CAC 04 24 19974
CULTURAL COMMISSION AGENDA
La Quinta Civic Center Study Session Room
78-495 Calle Tampico - La Quinta, CA 92253
April 24, 1997
12:00 Noon
I. CALL TO ORDER
A. Pledge of Allegiance
B. Roll Call
II. PUBLIC COMMENT
The Chair reserves the right to limit discussion on any topic to five minutes or less.
III. CONFIRMATION OF AGENDA
Corrections, deletions or reorganization of the agenda
IV. CONSENT CALENDAR
A. Approval of Minutes of March 27, 1997
B. Monthly Department Report for March 1997
V. PUBLIC HEARING
VI. BUSINESS ITEMS
A. Cultural Arts Master Plan
1. Discussion of May 15, 1997 Conference
2. Development of Master Plan
B. Review of Cultural Commission Work Plan
C. Letters of Commendation
D. Support and Recognition of Art Organizations
VII. CORRESPONDENCE AND WRITTEN MATERIALS
A. Art in Public Places Commission Minutes for February 3 & March 3, 1997
B. Historical Preservation Commission Minutes for January 16 & February 20, 1997
C. Building and Construction Appeals Board Member List
D. CALAA Conference Information - Newport Beach
VIII. COMMISSIONER ITEMS
IX. ADJOURNMENT
NEXT MEETING INFORMATION
May 22, 1997 " 12:00 Noon
La Quinta Civic Center Study Session Room
CAC4-24
CULTURAL COMMISSION
MEETING ATTENDANCE COMPENSATION
TO: PAT PARKER, FINANCE DEPARTMENT
FROM: MARK WE.ISS, ASSISTANT CITY MANAGER
DATE: -� C11
SUBJECT: MEETING COMPENSATION FOR �� 1997
ACCOUNT NUMBER 101-251-509-000
COMMISSIONER
AMOUNT DUE
HONEY J. ATKINS
52-470 AVENIDA MADERO
LA QU I NTA, CA 92253
SUSAN BENAY
PO BOX 1366
C) L�
53-686 AVENIDA VELASCO
LA Q U I NTA, CA 92253
KATHRYN B. HULL
77-260 CALLE CHILLON
PO BOX 947
LA Q U I NTA, CA 92253
JUDY VOSSLER
46-555 CAMEO PALMS DR.
LA Q U I NTA, CA 92253
FORM,014
o`` , lio •
� z
V
47
OFTN�O
CULTURAL COMMISSION MEETING DATE: April 24, 1997
ITEM TITLE:
Monthly Department Report for March 1997
BACKGROUND:
The Parks & Recreation Department completes a monthly Department Report consisting of
attendance figures for all programs, upcoming events and meetings attended. The Department
Report is transmitted to the City Council on the second Council meeting of every month.
RECOMMENDATION:
Receive and file.
Mark Weiss
Assistant City Manager
Attachment: Monthly Department Report
MEMO.DR
Ta Ou
4hf 4 r4
MEMORANDUM
TO: Honorable Mayor and Members of the City Council
FROM: Marni Francisco, Recreation Supervisor
'1PqT;111
VIA: Tom Hartung, Building & Safety Director bA
DATE: April 15, 1997
SUBJECT: Transmittal of Parks & Recreation Department Report for the Month
of March 1997
UPCOMING EVENTS OF THE PARKS AND RECREATION DEPARTMENT FOR THE
MONTH OF MAY1997:
May 3 - 17 Fundamentals of Golf, Final Session, La Quinta Golf Ranch
May 7 Community Gardens Meeting, Sr. Center
May 8 Volunteer Recognition Luncheon, Sr. Center
May 9 Swim Party & Park Fun, Youth Trip
May 7 Estate Planning, Financial Seminar, Sr. Center
May 14 Estate Planning, Financial Seminar & Complimentary Luncheon,
Sponsored by New York Life, Sr. Center
May 15 Cultural Commission Workshop, Sr. Center
May 19 Summer Recreation Brochure Mailed
May 20 Hearing Screening, Sr. Center
May 21 Ice Cream Social, Sr. Center
May 21 Community Gardens Meeting, Sr. Center
May 22 Healthy Cooking Class, Sr. Center
May 28 AARP, Mature Driver's Course, Sr. Center
May 29 Adult Sports League Managers Meeting
May 31 Annual Bike Rodeo, La Quinta Sports Complex
T 6 #
4hf 4 4 Q"
PARKS AND RECREATION DEPARTMENT
ATTENDANCE REPORT FOR THE MONTH OF MARCH 1997
SUMMARY SHEET
Meetings Per Month
19971
1996
Variance
1997
1996
Programs
Leisure Class Total
1361
36
100
51
16
Afterschool Class Total
1211
45
761
36
21
Special Events Total
5591
390
175
3
2
Adult Sports Total
311
114
197
21
16
Senior Center Total
3,041
2,802
239
167
126
Kidsline Call Total
5361
335
201
n/a
n/a
Program Total:
47041
3722
988
278
181
Rental Attendance
La Quinta Sports Complex
La Quinta Sports & Youth
350
300
50
16
12
Senior Center
Kirk of the Valley
100
100
0
5
5
Rental Total:
450
400
50
21
17
PARTICIPATION
GRAND TOTAL
1 5154
4122
1038
299
198
1997
1996
Variance
Volunteer Hours
Senior Center
1,379
1,315
64
Meals on Wheels
44
77
-33
Share Meeting Hours
85
3
82
Kidsline
35
45
-10
Parks & Recreation
10
10
Volunteer Total:
1553
1440
113
Revenue
Sr. Center Revenue
$4,5361
$2,220
$2,316
Sr. Center Rental Fees
$6191
0
$619
Revenue Title 111
$684
$468
$216
Recreation Programs
1 $5,9081
$5,584
$324
Revenue Total:
$11,7471
$89272
$39475
* Information Not Available
Page 1
Youth and Adult Recreation Attendance
Meetings
Per Month
1997
1996
Variance
1997
1996
Leisure Classes
Introduction to Horses
10
0
10
1
0
Beginning Oil Painting
7
0
7
3
0
Introduction to Karate
9
7
2
8
6
Fundamentals of Golf
7
6
1
1
3
Intermediate Karate
14
0
14
6
0
Beginning Computers 1
11
0
11
3
0
Beginning Computers II
10
0
10
3
0
Beginning Computers III
10
0
10
3
0
Intermediate Computers
4
0
4
3
0
Beginning Guitar
12
11
1
3
3
Dog Obedience
7
12
-5
4
4
Ballroom Dance 1
12
0
12
4
0
Ballroom Dance II
6
0
6
4
0
Ballroom Dance(drop ins
6
0
6
4
0
International Cooking
11
0
11
1
0
Leisure Class Subtotal
136
36
100
51
16
Afterschool Class Program
Basketball
12
2
10
3
3
Modeling & Beauty
12
0
12
3
0
Cheerleading
13
8
5
3
3
Youth Cooking
9
11
-2
3
3
Krafty Kids
7
5
2
3
3
Ballet
13
0
13
3
0
Golf for Fun
12
0
12
3
0
Homework
6
10
-4
3
6
Flag Football
12
0
12
3
0
Beginning Tumbling
12
9
3
3
3
Advanced Tumbling
13
0
13
6
0
Afterschool Class Subtotal
121
45
76
36
21
Special Events
Afterschool Class Recital
170
140
30
1
1
Annual Egg Hunt
325
250
75
1
1
Spring Break, Bowling Trip
64
0
70
1
0
Special Events Subtotal
559
390
175
3
2
Adult Sports
Adult Volleyball
96
56
40
8
8
Adult Basketball
96
58
38
9
8
Adult Soccer
119
0
119
4
0
Sports Subtotal
311
114
197
21
16
Page 2
Senior Center Recreation Attendance
Meetings Per Month
1997
1996
Variance
1997
1996
Sr. Activities
Ambassador Attendance
100
108
-8
n/a
n/a
Billiards
7
10
-3
n/a
n/a
Blood Pressure Check
51
62
-11
4
4
Bridge Du licate/Social
466
375
91
16
13
Creative Writing Club
48
66
-18
8
8
FIND Food Distribution
423
279
144
5
5
Golden Tones Rehearsal
78
85
-7
4
4
Golden Tones Performance
73
50
23
4
2
Ice Cream Social
21
0
21
3
0
Information Services
147
181
-34
n/a
n/a
Legal Consultation
18
9
9
2
1
Movie Time
24
15
9
4
4
Medicare Consultation
3
0
3
2
2
Monthly Birthday Party
30
35
-5
1
1
Table Games
16
51
-35
3
5
Tax Preparation
49
40
9
41
4
Tennis
13 0
13 4 0
Television Viewing
21
27
-6
n/a
n/a
Sr. Activities Subtotal
1588
1393
195
64
53
Sr. Classes
AARP "55" Course
60
28
32
1
1
Arts & Crafts
30
28
2
4
4
Bridge Lesson
48
51
-3
3
4
Ceramics
25
18
7
4
4
Computer
198
75
123
35
13
Exercise
463
767
-304
9
13
PACE Exercise
60
0
60
8
0
Line Dance
42
81
-39
8
8
Painting
43
27
16
4
4
S anish Lesson
72
60
12
4
4
Tap Dance
28
10
18
5
3
Tai Chi
4
9
-5
2
4
Watercolor
51
0
51
5
0
Yoga
9
13
-4
3
4
Sr. Class Subtotal
1133
1167
-34
95
66
Sr. Special Events
Big Band Dance
126
140
-14
1
1
Community Garden
12
0
12
1
0
Luncheon
103
70
33
1
1
Dog Trainning Workshop
26
7
19
1
1
Friends Meetings
9
7
2
1
1
Healthy Cooking
20
0
20
1
0
Seminars
15
10
5
1
2
Share Sign Up
9
8
1
1
1
Sr. Events Subtotal
320
242
78
8
7
Senior Center Totals 3041
2802
239
167
126
Page 3
1 f1V ,,4
4 Sep APR 16 REC'0
LA QUINTA SENIOR CENTER
MEMORANDUM
TO: Tom Hartung, Building & Safety Director
FROM: Marilyn Smith, Senior Center Supervisor
DATE: April 16, 1997
SUBJECT: Corrected Senior Center March 1997 Attendance Report
Thank you for bringing to our attention the variance in the 1996/97 exercise attendance. In
researching the 1997 attendance, we determined that we had made the following errors.
1. The correct number of the monthly meeting is thirteen.
2. The 1997 attendance figure was a typographical error
Attached is a revised copy with the correct March 1997 attendance number of 728 and 13
meetings for the exercise class, changing the total attendance figure to 3306. This changes the
variance figure to 504.
In checking the 1997 Information Services figure, we have determined that it is correct.
City of La Quinta Parks and Receaation Department
SENIOR CENTER CLASSES AND EVENTS
MONTHLY ATTENDANCE REPORT
REPORT FOR MARCH 1997
CORRECTED APRIL 15,199r
1997
1996
VARIANCE
MTH MTG 1997
MTH MTG 1996
ACTIVITIES
Ambassador Attendance
_
100
1_08
-8
— ---
n/a _
n/a
Billiards
Blood Pressure Check
Bridge Duplicate/Social
Creative Writing
FIND Food Distribution
Golden Tones Rehearsal
--_ 7
51
466
48
423
78
73
21
_ 10
.62
375
66
279
85
50
0
-3
-11
91
-18
144
-7
23
21
n/a _
4
16
_ 8
5
4
4
_-- — 3
n/a
4
— 13
8
5
4
2
0
Golden Tones Performance
*Ice Cream Social
Information Services
147
181
-34
9
_ 3
-5
9
n/a
n/a
Legal Consultation
Medicare Consultation
Monthly Birthday Party
Movie Time
18
3
30
24
9
0
35
15
-; 2
2
_ 1
4
— 1
2
_ 1
4
Table Games
Tax Preparation
16
49
51
40
_-35
9
_ 3.
4
5
4
Television Viewing
*Tennis
Activities Subtotals
21
13
1588
27
0
1393
-6
_13
195
n/a
4
64
n/a
0
53.
CLASSES
AARP Mature Driving
Arts & Crafts
Bridge Lessons _
Ceramics
60
30
48
25
28
28
51
18
32
2
-3
7
—
1
4
3
4
1
4
4
4
Computer
Exercise
198
728
75
767
123
-39
35
13
13
13
Line Dance
42
81
-39
8
8
Pace Exercise
600
60
8
0
Painting
Spanish Lessons
Tap Dance Class
Tai Chi
43
72
28
4
27
60
10
9
16
12
18
-5
4
4
_ 5
2
4
4
3
4
*Watercolor Class
51
0
51
5
_ 0
Yoga Class
Class Subtotals
_
9
1398
13
1167
-4
231
__
3
99
4
66
* New Activity Page 1
City of La Quinta Parks and Recreation Department
SENIOR CENTER CLASSES AND EVENTS
MO
ww.�� �w • �Ar 1%rr ^r%lr
REPORT FOR MARCH 1997
CORRECTED APRIL 15,1997
N I rlLT H I I CIVUhIVt�C RCrVR
1
1997
1996
VARIANCE
MTH MTG 1997
MTH MTG 1996
SPECIAL EVENTS
Big Band Dance
Community Garden
Dog Training Class
Friends Meeting
Healthy Cooking
Luncheon
_
126
12
26
9
_ 20
103
140-14
0
7
7
---0
70
12
19
2
20
33
_ 1
1
1
1
1
1
1
0
1
1
0
1
Seminars
15
10
5
1
2
SHARE Sign Up
Special Events Subtotals
9
320
8
242
1
78
1
8
1
7
SENIOR CENTER TOTALS
3306
2802
126
ACTIVITIES MISC.
Senior Center Vol. Hours
_
1379
1315
64
Meals on Wheels Vol. Hours
44
77
_ -33
Share Meeting Hours
85
3
82
MISC. VOLUNTEER HRS
1508
1395
113
SENIOR CENTER REVENUE
Revenue
$4,536.37
$2,220.00
$2,316.37
Revenue - Title 111
$684.00
$468.00
$216.00
Senior Center rental, to date
$6,268.00
$0.00
$6,268.00
TOTAL REVENUE
$11,488.37
$29688.00
$8,800.37
_
* New Activity Page 3
THOUGHTS AND QUESTIONS RE: C.A.M.P.
I have given you a `bare bones' outline of information that seems appropriate to include in a
master plan based on the information we have gathered from the two worksl :)p/conferences we
have hosted. It is only a skeleton --we need to put the `meat' in it.
The preliminary topics (areas to consider) which I identified are these:
1. The cultural and arts organizations and artists
2. Arts facilities
3. Youth arts and arts education
4. Communications and promotion
5. Support of the arts
6. Leadership and training
7. All-inclusive community arts
Some of my questions are these:
1. Do we want to include as part of the introduction:
A. A paragraph on
1. Background for this plan
2. Our Method
B. Any information on:
1. Geography
2. Climo-te
3. Population
4. Economy
5. Attractions and Tourism
6. Public Education and the Arts
2. We need to amplify the Goals and their sub -items. I have not had time to draft all of that
information. Can we share the task?
This means detailing objectives and strategies for each goal, and perhaps as % -ell, writing a
paragraph of `background' for each goal, and recommendations.
3. How about a `conclusion' statement and/or a `next step' statement?
4. We need to give credit to all of the participants: commissions, organizati -ns, individuals, city
council, etc, etc.
Participants:
Commissioners: Honey Atkins
Susan Benay
Steve Berliner
Susan Francis
Kathryn B . Hull
Archie Sharp
Judy Vossler
Original subcommittee: Patrick Welch
John Dethe
Attendees of Workshop:
Attendees of Coachella Valley Conferences:
Organizations:
City Staff. Marty Nicholson
Cristal Spidell
Mark Weiss
Britt Wilson
Pam
City Council: Mayor Glenda Holt
Don Adolph
Terry Henderson
Ron Perkins
Stanley Sniff
Organizations: La Quinta Arts Foundation
La Quinta Chamber of Commerce
La Quinta On -Stage
La Quinta Open -Air Museum
Round Table West
Soroptimist International of La Quinta
Viva! Foundation
Others? ,1
DRAFT
CULTURAL ARTS MASTER PLAN
for
The City of La Quinta
What is culture? It is more than music or painting, or a dance step. It is broader than the arts. It
is the guidelines by which society runs. Culture is religion, arts, laws, ethics, history, and styles of
dress. Art is the investigation of our values. Arts and culture are necessary components of an
investment in the enrichment and well-being of a community. They are a critical ingredient in
building a rounded socio-economic environment.
The development of a strong cultural plan has a positive impact on the economy, community, and
families, and takes into account the visual and performing arts, the role of artists in the
community, urban design, public celebration, cultural diversity, arts education, public art,
community building and economic development, and more.
A community cultural plan may well become the blueprint for building `livability' into an area. It
can mesh with all other community master plans to show how culture plays an integral role in
shaping the community's look, feel, spirit and design and allows a community to define those
aspects of cultural development that are most appropriate and essential to its own way of life and
future growth.
Community cultural planning also is a means of establishing a city's identity and strengthening
existing cultural bonds and organizations. A strategic plan provides the focus and direction to
increase opportunities for artists and to raise existing activities and organizations to a new level of
development and service to the community. For the community at large the purpose of
community arts as they have been identified relates to the quality of life and the elimination of
socio-economic barriers.
Formulating a plan with community input focuses on future actions of the entire community as
they affect cultural functions. In this way the arts are considered as a cultural resource similar to
libraries, schools and parks. Most important, however, is a cultural plan which establishes a
vision of a desired future and establishes roles, steps, time lines and methods for achieving that
vision.
The Cultural Commission is pleased to design the first such Cultural Arts Master Plan for the City
of La Quinta. It is to be a `living' document, evolving with changes in La Quinta's cultural life.
April 1997
DRAFT
DRAFT
MISSION: To encourage the cultural arts in La Quinta.
Within the context of this plan, "culture" is meant to be totally inclusive of all forms of human
expression in the visual, performing, applied and literary arts, whether classical or modern, formal
or informal, embracing the diversity of all people within this community.
SUMMARY OF GOALS
THE CULTURAL AND ARTS ORGANIZATIONS AND ARTISTS
Goal 1 : Nurture the Arts Cultural Organizations and Artists of La Quinta
1.1 Utilize officially designated private arts organization or public commission to coordinate
and monitor cultural planning initiatives.
1.2 Promote communication and cooperation among community cultural groups.
1.2.1 Unify efforts to secure funding and facilities.
1.3 Create an inter -organizational coalition of representatives of all arts fond cultural
organizations.
1.4 Establish an information system and resource bank of visual and performing artists,
providing a regularly updated inventory of artists, organizations, resources and facilities,
libraries, museums, and activities..
1.5 Encourage business and civic support of the arts and arts organizations.
1.6 Develop a technical assistance program utilizing representatives froin community service
providers.
Goal 2 Increase and Develop Audiences of Community -wide Arts and Cultural Organizations.
2.1 Build bridges for multi-ethnic/cultural diversity through program development.
2.2 Provide accessibility to the arts both economically and physically to all citizens
2.3 Target hard -to -reach populations
2.4 Encourage and support the arts in the schools
Goal 3 Support and Encourage Professional Development of Local Artists
3.1 Encourage a thriving community of artists where artists can realize their potential and
contribute to the vitality of the larger community.
3.2 Advocate for the principle that professional artists should be paid for their work.
3.3 Encourage municipal and business support for local artists by utilizing their talents.
ARTS FACILITIES
Goal 4 Plan Comprehensively for Cultural Facility Development
4.1 Identify, renovate, or build cultural facilities to provide space for rehearsals, performances,
exhibitions, administration, classes, and artists' studios.
4.2 Integrate arts space and facility development into the overall city planning process.
4.3 Design and develop a central meeting place for artists and the public.
4.4 Enhance the public library and its services.
4.4.1 Upgrade technology.
4.4.2 Increase hours of accessibility.
4.5 Investigate the development of a performing arts center.
4.5.1 The center would offer professional theater, dance, music concerts, as well as
community theater and serve as a forum for community events.
4.5.2 Local organizations would share the facility as feasible.
4.6 Incorporate movie theaters in City development.
YOUTH ARTS AND ARTS EDUCATION
Goal 5 Build A Strom Integrated Arts Education Program in the Schools and Community
5.1 Establish opportunities to link arts and cultural events with programs for youth.
5.2 Develop cultural programs, instruction, classes, and residencies for children and special
audiences who would not otherwise have access to these opportunities.
5.2.1 Enhance and promote the programs of the City's Parks and Recreation
Department and the Boys and Girls Club.
5.2.2 Develop anti-crime/anti-graffiti arts programs and make acce; Bible to `at risk'
youth.
5.3 Advocate for a program of sequential arts education taught by qualified arts teachers, to
enhance the basic curriculum with arts experiences, and to involve local artists in school
programs.
5.4 Encourage the development of a school for the arts.
5.4.1 Classes could include children's theater, community theater, dance, and music and
visual arts instruction.
5.4.2 The school facility could include performing arts space available to the public.
COMMUNICATIONS AND PROMOTION
Goal 6 Promote Communication and Cooperation Among City-wide Arts arganizations
6.1 Develop and maintain an artist registry containing contact and professional information, as
well as an arts and cultural organization directory.
6.1.1 Utilize artists bank maintained by the Art -in -Public Pl�rces Commission.
6.2 Publicize arts organizations and programs to schools and community
6.3 Develop and maintain a coordinated community calendar of cultural events and activities.
6.4 Develop and maintain mailing lists to be made available to all organizations who
participate in an agreement regarding usage.
6.5 Develop and maintain an "opportunity" resource library for access by artists,
organizations, and the general public.
6.6 Establish a speakers bureau.
6.6.1 Train supporters of the arts how to be advocates.
6.6.2 Provide artists and arts organizations and supporters with advocacy tools and
current information on the value of the arts.
6.7 Keep elected officials informed about the arts and cultural programs.
6.7.1 Hold public forums for public office candidates.
6.8 Promote effective communication systems to diverse ethnic communny.
6.9 Provide the City of La Quinta with a clear identity with the arts and its cultural life.
Goal 7 Promote Cultural Tourism and Economic Development
7.1 Document cultural activities as an important economic resource.
7.2 Collaborate with the tourist industry, chambers of commerce, and all arts organizations.
7.3 Improve permanent signage leading visitors to cultural attractions.
7.4 Continue and enlarge the Art -in -Public -Places Program as a vehicle for community
education, appreciation, and physical enhancement.
7.5 Promote the community's cultural institutions and resources collectively as an industry
that provides significant contribution to the local and regional economy.
7.6 Develop programs and activities to entice visitors and new residents to La Quinta.
7.6.1 Have a city-wide `season.'
7.7 Spotlight current arts programs.
7.7.1 Support and promote such organizations and programs as: L a Quinta Arts
Festival and JazzArt Festival, La Quinta Open -Air Museum, Coachella Valley
Community Concerts, La Quinta Historical Society Museum Round Table West,
La Quinta Arts Association, Mariachi Festival, and others.
7.8 Preserve and enhance important features of the physical environment, including
architecture, historic landmarks, and natural resources.
SUPPORT OF THE ARTS
Goal 8 Enlarge Community Base of Support
8.1 Develop financial and human resources necessary to support arts and cultural activities
throughout the City.
8.3 Conserve existing resources and generate new dollars through cooperative efforts between
organizations to sustain financial support from individuals, business". and local
government.
8.4 Establish a center to provide technical assistance to local arts and cultural organizations to
access their own funding, and to provide management and program development training.
8.5 Explore the possibilities of a united fund for the arts.
Goal 9 Municipal Support for the Arts
9.1 Develop a clear cultural development policy to make optimal use of city -supported
services and programs: library, school system, senior and youth services, parades and
public celebrations.
9.2 Generate greater municipal support for cultural programs, services, and development
efforts.
9.2.1 Establish a percent for the arts from bed tax, or other identifiable source.
9.2.2 City could allocate 10% of the state lottery funds for quality of life projects.
9.2.3 Establish funding priorities for local grants that encourage innovative public
funding for arts programs.
9.2.4 Increase percentage of capital costs of public projects to 1 % for public art.
9.3 Maintain and coordinate a cultural development component in any municipal development
plan.
9.4 Investigate and propose a new funding process by means of which city funds are allocated
to arts organizations.
LEADERSHIP AND TRAINING
Goal 10 Identify, Nurture and Train New Cultural and Arts Leadership
10.1 Develop a volunteer pool from a broad cross-section of the community.
10.1.1 Consider creating a chapter of Business Volunteers for the Arts.
10.1.2 Utilize the Senior Center and the La Quinta Arts Foundation as resources for
talent, expertise, and mentoring.
10.1.3 Address board development for nonprofit arts organizations.
10.2 Recruit mentors to serve on boards of cultural organizations.
10.2.1 Enhance organizational planning, marketing, and funding.
10.3 Encourage existing cultural leaders to identify potential new arts lead ors.
ALL-INCLUSIVE COMMUNITY ARTS
Goal 11 Integrate the Arts into Community Life
11.1 Encourage city-wide multi -arts programs.
11.1.1 Support and promote `On -Stage' productions.
11.1.2 Support and promote Community Concert series.
11.2 Promote geographical considerations in the arts.
11.2.1 Encourage the incorporation of aesthetics in public landscapir_g design.
11.2.2 Utilize artists in the designing of public recreation areas.
11.3 Encourage the development of `The Village' as a central gathering place.
11.3.1 The Village Center could include as coffee house, artisan shops, book store, art
galleries, music store, and outdoor patios with fountains, sculptures, benches,
plants, and places for mini -outdoor concerts or exhibits.
My philosophy:
We feed the mind through education, the body through food, the spirit through prayer and
meditation, and we feed the soul through the arts. We all have a right to be .vell fed.
D R A F T by Kathryn B. Hull
April 1997
pi4
�n'r`
p� � O •
� 2
v �
OF
CULTURAL COMMISSION
MEETING DATE: April 24, 1997
ITEM TITLE: Cultural Arts Master Plan
BACKGROUND AND OVERVIEW:
The Cultural Commission is continuing its efforts to gather information from the
community, professionals, residents, etc. for the development of the Cultural Arts
Master Plan. To accomplish this, a valley -wide Cultural Conference was conducted on
February 6, 1997 and a community workshop was held on February 27, 1997.
A second valley -wide conference is scheduled for May 15, 1997 from 3-5:00 p.m.
Chairperson Hull has been coordinating with the California Arts Council and the Riverside
Arts Foundation for the provision of speakers for the second conference. As of this
writing, Mary Lee Peters, the Executive Director of the Riverside Arts Foundation has
confirmed, and Barbara Pieper, Executive Director, and Sally Davis, Manager of State -
Local Partnership Program, of the California Arts Council are tentatively scheduled to be
speakers.
The following represents highlights of other actions taken in regard to the May 15th
conference:
■ Pursuant to Commission direction, staff has mailed letters to all Coachella Valley
City Managers asking them to distribute conference invitations to appropriate
commissions/organizations within each respective city (Attachment No. 1).
■ Pursuant to Commission direction, staff sent letters to La Quinta City Council
Members inviting them to attend the conference (Attachment No. 2) .
■ Staff has notified the Council and completed a budget transfer to access an
additional $100.00 to pay for refreshments for the May 1 5th conference. Staff
will coordinate the provision of refreshments for the conference which will be
similar to the refreshments offered at the first conference.
This space on the agenda is reserved for Commission comments or suggestions in
preparation for the second valley -wide conference.
001
Another important issue is the actual preparation of the Cultural Arts Master Plan
document. At the March 27th Commission meeting, it was decided that Chairperson Hull
would prepare an outline plan to assist the Commission in preparing the Cultural Arts
Master Plan. Chairperson Hull was out of the area in early April which precluded her
from having the plan completed in time for inclusion with the Commission Agenda
packet; however, she indicated to staff that she will have an outline plan available for
distribution to the Commission at the April 24th meeting.
The Chairperson has suggested that one option for the Commission to consider in the
preparation of the Cultural Arts Master Plan is to break the Plan into segments with
individual Commissioners responsible for the preparation of specified segments. The La
Quinta Art in Public Places Commission used this method for the preparation of its
Master Plan. Each Commissioner wrote a segment which were later compiled into one
document that was then reviewed by the entire Art in Public Places Commission. An
alternative might be to consider holding a special workshop/study session to formulate
ideas for the Master Plan and to write the Plan at that workshop.
To assist the Commission in preparing the Master Plan, and pursuant to Commission
direction, staff requested cultural plans/documents from the cities of Sedona and Tempe
in Arizona, and Chino, Walnut Creek, Huntington Beach, and Carlsbad in California. As
of this writing, staff has not received the Tempe document. However, copies of the
other cities' documents are attached (Attachment Nos. 3, 4, 5, 6 & 7) .
This space on the agenda is reserved to review the Chairperson's outline for preparation
of the Cultural Arts Master Plan. In addition, the Commission may wish to identify
potential components to that plan and discuss the proposed methodology for Plan
preparation.
RECOMMENDATION:
As deemed appropriate by the Cultural Commission.
Mark Weiss, Assistant City Manager
cultstaff29.wpd
QO2
AACHMENT 1
4
78.495 CALLE TAMPICO - LA QUINTA, CALIFORNIA 92253 - (619) 777-7000
FAX (619) 777-7101
April 4, 1997
Mr. Rob Parkins
City Manager
City of Palm Springs
3200 E. Tahquitz Way.
Palm Springs, California 92262
Re: Coachella Valley Cultural Affairs Conference May 15, 1997
Dear Mr. Parkins,
The City of La Quinta's Cultural Commission is sponsoring a second valley wide Cultural
Development Conference on May 15, 1997 from 3:00-5:00 p.m. (see attached materials
for more information).
You may recall that the La Quinta Cultural Commission hosted a valley wide conference
on February 6, 1997 to discuss issues of mutual concern and interest to cultural leaders.
The first conference was well received and attended by over twenty people representing
five different Coachella Valley cities. At that first meeting, there was broad support to
conduct a second conference. As such, please accept this letter as an invitation to- Palm
Springs' Public Arts Commission to attend and participate in the second valley -wide
Cultural Development conference. Please find enclosed five invitation packets -one for
each Commissioner. Your assistance in directing these to the Palm Springs Public Arts
Commission would be appreciated.
• If you or any of the Commissioners have any questions, please call Britt Wilson,
Management Assistant, at 777-7041. Thank you for your time and cooperation.
Sincerely,
Mark Weiss
Assistant City Manager
C. La Quinta Cultural Commission
MAILING ADDRESS - P.O". BOX 1504 - LA QUINTA, CALIFORNIA 92253 �<
78-495 CALLE TAMPICO - LA QUINTA, CALIFORNIA 92253 - (619) 777-7000
FAX (619) 777-7101
April 7, 1997
Mr. Robert Wilburn
City Manager
City of Desert Hot Springs
65950 Pierson Boulevard
Desert Hot. Springs, California 92240
Re: Coachella Valley Cultural Development Conference May 15, 1997
Dear Mr. Wilburn,
The City of La Quinta's Cultural Commission is sponsoring a second valley wide Cultural
Development Conference on May 15, 1997 from 3:00-5:00 p.m. (see attached materials
for more information).
You may be aware, the La Quinta Cultural Commission hosted a valley wide conference
on February 6, 1997 to discuss issues of mutual concern and interest to cultural leaders.
The first conference was well received and attended by over twenty people representing
five different Coachella Valley cities. At that first conference, there was broad support to
conduct a second conference. In accordance with that desire, the La Quinta Cultural
Commission is inviting arts and cultural commissions from cities throughout the Coachella
Valley to attend the second conference referenced above.
As the City of La Quinta's earlier correspondence to you indicated, staff has not been able
to identify a similar commission(s) in your city. La Quinta's Cultural Commission has
asked that contact be made with each City Manager, however, in an effort to identify
potential participants in the Cultural Conference. Participants could include cultural
organizations that operate within Desert Hot Springs or any other cultural organizations
that your city deems appropriate. Examples might include theater groups, artist groups,
music groups, etc. Your assistance in directing these packets to the appropriate
organization within your community would be appreciated. Five packets have been
enclosed for your use.
i
MAILING ADDRESS - P.O. BOX 1504 - LA QUINTA, CALIFORNIA 92253 ■`
T a 0
4hf 4 Sep 0".
78-495 CALLE TAMPICO - LA QUINTA, CALIFORNIA 92253 - (619) 777-7000
FAX (619) 777-7101
April 7, 1997
Mr. Michael Berkow
Acting City Manager
City of Coachella
1515 Sixth Street
Coachella, California 92236
Re: Coachella Valley Cultural Development Conference May 15, 1997
Dear Mr. Berkow,
The City of La Quinta's Cultural Commission is sponsoring a second valley wide Cultural
Development Conference on May 15, 1997 from-3:00-5:00 p.m. (see attached materials
for more information).
You may recall that the La Quinta Cultural Commission hosted a valley wide conference
on February 6, 1997 to discuss issues of mutual concern and interest to cultural leaders.
The first conference was well received and attended by over twenty people representing
five different Coachella Valley cities. At that first conference, there was broad support to
conduct a second conference. In accordance with that desire, the La Quinta Cultural
Commission is inviting arts and cultural commissions from cities throughout the Coachella
Valley to attend the second conference referenced above.
As the City of La Quinta's earlier correspondence to you indicated, staff has not been able
to identify a similar commission(s) in your city. La Quinta's Cultural Commission has
asked that contact be made with each City Manager, however, in an effort to identify
potential participants in the Cultural Conference. Participants could include cultural
organizations that operate within Coachella or any other cultural organizations that your
city deems appropriate. Examples might include theater groups, artist groups, music
groups, etc. Your assistance in directing these packets to the appropriate organization
within your community would be appreciated. Five packets have been enclosed for your
use.
MAILING ADDRESS - P.O. BOX 1504 - LA QUINTA, CALIFORNIA 92253 ■'
005
78-495 CALLE TAMPICO — LA QUINTA, CALIFORNIA 92253 - (619) 777-7000
FAX (619) 777-7101
April 7, 1997
Mr. George Truppelli
City Manager
City of Cathedral City
P.O. Box 5001
Cathedral City, California 92235-5001
Re: Coachella Valley Cultural Development Conference May 15, 1997
Dear Mr. Truppelli,
The City of La Quinta's Cultural Commission is sponsoring a second valley wide Cultural
Development Conference on May 15, 1997 from 3:00-5:00 p.m. (see attached materials
for more information).
You may recall that the La Quinta Cultural Commission hosted a valley wide conference
on February 6, 1997 to discuss issues of mutual concern and interest to cultural leaders.
The first conference was well received and attended by over twenty people representing
five different Coachella Valley cities. At that first conference, there was broad support to
conduct a second conference. In accordance with that desire, the La Quinta Cultural
Commission is inviting arts and cultural commissions from cities throughout the Coachella
Valley to attend the. second conference referenced above.
As the City of La Quinta's earlier correspondence to you indicated, staff has not been able
to identify a similar commissions) in your City. La Quinta's Cultural Commission has
asked that contact be made with each City Manager, however, in an effort to identify
potential participants in the Cultural Conference. Participants could include cultural
organizations that operate within Cathedral City or any other cultural organizations that
your city deems appropriate. Examples might include theater groups, artist groups, music
groups, etc. Your assistance in directing these packets to the appropriate organization
within your community would be appreciated. Five packets have been enclosed for your
use.
MAILING ADDRESS. - P.O. BOX 1504 - LA QUINTA, CALIFORNIA 92253.
4 Sep
78-495 CALLE TAMPICO - LA QUINTA, CALIFORNIA 92253 - (619) 777-7000
FAX (619) 777-7101
April 7, 1997
Mr. Patrick Pratt
City Manager
City of Rancho Mirage
69-825 Highway 111
Rancho Mirage, California 92270
Re: Coachella Valley Cultural Affairs Conference May 15, 1997
Dear Mr. Pratt,
The City of La Quinta's Cultural Commission is sponsoring a second valley wide Cultural
Development Conference on May 15, 1997 from 3:00-5:00 p.m. (see attached materials
for more information).
You may recall that the La Quinta Cultural Commission hosted a valley wide conference
on February 6, 1997 to discuss issues of mutual concern and interest to cultural leaders.
The first conference was well received and attended by over twenty people representing
five different Coachella Valley cities. At that first meeting, there was broad support to
conduct a second conference. As such, please accept this letter as an invitation to
Rancho Mirage's Cultural Commission to attend and participate in the second valley -wide
Cultural Development conference. Please find enclosed five invitation packets -one for
each Commissioner. Your assistance in directing these to the Rancho Mirage Cultural
Commission would be appreciated.
If you or any of the Commissioners have any questions, please call Britt Wilson,
Management Assistant, at 777-7041. Thank you for your time and cooperation.
Sincerely,
Mark Weiss
Assistant City Manager
C. La Quinta Cultural Commission
MAILING ADDRESS - P.O. BOX 1504 - LA QUINTA, CALIFORNIA 92253
4
78-495 CALLE TAMPICO - LA QUINTA, CALIFORNIA 92253 - (619) 777-7000
FAX (619) 777-7101
April 7, 1997
Mr. Ray Diaz
City Manager
City of Palm Desert
73-510 Fred Waring Drive
Palm Desert, California 92260
Re: Coachella Valley Cultural Development Conference May 15, 1997
Dear Mr. Diaz,
The City of La Quinta's Cultural Commission is sponsoring a second valley wide Cultural
Development Conference on May 15, 1997 from 3:00-5:00 p.m. (see attached materials
for more information).
You may recall that the La Quinta Cultural Commission hosted a valley wide conference
on February 6, 1997 to discuss issues of mutual concern and interest to cultural leaders.
The first conference was well received and attended by over twenty people representing
five different Coachella Valley cities. At that first meeting, there was broad support to
conduct a second conference. As such, please accept this letter as an invitation to Palm
Desert's Art in Public Places Committee and the Civic Arts Committee to attend and
participate in the second valley -wide Cultural Development conference. Please find
enclosed sixteen invitation packets -one for each Committee member. Your assistance in
directing these to the Art in Public Places Committee and the Civic Arts Committee would
be appreciated.
If you or any of the Committee members have any questions, please call Britt Wilson,
Management Assistant, at 777-7041. Thank you for your time and cooperation.
Sincerely,
Mark Weiss
Assistant City Manager
MAILING ADDRESS - P.O. BOX 1504 - LA QUINTA, CALIFORNIA 92253 v
4
78-495 CALLE TAMPICO — LA QUINTA, CALIFORNIA 92253 - (619) 777-7000
FAX (619) 777-7101
April 7, 1997
Mr. Allyn Waggle
City Manager
City of Indio
P.O. Box Drawer 1788
Indio, California 92201
Re: Coachella Valley Cultural Development Conference May 15, 1997
Dear Mr. Waggle,
The City of La Quinta's Cultural Commission is sponsoring a second valley wide Cultural
Development Conference on May 15, 1997 from 3:00-5:00 p.m. (see attached materials
for more information).
You may recall that the La Quinta Cultural Commission hosted a valley wide conference
on February 6, 1997 to discuss issues of mutual concern and interest to cultural leaders.
The first conference was well received and attended by over twenty people representing
five different Coachella Valley cities. At that first meeting, there was broad support to
conduct a second conference. As such, please accept this letter as an invitation to Indio's
Cultural Arts Commission to attend and participate in the second valley -wide Cultural
Development conference. Please find enclosed seven invitation packets -one for each
Commissioner. Your assistance in directing these to the Indio Cultural Arts Commission
would be appreciated.
If you or any of the Commissioners have any questions,, please call Britt Wilson,
Management Assistant, at 777-7041. Thank you for your time and cooperation.
Sincerely,
Mark Weiss
Assistant City Manager
C. La Quinta Cultural Commission `
MAILING ADDRESS - P.O. BOX 1504 - LA QUINTA, CALIFORNIA 92253 f� ,►�
vV
T a WIVI 4�Q�rw
78496 CALLE TAMPICO — LA QUINTA, CALIFORNIA 92253 - (619) 777-7000
FAX (619) 777-7101
April 7, 1997
Mr. George J. Watts
City Manager
City of Indian Wells
44-950 Eldorado
Indian Wells, California 92210
Re: Coachella Valley Cultural Development Conference May 15, 1997
Dear Mr. Watts,
The City of La Quinta's Cultural Commission is sponsoring a second valley wide Cultural
Development Conference on May 15, 1997 from 3:00-5:00 p.m. (see attached materials
for more information).
You may recall that the La Quinta Cultural Commission hosted a valley wide conference
on February 6, 1997 to discuss issues of mutual concern and interest to cultural leaders.
The first conference was well received and attended by over twenty people representing
five different Coachella Valley cities. At that first conference, there was broad support to
conduct a second conference. In accordance with that desire, the La Quinta Cultural
Commission is inviting arts and cultural commissions from cities throughout the Coachella
Valley to attend the second conference referenced above.
As the City of La Quinta's earlier correspondence to you indicated, staff has not been able
to identify a similar commission(s) in your city. La Quinta's Cultural Commission has
asked that contact be made with each City Manager, however, in an effort to identify
potential participants in the Cultural Conference. Participants could include cultural
organizations that operate within Indian Wells or any other cultural organizations that your
city deems appropriate. Examples might include theater groups, artist groups, music
groups, etc. Your assistance in directing these packets to the appropriate organization
within your community would be appreciated. Five packets have been enclosed for your
use.
MAILING ADDRESS - P.O. BOX 1504 - LA QUINTA, CALIFORNIA 92253
vl0
'hf X 4 (Vag ' a
78-495 CALLE TAMPICO — LA QUINTA, CALIFORNIA 92253 - (619) 777-7000
FAX (619) 777-7101
April 10, 1997
Dear Cultural Development Leader,
The City of La Quinta's Cultural Commission conducted. a valley -wide conference
on February 6, 1997 to address cultural issues affecting the Coachella Valley. A
total of twenty-one people representing five different cities and one college were
present for the first conference.
The idea behind the first conference was to share ideas, compare successes,
recognize needs and identify dreams for cultural preservation and enhancement in
the Coachella Valley. During this conference, it was suggested that a regular,
regional meeting schedule be adopted. As part of that discussion, a second
regional meeting was proposed to be hosted by the City of La Quinta. That
meeting has now been confirmed for May 15, 1997 from 3-5:00 p.m. and will be
conducted at the La Quinta Senior Center, located at 78-450 Avenida La Fonda
(see attached map). Notes from the first conference and an agenda for the second
conference are enclosed for your review. We are extremely pleased to have the
California Arts Council's Barbara Pieper, Executive Director, and Sally Davis,
Manager of State -Local Partnership Program as tentative speakers. We also have
the Riverside Arts Foundation's Executive Director, Mary Lee Peters, as a speaker.
The La Quinta Cultural Commission sincerely believes this second conference will
prove as informative and beneficial as the first conference. Please RSVP by May 1,
1997 if you plan to attend by calling (760) 777-7090. Thank you for your input
and participation.
Sincerely,
Kathryn . Hull, Chairperson
La Quinta Cultural Commission
LETTER09.97.wpd
MAILING ADDRESS - P.O. BOX 1504 - LA QUINTA, CALIFORNIA 92253
AGENDA
CULTURAL DEVELOPMENT CONFERENCE
LA QUINTA SENIOR CENTER
78-450 AVENIDA LA FONDA
MAY 15, 1997 3 :00-5:OQ-P. M .
I. Welcome and Introductions
11. Panel/Guest Speakers
California Arts Council
Barbara Pieper, Executive Director
Sally Davis, Manager of State -Local Partnership Program
Riverside Arts Foundation
Mary Lee Peters, Executive Director
TOPICS (tentative)
■ Developing a Valley -Wide Arts Coalition
■ State Overview of What's Happening in our Cultural Life
■ United Fund Raising for the Arts
■ Plans in Riverside County for Arts Development
III. Future of Conference/Set Meetings
IV. Adjournment
*Palm Desert: Builders contribute 1 % of construction cost (for both
residential and commercial) to the arts program resulting in a well
funded program representative of a financially healthy community.
Palm Desert pursues a limited grant effort, but do realize community
support by way of sponsorship for summer concerts. The Holocaust
Memorial in Palm Desert was the result of a citizen's initiative
completed outside the formal program, albeit the City administered the
process. The El Paseo exhibits are leased on an annual basis but
some have been purchased by the City. Historically, the artists have
been responsible for loaning the art and shipping the pieces, but
recently it's believed the City has provided additional support.
Cultural Deficiencies:
Deficiencies cited by Conference participants included the following:
• No four year college
• No inexpensive space (especially on the west end of the Valley)
• Restrictive ordinances (limited live/work facilities); need special zoning
for artists
• Artists not valued —perceived as 2"d class citizens
• No arts tradition or identity
• No publicity for theater
• Inadequate facilities
• Lack of community support for artists
• Lack of coordination between cultural organizations and city
commissions
• No real home/identity for theater in the Valley
Realizing the Dream:
Participants cited a number of dreams or aspirations for arts in the Coachella
Valley, including:
• Appointing an informational networking task force;
• Creating an inter -city newsletter
• On -going inter -city conferences like this
• Solicit community input/community workshops
• Identify funding sources
• CVAG type organization to prepare a cultural master plan for the
Coachella Valley
• Retreats
• Fall conference
• Refining goals
CIO
,nA IM Aww,.• -
AD STAMANT
Amwy VA
"al1Y ON i S SI )GE pal a
LA QUINTA RANCHO LA p, A PALMSTIL 1 PALM ROYALE HIGHLANDSOm
OLO HOIKZ011 PALMS CIN •
FRED WAKING OR ►—.�y.�—.—.. —
zNY
iKYWAAO OC� y � N=
LA PAL
• 5� C H T
PALM Jill C C ` t icup LNOW CIA
VIA Lu Fp ^ a AN 2 FOxtAll cia 1
/ CACTUS j
AA CALIENTE I CAR IRWN I ! s FLOWER
_. LA QUINTA
OEL ONO BRAOFOR Ia FLOWER TAIL i
*jtH/TAIyMILES AV LA A
Ig LA H
TO PALM NCO
DESERT Sul
A Pu y SPR/NGS k�`�,P BIRCNC8Ap IS CI C 1 CTamMIOIAN
1 ® PARgR00K
INDIAN �,+'``A T S ��
ROGW.W roPAs
WELLS
s GUIIII'A
' I CENTER-C�i1 Imm_ - _...........
_ - I
E �r Y_ON STOR,ywN T�E• +R�� i v � ®E/lIMIONRRRj
GUMTA R
CKaNNE�LA
A IGNSCl0_
n► 1MMEDIA1t fTii b <�' i E -
"1 ( o CA O Du S PL CALK CTIA R!/tF. '!�►� A �� t -
.. /``• clnwFAa �� fR�y Cap - �� J
It S4
i ,CA Ni VIA MANOUILLO
LE SERENA r:
LL LAKE WElTWAND ILO 1 ' �Z►
Lj LA GUINTA
�Y oc'°� ti Y 111 r�
�F/-� , HIGHWA
1:T r 6 VIA GRAZIANNA
% �FA r4ll )
N tv
O (FUTM ?R� `�� 1WELLS
^� / LAOLSWA . CALLS �y 1 � r AOE�II
- LA PAZ I FLORLSTA I O
" TA TI r/
I Z i
`44
LA GUINTA n 1
f - ESTATE QpQ' 3 1 y
LA GUWYTA
t AYE MMTEIIO 1 ~ t
W ` t CALLE MEMO i
J\y�r o 3 CALLS MMM
VISTA A VIA FO PA I
! ♦+ i
C CM TTLEFUSH OF1
tiL . ' PEOIJEIN L C LA GUWrA 1
it CLUB LS
...IAruLa y ALL M� — AV SO _._._.—._.—._._._._._._.—_.
1 F lNR
3
♦1�
�t 1
w
ATT LAfm
� IsI�14� \� •
IX #42 LA QUINTA SENIOR CENTER _
PARK
to STWAL
ltI !h �TIIIY �
N L.N/% LA QUINTA SENIOR CENTER
78450 AVENIDA LA FONDA
,s► LA QUINTA CA 92253
Aa�: (619) 564-0096
� u
��� r
911
Aww"TACHMENT 2
T4 4 AA
4ht 4 14PP (41"
78495 CALLE TAMPICO - LA QUINTA, CALIFORNIA 92253 FAX
March 31, 1997
To: The Honorable Mayor and Members of the City Council:
777-7000
777-7101
The Cultural Commission would like to invite you to attend a follow-up cultural conference
on May 15, 1997, from 3:00 to 5:00 p.m. at the La Quinta Senior Center. There wil be arts
representatives from throughout the Coachella Valley in attendance.
As you will recall, we hosted a very successful conference on February 27, 1997. The
request from that group was for a second conference with some arts leaders to peak to
the group and provide guidance and information not readily available locally.
As a result of that suggestion, Barbara Pieper, Executive Director of the California Arts
Council; Sally Davis, Manager of the State and Local Partnership Program of the C lifornia
Arts Council; and Mary Lee Peters, Executive Director of the Riverside Arts Foundation,
will be here to present a panel addressing such topics as:
• developing a valley -wide arts coalition
• a state-wide overview of what's happening in our cultural life I
• united fund raising for the arts
• plans in Riverside County for arts development
As our Commission continues to develop a Cultural Arts Master Plan for the City, we
believe it would be helpful for you to be aware of the direction and impact of the arts
throughout the state, and to hear some ideas of these arts leaders.
We look forward to having you attend the conference and sharing in this exc ange of
information.
Sin erely,
OL
K thryn . Hull
KBH:pjs
MAILING ADDRESS - P.O. BOX 1504 - LA QUINTA, CALIFORNIA 92253 i
A i' TACHMENT 3
CITY OF SEDONA., ARIZONA
c' 6
STRATEGIC PLAN FOR
ECONOMIC DEVELOPMENT
1995
Strategic Plan for Economic Development
Sponsored by: Arizona Public Service
Description:
The Arts and Culture Cluster focuses on identifying
and addressing the needs of existing and new
performing and visual artists, arts organizations,
galleries, fine artisans and craftsmen, and businesses
to support this segment of Sedona's economy. Quality
development of this cluster will benefit the residents
and the visitors of the Sedona Area.
Opportunities for Sedona:
Sedona is well -recognized for its artists, galleries,
cultural activities, and events. The Sedona Com-
munity Plan incorporated a Tourist Intercept Survey
through which visitors were asked their reasons for
visiting the community. More than a third (36.3%)
visit art galleries and craft stores, and enjoyment of
the variety of art activities available in the community,
strongly influenced their decision to visit Sedona.
More than two-thirds (68.7%) said they came to
enjoy the area's great scenic beauty; its Red Rocks
and Oak Creek, as well as to take advantage of
cultural resources.
The Sedona Area is without a doubt positively
impacted by the arts and culture industry. A recently
completed study, The Economic Impact of (he Arts
Industry on (lie Sedona Economy in 1992 states that
the community realized a total direct impact of over
$15,000,000 in sales last year. This represents 24
percent of the total retail trade calculated from the
sales taxes reported for calendar year 1992 and 8
percent of the total economic activity calculated
from the total sales taxes reported during the same
period.
The arts -related industry is a prominent compo-
nent of the Sedona economy and has become so
without major incentives from the community or City
of Sedona. However, there are some problem areas
that must be addressed for this industry to remain a
viable, long term asset to the area's economy. The
commercial art galleries have a major impact on
the local economy and yet the individual visual
artists have a need for space to present their work
to the art -buying public drawn to Sedona. Many
individual artists work primarily out of home studios.
The survey completed as part of the above -men-
tioned study indicated that most artists purchase a
great percentage of their art supplies outside of
Sedona. The community does not have adequate
arts -related support industries or businesses. Local
dealers are also often undercapitalized. Artists
many times must wait to get paid after their artwork
is sold, so many artists place their works in galleries
in other cities.
At present, there are no indoor facilities designed
and built specifically to present dramatic and musical
performances that have proper acoustics, lighting,
and other support equipment. The Sedona Arts
Center has upgraded its theater to a better than
adequate community theater space. This will assist
with short-term relief for performance space. In
addition, the only major amphitheater at Verde Valley
School has limited accessibility for numerous programs.
While Sedona Red Rock High School is building a
student auditorium that will meet some of the
community's needs for performance space, it also
will have restrictions on its availability. However, in
the long-term, the community will need additional
indoor and outdoor performing arts space to meet
the projected growth of this segment of the industry.
The Sedona Cultural Park and its Arts -Education
Institute represent a major addition to the prospects
for defining Sedona and this region as a premier
center for the fine arts. To be located on a 52 acre
site with dramatic views of the red rock skyline, the
park will have a 5,000 seat amphitheater, art festival.
grounds, sculpture gardens, an educational complex
with telecommunication facilities, and a performing
arts theater. The Institute is a consortium of the Fine
Arts departments of Arizona's three state universities
and the two area community colleges in partnership
with the not -for -profit community board. This facility
and the Institute program will offer, on a year-round
basis, the full range of fine arts performing and
educational programs — such as music, dance,
theater, film, and the visual arts.
Goal:
To support and promote a thriving arts and culture
industry within the Sedona Area.
Strategies:
Short Term
1. The City of Sedona Department of Arts and
Culture shall take the lead in establishing the Arts
and Culture (AC) Cluster Group. Group members
will ideally be representatives of related organiza-
tions and other necessary entities.
2. The AC Cluster Group shall develop a one year
work program within 90 days after the adoption of
the strategic plan.
3. The AC Cluster Group shall analyze the arts and
cultural businesses that are already here and survey
their concerns, needs, and plans.
4. The AC Cluster Group shall interface with the
Chamber of Commerce in business retention/
expansion efforts within this cluster.
5. The AC Cluster Group shall interface with the
Arizona Commission on the Arts economic devel-
opment team efforts to ensure that local artists and
businesses have access to needed resources and
technical assistance.
Mid Term
1. The AC Cluster Group shall identify the types
of arts and cultural businesses that are most com-
patible with the community's vision; goals, and
objectives.
2. The AC Cluster Group shall determine the
infrastructure needs of arts and cultural businesses
in the community.
3. The AC Cluster Group shall develop an assess-
ment of what needs to be done to enhance this
sector of the local economy.
4. An effective system shall be developed by the
AC Cluster Group to respond to inquiries from
businesses considering locating in Sedona within
this cluster. A point person shall be designated to
personally handle these inquiries.
5. The AC Cluster Group shall interface with
GSPED to keep abreast of the most effective cluster
development techniques and track the progress of
the development of an Arts and Cultural Cluster at
the state level.
6. The AC Cluster Group shall upgrade the data
base of the arts and culture industry.
Long Term
1. The AC Cluster Group shall establish an active
recruitment program to attract facilities, performers,
and support business relevant to this cluster.
2. The AC Cluster Group shall develop an expanded
training program for members of the various arts
organizations in Sedona to and for artists to help
them in marketing, retention, expansion, and
business development.
3. The AC Cluster Group shall develop and promote
a community information campaign to encourage
community support for attractions in the community.
4. The AC Cluster Group shall develop a strategy
to encourage out of town (regional/state/national)
entertainment to utilize local sites/amenities.
5. The AC Cluster Group shall work to encourage
the development of an arts institution for all ages
with hands-on workshops, dormitories, one week
"camp" sessions, and semester terms. .
6. The AC Cluster Group shall interface closely
with the Verde Valley Regional Economic Develop-
ment Council on issues related to developing the
Arts and Culture Industry in the Sedona Area.
Recommendations for the AC Cluster Group's
Work Program
• Incorporate, as appropriate, the use of existing
area facilities, such as "rlaquepaque.
• Centralize activities in small areas and facilitate
pedestrian linkages through the provision of
pathways and shuttle linkages.
• Encourage the development of multi -event
attractions.
• Encourage street vendors or open market days.
• Expand the Gallery Association.
• Expand open studio tours.
• Develop the concepts of a historical or heritage
park.
• Develop theme areas or tours; heritage, gallery
walk, music, and nature -environmental talk/
walks.
• Show films shot in Sedona at the new library or
other venues.
• Promote educational nature walks.
• Develop hiking trails to art or cultural spots.
• Develop a network of local "story tellers".
• Combine art events to maximize visitor appeal.
Description:
Business services are the office and administrative
functions that enable businesses to operate. Infor-
mation processing, data centers, customer -service
centers, reservations centers, financial transactions,
and related support services are included in this
cluster. Activities in this cluster are extremely
sensitive to emerging computer and telecommunica-
tions technologies and are now increasingly global in
nature. The information industry is the largest
sector in Arizona's economy and includes the
computer and software industries, semiconductors,
electronic equipment industries, telecommunications,
and professional services. This industry is structurally
diverse, with elements of research and development,
design, manufacturing, distribution, service, and
interactions with most other industries. The informa-
tion industry is highly dependent on the availability
and constant enhancement of sophisticated, reliable
communication infra -structure.
fI
v i
0
-DEPARTMENT OF CULTURAL SERVICES"
COPY
The Arts' Extension Service Report.
Recommendations for
Comprehensive Cultural Planning
in Sedona, Arizona
June 30, 1988
THE ARTS EXTENSION SERVICE REPORT
RECOMMENDATIONS FOR
COMPREHENSIVE CULTURAL PLANNING
IN SEDONA, ARIZONA
JUNE 30, 1988
CONSULTANT:
CRAIG DREESZEN
ARTS EXTENSION SERVICE
DIVISION OF CONTINUING EDUCATION
UNIVERSITY OF MASSACHUSETTS AT AMHERST
AMHERST, MASSACHUSETTS
SPONSOR:
SEDONA ARTS CENTER
Funding for the Arizona Local Arts Agency Planning Project was
provided by the Arizona Commission on the Arts and the National
Endowment for the Arts. '
/tom
CONTENTS
Purpose and project methods ................................. ;v
ExecutiveSummary .......................................... 1
Climate for the arts in Sedona .............................. 5
Recommendations............................................. 7
(-, n? )
v 6w
ifi
PURPOSE OF PROJECT
Recommendations for Comprehensive Cultural Planning in Sedona is
presented as part of the Arizona Commission on the Art's Local
Arts Agency Planning Project. The program's purpose is to assist
Arizona communities in considering policies, structures, and
financial support for cultural development. It encourages cities
to integrate cultural planning with overall community planning,
economic development, and tourism.
CULTURAL DEVELOPMENT DEFINED
In this assessment, community cultural development is seen as an
entire set of initiatives that improve the quality of life.
Culture is not limited to the western European classical
tradition of symphonic music, painting, sculpture, and ballet.
Community festivals, historic preservation, parks, open space
planning, public art, and arts and humanities education are all
of concern.
METHODS
Consultant Craig Dreeszen of the Arts Extension Service (AES),
Division of Continuing Education, University of Massachusetts at
Amherst, was contracted to conduct the assessment process. AES
staff are consultants in community cultural planning nationally.
A community assessment survey was conducted in May, 1988 by the
Sedona Arts Center. Then in June, Craig Dreeszen spent two
intensive days in Sedona conducting day -long assessment meetings
with representatives of city government, arts leaders, artists,
educators, and business and community leaders. The purpose was
to assess the cultural needs of Sedona, to evaluate the climate
for arts support, and to identify issues critical to future
cultural development. The second of the two assessment meetings
reviewed the preliminary assessment, looked in detail at the need
for a cultural facility, and considered strategies for action.
The recommendations in this report are based on the assessment
interviews, planning retreat conclusions, preliminary research,
and consultant observation. Recommendations also reflect the
current best practices of arts organizations serving similar
communities nationally.
This report is intended for use by both city officials and
individual Sedona arts and cultural organizations as a basis for
immediate decision making and as a basis for ongoing strategic
planning and action.
EXECUTIVE SUMMARY
KEY FINDINGS
Sedona's reputation for its striking natural landscapes is
enhanced by its growing national recognition as a center for the
arts. Sedona is enriched by an unusually large number of
professional and amateur visual artists, performers, galleries,
and performance presenters. For a city of 10,000 people to have
two hundred professional artists, thirty commercial galleries,
and twenty-five nonprofit arts organizations suggests that Sedona
is a community shaped as much by its concern for aesthetics and
culture as by its scenery.
Sedona artists and cultural organizations not only entertain,
they educate, provide opportunities for personal expression, and
contribute significantly to the economy. There is also the
potential to shape the character of the city through aggressive
concern for the preservation of the natural environment and
aesthetic development of the city's buildings and streets and the
installation of art in public places.
However, the considerable potential impact suggested by all this
cultural activity is not fully realized. Arts leaders have just
begun to coordinate their efforts, and the community still lacks
an organized way to articulate shared goals and strategies for
cultural development. Sedona is also challenged by inadequate
cultural facilities, a population not yet committed to the
community, a new city government faced with many deferred needs,
and insufficient public and private funding. The Arts Extension
Service assessment identified eight key needs.
KEY NEEDS
#1 CULTURAL LEADERSHIP AND COOPERATION Leadership is needed to
catalyze and focus the considerable cultural activity toward
commonly held goals for community development.
#2 CULTURAL FACILITIES The public cultural facilities in
Sedona - galleries, theatres, amphitheaters, classrooms, and
meeting spaces - are inadequate to meet the demands of audiences,
and. -the needs of arts and culture presenters.
#3 -CULTURAL PROMOTION It has been repeatedly demonstrated that
quality theatrical and music performances and art exhibitions,
effectively marketed, attract capacity audiences in Sedona. But
not all arts presenters are successful in attracting audiences.
#4 CULTURAL TOURISM Tourists are an important segment of
Sedona's cultural audience that should be further developed in
alliance with Sedona's business, economic development, and
hospitality interests..
#5 FUNDING Sedona cultural organizations operate their
programs handicapped by inadequate funding.
#6 QUALITY OF SEDONA'S DESIGNED ENVIRONMENT Sedona's cultural
leaders are concerned about the quality of the city's designed
and built environment and the need to protect the natural
environment.
#7 ARTS EDUCATION The arts are a vital part of what makes
Sedona a special place and an important force in its future.
Yet, Sedona's educational system has not yet incorporated arts
education into its curriculum or staffing.
#8 ARTIST NEEDS Artists in Sedona are frustrated by the lack
of exhibition space for visual art, performance. and rehearsal
space for theatre and music, and meeting and classroom space for
adult arts education.
KEY RECOMMENDATIONS
#1 CULTURAL LEADERSHIP AND COOPERATION (page 8)
The City Council should appoint a Sedona Commission for the Arts
to advise public policy making and to incorporate a concern for
aesthetics. and cultural development into overall city planning
and operations.
The Sedona Cultural Center trustees should examine these
recommendations and agree to assume a larger role in community
cultural leadership in service of its cultural facility
development mission.
The city should plan to assign community cultural development
responsibilities to a*staff member.
#2 CULTURAL FACILITIES: (page 10)
Individual artists and organizations must be able to look to the
Sedona Cultural Center as their advocate, spokesman, and
negotiator as the long and challenging process of building a
facility takes place.
The Sedona Cultural Center must start a campaign to build support
long before a specific facility is proposed.. During this
process, potential users of the new facilities must be in public
acTreement and alliances- must be built with those who might
otherwise oppose the development.
The Center should commission a professional facility feasibility
study.
2
#3 CULTURAL PROMOTION (page 12)
Sedona arts presenters should evaluate their artistic programs
and marketing strategies.
The Sedona Chamber of Commerce should be helped and encouraged to
be the centrally located and easily accessible information center
that will help audiences find cultural events and attractions.
#4 CULTURAL TOURISM (page 13)
The Chamber of Commerce is best suited to actively promote Sedona
as a center for cultural tourism.
The most benefit for the cost will result from strategies for
marketing tourists once they have arrived in the Sedona area.
Cultural events must be promoted where the visitors expect to
look for information.
A community arts festival could attract and build audiences and
provide additional opportunities for visual and performing
artists to present their work.. By linking a series of events by
time and place and through joint promotions, the excitement of a
festival can be created.
#5 FUNDING (page 15)
Individual cultural organizations should be making compelling and
persistent annual appeals for funds to their members,
subscribers, and friends.
The Sedona Cultural Center should open discussions with business
leaders to encourage corporate and small business contributions
to cultural development.
The City Council should vote to allocate 10 percent of the -state •���
lottery funds for quality of life projects. f�
An additional 1 percent bed and board tax should be adopted and
earmarked for the development of cultural tourism projects.
#6 QUALITY OF SEDONA'S DESIGNED ENVIRONMENT (page 17)
City Council should enact a percent for art .ordinance that
allocates 1% percent of the capital cost of public projects to
public art.
The Sedona Commission on the Arts should actively engage in the
city's comprehensive and growth management planning.
3
#7 ARTS EDUCATION (page 17) C,r
Sedona's elementary and middle schools should place high priority
on arts education.
Sedona's arts organizations should expand their programming for
youth and children.
#8 ARTIST NEEDS (page 18)
Artists should participate actively in the planning process for
the new cultural facility.
THE VISION
Artists, leaders of cultural organizations, business and civic
leaders, parents,. and educators participating 'in the Sedona
cultural assessment described a vision for Sedona's cultural
development.
Sedona can become a recognized center for the arts with:
o a community cultural center for the presentation and
enjoyment of arts programs;
o an education system that includes an arts curriculum
taught by arts specialists and enhanced with visiting
professional artists;
o city policies reflecting concern for aesthetics and
environmental impact;
o city programs supporting art in public places --
sculpture, murals, artist designed public walks, parks,
and seating;
o regular informal outdoor public performances; and
o a -cultural community working together to realize common
goals that enhance the city's quality of life.
CLIMATE FOR CULTURE IN SEDONA
STRENGTHS AND OPPORTUNITIES
ARTISTS Sedona is home. to a remarkable population of
professional and. amateur visual and performing artists (200
estimated) whose impact on the community is enormous.
ARTS PRESENTERS Sedona's thirty commercial galleries and twenty-
five nonprofit arts and historical organizations make the arts
and culture a major industry, a force that shapes the community.
A SPECIAL -QUALITY POPULATION Sedona is. home to people who have
world experience, above average educations and incomes,
leadership skills and leisure time --a significant potential
source of volunteer leadership, audiences, and philanthropy. A
significant number of Sedonans have close personal'contacts with
leaders of industry, national institutions, and government.
BEAUTIFUL SURROUNDINGS Sedona's natural landscape and climate
attract many residents and visitors with aesthetic sensibilities
who also respond to cultural events. Outdoor events are
inviting. Sedona enjoys ongoing promotion from films,
.television, magazines, and other mass media.
NEW CITY STATUS Sedona's incorporation opens up opportunities
for the organization of the city's cultural community and to
access state and federal funding. The new city council is
listening to the concerns of the cultural community.
SUPPORTIVE BUSINESSES AND CIVIC ORGANIZATIONS Sedona's business
leadership has shown initiative in organizing the Sedona Cultural
Center, and the Chamber of Commerce promotes cultural
attractions.
ISOLATION The absence of direct competition with larger cities
has allowed Sedona to develop a unique sense of community with
its own cultural attractions.
NEW _ COOPERATION Arts organizations in Sedona that have
previously competed in.their search for facilities have pooled
their talent and resources in an important cooperative step that
has won respect for the cultural community and removes a major
obstacle to success.
5
CHALLENGES AND THREATS
NO FOCUS FOR COMMUNITY CULTURAL DEVELOPMENT Sedona's strong
cultural community, with its wealth of artists, galleries, and
nonprofit arts organizations, has not yet found a means to focus
individual effort through coordinated leadership towards the
realization of shared, community -wide goals.
NEW CITY FACES DEFERRED NEEDS Cultural groups are joining a long
line of other important community interests requesting long -
deferred service and support from the newly incorporated city
government.
S_EDONANS ARE NOT YET 'AT HOME' Many residents are newly settled
and not yet committed to the community. Sedona, while home to
people with leadership experience, has trouble getting
volunteers; while home to wealthy people, has no tradition of
philanthropy.
NARROW FUNDING BASE Sedona has no major corporate sources of
contributions, no community or family foundations.
VARIABLE QUALITY OF DESIGNED ENVIRONMENT 'Sedona's architecture,
signs, and design of streets, and encroachment upon the
environment is incongruent with its dramatic setting.
I_NADEOUATE CULTURAL FACILITIES Public cultural facilities in
Sedona - galleries, theatres, amphitheaters, classrooms, and
meeting spaces - are inadequate to meet the demands of audiences,
and the needs of arts and culture presenters.
INADEQUATE ARTS IN EDUCATION Sedona is not preparing its
children to take part in a community in which arts and culture is
important.
6
RECOMMENDATIONS FOR COMPREHENSIVE CULTURAL PLANNING
IN SEDONA, ARIZONA
ARTS EXTENSION SERVICE RECOMMENDATIONS
#1 CULTURAL LEADERSHIP AND COOPERATION
Leadership is needed to catalyze and focus the considerable
cultural activity toward commonly held goals for community
development.
Many of the key needs for community cultural development
described during this assessment lie outside the mission of any
existing Sedona organization. Community leaders described
compelling needs for leadership to increase cultural funding, to
advocate for quality design in city planning and public art, and
to advocate for arts in education. Yet these are not yet part of
any organization's agenda.
1.1 Four options for overall community cultural leadership
emerged during the assessment: new city council -appointed
Sedona Commission on the Arts; an expanded understanding of
the mission of the new Sedona Cultural Center; an expanded
mission for the Sedona Arts Center; or a revived Sedona
Cultural Alliance.
A. The best option is to appoint a public Sedona
Commission on the Arts and for the Sedona Cultural
Center trustees to understand that their very specific
mission of developing* a facility is best served by
taking a leadership.role in overall community cultural
development...
1.2 The city council should appoint a Sedona Commission on the
Arts to advise public policy making and to incorporate a
concern -for aesthetics and cultural development into overall
city planning and operations. Commissioners should be
appointed by the city council with recommendations from the
Sedona Cultural Center trustees and the community.
A. The Commission's responsibilities would be to:
(1) Advise city council on matters of cultural policy,
quality of life, and quality of design in the
city.
(2) Administer a percent for public art ordinance.
(See recommendation 6.1.)
v U
(3) Represent the interests of the cultural community
to city council.
(4) Advocate for cultural planning to be part of
overall city planning.
(5) Advise on the allocation of city funds and the
reallocation of state funds to cultural
development. (See recommendations 5.3 and 5.4.)
1.3 The SCC trustees should examine these recommendations and
agree to assume a larger role in community cultural
leadership in service of its cultural facility development
mission. '
A. Facility development is a long-term goal and
intermediate goals are needed. Realized successes will
maintain interest in collaboration.
B. A Sedona Cultural Center that takes leadership in
community service (advocacy for cultural. funding,
aesthetic city design, public art, and arts education)
will build allies. Allies will be needed during a
campaign to fund a. cultural facility. The cultural
community will be seen as a partner that is heard from
at times other than when it is asking for money.
C. The Sedona Cultural Center should accept the following
responsibilities:
(1) Provide a forum for representatives of the arts
community to agree upon shared goals for community
cultural development, so that when leaders of the
cultural community advocate for public support of
facilities they support each other's message and
cause.
(2) Provide a private -sector counterpoint and balance
to the public Sedona Commission on the Arts, to
advise the city and advocate for cultural
development.
(3) Advocate for increased public funding, public art,
and arts in Sedona's.education system.
D. The trustees should appoint a standing committee on
community cultural development to implement these
policies. `
1.4 Sedona's future will be increasingly shaped by cultural
forces. Many of ,the recommendations described in this
assessment are beyond the capacity of the wholly -volunteer
8
�J�
SCC or SCA to implement. The city should plan to assign
community cultural development responsibilities to one of
its new staff members or add a community cultural
development position. This person would help implement the
policy of the Sedona Arts Commission, help administer the
facility feasibility study, and help meet the community's
cultural needs as described in this assessment.
#2 CULTURAL FACILITIES
The public cultural facilities in Sedona--galleries, theatres,
amphitheaters, classrooms, and meeting spaces --are inadequate to
meet the demands of audiences and the needs of arts and culture
presenters.
2.1 The new Sedona Cultural Center (SCC) should be encouraged
and supported in its efforts to plan, seek support for,
build, and operate a community cultural facility.
A. Individual artists and organizations must be able to
look to SCC as their advocate, spokesman, and
negotiator as the long and challenging process of
building a facility takes place. This will avoid
unnecessary competition or duplication.
B. Individual . initiatives in partnership building,
fundraising, and public advocacy should be encouraged.
But these should first be shared and considered by the
community's cultural leadership through the SCC. The
city council, need not be faced with two competing
drafts of ordinances to establish a public art policy.)
C. A public cultural facility must be built and operated
with public support.
(1) In the face of competing demands for public
funding --and a population certain to question and
likely to oppose major public expenses --the SCC
must anticipate two potential threats that have
thwarted cultural facility planning in other
Arizona cities:
(a) Public dissension among cultural groups (see
recommendation 1.3).
(b) Organized opposition emerging from non -arts
groups with whom alliances are not built (see
recommendation 1.3).
9 U�
(2) The SCC committee and board meetings are the times
to debate the inevitable competing interests of
the potential users of the new cultural facility.
Then they can speak in concert to the public.
2.3 Broad support for a new cultural facility suggests that the
SCC can avoid the. specter of elitism and special interests
that has defeated other community cultural facilities in
Arizona.
A. To ensure support, the process of planning for the
facilities must be open to input from not -only the
obvious tenants and users of the facilities, but also
business leaders, taxpayer and homeowner groups, and
other civic leaders that might otherwise oppose the
development.
B. Plan strategic fundraising for the cost of the
feasibility study so that ownership of the process is
more widely shared throughout the community.
2.4 The SCC should commission a professional feasibility study
to. document the anticipated usage of the facility, to
evaluate alternative sites and facility designs, to project
capital costs, and recommend capital funding alternatives.
Additionally the study should project ongoing operating
costs and revenues, and how to fund annual deficits. The
study should also address facility management and explore
potential earned revenue ventures such as a restaurant or
shop.
2.5 Nonprofit arts presenters accustomed to free or lowcost
(though inadequate) performance and exhibition space should
prepare now for significant rental fees. They should plan
to build in anticipated rental fees into their ticket
pricing and fundraising planning. A new facility will
depend heavily, upon rental fees, and these costs must be
passed on to ticket buyers and contributors.
2.6 The recommended planning process is as follows:
A. Determine facility needs (including results of this.
assessment.)
B. Start a public campaign to build support and do
background work for a capital funding campaign.
C. Refine criteria by which alternative facility plans
will be evaluated (see page 30 of attached assessment
meeting transcript) .
D. Raise funds for feasibility study as part of support-
10 �:�
building campaign.
E. Commission feasibility study.
F. Evaluate feasibility study and select facility plan.
G. Step up campaign of support.
H. Publicly. present facility plan and launch capital
fundraising campaign and/or public funding campaign (as
determined from feasibility study).
#3 CULTURAL PROMOTION
It has been repeatedly demonstrated that quality theatrical and
music performances and art exhibitions, effectively marketed,
attract capacity audiences in Sedona. But not all arts
presenters are successful in attracting audiences.
3.1 Sedona arts organizations that present less well -attended
events must evaluate their artistic programming for quality
and. appropriateness for Sedona audiences and develop
effective marketing strategies.
A. Sedona arts presenters such as'the Sedona Arts Center
which has a dual mission of presenting quality arts and
providingopportunities• for amateur arts participation
are challenged to carefully plan their programming mix
and promotions to avoid public confusion about quality.
B.' Effective marketing in Sedona means:
(1) Taking best advantage of all available media:
local' newspaper, radio, regional magazines,
community newsletters, and events calendars.
(2) Production of quality printed promotions (fliers,
brochures, invitations, posters etc.) for
distribution to gathering places for residents and
tourists-.
(3) Direct -mail promotions to previous patrons and
likely prospects drawn from targeted mailing
lists.
(4) Direct contact with
identify potential
convention delegates)
11
the hospitality industry to
tourist audiences (i.e.,
and to provide timely
vv'
telephoned reminders of upcoming events of
interest to hotel guests.
3.2 The Sedona Chamber of Commerce should be helped and
encouraged to'be the centrally located and easily accessible
information center that will help audiences find cultural
events and attractions.
A. Each arts organization must take responsibility to
regularly inform the Chamber of upcoming events with
notices for their calendar and promotions for
distribution.
3.3 An information kiosk --a structure where cultural events
could be posted --has been much talked,about in Sedona.
A. A donor should be sought to underwrite the building and
maintenance of a kiosk. A kiosk is a tangible,
permanent information and promotion vehicle that should
attract a sponsor that wishes to be publicly associated
with arts and culture.
B. A kiosk must be maintained and notices pulled when
outdated. AES recommends that the Chamber of Commerce
assume the responsibility and that the initial donor or
an additional sponsor be found to reimburse the
maintenance costs that would be incurred by the
Chamber. The sponsors would have appropriate
advertising space on the kiosk.
#4 CULTURAL TOURISM
Tourists are an important segment of Sedona's cultural audience
that should be further developed (without neglecting resident
audiences). Tourists are crucial for commercial galleries and
contribute to the audience for performances.
Especially as Sedona arts organizations seek to expand
programming with a community arts festival or plan for additional
outdoor performances, tourists will be essential to support the
expanded programming. To build sufficient audiences to justify a
major cultural facility, tourists must be attracted in
significant numbers.
4.1 The Chamber of Commerce is best suited to actively promote
Sedona as a tourist destination.
A. Sedona arts organizations need not mount major tourist
promotions to build Sedona's reputation as a
destination. They need only:
12
(1) Inform the Chamber of Commerce of programs and
schedules.
(2) Produce professional promotions (fliers, posters,
postcards, and brochures) that the Chamber can use
in response to visitor inquiries.
4.2 The most benefit for the cost will result from strategies
that market to tourists upon their arrival in the Sedona
area. Arts groups should find willing allies in the
hospitality industry which have a stake in encouraging
visitors to enjoy and extend their stay in Sedona. (See
recommendation 1.3.)
A. Visitors look for information about attractions from
published visitor guides, promotional fliers,
brochures, posters, and personal references from hotel,
restaurant, and transportation personnel. Cultural
events must be promoted where the visitors can find
them.
4.3 An extended community arts festival would attract and build
audiences and provide additional opportunities for visual
and performing artists.to present their work.
A. Local performance talent alone may not be sufficient to
build sustained audience interest in a festival. The
quality of performances must be high.
B. A festival may be built through coordinating
programming and promotion of existing events.
(1) By linking a series of events in time and place
and through shared promotions, the excitement of a
festival can be created.
(2) Presenting organizations should meet to compare
planned events. Consider whether some events that
are near each other in time and/or place could be
promoted together as a Sedona Arts Festival.
(3) Through cooperative advertising, publicity, and
promotions and by using a common name, logo, and
graphics, more media attention and audiences will
be built than could be accomplished by the same
collection of events presented in isolation.
(4) With success, coordination can
presenting organization can
schedule, program, promote,
community arts festival.
13
be stepped up and a
be developed to
and manage a true
„f n ?%
%.,- -ZA0
#5 FUNDING
Sedona cultural organizations are handicapped in the operation of
their programs -by inadequate funding.
Artists and the cultural organizations in Sedona provide
opportunities for.education,
personal expression, entertainment and economic -development which
are of considerable public benefit. The costs of presenting arts
exhibitions, theatrical performances, and historic preservation
always exceed the revenues that can be, earned from sales.
Virtually all cultural organizations must look for public and
private investments to continue to'present their offerings to the
public.
5.1 Sedona's cultural organizations must develop more effective
fundraising techniques.
A. Sedona has within its population, people with the means
to make individual annual contributions to cultural
programming.
(1) Individual cultural organizations should be making
annual appeals for funds to their members,
subscribers, and.friends.
(2) Appeals must be especially compelling and
persistent since so many Sedona residents are
newcomers who haven't yet established a sense of
Sedona as home or a pattern of charitable giving
in their new community.
(3) With a population 50 percent of which is retirees,
campaigns of planned or deferred giving with
bequests.and insurance policies may represent the
best prospect for large individual contributions.
Endowment and financial planners will consult for
free with nonprofit organizations to establish
deferred giving plans.
5.2 The.Sedona Cultural Center should open discussions with
business leaders to encourage corporate and small business
cultural contributions. AES recommends advocacy, peer
pressure, and persistent fundraising rather than organizing
a formal united business fund for the arts.
5.3 Given the scarcity of private funds and the significant
public benefit of cultural programming and development,
public funds are an essential and effective investment,
14
returned through increased tourist and sales tax revenues
and enhanced quality of life.
A. As allowed by state law, the city council should vote
to allocate 10 percent of the state lottery funds for
quality.of life projects. The funds should be made
available to viable cultural development proposals.
B. The Sedona Commission on the Arts should invite Sam
Campana from Arizonans for Cultural Development (990-
1664) to advise on how other Arizona cities have
established their lottery dispersal systems.
C. A new Sedona Cultural Commission can advise city
council on allocation procedures or receive the funds
for re -granting to qualified organizations upon
approval of their proposals.
D. Lottery funds can be allocated into one or two funds:
one for support of core operating expenses of cultural
organizations and another for specific projects. Each
should be allocated to qualified cultural groups on a
1:1 matching basis to encourage private fundraising.
(1) Operating
.based upon
merit and
funds should be
budget size and
community impact.
allocated by a formula
influenced by program
(2) Program funds should be allocated by an impartial
peer panel review process for projects that meet
community cultural development priorities as
established by the Commission.
5.4 Since cultural programs help attract and encourage tourists,
a portion of the direct tax revenues they generate should be
returned to the cultural community, earmarked to help
produce and promote cultural tourism.
A. An additional 1 percent bed and board tax should be
adopted and earmarked for the development of cultural
tourism projects.
5.5 Individual cultural organizations and the SCC should acquire
program guidelines from the National Endowment for the Arts,
the Arizona Commission on the Arts (ACA), and the Arizona
Humanities Commission* and persist in seeking state and
federal program and operating funding.
A. As the SCC develops, it should consider the ACA
Organizational Development (ODP 1) funding and
technical assistance program for matching salary
support for parttime staff.
B. The Sedona Commission on the Arts should seek free
Arizona Commission on the Arts consulting for public
art programs and consider applying for an ACA public
art planning grant.
#6 QUALITY OF SEDONA'S DESIGNED ENVIRONMENT
Sedona's cultural leaders are concerned about the quality of the
city's designed and built environment and the need to protect the
natural environment.
6.1 The city council should enact a percent for art ordinance
that allocates 1 percent of the capital cost of public
projects to public art.
A. The new Sedona Commission on the Arts should administer
the program.
B. Given the enormous impact and cost of the pending sewer
project, special considerations should be made for that
project. Public art projects may be broadly defined as
artist -designed public walks, seating, lighting
fixtures, performances, and temporary art installations
as well as permanent sculpture and murals.
6.2 The Sedona Commission on the Arts should actively engage in
the city's comprehensive and growth management planning so
that aesthetic and cultural development considerations can
be incorporated into planning for streets, zoning, parks
open spaces, and sign and building design review.
6.3 The artists and cultural leaders of Sedona participating in
this assessment expressed a considerable respect for
preserving and restoring the beautiful natural environment
in and around Sedona. Other community interests with
similar values will find sympathetic allies among Sedona's
artists and arts organizations. (See recommendation 1.3.)
#7 ARTS EDUCATION
The arts are a vital part of what makes Sedona a special place
and are an important force in its future. Yet, Sedona's
educational system has not yet incorporated arts education into
its curriculum or staffing.
7.1 Sedona's elementary and middle schools should place high
priority- on developing a sequential program of arts
education taught by qualified arts specialists and
supplemented by visiting professional artists.
16 `�
7.*2 Sedona's arts and historical organizations should expand
their programming for youth and children and work closely,
with the schools to make their programming accessible to
students both in and out of the schools.
A. The Arizona Commission on the Arts' Arts in Education
staff is an important planning partner, advisor, and
funder of arts in education programs. Sedona cultural
organizations and schools should take full advantage of
this excellent program.
7.3 The Sedona Cultural Center should make advocacy for arts in
education a priority and work to elect and influence a
school board committed to whole -life education, and to
encourage school administrations and individual principals
to incorporate arts education into Sedona schools.
#8 ARTIST NEEDS
Artists in Sedona are frustrated by the lack of exhibition space
for visual art, performance and rehearsal space for theatre and
music, and meeting and classroom space for adult arts education.
8.1 Artists should participate actively in the SCC planning
process for the new cultural facility.
8.2 Artist's should work towards the realization of a Sedona Arts
Festival which would provide additional exhibition and
performance opportunities.
8.3 Artists and their organizations should consider initiating a
regularly scheduled outdoor exhibition/performance (Art in
the Park) series to expand opportunities especially for
developing artists and local performers.
Recommendations for Comprehensive Cultural Planninc in Sedona is
presented by the Arts Extension Service, Division of Continuing
Education, University of Massachusetts, as part of the Arizona
Commission on the Arts' Local Arts Agency Planning project.
6/30/88
Funding was provided by the Arizona Commission on the Arts, the
National Endowment for the Arts, and the Sedona Arts Center.
17 140
4.4 Arts and Cultural Element
The Arts and Cultural Element of the Sedona Community Plan is presented in the
following five. sections:
4.4.1 Existing Conditions Overview
4.4.2 Problem Identification
4.4.3 Vision, Goals and Objectives
4.4.4 Planning Recommendations
4.4.5 implementation Program and Guidelines
4.4.1 EXISTING CONDITIONS OVERVIEW
The Planning Team acknowledges the valuable contributions and assistance the Sedona
Arts Center and the City of Sedona Arts and Cultural Commission provided in the
preparation of this element of the Community Plan. The Existing Conditions Overview
is presented in the following two sub. sections:
• Arts and Cultural Economic Impact
• History of Arts Planning in Sedona
A) Arts and Cultural Economic Impact
The Arts and Cultural Element is a unique element to find in a community's General Plan,
but a most critical element in the Sedona Community Plan because of the important
roles these resources play in Sedona's community life. Between 3,000,000 and
4,000,000 tourists visit Sedona each year with their taxable retail, lodging and service
expenditures in the community totalling approximately $58.5 million in 1989, according to
the Economic Base Study. These expenditures represent over 65 percent of all taxable
expenditures in Sedona In these categories, with sales taxes accounting for nearly 50
percent and 56 percent of all City revenues in FY 1988-1989 and FY 1989-19909
respectively.
Gross sales of arts businesses in Sedona were estimated between $9.8 and $14.4
million, with additional non-profit arts -related sales estimated at $0.6 million, in 1989.
Of the 500 visitors questioned in the Tourist Intercept Survey as to why they visit Sedona,
36.3 percent responded to visit .art galleries, craft stores and related art activities, and
68.7 percent responded to sightsee and enjoy the Red Rocks and Oak Creek, which
included visiting the area's cultural resources. As a result the long-term preservation of
the community's cultural resources and the promotion and development of the arts is very
important to both the image and economy of Sedona.
B)* - History of Arts Panning in Sedona
Planning for, providing facilities and promoting educational activities for the arts date back
over three decades in the Sedona community. Foremost in these endeavors has been
BRW/VSA Sedona Community Plan
M36-T101SEOOW-4-f?" . 4-111
the leadership and resources committed to the arts by the Sedona Arts Center. This
leadership, along with the tremendous community -support for the promotion and
development of the arts in Sedona has lead to one of the first comprehensive arts and _
cultural planning efforts in the State, and the official establishment of the Sedona Arts and
Cultural Commission In 1988 by the Sedona City Council. This history is briefly traced
below under the following three headings:
• Sedona Arts Center
• Comprehensive Arts and Cultural Planning
• City of Sedona Arts and Cultural Commission
1. Sedona Arts Center
The Sedona Arts Center is- a non-profit organization incorporated to provide facilities and
promote educational activities in support of the highest quality visual and performing arts
In the Sedona community. Founded in 1961, it is one of the oldest Community Arts
Centers in the Southwest. It is open free to the public, six days a week, year-round. Its
primary community activities include:
• Visual arts exhibitions featuring local and visiting artists
• Community theater productions
• Visual and performing arts classes for all ages
• Free or minimal charge for concerts, lectures, films and demonstrations.
The Sedona Arts Center has served as the primary community focus for social and
cultural gatherings over the past 30 years. Current plans for new Arts Center facilities
include expanded space for community use.
2. Comprehensive Arts and Cultural Planning
Utilizing grants from the Arizona Commission on the Arts, the National Endowment for the
Arts, the Sedona 30 and their own funds, the Sedona Arts Center sponsored a day -long
retreat for community, leaders which resulted in a report entitled Recommendations for
Comprehensive Cultural Planning in Sedona, Arizona, which was published in June, 1988.
One of the key recommendations in the report was that:
'The City Council should appoint a Sedona Commission on the Arts to advise
public policy -making, and to incorporate a concern for aesthetics and cultural
development into overall C/ty planning and operations.'
3. City of Sedona Arts and Cultural Commission
-
In November 1988, the Sedona City Council'officially established the Sedona Arts and
Cultural Commission by ordinance with the following objectives:
• To protect, enhance, serve and advocate excellence in the arts for the people
of Sedona in their City.
BRWNSA . Sedona Community Plan
LM-T101SFDOW4-4APT 4-112 �T
• To set priorities for the planning and development of arts and cultural activities
In Sedona, and in conjunction with other appropriate agencies, in the greater
Sedona-Verde Valley Area, for the benefit of the citizens of Sedona.
• To raise the level of awareness and involvement of all citizens in the
preservation, expansion, and enjoyment of culture and the arts in the City
of Sedona.
• To preserve and enhance the natural beauty of Sedona, its cultural and artistic
heritage, and to encourage the growth of the arts in all facets of the public and
private sectors.
4.4.2 PROBLEM IDENTIFICATION
The ordinance which established the Arts and Cultural Commission in Sedona included
language that summarized the current status in regard to community arts planning,
programming and promotion. That needs statement serves as an excellent summary of
the work program that became the. charge of the Arts and Cultural Commission. Those
defined needs are to:
• Develop, implement and promote a general plan for arts development and
improvements fostering growth of culture and the arts in the City of Sedona.
• Coordinate with the private sector and other governmental agencies in promoting
arts excellence as a tool for the encouragement of economic development in the
City of Sedona.
• Organize and promote activities which celebrate the city and its unique cultural
heritage.
• Develop, implement or promote an Art in Public Places Program, and to advise
the City Council with respect to accepting, receiving and placing works of art on
behalf of the City.
• Act as a service resource to the community and City agencies in relation to arts
and cultural activities.
• Make recommendations to the City Council to apply for and accept gifts, grants,
funds, contributions and bequests from individuals and public and private
entities, agencies, foundations, trusts, corporations and other organizations or
institutions.
• Promulgate rules of procedure to govem its conduct and function, subject to
approval of the City Council, and to enforce said rules.
In another related action, the City Council adopted an Interim Policy Statement for the
City of Sedona in January 1989, with a specific reference to the City's position on arts
and culture in the Community Services section stating:
BRW/VSA Sedona Community Plan L06-T101SEDOW-ARPT 4-113 A v� `t 3
The City will encourage the development of additional facilities for the
performing and visual arts and encourage cultural events within the community.
To that end the City will strive to maintain a positive climate for the further
development of culture and the arts within our community.'
From these actions it is clear that the City of Sedona respects and Intends to promote the
role of visual arts, performing arts and cultural resources as a key ingredient to the
community's well being and future.
4.4.3 VISION, GOALS AND OBJECTIVES
The Vision Statement, Goals and Objectives developed for the Arts and Cultural Element
of the Sedona Community Plan by the community are presented below.
ARTS AND CULTURAL VISION
Sedona should remain and continue to be a community animated by the arts. The vigor
and zest of SedonVs cultural offe Much and enrich the lives of citizens and visitors,
and act as a stimulus to civic ri a involvement. By following a cultural vision,
Sedonans will have an opportun ead a much fuller life.
Sedona will be noted for its outstanding cultural facilities which serve the entire
Sedona/Verde Valley region. Educational opportunities in the arts will abound. Already
noted for the beauty which surrounds it, Sedona will also be known for its urban design. _
Sedona will be a community in which the arts and the environment play equal and
complementary roles in realizing a culturally -animated future.
GOAL 4.1: Nurture the community's full artistic and cultural potential.
Objective 4.IA: Acting as a catalyst, the Arts and Cultural Commission will provide
leadership, support and vision to the City in all arts -related activities.
Objective 4.1 B: Participate in the planning, programming and development of cultural
facilities in Sedona.
GOAL 4.2: Nurture community Involvement In the arts.
Objective AZA: Utilize the Sedona Arts and Cultural Commission as a strong guiding
force for artistic and cultural. development in the Sedona area.
Objective 4.2B: Plan and promote activities that establish public awareness of art and
cultural resources for citizens of all age groups.
BRWNSA Sedona Cod7munity Plan
LM-T101SEDOW-ARPT 4-114 . n
GOAL 4.3: Maintain and enhance the area's natural beauty and Its art/stic and
cultural heritage.
Objective 4.3A: Contribute to municipal review and approval of aesthetic, artistic,
cultural and historic aspects which enhance artistic interplay between
manmade developments and their environmental settings,
Objectfvve 4.3B. Encourage the incorporation of public art and sensitivity to cultural
heritage in the community's growth and development.
GOAL 4.4: Enhance the artistic and cultural Influences on all segments of the
community.
Objective 4.4A: Promote arts education programs at all levels in the schools of Sedona.
Objective 4.4B. Promote and assist in planning and programming arts and cultural
awareness activities (e.g., festivals, performances, etc.).
GOAL 4.5: Maintain supportive Interactions with the cultural community..
Objective 4.5A: Facilitate and strengthen communication and cooperation among the
various arts and cultural groups in Sedona.
Objective 4.5B. Encourage regular communiques (e.g., newsletters, caJendars,
correspondence, posters, etc.) to keep arts and related groups apprised
of programs and activities of common interest.
GOAL 4.6: Encourage ongoing flnancial support for arts and cultural activities
and related community projects.
Objective 4.6A: Monitor the availability of state and federal funding resources for the
arts, and apply for grants, as appropriate, to support Sedona projects.
Objective 4.6B: Encourage local public funding support for arts and cultural activities.
Objective 4.6C. Encourage private contributions to support arts and cultural activities
In Sedona.
4.4.4 PLANNING RECOMMENDATIONS
The following planning recommendations are a summarization of the arts and cultural
planning conducted to date by the City of Sedona Arts and Cultural Commission.
Discussions between the Commission and Planning Team facilitated the integration of
these sub -objectives into the Sedona Community Plan, and also allowed prioritization of
BRWNSA Sena Community Plan
LI36-TWEDOW-4APT 4-11-5
these sub -objectives for input into the Implementation Guide presented in the following
section of the Arts and Cultural Element.
The City of Sedona's Arts and Cultural Commission has formulated a Long Range Plan
for the arts and has prepared seven broad groups of sub -objectives that can generally
be organized into the following seven groupings:
• Planning for the Arts
• Role of Sedona Arts and Cultural Commission
• Promotion and Enhancement of Cultural and Artistic Heritage
• Enhancement of Artistic and Cultural Quality of Life for All Age Groups
• Cultural Facilities Development and Marketing in Sedona
• Cultural Community Communications
• Funding of Cultural Groups and Community Projects
Each of these sub -objectives is described below 'with the appropriate objective
immediately preceding the sub -objectives.
A) Planning for the Arts
Sedona seeks to enhance its role in the world of culture and the arts. With proper
planning and funding this role may be channeled into the kind of quality economic activity
desirable for the community.
Objective 4. )A: Acting as a catalyst, the Arts and Cultural Commission will provide
leadership, support and vision to the City in all arts -related activities.
4.1 A.1: Update a Long Range Plan annually to reflect changing artistic and
cultural needs of the community.
4:1 A.2: Conduct an annual review of the Arts and Cultural Commission's
effectiveness in - meeting its goals, and make adjustments, as
necessary.
Objective 4.1 B: Participate in the planning, programming and development of cultural
facilities in Sedona.
B) Role of the Arts and Cultural Commission
The City of Sedona Arts and Cultural Commission should play a major role in the future
artistic and cultural development of Sedona The Commission can best fulfill its mission
by acting -as a catalyst in influencing these vital community affairs.
Objective 4.2 : Utilize the Sedona Arts and Cultural Commission as a strong guiding
force for artistic and cultural development in the Sedona area.
BRW/VSA Sedona Community Plan
LW-T1o1SEDON4-4.APT 4-116
4.2A.1:. Continue the employment of a salaried professional to manage the
varied day-to-day activities of the Arts and Cultural Commission.
4.2A.2: Involve and inform the Sedona City Council in regard to the long-term
merits of quality growth which can result from adequate and selective
financial support of the arts.
Objective 4.2B. Plan and promote activities that establish public awareness of art and
cultural resources for citizens of all age groups.
4.213.1: Engage the Arts and Cultural Commission in activities which will raise
public awareness of the City of Sedona's commitment to promote
quality of life Issues.
4.2B.2: Identify needs and establish priorities as an ongoing system for
encouragement of quality arts and cultural development.
4.213.3: Support activities which promote Sedona's artistic and cultural heritage:
C) Promotion and Enhancement of Cultural and Artistic Herltage
The Arts and Cultural Commission should identify quality of life issues and become an
advocate for enhancing the visual image of Sedona, creating a sense of cultural identity
and raising the community's cultural awareness.
Objective 4.3A: Contribute to municipal review and approval of aesthetic, artistic,
cultural and historic aspects which enhance artistic interplay between
manmade developments and. their environmental settings.
Objective 4.3B: Encourage the incorporation of public art and sensitivity to cultural
heritage in the community's growth and development.
4.313.1: Encourage the public and private sectors to incorporate works of art in
any building or facility utilized by the public.
4.38.2: Develop an Arts in Public Places Program, which may include
performing arts and visual arts as well as public spaces designed by or
with artists.
D) Enhancement of Artistic and Cultural Quality of We for All Age Groups
Quality of life issues are important in the context of both enjoyment of the area's unique
cultural opportunities, and its future growth. It is essential therefore that the Arts and
Cultural Commission and a variety of other arts and cultural organizations take steps to
insure that individuals of all ages be included in these processes.
BRW/VSA Sedona Community Plan
LI36-T101SEDON4-4.RPT 4-117
Objective 4.4A: Promote arts education programs at all levels in the schools of Sedona.
4.4A.1: Encourage an Arts Education Program.
Objective 4.48: Promote and assist in planning and programming arts and cultural
awareness. activities (e.g., festivals, performances, etc.).
4.48.1: Identify needs and establish priorities as an ongoing system for
encouragement of quality arts and cultural development.
4.413.2: Encourage the development of Seasons of the Arts Festival(s).
4.413.3: Facilitate establishment of a technical assistance program to encourage
professionalism for arts and cultural groups.
E) Cullum/ Development and Marketing in Ssdons
As an extension of the City of Sedona, the Arts and Cultural Commission may provide
leadership, support and vision for cultural development and marketing In Sedona.
Objective 4.5A: Facilitate and strengthen communication and cooperation among the
various arts and cultural groups in Sedona.
4.5A.1: Act as a catalyst in working with the community to prepare a
comprehensive marketing plan for the promotion of Sedona's artists and
artistic offerings to the outside community, and for the attraction of new
residents talented in these areas.
F) Cultural Community Communications
Given the broad diversity of arts and cultural groups in Sedona and the many individuals
involved either on a professional, volunteer or personal basis, it is critical to establish
cooperation and communications among organizations for the overall cultural growth of
the community. The Arts and Cultural Commission can play a major role in establishing
and maintaining this communication.
Objective. 4.5B. Encourage regular communiques (e.g., newsletters, calendars, correspon-
dence, posters, etc.) to keep arts and related cultural gro
ups ps apprised
of programs and activities of common interest.
4.513.1: Work with the Chamber of Commence and other arts organizations to
develop Information items such as brochures, pamphlets, and booklets
which can be used to promote cultural activities in the Sedona Area.
4.5B.2: Assist the arts community in the development of a system of Infor-
mation klosks to disseminate awareness among visitors and residents
of current cultural events.
BRW/VS4 Sed a Community Plan
LLV--T101SED0N4_4.RPT 4-118
4.513.3: Encourage the development of a system of funding and technical
support to assist groups in planning and executing cooperative projects.
4.5B.4: Serve as a facilitator for resolution of any policy questions which may
arise at the interface between the arts and cultural community and the
City of Sedona.
4.58.5: Develop and maintain a community cultural calendar.
G) Funding of Cultural Groups and Community Projects
Effective performance of the Arts and Cultural Commission in carrying out its broad and
diverse activities defined in the Arts and Cultural Resources segment of the Sedona
Community Plan, and the Commission's implementation of its Long Range Plan will
require the expenditure of funds generated from a variety of public and private resources.
Objective 4.6A.• Monitor the availability of state and federal funding resources for the
arts and apply for grants, as appropriate, to support Sedona projects.
4.6A.1: Seek non -city public funds to support cultural projects in the
community.
Objective 4.6B. Encourage local public funding support for arts and cultural activities.
4.68.1: Establish a Percent for the Arts Ordinance.
4.613.2: Continue to seek funding support from the City of Sedona to
accomplish objectives recommended by the Arts and Cultural
Commission.
Objective 4.6C. Encourage private contributions to support arts and cultural activities
in Sedona.
4.6C.1: Establish a private .arts trust fund which will serve as a repository for
public and private funds, grants, wills and bequests which may, from
time -to -time, be realized.
4.4.5 IMPLEMENTATION PROGRAM AND GUIDELINES
The implementation Action Program for the Arts and Cultural Element of the Sedona
Community Plan is presented on Table 4-13, Arts and Cultural Implementation Action
Program.
BRWNSA
L 136-T i msEDom4-4. RPT
4-119
Sedons Community Plan
r: A
.4
The table Is presented under the following five headings:
Action Usts the action necessary to carry out the Community
Plan.
Purpose Identifies the Intent of accomplishing that particular
action.
Tlmehame Establishes the target 5-year priority within the 20-year
planning horizon for implementation of the action.
Initfatlon Assigns the elected or appointed public body, agency,
Responsibility group, Individuals or volunteers principally responsible to
Initiate the Implementation action.
Resources Usts the potential funding, City staff, volunteer or other
community resources necessary to carry out the
Implementation action.
The Sedona Arts and Cultural Commission, providing input to the Planning and Zoning
Commission, should review and revise the following Implementation Action Program on
an annual basis in order to continue to pursue implementation of the Sedona Community
Plan in an expeditious manner. The Directors of the City's Community Development and
Arts and Cultural Departments should monitor the status of each implementation action
throughout the year and provide a general recommended framework to the Arts and
Cultural Commission for annually updating the Community Plan's Arts and Culture
Implementation Guide.
BRWNSA
Mm-rtotsEvoN4-4.RPt
4-120
Sodom Community Plan
U%)0
i
O
a
c
0
c
Q �
a
c
J E E
co 2U
a
~ c
r
U
c
• to
Y
Q
um
0
5R.
Z
W
a
W
.J
a
cc
O
V
Q
Q
�i
E p
0
u
a
co
C
co
� E c
o - o
0.
i
s
Y
cc
c
U.
e
O
cc
F-
z
W
E
N
co
tO
a
c
o
us
va
v
a
a
W
�
�
c
v
C O
U.
� �
v
ri
m
P
r
V
1A
W
c
'1
H
.2 O
O
� N
ci
0
Q
m
�
Eiid
alogaC�a
1
1ca
c
E
c
to
N
1
ARTS AND CULTURE COMMISSION PRESENTATION
TO THE SEDONA CITY COUNCIL
Mr. Mayor, Council. Members - We want to thank you for this opportunity to
talk about the Arts and Culture Commission and Department and their roles.
Sedona, a place of business, a retirement and recreational haven, Sedona,
a place of peace, a place of beauty. Sedona, a place of security far from the
jungles of big city living. Sedona, an arts community with a rich cultural heritage.
Did all these marvels happen by accident? No! People --hard working, committed
people with careful planning, tremendous foresight --people with action, co-
ordination and dedication conceived and achieved this great community.
Since incorporation, this city, its citizens and our Council have always had a
vigorous approach to maintaining and pursuing an ideal quality of life for all who -
pass through it. The Arts and Culture Commission was created in 1988 by our
founders to foster culture and the arts for the benefit of all. It was charged with
cultivating Sedona's extraordinary potential as a center for arts and culture. What
has happened since that orginal charge was given? What is going on now? And
where are we going?
ARTS AND CULTURE ACCOMPLISHMENTS AND ACTIVITIES
The Sedona Arts and Culture Commission and the Department of Arts
and Culture work in concert to implement the City's programs for the benefit of its
citizens. Since its inception, more than 150 people have served as volunteers in
the Arts Education and Public Art Programs and on special committees and
projects. In addition, 31 titizehs have served on the Commission. The following are
the highlights of accomplishments since the City's incorporation in 1988.
The City's first arts program was the Education in Arts and Culture
Program. Over the past eight years this program has served Sedona's elementary
students with 82,000 student hours of hands-on art instruction, art appreciation.
55
Apr! Z 1907 0 L%A0W IACCWRESEN72CC
lectures, and musical and dramatic assemblies. One child in the program came
from another community where she'd lived in the same house since she was bom.
Until moving, she'd done well in school. Feeling uprooted, however, she withdrew
and her grades slipped. Bob and Lynn Gillman, drama coaches for the program,
noted -she was terrifically talented in drama. During acting classes other students
began to look to her leadership. Her teacher later advised the Gillmans that she
began making friends and her grades improved dramatically.
Several "Looking at Art" volunteers have remarked that children remember
artists whose work they have seen before. A second grader asked for work by
Escher, another for a painting by "that Cassatt woman." The works of Cassatt,
Picasso, Escher, Miro, O'Keefe, Van Gogh and cave art reproductions are
particularly popular.
In the Fund Development Program, we've received Locals Development
Grants from the Arizona Commission on the Arts for the past six years at the
maximum amount allowed for this size organization. A total of $75,800 has been
received since 1990.
To increase funding opportunities in Sedona, we founded the Sedona Arts
and Culture Endowment to provide grants for arts and cultural activities. And the
Department manages a Foundation and Corporate Giving Research Library,
used by artists and arts organization leaders to generate funding for projects and
programs.
Numerous artists, organizational leaders and others who have attended our
grant research and writing workshops and used the City's grant and funding
resource library have received grants. In addition, the Director has consulted with a
others who received fellowships or other project funding. The Director reviews
grant applications for clarity and completeness. We've found that a professional
review of a grant prior to submission improves its chance of being funded
dramatically.
In the field of Economic Development and the Arts: the Commission's
APM Z,107 // L%A0M*AACCV%SEN72CC 2
study of the "Impact of the Arts and Culture Industry on Sedona's Economy in
1997 showed an impact of more than 15 and a quarter million dollars. The
number and quality of arts events and arts businesses has only grown since that
time. In 1993, the National Endowment for the Arts and the Arts and Culture
Department co -sponsored a "`Local Arts Participation Study" which shows
Sedonans rank second of 12 cities studied in participation in such areas as jazz,
classical music, dance, theater and museum attendance. (Other cities studied
included Chicago, Winston-Salem, Las Vegas & Seattle.)
Sedona's Economic Development Plan was the first in Arizona to
incorporate its arts -related industry as a core element. The Plan designated the
City to form an Arts and Culture Cluster Team, which has been done. That
community -based team conducted surveys with artists and businesses this past
summer to clarify their needs, and is forming a strategic plan to implement
recommendations.
Again, on a more personal note: A local artist wanted to expand her
business but didn't know where to start. She attended workshops, had a one-on-
one consultation with Director McLeod, then created a business plan and found an
investor. This gave her time to paint more and to expand her line of greeting cards.
She is just one of many who have received similar services from the department
staff. In addition, the department regularly acts as a clearinghouse for businesses
to refer them to appropriate services to address their needs.
The Department manages an INFORMATION SERVICES PROGRAM which
has held twenty-two Technical Assistance Workshops covering such diverse
topics as grant writing, marketing and board development. Over the years, these
have been attended by more than 850 people. Organizations have used
information from these workshops to build larger audiences, create better
marketing strategies, and to go after sponsors, grants and other needed resources.
Among these organizations are: the Sedona Arts Center, the Sculpture Walk, the
Chamber Music Society, the Arts Festival, Jazz on the Rocks, the Cultural Park,
3 v
April Z,1907 H L%ADMNMACCVRESENMCC
Actor's Repertory Theatre of Sedona, the Gallery Association, Verde Valley
School, Omni Dance, Winged Fire, and Southwest Repertory Theatre.
A Master Events Calendar is distributed monthly to publishers throughout
Arizona as a resource to -Sedona area events. Our Directory of Artists, listing
nearly 500 literary, performing and visual artists, is used by citizens and visitors do
business with Sedona's artists. An Artist Newsletter, giving professional and
funding resources, information about workshops and other opportunities for artists
who work in every discipline is mailed every other month. And the Commission
meets periodically with interest groups to hear their wants and needs.
The ART IN PUBLIC PLACES began in 1992 when the Art in Public
Places Ordinance and Procedures were approved by City Council. The first Art
in Public Places Committee was appointed that November. Projects completed
include the Sedona Entry Sign, installed at West Highway 89A last July. In
February 1993, Sedona experienced devastating flooding along Oak Creek. To
help the community cope with its losses, the Art in Public Places Committee
commissioned artist Karen Licher to create the Sedona Flood Story, exhibited at
the Sedona Arts Center on the second anniversary of the flood. She donated a
mural to the City.
The first public art work, "Sedona Schnebly", was placed in 1994. Also in
1994, Sedona hosted the Northern Arizona Public Art Symposium to explore
the place of public art in communities. More than 100 participants from throughout
northern Arizona attended. Lastly, we are pleased to announce that artists have
been scheduled for exhibits in the Council Chambers through early 1998. Special
thanks go to Janice Hightower for arranging these exhibits.
SLIDES
1. A few of the publications of the Information resources program.
2. A community member who uses the funding resource library regularly for
to locate opportunities for a number of organizations.
3. The Funding Resource Library.
AprN z ,W? n ESENTZ.CC 4
ART WORK IN PUBLIC PLACES: The first slides are public art projects
coordinated by the City that are excellent examples of collaborative projects:
4. Entry Sign by Lauren Fancher and David Platt, commissioned by the City in
1996, at the western entrance to Sedona on West Highway 89A adjacent to
the Sedona Red Rock High School ball fields.
5. The Sedona Schnebly Monument by Susan Kliewer was donatedby the Red
Rock Arts Council. It is managed by the Department of Arts and Culture and
located at the Sedona Public Library.
6. The flood story exhibition by Karen Licher, at Sedona Arts Center.
7. The Mural, currently at the Arts and Culture office, will be on public display
8. at the new Council Chambers and Courtroom after the move next spring.
The next slides represent less than half of the privately owned works of art. placed
in public view for the enjoyment of Sedona's citizens and visitors. Most of these
have been placed since the city's public art program began.
9. "The News Boy" by James M. Muir, commissioned by the Sedona Red Rock
News.
10. "Voices in Stone," by Ken Ottinger at Hillside.
11. "Springtime," stone sculpture by Dan Newman at Los Abrigados.
12. "Dust of the Fur Trade" by Ken Payne, at Tlaquepaque near the Atrium
Restaurant.
13. "Boy and Frog" by Rosalind Cook at Hillside.
14. Abstract sculpture at Hozho.
15.- . "1 am. Standing,x bronze sculpture by Robert Holmes, Hozho.
16. Ceramic "Woman by Mary Margaret Sather, Garland Building.
17. "Sinagua," bronze sculpture by Susan Kliewer at Sinagua Plaza.
18. "Saguero' by James Lockway at Cheers.
19. "The Crown Dance" by Jim and Jerri Simpson at Southwest Inn.
The next works are privately owned works of art that have either been donated or
loaned to organizations that serve the public good.
20. "Endurance" by Shirley Thompson at the Sedona Medical Center
21. "Ruth' by John Waddell at the Sedona Medical Center.
22. "Angel of Courage" by Liam Herbert at the Sedona Medical Center.
23. "Merlin" by John M. Soderberg has been donated to the Sedona Cultural
Park and will be placed temporarily at the Sedona Red Rock High School for
enjoyment of the -students until the park is built.
The next two slides show a privately -sponsored sculpture and art garden.
24. Exterior sculpture garden at the Select Art Gallery.
25. Another view of the exterior sculpture garden.
The next slides show art work incorporated into the functional design of a building.
26. Artist.designed pillars at Cinedona Theaters.
27. Exterior pillar by Liam Herbert at the Sedona Recycling Center.
28. Hands and torch door pulls at the Agnisiuh Gallery, Hillside.
ARTS EDUCATION PROGRAM
29. In the City's Education in Arts and Culture Program, we work to provide
Sedona's children a chance to learn from working artists and to experience a
variety of art forms not taught in the schools.
30. Allison Williams, a noted local watercolor artist, has worked with this
program for eight years. In a 45 minute class, she demonstrates up to six different
painting techniques and then children practice these special effects.
31. Allison says, "I believe this program is so very vital to the children. It gives
the kids specific lessons in areas they don't get from their teachers, or at home.
32. Though these children experiment with boxed watercolors, few have the
opportunity to paint with good quality watercolors and paper. They are wide-eyed
at the colors they get by mixing just the 3 primary colors.
C. 00
AprN Z,1907 N LYMMOAACUMESENTIOC 6
33 & 34. But I believe the most important reason for this program is that these
children are realiv excited to see me come into their classes."
35. Doug Lonngren, a long-term actor and director, works with students on the
creative expression used in theater. Here the children are slowing down and
coming together.
36. They then work on physical balance.
37. A favorite exercise is building a machine where one child begins with a
sound and movement, and others join to build interdependent movement and
sound.
38. Another favorite exercise coaches children, divided into groups of three, to
create a "sphinx" --which answers a question. Each child supplies one word of the
answer, challenging partners both to listen to what others have said, and to be
creative in their own response.
39. Doug says, "The verbal activities I use have the benefit of exercising proper
sentence composition. After several meetings, a class typically shows noticeable
improvement in skills and involvement. Many times, the teachers took notes to
repeat activities later with their students." Letters Doug received from one of his
classes are displayed on the bulletin board.
40 & 41. Other Arts Education Program art forms include music, graphic arts,
dance, mask -making, fiction and poetry writing, and fiber arts.
,O Z M? n Lsar CC !
PARTNERS AT CORE OF CITY'S 1997 CULTURAL PROGRAMS
For Sedona's Arts and Culture Commission and Department, 1997 will be a
year of continuing to coordinate the partnerships cultivated over the past few
years. Among topics targeted are:
• stronger arts education for our children
• community partnerships in public art
• collaborations to build funding and other resources for the arts
• efforts to address economic issues in the arts industry
The following is an overview of actions proposed for 1997. A new Coalition
initiated by the City's Arts and Culture Commission and Department staff plans to
build opportunities for Sedona's children and youth so they can experience the
varied artistic disciplines. Ways for teachers to learn about using the arts in their
curriculum are also being explored. The Coalition includes representatives from
the Education in Arts and Culture Committee; School District teachers, staff and
board; Friends of the Arts; Southwest Arts in Action; and the Sedona Cultural Park
Center for Education and the Arts.
The Coalition is creating an Advisory Committee to improve coordination of
arts education efforts, to support each other's applications for funding and to
generate stronger .programs for students and teachers alike.
Community interest is strong in three public art projects slated for 1997. The
City's Art in Public Places Committee is holding a competition for the second of
Sedona's Entry Signs, to be installed at the Oak Creek Canyon entrance. The Jack
Jamesen Memorial. Parts, funded by the Jamesen Park Memorial Committee, is
slated to be dedicated in early 1997. The John Soderberg sculpture donated to the
public art collection by Shirley Caris will be placed here. Scheduled for late in
1997, a second park at Arroyo PiAon and 89A has generated interest from area
businesses and residents in becoming partners to build and maintain the park.
Funding and resources for the arts are a high priority this year. The Arizona
�z,W7nLcc 8 . ...
Community Foundation and the Greater Sedona Community Foundation are
working with the Commission to build the Arts and Culture Endowment to benefit.
Sedona-area arts activities. The Arizona Community Foundation has offered a
one-to-one match for funds raised during 1997. In the future, the fund will support
arts education and other cultural activities.
The Commission and the Sedona Public Library will partner again this year
to present grant funding and other technical assistance workshops for artists and
organizations.
As a core element of Sedona's economy, there is much interest in
addressing the needs of artists and the arts industry. As mentioned earlier, the
needs studies conducted in 1996 will form the basis for the action plan to
strengthen economic resources for arts businesses and artists. Among the
partners providing services in the coming year will be the Small Business
Development Centers, Yavapai College and the Sedona Main Street Program.
In addition, the department and Commission will research and apply for
additional resources for funding the City's programs.
We hope this gives you an idea of where we've been and where we are
going. We value our opportunity to act as a catalyst for improving the quality of life
and cultural activities in our City. We thank you again for meeting with us and are
looking forward to our dialogue with you today. Now I'd like to turn the podium over
to Loma.
0�3
APO Z 1W 0 Lcc 9
THE IMPACT OF THE
ARTS AND CULTURE INDUSTRY
ON THE SEDONA ECONOMY IN 1992
Sponsored and Compiled
by the
THE ARTS AND CULTURE COMMISSION
and
DEPARTMENT OF ARTS AND CULTURE
of
THE CITY OF SEDONA
of
•L:\PROGRAMS\ECONDEV\ECONSVY2.RPT
THE IMPACT OF THE ARTS AND CULTURE INDUSTRY
ON SEDONA'S ECONOMY IN 1992
TABLE OF CONTENTS
Page
Executive Summary ...........:...................................... i
THEREPORT ..................................................... 1
NON-PROFIT ARTS ORGANIZATIONS ............................ 3
COMMERCIAL ART GALLERIES
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
INDIVIDUAL VISUAL ARTISTS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
INDIVIDUAL PERFORMING ARTISTS ............................. 5
PERFORMING ARTS PRESENTERS ............................... 5
ACTUAL ARTS -RELATED IMPACT ON THE SEDONA ECONOMY AS
SURVEYED............................................ 6
PROJECTED ARTS -RELATED IMPACT ON THE SEDONA ECONOMY ....... 6
CONCLUSIONS
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 00 . . . . . . . . . . 7
Recommendations ............................................ 8
APPENDIX A: SURVEY CASE STATEMENT, COVER LETTERS &
QUESTIONNAIRES ....................................... 9
1992 GALLERY SURVEY ...................................... 12
1992 VISUAL ARTIST SURVEY ................................ 14
1992 PERFORMING ARTIST SURVEY ............................ 17
1992 ARTS ORGANIZATIONS AND GROUPS SURVEY ................. 20
APPENDIX B: METHODOLOGY AND EQUATIONS
. . . . . . ,. . . . . . . . . . . . . . . . .. . . . . . . : . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
APPENDIX C: RESPONSES OF NON PROFIT ORGANIZATIONS ............... 26.
APPENDIX D: RESPONSES OF ART GALLERIES
• . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
V 66
L:\PROGRAMS\ECONDEV\ECONSVY2.RPT
THE IMPACT OF THE ARTS AND CULTURE INDUSTRY
ON SEDONA'S ECONOMY IN 1992
APPENDIX E: RESPONSES OF VISUAL ARTISTS ...................... 32
ARTIST STATEMENTS TAKEN FROM QUESTIONNAIRES ............... 34
FINANCIAL STATEMENTS TAKEN FROM QUESTIONNAIRES ........... 36
APPENDIX F: RESPONSES OF PERFORNIING ARTISTS
.................................................. ....... 38
APPENDIX G: RESPONSES OF PERFORMWG ARTS PRESS ............. 41
APPENDIX H: EXPLANATION OFMULTIPLIER AND SECONDARY
SPENDING EFFECTS
.......................................................... 42
BIBLIOGRAPHY.................................................. 43
CITY OF SEDONA DEPARTMENT OF ARTS AND CULTURE
Mailing: P.O. Box 30002 // Street: 2940 Southwest Drive, Suite 7
Sedona, Arizona 86339
(602) 282-9738
DER
L:\PROGRAMS\ECONDEV\ECONSVY2.RPT
THE IMPACT OF THE ARTS AND CULTURE INDUSTRY
ON SEDONA'S ECONOMY IN 1992
Executive Summary
Although Sedona is celebrated for its arts, including its many galleries and artists and a variety
of public and performing arts events, very little has been known authoritatively about the
impact of the "Arts Industry" on Sedona's overall economy.
Are Sedona's various arts and cultural activities merely the caboose rumbling behind the twin
economic engines of real estate and tourism? Or, do they constitute an economic engine in
their own right whose potential has scarcely been tapped, and whose contributions to the
economy are not only significant now but could become pivotal in future years?
In order to address those questions, the Sedona Arts and Culture Commission, in late
December 1992, decided to survey the various members of the arts industry, on a confidential
basis. Spearheaded by Commissioner Bob Gillman and Lorna McLeod, Director of the City's
Department of Arts and Culture, the survey set out to calculate the size of the arts industry
and, using a methodology well tested in other communities, to project its impact on the total
economy.
Surveys were sent to the following groups:
22 non-profit arts organizations:
39 art galleries:
220 visual artists:
42 performing artists:
Phone surveys were conducted with 5 performing arts presenters:
Amount of Direct Economic Activity Reported by Surveys
Non -Profit Organizations
Art Galleries
Individual Artists
Performing Artists
Presenters
Total Direct Impact on the Local Economy
40 % responded.
35.9 °fib responded.
30 % responded.
11.9 % responded.
60 % responded.
_ $ 517,663
_ . 3,572,322
= 190879693
96,568
$5,396,186
L:\PROGRAMS\ECONDEV\ECONSVY2.RPT
THE IMPACT OF THE ARTS AND CULTURE INDUSTRY
ON SEDONA'S ECONOMY IN 1992
The following table shows the projections that were made of the total arts -related economy in
Sedona.
Non -Profit Organizations
= $190159226
Art Galleries
= 1097169966
Individual Artists
= 392639079
Performing Artists
= 96,568
Presenters
= 1349134
Total Projected Impact
= $1592259973
CONCLUSIONS:
This projection represents 8 % of Sedona's total economic activity as calculated from sales taxes
reported for calendar year 1992 by Eggert Economic Enterprises, Inc. (as reported in the Red
Rock News on December 31, 1993). It also represents 24% of the retail economy calculated
from the sales taxes reported during the same period. The arts -related industry is currently a
strong component of the Sedona economy and has become so even without major incentives from
the City of Sedona, the counties or the state.
There were no national grants, very limited state government grants ($12,184) and very few
substantial business contributions to the non-profit arts organizations in this community during the
surveyed year of 1992.
Volunteers provide a vital supplement to the expenses of arts organizations with more than 21,000
hours worked in 1992.
The average number of gallery visitors during slow months was approximately half of the
visitorship during the peak months.
Gallery patrons come from the following areas:
Local 7.5 %
Arizona 27.5 %
Out of State 61 %
International 4 %
Galleries use an average of 34 suppliers of which 13 (or just over 1/3) are Sedona suppliers. Total
dollar expenditures with suppliers in Sedona are just under 1 /3 of the dollars spent.
The commercial art galleries have a major impact on our local economy and yet the individual
.L:\PROGRAMS\ECONDEV\ECONSVY2.RPT
THE IMPACT OF THE ARTS AND CULTURE INDUSTRY
ON* SEDONA'S ECONOMY IN 1992
visual artists do not feel adequately represented and feel the need for additional space to present
their work to the art -buying public that is drawn to Sedona.
Sedona visual artists are not transient residents of Sedona. More than 90 % of the respondents
own or are purchasing their homes. 86 % of them work in home studios, 4 % rent a studio at an
average cost of $424 per month and 10 % have no studio. Their average household income is
$26,434, which is well above the national index for poverty level.
The surveys show most artists purchase a high percentage of their art supplies outside of Sedona.
There is a very small professional performing arts industry in Sedona. Any forecasts made using
existing local performing arts groups or organizations to help Sedona achieve a national arts
reputation would be highly overstated considering their current state of development.
RECOMMENDATIONS:
Since the non-profit arts organizations were shown to have no national grants and very limited
state government and business support, we recommend implementing a program to help the local
organizations develop the skills and techniques for generating these types of support monies.
Paid staff has been shown to maintain consistency in organizational management and fund-raising
efforts. Support from the City and other resources should be used to assist local arts and cultural
organizations in developing professional paid staff.
Local participation in performing arts series subscriptions is low. This may be because local
event producers have not developed the subscription -type programs that have been used
successfully in other communities. Technical support to develop this expertise would go far to
stabilize these groups.
Research should be done to determine how much money. is being lost from the Sedona economy
from galleries and individual artists purchasing supplies and materials from suppliers outside of
the Sedona area. A plan should then be developed to provide those services locally, wherever
possible, to help stabilize economic growth in this industry.
The Department of Arts and Culture should assist the community in developing a mechanism to
promote home studio tours of local artists. This project should be monitored to test its
effectiveness in generating buying customers for the local artist community.
rU70
L:\PROGRAMS\ECONDEV\ECONSVY2.RPT I11
THE IMPACT OF THE ARTS AND CULTURE INDUSTRY
ON SEDONA'S ECONOMY IN 1992
THE REPORT
Although Sedona is celebrated for its arts, including its many galleries and artists and a variety
of public and performing arts events,. very little has been known authoritatively about the
impact of the "Arts Industry" on Sedona's overall economy.
Are Sedona's various arts and cultural activities merely the caboose rumbling behind the twin
economic engines of real estate and tourism? Or, do they constitute an economic engine in
their own right whose potential has scarcely been tapped, and whose contributions to the
economy are not only significant now but could become pivotal in future years?
In order to address those questions and in response to a need for information about the
economic impact on Sedona from arts activities, the City of Sedona Arts and Culture
Commission and the Department of Arts and Culture, in 1993, conducted a multifaceted
survey that examined the impact of the area's non-profit arts organizations and events, art
galleries, individual artists in the visual and performing arts, and arts presenters on Sedona's
economy during the calendar year of 1992. From the responses of those surveyed, this report
projects the total impact the arts industry has on the local economy.
Excluded from the study due to time and planning limitations were the areas of cinema, film
making and audience spending. According to figures provided by the Chamber of Commerce,
film making in 1992 brought $3.2 million dollars into the Sedona economy. Audience
members of arts events represents another impact on the local economy that should be
researched.
The Sedona Tourist Survey, completed in 1990 by Research Advisory Services for the Sedona
Community Plan, surveyed visitors who stated they would spend approximately $235 daily
while visiting Sedona. Many of Sedona's arts organizations present events that draw audiences
from outside the community: These audiences represent another facet of the arts industry's
impact on the economy of Sedona. Bob Larson Jr., Red Rock News publisher, is quoted in
The Sedona Experience, the Sedona - Oak Creek Chamber of Commerce official publication,
that each tourist dollar turns over at least seven times. This represents a sizable impact on the
local economy.
The Arts and Culture Commission (ACC) instructed Commissioner Gillman to develop and
L:\PROGRAMS\ECONDEV\ECONSVY2.RPT
THE IMPACT OF THE ARTS AND CULTURE INDUSTRY
ON SEDONA'S ECONOMY IN 1992
process an economic survey. 'He recommended using the National Endowment for the Arts
economic survey model (Appendix B), developed 17 years ago, which has been used
extensively by communities nationwide since that time.
Survey questionnaires were developed for five segments of the local arts economy using the
recommended NEA model and modified for local use through discussions with the Director of
the Department of Arts and Culture and other arts leaders. Questionnaires were developed to
survey the non-profit organizations, commercial art galleries, individual visual and performing
artists and the performing arts presenters (See Appendix A for the surveys and their
accompanying cover letters). This survey did not include such arts -related businesses as art
supply stores, frame shops, art shippers, and other local suppliers. Economic impact from
these businesses is projected through the multiplier effect in this survey mode.
The surveys were conducted with the designated segments using lists assembled by the
Department of Arts and Culture, the Sedona Gallery Association and phone surveys. As
responses were returned, the financial numbers were compiled. The direct impact on the local
economy was calculated using the equations developed for the National Endowment for the
Arts by The John Hopkins University Center for Metropolitan Planning and Research. These
equations, plus relevant multipliers used in the 1990 revision of The Impact of the Arts and
Science Sectors on the Flagstaff Economy in 1988, were used to calculate a secondary impact
on the local economy. This secondary impact is defined as the effect of the initial dollar spent
on arts -related activities being respent in the local economy.
Everydollar spent in a local economy has a residual effect that leads to part of that dollar
being respent in the local economy again and again. This respending factor can be quantified
and is called a multiplier. We have used two multipliers in our calculations. The first
multiplier (Mp) represents the portion of the organizational expenses that are respent in the
local economy by the local vendors supplying goods and services to the arts organizations.
The value of this first multiplier was estimated to be 1.82 in the Flagstaff report. The second
multiplier (Mi) represents the portion of an individual's income that is respent in the local
economy by local vendors who provide goods and services for the individuals who are working
in the arts in Sedona. The value of this second multiplier. was estimated to be 2.857.
L:\PROGRAMS\ECONDEV\ECONSVY2."T 2
THE IMPACT OF THE ARTS AND CULTURE INDUSTRY
ON SEDONA'S ECONOMY IN 1992
NON-PROFIT ARTS ORGANIZATIONS
The survey developed for non-profit arts organizations was mailed to all twenty-two arts and
cultural organizations existing in the Sedona area in 1992. 8 responses, or 40 % of the total
sent, were received back. The range of organizations who responded was from a small club
to the largest organizations that have extensive budgets and professional staff. The responses
were determined to be broad enough to permit extrapolation for all, non-profit arts
organizations of Sedona.
Surveyed non-profit arts organizations had actual expenditures in the local economy of
$859645.
A second aspect of non-profit arts organizations that affects the local economy is payroll.
Those organizations surveyed have a total payroll of $213,600 for employees who primarily
live in Sedona. The direct effect of this payroll expenditure on the local economy is
$105,518, which was calculated by using the total payroll expense from the organizational
surveys factored by the percentage that local artists indicated they spend locally. This
percentage was used to calculate the local spending habits of non-profit employees because
these employees were not surveyed separately from the organizations they work for.
Projections for non-profit arts organizations were based on the premise that 40% of the total
organizations in the area responded and it was surmised half of the larger organizations had
responded. Reported expenses were therefor simply doubled which gave a reasonable
projection of the total economic activity in Sedona by ALL non-profit organizations.
The total projected direct economic impact by all non-profit arts organizations is $382,327, of
which $171,290 is through direct expenditures in Sedona and $211,037 are a result of
employee spending. The secondary impact is projected to be $632,999, of which $283,596 is
attributable to the organizations and $349,403 is attributable to their employees. Therefore the
total projected economic impact on Sedona by all non-profit arts organizations is estimated to
be $1,015,326.
COMMERCIAL ART GALLERIES
The art gallery survey was sent to all 39 galleries that were identified and classified as fine art
galleries by the Sedona Gallery Association. 14 responses, or 35.90% of the total surveyed,
were received back. Responses were from a variety of sizes of galleries. It was determined an
L:\PROGRAMS\ECONDEV\ECONSVY2.RPT 3
THE IMPACT OF THE ARTS AND CULTURE INDUSTRY
ON SEDONA'S ECONOMY IN 1992
effective projection could be made from these responses of the total impact the art gallery
industry has on Sedona's economic environment.
Surveyed art galleries had actual expenditures in the local economy of $898,721.
The second aspect of the art galleries that affects the local economy is their payroll. Those
surveyed have a total payroll of $1,027,000. The percentage of employees who live in Sedona
is 88%. The direct effect of this payroll expenditure on the local economy is $446,457,
calculated by using 88 % of the total payroll expense from the gallery surveys and again using
the percentage that local artists spend in the community to represent what the employees are
likely to have spent locally.
Projections for art galleries were based on the premise'that 35.9% of the galleries who
received the survey responded. An analysis of the galleries who responded indicated that they
represent an adequate cross section of the total possible range of gallery sizes. Therefore it
was determined that tripling the reported expenses would give a reasonable yet conservative
projection of the total economic activity in Sedona by all art galleries.
The total projected economic impact by art galleries is $4,035,534, of which $2,696,163' is
through direct expenditures in Sedona and $1, 339, 371 results from employee spending. The
secondary impact is projected to be $6,681,432, of which $4,463,901 is attributable to the
galleries and $2,217,531 is attributable to their employees.
Therefore the total projected impact by art galleries on Sedona's economy, including the
secondary influences, is estimated to be $10,716,966.
INDIVIDUAL VISUAL ARTISTS
The survey developed for individual visual artists was sent to the 220 artists on the mailing list
of the City of Sedona Department of Arts and Culture. 66 responses, or 30 % of the total
number surveyed, were received. Responses ranged from artists who did not sell their art
work and classified themselves as hobbyists to artists who sold in excess of $100,000.00 of
their art work on average per year for the past five years. This range permits an effective
projection of total economic impact for the 220 visual artists that initially were sent the survey
and the total number of visual artists in the community (estimated to be more than 400 by
Department staff working on the City's Artist Registry).
Surveyed visual artists had a direct impact on the Sedona economy of $409,577.
L:\PFDGP.W\EC0NDEV\EC0NSVY2. "T 4
THE IMPACT OF THE ARTS AND CULTURE INDUSTRY
ON' SEDONA'S ECONOMY IN 1992
The artists who responded represented 30 % of the 220 artists surveyed. By tripling the amounts
indicated in the responses a conservative yet effective extrapolation of the total impact of visual
artists on Sedona's economy would be gained.
The projected impact by visual artists on the Sedona economy is $1,228,731. The total economic
impact attributable to visual artists with a secondary impact of $2,034,348 would be $3,263,079.
If in fact, the true number of visual artists living in Sedona is closer to 400 people, the projected
impact would increase to over $5,000,000. (See Appendix E for further survey details.)
INDIVIDUAL PERFORMING ARTISTS
42 surveys were sent to performing artists. Only 5 responses, or 11.9 % of the total sent, were
received back. This is not enough to give a statistically viable projection on the economic activity
for this category.
The direct economic impact of the performing artists who responded was $36,363. This number
was adjusted to factor out the effect of one response which reported a $90,000 annual non -salary
income which would have skewed the direct impact unrealistically. The total impact of those
responding with the secondary economic influences calculated was $96,568.
For the purposes of the overall study, the actual survey results in this category, not projections,
were used.
PERFORMING ARTS PRESENTERS
Additional research to document performing arts activity in Sedona identified five entities that
presented performances on a regular basis to the Sedona community. Of the five presenters
identified, three responded. One of the presenters who responded did not contribute any financial
information. Of the two presenters responding with financial information, one was larger and
more active and the other much smaller. They seem to represent the majority of professional
performing artists presented in Sedona. There are a number of venues that permit artists to
perform at their facilities but which are not organized in a manner that indicates they are active
presenters.
The direct impact of expenditures by surveyed performing arts presenters on the local economy is
$67,000. The total impact directly attributable to the direct expenditures of arts presenters with
the secondary economic influences calculated is $121,940.
L:\PROGRAMS\ECONDEV\ECONSVY2.RPT 5
THE IMPACT OF THE ARTS AND CULTURE INDUSTRY
ON SEDONA'S ECONOMY IN 1992
Due to the limited number of performing arts presenters, the projection is based on the actual
figures plus 10 % of the amount reported to indicate the activities of casual performing arts
presenters. The total projected direct economic impact by performing arts presenters is $73,700
and the total projected impact on Sedona's economy by performing arts presenters, including
secondary economic influences, is estimated to be $134,134.
ACTUAL ARTS -RELATED IMPACT ON THE SEDONA ECONOMY AS SURVEYED
The total direct arts -related impact on the Sedona economy is calculated by using the formulas
described in Appendix B. The results of the calculations is laid out in the following table:
Amount of Direct Impact Reported
Non -Profit Organizations
= $ . 1919163
Art Galleries
= 193459178
Individual Artists
= 4099577
Performing Artists
= 36,363
Presenters
= 67000
Total Direct Impact on the Local Economy
= $290499281
PROJECTED ARTS -RELATED IMPACT ON THE SEDONA ECONOMY
The following table shows the projected arts -related impact on the economy in Sedona.
Non -Profit Organizations
Art Galleries
Individual Artists
Performing Artists
Presenters
Total Projected Impact
$ 3829227
4,035,534
= 192289731
36,363
$597569555
i,:\PROGRAMS\ECONDEV\ECONSVY2.RPT 6
THE IMPACT OF THE ARTS AND CULTURE INDUSTRY
ON SEDONA'S ECONOMY IN 1992
Based on these figures, the secondary impact projections were as follows:
Non -Profit Organizations = $ 632,999
Art Galleries = 696819432
Individual Artists = 290349348
Performing Artists = , 609205
Presenters 600434
Total Projected Secondary Impact = $994699418
Therefore, the total projected primary and secondary impact of the arts industry on the Sedona
economy is in the neighborhood of $15,225,973.
CONCLUSIONS
This projection represents 8 % of the total economic activity as calculated from sales taxes
reported for calendar year 1992 by Eggert Economic Enterprises, Inc. (as reported in the Red
Rock News on December 31, 1993). It also represents 24% of the retail economy calculated
from the sales taxes reported during the same period. The arts -related industry is currently a
strong component of the Sedona economy and has become so even without major incentives from
the City of Sedona, the counties or the state. There are, however, significant areas in which this
industry can use development and stabilization assistance.
There are no national grants, limited state grants ($12,184) and few substantial business
contributions to this community's non-profit arts organizations during the surveyed year of 1992.
Volunteers provide a vital supplement to the expenses of arts organizations with more than 21,000
hours worked in 1992.
The average number of gallery visitors during slow months was approximately half of the
visitorship during the peak months.
Gallery patrons come from the following areas:
Locai 7.5 %
Arizona 27.5 %
Out of State 61 %
International 4 %
Galleries use an average of 34 suppliers, of which 13 (or just over 1/3) are Sedona suppliers.
Total dollar expenditures with suppliers in Sedona are just under 1/3 of the dollars spent.
L:\PROGRAMS\ECONDEV\ECONSVY2.RPT 7
THE IMPACT OF THE ARTS AND CULTURE INDUSTRY
ON SEDONA'S ECONOMY IN 1992
The commercial art galleries have a major impact on our local economy and yet the individual
visual artists do not, as a whole, feel adequately represented and feel the need for additional space
to present their work to the art -buying public that is drawn to Sedona.
Sedona visual artists are not transient residents of Sedona. More than 90 % of the respondents
own or are purchasing their homes. 86 % of them work in home studios, 4 % rent a studio at an
average cost of $424 and 10% have no studio. Their average household income is $26,434 which
is well above the national index poverty level.
The surveys show artists purchase a high percentage of their art supplies outside of Sedona.
There is a very small professional performing arts industry in Sedona. Any forecasts made using
existing local performing arts groups or organizations to help Sedona achieve a national arts
reputation would be highly overstated considering their current status.
Recommendations:
Since the non-profit arts organizations were shown to have no national grants and limited state
government and business support, we recommend implementing a program to help the local
organizations develop the skills and techniques for generating these types of support monies.
Paid staff has been shown in other areas to maintain consistency in organizational management
and fund-raising efforts. Support from the City and other resources should be used to assist local
organizations in developing professional paid staff.
Local participation in performing arts series subscriptions is low. This may be because local
event producers have not developed subscription -type programs used successfully in other
communities. Technical support to develop this expertise would go far to stabilize these groups.
Research should be done to determine how much money is being lost from the Sedona economy
by galleries and individual artists purchasing supplies and materials from suppliers outside of the
Sedona area. A plan should then be developed to provide those services locally, wherever
possible, to help stabilize economic growth in this industry.
The Department of Arts and Culture should assist the community in developing a mechanism to
promote home studio tours of local artists, This project should be monitored to test its
effectiveness in generating buying customers for local artists.
r 78
L:\PROGRAMS\EC0N0EV\EC0NSVY2.RPT 8
ATTACHMENT. 4
CITY OF CHINO
079
•
D
Ar'R - 91997
CITY 4F LA QUINTA
CITY MANAGERS DEPT.
Cultural Programs and Facilities Plan
for the
City of Chino, California
by
Kennedy & Lutz, Santa Monica
Jerry Willis, Pasadena
September, 1987
TABLE OF CONTENTS
Introduction
Methodology
Background
Program Recommendations
Facilities Recommendations
Resources.
Addenda:
A.
B.
C.
Cultural Resources Inventory
Cultural Arts Questionnaire Results
List of Contacts
Page
1
3
8
17
48
69
70
75
77
INTRODUCTION
The following "Cultural. Programs and Facilities Plan for the
City of Chino, California," was prepared by the Santa Monica -
based arts consulting firm of Kennedy & Lutz, according to
the terms of an agreement with the Recreation and Community
Services Department of the City of Chino. The agreement to
carry out a cultural planning process is the result of two
factors: the Recreation and Community Services Department's
interest in formulating an arts plan for the City of Chino,
and the longstanding community interest in developing a
performing arts facility in Chino. In addition, the current
activities of the Chino Redevelopment Agency include a market
study and economic analysis of the Civic Center area toward
the goal of reinforcing the existing civic center with
additional uses and facilities, including cultural facilities.
The recommendations contained in this "Cultural Programs and
Facilities Plan" will be considered by the Chino Redevelopment
• Agency in the formulation of the Civic Center area redevelopment
plan.
The "Cultural Programs and Facilities Plan for the City
of
Chino, California,"
.contains a discussion
and assessment
of
community needs and
desires in the arts,
recommendations
'for
cultural programs to be implemented by
the City of Chino,
recommendations for
the development of cultural facilities,
and an inventory
of existing cultural
organizations
and
facilities. Program and facilities recommendations are
presented for a five year time frame, with the understanding
that some of the program recommendations are immediately
achievable while others are contingent upon the development
of new cultural facilities. Each of the program discussions
contains information about timeline and cost and budget
considerations. The facilities section includes analyses of
current and projected facilities needs, recommendations for
cultural facilities development to meet those needs, a
discussion of the market potential for cultural- facilities
in Chino, and a discussion of issues pertaining to the operation
of any proposed cultural facilities.
-2- 083
METHODOLOGY
The methodology employed by Kennedy & Lutz in formulating this
"Cultural Programs and Facilities Plan for the City of Chino,
California", can best be characterized as a community -based
needs assessment. The methodology is designed to elicit the
views, comments, concerns, and desires of the broad community,
and to formulate recommendations based upon a thorough
understanding of and respect for the unique attributes of the
Chino community.
In order to identify arts and cultural facilities needs in
the City of Chino, Kennedy & Lutz began Phase One of the
planning process in May, 1987, by reviewing existing materials,
plans, data, and research about cultural issues in Chino as
well as general information about the Chino community. These
materials were furnished by the City staff as background
information for the assessment of program and facilities needs.
Included in the consultants' review were materials about
Recreation and Community Services Department programs and plans,
including materials about cultural planning issues; materials
about the Chino Community Center Corporation; previous
facilities plans;Redevelopment Agency materials; and economic
and demographic data. On May 29, Kennedy & Lutz met with staff
members of the Recreation and Community Services Department
for obtain additional background information, to discuss their
interest in the development of cultural programs and facilities,r
-3- 084
and to plan interview and meeting schedules and information
gathering. On June 15, 17, 30 and July 15, Kennedy & Lutz
interviewed community leaders in Chino to determine present
and future cultural issues in Chino, to identify cultural needs
and. resources, and to discuss cultural facilities needs and
options. Those interviewed included community and church
leaders, elected officials, City staff, educators,
representatives of the Chino Recreation and Community Services
Commission, Chino Community Center Corporation board members,
local citizens involved in the arts, local busine'ss people,
and representatives of the Arts Foundation of San Bernardino
County. Input from the broadest possible representation of
the Chino community was sought. In addition to in -person
interviews, telephone interviews were also conducted with
additional individuals.
From mid -June to mid -July, a Cultural Arts questionnaire was
distributed to area residents through a variety of means,
including distribution at City sponsored classes and events,
at service club meetings, and at other public events (see
Addendum). One hundred and eighty (180) survey forms were
returned. The survey was designed- to elicit information from
the community -at -large about their current leisure activities,
including cultural activities, and about their perception of
the availability and/or need for cultural activities and
facilities in Chino. The survey was not intended to be a
scientific instrument which would yield statistical data, but
rather to furnish more general information about community
i ntArAQta anti trEanAa _
During the same time period, Jerry Willis, an associate of
Kennedy & Lutz, visited existing cultural facilities in the
Chino area, meeting with representatives of those facilities
and determining the current and potential market and use
patterns of those facilities.
As a result of this process of identifying the cultural
resources and needs of the Chino community, Kennedy & Lutz
developed an initial listing of six program and facilities
goals for adoption and implementation by the City of Chino.
These goals, which were outlined in the "Phase One Report,"
included the following:
• To assume the leadership role in the
provision of cultural programs and amenities
for the citizens of Chino.
• To sponsor events and programs in which
Chino's citizens, especially families,
can participate and attend.
• To provide opportunities for Chino's young
people to develop awareness of and
appreciation for the arts through
participation in cultural programs.
• To preserve the strong ethnic cultural
traditions of Chino and to foster awareness
086
SM
and appreciation of those traditions among
the entire Chino community.
• To use the arts to foster a sense of
community awareness, of pride, of place,
and of the cultural expressions of the
community.
• To construct a community/cultural center.
These six goals were the focus of Kennedy & Lutz's attention
during Phase Two of the planning process. The purpose of Phase
Two was to design City programs and activities to meet the
cultural needs and goals in these six areas. Also,
recommendations for administrative and funding mechanisms to
implement these programs were a part of this phase of the
planning process.
In order to begin the process of encouraging discussion and
determining concensus in the community concerning these goals,
two meetings were held during August, 1987. The Chino
Recreation and Community Services Commission met on August
10 to review, discuss, and hear public comment on the "Phase
One Report," as presented by Kennedy & Lutz. This meeting
was -followed by a workshop on August 24 of the Chino Recreation
and Community Services Commission and the.Chino Community Center
Corporation. This workshop included presentations by City
staff and Kennedy & Lutz, as well as an in-depth discussion
087
of the recommendations contained in the "Phase One Report."
In addition to the two meetings convened to discuss these six
areas of possible., programming by the City of Chino, Kennedy
& Lutz researched cultural programs and facilities in other
cities. The purpose of this research was to determine if there
are existing programs or facilities which could serve, in part
or in entirety, as models for Chino.
All input received by Kennedy & Lutz from these. individual
interviews, group and public meetings, telephone interviews,
survey forms, site visits, and research functions forms the
basis of this "Cultural Programs and Facilities Plan for the
City of Chino, California."
088
BACKGROUND
Cultural planning for cities large and small is a relatively
new phenomenon, but one which has established the arts among
the basic services many cities provide. The range of services,
programs, facilities, and means of support is -widely varied,
and is shaped by the unique needs, interests, and
characteristics of each community. It has become one of the
hallmarks of an enlightened municipal government to offer its
citizens opportunities to enrich their lives, their families,
and their community through participation in cultural
activities. Further, as Americans become more involved and
interested in the arts, as leisure time and dollars increase
for many, as -the media encourages a broader knowledge of the
arts, and as increased mobility promotes a greater understanding
of the cultural resources available in other communities, many
individuals and communities desire and expect that the arts
are an essential part of their community life. With its
decision to enter into a formal cultural planning process for
its community, the City of Chino joined with the many cities
throughout the country that have determined that the provision
of. -cultural opportunities for its citizens is appropriate and
important. That 'decision is. one wholeheartedly supported by
the survey respondents - not only did every individual who
was interviewed indicate his/her support of increased cultural
opportunities, only 2 of the 180 survey respondents answered
"no" to the question "Do you agree with the City of Chino's
-e- 089
interest in developing additional cultural and arts programs
and facilities?"
It is useful here 'to clarify what is the intended meaning of
the terms "culture," "art," and "cultural arts," as used
somewhat interchangeably in this report. For the purposes
of planning for the assessing a cit.y's "cultural" role, the
broadest interpretations of the terms are used. "The arts,
from recreational to highly specialized and disciplined, include
expressions of the heritage and values of our community and
society, individually and collectively. Taken collectively,
these expressions are our culture." (Kresberg, p.4) Included
are avocational pursuits of an art form, ethnic and folk arts
such as folk dance and musical ensembles, and festivals which
include crafts, dance, music and other community events, as
well as participation as performers, exhibitors, or audiences
in cultural activities which demand the talents and dedication
of professional artists. That is, those activities which
promote the understanding and awareness of beauty, of artistic
excellence, and of traditional and indigenous art forms all
fall within the realm of culture.
Interest in cultural pursuits is not new to Chino. The many
ethnic folk dance and music ensembles, the historical sites
and museums, the community theater, the Art Association
activities, commercial dance studios, and the Centennial events,•
among others, attest to a longstanding and growing participation
in cultural activities. Survey respondents indicate that in
090
MM
addition to participating in City sponsored cultural classes
and events, many attend cultural events outside of Chino, in
Orange, San Bernardino, and Los Angeles counties. Since 1976,
Chino Community Center Corporation, a private nonprofit
organization,. has supported the development of a
community/cultural center.
The Chino Community Center Corporation has also assumed what
is often a municipal role in providing financial support to
arts activities in the community. In turn, the City, through
its Recreation and Community Services Department, has supported
the efforts of the Chino Community Center Corporation through
staffing assistance and through general support of its 'goals-.
The City has also fostered the establishment and development
of the Chino Community Theater. Further, the City has become
the leader in providing opportunities for cultural participation
through sponsorship of classes, concerts, films, and other
community events.
• To be effective, cultural planning must not only consider
current cultural resources but must also be viewed within the
larger context of community issues, trends, and interests.
In Chino, there are five community issues which form the initial
basis.for program and facilities recommendations:
1. Changing Demographics
With the availability of affordable housing, proximity
to freeways, central location, attractive rural setting,
and an increase in area employment opportunities, the
City of Chino and the Chino Valley are growing rapidly.
In 1970, Chino's population was 20,411. In 1985-86, the
population was 49,700. Projections for the year 2000
range. from 90,000 to 96,000. The Chino Hills, .an
unincorporated area of San Bernardino County adjacent
to Chino, is growing at an equally impressive rate, with
an expected population of 100,000 at the turn of the
century.
The Chino Hills figures are included here in the
recognition that residents of the Chino Hills constitute
a potential audience for cultural programs and activities
in the City of Chino. Many of the new residents can be
characterized as young families with children, with a
median family income significantly higher in Chino than
in other parts of San Bernardino County. .
With the change in demographics comes a change in the
needs and expectations of the community. Many of the
new residents have moved to Chino from communities in
which cultural opportunities were many and varied. Their
future interest in Chino includes an interest in having
those opportunities readily available to them and their
families. That so many Chino residents commute to their
jobs and therefore have little desire to commute for
leisure activities is a factor in favor of offering
programs and activities close to their homes. The large
number of youth, as evidenced by the growth of the Chino
Unified School District, offers another potential
population in need of cultural activities. National
studies conclude that the primary audience for arts events
are those in the 35-49 age bracket. While at present,
Chino's population is predominantly younger, by the year
2000 it is projected that the largest segment of the
population will fall into that age bracket. At the same
time, those under 20 years old are\the largest "consumers"
of cultural classes and other participatory activities,
which. constitutes an immediate market for programs in
Chino. The high median family income indicates a larger
"leisure dollar", which again is a positive factor when
assessing cultural development. The increased population
also provides Chino with a new cultural opportunity.
Programs, services, and activities which would not be
cost effective in a community with a population of 20,000
may be so in a community of.49,000, or 96,000.
2.. Community Redevelopment
The current focus of the Community Redevelopment Agency
in the Civic Center area provides potential new
opportunities for the development of cultural programs
and facilities. The Community Redevelopment Agency has
authorized a report which is presently in progress to
study the Civic Center area toward the goal of reinforcing
the existing Civic Center with such additional uses as
a cultural center, among others. Potential inclusion
in the redevelopment program would have a profound impact
upon the development of a cultural/community center.
Among the conclusions drawn by Economic Research Associates
in their 1981 "Market Feasibility of Chino. Community
Center" was the strong concern that the cost of a new
facility, including land acquisition and construction,
was not justified by the level of use and market support.
Should a cultural/community center become part of the
redevelopment plan, some of those costs of both land
acquisition and construction could be ameliorated. Neither
the ERA study nor present research efforts have found
there to be available resources within the community to
construct a facility through private financing, and
therefore potential public sources, such as through
redevelopment, become the major option.
3. The City's "Center"
�As the City of Chino has grown, its boundaries, traditional
traffic patterns, downtown land uses, and services have
changed, creating for many the sense that Chino is a town
without a "center." At the same time, the rapid growth
jeopardizes one of Chino's greatest assets,. its small
town atmosphere. and warmth. 094
-13-
Chino has begun to address the importance of a physical
town center through its redevelopment plans, which include
further development of the Civic Center area. Through
sponsorship of•programs and events such as the Centennial
celebrations, Chino is also addressing the need for the
sense of community -wide events and shared experiences.
Cultural amenities have traditionally provided a focal
point - both tangibiy and intangibly - for many communities
throughout the country. Programs designed to bring people
together in enjoyable activities and in shared celebration,
and facilities which exemplify a community's commitment
to its citizens, which welcome and encourage people to
participate, and which provide a community meeting place,
oftentimes engender a sense of community sharing and
community pride. For many communities, cultural programs
or facilities become a symbol of the community's values,
aspirations, and identity, providing a focus for social
interchange, a showcase for community talents and
resources, and a center for community life. The sense
of ownership and of group participation and celebration
is one 'which the City of Chino can -create through careful
planning.
4. Cultural Preservation
Chino is a community with strong ethnic communities and
traditions. Those communities - the Portuguepe, Basque,
095
-14-
Hispanic, Dutch, Swiss, and many others - are Chino's
heritage.
To insure that its heritage and "roots" are nurtured and
preserved is one of the primary goals of most communities.
Through programs designed to encourage and foster ethnic
cultural traditions and the awareness of those traditions,
cities can play a strong role in preserving and building
upon their pasts. The many folk dance groups, music
ensembles, square dancers and others which make up Chino's
indigenous culture need performance opportunities and
places in which to perform in order to thrive and create
an appreciation of Chino's roots among the larger
community.
5. Interest in Cultural Activities
As stated earlier, both. the survey respondents and the
Chino community members who were interviewed as part of
this study expressed significant interest in cultural
activities. Not only did they agree with the City of
Chino's interest in developing cultural and arts programs
and facilities but they also indicated a relatively high
degree of current personal involvement in the arts. For
example, 31% of the respondents indicated that they
attended both community and professional theater
performances, 16% attended dance concerts, and between
10% and 25% attended musical events (ranging from classical
-15- 096
to pop, rock and country music). In addition, 12% of
the respondents noted that they attended visual arts
exhibitions.
The majority of respondents indicated that they did not
feel that there are enough Children/Youth cultural and
arts activities available to them in Chino. In response
to the question "What would you like to have offered in
these areas?", the range of answers indicated that
increased arts activities of all kinds would. be welcome.
The factor prohibiting the largest number of respondents
from more extensive participation in the arts was
involvement in activities with family and friends; the
second two most popular responses were "lack of
performances and exhibitions to see" and "lack of
facilities in which to perform or- exhibit." When asked
for additional comments about restrictions on participation
in the arts, the vast majority of respondents indicated
that a lack of time is the prohibitive factor.
While the programs sponsored by the City of Chino cannot
fully address issues of time or other commitments, it
is conceivable that, approached properly, cultural
activities may•become more integrated into community life
and might therefore become a greater priority for
residents. Aside from those two issues, the City of Chino
is in the position to address the other community concerns
about cultural development through new and expanded arts
programs and facilities.
-16- 097
PROGRAM RECOMMENDATIONS
Based upon information gathered in interviews and meetings
and on survey forms, it is clear that there is an immediate
need and desire for increased cultural opportunities in a number
of areas. The initial goal addresses the City of Chino's role
in the provision of cultural programs. Presented first, this
goal provides the framework for the discussion of programs.
Four broad program goals have then been formulated, and each
is followed by a preliminary listing of specific program
objectives which address those goals. Some of these program
possibilities listed can be implemented with current resources;
others are dependent upon the development of new facilities.
\' This plan .assumes a six year period, with Years 1 and 2 for
planning, Year 3 for construction, and Years 4 and 5 for initial
programming in the facility. Year 6 is the first year of
stabilized operations; a Year 6-facilities budget is included.
There are also staffing, needs to be addressed in order for
program and facilities plans to be implemented. Staffing needs
for operat.ing the facility are outlined in the facilities
section. However, in the years preceding the completion of
the facility, a staff person whose job description includes
program and facilities planning, design and implementation
of programs which can take . place with facilities currently
available, and liaison with the community and the City for
cultural development is required. Ideally that person should
-17- 098
have a professional arts administration background. The staff
person would be part of the Recreation and Community Services
Department, and would report to the Manager of Recreation
Services under the general direction of the Recreation and
Community Services Department. The City of Chino may wish
to review the approach currently being taken by the City of
Cerritos towards a combined cultural programs, and facilities
staff position.
099
-18-
Goal 1:
That the City of Chino assumes the leadership role in the
provision of cultural programs and amenities for the citizens
of Chino.
A strong leadership position in cultural issues is a role long
embraced by many municipalities. The City of Chino has a unique
opportunity to foster cultural development in a community with
a strong cultural heritage but also with a rapidly expanding
and changing population.
With its dedication to quality of life issues, its commitment
to public service, and its desire and obligation to serve the
Chino community, the City of Chino can successfully shape
cultural policy in Chino through leadership, provision of
resources and services, and commitment to increased
opportunities for the community.
Objective:
A. To adopt a mission statement which will establish a
framework for cultural policy and development in the City
of Chino.
The mission statement will include the following elements:
• To support the cultural interests and
activities of the community.
6
• To create a diversity of quality cultural
opportunities for its citizens.
-19-
• To foster an awareness. and appreciation
of a variety of art forms and artistic
expressions.
• To provide a focus for community life and
community pride through cultural
experiences.
Responsibility:
The Recreation and Community Services Department and the City
Council adopt a mission statement. The Recreation and Community
Services Department will oversee the programs and services
which implement the mission statement.
Timeline: immediate
Cost/Budget Considerations:
There are no direct costs associated with adopting a mission
statement.
101
-20-
Goal 2:
That the City of Chino use the arts to foster a sense of
community awareness, of pride, of space, and of the cultural
expressions of the community.
Cities are defined not only by physical boundaries and
demographic statistics, but also by intangible elements - the
spirit, the traditions, and the "quality of life" factors
which together provide a sense of community life and vision.
For many cities, the arts are a major component of the
intangible life of the community. Cultural programs and
facilities often provide focus and identity. Minneapolis'
vibrant theater community,- Grand Rapid's identification with
its Alexander Calder Sculpture, Seattle's public art, Laguna
Beach and Santa Barbara's arts festivals, and Ashland, Oregon's
Shakespeare Festival are all examples of arts programs or
facilities which have become symbolic of the entire community.
For Chino, the availability of diverse events and new
opportunities will generate a new sense of the community, as
people join together in participating in or attending events.
The City can take the lead in encouraging, supporting, and/or
sponsoring community art interests in much the same way that
the City supports the Chino Community Theater. Public art
- that is, artworks placed. in public areas such as plazas,
parks, medians, and•public facilities - can also create a sense
of*pride in the community as well as a visual symbol. The
physical environment is of great concern to residents of Chino,
and public art is a logical extension of that concern. A
facility itself - a community center designed for cultural
102
-21-
use would be a new focus for Chino, and one which could draw
the community together.
Objectives:
A. To build a facility suitable for the presentation of
performing arts events under the most optimal circumstances
and for the display of visual arts exhibitions.
A facility designed to showcase the arts is. an expression of
Chino's commitment to offering new opportunities for its
citizens. As a community resource with the stated purpose
of serving Chino's residents, the facility will meet the goal
of fostering a sense of community awareness and pride. The
facility itself, as well as the new programs and activities
which will take place as a result of the facility, will identify
Chino as a community dedicated to and interested in cultural
development. Further, the facility may become a tangible symbol
for the City of Chino.
Complete functional and descriptive information about the
facility is included in the "Facilities Recommendations" section
of this report.
103
-22-
B. To explore the possibility of an "Art in Public Places"
program and to report back to the City Council with
possible recommendations.
Public art
programs, in
which
works of visual art
are placed
in public
places, have
been
established in many
communities
across the country. While for many localities, art is purchased
by general funds or through other line item budget sources,
those art purchases tend to be unusual or one-time expenditures,
often tied to the development of a new facility or space.
Those localities that have expressed interest in establishing
an ongoing program of purchasing art for public places, have
done so through the adoption of "Percent for Art" programs.
These programs are local ordinances or policies which mandate
that a fixed percentage of the costs of certain construction
projects be set aside for the acquisition of artworks.
Beginning with the Redevelopment Authority in Philadelphia
approximately 30 years ago, there are now over fifty such
Percent.for Art programs nationally at the city, county, state,
and federal levels. In proposing a Percent for Art program
for the City of Santa Barbara in 1982, the City's Visual Arts
Committee summarized well the reasons for the establishment
of
such
a public
art
programs'
a.
It
leads to
the
development of civic pride.
b.' It provides for the
residents and visitors.
enrichment of cultural life for
-23-
C. It improves the design quality of the city.
d. It provides a visual legacy for future generations.
e. It promotes public access to quality art as part of the
daily environment.
f. It provides support and encouragement for artists.
g. It can attract tourists which would increase business
in Chino.
Statements similar to these are the rationale for most Percent
for Art programs in existence.
In their most basic form, Percent for Art programs require
that the set -aside percentage funding be used to acquire artwork
for all public construction undertaken by the governmental
entity and that certain criteria and procedures be established
to select artists' proposed works for the designated
construction projects.
In this way, the locality is insured of a continuing source
of funding for public art, based upon the amount of public
construction undertaken.
The experience of public entities involved in Percent for Art
105
-24-
funding has shown that flexibility of the funding guidelines
is a critical factor in the success of a public art program.
Issues of "siting," that is, whether or not the artwork is
required to be placed on the site of the capital project or
whether the Percent for Art funds generated by a particular
construction project can be spent on artworks to be located
elsewhere in the jurisdiction; are among the most important
factors in designing a Percent for Art. ordinance. Two
California cities, San Diego and Santa Monica, have dealt
effectively with the problem of flexibility by freeing public
art projects from the constraint of placement at the site of
the capital project. In 1985.-86, San Diego projected Percent
for Art funding in the amount of $220,000; for 1986-87, Santa
Monica has $130,500 available.
Several California cities currently require private developers
to fund public art projects, as the potential funding from
the private sector far can exceed that from a city's treasury.
For example, Sacremento's two Percent for Art programs, City
of Sacremento and the Sacramento Housing and Redevelopment
Agency, have resulted in $685,571 being spent on 33 projects
since 1979. In addition to these requirements, private
developers who have construction projects in redevelopment
areas- are also required to allocate 2% of the construction
costs to acquire artwork. Also since 1979, this requirement
has resulted in seven projects totaling $1,121,499. The
potential for "significant" artwork has been clearly greater
in Sacramento from private funding than from municipal funding.
-25-
In Brea the City does not mandate, but rather encourages,
private developers to fund public art projects. Under the
leadership of the City Manager, the Community and Development
Services Department provides developers with criteria to use
in the selection and placement of art. Although not established
by ordinance and no fixed percentage is set, this program has
been successful in the installation of over forty public
artworks in private developments since 1975. The program is
consideredby Brea city staff to be a "partnership between
the private and public sectors".
In Beverly Hills, developers are required to spend between
and 1% of the costs of the development to acquire public
artwork. The developer chooses the artwork and its placement,
and then submits these selections to the Fine Art Committee
for approval (with right of appeal to the City Council).
Artwork may be on -site or off -site. Also, the developer may
opt to pay the City a fee in lieu of acquiring artwork. These
fees are then deposited into the City's Fine Art Fund, which
is used to commission public artworks. During the past 2�
years during which the Percent for Art requirement has been
in effect, five private developments have commissioned public
sculpture projects and four have paid the in -lieu fee. These
fee payments have to-taled $65,000, which will be used in support
of the City's proposed sculpture garden.
10"t
-26-
In Los Angeles' downtown redevelopment area, private developers
are required to spend 1% of the costs of construction toward
public art. Up to 60% of these funds may be used to acquire
on -site artwork, and at least 40% of these funds must be paid
to the Community Redevelopment Agency's Downtown Cultural Trust
Fund. A major difference between Los Angeles' program and
that of most other Percent for Art programs is that Los Angeles
also uses its funds to support arts programs, including the
Los Angeles Festival, cultural facilities development,
performing arts programs, and individual artists' projects.
Responsibility:
It is the responsibility of the Recreation and Community
Services Department to explore the possibility for a Percent
for Art program in Chino, and to report findings to the
Recreation and Community Services Commission and to the City
Council.
Timeline: Year 1 and 2
Cost/Budget Considerations:
Immediate cost considerations are of staff time only. Future
program costs will depend upon the type of funding mechanism
to be used.
-27-
C. To explore the development of a community chorus and
community orchestra.
Interest in a community- chorus and a community orchestra was
expressed by many Chino residents. A chorus and orchestra
would not only provide many residents with opportunities to
use their talents for the betterment of the . community, but
would provide the community with the ability to participate
as audiences as well. In much the same way that the City has
supported the Chino Community Theater, the City can take the
lead in facilitating the development of a community chorus
and orchestra. In meeting with interested citizens and
residents involved in music, the City staff would determine
the level of interest in a chorus and orchestra. If the
interest level warrants, the City could provide space on which
to rehearse, opportunities to perform, and staffing and
administrative resources to augment volunteer efforts.
Responsibility:
it is the responsibility of the Recreation and Community
Services Department to explore the development of a community
chorus and community orchestra.
• Timeline:
Initial exploration can begin immediately, as can provision
of administrative resources. However, rehearsal and performance
spaces may not be available in municipal facilities until the
108
-28-
facility is complete. The City r--y be able to assist in
locating temporary rehearsal space, and may be able to provide
performance opportunities at outdoor events and festivals.
Cost/Budget Considerations:
Immediate cost considerations are of staff time.
.-29-
Goa 1 3 :
To provide opportunities for Chino's citizens, especially
families to participate in and attend arts events.
Many respondents to the Cultural Arts Questionnaire, as well
as many of those individuals who were interviewed, indicated
that there are presently few opportunities for the Chino
community to participate in or attend cultural programs or
events. At the same time, many stated that they would
participate if opportunities were available. Participation
in the Centennial celebrations, the concert and film series,
and the Chino Community Theater attests to a growing community
interest in cultural development. Chino is a family -oriented
community, and therefore family -oriented programs, such as
film series, concerts, festivals, dance performances, fairs,
and exhibitions directed at family audiences would be
appropriate. Participatory activities, such as field trips,
crafts classes, holiday events, or a dance series with
professional musicians and a dance floor, are also in demand.
Both outdoor and indoor events are desirable. Included should
• be programs which showcase the talents of local citizens, such
as a folk dance festival featuring the many area• folk dancers,
as well as programs which bring in talented artists from
elsewhere for the enjoyment of the community.
The most appropriate role for the City of Chino at this time
is that of a "sponsor" of events, as ppposed to a "producer"
or "presenter". The role of the sponsor typically includes
scheduling, organizing, promoting, and coordinating functions
. -30- 1
for an event, that is, producing the event but not producing
the "art". A producing organization assumes the responsibility
for the artistic endeavor itself, including contracting with
individual artists, selecting the work to be performed, and
making all artistic and creative decisions. A presenting
organization brings touring artists and productions into a
particular space. The presenter pays the performers a fee
for their work, and through ticket sales, strives to cover
the cost of the initial investment and perhaps turn a profit.
The most prevalent role assumed by local government bodies
is that of a sponsor. Sponsorship allows control over the
event itself, i.e. the time, place, cost, but does not have
an artistic component which would require artistic staff (such
as directors, choreographers) or creative decisions (such as
the design of the set or the length of the First Act).
Sponsorship generally requires a financial investment most
often in terms of facilities use or other services. It also
allows the sponsoring organization to either determine the
content of the event, for example by specifying that the event
is to be geared for a specific age group, or to respond to
needs of a community organization, for example by sponsoring
the performances of the Chino Community Theater.
ill
-31-
Objectives:
A. To sponsor performing and visual arts programs for the
Chino community, with a special emphasis on family -oriented
events.
Chino currently does sponsor a number of events appropriate
for families, including the concerts in the park, the Chino
Community Theater, and the outdoor film series. Performance
events can highlight the talents of local performers as well
as bringing in artists from outside the community. Those
programs need to be maintained and expanded to include dance
events, fairs and festivals, and visual arts exhibitions.
Visual arts programs could include a community exhibition,
perhaps in conjunction with the Chino Art Association, as well
as student exhibitions. The City may wish to explore working
with the County Library and with area colleges and universities
to develop film series, once space is available.
Responsibility:
it is the responsibility of the Recreation and Community
Services Department to sponsor performing and visual arts
programs for the Chino community.
Timeline:
The City should continue its present programs of outdoor
performances and films; however, many of the programs listed
above will not be feasible until there is adequate performance
and exhibition space.
Cost/Budget Considerations:
In addition to considerable amounts of staff time, sponsorship
of events often includes both in -kind and other real costs.
Artists fees, rentals, and insurance are just some of the kinds
of costs that could be incurred, depending upon the complexity
of the event. However,. the City may also wish to investigate
the possibility of charging admission fees to events to offset
costs.
B. To sponsor art -oriented field trips.
The City's current program of field trips should be continued,
with renewed interest in art -oriented trips. The City may
wish to investigate offering trips at various times of day
and week to appeal to different segments of the community,
including family audiences.
Responsibility:
It is the responsibility of the Recreation and Community
Services Department to sponsor art -oriented field trips.
Timeline: Immediate and ongoing
-33- 113
Cost/Budget Considerations:
If well -attended, field trips can be self-sustaining.
C. To sponsor arts and crafts classes.
While the Recreation and Community Services Department does
currently offer arts and crafts classes, there is a demand
for more classes, for weekend classes, and for classes which
are more "art" oriented and less "crafts" oriented. While
space considerations are the major limitations for many types
of visual arts classes, other arts classes including some types
of theater and music classes, are less dependent upon the
availability of specific kinds of spaces and specific equipment.
Responsibility:
It is the responsibility of the Recreation and Community
Services Department to sponsor arts and crafts classes.
Timeline:
The City should continue its current program of classes,
expanding as space permits.
114
-34-
Cost/Budget Considerations:
Classes are structured so that a minimum attendance figure
must be met in order for the class to be held.
D. To investigate the possibility of bringing touring artists
and ensembles into the community for performances and
exhibitions.
Hiring touring artists' for performances and exhibitions in
a community, that is, "presenting" arts events, is a specific
program emphasis which demands professional staff experienced
in booking artists, adequate facilities, and promotion and
production skills. While presenters may elect to seek out
and select performers based upon their own experience and
criteria, most community based presenters make use of the many
resources available in California which assist communities
interested in bringing touring performances and exhibitions
to their local audiences.
The Touring/Presenting Program of the California Arts Council
helps bring performances of high artistic quality to audiences
throughout the state. Through publicity, financial subsidies,
and technical assistance, and through publication of an annual
Touring Directory, this program encourages professional
programming and presentations that might not otherwise take
place.
-35- �.�J
The annual roster of performing artists lists soloists, chamber
ensembles, and companies covering the full range of traditional,
contemporary, experimental, ethnic, and folk styles in dance,
music, and theater. These artists are chosen through a
competitive application and review process. The California
Arts Council may provide partial fee reimbursement.
A similar program is that of the Western States Arts Foundation,
whose roster and touring area includes the western United
States. Local programs, such as the Music Center on Tour
program and others, also publish artists rosters and can assist
with the mechanics of presenting a performance.
Responsibility:
The Recreation and Community Services Department may wish to
present events once facilities are available, or the. Chino
Community Center Corporation may wish, to realize its interest
in arts programming through presenting.
Timeline:
With very few exceptions, most high quality touring artists
require professionally equipped staging and exhibition areas.
Therefore, presenting touring artists is not a real possibility
until the facility is available in Year 4 and 5.
11r
-36-
Cost/Budget Considerations:
Presenting events can be an expensive undertaking which carries
an element of risk. Generally, ticket sales provide the revenue
to offset some of the cost of the event. If the event does
not "sell", the presenter must still pay the artists and all
associated expenses. The subsidies which are available through
programs such as the California Arts Council do offset some
of the costs, but the local presenter must still make an
investment.
117
-37-
Goa 1 4 s
To provide opportunities for Chino"s young people to develop
awareness of and appreciation for the arts through participation
in cultural programs.
While Chino's young people are afforded ample opportunities
to participate in sports, there are few available cultural
opportunities. Classes in the arts -dance, music, theater,
the visual arts - are the foundation of many cities' cultural
programs for youth, and should certainly be a major component
of Chino's program. Chino has a large youth population, as
clearly evident from enrollment figures provided by the Chino
Unified School District. While the schools provide some
cultural outlets for children, and while there are some
commercial arts classes available especially in dance and music,
there are not enough cultural opportunities available to serve
the large and growing youth population. The City can provide
high quality youth arts programs at reasonable costs to serve
many of the community's children. In addition to classes,
performances, and events specially designed for children, the
City can include specific activities for youth in other
City -sponsored cultural programs.
Special programs, often held in conjunction with festivals
and fairs, which encourage children to participate - instrument
making, mural painting, dance, crafts - serve as an introduction
to new possibilities. The possibilities for programs in the
arts are many, but must be approached with a sure sense of
the value, direction, and quality of the experience. A poor
118
-38-
experience in the arts is often more detrimental to long term
growth than no experience at all.
Objectives:
A. To sponsor arts classes and educational opportunities
for youth.
Arts classes for children include not only basic; sequential
skills classes in a variety of art forms taught by a qualified
teacher, but also a variety of other kinds of educational
experiences which teach appreciation of the arts or specific
skills and techniques.
Lecture/demonstrations and master classes, in which a
professional artist, - often available in conjunction with a
local concert or performance, conducts a one or two time
training demonstration in his/her art form, are highly
successful ways of encouraging young people to learn about
an art form, to participate, to acquire or refine their own
skills, and to meet a working artist.
Specialized youth arts programs are available to prospective
sponsors, such as the City of Chino, from a variety of sources.
Many arts -producing organizations, such as area theaters,
orchestras, and dance ensembles have created "outreach" programs
specifically designed for youth 'audiences. The programs are
available for a fee, . and oftentimes combine a performance with
an educational program. The Arts Foundation of San Bernardino
119
-39-
County has funded a variety of county organizations to provide
outreach services, as well as producing educational programs
of its own, such as the Arts Express. The Music Center on
Tour program of the Los Angeles County Music Center and the
Performing Tree program located in Los Angeles both provide
extensive arts programs for children which include training
and appreciation components. These programs are often sponsored
by the schools, but are also available to municipal governments
and community organizations. Many area museums have traveling
exhibits which can be brought into a community. . In addition
to the program resources which exist in the area, there is
the potential for financial assistance for special youth
programs. Both the California Arts Council and the Arts
Foundation of San Bernardino County fund youth programs. That
funding is awarded on a competitive basis, and is generally
not available for support of ongoing instructional classes.
Responsibility:
It is the responsibility of the Recreation and Community
Services to sponsor arts classes and educational opportunities
for youth.
Timeline:
The City should continue with its current youth classes, and
begin to investigate other resources with the understanding
that it may not be possible to offer many new programs without
-40- 112W 0
sufficient and adequate space.
Cost/Budget Considerations:
Sequential classes may be self-sustaining, based upon fees
assessed and the size of the class. Special educational
programs generally require a subsidy. That subsidy may come
from the City of Chino, the City may apply for funding from
the County or the State for specific programs, or the City
may elect to charge a minimal fee for participants.
B. To sponsor performances and exhibitions for children.
Performances for children - puppet shows, children's theater
and music, story telling, and dance, among many others, are
valuable ways of introducing children to the arts. Chino has
already shown its interest in children's performances through
its support of the children's theater projects of the Chino
Community Theater. As discussed above, many children's
performances also have participatory components, so that the
children share the artist's experience. However, whether the
program is a straight performance or whether it is
participatory, attendance at live performances for children
is often the first step towards appreciation of and involvement
in the arts. As listed above, numerous programs specifically
designed for children are available in Southern California.
In addition, there are a variety of funding sources available
to assist with underwriting programs.
121
-41-
Exhibitions of children's art work, either through a joint
program with the schools or as an independent program, is a
primary means of encouraging children's participation in the
arts. Thematic competitions and fairs also encourage children
to participate. In addition, traveling exhibitions for children
are available through area museums and organizations.
Responsibility:
It is responsibility of the Recreation and Community Services
Department to sponsor performances and exhibitions for children.
The City may pursue this objective acknowledging that at present
the facilities are limited; however, children's performances
are often successfully presented out-of-doors. Again, when
space is available, the opportunities to sponsor children's
performances will be greater.
Cost/Budget_Considerations:
High quality performances range in cost, depending upon the
number of performers and the nature of the production. In
addition, the City will incur the costs of promotion and
staging.
122
-42-
C. To sponsor Artist -in -Residence programs for children.
Artist -in -Residence programs, in which a professional artist
is engaged over a period of time to provide intensive training
in an art form or a craft, affords many of the same advantages
as lecture/demonstrations and master classes, but because of
the longer time commitment, maximize the potential benefit
for the children.
Artist -in -Residence programs provide a community a unique
opportunity to work closely with a professional artist. There
are a variety of resources available to assist communities
in structuring - an Artist -in -Residence program, but the
predominant program in this area is the California Arts Council
(CAC) Artists -in -Residence program. The CAC provides assistance
in structuring a residency program, as well as partial funding
for the residency. All residencies are a minimum of three
months, are locally designed, and require matching funds.
In addition to the CAC program, the Music Center on Tour program
also provides long term residency programs.
Artists -in -Residence programs emphasize long term in-depth
public participation in a creative process, and are individually
designed to address 'a specific interest or desire in the
community.
123
-43-
Responsibility:
It is the responsibility of the Recreation and Community
Services to sponsor Artist -in -Residence programs for children.
Investigation of Artists -in -Residence resources should begin
immediately. Depending upon the kind of residency chosen,
it may begin in the next program year or may be subject to
greater space availability.
Cost/Budget Considerations:
Artist -in -Residence programs can be partially underwritten
by the California Arts Council (funds awarded on a competitive
basis). If Chino chooses another means of structuring a
residency program, funds may be available from other sources
such as the Arts Foundation of San Bernardino County.
124
-44-
Goa 1 5 :
To preserve the strong ethnic cultural traditions of Chino
and to foster awareness and appreciation of those traditions
among the entire Chino community.
Chino's many ethnic communities are the source of many cultural
activities. Folk dance - Portuguese, Basque, Swiss, Mexican,
among others - is the predominant cultural expression of Chino's
ethnic communities; music performance is another important
creative outlet. These art forms represent Chino's heritage,
and must be preserved and supported for the community. It
is most appropriate for the City of Chino to support, foster,
and encourage these art forms as a means of protecting and
sharing this most unique aspect of Chino's history. 'Chino's
ethnic resources are recognized outside the community (through
a grant from the California Arts Council, the work of the
Portuguese Folk Dancers is being documented on film). The
City has the opportunity to make the achievements of these
organizations better known and recognized throughout the
community.
Objectives$
A. To make City facilities available for rehearsal and
performance of Chino's ethnic ensembles.
The availability of performance opportunities and the ability
to rehearse in appropriate facilities both exert strong
influence over the quality and viability of any performing
group. For Chino's many ethnic ensembles, these are critical
issues of cultural preservation.
Responsibilities:
It is the responsibility of the Recreation and Community
Services Department to work towards the preservation of Chino's
ethnic cultural traditions.
Until Year 4 or 5, the City will be.unable to provide rehearsal
space. Performance opportunities may come about more
immediately through festival or other outdoor events.
Cost/Budget Considerations:
The
cost
of making facilities available
will
vary according
to
the fee
scale determined by the City for
the
new facility.
B. To sponsor ethnic arts festivals which showcase the talents
of local ethnic organizations.
In some of the recent events sponsored by the City, such as
the Centennial celebration, area ethnic folk dance and music
ensembles have had major roles as performers. That these groups
are such an integral and large part of the Chino community
suggests that a festival or festivals specifically designed
to showcase these and other area organizations would lend much
126
-46-
needed visibility to ethnic organizations, would provide the
community with the opportunity to learn about, participate
in, and enjoy ethnic art forms, and because of the uniqueness
of the events, would attract audiences from a broad geographic
area. Festivals could include not only performances but
participatory activities, arts and crafts displays, and ethnic
food booths.
Responsibility:
It is the responsibility of the Recreation and Community
Services Department to sponsor ethnic arts festivals.
Timeline:
The City can begin immediately to identify and become familiar
with the needs of area ethnic organizations, and to begin
planning for outdoor festival events.
Cost/Budget Considerations:
Festivals are staff intensive, generally require rental of
various kinds of staging equipment, and demand a reasonable
promotion budget if the event is to be a success. However,
both the California Arts Council and the Arts Foundation of
San Bernardino County award funds `to festivals and the
multicultural events on a competitive basis. The City of Chino
may wish to pursue these outside funding options.
127
-47-
FACILITIES RECOMMENDATIONS
Background/Need
A review of the 1981 Economic Research Associates (ERA) "Market
Feasibility of Chino Community Center" Final Report yields
the following observation: "...ERA does not believe that the
level of demand for cultural activities will, in and of itself,
provide sufficient market support to justify the construction
of a facility designed for such use at this time." The research
conducted by Kennedy & Lutz would seem to indicate that there
is still some validity in the ERA statement if the facility's
focus is strictly a cultural one. However, Chino's rapid growth
in the past few years has brought to the community new citizens
who have new demands. Cultural activities and cultural
facilities have become an expected part of the life of these
citizens.
The 1981 ERA.Study, along with Kennedy & Lutz's current cultural
needs assessment, have demonstrated that while the citizens
of Chino actively engage in cultural activities, and would
like to see more such activities offered, Chino is cultural
facility poor. The destruction of the Chino High School
Auditorium in the early 1970's left Chino without an adequate
large performance space. The 50+ year old Community Center
Building, along with the D.E.S. Hall, currently house the
majority of cultural activities for the City. The Community
Building is in poor repair, and it is predicted t4at it will
-48- 128
require a major, costly renovation within the next decade.)
The D.E.S. Hall has a small stage. The Chino High School
Multipurpose Room, the other "major" performance venue in the
city, is, in fact, part of a cafeteria, and is the host to
many Chino High School student events.
None of these facilities was designed primarily for the
performance of music, dance or theater. Also, what space of
this type exists is generally old, run-down, poorly equipped
and not "comfortable." On the positive side,. the costs
associated with using Chino performance and meeting facilities
are very reasonable.
Kennedy & Lutz's interviews in the community also indicated
a great need for meeting rooms. Chino is a community of many
civic, social and ethnic organizations. These groups meet
regularly, and yet, within the. city limits of Chino, there
are no readily accessible comfortable and well equipped meeting
rooms. Therefore, many meetings take place by default in the
Community Building, or they are scheduled for hotel meeting
rooms in surrounding communities.
It appears that if a combined meeting/performance facility
were built, it would- be well used. However, it also appears
that such a facility would not generate enough earned income
to cover its basic operating costs because over 90% of both
the existing and predicted facility use involves activities
which draw between 25 and 400 attendees (with the "arts" users
129
-49-
not accustomed to paying equitable facility use fees). Given
these assumptions, it becomes mandatory in looking at a proposed
new facility's basic design to include as many opportunities
for diverse use as possible, thereby broadening the potential
for'use fee or rental income.
The concept of a combined community and cultural center is
suggested by all data examined and by the interviews which
have been conducted. A seating capacity of between 300 and
400 would cover present and future needs. Inclusion of meeting
rooms in the Center is a top priority. The City of Chino's
interest in expanding cultural opportunities in the City would
seem to require ' that the cultural side of the facility include
optimal conditions for the presentation of the performing arts
and the exhibition of the visual arts.
The proposed Chino Community Center will be fully equipped
for performances and for meetings. It will provide space for
visual arts exhibitions. It will include much needed rehearsal
space as well as a "black box" theater. The meeting rooms
can be used as classrooms for cultural, passive recreational
or educational programs, including those offered by Chino
Recreation and Community Services and university extension
programs. These same rooms could serve as craft work spaces.
A full -service kitchen and large foyer and patio spaces will
allow 300 seated people to be served. The Center will be able
to accommodate weddings, receptions, and formal dances. It
will be the site for touring regional performing artists.
130
-50-
Travel, adventure, and other film series will use the Center
as their home. Because the Center will be designed to support
a broad spectrum of cultural, social and business needs, it
will more than adequately satisfy both the long and short term
needs of the community. Such a flexible and versatile facility
would not only provide the much needed performance and meeting.
space, but it would also, by its very nature, foster additional
cultural activities.
Kennedy & Lutz encountered from several sectors in the
community, including some representatives of the Chino Unified
School District, discussions of the need for a relatively large
(2000-5000 seat) "traditional" indoor cultural facility. This
does not seem to present a viable or cost-effective alternative
for the following reasons:
• There is not a historically demonstrated
need from facility users for this larger
capacity venue. Only three such users
• currently exist, including the Miss Chino
Pageant, The Chino Unified School District
(commencements, staff convocations, and
major awards ceremonies),. and commercial
dance studios. However, even with the
addition of potential new users, such as
major cultural and commercial events, a
facility of this size would not be used
during most days of the year.
131
.-51-
• A facility of this size would require a
relatively large administrative/operational
staff, •the cost of which could not be
recouped from the level or type of potential
users.
• Many of the users of a smaller theater
facility, such as the Chino Community
Theater, could not use a larger facility.-
• A facility of this size would probably
interest area theatrical unions in
attempting to exert jurisdiction, which
could result in a substantial increase
in operating/presentation costs.
• Basic utility, maintenance, promotional,
and insurance costs would be a major cost
factor to the City.
While it is not within the scope of this study, the City of
Chino may wish to further investigate the possibility of a
regional ampitheater type of facility as a means of meeting
the need for a larger, multi -use space. A preliminary
discussion of an outdoor "Chino Pavilion" is offered at the
conclusion of these facilities recommendations.
132
-52-
Although it is evident that there are multiple community needs
and desires for cultural and community facilities, the majority
of these needs could be accommodated through the following
facility recommendation.
Goal:
That the City of Chino construct a Chino Community Center that
includes facilities for both cultural activities and meetings.
Elements of the Chino Community Center
The Chino Community Center will include the following features
that will allow for a wide variety of community and cultural
uses:
• A Theater which has 300 to 400 fixed seats,
a professional stage, and adequate stage
support areas.
• Video, Motion Picture, and Slide Projection
capabilities in the theater.
• A large Foyer of sufficient ambience to
allow for formal banquet seating for 300
persons.
• A Full Service Kitchen, with the capability
for both food preparation and catering.
• A large enclosed Patio, adjacent to the
foyer, for receptions.
6
• . A Visual Arts Exhibition Area in the foyer,
134
-54-
with adequate exhibition lighting.
• A Snack Bar and Beverage Bars in the foyer.
• A Box office.
• Administrative office space.
• A smaller "Black Box" Theater, which would
have space for 100 moveable seats or less.
This highly flexible space could also be
used as a large rehearsal -room.
• Adequate Dressing Rooms.
• Adequate Rest Rooms.
• Adequate Storage space.
• One Multipurpose Meeting/Work/Practice
Room, with a capacity of 100 persons.
• Two Multipurpose Meeting/Work/Practice
Rooms, with capacities between 25 to 50
persons. Consideration should be given
to including moveable walls among the
multipurpose rooms.
135
-55-
• A soundproof Nursery for audience members
with infants.
• A Coat Check Room.
• Public Telephones.
• Fully Accessible for the disabled.
• Adequate Parking, including parking lot
lighting.
• Adequate Directional Signage, including
a facility marquee.
• An Outdoor Space, such as an ampitheater,
for performances and public events adjacent
to the Community Center. This space,
designed in relation to other buildings
in the area, would include a stage area,
lighting, and tiered concrete bench seating.
With the inclusion of these elements and features, the
recommended Chino Community .Center will be able to host the
following types of community and cultural events: amateur
and professional music, dance, and theater events; meetings
of service clubs and other community organizations; banquets
and weddings; film screenings; satellite television
136
-56-
presentations; visual art and craft exhibitions; and community
events of all types ( forums, festivals, church services,
commencements, business and.sales meetings).
Square Footage Needs
The Chino Community Center as proposed would have the following
space requirements:
Func,t ion
Square Feet
PUBLIC SPACES
Foyer/Banquet/Exhibition Area
3,000
(Including Rest Rooms,.Bar &
Service Spaces)
Enclosed Exterior Patio
1,500
CATERING/BANQUET SUPPORT
Kitchen and Storage
450
AUDITORIUM AND STAGE
350 Seat Auditorium
2,800
Interface (Apron, Pit)
400
Stage (Rigging, Wings, Storage)
2,200
Sound Monitoring Area
50
Soundproof Nursery
100
Control Booth'
200
. ARTISTS SUPPORT
Green Room
500
Chorus Dressing Room
600
"Star" Dressing Rooms including
700
Toilet/Showers (2)
PRODUCTION SUPPORT
Tech Office
0
Loading Dock/Trash Enclosure
300
Shop Area (Construction/Storage)
2,000.
General Storage (Equipment, Tools)
200
ADMINISTRATIVE SUPPORT
Box Office
200
Manager's Office
120
Support Staff Office/Workroom
200
Storage
200
13'7
-57-
Function Square Feet
MEETING ROOMS
Large ( 100 people) ( 1 ) 700
Medium (25-50 people) ( 2 ) 700
Storage 50
REHEARSAL ROOM/"BLACK BOX" THEATER
Performance/Seating Spac 1,500
Control Booth 200
Storage 200
TOTAL SQUARE FEET 19,520
In addition to these facilities, the adjacent outdoor
ampitheater space would have the following space requirements.
Function Square Feet
STAGE 3,500
SEATING Availability of space
to be determined by
the design of the
site.
Equipment Needs
The Chino Community Center, as proposed, would have the
following equipment needs:
• Stage Rigging
• Sound Reinforcement System (for both theater and
rehearsal room)
• Theatrical Lighting System (for both theater and
rehearsal room)
• Communications System
• Stage Drapes, Curtains and Tracks
• Stage Lift
0 2 16mm Projectors
• 2 35mm Projectors
• 2 2x2 Slide Projectors
• 1 Video Projector
• Lectern
• Podium
• Acous t ica 1. She l l
138
-58-
• Appropriate Stage Furniture
• 1 Concert Grand Piano
• 100 Musician's Chairs
• 100 Music Stand Lights
• 300 Stacking Chairs
• 50 Folding Tables
• Benches for Lobby and Patio
• Appropriate Bar/Snack Bar Appliances
• Catering Kitchen Equipment
• Audio Visual Equipment for Meeting Rooms
• Office Equipment ( including computers, desks, tables,
chairs, filing cabinets, etc.)
• 100 Folding Chairs for Rehearsal Room
• Carts and Dollies for moving and storing stage
equipment
• Appropriate Saws, Drills, ' Compressors, etc. for
Backstage Area
• Ladders
• Tools
Staffing Needs
The Chino Community Center will need to be staffed with the
following personnel:
• A Manager, responsible for the overall
operation, promotion, and scheduling of
the Center.
• A Technical Director for the Theater and
"Black Box" Theater.
• A Secretary, responsible for maintaining
the scheduling and billing records of the
Center.
• A Custodian.
139
-59-
Timeline
For the purposes of this "Cultural Programs and Facilities
Plan for the City of Chino, California" , it is projected that
the Chino Community Center will be planned and designed during
Year 1 and Year 2. Construction of the Center will occur in
Year 3. The Center will then be available for use beginning
in Year 4 and continuing into Year 5.
Capital Costs and Financing
The costs of constructing a. cultural and community facility
are based on the quality of facility to be built. These
facilities vary from those of low cost (college theaters and
auditoriums), average cost (the best college and private
theaters and civic auditoriums), and those of high cost (major
theaters and auditoriums of good quality). The capital costs
associated with this range of cultural facilities vary from
$100 per square foot to $170 per square foot. Therefore, the
costs of the Chino Community Center, with its 19,520 square
feet, would range between $1,952,000 and $3,318,400. These
figures include fixed equipment costs but not those for land
purchase, site clearance, or free standing equipment. In
addition, the costs of the outdoor space adjacent to the
Community Center will run between $60 to $70 per square foot.
When reviewing recent efforts to finance cultural facilities
in cities across the country, it becomes clear that successful
140
-60-
in cities across the country, it becomes clear that successful
models for the funding of facilities' planning and construction
costs result from the use of creative and innovative approaches
and mechanisms. The need for such innovation stems from changes
in traditional funding sources. With recent changes in tax
laws affecting the charitable contributions of large, individual
donors and the recent reduction and elimination of some federal
funding sources, arts facility planners have been required
to become- very imaginative in their approaches to financing
their projects. A number of recent trends in such financing
schemes have been noted by Opinion Research Associates, Inc.:
1. Within the last few years, federal monies generally
associated with inner-city economic development initiatives
have come into more frequent use for cultural development.
This trend is closely associated with the rash of arts
related economic impact studies undertaken nation-wide.
.Examples included performance facilities in Berkeley,
Cleveland and New York. In San Antonio, Economic
Development Administration dollars contributed
significantly to the construction of the Museum of Art.
Instability of these funds at the federal level casts
doubt on this as a future strategy.
2. Cultural f acilitie's are less likely to be developed alone
and less likely to be all new, rather than renovated,
facilities. There is a growing trend toward the creation
of cultural development districts or cultural enterprise
zones which use arts facilities and activities as the
nexus of neighborhood reclamation and development
activities. Examples include. the- Dallas Arts District,
Minnesota's development or Arts Enterprise Zone legislation
spear -headed by Artspace Reuse Project, Inc., St. Paul's
Lowertown Development Project, and Milwaukee's proposed
Theatre District.
3. More planning emphasis is being placed upon discovering
a financing plan which encompasses both development and
subsequent operational/.maintenance `costs. Hence dedicated
taxes, endowments, or membership fees are established
to both ameliorate bonded indebtedness and/or provide
future operational support.
141
-61-
4. Increasingly, unique local circumstances are being
creatively seized upon in the development of cultural
facilities. Los Angeles'. use of its Percent for Art fund
to help finance not the acquisition of works but the
building of a museum falls into this category. (Spencer,
pp. 24-25)
Specific options for funding the costs of cultural facilities
are provided by Citywest in its book, "Building for the Arts:
A Guidebook for the Planning and Design of Cultural -Facilities."
Two of these funding models are applicable to the City of Chino:
• Civic Owned and Funded Model
This is
the community
center created to
serve both civic and
cultural needs.
Financed
by a major city
bond and supported
by city
revenues, the
facility generally
receives
some private
money for capital
costs.
(See Olympus on Main Street, by
Joe Golden, which deals
in depth with the
creation
of the Civic
Center of Onondaga
County,
New York.)
Example: The Elko, Nevada, Civic Auditorium
and Convention Center was financed by a
bond issue, and operating costs are met
largely by city room, tax revenues. Sports
and commercial events will augment cultural
uses. Residents hope the cowboy town image
will attract a large number of convention
visitors.
• Joint Public/Private Funding
The facility is generally located in or
near a central business district or urban
renewal area and is surrounded by retail,
commercial, and financial buildings. Some
of the capital costs are borne by the city,
which typically owns the land and is
involved in renovating the building.
Example: The Capitol Theater in Yakima,
Washington - built in 1920 as a touring
house - was acquired by the city in 1975
with federal revenue sharing money and
a land trade deal. The city also matched
14')
-62-
local contributions after a fire severely
damaged the building. A portion of the
operating budget comes from city and county
funds, and the city is responsible for
maintenance.
New structures. are funded through a bond
issue or with urban renewal money. Often
the result is a multi use complex that
is expected to "put the town on the map."
A hotel or convention center may be part
of the package.
Example: In Eugene, Oregon, the Performing
Arts and Conference Center complex was
financed by a bond issue and fundraising
campaign organized by the Eugene Arts
Foundation. Operating costs will come
in part from hotel room tax proceeds; other
taxes are under consideration. Located
in an urban development area, the Center,
with adjoining hotel and "parkade," is
conceived as a major economic boost for
the greater metropolitan area. .(Brown,
pp. 30-31)
The Design Arts Program of the National Endowment for the Arts
supports projects that promote excellence in the field of
design, including architecture and urban planning and design.
The purpose of the grants category "Design Demonstration" is
to support design and planning projects that are potential
models for the field. Grants of up to $30,000 can be used
to cover design fees for creating a new facility. Similar
funding is also available for competitions for the development
of new design ideas. In Southern California, the cities of
West Hollywood and -Escondido have received funding for their
design competitions for new civic center facilities. However,
the Design Arts Program does not fund capital construction
or general operating costs.
143
-63-
Operational Costs and Financing
The Chino Community Center, as proposed, will have the following
annual operating expenses for its stabilized, third year of
operation (Year Six):
Overhead staff
Manager
Technical Director
Secretary
Custodian
Fringe benefits @ 30%
Supplies and Expense
$45,000
40,000
25,000
30,000
Office Supplies
Mileage Reimbursement for Staff
Postage
Office Equipment Maintenance
and Repair
Printing/Duplicating
Building Maintenance Supplies
Stage Supplies (Lamps, Gel, etc.)
Phones
Equipment Rental
Equipment Purchase
Public Relations/Entertainment
Travel/Professional Meeting Fees
Professional Organization Dues and
Periodical Subscriptions
Data Processing (Mailing List, etc.)
Insurance
Utilities
Bond/Debt Retirement
Contracted Services
(Stage Rigging, Maintenance, Window
Cleaning, Security, Plant Care,
Gardening, Air Conditioner Maintenance,
Legal Assistance, Emergency Repairs)
TOTAL EXPENSE:
.-64-
4,000
1,000
3,000
3,000
3,000
5,000
5,000
3,500
4,000
$140,000
42,000
31,500
25,000
4,000
3,000
1,500
4,000
30,000
$277,000
!44
Although the amount of income generated by the Community Center
cannot be projected at this point, the types of revenue can
be foreseen. Earned income items will include rental fees
for the theater and meeting rooms, a percentage of the income
of professional event rentals, the concession stand (snack
bar and beverage bar sales), and gallery fees. Contributed
income could include a basic City subsidy, private donations,
local business and corporate underwriting, and overhead costs
of programming grants from county (Arts Foundation of San
Bernardino County, state (California Arts Council),.and federal
(National Endowment for the Arts) sources.
Again, it must. be stressed that the proposed Center cannot
generate enough income to cover its annual operating budget.
So far as can be determined, no community (or other non-profit)
center in California does. It is obvious then that all
potential revenue producing features be incorporated into the
initial design and construction of the facility, so that
recurring requirements for city subsidy are minimized.
To maximize the income potential of the Center, other users
must be identified and cultivated, and 'the facility must have
equipment and services which meet special needs. Meeting rooms
which are aesthetically pleasant, comfortable and properly
equipped have been included in the proposed design. Two rooms
accommodating between 25 and- 50 people are suggested, as well
as one which would accommodate up to 100. This range of room
sizes would allow, simultaneous use of the Center by groups
145
-65-
with different needs. The differences in size also allow
alternate use of the spaces as classrooms, craft workrooms
and recreation areas (exercise classes, etc.) Inherent in
the proposed design is a catering ability on the part of the
Center so that banquets seating up to 300 people can be easily
handled. This activity is not only revenue -producing, but
it is an inducement to potentially -"new" business such as
weddings, receptions, parties, and small to medium sized
conferences. The proposed design criteria also calls for
alcoholic beverage bar service as well as conventional snack
bar facilities. Both produce income. Finally, visual arts
exhibition space is incorporated into the design criteria,
which allows an additional source of income from exhibition
fees and consignment percentage payments.
Chino Pavilion
As mentioned earlier, it is proposed that an open-air, covered
stage Pavilion be considered by the City of Chino for Ayala
Park. The Pavilion would have a stage measuring 50 by 70 feet.
This structure would be located on an elevated "hill" in the
park, and would have permanent seating for 1200 people. An
additional 1000 to 1500 people could be accommodated "festival
style" on the surrounding knoll. The area would need to be
fenced in to allow crowd control at paid admission events.
Dressing rooms, food preparation areas, some rest rooms, an
office, an artists'. preparation room and storage would. be
IM�
located under the stage area, below grade. Ancillary facilities
would include public rest rooms, a box office, snack bars,
and a control booth. The Pavilion would be equipped with first
class lighting and sound reinforcement systems.
The facility
would serve
as the
site for
major community
festivals, for
large -cast
community
cultural
activities (dance
studio performances, ethnic dance programs, the M155 %_L1111V
Pageant).- It would be attractive to small-scale rock attraction
promoters. The Pavilion could also be used by the Chino Unified
School District for graduations. It would also serve as the
home for community forums and other meetings.
The square footage requirements of a Chino Pavilion would be
as follows:
Function
PUBLIC SPACES
Exterior/Ancillary Rest Rooms
Exterior/Ancillary Concession Areas
PAVILION AND STAGE
1200 Permanent Seats
Stage .( 50x70 ) Area with Roof
Exterior Control Booth
ARTIST SUPPORT
Green Room
Chorus Dressing Room
"Star" Dressing Rooms including
Toilet/Showers (4)
Chorus Toilet/Showers (3)
* Areas located under the stage, below grade.
Sauare Feet
600
500
9,000
3,500
300
300*
900*
600
1,050
14(
-67-
Function Square Feet
PRODUCTION SUPPORT
Tech Office 150*
Loading Dock/Trash Enclosure 300*
General Storage (Equipment, Tools) 200*
ADMINISTRATIVE SUPPORT
Exterior Box Office 200
Manager's Office 120*
Storage 200*
TOTAL SQUARE FEET 17,920
Without permenent 8,920
.seating area
* Areas located under stage, below grade.
Given a cost range between $70 per square foot and $120 per
square foot for facilities of this type, the costs of the Chino
Pavilion would range between $624,400 and $1,070,400. In
addition to this, approximately $250,000 .would be needed for
the costs of the seats and the seating area. All of these
figures include the costs of equipment but not land purchase
or site clearance.
148
-68-
RESOURCES
Brown, Catherine R., Fleissig, William B., and Morrish, William
R., "Building for the Arts: A Guidebook for the Planning &
Design of Cultural Facilities," Western States Arts Foundation,
Santa Fe, 1984. .
California Arts Council, "Guide to Programs," Sacramento,
California, 198.7-88
Kresberg, Luisa, "Local Government and the. Arts," American
Council for the Arts, New York, New York, 1979.
Los Angeles County Music Center, "Music Center Education
Division 1987-88," Los Angeles, California
National Endowment for the Arts, "Guide to the National
Endowment for the Arts," Washington, D.C., August 1985.
Spencer, June, and Agard, Mary Berryman, "Local Government
and the Arts," Opinion Research Associates, Madison, Wisconsin,
1985.
The Performing Tree, "Guide to Programs," Los Angeles,
California, 1987-88.
149
CULTURAL RESOURCES INVENTORY
A. Cultural Programs
1. Basque Dancers
Presents Basque folk dance, primarily at festivals
and other community events. Contact: Marty Echito,
12489 Loraine Avenue, 628-1332.
2. Center Stage
A commercial dance studio that offers classes in
tap, ballet,- jazz, aerobics, and gymnastics for
persons of all ages. Fee: $18 per month. Contact:
Sue, 3833 Schaefer Avenue, 591-4030.
3. Chino Art Association
A service organization for visual artists. Current
membership: approximately 40. Monthly meetings
which feature art demonstrations. and workshops.
Sponsors - an annual Spring exhibition with 3
categories: adult, high school students, and
children. Also sponsors ongoing exhibitions of
members' artworks in local businesses and public
facilities. Publishes a monthly newsletter.
Membership dues: $10 per year. Contact: Georgine
Blair, P.O. Box 532, 627-4489.
4. Chino Branch Library
Presents storytelling for children. Contact: Phil
Crocfer, 13180 Central, 628-1604.
5. Chino Centennial Celebration Committee
Producer of a 9-month celebration of. the founding
of Chino in 1887, including an arts festival during
August, 1987. Contact: ,Chino Recreation and
Community Services Department, 13219 Central Avenue,
591-9834.
6. Chino Community Action Council
Sponsors the annual Mexican Independence Day Fiesta
and the Cinco de Mayo Celebration, which include
mariachi bands and folklorico dancers. Contact:
Helen Monsivais, 13011 Fifth Street, 628-5443.
150
-70-
7. Chino Community Adult School
A program of the Chino Unif ied School District that
offers adult education classes, including arts and
crafts (quilting, photography, airbrush painting,
etc.). Contact: Chino Unified School District,
5130 Riverside Drive, 628-1201.
8. Chino Community Center Corporation
A nonprofit organization with the goal of building
a performing arts facility in ;-hino. Sponsors various
fundraising events, including the annual Sweetheart
Ball. Contact: Pat McArdle, Chino Recreation and
Community Services Department, 13219 Central Avenue,
591-9834.
9. Chino Community Theater
Produces an annual season of 5 plays, including
theater for children and adults. The 1987 season
includes "The Mousetrap," "Cinderella," "Fools,"
"Our, Town," and "Oliver." Each production has 6
performances, including a dinner theater performance
on opening night in the Chino Community Building.
Has 60-70 active members. Contact: Chino Recreation
and Community Services, 13219 Central Avenue, 591-
9834.
10. Chino Recreation and Community Services
Sponsors a wide variety of cultural activities for
the community, including: classes for children and
adults in music (guitar, musical theater workshop),
dance (tap, ballet, jazz), crafts (tole painting,
• calligraphy, fabric painting), and the visual arts
(drawing, photography, oil painting); a summer outdoor
concert series of 8 weekly free performances of
different types of music (dixieland, jazz, mariachi,
country/western, etc.); and bus excursions to cultural
programs outside Chino, such as the J. Paul Getty
Museum. Fees for the classes and excursions vary.
Contact: Chino Recreation and Community Services
Department, 13219 Central Avenue, 591-9834.
11. Chino Valley Historical Society
Operates a historical museum at the Old Schoolhouse
Museum, including tours and lectures for school and
community groups. Contact:, Charles Rehrer, 5491
B Street, 628-1950.
151
-71-
12. Grupo Cultural Portugues Recordando Portugal
Preserves Portuguese cultural traditions through
performances of Portuguese folk dances. Current
repertory of 18 to 20 dances from Portugal and the
Azores. , Company of 20 dancers performs in Chino
at civic events and church festivals, and at folk
arts festivals in Southern California. Contact:
Gerard and Maria Batista, 621-3834.
13. Marshal's Keyboard Center
A commercial music store offering piano lessons to
children and adults in classical, ' jazz, and
synthesizer (including theory). Contact: Phil,
12345 Mountain Avenue, 628-8203.
14. Pomona Valley Community Concert Association
Sponsors 3 to 5 concerts annually for communities
in the Pomona Valley, including Chino. All
performances held at the Gardiner W. Spring Auditorium
in Ontario. The 1987-88 season includes the Sofia
Chamber Orchestra, The Gathering of the Clans
(Scottish music, song, and dance), and The Royale
Trio. Annual association membership includes a season
ticket to all performances. Contact: P.O. Box 1896,
Ontario, 91762.
15. Sunshine Generation
A song and dance performing group for children that
offers classes in voice, musical theater dance, and
music theory. Contact: Pat Ellsworth, 628-6542.
16. The Talent Factory
A commercial dance studio that offers classes in
tap, jazz, gymnastics, and ballet to children.
Contact: Kay Bast, 13613 12th Street, 591-1212.
17. Yorba Slaughter Adobe
Built in- 1852, this adobe now serves as a historical
museum. Located at 17127 Pomona Rincon Road.
Contact: 597-6624.
B. Facilities Used for Performances, Exhibitions, and/or
Meetings
Only those facilities which have major cultural uses are
described in detail.
15'?
-72-
1. American Legion Hall
35 years old. 185 flexible seating. Hall with semi-
permanent stage (10x15). Handicapped accessible.
Area lighting and public address system. Kitchen
facilities. Box Office. Limited parking. Primarily
used fOr Legion purposes, but also for weddings,
receptions and parties. Rental rate: variable,
but basically $150/4 hours. Location: 13130 Central
Avenue.
2. Ayala Park
3. Chino Branch Library
4. Chino City Council Chambers
5. Chino City Hall Mall
6. Chino Community Building
53 years old. Approx. 200 capacity. No fixed
seating. Auditorium, Stage (35x20), Kitchen/Catering
facilities, Lobby, Meeting rooms. Handicapped
accessible. No projection equipment. Poor sound
system. Aging rest rooms (2 men's, 2 women's
toilets). Good parking. Users: Chino Community
Theater, Senior Citizens, Kiwanis, Rotary, Lions,
Alcoholics Anonymous, sports clubs, Boy Scouts, bridge
groups, recreation classes. Rental: non-profit
groups: $9/hr, profit groups: $30/hr, City programs:
free. Facility used "every day." Location: 5443
B Street.
7. Chino Community Hospital
8. Chino Hills State Park
9. Chino High School Gymnasium
30+ years old. Approx. 2000 capacity. No fixed
seating. Portable stage. Handicapped accessible.
Limited lighting system. New sound system. Box
office. Adequate rest rooms. Primarily used for
athletic events. Rental rates variable. Location:
5472 Park Place.
10. Chino High School Multi -Purpose Room
33 years old. 250-350 flexible seating. Lecture
hall with permanent stage (25x30). Lobby.
Handicapped accessible. Kitchen/Catering facilities
available (room is part of cafeteria). Basic lighting
and sound systems. Adequate rest rooms. Primary
users: students. Rental rates variable. Location:
5472 Park Place. 153
-7 3-
C.
11. Chino Junior Fairgrounds
12. Chino Masonic Lodge
13. Chino United Methodist Church
90+ years old. 200+ flexible seating. Social hall
with permanent stage (30x15). Handicapped accessible.
Public Address system. Area lighting. Large kitchen.
Users: church, Boy Scouts, weddings, community
groups.
14. D.E.S. Hall
500/600 flexible seating. Hall with permanent stage.
Handicapped accessible. No professional lighting
.or sound systems. Bar/Kitchen. Available for rent
by community groups. Variable rental rates ($400/8
hours). Location: Seventh and Riverside.'
15. E1 Prado Golf Course
16. Los Serranos Country Club
17. Monte Vista Park
18. Western Hills Country Club
plus other Chino schools, parks, and churches.
Facilities Outside Chino Used for Performances,
Exhibitions, and/or Meetings
1. Chaffee High School, Ontario
2. Citrus College
3. Claremont Center for the Performing Arts, Claremont
4. Fontana Performing Arts Center
5. Gardiner Spring Auditorium, Ontario
6. Mt. San Antonio College
7. Ontario Airport Hilton Hotel, Ontario
8. Ontario Civic Center
9. Ontario Community Center
10. Rancho Cucamonga Library
11. Red Lion Inn, Ontario
12. Upland High School
1-54
-74-
CHINO REC. .(ION AND COMMUNITY SERVICES
CULTURAL ARTS QUESTIONNAIRE
June, 1987
To the Citizens of Chino:
e City is exploring the possibility of dev?loping additional arts and cultural programs
.nd facilities for local residents. YOUR HELP IS NEEDED! Your ideas and suygestions will
help me and other City officials to plan future cultural and arts programs and facilities
that will meet the needs and interests of the growing Chino community. If you have questions
or conments about this survey, please call Pat MCArdle at 591-9834. Thank y01i for assisting
us in planning Chino's future. -d w A
Fred Aguiar, Maydfr, City of Chino
PLEASE RETURN THIS QUESTIONNAIRE BY DULY Sth TO:
Patrick J. McArdle,
Manager Recreation Services
Recreation and Community Services Department
City of Chino
13219 Central Avenue
Chino, Ca 91710
1. How do you and your family spend your leisure time? (Please check all that apply).
67 Participating in Team Sports (softball, bowling, soccer, etc.)
-is—Engaging in Individual Sports (hiking, skiing, golf, swimming, etc.)
_U_Physical Fitness Activities (weightlifting, aerobics, jazzercise, etc.)
ioo Family Recreation (going to parks, playing games,'etc.)
loa Movies
l22 Reading
1=,Dining Out
1 Television/Radio
103 Listening to Records/Tapes
_ss Participating in Civic Organization Activities (service clubs, PTA., etc)
iTChu rch Activities
_Hobbies (woodworking, needlework, etc.)
_Educational Activities'(classes, personal and professional development. etc.)
75Entertainment and Attractions (Disneyland, Las Vegas, the beach,.etc.)
��Travel
Arts and Cultural Activities (dance, painting, theater, music, etc.)
U_Museums
_,0 th er _
2. If you and your family spend some of your time involved in arts and cultural activities,
in which of the following activities do you perform or exhibit?
Activity
'Dance (folk,ballet, tap,ballroom)
=Theater (cortmunity,professional)
_12_Pop/RockdCountry Western Music
��Classical Music
_Church Choir
=_Visual Arts (painting,ceramics,
photography)
8 Literature
36 Festivals/Special Events
( Cinno de Mayo, fairs, recitals)
What Type? How Often? Where?
For activities outside the City of Chino, please identify the specific location(s):
3. Which of the following activities do you attend?
Activity Where
_22 Dance
�1�. Community Theater
j • - -Professional Theater .
i333 Musical Comedies
45 Pop/Rock/Country Western Music
19 Classical Music _75_
26 Church (Choir) Music
22 Visual Arts
Admission Paid?
ree or amount)
155
Activity(Continued) Where Admissiu.. Paid
in Literature
i,Festivals/Special Events
22 Travel/Adventure Films
_Foreign Art Films
q.L_Museums
4. In which of the following activities do you take classes?
Activity Where
9 Dance
5 Theater
8 Music
8 Visual Arts
3 Literature
5. How do you learn about the events you attend or the classes you take?
_aAnnouncement in the Mail Radio _&Television Posters ULNewspapers
58 Newsletters ls. Friends/R�tives
6. Do you feel that there are enough Children's/Youth cultural and arts activities
currently available to you and your family in Chino?_Yes __�A_No.
If not, what would you like to have offered in these areas?
1. Would you and your family be interested in spending more of your time involved in arts
and cultural activities in any of the following ways?
Act_ Perform/Exhibit? Attend?, Take Classes?
_-UL_Dance
_Theater
-u_Mu s i c
_Visual Arts
_12_L i tera to re
-,u—Festivals/Special Events
'That stops you and your family from a greater involvement in arts and cultural activities?
(Please check all items that apply)
63 I participate in a lot of family and friends meals/parties/gatherings.
4 I don't understand cultural activities.
I don't feel comfortable at arts and cultural events.
11 I'm simply not very interested in cultural activities.
22 I can't plan ahead enough to attend these events.
it Frankly, I don't find arts and cultural activities fun or enjoyable.
=There is a lack of facilities in which to perform or exhibit in Chino.
_There is a lack of performances and exhibitions for me to attend in Chino.
I here is a lack of arts classes to take in Chino.
_lg_I can't afford arts or cultural activities.
_34 1 don't receive information about arts activities in Chino.
_"I don't receive information about arts activities happening outside Chino.
_lL—t have difficulty in traveling to arts events outside Chino.
_1OTHER :
9. Do you agree with the City of Chino's interest in developing additional cultural and
arts programs and facilities? 131 Yes _,_No
Why?
THANK YOU FOR TAKING THE TIME TO COMPLETE THIS QUESTIONNAIRE. The following information is
OPTIONAL:
If you would like to be kept informed of the City's plans for arts and cultural programming
and facilities, please fill out the following:
YOUR NAME:
YOUR ADDRESS:
TELEPHONE (Home)
(Work)
159
—76—
LIST OF CONTACTS
1. Fred Aguiar, Mayor, City of Chino
2. Patti Aguiar, Chino Community Center Corporation
3. Sonia Banisch, Recreation and Community Services
Commission, City of Chino
4. Kay Bast, The Talent Factory
5. Gerard and Maria Batista, Grupo Cultural Portugues
Recordando Portugal
6. Georgine Blair, Chino Art Association
7. June Brown, Clogger
8. Lisa Burton, Red Lion Inn - Ontario
9. Aggie Caliri, Chino City Council Offices
10. Al Carr, Chino High School Gymnasium and Multipurpose
Room
11. Alex -Conners, Ontario Airport Hilton Hotel
12. Phil Crocfer, Chino Branch Library
13. Carolyn Cunningham, Chino Art Association
14. Julie Davis, Chino United Methodist Church
15. James Echnoz, Chino Family YMCA
16. Diane Erwin, City Council, City of Chino
17. John Gerardi, Chino Valley Chamber of Commerce
18. Laurie Lawhorn Grimes, Community Development Department,
City of Chino
19. Sami Haase, Chino Community Hospital
20. Barry Johnson, Pomona Valley Community Concert Association
21. Carol Larkin, El Prado Golf Course
22. Paul -Larson, Chino Community Theater
23. Slora Leon, Western Hills Country Club
24. Susan Leto, Recreation and Community Services Department,
City of Chino
25. Larry Lucas, Superintendent of Schools, Chino Unified
School District
26. Therese Lyons, Recreation and Community Services
Commission, City of Chino
27. Patrick McArdle, Recreation and Community Services
Department, City*of Chino
28. Al McCombs, Chino Champion
29. Lucille Megloin, Los Serranos Country Club
30. Helen Monsivais, Chino Community Action Council
31. Louis W. Moreno, Board of Education, Chino Unified School
District
32. Cal Morey, Planning Commission, City of Chino
33. Earl Nelson, Community Development Department, City of
Chino
.34. John Nunez, D.E.S. Hall
35. Carolyn Owens, Recreation and Community Services
Commission, City of Chino
36. Earl Owens, Chino Community Center Corporation
37. Pattie Pate, Arts Foundation of San Bernardino County
38. Bob Rainez, American Legion Hall
39. Ann Raymond, Chino Hills State Park
40. Charles Rehrer, Chino Valley Historical Society
IF
-77-
41. Glen G. Rojas, Recreation and Community Services
Department, City of Chino
42. Richard Rowe, City Manager, City of Chino
43. Reva Salter, Planning Commission, City of Chino
44. Jackie Sargent, Chino Community Building
45. Dick Sawhill, City Council, City of Chino
46. Phillip Solomonson, Fontana Performing Arts Center
47. Cathy Sorensen, Chino Family YMCA
48. Eunice Ulloa, City Council, City of Chino
49. Larry Walker, Board of Supervisors, San Bernardino County
50. Al Yankey, City Council, City of Chino
51. Marlis, St. Margaret Mary Catholic Church
157
-78-
4ri
AITACHMENT 5
CITY OF WALNUT CREEK
159
cd
I ,IIIlid
i W,
11 1
oll I
Ell
ji
PERSPECTIVES ON THE ARTS
IN WALNUT CREEK
ARTS GENERAL PLAN:* 1995-2005
Prepared for the Walnut Creek City Council
by the Arts Commission
Adopted and Approved by the Arts Commission
October 16, 1995
161
INDEX
PAGE
1 INTRODUCTION
3 EXECUTIVE SUMMARY
8 A LOOK BACK - ADMIRABLE ACCOMPLISHMENTS
10 CULTURAL POLICY FRAMEWORK
12 ISSUES IN THE ARTS #1 - FACILITIES
17 ISSUES IN THE ARTS #2 - CULTURAL SERVICES PROGRAMS
30 ISSUES IN THE ARTS #3 - PARTNERSHIPS
33 ISSUES IN THE ARTS #4 - ARTS FUNDING
36 ANCILLARY ISSUES
■ Arts and Technology
■ Volunteering
• Arts and the Local Economy
• Cultural Diversity
■ Public Art
■ Marketing and Advertising
46 IMPLEMENTATION TIMELINE
■ Facilities
• Program Development
• Audience Development
■ Funding Development
• Staff/Administrative Development
APPENDIX:
A 1 ■ CULTURAL RESOURCES SUB -ELEMENT TO CITY GENERAL PLAN
A-2 ■ PARTNERSHIP BUDGET PROGRAM, MAY 1994
A-3 ■ "PUBLIC/PRIVATE PARTNERSHIP FOR THE 90'S" SCHEMATIC CHART
A-4 ■ BIBLIOGRAPHY
A-5 ■ FOOTNOTES
LIST OF CHARTS
PAGE
18-19 CIVIC ARTS EDUCATION
History of number of classes offered and students enrolled (1965-1995)
21-22 BEDFORD GALLERY
History of exhibits, education programs, and attendance (1970-1994)
24 CENTER REPERTORY COMPANY
History of productions scheduled, attendance and subscriber base (1977-1995)
27' REGIONAL CENTER FOR THE ARTS
List of Producers and Presenters (1994)
34 ARTS FUNDING TRENDS
History of Private Sector and Public Sector Arts Support (1975-1995)
43 ARTS PARTICIPATION, IMPORTANCE AND SATISFACTION 16 2
Survey of Walnut Creek residents
PERSPECTIVES ON THE ARTS
IN WALNUT CREEK
Arts General Plan
1995-2005
INTRODUCTION
he "Cultural Hub of Contra Costa
County" -- that's the opinion held by
many when they see the broad -based
development in cultural. programs that has
come to be the accepted standard for Walnut
Creek's. way of life. In many ways, Walnut
Creek is the microcosm of successful munici-
pal arts programs found in the United States.
In October 1987, the Walnut Creek City
Council approved "The Decade Ahead," the
Civic Arts Ten Year Plan. Scheduled to project
the City's role in community arts development
into the mid-1990's "The Decade Ahead" set
a roadmap that has guided the community in
arts programming and arts support. Portions
of the plan were incorporated into the City's
General Plan, and the Cultural Policy Frame-
work has provided an important focus for our
work.l
The success of arts programs in the City
of Walnut Creek may be attributed to three fac-
tors:
• Effective Planning and Programming
• Strong Public Support and Participation
• Generally Stable Arts Support --
Public and Private.
This Plan proposes that the City of Walnut
Creek build upon these strengths so that the
program may enjoy continued success. Past
leadership in the City has demonstrated a com-
mitment to making this happen. The principles
may further be met through regional coordi-
nation and partnerships.
Walnut Creek has historically been seen
as a dominant force in community arts devel-
opment throughout the region. The City has
been admired for the quality of its arts pro-
grams.
For over thirty years the Civic Arts Edu-
cation program has led the way in providing
education and enrichment classes for adults
and children alike, and has been recognized
for the breadth of its services to the schools.
The opening of the beautiful Regional Center
for the Arts in 1990 significantly extended per-
forming and visual arts opportunities for a
growing regional populace.
Much of what was envisioned in "The De-
cade Ahead" has been realized. The ongoing
ideal, as stated in the Cultural Policy Frame-
work, is for Walnut Creek to "maintain its ar-
tistic and cultural leadership in Contra Costa
County." While much has been achieved,
changing times and a changing environment
has made this more difficult to sustain. Many
of the key recommendations of "The Decade
Ahead" are yet to be realized. Without a re-
dedication to the principles of the Cultural
Policy Framework, many would say that Wal-
nut Creek's "golden years" for the arts are
behind us.
A survey of local public arts agencies in
the United States prepared for the National
163
Endowment for the Arts focused on different
circumstances and a variety of needs that
caused municipal arts programs to evolve in
different ways. Successful agencies, the re-
port found, appear to share certain goals that
show they are united behind the following con-
cerns:
Improving quality: Virtually every local
public arts agency has programs, services and
criteria which intend to upgrade the artistic and
administrative quality of artists and arts orga-
nizations.
Equalizing access: Successful local pub-
lic arts agencies are sensitive to data which
confirm that arts experiences are more avail-
able to college -educated, white, upper -income
residents. They strive to create a more bal-
anced group of arts consumers and arts pro-
ducers.
Preserving cultural pluralism: Suc-
cessful local public arts agencies recognize the
need to nurture not just European cultural tra-
ditions, but also those of ... other cultures.
Creating an environment which nur-
tures artists and arts organizations:
Successful local public arts agencies are con-
cerned both with fostering the development of
a local, artistic tradition and with retaining art-
ists and arts organizations in the community.
Promoting the inclusion of aesthetic
considerations in local decision mak-
ing: Local public arts agencies are the focal
points for concerns about the aesthetics of the
built environment, the role of the arts in eco-
nomic development, and the role of artists in
community problem-solving.2
The Arts General Plan: 1995-2005. provides a
context for the City of Walnut Creek's arts
development for the next ten years. It seeks to
define the issues and chart a course for the fu-
ture. This Arts plan also provides an opportu-
nity for the City and the City Council to
strengthen Walnut Creek as an art nurturing
community by utilizing this document to cre-
ate an Arts Element to the City's General Plan.
The year 1995 marks the thirty-second
year since the establishment of Walnut Creek's
Arts program. As part of its on going respon-
sibility to advise the City Council on local
community needs and interest in cultural de-
velopment, the Arts Commission uses this
milestone as a point of departure to assess and
project an arts future for Walnut Creek.
164
2
PERSPECTIVES ON THE ARTS
IN WALNUT CREEK
Arts General Plan
1995-2005
EXECUTIVE SUMMARY
TvArts General Plan (1995-2005) pro -
des the context for the City of Walnut
reek's arts development for the next ten
years. It defines a series of four major arts is-
sues (facilities, cultural programming, partner-
ships, and arts funding), as well as six subordi-
nate issues which are intended to provide guid-
ance to policymakers. The Plan proposes a
Timeline for action. This Plan replaces the pre-
vious Ten Year Arts Plan "The Decade Ahead,"
approved in October 1987.
The Arts General Plan springs from. a "Cultural
Policy Framework" (pp 10-11), a series of arts
policy statements (originally approved by the
City Council in February 1985). Four over-
reaching policies are identified in the Frame-
work:
• It is the policy of the City of Walnut Creek to
maintain its artistic and cultural leadership in
Contra Costa County.
• It is the policy of the City to serve the artistic
and cultural interests of the Community by
maintaining the quality and diversity of cultural
programs.
• It is the policy of the City to provide that
appropriate and properly located facilities are
available for cultural activities.
• In maintaining its artistic and cultural leader-
ship, it is the policy of the City to provide basic
operational funding for community -based cul-
tural programs, recognizing that overall support
is a responsibility to be shared among individu-
als, the community, the Diablo Regional Arts
Association, and the City.
The following is a summary of the policy pro-
posals and information provided in the Arts
General Plan (1995-2005):
FACILITIES
• The City's strategic moves in the performing
and visual arts, as symbolized by the construc-
tion of the 72,000 sq. ft. Regional Center for the
Arts have been very successful. The Center,
which opened in 1990, now attracts more than
270,000 patrons annually to events and exhib-
its. The Center is to be re -named the "Dean
Lesher Regional Center for the Arts" in Octo-
ber 1995, in honor of the late newspaper pub-
lisher and community benefactor. (pp 8, 15)
• The Center has been a cultural success, help-
ing to enhance many community arts groups and
encourage the creation of several professional
arts companies. The Center has also been a po-
tent force in stimulating the downtown Walnut
Creek economy. (p 15)
3 16
• The Civic Arts Education program, offering
more than 120 studio, workshop and school arts
programs each quarter, has been hampered in
its development and efficiency by the lack of a
positive strategy to replace the used modular
buildings which have housed the program since
the early 60s. Little progress has been made
toward meeting this need since 1985. (p 12)
• The highest priority for Cultural Services fa-
cilities must be a new Civic Arts Education com-
plex. The future of the Civic Arts Education pro-
gram is intrinsically linked to facilities to house
them. (p 19)
• A well -designed Civic Arts Education com-
plex of 30-35,000 sq. ft., specifically designed
and dedicated to the specialized needs of indi-
vidual programs, is intrinsically linked to the
future of this strongly supported and nationally
recognized community arts education program.
(pp 13-14)
• Off -site and temporary locations for Civic Arts
Education activities can serve the program only
if there is a long-term commitment to their avail-
ability, and the spaces are equipped to handle
the specialized program needs. (p 14)
• The third theatre at the Dean Lesher Regional
Center for the Arts, due to be completed in
mid-1996, will significantly improve the full use
of the Center. (p 15)
• It is important to complete the full rigging
system in the Center's 300 seat theatre if its full
potential is to be realized. 'The facility's equip-
ment must be maintained and replaced, as
needed, to provide a safe and efficient opera-
tion of the $21.5 million Center. (p 15)
• As community demand grows, and the cost
of professional production increases, a per-
forming arts space of 1200-1800 seats should
be considered. (p 16)
CULTURAL SERVICES PROGRAMS
• Attendance at City's theatres has increased
350% between 1986 and 1995. Participation
in classes for adults and youth at Civic Arts
Education grew by 25%. Since the opening of
the Bedford Gallery, attendance at exhibits and
events has increased 50%. (pp 19, 22, 24)
• Civic Arts Education programs and services
have increased and diversified in recent years.
Outreach programs, after -school services and
collaborative programming have comple-
mented Arts Education's Core Classes. (p 18)
• The Civic Arts Education program is, in
many ways, the "heart" of the City's arts com-
mitment, providing an in-depth exposure to and
participation in the creative process for adults
and youth. It is the "feeder system" for the
arts locally. (p 18)
• Programs for Civic Arts Education in the
future will depend upon shared resources, part-
nerships with public schools and Cal State
Hayward, development of a multi -media cur-
riculum, and enhanced visual arts and perform-
ing arts classes that will be possible with ex-
panded facilities. (p 20)
• Permanent funding to cover basic program
needs and staffing, the retention of quality in-
structors, and well equipped facilities are
needed if the Arts Education program is to
serve more people. (p 19)
16G
4
• Given the present staffing, volunteer make-
up and resources available, the program of the
Bedford Gallery* has plateaued. Any increases
in this program's service level will require a cor-
responding increase in staffing and related re-
sources. (p 22)
• Considerable emphasis has been placed, since
1994, on improving the Bedford Gallery's pub-
lic programs, inclusion of young artist compo-
nents to exhibits, and improvement of docent
training. (pp 21-23)
Exchange exhibits with other galleries, im-
proved gallery visibility and promotion, and
expansion of the scope of Gallery exhibits and
interpretive materials are high priorities for this
program. (p 23)
• Center Repertory Company has been a cen-
tral part of the region's cultural life since 1968,
and now presents nearly 30% of all events of-
fered at the Dean Lesher Regional Center for
the Arts. (p 24)
• The future development of Center Repertory
Company depends on increased marketing; en-
hanced public and private sector support to per-
mit artistic development and production risk; and
maintaining a strong subscriber base. (p 25)
Guest artists (performers, directors and de-
signers) are raising the standards of the Com-
pany, providing incentives to local performers,
and contributing to the Company's overall pro-
duction quality. (p 25)
• As the only year round facility of its kind in
the region, the Regional Center for the Arts
handled over 540 public performances and ex-
hibit events in 1994 serving nearly 270,000 pa-
trons. (pp 26-28)
• The significant pent up demand for cultural
programming has resulted in very heavy pres-
sure on the Center's schedule, with multiple
events almost every day of the year. It is nearly
impossible to extend the run of popular produc-
tions, or to accommodate "late breaking" events.
(p 27)
• To encourage the greatest diversity of offer-
ings and the highest quality possible, the City
should take a more direct role in assuring a bal-
ance of arts disciplines, and a balance of pro-
fessional and community events on the Center's
annual schedule. (p 28)
• Continuation of the Arts Incentive Awards to
assist professional companies with especially
high production costs is important in encourag-
ing a balance of programming. (p 29)
• Serious consideration for a performance venue
of greater than 800 seats is a must if professional
attractions are to be sustained without heavy
underwriting. (p 29)
PARTNERSHIPS
• Cooperative Partnerships which maximize re-
sources, develop funding, encourage cultural
advancement, facilitate programs, and support
volunteer efforts are central to Cultural Services
activities. (p 30)
• The City has selected Diablo Regional Arts
Association as its non-profit partner to serve as
the City's principal arts funding organization and
to administer annual arts support from the Dean
and Margaret Lesher Foundation. (pp 30-31)
Private/public arts partnerships with educa-
tional institutions and non-profit groups adds
strength and diversity to local arts programming.
(p 31) 16 i
S
ARTS FUNDING
• Diversity of arts funding (participants fees,
private sector support, and public funding) along
with effective planning and programming and
strong public support and participation has sig-
nificantly contributed to Walnut Creek's arts
achievements. (pp 1, 35)
10 While the City's overall arts program budget
has grown seven -fold over the past twenty years,
participant user fees have increased from 46%
to cover over 68% of program costs. City sup-
$3.0
Mil
$2.5
Mil
$2.0
Mil
$1 .5
Mil
ARTS FUNDING TRENDS
City of Walnut Creek
1975-1995
port went from 52% to 27% of program costs.
(p 34)
• Private sector support of City arts programs
has increased from 1.3% of program costs in
1975 to 4.7% of program costs in 1995. (p 34)
• The Arts Partnership Budget (established in
May 1994) limits growth in City program sup-
port to personnel cost -of -living adjustments,
and requires increased private sector support
for augments to "base line" funding. (p 34-35)
% of private sector support
% of program user support
% of City program support
1975-76 1980-81 1985-86 1990-91 1 1994-95 2
Source: City General Fund Appropriations, 1975-1995. Amounts for 1980-95 reflect single year of City two-year
operating budget cycle. Capital projects are not shown.
Note: t Opening of Regional Center for the Arts, October 1990.
2 Partnership Budget implemented in 1994-96 operating budget. Private sector partnership funds for
1994-95 (approximately $130,700) are added to City budget to provide comparable figures.
•
PXULC
6
ANCILLARY ISSUES
• Technological advances will play an ever in-
creasing role in arts production and presenta-
tion for all arts programs. (p 36)
• Program volunteers -- under the umbrella of
Diablo Regional Arts Association -- provide
critical contributions to the overall arts program.
Nearly one thousand volunteers are active in the
City's arts program. (p 37)
• National studies have affirmed that local arts
programs can contribute to a community's over-
all economic development strategy and add vi-
tality to a community. (pp 38-39)
• Walnut Creek will benefit by an Arts Eco-
nomic Impact study in order to assess the stimu-
lus that the City's multi -million dollar arts in-
dustry provides. (p 39)
• Walnut Creek arts programs, its policy boards,
and its support organizations will be enhanced
by expanded participation by members of racial
and ethnic groups that make up an
ever-increasing portion of communities from
which the arts program draws its audience. (pp
39-40)
• Culturally diverse arts programming will help
all participants develop knowledge, understand-
ing and appreciation of cultures other than their
own. (p 39)
• Over forty Public Art projects which pres-
ently enhance commercial, retail and public
buildings in Walnut Creek have been completed
since the City Council approved the first Public
Art requirements and guidelines in 1982. (p 40)
• The current Public Art process and guide-
lines need to be reviewed and updated. A work-
able protocol for requirements and approvals is
needed by the Design Review Commission and
Arts Commission. (p 41)
• The City's Capital Improvement Program
should focus more on opportunities for appro-
priate Public Art projects in parks, landscaped
areas and for public facilities. (p 41)
• While local arts activities maintain a very
high level of participation, importance and sat-
isfaction in the community, the Cultural Services
Department should be defining its marketing and
advertising strategies better in order to reach the
most responsive audiences and to attain the high-
est level of earned income possible. (p 43)
TIMELINE
• A comprehensive ten year Timeline has been
prepared for implementing the recommenda-
tions for facilities, audience and program de-
velopment, arts funding, and staff/administra-
tive development outlined in this Arts General
Plan. (p 46+)
NOTE:
Number in parenthesis refer to
pages in full Arts General Plan
document.
169
PERSPECTIVES ON THE ARTS
IN WALNUT CREEK
Arts General Plan
1995-2005_�:-
A LOOK BACK -Admirable Accomplishments
s we look ahead to a new decade of
cultural achievement for Walnut
Creek, it is appropriate that we re-
flect on the dreams and accomplishments of
the past decade.
In the mid-1980s there was considerable
concern and pronounced doubt that Walnut
Creek could sustain its historically strong com-
mitment to the Arts. Local government was
still adjusting to fiscal belt -tightening in Cali-
fornia from voter -approved property tax limi-
tations. The national economy was buoyant,
but federal and state commitment to cultural
support was waning.
Even with the ripples of uncertainty, Wal-
nut Creek's political, business and arts lead-
ers knew the arts had much to contribute to
the local economy and to community better-
ment. While there were risks, community
leaders acknowledged that there was also
much to be gained in a well conceived and well
managed program of arts services.
Their confidence has paid off. Three ma-
jor arts and cultural capital projects were real-
ized -- all recommended in "The Decade
Ahead".
The $21.5 million Regional Center for the
Arts was dedicated in October 1990, the cul-
mination of nearly 15 years of planning,
fund-raising and community debate. The
Shadelands Ranch Historical Museum
breathed new life with renovations and addi-
tions that both protected this historic landmark,
and made it more accessible to the commu-
nity. The Lindsay Museum, in December
1993, saw the culmination of its decade -long
plan to provide a new home for its nationally
recognized natural history and wildlife exhib-
its and programs.
Buildings, however, tell only a part of the
story. People are what really count. A grow-
ing residential and commercial population em-
braced the arts programs of the community.
The City was recognized by the U.S. Confer-
ence of Mayors in 1990 with the "Livability
Award" saluting Walnut Creek's arts commit-
ment.
With the new Regional Center for the Arts
available and the range of performance events
multiplied, attendance increased nearly 350%
at City theatres between 1986 and 1994. Par-
ticipation in classes for adults and youth at
Civic Arts Education grew by 25% -- even in
outdated and inadequate facilities. With the
opening of the Bedford Gallery attendance at
exhibits and gallery events saw a nearly 50%
jump over its previous site.
Volunteer participation showed significant
increases. The Regional Center encouraged a
standard of professionalism among its many
community producers. New linkages for arts
support and arts development came about, in-
cluding the new Diablo Regional Arts Asso-
ciation with a mission of improving the cul-
tural life in the Diablo Region.
What became clear to all who studied the
issue was an unmet demand within the com-
munity for arts and cultural programming in a
highly complex and technological world. The
s
170
community (indeed, regional) response since
the mid-1980s strongly affirmed John
Naisbett's prediction from Megattrends brought
to our attention in 1983 at a Walnut Creek com-
munity symposium on arts planning --
All of us are being retrained by technology.
What does this mean to the Arts? The arts --
art and music -- help us to stay flexible and
loose; to see and cope with all the change that's
taking place around us. Arts help us to see the
way human beings have lived and will live in
the future....
There are expectations that every citizen of ev-
ery community has. Those expectations are
correlated with their quality of life. How am I
going to live in this community? Is this a pleas-
ant community to be in? Is this where 1 want
my kids to grow up? Do 1 want to be old in
this community? All of those issues do affect
municipal government. And, the arts have a
role to play.3
As this new Arts General Plan 1995-2005
is under development, there are once again
winds of change. Federal and State arts sup-
port is once again being questioned. Local
government resources are once again under
scrutiny. The private sector is pushed to carry
a greater share for public need and social rem-
edy. Arts programs are expected to do more
with less. What hasn't changed -- except to
increase -- is the public pressure for more arts
services at an affordable cost.
The Arts Commission, on behalf of the
Walnut Creek City Council, looks forward to
the next decade. The promise and the oppor-
tunities for broad community participation in
the arts offer much hope and challenge as we
enter a new millennium.
171
9
PERSPECTIVES ON THE ARTS
Arts General Plan
1995-2005
CULTURAL POLICY
OF THE CITY OF, WALNUT
IN WALNUT CREEK
FRAMEWORK
CREEK
he Cultural Policy Framework was developed in 1984 as the first phase of "The Decade
Ahead." It was adopted by the City Council on February 5, 1985 and sets down certain
principles that remain the foundation of Walnut Creek's arts role. The Cultural Policy
Framework as stated here is quite similar to that approved in 1985 with revisions to meet new
conditions.
A. It is the policy of the city to maintain its artistic and cultural leadership in
Contra Costa County.
1. Walnut Creek's arts program has matured into one of strong Regional involvement and
impact.
2. The city recognizes the arts as an essential factor in its economic climate and social
attractiveness.
3. A continuous, strong and effective public informational effort is required in order to
create an awareness and understanding of the City's cultural programs.
4. Walnut Creek's arts program has enhanced cultural opportunities throughout the County
in a cost-effective manner.
B. It is the policy of the city to serve artistic and cultural interests of the com-
munity by maintaining the quality and diversity of cultural programs.
1. The economic and social benefits of a strong arts program are important to the Walnut
Creek community.
2. It is the City's goal to provide an effective and affordable Cultural Services program.
3. It is important to maintain the strength and diversity of the City's arts program and to
insure that ongoing interests of the library system, Shadelands Historical Museum, Borges
Ranch, the Lindsay Museum and other cultural properties the City might acquire are
realized.
I72
10
4. Encouraging the work of emerging artists is important in interesting residents to new art
-forms and styles of artistic achievement.
5. Local arts programming will strive for a high level of artistic quality and diversity of
expression.
6. "Art in Public Places" is to be encouraged in private and public projects.
7. Walnut Creek will strive to work cooperatively with the Arts and Culture Commission
of Contra Costa County.
C. It is the policy of the city to provide that appropriate and properly located
facilities are available for cultural activities.
1. Over the next ten years the City will develop and implement a permanent arts education
facility.
2. The City will work with the community to assure the full completion and on -going
maintenance of the Dean Lesher Regional Center for the Arts.
3. The City will explore with the community other long-term arts facility needs.
4. Cost effectiveness requires the use of arts facilities be maximized.
D. In maintaining its artistic and cultural leadership, it is the policy of the city
to provide basic operational funding for community -based cultural programs,
recognizing that overall support is a responsibility to be shared among indi-
viduals, the community, the Diablo Regional Arts Association, and the city.
1. The City will continue to encourage private arts support through the Diablo Regional
Arts Association, along with other private sector initiatives.
2. A study to determine the local economic impact of the arts industry, and to assess re-
lated spending by arts audiences should be considered basic research material for the
City and Diablo Regional Arts Association.
3. The City will capitalize on professional leadership, encourage volunteer efforts and co
operative ventures with public and private agencies to maintain a vital cultural and arts
program in Walnut Creek.
173
11
PERSPECTIVES ON THE ARTS
IN WALNUT CREEK
Arts General Plan
1995-2*005,_,-,''ISSUES IN ARTS lit:
ARTS FACILITIES
CIVIC ARTS EDUCATION FACILITIES
Where We Started
In 1964, the first Civic Arts. classes were
offered in Civic Park in two quonset huts, for-
merly storage units for police athletic equip-
ment, located at the site of the existing con-
crete slabs next to the creek. These quonset
huts were used for Civic Arts Education classes
up through 1979.
The five modular structures in Civic Park
were acquired as used buildings in. 1965
through a lease -purchase agreement. Initially
they were rented to the University of Califor-
nia Extension for classes. Civic Arts Educa-
tion class activities were scheduled at times
when the University was not renting the build-
ing. When the University closed its Extension
programin Walnut Creek, these modular build-
ings were then scheduled regularly for City
classes.
In the early 1970s, the City acquired an old
house on North California Blvd., the `Bussey
House," which was turned over to Civic Arts
Education and became the site for weaving and
textile classes as well as photography.
With condemnation of the quonset huts,
studio space was needed to house the active
and large ceramics program. In 1979, with
funding from the City and a federal public
works grant, and support from the Clay Arts
Guild of the Civic Arts Association, the vacated
Walnut Festival building located in the center
of Civic Park was modified for a ceramics stu-
dio, small dance studio and very small jew-
elry studio.
At approximately the same time, the
"Bussey House" was sold and the weaving and
textile classes were relocated to space at
Heather Farm Park through an agreement with
the Walnut Festival Association. The stained
glass and printmaking studio was reduced in
size to create and equip a darkroom space for
photography classes.
One used portable (2,400 sq. ft.) was added
for program use in 1990 when it was no longer
required for theatre use because of construc-
tion of the Regional Center for the Arts.
These modular structures, divided into nine
studio classrooms, currently house classes and
activities for ages 2-1/2 through seniors and
are utilized six or more days a week through-
out the year, from morning through evening.
Our Concerns
High on the list of facility needs identified
in the 1986 arts plan was improved facilities
for the Civic Arts Education program. Regret-
tably, no improvement has been accomplished
here.
In 1990, a Final Draft Master Plan for Civic
Park was prepared for City Council review.
Completed by the firm of Hollman, Bologna
& Associates of Walnut Creek, the Draft Plan
was the culmination of three years of review-
ing all Civic Park uses, access and parking
problems, competing needs, future program
projections and cost estimates. Several devel-
12
174
opment options leading to a new Arts Educa-
tion complex were included.
The study, in 1990, identified a need for
32,000 sq. ft. of space, much of it being single -
use space. Additions to the Civic Arts Educa-
tion program since that time have created need
for specialized performing arts class and re-
hearsal space of an additional 18,000-20,000
sq. ft. Approximately 20,000 sq. ft. of pro-
gram space presently exists in Civic Park. A
considerable amount of temporary space is
presently used at area schools. The Arts Edu-
cation Advisory Council has devoted consid-
erable time to reviewing and assessing current
program space needs.
The options presented, including possible
utilization of the adjacent California National
Guard Armory site, were discussed by the City
Council but no action or direction was pro-
vided. The process to provide improved facil-
ity space for Civic Arts Education has not pro-
gressed since early 1990.
Indeed, the problems identified in the
mid- 1980s continue. Facility deterioration as
well as space inadequacy continue to reduce
efficiency of operation and the ability of the
City to respond to a growing interest in the fee
classes offered by the Civic Arts Education
program.
Structural safety and age are factors which
have been of concern for Arts Education fa-
cilities for many years. Most temporary modu-
lar buildings are not suited for such long-term
heavy public usage -- now over thirty years.
The facilities were not designed for their cur-
rent uses. This has often meant uncomfort-
able, poorly laid -out or poorly -lit facilities for
certain types of instruction. Proper ventila-
tion, sound insulation, placement of equip-
ment, materials storage and other building
functions have had to be worked out within
the existing size and shape of these classroom
portables.
Location of the five portables around the
Civic Park cul-de-sac has made access diffi-
cult. The facilities have never been properly
landscaped for student use .of outdoor areas for
instruction such as photography, landscape
painting, outdoor pit and primitive firing and
outdoor music, movement or drama classes
or performances.
Only one studio is attached to the office.
One studio is three miles away, four studios
are several hundred feet away and three stu-
dios are across the bridge.
Communication between the office and
studios is inconvenient for students, teachers,
parents and the staff. The office cannot be
seen from the street, is not accessible for de-
liveries of supplies and is difficult to find.
There is no appropriate central place for stu-
dents,'parents or the public to wait or sit in
inclement weather.
Space for public enrollment offices is very
limited. Currently there is a small public area,
two bathrooms, and nine work sites, (six regu-
larly used by administration and program staff
and three for part-time staff and volunteers
or teachers), and storage in an area thirty by
thirty feet.
Alternative spaces and additional spaces
have been found for some classes in schools
and other sites where no long-term use agree-
ment has been worked out.
It is clear that the program is being lim-
ited by the drawbacks and limitations of the
current facilities.
Process For The Future
A permanent Civic Arts Education build-
ing housing studios and the office would pro-
vide the security, ease of program use and
safety necessary to meet both present and fu-
ture needs. It would improve management
operations and be more staff- and
cost-effective. It would provide needed of-
fice and storage space for coordination of out-
reach and offsite programs.
Anew 30,000 to 35,000 sq. ft. facility will
address security and other safety measures
and provide important public services which
the basic classes and workshops program re-
quires, and which will increase in the future.
Anew facility will also provide adequate
and appropriately designed studio space, for
example:
13
J
1. Classes such as painting and drawing
will have appropriate access to natural light,
painting storage and proper ventilation;
2. Classes such as jewelry, stained glass
and printmaking will have adequate space for
equipment, spot lighting for close work and
ventilation;
3. Studios for children's classes will have
varied sizes of furniture, equipment, sinks and
restrooms for differing age groups;
4. Dance, drama and music classes will
have proper floor and sound insulation, dress-
ing rooms and shower areas;
5. Proper storage can be provided for
general -use art supplies as well as specific stor-
age areas for safe and properly ventilated stor-
age of chemicals and similar special storage
materials;
6. Performing arts classrooms will be
multi -use for student performances, special
master classes and events;
7. Visual arts classes will have an area for
student exhibitions and for purchase of art sup-
plies, tools, scripts, books and other class ma-
terials;
8. An outdoor multi -purpose area will
provide an attractive permanent area that would
be available to classes for outdoor perfor-
mances, outdoor instruction and the general
public and small community groups.
Alternative and additional off -site locations
will continue to be sought and scheduled for
classes in facilities and locations convenient
to working populations, children in all -day care
or other special groups. Use of these sites may
be negotiated to include appropriate furniture
and storage to offer more complex types of
classes than are currently being offered.
The Civic Arts Education program, in
many ways, is the "heart" of the City's arts
commitment. It provides, for adults and youth
alike, the in-depth exposure to and participa-
tion in the creative process. It is, in reality, the
"feeder system" for the arts locally.
While the Civic Arts Education has been
able to diversify its operation, to some degree,
by utilizing space at area schools, this is only
a stop -gap solution. Providing a comprehen-
sive and meaningful program requires full-time
use of spaces that are designed and equipped
for specific uses. There are very few
"multi -purpose" art studios. Teachers and stu-
dents (both youth and adult) need the perma-
nency of studio space dedicated to this use.
PERFORMING ARTS
AND EXHIBITION FACILITIES
Where We Started
In 1967, the City acquired the old Walnut
Growers Warehouse (the "Nuthouse") on Lo-
cust Street. With much community volunteer
help, it was transformed into the theatre/gal-
lery complex which was used until 1988.
The former 449 seat platform stage facil-
ity was home to many performing arts organi-
zations including the Contra Costa Musical
Theatre Company, Diablo Light Opera Com-
pany, Civic Arts Repertory Company, Diablo
Symphony and others. The equipment was
quite basic and only through the resourceful-
ness of staff and strong City support were pro-
ductions possible.
In 1982 the City, with support from the
Civic Arts Association, converted an old auto
brake shop located two blocks from the Civic
Arts Theatre into STAGE II -- a 153-seat per-
formance space. This leased commercial space
allowed the Civic Arts Repertory to present
four'additional productions each year, and en-
couraged new users.
The Civic Arts Gallery facility, with much
guidance from the gallery program staff, trans-
formed a portion of the "Nuthouse" into a
highly respected visual display gallery.
The limitations of the old "Nuthouse" were
evident as early as the mid-1970s when the
14
176
Civic Arts Association set up a task force to
explore improved performing and visual arts
facilities. Over the next dozen years studies
were conducted and plans were finalized for a
new Regional Center for the Arts. The City
Council chose the Locust Street/Civic Drive
property where the old Walnut Growers Ware-
house stood as the preferred site.
When it closed in 1988 to make room for
the Regional Center for the Arts, the Civic Arts
Theatre, Civic Arts Gallery and STAGE II The-
atre provided approximately 48,000 gross
square feet of usable program space.
While the "Nuthouse" served the commu-
nity well and 'allowed for a high level of citi-
zen involvement and professionally -directed
programming, it was never designed to accept
the demands placed upon it. Operational prob-
lems and structural limitations severely lim-
ited the potential expected by the community.
In 1980, the City encouraged the establish-
ment of Regional Center for the Arts, Inc. to
be the private sector partner to raise capital
construction funds and shepherd the project.
By the time of groundbreaking in November
1988, approximately $7.5 million of non -City
funds had been committed. With leadership
gifts from Dean and Margaret Lesher, Ken and
Jean Hofmann, and Peter and Kristin Bedford
the project moved forward. In total, over 2,300
individual donors contributed. The project
received a prestigious National Endowment for
the Arts Challenge Grant of $350,000. The
people of Walnut Creek provided $13 million
of public funding for the project.
Temporary gallery and theatre facilities
were established, while construction pro-
ceeded. BOOR/A Architects of Portland, Or-
egon designed a handsome three story, 72,000
sq. ft. Center of cast concrete and glass, with
space for three theatres (800, 300 and 140
seats), an art gallery and generous public lob-
bies and support spaces.
The opening of the Regional Center for the
Arts in 1990 was an exciting and notable ac-
complishment. The cultural and economic
impact of the Center has been significant.
Over a dozen new restaurants have been
added to the area immediately adjacent to the
Center; many retail stores are open later in
the evenings; pedestrian activity is strong al-
most every night of the week. City Finance
department records indicate that the increase
in parking garage revenue and restaurant sales
taxes alone each year virtually offsets the
City's net cost for operation of the new Cen-
ter.
The Center is to be re -named the "Dean
Lesher Regional Center for the Arts" in Oc-
tober 1995, in honor of the late newspaper
publisher and community benefactor.
In early 1995, construction was underway
to expand the theatre's off -site production fa-
cility on Lawrence Way for rehearsal space,
scenery construction and costume storage.
our Concerns
The community still has the challenge of
fully completing all the elements of the Re-
gional Center for the Arts, as originally con-
ceived.
The lack of a full and proper rigging sys-
tem in the 300 seat Dean Lesher Theatre still
limits its full use, as does a completed stage
lighting and sound system.
Without installation of the properly de-
signed counter weighted rigging elements,
much time is lost and safety compromised
each time scenic changes are required.
The most glaring deficiency in the new
Center, however, has been non -completion of
the third theatre.. With funding provided by
the Lesher Foundation, the finishing of the
140 seat flexible theatre and meeting space
on the ground level of the building in 1996
will significantly improve the full use of the
Center.
In March 1995, the City accepted a gen-
erous gift from the Dean and Margaret Lesher
Foundation to allow completion of the third
theatre space.
6
Process For The Future
With the completion of the Center's third
theatre, the goal of having a flexible public
performance and assembly area to handle
177
15
events that complement the two larger the-
atres will be realized. Anticipated events in-
clude small -sized theatre and music perfor-
mances, education and training activities, re-
ceptions, dinners and rehearsals.
Preliminary program planning and sche-
matic design work has already been done.
With the operational and staffing structure
already in place, there can be efficiencies of
scale with such a venture. It is expected that
the new performance area can be completed
by mid-1996.
The City Council's decision to re -name
the Center and to complete the third theatre
provides the opportunity, now, both to re-
name the current 300 seat Dean Lesher The-
atre, and to provide a benefactor name for the
new third theatre. Funds for such naming
opportunities could rightfully be designated
to complete a variety of deferred equipment
and infrastructure items for the building.
Separate from the Dean Lesher Regional
Center for the Arts, the community at some
time in the foreseeable future will need to
acknowledge the need for a performance hall
larger than the 800 seats currently provided
in the Hofmann Theatre.
As community demand grows, and cost
of professional production increases, a per-
formance space of 1200-1800 seats is inevi-
table. The present seating capacities cannot
economically support professional orchestral
and celebrity attractions without extraordi-
nary outside subsidy.
An adequately sized performance space
or concert hall needs to be studied. As we
found with the Regional Center for the Arts
the "lead-time" of ten to fifteen years is not
unusual.
16 178
PERSPECTIVES ON THE ARTS
IN WALNUT CREEK
Arts General Plan
1995-2005
ISSUES IN THE ARTS #2W
CULTURAL SERVICES PROGRAMS
BACKGROUND
With the establishment of the Civic Arts
Department in 1963, a program of performing
and visual arts programs was initiated. After
a period of trial and error, the program offer-
ings were assessed by the Civic Arts Commis-
sion, and a plan of action was developed. This
was incorporated into the Civic Arts Center
Master Plan, 1965, which provided the basis
for department programming efforts for some
time.
The 1965 Plan became the basis for Wal-
nut Creek's arts development through the
mid-1980s when The Decade Ahead: Civic
Arts Ten Year Plan.1986-1996 was completed
by the Civic Arts Commission and approved
by the City Council.
In 1991, following completion of the Re-
gional Center for the Arts, City Council en-
gaged former City Manager Thomas G. Dunne
to recommend a Strategic Vision for the
1990s.4 Dunne's plan reorganized the struc-
ture and authority of the Arts Commission,
recognized the "regional" nature of the pro-
gram, established Advisory Councils to assist
the Commission, and provided for a public/
private partnership structure which included
establishment of Diablo Regional Arts Asso-
ciation as the City's principal fund-raising or-
ganization for the arts. In all, the Strategic
Vision offered some forty recommendations
in a broad ranging look at the City's overall
role in providing arts services at the Regional
Center for the Arts. The Arts Education pro-
gram was not included as a integral part of the
Strategic Vision report.
Since the report was completed in April
1992, the City has implemented the overall "vi-
sion", but adjusted some specific elements to
reflect changing conditions and organizational
needs. It is recognized, however, that theStra-
tegic Vision for the 1990s has had wide rang-
ing impact on how the City and the private sec-
tor address arts needs and opportunities.
This new Arts General Plan responds to the
requirement in the legislation re -structuring the
City's Arts Commission (Ordinance No. 1815,
January 19, 1993, as Amended).
All the discussion, all the re -organization,
all the budget reviews and all the goals come
down to one key element: arts services to the
public.
This section of the Arts General Plan ad-
dresses these arts services. It is the programs
of the Cultural Services Department that, in
the end, determine whether we succeed or fail
in improving the quality of life of our commu-
nity and in responding to the Cultural Policy
Framework (see pp 10-11).
179
17
ARTS EDUCATION PROGRAMS
Where We Started
The Arts Education Program was the first
program offered by the Civic Arts Department
under the Commission and the City of Walnut
Creek. Begun in 1963 by a variety of experi-
enced volunteer artists and instructors paid di-
rectly by the students, the program set the stan-
dard for quality and service that has charac-
terized the entire department.
As the community has grown and changed,
Civic Arts Education programs and services
have increased and diversified. The following
brief statistical history gives an overview of
program growth and change, and the cost ef-
fective growth pattern that has been main-
tained.
The Civic Arts Education program is, in
many ways, the "heart" of the City's arts com-
mitment, providing an in-depth exposure to and
participation in the creative process for adults
and youth. It is the "feeder system" for the
arts locally.
In addition to a wide range of Core Pro-
gram classes for adults and youth, the services
offered to the community now include:
1. Outreach activities such as I.D.E.A.
(Inter -Disciplinary Education through the
Arts) which has.served over 56 schools in 3
counties;
2. Collaborative programs such as Young Per-
formers String Orchestra, and "Arts, Adven-
tures and Academics", which are jointly spon-
sored with school districts;
3. Regional workshops and master classes,
such as workshops with the Northern Cali-
fornia Art Education Association, the Asso-
ciation of California Ceramic and Glass Art-
ists, and the Calligraphers' Forum;
4. Special outreach classes such as those in
1987 under a California Arts Council
Artist -In -Communities grant; and after -school
programs supported by NEA/CAC grants.
5. Intensive training programs such as Jun-
ior Theatre and Young Repertory Theatre
Training Workshop, or special classes for
teachers.
CIVIC ARTS EDUCATION
History of number of classes offered from 1 965-1 995
O 25 50 75 100 125
1965 Children's Classes & Programs
Summer quarteriF
• - Adult Classes & Workshops
otal classes
1975' 23
Summer Quarter
75 total classes
1985** 38
Summer Quarter MEMEMIL::
99 total classes
1995 60
Summer Quarter
150 total classes
* Young Repertory Summer Theatre Workshop began in Summer 1973
*' Arts. Adventures & Academics joint Summer school began in Summer 1982
The charts on pages 18 and 19 reflect the
considerable growth in the Civic Arts Educa-
tion program. Enrollment for the Summer pro-
gram, for example, increased more than six-
fold from 1965 to 1995.
While the chart shows a higher proportion
of Children/Youth enrolled in the Summer term
(54% in Summer 1995), during the balance of
the year Adult enrollment is actually greater
(60% in Spring 1995)
Our Concerns
Arts Education activities have developed
over recent years to provide a wider range of
offerings to serve a broader range of constitu-
encies.
The need to house the Arts Education pro-
gram and replace its aging and deteriorating
"temporary" facilities is our paramount con-
cern. A permanent Arts Education complex,
as recommended earlier in this Ten Year Arts
General Plan, is the ideal solution.
While Outreach programs and after -school
activities have taken on a new and increasingly
visible role within Civic Arts Education, the
Core program remains the mainstay of the pro-
gram. The future of Civic Arts Education pro-
grams are intrinsically linked to facilities to
house them.
This means having adequate space, de-
signed to accommodate the specialized needs
of individual programs. Special "sprung"
dance floors, dressing rooms with showers,
photo darkroom space, and ventilated graph-
ics and printmaking areas are examples of this.
Children's programs require furniture and
equipment sized to young people's needs.
The second major concern for Civic Arts
Education is funding. Permanent funding
needs to be in place for Civic Arts Education
to continue and serve. All education endeav-
ors. require supplemental support and Civic
Arts Education is no exception. While earned
income should continue to fund most of the
program, a reliable and consistent level of pro-
gram support is essential.
CIVIC ARTS EDUCATION
History of number of students enrolled from 1965-1995
400 800 1200 1600
1965 Children/Youth Enrollment
Summer quarter 130
- Adult Enrollment
284 total students
1975 318
Summer Quarter MMMMK - I
1010 total students
1985 728
Summer Quarter
1400 total students
1995 972
Summer quarter
1808 total students
19 131
Process For The Future
Developing permanent funding to cover
basic needs for the Arts Education program
is a high priority. The expansion of existing
programs and development of new programs
can occur only when new facilities have been
achieved.
At the present time the Civic Arts Educa-
tion Program is stifled by the lack of suffi-
cient permanent program space. The stabil-
ity of the program depends, to a large extent,
on having an adequate and well equipped per-
manent facility which can house a Core Pro-
gram. The Core Program and facility attracts
and retains quality instructors who want to
teach for us. All other Outreach activities
(after -school classes, I.D.E.A. programs, etc.)
depend on a Core Program and well designed
and maintained facility, to retain students
whose first point -of -contact is often Outreach
programs.
The Timeline of this Arts General Plan
speaks to a variety of program development
options. These include: shared resources with
California State University, multi -media and
other new curriculum, student support groups,
a student store, and community visual arts
and performing arts programs. These will be
possible with expanded facilities.
Collaboration on a regional basis is the
key to better programming throughout the
county. Outreach programs such as the Young
Performers String Orchestra (YPSO), and
Inter Disciplinary Education through the Arts
Program (I.D.E.A.) can expand in this type
of environment. Working with the new Arts
and Culture Commission of Contra Costa
County to advance regional outreach is im-
portant.
In addition, there are projects that are of
interest to the arts as a whole, not just Civic
Arts Education. These include audience de-
velopment, an arts economic impact study,
and development of a permanent outdoor ex-
hibit area, an "Art Park". These items need
to be assessed, and coordinated with various
civic groups, since they will help the arts in
the community.
EXHIBITION PROGRAMS
Where We Started
Since its inception in 1963 as one of the
first municipally -funded community arts pro-
grams in Northern California, the City's arts
program has placed a strong emphasis on vi-
sual arts exhibitions.
First presented as yearly outdoor arts and
crafts "Pageant of the Arts" shows held in
the Walnut Creek National Guard Armory,
local parks and in the Broadway Shopping
Center parking garage in the late 1950s and
early 1960s, then as painting and sculpture
displays in the main library, the program has
grown into 6 to 8 annual exhibitions pre-
sented in a fully -equipped two -level gallery.
This 5,000 square foot facility (including
main level constructed in 1968, mezzanine
built in 1974 and sculpture court) became
the largest such community -based exhibits
program between the Bay Area and Sacra-
mento, and the only professionally curated
year-round public gallery in Contra Costa
County.
Typical of the broad range of over 225
exhibits presented at the Civic Arts Gallery
through 1988 were: "Funky Objects," 1963;
"American Eskimo Art," 1972; "Musical In-
struments," 1975; "Puppets, Puppets, Pup-
pets," 1977; "Human Form," 1979; "Realist
Painting," 1980; "Jacques Schnier Sculp-
ture," 1983; "West Coast Clay," 1986, and
"About Faces," 1987. Early work by signifi-
cant Bay Area artists included Robert
Arneson, Richard Diebenkorn, Elmer
Bishoff, Karl Kasten, Wayne Thiebaud, Joan
Brown, Barbara Spring and Peter Voulkos.
Perhaps the best measure of the Civic
Arts Gallery's success in reaching the com-
munity is its record of consistently high visi-
tor attendance throughout most of its history.
In 1970-71, attendance was near 11,000, sta-
bilized between 20,000-30,000 for several
years, peaked at 50,890 in 1980-81, and sus-
taining a high attendance level with the open-
ing of the new Bedford Gallery in 1990.
182
With the opening of the Regional Center
for the Arts in October 1990, the Civic Arts
Gallery became the Bedford Gallery, recog-
nizing the generous contribution of Peter and
Kirsten Bedford to the construction of the Re-
gional Center for the Arts.
The handsome new space on the ground
level of the Center provides 5,000 sq. ft. in
exhibit space, plus educational, storage and ad-
ministration areas.
The new space opened in October 1990
with "Contra Costa Collects: Contemporary,"
saluting the important individual and corpo-
rate art collectors of our region. Other signifi-
cant exhibits have included "The Goddess of
Democracy: From Tiananmen to Portsmouth
Square," 1991; "Bay Area Women Artists,"
1992; "Gaston La Chaise," 1992; "Kindred
Spirit," 1993; and "Dream Riddle," 1994.
The mission of the Bedford Gallery is to
"provide the Contra Costa region and the
Greater Bay Area with a broad creative vision
which reflects and engages its diverse audience.
The Bedford Gallery provides a forum for dia-
logue between artists and the community. The
Gallery presents accessible and innovative ex-
hibitions, public arts, and educational programs
that seek to stimulate genuine wonder and re-
flection in both youth and adults."
In order to meet its mission the Bedford
Gallery has developed an effective structure
based on a close partnership between profes-
sional staff and volunteer support. The pro-
fessional staff works with dedicated volunteers
who provide essential services as docent tour
guides, gallery attendants, exhibition install-
ers and fund-raisers.
Since 1994, the Bedford Gallery has ex-
panded the scope of its exhibitions, of the in-
terpretive materials and public programs that
accompany them, and of docent training pro-
grams. The exhibitions themselves now in-
clude artists from many parts of California and
other states as well. Interpretive materials ac-
GALLERY
History of Docent led tours from 1970-1994
0 50 100 150 200 250
1970-71 N/A
171 Days
1976-77
205 Days
163 Tours
1980-81
192 Days
1986-87 Tours215
232 Days
253 • 1990-91'
195 Days
142 Tours'
1993-94
237 Days
Number of Gallery Exhibit Days per year ■ Number of Docent led tours
" Exhibition season opened in October with dedication
of new Regional Center for the Arts facility
21 183
companying the exhibitions include didactic
labels, artists' statements on the walls and in
gallery handouts, and children's workbooks
that provide education about art making and
the concept of the show.
Our Concerns
Despite expanded programming, and al-
though the Bedford Gallery has always been
an integral part of the Regional Center for the
Arts, many people still seem unaware of its
existence. Therefore, the Gallery needs to fo-
cus on marketing strategies to make more
people aware of the Bedford Gallery and to
increase the general visibility of -the program.
For instance, plans for a new gallery identity
logo and marketing packet are greatly needed.
Signage on the exterior of the building should
also be considered.
Programming plans must also take into
account, however, the staff and volunteer time
needed to implement them. During. the
1995-97 time period, only modest program
additions can be considered as the reduced
staff is already stretched very thin. Future
programming suggestions can only be car-
ried out if gallery personnel is expanded.
Process For The Future
Given the present staffing, volunteer
make-up and resources available, the program
of the Bedford Gallery has plateaued. Any
increases in this program's service level will
require a corresponding increase in staffing
and related resources.
The 3,500 sq. ft. exhibition space limits
the number and size of the annual exhibit sea-
son. Considerable emphasis has been placed,
since 1994, on improving the Gallery's pub-
lic programs.
A Senior Morning for each exhibit was
reinstituted in 1994 by a group of docents and
has proved popular with our senior citizens.
GALLERY
History of attendance from 1 970-1 994
50,000 : • M Total Attendance
40,000
30,000
20,000
10, 000
0
1970-71 1976-77 1980-81 1986-87 1990-91 * 1993-94
Exhibition season opened in October
with dedication of new Regional Center for the Arts facility
22 184
Lunch `n' Art programs have been resumed and
are also popular. A hands-on art project has
always been a part of children's tours at the
Gallery. Since 1994, however, children's art-
work, done in special workshops under the di-
rection of trained artists, has frequently been
included in gallery exhibitions. This program
has given many children a unique experience
in working with an artist. It also lets the view-
ing public know that the Bedford Gallery re-
spects children's ideas. Programming can be
expanded to include the entire family with art
workshops, video programs, and gallery activi-
ties designed for and promoted to families.
This should help acquaint parents with the
gallery's programs. A series of art history film
programs from the National Gallery of Art, first
offered in 1995, has brought new viewers into
the Gallery and provided them with an oppor-
tunity to increase their knowledge of the vi-
sual arts.
Docent training has been expanded. For
each exhibition docents now attend a slide lec-
ture by the Curator that provides a historical
background for the exhibition as well as an
analysis of the exhibition's art and artists.
Docents also attend a workshop on the differ-
ent tour techniques appropriate for the issues
and materials included in each individual ex-
hibition and for different age levels. An "art-
ists' overview" before each exhibition provides
docents with the opportunity to hear the artists
themselves interpret their works. The Bedford
Gallery Docent Council has established a men-
tor program for new docents that pairs them
with an experienced docent who monitors their
progress and offers practical advice, assistance,
and constructive criticism.
Looking ahead, informal methods of
viewer education (like the National Gallery
programs) can be further enhanced through the
use of audio and visual technology.
Audio -cassette tours have proven popular at
other museums as have special video programs
which give background on an artist or infor-
mation about media that an artist uses. Elec-
tronic networks and information services open
a whole new range of possibilities both for
viewer education and for advertisement of the
Bedford Gallery programs. In the future, it is
hoped that events in the gallery and theaters
can be more closely coordinated to provide a
multi -dimensional experience for Center pa-
trons.
Exchange shows with art venues in other
cities, as well as exhibitions jointly curated
by two institutions, are excellent ways to
broaden our audience. Conferences and sym-
posia in conjunction with Bedford Gallery
exhibits also offer the possibility of attracting
new visitors. In addition, aggressive promo-
tion of the Gallery as a space to hold recep-
tions and dinners will acquaint businesses and
their guests with the Gallery program. The
Gallery may also sponsor a travel program,
which would specialize in trips to other gal-
leries and museums.
All of these increments require resources
in the form of staffing and program funding
in order to see them realized. A goal we must
work for is adequate staffing to handle the
physical preparation of exhibits as well as the
day-to-day operation of the public exhibition
program. Augmenting this is the need for
staffing to work both with the Curator and the
Docent Council, as well for the students and
the public at large.
A stable source of support is required if
the Bedford Gallery is to be able to plan out
its programs in advance. This is important if
we want to encourage cooperative projects
with other exhibiting galleries and to sustain
a well developed education program.
185
23
CENTER REPERTORY COMPANY
Where We Started
The City -sponsored Center Repertory
Company has been a central part of the region's
cultural life since 1968. At that time the Wal-
nut Creek Theatre Ensemble was established
by theatre coordinator Jay Paul Hornbacher.
Thornton Wilder's award -winning "Skin of Our
Teeth" was the first production. The effort was
re -named Civic Arts Repertory in 1970.
Rep continued as an adjunct to the City's
theatre operation until the mid-1970s when
Hornbacher was appointed artistic director,
separate from operation of the Civic Arts The-
atre. Among the early notable productions
were: "A Man For All Seasons," "A Streetcar
Named Desire," "Under Milk Wood" and "St.
Joan."
With the creation of a second theatre pro-
duction space (later called STAGE II) Civic
Arts Repertory became the strongest and most
visible local non-musical production company
in the area, building from 3-4 productions -per
season to an eventual eight productions shared
between the Civic Arts Theatre and STAGE
II. Each year's programming has encom-
passed both comedy and drama, with works
performed from the past as well as more con-
temporary works.
A separate Young Rep production featur-
ing teen performers was included in the sea-
son for several years beginning in 1975 with
productions of "The Hobbit," "Godspell" and
"The Legend of Sleepy Hollow." Center
Repertory's annual production of "A Christ-
mas Carol" (1979-1993) was a holiday favor-
ite.
CENTER REPERTORY COMPANY
History of season and subscribers attendance from 1977-1995
60,000 57,700
M Total Attendance 54,320
50,000 Subscribers
40,000
30,000
25,620
21,040
21,400
27,700
- (5196)
;•
20,000
18,970
(45%)
22,000
(86%)
17,670
17,120
(84%)
(80%)
10,000
-
8.829
0
1977-781
1980-812
1983-843
1989-90 4
1991-92 5
1994-955
65 performances
105 performances
144 performances
154 performances
161 performances
168 performances
5 productions
7 productions
8 productions
7 productions
7 productions
7 productions
Venues: 1- Civic Arts Theatre (449 seats)
2- Civic Arts Theatre and Onstage Theatre (125 seats)
3- Civic Arts Theatre and STAGE II (148 seats)
4- Theatre at Del Valle (350 seats) and STAGE II
5- Lesher Theatre (298 seats) and Hofmann Theatre (785 seats)
24 18e
With the opening of STAGE II in 1982,
more contemporary work could be done. When
Hornbacher left the Repertory program in 1982
attendance had grown nearly ten -fold since the
Company's establishment. All casting for the
productions was done through well attended
auditions drawing from a wealth of perfor-
mance and production talent in this region.
Civic Arts Repertory continued its strong
showing through the late 80s and early 90s
under the artistic guidance of Tom Humprey,
Ed Weingold and Harvey Berman. Notable
productions during this time included
"Amadeus," "A Lesson From Aloes," "The Cru-
cible" and "Pump Boys and Dinettes."
When Rep moved its productions from
STAGE II to the new Regional Center for the
Arts in the Spring of 1991, its productions were
regularly at capacity, even with additional per-
formances added each season.
A new "home" at the Regional Center --
under David Hay's artistic leadership -- allowed
more flexibility, more production opportuni-
ties, and gave the group a new name: Center
Repertory Company.
Our Concerns
Our first concern for Center Repertory
Company is to solidify its financial stability
through corporate, individual and/or subscrip-
tion dollars. The stronger the financial base
the more secure the organization will feel in
exploring various types of theatre that may be
of a greater financial risk but of importance
from an artistic standpoint. As Center Reper-
tory stimulates its audiences to be open to see-
ing a broader variety of productions, hopefully
the base of subscribers will in turn grow.
Staff needs to be increased, even if by
part-time employees, rather than utilizing con-
tracted services personnel. The overall direc-
tion will be more clearly focused, better con-
trolled and far more cost effective. With con-
tract service providers coordinated scheduling
and timely communication is more difficult.
As the subscriber base grows, there should be
more staff allocated to the production and mar-
keting teams. It should not be necessary to
rely on favors to get jobs done, and in the past,
far too many "favors" have been used to se-
cure the special talents needed to mount cer-
tain shows. The "favor" market is growing thin
and appropriately compensated personnel will
be required to get the appropriate results.
The completion of the third theatre will
play an important role in facilitating the ex-
ploration of new works, new authors and art-
ists that cannot be proposed for the larger the-
atres due to the financial risk involved. A third
theatre of 130 to 150 seats will be perfect to
provide this venue. The new play series and
workshops for new actors, proposed in the Arts
Plan ten years ago, could then be implemented.
Increasing artists fees should be considered
so that the correlation of encouraging better,
more experienced artists will equate to a more
professional level of theatrical experience.
Further, by providing more professional actors
and technical personnel on a more consistent
basis, this should provide a greater incentive
to the less experienced for raising the standards
in our theatre company.
Process For The Future
The future development of Center Reper-
tory Company hinges on many factors. Some
-- like completion of the Center's third theatre
-- are underway.
Enhanced marketing and promotional ef-
forts, along with successful fund-raising to
enable a higher degree of private sector pro-
duction support will enable Center Rep to be a
strong and productive company in the coming
seasons.
Demographics changes during the past
decade provide greater opportunities for ex-
panding the theatre's subscriber base. With
increasing growth predicted for the San
Ramon/Dougherty Valley; and with additional
development in the Delta communities in the
next ten years, the importance of guarantee-
ing a "regional theatre" to serve the needs of a
regional community has never been more im-
portant.
Completion of the third theatre will be a
major factor in Center Repertory's artistic de-
25
187
velopment, providing an important and pres-
tigious arena for new acting talent, new musi-
cians and for the debut of new works.
Production underwriting, a corporate re-
sponsibility under the auspices of Diablo Re-
gional Arts Association, allows Center Rep to
select important works for presentation, and
to hire quality directors and a talented design
team for each of its seven productions each
season. Center Rep presently receives no un-
derwriting from the City of Walnut Creek.
Most comparable theatre producing companies
anticipate a 50/50 ratio of earned income from
ticket sales and contributed income from pro-
duction underwriting. Center Rep currently
receives only 10-15% of its production bud-
get from private sector support. With earned
income virtually "maxed out" (primarily be-
cause of a 300 seat auditorium capacity for
much of its season, and a ticket price that is at
or above most comparable producing compa-
nies), Center Rep must look to a higher level
of private sector support and a modest level of
City support if it is to thrive.
REGIONAL CENTER FOR THE ARTS
Where We Started
Since the earliest days, the City has played
a strong role in local arts development as a
"provider" of performance space for local and
regional groups.
With its choice location in Central Contra
Costa County the old Civic Arts Theatre, and
more recently, the Regional Center for the Arts
has been at the crossroads of the arts for the
region. This was a major impetus for devel-
opment of the Regional Center for the Arts.
Working with area producers and presenters,
the City rents its facilities and works to sus-
tain a varied and diverse season of performance
attractions.
While the City's role as a "producer" is
limited to the Bedford Gallery, Center Reper-
tory Company and the Walnut Creek Concert
Band, its role as a "facilitator" is central to its
operation. The use of the Regional Center for
the Arts is very much market driven. There
has been, and continues to be, a strong unmet
demand. for quality performances and exhib-
its of many styles and types for residents of
this region.
The Center opened with a festive Gala
starring Bob Hope, Diahann Carroll, Vic
Damone and Joel Grey on October 4, 1990.
"Center Festival '90" highlighted the open-
ing two weeks with more than twenty events
showcasing the new Regional Center's poten-
tial as a major player in Bay Arts presenta-
tion. The new Bedford Gallery -- continuing
the work of the former Civic Arts Gallery --
opened with "Contra Costa Collects: Con-
temporary" focusing on more than forty pri-
vate corporate and individual art collectors in
our area.
In addition to the Bedford Gallery, the
Center includes three performance spaces: the
800 seat Hofmann Theatre, the 300 seat Dean
Lesher Theatre, and a new space for experi-
mental and chamber productions seating ap-
proximately 140, and scheduled to open in
mid-1996.
The handsome new Center has provided
an efficient space for a wide variety of cul-
tural activities. Program enhancements with
a professional symphony orchestra and a pro-
fessional ballet company, along with effort to
establish a professional opera company, have
been important highlights. Equally important
have been the achievements and growth of
many of the long-time community arts orga-
nizations, among them Center Repertory
Company, Diablo Light Opera, Contra Costa
Musical Theatre, and the Diablo Symphony.
The quality and variety of the professionally
curated exhibits available at the Bedford Gal-
lery has enriched the visual arts scene.
At the time of initial planning the Re-
gional Center for the Arts, some 288 perfor-
mance events were projected for the first full
year of operation with an expected audience
of 180;000 patrons. These projections under-
estimated the magnitude of both production
activity and audience demand in Central
Contra Costa County. In the initial twelve
26
months the Center facilitated over 370 perfor-
mance events and welcomed nearly 230,000
patrons.
The impact of the Regional Center for the
Arts continues to grow bringing new artistic
achievements to Central Contra Costa audi-
ences. In April 1994, the One Millionth pa-
tron came through the doors, and the year saw
over 540 events presented.
Productions by the following producers and
presenters were seen at the Regional Center
for the Arts during 1994.
Eight or More Performances
California Symphony Orchestra
Center Repertory Company
Contra Costa Musical Theatre
Diablo Ballet
Diablo Light Opera Company
Diablo Symphony Orchestra
Travel Adventure & AM Lecture Series
California Theatre Arts
Civic Arts Education Showcase Performances
Contra Costa Ballet
The Ballet School
Fantasy Forum Actors Ensemble
Under Eight Performances
Contra Costa Chamber Orchestra
Kidshows Performing Arts Series for Children
Sierra Chamber Society
Philharmonia Baroque Orchestra
Dance Connection
Carol Lynne Pearson
Dances of the Pacific
Walnut Creek Men's Barbershop
Walnut Creek Concert Band
Walnut Creek Area Schools
Corporate, Business
and Community Events
AirTouch
Smith Barney
Mechanics Bank
Pacific Bell
Contra Costa Dental Society
Lesher Communications
Bank of Walnut Creek
First Interstate Bank
Unity Center of Walnut Creek
Longs Drugs
Palmer School
Dorris Eaton School
Junior League of the East Bay
League of Women Voters of Diablo Valley
Our Concerns
As noted earlier, the Center became the
Dean Lesher Regional Center for the Arts in
October 1995, thanks to the generous gift of
the Dean and Margaret Lesher Foundation.
The re -naming, together with the completion
of the Center third theatre, offers new oppor-
tunities and new challenges.
For years many arts presenters and many
community leaders recognized the strong need
for a well -designed performing and visual arts
facility that could serve central Contra Costa
County's growing population base. Walnut
Creek welcomed the initiative, and provided
encouragement and considerable financial sup-
port leading to the opening of the Center in
1990.
The demand for performance space and the
City's desire to see a strong and varied series
of offerings, puts the operation of the Dean
Lesher Regional Center for the Arts in an en-
viable but difficult position.
The Dean Lesher Regional Center for the
Arts is still the only year round facility of its
kind in the East Bay. The pent-up demand for
performance activity that has greeted the Cen-
ter has placed considerable strain on the sched-
ule and the groups that perform there. The
27
Center is in very heavy demand -- with mul-
tiple performances scheduled nearly every day
of the year.
With over 540 events per year now on the
schedule, there is little flexibility possible in
scheduling. It is nearly impossible to extend
the run of popular productions, or to accom-
modate "late breaking" events.
While the technical systems in the Center
help expedite multiple events, the facility
equipment limitation mentioned earlier pro-
vide restraints -- especially in the 300 seat the-
atre where the full stage rigging system is yet
to be completed.
Scheduling at the Center has been based
on the available product to offer. We are for-
tunate in this area to have strong community
and regional performance groups anxious to
utilize the Center.
The City has limited its stage production
activities to Center Repertory Company and
the Walnut Creek Concert Band. The City, has
little direct control over the balance of offer-
ings.
One of the limiting factors in achieving an
optimal balance of performance events at the
Center is the lack of a "presenting" mechanism.
Typically a "presenter"-- an independent man-
ager who develops a series of regionally or na-
tionally known attractions -- will package one
or more series for a venue. A presenter will.
import from performance resources in the re-
gion or from those performers touring in the
area. Since the demise of Friends of the Cen-
ter/RCA, Inc. there has been no ongoing pre-
senting program at the Regional Center for the
Arts.
In order to encourage the greatest diver-
sity of offerings, and the highest quality pos-
sible, the City may need to take a more direct
role to assure that there is a good balance of
arts disciplines, and a balance of professional
and community productions on the annual
schedule.
Process For The Future
Since the City is not the primary program-
mer, it is important that the City encourage pro-
gramming by others in order to assure the
growth of performing arts in this region. This
nurturing takes many forms, but is focused
around adequate support, as well' as equip-
ment and assistance in facilitating new pro-
gram initiatives. (See also p 35)
While the greatest part of past program-
ming has centered around community -based
efforts, an economic base and a marketing
base are now present which will allow us to
encourage a new level of presenting oppor-
tunity, while maintaining the strong
community -based efforts that have been the
traditional mainstay for local audience. The
intention is to supplement the offerings avail-
able, not replace them. The scheduling for
the new Regional Center for the Arts should
recognize the value of the City's
long-standing association with the commu-
nity arts groups. Efforts should be made to
insure that the City's excellent relationship
with these groups be maintained, while al-
lowing for new opportunities and new pro-
gramming directions.
It is recognized that the location of our
operation in central Contra Costa County puts
us on the edge of the large Bay Area present-
ing market. Current productions by
community -based organization already
"draw" from the greater Bay region, though
by far the largest part of audiences naturally
come from with 10-15 miles of downtown
Walnut Creek. While it would not be practi-
cal to "compete" head-on with the unique
national cultural opportunities offered in San
Francisco, the distinctive population and cul-
tural interests, along with the educational and
economic resources of our community, make
Walnut Creek a natural venue for developing
an expanding market for the presentation of
regional and national touring attractions.
Walnut Creek's location and past experience
can allow it to build into an important tour-
ing and festival site. This will not only pro-
vide new performance opportunities for area
residents, but it will allow a greater exposure
to existing community -based programs.
The Center has enabled Walnut Creek and
28
190
area audiences the opportunity to be the
``home" to professional arts producers, among
them California Symphony, and Diablo Bal-
let.
It is evident that organizations like these
cannot exist in a facility limited to 800 seats
without a significant level of contributed sup-
port. These professional organizations, with
high production and personnel costs, are not
able to cover their expenses with ticket sales
alone. California Symphony, for example,
presently sells at 90% capacity, but must still
raise about $50,000 per performance to cover
its costs.
In 1994, the City Council created an Arts
Incentive Award program to assist Contra
Costa -based professional producers that
present seasons at the Regional Center for the
Arts. This program was offered on a two-year
pilot basis, with the hope that Diablo Regional
Arts Association would take on the Arts In-
centive Awards in future years.
At this time, no definite plans or criteria
for the continuation of Arts Incentive Awards
have been announced by Diablo Regional Arts
Association, although the annual program sup-
port funding provided to DRAA through the
Dean and Margaret Lesher Foundation may
be used to provide such a program.
When the Regional Center for the Arts
opened in 1990, . the Friends of the Center/
RCA, Inc., presented a popular series of events
for two seasons, including appearances by Vic-
tor Borge, Peking Acrobats, Marvin Hamlish,
Cleo Laine, and Canadian Brass. When the
Friends discontinued the series, there was talk
of Diablo Regional Arts Association assum-
ing this type of programming.
It needs to be recognized that such high
cost presentations require significant outside
underwriting in order to be sustained. Even
sold -out events at a high ticket price cannot
normally cover the presentation costs in an 800
seat venue.
While the Center is presently strong in
dance, chamber music, musical theatre and
drama, additional opportunities for jazz pro-
gramming and family -oriented programming
would be welcomed by local audiences.
More attention should be given to
long-term development of performance groups
for the Regional Center for the Arts. To re-
main a strong and viable operation, attention
must be given to the nurturing of both profes-
sional and emerging arts groups.
Just as the City often takes a proactive role
in encouraging the development or re -location
of new commercial businesses, in order to as-
sure strong artistic "products" in future years,
steps need to be taken to assist professional
and emerging groups to access the Dean
Lesher Regional Center for the Arts. Some
local arts programs have initiated "arts incu-
bators," a multi -year process in which a City
works closely with a limited number of emerg-
ing arts groups to help nurture their adminis-
trative, financial and artistic capacity. This is
an arts development process which deserves
consideration if Walnut Creek is to build its
arts resources for the future. An "arts incuba-
tor" process could utilize interships from area
arts administration programs or consultants,
and could be developed as a joint program with
Diablo Regional Arts Association to provide
arts development seed money for local pre -pro-
fessional arts organizations.
It is also evident from the foregoing that
serious consideration for a performance venue
greater than 800 seats is a must if professional
attractions are to be sustained without heavy
underwriting.
Because of nearly three decades of suc-
cessful performance experience, and the
community's investment in its future, the state
of the performing arts in Walnut Creek is
strong and destined to improve. A healthy
balance of professional and community -based
music, dance and theatre events will find a re-
sponsive and supportive home in Walnut
Creek.
191
29
PERSPECTIVES ON THE ARTS
Arts General. Plan
1995-2005,-
ISSUES IN THE ARTS #3.
PARTNERSHIPS
Where We Started
The success of any local arts program de-
pends, to a great extent, on cooperative endeav-
ors. As a municipal program, Walnut Creek
Cultural Services strives to be responsive and
to encourage such activities. It is in a key po-
sition to facilitate community cooperation lead-
ing to a much greater and diverse program than
the City would reasonably be expected to main-
tain on its own.
The City's role in such cooperative efforts
is four -fold:
1. The City partners with other agencies
to maximize arts resources and to develop var-
ied sources of arts support.
2. The City encourages -- through policy
and funding -- the highest level of cultural
achievement possible within the context of a
community arts program.
3. The City facilitates cultural programs
with the community to assure that adequate
facilities for the arts are in place.
4. The City supports and is responsive to
the work of volunteers and community groups.
The Cultural Services Department in Wal-
nut Creek works with other public agencies,
with community organizations, with busi-
nesses, and with individuals in many different
ways. Some of those are explored in this sec-
tion.
IN WALNUT CREEK
From its earliest days the City's arts pro-
gram has sought to work cooperatively with
others, recognizing that providing for the cul-
tural life of a community requires input and
participation from many quarters. A close
working relationship in the 1960s with volun- .
teers, with the former Civic Arts Association,
with Diablo Valley College and other educa-
tional agencies, with community arts organi-
zations like Valley Art Gallery and Diablo
Light Opera Company, and with local busi-
nesses like Broadway Center showed how im-
portant and productive such sharing of re-
sources and expertise could be.
Process For The Future
Diablo Regional Arts Association
In 1993, after cooperating with the Civic
Arts Association (CAA) for nearly thirty years,
an arts support reorganization took place cre-
ating the Diablo Regional Arts Association
(DRAA). The Association's goals are to not
only carry forward the fine work begun by
CAA over the years, but to make it work bet-
ter, to be responsive to changing conditions,
and to broaden its focus beyond the City's arts
program.
As part of the reorganization, a new rela-
tionship was put into place. The volunteer
constituents of the past (i.e. Clay Arts Guild,
Gallery Guild, Bedford Gallery Docents and
Arts Auxiliary) were continued, and a new
volunteer group to operate the Center Gift Shop
30 192
was established. Diablo Regional Arts Asso-
ciation was designated as the City's official
private sector arts funding organization, and a
close structural relationship was established
with the City's Arts Commission. The intent
is to improve communications and effective-
ness in private sector fund-raising for the Arts.
A new public/private sector partnership
was created between the City and Diablo Re-
gional Arts Association. The organizational
structure is intended to improve communica-
tion, clarify policy roles and enhance private
sector fundraising support for City arts pro-
gram. A closer relationship between the DRAA
and the City Arts Commission was created with
joint representation and advisory council par-
ticipation for both entities. The new organiza-
tional structure is outlined in Appendix A-3.
In March 1995, the City Council accepted
a proposal from the Dean and Margaret Lesher
Foundation which will have significant impact
on local arts funding and private sector par-
ticipation. The Lesher Foundation, in coop-
eration with the City and Diablo Regional Arts
Association, created a municipal arts endow-
ment which will provide a minimum of $1 mil-
lion endowment capital between 1995-2005.
In addition, during this ten year period, the
Lesher Foundation has promised a challenge
grant of up to $100,000 yearly in current pro-
gram support. This is contingent upon DRAA
matching the yearly gift at an amount over and
above its historic funding level. Any portion
of this $100,000 yearly support grant not
matched will be added to the endowment fund.
In accepting the Lesher Foundation offer,
the City Council agreed to sustain its 1994-96.
net appropriation level of arts support for the
next decade and to dedicate the Regional Cen-
ter to the memory of Dean Lesher.
The generous gift of the Lesher family pro-
vides new opportunities for private sector arts
support, not only for City arts programs, but
also for other areas of regional arts support
which are of interest to Diablo Regional Arts
Association.
The Association, in its role as the City's
principal fund-raising partner, has agreed to
provide a base -level of arts support each year
and to consider other program funding needs
as recommended by the Arts Commission.
It is important that the City and Diablo
Regional Arts Association develop and sus-
tain a strong and viable partnership. While
the Association takes on new support activi-
ties with its broader mission, a close and trust-
ing relationship between the Association and
the City's arts program is vital if the relation-
ship and the arts are to thrive.
The newly formed DRAA/City partner-
ship, together with expanded opportunities for
both current program support and long range
endowment support, puts Walnut Creek in an
enviable position for the years ahead.
Cooperative Arts Programming
Many non-profit agencies, such as the
various dance and theatre groups, symphony
orchestras, and other community groups as
well as professional arts organizations ben-
efit through use of the City's facilities. In
turn, many of these organizations have pro-
vided needed assistance and supplementary
funding to equip and maintain facilities and
programs to the benefit of all.
Cooperative funding with the private and
public sectors sharing in the cost of facilities
(particularly the development of the Regional
Center for the Arts) has been vital in order to
improve and replace community arts facili-
ties and equipment.
Programming has often been handled
through a joint venture process also. In or-
der to prevent duplication of services and pro-
vide high quality programming at a cost ef-
fective level, the Cultural Services program
has been involved in creating cooperative pro-
grams with other agencies that have received
statewide recognition.
The Inter -Disciplinary Education through
the Arts (I.D.E.A.) program developed in co-
operation with the Mt. Diablo School Dis-
trict was recognized by the State Department
of Education as an Exemplary Program in
Arts Education. Since its establishment in
31
193
1979, it has been used in over fifty schools in
three counties, funded by grant monies which
are matched by the participating schools.
Master classes and workshops are offered
jointly with professional artists' organizations
such as the Association of California Ceramic
Artists, and California Handweavers. Com-
plete programs are jointly offered with school
districts, such as the Summer school, "Arts,
Adventures and Academics" with the Walnut
Creek School District, and the Young perform-
ers String Orchestra with both Walnut Creek
and Mt. Diablo Unified School Districts.
The Cultural Services Department should
continue its current cooperative program op-
portunities with the Contra Costa campus of
Cal State/Hayward. The development of an
Arts Conservatory at the Contra Costa cam-
pus would both encourage an important shar-
ing of resources, and create a programming
synergy between the campus and the commu-
nities it serves.
There are over fifty non-profit and com-
munity producing and presenting groups that
use the Regional Center for the Arts, regularly
providing over 500 public events and perfor-
mances each year. These professional and
community groups work productively and co-
operatively to ensure a strong, quality -driven
calendar of performance events and business
meetings.
Since 1980, up to eleven community the-
atre organizations in Contra Costa County have
come together for the annual Shellie Awards,
honoring outstanding achievement in area the-
atre presentation and individual contribution
to the performing arts. The Shellies bring a
healthy rivalry and a high-energy celebration
to the local community theatre scene with
groups from San Ramon, Concord, Moraga,
Danville, Lafayette, Walnut Creek, Pittsburg,
Antioch and Pleasant Hill participating.
The quality of life. in Walnut Creek and the
neighboring communities is enriched through
Cultural Services programs and other local cul-
tural activities, and through agencies or groups
involved in joint support of projects. This col-
laborative process of identifying needs, work-
ing out problems, and solving them strength-
ens communication among segments of the
population. Nurturing facilities and program-
ming both by and for the community is essen-
tial to the future strength of both the City and
the arts locally. This clarifies mutual goals and
visions of the type of community that residents
and program users wish to see for the future.
194
32
PERSPECTIVES ON THE ARTS
IN WALNUT CREEK
Where We Started
From its inception the City's arts program has
worked to generate a variety of funding sources
for the arts. Over the years the City Council has
provided strong general fund support for cultural
programming on a scale above that normally seen
for cities the size of Walnut Creek.
Until the mid-1970's, during the period of
Walnut Creek's greatest residential development,
there were two major sources of arts funding:
participant user fees and City general fund sup-
port. The amount of private sector support during
this period was quite small. The role of the former
Civic Arts Association, through the mid-1970s,
was more as a local arts advocate and coordinator
of local arts volunteers. The Association raised
private sector funds for miscellaneous needs and
several larger capital projects (i.e., the Civic Arts
Gallery mezzanine), but provided little on -going
program support. While the City was able, little
demand and expectation was placed on local arts
fund-raising.
Being dependant on a single source of oper-
ating support is not a wise choice for any arts or-
ganization. With that in mind City management
and the arts staff sought new sources of arts fund-
ing in an effort to diversify support and assure a
healthy balance between earned and unearned in-
come. Beginning in the late 1970s, program par-
ticipants (like class registrants) and facility users
were asked to pick up a greater share of the cost
for services they enjoy.
This proved to be a wise course of action,
when, in 1978, California citizens passed Prop 13
which capped local property taxes resulting in a
squeeze on local government services. Many be-
lieve Walnut Creek's arts programs were treated
quite fairly in the funding adjustments that needed
to be made citywide. Consequently, Walnut Creek
was able to sustain most of its comprehensive pro-
gram at a high service level.
In the early 1980s, the Civic Arts Association
began to recognize more clearly the role it needed
to play if the arts were to thrive and meet commu-
nity demand. The Association set priorities for
new program support in addition to its commit-
ment to fund a significant part of the capital cost
of the development of the STAGE II Theatre.
A summary of arts funding since in mid-1970's
shows considerable growth in the overall arts bud-
get -- from $401,000 in 1975 to nearly 2.8 million
in 1995-95.
Obviously arts funding has grown, but so have
the services provided and the number of people
served. It is also important to view this financial
growth in the context of the cost -of -living index
which has nearly tripled since 1975.
The ratio of the sources of arts funding has
also changed since 1975. Clearly, program users
are now covering considerably more of the cost
of arts services than twenty years ago (from 46%
to 68%), and the City's portion has declined (from
52% to 27%). Private arts support has ranged from
2% to 6% of total program costs.
This combination of increased earned income
levels, along with new private sector program sup-
port and City general fund public support brought
the Walnut Creek arts program to new levels of
achievement and lead to plans for development of
the Regional Center for the Arts. 195
33
After the Regional Center opened in 1990, the
City Council called for a long-term look at arts
funding. The Strategic Vision study in April 1992
and Civic Arts Education: Looking Toward the
Future in January 1993 set into place the City
Council's resolve for the City to sustain its
long-term level of arts support and leadership, but
to address a plan which could constrain the growth
of City arts funding.5
A new round of "take sways" of traditional
state subventions by the California Legislature in
1992 and 1993 made it important that local gov-
$3.0
Mil
$2.5
Mil
$2.0
Mil
$1 .5
Mil
$1.0
Mil.
$0.5
Mil
FEE
ARTS FUNDING TRENDS
City of Walnut Creek
1975-1995
ernment tighten its belt in order to put future ser-
vice costs in line with overall City revenue pro-
jections.
In June 1994, the Walnut Creek City Coun-
cil approved a management recommendation to
create so-called Partnership Budgets for the City
arts programs. Under the Partnership Budget
Program, a baseline General Fund support level
and program service level was determined for
each Cultural Services program. This created a
baseline level of City support for the two year
operating budget period. With staff assistance,
% of private sector support
% of program user support
% of City program support
1975-76 1980-81 1985-86 1990-91 1 1994-95 2
Source: City General Fund Appropriations, 1975-1995. Amounts for 1980-95 reflect single year of City two-year
operating budget cycle. Capital projects are not shown.
Note: 1 Opening of Regional Center for the Arts, October 1990.
2 Partnership Budget implemented in 1994-96 operating budget. Private sector partnership funds for
1994-95 (approximately $130,700) are added to City budget to provide comparable figures.
34 19f;
the Arts Commission sets program fees, assesses
service level, and recommends where private sec-
tor support can best be allocated.
Savings below the baseline (from budget sav-
ings, excess revenues, or grant funds) can be
rolled -over into a Partnership Fund and be retained
for future program needs by the Cultural Services
Department rather than returning these "savings"
to the City General Fund. Once a baseline has
been established for each program, subsequent
City General Fund support is determined using a
cost -of -living formula.
The intent is to create greater flexibility for
the Cultural Services Department director and pro-
gram managers. The plan also encourages effi-
ciencies and places greater value on private sector
support.6
Our Concerns
While it is still too early to fully appreciate all
the advantages and pitfalls of this new arts bud-
geting system, the Arts Commission will be closely
monitoring the process and its effect on operations
and program service level.
Process For The Future
Generally stable levels of arts support has been
recognized as one of the key factors for Walnut
Creek's arts success, along with strong public par-
ticipation, and effective planning and program-
ming.
During the term of this ten year Arts General
Plan, the Arts Commission and City Council need
to regularly and objectively assess the financial
health of Walnut Creek's arts program.
Program participants are expected to continue
to cover the largest percentage of arts program
costs. We must caution, however, that to be suc-
cessful, the program must not price itself out of
the market. Program fees must remain accessible
to the broadest portion of our community, or the
program will be seen as serving only the affluent.
While the City Council's Partnership Budget
will constrain increases in City General Fund sup-
port for the arts locally, we must recognize that
City funding has played -- and should be expected
to play -- a major role in assuring that an afford-
able arts program is available to all.
The Diablo Regional Arts Association, as the
City's private sector arts support partner, has ac-
cepted a role that makes it a key player in the con-
tinued growth and affordability of arts program-
ming for area residents. DRAA is well placed to
use its resources, its influence and its community
leadership skills to assist the City Council in fund-
ing needs for City arts programs.
Efficiency in operation and building strong
partnerships with private and public jurisdictions
can also, have a meaningful impact on arts re-
sources. City staff and the Arts Commission should
continue their long -held tradition of being fiscally
conservative while programmatically unafraid to
take reasonable risks that will assure Walnut
Creek's retaining its arts leadership position in
Contra Costa County.
191
3S
PERSPECTIVES ON THE ARTS
Arts General Plan
1995-2005
ANCILLARY ISSUES
n addition to the four major issues pre -
sented earlier in this plan, the Arts Com-
mission believes some attention should
be focused on other subordinate issues which
affect the fabric and quality of the City's Cul-
tural Services programs.
Arts and Technology
Over the past twenty years, major techno-
logical advances in communication, informa-
tion handling and operational practices have
impacted our lives. The arts are not immune to
these advances. Indeed, many advances in these
areas came about because of artists and their
interest in testing and challenging the
day-to-day norm.
As we move toward a new millennium,
technology and technological advances will
play an ever increasing role in arts production
and presentation. Our lives are being increas-
ingly shaped by communications and technol-
ogy. The City should be prepared to embrace
technological change which offers new opera-
tional efficiencies and new opportunities for
creative expression.
Technology and its impact on the arts will
be felt in a number of areas. As new advances
are made, we should be ready to accept them.
Arts technology helps improve service to our
constituency.
In the Arts Education class program, new
clay firing methods and advances in photogra-
IN WALNUT CREEK
phy darkroom techniques, for example, will
provide efficiencies of time and savings of
money while potentially improving the finished
artistic product. Upgraded and state-of-the-art
studio equipment allows this to happen.
Electronic arts, including MIDI music and
design and drawing software, provide new cre-
ative approaches. Computer animation, com-
position, video and multimedia design are ar-
eas which should be incorporated into the cur-
ricula of the City's Arts Education program, as
funds for studio space, equipment and teach-
ing resources are made available. Providing
programs with interactive technology will keep
Walnut Creek in the forefront of community
arts education providers and appeal to new stu-
dent interests.
Visual arts and performance arts which in-
corporate new multimedia expressions and
technological advances should be encouraged
in theatre and gallery offerings. Incorporating
"high tech" advances into local music and
dance programs provides an exposure and new
artistic opportunities for both the artist and for
the audience.
The Regional Center staff should objec-
tively assess advances in stage lighting and
sound reproduction and strive to keep our fa-
cility up to date.
Information handling and voice handling
are important advances in office technology
which can provide cost savings and improve
service to the public.
36 198
Volunteering
The Cultural Services program has long
placed a great value on the services of those
who volunteer for the arts. Volunteers not only
give of themselves and make significant con-
tributions to the overall level and effectiveness
of the arts program, but volunteerism also pro-
vides meaningful opportunities for self expres-
sion and self improvement.
A large percentage of the program's vol-
unteers are members of guild and other com-
munity service groups within the Diablo Re-
gional Arts Association. The Clay Arts Guild,
the Bedford Gallery Guild, the Bedford Gal-
lery Docent Council and the Center Gift Shop
volunteers, while enjoying a special closeness
to a large and complex arts program, give much
of themselves in the day-to-day operation of
these programs.
Over 100 members belong to the Clay Arts
Guild who are also enrolled in Arts Education
ceramics classes. Members volunteer consid-
erable time and talent to enhance this program
and its facilities. Special master workshops,
seasonal pottery sales, guest events, and studio
assistance are the focus of the Clay Arts Guild.
The Guild has provided well over $100,000 to
the ceramics programs and its facilities over
the years.
Since its establishment back in 1959 (ini-
tially as the Diablo Pageant of the Arts Soci-
ety, and later as the Walnut Creek Arts Alli-
ance), the members of the Bedford Gallery
Guild have worked to provide assistance and
arts projects in the community. Presently some
sixty-five members work closely with Bedford
Gallery staff to help with installations and to
host exhibit preview receptions. Providing
voluntary staffing and serving as desk atten-
dants has become the Guild's primary purpose.
Special projects have enabled the Guild to as-
sist with over $25,000 of gallery program and
equipment needs since its inception.
The fifty-eight member Docent Council
provides service both to the Bedford Gallery
and to the community as they give tours to
adults and thousands of school children each
year. Docents utilize the Bedford Gallery and
its programs as a resource to enhance their own
knowledge of the visual arts. They also learn
much in the process of teaching others. Mem-
bers of the Docent Council work with the
Bedford Gallery staff to provide professional
exhibit experiences to the public and to learn
more about new and different directions in the
visual arts.
The Regional Arts Auxiliary over the years
has been central to event fund-raising projects.
From decorator showhouses to formal galas,
and from auctions to ice cream socials, Aux-
iliary members rally in support of local arts
programs. The Auxiliary accepted the chal-
lenge in 1990 to provide behind the scene tours
of the handsome new Regional Center for the
Arts. Recent "Light Up Your Life" parties, as
well as benefit events like Nordstrom's grand
opening, give the Auxiliary opportunities to
spread the news about the City's arts programs
and to enhance these programs with their
fund-raising expertise.
In 1993, recognizing both an important
need and a unique opportunity, a new group
of volunteers offered to develop the -Center
Gift Shop off the Regional Center lobby. The
Center Gift Shop has become a showcase for
fine arts buyers and a new source of program
support for the Bedford Gallery.
Whether coordinating parent board
projects in support of the Civic Arts Junior
Theatre or the Young Performers String Or-
chestra, or joining the group of nearly 700
volunteer ushers at the Dean Lesher Regional
Center for the Arts, volunteers are central in
allowing the arts to flourish in this commu-
nity. Most, however, readily admit that they
get back more in return for their volunteerism
than they ever give of themselves.
Arts and the Local Economy
Robert McNulty, President of Partners for
Livable Communities based in Washington,
D.C. has forcefully pointed out that cities are
a place of change, and amenities like cultural
facilities, open space, urban park and restored
historic areas are giving our cities and their
people new identities.?
199
37
These amenities add vitality to the commu-
nity. They attract business investment; they
stimulate convention and visitor trade; and they
increase downtown retail activity. Equally im-
portant, they help improve the city's image to
residents and non-residents alike.
When focusing on the role that the Arts can
have in a community like Walnut Creek, two
strategies come immediately to mind:
• Economic Impact -- What amount of con-
sumer spending for the arts is generated locally?
What local tax impact does this have? What
jobs do the arts sustain? What local businesses
are affected -by this?
• Economic Development Strategy -- How
can the Arts be best utilized in creating and sus-
taining a strong local economic base? How can
the Arts be embraced as a tool for change?
What resources do the Arts bring in a
community's planning effort?
For nearly thirty years, Partners for Livable
Communities (originally founded as Partners
for Livable Places) has been studying the role
that the arts have on cities and what techniques
work best.
In 1984, as part of a national conference on
"The Economics of Amenity," Partners studied
the complex issues in detail, and encouraged a
new look at the arts industry and its local im-
pact.
Whenever people are asked to name what a
city can contribute to their lives that cannot be
found in suburban or rural locations, they are
most likely to answer "culture. " The visual arts,
theater, music, dance, museums, and libraries
are amenity assets concentrated in cities that
make direct contributions to the economy and
that by enriching the lives of residents and at-
tracting visitors, can exert a powerful indirect
influence on private investment.
What are the arts worth to cities? For some,
the question is crass. The arts, the institutions
that foster them and those who practice them
make an invaluable contribution to the richness,
excitement and humaneness . of a city and to
society. Civilization is unimaginable without
the arts, and cities have always been their cen-
ter of activity. How can their worth be ques-
tion?
The question, however, is legitimate and im-
portant for people in the public and private sec-
tors who must make decisions about how to
allocate scarce resources among many com-
peting and worthy objectives. As a result, in-
vesting in the arts requires making decisions
about the value of the arts in themselves and
about their value as contributors to the achieve-
ment of other important objectives.$
This pioneering study and conference led
to a groundswell of discussion about the arts
as an investment tool, and the making and re-
making of a city's image. Several cogent re-
lated studies are noted in this Plan's bibliogra-
phy.
The study identified five different ways in
which the arts can participate in a city's eco-
nomic development strategy:
1) The arts can contribute to an animation
strategy for a specific development of city area
(making it active and "Alive after S ").
2) Entertainment and cultural facilities can
be components of mixed -use projects, serve as
anchors for larger development programs, or
be used to structure area development and re-
development.
3) The arts can be incorporated explicitly
into a strategy for attracting business.
4) The arts are an attractive and produc-
tive focus for private investment in civic im-
provement efforts, and
S) `The arts can improve a city's overall
image, offering increased poten tial for tourism
and for business investments.
Since at least 1985, the Arts Commission,
our arts support organization, and the City's
38
r100
arts program managers have discussed the value
in conducting an arts economic impact study
for our community. The Civic Arts Ten Year
Plan. 1986-1996 included such a study in its
discussion of local arts needs. The "Cultural
Policy Framework" suggested that a "research
project to determine... the economic impact of
local cultural programs" be considered.
Many people have conjectured on the fis-
cal impact of the City's arts programs, espe-
cially since the opening of the Regional Center
for the Arts in 1990. In spite of this interest,
and the expected value that such information
would have for our local arts funding efforts,
no study of Walnut Creek's arts industry has
happened.
The Arts Commission believes the kind of
data developed from such a study would be very
beneficial to the Commission, to City officials,
and (perhaps most important) to Diablo Re-
gional Arts Association in its fund-raising ac-
tivities.
Cultural . Diversity
In order to maintain and expand public sup-
port for and participation in the City's arts pro-
grams, it will be important in the next ten years
to expand participation by members of the ra-
cial and ethnic groups that make up. an
ever-increasing portion of the communities
from which the Cultural Services program
draws its audiences.
The arts can play a significant role in en-
couraging understanding and respect for cul-
tural differences and cultural similarities. Ex-
posure to peoples, artistic achievements and at-
titudes of diverse racial and ethnic groups helps
us to achieve greater respect for each other, as
well as to affirm our own cultural identities and
contributions.
A geographic summary of RCA ticket buy-
ers shows that roughly 32% come from Walnut
Creek, which has a relatively small
multi -cultural population -- 12.6% according
to the 1990 census. But the greatest number of
ticket buyers -- 68% -- come from towns
throughout the rest of Contra Costa County,
which have multi -cultural populations of ap-
proximately 30%, more than twice the size of
Walnut Creek's.10
Not only did the census show substantial
Hispanic, Asian, and African American popu-
lations in Contra Costa County in 1990, these
populations are growing faster than the white
population. Between 1980 and 1990, the
white population of Contra Costa County rose
by only 4%, but the African -American popu-
lation rose by 21 %, the Hispanic population
rose by 63%, and the Asian -American popu-
lation rose by 134%. Not only are these popu-
lations growing, they are growing as a per-
centage of the total population. ll
As the demographics of our communities
change, arts institutions, like other commu-
nity institutions, must also change if they want
to attract these new audiences to represent
them, and to serve them.
If it is clear that we need to become more
inclusive, to broaden the information we of-
fer, and to provide exposure to the histories,
cultures, and contributions of many different
peoples, then the next issue is "how" to do
this.
In order to speak to all segments of our
community, the goal for culturally diverse pro-
gramming must be to help all audience mem-
bers develop knowledge, understanding, and
appreciation of cultures other than their own.
The most obvious way to approach cul-
tural diversity in programming is to devote an
entire program to exploration of some aspect
of one culture. Recent Cultural Services pro-
gram examples include exhibits on Hispanic,
African, Native American and Arab cultures
in the Bedford Gallery; Persian dance classes
at Arts Education; and theater productions on
African -American and South African themes.
A second possibility is to include a vari-
ety of cultural contributions in programs that
are devoted to broad themes. In an exhibition
on ecological art, the works by the daughter
of Chicano farmworkers presents views of the
earth as nurturer, and pollution as death. This
adds a valuable perspective to those Anglos
who are concerned about wilderness preser-
201
39
vation or the quality of urban life.
Presentation of works from a variety of cul-
tures should, of course, be accompanied by in-
terpretive elements. A play by a
Chinese-American about family love, loyalty,
and intergenerational conflict is easy for an
Anglo audience to relate to. But the same au-
dience for the same play may lose interest al-
together if the action centers on unfamiliar fig-
ures from Chinese folklore unless the figures
are placed in a meaningful context.
Interpretation can include not only explana-
tory texts, but also text excerpts from histori-
ans, journalists, diarists, letter writers, poets,
composers and artists of other periods and cul-
tures, as well as images, to provide many routes
toward the understanding of a topic.
In order to attract more culturally diverse
audiences to the programs of the Dean Lesher
Regional Center for the Arts and at Civic Arts
Education, we must find ways to communicate
with those audiences about our programs. In-
creasing the involvement of knowledgeable and
respected members of various ethnic and ra-
cial communities in program development can
make a significant difference. Civic Arts Edu-
cation engages multi -cultural artist -educators.
By engaging ethnic co -curators, or co -directors
for other programs, staff can get help in devel-
oping programs that have authenticity and ap-
peal. At the same time, the co -programmer can
help direct regular staff to new publicity op-
portunities, and possible new audiences.
Another way to encourage more cultural
and racial diversity in the life of the arts locally
would be to recruit respected non-Anglo mem-
bers for the four Advisory Councils and the Arts
Commission as well as to the Board of Direc-
tors and Trustees for Diablo Regional Arts As-
sociation.
We need to enter into frequent and regular
communication with ethnic community net-
works and non -mainstream press. We can be-
gin with help and advice from non-anglo mem-
bers employed by the City, now and in the fu-
ture, and with help from school teachers and
others working in the community who are fre-
quent users of he City's arts programs.
Closer programming involvement with the
Contra Costa campus of Cal State/Hayward can
strengthen our efforts for more culturally and
racially diverse arts programming.
In order to see concrete progress toward
greater cultural diversity, we need to establish
concrete goals and set up a plan with a timeline
that will allow us to achieve these goals. This
process should begin with input from the Ad-
visory Councils and Arts Commission. A com-
mittee composed of representatives from each
Cultural Services program can develop objec-
tive and plans with the involvement of repre-
sentatives from institutions with cultural diver-
sity programs in places and from respected mi-
nority members of the community.
Public Art
When one strolls about the downtown re-
tail and commercial areas of Walnut Creek, it's
hard to miss the increasing number of public
artworks that have been placed through coop-
erative efforts of the City and the private sec-
tor.
Since 1982, when the City Council ap-
proved the first Public Art requirements and
guidelines, forty public art projects have been
completed.
Thirty-three relief and sculpture projects
presently enhance private commercial and re-
tail buildings in the community, and seven
projects have been incorporated into City build-
ings and parks.
Visitors to Broadway Plaza, the Golden Tri-
angle complex, developments along Mt. Diablo
Blvd. and in Shadelands Office Park enjoy the
variety of public art projects which add to the
visual interest of the urban landscape.
The purpose of the Public Art program is
to visually enrich City spaces while serving to
humanize and activate the surrounding envi-
ronment. The program operates with standards
and a review process which best serve the aes-
thetic needs of the City. These standards (es-
tablishing the appropriateness of the art work
to the project site in terms of accessibility, scale,
form, content and materials) are vital to the
40
202
program's success.
The current program is the result of coop-
erative efforts of the City's Commissions, at
the direction of City Council. In 1981, the
Council formed a Joint Task Force on Public
Art to develop specific implementation proce-
dures for public art in Walnut Creek. This
evolved out of an earlier consideration by the
Civic Arts Commission of the need for an "Art
in Public Places" plan. The Planning, Park and
Recreation, Design Review and Arts Commis-
sions appointed representatives to the Joint Task
Force.
Various alternatives to increase awareness
and to expand public art in our community were
considered. The Task Force looked at a num-
ber of successful models from other jurisdic-
tions ranging from more attention to public art
needs during the Design Review process, to a
"Percent forArt" requirement for all public and
private construction. As a result, modifications
to the City's Design Review Guidelines were
incorporated into the "Fine Art Works" section
with Council adoption on January 4, 1983.
After staff review, the Public Art project is
set for Arts Commission approval. City staff
developed the current implementation process:
Planning Staff recommends public art elements
as a condition of development in accordance
with Design Review Guidelines. Following
requirements set by the Design Review Com-
mission, Cultural Services staff assists the ap-
plicant on selection and placement.
With the enactment of significant develop-
ment limitations in 1985, it became evident that
the mechanism for public art would need to be
changed since it was formerly linked to height
requirements. Following a joint session with
the Civic Arts Commission and Design Review
Commission in August 1985, the Council de-
cided that it would be appropriate to examine
broadening the scope of the Public Art Guide-
lines including applicability to both public and
private development to ensure diversity and
quality in public art. The Council again ap-
pointed a committee with representatives from
the Planning Commission, Parks and Recre-
ation Commission, Design Review Commis-
sion and Arts Commission.
On January 6, 1987, the City Council
adopted Resolution No. 4771, "A resolution
of intention initiating a general plan/zoning
study to consider revisions to the City's Pub-
lic Art policies and regulations." At that time,
Council directed the Planning Commission to
schedule a public hearing on the matter, and
report to the Council with its recommenda-
tions as soon as possible. To date there has
been no Commission follow up. This process
has not been continued due to Planning and
Arts Commission commitments and work load
during the interim period. It is important to
note that since 1987 there has been a consid-
erable turnover in the makeup of both Com-
missions involved in public art revision.
The Arts Commission is concerned that
Art in Public Places opportunities are being
missed, along with opportunities to consider
possible changes in our current approval pro-
cess. One concern that both Design Review
Commissioners and Arts Commissioners have
noted in the past is the need to encourage more
attention to the public art requirement earlier
in the project design and approval process.
Many public art projects are advanced for ap-
proval by the applicant too late in the construc-
tion process, often resulting in poorly con-
ceived and/or inadequately sited art projects.
There is a definite need for these two Com-
missions to develop a protocol that addresses
Public Art opportunities on a time -sensitive
basis. Additionally, the City's own Capital
Improvement Program should focus more on
opportunities for appropriate art projects in
City buildings and community improvements.
Park projects in particular should look for Pub-
lic Art opportunities, not as an "add -on", but
integrated into the overall- program design.
These publicly landscaped locations are most
amenable to Public Art inclusion.
For public projects, there are four elements .
to develop the program:
1) IdenM location and, when possible, art
medium: Select locations for public art
projects, such as City entryways, parks, down-
41
203
town, City Hall and libraries. So that the Pub-
lic Art program has the greatest impact, it may
be best to concentrate initially on 2-3 large_ ,
projects. Art is also important at an intimate,
everyday level, and projects of small scale
should also be integrated into the program.
Some locations may be appropriate for one type
of public art, while other more suited to an-
other, i.e., large-scale sculpture, mosaics, mu-
rals, stained glass, tapestries, mobile works or
small paintings and drawings.
2) Prioritize projects: Develop prioritized time
frame for completion of projects with a range
of funding requirements.
3) Establish funding mechanism: through the
City's Capital Improvement Program, set a
funding amount for each 2-year period, accord-
ing to the prioritized time frame. Also, estab-
lish a privately sponsored "art bank" for public
art projects.
4) Establish methods of acquirirt: ne aas ap-
propriate to the size of the public art projects,
acquire art through purchase of existing works,
open or closed competition or invitation. Adopt
review criteria for art acquisition. Establish
local resource and slide registry to ensure op-
portunities for regional artists.
The Arts Commission has given the
Bedford Gallery Advisory Council responsibil-
ity for Public Art approval in Walnut Creek.
Although development in the Walnut Creek
Core Area has slowed, there are a number of
potential sites in the City where public art would
be of value. During 1995-97, these sites should
be identified. In addition, Public Art guide-
lines need to be assessed and suggestions made
for their implementation. Creative ways of
bringing public art to the City without large fi-
nancial outlay should also be investigated.
Marketing and Advertising
"The key to marketing our activity lies in
our programming diversity -- we are a kind of
department store for the arts. This diversity
presents the ... Center with marketing problems
similar to those of a department store -- i.e.,
we have many different products to sell: the-
ater, music, dance, children's theater, a
visual -arts gallery, ... a range of classes and
workshops, and a variety of events within each
of these categories. And, like the department
store, if we get the people in to buy one prod-
uct (for example, a jazz concert or play), they
will at least look around in other depart-
ments." 12
Just as a department store must advertise
and market each line of goods with a different
strategy and to a different potential "audience,"
the City's Cultural Services programs need to
address different constituencies with varied
methodologies.
Over the years, the Department has em-
ployed an ever -changing pattern of promotional
approaches in order to inform the public of its
offerings and to encourage new levels of par-
ticipation. Some have worked well; others,
after a period of testing, have been changed.
As a City agency the task is even more com-
plex. While it is widely agreed that a large
minority of the general population has strong
arts interests -- either as participant or as spec-
tator -- one of the responsibilities of the Cul-
tural Services Department is to make sure the
general public knows what services its local
government provides, even if the majority is
not likely to be actively involved.
What has contributed to Walnut Creek's arts
success, however, is the presence of a large
population base, for the most part well edu-
cated and economically secure, who have cho-
sen to partake of the arts activities offered in
the community.
The 1993 Survey of Walnut Creek Resi-
dents, for example, shows a high level of us-
age, importance and satisfaction placed on
Cultural Services programs.
204
42
The City of Walnut Creek has been con-
ducting similar resident surveys since 1977 to
assist the City Council and staff in program and
budget development. Responses for 1993 are
typical of those reported in previous years.
Another element in the marketing equation
is the fact that the Walnut Creek arts program
is seen as "regional" in nature; i.e., a program
which serves Walnut Creek residents as well
as those in neighboring central Contra Costa
County communities.
Any professional Arts Center can be ex-
pected to draw its audience from a wide geo-
graphic population. The regional nature of the
Walnut Creek program contributes to the ar-
tistic and economic strength of the program,
thereby providing a stronger and more diverse
program for Walnut Creek residents. A Re-
gional Center audience survey in 1991 showed
that 50-60% of attendees 4typically come from
outside Walnut Creek. This is not unex-
pected given the reputation and the variety of
the program's offerings, as well as the fact that
Walnut Creek's long-term arts commitment
has made it the "Cultural Hub of Contra Costa
County."
These positive elements make the need for
good marketing and promotion of local arts
v�
L
°
W
L.
_
C
Cityof
-
QJ
1993
W
o
c
RESIDENTS SURVEY
�
•V
m
cc
Question #1 "Participation"
"How often do you and your family participate
in these City programs?"
(Response shown is percentage for those who answered
Ve ''' en• Qf= or Occasionalh•)
Question 82 "Importance"
"How important is it for the City to be providing
this service?"
(Response shorn is percentage for those who answered
Veil Important or Somewhat Important)
Question #3 "Satisfaction"
"How good a job do you feel the City is doing
with this program?"
(Response shown is percentage for those who answered
Excellent or (2ood• for those who actually did participate)
Source: See Footnote 13
37% * 37.9% 68%
65.4% 66.8% 80.8%
76% 78% 86%
* Participation question not asked for 1993 Survey.
I
The response in the 1991 Survey was 37%.
43
205
events more necessary and more complex.
Marketing helps us identify the target au-
dience and Advertising helps us get the mes-
sage to that responsive audience. Both are vi-
tal to the program's success.
Over the years, limited marketing and ad-
vertising budgets have often forced the program
to mix its promotional efforts. The quarterly
City Scene booklet, for example, was distrib-
uted for many years to all City homes in an
effort to keep residents informed about all the
City's arts and recreational offerings (even if
many residents are non -participants). It also
marketed specific classes and programs to those
who were interested.
In balancing this dual purpose, in 1993 the
Civic Arts Education program began produc-
ing and distributing its own class schedule to
active participants and to those who have an
identified interest in this City -sponsored pro-
gram. Civic Arts Education follows -up with
news releases, special targeted mailings, and
other media activity in order to attract new par-
ticipants and keep the general public informed.
Relying solely on no -cost newspaper ar-
ticles and features in advance of an arts activ-
ity is no longer a realistic choice. Local news-
papers segment their editions into several geo-
graphic distribution districts thereby creating
obstacles when arts organizations attempts to
notify an interested public living only a mile
from downtown Walnut Creek. In a suburban
community where no single print media has a
majority readership, new outlets are central to
a sound promotional strategy.
Direct mail has become the backbone of
promotional efforts for all arts programs. It ap-
pears to be most cost effective and reaches a
more targeted market.
Particularly since the opening of the Re-
gional Center for the Arts, additional emphasis
has been placed on paid newspaper advertising
and on broadcast media. Regular advertising
space in the Contra Costa Times, and well
placed cable TV advertising and feature seg-
ments have taken on new promotional promi-
nence. Given the need to specialize and focus
our paid advertising efforts, these media out-
lets are expected to be increasingly important,
as will utilization of the region's community
access cable outlets.
The Bedford Gallery has long relied on di-
rect mail to notify interested constituencies of
its exhibits and educational events. Here, again,
cable television opportunities are likely to re-
ceive greater emphasis in the future.
The staff of the Dean Lesher Regional Cen-
ter for the Arts works with those organizations
who produce and present programs at the Cen-
ter. While each producer is responsible for his
organization's primary advertising and market-
ing, the Center has developed joint marketing
arrangements and joint advertising opportuni-
ties to attract a good audience base for Center
events. With over five hundred events per year,
it is. necessary to maintain a different promo-
tional strategy for each event or performance
series -- just like marketing products in a de-
partment store.
Series subscriptions are an important ele-
ment in the performing arts sales strategy. Ex-
tensive distribution of season mailers has evi-
dent cost benefits for organizations who wish
to sustain a strong subscription base.
Center Repertory Company, along with
other organizations who present a full season
of events, relies on direct mail subscription so-
licitation to be the mainstay of its sales effort.
In 1990 the Center staff, working with pro-
ducers of Diablo Light Opera Company and
Contra Costa Musical Theatre, found it ben-
eficial to "package" the attractions of each com-
pany and create a new series ticket marketing
strategy. The results enabled both producing
groups to market their individual productions
in a cost-effective manner. As new events are
developed at the Center, new opportunities for
packaging individual productions into creative
series ticket options will be found.
Arts producers also need to recognize the
"greying" of local arts audiences. To assure a
vibrant arts future, new marketing techniques
and ticketing packages should be explored
which will target the "twenty -something" au-
diences of the future. ,
206
44
Diablo Arts magazine, published quarterly
in cooperation with Diablo Publications, pro-
vides a unique marketing tool for all the pro-
ducers and presenters at the Center, including
the Bedford Gallery. The sixty -page full color
magazine serves as the house program for those
attending Center events, and also functions as
an umbrella marketing tool to inform Center
patrons about upcoming events and about the
people who present them.
Wider community visibility for Walnut
Creek's arts program can be accomplished with
placement of tastefully presented information
kiosks in select public locations (i.e., commu-
nity centers, libraries, shopping areas, city
buildings). As noted earlier, a California Bou-
levard marquee for. the Dean Lesher Regional
Center for the Arts and supplemental display
cases near the Center's entry would help.
New technology with electronic kiosks, and
"on-line" posting of arts events into people's
homes increases exposure and improves access.
Electronic kiosks can also enable new
point -of -sale locations for the ticket sales and
class registrations.
It has become evident that the growth of
the arts programs in Walnut Creek requires that
all players find new and better ways to promote
their product. Each marketing effort is as
unique as the arts activity or event it promotes.
In order to better address today's needs, the
Cultural Services Department should be defin-
ing its marketing and advertising strategies in
order to reach the most responsive audiences
and to attain the highest level of earned income
possible.
207
45
PERSPECTIVES ON THE ARTS
W WALNUT CREEK
Arts General Plan
1995-2005
IMPLEMENTATION TIMELINE
T
eattached pages summarize the implementation time periods recommended to accom-
lish the goals of the Arts General Plan 1995-2005.
The matrix shows timeframes for five areas:
• Facilities Development
• Program Development
• Audience Development
• Fund Development
• Staff and Administrative Development
46
N
a
c
^y
N
a
c
^y
r
O
cl
G
O v
r
ram.
._✓..
O
ri
fD
H
l9
wl
A
C.
?=
_�
O
�
c
;
� CLrri
_ o
CD
r
� v
r
rj
oc
oco4A
Al
o
A
H
A
-%00
If
N
_
Q
P
�
O
r
m
A
Z
•* f9
"so
N
�
W
A
09
47
48
210
m
eD
4A
H
Vf
I"
r
m
ONO
m
m
m
a
�
c
c
O
.o
v
M
G1
0
0
0
-
3
3
3
tA
s a
A p
v
a
as
c�
3
QQ
r
V
Cl.
� ;r'
0•
v. p
p
>
�e
.+
H � N •
O
v
_wmdkAA
y
�
m
R.
CDr
OQ
Za
n
�
W
N
ra
A
O
E
o
A
�••
V.
f9
W
Vf
N
O
O
w
` N
O
O
V1
211
49
e
a�
a
y
a
y
• '
CO
rA
40
�
%_0A
Ci O
y
? QC
f°a
Vs
V
�
�
.o
s
c �
,�
�•
�
�•
o
iA
RI
.40
•+ Q
y T
A
•-
1 o
=• �
f9 �
vo °
� Cam.'
ti
N
n• �
N
_ �
N
a.�
O
N
CA%<
,Ow
�/,
"1
so 211
a
CL
a
C
m
a
m
a
O
cl
�
0
c
•
.
A
co
�9
0
cu QV,,.
H L:.
�' =
V1
CC61
A
(IQ OQ
C
C ClJ
y
^ A
^
r
L
A
a
CDC.
O C
V
W5
�
p QQ•
f9 r:
,v("'y•
� O
�.
C
O
A
cor
Al
�_
C
�-,• r�
C7
� C
��
r
Z
0. r
(IQ
19
19
J
�
C
0
^ ~
r
ag
o Cn
N
0
.7
C. gyp'
Z
O
1
N
O
O
r
'
N
O
O
W
51 213
r
m
a
a
0
0
In
a
y
y
y
^
S
Q
..i
.�+-.
o F
�
7
c
G
OQ
A
C
19
m
z
P+
a
49
a
M
H
a
c
y
p'
H
ma.
c
y
p'
a
O
G1
LA
• •
a.
%0
y =•
�.
A
�v
d�
-�
Z
a
A a
tv c i
N
_•
Al
r
Z
CO
0 0
7 _A
9
Z
pi C
52
21�
53
215
a
y
�D
a
y
eD
rt
th
C
C �
_
oq
�
O �
O
� �
G
ri
G
G
ry
�. rrn
n
C...
=. O
CJ
C_
O 'Q
y
'0
_
19
n O
OG
14
n
+9
n
l L
eD
N
a
F-I
Vf
a
c
0
O
�z
24
m
r Z
V
r
N
0
m
r Z
N
O
O
z
N
O
O
r
N
O
O
w
N
O
O
w
N
O
O
wl
54
216
PERSPECTIVES ON THE ARTS
IN WALNUT CREEK
Arts General Plan
1995-2005
APPENDIX
A-1 • Cultural Resources Sub -Element
1990 General Plan
City of Walnut Creek
A-2 • Partnership Budget Program (May 1994)
A-3 • "Public/Private Partnership for the 90's" schematic chart
A-4 • Bibliography
A-5 • Document Footnotes
21�
1986 GENERAL PLAN
City of Walnut Creek
Heather Farm Park .
Regional Center for
the Arts
Wildlife
CHAPTER 5
Community Resources Element
Sliding at Civic Park
This element concentrates on aspects of the community that make a substantial
contribution to the "quality of life" in Walnut Creek. While there is no single definition
for this term, it generally refers to the amenities that draw people to a place —
theater, arts, recreational facilities, open spaces and the availability of essential family
services. The importance of these resources to life in Walnut Creek is articulated
through the goals and policies in each of the four subelements..
The four subelements are:
• Cultural Resources
■ Child Day Care
■ Conservation and Open Space
• Parks and Recreation
218
Ar1
CULTURAL RESOURCES SUBELEMENT - POLICIES
The purpose of the Cultural Resources Subelement is two fold: 1) to highlight the
role ferforminS and visual arts have played and continue to play in the WalnutCreecommunity and 2) to guide and enhance Walnut Creeks future as a major
regional cultural arts center.
The goals and policies in this subelement are directed toward:
Continued commitment to provide the highest quality cultural
programs.
Construction of new facilities.
Supporting the goals of the City's arts program.
The background section of this subelement provides a brief synopsis of the evolution
of civic arts in Walnut Creek and describes existing facilities. Additional
information on the City's civic arts programs is contained in a separate document
"Civic Arts Ten Year Program", available from the Civic Arts Department. This
pIan was prepared by the Civic Arts Commission in 1986 and subsequently adopted
y the City Council.
GOAL 1: To maintain and enhance Walnut Creek's leadership role as a cultural
center for Contra Costa County.
ProQra 1.1:
Facilitate the timely completion of Provide staff support as needed.
the Regional Arts Center. Re,%=sibility: Community
Development Department (CDD) and
Civic Arts Department
• Program 21:
Modernize and expand the downtown Establish a committee to developa
library facility.. p needs assessment for modernization of
the downtown library.
Responsibility: City Manager's Office
Explore with the County funding
sources to pay for modernization of
the downtown library.
Responsibility: City Manager's Office
219
Ra rmanent and accessible
arts education facility.
Encourage the development of a
permanent natural history and
science museum.
Cultural Resources
Policies
Program 31:
complete a needs assessment for
permanent arts education facilities.
lke,tpnngibility: Civic Arts Department
Program 3.2:
Consider designing and constructing an
arts education facility.
R_esnonsibility: Civic Arts
Department, Community
Development Department
Within the financial resources of the
City,reaffirm the commitment to
provide financial support for the
construction of a permanent home for
the natural history and science
museum.
Res ' ' y: City Council
GOAL 2: To provide an effective and affordable civic arts program that is
available to all community members.
Encourage the inclusion of public art
in develoment projects to ensure a
continuing investment and appreci-
ation of the arts in Walnut Creek.
Stress artistic qualityand diversity
Of expression ithe development of
cultural programs for all age groups
in the community.
Program 51:
Prepare a public art ordinance to
ensure continued public and private
participation in the Art in Public
Places program.
inq*bility; Community
Development Department, Planning.
Division: Civic Arts Department
Program 61:
Continue and consider expanding
programs like brown bag concerts.
Reswnsihility: Civic Arts Department
Program 6.2:
Continue and consider expanding
special events such as Art on the Maui
and Festival of Fine Arts.
Responsibility: Civic Arts Department
220
CoP°providingCityfundingfor
basic operational csts for
community based cultural programs.
Promote funding stability and
program growth through a
committed partnership between the
City and the private sector including
Regional Center for the Arts,
Inc. and community arts groups not
funded by the City.
Cultural Resources
Policies
Program 6.3:
Encourage use of the
bandstand in Civic Park.
Responsibility: Civic Arts Department
,1:
Within the financial resources of the
City, continue rental support to community based groups using City
operated facilities.
Responsibilit City Council
Within the financial resources of the
City, reaffirm the commitment to
provide financial support for the
Morational costs associated with the
dsay.Museum.
Responsibility: City Council
Program 7.3:
Within the financial resources of the
City, reaffirm the commitment to
allocate funds to renovate, expand
access to and preserve the building
and grounds at the Shadelands Ranch.
Resnonsibil* : City Council
Program 8.1:
Encourage private arts support
through the Civic Arts Association:
$gjs�b4: City Council
rogram 8.2:
Maintain an active volunteer force to
assist with the civic arts programs.
Responsibility: Civic Arts Department
221
Cultural Resources
Policies
Ut�he museum at Shadelands` Encourage activities which increase
Ranch for historical and public awareness of local history and
purposes. increase and encourage public access
to the Shadelands Ranch.
Re%=sibility: Civic Arts Department
Z 4W
Cultural Resources
Background
CULTURAL RESOURCES SUBELEMENT - BACKGROUND
A. ARTS
Walnut Creek has one of the oldest municipal arts programs in California.
Since the establishment of the Civic Arts Commission in 1963, the City has
worked consistently to provide the community with an outstanding repertoire
of events and educational classes.
Arts education classes were first offered in 1964 in two quonset huts. As
interest in arts classes increased, the City acquired five more modular
structures, an old house on California Blvd., and eventually, the vacated
Walnut Festival Building located in the center of Civic Park to meet the
growing demand. In the first 10 years of its existence the civic arts education
program grew from 18 to 75 summer classes with an increase from an initial
284 students in 1964 to 1010 students in the summer of 1975. Today, there are
over 115 classes offered with over 1500 students participating in the summer
sessions alone.
The Civic Arts Department oversees the City's growing visual and performing
arts programs. Individual participation and personal skills development is
encouraged through the extensive arts education class program begun in 1963.
The City acquired the former Walnut Growers warehouse in 1967 and, with
much community volunteer help, transformed it into a 449 seat theater and
gallery complex. This complex has been home to many performing arts
organizations including the Contra Costa Musical Theatre Co., Diablo Light
Opera Co., Civic Arts Repertory Co., and the Diablo Sym hony. Exhibits
included both contemporary and historical content of regional impact. In
1982, with the support of the Civic Arts Association, the City leased and
converted a former auto brake shop on East Street to a 153 seat performance
art theater known as Stage II. Between these two facilities, the community
boasted over 700 public events per year. The Civic Arts Theatre and Gallery
was closed in June 1988 to allow construction of a new Regional Center for
the Arts.
Looking ahead, the City Council realizes that new, modern facilities are
needed to keep pace with the ever increasing demand for both arts and
education classes and visual and performing arts programs. Two of the major
challenges in the coming years will be to fully fund and construct the new
72,000-square-foot Regional Center for the Arts (including an 800-seat theater,
a 300-seat theatre, an art gallery and creative learning center, a rehearsal
hall, and Civic Arts offices), and to design, fund, and construct a new arts
education facility.
223
Exhi bl t A
CITY OF WALNUT CREEK
PARTNERSH.IP BImGET PROGRAM
Developed May 1994
This is a pilot project. Initially only grant funds and prior
period roll over will be accounted for in this program. At the
City Manager's determination all revenue and expenditure
transactions for the Cultural Services Department may be
transfered to and accounted for in the Partnership Fund. In any
event a review of this program will be undertaken prior to the
development of the 1996-98 budget cycle.
PARTNERSHIP BUDGET FUND
RULES AND PROCEDURES
1. Establish base line budget (net budget), determining initial
City General Fund support.
2. Partnership Budgets will be presented as a lump sum
contribution from the General Fund. However, programs
within the Partnership Fund are required to submit standard
departmental budget forms outlining the categories of
expenditures and revenues. These forms will be used for
documentation and financial reporting purposes only.
3. The City Council will establish the minimum service level
requirements for all Programs within the Partnership Fund.
The Programs are required to meet these service levels. In
future budget cycles or at any time during current budget
period should the City Council direct increases to existing
service levels, additional General Fund appropriations may
be required. The converse is also applicable. Should the
City Council determine that funds are no longer available or
program services no longer required, the General Fund
appropriations may be reduced. In either case, a new
baseline budget will be established.
4. The lump sum General Fund support will be allocated to
individual programs as determined by the Arts Commission.
5. Programs within the fund must absorb labor settlement costs
as they occur throughout the budget cycle. General Fund
support will be adjusted on an annual basis, July 1st of
each year. The adjustment will be determined by increasing
50% of the established period baseline budget (net City
Support) by 100V of the average citywide labor COLA
adjustments made during that year.
6. The intent of this Fund is to provide greater flexibility
for the management of the City Arts Program. This includes
224
A-2
Partnership Budget Program
Rules and Procedures
May 1994
flexibility on staffing levels and expenditure categories.
7. Compliance with City purchasing policies and personnel rules
is required.
S. General Fund support will be transferred to the Partnership
Fund as required by cash flaw needs.
9. During any budget cycle, once General Fund support has been
depleted and the Partnership Fund in general or any program
within the Fund is experiencing a negative cash flow
position, the Finance Director will alert the City Manager
and Department Director. Decisions will be made on required
spending adjustments.
10. Grants received will remain in the Partnership Fund and will
be used to augment and maintain existing programs.
11. At the completion of any budget cycle, the balance in the
Partnership Fund will rollover into subsequent budget
periods for distribution to programs at the direction of the
Arts Commission.
12. Once a baseline budget is established, appropriations are
not amended or augmented during the budget development
process unless in accordance with other provisions of these
rules. A new baseline is evident based on the COLA
adjustments made on an annual basis, in accordance with item
5 above.
22t
H«
�a
M
�a
Q
al
wN
t°at
oo
wa
z�
0
�a
Bowl
z
ew�
t�
�V
a�
�x
�4
a3
aQ
O HO
H(A
96
boo
�t�
A tg
'A� • Y+
•
I
ou
• E45------- --- I
:
o
♦
♦
♦
z
w2z
X
• O
• Igo
• R)z
• o
• u
z.
0
r
o��
h -2z
HO
16
i
z
226
Ar3
PERSPECTIVES ON THE ARTS
IN WALNUT CREEK
Arts General Plan
1995-2005
BIBLIOGRAPHY
• American Council for the Arts,
The Arts and City Planning,
Robert Porter, editor.
New York, 1980
• Marc Goldring, Bernard Lopez, et al,
A Plan for Cultural Equity and Diversity.
The Wolf Organization, Inc.,
Cambridge, Massachusetts, 1994
• Ronald Fleming and Renata von Tscharner,
Place Makers: Public Art That Tells You Where You Are,
Hastings House Publishers,
New York, 1981
• Louis Harris Research,
American and the Arts VI,
American Council for the Arts.
New York, 1992
• KPMG Marwick LLP,
The Arts: A Competition Advantage for California,
California Arts Council.
Sacramento, 1994
• National Assembly of Local Arts Agencies,
Arts in the Local Economy,
Randy Cohen, editor.
Washington, D.C., 1994
269W
A-4
National Endowment for the Arts,
Twenty Years of Economic Studies of the Arts,
Anthony Radich, editor.
Washington, D.C., 1992
• Partners For Livable Places,
The Economics of Amenity.
Robert H. McNulty et al.
Washington, D.C., 1985
Partners For Livable Place,
The Return of the Livable City
Robert H. McNulty et al.
Acropolis Books, Ltd.,
Washington, D.C., 1986
• Partners For Livable Place,
Culture and Community: The Arts in the Life of American Cities,
Robert McNulty, editor.
Washington, D.C., 1992
• Harvey S. Perloff,
The Arts in the Economic Life of the City.
American Council for the Arts.
New York, 1979
• San Francisco Foundation,
Bay Area Regional Performing Arts Facility Study,
Norman Schneider and Matthew O'Grady, editors.
San Francisco, 1995
• Strategic Grantmaker Services,
}chinking Stabilization: Strengthening Arts Organizations During Times of Change.
Jane Culbert, William Keens, et al.
Cambridge, Massachusetts, 1995
228
DOCUMENT FOOTNOTES
1 See Cultural Resources sub -element to Walnut Creek General Plan in Appendix A-1
2 "Local Government and the Arts," Spencer & Ogard Opinion Research Associates, Inc.,
Madison, WI. April 1985
3 "Walnut Creek Civic Arts: The Decade Ahead," Conference transcript, 1983
4 Thomas Dunne, Strateeic Vision for the 1990s, report to Walnut Creek City Council, April
1992
5 Bruce Cockerham, Civic Arts Education in the City of Walnut Creek: Looking Toward the
Future, report to the City Manager. January, 1993.
6 See Partnership Budget Program material, in Appendix A-2.
7 Partners for Livable Places, The Economics of Amenity. Washington, D.C., 1985, pp 5
8 The Economics of Amenity, pp 48
9 The Economics of Amenity, pp 50
10 Ticket Office Records Regional Center for the Arts, 1992-93
11 1990 Census Information, Contra Costa County Community Development Department,
1994
12 Frank Jacobson, "Performing Arts Centers," from Market the Arts!, edited by Joseph Melillo.
Foundation for the Extension and Development of the American Professional Theatre, 1983
13 1993 Resident Survey Final Re o�rt, City of Walnut Creek Conducted by J. D. Franz Re
search, Sacramento. December 1993. (1991 Survey conducted by Solem & Associates,
San Francisco. November 1991)
14 Ticket Office records, Regional Center for the Arts, 1991
22.9
F;�l
PERSPECTIVES ON THE ARTS IN WALNUT CREEK
ARTS GENERAL PLAN: 1995-2005
WALNUT CREEK ARTS COMMISSION
Joan D. Davenport, Chair
Sandra Salyer, Vice Chair
Robert Coop
Lynne Hildebrand
Nancy Siegel
Claudia Nemir
Robert Rezak
ARTS GENERAL PLAN COMMITTEE
Joan D. Davenport,
Chair
Robert Coop,
Vice Chair
Robert Clark,
Theatre Operations Advisory Council
Charles Jarrett,
Center Repertory Advisory Council
Peg Kovar,
Diablo Regional Arts Association
Richard Vrmeer,
Arts Education Advisory Council
Ann Watrous,
Bedford Gallery Advisory Council
CITY STAFF
Gary F. Schaub,
Scott B. Denison,
Kathryn Nelson,
Carrie Lederer,
Dottie Van Horst,
Millie McCauley,
David Hanney,
Director of Cultural Services
Regional Center Manager
Arts Education Supervisor
Bedford Gallery Curator
Department Secretary
Office Assistant
Cover and Report Design
City of Walnut Creek
1666 North Main Street
Walnut Creek, CA 945?6
Phone: (510) 943-5848
23n
ATTACHMENT 6
CITY OF HUNTINGTON BEACH
231
CITY OF
HUNTINGTON BEACH
DRAFT GENERAL PLAN
As Amended by the Planning
Commission
December 12,1995
232
COMMUNITY DEVELOPMENT CHAPTER
HisToRlc AND CULruRAL REsovRCEs ELEMENT
Older residential areas are also experiencing an increased intensification of development. Much
one-story beach cottage character of downtown has c of the
ment activity �8ed to �r three-story Bch houses. With the
development vity occurring in areas of the City with significant historical resources , the City must
decide the importance of these resources and what direction should be taken to preserve those el
critical to the character of the City, either onsite or through a historic relocation program, elements
The Downtown Specific Plan calls for the creation of a mixed use%mmercial intensity uSe along
M
Street and Pacific Coast Highway. The zoning allows commercial uses to be three to six stories high,thus
applying significant development pressure on smaller, older structures in the vicinity. Second) , the lan
identified over 50 percent of the structures in the stud area as seismical) y P
ultimately be improved to meet seismic standards or be demolished. y ale' they must
f Availability of Funds
Insufficient funds presently exist for the adequate preservation and/or relocation of significant historical
resources within Huntington Beach. The activities of the H
predominantly funded through private donations and 1 Huntington Beach Historical Society are
oval volunteers. The Historical Society utilizes most
of its time and resources to support the operations and maintenance of the Newland House.
A location needs to be provided for relocated historical structures. Limited funds were available for
moving a few homes to Bartlett Park, however, insufficient funds have prevented relocation of all
structures and the park has suffered from vandalism.
B. CULTURAL RESOURCES
I. Introduction
Over the past twenty years, the City has made great strides in addressing the provision of arts and cultural
services to residents and visitors. A Cultural Master Plan was adopted in 1994 guiding the develo ment of
cultural services and facilities. In addition, the Cityhas be p
gun to develop the cultural infrastructure that
can provide the range of services residents require. While the cultural life of Huntington Beach is quite
active, the addition of the new wing of the Huntington Beach Public Lib
imminent opening of the Huntington Beach Arts Center lend a new, high vivisibili C It Center and the
will have an impact on residents and the entire region. This strength_ �' us for culture that
culture is a result of the local residents' desire for a higher profile for arts and cultural
relating to arts and
tural activity.
The city is a composite of identities - "surf' "
inhabitants oil"', multiple histories of indigenous
' ���, revival meetings, rail and other transportation links. All these serve as the building
blocks of an exciting and vibrant cultural context offering much to residents and visitors.
The revitalization of Main Street and its cultural amenities has brought a new image and vitality to
downtown Huntington Beach. This area has an assortment of historic structures that enhance a sense of
history for both resident and visitor and provide the foundation for a strong community g
' e.
�
AS AMENDED BY THE PLANNING COMI USSION DECEMBER 12, 1995
II- 1151 114
234
COMMUNITY DEVELOPMENT CHAPTER
MSTORIc AND CULTURAL REsouRcEs ELEMENT
2. Egg Conditions
a. Cultural Facilities, Artists, and Arts Groups
There are a number of cultural facilities in Huntington Beach, including multi -faceted visual and
Performing arts spaces, historic sites, and outdoor facilities. With the recently opened annex to the
Huntington Beach Public Library and Cultural Center and the anticipated opening of the Huntington Beach
Arts Center in 1994, cultural activities in Huntington Beach will have a strong and visible presence.
The vitality of the artists and arts groups comprise an active and focused cultural scene in the city.
Although there are few large or highly structured arts and cultural organizations in Huntington Beach, there
is a core of local artists, both professional and amateur, as well as many arts groups that are conducting a
wide array of high -quality programs;
• The soon -to -be opened Huntington Beach Arts Center is a community arts facility that will provide
local citizens and a regional audience with opportunities for exposure to and involvement in the
visual arts. It will have throe gallery spaces, a studio, classrooms, meeting rooms, and a
bookstore and gift shop;
• The City's Parks and Recreation program includes arts and crafts classes held in parks and
community centers throughout the city;
• The Huntington Beach Public Library and Cultural Center, with its new wing devoted to children,
also includes a 300-seat theater, several meeting and classrooms.
• The Huntington Beach Playhouse is a thirty-year old communitytheater now performing in the new
theater at the libr
ary. The group presents 16 performances of six shows during the year as
well as an outdoor Shakespeare series in Huntington Central Park and a children's Christmas
program;
• The Newland House Museum is a showcase of local history operated by the Historical Society and
the city. In addition to exhibition space in its restored building and barn, them is outdoor
space for additional exhibits and special events in the area between the house and barn;
• The International Surfing Museum opened in its first location in 1988 and is presently in a 2,000
square foot renovated space in the downtown. Plans to build a new, state-of-the-art museum
facility are currently developed, and funding is being sought. A "Surfing Walk of Fame" is
being established and has received much attention in the international surfing community;
• Golden West College has a wide range of cultural facilities and active instructional programs
the
arts with an emphasis on both traditional and electronic forms of most artistic media Its
program of theater production currently includes about 40 percent non -student actors;
AS AMENDED BY THE PLANNING COMMISSION DECEMBER 12, 1995
235
COMMUNTry DEVELOPMENT CHAPTER
HISTORIC AND CULTURAL RESOURCES ELEMENT
• The Huntington Harbour Philharmonic Committee has an active program of fund-raising for the
Orange County Performing Arts Center. In addition, the Committee provides a range of
programs for public school children, including in -school programs and bus trips to the
Performing Arts Center;
• The Huntington Beach Concert Band performs in venues around Orange C-Punty. With about
seventy-five members, half of whom are from Huntington Beach, the band has played at City
Council meetings, ground-breakings, concerts in Huntington Central Park, and other locations.
It is the only band of its type in Orange County not supported by a school district;
• The School for the Performing Arts at Huntington Beach High School currently has an enrollment
of approximately three hundred students and offers classes in dance, theater, music, and
television production; and
• A wide range of other groups, including the Arts Associates and the Huntington .Beach Art League,
are also active in the community. Many arts and historic groups in the city function on a
volunteer basis, without paid staff or permanent facilities. Artists have generally not been able
to work in the city, primarily because of the cost of renting space and the lack of professional
venues in which to exhibit and perform their work.
b. Resources for Arts Education
The quality of arts education in Huntington Beach depends in large measure on the particular school and
school district that a child attends. In part, because there are four school districts in the city, the range and
quality of offerings vary.
Elementary and middle schools rely on classroom teachers to integrate the arts (as a teaching tool) into the
curriculum. Middle schools' visual arts, music, band and choir specialists are shared within districts. All
four high schools have basic instruction in some of the performing arts (generally, some combination of
choir, band, drama, and dance) with faculty shared among them. Each school has visual arts programs that
are run by two visual arts specialists. The School for the Performing Arts at the Huntington Beach High
School was established to provide advanced performing arts classes and ensembles at the high school level.
It offers a wide array of arts experiences to students citywide.
While the primary opportunity for providing arts education experiences for children lies with the public
schools, there are additional opportunities directed toward children and older residents. The City has
several programs that have an impact on arts and cultural education.
The City's HBTV Channel 3 offers a talk show about the arts. The new Huntington Beach Arts Center
will offer interpretive programs, school tours, and workshops in various media, disciplines and issues. The
Recreation, Beaches, and Development Division of the Community Services Department offers extensive
classes in centers throughout the city, although there are relatively few classes in visual and performing
AS AMENDED BY THE PLANNING COMNIISSION DECEMBER 12, 1995
23 �;
COMMUNITY DEVELOPMENT CHAPTER
HISTORIC AND CULTURAL RESOURCES ELEMENT
arts. Few, if any, classes are offered for teens and adults. Classes for children include some crafts and
dance.
The Huntington Beach Public Library and Cultural Center offers a range of cultural programs. There is a
new children's wing, but because of budgetary constraints, the amount of cultural programming is limited.
Rental fees for using the facilities are out of range for smaller cultural groups. -
Nonprofit arts and cultural groups in Huntington Beach have played an important role in providing
educational opportunities for school children. Among the activities that have been provided are:
• The Huntington Harbour Philharmonic Committee, in addition to raising money for the Orange
County Perforating Arts Center, coordinates field trips to the center for a variety of tours and
performances. They also bring ensembles into the schools for assemblies that can include
performance and demonstrations of instruments. They sponsor the " Music Mobile" which
travels to elementary schools to introduce third graders to musical instruments;
• The Newland House Museum offers tours of its facility to schools, primarily third and fourth
graders who are studying local and California history. In addition, the Historical Society
offers special 2 hour tours of the facility
seheels; and
• The Japan America Society has developed a cultural program for schools, building on the Sister
City Program.
C. The Role of the Cultural Services Division & Advisory Board of the City of Huntington Beach
The Cultural Services Division is responsible for an array of activities, including oversight of construction
and program development for the new Huntington Beach Arts Center and overseeing historic and cultural
Programs in the community. At the present time, its primary roles are that of manager of many of the
city's existing arts programs and presenter of visual arts activities. There are other roles of the division,
including serving as a "catalyst' to assist. local arts groups in promotion, location space, fund-raising for
cultural projects, and capital project oversight.
The Allied Arts Board is designated to advise City Council on all matters pertaining to the arts in
Huntington Beach. It was responsible for developing the initial ten-year plan for cultural activities that led
to the establishment of the Cultural Services Division as well as other important milestones in the
development of the cultural life of the city. Along with the Historic Resources Board (which oversees
historic programs and activities), the Allied Arts Board, in its role as advisor to the City Council, can,
among other things, study and interpret the needs of the community for cultural programs and facilities;
recommend cultural policy on such matters as programming, facilities, and ficnding; assist local arts groups
to better fulfill their missions; and encourage individuals, civic groups, and businesses to support arts and
culture with time, money, and m4dnd services.
AS AMENDED BY THE PLANNING CONWSSION DECEMBER 12, 1995
II- 11(vl 111
237
COMMUNrrY DEVELOPMENT CHAPTER
HisrORIC AND CULTURAL RESOURCES ELEMENT
The master plan provides an overview of key issues and a d "vision statement" for culture in It presents a series of recommendations on the priorities for culture, addresses the role of the Cul city.
al
Services Division, identifies the necessary resources to realize the goals articulated throughto he
recommendations, and describes steps toward implementation by the city and . arts advocats and
organizations,
d. Funding for the Arts and Culture
Huntington Beach has been generous in its support of arts and cultural activities. The recent history of
private sector financial support for the Huntington Beach Arts Center, as well as the city's fundin of the
support.
Cultural Services Division over the past eight years, indicate a trend of increased g
Huntington Beach has some very effective, private -sector fund-raising initiatives. 'The Huntington Harbour
Philharmonic Committee raises mon
ey, some of which goes to support local educational experiences for
children around certain types of music. The Huntington Beach Arts Center Foundation has
significant sums of money in support of the construction and programming at the Huntington' Beached
Center, some of which will involve educational r Arts
has historically been focused on "bricks and mortarog�t l � children. Fund-raising in Huntington Beach
. �p dung.
The downtown and the Pacific coast areas have been designated as "visitor se
The City is committed to developing destination attractions and activities in thosare in o the mineral Plan.
seen to be related to arts and culture. These attractions and activities include the Huntingtonmost ofwhich are
Center, the planned Celebration P Arts
Plaza, arts and craft fairs and festivals, and concerts in Pier Plaza and
Huntington Beach Central Park Amphitheater. These attractions are bringing visitor dollars to the target
areas, increasing foot traffic and bringing consumers that increase retail sales. ed
e. Urban Design, Aesthetics, and Public Art
While the City and the various community groups have taken action to develop a pleasing urban
environment, the visual appeal and feel of the city remain key concerns for many residents. Resid
would like to see a concerted effort undertaken to improve this important as
ts
regarding landscape and plant selection, hardscape design, building materials, pubof lic community. Issues
the inclusion of public arts are but a few of the issues raised. ' p space allocation and
IS_
l . A citywide inventory of historic resources has never been conducted. A historic inventorywould
help identify all structures and sites critical to the overall historic character of the
community. (HCR f 1.1)
AS AMENDED BY THE PLANNING COMNOSSION DECEMBER 12, 1995
II- 11I J 11 *6
233
COMMUNITY DEVELOPMENT CHAPTER
HISTORIC AND CULTURAL RESOURCES ELEMENT
2. The City has given local landmark designation to some historically significant structures,
however no standards, 11.1w Ianarts or guidelines have bees created to preserve or protect
them. (HCR 1.1.4, HCR 1.2.2. HCR 1.2.3. NCR 1.2 4, and HCR 1.3.7)
3. In the event that historical structures are unable to remain at their current sites, the City should
establish a relocation site or "historical park." (HCR 1.1.6, HCR 1.2.1. and HCR 1.2.3)
4. Downtown commercial and residential areas are experiencing extreme development pressures to
intensify their land uses. No guidelines exist to protect and/or restore the historic character
of these older areas. As a result, older structures are being demolished for the construction
of new buildings. The City is losing the historic character of the area. (HCR 1.1.3. HCR 1.1.4.
HCR 1.21, HCR 1.2.3. HCR 1.2.4. HCR 1.3.J. HCR 1.3.4. HCR 1.3.6. and HCR 1.3.7)
5. Adaptive reuse has been underutilized and should be promoted. (NCR 1.3.6)
6. The City's per capita income and education levels are among the highest in the nation. These
demographics suggest a population likely to have high expectations for services, particularly
in the area of arts and cultural activities. (NCR 2.2.1. and HCR 2.2.2, aw 11GR aj4)
7. Most of the support for arts and culture has come fitorn a relatively narrow spectrum of
Huntington Beach residents.
. The percentages of younger families,
children and youth, and the populations of Latino and Asian residents are increasing. As a
result, the mix of arts and cultural programming will.have to be designed to meet the needs
of a demographically diverse audience. Much of the thrust of the Cultural Master Plan
involves recognizing the necessity to reach new constituencies, to broaden the programming
offered and to identify new sources of financial and political support for the full range of
cultural activities. (HCR 2.2..Z 4, u^,,�.�, and HCR 3.2.2)
S. One of the major problems facing cultural and historic groups is the difficulty in obtaining
information about access to facilities and financial resources. While the Cultural Services
Division has an extensive "collection of publications on arts issues, historic services, and
fund-raising, access to that. information is limited. (HCR 2.1.1 and HCR 2.2.2)
9. There is a lack of a ready means of communication within the arts community. It will be
important to develop mechanisms to address this need for better communication, to allow for
more effective sharing of information among artists and groups, and to inform a wider public
of cultural activities in the arts community. (HCR 2.1.1 and HCR 2.1.2)
10. The ability of small, volunteer culturaUhistoric groups to handle the managerial aspects of their
operations is often limited. This is partly due to a lack of sufficient time or grounding in
business, space development and tenant/landlord skills. (HCR 2.1.2)
AS AMENDED BY THE PLANNING COMMISSION DECEMBER 12, 1995
II- 11$) I l i
233
COMMUNITY DEVELOPMENT CHAPTER
HISTORIC AND CULTURAL RESOURCES ELEMENT
11. Recently constructed arts facilities will require time to become
fully operational and their impact
on the cultural community
is necessarily difficult to assess. Additional cultural facilities will
ultimately be required to address the full range of commu
nity noels. (HCR 5.2.2)
12. Examples of currently underutilized performing arts facilities are:
• Golden West College has a large amphitheater with seating for about 1,000; it is only
min;maJly used. It wouldrequire stage and technical support improvements to make it
more useful;
• The Huntington Beach High School Auditori
the school ear h �' seating about 700, is heavily utilized during
Y owever, it is available during the summer months and might be more
fully utilized then. Rehabilitation work is needed for the facility to function more
effectively for school and community use;
• The Huntington Beach Public Library and Cultural Center's utility for arts and cultural
is presently limited by the lack of staff available for Programming groups
high rental fees c p �g and the relatively
barged to arts and cultural groups for their use;
The grounds of the Newland House Museum and Newland Barn could be used for additional
cultural and/or historic Pr . However, the lack of
C011eCti0ils and archives warrants the level spa- for eeKee}tees
located; and opment of a local museum centrally
• Existing theatrical spaces are heavily used, so it is clear that there is interest in theater.
However, there's little performing space available for
p smaller bilingual,
multi -cultural performances and
experimental productions. Renovation of outdoor
amphitheaters in city parks is needed to allow for a broader range of pro
increased use by local organizations and increased saf �8,
(HCR 5. L 1. HCR 5.1.2. and HCR S.2.2) ' comfort of audiences.
13. Providing opportunities for artists to live and work in Huntington Beach i
long-term growth of the city's cultural life. There are no affordable artists' important living
the
and working in Hun spaces for livuig
tmgton Beach, in lower cost space in industrial and/or business parks
outside of the downtown core or vacant downtown build
ings. (HCR S.? 4)
14. There is a need for outdoor interpretive centers to address several aspects of the ci 's ` notably the Bolsa Chica wetlands and the Native American history,
populations. (HCR 5.1.1)
15. While the City is not responsible as the lead public entity to provide arts p fors h children and Youth, cool age
y th, rt has been a strong advocate for increased attention ls_needed in this
area. The public schools in Huntington Beach have cut back ro
in order to address severe budget problems. The issue of lack of access m arts education
arts training appreciation course has affected other curriculum efforts to enhance earning in tthhe
8
AS AMENDED BY THE PLANNING COMMISSION DECEMBER 12, 1995
II- Iigj tL0 9 4 l
COMMUNrrY DEVELOPMENT CHAPTER
HisToRic AND CuLTuRAL REsouRCEs ELEMENT
classroom, to improve school attendance, and to enhance the self-esteem of students,
particularly youth at risk. (HCR 4.1.2)
16. Currently, there is no one coordinating or fostering long-term relationships between professional
artists and the public schools. In the elementary schools, for example, programs are either
enrichment assemblies or field trips or are provided by classroom teachers rather than
professional artists. (HCR 4.1.2)
17. Because of the music education programming of the Huntington Harbour Philharmonic
Committee and its fund-raising to support those programs, the City's students have access to
a range of musical experiences. But, while activities in this discipline are provided on a
consistent basis, others (in particular, drama and the visual arts) are not, unless they are
offered on an ad hoc basis by particular teachers or parents. (HCR 4.1.2)
18. Without comprehensive funding for arts and culture in all parts of the city, it is very difficult to
equitably address the needs of the community. A current priority is the need of the
Huntington Beach Arts Center to get its programming in place and develop a secure base of
endowed support. (HCR 5.1.2 and HCR 5.2.3)
19. The City has been very supportive of cultural activities, responding to impressive community
support and fund-raising; yet these very programs are expected to fulfill a no -net -cost
requirement. The, Cultural Services Division is designated as the City's local arts agency
and, as a result, is eligible for significant funding available through state and federal sources
to such agencies. (HCR 5.2.3 and HCR J.1.4)
20. The visitor industry is seeking ways to promote Huntington Beach as a destination. While it is
unlikely at the current time that the City's arts groups will be a primary reason for a visit,
they certainly can contribute to a lengthened stay. The potential for cultural tourism may
provide opportunity for additional funding partnerships. (HCR 5.2.1)
AS AMENDED BY THE PLANNING COMMISSION DECEMBER 12, 1995
II- t ZO
241
GOALS OBJECTIVES AND pOLICIES
The following section presents the goals, objectives,
policies, and programs for Historic and Cultural
Resources in the City of Huntington Brach. At the
end of each policy is a reference to the appropriate
implementing program. Each implementing
Program's schedule and possible funding sources are
indicated in the Historic and Cultural
Implementation Matrix.
Historical Resources
Goal
HCR 1
To promote the preservation and restoration of the
sites, structures and districts which have
architectural, historical, and/or archaeological
Significance to the City of Huntington Beach.
Objective
HCR 1.1
Ensure that all the City's historically and
archaeologically significant resources are identified
and protected.
Policies
HCR 1.1.1
Identify all the historically and archaeologically
significant resources in Huntington Beach. (1--HCR
1)
HCR 1.1.2
Consider the designation of any historically
significant public trees, archaeological sites, or
structural sites or areas deemed to be of historical,
archaeological, or cultural significance as a
Huntington Beach City Historical Point, Site or
District (1--HCR 2,1--HCR 3, and 1--NCR 4)
HCR 1.1.3'
Establish a historical overlay for the 4rea bounded by
Gothard Street, Warner Avenue, Southern Pacific
Railroad right-of-way, and Cedar Avenue (as shown
COMMUNrry DEVELOPMENT CHAPTER
HISTORIC AND CULTURAL RESOURCES ELEMENT
in Figure HCR-2). The overlay will encourage the
adaptive reuse of the existing historic structures
while maintaining the light industrial surrounding
uses. (1-HCR 5)
HCR 1.1.4
Consider establishing a his nc overlay for the
historic downtown and other appropriate areas.
(1--HCR 5)
HCR 1.1.5
Consider recording the importance of oil history in
the City's development. (1-HCR 1)
Objective
HCR 1.2
Ensure that the City ordinances, programs, and
policies create an environment which fosters
Preservation, rehabilitation, and sound maintenance
of historic and archaeological resources. .
Policies
HCR 1.2.1
Utilize the Secretary of Interior Standards for
Historic Rehabilitation and standards and guidelines
as prescribed by the State Office of Historic
Preservation as the architectural and landscape
design standards for rehabilitation, alteration, or
additions to sites containing historic resources in
order to preserve these structures in a manner
consistent with the site's architectural and historic
integrity. (1--HCR 6)
HCR 1.2.2
Encourage new development to be compatible with
adjacent existing historic structures. in terms of scale,
massing, building materials and general
architectural treatment. (1--HCR 7
HCR 1.2.3
Investigate the appropriateness of expanding the
"receiver site" program. (1--HCR 1)
AS AMENDED By THE PLANNING COM HSSION DECEMBER 12, 1995
II- 1 z-
242
W
Q
um -mom 3o saw
HISTORIC
' OVERLAY AREA
WARNER AVENUE
1111111i
MOORE
HALL
BRADBURY
PETERS
RUSSELL
SLATER
.CITY OF HUNTINGTON BEACH GENERAL PLAN
THOMPSON
CAIN AVENUE
CEDAR AVENUE
W
W
COTHARO
2143
II-122
HCR 1.2.4
Investigate the feasibility of initiating an " adopt a
building' program to preserve historic structures
that would be removed from their sites. (1--HCR 1)
Objective
HCR 1.3
Consider the provision of Pm4&
incentives (strategies, assistance, and regulations)
for the maintenance and/or enhancement of privately
owned historic properties in a manner that will
conserve the integrity, of such resources in the best
possible condition.
Policies
HCR 1.3.1
Encourage owners of eligible historic
income -producing properties to use the tax benefits
provided by the 1981 Tax Revenue Act of
amended. (1-HCR 1)
HCR 1.3.2
Consider the waiver of building permit fees for
owners of small properties with historic resources
who are unable to benefit from other government
programs for the rehabilitation, alteration or reuse of
their structure(s) only if rehabilitated in accordance
with established historic preservation guidelines.
(I-HCR 1)
HCR 1.3.3
Consider allowing flexibility in building code
requirements for the rehabilitation of historic
structures as specified in State Historical Building
Code Part 8, Title 24 if rehabilitated in accordance
with established historic preservation guidelines.
(1-HCR 1)
HCR 1.3.4
Provide appropriate technical advice to private
property owners seeking to restore historically
significant structures. (1-NCR 1)
COmmvNrry DEVELOPMENT CHAPTER
HISTORIC AND CMTVRAL FMOURCES ELEMENT
HCR 1.3.5
that local lending
institutions to provide appropriate financing for the
rehabilitation and restoration of historically
significant structures. (1-HCR 8)
HCR 1.3.6
Encourage appropriate adaptive reuse of historic
resources in order to prevent misuse, disrepair and
demolition, taking care to protect surrounding
neighborhoods from incompatible uses. (1--HCR 1)
HCR 1.3.7
Explore alternatives
ey" that enable a property owner to sensitively add
to the existing structure, or develop an
accompanying building on the site that allows
property development rights to be realized,
Deviation to setbacks, heights and parking
requirements should be considered to make the
preservation of an existing historic building feasible
when no other reasonable alternative exists. (1-HCR
1 and 1--HCR 7)
Objective
HCR 1.4
Promote public education and awareness of the
unique history of the Huntington Beach area and
community involvement in its retention and
preservation.
Policies
HCR 1.4.1
Encourage the promotion of the City's historic
resources in visitor and tourist oriented brochures.
(1-HCR 9)
HCR 1.4.2
Promote . community awareness of historic
preservation through Huntington Beach's appointed
and elected officials, the Community Services
Department, the Library Services Department, and
local organizations. (1-HCR 9)
AS AMENDED BY THE PLANNING COMMISSION DECEMBER 12, 1995
II- 12.1 � 1 Z- 3
244
HCR 1.4.3
Encourage the involvement of the local schools and
Goldenwest College in preservation programs and
activities. (I-HCR 9)
HCR 1.4.4
Consider Combining sites containing historic
fa t<ues (interpretive centers) with recreational
learning opportunities. (1-HCR 10)
HCR 1.4.5
Encourage the provision of uses WWI
that are conducive to " public3 use and
education in historic structures. (I-HCR .i)
Goal
HCR 2
Develop avenues for communication and
participation in arts and cultural activities and
programming to bring together diverse segments of
the community.
Objective
HCR 2.1
Improve access to arts and cultural activity for all
residents and assist in networking information of
cultural activities.
Policies
HCR 2.1.1
Assist cultural groups in networking and bringing
artists and arts organizations together. (1-HCR 11
and I--HCR 13)
u4�-2. 1.2
COMMUNITY DEVELOPMENT CHAPTER
HISTORIC AND CULTURAL RESOURCES ELEMENT
HCR 2.1.2
Provide technical assistance to historic, cultural
groups and artists. (I-HCR 12)
Objective
HCR 2.2
Raise the community's awareness of the full range of
arts, history, and culture available in Huntington
Beach.
Policies
Lrnvseis�
HCR 2.2.1
Provide opportunities for increased exposure for arts
and cultural activities throughout the city. (1--HCR
13 and 1--HCR 14)
HCR 2.2.2
Facilitate networking between arts and cultural
groups and the general public. (1-HCR 13 and
I--HCR 14)
HGR 2.2.6
Goal
HCR 3
Highlight the City's unique cultural heritage and
enhance its visual appeal.
Objective
HCR 3.1
Promote a high standard of visual quality of art,
architecture and landscape architecture in the public
realm.
AS AMENDED BY THE PLANNING COMMISSION DECEMBER 12, 1993
II- 1 Z3i 1 Ly
24
Policies
HCR 3.1.1
Increase community station' and input into
the decision making about arts and culture. (I-HCR
1, U.D. 1.1.1, and U.D. 1.3.2)
HCR 3.1.2
16mm Consider that individuals advising the
City on cultural, urban and visual design issues have
a background in architecture, urban design, or fine
arts. (I--HCR 1)
HCR 3.1.3
Encourage urban design and public art projects to
enhance the image of the City and foster a sense of
place. (1-HCR 1. 1-HCR 15, and U.D. 1.4)
Objective
HCR 3.2
Clarify and highlight the cultural heritage and
identities of Huntington Beach for residents and
visitors.
Policies
HCR 3.2.1
Preserve and reuse historically significant
structures, where feasible. (1-HCR 3 and 1--HCR 8)
HCR 3.2.2
Consider providing educational opportunities
that focus on the City`s cultural history. (1-HCR 1,
1-HCR 3, and I-HCR 9)
Goal
HCR 4
Expand opportunities for the City's children to
receive quality experiences of arts and culture.
Objective
HCR 4.1
Strive for a full range of performing and visual arts,
educational programming and experiences to
children throughout the city.
COmmuNrry DEvELOPMEw CHAPTER
HISTORIC AND CULTURAL, RESOURCES ELmAIxr
Policies
HCR 4.1.1
Seek support for arts education. (I-HCR 9)
HCR 4.1.2
Strive to broaden cultural opportunities for
children. (1-HCR 16)
Goal
HCR 5
Establish a wide range of arts and cultural programs
and facilities that address the needs and interest of
residents, workers, and visitors.
Objective
HCR 5.1
Ensure adequate facilities, star and funding for all
city provided arts programs.
Policies
HCR 5.1.1
Assure that existing cultural facilities in Huntington
Beach are used effectively. (I-HCR 9 and I-HCR 11)
HCR 5.1.2
Advocate partnership agreements for capital
projects. (1--HCR 1, 1-HCR 9, 1-HCR 11, and I-HCR
16)
HCR 5.1.4 3
Identify and consider the interests of the community
while planning new cultural facilities. (1--HCR 9,
1-HCR 11, and 1-HCR 16)
AS AMENDED BY THE PLANNING COMMISSION DECEMBER 12, 1995
II- 17.41 i2S
246
HCR 5.1.4
Consider a permanent funding
mechanism to support the local art
agency. (I-HCR 14)
Objective
HCR 5.2
Facilitate the growth of the arts and cultural
community.
Policies
HCR 5.2.1
Encourage the participation of new audiences for
arts and cultural activities. (1-HCR 9 and 1--HCR 17)
HCR 5.2.2
Coordinate and cooperate with other city
departments and interest groups with the planning
for existing and new public cultural amenities.
(1--HCR 18)
HCR 5.2.3
Assist in the development of partnerships among arts
groups and the business community. (1-HCR 9 and
1-HCR 13)
HCR 5.2.4
Encourage opportunities for artists
to live and work in Huntington
Beach. (I-HCR 1)
EMPLEMENTATION PROGRAMS
I-HCR I
Studies/Mapyine/SunM
COMMUNITY DEVELOPMENT CHAMR
HisToRic AND MTURAL REsouRCEs ELEMENT
a. Perform an expanded (Citywide) survey
which updates the list of structures or
sites identified as having historical or
archaeological significance.
b. Review existing criteria for surveying
resources and revise the criteria, as
appropriate.
c. Conduct a study investigating the feasibility
of creating new or expanding " receiver
sites" and creating an " adopt a
building" program. (An " adopt a
building" program includes corporate
or civic group's sponsoring the
refurbishing, rehabilitation, and
continued upkeep of a historic_
structure).
d. Study the feasibility of enacting a program
to provide incentives for preservation,
restoration, rehabilitation or relocation
of historic resources through purchase
of facade easements, waiver of fees,
flexible building requirements, adaptive
re -use, rehabilitation loans and grants,
and technical advice by person(s)
qualified in historic preservation,
restoration techniques, and loans and
grant programs, receiver site and
building and siting regulations.
e. Examine the feasibility of establishing . a
historical resource center which acts as
an archive and clearinghouse of
artifacts and • resource documentation
and provides learning opportunities for
the public.
f. Explore the feasibility of relocating the
Historical Society's city archives to an
accessible location such as the
downtown.
g. Consider developing an oil history museum
or interpretive center.
AS AMENDED BY THE PLANNING COMMISSION DECEMBER 12, 1995
II- Q- 5) I Z-6
2 4
h. Determine and implement a mechanism to
broaden resident representation and
input into urban design and aesthetic
concerns to appropriate boards and
commissions.
i. Explore the development of a plan for a
phased- in "cultural corridor"
including the areas surrounding Golden
West College, Huntington Central
Park, Main Street Library, Main Street
and the Art Center to the Pier. , The
Plan shall consider such things as:
• developing a uniform visual
identity through street
banners and signage
and public
improvements; and
• identifying potential sites for
City -sponsored public
artwork.
j. Explore designating an historic district in
the downtown area.
k. Explore the development of a local cable
program series highlighting the
community's history.
I. Explore the feasibility of developing a local
Native American peoples interpretive
center.
m. Explore if there is sufficient programming
and audience for a small, flexible (or
" black box" ) theatrical space in the
downtown, geared toward
multi -purpose usage and small,
experimental productions.
n. Determine the nature of public and private
support for -the proposed International
Surfing Museum,
o. Explore shared, and affordable,
" work/live" space for -artists and arts
groups.
COMMUNrTY DEVELOPMENT CHAPTER
HISTORIC AND CULTURAL RESOURCES ELEMENT
I-HCR 2
Municipal Co 90ftign Guidelines
AdeptUtilize the State of California Historic
Building Code to accommodate the rehabilitation of
historic and older structures.
I-HCR 3
_on Ordinance
e ,r4he Consider the creation of a
Preservation Ordinance.
The Preservation Ordinance shall:
• enable the City to designate any site deemed
historically, archaeological, or cul urat
significant as a Historic Point, Site, or
District;
• establish design guidelines and standards
for preservations, adaptive re -use" etc.;
• establish criteria and procedures for
creating new historic overlay areas; and
• conform to State and Federal criteria for
establishing a preservation ordinance.
I-HCR s 4
Land Use Element
Implement land use programs as cited in I-LU 19
I-LU 7, AND I-LU 14.
AS AMENDED By THE PLANNING COMMISSION DECEMBER 12, 1995
II- 1 Z(,
248
I-HCR 6 5
Rehabilitation and Preservation Standards
Maintain on file the Secretary of Interior Standards
for Historic Rehabilitation and the standards and
guidelines of the State Office of Historic Preservation
as guidelines on restoring, altering or adding to
designated historic structures.
I-HCR -76
Design Review/Permitting Process/Environmental
Review .
a. Review existing design standards and
guidelines to ensure they are conducive
to compatible development, if
warranted, revise the design standards.
b. Review the impacts of zoning changes and
General Plan amendments on historic
preservation objectives and, if
warranted, revise the proposed zone
change or Plan amendment to reflect
the historic preservation objectives.
c. Continue the current procedures for
reviewing all demolition permit
applications for historic structures.
I-HCR-8 7
Historic Resources Funding
Work with the Redeyelepment Agempf afWef local
lending institutions in developing a financing
program or other programs to provide financial
assistance benefiting owners of historic - resources
who can prove a need for financial assistance in
connection with historic preservation.
I-HCR-9 8
Interagency Participation and Coordination
a. Work with the Huntington Beach
Conference and Visitor's Bureau on
developing brochures, self guided
walking tours, traveling exhibits
CommuNTTY DEVELOPMENT CHAPTER
HISTORIC AND CmTVRAL RESOURCEs ELEMENT
promoting the historical resources of
the City.
b. Work with the local school districts, local
pion programs, libraries, and
community centers to:
• develop and promote preservation
classes, activities and
Programs:
• enhance the range and scope of arts
educational programming
-offered by the City, including:
- a cultural programs for cable
television,
- a youth oriented calendar of arts
and cultural events,
and
- an artist residencies program
located in community
centers and other
youth oriented
facilities throughout
the City, and
• provide art and historic classes
accessible to a diverse range of
residents.
c. Work with local preservation organizations
to develop a historic building handbook
whish that describes historic
structures, sites, and districts, and
provides information on building
research and appreciation, and sets
forth guidelines for rehabilitation as
funds are available.
d. Coordinate with local historic preservation
organizations such as the Historical
Society.
e. Work with other City departments to
develop a plan to assure that existing
arts and cultural facilities are
AS AMENDED BY THE PLANNING COMMISSION DECEMBER 12, 1995
II- 1 Z. t., 1 ZI
249
COMMUNITY DEVELOPMENT CHAPTER
HISTORIC AND CULTURAL, RESOURCES ELEMENT
rehabilitated and maintained as
feasible.
I-HCR 42 11
f Coordinate Proposals for new facility Heads
T
Technical Assistance S Pn,or��,
with the Central Park Master Plan's
Develop technical assistance programs to train
Proposed additional outdoor performing
community arts, cultural, and historic groups in, but
arts spaces, and the Beach Master
not limited to, the following•,
Plan's Proposed arts and cultural
Programming in the Pier Plaza area.
runningsmall a organization -financial
g. Establish a high-level, inter -agency working
management, fund-raising, marketing
and long-range planning;
group of senior staff from appropriate
developing Partnerships and joint ventures
City departments to coordinate cultural
initiatives.
with private businesses, City agencies
and others; and
h. Link cultural tourism objectives through
planning to assess communi ty Interest and
Promotional tie-ins and special events .
with a cultural focus or
identify and encourage new audiences.
component.
I-Hcg4a 12
I-HCR 40 9
Business Leader Art Admini= rs and Resident
R=ealion and Community Services Element
Ou--tmach
Implement Parks and Recreation policies and
a.
Programs as cited in RCS 1.1.2 and I -RCS 2.
I-HCR 44 10
disaMss
eeenefny
ArW-Cultural Resources Network
Develop a private sector
Developgroup systems and networks to provide access to
g p of business and civic
infOrmat10A resources, such as:
• a
leaders, arts organizations
community arts, culture, and history
newsletter,
and artists to provide
• a clearinghouse cataloguing and registering
leadership support for arts
temporary and permanent spaces
and cultural activities.
available for arts and cultural use;
b. Work with co groups to develop
• a centralized event clearinghouse;community
residents' program interested
• an artists' register available for an art in
net b%owe
public places program, gallery owners,
down
Presenters, and others with resumes,
VGA
.
slides or tapes; and
c.
a media production resource list.
AS AMENDED BY THE PLANNING CONA,RSSION DECEMBER 12, 1995
II- t Z-7) 12-$
250
i-HCR 4413
Arcs Prog
Incorporate arts and cultural events as part of
existing community events and attractions, major
sporting events, and community celebrations where
feasible.
i-HCR-u 14
Pciblic Art Ordinance
Consider the Peke creation of "
a public art
ordinance that encourages public and private sector
involvement. The ordinance shall:
• identify funding sources for a formal public
arts program; and
• utilize the existing ad hoc art
program as a model.
the PAW AA GeffWAR" ffem the
and the Publie Aft Gewmifta'
ceflunissiefir
I-HCR 46 15
Celebration Plaza
Continue to oversee the development and
programming for the Celebration Plaza located
at the intersection of Main Street
and Acacia Avenue. As currently
planned, the Celebration Plaza is an
outside public assembly area which
includes hardscape and landscape
amenities connecting the Arts
COMMUNITY DEVELOPMENT CHAPTER
HL$ToRlc AND CuLTu AL. RESOURCES ELEMENT
Center and the Main Street Branch
Library.
I-HCR 4; 16
Allied Arts Board and Historic Resources Board
a. Diversify the membership of the Allied Arts
Board and the Historic Resources
Board to include a broader perspective
from all segments of the city.
I-HCR 4S 17
Cultural Master Plan
Implement the City Council approved Cultural
Master Plan, as feasible.
AS AMENDED BY THE PLANNING COMMISSION DECEMBER 12, 1995
II- t Z 1J
251
e
No. Narrne
PROCPAM
ADMMMTON
:�
..
...
anawwr�aioNE�oH
RESPNS&E
AGENCY
ana��«craNE.a
FUNDING sWFiCE
SCHEDULE
i
Studies / Mapping / Surveys
i •
HCR�2
Muriapal Code / Design Guidelines
•
..
•
LYear icon P
Adoption
HCR3
Preservation Ordnance
•
•
•
'•
1 Yeti upon
Ptah Adoption •
•
1 Year
Land Use Element
Onpoiq •
HMij
AabehVion and Preservation Standards0
gob, .
Design Review / Pemtitting Process
Environmental Review
a, .
R 8'
Historic Resources Funding
i
•
•
R.q
Interagency Particdpation and Coordination
•
•
I
f •
•
`
.
Recreation and Community Services Element
9.
•
.
Arts / Cultural Resources Network
•
•
,
2 Yeas upon.
Plan Adoption
t
Technical Assistance
•
f
f
,
•:
:;
Yeaaupm
1114vi
Plm e
i-- t
Business Leader, Arts Administrators, and .
Resident Outre
•
i'
:`
•
t
Arts Programming
t
•
•
�.
-.
-�'
Public Arts Ordna=
•
•
•
:<.
2 Yeas upon
Pin •
HMI
Celebration Plata
�elr Allied Arts Board and Historic Resources Board •
Cultturai.Master Plan
As funding permtks
2 Yeas upon
Plan Adoption •
252'
HISTORI AL'RESOURCES / CULTURAL
RESOURCES IMPLEMENTATION MATRIX x
HCR
CITY OF HUNTINGTON BEACH GENERAL PLAN `
II-129
A Cultural Masterplan
for
Huntington Beach
Final Report
October,1994
by
Marc Goldring
Carol Goldstein
Bill Moskin
Jane Preston
The Wolf Organization, Inc.
8 Francis Avenue
Cambridge, MA 02138
(617) 492-2167
FAX (617) 492-7525
254
Cultural Masterplan Task Force
Philip Mosbo, Chairman
Jerry Chapman, Vice Chairman
Karen Akamine
David Anthony
William Anderson
Lloyd Baron
Ralph Bauer
Lana Campbell
Diana Casey
Norma Clapp
Linda Couey
Anna Friesen
Elaine Hankin
Natalie Kotsch
Sid Kuperberg
Carole Lung
Linda Moulton -Patterson
Michael Mudd
Maureen Rivers
Steve Schwartz
Mary Shebell
Ann Thorne
255
Table of Contents
Executive Summary ......................... .. i
Part I: Introduction and Overview 1
History of the Project ........................... 1
How to use this report 2
Overview of Arts and Culture in Huntington Beach 2
Draft Vision Statement ......................... 6
Part II: Priorities for Art and Culture ........... .8
A. Needs of Artists and Arts Groups .............. 8
Programs ..............................
Facilities .................................
13
B. ' Cultural Identity . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
C. Communication 31
D. Arts in Education .......................... ... 38
Part III: Role of the Cultural Services Division ... 46
Part IV: Resources 55
Part V: Next Steps 67
Appendix A: List of Interviewees
256
Executive Summary
In September of 1993, the City of Huntington Beach contracted with
The Wolf Organization, Inc. of Cambridge, Massachusetts to assist
in the development of a community cultural masterplan. After a se-
ries of interviews with over eighty individuals from all sectors of the
community, the consultants submit their report with findings and
recommendations for the community's consideration.
The future of arts, history, and culture in Huntington Beach is
bright. The City has the opportunity to build on the strengths of its
existing cultural "assets" to create a community -wide vision of "arts
and culture" that is inclusive — of all residents and visitors and of all
arts disciplines and types of work. The consultants propose a defini-
tion of culture that includes both the conventional fine arts as well as
the traditions, history, and customs of its new and old residents.
With the opening of the Central Library addition and the imminent
opening of the Art Center in June, a new and highly visible focus for
arts and culture will emerge. These facilities and their programming,
along with the proposals in this report, have the potential to create
an identity for the City as a regional cultural hub.
The consultants note that there are many additional programs, facili-
ties, and activities that are needed to round out the arts, historic, and
cultural components of community life. In particular, they have
made recommendations in the following key areas:
- page ii -
• Artists and Arts Groups: The consultants propose a system to
desseminate information about arts and culture, including avail-
able spaces, sources of funding, and other key facts. A program
of basic technical assistance for artists and arts groups is also
proposed. The facility needs of the community are detailed,
along with a proposal to better. utilize existing facilities, systems
to set priorities among various facility needs, and strategies to
coordinate cultural facilities planning with other City planning
efforts.
• Cultural Identity: The consultants propose a series of pro-'
grams to highlight the heritage of the community. They also
suggest that the existing ad hoc public art program be phased in
to a comprehensive program, and that a "cultural corridor" be
established to promote the City's complete range of cultural as
sets, beginning with the downtown area. The need for an his-
toric resources and preservation plan is emphasized as well as
the importance of enhanced cultural components of existing
community events.
• Communication: Programs to improve networking and com-
munication between arts groups and among arts groups and the
general public are proposed, as well as an "awareness cam-
paign" to educate the community to how arts, history, and cul-
*ture can improve the lives of everyone. The consultants also
recommend programs of outreach to new audiences, including
people of color and other underserved constituencies. A
private -sector umbrella leadership group is proposed to advo-
cate in support of arts, historic, and cultural. concerns.
• Arts in Education: To conduct planning and advocate for arts
education, the consultants recommend the formation of a City-
wide Arts Education Planning Group. They emphasize the
school districts' primary responsibility for arts education, while
also supporting additional participation by arts groups in
259
-page
school arts programming. Suggestions are made to enhance the
City's programming in support of arts education.
• Cultural Services Division: The consultants propose that the
Division be designated as the City's offical local arts agency,
emphasizing its role as facilitator and catalyst, to assure its abil-
ity to apply for state and federal funding. They also propose
that all City cultural endeavors be coordinated by the Division
and some activities (primarily arts and crafts classes) be moved
into the Division. Additional staff is recommended and propos-
als are made to strengthen the role of the Allied Arts Board.
• Resources: Options to increase the earned income of arts, his-
toric, and cultural groups are discussed, as are ways to increase
contributions from the private sector, focusing primarily on in-
creasing sponsorships. Mechanisms to increase public funding
are detailed, including General Fund support for core functions
of the Cultural Services Division, a sales tax assessment district,
and a percentage of City parking fees to support cultural pro-
gramming and facilities. The consultants also recommend that
issues relating to the required level of "self-sufficiency" for the
Division be resolved quickly.
• Next Steps: Finally, the consultants outline a procedure for the
Cultural Masterplan Task. Force and City staff to develop the
cultural element for the General Plan revision. They recom-
mend that the Allied Arts Board and the proposed private -
sector umbrella group oversee implementation of the plan and
outline ways to provide information to the community to gain
support for the plan's initiatives.
Following is a listing of all the recommendations from the body of
this preliminary report, along with the page number indicating where
the discussion begins.
260
- page iv -
Recommendation II.A.1: Formal mechanisms should be created
to provide better access to important information and to assist net-
working in the cultural community (cf., page 10).
Recommendation II.A.2: A program that targets basic business
skills should be developed to provide technical assistance to arts,
historic, and cultural groups as well as artists (cf., page 12).
Recommendation II.A.3: A strategy should be established to as-
sure that existing arts and cultural fac' 'ties are used effectively (cf.,
page 14).
Recommendation II.A.4: Plans for new and/or renovated arts and
cultural facilities should be developed in conjunction with the pro-
gramming needs of arts groups and the interests of the community
(cf., page 15).
Recommendation II.A.S: A set of "guiding principles" should be
developed to provide criteria in determining the priority of new
cultural facilities projects. In addition, mechanisms should be
established to assure coordination of facilities planning (cf., page
21).
Recommendation II.B.1: Programs should be established to clar-
ify and highlight the cultural heritage and identities of Huntington
Beach (cf., page 22).
Recommendation II.B.2: A plan for a phased -in "cultural corri-
dor" — including the area surrounding Golden West College run-
ning to Central Park and including Main Street to the Pier —
should be developed (cf., page 24).
Recommendation II.B.3: The Conference and Visitors Bureau's
Urban Design and Public Art Committee should be reconstituted a
City entity responsible for the public art program. In addition, the
City should consider restructuring the Design Review Board (cf.,
page 26).
261
-Page v -
Recommendation II.B.4: The existing ad hoc public art program
should be formalized into programs for public and private sector
development (cf., page 27).
Recommendation II.B.S: An historic resources and preservation
plan should be developed to augment the historic element in the
City's General Plan (cf., page 29).
Recommendation II.B.6: Opportunities to enhance the cultural
components of existing community events and promotions should
be explored. In addition, events with a single focus on arts and cul-
ture should be considered (cf., page 30).
Recommendation II.CA: Strategies to enhance networking within
the arts community, and between arts groups and the general pub-
lic, should be developed (cf., page 31).
Recommendation II.C.2: A campaign should be undertaken to
raise the community's awareness of the full range of arts, history,
and culture available in Huntington Beach (cf., page 33).
Recommendation II.C.1 Programs of outreach to new constitu-
encies for arts and culture should be developed (cf., page 35)
Recommendation II.C.4: A private -sector umbrella group of lead-
ership supporters of arts, history, and culture in Huntington Beach
should be established (cf., page 36).
Recommendation II.D.1: Huntington Beach's four school dis-
tricts should increase their support of arts education (cf., page 39).
Recommendation II.D.2: A City-wide, multi -district "Arts Edu-
cation Planning Group" should be established (cf., page 39).
Recommendation II.D.3: Opportunities to strengthen and coor-
dinate arts, cultural, and historic groups' participation in school.
programming should be developed (cf., page 41).
262
-page vii -
Recommendation IV.S: Issues relating to the level of "self-
sufficiency" required of the Cultural Services Division's program-
ming should be resolved quickly (cf., page 63).
Recommendation IV.6: The City should consider ways that it can
assist arts and cultural development through incentives (cf., page
64).
Recommendation IV.7: The Cultural Services Division should ap-
ply for federal and state funding for arts activities. In particular, it
should apply for a Local Incentive Grant through the National En-
dowment for the Arts (cf., page 65).
Recommendation V.1: The Cultural Masterplan Task Force
should review and "accept" this report with any necessary revisions
(cf., page 68).
Recommendation V.2: The cultural element of the General Plan
should be developed, based on the revised cultural planning docu-
ment (cf., page 69).
Recommendation V.3: The Allied Arts Boardand, when estab-
lished, the proposed private sector arts and cultural support group
should be responsible for tracking the implementation of the cul-
tural plan (cf., page 71).
Recommendation V.4: A public information plan should be de-
veloped to educate the general public regarding the contents of the
community cultural plan (cf., page 72).
263
- page vi -
Recommendation II.D.4: Opportunities to enhance the range and
scope of arts educational programming offered by the City should
be developed (cf., page 42).
Recommendation II.D.S: The Arts Education Planning Group
should consider options for equitably providing a full range of per-
forming and visual arts educational programming to school chil-
dren (cf., page 44).
Recommendation IIIJ: The Cultural Services Division should be
designated by ordinance as the City's local arts agency (cf., page
46).
Recommendation III.2: The City's arts and cultural programming
should be centrally coordinated by the Cultural Services Division
(cf., page 49).
Recommendation III.3: The City should allocate additional staff
resources to the Division of Cultural Services (cf., page 51).
Recommendation III.4: The role of the Allied Arts Board as advi-
sors to City Council should be strengthened (cf., page 52).
Recommendation IV.1: Opportunities to increase the earned in-
come potential of arts and cultural groups should be developed (cf.,
page 55).
Recommendation IV.2: Programs that target increasing charitable
contributions from the private sector should be implemented (cf.,
page 57).
Recommendation IV.3: Fund-raising efforts for art, history, and
cultural initiatives should be more broadly based in the community
(cf., page 58).
Recommendation IV.4: Mechanisms to enhance the level of pub-
lic support for arts and culture should be explored (cf., page 60).
., 264
Part I
Introduction and Overview
History of the Project
In September of 1993, the City of Huntington Beach contracted with The
Wolf Organization, Inc. of Cambridge, Massachusetts to conduct a com-
munity cultural master planning project. Over the course of the following
months,. a team of four consultants met with a cross-section of over eighty
individuals representing Huntington Beach's arts and historic community,
as well as City staff and elected officials, civic, business, and education
leaders, and others (see Appendix A of this report for a complete list of
participants).
In addition, the consultants have worked with a community -based Task
Force that has provided vital information, offered insight into key issues
and concerns, and reviewed the consultants' preliminary findings. Meeting
once a month since October, the Task Force has played a significant role
in assuring that this planning document reflects the priorities of Hunting-
ton Beach -and that it will dovetail with other planning efforts, primarily
the revision of the City's General Plan. The consultants would like to take
this opportunity to thank the members of the Cultural Masterplan Task
Force, the staff of the Cultural Services Division of the Community Serv-
ices Department, as well as all the individuals who consented to be inter-
viewed for this project, for their valuable assistance. Funding for this
project has been provided by the City of Huntington Beach.
266
Page 2
The Wolf Organization, Inc.
Any reader of this report who is familiar with arts and culture in Hunting-
ton Beach will realize that many of the consultants' recommendations are
not new. Rather, in many cases they reflect years of concept development
by the many people who are active in the City's cultural life, in particular
the Allied Arts Board's ten-year plan presented in 1986 that identified
many important program needs and resulted in the creation of the Cul-
tural Services Division.
It is the consultants' aim to articulate a comprehensive "blueprint" for de-
veloping arts and cultural activities within the framework of the thinking
and planning already undertaken. Thus, they emphasize that while they
take responsibility for the contents of this report, it does reflect the think-
ing of earlier planning initiatives. Whenever possible, the consultants pro-
vide historical information as background and context for their
recommendations.
How to use this report
This report is divided into several parts:
• Part I provides an introduction, an overview of key issues in Hunt-
ington Beach, and a draft "vision statement" for culture in the City.
• Part II presents a series of recommendations on the priorities for
culture.
• Part III addresses the role of the Cultural Services Division of the
Community Services Department.
• Part IV identifies the necessary resources to realize the goals articu-
lated through the recommendations in Part II.
• Part V describes the next steps toward implementation.
Since the next step in this planning process is to reach consensus on these
recommendations, set priorities among them, and begin implementation, a
careful reading of this report is essential.
Overview of Arts and Culture in Huntington Beach
The consultants have noted several important factors about Huntington
Beach that, while relatively well understood and acknowledged in the
community, will have profound implications for the development of arts
967 6W
Cultural Plan for Huntington Beach Page 3
and cultural/historic activities in the City over the next five years. They
highlight some of those observations below.
• Growth in Huntington Beach over the past twenty years has been
extraordinary and the City has made great strides in addressing
pressing urban issues. Given this growth, the City has only recently
begun to develop the cultural infrastructure that can provide the
range of services residents require. While the cultural life of Hunt-
ington Beach is quite active, only with the expansion of the Central
Library and Cultural Center and the imminent opening of the Art
Center has there beena. high visibility focus for culture that will have
an impact on residents and the entire region.
• These structures — and, more important, the programming that they
will support as they mature — will have a profound effect on the
community as it evolves over the next several years. Thus, in some
ways, a significant theme of this report is planning for enhanced cul-
tural activities. While this is an extremely positive situation, the tim-
ing does complicate the cultural masterplan initiative, because the
Art Center's program initiatives are not yet in place and their impact
cannot be assessed. This suggests that a review of the final planning
document at an earlier than usual time (perhaps within eighteen
months to two years) should be considered.
• This strengthened activity relating to arts and culture is a result of
City residents — especially community leaders — having expressed
(and acted upon) their desire for a higher profile for arts and cultural
activity. The establishment of the Cultural Services Division, build-
ing the new Library wing, and the City's participation in developing
the Art Center and Celebration Plaza all indicate a strong involve-
ment in and commitment to creating major new cultural facilities and
promoting history, arts, and culture as a primary component of
community services. In particular, the extraordinary private fund
raising for the Art Center is indicative of this commitment.
• Such a commitment is perhaps not surprising, given the demograph-
ics of the City that show per capita income and education levels that
are among the highest in the nation, although residents generally do
not appear to be aware of these statistics. Civic leaders, however,
a
Page 4
The Wolf Organization, Inc.
seem to understand that these demographics suggest a population
likely to have high expectations for services, particularly in the area
of arts and cultural activities. The City must continue to consider
these factors when making decisions about the mix of services it
provides.
• Other demographic trends are at work in the community as well.
For example, the percentage of younger families and the population
of Latinos, Asians, and other diverse communities, are increasing.
And, while there is interest among these groups in arts and culture,
generally a very different range of needs and interests are identified
as priorities. As a result, the mix of arts and cultural programming
will have to be designed to meet the needs of these individuals as
well.
• The consultants often heard about the needs of youth. These needs
ranged from assuring educational experiences in the arts for young
people to providing creative outlets so that talented young people
need not leave the community. Concern was expressed by many in-
terviewees about the depth and quality of arts education opportuni-
ties for children and youth, with the availability of programming
being dependent in many cases on the particular district and school
attended. On the positive side, the efforts of those individuals re-
sponsible for the High School for the Performing Arts were seen as a
major step forward for arts education and District support for the
initiative was seen as critical.
• The tradition of youth culture — including such things as surfing
and the music associated with it — on the beach and in the down-
town area was another concern. While some people expressed dis-
may at the number of young people on Main Street and their impact
on retail, others felt this reflected an historic pattern in the City.
Controversies surrounding youth, in particular around the beach
wall aerosol art project, have required active efforts to resolve. This
experience emphasizes the need for better dialogue with and educa-
tion of the public.
• A conunitment to address the cultural needs of all residents can
overlap with other, more regional considerations. Residents of
269
Cultural Plan for Huntington Beach
Page S
Huntington Beach, like many Orange County and southern Califor-
nia residents, tend to have ties to other communities or their neigh-
borhoods as well as to their own city. This can work both for and
against cultural growth in Huntington Beach. On one hand, it makes
it more difficult to design cultural programs that address the needs of
residents, since they often participate in such activities in the com-
munities where they conduct the "business" of their lives. On the
other hand, it suggests that audiences for arts and cultural program-
ming that occurs in Huntington Beach can be drawn from outside of
the City, since people are willing to travel to entertainment and edu-
cation venues.
• The revitalization of Main Street has played a role, as well. It has
brought a new image and vitality to downtown Huntington Beach,
as well as a new center for civic activity. This mixed use commercial
district is a pivotal element for the future of the City, serving as its
visible gathering place. In addition, this area has an assortment of
historic structures that can enhance a sense of the history of the City
for both resident and visitor. With the Pier Plaza and the Art Center
as anchors at either end, this area can provide the foundation for a
strong community image, one that embraces the multiple identities
of Huntington Beach, while providing a focus for its "artistic" iden-
tity as well.
• At the same time, however, questions of the visual impact of the City
are not thoroughly resolved. The desire to improve the visual quality
of the City is articulated as a priority commitment of the City but
there does not appear to be agreement on standards for urban design.
For example, the City has made a major investment in redevelop-
ment and urban design improvements to major corridors, including
such things as new architectural standards, landscaping, sidewalks,
and medians. However, individuals in the cultural community ques-
tion whether the standards are sufficiently high and if they are aes-
thetically appropriate to the City's image and identity. The situation
may be exacerbated by the fact that the make-up of the existing De-
sign Review Board does not allow for a great deal of community
input.
2 �0
Page 6 The Wolf Organization, Inc
• The consultants heard much discussion of the "identity" of Hunt-
ington Beach — whether the City is defined by "surf," "oil," its his-
tory of revival meetings, its early connection with agriculture, its
environmental features, its connection to rail and other transporta-
tion links, or its indigenous inhabitants. In reality, as is often the
case, there is no single, exclusive image. The City is a composite of
all of these, as well as having the potential to establish an additional
new identity as a regional focal point for the arts. All these serve as
the building blocks of an exciting and vibrant community that has
much to share with new residents and visitors. The challenge in
Huntington Beach is to bring the best of the past into the future.
• While there is interest on the part of some civic leaders in using pub-
lic art as a way to improve the visual appeal of the built environment,
there are questions about issues of cost and maintenance that are seen
as limiting the ability of the City to establish a percent for art pro-
gram. To the extent that public art is defined as object -oriented (i.e.,
sculpture), this is perhaps true. However, since public art may also
include other programmatic thrusts, such as targeting increased
artist -input into the design and planning of capital projects as well as
non -object -oriented artistic expression, these concerns, while having
some validity, may not be as problematic.
Draft Vision Statement
In order to having a meaningful cultural policy and plan, it is necessary at
the outset to make sure that there is agreement about basic terms and a.
common vision of the future. In that spirit, the consultants offer the fol-
lowing statement for consideration by the Task Force. It is based on dis-
cussions held with that body early in the process, as well as other meetings
and interviews conducted during the fact-finding phases of this project. It
is designed to provide both a definition of "arts and culture" and a
consensus vision for how arts and culture will develop in Huntington
Beach over the next years.
"Arts and culture, " in the context of this plan, represent ' more 'than
the conventional visual and performing arts. While they of course
include these important forms of expression, arts and culture also
embody the sum total of a community's customs, beliefs, and
271
Cultural Plan for Huntington Beach
traditions. They include folk art and music; traditional crafts; his-
toric buildings, landmarks, and other sites for public events and
celebrations, such as parks and open spaces.
Page 7
We understand the vital connection arts and culture have to our
quality of life as a community and the contribution they can make
to the everyday lives of Huntington Beach residents. Arts and cul-
ture can provide opportunities to enhance the education of our chil-
dren, can bridge the differences between people through shared
experiences, and can strengthen the economic development of our
City.
For these reasons, as well as for the rich pleasure arts and cultural
pursuits can provide, we want to assure that our community's resi-
dents can continue to enjoy the promise of a full and vital cultural
life. To accomplish that, we believe that in the next years we must:
• develop avenues for communication and participation in arts and
cultural activities and programming to bring together the diverse
segments of our community
• establish activities and programs to enhance our City's visual appeal
and to highlight its unique cultural heritage
• assure that our children receive quality experiences of arts and cul-
ture both within and outside the classroom
• provide funding from public and private sources to establish a wider
range of cultural programs and facilities to address the needs and in-
terests of all residents.
272
Page 8
The wolf Organization, Inc.
Part II
Prioritiesfor Art and Culture
A. Needs of Artfsts and Arts Groups
Any plan to address the enhancement of the cultural life of Huntington
Beach must begin by considering the vitality of the artists and arts groups.
The consultants found an active and focused cultural scene in the City. Al-
though there are few large or highly structured arts and cultural organiza-
tions in Huntington Beach, there is a core of local artists, both
professional and avocational, as well as many arts groups that are conduct-
ing a wide array of high -quality programs. Among them are:
• The Huntington Beach Playhouse is a thirty-year old community
theatre, now performing in the new theatre in the Library Annex.
The group presents 16 performances of six shows during the year, as
well as an outdoor Shakespeare series in Central Park and a chil-
dren's Christmas program.
• The Newland House Museum is a showcase of local history oper-
ated by the Historical Society and the City. In addition to exhibition
space in its restored buildings, there is room for additional exhibits
and special events in the area behind the house and barn.
• The International Surfing Museum opened in its first location in
1988 and is presently in a 2,000 square foot renovated space in the
downtown. Plans to build a new, state-of-the-art museum facility are
currently developed and funding is being sought. A "Surfing Walk
273
Cultural Plan for Huntington Beach Page 9
of Fame" is being established and has received much attention in the
international surfing community.
• Golden West College has a wide range of cultural facilities and ac-
tive instructional programs in the arts with an emphasis on both tra-
ditional and electronic forms of most artistic media. Its program of
theatre production currently includes about 40 percent non -student
actors.
• The Huntington Harbour Philharmonic Committee has an active
program of fund raising for the Orange County Performing Arts
Center. In addition, the Committee provides a range of programs for
public school children, including in -school programs and bus trips
to the Performing Arts Center.
• The Huntington Beach Concert Band performs in venues around
Orange County. With about seventy-five members, half of whom
are from Huntington Beach, the Band has played at City Council
meetings, ground-breakings, concerts in Central Park, and other lo-
cations. It is the only band of its type in Orange County not sup-
ported by a school district.
• The School for the Performing Arts at Huntington Beach High
School currently has about three hundred students enrolled from
throughout the City, offering classes in dance, theatre, music, and
television production.
• The soon -to -be -opened Huntington Beach Art Center is a com-
munity art center that will provide local citizens and a regional audi-
ence with opportunities for exposure to and involvement in the
visual arts. It will have three active gallery spaces, a darkroom, class-
rooms, meeting rooms, and a gift shop.
• A strong Parks and Recreation program includes arts ,and crafts
classes held in parks and community centers throughout the City.
• The Central Library and Cultural Center with its new wing de-
voted to children, also includes a 300-seat theatre, several meeting
and classrooms, and other important additions to its physical plant.
• A wide range of other groups, including the Arts Associates, the
Huntington Beach Art League, and many others, are also active in
the community.
The consultants found that most arts and historic groups in the City func-
tion on a volunteer basis, without paid staff or permanent facilities. In ad-
dition, artists have generally not been able to work in the City, primarily
274
Page 10
The Wolf Organization, Inc.
because of the cost of renting space and the lack of professional venues in
which to exhibit and perform their work.
In this section of the report, the consultants provide some recommenda-
tions to address these and other important concerns of artists and arts
groups. The concerns fall generally into two categories.— programs and
facilities — and they are discussed below.'
Programs
Recommendation II.AA:
Formal mechanisms should be created to provide better access to
important information and to assist networking in the cultural
community.
The consultants heard that one of the major problems facing cultural and
historic groups is the difficulty in getting access to important information,
in particular about such topics as access to facilities and financial re-
sources. While the Cultural Services Division has an extensive library (in-
cluding publications on arts issues, historic services, and fund raising), its
visibility is low and access to that information is difficult. In addition,
some information has not yet been gathered in a comprehensive form. It is
critical to set up systems and networks that provide these groups with
simplified access to this information as well as to information about im-
portant resources that they may not be able to locate otherwise.
There are several information systems that are most important for artists
and arts groups in Huntington Beach. They include:
A community arts, culture, and history newsletter designed to in-
clude information about important activities at cultural sites, as well
as information about the Cultural Services Division, features on arts
programs in schools, a calendar of upcoming events, and other
important inf6rmation2. It should be available widely in the
Note that issues relating to artists and arts groups are also discussed in all
of the following sections.
The consultants note that the Cultural Services Division has a newsletter,
275
Cultural Plan for Huntington Beach Page 11
community.
• A space clearinghouse that would provide an inventory of existing
spaces in Huntington Beach that are available for arts and cultural
usage, including details of available equipment, fees, and contact in-
formation. It should include temporary spaces. (for example, vacant
storefronts) as well as permanent facilities, including churches.
• A centralized event clearinghouse that would list all planned activi-
ties for the coming eighteen months. By listing this information in
one place, those groups planning activities (programming or fund
raising) could easily check to assure that there are not conflicting
activities.
• An artists' register that, could be available for an art in public places
program, gallery owners, presenters, and others, with resume infor-
mation on the artists that might eventually be augmented with slides
or tapes of recent work.
This additional information, gathered over the course of several years, will
become increasingly important for arts and cultural groups in the City as
they evolve into more sophisticated operations. The consultants see such
evolution as the likely result of improved community facilities and pro-
grams and a growing recognition of the value of arts and culture in the
community. These systems are designed to help groups get important in-
formation without spending a great deal of time doing it.
The consultants believe that the Division of Cultural Services should con-
tinue to take responsib' 'ty for this task, since it is the only centralized
source of such information. This will enhance the ability of Division staff
to assist cultural groups in networking, since they will become the 'clear-
inghouse" for all information. Their ability to serve as "catalysts" for
bringing artists and arts groups with similar interest together will be an
important asset.
although that vehicle is devoted to the Art Centgr. While that is impor-
tant, there is need for a more comprehensive publication.
276
Page 12
The Wolf Organization, Inc.
Recommendation II.A.2:
A program that targets basic business skills should be developed to
provide technical assistance to arts, historic, and cultural groups as
well as artists.
Understandably, the ability of small, volunteer cultural/historic groups to
handle the managerial aspects of their operations is often limited.'This is
partly a matter of not having sufficient time to devote to operations; but it
is also true that most of the individuals running these groups do not have a
grounding in the basic business skills needed to most efficiently run them.
According to many interviewees, providing opportunities for such basic
training would be valuable. Technical assistance designed to provide fo-
cused training for staff and volunteers would be particularly useful in the
areas of:
• how to run a small organization, including such skills as financial
management (basic accounting, budgeting), fund raising (grant and
proposal writing, annual appeals, special events planning), market-
ing, and long-range planning
• how to develop partnerships and joint ventures, including strate-
gies for working with private businesses of various sizes, as well as
City agencies, the Chamber of Commerce, the Conference and Vis-
tors Bureau, and others
• how to plan for the future, including approaches to understanding
the implications of growth and of remaining at current levels of ac-
tivities, as well as more formal long-range planning exercises for
some of the larger groups
• how to plan programs, including ways to assess the level of interest
in the community for various types of artistic or cultural program-
ming, devising strategies to identify and sell to new audiences, and
other matters.
Many of the specific training opportunities for small cultural/historic
groups may be relevant for artists as well and plans to include them in this
programming should be developed. In addition, topics of interest specifi-
cally to artists include developing cooperative ventures, planning for
277
Cultural Plan for Huntington Beach Page 13
shared studio and/or exhibition space, developing master leases, and code
requirements for live/work spaces.
A training program would be most effective as a monthly series of half -
day or evening programs, which should be developed and coordinated by
the Cultural Services Division, in consultation with arts groups, and per-
haps working with Golden West College. Indeed, the Division already un-
dertakes some of these activities on an ad hoc basis and broader
dissemination of information about existing activities will be necessary. It
will also. be important to make sure that the specific subject matter of the
programs targets the priority needs of these groups. A program of this na-
ture will not only assist arts and cultural groups but it will clearly signal
the City's on -going commitment to fostering the health of these groups.
Such a program need not be costly. While it may be possible from time to
time to bring in well-known workshop leaders, it will be more cost-
effective to search out local professionals from either the profit sector or
larger nonprofit organizations who might be willing to volunteer their
services to provide workshops, facilitation, and other types of training.
Alternatively, it might be possible to develop a relationship with nonprofit
technical assistance providers, such as ARTS Inc. in Los Angeles. Such
groups can either provide the necessary programming or offer guidance on
ways that it might be developed using local trainers.
Facilities
There are a number of cultural facilities in Huntington Beach, ranging
from -the multi -faceted visual and performing arts spaces at Golden West
College and'the Huntington Beach High School to the Victorian charm of
the Newland House Museum. In addition, there are outdoor facilities in
Central Park and other locations. With the recently opened expansion of
the Central Library and Cultural Center and the anticipated opening of
the Art Center in June, cultural activities in Huntington Beach will have a
new, strong, and visible presence. These new or expanded facilities add
important spaces for cultural activities:
The expansion of the Centraltibrary and Cultural Center in-
cludes a 300-seat theatre, as well as gallery space and meeting rooms.
27$
Page 14 The wolf Organization, Inc.
• The Art Center will have three galleries, a small studio, a perform-
ance space for lectures, meetings, video/film, and small-scale theatri-
cal presentations, as well as a gift shop/bookstore.
These new facilities will require some time to become fully operational
(both physically and programmatically), and their impact on the cultural
community is necessarily difficult to assess at the moment. Further, addi-
tional cultural facilities will ultimately be required to address the full range
of community needs. However, it is necessary to focus initially on com-
pleting existing and scheduled projects and to assess their impact before
undertaking major new capital efforts. In the following recommendations,
the consultants provide a framework for this process.
Recommendation II.A.3:
A strategy should be established to assure that existing arts and cul-
tural facilities are used effectively.
The community's first priority should be to make sure that existing cul-
tural facilities.in Huntington Beach are used effectively, in particular that
they are fully utilized and that their programming is designed to provide a
mix of offerings that addresses the needs and interests of all residents.
Among the facilities that are currently under-utilized are the following:
• Golden West College has a large amphitheatre, with seating for
about 1,000, that is only minimally used. Given its location and its
availability for community use, and with proper promotion and a
thoughtful mix of activities, it might serve as an alternative to the
amphitheatre in Central Park. It would require stage and technical
support improvements to make it more useful.
• The Huntington Beach High School Auditorium, seating about
700, is heavily utilized during the school year, however, it is available
during the summer months and might be more fully utilized then'.
In general, better access to school facilities would be advantageous.
3 See the text on pages 17-18 for a discussion of the necessary renovations
to this facility.
273
Cultural Plan for Huntington Beach Page 15
While the Central Library and Cultural Center's expansion adds
impressive capabilities to the cultural infrastructure, its utility for
arts and cultural groups is presently limited (according to interview-
ees) by the lack of staff available for programming and the relatively
high rental fees charged.
• The grounds of Newland House Museum and Newland House
Barn could be the site for additional cultural and/or historic pro-
gramming. Given some modifications, the Barn might be a tempo-
rary site for experimental theatre.
Addressing the circumstances that contribute to this under -utilization
should be an important priority. Some of this may involve establishing
community -wide systems. For example, in recommendation II.A.1, the
consultants propose a system to catalogue information about cultural
spaces in Huntington Beach. Such a system will assist in eliminating the
problem of under -utilization by simplifying the process through which
arts groups identify appropriate space. Other strategies may include on-
going conversations among programming institutions to assure communi-
cation, coordination of activities, and sensitivity to the range of interests of
residents.
The activities of the soon -to -be -opened Art Center will have a substantial
impact on the cultural life of the community. As its programming comes
on-line, it will be important to develop strategies to coordinate it with that
of other organizations in the City to maximize its impact and leveraging
potential. The Art Center should be considered as part of a cooperative
network, and staff should work with appropriate staff at the Library and
Golden West College to assure good communication and coordination of
activities, particularly during a time of scarce resources.
Recommendation II.A.4:
Plans for new and/or renovated arts and cultural facilities should be
developed in conjunction with the programming needs of arts
groups and the interests of the community.
While more effective utilization of existing facilities will help, it will still
be necessary, over the years, to add to the stock of facilities available for
Page 16
The Wolf Organization, Inc.
arts and cultural usages. This may be accomplished in a variety of ways,
including new construction, renovation, and adaptive reuse. And, while it
will be advantageous to develop these facilities over the course of time,
planning ought to start soon, based on the needs and interests of the
community.
A wide range of facilities needs were identified by interviewees and the
consultants discuss them below. However, before that discussion, there
are some important caveats that should be kept in mind: .
• First, while many interviewees provided opinions about the need for
cultural facilities, they generally spoke from the perspective of the
arts community — in effect, as the "producers" of cultural "prod-
uct." It will be very important to understand the other side of the
equation — the "consumer" perspective. At the appropriate time, an
analysis of the priority interests. of the potential audience — both re-
gional and local — for any new cultural facilities must be conducted.
• Second, as has already been mentioned, the Art Center and the Cen-
tral Library and Cultural Center expansion provide a substantial
boost to the inventory of cultural facilities in the City. Since their
impact is not yet clear, it is difficult to set priorities among various
concepts for additional cultural facilities. This important process
should be addressed within two years, by which time the impact of
programming at the new facilities will be considerably easier to
evaluate.
The consultants believe that the top priority for cultural facilities must be
given to the completion of the Art Center, including the surrounding out-
door space for the long -planned Celebration Plaza. This facility repre-
sents a major step forward for the arts community. In particular, the
outdoor space will be an important addition, both to the range of activities
that the Art Center can program and, more generally, to the types of
amenities available downtown. City support for the staffing of this facility
will allow for a relatively fast "ramp -up" to full operation, which will be
important to provide the greatest benefit to the community.
Interest was expressed by many interviewees in a small, flexible (or "black
box") theatrical space in the downtown, geared toward multi -purpose
281
Cultural Plan for Huntington Beach Page 17
usage and small, experimental productions. While such a facility, if prop-
erly designed, could be a valuable addition to the building stock, there is
some question about the availability of programming for such a space. It
would be wise, if possible, to use existing spaces to test whether there is
sufficient programming — and audience — before any decisions are made
to move forward on construction or renovation. There are several venues
that might be suitable to test whether the artistic product and audience is
sufficient to warrant such a facility, including the flexible meeting space at
the Art Center, the Central Library and Cultural Center's new theatre, the
Barn at Newland House Museum, or a temporarily vacant storefront in
the downtown area.
There is some reason to assume that a black box theatre would be a viable
addition to the mix of cultural facilities in the City:
• Existing theatrical spaces are heavily used, so it is clear that there is
interest in theatre.
• There is little in the immediate Orange County area that would com-
pete with such a facility.
• It could complement the programming at the Art Center.
• It .could cultivate new audiences, particularly if it showcased work
that was not readily available in other venues, including bilingual,
multi -cultural performances.
Should it be determined that there is sufficient interest in a performing arts
facility in the downtown area, consideration should be given to using an
existing and available public or private facility within District Six and pref-
erably in close proximity to the Art Center. With its proximity to the Art
Center, such a facility with a highly visible cultural program would en-
hance the attractiveness of the area as a cultural destination.
The consultants believe that another priority is renovating the Hunting-
ton Beach High School auditorium so that it can function better for both
school and community usage. While the outside of the facility was reno-
vated recently, there is much work that needs to be done on the inside, in-
cluding painting, new window coverings, roof repairs, stage floor
refinishing, and HVAC improvements. Technical systems (electrical,
sound, lighting, and the fly system) must be upgraded as well. More diffi-
cult challenges include improving the room's acoustics and adding an
282
Page 18
The wolf Organization, Inc.
orchestra pit; a feasibility study to address these issues should be consid-
ered. There is a small gallery on the mezzanine level that has been used for
student work and might be improved as part of the renovation. Accessibil-
ity issues need to be addressed, particularly for this upper level.
Outdoor amphitheatres are an important part of the cultural facilities in
Huntington Beach and renovating them should be a priority.
• The Amphitheatre in Central Park' needs to be upgraded and reno-
vated. The seating area xteeds to be re -graded and expanded with
stage, support, and technical facilities as well as upgraded electricity
for drama and musical performances. These improvements, as well as
program and audience development, seem a logical first step before
developing other performance areas in the Park.
• The large amphitheatre at Golden West College should be up-
graded, both in stage and support facilities as well as the seating ar-
eas. This alternative outdoor performance venue is currently usable
and could be significantly improved without extensive renovation. It
represents an excellent opportunity for partnership between the City
and the College.
• The Civic Center amphitheatre should be studied to determine
whether potential design solutions are cost-effective. The consultants
believe that the current limitations, due to such climatic factors as
wind and temperature, make the venue suitable at best only for eve-
ning presentations. Given the range of other options for outdoor,
programming, it does not appear a high priority to redesign this
space.
In general, other outdoor spaces play an important role in the City, given
its climate and the inclination of residents to spend time out of doors.
Therefore, attention should be paid to opportunities for upgrading the vis-
ual impact of parks and open spaces through public art elements, as well as
artist -designed amenities (such as park benches, fountains, murals,
4 The consultants note that plans for this facility and others in Central
Park are addressed in the Central Park masterplan. While that document
clearly has priority, they offer their perspective to provide context for
the complete discussion of cultural facilities.
Cultural Plan for Huntington Beach
Page 19
mosaics, and other components). In addition, landscaping and aesthetically
designed gardens should be considered.
There are several facilities concepts that might work well within the
downtown area, using renovated historic structures or new construction.
Among the most interesting are the following:
• A local history resource center would be an important adjunct to
the cultural scene in the City. It should be designed to house -the ar-
chives of the Historical Society, with additional space for admini-
strative offices, a resource room, and a small exhibition area for local
artifacts. This space should be run by the Historical Society and de-
signed to complement the Newland House Museum. The consult-
ants envision a small space — perhaps 2,000 to 2,500 square feet — in
a convenient downtown location and see this as a relatively low-cost
project. Thus, they are inclined to see it as a relatively high priority.
• The International Surfing Museum, already located downtown,
has plans for a state-of-the-art facility. While the consultants have
some concerns about the ambitious scope of this project, they sup-
port the concept of a museum focusing on this important aspect of
Huntington Beach's cultural history. If properly directed, it has the
potential to become an important regional attraction. Since the cur-
rent plans include some interesting commercial possibilities, careful
planning will be necessary to determine the most appropriate form,
if any, public support might take. It is not possible for the consult-
ants to assess the priority of this venture, since it will be dependent
on the board of the Museum being able to identify appropriate fund-
ing for the new facility.
• Shared, and affordable, "incubator" space for arts groups could
serve as a joint facility for offices, exhibitions, rehearsals, and other
uses. Creating such a cooperative facility is a common way for com-
munities to assist arts and cultural groups by providing a centralized
space that allows groups to share office equipment and, eventually.,
some staff functions. If this space were located downtown, it might
provide an additional, retail opportunity for a cooperative venture
that no arts group alone would be able to maintain. The consultants
feel that this space, while potentially very useful, should be a lower
Page 20
The Wolf Organization, Inc.
priority, awaiting the full development of the Art Center and the
Central Library and Cultural Center expansion in order to assess
their impact can the arts and cultural groups that might use them.
Many local artists spoke of the need for artists' spaces for living and
working in Huntington Beach. Since the cost of space in the City has been
a prohibitive factor for artists, any consideration of artists' spaces must al-
low for keeping costs low. There are several options for how these might
be developed:
• Lower cost space in industrial and/or business parks outside of the
downtown core. The advantage of this option is that it is the ap-
proach most likely to result in low cost space. In addition, there may
be ways for the City to provide incentives to developers or facility
managers that provide artists' spaces. Note that, aside from artists,
there is also a. base of small, "garage" industries that produce prod-
ucts for the youth culture market (for example, surfboards, skate-
boards, commercial graphics, and music). These "cultural
businesses" could be supported by this initiative as well. If the space
were located in vacant or under -used space in commercial and indus-
trial areas, it might be readily tied into the cultural corridors.
• Studio, office, and classroom space as part of the renovation at the
Huntington Center Mall. The advantage of this option is that it pro-
vides a partnership between the arts and business that is positive for
both parties.
• Adaptive reuse of an historic structure in the downtown area. The ad-
vantage of this approach is that it enhances the downtown retail mix
while providing more attractive space for artists.
Providing opportunities for artists to live and work in Huntington Beach
is important to the long-term growth of the City's cultural life. However,
in the context of other facilities needs, the consultants feel it is only a
moderate priority in the next two to four years.
Finally, in the discussion of Huntington Beach's "cultural identity,"' the
consultants describe the need for outdoor interpretive centers to address
several components of the City's history, notably the Bolsa Chica-
s The cultural corridor is discussed in recommendation II.B.2 on page 24.
6 Cf., recommendation II.B.1 on page 22.
285
Cultural Plan for Huntington Beach Page 21
wetlands and the Native American populations. These facility needs
should be considered as part of the overall mix.
Recommendation II.A.5:
A set of "guiding principles" should be developed to provide crite-
ria in determining the priority of new cultural facilities projects. In
addition, mechanisms should be established to assure coordination
of facilities planning.
Many people have expressed their personal opinions about what the pri-
orities for cultural facilities in the City should be. The consultants have
provided some guidance on priorities as well. However, a more rigorous
system is needed. In order to sort out the merits of particular projects, the
City should develop a set of guiding principles to inform any discussion
of facility construction or renovation. Among the criteria that should be
considered are the following:
• Extent of use: Adequate research must be done to assure that any fa-
cility that is built will be heavily used. For example, while many in-
terviewees indicated the desirability of a downtown black box
theatre (as discussed above), there is as yet no research on audience
interest to support building it.
• Specificity of use: Facilities should be appropriate for their intended
users. For example, the small audiences of developing arts groups can
be overwhelmed by a facility that is too large. Similarly, a stage that
is too small, an inappropriate acoustic environment, or inadequate
lighting can make a facility difficult to use for particular functions.
• Quality: Simply put, facilities that are designed and equipped with
concern for quality are necessary to create and present excellent art. -
Poor quality facilities defeat their own reasons for being — their in-
herent limitations do not allow for the presentation of high quality
art and entertainment.
• Economics: Facilities must be designed with an accurate understand-
ing of the costs involved and realistic plans for meeting these costs.
f This must include not only capital costs, but maintenance, operating,
and programming costs as well. In addition, the ability of arts and
cultural groups to pay for the use of _these spaces must be considered.
286
Page 22
The Wolf Organization, Inc.
These considerations should form the basis of a City-wide dialogue on es-
tablishing a policy for setting priorities among various cultural facilities
projects.
In addition, there are several other planning initiatives that have implica-
tions for cultural facilities. These include the Central Park'Masterplan
(which describes additional outdoor performing arts spaces) and the Beach
Masterplan (which mentions planning for arts and cultural programming
in the Pier Plaza area). The consultants have attempted to consider these
plans in developing their recommendations and it will be important to as-
sure that such coordination of planning efforts continues as these plans are
implemented.
B. Cultural Identity
Huntington Beach has a rich history and several distinct identities — "Surf
City" and "Oil City," among others. In a community that has changed so
profoundly over the past twenty years, it is important to develop, nourish,
and retain a sense of the community's history and cultural identity. The
consultants present the following recommendations to assist in that
process.
Recommendation II.BA:
Programs should be established to clarify and highlight the cultural
heritage and identities of Huntington Beach.
There are positive ways to bring a sense of the history of Huntington
Beach to residents and visitors alike. One way is through a program of
preservation and adaptive reuse of historic structures, particularly in the
downtown, and the consultants support such an initiative. However there
are other ways to accomplish this, including the following:
• An historic district in the Central Business District should be desig-
nated to provide public improvements to enhance the recognition
and visual identity of the cluster of historic structures in the down-
town area. The location of the historic district could be tied to the
initial development of the cultural corridor, discussed in recommen-
dation II.B.2 following. 4
287
Cultural Plan for Huntington Beach
Page 23
• Ways to promote such a district should be explored, including a bro-
chure jointly developed by the Historical Society and the Confer-
ence and Visitors Bureau, as well as self -guided walking tours and
special interpretive signage.
• The archives of the Historical Society should be housed in an acces-
sible location, perhaps downtown, as discussed in the recommenda-
tion above. The Historical Society and the City, working
collaboratively, could develop traveling exhibitions from those ar-
chives that would be exhibited at schools, malls, and other locations.
• The City's Channel 3 might be interested in developing a series of
programs each devoted to a different "theme" or "identity" for
Huntington Beach as a way to highlight the history of the
community.
• The proposed Bolsa Chica development should include a function-
ing interpretive center to educate residents regarding the impact of
the environment on the City. In addition, there should be a closer
working relationship between such groups as Amigos de Bolsa
Chica and the Cultural Services Division.
• An interpretive center that provides background information and
anthropological and historical details on the impact of local Native
American peoples on the development of the City and the region
should be developed at an appropriate location.
• Finally, the consultants note that in recommendation II.B.5 on page
29 below, there is a discussion of the need for an historic resources
and preservation plan. Such a process would augment the existing
historic element and provide a wealth of detail about existing historic
resources and programs and would also establish priorities for future
activities.
Page 24
The wolf Organization, Inc.
Recommendation II.B.2:
A plan for a phased -in "cultural corridor" — including the area
surrounding Golden West College running to Central Park and in-
cluding Main Street to the Pier — should be developed.
In many communities across the country, the arts are being used to assist
in the revitalization of core areas, particularly downtowns. The arts have
been shown to be an effective "economic engine" to assist in fueling the
redevelopment of these significant elements of the urban environment.
Many individuals interviewed for this project agreed with this assessment
and were eager to develop a "cultural district" in Huntington Beach. In-
deed, this idea has been under active consideration within the Community
Services Department for quite a while.
The consultants agree that the concept of a cultural district is an important
one for consideration in the City. They note, however, that the notion will
work better in Orange County if it is considered a "corridor" (as sug-
gested by the Cultural Masterplan Task Force), rather than a district. In-
deed, there are cultural assets in several locations in the City (for example,
downtown, in and near Central Park, and at Golden West College) and it
will be easier to define these areas as "nodes" in a cultural corridor or
"network." This is based on the southern California reality that most
people will drive, rather than walk, between or among these distinct areas.
A cultural corridor might be defined to include the cultural resources of
the areas mentioned above. The consultants believe that the corridor might
be phased in over several years, with priority being given to identifying
the downtown component initially. The downtown has the strongest
commercial base upon which to build, and since one key purpose of a cul-
tural district is to create a distinct, marketable identity for an area to in-
crease awareness of its cultural amenities and thus increase retail traffic,
downtown is an obvious choice. It has also been suggested that the area
around Golden West College and the Huntington Mall might be pro-
moted simultaneously with the downtown.
As part of a strategy to broaden the mix of retail in this area, the City
might offer incentives to cultural and entertainment retail businesses as a
Cultural Plan for Huntington Beach Page 25
component of future requests for development proposals. In addition, the
City's Business Development Division, devoted to retaining and expand-
ing the City's base of retail and industry, might assist. It may also be pos-
sible for the City to identify commercial rehabilitation loan funds for
cultural uses (for example, for the adaptive reuse of the old police head-
quarters building, perhaps as space for Arts Associates or the Art League
for administrative offices and exhibition facilities).
Once this initial phase of such a cultural corridor has been implemented, a
second phase would serve to extend the marketing identity of the corridor
beyond the downtown. Among the ways that this might be accomplished
are the following:
• A marketing campaign that promoted the full range of cultural assets
in the corridor could be designed, with brochures and other promo-
tional materials distributed widely.
• A uniform visual identity for the corridor could be developed inex-.
pensively through the use of banners on light poles.
• kiosks located in key locations in the downtown could provide in-
formation about activities occurring at other nodes of the corridor.
• A "cultural shuttle bus" might be developed for weekends and other
likely high -usage times, to provide regular transportation among the
nodes along the corridor.
• Potential sites could be identified for a network of City -sponsored
public artworks (temporary and/or permanent) along the corridor.
• Joint programming might be designed between, for example, the Art
Center and Golden West College to promote both venues as impor-
tant cultural resources.
The consultants note that developing the concept for a cultural corridor is
a complex planning project that will require coordination among many
different groups, both public and private. Because of that it is important
that a detailed and thoughtful planning initiative be undertaken as soon as
possible to determine priorities, phasing, and the feasibility of alternative
implementation strategies.
290
Page 26
The Wolf Organization, Inc.
Recommendation II.B.3:
The Conference and Visitors Bureau's Urban Design and Public
Art Committee should be reconstituted a City entity responsible
for the public art program. In addition, the City should consider
restructuring the Design Review Board.
Urban design and the visual appeal of Huntington Beach have been identi-
fied as key concerns by many City residents. Indeed, as noted in Part I of
this report, the City has made these matters a priority concern. However,
the one entity in the community that has direct responsibility for matters
relating to urban design — the Design Review Board — is not currently
constituted to serve as the overall responsible advisory body for larger is-
sues of civic aesthetics.
Members of the Design Review Board are appointed by the City Council
and it is important that this body be enlarged and criteria for qualifica-
tions, composition, and representation be reviewed. The criteria should in-
sure greater representation from the community: at the current time, there
is only one community representative. Such criteria would insure that in-
dividuals chosen to serve would have a background in matters of urban
design and aesthetics and guarantee that these issues are weighed along
with the other important considerations of this body. Meetings should be
scheduled at times when residents are better able to attend and one mem-
ber of the Urban Design and Public Art Committee should serve as a vot-
ing member of the Design Review Board.
In addition, the Urban Design and Public Art Committee, established by
the Conference and Visitors Bureau, should be reconstituted as a City en-
tity. This group has been working on models for a public art program in
Huntington Beach and has done a diligent and effective job. Its mission
statement is appropriate to its task — "to encourage improved urban de-
sign and promote public art projects for the purpose of enhancing the im-
age of the City, fostering a sense of well-being and aesthetic sense of place,
and improving the quality of life for the residents of Huntington Beach."
However, if the City's public art program is to expand beyond its current
ad hoc arrangement', it is critical that this body have the standing that
The following recommendation, II.BA, goes into detail about this.
291
Cultural Plan for Huntington Beach Page 27
accrues to a body within City government. The structure of this new pub-
lic art advisory body must allow for easy interaction and collaboration
with the Cultural Services Division.
Recommendation II.BA
The existing ad hoc public art program should be formalized into
programs for public and private sector development.
Many communities use art in public places to enhance the -'urban environ-
ment and quality of life and to provide more humane landscapes through
sensitive urban design. Such programs are common in Southern Cal for-
nia. The Allied Arts Board identified the need for such a program as early
as 1985. While a percent for art ordinance was proposed in 1989, it was not
passed by City Council; instead an ad hoc program of site -specific art pro-
jects has been implemented. The consultants agree that a City-wide public
art program would be a significant benefit to Huntington Beach. And,
while some public art projects have been done in the City, it is now time
to formalize the arrangements.
A public art program in Huntington Beach should have several compo-
nents. Most important, there should be a public component that is based
on the standard one percent of all CIP development costs. Such a program
of on -site public artwork can include such elements as integrated art-
works, e.g., tile works, street furniture, etc. If a capital improvement pro-
ject is inappropriate for on -site work, -the percent for art funds should be
pooled and held by the City to be reprogrammed for another public space.
The emphasis should be on developing a collection of diverse and high
quality works that reflect residents' appreciation of art and the City's aspi-
rations to use art to improve the quality of life in all areas of the City. The
program should reflect a broad range of community input as well as in-
volvement by professional artists. In addition, incorporating artists into
the design team for all public construction projects would be beneficial.
Another component for a public art program addresses the private sector.
This. program should involve voluntary participation by private develop-
ers, negotiated in the development agreement with the City. The UJrban
Design and Public Art Committee has researched program models in this
area. Developers could address this commitment through a wide range of
292
Page 28
The Wolf Organization, Inc.
cultural amenities, including such things as artwork, facilities, cultural
services, and programs (which might include performing as well as visual
arts opportunities) designed in partnership with local arts and cultural
organizations.
Although this private sector program is envisioned as voluntary, there
must still be standardized guidelines to address project selection, approval
procedures, and other important matters. The consultants believe that
such a voluntary program is in the interests of the City and the private
sector. It is a way for developers to show a commitment to the community
at the same time as they are -adding an appreciable asset to their property.
They are also able to improve the standard of design — an important com-
munity benefit — by including artists on the design team early in the de-
velopment process. In the long term, after assessing the effectiveness of the
voluntary program, the potential for a mandatory program should be
explored.
The final component of a public art program involves non-traditional
sponsors other than private developers or the City. For example, non-
profit community organizations or neighborhood resident associations
might work in partnership with arts and cultural organizations or directly
with artists. As a team they might identify potential sites for projects in
the neighborhood such as local parks. Or, alternatively, temporary instal-
lations might be developed through commercial and merchants associa-
tions, coordinated by the City as a way to complement City festivals.
It will be important to lay the groundwork for this program slowly and .
carefully. Developing the public art ordinance — one that mandates a pub-
lic sector program and outlines the voluntary private sector program —
will require the active involvement of both the Cultural Services Division
and the Urban Design and Public Art Committee. The process of educat-
ing the general public, elected officials, City staff, and developers to the
benefits of this program must continue.
In order to continue to move this project forward and to resolve the many
outstanding issues, a consultant who specializes in public art should be en-
gaged. The consultant should assist in defining the structure of the Public
An committee, writing an ordinance for the public component, and other
matters. Even before an ordinance is written and approved, it will be
293
Cultural Plan for Huntington Beach Page 29
necessary to develop a comprehensive public art plan to address a wide
range of issues for this complex program, including matters such as oper-
ating guidelines, procedures, funding mechanisms, etc.
In addition, it should be noted that there are several capital projects cur-
rently in the advanced planning stages, in some cases with working draw-
ings near completion, and it will be important to make sure that public art
project planning — with active artist involvement — be implemented as
soon as possible. Among the projects that should be considered are:
• the beach projects, in particular Pier Plaza and the project north and
south of the pier
• the completion of Celebration Plaza in the area surrounding the new
Art Center
• public improvements along major traffic corridors.
Recommendation II.B.S:
An historic resources and preservation plan should be developed to
augment the historic element in the City's General Plan.
There is an historic element proposed as part of the revision to the City 's
General Plan and it is a start at addressing the many issues and problems in
that area. However, while the element is a good starting point, there are
many considerations with which it does not deal. And while this cultural
planning document can address issues of historic resources and preserva-
tion issues in ageneral way, it is beyond its scope to consider the full
range of those issues.
There is a need for a comprehensive historic plan that provides an inven-
tory of historic resources and guidelines for consistent policies on local
landmark designation and proposes incentives to support adaptive reuse of
historic structures. In particular, there need to be regulatory requirements
to address the broader issues of historic preservation and landmarks,
specifically:
• an historic preservation ordinance
• guidelines for infill development, rehabilitation, demolition, and al-
teration to the historic fabric
994 OW
Page 30
The Wolf Organization, Inc.
• incentives for rehabilitation and adaptive reuse
• adoption of the Secretary of the Interior's standards for
rehabilitation
• creation of a survey, nomination, and landmark designation process
• adoption of the State historical building code
• designation of the Historic Resources Board, Planning Commission
or the City Council as the body to approve all of the above.
While there are many ways to develop such a document, the priority
should be on conducting the evaluation and planning components as
quickly as possible. This would allow the planning effort for historic pres-
ervation to coordinate with the General Plan revision, as well as this cul-
tural masterplan process, as much as possible.
Recommendation II.B.6:
Opportunities to enhance the cultural components of existing com-
munity events and promotions should be explored. In addition,
events with a single focus on arts and culture should be considered.
There are many events that occur in Huntington Beach, ranging from
community events, of interest primarily to residents, to major sporting ac-
tivities that draw audiences from well beyond the borders of the City.
These events offer opportunities for increased exposure for arts and cul-
tural activities to these various audiences. Among the events that might
benefit from enhanced cultural components are the following:
• Existing community events and attractions — including the
Equestrian Event and the Cruise of Lights, which are primarily
fund-raising activities for arts and culture — might have mini -
performances or other opportunities to enhance the experience for
attenders.
• Major sporting events — such as the OP Pro and the US Open of
Surfing, which reach huge national and international audiences of all
ages via electronic media — might add juried outdoor art exhibitions
on particular sports -related or youth -oriented themes.
• Community celebrations — such as the July 4th Celebration or
Pierfest, which already have arts elements — might develop ways to
2915
Cultural Plan for Huntington Beach Page 31
encourage additional arts involvement, for example, through artists'
floats, with sponsors or prizes.
These activities represent potential "markets" for arts and culture and it
will benefit the arts to draw the attention of these audiences to their activi-
ties. While the range of artistic expression at these events can and should
be quite broad, it is will be important to assure that the quality of activities
be high and that they are positioned to fit into the existing mix of offerings
in place in the City. In addition, participation in "cross -promotions"
should be considered. For example, a display to promote the cultural com-
ponent of a community celebration might be mounted at the Huntington
Center Mall, as a way to provide a value-added element for the mall and to
promote arts groups.
It is also important to consider.developing new events that have a sole fo-
cus on arts and culture. One concept that has been discussed among arts
supporters is an "Evening of the Arts," that highlights a wide range of arts
and cultural activities in a variety of locations throughout the City. This
might include cultural facilities and outdoor locations. Another notion is
to develop a weekend event with activities scheduled from Golden West
College to the Pier. The advantage of such events is that they can highlight
a complete range of high quality cultural activities at appropriate venues to
show the work to greatest advantage. While it may be more time-
consuming to develop the audience for these events (since they must be
developed "from scratch"), the consultants think it is worth the effort.
. C. Communication
Recommendation II.CA:
Strategies to enhance networking within the arts community, and
between arts groups and the general public, should be developed.
One of the most common remarks among artists and representatives of
arts groups was the lack of a ready means of communication within the
arts community. In addition, many residents who were not strongly con-
nected to the arts were often almost completely unaware of activities,
events, and issues in the arts. It will be important to develop mechanisms
2se
u
Page 32
The Wolf Organization, Inc.
to address this need for better communication to allow for more effective
sharing of information among artists and groups and to create opportuni-
ties to share and learn from each other. These mechanisms are also neces-
sary to inform the wider public of cultural activities and important
concerns in the arts community.
Note that the consultants have recommended some information systems
for arts groups' and those are considerably more formal and sophisticated
undertakings. What is being proposed here are informal mechanisms to
bring people together. Many artists express feelings of isolation and of the
importance of having places for artists to get together. These gatherings
can foster a stronger arts community, even if they are only scheduled once
or twice a month.
Other communities have found that such gatherings have a positive impact
on the, cultural community and much information sharing occurs through
these informal "networking" opportunities. In Pittsburgh, for example,
the local arts agency sponsors a monthly "Arts Happy Hour," where art-
ists and volunteers from arts groups are notified of the location of an in-
formal get-together from 5 to 7 p.m. In Portland, Oregon, artists and
administrators gather at a different gallery on the third Thursday of each
month for informal meetings, panel discussions, and other programs.
However, while this networking is informal, it does require a formal "con-
venor" to make sure that all interested parties know the schedule, espe-
cially during the first six months or so. As the Art Center becomes
operational, it is planned that it will provide a central location for artists to
gather and the Cultural Services Division might facilitate these informal
meetings of artists and representatives of arts groups. (Indeed, the opening
of a highly visible arts -oriented facility may go a long way to addressing
this need.) Such sessions would likely be self-sustaining without much
work by staff once the initial set-up was completed.
Additional opportunities for communication between arts groups and the
general public are also important. The best strategy is to start with those in
the general public who have the closest connection to arts and culture —
audiences. Cultural groups should establish programs of informal pre -
performance lectures or after -performance open houses as a way to
8 Cf., recommendation II.A.1 on page 10
297
Cultural Plan for Huntington Beach Page 33
educate and inform their audiences. Such programs can be designed to
build a sense of community with audiences.
Once these programs are well -accepted, cultural groups can -begin to es-
tablish communication with those who are less connected with the arts,
perhaps through open lectures and mini -performances as well as presenta-
tions at civic clubs and neighborhood associations. The focus of these ac-
tivities should be to provide a brief "taste" of the art form, with informal
interactions between the artists and the public accounting for the bulk of
the presentation. Another option that should be explored is working with
the local print media to have columns written by artists that appear on a
regular basis.
While it will be important to conduct more formal outreach and awareness
campaigns about the value of arts and culture in the everyday lives of all
residents (as discussed in the following recommendation), the activities de-
scribed here are easy, inexpensive first steps that can set the stage for the
other campaigns.
Recommendation II.C.2:
A campaign should be undertaken to raise the community's aware-
ness of the full range of arts, history, and culture available in Hunt-
ington Beach.
The consultants found that, depending on the definition of "arts and cul-
ture, support for such activities in Huntington Beach varies widely.
Among non -arts attenders or supporters in particular, the more inclusive
the definition, the consultants found, the greater the likelihood for sup-
port. Thus, in order to build the most potent coalition for arts and culture,
it will be necessary to portray the arts as playing a role in everyone's life.
For example, a campaign to raise the awareness of the arts would empha-
size that the arts can provide enjoyment and enrichment, and at the same
time they also can offer positive experiences to enhance the well-being of
the community and address such key social issues as education and public
safety.
Among the types of activities that might be considered as part of an aware-
ness campaign are the following:
298
Page 34
The wolf Organization, Inc.
• convening quarterly meetings of civic and business leaders with re-
gional, state, and national arts administrators and artists to discuss
such topics as the impact of cultural activities on the local economy,
innovative partnerships between the arts and developers, or how cul-
tural groups can assist in business relocation efforts
• developing more joint promotional materials including brochures
that feature a wide range of cultural organizations, activities, and
events, and distributing these to both residents and visitors
• using the media production resources of the City's Channel 3 and
Golden West College to produce innovative pieces that promote
arts, history, and culture within the context of Huntington Beach's
other assets
• strengthening the relationship between cultural groups and various
civic and neighborhood organizations by encouraging cultural pro-
grams at their meetings and developing opportunities for joint spon-
sorship of events that highlight local arts and cultural groups.
In general, the goal of all these activities is to create a positive image of arts
and culture in the City — that arts and cultural groups are an integral part
of the community; that they are open and accessible; that they provide di-
verse and stimulating programming. Perhaps most important, the arts
must be positioned as part of a broad coalition that supports the "quality
of life" in Huntington Beach. Such a coalition is a recognition that com-
munity services like the arts, culture, parks, recreation, library, education,
and others have an overlapping agenda in the community. Mechanisms
.that provide for better communication and coordination among these vari-
ous interests would be beneficial. In the context of this report, better coor-
dination between the Department of Library Services and Cultural
Services Division would be a high priority.
Increasing the visibility of the arts may also increase the amount of media
coverage, which is generally a positive outcome. However, in such situa-
tions there is always the potential for controversy and training in how to
approach the media and how to manage controversy might be considered
as part of developing this campaign. Finally, note that the purpose of this
campaign is not to raise the visibility of Cultural Services Division. The
Division would be actively involved in this campaign, but it would be
299
Cultural Plan for Huntington Beach Page 35
promoting the entire cultural community and that must be made clear
throughout.
Recommendation II.C.1
Programs of outreach to new constituencies for arts and culture
should be developed.
According to many interviewees, most of the support for arts and culture
has come from a relatively narrow spectrum of Huntington Beach resi-
dents. Much of the thrust of this plan involves recognizing the necessity to
reach new constituencies, both to broaden the programming offered and
to identify new sources of financial and political support for the full range
of cultural activities.. The timing of the opening of the Art Center, along
with its initial planning efforts, suggests that many outreach activities are
likely to occur within the context of its programming. The consultants are
confident that the Art Center staff has addressed outreach.
According to some interviewees, some of the constituencies in Huntington
Beach that have not taken an active role in arts and culture include the
following:
• families with young children
• residents of tract housing developments
• youth
• people of color.
All of these groups tend not to relate to the downtown area, and that may
account in part for their lack of involvement. In order to reach these
groups there must be a shift in attitude by arts groups. Arts groups must
make an active effort to target these new audiences and to design programs
with them. This might mean working with community groups to hear
residents' ideas for programming; it might mean developing special bilin-
gual programming, or designing ways to celebrate ethnic diversity. While
arts groups in Huntington Beach have been successful in serving their ex-
isting audiences, they are increasingly likely to need to target these new
groups. Among the important considerations are the following:
300
Page 36 The Wolf Organization, Inc.
• One way to reach families with young children is through extracur-
ricular programs in schools and arts groups should consider ways in.
which they might participate in such programming. For example,
artist -in -residence programs might be designed to place artists in
schools, parks, the Boys and Girls Clubs, YMCA, at the beach, or in
malls.
• Partnership opportunities should be explored for arts groups to
work with neighborhood groups, particularly in ethnically diverse
areas, to provide exposure to visual and performing arts and to offer
training in traditional arts and crafts.
• Programs for youth that are designed and managed by young people
might be developed in various neighborhoods, using neighborhood
community centers in local parks as sites (as well as the new Art
Center and public schools). In addition, a project to create a network
of arts activities and events by middle and high school students
might be developed. It might include City-wide availability of pro-
grams with a variety of possible components, including drama, mu-
rals, and art designed for specific community festivals.
• In addition, the "Vital Link," a business mentoring and skills devel-
opment and training program for at -risk youth, might serve as a
model for arts -based businesses in concert with the Chamber of
Commerce
• A community -wide, high quality Children and Youth Art Festival
might be established to highlight the artwork of young people and
the role the arts can play in their education. Such an event might be
jointly produced by the Parks and Recreation Division, the Depart-
ment of Library Services, and the Cultural Services Division, work-
ing with private business supporters. It might include exhibits of
children's art in downtown storefronts, as well as weekend programs
that provide opportunities for young people to participate in master -
classes, as well as performing and exhibiting their own work.
Recommendation II.CA:
A private -sector umbrella group of leadership supporters of arts,
history, and culture in. Huntington Beach should be established.
As mentioned earlier in this report, the consultants were struck by how
often issues relating to communicating the value and importance of arts
301
Cultural Plan for Huntington Beach Page 37
and culture arose in Huntington Beach. It will be critically important to
build a coalition in support of arts and culture that is considerably broader
than those assembled in the past.
For this reason, a new, formal group should be established to take a lead-
ership role in communicating about arts and culture in the City. This
"Cultural Partnership" group would include community -wide representa-
tion of arts, history, and cultural groups, as well as civic and business lead-
ers. The consultants strongly recommend including a significant
representation from the membership of the Cultural Masterplan Task
Force, since these knowledgeable individuals have spent a great deal of
time in the past months considering questions relating to arts and culture.
The consultants have tried to limit the number of new groups and com-
mittees whenever possible, understanding that creating such structures can
often complicate matters. In this case, however, they believe that it is nec-
essary to create a private sector body to educate about and- advocate for art
and culture in Huntington Beach. Among the activities in which the Cul-
tural Partnership group might become involved are the following:
• providing a forum to address key issues and concerns relating to arts
and culture, as part of the on -going implementation of the cultural
plan
• developing mechanisms to bring together a wide range of supporters
of "quality of life" concerns. to develop an effective coalition to en-
hance the role of arts and culture-
• serving as an informal facilitator to bring together potential partners
to explore options. for joint projects
• overseeing arts marketing programs to educate business and civic
..leaders on the economic value of the arts'
• coordinating and leading the advocacy efforts on behalf of a wide
range of arts -related issues, including arts programming and funding,
both public and private.
In a later section of this report, the consultants discuss an expanded role
for the Allied Arts Board, the body that serves as an advisory group to the
City Council. There are necessary limitations on that public group's abil-
ity to function and that is part of the reason for establishing this new
Cf., recommendation II.C.2 on page 33.
3��
Page 38 The wolf Organization, Inc.
group10. What is most important is that; this new body, representing a
cross-section of Huntington 11each's civic and neighborhood leadership,
become a strong voice in support of arts, historic, and cultural concerns
throughout the community.
D. Arts in Education
According to interviews conducted by the consultants, the quality of arts
education in Huntington Beach depends in large measure on the particular
district and school that a child attends. In part because there are four
school districts in the City.— Huntington Beach City, Fountain Valley,
and Ocean View, all of which feed into the Huntington Beach Union
High School District — many interviewees commented that the range and
quality of offerings varies quite a lot. It is difficult to summarize the offer-
ings of the various school districts in the City. However, the following is
offered as a general summary:
• Elementary and middle schools rely on classroom teachers to use the
arts as a teaching tool, integrated into the curriculum.
• Middle schools have arts specialists in visual arts and music (band
and choir) and instructors are shared within districts.
• All four high schools have basic instruction in some of the perform-
ing arts (generally, some combination of choir, band, drama, and
dance) with faculty shared among them. The visual arts have pro-
grams at each school and there are two visual arts specialists in each
of the four high schools.
• The School for Performing Arts at the Huntington Beach High
School was established to provide advanced performing arts classes
and ensembles at the high school level. It offers a wide array of arts
experiences to students city-wide.
10 There is a discussion of expanded roles for other community -wide arts
and culture fund-raising or programming groups in recommendation
IV.3 on page 58.
303
Cultural Plan for Huntington Beach Page 39
Recommendation II.D.l:
Huntington Beach's four school districts should increase their sup-
port of arts education.
The public schools in Huntington Beach have cut back programming in
arts education in order to address their severe budget problems. This is of
grave concern to the consultants. The issue of access to arts training and
appreciation courses is an important one. Study after study has shown that
the arts are a valuable tool to enhance learning in the classroom, both by
providing pathways to success for students who do not excel in more tra-
ditional academic pursuits and by adding an interesting and exciting di-
mension to learning in a variety of other subject areas. They also have been
shown to improve school attendance in certain situations and to enhance
the self-esteem of students, particularly "youth at risk."
In this section, the consultants propose several mechanisms to enhance
arts education, in part by using the resources of arts groups. It is impor-
tant to note, however, that, while additional assistance from arts and cul-
tural groups is important, the primary commitment for providing valuable
educational experiences in the arts lies with the school districts themselves.
The consultants acknowledge that the school districts are in a difficult
budgetary situation and realize that increases in financial commitment to
arts education are not likely in the short run. However, they are convinced
that there are ways that the districts can make arts education a higher pri-
ority than it presently is, even without a substantial infusion of additional
funds. Such efforts will be rewarded many times over in the valuable expe-
riences offered to the community's children.
Recommendation II.D.2:
A City-wide, multi -district "Arts Education Planning Group"
should be established.
Many communities have discovered that the best way to begin
community -wide planning and advocacy for arts education is to organize
educators, school and district administrators, parents, and community
leaders into a formal working group. Such a group, without a great deal of
304
Page 40
The wolf Organization, Inc.
support and infrastructure, can provide a mechanism for communication
and coordination of advocacy and planning in support of arts education.
Initially, the support network for this group might be built on PTA/PTO
membership, as well as using the booster clubs of various school perform-
ing arts activities.
Such a group could not only encourage an increased focus on arts and cul-
tural education and arts programming for young people, but it could begin
to develop a long-term plan for arts education, both in school and out.
Such a group could also develop an advocacy strategy to promote the arts
as an important part of the education of every child, citing national studies
on how the arts promote basic learning skills and self-esteem. The Allied
Arts Board already has an ad hoc committee on arts education, and that
body should be incorporated into this new group. In general, the member-
ship should include parents, arts educators, students, school administra-
tors, community representatives, and civic leaders.
Among the issues that this group might address, aside from fostering a
higher priority for arts in education in all four districts, are the following:
• approaches to the coordination of planning and advocacy for a se-
quential curriculum that is consistent among all four school districts
• mechanisms to foster communication between and among the dis-
tricts to raise awareness of what is available for students and to de-
velop policies to address inequities that result from an arts education
program that is reliant on the talents of specific teachers in a given
school and on the volunteers available.
In addition, representatives of all the school districts described the need
for better information on available arts education resources. The Planning
Group might work with the Cultural Services Division to identify funding
sources to cover the costs of compiling an arts education resource direc-
tory that would be distributed to all schools. In the process, existing re-
sources, and those that are missing, would be identified, thus providing a
basis for future advocacy and planning efforts.
305
Cultural Plan for Huntington Beach
Page 41
Recommendation II.D.3:
Opportunities to strengthen and coordinate arts, cultural, and his-
toric groups' participation in school programming should be
developed.
Arts and cultural groups in Huntington Beach have played an important
role in providing educational opportunities for school children. Among
the activities that have been provided, for example, are the following:
• The Huntington Harbour Philharmonic Committee, in addition to
raising money for the Orange County Performing Arts Center, co-
ordinates field trips to the Center for a variety of tours and perform-
ances. They also bring ensembles into the schools for assemblies that
can include performances and demonstrations of instruments. They
sponsor the "Music Mobile," which travels to elementary schools to
introduce third graders to musical instruments.
• The Newland House Museum offers tours of its facility to schools,
primarily third and fourth graders who are studying local and Cali-
fornia history. In addition, the Historical Society has a visiting histo-
rian program in the schools. The Society attempted to develop a
training program for history teachers but the school districts were
unable to provide substitute teachers so the classroom teachers were
not able to attend.
• The Japan America Society has developed a cultural program for
schools building on the sister city program. Working with profes-
signal designers, a puppet presentation has been developed based on
Japanese folk tales.
While these efforts and others have been an important adjunct to the pub-
lic schools' arts education offerings, it will be increasingly important to
develop mechanisms to coordinate these activities and to work with other
arts, history, and cultural groups to increase participation. In addition,
there are several other areas where work needs to be done. For example:
30r
Page 42 The Wolf Organization, Inc.
• The annual county -wide showcase of arts education programs is at-
tended by representatives of some PTA/PTOs who select programs
they will sponsor at their schools. There is no coordination with
schools to relate arts programs to curriculum. Perhaps more impor-
tant, there is no quality control for the programs at the showcase.
While the showcase is county -wide, a mechanism is needed to assure
more equitable access to this resource, as well as to assure that the
arts experiences are of high quality.
• Currently there is no one coordinating or fostering long-term rela-
tionships between professional artists and the public schools. In the
elementary schools, for example, programs are either "enrichment"
assemblies or field trips, or are provided by classroom teachers. Pro-
fessional artists should be brought into the curriculum planning
process for arts education:
Addressing these issues will require coordination. Discussions on strate-
gies for addressing these concerns must be a high priority of that body. It
might be helpful to establish a sub -committee with membership including
PTA/PTO volunteers, school administrators, arts educators, and others to
provide the necessary community -wide focus.
It should be noted that the new Art Center will have an "Arts Education
Coordinator" as part of its staff who will be responsible for developing
and implementing education programs for the Art Center. While it is pos-
sible that some of this person's time might be available to coordinate
• strategies to address these issues, it is unlikely that the time commitment
could be extensive. Thus, it will be necessary to continue to rely on volun-
teers in the short term.
Recommendation II.D.4:
Opportunities to enhance the range and scope of arts educational
programming offered by the City should be developed.
While the primary responsibility for providing arts education experiences
for children lies with the public schools, there are other ways to provide
additional such experiences for children and older residents. Aside from
the activities of the Cultural Services Division (including the soon -to -open
307
Cultural Plan for Huntington Beach
Page 43
Art Center), the City has several programs that have an impact — and
might have a greater impact — on arts and cultural education. They in-
clude the following:
• The City's Channel 3 already offers one talk show about the arts
and there is much more that might be done. For example:
- The station might assist arts and cultural groups in developing
programming (the Historical Society has expressed interest in de-
veloping programs.on local architecture and history).
- The Art Center might create a series of short promotional pieces
that could be used on a variety of outlets to highlight its exhibi-
tion and special event schedule.
- A bi-weekly or monthly calendar of arts and cultural events
(from information gathered by the Cultural Services Division)
might be provided on a scheduled basis.
- The performances of local groups (for example, the -Huntington
Beach Playhouse or the Concert Band) might be taped for broad-
cast on Channel 3 and other cable outlets.
- Special features might be developed that highlight particular cul-
tural attractions, such as the International Surfing Museum, local
artists, or particular aspects of special events, such as the 4th of
July floatmakers or Cruise of Lights decorators.
In addition, Golden West College has close ties to Channel 50,
which is housed on its campus. With its extensive student television
and video programs, this might offer a potential for enhanced part-
nership with the City.
• The Parks and Recreation Division offers an extensive class pro-
gram in parks throughout the City, although there are relatively few
classes in visual and performing arts. Few if any classes are offered
for teens and adults, and classes for children include some crafts and
dance. Facilities and qualified instructors appear to be the major lim-
iting factor. In addition to needing more fine arts classes and inter-
mediate and advanced level courses in arts disciplines, it would also
be valuable to have artist residencies in community centers and other
facilities throughout the City. The Art Center's education program
will address some of these gaps in programming.
308
Page 44 The Wolf Organization, Inc.
• The Central Library and Cultural Center offers a range of cultural
programs, including an "Authors Day" that sends authors into the
schools to make presentations to students, as well as a carnival to
kick off the "summer reading season." There is a new children's
wing, but, according to some interviewees, because of budgetary
constraints, the amount of cultural programming is limited. Concern
has been expressed by some representatives of arts and cultural
groups that the rental fees for using this space will prove prohibitive.
In order to assure that this space provides arts educational opportu-
nities, a priority of the Arts Education Planning Group should be to
work with the Department of Library Services to develop a strategy
to provide such programming in a cost-effective manner in the
facility.
Recommendation II.DS:
The Arts Education Planning Group should consider options for
equitably providing a full range of performing and visual arts edu-
cational programming to school children.
Because of the music education programming of the Huntington Harbour
Philharmonic Committee, and the fund raising it does to support those
programs, the City's students have access to a range of musical experi-
ences. But, while activities in this discipline are provided on a consistent
basis, others (in particular, drama and the visual arts) are not, unless they
are offered by particular teachers or parents. It is important to design an
approach that eliminates the inequities of this arrangement.
The consultants recognize that this problem will be addressed, at least in
part, through the programming that will be coming on-line at the Art
Center in the coming months. With the mix of programs provided by the
Philharmonic Guild and the new Art. Center, this situation is likely to im-
prove in the next year or two. However, it will not be fully addressed.
The Arts Education Planning Group should begin to develop strategies
that will provide a more comprehensive and equitable solution. There are
several options for the future that can be considered.
309
Cultural Plan for Huntington Beach Page 45
• The activities might be split between two groups. The Philharmonic
Committee might alter its structure to undertake school program-
ming more broadly in the performing arts (including non-musical
activities); the Art Center might establish an Education Guild, in ad-
dition to the two guilds it has begun for hospitality and docents, to
undertake more active school programming in the visual arts.
• A completely new organization might be established to take respon-
sibility for developing partnerships with arts and cultural groups to
coordinate and oversee school programming in all arts disciplines.
Either of these options will create the opportunity for access to arts educa-
tion programming for all children. However, the consultants concede that
each of these options will be difficult — either requiring substantial shifts
in the mission and activities of established groups or creating new entities
— and neither of them is ideal. However, there is time available to develop
a solution and, depending on the direction the programs at the Art Center
take, other options may emerge.
310
Page 46 The Wolf Organization, Inc.
Part Ill
Role of the Cultural Services
Division
Throughout this report, the consultants have made recommendations to
enhance the cultural life of Huntington Beach over the next five years.
Many of these recommendations require oversight, coordination, or other
assistance to be accomplished and the Cultural Services Division is the
logical candidate to provide this. The Division has been in existence for
about eight years and has, according to many interviewees, contributed to
a substantial improvement in the cultural climate of the City. In this sec-
tion of the report, the consultants provide recommendations on the struc-
ture of the Cultural Services Division and other related bodies to allow for
the best possible implementation of this plan.
Recommendation IIIJ:
The Cultural Services Division should be designated by ordinance
as the City's local arts agency.
A "local arts agency" is officially designated by local government to ad-
dress arts and cultural activities for the community. "Typically local arts
agencies get involved in a wide range of activities, among the most impor-
tant of which are the following:
Such a designation, standard in the field, is not intended to suggest a lack
of emphasis on historic preservation and cultural heritage issues.
311
Cultural Plan for Huntington Beach
Page 47
• provide marketing programs in support of the complete range of arts
and cultural activities of the community
• develop directories and information services for artists and arts
groups
• facilitate programming partnerships between and among arts groups,
the business community, and others
• make recommendations to City departments on matters relating to
arts, historic preservation, and culture
• provide assistance to public schools in developing arts education
programs
• regrant public funds to local arts groups and artists to help support
arts programs of high quality for residents
• manage community -wide programs for such things as public art,
community arts education, event presentation, etc.
The Cultural Services Division is not currently designated as the City's lo-
cal arts agency and as a result, it is not eligible for significant funding avail-
able through state and Federal sources to such agencies. The Division is
responsible for an impressive array of activities, including oversight of
construction and program development for the new Art Center, oversee-
ing historic and cultural programs in the community, and much more. At
the present time, its primary roles are that of manager of many of the
City's existing arts programs and presenter of visual arts activities. There
are, however, other components to what Cultural Services Division does,
including:
• serving as a "catalyst" to assist local arts groups in promotion, locat-
ing space, raising funds, etc.
• actively fund raising for cultural projects (this currently takes a sub-
stantial amount of staff time because of the commitment to the Art
Center)
• capital project oversight, including the design and construction of
the Art Center.
The consultants have been impressed with the range, depth, and quality of
the activity of the Division, and they believe that it is critical that the Divi-
sion be designated as the official arts agency for Huntington Beach. In-
deed, the implementation of this plan depends in part on such designation.
31�
Page 48 The wolf Organization, Inc.
With the likely increase in cultural activities resulting from this planning
process, the Cultural Services Division will need to shift its emphasis
somewhat in order to more effectively handle the range of responsibilities
that it will ultimately have12. Over the course of the next five years, the Di-
vision should shift its emphasis away from additional program manage-
ment responsibilities and toward more of a community facilitator,
oversight, and policy and planning role.
This is not to say that it will shed all its programmatic activities. For exam-
ple, it is likely that the Division will always manage the Art Center or the
public component of any art in public places program. Nevertheless, the
Division must take a strategic role in facilitating the growth of the arts and
cultural community, and the consultants believe that priority considera-
tion should be given to:
• being a high visibility advocate for the. arts and culture of the entire
community
• being "at the table" when important civic decisions are being made
• assisting in educating the general public about the value of the arts
• coordinating the gathering and disseminating of information about
arts and culture, both for arts groups and the general public
• providing coordination of technical assistance programs to enhance
the development of local arts, history, and cultural groups as well as
individual artists
• facilitating the creation of partnerships among arts and cultural
groups and the public and private sectors.
This is a common evolution for local arts agencies. In Huntington Beach,
it is based on the assumption that the next few years will witness a growth
and maturation of the cultural community, as a result of the new cultural
facilities and programs in the City.
There is one additional role that the Cultural Services Division should ul-
timately undertake — that of regranting public and private funding to
arts and cultural organizations. Such a program to provide small grants to
cultural groups is not likely to be established within the time frame of this
12 The consultants note that additional staff is another important strategy to
address the responsibilities of the Cultural Services Division and in rec-
ommendation III.3 on page 51 they discuss this issue.
313
Cultural Plan for Huntington Beach Page 49
plan and, indeed, priority should be given to stabilizing the funding of the
Division itself". However, the value of such a program is that it would al-
low private, nonprofit arts groups to further their development with a
minimal amount of City assistance. It would also provide a way for start-
up activities to receive initial support. By having this program established
within the Cultural Services Division, quality control would be assured
and issues of community -wide access to potential funding would also be
addressed. It should be noted that, in the consultants' experience, a pro-
gram of this sort is among the most common for local arts agencies, due in
large part to the ability of small public sector grants to leverage private
sector dollars many times in excess of the public expenditure.
Recommendation III.2:
The City's arts and cultural programming should be centrally coor-
dinated by the Cultural Services Division.
As the Cultural Services Division becomes the visible agency with
involvement and responsibility for the full range of arts and culture in the
community, it will be important to make sure that all of the City's pro-
gramming in this area is coordinated in some way by the Division. Such an
arrangement would be designed to enhance efficiency and to avoid dupli-
cation of services.
It is not the intent of this recommendation to suggest that all arts and
culture -related services be centralized in the Cultural Services Division, al-
though such a model is quite effective in many communities across the
country. What is more important than actual consolidation is establishing
a mechanism for effective communication and planning.
The consultants recommend that a high-level inter -agency working group
be established made up of senior staff from all City departments with ex-
isting or potential cultural programming, including the Manager of the
Cultural Services Division. The purpose of this body is to develop strate-
gies to enhance communication among these agencies and to coordinate.
cultural initiatives and shared cultural objectives for City government.
Such a body could share information, develop consistent policies, and cre-
ate more cost-effective programming.
" Cf., Part IV of this report, in particular recommendation IVA on page 60.
314
Page 50 The wolf Organization, Inc.
While such a mechanism will go far to address some of the issues of coor-
dination and communication, there is some additional action that should
be taken. Consideration should be given to moving some cultural activities
to the Cultural Services Division. From a logistical point of view, those
that are already in the Community Services Department — the Parks and
Recreation Division's crafts and arts classes — would be the easiest to
move. There is a strong case to be made for this shift:
• There is a need for enhancing the current range of offerings in the
area of arts and culture and the Division is well-equipped to design
such offerings.
• Once the Art Center is on-line, its education programs will need to
be coordinated with existing classes and providing continuity of pro-
gram management and oversight will simplify this.
• Consolidating all crafts and arts classes within the Division is a logi-
cal, easy to understand arrangement that will allow for better pro-
motion and marketing; it will allow existing classes to gain from
additional publicity surrounding the opening of the new Art Center.
• It may be possible to create additional space for recreational activi-
ties in park facilities by moving some arts classes to an old school
site, thus benefiting both programs.
• Being able to provide a fully sequential range of offerings from be-
ginner through advanced will be an important way to market arts
and cultural instructional programming.
The consultants acknowledge that this shift will require some flexibility
on the part of the Community Services Department. Staffing and other is-
sues will need to be addressed before the process can move forward. In ad-
dition, they raise some caveats about possible problem areas:
• It will be important to ensure that beginner and amateur classes re-
ceive high priority since they represent the entry point for most of
the community.
• Consideration should be given to providing bilingual classes so that
they can be accessible to a broader range of residents.
315
Cultural Plan for Huntington Beach
Page 51
Recommendation III.3:
The City should allocate additional staff resources to the Division
of Cultural Services.
The consultants note that the Cultural Services Division's staff has been
stretched to its limit. Existing staff cannot perform all the new tasks out-
lined in this planning document and additional staff is a necessity. It is true
that four additional positions are being considered for the Art Center14.
However, the staffing levels for the Art Center are modest considering the
level of programming to be conducted. And while it may be true that ini-
tially they will have time to address community -wide projects, it will not
be long before there is no time to address the range of priorities proposed
in this plan.
For that reason, the consultants recommend that, in addition to staff to
run the Art Center and existing positions in the Division, there should be
several new positions, including:
• A Special Events Coordinator, perhaps initially three-quarter time
with benefits, to facilitate and coordinate a range of performing and
visual arts activities, including concerts, street fairs, and community -
wide celebrations. In addition, this individual could act as liaison be-
tween the Division, artists, and historic, cultural, and arts groups.
• An Education/Outreach Coordinator, who might also be part time
initially, to develop a broad range of educational programs (that
might be implemented by other groups), and to provide some ad-
ministrative support for the Arts Education Planning Group.
• An Art in Public Places Coordinator, who ought to be part time or
a consultant initially, to plan and implement the Art in Public Places
program when it becomes operational, and to provide assistance in
promoting and marketing Huntington Beach's arts and cultural
community.
14 At the time this report was written, these new positions include an Arts
Education Coordinator, an'Exhibitions Coordinator, a Preparator, and a
Cultural Arts Aide IL
316
Page 52 The wolf Organization, Inc.
• An Historic Services Coordinator, initially half-time, to provide
some support services for the Newland House Museum, the Histori-
cal Society, the International Surfing Museum, and other groups, as
well as to develop the concept for the local history resource center
(as described in recommendation II.A.4).
• It should be noted that the Division will need additional clerical as-
sistance as well.
Recommendation III.4:
The role of the Allied Arts Board as advisors to City Council
should be strengthened.
The Allied Arts Board is designated to advise City Council on all matters
pertaining to the arts in Huntington Beach. It was responsible for devel-
oping the initial ten-year plan for cultural activities that led to the estab-
lishment of the Cultural Services Division, as well as other important
milestones in the development of the cultural life of the City. Along with
the Historic Resources Board (which oversees historic programs and ac-
tivities), the Allied Arts Board, in its role as advisor to the City Council,
can, among other things:
• study and interpret the needs of the community for cultural pro-
grams and facilities
• recommend cultural policy on such matters as programming, facili-
ties, and funding
• assist local arts groups to better fulfill their missions
• encourage. individuals, civic groups, and businesses to support arts
and culture with time, money, and in -kind services."
There are some limitations to what the Board can do and how it can func-
tion. Of particular relevance to this planning process, the Board cannot
advocate for particular positions except to the City Council. In addition,
while it is able to appoint ad hoc committees, it cannot appoint standing
committees (which can only be done by City Council). Despite these
's This list has been developed based on interviews, with Allied Arts Board
members and a review of the Board's Manual for Members, revised 1989.
3 1
Cultural Plan for Huntington Beach
Page 53
limitations, the consultants believe that there is a great deal of room for the
Allied Arts Board to become an even more active player in the cultural life
of the City.
One important need that appears to be within the purview of the Allied
Arts Board is to conduct "fact-finding" and gather input from the com-
munity on issues relating to arts and culture. The consultants suggest that,
on a regular basis (perhaps semi-annually), the Board appoint ad hoc com-
mittecs to provide it with input on specific issues, such as:
• community -wide involvement in arts education programming
• developing new audiences for arts and cultural activities
• the need for additional cultural facilities
• a public art program for the entire City.
Such a committee should be made up. of artists, representatives of arts
groups, developers, business and civic leaders, government officials, and
other interested residents. It would be convened by the Board and would
meet no more than two or three times as a "focus group." It would hear a
presentation on the issue under discussion and express its opinions on the
subject. This information would be analyzed and refined by the Allied
Arts Board to inform its process of information gathering so that it can
better advise the Council. In addition, the Board might use the informa-
tion gathered to provide details about arts and culture as part of the cam-
paign to raise the awareness of arts and culture.16
The consultants believe that through this activity, the Allied Arts Board
will obtain an expanded base of information that will allow it to speak
with greater authority in its recommendations to the City Council. It will
gain credib' 'ty as a valued authority that can articulate the needs of the
entire cultural community. In order to enhance this role, it will be neces-
sary to diversify the membership of the group to include a broader per-
spective from all segments of the City.
This enhanced role for the Allied Arts Board will be a major boost for the
cultural community. In the long-term, it would be a logical progression
for this Board to become an Arts and Culture Commission. Such a.body
would have responsibility for serving in an advisory role to the Cultural
16 Cf., recommendation II.C.2 on page 33.
319
Page 54
The wolf Organization, Inc.
Services Division, providing advice on such matters as regranting of public
funding, Division staffing needs, or budget considerations.
The Historic Resources Board could continue to deal with matters relating
to historic preservation, including issues that might develop from an his-
toric preservation ordinance (such as demolition, rehabilitation, environ-
mental review, etc.). In addition, it must address concerns beyond
preservation, including programs such as the Newland House Museum,
development of the local repository for collections", as well as activities
such as the Civil War reenactment and tours of historic buildings and
districts.
" Cf, recommendation II.A.4 on page 15.
319
Cultural Plan for Huntington Beach
Part IV
Resources
Page SS
Huntington Beach has been generous in its support of arts and. cultural ac-
tivities. The recent history of private sector financial support for the Art
Center, as well as the City's funding of the Cultural Services Division over
the past ten years, indicate an encouraging trend of increased support. It is
interesting to note that this support has been available during some of the
bleakest economic times in California's history, which suggests a real and
strong commitment on the part of the community. As additional cultural
activities are initiated, and as existing activities mature, there is every rea-
son to assume that this trend of increased support will continue. In this
section of the report, the consultants provide recommendations for in-
creasing financial support from a variety of public and private sector
sources.
Recommendation IVA:
Opportunities to increase the earned income potential of arts and
cultural groups should be developed.
Increasingly, arts groups of every size are realizing that it is critical for
them to maximize their earned income. These groups have learned that
this can provide a double benefit: first, they have access to larger amounts
of earned income; second, they are often able to leverage increased earned
income into greater contributed income, since many funders are more
likely to give to organizations that have high earned revenue figures. Even
though most of the arts and cultural groups in Huntington Beach are
320
Page 56 The Wolf Organization, Inc.
relatively small, there are still opportunities for them to increase the
amount of their income that they earn themselves.
This is, in part, a matter of being more realistic about the costs of their
services, but it is also a matter of thinking entrepreneurially about what
types of services they might provide and who would pay for them. And
while there may be a limit on ticket prices, there may be other types of
revenue producing activities these groups can engage in. Particularly for
the smaller groups, it will require that they see themselves as providing an
important community service that they should charge for whenever
feasible.
More sophisticated arts and cultural groups should consider ways that
they can form partnerships with business and City government to provide
services that these sectors need. One obvious possibility is to create a
stronger connection to tourism. The visitor industry is always looking for
ways to promote Huntington Beach as a destination. While it is unlikely at
the current time that the City's arts groups will be a primary reason for a
visit, they certainly can contribute to a lengthened stay. Among the ways
that arts and cultural groups might be involved are the following:
• promotional tie-ins linking arts events with restaurants, hotels, and
other regional amenities
• the use of vacant storefronts in the downtown area as temporary art-
ists' galleries to provide an exciting and changing array of retail op-
portunities for visitors
• specially prepared docent tours or pre -performance lectures targeted
to specific tourist groups (for example, visitors from other
countries).
Another possibility that should be explored is designing programs to ad-
dress social issues, ranging from latch -key children to drug use prevention.
Programs that employ the arts to address these issues on a contract -for -
services basis can be funded through various governmental and private
agencies. Some possible project might include the following:
• performing or visual arts classes for elderly residents of nursing
homes and senior centers, as is done. in St. Paul, Minnesota
szt
Cultural Plan for Huntington Beach Page 57
• after -school arts and crafts programs for children whose parents
work, cosponsored by the school district, City government, and
parents
• theatre projects designed for children who have been involved with
drugs or alcohol, such as those developed in San Fernando County.
Such activities may seem beyond the scope of many of the arts and cultural
groups in Huntington Beach at the present time. The consultants are not
convinced. They believe that there is a strong likelihood that arts groups
will grow and mature rapidly and in dramatic ways in the next three to
five years. These alternatives, which appear unlikely at the moment, may
well be seen as appropriate at that time.
Recommendation IV.2:
Programs that target increasing charitable contributions from the
private sector should be implemented.
In addition to increasing earned income, arts and cultural groups must
consider strategies to increase contributed income from individuals, busi-
nesses, and foundations. The consultants believe that, even with the weak
regional economy, this represents the likeliest area for short-term growth
in funding, given existing levels of support from the private and public
sectors.
Arts and cultural groups should consider increased use of corporate spon-
sorships, which have been used effectively in the community (perhaps
most notably in GTE Directories' sponsorship of the Equestrian Event).
In particular arts and cultural groups should design sponsorship opportu-
nities that target smaller businesses, since there are more of these busi-
nesses and because they have been among the least approached to date.
When developing sponsorships, it is important for arts groups to be care-
ful to calculate their costs accurately. Often, in the desire to attract corpo-
rate donors, cultural groups provide a wide array of services and benefits
that almost outweigh the cost of the sponsorships. Opportunities might
include more extensive underwriting of performances or exhibitions, as
well as advertising in catalogues or programs. More ambitious
322
Page 58 The Wolf Organization, Inc.
opportunities might include sponsorship of performance series and exhibi-
tion or performance spaces.
Groups should keep in -mind that sponsorships are generally considered
advertising and promotion rather than charitable giving. This means that a
business must be convinced that group-s "vehicle" for the promotion will
reach its selected audience.
Another vehicle for private sector fund raising is special events. This has
been used quite effectively in Huntington Beach and there is little the con-
sultants can add to the formula that has been developed. They do offer
several suggestions that might enhance an already effective activity:
• It may be possible to develop special events that are more broadly
focused in the community. For instance, the youth and children's
arts festival" might provide an opportunity for a "costume party"
exhibition opening event with prizes for costumes in several catego-
ries. This might be a relatively low ticket price event to assure greater
participation. The goal of such an event would be to counter the per-
ception that the cultural community is a "clique" by involving more
people, as well as to raise money.
• It may be possible to develop a special event that builds on the sister
city involvement in Huntington Beach, in particular the arrange-
ment with Anjo, Japan. For instance, an event that highlights some
exchange opportunity with a cultural celebration might provide an
opening to seek more substantial underwriting from many of the
corporations that are subsidiaries of Japanese -owned businesses.
Recommendation IV.3:
Fund-raising efforts for art, history, and cultural initiatives should
be more broadly based in the community.
Huntington Beach has some very effective private -sector fund-raising ini-
tiatives. For example:
" CL, recommendation II.C.3 on page 35.
3 9W
Cultural Plan for Huntington Beach Page 59
• The Huntington Harbour Philharmonic Committee raises money,
some of which goes to support local educational experiences for chil-
dren around certain types of music.
• In addition, the Huntington Beach Art Center Foundation has raised
significant sums of money in support of the construction and pro-
gramming at the Art Center, some of which will involve educational
programs for children.
However, without a comprehensive fund-raising initiative for all arts and
culture in all parts of the City, it is very difficult to equitably address the
needs of the community. The consultants acknowledge the need of the Art
Center to get its programming in place and develop a secure base of sup-
port. Clearly that must be the priority. However, once this current period
of integrating new facilities and programs into the community is over,
they believe that a new priority must be established to develop fund-
raising initiatives that target the entire community, both in terms of the
area from which -funds are raised and the population to which services are
provided.
In addition, the consultants note that fund raising in Huntington Beach
has historically been focused on "bricks and mortar" capital funding. In
the future, the emphasis must shift to annual giving in support of pro-
grams. There are some models of annual campaigns that take this ap-
proach. For example, the Youth Shelter, while it has had problems, is a
good example of targeting smaller contributions, in the range of $100 and
under. Such appeals can be broader based. In addition, the Art Center
raised over $36,000 through small contributions solicited through resi-
dents' water bills. Such programs need not ignore larger contributors, but
they build upon that base and attempt to reach donors of more modest
means. Such campaigns have several watchwords — specifically, smaller
contributions; many of them; on an annual basis.
The consultants believe that fund-raising efforts for arts, history, and cul-
ture in Huntington Beach should:
• be City-wide in their focus, which may mean raising money with
smaller gifts
• be based on membership structures with low dues to encourage
broad participation
394
Page 60 The Wolf Organization, Inc.
• recruit volunteers and support from various public school
PTA/PTO groups and arts booster clubs, since these people are
likely to have children who are interested and involved in arts
activities
• attempt to build support in the neighborhoods throughout Hunting-
ton Beach, rather than just to target selected up -scale areas
• make sure that funds are raised to support programs in various
neighborhoods, not just at the new facilities.
Recommendation IV.4:
Mechanisms to enhance the level of public support for arts and cul-
ture should be explored.
The City has begun to support arts and cultural activities in the past six or
seven years and it has a reasonably good track record during that period.
Excluding capital funds, the City has spent approximately $1.1 million in
the past seven years, or about $165,000 a year (one dollar per capita) on
average. While this amount is substantially less than many other commu-
nities in the region (many of which average between $5 and $6 per capita),
it is a good start, especially considering that until very recently there has
not been much City cultural programming. Based on their interviews, the
consultants believe that, given the City's track record, it is safe to assume
that with the advent of new programming, its support will increase.
There are a number of new options for public funding of cultural activities
that have been discussed in Huntington Beach. Basic to this discussion is
the understanding that self -generated fees and charges for services will be
built into all City cultural programming, so that some percentage of the
costs for these activities will be generated from users. The consultants pro-
pose a mix of approaches to this complex issue.
Core functions: While some new revenue sources are likely to be neces-
sary to fund City arts and cultural activities — a high priority among resi-
dents — such funding will require time to be developed. At least initially,
such funding may be more likely to be from existing sources, primarily the
General Fund.
325
Cultural Plan for Huntington Beach
Page 61
While additional General Fund support. is quite defensible, particularly in
light of the cultural agenda outlined in this .report (that addresses the needs
of all residents of the City), financial realities suggest that the General
Fund will be hard pressed to continue current levels of support for exist-
ing City services during the next several years. Nevertheless, the consult-
ants believe that the core operational expenses of the Division (including
staff and administrative support) should come from General Fund, supple-
mented by new revenue sources. They believe that the current base -line
level of commitment from the City should be clear and unequivocal.
Educational activities and program expenses must also be covered during
an initial, start-up phase, perhaps with General Fund money loaned to
such programming, with the expectation that fees and charges, as well as
some private sector fund raising, would be used to repay the General Fund
over a negotiated period of time.
Program and facilities: There are a large number of viable options for
funding the City's share of cultural programming and facilities costs in the
future. Among the mechanisms that have proven effective in other com-
munities in California and across the nation are the following:
• percent for art programs
• shared parking revenue
• users fees or grants from public and private sources, as well as
public/private partnerships
• loan guarantees or other revolving funds
• municipal revenue bonds
• 'Voluntary arts subscriptions through water billing
• endowment and/or trust funds
• arts lotteries
• special cultural assessment districts, sales tax increment districts, or
city-wide tax district
• transient occupancy taxes
• seat/ticket or other entertainment taxes
• impact fees or developer agreements
• liquor fee
The City should explore these options. Use of these funding sources re-
quire complex planning efforts and no one source is likely to be a panacea.
Page 62 The wolf Organization, Inc.
It is more likely that some combination of these options will be the most
appropriate way to support cultural programming in the future.
A number of the funding mechanisms mentioned above not only require
approval from the City Council, but must be presented to and approved
by the voters as well. Funding capital improvements with municipal reve-
nue bond issues or certificates of participation will require local support
developed with well defined political strategies. These mechanisms dem-
onstrate, however, that there are additional sources of revenue that might
be available for the support of cultural activities. And, while some of these
sources may be considered for other General Fund supported projects and
programs, revenue growth resulting from them should be considered for
cultural programming needs.
The downtown and Pacific Coast areas have been designated as "visitor
serving" in the General Plan. The City is committed to developing desti-
nation attractions and activities in these areas. This area has been specifi-
cally planned for a mix of visitor serving retail and cultural and
recreational facilities. The planned attractions and activities include such
things as the Huntington Beach Municipal Art Center, the planned but
currently unfunded new International Surfing Museum building, Celebra-
tion Plaza, and Pier Plaza. In addition, the City is planning a Central Park
Amphitheatre to conduct craft fairs and cultural festivals.
While the options discussed above represent the most fruitful areas for
discussion, there are some others that should be mentioned. They include:
• Increasing the hotel/motel tax by one or two percent and negotiat-
ing a formula by which some percentage of that is used to cover the
expenses of cultural programming. There is a strong justification for
using such revenue sources in support of cultural activities — indeed,
it is one of the most common devices nationally. However, it seems
unlikely that an increase in the hotel/motel tax would be considered
in the present environment.
• The Community Enrichment Library Fee on development is cur-
rently set at 150 per square foot and is at the maximum rate allow-
able by the City Charter. It is totally dedicated through the year
2019 to the repayment of the debt costs of building the Library
�4�
Cultural Plan for Huntington Beach
Page 63
expansion which serves numerous visual and performing arts func-
tions. Once the debt service costs have been addressed, including any
additional expansion that should occur through the year 2019, it
would be appropriate to consider including any increase in this fee in
the mix of funding for other arts and cultural activities at the Library
or other facilities.
Finally, when a public art program19 is implemented, it will require
that one percent of the budget for capital improvement projects be
set aside for public art within the project area. Depending on capital
expenditures over the next ten years, this could represent a substan-
tial sum for public art programs. Some capital projects might commit
this percentage for construction or renovation costs for cultural fa-
cilities rather than providing for public art within the project area, if
it makes sense to do so.
Recommendation IV.S:
Issues relating to the level of "self-sufficiency" required of the Cul-
tural Services Division's programming should be resolved quickly.
In the present economy, all California cities are pressed for money, par-
ticularly because the state is taking City money to balance the State
budget. In Huntington Beach, one strategy to deal with this has been to
mandate that all new programs must pay for themselves. Such a directive,
while understandable, has been particularly hard on the Cultural Services
Division. Even though the Division is relatively new, its programs have
been in the advanced planning stage for a very long time-- especially its
Art Center programs which are only now coming on-line. The irony is
that the City has been very supportive of cultural activities, responding to
impressive community support and fund raising; yet these very programs
are threatened with being frozen out of additional reliable avenues of City
support.
It is problematic for the Division, just beginning its most active program-
ming, to be expected to establish that programming on a "no net cost" ba-
sis. It would be more realistic in this situation to establish City-wide goals
for self-sufficiency, rather than singling out specific, new programs. Such a
" Cf., recommendation II.B.4 on page 27.
� A8
Page 64
The wolf Organization, Inc
plan would require that all City programs increase their "earned revenue"
which would provide additional resources for, among others, the Cultural
Services Division.. In addition, since the Art Center has been built, in part,
by private sector funds and will be sustained by those sources as well as
self -generated fees and charges, it seems particularly important to establish
the relationship between public and private dollars in this venture, as a
model for future such partnerships.
This is at root a political problem and it must be resolved through a dia-
logue among all the relevant parties. The consultants therefore suggest a
workshop session of the City Council to address this issue. Such a Coun-
cil session would include senior City staff (as well as the Manager of .the
Cultural Services Division) and representatives of the arts community (in-
cluding the Art Center Foundation). The purpose of this meeting would
be to discuss the mix of revenue sources that is appropriate for the Divi-
sion, including the role of fees and charges, General Fund support, and
contributed income in the future of the Division.
Finally, the consultants note that they conducted many interviews with in-
dividuals knowledgeable about Art Center funding. It appears that there is
no written letter of understanding and thus no agreed -upon understanding
about what operating costs of the Art Center the City will cover and what
will be covered by the Art Center Foundation. Particularly because a reso-
lution of this issue is necessary in order to resolve staffing issues at the Art
Center, it would be prudent to schedule this study session as soon as it is
practicable.
Recommendation IVA
The City should consider ways that it can assist arts and cultural
development through incentives.
While City funding for arts and cultural activities is a priority, there are
other ways in which the City can support such activities. In particular, the
consultants suggest that the City consider the potential for abatements or
other developer incentives for providing discounted space to artists and
arts groups. This might take the form of either retail spaces in the down-
town for cooperative artists' galleries or studio and/or rehearsal space in
industrial and commercial parks. By providing incentives that offer an
329
Cultural Plan for Huntington Beach
Page 65
important benefit to artists and arts groups, the City would be signaling its
support for arts and cultural activities.
The City might also consider options to provide temporarily unused
City -owned space to arts groups at low or no rental fees for use as exhibi-
tion, performance, and/or administrative space. In addition, many arts and
cultural groups are in need of volunteer support. The City might make an
arrangement whereby City staff could use some pre -determined amount
of compensatory time for volunteer work with these groups, thus allowing
the individuals to work on arts groups' projects during business hours
without loss of compensation.
Recommendation IV.7:
The Cultural Services Division should apply for federal and state
funding for arts activities. In particular, it should apply for a Local
Incentive Grant through the National Endowment for the Arts.
Once the Cultural Services Division has been designated by the City as its
official. local arts agency, it should apply to the National Endowment for
the Arts for a Local Government Incentive Grant. These grants require a
one-to-one match with new local funds, over a two to three year period,
one half of which must be public dollars. While this would represent an
increase in public funding, it is an attractive time for such a proposal, since
City funding for arts and culture is likely to increase in any case and being
able to leverage such increases with federal dollars will be very attractive.
These grants are awarded in the range of $100,000 to $300,000. According
to the current program guidelines, applicants may request support for
such things as, "regrantin& technical assistance programs, audience devel-
opment projects.... and arts education programs. " The guidelines indicate
the importance of having gone through a cultural planning process, which,
the consultants feel, positions the Division quite effectively.
There are many options for projects that might be appropriate to put for-
ward for funding through this application and careful thought should be
given to the approach that is most likely to be successful, as well as which
approaches are most likely to garner support in the City. Based on their
�30
Page 66
The wolf Organization, Inc.
research in Huntington Beach, the consultants believe that technical assis-
tance and arts education initiatives should be priorities.
331
Cultural Plan for Huntington Beach
Part V
Next Steps
Page 67
Several steps in Huntington Beach's cultural master planning process have
already been undertaken and completed, including:
• fact-finding conducted by Wolf Organization consultants
• receipt of the consultants' preliminary planning document
• review and comment on this document by the Task Farce and City
staff
• a presentation to the community of the key points of the consul-
tant's report (as revised by the Task Force) with an opportunity for
review and comment.
Subsequent steps will include:
• revision of this document based on feedback
• presentation of the revised report to the community
• review and approval of the revised community cultural plan by the
appropriate bodies
• on -going implementation of the plan.
Much work will be required to review, set priorities, and begin implemen-
tation of the resulting cultural plan. Communication has consistently been
identified as a key issue in Huntington Beach and it will be important to
assure that all the relevant groups in the City, both arts and cultural
groups and other civic bodies, are brought up to date on the planning
process. The consultants believe that they interviewed a wide range of
332
Page 68 The Wolf Organization, Inc.
individuals during their fact-finding, which should simplify the task of
communicating about the resultant planning document. In this section of
the report, the consultants outline the necessary steps to move this com-
munity cultural master plan forward.
Recommendation V.1:
The Cultural Masterplan Task Force should review and "accept"
this report with any necessary revisions.
The ad hoc Task Force, having been involved in this process from its in-
ception, met in mid -April to review this document. The purpose of the
meeting was fourfold:
• to answer questions that arose about the content of the report
• to identify areas where consensus on recommendations existed, as
well as areas where more discussion was required before consensus
emerged
• to revise, if necessary, and "accept" the consultants' report
• to discuss the initial steps toward implementation.
A "consent calendar" approach was used for this meeting. A consent cal-
endar is a device used by a group to identify areas of consensus in order to
focus on areas where additional discussion is most likely to be required.
With this report, each member of the Task Force received a list of recom-
mendations and each member indicated whether he or she agreed, wished
to discuss (usually just for clarification or technical information), or disa-
greed with each recommendation. If at least two-thirds of the participants
agreed with a recommendation, it was placed on the consent calendar and
approved with a single vote at the end of the meeting. Otherwise, the rec-
ommendation was listed on the meeting's agenda for discussion.
At the end of the session, a vote was taken to "accept" the report with any
necessary revisions. It is important to understand that "acceptance" in this
context did not imply complete agreement with each detail and every rec-
ommendation. Rather, it meant that the report can serve as the conceptual
framework for subsequent discussions about cultural issues in Huntington
Beach. Thus while one might have disagreed with a particular recommen-
dation or the degree of emphasis on a particular program, there was a .
333
Cultural Plan for Huntington Beach
Page 69
general agreement that the philosophical underpinnings and basic thrust of
the report reflected the group's vision for the City's cultural future.
In addition, an informational session was conducted, open to the public,
to review the findings of The Wolf Organization consultants and the work
of the Cultural Masterplan Task Force. This session was widely promoted
in the community20. A public forum followed the consultant's .presenta-
tion that allowed for questions, concerns, and suggestions from the many
Huntington Beach residents who attended. The comments (which gener-
ally reflected those heard by the consultants during their extensive inter-
viewing) have been, when appropriate, incorporated into this revised
report.
Similar opportunities for review and comment have been provided for the
senior staff of the Cultural Services Division and the Community Services
Department. Their comments, generally providing feedback on City poli-
cies and procedures, have been incorporated into this revised report.
Recommendation V.2:
The cultural element of the General Plan should be developed,
based on the revised cultural planning document.
Now that the consultants' report has been revised, it more closely reflects
the thinking of the ad hoc community Task Force, the staff of the Cultural
Services Division, and others in the City. At this time, the Task Force
should meet to set priorities for the various recommendations. During the
same period, the consultants will cast this masterplan document into the
format of a "cultural element," which articulates City priorities for the
cultural future of the community. When these tasks are complete, the re-
vised cultural. masterplan report can be considered the basic cultural plan-
ning document for the City.
20 The informational meeting and public forum was advertised in the Los -
Angeles Times, the Register, and the Independent; flyers were distributed
through the library; public service announcements were aired on Chan-
nel 3; and invitations were sent to all interviewees and members of all
City Boards, Commissions, City Council, as well as management staff
of the City and members of the General Plan Advisory Committee.
v34
Page 70 The Wolf Organization, Inc.
It is important to clarify that, in addition to the community -wide cultural
masterplan, the cultural element will be developed. While the masterplan
proposes actions for all sectors of the community (including, for example,
the school districts, arts groups, businesses, etc.), the cultural element ad-
dresses only City priorities. Based on the community cultural masterplan,
including the vision statement in Part I, it will be necessary to abstract the
details of the cultural element.
A careful reading of this revised document will indicate that the consult-
ants have presented recommendations with options for how they might be
implemented. In developing the cultural element, an important task will be
developing action plans, goals, and objectives by, in effect, choosing.
among these options. It should be emphasized that this task does not in-
volve so much re -thinking the plan as re -casting it into the standardized
format for General Plan elements21.
To accomplish this, the consultants recommend that, as is common in the
City, goals and objectives for the cultural element be developed by the ap-
propriate City staff. An ad hoc committee should be assembled with rep-
resentation from the Cultural Masterplan Task Force, the Allied Arts
Board, and the General Plan Advisory Committee. This body should in-
clude individuals who have been active in this planning process from the
beginning as well as others who have a clear understanding of the cultural
life of the City.
Meeting once or twice, the ad hoc group should review the staffs work on
the cultural element to make sure that, within the context of the revised
cultural planning document, it accurately reflects the thinking of the Task
Force and the needs of the community. This body should approve both
the cultural element and the goals and objectives. Staff should present the
cultural element to the General Plan Advisory Committee and the goals
and objectives to the City Council for appropriate action and approval.
21 The consultants note that, as part of their present scope of work, they
will provide an initial draft of the cultural element.
335
Cultural Plan for Huntington Beach
Page 71
Recommendation V.3:
The Allied Arts Board and, when established, the proposed private
sector arts and cultural support group should be responsible for
tracking the implementation of the cultural plan.
Since the existing ad hoc Task Force was charged with overseeing the de-
velopment of the consultants' report (which it has ably done), its responsi-
bilities have been fulfilled. However, there is more work to be done to
assure that the detailed cultural plan is actually implemented. While the
primary responsibility for implementing the plan lies with the Cultural
Services Division, it is important to have a committed group of concerned
residents to work with the Division to provide input on particular issues
or priority setting, should such concerns arise. It will also be important to
identify a group that can continue the necessary education and communi-
cation process throughout the City, so that information about the cultural
plan and its implementation is properly disseminated.
While the original structure of an ad hoc, unaffiliated, community -based
Task Force was appropriate for its task, the next steps require an existing
entity that has an acknowledged advisory role on arts and cultural matters.
The Allied Arts Board is ideal for this function. In addition, the proposed
Cultural Partnership' group — the private side partner that can educate
and advocate broadly in support of arts and cultural initiatives — should,
once it is formed, work with the Board in this task.
The consultants do not envision a complex process. Rather, once the cul-
tural element has been approved, they suggest that a schedule of bi-annual
advisory and review sessions be developed. At those sessions, members of
the Allied Arts Board would hear progress reports from appropriate indi-
viduals (including, for example, Cultural Services Division staff, represen-
tatives of arts groups, other relevant City staff people, and school
officials). They would issue a statement annually on the progress of imple-
mentation with their suggestions for future priorities.
u Cf., recommendation II.CA on page 36 for details of this group.
336
Page 72
The Wolf Organization, Inc.
Recommendation VA:
A public information plan should be developed to educate the gen-
eral public regarding the contents of the community cultural plan.
Even before the plan is completed, it will be critical to take steps to assure
that it will be understood by the community and ultimately implemented.
Work should begin as soon as possible to disseminate the consultants'
findings and the recommendations as revised by the Task Force and oth-
ers. Since the recommendations will require action from a variety of sec-
tors in the community (the City, the school districts, arts and cultural
groups, etc.), coordinated informational activities should be developed.
Among the most important considerations are the following:
• The revised report should be distributed to interested people in the
community. Since the report is quite long, a nominal fee for duplica-
tion aught be charged. Copies for free examination might be placed
in public libraries and short "executive summary" material might
also be developed. Copies of the consultants' report should be sent
to the individuals who requested copies at the recent public meeting.
• Informational meetings about the cultural plan should be held with
representatives of government, business, education, civic and neigh-
borhood groups, artists, and others. The purpose of these sessions is
to increase enthusiasm and support for the plan, as well as to gain
more active involvement in the on -going implementation of the plan.
• Specific written material should be developed, including a special
brochure or newsletter that gives a concise summary of the high-
lights of the revised consultants' report. In addition, as necessary,
specific position and background papers should be developed to de-
scribe the impact of particularly complex or potentially controversial
recommendations (for example, "Enhance arts and cultural educa-
tion — how will we do it?" or "What will a public art program do
for our City?" or "What is culture in Huntington Beach?").
• It is important to remember that the public news -worthy moments
of this planning process are comparatively fe* and must be carefully
337
Cultural Plan for Huntington Beach
Page 73
exploited in local and regional media outlets. Among the most im-
portant are:
- the acceptance of the consultants' report and the receipt of the re-
vised document
- the adoption of the cultural element by the Allied Arts Board
- the acceptance of the element by the General Plan Advisory
Committee.
Much of the work of the next several months will depend on individual
supporters of the plan who accept a public relations role and reach out
into the community to "sell" the plan. Among the key people to under-
take this activity are Task Force members, Allied Arts Board members,
representatives of the Art Center Foundation, Arts Associates, and others.
This type of work is greatly dependent on personal connections, enthusi-
asm, and a willingness to tell the story. of Huntington Beach's diverse and
vibrant cultural community.
038
Appendix
340P
Appendix A
List of Interviewees
The following individuals were involved in the fact finding for the project. All
titles are for identification purposes only and were current at the time of contact.
Karen Akamine Artist; Member, Cultural Masterplan Task Force
Bill Anderson Art Teacher; Member, Allied Arts Board; Member,
The Arts Associates; Member, Cultural Masterplan
Task Force
Fran Androti Principal, Oak View Elementary School
David Anthony Dean of Fine Arts, Golden West College; Member,
Cultural Masterplan Task Force
Diane Baker Executive Director, Huntington Beach Conference
and Visitors Bureau
Rich Barnard Deputy City Administrator, City of Huntington
Beach
Lloyd Baron Member, Huntington Beach Art Center Foundation;
Member, Allied Arts Board; Member, Art in Public
Places Committee, Huntington Beach Conference
and Visitors Bureau; Member, Cultural Masterplan
Task Force
Robert Baron Founding Member, Huntington Beach Art Center
Ralph Bauer Member, Huntington Beach City Council; Founding
Patron, Huntington Beach Art Center, Member,
Cultural Masterplan Task Force
Appendix Page A.2 List of Participants
Suzanne Beukema
Owner, Main Street Cafe; Member, Downtown
Business Association
Steve Bone
The Robert Mayer Corporation; Chairman of the
Board, Waterfront Hilton Beach Resort
Margaret Bromberg
Arts Supporter; Founding Member, Huntington
Beach Art Center
Lana Campbell
President, Huntington Beach Playhouse; Member,
Cultural Masterplan Task Force
Diana Casey
Member, Board of Directors,'Huntington Beach Art
Center Foundation; Co -Chair, GTE Directories
Summer Classic Equestrian Benefit; Member,
Cultural Masterplan Task Force
Bonnie Castry
School Board Member, Huntington Beach Union
High School District
Jerry Chapman
Member, Executive Board, Huntington Beach Art
Center Foundation; Member, Urban Design and
Public Art Committee, Huntington Beach
Conference and Visitors Bureau; Vice President,
General Plan Advisory Committee; Member,
Cultural Masterplan Task Force
Norma Clapp
Member, Huntington Harbour Philarmonic
Committee; Member, Cultural Masterplan Task
Force
Louisa Cobrs
Artist
Paul Cook
Former President, Huntington Beach Chamber of
Commerce; Former City Administrator, City of
Huntington Beach
Linda Couey
Vice President, Huntington Beach Concert Band;
Member, Cultural Masterplan Task Force
Michael Couey
Arts Supporter
Elaine Craft
Former Member, Allied Arts Board
Ad Daniel
Aerosol Artist
Mary Dessert
Artist
Lucy Dunn
Senior Vice President of Development, 'Koll
Company
The Wolf Organization, Inc.
Appendix Page A.3
Jim Engle
Deputy Director, Community Services Department,
City of Huntington Beach
Doug Erber
Member, Sister City Association; Member, Japan
America Society
Bob Franz
Deputy City Administrator, City of Huntington
Beach
Anna Friesen
Artist; Member, Allied Arts Board; Member,
Cultural Masterplan Task Force
Karen Fuson
Artist
Dick Geosano
Realtor, Member, Huntington Beach Art Center
Foundation
Clyde Glasser
Principal, Perry Elementary School
Lloyd Glick
Former Manager, Huntington Beach Concert Band
Liz Goldner
Free-lance Writer, Member, Allied Arts Board
Bob Goodrich
Chairman, Huntington Beach Art Center
Foundation; Member, Urban Design and Public Art
Committee, Huntington Beach Conference and
Visitors Bureau
Ron Hagan
Director, Community Services Department, City of
Huntington Beach
David Hagen
Superintendent, Huntington Beach Union High
School District
Rayna Hamre
Teacher, Golden West College
Elaine Hankin
Member, Allied Arts Board; Member, Cultural
Masterplan Task Force
Ron Hayden
Director, Department of Library Services, City of
Huntington Beach
Howard Hitchcock
Artist
Mary Linn Hughes
Artist
Don Jankowiak
Member, Board of Directors, Huntington Beach Art
Center Foundation; District Sales Manager, GTE
Directories; Co -Chair, GTE Directories Summer
Classic Equestrian Benefit
344
Appendix Page A.4
List of Participants
Barbara Kaiser
Deputy City Administrator, Economic
Development Department, City of Huntington
Beach
Elaine Keeley
Teacher; Performing Artist; Former Chair, Allied
Arts Board
Jim Kerins
Artist
Marc Klein
Member, Downtown Residents' Association Main
Street Committee
Natalie Kotsch
Executive Director, Huntington Beach International
Surfing Beach; Founder, International Surfing
Museum; Member, General Plan Advisory
Committee; Member, Cultural Masterplan Task
Force
Sid Kuperberg
Member, Board of Directors, Huntington Beach
Public Library; Member, Cultural Masterplan Task
Force
Brandee Lara
Arts Facilitator, Huntington Beach Union High
School District
Victor Leipzig
Councilman, City of Huntington Beach
Carol Lung
Artist; Member, Cultural Masterplan Task Force
Bob Mandic
Owner, Mandic Motors; President, Downtown
Business Association
Marcello Mercado Aerosol Artist
Barbara Milkovich Former Chair, Historic Resources Board, Orange
County Historical Commission
Paul Morrow Principal, Sowers Middle School
Phil Mosbo Managing Director, Orange County Performing Arts
Center; Vice Chair, Allied Arts Board; Member,
General Plan Advisory Committee; Member,
Cultural Masterplan Task Force
Linda Moulton -Patterson Mayor,. City of Huntington Beach; Member,
Cultural Masterplan Task Force
4r
;,
The wolf Organization, Inc. Appendix Page A.5
Michael Mudd
Manger, Cultural Services Division, City of
Huntington Beach; Staff Liaison to Allied Arts
Board and Historic Resources Board; Member,
Urban Design and Public Art Committee,
Huntington Beach Conference and Visitors Bureau;
Member, Cultural Masterplan Task Force
Eunice Nicholson
Founder and Co -Chair, Founders Committee,
Huntington Beach Art Center Foundation
Chris Om
Aerosol Artist
Naida Osline
Director, Huntington Beach Art Center, Cultural
Services Division
Rosemary Parravechio
Director of Program Operations, Girls Inc.,
Newport Mesa
Jerry Person
Past Chair, Historic Resources Board; Member,
Huntington Beach Historical Society; Member,
General Plan Advisory Committee
Randy Pesqueira
Aide, Cultural Services Division, City of Huntington
Beach
Thaddeus J. Phillips
Manager, Library Services, City of Huntington
Beach
Joyce Riddell
President, Huntington Beach Chamber of
Commerce; Member, Urban Design and Public Art
Committee, Huntington Beach Conference and
Visitors Bureau
Maureen Rivers
Chair, Board of Trustees, Newland House Museum;
Member, Huntington Beach Historic Resources
Board; Member, Huntington Beach Historical
Society; Member, Cultural Masterplan Task Force
Pat Rogers
Marketing Director, Huntington Beach Mall
Steve Schwartz
Performing Arts Teacher, Huntington Beach Union
High School District; Past Chair, Allied Arts Board;
Member, Cultural Masterplan Task Force
Mary Shebell
Chairman, Allied Arts Board; Founder, Huntington
Beach Art Center, Member, Cultural Masterplan.
Task Force
34
Appendix Page A.6
List of Participants
Ray Silver
Assistant City Administrator, City of Huntington
Beach
Daryl Smith
Superintendent, Park, Tree and Landscape
Department, City of Huntington Beach
Steve Smith
Auditorium Manager, Huntington Beach High
School
Jim Staunton
Principal, Huntington Beach High School
Scott Steidinger.
Recording Technician, Golden West College
Barbara Steward
Arts Supporter
Ann Sullivan
Principal, Smith Elementary School
Ann Thorne
Public Arts Consultant; Member, Urban Design and
Public Art Committee, Huntington Beach
Conference and.Visitors Bureau; Member, Cultural
Masterplan Task Force
Joan Towgood
Artist; President, National Women's Caucus for the
Arts
Michael Uberuaga
City Administrator, City of Huntington Beach
• Joanna Viserta-Galinas
President, Huntington Beach Historical Society
Pat Williams
President, Huntington Beach Art League
Loretta Wolfe
Board Member, Historic Resources Board
Kay Work
Member and Past President, The Arts Associates
Doreen Yonts
Principal, Eader Elementary School
ATTACHMENT 7
CITY OF CARLSBAD
3
4
D W7 '� M
LMR1 l r
CITY OF LA Th
CITY -
MA�lAGEF . 'F EST
Is
343
Heritage Hall was built in 1926 to house the congregation of St. Patrick's Church at the southeast
corner of Harding Street and Oak Avenue. In 19S2 the church was moved across the street where
it became the City's first administrative offices. Over the next few years it served as home to the
City Manager, City Council, Police Department and Fire Department, and as a County branch
library. As new City offices were constructed and City departments moved out, use of the building
changed from that of City Hall, to the City library, to the children's library, to a studio for the North
County Ballet. Finally, in 1979 the sturdy little structure was slated for demolition to make way
for a parking lot; however, it was rescued from demolition by a coalition consisting of Friends of
the Library, the Carlsbad Historical Society and volunteer building tradesmen who arranged for it
to be moved to Magee Historical Park. With only minor repairs, the old church once again became
a public meeting place.
Note: Information derived in part from SEEKERS OF THE SPRING, by Marjorie Howard -Jones.
Contents
I. INTRODUCTION.....................................................................................................1
A. BACKGROUND AND INTENT.............................................................................................. 1
B. STATE LAW......................................................................................................................... 1
C. RELATIONSHIP TO OTHER ELEMENTS............................................................................ 1
II. GOALS, OBJECTIVES AND IMPLEMENTING POLICIES AND ACTION PRO-
GRAMS...................................................................................................................... 1
A. GOAL.................................................................................................................................... 1
B.
OBJECTIVES ........................................................................................................................ 1
C. IMPLEMENTING POLICIES AND ACTION PROGRAMS ..............................:...................... 1
v5�
1. INTRODUCTION
A. BACKGROUND AND INTENT
The Arts Element ofthe General Plan recognizes
that an aesthetic eaviroAMIL, is an essential characteristic
of a community which values its quality of life and wishes
to be seen by its citizens, neighbors and visitors as an
attractive and desirable place, addressing the needs ofthe
human spirit. Factors which are important to the achieve-
ment of an aesthetic environment for the City of Carlsbad
include the ready availability within the City ofvisual and
performing arts and an esteem for aesthetics in all of the
City's land forms, landscaping and architecture.
B. STATE LAW
While the Arts Element is not one of the seven
mandated elements, Section 65303 ofthe California Gov-
ernment Code (Planning and Zoning Law) indicates that
the General Plan may include any other elements which
the community feels relate to the physical development of
the City.
C. RELATIONSHIP TO OTHER
ELEMENTS
By recognizing the importance ofencouraging an
artistic environment, the Arts Element supports one ofthe
overriding goals ofthe Land Use Element which is to have
a balanced community where a full range of physical,
social and economic opportunities exist for the residents
ofthe community. The Arts Element also correlates with
the Historic Preservation Element which recognizes the
aesthetic value of historic buildings and the Scenic Road-
ways Elementwhich promotes visual quality along certain
designated, highly -travelled roads. Finally, the Arts Ele-
ment relates to the Parks and Recreation Element in that
all new parks include a public art component and address
community needs for arts programming.
II. GOALS, OBJECTIVES
AND IMPLEMENTING
POLICIES AND ACTION
PROGRAMS
A. GOAL
A city strongly reflecting the arts in its total
environment with land and facilities permanently dedi-
cated to performing and visual arts, together with an
abundant range of on -going and special arts programs
involving as many regular and visiting members of the
community as possible, as active participants, audiences,
aid patrons.
B. OBJECTIVES
B.1 To provide one or more permanent facilities
for exhibition, performance, rehearsal, discussion, or
teaching of visual and performing arts and cultural en-
deavors.
B.2 To provide works of art in public places.
B.3 To have a city of residents and visitors
practicing, participating ' in, attending, and observing
artistic and cultural activities.
BA To develop, modify, and improve, with a
consideration for aesthetic issues (in addition to engineer-
ing, safety, cost, and other issues), city land forms,
landscaping and architecture.
C. IMPLEMENTING POLICIES
AND ACTION PROGRAMS
C.1 Designate a site (or sites) for the eventual
development of a permanent facility (or facilities) for
exhibition, performance, rehearsal, discussion or
0�
Page 1
0 0
teaching of visual. and performing arts and cultural en-
deavors.
C.2 Proceed to build or cooperate with private
foundations, improvement districts, other governmental
agencies or citizen groups to build a permanent facility or
facilities for the creation, exhibition, discussion or teach-
ing of visual and performing arts and cultural endeavors.
C.12 Promote school and community coopera-
tion in the programming of artistic and cultural events and
opportunities.
C.13 Encourage cooperation and communication
in area of mutual benefit and corresponding programs
between the City and local, regional, state, and federal
government agencies.
C.3 Provide, whenever possible, interim spaces C.14 Consider aesthetics in reviewing the design
within other facilities to offer arts programming. of public and private development proposals.
CA Provide, when possible, for the siting, selec-
tion, installation and maintenance of works of art within
or upon public facilities and land.
C.5 Encourage private businesses to install per-
manent and temporary works of art in their public places.
C.6 Promote cooperative arrangements with other
public or private agencies which facilitates the temporary
or pejunanent display ofworks of art for display within or
upon public or private facilities and land.
C.7 Encourage individuals andorganizations that
provide experiences in the arts for citizens.
C.8 Provide direction and support for continued
development and presentation of a variety of arts in the
City.
C.9 Generate a wide range of programs that
develop the skills ofthe participants at all levels ofcreative
expression.
C.10 Encourage residents to take advantage of
the arts programming offered by agencies and institutions
in the community.
C.11 Provide financial assistance whenever fea-
sible to groups or individuals who provide public arts
programming to the residents.
C.15 Actively seek and give preference to firms
experienced in integrating aesthetics with functional de-
sign, who will include an artist on the design team., when
contracting for professional services to assist with the
planning and construction of public works.
353
Page 2
April 24, 1997
RSVP's to date on May 151" conference:
1. Stewart Wood, Indio Arts Foundation
2. Chris Silva, Indio Council Member
3. Terry Henderson, La Quinta Council Member
YV 4
OM
:
t I WOULD LIKE TO. £ POLLMN ACA ITEM:
i • v 1 2
PUBLIC COMET RE: 13c'
.. RE:
N
AGENDA ITEM O.:
PUBLIC HEARING NO. - RE:
AM IN SUPPORT OF THIS ITEM
I AM IN OPPOSITION TO THIS ITEM
WRITTEN COMMENTS: (Optional)
PLEASE LIMIT YOUR COMMENTS TO THREE (3) MINUTES WHEN SPEAKING!!
DATE:
NAME:
ADDRESS:
RETURN THIS FORM TO THE RECORDING SECRETARY BEFORE THE MEETING BEGINS.
THE CHAIRMAN WILL CALL YOUR NAME AT THE APPROPRIATE TIME. THANK YOUI
FORM.018
AGENDA ITEM NO.: RE:
PUBLIC HEARING NO-4
I AM IN SUPPORT OF THIS ITEM
I AM IN OPPOSITION TO THIS ITEM
WRITTEN COMMENTS: (Optional)
194
PLEASE LIMIT YOUR COMMENTS TO THREE (3) MINUTES WHEN SPEAKING!!
BATE: � //A,`Q,
NAME: � fZ , C � cf7 �
ADDRESS: � �e/ OL'� �P�.�!M����..-�i>
RETURN THIS FORM TO THE RECORDING SECRETARY BEFORE THE MEETING BEGINS.
THE CHAIRMAN WILL CALL YOUR NAME AT THE APPROPRIATE TIME. THANK YOU!
FORM.018
/4
O� pA •
� Z
V
of
CULTURAL COMMISSION
MEETING DATE: April 24, 1997
ITEM TITLE: Discussion of Cultural Commission Work Plan
BACKGROUND AND OVERVIEW:
The Cultural Commission has adopted a Work Plan to guide its efforts for selected
programs. The Cultural Commission last considered revisions to its Work Plan at the
November 20, 1996 Commission meeting. At that meeting, the Commission approved
and forwarded the Work Plan to the City Council for consideration/approval. The City
Council approved the Work Plan at the December 3, 1996 Council meeting. (Attachment
No. 1).
The City of La Quinta is attempting to coordinate and implement a fiscal year schedule
for each of the Commissions' Work Plans. Consideration at this time will allow for
Council review of the Commissions' plans in conjunction with budget consideration.
RECOMMENDATION:
That the Commission prepare its Work Plan for FY1997-98.
V1'",
Mark Weiss, Assistant City Manager
cultstaff30.wpd
CITY OF LA QUINTA
CULTURAL COMMISSION
WORK PLAN
1996=97
APPROVED BY CITY COUNCIL
December 3, 1996
Cultural Commission
1996=97 Work Plan
On-Goina Assignments
Priority: 1
Category: On -Going
Assignment Item: Annual Work Plan
Method(s) of Fulfillment: Review existing assignments, suggest assignments to
fill any voids, review programs and programs being
done by other cities.
Suggested Resources: The work plan should be considered a living document,
subject to revision during the course of routine
maintenance.
Expansion of Assignment:
Commissioner Availability:
Commitment Required:
On going maintenance.
Review regularly.
1 hour per 6 months.
1
Priority:
Category:
Assignment Item:
Method(s) of Fulfillment:
Suggested Resources:
Expansion of Assignment:
Commissioner Availability:
Commitment Required:
1
On -Going
Cultural Arts Master Plan
To develop a Master Plan to encourage cultural arts in
the City of La Quinta.
Members of the community.
Execute the Plan.
All Commissioners will work on the Plan.
4-5 hours of Commission/Committee work per month.
Pq
Priority:
Category:
Assignment Item:
Method(s) of Fulfillment:
Suggested Resources:
Expansion of Assignment:
Commissioner Availability:
Commitment Required:
3
On -Going
D.E. P.A. Program
(Diversified Exposure to Performing Arts)
Identify alternatives for students to attend diversified
events.
Each fall a subcommittee of Cultural Commissioners
would spend 10-20 hours making calls to secure free or
reduced rate tickets during the season.
No growth in staff time, should be similar each year.
Mostly work will be by PTA and/or school staff, if they
agree to work the program.
Commissioner Sharp will chair the program.
10-20 hours per year.
3
Priority:
Category:
4
On hold for remainder of school year.
Assignment Item: Arts Advocacy
Method(s) of Fulfillment: Prepare guidelines and resources for parents,
educators, organizations and citizens at large to
advocate for arts education in La Quinta schools grades
K-3. Lobby for appointment of music and art
coordinators/supervisors, encourage adoption of
"National Standards for Arts Education." This program
will be implemented in cooperation with Desert Sands
Unified School District.
Suggested Resources: MENC, MTNA, National Coalition for Music Education,
local art and music organizations. Staff time and funds
are minimal. Utilize parent volunteers.
Expansion of Assignment: The goal is to eventually reach all students K-12 in the
Desert Sands Unified School District.
Commissioner Availability: All Commissioners are resources.
Commitment Required: Once organized, this project will take approximately 2
hours per month.
4
0 �O •
,a. Z
V �
4
OF
CULTURAL COMMISSION
MEETING DATE: April 24, 1997
ITEM TITLE: Letter(s) of Commendation
BACKGROUND AND OVERVIEW:
The Cultural Commission has requested that this item be placed on each agenda for the
Commission to consider sending out letter(s) of commendation to worthy
individuals/organizations which provide cultural events/activities or enhance culture in
the Coachella Valley. This space is reserved for the Commission to discuss any letters
of commendation which the Commission would like to send out.
Attached are copies of letters that were sent out based on direction from the March 27,
1997 Commission meeting.
RECOMMENDATION:
As deemed appropriate by the Commission.
I
Mark Weiss, Assistant City Manager
c: cultstaff27.wpd
CJJ
4 Qaara
78-095 CALLE TAMPICO - LA QUINTA, CALIFORNIA 92253 - (619) 777-7600
FAX (619) 777-7101
March 31, 1997
Mrs. Honey Atkins, President
La Quinta Arts Festival League
PO Box 777
La Quinta, CA 92253
Dear Honey:
The Cultural Commission extends its commendations to you, your Board and
the myriad volunteers who work with you. You do a herculean job I of
obtaining and handling the volunteers to work in such a professional and
personal manner. They are the face of your organization, and it is one: of
which you must be very proud.
The teamwork you have established between the League and the Festivals's
Board of Directors is exemplary. You are to be commended for your
leadership role in it. We are proud to have you as one of our
Commissioners.
Sincerely,
i
K hry . Hull, Chair
Cultural Commission
KBH:pjs
MAILING ADDRESS - P.O. BOX 1504 - LA QUINTA, CALIFORNIA 92253
Y !
4 46
78-495 CALLE TAMPICO — LA QUINTA, CALIFORNIA 92253 - (619) 777-7000
FAX (619) 777-7101
E
a
March 31, 1997
Ms. Millie Blansett, President
La Quinta Arts Association
79-435 N. Sunrise Ridge Drive
La Quinta, CA 92253
Dear Millie:
The La Quinta Cultural Commission congratulates you and your Association
on its successful opening of a gallery in La Quinta. We wish you success
in this new venture, and hope the many artists who will be represented there
experience success in their work, too. You are to be commended for your
consistent efforts in bringing the gallery to fruition in such a good commercial
location. I
We would be pleased to have you attend a Cultural Commission meeting! at
noon on the fourth Thursday of any month and personally tell us about your
successes. Also, if there is any way in which we can be of support to you,
please let us know.
Again, our best wishes for your success.
Sincerely,
Ot
Kat ryn . Hull, Chair
Cultural Commission
KBH:pjs
MAILING ADDRESS - P.O. BOX 1504 - LA QUINTA, CALIFORNIA 92253
T 6 0 .
-4hf 4 4a Qa&
rAou
78-495 CALLE TAMPICO - LA QUINTA, CALIFORNIA 92253 - (61
FAX (61
March 31, 1997
Mr. Richard DeSanits, President
La Quinta Arts Festival
PO Box 777
La Quinta, CA 92253
Dear Richard:
�) 777-7000
�) 77-7-7101
The Cultural Commission extends its congratulations to you and your organization for your
most financially successful art festival to date. You, your Board, the staff, and the
volunteers outdid themselves in order to create a gross income of over $1 millioq for the
first time in your history. You all are to be commended for a major contribution to he arts
and this community.
Thank you for all the fine work you do in promoting the arts and the image of La
We are proud to be its citizens.
Sincerely,
f01
Katryn . Hull, Chair
Cultural Commission
KBH:pjs
c: Kay Wolff, Interim Executive Director
MAILING ADDRESS - P.O. BOX 1504 - LA QUINTA, CALIFORNIA 92253
)uinta.
/ T
z
V S
fij
of �tiv
CULTURAL COMMISSION
MEETING DATE: April 24, 1997
ITEM TITLE: Support and Recognition of Arts Organizations
BACKGROUND AND OVERVIEW:
The Cultural Commission has requested that this item be placed on each agenda for the
Commission to consider giving support and recognition to cultural organizations.
This space has been reserved on the agenda for the Commission to discuss support and
recognition for appropriate organizations.
RECOMMENDATION:
As deemed appropriate by the Commission.
Mark Weiss, Assistant City Manager
cultstaff28.wpd
REGULAR MEETING OF THE
ART IN PUBLIC PLACES COMMISSION
NORTH CONFERENCE ROOM
February 3 1997
3:00 P.M.
This regular meeting of the Art in Public Places Commission was called to order by Chairman John
Walling at 3:12 p.m., who asked Commissioner Klein to lead the flag salute. Chairman Walling
asked for the roll call:
I. ROLL CALL: Present: Commissioners Sharon Kennedy, Michelle Klein, Elaine Reynolds,
Rosita Shamis, and Chairman Walling.
It was moved and seconded by Commissioners Kennedy/Shamis to excuse
Commissioners Cothrun and Davis. The motion carried unanimously.
Staff. Community Development Director Jerry Herman and Executive
Secretary Betty Sawyer.
II. CONFIRMATION OF THE AGENDA: Confirmed
III. PUBLIC COMMENT: None
IV. CONSENT CALENDAR:
A. Minutes - The Minutes of January 6, 1997. Commissioner Shamis asked that the
minutes be amended to add the discussion with John Nagus regarding the Cities of
La Quinta and Palm Desert hosting a joint workshop regarding public art. She also
asked that Item A under Business Items be changed to relfect that Mr. John Nagus
gave the presentation. There being no further changes, it was moved and seconded
by Commissioners Kennedy/Shamis to approve the minutes as amended.
Unanimously approved.
B. Financial Statement - There being no further questions nor any changes, it was
moved and seconded by Commissioners Klein/Reynolds to accept the Financial
Statement as submitted. Unanimously approved.
C. Department Report - Community Development Director Jerry Herman introduced
Assistant City Manager Mark Weiss who explained the purpose of the Cultural
Commission Workshop to be held February 6, 1997.
1. Commissioner Shamis asked if there were any written information on the
meeting. Staff stated the only information distributed was a questionnaire
that had been mailed out.
APP2-3-97
Art In Public Places Commission
February 3, 1997
2. Commissioner Kennedy asked what the response had been to the
questionnaire. Staff stated that 18 had been received to date.
3. Commissioner Shamis asked that a thank you note be sent to the City
Council for all the work that was done to create the Boards and Commission
Notebook.
V. BUSINESS ITEMS:
A. Tour and Discussion of Potential Art Locations within the City
1. Community Development Director Jerry Herman gave a brief overview of the
development that is occurring within the City. He explained that the road
improvements at the intersection of Highway 111 and Washington Street are
anticipated to be completed by middle of March which would allow the
DeMartino art piece to be completed.
2. Chairman Walling asked if landscaping was planned for the center mediums
on Highway 111. Staff stated the medians would be constructed from the
Cliffhouse Restaurant at the west entrance, to Jefferson Street on the east.
Staff was currently reviewing the landscaping drawings and they should be
presented to Council in March or April. Washington Street and Eisenhower
Drive medians and landscaping had been approved by the City Council. All
mediums are being designed to contain art pads.
3. Staff went on to explain that the City campus would be turfed and a road
constructed from the Senior Center to Avenida La Fonda with curb and gutter
improvements planned for La Fonda. In addition, the City Campus would be
turfed and accommodate the DeMartino's artwork.
4. Staff explained. that Home Depot had been required to dedicate the northwest
corner of Jefferson and Highway 111 to the City for an entry sign that would
include landscaping and possible artwork. In regards to potential sites for
artwork, the proposed retail center at Highway I I I and Dune Palms Road
may be a potential site. Also, the commercial project at Fred Waring and
Washington Street as well as the southeast corner -Palm Royale could
potentially be developed for art.
5. Commissioners discussed with staff the plans for the City Campus in regards
to the La Quinta Arts Foundation building their offices on -site.
6. Following discussion, it was moved and seconded by Commissioners
Walling/Shamis to direct staff to create a City map identifying potential sites
APP2-3-97 2
Art In Public Places Commission
February 3, 1997
for artwork to be presented and discussed at the next meeting. Unanimously
approved.
B. Civic Center Art Purchase Committee - La Ouinta Arts Festival
1. Staff informed the Commission that Council Members Sniff and Adolph had
been appointed to serve on the Civic Center Art Purchase Committee. The
Commission would need to determine who from the Commission would also
be on the Committee. If four or more are on the Committee the meeting most
be posted. Following discussion, Commissioners Klein, Davis, and Shamis
were appointed. Unanimously approved
2. Commissioner Davis asked when and how the arrangements had been made
that the City would not pay the commission on the artwork selected. Staff
stated this was established when the program was first started.
Commissioner Davis stated she would research the issue with the Foundation.
VI. CORRESPONDENCE AND WRITTEN MATERIAL: None
VII. COMMISSIONER ITEMS:
VIII. FUTURE AGENDA ITEMS:
A. Commissioners asked staff about the progress on the Temporary Art Program. Staff
stated they were waiting to meet with the City Attorney to redraft the program.
IX. ADJOURNMENT
There being no further business, it was moved and seconded by Commissioners Kennedy/Klein to
adjourn this meeting of the Art in Public Places Commission to a regular meeting of the Art in Public
Places Commission on March 3, 1997 at 3:00 P.M. Unanimously approved. This regular meeting
of the Art in Public Places Commission was adjourned 4:18 at P.M.
APP2-3-97 3
REGULAR MEETING OF THE
ART IN PUBLIC PLACES COMMISSION
NORTH CONFERENCE ROOM
March 3, 1997
3:00 P.M.
This regular meeting of the Art in Public Places Commission was called to order by Chairman John
Walling at 3:05 p.m., who asked Commissioner Shamis to lead the flag salute. Chairman Walling
asked for the roll call:
I. ROLL CALL: Present: Commissioners Judi Cothrun, Johna Davis, Sharon Kennedy,
Michelle Klein, Elaine Reynolds, Rosita Shamis, and Chairman Walling.
Staff. Community Development Director Jerry Herman and Executive
Secretary Betty Sawyer.
II. CONFIRMATION OF THE AGENDA: Confirmed
III. PUBLIC COMMENT: None
IV. CONSENT CALENDAR:
A. Minutes - Chairman Walling asked if there were any changes to the Minutes of
February 3, 1997. Commissioner Cothrun asked that the minutes be amend to show
that she was in attendance. There being no further changes, it was moved and
seconded by Commissioners Klein/Kennedy to approve the minutes as amended.
Unanimously approved.
B. Financial Statement - There being no changes, it was moved and seconded by
Commissioners Shamis/Reynolds to accept the Financial Statement as submitted.
Unanimously approved.
C. Department Report - None
V. BUSINESS ITEMS:
A. Art Proposal for the La Ouinta Car Wash by Marcia Gibbons
1. Chairman Walling introduced artist Marcia Gibbons who presented her
drawings for the carwash. Ms. Gibbons stated she was resubmiting her
design due to the controversy of the subject of the painting. In regards to the
cost of installation of the artwork, she had no objection to overseeing the
installation, but she did not want to be in charge of the installation; she did
not want to subcontract the installation.
APP3-3-97 I
Art In Public Places Commission
March 3, 1997
2. Ms. Gibbons went on to explain her drawings. She stated she understood the
Commission's concern that the car motif was the wrong subject for this
location. It could appear to be advertising and this is not the intent of the
Commission or public art. What she was submitting were two alternative
landscape themes for the Commission's consideration..
3. Chairman Walling asked Ms. Gibbons if her bid and the installation costs
would be within the $10,000 budget. Ms. Gibbons stated they would.
4. Commissioner Kennedy asked what size tiles would be used. Ms. Gibbons
stated she would be using six inch tiles as they were the easiest to work with.
Commissioner Kennedy asked how many tiles it would take. Ms. Gibbons
stated she was unsure of the exact number, but it would be a lot.
5. Commissioner Shamis asked how many students would be involved. Ms.
Gibbons stated she would want the teachers from the La Quinta Middle and
High School to make recommendations. She would be able to use as many
as they recommend. The number was not important as she teaches 200
students a day and most classes have 35 students. As long as the teachers are
recommending the students, they will be motivated and there should be no
problem.
6. Commissioner Kennedy asked where the students would be working. Ms.
Gibbons stated it would need to be a building that was empty but had lights,
water, air conditioning, and someplace on site to store all the supplies. The
high school may be a possibility, but she was unfamiliar with the facility.
7. Following discussion, it was determined that Ms. Gibbons would check with
the high school and staff would check with the owners of the One Eleven La
Quinta Shopping Center.
8. It was moved and seconded by Commissioners Kennedy/Reynolds to
recommend to the City Council that a Contract for Services be entered into
with Ms. Marcia Gibbons for the design, construction, and overseeing of the
installation of an art piece to be located on the south -facing parapet of the La
Quinta Car Wash, contingent upon the approval of middle and high school
students being involved; the total cost not to exceed $10,000; and the subject
to be determined by the City Council from a selection of four designs to be
submitted by Ms. Gibbons. The four designs would be subj ect to the
Commission's review prior to being taken to City Council on April 1 st.
Unanimously approved.
APP3-3-97 2
Art In Public Places Commission
March 3, 1997
B. Discussion of Potential Art Locations within the Citv
1. Community Development Director Jerry Herman explained the problems that
had been incurred by the City due to the passing of Proposition 218. He
stated that before temporary art could be considered for installation in the
City medians, the medians would need to be constructed and a determination
made as to the effects of Proposition 218 on the City's ability to maintain the
medians. Commissioners discussed potential artists who had expressed
interest in displaying artwork. They included John Weidenhamer, Snake
Jagger, John Kennedy, as well as art pieces from the Sculpture Garden/Open
Art Museum.
2. Commissioner Klein asked if the medians would have lighting. Community
Development Director Jerry Herman stated staff anticipated lighting would
be installed, but it was still uncertain.
3. Commissioner Cothrun stated it was her understanding that the medians had
been approved and budgeted a long time ago. Staff stated that was true, but
with the passing of Proposition 218 everything was being reconsidered.
4. Chairman Walling asked if the installation of the pads would be done with
the use of Art in Public Places funds? Staff stated the cost of the pads should
have been included in the cost of the medians.
5. Staff informed the Commission that the City would be constructing Avenida
La Fonda and the grass seeding of the Civic Center Campus should be done
at the same time. This would allow the installation of the Louis DeMartino
art piece. A time frame was yet to be determined; it would depend upon
when the funds could be allocated.
6. Commissioners reminded staff that Mr. Bernardo, of the Sculpture Garden
had volunteered artwork from this Sculpture Garden to be installed in the
medians as part of the temporary program. Staff was directed to obtain a list
of artists that are on display at the Sculpture Garden as well as a list of other
artists who would be available from other areas.
7. Commissioner Shamis asked if the Commission was to be involved in the
selection of an entry sign for Highway 111. Staff stated it was up to the City
Council and explained that an entry sign was being considered for the east
and west ends of Highway 111. The City Council had reviewed four designs
at a recent study session.
APP3-3-97 3
Art In Public Places Commission
March 3, 1997
8. Commissioner Klein asked if the sign being considered was anything like the
entry sign for Indian Wells. Staff stated that should the Commission want to
be involved in the design of the entry sign, it would probably mean the use
of APP funds.
9. Commissioner Shamis asked if the Commission shouldn't be intrusted to
lend some expertise to the design of the sign. Discussion followed regarding
how or if the Commission would like to be involved in the selection of a City
entry sign.
10. Commissioner Cothrun stated that due to the limited APP funds and time
commitment involved, she believed it would be best not to get involved.
11. Commissioner Kennedy asked if the entry signs for Palm Desert had been
determined by their Art Commission. She would like to think that as a
Commission they represented the City. She would like to approach the City
Council and see if they would allow them to be involved in the selection of
an entry sign. Staff reiterated that if the Commission wanted to be involved,
it would probably require a financial commitment.
12. Commissioner Cothrun asked if the decision was entirely up to the City
Council or could each member of the Commission offer their suggestion as
a resident of the City. Community Development Director Jerry Herman
stated that they were certainly entitled to offer their opinion to the Council.
13. Chairman Walling stated his concern that this could expose the Commission
to a lot of areas that the Commission does not want to be involved in and in
his opinion it would be better to keep the art separate.
14. Commissioner Shamis stated it was hard to make any decisions or plans when
they have no direction from the Council as to what they are planning.
15. Commissioner Klein stated she would like to think the Commission had a
plan in mind as to how the City was developing. The streetscape is a large
part of the City's development and the Commission should be involved.
16. Commissioner Kennedy stated that the City of Palm Desert is a very "user
friendly" City as you enter from either entrance. The Commission needs to
offer its expertise and services to the City Council and see if they accept.
APP3-3-97 4
Art In Public Places Commission
March 3, 1997
17. Chairman Walling stated the Commission obviously wants to be involved
and in his opinion, they could do this one of two ways. Either by helping to
design the entry sign or by involvement in the streetscape. Should the
Council not want to be involved in the entry sign, they could be involved in
the enhancement of the area where the signs are installed.
18. Commissioner Shamis stated the Council should be notified of their interest
early enough to allow time for the Commission and Council to work together
on the entire design. Staff stated that if Council agrees to the Commission's
request, would the Commission want to design the sign or would they retain
an artist. Commissioners determined that a competition would probable be
the best method.
19. Commissioner Klein asked staff how far along the Council was on the
designing of the sign. Staff stated that four signs had been considered by the
Council in addition to the original sign recommended by the Planning
Commission. To date, no decision had been made and Council had directed
that additional designs be submitted.
20. Following discussion, it was moved and seconded by Commissioners
Walling/Shamis that staff inform the City Council that the Commission
would like to be involved either directly, or as an advisor, with the Council
to assist with the design and installation of the City entry sign.
21. Commissioners informed staff that they would still like to take a tour of the
City to review locations for artwork. Staff was to make arrangements for the
tour at the next meeting of the Commission.
B. Civic Center Art Purchase - Potential sites
1. Commissioners took a ten minute recess to review possible locations for
artwork to be purchased at the La Quinta Arts Festival for the City Hall. It
was determined that the artwork should be a sculpture for either the courtyard
or Council Chambers.
VI. CORRESPONDENCE AND WRITTEN MATERIAL:
A. Community Development Director Jerry Herman informed the Commission that they
were invited to participate in the "Road Map to the Future" Workshop to be held on
March 7, 1997, at the Palm Desert City Hall regarding Enhancement Opportunities
for the Interstate 10 & State Route 86 Interchange.
APP3-3-97 5
Art In Public Places Commission
March 3, 1997
VII. COMMISSIONER ITEMS: None.
VIII. FUTURE AGENDA ITEMS:
A. Field trip
IX. ADJOURNMENT
There being no further business, it was moved and seconded by Commissioners Kennedy/Klein to
adjourn this meeting of the Art in Public Places Commission to a regular meeting of the Art in Public
Places Commission on April 7, 1997 at 3:00 P.M. Unanimously approved. This regular meeting
of the Art in Public Places Commission was adjourned 4:20 at P.M.
APP3-3-97 6
MINUTES
HISTORIC PRESERVATION COMMISSION MEETING
A regular meeting held at the La Quinta City Hall North Conference Room
78-495 Calle Tampico, La Quinta, CA
January 16, 1997
I. CALL TO ORDER
3:30 P.M.
A. This meeting of the Historic Preservation Commission was called to order at 3:36
P.M. by Chairman Millis.
B. ROLL CALL
1. Chairman Millis requested the roll call: Present: Commissioners DeMersman,
Puente, and Chairman Millis.
2. It was moved and seconded by Commissioners DeMersman/Puente to excuse
Commissioner Wright. Unanimously approved.
2. Staff present: Planning Manager Christine di Iorio, Associate Planner Leslie
Mouriquand, and Executive Secretary Betty Sawyer.
II. CONFIRMATION OF AGENDA: Confirmed
III. PUBLIC COMMENT: None
IV. CONSENT CALENDAR
A. Chairman Millis asked that the Minutes of November 21, 1996, be amended on Page
3, Item 2.3. to read, "...glazing will be smoke colored." and "....as originally designed
and not compromise the architectural integrity of the building." There being no
further corrections, it was moved and seconded by Commissioners
DeMersman/Puente to approve the minutes as corrected. Unanimously approved.
V. BUSINESS ITEMS
HPC1-16
A. Environmental Assessment 96-333 - Certificate of Appropriateness for Tradition
project Clubhouse. and entry gates.
1
Historical Preservation Commission
January 16. 1997
1. A staff report was presented by Associate Planner Leslie Mouriquand, a copy
of which is on file in the Community Development Department.
2. Chairman Millis asked if there were any plans showing the entry gate. Mr.
Eric Carlson, AIA, architect for the project, presented and explained the
drawings. Discussion followed regarding the architecture detailing to be
used.
3. Mr. Carlson, AIA Architects, addressed the issues that were raised in the staff
report and showed photographs of the existing wall. As a solution to the
auto -court impacting the existing low rock wall. They decided to drop the
elevation of building(s) and auto -court to allow a grade change that would
retain the existing wall. The existing wall would have the last two feet
removed to allow a natural tie in with the new auto -court.
4. Chairman Millis asked what the perimeter wall material treatment would
consist of. Mr. Carlson stated it was to be stone similar to the existing to
carry the same theme throughout the auto -court. Chairman Millis asked if
they would be able to locate the same stone. Mr. Carlson stated they intended
to use what was not going to be used from other areas on the property. Staff
stated they would require that the applicant make a definite distinction
between the old and new sections.
5. Mr. Mike Rowe, Winchester Development stated it was the applicants desire
to retain the theme and look of an old hacienda. He went on to explain that
the existing walls were two feet high and they intended to construct the wall
on the east side 6-inches high and detail/color it to denote the difference
between the two walls. Staff explained that they were concerned about the
transition between the two elements and the proposed changes would satisfy
staffs concerns.
6. Chairman Millis asked if there was to be any difference in the materials to be
used for the driveway. Mr. Rowe stated there would be none, it was to be
asphalt and dirt.
7. Planning Manager Christine di Iorio stated staff had spoken with the Fire
Department and they were comfortable with the designation of the east entry
lane for Fire Department emergency use. Discussions followed regarding the
driveway dimensions and signs to notify vehicular traffic of the Fire
Department access.
HPC 1-16 2
Historical Preservation Commission
January 16, 1997
8. Mr. Mike Rowe asked about the planters in front of the entry gate being
moved. Planning Manager Christine di Iorio explained that staff originally
wanted to retain the planters and not compromise the existing structure. As
a result of discussions with the applicant, they had no objections to their
recommendation. Staff will document the planters with photographs before
they are removed.
Chairman Millis asked if staff was comfortable with the changes as submitted
by the applicant. Staff stated they were in agreement.
7. There being no further discussion, it was moved and seconded by
Commissioners DeMersman/Puente to adopt Minute Motion 97-001,
recommending approval to the City Council of the Certificate of
Appropriateness for Environmental Assessment 96-333 with the
modifications as submitted by the applicant. Unanimously approved.
B. Environmental Assessment 96-311 - Report of Archaeological Monitoring Program
for Terracing Apartments
1. Associate Planner Leslie Mouriquand presented the information contained in
the staff report, a copy of which is on file in the Community Development
Department.
2. Chairman Millis stated that this area, as documented through history, has
always been the lowest point and probably precludes any findings as it was
usually a lake.
3.. There being no further questions/comments, it was moved and seconded by
Commissioner Puente/DeMersman to adopt Minute Motion 97-002,
recommending to the City Council, approval of the Report of Archaeological
Monitoring Program for the Terracina Apartments, as submitted.
Unanimously approved.
C. Capital Improvement Proiect 96-05 - Heritage Resource Assessment for the
extension of 48th Avenue between Jefferson Street and the Emergency Evacuation
Channel, City of La Ouinta
1. Planning Manager Christine di Iorio presented the information contained in
the staff report, a copy of which is on file in the Community Development
Department.
HPC1-16 3
Historical Preservation Commission
January 16, 1997
2. There being no questions, it was moved and seconded by Commissioners
DeMersman/Puente to adopt Minute Motion 97-003, recommending to the
City Council, approval of Capital Improvement Project. Unanimously
approved.
VI. CORRESPONDENCE AND WRITTEN MATERIAL -
A. Staff explained that a letter had been received from Dr. Paul Chace, of The Keith
Companies explaining that they had acquired a computer program that identified
there were 193 historic older buildings within the City which currently survive. A
notebook listing these 193 properties with additional information could be purchased
by the City for $3,287.00.
1. Chairman asked what the differences were between what our Historic Survey
consultants had found and this list. Staff stated the consultants had not done
any field work to date.
2. Commissioner DeMersman asked why The Keith Companies would take the
time to do this. Chairman Millis stated it was probable because they obtained
the software that allowed them to do this. Chairman Millis suggested the
Commission wait to see what the Survey produced and see if the difference
warranted looking into the offer. As most computer programs will rank the
historic buildings, the only ones that may be missing from the Survey results,
may not be of any significance.
3. The Commission determined to take no action at this time, but wait to see
what the Survey produces.
B. Certified Local Government (CLG) Professional Qualifications update.
1. Associate Planner Leslie Mouriquand explained that the Annual CLG report
was due and each Commissioner needed to update their resume for
preparation to SHPO.
2. Planning Manager Christine di Iorio informed the Commission that Council
would be reviewing the applicants to serve on the Historic Preservation
Commission at their January 21, 1997 meeting. Four applications had been
received. Discussion followed relative to the applicants background.
VII COMMISSIONER ITEMS
A. None
HPCI-16 4
Historical Preservation Commission
January 16, 1997
VIII. ADJOURNMENT
There being no further business, it was moved and seconded by Commissioners DeMersman/Puente
to adjourn this meeting of the Historic Preservation Commission to a regular meeting of the
Historical Preservation Commission on February 20, 1997. This meeting of the Historical
Preservation Commission was adjourned at 4:25 P.M. Unanimously approved.
HPCI-16 5
MINUTES
HISTORIC PRESERVATION COMMISSION MEETING
A regular meeting held at the La Quinta City Hall North Conference Room
78-495 Calle Tampico, La Quinta, CA
February 20, 1997
I. CALL TO ORDER
3:30 P.M.
A. This meeting of the Historic Preservation Commission was called to order at 3:35
P.M. by Chairman Millis.
B. ROLL CALL
1. Chairman Millis requested the roll call: Present: Commissioners Puente,
Wright, and Chairman Millis. Commissioner DeMersman arrived late.
2. Staff present: Planning Manager Christine di Iorio and Executive Secretary
Betty Sawyer.
II. PUBLIC COMMENT:
A. Ms. Joyce Pena stated she was interested in becoming a Historic Preservation
Commission and was there to observe the meeting.
B. Ms. Melanie Fesmeire stated she was from the Coachella Valley Historical Society
and was attending to observe the meeting.
III. CONFIRMATION OF THE AGENDA:
A. Staff requested the Agenda be reorganized as follows:
Item 2 - 7, Item 3 - 8, Item 4 - 6, Item 5 - 4, Item 6 - 3, Item 7 - 2, Item 8 - 5.
It was moved and seconded by Commissioners Wright/Puente to accept the
reorganization as submitted. Unanimously approved.
IV. CONSENT CALENDAR: None.
V. BUSINESS ITEMS
A. Environmental Assessment 96-333 - Tradition Club; a request of The Tradition Club
Associates, LLC, for a report of Historic Documentation of the Old Avenue 52 by
Paul G. Chace, Ph.D., The Keith Companies.
Historical Preservation Commission
February 20, 1997
1. A staff report was presented by Planning Manager Christine di Iorio, a copy
of which is on file in the Community Development Department. Staff stated
that comments had been received from Advisor Lauren Bricker regarding this
project. It was her concern that the Commission make a determination either
to concur with the report that the linear feature (Old Avenue 52) has no
significance, or ask that it be included in the report. Even though the feature
has been removed, the issue is to determine whether it is significant and
warrants some local significance to the planning and development of the
community. Dr. Chace's decision to not include it in the report is based upon
the lack of integrity of the resource. Ms. Bricker's felt this should not be the
determining factor in making the decision as to its significance.
2. Chairman Millis asked which element does Mr. Chace believe is not valid.
Staff stated it was their determination that Mr. Chace was making the
determination based on the integrity of the feature as it is gone. Again, is the
fact that it has been removed reason to make the determination about its
significance and is this setting a precedent for future determinations?
3. Chairman Millis stated that in this case there has been a clear record of that
piece of property and the linear feature which has been reflected in a number
of documents that would allow the history to be recorded. The feature being
gone does not change the fact that the documentation is in place.
4. Planning Manager Christine di Iorio stated a sentence could be added to the
report stating its significance and documenting it in accordance with CEQA.
Staff was asking the Commission whether or not Dr. Chace should be asked
to make the change.
5. Chairman Millis stated that the significance of 52nd Avenue was still there.
In fact, only a portion of the street had been removed and that removal does
not erase the significance of the street.
6. Commissioner DeMersman clarified that staff was asking the Commission
whether or not they wanted to require Dr. Chase to change the report to
record the streets significance. Staff stated this was the question.
7. Chairman Millis stated that Item #3 under the Findings be changed to
acknowledge the historical significance of the street, and note that it had been
thoroughly documented. Staff was to notify The Keith Companies of the
Commission's request.
HPC2-20 2
Historical Preservation Commission
February 20, 1997
8. There being no further discussion, it was moved and seconded by
Commissioners Wright/Puente to adopt Minute Motion 97-004, approving
the Historical Documentation of a Segment of Old Avenue 52, with the
change in the report to reflect the historical significance of 52nd Avenue.
Unanimously approved.
B. Environmental Assessment 96-333 for Tentative Tract 28470; a request of Tradition
Club Associates, LLC for approval of a Report on the Capping of CA-RIV-1179 by
The Keith Companies for Tract 28470, south of Washington Street, east of Avenida
Bermudas.
Planning Manager Christine di Iorio presented the information contained in
the staff report a copy of which is on file in the Community Development
Department.
2. Chairman Millis stated that no action is required by the Commission. This
is for their information only. It was noted that the developer had gone to a
great deal of work to maintain the site.
3. There being no questions, it was moved and seconded by Commissioners
DeMersman/Wright to adopt Minute Motion 97-009, to receive the report for
file. Unanimously approved.
C. Environmental Assessment 96-300 for Public Use Permit 95-015; a request of Desert
Sands Unified School District for approval of the results of an archaeological
monitoring program for the DSUSD Educational Services Center Project by Craig
R. Lorenz and Associates/Brian F. Smith Associates for the property located at 47-
950 Dune Palms Road.
1. Planning Manger Christine di Iorio presented the information contained in the
staff report a copy of which is on file in the Community Development
Department.
2. Chairman Millis asked where the items that were found were stored. Staff
stated it was not noted in the report.
3. Commissioner Wright stated it would be rice to know where they are stored.
The Commission needs to request this information from the applicant. Staff
stated that it could be an item that staff could require of all future tract maps
HPC2-20 3
Historical Preservation Commission
February 20, 1997
during the processing of the applications. A condition could be placed on the
tract that during the survey reports and required monitoring, if any artifacts
are found, they be brought to the City and the City could find a location to
store them.
4. Commissioner DeMersman noted in the report that all noted materials found
would be curated at the Archaeological Laboratory of EFSA in Pomona. Ms.
Joyce Pena stated it was her opinion that these items are important and should
be retained in the City.
5. Following discussion, it was moved and seconded by Commissioners
Wright/Puente that all artifacts found within the City, be taken to the
Historical Commission before they are transferred anywhere.
6. There being no further discussion, it was moved and seconded by
Commissioners Wright/Puente to adopt Minute Motion 97-008,
recommending to the City Council, approval of the Historic Survey Project
Status Report to SHPO. Unanimously approved.
D. Historic Survey Project Status Report
1. Planning Manager Christine di Iorio introduced Pam O'Conner and Vickie
Stigemeyer who were conducting the Survey report.
2. Ms. O'Conner stated they were in the City to conduct field research to get a
feel for the lay of the land and to gain background. They would then review
again the Context Statement completed by staff in light of their on -site
review. They are doing an overall review of the older buildings and getting
an idea of how it fits into the Context Statement. Now they are moving into
the systematic review of the City and hope to review findings with staff to be
sure they are not overlooking or missing anything.
3. Commissioners suggested Ms. O'Conner review the aerial photos that are
available.
4. Chairman Millis thanked Ms. O'Connor for her report.
E. Symposium on the Archaeological of the Coachella Valley
1. Staff provided information regarding the upcoming symposium. A list of
speakers is being prepared for the day long symposium. It will be held during
La Quinta Heritage Week in May and is being sponsored by the Coachella
Valley Archaeological Society, the Society for California Archaeology, and
HPC2-20 4
Historical Preservation Commission
February 20, 1997
the City La Quinta, and will be held at the La Quinta City Hall Council
Chambers. Staff will see that an agenda is mailed to the Commission as soon
as it is received.
2. Ms. Joyce Pena stated that during research for a book she was working on,
there was a dispute as to the exact boundaries of the Coachella Valley. She
had gone to the different cities and the boundaries she was given were
according to the school districts. She stated that if the word "Coachella
Valley" is to be used that a definition be made as to the exact boundaries that
make up the Valley. She volunteered to give staff a map that she had
obtained that gave the boundaries she understood to be the Coachella Valley.
3. Chairman Millis thanked Ms. Pena for her offer and asked staff to obtain a
copy of the map.
F. Environmental Assessment 96-335 for Tentative Tract 28409; a request of A & M
Builders for a Heritage Resources Assessment by Archaeological Advisory Group
of the area north of Avenida Montezuma, west of Avenida Juarez, and southeast of
the Bear Creek Channel for a subdivision of 9.15 acres 19 single family lots. They
are requesting to not have a monitor on site as the CVWD has done a lot of grading
work prior to any archaeological work being completed. The possibility of artifacts
present on the project site could not be substantiated due to the disturbances that have
taken place over an extended period of time. They are therefore recommending that
a monitor not be required to be on site for grading.
1. Planning Manager Christine di Iorio presented the information contained in
the staff report a copy of which is on file in the Community Development
Department.
2. Commissioner Wright asked staff to clarify the location of the project. Staff
clarified that there were two projects proposed for this general area but that
this project is in an area that has been designated as residential and is at the
north end of the Channel. There are to be 19 residential units planned in a
southwest design on lots sizes of 12-15,000 square feet.
3. Chairman Millis stated that as this area is at the bottom of the Bear Creek
Channel and before the rechanneling the- water that ran through there was so
rapid that anything would have been washed away.
4. There being no questions, it was moved and seconded by Commissioners
DeMersman/Puente to adopt Minute Motion 97-005, approving the request
to not have a monitor on site during grading. Unanimously approved.
HPC2-20 5
Historical Preservation Commission
February 20, 1997
G. 1996 Annual Certified Local Government Report to SHPO
1. Planning Manager Christine di Iorio presented the information contained in
the staff report, a copy of which is on file in the Community Development
Department.
2. There being no questions/comments, it was moved and seconded by
Commissioners to adopt Minute Motion 97-005, approving the 1996 Annual
CLG Report to SHPO as submitted. Unanimously approved.
VI. CORRESPONDENCE AND WRITTEN MATERIAL -
A. Chairman Millis noted the California Preservation Foundation Conference to be held
in San Diego, March 13 - 15, 1997. Attendance to this conference would be in
compliance with their educational requirements.
B. Chairman Millis noted the letter received from Mr. Chace.
VII COMMISSIONER ITEMS
A. Staff asked Ms. Pam O' Conner to comment on the California Preservation
Conference on emergency preparedness as she was one of the speakers to the
conference. She stated it was important to have preservation documentation to assist
in the repairs after a disaster. Should a disease occur, documentation helps to
streamline the rebuilding process. The conference dealt with the her cities (Santa
Monica) disaster as a case study. She went to state the processes and events that they
went through following the earthquake they went through and the rebuilding process.
She stated that being a city that has a Certified Local Government makes for a
stronger reviewing body. Each city needs to have inventory in place, be able to
respond, and yet be sensitive to realize that in a disaster, historic buildings are not the
most important thing. The community is going through stress going to recover. Keep
the rehabilitation in context to the communities needs. Going to lose some buildings
and you need to be able to pick and chose which ones should have a priority.
Commissioner Wright stated that the statistics quoted at the conference regarding
how many buildings were destroyed and restored were incredible. Ms. Pam Connor
stated that they only had to demolish three or five buildings. Commissioner Wright
noted the difference in the attitude of the people in Santa Monica versus the attitude
of those in San Francisco regarding the restoration of the buildings. The residents of
Santa Monica wanted to restore their community compared to San Francisco who
wanted to "punish" the buildings by tearing them down. Ms. O'Connor noted that
experiences are learned after each of the disasters.
HPC2-20 6
Historical Preservation Commission
February 20, 1997
Ms. O'Connor noted that the next California Preservation Foundation Conference
would be held in Pasadena. Commissioner DeMersman stated that CPF had been
impressed with their job of putting on the conference and would be meeting with the
group in Palm Springs to discuss the 1999 conference.
VIII. ADJOURNMENT
There being no further business, it was moved and seconded by Commissioners Wright/Puente to
adjourn this meeting of the Historic Preservation Commission to a regular meeting of the Historical
Preservation Commission on March 20, 1997. This meeting of the Historical Preservation
Commission was adjourned at 4:17 P.M. Unanimously approved.
HPC2-20 7
V �
t .Y tv�ww uni
�J
OF IN�o
CULTURAL COMMISSION
MEETING DATE: April 24, 1997
ITEM TITLE: Building & Construction Appeals Board Member List
BACKGROUND AND OVERVIEW:
Each Commissioner was given a Handbook for Commissions, Boards and Committees.
Attached is an updated Building & Safety Construction Appeals Board roster (Appendix
No. 9).
RECOMMENDATION:
Replace the page.
Mark Weiss, Assistant City Manager
cultstaff31.wpd
The
I" a F 8.,' 1 L
X-2 a 9 j. j 1 0 m
ob
'<°°
Lam�.06
!. Qp i.
�.. x nC.n w o °, o c c A� ° �'° e
9 FA
�:Aopn� rp AA$ (� vo
0r� p
�
off! a�.D ■� 0�l. ��r9.', C/ir.v.�
^f (� Q ,• N 1••+ (p ' Y� r' ri �► l J �"'J r� r. T v _.
R ° no ate. 8" p A o>gnirn
QQ
�.°�
po,oCo� O o far •� gpp.�oa "$o,,� 9La
�
pill
b fb y� `C � On i hl A " t! ��.* �* p�sr D• „q vi
0 0 p 1 o r. D �+ C. o g p n y '° ao r.
01
Council for San Bernardino County
P. O. Box 1307 * San Bernardino, CA 92402
Britt Wilson
City of La Quinta
P.O. Box 1504
La Quinta, CA 92253
:
is� 00
00 �°}•► �o � v��
r•► P7 A fllji�.. �. ►y y A (p �.
o9 �° �•o H »� •p•�•.� .off 9d
CR
CFO
ao o . $ 5 ��•'
co
cog .o
dig°a��,o a
0
cy
EN
COO. 0
co
PA
• 8
s 8
_ O v� spy "� r. C p �. �. ,t`r .. O o D ►y Oo
� � �+ �y'• O cps �'c�+ A o Ci7 Crl c. C� `' C7 � �. �, vq,'
°ao0 c Q6 ? d o 00 ]o'
a Loma"Ra
�� ��
O a a x
A �o •0-cr
z O
e: y N
0- A C 10,
o• � o J � N•��• II 4 II
p o A H H "• H
00
..
W v
O�
N
Allied Arts of Seattle
P R O G R A M O F T H E A R T S F O R S E A T T L E
INTRODUC T ION
As Seattle moves into its second century it becomes apparent
to many that a great effort in all the arts will be necess-
ary to match the challenge of the predicted growth of western
Washington.
Fifty organizations and scores of individuals forth Allied
Arts of Seattle. Its purpose is to unite the common inter-
ests of existing organizations for greater strength and ef-
fectiveness and to weld the broad objectives of each organ-
ization into a' comprehensive Program of 'the Arts.
The Program is to create an environment in Seattle in which
the arts can grow and produce a more beautiful and vital
city in which to live, more enjoyment for the people., more
order and simplicity out of some of the complexity and
confusion inherited from the first century.
The Program is to give the city of Seattle -- which alone
of the major cities of the west coast has not yet created
Art Commission functions to encourage the arts and to aid
the city to grow in beauty -- a position of leadership of
the west in the development of the arts.
• And finally the Program is to give to Seattle the distinct-
ion of being a leader among the cities of America in posit-
ive action in all the arts to demonstrate to the world that
America understands that though herculture is young, it is
capable of infinite achievement by the cooperative action
of her people.
Since the beginning of Allied Arts of Seattle seven months
ago, organizations grouped in fourteen categories of the
arts: :architecture, City Planning, Crafts, Education, Land-
scape Architecture and Gardening, Literature, museums and
Galleries, Music, Painting, Sculpture, Theatre Arts and
Dance, Graphic Arts, Interior Design and Opera conducted
a concentrated study of a Program of the Arts. from fourteen
points of view.
From the fourteen drafts the ibcecutive Board prepared a
comprehensive draft of a Program of the Arts for Seattle.
Virtually all arts expressed eagerness to contribute in
full measure tot the enrichment of our environment and
virtually all arts expressed the desire to be considered
mature, professional and worthy of their hire.
The Program that follows represents the corporate present
thinking and vision of all the arts. Some items are not
new, but are restated for completeness and emphasis. Some
will be readily accomplished; others will require discussion
and development before they succeed.
All items of the Program of the Arts are proposed in the
spirit of a recent ruling of the Supreme Court of the
United States given in the month of October, 1954,p the month
and year of the birth of Allied Arts of Seattle.
11...The concept of the public welfare is broad and inclusive.
The values it represents are spiritual as well as physical,
esthetic as well'as monetary. It is within the power of
the legislature to determine that the community should be
beautiful as well as healthy, spacious as well as clean,
well-balanced as well as carefully patrolled."
(Berman v. Parker).
A P R O G R A M O F T H E A R T S F O R S E A T T L E
1. Establish a Center of Art Information
a. Keep records of all schedules of performances, exhibit-
ions, meetings, and other art events in Seattle for their
coordination and elimination of conflicts.
b. Publish a calendar of events listing this information for
general use.
2. Present Awards of Merit for Outstanding Achievements in the Arts.
a. Present Honorary Awards on behalf of the people of the city
to artists who have brought distinction to Seattle through
their work.
b. Encourage the establishment of substantial prizes from
public and private funds for achievement in the arts.
c. Consider such awards on an annual basis.
3. Establish a Municipal Art Commission for Seattle
a. Put at the disposal of the city government the best ad-
vice and judgement of people concerned with the arts for
the purpose of insuring that the city will grow more
beautiful as it exp ands .
b. . Commissioners shall serve without remuneration.
�. Use of Mural Painting, Sculpture, Landscape Architecture and
T. the other Arts in Civic architecture
Recognize that a reasonable percentage of the project
cost as an allowance for painting, sculpture, landscape
architecture and the other arts should be made in the
budgets of all major public buildings,
5. Develop the City's Opportunities as a Physical Environment
a. Coordinate in a Comprehensive Plan a pattern of orderly
development of the city as a part of a Puget Sound Regional Plan.
b. Achieve the objectives of the city's Comprehensive Plan
through a modern zoning ordinance, subdivision and plat-
ting regulations, and an official plan adopted by ordin-
ance for Seattle.
c. Encourage establishment of a Citizen's Planning Council
of representatives of Seattle's communities, bringing to.
the Planning Commission their ideas and desires as they
relate to a planned development of Seattle.
d. Conserve scenic vistas, plan for new ones, and develop
a positive program of beautification along Seattle is
thoroughfares with appropriate landscape treatment,
elimination of unsightly utility poles, street -tree
planting, distinctive design of signs, light standards,
bridges, viaducts, etc., and proper maintenance of these
facilities.
ee Govern by ordinance the display of commercial signs ad-
jacent to certain designated public thoroughfares to .
preserve scenic views, to prevent the general unsightly
results of unrestricted commercial sign: concentration,
and to minimize driving hazards.
f: Encourage artistic quality of roadside advertising by
suitable awards and public recognition of merit.
6. , Establish a Puget Sound Festival of the Arts
a. Through the Festival establish the Puget Sound Region
as an international art center.
b. Program nothing but the finest so that quality need
never be questioned.
c. Enrich the lives and opportunities of local citizens.
d< <Lttract large numbers of people to the city.
?• Provide Housing for the Arts
a. Centralize in a Civic Arts Center those art facilities
which properly belong to the city as a whole.
b. Give first consideration to those arts which are at
present either ill -housed or not housed at all.
c. Plan for the expansion of existing facilities as. T,Tell
as development of new ones to meet the challenge of
our continuing population growth.
(Note: .'Ulied Arts of Seattle is in general agreement
with the Civic Center Committee's report of April, 1955
on housing Seattle's cultural activities on First Hill) .
Be Expand the Allied Arts Idea beyond Seattle
a. Encourage the establishment of similar Iillied Arts organ-
izations in other cities.
b. Cooperate with other agencies for the encouragement of
the arts in a wider sphere at the state, region, and
national levels.
c. Coordinate with and give assistance to the programs of
other municipal agencies such as Greater Seattle, the
International Trade Fair and the proposed World Is Fair
9. Develop a Public Relations Program for the :Irts
a. Enlist the arts in decreasing juvenile delinquency by
encouraging activities that provide creative outlets
for our youth, thus channeling their energies toward
constructive goals.
b. Stimulate greater public interest in and understanding of
all the arts.
c. Speak out on all matters which affect the arts to prevent
their ill-advised restriction or use.
d. Emphasize the increasing opportunities for active partic-
ipation in the arts,
e. Develop the public's sense of responsibility for the continued
welfare of the arts which ultimately depends largely upon
individual patronage.
f. Develop increased reporting of Seattle's art news in both
the local and national press as well as greater coverage of
international and national art news. in the local press.
In addition to the general objectives listed above, the folloiring
specific objectives are adopted:
1. Develop Seattle as a world center in the horticulture of broad-
leaf ed evergreens, alpines, etc.
2. Establish a policy for the improvement of all forms of the graphic
arts used bT the city of Seattle, including posters, directional
signs, and printed matter.
3. Improve program of refuse disposal including air pollution control.
4. Plan to use our abundance of water in a well integrated
system of fountains.
5. Tho selection of architects for the design of important public
buildings be accomplished by program competition under pro-
cedures, established by the «merican Institute of Architects.
6. Establish a Book Fair where local authors will be honorod and
books of local authors displayed.
7. Suitable monumental, gateways be erected on the proposed Toll -Road
at the city limits of Seattle, which will be designed through
program competition involvirg the collaboration of sculptors,
architects, painters and landscape architects.
8. Establish a professional theatre company in the city of Seattle't
based possibly in the Palomar or Moore theatre or elsewhere.
If such a project could be coordinated with a tour of the company
to neighboring cities, the project might be largely self-supporting.
9. Remove the city amusement tax on admissions to symphony concerts
and other non-profit performances by institutions performing
a public service.
10. Municipal and county grants to the symphony orchestra to enable
it to give many more concerts at minimum or no cost to children.
11. Recommend expanded Family Concerts in each neighborhood making
use of local talent wherever possible.
12. Enlarge the present program of guided museum tours by class
groups or our public school children.
13. Establish liaison between public school administration and Seattle's
museums and galleries in order that existing facilities may be
better utilized by the schools.
14i Integrate the arts of painting, sculpture, landscape architecture
and other arts in the architecture of school buildings by permanent
works of art. `
15. Develop exhibition facilities in school buildings to show museum
materials in classrooms and hallways.
1
l
i
r
THE MUNICIPAL ART COMMISSION
j FIRST ANNUAL REPORT
I -
WITH RECOMMENDATIONS FOR
THE ARTISTIC AND CULTURAL DEVELOPMENT
OF SEATTLE
I
JUNE 15, 1956.
i
1.
".... The concept of the public welfare is broad -and inclu-
sive. The values it represents are spiritual as well as
physical, esthetic as well as monetary. it is within the
power of the legis tesnni. z that the community
should.b ul as well as healthy, spacious as well as
clean, well-balanced as well as carefully patrolled. "
The Supreme Court of the United States
(Berman v. Parker)
October, 1954.
N
2.
COUNCIL ORDINANCE No. 84162 CREATING
THE MUNICIPAL ART COMMISSION
BE IT ORDAINED BY THE CITY OF SEATTLE AS FOLLOWS:
Section 1. There is hereby created an Art Commission to act
in an advisory capacity to the city government of the City of
Seattle in connection with the artistic and cultural development
of the city. Such commission sbodl consist of ten members to
be appointed by the Mayor subject to confirmation by a majority
of the City Council. Three shall be lay members, and the
others preferably an artist -painter, an artist -sculptor, a musi-
cian, a litterateur, two architects and one landscape architect;
and the Mayor shall solicit suggested nominations for such
membership from architectural, art, musical, literary, edu-
cational, museum and other cultural organizations.
Section 2. Initial appointments shall be made not later than
August 1955 and shall be for the following terms: Two for one
year term; two for a two year term; two for a three year term;
two for a four year term and two for a five year term. Upon
the expiration of such respective terms, all successive appoint-
ments shall be for a period of five years.
Section 3. The commission shall serve without compensation,
and no member thereof shall receive any compensation from
the city or from any trust, donation, or legacy for any service
in such connection.
Section 4. The commission shall organize and elect a chairman
annually and adopt such administrative procedures as are necess-
ary to accomplish the purposes mentioned in Section 1; Provided
that city officers including the City Council may consult and ad-
vise with the commission from time to time on matters coming
within the scope of this ordinance; and the commission may
likewise consult and advise with such city officers.
Section 5. ( 30 day ending) ..
3,
PREFACE
Seattle's first -Municipal Art Commission has been in existence
for less than a year since its creation by ordinance in May, 1955.
Meeting bi-monthly from its first regular meeting on August 3,
1955, it has become a deliberative team of enthusiastic members.
It has advised the City Government on the Proposed First Hill
Civic Center Site; on the preservation of Pioneer Place as an
historic area, and on the approaches to the Proposed Second
Lake Washington Bridge. It has aided the World's Fair Com-
mission of the State of Washington on a site survey and it has
aided public and private organizations requesting information .for
practical projects involving the Arts.
At the request of the :'- blic Safety Committee of the City Council
it has formed a joint Committee with the City Planning Commission
and is at present studying the means for developing Roadside
Beautification by the regulation of outdoor advertising along
Seattle's major thoroughfares. It is represented on the Civic
Center Advisory Committee which is studying a Civic Center Pro-
ject acceptable to all interests.
From the start the Municipal Art Commission realized that
to properly advise tha government of the City of Seattle in connec-
tion with "the artistic and cultural development of the city" a
broad examination of the first one hundred years of the city's
growth was necessary.
The foundations of a potentially great city have been built.
The problems now before Seattle are those normal to a rapidly
growing city. 'Paralle?iii.-;this growth in size must now come an
equal growth in civic beauty and 7.1ve development of Seattle as a
great center of cultural values essential to complete citizenship.
This concern for increased attention to cultural values is being
expressed throughout America by all levels of government.
Particularly at the national level it is realized that America can-
not fulfill the role of world leadership without leadership in the
Arts,
4.
Through a series of informal meetings the Municipal Art
Commission has prepared a Survey of the Cultural. 9 ltura-��� of ce S
of the City of Seattle. The Report that follo
that Survey. It is offered to the City Government for its
earnest consideration and guide for action to make Seattle a
great and beautiful city for a richer and happier life
or
everyone.
MEMBERS:
MUNICIPAL ART COMMISSION
John Stewart Detlie,
Robert L. Durham,
Clarence Prentice
Henry Broderick
Kenneth Callahan
Chairmanfj/� t
Vice airman
Don Bushell
Mrs. Lucille McDonal
Charles DeTurk
Janie s Wehn
ASSOCIATE MEMBERS:
John Ashby Conway '
Mrs. Robert Kinsey
Leslie R.' Martin
Mrs. Frederic blanch a tt
Frank McCaffrey �
5
TABLE OF CONTENTS Page
Preface 2
The Municipal Art Commission in General 7
The Seattle Medal of Honor 8
Seattle Festival of the Arts 9
Seattle, Rhododendron Capitol of the World 9
Inventory of Works of Art 10
Selection of Architects, Designers and Artists in
Public Work 11
Civic Projects to Beautify Seattle
World's Fair
12
13
Parkways, Expressways and Scenic Drives 14
Street Beautification 15
Unified Street Tree Planting Program 16
Vistas and Viewpoints 17
Waterfronts, Waterscapes and Fountains 18
Improvements in Existing Facilities 19
Parkway, Express Parkway and Scenic Drive Lighting 19
Art in Public Buildings 20
Control of Works of Art 21
Aesthetics in Structures Usually Considered Utilitarian 22
Painting, Sculpture and Crafts 23
Gateways to the City of Seattle 24
n
TABLE OF CONTENTS (continued)
The Seattle Art Museum
Education
Music, Theatre, Dance and Opera in General
The Seattle Symphony Orchestra
Opera
Park Musical Concerts
Professional Theatre
Ballet
Chamber Music
Municipal Chorus
'Pops' Concert Orchestra
Composers of Music
Literature
Graphic Arts
Appendix A
Ordinance - Seattle Medal of Honor
Resolution - Rhododendron Week
Ps oclamation - Rhododendron Week
Appendix B
Duties & Functions, Municipal Art Commission
and Ordinance Amendments
6,
Page
24
26
27
27
28
29
30
31
31
32
32
32
33
34
35
35
36
37
38
38
38
TI•IL .MUNICIPAL 1�RT COMNIISSIO^ I GENERAL
The Municipal Art Commission is succeeding in its mission.
Enthusiasm is high, attendance good, meetings regular and fre-
quent. The Commission has met every two weeks from the first
meeting on August 3, 1955, totalling twenty-one meetings in ten
and a half months. Created as an optimistic experiment in this
city's government, the Commission's ten and a half months'
of operation testify to its usefulness. Art Commissions in the
great cultural centers of America are proven necessary arms
of democratic process in advancing the cultural levels of their
cities.
Seattle's Art Commission has been patterned after the .
best Commissions. Its organization has been kept simple while
others have become complicated; it has a broad base of represent-
ation in the Arts, while others are narrow, and the Associate
Members provide a body of experienced men and women eligible
for full membership while most Commissions have no such
training ground.
The over-all policy of the Municipal Art Commission in
carrying out the spirit of the ordinance is to seek to benefit the
people of Seattle by encouraging the development of a more
beautiful city and encouraging the cultural processes which can
bring a richer and happier life for everyone.
Three principles guide the Municipal Art Commission:
1. The principle that the development of the beauty of the
city is a normal function of City -Government in providing for
the general welfare. Constant attention to the processes that
contribute to the beauty of a city is the soundest civic business,
for beautiful cities, the world over are permanent attractions
for tourists throughout the centuries.
Z. The principle that public funds expended for civic pro-
jects should be expended to insure beauty as well as utility.
Beauty is seldom a matter of price and ugliness which robs the
people of their due is too expensive. To expend public funds to
inspire is as necessary for human happiness as to expend public
funds for amusement or for recreation.
3. The principle that plans for civic beautification and
cultural advance must be coupled with deliberate action to in-,
sure progress. Some recommendations are. needed immediately;
others will require slower or phased action. We must proceed
for time is not on our side. Many American cities have been
ruined through lack of a positive program for action or the lack
of the means and organizations to act. Seattle lacks none of these.
B.
Two types of action are recommended:
1. To arrest the processes that corrode the beauty of
the city or impede the development of Seattle's cultural resources.
2. The inauguration of definite and positive projects
to enable the city to move forward in every cultural way.
RECOMMENDATIONS
1. THE SEATTLE MEDAL OF HONOR
Perhaps the first step in the Artistic. and Cultural Devel-
opment of Seattle should be the public recognition at the
Municipal level of those citizens who have contributed to the
cultural advance.-; ~:ent of the city. This nation throughout its
history has rewarded its military heroes by numerous awards
of honor.. The United States Congress is now considering bills
to establish a Medal for Distinguished Civilian Achievement to
be awarded to "citizens who make great contributions to the .
advancement of our civilization". Although in a democracy -it
is not necessary to 'reward' citizens for their efforts to ad-
vance the general ,elfare, however it is a mark of courtesy
and gratitude for tie whole of society to recognize the value
of outstanding contributions which benefit all. Too often in
our cities international recognition comes to our citizens with-
out any proper recognition by the city in which they live and
honor. Cities show respect and honor to distinguished visitors;
they should be as dilig .nt in honoring their own.
The City of Philadelphia established in 1955 the "Phila-
delphia Medal of Honor" to 'oe awarded to persons who are
natives or who reside in the City of Philadelphia, who perform
or accomplish outstanding acts of heroism, achievement or
service which result in bringing honor, high esteem and pres-
tige both to such parsons and to the City of Philadelphia.
RECOMMENDATION:
That there be established The Seattle Medal of Honor
to be awarded to those citizens of the City of Seattle �
who by their outstanding act ,- of heroism, achievement
or: c :rvice advance our civilization and bring honor and
prestige to the City of Seattle.
(See Ordinance, Appendix A.)
9
2. SEATTLE FESTIVAL OF THE ARTS
In many cities throughout the United States and the
world an annual Fey lival of the Arts is held to encourage the
Arts generally and to focus the attention of the City, the
Nation and the World upon the Arts and the cultural advance-
ment of the City. Many of these cities receive great prestige
and tourist attraction through their Festivals of the Arts.
Venice, Salzburg, Edinburgh, Boston and '---tn Francisco
profitably exhibit their cultural resources through Festivals.
In some cities the Festival is wholly municipally supported
(San Francisco), in others municipal support is partial (Boston).
In Seattle many partial Festivals are being currently
attempted without municipal support. The University of Wash-
ington has an annual Bach Festival, Artists' Equity produce
the Pine Street Art Show, West Seattle ;produces an Art Festi-
val, the University District produces the 42nd Street Art
Festival and there is a festival in Ballard and in Bellevue. A
study is being conducted by Allied Arts of Seattle, Inc. to
combines these various efforts into a Seattle Festival of the
Arts which would give a comprehensive e::position of all the
performing and exhibiting A.rtc a:ld would '=Ming national and
internal:ional attention and visitors to Seattle.
RECOMMENDATION:
That the City of Seattle officially encourage this
movement for. a Seattle 1 esti..al of the Arts and
contribute to the suppq-rt cf a .,att'e Festival on a
parti cipating basi .
3. SEATTLE, THE RHODODENDRON CAPITOL OF THE WORLD.
Certain cities throughout America have become famous by
their emphasis on floral culture and display. Charleston and
Mobile are noted for Azaleas, Pasadena and Portland for Roses
and Puyallup is rapidly becoming famous for Daffodils. The
native Rhododendron is the state flower of Washington and cli-
matic conditions are generally ideal for its cultivation, At
present London is the world center of Rhododendron horticul-
ture chiefly through the accession during the last century: of
the native Rhododendrons of the Himalaya mountain regions
while India wag England's province. At present Rhododendrons
are 'rated' by the Rhododendron Scriety in England.
10.
. With our great natural floral resource, the hybridizing
being achieved here, local enthusiasm and scientific skill,
Seattle could become the center of Rhododendron authority
throughout the world, With proper emphasis on the culti-
vation and exposition of this shrub the prestige and tourist
trade that would accrue to this city is a tremendous potential.
Properly supported, a Seattle Annual Rhododendron Exposition
would outrival any floral exhibition anywhere in the world.
RECOMMENDATION:
1. That the City Council adopt a Resolution estab-
lishing a Rhododendron Week in the City of Seattle.
2. That the Mayor of the City of Seattle proclaim a
specific time for the_ Annual Rhododendron Week.
3. That the City of Seattle contribute to the support
and participate in a Seattle Annual Rhododendron
Exposition.
(Resolution and Proclamation, Appendix A.)
4. INVENTORY OF WORKS OF ART OWNED BY THE CITY
OF SEATTLE.
,While the City of Seattle has --riot in the past acquired large
numbers of works of Art, there are many owned by the City.
No complete inventory has been taken by the city and no city
record exists listing them. No policy for their continued main-
tenance,as works of Art has been formulated.
RECOMMENDATION:
1. That the Municipal Art Commission be authorized
to make a complete inventory of all works of Art
owned by the City of Seattle.
2. That an annual report be rende red to the City Gove rnment
with recommendations for their proper maintenance.
3. That maintenance of works of Art be accomplished
under specifications prepared by the Municipal Art Commission.
5. SELECTION OF ARCHITECTS, DESIGNERS AND ARTISTS
IN PUBLIC WORK.
In the expenditure of Public Funds for the architecture of
public buildings and works of Art for public enjoyment only the
highest design talent should be employed. The .proper selection
of architects, designers and artists for municipal commissions
is of prime importance in the securing of the best possible
Architecture and Art. In important major public work a formal
programmed competition has been used in the great cultural
centers of the world for centuries. The Renaissance literally
began with a sculptural competition for the design of the doors for
the Baptistry of the Cathedral of Florence, Italy. Through the
centuries public work was awarded to the highest skilled. In
Europe today, particularly in the Scandinavian countries, formal
competition for the design of important municipal Architecture
and Art is standard procedure. Vancouver, British Columbia,
recently Conducted a national competition for the design of their
new Civic Concert Hall. The cost of a competition is a small
price to p•,:y for assurance of quality.
A second fair method approved by all national architectural
and Art organizations is by the Direct Selection Method. A
thorough examination of the capabilities of a large number of
Architects, Designers or %rtists is conducted by those author-
ized and qualified to judge. The applicants and the applicant's
former glients are interviewed and the applicants' offices and
executed work are viewed and the selection is then made on the
basis of capability, integrity and evidence of skill.
RECOMMENDATION:
1. That a policy be established basing the selection of
Architects, Designers and Artists for Major Civic
Projects upon a Formal Programmed Competition.
2. That in all other cases a thorough Direct Selection
Method be used.
6. DUTIES AND FUNCTIONS OF THE MUNICIPAL ART COMMISSION
Recommendations are listed in Appendix B.
12.
7. CIVIC PROJECTS TO BEAUTIFY SEATTLE,-
With the passage of a new zoning Ordinance Seattle will
be able to develop its private land in an orderly manner. With
the formal adoption of a Comprehensive Plan Seattle will be
able to develop its public land with positive guidance. Two fur-
ther courses of action are indicated. ,
First: Full publication and dissemination of information
of the Comprehensive Plan is essential for understanding by
all the people. (In Chicago the Burnham Plan for Chicago is
taught to every child in the .public schools. )
Second: The development of definite and specific projects
to beautify the city should be undertaken on.a phased schedule.
Such projects should conform to the Comprehensive Plani Too
often planning remains in the realm of mere possibility due to
the lack of the public being able to identify specific proposals
and consequently the Comprehensive Plan may become lost
bit by bit.
RECOMMENDATION:
1. That thorough and continuous publicity be dissemin-
ated to the people of Seattle to insure maximum public
awareness of the Comprehensive Plan as the backbone
upon which Civic Beautification can be achieved.
2. That the Comprehensive Plan be studied jointly by
the Municipal Art Commission and Planning Commission
and other Departments of City Government as required
to delineate specific proposals for Civic Beautification.
8. CIVIC CENTER.
Seattle, surrounded with magnificent scenery, has in the
past been so blessed with the grandeur beyond that the possibili-
ties of internal civic beauty have been neglected. No beautifully -
designed spacious civic plazas or formal areas have been left
in the heart of the city. This has been true of most of American
cities. While European and South American cities have a heritage
of handsome civic public building and ' cultural centers as a result
and source of civic pride, our cities, since the last war, have at
last begun to seriously replan and redevelop their civic centers.
At present all. over America there is a tremendous activity in
slum clearance, urban renewal and a resurgence of civic pride.
Both Vancouver to the north and Portland to the south are well
along on definite civic center projects.
13.
The time is now at hand for Seattle to begin a magnifi-
cent Civic Center Project to accommodate Civic, Cultural
and Sports activities, to create an inspirational relief of
civic beauty and give tangible expression of the deeply felt
affection that everyone in the city has for his City of Seattle.
RECOMMENDATION:
The Municipal Art Commission is represented on
the Civic Center Advisory Committee created by
the City Council. The Committee has not yet
rendered its complete report to the City Council.
Specific recommendations will be made when the
Civic Center Advisory Committee's proposals are
completed.
9. WORLD' S FAIR
The World's Fair Commission created by the State
Legislature is studying the possibility of a World's Fair
for Seattle approximately for the year 1959. One important
function of this Fair should be to effect international under-
standing, particularly in regard to Pacific Rim countries.
One important bridge between the peoples of the United
States and foreign countries is through the performing and
exhibiting Arts. Seattle will be the host city for visitors
from this nation and abroad during the Fair. It is important_
that any such fair stress quality rather than quantity in all
attributes. Therefore great care should be taken in the
design of the planning, landscaping, architecture, painting,
sculpture,. crafts, etc. Equal care should be taken to present
only the finest in music, drama, theatre, the dance and
other Arts.
RECOMMENDATION:
That the Municipal Art Commission be, represented on
any governing body of a World's Fair for Seattle to
insure maximum beauty and quality in all visual and
cultural aspects of such an undertaking.
10. PAR ` 1AYS, EXPRESS PARKWAYS _-D SCENIC DRIVES
Many cities throughout America of comparable size and
age to Seattle have already constructed parkways and scenic
drives from the surburban areas to the heart of the city and
similar perimeter drives along the shores of important bodies
of water. Important civic focal points within the cities are
joined by connecting scenic routes. Seattle, by comparison,
with more than its share of potential natural beauty has been
slow to project imaginative plans, and has been slow to
accomplish plans for scenic parkways to give maximum en-
joyment in moving about this city. Almost nowhere can one
motor fi-om the perimeter to the heart of the city along a con-
sistently treated avenue of any beauty.
While Seattle has some attractive boulevards and parkways
their effectiveness is lost because they are merely disjointed
segments. It is recognized that the 1953 report of the Planning
Commission suggests that Carkeek Park - Matthews Beach
Parkway, Meadowbrook Golf Course - Freeway (130th Street)
Parkw-►,y, Empire Way Extension, Longfellow Creek - Delridge
Way, and others. It is also recognized that several of these
routes have been incl`.1 cd in a study of a long-range Prelim-
inary Park & Recreation Plan of 1954. But the present park-
ways, the above proposals and others, will be greatly magni-
fied by tying them tole,her into one unified system which will
also take advantage of i'.ie major vistas and natural beauties
of Seattle. All frecwa; s presently being planned and in the
future should include proper buffer strips of landscape plant-
ing. This is true with tale new proposed State Toll Road and
it is also true of Cle E,-nr,re Way Extension which offers a
magnificent orportu, ity of ba•autification by the acquisition of
adjacent areas largely bell by the city and King County. Con-
ceived with imagir :tion and executed with persistency these
Parkways, Exprc - Pz,.rkwp.ys and Scenic Drives could make
Seattle America's most spectacularly beautiful scenic city_.
^IECOMM EN, n Ar-rT-ONS,
r
1. That the Pa.r1c, gay System proposed by the Comprehen-
sive Plan be high priority for early execution.
2. That t►1e splci fic ipartc of the system be identified
by defini.tc P�:k•;ects for public awareness and publicity
through all n, e d:a..
3. That the Par:cway System include definite terminal
Vista Points to c:cvelcp maximum scenic beauty for the
people of Sca'tt,�. L.nd fol visitors.
11. STREF'" BEAU TIFICA i ION
A positive program of beautification on Seattle's exist
ing streets should be undertaken at once. Nowhere can one
drive from home to work without stretches of clutter, dilapida-
tion and over -concentration of billboards and commercial
display, This is an untidy city. There is a certain all per-
vading grimness along many of our heavily traveled streets
and adjacent unscreened parking areas which creates subcon-
scious nervous strain in merely traveling about the city. If,
at night, Seattle is one of America's best lighted cities, the
daytime reveals a terrible price to pay in the walls of utility
poles which hem in the view and which progressive cities have
long ago discarded in creating attractive streets. Major
arterials planned in the past with imagination have become
gamuts of advertising making captives of everyone who would
use these faster routes.
Los Angeles, Oakland and other cities have recently
experienced the construction of major freeways serving their
cities. Without any common sense regulations roadside adver-
tising threatened to destroy the beauty of these freeways,
Citizen indignation arose in such volume as to demand their
removal and proper fair regulation in the public's interest.
Seattle and the State of Washington is contemplating immediate
construction of important expressways. These expressways
should be protected by proper regulatory measures prior to
construction to insure fair play and the development of the
beauty which belongs to the city.
Seattle street appurtenances, directional signs, waiting
stations, waste receptacles and other items of 'street furniture'
are hardly distingui3hed by clean attractive skillful design.
Light standart.is in the dov,ntown area with their bronze bottoms
and galvanized :ron tops and -v•✓ith a makeshift ballast can are no
cr-edit to a forward lookiy.g city. With careful design, the grim
appearance of rn--,:ny of tl,cse street appurtenances can give an"
attractive aspect to the city at no additional and perhaps less
cost. Our streets are tl:e main line of travel for Seattleites and
visitors as well and are the first reflection of the character
of our civic pride.
RECOMMENDATIONS:
1. That a phased program be forniulated providing for
the reduction of unsightly .1fility poles along major
thoroughfares through joint study by Municipal Art Com-'
mission, Planning Commission, Engineering Department
and Department cf Lighting. (Permission ha.s been
granted by Council action for this study to be made.
Action on this study •;✓ill begin at once.)
16.
2. That community programs be stimulated by incen-
tives for the reduction of utility poles in residential
areas.
3. That billboards, advertising and signs be prohibited,
regulated or permitted according to type of street, toll -
road, freeway, boulevard, or parkway concerned in
order to preserve scenic views and vistas, reduce hazard-
ous distraction of motorists and increase safety.
4. That all street appurtenances be submitted to the
Municipal Art Commission for approval prior to execu-
tion or purchase to insure the high6st standard of
beauty of design. This applies to items such as lamp
posts, directional signs, waiting stations, waste recept-
acles and other designed features.
5. That the policy of screening parking lots by planting
be rigorously adhered to.
12. UNIFIED STREET TREE PLANTING PROGRAM
With our incomparable climate for grooving trees, Seattle
has not yet adopted a unified street tree pinritin; program for
the beautification of the city nor adopted modern methods in
street tree maintenance. In all of the cities of the world noted
for their civic beauty, Programs of street tree planting along
expressways, boulevards and stree�s and thc,-.-• proper mainten-
ance are standard procedure. To l:ar..: t11e d,v�:iop.,nent of
a uniform program, it would b . nec-�jsary to cltt in out the.
present objectionable parking strip rlant.n-s. ",*I-.e species of
trees to be planted should depend on the impo-.•�ar,ce of the
street, the width of the street anc. ".7ie tyi e of uce. T'.-,:a selec-
tion of tree types for highway approaches and arterials would
be the result of detailed studies to meet special requirements.
The se'-ction of trees for rF:sioential areas would be made from►
a list of suitable trees recommended for differcnt conditions.
In many parts of Seattle, present street tree pla:-. ings are out-
standing. With an over-all street tree planting )rograrn, the
streets of Seattle could become the most be ailtif*.il1;, planted of
any city in America. 4
17.
RE JMMZNDATIONS:
1. ,That a unified tree planting program be initiated
in Seattle.
2. That a uniform city-wide approach to the street
planting strip improvement program establish the
general criteria:
a. Planting strips under three feet in width to
be hard -surfaced.
b. Planting strips three feet to six feet in width
seeded in lawn except for streets fronting on
commercial establishments;
c. Planting strips o ter six feet in width seeded to
lawn and planted with approved trees.
d. Where sidewalks are on the curb line, street
trees would be planted on the adjoining property
with a minimum setback of five feet from the
edge of the sidewalk.
ei In commercial areas where sidewalks are on the
curb line, wherever width of sidewalk is ample
street trees can add to the attractiveness of the
area. For example, the new National Bank of
Commerce Building on Westlake is enhanced by
an attractive, tree planting.
3, That a separate Tree Maintenance Division be .
created to properly maintain street tree planting. Tree
planting could be mass handled and tree and planting strip
watering might be accomplished economically by modifica-
tions to street watering equipment.
13. VISTAS AND VIEWPOINTS
The topography of Seattle yields many outstanding vistas
and viewpoints which have not been properly developed. In
most locations there is no adequate parking or planning and
little protection of encroachment leading to eventual deteriora-
tion of the area. Many street ends and private property diffi-
cult to develop for private use could be obtained by the city
and maintained for the future enjoyment of citizens and tour-
ists. Along many of our present important thoroughfares
there are areas which, if properly designated and developed,
20,
2. ,_.at plans for the proposed Civic ,enter and other
important civic focal points include provisions for
landscape lighting.
17. AAT IN PUBLIC . BUILDINGS
Public buildings besides fulfilling normal functional re-
quirements should fulfill the additional requirement of giving
pleasure -and inspiration by the grace and beauty which the
arts of Interior Design, Mural Painting and Mosaic, and
sculpture can give to the basic structure. Too' often if these
refinements are proposed by the architect they are deleted.
Too often public buildings are cold and mechanistically con-
ceived, and too often funds -are not provided in the budget for
the building for landscape treatment as a proper setting for the
building. Landscape costs should be included as a normal part
of the cost c:► th.c building.
In various countries and cities throughout the world
necessity has long been recognized of allocating a definite per-
centa�e of the estimated cyross project cost for refinement by
the Arts.
Switzerland:
The City Of Basle: by law allows 1 to 2%. The Cities of Zurich
and Bern: spend 176.
Finland:
The Finnish Cabinet passed a law in 1949 setting up an amount
r.�t cxceedi;lg 1 li providing thatt the cost of the project exceeded
4 0 1V1i11i oa � ' _i.irn k3% .
Swed1 n:
The Ci+:;• of Stock':o'_n in 1937- 14 allowed 1% which was increased
in 19�'.5 to 2�/�.
Denmark:
The nation has a 'Naticra.l Fund for this purpose.
Italy:
Passed a law in 1936 rcferred to as the '276' law. The law was
renewed in 1949 v som— a modifications.
France:
Law - :s ed,bv the French Vinistry of Education set up 116 for
schools.
EngIand:
— _._
City of :.:4ncr.=sr allots 1/2 of 1%. Essex County Council allows
170 of t'l:e totaA ccrt for certain buildings. Lancashire County
Council allows 1/2. of 10/6 for schools. Hertfordshire County
Ccunc�l i:aic. ,_ 1/3 cf 1,10 for sc::ools.
Peru:
Has cor.!7,;�, ,. i.^.g .,ill ii, Congress establishing 5%.
21.
Argentina:
It has been reported that Argentine allows 5%.
Mexico:
No exact figures are available but the public buildings of Mexico
are world famous in. the magnificance of arts for public enjoyment.
The United States:
As a revolt against the sterility of much of contemporary public
buildings city governments in many cities are being requested to
allocate definite percentages for artistic refinement. San Francisco
is being requested for 2010 for Arts.
In order to give enjoyment and inspiration to the people
through permanently integrated works of Art in public buildings,
a reasonable percentage should be allocated as a civic policy.
RECOMMENDATION:
That a minimum of 276 of the estimated gross cost of a
Public Building be allocated for murals, sculpture and
other Arts in the appropriations for Public Buildings.
18. CONTROL OF WORKS OF ART
To insure high quality in works of art accepted bythe city
as gifts or contracted for or purchased, it is necessary that
some agency of city government be given the authority to pass
upon these works of Art. In the Seattle City Charter some
authority is given to the Department of Parks, Article XI, Sec-
tion 3, "... and exercise censorship over any statuary, monu-
ments or works of art presented to the city, and shall in th6
name of the city accept all devises and bequests;''.
In all cities throughout America which have established
Art Commissions, those: Commissions are charged with the
responsibility of approving all works of Art. Furthermore,
to properly maintain works of Art, it is the normal function
of the Art Commission to annually inspect works of Art to
insure proper maintenance,
RECOMMENDATION:
Y
That the, Municipal Art Commission be given the normal
Art Commission's function in this respect. (See
Appendix B. )
22.
19, AESTHETICS IN STRUCTURES USUALLY CONSIDERED
UTILITARIAN
It is becoming increasingly important in American cities
with more and more of the civic scene being dominated by
structures primarily of utilitarian nature that these structures
be designed with efficient beauty as well as utility. American
commercial products are distinguished throughout the world
for their wedding of attractive design and efficiency.
In the Scandinavian countries all structures are designed
with great care to be beautiful as well as useful. Of the hundreds
of ways to bridge a body of water, ten will be economical and
perhaps three of the ten beautiful. To insure maximum beauty
with economy, the Art Commission should approve these
structures built on or over city property as is customary with
Art Commissions throughout the United States,
RECOMMENDATION:
That the Municipal Art Commission be given the additional
function with respect to structures built on or over land
belonging to the City of Seattle. (See Appendix B. )
20. PRESERVATION OF HISTORIC BUILDINGS AND PICTURESQUE
AREAS
Although Seattle is a comparatively young city, many build-
ings and areas have become historic or picturesque. With
time more will become so and the city should be alert in the con-
sideration of acquiring these buildings and areas and preserving
them for generations to come. Those that should be preserved
besides being historic or picturesque should possess a quality of
the beauty of their time.
RECOMMENDATION:
That the Municipal Art Commission, assisted by the Museum
of Science and Industry and the Washington State Chapter of
the American Institute of Architecture and other organizations
conduct a survey of Historic Buildings and jointly with the
Park Department conduct a survey of historic and picturesque
areas. '
23.
21. PAINTING, SCULPTURE AND CRAFTS
Seattle is becoming recognized the world over as a great
and important center of the creative arts. Painters from
Seattle are bringing fame and credit to the whole city by the
quality and significance of their work. Cleavers, Ceramists,
workers in metals, jewelery, etc4 , are creating a new industry
of growing importance to the economy of the city. A tremendous
impetus can be given these Arts by their annual dramatic presen-
tation in a Festival of the Arts and in their use in Public Build-
ings and Parks to illustrate Seattle as a growing world center
of these Arts& The International Trade Fair dramatizes the
creative Arts of the Pacific Rim cotintrics and Seattle as the
Gateway for Oriental Trade. Of even greater importance for
local creative arts and local industry would be their use to beauti-
fy this city and contribute to the artistic and cultural development
of Seattle,
RECOMMENDATIONS:
1. That a survey be made by the Municipal Art Commission
for logical available mural, sculpture or craft spaces in
present public buildings or locations that would, if so decorated,
add beauty and distinction to the city.
2. That the city encourage the acquisition of decorations
for these spaces.
3. That the Commission examine the feasibility of exhibi-
tion facilities in existing public buildings.
4. That works of Art be acquired by the City of Seattle for
use in its important rooms, Council Chambers, Mayor's
office, public lobbies, etc. , where permanent murals might
not be feasible.
5. That the use of local arts and crafts be encouraged
in Public Institutions with available lobby space and other
rooms not suitable for mural or similar integrated per-
manent installation.
b. That the services of the Municipal Art Commission be
offered in an advisory capacity to all private organizations
.and groups sponsoring mural, sculpture and craft commis-
sions or purchases for public or semi-public buildings al-
ready constructed or under construction.
24.
22. GATEWAYS TO THE CITY OF' SEATTLE
The City of Seattle is a principal destination for tour-
ists visiting the Pacific Northwest. Generally motorists
arrive at the limits of the city before they are aware of them
and, in all cases except one, are given no 'Gateway Approach'
or Monumental Marker, or any evidence of civic pride as
they reach the city. The exception is the Floating Bridge
Portal which is a distinguished entrance to the city.
As the new Toll Road enters the city and the Second
Crossing of Lake Washington reaches Seattle, there should be
constructed proper monumental portals or distinguishing
Features using the Arts of Landscape Architecture, Sculpture,
Architecture, Mosaic Murals; Fountains and Lighting Effects,
in whole or in part. A separate long-range project should be
made of the railroad entrance to the city with the proposed
merging of the two railroad stations. Under joint 'sponsorship
and support by the City of Seattle, the Service Clubs, Municipal
League, Chamber of Commerce and others, these projects
could be achieved.
RECOMMENDATION:
That the Municipal Art Commission, Planning Commission
.and Park Department jointly study these 'projects in conjunc-
tion with civic organizations and prepare definite recommenda-
tions to the City of Seattle.
23. THE SEATTLE ART MUSEUM'
An Art Museum is a natural center of culture. It gives
everyone contact with the civilizations of the past and inspiration
for the present. Its works of art provide enjoyment and enlight-
enment and its exhibitions provide a focal point for the develop-
ment of local artists and bring inspiration of other contemporary
artists as stimulation to local creative effort. Special exhibi-
tions brought to Seattle by the Seattle Art Museum contribute
in a dynamic way to the general welfare and serve as a means of
international understanding and good will.
Given to the City of Seattle by Mrs. Margaret Fuller and
Dr. Richard E. Fuller, the Seattle Art Museum with its superb
collections have brought world renown to the whole city. Until
the present time, the Seattle Art Museum has been largely de-
pendent upon private gifts and membership funds. The Museum
manages on an annual budget of about $85, 000 all from private
25.
sources. This absurdly small amount is possible because the
Director works without salary and because services and ex-
hibits are curtailed, making visits to other cities necessary
to see traveling shows which are too expensive to bring to
Seattle. Although the City of Seattle provided the land forthe
Museum and maintains the building, it provides nothing for
salaries or the acquisition of works of art.
A glance at other cities over the United States shows the
extent of the lack of support by the City of Seattle towards this
great cultural resource.
Support for Museums from Various City Funds
Buffalo, N. Y. , Albright Art Gallery (1950)
$58, 950
Buffalo Fine Art Academy(1942)47,
000
Brooklyn Museum (Fiscal year 1950-51)
3418546
Chicago Art Institute (1943)
121, 442
Detroit Institute of Art (probably 1951)
412,672
Metropolitan Museum of New York (1945)
34, 553
Minneapolis Institue of Arts - 1/8 mil per annum since 1917
Rochester Museum of Art (no date)
80, 000
Phil`e-elphia Art Museum (1951) State funds
77, 250
(1951) City funds
360, 439
St. Louis Art Museum (1944) from 1/5 mil levy on property tax
230, 000 approx.
Syracuse Art Museum (no date)
12,000
On the West Coast: '
San Diego Fi.r. ,3 Arts Gallery City provides the
staff to
operate t:�e �Tallery.
Los Angeles Cuui:ty ,'`,fuseum (1955) public funds 594, 000
or a little over $.012 per person.
San Francisco:
De Young Muscum (1955)
583, 000
Le ;icn of Honor (1955)
217,000
San Francisco Museum
1500000
Total callocated to Museums in San Francisco
950,000
or about'.$I. 35 per person, a little over ten
cents a month.
RECOMMENDATION:
That tt--oe City of Seattle contribute annually to the Seattle
Art Museum beyond maintenance in order to release funds now
spent on operctions for the acquisition of works of art.
26.
24.. EDUCATION
In the whole artistic and cultural, development of the City
of Seattle the processes of education, public information and
lectures forms a vital part. Formal education is a function
of the State of Washington, but the dissemination of information
about the government of the City of Seattle is a proper city
function. It is necessary in civic development and improvement
to take the information to the people. It was necessary for the
proper evaluation of the New Zoning Proposal of the Planning
Commission by the people to inform the people of Seattle of its
contents. In advancing the cultural progress of Seattle the
people of Seattle must be informed of its resources, its poten-
tial and reports of its progress. Seattle's progress and
successes must be given to the nation and foreign countries.
In supporting Seattle's major cultural institutions, such as the
Seattle Symphony Orchestra, the Seattle Art Museum, Opera
and others the City of Seattle will be engaging in the cultural
education of its citizens. These institutions besides being
great performing art organizations are centers of education in
those arts and as such will provide the main spearhead in the
artistic and cultural development of Seattle.
RECOMMENDATIONS:
1. That channels available to the City of Seattle be used
to bring a sense of civic responsibility and pride to the
citizens in the proper care for its structures, its works
of art and its cultural institutions.
2. That channels of information available to the City
of Seattle be used to inform the nation and foreign count-
ries of Seattle's cultural and artistic prone ss.
3. That the experience of other cities noted for their
cultural and artistic progress be brought to Seattle through
lecturers, civic officials and others in order to accelerate
Seattle's progress.
47.
MUSIC, TH.E,ATRE, DANCE, OPERA IN GENERAL
In the cities which are known as the cultural centers,
three factors are found. These are: large groups of per-
forming artists; appreciative audiences; municipal concern,
sponsorship and support. For Seattle to develop into one of
the great cultural centers, only the third requisite is lack-
ing. In these cities the government has assumed responsi-
bility in aiding public libraries, museums, symphony
orchestras, opera companies, theatre groups and ballet
companies. These cultural organizations perform for
the people of the city, are centers of education for the citi-
zens, enhance and advertise the city to the nation. Since
in the largest sense they belong to the city, the city through
its government might well participate in supporting these
civic assets. In Seattle most of these performing Arts are
already organized in producing organizations. Only a
professional repertory theatre, a chamber music company
and a ballet company are lacking. At present there is some
activity in organizing a professional ballet company and al-
though there is a symphony orchestra, there is no organized
'Pops' concert orchestra . A 'Pops' concert orchestra per-
forming during the summer would extend the season for the
orchestra personnel and add to the . .ality of the orchestra.
All. the performing Arts lack an adequate concert hall, opera
house and civic theatre and none has a suitable 'Civic Home'
except facilities for park concerts and musicals.
The proposed Init-iative fbr the acquisition ofp. ,-►perty
for a Civic Center and the construction of a Concert Hall,
Opera House, with facilities for Chamber Music is a hopeful
sign. An even more hopeful sign is ;aid current concern by
the City Council w;iich created the Civic Center Advisory
Committee to explore thoroughly the matter of a Civic Center
and Cultural facilities. The enthusiasm with which the twelve
major civic erganizati.3nal members and representation from
the City Council are going about their task to insure that
there will be proper housing for the major performing Arts
will, if matched by the citizens of Seattle, insure the passage
of the Civic Center Proposition.
25. THE SEATTLE SYMPHONY r`RCIIESTRA
The recent expansion of Cie activities of the Seattle
Symphony Orchestra has been phenominal. It could lead to
establishing thA S. attle Symphony as one of the first orchestras
of America. Ho:.,ever, of the thirty-one major symphonies,
according to the American Federation of Musicians, eleven
are 'suppertec by m,_inicipal grants or city and county taxes.
These are Prilwlelphia, Los Angeles, Detroit, San Francisco,
F"
Toronto, Indianapolis, Vancouver, Raleigh, Chicago, Balti-
more and Salt Lake City. Additional support is needed now
for many reasons: A great symphony needs a longer playing
season, more rehearsals, and extension of its services and
greater participation in the musical life of the city and,
most important, a feeling of security that it is a permanent
part of the whole city.
An orchestra grows through careful cultivation and
growth of 'spirit' through years of dedication to the task of
perfection. At present the Symphony Orchestra is so con-
cerned with making ends meet that much of its creative energy
is dissipated. Its first need is for a concert hall, a home,
The City of San Francisco contributed during the fiscal
year 1953-54, $100, 000 for Symphony Concerts.
RECOMM ENDATIIJON:
That the Ci -y of Seattle contribute annually to the support
of, the Seattle Symphony Orchestra through -
1. Removal of "ie city 'amusement tax' which, in effect,
charges the urL::Zestra for the privilege of playing in the
city. (The FPder�.l Government removed the federal
tax on ore. -extra concerts in 1952. )
2. Contribute annually to the .support of the Seattle
";mphony Orchestra.
3. Peraa.pg a stipulation might bo that the orchestra
retai-i its present name cf the Seattle Symphony Orchestra.
4. If, under Article IV, section 19 of the City Charter
it is ruled that. a grant for symphonic music is prohibited,
a request to the State of Washington for enabling legisla-
tion be initiated.
26. OPERA
As the Symphony is the focal point of instrumental music,
the Opera is the focal ;-)oint of vocal music. The existence of
scores of choral societies, choirs and amateur opera organiza-
tions and one professional Opera company are evidence of a
large and gro�x ng interest in opera, vocal and choral music
throughout Seattle. Cr era Hiring the last century was identified
with the classical conceTit of Opera with its historic themes and
remote locale. Today there is a tremendous use of the Opera
as the vehicle for contemporary expression and themes and
there is a growing number of American composers working to
create American operatic material for more direct appreciation
by the American people.
There is one professional organization that serves Seattle,
the Northwest Grand Opera Company. This organization is
meeting with growing success since its adoption of the policy
of importing 'name' singers to perform leading roles. At
present this Opera Company is serving Seattle, Tacoma, Spokane,
Portland and Vancouver, B. C. San Francisco has long been
famous as the come for its .superb Opera. Seattle, should become
the 'home base' for this regional Opera Company. Its first need
is an Opera House.
RECOMMENDATIONS:
1. That a Proper Cpera House (used in conjunction with
the Seattle Symphony Orchestra) be provided.
Z. That the 'City Amusement Tax' on opera performances
be removed.
3. That the City of Seattle annually contribute to the support
of the Northw st Crand Opera Company. It is further recom-
mended that the governments of the Cities of Tacoma, Olympia,
Spol.tane, Portland and Vancouver, B. C, join with Seattle
to discuss joint support of the Opera Comr, lny, perhaps on a per
capita basis. It is suggested that the Municipal Art Commission
contact the Art Commission of U= o � -land and comparable
agencies. in the other cities to arrange preliminary discussions.
4. If, unc'er Article IV, section 19 of the City Charter it
is ruled that a grant for symphonic music is prohibited, a
request to the State of Washington for enabling legislation
be initiated.
27. PARK MUSICAL CONCERTS
Seattle does have a program, in existence for many, years,
for providing f:eo concerts in the Parks., These concerts are
administered t'_irough the Park Department. The Department
policy has never been a constant one for any considerable
period, experimenting v.,ith various types of concerts: band
concerts, orchestra 'pops' concerts, and light opera perform-
ances, etc. This is .thc-.-.- only type of opera or of singing p-cr-
for � �- nc.e, receiviligy fin nci al , ssi s, -nnce from' the city.
31.
29. BALLET
Americans have danced in all periods of their history
with the exception of perhaps f`.e early days in New England.
But except for the devotees, Ballet has been regarded in
America as something foreign, European or Oriental but
somehow alien. In the last several decades there has been
a joining of the traditions of popular and classic dance.
Formerly it was standard for ballet personnel to be of uni-
formly Russian names but today the cast is mostly Smith,
Jones, Kelley and Tallchief. Choreography, once the exclu-
sive province of Europeans now boasts many brillian Ameri-
cans. American ballets about typically American folklore
are in all repertories and almost no musicale is complete
without an American ballet. The training of young Americans
in ballet is increasingly tremendously as a means of grace
and poise and pleasure, Hundreds of Seattle's children are
attending scores of Seattle Ballet Schools, The Ballet is a
necessary part of the .Opera. The time is close at hand for
the establishment of a Seattle Ballet.
RECOMMENDATION:
That the City of Seattle encourage the formation of
a Seattle Civic .Ballet and when established give
support to the Ballet Company. The Ballet would be
available for northwest tours.
30. CHAMBER MUSIC
There are several series of concerts providing Chamber
Music in the City, one of which sponsored by the Friends of
Music (U. of W. ) features imported performers. The series
at the Seattle Art Museum and the Frye Museum gives con-
cert opportunity to a variety of local groups.
RECOMLMENDATI ON:
Thct a Chamber Music !Iall he provided in the Proposed
Civic Center.
J ! .
31. MUD .:IPAL CHORUS
The efforts of the Junior and Senior Highschools'
Glee Clubs and Singing Groups and the 'All -City Music Festi-
val' of these groups all rehearsed outside of regular school
hours shows the interest of Seattle's young people in this
field. Scores of choral groups and societies exist in the
city.
To insure continuous availability of a trained chorus
as a necessary adjunct to both opera and symphonic music,
it is necessary to draw from the existing choral societies
for proper talent. A municipal chorus should be formed
and trained as a unit as is done in San Francisco.
RECOMMENDATION:
That the City of Seattle encourage the formation of a
Municipal Chorus and when formed contribute to the
support of the organization.
32. 'POPS' CONCERT ORCHESTRA
Many cities throughout America have summer concerts
or 'Pops' Orchestras. Often these orchestras play in the
summer when the Symphony'Orchestra season is over thus
prolonging the playing season for the orchestra personnel.
There is at present the offer by a local concern to contribute
to the support of a 'Pops' orchestra. Private support should
be encouraged and others invited to participate with the City
joining in support.
RECOMMENDATION:
That the City of Seattle join in supporting a 'Pops'
Orchestra for the City of Seattle.
33. COMPOSERS OF MUSIC
In the development of Seattle as a great center of Music.
the encouragement of the composition of music is of prime
importance. In recent years, the writing of music in this
33.
region has grown appreciably. The Northwest Society of
Composers attests to the vigor of this movement. The
Bellevue Arts Festival offers annual prizes for excellence
in musical composition. Seattle could well encourage the
writing of music and welcome composers to this city as an
area conducive to the inspiration of great musical composi-
tion.
RECOMMENDATION:
That composers be encouraged and welcomed to this
city,
34. LITERATURE
No city can be considered a center of culture in which
the art of literature is not practiced. The cultural fame of
some cities rests largely on writers of literature. All
great cities of culture place high esteem on the written and
spokan word. In recent months there has been an awakening
of the writers of this region that this area has the possibility
of becoming the home . of great writing. Seattle is taking the
lead in bringing the writers into a sense of common direction
and mission to give new importance to literature, The
Pacific Northwest International Writers Conference has been
formed to bring annual emphasis to writing; and literature.
Realizing that it has been -the writers that have given San
Francisco, New York, Chicago, Boston and other cities a
large portion of their cultural fame, the encouraging of
writers in the "City of Seattle will return to the whole city
many times any effort the City may expend in encouraging
the Literary Arts.
RECOMMENDATIONS:
1. That the City of Seattle do whatever is possible in
a civic way to make this city known as a place where
writing by residents and visitors is encouraged.
2. That the city make a definite effort to organize its
files of historical material so as to make such informa-
tion as readily available as data in the Water Depart-
ment files. A catalogue of Ordinances similar to a
librarian's catalogue should also be developed.
34.
3 5 . GRAPHIC ARTS
. In our urban life much that we see and read every day
is by means of the Graphic Arts: publications, correspond-
ence, advertising, signs, etc. The whole tone of a city
can be made more attractive by improving the Graphic Arts.
In every country where there is a tradition and appreciation
for the `Graphic Arts there is a foundation on which to build
beauty in all forms. Switterland is a country of great
scenic beauty and the Swiss produce some of the finest
posters. Seattle produces some of the finest advertising
and graphic arts in America as is evident by national awards
won by Seattle's art directors, commercial artists, adver-
tising agencies and sign manufacturors . Outdoor advertising
and signs can contribute to the gaiety and liveliness of the
city scene. At present there is over -congestion in many
parts of the city and a restraint would increase the effect-
iveness both of advertising and of civic beauty ► Seattle
at night is bejewelled by the brilliant colors of neon signs.
Often the first 4mpression of a municipal government
is through its stationery and other printed matter. It is
important that all printed material used by the city have
the finest design available to create the most favorable
impression that Seattle is a progressive major city in
America.
RECOMMENDATIONS:
1. That official stationery of the City of Seattle
be redesigned in a dignified and distinguished
modern manner and that all Departments and Com-
missions conform to a general quality of layout
and design.
2. That all printed material eminating from the
government of the City of Seattle be checked for
excellence in design.
3. That reports should be improved in design
and standardized for better library use.
APPi1;DD: A
35•
ORDINAIK?CS * S ATTLE 11MAL OF HONOR
111-R IiREAS, From time to time acts of outstanding heroism,
service or achievement are performed or accomplished by persons
from all walks of life, who are natives of, or who reside in
the City of Seattle; and
III;A , EAS, Such acts bring honor, respect and high esteem
to the City of Seattle as well as to such persons; and
HE EAS, It is desired to recognize and honor such
persons for the acts of outstanding heroism, service or ach-
ievement and for bringing honor, distinction and prestige to
the City of Seattle; therefore
1' The City Council of Seattle hereby ordains:
"SE'CTION 1. There is hereby established an award to be
known and designated as the (Seattle Medal of Honor' to be
awarded to such persons who are natives of, or who reside in
the City of Seattle, who perform or accomplish outstanding
acts of heroism, achievement or service which results in bring-
ing honor, high esteem and prestige both to such persons and
to the City of Seattle.
"SECTION 2. The award shall consist of an appropriate
certificate or citation, whereon shall be inscribed a brief
statement of the act or acts forming the basis of the; award,
together with a medal or emblem, which shall be of a design
approved by the Art Commission.
"SECTION 3. There is hereby established a Seattle Medal
of Honor Award Committee, which shall consist of the Mayor, the
President of the City Council, the Chairman of the Municipal
Art Commission, the President of the Seattle Federation of
Wome;n's Clubs and one cler!)- an selected from each of the
Protestant, Catholic and Jewish Faiths.
IIS , TION 4. The Seattle Medal of Honor Award Committee
shall select its own chairman and adopt rules governing the
selection of recipients of the Seattle; Medal of Honor.
ArPP-�T,1DIX A continued
3.
A R E S 0 L U T I 0 N
EY THE CITY COUNCIL
For the purpose of establishing a Rhododendron Week for
annual observance in the City of Seattle.
"uE IM, EAS, The Rhododendron, being; one of Seattle's
great natural floral resources, and
"UiNZEAS, It is to the prestige and economic • ad-
vantage to capitalize on such a floral resource, and
"I.-EEREAS, Seattle should unquestionably become the
World Center for hybridizing and cultivation for national
distribution of Rhododendrons, now therefore,
"BE IT RESOLVED:
That in order to bring national and world attention,to
the City of Seattle, that one week of each year be set aside
for the display and exhibition' of Rhododendrons, and
"BE IT iURTUR R ZOLV;,D:
That the Mayor of the. City of Seattle designate a
specific time durin the year for the Rhododendron Week.
APMIDIX A continued 37.
A PROC LAMAT ION
I, Gordon S. Clinton, Mayor of the City of Seattle,
hereby designate and proclaim that the week of as
Rhododendron Week, and I do hereby invite the citizens of
Seattle to display our magnificent floral resource, and to
join with me as hosts to our neighboring cities, states,
the nation and the world in the celebration of Rhododendron
Week and to view the Rhododendron Exposition.
Gordon S.-Clinton
Mayor of the
City of Seattle.
3S•
APPE2MIX B
1 41 DUTIES AND FUNCTIONS OF THE MUNICIPAL ART COMMISSION
a
Frequently works of Art are contracted for or purchased
by the City of Seattle or are offered to the city to be placed
jon public property. In the interest of maintaining a high
quality in works of Art acquired by the city and to insure
' that the city receive proper value in the expenditure of funds
for works of Art, it should be a normal function of the Muni-
cipal Art Commission to first pass upon such: works prior to
execution or prior to their being accepted by the city.
All Art Commissions in the United States have this function
' including the new Art Commission of Portland Oregon.
The appearance of public buildings and structures and
3 other features built on or over city property is the.proper
responsibility of city government. To insure proper location,
attrgetive appearance and general suitability it would be
y necessary for that part of city government best qualified to
advise to `pass upon such projects in these respects prior to
construction. This function is also normal to all Art Com-
missions in the United States and should prevent unfortunate
and difficult to correct mistakes being made in civic pro-
jects.
a
Maintenance of works of Art should be done properly
to preserve the value of works of Art owned by the city.
To aid owners of private property to add to the at-
tractiveness of the city, the kfunicipal Art Commission
should be permitted to advise on private projects upon re-
quest.
RE COIT-11- DATIONS :
That the present Ordinance No. 84162 bo amended to
include the following:
"No work of art shall bo contracted for or placed on
property of the city or become; the; property of the city
by purchase, gift or otherwise, except for any museum
or gallery, unless such work of art, or a design or model
of the same as required by the commission, toJethcr with
the proposed location of such work of art, shall first
have been submitted to and approved by thy,, commission by
a majority vote thereof. The term "work of art" as used
APPRWIX L, continued
W
in this ordinance shall comprise paintings, mural decorations,
stained glass, statues, bas reliefs or other sculptures, monu-
ments, fountains; arches or other structures of a permanent or
temporary charactdr intended for ornament or commemoration.
No existing work of art in the possession of the city shall be
removed, relocated or altered in any way without approval of
the commission, except as otherwise provided herein.
" The commission shall prepare specifications for the
maintenance of works of art and shall inspect work under
maintenance contract.
" The commission shall have similar powers to the above
first paragraph with respect to the design of buildings, bridges,
viaducts, elevated ways, gates, fences, lamp posts or other
structures erected on or to be erected upon land belonging to
the city and concerning arches, bridges, structures and approaches
which are the property of any corporation or private individual
and which shall extend over or upon any street, avenue, highway,
park or public place belonging to the city.
" The commission shall decide upon any matter submitted
to it involving an expenditure of less than one thousand dollars
within fifteen days after submission, and upon any other matter
within thirty days after submission. If it fails to do so,,.
its decision shall be considered unnecessary.
11 The commission shall supervise and control the expendi-
ture of all a�npropriations by the City Council made available
to the commission for music and the advancement of music and
the other arts.
It The commission may advise with owners of private pro-
perty in relation to the beautification of such property; and
any person contemplating to erect any building or make any
improvement may submit the plans and designs or sketches thereof.
to the Municipal Art Commission for advice and silggestions, for
which no charge shall be made by the commission.;
ifThe commission shall eJ;ercise all reasonable super-
vision of policy connected with the arts as may hereafter as-
signed to it by ordinance or exective action."
AG;,-'CI'i OTHM THAN MUNICIPAL PROPOSING PROJECTS OF CONSTIUCTION
WITHIN THE CITY.
Public agencies other than the City of Seattle propose
and construct permanent projects of great magnitude in and
through the city. These projects often tend to dominate the
civic scene and it is therefore imperative that they be designed
ifi.th beauty as well as utility. It is to the best interest of
the people of Seattle that its city government be assured that
such projects be effective visually for they are: in the public ' s
visual domain.
APP t' TDIX B continued
V
R'i OMMENDATION:
n
.,
40.
That as a normal course of action, the State of Washington
and other agencies be requested to consult with the Muni-
cipal Art'Commission during, planning regarding structures
and projects that will be placed within the City of Seattle
and which will become an important part of the visual scene.