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).
INTERVIEWS WITH MAJOR STAKEHOLDERS, CONT. Sandoval County •
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).
Director of Puye Cliﬀs: Tina Whitegeese, (January).
General Manager of the Santa Clara Hotel: Tom Wilkie, (January).
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
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 (www.culturalcorridors.com) and invested in the design of developing themes along these corridors, the website lacks social media or frequently updated content.
REVIEW OF CULTURAL CORRIDORS •
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.
ATTENDEES AT REGIONAL MEETING
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
MarkeMng Director: Dan Jiron
Commissioner Maggie Hart Stebbins
BernadeZe Miera, Director Cultural Department
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
ATTENDEES CONTINUED Santa Fe •
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 •
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 www.culturalentrepreneur.org
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 Cincinna#USA.com 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. CulturalCorridor.org ICCA’s website, CulturalCorridor.org, 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 email@example.com (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 firstname.lastname@example.org 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 email@example.com. 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 510Arts.com 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 510Arts.com, 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 info@throughtheﬂower.org Ginger Mercer AdministraMve Director ginger@throughtheﬂower.org If you wish to contact Judy Chicago, please send to: PO Box 1327 Belen, NM 87002 E-‐mail: info@JudyChicago.com
We can build the NM Cultural Corridor with this local corridor www.throughtheﬂower.org> 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