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CAC 07 13 2000Tit,, 4 4Qur«rr, CULTURAL ARTS COMMISSION AGENDA La Quinta Civic Center Study Session Room 78-495 Calle Tampico - La Quinta, CA 92253 July 13, 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 June 15, 2000 B. Arts in Public Places Financial Report June 2000 V. PUBLIC HEARING VI. BUSINESS ITEMS A. Election of Chairperson B. Election of Vice Chairperson C. Civic Center Campus Art Proposals D. Work Plan Assignments E. Cultural Symposium F. August Meeting Date G. Global Mural Conference VII. CORRESPONDENCE AND WRITTEN MATERIALS A. Copy of Letter to Valerie Smith, La Quinta Chamber of Commerce B. CALAA - Radius Information C. Commissioner Information VIII. COMMISSIONER ITEMS IX. ADJOURNMENT NEXT MEETING INFORMATION August , 2000 7:00 PM La Quinta Civic Center Study Session Room G:\MyData\CRISTAL\CAC\AGN7-13.wpd IV. CONSENT CALENDAR B. City of La Quints Recap Arts in Public Places Available Funds Deposits collected through development Interest earned City Contribution Total Sources Less expenditures: Operating expenses Art purchased Total Uses 06/30/2000 Equity Available before encumbrances and committments: Add back Accounts Payable Reduction for Interest Receivable Cash Available before encumbrances and committments: Less Encumbrances - 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 06/30/2000 $1,239,927.74 138,080.97 50,000.00 1,428,008.71 (21,536.21) (739,408.36) (760,944.57) 667,064.14 0.00 0.00 667,064.14 0.00 (13,217.00) (960.37) 0.00 (9,418.07) (14,581.93) 0.00 0.00 0.00 0.00 0.00 0.00 (1,284.00) (28,122.00) (12,710.50) (1,684.50) 0.00 0.00 (2,798.50) (30,672.81) (11,386.50) 0.00 (331,226.46) (458,062.64) $209,001.50 File: APP.WK4 City of La Quinta Arts in Public Places Recap Expenditures Inception to 06/30/2000 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 An 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 08/29/99 Arrow Printing - brochures 1,481.60 11/29/99 CA Assembly of Local Arts 75.00 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) 03/06/00 Americans for the Arts 150.00 512100 U S Postmaster - postage 160.00 Total Operating Expenses $21 536.21 Total Balance of Art Purchases: Commitments Expended Commitments 06/09/92 Adams/Truman PTA 846.00 $846.00 0.00 04/14/93 Louis De Martino 73,500.00 60,283.00 13,217.00 06/29/94 K.Emerson & A.Dematteis 51,000.00 50,039.63 960.37 07/31/92 Hwy 111 TDC - Paid 47,578.99 47,578.99 0.00 07/31/92 Hwy 111 TDC - Credits 10,810.63 1,392.56 9,418.07 07/31/92 Hwy 111 TDC - Future 36,610.38 22,028.45 14,581.93 12/15/1992 Ministrelli TT25429 15,000.00 15,000.00 0.00 06106/1995 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 & Narvi 3,000.00 1,716.00 1,284.00 09/15/98 Washington St. Bridge-Navarrete/Holmes & Narv, 39,500.00 11,378,00 28,122.00 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-Hwy111/Wash.St 18,800.00 18,800.00 0.00 03/16/99 Civic Center Art Purchase 7,327.00 7,32T00 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 296,713.00 266,040.19 30,672.81 07/01/99 Obelisks Pilot Program -City Street Markers 20,000.00 8,613.50 11,386.50 09/07/99 City Entrance Monument Right -of -Way (#655) 15,000.00 15,000.00 0.00 01/18/2000 Civic Center Campus 340,000.00 8.773.54 331,226.46 05/02/00 Construction of Base for New Art Piece -City Hall 2,693.75 2,000.00 693.75 Total Art Purchases $1 197 471 00 $739 408.36 $458 062.64 File: APP.WK4 City of La Quinta Recap Arts in Public Places Interest Earned Annual Interest FY 1990/91 3,525.59 FY 1991 /92 11,646.54 FY 1992/93 12,156.96 FY 1993/94 7,137.38 FY 1994/95 11,444.17 FY 1995/96 14,109.65 FY 1996/97 16,170.79 FY 1997/98 14,845.19 FY 1998/99 28,328.00 Total Accumulated Interest FY 1999/00 Interest YTD Interest Through $119,364.27 18,716.70 06/30/2000 138, 080.97 File: APP.WK4 VI. BUSINESS ITEM A. 0 �,�► V � C�1 OF T 9 CULTURAL ARTS COMMISSION DATE: July 13, 2000 ITEM TITLE: Election of Chairperson RECOMMENDATION: Elect one member to serve as Chairperson for the Cultural Arts Commission. BACKGROUND AND OVERVIEW: A Chairperson for the Commission is selected to preside over the meetings. An open vote will be taken at the Commission meeting to select a Chairperson. Voting Procedures: All actions must be taken on a majority vote or by a majority of the quorum present. On the passage of every motion, the vote shall be taken by voice or roll call as appropriate, (page 21, Handbook for Commissioners). Staff will open and close nominations to the Commission for Chairperson. The vote will be taken and the Chairperson will be elected. Tie Votes: In the case of a tie vote, an additional motion is made which obtains a majority vote to break the tie. If a tie vote results at a time when less than all members are present, the matter shall automatically be continued to the Agenda of the next regular meeting, unless otherwise ordered by the body (page 19, Handbook for Commissioners). ALTERNATIVES: The alternatives available to the Commission are: 1. Elect one member to serve as Chairperson for the Cultural Arts Commission; or SACommunity Services\CAComm\CACRPT.018.wpd 2. Do not elect one member to serve as Chairperson for the Cultural Arts Commission; or 3. Provide staff witch alternate direction. Dodie Hor omm ' un!VServices Director S:\Community Services\CAComm\CACRPT.018.wpd -r- BUSINESS ITEM B. �a� a�•c� agwo U �45 C�ht OF T1349 CULTURAL ARTS COMMISSION DATE: July 13, 2000 ITEM TITLE: Election of Vice Chairperson RECOMMENDATION: Elect one member to serve as Vice Chairperson of the Cultural Arts Commission. BACKGROUND AND OVERVIEW: The Vice Chair will preside over the meeting when the Chairperson is unavailable. An open vote will be taken at the Commission meeting to select a Vice Chairperson. Voting Procedures: All actions must be taken on a majority vote or by a majority of the quorum present. On the passage of every motion, the vote shall be taken by voice or roll call as appropriate, (page 21, Handbook for Commissioners). The Chairperson will open and close nominations to the Commission for Vice - Chairperson. The vote will be taken and the Vice -Chairperson will be elected. Tie Votes: In the case of a tie vote, an additional motion is made which obtains a majority vote to break the tie. If a tie vote results at a time when less than all members are present, the matter shall automatically be continued to the Agenda of the next regular meeting, unless otherwise ordered by the body (page 19, Handbook for Commissioners). ALTERNATIVES: The alternatives available to the Commission are: 1 . Elect one member to serve as Vice Chairperson of the Cultural Arts Commission; or S:\Community Services\CAComm\CACRPT.020.wpd 2. Do not elect one member to serve as Vice Chairperson of the Cultural Arts Commission; or 3. Provide staff with alternate direction. Dodie oMitz, Comn6dl ity Services Director S:\Community Services\CAComm\CACRPT.020.wpd BUSINESS ITEM D. U rY 45 OF CULTURAL ARTS COMMISSION MEETING DATE: July 13, 2000 ITEM TITLE: Commission Work Plan Assignments RECOMMENDATION: As deemed appropriate by the Commission. BACKGROUND AND OVERVIEW: On July 5, 2000 the City Council reviewed and approved the Cultural Arts Commission 2000-2001 Work Plan (Attachment A) with minor changes. The changes include adding the words "including the" and deleting the word "Pieces" from the "Placement of Public Art and Civic Center Campus Art Pieces". The revised title reads "Placement of Public Art and the Civic Center Campus Artwork". The Commission can begin assigning and completing tasks as outlined in the Work Plan. ALTERNATIVES: The alternatives available to the Commission are: 1 . Designate Commissioners to begin tasks as defined in the Work Plan; or 2. Do not designate Commissioners to begin tasks as defined in the Work Plan; or 3. Provide stAff with alternate direction. Dodie Horvitz,�Cr�ir unity Services Director Attachments:" A Adopted 2000-2001 Cultural Arts Commission Work Plan S:\Community Services\CAComm\CACRPT.016.wpd CITY OF LA QUINTA La�.�.�.w.c H I _ INCOUO-TM �?OF' CULTURAL ARTS WORK PLAN 2000io 1 Approved by City Council July 5, 2000 Cultural Arts Commission Work Plan July 2000 Task: Annual Work Plan Completion Date: May 2001 Participants: Commissioners Suggested Resources: Commissioners, Staff Steps to Completion: • Review existing assignments • Review programs being offered by other Cities. • Suggest assignments to fill any voids Staff Time: 3-4 hours per plan Fiscal Commitment: None Staff Role: Provide support and act as liaison to City Council Council Role: Review and approve Work Plan Goal: Chapter 2.75.040 (4) of Ordinance 317: "Make recommendations to the City Council concerning the resources and needs on the subject of the arts..." 2 Cultural Arts Commission Work Plan July 2000 Task: Placement of Public Art Including the Civic Center Campus Artwork Completion Date: ' On -going Participants: Commissioners, Staff Suggested Resources: Commissioners, City Council, Residents Steps To Completion: • Inventory current artwork and sites • Schedule artists for Cultural Arts Commission meeting • Review the proposed artwork • Make a recommendation to the City Council regarding the artwork and recommend the appropriation of a specific amount to be committed to the site Staff Time: 40 hours per month Fiscal Commitment: Funds appropriated from the Art in Public Places Account per City Council authorization Staff Role: Consider site, art piece and appropriation of funds Council Role: Provide support and subject to final City Council approval Goal: Chapter 2.75.040 (12) The Commission will submit to the City Council a recommendation for ratification of public art to be financed by the Art in Public Places program. (15) The Commission will make recommendations to the City Council for the commissioning of artworks, the purchase or lease of art sites, agreements for the purchase and display of artwork, or the repair, maintenance or servicing of artwork. 3 Cultural Arts Coiuinission Work Plan July 2000 Task: Temporary Art Placement Program Completion Date: On going Participants: Commissioners Suggested Resources: Commissioners, local artists and art galleries Steps To Completion: • Notify artists that the program exists • Once requests have been received, work with developers/land owners and artists to select a predetermined site specific art piece for a location to recommend to Council • Obtain City Council approval Staff Time: 4-6 hours per piece Fiscal Commitment: None at this time Staff Role: Provide support and act as a liaison to City Council Council Role: Provide support and review and approval of contract Goal: Chapter 2.75.040 (4) Make recommendations to the City Council concerning the resources and needs of the community on the subject of the arts, opportunities for participation of artists and performers in City sponsored activities, and ways to encourage community involvement. 4 Cultural Arts Commission Work Plan Task: Develop Public Art Program Information Completion Date: On going July 2000 Participants: Commissioners, Staff Suggested Resources: Staff, Commissioners, printed materials, activity calendars, lists of organizations Steps To Completion: • Work with City Council to determine the best method to inform the public about the Public Art Program • Commissioners to design and draft contents of the information for Commission review and recommendation to the City Council for their approval • Publish information in current City brochures, on the City's Website and Chamber of Commerce map Staff Time: 6-8 hours per publication Fiscal Commitment: Costs would need to be determined for the printing Staff Role: Provide support and liaison with City Council Council Role: Consideration of content and funding Goal: Chapter 2.75.040 (4) Make recommendations to the City Council concerning the resources and needs of the community on the subject of the arts, opportunities for participation of artists and performers in City sponsored activities and way to encourage community involvement. 5 Cultural Arts Coiumission Work Plan July 2000 Task: Coachella Valley Cultural Conferences, Workshops, & Events Completion Date: On -going Participants: Commissioners, City Council Suggested Resources: Community members, City Council, Coachella Valley Cities, private cultural arts interests, State and Federal sources Steps to Completion: • Recommend to Council proposed conferences, workshops & events • Maintain leadership role in conferences, workshops & events • Recommend to Council a date, time, and location for the conferences, workshops & events • Work with Coachella Valley Cities to determine proposed speakers and budget for consideration by Council • Solicit contributions to off -set the costs as approved by Council • Prepare an outline for the meeting • Invite the speakers/artists • Advertise the conferences, workshops & events as approved by Council • Conduct the conferences, workshops & events Staff Time: 10-12 hours per event Fiscal Commitment: $3,000 Staff Role: Provide support and act as a liaison to City Council Council Role: Review purpose of conferences, workshops & events and consider participation and budgets for events Goal: Chapter 2.75.040 (6) Work cooperatively with City boards, commissions and committees, and other public and private organization in promoting art and cultural activities within the City. 2 Cultural Arts Commission Work Plan July 2000 Task: Review Art In Public Places Master Plan Completion Date: Continued to 2001-2002 Participants: Commissioners Suggested Resources: Commissioners, Community Members Steps To Completion: • Review, re-evaluate and coordinate the cultural elements of the City's Master Plan, Art In Public Places Plan and other related plans for appropriate components for recommendation to Council in one Art In Public Places Master Plan • Include appropriate components as identified Staff Time: 1-2 hours per month Fiscal Commitment: None Staff Role: Act as liaison to City Council, provide technical support to Commission Council Role: Provide direction and periodic review of progress Goal: Chapter 2.75.040 (11) of Ordinance 317: "Maintain and Implement the Art In Public Places Plan subject to approval by the City Council..." 7 Cultural Arts Commission Work Plan July 2000 Task: Research and Solicit Grants Completion Date: On going Participants: Commissioners Suggested Resources: Commissioners, Web Sites, Arts Organizations, Foundations and Corporations Steps To Completion: • Review appropriate funding sources with staff • Make recommendations to Council in accordance with Council policy • Support staff submission of application to organization for consideration Staff Time: 6 hours per grant Fiscal Commitment: None Staff Role: Provide support and act as a liaison to City Council Council Role: Provide support, review and approve applications Goal: Chapter 2.75.040 (2) of Ordinance 317: Make recommendations for research and solicitation of grants and donations. Cultural Arts Commission Work Plan July 2000 Task: "Meet the La Quinta Artist" Completion Date: Bi-Monthly Participants: Commissioners Suggested Resources: Commissioners, Staff, Residents, Media sources Steps To Completion: • A local artist representing a different medium will be randomly selected to be showcased in the La Quinta Chamber of Commerce Newsletter and at other cultural events with a "snapshot" of their work and history Staff Time: 1 hour per month Fiscal Commitment: None Staff Role: Provide support and act as liaison to City Council Council Role: Provide direction and support, review and consider the program Goal: Chapter 2.75.040 (10) Develop public art awareness through the presentations of speakers, forums, mixers and special events. E —r— VI. BUSINESS ITEM E. 04 LO c o v - 5 ti5 GSM OF p CULTURAL ARTS COMMISSION MEETING DATE: July 13, 2000 ITEM TITLE: Cultural Symposium RECOMMENDATION: As deemed appropriate by the Cultural Arts Commission. BACKGROUND AND OVERVIEW: The Cultural Arts Commission began discussing the Cultural Symposium at the February 10, 2000 Commission meetings. (As a means of background for Commissioners Diamond and Woodard, the minutes of the Commission meetings beginning with the December 9, 1999 meetings are included in the Commissioner's packets.) At the July 5, 2000 City Council meeting, the City Council considered the Cultural Arts Commission's request to host a Cultural Symposium. After some discussion, the City Council authorized the Symposium. The budget amount of $3,000 was approved with the condition that sponsors be found to offset the cost of Mr. Jack Mackie's expenses. It was the opinion of the Council that the funds allocated for the Symposium should be spent on making the Symposium an outstanding event, and not allocated for just one speaker. After the City Council approved the Symposium, letters were signed by Rosita Shamis, as past Vice -Chair of the Cultural Arts Commission and sent to Assemblyman Jim Battin, Senator Schiff, and Barry Hessenius of the California Arts Council, as provided in Attachment A. In order to properly plan the Symposium, the Commission may wish to appoint a sub- committee to meet to plan the details of the Symposium for the Commission's review at the next meeting. S:\Community Services\CAComm\CACRPT.021.wpd ALTERNATIVES: The alternatives available to the Commission are: 1 . Appoint a sub -committee to outline the Symposium and to report back to the Commission at the next Commission meeting; or 2. Do not appoint a sub -committee; or 3. Provide staff with alternate direction. Dodie Horvitz, o m ity Services Director Attachment Letters to Assemblyman Battin, Senator Schiff and Mr. Hessenius S:\Community Services\CAComm\CACRPT.021 .wpd P.O. Box 1504 78-495 CALLE TAMPICO LA QUINTA, CALIFORNIA 92253 July 5, 2000 Assemblyman Jim Battin 73-710 Fred Waring Drive, Suite 112 Palm Desert, CA 92260 Dear Assemblyman Battin: ATTACHMENT A (760) 7 7 7 - 7 0 0 0 (TDD) (760) 777-1227 Due to your concern for the cultural life in the Coachella Valley, the La Quinta Cultural Arts Commission is inviting you to be a panelist at the "Symposium on Cultural Development". The Symposium, "Voices: Past, Present, Future" will be held Saturday, November 4, 2000 from 1:00- 5:00 p.m. in the La Quinta City Hall Council Chambers. The program will focus on four areas: Community and the Arts, Business and the Arts; Education and the Arts, and Government and the Arts. We would like for you to participate as a panelist addressing Government and the Arts. The Keynote speaker invited to participate in the Symposium is Mr. Jack Mackie from Seattle, Washington. Other panelists that have been invited include Senator Adam Schiff, Executive Director of the California Arts Council Barry Hessenius, Superintendent of Schools Dr. Doris Wilson, developer Richard Oliphant, architect Tom Doczi, art consultant John Nagus and art educator Kajsa Thuresson-Frary. Mayor John Pena has been invited to participate as well. Mayor Pena will identify the art accomplishments of the City. The major portion of the time will be given to a double panel to present and discuss issues in the four areas mentioned. There will be exhibits and performances by local artists, and following a question -answer period, a reception allowing time to network. We are most eager to have you as one of our leading participants in what may be the most valuable meeting of desert artists and supporters this year. Should you accept this invitation, additional information will be forthcoming. Thank you for giving us serious consideration. Sincerely, Rosita Shamis Cultural Arts Commission SACommunity Services\CAComm\Battin Invitation.wpd P.O. Box 1504 78-495 CALLE TAMPICO LA QUINTA, CALIFORNIA 92253 July 5, 2000 Senator Adam B. Schiff Twenty-first Senate District 35 South Raymond Avenue, Suite #205 Pasadena, CA 91105 Dear Senator Schiff: (760) 7 7 7 - 7 0 0 0 (TDD) (760) 777-1227 Due to your commitment to the arts, the La Quinta Cultural Arts Commission is inviting you to be a panelist at the "Symposium on Cultural Development". The Symposium, "Voices: Past, Present, Future" will be held Saturday, November 4, 2000 from 1:00-5:00 p.m. in the La Quinta City Hall Council Chambers. The program will focus on four areas: Community and the Arts, Business and the Arts; Education and the Arts, and Government and the Arts. We would like for you to participate as a panelist addressing Government and the Arts. The Keynote speaker invited to participate in the Symposium is Mr. Jack Mackie from Seattle, Washington. Other panelists that have been invited include Assemblyman Battin, Executive Director of the California Arts Council Barry Hessenius, Superintendent of Schools Dr. Doris Wilson, developer Richard Oliphant, architect Tom Doczi, art consultant John Nagus and art educator Kajsa Thuresson-Frary. Mayor John Pena has been invited to participate as well. Mayor Pena will identify the art accomplishments of the City. The major portion of the time will be given to a double panel to present and discuss issues in the four areas mentioned. There will be exhibits and performances by local artists, and following a question -answer period, a reception allowing time to network. We are most eager to have you as one of our leading participants in what may be the most valuable meeting of desert artists and supporters this year. Should you accept this invitation, additional information will be forthcoming. Thank you for giving us serious consideration. Sincerely, Rosita Shamis Cultural Arts Commission S:\Community Services\CAComm\Schiff Invitation.wpd TW* 4 4Cl�rw P.O. Box 1504 78-495 CALLE TAMPICO LA QUINTA, CALIFORNIA 92253 July 5, 2000 Mr. Barry Hessenius Executive Director, California Arts Council 1300 I Street, Suite 930 Sacramento CA 95814 Dear Mr. Hessenius: (760) 7 7 7 - 7 0 0 0 (TDD) (760) 777-1227 Due to your commitment to the arts, the La Quinta Cultural Arts Commission is inviting you to be a panelist at the "Symposium on Cultural Development". The Symposium, "Voices: Past, Present, Future" will be held Saturday, November 4, 2000 from 1:00-5:00 p.m. in the La Quinta City Hall Council Chambers. The program will focus on four areas: Community and the Arts, Business and the Arts; Education and the Arts, and Government and the Arts. We would like for you to participate as a panelist addressing Government and the Arts. The Keynote speaker invited to participate in the Symposium is Mr. Jack Mackie from Seattle, Washington. Other panelists that have been invited include Senator Schiff, Assemblyman Battin, Superintendent of Schools Dr. Doris Wilson, developer Richard Oliphant, architect Tom Doczi, art consultant John Nagus and art educator Kajsa Thuresson-Frary. Mayor John Pena has been invited to participate as well. Mayor Pena will identify the art accomplishments of the City. The major portion of the time will be given to a double panel to present and discuss issues in the four areas mentioned. There will be exhibits and performances by local artists, and following a question -answer period, a reception allowing time to network. We are most eager to have you as one of our leading participants in what may be the most valuable meeting of desert artists and supporters this year. Should you accept this invitation, additional information will be forthcoming. Thank you for giving us serious consideration. Sincerely, /Z414" Rosita Shamis Cultural Arts Commission SACommunity ServicesTAComm\Hessenius Invitation.wO F,r4ws -r- 'I. BUSINESS ITEM F. U - 4S c�MOF f19 CULTURAL ARTS COMMISSION MEETING DATE: July 13, 2000 ITEM TITLE: August Meeting Date RECOMMENDATION: As deemed appropriate by the Commission. BACKGROUND AND OVERVIEW: The Commission meets once a month, and on occasion has gone dark in August due to vacation schedules, etc. The Commission may wish to discuss this item. Should the Commission agree to meet in August, staff is requesting the Commission's consideration in meeting on August 17, 2000 due to staff availability. Should the Commission desire to meet on the regularly scheduled date of August 10, the agenda for the August 10 meeting may not contain business items, as staff will be unable to provide adequate information for the August 10 meeting. Informational items and Commissioner Items may be agendized for the August 10 meeting. ALTERNATIVES: The alternatives available to the Commission are: 1. Approve the Commission go dark in August, and meet on the next regularly scheduled meeting day in September; or 2. Approve the Commission select August 17, 2000 as the next Cultural Arts Commission meeting date; or 3. Do not change the August meeting date; or de staff with alternate direction. Dodie Horvitz, jQd6imulKty Services Director S:\Community Services\CAComm\CACRPT.017.wpd VI. BUSINESS ITEM G. t4V _ 45 G�h1 OF CULTURAL ARTS COMMISSION MEETING DATE: July 13, 2000 ITEM TITLE: Global Mural Conference RECOMMENDATION: As deemed appropriate by the Cultural Arts Commission. BACKGROUND AND OVERVIEW: The first Global Mural Conference is being held in Twentynine Palms October 22-27, 2000. Attachment A is the flyer that describes the events and guest speakers. The Cultural Arts Commission has a budget of $1,700 to send Commissioners to the CALAA and American's for the Arts Conferences. This amount is adequate to send one Commissioner to each conference. The $400 Global Mural Conference fee has not been budgeted. Should the Commission desire, the Global Mural Conference fee and related expenses can be used from the existing travel budget. By reallocating the funds to this conference, Commissioners may be unable to attend the CALAA or American's for the Arts Conferences. As with all travel and conferences, the City Council must approve the participation in the conference. ALTERNATIVES: The alternatives available to the Commission are: 1 . Authorize one or more Commissioners to attend the Global Mural Conference and direct staff to forward the request for City Council consideration; or 2. Do not authorize one or more Commissioners to attend the Global Mural Conference; or staff with alternate direction. Dodie rvitz, Con(46�yity Services Director Attachment A: -.-_Globa Mural Conference Flyer S:\Community Services\CAComm\CACRPT.029.wpd From Worla Class Murals to World Class Conference Global Mural Conference COMES TO THE UNITED STATES ome to the desert southwest this Fall for the first Global Mural Conference ever held in the United States —in Twentynine Palms, California, where vibrant murals and sculptures have rejuvenated the community. Learn how public art and tourism bring economic health to communities that develop their power. Check the conference program on the following pages. Artists, community developers, and advocates of sustainable growth will all find events full of inspiration and direction. October is beautiful in the desert. The Morongo Basin, which includes the towns of Twentynine Palms, Joshua Tree, and Yucca Valley, and the Marine Corps Air Ground Combat Center, is adjacent to the magnificent Joshua Tree National Park. Participants will have opportunities to visit them all. And the desert resorts of greater Palm Springs are just down the road. Choose the six -day package or one -day specials. All you need for registration is included inside. Experience the Southwest, meet the artists. stualu arts and tourism, devc1oP a Plan anti enhance your community. SUNDAY, OCTOBER 22 9am-6pm Registration 10am-4pm Art Gallery Show 1-3pm World Organization Meeting 3-4pm Mural Tours 6:30-7:30pm Wine 8t Cheese Reception 7:30pm Opening Ceremonies Evening Entertainment MONDAY, OCTOBER 23 9-10:30am Artist 8i Vendor Exhibits Open WORKSHOPS: 10:45am- 1 2noon Encouraging, Invigorating 81 Sustaining Tourism By Terry Marks 12-1 pm lunch 1:30-3pm The Community's Role in Public Art By Dan Sawa tzky 3:30-5pm Public Art: A Global Economic Development Strategy By Karl Schutz EVENING EVENT/SPEAKER: 6-7pm dinner 7-8pm The Essential Fun of Art By Jay Schlossberg -Cohen TUESDAY, OCTOBER 24 WORKSHOPS: 8:30-10am The Many Sides of Mural Art By Johanna Poethig 10-10ASam break/exhibits 10:45am-12 noon Successful Partnerships By Jennifer Nutter 12-1 pm lunch 1-1:30pm exhibits 1:30-3pm Mural Project Development Forum Our panel of experts will discuss the entire process: Essential ingredients, tailoring a program to an individual community, lessons learned, tips for success, the maintenance of outdoor art, and much more. A great opportunity to share. Bring your questions and experience. 3-3:30 exhibits 3:30-6pm Explore on your own 6-9pm EVENING EVENT/SPEAKER: Evening Linder the Stars Joshua Tree National Park Old Western BBQ Cook Out, Western Entertainment, 8i Speaker from Joshua Tree National Park WEDNESDAY, OCTOBER 25 loam-5pm Pre -Registered Tours and Activities 5-7pm Reception with Huell Howser-Local Supporter and popular Television Personality. Host of California's Gold. 7pm-? Morongo Basin Night Life Experience the Old West in Pioneertown, Catch a Flick Under the Stars at the Smith's Ranch Drive -In, Line Dance at Kickers, & MORE. THURSDAY, OCTOBER 26 WORKSHOPS: 10:45am-12 noon Public Art as Cure By Jay Schlossberg -Cohen 10am-12 noon break/exhibits 12-1:30 lunch 1:30-3:30pm "Art Imitating Life Imitating Art Imitating Life" By John Pugh 6:30-? EVENING EVENT: Dinner 8i Dancing at Pappy and Harriet's Pioneertown, California '74ome of the Great Old Western Movie Set" FRIDAY, OCTOBER 27 1Oam-12 noon World Organization Meeting 12-5:30pm Take A Hike "with your gourmet sack lunch 7:15-10pm DINNER/EVENING EVENT Closing Ceremonies Awards & Passing of the Flag for Global Mural Conference 2002 For more information call I-877-MURAL29 (687-2529) or visit our web -site: www.29palms.com/2000. For information on local accomodations: www.stay29.com. Global Mural Confi�rer P.O. Box 66, Twentynine Palm; Fax: (760) 347-54( Attendee(s) Address Phone: a -ma Q_Attie ua s Mural by Master of trompe Foeil murals John Pugh To be unveiled during the Conference. Artist's Statement: 1 am a trompe I'oeil artist. I have found that by painting life- size illusions I can communicate with a very large audience. It seems almost universal that people take delight in being visually tricked. Once captivated by the illusion the viewer is lured to cross an artist threshold and thus be seduced into exploring the concept of the piece. I have also found that by creating architectural illusion that integrates both optically and aesthetically with the existing environment the all transcends the 'separateness' that public art sometimes produces. " Full t Some Points of Interest in Twentynine Palms... Twentynine Palms Art Gallery - Gift Shop and Gallery, featuring the fine work of local and visiting artists. (760) 367-7819. Mural Gallery a Welcome Center - Gallery and gift shop for the Twentynine Palms Mural Project. Chamber of Commerce Visitor Center - located at the Joshua Park Mining Town. (760) 367-3445. Joshua Tree National Park - entrance to headquarters on National Park Drive; a self -guided tour through 'Oasis of Mara,-800,000 acres of protected desert wilderness - camping, hiking, rock climbing, gorgeous sunsets 8i spectacular star gazing. (760) 367-751 1. LUckle Park - public swimming pool, picnic areas, sport fields, walking track & playground equipment. 29 Palms Historical Society Museum - housed in the area's first school house and oldest public building. (760) 367-2366. RoadRunner Dunes Golf Course - 9 hole year-round golf course (760) 367-5770. c;ry of, s Yi Twee�nr f--- '0' `�'a�ms ESZZ6 V3 b1N 100 V1 00I dHVI 311VO SBb-$L d1N I Ili? dl A A113 Home to the globally recognized Mural Project, largest and fastest growing Marine Corps base in the United States, and headquarters to Joshua Tree National Park. SOl *ON LLZZ6 eiwohleD 'smled auiwCluan11 ' tl� `styled9d R 6i G1Vd 99 X08.0.d 06e180d 'S'0 pppZ aauaiquoD lernW legol' ales 81n9 VII. COF & WRITTEN MATERIAL A. P.O. Box 1504 78-495 CALLS TAMPICO (760) 7 7 7 - 7 0 0 0 LA QUINTA, CALIFORNIA 92253 (TDD) (760) 777-1227 June 26, 2000 Valerie Smith La Quinta Chamber of Commerce P.O. Box 255 La Quinta, CA 92253 Dear Valerie: It was a pleasure to meet with you this morning to discuss the Chamber's publications and how the City can be involved. I will get the list of information regarding current and upcoming projects to you by July 7'h for the Business Directory. As we also discussed, the Cultural Arts Commission would like to see the public art pieces highlighted under the Points of Interest section. The City of La Quinta does provide its residents with public art pieces through the Arts in Public Places program, and having these identified on the map would be a great public service for those visiting our city. When the time nears to begin updating the map, please let me know and the Commission will supply the information you need to be included on the map. Thank you for your dedication to making the City an active member in the Chamber of Commerce. Sincerely, Dodie Horvitz Community Services Director cc: Cultural Arts Commission M PresideerS Column_ A message from outgoing CALAA PresidentlCEO Barry Sessenius: May 2000 Dear Colleagues: Last fall CALAA convened an Arts Summit meeting in San Francisco to jump start the effort to reintroduce the Arts as a core curriculum subject K-12 throughout California. The summit was attended by leaders from both the arts and education fields, and sought to address the following issues: Since this meeting, a number of developments have surfaced, including Governor Davis' proposed $10 million arts in education augmentation to the California Arts Council budget, adoption by the UC Regents of a performing/visual arts requirement for entering freshmen effective in 2003, and progress on adoption of standards and assessments. One outgrowth of the Summit was the facilitation by CALAA of a listsery for the Arts Education field, and the creation of Standing Committees in Mapping (identifying which schools/districts offer the arts and specifically what arts are offered), 2 Advocacy, Funding, and ArtsWorks progress (the recommendations of the State Task Force). These committees are now being overseen by the California Alliance for Arts Education. CALAA would like to thank all the participants in the Summit, and the James Irvine Foundation for its generous support without which this effort would not have been possible. Sincerely, Barry Hessenius Outgoing President/CEO VII. COF & WRITTEN MATERIAL B. Highlights of the dialogue that took place at the Arts Education Summit Meeting in San Francisco last Fall. See outgoing President/CEO Barry Hessenius' comments on page 2. In a boisterous dialogue and exchange between all Summit participants, arts education leaders generated a myriad of ideas and reflections on prioritizing arts education in California schools. The following gives an overview of the rich- ness of the exchange. Barbara Pieper, outgoing Director of the California Arts Council emphasized the "partnership spirit" among organizations devoted to arts education. "About seven- teen and a half million dollars of the CAC's budget goes into grants, and about 38% of that money goes to some form of education, primarily within the K-12 arena. We work a lot in arts education through our State/ Local Partnership Program. In the Touring and Presenting Program, we encourage master classes and residency activities through touring artists. Our Organizational Support Program reaches in to support arts organizations." "In the last fiscal year we've given about 580 grants, $5,600,000 for education and activity for children and for adults. The Local Arts Education Part- nership Program, funded by the graphic de- sign license plates, has brought us in very close work with the California Department of Education." Pieper noted the CAC's adamancy that "arts education and organi- zations with budgets over a million dollars spend half of their grants received from the Arts Council on educational outreach." Steve Fogel, Chair of the California Arts Council added: "I and the rest of our Council members would absolutely like to stress our flexibility to rearrange how we do things. We would like to see everything through the lens of education. It doesn't mean we have to change anything." Sonia Hernandez, Deputy Superintendent of the California Department of Educa tion, emphasized advocacy, resources, and valuing the arts as a career vehicle for stu- dents. "My focus is curriculum and instruc- tion, meaning everything that kids ought to learn. We had a hearing recently, around vocational education, and there was this great cry about how the Department was not focusing on vocational education. I have 60 consultants who do vocational education; I have one person who does the arts. I have two people who do reading. I have one person who does math, and I have no one who does science." Inside this issue... Arts Education Summit Highlights page 1 President's Column page 2 Nonprofit Resource Column page 3 Job Opportunities at CALAA page 4 Membership Application page 7 "We have $6,000,000 for the first time in many, many years that we can focus on get- ting the visual and public arts into our pub- lic schools. We spend forty billion dollars on public education. We have invested six million dollars on the arts. We have a bit of work to do, you and I, to advocate in mak- ing sure that schools have the necessary funds, and that is what I really want to fo- cus on. Legislative support is very, very important. Making sure that there are dol- lars behind those actions is equally im- portant. I'm not suggesting that we need to give schools all the money they need for the arts. The truth is, when schools in- vest, when the community invests, and the State puts an investment in as well, that kind of partnership is where things really change and make a difference. The invest- ment is more than money; the investment is (continued on page 3) The California Assembly of Local Arts Agencies is an eleven year -old umbrella service provider organization for the state's 200+ member local arts agencies. CALAA provides services to its member field in the areas of professional development/ organizational capacity building, technical assistance; advocacy at the national, state and local levels, representation of the field within and outside of the arts, including its relationship as partner, grantee and contractor with the California Arts Council, communications and network management, and providing special leadership initiatives and projects. CALAA is funded by contracts with the state agency, membership dues, grants from other public and private finders and earned income. The agency currently has a staff of 4.5 full-time employees including the CEO, with offices in San Francisco, California. See www.calaa.net. Chief Executive Officer For The California Assembly of Load Arts Agencies The CEO is responsible for overseeing all day -today operations, programs, communications, and special initiatives. The CEO has general direction of the corporation's business and the conduct of its affairs. The CEO is a non -voting member of, and reports to, the Board of Directors. S/he is charged with carrying out the mandates and directions of the Board in accordance with the agency's Strategic Plan. The CEO recommends policy positions to the Board for their consideration. The CEO is responsible for the hiring, promotion, termination, and management of the staff; budget preparation and financial overseeing; and for representing the agency in all aspects of its relationship with strategic partners, funders, the national, state and local arts communities, and with those communities that have a stake in the arts, including education, tourism and business communities. The CEO assists the Board in determining the corporation's vision, goals and objectives, and how best to serve the needs of the member base. The CEO must be highly skilled in advocacy, coalition building, communications, grant writing, and nonprofit business and financial management. Familiarity with the arts, local arts agencies, and issues faced in the provision of local arts is desirable. Advanced degree preferable. Salary based on experience plus good benefits package. Send resume and cover letter to CEO Search, CALAA, 693 Sutter Street, 3rd floor, San Francisco, CA 94102; fax 415-441-5938; email: ConnieOCALAA.net. District I Jim Cudziol Trinity County Arts Council (530)623-2760 District 2 Richard Newirth San Francisco Arts Commission (415)252-2592 District 3 Angela Tahti Arts Council of Placer County (530)885-5670 District 4 Luisa Cariaga L.A. County Arts Commission (213)974-1394 4 Roxanne Valladao Plumas County Arts Commission (530)283-3402 Penny West Calaveras County Arts Council (209)754-1774 Earl Sherbum City of Los Angeles (213)485-8668 District 5 Colleen McBride Riverside Arts Foundation (909)680-1345 District 6 James Johnson Arts Council of Kern (661)324-9000 Ric Todd City of Chula Vista (619)585-5627 Kathleen Lustig Fresno Arts Council (559)237-9734 District 7 David Cloutier Matias Varela Cult. Council for Monterey Co. Arts Council of San Mateo Co. (831)622-9060 (650)593-1816 District 8 Jeanne Bogardus Marin Arts Council (415)499-8350 District 9 Margo Cowan Arts & Cult. Commission of Contra Costa County (925)646-2278 Barbara Harris Cult. Arts Council of Sonoma Co. (707)579-2787 Steven Huss Alameda County Art Commission (510)208-9646 The following organizations, listservs and websites might be helpful to YOU... artsjournal.com A daily compilation of the latest arts news and stories from over 1000 publications. National Arts and Disability Center 0 http.11dcp.uc1a.edu/ nadc Free online re- source offering informa- tion on the arts and disability. Amherst Wilder Foundation Has compiled a helpful checklist of financial strategies for organiza- tions Owww.wilder.oq pubs/cutbacks/ copecutsstratlist.html. Business Arts Council Offers workshops to en- able staff, board mem- bers and volunteers of nonprofit arts organiza- tions to hone their busi- ness skills. Call (415) 352-8828 for informa- tion. Watch this space for further resources, and please share any info you have: (415) 441-5900 Arts Education Summit Highlights tcendeuedl Sonia Hernandez (con't)... people, resources, and energy. It's a commitment very different in nature and in kind from simply saying legislatively that you must do something. Many of you who are here helped in the development of a set of standards for the visual and performing arts. With the support of the State Board, we are taking that a step further. We are taking those challenge standards and making them grade by grade. We are working on the development of assessments that go with them. And those are fundamental baby steps, if you will, in order to really focus on not just getting the arts in, but getting quality arts education in schools. Thus setting the standards so that people know excellence when they see it, making sure that they have a way of measuring the students who are learning it, and having access to that, we think is critically important. Making sure that all of that information gets to schools is equally important. You and I need to worry about making sure that we have the classroom teachers and we have access to artists so that all kids can have access to the artists. I hear often from some of our schools in rural areas who have a very difficult time having access. So being a little more creative in how we do that is very, very important. We have to support teachers and be equally clear about what teachers need to know to be able to deliver that instruction or that access. We need to help schools to understand that learning occurs somewhere other than the four walls of a classroom. The museums are great places to get out and do a lot of learning. The community as a whole is a great place to learn. One of the ways of showing our commitment is to be able to gain access to resources to make some things happen. One of the things we're currently working on and I'm really excited about is a virtual arts resource center on the net, so that every teacher, wherever they may be, if they can get to a computer and to the net, can get access to some quality information. The other connection, obviously, is from the school to the career side, and that is, when you look at the jobs that are being created in this state, almost 25 to 30% of them require some knowledge of a visual or performing art. For the kids who are in schools right now, the visual and performing arts are an important pathway to gain entrance in the broader world of learning. Many kids need alternative ways of getting access to the curriculum to offer them a new and different aspect." Patty Taylor of the ArtsWork Task Force gave a sampling of the Task Force Report: "We have the Visual and Performing Arts Framework, which presents the philosophical foundation of how we teach the arts, what the content is, in general, what good programs look like. [The framework] has been around for a long time. But we really believe that the ArtsWork Task Force Report is what's finally getting it out the door. We also have the challenge standards. These are now being specified per grade level. They tell what students need to know, to be able to do. Right now, they're grade -level grouped. We've said we want a renaissance in the schools, and we really believe now that the renaissance in arts education has started. You need to know that the arts have also been in the Education Code. We're re- wording it so it really has more power and is in alignment with what we say in the Framework as well as what we say in the standards. So it's going to be a piece of legislation we're considering for next year. The new grant program, the Visual and Performing Arts Education Grant Program, started with $3,000,000. This year, it's $6,000,000. Our program is funded through Prop 98, and this funding goes to school districts. Those districts or counties who are receiving an LAEP (Local Arts Education Program) grant can get (continued on page 5) Harold Williams, President Emeritus of the J. Paul Getty Trust, focused on the success of Los Angleles Unified's Blue Ribbon Committee. "We have a Blue Ribbon Committee consisting of three people from around the community who are involved in the arts in one way or another, representing arts institutions of all types: large, small, museums, theatre, dance companies, you name it, and some individuals and members of the City Cultural Affairs Department. It's quite broad -based. We started with a staff of two people to design standards. We were not going to let the school district itself set the standards. We looked to independent experts and got their comments on the standards. The standards are all four art forms — visual arts, theatre, dance and music — and they're comprehensive. We know they're probably going to be molded and improved over time. We then went to the School Board with the standards. The Board did something that it rarely does these days; it voted unani- mously in support of the standards. It is, you might say, cheap to say yes. But a budget followed with it, a small one, to begin building a small but critical staff. There's a senior person in each of the art forms to work at the district level. And then the stan- dards rolled out, grade by grade, with the appropriate curriculum and we begin to look at issues of assessment. We moved into our next year, and came back to the Board with a ten-year plan and a request for second -year funding. Our budget is now up to a little over $7,000,000. And we're hiring a number of trainers to work at the school level in some prototype schools to make sure it works and to hopefully generate a lot of enthusiasm for the project. It's a real challenge, but a great opportunity. The School Board is behind this, and the community is behind it. And I think that makes a real difference. If I were to look back and say what the model is or what we can learn from it, it is that it was a School Board member who was committed to it and had it as a key, number one priority. And secondly, we were there not just to advo- cate, but to really want to work, and I think our commitment to modify our program and work with the district was a convincing factor." Don Maxwell of the Greater Santa Cruz Federation of Teachers discussed state -mandated Arts Education Standards. "If we have all our energy in one strategy and it bombs, then we're kind of still where we are. So I think we need to work on all these levels and set the models for others, while at the same time working constantly at the state level. I think that was a big flaw in the stan- dards; I think they should be introduced incrementally rather than suddenly dropped like a sledge hammer. I see this going on in a way that involves outside agencies. For example, in Santa Cruz County, the Cultural Council is very active. Packard has just put a million bucks into one small county. They want some evidence that it's going to make a difference. We have to give them evidence within the next two or three years that new music teachers or dance is going to make a difference." There are other is- sues that none of this approach will address. One of them is that you don't have art teachers. If you look at how the California State University (CSU) system trains teachers, more than half of the teachers that come to teach in school districts, they've had no art training at all. CSU doesn't require it. Credentialing doesn't require it. The response of the districts is, `Well, we don't have the teachers.' This is a whole system. And we're just not producing teachers we need. Whether you work at the State level or the school district level isn't going to change that one bit. So we've got a long-term problem we're going to have to address. As I said, it involves CSU, it involves the University of California, it involves looking at credentialing and the requirements for credentialing." Steven Fogel: "The reason we don't have the arts as part of the core curriculum currently is because the public, the electorate, doesn't demand it. So our end consumer for what we need, in my opinion, has to be the public at large. The arts does not have a single face, it doesn't have a poster child, it doesn't have what the person in the street can look at individually and say, 'I demand that something be done for that.' So I think we have to look at the absolute end product of what we do to motivate, because the I believe the educators can get it done if they're given enough money, and I think the school districts can get it done if they're given enough money, and I think the public will demand it only when the public has a face that they can see." Sonia Hernandez: "I am very concerned about creating programs that are great for some kids but not for others, and how we distinguish between who gets it and who doesn't. Secondly, if we only think of the current model of schooling, then we are go- ing to run into some serious problems, because we don't have the numbers of teachers." Ann Wettrich (Arts Education Officer, San Francisco Arts Commission): "It seems like there are two categories: one is the con- tent issues, and the other is the strategy. I think what we need to agree on a kind of comprehensive approach of everything that needs to be touched on and then strategies for how to implement them." Reports from breakout group conversations and the discussion that followed begins on page 7. 6 Arts Education Summit Highlights (Continued) more funding to broaden and deepen what they're doing from the CDE r Department of Education Grant Program. So two arts of that are `• ' ` ° _' (California P ) Si P tied to the LAEP program. Another part of that grant is for any school district in the State providing seed money for some kind of special project so that its their vision in how they want to begin to implement the arts throughout the district. And we have programs that are focusing on School To Career, on integrating cur v riculum, and programs that are just focusing on theatre and dance. So it gives the N;' „> £ H ' ',,' districts opportunities to say, `This is where we can use that money to make a dif � d y ,� ference..' Those are $25,000 grants. We added another program this year, and ».`, k, < �_... .. this is $300,000 to have an online resource center. And that, of course, will be world -class and all-inclusive. Everybody who has a web site will let us know how we can connect with them. I truly see it as something happening that will impact students, teachers, administrators, and advocacies. It will have museum collections. You can tell us what you want, and it will be there. We have a California Arts Assessment Network. Although assessment is not mandated or legislated in the arts, we need to start building our capacity for that and determine what kind of assessment is appropriate. That group is doing a fine job in ex- ploring those things and determining how you could do some baseline assessment to know where you are now, starting off with looking at your programs and building from there. Visual Performing Arts grants have the funding to use the standards and help train teachers on how to do that. The arts are now included in our Distinguished Schools Program. We have another program called the Model Arts Program Network, or MATS. This is another group of people that is saying, "Okay, here's what a district looks like that is ready to start implementing this. And then here on the continuum is what a district looks like that has not yet started. And here's how they do it. And here's how they do it in an urban situation and a rural situation." Ethel Walker, President of the Legislative Action Coalition for Arts Education, thanked the University of California and the CSU (California State University) system for coming into an agreement on the visual and performing arts requirements. She called it, " a major step for us" that "lays the groundwork for more student involvement in arts education and providing access to more students." "We are trying to install a requirement in the university system that students who wish to major in dance and theatre at least are allowed the opportunity to do so and will have a credential. We are not saying that any district has to hire these people. But we are saying that young people should have an opportunity to get the credential if that is what they want to do. Another bill, AB-272, is the Graduation Requirement Bill in the Senate. Every child ought to know that there are jobs in arts education that do not require them to be on stage performing. But that the jobs that pay the most money in arts education are actually jobs behind the scenes. That should not be restricted to only those people who happen to live in an affluent district where they have access to this." Glenda Gentry, Executive Director of the California Subject Matter Projects, discussed AB-108, which would "do a number of things, including adding the Superintendent of Public Instruction back to the Governing Board of the California Subject Matter Project." "We would like to see the Superintendent or her representative back on what's called the Concurrence Com- mittee. In addition, (the bill) would restore three projects — The California Arts Project, the Foreign Language and Physical Education Health Projects — fully back to the status of the other projects in the Subject Matter Project network. These pro- jects, at the present time, are only in existence because the University of California is supporting them, whereas the writing, math, science, and other projects have allocations through AB-1734." Susan Hammer of the State Board of Education spoke optimistically about the Board's "chance of getting standards for the arts passed.... some time hopefully next year." She added, "It's not just getting standards adopted by the Board. It's making sure that there's the funding and working out some of the challenges about actually getting a comprehensive arts education . program back in our schools." (continued on page 6) 5 Don Maxwell: "We wouldn't have a teacher shortage in this country if people would stay in the profession and use the cre- dentials they have received. They just don't do that for a variety of reasons. One is economics. The salaries that we pay teachers simply can't compete with the salaries we're paying software engineers or even people who work in construction. We can't attract a great number of people to a profession that starts at $30,000 or even below that. In addition, the working conditions for teachers out there are horrendous. They work in schools that are falling apart. They work with no supplies. We've got to do something to make this profession more attractive. We get waivers for teachers with arts experience but not credentials. Districts can hire people that are not fully credentialed. Unfortunately, there's a myth our there about teaching. One part of it goes like this: If you can do it, you can teach it. And I know a lot of people who can do it, but when they face a class of thirty youngsters and how to organize that lesson, they've got to be able to do that. With a master teacher working with a new teacher you have a good combination. That's what happens in other industries." Susan Cambigue-Tracy (Chair, California Alliance for Arts Education): "Our group thought the issues include professional development, pre -service, what the role of the artist is, do they have a certain competency and ability. Facilities seem to be a big problem as well, supplies and equipment. Parents and communities, their attitudes, their support, their lack of support. Perhaps they need to be better educated as to what arts education is. Technology can give us more access; we have to know what else is going on in educational reform. We are a tributary of sorts to the river of educational reform — that was one of our images. Concerning the role of the arts education community and providers, some people feel threatened if there's a mandate because they worry their role will be lessened or they won't have the same place of power and leadership they did before it was mandated. There's the sense, "This is my turf." There's also just the diversity of points of view in our particular state. There's the fact that literary arts and media are often left out in the definition of arts education. We already have a mandate for the arts: it is Educa- tion Code number 51210, and it's for course of study grades 1 to 6. And it's in the visual and performing arts, but the language is not updated. We really haven't communicated this mandate. We came up with some questions: How do we get the arts implemented now that we know we have a mandate? How do we measure its success, the accountability? What are the incentives for schools? What are the incentives to schools and school dis- tricts to include the arts and follow the standards? What are the consequences if they do not follow the standards? What is the structure through which all of these strands can work cooperatively together, knowing what part is needed and when, and the partnerships that come with the colors and textures of strands as they're woven into the overall design?" • started off looking at the legislative initiative, then decided that was not the way to go — that it Harold Williams. Our group g gl would be too difficult and not likely to be successful. Among the other groups, so far, none of them has addressed the legislative issue. When the question of whether we could get the Senate to mandate by the legislative route and fund it and get it through the Governor, given the Governor's penchant at this point for conservatism in terms of funding, I guess we just felt, at least I did, and I think there was a general sense, that that was a much harder road to go. We thought maybe we could get the principle es- tablished in the legislature and only a modest amount of funding so we could have a couple of model school districts as demon- stration projects. But I think it's a long road. And maybe there's a faster way to go. Maybe there's a short term way to get something done." Vicld Reynolds (California State Board of Education): "A variation is not to abandon the legislative process, but to accept the reality of the short-term difficulties in getting it done, which was what Harold was talking about." a William Cirone (County Superintendent of Schools, Santa Barbara County): "I'm a little concerned about the semantics of leg- islative mandate as opposed to funding. The last thing we need in this state is another under -funded mandate, which is usually what happens with mandates. What we're really talking about is creating the political will to accept the commitment of the major responsibility for the State to figure out how to fund arts education the way it should be funded in California — if in fact it's to be considered an important part of the core curriculum I think everyone probably intuitively feels strongly that it's the State's re- sponsibility to come up with adequate funding to provide equal access to arts education to all students in California." a Barbara Pieper: "Top down, bottom up; it's ideal language for Sacramento. The legislature has to be primed. What we would hope from our group is to do some mapping in this state in terms of what they do, what pieces are there that are working, what pieces are missing, what are the friction points. This is pretty sophisticated stuff. But if you have your delivery system for arts education mapped, you'll know what pieces of money you can ask for, you'll know what pieces of money exist for what you 8 Summit Highlights: Reports of Breakout Groups Sonia Hernandez: "Our group decided that top down and bottom up at the same time is one way to work this. The other thing is when we talked about a State strategy, our assumption was not legislative, it was that there is a lot of authority already existing with the State Board of Education. So they could take some action. They could actually start focusing leadership, and discretionary moneys from our level to support schools. As you may or may not know, the standards in California are volun- tary. Current authority that the State Board has is they have the rights to design the STAR Statewide Assessment as they wish. So once they adopt the standards, once we get the standards out to the school, then they can take assessment of those standards and integrate them into the STAR system. The next step is making sure that the schools have the money for professional de- velopment. You've got to have teachers prepared to take this on in a very serious way. We also ought to look at federal dol- lars. Goals 2000 money. The one thing we don't want to do is make this a schools -only issue. It's a community issue, mak- ing sure that those partnerships are brought in and supported and sustained." Unidentified speaker: "Two points: Professional development is really important. When there were the eight pupil -free days, there were a lot of opportunities for schools to take advantage of professional development. Those have gone away. How can you help us from the State Department of Education? First of all, there isn't the time with the pupil -free days. Then, the commitment at the faculty meetings — they have a lot of things they need to cover in an hour and a half, which doesn't give you enough time to do anything significant in professional development." Sonia Hernandez: "Again, with the support of the State Board, we can provide guidance. We can do the best practices. If you want to visit a school that's got it right, that can do all of the above and you can see real significant improvement for kids because of the arts and not despite of it, we will do that. The truth is, we ought to have fifteen days of profes- sional development, no matter what, without hurting the days for instruction." Scott Leaman (Assistant Superintendent for Educational Services, Western Placer Unified School District): "Our goal guid- ing us through our conversation was kind of a K-12 integrated curriculum. We feel that the standards would really support and send a message to the districts. We thought the assessments were important, because if districts know down the road that there is some assessment activity along a certain subject area, there will be more activity in the districts. The Educational Code is a little bit vague as far as what a core curriculum is. In terms of a program, the thought was to kind of describe a pri- ority of the arts. We talked about teacher training being a key process. If you're just top down, you're probably going to fail." (continued on next page) Name Title Organization Address City County Telephone _ E-Mail Send check and this form to: State Zip Fax ❑ INDIVIDUAL $ 50 (not to be used in lieu of organizational membership) ❑ BUSINESS $ 100 ❑ LOCAL ARTS AGENCY (and other non -profits) O $49,000 or less $ 75 O $50,000 — $99,999 $ 100 O $100,000 — $149,999 $ 125 O $150,000 — $249,999 $ 150 O $250,000 — $399,999 $ 275 O $400,000 — $499,999 $ 400 O $500,000 — $749,999 $ 600 O $750,000 — $999,999 $ 750 O $1M $ 1,000 Dues are based on your organization's annual budget, exclusive of re -granting monies. fALAA is a 501(c) (3) nonprofit organization CALAA 693 Sutter Street, Third Floor, San Francisco, CA 94102 FAX: 415-441-5938 Telephone: 415-441-5900 The Arts Bring a Compete Edge to Local Economies "Art does more than hang on a wall or bow before a curtain. Art Interacts with an audience, changing society and changing with it. -The arts are a competitive advantage for California. They further define and enhance the creative genius and character of California. The creative resources in the state maintain cutting -edge quality and establish a basis for economic strength. -The Arts: A Competitive Advantage for California, KPMG Peat Marwick, 1994. Cities and counties are finding that nonprofit arts organizations contribute significantly to California's economic growth and job creation. The KPMG study referenced above, which was commissioned by the California Arts Council, a state agency, revealed that the arts: • Add more than $2 billion to the state economy; • Create 115,000 jobs; and • Generate $77 million in state and local income and sales tax revenue. "The arts must be part of a community's investment strategy," asserts Gary Schaub, director of cultural services for the City of Walnut Creek. "It is one of the amenities a city can offer that creates its identity and becomes an important tool for business investment. The arts pay important economic, educational and social dividends for cities." Cultural Tourism Infuses $158 Million Statewide "The arts have created a new type of tourist. The `cultural tourist' is more likely to seek out an art museum or music festival than a shopping district or theme park," observes Sonia Tower, director of the City of Ventura Office of Cultural Affairs. While tourism is widely recognized as an effective economic development tool, cultural tourism adds a new twist. Economic impact studies show that cultural tourists stay in town longer and spend up to four times more than day visitors statewide. The enormously successful campaign, "California's Culture's Edge," created and implemented by the California Cultural Tourism Coalition, brought more than $154.6 million into California in 1998. Using a cooperative effort and precisely targeted marketing strategy, this program has been hailed as a national model for destination marketing. Distributing 200,000 copies of a 32-page travel planner to selected American Express cardholders and travel agents resulted in visits to California within six months by 115,000 of those I@ who received the books. The planners recommended visiting California to experience the rich cultural diversity of its three major urban areas — Los Angeles, San Diego and San Francisco — and suggested to the visitors 13 culturally themed travel itineraries. The Arts Bring Jobs and Revenue Santa Monica (population 92,578) has actively pursued art as an economic development strategy. The total annual revenue of nonrofit arts and entertainment in Santa Monica is estimated to be at least $407 million, or 7 percent of the city's $5.7 billion economy, accounting for 26,000 jobs. "Everywhere you look, you see art," says Maria Luisa de Herrera, cultural affairs manager for the Santa Monica Cultural Affairs Division. Art plays a visible, important role in the redevelopment of the 3rd Street Promenade, a colorful district of art galleries retail and restaurants; and the Bergamot Station, a former factory, now the site of 30 art galleries. Santa Ana is another community that has embraced art in its economic development activities. The city, whose motto is "A Place for Art," has found the most successful way to revitalize the downtown is to bring in arts and entertainment. Jim Gilliam, the city's arts administrator, describes the Artists Village in the museum district as a new way to create a "live - work" arrangement for artists. The Artists Village makes its home in several historic buildings, which house theaters, restaurants, dance companies and studios. Local Champions of the Arts Communities that successfully integrate art into infrastructure and reap the financial rewards of increased tax revenues are consistently supported by individuals who are local "arts champion"— elected officials, business and community leaders committed to the arts. Arts champions provide leadership, make substantial financial investments and cultivate similar financial support and leadership from the community at large. "The arts are vitally important to the cultural and economic life of any region. By cultivating an interest in the arts, we provide the stimulus for economic development, take full advantage of our diverse cultures and tap into the tremendous potential of each individual," says Supervisor Muriel Johnson, of the Sacramento County Board of Supervisors, arts advocate and founder of the Sacramento Metropolitan Arts Commission. need to do. I think we have a big job to do and some very, very- serious mapping of the arts education delivery system. How do you bring that whole picture together? The other piece we talked about was the issue to publicize. We do need to speak with one voice. The important thing is community. We can then focus in on the pieces that have to happen that trickle back to everybody at the local level. That local level ultimately is the most important component. Whatever we choose to focus on, it may not be a 4, mandate but some other focus, we have to have respect for the autonomy of school districts, of teachers, and of students. We're going to need to have an ongoing steering committee. You're probably going to have to hire some professional help." Ethel Pitts -Walker (President, Legislative Action Coalition for Arts Education): "In terms of the CSU/UC alignment, having a meeting where we bring in the Presidents of CSU and UC to actually have this kind of dialogue with the arts and education peo- ple, a forum of this kind which would also include key legislators, somebody from the Assembly Appropriations Committee and the Senate Appropriations Committee, would be very advantageous." Jim Spalding (Interrim Director, California State University, Long Beach ): "If we don't get buy -in from the CSU and UC, this is not going to work. If we don't train teachers and define what we mean by training teachers, none of this is going to happen." Ann Smith (Chairman, Arts Education Department Golden Gate University): "And the private institutions as well." Kate Cochran (Deputy Director, Cultural Initiatives Silicon Valley): "We talked about very similar issues in the delivery sys- tem: defining what we mean by arts education in the core curriculum, what the delivery system would look like, and how that would get funded. The definition of arts education in the core curriculum would be the adoption of standards tied to an assess- ment mechanism, which would then make it a priority for the district. The assumption was that the legislature has to get involved and provide funding at the State level. The delivery system is most likely to be successful with credentialed teachers in the class- room who are supported by working artists. Where are these teachers coming from? In some of the disciplines, there aren't even credentials. Secondly, how can we work with artists in our classrooms and work around the credentialing issue? The overall team strategy has to be bottom down and up. We really focused on the bottom up." Brenda Berlin (Executive Director, Young Audiences of the Bay Area): "Some of the ideas for funding were things like part of the business license fee should go to the arts, part of the AT&T cable fees, obviously fundraisers by major rock groups or stars, part of the real estate transfer tax. There's so much revenue going back and forth in real estate these days. We did talk about en- tertainment tax. There's a model in place here that taxes 49ers tickets and all Candlestick events that goes for the school athletic programs. There is a property tax write-off called the Voluntary Arts Fund that comes with our property tax bills. We were talk- ing about expanding that to include a special category for arts education. Parking revenue percentage. People have to be willing to tax themselves to support this. So it's a whole PR campaign. In talking about teacher training and professional development, we can't exclude the artists from artist training, and how we as artist organizations bring our artists into our own programs and train them in collaboration with TCAP or other organizations." Diane Frankel (Program Director, James Irvine Foundation): "I think it would be very useful to broaden our understanding col- lectively of what's working and what's not in other states and in other districts." William Cirone: "Reality check one involved the immediate impact that the accountability movement is having on the arts, and how the push to raise the math and literacy test scores in effect is becoming all -consuming and translates into less time for the arts. I think as we talk about the big picture, there's also a survival issue that's immediate. What do we do now to save the exist- ing programs while we work on the big plan? The second reality check had to do with models. Models sometimes become a trap. We will never have equal access if we continue to take the model approach, because they're funded separately. The bottom line is it's a money issue. It's a resource issue. It's money for people, for facilities — and we haven't addressed the facilities is- sue — and it's money for materials. Step one in the resource issue is to get the commitment or create the political will to get the commitment that says this is what we need to do. Figure out the price tag, then figure out the funding base. The State has the major responsibility of funding that, but they need not do it alone. Step three would be to phase it in over time. If you don't have the money to hire the lobbyists to create the political will, then what you really need is good marketing. We're not getting the word out there; for example, for people concerned about accountability, how students in arts programs perform better on test scores, pure and simple. Careers is another message: careers, technology, the link between technology, animation, and all of those things. This needs to be packaged very carefully and funded separately with private money. It needs to be promoted in a major way as part of a statewide effort to create the political will to get the State to acknowledge the commitment to fully fund arts education in a phased -in way in California." (continued on page 12) 9 RA CALAA 693 Sutter Street, Third Floor San Francisco, CA 94102 www.calaa.net 12 �kAfv UIPOSTAR E 1UN.15.00 o N o o 0055 C A ppSTALIA 30OM The Importance of Cultural Planning Serving as a regional centerpiece for Santa Clara County, San Jose has transformed its downtown area with arts facilities. The San Jose Civic Arts Commission (a city agency) and the Silicon Valley Arts Council (a county agency) jointly funded a unique planning process to create a cultural blueprint. These arts agencies worked in partnership with local officials, hundreds of businesses and arts organizations to complete San Jose's downtown revitalization. Art in public spaces welcomes visitors and creates an atmosphere of vitality, using the area's cultural diversity as inspiration. Creating a cultural blueprint is a planning process that engages the community in discussion about cultural issues and goals. Planning assesses the community's cultural assets, strengths and weaknesses, and identifies opportunities for creating vibrant communities. Conclusion When a community integrates arts into infrastructure and provides an environment that nurtures an arts community, the return on its investment is enrichment. The arts are an essential component of any community's identity and quality of life, and provide a way to expand both the local economy and the cultural horizons of residents and visitors. tt Chair Victoria Hamilton San Diego Commission for Arts & Culture Vice -Chair Bruce Davis Arts Council Silicon Valley Treasurer Arlene Gotshalk Bosso, Williams, S. &B. Law Offices Secretary Gary F. Schaub City of Walnut Creek Interim CEO Connie Shapiro CALAA Holly O. Austin Del Norte Association For Cultural Awareness Nancy Clute Madera County Arts Council Ellen Estilai Arts Council for San Bernadino County Gail Guttierez-McDermid Office of Community Resources, California Department of Corrections Lucinda Hawker Stanislaus Arts Council Rick Prickett San Diego Convention & Visitor Bureau Consuelo Santos-Killins Silicon Valley Economic Development Corporation Robert Walker The Management Center 11 VII. CORR. 8 /RITTEN MATERIAL B. Highlights of the dialogue that took place at the Arts Education Summit Meeting in San Francisco last Fall. See outgoing PresidentICEO Barry Hessenius' comments on page 2. In a boisterous dialogue and exchange between all Summit participants, arts education leaders generated a myriad of ideas and reflections on prioritizing arts education in California schools. The following gives an overview of the rich- ness of the exchange. Barbara Pieper, outgoing Director of the California Arts Council emphasized the "partnership spirit" among organizations devoted to arts education. "About seven- teen and a half million dollars of the CAC's budget goes into grants, and about 38% of that money goes to some form of education, primarily within the K-12 arena. We work a lot in arts education through our State/ Local Partnership Program. In the Touring and Presenting Program, we encourage master classes and residency activities through touring artists. Our Organizational Support Program reaches in to support arts organizations." "In the last fiscal year we've given about 580 grants, $5,600,000 for education and activity for children and for adults. The Local Arts Education Part- nership Program, funded by the graphic de- sign license plates, has brought us in very close work with the California Department of Education." Pieper noted the CAC's adamancy that "arts education and organi- zations with budgets over a million dollars spend half of their grants received from the Arts Council on educational outreach." Steve Fogel, Chair of the California Arts Council added: "I and the rest of our Council members would absolutely like to stress our flexibility to rearrange how we do things. We would like to see everything through the lens of education. It doesn't mean we have to change anything." Sonia Hernandez, Deputy Superintendent of the California Department of Educa tion, emphasized advocacy, resources, and valuing the arts as a career vehicle for stu- dents. "My focus is curriculum and instruc- tion, meaning everything that kids ought to learn. We had a hearing recently, around vocational education, and there was this great cry about how the Department was not focusing on vocational education. I have 60 consultants who do vocational education; I have one person who does the arts. I have two people who do reading. I have one person who does math, and I have no one who does science." Inside this issue... Arts Education Summit Highlights page 1 President's Column page 2 Nonprofit Resource Column page 3 Job Opportunities at CALAA page 4 Membership Application page 7 "We have $6,000,000 for the first time in many, many years that we can focus on get- ting the visual and public arts into our pub- lic schools. We spend forty billion dollars on public education. We have invested six million dollars on the arts. We have a bit of work to do, you and I, to advocate in mak- ing sure that schools have the necessary funds, and that is what I really want to fo- cus on. Legislative support is very, very important. Making sure that there are dol- lars behind those actions is equally im- portant. I'm not suggesting that we need to give schools all the money they need for the arts. The truth is, when schools in- vest, when the community invests, and the State puts an investment in as well, that kind of partnership is where things really change and make a difference. The invest- ment is more than money; the investment is (continued on page 3) Presidents Column... A message from outgoing CALAA President/CEO Barry Hessenius: May 2000 Dear Colleagues: Last fall CALAA convened an Arts Summit meeting in San Francisco to jump start the effort to reintroduce the Arts as a core curriculum subject K-12 throughout California. The summit was attended by leaders from both the arts and education fields, and sought to address the following issues: Since this meeting, a number of developments have surfaced, including Governor Davis' proposed $10 million arts in education augmentation to the California Arts Council budget, adoption by the UC Regents of a performing/visual arts requirement for entering freshmen effective in 2003, and progress on adoption of standards and assessments. One outgrowth of the Summit was the facilitation by CALAA of a listsery for the Arts Education field, and the creation of Standing Committees in Mapping (identifying which schools/districts offer the arts and specifically what arts are offered), Advocacy, Funding, and ArtsWorks progress (the recommendations of the State Task Force). These committees are now being overseen by the California Alliance for Arts Education. CALAA would like to thank all the participants in the Summit, and the James Irvine Foundation for its generous support without which this effort would not have been possible. Sincerely, Barry Hessenius Outgoing President/CEO The following organizations, listservs and websites might be helpful to you... Www. artsjournal.com A daily compilation of the latest arts news and stories from over 1000 publications. National Arts and Disability Center 0 http://dcp.ucla.edu/ nadc Free online re- source offering informa- tion on the arts and disability. Amherst Wilder Foundation Has compiled a helpful i checklist of financial strategies for organiza- tions Owww.wilderorg/ pubs/cutbacka/ 1 copecutsstratlist.htmi. Business Arts Council Offers workshops to en- able staff, board mem- bers and volunteers of nonprofit arts organiza- tions to hone their busi- ness skills. Call (415) 352-8828 for informa- tion. Watch this space for further resources, and please share any info you have: (415) 441-5900 Arta Education Summit Highlights [eoAnendl Sonia Hernandez (con't)... people, resources, and energy. It's a commitment very different in nature and in kind from simply saying legislatively that you must do something. Many of you who are here helped in the development of a set of standards for the visual and performing arts. With the support of the State Board, we are taking that a step further. We are taking those challenge standards and making them grade by grade. We are working on the development of assessments that go with them. And those are fundamental baby steps, if you will, in order to really focus on not just getting the arts in, but getting quality arts education in schools. Thus setting the standards so that people know excellence when they see it, making sure that they have a way of measuring the students who are learning it, and having access to that, we think is critically important. Making sure that all of that information gets to schools is equally important. You and I need to worry about making sure that we have the classroom teachers and we have access to artists so that all kids can have access to the artists. I hear often from some of our schools in rural areas who have a very difficult time having access. So being a little more creative in how we do that is very, very important. We have to support teachers and be equally clear about what teachers need to know to be able to deliver that instruction or that access. We need to help schools to understand that learning occurs somewhere other than the four walls of a classroom. The museums are great places to get out and do a lot of learning. The community as a whole is a great place to learn. One of the ways of showing our commitment is to be able to gain access to resources to make some things happen. One of the things we're currently working on and I'm really excited about is a virtual arts resource center on the net, so that every teacher, wherever they may be, if they can get to a computer Patty Taylor of the ArtsWork Task Force gave a sampling of the Task Force Report: "We have the Visual and Performing Arts Framework, which presents the philosophical foundation of how we teach the arts, what the content is, in general, what good programs look like. [The framework] has been around for a long time. But we really believe that the ArtsWork Task Force Report is what's finally getting it out the door. We also have the challenge standards. These are now being specified per grade level. They tell what students need to know, to be able to do. Right now, they're grade -level grouped. We've said we want a renaissance in the schools, and we really believe now that the renaissance in arts education has started. You need to know that the arts have also been in the Education Code. We're re- wording it so it really has more power and is in alignment with what we say in the Framework as well as what we say in the standards. So it's going to be a piece of legislation we're considering for next year. The new grant program, the Visual and Performing Arts Education Grant Program, started with $3,000,000. This year, it's $6,000,000. Our program is funded through Prop 98, and this funding goes to school districts. Those districts or counties who are receiving an LAEP (Local Arts Education Program) grant can get (conmied on page S) 3 chief Executive Officer Search The California Assembly of Local Arts Agencies is an eleven year -old umbrella service provider organization for the state's 200+ member local arts agencies. CALAA provides services to its member field in the areas of professional development/ organizational capacity building; technical assistance; advocacy at the national, state and local levels, representation of the field within and outside of the arts, including its relationship as partner, grantee and contractor with the California Arts Council, communications and network management, and providing special leadership initiatives and projects. CALAA is funded by contracts with the state agency, membership dues, grants from other public and private fenders and earned income. The agency currently has a staff of 4.5 full-time employees including the CEO, with offices in San Francisco, California. See www.calaa.net. Chief Executive Officer For The California Assembly of Local Arts Agencies The CEO is responsible for overseeing all day-to-day operations, programs, communications, and special initiatives. The CEO has general direction of the corporation's business and the conduct of its affairs. The CEO is a non -voting member of, and reports to, the Board of Directors. S/he is charged with carrying out the mandates and directions of the Board in accordance with the agency's Strategic Plan. The CEO recommends policy positions to the Board for their consideration. The CEO is responsible for the hiring, promotion, termination, and management of the staff; budget preparation and financial overseeing; and for representing the agency in all aspects of its relationship with strategic partners, funders, the national, state and local arts communities, and with those communities that have a stake in the arts, including education, tourism and business communities. The CEO assists the Board in determining the corporation's vision, goals and objectives, and how best to serve the needs of the member base. The CEO must be highly skilled in advocacy, coalition building, communications, grant writing, and nonprofit business and financial management. Familiarity with the arts, local arts agencies, and issues faced in the provision of local arts is desirable. Advanced degree preferable. Salary based on experience plus good benefits package. Send resume and cover letter to CEO Search, CALAA, 693 Sutter Street, 3rd floor, San Francisco, CA 94102; fax 415-441-5938; email: ConnieC&CALAA.net. District l Jim Cudziol Trinity County Arts Council (530)623-2760 District 2 Richard Newirth San Francisco Arts Commission (415)252-2592 District 3 Angela Tahti Arts Council of Placer County (530)885-5670 District 4 Luisa Cariaga L.A. County Arts Commission (213)974-1394 4 Roxanne Valladao Plumas County Arts Commission (530) 283-3402 Penny West Caiaveras County Arts Council (209)754-1774 Earl Sherburn City of Los Angeles (213)485-8668 District 5 Colleen McBride Riverside Arts Foundation (909)680-1345 District 6 James Johnson Arts Council of Kern (661) 324-9000 Ric Todd City of Chula Vista (619)585-5627 Kathleen Lustig Fresno Arts Council (559)237-9734 District 7 David Cloutier Matias Varela Cult. Council for Monterey Co. Arts Council of San Mateo Co. (831)622-9060 (650)593-1816 District 8 Jeanne Bogardus Marin Arts Council (415)499-8350 District 9 Margo Cowan Arts & Cult. Commission of Contra Costa County (925)646-2278 Barbara Harris Cult. Arts Council of Sonoma Co. (707)579-2787 Steven Huss Alameda County Art Commission (510) 208-9646 Arts Education Summit NighlWN tconunoodl We have a California Arts Assessment Network. Although assessment is not mandated or legislated in the arts, we need to start building our capacity for that and determine what kind of assessment is appropriate. That group is doing a fine job in ex- ploring those things and determining how you could do some baseline assessment to know where you are now, starting off with looking at your programs and building from there. Visual Performing Arts grants have the funding to use the standards and help train teachers on how to do that. The arts are now included in our Distinguished Schools Program. We have another program called the Model Arts Program Network, or MATS. This is another group of people that is saying, "Okay, here's what a district looks like that is ready to start implementing this. And then here on the continuum is what a district looks like that has not yet started. And here's how they do it. And here's how they do it in an urban situation and a rural situation." Ethel Walker, President of the Legislative Action Coalition for Arts Education, thanked the University of California and the CSU (California State University) system for coming into an agreement on the visual and performing arts requirements. She called it, " a major step for us" that "lays the groundwork for more student involvement in arts education and providing access to more students." "We are trying to install a requirement in the university system that students who wish to major in dance and theatre at least are allowed the opportunity to do so and will have a credential. We are not saying that any district has to hire these people. But we are saying that young people should have an opportunity to get the credential if that is what they want to do. Another bill, AB-272, is the Graduation Requirement Bill in the Senate. Every child ought to know that there are jobs in arts education that do not require them to be on stage performing. But that the jobs that pay the most money in arts education are actually jobs behind the scenes. That should not be restricted to only those people who happen to live in an affluent district where they have access to this." Glenda Gentry, Executive Director of the California Subject Matter Projects, discussed AB-108, which would "do a number of things, including adding the Superintendent of Public Instruction back to the Governing Board of the California Subject Matter Project." "We would like to see the Superintendent or her representative back on what's called the Concurrence Com- mittee. In addition, (the bill) would restore three projects — The California Arts Project, the Foreign Language and Physical Education Health Projects — fully back to the status of the other projects in the Subject Matter Project network. These pro- jects, at the present time, are only in existence because the University of California is supporting them, whereas the writing, math, science, and other projects have allocations through AB-1734." Susan Hammer of the State Board of Education spoke optimistically about the Board's "chance of getting standards for the arts passed .... some time hopefully next year." She added, "It's not just getting standards adopted by the Board. It's making sure that there's the funding and working out some of the challenges about actually getting a comprehensive arts education program back in our schools." (continued on page 6) L, Harold Williams, President Emeritus of the J. Paul Getty Trust, focused on the success of Los Angleles Unified's Blue Ribbon Committee. "We have a Blue Ribbon Committee consisting of three people from around the community who are involved in the arts in one way or another, representing arts institutions of all types: large, small, museums, theatre, dance companies, you name it, and some individuals and members of the City Cultural Affairs Department. It's quite broad -based. We started with a staff of two people to design standards. We were not going to let the school district itself set the standards. We looked to independent experts and got their comments on the standards. The standards are all four art forms — visual arts, theatre, dance and music and they're comprehensive. We know they're probably going to be molded and improved over time. We then went to the School Board with the standards. The Board did something that it rarely does these days; it voted unani- mously in support of the standards. It is, you might say, cheap to say yes. But a budget followed with it, a small one, to begin building a small but critical staff. There's a senior person in each of the art forms to work at the district level. And then the stan- dards rolled out, grade by grade, with the appropriate curriculum and we begin to look at issues of assessment. We moved into our next year, and came back to the Board with a ten-year plan and a request for second -year funding. Our budget is now up to a little over $7,000,000. And we're hiring a number of trainers to work at the school level in some prototype schools to make sure it works and to hopefully generate a lot of enthusiasm for the project. It's a real challenge, but a great opportunity. The School Board is behind this, and the community is behind it. And I think that makes a real difference. If 1 were to look back and say what the model is or what we can learn from it, it is that it was a School Board member who was committed to it and had it as a key, number one priority. And secondly, we were there not just to advo- cate, but to really want to work, and I think our commitment to modify our program and work with the district was a convincing factor." Don Maxwell of the Greater Santa Cruz Federation of Teachers discussed state -mandated Arts Education Standards. "If we have all our energy in one strategy and it bombs, then we're kind of still where we are. So I think we need to work on all these levels and set the models for others, while at the same time working constantly at the state level. I think that was a big flaw in the stan- dards; I think they should be introduced incrementally rather than suddenly dropped like a sledge hammer. I see this going on in a way that involves outside agencies. For example, in Santa Cruz County, the Cultural Council is very active. Packard has just put a million bucks into one small county. They want some evidence that it's going to make a difference. We have to give them evidence within the next two or three years that new music teachers or dance is going to make a difference." There are other is- sues that none of this approach will address. One of them is that you don't have art teachers. If you look at how the California State University (CSU) system trains teachers, more than half of the teachers that come to teach in school districts, they've had no art training at all. CSU doesn't require it. Credentialing doesn't require it. The response of the districts is, `Well, we don't have the teachers.' This is a whole system. And we're just not producing teachers we need. Whether you work at the State level or the school district level isn't going to change that one bit. So we've got a long-term problem we're going to have to address. As I said, it involves CSU, it involves the University of California, it involves looking at credentialing and the requirements for credentialing.,, Steven Fogel: "The reason we don't have the arts as part of the core curriculum currently is because the public, the electorate, doesn't demand it. So our end consumer for what we need, in my opinion, has to be the public at large. The arts does not have a single face, it doesn't have a poster child, it doesn't have what the person in the street can look at individually and say, 'I demand that something be done for that.' So I think we have to look at the absolute end product of what we do to motivate, because the I believe the educators can get it done if they're given enough money, and I think the school districts can get it done if they're given enough money, and I think the public will demand it only when the public has a face that they can see." Sonia Hernandez: "I am very concerned about creating programs that are great for some kids but not for others, and how we distinguish between who gets it and who doesn't. Secondly, if we only think of the current model of schooling, then we are go- ing to run into some serious problems, because we don't have the numbers of teachers." Ann Wettrich (Arts Education Officer, San Francisco Arts Commission): "It seems like there are two categories: one is the con- tent issues, and the other is the strategy. I think what we need to agree on a kind of comprehensive approach of everything that needs to be touched on and then strategies for how to implement them." Reports from breakout group conversations and the discussion that followed begins on page 7. 6 Summit Nighlights: Reports of Breakout Groups Sonia Hernandez: "Our group decided that top down and bottom up at the same time is one way to work this. The other thing is when we talked about a State strategy, our assumption was not legislative, it was that there is a lot of authority already existing with the State Board of Education. So they could take some action. They could actually start focusing leadership, and discretionary moneys from our level to support schools. As you may or may not know, the standards in California are volun- tary. Current authority that the State Board has is they have the rights to design the STAR Statewide Assessment as they wish. So once they adopt the standards, once we get the standards out to the school, then they can take assessment of those standards and integrate them into the STAR system. The next step is making sure that the schools have the money for professional de- velopment. You've got to have teachers prepared to take this on in a very serious way. We also ought to look at federal dol- lars. Goals 2000 money. The one thing we don't want to do is make this a schools -only issue. It's a community issue, mak- ing sure that those partnerships are brought in and supported and sustained." UnidentMed speaker: "Two points: Professional development is really important. When there were the eight pupil -free days, there were a lot of opportunities for schools to take advantage of professional development. Those have gone away. How can you help us from the State Department of Education? First of all, there isn't the time with the pupil -free days. Then, the commitment at the faculty meetings — they have a lot of things they need to cover in an hour and a half, which doesn't give you enough time to do anything significant in professional development." Sonia Hernandez: "Again, with the support of the State Board, we can provide guidance. We can do the best practices. If you want to visit a school that's got it right, that can do all of the above and you can see real significant improvement for kids because of the arts and not despite of it, we will do that. The truth is, we ought to have fifteen days of profes- sional development, no matter what, without hurting the days for instruction." Scott Leaman (Assistant Superintendent for Educational Services, Western Placer Unified School District): "Our goal guid- ing us through our conversation was kind of a K-12 integrated curriculum. We feel that the standards would really support and send a message to the districts. We thought the assessments were important, because if districts know down the road that there is some assessment activity along a certain subject area, there will be more activity in the districts. The Educational Code is a little bit vague as far as what a core curriculum is. In terms of a program, the thought was to kind of describe a pri- ority of the arts. We talked about teacher training being a key process. If you're just top down, you're probably going to fail.++ (continued on next page) ❑ INDIVIDUAL $ 50 Name Title (not to be used in lieu of organizational membership) Organization Address _ city County _ Telephone _ E-Mal Send check and this form to: State Zip Fax ❑ BUSINESS $ 100 ❑ LOCAL ARTS AGENCY (and other non -profs) O $49,000 or less $ 75 O $50,000 — $99,999 $100 O $100,000 — $149,999 $125 O $150,000 — $249,999 $150 O $250,000 — $399,999 $ 275 O $400,000 — $499,999 $ 400 O $500,000 — $749,999 $ 600 O $750,000 — $999,999 $ 750 O $1M $1,000 Dues are based on your organhtion's annual budget, exdusive of re -granting monies. MM is a 501(c)(3) nonprofit organization CALAA 693 Sutter Street, Third Floor, San Francisco, CA 94102 FAX: 415-441-5938 Telephone: 415-441-5900 7 Don Maxwell: "We wouldn't have a teacher shortage in this country if people would stay in the profession and use the cre- 1 dentials they have received. They just don't do that for a variety of reasons. One is economics. The salaries that we pay teachers simply can't compete with the salaries we're paying software engineers or even people who work in construction. We can't attract a great number of people to a profession that starts at $30,000 or even below that. In addition, the working conditions for teachers out there are horrendous. They work in schools that are falling apart. They work with no supplies. We've got to do something to make this profession more attractive. We get waivers for teachers with arts experience but not credentials. Districts can hire people that are not fully credentialed. Unfortunately, there's a myth our there about teaching. One part of it goes like this: If you can do it, you can teach it. And I know a lot of people who can do it, but when they face a class of thirty youngsters and how to organize that lesson, they've got to be able to do that. With a master her working j with a new teacher you have a good combination. That's what happens in other industries." f j Susan Cambigue-Tracy (Chair, California Alliance for Arts Education): "Our group thought the issues include professional development, pre -service, what the role of the artist is, do they have a certain competency and ability. Facilities seem to be a big problem as well, supplies and equipment. Parents and communities, their attitudes, their support, their lack of support. Perhaps they need to be better educated as to what arts education is. Technology can give us more access; we have to know what else is going on in educational reform. We are a tributary of sorts to the river of educational reform — that was one of our images. E Concerning the role of the arts education community and providers, some people feel threatened if there's a mandate because they worry their role will be lessened or they won't have the same place of power and leadership they did before it was mandated. There's the sense, "This is my turf." There's also just the diversity of points of view in our particular state. There's the fact that literary arts and media are often left out in the definition of arts education. We already have a mandate for the arts: it is Educa- tion Code number 51210, and it's for course of study grades 1 to 6. And it's in the visual and performing arts, but the language is not updated. We really haven't communicated this mandate. We came up with some questions: How do we get the arts implemented now that we know we have a mandate? How do we measure its success, the accountability? What are the incentives for schools? What are the incentives to schools and school dis- tricts to include the arts and follow the standards? What are the consequences if they do not follow the standards? What is the structure through which all of these strands can work cooperatively together, knowing what part is needed and when, and the partnerships that come with the colors and textures of strands as they're woven into the overall design?" Harold Williams: "Our group started off looking at the legislative initiative, then decided that was not the way to go — that it would be too difficult and not likely to be successful. Among the other groups, so far, none of them has addressed the legislative issue. When the question of whether we could get the Senate to mandate by the legislative route and fund it and get it through the Governor, given the Governor's penchant at this point for conservatism in terms of funding, I guess we just felt, at least I did, and I think there was a general sense, that that was a much harder road to go. We thought maybe we could get the principle es- tablished in the legislature and only a modest amount of funding so we could have a couple of model school districts as demon- stration projects. But I think it's a long road. And maybe there's a faster way to go. Maybe there's a short term way to get something done." Vicki Reynolds (California State Board of Education): "A variation is not to abandon the legislative process, but to accept the reality of the short-term difficulties in getting it done, which was what Harold was talking about." William Cirone (County Superintendent of Schools, Santa Barbara County): "I'm a little concerned about the semantics of leg- islative mandate as opposed to funding. The last thing we need in this state is another under -funded mandate, which is usually what happens with mandates. What we're really talking about is creating the political will to accept the commitment of the major responsibility for the State to figure out how to fund arts education the way it should be funded in California — if in fact it's to be considered an important part of the core curriculum I think everyone probably intuitively feels strongly that it's the State's re- sponsibility to come up with adequate funding to provide equal access to arts education to all students in California." Barbara Pieper: `Top down, bottom up; it's ideal language for Sacramento. The legislature has to be primed. What we would hope from our group is to do some mapping in this state in terms of what they do, what pieces are there that are working, what pieces are missing, what are the friction points. This is pretty sophisticated stuff. But if you have your delivery system for arts education mapped, you'll know what pieces of money you can ask for, you'll know what pieces of money exist for what you i need to do. I think we have a big job to do and some very, very serious mapping of the arts education delivery system. How do you bring that whole picture together? The other piece we talked about was the issue to publicize. We do need to speak with one voice. The important thing is community. We can then focus in on the pieces that have to happen that trickle back to everybody at the local level. That local level ultimately is the most important component. Whatever we choose to focus on, it may not be a mandate but some other focus, we have to have respect for the autonomy of school districts, of teachers, and of students. We're going to need to have an ongoing steering committee. You're probably going to have to hire some professional help." Ethel Pitts -Walker (President, Legislative Action Coalition for Arts Education): "In terms of the CSUIUC alignment, having a meeting where we bring in the Presidents of CSU and UC to actually have this kind of dialogue with the arts and education peo- ple, a forum of this kind which would also include key legislators, somebody from the Assembly Appropriations Committee and the Senate Appropriations Committee, would be very advantageous." Jim Spalding (Interrim Director, California State University, Long Beach ): "If we don't get buy -in from the CSU and UC, this is not going to work. If we don't train teachers and define what we mean by training teachers, none of this is going to happen." Ann Smith (Chairman, Arts Education Department Golden Gate University): "And the private institutions as well." Kate Cochran (Deputy Director, Cultural Initiatives Silicon Valley): "We talked about very similar issues in the delivery sys- tem: defining what we mean by arts education in the core curriculum, what the delivery system would look like, and how that would get funded. The definition of arts education in the core curriculum would be the adoption of standards tied to an assess- ment mechanism, which would then make it a priority for the district. The assumption was that the legislature has to get involved and provide funding at the State level. The delivery system is most likely to be successful with credentialed teachers in the class- room who are supported by working artists. Where are these teachers coming from? In some of the disciplines, there aren't even credentials. Secondly, how can we work with artists in our classrooms and work around the credentialing issue? The overall team strategy has to be bottom down and up. We really focused on the bottom up." Brenda Berlin (Executive Director, Young Audiences of the Bay Area): "Some of the ideas for funding were things like part of the business license fee should go to the arts, part of the AT&T cable fees, obviously fundraisers by major rock groups or stars, part of the real estate transfer tax. There's so much revenue going back and forth in real estate these days. We did talk about en- tertainment tax. There's a model in place here that taxes 49ers tickets and all Candlestick events that goes for the school athletic programs. There is a property tax write-off called the Voluntary Arts Fund that comes with our property tax bills. We were talk- ing about expanding that to include a special category for arts education. Parking revenue percentage. People have to be willing to tax themselves to support this. So it's a whole PR campaign. In talking about teacher training and professional development, we can't exclude the artists from artist training, and how we as artist organizations bring our artists into our own programs and train them in collaboration with TCAP or other organizations." Diane Frankel (Program Director, James Irvine Foundation): "I think it would be very useful to broaden our understanding col- lectively of what's working and what's not in other states and in other districts." William Cirone: "Reality check one involved the immediate impact that the accountability movement is having on the arts, and how the push to raise the math and literacy test scores in effect is becoming all -consuming and translates into less time for the arts. I think as we talk about the big picture, there's also a survival issue that's immediate. What do we do now to save the exist- ing programs while we work on the big plan? The second reality check had to do with models. Models sometimes become a trap. We will never have equal access if we continue to take the model approach, because they're funded separately. The bottom line is it's a money issue. It's a resource issue. It's money for people, for facilities — and we haven't addressed the facilities is- sue — and it's money for materials. Step one in the resource issue is to get the commitment or create the political will to get the commitment that says this is what we need to do. Figure out the price tag, then figure out the funding base. The State has the major responsibility of funding that, but they need not do it alone. Step three would be to phase it in over time. If you don't have the money to hire the lobbyists to create the political will, then what you really need is good marketing. We're not getting the word out there; for example, for people concerned about accountability, how students in arts programs perform better on test scores, pure and simple. Careers is another message: careers, technology, the link between technology, animation, and all of those things. This needs to be packaged very carefully and funded separately with private money. It needs to be promoted in a major way as part of a statewide effort to create the political will to get the State to acknowledge the commitment to fully fund arts education in a phased -in way in California." (continued on page 12) The Arts Bring a Competitive Edge to Local Economies "Art does more than hang on a wall or bow before a curtain. Art Interacts with an audience, changing society and changing with it. -The arts are a competitive advantage for California. They further define and enhance the creative genius and character of California. The creative resources in the state maintain cutting -edge quality and establish a basis for economic strength." -The Arts: A Competitive Advantage for California, KPMG Peat Marwick, 1994. Cities and counties are finding that nonprofit arts organizations contribute significantly to California's economic growth and job creation. The KPMG study referenced above, which was commissioned by the California Arts Council, a state agency, revealed that the arts: • Add more than $2 billion to the state economy; • Create 115,000 jobs; and • Generate $77 million in state and local income and sales tax revenue. `"The arts must be part of a community's investment strategy," asserts Gary Schaub, director of cultural services for the City of Walnut Creek. "It is one of the amenities a city can offer that creates its identity and becomes an important tool for business investment. The arts pay important economic, educational and social dividends for cities." Cultural Tourism Infuses $158 Million Statewide "The arts have created a new type of tourist. The `cultural tourist' is more likely to seek out an art museum or music festival than a shopping district or theme park," observes Sonia Tower, director of the City of Ventura Office of Cultural Affairs. While tourism is widely recognized as an effective economic development tool, cultural tourism adds a new twist. Economic impact studies show that cultural tourists stay in town longer and spend up to four times more than day visitors statewide. The enormously successful campaign, "California's Culture's Edge," created and implemented by the California Cultural Tourism Coalition, brought more than $154.6 million into California in 1998. Using a cooperative effort and precisely targeted marketing strategy, this program has been hailed as a national model for destination marketing. Distributing 200,000 copies of a 32-page travel planner to selected American Express cardholders and travel agents resulted in visits to California within six months by 115,000 of those is who received the books. The planners recommended visiting California to experience the rich cultural diversity of its three major urban areas — Los Angeles, San Diego and San Francisco — and suggested to the visitors 13 culturally themed travel itineraries. The Arts Bring Jobs and Revenue Santa Monica (population 92,578) has actively pursued art as an economic development strategy. The total annual revenue of nonrofit arts and entertainment in Santa Monica is estimated to be at least $407 million, or 7 percent of the city's $5.7 billion economy, accounting for 26,000 jobs. "Everywhere you look, you see art," says Maria Luisa de Herrera, cultural affairs manager for the Santa Monica Cultural Affairs Division. Art plays a visible, important role in the redevelopment of the 3rd Street Promenade, a colorful district of art galleries retail and restaurants; and the Bergamot Station, a former factory, now the site of 30 art galleries. Santa Ana is another community that has embraced art in its economic development activities. The city, whose motto is "A Place for Art," has found the most successful way to revitalize the downtown is to bring in arts and entertainment. Jim Gilliam, the city's arts administrator, describes the Artists Village in the museum district as a new way to create a "live - work" arrangement for artists. The Artists Village makes its home in several historic buildings, which house theaters, restaurants, dance companies and studios. Local Champions of the Arts Communities that successfully integrate art into infrastructure and reap the financial rewards of increased tax revenues are consistently supported by individuals who are local "arts champion" — elected officials, business and community leaders committed to the arts. Arts champions provide leadership, make substantial financial investments and cultivate similar financial support and leadership from the community at large. "The arts are vitally important to the cultural and economic life of any region. By cultivating an interest in the arts, we provide the stimulus for economic development, take full advantage of our diverse cultures and tap into the tremendous potential of each individual," says Supervisor Muriel Johnson, of the Sacramento County Board of Supervisors, arts advocate and founder of the Sacramento Metropolitan Arts Commission. The Importance of Cultural Planning Serving as a regional centerpiece for Santa Clara County, San Jose has transformed its downtown area with arts facilities. The San Jose Civic Arts Commission (a city agency) and the Silicon Valley Arts Council (a county agency) jointly funded a unique planning process to create a cultural blueprint. These arts agencies worked in partnership with local officials, hundreds of businesses and arts organizations to complete San Jose's downtown revitalization. Art in public spaces welcomes visitors and creates an atmosphere of vitality, using the area's cultural diversity as inspiration. Creating a cultural blueprint is a planning process that engages the community in discussion about cultural issues and goals. Planning assesses the community's cultural assets, strengths and weaknesses, and identifies opportunities for creating vibrant communities. Conclusion When a community integrates arts into infrastructure and provides an environment that nurtures an arts community, the return on its investment is enrichment. The arts are an essential component of any community's identity and quality of life, and provide a way to expand both the local economy and the cultural horizons of residents and visitors. U Chair Victoria Hamilton San Diego Commission for Arts & Culture Vice -Chair Bruce Davis Arts Council Silicon Valley Treasurer Arlene Gotshalk Bosso, Williams, S. &B. Law Offices Secretary Gary F. Schaub City of Walnut Creek Interim CEO Connie Shapiro CALAA Holly O. Austin Del Norte Association For Cultural Awareness Nancy Clute Madera County Arts Council Ellen Estilai Arts Council for San Bernadino County Gail Guttierez-McDermid Office of Community Resources, California Department of Corrections Lucinda Hawker Stanislaus Arts Council Rick Prickett San Diego Convention & Visitor Bureau Consuelo Santos-Killins Silicon Valley Economic Development Corporation Robert Walker The Management Center 11 CALAA 693 Sutter Street, Third Floor San Francisco, CA 94102 www.calaa.net Dodie Horvitz City of La Quinta P.O. Box 1504 La Quinta, CA 92253 Chris Seitz, (Student at Danuba High School, presenting his senior project on the importance of education including the arts): "Albert Einstein once said, `When I examine myself and my method of thought, I come to the conclusion that the gift of fantasy has meant more to me than my talent for absorbing knowledge.' U us poslat cm 00,55 a POSTALIA 300M Inside this issue... Arts Education Summit Highlights page 1 President's Column page 2 Nonprofit Resource Column page 3 The arts take students through a new way of thinking, and engage students in Job Opportunities at CALAA page 4 learning activities which require use of higher -order thinldng skills like analysis, Membership Application page 7 synthesis, and evaluation. Arts education, then, is an activity of the mind. The arts convey meaning and knowledge not learned through the study of other sub- jects. The arts in themselves are a form of thinking and a way of knowing that is based on human imagination and judgment. Students delight in the arts, even though they require intellectual discipline. Like language and mathematics, the arts involve the use of complex symbols to communicate. Creative activity is a source of joy and wonder, while it bids its students to touch and taste and hear and see the world. Children are powerfully affected by storytelling, music, dance, and the visual arts. They often construct their understanding of the world around musical games, imaginative dramas, and drawing. The arts provide a creative passage which allows an increase in student morale and self-confidence. William Ivey, Chairman of the National Endowment for the Arts, said the arts teach us about the nobler impulses of our human nature: tolerance, freedom of expression, openness, equal- ity, justice, dignity, and compassion. The historian Eugene Ferguson put creativity into perspective when he said, `Pyramids, cathedrals, and rockets exist not because of geometry, theories of structure or thermodynamics, but because there was first a picture, literally a vision, in the minds of those who built them.' With their emphasis on creative discovery and their ability to stimulate a variety of learning styles, the arts promote enthusiasm and motivation for learning. The arts teach discipline, the value of persistence, and the rewards of hard work." 13 12 VII. CORR. & WRITTEN MATERIAL C. DENISE DIAMOND Appointed 6/15/2000 53-960 Avenida Alvarado Term 2 Years La Quinta, CA 92253 Expires: 6/30/2002 (760) 564-3800 LESLIE MCMILLAN Appointed: 7-01-99 P.O. Box 776 Term: 2 Years Palm Desert, Calif. 92261 Expires: 6-30-2001 (760) 773-8536 ELAINE REYNOLDS Appointed: 7-01-99 49-294 Avenida Vista Bonita Term: 2 Years La Quinta, Calif. 92253 Expires: 6-30-2001 (760) 564-1880 (Res) ROSITA SHAMIS Appointed: 7-01-98 78-955 Del Monte Ct. Term: 2 Years La Quinta, Calif. 92253 Expires: 6-30-2002 (760) 564-1236 (Res) STEWART C. WOODARD Appointed: 6-15-2000 79-791 Olympia Fields Term: 2 Years La Quinta, CA 92253 Expires 6-30-2002 (760) 564-2689 (Res) (760) 564-4418 (Bus) Updated: 6-15-2000. JUL-11-00 TUE 03: 39 PM Mr-"'ALLIIM THEATRE FAX NO, 760W 9508 P, 01 %02 THE MCCALLUM THEATRE THE BOB HOPE GU1.1 URAI_ CENTER FAX OVER Date: Y Fax To: Fax Number: From: Re: Total # of Pages (including cover sheet}y / Notes: —/1� 41-41 PHONE: BOX OFFICE- ART5 (760)323S8080ALES: (760)346-6505 (760)340760)779-9446 fax FAX: ADDRESS: (760)341-9508 73-000 Fred Waring Dr Palm Desert, CA 92260 WEB SI f E; htt :11www.mccallum-theatre.or BACKSTAGE: (760)340 �6946 (760)836-3663 fax E-MAIL: info@mccallum-theatre.org 07-11-00 16:25 RECEIVED FROM:7603419508 P 01 JUL-11-00 TUE 03:39 PM Mco4LLUM THEATRE FAX NO. 7603U9508 P. 02 %02 MC CALLUM THEATRE. I NSTITUTE t h e a t r e d a n c e m u s i c v i s u a l a r t s r 73-000 Fred Waring Drive Palm Dewll, CA 92260 Phone:760.3-16.6505 5cix: 760,34.1 .9508 ,,v,.vw.rncrollumti eofrc.org The McCallum Theatre Institute cordially invites you to the world premiere of "Wherever You Co, There YouAre", a theatre musical play specifically written for Imagination Station campers. The piece will be performed by 70 participants of Imagination Station ages 7-12 who will be assisted by 20 stage,crew campers ages 12-18. The performance will visit various places in the United States including Las Vegas, Chicago, Hawaii; Texas, Now York and California. Date: Friday, July 14 Time: 2:00 P.M. Place: McCallum Theatre 73000 Fred Waring Drive Palm Desert, Ca Cast; Complimentary flow: .Reservations are not required. Just show up kind enjoy and prepare to have the most fun you've had in an afternoon. WELCOME! Thla lras:,lt,�ud 15 prinivrl on rncycled p.iper. The Eriucali, rl Wln,) r,f fll� r 1llc'CiI,C {,�r Mcrul,l 04 Irv, p.S.`;oCiL7hr_lt 0 rls.lih; iEs �t1r %�,r'Slln'IIC. F;lucili,:�n The AhcCi:.h.ul r nh[.rrlci.: Ilia n,,1ke3 J :!n GETS Ill OUt l!A" ww) ill Uur Cvifi�P�Uriihy' i,y Inspiril,._1 yf�alt�:r efnnllon,l� ;:u�al �,, r;tI�:11 F7 C)VYi, f, f:'� I�I�Ii. rJ'Jrrli�i(i:] C'n r,J V_ Olil.i exprrl iuwl'l Gh 11 cF hr9 (ill., I' i 1,1;4;lulc, cjcj"CIIICC., i+o q,f0f-F h(d .Ill huozx u,,:: Th Ihr: L.SfIIUII_ rill. Ihcd Li ."I_tlivily Ly fCIGIipnG `il, ;dill-� rhr: rwJ; Ind un u:Ic1�`r.I,nirlirid Cfll[�hle fG:"(5� r;lI: CIY.; �:,li 07-11-60 16:26 RECEIVED FROM:7603419508 P•02 T4"vl ot stp QU&rCjj MEMORANDUM TO: CULTURAL ARTS COMMISSIONERS FROM: DODIE HORVITZ, COMMUNITY SERVICES DIRECT DATE: JUNE 27, 2000 SUBJECT: COMMISSION PACKETS It is a pleasure to serve as the staff person to the Cultural Arts Commission. In order to be the most effective at our meetings, I would request that you review your Commission Packet sent to you the Friday before the Thursday Commission meeting. If you do not receive your Commission packet by Tuesday's mail, please leave a message on Cristal's voice mail at 777-7090 and we will get a packet to you by Wednesday. Should you have any questions that you would like for me to research or provide additional information at the meeting, please contact me at 777-7032. You may leave a voice mail for me at anytime and I will return your call. If at any time you have a question or concern regarding the Community Services Department, Cultural Arts programs or services, please contact me. We are a team, with the common goal of ensuring that the residents of La Quinta are being provided top notch programs and services. I realize that you give much time to the City of La Quinta as a Commissioner, and if I can provide any information, please let me know. I look forward to a busy and productive year! Thank you for being a part of this team! S:\Community Services\CAComm\COMMISSIONER FIRST MEMO.wpd ��. +;Y. ,Y�Y}y, _