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Global Center  for  Cultural  Entrepreneurship

Northern New  Mexico  Cultural  Corridor: Working  Together  to  Strengthen   our  Regional  Economy  

Review of  Work  Completed Spring  2012

INTERVIEWS WITH  MAJOR  STAKEHOLDERS The  Mid-­‐Region  Council  of  Governments,  Bernalillo  County,  City  of  Santa  Fe,   and  the  City  of  Albuquerque  engaged  GCCE  to  complete  a  business  plan   regarding  the  opportunity  to  build  a  Northern  New  Mexico  Cultural   Corridor.  The  geographic  area  of  this  Corridor  includes  the  following   counMes:  Santa  Fe,  Taos,  Rio  Arriba,  Bernalillo,  Los  Alamos,  and  Sandoval. Mee#ngs  and   presenta#ons   were  held  in   stakeholders’   offices  in  97%  of   the  cases.

State of  New  Mexico • Secretary  of  Department  of  Tourism:  Monique  Jacobson,  (October,   November,  and  January). • Secretary  of  Cultural  Affairs:  Veronica  Gonzales,  (December). • Secretary  of  Economic  Development:  Jon  Barela,  (October). Sunport: • Director:  Jim  Hinde,  (November,  January). • MarkeMng  Director:  Dan  Jiron,  (February). Bernalillo   • Commissioner  Maggie  Hart  Stebbins,  (November,  January). • Commissioner  Art  de  la  Cruz,  (February). • Director  Cultural  Department:  BernadeZe  Miera,  (January). • Mayling  Armijo,  Director  Economic  Development,  (January). Albuquerque • Director  of  Economic  Development:  John  Garcia,  (November,  January). • Director  of  Cultural  Services:  BeZy  Rivera,  (February). • Asst.  Director  Cultural  Services:  Sherri  Brueggman,  (December). • CVB  Director:  Dale  LockeZ,  (October). • CVB  MarkeMng  Director:    Tania  Armenta,  (October). • President,  Heritage  Hotels:  Jim  Long,  (January,  December). • Architect  and  Principal,  Dekker-­‐SabaMni,  Dale  Dekker,  (October).   Indian  Pueblo  Cultural  Center • President  and  CEO:  Ron  Solimon,  3  IPCC  senior  staff,  (December,   January). Mid-­‐Region  Council  of  Governments • Director:  Dewey  Cave,  (January). • Program  Director:  Ann  Simon,  (November,  January). • Planning:  Thaddeus  Lucero,  (February). • MarkeMng:  Jay  Fraught,  (February). • Director  of  MarkeMng:  Augusta  Meyers,  (February).


County Manager:  Phil  Rios,  (December).

Director of  Tourism:  Donna  Wylie,  (December).

Santa Fe •

Mayor: David  Coss,  (November,  January).

Mayor Pro  Temp:  Rebecca  Wurzburger,  (November,  January).

VB Manager:  Jim  Bradbury,  (November).

City Manager:  Robert  Romero,  (November).

Andrew Van  Luchene,  (November).

Los Alamos •

County Commissioner:  Sharon  Stover,  (January).

County Manager:  Harry  Burgess,  (January).

Pojoaque Pueblo •

Governor of  Pojoaque  Tribe:  George  Rivera,  (December,  January).

General Manager  Buffalo  Thunder:  ScoZ  Eldregde,  (January).

Director of  MarkeMng  Buffalo  Thunder:  Phil  Gonzales,  (January).

Española •

Director of  Puye  Cliffs:  Tina  Whitegeese,  (January).

General Manager  of  the  Santa  Clara  Hotel:  Tom  Wilkie,  (January).

Taos •

Director of  Tourism:  Cathy  Connelly,  (November).

President-­‐Webb Design:  Janet  Webb,  (November).

Owner-­‐Parks Gallery:  Mr.  Parks,  (November).  

Town of  Corrales • •

Mayor: Phillip  Gasteyer,  (November). 5  others  from  the  local  historical  society,  (November).

Regional Development  CorporaKon •

Director: Kathy  Keith,  (December).

Program Manager:  Eric  Vazquez,  (December).

Tourism District  5  Board  of  Directors  (Upcoming) •

This meeMng  organized  by  Chair  Rebecca  Latham,  there  will    be  about   10-­‐15  people  from  the  northern  district  meeMng  on  March  15th.

INTERVIEWS SUMMARIZED Every  person  interviewed  from  south  to  north  thought  the  Regional   Cultural  Corridor  was  deeply  needed  for  our  future  sustainability  and   growth.    We  met  with  leadership  in  communiMes  from  Chama  to  Red  River   to  Belen.    All  agreed  we  should  create  a  regional  cultural  corridor;    there   was  not  one  naysayer.    They  all  recognize  that  culture  is  our  major  asset. Interviewees  also  agree  that  the  development  of  an  agritourism  corridor  is   essenMal.    We  earned  a  Regional  Development  CorporaMon   We  met  with  two  casinos,  Buffalo  Thunder  and  Santa  Clara,  who  stated   they  would  contribute  only  if  casino  and  hotel  promoMon  was  a  key   element  of  the  project.    The  feeling  of  many  is  that  we  must  keep  this   focused  on  culture-­‐-­‐  and  culture  alone.    In  addiMon,  there  exists  in  ABQ   strong  resentment  against  casino  hotels  because  they  do  not  collect   lodger’s  tax  and  fees  for  services  for  ciMzens  are  thus  not  shared.      Our   region  and  the  tribes  are  seriously  divided. We  made  over  30  presentaMons,  some  one-­‐on-­‐one  and  some  in  small   groups.    Responses  like  “This  idea  is  dead  on”  were  common.    At  the  Mme   of  these  interviews,  we  did  not  give  a  financial  target  nor  did  we  present  a   business  plan  at  that  Mme.    Our  goal  was  to  test  the  concept  to  determine   communiMes’  and  leaders’  willingness  to  invest  a  porMon  of  their  lodger’s   tax  and/or  markeMng  dollars  and/or  economic  development  funds.    During   these  iniMal  meeMngs,  there  were  no  negaMve  responses  to  the  Cultural   Corridor  idea. Agritourism  Corridor GCCE  had  addiMonal  support  of  the  Regional  Development  CorporaMon,  the   Mid-­‐Region  Council  of  Governments,  and  Bernalillo  County.    Therefore,   GCCE  has  also  done  grassroots  research  with  farmers  and  vineyards  to   determine  their  level  of  interest  in  parMcipaMng  in  agritourism.     AddiMonally,  we  sought  to  gauge  the  level  of  agritourism  assets  we  have  in   our  region  to  create  a  strong  reason  for  visitors  to  visit.    We  found  eager   response  from  vineyards  and  farms.      Many  of  these  small  cultural   enterprises  are  ready  to  host  visitors;  others  are  moMvated  to  receive   visitors  yet  need  training  and  preparaMon.    This  is  an  opportunity  for  small   business  development  and  entrepreneurial  training.      


Review of  Cultural   Corridors  Across   the  Country

We reviewed  five  other  Cultural  Corridor  iniMaMves  around  the  country  that   are  pursuing  a  shared  markeMng  or  regional  markeMng  approach.    These   included: 1.)  CincinnaM  Regional  Tourism  Network   2.)  Iowa  Cultural  Corridor  Alliance   3.)  Hennepin  Cultural  Corridor   4.)  Sacramento  Cultural  Corridor 5.)  Las  Vegas  Cultural  Corridor 6.)  East  Bay  Cultural  Corridor   7.)  New  Mexico  Women’s  Cultural  Corridor 8.)  Santa  Fe’s  Cultural  Corridor  (St.  Mike’s  area)   9.)  Napa  Valley  “Wine  Train” 10.)  Winston-­‐Salem  Cultural  Corridor 11.)  American  Indian  Cultural  Corridor,  Minneapolis 12.)  South  Bronx  Cultural  Corridor •

We conducted  web-­‐based  research  on  each  of  these  iniMaMves  and   interviewed  three:  the  South  Bronx  Cultural  Corridor,  the  Winston-­‐ Salem  Corridors,  and  the  Las  Vegas  Cultural  Corridor.    

Key findings  include:  (1)  for  regional  markeMng  desMnaMon  iniMaMves   to  be  successful,  they  require  ample  resources  such  that  a  talented   full-­‐Mme  staff  person  can  be  hired;  (2)  successful  iniMaMves  require   entrepreneurial  business  models  ;  (3)  dynamic  internet-­‐based   markeMng  is  essenMal;  (4)  effecMve  markeMng  requires  constant  and   innovaMve  product  development;  and  (5)  a  diversity  of  administraMve   models  is  being  used  but  all  Corridors  are  closely  Med  to  state  or  local   tourism  iniMaMves.    

While other  regions  have  designated  "Cultural  Corridors"  as  a   component  of  their  markeMng  strategy,  they  have  failed  to  adequately   resource  these  efforts.    For  example,  the  Winston-­‐Salem  Corridors   does  not  have  a  full-­‐Mme  staff  person.    The  lack  of  dynamic  content  on   their  website,  and  their  failure  to  call  back,  seem  evidence  of  their   inability  to  fully  aZend  to  the  needs  and  opportuniMes  of  the  Corridors   program.    While  they  built  a  visually  appealing  website   (  and  invested  in  the  design  of  developing   themes  along  these  corridors,  the  website  lacks  social  media  or   frequently  updated  content.    


While the  Las  Vegas  Cultural  Corridor  has  tasked  an  employee  of  a  local   museum  with  also  managing  the  Corridor  and  the  result  is  a  Corridor   that  has  neither  grown  nor  expanded  its  impact.    The  Corridor  lacks  a   sense  of  dynamism  and  seems  to  serve  as  an  advocate  for  parMcipaMng   organizaMons  more  than  a  markeMng  mechanism  to  aZract  visitors  to   the  downtown  area.  This  is  due,  according  to  the  person  interviewed,   to  the  highly  effecMve  markeMng  that  already  takes  place  for  Las  Vegas   as  a  region.

Each of  the  Corridors  studied  hosts  a  website  and  three  also  have   Facebook  pages.    While  the  Bronx  website  offers  the  most  lively  and   up-­‐to-­‐date  informaMon,  other  websites  seem  staMc  and  intended  more   for  informaMonal  purposes,  and  less  for  engaging  potenMal  visitors  to   actual  events,  sites,  and  local  businesses.    For  example,  the  Winston-­‐ Salem  site  encourages  visitors  to  "stop  in"  their  office  for  more   informaMon  but  fails  to  direct  visitors  visiMng  the  website  by   Smartphone  straight  to  local  experiences.    The  American  Indian   Corridor  offers  a  calendar  of  events  but  the  calendar  is  difficult  to  read.     Finally,  none  of  the  websites  allow  customers  to  design  their   experiences.

Each of  the  above  Corridors  uMlizes  a  different  organizing  structure:  the   Bronx  Corridor  is  a  project  of  the  Bronx  Arts  Council;  the  Las  Vegas   Corridor  is  a  member-­‐driven  group  of  8-­‐10  local  organizaMons  that   meet  monthly.    The  American  Indian  Corridor  is  a  project  of  the  NaMve   American  Community  Development  InsMtute;  it  is  unclear  how  the   venture  is  organized  or  maintained.

The CincinnaM  Regional  Tourism  Network  has  the  most  robust   organizaMonal  structure,  with  several  full-­‐Mme  members,  a  Board  of   Directors,  and  strong  Mes  to  both  the  Kentucky  and  Ohio  convenMon   and  visitors  bureaus  in  the  region.

Above all,  our  research  indicate  the  clear  need  for  adequate  funding  to   support  full-­‐Mme  staff,  strong  markeMng  and  public  relaMons   capabiliMes,  and  a  dynamic  and  contemporary  markeMng  strategy.     While  the  Corridor  approach  is  growing  and  compeMMon  conMnues  to   increase,  currently  no  Corridor  approach  has  built  a  consumer-­‐ oriented,  world  class  desMnaMon  markeMng  program.  


The Regional   Mee#ng  was  held   at  the  Santa  Fe   University  of  Art   and  Design  on   February  22  

State of  New  Mexico •

Secretary Monique  Jacobson:  Tourism

Secretary Veronica  Gonzales:  Culture

Veronica Valencia:    Direct  of  MarkeMng-­‐Tourism

Sunport: •

MarkeMng Director:  Dan  Jiron

Bernalillo •

Commissioner Maggie  Hart  Stebbins

BernadeZe Miera,  Director  Cultural  Department

Albuquerque •

John Garcia:  Head  of  Economic  Development

BeZy Rivera:  Director  of  Cultural  Services

CVB Director  Dale  LockeZ

CVB MarkeMng  Director:    Tania  Armenta

Jim Long:    President,  Heritage  Hotels

Mid-­‐Region Council  of  Governments •

Ann Simon:    Program  Director

Thaddeus Lucero:    Planning

Jay Fraught:  MarkeMng

Joanne McEnMre:    Agritourism  RepresentaMve

Sandoval County •

Donna Wylie:    Director  of  Tourism

Santa Fe  County •

Liz Stefanics:  Commissioner

Duncan Sill:    Director  of  Tourism


Mayor David  Coss

Mayor Pro  Temp  Rebecca  Wurzburger

Jim Bradbury:    CVB  Manager

Robert Romero:    City  Manager

Sabrina PraZ,  Director  Arts  Commission

Debra Garcia:    Ass.  Director:    Arts  Commission

Jenny Kimball:    La  Fonda  Hotel  CEO

Los Alamos •

Kevin Hosapple,  City  of  Los  Alamo

Chama Area •

Jill Lane

Regional Development  CorporaKon •

Cathy Keith:    Director

Eric Vazquez:    Program  Manager

Rio Grande  Heritage  Area •

Tom Romero:    Director

Maria Padilla:    Asst.  Director

Santa Fe  University  of  Art  and  Design •

Larry Hinz:  President

Global Center  for  Cultural  Entrepreneurship

To access  the   complete   Business  Plan,   and  Cultural   Corridor   Presenta#on,   visit  our  website.

Tom Aageson-­‐  ExecuMve  Director

Alice Loy:    Program  Manager

Kari Sullivan:    Office  Coordinator

NOTE:  this  report,  as  well  as  the  Business  Plan,  and  Cultural  Corridor   presentaKon  are  available  on  the  Global  Center  for  Cultural   Entrepreneurship  website

AddiKonal Review  of  Cultural  Corridors CincinnaK  Regional  USA  Tourism  Network The  CincinnaM  USA  Regional  Tourism  Network  (RTN)  is  a  desMnaMon  markeMng  company   that  promotes  leisure  travel  to  drive  overnight  visitaMon  to  regional  hotels,  aZracMons   and  entertainment  experiences  in  CincinnaM  and  Northern  Kentucky.    Founded  in  2005,   the  RTN  aZracts  new  leisure  visitors  and  dollars  to  the  region  while  consistently  building   a  loyal  base  of  repeat  visitors.    RTN  collaborates  with  the  CincinnaM  USA  ConvenMon  &   Visitors  Bureau,  and  the  Northern  Kentucky  ConvenMon  &  Visitors  Bureau  and   community  partners  to  bring  the  region  to  life  for  millions  of  visitors. This  is  living  and  working  in  the  region  TOGETHER.  This  is  a  broad  tourism  network,  not   just  focused  on  cultural.    It  is  a  demonstraMon  of  how  a  large  geographical  network  can   be  developed  with  mutual  promoMon.   Leadership Linda  Antus President  &  CEO

Board of  Directors Louise  Hughes,  Chair CincinnaM  USA  CVB  Chair  Emeritus

Heather W.  Kessler Director  of  Marke#ng

Mike Conway,  Vice-­‐Chair Winegardner  &  Hammonds,  Inc.

Sheree Allgood Director  of  Strategic  Communica#ons

Daniel T.  Fay Commonwealth  Hotels,  Inc.

Amber PoZer Public  Rela#ons  &  Marke#ng  Specialist

Michael Laatsch Western  &  Southern  Financial  Group

Kim Manning  Digital  Media  Project   Manager

Carlos De  Jesus Procter  &  Gamble

Marianne Yauger Director  of  Opera#ons Julie  Brock   Business  Opera#ons  Assistant What  is  unique  about  this  regional  effort  is  that  it  covers  two  states,  Ohio  and  northern   Kentucky.    On  their  site  they  actually  promote  their  two  offerings  of  convenMon  services   TOGETHER.    This  is  a  private  and  public  effort. CincinnaM  USA  Regional  Tourism  Network 50  E.  Rivercenter  Blvd.,  Suite  810 Covington,  KY  41011 (859)  581-­‐2260  

Iowa Cultural  Corridor  Alliance   This  includes  seven  counMes  in  Iowa. About  Iowa  Cultural  Corridor  Alliance  Iowa  Cultural  Corridor  Alliance  The  Iowa  Cultural   Corridor  Alliance  (ICCA)  is  an  alliance  of  over  150  cultural  organizaMons  in  the  Eastern   Iowa  Corridor.  ICCA  defines  the  Corridor  as  Linn  and  Johnson  CounMes  and  the  nine   adjacent  counMes.  The  mission  of  ICCA  is  to  promote  the  varied  cultural  acMviMes  of  its   partner  organizaMons  and  to  nurture  a  sustainable  cultural  community.  This  is  done   through  advocacy-­‐focused  events,  educaMonal  programming,  arts  and  culture   awareness,  cultural  tourism,  and  building  strong  relaMonships  throughout  the   community. ICCA’s  website,,  was  created  to  provide  a  "one  stop  shop"  for   residents  and  visitors  to  the  Corridor  to  find  out  what  is  happening  in  the  area.  Our   partner  organizaMons  add  their  events  to  this  site  so  that  those  interested  in  arts  and   cultural  happenings  can  find  out  what  is  going  on  and  when  in  a  centralized  locaMon.   You  can  easily  search  our  site  by  date  using  the  Calendar  Tab.  Search  by  keyword,  event   category,  Mme,  city,  or  organizaMon  by  using  the  Advanced  Search  Tab. Partnership  with  the  Alliance As  professionals  in  the  arts  and  culture  sector,  both  ICCA  and  its  partner  organizaMons   understand  that  to  succeed,  both  parMes  must  have  a  vested  interest  in  the  alliance   relaMonship.  Thus,  ICCA  focuses  not  on  memberships,  which  can  be  construed  as  a  one-­‐ way  relaMonship,  but  instead  on  partnerships,  where  both  parMes  must  assist  in  making   the  relaMonship  work.  ICCA  partnerships  take  two  forms:  Partners  (nonprofit  arts  and   cultural/governmental  organizaMons)  and  Friends  and  Business  Partners  (individuals  and   for-­‐profit  organizaMons  whose  primary  mission  is  related  to  arts  and  culture  or  who   would  believes  in  ICCA’s  mission  and  vision  and  would  like  to  parMcipate).  Both  types  of   partners  receive  many  benefits  through  their  yearly  dues,  which  are  outlined  below  in   the  applicaMon  documents. S900  First  Avenue Coralville,  IA  52241 (319)  849-­‐8ART(8278)

Hennepin Cultural  Corridor:  Minneapolis “Bringing  the  Hennepin  Avenue  cultural  corridor  to  life!” The  NaMonal  Endowment  for  the  Arts  has  awarded  $200k  to  Hennepin  Theatre  Trust  to   revitalize  vacant  private  and  public  spaces  along  Minneapolis'  main  thoroughfare,   Hennepin  Avenue. The  grant  is  part  of  the  NEA's  Our  Town  project,  which  is  geared  toward  creaMve   placemaking.  The  City  of  Minneapolis  has  approved  a  $50,000  Great  Streets  grant  as   part  of  the  local  match. According  to  a  news  release  Hennepin  Theatre  Trust,  along  with  the  Walker  Art  Center,   the  Cowles  Dance  Center  and  Artspace,  will  use  the  grant  to  "begin  the  planning  process   to  re-­‐invent  Hennepin  Avenue  as  an  arts-­‐inspired  cultural  corridor  stretching  from  the   Walker  Art  Center  and  Minneapolis  Sculpture  Garden  to  the  Mississippi  Riverfront." Hennepin  Theatre  Trust  runs  the  Orpheum,  State  and  Pantages  theaters,  all  located  on   Hennepin  Avenue.  In  addiMon  to  the  Walker  Art  Center  and  the  Cowles  Dance  Center,   other  cultural  stops  along  the  avenue  include  Burnet  Gallery  and  the  Minneapolis   Central  Library  (designed  by  Cesar  Pelli). The  center  of  the  Hennepin  Cultural  Corridor  is  the  Theater  Trust.    They  invite  donors,   individuals  and  corporate.     Hennepin  Theatre  Trust,  owner  of  the  historic  State,  Orpheum,  Pantages  and  New   Century  Theatres,  is  an  independent,  non-­‐profit  organizaMon  dedicated  to  arts-­‐inspired   community  cultural  development.  We  achieve  our  mission  by  presenMng  a  rich  mix  of   live  performances,  creaMng  inspiring  arts  educaMon  experiences  and  advancing  a   thriving  Hennepin  Avenue  Cultural  Corridor  in  downtown  Minneapolis,  Minnesota. The  Trust’s  acMviMes  include  presenMng  Broadway  touring  producMons  and  the  related   Broadway  Confiden#al  series,  concerts,  comedy,  speakers  and  other  variety   entertainment  plus  educaMonal  iniMaMves  including  the  SpotLight  Musical  Theatre   Program  for  high  schools,  Cri#cal  View  student  reviewer  program,  Teen  Ushers,  the   Access  Program  and  Kids’  Night. Welcome Welcome  to  Hennepin  Theatre  Trust  –  the  non-­‐profit  owner  of  the  State,  Orpheum,   Pantages  and  New  Century  Theatres  and  a  spark  for  a  vibrant  city.  Year-­‐round,  we  open   our  doors  and  roll  out  the  red  carpet  to  welcome  you  to  an  array  of  events  from  the   best  of  Broadway  to  music  of  many  genres  that  make  this  city  more  culturally  vital  and   economically  successful.  I’m  enthusiasMcally  inviMng  you  to  join  us  for  a  spell-­‐binding   night  at  the  theatre,  an  enlightening  educaMonal  experience,  an  unforgeZable  concert   or  some  laugh-­‐out-­‐loud  comedy.  Hennepin  Theatre  Trust  plays  a  pivotal  role  in  making   downtown  Minneapolis  an  aZracMon  to  more  than  500,000  people  who  visit  our   theatres  each  year.  Your  patronage  not  only  supports  the  Trust  in  its  work,  but  your  

involvement sustains  the  energy  that  is  so  essenMal  to  our  city’s  vibrant  cultural   environment. When  you  join  us  in  the  audience  of  our  magnificent  historic  venues,  you  enable  us  to   beZer  serve  you  and  the  greater  community.  A  porMon  of  each  Mcket  purchased  not   only  assists  in  the  ongoing  operaMon  of  these  architectural  gems,  but  when  you  become   a  Trust  Donor  your  contribuMons  help  us  expand  our  SpotLight  Musical  Theatre  Program   for  high  schools,  deliver  opportuniMes  to  students  through  our  Cri#cal  View  student   reviewer  program  or  create  theatre  opportuniMes  through  our  Mcket  Access  program.   When  you  contribute  to  the  Trust,  you  can  be  confident  that  you  are  making  a   difference:  98%  of  each  dollar  you  give  supports  programs  directly  serving  our   community! We  welcome  your  involvement  and  support  as  we  conMnue  to  foster  the  range  of   cultural  acMviMes  that  so  significantly  impact  downtown  Minneapolis.  I  invite  you  to   explore  our  website  for  more  informaMon  about  how  you  can  share  in  our  many  exciMng   endeavors. Hennepin  Theatre  Trust 615  Hennepin  Avenue,  Suite  140 Minneapolis,  MN  55403 Phone:  612.455.9500 They  have  a  very  acMve  donor  program  with  a  huge  offer.    They  call  their  donors,  Donors   while  others  us  member,  partner  and  sponsorship Sacramento  Cultural  Corridor Dennis  McCoy  |  Sacramento  Business  Journal  

The streetscape  near  the  Fox  and  Goose  has   been  greatly  improved  in  the  first  phase  of   redevelopment  on  R  Street.   Sacramento’s  R  Street  corridor  conMnued  its   evoluMon  from  badly  aging  warehouse   district  to  inviMng  urban  hub  last  week  as   the  city  and  Capitol  Area  Development   Authority        unveiled  a  slew  of  new   streetscape  improvements. Upgraded  features  on  the  stretch  between  10th  and  13th  streets  include  beZer  roads   and  lighMng  as  well  as  raised  sidewalks,  benches,  public  art  and  freshly  installed  arches   spanning  both  the  roadway  and  a  pedestrian  walk. The  enhancements  are  designed  to  generate  foot  traffic  and  help  spark  economic   development  in  the  area,  according  to  city  and  CADA  officials,  and  they  promise  more  to   come.

“We’re basically  transforming  a  somewhat  neglected  former  industrial  complex  into  a   more  vibrant,  aZracMve  pedestrian-­‐friendly  corridor,”  said  Linda  Tucker,  spokeswoman   for  the  Sacramento  Department  of  TransportaMon.  “We’re  creaMng  another  pocket  of   our  downtown  that’s  edgy  and  urban  with  a  new  look  and  feel.” Ripe  for  redevelopment Once  a  bustling  warehouse  district  that  cut  through  the  center  of  Sacramento’s   downtown,  the  R  Street  corridor  is  a  27-­‐block  long,  two-­‐block  wide  special  planning   district. A  joint  effort  by  the  city  and  CADA,  Phase  I  of  the  project  included  three  blocks  worth  of   new  roadway  surfaces,  sidewalks,  designated  on-­‐street  parking,  decoraMve  street  lights,   historic  district  columns,  a  rail-­‐themed  bike  rack  and  improved  drainage  systems.  It  also   boasts  Americans  with  DisabiliMes  Act-­‐compliant  accessibility  and  the  preservaMon  of   historic  elements  such  as  old  rail  lines. The  $6.1  million  project  was  funded  by  federal  taxes  and  grants  from  the  Sacramento   Area  Council  of  Governments        ,  CADA  and  local  Measure  A  sales  tax  revenue. Dino  Grassini,  general  manager  of  the  Fox  &  Goose  Pub  at  the  corner  of  10th  and  R   streets,  admits  to  liking  the  streetscape  in  both  its  before-­‐and-­‐axer  incarnaMons  but   says  the  change  is  impressive. Sacramento’s  cultural  corridor  is  in  the  development  phase.    I  good  example  of  reviving   a  warehouse  district  into  a  cultural  corridor. Las  Vegas  Cultural  Corridor The  Cultural  Corridor  CoaliMon  is  a  downtown  Las  Vegas  organizaMon  comprised  of   cultural  insMtuMons,  local  arts  and  culture  professionals,  neighborhood  business  owners   and  residents  interested  in  promoMng  the  six  block  neighborhood  along  Las  Vegas   Boulevard  between  Bonanza  Road  and  Washington  Avenue.  Formally  established  in   2002,  the  group  meets  monthly  to  network  and  plan  acMviMes  that  draw  aZenMon  to  the   many  resources  the  area  have  to  offer. Founding  Members: Cashman  Center Las  Vegas  Library Las  Vegas  Natural  History  Museum Lied  Discovery  Children’s  Museum Neon  Museum Old  Las  Vegas  Mormon  Fort  State  Park Associate  Members: City  of  Las  Vegas Eurie  CreaMve Bunkers  Mortuary Anderson  Dairy Las  Vegas  Shakespeare  Company

U.S. Vets Mob  Museum Morelli  House Contact:    Brock  Radke  at  Lied  Discovery  Children’s  Museum  at  (702)  382-­‐3445  or This  is  a  12  square  block  area  that  was  formed  in  2011  under  the  Mtle  of  Las  Vegas   Cultural  Corridor.    While  this  may  benefit  casinos,  they  are  not  part  of  it.    It  does  benefit   convenMon  visitors.     East  Bay  Cultural  Corridor Four  East  Bay  Ci=es  Team  Up  In  Na=onally  Unprecedented  Arts  Collabora=on Recognizing  that  the  arts  are  a  significant,  affirming  and  transformaMonal  force  in  civic   life,  regional  economies  and  educaMon,  the  ciMes  of  Berkeley,  Emeryville,  Oakland  and   Richmond  have  come  together  in  a  naMonally  unprecedented  partnership  to  promote   their  arts  in  a  new  East  Bay  Culture  Corridor  (EBCC).  The  EBCC  was  formally  launched   October  2  with  public  events  that  run  through  the  month  in  celebraMon  of  the   collaboraMon  and  a  news  conference  at  which  the  Mayors  of  the  parMcipaMng  ciMes  will   inaugurate  a  new  website. Berkeley Berkeley’s  thriving  cultural  scene  is  home  to  more  than  130  non-­‐profit  arts  organizaMons   and  hundreds  more  arMsts  and  performers.    It’s  clear  why  Berkeley  locals  and  visitors   “Come  for  the  Culture,  Stay  for  the  Food”  –  the  arts  hold  equal  pride  of  place  with   Berkeley’s  internaMonal  reputaMon  as  a  center  for  culinary  and  educaMonal  excellence. The  Buzz:  The  Downtown  Berkeley  Arts  District  -­‐  a  naMonally  recognized  arts  desMnaMon   and  model  for  “arts  led”  downtown  revitalizaMon  with  theatre,  live  music,  and   performing  arts  educaMon  space.  CreaMve  spirit  infuses  Berkeley  with  everyday   discoveries  ranging  from  vibrant  street  art  and  public  art  galleries,  to  major  events  such   as  the  Berkeley  ArMsan  Holiday  Open  Studios,  and  the  renowned  exhibiMons  and   permanent  collecMons  at  the  famed  UC  Berkeley  Art  Museum/Pacific  Film  Archive. Emeryville Truly  a  City  of  the  future,  Emeryville  boasts  one  of  the  country’s  most  acMve  arMst  live-­‐ work  communiMes  with  hundreds  of  visual  and  performing  arMsts  in  residence  year   round.  The  arts  have  been  at  the  center  of  a  decades-­‐long  transformaMon  of  Emeryville   into  a  city  where  locally  made  culture  vibrantly  defines  the  fabric  of  its  neighborhoods.   The  Buzz:  The  naMonally  recognized  Emeryville  CelebraMon  of  the  Arts  held  every   October,  where  business,  the  arts  and  quality  of  life  blend  to  create  sustainable  urban   development.  The  City  has  a  long-­‐standing  Percent  for  Arts  program  by  which  real  

estate developers  contribute  toward  public  art.  In  conjuncMon  with,  in   October,  Emeryville  will  inaugurate  its  Bus  Shelter  Public  Art   Program,  bringing  art  and  arMsts  to  residents  and  visitors. Richmond Richmond’s  long-­‐standing  pride  in  its  arts  stands  literally  at   the  center  of  the  city  in  the  form  of  visual  and  performing   arts  centers  that  are  naMonally  recognized  as  models  of  a   vibrant  intersecMon  of  public/private  partnership.  It’s  newly   renovated  Civic  Center,  emerging  Arts  District,  ambiMous   public  art  program  and  performing  arts  groups  welcome   new  arMsts  and  residents  and  are  inextricably  aligned  with   business  and  neighborhoods.  Coupled  with  the  Ford  Point   Craneway’s  new  entertainment  venue  hot-­‐spot  on  the  Bay,   Richmond  is  revealing  a  vibrant  new  image.     The  Buzz:  One  of  the  last  basMons  of  affordable  arMst  live-­‐ work  space  in  the  Bay  Area,  Richmond  is  experiencing  rapid   growth  in  its  already  acMve  arMst  populaMon.  Among  the   city’s  notable  arts  organizaMons  are  the  Richmond  Art  Center,  NaMonal  InsMtute  of  Art   and  DisabiliMes,  East  Bay  Center  for  the  Performing  Arts,  Masquers  Playhouse,   ArtsChange,  Richmond  Museum  of  History  and  others. Oakland The  Oakland  renaissance  is  in  full  swing,  weaving  arts  and  culture  into  the  fabric  of   everyday  life.  Like  its  busy  internaMonal  port,  for  generaMons  Oakland  has  welcomed  

arMsts and  innovators  from  all  over  the  world,  significantly  invigoraMng  the  cultural   landscape  and  quality  of  life.  The  city’s  new  Uptown  Arts  &  Entertainment  District  and   neighborhood  gems  make  for  a  great  day  or  evening  out  with  a  range  of  opMons  for   dining,  shopping  and  exploring!     The  Buzz:  The  most  diverse  city  in  the  naMon,  Oakland  is  home  to  one  of  the  naMon’s   largest  concentraMons  of  individual  arMsts,  300+  arts  organizaMons,  and  scores  of   cultural  venues  and  events  including  the  City’s  annual  Art  &  Soul  fesMval,  Chinatown   Streezest,  Dia  De  los  Muertos  and  others.  Notables  include  the  Oakland  Museum  of   California,  Oakland  East  Bay  Symphony,  Oakland  Youth  Chorus,  The  Crucible,  Black  Dot   ArMsts  CollecMve,  Eastside  Arts  Alliance,  Axis  Dance,  Project  Bandaloop,  Art  Murmur,  Fox   Oakland  Theater,  Paramount  Theatre  of  the  Arts,  Museum  of  Children's  Art  (MO The  East  Bay  Cultural  Corridor  is  driven  by  city  support  from  several  ciMes  in  the  East  Bay   area  to  promote  an  emerging  Cultural  Corridor  outside  of  San  Francisco. New  Mexico  Women’s  Cultural  Corridor Judy  Chicago's  legacy  as  an  arMst  is  inseparable  from  her  pioneering  role  in  Feminist  art   and  educaMon.  She  founded  Through  the  Flower,  an  influenMal  educaMonal  non-­‐profit   organizaMon,  in  1978.   The  Dinner  Party,  Birth  Project  and  the  Holocaust  Project  ,  monumental  collaboraMve   works  which  explored  her  deepening  feminist  vision,  were  sponsored,  documented,   exhibited  and  preserved  by  Through  the  Flower.  Chicago's  reputaMon  as  a  major   influence  on  postmodern  art  stems  from  the  maturing  of  a  younger  generaMon  of  arMsts   and  scholars  who  saw  and  studied  her  milestone  feminist  projects,  thanks  to  the  non-­‐ profit  organizaMon  she  started  and  sMll  inspires.   When  The  Dinner  Party  opened  at  the  San  Francisco  Museum  of  Modern  Art  in  1979,   Through  the  Flower  offered  programs  and  informaMon  documenMng  women’s  unsung   roles  in  history.  It  managed  subsequent  exhibiMons,  mostly  iniMated  by  community   groups,  in  fourteen  ciMes:  seven  in  the  United  States,  three  in  Canada,  two  in  the  United   Kingdom,  and  one  in  Germany  and  Australia.  The  art  was  stored  and  cared  for  by   Through  the  Flower  unMl  it  was  acquired  and  donated  by  Dr.  Elizabeth  A.  Sackler  to  The   Brooklyn  Museum.  A  GeZy  ConservaMon  grant  was  awarded  to  Through  the  Flower  in   preparaMon  for  permanent  housing.  While  almost  a  million  people  saw  The  Dinner  Party   between  1979  and  1996,  its  powerful  influence  has  only  recently  been  acknowledged  by   leading  art  criMcs.   The  Birth  Project  engaged  Chicago  with  150  needleworkers  around  the  U.S.  and  in   Canada  and  New  Zealand.  Through  the  Flower  organized  the  execuMon  of  85  works  in   various  needle  and  texMle  techniques  and  planned  and  implemented  a  varied  and  

successful mulM-­‐year  exhibiMon  tour  to  100  venues.  It  also  cared  for  the  art  unMl  most  of   it  was  placed  by  gix  in  other  non-­‐profit  insMtuMons.   The  Holocaust  Project  required  a  tremendous  commitment  of  research  and  preparatory  work  for   which  Through  the  Flower  was  a  fiscal  umbrella.  The  resulMng  art  by  Judy  Chicago,  Donald   Woodman,  and  selected  arMsans  has  been  shown  across  the  United  States  in  exhibiMons   designed  and  administered  by  Through  the  Flower.   A  dedicated  volunteer  board  and  small  professional  staff  maintain  Through  the  Flower's   responsiveness  to  a  public  that  has  steadily  grown  for  thirty-­‐five  years. 107  Becker  Avenue,  Belen,  NM  87002 Telephone:  505-­‐864-­‐4080   Ginger  Mercer  AdministraMve  Director   If  you  wish  to  contact  Judy  Chicago,  please  send  to:  PO  Box  1327  Belen,  NM  87002   E-­‐mail:

We can  build  the  NM  Cultural  Corridor  with  this  local  corridor>  that  Judy  Chicago  has  founded  in  Belen.    We  can  also  build   on  the  Rail  Runner. Santa  Fe’s  Future  CreaKve  and  Cultural  Corridor The  Future  of  St.  Michael’s  Drive:  A  New  CreaKve  and  Cultural  Corridor  in  the  Center   of  Santa  Fe "What?  The  center  of  the  city  is  St.  Mike’s?" By  Kris  Swedin,  Santa  Fe  Creates Kris  Swedin  is  a  community  acMvist,  writer  and  staffs  a  21-­‐year-­‐old  calico  cat: Imagine  a  vibrant  and  innovaMve  community  stretching  along  St.  Michael’s  Drive  in  the   center  of  Santa  Fe.  Today  and  tomorrow,  the  City  requests  your  opinion  about  the  latest   ideas  to  develop  the  neighborhood  of  the  future  in  the  corridor  from  Cerrillos  Road  east   to  St.  Francis  Drive. What?  The  center  of  the  city  is  St.  Mike’s?   Yes,  the  populaMon  center  of  Santa  Fe  is  somewhere  on  the  campus  of  Santa  Fe   University  of  Art  and  Design.  An  equal  number  of  people  live  north  and  south,  east  and   west  of  that  locaMon,  according  to  recent  census  data. Anyone  who  drives  through  this  center  of  the  city  witnesses  creaMve  driving  experiences   all  day  long.  Six  lanes  of  traffic  -­‐-­‐  seven  with  the  turn  lanes  popping  up  here  and  there  -­‐-­‐   dozens  of  hidden  driveways,  and  cars  trying  to  negoMate  lex-­‐hand  turns  through  the   maze  makes  for  an  quite  an  adventure.  Add  in  a  few  bicyclists  and  pedestrians  darMng  

across the  road  and  there  is  real  danger  out  there,  as  we  sadly  know  from  recent  traffic   accidents. The  Mayor  and  City  Council  have  directed  staff  to  present  a  plan  that  will  create   community  connectedness  and  improve  safety.  The  project  has  its  roots  in  the  economic   development  strategy  the  city  adopted  several  years  ago  that  focused  on  expanding   creaMve  industries  –  arts,  culture,  design,  new  media  and  film,  to  name  a  few. A  year  ago  the  City  showcased  the  work  of  seven  urban  designers  who  presented  visions   of  what  St.  Michael’s  Boulevard  could  look  like  in  the  future.  Their  visions  included  a   focus  on  a  safe  and  lively  streetscape,  pared  down  traffic  lanes,  affordable  apartments   and  mixed  use  spaces  to  house  creaMve  enterprises. City  Councilors  Rosemary  Romero  and  Rebecca  Wurzburger  introduced  and  passed   ResoluMon  2011-­‐18  through  the  City  Council  in  March  of  this  year  to  further  shape  this   project  and  move  it  along. PaMence  and  persistence  is  required  to  help  shape  City  projects  and  see  them  through   to  compleMon.  This  planning  process has moved forward relatively quickly. The City

invested $35 million in keeping a university focused on nurturing our number two industry – arts and culture – in our community. The growing student body and graduates will need places to live, jobs, transportation and entertainment. Could this new creative and cultural corridor become a vibrant neighborhood and not just a place to drive through after picking up groceries? You can help decide: look at the plan and answer four key questions in a short survey.

Napa Valley  “Wine  Train” The  Napa  Valley  Wine  Train  provides  a  relaxing  three-­‐hour,  thirty-­‐six  mile  round-­‐trip   journey  between  the  historic  town  of  Napa  through  one  of  the  world's  most  famous   wine  valleys  to  the  quaint  village  of  St.  Helena  and  back. Guests  aboard  the  Wine  Train  enjoy  the  opMon  of  a  freshly  prepared  lunch  or  dinner  as   they  view  vineyards  and  wineries  from  any  of  the  vintage  1915-­‐1917  Pullman  Dining,   Lounge,  or  1952  Vista  Dome  rail  cars  which  have  been  lavishly  restored. The  Route  of  the  Napa  Valley  Wine  Train  The  tracks  upon  which  the  Napa  Valley  Wine  Train  runs  were  originally  built  in  the   1860s  to  bring  guests  to  the  hot  spring  resort  town  of  Calistoga.  While  the  track  to   Calistoga  no  longer  exists,  much  of  the  rest  of  the  route  of  the  Napa  Valley  Wine  Train  is   unchanged.  Due  to  the  immense  influence  that  rail  transport  had  over  the  development   of  the  communiMes  and  wineries  of  the  Napa  Valley,  there  is  no  shortage  of  sights  to  see   during  the  three  hour  journey  to  St.  Helena.  Five  towns;  Napa,  Yountville,  Oakville,   Rutherford,  and  St.  Helena;  and  numerous  wineries  can  be  seen  through  the  large   picture  windows  on  board  the  Wine  Train. The  Napa  Valley  Wine  Train  begins  its  journey  at  the  McKinstry  Street  StaMon  in  Napa.   The  train  then  travels  north  to  St.  Helena.    Currently,  the  Napa  Valley  Wine  Train  stops  

at different  locaMons  depending  on  the  day  of  the  week.    Guests  are  only  allowed  to   disembark  at  these  locaMons  if  they  have  pre  purchased  one  of  the  Winery  Tours.    Every   lunch  train,  the  Wine  Train  offers  both  the  Valley  First  Winery  Tour   (featuring  Raymond  Vineyards)  and  the  Grgich  Hills  Winery  Tour.     March  through  November,  Monday  through  Thursday  the  Wine   Train  offers  the  Ambassador  Winery  Tour  (featuring  Raymond   Vineyards  and  ZD  Wines).  Fridays,  Saturdays  and  Sundays,  guests  are   offered  the    Domaine  Chandon  tour  which  disembarks  at  Yountville   during  the  southbound  leg  of  the  trip.  Guests  on  the  Domaine   Chandon  tour  will  be  transported  back  to  the  McKinstry  Street   staMon  by  motor  coach  upon  the  conclusion  of  the  tour.    Also  on   Saturday  dinner  trains,  guests  can  purchase  the  Evening  Winery  Tour   (featuring  Grgich  Hills  Estate).  More  InformaMon  on  Winery  Tours.     The  partners  in  this  venture  are  all  hotels  in  the  valley.    They  have   used  a  cultural  asset,  an  old  train  and  the  cultural  experience  of  wine,  vineyards  and   culinary  experiences. Winston-­‐Salem  Cultural  Corridors Winston-­‐Salem  Cultural  Corridors  offer  “trails”  including  maps  and  guides  along  five   themes:  acMviMes  for  children,  wineries,  African-­‐American  heritage,  wagon  trails  from   the  past,  art  and  architecture. The  Corridors  project  is  supported  by  a  partnership  of  the  Arts  Council  of  Winston-­‐ Salem,  Forsyth  County,  and  Visit  Winston-­‐Salem.

South Bronx  Cultural  Corridor "Our  mission  is  to  encourage  and  increase  public  awareness  and  parMcipaMon  in  the   arts,  and  to  nurture  the  development  of  arMsts  and  cultural  organizaMons." South  Bronx  Cultural  Corridor  offers  an  amazing  array  of  programs,  connecMons  to   galleries,  art  shows,  trolley  tours,  art  grants,  and  more.  It  is  a  hub  for  cultural  acMvity  on   the  South  Bronx  region.    AddiMonally,  the  Corridor  serves  as  a  leader  for  creaMve  and   cultural  economy  development. How   can  The  Bronx   Council  on   the  Arts  (BCA)  propel  the  Bronx  creaMve  community   to   invite   new   investment   and   enMce   outside   business   to   locate   to   the   Bronx,   fuel   expansion,   convince  local  business  to  stay   here  and  work  cooperaMvely  to  enhance  the   profile  of  the  South  Bronx  as  a  great  place  to  do  business?   BCA  can   • Enhance    the  profile  of  the    Bronx  arts  brand; • Develop  the  potenMal  of  the  South  Bronx  creaMve  workforce; • Expand    access  to  available  financial  resources  for  South  Bronx  arMsts; • Form  partnerships  with  the  public  sector  and • Engage  in  advocacy  efforts  to  increase  funding  and  programming  for  the   development  of  the  arts  and  the  creaMve  economy  in  the  South  Bronx.   We   define   the   creaMve   industry   as   those   Bronx   business   enMMes,   tradesmen   and   women,   suppliers,   and  designers  who  support   the  producMon   of  art-­‐related  products   and  services  as  well  as  those  who  employ  art   and  design  in  the  creaMon  of  products.  Our   definiMon  is  broad  in  an  effort   to  be  inclusive.  Recognizing  the  synergy   between  arts  and   entrepreneurship,  creaMve  individuals   can  be  equipped   with  the  “hard”   business  skills   needed  for  successful  enterprise  development  that  will  have  ripple  effects  on  the  rest  of   the  local  economy.  BCA  can  help.   The   Bronx   is  changing  and   evolving.  BCA  focuses  on  place  based  art  related  economic   development   to   increase   access   to   arts   and   arMsts,   build   sustainable   relaMonships   among  the  many   different   sector   of  the  Bronx   community   and   make  connecMons  that   work.     We  understand  that  in  the  midst  of  all  the  growth  and  change  in  the  South  Bronx,   arMsts   and   arts   organizaMons   conMnue   to   face   two   basic   economic   development   problems  –  on   the  demand  side  potenMal  consumers  oxen  lack  informaMon   about  the   quanMty   and   quality   of  products  and  on  the  supply   side,  arMsts  and  arts  organizaMons   may   not  have  resources  to  take  advantage   of   the  market   opportuniMes.   BCA   helps  to   generate  income  and  investment   through  staging   creaMve  connecMons   between  arts/ arMsts  the  community  at  large  and  the  market  place.

American Indian  Cultural  Corridor

“Minneapolis’ new  desMnaMon  for  food,  art  and  culture”  is  the  American  Indian  Cultural   Corridor.  This  is  the  only  urban  American  Indian  corridor  in  the  country.  The  Cultural   Corridor  is  home  to  many  of  the  corridor.ity’s  finest  desMnaMons  including  Woodland   Indian  Craxs,  All  My  RelaMons  Gallery,  Maria’s  Café,  Northland  Visions,  Roger  Beck   Florist,  the  Franklin  Street  Bakery  and  more!  Located  at  the  Franklin  Light  Rail  staMon,   the  Cultural  Corridor  is  minutes  from  Downtown  Minneapolis  and  the  Minneapolis-­‐St.   Paul  InternaMonal  Airport.  Come  visit  our  unique  combinaMon  of  shops,  restaurants,   galleries,  and  Tribal  offices.  There’s  no  other  place  like  it!

GCCE gratefully  acknowledges  the  leadership  and   investment  of  the  following  organiza=ons.

Northern New Mexico Cultural Corridor - Work Completed  

Northern New Mexico Cultural Corridor - Work Completed

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