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
Here’s my Reader (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.
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 (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.”
Run DMC, ©Janette Beckman
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.
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.
Omaha’s Henry Doorly Zoo is a big deal. We’re talking one of America’s Top 100 attractions with annual attendance near two million and a large gallery of state of the art indoor exhibits to complement its outdoor viewing areas. In the next year the zoo will introduce a huge new outdoor African Grasslands exhibit that should boost attendance to a whole new level. As my new story for thr Metro Magazine describes, the grasslands project’s natural habitats, diverse species, intimate observation points, and built-in education components will give visitors an upclose experience with and appreciation for an African wilderness environment that comes as close as possible to the real thing.
JOURNEYS: African Safari
JOURNEYS: Omaha’s Henry Doorly Zoo calls African Grasslands Project The Next Big Thing
Omaha’s Henry Doorly Zoo and Aquarium calls its coming African Grasslands project the next big thing for Omaha. It’s certainly that and then some in terms of the $70 million it will cost to transform 28 acres into an equatorial savannah experience in the Midwest.
The exhibit will open in two phases in 2016. Omaha-based Kiewit Construction, which realized the Zoo’s existing big ticket immersive exhibits, will lead construction. Work begins in earnest this fall.
The project’s the next big step for the Zoo in educating visitors about the conservation research work it does here and around the world. Ongoing education efforts include classes for youth ages 3 to 18, day camps, interpretive tours and safari-eco adventure trips.
The Zoo’s Jungle, Desert Dome and Aquarium exhibits are indoor immersive experiences that recreate ecosystems within four walls. The Grasslands will be a sprawling natural mosaic that puts you in an open-air expanse where elephants – slated to return after a long absence – rhinos, impalas, giraffe and other iconic African animals roam.
“For the first time we’re going to transport you outdoors to another world,” executive director and CEO Dennis Pate says. “What you’re going to see and feel is going to come closer to understanding what the savannah is like without us saying a word.”
Pate says the Grasslands will come as close as an urban zoo can get to replicating the experience of exotic mixed species inhabiting the wild.
OUT ON SAFARI
A group from Omaha recently returned from a two-week Zoo-organized safari to Botswana and Zambia, one way the institution tries building awareness and appreciation of endangered habitats and species.
Participants of the May safari, which featured former Zoo director Lee Simmons and his wife Marie as escorts, won’t soon forget the breathtaking scenes they witnessed.
“What I brought home is the sacred peace of sounds that come only from the inhabitants of Africa, the interconnectedness of all creatures for survival and seeing the variety of animals,” Ann Pape says.
The trip satisfied a Bucket List wish for Jean Bell, who says the experience impressed upon her “how very important” it is these wild environments and species “be preserved and that humans “are really the only ones who can make that happen.”
Ellen Wright says, “People often take for granted these majestic and remarkable creatures will always be with us but when you are exposed to the devastating toll of poaching and to the human effect on the land you realize all this beauty could disappear unless we act now.”
BRINGING IT ALL CLOSER
As most folks will never go on an actual African safari, the Zoo tries giving visitors increasingly authentic, intimate experiences in their own backyard. The goal is to display how these animals function in the wild as well as how they are cared for and protected. Interactive demonstration areas in the Grasslands exhibit will allow the public for the first time to observe staff conducting animal welfare maintenance, such as checking the condition of teeth and feet.
Interpreting the natural world indoors is one challenge but doing it outdoors, at scale, is a whole other challenge.
“It’s harder to do because you can’t control everything,” says Pate.
Construction will move many tons of dirt to reconfigure hilly old grounds and contour them into the gradually sloped savannah. Buildings will be recessed behind trees and landforms to obscure them, with the exception of a new African game lodge-inspired structure. Overlooks will provide visitors with panoramic views.
It’s all part of the evolution of zoos.
“For the past 25 years what we’ve been doing as opposed to simply displaying animals in cages or pens is to try to present animals in their ecosystems and give people a chance to actually experience that ecosystem,” says Simmons, now chairman of the Zoo Foundation. During his long tenure as Zoo director he initiated the institution’s staggering growth that shows no signs of stopping. “Anytime you get people in the same environment with the animals it does make a difference. To see an animal from a distance through bars, a fence or glass is a lot different than being able to get up close and personal.
“What we’re really interested in is the experience and what people come away with.”
Omaha Zoo Foundation director Tina Cherica says, “We’re trying to create an experience that will make people actually care about the realties these animals face in their natural habitats.”
“Zoos have become kind of giant classrooms,” Simmons says, “but we preach this two dollar Sunday sermon by osmosis. We want people to come in and have a really good experience, realize they suddenly know something more than they did, and come away feeling they need to support conservation of habitat.”
Simmons says the state of wildlife conservation is a mixed bag.
“The good thing about a lot of places in the world is that the locals on the ground have realized eco tourism has a very important economic and political impact. There are areas we go back to that are being managed significantly better than they were when we first started leading safaris 30 years ago. There are some that are not and we don’t go to those anymore.”
He says in addition to the destruction of habit by human encroachment, poaching of elephants and rhinos is “rampant.”
Pate says zoos like Omaha’s are perhaps best positioned to educate the public about these challenges.
“On average 96 elephants a day are killed in Africa and one really large bull was just poached in a national park, and so it’s a huge problem. The decline in elephants has been pretty radical. Rhinos are in even worse shape. If we as zoos don’t bring this to the public then there’s very little likelihood they’re going to appreciate the diversity of species alive in the world today.
“I think these problems are being day-lighted through what zoos are doing. People learn that the zoo they support is playing a role in trying to stem some of those problems.”
Cherica says, “I think it brings it home to people. When you see a news story, you’re so far removed from that reality. When you come to your zoo and see these animals and learn about the work we’re doing, then all of a sudden there’s more of a personal connection. This is an opportunity to take a venue with 1.7 million visitors a year and use it as a learning experience to create that personal connection.”
“The new move is to not only show people these animals but to talk about their plight and what the local zoo is doing to assist them,” Pate says. “That makes us really unique. There’s a lot of conservation organizations but very few have a place to be able to talk about it with the public. We have a place where we educate millions of people.”
Pate says the Omaha Zoo “has a strong record of conservation and we’re going to begin talking a lot more about what we do in the wild.” He adds, “A modern zoo does more than just take care of its own animals, it takes care of animals wherever they are in the world. That’s evolving and we’re going to be at the point of that sphere. It’s part of feeling a greater responsibility toward animals in general, whether they’re in zoos or in the wild.”
Simmons says, “We’ve been doing our bit, not just in Omaha. We’ve had a very active conservation program going for the last 30 years.”
The Center for Conservation Research based in Omaha employs several PhD scientists who spend months at a time in the field.
“We’ve had people actively in the field doing conservation in South Africa and East Africa and particularly in Madagascar,” he says. “We’ve got permanent and temporary establishments in Madagascar all focused on conservation, lemurs primarily, but also habitat, reforestation, turtles, frogs, bats and a whole lot of other things. We send people to many places. We’ve contributed a lot to the conservation of Siberian tigers and Amur leopards in far Eastern Russia, both by sending people to do training there and bringing Russian biologists to do training here. We’ve also brought Chinese and Vietnamese here. We have also trained scientists, researchers and interns from over 40 countries here.”
Pate says tying all the threads of this story together “starts with not necessarily the science or the slaughter, it starts with an emotional attachment to a living being – not ones you see on television or read about in a newspaper.” “That’s why it’s important for us to have kindergarten kids through here. It’s why we do day camps. It’s why we have a high school,” he says. “That emotional connection starts early. Then we can build on it with the science. It’s nice to go a little deeper with these animals and talk about what’s affecting them in the wild and how our zoo is helping them and their counterparts in the wild. That’s the exciting part – the whole interpretive story.”
A quarter million youth annually participate in Zoo education programs.
Ellen Wright, a longtime donor and Zoofari volunteer, says the need for conservation education cuts across all ages. “The African Grasslands project is crucial for engaging the widest possible audience and building awareness of the conservation challenges here and around the world.”
Her passion’s shared by many. Much of the work Cherica and Simmons do through the Omaha Zoo Foundation is to cultivate donors to make a wish-list of major projects possible. When pitching projects Simmons knows he’s struck a chord when “the donor’s eyes light up” and that’s happened enough to realize a string of multimillion dollar undertakings.
Another indicator of people’s embrace of the Zoo is the mass of humanity that streams through its gates – enough to make it the top tourist destination in the region. It also boasts a membership of 72,000 households, which translates to about a third of the metro’s population.
“We’ve got way, way more zoo than you would remotely expect in a community this size,” Simmons says. “It’s because the community has been supportive. We have had the highest attendance and membership in North America (among zoos) as a percentage of our metro population base.”
Cherica says that same loyalty is born of trust.
“The community has a lot of confidence in us because we deliver on what we say we’re going to deliver, so over time that’s instilled not only community pride but donor confidence to continue reinvesting in what we’re doing here.”
Being a well-run venue helps.
“Since 1970 we’ve never run an operating deficit,” Simmons says. “We had our first positive year in 1970 and we’ve been positive ever since.
And we’ve brought every project in on time and on budget.”
No endeavor has been as big as the Grasslands project.
“We knew it was going to be a challenge,” Cherica says. “It’s twice as much as any project we’ve done to date but we’re confident in the donor community and in their ability to push this forward. We fully expect the project will be funded by the end of the year.”
“The community support here is unusual and it makes it a highly attractive place to work,” says Pate, who came to Omaha five years ago from the Jacksonville Zoo and Gardens. “The opportunity to affect that many millions of people is pretty incredible. There’s space, there’s money, there’s its place in the community, there’s the conservation research and welfare of animals. It all comes together.”
Follow Grasslands progress at http://www.omahazoo.com.
“A modern zoo does more than just take care of its own animals, it takes care of animals wherever they are in the world. That’s evolving and we’re going to be at the point of that sphere. It’s part of feeling a greater responsibility toward animals in general, whether they’re in zoos or in the wild.”
~ DENNIS PATE, EXECUTIVE DIRECTOR AND CEO
Change Agent: Mark Evans leads OPS on bold new course full of changes in his first year as Omaha Public Schools’ superintendent
The Omaha Public Schools District deals with the diversity, needs, and challenges that any large urban school distrect does but it has had more than its share of infighting, controversy, and push back in recent years, much of it revolving around an administration deemed distant and unresponsive. As the following profile of new OPS Superintendnet Mark Evans indicates, there’s a new approach at the top, starting with him, as he has ushered in sweeping changes, much of them having to do with the district being more transparent and inclusive. This change agent has led the development of a new strategic plan among many other transformative actions. My piece is now appearing in The Reader (www.thereader.com).
Mark Evans, ©ketv.com
Change Agent: Mark Evans leads OPS on bold new course full of changes in his first year as Omaha Public Schools’ superintendent
©by Leo Adam Biga
Now appearing in The Reader (www.thereader.com)
When Mark Evans accepted the job of Omaha Public Schools superintendent in December 2012, he knew the mission would be immense in this sprawling urban district facing myriad challenges.
With 51,000 students spread out over 86 schools located in divergent environments ranging from inner city poverty to suburban affluence, the district responds to a wide spectrum of needs and issues. In his due diligence before starting the job he found the district’s good work often overshadowed by controversy and conflict due to an embattled school board and an aloof administration and no clear, unified vision.
Besides struggling to close the achievement gap of its majority minority student population, many of whom attend overcrowded, poorly resourced schools, the district reeled from internal rancor and scandal. Longtime district head John Mackiel exited with a $1 million retirement payout many viewed as excessive. His replacement, Nancy Sebring, quit when it came to light she’d exchanged sexually explicit emails with her lover during office hours at her previous employer. The often divisive OPS Board of Education and its handling of the matter drew sharp criticism that resulted in its president’s resignation. The perception was of deep rifts among OPS leaders who spent more time putting out fires than making systemic changes,
District elections turned over an almost entirely new board when Evans, who came to OPS from Kan,, officially started in 2013. The board has navigated a flood of changes that Evans has introduced in fulfilling a promise to shake things up and to address identified weaknesses in Neb.’s largest school district.
One of his first orders of business was conducting a needs assessment that sought broad community input. Feedback from parents, teachers, administrators and stakeholders shaped a new strategic plan for the district. The plan outlines strategies for better communication, more transparency and accountability, closer alignment of goals and greater classroom rigor. He reorganized district staff and created new positions in response to an expressed need for better support of schools. He’s overseen a new student assignment plan, a new hiring policy and a facilities wish-list for $630 million in upgrades.
Evans wants to stem the tide of students OPS loses to other districts, saying that’s difficult “if you don’t have room for them and many of our schools are just packed to the gills.” He adds, “You can’t compete with other districts unless you have facilities of similar caliber and we’re a real inequitable district today. About half our schools are beautiful facilities. The other half there’s a whole list of things that need to be worked on.” The facilities plan may go before voters as a bond issue.
He compares the task of changing the district’s direction to turning around an aircraft carrier at sea. As captain, he plots the course but he relies on a vast team to implement the necessary maneuvers. Evans began the turnaround even before he started.
“I didn’t start officially until July 1 but once I accepted the job I started visiting, collecting information, studying, so that when I did walk in the door I didn’t walk in cold. I walked in running because I’d already met staff and community. I’d purposely reached out. I had a very clearly laid out entry plan that described the things we were going to do.
“You have to have a real clear plan of how you’re going to implement this kind of stuff or you’re going to get lost and lose the prioritization. You’ve still got to do what you’ve been doing but do it better while doing these major lifts. So a lot of it has to do with prioritization and focus. A lot of it has to do with 60-plus hour work weeks.”
Evans likes what he sees on the horizon now that OPS has aligned goals at every level.
“We’ve not had a clearly defined destination until today. What you had was some schools saying, ‘This is my destination, this is what I think is most urgent,’ and they just kind of did it on their own. The difference today is we’ve got clear alignment and we’re creating a system that creates support and accountability throughout. Everyone’s success is contingent upon someone else’s success.
“Accountability is now built in because it’s on paper, it’s in writing:
Here’s your goal for graduation rate, here’s your goal for NESA scores, here’s your goal for the achievement gap…”
He says strategies are being honed “to create that same level of accountability” at all 86 schools and in every classroom.
“That’s the whole restructure piece we created. Principals told us, ‘We want more help in our schools,’ so we shut down a department in the district office and put 30 people out in schools. Then we created four executive directors of school support positions. Each is directly responsible for 21 schools. We spent all summer training them. They’re former star principals who serve at the cabinet level with me and top level staff. They look at the alignment of the big picture goals to the school improvement plan and help principals improve that. Everyone is working towards the same goals.”
He says until the strategic plan there wasn’t a coherent, clearly expressed vision “of where we’re at, where we’re going and how we’re trying to get there,” adding, “I think what I feel best about is we’ve created more transparency and communication from the get go because we asked people what are the strengths and needs of our district. We did forums, we did surveys, we used different tools on our website. That was the start of our saying, ‘We’re going to ask you first and then we’re going to use what you tell us to help us see our critical needs.’ To be honest, I already knew we had critical needs but it can’t be my plan, it’s gotta be our plan, it can’t be my thoughts, it has to be our thoughts, and the truth is most of where we ended up at I would have ended up at, too.”
Engaging people in the process, he says, “is much more powerful” and staff take more ownership for “achieving specific targets.” The changes have been welcomed by some and met with push-back by others. He jokingly says response is “somewhere between embrace and fisticuffs.”
He’s well aware steering this unwieldy district in a new direction will take time given its sheer size.
“You just have to know it’s a big journey.”
He left a good thing at the Andover (Kan.) school district to make this journey.
“I had a great job, we were making progress and nationally recognized. I’d been there eight years and I could have finished my career there fairly easily.”
He declined OPS overtures before throwing his hat in the ring.
“I knew what it was going to take to do something like this, so I said no twice. The third time they asked me to call some people I knew up here and I did and I heard positive things from them. They said to look beyond the headlines because the headlines had been pretty devastating. In my initial research I saw a mess beyond repair but the further I looked, and I still feel this way a year later, the mess has been at the 10,000 foot level – with the superintendent and the board. It’s about getting rid of the noise and distraction and chaos there.
“It wasn’t easy moving but at the end of the day I thought I could make a difference here. I know how to systemically build schools. Everywhere I’ve gone we’ve been able to have progress with kids because I understand how to bring a system together and to build teams and create collaborative decision makers.”
Making it easier for him to take the plunge was the community support he found here he didn’t find in Wichita, Kan., where he spent 20 years working in that city’s largest public school district.
“I’d spent most of my career in Wichita in a very similar setting – from the size of the schools to the number of employees to the demographics of the kids. But there is one significant difference and this is part of the reason I said yes – the community here is more supportive than Wichita is. This community still cares. People want OPS to be successful. There’s philanthropic support. There’s several foundations and individuals that care about OPS.”
Along with the deep pockets of the Sherwood and Lozier Foundations, OPS has relationships with mentoring initiatives like Building Bright Futures, Partnership 4 Kids and Teammates. Recognizing that many of its students live in poverty and test below grade level, the district partners with organizations on pre-K programs in an effort to get more at-risk children ready for school. New early childhood centers modeled after Educare are in the works with the Buffett Early Childhood Fund and the Buffett Early Childhood Institute.
Evans champions community-driven endeavors aimed at improving student achievement and supporting schools because no district can do it alone, especially one as large and diverse as OPS.
“Not only is it a big district, which creates some challenges, we have more and more free and reduced (lunch) students who qualify for the federal poverty line and we know that brings with it some extra challenges which is why we need community support. We have an increasing number of English as Second Language learners because we have a growing number of refugee families. These young people not only have language barriers but huge cultural barriers.
“We also have more young people coming to us with life challenges and neighborhood issues. Partnering with community groups makes a big difference with those extra challenges. What we’re trying to do in many situations is fill in gaps. Organizations are critical because we’re filling in more gaps than we have before.”
Those gaps extend to resources, such as high speed Internet access. Some kids have it at home and school, others don’t because their parents and schools can’t afford it.
He says the efficiencies possible in a corporate, cookie-cutter world don’t fit public schools because no two suppliers, i.e. parents, and no two products, i.e. students, present the same specs.
“We take whoever walks in the door and wherever they’re at is where we take them, whether they have special needs, language arts deficiencies or advanced skill sets. So school A and school B might look different, in fact they’ll inherently look different even though the summative assessments are still going to look the same with standardized testing and those kinds of things. We do have these summative tools that tell us something about whether a school is progressing or not.
“On the other hand, school A may be quite a bit different than school B because school A has 20 percent refugees with some very specific skill gaps and so how we support them and the grade level assessments tied to that curriculum are going to be a little different than school B which has no refugees, no ELA-ELL (English Language Acquisition-English Language Learner) students. Students in school B are prepared and ready for something much different than what students at school A are prepared and ready for. And so we demand that each school and each staff differentiates based on the needs of the young people. You do formative tests to get those early indicators of where are the skill gaps and how are we going to bridge those skill gaps.”
Differences aside, the same overarching goal apply to all schools.
“No matter where they’re at, what you’re looking for is progress in both groups. It’s gotta be about growth and progress, wherever they came from, whether from a refugee camp or a single-parent family or a household where both parents are college graduates. The day they walk out they’ve gotta be better than the day they walked in.”
Closing the achievement gap, he says, “is not just resources,” adding, “There’s a lot of things we can do with existing resources – that’s what we’re trying to do with alignment. For example, if we know of a specific strategy to improve math or language arts skills for kids below level why wouldn’t we train all our staff in that methodology for all our schools? We’d never done that. Instead, school A and school B would pick out whatever strategy they wanted. Some would buy a compute-based piece and some would do a tutorial piece at the Teacher Administration Center.
“There was no collaborative where educators said, ‘Which one has the highest return on impacting those skills?’ That just doesn’t make any sense. So now we’re attempting to scale those things. Part of it is getting out of our silos and scaling the quality and part of it is helping people develop the skill sets to know how to implement that, because not everybody knows.”
Pam Cohn (Secondary)
Melissa Comine (Elementary)
Dwayne Chism (Elementary) Lisa Utterback, Elementary
His executive directors of school support, including Lisa Uttterback, were principals at high performing schools. Evans has charged them with helping principals adopt best practices at their own schools.
“Lisa had great success in a high needs school (Miller Park). The test scores look good, there’s community partnerships and parent involvement. Kids are walking out the door with pride, ready for middle school. I took grief for taking her out of there but my thinking is she can have more impact by scaling her capacities to 21 schools. I need her to develop her skill sets to these principals she supports and I need the other EDs to do that with the leaders they support.
“The whole concept is to find where it’s working and make decisions collaboratively on best practices and then support the implementation. It doesn’t happen overnight. It didn’t happen overnight at Miller Park, but it did happen. So what happened? Well, you had good leadership. She (Utterback) figured out strategies that work.”
Other principals have done the same thing.
“We’ve got islands of excellence, we’ve got schools doing wonderful things, but then you’ve got other schools that for whatever reasons need more supports and until now there really wasn’t a methodology to try to recognize it and to provide that support.”
To achieve the greater classroom rigor district-wide the strategic plan calls for he says OPS is enhancing efforts started before he came to “retrain teachers on baseline skill sets for instructional practice.” He acknowledges “these are things they should have probably had in college but for whatever reason didn’t.”
In addition to raising performance, there’s a push to keep kids in school.
“In our district right now were at 77.8 percent graduation rate, which by the way is pretty high for an urban setting. But the truth is we’ve got to be higher than that, we’ve got to be over 80 and be moving toward 90, because if they don’t have a high school diploma today the research abundantly shows the opportunities in life are slim.
“Were trying to move 13 percentage points over the next five years,
which doesn’t sound like a big deal but it kind of is a big deal.”
Moving forward, he feels good about the school board he answers to.
“I would say our relationship’s good. They’ve had an enormous learning curve. I think their hearts are really good. I think they’re still struggling with the learning curve – heck, I am. They’re trying to wrap their arms around big stuff, I mean, we’re talking big numbers here – a $600 million facilities plan. We’re talking big information – a strategic plan, a student assignment plan, a new hiring policy. I think they’ve done amazing for the amount of time they’ve had to try to capture this.”
He says minus drama and acrimony at the top, OPS can thrive.
“We have great schools doing really good things. I thought and I still think if we could get rid of that noise and distraction and have an aligned, coherent system we may have one of the only opportunities in America where a community still values urban education, and they do here. There are very few communities like this.”
He feels good, too, about he and the board having come in together to provide a restart for the district.
“I think this community wanted and desired a feeling of a fresh start. I think people feel like they are seeing something different today than what they saw the last five years. I know we are doing things different because OPS hadn’t done a strategic plan in 10 years, they hadn’t done a bond issue in 15 years, they haven’t done a student assignment plan in many years, they hadn’t done a reorganization with a focus of supporting schools.”
Evans likes where his ship of a district is headed.
“We’ve got the pieces in place to get it lined up. We’re already doing partnerships, we’re developing better classroom practices, we’re developing leadership for the schools and aligning them to very specific, collaboratively agreed upon goals. If we can pass this facilities plan we can give kids high speed internet access and safer, more secure environments.
“Without those kinds of pieces the ship’s going to go on the wrong course.”
For the fall 2013 dedication of its new synagogue building, Temple Israel Omaha commissioned Omaha Publications to create a commemorative, magazine-style program. I was asked to write four stories for that piece that reflect different dimensions of what that new space means to the leadership and liturgy and how it fits into the emerging Tri-Faith Initiative campus that will eventually find the synagogue joined by a neighborhing Islamic mosque, Episcopal church, and shared interfaith center. My stories follow.
Temple Clergy Work as Religious Artists to Help Members Grow in Their Jewishness
©by Leo Adam Biga
Rabbi Aryeh Azriel is known to frankly speak his mind and fearlessly wade into trouble rather than stand silently, idly by. It’s his nature. He and the dynamic clergy team he leads make a good match for the lively reform congregation they serve.
“I refuse to sit on the fence in any relationship I encounter,” says Azriel. “I like to be part of life and to jump into dangerous, sometimes stormy waters. I definitely want to take a chance. I like those kinds of experiments.”
Temple Israel’s participation in the Tri-Faith Initiative and decision to build a new synagogue are just the latest expressions of Azriel and his team leading their flock to challenging new opportunities.
“There is definitely a spirit in this congregation that allows for those kinds of things to happen. This congregation is extremely courageous,” he says.
He feels fortunate havling clergy who enjoy the vital push and pull that characterizes life at Temple Israel.
“I’m very proud of the clergy surrounding me. They’re an amazing fit,” he says, referring to Rabbi Josh Brown and Cantor Wendy Shermet. “We’re not being a spectator. We’re about getting in, getting muddy, getting hurt, getting in all those amazing places and finding strong, creative ways of entering into people’s lives and relationships.”
“Aryeh, Josh and Wendy all bring different gifts to Temple. They complement and supplement each other and are very different from each other, but that is one of our congregation’s greatest strengths,” says member Jane Rips.
Brown says Azriel sets the bold course. “He does not like to sit still or slow down or sort of rest on any laurels. It’s always what needs to change next or what do we move towards next.”
Like their predecessors, Brown and Shermet speak their mind and think outside the box. Azriel wouldn’t have it any other way.
“We’ve selected some people that have provided challenges to me individually but also to the congregation. Free thinkers and innovators with the courage of their convictions.”
“We all challenge each other with no compunction about telling each other we’re wrong,” says Shermet.
There are no bruised egos.
Azriel says, “We are professionals and we have great respect for each other and I think the congregation definitely sees the loyalty between us. Trust and loyalty have to be at the core of not only staff but the congregation. It’s about knowing there is this group of people that can come together and dream together and challenge each other and have a vision and purpose and meaning to what we’re doing.”
The clergy team meets Tuesday mornings to plan their week but the trio confab informally most every day.
“I can’t tell you how many times during the day we are in each other’s offices because there are things that have to be discussed and some of them are urgent,” says Azriel.
The team divides hospital and nursing home visits. They take turns officiating at life cycle events.
“The clergy does not isolate itself. The acts of reaching out, teaching others about Judaism, welcoming questions and attending community events are part of their daily to-do lists,” says member Phyllis Glazer.
Brown works closely with new education director Debbie Messarano and confers with young families and other congregants without strong connections to clergy. Shermet manages the bamitzvah program and all of the worship music. Azriel ensures the team’s teachings and activities enhance Temple’s mission and vision.
“It’s not only listening to each other,” Azriel adds, “but listening to the heartbeat of the congregation is crucial, too. If we for a moment forget what the purpose of our work here is then our work will be in vain.”
The clergy are part of a much larger team.
“It’s more than just the clergy,” Azriel says. “You have to have the right youth group director, the right educator, the right executive director, the right program director, the right office staff, the right lay leadership.”
Still, as the father of this congregation for 25 years Azriel has left a huge imprint.
Rips says, “He has challenged us, guided us, loved us and helped to create a vibrant and exciting Temple Israel.”
“I find this place extremely caring and invigorating,” says Azriel. “It has embraced my family. It has been a wonderful experience.”
Making Judaism Relevant in Prayer-Life Cycle Rituals
©by Leo Adam Biga
Making Reform Judaism relevant to congregants is not an academic question for Temple’s clergy.
“It’s the central question of our work here,” says Cantor Wendy Shermet. “We spend a great deal of time talking about how are we and are we in fact relevant to people with very busy secular lives.”
Much focus is on making holiday observances and life cycle events intrinsic experiences that help members identify with Jewish life and what it means to be a Jew.
“It’s on so many levels, definitely on the intellectual level so they know what Reform Judaism stands for,” says Rabbi Aryeh Azriel. ‘It’s also important to recognize that Reform Judaism of 50 years ago is not the same Reform Judaism of today.
“With every life cycle event there is this question of how do we make it an integral part of the life of that family or that individual.”
Infusing new life into old rituals is one way of keeping things fresh.
Azriel says, “Many times we work on traditional vessels that maybe go back to antiquity and try to fill those old vessels with new meaning. That’s the reform tradition. So there is a tradition of immersion in the mikvah but we took this old vessel and brought a new meaning to people battling cancer and addiction and all those things.
“This is where the clergy get creative. We are constantly very vigilant about understanding the content and the meaning of the moment. That’s why we call ourselves religious artists. We talk about the drama we need to have in a ritual or celebration of a life cycle event. The moment we lose sight of the drama then we are not doing our job.”
In that creative process, he says, “we have upgraded everything, not only rituals, not only the celebration of holidays, but in line with the mission of looking at how we can make a better connection between the personal worshiper sitting in the pew and the experience of their relationship with God. Their spirituality. If we do not upgrade it in the way our people are worshiping they will not stay here.”
Member Phyliis Glazer says, “Rabbi Azriel, Rabbi Brown, Cantor Shermet and all who came before them have been with us at some of our most joyous moments. They have shared in those joys and helped us bear the burdens of the times of our greatest sorrow.”
Rabbi Josh Brown says the more members connect their lives to Temple the more opportunities they have to connect with their Jewishness. He says whenever members choose to participate in a celebration or ritual, it’s an opportunity to grow in their Jewish heritage and faith and to be part of a continuum.
“You’re connecting yourself not only to traditions that are generations, in some cases hundreds or thousands of years old, but you’re also connecting yourself to the future – to prayers your kids will say. There’s power in that connection.”
One of those traditions, Shabbat, the Jewish day of rest, encourages believers to look inward in order to grow in faith.
“Shabbat is this ability to disengage from the week that just passed and to reenergize the holy inside us for the week ahead,” says Azriel. “Shabbat offers an opportunity to go a few notches up in the spiritual-emotional content of our lives and we can do it in the midst of family and friends or in a walk or opening a book or listening to music or coming here for a Shabbat service.”
Azriel says living out Judasim must be a daily thing.
“Judaism calls us to imitate God’s creation, compassion, caring every day. The high holidays are coming now and I think there are missed opportunities if we don’t use those days and those moments to discover who we are. Those are all places for individual fueling. The whole year is an invitation to learn to fuel and to fly high.”
As Temple Israel settles into its new home, Azriel reminds the congregation that “important as it is to build synagogues for Jews it is even more important to build Jews for the synagogues. Synagogues are empty only when Jews are empty.”
The building will fill with memories, emotions and stories with each ritual and celebration held there. On Sept. 28 Stacie Spies-Matz and Jay Matz have the honor and privilege of their daughter Samantha Matz being the first Bat Mitzvah in the new Temple.
“It is exciting and joyful to take those first steps into the future and into the new building,” says Spies-Matz. “We have observed many holidays, participated in religious school, developed great friendships and had our children’s baby naming at Temple. Temple contributes a big piece to how we raise our children.”
Art and Music in New Temple Reflect Spirit of Congregation
©by Leo Adam Biga
To enhance worship in the sacred spaces of its new synagogue, Temple charged five artists with creating symbolically-rich ritual objects embedded in Jewish faith and practice. Each artist met extensively with Temple clergy to discuss the religious significance of the ritual object they were commissioned to make.
An exhaustive process determined where art would be located and what it would convey before a jury identified and commissioned the appropriate artists to create the pieces. The Bemis Center for Contemporary Arts facilitated the process.
The idea was to make art integral to spaces, not mere adornments.
The central ritual object on the bimah (the altar or sanctuary) is the Ark (Aron Hakodesh), which is the repository of the Torah scrolls. Many synagogue arks are dramatic works of art or craftsmanship in wood or metal, filled with symbolic elements representing parts of the Jewish tradition.
At Temple’s request Israel resident Galya Rosenfeld created a doubled-layered ark curtain. Bemis Community Arts Program Manager Holly Olson describes it this way, “The front layer is an assemblage of laser-cut fabric pieced together in a repeating Star of David pattern using a color palette referencing Shivat Haminim (the Seven Species named in the Torah). Openings in the center front reveal the back shear curtain printed with holiday symbols.”
Rosenfeld says the two curtains create an “interplay” and “choreography” for displaying the ark. She adds that the colors inspired by “the ritual foods we eat and wines we drink” are meant “to connect people with familiar things from their experience of the holidays” and to “exalt our practice of Judaism.”
Another essential element of the sanctuary is the eternal light that symbolizes the fire that burned on the altar in the ancient Temple in Jerusalem. Temple selected James Woodfill of Kansas City, Mo. to design the eternal light for the sanctuary. His modular work seamlessly blends into the bimah wall. He says the design “lets the light simply emanate from that wall” as an ambient architectural immersion. Rather than imposing a narrative, Olson says the piece “allows for the symbolism to come from the experience.”
Woodfill says he intends for his piece to “instigate a new way of feeling or sensing” for worshipers and “to add a layer of potential optimism and reflection.”
The Temple’s chapel also has an eternal light and another Kansas City artist, Linda Lighton, was inspired by a word cloud congregants generated to express what they wanted the chapel’s eternal light to evoke. Working from that and motifs in the ark doors and stained glass windows she fashioned a translucent porcelain flower. She says, “I hope the members will enjoy and find comfort and solace and inspiration in this light for many years to come.”
In the spirit of Jewish prayer that inspires and instructs worshipers artist Lynne Avadenka of Huntington Woods, Mich. was tasked with bringing Hebrew passages from the Hashkiveinu prayer of peace to graphic life. She executed hand-drawn interpretations of excerpts selected by the worship committee. The prayer’s message of renewal, peace and community holds special meaning for the congregation. Her work is displayed in the wrap-around clerestory windows. A repeated passage – “Grant, O God, that we lie down in peace, and raise up, our Guardian, to life renewed. Spread over us the shelter of Your peace.” – can be read inside the sanctuary. Two other passages can be read from the outside, including one that reads: “For You, God, watch over us and deliver us. For You, God, are gracious and merciful.”
Olson says the soft flow of Avadenka’s hand-drawn work offers a pleasing contrast to the clean, sharp lines of the space’s other designs.
“The commission for the Temple comes with a sense of responsibility to make sure what I am doing is satisfying the members of the Temple and their sense of what their sanctuary should be, along with the aesthetic sensibility of the architect,” says Avadenka.
Nashville, Tenn.-based artist Mel Ziegler is preparing an outdoor sculptural piece for the entrance that will invite members and visitors to interact with the work and perhaps add onto it. He’s responding to a Hebrew passage viewable above the entrance that reads, “Guard our going and coming, to life and to peace, evermore.” Ziegler envisions his work integrated into new traditions at Temple and reflecting the congregation moving forward and embarking on a new path.
In one way or another the work of Ziegler and his fellow artists all express the vital, searching, engaging nature of Temple’s people.
Temple member Todd Simon, a noted art collector who helped lead the commission process, says “the progressiveness, inclusiveness and open-mindedness” of the congregation ensured that Temple didn’t “go with the safest choices but instead was willing to explore and push around the boundaries.” is pleased by the art that’s been cultivated. I think we’ve got a terrific balance between totally new art and artists for whom the artistic problem this presented to them was a brand new challenge to them.”
“I love those pieces,” says Rabbi Aryeh Azriel, who consulted with each artist. “I feel very good about the selection.”
Hebrew passage inscribed windows
Stained glass windows
On Simon’s recommendation the synagogue hired the Bemis Center to manage the process that selected and supported the artists.
“I sort of inserted my point of view that we ought to really be thinking about art from the very beginning and more importantly that the art is actually a great way to involve a broader group of the congregation in a conversation about what this place is supposed to be about. The process was designed so that the concepts really came from the community the art is supposed to serve. We tried to be as inclusive as we could.”
Between 80 and 100 congregants attended a 2011 workshop. “We asked the congregation to bring to life in words and stories the past present and future of Temple Israel. What it meant to them on a very personal level,” says Simon. “We noticed certain themes and ideas emerged. We knew where we wanted art to potentially touch the building.” The Bemis then assembled a jury of curators and experts who came up with the artists invited to submit an RFQ (Request for Qualifications). From dozens of submissions five were selected.
In addition to the art pieces Temple commissioned original music for the dedication by three composers.
Jonathan Comisar, music director at Congregation Kol Ami in White Plains, NY and on the faculty of his alma mater, Hebrew Union College School of Sacred Music, writes Jewish music for synagogues and other organizations all over the nation. Comisar was asked by Temple Israel Cantor Wendy Shermet to compose a piece of art music that draws on the Hashkiveinu prayer. His piece, “Hashkiveinu: A Shelter of Peace,” is scored for cantor and choir as well as for violin, cello, clarinet and flute.
“It was a wonderful, challenging task,” says Comisar.
The composer says his goal was to interpret the prayer with “integrity and authenticity – to make this not only fitting for a prayer but fitting for the grandeur of a new synagogue.” At the same time he says he needed to create a section children can sing along to and weave the instruments and cantor’s voice into “an organic whole. “It’s like a mini-scene from a play in a lovely and beautiful way with all the right intentions. It’s a moment which marks a milestone in the congregation’s life, so I was very mindful of the significance…”
Guest artists for the performance will feature Comisar at piano and select Omaha Symphony members.
The other original musical works for the dedication are by organist-composer Kurt Knecht from Lincoln, Neb. and songwriter-playwright Karen Sokolof Javitch from Omaha. He is music director at St. Mark’s on the University of Nebraska-Lincoln campus and artistic director and conductor of the Lincoln Lutheran Choir. She is a member of Temple Israel. Knecht’s piece, “Shalom Aleichem,” is for girls and women. Javitch’s piece, “Noah,” is for children.
Sterling Ridge Site Offers New Horizons to Carry on Old Traditions and to Build New Relationships
©by Leo Adam Biga
Temple Israel and the Tri-Faith Initiative grounds comprise a lovely but small corner of the 153-acre mixed-use Sterling Ridge development that’s 10 to 12 years from full build-out. Temple and its interfaith partners bring deep currents of history, memory and spirituality that stand apart from the development’s retail and business tenants.
Temple alone carries 142 years of traditions. Congregants will soon be neighbors with members of a mosque and a church and their own long faith traditions as well as with residents of an assisted living-memory care facility and with employees and customers of various commercial enterprises. All of it affords opportunities to put faith in action.
“It’s meaningful to have participated in the creation of a vehicle that can enable the fostering of more healthy human interpersonal relationships,” says Tri-Faith board chair and Temple member Bob Freeman. “Personally I can tell you I’m a better person and Jew for the journey. I’m more connected to God.”
There wouldn’t be a new Temple in the Tri-Faith venture without the building project leadership team.
Temple member Ted Zetzman is a builder by trade. He and John Waldbaum worked closely with Finegold Alexander Associates, Charles Vrana and Son Construction Company and Lockwood Development’s Chip James on delivery of the new synagogue.
“What made it have special meaning is that Temple came to me and said we need your help with this and it was something I really knew how to do and could help with,” says Zetzman.
He credits principal architect Maurice Finegold with conceiving the new Temple as a translucent lantern on the prairie. Project Advocates helped find the glass to realize that vision, along with the exterior Jerusalem stone and other materials.
Zetzman says fellow Temple member Harley Schrager, chair of the Building Council and co-chair of the capital and major donor campaigns, “was involved intimately in the concept and setting the standards or objectives for the design from a qualitative standpoint.”
Bound up in coming to the new building is honoring the old building’s rich past.
“The idea is to create an incredible opportunity to elevate people side by side, the new and the old, the inspirations and the challenges,” Rabbi Aryeh Azriel says. “How do you move the congregation? How do you provide the dignity? How do you recognize the departure, the sadness, the up, the down?”
He says Rabbi Josh Brown and Cantor Wendy Shermet “were involved in making sure people were engaged in conversations with the congregation about what exactly would happen with this transition.”
Temple long deliberated whether to move and once the decision was made it next had to decide where to relocate.
“It’s a huge risk this congregation took,” says Azriel. “I mean, how do you build something that satisfies everyone? How do you build a home for 800 families?”
Zetzman says the Temple project and Tri-Faith presence make a great fit for Sterling Ridge by giving it the high profile civic use it needed.
Azriel sees as providential and ironic Temple and Tri-Faith finding the spot of a former Jewish country club that formed in response to Jews being excluded elsewhere.
“I think the choice of the location for the synagogue is an amazing miracle. We went through 32 different locations before we got to this one, and we came to the right place. Once upon a time Jews were The Other but the Jewish community has grown up and been made to feel comfortable in America. So I think we landed in a wonderful moment in the life of a community. We created a location that responds beautifully to the needs of people both in creating connection and meaning with non-Jews and creating a comfortable haven to be able to celebrate rituals and the excitement of being neighbors.”
Brown imagines Temple serving a similar function Highland Country Club served.
“Jews wanted a place where they could sit down and be with the people they cared about and related to best and I think a lot of the design of our new building is to that same purpose. We want people to feel the synagogue is an extension of their home. We want to be a place where people will feel they’ll run into people they know.
“Just as Highland became a place where you could be fully yourself I hope Temple’s the same way.”
Azriel says the new site is the best opportunity to ensure the growth of Reform Judaism in Omaha with the building’s many sacred spaces and expanded social, educational and administrative facilities. The majority of members reside nearby, too.
Then there’s the interfaith engagement.
Azriel says, “The dream is to discover the image of God in all of us and to see how that image is actually the same. It’s not about symbols, it’s about being neighbors. We’re going to hopefully understand what is the meaning of walking into each other’s homes.
“It’s about interacting and placing ourselves together in our daily living. The reason why we went for this is because we wanted to feel real and authentic. The social justice piece is part of Reform Judaism. That’s part of the obligation of every Jew. It’s about constantly reinventing ourselves in areas of social justice and adult learning. That’s why in the new building we carry on the tradition of leaving a brick unfinished because there’s always work to be done. The dream is turning the bricks and mortar of that building into a living entity.”
The way Azriel sees it Temple’s participation in the Tri-Faith is “an outcome” of its longstanding inclusivity.
“I’m extremely happy about the relationship this congregation has with the non-Jewish community. I continued the tradition of rabbis who came before me in making sure solid bridges are built with those communities. This congregation has never been isolated. There was always a desire on my part and on the part of the congregation to continue those relationships.”
He’s thrilled about this new chapter in Temple’s story but he says “it’s never been about the building,” rather “It is about opening empty spaces and helping people become the best people they can be. There will be opportunities that lead people to something deeper. I think we are here as a community to explore the potential that’s available. The journey will be exciting.”