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Journeyman jazz artist indulges passions for music, education and all things creative  


Journeyman jazz artist indulges passions for music, education and all things creative  

©by Leo Adam Biga

Paul Serrato exudes a New York state of mind acquired from decades of Big Apple living.

From the time the classically-trained jmusician discovered jazz via radio during his Omaha youth, he was drawn to America’s arts center. Excelling on piano, he no sooner graduated Creighton Prep then went East, first to Boston, then New York. He arrived in the era of The Beats, Miles Davis and Andy Warhol. He was there for the British invasion, the bust of the 1970s, the boom of the ’90s and the terror of 9/11.

This journeyman jazz pianist gigged in clubs, recorded his original music and composed-performed for off-off-Broadway shows. He worked various jobs before becoming an English as Second Language instructor.

At 83 he makes no concessions to age. Since returning  to Omaha in 2011, he’s continued performing-creating and indulging his appetite for literature, art, film, theater and dance. He’s still releasing CDs on his own Graffiti Productions label. His latest, “Gotham Nights,” has charted nationally. He plans a new jazz project for 2020.

“Age for me is mostly a number,” says Serrato. “I can’t spend time worrying about how I’m supposed to feel or what I should be doing at my age. My life has focus in music and education. I have degrees in both. In music I find excitement and energy as a pianist as well as composing, producing and promotion.

“Presently, I’m writing vocal music. particularly setting poetry to music. I’ve always composed and produced what I wrote. The pattern emerged in high school when I went into a studio and made my first single – a song with a fellow student on vocal.”

He teaches ESL for Metropolitan Community College. He tries “to make it comfortable” for recent arrivals “to adapt to a new culture and a new land.” “Cultural transference or acculturation – that’s an ESL teacher’s job.” His class assignments encourage students to celebrate their own heritage, too.

The bilingual Serrato stays in touch with former students from around the world.

In 2016 he combined his music and education passions  in a project commemorating 9/11. He was teaching that day near ground zero.

“We had to vacate our building. After we were allowed back in a few weeks later I had my international adult students write about their impressions of that day. They were from Taiwan, Japan, Turkey, Korea, Chile, all these different countries. They wrote eloquently about that and I saved their essays. Fast forward 15 years later and I asked some of my ESL students in Omaha to read these testimonials set to music I composed at a Gallery 72 event commemorating that tragic day. I was very proud of how that event turned out.”

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Years earlier, New York’s hothouse of creativity found Serrato working with Warhol Factory personalities Jackie Curtis, Candy Darling and Holly Woodlawn.

“Some of that material for these crazy talented trans performers and underground figures was rather risque.”

In jazz circles, Serrato got tight with “master Latin percussionist” Julio Feliciano, whom he recalls “as just full of energy and vitality and ideas.” “He contributed his deep musicianship to my many recording sessions and New York gigs. We enjoyed that vibe that enables the most successful collaborations. That also includes Jack ‘Kako’ Sanchez. They were a percussion team. It’s evident on my record ‘More Than Red.’ which made the national jazz charts.

“I’ll never find another like Julio. It was like (Duke) Ellington with (Billy) Strahorn – the two of us together. We had a tremendous collaboration. He was a Vietnam vet who OD’d on prescription pain killers. It was tragic. So young, so talented, so brilliant. We were like brothers musically and spiritually.”

Serrato still records all his music in New York, which serves as a muse for his work.

He enjoys traveling. He once used a guide book to see Europe on five dollars a day. He followed bull fights in Spain and smuggled back copies of banned books from Paris. A former ESL student from Japan twice arranged for him to do music tours there.

He accepts that few jazz artists ever really make it big.

“For every artist like that,” he says, “there’s a legion of others like myself that don’t have that kind of profile.”

He describes “a tectonic shift in the jazz culture” that’s turned this once popular music into a niche thing.

“In a lot of people’s minds, jazz is not that important because it doesn’t make much money and doesn’t get much media attention, so we work however we can. But it’s always been a struggle, even in the golden era.”

The Life can take a toll.

“I remember as house manager and sometime performer at the Village Gate in the ’60s you’d have to make it through 2 a.m. gigs. It’s a tough life. No wonder there was alcohol and drugs and everything.”

Gigs are hard to come by here. His music gets labeled “sophisticated” or even “avant-garde.” He insists “Gotham Nights” is accessible with its Latin melodies.

He enjoys encouraging his students to follow their dreams. Having patience in this age of instant gratification is tough but can be rewarding.

“We are living in a culture of fast celebrity and quick social ‘likes’ – and just as quickly forgotten. My advice to any young artist is to keep focused on long-term possibilities. In other words, stick it out for the long-haul. You never can predict when or how your work will pay off. I speak from experience. I got a big payoff a few years ago from HBO for a song I wrote in 1971 they used in ‘Cinema Verite’ with James Gandolfini.”

Until your ship comes, he advises to get busy living and creating.

Visit http://www.paulserrato.com.

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Free Gospel Concert in the Park Kicks Off North Omaha Summer Arts


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Free Gospel Concert in the Park Kicks Off North Omaha Summer Arts

 

North Omaha Summer Arts is back for year nine with:

A Gospel Concert in the Park

Saturday, June 15 at Miller Park, 5 to 7:30 p.m., Free

OMAHA, NE––North Omaha Summer Arts (NOSA) celebrates nearly a decade of free arts programming in 2019. The summer-long festival kicks off its ninth year on Saturday, June 15 with the annual A Gospel Concert in the Park.

Omaha-based-soloists and ensembles. led by the Church of the Resurrection and Trinity Lutheran Church choirs, will raise their voices to the sky in praise. Music of the soul and spirit takes center stage at this grassroots, no-frills, family-friendly gospel concert in Miller Park.

There is no admission charge.

The 5 to 7:30 p.m. concert happens in the southeast section of the park, at approximately 24th and Kansas Avenue, right across from the ball-field.

Whether you get comfy on a blanket or a lawn chair, you are invited to sit back and let the sounds of inspiration wash over you. And if the spirit so moves, then raise your hands or get up and dance. Somebody, though, remember to say amen.

Hot dogs and refreshments (or bring your own picnic dinner).will feed the body along with the soul.

Look for more NOSA events, including writing workshops, art pop-ups and the annual August Arts Crawl.

Visit https://www.facebook.com/NorthOmahaSummerArts.

Television, the Hamer Way: Father-son tandem of Dave Hamer and Roger Hamer own combined 76 years in the TV news industry 


Television, the Hamer Way

Father-son tandem of Dave Hamer and Roger Hamer own combined 76 years in the TV news industry 

 

©by Leo Adam Biga

Appearing in the June 2019 edition of the New Horizons

Outside of Mike and Chris Wallace, there may not be another father-son tandem in broadcast journalism history with the pedigree and longevity of Omaha’s own Dave and Roger Hamer.

Retired television newsman Dave Hamer. 89. enjoyed a 1953 to 1991 career distinguished by many firsts. He was the first journalist to work at all three major Omaha network affiliates. He was America’s first local TV journalist to file stories from Vietnam. He was the first civilian reporter to fly a mission with the U.S. Air Force’s airborne command and control center, Looking Glass.

He covered the horror and hysteria of the Starkweather murder spree. As a street reporter-photographer, he  covered storms, accidents, riots, political rallies and athletic events. He wrote-produced newscasts and documentaries, He captured the return to Omaha Beach of a Heartland veteran who survived D-Day. He gave back to his profession as president of the Omaha Press Club, the Nebraska News Photographers Association and the National Press Photographers Association. He taught TV news at UNO and co-chaired the annual News Video Workshop at the University of Oklahoma.

He’s been honored for his contributions to the field as an inductee in the Omaha Press Club’s Journalists of Excellence Hall of Fame and the Nebraska Broadcasters Association Hall of Fame.

Roger Hamer, 61, never intended following the family trade yet his 38-year TV news career now equals that of his father, Roger creates packages that see him do photography, reporting, editing. He also produces. He succeeded his father as a teacher at UNO. He, too..has earned much peer recognition for his work, including an Edward R. Murrow Award. He is well on his way to joining his father as a lifetime achievement honoree.

They have a combined 76 years in the business. Their professional paths formally intersected once, in 1991, when Roger, who began at KMTV, joined WOWT, where Dave worked his final decade. Roger is still there today.

“I kind of backed into the business. He never pressured me,” Roger said of his father.

“I don’t think I ever tried to talk you out of it either,” Dave told hm. “No, you never did,” Roger replied.

“i’ve been fortunate to always be surrounded by smart people very good at what they do. Of course, this guy,” Roger said, indicating his father, “helped me a lot when I was starting out. We would have lunch breaks in the edit booths at 3 (KMTV) and 6 (WOWT). I’d show him tapes and he’d critique them. We’d talk how to do stories. I learned a lot that way. He let me pick his brain. He was always generous in dealing with me.”

Then there came the workshop his father put on for newcomers and veterans.

“You don’t know how you’re going to act when your dad pops your videotape in and plays it in front of all these people and comments on it,” Roger recalled. “I hoped he was going to be as nice as he was when we were alone in the edit booths. But it was something along the lines of, ‘If this guy came in and wanted a job, I’d tell him to sell shoes,’ It was like the air in a balloon going out.

“But that was the best thing that could have happened because you need a kick in the pants now and then. The effort wasn’t there that he expected and that inspired me. It gave me a clue I could do better.”

 

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By the time Roger established himself, TV technology transitioned from film to video. It’s since gone to satellite uplinks and digital streaming.

“Now he’s shooting live shots alone with a tiny camera,” Dave marveled.

“No truck, no cables, no nothing,” Roger confirmed.

“As long as you’re in range of a cell tower, you can send a live picture anywhere,” Dave said, “It staggers my imagination.”

“There’s an app on my phone called TVU Anywhere,” Roger said. “All I have to do is to call into the station. They pull me up – and we’re on. It’s instantaneous.”

“I try to avoid saying, I wish we had that back when I was in TV,” Dave said, “but I do wish we had that. But what goes along with this is that you’re under more pressure.”

“Yeah,” Roger said, “the technology is phenomenal, but it’s a blessing and a curse. The blessing is you can be live in a moment. The curse is the technology far exceeds our human capability of gathering information.”

Then there’s the rabbit hole of Google search results.

“With this avalanche of information you have access to, it can be overwhelming,” Roger said. “You have to determine when to stop because information overload can set in. There comes a point when you have to pull back and say, Okay, I know what I need to know.”

Roger’s grateful to have learned from a master like his father. “He’s a pioneer.”

A Wayne, Nebraska native, Dave Hamer segued from taking still photos in his hometown to stringing for KVTV in Sioux City. The eye he developed for composing portraits helped him transition to moving images.

A generation later his son Roger went from taking photos for the UNO Gateway and Papillion Times to breaking in at KMTV.

“The difficult part of going into motion (photography) was coming up with a closer,” Dave said. “You’ve told the story, but you have to have something at the end to cap it. You need the exclamation point.”

“Even now I struggle with closes.” Roger acknowledged.

They both love storytelling

“Every story’s got to have a beginning, middle and end. That’s utmost in television news,” Dave said. “You don’t just leave it hanging out there. I don’t think anybody ever told me how to do that. I just naturally fell into it.”

Both learned to cut in the camera.

Telling a story you pitched is preferred. “I had, and I think Roger has, the freedom to go to the front office and say, ‘Hey, this is a helluva story, We ought to do it.'”

Any excuse to get out of the newsroom.

“The daily routines never appealed that much to me,” Dave said. Same for Roger, who likes being “free from a desk” and “someone looking over my shoulder.”

Creativity and ineginuity come in handy on assignment.

“You run into situations you didn’t expect,” Dave said, “and you have to think on your feet, improvise and go with the flow. We always used to say, Have in mind where the story’s going to go but don’t be locked in because things will change. You’ll find better stuff than you imagined.”

When revisiting perennials, such as the winter’s first snowfall or spring flooding, Roger said, “the challenge is to make it  different from the story before or different from what your competition’s doing.”

“That’s the fun part of it.”

Then there’s following your instincts and, as Dave said, “making your own luck” by being where the action’s at and seeing-capturing what’s happening around you.

The year Roger was born, 1957, his father helped launch Omaha’s KETV on the air.

“I had been there only a week,” Dave said. “There were only four of us in the news department. Six days a week were the norm. Sometimes Sunday, too, It was a challenge and great responsibility, but also fun. You had to do everything – shoot it, write it, maybe voice it.”

He left KETV for KMTV, where he worked the bulk of his career and where his colleagues included future network stars Floyd Kalber and Tom Brokaw.

“What his generation did set the groundwork for what we do today,” Roger said admiringly. “The whole idea of visual storytelling – of stories that are concise, make sense, have impact, elicit emotion and are accurate.

“Today, I think we’ve lost a little bit of that desire to find out as much as we can and make it as accurate as possible. In the rush to get things on the air NOW, we don’t always have the information to back it up exactly.”

“That’s a helluva challenge.” said Dave.

Adding to it is an ever more competitive environment.

“Now,” Roger said, “it’s Channel 7 tweeted this or Channel 3 tweeted that. Personally, I don’t care because I live by what I learned from old pros Steve Murphy and Mark Gautier – ‘I don’t care about being first, I care about being right.’ That doesn’t seem to exist like it used to.

“It’s a matter of feeding the beast” – otherwise known as the 24/7 news cycle. “You have to do all this social media stuff my father’s generation didn’t have to worry about or deal with.”

When Dave Hamer started, there were just two newscasts per day. “and even with that and the technology being so much slower,” he recalled, “we were still pressed for time.” “I wrote for nine years the six and ten o’clock newscasts on Channel 3. You barely got six o’clock on the air before you started writing the ten o’clock. You were always up to the wire.”

Early news pioneers didn’t have access to the vast amounts of video-on-demand content Roger Hamer and his colleagues have at the ready on devices.

“It would take us three or four days,” Dave said.

Today’s constant content demands and deadlines can be exhausting.

“You just don’t have the longevity of people in the field   anymore,” Roger said. “People get burned out.”

Professionals with his equivalent experience in the biz, are “getting fewer and fewer,” he said, “and it bothers me because I don’t see the next wave of lifers coming up – and I wonder about that.”

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Oddities and happy accidents are bound to happen over careers as long as the Hamers. Once. Roger shot news footage of a pileup on an ice-covered section of Leavenworth Street south of downtown. “We sent it out to NBC,” he said. A couple weeks later the video showed up in an SNL skit.

“‘They pirated my video for entertainment purposes. It took a couple months, but I got 750 bucks out of them and gave them a tongue-lashing. How do you know people didn’t die in that crash? That blurring of the line between entertainment and news shouldn’t happen. Once you send video somewhere you don’t have any control over what happens to it. But even if i don’t send it, somebody else will. Many different people have access to my video than ever before.”

Standard protocol is for networks to ask local affiliates to provide video.

“Sometimes it was a bother because I’d be working on my piece for the six o’clock and they’d want something right now,” Dave said. “You would do everything you could to get it there.”

“It just may not be right now,” Roger said. “I’m not going to send it to them until we air it. My obligation is to my station first.”

Dave once fielded an NBC request for footage of a blizzard raging in Nebraska. They needed about a minute’s worth. He dutifully shot the storm.

“The network’s Huntley-Brinkley newscast switched to Omaha live. I was on the phone with the producer from New York. He told us when to roll the film. We’d built it logically to show the storm getting worse and worse. Well, the last shot came up and the film broke. We were on live coast-to-coast and I was like, Oh, my God. The producer comes on and says, ‘Great job, Omaha, Man. what a storm I couldn’t see anything in that last shot.’ We never told him.”

Memorably, Dave Hamer scooped the networks with his 1962 Vietnam reporting.

“The French had been kicked out in 1954. There was very little American involvement until about ’61 when we sent military advisers over. In April ’62 the first Nebraskan was killed in Vietnam – Army Special Forces Sergeant Wayne Marchand from Plattsmouth. He was wounded and captured in a firelight with the Viet Cong, then taken off and killed.

“We ran the wire story on the air. That was all we knew. Our general manager said, ‘What the hell was that all about? How come we’ve got people in – where is that place again? Within a month I was there because the front office said this is a story that should be told.”

Hamer and writer-producer Bob Fuller went as a two-man team.

“We did Marchand’s story, but while we were there we covered everything else we could find. We even did stories on Vietnam’s agricultural economy.”

The reporters stuck to a strategy.

“The first thing we did when we got in Saigon was check the overnight police reports for bombings, rocket fire at the airport and such to know what the hell was going on.

“We carried Department of Defense clearance paperwork that we never had to show. We had orders that allowed us to travel on military transport. If we couldn’t get military transport, we did what we could, even going by pedicab for God’s sake. Several times we hired a car with a driver. Sometimes we hired an interpreter. We could go anywhere we wanted. We checked in with the press office in Saigon when we got there and checked out when we left, They didn’t know where we were those three weeks. We were all over the country enmeshed in what was going on every day.”

Hamer and Fuller quickly learned U.S. involvement was larger than reported.

“There were 5,000 Americans in-country.. We went on helicopter support missions. Americans were flying planes and helicopters carrying South Vietnamese troops. The rule was fire only if fired upon,”

The entire western press corps in Vietnam then, he said, consisted of New York Times, AP and UPI correspondents, “and two guys from Omaha.”

“We had the whole story to ourselves. We did four half-hour documentary segments.”

The series was cited for special commendation by the Radio Television Council.

Fast forward three decades when Dave’s last major assignment took him to another war zone to cover Nebraska military personnel in Saudi Arabia.

Over time, he had offers to join the network in  Washington DC, New York and Paris, but he and his wife Verla deferred each time. They liked Omaha.

Roger Hamer “tested the waters” in other markets but stayed put.

Father and son “competed” when Dave was at WOWT and Roger at KMTV. They were briefly at WOWT at the same time but never covered a story together.

Roger said there’s much they share in common. “One thing we share is we’re not the story – the people are the story. Nobody wants to see us. They want to see the people living the experience.” They each derive satisfaction, he said, “just knowing that we did a good job and put a good story together.” “You get those four, five, six stories a year where you go, I nailed it. That’s what keeps you going.”

“We show up with a camera and people stop what they’re doing because they know you’re going to tell their story. It’s important to them,” Dave said.

“You have to be genuinely curious and caring and want to be involved in your community, and in telling the stories of its people,” said Roger, who, like his father, is grateful for the many fine collaborators he’s worked with. “It’s wonderful to work with people as passionate as you are and who are dedicated to their craft.”

A love for teaching is something else they share. “I found teaching very rewarding,” Dave said. “The satisfaction of sharing what you know and seeing the light bulb go off is a big part of it,” Roger said.

Not to be forgotten, Roger added, “We’ve both been blessed being married to very strong, supportive women that understood what we do and tolerated it.”

Dave and his late wife Verla were married 61 years. “Verla was interested in what we did and was our best promoter,” he said. The couple lost their other son, Dennis, to a coronary occlusion in 2002.

The quiet-spoken, TV news trailblazer gets choked up talking about family. “I’m very proud of this guy,” he said, clasping Roger’s knee. “Roger is his own man, has made his own reputation. and lives it every day on every story. He earned the Edward R. Murrow Award. I was never even close.”

Roger appreciates what his father’s given him – from leading Scouts canoe trips to being “a great mentor.” “He taught me that if I’m not trying, if I’m not pushing myself, if I’m not putting product out I’m happy with, then it’s time to walk away.”

There may not be a third-generation Hamer in the field  “Never say never,” cautioned Dave, a grandfather of two. Meanwhile, Dave writes a newsletter, Window on 53rd Street. he shares with family and friends. Like the man, it’s a warm, witty, sincere, humble take on a life         well-lived and a career well-earned.

Though louder and more outspoken than his father, Roger is a mensch among newsmen just like his old man. A passing of the torch has occurred in another way. Where Roger used to be asked, Are you any relation to Dave Hamer?, now Dave is asked, Are you related to Roger Hamer?

“Roger and me reversed roles.” Dave said. “I’m very proud to be asked if I’m related to Roger.”

“I’ve always been proud of my dad, ” Roger said. “He’s my hero.”

Read more of Leo Adam Biga’s work at leoadambiga.com.

Metro class series features guest filmmakers and their films


 

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Metro class series features guest filmmakers and their films

OMAHA, NE––If you’ve ever wondered what it’s like to watch a film with its maker, then a summer Metropolitan Community College class series is your ticket to that cinema insider experience.

Filmmakers and Their Films is the name of the six-class series running weekly on Saturdays from June 15 through July 20 at MCC’s North Express in the Highlander Accelerator Building.

The non-credit adult Continuing Education class, which meets from 1 to 4 p.m., is taught by Omaha film author-journalist-blogger Leo Adam Biga (“Alexander Payne: His Journey in Film”). Biga has secured guest appearances by at least one Oscar-winner in retired film editor Mike Hill and a mix of narrative and documentary filmmakers. All are Nebraskans.

A work by each guest will be screened followed by a moderated discussion with the maker. Students will have the opportunity to ask questions.

The Filmmakers and Their Films schedule:

 

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June 15

Mike Hill

“Rush”

Oscar-winning editor Mike Hill worked in Hollywood for many decades as one of two primary cutters on Ron Howard’s feature films. Hill shared the Academy Award for his work on “Apollo 13.” The now retired Hill will discuss his career and specifically his work on Howard’s 2013 Formula One race car drama, “Rush.”

 

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June 22

Lew Hunter & Lonnie Senstock

“Once in a Lew Moon”

Lew Hunter was a network television executive who wrote and produced landmark TV movies. His book about screenwriting became a bible to aspiring scenarists. A UCLA class he taught included future filmmakers. Lonnie Senstock’s documentary captures hLew’s bigger-than-life personality and appetite for life.

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June 29

Mele Mason

“I Dream of an Omaha Where”

Documentary and network news photographer Mele Mason travels the nation and world for her work. She also trains her eye locally, “I Dream of an Omaha Where” follows the collaboration between performance artist Daniel Beaty and Omaha families affected by gun violence in the creation of an original work of theater.

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July 6

Nebraska Filmmakers Showcase

Sample the screen work of Nik Fackler, Omowale Akintunde, John Beasley, Camille Steed, Mauro Fiore, Tim Christian and other Nebraskans who make films. Some of these professionals will be on hand to discuss their work in front of the camera or behind the camera. Camille Steed will share her documentary “A Street of Dreams” about Omaha’s North 24th Street and Vikki White will share two of her short films.

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July 13

Jim Fields

“Preserve Me a Seat”

During efforts to save the Indian Hills Theatre, Jim Fields documented the passion of historic preservationists, film industry professionals and movie fans. He then expanded the story to document similar efforts around the nation that turn into classic clashes between grassroots groups and big business interests.

 

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July 20

Brigitte Timmerman

“The Omaha Speaking”

The few fluent speakers left in the Omaha Tribe are featured in this audience favorite documentary at film festivals, Brigitte Timmerman presents the urgency that fluent speakers and educators have in preserving and passing on this rich cultural legacy before it’s too late.

urprise film guests can be expected.

The registration fee is $10 per class or $60 for the entire series. Register at: https://coned.mccneb.edu/wconnect/ace/CourseStatus.awp?&course=19JUCOMM201A.

The class meets in Suite 306 of.Metro’s North Express at the Highlander Accelerator,  2112 North 30th Street, in North Omaha.

Abstract Mindz: Group gives artists a voice and showcase


Abstract Mindz: Group gives artists a voice and showcase

©by Leo Adam Biga

Appearing in El Perico (el-perico.com)

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Abstract Mindz founder Jose Antonio “Tony” Barrales, 25, wants to give young artists what he didn’t have growing up.

The Omaha Central High School graduate started the artist collaborative in 2013, he said, to give underrepresented youth “an opportunity to showcase their talent.”

“There were tons of people in the South Omaha community whose work wasn’t being seen and who weren’t being offered the opportunities others were. I had this idea to create an arts group that would hopefully become a gallery in the future. No one would be rejected based off their art style, age, ethnicity.

“There’s a ten year build-up of passion behind this group. Growing up in traditional Mexican homes trying to pursue art as a career wasn’t something our parents deemed worth pursuing or spending money on.”

In addition to lack of support at home, he and others found inequity at school, where, he said “certain students got opportunities others didn’t,” such as mentoring. “That’s when my passion to create the group was really sparked because I was one of those overlooked kids. I was like, Hey, I’m doing artwork, too – why am I not getting a shot to show what I’ve got. I saw other people who deserved their shot and didn’t get it, and they gave up.”

Barrales wants to affirm others.

“There’s real talent out there, but people feel like they can’;t make it on their own or there’s no one to help them out. i just want people to have a free wall space where they can express who they are and show people what they do.”

Artist Ari Marquez, 28, helps run the collaborative.

“Art was like my escape for expressing my emotions. A lot of our members are the same,” she said. T”hey don’t like to verbalize what they’re feeling or going through. Instead of saying it, they draw or paint or photograph it.

“Sharing their work can help with the healing process from hardships and darkness they have. It’s hopefully an escape to express themselves in ways that maybe the adults in their lives wouldn’t accept. Some of the kids are expressing a scream for help or attention. We create a safe space for them to express without being judged.”

It’s a catalyst for work to be made and seen.

“We’ve learned there’s a whole bunch of kids who have this secret talent no one knows about,” Barrales said.

“They have that passion to do things, but they might be scared to try or don’t know who to talk to about creating opportunities for themselves.”

 

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Barrales knows from experience “it’s really hard establishing yourself in the art community.” You’re bound to be asked, what have you done? and where have you shown?

“Most of our artists do abstract art, graffiti art – things that are more urban. We want them to know that can be marketable. We have artists who’ve gone to local galleries with their portfolios only to be turned away because the professionals said their art style is not what they show in their spaces.

“That’s something we want to change. This urban art is really popping in other cities and we want it to be seen that same way here.”

He’s working on the organization becoming an LLC.

“We’re looking at getting our own dedicated gallery. We want to be based in South Omaha. Most art galleries around here are collectives, We’re shooting for the same thing. We want this to grow to where we have mentoring programs and can support locations in Fremont and Lincoln, so people can have showcases in their own communities.”

Without a space of its own, Abstract Mindz has thus far relied on partnerships to show work in loaned spaces.

“Luckily we’ve found a welcoming space in the Bancroft Street Market. Our first show in 2015 was there. We had 15 artists. Each sold one piece. That motivated us to continue.”

More shows there followed. A Day of the Dead exhibit included performance by the local band.Mariachi Patria Juvenil. The largest and longest running show displayed 50 pieces for a month at Hotel LR.

Bellevue Social Center hosted another exhibit.

South Omaha entrepreneur Macros Mora donated a booth space for the group at the Cinco de Mayo market.

Local playwright Ellen Struve has worked with the group in different ways..

“She’s been sending us to the right people to talk to. She’s been great in helping with our outreach,” Barrales said. “She also presented us a great opportunity to participate in her new play EPIC for the Great Plains Theatre Conference. We were one of the groups she did story circles with. We told our own personal stories to help create the backstory for her play.

“The high school-age kids really loved it. She did an activity to open them up to speak. It’s something they usually don’t do. They felt really comfortable in that circle. They are amazed knowing their story is implemented in this play.”

Abstract Mindz members range from high school and college students to college grads working full-time jobs. Their ranks include Shantee Zamora, Sergio Gomez, Salem Munoz and Gerado “Polo” Diaz.

Abstract Mindz presented a solo show of Diaz’s work.

“He was a little more mature in his craft and body of work,” Barrales said, “so we gave him an individual showcase. He’s one of the main artists we have who wants to make this his career.”

Members pay minimal dues and get help with framing, portfolios and marketing.

The group’s planned next show, Visual Sounds, is in need of a venue. Participating artists were asked to create a large piece based on a song of their choice.

“This collaboration of music and visual arts will be our first interactive gallery. As spectators view each artwork they can put on headphones to listen to the correlating song.”

A place and date is in the works.

Follow Abstract Mindz on Facebook.

Read more of Leo Adam Biga’s work at leoadambiga.com.

Maya community asserts indigenous self-identity and roots itself in relationships


Part I:

Maya community asserts indigenous self-identity as a people

©by Leo Adam Biga

Originally appeared in El Perico (el-perico.com)

EDITOR’S NOTE:

In a two-part series, El Perico looks at the local Maya community through the eyes of Comunidad Maya Pixan Ixim executive director Luis Marcos.

In this first installment, he discusses the challenges faced by his indigenous displaced people in asserting their identity and being understood.

Image result for omaha mayan community

 

Guatemala’s tired, poor, huddled masses yearning to breathe free have come north for decades seeking new lives in the United States, Among them, the Maya comprise an indigenous minority group who escaped persecution by the Guatemalan government. Over time, they’ve made lives for themselves around America. A small community of perhaps 1,500 people of Maya origin live In Nebraska – mostly in South Omaha.

Luis Marcos left Guatemala at 16. After living in California and Iowa he settled here in 2005. Two years later the self-taught Marcos helped form the local Maya community center, Comunidad Maya Pixan Ixim. It’s where his people practice their traditional culture and support each other in adjusting to life here and getting others to understand their plight as a displaced people.

Everything about the center, located at 4513 South 32nd Street, is steeped in Mayan ways and informed by the experiences that brought its members to America. Even though Marcos is its executive director, he said, “Our process of decision-making is very collective. We are a community.”

His story echoes that of other Mayans.

“I left Guatemala in 1989 due in part to the war and the genocide happening against my people at the time. The state was recruiting young people my age for forced military service where I would be trained to go back and kill my own people. Lack of educational opportunities was another reason I decided to emigrate.”

Where his story diverges from most is his involvement in Maya governmental affairs. Comunidad Maya’s mission is rooted in social, cultural and political concerns.

“We basically desire to keep our identity,” Marcos said, “and be recognized as a displaced indigenous people and respond to the complex needs and aspirations of the Maya community.”

Macros acknowledged getting a fix on his people’s heritage can be elusive for outsiders since the Maya are dispersed in several Central American nations and yet Spanish is not their first language,

“If we’re sitting face to face you would readily assume I am Hispanic or Latino because I look like one. If I tell you I come from Guatemala, it will seem to confirm I am Hispanic or Latino. The reality is we are not. I am lucky to speak Spanish and English fluently but that does not make me Latino or Hispanic or Caucasian. I just speak the languages. I am not of those cultures. I don’t even understand those cultures, as much as I try.

“That becomes a life and death situation for us when it comes to encounters with the health system. Because of the historical discrimination against indigenous peoples and the desire to avoid pain, most likely a Mayan would indicate they speak Spanish and nod to whatever you’re saying, without really understanding what’s happening when it comes to their health.”

His organization bridges those information gaps.

“Any activity we do is done with the objective of educating the health, educational system, legal systems and religious institutions. Recognition of us as a displaced indigenous people is really important. It has taken a lot of education and explaining.”

Image result for Comunidad Maya Pixan Ixim omaha 

 

Though he said Omaha and other American cities  are “very welcoming,” there’s still ignorance where Maya are concerned. Many people he meets believe the Maya disappeared hundreds of years ago when the great civilization they built was dismantled by conquerers. Though subjugated, the Maya retained their culture.

“It has not been easy,” he said. “We invite people from the wider community to our festivals so we can introduce our music, our dress, our language. That’s when the recognition, welcoming and support come.”

The Maya still have much to learn about this country.

“It hasn’t been easy for us to understand the values of the wider community. There’s been a lot of lessons for us to learn. Where we have shared our experience, our culture, our language, we also have learned from the dominant culture and from other cultures values that give us hope to be a flourishing community. It’s been a painful experience but also joyful at times.”

The intent, he said, is to help others understand “we are one people as defined in international law.”

“We have our own language, story of creation and spiritual sovereignty. We have clearly defined territories. We have our own philosophical understanding, government and way of organizing socially. We are a people and a people in international law has a right to self-determination.”

He’s participated in conventions with otter Maya leaders from around the U.S. and. he said, “We have chosen to identify not as migrants or refugees but as displaced native people. That’s the path we have chosen.”

That path, he said. is “very similar” to the experience of Native Americans.

“The root cause of our suffering as indigenous peoples in the western hemisphere goes back to the Doctrine of Discovery. This series of papal bulls decreed we can’t govern ourselves and we can’t own land. They declared our land ’empty land.’ European nations used the doctrine as a way to justify their invasion, domination and exploitation of the continent.

“In the process of assimilation you either become Christian or you die. That was the experience of the boarding schools native people’s suffered in, where we were forbidden to speak our language.”

Further binding the Maya with Native Americans, he said, is their spiritual beliefs.

“The spirituality of indigenous peoples is the same. It’s earth-based.”

Formal working relationships exist between the Maya and the Omaha tribal council in Nebraska.

Visit pixanixim.org

Read more of Leo Adam Biga’s work at leoadambiga.com.

Next week: Part II – Rooted in relationships

___ ___ ___

 

Image result for luis marcos omaha

EDITOR’S NOTE:

In a two-part series, El Perico looks at the local Maya community through the eyes of Comunidad Maya Pixan Ixim executive director Luis Marcos.

In this second and final installment, he describes how the community center he leads and the overall Maya community here rely on relationships to advance their mission of autonomy and integration.

Part II: 

Maya community rooted in relationships

©by Leo Adam Biga

Originally appeared in El Perico (el-perico.com)

 

If a nonprofit is to thrive, it needs partnerships. That’s especially true for the Omaha nonprofit Comunidad Maya Pixan Ixim. It represents a minority community of indigenous people, the Maya, who have fled persecution in their Central American homelands.

The center serves Mayans who’ve come here from Guatemala and other troubled nations where they have suffered oppression and violence. The Maya were drawn to Nebraska in the late 1980s-early 1990s by meatpacking and manufacturing jobs. South Omaha is home to most of Nebraska’s Mayan population today.  The Maya community center is located there. Much of its programming centers around celebrating and preserving traditional arts and culture. Some of its key activities are based in and supported by relationships with the larger community.

Those relationships include a pastoral care program with the Archdiocese of Omaha  for Catholics of Maya origin, a Maya Community Health Collaborative through the Creighton (University) Medical Students Association and initiatives with the University of Nebraska Center for Reducing Health Disparities, One World Community Health Centers and the Immigrant Legal Center.

“We educate our community and the legal system on our preexisting rights as indigenous peoples to travel our continent, we provide accompaniment to people seeking political asylum and we provide contributions to attorneys,” Comunidad Maya Pixan Ixim executive director Luis Marcos said.

The Maya are an insistent but “loving, peaceful people,” he said. “What we want is a true understanding of historical events and to start over from a common  understanding of where we have come from.”

The community center marcos leads presents cultural events throughout the year that incorporate traditional art, music and dance. The group also promotes a health initiative and a youth mentoring program.

Maya youth are paired with area college students to expose them to post-secondary opportunities.

“Most of our youth will be first-generation college students,” he said, “and  we want to plant the seed that college is the ultimate goal.”

English language classes are offered at the center.

Maya are often mistaken for Latino-Hispanic. While they share similar features with their Spanish-speaking bretheran, most Maya are not fluent in Spanish. Instead, they have their own native language.

 

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The organization weathered a 2014-2015 crisis that saw some key local leaders detained and deported.

“It was a very difficult experience to recover from,” Marcos said. “We didn’t do much for a long time. We had to regroup. We were successful in securing the release of two of our leaders.”

The center has since resumed a nearly full menu of events and programs. Resiliency in the face of hardship is engrained in its people.

“We stay together. We survive. We’ve survived multiple cycles of violence and genocide and all this stuff, so we stick together no matter what,” Marcos said.

Following that episode, the local Maya community has focused on civil and human rights.

“We work to implement the United Nations declaration of the rights of indigenous peoples. On that we work closely with the Huehuetenango Maya government. Now we have an extension of the Huehuetenango government in the United States. We have a Maya parliament with presence in California, Iowa, Rhode Island, Pennsylvania, Colorado and Nebraska. We have a council of elders. I am one of them.”

Mayan communities across the U.S. “are connected on many different levels” and well-established by now. “We have come a long way.,” Marcos said. “We have been fortunate to have very harmonious relationships with institutions, faith traditions, nationalities.” This includes a deep relationship with the Catholic Church. Locally, a partnership between the Archdiocese of Omaha and the Diocese of Huehuetenango, Guatemala sends delegations there.

Comunidad Maya Pixan Ixim is supported by the Omaha Community foundation and other groups.

“The Latino community has taken us under their wing,” Marcos said by “inviting us to have a presence at the Cinco de Mayo festival.

The local Mexican consulate invited the Maya community to be part of a binational celebration.

A current exhibition of indigenous Mayan textiles at El Museo Latino includes education programs that highlight various aspects of this traditional culture.

All are opportunities to share the Maya story.

“We continue to articulate our presence as a people as opposed to letting ourselves be assimilated into the dominant culture,” Marcos said. “We have been able to tell our stories.”

 

Image result for ellen struve www.thereader.com

Omaha playwright Ellen Struve has presented another avenue for sharing the Maya story. Intrigued by the culture and charmed by the people, she became active with Comunidad Maya Pixan Ixim and then researched a new play based on the lives of Maya and the stories in their ancient sacred text, the Popul Vuh.

“She’s very loved in the community,” Marcos said of Struve. “She’s learned our Maya language. She’s very open-minded to our concerns. We invited her to be a member of our board of directors. We’re really honored to have her in that role.”

EPIC is the name of the play Struve developed with Mayan themes and shorelines. it will be performed May 29-31 at Metropolitan Community College’s south campus.

“This will be a way to empower, highlight the community and the culture,” Marcos said of the production, “and to show that as an indigenous people we can contribute something to the wider society. I think this will be good for others to know us better, which at this time in our history is what we need most.”

For more information on the Maya community center, visit pixanixim.org. For details on the play’s showtimes and venue, visit http://www.gptcplays.com/playfes.

Read more of Leo Adam Biga’s work at leoadambiga.com.

Filmmakers and Their Films


Filmmakers and Their Films

Dates: June 15 – July 20, 2019

Meets: Saturdays from 1:00 PM to 4:00 PM

Location: MCC North Express 306, Highlander Accelerator 2112 North 30th Street, 3rd Floor

Instructor: Leo Adam Biga, film author-journalist-blogger (“Alexander Payne: His Journey in Film”)

Registration Fee: $60.00

Register at–

https://coned.mccneb.edu/wconnect/ace/CourseStatus.awp?&course=19JUCOMM201A

There is no better way to see a film than to view it with its maker. This summer, MCC offers movie lovers the opportunity to see diverse films alongside their makers. Guests include producers, directors, writers, cinematographers, editors and actors. All the films and makers share Nebraska ties. Following each screening, the guest will discuss the film and their career and field questions from students. Don’t miss this chance to see compelling movies by Nebraskans and to intimately engage these cinema creatives in conversation.



June 15—Mike Hill
“Rush” 
Oscar-winning editor Mike Hill worked in Hollywood for many decades as one of two primary cutters on Ron Howard’s feature films. Hill shared the Academy Award for his work on “Apollo 13.” The now retired Hill will discuss his career and specifically his work on Howard’s 2013 Formula One race car drama, “Rush.” View the trailer at https://youtu.be/s43KIRThDDc

June 22—Lew Hunter and Lonnie Senstock 
“Once in a Lew Moon” 
Lew Hunter was a network television executive who wrote and produced landmark TV movies. His book about screenwriting became a bible to aspiring scenarists. A UCLA class he taught included future filmmakers. Lonnie Senstock’s documentary captures Lew’s bigger-than-life personality and appetite for life. View the trailer at https://youtu.be/tRWBq0HiArg

June 29—Mele Mason 
“I Dream of an Omaha Where” 
Documentary and network news photographer Mele Mason travels the nation and world for her work. She also trains her eye locally, “I Dream of an Omaha Where” follows the collaboration between performance artist Daniel Beaty and Omaha families affected by gun violence in the creation of an original work of theater. View the trailer at https://vimeo.com/197125222

July 6—Nebraska Filmmakers Showcase 
Sample the screen work of Nik Fackler, Omowale Akintunde, John Beasley, Camille Steed, Mauro Fiore, Tim Christian and other Nebraskans who make films. Some of these professionals will be on hand to discuss their work in front of the camera or behind the camera. 

July 13—Jim Fields 
“Preserve Me a Seat” 
During efforts to save the Indian Hills Theatre, Jim Fields documented the passion of historic preservationists, film industry professionals and movie fans. He then expanded the story to document similar efforts around the nation that turn into classic clashes between grassroots groups and big business interests. View the trailer at https://youtu.be/TtMvpFPT9BY.

July 20—Brigitte Timmerman 
“The Omaha Speaking” 
The few fluent speakers left in the Omaha Tribe are featured in this audience favorite documentary at film festivals, Brigitte Timmerman presents the urgency that fluent speakers and educators have in preserving and passing on this rich cultural legacy before it’s too late. View the trailer https://youtu.be/lFK9Sj_Olx8.

NOTES:

Visit mccneb.me/films for the list of films that will be shown. Must be 18 and older.
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