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Agenda 05/14/2019 Item #16F 1 (RFP #19-7509 Arts & Culture Strategic Plan)05/14/2019 EXECUTIVE SUMMARY Recommendation to award RFP No. 19-7509 “Collier County Arts & Culture Strategic Plan” and approve the Professional Services Agreement with The Cultural Planning Group, LLC and make a finding that this item promotes tourism. ____________________________________________________________________________________ OBJECTIVE: To provide the development of a Strategic Plan for Arts and Culture in Collier County utilizing a consultant to create the plan. CONSIDERATIONS: On October 10, 2018, the Procurement Services Division released Request for Proposal No. 19-7509 to 7,139 vendors for an Arts & Culture Strategic Plan and consulting services. Interested vendors downloaded 107 bid packages, and the County received six proposals by the December 21, 2018 deadline. All respondents were deemed responsive. A selection committee convened on February 7, 2019, and ranked the firms according to the criteria established in the RFP as follows: The Selection Committee recommended that the top three ranked firms be invited to present in person to the Committee members. Those presentations took place on February 28, 2019. After those presentations, the Selection Committee recommended awarding RFP # 19-7509 to The Cultural Planning Group, LLC, based on the unanimous choice of the Selection Committee members. Firm Name Ranking The Cultural Planning Group 1 AMS Planning & Research Corp. 2 ArtsMarket, Inc. 3 The Cultural Planning Group will develop the Collier County Arts & Culture Strategic Plan based on the Scope of Services - Exhibit A, as part of the Professional Services Agreement. There will be four Phases of the development plan including Phase 1: Project Initiation; Phase 2 Assessing Existing Conditions and Future Opportunities; Phase 3 Development of the Strategic Framework; and Phase 4 the delivery of the Final Plan. Each phase will have specific deliverable as outlines int Exhibit A, of the Agreement. Fee Schedule Lump Sum Phase 1: Project Initiation $13,200 Phase 2: Existing Conditions, Assessment $32,800 Phase 3: Development of Strategic Framework $27,200 Phase 4: Final Strategic Plan with Work Plan $16,000 Travel and Reimbursable Expenses Phase 1: Travel $2,945.25 Phase 2: Existing Conditions $2,945.25 Phase 3: Strategic Framework $2,945.25 Phase 4: Final Plan $2,945.25 FISCAL IMPACT: $50,000 is included in the BCC approved FY 19 Tourism Division budget in TDC Fund 184, Contractual Services as approved by the Board. The balance of $50,981 has been contributed from two private sector non-profit organizations in Collier County. Those commitment letters are attached. 16.F.1 Packet Pg. 1664 05/14/2019 GROWTH MANAGEMENT IMPACT: There is no impact to the Growth Management Plan with this Executive Summary. ADVISORY BOARD RECOMMENDATION: The Tourist Development Council recommended approval of this item 9-0 at the April 22, 2019 meeting. LEGAL CONSIDERATIONS: This item is approved as to form and legality and requires majority vote for Board approval. -SRT RECOMMENDATION: Recommendation to award RFP No. 19-7509 “Collier County Arts & Culture Strategic Plan” and approve the Professional Services Agreement with The Cultural Planning Group, LLC and make a finding that this item promotes tourism. Prepared by: Jack Wert, Tourism Director ATTACHMENT(S) 1. 19-7509 Solicitation (DOCX) 2. 19-7509 Final Rank (PDF) 3. 19-7509 NORA (PDF) 4. [Linked] 19-7509 Cultural Planning Group_Proposal (PDF) 5. 19-7509 The Cultural Planning Group_Contract_VendorSigned (PDF) 6. Commitment Letter - Artis-Naples (PDF) 7. Commitment Letter - Community Foundation (PDF) 16.F.1 Packet Pg. 1665 05/14/2019 COLLIER COUNTY Board of County Commissioners Item Number: 16.F.1 Doc ID: 8732 Item Summary: Recommendation to award RFP No. 19-7509 “Collier County Arts & Culture Strategic Plan” and approve the Professional Services Agreement with The Cultural Planning Group, LLC and make a finding that this item promotes tourism. Meeting Date: 05/14/2019 Prepared by: Title: Tourist Development Tax Coordinator – Tourism Name: Kelly Green 04/23/2019 11:20 AM Submitted by: Title: Division Director – Tourism Name: Jack Wert 04/23/2019 11:20 AM Approved By: Review: Procurement Services Opal Vann Level 1 Purchasing Gatekeeper Completed 04/23/2019 11:32 AM Procurement Services Sandra Herrera Additional Reviewer Completed 04/23/2019 11:44 AM Procurement Services Swainson Hall Additional Reviewer Completed 04/24/2019 2:24 PM Procurement Services Ted Coyman Additional Reviewer Completed 04/24/2019 5:41 PM Tourism Jack Wert Director Review Completed 04/24/2019 5:58 PM County Manager's Office Sean Callahan Executive Director- Corp Business Ops Completed 04/24/2019 5:59 PM County Attorney's Office Colleen Greene Level 2 Attorney Review Completed 04/25/2019 9:26 AM Office of Management and Budget Valerie Fleming Level 3 OMB Gatekeeper Review Completed 04/25/2019 2:32 PM County Attorney's Office Jeffrey A. Klatzkow Level 3 County Attorney's Office Review Completed 04/26/2019 11:51 AM Budget and Management Office Ed Finn Additional Reviewer Completed 04/29/2019 6:31 PM County Manager's Office Nick Casalanguida Level 4 County Manager Review Completed 05/05/2019 9:07 PM Board of County Commissioners MaryJo Brock Meeting Pending 05/14/2019 9:00 AM 16.F.1 Packet Pg. 1666 COLLIER COUNTY BOARD OF COUNTY COMMISSIONERS REQUEST FOR PROPOSAL (RFP) FOR COLLIER COUNTY ARTS CULTURE STRATEGIC PLAN SOLICITATION NO.: 19-7509 SWAINSON HALL, PROCUREMENT MANAGER - ACQUISITIONS PROCUREMENT SERVICES DIVISION 3295 TAMIAMI TRAIL EAST, BLDG C-2 NAPLES, FLORIDA 34112 TELEPHONE: (239) 252-8935 Swainson.Hall@colliercountyfl.gov (Email) This solicitation document is prepared in a Microsoft Word format (Rev 8/7/2017). Any alterations to this document made by the Vendor may be grounds for rejection of proposal, cancellation of any subsequent award, or any other legal remedies available to the Collier County Government. 16.F.1.a Packet Pg. 1667 Attachment: 19-7509 Solicitation (8732 : Arts and Culture Strategic Plan) SOLICITATION PUBLIC NOTICE REQUEST FOR PROPOSAL (RFP) NUMBER: 19-7509 PROJECT TITLE: Collier County Arts Culture Strategic Plan DUE DATE: November 30, 2018 at 3:00AM PLACE OF RFP OPENING: PROCUREMENT SERVICES DIVISION 3295 TAMIAMI TRAIL EAST, BLDG C-2 NAPLES, FL 34112 All proposals shall be submitted online via the Collier County Procurement Services Division Online Bidding System: https://www.bidsync.com/bidsync-cas/ INTRODUCTION As requested by the Tourism Division (hereinafter, the “Division”), the Collier County Board of County Commissioners Procurement Services Division (hereinafter, “County”) has issued this Request for P roposal (hereinafter, “RFP”) with the intent of obtaining proposals from interested and qualified vendors in accordance with the terms, conditions and specifications stated or attached. The vendor, at a minimum, must achieve the requirements of the Specificat ions or Scope of Work stated. The results of this solicitation may be used by other County departments once awarded according to the Board of County Commissioners Procurement Ordinance. Collier County is seeking an individual or firm to develop a simple and clear Strategic A rts and Culture Plan for Collier County Florida that addresses arts and culture development throughout the County. This plan should include recommendations on leveraging funding and enhancing existing or seeking new private public partnerships, with the o verarching goal of establishing Collier County as an arts and culture destination. This plan should provide a road map for achievable success through best practices in art s and cultural development, should it be undertaken by governmental entities or by p rivate organizations, in an efficient and sustainable manner. BACKGROUND Recent national research indicates that the impact on a community from arts and cultural activities can be significant. The Arts & Economic Prosperity 5 national economic impact st udy found that the nonprofit arts and culture industry generates $107.7 million in annual economic activity in Collier County, supporting 2,923 full -time equivalent jobs and generating $10.8 million in local and state government revenues. Arts and culture is both a tourism generator and an economic generator for our community. Visit Florida has also reported that 65% of visitors to Florida participate in culturally based activities during their visit. Several arts and culture organizations in Collier County are in various stages of developing or considering expansion plans to existing facilities. Several of these organizations have shown support for a long-range plan for the orderly development of future arts and culture facilities, special events and new and existing arts and culture organizations. TERM OF CONTRACT The contract term, if an award(s) is/are made is intended to be for the completion of the development of the Strategic Plan against the agreed upon schedule. Prices shall remain firm for the term of this contract. Surcharges will not be accepted in conjunction with this contract, and such charges should be incorporated into the pricing structure. The County Manager, or designee, may, at his discretion, extend the Agreement under all of the terms and conditions contained in this Agreement for up to one hundred eighty (180) days. The County Manager, or designee, shall give the Contractor written n otice of the County's intention to extend the Agreement term not less than ten (10) d ays prior to the end of the Agreement term then in effect. DETAILED SCOPE OF WORK 16.F.1.a Packet Pg. 1668 Attachment: 19-7509 Solicitation (8732 : Arts and Culture Strategic Plan) A well-constructed long-range plan will help to identify what activities and facilities are currently in place, what is needed for expanding our arts and culture offerings and what funding sources could be available to support that future growth. A strategic plan for arts and culture will also help guide both government and the private sector in providing a unified community vision resu lting in continuing the reputation of Collier County as an arts and culture destination that rivals co mmunities much larger in size. Discussions have already taken place with several arts and culture organizations. These discussions have resulted in strong support for a long-range arts and culture strategic plan for Collier County. • United Arts Council of Collier County • Theatre Zone • Artis—Naples • Opera Naples • CAPA Cultural and Performing Arts Center • Naples Art Association • Collier Citizens Council • The Naples Players, Marco Island Center for the Arts • Gulfshore Playhouse • Naples Botanical Garden • Naples Zoo • Classic Chamber Concerts • Friends of the Library, • Stay in May • Corkscrew Swamp Sanctuary & Blair Audubon Center • The Marco Players. The above-mentioned organizations are a sampling of the over thirty organizations that are a part of, or supporters of arts and culture activities in Collier County. Many have already shown support for a long-range plan that looks ten or more years in the future. REQUIRED WORK The following tasks in preparation for the development of the plan should be included in each bidder’s submission to develop this long range Strategic Plan. Bidders are encouraged to add creative ways to expand on these tasks. 1. Evaluate and quantify the importance of the arts and culture to our community and the impact of the arts and culture on our local economy. The importance of arts to our community’s quality of life should also be assessed. DELIVERABLE: Written summary of the above. 2. Evaluate current venue capacity for sustainability and future growth of arts and culture in our community by using a developed inventory of existing arts and culture offerings, art in public spaces and their locations. DELIVERABLE: Create an inventory of existing venue facilities and provide an analysis of whether the current inventory of facilities and t he projected growth of facilities within Collier County will have sufficient capacity for a 20 -year time-frame. 3. Evaluate the concept of cross-overs, wherein the arts are coupled with locales or events that are not solely arts -related, thereby exposing arts and culture to new audiences. Part of the evaluation should include other communities where arts and cultural organizations are successfully implementing the cross-over strategy. DELIVERABLE: Research data on crossover opportunities and summarize and evaluate these findings 4. Evaluate and suggest ways to develop a “cultural headquarters” in Collier County that would serve as a central resource for expanding current offerings, planning future arts and culture venues and programming for the community, and facilitating joint marketing initiatives to promote arts and culture outside Collier County. Assess the viability of; 1) the creation of a cultural department within Collier County government or; 2) the creation of a partnership with an existing organization to act in that capacity through a memorandum of understanding (MOU) and agreed fees. DELIVERABLE: An economic analysis of each option listed above. 16.F.1.a Packet Pg. 1669 Attachment: 19-7509 Solicitation (8732 : Arts and Culture Strategic Plan) 5. Increased funding for arts and cultural development in Collier County is an extremely important consideration that must be researched. Some sources for funding may include but are not limited to 1) enhanced engagement of Tourist Development Tax (TDT); 2) a public/private partnership between the arts and cultural organizations and Collier County government; 3) the inclusion of arts and culture in the county budget for capital projects. DELIVERABLE: An economic analysis of the most feasible funding for the development of Arts and Culture in Collier County COST PROPOSAL: Each bidder should present a cost proposal that would cover the various phases incurred during the development of the plan with concrete deliverables at the conclusion of each phase of the work. REQUEST FOR PROPOSAL (RFP) PROCESS 1.1 The Proposers will submit a qualifications proposal which will be scored based on the criteria in Evaluation Criteria for Development of Shortlist, which will be the basis for short-listing firms. The Proposers will need to meet the minimum requirements o utlined herein in order for their proposal to be evaluated and scored by the COUNTY. The COUNTY will then score and rank the firms and enter into negotiations with the top ranked firm to establish cost for the services needed. The COUNTY reserves the right to issue an invitation for oral presentations to obtain additional information after scoring and before the final ranking. With successful negotiations, a contract will be developed with the selected firm, based on the negotiated price and scope of services and submitted for approval by the Board of County Commissioners. 1.2 The COUNTY will use a Selection Committee in the Request for Proposal selection process. 1.3 The intent of the scoring of the proposal is for respondents to indicate their interest, relevant experience, financial capability, staffing and organizational structure. 1.4 The intent of the oral presentations, if deemed necessary, is to provide the vendors with a venue where they can conduct discussions with the Selection Committee to clarify questions and concerns before providing a final rank. 1.5 Based upon a review of these proposals, the COUNTY will rank the Proposers based on the discussion and clarifying questions on their approach and related criteria, and then negotiate in good faith an Agreement with the top ranked Proposer. 1.6 If, in the sole judgment of the COUNTY, a contract cannot be successfully negotiated with the top-ranked firm, negotiations with that firm will be formally terminated and negotiations shall begin with the firm ranked second. If a contract cannot be successfully negotiated with the firm ranked second, negotiations with that firm will be formally terminated and negotiations shall begin with the third ranked firm, and so on. The COUNTY reserves the right to negotiate any element of the proposals in the best interest of the COUNTY. RESPONSE FORMAT AND EVALUATION CRITERIA FOR DEVELOPMENT OF SHORTLIST: 1.7 For the development of a shortlist, this evaluation criterion will be utilized by the COUNTY’S Selection Committee to score each proposal. Proposers are encouraged to keep their submittals concise and to include a minimum of marketing materials. Proposals must address the following criteria: Evaluation Criteria Maximum Points 1. Cover Letter / Management Summary 5 Points 2. Certified Minority Business Enterprise 5 Points 3. Business Plan 20 Points 4. Cost of Services to the County 20 Points 5. Experience and Capacity of the Firm 20 Points 6. Specialized Expertise of Team Members 20 Points 7. Local Vendor Preference 10 Points TOTAL POSSIBLE POINTS 100 Points Tie Breaker: In the event of a tie at final ranking, award shall be made to the proposer with the lower volume of work previously awarded. Volume of work shall be calculated based upon total dollars paid to the proposer in the twenty -four (24) months prior to the RFP submittal deadline. Payment information will be retrieved from the County’s financial system of record. The tie breaking procedure is only applied in the final ranking step of the selection process and is invoked by the Procurement Services Division Director or designee. In the event a tie still exists, selection will be determined based on 16.F.1.a Packet Pg. 1670 Attachment: 19-7509 Solicitation (8732 : Arts and Culture Strategic Plan) random selection by the Procurement Services Director before at least three (3) witnesses. ---------------------------------------------------------------------------------------------------------------------------------------------------------- Each criterion and methodology for scoring is further described below. ***Proposals must be assembled, at minimum, in the order of the Evaluation Criteria listed or your proposal may be deemed non-responsive*** EVALUATION CRITERIA NO. 1: COVER LETTER/MANAGEMENT SUMMARY (5 Total Points Available) Provide a cover letter, signed by an authorized officer of the firm, indicating the underlying philosophy of the firm in providing the services stated herein. Include the name(s), telephone number(s) and email(s) of the authorized contact person(s) concerning proposal. Submission of a signed Proposal is Vendor's certification that the Vendor will accept any awards as a result of this RFP. EVALUATION CRITERIA NO. 2: CERTIFIED MINORITY BUSINESS ENTERPRISE (5 Total Points Available) Submit certification with the Florida Department of Management Service, Office of Supplier Diversity as a Certified Minority Business Enterprise. EVALUATION CRITERIA NO. 3: BUSINESS PLAN (20 Total Points Available) In this tab, include but not limited to: • Detailed plan of approach (including major tasks and sub -tasks). • Detailed time line for completion of the project. • Include with the Business Plan or as an attachment, a copy of a report as an example of work product. This should be for one of the projects listed as a reference. EVALUATION CRITERIA NO. 4: COST OF SERVICES TO THE COUNTY (20 Total Points Available) In this tab, include but not limited to: • Provide the projected total cost and estimated calendar day duration (including projected hours) for which your firm will provide the work as described in this RFP. • Provide a schedule of values and deliverables. • Provide proposed fee schedule of principals and staff (including sub -vendors). EVALUATION CRITERIA NO. 5: EXPERIENCE AND CAPACITY OF THE FIRM (20 Total Points Available) In this tab, include but not limited to: • Provide information that documents your firm’s and subcontractors’ qualifications to produce the required deliverables, including abilities, capacity, skill, and financial strength, and number of years of experience in providing the required services. • Describe the various team members’ successful experience in working with one another on previous projects. The County requires that the vendor submits five (5) completed reference forms from clients during the last ten (10) years whose projects are of a similar nature to this solicitation as a part of their proposal. Provide information on the projects completed by the vendor that best represent projects of similar size, scope and complexity of this project using the attached Reference Form. Vendors may include two (2) additional pages for each project to illustrate aspects of the completed project that provides the information to assess the experience of the Proposer on relevant project work. EVALUATION CRITERIA NO. 6: SPECIALIZED EXPERTISE OF TEAM MEMBERS (20 Total Points Available) In this tab, include but not limited to: • Description of the proposed contract team and the role to be played by each member of the team. • Attach brief resumes of all proposed project team members who will be involved in the management of the total package of services, as well as the delivery of specific services. • Attach resumes of any sub-vendors and attach letters of intent from stated sub-vendors must be included with proposal submission. EVALUATION CRITERIA NO. 7: LOCAL VENDOR PREFERENCE (10 Total Points Available) Local business is defined as the vendor having a current Business Tax Receipt issued by the Collier or Lee County Tax Collector prior to proposal submission to do business within Collier County, and that identifies the business with a permanen t physical business address located within the limits of Collier or Lee County from which the vendor’s staff operates and performs business in an area zoned for the conduct of such business. VENDOR CHECKLIST 16.F.1.a Packet Pg. 1671 Attachment: 19-7509 Solicitation (8732 : Arts and Culture Strategic Plan) ***Vendor should check off each of the following items as the necessary action is completed (please see, Form 2: Vendor Check List): The Solicitation Submittal has been signed. The Solicitation Pricing Document (Bid Schedule/Quote Schedule/Proposal Pricing/etc.) has been completed and attached . All applicable forms have been signed and included, along with licenses to complete the requirements of the project. Any addenda have been signed and included. Affidavit for Claiming Status as a Local Business, if applicable. Division of Corporations - Florida Department of State – http://dos.myflorida.com/sunbiz/ (If work performed in the State). E-Verify/Immigration Affidavit (Memorandum of Understanding). 16.F.1.a Packet Pg. 1672 Attachment: 19-7509 Solicitation (8732 : Arts and Culture Strategic Plan) Selection Committee Final Ranking Sheet RPS #: 19-7509 Title: Collier County Arts Culture Strategic Plan Name of Firm Ed Caum Amanda Townsend Geoff Willig Maggie McCarty Debrah Forester Total Selection Committee Final Rank The Cultural Planning Group 1 1 1 1 1 5 1.0000 AMS Planning & Research Corp.2 2 2 2 2 10 2.0000 ArtsMarket, Inc.3 3 3 3 3 15 3.0000 Procurement Professional Swainson Hall, Procurement Manager Step 1: Upon direction by the Procurement professional, the individual selection committee member should provide their ranking of the proposals (from highest being number one (1) to lowest. Step 2: The procurement professional will review the mathematically calculated final rank and discuss the rank order and determine if consensus is reached. Page 1 of 1 16.F.1.b Packet Pg. 1673 Attachment: 19-7509 Final Rank (8732 : Arts and Culture Strategic Plan) 16.F.1.cPacket Pg. 1674Attachment: 19-7509 NORA (8732 : Arts and Culture Strategic Plan) 16.F.1.ePacket Pg. 1675Attachment: 19-7509 The Cultural Planning Group_Contract_VendorSigned (8732 : Arts and Culture Strategic Plan) 16.F.1.ePacket Pg. 1676Attachment: 19-7509 The Cultural Planning Group_Contract_VendorSigned (8732 : Arts and Culture Strategic Plan) 16.F.1.ePacket Pg. 1677Attachment: 19-7509 The Cultural Planning Group_Contract_VendorSigned (8732 : Arts and Culture Strategic Plan) 16.F.1.ePacket Pg. 1678Attachment: 19-7509 The Cultural Planning Group_Contract_VendorSigned (8732 : Arts and Culture Strategic Plan) 16.F.1.ePacket Pg. 1679Attachment: 19-7509 The Cultural Planning Group_Contract_VendorSigned (8732 : Arts and Culture Strategic Plan) 16.F.1.ePacket Pg. 1680Attachment: 19-7509 The Cultural Planning Group_Contract_VendorSigned (8732 : Arts and Culture Strategic Plan) 16.F.1.ePacket Pg. 1681Attachment: 19-7509 The Cultural Planning Group_Contract_VendorSigned (8732 : Arts and Culture Strategic Plan) 16.F.1.ePacket Pg. 1682Attachment: 19-7509 The Cultural Planning Group_Contract_VendorSigned (8732 : Arts and Culture Strategic Plan) 16.F.1.e Packet Pg. 1683 Attachment: 19-7509 The Cultural Planning Group_Contract_VendorSigned (8732 : Arts and Culture Strategic Plan) 16.F.1.ePacket Pg. 1684Attachment: 19-7509 The Cultural Planning Group_Contract_VendorSigned (8732 : Arts and Culture Strategic Plan) 16.F.1.ePacket Pg. 1685Attachment: 19-7509 The Cultural Planning Group_Contract_VendorSigned (8732 : Arts and Culture Strategic Plan) 16.F.1.ePacket Pg. 1686Attachment: 19-7509 The Cultural Planning Group_Contract_VendorSigned (8732 : Arts and Culture Strategic Plan) 16.F.1.ePacket Pg. 1687Attachment: 19-7509 The Cultural Planning Group_Contract_VendorSigned (8732 : Arts and Culture Strategic Plan) 16.F.1.f Packet Pg. 1688 Attachment: Commitment Letter - Artis-Naples (8732 : Arts and Culture Strategic Plan) 16.F.1.g Packet Pg. 1689 Attachment: Commitment Letter - Community Foundation (8732 : Arts and Culture Strategic Plan) The Cultural Planning Group Enhancing the Brand of Collier County as an Arts and Cultural Destination Collier County Arts and Culture Strategic Plan Response to Solicitation No. 19-7509 Collier County Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 3 CONTENTS 4 4 6 7 9 9 10 18 19 20 21 26 26 26 27 28 29 40 41 42 42 48 49 50 51 52 53 54 56 57 58 59 64 66 67 68 1 2 3 4 5 6 7 8 COVER LETTER/MANAGEMENT SUMMARY Cover Letter The Cultural Planning Group Philosophy CERTIFIED MINORITY BUSINESS ENTERPRISE BUSINESS PLAN Project Understanding Planning Approach Project Timeline Requests of Collier County Staff COST OF SERVICES TO THE COUNTY Proposed Project Budget EXPERIENCE AND CAPACITY OF THE FIRM The Cultural Planning Group Arts and Cultural Planning Experience Financial Strength of the Firm Select Client List Relevant Projects Work Samples Client References SPECIALIZED EXPERTISE OF TEAM MEMBERS Consulting Team Sustainability Statement Value Added Services LOCAL VENDOR PREFERENCE REQUIRED FORMS Form 2: Vendor Checklist Form 3: Conflict of Interest Affidavit Form 4: Vendor Declaration Statement Form 5: Immigration Affidavit Certification Form 6: Vendor Substitute W-9 State of Florida Secretary of State Division of Corporations Certification Reference Documents Letters of Intent CPA Letter of Reference Addendum E-Verify December 21, 2018 Swainson Hall, Procurement Manager - Acquisitions Procurement Services Division Collier County 3295 Tamiami Trail East, Building C-2 Naples, FL 34112 RE: Collier County Arts and Culture Strategic Plan, Solicitation No. 19-7509 Dear Swainson: On behalf of The Cultural Planning Group, I am pleased to submit our proposal to partner with Collier County in developing its Arts and Culture Strategic Plan. We understand the primary project goal is to develop a well-defined strategic plan to enhance the arts and cultural brand of the County as a destination. Our team holds excellent qualifications to facilitate an efficient and effective planning process. Our firm has a national reputation for our successful, small-, mid-, and large-scale arts and cultural plans, including projects in Broward County and Palm Beach County (FL), and in other national destinations. We hold a strong track record of fully-implemented plans, in part because we utilize the planning process to create the consensus and political will necessary for implementation. We have a mindset and capacity for innovation, forging solutions that fit the project’s creative possibilities. Collier County is a unique and vibrant part of Florida and we look forward to working with the County and community leaders. Our team includes two partners of The Cultural Planning Group (CPG), serving as the lead firm along with a valued strategic alliance, Surale Phillips/Decision Support Partners, an audience development expert in the arts field. Our local Collier County partner, as an advisor for marketing, promotions, communications and engagement, is Wilson Creative Group. We understand this project is a multifaceted undertaking with great promise to advance Collier County and its diverse communities, serve the County’s cultural interests, and elevate the County brand as a cultural destination. We are proposing an approach to maximize the potential of assets in the County, to identify potential public/private partnerships, leverage funding, and address the role of the County government in the cultural development of the County. As a Partner of The Cultural Planning Group, I am authorized to engage in negotiations, sign contracts and would be the key contact person for this project. Very best regards, Linda Flynn, Ph. D, Partner culturalplanning.com 2816 NW 8th Avenue Wilton Manors, FL 33311 954-804-3044 linda@culturalplanning.com The Cultural Planning Group SUBTITLE TO COME There is a growing body of evidence demonstrating thoughtful investment in arts and culture initiatives can generate significant economic benefits for communities large and small. URBAN LAND INSTITUTE Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 6 We believe that arts and culture are among a community’s most powerful assets. They distinguish each community and allow residents to better understand and celebrate the uniqueness of their lives. A vibrant arts and cultural environment serves as a creative partner in strengthening many elements of civic life, including economic development, tourism, and education. As practitioners of the craft, CPG fundamentally views arts planning as holding up a mirror to the community and fully understanding a community’s vision and values. We believe in and practice the nation’s most advanced and inclusive cultural planning process, with special attention to stakeholder and civic engagement customized to each community and to each project. Working with the client, we identify key stakeholders and potential community partners, and design our process to be as inclusive as possible. We ground planning in rigorous research, data and proven practices. We believe in both qualitative and quantitative research – utilizing relevant, robust secondary data for insight, surveys, interviews, online tools, social media, structured community conversations, charrettes, artist-led initiatives, community forums, and other local opportunities to engage people. Essentially, all our plans are implemented, or are currently in process. This is possible because each plan is derived from our research. We manage the planning process to generate community consensus, leadership, and support for the resulting plan. THE CULTURAL PLANNING GROUP OUR PHILOSOPHY 1 WE BELIEVE THAT ARTS AND CULTURE ARE AMONG A COMMUNITY’S MOST POWERFUL ASSETS. • WE BELIEVE IN AND PRACTICE THE NATION’S MOST ADVANCED AND INCLUSIVE CULTURAL PLANNING PROCESS.• WE GROUND PLANNING IN RIGOROUS RESEARCH, DATA AND PROVEN PRACTICES.• ALL OUR PLANS ARE IMPLEMENTED, OR ARE CURRENTLY IN PROCESS. THIS IS POSSIBLE BECAUSE EACH PLAN IS DERIVED FROM THE COMMUNITY. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 7 CERTIFIED MINORITY BUSINESS ENTERPRISE Surale Phillips, owner of Decision Support Partners, our subcontractor for this project, is certified by the State of Florida Division of Corporations as a Woman-owned Business Enterprise (WBE). Woman Business Certification DECISION SUPPORT PARTNERS, INC. 08/29/2018 08/29/2020 2 SECTION TITLE TO COME We view successful arts planning as fully understanding and reflecting a community’s history, values, and vision. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 9 PROJECT UNDERSTANDING Collier County leadership recognizes the importance of a vibrant, arts-rich community. The CPG Team understands the purpose of this project is to develop a simple and clear Arts and Culture Strategic Plan providing a framework and roadmap for arts and cultural development throughout Collier County. The overarching goals for this project are to: • Establish Collier County as an arts and culture destination. • Leverage the economic impact of Collier County’s creative sector. • Identify a unified community vision for arts and cultural development. • Engage key stakeholders and diverse residents in planning. • Identify and assess the capacity of current cultural venues in relation to current and future demand. • Identify available activities and facilities in Collier County. • Identify what is needed to expand arts and culture offerings. • Identify funding sources available to support future growth. • Identify roles for both government entities and private organizations. • Ground recommendations in best practices for arts and cultural development. • Assess the potential for cross-overs, coupling the arts with locales or events that are not solely arts-related. • Identify ways to develop a “cultural headquarters” for Collier County. Collier County is a unique place in Florida with a rich, storied history to be celebrated, from the naming of the County after entrepreneur and visionary BUSINESS PLAN 3 COLLIER COUNTY IS A UNIQUE DESTINATION. THE FOUNDATION OF OUR PLANNING BUILDS ON THE CHARACTERISTICS OF PLACE AND EXISTING CULTURAL ASSETS. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 10 Barron Collier, to the diverse communities, parks systems, and rising economy existing today. One defining characteristic is the county’s vital and impactful arts and cultural scene. For example, Collier County’s creative sector is a significant economic contributor. A recent Americans for the Arts’ Arts and Economic Prosperity 5 study focusing on the county’s nonprofit arts and cultural organizations demonstrated $107.7 million in total economic impact, generating $10.8 million in local and state government revenues and supporting 2,923 full-time equivalent jobs. The Creative Vitality Index, a quantitative profile of the entire creative workforce – for-profit as well as nonprofit – demonstrates growth in creative jobs through 2017, encompassing more than 10,000 creative jobs. The Creative Vitality Index also demonstrates the strength and consistent growth of Collier’s overall creative economy through 2016, with an index 1.24 (compared to a national average of 1.0), although it declined to .97 in 2017. Collier County’s creative economy, encompassing the nonprofit arts sector plus the larger community of individual artists and creative enterprises, also contributes to tourism and regional visitation. There is a clear potential to leverage this collective asset, to do a deep data dive and understand the opportunities and challenges. This will identify strategies to enhance year-round arts and cultural tourism, engage seasonal residents in greater local participation and philanthropy, attract new residents and workers to the county, and enrich the life of current residents. PLANNING APPROACH The CPG approach to arts and cultural planning has evolved in the past decade and uses the most comprehensive and advanced methodology for the arts and cultural sector. We elicit a comprehensive profile of the creative sector ecosystem, the community’s vision and aspirations, and opportunities for future economic development through the arts. What are we building on? What is the ideal future for Collier County? How can we get there? We believe in and practice an inclusive planning process, with special attention to key stakeholder and civic engagement. Our partners on this project are experts in audience development and targeted market research, marketing and communications. For this plan, the process includes significant quantitative research, plus multiple opportunities for public and private stakeholders, arts and cultural organizations, public officials, and individuals to collaborate on the planning, research, and development of strategies. OUR PLANS ARE GROUNDED IN RIGOROUS RESEARCH AND INCLUSIVE ENGAGEMENT Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 11 PHASE 1: PROJECT INITIATION During Project Initiation, the consultants and client develop a shared understanding of the project, clarify the process in detail, create a platform for several forms of research, and generally prepare the foundation for successful planning. Work Plan and Timeline Develop a detailed project work plan and timeline and identify potential barriers to a successful plan. Clarify roles and responsibilities in the planning process. Document Review Conduct a thorough document review that examines relevant County, community and organizational plans, reports and studies. Documents include downtown plans; other relevant city, county or regional plans and studies; visitor research; arts attendance and participation data on local arts and cultural organizations; public art plans; Arts & Economic Prosperity 5 study; the Schulze Family Foundation Collier County Community Needs and Assets Assessment; and consumer arts demand index and buyer projections from ESRI. Document review for marketing and branding will also include relevant out-of-market campaigns, digital campaigns, and other tourism related research. Research Planning In consultation with the client, the CPG team will define the research design for the project. This includes arts impact measurements, market analyses, and stakeholder and civic engagement. PHASE ONE LAYS THE GROUNDWORK FOR SUCCESSFUL PLANNING. For this plan, the process includes significant quantitative research, plus multiple opportunities for stakeholder and community input. Quantitative MarketDemandAnalysis Community and Organizational Surveys CreativeVitalityAnalysis AssetInventory VenueProjections Qualitative Complementary Interviews DiscussionGroups Document/Plan Review BenchmarkingInsight SteeringCommittee/ClientInsight CommunityConversations Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 12 Plan Taskforce We propose the development of a Plan Taskforce as the advising body for the planning effort. The Taskforce will oversee the process, connect us with influencers in different sectors, and provide feedback on findings and strategies. Key Stakeholder List To guide the discussion groups and interviews, a master list of individuals and stakeholder groups to be consulted during the planning process will be developed in consultation with staff, the full consultant team, and other informants. It will include such categories as local arts providers, City and County elected and appointed officials, community and business leaders, potential funding partners, civic associations, tourism associations, and other leadership that would be valuable to the planning process. Communications Plan Working with staff, the CPG team will develop a simple and efficient communications plan. This ensures effective internal and external communications among the CPG team, staff, Taskforce, other project partners, the media, and the community. Site Visit 1 – Orientation Familiarization Tour While part of the team is very familiar with Collier County, the team recommends a tour of key cultural assets, places, and venues. Team Meeting Initial meeting with County staff to review plans for the site visit and finalize the research design. Taskforce Meeting Conduct an orientation meeting with the Taskforce, reviewing the planning and research process, defining the Taskforce role, and identifying issues and opportunities. Key Stakeholder Meetings Conduct initial key stakeholder interviews. PHASE 1 DELIVERABLES • Detailed work plan and timeline • Research plan • Document review summary Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 13 PHASE 2: ENGAGEMENT AND RESEARCH Stakeholder and Civic Engagement The intent of the civic engagement efforts is to develop a “porous” system with many entry points through which all residents in Collier County can participate in the process. Our methodology includes a suite of well-organized, directed activities, and techniques to ensure an efficient, effective civic participation process. Stakeholder and Civic Meeting Planning With the client, plan for stakeholder meetings, arts and cultural organization meetings, and other meetings for the site visit. Plan and schedule details for community meetings in different cities and areas of Collier County. Survey Planning Develop a community survey to be distributed to residents and organizational surveys for arts organization stakeholders and businesses. Survey Launch Launch resident survey and promote client communication channels. Launch organizational surveys. Existing Conditions and Opportunities Research Market Demand Analysis and Mapping Develop maps and supporting data from ESRI that quantify the potential audiences and project and illustrate the strength in consumer demand for various types of arts, entertainment, leisure, and cultural activities within the county, region, or customized geography. The analysis produces potential buyer counts and household counts to get an understanding of existing market reach, potential, or saturation. It is then linked to a deeper understanding of the consumer base through an analysis of Mosaic USA market segments. Conduct a lifestyles analysis of households in the county and region using Mosaic USA to understand the demographics, lifestyles, and communication channels of the population to inform marketing strategies tailored to different audiences. As possible, we will also map and utilize ZIP code information collected through surveys to embellish this aspect of the research. This puts the planning into context with regard to consumers. Americans for the Arts Economic Impact of the Arts Study Review the results of this well-established, credible methodology for measuring the economic impact of nonprofit arts organizations and for comparisons with other communities that have participated in the national study. One advantage of this study is it includes measurements of the indirect spending of arts audiences, including out-of-county visitors. PHASE TWO IS FOCUSED ON LEARNING THROUGH LISTENING – TO THE RESEARCH AND STAKEHOLDERS. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 14 The Creative Vitality Suite (https://cvsuite.org) CVI is a tool used in understanding the creative economy of the County and region. CPG works regularly with the CVI staff on planning projects. It is a powerful tool with a technology platform to define and measure a range of creative economy activity on a geographic level (by zips, counties, MSAs, and States); measure jobs and industry sales and earnings using creative SOC and NAICS codes that you can select or deselect; compare wages in peer regions; choose what class of worker is being analyzed; and choose year of analysis. The Arts Vibrancy Index (http://mcs.smu.edu/artsresearch/) The Arts Vibrancy Index is a complementary measurement of arts vibrancy in a community using characteristics like the number of nonprofit arts and cultural organizations per capita. It incorporates multiple measures under three main rubrics: demand, supply, and government support for arts and culture. It provides comparisons with similar communities and helps identify strengths and weaknesses. Benchmarking Identify and document successful cross-over strategies and initiatives in up to four similar communities. Inventory of Arts and Cultural Assets Develop an asset list using a combination of analysis of data from existing secondary sources such as NCCS, IRS and existing/planned facility specs. Venue Projections Utilizing the asset inventory and quantitative data gathered (venue capacity, utilization, comparable markets, competitive analysis, gaps, and crossover potential) the CPG team will evaluate opportunities for future growth of the arts and cultural sector in Collier County. Review of Current Funding Environment The CPG team will review and analyze the current funding environment for arts and culture in Collier County and research additional funding sources. Review of Current Role of County and City Government in Cultural Development Through interviews and current role evaluation, the CPG team will examine and assess the options for a cultural headquarters in Collier County. Site Visits 2 and 3 – Stakeholder and Civic Engagement and Research Review Team Meeting Conduct a planning and debrief meeting with the client group. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 15 Taskforce Meeting Conduct a Taskforce meeting reviewing the quantitative data findings. Interviews and Discussion Groups The CPG team will conduct a comprehensive series of interviews and focus group meetings, including County and City officials, civic leaders, artists, cultural organization leaders, and other stakeholders. These in-person conversations allow for an in-depth exploration of the challenges and opportunities for the Arts and Culture Strategic Plan. Civic Engagement Community meetings will be conducted to define the vision and aspirations of the community regarding the development of the Arts and Culture Strategic Plan. Public activities will include CPG team-led discussion groups and larger civic meetings throughout the County supported by an active social media effort. The number and scheduling of meetings will be determined according to the available time, scheduling and logistics, and other priorities. PHASE 2 DELIVERABLES • Summary of Arts Impact Research (with survey research) • Market Demand Analysis and Maps • Benchmarking Report • Creative Vitality Index Report • Cultural Asset Inventory Note: Venue projections, funding recommendations, and cultural headquarter recommendations will be summarized in the plan document. PHASE 3: STRATEGIC PLAN DEVELOPMENT During Phase 3, the CPG team uses the integrated research findings, along with stand-alone quantitative data, to develop a draft strategic plan addressing the following areas: 1) Business Strategies and Objectives, 2) Actions for Implementation, and 3) Success Metrics. The strategic plan: Articulates vision and values statements for Collier County’s arts and cultural development. Recommends strategies and actions for enhancement of arts and culture in Collier County inclusive of cross-over strategies with non-arts related businesses. Summarize facility/venue utilization and long-term facility development needs. PHASE THREE INTEGRATES, ANALYZES, AND DEVELOPS STRATEGIES THAT WORK. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 16 Proposes an organizational and management structure for arts and culture in Collier County. Identifies needed resources and budgets and suggests potential new funding and revenues from sources outside County government. Site Visit 4 – Draft Review and Feedback This site visit will be devoted to presenting the draft Arts and Culture Strategic Plan to the project stakeholders and to the community, including: Presentation, review and vetting by the Taskforce and County client. Follow-up interviews and meetings as required to fully vet the draft plan with key decision-makers and stakeholders. If requested, convening a community meeting to present the draft plan and gather resident and stakeholder input. If requested, presentation of the draft plan to the County Board of Commissioners in a workshop setting. PHASE 3 DELIVERABLES • Draft Arts and Culture Strategic Plan • PowerPoint presentations for the Taskforce and County PHASE 4: PRESENTATION AND ADOPTION OF THE PLAN During Phase 4, a revised final draft plan is prepared, as a comprehensive, clear long-term strategic plan document. Presentation materials are prepared, presentations relevant to adoption are planned and carried out, and the transition from planning to implementation is prepared. Final Collier County Arts and Culture Strategic Plan Incorporating feedback on the draft plan, prepare a revised final draft plan which fully develops arts and cultural strategies for the County, identifying appropriate funding, programming and collaborative opportunities, roles and responsibilities, partnerships and alignment with County goals and initiatives, and marketing and promotions recommended initiatives. Plan Presentations and Approval Develop a process and schedule for presenting and approvals of the plan, including the County Board of Commissioners and other potential reviewing or approving agencies. PHASE FOUR COMMUNICATES AND BUILDS SUPPORT FOR THE PLAN AND ITS IMPLEMENTATION. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 17 Workshop for Implementation Partners Convene organizations and people sharing responsibility for plan strategies to refine and confirm roles and help create the conditions for successful implementation. This recognizes that the County will need partners to implement portions of the plan. Site Visit 5 – Final Plan Presentation Review and Feedback This site visit will be devoted to presenting the final Arts and Culture Strategic Plan and recommendations to the project stakeholders, the Taskforce, including: Presentations of the plan to Taskforce, County Board of Commissioners, City agencies, and other implementing agencies or organizations. Workshop for implementation parnters. Staff team working meeting to review communications and implementation strategies. PHASE 4 DELIVERABLES • Final Plan, including comprehensive version with full research reports, implementation detail and documentation of the process, including an Executive Summary version. • Presentation materials Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 18 PHASE I: PROJECT INITIATION Project planning Workplan schedule Initial meeting with taskforce Familiarization tour Documents review Research planning Begin stakeholder meetings Deliverables • Detailed work plan and timeline • Research plan • Document review summary PHASE 2: ENGAGEMENT AND RESEARCH Stakeholder meetings In-depth interviews Discussion groups Arts and cultural asset inventory Community and org. surveys Market demand study Benchmarking Other research Deliverables • Summary of arts impact research (with survey research) • Arts demand study and maps • Benchmarking report • Creative Vitality Index report • Cultural asset inventory PHASE 3: STRATEGIC PLAN DEVELOPMENT Translation of all data to strategic framework: Business strategies and objectives Actions for implementation Success metrics Full draft plan development Deliverables • Draft Arts and Culture Strategic Plan • PowerPoint presentations for the Taskforce and County agencies PHASE 4: PRESENTATION AND ADOPTION OF THE PLAN Final Plan Finalize and prepare all research appendices Stakeholder presentations Implementation workshop Deliverables • Final Plan, including comprehensive version with full research reports, implementation detail and documentation of the process, including an Executive Summary version • Presentation materials MONTH 1 MONTH 5MONTH 3 MONTH 7MONTH 2 MONTH 6MONTH 4 MONTH 8 MONTH 9 APPROXIMATELY 6 WEEKS APPROXIMATELY 3 –4 MONTHS APPROXIMATELY 2 MONTHS APPROXIMATELY 6 WEEKS PROJECT TIMELINE Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 19 REQUESTS OF COLLIER COUNTY STAFF We look forward to working closely with the project staff. To best fulfill the project objectives, we request the following assistance from the planning partners during the project: Assembling and transmitting to the CPG team all documents, plans, policies, studies, data and other literature relevant to the planning process. Attendance at relevant meetings; also at stakeholder and community meetings where the presence of staff would not deter candid input and discussion of planning ideas. Development of engagement lists, such as interviewees, discussion group participants, etc., in consultation with the CPG team. Scheduling of interviews, discussion groups, meetings and other planning activities and announcement/publicity for community meetings. Logistics for all meetings and other planning activities. Implementation of the communications plan, including potential development, maintenance, and monitoring of web pages or social media sites, with content to be developed by both the CPG team and the client. Distribution of the community online survey, through electronic lists, newsletters, print, and other publicity, in cooperation with CPG’s Research Director. If desired, professional graphic design and/or printing of the final plan document. Timely response to consultant inquiries, requests, draft documents and other planning materials. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 20 COST OF SERVICES TO THE COUNTY PROPOSED PROJECT BUDGET Our proposed project budget is based on our current understanding of the project and the best allocations of time and other resources to fulfill the full purpose of the project. Our approach calls for a team of two partners plus two subconsultants. It provides for sufficient on-site time and time for research, while focusing the use of that time in the most efficient ways. In essence, we use on-site time primarily for stakeholder and civic engagement, plus data gathering, vetting and presentations of the draft and final plan. Because three team members are located in South Florida, we can also be available for meetings in between site visits. We anticipate that the budget can be revised through discussion with County staff, to best suit the priorities of the project. Please note that CPG does not charge for travel time. 4 Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 21 THE CULTURAL PLANNING GROUP SOLICITATION PRICING SUMMARY TOTAL COST $100,981 ESTIMATED CALENDAR DAY DURATION Calendar Timeline 9 months / 270 days Total Billable Days 82 VALUES AND DELIVERABLES Phase 1 $17,000 • Detailed work plan and timeline • Research plan • Document Review Summary Phase 2 $41,500 • Summary of arts impact research (with survey research) • Arts demand study and maps • Benchmarking report • Creative Vitality Index report • Cultural asset inventory Phase 3 $30,000 • Draft Arts and Culture Strategic Plan • PowerPoint presentations for the Taskforce and County agencies. Phase 4 $12,481 • Final Strategic Plan • Presentation materials FEE SCHEDULE The Cultural Planning Group • Linda T. Flynn: 29 days @ $1,200/day Flynn: $34,800 • David Plettner-Saunders: 22 days @ $1,200/day Plettner-Saunders: $26,400 Decision Support Partners • Surale Phillips: 23 days @ $800/day Phillips: $18,400 Wilson Creative Group • Peggy Wilson: flat fee Wilson: $9,600 Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 22 BUDGET DETAIL TASKS BILLABLE DAYS: FLYNN SAUNDERS PHILLIPS GROUP PROJECT INITIATION 5 3 3 Review relevant documents, e.g., county and city plans, feasibility studies, other relevant community plans Develop and finalize project work plan and timeline (with client) Identify key person/key stakeholder interview list (with client) Develop Plan Taskforce, including role and management plan Prepare all research protocols Prepare site visit materials Develop/design community meetings Team coordination Client communications EXISTING CONDITIONS ASSESSMENT: ARTS AND CULTURAL ENVIRONMENT 5 5 7 Inventory arts and cultural assets Develop and conduct market demand analysis: Customers from key markets: national, regional, local Develop and conduct arts/cultural organizational survey Develop and conduct community survey Conduct community meetings Review current funding environment Evaluate current venue capacities FUTURE PRIORITIES: IDENTIFY AND EVALUATE OPPORTUNITIES TO ENHANCE ARTS/CULTURE 4 4 4 2 Benchmark similar community cross-over strategies Identify specific opportunities for local, regional, and national tourism Identify new opportunities for audience development Identify funding options and priorities Analyze county, city, and private sector role in arts development STRATEGIC FRAMEWORK FOR ARTS AND CULTURE 10 7 7 2 Analyze, synthesize and identify implications of all research Prepare values and mission statement Summarize arts and culture impact Finalize asset inventory and growth projections Develop strategies to advance arts and cultural development inclusive of cross-overs Outline key programs and projects within the strategies Develop and prioritize funding options inclusive of partnerships and leveraging Recommendation for cultural headquarters and county role Recommendations for marketing and promotion to audiences Vet draft plan with Taskforce and Client Group Integrate revisions and develop final plan Present draft and final plan to Board of County Commissioners and other bodies PLETTNER-WILSON CREATIVE Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 23 TASKS BILLABLE DAYS: FLYNN SAUNDERS PHILLIPS GROUP IMPLEMENTATION WORK PLAN 5 3 2 4 Summarize key implementation components: who, what, when, where, how Identify and describe relevant tools to support implementation Summarize benchmarking learnings and provide examples Summarize branding and promotions strategy Identify regulatory refinements that could enhance implementation Ways to integrate strategies & actions into different communities Monitoring system to track and refine performance over time Create a practical work plan matrix Conduct implementation workshop BILLABLE DAYS PER CONSULTANT 29 22 23 8 DAILY RATE $1,200 $1,200 $800 $1,200 CONSULTANT FEES $34,800 $26,400 $18,400 $9,600 TOTAL CONSULTING FEES $88,100 EXPENSES COST MILEAGE Phillips – 4 round trips of 300 miles @ $0.535/mile $642 Flynn – 5 round trips of 220 miles @ $0.535/mile $589 AIRFARE 4 trips – Plettner-Saunders SAN to FLL @ $550 $2,200 HOTELS 30 days x $180 $5,400 PER DIEM 35 days x $70 $2,450 AIRPORT PARKING/TRANSPORTATION $250 CONTINGENCY $250 TOTAL EXPENSES $11,781 TOTAL BUDGET $100,981 PLETTNER-WILSON CREATIVE Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 24 SITE VISIT DAYS FLYNN SAUNDERS PHILLIPS SITE VISIT 1 – 2 DAYS 2 2 2 Project Start-Up; Internal stakeholder Interviews SITE VISIT 2 – 4 DAYS 4 4 4 Stakeholder Interviews; Discussion Groups; Civic Engagement SITE VISIT 3 – 3 DAYS 3 3 3 Stakeholder Interviews; Discussion Groups; Civic Engagement SITE VISIT 4 – 2 DAYS 2 2 2 Strategic Framework and Draft Plan Review SITE VISIT 5 – 2 DAYS 2 0 0 Final Plan Presentation and Implementation Workshop SUBTOTAL DAYS 13 11 11 TOTAL DAYS 35 HOTEL NIGHTS FLYNN SAUNDERS PHILLIPS SITE VISIT 1 1 3 1 SITE VISIT 2 3 5 3 SITE VISIT 3 2 4 2 SITE VISIT 4 1 3 1 SITE VISIT 5 1 0 0 SUBTOTAL HOTEL NIGHTS 8 15 7 TOTAL HOTEL NIGHTS 30 OPTIONAL SERVICE STATISTICALLY VALID SURVEY $18,000 – $22,000 PLETTNER- PLETTNER- We believe every community and person has the right to choose their own creative life. WHO WE ARE Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 26 EACH COMMUNITY POSES ITS OWN VISION, POLITICS, ASPIRATIONS, HISTORY AND POTENTIAL. WE EMBRACE THE WORK OF IDENTIFYING WHAT EACH COMMUNITY SEEKS TO BECOME AND CREATING THE BEST PLAN TO ACHIEVE THEIR GOALS. The Cultural Planning Group is a consulting firm serving the field of arts and culture since 1998. Our six partners are in Florida, California, Pennsylvania, and Hawai‘i. Every project we undertake has the active participation of at least two partners. This hands-on participation by the partners ensures project management and quality control that lends success to virtually every project we undertake. As a firm, we are selective about the projects we undertake and always endeavor to schedule our projects so that each project receives the time and attention it deserves. ARTS AND CULTURAL PLANNING EXPERIENCE CPG’s partners have prepared more than 70 arts and cultural master plans for communities throughout the nation, more than any other US firm. We have developed cultural plans in diverse communities, ranging from rural towns, such as Los Alamos and Santa Cruz, to major metropolitan regions, such as Houston, Boston and Washington, DC. Our practice is grounded in the real-world experience of research, data, and deep community engagement – a hallmark of our work – and a thorough understanding of the local arts agency. We are often called on to define an appropriate role for local government in cultural leadership. While there are commonalities among cultural plans, each community poses its own vision, politics, aspirations, history and potential. We embrace the work of identifying what each community seeks to become and creating the best plan to achieve their goals. Our project team holds exceptional qualifications to meet and exceed the goals of this project, including: Significant experience in the advancement of arts and culture to build vibrant communities. A number of completed projects of the size, type and/or complexity of the Collier County Arts and Culture Strategic Plan. EXPERIENCE & CAPACITY OF THE FIRM THE CULTURAL PLANNING GROUP 5 Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 27 A considerable showing of the overall combination of skills, prior work experience, business reputation, commitment to local consultants, and success with engaging business and resident members of a community. CPG and Surale Phillips/Decision Support Partners have worked together on multiple master planning and strategic planning projects. FINANCIAL STRENGTH OF THE FIRM The Cultural Planning Group maintains a strong financial position. The firm has operated with a net profit in each of the past five years, carries no debt, and has an operating reserve more than sufficient to meet ongoing cash flow requirements. If desired, we can provide copies of our tax returns to document these statements. Please also refer to the attached letter of reference from the accountant for our subsoncractor, Decision Support Partners. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 28 Side Street Projects Pasadena, California The Smithsonian Institution Southwest Chamber Music Pasadena, California Taller Puertorriqueño, Philadelphia Wyck Association Germantown, Pennsylvania Yerba Buena Center for the Arts Yuba Sutter Regional Arts Council Marysville, California FOUNDATIONS AND HIGHER EDUCATION Hawai‘i Community Foundation, Honolulu Pew Center for Arts & Heritage, Philadelphia Cultural Management Initiative The Community Foundation Serving Riverside and San Bernardino Counties, California The Emily Hall Tremaine Foundation Connecticut The James Irvine Foundation San Francisco The San Diego Foundation Terasaki Foundation, Los Angeles The Montgomery County Foundation, Pennsylvania URBAN DESIGN AND ARCHITECTURE FIRMS AECOM, Raleigh DCE Design Community Environment, Berkeley HR&A, Los Angeles KPMG LMN Architects, Seattle GOVERNMENT AGENCIES Broward County, Florida California Arts Council City of Boston City of Boulder, Colorado City and County of Denver City of Chandler, Arizona City of Dallas City of Fort Lauderdale, Florida City of Kansas City, Missouri City of Laguna Beach, California City of Los Angeles Cultural Affairs Division City of Minneapolis, Minnesota City of Oceanside, California City of Pasadena, California City of Philadelphia, Office of Arts, Culture and the Creative Economy City of Reno, Nevada City of Riverside, California City of Roseville, California City of Sacramento, California City of San Antonio, Texas City of San Diego, California City of San José, California City of Santa Clarita, California City of Santa Monica, California City of Thousand Oaks, California City of Tempe, Arizona City of Upland, California City of Ventura, California County of Maui Office of Economic Development/Iao Theatre Restoration Initiatives Task Force, Hawai’i DC Commission on the Arts and Humanities Los Alamos County, New Mexico Los Angeles County Arts Commission Monroe County Council on the Arts, Florida National Endowment for the Arts Washington, DC New Jersey State Council on the Arts Ohio Arts Council Port of San Diego, California Salt Lake County, Center for the Arts Salt Lake County, ZAP (Zoo, Arts & Parks) Program San Francisco Redevelopment Agency ARTS AND CULTURAL ORGANIZATIONS African American Museum of Philadelphia Amador County Arts Council, California American Revolution Center, Philadelphia Americans for the Arts, Washington, DC Art Sanctuary, Philadelphia Arts and Business Council of Greater Philadelphia Chamber Music Hawai‘i, Honolulu Dallas Arts District Management Association and Arts Foundation Dance/USA Philadelphia Ennis House Foundation (Frank Lloyd Wright), Los Angeles Exploratorium, San Francisco Grand Canyon Music Festival, Arizona Hawai‘i Arts Ensemble (Halau Hula Ka No’eau), Honolulu and Waimea Hawai‘i Capital Cultural District, Honolulu Historic Hawai‘i Foundation, Honolulu Humboldt Arts Council, California IONA Contemporary Dance Theatre, Honolulu L.A. Stage Alliance LEONARDO/The International Society for the Arts, Sciences and Technology Music Center of Los Angeles, Center Dance Association Painted Bride Arts Center, Philadelphia People’s Light & Theatre Company, Malvern, Pennsylvania PennPraxis, School of Design, University of Pennsylvania The Philadelphia Singers Raices Culturales Latino Americanas, Philadelphia Scottsdale Public Art, Arizona SELECT CLIENT LIST Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 29 The following projects illustrate our team’s successful experience in projects relevant to the Collier County Arts and Culture Strategic Plan. They include countywide cultural plans, economic development strategies, strengthening cultural tourism, arts market research, facility assessment, identifying funding sources, and defining a role for local government in arts leadership. Four of these examples were collaborations with Surale Phillips/Decision Support Partners. RELEVANT PROJECTS Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 30 CLIENT Salt Lake City and County SCOPE OF WORK Master Plan for the Joint Downtown Cultural District YEAR COMPLETE 2016 FOR MORE DETAIL https://www.planning. org/knowledgebase/re- source/9146990/ CULTURAL CORE / THE BLOCKS This is a comprehensive plan for Salt Lake City and County’s joint downtown cultural district, now branded as THE BLOCKS (https://theblocksslc.com/about/). While Salt Lake has a strong tourism brand, it seeks now to strengthen its reputation for creative vitality among visitors and residents. Salt Lake in fact has a remarkable concentration of cultural venues and people and extraordinarily high arts participation. For example, its beautiful new Broadway venue, the Eccles Theater, has a waiting list of 9,000 for its season tickets. Major new works of permanent and temporary public art are underway. Based on market research and stakeholder engagement, the plan calls for coordinated creative placemaking, marketing and audience development, management, financing and success metrics. The Cultural Core plan is in its second year of successful implementation under the management of Downtown Salt Lake Presents. addressing challenges in image, connectivity and vitality. This project was performed in collaboration with Surale Phillips/Decision Support Partners. This project is included as a work sample. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 31 CLIENT Arts Council of Greater Lansing, Michigan SCOPE OF WORK Cultural Economic Development Plan for the Tri-County Area of the Capital Region YEAR COMPLETE 2018 FOR MORE DETAIL http://lansingarts.org/post/ arts-council-launches-cre- ative-517-ced-plan CREATIVE 517 A Cultural Economic Development Plan for the Tri-County Area of the Capital Region The Arts Council of Greater Lansing served as the facilitator of a coalition of organizations and agencies from across a region encompassing Lansing, MI and the cities and towns within the three counties around Lansing. Creative 517 (the region’s area code) builds on extensive efforts in creative economic development over the past several years through a collaboration of arts, economic development and municipal leadership agencies. The plan was developed with extensive stakeholder input from over 130 individuals through individual interviews and discussion groups. As stated on the Arts Council’s webpage: “The primary goal of this plan is to articulate an actionable set of strategies to support Tri-County Region artists, non-profit organizations and institutions, creative workers and industries for the purpose of fully integrating the creative sector in regional planning and economic development.” The plan was presented at Lansing’s Creative Placemaking Summit in early October 2018. This project is included as a work sample. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 32 CLIENT San Bernardino County, California SCOPE OF WORK Strategic Plan for Culture and the Arts YEAR COMPLETE 2018 FOR MORE DETAIL http://joshuatreelivingarts.org MORONGO BASIN STRATEGIC PLAN FOR CULTURE AND THE ARTS The Joshua Tree area of San Bernardino County has evolved as home to an international community of artists who have chosen to live and work in the inspirational desert environment. While the nine rural communities of the region have little infrastructure for the arts, there is great potential for leveraging this well-kept-secret of artists and cultural assets. The County sought through this plan to empower and equip the arts community, and its partners, to generate greater cultural tourism, economic growth, and community benefits. A core value was to promote and preserve the desert qualities that make these communities so attractive to creative people. Developed in part by the artists themselves, the plan focuses on four goals: tourism marketing, the arts market, arts education and cultural equity. This project was performed in collaboration with Surale Phillips/Decision Support Partners. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 33 CLIENT Sonoma County Economic Development Board, California SCOPE OF WORK Arts Action Plan YEAR COMPLETE 2014 FOR MORE DETAIL http://edb.sonoma-county. org/documents/Creative- Sonoma-Arts-Action-Plan.pdf CREATIVE SONOMA ARTS ACTION PLAN Creative Sonoma is the name of a new creative economy agency, formed in 2014 as the direct result of our planning project. The county’s Arts Commission had dissolved two years prior and the County Board of Commissioners charged its Economic Development Board to explore new leadership for the arts, cultural and creative economic sectors. The planning process revealed the opportunity to create an agency from a “clean sheet of paper” that would encompass Sonoma’s inclusive definition of culture and creativity. Incubated in the Economic Development Board, Creative Sonoma supports individual artists, nonprofit arts and cultural organizations, creative entrepreneurs and the county’s growing creative clusters, such as digital media, artisan foodstuffs and a makers’ community. It also actively partners with Visit Sonoma to promote arts and culture to tourists and visitors. Creative Sonoma illustrates the potential for better integration of the functions and mindset of an arts commission with economic development for the creative industries. There are often “cultural differences” between these two types of agencies but there is great potential for alignment of strategies. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 34 CLIENT City of Laguna Beach, California SCOPE OF WORK Cultural Arts Plan YEAR COMPLETE 2016 FOR MORE DETAIL http://www.lagunabeachcity. net/civicax/filebank/blobd- load.aspx?BlobID=16126 ARTS EVOLUTION: CITY OF LAGUNA BEACH CULTURAL ARTS PLAN Arts Evolution, Laguna Beach’s citywide arts plan, sets forth a framework to strengthen and enhance the artistic life of this rare, century-old coastal arts city in southern California. The plan addresses challenges that include dramatically rising real estate pressures, limitations on growth, and changes in the arts community. One important goal is to retain Laguna Beach’s artistic vitality by retaining and attracting the presence of working artists and utilizing their civic leadership in new ways. The plan assessed the community’s cultural facilities and made recommendations for future development. The plan led to increased city investment as well as new private sector dollars for the arts. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 35 CLIENT City of Sacramento, California SCOPE OF WORK Arts, Culture & Creative Economy Plan YEAR COMPLETE 2018 FOR MORE DETAIL http://www.sacmetroarts.org/ creative-edge-plan CREATIVE EDGE Sacramento’s Arts, Culture & Creative Economy Plan Perhaps overshadowed by California’s coastal cities, this capital city is reclaiming its story and celebrating its unique character. It is on the “creative edge” of its next iteration. This citywide plan leverages the community’s creativity in multiple ways for enhanced cultural development, greater equity, economic growth, and authentic placemaking/placekeeping. One priority is arts education and the plan has already led to the formation of an ambitious countywide initiative to assure arts education for every student supported by the mayor and educational leaders. The plan has generated significant new dollars for the arts and public/private partnerships, aligned with the goals of the plan. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 36 CLIENT Cultural Council of Palm Beach County/ Discover The Palm Beaches SCOPE OF WORK Arts, Culture & Creative Economy Plan FOR YEARS FY 2015, FY 2017 and FY 2019 FOR MORE DETAIL https://www.palmbeach- culture.com/wp-content/ uploads/FY-2017-ECONOM- IC-IMPACT-OF-CULTURAL- TOURISM-IN-PALM-BEACH- COUNTY_FINAL_JUNE- 1_2018.pdf ECONOMIC IMPACT OF CULTURAL TOURISM IN PALM BEACH COUNTY The Cultural Council of Palm Beach County administers upwards of $4 million in grants funded through the Cultural Tourism Development Fund. All grantees are required to participate in a biennial audience survey to measure the economic impact of cultural tourists, gather data useful for tourist marketing, and document audience use of lodging, demographics, and satisfaction. Surale Phillips (Decision Support Partners, Inc.) won the bid to redesign the study methodology in FY2015 and implement the project. Her contract was renewed in FY2017 and for FY2019. The project includes training for all grantees, monitoring the year-long data collection process, and workshops on the results to keep pace with industry trends. Americans for the Arts is subcontracted to compute the economic impact results for consistency with the Arts & Economic Prosperity methodology. This project was performed by Surale Phillips/Decision Support Partners. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 37 CLIENT Broward County Cultural Division SCOPE OF WORK Creative Broward 2020 A ten-year countywide master plan for cultural and economic development, which has been largely implemented. YEAR COMPLETE 2010 FOR MORE DETAIL http://www.broward.org/arts3/Resources/Publications/CulturalPlan2020/Pages/ Default.aspx CLIENT Town of Hilton Head Island, South Carolina SCOPE OF WORK Comprehensive Performing and Cultural Arts Assessment and Strategic Plan An assessment of the nonprofit arts and cultural community, including the community’s cultural facilities, and recommendations on the future role of the Town of Hilton Head Island. in collaboration with Surale Phillips/Decision Support Partners YEAR COMPLETE 2014 CLIENT Florida Keys Council on the Arts SCOPE OF WORK Cultural Plan for Monroe County Council on the Arts The county’s first long-term, countywide cultural master plan. YEAR COMPLETE 1998 continued ADDITIONAL RELEVANT PROJECTS Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 38 CLIENT City of Oceanside, California SCOPE OF WORK O’Arts Master Plan for the Arts The City’s first arts master plan, defining a role for the City and leveraging its limited resources for arts and economic development through partnerships and new funding. YEAR COMPLETE Scheduled for adoption in December 2018 FOR MORE DETAIL https://www.ci.oceanside.ca.us/gov/lib/about/arts_commission.asp CLIENT City of Raleigh, North Carolina SCOPE OF WORK Creative Life: Raleigh Arts Plan, a Community Cultural Plan A citywide cultural plan based on the vision of allowing each citizen to lead a creative life of their own choosing. in collaboration with Surale Phillips/Decision Support Partners YEAR COMPLETE 2016 FOR MORE DETAIL https://www.raleighnc.gov/parks/content/ParksRec/Articles/Projects/ArtsPlan.html CLIENT City of Santa Ana, California SCOPE OF WORK Santa Ana Arts Future, Community Arts and Cultural Master Plan The first cultural master plan for this majority Hispanic city, with an emphasis on equitable economic development through its cultural organizations, artists and creative entrepreneurs. YEAR COMPLETE 2016 FOR MORE DETAIL https://www.santa-ana.org/sites/default/files/Documents/Exhibit1-SAMasterPlan.pdf Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 39 CLIENT City of Houston, Texas SCOPE OF WORK Arts and Cultural Plan A citywide cultural plan intended to expand the City’s role in arts leadership and providing equitable access to arts resources. YEAR COMPLETE 2015 FOR MORE DETAIL http://www.houstontx.gov/culturalaffairs/artsandculturalplan.html CLIENT Kansas City, Missouri SCOPE OF WORK KCMO Arts Convergence In a community with significant private sector arts leadership and investment, an ambitious City plan for complementary municipal leadership and partnership in cultural development. YEAR COMPLETE 2013 FOR MORE DETAIL https://docs.google.com/file/d/0B473ABP2I3iZUS01b1M4aEc0a00/editl CLIENT City of San José, California SCOPE OF WORK Cultural Connection, a Community Cultural Plan Created during the recession, a citywide plan to secure new resources for the arts and redefine the City’s role in cultural and economic development. YEAR COMPLETE 2011 FOR MORE DETAIL http://www.sanjoseculture.org/index.aspx?NID=4341 Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 40 These two projects illustrate relevant work done by The Cultural Planning Group in collaboration with Surale Phillips/Decision Support Partners. Please see project descriptions, pages 30 and 31. Salt Lake City and County Cultural Core / THE BLOCKS Arts Council of Greater Lansing, Michigan Creative 517, A Cultural Economic Development Plan for the Tri-County Area of the Capital Region WORK SAMPLES Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 41 SALT LAKE CULTURAL CORE ACTION PLAN / THE BLOCKS Lia Summers Senior Advisor for Arts & Culture Mayor’s Office Salt Lake City 801-928-3508 451 South State Street, Room 306 summerslia@gmail.com Salt Lake City, UT 84114-5474 CITY OF LAGUNA BEACH ARTS EVOLUTION PLAN Sian Poeschl Cultural Arts Manager City of Laguna Beach 949-497-0727 479 Ocean Avenue, Suite D spoeschl@lagunabeachcity.net Laguna Beach, CA 92651 CREATIVE BROWARD 2020 PLAN Leslie Fordham Acting Director Broward County Cultural Division 954-357-7532 100 South Andrews Avenue, 6th Floor lfordham@broward.org Fort Lauderdale, FL 33301 MORONGO BASIN STRATEGIC PLAN FOR CULTURE AND THE ARTS Linda Mawby Senior Planner Land Use Services Department San Bernardino County 909-387-4002 385 N. Arrowhead Avenue, First Floor Linda.Mawby@lus.sbcounty.gov San Bernardino, CA 92415 PALM BEACH COUNTY For Surale Phillips, Decision Support Partners Jan Rodusky Chief Grants Officer Cultural Council of Palm Beach County 561-471-2901 601 Lake Avenue jrodusky@palmbeachculture.com Lake Worth, FL 33460 CLIENT REFERENCES References are provided in the Required Documents section Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 42 We propose a team of three consultants for this project. CPG Partner and Research Director Linda Flynn, who is based in Wilton Manors, would serve as the lead consultant, joined by Managing Partner David Plettner-Saunders. Flynn and Plettner-Saunders have developed many of the firm’s cultural plans throughout the US, including several Florida projects. They are joined by Surale Phillips/Decision Support Partners, a Florida and Palm Beach County certified MWBE. She has been a national arts planning consultant for 20 years and frequently joins the CPG team on a variety of projects. Surale specializes in market assessment, audience development, program evaluation, and cultural tourism studies. In addition to her national client base, she has led research for plans and studies in several Florida counties including: Brevard, Broward, Manatee, Orange, Palm Beach, St. Johns, Orange, and Alachua. We are also joined by Naples-based Wilson Creative Group. Since launching in 2007, Wilson Creative Group has produced award-winning marketing communications and advertising for the area’s most preeminent clients. They expand their clients’ brand awareness to achieve dominance in the marketplace by creating brand identities that are dynamic, memorable and meaningful to target consumers. They bring an understanding of the unique psychographics of the local target audience, their spoken and unspoken preferences, and what triggers them to buy. As the largest, full-service agency in Collier County, Wilson Creative Group is a team of highly creative professionals who have played key roles in successfully marketing high-profile businesses right here, where they live and work – Southwest Florida. If selected, we will review and refine all roles for the project. The table that follows identifies the people, initial roles, and relationships for our team. SPECIALIZED EXPERTISE OF TEAM MEMBERS CONSULTING TEAM 6 Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 43 PROPOSED CONSULTING TEAM ORGANIZATIONAL CHART CONSULTANTS The Cultural Planning Group Linda Flynn Partner & Research Director Lead Consultant David Plettner-Saunders Managing Partner Decision Support Partners Surale Phillips Market Research Lead Wilson Creative Group Peggy Wilson CEO and President PROJECT ROLE Responsible for development of overall plan, research, community engagement, analysis and integration of findings, and preparation of all planning documents Conducts market research and audience trends analysis and develops audience development Advises on strategic communications, marketing, branding, and promotions EXPERTISE Linda Flynn has extensive arts and cultural planning experience, and is the firm’s lead for arts research and community engagement. David Plettner-Saunders brings experience in arts and cultural planning, research, community process, and writing. Surale, an ongoing collaborator with CPG, provides arts industry expertise in arts market research, audience development and community engagement. Wilson Creative is a full-service communications firm with extensive experience in place-based branding. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 44 EXPERIENCE 20 years EDUCATION PhD., Social Sciences/ Conflict Resolution Nova Southeastern University Bachelor of Science, Psychology Florida Atlantic University MEMBERSHIPS Leadership Broward, Member and previous Board Member Americans for the Arts, Member American Planning Association, Member LINDA FLYNN, PH.D. PARTNER AND RESEARCH DIRECTOR Linda Flynn is a partner and director of research for The Cultural Planning Group. She is a planner who has contributed nationally to best practices in research, civic learning and engagement for the arts and cultural sector. Linda designs innovative, customized research processes for master and strategic planning efforts, as well as targeted economic development and organizational assessments and urban planning initiatives. Her design process for community-based research is based on a foundation of quantitative community data, community public and private partnerships, inclusivity, and collaboration. She has demonstrated experience in leading large-scale research projects, facilitating civic engagement programs, and translating data to focused, action-oriented planning initiatives. Linda works with creative workers and artists to infuse the research process with creativity and user experience insights. Prior to her work with CPG, Linda’s experience and relationships cross many industries and sectors, working with all levels in organizations including conducting behavioral research with transportation firms, urban planners, other government agencies, nonprofit organizations, and private sector corporations. Linda holds a doctorate in organizational management with a concentration in conflict management, and various certificates in qualitative and quantitative research. She is a published author of her research with organizations, and volunteers her time at several local nonprofit organizations focused on the improvement of youth educational experiences. PARTIAL CLIENT LIST ARTS & CULTURAL CLIENTS Broward County, FL City of Fort Lauderdale, FL. City of Orlando, FL City of Greensboro, NC City of Raleigh, NC City of Sacramento, CA City of Laguna Beach, CA City of San Antonio, TX Salt Lake City & County, UT San Bernardino County, CA OTHER CLIENTS Broward College Emily Tremaine Foundation Florida International University Florida’s Turnpike Enterprise KPMG of Orlando Ohio Arts Council San Diego Foundation The Smithsonian Institution Washington DC Commission on the Arts and Humanities Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 45 EXPERIENCE 25 years EDUCATION J.D., University of North Carolina School of Law, Chapel Hill B.A., Wesleyan University, Middletown, Connecticut Special Student in Dance, University of North Carolina School of the Arts, Winston-Salem MEMBERSHIPS American for the Arts Arts Action Fund, Americans for the Arts American Planning Association California for the Arts San Diego Regional Arts & Culture Coalition DAVID PLETTNER-SAUNDERS MANAGING PARTNER David Plettner-Saunders is Co-Founder of The Cultural Planning Group. A consultant for 25 years, David has prepared arts and cultural plans for more than 40 communities. His arts and cultural planning work reflects many of the pressing and complex issues facing communities, such as supporting tourism, economic revitalization, and the creative industries. In addition, his plans often address funding the arts, defining public/private partnerships, and identifying appropri- ate roles for local government. David is a leader in the field of creative economy planning, incorporating this work into his cultural planning practice since 2005 with the adoption of the City of San Antonio’s The Cultural Collaborative, which was the first citywide arts plan in the US to embrace the creative economy. In 2018 the City of Sacramento adopted Creative Edge, a bold new plan for the city’s arts, culture and creative economy developed by CPG. In 2017, San Bernardino County (CA) commissioned CPG to develop the Morongo Basin Strategic Plan for Culture and the Arts, designed to leverage the Joshua Tree region’s extraordinary arts community for greater economic, tourism, and community impact. In 2014, Sonoma County established a new creative economy agency based on CPG’s plan for Creative Sonoma, housed at the county’s Economic Development Board. Da- vid has also developed national and regional studies on individual artists as well as plans focusing on arts education. He has prepared assessments and strategic plans for arts and cultural organizations of virtually all disciplines and sizes, and in a great variety of communities. A retired modern dancer, he is co-founder with his wife, Victoria Plettner- Saunders, of the former San Diego Alliance for Arts Education, responsible for successfully preserving and advancing arts education in the San Diego Unified School District, one of the nation’s largest school districts, during the Recession. He is the past Chair of the Southern California Dance Futures Fund and the Dance Resource Center of Greater Los Angeles. PARTIAL CLIENT LIST ARTS & CULTURAL CLIENTS Broward County Cultural Division City of Laguna Beach City of Raleigh City of Sacramento City of San Antonio City of San Jose Florida Keys Council on the Arts Kansas City Salt Lake City & County OTHER CLIENTS California Arts Council California Community Foundation Emily Hall Tremaine Foundation Ennis House Foundation (Frank Lloyd Wright), Los Angeles James Irvine Foundation National Endowment for the Arts Ohio Arts Council San Diego Foundation Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 46 SURALE PHILLIPS CPG AFFILIATE, MARKET RESEARCH LEAD Surale Phillips started her own consulting practice in 2002 after 13 years working with a national firm. She has been collaborating with CPG ever since. Surale conducts market research for a variety of arts-related projects and plans. Her company, Decision Support Partners, Inc., has served hundreds of clients nationwide many of which are repeat clients. Surale has expertise in qualitative and quantitative research methods, greatly enjoys her work, and believes in presentation of clear and practical reporting. Surale Phillips is a certified WBE with the State of Florida and a certified S/WBE with Palm Beach County. She has led research for projects in several Florida counties including: Brevard, Broward, Manatee, Orange, Palm Beach, St. Johns, Orange, and Alachua. Since 2015, Surale has led the Cultural Tourism Economic Impact Studies for the Tourist Development Council & Cultural Council of Palm Beach County (FY15, FY17, and FY19 currently) as well as an inventory of county-wide cultural education programs. In addition to her CPG team projects, her recent work includes the first Public Art Master Plan for the City of West Palm Beach (2015); Engage CNY (Syracuse, NY), a five-county regional plan for cultural development in Central New York; stakeholder input analysis for 352ArtsRoadmap (Gainesville & Alachua County); and audience and market assessment and community engagement for The Realize Bradenton Cultural Master Plan (2009). Within the past five years, Surale has been an adjudicator for the State of Tennessee Major Institutional Grants and State of Montana Cultural & Aesthetic Grants Committee. Her 20+ presenting and training engagements have included Americans for the Arts, Florida Division of Cultural Affairs, Main Street Now, South Arts Performing Arts Exchange, and South Carolina Arts Commission. EXPERIENCE 25 years EDUCATION JB.A. Art History/ Arts Education University of Maryland, College Park, MD SPSS, Inc. Certified Training MEMBERSHIPS Americans for the Arts American Evaluation Association National Guild of Community Arts PARTIAL CLIENT LIST ARTS & CULTURAL CLIENTS Alexandria, VA* Bradenton, FL Brevard, FL Broward County, FL Fort Lauderdale, FL Fort Wayne, IN Fresno, CA Hilton Head, SC* Memphis, TN Milwaukee, WI Palm Beach County, FL Philadelphia, PA* Raleigh, NC* Roseville, CA* Salt Lake City, UT* San Bernardino County, CA* Sonoma County, CA St. Johns County, FL Syracuse, NY West Palm Beach, FL *indicates CPG team member Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 47 PEGGY WILSON WILSON CREATIVE GROUP, CEO AND PRESIDENT For over 25 years, Peggy Wilson has contributed immensely to the Naples aesthetic. She has participated in the planning and implementation of sophisticated and beautiful brands, which include the look and public image of many of the region’s foremost communities and businesses. Throughout her career, one thing has become apparent: Peggy doesn’t follow trends, she creates them. Providing the highest level of care and strategy, she has generated marketing with a national- level appeal, effectively setting the bar at a higher standard for all competitors. Peggy’s career has been, and continues to be, committed to producing real and substantial results for her clients through thoughtful strategic planning and well-branded design. Her goal is to contribute as much as possible to continuing Naples’ beauty – the city she calls home – and therefore is passionate about creating magnificent brands for local developers and businesses. The demonstration of her fine eye for creating the area’s most beautiful brands can be found in WCG’s current client campaigns, as well as her past work. The wide scope of her efforts is a testament to her lasting impact and influence in the region. Developers and businesses alike, seek Peggy and WCG to obtain top dollar on their marketing efforts and returns. No matter where you’re driving in or around Naples, chances are you will encounter a business or community Peggy has touched. In the course of her career, Peggy has been a part of countless award-winning campaigns. As a designer, a creative lead and now CEO, she knows what it takes to deliver results and consistently pushes the envelope for her clients. EXPERIENCE 25 years EDUCATION Art Institute of Fort Lauderdale MEMBERSHIPS Current Collier Building Industry Association Sales & Marketing Council Collier Building Industry Association Prior Lee Building Industry Association Economic Development Council of Collier County Collier County Public Schools PTA Naples Art AssociationPARTIAL CLIENT LIST Beach Bugz Bonita Bay Group Boys and Girls Club of Collier County Centex Homes CBIA (Collier Building Industry Association) DR Horton Fifth Avenue South Business Improvement District (BID) Grady Law Gulf Bay Group of Companies Gulfwestern Roofing Habitat for Humanity Harry Chapin Food Bank Immokalee Foundation John R. Wood Properties Kurtz Homes Naples Marco Beach Ocean Resort Naples Children & Education: Naples Winter Wine Festival marketing (4 years) Naples Redevelopment Naples Square Quest College Success The Ronto Group Surgical Healing Arts Center United Way of Collier County Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 48 The Cultural Planning Group (CPG) is committed to minimizing our impact on the environment and integrating sustainability best practice into our decision-making and business activities. Our key impacts arise from waste generation, energy use including travel, and resource consumption. CPG is a virtual firm; thus, we do not have a corporate office. Each partner works out of their own home. This minimizes impact on the environment through reduced waste, energy, water consumption, and many other ways. CPG’s work depends on air and vehicle travel. Whenever possible we utilize public transit in the cities we work, and if public transit is not available, we carpool with our team and our clients, or use a shared car service. Each CPG partner is committed to preserving our environment and does so through other individual acts of reduced consumption in their personal lives and support of environmental-focused organizations. SUSTAINABILITY STATEMENT Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 49 WHY CHOOSE CPG? The Cultural Planning Group is the most qualified firm for this project for five reasons. First, we have unparalleled extensive and successful experience in cultural planning throughout the US. The range and depth of our cultural planning work provide us with an unmatched ability to help Collier County develop an effective, efficient Arts and Culture Strategic Plan. Second, we do not do “cookie cutter” work and have a track record of effective innovation. This means that we can help Collier County invent appropriate, innovative approaches to cultural development. Third, our team has worked extensively for and with county and city government, we understand the realities of getting things done in the municipal context, and are familiar with Collier County. Fourth, we are dedicated to results. Arts and cultural strategic plans are complex undertakings and we are experienced at navigating any challenges that might arise. We “land the plane” successfully. Lastly, we love what we do. We enjoy the process of dialogue with our clients and the community, and help create the conditions for success, creativity, and fun along the way. VALUE ADDED SERVICES Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 50 LOCAL VENDOR PREFERENCE WILSON CREATIVE GROUP 7 Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 51 Please find the required forms on the following pages. REQUIRED FORMS 8 Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 52 FORM 2: VENDOR CHECKLIST Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 53 FORM 3: CONFLICT OF INTEREST AFFIDAVIT Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 54 FORM 4: VENDOR DECLARATION STATEMENT Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 55 Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 56 FORM 5: IMMIGRATION AFFIDAVIT CERTIFICATION Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 57 FORM 6: VENDOR SUBSTITUTE W-9 Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 58 STATE OF FLORIDA SECRETARY OF STATE DIVISION OF CORPORATIONS CERTIFICATION State of Florida Department of State I certify from the records of this office that THE CULTURAL PLANNING GROUP,LLC is a California limited liability company authorized to transact business in the State of Florida,qualified on August 11, 2014. The document number of this limited liability company is M14000005863. I further certify that said limited liability company has paid all fees due this office through December 31, 2018,that its most recent annual report was filed on January 10, 2018,and that its status is active. I further certify that said limited liability company has not filed a Certificate of Withdrawal. Given under my hand and the Great Seal of the State of Florida at Tallahassee,the Capital, this the Twenty-fifth day of October, 2018 Tracking Number: CU9578942466 To authenticate this certificate,visit the following site,enter this number, and then follow the instructions displayed. https://services.sunbiz.org/Filings/CertificateOfStatus/CertificateAuthentication Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 59 REFERENCE DOCUMENT Reference Questionnaire Solicitation: 19-7509 Reference Questionnaire for: The Cultural Planning Group (Name of Company Requesting Reference Information) CPG - David Plettner-Saunders, Linda Flynn (Name of Individuals Requesting Reference Information) Name: Leslie Fordham, Acting Director (Evaluator completing reference questionnaire) Company: Broward County Cultural Division (Evaluator’s Company completing reference) Email: lfordham@broward.org FAX: Telephone: 954-357-7532 Collier County has implemented a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Creative Broward 2020 Project Description: __________________________ Completion Date: 10/11/2010 Project Budget: $200,000_______ Project Number of Days: 18 months___________ Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 10 2 Ability to maintain project schedule (complete on-time or early). 10 3 Quality of work. 10 4 Quality of consultative advice provided on the project. 10 5 Professionalism and ability to manage personnel. 10 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 9 7 Ability to verbally communicate and document information clearly and succinctly. 9 8 Abiltity to manage risks and unexpected project circumstances. 9 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 9 10 Overall comfort level with hiring the company in the future (customer satisfaction). 9 TOTAL SCORE OF ALL ITEMS 95 Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 60 REFERENCE DOCUMENT Reference Questionnaire Solicitation: 19-7509 Reference Questionnaire for: The Cultural Planning Group (Name of Company Requesting Reference Information) David Plettner-Saunders (Name of Individuals Requesting Reference Information) Name: Siân Poeschl, Cultural Arts Manager (Evaluator completing reference questionnaire) Company: City of Laguna Beach (Evaluator’s Company completing reference) Email: spoeschl@lagunabeachcity.net FAX: Telephone: (949) 497-0727 Collier County has implemented a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Project Description: Laguna Beach Cultural Arts Plan Completion Date: March 2016 Project Budget: $100,000 Project Number of Days: May 2015 – March 2016 Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 10 2 Ability to maintain project schedule (complete on-time or early). 10 3 Quality of work. 10 4 Quality of consultative advice provided on the project. 10 5 Professionalism and ability to manage personnel. 10 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 10 7 Ability to verbally communicate and document information clearly and succinctly. 10 8 Abiltity to manage risks and unexpected project circumstances. 10 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 10 10 Overall comfort level with hiring the company in the future (customer satisfaction). 10 TOTAL SCORE OF ALL ITEMS 100 Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 61 REFERENCE DOCUMENT Reference Questionnaire Solicitation: 19-7509 Reference Questionnaire for: The Cultural Planning Group, team member (Name of Company Requesting Reference Information) Surale Phillips (Decision Support Partners, Inc.) (Name of Individuals Requesting Reference Information) Name:Jan Rodusky, Chief Grants Officer (Evaluator completing reference questionnaire) Company:Cultural Council of Palm Beach County (Evaluator’s Company completing reference) Email: jrodusky@palmbeachculture.com FAX: 561-687-9484 Telephone: 561-471-2901 Collier County has implement ed a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Project Description: FY17 Economic Impact of Cultural Tourism in Palm Beach County:FY17 grantee organizations Completion Date: June 2018 Project Budget: $52,140 Project Number of Days: 500 Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 10 2 Ability to maintain project schedule (complete on-time or early). 10 3 Quality of work. 10 4 Quality of consultative advice provided on the project. 10 5 Professionalism and ability to manage personnel. 10 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 10 7 Ability to verbally communicate and document information clearly and succinctly. 10 8 Abiltity to manage risks and unexpected project circumstances. 8 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 10 10 Overall comfort level with hiring the company in the future (customer satisfaction). 10 TOTAL SCORE OF ALL ITEMS Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 62 REFERENCE DOCUMENT Reference Questionnaire Solicitation: Reference Questionnaire for: The Cultural Planning Group (Name of Company Requesting Reference Information) David Plettner-Saunders (Name of Individuals Requesting Reference Information) Name: Linda Mawby (Evaluator completing reference questionnaire) Company:San Bernadino County, CA (Evaluator’s Company completing reference) Email: Linda.Mawby@dpw.sbcounty.gov FAX: Telephone: 909-387-1831 Collier County has implemented a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Project Description: Strategic Plan for Culture and the Arts Project Completion Date: July 2018 Project Budget: $134,000 Project Number of Days: August 2017 – July 2018 Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 10 2 Ability to maintain project schedule (complete on-time or early). 10 3 Quality of work. 10 4 Quality of consultative advice provided on the project. 10 5 Professionalism and ability to manage personnel. 10 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 10 7 Ability to verbally communicate and document information clearly and succinctly. 10 8 Abiltity to manage risks and unexpected project circumstances. 10 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 10 10 Overall comfort level with hiring the company in the future (customer satisfaction). 10 TOTAL SCORE OF ALL ITEMS 100 Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 63 REFERENCE DOCUMENT Reference Questionnaire Solicitation: 19-7509 Reference Questionnaire for: The Cultural Planning Group (Name of Company Requesting Reference Information) David Plettner-Saunders (Name of Individuals Requesting Reference Information) Name: Lia Summers, Senior Advisor for Arts & Culture (Evaluator completing reference questionnaire) Company: City of Salt Lake, Office of the Mayor (Evaluator’s Company completing reference) Email: lia.summers@slcgov.com FAX: Telephone: (801) 535-6006 Collier County has implemented a process that collects reference information on firms and their key personnel to be used in the selection of firms to perform this project. The Name of the Company listed in the Subject above has listed you as a client for which they have previously performed work. Please complete the survey. Please rate each criteria to the best of your knowledge on a scale of 1 to 10, with 10 representing that you were very satisifed (and would hire the firm/individual again) and 1 representing that you were very unsatisfied (and would never hire the firm/indivdiual again). If you do not have sufficient knowledge of past performance in a particular area, leave it blank and the item or form will be scored “0.” (Please note, references from Collier County staff will not be accepted.) Project Description: Salt Lake Cultural Core Action Plan Completion Date: December 2016 Project Budget: $199,730 Project Number of Days: May – December 2016 Item Citeria Score 1 Ability to manage the project costs (minimize change orders to scope). 10 2 Ability to maintain project schedule (complete on-time or early). 10 3 Quality of work. 10 4 Quality of consultative advice provided on the project. 10 5 Professionalism and ability to manage personnel. 9 6 Project administration (completed documents, final invoice, final product turnover; invoices; manuals or going forward documentation, etc.) 10 7 Ability to verbally communicate and document information clearly and succinctly. 10 8 Abiltity to manage risks and unexpected project circumstances. 10 9 Ability to follow contract documents, policies, procedures, rules, regulations, etc. 9 10 Overall comfort level with hiring the company in the future (customer satisfaction). 10 TOTAL SCORE OF ALL ITEMS 98 Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 64 LETTER OF INTENT Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 65 LETTER OF INTENT P.O. BOX 30547 • PALM BEACH GARDENS, FL 33420 (e)surale@suralephillips.com (p)561.328.3039 (c)406.600.7537 November 23, 2018 Collier County Procurement Services Division 3295 Tamiami Trail East, Bldg C-2 Naples, FL 34112 This letter is to confirm Decision Support Partner's intent to join The Cultural Planning Group (CPG) in responding to Request for Proposal (RFP) "Collier County Arts Culture Strategic Plan", 19-7509. As the principle owner, I look forward to partnering with CPG to provide professional services in the area of market research, community engagement and planning. Our prior team work on arts and cultural studies and plans has provided high quality and cost effective services to many municipal clients over the past 10 years. Decision Support Partners, Inc. has over 20 years of experience designing and implementing research in the nonprofit sector. Established in 2002, we are currently a Certified WBE with the State of Florida. At Decision Support Partners, Inc. we specialize in formative and summative research including qualitative (focus groups, in­depth interviews, and observation) and quantitative methods (surveys, data analysis, secondary research). I accept all the terms of the RFP, or any exceptions to them. In addition, I warrant that no conflict or apparent conflicts of interest exist with respect to the duties or responsibilities which may arise under any resulting award. If you have any questions, please feel free to contact me at 561-328-3039. Please address all email correspondence to surale@suralephillips.com. Sincerely, .. �� Surale Phillips Owner, Decision Support Partners, Inc. Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 66 CPA LETTER OF REFERENCE Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 67 ADDENDUM Enhancing the Brand of Collier County as an Arts and Cultural Destination RFP Response Prepared for Collier County by The Cultural Planning Group 68 E-VERIFY Last Login: 10/25/2018 03:35 PM Company Information Additional Information Organization Designation View / Edit View Original MOU Template View MOU Company Name The Cultural Planning Group, LLC Company ID Number 1262671 Doing Business As (DBA) Name -- DUNS Number 961335262 Physical Location Address 1 4769 Kensington Drive Address 2 -- City San Diego State CA Zip Code 92116 County SAN DIEGO Mailing Address Address 1 -- Address 2 -- City -- State -- Zip Code -- Employer Identification Number 562552152 Total Number of Employees 5 to 9 Perform Verifications for Your Company's Employees Yes Parent Organization -- Employer Category None of these categories apply NAICS Code 541 - PROFESSIONAL, SCIENTIFIC, AND TECHNICAL SERVICES View / Edit Total Hiring Sites 1 View / Edit Total Points of Contact 2 View / Edit U.S. Department of Homeland Security U.S. Citizenship and Immigration Services Enable Permanent Tooltips Accessibility Download Viewers WelcomeWelcome David Plettner-SaundersDavid Plettner-Saunders CompanyCompany The Cultural Planning Group, LLCThe Cultural Planning Group, LLC User IDUser ID DPLE0273DPLE0273 THANK YOU The Cultural Planning Group A Cultural Economic Development Plan for the Tri-County Area of the Capital Region 2 Acknowledgments..........................................................................................................................................2 Project Steering Committee........................................................................................................................2 Introduction.......................................................................................................................................................3 Methodology and Oversight.......................................................................................................................4 Key Findings..................................................................................................................................................6 What is our Creative Sector?..........................................................................................................................8 Individual Artists and Creatives..................................................................................................................9 Artist Inventory by County and Municipality..........................................................................................9 Creative Economy.......................................................................................................................................10 TABLE OF CONTENTS The Plan.............................................................................................................................................................12 Goal 1: Celebrate, leverage and build upon the strengths and assets of our arts, culture and creative sector to enhance economic vitality and quality of life in the region.....................................................................................................................................13 STRATEGIES..........................................................................................................................................14 Goal 2: Foster the environment and conditions that support and encourage artists and creative entrepreneurs for more successful businesses and expanded economic activity across the region.......................................................16 STRATEGIES..........................................................................................................................................18 Goal 3 - Support and enhance the work of municipalities and area agencies by integrating artists and creative entrepreneurs into municipal and government departments......................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,.....................................................20 STRATEGIES.............................................................................................................................................................21 Goal 4: Identify and leverage resources for building the creative and cultural community....................................................................................................................................22 STRATEGIES.........................................................................................................................................24 Implementation Plan.................................................................................................................................26 3 ACKNOWLEDGMENTS Project Steering Committee Tim Daman, Executive Director Lansing Regional Chamber of Commerce Kurt Dewhurst, Director Arts & Cultural Initiatives Michigan State University Rachel Elsinga, Senior Economic Development Planner Tri-County Regional Planning Commission Thomas Fehrenbach, Community & Economic Development Administrator City of East Lansing Planning Josh Holliday, Tri-County & Placemaking Manager Lansing Economic Area Partnership Blake Johnson, Trustee Lansing Economic Development Corporation Dr. Brent Knight, President Lansing Community College Janet Lillie, Asst. Vice President for Community Relations Michigan State University - Office of Governmental Affairs Meghan Martin, Program Manager Arts Council of Greater Lansing Brian McGrain, Director Economic Development & Planning City of Lansing Debbie Mikula, Executive Director Arts Council of Greater Lansing Lori Mullins, Director Community Development Incentives Michigan Economic Development Corporation Julie Pingston, Vice President & COO Greater Lansing Convention & Visitors Bureau Lolo Robison, Director Marketing of Marketing & Customer Experience Capital Area Transportation Authority Bob Trezise, President & CEO Lansing Economic Area Partnership Consultant: Martin Cohen, Partner The Cultural Planning Group Graphic Designer: Maurica James LEPFA Quotes throughout the plan are representative of individual interviews and comments noted in discussion and focus groups. No individuals are identified. Acrylic Pour Artwork created by Stephanie Acosta Peckham, Inc. employee and contributor to “Art from the Heart” program Stephanie was born and raised in California, with a neural defect called Spina Bifida. As early as age 5, Stephanie has shown an interest in art and creative activities. As an adult she felt the urge to branch out and to experience new things and began work at Peckham Inc. Stephanie has always jumped at the chance to try different types of mediums and express her creative side in as many ways as possible. One goal in Stephanie’s life is just to try and make things a little brighter than it was before. She seeks inspiration in the world around her, the sky, the animals, the earth, and the people she loves. 4 INTRODUCTION Creative 517, the Tri-County Lansing Area Cultural and Economic Development Plan (CEDP) reflects the growing influence, role and value of arts, culture, and creativity in economic development and community vitality across the three-county region (Ingham, Eaton and Clinton counties). This plan is the second iteration of a CEDP, the first having been developed in 2009. Communities across the Tri-County region have made significant progress in creative endeavors and cultural and creative economic development since 2009, particularly with efforts focused on creative placemaking. Numerous projects including public art installations (permanent and temporary), development of emerging creative hubs and more have come to fruition, reflecting a broad and strong coalition of organizations and agencies that have come together and work cooperatively with the goal of a stronger and more livable community. Additionally, the economic context for this plan is significantly different than 2009, a period that was in the midst of a recession and economic difficulties everywhere. The primary goal of this plan is to articulate an actionable set of strategies to support the creative people and organizations of the Tri-County region – artists, non-profit organizations and institutions, creative workers and industries – and to fully integrate the creative sector in regional planning and economic development. The outcome sought as a result of action on the strategies outlined in this plan include: • A stronger and more vibrant arts and culture sector across the three counties; • Improved conditions and environment for creative entrepreneurs, artists and enterprises to become more successful businesses; • Greater awareness of the depth and breadth of arts, culture and creativity across the region resulting in increased participation and increased revenues for artists and arts organizations; • A more vibrant and active region; • An increase of permanent and temporary art for activating spaces across the three counties and enhancing the aesthetic of where we live and work. The plan is titled Creative 517 as it broadly embraces the creative assets of the region. At its core is an understanding and belief that arts and culture are among a community’s most powerful assets and the creative economy – creative industries, creative workers, creative jobs – are important drivers of economic growth and essential to a healthy community and vibrant quality of life. Arts, culture and creativity across the three counties as well as within each city and town is distinct, magnifying the character of each unique community within the region. 5 Creative 517 seeks to build on and enhance the unique attributes and character of each locality, while providing a toolkit for regional cooperation in cultural economic development. Economic and community development is the primary driving force of the coalition that has gathered to develop this plan. Collectively and individually (organizations and leaders) have seen the benefits of collaborating on building the creative sector over the past ten years since the first plan. The region has benefited from collaborative efforts to invest in creative placemaking. The role of public art has been seen as key in revitalization efforts, enhancing the build environment and serving as a way to distinguish specific places across the region. It has been embraced by municipalities and communities across the three counties. The difference we seek as a result of implementing this plan is building upon the existing broad partnership of arts, economic, civic and municipal leadership in the Tri-County region to further enhance and build upon efforts and investments in arts, culture and creativity as a competitive tool, strengthening many elements of civic life, including the economy, tourism, education, youth development, neighborhoods, sustainability, civic participation and cultural equity. Methodology and Oversight Creative 517 is the result of a six-month planning process that engaged more than 210 stakeholders from across the Tri-County region.1 Through a combination of direct interviews with twenty-four stakeholders across sectors, and a broad range of discussion and focus groups the process revealed a number of consistent themes on the assets and strengths in arts and culture as well as areas for improvement, investments and focused initiatives. A survey was also distributed electronically to Individual artists in the region with the goal of developing a baseline census. The planning process was overseen by a Project Steering Committee (PSC) that gathered representatives from across the region in the arts, economic development, transportation, education and tourism. The PSC worked in tandem with the project consultant in identifying individuals and sectors for interviews and discussion groups and reviewed the findings and feedback throughout the process. Additionally, a section of the PSC served as advisors on establishing a relevant definition of the regional creative economy. The Project Steering Committee will determine oversight for implementation and monitoring of this plan once it is adopted. 1 A complete list of individuals interviewed for this planning process and participants in focus and discussion groups is included in the appendix accompanying this plan. Additionally, over 100 artists in the region participated through a direct survey. 6 Key Findings Planning participants identified both wonderful assets and strengths in the region as well as issues and challenges to be addressed. Those that were identified most frequently include: • One of the highlights mentioned across most stakeholder groups is the annual Creative Placemaking Summit, now in its fourth year. The Summit is seen as an important event to gather artists, creative workers, policy makers, community leaders, funders, and others together in seeking ways to strengthen and activate the entire community. • Greater Lansing identifies itself as Michigan’s festival capital. Close to 100 festivals take place in the three counties each year celebrating a broad and diverse range from jazz and music; film, theater, and art festivals; food, local culture, and the heritage of culturally-specific communities; and much more. Festivals are seen as important tools for revitalization in many areas of the region, drivers for economic activity in specific towns and business districts, as well as the most successful way to bring together all parts of the community with few if any barriers. • The region is home to an extraordinary community of artists and creative workers. Many participants highlighted the presence of MSU and the reach of music, theater, dance and visual arts faculty and staff across the region. The musical history that has grown out of the region was of particular pride among participants. • Lansing is a diverse community with a long history of welcoming and integrating refugees into the community. Additionally, there is a significant Chinese and Korean student population at MSU. Many of the cultures that have become part of the fabric of the region, both residents and students, share their traditions broadly through the festivals and programming on campus. There are smaller neighborhood-based community celebrations. There are many talented artists that have resettled in the area though it is often difficult for these artists to utilize their skills as they are often focused on resettlement and family resources. There is an “Our community is diverse, young, thriving and creative. We are a collection of pockets of artists and creatives with great opportunities to connect the dots across the region.” “We have great assets that are underappreciated from Scrapfest to the amazing use of public art at the community college that has fundamentally changed a hive of cold concrete into and extraordinary place that is vibrant.” 7 opportunity to more intentionally focus on these artists and seeking ways to support and celebrate their work through mentorship and deeper connections with the creative community. • Artists are seen as working independently and there is a sense of disconnectedness, that there is not a ‘center’ to the artist and creative community. • The region is perceived as generous but there is a lack of large-scale and leadership arts philanthropy. It was expressed that this lack of funding limits the growth of arts and culture in the region and also limits the willingness to take risk, both for individual artists as well as for arts organizations. • The region has a range of creative hubs and clusters of activity. Most often cited were REO Town and Old Town, with recognition of arts clusters in East Lansing, Williamston, Okemos, Holt, Charlotte and St. Johns. As with individuals who cited a lack of a sense of connectedness, the perception is that these hubs and clusters are isolated from each other and that there is not a clear way to consider how they could be more closely connected. • There is a frustration among those in the arts and culture sector that the arts community lacks cohesiveness and a strong identity. This was echoed by non- arts leaders who observe a sense of disconnectedness. • It was noted that small and mid-size performing venues are lacking and there is hope that a performing arts venue would be developed in downtown Lansing as a key in driving arts activity in the downtown area. • There is a sense that participation and engagement would increase if there were better marketing of programs and events. Planning participants shared their frustrations that there is not a definitive, central on-line source for arts and culture programs and events across the three counties. “I’ve seen more small businesses emerging, particularly creative and arts business. Many are in the REO Town area, some in Old Town, though that is becoming relatively expensive. I hope that these businesses are able to last. I include restaurants – particularly those launched by immigrants and refugees. Great culture! A lot of the land here is not well utilized. The zoning codes are slowly changing, but the city planning efforts are also slow in thinking differently. There are places not being utilized. Diversifying the economy here is an opportunity that is just waiting to happen. It’s not going to be through a new auto assembly plant.” WHAT IS OUR CREATIVE SECTOR? What is the nature of the arts and creative sector in the Tri-County region? To understand the creative sector three distinct elements were examined: nonprofit organizational/institutional providers of arts and culture; individual artists and creatives; and creative industries and workers. The profile of the creative sector was derived from data available through several sources, including the Internal Revenue Service Exempt Organizations Master Business Files; database files at the Arts Council of Greater Lansing; and through licensing of the tools in the Creative Vitality Suite (CV Suite)2 , an online tool providing national creative economy data and reporting. The Nonprofit Arts and Culture Sector There are nearly three hundred nonprofit organizations across the three counties that have as their mission arts, cultural and/or heritage. Of the three hundred organizations, approximately 180 are located in Ingham County; 70 are located in Eaton County; and 50 are located in Clinton County. These organizations include theaters, museums (art, science, history and heritage, etc.), music venues, arts education providers, university and college venues and programs, community and social change organizations, and more. To identify these organizations data was gathered from two sources. The Internal Revenue Service Exempt Organizations Master Business Files and the internal database of arts providers at the Arts Council of Greater Lansing. These two sources were cross-referenced and edited. A complete list of these organizations is included in the appendix. An interactive map of these organizations can be accessed at: Interactive Map of Lansing Area Arts and Culture.3 Based on data available through the IRS files and CV Suite, the nonprofit arts across the three counties have annual revenues of approximately $25 Million (as of 2016) 60% ($15 Million ) of which is derived through earned revenues and program activity and 40% ($10 Million) is derived through philanthropic support. 2 https://cvsuite.org 3 By clicking on each * symbol the map viewer can see information on each individual organization. “The strength of our creative life manifests itself through nearly 100 festivals. These festivals really are a way to define ourselves and if you look closely you really see the depth of talent right in our own backyard.” 9 Individual Artists and Creatives One of the most difficult challenges in understanding the character and nature of the individual creative sector in a community is identifying reliable and consistent data on the number of artists, their disciplines and codifying who they are and how they define their work. The consulting team and the Arts Council of Greater Lansing initiated an effort to create a baseline census of artists and creatives in the three counties. An invitation was circulated through the email lists and social media accounts of the Arts Council and by other entities with direct relationships with artists asking them to complete a short survey to self- identify and to indicate the focus of their work. As of early May 2018, 106 individuals responded to the survey with 100 identifying where they live. 91 resided and/or work within the three counties. This is not a comprehensive, all-inclusive census of artists. It does however provide some guidance on understanding the nature of who is living and working as an artist in the three counties. One-third live in Lansing. The following table list the cities, towns and counties where the those responding live and/or work. Artist Inventory by County and Municipality Ingham County Eaton County Clinton County Lansing 32 Eaton Rapids 2 St. Johns 4 East Lansing 9 Grand Ledge 2 Bath 3 Haslett 7 Dimondale 1 Dewitt 3 Okemos 7 Williamston 6 Holt 3 Mason 2 Artists responding to the survey included 60% visual artists, 30% performing artists, and approximately 8% each in film and media, design and graphic arts or literary arts. A significant portion indicated they are multi-disciplinary, with several indicating work in more than one discipline which is consistent with input from direct discussions with individual artists. “MSU, LCC and music scene. People aren’t aware of what’s being done here. A lot of cool small venues. Wonderful places to play, but you have to work to find out about the events happening there.” Creative Economy The primary source for developing a portrait of the creative industries in the Tri-County region was use of the Creative Vitality Suite (CVI) a powerful on-line tool that draws on economic, jobs and industry data and compares it to national data. Over the past fifteen years or so there has been an expanding economic development focus on creative economy and creative industries. What has emerged as a key factor is for community leadership to agree upon a shared definition of creative economy to focus data and analysis on the current state; to develop strategies that are relevant and contextual to each community; and to have a baseline for change over time in measuring the impact of creative economy strategies. For this planning process, a sub-group of the Project Steering Committee provided guidance on an agreed upon definition. Complete data on creative industries and occupations included in the definition for the three counties is included in the Appendix. Each of the three counties have distinct profiles and a Creative Vitality Index score and the region combines the data of all three counties. For purposes of this study, the focus is on the regional score, while recognizing particular strengths within each county. Comprehensive data for each of the three counties and for the three counties combined on creative workers and creative industries is included in the Appendix. CVI Index (1.0 = the average across all counties in the U.S.)4 4 Complete ‘Snapshot’ reports are included in the Appendix with information on the Creative Vitality Index. 5 Refer to creative occupation data tables in the Appendix for additional information. º Tri-County Region: 1.10 º Ingham County: 1.50 ºClinton County: .42 º Eaton County: .56 Creative Occupations with the greatest number of jobs5 : Region/County SOC Code Job 2013 # Jobs 2016 # Jobs % Change Tri-County Region 25-1099 Postsecondary teachers 7,747 8,313 6.8% Ingham County 25-1099 Postsecondary teachers 7,634 8,117 5.9% Clinton County 35-3031 Waiters and waitresses 225 256 12.3% Eaton County 35-3031 Waiters and waitresses 527 656 19.7% Creative Industries with the greatest sales: Region/County NAICS Code Industry 2016 Sales Tri-County Region 511210 Software Publishers $2,204,559,489 Ingham County 511210 Software Publishers $194,516,531 Clinton County 323111 Commercial Printing $89,800,290 Eaton County 511210 Software Publishers $10,003,354 11 THE PLAN Creative 517 is built on a set of goals and strategies that reflect the issues and priorities that emerged throughout the planning process. The plan includes four overarching goals, each elucidated through a set of strategies and tactical approaches to implementing each strategy. There were several considerations when shaping and articulating the four goals and related strategies, including relating to the key findings and reflecting stakeholder input; the overall impact of Creative 517 – i.e., what will be different as a result of achieving the goals of this plan; and what would be practical and doable. Creative 517 is not just a plan for cultural development – it is more broadly looking at arts, culture and creativity as an essential element in community development, the role of innovation, imagination and creativity in addressing other community issues – transportation, health, housing, youth development, public safety. The challenge with this plan is that it is not ‘owned’ by a specific organization, public or private agency or municipal government. It is a result of a collaborative effort of the public and private sector, facilitated through the Arts Council of Greater Lansing. While they are aspirational in nature, the intention of this plan is to serve as an outline for collective and collaborative action by agencies, organizations, businesses and philanthropy. Potential partners and collaborators must be identified for each strategy. A consensus of the timing of each strategy and the priorities must also be reached by project leadership to further implementation. An implementation section follows this section outlining each of the goals, strategies and tactics to serve as a ‘check-list’ in monitoring and managing plan implementation. For reference, there are links to examples and models of similar programs and activities around the country for most strategies that may be useful in envisioning how each strategy may be approached. Goal 1: Celebrate, leverage and build upon the strengths and assets of our arts, culture and creative sector to enhance economic vitality and quality of life in the region. Throughout the planning process stakeholders expressed great pride in many facets of the creative community across the region, indicating a keen interest in building on and expanding those places, people and programs of pride. Most often cited in particular is the area- wide efforts focused on creative placemaking that stemmed for the first cultural economic development plan in 2009 and has manifested in numerous ways including through the annual Creative Placemaking Summit coordinated by the Arts Council of Greater Lansing. Planning participants pointed to the Summit and related efforts as important and critical to building awareness, interest, opportunities for collaboration, increasing knowledge and expanding ideas for placemaking.6 Other strengths that were highlighted by stakeholders included: • Efforts in public art, in particular the placemaking and public art grant program through LEAP (Lansing Economic Area Partnership) as well as the public art initiatives of Lansing Community College were widely recognized. Indeed, increased investment and engagement with public art was discussed across all groups of stakeholders as a priority when asked “what would you like to see as an outcome of this plan?” Public art was also seen as a catalyst for shaping or enhancing an identity for Lansing and the region. The most frequent example was how the Alexander Calder sculpture La Grande Vitesse in Grand Rapids, MI has become iconic to their identity.7 There are opportunities to consider a coordinated regional approach to increase investments in public art and expansion of existing programs throughout the towns and cities in the region. As seen in national models such as the Bloomberg Art Challenge8 public art can serve as an important catalyst to “celebrate creativity, enhance urban identity, encourage public-private collaborations, and strengthen local economies.” • The level of arts, culture and creative activity in the region are seen by planning participants as significant. The most often cited frustration was in coordinated marketing activities or a ‘central source’ or ‘definitive source’ for information. There are several that already exist in Lansing and the region but there was modest to negligible recognition of what currently is in place and available. There are opportunities to expand the use, presence, access and effectiveness of existing channels for arts, culture and event promotion. • The number of festivals and their role in celebrating neighborhoods, culturally-specific arts and culture, and arts and culture more broadly were cited as a significant regional asset. 6 The “75 Placemaking Ideas” emerged from the second Creative Placemaking Summit in 2016 and has been a source of ideas and enthusiasm across the region. https://www.lansingplacemakers.org/75-place-ideas.html. 7 https://www.arts.gov/about/40th-anniversary-highlights/initial-public-art-project-becomes-landmark 8 Bloomberg Art Challenge: As stated in the introduction of their webpage, STRATEGIES 1.1 Expand investments in public art across the region to augment existing programs and create methods for agencies and municipalities to increase public art. 1.1.1 Establish a standing regional collaborative or task force on public art to finance and invest in a regional public art master plan that: inventories existing public art programs and policies across the three counties; catalogues existing policies and ordinances; identifies and recommends curatorial approaches for both temporary and permanent public art programs; recommends approaches for financing mechanisms both regionally and localized; catalogues best practices across the three county region and relevant national best practices; and results in a guidebook to expand public art in the region. 1.1.2 Seek an Our Town grant through the National Endowment for the Arts9 to support the planning effort described in 1.1.1. Models: Creative Communities Alliance (St. Louis, MO region); 1.2. Build upon the existing arts, culture and event promotion tools in the region for greater reach and impact.10 1.2.1. Establish a calendar task force to explore designing and implementing a single portal for event and arts producers to list their events that will feed all arts, culture and event calendars in the region, eliminating inconsistencies in listings, reducing the burden on producers of entering numerous listings. As an alternative, explore collaborative investment in an existing platform such as Artsopolis that provides the backbone and shared mechanism. 1.2.2. Establish expanded search parameters across existing calendars in the region consistent with national trends and standards, adding categories that recognize a broader range of local and regional programming including LGBTQ+, Literary, Spoken Word, Film, Classes and Workshops. 1.2.3 Create a mechanism for a weekly summary of programs and events that can be delivered by e-mail through subscription/opt-in by residents in the three counties. Explore weekly or monthly promotional mechanisms, such as last-minute ½ price opportunities. 9 https://www.arts.gov/national/our-town 10 Existing arts and event calendars in the Tri-County region include 517 Living; Arts Council of Greater Lansing; Lansing.org (CVB); City Pulse; Lansing State Journal; as well as listings of events and programs and municipal websites across the region. 11 Coordinated and facilitated by the Arts Council of Greater Lansing Models: Philly FunSavers (weekly discounts email subscription); Artsopolis (shared calendar platform); Philly Fun Guide (shared regional event calendar); LA StageTix (see icon for weekly discounts) 1.3 Celebrate and build upon and expand existing efforts to utilize “Michigan’s Festival Capital” as a catalyst for increasing tourism, increasing performance and sales opportunities for artists, and strengthening awareness of the richness, diversity and vibrancy across the Tri-County region. 1.3.1 Expand the efforts of the Festival Alliance11 to develop long-term strategies to increase the reach and economic impact of the festivals; to consider approaches for broadening and deepening performance and sales opportunities for performers and artists; to strengthen the ‘Festival Capital’ brand; to formulate cooperative efforts leading to increased participation and success of the festivals. 15 Goal 2: Foster the environment and conditions that support and encourage artists and creative entrepreneurs for more successful businesses and expanded economic activity across the region. The Lansing region has an extensive artists community. Planning participants consistently expressed pride in the breadth of musical artists in particular, but also pointed to the range of performing and visual artists who live and work in the region. While there was appreciation for the breadth of artists and creative entrepreneurs, there were also gaps and opportunities identified by individual artists, creative entrepreneurs, arts organization leaders and others. The most common theme expressed among all stakeholders was a sense of disconnectedness. Artists were unaware of each other and often unaware of the opportunities to connect and interact. Organizational leaders cited a lack of a shared agenda and community-wide collaborations to further cultural development. The distinct nature of creative hubs or creative districts was often cited, specifically Old Town and REO Town, both of which are seen as a significant strength and a tremendous platform for expanding centers of creative activity. Others that were recognized included East Lansing, St Johns, Charlotte, and Williamston, also indicated as creative hubs with significant potential. Also cited was the growing ‘cultural district’ that includes Impression 5 Science Center, the RE Olds Transportation Museum, the Riverwalk Theatre and adjacent galleries and businesses. While it is recognized that such creative and cultural hubs develop organically, there are opportunities to strengthen the conditions that support additional placemaking efforts. Currently there is no designation program for cultural and creative districts, a creative placemaking practice that has expanded nationally recognizing the important vital role such districts have in cultural, economic and community development. Consistent frustration was expressed by representatives of creative businesses, entrepreneurs and individual artists “An outsider would not know where to find the artists, their art, their studios. We seem to operate in quiet little silos with small art groups that are self- generated. Artists are not at shows for other artists. There is not a large time commitment to showing support for the work of others. I guess artists are like poker—you need a small group to do it, but you hold your hand close to your chest. We have a need for more participation and connectedness.” Participant – Individual Artists Discussion Group 16 that policies, ordinances – the regulatory environment - and business development tools are difficult to navigate, vary widely across the region, and ultimately present significant barriers to business development and encouraging artistic practices to grow and flourish. It is notable that there are several existing programs to support individual artists, creative entrepreneurs and arts organizations through the Arts Council of Greater Lansing. These programs have a strong focus on community-based and community-led development, placemaking, and professional development. There is a specific program for young artists (defined as elementary through high school age students) in the community as well as established artists.12 These programs range from support through fellowships and project grants, to place-making and community-driven project grants. There are opportunities to enhance and expand these extraordinary programs addressing the feedback from stakeholders throughout the planning process about the need for resources for risk, innovation and entrepreneurial efforts as well as resources that recognize the shifting needs in supporting artists and creative endeavors at different stages of career development. This may include targeted networking support to foster a more cohesive artists and creative community and enhancing programs to focus on the specific issues of emerging, mid-career and mature artists whose support needs are distinct from each other. Additionally, there are opportunities to support an environment for risk taking and innovation among arts organizations as well as individual artists. 12 Program and place-making grants and Support for Young Creatives 17 STRATEGIES 2.1 Enhance and expand existing systems to foster stronger connections between individual artists through networking opportunities, professional development and resources to support the work and business of individual artists and creatives. 2.1.1. Establish a career development fund and associated professional practices training program (building on existing local efforts) that are targeted and specifically recognizes the changing needs of artists across the spectrum of their career – emerging, early, mid and late career, approaching the program as business and entrepreneur development. 2.1.2. Establish a dedicated position – an ‘ombudsman’13 – to support artists and creative entrepreneurs in navigating the regulatory environment across the three counties. The initial task of this position is developing a ‘guidebook’ that outlines resources, departments, contacts, policies and ordinances in each community -a ‘how to’ to navigate the red tape. 2.1.3. Develop a region-wide annual studio tour to build awareness and business for studio artists in the region. Begin with a regional charrette or planning effort to envision the scale and scope of a regional tour, intended outcomes and impacts, and to examine existing national models that incorporate large geographic areas. Models: Springboard for the Arts; Artpreneur.org; Creative Capital. For studio tours: HWY 62 in the Morongo Basin, CA and POST (Philadelphia Open Studio Tours). 2.2 Enhance existing efforts to foster a stronger sense of community and a stronger coalition among the nearly 300 arts organizations in the Tri-County region through leadership development and cohort experiences. 2.2.1. Enhance existing programs that gather the regions arts with targeted and relevant topics that serve to expand professional capacities, stimulate collaboration, builds knowledge of practices and fosters innovation in the field. Focus extended programs on challenging normal operating assumptions in the arts to foster innovation, new ideas and responding to changes in audiences and social trends. 2.2.2. Seek resources to sponsor executive education for arts organization leaders in the Tri- County region to build professional skills, strengthen organizational and leadership practices and to support a strong cohort of local leaders through a shared experience. Potential pathways would be a custom program through National Arts Strategies (see models below) or through MSU Executive Development Programs. 13 For purposes of this plan, an ombudsman is seen as an advocate with a familiarity of ordinances, procedures, and designated personnel across the three counties related to business development and the operating environment for creative businesses. The ombudsman would serve as a reference, go-between and trouble-shooter for artists and creative entrepreneurs in all stages of their business. Models: National Arts Strategies; MSU Executive Development; Creative XChange Philadelphia 2.3 Seek to strengthen and foster growth of creative and cultural hubs across the Tri-County region. 2.3.1. Establish a task force to catalogue existing creative hubs across the three counties; identify and articulate the distinct nature and character of each; examine the conditions that encouraged (or discouraged) small and creative business development within those hubs; and identify areas of strengths and approaches to strengthening the environment that supports creative hub development. 2.3.2. Develop a certification/designation program for creative and cultural districts in the three counties. Research existing national, state and regional models designed to support development of creative and cultural districts. Develop a creative and cultural district designation program for the three counties that focuses on marketing, technical assistance, asset mapping, and provides economic development tools such as loan funds. 2.3.3. Develop and execute a regional marketing effort that highlights the variety of creative hubs, the distinct nature of each and promotes economic activity within and among the existing hubs. There is an opportunity to develop an image of the region through its creative assets and elevate creativity as a distinct regional characteristic. 2.3.4. Utilize the position of an ‘ombudsman’ (cross reference: 2.1.2) to facilitate the development of creative businesses in creative hubs. Models: Colorado Creative Industries Districts Program; Americans for the Arts Cultural District Toolkit; Texas Cultural Districts Program Goal 3 - Support and enhance the work of municipalities and area agencies by integrating artists and creative entrepreneurs into municipal and government departments. Creative Lansing is a collaborative effort of public and private agencies throughout Ingham, Eaton and Clinton counties. The research process for this plan identified numerous efforts of creative placemaking that are occurring across the three counties - efforts within municipal and government agencies as well as through business and district associations, private agencies and private businesses. Municipalities of all sizes across the three counties are exploring how to integrate arts further into economic development, community development and quality of life initiatives. Embedding artists into municipal departments or in specific public projects is happening across the country as a strategy for enhancing creative placemaking, bolstering economic development, 19 and in seeking new, innovative and creative approaches to addressing community challenges. There are numerous examples of artists integrated into planning and decision-making in a wide variety of governmental functions, ranging from public safety, health and human services, affordable housing, transportation planning, sanitation planning, community development and more. Artists have been identified as key members of project and problem-solving teams in addressing numerous public efforts, whether reducing pedestrian fatalities, addressing issues of homelessness; planning for public works projects and more. They have been at the forefront of conflict resolution and served as effective facilitators in gathering communities together to address tensions and challenges. The following is an approach to increasing opportunities for artists as key collaborators in public projects and public works with the intention to enhance and utilize the arts and creativity in strengthening economic health of the region; exploring innovative approaches to public projects and community challenges; and to enhance the quality of life in the Tri-County area. STRATEGIES 3.1 Establish an artist-in-residence program for embedding artists into municipal departments across the three counties. Ideally, a cohort of four to six artists would be selected each year to serve as ‘circuit riders’ across the region and to be available to municipalities through a competitive application process. 3.1.1. Develop a series of artist presentations and workshops for the department heads and municipal leadership from across the three counties to explore how artists are integrated into municipal functions and to introduce the concepts of an artist-in-residence. 3.1.2 Seek funding to establish four to six artist residencies with a focus on artists who live and work within the three counties. This may include developing a ‘fee for service’ or ‘subscription’ model as the financial underpinning of compensation for artists chosen each year. 3.1.3. Allocate a pool of funds for resident artists and municipal leaders to jointly access professional development opportunities relevant to designated projects. Models: The Appendix of this plan includes a section titled Artists In Municipalities and includes examples of programs integrating artists in the everyday work of government. 3.2 Establish an annual innovation/risk prize on a significant scale to incentivize entrepreneurial activity, develop innovative programs that would serve to further activate creative and cultural hubs and/or utilize creativity in addressing community and social challenges. This fund would envision one large-scale project annually with the aim of each project serving as a major catalyst for activation and/or increased creative activity. Models: Center for Cultural Innovation; Bloomberg Art Challenge Goal 4: Identify and leverage resources for building the creative and cultural community. As described in the introduction of this plan, the outcomes and impacts sought through plan implementation are: • A stronger and more vibrant arts and culture sector across the three counties; • Improved conditions and environment for creative entrepreneurs, artists and enterprises to become more successful businesses; • Greater awareness of the depth and breadth of arts, culture and creativity across the region resulting in increased participation and increased revenues for artists and arts organizations; • A more vibrant and active region; • An increase of permanent and temporary art for activating spaces across the three counties and enhancing the aesthetic of where we live and work. These outcomes will result from building the arts, culture and creative sector through the strategies and approaches elucidated in Goals 1 to 3. To accomplish the three goals above, this fourth goal is included recognizing a concerted, intentional effort will be required to identify and gather resources focused on implementation and investment. The context for the challenge of resources begins with understanding the current environment for resources. The common theme expressed throughout the planning process from participants across all sectors indicates philanthropic resources in the region as generous but somewhat limited. As in many communities there are competing priorities, with Lansing Promise14 and workforce development suggested as one of the highest priorities in the region for philanthropy. Resources for the arts and creative community were described as coming from a mix of “generous individuals in a quiet, meaningful way,” a number of corporate and private foundations, and the Capital Region Community Foundation. 14 Lansing Promise “When there is a vision the resources show up. We are a blue-collar community in many ways, so it is about rolling-up our sleeves and getting it done when it needs to get done. But that sometimes doesn’t translate for arts and culture. There is not much of a middle because of that – a few at the top, many just getting by, and not really a solid mid- size that change the impact on our community.” 21 Yet frustrations were expressed that wherewithal for major initiatives and significant investments that would be a catalyst in driving transformation of the creative sector in the region were not available. Arts and culture have traditionally been supported through a complex mix of revenues that includes public grants and financing from corporate, foundation and individual philanthropy; and a mix of earned and program revenues. Generally, the nonprofit cultural sector operates with a revenue ratio of 60% earned/40% contributed. This varies from discipline to discipline, and from the nature, scale and scope of individual organizations. Available data on the Tri-County region indicates that total revenues in the nonprofit cultural sector was just shy of $25 million. Of that, approximately $10 million, or 40%, is derived from philanthropic and public support, consistent with national trends. Data and trends from available information on grants and public funding of the arts is included in the Appendix section titled Public Funding Trends. No coordinated study was identified that analyses funding for arts, culture and creativity across the region. It is imperative for success of Creative 517 to explore and secure dedicated resources for implementation. Doing so not only secures resources for implementation but serves as a platform, a point of departure in establishing partnerships and/or other approaches for sustained and equitable investment in the arts and creative economy, recognizing their role and importance in economic and community development for the Tri- County region. “There is culture of generosity here, but we don’t seem to have that one significant philanthropic source, like Kresge, Kellogg or DeVos Family Foundations that invest in other areas of Michigan, but not here. That makes it difficult to really take risk, to find the capital to explore new ideas and be innovative.” 22 STRATEGIES 4.1 Commission or conduct a comprehensive study of private and public support for arts, culture and creativity to provide reliable and informative longitudinal data to fully understand funding trends, priorities and the current environment. 4.1.1. Seek to understand current and recent public support mechanisms from state, county and local municipalities for the arts across the three counties and compare trends to comparable regions nationally. 4.1.2. Examine the distribution of philanthropic dollars across the spectrum of arts, culture and creativity to understand how small, medium and large institutions are supported; the level and types of risk and innovation that are supported; the mechanisms and systems in place to support individual artists and creative entrepreneurs; and the implications for supporting a robust creative economy and creative economic development. Models: Comparative study of Boston to other cities support for arts; Grantmakers in the Arts Resources 4.2 Identify potential national sources for grants and investments in creative placemaking and creative economy to augment current and recent local and regional investments. 4.2.1. Research and explore national funding programs that are investing in creative economy and creative placemaking for potential investments in Creative 517. Possible sources include but are not limited to the Our Town program through the National Endowment for the Arts, Art Place America. 4.2.2. Explore potential cooperative/collaborative proposals to national programs. Models: Our Town Grant Program; Art Place America 4.3 Establish a cooperative pool of resources designated for implementation of Creative 517 strategies. 4.3.1 Explore establishing a funding mechanism – private, municipal, quasi-governmental or other – for a dedicated pool of funds to support creative and cultural economic development. 23Implementation PlanThe implementation grid below is provided as a worksheet for organizing priorities, determining who will serve as the lead (or co-lead) on each strategy and action; identifying partners for each strategy and action; and outlining the necessary financial and other resources for each strategy and action. 24 25 26 27 29 CREATIVE 517 APPENDIX Table of Contents Interviewees.......................................................................................................................................................2 Sector Discussion Group Participants...........................................................................................................3 Inventory of Arts and Culture Organizations & Creative Businesses.....................................................6 Artists in Municipalities...................................................................................................................................8 Public Funding Trend......................................................................................................................................10 CVI Snapshot Report – Tri County Region...................................................................................................11 CVI Snapshot Report – Ingham County......................................................................................................12 CVI Snapshot Report – Clinton County ......................................................................................................13 CVI Snapshot Report – Eaton County..........................................................................................................14 Creative Economy Data Tables....................................................................................................................15 Creative Occupations – Tri-County Region ..........................................................................................16 Creative Occupations – Ingham County................................................................................................19 Creative Occupations – Clinton County................................................................................................22 Creative Occupations – Eaton County...................................................................................................24 Creative Industries – Tri-County Region................................................................................................27 Creative Industries – Ingham County....................................................................................................30 Creative Industries – Clinton County.....................................................................................................33 Creative Industries – Eaton County........................................................................................................36 30 Interviewees Brian Adams, President Lansing Makers Network Patty Barnas, President Arts Council of Greater Lansing Mike Brand, Executive Director Wharton Center for the Performing Arts Melik Brown, Owner Lansing Made Chris Buck, Economic Development Director Meridian Township Economic Development Steve Curran, President and Creative Director Harvest Creative Services Tim Daman, Director Lansing Regional Chamber of Commerce Kurt Dewhurst, Director MSU Cultural Engagement Council Brent Forsberg, President Urban Systems Pat Gillespie, President Gillespie Group Edythe Hatter-Williams, CEO Capital Area Michigan Works Dr. Brent Knight, President Lansing Community College John Melcher, Assoicate Director MSU, Economic Development, FRIB Jerry Norris, CEO Grand Ledge Fledge Julie Pingston, Sr. Vice President/COO Greater Lansing Convention and Visitors Bureau Dillon Rush, Executive Director Charlotte Rising Andy Schor, Mayor City of Lansing Chris Sell, Executive Director Lansing 5:01 Jim Snell, Interim Executive Director Tri-County Regional Planning Commission Bob Trezise, President/CEO Lansing Economic Area Partnership Sarah Triplett, President City of East Lansing Arts Commission Arnold Weinfeld, President Urban Policy Initiatives, MSU Outreach and Engagement Samantha Harkins, Chief of Staff City of Lansing 31 • Arts Educators • Arts and Cultural Organizations • Business Leaders • Arts Council Board • Festivals Mary Ablao Acrylic Artist Layna Anderson Downtown Lansing, Inc. Whitney Anderson-Harrell MSUFCU Martell Armstrong Greater Lansing Housing Coalition Mark Auslander MSU Museum Christine Beamer MSU School of Music Professor Kristin Beltzer Lansing Chamber of Commerce Mindy Biladeau Downtown Lansing, Inc. Amy Bond-Nelson Moore Gud Marketing Alice Brinkman REACH Studio Art Center Erika Brown Binion Refugee Development Center Josh Burwick META Collective Michelle Carlson Lansing Art Gallery & East Lansing Art Festival Joe Carr The Runway Jeff Croley DeWitt HS Theatre Teacher Melanie Dart Dart Bank Jack Davis Loomis Law Jaime DeMott MSU Community Music School Michelle Detering Watercolorist Peter Dewan East Lansing DDA Michelle Eggleston Eggleston Gallery Rachel Elsinga Tri County Regional Planning Commission Jennifer Estill Redhead Design Studio Kristin Faasse Elements Studio Kathie Feldpausch Michigan Realtors Dennis Fliehman Community Foundation Aria Frawley Student, MSU Veronica Gracia-Wing Chair, Lansing Parks & Rec Board Ben Graham Graphic Artist Larry Grudt Keys to Creativity Ginny Haas Former MSU Governmental Affairs Amy Harris Realtor Ben Hassenger Ukulele Player, Musician Stephanie Hogan Painter Josh Holliday LEAP/Lansing 5:01 Elizabeth Hude City of Mason Planner Ivan Iler Metal Artist Maurica James Lansing Center Sector Discussion Group Participants • For-Profit Art Businesses • Individual Performing Artists • Individual Visual Artists • International Community Organizations • Municipal Leadership • Business Associations • Natural Resources and Parks • Philanthropy • Youth/Young Adults 32 Melissa Kaplan Renegade Theatre Festival Tiffany Klein La Fille Gallery Jason LaFay DeWitt HS Theatre Teacher Lori Lanspeary GLCVB/ Be A Tourist in Your Own Town Theresa Lark Mid-Michigan Environmental Action Council Erik Larson Impression 5 Science Center Kimberly Lavon Printmaker Wendy Longpre East Lansing Parks & Rec Marsha MacDowell Great Lakes Folk Festival Jeff Magnuson Riverwalk Theatre Bill Matt Broad Art Museum Emily Matthews Dart Foundation Tim McCaffrey Director, East Lansing Parks Courtney Milbrook Lansing Symphony Orchestra Julia Nacarrato Lansing Schools Art Teacher Tina Newhauser MSU Arts Management Professor George Orban Community Volunteer Dr. Caitlin Perry Dial Michigan Women Forward Julie Pingston Greater Lansing Convention and Visitors Bureau Marilyn Plummer Lansing Juneteenth Celebration Ben Rathbun Rathbun Insurance Ed Reed Delta Township Economic Development Coordinator Jane Reiter Zentangle Michelle Reynaert Sparrow Foundation Jill Rinckey TechSmith Liz Roxberry Fenner Nature Center Roy Saper Saper Galleries Joy Schantz Global Festival Kristi Schwartzly RE Olds Transportation/ Car Capital Auto Show Sandra Seaton Theatre Artist Vanessa Shafer Old Town Commercial Association Emily Stevens Lansing Parks & Rec Andrea Stitt Change Media Group Jennifer Sturdy PNC Foundation David Such Render Studios Heather Surface Summer Solstice Jazz Festival Emily Sutton-Smith Williamston Theatre Terry Terry Old Town/Blues & Jazz Festival Chris Thelen Consumers Energy Carmen Turner Boys and Girls Club Laura Weber Ovid Elsie Schools Elizabeth Williams Williamston Artfest Sara Wright Skyin (xiaoyu) Yin International Student Advisor, MSU 33 (SCENE) Metrospace, East Lansing 60TH National Square Dance Convention, Lansing Abrams Planetarium, East Lansing Absolute Gallery, Lansing Against the Grain, Lansing All Around the African World Museum, Lansing All Faith Ministries for Disabilities, Lansing All-of-Us Express Children’s Theatre, East Lansing American Guild of Organists, Holt American Sewing Guild, Inc., Lansing Andromeda Community Theatre, Charlotte Ariniko Artistry, Lansing Artemisias Gallery, Saint Johns Arts Chorale of Greater Lansing, East Lansing Arts Council of Greater Lansing, Lansing Arts Initiative Mason - A.I.M, Mason Automotive History Preservation Society, Perry Ballet Maria Luz, Lansing Blue Light Players, East Lansing Blue Light Players, Lansing Bradley’s Home and Garden, Lansing Capital Area Blues Society, Okemos Capital Area District Library, Lansing Capital Area Lacemakers, East Lansing Capital Area Music Teacher Association, Lansing Capital City Brass Band, Jackson Capital City Film Festival, Lansing Capital City Ringers, Inc., Lansing Capital TheatreWorks, Holt Cedar Street Art Collective, Lansing Center Park Productions, Lansing Charlotte Performing Arts Center, Charlotte Chasin God Ministries, Lansing Chichi Movies, Lansing Children’s Ballet Theatre of Michigan, Lansing Ciesa Design, Lansing Clayworks, Grand Ledge Clinton County Arts Council, St Johns Community Circle Players/ Riverwalk Theatre, Lansing Courthouse Square Association and Museum, Charlotte Cracked Pot Studio Tours, Williamston Craig Mitchell Smith Glass, Lansing Curious Books, East Lansing Curvaceous Lingerie, Lansing Dansville Michigan Historical Society, Dansville Delphi Glass, Lansing Delta Community Choir, Grand Ledge Delta Music and Entertainment, Inc., Lansing Delta Township District Library, Lansing DeWitt Community Concert Band, St. Johns Domitor, East Lansing Downeaster Theatre, Lansing Dreamworld Studios for the Arts, Lansing Earl Nelson Singers Company, Lansing East Arbor Architecture, East Lansing East Lansing Art Festival, East Lansing East Lansing Arts Chorale, Inc., Holt East Lansing Arts Commission, East Lansing East Lansing Film Festival, East Lansing East Lansing Hannah Community Center, East Lansing EAST LANSING INFO, East Lansing East Lansing Kiwanis Community Band, Bath Inventory of Arts and Culture Organizations & Creative Businesses The following inventory was drawn from the database of organizations and program affiliates of the Arts Council of Greater Lansing and merged with IRS records of registered non-profit arts and culture organizations in the three counties. Eaton Rapids Area Historical Society, Inc., Eaton Rapids Eclectic Solutions, Holt Eggleston Gallery and Studios, Bath Eightfold Creative, East Lansing Elder HeART, Haslett Elderly Instruments, Lansing Eli and Edythe Broad Art Museum, East Lansing Elizabeth Williams Dancers, Williamston Elise Publishing Institute, East Lansing Fantasia Ballet Folklorico, Lansing Fine Arts Library, Michigan State University, East Lansing Fine Arts School of Dance, Lansing FireWorks Glass Studios, Williamston Framer’s Edge, Okemos Free Shrugs Entertainment, Inc., Lansing Friends of Absolute Music, Lansing Friends of Absolute Music, Okemos Friends of Michigan History, Inc., Holt Friends of Theatre at Michigan State University, East Lansing Friends of Turner Dodge House, Lansing Generations Community Theater, Lansing Glenn Erin Pipe Band, Lansing Grace Boutique of Old Town, Lansing Grand Ledge Alliance for Quality, Grand Ledge Grand Ledge Area Historical Society, Grand Ledge Grand Ledge Community Band, Grand Ledge Grand Ledge Opera House, Grand Ledge Gravity Works Design + Development, Lansing Great Lakes Arts and Gifts, Lansing Greater Lansing Area Sports Hall of Fame, Lansing Greater Lansing Ballet Company, Lansing Greater Lansing Convention & Visitors Bureau, Lansing Greater Lansing Potters Guild, Haslett Greater Lansing Weavers Guild, Williamston Greater Lansing Woodcarvers, East Lansing Greater Lansing Youth Entrepreneurship Program, Lansing Grove Gallery Co-op, East Lansing Gunnisonville Historical Community Preservation, Lansing Habibi Dancers, Potterville Happendance, Inc., Okemos Haslett Choir Boosters, Haslett Historical Society of Greater Lansing, Lansing Historical Society of Michigan, Lansing Hmong Family Assoc. of Lansing, Lansing Holt Community Arts Council, Holt Holt Diamondale Community Players, Holt Holt Performing Arts Complex, Holt Homegrown Productions, St. Johns Hope-Central, Okemos Horn Records, Okemos IDream Fund, Lansing Impression 5 Science Center, Lansing India Cultural Society of Greater Lansing, Okemos Indigenous Youth Empowerment Program, East Lansing Ingham County Fair Foundation, Mason Ixion: A Theatre Ensemble, Lansing JW Sexton Fine and Performing Arts Association, Lansing Jazz Alliance of Mid-Michigan, East Lansing Just Breathe Music, Leslie Karyn’s Dance Place, Inc., Holt Katalyst Gallery, Lansing Keys to Creativity, Lansing Kick it Out Dance Boosters, East Lansing Kimberly Lavon INK, Lansing Kip Mckesson African Art, East Lansing La Fille Gallery, Lansing Lansing Area African American Genealogical Society, Lansing Lansing Area Folksong Society, East Lansing Lansing Area Storytellers, Bath Lansing Art Gallery, Lansing 35 Lansing Children’s Choir, Lansing Lansing City Market, Lansing Lansing Clippers - American Sewing Guild - Lansing Chapter, Bath Lansing Concert Band, Lansing Lansing Makers Network, Lansing Lansing Matinee Musicale, Lansing Lansing Model Railroad Club, East Lansing Lansing Poetry Club, Lansing Lansing Public Media Center, Lansing Lansing Symphony Orchestra, Lansing Lansing Telugu Association, Okemos Lansingout Gay Men’s Chorus, Lansing Lark Communications and Hammer Crowell, Lansing Ledge Craft Lane, Ltd., Grand Ledge Leonard Falcone International Euphonium and Tuba Festival, Lansing Leslie Historical Society, Leslie m.a.d.e Alliance, Lansing Mackerel Sky Gallery of Contemporary Craft, East Lansing Mason Area Historical Society, Mason Mason Orchestral Society, Mason Mason Sundried Music Festival, Inc., Mason Men of Orpheus, East Lansing Meridian Arts & Cultural Alliance, Okemos Meridian Historical Village, Okemos Meridian Township Farmers Market, Okemos Message Makers, Lansing MICA - Michigan Institute for Contemporary Art, Lansing Michigan Alliance for Latino Education and Culture, Lansing Michigan Folklore Society, Okemos Michigan Historical Museum, Lansing Michigan Humanities Council, Lansing Michigan Lighthouse Art Gallery, Williamston Michigan Museum of Surveying, Lansing Michigan Oral History Association, Lansing Michigan Political History Society, East Lansing Michigan Remembers 9-1-1 Fund, East Lansing Michigan Sangeetha Natya Academy, Okemos Michigan School Band & Orchestra Association, Okemos Michigan Shirt Works, East Lansing Michigan State University College of Music, East Lansing Michigan State University Museum, East Lansing Michigan Trails and Greenways Alliance, Lansing Michigan Women’s Historical Center & Hall of Fame, Okemos Michigan Youth Arts Association, Lansing Mid-Michigan Art Guild, Lansing Mid-Michigan Family Theatre, Haslett Mid-Michigan Art Guild, Lansing Mid-Michigan Creative Alliance, Lansing Mid-Michigan Environmental Action Council, East Lansing Mid-Michigan Youth Symphony, Charlotte Mid-Michigan Youth Symphony, East Lansing Morning Dance Gallery, Okemos Mother & Earth Baby Boutique, Lansing MSNA Academy, Okemos MSU College of Music, East Lansing MSU Community Music School, East Lansing MSU Department of Theatre, East Lansing MSU Russian Chorus, Dimondale MSU University Outreach and Engagement, East Lansing MSUFCU Institute for Art & Creativity at Wharton Center, East Lansing Music is the Foundation, Lansing Music Manor, Lansing Native American Arts and Crafts Council - Riverbank Traditional Pow Wow, Lansing Neighborhood Empowerment Center, Lansing Nicholas Creative Media, East Lansing Nokomis Learning Center, Okemos Okemos Music Academy, Okemos Old Town Commercial Association - Festival of the Moon and Sun, Old Town Oktoberfest, Dickens Village, Lansing One Love Global, Lansing Oneness Foundation, Williamston Opus Mime Inc., Stockbridge Over The Ledge Company, Grand Ledge Owosso Community Players, Owosso Paine-Gillam-Scott Museum, Saint Johns Pan-Laconian Foundation, Okemos Peppermint Creek Theatre Company, Lansing Piper & Gold Public Relations, Lansing Polka Dots Bead Store, Lansing Potter Park Zoological Society, Lansing R.E. Olds Transportation Museum, Lansing RCAH Center for Poetry at Michigan State University, East Lansing RCP Scanning, Portland Reach Studio Art Center, Lansing Red Barn Pottery LLC, Williamston Redhead Design Studio, Lansing Renegade Theatre Festival, Lansing REO Town Commercial Association, Lansing Residential College in the Arts and Humanities (RCAH) at MSU, East Lansing Rockfish Foundation, Holt Ruhala Performing Arts Center, East Lansing Saginaw Chinese and Research Institute, , Okemos Saginaw Oakland Commercial Association, Lansing Saper Galleries and Custom Framing, East Lansing Shiawassee Arts Center, Owosso Showcase Fiber Events, Holt Silver and Beyond, East Lansing Sistrum -THE LANSING WOMENS CHORUS, East Lansing Smitten Dust Studio, Holt Society for Preservation & Encouragement of Barbershop Quartet Singing America, Lansing Soundsgood Ministries, Lansing Spandan, Inc., East Lansing SPEBSQSA Barbershop Chorus - Capitol City Chordsmen, Lansing Chapter, Lansing Starlight Dinner Theatre, Lansing Stockbridge Area Arts Council, Stockbridge Stockbridge Area Genealogical Historical Society, Stockbridge Student Statesmanship Institute, , Lansing Studio Retreat, St. Johns Sweet Custom Jewelry, Lansing The American Shakespeare Collective, Eaton Rapids The Ark Educational Foundation, East Lansing The Art for Charlie Foundation, East Lansing The Arty Party Studio, Okemos The Dance Conservatory, Charlotte The Jordan Gallery, Owosso The Record Lounge, Lansing The Renaissance Singers, East Lansing The Revue, Woodland The Studio Performing Arts Center, East Lansing TLC Memory Keepers, Williamston Touchstone Pottery, DeWitt Town Hall Players, Stockbridge Turner-Dodge House, Lansing Two Monster Books, Okemos UrbanBeat Event Center, Lansing Vineyard Productions, Lansing Walking Horse Gallery & Gifts, Lansing Water Wonderland Chorus, Holt Waterloo Area Historical Society, Stockbridge Waverly Band Boosters, , Lansing Wharton Center for Performing Arts, East Lansing Wheaton Gallery, Mason Williamston Depot Museum, Williamston Williamston Theatre, Williamston Working Women Artists, Lansing Woven Art, East Lansing Zahrah R Gallery of Contemporary Art, East Lansing 37 Artists in Municipalities Following are a variety of examples of artists working within municipal structures across the country that range from residencies to artists embedded as full-time staff within city departments. • Art At Work/Portland, ME: Artist Marty Pottenger worked with the City of Portland, ME to develop Portland Works which “employs artmaking as a catalyst to build enduring, authentic relationships which are essential to meeting the increasing challenges facing cities. Created in response to civic and social tensions between city employees, elected officials and the immigrant and refugee communities, Portland Works partners municipal participants – city councilors, police, public service, social service, fire and EMS workers – with community leaders who represent both the city’s growing diversity and the residents who have lived here for generations. Exploring topics including civics, history, life stories and the “state of the city,” participants meet monthly to create and share individual artworks.” • Boston AIR (Artist in Residence): “In the program, artists, community members, and City employees work on projects that help reframe social conversations. These artists explore the ways they can use art and media to improve and bolster City initiatives. They also search for ways to make artistic social practice a part of government and community work.” • City Artist – St. Paul, MN: “Since 2005, the influential City Artist program has redefined the role of the artist working within city government. Integrated far upstream in the daily and long-term workings of the city, artists are creating a new artistic, social and civic practice through an innovative public-private partnership between Public Art Saint Paul and the City of Saint Paul. The central pursuit is to create art out of the life-sustaining systems of the city. Artists advise on major city initiatives and lead their own artistic and curatorial projects and have dedicated workspace within the Department of Public Works so they can freely collaborate across city agencies.” • Miami Beach Office of Resilience: “Can an artist help tackle one of the biggest problems facing mankind? Miami Beach certainly thinks so. One of the most vulnerable cities in the United States to the effects of climate change, the metropolis has launched an innovative artist residency that aims to recruit an artist to help address rising sea levels. For one year, the artist will be embedded with the city as it works to develop a plan to respond to the rising tides.” • Department of Cultural Affairs – Public Artists in Residence: “Public Artists in Residence (PAIR) is an experimental municipal residency program that embeds artists in city government to propose and implement creative solutions to pressing civic challenges.” • PAIR is based on the premise that artists are creative problem-solvers. Moving beyond politics and public relations, artists are able to create long-term and lasting impact by working collaboratively and in open-ended processes to build community bonds, open channels for two-way dialogue, and reimagine realities to create new possibilities for those who experience and participate in the work. 38 • Creative City Making – Minneapolis, MN: “In 2013 the City of Minneapolis and Intermedia Arts collaborated on Creative CityMaking (CCM), a program aimed at integrating creative thinking, strategies, and processes into the ongoing operations of City Departments. Functioning within the Department of Community Planning and Economic Development (CPED), five core projects enabled artists and planners to explore new ways to involve citizens who typically haven’t participated in planning processes. Over the course of a year, the artist-planner teams created 22 different arts-based tools and strategies to stimulate learning and dialogue about possible community futures and assets.” • Director of Innovation and Marketing, Albuquerque, NM: In February, 2018, Tim Keller, the mayor of Albuquerque, NM, named an artist to his team, in a position as Director of Innovation and Marketing, bringing his skills as a poet and artist, seeking to integrate arts and culture into community innovation and building the creative sector. • NASA/SETI AIR: The SETI Institute’s Artists in Residence Program: “The SETI Institute has become an international leader in the movement to integrate the arts and sciences. SETI AIR facilitates an exchange of ideas between artists and scientists so that these disciplines may inspire each other and lead to new modes of comprehension and expression. This program expands upon the SETI Institute’s mission to explore, understand, and explain the origin, nature, and prevalence of life in the universe. Our artists bring fresh eyes to help navigate difficult concepts and act as a bridge to broaden awareness of the science carried out at the SETI Institute.” 39 Public Funding Trends Following is data from the Michigan Council for Arts and Cultural Affairs (MCACA) funding for three years in Clinton, Eaton and Ingham Counties. Additionally, data on the grant programs managed through the Arts Council of Greater Lansing is represented below. Michigan Council for the Arts and Cultural Affairs Arts Council of Greater Lansing Snapshot of the Arts in Tri County Region MI 2016 United States CVI = 1.0 Creative Vitality Index Total Population 475,0511.10 CVI Value Past 5 years of CVI Performance 2012 1.15 2013 1.07 2014 1.19 2015 1.11 2016 1.10 This regional snapshot report gives the big picture of a region’s creative landscape. It provides an overview of creative jobs, industry sales, FDR grants, and Nonprofit revenues. 2% since 2015 Occupations with greatest number of jobs Postsecondary Teachers 8,312 Waiters and waitresses 3,552 Photographers 1,157 Public Relations Spelst 862 Musicians & Singers 693 2016 Creative Jobs 21,821 Total Creative Jobs There are 371 more creative jobs in the region since 2015 Software Publishers $204.6M Commercial Gravure Printing $140.3M Television Broadcasting $97.7M Coffee and tea mfg.$52.6M Radio Stations $46.5M Industry type Industry Sales Industries with greatest sales2016 Creative Industries $1.0B Total Industry Sales 11% since 2015 There are $2.8 million more in revenues in the region since 2015 CVSuite does not have grant data for 2016. 2016 Cultural Nonprofit $24.8M Nonprofit Revenues DATA SOURCES:Economic Modeling Specialists International, National Assembly of State Arts Agencies, National Center for Charitable Statistics CREATIVE VITALTY SUITE:The Creative Vitality Index compares the per capita concentration of creative activity in two regions. Data on creative industries, occupations, and cultural nonprofit revenues are indexed using a population-based calculation. The resulting CVI Value shows a region’s creative vitality compared to another region. For more information on data sources visit: learn.cvsuite.org WESTAF © Creative Vitality™ Suite 2018 cvsuite.org Report created: 9/5/2018 Snapshot of the Arts in Ingham County Michigan (Lansing) 2016 United States CVI = 1.0 Creative Vitality Index Total Population 287,9961.50 CVI Value Past 5 years of CVI Performance 2012 1.64 2013 1.54 2014 1.59 2015 1.57 2016 1.50 This regional snapshot report gives the big picture of a region’s creative landscape. It provides an overview of creative jobs, industry sales, FDR grants, and Nonprofit revenues. 1% since 2015 Occupations with greatest number of jobs Postsecondary Teachers 8,116 Waiters and waitresses 2,640 Photographers 805 Public Relations Spelst 701 Musicians & Singers 502 2016 Creative Jobs 18,224 Total Creative Jobs There are 269 more creative jobs in the region since 2015 Software Publishers $194.5M Television Broadcasting $97.6M Coffee and tea mfg.$45.4M Radio Stations $44.9M Commercial Gravure Printing $42.7M Industry type Industry Sales Industries with greatest sales2016 Creative Industries $817.9M Total Industry Sales 11% since 2015 There are $2.0 million less in revenues in the region since 2015 CVSuite does not have grant data for 2016. 2016 Cultural Nonprofit $16.2M Nonprofit Revenues DATA SOURCES:Economic Modeling Specialists International, National Assembly of State Arts Agencies, National Center for Charitable Statistics CREATIVE VITALTY SUITE:The Creative Vitality Index compares the per capita concentration of creative activity in two regions. Data on creative industries, occupations, and cultural nonprofit revenues are indexed using a population-based calculation. The resulting CVI Value shows a region’s creative vitality compared to another region. For more information on data sources visit: learn.cvsuite.org WESTAF © Creative Vitality™ Suite 2018 cvsuite.org Report created: 9/5/2018 Snapshot of the Arts in Clinton County MI 2016 United States CVI = 1.0 Creative Vitality Index Total Population 77,8910.42 CVI Value Past 5 years of CVI Performance 2012 0.46 2013 0.37 2014 0.86 2015 0.31 2016 0.42 This regional snapshot report gives the big picture of a region’s creative landscape. It provides an overview of creative jobs, industry sales, FDR grants, and Nonprofit revenues. 4% since 2015 Occupations with greatest number of jobs Waiters and waitresses 256 Photographers 130 Graphic Designers 86 Musicians & Singers 71 Writers & Authors 65 2016 Creative Jobs 1,163 Total Creative Jobs There are 42 more creative jobs in the region since 2015 Commercial Gravure Printing $89.8M Commercial Screen Printing $9.2M Display Advertising $9.1M Breweries $3.6M Ornamental & Arch Metal Work $3.1M Industry type Industry Sales Industries with greatest sales2016 Creative Industries $142.1M Total Industry Sales 64% since 2015 There are $5.0 million more in revenues in the region since 2015 CVSuite does not have grant data for 2016. 2016 Cultural Nonprofit $7.7M Nonprofit Revenues DATA SOURCES:Economic Modeling Specialists International, National Assembly of State Arts Agencies, National Center for Charitable Statistics CREATIVE VITALTY SUITE:The Creative Vitality Index compares the per capita concentration of creative activity in two regions. Data on creative industries, occupations, and cultural nonprofit revenues are indexed using a population-based calculation. The resulting CVI Value shows a region’s creative vitality compared to another region. For more information on data sources visit: learn.cvsuite.org WESTAF © Creative Vitality™ Suite 2018 cvsuite.org Report created: 9/5/2018 Snapshot of the Arts in Eaton County, MI (Lansing project) 2016 United States CVI = 1.0 Creative Vitality Index Total Population 109,1640.56 CVI Value Past 5 years of CVI Performance 2012 0.37 2013 0.33 2014 0.39 2015 0.49 2016 0.56 This regional snapshot report gives the big picture of a region’s creative landscape. It provides an overview of creative jobs, industry sales, FDR grants, and Nonprofit revenues. 2% since 2015 Occupations with greatest number of jobs Waiters and waitresses 656 Photographers 221 Postsecondary Teachers 146 Public Relations Spelst 122 Musicians & Singers 119 2016 Creative Jobs 2,434 Total Creative Jobs There are 60 more creative jobs in the region since 2015 Software Publishers $10.0M Commercial Gravure Printing $7.8M Electronic stores (new)$7.8M Coffee and tea mfg.$7.1M Antique Shops $6.4M Industry type Industry Sales Industries with greatest sales2016 Creative Industries $85.0M Total Industry Sales 16% since 2015 There are $161 thousand less in revenues in the region since 2015 CVSuite does not have grant data for 2016. 2016 Cultural Nonprofit $822.4K Nonprofit Revenues DATA SOURCES:Economic Modeling Specialists International, National Assembly of State Arts Agencies, National Center for Charitable Statistics CREATIVE VITALTY SUITE:The Creative Vitality Index compares the per capita concentration of creative activity in two regions. Data on creative industries, occupations, and cultural nonprofit revenues are indexed using a population-based calculation. The resulting CVI Value shows a region’s creative vitality compared to another region. For more information on data sources visit: learn.cvsuite.org WESTAF © Creative Vitality™ Suite 2018 cvsuite.org Report created: 9/5/2018 44 Creative Economy Data Tables A sub-committee of the Steering Committee worked with the planning consultant to review the data in the CV Suite, specifically focusing on establishing a definition of the creative economy for purposes of this plan. Following are two lists – creative occupations and creative industries. The first set of tables – one for each county and one combining the three counties - lists the creative occupations included in the definition, listed in order from the greatest number of jobs as of 2016 to the least number of jobs. Median and hourly earnings are also shown. The second table lists the creative industries included in the definition, again one for each county and one with the combined data for the tri-county region. It is worth noting that under occupations that the sub-committee has included waiters and waitresses. Individuals included in these occupations are often artists who seek either primary or secondary income through the food service industry. Chefs and head cooks are included as they are viewed as creative professionals. Postsecondary teachers are included as this includes teachers in the arts and humanities, many of whom work more broadly across the creative sector in a community. 45Creative Occupations - Tri-County Region 46 47 48 Creative Occupations - Ingham County 49 50 51Creative Occupations - Clinton County 52 53Creative Occupations - Eaton County 54 55 56 Creative Industries - Tri-County Region 57 58 59Creative Industries – Ingham County 60 61 62 Creative Industries – Clinton County 63 64 65Creative Industries – Eaton County 67Cultural Economic Development Plan Sponsors Cover Art: Detail from self-portrait by Salt Lake artist Sandy Parsons, offered in loving tribute and memorial with permission of the artist’s estate. https://sandyparsonsart.wordpress.com TABLE OFCONTENTS 36//OBJECTIVES 39//RECOMMENDATIONS 10//PLANNING METHODOLOGY 13//WHAT WE LEARNED 18//CURRENT STATE & DESIRED FUTURE 22//AUDIENCE DEVELOPMENT 26//ALIGNMENT WITH RELATED PLANS & STUDIES 30//CULTURAL CORE GOALS TABLE OFCONTENTSTABLE OFCONTENTS 54//OBJECTIVES 57//RECOMMENDATIONS 70//OPERATING BUDGETS 72//PRIORITIES 82//IMPLEMENTATION 89//RELATED DOWNTOWN CONVERSATIONS 92//SUCCESS METRICS 97//PLANNING PARTICIPANTS 100//ARTWORK/PHOTOGRAPHY CREDITS MAYORS' WELCOME 1 Art—in its many forms—is always welcome here, as are those who create it. It enriches the community and helps lend artistic expression to our unique and shared qualities as a metropolitan area. We share a desire to recognize and expand the arts scene in our capital city. The challenge has always been in how to best support and promote the abundance of arts and cultural offerings. To address this challenge, Salt Lake City and Salt Lake County have joined together to create the Cultural Core Action Plan. The plan will serve as a guide for promoting this place and for inviting people from around our region and the nation to experience Salt Lake arts and culture. The Cultural Core is for everyone. The concept and spaces reflect all Utahns, families and individuals of all ages, backgrounds and cultural tastes. The Cultural Core initiative honors and supports traditional art forms central to our history, while simultaneously nurturing emerging and contemporary expressions through promotions and creative placemaking efforts. The Cultural Core will be a powerful economic engine. It will stimulate local business growth through providing a beautiful and lively environment for shoppers and visitors. It will expand home and workplace for students and graduates of our universities and colleges. Young adults will bolster a diverse and inclusive community and the Cultural Core will connect them to our history and ground them in the traditions that make Salt Lake an enduring and iconic location. Finally, the Cultural Core will provide spaces and activities that engage children and welcome families from all neighborhoods and economic backgrounds, giving them access to the joy, inspiration and creativity of the arts. City and county staff, along with The Cultural Planning Group, have received feedback from the public, met with interest groups and reached out to stakeholders as part of the process. We compared notes and reviewed market demand data. The result is a comprehensive plan that sets out ambitious goals set by and for our community. As you explore this plan, our hope is that you see yourself as both a partner and a beneficiary of the Salt Lake Cultural Core for many years to come. Sincerely, JACKIE BISKUPSKI Salt Lake City, Mayor BEN MCADAMS Salt Lake County, Mayor CULTURAL CORE COMMITTEE 2 CULTURAL CORE BUDGET COMMITTEE Lori Feld, Chair President, North America at MRM//McCann Dee Brewer Marketing and Sponsorship Director, City Creek Center David E. Gee Parr Brown Gee & Loveless Sofia Gorder Associate Director of Community Partnerships & Chair of the Arts Department, Rowland Hall Virginia Gowski Gowski & Partners Diane Stewart Owner, Modern West Fine Art The Cultural Planning Group David Plettner-Saunders - Partner Jerry Allen - Partner Linda Flynn - Partner & Research Director Surale Phillips - Audience Development Associate Nancy Boskoff - Project Advisor BWP Communications Brett Palmer - President and CEO Soren Simonsen - Executive Director, Community Studio Dan Tetzl - Senior Designer Sparano+Mooney Architecture Anne Mooney - Principal John Sparano - Principal Philip Dimick - Architect CONSULTANTS STAFF Lia Summers Senior Advisor to the Mayor for Art and Culture, Salt Lake City Corporation Holly Yocom Associate Director, Community Services Salt Lake County EXECUTIVE SUMMARY 3 The Salt Lake Cultural Core presents an extraordinary opportunity to proclaim Salt Lake as one of the key cultural centers in the country. The cultural life is remarkable, with outstanding cultural institutions and facilities, a high quality of arts programming and a concentration of artists and creatives. According to the National Endowment for the Arts, residents of the Salt Lake region also have the nation’s highest level of arts participation. The Cultural Core is a visionary collaboration of the City and County of Salt Lake to promote and leverage this cultural abundance, with a rising tide that lifts the whole arts community and shares its wealth of experiences with people from throughout the region and beyond. This Cultural Core Action Plan arrives at an opportune time, emerging from a community- based planning process. In 2010, the City and County of Salt Lake formed a partnership to promote and develop arts and culture in the Cultural Core, and established a taxing district to provide a reliable revenue source for a 20-year period.1 In 2011, a series of Community Conversations with stakeholders established foundational ideas for the plan. Key ideas emerging from these dialogues include: •Creative placemaking - physical development of the district •Creative programming - marketing, promotions, and audience development KEY OPPORTUNITIES FOR THE CULTURAL CORE •Raise awareness of Salt Lake City as a highly vibrant cultural center. Invite and incentivize people from throughout the region, defined as a 75-minute drive time from downtown, to rediscover the Core. •View the Core as a canvas for activation. Creative placemaking interventions of varied scales will enliven the street experience. •Succeed through thoughtful coordination and collaborations. Leverage the multitude of performances, events and activities already available, supporting new and innovative collaborations and enabling creative contributions from Salt Lake’s arts community. •Expand and diversify audiences. Promote the Core as a destination and an experience for all residents in the region, supplementing marketing for specific events and organizations. Over time, audience development will help maximize usage of Core cultural facilities and venues. EXECUTIVE SUMMARY 1The Interlocal agreement defines the Cultural Core as the area bounded by 600 W. Street on the West, 400 E. Street on the East, North Temple Street on the North and 400 S. Street on the South. The tax collection area is a subset of this area, bounded by 200 W. Street on the West, 200 E. Street on the East, South Temple Street on the North and 400 S. Street on the South. CREATIVE PLACEMAKING RECOMMENDATIONS Creative placemaking initiatives will leverage and promote Salt Lake’s existing resources, practices, cultural assets and civic infrastructure. They enhance the character of Salt Lake by identifying types of locations for creative intervention and for temporary and permanent artistic installations; identifying and addressing programming gaps; providing strategic investments to stimulate the creative community; and building new creative relationships in support of the goals of the Cultural Core. •Increase the visibility, quality and quantity of public art. •Develop a visible and coordinated aesthetic. •Improve wayfinding. •Activate underutilized places and spaces. •Create dedicated places to support programmed spontaneity. •Develop engaging themes to connect existing and new programming. •Encourage and increase community engagement with programming for families, children and youth. •Provide opportunities to advance and showcase the work of Salt Lake's creative community. •Encourage and support culturally inclusive programs reflecting Salt Lake’s diverse communities. •Encourage and support innovation, experimentation and nontraditional forms of artistic expression. EXECUTIVE SUMMARY 5 MARKETING AND PROMOTION RECOMMENDATIONS The marketing recommendations function as a framework for promoting the Cultural Core and surrounding areas to existing audiences and for building new audiences throughout the region. •Create opportunities for stakeholder engagement and collaborations in the development and promotion of marketing approaches. •Create a brand to celebrate, illuminate and proclaim the DNA of Salt Lake’s arts and cultural community. •Develop a comprehensive marketing platform to serve as a strategic roadmap for marketing and promotions. •Create a comprehensive marketing resource library to market the foundational aspects of the Cultural Core brand. •Leverage digital opportunities to pique interest, improve user access and promote a flourishing arts and culture destination. •Build on momentum of the Action Plan engagement and development process with a launch campaign and subsequent campaigns. •Develop new promotion and ticketing strategies. •Develop metrics to measure program effectiveness and guide adjustments. EXECUTIVE SUMMARY 6 CULTURAL CORE MANAGEMENT The City and County’s Interlocal Agreement for the Cultural Core is governed by a six-member advisory Budget Committee, with direct oversight from City and County staff. The Interlocal also calls for management of the Core to be selected through an open proposal process. It is recommended that the selected management should have a dedicated Artistic/Executive Director, responsible for overall management and decisions regarding creative placemaking and marketing. The RFP should also highlight the need for someone to be responsible for community engagement activities and supporting programming and events. The management has a broad range of responsibilities and it will be helpful to create an Artistic Advisory Committee to support management in implementation of the Core, composed of people who are knowledgeable about Salt Lake’s arts community and national/international arts trends, City and County staff who reflect diverse populations, and people who are well-informed about targeted audience segments. Cultural Core management will base its operating budget on the annual City and County appropriations derived from the sales tax revenues created by the Interlocal Agreement, which total $500,000 each year. It can also draw on the Core’s accumulated sales tax funds to finance start-up costs. The Core can seek opportunities to supplement this funding with grants from sources outside Salt Lake, such as national funders interested in creative placemaking. It can also pursue partnerships with developers and local agencies, such as City, County and State public art programs, and the Redevelopment Agency. Sponsorship support and underwriting can be sought from local corporations and individuals. However, it is recommended that the management focus on funding that “increases the pie” of arts and cultural dollars and not compete for funding with Salt Lake’s arts and cultural organizations. IMPLEMENTATION AND STARTING POINTS The Cultural Core Action Plan is both a long-term master plan and a five-year action plan for implementation of the Core. The Core calls for ambitious actions as well as intermediate steps, all of which advance Salt Lake and its arts community to greater attention and acclaim. Powerful, visible interventions/projects will attract public attention and embody the brand. Core management should identify one or more launch projects as part of the RFP and selection process, providing a quicker start-up to the implementation process. Following the first year or two, Core implementation can build on the initial successes and incorporate lessons learned from start-up activities. Starting points for creative placemaking include creating a visual aesthetic for the Core, highly visible launch projects (temporary public art, interactive art installations, a free expression zone, etc.), promotion of family- and child-centered programming, and expansion of Visit Salt Lake’s current Connect Pass program to include more arts activities. Starting points for marketing include establishing the brand and brand toolkit for the Core, developing a dedicated website (drawing on NowPlayingUtah.com data), and launching a promotional campaign. INTRODUCTION AND CONTEXT 9 INTRODUCTION AND CONTEXT The Salt Lake Cultural Core Action Plan is the result of a community-based planning process to produce a master plan, as well as a five-year action plan to implement the Cultural Core. In 2010, the City and County of Salt Lake created a partnership to promote and develop arts and culture in the downtown area and established a taxing district to provide a reliable revenue source for a 20-year period. In 2011, a series of Community Conversations with various stakeholders established key elements of the Cultural Core and the Action Plan is based on ideas established in the Community Conversations. The Cultural Core is governed by an advisory body, the Cultural Core Budget Committee, composed of six members appointed by the City and County Mayors and approved by the respective Councils. In April 2016, the City and County selected a team of Salt Lake and national consultants to conduct the Action Planning process. Over the course of six months, they met with downtown stakeholders, including the arts and cultural community. They also engaged diverse representatives of the regional community, which is defined as a 75-minute drive time from downtown, reflecting the broader audience for the Cultural Core, including a county-wide community survey. The planning process developed the work done in the 2011 Community Conversations based on the ideas stakeholders and residents expressed in the planning process. The Cultural Core will benefit from the creative contributions of organizations, artists and people from throughout the Salt Lake region, and the Action Plan identifies ways in which partners inside and outside the Core can contribute to, and benefit from, its vitality. Cultural Core resources are not intended to be a new project grant program, since there are already City and County grants programs that fund activities in the Cultural Core. Rather, the resources will promote the Core as a whole and provide opportunities for collaborative activities that leverage the region’s creative capacities. INTRODUCTION/CONTEXT PLANNING METHODOLOGY INTRODUCTION AND CONTEXT // PLANNING METHODOLOGY 11 WHAT WE DID In April 2016, Salt Lake City and Salt Lake County launched a new phase of the planning process for the Cultural Core. Building on the foundation of the 2011 Community Conversation results, the process invited elected officials, arts leaders, civic and community leaders, arts organizations, business groups, artists, architects, designers and marketers, and the general public to engage in a dialogue about promoting current happenings in Cultural Core and creating new vibrancy. The process focused on understanding the authentic, diverse programming and places in the Core while learning what new and innovative creative placemaking initiatives will draw in new audiences, and gathering information to influence the development of a brand and marketing campaign. A triangulation approach to planning ensured engagement with a cross section of community members and stakeholders in Salt Lake to… •Understand the multitude of great events, places, and programming. •Bring together multiple points of view to inform the plan. •Test strategies and concepts with the community. •Cultivate new partners/allies and collaborations and build awareness of the effort. •Stimulate broad awareness and momentum for the plan. Public outreach for the plan included extensive stakeholder and community engagement, an open regional community survey, Mayor and Community Council briefings and meetings with representatives of diverse communities. PLANNING METHODOLOGY // INTRODUCTION AND CONTEXT 12 OBSERVATIONAL/SECONDARY: •Cultural Core Tours •Program and Event Review •Demographic Overview •Document and Plan Review QUANTITATIVE: •Open Regional Survey (2,065 responses) •Regional Market Demand Analysis QUALITATIVE: •Over 25 In-depth Stakeholder Interviews •Over 25 Public Discussion Groups •4 Public Events HOW WE DID IT INTRODUCTION/CONTEXT WHAT WE LEARNED WHAT WE LEARNED // INTRODUCTION AND CONTEXT 14 WHAT WE LEARNED Salt Lake is a highly vibrant cultural center. The Cultural Core opportunity is to invite people from throughout the region to rediscover the downtown cultural experience and to fill in the gaps with specific, desired programs and place activation. An abundance of vital programming is happening right now in the Core. Successful and well-attended festivals, events, performances, exhibitions, public art and more are a feature of downtown Salt Lake City’s cultural life. The Core is also home to an extraordinary concentration of cultural facilities, venues, museums and galleries, most within walking distance of one another. Nonprofit arts organizations, major institutions, and others provide these many programs and events. This rich presence provides an opportunity to attract and build audiences to the Core. According to the Cultural Core community survey, 94% of respondents, across all demographic groups, place the highest importance on beautifying spaces, and inviting and entertaining residents in the Core. The first priority can be accomplished through place activation while the second through current and selective new programming. Residents of the region are highly inclined to participate in the arts. Results of an arts demand study conducted for this Action Plan shows demand is generally very strong in the region (a 75-minute drive time from downtown), with more than 75% of all households rated as “inclined” to participate in the arts. And according to a recent study by the National Endowment for the Arts, Utahans go to arts events — plays, concerts, dance performances, gallery exhibits and movies — more than people anywhere else in the nation.2 An estimated 84.5% of adults in Utah attended visual or performing arts events or went to the movies in 2015, the highest level of any state in the country and well above the national average of 66.2%. The state's great outdoors and the influence of The Church of Jesus Christ of Latter-day Saints are two factors that may influence Utahans' arts consumption. While these figures are statewide, it is reasonable to assume that these conclusions are true for those living within the Salt Lake region. Residents want more things happening at more times, including family programming, culturally relevant programming and nighttime activities. Culturally relevant programming would involve cultural informants from Salt Lake’s diverse communities advising, planning, and implementing programming that reflects the culture of certain groups and is appealing to target populations and others. These types of programs may be part of culturally specific celebrations, food events and music events. When asked what may entice residents to visit the Cultural Core beyond the current programming, 90% of survey respondents selected the open-themed festival concept (a collaboration of artists, arts organizations, businesses, restaurants, and others), 88% like the idea of culturally specific celebrations, and 87% selected outdoor live performances. Younger respondents (44 years or younger) significantly prefer outdoor live performances (80%) and culturally specific celebrations (81%). Seventy-seven percent (77%) of respondents selected food truck events as an incentive to visit the Cultural Core. A successful Cultural Core will require thoughtful coordination and collaborations. Because of the great number and variety of performances, events and activities already available, Core management must be attuned to what is already scheduled in the Core and identify opportunities to leverage greater awareness and attendance. Leverage means a combination of effective marketing and selective addition of urban activation and/or programming. There is a vital and evolving practice of collaboration and partnership among Salt Lake arts and cultural organizations and artists, with numerous opportunities to augment these relationships with downtown businesses, property owners and public agencies. When asked what was important for the plan do, 85% of respondents said it should provide opportunities for local arts organizations and artists. Salt Lake’s individual artists and creatives express strong interest in contributing more to the vitality of the Core. Artists are excited to facilitate projects and activities in alignment with the goals of the Core. They identify the ability to secure permissions from the appropriate governing bodies for arts activities as one barrier to greater involvement and hope that the Core can assist in this function, whether through creating a more detailed check list for those producing events or allowing weekly access to areas that do not require permits or have pre- approved permits. This is an excellent opportunity for the Core to activate space. 2National Endowment for the Arts, Arts Data Profile #11 (August 2016) – State-Level Estimates of Arts Participation Patterns (2012-2015), https://www.arts.gov/artistic-fields/research-analysis/arts-data-profiles/arts-data-profile-11 INTRODUCTION AND CONTEXT // WHAT WE LEARNED 15 Opportunities exist for organizations and artists outside the boundaries of the Cultural Core to participate in programming taking place in the Core, even beyond current activity levels, and to benefit from collaborative marketing efforts. Salt Lake City’s built environment has distinctive characteristics including wide streets, long blocks and blank or vacant spaces. The opportunity for the Cultural Core lies in viewing this as a canvas for activation—creative placemaking interventions of varied scales enlivening the street experience. Residents of the region express an appetite for un-programmed placemaking, such as spontaneous activities, free expression zones, and interactive art installations. Vibrancy in the form of street-level activities and infrastructure (art installations, pop-up events, street furniture) infused with art brings activity, visual interest and serendipity into the public experience. There are opportunities to target creative activation in areas and streets that are currently dead spots, such as alleyways, crosswalks, blank building surfaces, empty buildings and parking lots. Survey results provide evidence respondents are most likely to visit the Core to see unique outdoor art/arts events such as creative lighting installations/festivals or open studio events (80%), and interactive art - playable, touchable, or multi- sensory (69%). Sixty-six (66%) of respondents are likely to visit the Core for mural or visual street art. Spontaneous street performers are the least popular with respondents (53%). The majority of respondents (89%), regardless of identity group, feel it is important to place creatively designed amenities in the Cultural Core. Sixty-eight (68%) like the idea of creating connections between places with art, 65% want to see creative signage, and 54% feel it is important to develop a cultural trail in the Core. Although the cultural trail was the least important among all respondents, Hispanic/ Latino respondents (68%) rate it significantly higher than other groups. Aligning early initiatives to be inclusive of and attractive to all groups may provide early wins for the Core. Audience development in the Cultural Core will focus on both current attendees and people not as often engaged in arts and culture. The purpose is to expand and diversify audiences for the Cultural Core as a destination and an experience, supplementing marketing for specific events and organizations. The Cultural Core should build its brand in concert with other local marketing and economic development organizations, such as Visit Salt Lake, the Downtown Alliance, Utah Office of Tourism and Now Playing Utah. Encouraging culturally relevant programming and welcoming, accessible customer services in the Cultural Core are important components of audience development. In order to ensure that all groups feel welcome, major institutions may need to go beyond offering free tickets or free days to underserved communities. Examples include engaging community in the planning or development of programming, cultural competence service training, eliminating the step of asking for standard identification at admission, offering free food and other strategies. The Core must address barriers cited by residents, businesses, and audiences through its marketing messages and campaigns. Barriers include parking, traffic, safety, availability of public amenities, walkability, connectivity and others. For perceived barriers, such as parking, it will be important to provide information and incentives to encourage greater visitation by regional residents. For legitimate barriers, such as public amenities (e.g., public restrooms, seating, shade), the Core must arrange or provide new services to address the need. Effective communications with Hispanic/Latino groups can be improved, as the survey revealed these respondents hear about happenings significantly less than Whites. Sixty-six percent (66%) of Hispanic/Latino respondents indicated they rarely or never hear about happenings compared to 31% of Whites. Promoting and enhancing a connected, cohesive community of all relevant stakeholders, both inside and outside of the Core, and building on the awareness and goodwill fostered in development of this Action Plan are keys to success for the Core and beyond. Arts organizations, artists and businesses express a strong desire for greater connection, information sharing, networking and collaborations. The Core will be most effective with a dedicated website and program designed for its own marketing, and can use the NowPlayingUtah.com database as a foundation. 69% INTERACTIVE ART WHAT WE LEARNED // INTRODUCTION AND CONTEXT 16 SURVEY RESULTS WHAT RESIDENTS WANT TO SEE: 80% UNIQUE OUTDOOR ART/ART EVENTS 53% SPONTANEOUS STREET PERFORMERS 66% MURALS/VISUAL STREET ART 69% INTERACTIVE ART WHAT RESIDENTS WANT TO ATTEND: 90% AN OPEN THEMED FESTIVAL 66% COMMUNITY FOOD TRUCK EVENTS 77% OUTDOOR LIVE PERFORMANCES 88% CULTURALLY SPECIFIC CELEBRATIONS INTRODUCTION AND CONTEXT // WHAT WE LEARNED 17 WHAT IS MOST IMPORTANT TO RESIDENTS: 89% CREATIVELY DESIGNED AMENITIES 54% DEVELOPING A CULTURAL TRAIL 64% CREATIVE SIGNAGE 68% CONNECTIONS BETWEEN PLACES WITH ART SURVEY RESULTS INTRODUCTION/CONTEXT CURRENT STATE & DESIRED FUTURE OF THE CULTURAL CORE INTRODUCTION AND CONTEXT // CURRENT STATE & DESIRED FUTURE 19 CURRENT STATE OF THE CULTURAL CORE AS DESCRIBED BY PLANNING PARTICIPANTS AND SURVEY RESPONDENTS. CURRENT STATE & DESIRED FUTURE // INTRODUCTION AND CONTEXT 20 DESIRED FUTURE OF THE CULTURAL CORE AS DESCRIBED BY PLANNING PARTICIPANTS AND SURVEY RESPONDENTS. INTRODUCTION/CONTEXT AUDIENCE DEVELOPMENT INTRODUCTION AND CONTEXT // AUDIENCE DEVELOPMENT 23 AUDIENCE DEVELOPMENT The Cultural Core exists to serve all residents of the region. Audience development is a key element of the Action Plan and encompasses the diversity of Salt Lake’s population groups. While strategies will be tailored to the specific needs of target audiences, the intention is to serve the cultural interests of everyone. Audience development is based on the results of research gathered through the community engagement process and a market demand analysis.3 While it is part of the Cultural Core Action Plan, it is not a stand-alone plan area. The Action Plan itself is a plan to develop audiences for the Core through creative placemaking and marketing. The consumer characteristics were studied using Mosaic—a lifestyle segmentation system developed by Experian. The demand analysis combined that data with market potential index data provided by Esri. Market potential index data measures the strength of purchase of products and services (including the arts) relative to a national average of 100. This combined data allowed us to segment the consumer population into two groups:1) households that are already more engaged in arts and cultural programs in the Core, and 2) households that are less engaged in the arts. This audience development plan includes two overall strategies: •Broadening audiences already participating in programming within the Core, and potential audiences within the city, county and region that are more inclined to participate. The research identifies characteristics of these audiences, barriers to increased frequency of participation, and insights to inform other areas of the Action Plan. •Diversifying audiences through efforts to connect with potential audiences not well-affiliated with organizations’ programming and events within the Core, and city and county residents less engaged in mainstream arts and cultural programs. The research also identifies characteristics of these potential audiences, barriers to participation, and insights to inform other areas of the Action Plan. 3This plan’s recommendations are supported by a market study conducted as part of the planning process, along with findings from community engagement. For details that form the foundation of these recommendations, please refer to the Market Demand Analysis report and summary of community engagement. It can be found in the Research Appendix to the Cultural Core Action Plan. AUDIENCE DEVELOPMENT // INTRODUCTION AND CONTEXT G r e a t S a l t L a k e RiverJor d a n RiverJor d a n T O O E L ET O O E L E U TA HU TA H S U M M I TS U M M I T B O X E L D E RB O X E L D E R W A S AT C HW A S AT C H D AV I SD AV I S W E B E RW E B E R S A LT L A K ES A LT L A K E M O R G A NM O R G A N R I C HR I C H D U C H E S N ED U C H E S N E C A C H EC A C H E Sources: Esri, DeLorme, USGS, NPS, Sources: Esri, USGS, NOAA I Strategic Audience Development Areas Less Engaged Audiences (Diversification Strategies) [665] More Engaged Audiences (Broadening Strategies) [613] HIGHER DENSITY BLOCK GROUPS HIGHER DENSITY BLOCK GROUPS These areas are segmented based on Consumer Arts Demand Indexes 2015 Blockgroup Boundaries LOWER DENSITY BLOCK GROUPS LOWER DENSITY BLOCK GROUPS A LOOK AT THE TARGET MARKETS BY GEOGRAPHY Map A illustrates the strategic audience development areas within a 75-minute drive time to downtown Salt Lake City. Areas in orange are where there is strong arts demand. Strategies for broadening audiences should be directed in these areas where households are already more engaged in the arts. Areas in yellow are where there is weaker arts demand. Strategies for diversifying audiences should be directed in these areas where households are less engaged in the arts. Note that the maps are based on geographic block groups that may include rural or less populated areas. MAP A: 75-MINUTE DRIVE-TIME MARKET Note: dark lines are county boundaries. Also, the maps are based on geographic areas (block groups) that are different from city and county boundaries and may include rural or unpopulated areas. INTRODUCTION AND CONTEXT // AUDIENCE DEVELOPMENT 25 G r e a t S a l t L a k e RiverJo r d a n RiverJo r d a n T O O E L ET O O E L E U TA H U TA H S A LT L A K ES A LT L A K E D AV I SD AV I S S U M M I TS U M M I T W A S AT C H W A S AT C H M O R G A NM O R G A N Sources: Esri, DeLorme, USGS, NPS, Sources: Esri, USGS, I Strategic Audience Development Areas Less Engaged Audiences (Diversification Strategies) [665] More Engaged Audiences (Broadening Strategies) [613] HIGHER DENSITY BLOCK GROUPS HIGHER DENSITY BLOCK GROUPS These areas are segmented based on Consumer Arts Demand Indexes 2015 Blockgroup Boundaries LOWER DENSITY BLOCK GROUPS LOWER DENSITY BLOCK GROUPS A LOOK AT THE TARGET MARKETS BY GEOGRAPHY MAP B: SALT LAKE COUNTY/ SALT LAKE CITY MARKET Note: dark lines are county boundaries. Also, the maps are based on geographic areas (block groups) that are different from city and county boundaries and may include rural or unpopulated areas. Map B provides a zoom view of the strategic audience development areas to more closely identify priority areas within the county and the city. INTRODUCTION/CONTEXT ALIGNMENT WITH RELATED PLANS& STUDIES INTRODUCTION AND CONTEXT // ALIGNMENT WITH RELATED PLANS AND STUDIES 27 ALIGNMENT WITH RELATED PLANS & STUDIES Vi sion for downtown Salt Lake City in 25 years: Downtown is recognized as one of the great cities of America, providing activities, att ractions and amenities for its 24-hour population, the residents of the region it serves and increasing numbers of visitors who are drawn to Downtown as a destination. Downtown Master Plan 1995 Vision for arts and entertainment: We capitalize on and grow downtown’s position as the foremost center for art, entertainment and culture in the state. We provide for a new performing arts center and ensure that existing arts organizations have the resources needed to thrive. Downtown Rising 2007 Stakeholder vision and strategies for the Cultural Core. AMS Cultural Core Conversations Final Report 2011 Goals for the new performing arts center and hopes and dreams for the surrounding district. Utah Performing Arts Center (UPAC) Public Engagement Report 2014 Salt Lake City’s artistic and cultural o erings foster a sense of place, stimu- late economic activity and enhance the livability of Ut ah’s capital city. Sustainable Salt Lake Plan 2015 Vi sion: Downtown Salt Lake will be the premier center for sustainable urban living, commerce, and cultural life in the Intermountain We st. Downtown Plan SLC 2016 A master plan and ve-year acti on plan to implement the Cultural Core, building on previous plans and studies. Salt Lake Cultural Core Action Plan 2016 ALIGNMENT WITH RELATED PLANS AND STUDIES // INTRODUCTION AND CONTEXT 28 Vision for downtown Salt Lake City in 25 years: Downtown is recognized as one of the great cities of America, providing activities, attractions and amenities for its 24-hour population, the residents of the region it serves and increasing numbers of visitors who are drawn to Downtown as a destination. Downtown Master Plan 1995Vision for arts and entertainment: We capitalize on and grow downtown’s position as the foremost center for art, entertainment and culture in the state. We provide for a new performing arts center and ensure that existing arts organizations have the resources needed to thrive. Downtown Rising 2007 Stakeholder vision and strategies for the Cultural Core. AMS Cultural Core Conversations Final Report 2011 Goals for the new performing arts center and hopes and dreams for the surrounding district. Utah Performing Arts Center (UPAC) Public Engagement Report 2014 Salt Lake City’s artistic and cultural o erings foster a sense of place, stimu- late economic activity and enhance the livability of Ut ah’s capital city. Sustainable Salt Lake Plan 2015 Vi sion: Downtown Salt Lake will be the premier center for sustainable urban living, commerce, and cultural life in the Intermountain We st. Downtown Plan SLC 2016 A master plan and ve-year acti on plan to implement the Cultural Core, building on previous plans and studies. Salt Lake Cultural Core Action Plan 2016 INTRODUCTION/CONTEXT CULTURAL CORE GOALS INTRODUCTION AND CONTEXT // CULTURAL CORE GOALS 31 GOALS OF THE CULTURAL CORE Celebrate and promote Salt Lake’s rich array of arts and cultural activities and experiences. Support increased collaboration and creative development among Salt Lake’s creative community. Enhance Salt Lake’s brand and support increased visitation from the region and Intermountain West. Expand and diversify audiences for Salt Lake’s arts and culture. CULTURAL CORE GOALS // INTRODUCTION AND CONTEXT 32 Foster downtown as an inclusive, diverse and welcoming place. Support downtown residential growth. Enhance the downtown business environment. Enrich the urban experience and sense of place. CREATIVE PLACEMAKING // INTRODUCTION 35 Downtown Salt Lake has a rich array of existing arts and cultural programming, facilities, venues, people and nodes of vibrant places. Through creative placemaking initiatives, implementation of this plan will leverage and promote Salt Lake’s existing resources, practices, cultural assets and civic infrastructure. It will strengthen the identity of Salt Lake by categorizing types of locations for creative intervention and for temporary and permanent artistic installations; identifying and addressing programming gaps; and providing strategic investments to stimulate the creative community and build new creative relationships in support of the goals of the Cultural Core. “[Creative placemaking is] …the intentional use of arts and culture to shape the physical, social, and economic future of communities, which strengthens economic development, promotes civic engagement, and contributes to quality of life. In short, art is a verb, and creative placemaking is using art to change a place.” KIMBERLY DRIGGINS Former Associate Planning Director, District of Columbia 600 W 400 W 500 W 300 W 200 W W Temple Main St State St 200 E 300 E N TempleS Temple100 S200 S300 S400 S400 E TRAILS:MIDBLOCK WALKWAYS:SURFACE PARKING LOTS:PPPPPPPPPPPPPPPPPPPPPMural Trailconnecting east and west side of the CoreFestival Street TrailFestival Street at 300 S west of Rio GrandeFestival Street TrailFestival Street at Main St between 100 S and 200 SFestival Street TrailFestival Street at Regent Street between 100 S and 200 S + Plaza600 W400 W500 W300 W200 WW TempleMain StState St200 E300 EN Temple S Temple 100 S 200 S 300 S 400 S400 ETRAILS: MIDBLOCK WALKWAYS: SURFACE PARKING LOTS: P P P P P P P P P P P P P P P P P PP P P Mural Trail connecting east and west side of the Core Festival Street Trail Festival Street at 300 S west of Rio Grande Festival Street Trail Festival Street at Main St between 100 S and 200 S Festival Street Trail Festival Street at Regent Street between 100 S and 200 S + Plaza CREATIVE PLACEMAKING OPPORTUNITY MAP CREATIVE PLACEMAKING OBJECTIVES CREATIVE PLACEMAKING // OBJECTIVES 37 OBJECTIVES Provide new opportunities for artists and cultural organizations. Leverage and promote the existing programming, organizations, places, and resources. Enhance resident and visitor satisfaction and perceptions. Foster new collaborations and create opportunities within the arts community as well as the business community and other stakeholders. Amplify and focus the creative potential of Salt Lake’s artists, creatives and organizations. Provide programs, experiences, and environments attractive to all of Utah’s different communities. Establish a vibrant urban aesthetic and environment for serendipitous experiences. Extend the daily and weekly arts and cultural activity cycle. CURRENT POTENTIAL CREATIVE PLACEMAKING RECOMMENDATIONS RECOMMENDATIONS // CREATIVE PLACEMAKING 40 RECOMMENDATIONS These recommendations provide a framework for improvements to the physical environment and investments to programming within the Core. The intent is to be locally focused and to emphasize elements and programs unique and authentic to arts and culture in Salt Lake. Many creative placemaking ideas will serve more than one objective. Physical placemaking includes improvements to spaces including, but not limited to, landscaping, urban design elements, surface treatments, public amenities, wayfinding, street furniture and public art. Capital improvements should be coordinated with the Redevelopment Agency (RDA) and other City and County departments. The physical placemaking recommendations for the Core fall into three different scales: 1. Focusing on individual sites and objects (small) 2. Improving existing midblock walkways (medium) 3. Creating extended linear connections or trails (large) Programming refers to performances, exhibitions, festivals, events and other activities. Because of the abundance of programing in the Core, programming investments should avoid duplication and be targeted to filling gaps or needs identified through this planning process. It is recommended that an Artistic/Executive Director guide implementation of the creative placemaking strategies (see Management and Governance, page 69), with the assistance of an Artistic Advisory Committee of diverse presenters, producers and curators. The Director monitors and reviews existing placemaking and programming plans in the Core and shapes activation based on what is already planned for that year, opportunities for leveraging existing events, programmed spontaneity and other activation. Creative placemaking investments will be made primarily through contracts for services. Each recommendation is followed by examples illustrating the concept; it is anticipated that specific ideas and investments will be identified by Core management through the an annual creative placemaking planning process. CREATIVE PLACEMAKING // RECOMMENDATIONS 41 •Coordinate with existing City, County, State and private public art programs by reviewing plans for upcoming projects in and near the Core and by identifying gaps and opportunities for Core investments and partnership opportunities. •Establish one or more mural trails connecting existing murals with new commissioned works. One possibility is along 200 South, connecting west-downtown murals to eastside 200 East and 200 South murals (see also Recommendation 8). The path of a mural trail should be able to “meander” to follow an organic path among art works, while maintaining placemaking coherence. •Identify location and provide one large and significant public artwork, a commissioned installation or space located in the Core with developed public space around the artwork. •Use existing infrastructure for new public art: bus shelters, utility boxes, light posts, sidewalks and crosswalks, etc. Work to be produced by diverse, local artists and other creatives, including graphic designers, landscape architects and architects. Art should be multi-sensory, accessible to all and may be connected or related to each other. •Improve lighting and signage for new and existing public art. This improvement begins with lighting for the flight-inspired series of sculptures that now exists within the Core. Commission energy-efficient lighting as a component of all future public art pieces to ensure their presence is visible at night. •Emphasize art installations that are interactive and engaging to a diverse audience, and refresh experiences available to the public to maintain interest. •Consider temporary art as a strategy for creating a high level of visual impact quickly and at reasonable expense. •Address the ongoing maintenance needs of public art projects. Increase the visibility, quality and quantity of public art. •Relate the common aesthetic to specific aspects of cultural significance to Salt Lake (outdoors, music, dance, etc.). •Centrally coordinate the aesthetic and include vibrant colors/graphics and occupiable “activation elements” such as benches, shading devices, etc. •Develop standards for trash and recycling receptacles, outdoor furniture, signage, etc. to maintain a coordinated and compelling aesthetic and to infuse public art onto existing infrastructure. The intention is to facilitate the design of distinctive, not uniform, objects. •Create surface treatments for sidewalks, crosswalks, large, blank building facades, etc., including temporary surface treatments or installations for empty lots and abandoned buildings. •Introduce a program for developing temporary graphics on buildings, including fencing surrounding buildings under construction. These graphics could change seasonally and relate to programming and events scheduled within the Core. Develop a visible and coordinated aesthetic for the Cultural Core. CREATIVE PLACEMAKING // RECOMMENDATIONS 43 •Update/replace signage and incorporate new cultural amenities using the same graphic identity to coordinate with Core signage. •Provide physical and digital Core maps identifying cultural amenities and their locations. •Develop an interactive, mobile app for identifying/accessing these cultural amenities (see Marketing and Promotions recommendation 5, page 62). •Develop visual, physical and/or graphic trails or queues connecting arts amenities in the Core. These may centralize around a Core home base. •Incorporate connections in wayfinding that acknowledge organizations, events and places outside the Core. Improve wayfinding throughout the Cultural Core. •Provide incentives for private property owners to activate and enliven dormant or underutilized property. •Address dead zones such as parking lots that are largely vacant, abandoned buildings and empty lots with planning strategies for these sites. •Design vibrant and pedestrian-friendly mid-block experiences throughout the Core. •Develop a program to introduce temporary or permanent art and artistic programming into alleyways located within the Core. •Support development of dedicated festival streets or spaces.⁴ •Consider the development of pocket parks within the Core. •Improve 200 West/Salt Palace underpass with public art or other permanent installation and tie this element south along 200 West. (Note: This is one example of a north-south art zone. There are also east-west and midblock cultural corridors proposed.) ⁴Festival streets or spaces will benefit from more infrastructure elements, such as canopy supports, lighting and electrical outlets and support, bollards or other barriers to close the street to vehicular traffic and to enable use of the street for public festivals. The City/RDA have already done some of this work in some locations. Build upon recent improvements, such as the addition of bike lanes, medians, planters, etc., along 300 South or the redesign of Regent Street, as a starting point for the urban design of a festival street/space. Provide landscaping, lighting and other coordinated urban design elements that distinguish each place as a festival venue. Activate underutilized places and spaces in the Cultural Core through permanent and temporary artistic interventions of various scales. CREATIVE PLACEMAKING // RECOMMENDATIONS 45 •Create free expression zones for street art, performances, temporary installations and other art activities in places clearly identified by design elements like color and signage, and where special permissions are not needed or are easily secured. “Give artists permission” to publicly share their creative work. •Use successful past and current projects in the City as a template for future projects. Examples include International PARK(ing) Day; public art/landscape projects, such as the Main Street garden tour; food truck meet-ups; and sponsored public art competitions such as Sway’d. •Create pop-up maker spaces, with the creative community invited and scheduled to participate. This includes children, family and youth component; also, retail sales and promotions. •Commission and support temporary public art, emphasizing an ongoing presence of art projects such as light installations, digitally and physically interactive work, and whimsical pieces. Coordinate with and build on public art projects commissioned by the City, County, State and private agencies. Create dedicated places to support programmed spontaneity. •Identify themes that provide strong promotional opportunities across a month or a season, and allow organizations and artists to align their work.5 •Plan 2 – 3 years in advance to accommodate the artistic programming schedules of arts organizations. •Brainstorm with artists and arts groups to arrive at a theme that can be incorporated into their programming with sufficient resources and lead time. •Tie the themed activities into a long-term marketing/public relations effort. •Expand Sunday afternoon family programming centered on a theme(s). •Support collaborative programming among organizations to address social issues: invite organizations to coordinate their programming and activities in the Core addressing social issues such as safety, homelessness, refugees and drug abuse. Consider tie-ins with awareness campaigns and engaging younger generations (students, young professionals living/working downtown, school children). •Develop programming themes capitalizing on special civic events and opportunities, e.g., anniversaries, major non-arts events (the Olympics). •Themes can focus on diversity and include local ethnic cultural expression. •Consider an Un-Fringe Festival: a twist on the familiar fringe festival concept, built on the idea that the Core is the center, not the fringe. Yet, fringe festivals are self-curated and – organized, allowing organizations and artists from throughout the region to participate. (This would require marketing and logistical support, as with any festival.) 5Examples of successful themed programming include the Pasadena’s AxS Festival, which explores the nexus of artistic and scientific inquiry (https://axsfestival.org) and the City of Santa Monica’s Glow, which features original commissions by artists that re-imagine Santa Monica Beach as a playground for thoughtful and participatory temporary artworks (http://glowsantamonica.org). Develop broadly engaging themes that connect existing and new programming and build on collaboration and collective themes. CREATIVE PLACEMAKING // RECOMMENDATIONS 47 •Develop relationships with schools throughout the region to engage students in projects and events. •Support discovery projects, participatory events, and interactive learning activities for children. •Support parent-child activities like pottery, printmaking, and written word. •Develop public art and signage that engage families with virtual (mobile app, game) and physical (touch, climb, move) learning activities. Encourage and increase community engagement with programming for families, children and youth. •Establish a mural trail that connects existing murals with new, commissioned works. One possibility is along 200 South, connecting west-downtown murals to eastside 200 East and 200 South murals (see also Recommendation 1, page 41). •Create a welcoming public space that features public art, performances and spoken word events by local artists. •Establish a Lit Stroll with written and spoken work events at cafés and galleries •Consider establishing a major competition that highlights Salt Lake and international works in downtown venues and sites, perhaps building on existing visual and/or performing arts competitions. •Engage students of all ages in projects that showcase their creativity. •Make it a policy to compensate artists for their work. Provide opportunities to advance and showcase the work of Salt Lake’s creative community. CREATIVE PLACEMAKING // RECOMMENDATIONS 49 •Value and promote culturally inclusive programming so all feel welcome in the Core and believe they are represented in the Core’s cultural identity. Organizations and venues may need to go beyond offering free tickets or admission to underserved communities, using approaches such as engaging community in the planning or development of programming, cultural competence service training, eliminating the step of asking for standard identification at admission, offering free food, and other strategies. •Develop a Community as Creators program led by arts organizations and engaging community members of diverse backgrounds in the creation of the programming that reflects their interests. Final work to be presented publicly in key Core outdoor and indoor venues. •Team up Core organizations with culturally specific organizations for educational and family-oriented events. •Train and provide resources to arts organizations to make programming and places welcoming and inclusive of diverse populations. •Train and provide resources to arts and culture groups so programs incorporate principles of universal design and are promoted to people of all abilities. •Encourage oral history and history groups to create storytelling opportunities for all communities to showcase their heritage and contributions to Salt Lake. Encourage and support culturally inclusive programs reflecting Salt Lake’s diversity - all ages, backgrounds, abilities, ethnicities and interests. Encourage and support innovation, experimentation and nontraditional forms of artistic expression. •Activate alleyways with creative interventions by local artists in all disciplines. •Engage digital game makers to create applications that include arts and culture venues and activities. •Create an idea connection board for local artists to post innovative ideas and find partners to implement the idea. •Consider an alternative iconic public artwork for Salt Lake: a series of temporary art installations or projects in the Core that comment or play on the idea of iconic public art. This could lead to a public dialogue about what an iconic piece might be for Salt Lake. MARKETING AND PROMOTION // INTRODUCTION 53 INTRODUCTION The marketing recommendations function as a framework for promoting the Cultural Core to existing audiences and building new audiences. Target markets include residents of Salt Lake City and the surrounding region and marketing activities will take place throughout the region. In addition, visitors to Salt Lake will benefit from Action Plan implementation. After adoption of the Action Plan, the first step is to develop a marketing program based on the following recommendations. It is anticipated that creative placemaking and marketing strategies will evolve together and be refined by the Core management team. Campaigns will be launched continually and managed in relation to the status of creative placemaking efforts. Campaigns will be designed for strategic audience segments. Taken as a whole, marketing must achieve a level of repetition that allows it to be effective. It must also accumulate sufficient customer data that allows marketing to be personalized or individualized for specific customers. MARKETING AND PROMOTION OBJECTIVES MARKETING AND PROMOTION // OBJECTIVES 55 OBJECTIVES Foster a more collaborative environment through which stakeholders inside and outside of the Cultural Core can participate in, and benefit from, its development and promotion. Market key messages and communications strategies for both existing and new audiences in the Salt Lake region. Create a marketable brand identity for the downtown Salt Lake Cultural Core based on the abundance of existing programming, events, and places. Gain national and international media exposure for downtown Salt Lake City’s unique arts and cultural offerings in the Cultural Core. Promote Salt Lake’s multicultural arts community. Utilize patron/client data accumulated collectively from all Cultural Core venues to create personas and aggregate content to create an advanced, responsive “smart” email marketing program targeted strategically to user preferences. Use marketing and promotion to educate the community about the role and value of the arts in our daily lives, going beyond increased visibility or awareness. MARKETING AND PROMOTION RECOMMENDATIONS RECOMMENDATIONS // MARKETING AND PROMOTION 58 Playing a role in organizing and building support among stakeholders to multiply the Core’s cumulative marketing and promotional efforts is a responsibility of the Core management team. Stakeholder engagement can focus on two directions: •Convene stakeholders as Brand Ambassadors •Expand internal communications This section emphasizes ways Core stakeholders work together to better support existing marketing and promotional initiatives, as well as implementing the broader recommendations of this plan through stakeholder partnerships. BRAND AMBASSADORS The Core can convene and engage stakeholders in brand and marketing development and as brand ambassadors. The engagement of a broad community of stakeholders in the Core – public agencies, private businesses, nonprofit and quasi-government organizations – will amplify brand messages and give Core stakeholders a greater sense of inclusion in brand development and promotion. Many of these organizations and agencies conduct their own outreach and promotional activities, and a key strategy is to engage and collaborate with partners to align and amplify their respective marketing efforts. This form of brand development is a collaborative effort to promote Salt Lake City and Salt Lake County as a local, regional, national and international destination for cultural tourism. It is a natural evolution, as Utah is already an international destination for outdoor recreation and related tourism. Visit Salt Lake has recently moved in this direction with its creation of parallel brands themed around outdoor recreation and urban life and lifestyle—including arts, culture and entertainment. The Core implementation strategy should include and fully engage the following types of brand ambassadors in developing and promoting the Core brand and messaging: •Arts organizations •Hotel, restaurant and other hospitality businesses •Retail merchants •Education institutions, both within and outside the Cultural Core •Corporations and other major downtown employers This network of organizations should be convened at regular and strategic intervals to offer input and stay apprised of brand development, messages, and marketing outreach opportunities. Partners should be provided with Cultural Core brand and marketing toolkits to use through their respective promotional efforts (see Brand Assets and Marketing Assets, page 59-62). INTERNAL COMMUNICATIONS Creating a more robust, effective communications strategy for internal stakeholders will assist communications among Core stakeholders. Supporting collaborative activities— programmatic as well as marketing—among artists, arts organizations, businesses, property owners and other Core stakeholders will strengthen the whole arts community. These activities may be accomplished in partnership with the Salt Lake City Arts Council, the ZAP Program and other organizations that already convene Core organizations. The Core can contribute meaningfully to this vital internal communications function by: •Supporting the development of a formal internal communications and coordination plan for Core program providers. •Developing and maintaining an internal web resource as a collaboration and communication tool (see Cultural Core Stakeholder "Intranet," page 63). CULTURAL CORE STAKEHOLDER ENGAGEMENT Continue and expand Cultural Core stakeholder engagement in the development and promotion of marketing approaches. MARKETING AND PROMOTION // RECOMMENDATIONS 59 The foundation of the brand, as well as future campaigns, messaging and marketing strategies, will celebrate, illuminate and exclaim the key foundational elements and characteristics that embody the DNA of Salt Lake’s arts and cultural community, which are defined in the following: BRAND MANIFESTO Overarching Theme The significant and influential role arts and culture plays in the lives and lifestyles of Salt Lake residents. Supporting Themes The emergence of a strong sense of new urbanism principles that bring renewed vibrancy to downtown. •The inter-generational appreciation and enjoyment of arts and culture. •The comprehensive variety of arts and cultural offerings in the Core. •The abundance of cultural diversity that makes up the fabric of Salt Lake City. •The proud and persevering history of Salt Lake City. •The desire to retain the intimacy of a small city intertwined with the ambition, necessity and inevitability of becoming a regional, national and international marketplace and destination. •The unique juxtaposition of rural and suburban demographic sensibilities. •The convergence and stimulating fusion of a strong religious culture and dynamic counter-culture. •The idea that arts and culture touch those across the entire economic spectrum. •The commonalities and comprehensive inclusion of all organizations involved in the branding and marketing of Salt Lake to ensure cohesive coordination of messaging and campaigns. •The public’s diversified appetite for a complete spectrum of arts and cultural offerings. •A comprehensive and expanded definition of “arts and culture” including all art forms (visual, performing, literary, design, media, etc.) and incorporating influences such as food, events, markets (indoor and outdoor), fashion and technology. •The image of Salt Lake City, Salt Lake County and Utah as a sophisticated, vibrant and exciting place to live, work and play. BRAND & MARKETING TOOLKIT Develop a marketable and inspirational brand for the Cultural Core based on a confluence of both existing and aspirational culture, places and programming. RECOMMENDATIONS // MARKETING AND PROMOTION 60 All strategies and deliverables should be founded in the defining characteristics of the Brand Manifesto and would include the following: •Explore and develop a powerful, authentic naming strategy for the Core that lends itself fluently to URL strategy. •Develop foundational architecture for the Core brand. •Design and develop a comprehensive visual brand identity to include a corporate mark stationary system, visual assets, content styling and social media setup. •Create personas to define audiences and enhance more targeted marketing strategies (see market study). •Create a messaging matrix with messaging designed to resonate specifically with each distinct audience or persona. This phase of brand development may be developed in concert with advertising and marketing campaign development. •Coordinate with placemaking efforts relative to wayfinding signage, maps and other information sources to ensure consistency across brand delivery channels. •Distribute relevant brand assets to all stakeholders. (See Brand Ambassadors, page 58). BRAND ARCHITECTURE Build and establish the Cultural Core brand architecture through a comprehensive, strategic process. MARKETING AND PROMOTION // RECOMMENDATIONS 61 Develop a comprehensive short-term and long-term marketing plan, based on the recommendations of this plan, that establishes strategies, timelines, tactics and deliverables for reaching our local target demographics within the geographic target range of the 75-minute drive time. This plan will dictate all creative, messaging, strategies and media buys moving forward. It is recommended to develop a 12-month marketing work plan and a 3-year marketing work plan. Both should address: •Budget and Timeline •Audiences (Diversity Marketing) •Marketing Channels and Tactics •Geographic Outreach •Media Outlets •Deliverables •Success Metrics (see Rec. 9, page 66) Develop a robust PR platform and strategy integrated with the marketing plan providing consistent messaging to and outreach with the public and media: •Develop 30- and 60-second “elevator” pitch. •Incorporate media-specific messaging and language into media engagement. •Develop strong relationships with local media. •Develop robust media kit and provide digital version on the website. •Utilize the media as an important and valuable resource to help tell the story, promote and market the Core. Work plans should incorporate all appropriate media, channels and tactics to market and promote the Core. These may include traditional media, digital and email marketing, guerrilla marketing and environmental design. All artistic mediums are recommended including music, language, architecture, visual, and performance. Additional recommendations are to utilize: •Close Range Marketing - Use Bluetooth to send promotional messages about programming or placemaking events to customer smartphones and tablets at close proximity. •Viral or Word of Mouth Marketing - Our community will help to collectively build the brand and reinforce our message. •Seasonal Marketing - The seasons are a powerful motivator and backdrop from which to develop campaigns and promote events and programming. •Audience Segmentation - Base on audience development and persona development to ensure incorporation of all demographics into outreach efforts. •Targeted Marketing - based on user preferences (e.g., likelihood to attend specific types of events, etc.) •Direct, Inbound, Outbound and Content Marketing Strategies should be considered and incorporated where relevant. •Connection plans that link to and support existing campaigns (e.g., Life Elevated). •Leverage state and co-op partner opportunities with Utah Office of Tourism (UOT). Destination marketing organizations and nonprofit tourism related entities (in existence for one year or more) are eligible to apply for up to $325,000 in matching money for out-of-state promotions. http://travel.utah.gov/opportunities/ cooperative-marketing. MARKETING PLAN AND STRATEGY Develop a comprehensive marketing platform to serve as a strategic roadmap for marketing and promoting the Cultural Core. Design and develop a library of marketing assets that can be delivered and distributed in- person, by mail and digitally to both internal and external stakeholders for marketing, promotions and brand development. The Core will utilize these assets to consistently market and promote the functions, capabilities, aspirations, goals and objectives of the Core. Distribute relevant marketing assets to all stakeholders (see Brand Ambassadors, page 58). These assets may include: •Print •Event •Digital •Wearable •Video MARKETING ASSETS Create a comprehensive marketing resource library to market the foundational aspects of the Cultural Core brand. MARKETING AND PROMOTION // RECOMMENDATIONS 63 CULTURAL CORE WEBSITE •Develop, market and maintain a new Core website that is branded and supports all foundational aspects of the brand with programming content pulling from Now Playing Utah (NPU). •Leverage use of the existing Now Playing Utah (NPU) database. •Incorporate a “NOW” component to the NPU calendar function to inspire spontaneous programming and participation. •Create a new, distinct URL informed by the naming strategy developed in the brand development phase. •Utilize NPU robust database to create a Core-focused portal. •Focus primarily on “in-Core” programming but also allow access to events and activities outside the Core. •Incorporate advanced responsive email platform for marketing and customer relationship management (CRM) into new website. •Capture data from website analytics to support review and refine efforts on an ongoing basis. CULTURAL CORE STAKEHOLDER "INTRANET" •Oversee the development and management of a website “intranet” that functions as digital repository or resource to facilitate communication, coordination and collaboration with artists, arts organizations, content providers, business owners, property owners and other relevant stakeholders. Build on existing movements, such as Go Unite, an initiative to build community/civic engagement through an online game (http://www.gounite.xyz). DIGITAL MARKETING TECHNOLOGIES Explore and expand digital promotion opportunities and develop robust social media campaigns. •Based on the brand and messaging, create a Core hashtag (i.e., #discoverSLC). •Convene and connect a cross section of active bloggers around relevant Cultural Core content (e.g. parents, hipsters, moms, LDS, artists, foodies, ethnically specific) and create robust social media strategy based on audience characteristics. •Consider an integration with TimeOut.com or similar service using new brand. Time Out is the trusted global platform that inspires and enables people to experience the best of the city. - Operating in 107 cities, across 39 countries - Has a monthly global audience reach of over 100 million across all platforms. •Explore opportunities with Core programmers/venues to gather patron databases and promote other/additional Core programming. •Take advantage of new technologies to market the Core (e.g., virtual reality, Pokémon GO). •Establish visibility and target messaging in geographic hubs within the 75-minute drive time area including Downtown, East side, West side, South valley and outlying county hubs. •Develop context for Core programs through critical writing (e.g., Blog). •Use social media and advanced ticketing options to help create easier access to arts and culture information and events. •Pursue sponsorships, rather than paid advertising, for the website with stakeholders where there is an alignment of interests. WEBSITE ONLINE RESOURCE DEVELOPMENT Leverage digital opportunities to pique interest, improve user access and promote the downtown image as a flourishing arts and culture destination. RECOMMENDATIONS // MARKETING AND PROMOTION 64 Once the management of the Cultural Core is in place, it can develop a launch campaign to set the tone for the value of investment in Core programming and placemaking opportunities. Develop advertising and marketing campaigns to support, promote and market all relevant aspects of the Cultural Core pertaining to programming, placemaking, audience development and public policy. These campaigns are intended to be developed in concert and collaboration with other stakeholders to encourage a cross-pollinating atmosphere and ensure that all marketing and promotions initiatives across the Core build and strengthen one another whenever possible. Target specific audience segments based on characteristics and leverage known motivators for participation: •Unique offerings downtown (events not available elsewhere) •New programming in the Core •Progress on placemaking efforts in the Core •More things to do while downtown •Abundance and quality of programming •Free programming Establish themes that reinforce and inspire programming. Potential theme types may include heritage and history of all Salt Lake community and cultural groups, highlighting individual creatives in the community, innovation and experimentation, or seasonal themes. Additionally, the campaigns should address and overcome known barriers to participation in local campaigns including safety, homelessness, traffic, parking and convenience. POTENTIAL CAMPAIGN CONCEPTS AND STRATEGIES: •Discovery – discover downtown and the abundance of arts and cultural offerings. Celebrate and reinforce the idea that Salt Lake City already offers rich and diverse arts and cultural programming that simply needs to be rediscovered. Provide invitations and incentives to come downtown, and information designed to overcome barriers such as parking, family amenities, etc. •Ambassadors Day - targeted on families and addressing safety and parking myths. Promote regionally where downtown ambassadors show visitors where to park, where to eat, etc. •Sunday Funday - specific strategy to enliven all 7 days downtown. •Discount Days - 15% off shopping to come to the City. CAMPAIGN DEVELOPMENT Build on momentum of the Action Plan engagement and development process with a launch and subsequent campaigns. MARKETING AND PROMOTION // RECOMMENDATIONS 65 Through the community engagement process, there were many ideas offered to develop a more robust patron access experience through ticketing alternatives. Several of these ideas emerged as viable, strategic opportunities. CULTURAL CORE PASS Explore development of a Cultural Core Pass building on Visit Salt Lake’s current Connect Pass program, which offers discounts to area attractions, including arts and cultural venues. The Cultural Core Pass could include arts experiences in the Core beyond the current list of attractions and could include organizations and venues outside the Core. Different pass options could be developed strategically and targeted to specific audiences DISCOVERY PASS Explore cross-arts opportunities, either in the same venue or through ticket structures that allow access to multiple arts agencies in one season’s pass or a punch pass. This could be structured similarly to the Area Resort Ski Pass model. This would offer an opportunity for users to “create your own” custom pass for arts and entertainment. PARKING & TRANSIT OPTIONS Incorporate parking and transit options into ticket and pass programs, where an event ticket could also serve as a transit pass, parking pass or discount voucher. This will require considerable coordination with parking and transit providers, but offers the opportunity to surmount some of the major perceived barriers. USER EXPERIENCE IMPROVEMENTS The ticketing experience and functionality were noted as areas for the Core to facilitate improvements. While the actual ticketing processes are more closely tied to programming, the overall ticketing experience has a marketing and promotional component, both as part of an overall user experience and as a means to strategically reach targeted audiences. The following strategies are offered as areas for consideration: •Explore the expansion of ticketing capabilities through ArtTix to bridge with Connect Pass technology. •Examine ArtTix capacity and versatility, or other solutions, to address “day of” ticket sales to expand audience, promote spontaneous activities and to fill vacant seats. •Identify and implement best practices from other robust ticket services such as “iFly” or “TKTS” in New York. •Explore information and ticket kiosks located around downtown to make it easier to participate in the arts on short notice. •Integrate ticketing with social media, push technologies and other online resources. •Develop motivating invitations such as shopping or dining discounts linked to event ticket stub—this is already a common practice with sporting events. ALTERNATIVE TICKETING OPTIONS: Develop promotional improvements through ticketing programs that integrate with the overall marketing program. RECOMMENDATIONS // MARKETING AND PROMOTION 66 ESTABLISH METRICS AND CAPTURE DATA Use outside research to analyze and evaluate the overall health of the brand and outreach strategies. •Establish benchmark metrics to define indicators of success. •Plan annual survey(s) to assess effectiveness of campaigns and brand (local and national through tourism partners). •Periodically conduct qualitative and quantitative analysis for both internal stakeholders and external consumer audiences. •Utilize and review ticketing and website analytics. •Capture data from the new Cultural Core portal and brand promotion, and share it in ongoing development and refinement efforts with all stakeholders to collectively benefit their marketing efforts. •Collaborate and sync with stakeholders involved in marketing Salt Lake to assess and share cumulative research data to refine collective messaging and campaign strategies. MARKETING AND PROMOTION REFINEMENT Refine and adjust future outreach strategies based on data analysis to keep ahead of emerging trends, build on new opportunities, and keep the marketing campaigns fresh. Results can be adjusted in line with the Mosaic lifestyle segments, or target audiences, defined in the market demand study. •Set baseline and goals for audience expansion and diversification. •Utilize results from database analyses to inform and adjust marketing activities. •Test and refine brand and campaign strategies as needed. •Gradually expand local marketing tactics to a 75-minute radius of downtown. •Drill down within inclined and disinclined audience segments to refine tactics. •Test specific promotions to Mosaic groups. •Refine channels to reach specific Mosaic groups. •Utilize Mosaic, census characteristics, and geographic locations of the two groups to inform marketing tactics, messaging, channels, language, and location. •Utilize Mosaic, census characteristics, and geographic locations of the two groups to inform marketing tactics, messaging, channels, language, and location. RESEARCH AND SUCCESS METRICS Conduct regular review of marketing and outreach indicators to determine program effectiveness and guide adjustments to individual campaigns, as well as to longer-term implementation. MANAGEMENT AND FINANCES // MANAGEMENT AND GOVERNANCE 69 MANAGEMENT AND GOVERNANCE The Interlocal Agreement creating the Cultural Core provides for the establishment of a committee to oversee the effort: “The City and County hereby agree that they shall establish a six member committee that shall be charged with the review and prioritization of proposed marketing expenditures and the budgeting of Incremental Sales Taxes for program support (the “Budget Committee)….”6 The Interlocal Agreement also specifies the process by which the management of the Core shall be determined: “The Parties agree, upon approval of the expenditure of Incremental Sales Taxes as provided for in Paragraph 5 for such purpose, to jointly issue a Request for Proposals (“RFP”) to acquire the services of an individual or organization to market the cultural and arts activities located in the Cultural Core to maximize facility utilization and achieve the Parties’ shared arts and cultural objectives.”7 This RFP should be issued following adoption of this Action Plan by the City and County Councils and the approval of a Cultural Core budget for 2017. The RFP should solicit proposals that will implement this Action Plan over an initial period of two or three years, working under the direction of the County and City and with the oversight of the Budget Committee. Critical selection criteria will include the proposer’s demonstrated understanding of the creative and targeted marketing opportunities of the Cultural Core and a feasible methodology for fulfilling the recommendations of the Action Plan. At a minimum, the RFP should include the following elements: specific scope of services; proposed services contract and length of agreement; maximum compensation (optional); and required background and experience. Proposals should include the following information: other program/job/contract obligations of the proposing individual or organization; if proposer is an organization, personnel assigned to the Cultural Core, including their skills, responsibilities and percentage of time devoted to the Core; examples of similar projects successfully completed in the recent past; proposed budget/ compensation; facilities, services and other support systems the proposer will provide; the proposed methodology for accomplishing the Core scope of services; and potential launch projects that could be implemented immediately following selection of the manager. Qualified and effective management of the Cultural Core will be critical to its success. In addition to background in the key elements of the Action Plan (creative placemaking, audience development and marketing), management must have skills in building partnerships among various stakeholders, cultivating relationships with City and County staff and elected officials, and general community engagement. Background and experience in grant-writing and fund development, curating innovative and high visibility arts projects, commissioning public art and envisioning options for creative placemaking will be highly desirable. These are a varied and complex set of demands. For that reason, it may be helpful to create an Artistic Advisory Committee, to support Core management in implementing the Cultural Core. An Artistic Advisory Committee should be composed of members whose priority is the successful implementation of the Core as a whole and who can think beyond the parochial interests of their particular discipline or institution. Members should include, among others, arts representatives who are knowledgeable about Salt Lake’s arts community and national/international arts trends, City and County staff who reflect diverse populations, and people who are well-informed about targeted audience segments. It is recommended that the selected management should have a dedicated Artistic/Executive Director, responsible for overall management and decisions regarding creative placemaking and marketing. The RFP should also highlight the need for someone to be responsible for community engagement activities and supporting programming and events. Because of the time elapsed since the adoption of the Interlocal Agreement, it is recommended that the RFP for Cultural Core management be issued as soon as possible following the adoption of this Action Plan and that management is installed with an expectation of immediate start-up actions. 6Interlocal Agreement for Sharing of Revenues, dated December 1, 2010, Paragraph 5. 7Interlocal Agreement for Sharing of Revenues, dated December 1, 2010, Paragraph 6. MANAGEMENT AND FINANCES OPERATING BUDGETS MANAGEMENT AND FINANCES // OPERATING BUDGETS 71 OPERATING BUDGETS Operating budgets will be prepared by the manager selected to implement the Cultural Core Action Plan, based on the recommendations and priorities in the plan. Revenues for the Core will come from the dedicated sales tax revenues defined in the Interlocal Agreement, totaling $500,000 annually, $250,000 each from the City and County (subject to the budget allocation process each year). In addition, approximately $2,000,000 will be on hand at the start of 2017, derived from the tax revenues accumulated since the formation of the Core’s taxing district. Therefore, a total of $4,500,000 in dedicated sales tax will be available over an initial five-year span, assuming that both the City and the County continue to make their respective $250,000 annual contributions. Operating budgets will likely need to spend a portion of the accumulated revenues to finance start-up costs and to assure a successful launch of the Core. While the Interlocal Agreement between the City and the County provides a base amount of funding – $500,000 annually – there is a need for additional funding, particularly to support capital improvements that are part of the placemaking elements. It is important for the Core management to develop effective relationships with the City’s RDA and other City Departments which may become partners in capital projects, where there is an alignment of interests. In addition, the Core should actively pursue local, regional and national funding entities with an interest in creative placemaking, such as the Kresge Foundation’s Arts & Culture Program, the National Endowment for the Arts’ Our Town program, and ArtPlace America’s National Creative Placemaking Fund. Sponsorship support and underwriting can be sought from local corporations and individuals. However, the Core should focus on funding that “increases the pie” of arts and cultural dollars and should not compete for funding with Salt Lake’s arts and cultural organizations. MANAGEMENT AND FINANCES PRIORITIES MANAGEMENT AND FINANCES // PRIORITIES 73 PRIORITIES The following table lists all Creative Placemaking recommendations with priorities and cost estimates. This list is intended to serve as a reference for the management of the Cultural Core and the Budget Committee in implementation of this Action Plan. As a reference, it is understood that priorities and costs may change as specific ideas are developed and new opportunities arise. Priorities in this table are based on opinions expressed in the community survey, in stakeholder meetings, by the Cultural Core Budget Committee and the consultants' professional interpretations. Cost estimates include personnel costs, contracts for services and other potential expenses. Capital projects are the most costly and the Cultural Core may identify outside funding sources and potential partnerships, such as with developers, funders, the City, County, RDA, etc., where there is an alignment of interests. PRIORITIES // MANAGEMENT AND FINANCES 74 RECOMMENDATIONS BY PRIORITY - A PRIORITIES PRIORITY COST RECOMMENDATION A $ Coordinate with existing City, County, State and private public art programs. A $$ Emphasize interactive and engaging art installations. A $$ Consider temporary art to create a high level of visual impact. PRIORITY COST RECOMMENDATION A $$$ Update/replace signage and incorporate new cultural amenities. A $$ Provide physical and digital Cultural Core maps identifying cultural amenities and their locations. PRIORITY COST RECOMMENDATION A $$ Relate the aesthetic theme with specific aspects of cultural significance to Salt Lake. A $$ Use vibrant colors/graphics and activation elements such as benches, shading devices, etc. A $$ Develop standards for trash and recycling receptacles, outdoor furniture, and signage. A $$ Create surface treatments (temporary/ permanent) for sidewalks, crosswalks, large, and blank building facades. PRIORITY COST RECOMMENDATION A $$ Address dead zones such as parking lots that are largely vacant, abandoned buildings and empty lots. A $$$ Design vibrant and pedestrian-friendly mid-block experiences. A $$$ Develop a program to introduce temporary or permanent art and artistic programming into alleyways. Increase the visibility, quality and quantity of public art. Develop a visible and coordinated aesthetic. Improve wayfinding. Activate underutilized places and spaces. MANAGEMENT AND FINANCES // PRIORITIES 75 PRIORITY COST RECOMMENDATION A $ Create free expression zones for street art, performances, temporary installations and art activities. A $ Use successful past and current projects in the City as a template for future projects (International PARK(ing) Day, public art/ landscape projects, food truck meet-ups). A $$ Create pop-up maker spaces, with the creative community invited and scheduled to participate. A $$ Commission and support temporary public art. PRIORITY COST RECOMMENDATION A $ Develop relationships with schools throughout the region to engage students in projects and events. A $ Support discovery projects, participatory events, and interactive learning activities for children. A $ Support parent-child activities like pottery, printmaking, and written word. A $$ Develop public art and signage that engage families with virtual and physical learning activities. PRIORITY COST RECOMMENDATION A $ Brainstorm with artists and arts groups to develop a global theme. PRIORITY COST RECOMMENDATION A $ Create a welcoming public space featuring public art, performances and spoken word events by local artists. Create dedicated places to support programmed spontaneity. Develop broadly engaging themes that connect existing and new programming, and galvanize community attention. Provide opportunities to advance and showcase the work of Salt Lake's creative community. Encourage and increase community engagement with programming for families, children and youth. PRIORITY COST RECOMMENDATION A $ Value and promote culturally inclusive programming so that all groups feel welcome in the Core and believe that they are represented in the Core’s cultural identity. A $$ Develop a Community as Creators program led by arts organizations engaging community members. Encourage and support culturally inclusive programs reflecting Salt Lake’s diversity - all ages, backgrounds, abilities, ethnicities and interests. PRIORITY COST RECOMMENDATION A $$$ Activate alleyways with creative interventions by local artists. A $ Engage students of all ages in projects that showcase their creativity. Encourage and support innovation, experimentation and nontraditional forms of artistic expression. MANAGEMENT AND FINANCES // PRIORITIES 77 RECOMMENDATIONS BY PRIORITY - B PRIORITIES PRIORITY COST RECOMMENDATION B $$$ Use existing infrastructure for new public art: bus shelters, utility boxes, light posts, sidewalks and crosswalks, etc. B $$$ Improve lighting and signage for new and existing public art. B $$$ Establish a mural trail. PRIORITY COST RECOMMENDATION B $$ Develop an interactive, mobile app for identifying/accessing these cultural amenities. B $$$ Develop visual, physical and/or graphic trails or queues connecting arts amenities in the Cultural Core. PRIORITY COST RECOMMENDATION B $$ Introduce a program for developing temporary graphics on buildings, including fencing surrounding buildings under construction. PRIORITY COST RECOMMENDATION B $ Provide economic incentives for property owners to incorporate arts and culture elements/programs. B $$$ Improve 200 West/Salt Palace underpass with public art or other permanent installation. Increase the visibility, quality and quantity of public art. Develop a visible and coordinated aesthetic. Improve wayfinding. Activate underutilized places and spaces. PRIORITIES // MANAGEMENT AND FINANCES 78 PRIORITY COST RECOMMENDATION B $ Tie the themed activities into a long-term marketing/public relations effort. B $$ Expand Sunday afternoon family programming centered around a theme(s). B $$ Support collaborative programming among organizations that are addressing social issues. B $$$ Develop programming themes capitalizing on special civic events and opportunities. B $ Focus on diversity and include local ethnic cultural expressions. Create dedicated places to support programmed spontaneity. Develop broadly engaging themes that connect existing and new programming, and galvanize community attention. PRIORITY COST RECOMMENDATION B $$$ Establish a mural trail with local artists. B $ Establish a Lit Stroll with written and spoken work events at cafés and galleries. Provide opportunities to advance and showcase the work of Salt Lake's creative community. Encourage and increase community engagement with programming for families, children and youth. There are no B priority recommendations for this initiative. There are no B priority recommendations for this initiative. MANAGEMENT AND FINANCES // PRIORITIES 79 PRIORITY COST RECOMMENDATION B $ Team up Cultural Core organizations with culturally specific organizations for educational and family-oriented events. B $ Train and provide resources to arts organizations to make programming and places welcoming and inclusive. B $ Train and provide resources to arts organizations and groups to incorporate principles of universal design. B $ Partner with oral history and history groups to create storytelling opportunities. Encourage and support culturally inclusive programs reflecting Salt Lake’s diversity - all ages, backgrounds, abilities, ethnicities and interests. PRIORITY COST RECOMMENDATION A $$$ Activate alleyways with creative interventions by local artists. Encourage and support innovation, experimentation and nontraditional forms of artistic expression. PRIORITIES // MANAGEMENT AND FINANCES 80 RECOMMENDATIONS BY PRIORITY - C PRIORITIES PRIORITY COST RECOMMENDATION C $$$$ Identify location and provide one large and significant public artwork. PRIORITY COST RECOMMENDATION C $$ Incorporate connections in wayfinding that acknowledge organizations, events and places outside the Core. PRIORITY COST RECOMMENDATION C $$$$ Support development of dedicated Festival Streets or areas, closed to vehicular traffic during events. C $$$$ Consider the development of pocket parks. Increase the visibility, quality and quantity of public art. Develop a visible and coordinated aesthetic. Improve wayfinding. Activate underutilized places and spaces. There are no C priority recommendations for this initiative. MANAGEMENT AND FINANCES // PRIORITIES 81 PRIORITY COST RECOMMENDATION C $$$ Consider an Un-Fringe Festival: a twist on the familiar fringe festival concept. Develop broadly engaging themes that connect existing and new programming, and galvanize community attention. PRIORITY COST RECOMMENDATION C $$$ Consider establishing a major competition that highlights Salt Lake and international works in downtown venues and sites, perhaps building on existing visual and/or performing arts competitions. Provide opportunities to advance and showcase the work of Salt Lake's creative community. Create dedicated places to support programmed spontaneity. Encourage and increase community engagement with programming for families, children and youth. Encourage and support culturally inclusive programs reflecting Salt Lake’s diversity - all ages, backgrounds, abilities, ethnicities and interests. PRIORITY COST RECOMMENDATION C $$ Engage digital game makers to create applications for arts and culture venues and activities. C $$$$ Consider an Alternative Iconic Public Artwork for Salt Lake. Encourage and support innovation, experimentation and nontraditional forms of artistic expression. There are no C priority recommendations for this initiative. There are no C priority recommendations for this initiative. There are no C priority recommendations for this initiative. MANAGEMENT AND FINANCES IMPLEMENTATION MANAGEMENT AND FINANCES // IMPLEMENTATION 83 IMPLEMENTATION Implementation of the Cultural Core must begin with powerful, visible interventions/ projects that attract public attention to the Core and embody the brand. As described in the Management and Governance section, page 69, Core management can identify one or more launch projects as part of the RFP and selection process, providing a quicker start-up to the implementation process. Following the first year or two, Core implementation can build on the initial successes and incorporate lessons learned from start-up activities. The Cultural Core Implementation Timeline (next page) lists recommended actions by year for the first five-year period. Actions are listed in their start year and some actions will continue into the next year. Duration will depend on the specifics of the project chosen, partnerships, funding, permissions, etc. It is understood that implementation must proceed flexibly, responding to opportunities and ideas that arise. Activities may be repeated or continued, depending on their reception or effectiveness, and management should be enabled to refine priorities to best serve the goals of the district. Starting points in the implementation table for creative placemaking include creating a visual aesthetic for the Core, highly visible launch projects (temporary public art, interactive art installations, a free expression zone, etc.), promotion of family- and child-centered programming, and expansion of Visit Salt Lake’s current Connect Pass to include more arts venues and activities. Starting points for marketing include establishing the brand and brand toolkit for the Core, developing a dedicated website (drawing on NowPlayingUtah.com data), and launching a promotional campaign. It may be useful to locate initial creative placemaking projects on publicly owned property, such as Gallivan, Abravanel plaza or city streets, to avoid the perception of interfering with private property and business owners, and allowing time for these relationships to develop. Projects that involve significant capital costs—hardscape projects—will often require partnerships for funding and/or grant-writing, since their total cost will likely be beyond the scope of the Core’s operating budget. Year three (2019) includes planning for a major work of public art for Salt Lake City. This project would require a large budget that, like capital placemaking projects, is beyond the financial capacity of the Core. It is likely that this opportunity should be approached through formation of a task force of community leaders with the expertise, vision and financial capacity to take responsibility for developing a major work. MANAGEMENT AND FINANCES // IMPLEMENTATION 85 CULTURAL CORE IMPLEMENTATION BY YEAR/PLACEMAKING Core visual aesthetic •Create aesthetic standards •Enliven surface treatments •Ensure artists are on all design teams Launch project(s) •Highly visible, temporary public art and/or highly interactive (e.g., musical swings, dance don’t walk) •Free expression zone including food trucks •Partnership with Gateway art projects Connect Pass expansion Packaging and promotion of family- and child-centered programming Wayfinding •Signage, amenities and/or visual trails •Mobile map/augmented reality component Urban interventions •Surface treatments on buildings, sidewalks, crosswalks, etc. •“Give artists permission” project in specific space •First alleyway project •Planning and RFP for creatively designed urban amenities for Core Mural trail •Definition of trail •First commission(s) Planning for first themed festival Continue packaging and promotion of family- and child- centered programming IMPLEMENTATION // MANAGEMENT AND FINANCES 86 Festival street •Support efforts of other agencies to develop festival street •Initial planning Continue mural trail Continue Urban Design efforts •Address underutilized spaces (empty lots, parking lots, etc.) •Complete first phase of creatively designed amenities Community as Creator program Student showcase Continue packaging and promotion of family- and child-centered programming Continued planning for first themed festival Planning and solicitation for major art work First themed festival Continued development of festival street Continue mural trail Continue promotion of family- and child-centered programming Selection and development of iconic art work Assessment of progress, planning for next 5 years Actions indicate the starting point for planning and development. Many actions will continue into the next year; duration will depend on the specifics of the project chosen, partnerships, funding, permissions, etc. MANAGEMENT AND FINANCES // IMPLEMENTATION 87 Develop foundational marketing approach and materials •Develop Brand & Marketing Toolkit •Brand Architecture •Marketing Plan & Strategy •Marketing Assets Website & Online Channel Development Develop tactical 5-year marketing plan, including campaign strategies Initial campaign launch, e.g., “Discover Downtown” Collaboration with strategic partners for national/international outreach Continue developing and launching campaigns based on progress in creative placemaking Refine and increase marketing for diverse and disparate audiences, based on experience/results Data gathering on brand and campaigns—refinement Continue developing and launching campaigns Actions indicate the starting point for planning and development. Many actions will continue into the next year; duration will depend on the specifics of the project chosen, partnerships, funding, permissions, etc. CULTURAL CORE IMPLEMENTATION BY YEAR/MARKETING IMPLEMENTATION // MANAGEMENT AND FINANCES 88 Managing entity •Engage manager/firm •Hire marketing coordinator •Initial work plan Convene Artistic Advisory Committee Assessment of upcoming schedule of arts events, projects and opportunities Project permissions Initial stakeholder communications Marketing plan implementation Outreach to property and business owners Baseline evaluation Convene Artistic Advisory Committee Assessment of upcoming schedule of arts events, projects and opportunities Project permissions Stakeholder communications Convene Artistic Advisory Committee Assessment of upcoming schedule of arts events, projects and opportunities Project permissions Stakeholder communications •Themed festival planning •“Idea connection board” Universal design Convene Artistic Advisory Committee Assessment of upcoming schedule of arts events, projects and opportunities Project permissions Stakeholder communications Process evaluation CULTURAL CORE IMPLEMENTATION BY YEAR/MANAGEMENT MANAGEMENT AND FINANCES RELATED DOWNTOWN CONVERSATIONS RELATED DOWNTOWN ISSUES // MANAGEMENT AND FINANCES 90 RELATED DOWNTOWN CONVERSATIONS There is a range of conversations about important civic issues that may impact the success of the Cultural Core. Residents and other stakeholders have identified downtown concerns that they view as part-and-parcel of the Core, although they are not direct functions of the Core as defined in the Interlocal Agreement. It is important to acknowledge issues such as vagrancy and panhandling, parking, artists’ housing and other downtown residential living. They are part of the downtown ecosystem and the attitudinal environment surrounding the Core’s ambition to re-invite people downtown, to enliven the cultural experience, and to enhance Salt Lake’s artistic reputation. In addition, there are other opportunities related to city and/or county policy that their respective councils may want to consider. These opportunities could support effective implementation of the Cultural Core and may have other benefits for the community as well. VAGRANCY AND PANHANDLING The increased population and visible presence of homeless people in downtown has been a priority for City and County action for some years. The Salt Lake Collective Impact on Homelessness, convened in 2015 by County Mayor McAdams, is a national model in addressing the needs of this population. However, the work is not yet complete and the everyday experience of residents, workers and visitors to downtown sometimes includes panhandling and other encounters, including within the boundaries of the Cultural Core. Many participants in planning for this Action Plan, including survey respondents from throughout the region, commented on this issue, with concern and often with compassion. It will be important for the Core management to remain informed about the progress of the Collective Impact initiative and to support their efforts. The Core can only benefit from programs that reduce panhandling and other behaviors that may detract from the downtown experience. In addition, the Core can look for ways to engage homeless people in creative projects. PARTICIPATION OF AND INCENTIVES FOR PROPERTY AND BUSINESS OWNERS Downtown business and property owners are key stakeholders of the Cultural Core and stand to reap many benefits from its successful implementation, such as increased downtown visitation, perceptions and sales. Some are located in the Cultural Core sales tax district and have a direct interest. Many of the creative placemaking and marketing recommendations in this Action Plan may involve the participation of business and property, in the form of agreement, collaboration, permissions and/or sponsorship. Core management will enlist their participation in the marketing program and will also include them in stakeholder communications, invitations and gatherings, along with the arts organizations, artists and others. Some owners will have spaces that could be the site of public art works or creative activities. The Salt Lake City Mayor can assist by rolling out the Action Plan with business and property owners and encouraging their participation, setting a tone for cooperative effort. The City can also consider providing incentives for Cultural Core participation, such as tax benefits for creative uses that align with the recommendations of this plan. This has worked in other places, such as the Creative Crossroads District of Kansas City, which adopted property tax abatements for arts uses. Pro-arts tax incentives fall generally into three categories, artist-based, place-based and industry-based, and utilize sales, property or income tax relief as a mechanism. Salt Lake City can draw from this toolkit to incentivize development and activities that it considers desirable to the success of the arts as well as the Cultural Core.8 Lastly, the City may choose to review and alter its permissions and use requirements related to creative activities downtown, such as its Free Expression Permit, to facilitate implementation of this Action Plan. NATIONAL CULTURAL DISTRICT EXCHANGE Americans for the Arts operates a National Cultural Districts Exchange program, sponsored by the National Endowment for the Arts. There are dozens of cultural districts, large and small, listed in the Exchange and the Cultural Core should become a part of this network. There are currently two Salt Lake City districts listed in the Exchange: the Warehouse Arts District (Salt Lake City Arts Council) and Downtown Arts & Cultural District (Downtown Alliance).9 8Utilizing Tax Incentives to Cultivate Cultural Industries and Spur Arts-related Development, Mt. Auburn Associates, http://www.mtauburnassociates.com/pubs/Utilizing_Tax_Incentives_to_Cultivate_Cultural_Industries.pdf 9http://www.americansforthearts.org/by-program/reports-and-data/toolkits/national-cultural-districts-exchange-toolkit MANAGEMENT AND FINANCES // RELATED DOWNTOWN ISSUES 91 PARKING Salt Lake City recently completed a comprehensive parking study that documented some remarkable and surprising facts. First, Salt Lake City has among the highest amounts of downtown parking, compared to other cities. Downtown parking is plentiful although some blocks, such as Third South, are in high demand. A public survey revealed that most people could find parking in less than a minute, and another third in 1 – 5 minutes. Similarly, a majority of parkers (57%) found a spot within one block of their destination and 85% within two blocks. Despite this, the perception of downtown parking is defined by people who experience longer times to find a spot and/or longer distances from their destination. The voices of the 21% who report that parking is very hard predominate in the parking perception, despite data to the contrary. The study concludes that the problem is parking management, not supply, but clearly a major issue is misperception. For the Cultural Core, this means it will be important to promote the awareness of the many parking options available and provide specific opportunities and incentives that can eliminate or reduce parking as a barrier. The Core management can also stay informed about and support City efforts to implement recommendations of the parking study, such as coordinated management and creation of a dedicated staff position for parking management (there currently is no such position). Salt Lake City has among the highest amounts of downtown parking, compared to other cities. Green areas are surface lots. MANAGEMENT AND FINANCES SUCCESS METRICS MANAGEMENT AND FINANCES // SUCCESS METRICS 93 SUCCESS METRICS How will the Cultural Core know if it is successful? There are four success indicators that the Core management can track to gauge progress towards achieving its goals. 1. Increase in positive opinions of downtown as a cultural experience: this indicator relates directly to the goal of making downtown a more attractive and “sticky” experience, a place where people come knowing there will be something cultural they like to do. Some of the barriers are perceived (parking is difficult, there isn’t enough of what I like for me and my family to make the trip), while others are real (not aware of what’s already available, gaps in available experiences). Positive change arising from improved Cultural Core experiences will be reflected in the opinions of downtown attendees, whether they are Salt Lake City residents, regional residents, or out-of-town visitors. 2. Increase diversity in the audience: the market demand study documents the population segments that are most and least well served by arts and culture downtown. Positive change will be an increase in the diversity of Core attendance—both paid and free—and, specifically, increases in the “less engaged” populations. Positive change will also go beyond numbers to assess subjective factors, such as whether people feel welcome in the Core and whether they feel their community is represented. 3. Increase in total attendance: positive change will include an increase in total annual attendance, including paid and free attendance at venues, events and places. The Downtown Alliance currently tallies total attendance at downtown cultural venues and events, which closely mirrors attendance of the Core; there is clearly a potential partnership for ongoing evaluation. It should be noted that some increases in attendance will likely be driven by factors other than implementation of the Cultural Core Action Plan, such as the opening of the Eccles Theater. 4. Increased economic impact: positive change will be an increase in sales tax revenues from the Cultural Core, as well as the direct and indirect economic impacts of Core venues, events and activities. The Salt Lake City Arts Council is conducting an economic impact study of nonprofit arts and cultural organizations that may be adapted for use by the Cultural Core. To make evaluation efficient, the Core manager should first take stock of which data points are or have been gathered by existing research efforts such as those conducted by the Downtown Alliance, Visit Salt Lake and Salt Lake City Arts Council. It can then explore partnerships with those agencies for ongoing evaluation to avoid duplication and to identify potential synergies in their efforts. The Core will need to establish baseline data specifically addressing its four metrics, from which it can set goals for increases and measure its progress. It is likely that an intercept survey methodology at key locations in the Cultural Core will address all four indicators. The methodology should be replicable in subsequent years with the goal of achieving benchmark goals established for the Core. A reasonable evaluation timeline is to develop the baseline in 2017 and repeat the evaluation in 2020, allowing three years for change to accrue from the Core’s efforts. ATTACHMENTS // PLANNING PARTICIPANTS 97 PLANNING PARTICIPANTS Nearly 200 people participated in discussion groups and interviews during development of this plan between May and August 2016. In addition, 2,065 residents in the Salt Lake region completed an online survey in July and August 2016. The following list was compiled from sign-in sheets and other records and includes most, but probably not all, people who participated. Lisa Adams - Salt Lake City Council Scott Altman - Ballet West Jonathon Ammons - LDS Church Public Affairs Hilary Amnah - Utah Division of Arts & Museums Ashley Anderson - love dance more Kristian Anderson - Utah Museum of Contemporary Art Megan Attermann - Salt Lake County Zoo, Arts & Parks Felicia Baca - Utah Division of Arts & Museums Tori Baker - Salt Lake Film Society Kimberly Barnett - Salt Lake County Mayor’s Office Adam Bateman - CUAC Lori Bays - Salt Lake County Mayor’s Office Kristin Beck - Downtown Alliance Scott Beck - Visit Salt Lake John Bell - Artist Justin Belliveau - Salt Lake City Redevelopment Agency Jeff Benson - MGB+A Jackie Biskupski - Salt Lake City Mayor Liberty Blake - The Leonardo Jay Bollwinkle - MGB+A Vicki Bourns - Salt Lake County Zoo, Arts & Parks Jason Bowcutt - Utah Division of Arts & Museums Jim Bradley - Salt Lake County Council Arlyn Bradshaw - Salt Lake County Council Beth Branson - Artspace Stephen Brown - SB Dance Tim Brown - Tracy Aviary Cynthia Buckingham - Utah Humanities Elisabeth Bunker - South Salt Lake Tamara Burnside - Salt Lake County Center for the Arts Edward Butterfield - Salt Lake City Redevelopment Agency Elise Butterfield - Art Access Melinda Cavallaro - Salt Lake County Center for the Arts Max Chang - AEM Shu Cheng - Asian Association of Utah Carlton Christensen - Salt Lake County Regional Development Havilah Clarke - Fiksu Communications Stuart Clason - Salt Lake County Economic Development Laura Clayton - Babcock Design Group Ashley Cleveland - Salt Lake City Nick Como - Downtown Alliance Lourdes Cook - Back Health Gay Cookson - Utah Division of Arts & Museums Chris Coutts - Architectural News Olivia Custodio - Salt Lake Acting Company Jim Dabakis - State Senator and arts activist Kirsten Darrington - Utah Division of Arts & Museums David E. Davis - Bicycle Collective Talitha Day - Gallivan Center Jesse Dean - Downtown Alliance Julie Delong - UCCC West Valley Arts Council Gretchen Dietrich - Utah Museum of Fine Arts Krysta Dimick - Parallel Lines Fatima Dirie - Salt Lake City Mayor’s Office Jeff Driggs - Off Broadway Theatre Laura Durham - Utah Division of Arts & Museums Natalie Durham - Kane Consulting Derek Dyer - Utah Arts Alliance Stephanie Dykes - Saltgrass Printmakers Lisa Eichers - ARTTIX Kelsey Ellis - Salt Lake City Arts Council Bob Farrington - Farrington Community Planning + Dev Susi Feltch-Malohifo'ou - Pik2ar Michael Fife - Community Activist Cynthia Fleming - Salt Lake Acting Company Yolanda Francisco-Nez - Salt Lake City Mayor’s Office Alyssa Franks - Wasatch Theatre Company Lara Fritts - Salt Lake City Economic Development Sarah George - Natural History Museum of Utah Sheryl Gillilan - Art Access Jim Glenn - Utah Division of Arts & Museums Utah Barb Guy - Salt Lake Film Society Hariar Hafoka - Malialole Hillary Hahn - Utah Symphony | Opera Karen Hale - Salt Lake County Administration Jann Haworth - The Leonardo Dana Hernandez - SLC Public Art Alexandra Hesse - The Leonardo Pat Holmes - Now Playing Utah Kerri Hopkins - Salt Lake City Arts Council Board Chair/Arts Bridge Laurie Hopkins - Discovery Gateway LeAnn Hord - UT Philharmonic Orchestra Brooke Horejsi - Utah Presents Emma E. Houston - Salt Lake County Mayor’s Office Patrick Hubley - Utah Film Center Kirk Huffaker - Utah Heritage Foundation PLANNING PARTICIPANTS // ATTACHMENTS 98 Sally Humphreys - Aspen Winds Utah Flute Linda Hunt - Foothill Cultural District/Salt Lake City Arts Council Board Carol Hunter - UCCC Foundation Laurel Hunter - Spy Hop Laura Huratado - CHM Michael Iverson - Central City Neighborhood Council Johann Jacobs - Utah Museum of Fine Arts Hana Janatova - Mundi Project Richard Jaramillo - Salt Lake City Arts Council Board Sheri Jardine - Utah Presents Casey Jarman - Jarman Productions Seth Jarvis - Clark Planetarium Andrew Johnston - Salt Lake City Council Cris Jones - Salt Lake City Transportation Division Phil Jordan - Salt Lake County Center for the Arts Sandi Kerkendoll - South Jordan Arts Council Derek Kitchen - Salt Lake City Council Karen Krieger - Salt Lake City Arts Council Patrick Leary - Salt Lake City Mayor’s Office Jessica Liebrecht - Salt Lake County Center for the Arts Chris Lino - Pioneer Theatre Company David Litvack - Salt Lake City Mayor’s Office Erin Litvack - Salt Lake County Community Services Sarah Longoria - Municipal Ballet Company Charlie Luke - Salt Lake City Council Sonja Lunde - Utah Museum of Fine Arts Sarah Lyman - Kanter for SL County Council Amy MacDonald - KAC/Brolly Arts Miranda Maisto - Visit Salt Lake Alisi Makafi - PEAU Merny Manson- Intermountain Mearle Marsh - Sandy Arts Jason Mathis - Downtown Alliance Ben McAdams - Salt Lake County Mayor Erin Mendenhall - Salt Lake City Council Tom Michel - Ballet West Jon Miles - Utah Symphony | Opera Lloyd Miller - SL Ethnic Arts Seth Miller - The Grand Theatre Edith Mitko - retired-CODA Matt Monson - Guthrie Studios Alejandro Mora - Ririe-Woodbury Dave Mortensen - Utah Theatre Bloggers Larry Mullenax - USFP Cami Munk - Salt Lake County Center for the Arts Elisabeth Nebeker - Utah Film Center Silvia Norman - Wells Fargo/CODA Nchopia Nwokoma - Young Professionals SLC Steven Olsen - LDS Church Abi Olufeko - 365 Poetry Brooklyn Ottens - Guthrie Studios Diane Parisi - Pioneer Theatre Company Christine Passey - Salt Lake City Mayor’s Office Kim Pedersen - Cottonwood Heights Stan Penfold - Salt Lake City Council Stephanie Perkins - Repertory Dance Theatre Leslie Peterson - Utah Symphony|Opera Joi Podgemy - Good People Kat Potter - Salt Lake City Redevelopment Agency Valerie Price - Salt Lake County Public Art Fran Pruyn - CRSA Architecture/Pygmalion Productions Jerry Rapier - Plan-B Theatre Mike Reberg - Salt Lake City Department of Community and Neighborhoods Brittany Reese - Sugar Space Margo Richards - Holladay City Eva Rinaldi - Sundance Institute Kristina Robb - Salt Lake Gallery Stroll Lily Robb - Salt Lake Gallery Stroll Molly Robinson - Salt Lake City Planning Shawn Rossiter - Artists of Utah’s 15 Bytes Jared Ruga - Sentry Financial Byron Russell - Byron Russell LLC John Schaefer - Children's Media Workshop Jennifer Seelig - Salt Lake City Mayor’s Office Lisa Sewell - Utah Arts Festival Brad Slaugh - Poor Yorick Studios Katie Smith - The Leonardo Linda C. Smith - Repertory Dance Theatre Lindsie Smith - Clark Planetarium Tyler Smithson - FFKR Architecture Liz Sollis - Salt Lake City Library Kaitlin Spas - Pioneer Theatre Company Brian Spittler - Kidnected World Kandace Steadman - Salt Lake City Arts Council Jared Steffenson - Utah Museum of Contemporary Art ATTACHMENTS // PLANNING PARTICIPANTS 99 Tatiana Subbutin - Parsons Behle + Latimer Whitney Tassie - Utah Museum of Fine Arts Claire Taylor - Artist Roni Thomas - Salt Lake City Arts Council Meggie Troili - Artist Kasandra VerBrugghen - Spy Hop Jeannette Villalta - URTPP-UPHA Susan Vogel - Artes de Mexico en Utah Jesse Walker - Contact Designs Nathan Webster - Now-ID Russell Weeks - Salt Lake City Council Public Policy Patricia Wesson - Madeleine Festival of Arts Jeff Whiteley - Excellence in the Community Howard Wilson - Taylorsville Arts Jenny Wilson - Salt Lake County Council Mindy Wilson - Utah Museum of Fine Arts/Foothill Cultural District Aimee Winder Newton - Salt Lake County Council Camille Winnie - Downtown Alliance Jena Woodbury - Ririe-Woodbury Zee Xiao- Salt Lake County Office of Refugee Affairs Dwight Yee - Process Studio Greg Yerkes - Downtown Alliance Sheila Yorkin - Westminster College Crystal Young-Otterstrom - Utah Cultural Alliance Kate Zeller - LDS Church Public Affairs PLANNING PARTICIPANTS // ATTACHMENTS 100 ARTWORK/PHOTOGRAPHY CREDITS SANDY PARSONS •Cover VISIT SALT LAKE •Table of Contents (Douglas Pulsipher) •Page 44 •Page 84 (Adam Barker) •Page 99 (Steve Greenwood) •Page 101 (Douglas Pulsipher) JOEY BEHRENS •Page 5 "Walker Building" SPARANO + MOONEY ARCHITECTURE •Page 38 (Current Photo) Philip Dimick SEXTAFEIRA PRODUÇÕES •Page 38 (Potential Photo) "Umbrella Sky Project" Patricia Almedia SALT LAKE ARTISTS CALL BOX PROJECT •Page 42 (Photo Laron Wilson) EVA OKRENT •Page 7-8 "No Paint Left Behind Series" •Page 33-34 "No Paint Left Behind Series" •Page 51-52 "No Paint Left Behind Series" •Page 67-68 "No Paint Left Behind Series" DAVID VOGEL PHOTOGRAPHY •Page 11 •Page 17 •Page 21 •Page 29 •Page 43 •Page 45 •Page 46 •Page 47 •Page 49 "Twilight Concert Series" •Page 50 •Page 71 •Page 73 "Twilight Concert Series" •Page 76 •Page 79 JANN HAWORTH •Page 48 "SLC Pepper" KENT CHRISTENSEN •Page 53 "Sundance Drumstick" JOHN BELL •Page 62 "Elegant Universe"