Vic Gutman and Roberta Wilhelm have individually and collectively made a positive impact on Omaha and together they form one of the most influential power couples in Omaha. Read about them in my New Horizons cover story.
©by Leo Adam Biga
Now appearing in the New Horizons (http://www.database.to/assoc_admin/assocviewfile2.asp?53V9875VT96=1969&AP3126=9&C885I0=536&pagecase=2)
Two of a Kind
Vic Gutman and Roberta Wilhelm each own such strong public identities for their individual professional pursuits that not everyone may know they comprise one of Omaha’s most dynamic couples.
Married since 1998, they were colleagues before tying the knot. After both went through a divorce they became friends, then began dating and now they’re entrenched as a metro power duo for their high profile work with organizations and events that command respect. Between them they have five children and one grandchild.
He’s founder-manager of the Omaha Summer Arts Festival, which celebrates 40 years in 2015, and of the popular Old Market and Ak-Sar-Ben Village farmer’s markets. He has deep event planning roots here. He also heads his own nonprofit management and consulting firm, Vic Gutman and Associates.
She’s past executive director of The Rose Theater and the longtime executive director of Girls Inc. of Omaha.
Their work usually happens separately but when they collaborate they have a greater collective impact.
Even though they’re from different backgrounds – he’s Jewish and she’s Christian, he trained as an attorney and she trained as an actress – they share a passion for serving youth, fostering community and welcoming diversity.
He’s involved in the Tri-Faith Initiative that seeks to build an interfaith campus in Omaha. She’s always worked for nonprofits. “Neither of us has been particularly motivated by money,” Gutman says.
Their paths originally crossed through consulting he did for the theater.
For transplants, they’ve heavily invested themselves in Omaha. He moved here in 1974 from Oak Park, Mich., a suburb of Detroit. She came in the early ’80s after graduating from the University of Kansas. Kansas was the end of a long line of places she grew up as the daughter of a career Army father.
Like many young men in the early ’60s Gutman heeded the call to serve issued by President John F. Kennedy. JFK signed into existence the Peace Corps as a program for Americans to perform international service. Kennedy’s envisioned domestic equivalent formed after his death as VISTA (Volunteers in Service to America). Gutman was an idealistic University of Michigan undergrad when he signed up to be a VISTA volunteer. A year passed before he got assigned to Boys Town, whose first off-campus programs – three group homes – he managed.
“I really only planned on staying one year and 40 years later I’m still here,” he says.
He gained valuable experience as student organizations director on the massive Ann Arbor campus and as an arts festival organizer. He flourished in college, where he found free expression for his entrepreneurial and social progressive interests.
“I was at the university from ’69 to ’74. Ann Arbor was a hotbed for anti-war protests. SDS (Students for a Democratic Society) started there. Its founder, activist Tom Hayden, went to school there. I would go to these demonstrations,” recalls Gutman,
At 19, he’d impressed university officials enough that they asked him to organize a campus arts festival. Little did he know it was the beginning of a four-decade run, and counting, of being Mr. Festival.
“We called it the Free Fair. We charged next to nothing to get in. It was very idealistic. We ended up having 400 artists from all over. Then we expanded from the campus to the main street downtown six blocks away. We had 700 artists my last year and 1,500 people belonging to the guild we started. The fair and guild are still going strong today.”
He started other arts festivals, including one in Detroit, as well as a crafts fair in Ann Arbor. The success of that first arts festival so impressed him that it changed his life.
“Before my eyes a community of 400 artists in a period of several hours just blossomed in front of me, and then all these people came over a four-day period to enjoy the art. It was like, Wow, this is really cool, I have to do this the rest of my life. It just touched something in me that I could create a community that would bring people together. That’s what really interested me.”
Only a year after moving here he launched the Summer Arts Festival because he saw a void for events like it going unfilled. However, he found local power-brokers skeptical about his plans even though the city was starving for new entertainment options.
“All there really was was the Old Market, at least from a young person’s perspective. There wasn’t much here. At that time this community did not embrace creativity and young people doing things. There was no young professionals association.”
The then-22-year-old was treated like a brash upstart. Nearly everywhere he went he got a cold shoulder. “It was like, ‘Who are you? What right do you have to do this?’ That was the mindset.”
Complicating matters, he says, “the city didn’t really have an ordinance to allow these events to go on downtown.” He had to get permits.
He moved the event to where the Gene Leahy Mall was being developed and the public came out in “huge numbers.” He saw the potential for Omaha adding similar events and branding itself the City of Festivals. The Chamber of Commerce rejected the notion.
In 1978 the fest moved to what’s been its home ever since – alongside the Civic Center and Douglas County Courthouse. He says Mayor Al Veys and City Attorney Herb Fitle threatened closing it after it’d already started. That’s when Gutman suggested he’d go to the media with a story putting Omaha’s elected leadership in a bad light.
“I said, ‘How would it look that we have artists from all over the country and tens of thousands of festival-goers having to go home because the mayor shut us down?’ Ultimately they let us stay open.”
If Gutman were less sure or headstrong there might not be the tradition of Omaha festivals and markets there is today. He also originated the Winter Art Fair and was asked to do the Holiday Lights Festival, Omaha 150, the Greek Festival and many more. He’s retained close ties to his native Detroit, where in 2001 he organized that city’s tricentennial celebration, Detroit 300. Two-years in the making, with a $4 million production budget, the grand event took place on the riverfront, in Hart Plaza, with a cast of thousands.
“We brought in for one free, outdoor concert all these Detroit performers – Stevie Wonder, The Temptations, Take Six, The Spinners. Stevie Wonder did two hours. Unbelievable. People did The Hustle in the streets. A 900-member gospel choir performed with the Detroit Symphony Orchestra on a stage 30-feet off the ground. We had historic sailboats on the river. Fireworks. Food. It was incredible. ”
Planning it, he wondered if he’d taken on more than he could handle.
“It was so hard to put that together I told Roberta, ‘I’m going to regret this, it’s not going to work, it’s not going to come together,’ and it ended up coming together and it was so great.”
She jokes that Vic neurotically worries his events will fall flat, even though they always turn out.
In the ’90s Omaha stakeholders listened after surveys and media reports revealed young folks couldn’t wait to leave a city they viewed as boring, hidebound and unsupportive of fresh, new ideas.
“What started the change in the city is when the Omaha Community Foundation’s Del Weber hired this consultant. She did a report that talked about Omaha needing sparkle and the creative spark and that it should accentuate fun. That’s what Omaha by Design came out of. That’s when the city started embracing young professionals.”
Gutman, whose youthful enthusiasm belies his age, 62, likes the vibrant creative class and entertainment scene that’s emerged. This new Omaha’s made the timing right for a long-held dream of his: a year-round indoor public market. He’s secured the site, an abandoned postal annex building on South 10th Street, that will take $10 million to create. He’s raised part of the money.
The market will feature local food businesses and the building will house other activities to help make it “a destination” and “anchor.” He’s banking it will catch-on the way his farmer’s markets have.
“The farmer’s markets have been hugely successful and they’ve been a huge boon for local growers. We hope this becomes the same thing – a place people want to come to in order to socialize, support local businesses and add to the vitality of the community.”
“The thing about Vic is he always has multiple dreams on the horizon and he gets them done and they’re all things that make the community better and stronger,” says Roberta.
Creating-managing events is not the only way he engages community. There’s the work he does with nonprofits. Then there’s the work he does with youth. Following his Boys Town stint he earned a law degree at Creighton University. After passing the bar he was a public defender in the juvenile court system, where he represented troubled teens.
“It’s not supposed to be but it’s a bit of social work and a bit of law. I think it has to be almost.”
He despaired at what he found in that arena.
“Everything wrong with the juvenile justice system now was wrong then. It’s been broken forever. We were putting kids in 30-day psychiatric evaluations because it was better than having them sit in the youth center, which was even a worse place than it is now. Kids who committed no crime – status offenders – would be in the youth center longer because there were even fewer places to put them. I had one kid who committed no crime in the youth center for almost a year.
“They were placing kids in boys ranches out west where they were being abused.”
He encountered countless youth from broken families where alcohol and drugs, physical-sexual abuse and parental neglect were present.
“Some of their stories broke my heart.”
The gang problem was just emerging when he left in 1986.
“My biggest regret is I was so aware of how dysfunctional the juvenile court system was and no one was advocating for change, If I thought law was going to be my career – and I never thought it would – that’s what I would have done. I would have put my energy into advocacy. I made a lot of noise but I was never working to change the system.”
Gutman’s also done mentoring, as Roberta has, and now they’re doing it together.
“I have mentored Arturo, age 14, for four years, first through Teammates and then through Big Brothers/BigSisters. I have mentored Elijah, age 12, for two years through Teammates. Roberta and I have become legal guardians of Arturo and his two brothers and they have lived with us since June 2nd.”
All the while Gutman’s served youth he’s continued doing festivals and consulting nonprofits. As his business and roster of clients have grown, so has his company, which employs 12 people.
He says early on he concluded “I never want to work for a corporation,” adding, “I wanted what I do in the community with projects and with my own company to be a reflection of what I feel the world should be.”
Finding a Home in the Theater and Omaha
His vision of a just world is similar to Roberta’s, whose work at The Rose and Girls Inc. has been community-based. Her many dislocations as an Army brat made settling down in one place an attractive notion.
“I moved almost every year of my life – I lived in Kentucky, Virginia, New Jersey (when her father was in Vietnam), New York – until high school, when I was in Iran three years. I went to the American School in Tehran.”
This was before the Shah’s fall and the Aaytollah Khamenei’s rise .
“When I was there it was relatively tame and calm. There were occasional incidents and American kids were told to keep a low profile,
but for the most part we went everywhere we wanted in the city, in the country with no problems. It was a really great experience. I loved being there.”
At the American School she did plays at the urging of her mother, a drama teacher who took Roberta to Broadway shows back home.
After her father was posted to Fort Leavenworth (Kansas), Wilhelm finished high school and majored in theater at KU in Lawrence. It’s where she met her first husband, playwright-director James Larson. When Larson came to Omaha to research his Ph.D. dissertation on the Omaha Magic Theatre’s Megan Terry, Wilhelm followed, working there a few months. She was not a happy camper.
“I told James, “We’re going to get the hell out of here.’ That was the plan. But then I ended up working at the children’s theater under Nancy Duncan and Bill Kirk and that really changed everything. I loved it. I changed my tune – I really liked Omaha, I wanted to stay.”
She enjoyed a classic rise through the ranks at the theater.
“I was hired as the assistant to the receptionist and the assistant to the bookkeeper. They fired the receptionist, so then I was the receptionist and the assistant to the bookkeeper. I was a very bad receptionist.”
She wasn’t much better at bookkeeping.
Wilhelm proved a quick read though. “I learned a lot. I loved being in the theater, even when I was the receptionist. I had a degree in theater but it was all very academic, so to be in a place actually producing theater was great. When I started, I didn’t know what a nonprofit was. I remember asking Nancy (Duncan), ‘Can I sit in on a board meeting?’ I wanted to know who were these people and what was it they do, I learned a lot about marketing, computers, mailing lists,”
From the start, she acted in plays there, too. She soon joined the artistic staff as a teacher and actor. “Being on the artistic staff was really great,” she says. “That was a lot of fun.”
Larson wound up being the artistic director. When Nancy Duncan left Mark Hoeger came in as executive director. In that transition, Wilhelm says, “Mark asked me to be the managing director and I said, ‘No, I really don’t want to do that.’ He said, ‘Well, just give me two years because I need you to help me through this transition.’ I accepted. It ended up a lot longer than two years. That took us into the renovation of the old Astro-Paramount into The Rose and our moving there.”
The former Emmy Gifford Children’s Theater had long outgrown its space at 35th and Center. When the Astro, a former movie house, was floated as an option, the theater’s leadership expressed interest. But Wilhelm and Co. needed the OK of Nebraska Furniture Mart founder Rose Blumkin, who owned it. Decades earlier her daughter Frances Batt won a talent show there singing “Am I Blue?” and so, Wilhelm says, “the building held a special place in her heart.”
Mark Hoeger and Susie Buffett, a good friend of Wilhelm’s, sought Mrs. B’s approval. She granted it and her family donated a million dollars.
“Mrs. B put her blessing on the project,” Wilhelm says.
Susie Buffett’s investor legend father, Warren Buffett, who by then owned the Mart, matched the gift.
Wilhelm will never forget moving to the new digs in 1995. The night before the theater held a rally at the new space to enlist volunteers for the pre-dawn move.
“One of our resident actors, Kevin Erhrhart, leapt up on a mantel at The Rose and recited the “St. Crispin’s Day” speech from Henry V,” she recalls. “He whipped everybody into a frenzy with, ‘You’re going to be there and you’re going to be glad you were there to do it.'”
The requisite 100 or so volunteers were there the next morning.
Wilhelm says Frances Batt had promised that if the theater “got this done” then she’d sing “Am I Blue?” at the opening gala. Hearing this, Warren Buffett promised to accompany her on the ukulele.
“So at the gala he strummed and she sang and it was like a Fellini movie,” Wilhelm says. “It was so other-worldly. Just an odd little moment. But very cool. That was one of those peak nights. It was a stunning transformation (the restoration). We worked so hard for this.”
“It was great,” says Vic, who was there because he’d already been advising the theater.
Roberta admits she was less than thrilled when Vic began working with the theater. She says she actually tried talking Mark Hoeger out of hiring him even though she’d never met him at that point.
“I said, ‘I’ve seen his name on things around town. I have a bad feeling about him, I think he’s a slimy, not-to-be trusted guy. You can hire him but I’m just telling you I’m going to tell you I told you so.'”
She and Vic smile about it now. He says he was oblivious to her suspicions then. Her perception changed when she saw how good his ideas were and how much he cared. There was an event he tried talking the theater out of doing but they went ahead and it was a bust.
“He was so pained by it. He was more pained than I was, and I was pained. He takes things so personally. He was a consultant but he didn’t have that distance. It was his event, his failure.”
Another time, Gutman, who’s known to be intense on the job, was doing a work performance review with a female staff member when she broke down crying. Wilhelm chastised him for upsetting her.
“I remember he felt really bad. He didn’t mean to make her cry and he sent her flowers.”
“She now works for me,” Gutman says of that former theater staffer.
Roberta says he was so intense she couldn’t imagine being romantically involved with him at the time. That changed as she got to know him and as he mellowed. He still has high expectations and standards he holds people accountable for. Roberta acknowledges the theater lacked a certain professionalism he instilled.
“We were ragtag,” she says.
“It had transitioned from almost all volunteer. They didn’t have an experienced marketing and development staff and they were just resource poor,” he says. “They worked on a very small budget.”
“Mark Hoeger used to say we were like a bumble bee that scientifically shouldn’t be able to fly, but flew,” she says.
As his changes took root, Vic became part of the theater family, though staff were not above teasing him as “our highly paid consultant.”
“They trusted me, they were extremely supportive. I never felt like I was a consultant and I don’t feel that way with most of the clients now,
but especially the theater,” says Gutman, whose association has continued long after Roberta’s leaving.
When they were together at the theater, the couple made a formidable team, along with James Larson.
“When Mark left I really wasn’t that hot to be the executive director but I also wasn’t really that hot to be the right-hand person to someone new. I enjoyed working with Mark very much and really was sad to see him go. I wasn’t sure I wanted to do this for someone else, I had to think about moving up or moving on. I finally put my hat in the ring for the position and I got the job,” she says.
By then, she was divorced from Larson. The two continued working together without problems, she says. The situation mirrored that of Carl Beck and Susan Baer Collins at the Omaha Community Playhouse, who were married, then divorced, but successfully worked as co-artistic directors. When Roberta and Vic married and Larson stayed on, the trio made what could have been an awkward situation comfortable. Vic says, “We still got along just fine.”
Realizing its potential
The little-theater-that-could became a major arts organization locally and a big deal among children’s theaters nationally. Its budget and membership expanded with its reputation.
“It grew so fast. It was sort of explosive,” Wilhelm says. “There were a lot of planets that aligned. Mark was really good for the theater. He networked really well. James had a lot of educational vision for the organization and was very good packaging programs for schools.”
The theater attracted big name guest playwrights (James Still, Mark Medoff, Joe Sutton, Robert Bly) and produced world-premiere shows (Mufaro’s Beautiful Daughters, Where the Red Fern Grows). It developed a national touring program and cultivated a diverse pool of youth participants. The theater was recognized with a national achievement award from its peer professional alliance.
Not to be forgotten, Wilhelm says, was the “really great ensemble of performers there” who formed a tight-knit cadre. “It was kind of a cult,” she adds. “You don’t need sleep, you don’t need money, you don’t need worldly goods – you live off the passion. It was very fun, intense, A lot of hard work. The people were dramatic, melodramatic, storming in-and-out of offices, spilling their guts out.”
Vic got swept up in it, too, even relaxing his buttoned-down demeanor.
“The theater’s just an amazing place and honestly it’s the people who make it. The people were so interesting and passionate. I just loved being there. To this day I love the theater.”
He even found himself on stage, in costume and makeup, in a singing and dancing pirate role in Peter Pan. He was in some good company. His director, Tim Carroll, is now a Broadway director. His then-child co-stars included Andrew Rannells, who’s gone on to be a Tony nominee and Grammy winner, and Conor Oberst, now an indie music star.
Both Vic and Roberta say it was exciting being part of the theater’s transformation.
Moving on, Serving girls
Roberta wasn’t necessarily looking to exit the theater when an opportunity she decided she couldn’t pass up suddenly came open.
“A good friend suggested the position at Girls Inc. She said she thought I would be good at it and that I should give it strong consideration. She then told me they were closing the application process ‘tomorrow at noon,’ so I didn’t have very long to think about it. I think I was ready for a life change.
“One of the things I enjoyed most about the theater was the accessibility of the programming to children regardless of their ability to pay and partnering with community agencies to help make that happen. Through that work, I grew to know about Girls Inc. I had been directing the all-girl production Broken Mirror at The Rose for several years. I liked working with girls. It seemed like a logical progression.”
When she left the theater and her replacement didn’t work out, Vic assumed the E.D. role himself. He stepped down after three years having built its community outreach and membership-donor base. He’s continued consulting ever since. He says it’s a different organization today “but the most important thing about The Rose is the continued emphasis to make the theater accessible to everyone, whether you can afford to pay or not. That started under James, Mark and Roberta. Not all children’s theaters are. But that is in the DNA of this theater.”
Leaving The Rose wasn’t easy for Wilhelm.
“I do miss the camaraderie of theater and the family that is created through the production process. I made great friends there and I had amazing experiences. I feel very lucky to have had the chance to do what I did at the theater.”
She’s found a new family at Girls Inc., where she’s been since 2003. Some of the girls come from situations like the ones Vic experienced as a public defender.
“We have girls who have a lot of serious challenges, who have behaviors that might get them expelled from school. Twenty-two percent are in the foster care system. Some are involved in the juvenile justice system. We also have girls who don’t have any of that – they’re honors students. But its a place where all girls can go and find support.
“There are a lot of heartbreaking stories, but there’s also a lot of success stories and good things that happen.”
When Roberta started only three alumnae were in college. Today, there are dozens as well as several college graduates.
Girls Inc. Omaha won the outstanding affiliate award from its national parent body and thanks to Roberta’s connections, she’s brought in a who’s-who of guest speakers for its Lunch with the Girls gala: Barack Obama, First Lady Michelle Obama, Madeleine Albright, Archbishop Desmond Tutu, Warren Buffett, President Clinton, Secretary of State Hilary Clinton and Chelsea Clinton. This year’s event, on October 29th, features sisters Barbara Bush and Jenna Bush Hager.
Just as her hubby has a dream project in the works with his public market. Wilhelm’s overseeing construction of a $15 million addition to the Girls Inc. north center. It will feature a wellness focus with a gym, clinic, yoga-palates fitness room, elevated track and kitchens for health cooking-culinary arts training. She says it fits the organization’s holistic approach to produce girls who are, as its motto reads – “strong, smart and bold” – or as she puts it, “healthy educated and independent.”
Her husband led the fund drive for the addition. “It was an easy sell because the funders in this community have such high regard for Girls Inc. and what they do and for what Roberta does,” he says.
Another dream project of Gutman’s, the Tri-Faith campus, is one he’s been reticent about until recently he says because “I absolutely can feel for the first time it will be a reality.”
“It’s one of the more complex things I’ve ever been involved with because we have three faiths – Jewish, Muslin, Christian – and very idealistic people. The odds of it succeeding are hard. The politics are hard. You have to build relationships and trust. You really want every one moving together along the same path. It’s never happened before where there’s been an intentional co-locating. We’re building a campus together and we have to overcome prejudices and cultural differences.”
Gutman, a self-described “practical, by-the-numbers guy,” says the project’s “actually a spiritual thing for me – it comes from the heart or else I wouldn’t put this much effort in. For me, idealism is not passe.”
Temple Israel Synagogue, which he belongs to, has already built its new home at the proposed campus in the Sterling Ridge Development. The American Institute for Islamic Studies and Culture is next in line. Gutman, a Jew, heads up fund-raising for the mosque.
“We have $6 million raised and of that $5.2 million came from Christians in this community,” he says. “What other city in the country could say that? That’s special about this community.”
Roberta agrees Omaha’s “very generous” and gives to things it believes in.
Countryside Community Church is weighing being the Christian partner in the interfaith troika.
“I do believe it will be built but the story is yet to be told because it’s what happens afterwards. That’s going to be the interesting thing,” Gutman says.
“It will be like a blended family,” Wilhelm observes. “We’ve been there – it’s hard.”
The couple’s tackled many hard things in realizing legacy projects that have their imprint all over them. Their ratio of success to failure is high.
How are they able to get things done?
“Passion, persistence and some luck,” Gutman says. “We’re very fortunate. In the years we’ve been here we’ve developed a lot of relationships. If we weren’t committed to what we were doing and we didn’t have the skills to do it then there are certain people who would never have believed in us and it would never have been possible. If you take some people out of our lives we couldn’t do everything we want to do, that’s just the truth.”
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
Art assumes the roles of anthropology, archaeology, and novelization in Omaha artist Watie White’s new public installation that features 30 magic realism narrative paintings adorning the windows of an abandoned North Omaha house. Each image is based on artifacts left behind by the family that lived there to tell the stories of the home and its former residents. The site of the project is a house at 2424 Emmett Street, smack dab in one of the poorest neighborhoods in the city. As soon as the installation is taken down plans call the house to be razed and a new one built in its place.
©by Leo Adam Biga
Now appearing in The Reader (www.thereader.com)
On its face Watie White’s new public art project at an abandoned North Omaha house could be construed as a privileged white guy coming into the black community to impose his perceptions on that place and its people.
But that’s not the case with his All That Ever Was Always Is outdoor installation at 2424 Emmet Street. Enlarged digital prints of 30 narrative paintings he’s made cover the home’s windows. The house serves as a two-story, three-dimensional, wrap-around canvas for his true fiction portraits of the home’s former occupants. He invites viewers to bring their own interpretations to bear.
“I’m really interested in what the people who live next door or live down the block will think when they happen upon this big emotional and intellectual investment in an object that probably most people in this neighborhood don’t feel has much value,” he says. “Each perspective on this house tells its own story of what this house is.”
Don’t wait too long to see it though. Habitat for Humanity will raze the house in March and a Habitat-built new home will go up in its place. Before the century-old house is demolished he’ll disassemble the installation – windows, siding and all – for a future gallery show that he says “will be far more a rarified art experience.”
White’s paintings draw on interviews he did with neighbors, public record searches he and assistant Peter Cales made and a trove of personal artifacts harvested from the home, whose last residents were a black family named Smith. He and Cales also fashioned planters and benches from found objects there. The artists discovered a vast assemblage of strewn items inside that represent a tableaux of lives interrupted. In that suspended animation space White became the anthropologist his parents were.
“It’s like walking into somebody’s life,” says White. “This clearly was not cleaned up, not presented, not edited in any way, and so you walk in and you see all this stuff that feels unvarnished and truthful. They’re things that seem profound because we are reading something genuine about this person’s lived experience here, not things we were intended to see or a character they were playing, which for me makes it all the more intriguing. It becomes something you can trust a little bit because it’s not being catered to or tying to come across in a certain way.”
“All this trash and left belongings became really an incredible generator of content for the paintings themselves.”
He says the ephemera made the house an “active participant” to inform the narrative. Birth certificates, family photos, letters, journal entries and divorce papers helped him piece together four generations of history. He discovered the grandfather, Nathaniel Ware, was a Pullman Porter who moved the family up north from Mississippi. His daughter Janet Ware married Leonard Smith, an Omaha policeman. Janet was active at Salem Baptist Church. A daughter, Candice, followed her heart to Memphis. A son, Michael, may have been the last family member to reside at the Emmet address.
“He appears to have just left and walked away from everything before selling the house to Habitat,” White says of Smith.
What the materials didn’t reveal to White he extrapolated with the help of live models acting out back stories in his studio.
“I got a feeling for who I believe these people were, what they were like, but they’re more fictional characters. It’s more like writing a novel than doing a documentary.”
White purposely didn’t contact the Smith family to avoid being overly influenced. He has many questions for them, however. He’s inviting them to the opening, when he plans presenting them a chest made from recycled materials in the home that will contain the personal artifacts he salvaged.
His work also addresses urban legends attached to the house. For example, he says some neighbors “view it as a shameful place where bad things happened.” Allegedly it was crack house, though he found no supporting evidence. He hopes his project overturns neighbors’ own “narrative that they live in a shitty place to they live next to a place that has the potential to be an amazing thing.”
Viewers have no choice but to see White’s whimsical, soulful images in the context of the structure and its environment. Cales expects viewers to have triggered “that voyeuristic instinct in themselves to wonder what’s on the inside and to wonder about this community.”
“That curiosity breeds curiosity,” says White. “You interrupt the regular flow of life in an area by addressing creatively something that seems like a flaw or a blight and you shift it to make it not that. You change the perception of what that thing is or can be.”
“I think it’s important to bring people to the neighborhood to see the work in this context,” says Cales. “This is an area of the city that’s relegated to, ‘It’s a dangerous part you should never come to’”
“When you stop treating it as a place you have to shun or fear or stay away from then it’s a little less fearful and a little more welcoming,” White says.
Engaging at-risk populations with public art is something White learned under Chicago conceptual artist and radical educator Jim Duignan, whose Stockyard Institute White has a long association with. In preserving everyday people’s stories White does in images what the late iconic Chicago writer Studs Terkel White did in words/ White. who moved to Omaha in 2006, often shows his work in Chicago.
For more about the artist visit watiewhite.com.
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Parenting the Second Time Around Holds Challenges and Delights for Senior Kinship Caregiver Theresa Glass Union, Who Always Puts Family First
Parenting the Second Time Around Holds Challenges and Delights for Senior Kinship Caregiver Theresa Glass Union, Who Always Puts Family First
©by Leo Adam Biga
Soon to appear as the cover story in the December issue of the New Horizons
After raising three daughters in the 1970s-1980s and nearing retirement in the early 2000s, Theresa Glass Union thought she knew what her later years would look like. Even though still working, she envisioned socializing and traveling with friends and family. When she could finally retire it’d mean free time like she hadn’t known in ages.
The Omaha native had just moved back here after more than 20 years in Calif. She was divorced, eager to start a new life and catch up with old mates and haunts. Then a family crisis erupted and her selfless response led her to join the growing ranks of kinship caregivers raising young children.
Reports indicate that upwards of 6 million children in America live with grandparents identified as the head of household. Nearly half of these children are being raised by someone other than the parents or grandparents. The number of children being parented by non-birth parents has increased 18 percent since 2000, according to a report from the Annie E. Casey Foundation.
Some kinship caregivers do it informally, others through the state child welfare-foster care system. Being informed of rights, regulations and benefits takes work.
Theresa is a kinship caregiver to children of a niece who’s long battled drug addiction. The niece is the mother of six children by different fathers, The three oldest variously live with their fathers or their fathers’ people. When the niece got pregnant with each of her three youngest children, now ages 5, 4 and 2, they came to live with Theresa shortly after their births.
It’s not the first time Theresa’s dealt with tough circumstances inside and outside her family. She has a younger sister with a criminal past who happens to be the mother of the niece whose children Theresa is raising. Years spent in social service jobs dealing with clients living on the edge have given Theresa a window into the bad decisions that desperate, addicted persons make and the hard consequences those wrong choices bring.
At age 65 and two-and-a-half decades removed from raising three grown daughters, one of whom is film-television star Gabrielle Union, Theresa’s doing a parenting redux. She never thought she’d be in charge of three pre-school-aged kids again, but she is. She’s since legally adopted the two older siblings, both girls, and is awaiting an adoption ruling on their “baby” brother.
As the babies came to her one by one she found herself knee deep again in diapers and baby bottles, awakened in the middle of the night by crying infants, figuring out formulas and worrying about fevers, sniffles, coughs and tummy aches. Now that the kids are a little older, there’s daycare, pre-school and managing a household of activity.
It’s not what she imagined retirement to be, but how could she not be there for the kids? They were going to be removed from their birth mother and placed in a system not always conducive to happy outcomes. Child welfare officials generally agree that childcare fare better in kinship care settings than in regular foster care.
Kinship caregivers may get involved when the parents are incarcerated, on drugs or deceased. In the case of Theresa, drugs were found in the systems of the two oldest children she’s adopted, Keira and Miyonna. Theresa felt they needed unconditional family love. The girls are doing fine today under the care of Theresa and her brother James Glass. The girls’ brother, Amari, was born drug-free.
With so much stacked against the children to start life, Theresa wasn’t about to turn her back on them. Family is everything to her. She’s the oldest of seven siblings, all raised Catholic – churched and schooled at St. Benedict the Moor, the historic African-American parish in northeast Omaha. It’s where she received all her sacraments, including marrying her ex-husband Sylvester Union.
“The church is central to my family here.”
She graduated from Sacred Heart High School.
She and Union moved to San Francisco during the Summer of Love in 1967 and they returned to Omaha a year later. They both ended up working at Western Electric. Like other black couples then they ran into discriminatory real estate practices that flat out denied them access to many neighborhoods or steered them away from white areas into black sections of North Omaha. Their first home was in northeast Omaha but they eventually moved into a house in the northwest part of the city, where their three daughters went to school.
In the 1970s Theresa, who studied social work at the University of Nebraska at Omaha, worked for Omaha nonprofit social service agencies, including CETA (Comprehensive Employment & Training Agency) and GOCA (Greater Omaha Community Action). After a long stint in corporate America she returned to the non-profit field.
The family left here in 1981 for Pleasanton, Calif., where they lived the sun-dappled Southern Calif. suburban life. She worked for Pacific Bell and completed her bachelor’s degree in human relations and organizational behavior at the University of San Francisco. After her divorce she and her brother James Glass returned to Omaha in 2003. A few years passed before Theresa’s troubled niece came for help. At various times the family tried interventions, once even getting the niece into rehab, but each time she fled and resumed her drug habit.
As a former field worker with Douglas County Health and Human Services and as a one-time Child Protection Service Worker with Nebraska Health and Human Services, Theresa’s seen the despair and chaos that result when siblings are separated from each other and extended family. It’s why when her niece kept getting pregnant while hooked on drugs and unable to take care of herself, much less children, Theresa intervened to ensure the kids would go to her.
“Some of the things children said to me when I was a social worker have just stayed with me,” she says.
On one call she visited three young siblings in a foster home.
“I was like the fifth social worker since they’d been brought into the system. The 8-year old boy said, ‘Please don’t take us away, we get fed three times a day here. ‘Well. that told me they’d been staying with some people (before) who weren’t feeding them regularly. Who does that? The foster parent let him walk me around the home and this little boy was just adamant he be with his brothers.”
In another case several siblings were divided up among different foster families.
“One of the siblings got to see her sisters at school but she no longer got to see her brothers, and she asked me, ‘Can I see my brothers?’Her foster parent had made the request but nothing had happened, so I looked into it and found that each sibling had a different social worker and had been placed at a separate time. I got it worked out that the siblings got to visit each other.”
System shortfalls and breakdowns like these were enough to make Theresa bound and determined to arrange in advance with hospital social workers for her to be the foster placement parent for her niece’s three youngest kids. When Keira and Miyonna tested positive for drugs the state, by law, detained them and they were put in Theresa’s care two days after their births. She did the same with their brother. She simply wouldn’t let them fall outside the family or be separated.
“After Keira was born I was already a resident foster placement and I’d already contacted everybody involved to let them know if there was another baby that ends up in the detention system I want to be the foster parent of choice because I didn’t want these kids to go into the system. My idea is that the kids all need to be raised together. They deserve to have their siblings .
“I was working for Child Protective Service, so I knew all the ins and outs of what was going to happen. I knew how many times we were going to have to go to the doctor before the baby’s cleared. I knew that babies wake up in the middle of the night and children with drugs in them can find it more difficult sleeping, eating. I was prepared for all that. It didn’t happen, I was thanking God that Keira’s and Miyonna’s little withdrawal things were just a few days. The biggest problem we had was figuring out formula.”
Daughter Kelly Union, a senior analyst with US Airways, admires her mother’s by-any-means-necessary fortitude.
“My mom always looks for more solutions, other options, different ways to climb a mountain. That determination helps me when I hit a brick wall at work, in my marriage, with my kids. My mom also sees all glasses as half full. There is a positive in everything and we just need to find it. My mom’s best attribute, however, is being strong against all odds—she finds the strength to hold up everything and everyone, including herself despite what she is up against. I get my strength from her.”
The way Theresa sees it she did what she did in order to “preserve the continuity of the children’s lives, so that they know their family members, the cousins, the aunts and uncles, the lineage back, like my grandma Ora Glass and my grandma Myrtle Fisher Davis, and the head of our family today, Aunt Patricia Moss.”
Theresa hails from one of the largest and oldest African-American families in the region, the Bryant-Fishers, whose annual picnic is 95 years strong.
Her bigger-than-life late grandmother, Ora, the longtime matriarch, lived to 110. Ora gained celebrity as a shining example of successful aging, even appearing on Phil Donahue’s show and running her fingers through the host’s hair. In her younger years Ora was a housekeeper and nanny for some of Omaha’s elite families. One packinghouse owner family even brought her out to Calif. to continue her duties when they moved there. She survived the Red Summer of 1919, when blacks were targeted by racists in riots that wreaked havoc from coast to coast, including Omaha and Orange County, Calif..
“My grandmother had a whole lot of stories,” says Theresa.
In her 70s and 80s Ora “reinvented” herself from a very strict, prim and proper lady with politics tending toward the conservative” to loosening up on things like relationships and social issues, notes Theresa. “She told me, ‘I’m losing so many old friends that I have to make new friends and I have to use new opinions and I have to make new decisions.’ She began reaching out and making new friends and gathering new family to her. She started trying different things. She went to political science classes at UNO. She learned ceramics.”
Even when she had to use a walker, Theresa says. Ora maintained her independence, riding the bus downtown for Mass at St Mary Magdalene’s Church, a repast at Bishop’s Cafeteria and taking in all the sights.
Ora was then and is now an inspiration to Theresa. She carries her grandmother’s boundless curiosity, determination and affirmation inside her.
“She always persevered. She said, ‘Whatever you do you always do it to the best of your ability.’ She said, ‘You can always make more family’ and she always did generate more and more family for herself.”
Ora was godmother to Omaha native Cathy Hughes, founder of the Radio One and TV One media empires, and played a big role in the mogul’s early life.
Ageless Ora ended up a resident at the Thomas Fitzgerald Veterans Home (the military service of her late husband Aaron Glass entitled her to stay there) and Theresa says her grandmother “recruited families from St. Vincent dePaul parish to visit residents there. There were a couple of families she adopted. The kids came and they called her grandma and they brought her gifts.”
It’s figures and stories like these that Theresa didn’t want her three new children to miss out on. The family takes great pains to maintain its ties, celebrate its history and record the additions and losses as well as the triumphs and tragedies among their family trees. Help abounds from loved ones she says because “there’s so many of us. There’s like 1,500 of us (dispersed around the country).”
She values the traditions and events that bind them and their rich legacy and she wouldn’t want the children now in her care to be deprived of any of it.
“We’re called the Dozens of Cousins. Yeah, I do take a lot of pride in that. I get that a lot from my aunt Patricia Moss because she wants there to be the continuity. We do have continuity.”
Regarding the big August reunion, when hundreds gather at Levi Carter Park, she says, “I try to always make it. Since coming back home in 2003 I haven’t missed any, and when I was younger it wasn’t an option, you were there. We have the family picnic, we have family birthdays, we have that kind of continuity and I think children need that to grow in their own maturity and emotional strength,” she says. “It can give them that stability. You’re not going to get that from strangers. And knowing at some point there’s going to be questions about who mom is, I have all those baby pictures and all that stuff. I can give them a sense of who she is if she doesn’t care to come around.”
Having a large family around gives Theresa a ready-made support network.
“I have a supportive family around me. I have everybody lined up that’s going to keep this continuity. My brother James wouldn’t say it before that he’s helping raise the kids, but he’s saying it now. My sister and cousins call and make sure I have break times. My granddaughter Chelsea came from Arizona recently to watch the kids so I could have a break time. When my daughter Tracy has breaks from work she comes in and helps out.
“So I have a support system around me and they’re all kin to these children, so they’re never outside of family.”
Kelly Union says even if there wasn’t all that family support her mother would have done the same thing.
“Without a doubt, she would have been that beacon without all of us supporting her. That is her character, that is the legacy she inherited and the legacy she is passing on to all of us. We have all been known to help someone else, even when it isn’t easy or comfortable and that is a direct reflection of her.”
The respite family provides Theresa has proven vital as she’s realized she’s not capable of doing everything like she was the first time she raised kids. She’s much more prone now to ask for help. Another difference between then and now is that her older daughters were spaced out three or four years, whereas the kids she’s raising today are all just a year or two apart.
“My oldest was 4 before I had my second and then my second was 7 before I had my third. It’s a different experience when you can devote your time to the one child at a time. And then by the time I had the second child the oldest child had more of her own things she was doing that she didn’t need me while I was taking care of this other one. And then the two of them did not need me as much when I was taking care of the third one, so every kid got to be like an only child.”
Things stated out different the second time around.
“‘I found I was now taking care of two kids at the same time, so if I’m changing a diaper the other one’s right there fussing and attention grabbing. and boy that’s more wearing on me. The energy for two young ones is just wearing.
“When I first got Keira and Miyonna I was working, so I got to take them to day care. But I could not keep my mind going well enough during the day to do a social work job. I could not keep up and my caseload was falling farther and farther behind. I even asked for more training, but I just couldn’t manage it. I thought I was super lady but my energy level is not the same as it was, trust me.”
The two girls don’t need quite the attention they did before, which is good because their little brother needs it now.
“We got through that and Keira and Miyonna started doing real good together. I even have them sleeping together in a big double bed. They sleep all night.”
In terms of parenting, she says she’s learned to “let some things go” that she would have stressed over before. For example she doesn’t worry whether the kids’ clothes or hair or bedrooms are perfect. “You do the best with what you have and you gotta innovate,” she says.
Her adult daughters may be the best gauge for what kind of mother Theresa is. The oldest, Kelly, wrote in an email:
“My mother was always the “you can do it”, “give it a try” type of parent. She supported all our whims—Girl Scouts, musical instruments, sports, school plays, dance class. Whatever struck our fancy at the moment, she backed our efforts. No is not a big word in her vocabulary. Not that she was a permissive parent who let us get away with things. But more in the way that she was willing to let us try and learn our own likes, dislikes, pleasure and pain first hand.
“My mom was never really a yelling, scolding type of mom and that worked well for us. Life lessons taught with logic, love and support goes a long way to shaping a child the right way.”
Kelly doesn’t see any marked difference in her how mom parents now than before.
“No, the core is very much the same. My mom is home more with them but the attention, the opportunities, the lessons are all still the same.”
Theresa would like for the children’s birth mother to be involved in their lives but thus far she says her niece has shown little interest. In fact, Theresa’s lost most contact with her niece, whose exact whereabouts she’s unsure of.
“She actually did visitation with Miyonna for the first three weeks of her life and then she back slid all the way and did a disappearance act. We didn’t know where she was.”
The instability and unreliability of the mother were huge factors in Theresa taking charge and getting the kids in a safe home surrounded by family. She says she never wanted to have happen to these children what she’s seen happen to others, such as when kids age out of the system never having been reunited with family, much less visited by them. With their biological mother out of the picture, Theresa saw no option but to step up.
“It’s hard to forge your own identity when your identity has been connected with state administrators,” she says of foster children.
It’s not the first time she’s taken in loved ones in need. When her uncle Joe Glass lived in a Milwaukee nursing home and was going to be transferred to a veterans home near the Canadian border, far from any family, Theresa and her brother James brought him to Omaha.
Growing up, she saw the example of her family take in childhood friend Cathy Hughes when Cathy’s musician mother Helen Jones Woods was on the road. Hughes said growing up she and Theresa thought they were “blood sisters.”
Theresa’s three birth daughters have embraced her returning to parenting young kids again all these years later. She says they’ve all accepted and bonded with their new siblings and go out of their way in spoiling them. “They don’t want for anything,” she says of her little ones.
Kelly speaks for her sisters when she says they all admire and support their mother in assuming this new responsibility at her age but that it doesn’t surprise them.
“That is just my mom. I don’t think she thought of it as parenting at her age, she just saw a need and filled it. Age really didn’t play into it, although she did discuss it with us because doing the right thing would impact all of us. My mom always does the ‘right thing,’ and right doesn’t mean easy and she accepts that whenever she takes on a task, a role, a responsibility.
“My grandmother raised her and this is what my grandmother did and would have done if she was alive. Her opting to raise the kids did not surprise any of us in the least. It is the one characteristic both my parents had and handed down to us: Do what you can, when you can and share of yourself, your home, your belongings and your wealth (regardless of how much money you have or don’t have). It’s the right thing to do to help someone else, especially family.”
Kelly and her sister Gabrielle have each assumed similar super-nurturing roles as their mother. Kelly, who has three children of her own, has acted as a surrogate mom to athletes coached by her husband. Gabrielle is now the adult female figure in the home of her equally famous boyfriend, NBA superstar Dwyane Wade, whose two sons and a nephew live with him in Miami.
Theresa’s justifiably proud of her three grown children, each a successful, independent woman in her own right. Kelly’s a corporate executive. Tracy’s a facilities coordinator at Arizona State University and Gabrielle’s the movie star. Just as she feels she well prepared her older girls for life she hopes to do the same for their young siblings.
“I got my three grown daughters there healthy and educated and then they had to travel it on themselves. Hopefully I can do this another time and the three young ones will be healthy and educated and they’ll be able to move on and enjoy their lives. Nobody has to be famous but you have to be able enjoy and sustain your life. I think my girls have done really well and I hope the next ones do, too.
“This time it’s a different experience and we’re working it out.”
She says most of her parenting the first time happened in the suburbs compared to the inner city, where she, her brother and the kids live today. She’s struck by the stark difference between the two environments and their impact on children.
Gun violence and street gangs were foreign to west Omaha and Pleasanton but the northeast Omaha she’s come back to is rife with criminal activity. Where Pleasanton lacked for no amenities North Omaha has major gaps.
“It’s interesting that this neighborhood doesn’t have the things that we had when we were young. The (black) population has been dispersed throughout the city. Things you take for granted, conveniences you have right there in the suburbs, are not so readily available in the inner city. It’s a lack of resources, lack of everything right in this neighborhood for raising children. So I had to start looking for the village (the proverbial village that helps raise a child). My village is right here. I have Kellom School and I have Educare.”
Gabrielle says the way her mother intentionally seeks out educational and cultural opportunities for the young kids she’s raising now reminds her of how she did the same thing when she and her sisters were coming up. She says her mom’s always been about expanding children’s minds through enriching experiences.
Theresa says the dearth of programs for young kids in northeast Omaha “is what prompted me to join the board of the Bryant Center Association – so we could add things (like recreation activities and counseling services).”
The nonprofit association operates the Bryant Center, a community oasis at 24th and Grant Streets that aims to improve the lives of youth, young adults and seniors. Administrators are looking to expand programming. Theresa recently prevailed upon Cathy Hughes to co-chair the association’s capital fundraising campaign.
In the final analysis Theresa doesn’t consider rearing young children at her age as anything heroic or out of the ordinary. It all comes back to family and doing the right thing. “I don’t call it being a saint,” she says. “You always take care of your own.”
She wants others to know they can do what she’s doing. An aunt or a grandmother or another relation can be the parent when Mom and Dad cannot.
“It is a doable process, especially in Omaha, because there is other help available. There are families out there that could do this with their own because there is support for you in the community. Sometimes you have to really search for it depending on what your needs are. But even if there’s a problem where the natural parents aren’t available to participate, you can raise the children so they are still a part of a family.”
Helping navigate the experience is ENOA’s Grandparent Resource Center. It offers free monthly support group meetings, crisis phone intervention, transportation assistance, access to legal advice and referrals to other services and programs. Participants need only be age 55 or above.
Center coordinator Debra Scott, who is raising her granddaughter, says caregivers need to know they don’t have to do it alone. “Don’t be afraid to ask for help,” she says. “I’m learning I can’t be everything to everybody, I need to ask for help and that’s where this program comes in.”
Call 402-444-6536, ext. 297 to inquire how the center may be able to help you or a senior caregiver you know.
- Agencies work to unite foster, biological parents (miamiherald.com)
- Wanted: Parents willing to take in children (newsherald.com)
- SPITZ: From foster to forever family (metrowestdailynews.com)
- Gabrielle Union Takes Serious Turn in BET Drama ‘Being Mary Jane’ and PBS Documentary ‘Half the Sky’ (leoadambiga.wordpress.com)
- Kinship Celebration Brings Together Community in Support of National Adoption Awareness Month (virtual-strategy.com)