Archive

Archive for the ‘UNO (University of Nebraska at Omaha)’ Category

Outperforming and Including Others: Makayla McMorris

March 20, 2019 Leave a comment

Outperforming and Including Others 

Makayla McMorris

Story by Leo Adam Biga

Photography by Bill Sitzmann

Originally published in the March-April 2019 edition of B2B Omaha Magazine (https://omahamagazine.com/articles/outperforming-and-including-others/)

 

Marketing whiz Makayla McMorris became executive director of the University of Nebraska-Omaha’s Office of University Communications in December 2018.

The Omaha native hopes to elevate her hometown community, leading by example as an African-American female in UNO’s executive ranks. “Being in this position is a huge hope for the community,” McMorris says. “It’s difficult in Omaha. A lot of people from the community leave for better opportunities. ”

She and her husband, Charles Drew Health Center CEO Kenny McMorris, have spurned offers to relocate.

“We both are very committed to the success of Omaha,” she says. “We see where change is starting to happen. Networking and understanding how things work here has allowed us to stay in Omaha and thrive.”

The Nebraska Wesleyan graduate’s local professional life began as a Hearst Television Broadcast Sales Academy Fellow, where she found herself to be the only African-American in local media marketing. She often exceeded sales goals, surpassing her new business goal alone by 30 percent in 2007.

The position at Hearst empowered her to be an entrepreneur. That two-year experience helped her relate to clients when she joined Cox Media in March 2009.

“I could talk to business customers about things other consultants couldn’t—about how to write a business plan, supervise construction of a physical space, hire and train employees, make payroll,” she says. “I had a connection with, and understanding of, small- to medium-sized businesses and what the value of a dollar means to them. It put me so far ahead of other consultants.”

Over the next few years, she climbed steadily in her career, and in 2013, exceeded her first quarter goals by 12 percent for new business, and by 139 percent for digital. But it took time to for McMorris to overcome stereotypes.

“When I would go into a business for the first time I could see they didn’t expect a black person,” McMorris says. “They were like, ‘who is she to tell me how to run my business?’ I felt like I was always under the microscope. I had to perform at a higher level. I had to break down barriers to get them to understand I’m of value to their company.”

She out-performed revenue targets by devising integrated media campaigns across broadcast, publishing, and digital platforms. Word of her achievements led KETV to recruit her back into the Hearst fold. As the KETV senior marketing executive, she led multi-million dollar integrated sales campaigns that grew station revenue by millions.

She’s also grown her circle of influence, serving on the Omaha Women’s Fund and Metro Community College Foundation boards, doing professional meet-ups, and encouraging peers.

“You just really have to be connected,” McMorris says. “This position at UNO came to me because of those things. People I had worked with who I stayed in connection with vouched for me in this role. It’s a testament to that networking.”

That’s one reason she brings a democratic, inclusive leadership style to “the UNO family.”

“I lead a team of 21. I want to be someone they actually feel connected to,” McMorris says. “I like to sit back and listen. But when I do have something to say, it’s effective. I want it to be relatable. People don’t respond well to jargon…I prefer one-on-one, intimate conversations.”

McMorris believes UNO is “a premier institution for higher learning, not only on a local level, but on a national level.”

And with her track record for marketing, she will certainly help elevate the school into an even more premier institution.


Visit unomaha.edu/university-communications for more information.

This article was printed in the April/May 2019 edition of B2B. To receive the magazine, click here to subscribe.

Makayla McMorris

Advertisements

Washington Garcia’s international music career finds perfect balance in Omaha

December 26, 2018 Leave a comment

 

Washington Garcia’s international music career finds perfect balance in Omaha

©by Leo Adam Biga

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

UNO School of Music Director Washington Garcia’s destiny was set the first time he tickled the keys of his grandmother’s piano at age 4 in his native Ecuador.

“I’ve always considered myself blessed to know my purpose in life from very early on,” Garcia said. “That’s a gift not many people have. My family knew my mission was to come to the United States one day. They trained me from a young age to prepare for it. They had me learn English. They mentored me so I would mature to be in a leadership position.”

Though born into a musical family, he’s the only one to have made music a career. His father’s a retired neurosurgeon. His mother, a retired accountant.

His talent was so evident that by 6 he enrolled in Ecuador’s National Conservatory of Music. His first public performance came at 7. Recognizing the prodigy in their midst, conservatory leaders created a program for him. He advanced quickly enough to debut with the Ecuadorian National Symphony Orchestra at only 15.

He won several prestigious piano competitions. He made his international debut in Chile. He’s since performed all over Europe as well as in Canada, Israel, Mexico, Colombia, Japan and China.

Whatever he’s done and wherever he’s gone, he’s felt his parents’ support.

“They knew instinctively music was going to be my tool to connect Ecuador with the world. My parents opened many doors for me because of their perseverance.”

He enjoys national hero status in his native land as a recipient of the Outstanding Cultural Achievement medal – the highest recognition the Ecuadorian National Assembly awards an individual for artistic excellence.

Getting this far has meant sacrifice.

“I didn’t really have a normal childhood practicing piano five or six hours a day in addition to going to private piano and English lessons, doing regular school courses and homework and attending the National Conservatory.

“These were highly intensive academic and artistic activities I invested all of myself into. I don’t regret it. I would do exactly the same thing again.”

He feels in music he’s found the great common ground.

“Music has the power to connect us all,” he said. “When I travel abroad, language is a barrier, but the moment I perform music it connects us. Music is the language of the soul. I’ve created so many relationships and associations with people who don’t speak a word of English. They understand immediately that music is a bridge between cultures.”

The University of Nebraska at Omaha School of Music he leads is all about making connections.

Said Garcia, “Music has so many angles that impact community. We place music teachers in the schools. Our faculty tour the nation and world. We host an international music festival and visiting teaching artists.”

“We have been able to enhance our visibility on a national and international level. It allows us to bring the world to Omaha. We’re like an ambassador for the city.”

Coming to Omaha culminated a love affair with America. He first came to the U.S. in the late 1990s as a Kennedy Center Fellow in Washington D.C. That led him to the Peabody Institute at Johns Hopkins University in Baltimore, where he earned his master’s and doctorate.

“I was the institute”s youngest Latin American graduate in piano performance.”

He taught there before being hired by Texas State University. He became assistant director of TSU’s music school. Then “the right opportunity” appeared at UNO. A national search for the founding director of UNO’s newly established school of music led recruiters to Garcia. He and his wife Valeria moved to Omaha in December 2015. He assumed the post the following January.

In addition to administrative duties, he’s a full tenured professor of piano at UNO.

“I run my life based on mission and one of my missions is to teach and give to others what I have received in terms of artistic and academic knowledge.”

He arrived in the middle of the school year during an accreditation review.

“It was a challenge,” he said, “but I’ve always loved challenges as opportunities to learn and grow from. Still, it almost felt like somebody dropped me from a plane and I had no idea if I had a parachute or not. I pulled the plug on what looked like a parachute. It opened and then I looked for the safest place to land. I landed and  started running and I haven’t stopped since.

“It’s been a really fast pace. We’ve accomplished a lot of initiatives and collaborations. We would like to establish the School of Music as one of the top academic and artistic institutions in Nebraska and the nation. We have    everything it takes – a great faculty and support from the community and the university – to make this happen.”

Like his faculty, he also performs. He’s played with the Omaha Symphony and he does special engagements nationally and internationally.

Every performance is an opportunity to serve.

“I pray every time before I perform that God will help me inspire those who hear me with the gift of music. I want to be for young people who desire a career in music but may not have the means what my parents were for me.”

He feels fortunate.

“The U.S. gave me a free education, a job and continues giving me the opportunity to serve others. That is why this is my home. When I go to Ecuador or anywhere abroad  I feel like a visitor. After a week I’m ready to go back home.

“My wife and I know we have a mission to complete here in Omaha. This is our family.”

He and Valeria have a 2-year-old child and are expecting their second child in December.

Visit washingtongarcia.com.

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

Onward and upward is theme of Yarina Garcia’s life and her work with young people

December 24, 2018 Leave a comment

Onward and upward is theme of Yarina Garcia’s life and her work with young people

©by Leo Adam Biga

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

 

Yanira Garcia

 

As the first in her immigrant family to graduate high school and college, Yarina Garcia, 29, felt her parents’ pride as she advanced in her studies. 

“My dad always emphasized, ‘Your job is to go to school and do the best you can.’ I remember him repeating to me every day, ‘You gotta learn English. That’s the only way you’re going to be able to do things for yourself in this country.’ I took that message to heart,” said Garcia, who with her two younger sisters was born in Mexico..

“Once we all learned English, my dad said. ‘You guys have to graduate from high school.’ He never really mentioned college, but I just took it as I have to go as I high as i can. As a senior I heard all my friends talking about going to college, so I took it upon myself to pursue that.”

The Omaha South High and University of Nebraska at Omaha graduate has become the family’s trailblazer. She’s currently working on her master’s degree. After a foray in media and communications, she’s found her niche as Assistant Director of Undergraduate Admissions at UNO. The bilingual Garcia helps many first-generation students and their parents navigate the higher ed maze.

“I love helping students who are still learning English and struggling, who are lost in the system because they just got here or they don’t understand what’s next or how to move forward in their academic goals.”

Information is power, so she gives prospective students and families what they need to make informed decisions about options and opportunities.

“I find myself playing the role of an educator more than anything else. Even for our U.S.-born students or students who’ve been here many tears, the college application process can be tricky and tedious.”

It becomes even more daunting when applying to multiple colleges or universities.

“It’s complicated. A lot of our Latino parents don’t understand how it works. My job is to help parents and students understand what UNO offers and to hold their hand and walk them through the process. It’s important they see me as a person they can trust and open up to. The conversations definitely get very personal. If I know exactly what their situation is, it makes it easier for me to find resources.

“Some parents are undocumented and they need to know if their son or daughter can still qualify for financial aid or scholarships. My goal is to make sure there are no barriers for students looking into applying at UNO. I want to help be that bridge between them and the school so that they can fulfill their dreams.”

Even though not in her job description, she said she feels duty-bound “helping students not just get here but to actually finish and walk away with a diploma.”

“It’s very important for me personally to know that what I do matters to somebody, somehow. Seeing those results brings a lot of fulfillment.”

She works closely with her alma mater, Omaha South, as well as Bryan High School.

“A big part of my heart is students from Omaha South.”

She’s pleased her two younger brothers are following her lead. The oldest is a UNO sophomore. The youngest is thinking college, too.

Leaving a legacy is important to Garcia, who’s worked hard to realize the family’s aspirational goals in America.

“Just last year I was able to become a legal permanent resident through marrying my husband (Roger Garcia).

The middle sister is in the same process. The little sister is still a DACA recipient.”

Her brothers were born in Nebraska and are U.S. citizens. Ironically. they’re able to travel freely to Mexico and back while Garcia, her sisters and parents have been unable to return to their homeland.

Now that Garcia’s new permanent legal status means  she can travel without restrictions, she said, “I’m dying to go back to Mexico. I was really excited to make it this year because it’s 20 years since I left.” But since she’s expecting her second child in January she must wait.

Her own immigrant journey has made her an advocate for Dreamers and DACA recipients. She said she’s spoken to elected officials to help them “understand our story and to hear our voices.”

“Once a Dreamer, always a Dreamer,” she said. “More than anything, it’s an experience

A 2014 internship with NBCUniversal Telemundo in Washington D.C. meant working on immigration issues.

“It was journalism on steroids every day.”

She returned to be part of the inaugural radio news team at Omaha Noticias (Lobo 97.7 FM). She enjoyed it, but burned-out working long days for little pay.

She tried freelancing but found it too unstable. Then she found her professional home at UNO, whose communications department she started in. Her work brought her in contact with the undergraduate admissions team and when a position opened there she was encouraged to apply. She got hired and was recently promoted.

“I love communications and a lot of my job is creating bilingual outreach pieces. I’m definitely passionate about it. I’m doing an integrated media master’s from the University of Nebraska-Lincoln.”

She and husband Roger Garcia, executive director of Centro Latino in Council Bluffs, have their own side business, Garcia Consulting Group. The couple apply  her communication and his administrative expertise, along with a shared passion for community advocacy, to Latino-based nonprofits and entrepreneurs.

“We saw a need for a bilingual or Spanish communications group with a specific niche reaching out to Latinos. We both want to use our talents and knowledge to benefit the community.”

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

Soccer Brings Bob Warming Home: Once a Bluejay, Now a Maverick

November 13, 2018 Leave a comment


Soccer Brings Bob Warming Home

Once a Bluejay, Now a Maverick

Story by Leo Adam Biga

Photography by Bill Sitzmann

Originally appeared in the Nov-Dec 2018 issue of Omaha Magazine

(http://omahamagazine.com/articles/soccer-brings-bob-warming-home/)

Bob Warming’s unexpected return to Omaha in 2018—this time to head the men’s soccer program at the University of Nebraska-Omaha—is the latest turn in a lifelong love affair with coaching.

Warming, 64, twice helmed the Creighton University program in town. He’s known as the architect of a Bluejay program he took from nothing to national prominence. During his first CU run (1990-1994), Omaha became home to him, his wife Cindy, and their four children. During his second CU tenure (2001-2009), his kids finished school and came of age.

His passion for the game is such that even though he’s one of collegiate soccer’s all-time winningest coaches at an age when most folks retire, he’s still hungry to lead young people. After eight highly successful seasons at his last stop, Penn State, he did retire, albeit for less than two months, before taking the UNO post in April.

Love for family changed best-laid plans. It started when he and Cindy visited Omaha in November to meet their new granddaughter. Their intense desire to see her grow up caused Warming to step down at Penn State and move to Omaha.

When then-UNO soccer coach Jason Mims decided to pursue new horizons (Mims had played and coached for Warming at Saint Louis University, and traveled with him to Creighton and Penn State before kickstarting the UNO program in 2011), Warming couldn’t resist continuing to build what his former assistant had started.

“I have come back with even more energy. There’s a lot of younger guys I’m running into the ground,” Warming says.

He also brought knowledge gained from legendary peers and best friends at Penn State: women’s volleyball coach Russ Rose, wrestling coach Cael Sanderson, and women’s soccer coach Erica Dambach.

“I learned more coaching at Penn State than I had in all my previous years,” he says. “It’s not even close. I grew tremendously. I got a lot of new ideas about things. I derive tremendous energy from being a continual learner. Even in the 59 days I retired, I continued to research better ways to teach and train people.”

His son, Grant, played for him in Happy Valley and now assists at UNO. Grant’s twin sister, Audrey, died in a 2012 auto accident. The family honors her legacy with Audrey’s Shoes for Kids, an annual event that gives away soccer shoes, shin guards, jerseys, and balls to disadvantaged children in Omaha. About 300 youths received gear in this summer’s giveback.

Warming first fell in love with coaching at age 14 in his native Berea, Kentucky. The multi-sport athlete was a tennis prodigy on the United States Lawn Tennis Association’s junior circuit when his coach taught him a lesson in humility by having him coach 9-year-olds. In the process, Warming found his life’s calling.

“I had been very into myself only,” he admits. “I was a selfish little brat. Then all of a sudden I realized it’s about helping other people. It’s a great lesson my coach taught me. He knew if I was ever going to go any place with my life, I had to give something to others.”

Warming’s outlook on life gradually shifted. “I derive the most pleasure out of watching young people improve,” he says.

Soccer supplied his next life-changing experience. Berea College, a private college in his hometown, has a long history of inclusion. In the early 1970s, it recruited world-class footballers from Ghana and Nigeria. Warming was the squad’s goalkeeper (and also a varsity letter-winner on the tennis, swimming, and golf teams); he honed his knowledge of soccer from these foreign players and gleaned insights into diversity.

“I’m playing soccer and hanging out all the time with these black guys in the South—not the most popular thing to do in a town where on Sunday nights every summer the KKK burned a cross,” he recalls. “That was the dark ages in a lot of ways. But I was fascinated interacting with these guys from Africa and finding out how they live and what their culture is like.

“I was able to play with these incredible guys from a young age, and the game is the best teacher,” he says. “For me, it was a remarkable time in my life. I learned a lot about a lot of different things.”

Years later at Penn State, he brought more student-athletes of color into the soccer program than it had ever seen before. “That was a cool part of the whole deal,” he says.

He appreciates what a mentor did in giving him a progressive outlook. “The guy who eventually became my college coach was the leader of all this,” Warming says.

His own collegiate coach at Berea, Bob Pearson, succeeded his protégé a few years later when Warming left his coaching post at Berry College in Mount Berry, Georgia, for a coaching position at the University of North Carolina-Charlotte in the 1980s. Four decades later, the veteran Warming succeeded his own protégé, Mims, at UNO.

“I have all these crazy circles in coaching,” he says.

The kind of bond Warming has with Pearson, he has with Mims.

“Loyalty, trust, and respect are the basis for all relationships, and we have all three of those,” Warming says.

Pearson got Warming his first head coaching gigs in his 20s at Transylvania University in Lexington, Kentucky (where Warming spent one season before heading to Berry University); he also coached tennis at both schools.

Warming was still only in his mid-30s when Creighton hired him the first time in 1990, poaching him from his brief tenure as director of athletics at Furman University in Greenville, South Carolina. At Creighton, he revived a dormant program that began winning and drawing fans.

He enjoyed the challenge of “building something from its inception and doing missionary work for our sport.” In exchange for free coaching clinics, he got local soccer clubs to turn out in droves.

“Thus, Creighton soccer was born. It came out of giving back to the community and coaching education,” Warming says.

He left CU in 1994 for Old Dominion. From there he went to Saint Louis University. The Rev. John Schlegel, then-CU president, lured him back in 2001 with the promise he could design a state-of-the-art soccer facility.

“Father Schlegel said, ‘Build me a soccer stadium. We want an iconic building to define the new eastern borders of our campus. I’ll pick the facade because I want it to reflect how the rest of the campus will look,’” Warming recalls. “Think about that. Where else has a soccer stadium determined what the rest of the campus would look like?”

The result, Morrison Stadium, has become a jewel of north downtown.

Warming’s CU and Penn State teams contended for conference and national titles. Now that he’s back in Omaha, he looks to take fledgling UNO soccer to its first NCAA playoff berth and create a powerhouse like the one he did down the street.

Back in Omaha again, he organized “the largest free coaching clinic in the country” at UNO in August. Some 200 coaches from around the nation attended, including 150 from Nebraska. Tweets about the event surpassed two million impressions.

“The selfish reason I did it was I want to kick-start this program into something, and to take soccer in Nebraska to the next level,” he says. “We have to get better.”

His methods today are different than when he last coached in Omaha.

“If you really want to train people, you have to get them in the mood to train using all the different modalities—texting, tweeting, playlists, video—available to us now,” he says. “You cannot coach, you cannot lead, you cannot do anything the way people did it years ago. You won’t be successful. The why is so important in terms of explaining things and building consensus and getting people involved to where they say, yeah, we want to do this together.”

In the full circle way his life runs, he feels right at home at UNO, where hundreds of students, including international students, get a free education. “We are the school of the people,” he says.

Meanwhile, he’s busily stocking his roster with players from around the globe—including France, Spain, and Trinidad and Tobago—with many more players from Omaha and around the Midwest.

Wherever he’s landed as a coach, it’s the new challenge that motivates him. No different at UNO. “One hundred percent,” he says. “I love it.”

Visit omavs.com for more information.

This article was printed in the November/December 2018 edition of Omaha MagazineTo receive the magazineclick here to subscribe.

Music is legacy and salvation for classical cowboy Hadley Heavin

September 25, 2018 Leave a comment

Music is legacy and salvation for classical cowboy Hadley Heavin

©by Leo Adam Biga

Appearing in the October 2018 issue of New Horizons

Hadley Heavin encountered a personal crossroads in the 1970s. He was a Vietnam War veteran with a background playing blues-rock guitar and competing in rodeo -– pursuits he thought he’d left behind. Little did he know he was about to embark on an improbable road less traveled as a classical cowboy.

He’s long taught classical guitar at the University of Nebraska at Omaha. He also taught at College of Saint Mary, Creighton University, Union College and the University of Nebraska-Lincoln. He’s given countless master classes, residencies and recitals. He and his band Tablao were fixtures at Espana and Little Espana.

Forty-five years ago though he was adrift. It was a dark period of his life. The light in his life returned when he discovered classical guitar. He no sooner taught himself to play that style when, in storybook fashion, he was discovered by Spanish master Segundo Pastor. The maestro passed onto his protege the art form’s direct lineage from its multi-generational source.

Heavin lived nearly a year in Madrid, where daily lessons and hard work made this country boy weaned on American roots music a virtuosic classical player. The men’s lives were intertwined for a decade. Heavin healed and reinvented himself as a performer and educator, taking up riding and roping again.

Musical roots

Heavin’s life has a way of coming around in full circles. Growing up an all-around athlete and a musician in the Ozarks, he became known for both his horsemanship and musicianship. His grandfather, father and uncles all played guitar professionally – swing and jazz – and young Hadley emerged the family prodigy, playing with his father’s band before gravitating to blues and rock. He played some drums but guitar was his destiny.

“Making music was just something we did,” Heavin said, “I was a little freak because I could play really well. I grew up in an environment thinking everybody was like this. I couldn’t believe it when a kid couldn’t sing or carry a tune or do something with music.”

About his father, E.C. Heavin, he said, “I haven’t heard anybody any better than he was. I had a lot of admiration for the kind of music he played. He knew the guitar perfectly. He couldn’t read music, but he could walk up on stage and play anything. He was amazing.”

Hadley’s Uncle Frog still cuts some mean licks at 90.

Athletic ability was another birthright. Frog played pro baseball as did Heavin’s mother.

Losing himself in the war

Hadley made the football team at the University of Kansas as a walk-on and showed promise on the Midwest rodeo circuit. Then he got drafted into the U.S. Army. His carefree existence vanished. Trained to be a killing machine, he fulfilled tours of life or death duty. The searing experience made the music inside him stop. He was unsure if it would ever return.

As a forward observer and artillery fire officer with 1st Field Force, he shuttled from one hot LZ to another with an M79 grenade launcher.

“I was what they called a ‘bastard.’ I would work with all different units. They would just send me wherever they needed me. I was on hill tops, some I can remember like LZ Lily. I was at Dactau and Ben Het during the siege. We were surrounded for like 30 days. I was in the jungle the whole time, mostly in the north, in Two Corps, close to the border of Laos and Cambodia.

“I saw base camp twice.”

Wounded by an AK47 round in a fire fight, he came home to recover. Stationed at Fort Riley, Kansas, he impulsively entered the bare back at a local rodeo.

“I drew a pretty rank horse, plus I hadn’t ridden in years and I was still sore from my war injuries. The horse came out and bucked towards the fence and my spur hung in the fence and hung me upside down, facing the opposite way. He was kicking me in the back as he was bucking away. I got hurt. I could hardly walk that night. When I got back to base they were mad at me because I couldn’t pull my duty. Here I was a decorated combat vet, and they were going to court-martial me.”

Cooler heads prevailed and he completed his military service with an honorable discharge. Like so many combat brethren, he returned home broken.

“I was having bad PTSD. I didn’t know where my life was going. I wasn’t necessarily a violent person but that’s what I was used to. It kind of becomes no big deal at some point in your life. It becomes a big deal after the fact when you’ve got PTSD.”

He resents the morally bankrupt orders he followed.

“Emotionally, I was a mess from the war just as much for the atrocities I was forced to commit than what actually happened to me because there’s always collateral damage. You see that and you see that you’re responsible for it. It doesn’t turn off. It never does.

“I had some years there where I had a hard time because I felt I was part of something that was wrong.”

Then there’s the physical toll.

“I have a broken immune system because of Agent Orange. It became hard for me to travel. I started getting sick in my 50s. Every time I’d fly somewhere to play a concert I’d play with a fever or something. That got really old. It’s curtailed my travel.”

Adding insult to injury, he said the VA “won’t help – you’ve got to be near death before they’ll help you with that.” In the meantime, he said, the effects “can destroy your life and career.” His request for treatment went before an evaluation board who denied him care.

“I’m just shocked this country doesn’t treat its veterans very well. They just aren’t. I’ve been to the VA hospital. It’s not like going to a normal hospital. You’re just a number. These patients are the guys that fight for their country. They should have the same health care as everyone. Everybody says thank you for your service. Well, that doesn’t help very much. Why don’t you vote for somebody that’s going to help the veterans?”

Coming back to music

In his post-war funk he quit music, roping and riding. But those passions kept calling him back.

“I suffered because by then my father was gone and my mother couldn’t support me. Somehow I played guitar and kept myself fed.”

He was working a job unloading trucks in Springfield, Missouri when, on a whim, he went to see a classical guitarist perform. It changed his life.

“I was enthralled and it just came over me like that,” he said, snapping his fingers. “Right then and there I knew what I was going to do with my life. The feeling that came over me fulfilled me more than anything else ever had up to that time. A part of it was, I needed something, Classical guitar was the thread that gave me something to hang onto just to get through life and the pain.”

He taught himself via recordings and books. Then he found an instructor who took him as far as he could.

“As soon as my hands could take it I practiced six to eight hours a day working a full-time job.”

Attending school on the GI Bill, he convinced the music dean at then-Southwest Missouri State University (now Missouri State) to start a degree guitar program for him.

“I had such a passion for it that I was going to find a way  – whatever it took.”

Once in a lifetime opportunity

Then, a meeting changed his life again. Touring legend Pastor saw Heavin play a concert on campus. He asked to meet Heavin. Pastor complimented the talented beginner and told him what to work on. Pastor returned a year later to instruct Heavin for two weeks and then offered taking him on as his only student in Spain.

Dumbstruck and flattered by this once in a lifetime opportunity, Heavin still needed thousands of dollars to realize it, He approached school department heads and each passed him off onto someone else. His last resort was the head of religious studies, Gerrit tenZhthoff, a Dutch war hero who resisted the Nazis.

“I told him my story – that I played for this man (Pastor) who’s the best in the world and I would be his only student. As I was explaining this he jumped out of his chair and said, ‘This is wonderful, this is amazing.’ He got me the scholarships, got me everything I needed. He even made it so that I kept getting credit while I was away in Spain. He did all of it.”

MSU has recognized Heavin as an honored alumnus.

Heavin leaned on tenZhthoff for more than funding.

“I actually used to go and tell my problems to him. He was always there for me helping me through the shit. He was just a great guy. I owe my existence in the way that I’ve lived my life to people like him and to the maestro. I was just sort of there and fell into some stuff.”

Finding himself and his purpose

Pastor became his next mentor.

“The maestro and my time in Spain was my salvation. The guitar saved me. When I arrived there was an apartment for me. The maestro’s wife was like my mom. His son was like my brother. I realized shortly after I got there I was his only student. He rarely took them. There were Spanish boys waiting in line to study with him.

“He put all of himself into that one student. That’s why he didn’t take on many. It was really like a fairy-tale…”

Heavin struggled with why he should be so fortunate.

“The thing that’s odd about it is that I had only been playing about a year when the maestro invited me to Spain. It was confusing because there were Spanish boys who could play better than I.”

It nagged at him the entire time he was there.

“I kept asking, ‘Why did you pick me?’ And he would never answer it. I suspected he may may have just felt sorry for me because I was a Vietnam vet and I wanted to play guitar and he saw the gleam in my eye.”

Then, the night before his study-abroad fellowship was up and he had to return home, Heavin walked with Pastor down a wet, cobblestone street in Old Madrid.

“He said, ‘You keep asking why I picked you over all the Spanish boys. Well, truthfully, the Spanish boys are good guitarists and will always be good guitarists.’ Then he put his hand on my shoulder and said, ‘But you will be a great guitarist.’ Until then, I was too naive to know if I was any good or not. But he knew. It gave me everything I needed to go forward.”

Not only did Pastor give him a career, Heavin said, “he gave me back myself.”

“He became like my father. We got really close.”

Pastor opened doors to him in Spain that otherwise would have been closed.

“What surprised me mostly when I got there is that he would have me go with him to these recitals he performed for the governors of the provinces in these beautiful concert halls. He would introduce me to very stately, formal people with diamonds on their cigarette holders. I was out of my league. He would me talk me up to these people. i just kept my mouth shut because I was a fish out of water.

“What he was doing was introducing me to the fact I didn’t need to be intimidated. Afterward he would say, ‘I always tell them what they want to hear and then I laugh about it later.’ In other words, don’t take it seriously. Deal with the people you have to deal with and try to understand them so that nobody’s offended. To him a concert was there to make everyone feel better, no matter who they were.”

The jovial Pastor charmed the upper crust in one setting and street people in another. With Pastor’s help, Heavin regained his own sense of humor.

“You can’t take life too seriously.”

Segundo Pastor

Second home

He found acceptance in Spain even after his ally and teacher died.

“After he passed away I did a tour with my friend Pedro, who was also a guitarist, playing the maestro’s music. We played in some of the same places the maestro had taken me to. We even played in his hometown where he was buried. We were very well received. We would always open the program with duets. Then one of us would close the first half by playing solo. Then the other one would play solo. Then we’d finish up with duets. Almost all the music was what the maestro played or wrote. It was a homage to his life.

“I remember walking out on stage at a music school to play solo. I looked out in the audience – there were a lot of guitarists there – and everybody was sitting up straight with their arms crossed, like, Who is this American? It made me a little tentative. But when I got done playing I got a standing ovation and everybody came walking up to me, kind of ignoring Pedro. Everybody was hugging me. Meanwhile. Pedro was over there getting mad. But when Pedro and I played in the States, he was the exotic one, so it was like a tradeoff, only the Americans were a little more forgiving.”

Earlier, Heavin toured Spain and America with Pastor. They once played Carnegie Hall together. He even brought Pastor to perform in Omaha.

During his time in Spain with the maestro, Heavin was introduced to the great guitar builders in Madrid, including the legendary Manuel Contreras.

“I got to know them personally. I played their guitars.”

He also got in on the end of a romantic era when artists – musicians, painters, writers – would get together in cafes to throw down beer or wine while talking about politics or bullfighting or art.

“But those days are gone,” he laments. “The last time I was back there I was talking to some young people about this musician or that musician and they didn’t know who I was talking about. They didn’t even know who Manuel de Falla was (one of Spain’s preeminent composers of the 20th century). I’m glad I got to experience that culture at the time that I did.”

Memories of Pastor are embedded in him. He absorbed the maestro’s mannerisms. The way Heavin plays and teaches, he said, is “very similar” to Pastor.

Heavin recalls a New York City recital they did together. Beforehand, Heavin peaked out from behind a curtain to see a jam-packed hall whose overflow crowd was even seated in folding chairs on stage.

“He saw me looking worried because of all the people and he asked, ‘Hadley, are you nervous?’ I said, ‘Yes, maestro, I’m very nervous.’ He said, ‘Why? Only five guitarists have died on stage.’ I started laughing and I played really well that night. So I’ve used that numerous times on students before they go on stage.”

Once. while visiting Pastor in the town of Caunce, he was reminded how much he took after his teacher.

“His son and I were walking behind him. Segundo said  something funny and I started laughing just like him and his son took my arm and said, ‘It is necessary for you to play the guitar like my father. It is not necessary for you to be like my father.'”

Having learned Spanish in Spain. he became fluent. “But I’m not so good at it anymore because I don’t use it. When i start using it, it starts coming back.”

A part of him would have loved making his home in Spain. But his family’s here. He helped raise his daughter Kaitlin with his ex-wife. Kaitlin is lead singer in his band Tablao. About a decade ago he remarried and now he has grandkids to dote on.

He teaches part-time, plays local gigs (you can soon catch him at The Hunger Block), ropes and rides. He was a Nebraska Arts Council touring artist for decades,  but his touring days are over.

“I enjoy not worrying about stuff so much anymore –making that flight or getting somewhere.”

 

The cowboy thing

His escape from academia is still the outdoors.

“The cowboy thing comes from when I was 4-years old watching Roy Rogers and Gene Autry movies. We grew up with a real simple outlook on how life’s supposed to be from these good guy and bad guy Western values. It’s pretty complex now. There’s a lot of variables that I think are hard for people to deal with.

“I loved horses. I always wanted a horse from the time I was four. When I was in high school I couldn’t afford a horse so I started rodeoing – riding bare back broncs and bulls.”

He fell head over spurs for it.

“It was a short-lived career because I went in the Army.”

He eventually got back into riding and roping. Today, he mostly enters team roping jackpots and Western horse shows. He has lots of stories. Like the time he was on a gelding at Kent Martin’s horse ranch.

“I backed him in the box and I roped two or three steers. I was heeling on him and he’d come around the corner and buck a little. But I was kind of showing off, thinking, ‘Aw, that’s nothing.’ Then there was one steer that ran really hard. I still thought, ‘We’ll be alright.’ Well, we’re going around the corner and he just started bucking. The steer was getting away from us and I was leaning out over the front trying to rope this steer and the next thing I know I went off right over the front of his head and landed on my shoulder. He stepped on the other shoulder as he was bucking over the top.”

As Heavin lay sprawled in the dirt, sore and dazed, Martin came riding up on his horse, not to offer sympathy, but good-natured cowboy sarcasm.

“Looking down at me, Kent said, ‘Get up, Hadley.’ I said, ‘I can’t right now.’ Then he said, ‘I’m going to charge you a tanning fee if you lay there lay any longer.'”

Martin doesn’t let it go at that. He describes the fall tis way: “The wind changed directions just gradually and caught Hadley just wrong, and he fell off.”

Heavin takes the ribbing in stride, saying, “That’s the way cowboys are. Everybody gets bucked off and   everybody gets injured. It’s no big deal.”

Martin does concede that Heavin “rides pretty good.”

Just as in Spain, Heavin travels in many circles in Nebraska and gets on with everybody. It’s bred in him.

“My whole family were Southern Democrats. We had all kinds of friends, even in the South.” As a progressive living in a Red State, he’s used to debating his Republican friends. “Luckily they tolerate me because I stand up to the stuff they say. We argue. They say things like, ‘We should kick him out of this roping club.'”

He doesn’t mince words about American adventurism.

“I understand Afghanistan was a response to 9/11 and we needed to be able to strike out against something. Iraq, I didn’t understand. That country’s much worse than it would have been if we had left it alone. I didn’t agree with that war. We get our people killed, we spent billions and billions and billions of dollars and we got guys like (Dick) Cheney making a fortune off it.

“I think (George W.) Bush’s heart was probably in the right place, but I think he was mislead. He went in there thinking there were weapons of mass destruction.”

Few of his students and fellow faculty know he’s a vet.

“I don’t tell those people much about this stuff,” he said within earshot of Martin, who quipped, “Hadley’s a closet cowboy.”

Heavin still burns from an old headline that described him as a “real rootin’-tootin’ classical guitar playing cowboy. “I took a lot of heat over that.” He prefers “classical cowboy.”

Music educator

Music offers escape from daily worries, world affairs and partisan politics. He’s been teaching classical guitar almost as long as he’s played it.

“I started teaching as an undergraduate, just privately, in Missouri. While studying for my masters at the University of Denver, I taught all the undergraduates in guitar and coached the ensembles.

“I came to UNO in 1982.”

Combining performing with teaching is tough.

“One robs you of the other. If I were out there performing a lot I wouldn’t be as good a teacher. I would have to be very selfish. I wasn’t a very good a teacher back when I toured because I wasn’t around as much. I’d go off on tour to play and then I’d come back and try to do makeup lessons and it’s really hard to do.

“Touring robs you of putting energy into other people when you have to have that yourself to go on stage and play as perfectly and as musically as you can. It’s a lot of energy, especially with classical guitar. It’s just a difficult instrument to play. After I started winding that down, teaching became more and more important. It’s a high priority for me.

“I’ve got former students out there teaching now and they teach kids that eventually come to me. It’s all coming full circle.”

Some former students are accomplished players, such as Ron Cooley, who plays with Mannheim Steamroller.

For years he only taught adults, but now he’s started teaching younger people and enjoys it.

He also teaches older than average students.

“I’ve got a 72-year-old lady, Sue Russell, that takes lessons and she’s really good. She’s been studying with me for probably 20 years. She plays Flamenco and classical. She’s awesome.

“I have a cardiologist, John Cimino, who’s studied with me for 20 years. He’s amazing. He practices every day despite his busy schedule.”

Long graduated students still rely on his expertise to fix technical problems others cannot. One former student came to him after his new teacher could not explain how to correct a flaw with his fingering.

“I said, ‘Here’s what you do,’ and I explained to him the physiology of it and how he could make it work and he just sat there and did it. That’s what other teachers miss

and that’s from 40 years of teaching.

“Some of the best players can’t teach at all. They’ll be sitting there teaching somebody in front of people and this student obviously has a big issue with a certain finger and the teacher will just say, ‘Well. you’re doing that wrong,’ but they can’t tell them how to do it. That’s what I’m good at.”

Expressive playing is big with Heavin. One of his all-time guitar idols, Steve Ray Vaughan, exemplified it.

“Musically I’m really big into the emotional side of playing. I’ve got a good balance between the physical and emotional. But it’s really hard to teach guitar. You can give all kinds of exercises to do. Some guys will do the work and nothing ever really happens. There has to be a thought process in a student’s head to actually make that happen.”

He recognizes Pastor’s teaching in his own instruction.

“Like he did with me, if someone’s doing something wrong I’ll shake my finger and say, ‘No!’ That taught me how to focus and to take this more seriously. It permeates my teaching today. And a lot of times I ask questions. I’ll stop them in a piece and say, ‘What are you doing?’ That’s how I get their focus.

“Until they start questioning something, they don’t listen. I’ll gradually hone in on the issue before getting to it too quickly. I’ll say, ‘Your wrist is cocked a certain way which causes your A finger to hit at a different angle,’ and then I’ll ask to see their hand. I might say, ‘That nail looks like it’s filed differently than the others.’ I’ll drill them and write out an exercise for them to do to fix that problem and show them how it’s supposed to feel. The hardest thing to do is to teach somebody how to feel something, but I’m really good at it.”

He rarely imparts the classical lineage he represents.

“I’m a little careful with that. I don’t just hand that to everybody. If I’ve got a student working hard and in their last year, then I start dealing with that lineage. I will have them play a piece by Francisco Tarrega. Then we’ll deal with all the technical issues. Then I’ll talk about this lineage thing. ‘What you’re going to hear from me now is as if you were sitting with Tarrega himself because the man I studied with studied with the man who studied with Tarrega, and this has been passed on.

“It’s not just me they’re getting it from, they’re getting it from all of us in the line. The students that figure that out and treasure that are the ones that go off to other schools and blow everybody away,”

He has students watch top guitarists on YouTube to illustrate that even technically brilliant players can lack subtlety  “Those players have it totally wrong. They’re not that close to the source so they don’t know how it’s played. It’s technical but not expressive.”

Heavin breaks it down for students.

“I’ll tell them what’s wrong with it. I’ll say, ‘Here’s what Tarrega wants–- he wants this to be very rhythmic through this phrase because this is going to be a recurring rhythmic unity in the piece. But we don’t do it all the time. It’s what we come back to each time to set it up again. Even a lot of great players don’t know.’

“That’s when they start feeling they’re getting something here that’s different. Some of them are never going to get it and maybe they’re doing it for different reasons. The guitar’s not really their major or where they’re going to end up, so I don’t necessarily put that on them  because it’s almost a responsibility once you have it.”

His world-class level instruction fits well within a UNO Music Department he says has “risen to a high level.”

“Hadley’s exceptional professional experience enhances our programs in a unique way,” said UNO School of Music Director Washington Garcia. “Visiting guest artist Manuel Barrueco, one of the greatest concert guitarists of all time, left Omaha raving about the talent of our students, all due to Hadley’s work and unconditional commitment to their artistic and academic development. As an artist, Hadley carries that tradition of many great masters and is a reflection of talent at its best.”

Having it his way

His cowboy friends know about his classical side. His recitals in Omaha and western Nebraska draw roping cronies.

“They’re full of questions, like, what about your hands?”

To protect his digits, he’s headed most of his roping life. Atop his horse, a header runs with the steer and can kick off when in trouble. Heeling entails catching up to a hard-charging steer moving away. Applying a rope can singe, even take fingers. At his age he’s now allowed to tie on hard and fast, which makes heeling safer.

Wherever he goes in ranch-rodeo country, he can swap stories with horsemen. One such place is the giant Pitzer Ranch in the Sandhills.

A top hand, Riley Renner, “won the very difficult ranch horse competition out there and he did it riding my mare Baley,” Heavin, said sounding like a proud owner.

“They do what they call a cowboy trail where they run this obstacle course. They’re running flat out, too. It’s a timed event. It’s all judged. The thing started at 7 in the morning and didn’t get over until 11 at night. The same horse all day long. My mare is kind of famous for going through that. She’s big and strong and easy.”

Asked if he’s ever played guitar on horseback, Heavin deadpanned. “I don’t mix the two genres.”

He enjoys socializing but if he had his druthers he’d just as soon hang out with horses.

Training a horse and a person is not so different.

“There’s a process you go through that’s not always exactly whispering. It’s more of making the wrong thing difficult and the right thing easy, so that the horse believes this is what I need to do. That’s where the trust comes in.”

With students, he said, “I use a lot of horse analogies, like trying too hard and getting too tight. I’ll back them off and say, ‘You’re kind of like a horse that’s nervous in the box. If you try too hard, you end up beating yourself up.  I wait till the horse relaxes.'” Similarly, with students, he said, “I slow everything way down so they can think about every move they make. And it works.”

Pastor’s loving instruction won the trust of his greatest student. Forgiveness freed Heavin to share with others the sublime gift of his music and lineage.

It’s been quite a ride.

Heavin doesn’t consider his story anything special. In his best Western wit, he sums up his life this way: “A guy’s gotta do something between living and dying.”

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

 

If the play’s the thing, then what about gender?


If the play’s the thing, then what about gender?

©by Leo Adam Biga

Appearing in the July 2018 issue of The Reader (www.thereader.com)

 

Theater offers windows on the world, yet only a fraction of plays produced anywhere are written by women. This arts parity issue has urgency with national initiatives extending to Omaha, where theater artists variously discuss the problem and implement remedies.

“The initiatives have been around for about a decade now,” said Creighton University theater professor Amy Lane. “The most well-known, 50/50 by 2020, started in response to a study that revealed women’s voices grossly underrepresented in theaters.”

In 2006, 17 percent of plays professionally produced nationwide (12 percent on Broadway) were written by women. “Surprising,” Lane said, given that “60 percent of the theater audience is women.”

She wonders if “there will be true gender equity by 2020” and what “progress” has been made thus far.

UNO theater professor Cindy Melby Phaneuf echoes many when she says, “My opinion is we are moving in the right direction, but still have a long way to go.” She heads the National Theatre Conference, whose Women Playwright Initiative has produced 500 plays by women since 2011 and expects to reach 1,000 by 2020. “I am encouraged by the energy and interest in gender parity, but am most interested in taking action.”

“I support these initiatives and applaud the theaters implementing them,” said Omaha playwright Ellen Struve.

Struve’s had plays mounted at the Omaha Community Playhouse (OCP) and Shelterbelt Theatre and across the nation.

“When I began writing plays, I didn’t know many other women getting produced on a regular basis. This past year I was able to invite more than a dozen Omaha-based women playwrights to participate in the 365 Women A Year project. It was so exhilarating to look at that list of writers. Even better was to see a few of the plays fully-produced by Denise Chapman at the Union for Contemporary Art.”

2017 panels hosted by the Blue Barn Theater and the University of Nebraska at Omaha dialogued about the social-economic context behind exclusion and why plays written by women would enrich any season.

“Panels are great for raising awareness. Representation matters: for women and female-identifying playwrights, directors, actors, designers, crews, administrators. Discussions are fine, but action is what is needed,” said  Lane.

She created the 21 & Over series at OCP “to introduce Omaha to new works and new voices.” 21 & Over seasons were 50/50 by 2020 compliant, she said..

OCP’s ongoing Alternative Programming series continues to be diverse.

Creighton and UNO are devoting their respective theater departments’ entire 2018-2019 performance seasons to works by women playwrights.

Lane said Creighton’s “made a commitment to continue with the 50/50 by 2020 Movement” beyond this season.

Phaneuf and colleagues want to move things forward.

“UNO and Creighton have agreed to shine a light on what our greater Omaha community is doing already and look to the future to provide more opportunities to revel in women’s voices. The goal is gender parity on a permanent basis as an ordinary way of programming our seasons representing diverse voices. With parity also comes a desire to produce plays by writers of color. We are constantly on the lookout for plays that represent a variety of cultures and heritages.”

Outside the academic setting, Omaha presents a mixed bag in theater gender parity.

Phaneuf said despite some gains, many Omaha theaters present seasons with only one or two works by women. Sometimes, none.

“Those making artistic decisions at Omaha theaters either care about this issue or they don’t. If they care, then it is not a difficult task to make sure a theater’s season includes works by women,” Lane said. “There are plenty of terrific plays out there and plenty of resources to find them. If this is not an issue that matters to them, then they shouldn’t be surprised if they get called out. I think more of us who do care should speak out more when we see gender parity ignored.”

OCP artistic director Kimberly Hickman said “more opportunities for female artists is among her programming guidelines.” This past season several OCP playwrights and composers identified as women as did all its guest directors and many designers.

“Those priorities remain in place for 2018-2019.”

“Parity in theater is a complex issue that can’t be simplified to only gender,” Hickman said.

A session on female leadership she attended at a recent conference for regional theaters brought this home.

“While the room of women had many things in common, our experiences were very different due to ethnicity, sexuality, economic status, academic background, location. All these factors need to be taken into consideration. I believe the best way to make progress is to look at who is at the table making decisions. If the people all look the same, that is a problem and steps need to be taken to evolve. I also think accountability is important. I have intentionally surrounded myself with people I know will hold me accountable.”

The Shelterbelt has a demonstrated “strong commitment to gender parity, not only for playwrights, but for all production positions,” said executive director Roxanne Wach. “We do try to include at least 50 percent women playwrights in a season, while still creating a balance in storytelling and genres. It’s a conscious choice by our reading committee and a shared vision of our board.

“I personally feel if we don’t start with parity in the small theaters, it will never happen in larger theaters.”

Shelterbelt’s won recognition from the International Centre for Women Playwrights for reaching equity goals.

“To look just at playwrights is only scratching the surface,” Wach adds. “We’ve got to start valuing the work women bring to all areas of theater production and the great value in having different points of view.”

Omaha’s largest footprint on the national theater scene, the Great Plains Theatre Conference (GPTC), uses a 100 percent blind reading process selecting plays.

“We are one of the few major development programs that do this,” producing artistic director Kevin Lawler said. “We have had many long debates about whether we should change to have predetermined selection percentages to include gender, race, identity, but the overwhelming consensus by our staff and those who attend the conference is to keep the selections blind.

“Even with a blind selection we have always been close to parity. This year was a clean 50-50 split. Our women playwrights often appear on the Kilroys List (of most recommended unproduced or underproduced plays).”

UNO’s new Connections series is being curated from GPTC works by underrepresented playwrights.

GPTC playwright Sara Farrington terms parity “a triggery question” and initiatives to date “a baby step.”

“Many people simply don’t and won’t trust plays by women. It is astonishing people still assume women can or will only write about being imprisoned by their bodies or men. That idea has been beaten into a mass theater-going audience by over-produced, overrated, wildly misogynistic male playwrights and producers and by artistic directors financing and programming plays with reductive and fearful depictions of female characters.

“Women playwrights have a deep, refined, 200-proof rage. Rage makes for badass and innovative storytelling. Women playwrights tell stories backwards, sideways, in a spiral, upside down, from angles you’d never expect. They are utterly complex, psychologically profound and contemporary.”

Fellow GPTC playwright Shayne Kennedy, a Creighton grad, calls for systemic change.

“I believe men and women tell stories differently and because the creative industries have long been dominated by male voices, we as a culture have become conditioned to hear in those voices. I think to correct the imbalance we are going to need some risk-takers, visionaries and deliberately opened minds.”

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

Link to the 2018-2019 UNO theater season at:

http://www.unomaha.edu/college-of-communication-fine-arts-and-media/theatre/index.php

Select UNO Theater 2018-2019 season:

TARTUFFE (Studio)

by Molière, adapted by Constance Congdon from a literal prose translation by Virginia Scott

Director Jackson Newman

August 23-25

THE CLEARING

by Helen Edmundson

Director Lara Marsh

September 26-29, October 3-6

SECRET GARDEN

Book & Lyrics by Marsha Norman, Music by Lucy Simon

Director D. Scott Glasser, Musical Director Shelby VanNordstand

October 31-November 3, 7-10, 14-18

CONNECTIONS

Director Dr. Ron Zank

February 20-23, 27- March 2

MR. BURNS, A POST-ELECTRIC PLAY

by Anne Washburn

Director: Jeremy Stoll

March 14-17, 2019

THE WOLVES

by Sarah DeLappe

Director Dr. Cindy Melby Phaneuf

April 10-13, 17-20, 2019

___________________________

Link to the 2018-2019 Creighton theater season at:

https://www.creighton.edu/ccas/fineandperformingarts/boxoffice/

Select Creighton Theater 2018-2019 season:

HANDLED

Written by Shayne Kennedy

World premiere play/Mainstage Theater

October 31 – November 4, 2018

KINDERTRANSPORT

Written by Diane Samuels

Play/Studio Theater

February 13 -17, 2019

LEGALLY BLONDE THE MUSICAL

Book by Heather Hach; Music and Lyrics by Laurence O’Keefe and Nell Benajmin

Musical/Mainstage Theater

March 27-31, 2019

Having attained personal and professional goals, Alina Lopez now wants to help other Latinas

March 24, 2018 Leave a comment

Having attained personal and professional goals, Alina Lopez now wants to help other Latinas

©by Leo Adam Biga

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

When new UNO Office of Latino and Latin American Studies community engagement coordinator Alina Lopez appears at public forums and school assemblies to tout OLLAS academic programs and scholarships, she speaks from experience.

This 2017 magna cum laude University of Nebraska at Omaha graduate found OLLAS opportunities herself as a volunteer and a Next Generation Leadership scholar.

Embedded in her outreach is a desire to help Latinas pursue higher education. She doesn’t want them deferring their dreams due to challenges like those she faced as a young mother in a domestic violence relationship. She lets aspirants know obstacles don’t need to prevent attaining goals. She delayed her college studies a decade until leaving her abuser. Once free, she shined in the classroom and blossomed as a woman and as a professional.

Born in Michoacan, Mexico, she was 3 when her family moved to Santa Barbara, Calif., where they lived until she was 12. Then they moved to Ogden, Utah. Concerns about undocumented status and the death of her grandfather prompted the family’s return to Mexico. Though an exceptional student, she struggled in Mexican schools and convinced her parents to let her return to the States.

She joined an older sister then living in Bellevue, Neb. Lopez graduated from Bryan High School – the last of five high schools she attended.

“I think I grew to be okay with change. I can adapt very well. But when you’re 15-16, parental guidance is essential. Not having that was the toughest part.”

Lopez married young and began having children. She’s the mother of five today.. She was an Omaha Public Schools ESL specialist and administrative aide at her alma mater, Bryan, where she helped coach girls soccer. Assistant principal Tracy Wernsman emboldened her.

“She was a mentor who was like an angel sent from God,” said Lopez. “She talked me through things like, ‘If you leave that relationship, you’ll be okay, you can do it,’ and so in 2011 I finally had the guts to say, ‘No more.’ Tracy told me I had great potential and needed to pursue college. Once I became liberated, I pursued it.”

Another strong influence has been Spring Lake Magnet principal Susan Aguilera-Robles.

“She is a great role model for me. She’s gone through a lot and dedicated her life to helping others. Being the principal of a school takes a lot. I know she has really bad days and really good days, but she’s made it work

and she makes it look easy.”

Lopez worked multiple jobs to support her family while earning an associate’s degree from Metropolitan Community College. Then she enrolled at UNO.

“Trying to figure it all out was very challenging and stressful, but well worth it.”

None of it was possible without first taking her life back.

“It makes you a stronger person. For a woman to get out of it is empowering. It makes you want to mentor other females going through the same. You don’t want anybody else to go through what you went through.”

School provided sanctuary and affirmation.

“After being divorced, you feel like a failure. When I enrolled in college I wanted to feel good about myself and to make up for lost time. It was a personal goal to attain a 4.0 GPA and I did it. I’m hungry to learn. I’m hard on myself. I want to give the best of me. I know what I’m capable of and so I push myself. School has always been my safe place. When I’m studying, it feels peaceful, so I’ve dedicated myself to school.”

She’s now eying a dual masters program in public administration and social work. She expects to earn a  Ph.D. as well.

Her curiosity extends beyond books. She participated in an international student program that took her to Hong Kong for five weeks last summer, where she joined other students from around the world. “I thought if I don’t do it now, I’m never going to do it, and it was life-changing. If I could go back, I’d do it all over again.”

She went beyond her job description at Bryan to influence young people.

“I was drawn to the kids who carried the most challenges with them. I wanted to know who they were, what they were going through. I also encouraged Latinas to seek post-secondary scholarships. It felt really good.”

While studying at UNO, Lopez became a regular in the OLLAS office and when the community engagement coordinator post opened, it seemed a perfect fit.

“Every single thing has led me to this point. I saw UNO and OLLAS offered the opportunity for more growth and academic success. We’re here to support students.”

She envisions one day realizing another dream – “to start an organization dedicated to young Latino women.” “I feel sometimes we let our culture oppress ourselves,” she said, “especially the immigrant community. We tend to look at our culture as more important than anything. For me, the thought of divorce was not even an option because when you marry, you marry until death do you part. A lot of women stay in a bad life and don’t receive support from family to leave it. I wish to help Latinas who don’t find support elsewhere.”

Lopez, who formed a single parent group at UNO, has come a long way herself.

“It’s been quite the journey.”

%d bloggers like this: