because they can’t or won’t get past some cliched notions they have about this form being tired, overstuffed, and irrelevant. Opera is in fact a living, breathing performing art every bit as vital and universal as any other, drawing as it does on the most urgent human emotions, inspirations, and themes for its bigger-than-life brand of music theater. Opera is not just one thing or the other either, it is alternately grand and spare, traditional and experimental, contemporary and classic. In the spirit of celebrating opera’s qualities, Opera Omaha, a company with a national reputation for its bold approach, has re-imagined its annual fundraising gala to give audiences an immersive experience inside the power and drama of ioera’s music, acting, and design. My story below for Metro Quarterly Magazine (www.spiritofomaha.com/Metro-Magazine/The-Magazine/) describes the new take Opera Omaha took with its Agrippina gala a year ago. An upcoming story in the next issue of the mag will discuss Opera Omaha’s plans to further these push the boundaries at the 2015 A Flowering Tree gala event.

 

Breaking the mold: Opera Omaha re-imagines the gala

©by Leo Adam Biga

A version of this story now appearing in Metro Quarterly Magazine (http://www.spiritofomaha.com/)

 

Hidebound event transformed to mirror opera’s dramatic, theatrical world

If being adventurous counts for anything, then Opera Omaha’s doing what it can to be the pertinent music theater company that general director Roger Weitz envisions. From commissioning designs by world-renowned artist Jun Kaneko to teaming with elite opera companies to presenting a full range of works, it’s making waves here and beyond.

“At the National Opera Conference in San Francisco this summer there was a bit of a buzz about what’s happening here,” Weitz says. “I think the word on the street in Omaha is also positive.”Part of the excitement was generated by last year’s gala that teased a production of Handel’s Agrippina. Everything from the nontraditional Omar Baking Building site to the outside-the-box immersive-interactive approach marked a stark departure from the norm.”The standard format of a gala is you go to a hotel ballroom, you have cocktails and dinner, there’s some speeches and maybe a performance,” Weitz says. “That’s a gala that could fit for anybody. But we’re an opera company that produces music theater, so I thought why not have our gala be like an opera? That’s how we can have it reflect the work we do. We shouldn’t have a gala that could be replicated by a hospital. It needs to be theatrical, it needs to be special.”

An opera sampler
With Los Angeles director James Darrah and his production team already in tow to mount the little-known baroque opera Agrippina, Weitz decided to have them produce the gala as well. Thus, lighting designer Cameron Jaye Mock, set designer Emily Anne McDonald, costume designer Sarah Schuessler and projections designer Adam Larsen brought Agrippina to life both for the site specific gala performance and for the main-stage Orpheum production.”I wanted to give guests a preview of what Agrippina was going to feel and look like from the team designing the production. What James and his team bring is innovation. He has both total fidelity to the music, to the composer’s intentions, and to the librettist’s intentions. What he brings to that is storytelling that can make even an opera hundreds of years old feel modern and relevant. At the end of the day that’s what I want this company to be – relevant.

“To me, opera is not a dusty museum piece, it’s a living, breathing, growing dynamic art form that a lot of young composers and artists are excited about and interested in creating. My vision for Opera Omaha’s mission is to make sure this community receives a balanced program that represents the repertoire. That means we’re going to do the classic greatest hits of opera – we’ll always have one of those every year – but we’re also going to do early, contemporary and new opera.”

With programming open to that full spectrum, he says, “it enables the company to take artistic risks and also to do things that are exciting possibilities with the potential to grow and build audiences.” For Weitz, there’s no gain without taking risk and to his delight he’s finding audiences are right there with him.”We’re taking a bold step that is not cautious. Every year I think we go a little bit further and every year the response has been all the more positive and enthusiastic.”

Opera Omaha supporters Paul and Annette Smith, who chaired the gala, appreciate Weitz’s daring.

“He’s taking a very fresh and exciting perspective to opera. He knew we needed to break some boundaries and to try some things that hadn’t already been done,” Paul Smith says.

Up close and personal
Though an 18th century work, Agrippina has enough sex, violence and politics to resemble a modern soap or news scandal. It’s why Weitz opted to hold the gala previewing it at a restored former bakery in the inner city. Darrah’s team crafted a surreal and intimate environment inspired by the retro industrial digs and the historical opera. A banquet table served as the “set” centerpiece. Screens acted as visual markers and breaks.

“We created a combination of live performance with installation art visuals amid dinner, drinks and conversation to immerse people,” Darrah says. “We had shot video portraits of the entire cast in slow motion closeup against a black background, which Adam Larsen then edited into video projected on transparent screens throughout the space. So you had characters from the opera walking on screens that would disappear and reappear on the other side of the room.

“It was all about illusion.”

Playing off the opera’s story of the emperor Nero and his mother Agrippina fiddling away in circles of deceit while Rome burns, Darrah and Co. created a neoclassical setting in which non-costumed actor-singers suddenly broke into dramatic song during dinner. These live pop-up scenes plunged audience members into the thick of performers enacting lusty, blood-thirsty, full-throated action.

“The vision for the evening was always very exciting and unconventional,” Smith says. “But at its core, James wanted every person at the event to taste a bit of the Agrippina experience and to want to be at the opera when it opened. He worked to create an engaging, exciting space where we all felt like we were intimately close to the opera. Ultimately we were so close that the characters seemed very real to each of us.

“It was very exhilarating to have the performers from Agrippina perform a piece from the opera on the middle of our table with such amazing vigor, as if they were literally on stage, ripping flowers from the vases and angrily throwing them with no regard to the ‘audience’ seated only a foot or two away. It truly felt as if you were experiencing the anger and malice of Agrippina directly.”

Smith says the experience had the desired effect Darrah sought.

“It helped us understand how incredibly exciting opera can be and it made us want more. Others we talked with told us that after the gala they wanted to experience more opera.”

It’s all part of Opera Omaha’s aim to shake up people’s ideas about what the art form is or can be. Darrah says that effort begins with Weitz giving artists like himself the freedom to interpret a shared vision.

“He lets the creative people he hires do their job, He puts a lot of trust in the team, which is an incredibly great thing to feel as artists.”

He also likes that Weitz brings the company and the community together through accessible events.

“He brings you to the community to do work and introduces you to people in the community and supports you as part of the community.”

Once more with feeling
Fresh off the success Darrah and his team enjoyed last year Weitz has brought them back to design the January 16, 2015 gala to be held at another unexpected site, the Crossroads Mall. It will be a tantalizing sampler of an original production of the John Adams opera A Flowering Tree at the Orpheum in February. For the gala the team is transforming the mall’s atrium into the opera’s mythological, nature-filled landscape. A world-class soprano, two leading pianists and top dancers will join featured cast members in fleshing out this romantic fairy-tale.

That gala and production are sure to attract attention the same way the Agrippina gala and production did. The opera world’s taken notice for some time. San Francisco Opera admired Jun Kaneko’s Madame Butterfly so much they put together a team of five companies, including Opera Omaha, to build his The Magic Flute. That led to this season’s new co-production of Rigoletto, a collaboration between Boston Lyric Opera, the Atlanta Opera and Opera Omaha,

“Weitz says, “When you have opera companies of that magnitude wanting to collaborate creatively with Opera Omaha that’s a really good indicator we’re a presence making our mark on the opera field.”

Opera Omaha plans to keep folks wanting more.

“We have to keep surprising and delighting people and keep raising the bar,” Weitz says. “I think James and his team set a pretty high bar last year and I told them this year we must raise the bar again.'”

Supporters Cindy and Mogens Bay, who chair the 2015 gala, are taking the cue, “Opera Omaha’s gala last January was unique and truly special. It exceeded our expectations,” Cindy Bay says. “We’re delighted the same innovative artists are coming back this year to take on a new event with even more ambitious plans.”

A music and dance filled after-party for a younger crowd will follow the gala.

For tickets, visit http://www.operaomaha.org.

Rock photographer Janette Beckman keeps it real;Her hip-hop and biker images are at Carver Bank in Omaha, where she’s doing a Bemis residency

September 19, 2014 Leave a comment

Here’s my Reader (http://www.thereader.com/) cover story on famed rock photographer Janette Beckman, whose images of punk and hip-hop pioneers helped create the iconography around those music genres and the performing artists who drove those early scenes.  She’s been visiting Omaha for a residency at the Bemis Center for Contemporary Arts, working on a portrait of the city.  An exhibition of her photos of hip-hop pioneers and Harlem bikers is showing at the Carver Bank here through the end of November.

 

Janette Beckman

 

 

Rock photographer Janette Beckman keeps it real;Her hip-hop and biker images are at Carver Bank in Omaha, where she’s doing a Bemis residency

©by Leo Adam Biga

Now appearing in The Reader (http://www.thereader.com/)

 

Photographer Janette Beckman made a name for herself in the 1970s and 1980s capturing the punk scene in her native London and the hip-hop scene in her adopted New York City.

Dubbed “the queen of rock photographers,” her images appeared in culture and style magazines here and abroad and adorned album covers for bands as diverse as Salt-N-Pepa and The Police. Weaned on Motown and R & B, this “music lover” was well-suited for what became her photography niche.

She still works with musicians today. She’s developing a book with famed jazz vocalist Jose James about his ascent as an artist.

Her photos of hip-hop pioneers along with pictures of the Harlem biker club Go Hard Boyz comprise the Rebel Culture exhibition at Carver Bank, 2416 Lake Street. Beckman, documenting facets of Omaha and greater Neb. for a Bemis residency, will give a 7 p.m. gallery talk on Friday during the show’s opening. The reception runs from 6 to 8.

The Bemis Center for Contemporary Arts stint is her first residency.

“This is a new experience. It’s very refreshing. It’s kind of nice to get away from your life and open up your mind a little bit,” says Beckman, who describes her aesthetic as falling “between portrait and documentary.” “I truly believe taking a portrait of somebody is a collaboration between you and the person. I really like taking pictures on the street. I don’t want hair stylists and makeup artists. I don’t tell people what to do. I want to document that time and place – that’s really important to me. I want it to be about them and their lives, not about what I think their lives should be.”

Carver features a personal favorite among her work – a 1984 photo of Run DMC shot on location in Hollis, Queens for the British mag Face.

“They were just hanging out on this tree-lined street they lived on. I said, ‘Just stand a little closer,’ and they did. I love this picture because it expresses so much. It’s a real hangout picture and such a symbol of the times, style-wise. The Adidas with no laces, the snapback hats, the gazelle glasses, the track suits. It just expresses so much about that particular moment in time. And I love the dappled light on their faces.”

Salt-n-Pepa, ©Janette Beckman

 

 

She made the first press photo of LL Cool J, complete with him and his iconic boom box. She did the first photo shoot of Salt-N-Pepa while “knocking about” Alphabet City. In L.A. she shot N.W.A. posed around cops in a cruiser just as the group’s “Fuck tha Police” protest song hit.

She says her hip-hop shots “bring up happy memories for people because music is very evocative – it’s just like a little moment in time.”

The early hip-hop movement in America paralleled the punk explosion in England. Both were youthful reactions against oppression. In England – the rigid class system and awful economy. In the U.S. – inner-city poverty, violence and police abuse.

“Punk really gave a voice to kids who never really had a say. Working-class kids and art school kids all sort of banded together and started protesting, basically by being obnoxious and writing punk songs that were kind of like poetry, expressing what their lives were like. There was the shock factor of wearing bondage apparel and trash bags, putting safety pins in their noses. Really giving the finger to Queen and country and all that history. It was like, ‘Fuck you, it’s not that time, we’re fed up and we’re not going to take it anymore.'”

Her introduction to hip-hop came in London at the genre’s inaugural Europe revue tour.

“No one knew what hip-hop was. It was just the most amazing show. It had all the hip-hop disciplines. So much was going on on that stage – the break dancers and the Double Dutch and Fab 5 Freddy, scratching DJs, rapping, graffiti. All happening all at once. It blew me away.

“I met Afrika Bambaataa, who’s pretty much the father of hip-hop.”

Weeks later she visited NYC and “there it all was – the trains covered in graffiti, kids walking around with boom boxes, people selling mix tapes on the street. I got very involved in it.”

“New York was broke. Politically it was a mess. These kids had no future. Hip-hop gave this voice to the voiceless. They were singing ‘The Message’ (by the Furious Five). Where I was living there really were junkies in the alley with a baseball bat. It was no joke. You could see it unfolding in front of you and yet there was this vibrant art scene going on. Graffiti kids stealing paint from stores, breaking into train yards at night and painting trains in the pitch dark to make beautiful art that then traveled like a moving exhibition around New York. It was just fantastic. A real exciting time.”

She got so swept up, she never left. When big money moved in via the major record labels, she says. “everything changed.” She feels hip-hop performers “lost their artistic freedom and that almost punk aesthetic of making it up as you go along because you don’t really know what you’re doing. They were just experimenting. That’s why it was so fresh.” She expected hip-hop would run its course the way punk did. She never imagined it a world-wide phenomenon decades later.

“In the ’90s with Biggie and people like that it got massive. People are rapping in Africa and Australia. Breakancing is bigger than ever now..”

While capturing its roots she didn’t consider hip-hop’s influence then. “I was just in it doing it. I was just riding the wave.”

Portraying folks as she finds them has found her work deemed “too raw, too real, too rough” for high style mags that prefer photo-shopped perfection. “I don’t really believe in stereotypes and I don’t believe in ideals of beauty.” She’s even had editors-publishers complain her work contains too many black people.

 

 

[image]

Go Hard Boyz biker club pic, ©Janette Beckman

 

Beckman’s surprised by Omaha’s diversity and intrigued by its contradictions. She’s shot North O barbershops, the downtown Labor Day parade, her first powwow, skateboarders doing tricks at an abandoned building and a South Omaha mural. She’s looking forward to taking pics at a rodeo and ranch.

She came for a site visit in July with one vision in mind and quickly had to shift gears when she began her residency in August.

“I wanted to photograph people on the street in North Omaha and I found there’s nobody on the street, so I had to try to wiggle into the community.”

Her curiosity, chattiness and British accent have given her access to events like the Heavy Rotation black biker club’s annual picnic at Benson Park. That group reminded her of the Ride Hard Boyz she shot last summer in New York.

“I was riding in the flatbed of an F-150 truck driven by one of the guys down this expressway with bikers doing wheelies alongside, All totally illegal. It was the most exciting thing I’ve done in years. Although it’s rebel in a way, the club keeps kids off the street and out of drugs and gangs. They’re the greatest guys – like a big family.”

The end of Sept. she returns to the NewYork “bubble.” An exhibit of her photos that leading artists painted on, JB Mashup, may go to Paris. She’s photographing a saxophonist. Otherwise, she’s taking things as they come.

“I try not to make too many plans because they tend to get diverted.”

Rebel Culture runs through Nov. 29.

View her Omaha and archived work at http://janettebeckman.com/blog.

 

 

 

 

 

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.

 

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.

After Decades in New York City Omaha Native Jazz Pianist Paul Serrato Proves You Can Come Home Again

June 6, 2013 1 comment

Jazz artist Paul Serrato is one of those cool cats who left his native Omaha to do his thing in the big city.  He carved out a nice career in New York as a pianist, arranger and composer.  He has serious chops and he’s well respected in the jazz world for his talents.  Now, decades after leaving here, he’s come back to his hometown something of a jazz legend to aficianados, though he’s largely unknown to the general public.  He’s one of those classic cases of being unappreciated in his own backyard.  That’s partly due to the fact that jazz is off most people’s radar.  Then there’s the reality that he was not in Omaha when he did make a name for himself in the Big Apple.  But he’s come home to stay and he’s eager to share his work with Omaha audiences.  My guess is he will get the recognition he deserves here before too long.

 

 

 

 

 

After Decades in New York City Omaha Native Jazz Pianist Paul Serrato Proves You Can Come Home Again

©by Leo Adam Biga

Soon to appear in El Perico

 

Jazz pianist-arranger-composer Paul Serrato left his native Omaha more than 50 years ago to pursue a theater and music career in New York City. He found considerable success there. He led headlilne and backup bands, he soloed and did sideman work at top clubs. He composed original music for hit underground, off-Broadway plays. He recorded and released several well-reviewed CDs on his own Graffiti Productions label.

He was the first to perform on the Staten Island Ferry. He was a regular artist in the Jazz Vespers series at St. Peter’s Church. He appeared on the Joe Franklin Show.

He would return to visit family and friends. In 2011 he came back here to stay. He performs around town, including a regular gig at The Addicted Cup in the Old Market. He’s preparing a new CD highlighting some never released original music.

Why move here after so many years away?

“Well, it was a push-pull thing,” he says. His mother, who had remained in town,  died and rather than give up “the family compound in South Omaha” he decided to move in. It beat the Big Apple’s high cost of living.

Omaha is where it all began for Serrato. He grew up the only child of a single mother. He never really knew his father, who left for Calif. It’s only in the last year Serrato discovered half-siblings on the west coast. “We’ve really bonded,” he says of his new found family.

Times were tough for Serrato and his mom. She traveled wherever she could find factory work.

“I went to school in Michigan, Texas, Tennessee,” says Serrato.

His love of the piano began as a young boy. An aunt in Omaha played a big upright he couldn’t resist. He started lessons at age 9 and quickly showed promise and passion.

“I really found an obsession.”

He won local music contests and was a featured soloist in school concerts. He played mostly classics until happening upon jazz.

“I used to hear it on the radio and I was very like blown away by the great jazz pianists. I’d thought I wanted to be a concert pianist until I started hearing recordings by Art Tatum and Oscar Peterson.”

By high school he was living in Omaha again. Soon after graduating Creighton Prep in the late 1950s he left for Boston University to study theater arts. Then New York beckoned.

“It was a magnet, it was a pull, it was an exciting lure,” he says. “What I did when I arrived was I saturated myself in the club scene.”

He was a regular at the landmark Birdland. He also took composition studies. His studies continued. His resulting music expresses the energy and edge of the bustling city. He calls his sound urban jazz – not by the rules.

“You’re a product of your culture, whatever it is,” he says.

 

 

 

 

He acknowledges a strong Latin influence in his work. Conga player Candido Camero was “a great inspiration,” he says.

“Candido made a record called Mambo Moves with one of my favorite pianists Erroll Garner. It has such great duets they play. I’ve always loved that record and I’ve tried to incorporate some of those ideas into my own music.”

Serrato’s worked with several conga players over the years. He recently found a new one – “He’s got the licks, man” – with whom he hopes to perform and record.

 

 

 

 

He identifies strongly with his Mexican heritage. He didn’t grow up speaking much Spanish but he fell in love with the language and became an English-as-Second Language teacher for Spanish-speakers.

“I’ve done a lot of traveling in Spanish-speaking countries. I spent lot of time in Spain, where I used to follow bullfights. That was a whole passion of mine. I used to be a really great aficionado. I got my master’s degree in urban education ESL and my last few years in New York I taught adult education in Washington Heights to mostly Dominicans. I taught bilingually.”

His early years in New York he supported himself working odd jobs, including tending bar. While managing a Greenwich Village bookstore he met artists from the underground scene – poets, playwrights, painters, singers.

“That’s a great thing about New York, where you just collide with people. In that New York downtown underground culture nobody was dictating you to write it this way or that way, so I was writing jazz for singers to perform in plays. I had the field to myself because nobody else was doing that. Everybody was doing like rock songs and the Velvet Underground, and I loved the Velvet Underground but that wasn’t what I was doing. I was a novelty.

“I jumped into it and had some wonderful collaborations with (Andy) Warhol superstars, playing for them, accompanying then, getting acts together. I did stuff with jazz basses, walking basses, trumpet solos, all this stuff, and they loved it.”

Serrato made tours of London in the 1970s. More recently he’s performed concerts in Japan. His work’s been featured in television documentaries, included An American Family, and in the HBO dramatic movie, Cinema Verite.

He says New York is “where I’ve done my most memorable creative work and I’m hoping I can transfer some of that to Omaha, and I’m having some gratifying success. I’m meeting some really good musicians.

He looks to add to a personal recording catalog that includes the albums AlterNations, Pianomania, Excursions, Origami and Nexus.

His next Addicted Cup gig is June 29 from 4 to 6 p.m.

Find more about the musician at http://www.paulserrato.com.

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