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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.
[00:55:01]
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.
[01:00:01]
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.
[01:05:02]
SO IF WE LOOK AT THIS ACCESS, WE CAN SEE HOW WE FULLY UTILIZE THE L CCC FROM MORNING UNTIL NIGHT, WHICH WAS CRUCIAL FOR PROFESSIONAL THEATER PRODUCTION AT 8:00 AM OUR PRODUCTION CREWS AND OUR EDUCATIONAL PROGRAMS WOULD ARRIVE AFTERNOONS.WE WOULD HAVE FILMING FOR VIRTUAL DISTRIBUTION OF THE PLAY FOR ALL DALLAS I S D SCHOOLS, AND WE WOULD ALSO HAVE COMMUNITY PROGRAMMING AND SUNDAY MATINEES.
ON THE WEEKENDS, WE WOULD WORK IN THE EVENINGS UNTIL MIDNIGHT THROUGH PERFORMANCES AND REHEARSALS.
WHEN REHEARSALS WOULD END AT 10 30, WE WOULD'VE PRODUCTION MEETINGS AND WORK CALLS TO FINE TUNE THE PRODUCTION.
AND I BELIEVE FOR THIS REASON, THE PRODUCTION WAS AS STRONG AS IT WAS.
NOW, HOW DID WE GROW? HOW DID KAMIA REACH THIS? THE SIZE THAT WE ARE THROUGH PARTNERSHIPS THAT SPURRED PROGRAMMATIC GROWTH AND HELPED US GROW OUR AUDIENCE BASE.
DIVERSE REVENUE STREAMS, CONTRACTED SERVICES IN ADDITION TO TICKET SALES CONSULTANCY SERVICES FOR SOME OF DALLAS'S PREMIER ARTS INSTITUTIONS THAT VALUE KAIA AS AN AUTHORITY ON LATINX THEATER.
HERE'S A PHOTO OF OUR CO-PRODUCTION WITH THE DALLAS THEATER CENTER DEFERRED ACTION THAT INITIALLY PREMIERED AT THE WILEY THEATER.
OUR CO-PRODUCTION OF THE NEW PLAY WAN IS LEGEND OF THE BLUE BONNET WITH THE DALLAS THEATER CENTER.
AND NATIONAL TOURS OF DEFERRED ACTION IN WET THAT WERE CO-PRODUCTIONS WITH SMUS MEADOW SCHOOL FOR THE ARTS.
KAM THEATER HAS PROVIDED THOUSANDS OF CLASSES, RESIDENCIES AND PERFORMANCES TO NORTH TEXAS SCHOOLS.
WE HAVE PARTNERED WITH DALLAS IDS SINCE 2017, ON TOP OF THE DIGITAL DISTRIBUTION OF THE PLAY, CRYSTAL CITY 1969.
THIS YEAR, KAIA THEATER HOSTED D D I S D FOR 12 STUDENT MATINEE DURING OUR CURRENT PRODUCTION OF FRIDA KALO, HOSTING OVER 1200 STUDENTS.
AND JUST THIS MORNING WE HOSTED OVER 161 STUDENTS IN THE BLACK BOX FOR OUR PRODUCTION.
WE ALSO TOUR IN SCHOOLS EXTENSIVELY AND IN COMMUNITY CENTERS.
WE ALSO WORK ON VARIOUS PROJECTS BY CONTRACTS SUCH AS THIS UNIQUE PROJECT THAT WAS FUNDED BY THE NATIONAL OFFICE OF LULAC, IN WHICH THEY CONTRACTED US TO CREATE A PROCESSION, A CARAVAN FOR VICTIMS OF COVID THAT TRAVERSED DOWNTOWN DALLAS FROM THE GUADALUPE CATHEDRAL TO CITY HALL, WHERE IT CULMINATED WITH SPEECHES FROM FAMILIES OF PEOPLE WHO HAD LOST LOVED ONES TO COVID.
AND HERE ARE SOME OF THE
THIS HAS BECOME AN INTERESTING AND NEW OPPORTUNITY FOR US.
S CAST TRANSLATIONS FOR AT AND T PERFORMING ARTS CENTERS, BROADWAY AND ESPANOL SERIES.
PRODUCTION AND SCRIPT CONSULTANT ON THE PER MUSEUM'S BILINGUAL EDUCATIONAL FILM SERIES.
AND SO WHAT'S NEXT FOR US? NEXT SLIDE.
IN 2021, WE ANNOUNCED THE TRANSFORMATION FUND, A THREE YEAR CAPACITY CAMPAIGN TO FUND OUR FOUR STRATEGIC INITIATIVES OVER TO THE NEXT THREE FISCAL YEARS.
AND THAT INCLUDES FOUR STRATEGIC INITIATIVES, SUPPORT CO OF THEATER'S HISTORIC 25 YEAR RESIDENCY AT THE LCC.
INCREASE INCREASED STAFF SIZE AND ORGANIZATIONAL CAPACITY TO EXPAND PLAYS, EDUCATION AND COMMUNITY ACTION ESTABLISHED ACADEMY OF THEATER.
AND THE LCC IS NATIONAL DESTINATIONS FOR LATINX THEATER AND BUILD A CONSULTANCY SURFACE TO SHARE BEST PRACTICES IN CULTURALLY COMPETENT PROCESSES AND PROGRAMMING.
AND, AND I'D LIKE TO TALK ABOUT THE PROGRESS OF THE TRANSFORMATION FUND.
AND THIS IS A UNIQUE PICTURE OF, UH, OF, UH, ARE THE FIRST PRODUCTION ACTUALLY IN THE LATINO CULTURAL CENTER'S BLACK BOX IN WHICH WE RECRE RECREATED A NEW YORK CITY STREET DURING THE PANDEMIC IN WHICH THERE WERE THESE PODS ON THE STREETS OUTSIDE OF RESTAURANTS FOR PEOPLE TO EAT.
[01:10:01]
THIS IS OUR THREE YEAR FUNDRAISING GOAL OF $750,000.AND THIS IS FOR THE FISCAL YEAR.
YEAR ONE IS FISCAL YEAR 21, 22, WHICH WE HAVE ACHIEVED THAT GOAL.
YEAR TWO IS 2223, WHICH WE HAVE ACHIEVED THAT GOAL.
AND NOW WE ARE MOVING ON TO YEAR THREE, WHERE WE HAVE CURRENTLY RAISED 45,000 OF THE 250 THOU FIVE, 250,000.
AND SO, LOOKING AT THE IMPACT OF THE CAPACITY CAMPAIGN AND THE STRATEGIC PLAN, JUST CHECKING A SNAPSHOT OF 2022, OUR EXPENSES WERE AT 1.2 MILLION, THE LARGEST IN ORGANIZATIONAL HISTORY.
WE HIRED 187 STAFF, INDEPENDENT CONTRACTORS AND VENDORS, AND WE PAID OUT 187,000 TO STAFF INDEPENDENT CONTRACTORS AND VENDORS WITH OUR SALARIES AND FEES.
THE, THAT ARE COMPRISED OF 70% OF OUR EXPENSES IN THE CALENDAR YEAR 2022, WHICH IS DIFFERENT THAN OUR FISCAL YEAR.
BUT LOOKING AT THE SNAPSHOT, IT SHOWS SIGNIFICANT GROWTH AND IMPACT FOR OUR ORGANIZATION.
AND MOVING FORWARD, I WOULD SAY THAT OUR CHALLENGES ARE STAFFING.
WHAT WE'RE REALIZING IS THAT SALARY DEMANDS ARE HIGHER THAN EXPECTED FOR LEADERSHIP ROLES THAT WE NEED IN TERMS OF EDUCATIONAL PROGRAMS. THERE'S A LOT OF UNCERTAINTY ABOUT ROUND PROGRAMMING THIS SCHOOL YEAR AT THE, ESPECIALLY AT THE BEGINNING OF THE YEAR AROUND THE PANDEMIC AND SAFETY.
ONLY RECENTLY, FOR EXAMPLE, HAS BIG THOUGHT BEEN APPROVED TO PROVIDE PROGRAMMING THROUGH LEARNING PARTNERS IN SCHOOLS, WHICH IS A PART OF OUR, UH, UH, PROGRAMMING IN SCHOOLS.
AND SO LOOKING FORWARD, WE ARE LOOKING TO ADJUST OUR SALARIES TO MEET THE MARKET DEMAND, AND WE WILL EXPECT TO HAVE OUR BIGGEST YEAR IN TERMS OF EDUCATIONAL PROGRAMS IN FISCAL YEAR 23, 24.
AND WE ARE EXPECTING EDUCATIONAL PROGRAMS, ESPECIALLY TO BECOME A CENTERPIECE FOR OUR ORGANIZATION AND A FUNDAMENTAL REVENUE GENERATOR FOR YEARS TO COME.
WELL, I WANNA THANK YOU FOR, UH, ALLOWING ME THIS TIME TO, TO SHARE THIS WITH YOU.
UH, IF THERE'S ANY TIME FOR QUESTIONS, I WOULD BE HAPPY TO ANSWER THEM.
COMMISSIONERS, DO YOU HAVE QUESTIONS? YES.
COMMISSIONER VICKI HAD HER HAND UP FIRST.
UM, I SAW CRYSTAL CITY DURING THE PRIOR PRODUCTION.
I WISH I'D HAD A CHANCE TO SEE THE TWO, MY COMPARISON, BUT IT, IT BRINGS ME TO MY QUESTION, WHICH IS, UM, YOU WERE TALKING ABOUT ACCESS TO THE LATINO CULTURAL CENTER.
UM, SO YOU ALL DON'T OFFICE THERE, RIGHT? OR DO YOU OFFICE THERE? NO, WE DO NOT.
WE OFFICE AT THE SALMON SALMON CENTER FOR SO YOU'RE DEPENDENT UPON CITY STAFF FOR ACCESS TO THE THEATER WHERE YOU ARE THE RESIDENT ACTING COMPANY.
IS THAT THE WAY THAT WORKS? YES, AT THIS TIME, YES.
UH, WE ARE, UM, DEPENDENT ON STAFF.
UM, WE ARE WORKING WITH THE CITY ON, ON, UH, POSSIBLE OTHER MEANS OF ACCESS FOR, FOR OUR STAFF.
UM, BUT WE NEED THE, BUT I, I THINK THAT, I THINK WE'RE, WE'RE LOOKING TO, UH, CONTINUE THE MODEL.
I THINK THAT WE'VE, WE'VE HAD, I WOULD SAY FOR THE PAST TWO YEARS, WHICH HAS BEEN EXTRAORDINARY, UM, IN WHICH THE STAFF HAS BEEN ABLE TO OPEN THE DOORS FOR US AS EARLY AS 8:00 AM AND TO KEEP THEM OPEN AS LATE AS MIDNIGHT.
AS I SAID, THOSE ARE THE, UM, STANDARD OPERATING HOURS.
FOR EXAMPLE, WHEN WE PRODUCE DEFERRED ACTION, UH, WE WOULD HAVE REHEARSALS AND TECHNICAL REHEARSALS AND PREVIEWS IN THE WYLIE THEATER.
AND AFTER, UH, A PERFORMANCE, WE WOULD HAVE PRODUCTION MEETINGS AS WELL AS WORK CALLS.
AND THAT ALLOWED US TO MAXIMIZE THE POTENTIAL OF EXCELLENCE IN THE PRODUCTION.
AND THAT'S, THAT'S ACTUALLY WHY I WAS SORRY, THAT'S WHY I WAS ASKING THE QUESTION.
I WAS SORT OF TRYING TO VISUALIZE THAT.
CUZ AS YOU KNOW, I HAVE SOME EXPERIENCE WITH, UH, PRODUCTIONS AT OTHER THEATERS, AND I CAN IMAGINE IT'S A LITTLE DIFFICULT IF YOU ARE LIKE ON THE TECH DAY, THE HOWEVER MANY LIKE HOURS THAT YOU ARE THERE IF YOU DON'T HAVE ACCESS AND THE ONLY PLACE YOU PERFORM IS THAT CAR, RIGHT? YOU WERE NOT GOING, UH, TO OTHER NO, THE THE LATINO CULTURAL CENTER IS OUR HOME.
UH, AND, AND, AND IT'S, AND AND SO I, I THINK WHEN WE'RE LOOKING AT ACCESS, I THINK THE QUESTION TOO IS, UM, CUZ I MENTIONED THIS IN THE PRESENTATION, IT WOULD NOT BE SUSTAINABLE FOR ME, FOR ME IF I NEEDED TO BE THE ONE TO AL TO OPEN THE DOORS AND ALWAYS BE PRESENT.
WHICH IS WHY I THINK IT'S HELPFUL FOR STAFF TO BE THERE.
UM, BECAUSE, UH, WITH THIS ROBUST PROGRAMMING, UM, UH, IT REQUIRES SHIFTS OF PEOPLE, VARIOUS PEOPLE.
AS YOU CAN SEE, WE HIRED 41 CONTRACTORS AND VENDORS TO WORK WITH US OVER THE COURSE OF THE PRODUCTION.
WELL, PLEASE KEEP US APP APPRISED ON HOW WE CAN HELP ON THAT BECAUSE, UM, PERSONALLY IT'S SUPER EXCITING TO HAVE BOTH ACTING COMPANIES AS
[01:15:01]
RESIDENT COMPANIES.THAT'S BEEN A REALLY WONDERFUL DEVELOPMENT, UM, IN THE LAST COUPLE OF YEARS.
SO, UH, THANK YOU FOR THE BRIEFING AND PLEASE CONTINUE TO COME TO THE COMMISSION AND LET US KNOW BECAUSE I CAN SEE ACCESS.
I'M GLAD TO HEAR THAT WE'RE WORKING ON IT AND LET US KNOW HOW WE CAN HELP FURTHER.
UH, AND THEN I WAS ALSO JUST CURIOUS, AS YOU SEE YOURSELF EXPANDING THE STAFF, DO YOU, DO YOU SEE A FUTURE FOR A RESIDENT ACTING COMPANY AT
WE'VE, UM, WE WE'RE GONE THROUGH A FEW TRANSFORMATIONS.
WE HAD A RESIDENT ACTING COMPANY FROM 2011 TILL ABOUT 2000, UH, 17 OR EIGHT, I WOULD SAY 2017.
THEY, UM, WERE, HAD NEW OPPORTUNITIES.
THEY MOVED AWAY, UH, STARTED FAMILIES.
SO, AND I WAS ALSO AT THE TIME WHERE WE REALLY STARTED, UM, PRODUCING BASED ON MISSION AND SOCIAL JUSTICE.
SO I THINK WE'RE AT A TIME WHERE WE'RE GOING TO P PERSON BY PERSON BUILD, UH, AN ARTISTIC ENSEMBLE ONCE AGAIN.
AND I THINK IT, WHAT WE'RE LOOKING AT IS BUILDING IT IN THE AREAS OF PHYSICAL THEATER, WHICH IS WHAT THIS ENTIRE SEASON IS ABOUT, STARTING WITH CRYSTAL CITY, THE PLAY, UH, ABOUT FRI KALO AS WELL AS THE NEXT PLAY RICAN IS IN COLLABORATION WITH THE COMPANY FROM MEXICO.
SO, UM, I'M CERTAINLY THINKING OF THAT.
UM, BUT I WANT TO BE PATIENT BECAUSE, UH, I, I KNOW THE, UM, PROS AND CONS OF A RESIDENT ENSEMBLE HAVING HAD ONE FOR ABOUT SIX YEARS.
WELL, AND I'M SORRY TO PUT YOU ON THE SPOT, BUT WE'RE ALWAYS, WE'RE ALWAYS VERY INTERESTED IN SEEING, UM, ARTISTS BE ABLE TO HAVE A LIVING WAGE AND STABILITY.
SO WE APPRECIATE ALL YOUR EFFORTS WHEN YOUR CURRENT, THE FRITA KALO PRODUCTION CLOSES NEXT WEEKEND, IS THAT RIGHT? YES, THIS WEEKEND.
WELL, I HOPE TO SEE YOU BEFORE THE WEEKEND IS OVER.
UM, DAVID, CONGRATULATIONS AND THANKS FOR BEING HERE TODAY.
UM, QUESTION FOR YOU, IT'S KIND OF LIKE ON COMMISSIONER RAYLON'S, UH, TOPIC, HAVE YOU SEEN AN INCREASE IN HOMEGROWN LATINO ACTORS OR LATINX ACTORS, UM, HERE IN, IN IN DALLAS? ABSOLUTELY.
UH, I WAS, UH, WHENEVER WE CAST CRYSTAL CITY, UH, IT'S, I'M ALWAYS A LITTLE CONCERNED BECAUSE IT IS A CAST OF BETWEEN 18 AND 20 ACTORS.
AND SO, UH, CASTING QUALITY ACTORS AT, AT, AT, AT, AT THAT QUANTITY USED TO BE A CHALLENGE.
AND, UH, I WOULD SAY THAT WE, THERE WAS A LOT OF TALENT THAT CAME TO AUDITIONS AND WE WERE SO THRILLED TO BE ABLE TO CAST AND BASICALLY A A ALMOST IN A FULL CAST OF ACTORS THAT I HAD NEVER WORKED WITH BEFORE.
AND DIVERSE ACTORS AS WELL, UH, FROM THAT WEREN'T ONLY MEXICAN OR MEXICAN AMERICAN, BUT ALSO, UM, WERE FROM OTHER LATIN AMERICAN COUNTRIES AS WELL AS FROM PUERTO RICO.
AND, UH, IT WAS A POWERFUL EXPERIENCE AND, UH, AND A MULTICULTURAL EXPERIENCE IF YOU LOOK AT IT THAT WAY, BECAUSE NOT EVERYONE UNDERSTANDS OUR MEXICAN AMERICAN HISTORY, WHICH IS THE CORE EXPERIENCE OF CRYSTAL CITY, BUT IT'S A UNIVERSAL STORY OF HUMAN RIGHTS.
SO VICKI AND I, OUR COMMISSIONER B SAW
I MEAN, IT'S REALLY WORTH SEEING SO, WELL I SPELL CRYSTAL CITY
IT'S NOT CRYSTAL CITY THE FIRST TIME, MORE TIME I'VE SEEN 'EM ALL.
YOU WENT WELL, I HAVE THE SAME COMMENT.
I SAW FRIDA AND I RECOMMEND ALL THE COMMISSIONERS GO OUT TO SEE.
BUT I WANT TO ADD THAT DAVID IS AN EXCELLENT ACTOR.
I DID NOT KNOW IT UNTIL I SAW HIM ON STAGE AND I WAS BLOWN AWAY.
SO, UM, IF YOU GET A CHANCE, PLEASE CHECK THAT OUT.
OH YEAH, WE ONE IN THE GALLERY AND I CAN'T SEE WHOSE HAND IS THERE.
YEAH, I, I JUST WANTED TO SPEAK A LITTLE BIT TO THE RACIAL HEALING CIRCLE, UM MM-HMM.
[01:20:01]
NO MATTER WHAT, WHAT WORK YOU'RE ACTUALLY PUTTING ON.I CAN JUST SEE THAT BEING AN ACTIVE, BENEFICIAL PIECE OF WHAT YOU DO FOREVER, POSSIBLY
THE, THE RX RACIAL HEALING CIRCLES ARE A PASSION OF OURS, AND IT'S, UM, AS I, AS I'VE DISCUSSED, WE'VE HAD SOME, UH, CHALLENGES WITH STAFFING AND, UH, I, AND I THINK IT'S, IT'S AFFECTED A, A PROGRAM SUCH AS THE RX RACIAL HEALING CIRCLES, UH, BECAUSE IT'S A UNIQUE OFFERING.
UM, BUT IT'S EXTREMELY POWERFUL AND IT FITS OUR VISION OF UNITING ALL PEOPLE THROUGH LATINX THEATER, UH, BECAUSE IT, IT ALLOWS DIVERSE PEOPLE TO COME TOGETHER AND TO CREATE AN OPPORTUNITY TO, UH, TO HAVE INTERCULTURAL SHARING AND COMMUNITY BUILDING AND RELATIONSHIP BUILDING.
SO I I, WE WOULD LOVE TO GO BACK TO PLEASANT GROVE AND, AND HAVE A, HAVE A, HAVE A CIRCLE.
UM, MAYBE WE CAN TALK ABOUT PARTNERING CUZ IT MAYBE THAT CAN HELP US WITH SOME OF THESE CAPACITY CHALLENGES.
UM, I ALSO WAS A PART OF THAT CIRCLE, AND IT WAS A REALLY POWERFUL EXPERIENCE.
AND I KNOW THAT YOU ARE, YOU DIDN'T MENTION IT, BUT I KNOW THAT YOU ALSO DO WORK IN CONJUNCTION WITH DALLAS, UM, TRANSFORMATION, RACIAL HEALING, AND, UH, TRUTH, TRANSF, WHATEVER THAT, YOU KNOW, ALL THOSE LETTERS YES.
UH, AND, AND, AND THAT, THAT'S CRITICAL WORK THAT, THAT WE NEED IN THIS COMMUNITY.
SO I WANNA COMMEND CARER FOR CONTINUING TO MAKE THAT HAPPEN.
WE, I I, I, IT'S INTERESTING TO LOOK AT OUR TRAJECTORY AND IN OUR ROOTS.
OUR ROOTS ARE IN CHICANO, THE CHICANO MOVEMENT, WHICH YOU COULD LOOK AT AS A, AS A CIVIL, IT'S A CIVIL RIGHTS MOVEMENT THAT FROM THE PROTEST ERA.
AND THAT IS CERTAINLY OUR D N A AND IT IS PART OF OUR STRUGGLE FOR POLITICAL, ECONOMIC, CULTURAL, AND SOCIAL EMPOWERMENT.
WHAT IT, WHAT I'VE LEARNED FROM THE RX RACIAL HEALING CIRCLES IS THAT IT'S ANOTHER AVENUE OF WORKING IN WHICH IT ALLOWS US TO BUILD COMMUNITY IN A DIFFERENT WAY, ESPECIALLY OVER THE PAST FEW YEARS WITH THE HIGH PITCHED TENSION IN OUR COUNTRY AND IN OUR COMMUNITIES, IT ALLOWS US TO SIT TOGETHER WITH PEOPLE DIFFERENT THAN OURSELVES AND TO BEGIN TO BUILD CONNECTIONS, HAVE A STRONG INTERPERSONAL CONNECTION WITH PEOPLE DIFFERENT THAN OURSELVES.
AND THAT'S HOW I, I BELIEVE HEALING CAN BEGIN.
AND, UH, I, I'VE SEEN THE POWER OF IT, I'VE EXPERIENCED IT.
I'VE LEARNED IT FROM TRUTH RACIAL HEALING AND TRANSFORMATION MOVEMENTS THROUGHOUT THE COUNTRY AND IN DALLAS.
AND, UH, WE'RE HOPING TO SHARE TO, TO BUILD ON THAT THROUGH KAIA.
ANY OTHER QUESTIONS OR COMMENTS? DAVID, WE DO THANK YOU FOR COMING AND WE KNOW YOU'LL BE COMING BACK TO SEE US AGAIN SOON,
THANK YOU SO MUCH, MADAM CHAIR.
WE HAVE SOMEONE FROM THE CITY ATTORNEY'S OFFICE TO BRIEF US ON THE TEXAS OPEN MEETING ACT AND COMMISSIONER'S ENGAGEMENT.
WHO IS I SPEAKING? OH, SHE IS.
DO I NEED TO DO AWAY WITH NO, DO THIS.
HELLO, MADAM CHAIR AND COMMISSION.
MY NAME IS WILLOW SANCHEZ AND I'M AN ASSISTANT CITY ATTORNEY AND THE CITY ATTORNEY'S OFFICE.
I'M THE DEPUTY SECTION CHIEF FOR THE SECTION THAT IS ECONOMIC AND COMMUNITY DEVELOPMENT.
AND WE ARE THE SECTION THAT SUPPORTS THE OFFICE OF ARTS AND CULTURE AND YOUR COMMISSION.
AND I WAS INVITED TODAY OR ASKED TODAY TO COME AND TALK TO YOU ABOUT THE TEXAS OF THE MEETINGS ACT AND COMMISSIONER ENGAGEMENT.
AND I THOUGHT THE BEST WAY TO START WAS SOMETHING THAT YOU ALL WERE TALKING ABOUT TODAY.
AND THAT IS JUST TO ACKNOWLEDGE WHERE YOUR AUTHORITY COMES FROM, WHICH IS CHAPTER TWO OF THE DALLAS CITY CODE.
AND AT YOU ARE AN ADVISORY COMMISSION.
AND AS AN ADVISORY COMMISSION, YOU ARE ALSO SUBJECT TO CHAPTER EIGHT OF THE DALLAS CITY CODE, AS WELL AS CHAPTER 12 A OF THE DALLAS CITY CODE 12 A COVERS ETHICS.
AND, UH, CHAPTER EIGHT, UM, COVERS ALL OF THE PROCEDURES, ET CETERA THAT YOU MUST ABIDE BY.
[01:25:01]
TALKS ABOUT, UH, THE COMMISSIONS, WHETHER THEY ARE QUASI-JUDICIAL, WHETHER THEY ARE ADVISORY.AND AS AN ADVISORY BOARD THAT IS WHERE YOU LOOK TO FOR MORE EXPLANATION AND, UH, HOW YOUR RULES AND GUIDANCE ARE SUPPOSED TO, UH, PROCEED.
UM, CHAPTER EIGHT ALSO ESTABLISHES THE BYLAWS AND THE BASIC RULES YOU DON'T HAVE.
NOW STAY ON THE SAME PAGE THAT YOU ARE ON.
I'M LOOKING AT SOMETHING ELSE.
UH, SO CHAPTER EIGHT ESTABLISHES THE BYLAWS AND BASIC RULES OF PROCEDURE FOR CITY BOARDS AND COMMISSIONS, INCLUDING HOW YOUR MEETINGS GO, YOUR OFFICERS AND THEIR DUTIES, DUTIES AND PRIVILEGES OF MEMBERS, CODE OF CONDUCT, AND YOUR ADMINISTRATIVE PROCEEDINGS.
UM, HOWEVER, IT DOES NOT PROVIDE SPECIFIC RULES OR GUIDANCE FOR CREATING COMMITTEES EXCEPT FOR YOUR PUBLIC ART COMMITTEE, WHICH IS CREATED, UM, UNDER THE CHARTER AND IS ALSO IN THE DALLAS CITY CODE.
UM, BUT IN THINKING ABOUT YOUR MEETINGS, UM, CHAPTER EIGHT STATES THAT UNLESS OTHERWISE STIPULATED BY THE BOARD OR THE CHAIR, YOUR PROCEEDINGS ARE GOVERNED BY ROBERTS RULES OF ORDER.
SO THAT IS WHERE YOU LOOK TO IT IS ALSO UNDER CHAPTER EIGHT, THAT YOUR ADVISORY COMMISSION IS DEFINED AS A GOVERNING BODY AND AS A GOVERNING BODY, YOU ARE SUBJECT TO THE TEXAS OPENING MEETINGS ACT.
SO THAT IS OUR SEGUE INTO THE TE TEXAS OPEN MEETINGS ACT TODAY.
SO NOW WE CAN MOVE ON TO THE NEXT SLIDE.
SO STATE LAW REQUIRES ELECTED OFFICIALS TO COMPLETE TRAINING ON OPEN RECORDS AND OPEN MEETINGS WITHIN 90 DAYS OF TAKING THE OATH OF OFFICE.
AND YOU ALL ARE NOT ELECTED OFFICIALS.
HOWEVER, THESE LINKS HERE ARE VERY HELPFUL FOR YOU ALL.
UM, WHICH WE CAN SEND TO YOU, UH, AFTER THE MEETING OR LATER TODAY, UH, THAT GIVE YOU SOME TRAINING.
SO WHAT IS THE GENERAL RULE? THE RULE IS THAT EVERY REGULAR, SPECIAL OR CALLED MEETING OR SESSION OF EVERY GOVERNMENTAL BODY, WHICH IS YOU ALL SHALL BE OPEN TO THE PUBLIC.
THE REQUIREMENTS OF THE TEXAS ARE MANDATORY FOR EVERY GOVERNMENT BODY.
THE PUBLIC HAS A STATUTORY RIGHT TO OBSERVE GOVERNMENT IN ACTION.
SO THE PREVIOUS SLIDE TALKED ABOUT EVERY REGULAR SPECIAL OR CALLED MEETING OR SESSION.
SO WHAT IS A MEETING? YOU CAN GO ONTO THE NEXT SLIDE.
A MEETING IS A DELIBERATION BETWEEN A QUORUM OF A GOVERNMENTAL BODY.
IT'S A QUORUM AMONG YOURSELVES OR BETWEEN A QUORUM OF A GOVERNMENTAL BODY AND ANOTHER PERSON DURING WHICH PUBLIC BUSINESS OR PUBLIC POLICY OVER WHICH THE BODY HAS SUPERVISION OR CONTROL IS DISCUSSED OR CONSIDERED, OR DURING WHICH THE BODY TAKES FORMAL ACTION.
SO ALL OF THOSE CLAUSES ARE IMPORTANT.
UM, AND WE WILL TALK THROUGH THEM.
SO WHAT DOES IT NOT INCLUDE? IT DOESN'T INCLUDE WHEN A QUORUM IS PRESENT AT A SOCIAL FUNCTION UNRELATED TO THE PUBLIC BUSINESS THAT'S CONDUCTED BY THE BODY, UM, OR THE ATTENDANCE BY A QUORUM OF A GOVERNMENTAL BODY AT A REGIONAL STATE, OR NATIONAL NATIONAL CONVENTION OR WORKSHOP OR CEREMONIAL EVENT, OR A PRESS CONFERENCE.
OR IF THE QUORUM IS AT A CANDIDATE FORUM APPEARANCE OR A DEBATE TO INFORM THE ELECTORATE IF FORMAL ACTION IS NOT TAKEN.
AND ANY DISCUSSION OF PUBLIC BUSINESS IS INCIDENTAL TO THIS IS SOCIAL FUNCTION, CONVENTION, WORKSHOP, ET CETERA.
SO FOR EXAMPLE, YOU ALL ARE GOING TO A WONDERFUL, UM, CELEBRATION AFTER THE PERFORMANCE, LET'S SAY AT THE LATINO CULTURAL CENTER.
AND SOMEONE TUS SOMEONE'S SUITE AND SAYS, HEY, LET'S HAVE A LITTLE CONVERSATION IN ONE OF THE CONFERENCE ROOMS OR THE GREEN ROOM OF THE THEATER, AND YOU ALL GET TOGETHER AND YOU TALK ABOUT SOMETHING THAT YOU'RE GOING TO BE ACTING UPON, OR IT'S AN ITEM THAT WOULD BE BEFORE YOUR COMMISSION THAT WOULD BE IN VIOLATION OF THE TEXAS OPEN MEETINGS ACT, EVEN THOUGH YOU ARE THERE FOR SOCIAL APPROACH.
[01:30:01]
WHAT DOES DELIBERATE OR DISCUSS MEAN? IT MEANS A VERBAL EXCHANGE THAT INCLUDES RECEIVING INFORMATION, GIVING INFORMATION, ASKING QUESTIONS, RECEIVING QUESTIONS FOR ANY THIRD PARTY, INCLUDING GOVERNMENT EMPLOYEES OR DEBATE AMONG THE BODY.SO A VERBAL EXCHANGE CLEARLY INCLUDES AN EXCHANGE OF SPOKEN WORDS, BUT IT ALSO INCLUDES AN EXCHANGE OF WRITTEN MATERIALS OR ELAN ELECTRONIC MAIL.
AND SO THAT'S WHAT CAN BE PROBLEMATIC IS AN EMAIL WHERE ONE PERSON SENDS IT TO THE COMMISSION OR TO A QUORUM OF THE COMMISSION AND SOMEONE HITS REPLY.
ALL THAT'S CONSIDERED A MEETING AND IT WILL BE IN VIOLATION OF TOMA BECAUSE IT WAS DONE ON YOUR EMAIL AND THE PUBLIC IS NOT SEEING.
UM, IT'S ALSO IMPORTANT TO NOTE THAT A QUORUM DOESN'T NEED TO BE ESTABLISHED IN REAL TIME.
SO ONE OF YOU HAS SENT THE EMAIL TO THE ENTIRE COMMISSION AND DIFFERENT FOLKS RESPOND ONE TONIGHT, ONE TOMORROW, BUT WHEN A QUORUM OF YOU HAVE RESPONDED, EVEN THOUGH NOT AT THE SAME TIME, THAT IS ALSO A MEETING AND THAT IS ALSO IN VIOLATION OF TOMA.
OH, TELEPHONE OLD TECHNOLOGY ALSO COUNTS.
YOU'RE ON THE PHONE AND YOU ALL HAVE A GROUP CONFERENCE CALL AND YOU HAVE A QUORUM THAT'S IN VIOLATION OF POMA.
SO WHAT'S A WALKING QUORUM? A WALKING QUORUM IS WHEN A GOVERNMENTAL BODY ATTEMPTS TO AVOID COMPLYING WITH THE ACT BY, DELIBERATELY BY DELIBERATING ABOUT PUBLIC BUSINESS WITHOUT A QUO BEING PHYSICALLY PRESENT IN ONE PLACE AND CLAIMING IT WAS NOT A MEETING WITHIN THE ACT.
SO FOUR PEOPLE ARE AT SOMEONE'S HOUSE.
UH, FIVE PEOPLE ARE HERE IN THIS, UH, ROOM.
AND, UM, THE FOUR GROUP, THE FOUR, THE GROUP OF FOUR PEOPLE CALL THE FIVE PEOPLE, WELL MAKE IT SIX TO GET TO 10 OR FOUR.
THAT WOULD BE CONSIDERED A WALKING QUORUM AND WOULD BE A VIOLATION OF TOMA.
SO OTHER EXAMPLES WOULD BE CONDUCTING SECRET DELIBERATIONS THAT MAKE SENSE, VOTING OVER A TELEPHONE, ALSO A VIOLATION, AND THEN DELIBERATING THROUGH A SERIES OF CLOSED MEETINGS OF MEMBERS OF LESS THAN A QUORUM.
TWO PEOPLE HERE TAKE A VOTE, THREE PEOPLE DOWN THE HALL, TAKE A VOTE, ET CETERA.
ALRIGHT, SO TOMA, IN THE SPIRIT OF OPEN INFORMATION AND OPEN GOVERNMENT REQUIRES THAT THERE BE WRITTEN NOTICE OF ALL OF YOUR MEETINGS.
UM, AND YOU HAVE TO STATE THE PLACE, THE TIME, THE HOURS, SO THAT THE PUBLIC CAN ATTEND AS WELL AS THE SUBJECT MEETING OF EACH MEETING.
AND THIS NOTICE HAS TO BE GIVEN AT LEAST 72 HOURS BEFORE A MEETING AND THEN PLACED ON THE CITY'S PHYSICAL OR ELECTRONIC BULLETIN BOARD AT A PLACE CONVENIENT TO THE PUBLIC WITHIN CITY HALL.
UH, AND THE NOTICE MUST BE SUFFICIENT TO INFORM THE PUBLIC OF THE SUBJECT MATTER.
SO THAT'S WHY YOUR AGENDAS ARE REVIEWED AND HAVE TO BE, UH, DETERMINED WHETHER THEY ARE IN COMPLIANCE.
DO THEY GIVE SUFFICIENT INFORMATION FOR THE PUBLIC TO KNOW WHAT YOUR ACTION WILL BE TALKING ABOUT? NEXT SLIDE, PLEASE.
THE GOVERNING BODY MAY NOT ADJOURN AND START MEETING AGAIN AT THE SAME, IN THE SAME DAY.
GOVERNMENT BODY, GOVERNMENTAL BODY MUST VOTE IN PUBLIC.
THERE CAN BE NO ANONYMOUS OR SECRET BALLOTS.
SO WHAT IF WE FORGOT TO POST AN ITEM ON THE AGENDA OR ON THE NOTICE? WELL, THAT MEANS YOU CANNOT DISCUSS THAT TOPIC HERE, UM, EXCEPT TO SAY, WOULD STAFF PLEASE ADD X, Y, Z SUBJECT TO THE NEXT AGENDA? AND THEN THERE ARE LIMITS ON RESPONDING TO QUESTIONS DURING THE OPEN MICROPHONE PERIOD, BECAUSE DURING THE I OPEN MICROPHONE PERIOD, WHATEVER THAT SPEAKER MIGHT BE SPEAKING ABOUT WAS NOT NOTICED TO THE PUBLIC AS BEING A TOPIC TO BE DISCUSSED AMONG YOU ALL.
SO THAT'S WHY THERE'S A LIMIT ON YOUR DISCUSSION WITH YOUR OPEN SPEAKERS.
ALRIGHT, SO IF ALL MEETINGS HAVE TO BE OPEN, ARE THERE ANY EXCEPTIONS TO THOSE REQUIREMENTS? AND YES, THERE ARE CERTAIN EXCEPTIONS AND THOSE ARE CALLED, UM, A CLOSED MEETING OR AN EXECUTIVE SESSION.
AND A CLOSED MEETING IS NOT ALLOWED UNDER THE ACT.
[01:35:01]
AND YOU CANNOT CONDUCT A CLOSED SESSION UNLESS, FIRST YOU HAVE A QUORUM THAT CONVENED AN OPEN SESSION AND THE PRESIDING OFFICER HAS TO PUBLICLY ANNOUNCE THAT THE COMMISSION IS GOING TO BE NOW MOVING TO A CLOSED MEETING AND THEY HAVE TO IDENTIFY THE PARTICULAR PROVISION UNDER TOMA THAT ALLOWS YOU TO ACTUALLY HAVE DISCUSSIONS AND HAVE THIS CLOSED MEETING.AND TYPICALLY THE CLOSED MEETING, THE EXCEPTIONS ARE FOR ATTORNEY CONSULTATION.
UM, AND THERE ARE GUIDELINES TO WHAT THAT IS.
UM, YOU CAN'T JUST INVITE ME BACK FOR A COCKTAIL OR SOMETHING.
UM, ECONOMIC CONSIDERATION, ECONOMIC DEVELOPMENT CONSIDERATIONS ARE AN APPROPRIATE TOPIC FOR A CLOSED MEETING AND MEET THE EXCEPTION TO THE OPEN MEETING REQUIREMENTS AS WELL AS DELIBERATION ABOUT REAL ESTATE.
SO ANY VOTE REGARDING THE CLOSED SESSION ITEM AND THE DISCUSSION THAT TOOK PLACE MUST OCCUR IN OPEN SESSION STRAW VOTING IS NOT PERMITTED.
SO ON THE TOPIC OF CLOSED MEETING, WHO MAY ATTEND ONLY THE GOVERNMENTAL BODIES MEMBERS HAVE A RIGHT TO ATTEND A CLOSED MEETING.
UH, THE GOVERNMENTAL BODY'S ATTORNEY MUST ATTEND UNDER THE ATTORNEY CONSULTATION EXCEPTION.
UM, AND THE CHAIR MAY DETERMINE UNDER THIS PARTICULAR PROVISION IN TOMA, WHETHER OTHERS MAY BE INCLUDED, IF THEY ARE ESSENTIAL TO THE MATTER UNDER CONSIDERATION OR NECESSARY FOR THE FULL COMMUNICATION OF ATTORNEY-CLIENT COMMUNICATIONS.
AND THAT CONCLUDES MY PRESENTATION TODAY.
AND SO I'M OPEN TO QUESTIONS IF YOU HAVE IT.
UH, SO SAY WE GET WIND, BECAUSE THIS IS A VERY SMALL COMMUNITY, CULTURE IS A VERY SMALL COMMUNITY, WE GET WIND OF A TOPIC THAT'S GOING TO HAVE 20 PEOPLE COME OUT AND SPEAK IN THE PUBLIC SPEAKING.
CAN WE, AS A COURTESY TO OUR COMMISSIONER SO THAT THEY'RE NOT BLINDSIDED, CAN WE SEND A NOTE TO THE CHAIR SAYING, HEY, I'VE CAUGHT WIND.
THIS TOPIC IS GONNA BE UP FOR PUBLIC SPEAKING.
CAN I PREPARE A DESCRIPTION OR SOME SORT OF, YOU KNOW, SOMETHING TO KIND OF GIVE THEM A LITTLE BIT MORE CONTEXT SO THAT THEY'RE NOT JUST TAKEN UNAWARE, UM, BY THAT? SO THE QUESTION TO ME SEES YOU TO BE, CAN YOU COMMUNICATE DIRECTLY WITH THE CHAIR AND ASK HER TO SEND OUT MY RATIONALE, MY EXPLANATION THAT'S GOING TO GIVE MY COLLEAGUES SOME CONTEXT AS TO WHY A GROUP OF PEOPLE ARE GONNA SPEAK ALL OF A SUDDEN ABOUT THE SAME THING? YES, SHE CAN COMMUNICATE WITH THE FULL COMMISSION, BUT SHE WILL NOT, SHE WILL BLIND COPY SURE.
EVERYONE TO PREVENT A REPLY ALL SITUATION.
NOW, THAT WAS MY QUESTION AT MY ANSWER AS TO PROCESS.
WELL, IT'S JUST, I MEAN, IT'S JUST INFORMATION.
IT'S NOT LIKE ASKING FOR A, A VOGUE OR ANYTHING LIKE THAT.
WHAT, WHEN IT, WHEN YOU TALK ABOUT, UM, EXECUTIVE SESSION AND YOU TALK ABOUT REAL ESTATE MM-HMM.
AND I CAN BRING UP THE PROVISION TO READ IT TO YOU, BUT I'M UN MY, IF I UNDERSTAND YOUR QUESTION, YOU'RE ASKING IF ART, UM, THE DEVELOPMENT OR THE PLACEMENT OF ART COMES WITHIN THE DEFINITION OF THE REAL ESTATE EXEMPT? AND I CAN GIVE YOU A WRITTEN ANSWER INSTEAD OF JUST GOING OFF THE TOP OF MY HEAD BECAUSE I DON'T QUITE HAVE TIME TO PULL IT TIMELY.
SO LET'S SAY ONE OF THE, UH, RULES ARE BROKEN.
WHAT'S THE CONSEQUENCES? UM, THE, YEAH.
CONSEQUENCES CAN BE SEVERE, UH, FOR THE COMMISSION AND FOR THE CITY ITSELF.
AND I CAN, UH, REVIEW ON WHAT THOSE ARE IN WRITING AS AN ANSWER AS WELL.
[01:40:01]
YOU HAVE YOUR HAND UP COMMISSIONER? SMALL? OH, NO, I WAS JUST, UH, OH, YOU WERE RETRACING YOUR STEPS WITH COMMISSIONER HORNBUCKLE.OKAY, SO I HAVE ANOTHER QUESTION.
ONE OF MY BIGGEST FRUSTRATIONS, I'M BEING CANDID, IS THAT WE DON'T GET A CHANCE TO JUST TALK ABOUT WHAT'S GOING ON IN OUR DISTRICTS, RIGHT? THIS IS THE TIME TO DO IT, BECAUSE IT COULD BE AFFECTING OTHER DISTRICTS, IT COULD BE A RECURRING PROBLEM, LIKE ARTISTS NOT GETTING PAID TO THIS DAY.
BUT WE ALWAYS GET, IT'S NOT ON THE AGENDA.
HOW, HOW DO WE ADVISE, HOW DO WE FUNCTION? HOW DO WE, IF WE CAN'T JUST HAVE THAT, YOU KNOW, NEXT STEPS, NEW BUSINESS, UH, Q AND A ROUND ROBIN.
I MEAN, SO WHAT GOES ON THE AGENDA, HOW TO HAVE DISCUSSIONS ARE, CAN BE THE SUBJECT OF ANOTHER BRIEFING.
AND THAT IS HOW DO YOU WORK WITH ROBERT'S RULES OF ORDER TO ACHIEVE YOUR PURPOSES IN YOUR COMMISSION? YES.
WELL, AND IT'S THE SHORT ANSWER TO THAT ALSO, IF YOU, IF YOU TALK TO THE STAFF BEFORE IT'S NOTICED, LIKE IF WE, WE KNOW OUR MEETING IS WHATEVER, WE KNOW THAT OUR MEETING IS, WELL, THIRD THURSDAY OF EVERY MONTH, AND I THINK OUR NOTES REQUIREMENT IS 72, 72 HOURS, 72 HOURS.
SO IF YOU KNOW IN ADVANCE OF THAT 72 HOURS OF SOMETHING, AM I CORRECT THAT I COULD CALL, I COULD SAY, I WOULD LIKE TO HAVE THE A BRIEFING ON THIS, OR I WOULD LIKE IT TO BE OPEN, THEN IT WOULD BE AN INTERNAL PROCEDURE AS TO WHETHER OR NOT THE STAFF WOULD AGREE TO, OR THE CHAIR WOULD AGREE FOR US TO PUT IT ON THE AGENDA.
BUT WE COULD MAKE THAT REQUEST FOR ANY AGENDA ITEM AS LONG AS IT GOES INTO THE NOTICE.
SO MY UNDERSTANDING IS THAT THE AGENDA IS THE PROVINCE OF THE CHAIR AND STAFF CAN ALSO DISCUSS THE AGENDA WITH THE CHAIR AS WELL.
AND THAT'S NOT TO PRECLUDE ANY OF YOU ALL INDIVIDUALLY ALSO HAVING YOUR CONVERSATIONS.
SO WHAT, BUT TO FOLLOW THE LAW, I COULD, I COULD REQUEST IT OF THE CHAIR, AND IF THE CHAIR AGREED AND I REQUESTED IT 72 HOURS, AND YEAH, THEN WE CAN, THAT WOULD BE ONE WAY.
I'VE, I'VE, I'VE DONE THAT ROUTE, THAT WORKED WELL, BUT I'M JUST TALKING ABOUT, YOU KNOW, WHEN IT COMES UP AFTER THE NOTICE
AND SO, YOU KNOW, I WOULD LOVE TO HEAR FROM MY COLLEAGUES, ARE YOU HAVING PROBLEMS STILL? ARE YOU, YOU KNOW, IS THAT A CONCERN? YOU KNOW, IS IS THAT STILL A REAL ISSUE? UM, BUT I DON'T KNOW, HOW DO YOU, HOW DO YOU BALANCE THAT? I DON'T KNOW HOW WE COULD HAVE AN OPEN DISCUSSION ABOUT WHAT'S GOING ON IN OUR DISTRICTS WITHOUT BEING IN VIOLATION OF THE TOMO OR WITHOUT, YOU KNOW, GETTING IT 72 HOURS IN ADVANCE.
SO THAT IS AN ACCURATE UNDERSTANDING THAT IF SOMETHING IS NOT ON THE AGENDA, THEN IT'S NOT SUBJECT TO BEING DISCUSSED BECAUSE THE PUBLIC HASN'T HAD THE CHANCE TO GO AHEAD OF TIME.
OH, THEY'RE GONNA TALK ABOUT THAT.
SO THAT'S THE SPIRIT AND THE ACTUAL RULE BEHIND IT.
UM, AND THERE ARE MANY WAYS TO, IN YOUR CHAIR, UM, HOW YOU FACILITATE AND GIVE NOTICE THAT THAT'S A REGULAR CONVERSATION YOU'D LIKE TO HAVE ON YOUR AGENDA.
OTHER QUESTIONS? WELL, THANK YOU.
AND WHO IS THAT PRESENTED? GRANDMA THOMAS.
GOOD AFTERNOON AGAIN, EVERYONE.
AND SO, UM, I'M ALSO HERE TO, UH, GIVE YOU A BRIEFING, UH, ON THE,
[01:45:01]
UH, PUBLIC ART.HE'S THE DONATION PIECE, UH, PIECE 24 BY 29 PIECES COLLECTIVE.
GIVE YOU A LITTLE BIT OF BACKGROUND, UM, ON THAT DONATION.
UM, AND SO, UH, THE LOCATION IS, UH, AT 4 23 WEST JEFFERSON BOULEVARD IN FRONT OF THE OAK CLIFF CULTURAL CENTER NEAR THE TEXAS THEATER.
UM, THE VALUE OF THE DONATION AT THE TIME IT WAS, UM, ACCEPTED WAS, IS A HUNDRED, WAS $170,000.
IT'S A 17 FOOT, UH, 3D MOSAIC OUTDOOR SCULPTURE COMPRISED OF CO, UM, CONCRETE STEEL, VITRIFIED, GLASS, AUTOMOTIVE PAINT, AND ALUMINUM.
UM, IT WAS COMMISSIONED BY 25, UH, 29 PIECES AS PART OF THE, UM, TO BE KIND OF PART OF THE JEFFERSON BOULEVARD BEAUTIFICATION PROCESS.
UH, RU BEAUTIFICATION PROJECT.
THAT PROJECT WAS ACTUALLY A CITY OF DALLAS PUBLIC ART PUBLIC WORKS DEPARTMENTS.
UH, AND IT WAS TO ENHANCE THE STREET SCAPE ALONG THE THOROUGHFARE.
UM, PEACE 24 IS ACTUALLY, UH, PART ONE OF A THREE PART DALLAS RESPECT PROJECT, WHICH USES ART TO FOSTER CHANGE IN OUR TREATMENT OF ONE ANOTHER, UH, WITH FOCUS ON, UM, SCHOOL CHILDREN.
UM, THE FIRST PART WAS THE CREATION OF THE, OF THE SCULPTURE PIECE 24.
THE SECOND PART, UM, WAS RESPECT THE RESPECT PLEDGE.
AND THE THIRD WAS A RESPECT LESSON, UH, LESSON ART, WHICH WAS, UH, ARTWORK DEVELOPED AND CREATED BY, UH, STUDENTS AND, UH, ADULTS.
UH, THE INTENTION OF THE SCULPTURE IS TO CONVEY THE VITAL POSSIBILITY OF RESPECT AND COMPASSION, AND DREW INSPIRATION FROM ART QUAS ARCHITECTURE AND POSITIVE INFLUENCING.
UM, THIS PIECE WAS DONOR WAS FULLY FUNDED BY THE DONOR.
THEY MANAGED THE PROJECT AND INSTALLED THE SCULPTURE.
UH, 29 PIECES RAISED MORE THAN $400,000 FOR THE DALLAS RESPECT PROJECT THROUGH 139 DONORS.
UH, AND STUDENTS WERE, UH, PAID, UH, MORE THAN, UH, $25,000 FOR THEIR WORK AFTER SCHOOL ON THE PROJECT.
UM, THE LEAD ARTIST, UM, ON THIS PIECE WAS KAREN BLESSING, UH, WORKING WITH AN ARTIST TEAM THAT INCLUDED, UH, JULIE RICHIE, JOE STOKES, NANCY P*****K, ALBERT SHEATH, WORKING WITH COMMUNITY CHILDREN FROM, UM, ADAMSON SUNSET, BOOKER T WASHINGTON, AND I, UH, HIGH SCHOOL AS WELL AS DALLAS ACADEMY.
AND SO THIS WAS A COLLABORATIVE PROJECT WITH A THEME BASED ON THE LINE, MAKE MY HANDS RESPECT THE THINGS YOU HAVE MADE, UH, FROM THE NATIVE AMERICAN PASSAGE.
UH, THE PROJECT PROVIDED UNDERSERVED YOUTH, THE OPPORTUNITY TO EARN SCHOLARSHIPS, LEARN LIFE SKILLS AND JOB SKILLS, WHILE WORKING DIRECTLY WITH PROFESSIONALS IN DESIGN, PLANNING, CONSTRUCTION, INSTALLATION, MARKETING DOCUMENTATION, AND EVENT PLANNING.
UM, AND THE NEXT SLIDE WILL GIVE YOU SOME HISTORY ON THE PRIOR ACTION AND REVIEW.
UH, IN 2 20 16 AND JUNE SE ON JUNE 7TH, 2016, UH, THE DONATION WENT BEFORE THE PUBLIC ART COMMITTEE TO BE REVIEWED, AND IT WAS RECOMMENDED, UH, FOR ACCEPTANCE, UM, INTO THE COLLECTION ON JUNE 16TH, 2016.
THE THEN CULTURAL ARTS, UH, AFFAIRS COMMISSION APPROVED AND ACCEPTED THE DONATION.
AND THE NEXT SLIDE WILL HAVE AN IMAGE OF, UH, THE PIECE INSTALLED, UM, IN FRONT OF, UH, THE OAK CLIFF CULTURAL CENTER.
OKAY, ANY QUESTIONS OR COMMENTS TO ASK COMMISSIONER? HELLO? YES.
THANK YOU FOR THIS, UH, BRIEFING.
DO YOU REMEMBER AT THAT TIME, IF ANY MEMBER OF THE COMMUNITY FILED SOME SORT OF COMPLAINT WITH THE PROPOSED ARTWORK? UM, I WAS, UH, AT THAT TIME I WASN'T VERY INVOLVED IN THE DONATION PROCESS, BUT I DID COMB THROUGH, UM, CASE FILES TO SEE, UH, A, TO GATHER THIS INFORMATION AND SEE AND UNDERSTAND THE BACKGROUND OF THE PIECE, BUT I FOUND NO, UM, NO EVIDENCE OF ANY OBJECTION TO THE PIECE AT THAT TIME.
AND THEN FOLLOW UP QUESTION, I'VE SEEN PICTURES WITH THE STUDENTS HAVE SIMILAR MODELS, RIGHT? LITTLE MINIATURES, KIND OF BASED ON THE, WHAT THE FINAL IS, DID THE STUDENTS HELP CREATE THE FINAL PIECE? LIKE WAS
[01:50:01]
THAT BORN OF THEIR IDEAS AND THEIR INPUT? IT IS MY UNDERSTANDING THAT THEY WERE TO COLLECTIVELY WITH THE ARTIST, THE PROFESSIONAL ARTIST TEAM, UM, TO CREATE THE FINAL PRODUCT.UH, AND I JUST WANNA PUT, UH, PUT THIS IN.
I SAID LAST MEETING WAS MY FIRST MEETING, BUT, UH, WE HAVE TALKED ABOUT THIS QUITE A LOT.
UM, AND I JUST WANT OUR RECORDS TO BE CLEAR, ESPECIALLY IN LINE OF A STAFF PERSON THAT WAS, UH, SPEAKING ABOUT OUR OPEN MEETING, TEXAS OPEN MEETING AND ALL THIS.
BUT, UH, SO AS WE SIT HERE, I GUESS MY FIRST QUESTION IS, UH, WE ARE ADVISORY AND ALL WE CAN DO IS MAKE RECOMMENDATION.
IS THAT CORRECT? THERE'S NO ACTION WE CAN TAKE ON THIS, IS THAT RIGHT? WELL, IT DEPENDS ON WHAT THE PROJECT IS.
WHO WANTS TO EXPLAIN IT? THIS ONE, I'M TALKING THIS ONE, THIS ONE PIECE HERE? YES.
ALL WE CAN DO IS MAKE A RECOMMENDATION.
I WAS YES, BECAUSE THERE'S SEVERAL DEPARTMENTS, PART PARKS AND REGS AND ORANGE.
SO TO ANSWER YOUR QUESTION, YES.
AND BASICALLY IT COMES DOWN TO US, THE ONLY RECOMMENDATION WE'RE ASKED TO MAKE IS WHETHER WE KEEP THE YARD OR, UH, WE HAD ONE GENTLEMAN HERE THAT SPOKE AND HE WAS SAYING, UH, I DON'T KNOW, I GUESS WE COULD GIVE THE ART BACK OR SOMETHING, BUT, UH, THOSE ARE THE ONLY TWO THINGS WE COULD DO.
IS THAT RIGHT? THAT'S CORRECT.
AND, UH, WE HAVE A VALUABLE PIECE OF ART.
ALL THESE KIDS HAVE WORKED ON IT, UM, THAT ALL THESE PEOPLE COME OUT IN SUPPORT OF IT.
A LOT OF 'EM FROM THE, UH, CULTURE REPRESENTED IN THE PIECE IS, I MEAN, AM I, AM I CORRECT IN THAT SUMMARY WAY? IS THAT A HEARING DISCUSSION FROM BOTH SIDES AT THIS POINT? YES.
THE, UH, THE DISCUSSION THAT, THAT I'M JUST, YOU KNOW, UH, SUMMARIZING I WHAT I BELIEVE I'VE HEARD IF THERE'S BEEN SOME OTHER STUFF PRIOR TO THAT, SOMEONE ELSE THAT, THAT COMMISSION LAW DOES HAVE MORE INFORMATION ON THIS BECAUSE HE HAS HISTORY.
HONESTLY, I'M CONFUSED BECAUSE WHERE DID WE GO FROM PUBLIC SPEAKERS SHOWING UP LAST MONTH TO OUR TWO OPTIONS ARE TO KEEP IT OR GIVE IT AWAY.
SO THERE'S NO MOTION ON THE FLOOR TO DO ANYTHING.
BUT, BUT FOR HIM TO SAY THAT THOSE ARE OUR ONLY OPTIONS AND TO HEAR SOME AGREEMENT, I'M REALLY, BECAUSE I DON'T THINK WE'VE EVER TALKED ABOUT DOING WAY WITH IT OR WHAT'S GONNA HAPPEN.
I DON'T THINK WE'VE EVER DISCUSSED ANY ACTION.
AND I, AND WITH THE PURPOSE OF OUR GOING THROUGH IT, AND THAT'S WHY I, BEFORE THAT I SAID ALL WE CAN, WE'RE ADVISORY, ALL WE CAN DO IS MAKE A RECOMMENDATION.
WE'RE NOT, I UNDERSTAND WHAT YOU'RE SAYING, WE'RE JUST NOT AT THAT POINT NOW TO MAKE A RECOMMENDATION.
SO WE'RE JUST BEING BRIEFED ON BOTH SIDES AND HEARING COMMENTS.
UH, AND I GUESS IN MY SUMMARY AS I, AS I UNDERSTOOD IT, WE'VE HEARD SEVERAL PEOPLE IN SUPPORT OF THIS ARTWORK, AND I THINK WE HAD ONE GENTLEMAN SAY THAT, UH, HE WAS OPPOSED TO IT.
AND, UH, SO WE'VE GOT LIKE A LOT OF PEOPLE IN SUPPORT.
WE HAD ONE GENTLEMAN VOICING A CONCERN.
I JUST WANNA MAKE SURE MY UNDERSTANDING IS CORRECT.
YOUR UNDERSTANDING IS THAT WE ARE FACT FINDING AT THIS POINT? OH, IT'S A, WE'RE IT'S CUT OPEN.
IT HAS NOT COME TO THE FLOOR FOR ACTION FROM THIS BODY.
THEN RECTOR HAS A COME, I DO NOT HAVE A NO CHAIR.
I MEAN, THERE'S SEVERAL OTHER PEOPLE FOR ME.
UM, START WITH, UH, WITH, UH, MS. BLUE HORSE.
WAS SHE, CAN WE FIND OUT IF SHE WAS AN ACTUAL CONSULTANT ON THE, ON THE, ON THE PIECE? I KNOW EVEN WHEN SHE SPOKE, SHE MENTIONED SHE WAS AT THE, UM, LIKE IN BILLING I GUESS WHEN IT WAS, UM, WHEN IT HAD THAT EVENT.
BUT, UM, JUST FROM, YOU KNOW HOW WE MENTIONED THERE WAS A LOT OF TALK AND WE DIDN'T HAVE A LOT OF KNOWLEDGE TO GO OFF OF AND WE GOT A LOT OF TESTIMONY FROM THE PUBLIC.
UM, SO YEAH, I'VE BEEN, I'VE BEEN A LITTLE CONFUSED ON THAT, IF SHE WAS A CULTURAL CONSULTANT OR NOT.
[01:55:01]
MARIE, WOULD YOU HAVE ANY INFORMATION ON HER PRO POSITION? MY, BECAUSE SHE'S NOT LISTED ANYWHERE IN THE INFORMATION, UNDERSTAND THIS.KAREN MENTIONED SOMEBODY WANTED TO REMEMBER.
I GOTTA GOT CAMERA TO TALK Y'ALL PART OF TO THAT'S NOT, THAT'S NOT THE, THE DONOR.
YEAH, I WOULD RECOMMEND THAT WE ACTUALLY, IF THE CHAIRWOMAN, IF A CHAIRWOMAN WOULD LIKE TO ALLOW KAREN A BLESSING TO SPEAK SINCE SHE WAS INVOLVED IN THE CREATION, UM, THEN THAT'S, IT'S A BLESSING.
UM, YEAH, OUR, OUR CO OUR CULTURAL CONS CONSULTA CONSULTATION WAS WITH THE DONOR WHO'S NATIVE AMERICAN.
AND HE, HE'S CAME IN AND SPENT A HALF DAY'S ANONYMOUS DONOR, CONTINUES TO WISH TO BE ANONYMOUS, SPENT A HALF A DAY WITH THE ENTIRE ARTIST TEAM.
UM, I MET YOLANDA AT A DALLAS PEACE OF JUSTICE DINNER WHERE WE BOTH GOT AN AWARD.
AND I MET HER, WE SHARED SOME OF OUR HISTORIES AND I LEARNED THAT SHE WAS LAKOTA SUE AND, AND I ASKED HER TO BE PART OF THE DEDICATION.
AND AT THE DEDICATION, SHE TALKED ABOUT THE HISTORY AND TALKED A LITTLE BIT ABOUT THE PASSAGE.
COMMISSIONER BURG LAW, MAY I HAVE A QUESTION ABOUT THE PROCESS? SO THE PIECE AS I, THIS MIGHT BE A QUESTION FOR JUROR HONOR OR FOR YOU, GRADY.
I'M NOT SURE CUZ I GET CONFUSED.
I KNOW WE HAVE, THERE'S ART THAT IS IN THE PUBLIC, AND THEN THERE'S PUBLIC ART THAT IS A PART OF THE COLLECTION OWNED BY THE CITY.
AND I, THIS IS A PIECE THAT'S IN OUR, OFFICIALLY IN OUR PUBLIC ART COLLECTION.
AND THAT THIS MAY BE A QUESTION FOR DRAMA, IS EVERYTHING THAT'S DONATED TO THE CITY ACTUALLY AN P IN THE PUBLIC ART COLLECTION, WE HAVE CHOOSE ACCEPT A DONATION.
SO ANYTIME WE ACCEPT A DONATION, THEN IT'S A PART OF THE CITY OF DALLAS PUBLIC ART COLLECTION.
SO, UM, THEN ONCE IT'S IN THE PUBLIC ART COLLECTION, IS THE PROCESS THAT IT HAS TO BE WHATEVER THAT WORD IS, DE ASCENSION.
SO THAT WOULD BE WHAT WOULD HAPPEN NEXT.
LIKE WE, YOU'VE BROUGHT ALL THIS INFORMATION TO US, AND I ASSUME IT WOULD BE THE ART COMMITTEE THAT WOULD LOOK AT THAT AND A RECOMMENDATION WOULD BE MADE TO THE COMMISSION.
AND THEN WHAT'S THE PROCESS ON THAT IF WE WERE TO VOTE OR ART.
ART, IS THAT JUST A STAFF DECISION? LIKE, THAT'S MY QUESTION.
LIKE WHAT ARE THE STAFF CORRECT ME HERE, WHAT ARE THE STAFF, UH, RIGHT.
COMMISSIONER SMALLS WAS ASKED EXACTLY.
AND I JUST TRIED TO HELP WITH THE DEPOSITION.
THAT IS A RECOMMENDATION THAT WOULD EVEN COME FROM COMING THE COMMISSION.
OH, DO WE NEED TO GO TO CAR? OKAY.
UM, I GUESS MY, MY QUESTION WAS LIKE, FOR THE NEXT STEPS FOR THIS, SINCE LET'S, WE'RE NOT VOTING, OR IN MY MIND, I'M ASSUMING THAT THERE IS SOMEONE OR A GROUP OF FOLKS WHO MIGHT BE AN EXPERT ON THESE THINGS THAT WE MIGHT, UM, ASK FOR THEIR ASSISTANCE.
AND I MEAN, BY THAT I MEAN EXPERTS FROM THIS TRIBE, NOT ART EXPERTS, UM, WHO COULD SPEAK MAYBE TO, UH, WHO COULD INTERACT WITH KAREN AND THEN, AND THEN ASSIST US WITH, WITH ANY DECISIONS WE'RE SO WE ARE NEED TO MAKE.
IS THAT SOMETHING THAT HAPPENS? I'M JUST, YOU KNOW, I'M STILL NEW, SO I'M JUST WONDERING YEAH, JUST TO, TO YOUR POINT, COMMISSIONER.
SO ALL THIS BEGAN WITH AN ARTIST COMMENT, AND HE HAS BEEN INVITED TO MEET WITH KAREN BECAUSE I THINK IN THAT ONE-ON-ONE, SHE WILL GET AN UNDERSTANDING OF WHAT EXACTLY IT IS THAT THIS INDIVIDUAL HAS BECAUSE HE SHARED TODAY NEW INFORMATION, NEW POINTS THAT HE HAD NOT SHARED WITH ME IN THE PREVIOUS CONVERSATIONS THAT I'VE HAD WITH HIM.
SO I THINK IT'S VERY IMPORTANT THAT HE MEET WITH KAREN BLESSON AND IT GETS DOCUMENTED SOMEHOW SO THAT WE CAN THEN BRING IT BACK TO OUR COMMITTEE OR, OR COMMISSION AND THEN TALK ABOUT IT AND, AND, AND SEE WHAT IT IS EXACTLY ARE THE, ARE THE BIG CONCERNS OF HIS.
BECAUSE AS I SAID TODAY, THERE ARE NEW THINGS THAT HE MENTIONED THAT HE HADN'T SHARED WITH ME PERSONALLY BEFORE.
I GUESS MY QUESTION IS STILL, LIKE, IS THERE, UM, IS THERE ANOTHER BODY OF, I MEAN, EVEN IF THAT HAPPENS AND THEY BRING US THIS INFORMATION
[02:00:01]
THAT, THAT THEY, THAT THEY FIGURE OUT.I MEAN, I DON'T KNOW THAT I AM STILL FEEL LIKE I HAVE AN, YOU KNOW, THE BACKGROUND TO THE EX, YOU KNOW WHAT I MEAN? THE, THE SPIRITUAL AND CULTURAL BACKGROUND OF, OF HIS TRIBE IN ORDER TO, TO, TO MAKE A DECISION.
YOU KNOW WHAT I'M SAYING? LIKE, I, I GUESS I JUST FEEL LIKE EVEN IF THEY DO SPEAK, I THINK THEY NEED A MO THERE MIGHT NEED TO BE SOMEONE ELSE PRESENT WHO CAN EXPLAIN THIS TO US SO THAT WE INFORMATION AND WE HAVE THIS BLESSING HERE.
DO YOU HAVE ANYTHING ELSE YOU'D LIKE TO ADD? I MEAN, YOLANDA BLUE HORSE DID SPEAK AND SHE IS LAKOTA SUE, AND SHE GAVE HER PERSPECTIVE AND HER PERSPECTIVE WAS VERY POSITIVE ABOUT, ABOUT THIS PROCESS AND THE PIECE OF ART.
SO SHE IS LAKOTA SUE, SHE WAS AT THE LAST MEETING, RIGHT? SHE WAS AT THE LAST MEETING, YEAH.
THE REGISTRATION AND NOT GONE THROUGH THE COMPUTER SYSTEM PROPERLY.
AND SHE WAS AT THIS MEETING AS WELL.
AND WHERE ARE WE WITH THAT PROCESS? WE HAVE GIVEN HIM AN OPPORTUNITY TO COME AS A PUBLIC SPEAKER, RIGHT? DO WE OFFER ANOTHER OPPORTUNITY OR DO WE EXPECT THEM TO COME TO THE COMMISSIONER'S MEETING AT THIS POINT AND BRIEF AGAIN? OR IS THAT WHAT WE ARE DOING NOW? THANK YOU MADAM CHAIR FOR THAT QUESTION.
SO FOR, UM, UH, MR. LAR, HE HAS EXPRESSED HIS INTEREST TO COME AND SO WE WOULD LIKE TO INVITE HIM AGAIN.
WE CAN ABSOLUTELY INVITE HIM TO COME, UM, AS A, A BRIEFER ON THE AGENDA.
DID THAT ANSWER YOUR QUESTION, NANA? IT DOES SPEAK
WE HAVE OTHER COMMISSIONER QUESTIONS.
UH, YEAH, I WANT TO MENTION LIKE, I, I COMPLETELY UNDERSTAND WHAT COMMISSIONER CUR IS SAYING.
THERE NEEDS TO BE AN, ANOTHER, ANOTHER SOURCE OF, UH, INFORMATION AND, UM, I FORGET, I'M LIKE, I'M TRYING TO FIND THE DAY IT WAS A DAY AGO, I BELIEVE, UM, UH, LYNN RUSHTON, YOU KNOW, EMAILED ABOUT HOW WE CAN KIND OF MOVE FORWARD WITH SOME, UM, SOME CONVERSATION AROUND THAT AND APPROPRIATENESS OF, UM, THE PRAYER UTILIZED AND IT BEING LAKOTA AND, UM, KIND OF WHAT MY THOUGHTS ARE ON THE CONVERSATION SURROUNDING THE PIECE AT THE MOMENT.
AND MY, MY RESPONSE WAS, UM, THAT IT'S VERY MUCH NEEDED, UH, THAT THERE NEEDS TO BE SOME KIND OF CONVERSATION WITH, UM, WITH OUR, OUR COMMISSION AT THE CENTER OF THAT CONVERSATION BECAUSE, UM, THIS SEEMS TO BE THE FIRST TIME THAT THIS HAS HAPPENED AT THIS LEVEL.
AND, UM, YOU KNOW, TO SPEAK TO SOMETHING YOU MENTIONED THAT, THAT MR. LAR, UM, BROUGHT UP A FEW NEW THINGS.
I KNOW, UH, THE LAST, THE LAST TIME HE SPOKE, HE HADN'T MENTIONED THE INDIAN ARTS AND CRAFTS ACT, AND HE DID TODAY.
AND I WANTED, I WANTED TO MENTION TOO THAT IT'S NOTED THAT, UH, BEFORE KAY CALLO LEFT, UM, I BROUGHT THIS UP TO HER, THE INDIAN ARTS AND CRAFTS ACT, AND HOW CAN WE SEE HOW, UM, KNOWLEDGEABLE, YOU KNOW, WE ARE ON THESE THINGS.
AND, AND I BROUGHT THAT UP, UM, PERTAINING TO, UM, ALANA ARTISTS AND HOW OUR, UM, AMERICAN INDIAN PEOPLE IDENTIFIED AND GET, AND GIVEN THAT MONEY, GRANTED MONEY THROUGH THAT.
UM, BECAUSE THE INDIAN ARTS AND CRAFT ACT, YOU HAVE TO BE, UM, YOU KNOW, YOU HAVE TO GO THROUGH THE, THE COLONIZED WAY OF IDENTIFICATION OF HAVING BLOOD QUANTUM OR HAVING CITIZENSHIP OR, UH, C D I B, THINGS LIKE THAT.
AND I, I SAW THAT IT WAS, UM, YOU COULD BE SELF, YOU KNOW, YOU COULD SELF-IDENTIFY.
UM, AND AT THAT, THAT MOMENT, THAT TIME, UM, SHE COULDN'T REALLY ANSWER ME.
UM, SHE DIDN'T REALLY KNOW WHERE TO GET THAT ANSWER FROM.
AND THEN, YOU KNOW, SHE, SHE ENDED UP LEAVING AND THEN AFTER THAT I, I WAS SICK FOR QUITE A WHILE.
UM, BUT THAT'S, THAT'S BEEN ON THE BACK OF MY MIND AND THROUGH PROCESS, I'M, I'M EVEN UNSURE OF WHERE WE GET THAT ANSWER.
AND TODAY IT'S, YOU KNOW, SHINING VERY CLEAR THAT, YOU KNOW, A LOT OF US ARE UNSURE OF WHERE WE GET THESE, UM, THESE ANSWERS FOR A PROCESS LIKE THIS.
SO WHAT I HAD SUGGESTED, UM, THROUGH THEIR EMAIL WAS THAT, UM, YOU KNOW, PERHAPS WE DO NEED SOME KIND OF MEDIATION.
AND I SUGGESTED, UH, DALLAS TRUTH RACIAL HEALING AND TRANSFORMATION, UM, NOT ONLY FOR THE WORK, BUT I, I WORK WITH, I WORK WITH THAT ORGANIZATION.
I'M, I'M CO-CHAIR FOR THE STEERING COMMITTEE.
UM, AND THEY WERE ALREADY AWARE OF THE ISSUE, UM, AND SEE THE NEED FOR CONVERSATION,
[02:05:01]
PUBLIC CONVERSATION THAT WE, WE BACK IN THE UNDERSTANDING OF WHAT'S CULTURAL APPROPRIATION.AND, UM, BACK TO THE FACTS OF, YOU KNOW, UM, YOLANDA, MS. BLUE HORSE IS SPEAKING ON THE MATTER, BUT SHE WASN'T A CONSULTANT.
THERE'S, THERE'S NO NOTE NOTIFICATION WITHIN THE PUBLIC INFORMATION THAT THERE WAS ANY, UM, INDIGENOUS CONSULTATION, LET ALONE THE CODE OF CONSULTATION.
AND I, I THINK THAT'S A CORE ISSUE BECAUSE IF THAT WAS AVAILABLE, UM, MR. LAR COULD HAVE SEEN THAT, THAT THERE WAS CONSULTATION AND, UM, YOU KNOW, ASSUMPTIONS OF CULTURAL PRO APPROPRIATION OR HOW IT CAME TO BE, UH, COULD HAVE BEEN PUT TO REST A BIT.
UM, AT LEAST COULD BE AT A DIFFERENT SPOT THAN WE ARE RIGHT NOW.
UM, CONFUSION ON ARE WE GETTING RID OF IT OR
NOW AND WHAT, DO YOU HAVE ANY OTHER COMMENTS? I'M ALMOST AT THE STAGE TO SAY, WE'RE NOT GOING TO RESOLVE THIS NOW WHERE YOU, MR I HAVE A COMMENT ON SUGGESTIONS.
UH, I THINK PUBLIC ART IS IN A POSITION TO REALLY HANDLE THIS, UH, AND THEN MAKE A RECOMMENDATION TO THE FULL COMMISSION.
AND THAT WILL PROBABLY BE THE PLACE THAT I WOULD THINK ABOUT STORY.
AND THEY CAN BRING IN THE PEOPLE THAT EXACTLY NEED TO KNOW, OR EXACTLY, THEY CAN CONFER WITH THEM AND THEY'LL BRING, AND I BRING IT BACK TO US.
I MIGHT ADD TO THAT, BUT WE THINK YOU'RE NOT ON THE PUBLIC ART COMMITTEE, WHICH I'M NOT, IF IT'S OF GREAT INTEREST TO, THOSE MEETINGS ARE PUBLICLY NOTICED AND WE ALL COMMISSIONERS OR THE PUBLIC CAN ATTEND AND LISTEN TO THAT PROCESS.
AND, AND I WILL SAY THAT I, I TOTALLY AGREE WITH THAT.
I THINK COMMUNICATION, WE DISCUSSED THIS IN THE PUBLIC ART COMMITTEE MEETING WHEN MR. LAR CAME AND ADDRESSED THIS THAT, NOPE, OUTSIDE OF THE HEART OF THE ISSUE AS YOU'RE DESCRIBING, ANOTHER HEART OF THIS ISSUE IS THE COMMUNICATION ELEMENT BETWEEN THE PARTIES.
AND AS COMMISSIONER HOMO HAS MENTIONED THAT, YOU KNOW, WE CAN ONLY OFFER THE FORUM AND OFFER TO FACILITATE THE CONVERSATION.
WE CAN'T FORCE PEOPLE TO TAKE PART IN IT.
AND I HAVEN'T SEEN THAT BUY-IN, WHICH HAS BEEN, THIS ACTUALLY HAS BEEN GOING ON FOR MONTHS FROM WHAT I UNDERSTAND.
AND THAT, YOU KNOW, THAT PARTICIPATORY COMMUNICATION OF THE PARTIES IS KEY.
AND YES, WE ABSOLUTELY CAN DO THAT AS A PUBLIC ART COMMITTEE, BUT WE HAVE THE, THE, THE PEOPLE INVOLVED HAVE TO AGREE TO PARTICIPATE IN THAT PROCESS.
AND I WILL SAY ANOTHER PIECE OF THE COMMUNICATION OF WHAT WE, UM, HEARD BOTH IN PUBLIC ART COMMITTEE COMMENT AND TODAY FROM MR. LAR.
UM, AND I THINK THAT, YOU KNOW, TO COMMISSIONER YELLOW'S POINT, ANOTHER THING THAT WE COULD, UM, ADVISE ASIDE IN SESSIONING THE PIECES IN UPDATING OF THE PLAQUE TO INCLUDE LAKOTA LANGUAGE, TO INCLUDE INFORMATION ABOUT THE PROCESS OF HOW THIS PIECE CAME INTO BEING AND TO MAKE IT DIRECTLY AND OBVIOUSLY REPRESENTATIONAL OF THE CULTURES, THAT IT HELPS CUT CAME FORTH GLASS HEATING AS WELL.
I, I, I MEAN, I FEEL I, YOU KNOW, NOT TO CUT TO THE CHASE, BUT I MEAN, YOU'RE RIGHT, LIKE IT'S EITHER GETTING RID OF THE PIECE OR JUST LEAVING IT THERE AND DOING NOTHING
HERE'S WHERE IT CAME FROM AND INVOLVED IN INDIGENOUS VOICES.
IT'S, AND IT COMES FROM, UM, YOU KNOW, NATIVE AMERICAN INFLUENCE.
AND THAT IS WRITTEN ALSO IN THE LANGUAGE OF THE NATIVE AMERICAN CULTURE THAT IT REPRESENTS.
AND, YOU KNOW, PERHAPS THAT IS A SOLUTION THAT WORK AT NATIVE COMMISSION.
THAT'S, AND, AND COMMISSIONER MEEK'S ABSENCE, I WANTED TO JUST HARK BACK TO HER COMMENTS, WHICH WERE, UM, THAT WE, IT'D BE GREAT TO START THINKING ABOUT A PROCESS MM-HMM.
THERE'S NO, THERE'S NO QUESTION ON THE TABLE ON THE AGENDA TODAY AS I READ THE AGENDA.
SO THERE'S NO, IT'S JUST AN INFORMATIONAL BRIEFING, BUT I JUST WANTED TO REMIND EVERYBODY OF COMMISSIONER, UH, MEEK'S SUGGESTION THAT WE LOOK AT A PROCESS FOR WHEN THE SORTS OF, I THINK ISSUE IS THE WRONG WORD, BUT WHEN WE FIND THIS, FIND OURSELVES IN THIS POSITION, HAVING A PROCESS ABOUT HOW WE INVESTIGATE AND GO FORWARD AND GET A RECOMMENDATION FROM THE ART COMMITTEE WOULD PROBABLY HELP BE HELPFUL TO EVERYBODY.
BUT AGAIN, LAWYER AND ME, I LIKE TO HAVE A PROCESS.
SO DOES THE CHAIR HAVE THE AUTHORITY TO REFER THIS TO A COMMITTEE? YES, MA'AM.
[02:10:01]
I JUST HAVE A QUESTION, UM, TO YOUR POINT ABOUT TIMING.IT'S BEEN GOING ON FOR SEVERAL MONTHS, UH, AS I STATED, UM, QUESTION FOR THE ARTIST.
DID YOU, DID YOU WORK WITH BRIAN LAR ON ANOTHER PROJECT? YEAH, WE HIRED BRIAN STUDENT, UH, CULTURAL CONSULTANT ALONG WITH THE WHOLE DIVERSE GROUP OF PEOPLE FOR OUR RECENT AMERICAN LOVE PROJECT.
AND DID HE, AT ANY POINT DURING THAT TIME, EXPRESS AN IN, UH, AN INTEREST OR A CONCERN ABOUT THIS? THANK YOU.
NO, HE, I'VE INVITED HIM TO SPEAK WITH ME AND HE HAS DECLINED.
MR. SMALL, CAN WE REFER THIS TO THE COMMITTEE? IF WE COULD, UH, ASK THE COMMITTEE TO CONSIDER, UM, IF WE COULD HAVE THE SOURCE OF THE WORK CREDITED, BECAUSE THAT KI IF THE ISSUE IS APPROPRIATION, ONE OF THE DEFINITIONS OF MISAPPROPRIATION IS USE WITHOUT CREDITING OR AUTHORIZATION.
SO IF THERE'S JUST LIKE, UH, NOW WOULD BE PASSED TO THE COMMITTED FOR STRONG CONSIDERATION.
I JUST WANNA, UM, IF ANYBODY CAN VERIFY IN REGARDS TO THE PIECE IN GENERAL, DOES IT REPRESENT ONE NATION OR IS IT A, AN APPROPRIATION OF MULTIPLE, UH, PRESENTATION EVER INTENDED TO BE ANYTHING ABOUT ANY PARTICULAR TRIBE? IT'S ABOUT THE IDEAL OF RESPECT AND COMPASSION.
SO THAT IF YOU GOT ONE OF THE PACKETS I BROUGHT LAST WEEK IN THERE, THERE'S A PAGE, RIGHT? FOR THE FIRST TIME THE KIDS WERE THERE, THEY DID IMAGES, THEY GENERATED ON THEIR OWN ABOUT RESPECT AND COMPASSION.
AND THOSE IMAGES ARE THE SAME THINGS THAT YOU SEE IN THE SCULPTURE.
SO, OKAY, SO THANK YOU FOR CLARIFICATION.
SO THEN MR. LAR IS OF A PARTICULAR TRACK, AND IT'S, WE'RE LOOKING AT AND, AND FOCUSED ON THE LAKOTA BECAUSE OF HIS, UM, NOT, I'M CONFUSED.
IT'S BECAUSE OF THE, IT'S BECAUSE OF THE PASSAGE.
THE PASSAGE, IT'S ATTRIBUTED CHIEF YOLO LARK.
THERE'S, IF YOU LOOK IT UP ON GOOGLE, IT, THERE'S A LOT OF DISCREPANCY ABOUT, IS IT REALLY CHIEF YOLO LARK? IS IT REALLY LAKOTA SUE? IT WAS READ BY OWNER ROOSEVELT IN 1956, PROBABLY, UM, ONE SOURCE CONTR, UH, CREDITS TO A MAN NAMED ERNEST SHOOT OR SOMETHING LIKE THAT.
THERE'S SOME DISCREPANCY ABOUT THE ORIGIN OF THIS PARTICULAR PASSAGE.
MOST FREQUENTLY IT'S CREDITED AS LAKOTA SUE, CHIEF LAR 1887.
IT'S A PASSAGE THAT, AND MANY, MANY, MANY, IT'S PUBLIC DOMAIN.
IT'S IN MANY, MANY, MANY COMPILATIONS OF SACRED UPLIFTING WRITINGS.
THAT DOESN'T NECESSARILY MEAN THAT IT WASN'T APPROPRIATED BY ALL OF THOSE DIFFERENT PLACES, BUT I SEE, I, I JUST WANT CLARIFICATION AS TO WHETHER OR NOT IT WAS, WHEN I SEE THE CONNECTION AS TO WHY IT'S, WE'RE FOCUSING IN ON LAKOTA IS BECAUSE OF THE, THE PASSAGE.
IT'S ATTRIBUTIONAL, LAKOTA, SUE.
UM, WE, IT'S PART OF A PRACTICE THAT I DO OR AN MRI, SACRED PASSAGES.
I'VE SAID THAT PARTICULAR PASSAGE TO MYSELF, UH, EVERY MORNING FOR 17 YEARS.
AND WHEN I HEARD TEACHERS IN DALLAS SAYING ABOUT HOW THEY WERE SEEING SUCH DISRESPECTFUL DIALOGUE BETWEEN KIDS AND REQUESTING A LESSON ON RESPECT, WE DEVELOPED A LESSON CALLED THE RESPECT LESSON, WHICH WAS A THIRD OF THIS PROJECT.
UM, I, I SAW THAT THAT PASSAGE SPOKE BEAUTIFULLY TO THE I, THE, THE IDEAL, THE UNIVERSAL IDEAL OF RESPECT FOR ONE ANOTHER.
I, UM, I JUST WANNA SAY THAT THE SPIRIT OF THE PIECE MAKES TOTAL SENSE, RIGHT? WHERE YOU'RE GOING WITH IT AND EVERYTHING.
BUT WE DO HAVE TO HAVE SOME DEGREE OF, YOU KNOW, RESPECT FOR, UM, OTHER CULTURES AND NOT EVEN WHEN IT'S IN THE PUBLIC DOMAIN, ET CETERA, ET CETERA.
ANYTIME THERE'S AN OPPORTUNITY TO GIVE DUE RESPECT AND INCLUSION AND CREATING OF A PIECE, IT'S IMPORTANT TO, TO DO THAT.
UM, AND SO, YOU KNOW, I WANT TO, YOU KNOW, SAY THAT, BUT I DO HOPE, ME PERSONALLY, I HOPE THAT THERE'S A WAY TO HAVE A HAPPY MEDIUM TO FIND, YOU KNOW, THE, THE MIDDLE GROUND IN REGARDS TO THE RESPECT OF THE, WHERE THE PASSAGE CAME FROM.
AND ALSO TO BE ABLE TO HONOR THE STUDENTS AND EVERYONE THAT'S BEEN INVOLVED IN THE PROJECT.
AND HOPEFULLY THAT CAN HAPPEN.
[02:15:01]
OKAY.IF THE COMMITTEE WERE TO RECOMMEND THAT YOU ADD YOUR WORK BY CREDITING THE SOURCE OF THE TRIBE, UH, WOULD YOU BE AMENABLE TO ADDING THAT? WELL, UH, YEAH, ABSOLUTELY.
JUST TO BE CLEAR, IT IS ACCREDITED TO CHIEF LAR SSU ON THE, ON THE PLAQUE.
I THINK MR. LAR, LARS SUGGESTION ON THE ARTWORK, UM, IT'S ON THE PLAQUE.
IT'S ON THE RIGHT NEXT TO, IT'S RIGHT, IT'S NEXT TO IT.
UM, I THINK MR. LARS SUGGESTION THAT THE TEXT AND LAKOTA SUE IS EXCELLENT.
UM, I THINK THAT THAT'S A, THAT'S A GOOD IDEA.
COMMISSIONERS, IF YOU WILL ALLOW THE CHAIR TO CEASE THIS DISCUSSION.
AND WE WILL DEFER THIS BACK TO A COMMITTEE WHO BRING US ALL THE INFORMATION.
CAN WE BOTH TO COME TO THAT MEETING? WHAT'S UP MEETING, COME TO THAT MEETING.
SHOULD, COULD WE ALLOW COMMISSIONER YELLOW ONE MORE MINUTE? YELLOW ONE QUESTION.
I KNOW IN THE, THE, UM, ALL OF THE INFORMATION WE WERE GIVEN, EVEN AT THE LAST MEETING FOR, FOR THE ART PIECE, UM, THERE WAS A SLIDE, I WAS TRYING TO OPEN IT AND WOULDN'T OPEN THIS NOW, BUT, UM, THERE'S A SLIDE WITHIN THAT PIECE WHERE IT'S KIND OF LIKE A VISION BOARD, SORT OF WHAT, WHAT, AND THERE IS, IS AN IMAGE OF, UM, TOTEM POLE EVEN WITHIN THAT.
AND THAT'S NOT LAKOTA, RIGHT? AND SO, AND SO, UM, I HAD A QUESTION ABOUT THAT.
AND THEN THE SHAPE OF THE STATUE CAME TO BE BECAUSE OF TOTEM.
I KNOW THERE'S MANY OTHER, THE OTHER, UM, IMAGES OF THE SAME SHAPE.
BUT, UM, IF THAT'S PUBLIC, I KNOW THAT COULD BRING UP, CUZ I NOTICED THAT IT'S A ONE SMALL IMAGE, BUT THAT'S WHERE MY EYES WENT IMMEDIATELY.
UM, CUZ I KNOW THAT'S NOT LAKOTA, YOU KNOW, SO I KNOW LIKE IF THAT'S WHAT'S OUT IN THE PUBLIC, IF A IF ANOTHER NATIVE OR INDIGENOUS PERSON SAW THAT, THEY'RE GONNA QUESTION IT AS WELL.
THAT WAST MY PRIVATE, I MEAN, I, MY, MY PRIVATE BOARD, UM, THE SUBJECT WAS THE SHAPE REPORT BASED ON AN ANCIENT RAIL QUERY.
THAT'S THE ONE SHAPE OF THE HUMAN.
UM, WE LOOKED, WE LOOKED AT PACIFIC WEST TOTEMS AT THAT TIME WITH THE KIDS BECAUSE WE WERE WORKING WITH THE, THE DEVELOPMENT OF JACKSON BOULEVARD.
AND AS YOU PROBABLY KNOW, FINDING, FINDING A HOME OR SPACE FOR A PIECE OF PUBLIC ART IS, IS A HUGE ISSUE.
AND THE SPACE THAT WE WERE GIVEN AS PART OF THE PROJECT WAS THIS TINY SPACE THAT IF WE WANTED TO BUILD SOMETHING, EVEN HAD BE TINY, WE HAD TO GO UP.
SO THAT'S WHY WE WERE LOOKING AT ARCHITECTURE IN DUBAI AND AT TOTEM POLES AND AT RAIL QUERIES AND THE, THE ART OF BRANCUSI AT, AT ART THAT, THAT HAD SOME KIND OF A VERTICAL, UM, ALIGNMENT.
AND TOTEM POLES WERE ONE OF THOSE THINGS.
UM, WE, THE POINT I WAS GONNA MAKE YOU IT'S GONE.
MAKE AS WE DO, THANK YOU FOR YOUR ROBUST DISCUSSION.
THIS WILL COME BACK AGAIN ON A FUTURE AGENDA.
LET'S LOOK AT ITEM B, THE CHAIR'S REPORT.
I'D LIKE TO, UM, CALL THE DETENTION OF THOSE COMMISSIONERS WHO HAVE SENT US REPORTS FOR THE MONTH.
UH, I KNOW WE HAVE ONE FROM JOE TRILLA.
UH, ARE THERE OTHER COMMISSIONERS WHO'VE DONE THEIR HOMEWORK? JOE, THANK YOU.
I THINK YOU THE ONLY ONE THAT DONE WHAT YOU'RE SUPPOSED TO DO THIS MONTH, SO THANKS FOR BEING A MODEL.
LET'S LOOK AT ITEM E ON THE, UH, AGENDA.
HEY, UM, I KNOW THERE'S BEEN, UH, TOPICS, BUT, UH, ISSUES WITH, UH, CONNECTING TO THE INTERNET AND NOT HAVING THE MATERIAL PREPARED NEXT MONTH, WE'LL ENSURE THAT WE CARRIERS FOR YOU IN THE EVENT THAT, BECAUSE I DO, SOME OF US PREFER WE HAVE PAPERS.
SO, SO SORRY BEHALF THE STAFF.
IF YOU DON'T HAVE THE JUNE TO BE PREPARED TODAY.
UM, OH, WHAT DO WE HAVE STAFFING UPDATES BEFORE I GET INTO DALLAS ARTS MONTH? UM, HAR GERALDO HAS BEEN PROMOTED TO MANAGE LCC.
UM, OUR OPENINGS NOW ARE THAT WE HAVE A PIO O UP ANNEMARIE FILLING MY GAPS.
WE HAVE SOME MY TITLE CULTURAL ARTS COORDINATORS THAT WILL BE PUBLIC ART AND COMMUNITY ARTS FACING.
SO TWO SEPARATE ROLES, LET ME SAY THE TITLE, BUT TWO DIFFERENT DIVISIONS OF OUR OFFICE.
UM, OUR BOARD AND COMMISSIONS, UH,
[02:20:01]
COORDINATOR WILL BE ONBOARDING AFTER SPRING BREAK AND WILL BE PLANNING, UH, ANNEMARIE, UH, AND I AND THE COORDINATOR WHOSE NAME IS LUIS.WILLIAM WILLIAM, UM, A RETREAT HOPEFULLY FOR MAY ANNEMARIE WILL FOLLOW UP WITH, UH, TRYING TO GET US A DOODLE SO WE CAN FIGURE OUT WHICH DATES WORK BEST, UM, SO THAT WE CAN ALL ATTEND, UM, WITH THE PURPOSE OF COURSE BEING, ALL OF US GETTING ON THE SAME PAGE.
I'VE INVITED WILLOW TO PARTICIPATE AND HOPEFULLY SHE'LL BE ABLE TO SHARE, BUT I WAS REALLY EAGER TO HEAR MORE ABOUT, UM, HOW TO MAXIMIZE OUR MEETING TIME, UM, WITH THE ROBERTS ROLE.
SO I'M HOPING SHE CAN FLESH OUT A LITTLE SOMETHING FROM US FOR OUR RETREAT TO THAT END, BECAUSE WE SPEND SO MUCH LOVELY TIME TOGETHER.
WE GOT TOO, WE NEED TO MAXIMIZE THAT TIME.
UM, ACTUALLY MAY, UH, A GOAL FIRST, BUT SORRY.
WELL, I'M GONNA SAY THE SAME THING.
WE BOTH MAY IS PARTICULARLY BAD FOR MANY PEOPLE WHO HAVE KIDS IN SCHOOL.
AND FOR EVENTS THERE'S LIKE SO MANY ARTS GALA.
GALA IS A COMPLICATED, OKAY, WE'LL WORK, BUT, AND THEN YOU ALSO HAVE TO GET IT IN BEFORE THAT LEAVE BEGINS TRAVELING FOR, UH, FOR SUMMER.
BUT YEAH, I WOULD JUST SAY YOU MIGHT WANNA LOOK AT THE ARTS, THE ART CALENDAR.
CAUSE MAY IS A CRAZY, IT'S NOTED EQUALLY CHALLENGING.
UM, WE'LL SQUEEZE, WE'LL, WE'LL WE'LL WORK IT OUT.
BUT WE REALLY NEED TO PRIORITIZE IT.
UH, NEW STAFF MEMBERS, NEW COMMISSIONERS, UM, AND YOU KNOW, JUST QUESTIONS.
YOU DID IT AT 7:00 AM I'M SURE YOU'D BE THERE.
EVERYBODY'S GOT EIGHT BREAKFAST
UM, AND BECAUSE THERE'S ALWAYS THIS QUESTION, UM, WE'RE STILL WAITING FOR, UM, SOME MOVEMENT FROM HR SO THAT WE CAN SHARE UPDATES REGARDING THAT PUBLIC ART MANAGEMENT.
SO ON BEHALF OF THE CITY, I APOLOGIZE, I SWEAR TO DELAY, BUT I HAVE NO UPDATE TO SHARE OUR CARD.
I'LL HOLD FOR QUESTIONS ABOUT STAFFING.
THE ONLY QUESTION I HAVE ON THAT IS LIKE, I UNDERSTAND THAT NOT BEING ABLE TO SHARE BECAUSE OF, YOU KNOW MM-HMM.
THIS IS BECOMING A PROBLEM IN MY WORLD.
CLEARLY
WE'RE GOING, UM, TO, TO THAT NOT EVEN ONLY WITH REGARD TO THIS PARTICULAR ROLE.
IF THERE ARE JUST, UM, MANY, MANY, MANY PROCESSES JUMP IN, WHAT ARE THEY LOCKED IN? SPEAK CULTURE.
THIS IS AN HR MATTER AND WE CANNOT, CANNOT ADDRESS IT FURTHER.
OKAY, COMMISSIONER, EXCUSE ME.
LET'S LOOK AT THE DALLAS ARTS.
I'M SO EXCITED TO PARTICIPATE IN MY VERY FIRST DALLAS ARTS MONTH COMING UP IN APRIL.
SO, UM, YOU KNOW, HERE WE HAVE, UM, SELECT HIGHLIGHTS FOR ANY MEMBER OF OUR COMMISSION.
MAY NOT BE AWARE, UM, THE, THE MONTH WAS STARTED AS WEEK BACK IN 2013, UM, BY MAYOR RAMS AND EXPANDED TO A MONTH, A FULL MONTH OF CULTURAL ARTS SELECTIONS, UM, FREE EVENTS FOR FOLKS SO THAT, YOU KNOW, WE CAN CONTINUE TO REDUCE BARRIERS AND HAVE FOLKS ENGAGE WITH WHAT'S HAPPENING ON THE SCENE.
UM, WE'LL SEE A FEW HIGHLIGHTED EVENTS HERE.
UM, I'M NOT GONNA READ A SLIDE.
SO LAST YEAR THE PRESS CONFERENCE WAS MOVED TO THE MAJESTIC AND GOT A GOOD CROWD.
I WOULD SAY TRADITIONALLY IT HAD BEEN AT CITY HALL ON A WEDNESDAY TO TAKE ADVANTAGE OF THE FACT THAT CITY COUNCIL WAS IN SESSION.
THEY COULD COME DOWN AND THEY COULD ALSO PARTICIPATE, ESPECIALLY WHO WAS MAYOR PROTE OR DEPUTY.
WHY NOW ON A MONDAY WHEN IT'S THE MOST BUSIEST DAY AND AT THE LATINO CULTURAL CENTER, I'LL LET BENJAMIN ANSWER THAT QUESTION.
HOWEVER, THERE, THIS IS A COMMITTEE THAT LANDED ON THAT DAY.
UM, AND THANK YOU FOR THAT CONTEXT CUZ I SURE.
THANK YOU COMMISSIONER HUMBOLD FOR THE QUESTION.
THE DALLAS
IT'S, ITS INTERNATIONAL DNA AND IT'S ALSO FIRST, UH, FULL YEAR USE OF THE LATINO CULTURAL CENTER, BLACK BOX THEATER.
[02:25:01]
AND DEPUTY MAYOR PRO TE UM, OMAR NARVAEZ WILL BE THERE MAKING REMARKS.AND ALSO COUNCIL MEMBER RIDLEY.
SO THAT WAS THE DECISION OF THE DALLAS ARTS MONTH COMMITTEE.
CAN WE GET A LIST OF WHO'S ON THE COMMITTEE? I WOULD WANT TO SHARE THAT WITH YOU.
ARE YOU ALL IN RECEIPT OF THE INVITATION FROM NIKKI? YES.
OUR CULTURAL CENTERS ARE OBVIOUSLY BE PARTICIPATING AND OFFERING ANY PROGRAMS THROUGHOUT THE MONTH OF APRIL.
THERE ARE SOME HIGHLIGHTS FROM PROGRAMS THAT ARE CENTERS WILL BE PUSHING FORWARD.
UH, YOUR PRESENCE WOULD BE GREATLY, DEEPLY APPRECIATE WHETHER FALL IN YOUR DISTRICT OR NOT.
AND AGAIN, UM, THE PRESS CONFERENCE IS MONDAY, MARCH 27TH.
UM, I HOPE THAT YOU, WE HOPE THAT YOU'LL RESPOND AND BE ABLE TO UNTIL UP AS BE THERE.
IS THERE ANOTHER SLIDE OR SHOULD I JUST SLIDE? OKAY.
ONE MORE ANNOUNCEMENT FOR, UM, THERE'S ANOTHER EVENT.
WE'RE WORKING IN PARTNERSHIP WITH K R A.
UM, THE DATE OF THAT EVENT IS APRIL 13TH AT 6:00 PM THE EVENT LOCATION IS THE SALMON CENTER FOR THE ARTS.
UM, AND WE'RE FINALIZING THE DETAILS.
UM, IT'S, UM, THE THEME IS ESSENTIALLY K R A IS A HUB FOR THE ARTS.
UM, THERE'LL BE A PANEL OF SPEAKERS, UM, AND AGAIN, I WILL SEND FURTHER DETAILS, BUT THE COMMITTEE IS, UH, WORKING TO FINALIZE WHAT THE REST OF THE EVENT WILL LOOK LIKE.
BUT AGAIN, APRIL 13TH, 6:00 PM YOU CAN SEND GIGI.
I HAVE AN EMAIL FROM, UH, COMMISSIONER, HOLD ON.
I'M GONNA FORWARD, UM, YOU KNOW, GIGI'S MONITORING AND MANAGING THE CALENDAR OF EVENTS AND ASSURING THAT WE HAVE A REALLY ROBUST OFFERING FOR THAT MONTH.
I WAS AT, YES, I HAVE A QUESTION ABOUT ARTS MONTH.
BUT TRADITIONALLY THERE'S BEEN A MAYOR'S CONVERSATION ON THE ARTS.
DID THE COMMITTEE CHOOSE TO DO AWAY WITH THAT COMMISSIONER HALL FOR THE QUESTION? YES, THE COMMITTEE DECIDE TO REVIEW THE CREATIVE CONVERSATION.
SO DOING THE, UM, WHAT WE'RE CALLING K R A AS A HUB WITH THE ARTS PANEL CONVERSATION, WHICH IS BEING FINALIZED.
THE DATE, UM, FOR THE PRESENTATION AT LCC IN APRIL.
ARTS ADVOCACY, ARTS ADVOCACY DATE WILL BE ON APRIL 25TH, TUESDAY, APRIL 25TH.
IT'LL BEGIN AT 11:00 PM UM, I KNOW THAT JOANNA AND ANGELO AND I BELIEVE COMMISSIONER HOMO IS PART OF THAT COMMITTEE.
SO I BELIEVE THAT WILL BE PLANNING THAT.
IT WILL BE A LUNCHEON ON STAGE AT THE LATINO CULTURAL CENTER.
AUDITORY AND ALL THE COMMISSIONS ARE INVI.
ALEXANDER HERNANDEZ IS THE ARTIST SPEAKER THIS YEAR.
UM, I'M SORRY, CAN YOU REPEAT THAT DATE? UM, FOR TUESDAY, UH, WAIT.
TUESDAY AT THE LCC ARTS ADVOCACY LUNCH COMMISSIONER JOE, THAT'S, YES, THAT'S CORRECT.
NO, I MADE MY STATEMENT EARLIER.
I JUST POSTED IT IN THE, UH, IN THE CHAT.
ANY OTHER QUESTIONS TO ASK DIRECT
I THOUGHT WE WERE LOOKING FOR CHAT TOO, TO MAKE SURE, CHECK NOTHING TO ADDRESS.
AND MARIE, DID YOU GET IT? YES, WE DID.
WOULD YOU LIKE ME TO READ IT?
ARIEL, UM, I'M GOING TO READ YOUR COMMENT ALOUD, UH, JUST SO EVERYONE HERE CAN SEE IT CUZ THEY MAY NOT HAVE ACCESS TO CHAT WINDOW.
UM, SHE SAID I UNDERSTAND THAT THIS HAS BEEN HANDED OVER TO PUBLIC ART, LIKELY ABOUT THE 29 PIECES.
UH, BUT I BELIEVE WE ALSO NEED
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TO BE PREPARED TO DEAL WITH THE SAME ISSUES IN OUR ADVISOR CAPACITY, ESPECIALLY AS IT RELATES TO FUNDING SUB A LOT IDENTIFIED ALANA ORGANIZATIONS.I WAS JUST GONNA ASK JUST TWO QUICK THINGS.
IT'S AWESOME TO SEE ALL THE HIGHLIGHTS AND ALL THE DIFFERENT EVENTS THAT WE COULD GO TO, BUT I KNOW THERE'S, THERE'S A DIFFERENCE BETWEEN THOSE EVENTS AND THE ONES THAT, LIKE AS COMMISSIONERS WE LIKE PRESS CONFERENCE, THE DECK AT LUNCHEON, THINGS LIKE THAT.
SO IS THERE A WAY TO, TO GIVE US KIND OF SOME OF THOSE KEY DATES OF LIKE, OKAY, THESE ARE SPECIFIC EVENTS THAT WE LIKE TO HAVE YOUR PRESENCE.
QUESTION IS THE MAYOR, IS THE MAYOR PARTICIPATING IN ANY ARTS MONTH RELATED EVENTS OUTSIDE OF CURIOSITY THAT, THAT, THAT WE KNOW OF PLANNING ON SEEING MULLAN RU
I, UM, FOR THE MONTH AT HAS PASS.
I THANK ALL OF THE COMMISSIONERS.
I'VE HAD AN OPPORTUNITY TO MEET WITH ONE-ON-ONE, UM, BETWEEN LAST MONTH AND THIS MONTH.
I HAVE A FEW MORE FOLKS I GET TO SEE OVER THE NEXT COUPLE OF WEEKS, BUT IT'S REALLY BEEN DEEPLY MEANINGFUL FOR ME TO CONNECT WITH YOU, TO LEARN ABOUT YOUR DISTRICT, FOR THOSE OF YOU WHO HAVEN'T GOTTEN TO MEET IN YOUR DISTRICT, TO MOVE AROUND AND VISIT THESE PLACES.
CAUSE AGAIN, BEING IN NEW DALLAS, IT'S REALLY, REALLY IMPORTANT TO ME THAT I MEET YOU THERE WHERE YOU ARE.
UM, AND I GET TO LEARN THE STREETS, GET TO NAVIGATE MY GP, BUT REALLY DO, SO I LOOK FORWARD TO CONTINUING THAT TRADITION.
THERE ARE MANY OF US THAT, YOU KNOW, THAT MANY OF YOU THAT HAVE GOT BACK INTO VISIT WITH YET, BUT I'M REALLY LOOKING FORWARD TO IT.
OKAY, LET'S TAKE A LOOK AT OUR INFORMATIONAL MATERIALS.
ITEM NUMBER I, THE COMMUNITY ARTS SUMMER RESIDENCY PROGRAM UPDATE.
UH, I UNDERSTAND WE HAVE THAT AND I THANK YOU.
AND ALSO IN THE SAME PACKET YOU HAVE THE ARTS ACTIVATED 2023 ROUND THREE SUMMARIES, HANDS OFF AGAIN TO THE ALLOCATIONS COMMITTEE FOR THE GREAT WORK YOU'VE DONE IN, UH, MAKING THOSE SELECTIONS.
COMMENTS TO QUESTIONS FROM COMMISSIONERS.
I KNOW I SHOULD HAVE BROUGHT THIS UP WITH COMMITTEE AND I SOUND LIKE A BROKEN RECORD.
CAN WE ASK STAFF TO PLEASE PUT WHAT DISTRICT THESE INDIVIDUALS ARE? BECAUSE I MAY MISS SOME PEOPLE THAT ARE FROM D ONE.
I MAY NOT KNOW THE NEW PEOPLE WHO ARE COMING UP ON THE SCENE.
IT WOULD BE REALLY HELPFUL CAUSE THEN I CAN PRESENT IT TO, UH, COUNCIL MEMBER WEST AND SAY, LOOK AT THIS.
RIGHT? OR IF I SEE THEM, I, I CAN CONGRATULATE THEM, UM, OR GET TO KNOW THEM IF I DON'T KNOW THEM.
AND YOU HAVE ASKED BEFORE, CAN YOU SHARE ANYTHING YOU WANNA SHARE ABOUT THIS? JUST A THANKS, THANK YOU TO EVERYONE YOU SERVE ON THE ALLOCATIONS COMMITTEE.
IF YOU'RE NOT ON THE COMMITTEE AND YOU WANNA SEE HOW THIS WORK GETS DONE, JOIN US BECAUSE IT IS NOT, UM, I THINK THE STAFF WILL BE THE FIRST TO TELL YOU IT IS NOT A RUBBER STAMP COMMITTEE.
THERE IS, IT IS A VERY, UM, THERE'S ALWAYS A VERY ROBUST DISCUSSION.
AND I PERSONALLY BELIEVE THAT THAT, UM, IS INSTRUMENTAL IN HOW WELL WE HAVE BEEN ABLE TO MEET THE GOALS OF THE CULTURAL PLAN.
UM, AND, AND IT IS NOT JUST ONE OR TWO PEOPLE.
WE HAVE LONG MEETINGS AND EVERYBODY IS REALLY THINKING ABOUT HOW WE CAN BEST SERVE THE CITIZENS OF THE CITY AND HOW WE CAN BEST GET THE MONEY INTO THE HANDS OF AS MANY ARTISTS AS POSSIBLE AND TRYING TO SERVE THE FULL CITY.
SO PLEASE COME JOIN US AND WATCH THE DEBATE.
IT, IT, IT IS A DEBATE THAT IT, IT STARTS AS A DEBATE AND ENDS IN AND ADVANCES TO A DISCUSSION AND ENDS WITH THE COLLABORATION.
UH, WE ARE ALMOST ALWAYS OBJECTION TO ACTION, WHICH I LOVE.
RIGHT? WE ARE ALMOST ALWAYS UNANIMOUS.
UM, ON VERY RARE OCCASIONS SOMEONE WILL HAVE A, A REASON TO NOT AGREE, BUT FOR THE MOST PART, OUR DECISIONS ARE UNANIMOUS.
AND THAT IS BECAUSE OF THE HARD WORK AND DEDICATION OF EVERYONE THAT SERVES ON THAT COMMITTEE.
SO THANK YOU TO ALL MY COMMITTEE MEMBERS AND THANK YOU CHAIRWOMAN FOR TRUSTING US WITH THAT WORK.
I LOOK ON THE SCREEN EVERYBODY.
I HAVE ONE MORE COMMENT AND, AND IT'S NOT IN VIOLATION OF TOMA BECAUSE IT CAME UP EARLIER, BUT TO COMMISSIONER YELLOW FISH, I WAS YELLOW FISH.
I THINK IT WAS YOU WHO SAID THAT.
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READY AS A COMMISSION.OH, AS CURIOS, UH, COMMISSIONER CURIOS STATEMENT AND WHICH YOU SAID EARLIER, WE NEED TO BE READY AS A COMMISSION TO, TO, TO REALLY TACKLE THIS CULTURAL CONCERNS.
UM, YOU KNOW, WHAT IS THE PROCESS GONNA LOOK LIKE? HOW DO WE THEN INCORPORATE IT INTO OUR NEXT ANNUAL PLAN? YOU KNOW, DO WE HAVE TO HAVE A, A NEW COMMITTEE? MAYBE THIS FALLS UNDER EQUITY, RIGHT? SO, UM, AND THEN WE NEED TO GIVE SERIOUS CONSIDERATION ABOUT TO WHAT DEGREE OF EXPERT OR OR CONCERN, YOU KNOW, UM, DO WE, DO WE INCLUDE ON THE A COMMITTEE, A SUBCOMMITTEE OR WHATEVER? WE HAVE TO START THINKING ABOUT THAT AS SOON AS POSSIBLE BECAUSE I FEEL WITH THIS PROJECT, THE FLOODGATES ARE GONNA OPEN.
I SIT AND FIND AN, A WAY TO ACTIVELY ENGAGE O OFFICE OF EQUITY INCLUSION DEPARTMENT AS YOU KNOW, AS THEIR EXPERTISE.
AND WAY JUST TO MAYBE BEHALF A STAFF MEMBER THERE, SIR.
SHE GETS YOUR COMMENTS CUZ SHE CAN'T HEAR CHRISTMAS.
COULD SHE TAKE TAPING DOWN? SORRY.
I I JUST, WE THINK WE NEED MORE ACTION.
WE NEED TO, ANY OTHER COMMENTS BEFORE WE ADJOURNED? YES.
I DIDN'T KNOW WHERE WHEN THE PUBLIC WORKS COMMITTEE WAS, UH, MEETING AND I DIDN'T KNOW WHEN THE ALLOCATION COMMITTEE WAS MEETING.
SO I FIRST THURSDAY OF EVERY MONTH, AND I THINK THERE IS AN, I THINK THERE'S OPENING IN THE PACKET.
IT SHOULD BE IN THE LAST OF THE PACKET.
AND, UH, UH, ANNE MARIE, CORRECT ME IF I'M WRONG, BUT, UM, ALL MEETINGS ARE POSTED ON THE CITY WEBSITE, UM, BECAUSE OF THE OPEN ALONG WITH THE AGENDA ALONG, ALONG WITH THE AGENDA.
SO IF TWO HOURS AT TIME, RIGHT? SO IF YOU'RE, UM, IF YOU, BEFORE YOU DECIDE TO GIVE UP THAT PERIOD OF TIME IN YOUR DAY, YOU CAN LOOK AT THE AGENDA AND SEE WHAT WE'RE DISCUSSING.
UM, YOU PROBABLY DON'T HAVE THAT INFORMATION I WAS ASKING.
SO CALENDAR, FISCAL YEAR, LIKE SCHEDULING MEETINGS PURPOSELY? YES.
BECAUSE WE HAVE TO APPROVE THE, THAT'S REALLY BASIC THE QUESTION FOR ME.
MAY I ASK, I'M SORRY, MAY I ASK A QUESTION? YES.
IS AS NEW COMMISSIONERS, WERE YOU ORIENTED AT ALL BY THE OFFICE? NO.
I WENT THROUGH A WHOLE ORIENTATION OTHER THAN THE MANDATORY AND THERE WERE CERTAIN THINGS THAT WE HAD TO DO ONLINE.
WE HAD AN ORIENTATION WITH ANNEMARIE CHANGE THE MONEY.
AND I, I HAD AN ORIENTATION WITH, WITH CHRIS.
SO SINCE SYLVIA HAS ONBOARDED, WE HAVEN'T HAD, UH, LADIES AND MARIA AND NICK HAVEN'T HAD, AND I WOULDN'T CALL THAT THAT WAS REALLY THE ETHICS.
WOULDN'T YOU SAY THAT WAS REALLY THE ETHICS REVIEW? IT WASN'T, I DIDN'T FEEL LIKE IT WAS REALLY ONBOARDING.
I DIDN'T FEEL LIKE, I'M SORRY.
IT, IT WAS THE, THE REQUIRED ETHICS REVIEW.
SO THAT WAS JUST A STREAMING THING THAT WE DID.
AND SO I DON'T THINK ANY OF IT, THAT'S DEFINITELY NOT WHAT I'M TALKING ABOUT.
AT ONE TIME THERE WAS AN ONBOARDING PROCESS THAT EITHER WAS, UM, UH, USUALLY IT INVOLVED MULTIPLE STAFF MEMBERS, LIKE STARTED WITH THE DIRECTOR AND OFTEN THE CHAIR WAS THERE AND DIFFERENT PEOPLE EVEN INVOLVED.
THE ONE THAT I WENT THROUGH, UM, THERE WERE, THERE WAS EVEN SOMEBODY FROM THE CITY ATTORNEY'S OFFICE WHO CAME AND BRIEFED US ON, BUT WE HAD, THERE'S CERTAINLY A TERM AMOUNT OF ON THE JOB TRAINING HERE, BUT IT DOES DISSERVICE TO YOU AND TO US AS ENGINEERS HERE ABOUT AN ORIENTED TO LIKE WHAT, YOU KNOW, YOU'RE THESE THINGS THAT ARE OBVIOUSLY COMING UP.
I THINK THAT THEY, THEY DESERVE SOME OUTSIDE OF THIS MEETING NOT TO HAVE THOSE PROCESSES AND, AND ANSWERS.
LIKE AGAIN, FOR ME WITH THE PUBLIC ART BRIEFING SHOULD DEFINITELY DO THAT.
BUT THE FIRST TIME I LEARNED ABOUT IT WAS, HEY, TOOK, YOU KNOW, HOW TO MEET A ONE-ON-ONE MEETING WITH HER AND SHE WALKED ME THROUGH THE PUBLIC ART PROCESS SO I COULD ASK THE QUESTIONS OUTSIDE OF LIKE A PUBLIC FORUM.
YOU KNOW WHAT I MEAN? UM, SUPER HELPFUL.
IT'S VERY HELPFUL TO HAVE THAT.
I DON'T KNOW WHERE THAT'S EVAPORATED, BUT SHOULD DEFINITELY BE.
UM, WELL, GLAD TO HEAR THE, UH, ORIENTATION IN THE PAST.
IT'S BEEN APPRECIATED BY MANY OF YOU AND I APOLOGIZE TO COMMISSIONER AND SMALL, YOU ALL CAME ON, UM, JUST SO RECENTLY AND WE ARE WORKING TO SCHEDULE AND HAVE BEEN PEDALING VERY FAST.
SO WE WILL, UH, WORK TO SCHEDULE THAT AFTER SPRING BREAK AND, UH, WE'LL JOIN YOU TOMORROW ABOUT AVAILABILITY AND GET THAT SET UP.
AND IF YOU DON'T MIND, WE LOVE IT.
SO THIS IS COMMISSIONER CURIEL
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OR AMITHA BEEN ORIENTED? I BELIEVE SHE HAS.I I REMEMBER THAT WE HAD A, A SHORT ORIENTATION FOR FORGET WHEN, BUT YES.
COMMISSIONERS, CONSIDERING OUR BUSINESS HAS BEEN TRANSACTED ON TODAY'S AGENDA CHAIR, UH, CALLS THIS MEETING TO ADUR AT 7:15 PM THANK YOU SO MUCH.