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CULTURAL ARTS COMMISSION AGENDA
La Quinta Civic Center Study Session Room
78-495 Calle Tampico - La Quinta, CA 92253
March 9, 2000
7:00 PM
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 February 10, 2000
B. Arts in Public Places Financial Report for February 2000
V. PUBLIC HEARING
VI. BUSINESS ITEMS
A. Meet the La Quinta Artist
B. Civic Center Campus - Subcommittee Report
C. Cultural Workshop - Subcommittee Report
D. McCallum Theatre Institute Aesthetic Education Program - Commissioner Shamis
VII. CORRESPONDENCE AND WRITTEN MATERIALS
A. Monument Sign at Lumpy's/Von's
B. Art Fernandez - 7th Panel for Bus Shelters
C. Auto Mall Art Piece
D. Arts Festival Schedule
E. Community Picnic Letter from Victoria St. Johns, Community Services Commission
F. City of San Diego Collections Management RFP
VIII. COMMISSIONER ITEMS
IX. ADJOURNMENT
NEXT MEETING INFORMATION
April 13, 2000 7:00 PM
La Quinta Civic Center Study Session Room
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G� OF I19
CULTURAL ARTS COMMISSION MEETING
DATE: March 9, 2000
ITEM TITLE: Monthly Financial Report for Art in Public Places Funds
BACKGROUND:
The Community Services Department receives a monthly Financial Report from the Finance
Department which consists of funds available through the Art In Public Places Fund. This report
is transmitted for your review.
RECOMMENDATION:
MEMO.FR
City of La Quinta
Recap Arts in Public Places
Available Funds 2/29/2000
Deposits collected through development
Interest earned
City Contribution
Total Sources
Less expenditures:
Operating expenses
Art purchased
Total Uses
Equity Available before encumbrances and committments:
Add back Accounts Payable
Reduction for Interest Receivable
Cash Available before encumbrances and committments:
Less Encumbrances - 1999/2000 Operating Expenditure Authorization
Less Commitments:
Balance of De Martino Sculpture for Civic Center
Balance of K.Emerson & A.Dematteis - Fritz Burns Park
Balance Hwy 111 TDC Shopping Center - Paid
Balance Hwy 111 TDC Shopping Center - Credits
Balance Hwy 111 TDC Shopping Center - Future
Balance Ministrelli TT25429
Deposits committed to Rancho La Quinta - Paid
Deposits committed to Rancho La Quinta - Credits
Balance of Art Fernandez - Fritz Burns Park
Balance Marcia Gibbons-L.Q. Car Wash
Balance Eagle Hardware -Credit
Balance Washington St. Bridge-Navarrete/Nolmes & Narver
Balance Washington St. Bridge-Navarrete/Nolmes & Narver
Balance Washington St. Bridge -Artwork Construction
Obelisks Pilot Program -City Street Markers
Landscaping for Artpiece-Hwy111/Wash. St
Civic Center Art Purchase
Construction of Base for New Art Piece
City Entrance Monuments
Obelisks Pilot Program -City Street Markers
City Entrance Monument Right -of -Way (#655)
Civic Center Campus
Total Commitments
Total available funds through
2/29/2000
Balance as of January: t56,533.62
$1,102,561.86
132,935.77
50,000.00
1,285,497.63
(19,969.61)
(719,660.73)
(739,630.34)
545,867.29
300.00
0.00
546,167.29
(5,000.00)
(13,217.00)
(1,260.37)
0.00
(9,418.07)
(14,581.93)
0.00
0.00
0.00
0.00
0.00
0.00
(1,284.00)
(30,122.00)
(12,710.50)
(1,684.50)
(200.00)
0.00
(2,798.50)
(19,298.90)
(12,834.50)
(15,000.00)
(340,000.00)
(474,410.27)
$66,757.02
File: APP.WK4
City of La Quinta
Arts in Public Places
Recap Expenditures
Inception to 2/29/2000
Operating Expenses: Expended
Conference - Phoenix
07/24/92
Bank of America 821.66
07/31/92
Meg Robertson 244.08
$1,065.74
10/15/92
A.E.S.
23.70
01/12/93
Jerry Allan
2,275.00
03/10/93
Regents - University of Calif.
105.00
03/31/93
Martin & Chapman
242.05
03/31/94
City of La Quinta Admin Fee
6,000.00
05/10/95
Rositas Shamis - Reimburse for supplies
35.91
06/30/98
Charrie Chappie Travel
325.21
06/30/98
Elaine Reynolds Travel
360.61
06/30/98
Rosita Shamis Travel
2,141.01
06/30/98
Susan Benay Travel
1,125.32
06/30/98
Americans For The Arts Registration
150.00
09/30/98
Susan Benay Travel - Reverse
(1,125.32)
01/25/99
Art in La Quinta Inserts (Arrow Printing)
1,150.00
05/07/99
Recreation Brochures
473.50
05/29/99
Summer Brochures (Arrow Printing)
1,239.13
06/30/99
Patrick Welch - Anderson Travel
428.00
06/30/99
Welch/Reynolds - Atlanta Hilton
1,313.28
06/30/99
Susan Benay - Best Western
245.00
06/30/99
Ca Assembly of Local Arts
199.00
06/30/99
Welch/Reynolds - Americans for the Arts Reg.
600.00
06/30/99
Susan Benay - Travel
272.36
08/19/99
US Postmaster: 05/19/1999 Appropriation -Summer Brochure
160.00
12/14/99
US Postmaster: Brochure
160.00
01/08/00
Arrow Printing - Brochures
1,636.75
02/11/00
Travel & Conference - Credit
(931.64)
Total Operating Expenses
$19,669.61
Art Purchased
06/09/92 Adams/Truman PTA
04/14/93 Louis De Martino
06/29/94 K.Emerson & A.Dematteis
07/31/92 Hwy 111 TDC - Paid
07/31/92 Hwy 111 TDC - Credits
07/31/92 Hwy 111 TDC - Future
Total Balance of
Commitments Expended Commitments
846.00 $846.00 0.00
73,500.00 60,283.00 13,217.00
51,000.00 49,739.63 1,260.37
47,578.99 47,578.99 0.00
10,810.63 1,392.56 9,418.07
36.610.38 22,028.45 14,581.93
12/15/1992
Ministrelli TT25429
15,000.00
15,000.00
0.00
06/06/1995
Bear Creek Path Art Work
5,000.00
5,000.00
0.00
01/16/1996
Fritz Burns Park
16,786.00
16,786.00
0.00
05/21/1996
Rancho La Quinta - Paid
35,000.00
35,000.00
0.00
05/21/1996
Rancho La Quinta - Credit
35,000.00
35,000.00
0.00
12/17/96
Fritz Burns Park - Art Fernandez
37,000.00
37,000.00
0.00
06/17/97
Marcia Gibbons-L.Q. Car Wash
10,000.00
10.000.00
0.00
06/17/97
Eagle Hardware -Credit
43,000.00
43,000.00
0.00
05/05/98
Washington St. Bridge-Navarrete/Holmes & Nan
3,000.00
1,716.00
1,284.00
09/15/98
Washington St. Bridge-Navarrete/Holmes & Nan
39.500.00
9,378.00
30.122.00
10/20/98
Washington St. Bridge -Artwork Construction
21,999.00
9,288.50
12,710.50
07/07/98
Obelisks Pilot Program -City Street Markers
14,000.00
12,315.50
1,684.50
07/07/98
Landscaping for Artpiece-Hwyl 11/Wash. St
19,000.00
18,800.00
200.00
03/16/99
Civic Center Art Purchase
7,327.00
7,327.00
0.00
04/06/99
Construction of Base for New Art Piece -City Hall
4,000.00
1,201.50
2,798.50
05/18/99
City Entrance Monuments
293,113.00
273,814.10
19,298.90
07/01/99
Obelisks Pilot Program -City Street Markers
20,000.00
7,165.50
12,834.50
09/07/99
City Entrance Monument Right -of -Way (#655)
15,000.00
0.00
15,000.00
01/18/2000
Civic Center Campus
340,000.00
0.00
340,000.00
Total Art Purchases
$1 194 071 00 $719 660.73 $474,410.27
File: APP.WK4
City of La Quinta
Recap Arts in Public Places Interest Earned
FY 1990/91
FY 1991 /92
FY 1992/93
FY 1993/94
FY 1994/95
FY 1995/96
FY 1996/97
FY 1997/98
FY 1998/99
Total Accumulated Interest
FY 1999/00 Interest YTD
Interest Through
Annual
Interest
3,525.59
11,646.54
12,156.96
7,137.38
11,444.17
14,109.65
16,170.79
14,845.19
28,328.00
13,571.50
2/29/2000 132,935.77
File: APP.WK4
-:- VI. JUSINESS ITEM A.
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CULTURAL ARTS COMMISSION MEETING
DATE: March 9, 2000
ITEM TITLE: Meet the La Quinta Artist
RECOMMENDATION:
Select an artist to be recognized as the Meet the La Quinta Artist for the months of
March and April, 2000.
BACKGROUND AND OVERVIEW:
The Cultural Arts Commission, as a task identified in the 1999/2000 Work Plan, has
instituted the Meet the La Quinta Artist program. The qualifications for the program
include: an artist must be a resident of La Quinta or have a studio in La Quinta to be
eligible for consideration.
Every two months, the Commission selects an artist to be recognized as the Meet the
La Quinta Artist recipient. The artist for the months of January and February was Mr.
Kevin Henry, a musician and songwriter who lives and performs in La Quinta.
The artists are invited to attend the Culture in the Courtyard program, to exhibit their
skills. The Culture in the Courtyard program is offered the fourth Thursday of the
months of January through April.
ALTERNATIVES:
The alternatives available to the Commission are:
1 . Select an artist to be recognized as the Meet the La Quinta Artist for the
months of March and April, 2000; or
2. Do not select an artist to be recognized as the Meet the La Quinta Artist
for the months of March and April, 2000; or
Provide staff with alternate direction.
Do orvitz, Comm iiit Services Director
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VI. BUSINESS ITEM B.
45
OF f1�
CULTURAL ARTS COMMISSION MEETING
DATE: March 9, 2000
ITEM TITLE: Civic Center Campus
RECOMMENDATION:
As deemed appropriate by the Cultural Arts Commission.
BACKGROUND AND OVERVIEW:
At the February 10 Cultural Arts Commission, the Commission discussed the items
that are to be included in the Civic Center Campus improvements. Discussion took
place regarding the historical aspect of La Quinta and how this would be incorporated
into the campus project.
The Cultural Arts Commissioners agreed to contact the La Quinta Historical Society
and the Historic Preservation Commission to gather information about La Quinta. This
information would be made available to the artists wishing to submit a proposal for the
artwork for the Civic Center Campus project.
During the discussion of the Civic Center Campus improvements by the City Council,
it was determined that a Historical Plaza would be incorporated into the project. The
art work identified by the City Council to be included in the Historical Plaza will include
a water feature, bronze relief map, acknowledgment areas, and pavement amenities.
Attachment A is a proposed Request For Qualifications (RFQ) for the Civic Center
Campus Project. This RFQ will be considered by the City Council at the March 7 City
Council meeting. Staff will provide a verbal report at the Commission meeting.
ALTERNATIVES:
The alternatives available to the Commission are:
1. Provide historical information to the artists wishing to submit a proposal
for the Civic Center Campus project;
SACommunity Services\CAComm\CACRPT.003.wpd
2. Provide
Dodie Horvi m1
Attachment: A.
wish alternate direction
Serv-VUes Director
Request for Qualifications for the Civic Center Campus
Project
SACommunity Services\CAComm\CACRPT.003.wpd
ATTACHMENT A
Art in Public Places Program
Civic Center Campus Project
Request For Qualifications
PROJECT LOCATION AND DESCRIPTION
The City of La Quinta wishes to commission artists for the Civic Center Campus Project. Artists
are encouraged to include a historical element of the La Quinta area in their presentation of
projects. The La Quinta Historical Society will be able to provide historical information on the
area. The Civic Center Campus (Campus) is located west of the La Quinta Civic Center. The
boundaries include Washington Street on the east, Avenida La Fonda on the south, La Quinta
Senior Center and parking lot on the west, and Calle Tampico on the north. The Campus will
include several site amenities, and areas identified for Public Art projects. These projects
include:
One Bronze Relief Map
One Water Feature
Acknowledgment Areas: Veterans
Sports Figures
Celebrities/Arts
Four Bridge Railing Exterior Enhancements
Pavement Amenities
The award amounts include materials and installation costs. Artists may submit qualifications
and specific proposals from one to all five projects listed. A project narrative is provided for
additional information on page 4.
Artist's qualifications and specific proposals will be reviewed by the Cultural Arts Commission
and Tom Doczi, of TKD, the principal architect. The recommendations of the Cultural Arts
Commission will be forwarded to the City Council for consideration.
MATERIALS
The artist may use any material he/she deems appropriate for the execution of the work. The
following conditions apply:
1. The artist must collaborate with the principal architect and adhere to the
construction and installation schedule.
2. The work will be subject to review and revision by structural engineers; building
inspectors; and other appropriate staff at the cost of the artist.
3. The work must meet all safety and building code requirements, including the
Americans with Disabilities Act (ADA).
INFORMATION AVAILABLE
A copy of the approved Master Plan for the Civic Center Campus improvements and the La
Quinta Municipal Code Chapter 2.65- Art in Public Places are available at the cost of $12.00 by
contacting the Community Services Department at 760-777-7090.
REQUEST FOR QUALIFICATIONS SUBMISSION REQUIREMENTS
All artists* are to submit the following:
A one page cover letter describing interest in this project, relevant previous
experience, preliminary thoughts on how the Civic Center Campus project may be
executed and at least two professional references.
2. Current resume (up to two pages.)
3. A maximum of ten 35mm slides (no glass mounts) of past work, relevant to this
project, in an 8 1/2" x 11" clear plastic sheet. Label each side with artist's name,
title, date, artwork dimensions, and an indication of "up" at the top of the slide.
4. An annotated one page list that corresponds with slides.
5. An appropriate visual display of the proposed artwork which details its installation
and materials.
6. A written description of the proposed solution, including its method of fabrication,
installation and any special operational requirements.
7. A written description of the proposed artwork's maintenance requirements.
8. Marquette of proposed art work (to be presented at the review meeting.)
*Artist is defined as a person experienced in the production of such art work and recognized by
critics and by his/her peers as one who produces works of art. (L.Q.M.C. Chapter 2.65)
REQUEST FOR QUALIFICATIONS DEADLINE AND INFORMATION
All responses to the RFQ must be received by 5:00 p.m. on Monday April 3, 2000.
Selection Process Time Line:
Although the City of La Quinta has established this time line, the dates may vary depending on
conditions.
March 22, 2000 Pre -Proposal Meeting with City staff and Principal Architect
April 3, 2000 Resumes and slides due to the Community Services Department
April 13, 2000 Presentation of proposals to the Cultural Arts Commission. Marquettes are
due at this time. Each artist will be given a short period of time to describe
their concept and answer questions from the Commission.
May 2, 2000 Presentation to the City Council for consideration. Artists selected by the
Cultural Arts Commission for consideration will be expected to attend the
City Council meeting to represent their work.
Once artists are selected for each component, the marquettes must be available for public
display throughout the project.
SELECTION OF ARTISTS
The criteria used by the Cultural Arts Commission in reviewing the design proposals shall
include, but not limited to: aesthetic quality, site suitability, durability, level of maintenance,
technical feasibility and general appropriateness. All art work is subject to Chapter 2.65 of the
La Quinta Municipal Code -Art in Public Places.
The final selection of an artist and design proposal is wholly within the discretion of the City of
La Quinta. The City Council may accept or reject a design proposal for any reason. The City
is under no obligation to commission a work of art from any submitted proposal if that proposal
is not deemed satisfactory and acceptable to the City.
CONTRACTS
Artists selected to create a finished artwork will be required to enter into an agreement with the
City prior to commencing the work. No selection shall be deemed final until an agreement has
been properly executed and signed by the artist and the City. The terms of the agreement will
include, among other things, insurance requirements established by the City.
The process described herein, which will lead to the selection of artists, does not imply any
contractual agreement with applicants. Once artists have been selected for the commissions,
a contract will be established. Outlined in the contract will be the production and installation
schedule.
CONTACT
Questions regarding the Request For Qualifications, the selection process or the project should
be referred to:
Dodie Horvitz, Community Services Director
78-495 Calle Tampico
P.O. Box 1504
La Quinta, CA 92253
(760) 777-7032 (760) 777-1231 (Fax) Dhorvitz@la-quinta.org (e-mail)
Project Narrative:
♦ Bronze Relief Map: To memorialize the original City of La Quinta legal boundaries,
at the time of incorporation on May 1, 1984. This will be located in the Historical
Plaza, and is expected to be incorporated into the sidewalk. A map of the area is
available by contacting the Community Services Department.
♦ Water Feature: A water feature will be located in the Historical Plaza, and has
been defined by the City Council as being a linear feature, with the walls of the
water feature being 18-20 inches tall.
♦ Acknowledgment Areas: Three areas will be located throughout the Campus,
acknowledging veterans, sports figures and celebrities. These areas should be
designed so numerous people may view them at one time and that additional
names can be included at a future date.
♦ Bridge Railing Exterior Enhancements: There will be two bridges leading to the
island on the Campus. A standard bridge will be installed, and enhancements to
the exterior railings will complement the bridges. Enhancements may not weaken
the structural integrity of the bridge. A bridge design outline is available by
contacting the Community Services Department.
♦ Pavement Amenities: These will be located throughout the Campus, and may
include tile work, pavers, imprints in the concrete, mosaics, etc.
City of La Quinta
Community Services Department
P.O. Box 1504
La Quinta CA 92253
RE: Request For. Qualifications
Civic Center Campus Project
SUGGESTIONS FOR ART TO BE INCORPORATED IN THE PROPOSED
HISTORICAL PLAZA
By Jan Blakley--A
Cultural Arts Commissioner for l,a Quinta
After reviewing pertinent historical sources* dic Cultural Arts Commission of La Quinta has
drafted suggestions to incorporate art into the proposed (Iistorical Plaza of the City Campus.
The CAC'S suggestions were arrived at from an art -history viewpoint as an attempt to
recognize the uniqueness of La Quinta and die Coachella Valley.
A. I IIS'1'ORICAL WALK-OVI�-RVIEW
The CAC commissioners envision a continuous historical walk circling throughout the entire
City Campus. As you walk through the various venues you will be given valuable historical
facts inscribed on pictographs or rock drawings (petroglyphs) that can act as directional
guideposts. Drawings and information will be written on irregular pieces of slate, rock, or
other impervious material as signposts. The walk will begin at the opening of the Historical
Plaza. Visitors and residents will be welcomed into the City Campus by a brief inscription.
"Welcome to La Quinta, the Gem of the Desert". As you exit, a final petroglyph will thank
you for your interest and ask you to return again.
B. HISTORICAL PLAZA -OVERVIEW
The walk through the Historical Plaza is a walk through the past. It will have: momentos to
the indigenous animals and plants; tributes to the industrious, self-reliant Cahuilla Indians;
the rugged farmers and settlers who tamed the harsh, dramatic environment into one of
beauty. You will experience native landscape such as boulders towering behind the native
grasses, date palms growing beside the Indian grains, and water flowing near plants as if it
had just come from the man-made All -American Canal, and the Colorado River. In addition
to the geology and prehistory, the importance of the Date Industry and the city of I,a Quinta
itself will be honored.
While on the Historical Plaza Walk one can trace La Quinta's history by walking in the
footsteps of the city's historical forerunners: dhc Indian, the Spanish, the Missionaries, die
Prospectors, Farmers, and the Celebrities. Relax in a "armada", an arbor for shade. Visit the
Pt. I Iappy Region with its replica of the first school house, or a Bradshaw Stagecoach that
would have traveled on the original Bradshaw Stage route dirough La Quinta to the
Colorado goldfields. Review the historical plaque that honors die Point I lappy Date
Gardens and the Arabian horses that were bred at the Pt. Happy Ranch. Observe the
abstract sculpture of prehistoric land found in La Quinta, an encrustation that is called Tufa.
Note the serenity of the I-listorical Plaza. When your walk is complete you will look upon La
Quinta's natural beauty as a hallowed ground and a curative place as is believed by the
Cahuilla Indians.
*The Coachella Valley I Iistorical Society, the La Quinta Chamber of Commerce, the La
Quinta Historical Society and the La Quinta I-Iistorical Museum.
CAC suggests:
"Welcome to La Quinta, The Gem of the Desert". This inscription and others will
appear on an irregular piece of slate, rock or permanent substance that is durable
and easy to read from. These informational guideposts can also point toward the
direction the path takes to the next work of art or "station"
C. GEOLOGY
Once the ancient waters receded from Lake Cahuilla, in the Coachella Valley, they left a
coral reef in the form of an encrustation of Tufa. Tufa, which is a porous rock formed from
calcareous deposits, has been found in La Quinta. According to historians, such as Fred
Rice, Jr. and Dr. Ralph Pawley," the formation appears like an abstract sculpture, one that
Picasso might have fashioned".**
CAC suggests:
An abstract sculpture, either in clay or a composition material that will withstand
heat and that reflects the porous, yet undulating movement of these coral reef/Tufa
deposits.
D. THE CAHUILLA INDIANS
The ancient Indians who had made the Coachella Valley their home for over 6000 years,
considered the La Quinta Cove to be mystical, a place of rejuvenation, serenity, a holy
place, and a "land of eternal sun". One might consider honoring the Cahuilla Indians'
adaptability and ingenious use of their stark environment. For example, the Cahuilla.
Indians are known for their tightly woven basketry that would hold water, and in which
they cooked their meals. Historians feel this same Cahuilla basketry with its delicate,
vivid patterns, and their intricate painting on pottery, went beyond utilitarian purposes —
that the Cahuillas had developed objects of art and beauty. Records indicate that the
Cahuilla also appreciated the artist or master craftsman and assigned them a superior
social rank. In addition, the Cahuilla enjoyed music and games. They sang, and played
the flute, rattle and rhythm sticks.
CAC suggests one or more of the following:
• Indian footprints impressed into a cement walk indicating progress by
incorporating the footprints into those of the Spanish, the Missionaries, the
prospectors, the farmers and the celebrities/artists.
• A bronze statue of an Indian maiden with an Indian hunter. She selects arrow
weeds for the arrows while he straightens and sharpens them in preparation for
hunting.''°�°�`
• SHADE STOPS: Placement of Cahuilla basketry, pottery, and musical
instruments (flute, rattles, rhythm sticks) within shade stops which could be
arbors of arrowweed, mesquite or wood.
• One could also inscribe sketches of the basketry, pottery, and musical
instruments on the guideposts or in various other places on the walk.
**Quote taken from Dr. Ralph Pawley and Fred Rice, Jr. p.5 of LQ historical society's
publication, "The History of La Quinta, The Gem of The Desert".
***See the Indian Maiden bronze statue in front of the Ross/Mervyn stores in Palm Desert.
E. INDIGENOUS ANIMALS AND PLANTS
Small game such as quail, jackrabbits mountain sheep, deer, antelopes, kit foxes, owls,
turtles, and coyotes were prevalent in La Quinta and the Coachella Valley. The Indians
hunted many of them, along with eating local grains, parts of the mesquite tree, arrowweed
roots, Jajoba beans and corn.
CAC suggests:
• A covey of quails (the favorite bird of La Quinta) in bronze surrounded by local
grasses including mesquite/arrow weed.
• and/or
Growing indigenous plants alongside the Historical Plaza.
F. WATER/FARMING
La Quinta and the Coachella Valley have, and will continue to tame the
desert, utilizing what it offers in weather, soil and growing conditions.
Witness:
• The introduction of irrigation, beginning with wells.
The activation, in 1948, of the Coachella branch of the All- American Canal from the
Colorado river serving La Quinta and the Valley. The Canal has made this area
fertile, the result of which is its famous agriculture.
CAC suggests:
• A monument to the noble farmer (statue or other art piece depicting the field
worker) whereby live water flows beside the statue, incorporating the use of
irrigation to subjugate the unrelenting and desert
G. PICTOGRAPHS/PETROGLYPHS
Pictographs have been found in the Mountain Cahuilla territory near Idyllwild.
CAC suggests:
Pictographs/Petroglyphs could be used as informational or directional signposts
guiding the visitor. They also could be inscribed into tinted cement pathways.****
H. THE DATE CAPITAL
Date production in the Coachella valley is unique. Dates were introduced into this Valley
from North Africa and Egypt in the early 1900's. Climate and soil were perfect for the
transference of the date palm to this desert area of America. The date industry has provided
an economic base for the Valley, bringing it employment, increased tourism, and worldwide
fame.
CAC suggests:
• A tribute to the date by inscribing into a large petroglyph or plaque:
a. Historical highlights of the Date Industry, listing important personages, events
b. An actual cluster of the dates, harvesting ladder, a farmer hand picking dates
• Planting live date palms in the Indigenous plant section situated near the Historical
Plaza and/or a sketch in the Pt. Happy section
****. (See Palm Desert city park and p.7 of LQ Historical Society —"History of LQ")
I. LA QUINTA-THE NAME -THE IMAGE
La Quints is a Spanish name for a secluded country retreat In the past as in the present, La
Quinta is and has also been a gathering place due to its grand climate and geographical
beauty. Consider Point Happy, a popular landmark in La Quinta's history. It held:
a) The first schoolhouse: a two -room structure with 9 students
b) An active stage coach trail
c) Prosperous and well known date gardens
d) An Arabian horse Farm
Today, the Point Happy Ranch still exists (on a smaller scale) on the Southeast corner of
Highway 111 and Washington. The La Quinta Shopping Plaza now occupies a portion of the
original Pt. Happy area.*****
Another landmark remains in La Quinta today and projects the La Quinta image of serenity
and privacy. The La Quinta Hotel built in 1926 flourishes today with its Spanish architecture
cloistered casitas and health spa.
La Quinta has been the home to the Cahuilla Indians, the Spanish, missionaries, settlers,
prospectors, etc. Later it became home to the famous, such as: celebrities in sports, movies,
politics and art. Also, many persons just come here seeking serenity, the pleasant climate and
the beauty of the surrounding area.
In 1982 La Quinta became a city. Historians claim that the city fathers felt they had
succeeded in almost all their goals but one: to make La Quinta a center for the arts and
culture for Coachella Valley. They immediately established an annual arts festival as a step
toward this cultural goal. Today, as in the past, the citizens of La Quinta continue to strive
toward the goal of cultural improvement.
CAC suggests:
• A Point Happy Area to include:
a) A replica of a school house
b) A stagecoach to represent the Bradshaw Stage
c) A shade arbor made of arrow weeds/mesquite bindings -a "ramada"
• Inscriptions into a large petroglyph or has relief of: the Santa Rosa Mountains, a
cluster of Date Palms, and Arabian Horses in front of a ranch. All of which could
be incorporated with the faces of sports figures, movie stars and artists.
•*****(See 1916 Point Happy School picture in "The History of La Quinta" by La Quinta
Historical Society).
BRIEF SUMMARY OF THE HISTORY OF LA QUINTA,
CALIFORNIA
NAME La Quinta was originally called Marshall's Cove It was named after the
DEFINED: farmer/homesteader named John lvlarshall.(1902-1938). In 1930 it was
renamed La Quinta. La Quinta means a secluded country retreat or small
bungalow. The "quintas" were built for the owners of large land grant
rancheros in Mexico and California, and were planned to be a day's ride from
each other. Today, La Quinta is known as the "Gem of the Desert'.
GOAL: I Iistorians state that when La Quinta became a city in 1982 its city father's
felt they had succeeded in almost all their goals but one: to make La Quinta a
center for the arts and culture for Coachella Valley. They immediately
established an annual arts festival. Today, as in the past, the citizens of La
Quinta continually strive toward the goal of cultural improvement.
GEOLOGY: In antiquity, La Quinta was part of a huge lake entitled Lake Cahuilla.111e
existence of this ancient seabed can be documented by the visible water line
on mountains near PGA West, and through shells and fossil findings. La
Quinta sits below a wall of the Santa Rosa Mountains, while mountains
surround the Coachella Valley with many peaks rising 10,000 feet.
WATER: Trapped below the surface of La Quints is a huge aquifer that feeds the city's
wells as it does various other areas of the Coachella Valley.
Around 1905 the Colorado River overflowed its banks, flooding the salt
works near the eastern end of the Valley creating the present Salton Sea.
Congress passed an act to control the Colorado River and irrigate the deserts
in 1928. In 1948 the Cahuilla Branch of the All -American Canal was opened.
It delivered water from the Colorado River to Coachella Valley using Lake
Cahuilla in La Quinta as a reservoir. Devastating floods hit the valley in 1916,
1936, 1939, 1965 and 1969. hurricane Kathleen pounded the Valley in 1976.
AGRICUL- Once the All -American Canal entered the Coachella Valley, agriculture
TORE: thrived. The unique weather in the Valley permitted multi -periods of crop
production, making the valley famous and helping its economy. Citrus,
cotton, alfalfa, corn, dates, tomatoes, table grapes and 34 other crops are
grown here. By 1937 over 14,500 acres were farmed in the Coachella Valley.
DATES: Dates were imported from Africa, Arabia and Egypt. The date industry
rapidly grew improving the Valley's economy and giving it worldwide
recognition.
INDIANS: The Cahuilla Indians inhabited the Coachella Valley for 6000 years.
According to historians, they considered the La Quinta cove as hallowed
ground and referred to it as the " land of the eternal sun". The Cahuillas
were famous for their basket weaving, especially their tightly woven baskets
that held water and in which they performed almost all of their cooking. In
addition, the Cahuilla Indians were seed gatherers and designed pottery that
is still being researched today for its fine craftsmanship. These same Indians
utilized their native grasses and weeds. The arrow weed sustained them as a
food, and was used for construction in their huts, as windbreaks, fences and
arrow shafts. Their diet consisted of small game such as rabbits and birds.
Com, pinon nuts, mesquite, Jojoba beans and berries of various kinds were
also eaten. Rocks with grooves were used to shape and sharpen their arrow
weed shafts in preparation for hunting. Ruby Modesto is remembered as a
famous Cahuilla Indian medicine woman, while Fig Tree John, was the
Valley's best known Cahuilla Indian. He died 1927 while she died in 1980.
HISTORIAN Coachella Valley Historical Society feels: "An awareness exists in the Valley
SUMMARY: of how important it is to preserve native environment." They also predict
great expansion within the next hundred years, from 2000 to 2100.
VARIOUS IMPORTANT DATES RELATED TO LA QUINTA AND
COACHELLA VALLEY
6000yrs.- Cahuilla Indians inhabited the Coachella Valley
16" Century- Spanish conquistadors arrived in the Valley
100 years later- Padres followed to Christianize the Indians
1800-Early trading posts established such as Point Happy.
1861-prior to the Civil War, William Bradshaw was commissioned to find a route from San
Bernardino through the desert and mountains to the La Paz gold fields in Arizona. This
Bradshaw Trail followed much of the old road used by the Cahuilla Indians
1876-Completion of transcontinental railroad through the Valley-So.Pac.RR.
1899-Southern Pacific Railroad already a focal point of life/central image in the Valley
1902-1938- John Marshall homesteaded the South end of Washington and. 5e with his
Brother-in-law, Albert Green. They raised citrus and date palms, etc. Marshall was killed in
a cave-in on his property in 1938
1900-1" large, hydraulic well drilled near Indio
1903-Sidewinder train began service in Valley from Indio to Calexico
1904-USDA Date Experiment Station built at Mecca
1904-V resident doctor in the Valley is a woman — Dr. June Robertson
1905 The Salton Sea was formed when the Colorado River water flooded the salt works
located in the eastern end of the Coachella Valley
1908-Second importation of dates by Bernard Johnson. Algerian date offshoots arrived from
North Africa and Egypt
1910-l' high school in the Valley opened in Thermal Baptist Church
1911-1" airplane landed in the Valley at Mecca, on a transcontinental flight
1911-1st cotton gin in town of Arabia
1913 —1st date growers group —Coachella Valley Date Growers Association
1913- Ruby Modesto — Cahuilla Indian Medicine Woman was bom. Died 1980
1914-Electricity delivered to the Valley via lines of Southern Sierras Power Company
1915 -Dates were exhibited/awarded prizes in Panama Pacific Exposition in San Francisco
1916-Flood devastated farm land and towns, wiped out roads, created new mouth of the
Whitewater River at Point Happy
1917-Valley had 3 newspapers, The Coachella Valley Submarine, The Date Palm, The
Coachella Bee. The Riverside Enterprise delivered by air to Palm Springs and Mecca
1918-Voted in the Coachella Valley County Water District to cover Cabazon to Salton Sea
1919- Electric power extended to Marshall's Cove (La Quinta) where Mssrs. Ikes/Morgan
were building the valleys only 4-story house
1919- Indio Lighting District installed 1" streetlights in the Valley
1920's-La Quinta soared into its star-studded past and today, when William Morgan, a. San
Francisco businessman's son, selected the beautiful cove as a site for the now world-famous
La Quinta Hotel
1921-1" Festival of Dates was held in Indio
1923- Acala Cotton Growers' biggest year 1923-4. Sold to French Indo-China,El Salvador,
Columbia, Russia
1924 -1st Date Institute held an educational symposium to spread knowledge about date
culture locally and throughout the world.
1926-La Quinta Hotel opened its doors with 6 small cottages. It has remained a popular
retreat, touting the desert sun and tranquil silence. The hotel is nestled near the "spiritual
Santa Rosa Mountains". Famous celebrities, politicians and high society have made it their
favorite hotel. Frank Capra, a screen writer, brought tremendous attention to the hotel after
writing his success in the La Quinta Hotel in 1934, "It Happened One Night"
1927-Idea of "white line" down center of highways was accepted by state; instigated in Indio
Women's Club
1927-Most favorite Cahuilla Indian —Fig Tree John died
1928-Congress passed an act to control the Colorado River and to irrigate the deserts.
1928-1" Valley hospital opened by Dr. Gray in Indio
1929-1he stock market crash ruined many Valley farmers
1930-La Quinta post office opened. Marshall Cove was renamed La Quinta
1930's — Movie stars flocked to the Valley -late 1920's also
1932-Dec. the beginning of Metropolitan Water District aqueduct through Coachella Valley
1933 — The Coachella Valley presented the first prepaid health plan in country; Dr. Garfield,
Dr. B.Gene Morris at Contractor's hospital charged Scents/day by payroll deduction
1936 Jacqueline Cochran, (famous Valley aviatrix) and Floyd Odlum purchased Marshall
property South of Indio. Amelia Earhart visited here to purchase land. Her disappearance
cut short this plan. 1953 Cochran set 3 world records testing Sabre Jet aircraft at Edwards
Air Force Base
1936-Devastating floods again hit the Valley
1937-14,500 acres farmed in Coachella Valley
1937 -Desert Club built in La Quinta. Attracted movie stars and locals; fun, food, pool
1939-Devastating floods hit the valley
1939-Palm Springs' first airport was a landing field built by Army Air Corps
1940-County supervisors purchased permanent site for National Date Festival
1942-General Patton was in charge of training troops at Camp Young for the North African
campaign, designed to prevent the Axis from reaching and capturing the Suez Canal
1944-30 million guayule plants were sold to Continental Mexican Rubber Company to plant
50,000 acres of synthetic rubber to aid the war effort
1947 La Quinta airfield was built East of La Quinta Hotel between Eisenhower/Wash. SSTs
1948 The Coachella Branch of the All -American Canal received its first canal water from the
Colorado River. River water permitted the growing of cotton, alfalfa, corn, dates, citrus,
tomatoes, grapes and 34 other crops
1950's Salton Sea became a famous recreation center with speedboat regattas, etc.
1956- The Big Fisherman film made in LQ
1960-Construction of College of Desert began
1962 President Kennedy visits Valley; 1964 Lyndon Johnson/wife visit aviatrix, Jackie
Cochran/Floyd Odlum
1965- Thanksgiving week, floods from upper Whitewater River wash out bridges on
I- 10,Highway 111 above Palm Springs
1968-Governor Ronald Reagan signs Salton Sea Advisory Committee Bill
1969- Historic floods. Bridges washed out. The stormwater control system by Corps. Of
Engineers proved its great worth in this one year of massive floods.( Thermal/Hi 111)
1970- Lake Cahuilla in LaQuinta became the terminal reservoir for Coachella Branch of All -
American Canal. It was put to use immediately as recreational site
1974-18 additional golf courses added to Valley including several in La Quinta
1976-Hurricane Kathleen brought disastrous floods again to Coachella Valley
1980-1990s era of expansion- — roads, schools, businesses, shopping malls, government
offices, subdivisions, golf courses, country clubs, water/flood control projects grew.
Agriculture blossomed, turf farms sprang up
1982-LaQuinta became a city
ACKNOWLEDGEMENTS
Conversations from History Docents and long-time residents of Coachella Valley. Coachella
Valley Historical Society, Indio, California. 2/19-21/00.
Conversations/information with/from La Quinta Historical Society members: Barbara
Irwin, Louise Neely, Fred Rice.
"The History of La Quinta-the Gem of the Desert" Publication by La Quinta Historical
Society. 1990.
La Quinta Directory Guide, 1997-1998. A Quinta Chamber of Commerce publication.
The Periscope 2000, A Century of Change in the Coachella Valley. Coachella Valley
Historical Society publication. Indio, California. 1999
Pictorial History of the Coachella Valley. Patricia Laflin. Book.
Tour and Films presented at and by the Coachella Valley Historical Society. Indio,
California. 2/19-21 /00.
BUSINESS ITEM C.
OF 1 9
CULTURAL ARTS COMMISSION MEETING
DATE: March 9, 2000
ITEM TITLE: Cultural Workshop
RECOMMENDATION:
As deemed appropriate by the Cultural Arts Commission.
BACKGROUND AND OVERVIEW:
At the February 10, 2000 Cultural Arts Commission, the Commissioners appointed
Chairperson Hull and Vice Chairperson Shamis to a Cultural Workshop subcommittee.
The subcommittee met and discussed the upcoming workshop for November, 2000.
Attachment A is provided by the subcommittee for consideration.
ALTERNATIVES:
The alternatives available to the Commission are:
1. Continue to work on the Cultural Workshop components; or
2. Do not continue to work on the Cultural Workshop components; or
3. Provide staff with alternate direction.
Dodie Rbr\?it , Com unity Services Director
Attachment A: Voices: Past, Present, Future, A Symposium on Cultural
Development
S:\Community Services\CAComm\CACRPT.004.wpd
ATTACHMENT A
VOICES: PAST, PRESENT, FUTURE
A Symposium on Cultural Development
Saturday, November 4, 2000
1:00 P.M. - 5:00 P.M.
Hosted by La Quinta Cultural Arts Commission
GOAL: To educate community leaders including those in business, education and civic roles as
to the value of aesthetics ensuring their participation in cultural development.
The Symposium will focus on four areas:
I. Government and the Arts
All mayors, councils, commissions City managers and staff
Representatives from State, Federal, Local governments
II. Business and the Arts
Developers
Businesses/Chambers of Commerce
III. Community and the Arts
Organizations, board and members
Americans for the Arts
California Arts Council
Riverside Arts Foundation
La Quinta Arts Foundation
La Quinta Historical Society
La Quinta On Stage
Coachella Valley Arts Alliance
Service clubs
Rotary
Soroptimists
Boys & Girls Club
Senior Center
Private foundations
. V!VA
IV. Education and the Arts
Schools
Local/County, Superintendents Dr. Doris Wilson, Dr. Gaynes, Mr. Wilson
DSUSD, Darlene Dolan
Outreach programs, LQAF
Community Services Division
McCallum Theatre Institute, Aesthetic Education Program
Program could include:
Mayor Pena, welcome, identifying accomplishments of City
Keynote Speaker on Quality of Life, e.g., Bob Lynch, Chair of Americans for the Arts; .
Jack Mackie, Chair of Public Art Program in Seattle
Statement on The Value of the Arts, Kathryn Hull
Economic Impact
Creating collaborations between government, schools, community organizations
and business
Exhibits
Award -winning High School student artwork
Professional artists
Tour of City Hall art during break
Performances by local professional or student artists
Music
Dance
Questions/answer with panelists
Summary of day's information
Reception at end of day
Time for informal conversations
Background music
Possible Panel members:
Consultant, e.g., John Nagus
Victoria Hamilton (Americans for the Arts, San Diego)
Artist/Architect
KSL/Rancho La Quinta representative
Darlene Dolan, DSUSD
Sally Davis/Juan Carrillo, California Arts Commission
Senator Adam Schiff, Joint Committee for the Arts
Colleen McBride, Executive Director, Riverside Arts Foundation
Representative from a city with a successful cultural arts program
Prepare pertinent questions for panelists
Budget:
Reception
Speaker(s)
Printing/mailings
Questions:
How do we achieve our goals
How do we get key individuals involved
How do we get citizens to attend
Who do we want as speakers/panelists
Where do we go from here
Will this make a difference; if so, how
i. BUSINESS ITEM 1).
U S
� Fr
OF
CULTURAL ARTS COMMISSION MEETING
DATE: March 9, 2000
ITEM TITLE: McCallum Theatre Institute Aesthetic Education Program
RECOMMENDATION:
As deemed appropriate by the Cultural Arts Commission.
BACKGROUND AND OVERVIEW:
At the April 6, 1999 City Council meeting, the City Council allocated a total of $1,500
from the Special Projects Contingency Account and $1,000 from the School Grant
program to send eight teachers from Truman Elementary School to attend the
McCallum Institute, as provided in Attachment A.
Commissioner Shamis is requesting the Cultural Arts Commission's consideration in
requesting additional funds for Truman Elementary School teachers to attend the
McCallum Institute again this season, as provided in Attachment B. The Community
Services Department 1999/2000 budget does not contain an item for this program.
Contingent on City Council actions at the March 7, 2000 City Council meeting, Special
Projects Contingency funds may be available for consideration of a funding source for
this request.
Attachment C is a summary of the teacher's experiences in attending the McCallum
Institute.
ALTERNATIVES:
The alternatives available to the Commission are:
1. Direct staff to present the Commission's recommendation for additional
funding to the City Council for Truman Elementary School teachers to
attend the McCallum Institute; or
2. Do not direct staff to present the Commission's recommendation for
additional funding to the City Coucnil for Truman Elementary School
teachers to attend the McCallum Institute; or
S:\Community Services\CAComm\CACRPT.006.wpd
3. Provide sAaff with alternate direction.
Dodie
Attachment A:
Attachment B:
Attachment C:
Community S wices Director
Minutes of the April 6, 1999 City Council Meeting
Memorandum from Commissioner Shamis
"Reflections" Booklet
SACommunity Services\CAComm\CACRPT.006.wpd
ATTACHMENT A
City Council Minutes
3 April 6, 1999
5. ADOPTION OF RESOLUTION DIRECTING THE CITY ENGINE REPARE
E PRELIMINARY ENGINEER'S REPORT FOR LAND E AND LIGHTING
AS SSMENT DISTRICT 89-1 FOR FISCAL YE 99/2000. (RESOLUTION
NO. 9 - )
6. SEE BUSINESS -SESSION ITEM_W. 11.
MOTION - It was m Council Members Sniff/Adolph to approve the
Consent Calen as recommen nd amended with Item Nos. 4 and 5 being
approved RESOLUTION NOS. 99-4 d 99-48 respectively. Motion carried
unarliK6usly. MINUTE ORDER NO. 99-33.
BUSINESS SESSION
1. CONSIDERATION OF REQUEST BY TRUMAN ELEMENTARY SCHOOL TO
SPONSOR TEACHERS TO ATTEND THE MCCALLUM THEATRE INSTITUTE.
Ms. Horvitz, Community Services Director, advised that the request for funding
�- was brought to the Council's attention at the March 16 Council meeting. The
McCallum Theatre has offered to designate Truman Elementary School as a
focus school and give them a discount on the training program if more than two
teachers from that school attend the institute.
Rosita Shamis, 78-955 Del Monte Court, of the Cultural Arts Commission,
advised that the commission has voted unanimously to support this program.
She further advised that the School District, which has received $20,000 or
$30,000 in grant funds toward the program, has designated $4,000 for
teachers of Truman Elementary School to attend the program, and is asking the
City to match that amount to send a total of eight teachers. She noted that this
would be a one-time request, and that the $1,000 the Council has already
approved for the program can be applied to the $4,000 amount. In addition,
the McCallum Theatre has discounted the cost for each teacher from $1,000
to approximately $800, which will further reduce the amount needed. A
reception will be held at the McCallum Theatre on April 12 at 6:15 p.m. to
present this program, and she invited the Council to attend.
In response to Council Member Sniff, Ms. Horvitz advised that the previously -
approved $1,000 grant has not been sent because the McCallum Theatre has
not submitted their formal request for the funds, which was allocated for the
�� institute, but not specifically designated for Truman Elementary School.
City Council Minutes
El
April 6, 1999
Council Member Henderson felt the Council has already addressed this issue by
allocating $1,000 for the program last year during the budget hearings.
Council Member Perkins felt it's an interesting program, and didn't have a
problem supporting it. He liked the fact that it comes back to the young people
of the community, which he felt should be involved in the culture of the
community. Being a focus school will give Truman Elementary School some
prestige and perhaps set an example for the future.
Council Member Adolph agreed, and felt it's a minimal fee to promote a major
undertaking for the arts and culture in our schools. i
Mayor Pena noted that with the fee reduction and the amount that's already
been allocated, an additional appropriation of approximately $1,000 would
cover the costs.
Kajsa Thurensen Frary, Director of Education for the McCallum Theatre, advised
that they were only recently made aware of the $1,000 allocation, which she
confirmed could be applied toward the eight spaces reserved for Truman
Elementary School. There were nine teachers from Desert Sands Unified School
District that attended the program last year, and this year the School District
wants to send 18. The participation of eight teachers from Truman Elementary
School will make it a focus school.
In response to Mayor Pena, Ms. Frary advised that the teachers will receive
continuing education credit for attending the institute.
Council Member Sniff felt an additional $1,500 would cover the costs.
MOTION - It was moved by Council Members Sniff/Henderson to provide
$2,500 to the McCallum Theatre Institute, including the original allocation of
$1,000, in matching funds and utilizing the Special Projects, Contingency Fund
and the school grant fund.
Mayor Pena asked that the school report back on the success of the program
within six months of it getting started.
Motion carried unanimously.,- MINUTE ORDER NO. 99-34. .
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McCallum Theatre Institute Summer Session 1999
INTRODUCTION
by Kajsa Thuresson-Frary,Education Director
In June 1999, the McCallum Theatre Institute presented its second Aesthetic
Education Program Summer Session - a week-long workshop where 43 classroom
teachers* extensively and experientially studied four live focus work perfor-
mances: Repertory Dance Theatre (dance), two different performances by Brenda
Wong Aoki (theatre), San Jose Taiko (music), and a selection of Twelve Figurative
Artworks (visual arts). Each new participating teacher had to write an essay in
three parts summarizing their Summer Session journal's most significant ideas,
analyzing and discussing one of the focus works, and commenting on the aesthetic
education philosophy.
The teachers' essays are filled with many discoveries - about dance, music and
theatre; about themselves; about teaching and learning; about students and
schools; about the world and our place in it. It is through these essays that much
of their experience is revealed to us, and it was through the process of writing
that they reflected and came to better understand their own discoveries.
In the following pages we share with you a selection of excerpts from their
essays, which are not only a reflection of the teachers' personal experiences, but
of the Institute itself. It is through the words of these teachers that we get an
understanding of the experience of being a participant in the Aesthetic Education
Program at the McCallum Theatre Institute.
Enjoy!
It is not the incorporation of aesthetic education into the school's curricula that makes the
significant difference. It is the teacher who makes the difference; his/her own cherishing of
experiences with the arts: his/her own reflections on the way particular encounters have opened
vistas, revealed alternative ways of living and being, exposed some ultimate mysteries.
- Maxine 6reen
It is only upon reflection that we comprehend experience.
- John Dewey
* Returning teachers and new teachers to the Aesthetic Education Program. Visual arts component open to returning
teachers only.
2
Philosophy of Aesthetic Education
The Aesthetic Education Program (AEP) can most simply be defined as an approach
to teaching and learning in the arts. Students, educators and teaching artists work
side by side to deepen their understanding of themselves and the world through
active engagement with specific works of art- focus works.
The approach to this work is based on the belief that the arts should be studied in
an active, experiential way. This process includes activities designed to explore the
formal elements of each art form, active reflection, inquiry and contextual re-
search. The aesthetic education philosophy is concerned with discovery, action,
problem solving and questioning. Skills of perception are developed as well as un-
derstandings of the relationship of aesthetic experiences to other educational and
human experiences.
The McCallum Theatre Institute (MTI) models its Aesthetic Education Program af-
ter Lincoln Center Institute, NY. Lincoln Center Institute has dedicated over
twenty-six years to the practice of aesthetic education. In partnership, MTI and
Lincoln Center Institute continue to develop new ways of thinking and facilitating
the practice of aesthetic education.
"The element of surprise opens the door to learning. Aesthetic Education allows surprise to be a
pivotal element of the learning experience. It catches your breath, takes you unaware and cap-
tures your imagination. I can't think of anything more valuable in the teaching of fine arts."
Sharon Deady, Truman Elementary School, La Quinta
"From the word 'go; the dictum was to have fun and no judgement. In fact, we were told in no
uncertain terms that we "will have fun!" But then we had to take judgement and crush it into the
ground. It was so easy to comply with the first requirement. Soon it became apparent why
judgement needed to be held in contempt. The next five days would see us doing all sorts of
things that opened up whatever feelings of inadequacy we might harbor and put them in full view
of everyone else. We courted personal embarrassment at every turn, buoyed only by the message
'No Judgement!' This was risk -taking of the highest order! It reminded me of what I ask the
children in my class to do everyday; to try, use, and do something with what they are learning, all
of that in front of their peers. Without the assistance that we would not be pilloried, would we
have done as well as I think we did? "
Dolores Abelardo, Truman School, La Quinto
3
"When I entered the lobby of the McCallum Theatre on Monday and saw all the chairs arranged in
rows I sat down thinking that once again I am in a situation where'they' will teach a group of
teachers how to teach using all the techniques they will tell us sotto use. I prepared myself for a
week of sitting and staring at the backs of other people's heads while trying to look at a presenter
and take lots of notes. How many times have I been in this place in the effort to become a better
teacher? Then, what a delight to find the chairs were removed in the first 15 minutes and we were
in a circle, looking at each other and interacting. So began a week where I embraced the process
of being the explorer and discoverer."
Becky Adcock, Twentynine Palms, Twentynine Palms
" And there was I ... a lover of the arts who had become accustomed to tuck those feelings, tal-
ents and needs somewhere as I allowed myself to be convinced they were separate and apart from
my daily life and academics I was paid to teach. Although I had squeezed directing student maga-
zines, chorus and musical comedy performances into my schedule, I had begun to assess their aca-
demic worth on the scale I was paid for doing that - zero! What did I expect the Institute to be?
I didn't have the foggiest! Perhaps I was going to be taught how to teach aesthetics complete with
handbooks and workbooks, get theories and instructions to memorize - then drama, painting and
music could be dispensed like other subjects. What happened that first morning defined me to me
and opened me up to a new experience in an almost forgotten world."
Renee Espar, Jefferson Middle School, Indio
"Through the use of multiple intelligences I find that a teacher can tap into a child's brain much
easier and more effectively than the other options: lecture, paper and pencil. Many of my students
do not learn in the 'traditional' way. Because of failure upon failure they have given up. The only
way to recapture the joy of learning and a sense of achievement for these students is to teach
through their'mode' of learning and to teach them to teach themselves which will bring accomplish-
ment and success for them. Many of my students have processing disorders, and to not allow them
to experience learning in their best 'mode' is doing them a disservice. I feel aesthetic education is
important because it presents learning in these different ways. It is creative, expressive and non-
judgmental. It allows for differing of opinions, views, and styles which in turn will help teach toler-
ance for people and persons of other cultures and views."
Susan Y. Chapman, Monroe Elementary School, Bermuda Dunes
4
"At first, these different group activities seemed incongruous with my idea of what we were there
for. I half expected to be given a packet of materials, with instructions and some practice on what
to do with them. This is what workshops are usually like. The Aesthetic Education Workshops cer-
tainly were no run of the mill! They were a decidedly different way of teaching and learning: al-
ways active, experiential, creative, non -judgmental, problem -solving, engaging, reflective, and coop-
erative/collaborative. There were no materials except those we carried in our heads or on our per-
sons. It was a no -fail method of delivering information."
Dolores Abelardc, Truman School, La Quinta
"I fully expected to go to the McCallum Theatre and learn about dance or drama or stage plays. To
my surprise, renowned dancers or actors or artists were never even mentioned. Instead, the en-
tire week was spent talking about ... me. All of the participants of the training became the focus
because Aesthetic Education is not like Music Appreciation 101. The aesthetic world is viewed
from a different perspective. It is not viewed from the standpoint of the artistic creator, but
from the point of view of an audience member or in other words, those of us participating in the
institute."
Jackie Simpson, Truman Elementary School, La Quinta
"For healthy growing bodies, children need to eat a balanced diet. This means that children must
eat from each of the Basic Food Groups such as grains, fruits and vegetables, dairy, and meat/
legumes. Desserts and junk food are considered to be 'extras', and one should limit intake of these
tasty, high caloric foods. Upon examining education budgets around the country you'd discover
that The Arts are considered 'extras,' desserts. Aesthetic Education is not dessert. It should be
considered one of the main food groups, such as the Fruit and Veggie group. For a balanced diet
you need to eat fruits and vegetables. For a balanced education, you must include the Arts."
Trice Healy, Truman Elementary School, La Quinta
5
"After going through a week of 'Aesthetic Education' myself, I felt a new, real sense of the world
that I had been missing. The memories of the art pieces are very vivid, yet many of the activities
are blurred. I think, in a sense, this is as it should be. The work during the day was to enhance and
to help me for reception of the piece, but they weren't 'better' than the piece. They were vehicles,
preparations of the heart, mind and soul for the gift that was to come. They let the pieces speak
to my total person so that I was able to attend 'consciously, reflectively, authentically with passion
and care.' This is the work of Aesthetic Education. It is now my work to bring this to my students.
What a challenge!"
Shayna Powell, Hoover Elementary School, Indio
"Again from journal entries, the words engagement and reflection jump at me. While I have not
lived in an aesthetic vacuum, I nevertheless had not had the same kind of engagement with any par-
ticular work of art (except perhaps a novel). By this I mean living the experience of a work in
progress. I had not before used percussion instruments or commanded my body to move artfully
and deliberately in specific, communicative ways. I had not before thought about how to fill space
and time to convey a message apart from the linguistic form. This knowledge gave my senses a
keener critical dimension that was not here before. Living it, experiencing it, reflecting it, is what
provided me with the means for a much greater enjoyment of the focus works."
Dolores Abelardo, Truman School, La Quinta
c-� CCJ
Works of art as objects of study
Basic to the Aesthetic Education Program is the belief that works of art are inex-
haustible - repeated encounters with the same work yield new insights.
Encounters with works of art can change people, causing them to view the artwork
and the world in a new way. Art works do not immediately reveal all there is to be
seen. Perception can be compared to peeling the layers of an onion - art works can
be seen on many levels and from many perspectives.
"I found Brenda Wong Aoki's storytelling performance about Uncle 6unjiro'T 6ir/friend to be spell-
binding. I never thought of one person storytelling a theater performance before. Granted all
theater is telling a story, but I always thought of storytelling as sitting around the campfire, read-
ing a book out loud to children, or even sharing a good joke with friends. Brenda Wong Aoki gave
me a whole new perspective on storytelling. With a mixture of slides, music, and her own graceful
body language, Brenda took me with her on a journey of her family history and personal discover-
ies. It was fascinating to see how a simple gesture or stance could change her into a whole differ-
ent character, from a woman to a man, from a young girl to a 100 year old woman."
6 Toni Biermann, Truman Elementary School, La Quinta
"The Repertory Dance Theatre does an exceptional job of promoting the joy of creativity, and our
Institute activities made a tremendous impact on my own ability to appreciate this artwork. I am
so glad that we did these activities before and after and before viewing the work and that we had
the opportunity to view it twice and keep working on our understanding."
Lora Cathcart, Ford Elementary School, Palm Desert
"This piece of work [Repertory Dance Theatre] was a nice surprise for me. We saw this perfor-
mance two times and I have to say that I'm a believer that good works of art are inexhaustible. I'm
not exactly sure why but after we watched the first performance, I wasn't that excited. I was ry-
ing to find meaning in the dance pieces and couldn't quite get it. I thought it was kind of long and
so on. I wasn't looking forward to watching it again since it was my least favorite of the works. I
was amazed at how much I enjoyed the second performance of the same piece. I've been trying to
understand why my perspective changed. It seems the first performance would have been more
enjoyable because I had no preconceived ideas or judgements. But the opposite was true. I had a
few negative feelings about watching it the second time and I loved it."
Jan Eickelmann. Truman Elementary School, La Quinta
►1
"We view artwork in the same fashion. We seethe same thing and interpret it differently each
time, depending on whether or not something had changed in our lives or our experiences from the
first encounter to the next. For me, this was a revelation. When I first learned that we had to
watch the Repertory Dance Theatre performance again, I groaned inwardly and thought, 'Do I have
to?' An hour later, having sat through it one more time, I was surprised to find out I experienced
it in a definitely different way. The activities we had earlier participated in had raised my aware-
ness and heightened my perceptions. I had a much greater appreciation for the work because I
had personally gone through what the artists did to present this work to me. The looking glass had
suddenly become a lot clearer. My own interaction with the work changed me at the same time
that I changed my view of it."
Dolores Abelardo, Truman School, La Quints
"'Spanish Dance, choreography by Daniel Nagrin (1948) presented by The Repertory Dance The-
ater became my favorite during the Summer Session. The choice of simple costume and lighting
was perfect. The stage lighting was blue. This complimented the dancers' leotard top. The spot-
light at the back center of the stage added a perfect focal point. The dancer wore high -wasted
black bolero pants mimicking the style bullfighters' wear in the bullring. The fact that the dancer
could carry the complete piece by herself was amazing. In this work I saw above all else deep pas-
sions. There was passion in the dance's posture and gestures, in the flicker of her foot. The music
had a strong sturdy sound with the passion I feel all Latin music has. In discussing my fascinations
with this dance I had a very interesting conversation with another participant. The other partici-
pant commented that she could 'just see the imaginary bull in the way the dancer flicked her foot.'
Very honestly, up to this point I had seen the dancer only in the bull fighter role. I never thought
of the dancer as imitating both the bullfighter and the bull in the dance. This other participant's
insight made me see something else that was very exciting in the work. This interesting insight and
exchange made me realize the importance of sharing view points with others."
Norma Peru, Oasis School, Thermal
"I think the most interesting and important reflections were written about the performance we
saw twice. To compare the first reflection with the second, I can see how much more the pieces
affected me. Studying energy, emotions, and physical expressions of the two opened new vistas of
thought for me when seeing the Repertory Dance Theatre again. I was so much more involved in
the piece, looking for details that I had never noticed the first time. It was so much more full,
the second time, because we had actually talked to the dancers. We shared in their lives and feel-
ings which made the second performance so much richer. To see them perform as a more cohesive
group, the second time was very interesting. My journal reflects the feelings I had that the group
had a personality of its own, that upon evaluation, could be seen and counted as part of a particular
performance like no other."
Shayna Powell, Hoover Elementary School, Indio
8
Exploring contextual information through the use of
resources
Works of art are not created in isolation. The work of art is an expression of the
artist who exists in a time, place and who lives within a cultural context. Therefore,
insight can be heightened by further study of the contextual information that sur-
rounds a work of art. MTI is currently planning the establishment of a resource
center, which, with its collection of focus work materials, would support inquiries of
historical, social and cultural aspects of the work. Contextual research can fuel the
educational process between teachers and teaching artists during Summer Session as
well as during the school year. Resources are useful in developing units of study and
offer additional hooks into the focus works and possible connections to existing
school curriculum.
"I was entranced by the storyteller. In her delivery she is able to bring to life and imprint upon
her audience her personal feeling for the story. I look forward to the opportunity to use aes-
thetic study and the presentation of Uncle 6unjiro'56irlfriendas a springboard to an end -of -the -
year fifth grade writing portfolio requirement ---creating a folktale. And I would like to combine it
with the fifth grade Social Studies units on immigration and early United States History. In the
study, I have my students create personal diaries of their own lives that include what they know of
their ancestry. My students enjoy sharing personal accounts of their own history. Together we
find common and unique threads that built who we are as individuals and as a nation."
Donna Klarin, Ford Elementary School, Palm Desert
9
The role of the teacher
MTI believes that a teacher's role is to facilitate learning while continuing to learn.
The teacher is the central figure in the student's school experience and can be a
key agent for change in the way the arts are presented within a school. In the
classroom, the teacher and teaching artist collaborate to create the conditions for
learning about a specific work of art. Central to this process is planning through a
brainstorming session about the work of art out of which a focus for curriculum is
developed. The teaching artist and the classroom teachers (special subject area or
grade level teacher, or arts specialist) design activities that will be carried out by
the teaching artist and the teachers, together and independently.
"Aesthetic Education is inspiring and enhancing the role of arts in our lives. It's a way of encourag-
ing the notion that each person is creative in their own special way. One of the benefits of being a
teacher is that we have the ability to build these self -beliefs into our students. My goal this com-
ing year is to do just that. To create an atmosphere of freedom to express oneself in many artis-
tic ways. I want my students to be equipped with the tools and skills that are necessary for under-
standing and developing their own creativity and talents within the arts."
Deanna Dreweatt, Mecca Elementary School, Mecca
"I love teaching and I have always felt that it should be child -based with the needs of all children
coming first. What I didn't know was that the McCallum Theatre Institute would rekindle the
spirit of the child in me. By opening myself to the experiences of artistic self-discovery, I
learned that the child is there in all of us ... no boundaries of age, culture, or personality can
change that."
Lora Cathcart, Ford Elementary School, Palm Desert
"Art encourages us all to look inside and bring our own experiences and ideas to the piece. Each of
us can be personally moved, touched and changed by a piece of work. The Institute is wise to bring
teachers in and let us experience this program as learners. We can then take the experience and
enthusiasm back to kids. 5o many times in education aesthetics are seen as extra or fluff instead
of a critical element in teaching the whole child"
Jan Eickelmann. Truman Elementary School, La Quints
10
"We strive, as teachers, to present activities that would go beyond the daily routines of living life,
reaching down inside our students and drawing out energies and creating new and unique under-
standings. When we have created new webs of understanding centered around the themes of a
piece of art to be viewed, then students come with 'hooks' in their minds, ready to hang thoughts
and perceptions upon which have come from the artwork. They can be'fully present', not just unin-
volved viewers. We strive to fill their lives with new rich possibilities, with new schemes forgoing
forward with their lives, always encouraging the brain to expand, to grow, to dream, to search."
Shayna Powell, Hoover Elementary School, Indio
"My journal is a hodge podge of thoughts, notes, ideas, etc. Each day at the McCallum was an ad-
venture. My journal reflects that journey. The activities which were planned for us were all
soinviting. We come as strangers, but left with a comfortable knowing of one another. We were
treated as equals and were allowed the freedom to keep somethings private. No one took center
stage and that included the artists [Teaching Artists] that led us through this week of discovery.
On Friday, when we had to start working on a study plan for one of the performances that we had
seen, I realized just how difficult those focus plans are. My hat is off to all the artists [Teaching
Artists] who did the focus plans for us. How easy it would be to reveal more of the performance
to the students before they actually saw the performance."
Marjorie Starbuck, Yucca Valley Elementary School, Yucca Valley
"The teachers were all students first. Through the exercises and activities, we experienced the
feelings of creating —we used our imaginations. The work of art was never mentioned during this
time —we were given the freedom to explore. I think it was in Releasing the Imagination, that Max-
ine Green said that it was important not to control what is discovered. If there is one lesson that
I want to take with me that is the one."
Corrine Yates, Truman Elementary School, La Quinta
The role of the teaching artist
Professional artists are central to the Aesthetic Education Program concept. The
Teaching artist helps to bridge the gap between the artwork and the perceiver - he
or she designs activities that enable people to more fully understand key features of
the work. Insight, commitment, knowledge, experience and love for their art form
make the teaching artists invaluable to the AEP.
"I know that the Teaching Artists fostered the sharing of ideas and provided various settings to
facilitate creativity. I truly felt free to share. I want my students to experience this kind of
freedom as well (Although, to be honest with you, most Kindergarten students have this innate
sense of self that allows them to enthusiastically create without fear of judgement and criticism
... it is only through the personal experience of criticism and 'wrongness' that this spirit intro-
verts and becomes protectively hidden.).
Lora Cathcart, Ford Elementary School, Palm Desert
"The parts coming together to form a whole seemed to be a recurring theme in many of the group
activities throughout the Summer Institute conducted by the Teaching Artists. I liked how the
T.A.s [Teaching Artists] helped us see/explore and continually guided the group to new understand-
ing of the Focus Works through these activities... these effective lessons reflected many hours
of advance planning."
Suzanne Thomas, La Quinta Middle School, La Quinta
"Our Teaching Artists facilitated our own experience by allowing us to learn that there is no wrong
answer, product, or project ... that each individual has something unique to be contributed to the
group and that it is from this uniqueness that we can build our understanding of the artwork in
question.
Lora Cathcart, Ford Elementary School, Palm Desert
12
Learning to look and hear
The Aesthetic Education program is based on the belief that knowledge changes and
enriches perception and that knowledge is gained through direct experience. Per-
ceivers do not immediately see all there is to be seen in a work. One must learn to
look - learn by participating, viewing, reflecting, inquiring and discussing.
"This new approach [Aesthetic Education] at first caused me to be impatient or to try to jump
ahead of the structure. I was used to being presented with the whole picture first, and then tak-
ing the different components apart for in depth learning. However, after the first entire day, I
began to relax enough to enjoy this new style of investigation. By the end of the week, I felt com-
fortable with the pace and technique of instruction."
Sharon Deady, Truman Elementary School, La Quinta
"Our initial experiences left us wondering how they would relate to the appreciation of Aesthetic
Education, however, as we worked through the day and then went to the performances, the connec-
tions became clear. We understood the importance of what we had done. This helped us to reflect
on the works with a broader interpretation. As the week wore on, we began to make more and
more connections as a result of our working experiences."
Linda Loveless. Monroe Elementary School, Bermuda Dunes
13
Insights - the process of creating art
In working daily with professional artists during Summer Session and by solving
artistic problems posed during workshops, teachers gain a heightened understanding
of the choices artists make throughout the process of creating works of art. A work
of art does not spring complete into the artist's mind, but is created as the result
of a deliberate, time-consuming and at times frustrating process of choice -making.
An initial vision is worked out in the medium: clay, words, movement . . . Just as
the artist's vision transforms the medium, so too, the medium transforms the
artist's vision. It is our belief that the perceivers will be better prepared to see
the record of the artist's work and the artist's process if they themselves have
worked within a medium to execute their own vision.
"Her [Brenda Wong Aoki] story in itself was equally as interesting. It made me more aware of my
own family history and curious as to what unknown element might have formed my own destiny.
Tracing our family history was an exercise we did in our workshop. We were asked to list all influ-
ences on our life, be it faith, heritage, family, into a time line of our life to present. This was be-
fore we saw the play. This activity, like all the activities in our workshops, made the presentation
that much more meaningful."
Toni Biermann, Truman Elementary School, La Quinta
"Throughout the week, all of us were given opportunities to put ourselves in the shoes of artists in
the throes of creation. Given the same set of directions, we invariably came up with as many ver-
sions as there were participants. Each product had an individual spin on it. Later, upon reflection,
we were struck by the way we were alike and yet different. We saw echoes of ourselves and yet
remained distinct from one to the other."
Dolores Abelardo, Truman School, La Quinta
"As preparation for experiencing "Uncle 6unjiro'56ir/friend' Institute attendees were led through
several exercises in summoning up their own family sagas through timelines and short skits. These
activities were tangential to the main work. Direct learning or lecture was not present, instead we
were presented with activities that would lead us to think of indirect relationships between our-
selves and the work to be presented. So many interesting stories came out of this, I'm sure many
of them could have been formed into a complete storytelling session."
Iris Blaisdell, Truman Elementary School, La Quinta
"In writing about these things in my journal, I had become aware that, for the most part, art is not
created in isolation. It may be a reflection of an individual, but an individual shaped by forces
within and without. One artist may produce the art; the artist himself is the product of the sum
total of his experiences. His way of looking at the world is uniquely his own."
Dolores Abelardo, Truman School, La Quinta
14
Connection between doing and learning
One of the fundamental concepts propelling the Aesthetic Education Program is the
belief that the only way one truly learns is through purposeful activity - solving real
problems felt to be important. By solving artistic problems posed by teaching artists
and creating simple works of art, teachers learn about the arts in a real tangible
way.
"During the week's involvement I felt that participants were challenged to use their imagination to
meet new situations, a microcosm of what an arts experience is about. During the week at the In-
stitute we were challenged to 'do' as well as to 'attend' and through these two different modalities
we experienced the works in a deeper way than just by superficially watching them."
Iris Blaisdell, Truman Elementary School, La Quinta
"We watched the first performance without many building activities related to the piece of work
because we listened to Dr. Teele in the morning. Before we saw the performance again, we did
many more activities and reflections based on the work. I think it made a huge difference for me.
It also helped because I was able to sit and enjoy the elements without trying to solve every mean-
ing behind the dances. They were just beautiful. The activities we did related to the work allowed
us to focus on the simple things. I paid way more attention to body formations, facial expressions,
speed and tempo, music and the dancers' gestures. It was a blast to first hand experience the ac-
tivities as a learner and then see relationships in the works of art."
Jan Eickelmonn. Truman Elementary School, La Quinta
15
"As a teacher, I see teaching and learning in the arts as a tool to teach other subject areas such as
introduction and interpretation of literature and social studies. What better way to teach a con-
cept of the Indian Mission than by having the student imagine or act out, what it would be like to
live in that time era? By imagining or acting out a scenario, the student has a chance to practice
creative and/or oral language skills in explaining or showing his ideas to the group. The actions,
sounds or signs that he makes to explain the scenario can help others understand more clearly."
Regina Harris, Monroe Elementary School, Bermuda Dunes
"Rather than music lessons, I was given an instrument and an opportunity to experiment with it.
Rather than dance lessons, I was given an opportunity to let my spirit be free to move in a way that
expresses feelings of joy, sorrow and solitude. Rather than an assignment to create a story I was
given the opportunity to TELL my story and build upon it in a natural progression. All this we did
without concern about how to teach it, but only how to experience it. We had to learn to trust our
instincts and in the Fall we will bring this to our students with a fresh mind and open heart."
Peggy Long, Coachella Valley High School, Thermal
"Our initial experiences left us wondering how they would relate to the appreciation of Aesthetic
Education, however, as we worked through the day and then went to the performances, the connec-
tions became clear. We understood the importance of what we had done. This helped us to reflect
on the works with a broader interpretation. As the week wore on, we began to make more and
more connections as a result of our working experiences.
Linda Loveless. Monroe Elementary School, Bermuda Dunes
"Although sparse, the journal did produce some nuggets of thought. I was interested in the page
that I wrote when asked to tell about ourselves, ' WHO AM P.' I was surprised at what a concise
and complete piece it was. Since I didn't have the luxury of a lot of time to be creative, I had to
use words that expressed my feelings accurately. Somehow, I managed to write something that
truly does reflect my thoughts at this time in my life and so I am going to keep it in my personal
journal. This experience reinforces some thoughts that I have been formulating in my mind about
writing, particularly journal writing. I read somewhere that thoughts are created as you are writ-
ing. Sometimes you don't even know what you have to say until you start writing. This is exactly
what happened to me as I wrote about myself. The writing process crystallized my thoughts and
even put them in somewhat of a priority."
Jackie Simpson, Truman Elementary School, La Quinta
16
"Babies first start to learn by using their senses. Babies are creative and they love to explore and
discover. Often times education stops or hinders that natural desire to discover. Using the arts
and working with all seven intelligences —linguistic, logical -mathematical, musical, spatial, bodily -
kinesthetic, intrapersonal, and interpersonal education will allow the individual to grow and continue
the discovery process. Learning must have meaning for the individual. They should see a connec-
tion to the instruction and how it applies to them. A student must take an active role in his or her
learning."
Marjorie Starbuck, Yucca Valley Elementary School, Yucca Valley
Collaborative learning
One of the instructional methods often used by our teaching artists is problem solv-
ing in small groups. As a result of participating in this process, teachers and stu-
dents gain an understanding of the collaborative process that is part of artistic cre-
ation. Many teachers come to see collaborative planning and learning as a method
that would work in other areas of the curriculum as well.
"For me one lasting impression will be the time and patience devoted to analyzing some of the
works created during our workshops. When time allowed, we really took the time to look at some
works from all angles and viewpoints. We then respectfully exchanged ideas and commentary. It
was interesting and enjoyable to really, really look at the works. To go deeper and find hidden
meaning and interpretations. In all, what I realized is that we very often do not take the time to
focus and experience art in the world around us. We are always in such a harried rush. Art is not
offended though, it is ever present and patiently waiting for us to notice."
Norma Peru, Oasis School, Thermal
"I consider that one of the most interesting things I experienced during my week at the McCallum
was the chance to talk to the performing artists after their performances. In each case, this shed
light on how the work had been executed and on its meaning for the artist and is not something one
usually has a chance to do."
Iris Blaisdell, Truman Elementary School, La Quinta
"During the week, I found myself looking more cooperatively and playfully with the other adults.
We were like a bunch of big kids,'rugrats', as it were it felt good to play in a non -threatening, non-
judgmental atmosphere. We, the participants, shared our humanity and our talents. The lack of
judgement let everyone free their spirits as we interacted with each other."
Marcel Jeff DeBeck, John Kelley School, Thermal
17
"What struck me as we participated in the different exercises was how each individual's life story
found expression through different mediums. As we all worked on and shared our drawings, col-
lages, body sculptures, and skits each person's story was so personal, and yet universal ... part of
the human conditions ... we understood each others joy, pain, accomplishments, and failures."
Joyce Fishman, Van Buren Elementary School, Indio
"We were asked to perform group exercises that emphasized trust and used our bodies in differ-
ent ways. We brainstormed words that portrayed life experiences and then with a partner picked
a word or phrase, illustrated it and formed a living sculpture. I was so impressed with the sculp-
tures, I never would have believed that they would be so powerful. I almost hated being part of
one because I couldn't see it. This made me decide that if I try this in my classroom (and I think I
will) that I will photograph these with the digital camera so that students involved can see them-
selves."
Corrine Yates, Truman Elementary School, La Quinta
"I found that working in groups was more productive since we needed to come up with ideas quickly.
The access of several creative minds makes for more varieties in our ideas. Likewise, in the activi-
ties where we worked together in groups, we were able to act together, and assist each other in
molding sculptures or creating storylines. These activities generated camaraderie within the group
and helped build a satisfaction in each of us for a process completed successfully."
Regina Harris, Monroe Elementary School, Bermuda Dunes
11
18
Encouraging reflection through keeping a journal
Journal writing is an integral part of the Summer Session experience. It is an ongo-
ing record of what one does, notices and thinks. Journals track the evolution of
thoughts and experiences over time. Through this recorded journey, one has the
ability to go back, to reflect on where one has been and where one is going. Writing
down thoughts, reactions, perceptions, new information and questions intensifies and
makes each individual's life experiences. We encourage both teachers and students
to keep ongoing journals to reflect on their units of study.
"The comments on the group activities that I have reread, amazed me. I seem to have forgotten
the intensity of my thoughts and feelings, but was reminded and returned to the specific activity
quickly upon reading. For several activities I recorded what I was thinking very specifically, how
my breathing was heavy, how my body ached being in the bag for so long. Reflection is good. I see
that through these reflections, time Iuzzes' the memories, but rereading the entries helps bring
back the experiences. I think this will be important for my students, to journal their journeys be-
fore, during, and after the performance preparation."
5hayna Powell, Hoover Elementary School, Indio
"I really enjoyed reflecting in my journal about my cultural heritage, family stories, and the time
line exercise. When we were asked to write a post card to a relative or special person in our life, I
chose to write to my grandfather who passed away almost 20 years ago. This exercise truly
touched my heart and I soon found myself in tears. The woman sitting next to me was also sobbing
as she wrote to her father who had also passed away. However, it was not a terrible experience.
It gave us an opportunity to reflect on some of our feelings that had been bottled up for a while."
Deanna Dreweatt, Mecca Elementary School, Mecca
"But the greatest benefit derived from this McCallum journal was the excitement I had when I re-
visited it a month or two later. This reflection on my reflections reminded me that I need to give
my students more time to reflect and respond in writing about their activities and assignments. I
should model this often, so that it becomes painless and fruitful."
Trice Healy, Truman Elementary School, La Quinta
"Today, in re -reading the journal that I kept for the Summer Institute, I am surprised (and de-
lighted) by the visual images that are evoked by some of the passages I recorded. Just by taking
the time to, sometimes very briefly, reflect after a group activity —the activity became more con-
crete for me, and easier to recall and analyze for connections to the Focus Works as the week pro-
gressed. Sometimes we began a session being asked to write about certain events or thoughts;
other times we wrote after a group brainstorming session —and while it was interesting to hear the
opinions of others, I was glad that I was able to write down my own ideas! I am confident that my
students will feel that way, too. I now have a better understanding of how to use the idea of re-
flective journal writing more effectively in the drama classroom."
19 Suzanne Thomas, La Quinta Middle School, La Quinta
"It was interesting to reread my journal and see how the week evolved with respect to my own
growth. At the beginning, my entries were rather superficial and uncomfortable. It took some
time to break down the barriers of self-consciousness. My comments were less evaluative at first
and perhaps more on the visual level. Through Dr. Teele's Multiple Intelligence Test, I found that
I scored high on the spatial area. I suppose this is why I first concentrated on the visual impres-
sions of the Institute, this is how I think best!"
Shayna Powell, Hoover Elementary School, Indio
"I really enjoyed the journaling activity throughout the workshop. Sharing with a group of
strangers is definitely out of my personal comfort zone. Journaling gave me private time to re-
flect and record my feelings. The process was very helpful in organizing and internalizing my
thoughts. I was able to share without having to share publicly. It helped create a safe zone. I
loved that we went to our journals after each activity. Time has passed since our workshop and as
I have read through my journal a few times I realize how personal and thought provoking it is. In
the hustle and bustle of everyday life, I don't stop and look inward too much. It was refreshing
and also comforting to take time to peek inside and touch feelings. I think that being in such an
honest place with myself was helpful and maybe even critical to analyzing and relating to the pieces
of work."
Jan Eickelmann. Truman Elementary School, La Quinta
y
Encouraging reflection through keeping an open journal
Open journals transform blank paper lining the walls of the workshop room into tan-
gible records of learning and reflective experiences of each workshop community.
Teaching artists and participants use the open journal as a tool for collective brain-
storming, posing questions, making connections, and contributing contextual informa-
tion about the works of art under study. Through the open journal, the participants
reflect on their aesthetic experiences and track the process of inquiry. As the ses-
sion progresses, the group builds an overflowing record of activities, insights, ques-
tions, and "a -ha" moments, creating a map of their aesthetic journey.
"I also very much enjoyed the brainstorming sessions. Our ideas were boundless. It was very in-
spiring to think of words and ideas for things like: What is movement? What is energy, secrets? I
found even after our sessions were over I was still thinking of new words to add to the list."
20 Joyce Fishman, Van Buren Elementary School, Indio
"There is one other subject that repeated itself more than once in my journal. We all have the un-
derstanding that each of us is different, yet I was so impressed at the breadth of differences of
thought that I saw while attending the workshop. I was reminded time after time of the vast indi-
vidual creative powers of others. The differences in our creative responses to the same works
just 'blew me away.' It became exciting to see how many different spins our group could have on
the same activity. I really enjoyed this aspect, it was like being an explorer - an explorer of human
souls."
Shayna Powell, Hoover Elementary School, Indio
Desire to share insights with students
In addition to growing and learning, participating teachers become more aware of
how they can begin to open up the world of the arts to their students. The essays
reveal a genuine desire and concrete plans to help students experience what they
themselves experienced.
"I thought at first that I would feel inadequate because of a lack of knowledge of the correct vo-
cabulary or 'buzz' words to use but soon discovered that our Teaching Artists were not interested
in hearing specific words but rather hearing our words, whatever they were. The opening phrases
of 'I do not know and I do not understand' slowly evolved into 'I am beginning to understand and
learn.' Not great truths about a specific work of art, but rather a model for allowing myself and
my students to discover, explore, perceive and appreciate a variety of works. I became acutely
aware that I was in the process of enlarging my ability to see, hear and perceive and that I hoped
to duplicate it for my students. In so many areas of education we are concerned with children pro-
ducing the correct answer (a politically hot topic in our state right now) but the goal in Aesthetic
Education of asking children to find their own answer and to be accepting of other answers that
are different is very refreshing. I know that the best learning takes place when a person has to
explore, manipulate and perhaps even struggle with a concept. I did this repeatedly during my
week at the McCallum and I hope that my students will do the same during this coming year."
21
Becky Adcock, Twentynine Palms, Twentynine Palms
"In my curricula crowded calendar I need to make allowance for the 7 intelligences in spite of the
fact that some layers of administration seem to think my students are merely vessels to have in-
formation poured into them. I feel that as a teacher I need to help them have new experiences
and discoveries in order to pique their imagination. Hopefully, some of my wonder at the world
around us will become contagious to them. Aesthetic Education is a way for teachers, students and
artists to collaboratively access works of art in an experiential way."
Iris Blaisdell, Truman Elementary School, La Quints
"My journal contains a wealth of great ideas user friendly in a second grade environment. Within
the first week of school I plan to have students draw themselves, tap, slap, stomp, click out their
names with different emphasis on syllables. They'll become a statue that expresses something
about themselves. I want students to map, graph, or vote using their thumb prints for particular
activities. This activity is uniquely personal yet not too personal and yet so simple. When we get
into Geography and our unit Ancestry I want to try the sticky note placement activity on the large
map. (However we'll leave off the blindfold part.) I want to build some of the easy percussive in-
struments from boards, hinges and knobs and my favorite ones done with large PVC pipe and
drawer handles. This with the student -made shakers, tambourines and coffee can drums will give
us some great rhythm toys."
Trice Healy, Truman Elementary School, La Quints
"As a Language Arts teacher, all week I drew the analogy of taking the students 'into, through and
beyond' a piece of literature —which really gives the children a purpose for starting what is to be
read, and allows them to apply the knowledge gained after the completion of what was read. The
Summer Institute did exactly that for me with each of the Focus Works —especially the Repertory
Dance Theatre, which we saw twice. Dance is probably my 'weakest' area in the performing arts, so
even though I was 'open' to the first performance and it was pleasant, I wasn't particularly looking
forward to the second session. However, through the question and answer session with the artists
and the exploration activities conducted by the Teaching Artists, my perception of what all was in-
volved for the second dance performance was definitely clearer than my first glance had allowed
for; in addition, I gained a deeper appreciation for the whole process of choreographing a dance as
well as realizing that preserving historical dances was the purpose for this particular dance com-
pany. I thought, 'Wow!' if experiencing this technique was powerful enough to change my mind, just
think how wonderful it will be to prepare and share with the students —making a class field trip to
the McCallum a whole new meaningful adventure that would now have the potential to influence
many other areas of the curriculum."
Suzanne Thomas, La Quinto Middle School, La Quinta
_x -
22
Value of art to our society
Expression through art is one of the fundamental human activities. Artists present
us with their own questions and visions of the world. Our understanding of the hu-
man condition is deepened as a result of their work.
"Did her [Brenda Wong Aoki] story move us? Of course it did. It was a deeply personal story we
could all relate to. I dare say it also became more applicable as a vehicle of self-discovery because
of what we had to do earlier in the day, tracing our progeny and thinking of an unusual anecdote
about an interesting family member. This activity gave us an insight as to what Brenda had to do to
weave her story. It made us aware of the social milieu within which the story operated. Without
this understanding and awareness, we might not have appreciated or empathized with the charac-
ters she drew for us as much as we did. Again, it was engagement, reflection, and experiential
knowledge that made the story more meaningful."
Dolores Abelardo, Truman School, La Quinta
"One of the first exercises our tour guides [Teaching Artists] to the mystery house [Theatre] in-
volved us in was the symbolic and powerful exorcism of judgement. I suppose it is human nature to
be judgmental, I find that in the case of the arts, because viewing a work of art often involves
money, we are particularly judgmental, we don't want to 'throw away money' on something we won't
like, either because of this factor or the lack of access in some areas to a broad spectrum of the
arts we often limit ourselves to the known, tried and true, in the area of the arts, we are hesitant
to experiment which is the antithesis of Aesthetic Education. "
Iris Blaisdell, Truman Elementary School, La Quinta
23
Art changes the way we look at life
Teachers discover that through aesthetic education the experience of their world
and approach to their everyday lives is changed. They become aware of the impor-
tance of creative problem solving in all aspects of their lives; of finding the ex-
traordinary in the ordinary and in embracing new ideas. Making connections between
the arts and their world through looking, reflecting on their experiences, asking
questions and recognizing the possibilities of what could be, becomes part of their
lived experience.
"Discovery is so powerful. Helping kids to open their minds, hearts and eyes to a piece of work will
help them to open their minds, hearts and eyes to life. It will encourage them to think on their
own, to value different perspectives, to really look at things. You can't tell someone to do these
things but you can allow them to discover the power and freedom it will bring them."
Jan Eickelmann. Truman Elementary School, La Quinta
"These works really inspire me to reflect and investigate my own personal stories and heritage. It
gave me the importance to really start documenting the stories from my own grandparents and
other relatives to share with future generations."
Deanna Dreweatt, Mecca Elementary School, Mecca
"Aesthetic Education should be made a mandate in all schools. What a wonderful way to reach the
shy, non-verbal child, a way to utilize the energy of the active child, and to give to those who
struggle with the written word a means of self expression. It appeals to all seven intelligences and
it awakens a new, insightful way of perceiving the world around you. Not everyone will be a visual
or performing artist, but everyone needs to know how to interpret the arts, to think about what
they are seeing and hearing. Just as science and math explains how things work, aesthetic educa-
tion explains how we see things, interpret things, feel things, and even makes us want to expand or
change things."
Toni Biermann, Truman Elementary School, La Quints
24
"On Monday, my journey began by casting judgement aside and actually crushing it into the carpet.
This act was so powerful in itself. In order to truly experience works of art we must get rid of
judgement or our preconceived notions about what is right or it, in turn, will crush us."
Lora Cathcart, Ford Elementary School, Palm Desert
"No one needs to feel stifled or constricted in the pursuit of learning who and what we are. Who
knows what monumental works our society might produce when people's imaginations are given free
rein? The earlier we start using the methods of Aesthetic Education, the better we foster critical
thinking."
Dolores Abelardo, Truman School, La Quinta
"Aesthetic Education allows for all voices to be heard. During college, I took a literature class
that looked at voices not readily heard. We read short stories from China, novels in dialects,
translations of women's works from around the world. My experience in aesthetic education at the
McCallum reminded me of that literature class. We were encouraged to express our thoughts
freely. Art has to have a basis such as this. Creativity is inside each one of us and if it is encour-
aged, it will grow. Not all of us are destined to become famous artists, however, that does not
mean that we cannot enrich our lives with art. It gives all of us a connection, one that all people
can participate in and share. This is a valuable part of education, this ability to understand and en-
joy art. We can participate in art to understand more about ourselves and more about others. Art
can bridge the differences of our lives and bring us closer together. Art allows us to touch with-
out touching, allows us to share without invasion of privacy. What better skills for today's stu-
dents and tomorrows artists?"
Sharon Deady, Truman Elementary School, La Quinta
25
"San Jose Taiko was the only thing I knew about the performance before witnessing it for myself.
... While I watched I was reminded of a Zen saying I had read when I got my horse. That saying
was that the rider must become one with the horse. At first when I had read that saying, I
thought, how can I be part of the horse that I am riding? Then after mounting my beautiful Arab,
I realized that a partnership needs to be formed for me as the rider and my horse as the element
of movement to be free. We needed to move in unison so that his flow and mine matched. We both
needed to enjoy the ride. Both of us needed to feel good, we did not need to feel discomfort in any
fashion. This is not easy and with time and understanding the Zen feeling could occur. I saw be-
fore me as the Taiko performance began, that the same Zen philosophy, be one with the other.
The drums are tangible objects. The performers are tangible, yet unlike the drums, they are alive.
Yet suddenly before my very eyes, I lost the knowing that the drums were not living. What hap-
pened was that the drums and the drummers became one! ... I came to this performance not
knowing that as a part of an audience I am not just a taker of what is given, but also I become a
port of what is given."
Marjorie Starbuck, Yucca Valley Elementary School, Yucca Valley
"What else was fascinating for me, was how often the word or topic of aesthetics is now appearing
in my life after taking this class. I had considered myself one of the fortunate ones, who from
very early in life was exposed to and encouraged to appreciate the visual and performing arts. I
thought I was aware of the value of aesthetics, and I often tried to nurture it in my own life, as
well as in the lives of my students, yet I really had received very little in the way of training. Now
I feel, my new level of understanding and cognizance of the process has enhanced such moments as
a recent Bravo channel interview with Susan Sarandon who mentioned that the 'success of a per-
formance depends on whether anyone in the audience shares the same aesthetic or not (!) to read-
ing a new book by Stark that offered 'No other person has your eccentric blend of ideas, atti-
tudes, and perceptions,' as she addressed the topic of sharing your creativity. I am collecting
these (as well as other) conversation/journal starters to share with my students so they can start
to be prepared to encounter all types of works of art with an open mind and heart. My perception
of aesthetic education is that it is like a living thing —and one has to allow for growth with each ad-
ditional experience. Thank you for allowing me to grow aesthetically this summer!
Suzanne Thomas, La Quinta Middle School, La Quinta
"It was a week quite unlike any I had ever had in my life. I had but a vague idea of what it would be
like, and I was totally unprepared for what transpired. It was a week for eye-opening discoveries,
for self- and outer -world understandings, for exchanging preconceived notions with new percep-
tions, for trampling judgement, for taking risks, for making connections between the creative and
the intellectual fields, for a totally different look at the arts in both the teaching and the learning
of it."
Dolores Abelardo, Truman School, La Quinta
Bridging the Gap - taking Summer Session into the
classroom
On November 2, 1999, MTI presented its first AEP focus performance for the
99/00 school year - the Repertory Dance Theatre. For six weeks leading up to
the performance, residencies took place in 8 different Coachella Valley Schools.
Three teaching artists, 20 teachers and 672 students participated. Each partici-
pating classroom teacher had experienced Summer Session in June 1999. The fol-
lowing comments taken from their Repertory Dance Theatre evaluations allow us to
reflect on their experience with the AEP in their work as educators.
"I think the most significant thing to my students was meeting and working with a Professional
Artist! My students are 99% Hispanic, 35% migrant, and mostly very low income. These kids
live 30 miles from town in the middle of fields —they can't go to dance, art, or a music class. All
they get is what we can provide for them. Now they know that it is possible and that they can
perform. They really enjoyed working with Michele Gaines [Teaching Artist] and they each
"loved" the performances."
Helen Jean McCloud, Oasis School, Thermal
"I couldn't have done this program if it didn't connect with my Literature or Math somehow.
We're not left any'play time' these days. I used the taped geometric floor spaces (or turfs) to
do in our Geometry Unit. We walked like the Emperor in the Emperor's New Clothes. We de-
signed a new wardrobe for him. We became the six different Kitties in Six Dinner Sid. We also
wrote on all these things. In Science we studied the human skeleton and put our 'pasto skeleto-
nis' in different movement positions. The feedback that I received from a Dance Professional
[Teaching Artist] when I discussed my ideas and/or lesson plans was a significant, personal high-
light. I was guided, directed or praised all of which were appreciated. I think the most signifi-
cant thing for my students was that Michele [Teaching Artist] came 3 times in a reasonably
short period of time so there was consistency and continuity, which gave the kids a sense of
structure and a feeling of cohesiveness."
Trice Healy, Truman Elementary School, La Quinta
"I think I broadened my definition of 'Modern Dance.' By that I mean that I used to define
'Modern Dance' as movements/choreography that seems unfamiliar in movement. For example,
some movements are characteristic of certain types of dancing, i.e., on toes equals Ballet. Mod-
ern Dance seems to be more involved in conveying a story or a thought than I ever thought. I
think my kids' cultural background never allowed them to think beyond what they knew or expe-
rienced before. I think they learned that modern dance can be exciting and hard work. I also
think that they never really thought about 'shape' in relation to dancing."
Carole Bailey, Lyndon B. Johnson Elementary School, Indio
27
"My students responded and grew from the experience of preparing for and watching the per-
formance. I'm learning how to prepare my students for a deeper experience while watching a
significant performance. I saw my students get it! (an understanding and enthusiasm for
dance.) Learning is a process that starts with personal experience and grows into knowledge
and understanding of another's experience. Learning must be internalized through experience.
Modern dance can be formal, funky, fun or serious. It springs from natural movements: walking,
running, jumping etc."
Joyce Fishman, Van Buren Elementary School, Indio
"The activities with the Teaching Artist and myself in the classroom tapped into their curiosity
and forced them to express themselves. This, I feel, is the best way to have a positive impact
on an individual student's self esteem."
Norma Peru, Oasis School, Thermal
28
MCCALLUM THEATRE INSTITUTE
73-000 Fred Waring Drive
Palm Desert, CA 92260
Phone: 760.346.6505
Fax: 760.341.9508
www.mccallum-theatre.org
�a —•—�, VII. CORRES. _ _ I VRITTEN MATERIAL A.
4 U -
OF Tl 9
CULTURAL ARTS COMMISSION MEETING
DATE: March 9, 2000
ITEM TITLE: Monument Sign at Lumpy's/Von's
BACKGROUND AND OVERVIEW:
The Public Works Department is responsible for this project and has provided a verbal
report on the Monument Sign at Lumpy's/Vons. There are two outstanding items to
be completed at this site: additional lighting, and the right of way acquisition from Cal -
Trans.
Lighting has been installed around "The City of La Quinta" and is illuminated in the
evening. Contractors are working on uplighting for the City seal and the waterfall,
which will be completed in the near future. The right of way acquisition is required in
order to operate the waterfall aspect of the monument. Until the acquisition occurs,
the waterfall will not be operational.
Staff will provide addit� n I information as it becomes available.
rvitz,` mm `Services Director
S:\Community Services\CAComm\CACRPT.007.wpd
ONO- VII. CORRES. & WRITTEN MATERIAL B.
v - 5
cv�.a..o „nw4
C�hf OF f1 9
CULTURAL ARTS COMMISSION MEETING
DATE: March 9, 2000
ITEM TITLE: Art Fernandez 7t' Panel - Bus Shelter
BACKGROUND AND OVERVIEW:
At the February 10, 2000 Cultural Arts Commission meeting, the Commission
reviewed sketches of bus shelter art panels provided by Mr. Art Fernandez, as outlined
in the Settlement Agreement between the City of La Quinta and Mr. Fernandez. The
Cultural Arts Commission recommended six art panels for City Council consideration.
The Commissioners requested that Mr. Fernandez provide an additional sketch,
depicting an Ocotillo, to be included in the March 7, 2000 City Council information for
consideration.
Mr. Fernandez provided staff with the sketch (Attachment A), and this has been
forwarded to the City Council for consideration at the March 7 City Council meeting.
Staff will provide a verbal report on the City Council's actions regarding the art panels
at the March 9, 20QO Cultural Arts Commission meeting.
Do Nifz,1CTommurtity Services Director
Attachment A: Sketch Provided By Mr. Art Fernandez Depicting An Ocotillo
S:\Community Services\CAComm\CACRPT.008.wpd
FROM :
PHONE NO. : Feb. 17 2000 01:14PM P2
ATTACHMENT A
VII. CORRES. & WRITTEN MATERIAL C.
aT4ht 4
v 5
tis
OF I9
CULTURAL ARTS COMMISSION MEETING
DATE: March 9, 2000
ITEM TITLE: Auto Mall Art Piece
BACKGROUND AND OVERVIEW:
The discussion regarding the Auto Mall Art Piece has been continued until the April 13
Cultural Arts Commission meeting date.
The developer is no prepared to present information to the Commission at this time.
Dodi6446'rvitz, Con)*unity Services Director
SACommunity Services\CAComm\CACRPT.001.wpd
VII. CORRES., WRITTEN MATERIAL D.
�iu� 4'•c
01 O&D
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OF T9
CULTURAL ARTS COMMISSION MEETING
DATE: March 9, 2000
ITEM TITLE: La Quinta Arts Festival Schedule
BACKGROUND AND OVERVIEW:
At the February 10, 2000 Cultural Arts Commission, Commissioners Blakley and
Rasmussen were selected to participate in the La Quinta Arts Festival Arts Purchase
Committee.
Staff will provide a verbal schedule at the Cultural Arts Commission meeting as to
when the La Quinta Arts Festival Arts Purchase Committee will meet and the meeting
location �t the vent on Thursday, March 16.
Dodie�'orvit4, Community Services Director
S:\Community Services\CAComm\CACRPT.009.wpd
VII. CORRES. & WRITTEN MATERIAL E.
Twyl 61 .4tQur««rw
78-495 CALLE TAMPICO — LA QUINTA, CALIFORNIA 92253 — (760) 777-7000
TO (760) 777.1227
March 6, 2000
Cultural Arts Commission
Kathryn Hull, Chairperson
PO Box 1504
La Quinta CA 92253
SUBJECT: LA QUINTA COMMUNITY PICNIC & BIRTHDAY BASH
Dear Ms. Hull:
On behalf of the City of La Quinta Community Services Commission, I would like to extend an
invitation to you and your staff that will be beneficial to your business/organization and to city
residents. The Community Services Commission is organizing the Third Annual "Community
Picnic and Birthday Bash" on Saturday, April 29 from 10:00 a.m. to 1:00 p.m. at Fritz Burns Park.
The purpose of the picnic is to bring together City officials, residents, local businesses, civic groups,
and organizations to enjoy free food, children's games, entertainment, swimming and much more.
Because you provide a valuable service to the community we are inviting you to set up a display
table, and possibly offer a handout or literature to the public. There is no charge for
businesses/organ;.nations that display, and no charge to the public to attend. It is a perfect
opportunity to market the unique services you. offer to the community. Your participation in this
community and family -oriented event will be appreciated by the City of La Quinta, the Community
Services Commission, and all who attend.
If you would like to participate, please call the Community Services Department at 777-7090 to
confirm your interest by Wednesday, March 22, 2000. We Will send you more information as the
event. nears.
Sincerely,
-- —IC—z-,
Victoria St. Johns
Chairperson, Community Services Commission
VSJ:cs
MAILING ADDRESS - P.O. BOX 1504 - LA QUINTA, CALIFORNIA 92253
THE CITY OF SAN DIEGO
Commission for Arts and Culture
FOR IMMEDIATE RELEASE
Friday, January 21, 2000
COLLECTIONS MANAGEMENT
REQUEST FOR PROPOSALS (RFP) AVAILABLE
CONTACT: Allison Wiese
(619) 533-3714
San Diego, CA ... The City of San Diego Commission for Arts and Culture, through a request
for proposals (RFP), is seeking to contract with an experienced registrar or other qualified
professional to organize all aspects of the City's permanent collection of artworks. The City's
collection consists of more than 450 paintings, sculptures and murals that are distributed
throughout the city in public spaces and civic buildings and more than 54 artworks
commissioned over the last decade by the Commission's public art program.
The scope of work includes an inventory of the objects in the collection, a baseline assessment
and photographic documentation of each artwork, and the development of a computer database
collections management system incorporating these three areas.
Individuals or firms with a proficiency in registration procedures and art handling, familiarity
with the conservation field, and high competency in computer skills are eligible. A selection
panel consisting of arts professionals familiar with collections management will review the
responses to this RFP and short-list indi iduals and firms to interview. The successful candidate
will be required to execute a contract with the City of San Diego for the completion of the scope
of work.
The deadline for submittal of the RFP J Friday, March 31, 2000. The anticipated start date is
June 1, 2000.
more —
x Commission for Arts and Culture
x
1,E R", , 1010 Second Avenue, Suite 555, MS 652 • Son Diego, (A 92101-4998
" -1- 11 Tel (619) 533.3050 Fax (619) 533.3788
A
Page 2
COLLECTIONS MANAGEMENT RFP
January 21, 2000
For a copy of the Collections Management RFP, please contact Allison Wiese, Public Art
Assistant, City of San Diego Commission for Arts and Culture, 1010 Second Avenue, Suite 555,
MS 652, San Diego, CA 92101-4998, (619) 533-3714, e-mail: aow@sdcity.sannet.gov.
The mission of the City of San Diego Commission for Arts and Culture is to vitalize the
community by integrating arts and culture into community life, supporting the region's cultural
assets and showcasing San Diego as an international destination.
COLLECTIONS MANAGEMENT
REQUEST FOR PROPOSALS (RFP)
INTR0DUCT10N ..
The City of San Diego Commission for Arts and Culture is seeking to contract with an experienced
registrar or other qualified professional to inventory and organize all aspects of the City's permanent
collection of artworks. The City's collection consists of more than 450 paintings, sculptures and murals
that are distributed throughout the city in public spaces and civic buildings, and more than 54 artworks
commissioned over the last decade by the Commission's public art program.
The scope of work includes an inventory of the objects in the collection, a baseline assessment and
photographic documentation of each artwork, and the development of a computer database collections
management system incorporating these three areas.
The project requires that the individual or firm develop criteria for collection care, maintenance and
storage, help establish policies and guidelines regarding accession and deaccession of artwork,
coordinate appraisal process and loan agreements for collection objects, and educate City employees on
the placement and care of artworks.
SCOPE OF WORK
LOCATE and INVENTORY
Consultant must create a current inventory of all city -owned artwork, with the most complete
information reasonably available. Existing inventories, archives or publications may be used as
resources. A systematic effort to locate as -of -yet un-inventoried works of fine art owned by the city
must be undertaken as well.
ASSESS and DOCUMENT
Consultant must provide a baseline condition assessment of all inventoried city -owned artwork,
including photographic documentation. Condition assessments must include a detailed condition
report for each artwork, an exact location, date, dimensions, description of work and any identifying
characteristics, description of site, contact person at site, and black and white photographs and color
slides of the work, both general and where necessary detailed. Condition assessments must include
any historical and art historical information about the artwork, the artist, the site, the subject of the
work and its provenance.
CATALOGUE and ARCHIVE
Consultant must research and develop a computer database that incorporates location, inventory,
condition assessment and photo -documentary information for each work of art currently owned by
the city. A parallel system of hard files must also be established.
MAINTAIN and PROTECT
The consultant must develop criteria for collection care, maintenance and storage, help establish
policies and guidelines regarding accession and deaccession of artwork, undertake the identification
of artworks in need of appraisal and coordinate the appraisal process, coordinate loan agreements
for collection objects, and develop tools to educate City employees on the placement and care of
artworks.
.. '' R SPQNKS .�. d .
Please type or print proposals on 8`/z" x I I" paper. Respond fully to all items listed below in the order
that they appear. Clearly identify each item in your proposal.
Background
• Cover Sheet that includes applicant's name, address, phone and fax numbers, e-mail address.
• Resume or curriculum vita.
• Letter describing applicant's interest, experience and expertise in collection management,
registration and administration.
• Professional References listed with contact information.
Proposal
Description of the specific manner in which you propose to respond to the City's collection management
needs. Proposal must include:
• Detailed Project Narrative. The narrative must address the methods and means by which the
consultant proposes to complete the project.
• Detailed Project Budget. The proposed budget must cover consultant's labor, photography, any
required software, and all other necessary services, equipment and materials.
• Detailed Project Timeline.
• Project Evaluation Plan. The proposal must include plans for an evaluation of the project's
measurable success.
RESOURCES FOR,RFP,RESPONSES
Attached to this RFP are several resources for use in the preparation of the applicant's collection
management proposal:
• The Artist and the Urban Environment: Public Art for the City of San Diego (San Diego: City of
San Diego Commission for Arts and Culture, 1998). A brochure with basic information regarding
most of the contemporary public artworks commissioned by the City of San Diego.
• City of San Diego Audit Report, dated 12/20/91, with attachments. Includes an inventory of the
Fixed Asset System listings for artwork owned by the City of San Diego.
• Introductory pages of: A Curatorial Examination of Certain Works of Art in the Possession of the
City of San Diego, a report prepared by Bruce Kamerling under the auspices of the San Diego
Historical Society, in August 1990.
• Appraisal of Aztec Brewery Art & Artifacts, prepared by Fran Preisman, ISA, CAPP and Georgie
Stillman, ASA, dated 12/24/90. Includes an inventory and appraisal of the artwork, furniture and
architectural details formerly located in the Aztec Brewery Rathskeller in Barrio Logan. The
appraisal was prepared when the artworks and artifacts were donated to the City of San Diego.
ELIGIBILITY
Individuals or firms with a proficiency in registration procedures and art handling, familiarity with the
conservation field, and high competency in computer skills are eligible.
Minimum qualifications may be any combination of education, training and experience that demonstrates
the applicant's ability to perform the duties of the position. A Bachelor's degree in arts administration or
museum studies or other related field of study and four years of administrative experience in an arts
agency, museum or arts organization are preferred. This position requires someone with the ability to
work independently, meet deadlines and complete projects.
DEADLINE FOR SUBMITTAL
Submittals must be postmarked or hand delivered no later than 5:00 p.m. on Friday, March 31, 2000.
Those interested must submit FIVE (5) copies of the proposal materials described above to:
Gail M. Goldman, Public Art Director
City of San Diego Commission for Arts and Culture
1010 Second Avenue, Suite 555, MS 652
San Diego, CA 92101-4998
Please address any questions regarding this RFP to Allison Wiese at 619/533-3714.
SELECTION PROCESS
A Selection Panel consisting of arts professionals familiar with collection management will review the
responses to this RFP and select a short list of individuals and firms to interview. The Selection Panel
will evaluate, rank and select individuals and firms based on the following criteria:
• Experience, training and education of the individual(s).
• Thoroughness and feasibility of the proposal, including budget and timeline.
• Demonstrated administrative ability to work with a public agency and meet contract deadlines.
• Ability to devote the resources necessary to execute and complete the collections management
proj ect.
• Quality of references.
Those individuals and firms who have been short-listed by the Selection Panel will be invited to
interview with the Selection Panel. The successful nominee will be required to execute a contract with
the City of San Diego for the completion of the scope of work.
PROJECT TIMELINE
UP Distributed January 21, 2000
REP Deadline
Interviews Completed
Project Start Date
Friday, March 31, 2000
April 14, 2000
June 2000
CONDITIONS FOR SUBMITTALS
• The City endeavors to do business with firms sharing the City's commitment to equal opportunity
and will not do business with any firm that discriminates on the basis of race, religion, color,
ancestry, age, gender, disability, medical condition or place of birth.
• The City, is not liable for any cost incurred by any person responding to this RFP.
• This RFP does not commit the City to award a contract or pay any costs incurred for any services.
• The City, at its sole discretion, reserves the right to accept or reject any or all submissions received.
• The City reserves the right to withdraw the RFP.
• The City reserves the right to reject any submissions for nonpompliance with RFP provisions.
• The City reserves the right to revise this RFP, including, but not limited to, the proposal due date.