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AND I HAVE[ Arts & Cultural Advisory Commission on March 9, 2023.]
BEEN TOLD THAT WE DO HAVE A QUORA PRESENT.THE MEETING WILL COME TO ORDER.
THIS IS THE ARTS AND CULTURE ADVISORY COMMISSION REGULAR MEETING THURSDAY, MARCH 9TH AT 4:30 PM WE HAVE A LENGTHY AGENDA, I UNDERSTAND TODAY, AND WE ARE GOING TO GET STARTED MS. CHRISTMAS.
I UNDERSTAND WE DO HAVE PUBLIC SPEAKERS.
OFFICER TYPE SPEAKER GUIDELINES.
SPEAKER SHALL OBSERVE THE SAME RULES OF PROPRIETY FORM AND GOOD CONDUCT COURT.
ANY SPEAKERS MAKING PERSONAL IMPORTANT REMARKS SHALL BE REMOVED FROM THE SESSION OF THE MEETING AT THE DIRECTION FIRST OF THE PUBLIC.
GENERALLY HAVE THREE MINUTES TO SPEAK.
THE TIME CLOCK WILL SIGNAL WHEN YOUR TIME HAS ELAPSED.
WHEN YOUR TIME IS UP, PLEASE ALLOW THE NEXT SPEAKER THEIR TIME.
PLEASE STATE YOUR NAME AND ADDRESS FOR THE RECORD.
COMMENTS TO THE CHAIR? YOUR FIRST SPEAKER IS PAMELA FLORES.
MS. FLORES, ARE YOU HERE? SHE'S, SHE'S NOT IN THE ZOOM GALLERY.
MY NAME'S BRIAN, UM, PHONE AMERICAN UNION.
I'M SIMON CHOCTAW AND EXECUTIVE DIRECTOR FOR AMERICAN INDIAN, HER STATE IN TEXAS, WHICH CREATED STATE LAW IN TEXAS CALLED AMERICAN INDIAN, HER STATE, THEN ALSO INDIAN CITIZENS AGAINST RACIAL EXPLOITATION THAT TOOK OUT ALL THE AMERICAN INDIAN D I D MASCOTS.
I STAND BY MYSELF AS SPEAK FROM MY ANCESTORS.
WE HAVE TO PROTECT OUR IDENTITY FROM THE HISTORY OF LIBERATION.
WE HAVE AN INDIAN ARTS AND CRAFTS ACT THAT NEEDS TO BE IMPLEMENTED TO DEFEND AGAINST BEING COMMODIFIED.
THIS IS A SYSTEM OF EROSION FROM, YOU KNOW, THAT ACCOMMODATING YOU WILL BE A WITNESS TO USING OUR SACRED PRAYERS.
TO SEE A PERSONAL PASSAGE TO MR MEANING OF A PRAYER PROPHECY, WE HAVE TO TAKE STEPS FOR I DIDN'T TO BE PORTRAYED, BELIEVED, ATTRIBUTED, OR INSPIRED BY THIS PROJECT IS NOT RESPECTFUL TOWARD OUR PEOPLE.
NOT GIVING CREDIT TO AN AMERICAN INDIANS TRAVEL CITIZEN IS A SLANDER.
AND TO ERASE THE LAKOTA DIALECT ON A PLAQUE WHEN THERE IS ONLY ENGLISH AND SPANISH TELLS YOU OUR VALUE WITHOUT MALICE TO LEAVE OUT THIS EDUCATIONAL PERSPECTIVE, THAT BECOMES A PATTERN.
THIS PROJECT INVOLVES CHILDREN, BUT NOT AMERICAN INDIAN CHILDREN.
WHAT WAS OUR PERCENTAGE OF INVOLVEMENT? THE EQUITY STANDARD.
WE READ THE PRAYER FROM BOTH PERSPECTIVES AND SEE, OUR INTERPRETATIONS ARE VERY DIFFERENT.
I SAW A GENOCIDE AND REMOVAL FROM OUR ANCESTRAL HOMELAND AND HEAR ABOUT STATEMENT, THE LAKOTA WAY OF LIFE.
THIS HAS ALWAYS BEEN A PATTERN FROM OTHER ETHNICITIES TO BE TRANSLATED WITH ANOTHER CULTURE.
READDRESS THIS, THE ISSUE AS A CULTURAL AND RACIAL EQUITY PLAN SET UP FOR EQUALITY.
I'VE ALWAYS FOUGHT AGAINST AMERICAN IN INDIAN MASCOT METHODOLOGY THE SAME WAY.
THERE NEEDS TO BE ACCOUNTABILITY FOR THE FACE OF DALLAS, FOR AMERICAN INDIANS FOR THE FUTURE.
UM, KNOW THE HISTORY THAT IT WAS A TREE THERE BEFORE.
AND IF Y'ALL RECALL THIS, DIDN'T KNOW THAT THAT WAS THE LAST PART THAT WAS THERE FOR.
SO IF WE'RE TRYING TO SAY TREES AND NOT REPLACEMENT WITH CONCRETE, I'D SAY THAT'D BE A BETTER PERSPECTIVE.
UM, MY NAME IS KAREN SEN AND MY RESIDENCE IS IN DISTRICT 14 AT, EXCUSE ME, 63 27.
VICTORY
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OUR MISSION IS STEVE SPARK TO AWAKEN UPMOST AND GIVE VOICE FOR THE CREATIVE HUMAN SPIRIT TO MAKE GENUINE POSITIVE SOCIAL CHANGE.WHEN I WAS HERE ON FEBRUARY 16TH WITH 10 PEOPLE FROM OUR RESPECT PROJECT TEAM, THE INDIVIDUALS WHO'D MADE PUBLIC ACCUSATIONS ABOUT THE CONTENT AND STRUCTURAL INTEGRITY OF PEACE, 24 DIDN'T SPEAK THAT DAY AS THEY WERE SCHEDULED TO.
I REALIZED THAT MY TEAM'S STATEMENTS ON THAT DAY MAY HAVE BEEN OUT OF CONTEXT FOR YOU.
I'M HERE TODAY TO KINDLY AND RESPECTFULLY LISTEN, WATCH AND LEARN, SO THAT I CAN GAIN A BETTER UNDERSTANDING OF WHAT THE CITY OF DALLAS AND OFFICE OF ARTS AND CULTURES PROCESS IS.
WHEN AN INDIVIDUAL OR INDIVIDUALS MAKE PUBLIC ACCUSATIONS ABOUT THE CONTEXTUAL AND STRUCTURAL INTEGRITY OF ANOTHER ARTIST OR ORGANIZATION'S ARTWORK, I WAS THE DIRECTOR OF OUR 2015 2016 THREE PART RESPECT PROJECT, WHICH INCLUDED EAST 24TH SCULPTURE ON JEFFERSON BOULEVARD.
WE RAISED MORE THAN $407,000 FOR THIS THREE PART PROJECT.
THE SCULPTURE WAS PAID FOR BY 139 DIVERSE DONORS.
WE DID NOT SEEK OR RECEIVE FUNDING FROM THE CITY OF DALLAS FOR THIS SCULPTURE.
THIS SCULPTURE WAS GIVEN AS A GIFT TO THE CITY OF DALLAS AND WAS UNANIMOUSLY APPROVED BY THE PUBLIC ART COMMITTEE AND THE CULTURAL AFFAIRS COMMISSION AT THAT TIME.
WE DID HAVE CULTURAL CONSULTATION.
WE HAVE ONE OF OUR BIGGEST DONORS ON THIS PROJECT WAS THE NATIVE AMERICAN ANONYMOUS.
THEY, THEY DO NOT WISH TO HAVE THEIR NAME INVOLVED, BUT THEY CAME AND SPENT A HALF A DAY WITH OUR ENTIRE ARTS TEAM TALKING ABOUT THEIR CULTURE.
SO AGAIN, I'M HERE TODAY TO KINDLY AND RESPECTFULLY LISTEN, WATCH AND LEARN ABOUT YOUR PROCESS WHEN AN INDIVIDUAL MAKES A PUBLIC ACCUSATION ABOUT A WORK OF ART.
UH, MS. UM, BLUE HORSE, IF YOU COULD TURN ON YOUR CAMERA.
HELLO, MY NAME IS YOLANDA BLUE HORSE, AND I HAVE BEEN PART OF THE DALLAS NATIVE AMERICAN COMMUNITY FOR OVER 20 YEARS.
I AM AN ENROLLED MEMBER OF THE ROSEBUD SIOUX TRIBE, WHICH MEANS I AM LAKOTA.
I MET MS. BLESSON OVER SIX, SEVEN YEARS AGO AT AN EVENT AT WHICH WE WERE BOTH RECEIVING AWARDS FOR OUR WORK IN OUR COMMUNITIES.
AND THROUGH THOSE YEARS, I HAVE WATCHED AS HER, UH, HER TEACHINGS GO AND, AND HAVE BEEN ABSOLUTELY THRILLED TO KNOW SOMEBODY OF HER STATURE WHEN THIS WAS BROUGHT UP.
UM, AND I'M TRYING TO GET ME ON AND IT WON'T HIT.
UH, I WAS AT THE UNVEILING OF THIS PARTICULAR PROJECT, AND JUST TO SEE THE NUMBER OF CHILDREN THAT WERE AROUND, UM, WAS AMAZING.
AND, AND TO SEE THAT THE HARD WORK AND, AND TO, TO REALLY REALIZE THAT HER HEART WAS IN IT FOR, IN EVERY PIECE OF WORK THAT SHE HAS DONE.
SO IT, IF YOU TAKE, IF YOU LOOK AT IT BEING A CULTURAL APPROPRIATION, I DON'T BELIEVE THAT IT IS.
THE, THE, THE PASSAGE THAT WAS USED IS LAKOTA.
AND AS I, I AM A MEMBER OF THE LAKOTA TRIBE OR THE ROSEBUD SIOUX TRIBE.
UM, I THINK IT'S A WONDERFUL PIECE.
I THINK THE OPPORTUNITY FOR THE CHILDREN TO GO BY THERE AND SAY YEARS LATER THAT I HELPED PUT THAT TOGETHER AND TO LEARN A LITTLE BIT MORE ABOUT THE HISTORY, HOW MANY OF THOSE CHILDREN THAT WERE THERE KNEW ANYTHING OF LAKOTA PEOPLE OR IF ANY OTHER NATIVE AMERICAN PASSAGES THAT MIGHT BE IN OUR HISTORY BOOKS OR THEY COULD FIND ONLINE.
SO I DO BELIEVE IT WAS A TEACHING MOMENT FOR ALL OF THEM.
AND EVEN AS THE CONVERSATION GOES FORWARD FROM THIS, FROM TODAY, IT WILL ALSO STILL BE A TEACHING MECHANISM THAT MAYBE SOME OF YOU HADN'T REALIZED.
SO I THINK IT'S A, IT'S A GOOD THING THAT'S OUT THERE.
UM, I THINK IT NEEDS TO BE LEFT AS IT IS AND LET PEOPLE LEARN FROM IT.
AND, YOU KNOW, AS WE ALL LEARN, WE ALL GROW AS HUMAN BEINGS.
THOSE ARE YOUR SPEAKERS, MATT.
WE THANK YOU FOR COMING AND THANK YOU FOR YOUR INTEREST IN THE CITY OF DALLAS.
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YOU KNOW HOW TO CONTACT US.IT'S SOMETHING ELSE WE CAN DO TO ASSIST.
SO THERE'S NOT A FIFTH SPEAKER.
LET'S LOOK AT OUR VOTING AGENDA ITEMS. THE FIRST ITEM IS THE APPROVAL OF THE MINUTES OF THE FEBRUARY 16TH, 2020 ARTS AND CULTURE ADVISORY PERMISSION MEETING.
YOU HAVE BEEN PROVIDED THOSE MINUTES IN ADVANCE FOR YOUR STUDY.
WHAT IS YOUR PLEASURE? MADAM CHAIR? I MOVE THAT WE PASSED THE, UH, MINUTES AS PRESENTED.
IT HAS BEEN MOVED AND SECONDED THAT WE ACCEPT THE MINUTES AS PRESENTED.
THERE ARE TWO MISTAKES IN THOSE MINUTES.
UM, IN THE SPEAKERS IN THIS, UM, UNLESS WE'RE LISTENING PEOPLE WHO SAID THEY WERE GONNA SPEAK, I THOUGHT WE WERE SUPPOSED TO LIST THE PEOPLE THAT ACTUALLY SPOKE.
AND BRIAN DID NOT SPEAK LAST TIME, AND NEITHER DID YOLANDA.
THEY'RE BOTH LISTED AS SPEAKERS.
ARE THERE OTHER COMMENTS REGARDING THE MINUTES OF THE FEBRUARY 16TH MEETING? UH, CHAIR, I COMMENT.
SO DID YOU CAPTURE THAT CORRECTION, MISS CHRISTMAS? YES, MA'AM.
ARE THERE OTHER CORRECTIONS? HEARING NONE, WE MOVE TO ADOPT THE MINUTE THE MINUTES, UH, WITH THE NOTED CORRECTIONS.
ALL IN FAVOR? LET IT BE KNOWN BY RAISING YOUR HANDS.
HAVE IT AND THE MOTION IS CARRIED.
THE NEXT ITEM OF AGENDA, CONSIDERATION OR RECOMMENDATION IN SUPPORT OF THE 2023 ANNUAL PLAN FOR PUBLIC ART, BRADEN MACHAN, CHAIR OF PUBLIC ART WILL PRESENT.
AM I ACTUALLY PRESENTING ON THAT? I THOUGHT I WAS JUST BRINGING FORWARD THE MOTION FOR BRINGING FORWARD THE, UH, AGENDA ITEM.
YOU DO HAVE A MOTION RIGHT? FOR THE AGENDA ITEM? AM I TO PRESENT ON THAT OR IS THAT IS OR DRUM, ARE YOU GONNA BE TELLING US ABOUT YOUR PUBLIC MARK PLAN? I CAN.
THIS IS APPROVED BY THE COMMITTEE, THE PUBLIC ART COMMITTEE.
ON BEHALF OF STAFF, I CAN SURE, SURE.
TELL US ABOUT YOUR PUBLIC ART PLAN.
UM, GOOD AFTERNOON, UM, COMMISSIONERS.
UM, AND SO YES, BEFORE YOU FOR YOUR RECOMMENDATION AND SUPPORT OF THE 2023 ANNUAL PLAN FOR PUBLIC ART, UM, THIS IS AN, THE INTEREST OF A CONTINUATION OF PROCEDURE.
UM, SINCE YOU HAVE SEEN AN ANNUAL PLAN FROM PUBLIC ART IN PREVIOUS YEARS, WE WANTED TO PROVIDE ONE FOR YOU IN 2023.
AND SO HERE ARE OUR, UH, TO START OFF THE PUBLIC ART GOALS FOR 2023.
UM, AND THE FIRST ONE IS TO EXPAND PUBLIC ART PROJECT PLANNING COORDINATION IN COMPLETION OF IN 2023, UH, WITH THE HIRING OF TWO PUBLIC ART COORDINATORS.
THOSE ARE THE TWO OPEN POSITIONS THAT ARE ALREADY, UM, IN PLACE.
UM, UH, ONCE THE, UH, PUBLIC ART MANAGER POSITION IS FILLED, UH, PLAN AND COMPLETE PUBLIC ART, ART ARTIST WORKSHOPS IN 2023, WHICH WE ALREADY DO IN CORRELATION WITH OUR, UM, WITH OUR, WITH THE PLANNING OF OUR, UH, ACTIVE PROJECTS, UH, RELEASE ELIGIBLE PROJECTS WITH A COMMISSION VALUE OF A HUNDRED THOUSAND DOLLARS OR LESS TO THE INAUGURAL PRE-QUALIFIED ARTISTS, LESS, WHICH WE ARE ACTIVELY DOING, UH, AND THE CONTINUATION OF PUBLIC ART ENGAGEMENT ONLINE AND IN PERSON, AS WE TYPICALLY DO WITH OUR RECENTLY, UM, INITIATED PROJECTS AND ARE PART OF THE, UM, THAT ARE PART OF THE FIRST, UH, STEPS IN THE PLANNING OF OUR PROJECTS.
AND SO, UH, PUBLIC ART PROJECTS TO BE PLANNED IN 2023 WITH INITIATION IN 2024.
UM, FOLLOWING LIST OF PROJECTS IS PROPOSED FOR INITIATION IN 2024, UH, INCLUDING COMMUNITY ENGAGEMENT AND ARTIST SELECTION PROCESS FOR PUBLIC ART COMMISSION REVIEW AND APPROVAL BY PUBLIC ART COMMITTEE, UH, AND, UH, ARTS AND CULTURE ADVISORY COMMISSION, UM, AND CITY OF DALLAS IF THE PROJECT BUDGET IS OVER A HUNDRED THOUSAND DOLLARS.
UM, AND SO AS YOU ARE, UH, PROBABLY RECALL OUR PARTNER, WE WORK VERY CLOSELY WITH OUR PARTNER DEPARTMENTS, UM, AND THEY HELP US IDENTIFY WHICH PROJECTS
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THEY ARE READY TO INITIATE AND SO ON THEIR, UH, PLANNING AND PRIORITIES LIST, WE HAVE, STARTING WITH PARK CHICKEN RECREATION, WE HAVE SIX PROJECTS THAT ARE PLANNED FOR INITIATION IN, UH, BETWEEN 20 22, 20 24, AND INTO 2026 ACCORDING TO THEIR SCHEDULE.UH, CAMPBELL GREEN, WILLIS WINTERS PARK, SAMUEL GRANT, AQUATICS, LAKE HIGHLANDS NORTH PARK, AQUA NORTH PARK, AQUA AQUATICS, UH, NORTH HAVEN TRAIL, PRESTON GREEN PARK, UH, FROM DALLAS WATER UTILITIES.
WE HAVE TWO PROJECTS, UM, BOTH AT SOUTH DALLAS LOCATIONS THAT ARE YET TO BE DETERMINED.
UM, TWO CITY FACILITIES, UH, TWO PROJECTS THERE.
AND THOSE CITY FACILITIES ARE, UM, YET TO BE SELECTED AND IDENTIFIED.
SO THE FOLLOWING INFORMATION IS REALLY FOR BRIEFING ONLY.
UH, WE CURRENTLY ARE IN THE PROCESS FOR COMPLETION IN 2023 TO 2025.
THE FOLLOWING PROJECTS, UH, NINE PROJECTS FOR PARKS AND RECREATION.
UH, RECENTLY, YOU'LL PROBABLY REMEMBER WE RECENTLY BROUGHT FOR YOUR APPROVAL, TIPTON PARK, WILLIE B. JOHNSON REC CENTER, SINGING HILLS REC CENTER, BACHMAN LAKE SKATE PARK, JC OSA REC CENTER, CROCKETT DOG PARK, PLEASANT OAKS REC CENTER, WALNUT HILL REC CENTER, AND CRAWFORD MEMORIAL PARK.
UH, FOR DALLAS WATER UTILITIES.
WE HAVE THREE PROJECTS, UM, ALREADY IN ACTIVE AND IN MOTION.
UH, CERTAINLY THE MORTARS PARK MEMORIAL FOR VICTIMS OF RACIAL VIOLENCE, UH, AND THE TWO WATERSHED FLOODGATES, UH, IN THE BONTON NEIGHBORHOOD.
UH, ONE PROJECT FOR PUBLIC WORKS, UH, FIRE STATION 36 PUBLIC WORKS STREETS DEPARTMENT.
WE HAVE TWO PROJECTS THERE, THE SUNNY SOUTH DALLAS GATEWAY, AND THE THREE PLAZAS ALONG SOUTH LAMAR.
AND FOR AVIATION, WE HAVE OUR TWO PROJECTS ALONG THE LEMON AVENUE STREET SCAPE ENHANCEMENTS, ONE AT SHORECREST DRIVE AND THE OTHER AT LOVERS LANE.
UH, WE DO HAVE A FEW PROJECTS THAT ARE CURRENTLY ON HOLD, PENDING FUNDING MATERIALS OR SERVICE DELAYS, UM, FOR BUILDING SERVICES LIBRARY, WE HAVE, UH, THE PROJECT, UH, AT FOREST GREEN AND THE PROJECT AT VICARY MEADOW.
WE HAVE PROJECTS, UH, THAT ARE ON HOLD FOR THE DOWNTOWN PARKING METERS.
THE WEST DALLAS VETERANS TRIANGLE PARK, THE FAMILY CORRIDOR, UH, DALLAS WATER UTILITIES, THE PROJECT AT THE BATHHOUSE.
UH, AND FINALLY, FOR AVIATION, WE HAVE EXECUTIVE AIRPORT, UH, LONG RANGE PLANNING RIGHT NOW, UH, IN 2024 FOR INITIATION IN 25, 26, WE HAVE 14 PROJECTS.
UH, TIMBER GLEN TRAIL, ELMER ELMWOOD PARKWAY TRAIL, SAMUEL GRANT, AQUATICS, DALLAS HERITAGE VILLAGE, GLENDALE PARK, CRAWFORD PARK, AQUATICS, EVERGLADE PARK, HARRY STONE AQUATIC CENTER, HAMILTON PARK, FRED'S PARK, AQUATICS, SEATS, PARK AQUATICS, XLE AQUATIC CENTER, TIMBERLAND TRAIL TRAIL, UH, AND CUMMINGS PARK.
UM, SO AS I MENTIONED, THIS, UH, PLAN IS, UM, YOU'VE SEEN BEFORE.
UM, AND AGAIN, IT'S A, UH, A AN EXERCISE IN CONTINUATION OF PROCESS FROM PREVIOUS PLANS THAT YOU MAY HAVE SEEN BEFORE.
AGAIN, YOU, UH, AN IMPORTANT NOTE ALSO IS THAT YOU WILL BE THESE PROJECTS THAT WILL BE INITIATING, YOU WILL SEE AGAIN, INDIVIDUALLY AS THE PARTNER DEPARTMENTS, UM, INITIATE THOSE PROJECTS, BRING THEM TO US, AND THEN WE BRING THEM TO YOU FOR, UH, RECOMMENDATION AND APPROVAL.
THERE'S A NUMBER OF THINGS I FEEL I SHOULD BE SAID HERE.
ONE OF THEM IS, ESPECIALLY FOR THE NEW COMMISSIONERS, WHEN IT COMES TO HOW PUBLIC ART PROJECTS, YOU KNOW, COME INTO BEING, HOW THEY'RE FUNDED, HOW THEY'RE CHOSEN, WHERE THEY GO.
THAT'S A CONVERSATION THAT PROBABLY NEEDS TO BE HAD AGAIN AND MAYBE SHOULD BE A BRIEFING ITEM, UM, JUST TO INFORM EVERYONE OF THAT PROCESS.
BUT ESSENTIALLY, YOU KNOW, ALL THESE PROJECTS THAT ARE, THAT YOU SEE HERE ON THESE LISTS ARE BROUGHT TO US BY OTHER DEPARTMENTS, WHETHER THAT'S PUBLIC WORKS OR DALLAS WATER UTILITIES AS PART OF IMPROVEMENT PROJECTS THAT THEY ARE ENGAGED IN.
AND A SPECIFIC AMOUNT OF THE FUNDING THAT GOES INTO THAT IMPROVEMENT MUST BE SPENT ON A PIECE OF PUBLIC ART.
THEY, THEY BRING THAT CONSIDERATION BEFORE US.
AND WHAT YOU SEE HERE, ESSENTIALLY, THIS IS A VERY BASIC PUBLIC ART PLAN, HONESTLY.
UM, WHAT YOU SEE HERE ARE THE PROJECTS THAT ARE IN PROCESS THAT NEED TO BE FINISHED, THE PROJECTS THAT ARE DEFINITELY GOING TO BE INITIATED, AND THEN THE FUNDING REQUESTS, ALL THESE OTHER GONNA BE WORKED ON WITH
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OTHER DEPARTMENTS GOING INTO THE BOND PROPOSALS THAT MAY TURN INTO PUBLIC ART PROCESS.THIS IS VERY MUCH KIND OF A, WHAT HAS BEEN, WHAT IS HAPPENING NOW AND WHAT'S GOING TO BE, THERE'S NOT MUCH ELSE IN IT.
I WILL ALSO SAY, UH, THERE ARE DEFINITELY GONNA BE COMMISSIONERS THAT HAVE OTHER, YOU KNOW, THINGS TO SAY, THIS IS NOT PASSED UNANIMOUSLY FROM PUBLIC ART.
THERE WAS SOME CONCERN THAT, UH, CREATING AN ANNUAL PUBLIC ART PLAN WITHOUT HAVING A PUBLIC ART MANAGER ON BOARD WOULD SORT OF POTENTIALLY LIMIT WHAT THEY WERE ABLE TO DO.
OR, UM, YOU KNOW, THAT, THAT THAT SHOULD BE PART OF THE HIRING PROCESS THAT IN THEIR FEEDBACK COULD POTENTIALLY BE INVOLVED IN THAT.
UM, IT WAS VERY MUCH STATED THAT THIS IS NOT, YOU KNOW, AN IRONCLAD, YOU KNOW, SET OF LAWS.
THIS IS THE ONLY THING THAT'S GONNA BE WORKED ON.
THE INCOMING ART MANAGER COULD CERTAINLY CHOOSE OTHER PRIORITIES OR ADD OR SUBTRACT FROM THIS OUTSIDE OF THE PARTICULAR PROJECTS, BECAUSE AGAIN, THOSE ARE BEING WORKED ON IN OTHER DEPARTMENTS.
BUT WHEN IT COMES TO SOME OF THE THINGS YOU SEE IN THE PUBLIC ART GOALS AS STATED IN BULLET POINTS, UM, AND THEN THERE WAS ALSO CONCERN THAT SIMILAR TO THE ANNUAL PLAN, THAT THIS JUST SORT OF BECAME BEFORE US BEFORE FOR OUR APPROVAL, AS OPPOSED TO BEING INVOLVED IN THE PROCESS OF, OF CRAFTING WHAT THE PUBLIC ART PLAN WOULD BE FOR THE YEAR.
YEAH, I MEAN, IT'S, IT'S UP TO THE CHAIR.
UM, I, I JUST ALSO WANTED TO ADD THAT GIVEN THIS CURRENT SITUATION WITH THE, UM, 29 PIECES AND WHAT HAVE YOU, I WOULD LIKE TO SEE AS A PART OF THAT PLAN, COMING UP WITH A PROCESS THAT IT SHOULD BE IN, YOU KNOW, THAT PEOPLE CAN GO TO AND UNDERSTAND THIS IS WHAT HAPPENS WHEN A PIECE OF ART COMES INTO QUESTION.
WE HAVE NOTHING LIKE THAT AT THE MOMENT, AND WE SHOULD HAVE, UM, A PROCESS, FORMALIZED PROCESS.
SO THAT SHOULD BE IN THAT PLAN TO COME UP WITH THAT FOR, FOR NEXT YEAR.
MADAM CHAIR, NEED TO HAVE A, A MOTION.
WE'VE GONE INTO THE DISCUSSION.
IS THERE A SECOND? I'LL SECOND.
IT IS REMOVED AND SECONDED THAT WE RECOMMEND.
SECOND, WE'RE ASKING, RECOMMEND THE ITEM THAT HAS BEEN PLACED ON THE AGENDA IN SUPPORT OF THE 2023 ANNUAL PLAN FOR PUBLIC ART.
UH, YOU'VE MADE ONE COMMENT, YOU HAVE ANOTHER COMMENT.
UH, ALSO AGREE WITH COMMISSIONER VICKI MEEK, THAT, UH, WE NEED TO, AND IT MAY NOT BE ABLE TO GET INTO THIS PLAN BECAUSE THIS IS GONNA BE A LARGER CONVERSATION ABOUT, YOU KNOW, CULTURAL RESPECT, CULTURAL, UH, IDENTITY, UM, AND IDENTIFYING WHO ARE THE EXPERTS, WHO ARE THE ONES THAT SAY YES.
BECAUSE THAT'S GONNA BE A VERY, VERY IMPORTANT, UM, PART OF THIS PUZZLE.
UM, BECAUSE ART IS SO SUBJECTIVE, RIGHT? SO THIS COMMITTEE THAT WE ESTABLISH OR WHATEVER HAPPENS, UH, THEY MIGHT SAY, YES, THIS IS OKAY, AND THEN SIX MONTHS LATER, SOMEBODY SAYS, BUT WAIT A MINUTE, RIGHT? I'M, I, I, I OBJECT.
SO YOU WE'RE NOT GONNA PLEASE EVERYBODY, BUT WE DO NEED TO IDENTIFY WHAT THE PROCESS IS GONNA LOOK LIKE.
MY QUESTION SPECIFICALLY TO THE PLAN FUNDING THERE, DRMA HAD MENTIONED THAT SOME OF THE PROJECTS WERE ON HOLD BECAUSE OF FUNDING MATERIALS AND SOMETHING ELSE.
SO WHAT'S THE FUNDING HOLDUP? BECAUSE AREN'T THESE PROJECTS APPROVED BECAUSE THE FUNDING IS THERE? YEAH.
AND DRMA CAN SPEAK TO THEM ON AN INDIVIDUAL PROJECT BASIS, BUT UNDERSTANDING IS THAT THE FUNDING IS NOT NECESSARILY UNLESS GIVEN TO THEM THE FUNDING.
IT'S THE, IT'S THE MATERIAL COST, IT'S THE ISSUES THAT THEY HAVE COMING THROUGH COVID, ESPECIALLY IN INFLATION WITH WHAT WAS APPROVED VERSUS WHAT ACTUALLY CAN BE.
BUILT SOME THINGS HAD TO BE SLIGHTLY REDESIGNED.
SOME THINGS HAD TO, YOU KNOW, WAIT FOR PRICES OF CERTAIN ITEMS TO COME DOWN AND NOW ARE POSSIBLE IN MOVING FORWARD.
SOME VARIOUS DELAYS RELATED TO FUNDING, BUT NOT BECAUSE WE WEREN'T PROVIDING, UH, THE, YOU KNOW, THE PROMISE LEVEL OF FUNDING.
AND I WILL SAY TO THE POINT OF, UH, A MEMBER OF THE PUBLIC COMING IN AND, UM, YOU KNOW, CALLING ATTENTION TO A SPECIFIC PIECE THAT ACTUALLY, THAT DEFINITELY NEEDS TO HAPPEN.
THAT'S A GOOD COMPONENT TO SOMETHING THAT WE DISCUSSED IN PUBLIC ART COMMITTEE IN A MOST RECENT MEETING THAT A NUMBER OF YEARS AGO, UH, WE PUT INTO PLACE FOR AN ANNUAL, SORRY, NOT AN ANNUAL, BUT A, UM, KIND OF AN AT WILL OR, UM, YOU KNOW, EVERY THREE OR FOUR YEARS TO BE DETERMINED, REVIEW OF ALL THE PIECES IN THE PUBLIC ART COLLECTION BASED OFF OF THE CHANGING MORES OF SOCIETY, INCREASED SENSITIVITIES TO, YOU KNOW, THINGS THAT PREVIOUS GENERATIONS MAY NOT HAVE BEEN AWARE OF.
UM, AND, YOU KNOW, THERE WAS CERTAIN EVENTS THAT COULD TRIGGER KIND OF A, INCLUDING THE DECISION OF THE PUBLIC ART COMMITTEE TO, TO CALL FOR REVIEW OF THE ENTIRE COLLECTION AND IDENTIFY PIECES THAT MAY, YOU KNOW, THAT THAT NEED REVIEW, THAT NEED TO HAVE A HISTORICAL, UM, CONTEXT DEEP DIVE, WHICH THAT HAPPENED WITH
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THE TEXAS RANGER, UM, YOU KNOW, SCULPTURE AND LOVE FIELD, WHICH WAS REMOVED.AND AT THAT TIME, UH, WE DID, YOU KNOW, A OVERVIEW OF THE PUBLIC ART COLLECTION SPECIFICALLY WITH REPRESENTATIONAL STATUES OF FIGURES IN DALLAS.
AND, YOU KNOW, LOOKING TO SEE IF THERE WAS ANYTHING IN THE BACKGROUND OF THESE PEOPLE THAT COULD CAUSE FOR THEM TO BE, UM, THE SESSION IN THE SAME WAY THAT THE, THE TEXAS RANGER LOVE FIELD WAS.
SO THAT IS A GOOD, THAT THAT WAS SOMETHING THAT WAS NOT THOUGHT OF AT THE TIME THAT, THAT, YOU KNOW, WHAT'S THE FORMAL PROCESS THROUGH A PERSON HAVING A COMPLAINT ABOUT SOMETHING AND HOW DO WE PROCESS THROUGH THAT TO A RESOLUTION THAT'S STANDARDIZED AND NOT JUST COME UP WITH BY WHOEVER IS ON THE, YOU KNOW, COMMITTEE OR THE COMMISSION AT THAT TIME.
WE ARE AT THE DISCUSSION PHASE OR THE MOTION IT'S ON THE FLOOR OR RECOGNIZED.
I, I HAVE A HANDFUL OF QUESTIONS.
UH, FIRST OF ALL, WITH RESPECT TO THE PUBLIC ART PROJECTS THAT ARE CURRENTLY ON HOLD, UH, IF SOMEONE COULD EXPLAIN TO ME WHAT IT MEANS IN TERMS OF IF WE APPROVE THIS PLAN WITH THESE LIST, THE LIST OF THESE ITEMS ON HOLD.
UM, I NOTE THAT ONE OF THEM HAPPENS TO BE IN MY DISTRICT, AND I NOTICED THAT A HIGHLY ANTICIPATED PIECE.
AND WHAT INFORMATION CAN WE EXPECT? I DON'T KNOW IF I'VE MISSED THE ATTACHMENTS, BUT THERE DON'T, DOESN'T SEEM TO BE ANYTHING EXPLAINING THE DETAILS OF WHY THESE PARTICULAR PROJECTS ON ARE ON HOLD.
SO IF, IF WE APPROVE IT, ARE WE APPROVING IT'S OKAY FOR THESE PROJECTS TO BE ON HOLD INDEFINITELY? BECAUSE THAT CERTAINLY IMPACTS, I I FEEL LIKE THERE ARE A LOT OF UNANSWERED QUESTIONS FOR ME IN TERMS OF BEING ABLE TO SUPPORT THE PLAN.
UM, AND IN PARTICULAR, THAT PIECE THAT'S GOING INTO DISTRICT NINE.
AND THEN I ALSO HAD A QUESTION RELATED TO I'LL JUST GET, GET 'EM ALL OUT AND THEN WHOEVER HAS THE ANSWERS CAN, UM, ADDRESS THEM, UM, WITH RESPECT, UM, TO THIS, UM, PRE-QUALIFIED ARTIST LIST.
I'D LIKE TO HEAR EXACTLY WHAT THAT MEANS, UM, IN TERMS OF THE STATURE OF THE ARTIST, WHO ARE, IS THAT LIST IN EXISTENCE AND WHAT IS THE STATURE OF THOSE ARTISTS? IS THIS SOMETHING WE'RE DOING IN ORDER TO MEET THE EQUITY, UM, PORTION OF OUR CULTURAL LENGTH? THAT IS VERY BROAD.
I'D LIKE TO HEAR MORE ABOUT EXACTLY WHAT THAT MEANS RATHER THAN JUST THE LANGUAGE, UM, THAT WE'RE GONNA DO IT.
OH, THE OTHER QUESTION THAT I HAD, I'VE BEEN READING A LOT ABOUT THIS LATELY, IS WHETHER THERE'S ANY THOUGHT IN THE, UM, PUBLIC ART SIDE OF THINGS TO EXPLORE, UM, MAJOR TEMPORARY EXHIBITS BECAUSE WE CLEARLY ARE HAVING THESE PROBLEMS WITH FUNDING PERMANENT EXHIBITS.
WE HAVE WHAT TAMMY PLUS ITEMS DOWN HERE THAT WE HAD PREVIOUSLY APPROVED AS A COMMISSION, BUT UM, THEY ARE HAVING SOME SORT OF PROBLEM WHEN WE DON'T SEE THEM ENDING.
SO IS THERE ANY, IT'S NOT LISTED ON THE PLAN, BUT IS THERE ANY THOUGHT, UM, UH, AND DIRECTOR OF THIS WAS ONE OF THE THINGS THAT YOU AND I HAD AN OPPORTUNITY TO TALK ABOUT IN OUR ONE-ON-ONE.
I WOULD REALLY LIKE TO SEE THAT OPPORTUNITY EXPLORED BECAUSE I FEEL LIKE IT GIVES US AN OPPORTUNITY TO ADDRESS THE, UM, EQUITY PORTION OF OUR CULTURAL PLAN IN A WAY THAT COULD BE AFFORDABLE, UM, GIVEN ALL THE PROBLEMS THAT WE'RE HAVING.
SO I'D LIKE TO KNOW HOW THAT ALL GETS WORKED INTO THE PLAN AND WHAT THE PROCESS IS.
SO, DOESN'T MATTER YOUR QUESTIONS, ALL YOUR QUESTIONS.
THE LAST QUESTION DEFINITELY IS A QUESTION FOR STAFF.
UM, THE, YOUR FIRST QUESTION, UM, I WOULD SAY THAT THIS ACTUALLY, THAT SECTION OF IT READS MORE OF A, YOU KNOW, REPORT MORE SO THAN WE'RE VOTING TO PUT THESE THINGS ON HOLD.
THESE ARE THE, THESE ARE THE, WHAT HERE IS, WHAT THIS IS, IS A LIST OF ALL OF THE, THE KNOWN PUBLIC ART PROJECTS.
AND SO WE'RE NOT VOTING TO PUT THEM ON HOLD.
I, IT, IT IS CONFUSING NOW THAT I SEE IT FROM THE, YOU KNOW, THE LENS THAT YOU JUST BROUGHT UP.
UM, IT'S JUST KIND OF A STATUS REPORT ACTUALLY OF WHERE THOSE ARE.
UH, AND THEN WITH REGARD TO, AND CORRECT ME IF I'M WRONG ON THAT DRUMMA, UM, BUT WITH REGARD TO THE PRE-QUALIFIED ARTIST LIST, AND I'LL LET DRUMMOND GIVE YOU THE DETAILS OF HOW ALL OF THAT HAS COME ABOUT.
UM, BUT ESSENTIALLY WHAT THAT IS, IS FOR, THERE'S, THERE'S QUITE A LONG ELONGATED PROCESS FOR, UM, CHOOSING WHICH ARTISTS COULD BE WORKING ON WHICH PROJECTS, RIGHT? AND GOING THROUGH THE OPEN CALL AND EVERYTHING ELSE.
AND, UH, BEFORE K LEFT AND THEY INITIATED OR WE INITIATED A CONCEPT OF THE PRE-QUALIFIED ARTIST LIST, WHICH IS FOR SMALLER BUDGET, UM, PIECES OF PUBLIC ART.
WE WERE GOING TO BASICALLY PRE-APPROVE CERTAIN ARTISTS THAT HAD DO WORK REGULARLY IN DOO SO THAT WE DON'T HAVE TO TREAT THEM LIKE A NEW INCOMING, UH, ARTIST EVERY SINGLE TIME.
AND THEN CERTAIN PROJECTS BECOME AVAILABLE TO THOSE FOLKS.
THEY'RE KIND OF LIKE OUR, UM, OUR CAP ARTISTS, YOU KNOW, THEY'RE LIKE KNOWN ENTITIES WHO FOR PROJECTS OF A CERTAIN BELOW A CERTAIN AMOUNT, THEY, THEY'RE, YOU KNOW, WE'RE ABLE TO KIND OF CUT DIRECTLY TO THE CHASE KNOWING THAT WE DON'T
[00:30:01]
NEED TO PROVE THAT THEY'RE ABLE TO, TO DO THIS PROJECT, HAVE HAD SUCCESS IN THE CITY BEFORE.LIKE, WE BELIEVE IN THEM, WE KNOW THEM.
WE HAVE A, A BACKGROUND AND A HISTORY WITH THEM.
AND SO THEY DON'T NEED TO BE QUALIFIED EVERY SINGLE TIME, UM, FOR THESE PROJECTS BELOW A CERTAIN AMOUNT.
DO YOU HAVE ANYTHING YOU'D LIKE TO ADD? UM, YES.
NO, UH, THE COMMISSIONER, UH, MCGANN EXPLAINED IT, UH, PERFECTLY.
YES, THAT'S EXACTLY, UH, WHAT THE INTENTION OF THE PRE-QUALIFIED ARTIST LIST.
THEY ARE 55 ARTISTS WHOSE, UH, QUALIFICATIONS HAVE ALREADY BEEN VETTED, UH, WITH PROVEN EXPERIENCE AND EXECUTED PUBLIC ART PROJECTS, UM, AS PROFESSIONAL ARTISTS.
AND YES, BECAUSE THESE ARTISTS RECEIVE CALLS SPECIFICALLY WITH BUDGETS THAT ARE A HUNDRED THOUSAND DOLLARS OR LESS, THE INTENTION THERE IS TO, UM, SMOOTH THE, UH, ARTIST SELECTION PROCESS TO NOT HAVE TO ADVERTISE ALL OF THESE CALLS, UM, ON CALL FOR ENTRY.ORG, WHICH REQUIRES, UH, GETTING AN AGREEMENT SIGNED THROUGH THE CITY ATTORNEY'S OFFICE.
UH, AND THAT SORT OF EXPANDS THE TIMELINE OF WHEN WE CAN, UH, DISTRIBUTE AND PUBLISH OUR CALL FOR ARTISTS.
AND SO, UM, THIS IS, YES, THIS IS AN EASY, LET'S SAY A SMALLER, UH, NUMBER OF PROJECTS THAT CAN, OR RATHER, UH, A SMALLER GROUPING OF ARTISTS THAT CAN BE, UH, WHOSE SELECTION, UM, AND, UH, DISTRIBUTION OF THE REQUEST FOR CALL, OF THE REQUEST FOR CALL FOR ARTISTS CAN BE, UM, MANAGED IN A, UH, FASTER, SMOOTHER WAY.
UM, AND ALSO, YES, IT IS ALSO AN EFFORT BECAUSE, UH, WE DO HAVE SEVERAL OF THOSE, UH, ARTISTS THAT ARE PART OF THE, TO QUALIFY THAT ARE, UM, LOCAL ARTISTS.
AND SO WE ALSO WANTED TO, UM, HAVE THAT OPPORTUNITY TO ENGAGE LOCAL AND REGIONAL ARTISTS, UH, WITH THOSE CALLS.
AND ON THAT LIST, MADAM CHAIR, MAY I ASK A QUESTION? YES.
UM, SO JMA, THANK YOU FOR THAT EXPLANATION.
WHAT, UM, CAN YOU TELL ME LIKE HOW THAT PROCESS WORKS? IS THAT, SO FOR EXAMPLE, YOU MADE THE REFERENCE TO THE CAB ARTIST, AND I KNOW IN THE ALLOCATIONS COMMITTEE STAFF BRINGS, SAYS THE RECOMMENDED CAP ARTIST, WE GO THROUGH A CERTAIN ANALYSIS AND THERE IS A PROCESS.
DOES THE ART, DOES THE ART COMMITTEE THEN APPROVE THE LIST? AND THAT HAS SHARED THROUGH AND THROUGH HERE, RIGHT? ALL THAT'S BEEN APPROVED, THAT'S COMMISSION, RIGHT? AND SO DO YOU DO IT LIKE ONCE A YEAR OR THIS IS THE INAUGURAL? SO I DON'T KNOW WHAT THE PROCESS OF GOING FORWARD, HOW, HOW OFTEN DO YOU I DON'T KNOW.
I DON'T KNOW THAT THAT HAS BEEN DETERMINED YET.
I THINK BECAUSE THIS IS OUR FIRST YEAR WE'RE, UH, TRYING TO SEE IF IT'S, UH, AN ANNUAL THING OR, UH, UH, WE OPEN THE CALL EVERY FOUR YEARS, UM, EVERY OTHER YEAR.
SO THOSE MECHANISMS HAVE NOT REALLY BEEN DETERMINED YET.
UM, I THINK, AGAIN, THESE ARE DECISIONS THAT THE PERMANENT, UM, UH, PUBLIC ART MANAGER WILL PROBABLY WANNA TAKE ON.
UM, BUT FOR RIGHT NOW WE'RE JUST, UH, BECAUSE THIS IS OUR FIRST YEAR, WE'RE SEEING HOW, WHAT WORKS AND WHAT DOESN'T AND WHAT NEEDS TO BE TWEAKED, WHAT NEEDS TO BE CHANGED, UM, AND HOW WE CAN MAKE IT BETTER.
SO FAR, WE'VE, UH, ISSUED TWO, NOPE.
OUR FIRST ONE WITH, WHICH WAS, UH, JC SAG REC CENTER.
AND SO FAR IT'S WORKED QUITE WELL.
WE'RE IN THE ARTIST SELECTION PHASE, AND, UM, IT HAS IN FACT CUT THE ARTIST SELECTION TIMELINE, UM, QUITE CONSIDER, UH, CONSIDERABLY.
UM, AND IT WE'RE, SO FAR, WE'RE HAPPY WITH HOW THAT'S, THAT PORTION OF THE, OF THE LIST IS HAPPENING.
BUT RIGHT NOW, I DON'T KNOW THAT WE KNOW WHAT THE, UM, HOW OFTEN THE CALL WILL BE OPEN.
I THINK THAT THAT WOULD PROBABLY HAVE TO BE, UH, A DECISION MADE BY THE PERMANENT P UH, PUBLIC ART MANAGER.
SO RIGHT NOW WE JUST HAVE ONE LIST AND WE DON'T KNOW IF WE CAN ADD TO IT OR WHEN WE'LL ADD TO IT OR WHAT MATRIX WE USE TO ADD TO IT.
THIS COMMISSION HAS PASSED AND THAT'S WHERE WE ARE.
WE HAVE THE PROCESS TO WHICH THAT LIST WAS GENERAL, RIGHT.
BUT LIKE, YEAH, WE LIKE, OKAY.
AND THERE'S, THERE'S NOT A BUILT IN, AGAIN, IT'S, THAT WAS PREVIOUSLY, UM, MECHANISM WHICH, OKAY, THIS IS WHAT'S GONNA TRIGGER.
WE'RE GONNA CHANGE THAT LIST, RIGHT? BECAUSE WE, LIKE, I THOUGHT THE CAP ARTIST WAS A GREAT ANALOGY.
WE'VE GOT A MATRIX STAFF RACES ON IT, AND THEN WE HAVE A PRETTY ROBUST DISCUSSION AND THE COMMITTEE IN THE COMMITTEE AT THE COMMITTEE LEVEL, AND THEN WE BRING IT TO YOU.
SO, UM, TO THE WHOLE COMMISSION.
[00:35:01]
THAT PROCESS IS NOT IN PLACE YET.SO AS, UH, COMMISSIONER MCGANN, UH, I WOULD SAY ALLUDED TO, BUT MENTIONED THERE WAS AN OPPOSITION.
I WAS, I OPPOSE THIS PLAN BASED SOLELY ON THE PUBLIC ART GOALS FOR 2023.
AND I DON'T NECESSARILY OPPOSE THE GOALS, BUT THE PROCESS OF WHICH THIS, HOW THEY HAVE BEEN DERIVED MM-HMM.
UM, AND SO I SPECIFICALLY ASKED, SINCE WE ARE IN THE PROCESS OF HIRING A NEW PUBLIC ART MANAGER, IF DURING THE HIRING PROCESS THESE WERE SHARED CUZ THESE HAVE BEEN CREATED DURING THE, UM, INTERVIEW PROCESS AND THEY'VE BEEN SHARED WITH THE PEOPLE WHO HAVE BEEN SO SOLELY ON THE FACT THAT WE MIGHT BE HIRING SOMEBODY WHO IS NOT FAMILIAR WITH THESE, CANNOT SAY THEY SUPPORT OR DON'T SUPPORT THESE.
WELL, WE HEAR FROM THE DIRECTOR.
DO WE HAVE COMMENTS FROM THIS SIDE OF THE ROOM? COMMISSIONER JACKSON? UM, I DID HAVE A QUESTION IN REGARDS.
IT WAS KIND OF, UM, REGARDING WHAT, UM, COMMISSIONER BRAG ALONG WAS SPEAKING ON.
IT'S, UM, I THINK IT WOULD BE IMPORTANT TO HAVE A GOOD UNDERSTANDING AS TO IF WE'RE GONNA USE THIS PROCESS, WHAT THE TIMELINE IS GONNA BE BEFORE WE, UM, YOU KNOW, THAT THE NEXT GROUP.
BECAUSE IF WE DON'T DO THAT, THEN WE END UP WITH A GROUP THAT'S REPEATING AND OTHER, IT DOESN'T ALLOW FOR OTHER POSSIBILITIES IN TERMS OF, YOU KNOW, CREATIVES BEING HAVING THE SAME, UM, OPTION.
I MEAN, UM, OPPORTUNITY OVER TIME SO THAT WE DON'T GET ST MADE HAVE THE SAME, YOU KNOW, UH, REPEAT ON RECORD AND SAYING THAT I, I REALLY WOULD LIKE TO SEE SOMETHING THAT, YOU KNOW, WE NAILED THAT DOWN.
SO DOES CITY CHARTER REQUIRE PUBLIC ARTS TO HAVE THEIR OWN ANNUAL PLAN? BECAUSE IT SEEMS LIKE IT WOULD BE SOMETHING THAT WOULD BE INCORPORATED INTO THE OVERALL CULTURAL PLAN.
AND IF THAT'S THE CASE, THEN I AGREE WITH COMMISSIONER WEINSTEIN THAT, UM, PROCESS MAY BE, WAS A LITTLE RUSHED AND IT SOUNDS LIKE IT DOESN'T REALLY HAVE THE FULL SUPPORT.
YOU'RE PERMITTING ON THAT BEFORE WE HEAR FROM THE DIRECTOR.
WELL, I'M, UH, MAKING, I'M ASKING A QUESTION.
BUT IT'S NOT, UH, ON THAT GO AHEAD.
UM, I NOTICED THAT I'M HEARING THE COMMITTEE MEMBERS SUPPORTING THE PLAN TO, UM, THE SYSTEM.
UM, HOW COME IT'S NOT IN THIS, UH, PRESENTATION THAT YOU'RE BRINGING TODAY? BECAUSE I HEARD WE NEED A PLAN OR SYSTEM.
AND WHAT, WHAT YOU'RE REFERRING TO IN THAT REGARD.
UM, YOU'RE REFERRING TO THE PLAN THAT WE, THAT'S WE'RE APPRO ASKED TO BEEN TO APPROVE.
NO, I'M REFERRING TO, UM, UH, THE ANNUAL PLAN FOR POST.
SHE MENTIONED THAT WE NEED A SYSTEM, A PROCESS THAT'S NOT THE PROCESS TO REVIEW A THIRD YES.
OF, OF CREATING AN ANNUAL PLAN.
ABOUT THE COMMENT I MADE REGARDING A WAY TO DEAL WITH THESE KINDS OF ISSUES AROUND THAT THIS, THAT ISSUE DIDN'T EXIST WHEN THIS PAST MY CARD COMMITTEE, BUT IT SHOULD HAVE BEEN IN THERE.
IT MAY NOT EXISTED, BUT WE SHOULD HAVE BEEN THINKING ABOUT IT.
WELL, THAT, THAT COULD HAVE BEEN AT ANY, ANY PREVIOUS YEAR AS WELL BY THAT SAME TOKEN OR ANY MEETING.
BUT I'M SAYING THIS DIDN'T COME OUT OF THE MEETING ON TUESDAY.
RIGHT? THIS CAME OUT OF THE MEETING THAT OCCURRED BEFORE THE LAST HEARTS AND CALL FOR ADVISORY.
WHAT I'M SAYING IS THAT WE NOW KNOW IT EXISTS AS A PROBLEM.
SO DO YOU ALL AGREE THAT EXISTS? YEAH, WE, WE ALREADY CONFIRMED THAT THAT WAS HAND IS RAISED.
DRUMMER, IS YOUR HAND RAISED? YOU ARE ON MUTED.
UM, SO YEAH, SO THIS WAS THE, UH, THE PLAN THAT WAS RECOMMENDED BY THE P A C.
UM, AND THAT WAS BEFORE, UM, THE, UM, THE ISSUE OF THE, UH, PIECE 24 CAME ON BOARD, UM, UH, OR CAME ONLINE RATHER.
UM, BUT I ALSO WANTED TO, UM, UH, IF I DIDN'T MENTION IT BEFORE, I DON'T KNOW THAT THIS ACTUAL AN ANNUAL PLAN IS STATED SPECIFICALLY IN THE CITY CHARTER OR ORDINANCE.
UM, I WAS USING, UH, CASE TWO PREVIOUS ANNUAL PLANS TO SORT OF BASE THIS ONE.
UH, AGAIN, IN THE, IN AN, IN AN EFFORT TO, UH, OFFER, UH, CONTINUITY OF PROCESS SINCE YOU HAD SEEN AN ANNUAL PLAN BEFORE.
UM, THESE ARE ALREADY, UH, PRACTICES THAT WE'RE ALREADY DOING AND THERE'S REALLY NOTHING THAT KEEPS THE PERMANENT PUBLIC ART MANAGER FROM COMING BACK AND CHANGING ANY OF THESE GOALS.
I THINK THESE ARE JUST GOALS THAT WE ARE ALREADY PRACTICING, UM,
[00:40:01]
LIKE THE, UH, PUBLIC ENGAGE, UH, PUBLIC ART ENGAGEMENT ONLINE, ET CETERA.UM, THE, AND I THINK THAT THAT'S, UM, THOSE WERE JUST TWO CLARIFYING POINTS THAT I JUST WANTED TO, UM, TO KIND OF HOPEFULLY, UH, GIVE A LITTLE BIT OF CLARITY, UH, ON THOSE.
YEAH, I, I JUST GOTTA SAY, YOU KNOW, FROM MY PERSPECTIVE, I THINK THERE'S, YOU KNOW, PART OF THIS IS LIKE, THIS IS A VERY BASIC OVERVIEW.
I THINK WE'RE EXPECTING A LOT MORE DETAIL.
THIS ISN'T MARCHING ORDERS FOR EVERYTHING THE PUBLIC ART MANAGER'S GONNA DO AND ALL THE CONSIDERATIONS THAT THEY'RE GONNA TAKE ON AND ALL THE PLANS THAT THEY'RE GONNA MAKE AND ALL THE MINUTIA WAYS THEY'RE GONNA INTERACT WITH ALL, WITH EVERYBODY.
THESE ARE VERY HIGH LEVEL EXPANDING PUBLIC ART PROGRAMMING COORDINATION IN 2023 PLAN AND COMPLETE PUBLIC ARTISTS WORKSHOPS.
YOU KNOW, IF YOU READ THESE THINGS THAT'S NOT TO THAT LEVEL OF DETAIL.
LIKE, YES, WE NEED TO CREATE A PROCESS THROUGH WHICH WE CAN'T PUT EVERY, I MEAN, TO THIS POINT, ALL THE PREVIOUS PUBLIC ART PLANTS HAVE NOT INCLUDED THAT LEVEL OF DETAIL OF GIVING THE, THE INDIVIDUAL LINE ITEMS WHAT WE EXPECT PUBLIC ART MANAGER TO DO IN TERMS OF ALL THOSE SMALLER THINGS.
THOSE ARE THINGS THAT WE CAN BRING UP AND DEMAND AS ACTION POINTS.
BUT THE, YOU KNOW, OBVIOUSLY THAT'S GONNA HAPPEN IN REAL TIME AS IT, AS IT POPPED UP IN THIS MOST RECENT MEETINGS WE'VE HAD.
AND THERE'S NO WAY TO, I MEAN, SURE WE COULD THINK OF ALL THE DIFFERENT WAYS THAT PUBLIC ART COULD BE ENGAGED IN ALL THE DIFFERENT THINGS AND COME UP WITH A, YOU KNOW, A 20 PAGE DOCUMENT.
HERE'S ALL THINGS WE REALLY LIKE TO BE, YOU KNOW, STAFF BE FOCUSED ON.
BUT THESE ARE VERY, THESE ARE VERY GENERAL, AND I THINK THAT WAS KIND OF THE POINT THAT GERMAN WAS MAKING IS WE'RE, WHEN THE PUBLIC ART MANAGER COMES IN AND WE SAY, HEY LOOK, WE NEED TO DEVELOP A PROCESS THROUGH WHICH WE EVALUATE PIECES.
WHEN A MEMBER OF THE PUBLIC COMES IN AND HAS A CONCERN ABOUT ONE PASSING, THIS PLAN'S NOT GONNA PRECLUDE US FROM DOING THAT.
IT'S NOT GONNA PRECLUDE ANY OF THOSE THINGS FROM ANYTHING THAT WE COULD POSSIBLY WANT TO HAVE HAPPEN.
IT'S NOT GONNA STOP THAT FROM HAPPENING.
THIS IS BASICALLY ALLOWING PUBLIC ARTS STAFF AND THIS TIME TO KEEP FOCUSING ON ITS PROJECTS THAT THEY'RE WORKING ON.
UM, SO I DON'T DISAGREE WITH ANYTHING COMMISSIONER MCCANN SAID, BUT I THINK AS A COMMISSION TO SAY WE'RE BEHIND A NEW PUBLIC ARTS MANAGER WHO IS GOING TO BE HIRED EVIDENTLY, THAT WE WANNA LET THEM CREATE THIS AND NOT SAY, OKAY, THESE ARE YOUR MARCHING ORDERS AND THEN YOU CAN DO THESE OTHER THINGS.
OR HERE I WOULD SAY THAT WE WOULD WANNA PUT EVERYTHING IN THERE THAT WE MIGHT WANNA SEE WHETHER IT'S A GOAL OR SOMETHING TO WORK ON.
UM, AND SO I, AGAIN, I CANNOT SUPPORT THIS QUESTION DIRECTOR.
I MEAN, I HAD THE SAME COMMENT I HAD LAST MONTH IN REGARD TO NEW HIRES, INHERIT GOALS THAT ARE STANDING BEFORE WE GET TO A PLACE AND THEN WE LAUNCH, MAKE NEW GOALS AS WE SEE FIT, REVISIONS, REFINED PROCESSES AND THINGS.
SO I DON'T, YOU KNOW, I DON'T UNDERSTAND GETTING HUNG UP ON THAT PARTICULAR MOTION.
MY POINT WAS THAT THIS SHOULD HAVE BEEN SHARED THEN DURING THE INTERVIEW PROCESS, CUZ IT WAS ALREADY CREATED DURING THE INTERVIEW PROCESS.
SO I'M JUST SAYING AS FAR AS PROCESS GOES, IF WE WANNA SET PRECEDENT OF HOW WE'RE TRANSPARENT AS A COMMISSION AND AS AN OFFICE, THIS IS A GREAT TIME TO DO THAT.
ANY OTHER COMMENTS BEFORE WE CALL UP TO A CLUB? COMMISSIONER GLOVER? OH, WELL TO THAT POINT, HOW DO WE CHANGE THESE PROCESSES? LET ME MEAN, THAT'S A SIMPLE QUESTION.
IT'S PROBABLY A COMPLICATED ANSWER.
IS THERE A TIMELINE THAT THIS HAS TO BE APPROVED BY TIMELINE? UH, GRADY, IS THERE A TIMELINE FOR APPROVAL? I'M NOT AWARE OF THE TIMELINE.
JEREMY, WHAT ABOUT YOU? DO YOU KNOW WHAT, NO, I THINK ALSO AN IMPORTANT THING TO REMEMBER ABOUT THIS DOCUMENT IS THAT, UM, YOU'LL BE SEEING ALL OF THESE PROJECTS THAT ARE YET TO BE INITIATED.
YOU'LL BE SEEING THESE INDIVIDUALLY AS THEY ARE INITIATED BY THEIR, UM, BY THEIR, BY OUR PARTNER DEPARTMENTS.
AND SO THIS IS JUST REALLY KIND OF AN OVERVIEW OF WHAT IS PLANNED TO HAPPEN PER THE DICTATES OF OUR PARTNER DEPARTMENTS AND THEIR SCHEDULES.
UM, SO IT REALLY DOESN'T, UM, THERE'S NO TIMELINE PER SE, BECAUSE WE'RE, WE'LL CONTINUE TO WORK ON OUR PROJECTS, UH, AS THEY'VE BEEN INITIATED.
UH, IF THOSE PROJECTS THAT ARE ON HOLD WILL CONTINUE TO WORK TO DISLODGE THEM FROM THEIR, UH, FROM THEIR ISSUES AND WORK WITH OUR, THROUGH OUR RESOURCES TO MAKE SURE THAT WE MOVE THEM FROM ON HOLD TO ACTIVE AND EVENTUALLY COMPLETED.
[00:45:01]
TIMELINE PER SE.YOU'LL SEE ALL OF THESE PROJECTS, AGAIN, IF THEY ARE UN YET TO BE INITIATED INDIVIDUALLY, AGAIN, AS OUR PARTNER DEPARTMENTS, UM, CHOOSE AND PER THEIR CONSTRUCTION TIMELINES AND PER THEIR PROJECT TIMELINES AS THEY INITIATE THE, THE PROJECTS INDIVIDUALLY.
MADAM CHAIR, COMMISSIONER SMALL.
WAS YOUR HAND HELP? I'M SORRY.
CHANGING GEARS JUST A LITTLE BIT.
UH, YOU HAD MENTIONED, UH, AND THIS GOES OUT TO THE STAFF PERSON, THAT YOU WERE GOING TO, UH, PREPARE A BRIEFING FOR THE NEW COMMISSIONERS AS TO, UM, SOME OF THE PROCESSES.
AND I THINK THAT WOULD ALLOW US, UH, THE ABILITY TO, UH, PARTICIPATE A LITTLE BIT MORE.
UM, YOU KNOW, YOU KNOW, WE LOST YES.
YOU KNOW, READ THIS STUFF AS, AS THEY SAY, YOU KNOW, I, THEY FELL OFF THE TURN TRUCK YESTERDAY, BUT I STAYED UP ALL NIGHT, YOU KNOW, UH, AND WE'RE TRYING TO GET A GOOD UNDERSTANDING ABOUT EXACTLY WHAT'S GOING ON.
I THINK SOME OF THE PROCESSES, UH, AS I LOOKED AT, UH, YOU KNOW, THE PLAN AND BEEN LISTENING, UH, I'M JUST CURIOUS ABOUT A COUPLE OF THINGS.
SO BEFORE WE DO THE BRIEFING, IF YOU WOULD ALLOW US TO JUST EMAIL SOME QUESTIONS TO YOU THAT YOU MAY INCLUDE IN THE BRIEFING.
UH, CUZ EVERYONE PROBABLY HAS, UH, THEIR OWN SET OF QUESTIONS TO NO OBVIATE THE NEED FOR US TO DISCUSS IT IN SUCH DETAIL HERE IN THE MEETING.
AND THEN WHEN YOU DISSEMINATE IT, YOUR, UH, WRITTEN BRIEF, WE COULD LOOK AT THAT BEFORE WE CAME AND I THINK WE'D PROBABLY HAVE A LOT BETTER UNDERSTANDING AS TO, UM, CUZ I, I TOTALLY UNDERSTAND WHAT COMMISSIONER WEINSTEIN IS SAYING, UH, AS TO HOW CERTAIN THINGS GOT IN THE PLAN AND, UH, AND WHO PUT IT IN THE PLAN.
IT SEEMS LIKE THERE'S A QUESTION AS TO WHO PUT IT IN THE PLAN AND WHO KNEW ABOUT IT, AND NOW WE'RE SUPPOSED TO SUPPORT IT.
SO I THINK THAT IF WE HAD A CHANCE TO JUST ASK A FEW QUESTIONS AND THEN DO THE BRIEFING, IT MIGHT CLEAR IT UP, NOT ONLY FOR THE NEW COMMISSIONERS, BUT SOUNDS LIKE PROBABLY A COUPLE OTHER FOLKS TOO.
TO ANSWER YOUR QUESTION, COMMISSIONER, YES, WE CAN PREPARE THAT BRIEFING AND YES, ABSOLUTELY.
YOU'RE ALWAYS WELCOME TO EMAIL ME, UH, ANY OF YOUR QUESTIONS, UM, TO HOPE, UH, HOPEFULLY, UH, GIVE YOU A LITTLE BIT OF INSIGHT ON WHO PLACES THE PROJECTS ON THE PLAN, THE PARTNER DEPARTMENTS, UH, GIVE US THEIR PROJECT PRIORITIES, UH, AND THEN WE THEN THAT, THAT'S WHAT MAKES UP OUR PUBLIC ART PLAN BECAUSE WE WORK IN CONJUNCTION, IN CONJUNCTION AND IN COLLABORATION WITH OUR PARTNER DEPARTMENTS.
THEY ARE THE ONES THAT IDENTIFY AND HAVE IDENTIFIED THESE PROJECTS THAT ARE A PART OF THIS PLAN.
MANY OF THESE ARE ALSO, UH, CARRYOVERS FROM THE 2022 PLAN THAT, UM, THAT KAY BROUGHT TO YOU ALL, UH, JANUARY OF 2022, I BELIEVE.
THEN MY, SORRY, CHAIR, UH, JUST RESPONDING TO HER STATEMENT THAT IT SOUNDS LIKE WE DON'T REALLY HAVE A CHOICE AS TO, UH, PART OF THE PLAN AS TO WHAT WE SUPPORT OR NOT.
I MEAN, UH, IF IT'S DETERMINED BY, UH, OTHER, AS SHE SAID, I FORGET PARTNER DEPARTMENTS OR WHATEVER, UH, AND THEY SAY THEY'RE INCLUDING PUBLIC ART IN THIS PROJECT THAT THEY'RE ALREADY DOING, THEN WE'RE KIND OF ALREADY ON BOARD.
I DIDN'T UNDERSTAND THAT THEY'RE REQUIRED, SAID YEAH, WELL, WELL I DIDN'T MAKE THAT POINT.
YEAH, BUT I'M JUST SAYING UNTIL SHE SAID I I HAD NO WAY OF GOING.
WE WERE VOTING ON NO, AS I, AS I UNDERSTAND THE PUBLIC, ALL THE PIECES THAT ARE EITHER COMING IN PROCESS, BEING WORKED ON OR GOING TO BE COMPLETED, WE DO NOT CHOOSE WHERE THOSE ARE.
WE DON'T CHOOSE HOW MUCH MONEY THEY'RE GONNA BE SPENT.
ALL WE DO IS FACILITATE THE PROCESS THROUGH WHICH THE PIECE IS CHOSEN, CREATED AND INSTALLED AS THE COMMISSION, AS THE PUBLIC ART COMMITTEE AND AS THE COMMISSION.
AND, UM, YOU KNOW, DEFINITELY I, YOU KNOW, THERE'S OBVIOUSLY A LOT OF CHANGE OVER CLEARLY BEING AT THIS PART.
I'VE SEEN A LOT OF COMMISSIONERS COME AND GO AT THIS POINT, AND IT IS REQUIRED ONCE IN A WHILE, ESPECIALLY FROM NEW COMMISSIONERS TO, UM, YOU KNOW, LEARN ABOUT HOW THE PUBLIC ART IS FUNDED.
FOR ME, THAT WAS MEETING ONE-ON-ONE WEEKDAY.
WE HAVE ALSO HAD BRIEFING ITEMS WHERE THE STAFF COMES AND EXPLAINS THAT PROCESS FOR THOSE OF US WHO ARE FAMILIAR WITH HOW IT WORKS, WE CAN SIT THROUGH THAT AGAIN.
OF COURSE, IT'S A GOOD REFRESHER TO REMIND US THAT WE DON'T JUST HAVE, YOU KNOW, 3 MILLION IN PUBLIC ART AND GET TO WALK AROUND THE CITY AND CHOOSE WHERE WE WANT TO PUT, YOU KNOW, PUT PIECES.
THEY ARE TRIGGERED BY IMPROVEMENT PROJECTS FROM OTHER DEPARTMENTS.
THE VAST MAJORITY OF THEM, AND I PROMISE THIS WILL BE MY LAST QUESTION.
UH, SO DO WE HAVE A WAY OF KNOWING WHICH PROJECTS ARE, UH, WELL PRETTY MUCH, I DON'T WANNA SAY DICTATED, BUT DETERMINED BY THE PARTNER DEPARTMENTS AND WHICH ONES WE DO HAVE SOME INPUT ON, DO WE RIGHT.
IT'S, THEY'RE LISTED BY DEPARTMENT OR LIKE WHERE'RE THE SOURCE OF FUNDING, EVERYTHING
[00:50:01]
THAT'S FROM A DEPARTMENT.WE HAVE NO, UH, DISCRETION, JUST ONLY ADVISORY PARTICIPATION.
WE, WE HAVE, I MEAN, WE HAVE THE DISCRETION OF WHICH ARTIST AND WHAT MATERIAL AND WHAT'S IT GONNA LOOK LIKE.
AND THE PRO, WE DON'T HAVE ANY DISCRETION OVER HOW MUCH MONEY IS GONNA BE SPENT.
AND WHAT'S THE LOCATION THAT'S DETERMINED BY THE PARTNER AGENCY BECAUSE IT'S, IT'S, IT'S TRIGGERED BY CERTAIN PERCENTAGE OF THE, OF THE BO OF THE BUDGET, DEPENDING ON WHICH DEPARTMENT IT'S COMING FROM.
AND DEPENDING ON WHAT KIND OF PROJECT, IT'S, SO THEY COME TO US AND THEY SAY, WE'RE DOING THESE RENOVATIONS AT TC PARK, WE'RE SPENDING X AMOUNT, ONE AND A HALF PERCENT OF THAT IS THIS DEFERRED.
WE HAVE $150,000 TO SPEND ON A PIECE OF PUBLIC ART AT PARK.
AND THEN WE WORK IN CONJUNCTION WITH THEM TO LIKE, GO THROUGH THE PROCESS OF FIGURING OUT WHAT THAT PIECE IS GONNA BE AND, AND ACTUALLY BUILD, GET PERMISSION PATIENTLY WAITING IN THE GALLERY.
UH, WELL, I DIDN'T KNOW IF HE WAS ABOUT TO CONTINUE EXPLAINING
HE MIGHT HAVE ALREADY ANSWERED MY QUESTION, BUT I THINK, UM, I'VE EXPERIENCED, UM, SOME PARTNERING, BUT IT'S NOT THROUGH PUBLIC ART YET.
BUT I DIDN'T KNOW GRADY, UH, COMMISSIONER HAN GRADY, UM, IF, UM, IF IT'S VERY SIMILAR TO LIKE WHAT WE WERE DOING TODAY, RIGHT? WHERE SINCE I KNOW THE PARK BOARD MEMBER OR I KNOW THE PERSON MAYBE, YOU KNOW, ONCE, UH, IN, IN YOUR DISTRICT THAT YOU, YOU KNOW, I'M BEING ASKED TO GET STAKEHOLDERS FOR THE CALL, YOU KNOW, FOR THE, TO, TO JUDGE THE, THE CALL AND THINGS LIKE THAT.
IS THAT SIMILAR? IS THAT A SIMILAR PROCESS? MM, NO, IT NOT, NOT OKAY.
BEING SURE, LIKE MAYBE ON THE INDIVIDUAL LEVEL, MUCH MORE AT THE ORGANIZATIONAL OR STRUCTURAL LEVEL.
UM, IT'S WAY MORE, UH, IT, LIKE, IMAGINE THE PARKS DEPARTMENT, THE PARK BOARD DECIDES THROUGH THEIR PROCESS THAT THEY'RE GONNA, OR YOU KNOW, THEY, THEY'RE GONNA MAKE AN IMPROVEMENT TO A CERTAIN PART OR THROUGH THE BOND FUNDING.
THEY'RE, YOU KNOW, THIS IS GONNA HAPPEN WHATEVER PART.
ONCE THEY GET DONE WITH MAKING THOSE PLANS AND THEY FIGURE OUT THROUGH THE FORMULA HOW MUCH FUNDING IS GONNA BE AVAILABLE FOR A PIECE OF PELVIC ART IN THAT PARK, THAT'S WHEN THEY COME TO US WITH, YOU KNOW, THE PROJECT AND CONSIDERATION.
AND THEN WE HAVE TO VOTE TO ALLOW FOR STAFF TO TAKE STAFF TIME TO START WORKING ON THAT.
THAT'S WHAT SOME OF THESE THINGS AND, AND THEN THE PLAN ARES, LIKE CAN THEY WORK ON THESE PROJECTS? CAN THEY DEVOTE PUBLIC ART STAFF TIME TO CONTINUE TO WORK ON THESE PROJECTS FOR OTHER DEPARTMENTS? WE DO HAVE OVERSIGHT OVER THAT.
I GUESS TECHNICALLY WE COULD SAY, NO, WE DON'T WANT YOU WORKING ON THIS PIECE OF PUBLIC ART OR, BUT THAT'S QUITE FRANKLY NEVER HAPPENED.
AT LEAST NOT AS LONG AS I'VE BEEN AROUND COMMISSIONERS.
WE HAVE A MOTION ON THE FLOOR AND THAT MOTION IS TO CONSIDERATION A RECOMMENDATION IN SUPPORT OF THE 2023 ANNUAL PLAN FOR PUBLIC BOARD.
I'M GONNA CALL FOR A VOTE AT THIS TIME.
UM, WHAT WAS THE COMMITTEE'S VOTE? UM, MA'AM, I THINK YOU IN FAVOR.
ALL THOSE IN FAVOR OF A VOTING IN FAVOR OF THIS MOTION THAT IT BE KNOWN BY RAISING YOUR HAND.
THOSE WHO OPPOSE RAISE YOUR HAND.
QUESTION ON THE OP, MY OPPOSITION.
CAN WE OPPOSE PENDING MORE INFORMATION? OH, OKAY.
THEN THAT'S MY ONLY OP, THAT'S MY ONLY CONCERNS PENDING MORE INFORMATION.
I THINK THAT'S WHAT WE'RE TALKING ABOUT.
EXCUSE ME? WE'RE WE'RE NOT OPPOSING THE PROJECT LEAVING THE PROJECT.
I JUST WANTED, DID YOU GET THE COUNT? AND IT'S GONNA JUST HALF EVERYONE ONE MORE TIME.
WE'RE COUNTING THE OPPOSITIONS.
WE'RE NOW DOWN TO THE BRIEFINGS ON TODAY'S AGENDA ONE, THE CULTURAL SPOTLIGHT.
KAREN, THE DAVID, ARE YOU HERE? YES, I AM.
WELL, I WOULD LIKE TO THANK YOU MADAM CHAIR.
GOOD JOHNSON, THE ARTS AND ADVISORY COMMISSIONERS AND OAC STAFF FOR PROVIDING ME WITH THIS OPPORTUNITY TO SPEAK ABOUT KA THEATER.
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AND NIKKI, COULD WE SHARE OUR, UH, SLIDESHOW THAT WE SENT WE'RE WORKING ON, SORRY.SO WE'RE JUST HAVING, UH, POWERPOINT ISSUES.
LET'S, WE CAN START AT THE FIRST.
I JUST WOULD LIKE TO START WITH THE LOGO AND, UM, UH, IF YOU COULD GO BACK AND I'LL, AND I'LL LET YOU KNOW WHEN TO CHANGE SLIDES.
UH, SO I MEANS MY FACE IN SPANISH AND BECAUSE WE ARE PROUD OF OUR FACES, THE COLOR OF OUR SKIN, OUR LANGUAGES, THE COUNTRIES WE COME FROM, AND THE COUNTRIES WHERE OUR ANCESTORS COME FROM.
AND WE UNDERSTAND THAT LATINOS ARE ALL RACES AND MANY ETHNICITIES AS REFLECTED BY OUR LOGO.
OUR VISION IS TO UNITE ALL PEOPLE THROUGH LATINX THEATER.
OUR MISSION IS TO INSPIRE AND ENGAGE PEOPLE TO UPLIFT THEIR COMMUNITIES THROUGH LATINX THEATER MULTICULTURAL PROGRAMS FOR YOUTH AND COMMUNITY.
KA THEATER WAS FOUNDED, UH, INITIALLY BY ELITO GONZALEZ, WHO WAS A ROOFER BY TRADE WITHOUT ANY THEATER EXPERIENCE, BUT HE FELL IN LOVE WITH THEATER AND WOULD SEE IT UP TO SIX DAYS A WEEK, EVEN GOING TO COMMUNITY COLLEGES AND UNIVERSITIES.
AND HE REALIZED THAT HIS MEXICAN AMERICAN CHICANO EXPERIENCE WAS NOT SEEN ON DALLAS STAGES CONSISTENTLY STRUCK BY THIS DREAM.
HE FOUNDED KAMIA THEATER WITH THE COMPANY'S FIRST ARTISTIC DIRECTOR, AVELINA ANTHONY, NEXT SLIDE, PLEASE.
AND AFTER ALINA WAS MARI LEBARRE, WHO WAS THE SECOND ARTISTIC DIRECTOR WHO PLAYED THE GROUNDWORK FOR NEW PLAY DEVELOPMENT AND PROGRAMS IN SCHOOLS.
I WAS HIRED AS THE THIRD ARTISTIC DIRECTOR AT A, AT $150 PER WEEK SALARY
YET I KNEW RIGHT AWAY THAT THIS WAS MY DREAM JOB.
AND THE ACADEMY OF THEATER IS THE FIFTH LARGEST LATINX THEATER COMPANY IN THE COUNTRY AND THE LARGEST IN TEXAS.
AND WE ARE AMONG VERY STRONG COMPANY WITH THE LATINO THEATER COMPANY IN LA.
ESPANOLA, NEW YORK IS FROM THE BRONX AND GAL HISPANIC THEATER IN DC NEXT SLIDE.
AND KAMIS PROGRAMMING IS CENTERED ON FOUR PILLARS, WHICH ARE PLAYS, EDUCATION, COMMUNITY, ACTION, AND CONSULTANCIES.
AND I WOULD SAY THAT NO OTHER PROJECT MORE SUCCESSFULLY DEMONSTRATES THESE PILLARS THAN OUR RECENT PRODUCTION AND TOUR OF CRYSTAL CITY 1969.
IF WE GO TO THE NEXT SLIDE, PLEASE.
BASED ON A LITTLE KNOWN HISTORICAL EVENT THAT IS A MAJOR PART OF CHICANO CIVIL RIGHTS HISTORY UNITED STATES.
THIS PLAY, IT WAS THE FOURTH TIME THAT WE PRODUCED IT.
IN THE SOUTH TEXAS FARM TOWN OF CRYSTAL CITY WHERE 80% OF THE TOWN WAS MEXICANO, STUDENTS WERE CORPORATELY PUNISHED FOR SPEAKING SPANISH.
ONLY ONE LATINA WAS ALLOWED TO BE ON THE CHEERLEADING SQUAD, AND STUDENTS WEREN'T EVEN ALLOWED TO EAT MEXICAN FOOD ON CAMPUS.
THIS WAS REPRESENTATIVE OF THE SOUTHWEST UNITED STATES, WHERE INSTEAD OF JIM CROW LAWS, WE CALLED THESE THE JOSE CUERVO LAWS.
AND IN 1969, STUDENTS WALKED OUT OF CLASS FOR ALMOST SIX MONTHS AND INSPIRED THEIR PARENTS TO RUN FOR OFFICE.
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THE ELECTIONS, MAHICANS RAN THE TABLE ON THE SCHOOL BOARD AND THE CITY COUNCIL INSTITUTING BILINGUAL AND BICULTURAL EDUCATION IN WHICH ALL STUDENTS WERE REQ WERE, WERE REQUIRED TO READ, WRITE, AND SPEAK SPANISH.STUDENTS LEARNED ABOUT MEXICAN AND LATIN AMERICAN HISTORY AND CULTURE AS THE MOVEMENT LEADER JOSE GUTIERREZ SAYS, YOU ARE WHAT YOU LEARN.
CRYSTAL CITY 1969 IS GONNA BE A THEATER'S FLAGSHIP PRODUCTION.
THE STORY IS IMPORTANT BECAUSE IT IS OURS AND IT IS A ROADMAP FOR OUR POLITICAL, ECONOMIC, SOCIAL, AND A CULTURAL EMPOWERMENT.
THIS PLAY WAS WRITTEN AFTER INTERVIEWING PEOPLE IN DALLAS WHO WERE LEADERS OF THE WALKOUT IN THE CRYSTAL CITY MOVEMENT.
AND HERE WE HAVE THE MOST RECENT ACTOR DEPICTING THE REAL LIFE PERSON, DSNA, WHO NOW LIVES IN DALLAS IN O CLIFF.
AFTER THE STUDENT MATINE NAES IN GENERAL PERFORMANCES IN DALLAS AND IN SAN ANTONIO, AUDIENCES COULD ENGAGE WITH THE ACTUAL LEADERS OF THE MOVEMENT.
WE PARTNERED WITH SOO FROM DALLAS, WHO CULTIVATES VOTERS FOR LIFE AND LED YOUTH WORKSHOPS IN DALLAS AND SAN ANTONIO.
HERE'S A PHOTO OF ONE OF THE MANY STUDENT MATINEE THAT WE HAD.
HERE'S A PANEL OF THE REAL LIFE LEADERS THAT WE HAVE IN SAN ANTONIO, BUT WE ALSO INVITED THESE VERY LEADERS TO DALLAS, PAID FOR THEIR TRAVEL, PROVIDED HONORARIUMS, AND THEY DISCUSSED THE MOVEMENT WITH OUR AUDIENCE MEMBERS AND WITH STUDENTS.
AND HERE WE HAVE DALLAS'S, SOK, CARMEN AND RAM LUNA, WHO WE ALSO CONTRACTED TO JOIN US IN DALLAS, AS WELL AS IN SAN ANTONIO.
HERE THEY ARE LEADING A YOUTH LEADERSHIP WORKSHOP.
AND HERE'S CRYSTAL CITY, 1969 BY THE NUMBERS 19 PERFORMANCES IN DALLAS AT THE LCC.
FIVE STUDENT MATINEE FIVE SOLD OUT SHOWS AT THE GUADALUPE CULTURAL ARTS CENTER IN SAN ANTONIO.
THESE SHOWS SOLD OUT WITHIN A WEEK IN, UH, AFTER TICKETS WENT ON SALE.
ONE RX RACIAL HEALING CIRCLE AT THE LATINO CULTURAL CENTER.
11 POST SHOW DISCUSSIONS WITH HISTORICAL FIGURES AND COMMUNI COMMUNITY ORGANIZERS IN BOTH CITIES.
AND LOOKING AT THE SOME OF, SOME OF THE IMPACT HERE.
WE REACHED AUDIENCES FROM 238 ZIP CODES, 121 ZIP CODES TO THE LATINO CULTURAL CENTER, 117 TO SAN ANTONIO'S GUADALUPE CULTURAL ARTS CENTER.
THIS PROJECT BUDGET WAS A $350,000, UH, PROGRAM INCLUDING MID DALLAS RUN AND THE TOUR.
AND OUR EXPENSES INCLUDED A HUNDRED SEVENTY EIGHT, A HUNDRED EIGHTY 7,000 IN SALARIES AND FEES, WHICH MADE UP 60% OF THE BUDGET.
SIX STAFF MEMBERS AND 48 CONTRACTORS AND VENDORS.
OUR TWO PRINCIPAL SPONSORS FOR THE PRODUCTION WERE THE UNIVERSITY OF TEXAS AT AUSTIN CENTER FOR MEXICAN AMERICAN STUDIES, WHO CONTRIBUTED A HUNDRED THOUSAND DOLLARS AND SENT THEIR CONSUMER USA FOUNDATION THAT ALSO CONTRIBUTED A HUNDRED THOUSAND DOLLARS.
NOW, WHY WAS THIS PRODUCTION SO SUCCESSFUL? ACADEMY OF THEATER IS ONE OF THE TWO RESIDENT LEADERS OF THE LATINO CULTURAL CENTER.
SEVERAL PEOPLE ASKED US OVER THE COURSE OF, UH, PLEASE.
UH, IF YOU COULD JUST OH, THAT'S FINE, THAT'S FINE.
UH, SEVERAL PEOPLE ASKED US, UH, IF WE REWROTE ELEMENTS OF THE SCRIPT BECAUSE THEY SAID THE PRODUCTION WAS MUCH STRONGER.
BUT ACTUALLY THE SCRIPT DID NOT CHANGE.
THE FIRST FEW TIMES WE PRODUCED THIS PLAY, WE DIDN'T HAVE THE ACCESS TO THE LATINO CULTURAL CENTER THAT WE DID OVER THE PAST COUPLE OF YEARS.
WE DID NOT HAVE ACCESS SUCH AS THIS TO THE THEATER AS WE DID BEFORE.
WE OPERATED AS TRUE RESIDENTS OF THE LCC.
WE WERE ALSO ABLE TO FULLY PROGRAM EDUCATIONAL PROGRAMS AND COMMUNITY ACTION PROGRAMS IN THE MOST ROBUST WAY WE EVER HAVE IN OUR HISTORY.
WE WORKED WITH MANAGER HEO ROBLES AND THE LCC STAFF WHO KEPT THE DOORS OPEN FOR OUR SHIFTS OF PEOPLE THROUGHOUT THE DAY.
THEY DIDN'T HAVE TO BE THERE ALL DAY BECAUSE THAT WOULDN'T BE SUSTAINABLE FOR ME TO BE THERE FROM 8:00 AM UNTIL MIDNIGHT.
BUT OUR STAFF, ALONG WITH THE LCC STAFF, WAS ABLE TO BUILD THIS ROBUST PROGRAM PROGRAMMING.
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SO IF WE LOOK AT THIS ACCESS, WE CAN SEE HOW WE FULLY UTILIZE THE L CCC FROM