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V. 1 2020

E L B A T I U Q E g n i k a m e c a l P e v i t a Cre

“Cultural equity explicitly values the unique and collective cultures of diverse communities and supports their existence in physical spaces, in public policies and investment, and in expression in civic and spiritual life. A Cultural Equity Plan values interculturality—the recognition and support of diverse and distinct cultures and the bridging and sharing of those cultures to build strong and interconnected communities, towns, and cities. Cultural equity explicitly addresses legacies of structural racial discrimination and remedying of institutionalized norms that have systemically disadvantaged categories of people based on race, ethnicity, customs, gender identity, sexual orientation, age, religion, disability, and socioeconomic or citizenship status. Cultural equity reverses economic disinvestment to ensure healthy and thriving communities where people feel a sense of belonging.” excerpt from:

CONTENTS

Equitable Creative Placemaking Toolkit PREFACE

ACKNOWLEDGEMENTS

LEAD TEAM

5 5

YERBA BUENA CENTER FOR THE ARTS (YBCA)

CULTURE BANK

EWING MARION KAUFFMAN FOUNDATION

CULTURE BANK BANK PILOTS

6-7

INTERURBAN ARTHOUSE (IUAH)

MOVEMENT KC / NEIGHBORHOOD BUILT

INTRODUCTION

8-17

TOOLKIT BASICS

DEFINITION OF CREATIVE PLACEMAKING

NEW PERSPECTIVES FROM NATIONAL CREATIVE PLACEMAKING SCENE

KEY NATIONAL STUDIES OF EQUITABLE CREATIVE PLACEMAKING IN ECONOMIC & COMMUNITY DEVELOPMENT

10-14

ARTPLACE AMERICA

THE BROOKINGS METROPOLITAN POLICY PROGRAM’S ANNE T. AND ROBERT M. BASS CENTER FOR TRANSFORMATIVE PLACEMAKING POLICYLINK

16 17

BEGINNING

PHASE 1: INSTIGATION/KEY INTIGATORS

19-20

CONSIDERATIONS FOR CORE TEAM

CONSIDER THE FOLLOWING SECTORS AND ISSUES FOR LEADERSHIP INCLUSION

author By Nicole Emanuel, Artist, Founder of InterUrban ArtHouse (Copyright 2020) with the InterUrban ArtHouse Artists Cohort (details page 6) Nicole has been a painter, muralist and involved in securing spaces for artists for over 38 years. She began in 1980s San Francisco Mission District, in 1990s she worked at ArtSpace Projects in Minneapolis and in 2011 she founded InterUrban ArtHouse in Kansas. There, she works as Artistic Director among 19 studios, 30 working artists, 5 public programs and innumerable partnerships in the Kansas City area.

BRINGING CREATUVE PEOPLE POWER TO YOUR COMMUNITY

UNVEILING AND AGREEING TO BASIC PREMISES, ACKNOWLEDGMENTS AND PROCESSES COMMITTING INITIAL RESOURCES WITH AN EYE TO PROACTIVE INCLUSION, MULTI-SENSORY, MULTI-CULTURAL INTERPRETATIONS FIRST DRAFT MULTI-SECTOR NEEDS ASSESSMENT AND ASSET MAPPING

TOOLS FOR MEASURING AND MAPPING ARTS ECONOMY

ARTS & ECONOMIC PROSPERITY STUDY

25 26

NATIONAL ARTS INDEX REPORTS

29-30

CREATIVE INDUSTRIES REPORTS

DEFINING CREATIVE INDUSTRY

COMPLETE LIST OF COMMON SIC CODES FOR CREATIVE INDUSTRIES AND ARTSRELATED BUSINESSES AND INDIVIDUAL ARTISTS (BOTH FOR-PROFIT AND NONPROFIT ACCESSING CREATIVE ECONOMY STATE PROFILES

MEASURING: THE KC METRO ARTS ECOSYSTEM’S ECONOMY

COMPARING STATES IN THE KC METRO

COUNTY-BY-COUNTY ON KC METRO CREATIVE INDUSTRIES

40-49

MEASURING: THE KC METRO ARTS ECOSYSTEM’S NEEDS

50-54

INITIAL PROJECT IDEA MAPPING:

RESEARCH & DISCOVERY: COLLECT, COLLATE AND REVIEW:

INITIAL BUDGET QUESTIONS

PHASE 2: COMMUNITY VISIONING OUTREACH: EYE ON INTRINSIC EQUITY

ASK QUESTIONS AND LISTEN

HIGH-ALTITUDE LOOK AT THE NEEDS AND ASSETS.

FORMULATE AND DISTINGUISH GOALS, OBJECTIVES AND STRATEGIES.

TIMELINE QUESTIONS

BUDGETING

EXPENSES

INCOME

PHASE 3: PARADIGM SHIFTING and PHASING

BUDGET PLANNING

RE-IMAGINATION OF WHAT HAS BEEN, WHAT IS AND WHAT CAN BE

PHASE 4: ITERATE, LISTEN, RESPOND, MANIFEST, RECORD, MEASURE AND COMMUNICATE

POLICIES AND DISTRICTING

MEASURING, STRATEGIZING AND LEGISLATING ART AS INTEGRAL TO ECONOMIC GROWTH CULTURAL DISTRICTS

62 63-65

STATE POLICY BRIEFS

STRATEGY SAMPLER

TIPS FOR SHAPING PUBLIC POLICY

RESOURCES

68-75 3

Culture Bank Pilot Project PREFACE This Tool Kit is a portion of the “CultureBankKC Pilot” project by Yerba Buena Center for the Arts, funded by KauffmanX, a Ewing Marion Kauffman Foundation program. CultureBankKC Pilot’s purpose is to provide new insights to apply within the Kauffman’s PA/Civic Ecosystem, Eship and Opportunity Zone strategies. Two enterprises are included in this initial CultureBankKC Pilot. In Missouri, the focus is in Wendell Phillips Neighborhood with MovementKC/Neighbor Built (Ebony and Daniel Edwards). In Kansas, the entity is InterUrban ArtHouse (Nicole Emanuel and the Community Artists Cohort). Among other outcomes, we are tasked with the creation of the Tool Kit, a shareable methodology for artist-driven, cross-sector collaborative community development. Working with a network of artist entrepreneurs, the CultureBankKC Project is drafting a Tool Kit that models how we can increase the networking, expertise and capacity needed to be responsive to larger-scale projects that drive civic engagement, community investment, and economic opportunity in the KC region. The first iteration of the Tool Kit evolved simultaneously with 2020’s Covid-19 pandemic quarantine, Black Lives Matter social change and upcoming Presidential Election. Under ideal circumstances, a usable, relevant Tool Kit must be fluid and touched by many hands. So, we present this Tool Kit as an open invitation to continue the ongoing conversations that led to the formation of CultureBankKC. Consider the Tool Kit as malleable as the spectrum of communities who approach it to contribute. Thank you Yerba Buena Center for the Arts, CultureBank, KauffmanX and the Ewing Marion Kauffman Foundation. 4

LEAD TEAM YERBA BUENA CENTER FOR THE ARTS (YBCA) https://ybca.org/ YBCA was founded in 1993 as the cultural anchor of San Francisco’s Yerba Buena Gardens

development, YBCA is using culture as an instrument for social change and reimagining the role an arts institution can play in the community it serves. Each year - more than half a million people participate in their programs at their downtown campus and throughout the community. As a hub of creative energy, the organization currently has a diverse funding base that includes earned revenue, local and county government funding, individuals, and corporate support. Since 2013, YBCA has been under the leadership of CEO and President, Deborah Cullinan. Deborah is a nationally regarded arts and community development leader who has a proven ability to work at a systems level and also to bring the arts into impactful work that crosses sectors. Deborah has already been diligently working in the Kansas City region for over a year as a Kauffman Innovator-in-Residence and has had significant success in building trust and connecting Kansas City artists and leaders to national influencers and resources. Penelope Douglas, the Chief Strategy and Revenue Officer at YBCA, is considered a pioneer in the community development and social impact investment fields and has decades of experience working on entrepreneurial systems.

CULTUREBANK https://ybca.org/culture-bank/ Mission: To place artists and their enterprises at the center of community investment strategies CultureBank envisions a truly equitable world where community assets of all kinds are valued. The CultureBank draws from the best attributes of community banks, social financiers, community development finance institutions (CDFIs) and creative placemaking. They support a process for social impact investors to collaborate with artist entrepreneurs and artistic enterprises that are or can have an impact on improving community health and shared prosperity and recognizing the value of existing and often hidden assets in community. CultureBank Process: • Develop the ecosystem of artist entrepreneurs who build value in communities. • Invest in artists to develop undervalued community assets that contribute to community health and wellbeing, including food security and community safety. • Invest productively and imaginatively through integrated capital. • Produce compelling and replicable examples of artist entrepreneurs leveraging community change.

EWING MARION KAUFFMAN FOUNDATION The Ewing Marion Kauffman Foundation is a private, nonpartisan foundation that works with communities in education and entrepreneurship to increase opportunities that allow all people to learn, to take risks, and to own their success. 5

CULTURE BANK KC

PILOTS

INTERURBAN ARTHOUSE

InterUrban ArtHouse (IUAH) was founded by Artist Nicole Emanuel in 2012. IUAH’s mission is to enrich cultural and economic vibrancy of the community by creating a place where artists & creative industries can work & prosper in an affordable, sustainable, & inclusive environment. Flagship programs are ArtSmart, ArtWorks, ArtMatters, ArtsConnect & ArtHeals. After years of fundraising, the nonprofit purchased and renovated a 10,000 square foot underutilized industrial postal sorting facility. There they secured a permanent, affordable, accessible, art & multicultural community oasis. They implement their programs, which pivot on social justice issues, by bringing together multi-sector partners from government, education, health care, non-profits, merchant groups, arts organizations, social service organizations, financial institutions and neighborhoods. InterUrban ArtHouse embodies the best of Creative Placemaking in their location and activities.

Nicole Emanuel

NedRa Bonds

Enrique Chi

Royce “Sauce” Handy

Kathryne Grimm

Wolfe Brack

Arzie Umali

Sherri “Purpose” Hall

José Faus

Justin Ikerionwu

Andi Meyer

Issaku Yamaashi

www.InterUrbanArtHouse.org A special thank you to the InterUrban ArtHouse Artists Cohort for their input on this project. IUAH connects and actively engages with communities across the creative sector.

MOVEMENT KC/NEIGHBORBUILT

Neighborbuilt was founded in 2019 on one core belief: Neighborhoods don’t know how to rebuild themselves. The ‘a-ha’ led the company to develop a new system of real-estate development specifically for urban core neighborhoods experiencing mass demolition or devastation, called Whole Neighborhood Development. Because rebuilding urban cores requires more than adding buildings and infrastructure, whole neighborhood development invests in an entire ecosystem to jumpstart a productive economy, develop community identity, and equip neighbors to rebuild. The firm powers a movement based on each neighborhood’s identity that recruits new residents and businesses while simultaneously developing the industry to physically rebuild property so it is attainable for people at all income levels. With its South Vine development in the residential neighborhood surrounding Kansas City’s historic jazz district, MovementKC uplifts this jazz heritage and culture. It hosts several live music events among other social and community building events, and invites performing artists, entertainers, and culture-builders, especially those with neighborhood family or cultural ties, to buy homes and relocate their creative businesses or organizations to the neighborhood. In this development, Neighborbuilt is currently building 150 new homes, rehabbing an abandoned commercial property with a plan to create a space to pilot Black and Brown ideas, and planning for additional new commercial spaces.

Ebony Edwards

Daniel Edwards

INTRODUCTION In early 2020, Culture Bank/Yerba Buena Center for the Arts (with financial support from the Ewing Marion Kauffman Foundation) contracted InterUrban ArtHouse to begin the long process of formulating a Tool Kit for Creative Placemaking that reflects both our specific achievements and how our work fits into the Kansas City metropolitan art ecosystem. In the broadest terms, Creative Placemaking when art and culture are leveraged by a group collaboration of representatives from multiple sectors, to elevate the meaning, use and health of a place. It takes into account the many factors that contribute to community health in the built environment. It can be applied to projects as small as a street-intersection mural or as large as a neighborhood revitalization plan. This young, fast-evolving field is a dynamic, process-oriented form of community and economic development that has captured the imagination of funders, developers, city leaders, community activists, educators and health-care professionals. InterUrban ArtHouse is an example of Creative Placemaking practice. We are an artist-founded, artist-led

TOOLKIT BASICS

Some of our many projects: InterUrban ArtHouse led the formation of an Innovation, Design, Entrepreneurship and Arts District in Overland Park, KS (IDEA District) where we are located; helped update the Public Art Master Plan; placed public art, murals, sculptures, bike racks and cultural programs throughout the downtown; and participated in research to further inform local Creative Placemaking.

TOOL KIT BASICS This Tool Kit continues on-going processes in the KC Metro to measure, understand, listen to and support the regional arts ecology. In this Tool Kit, we will: • • • •

nonprofit in Kansas, within the Kansas City Metropolitan region. Our formation was in response to a series of surveys that called for an affordable, inclusive, accessible, safe and stable place for artists to work, teach, learn, make, sell and share with the community. When we began forming in 2010, the governor had defunded the state Arts Commission and we were in a recession. We launched 5 programs, tailored to the needs of artists and started the 5-year fundraising journey to buy and renovate an underutilized industrial property. Now in our 9th year, our 10,000 square-foot building sits in an acre of land, housing 30 artists in 19 studios with a large community space for programming, exhibitions and performances.

introduce the field of Creative Placemaking, some key players, definitions, evolution of knowledge, tools and resources. summarize several regional research and public forum processes that have already been articulated about the KC regions’ art ecology. sketch-out a series of phases that can be undertaken to employ equitable, artistcentered Creative Placemaking practices. provide a bibliography and more details about research and tools available to continue deeper work.

This is the first iteration of the Tool Kit; a presentation of resources and the invitation for collective process, feedback, edits, corrections and additions. As it evolves and is customized by many minds and voices, it will become and remain living, useful and relevant. We approach this Tool Kit with the challenge of embracing complexity, differences, change, critique, dialogue and process. We expect and invite edits to correct errors or omissions and provide new information or points of view. This Tool Kit shares some of the best lessons we’ve learned about the young field of “Creative Placemaking”. Actually, this work is a dialectical return to the best of ancient practices that put equitable, just, self-defining human culture back in its rightful, rooted place in economic and community development practices. This Tool Kit is dedicated to the idea that there are ways to fairly allow local people, not profits or systems, to define what constitutes our own neighborhoods, needs, visions and right to determine who defines what is needed for our own health, culture, environment, families, education, work, housing, transportation and other basics. DEFINITION OF CREATIVE PLACEMAKING The appreciation for the economic power of cultural entrepreneurship has grown, reaching seminal moments with the simultaneous coining of the term of “Creative Placemaking” (*Markusen, Gadwa 2010), the establishment of ArtPlace America fund (both in 2010) and the National Endowment for the Arts’ “Our Town Grant” to fund Creative Placemaking projects. Research, project documentation, conferences, organizations, books, articles, TED Talks and field guides abounded as Creative Placemaking took a new place in the minds of City Planners, Developers, Academics and Economists. Much has been written and enacted under this moniker. It has included everything from transformational, grassroots benefits in neighborhoods, to misuse by developers that resulted in gentrification and profit for a few; plus, everything in between. Because the nature of the field is community process oriented, as it is applied and studied, new features are included and new names coined. The field is also known as many other names, including Creative Placekeeping and Arts-based Community Development.

No matter its name, the field is predicated on putting the human story and culture in the center of community and economic development. According to Gadwa, Markusen, Kresge Foundation and the National Endowment for the Arts, Creative Placemaking has core tenants: 1. “Strategic action by cross-sector partners 2. A place-based orientation 3. A core of arts and cultural activities “In creative placemaking, partners from public, private, nonprofit and community sectors strategically shape the physical and social character of a neighborhood, town, tribe, city or region around arts and cultural activities. Creative placemaking animates public and private spaces, rejuvenates structures and streetscapes, improves local business viability and public safety, and brings diverse people together to celebrate, inspire and be inspired.” Per Gadwa, in Creative Placemaking “Our frame helps transcend narrow economic impact or art-for-art’s sake justifications that have previously dominated and divided arts advocacy camps.” It emphasizes how arts intrinsically impact community fabric, economically, physically and socially, through celebration and inspiration. (https://www.lisc.org/our-resources/resource/creativeplacemaking-101-community-developers)

The definition articulated by ArtPlace America states,“Creative Placemaking is the intentional integration of arts, culture, and community-engaged design strategies into the process of equitable community planning and development. It’s when artists, culture-bearers, and designers act as allies to creatively address challenges and opportunities. It’s about these artists and all of the allies together contributing to community-defined social, physical, and economic outcomes and honoring a sense of place. (https://www.artplaceamerica.org/areas-of-work/ introduction)

NEW PERSPECTIVES FROM THE NATIONAL CREATIVE PLACEMAKING SCENE Examples of “Creative Placemaking” implementation can be found across time and geography. The landmark term came in 2010 and has since seen a wide range of research, practice, funding, writing and reworking. Big players in the recently titled field include: 1. Kresge Foundation 2. ArtPlace America 3. National Creative Placemaking Consortium 4. Project for Public Places 5. Brookings Institute 6. Americans for the Arts 7. National Endowment for the Arts and many others… A multitude of unrecognized community efforts and nonprofits have always been doing this work. The “discovery” of the practice is similar to Christopher Columbus finding America. Before academics and consultants named the field, it was already a longexisting, , practiced, and honored act. This work was not discovered nor did it suddenly appear when the term, Creative Placemaking hit the scene. There have always been artists, embedded in communities, doing their work, connecting people, improving properties, creating culture and acting as unrecognized, undervalued “first investors” in neighborhood revitalization, sense of place, social connectedness, preserving or newly presenting unique cultures, interpreting social justice issues and contributing to local quality of life. Undercapitalized “bottom-up” grass-roots efforts have always existed in disadvantaged and marginalized communities. However, much research and funding comes from “top-down” approaches where mainstream, dominant social forces with access to capital, political power and academic voice have the means to choose what to recognize and sanction. Community artist activists who work in neighborhoods, create indigenous, local networks and deeply recognize the complexity of the social landscape where they live and whom they live among. Additionally, they have expressive and communication skills that can lift-up, 10

illuminate and explore what has been disempowered and disenfranchised. Dominant culture extolls the persistent and damaging modern myth that imagines an artist, alone in a studio, who is discovered and glorified in museums. That myth is an unattainable, useless rarity, mainly reserved for few white men, who are lauded by upper classes. Meanwhile, society undervalues how our everyday lives are resplendent with the works of visual artists, musicians, designers, writers, sculptors, dancers, cooks, filmmakers, actors and others who make the visual, auditory, functional pleasures of almost everything with which we all have always interacted, across all cultures. The field of Creative Placemaking, with all its faults and potential, brought an accepted language, quantitative proof and research to inform broader understanding of the multiplicity of art, culture and Creative Entrepreneurialism’s role in both community development and the economy. Beyond city planning, Creative Placemaking facilitates inventive uses that inclusively highlight local physical, cultural, and social identities. (*Project for Public Spaces) Further, the exploration in the field of Creative Placemaking has revealed new ways of looking at community health, shared prosperity and social equity. Art and Culture are inseparable and an integrated core in the workings of society. The nature of art and culture are not separate or dismissible, nor is it only relegated to the starving individual painter or high-end museums. Language, festivities, food, dance, architectural design, technology and every other aspect of a just, equitable, healthy society see art and culture as wholly foundational and integral. By far, the single most important paradigm articulated in research about Creative Placemaking is to reveal, reiterate and illustrate the critical importance of bottomup, intersectional approaches that include marginalized voices and combine multiple sectors who vary in their approach to the determinants of all aspects of sustainable, equitable community wellness: culturally, physically, spiritually, psychologically sociologically, economically, environmentally, intellectually and systemically.

This diagram of Americans for the Arts’ New Community Visions Initiative touches upon the many facets impacting Community Health. Here, they put Arts and Culture at the center of the broadest definition of Community Health: The mainstreaming of Creative Placemaking as a field has shone the light of funding, conferences, research and other empowering resources. But the flow of those benefits is largely still top-down. Marginalized communities still deeply struggle to gain access to resources, entry, a place of leadership and power over long-term funds or legislation that bring meaningful money, decision-making and infrastructure to the grass-roots level where sidelined people live.

As with all civil rights movements, the focus of mainstream media, politics and public-will are time-limited, cyclical and often subverted by performative measures that ultimately don’t end in permanent, systemic change for disadvantaged neighborhoods. In equitable Creative Placemaking the process is shifted to include “bottom-up” leaders and efforts that already exist within neighborhoods, to recognize them, fund them, research them and support them. Developers, politicians, academics, legislators and government officials already have the incentives, access, voice, place-at-the-table, and presumed right to be gatekeepers. They should be considered partners, not arbiters for neighborhoods. This Tool Kit brings some resources, tools and perspectives to the hands of the very people who are at the front-line of systemic neighborhood change, more equitable cultural authenticity and community “health” in infrastructure and economic resources. These resources can contribute to neighborhood self-determination, property ownership for marginalized people, equitable access to capital, incentives and powerful leadership roles. Inside all important studies about the art ecology, we have long-been asking and answering many questions, dialoguing, conferencing and documenting who does what, where, what is needed and what we can do to uplift an underfunded, undervalued aspect of our society. It is a continuous effort to balance between analyzing and action.

Undeniably, there have been gains from regional research: incentives, fundraising, investments and understanding. But a foundational problem persists, community arts organizations and individual artists - particularly marginalized and Black, Indigenous, People of Color (BIPOC), LGBTQIA+ artists, elder-senior artists, artists with disabilities- are ekingout a living in patch-work entrepreneurial endeavors, cobble together in irregular and vulnerable gig-work, from work spaces that are regularly unstable, unsafe or unaffordable. Unparalleled in any other industry, Artists continue to be regularly offered “exposure” instead of fair pay. This is a failure of shared value, where the true economic role of the arts is generally not accurately perceived nor accounted for in economic planning or community development. As in the well-documented “Soho Effect”, artists’ improvements to neighborhood vitalization is then “Discovered” by developers, who have capital to invest in ownership that leads to gentrification, which makes unaffordable the unique spaces that artists and local cultural entrepreneurs made attractive to investors. Artists and local cultural entrepreneurs act as core-investors, attracted to affordable space and potential. Rarely do they have capital to own property, so they can’t get loans for improvements, nor secure their investment, once the landlord wants to cash in on the increased property values. Research shows the quantitative economic and cultural value of artists and cultural entrepreneurs (evidenced in the bibliography and attachments herein). Studies’ results have long called for affordable, safe, accessible, inclusive, neighborhood live/work space. We’ve collectively identified and re-identified the need for more arts education in schools, neighborhood arts funding, non-profit-owned spaces, professional development resources and renewable funding sources that reflect our proportionate contribution to our regional economy, joy and health. The brunt of the story and reality fall hardest on the most vulnerable and least resourced and in large part, the needs haven’t dramatically changed. In fact, for BIPOC and other marginalized Creatives, as in those communities in general, the disparity of privilege is escalating. Economic times for the arts are particularly hard for marginalized neighborhoods that continuously receive fewer compensating resources for economic and cultural selfdetermination. Over and over, administrators’ and politicians’ invest in consultants, feasibility studies, research and plans that are quickly forgotten when big funders have a pet idea, elections press or corporations change priorities. Art organizations that are not artist-founded, nor artist-run, tend toward top-down perspectives that are highly influenced by property owners, corporations, big funders and politicians. Artists, particularly BIPOC, only experience things from the ground where they work, from the bottom-up of daily-life’s demands, and from the grass roots, community-level of their peers and neighborhoods. In 2020, when this Tool Kit is being written, Covid-19 pandemic, Black Lives Matter protests world-wide, national elections and global threats of recession dominate. This combination is exposing the undeniability of privilege and inequitable prosperity, foundational racism, dominating corporate consolidation, entrenched cronyism and accelerating climate crisis. Recessions, pandemics and social unrest pull away resources for vulnerable artists, at the same time their work, teaching, voices, music, words, visions, films, photographs and acts remain in constant demand and intricately part of everyday life for everyone.

KEY NATIONAL STUDIES OF EQUITABLE CREATIVE PLACEMAKING IN ECONOMIC & COMMUNITY DEVELOPMENT Below is an overview of a few leading national players in the field of equitable Creative Placemaking. By understanding and combining these bodies of work, we can more resourcefully synthesize our own approach to our own issues. This saves us from reinvesting the wheel or wasting precious resources and time learning the lessons and treading the same ground that others have already done. Equitable Creative Placemaking employs many lenses to collect information about a place of interest, to understand it from an intersectional, multi-sector perspective. There are myriad ways to illustrate intersectional, multi-sector variables open for consideration. However, an accurate picture of any Place must look and act in ways that reflect its unique features.

This is the Americans for the Arts Social Impact map; only one example of how to think about equitable Creative Placemaking.(https://www.americansforthearts.org/socialimpact)

REGIONAL VISION Greater Kansas City is a region of opportunity. Its robust economy, healthy environment and social capacity support the creativity, diversity and resilience of its people, places and communities. Formed at the confluence of rivers, trails and trains on the border of two states, Greater Kansas City is a place of interconnection, where people of all backgrounds are welcome and where commerce and ideas flow as freely as the rivers and streams that run through and define it. Our people thrive here, in safe, walkable and well-maintained neighborhoods. We have abundant opportunities for education, and work in fulfilling jobs at businesses that can compete with any in the world. We enjoy, protect and preserve our region’s natural beauty. We care for our neighbors and our communities. We lead by example. Our region has the strength to not only bounce back from adversity, but bounce forward, confidently, into the future. In May 2018, the MARC Board of Directors endorsed an updated version of the shared vision for our region — one that balances a thriving economy, social equity and a healthy environment, meeting today’s needs without compromising the needs of future generations. The revised vision expands beyond the original goals for vibrant, connected and green places — it encompasses successful, engaged and healthy people supported by strong communities.

PEOPLE SUCCESSFUL PEOPLE enjoy independence and have choices in where to live, where to work and what they do. They have access to good schools, quality jobs and other resources that enable them to lead fulfilling lives and reach their full potential. ENGAGED PEOPLE benefit from strong social networks with friends, family and coworkers. They are involved in the civic life of their neighborhoods and communities, and are empowered to help create and promote belonging, inclusion and meaningful connection. HEALTHY PEOPLE thrive in clean and safe communities that support healthy eating and active lifestyles. They have access to health care systems that foster physical and mental well-being, including services for both treatment and prevention. COMMUNITIES

PLACES VIBRANT PLACES provide easy access to jobs and services, offer choices in housing, recreation, shopping and transportation, and promote access to arts and culture. Vibrant places make efficient use of public and private resources and are attractive to residents and businesses. CONNECTED PLACES are linked by corridors that encourage walking, biking and public transportation in addition to serving motor vehicles. These corridors support sustainable development and help connect residents and businesses to jobs, goods, services and other opportunities GREEN PLACES are ecologically healthy and resilient, creating real economic and social value. The conservation and restoration of natural areas and natural resources enhance both environmental and public health.

STRONG COMMUNITIES provide a solid foundation for people and places to prosper. They knit together networks of people, families, businesses and civic organizations, nurturing relationships that engender trust and collaboration. They are equitable, cohesive and well governed. They respect history and community character while building for the future.

ARTPLACE AMERICA (https://www.artplaceamerica.org) The most highly funded standard bearer in Creative Placemaking was ArtPlace America 2011-2020, a collaboration between foundations, federal agencies, and financial institutions to position arts and culture as a core sector of community planning and development. Over ten years ArtPlace America invested over $100 million in pilot projects and research towards “a future of equitable, healthy, and sustainable communities in which everyone has a voice and agency in creating contextual, adaptive, and responsive solutions.” ( (https://www.artplaceamerica.org/areas-of-work/introduction) ArtPlace’s “Community Development Investments” was a 3 year experiential learning Initiative for 6 nonarts, community development organizations to integrate arts- and culture-based strategies to help achieve their socially equitable community development goals. For this initiative a multi-prong support system included: • • •

•

funding (operational and capital) technical support and webinars with national experts, site visits and ongoing advice and workshops with the national artist team of the “Center for Performance and Civic Practice: a national resource for artists and communities working together for arts-based, community-led transformation” (https://www.thecpcp.org/) convening in-person peer exchanges where the sites learned from each other’s achievements, setbacks, strategies, and recommendations.

Research and documentation for the Initiative was managed by partner PolicyLink (see section below). Who has distilled the primary lessons learned. (https://www.artplaceamerica.org/areas-work/introduction/comprehensive-community-development/community-development-investments-0

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THE BROOKINGS METROPOLITAN POLICY PROGRAM’S ANNE T. AND ROBERT M. BASS CENTER FOR TRANSFORMATIVE PLACEMAKING (https://www.brookings.edu/about-the-bass-center/)

The Bass Center aims to inspire public, private, and civic sector leaders to make transformative place investments that generate widespread social and economic benefits. Their goals are to: Demonstrate how place matters to people and economies. Industry sectors, firms, anchor institutions, workers, and residents have new and varying needs for places and placemaking, and high-quality, connected economic districts can be vital drivers of inclusive growth and development. Form districts on inclusive placemaking principles. The Bass Center will engage stakeholders in a range of economic districts to document and design placemaking practices and programs that leverage their strongest attributes, address their most pressing challenges, and strengthen connections to other communities. Strong districts are: Regionally significant and regionally connected Nurturing of innovations rooted in the assets of local residents and businesses; Invested in a built environment that is accessible, walkable, flexible, and advances community health; Supportive of vibrant, cohesive social environment that inclusively reflects community history and identity; Work with civic structures that are locally-organized, inclusive, and support network building. Facilitate policy and investment reforms that support place-led economic growth and enable placemaking innovations to scale. Help public, private, and civic sector leaders devise new economic development, land use, infrastructure, governance, and investment strategies that prioritize the development of robust districts, improve connectivity to and between them, and ultimately advance regional economic growth that benefits more people and communities.

POLICYLINK (https://www.policylink.org/sites/default/files/summary_arts_culture_equitable-dev.pdf) “PolicyLink believes that arts and culture is not only a strategy to achieve but also a core component of an equitable society. For centuries, low-income communities and communities of color have used arts and culture to navigate and survive systemic racism and oppression. These strategies are essential to retaining collective memory, promoting healing, and liberating the potential within all of us. “The equitable development movement—which brings a racial and economic equity lens to the community development field—depends on the engagement of communities of color and low-income communities in prioritizing, designing and implementing aspirations for the futures of their neighborhoods, cities, and towns. “The community-centered arts and culture movement—made up of social justice artists, arts and culture agencies with a focus on racial equity, and cultural centers that serve communities of color and low-income communities—leads in securing cultural assets, building greater social cohesion, and feeding economic vibrancy. Across nine sectors PolicyLink documents best practices at the intersection of arts, culture, and equitable development, arts and culture A. transportation B. housing C. infrastructure and community investment D. economic development and financial security E. health and food F. youth and education G. open space and recreation H. technology and information access (https://www.policylink.org/sites/default/files/summary_arts_culture_equitable-dev.pdf) POLICY LINK’S 7 STEPS TOWARD CHANGE 1. Map the artistic and cultural assets of cities, towns, states, tribal communities, and the nation, with a focus on the cultural resources in communities of color and low income communities. 2. Evaluate economic conditions, including current investments in public works and arts and culture, using data disaggregated by race, ethnicity, income, and neighborhood. 3. Identify barriers to resources for communities of color and low-income communities, and restructure processes to engender access. 4. Work with artists, designers, young people, and culture bearers to engage the community and inform equity driven processes for community development. 5. Expand equity-focused arts and culture investments across public agencies, through community-driven arts and culture plans, budget appropriations, and targeted allocations to disadvantaged communities, artists of color, and cultural institutions serving communities of color and low-income communities. 6. Ensure that governance and staffing are representative of the populations served by the agency 7. Rebalance disparities in support away from large institutions that reflect dominant culture, to “support capital campaigns, operations and programming that can become cultural and economic engines in underserved communities.” (https://www.policylink.org/sites/default/files/summary_arts_culture_equitable-dev.pdf)

BEGINNING STEPS The following are 5 basic components, or steps, in the process we undertook and suggest, based on lessons learned.

1. INSTIGATION 2. FIRST INPUT ROUND 3. PARADIGM SHIFTING 4. RE-IMAGINATION OF WHAT HAS BEEN, WHAT IS AND WHAT CAN BE 5. ITERATE, LISTEN, RESPOND, MANIFEST, RECORD, MEASURE, COMMUNICATE Creative Placemaking processes are not one-and-done: expect to cycle through several levels of re-processing: you will reassess, reconceptualize, update budgets, continue outreach and revisit decisions. This cannot be emphasized enough, because it allows for the growth and correction that will happen, but cannot be predicted.

PHASE 1: INSTIGATION 1. 2. 3. 4. 5. 6.

Key Instigators Considerations For Core Team Consider The Following Sectors And Issues For Leadership Inclusion Considerations For Intersectional Leadership Inclusion Unveiling And Agreeing To Basic Premises, Acknowledgments And Processes Committing Initial Resources With An Eye To Proactive Inclusion, Multi-sensory, Multi-cultural Interpretations 7. First Draft Multi-sector Needs Assessment And Asset Mapping 8. Tools For Measuring And Mapping Arts Economy a. Arts & Economic Prosperity Study b. National Arts Index Reports c. Creative Industries Reports d. Defining Creative Industry e. Complete List Of Common Sic Codes For Creative Industries And Arts-related Businesses And Individual Artists (Both For-profit And Nonprofit f. Accessing Creative Economy State Profiles g. Measuring: The Kc Metro Arts Ecosystem’s Economy 9. Initial Project Idea Mapping: 10. Research & Discovery: Collect, Collate And Review: 11. Initial Budget Questions

PHASE 2: COMMUNITY VISIONING OUTREACH: EYE ON INTRINSIC EQUITY 1. 2. 3. 4. 5.

Ask Questions And Listen. High-altitude Look At The Needs And Assets. Formulate And Distinguish Goals, Objectives And Strategies. Timeline Questions Budgeting a. Expenses b. Income

PHASE 3: PARADIGM SHIFTING AND PHASING 1. Budget 2. Planning

PHASE 4: RE-IMAGINATION OF WHAT HAS BEEN, WHAT IS AND WHAT CAN BE 1. Cultural Plan Examples 2. Resources

PHASE 5: ITERATE, LISTEN, RESPOND, MANIFEST, RECORD, MEASURE AND COMMUNICATE 1. Policies And Districting: i. Measuring, Strategizing And Legislating Art As Integral To Economic Growth ii. Cultural Districts 2. Resources

1. INSTIGATION 1. Instigation

Key Instigators

At the beginning of any Creative Placemaking effort there are always instigators, the people who prompt dialogues. Who is invited to the discussion is the first defining decision. In equitable Creative Placemaking, we promote consideration of intersectional and multi-sector perspectives. Authentic consideration can only be achieved if representation in planning is implemented. Generally, that is a process that depends 20

on relationship-building and time. For practical reasons, most efforts begin with the instigators and, in stages, there is a consensus, whether overt or covert, about who is represented. Who you invite to the planning table determines the dimensionality and definitions of the work: what is the place; who is the community; what the community “needs”; and, what project to undertake to address the needs. Leader-

ship dictates what is considered in planning, implementation and reporting. Inclusivity at this stage is crucial. The tenor and success of a project reflects the inputs; who speaks, who is heard, who plans, who makes decisions. Seek input and representation from an intersection of multiple sectors. Begin with a broad inclusion for the meaning of place, community, assets, needs and process.

2019 Convening of Women Artists “Who Does She Think She Is” InterUrban ArtHouse

“Here we can begin to identify the intersectional, multi-sector inputs to Creative Placemaking.” CONSIDERATIONS FOR CORE TEAM This diagram by HealthyPeople.gov compares the social determinants of health. Here we can begin to identify the intersectional, multi-sector inputs to Creative Placemaking. This helps us map key sectors where we should seek partners for healthy outcomes in Creative Placemaking planning and implementation. In the selection of partners for planning and implementation, seek practitioners, their perspectives and representative approaches. (https://www.healthypeople.gov/2020/topics-objectives/topic/social-determinants-of-health)

CONSIDER THE FOLLOWING SECTORS AND ISSUES FOR LEADERSHIP INCLUSION: Economic Stability o Un/Employment o Food In/Security o Housing In/Stability o Equitable Prosperity/ Poverty Education o Early Childhood Education and Development o Enrollment in Higher Education o High School Graduation o Language and Literacy Social and Community Context o Civic Participation o Discrimination o Social Cohesion Health and Health Care o Access to Health Care o Access to Primary Care o Health Literacy Neighborhood and Built Environment o Access to Foods that Support Healthy Eating Patterns o Crime and Violence and Incarceration o Environmental Conditions Quality of Housing

CONSIDERATIONS FOR INTERSECTIONAL LEADERSHIP INCLUSION

Desire, availability and means to to contribute time 1. Willingness to listen 2. Able to communicate ideas, strategize and advocate 3. Accepted and respected by several interest groups Below are example guidelines from about inclusion. More importantly, listen to BIPOC in your area and consider these factors when seeking leadership and ways to support Creatives so they have the capacity to participate. The InterCultural Leadership Institute (ILI) mission is to “structurally address philanthropic disparities in arts investment. ILI is a collaborative program of ``Alternate ROOTS, First Peoples Fund, National Association of Latino Arts & Cultures (NALAC) and PA’I Foundation”. ILI Goals: 1. BUILD stronger strategic intercultural collaborations and solidarity in the field of arts, culture and social justice. 2. PROMOTE the traditional and contemporary practices of artists and culture bearers, establish an alternative pathway for them to work within existing structures and provide opportunity for them to create and normalize new structures. 3. ADVANCE and enhance the capacity of artists, culture bearers and arts organizations to pursue cultural equity and sustain their work in a changing environment. 4. IMPACT the language, shift the attention and endow greater resources in multiple sectors to support transformative practices of artists and culture bearers.” (*Ili-Vision) (http://www.weareili.org/the-ili-vision.html)

“Creative People Power” (footnote) was written by Erik Takeshita and Laura Zabel, leaders in Springboard for the Arts and Helicon Collaborative. Their work reveals that there is a recent turn in economic theories to include art and culture, because “traditional approaches to problem-solving in their own sectors are not delivering on the promise to address complex community challenges and improve conditions for people.” These community leaders identified 4 “building blocks” necessary to help unleash creative people power in communities: 1. Artists and Creativity at the Table(s) create roles for local artists in civic decision-making and non-arts settings. Use participatory processes and creative approaches to civic engagement. 2. Support for “Lots of Little” Resources and supportive structures that enable people — artists and other community members — to put their creative ideas into action, in large and small ways, creating a “think it, do it” norm for community improvement. 3. Hubs and Homes Welcoming gathering places that enable civic and creative activity to be incubated and thrive. 4. Support for Making a Living and a Life Tools and supports that help artists, cultural workers, and creative entrepreneurs start businesses, find employment, access health care and other services, and otherwise contribute to the community (including, but going beyond, support for discrete projects).”

BRINGING CREATIVE PEOPLE POWER TO YOUR COMMUNITY If you’re interested in enhancing the creative people power in your community, one place to start is by asking yourself these questions: HUBS AND HOMES: Where are the natural hubs and homes for creative civic activity in our community (both formal and informal)? Can we better encourage cross-pollination between creative and civic interests in these places? LIVING AND A LIFE: How can we help artists and other creative people make a living and a life so they can stay in, and contribute to, our community? Are there supportive resources that currently exist for other community residents that could be adapted for artists? How can we expand opportunities for people to express themselves creatively, no matter what they do for a living? ARTIST AT THE TABLE: How might artists and/or creative processes help us engage more people in civic life, helping us imagine and implement better possibilities for our community? Are our planning and decision-making processes open to different ways of seeing and imagining solutions to our challenges? LOTS OF LITTLE: How can we provide incentives or remove barriers to enable people to quickly and easily put their creative ideas into action? Are there existing sources of support for arts or civic activity that might be made more flexible or inclusive? ASSETS: What assets — including creative ones — do we already have that we can build on or elevate? EQUITY: Do all people in the community have an opportunity to participate in decision-making, especially those whose lives will be most impacted by the decisions and those who have been historically excluded? RELATIONSHIPS: How can we create contexts for fostering trust, connection, and reciprocity between different communities and sectors? https://www.giarts.org/investing-creative-people-power

UNVEILING AND AGREEING TO BASIC PREMISES, ACKNOWLEDGMENTS AND PROCESSES Core leadership alignment establishes ground rules for processes and concepts. Expectations for Core Leadership is to convene an equitable process to: 1. Identify Core Team strengths, capacity and resources, including funds, staff, volunteers 2. Agree to initial roles, record keeping and decision making processes. 3. Choose a variety of platforms for both internal and external communications, e.g. calendar, shared documents, storing files, social media/ on-line presence. 4. Seek intersectional, multi-sector representation in leadership and partners 5. Collect, review, collate and unveil basic premises and approaches 6. Draft general goals, issues of study, initial concept and mission statement. 7. Prioritize initial strategies 8. Draft initial plan for community engagement to gather feedback, ideas, new perspectives, and explore feasibility. 9. Present and advocate for the plan to secure initial resources, locations and participants.

“Remember, Creative Placemaking processes cycle through several levels of re-processing. Expect to Reassess, reconceptualize, update budgets, continue outreach and revisit decisions.”

COMMITTING INITIAL RESOURCES WITH AN EYE TO PROACTIVE INCLUSION, MULTI-SENSORY, MULTICULTURAL INTERPRETATIONS Consider accessibility in its broadest terms. Language translation includes not only spoken, but also, sign, braille or other considerations for auditory, cognitive or physical challenges. Include plans, wherever possible to support participants who have obstacles to participating. Seek assistance and partnership with organizations who serve marginalized members of the community, so they can be reached and involved. Seek partners who can contribute or provide in-kind services. Begin relationship building and cultivation of partners to promote the project. Identify local reports and indicators that prove the economic impact of your Creative Sector and use that to advocate for initial financial support from local business organizations and government. Remember, Creative Placemaking processes cycle through several levels of re-processing. Expect to reassess, reconceptualize, update budgets, continue outreach and revisit decisions. 25

1,624 Arts-Related Businesses Emplo

FIRST DRAFT MULTI-SECTOR NEEDS ASSESSMENT AND ASSET MAPPING

Often there is some data already available on local needs assessments and asset mapping, e.g. Chamber of Commerce’s list of local businesses, City Geographic Information Systems’ maps, or Park and Recreation Department’s catalogues. Seek out what is already available in your area to inform a basic foundation of mapping resources. Community Colleges and Public Libraries are often engaged in useful local studies. From the national scene, there are several excellent tools available to download data about a particular area. The following are examples, using the Kansas City Metro as the location. These tools can be used to gather critical data in your area. Go beyond the standard data sets. Be careful to leverage your partnerships and broad representation to seek equitable, multi-cultural lens for bottom-up definitions of community needs and assets. Asset mapping must be informed by a broad base ofHUMAN CAPITAL Includes individuals and collective assets of knowledge, skills, and local people, because the term “assets” comprises several wisdom to create economic and valued resources for themselves and communities. Concepts include: Health conditions, educational categories, only some of which are easily identified and attainment, entrepreneurial skills, market experience, customs, rule of thumb, teckhnical skills, and healthy lifestyles. collected. The “work” of mapping community assets requires a process of intersectional communication, so that the definition of what constitutes a valuable asset worth mapping are as accurately diverse, broad and deep as the community. ARTS KC Center for Diversity Dominant culture’s definition of an ‘asset’ or ‘value’ typically & Inclusion overlooks multi-cultural variations of “what is valuable” and KCULA considered an ‘asset”. For example, in some neighborhoods, the arts and culture are embedded in day-programs for adults with disabilities, senior centers or non-arts-relatedCSF community organizations, e.g. Park and Recreation facilities KCAC or facilities where religious groups congregate.

Diverse C Engag

Misc.

Assets

Multidisc Comm Engaged Arts Groups

Black Space Black Art

Artists of Color Alliance Plug Projects

Maker Village

Mapping assets must take into account the specific community, language, history and other “hidden” assets MCC that are housed in a-typical places, e.g. stories of elders, undocumented First-nation history, etc. For this reason, KCAI representatives from an intersection or multiple local sectors PARK are needed.

NOTICE: The infor this page is the d small data set and to represent the a large.

Artist INC

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Artspeak Radio

UMKC

Publications Education

Public Lectures

University of Central Missouri

The Pitch

JCCC MU I An excellent resource is the “Cultural mapping toolkit” (https://www.creativecity.ca/database/files/library/ KU cultural_mapping_toolkit.pdf) Johnson County, KS is home to 1,624 arts-related businesses that employ 7,825

percent of the total number of businesses located in Johnson County, KS and 1.8 pe Needs plots the creative industries, with each dot representing a unique arts business estab KCAI Continuing Ed.

Organized Artist Health Care Diversity across gender, race, identity Funding for internships/ scholarships Support for artists as small business owners Free college More art writing and outlets for it Health Care / insurance for artist and contingent faculty Support for students (1) Connection to communities Support and oppurtunities for young and emerging curators and organizers Mentorship

oppurtunities for adults with special needs / abilities Agging popas Speak up / Meet your neighbors / go to events and mingle Health Care (19) We need more representation of marginalized voices in ALL spaces (5) More accomadations for people with disabilities (1) Artist board and committee members (5) Remove power from boards / individuals wrongfully speaking for the majority Selfless

More community gardens / independent or local food vendors Generous mentorship programs (1) Assistance for Health Care (1) Skill Share network Affordable living needs for artists (in reference to "Assistance for Health Care") Art in health (2) Shared narratives Oppurtunites for intergenerational connections Access to self care mechanisms and program collaborations Need to help support families

Fi ou

Nationally, 673,656 businesses are involved in the creation or distribution of th 26 This represents 4.0 percent of all U.S. businesses and 2.0 percent of all U.S. employ formidable business presence and broadly distributed across our communities. The

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TOOLS FOR MEASURING AND MAPPING ARTS ECONOMY In this next section are national tools that allow us access to quantitative and monetary data about the arts economically, by location. Please remember, that quantitatively measuring economic indexes is only one lens over the arts. The premise of this specific lens is to see local economic indicators that you can use to inform intelligent dialogue and planning. For some sectors, this is the only lens that matters, for others, this lens skips over valuable but non-quantitative community assets. Asset mapping must be informed by a broad base of local people, because the term “assets” comprises several categories, only some of which are easily identified and collected. The “work” of mapping community assets requires a process of intersectional communication, so that the definition of what constitutes a valuable asset worth mapping are as accurately diverse, broad and deep as the community. The definition of “Value” in asset mapping reflects the representatives at the planning and decision-making table. Dominant culture’s definition of an ‘asset’ or ‘value’ typically overlooks multi-cultural variations of “what is valuable” and considered an ‘asset”. For example, in some neighborhoods, the arts and culture are embedded in day-programs for adults with disabilities, senior centers or non-arts-related community organizations, e.g. Park and Recreation facilities or facilities where religious groups congregate. Mapping assets must take into account the specific community, language, history and other “hidden” assets that are housed in a-typical places, e.g. stories of elders, undocumented Firstnation history, etc. For this reason, representatives from an intersection or multiple local sectors are needed. https://www.creativecity.ca/database/files/library/cultural_mapping_toolkit.pdf

“Mapping assets must take into account the specific community, language, history and other hidden assets that are housed in a-typical places...”

ARTS & ECONOMIC PROSPERITY STUDY (https://www.americansforthearts.org/by-program/reports-and-data/research-studies-publications/arts-economicprosperity-5/learn/national-findings) Americans for the Arts.org has been benchmarking the nonprofit arts and culture industry’s impact on the economy in Arts and Economic Prosperity (AEP) studies in 1994. Four more times since then, they have published updates, with the most recent AEP-5, which reported on 341 communities in rural, suburban, and urban areas with populations ranging 1,500 to 4 million. • 113 cities • 115 counties • 81 multi city or multi county regions • 20 statewide study areas • 12 cultural districts • 14,439 arts and cultural organizations and 212,691 of their attendees Economic impact measurements included: • full-time equivalent jobs, • resident household income, • revenue to local and state governments • industry expenditures and attendance. “Even in a strong economy, some may perceive the arts as an unaffordable luxury. Fortunately, this rigorous report offers evidence that the nonprofit arts industry provides not just cultural benefits to our communities, but also makes significant positive economic contributions to the nation’s financial well-being regardless of the overall state of the economy.” – President & CEO Jonathan Spector, The Conference Board

NATIONAL ARTS INDEX REPORTS (https://www.americansforthearts.org/by-program/reports-and-data/research-studies-publications/arts-index) From 2002-2013, the National Arts Index measured 81 indicators in nonprofit and for-profit organizations, individual artists, funding and investment, employment, attendance and personal creation. They included everything from production, presentation, exhibition, education, and heritage preservation to arts integrated in healthcare. The “index” is a relative score that uses 2003 results acting as the Base Score of 100, the cumulative percent change up and down from that year was measured in points. • “How the public participates in and consumes the arts is ever-expanding, thanks to advances in technology and a public seeking more active engagement in their arts choices. • While the number of nonprofit arts organizations, artists in the workforce, and college arts graduates steadily grows—the share of the population visiting an arts museum, attending a performing arts event, or making an arts contribution steadily decreases. • The arts respond to the booms and busts of the nation’s economy. The busts hit the arts immediately . . . the recoveries tend to lag 1-2 years behind the nation’s economy. • Student demand for arts classes and college arts degrees grows steadily. The number of arts degrees conferred annually rose steadily from 75,000 to 139,000 between 1997 and 2013. America’s arts industries produce new and exciting work for their audiences, regardless of the economic cycles—more than 11,500 since 2002.” (https://www.americansforthearts.org/by-program/reports-and-data/research-studies-publications/arts-index)

National Endowment for the Arts report graphic

Arts Facts . . . 2016 National Arts Index Americans for the Arts 2016 Index report scores the health and vitality of the arts in the U.S. from 2002 to 2013. The arts continued their post-recession recovery, which began in 2012, effectively matching its pre-recession level from 2003.

The 2016 National Arts Index by Americans for the Arts provides a picture of the impact of the Great Recession on the arts—before, during, and after. The impact on the arts was swift and measurable. The 4-year drop from 2007-2011 nearly doubled the 5year gains made between 2002-2007 (6.6 vs. +3.5 percentage points, respectively). The arts are an economic force in the United States (2015). 95,000 nonprofit arts organizations and 600,000 more arts businesses, 2.3 million artists active in the workforce, 766,000 self-employed artists, and $151 billion in consumer spending. Arts nonprofits continue to be challenged financially. The percentage of nonprofit arts organizations operating at a deficit has ranged from 36 percent in 2007 (during a strong economy) to 45 percent in 2009 (the deepest part of the recession). In 2013, a time of improved economic health, 42 percent of arts nonprofits still failed to generate positive net income. Audiences change how they engage in the arts. In 2013, 31 percent of the adult population attended a live performing arts event, slightly less than 2010, but well below the 40 percent of 2003. Art museum attendance also declined, with 12.9 percent of the population attending at least once (down from 15.5 percent in 2003). Attendance at live popular music concerts is growing (23 percent in 2003 to 25 percent in 2013). Technology is changing the arts delivery models. Since 2003, nearly half of the nation’s CD and record stores have disappeared. Online music downloads, however, have surpassed 1 billion units annually. In 2013, digital formats comprised 37 percent of total music sales with streaming providers like Pandora and Spotify representing an additional 27 percent of revenues. Student demand for arts and music remains high. Between 1998 and 2009, the percentage of college-bound seniors with four years of arts or music grew from 15 percent to over 20 percent. Since 2009, however, this share has slipped to 18 percent. The number of college arts degrees conferred annually rose steadily from 75,000 to 139,000 between 1997 and 2013—promising news for business leaders looking for an educated and creative workforce. Arts organizations foster creativity and entrepreneurship: Arts organizations are homes to new ideas and innovative leaders. Between 2002 and 2013, audiences were treated to more than 11,500 new works—over 150 new operas, 1,446 orchestral works, 3,054 plays, and almost 6,500 movies. Predicting the health of the arts sector: Between 1999 and 2013, two economic forces were bellwethers for the arts over the long term: (1) total private giving to all charities, and (2) the total number of workers in all occupations. Statistically, this combination of factors explained a remarkable 72 percent of changes in the Index value. People who are working, and those who are more confident of their job prospects, have more discretionary income to engage in the arts both personally as consumers and donors. Thus, the recent increases in employment and charitable giving are promising signs for the arts. About the National Arts Index: The Index is composed of 81 national-level research indicators—the latest available data produced by the federal government and private research organizations—and covers the 12-year span 2002-2013. The Index is set to a base score of 100 in 2003; every point difference is a one percent change from that year. Source: National Arts Index 2016, Americans for the Arts, 2016. Visit www.ArtsIndexUSA.org to learn more.

www.AmericansForTheArts.org 30

CREATIVE INDUSTRIES REPORTS In this section, we visit a major resource in measuring and mapping of Creative Industries. First we present the general report resources. These are applicable to the entire nation and can be drilled-down to view study areas of particular interest to the reader. Second, for the purposes of the particular Tool Kit, we will look at the KC Metro statistics. This allows us to have objective reference points for economic information in a special setting.

DEFINING CREATIVE INDUSTRY Creative Industry is defined as a business involved in the production or distribution of the arts. (https://www. americansforthearts.org/by-program/reports-and-data/research-studies-publications/creative-industries/ faq#t961n27790) A Creative Industries report maps locations of nonprofit and for-profit arts-related businesses. in any political jurisdiction (e.g., city, county, state, legislative district). Creative Industries studies encompass both the nonprofit and for-profit arts industries, unlike Arts and Economic Prosperity studies only look at non-profits. The Creative Industries: Business & Employment in the Arts reports use Dun & Bradstreet’s national business information database, a research-based approach to understanding the scope and importance of the arts to the nation’s economy. D&B assigns an 8-digit Standard Industrial Classification (SIC) code to identify the industry and sub-category, for example: Organization Type

8-Digit SIC Code

Arts Council Government Agency (e.g., Department of Cultural Affairs) (same SIC code as Arts Council) Museum Arts or Science Center Art Gallery, non-commercial Art School, non-commercial Symphony Orchestra Summer Theater Opera Company Theatrical Company Performing Arts Center Production Community Theater Production Ballet Production Dance Studios, Schools, and Halls Theater Building, ownership and operation

86999902 86999902 84129902 84120102 84120101 82990101 79290111 79220306 79220303 79220300 79220203 79220202 79220201 79110000 65120302

(https://www.americansforthearts.org/by-program/reports-and-data/research-studies-publications/creative-industries/faq#t961n27775)

Organization Type Arts Council Government Agency (e.g., Department of Cultural Affairs) (same SIC code as Arts Council) Museum Arts or Science Center Art Gallery, non-commercial Art School, non-commercial Symphony Orchestra Summer Theater Opera Company Theatrical Company Performing Arts Center Production Community Theater Production Ballet Production Dance Studios, Schools, and Halls Theater Building, ownership and operation

8-Digit SIC Code 86999902 86999902 84129902 84120102 84120101 82990101 79290111 79220306 79220303 79220300 79220203 79220202 79220201 79110000 65120302

(https://www.americansforthearts.org/by-program/reports-and-data/research-studies-publications/creative-industries/faq#t961n27775)

A COMPLETE LIST OF COMMON SIC CODES FOR CREATIVE INDUSTRIES AND ARTS-RELATED BUSINESSES AND INDIVIDUAL ARTISTS (BOTH FOR-PROFIT AND NONPROFIT) (https://www.americansforthearts.org/sites/default/files/pdf/information_services/creative_industries/creative_industries_definition_list_2006.pdf) ACCESSING CREATIVE ECONOMY STATE PROFILES “National Assembly of State Arts Agencies’ Creative Economy State Profiles is an interactive dashboard that allows you to explore state-level Arts and Cultural Production Satellite Account (ACPSA) data through figures, including: value added to state economies through arts and cultural production, as well as employment and compensation figures for the creative workforce.” (https://www.naco.org/resources/creative-economy-state-profiles)

2017 Creative Industries

Creative Industries: Business & Employment in the Arts Key Points A research-based approach . . . The Creative Industries study provides a research-based approach to understanding the size and scope of the arts in relation to the nation’s economy. This study is a unique representation of both the nonprofit and for-profit businesses involved in the creation or distribution of the arts. It is composed of arts-centric businesses that range from nonprofit museums, symphonies, and theaters to for-profit film, architecture, and design companies. We use data from Dun & Bradstreet—the most comprehensive and trusted source for business information in the U.S.—to provide specific and reliable insights about employment and the number of arts-centric businesses in both the nonprofit and for-profit arts. Formidable industry . . . Nationally, 673,656 businesses are involved in the creation or distribution of the arts, and they employ 3.48 million people. This represents 4.01 percent of all U.S. businesses and 2.01 percent of all U.S. employees. Mapping the broad reach of the arts . . . Mapping of the creative industries across both geographic and political jurisdictions demonstrates that these businesses are broadly distributed and thriving throughout our communities and not, as is sometimes believed, strictly in downtown areas. Arts education . . . With 3.48 million people working for arts businesses, arts education is a critical tool in fueling the creative industries with arts-trained workers as well as new arts consumers. Alan Greenspan, former U.S. Federal Reserve Chairman, notes, “The arts develop skills and habits of mind that are important for workers in the new economy of ideas.” Policy development and evaluation . . . Because the Creative Industries research is conducted regularly, it is a tool for policy makers, funders, and elected leaders to track the efficacy of arts policies and creative economy initiatives. Cities and states seeking a competitive advantage use these data to measure themselves. Economic development . . . The creative industries play a major role in building and sustaining economically vibrant communities. Arts organizations provide jobs and generate government revenue and are the cornerstone of tourism and downtown revitalization. Export industry . . . The United States has exported more arts and cultural goods and services than it imported since 2006, including during the Great Recession. In 2013, the arts netted a $24.1-billiondollar trade surplus. A conservative research approach . . . We take a conservative approach to defining the creative industries by focusing solely on businesses involved in the production or distribution of the arts. Not included, for example, are computer programming and scientific research—both creative, but not focused on the arts. Our analyses demonstrate an under-representation of nonprofit arts organizations in the Dun & Bradstreet database, and consequently, in our data. Additionally, many individual artists are not included, as not all are employed by a business.

MEASURING: THE KC METRO ARTS ECOSYSTEM’S ECONOMY The arts ecosystem in the bi-state, 5-county Kansas City Metropolitan Area is as varied as the histories, neighborhoods and Creatives who have lived and worked here. A rich body of national and local research studies have explored many features of the ever-changing variety of Kansas City metro area’s arts and culture; its impact, needs and potential. 1. KC Artists Voices Summit 2019 () 2. Mid-America Regional Council’s Regional Vision 2018 3. National/Local Arts Index Study 2016 4. Kansas City Arts in the 21st Century KC (*2015 Frisch, et al, Unpublished) 5. Arts and Economic Prosperity Study V 2015 6. KCMO Convergence Plan 2013 7. KC, MO Mayor’s Task Force for the Arts 2013 8. KC, MO Status of the Arts 2008 9. Creative Industries: Business & Employment in the Arts Report 2015 10. ArtSpace Projects Preliminary Feasibility Study 2015 11. Regional Prosperity/KC Rising 2015 12. Suburban Arts Business Plan 2005-2015 (Johnson County, KS) It is a documented fact that the arts contribute enormously to our local economy, with an impact of over $276.1 million dollars a year in spending by audiences and arts/cultural organizations and 24.6 million in local/state government revenue, as the region’s 3rd largest private employment sector. (See Table 1 *Arts and Economic Prosperity Study). Even with these remarkable impact numbers, many artists are not employed full-time. Many artists are “gig-workers” whose patchwork entrepreneurialism does not equal what the IRS considers a “full-time-equivalent” job that they document and measure. Therefore, the true economic impact of the arts are not accurately captured by the Federal reports on workforce industries. (*Frisch 2015). Total Spending

Estimated

Total Spending

FullTime

Resident

Local

State

by Nonprofit

Total Spending

Nonprofit

Equivalent

Household

Government

Arts and Cultural

Arts and Culture

Jobs

Income

Revenue

ORGANIZATIONS

AUDIENCES

INDUSTRY

KC, MO

$161,706,593

$82,505,241

$244,211,834

7,515

$220,798,000

$7,918,000

$10,856,000

KC Metro

$179,536,915

$96,561,206

$276,098,121

8,970

$253,634,000

$10,097,000

$14,473,000

(https://www.americansforthearts.org/by-program/reports-and-data/research-studies-publications/arts-economic-prosperity-5) 34

COMPARING STATES IN THE KC METRO

(https://www.americansforthearts.org/sites/default/files/2017_ComparativeReport_States.pdf)

BI-STATE REPORTS ON KC M 2017

The Creative Industries in Kansas U.S. Senator Jerry Moran This Creative Industries: Business & Employment in the Arts report provides a research-based approach to understanding the scope and economic importance of the arts in Kansas. The creative industries are composed of arts businesses that range from nonprofit museums, symphonies, and theaters to for-profit film, architecture, and design companies. Arts businesses and the creative people they employ stimulate innovation, strengthen America's competitiveness in the global marketplace, and play an important role in building and sustaining economic vibrancy. In a global economy, the creative industries are durable and enduring local employers.

4,489 Arts-Related Businesses Employ 21,096 People Arts-Related Businesses Arts Schools/Services Design/Publishing Film, Radio, TV Museum/Collections Performing Arts Visual/Photography

Kansas is home to 4,489 arts-related businesses that employ 21,096 people. The creative industries account for 3 percent of the total number of businesses located in Kansas and 1.3 percent of the people they employ. The map above plots the creative industries, with each dot representing a unique arts business establishment. Nationally, 673,656 businesses are involved in the creation or distribution of the arts, and they employ 3.48 million people. This represents 4.0 percent of all U.S. businesses and 2.0 percent of all U.S. employees—demonstrating statistically that the arts are a formidable business presence and broadly distributed across our communities. The source for these data is Dun & Bradstreet, the most comprehensive and trusted source for business information in the United States. These data are current as of April 2017. Americans for the Arts thanks The Andrew W. Mellon Foundation and the Doris Duke Charitable Foundation for their generous support of our work to produce the Creative Industries: Business & Employment in the Arts reports.

www.AmericansForTheArts.org/CreativeIndustries 36

METRO CREATIVE INDUSTRIES

2017

The Creative Industries Represent 3 Percent of All Businesses and 1.3 Percent of All Employees in Kansas (Data current as of April 2017)

CATEGORY Arts Schools and Services Agents Arts Councils

Arts Schools and Instruction

BUSINESSES 142 13 15

EMPLOYEES 678

114

59 30

589

Design and Publishing

1,445

5,428

GRAND TOTAL

4,489

21,096

Advertising Architecture Design Publishing Film, Radio and TV Motion Pictures Radio Television Museums and Collections Historical Society Museums Zoos and Botanical Performing Arts Music Opera Performers (nec) Services & Facilities Theater Visual Arts/Photography Crafts Photography Services Visual Arts

277 257 904 7 445 348 43 54 290 64 213 13 674 311 1 172 165 25 1,493 147 1,039 161 146

1,331 2,181 1,898 18 4,142 2,280 247 1,615 2,081 409 1,474 198 2,683 1,196 2 381 1,008 96 6,084 1,256 3,412 818 598

Research Notes:

These Creative Industries data are based solely on active U.S. businesses that are registered with Dun & Bradstreet. Because not all businesses are registered, our analyses indicate an under-representation of arts businesses (particularly those that are nonprofit arts organizations and individual artists). The data in this report, therefore, are an undercount. To define the Creative Industries, Americans for the Arts selected 644 8-digit Standard Industrial Classification codes that represent for-profit and nonprofit arts-centric businesses (out of more than 18,500 codes representing all industries). Reports for all 435 U.S. Congressional Districts, the 50 states and the District of Columbia, the 6,766 state legislative districts, and all 3,141 U.S. counties—as well as a full suite of user tools and a comprehensive list of the industries included in this analysis—are available for download at www.AmericansForTheArts.org/CreativeIndustries.

www.AmericansForTheArts.org/CreativeIndustries 37

BI-STATE REPORTS ON KC M 2017

The Creative Industries in Missouri U.S. Senator Roy Blunt This Creative Industries: Business & Employment in the Arts report provides a research-based approach to understanding the scope and economic importance of the arts in Missouri. The creative industries are composed of arts businesses that range from nonprofit museums, symphonies, and theaters to for-profit film, architecture, and design companies. Arts businesses and the creative people they employ stimulate innovation, strengthen America's competitiveness in the global marketplace, and play an important role in building and sustaining economic vibrancy. In a global economy, the creative industries are durable and enduring local employers.

10,221 Arts-Related Businesses Employ 68,481 People Arts-Related Businesses Arts Schools/Services Design/Publishing Film, Radio, TV Museum/Collections Performing Arts Visual/Photography

Missouri is home to 10,221 arts-related businesses that employ 68,481 people. The creative industries account for 3.5 percent of the total number of businesses located in Missouri and 2.1 percent of the people they employ. The map above plots the creative industries, with each dot representing a unique arts business establishment. Nationally, 673,656 businesses are involved in the creation or distribution of the arts, and they employ 3.48 million people. This represents 4.0 percent of all U.S. businesses and 2.0 percent of all U.S. employees—demonstrating statistically that the arts are a formidable business presence and broadly distributed across our communities. The source for these data is Dun & Bradstreet, the most comprehensive and trusted source for business information in the United States. These data are current as of April 2017. Americans for the Arts thanks The Andrew W. Mellon Foundation and the Doris Duke Charitable Foundation for their generous support of our work to produce the Creative Industries: Business & Employment in the Arts reports.

www.AmericansForTheArts.org/CreativeIndustries 38

METRO CREATIVE INDUSTRIES

2017

The Creative Industries Represent 3.5 Percent of All Businesses and 2.1 Percent of All Employees in Missouri (Data current as of April 2017)

CATEGORY Arts Schools and Services Agents

Arts Councils Arts Schools and Instruction

BUSINESSES 293

EMPLOYEES 1,168

29 249

185 938

Design and Publishing Advertising Architecture Design Publishing Film, Radio and TV Motion Pictures Radio Television Museums and Collections Historical Society Museums Zoos and Botanical Performing Arts Dance Music Opera Performers (nec) Services & Facilities Theater

3,300 626 575 2,067 32 1,147 925 88 134 355 74 262 19 1,831 2 773 4 573 422 57

16,756 5,168 6,386 4,561 641 16,905 5,591 404 10,910 3,260 404 2,052 804 8,543 10 2,920 393 2,022 2,323 875

GRAND TOTAL

10,221

68,481

Visual Arts/Photography Crafts Photography Services Visual Arts

3,295 312 2,384 310 289

21,849 2,047 6,607 6,666 6,529

Research Notes:

www.AmericansForTheArts.org/CreativeIndustries 39

2017 The Creative Industries in Johnson County, KS This Creative Industries: Business & Employment in the Arts report provides a research-based approach to understanding the scope and economic importance of the arts in Johnson County, KS. The creative industries are composed of arts businesses that range from nonprofit museums, symphonies, and theaters to for-profit film, architecture, and design companies. Arts businesses and the creative people they employ stimulate innovation, strengthen America's competitiveness in the global marketplace, and play an important role in building and sustaining economic vibrancy. In a global economy, the creative industries are durable and enduring local employers.

1,624 Arts-Related Businesses Employ 7,825 People Arts-Related Businesses Arts Schools/Services Design/Publishing Film, Radio, TV Museum/Collections Performing Arts Visual/Photography

Johnson County, KS is home to 1,624 arts-related businesses that employ 7,825 people. The creative industries account for 4.6 percent of the total number of businesses located in Johnson County, KS and 1.8 percent of the people they employ. The map above plots the creative industries, with each dot representing a unique arts business establishment. Nationally, 673,656 businesses are involved in the creation or distribution of the arts, and they employ 3.48 million people. This represents 4.0 percent of all U.S. businesses and 2.0 percent of all U.S. employees—demonstrating statistically that the arts are a formidable business presence and broadly distributed across our communities. The source for these data is Dun & Bradstreet, the most comprehensive and trusted source for business information in the United States. These data are current as of April 2017. Americans for the Arts thanks The Andrew W. Mellon Foundation and the Doris Duke Charitable Foundation for their generous support of our work to produce the Creative Industries: Business & Employment in the Arts reports.

www.AmericansForTheArts.org/CreativeIndustries

2017 The Creative Industries Represent 4.6 Percent of All Businesses and 1.8 Percent of All Employees in Johnson County, KS (Data current as of April 2017)

CATEGORY Arts Schools and Services Agents Arts Schools and Instruction Design and Publishing Advertising Architecture

BUSINESSES 36 5 31 717 135 108

EMPLOYEES 211 21 190 2,817 716 1,102

146 124 11 11 28

1,694 1,111 159 424 188

Museums Zoos and Botanical Performing Arts Music Performers (nec)

22 1 208 102 54

155 13 811 303 92

Visual Arts/Photography Crafts Photography Services Visual Arts

489 46 354 46 43

2,104 555 1,147 234 168

1,624

7,825

Design Publishing

Film, Radio and TV Motion Pictures Radio Television Museums and Collections Historical Society

Services & Facilities Theater

GRAND TOTAL

471 3

46 6

993 6

390 26

Research Notes:

www.AmericansForTheArts.org/CreativeIndustries

2017 The Creative Industries in Missouri U.S. Senator Roy Blunt This Creative Industries: Business & Employment in the Arts report provides a research-based approach to understanding the scope and economic importance of the arts in Missouri. The creative industries are composed of arts businesses that range from nonprofit museums, symphonies, and theaters to for-profit film, architecture, and design companies. Arts businesses and the creative people they employ stimulate innovation, strengthen America's competitiveness in the global marketplace, and play an important role in building and sustaining economic vibrancy. In a global economy, the creative industries are durable and enduring local employers.

10,221 Arts-Related Businesses Employ 68,481 People Arts-Related Businesses

Arts Schools/Services Design/Publishing Film, Radio, TV Museum/Collections Performing Arts Visual/Photography

www.AmericansForTheArts.org/CreativeIndustries 42

2017 The Creative Industries Represent 3.5 Percent of All Businesses and 2.1 Percent of All Employees in Missouri (Data current as of April 2017)

CATEGORY Arts Schools and Services

BUSINESSES 293

EMPLOYEES 1,168

Design and Publishing Advertising Architecture

3,300 626 575

16,756 5,168 6,386

Performers (nec) Services & Facilities Theater Visual Arts/Photography Crafts Photography Services

573 422 57 3,295 312 2,384 310

2,022 2,323 875 21,849 2,047 6,607 6,666

Agents Arts Councils Arts Schools and Instruction

Design Publishing Film, Radio and TV Motion Pictures Radio Television Museums and Collections Historical Society Museums Zoos and Botanical Performing Arts Dance Music Opera

Visual Arts

GRAND TOTAL

15 29 249

2,067 32 1,147 925 88 134 355 74 262 19 1,831 2 773 4

289

10,221

45 185 938

4,561 641 16,905 5,591 404 10,910 3,260 404 2,052 804 8,543 10 2,920 393

6,529

68,481

Research Notes:

www.AmericansForTheArts.org/CreativeIndustries 43

2017 The Creative Industries in Clay County, MO This Creative Industries: Business & Employment in the Arts report provides a research-based approach to understanding the scope and economic importance of the arts in Clay County, MO. The creative industries are composed of arts businesses that range from nonprofit museums, symphonies, and theaters to for-profit film, architecture, and design companies. Arts businesses and the creative people they employ stimulate innovation, strengthen America's competitiveness in the global marketplace, and play an important role in building and sustaining economic vibrancy. In a global economy, the creative industries are durable and enduring local employers.

368 Arts-Related Businesses Employ 1,695 People Arts-Related Businesses Arts Schools/Services Design/Publishing Film, Radio, TV

Museum/Collections Performing Arts Visual/Photography

Clay County, MO is home to 368 arts-related businesses that employ 1,695 people. The creative industries account for 3.6 percent of the total number of businesses located in Clay County, MO and 1.6 percent of the people they employ. The map above plots the creative industries, with each dot representing a unique arts business establishment. Nationally, 673,656 businesses are involved in the creation or distribution of the arts, and they employ 3.48 million people. This represents 4.0 percent of all U.S. businesses and 2.0 percent of all U.S. employees—demonstrating statistically that the arts are a formidable business presence and broadly distributed across our communities. The source for these data is Dun & Bradstreet, the most comprehensive and trusted source for business information in the United States. These data are current as of April 2017. Americans for the Arts thanks The Andrew W. Mellon Foundation and the Doris Duke Charitable Foundation for their generous support of our work to produce the Creative Industries: Business & Employment in the Arts reports.

www.AmericansForTheArts.org/CreativeIndustries 44

2017 The Creative Industries Represent 3.6 Percent of All Businesses and 1.6 Percent of All Employees in Clay County, MO (Data current as of April 2017)

CATEGORY Arts Schools and Services

Arts Schools and Instruction Design and Publishing Advertising

Architecture Design

BUSINESSES 10

EMPLOYEES 23

321

10 124 19 87

Publishing Film, Radio and TV Motion Pictures Radio Television Museums and Collections Historical Society Museums Zoos and Botanical Performing Arts Dance Music Performers (nec) Services & Facilities Visual Arts/Photography Crafts Photography Services Visual Arts

1 36 31 2 3 13 4 8 1 63 1 24 15 23 122 8 98 12 4

GRAND TOTAL

368

23 666 159 171

15 302 163 10 129 76 19 51 6 179 9 54 71 45 449 34 210 81 124 1,695

Research Notes:

www.AmericansForTheArts.org/CreativeIndustries 45

2017 The Creative Industries in Jackson County, MO This Creative Industries: Business & Employment in the Arts report provides a research-based approach to understanding the scope and economic importance of the arts in Jackson County, MO. The creative industries are composed of arts businesses that range from nonprofit museums, symphonies, and theaters to for-profit film, architecture, and design companies. Arts businesses and the creative people they employ stimulate innovation, strengthen America's competitiveness in the global marketplace, and play an important role in building and sustaining economic vibrancy. In a global economy, the creative industries are durable and enduring local employers.

1,688 Arts-Related Businesses Employ 10,094 People Arts-Related Businesses Arts Schools/Services Design/Publishing Film, Radio, TV Museum/Collections Performing Arts Visual/Photography

Jackson County, MO is home to 1,688 arts-related businesses that employ 10,094 people. The creative industries account for 4.7 percent of the total number of businesses located in Jackson County, MO and 2.3 percent of the people they employ. The map above plots the creative industries, with each dot representing a unique arts business establishment. Nationally, 673,656 businesses are involved in the creation or distribution of the arts, and they employ 3.48 million people. This represents 4.0 percent of all U.S. businesses and 2.0 percent of all U.S. employees—demonstrating statistically that the arts are a formidable business presence and broadly distributed across our communities. The source for these data is Dun & Bradstreet, the most comprehensive and trusted source for business information in the United States. These data are current as of April 2017. Americans for the Arts thanks The Andrew W. Mellon Foundation and the Doris Duke Charitable Foundation for their generous support of our work to produce the Creative Industries: Business & Employment in the Arts reports.

www.AmericansForTheArts.org/CreativeIndustries 46

2017 The Creative Industries Represent 4.7 Percent of All Businesses and 2.3 Percent of All Employees in Jackson County, MO (Data current as of April 2017)

CATEGORY Arts Schools and Services Agents Arts Councils Arts Schools and Instruction Design and Publishing Advertising Architecture Design Publishing Film, Radio and TV Motion Pictures Radio Television Museums and Collections Historical Society Museums Zoos and Botanical Performing Arts Dance Music Opera Performers (nec) Services & Facilities Theater Visual Arts/Photography Crafts Photography Services Visual Arts

GRAND TOTAL

BUSINESSES 36 2 2 32 569 110 105 352 2 176 145 10 21 49 5 43 1 361 1 133 1 124 92 10 497 41

EMPLOYEES 169 3 12 154 3,566 1,251 1,585 727 3 2,237 790 34 1,413 481 16 456 9 1,746 1 629 20 238 485 373 1,895 134

403

350 53

1,688

1,039 319

10,094

Research Notes:

www.AmericansForTheArts.org/CreativeIndustries 47

2017 The Creative Industries in Platte County, MO This Creative Industries: Business & Employment in the Arts report provides a research-based approach to understanding the scope and economic importance of the arts in Platte County, MO. The creative industries are composed of arts businesses that range from nonprofit museums, symphonies, and theaters to for-profit film, architecture, and design companies. Arts businesses and the creative people they employ stimulate innovation, strengthen America's competitiveness in the global marketplace, and play an important role in building and sustaining economic vibrancy. In a global economy, the creative industries are durable and enduring local employers.

172 Arts-Related Businesses Employ 510 People Arts-Related Businesses

Arts Schools/Services Design/Publishing Film, Radio, TV Museum/Collections Performing Arts Visual/Photography

Platte County, MO is home to 172 arts-related businesses that employ 510 people. The creative industries account for 3.6 percent of the total number of businesses located in Platte County, MO and 0.8 percent of the people they employ. The map above plots the creative industries, with each dot representing a unique arts business establishment. Nationally, 673,656 businesses are involved in the creation or distribution of the arts, and they employ 3.48 million people. This represents 4.0 percent of all U.S. businesses and 2.0 percent of all U.S. employees—demonstrating statistically that the arts are a formidable business presence and broadly distributed across our communities. The source for these data is Dun & Bradstreet, the most comprehensive and trusted source for business information in the United States. These data are current as of April 2017. Americans for the Arts thanks The Andrew W. Mellon Foundation and the Doris Duke Charitable Foundation for their generous support of our work to produce the Creative Industries: Business & Employment in the Arts reports.

www.AmericansForTheArts.org/CreativeIndustries

2017 The Creative Industries Represent 3.6 Percent of All Businesses and 0.8 Percent of All Employees in Platte County, MO (Data current as of April 2017)

CATEGORY Arts Schools and Services Arts Schools and Instruction Design and Publishing Advertising Architecture Design

Publishing Film, Radio and TV Motion Pictures Radio

Television Museums and Collections Historical Society Museums Performing Arts Music Performers (nec) Services & Facilities Theater Visual Arts/Photography Crafts Photography Services Visual Arts GRAND TOTAL

BUSINESSES 5 5

EMPLOYEES 23 23

8 30

21 78

48 9

117 17

1 18

1 144

1 9 1 8 25 13 9 2 1

3 27 7 20 59 34 18 5 2

14 3

128 13

67 7 41 9 10

140 12 67 44 17

172

510

Research Notes:

www.AmericansForTheArts.org/CreativeIndustries

MEASURING: THE KC METRO ARTS ECOSYSTEM’S NEEDS In the following pages, we show other specific examples of how mapping assets and needs have previously been gathered in the Kansas City region.

KC Arts Summit Prioritized Assets and Needs

NOTICE: The information displayed on this page is the documentation of a small data set and in no way stands to represent the arts community at large. However, it should be noted that we are actively making attempts to collect more and more data in hopes of adding perspectives. Please help us by taking our exit survey, a link can be found on PAGE ##

Assets

Needs

Public Libraries, Non-conventional Artspaces

Artist Ownership Investment Ops, Affordable housing & studio space

KC Tenants, Artists in the political dialogue

Arts Representation without political agenda, Leadership development for creatives, Less police, prison abolition

Community gardens, public performance spaces

Texture, weirdness, plant trees/pocket parks, reel in big developers,

FINANCIAL CAPITAL Financial resources available to invest in community capacity0building, to development businesses to accumulate wealth for future community development. Concepts include financial services, banks, and community funds.

Artist & Project Grants/ Scholarships

Pay artists & writers, make an effort to understand their effort

CULTURAL CAPITAL Are the collective values, beliefs, traditions, and rituals that create, support, maintain and develop shared meanings systems across generations. Concepts include: ethnic festivals, religion, multilingual populations, strong work ethics, sense of unity, sense of community, and language.

We value our past, present, and future cultures

Land Acknowledgement (Osage, Kansa, Souix); support + space for subculture & subversion

SOCIAL CAPITAL The web of relations that creates networks of resources, values, supportive systems for the benefit of the collective good. Concepts includeL community, organizations, networks, barrio social dynamics, tightknit communities, family, and sense of belonging

Small pockets of artists meeting to push each other’s work

More advocates + representation; sober gatherings + nonalcoholic drink offerings at events

HUMAN CAPITAL Includes individuals and collective assets of knowledge, skills, and wisdom to create economic and valued resources for themselves and communities. Concepts include: Health conditions, educational attainment, entrepreneurial skills, market experience, customs, rule of thumb, teckhnical skills, and healthy lifestyles

Publications (Informality Blog, The Pitch, Artspeak Radio); Elders are still present to share their wisdom

Healthcare; More representation of marginalized voice in all spaces.

BUILT CAPITAL Refers to the infrastructure that supports the community. Includes transportation, buildings & Infrastructure, housing, and can include IT services, utilities, streets, and industrial parks POLITICAL CAPITAL Refers to access to power, organizations, connection to resources and power brokers. Includes concepts such as civic engagement, voting patterns, and elected officials. NATURAL CAPITAL Refers to assets that abide in a location, including resources, amenities, and natural beauty. Concepts include: green areas, air quality, and water quality.

(https://kcartistsummit.files.wordpress.com/2019/10/artist-summit-zine.pdf) (https://kcartistsummit.wordpress.com/2019/07/17/event-1-artist-summit-on-7-6-19/) (https://kcartistsummit.files.wordpress.com/2019/10/kc-arts-summit-summary.pdf) (https://kcartistsummit.wordpress.com/2019/11/01/event-2-artist-spaces-on-10-30-19/)

Offices Minneapolis Denver Los Angeles New Orleans New York Seattle Washington DC 250 Third Avenue North Suite 400 Minneapolis, MN 55401 P 612 / 333 / 9012 F 612 / 333 / 9089 artspace.org

Kansas City, MO Arts Market Study Report of Findings

June 2017 Recommendations Prepared by Artspace Technical Report Prepared by Swan Research

1. Create up to 60 units of affordable live/work space • 2. Create up to 40 new affordable studio/work-only spaces • 3. Create up to 3,000 sq. ft. of affordable long-term rentable space that may be used for example, for retail, office, food service and other traditional creative commercial uses 4. Create up to 2,000 sq. ft. of incubator space that may be used for offices, art production, and meetings among other administrative and production related uses. 5. Create a 99-300 seat theatre with low-rental costs, that may be operated by one entity or a consortium of performing arts groups, and that could be made available to outside arts groups on an as needed basis through sublease or license agreements 6. Locate a new multi-use arts facility where an available site may be secured affordably and that advances civic and redevelopment goals, therefore ensuring long-term sustainability. Consider if there are feasible site opportunities in locations that are also of greatest interest to artists and arts organizations/creative businesses. 7. Price commercial spaces between $0.50 and $1.50 per sq. ft. to be affordable to the many interested businesses and organizations.

KC MO A R T S C O N VER G ENCE BECOMING A 21ST CENTURY CULTURAL CENTER FINAL PLAN

NOV 2 013

KCMO A RT S C O N V E R G E N C E 1

KCMO ARTS CONVERGENCE City Of Kansas City, Missouri, Mayor’s Task Force for the Arts General Services Department Architecture Division Municipal Art Commission Special thanks to the City Communications Office COMMUNITY ENGAGEMENT BY THE NUMBERS More than 3,600 people participated: 1. Interviews/conversations (on site) - 70+ interviews 2. Festival of Ideas - 40+ meetings - 500+ participants 3. MindMixer web-based engagement - 500+ new sign-ups -1,650 total participants 4. Community web-based survey - 1,403 community responders There are ten goals and accompanying strategies to address the needs and opportunities identified for KCMO Arts Convergence. 1. Enhance leadership and funding for the arts and culture sector. 2. Enhance the existing public art program. 3. Improve access to arts education for every student and adults of all ages. 4. Enhance arts and cultural opportunities available in neighborhoods throughout Kansas City, MO. 5. Enhance services and opportunities for individual artists. 6. Facilitate the development and use of facilities, venues and spaces for diverse arts activity throughout Kansas City, MO. 7. Showcase and develop the creative potential of Kansas City, MO’s new technology platform. 8. Create a signature festival focused on the region’s artists and cultural organizations, highlighting Kansas City, MO’s arts, culture and creativity. 9. Increase support for economic development of Kansas City, MO’s creative sector. 10. Provide more comprehensive information to residents and workers about available arts and cultural activities and resources.

Cart of the Nephilim| Michael Schonhoff

8 KCMO ARTS CONVERGENCE

16 KCMO ARTS CONVERGENCE

“Hopefully, as this plan unfolds for the City, there will be consideration of a grants program – either indirect as re-grants through the Arts KC-Regional Arts Council, direct grants through their own program to be defined, or through general funds. There is a significant need spanning grass roots organizations and neighborhoods. But there should be a large institution aspect to it. The largest organizations provide the most significant impact and the need for support is proportional.” Jeffrey Bentley, Executive Director Kansas City Ballet

Kansas City History | Painted by Alexander Austin

Float | Jarrett Mellenbruch

1 8 KC M O A R T S C O N V E R G E N C E

4 4 KC M O A R T S C O N V E R G E N C E

INITIAL PROJECT IDEA MAPPING: In Equitable Creative Placemaking ideas and questions are depicted with multiple frames of reference. RESEARCH & DISCOVERY: COLLECT, COLLATE AND REVIEW: 1. Data, documents field literature (cultural asset mapping, business documentation, online surveys, economic impact analysis, research) 2. Collect, study and use data that can benchmark an index and/or show change. 3. Embed analytics into web-based platforms used in outreach. 4. Utilize simple, consistent ways to take surveys, count attendees, gather feedback, and collect contact information from interested parties. (Both in-person and digitally.) 5. Identify people, and resources to collect, maintain an effective contact management tool, e.g. Google Forms, Constant Contact or Sales Force. 6. Identify a person, tool and place where data, research and other materials are efficiently filed and maintained, hard copy and/or digital. INITIAL BUDGET QUESTIONS • Are there any financial or in-kind resources available to the Core Team and partners? • Are there known sources to pursue? • What ways are there to fund/support child-care, translators, scribes, designers & community-practice artists? • Ask funders and businesses what community interests they choose to support, their goals, timeframes and budgets; what does a win-win look like to them? • Can you leverage bartering, branding, marketing resources or other non-monetary trades inkind? • What aspects of the Creative Placemaking project aligns with funders, existing budgets, company marketing resources, etc?

PHASE 2 PHASE 2: COMMUNITY VISIONING OUTREACH: EYE ON INTRINSIC EQUITY 1. Conduct individual interviews/small group meetings 2. Dialogue with the arts and culture community and other non-profit organizations serving special populations in your area. Reimagine who can be involved. 3. Identify new partners who intrinsically embody ‘voice equity’ from their personal and professional experience and have unique access to a variety of resources, monetary and non-monetary. 4. tap into a wide range of people in the general public, through official city structure, community meetings and committees. 5. Hire local artists to create engaging, creative-based activities that promote dialogue and are in places, using platforms and provide support and access broadly 6. Create or align with cultural events that leverage and support creative processes to engage community 7. Find and cultivate storytellers and stories 8. Capture ideas, visions, responses in a variety of media: seeking to include the unspoken, invisable, a-typical, non-conforming, unusual, inconvienient 9. Use both stories and data to engage people 10. Find the ways and platforms used by audiences who are strategic to your success; in a wide range of media; pictures, video, performances, exhibitions, public art, social media, printed materials, presentations, events, audio recordings, Youtube videos, etc. 11. Tie project updates and outreach to good news, outcomes, overcoming obstacles. Refer to the Citations section “Civic Engagement and Community DIscourse” for more resources.

ASK QUESTIONS AND LISTEN. 1. What topics sparked your Creative Placemaking process? 2. What partnerships do we need to achieve our objectives? 3. In what ways do we engage youth, seniors, disabled, marginalized? 4. How can we use art and culture to engage civic activation? Who can lead creative sessions where you use post-its, white-boards, game pieces, maps, photographs, toys, art supplies and any other material to allow free expression and new ways of seeing the community, its assets and needs? 5. What are visions for a future, how are they different from the present? 6. What outcomes do you hope to achieve? 7. What is or is not in the built-environment that can be seen as an asset or need? 8. How will you and what are the qualities or quantifiers to measure success?What bench-marks can we use to measure improvement from? 9. What sub-goals will lead to outcomes, list activities or steps? 10. What strategies can be implemented towards the vision? 11. How can goals be divided into short-, medium- and long-term? 12. How shall information, reports, calendar events, updates and other information be communicated and managed? 13. What city or county policies and procedures exist, e.g. rules, zones, uses, permits? 14. What barriers or changes to city or county policies and procedures would support goals, incentivize resources or leverage existing plans? (https://www.policylink.org/our-work/community/arts-culture/plan) Seek planning checklists that suit your location, for example: “A Plan to Plan Checklist” in Developing a Strategic Cultural Plan: A Work Kit” Louise K. Stevens (https://intranet.americansforthearts.org/by-program/reports-and-data/legislation-policy/naappd/ developing-a-strategic-cultural-plan-a-work-kit)

HIGH-ALTITUDE LOOK AT THE NEEDS AND ASSETS The “Placemaking Assessment Tool” by the Michigan State University Land Policy Institute has made very helpful distinctions that will facilitate exploration, ways of seeing, and understanding that will inform the entire planning team and process. (See charts below.) Check and recheck you have invited a spectrum of sectors. Refer to the Citations section “Planning” for more resources.

HIGH-ALTITUDE LOOK AT THE NEEDS AND ASSETS. The “Placemaking Assessment Tool” by the Michigan State University Land Policy Institute has made very helpful distinctions that will facilitate exploration, ways of seeing, and understanding that will inform the entire planning team and process. (See charts below.) Check and recheck you have invited a spectrum of sectors. Refer to the Citations section “Planning” for more resources.

Table 2: Potential Assessment Team Members Placemaking Type

Recommended Assessment Team Members

Standard, Creative or Tactical Placemaking (Short- or Medium-term)

Try to include as many of the following types of potential assessment team members as is reasonable: Neighborhood business owners/landlords, Residential Neighborhood or Block Association Representatives, Downtown development representatives if the location is downtown, Long-time resident, New resident, Local Government Planning Official, Local Government Community Development Official, Local Government Economic Development Official, Arts Council (or similar) representative, Transportation authority representative, Parks official, Historical Society representative, Developers/builders, and Walkability or bicycle advocacy representative.

Strategic Placemaking (Long-term)

Try to include as many of the following types of potential assessment team members as is reasonable: Anchor institution(s) representative(s); Elected officials; Local government Planning official; Local government Zoning Administrator; Local government Economic Development official; Corridor Improvement District representative (if applicable); Downtown Development District representative (if applicable); Arts Council (or similar) representative; Historical Society representative; Transportation authority representative; Parks official; Business owners; Person(s) working with MEDC Redevelopment Ready Communities program; Transit authority official; Public Works official; Local private architect, landscape architect and urban planner;

(https://www.canr.msu.edu/landpolicy/uploads/files/Resources/Tools/MIplace_Partnership_Initiative/PlacemakingAssessmentTool_LPI_WCAG2.0_updated_041515.pdf)

Formulate and distinguish goals, objectives and strategies. In the Citation Section’s “Strategic Plan Examples”, you will find a myriad of samples for goals, objectives, strategies and action plans. The format and nature of these elements are extremely particular, case-by-case. The process of dialogue and engagement helps project leaders to clarify and prioritize.

Table 1: Comparison of Four Types of Placemaking The Problem

The Solution

The Payoffs

Broad public and stakeholder engagement in revitalizing, reusing, and creating public spaces using shortand longterm techniques rooted in social engagement and new urbanist design principles.

More quality places with quality activities and a strong sense of place. More vital, vibrant and livable public spaces, communities and regions that residents, businesses and visitors care deeply about.

Revitalization that increases housing and transportation choices, and urban amenities to attract talented workers.

Faster gains in livability, population, diversity, jobs, income and educational attainment, than by standard placemaking.

American cities, suburbs

Revitalization by creative

Gains in livability, diversity, jobs

and small towns confront

initiatives that animate

and income. Innovative

structural changes and

places and spark

products and services for the

residential uprooting.

economic development.

cultural industries.

Standard Placemaking Communities are not effectively using public spaces to create vital, vibrant and livable communities where people want to live, work, play, learn and visit. Strategic Placemaking Communities are not competitive in attracting and retaining talented workers. Creative Placemaking

(https://www.canr.msu.edu/landpolicy/uploads/files/Resources/Tools/MIplace_Partnership_Initiative/PlacemakingAssessmentTool_LPI_WCAG2.0_updated_041515.pdf)

TIMELINE QUESTIONS: • What time landmarks must be considered; e.g. grant deadlines, major cultural holidays, city processes, existing community events? • What complimenting or conflicting activities should be marked on the calendar? • Are there times of day and days of week barriers to inclusivity? • What seasonal factors must be considered, e.g. weather, summer vacations, graduation season. • What time constraints are presented by technological platforms, research projects or fiscal year/tax filing dates? • What tools are most useful and efficient for setting and communicating dates? 59

BUDGETING EXPENSES • Make a spreadsheet, chart, diagram or other means for listing expenses. • Make a column for in-kind versus cash to monitor what you need. • Even in-kind services or materials, given free, should be listed as an “Expense”. Assign costs to each action step, goal or objective. Note, both monetary and non-monetary. For example, refreshments or supplies can be supported by a local merchant in trade for advertising or having a presence at a festival.

BUDGETING SHOULD ITEMIZE POTENTIAL COSTS AND RESOURCES FOR SEVERAL STAGES: PHASE 1 • Formation, research and exploration. • Scribing, record-keeping, filing, data and information management. PHASE 2 • Initial communication platforms and events that include means to support participation by underheard voices. • Means to record, maintain and report back on information gathered. • Drafting and designing and ongoing updates to plans and concepts. PHASE 3 • Talent and materials related to the testing of ideas, mock-ups and civic engagement activities. • Costs for Professional Development to support leadership. For example, team building exercises, computer skill-building workshops, mini-mark-making workshops, lunch-and-learn presentations, leadership training programs and cross-cultural training consultant activities are a few. See Citation section “Tool Kits and Resource Lists” Potential consulting/contract fees, services, internships, apprenticeships, honorariums to support medium- and long-term “staff” during planning, development and implementation stages. PHASE 4 • Implementation costs related to changing the built environment, creation of art, program costs, operating costs. • Ongoing documentation, communication and reporting. • Ongoing advocacy, education, policy development and fundraising.

INCOME Again track in-kind versus cash income to monitor your budget. Income in cash can be earned (sales, rental fees) or donated (grants, sponsorships, memberships). Use a budget tracking platform that is flexible, easy to use and identify a team member with the skill and will who will maintain the report safely and communicate about it to the team.

PHASE 3:

PARADIGM SHIFTING and PHASING

1. Next-level inclusion and leadership development. 2. RE-INVENTION: Reconceive project ideas, needs and assets 3. Fund artists, scribes, reimaginers, designers 4. Plan multi-faceted, multi-sensory community cultural activities to communicate back out for Second feedback round 5. Coordinate partners/leaders calendars, programs, communication platforms and other logistics BUDGET PLANNING Identify prospects for income that align with your goals. For example, sell prints of a poster about the project designed by a local artist. An example of misalignment would be to produce plastic disposable merchandise that contradicts your environmental and community health objectives. Link team members or partners with specific line-items or potential supporters. If you have a banker on your team, ask them to advocate and assist in the presentation of a proposal to the bank so it can meet its community reinvestment requirements. If you have a graphic designer on your team, find out if their clients or employers who sponsor design production in trade for advertising. Research and chart what local foundations and local government programs align with the work. Note their requirements, eligibility, deadlines and prioritize the sources into short-, medium- and long-term prospects. For example, short-term would be asking big box stores about their process to request store credit as a project donation. Medium-term would be to cultivate a relationship with a local law-firm over a period of time before you “make an ask”; for example you offer to do lunch-and-learn presentation and meet with their office manager before your relationship naturally reaches a point when they want to engage with your work. Long-term would be a large, national grant that requires months of preparation. See Citation section “Funding” for examples of budget tools and formats. Draft fundraising goals that identify the point person, actions, time-line, how to align goals and how to follow-through with on-going contact.

RE-IMAGINATION OF WHAT HAS BEEN, WHAT IS AND WHAT CAN BE 1. Mediate consensus on priorities, realities and readiness with deliberate commitment to elevate what/who needs affirmative proactivity 2. Artists working with community representatives manifest mock-ups of proposals for built environment, human uses, messaging, content, resources, impact measurement 3. Secure funding for implementation, participation and manifestation with emphasis on LOCAL vendors See Citation Section “Planning” and “Project Profiles” for examples of Cultural Plans. 61

PHASE 4: ITERATE, LISTEN, RESPOND, MANIFEST, RECORD, MEASURE AND COMMUNICATE 1. Implement the project’s manifestation with an attitude of porosity for self-criticism, critique, feedback and readjustment. 2. Document using multi-sensory, multi-cultural interpretations. 3. Collect feedback and impact measurement 4. Evaluate and report 5. Distill process, lessons-learned and resources for piloting to others 6. Solidify plans for ongoing funding needs and policy goals

POLICIES AND DISTRICTING: MEASURING, STRATEGIZING AND LEGISLATING ART AS INTEGRAL TO ECONOMIC GROWTH In 2012, the National Governors’ Association NGA. org, published the New Engines of Growth: Five Roles for Arts, Culture and Design. The report survived best practices and data about the status of states’ art and culture sectors, including: Indexing employment, participation and revenues from the National State Art Agency; which states have economic strategies that include arts and culture; and, which states have legislation or formal policies for Districting creative/innovation/enterprise zones. (https://www.giarts.org/sites/default/files/New-Engines-of-Growth.pdf)

CULTURAL DISTRICTS

“Urban, suburban, and rural communities are seeking strategies for walkable, accessible, civically engaging, job producing Districts: arts and innovation districts, university and medical districts and Main Streets. Our history of deindustrialization, automation, segregation and disinvestment are combined with a pent-up demand for places built for people instead of cars.” by Jennifer S. Vey, Senior Fellow - Metropolitan Policy Program, Anne T. and Robert M. Bass Center for Transformative Placemaking (https://www.brookings.edu/research/why-weneed-to-invest-in-transformative-placemaking/)

CULTURAL DISTRICTS “Urban, suburban, and rural communities are seeking strategies for walkable, accessible, civically engaging, job producing Districts: arts and innovation districts, university and medical districts and Main Streets. Our history of deindustrialization, automation, segregation and disinvestment are combined with a pent-up demand for places built for people instead of cars.” by Jennifer S. Vey, Senior Fellow - Metropolitan Policy Program, Anne T. and Robert M. Bass Center for Transformative Placemaking (https://www.brookings.edu/research/why-we-need-to-invest-in-transformative-placemaking/)

CULTURAL DISTRICTS: • are unique to the character, community, and resources available locally. • have a significant economic impact on cities, attracting businesses, tourists, and local residents to a central part of the city. • can help revitalize neighborhoods and increase the quality of life for its residents. • serve as a vehicle to assist in the support and marketing of local nonprofit cultural organizations. • serve as a focal point to brand a city’s unique cultural identity and embrace its historic significance. • sometimes have formal boundaries lines with specific zoning ordinances and economic tax incentives. • might have more informal, unofficial boundaries that become a focal marketing point to cluster arts organizations.

In general, most cultural districts are divided into the following types: Cultural Compounds The oldest districts, primarily established in cities prior to the 1930s. They were built in areas somewhat removed from the city’s central business district and have large, open green spaces between buildings. They often comprise major museums, large performing halls, theaters and auditoriums, colleges, libraries, planetariums and zoos. Example - Forest Park; St. Louis, MO Major Cultural Institution Focus Districts Anchored by one or two major cultural institutions, such as a large performing arts center, which then attracts smaller arts organizations around it. These districts are located close to central business districts, near convention centers or other large tourism sites. Example - The Pittsburgh Cultural District; Pittsburgh, PA Downtown Area Focus Districts Encompass the entire downtown area of a city. Designation is often tied to a tourism focus and common in small cities with walkable downtowns. Example - City of Cumberland Arts and Entertainment District; Cumberland, MD Cultural Production Focus Districts Comprised primarily of community centers, artist studios, and educational arts centers and media facilities and often exist in areas with affordable housing and commercial space. These districts create a cultural hub and enhance city livability for residents of a neighborhood rather than attracting tourists. Example - The Warehouse Arts District; Tucson, AZ Arts and Entertainment Focus Districts Include more popular culture and commercial attractions and include more modest size buildings with a bohemian feel. They include small theatres, movie houses, private galleries, restaurants, and other entertainment venues. Example - The District; Nashville, TN Naturally Occurring Focus Districts Usually are rooted in community based cultures and identities building on asset based strategies. They are holistic and are highly diverse and led by local empowered leadership. Generally they are neighborhood based and artist driven. Example - St. George; Staten Island, NY Looking for examples of each type of Cultural District?

Download: Examples of Types of Cultural Districts (pdf, 506KB)

STATE POLICY BRIEFS STATE CULTURAL DISTRICTS 2015 study National Assembly of State Arts Agencies (https://nasaa-arts.org/nasaa_ research/stateculturaldistrictspolicybrief/) STRATEGY SAMPLER State Cultural District Programs Key Issues, Strategies and Management Practices May 2018 (https://nasaa-arts.org/wp-content/uploads/2018/05/CulturalDistrictsStrategySampler.pdf)

https://www.americansforthearts.org/by-program/reports-and-data/toolkits/national-cultural-districts-exchange-toolkit Kansas City History | Painted by Alexander Austin

1 8 KCMO A R TS CONVERG ENC E

TIPS FOR SHARING PUBLIC POLICY TIPS FOR SHAPING PUBLIC POLICY

1. Be sure your partners are on board with the policy-shaping effort 2. Understand and target the appropriate arenas of influence 3. Get to know the people who influence policy 4. Use direct lobbying and grassroots mobilization 5. Advocate with the executive branch EXCERPT FROM: The creative community builder’s handbook: How to transform communities using local assets, art, and culture T Borrup, RH McNulty - 2006

Resources cont’d CREATIVE PLACEMAKING GENERAL Works Cited “Creative Counties Placemaking Challenge.” NACo, www.naco.org/creative-counties-placemaking-challenge. Markusen, Ann and Anne Gadwa. “Creative Placemaking: Executive Summary.”National Endowment for the Arts. 2010. https://www.naco.org/blog/creative-placemaking “Social Impact of the Arts.” Americans for the Arts, 2018, www.americansforthearts.org/socialimpact.

CIVIC ENGAGEMENT AND COMMUNITY DISCOURSE Works Cited Animating Democracy, Americans for the Arts, animatingdemocracy.org/. “Cultural Equity.” Americans for the Arts, 2015, www.americansforthearts.org/about-americans-for-the-arts/our-statement-on-cultural-equity. “Cultural Organizing .” Arts & Democracy, 2020, artsanddemocracy.org/what-we-do/cultural-organizing/. “Social Determinants of Health.” HealthPeople.gov, May 2020, www.healthypeople.gov/2020/topics-objectives/topic/social-determinants-of-health. “This Is Ili.” Intercultural Leadership Institute, www.weareili.org/the-ili-vision.html. Whang. “Arts and Culture .” Center for Civic Reflection, Salisbury University, 2019, civicreflection.org/partners/category/ arts-culture.

STRATEGIC PLANNING EXAMPLES Works Cited “Arts, Culture, & Creative Placemaking Strategic Plan.” Atlanta Regional Commission. Jan. 2019. https://cdn.atlantaregional.org/wp-content/uploads/2019-arc-artscultureplan-full-1.pdf “City of Sugar Land Cultural Arts Strategic Plan and Implementation Guide.” The City of Sugar Land, TX. n.p.d. http:// www.sugarlandtx.gov/DocumentCenter/View/1572/Cultural-Arts-Strategic-Plan-and-Implementation-Guide?bidId= “Natick Center Plan.” Metropolitan Area Planning Committee. 2016. https://www.mapc.org/wp-content/uploads/2017/09/Natick-Center-Plan-Report_June2016-Final.pdf “Salida Creative District Strategic Plan.” Salida Community Development Department. Jan. 2012. https://cityofsalida.com/ wp-content/uploads/2013-Salida-Creative-District-Strategic-Plan.pdf 68

FUNDING Works Cited “Community Foundations Program.” The Knight Foundation, 2019, knightfoundation.org/community-foundations/. “Our Town: Grant Program Description.” National Endowment for the Arts, 23 June 2020, www.arts.gov/grants-organizations/our-town/grant-program-description. “Placemaking Program & Grant.” National Association of Realtors, 2020, realtorparty.realtor/community-outreach/ placemaking. “Strengthen the Equitable Creative Placemaking Field.” The Kresge Foundation, 20 Dec. 2019, kresge.org/programs/ arts-culture/national-networks-0. “‘What Does the CDFI Fund Do?” Community Development Financial Institutions Fund, U.S. Department of the Treasury, 2020, www.cdfifund.gov/.

POLICY DEVELOPMENT Works Cited Barsdate, Kelly, et al. “State Policy Innovations to Support Creative Placemaking.” Federal Reserve Bank of San Francisco, 13 Nov. 2019, www.frbsf.org/community-development/publications/community-development-investment-review/2019/ november/state-policy-innovations-to-support-creative-placemaking/. “State Cultural Districts.” State Policy Briefs, National Assembly of State Arts Agencies, 2015, nasaa-arts.org/wp-content/uploads/2018/05/StateCulturalDistrictsPolicyBrief.pdf.

BLOGS Works Cited “All Posts.” National Consortuium for Creative Placemaking, 2020, www.cpcommunities.org/blog. ArtPlace America, 2020, www.artplaceamerica.org/blog. “Arts and Culture Archives.” Shelterforce: The Voice of Community Development, 2020, shelterforce.org/category/arts-culture/. Project for Public Spaces, 2020, www.pps.org/blog. “Spaces to Places: Transforming Public Spaces into Vibrant Places for the Community.” National Association of Realtors, 2020, www.nar.realtor/blogs/spaces-to-places. 69

Resources cont’d ASSET MAPPING Works Cited “Asset Mapping.” Arts.gov, National Endowment for the Arts, www.arts.gov/exploring-our-town/project-type/asset-mapping. Burns, Janice C., et al. “Participatory Asset Mapping.” Community Science, Advancement Project, Apr. 2012, www.communityscience.com/knowledge4equity/AssetMappingToolkit.pdf. Duncan, Dan. “Asset-Based Community Development: Asset Mapping Toolkit.” Clear Impact, Dec. 2016, cdn2.hubspot.net/hubfs/2433936/Asset Mapping Toolkit CI V2.pdf?__hssc=175987197.5.1583941550495&__hstc=175987197.624409c925e97a3c1c561c85858403ab.1583941550494.1583941550494.1583941550494.1&__ hsfp=3153314784&hsCtaTracking=7d25e3e6-32fb-45b4-bf50-9ceb54ee5f29|270bfc44-4b73-4560-b48f-65fbd9437eac. “Interactive: Arts Vibrancy Across the U.S.” SMU, sites.smu.edu/meadows/heatmap/index.html. McCullough, Maggie, et al. PolicyMap, 22 Apr. 2020, www.policymap.com/. Stewart, Sue. CULTURAL MAPPING TOOLKIT. Legacies 2010, www.creativecity.ca/database/files/library/cultural_mapping_ toolkit.pdf. Stewart, Sue. “Cultural Mapping Toolkit.” Creative City Network of Canada, 2004, www.creativecity.ca/database/files/library/cultural_mapping_toolkit.pdf. “Tool Kit.” Resources, DePaul University, 2020, resources.depaul.edu/abcd-institute/resources/Pages/tool-kit.aspx. “Welcome to SMU DataArts.” SMU DataArts, dataarts.smu.edu/artsresearch/.

PLACEMAKING TABLETOP VISIONING RESOURCES Works Cited Craneburgh, Nadine. “Urban Planning Games Can Be a Seriously Fun Way to Win Community Support.” Engineers Australia, Create Digital, 20 Aug. 2019, www.createdigital.org.au/urban-planning-games-seriously-fun-way-win-community-support/. Poplin, Alenka. “Games and Serious Games in Urban Planning: Study Cases.” Computational Science and Its Applications ICCSA 2011: International Conference, Santander, Spain, June 20-23, 2011. Book. p. 1-14. https://www.researchgate. net/publication/221433226_Games_and_Serious_Games_in_Urban_Planning_Study_Cases Scott, Charlotte. “Play the City: A Game That Lets Everyone Plan the Future of a Town.” Smart Cities Dive, www.smartcitiesdive. com/ex/sustainablecitiescollective/future-cape-town-can-game-help-plan-future-township/1087333/.

PLANNING Works Cited “Arts and Planning Toolkit.” Arts Toolkit & Planning, Metropolitan Area Planning Council, 2020, artsandplanning. mapc.org/. “Building a Cultural Equity Plan.” PolicyLink, 2020, www.policylink.org/our-work/community/arts-culture/plan. “Elements of a Cultural Equity Plan.” PolicyLink, www.policylink.org/sites/default/files/cultural-plan-elements. pdf. “Research Knowledgebase.” American Planning Association, 2020, www.planning.org/knowledgebase/. “‘District of Columbia Public Space Activation and Stewardship Guide.” Planning.dc.gov, District of Columbia Office of Planning, Dec. 2018, planning.dc.gov/sites/default/files/dc/sites/dcps/page_content/attachments/2018.12 DC Public Space Activation Stewardship Guide_web.pdf. “‘Placemaking Assessment Tool.” Canr.msu, Michigan State University Land Policy Institute, www.canr.msu.edu/ landpolicy/uploads/files/Resources/Tools/MIplace_Partnership_Initiative/PlacemakingAssessmentTool_LPI_WCAG2.0_updated_041515.pdf.

TOOLKIT AND RESOURCE LISTS Works Cited Burns, Leah, and Skye Louis. “Arts Equity Toolkit.” Neighbourhood Arts Network, 2012, www.chapmanculturalcenter.org/site/user/files/1/ArtsEquityToolkit.pdf. “Community Tool Box.” Center for Community Health and Development, The University of Kansas, 2020, ctb. ku.edu/en. “Creative Placemaking Resources.” National Endowment for the Arts, www.arts.gov/artistic-fields/creative-placemaking/creative-placemaking-resources. “Creative Placemaking Toolkit for Counties.” National Association of Counties, 2019, www.naco.org/resources/ signature-projects/creative-placemaking-toolkit-counties. “Cultural Community Benefits Principles Toolkit.” Edited by Cezanne Charles, Arts in a Changing America, 28 Sept. 2019, artsinachangingamerica.org/cultural-community-benefits-principles/. “D.I.Y. Creative Placemaking.” Toronot Artscape Inc., www.artscapediy.org/Creative-Placemaking-Toolbox.aspx. Harris, Susan Fitter. “‘Creative Placemaking Resources to Get You Started or Grow Your Practice.” Local Initiatives Support Corporation (LISC), 2016, www.lisc.org/our-resources/resource/creative-placemaking-resources-get-you-started-or-grow-your-practice. “Knowledgebase Collection: Creative Placemaking.” American Planning Association, 2020, www.planning.org/ knowledgebase/creativeplacemaking/. “National Cultural Districts Exchange Toolkit.” Americans for the Arts, 2015, www.americansforthearts.org/ by-program/reports-and-data/toolkits/national-cultural-districts-exchange-toolkit. “Tools.” PolicyLink, www.policylink.org/resources-tools/tools. 71

Resources cont’d NATIONAL ARTS & ECONOMIC PROSPERITY STUDIES Works Cited “2017 Creative Industries: U.S. States.” Americans for the Arts, 2017, www.americansforthearts.org/sites/default/ files/2017_ComparativeReport_States.pdf. “Arts Social Impact Explorer.” Americans for the Arts, 2018, www.americansforthearts.org/socialimpact. “Arts & Economic Prosperity Calculator.” Americans for the Arts, 2020, www.naco.org/featured-resources/ arts-and-economic-prosperity-5-calculator. “Arts and Economic Prosperity 5: The Economic Impact of Nonprofit Arts & Cultural Organizations & Their Audiences.” Americans for the Arts, 2016, www.americansforthearts.org/sites/default/files/aep5/PDF_Files/ARTS_Brochure_Mockup.pdf. “The Definition of Creative Industries: The Standard Industrial Classification (SIC) Codes of the Nation’s Arts-Related Businesses.” Americans for the Arts, 2004, www.americansforthearts.org/sites/default/files/pdf/information_services/creative_industries/creative_industries_definition_list_2006.pdf. “Interactive: Arts Vibrancy Across the U.S.” National Association of Counties, www.naco.org/resources/arts-vibrancy-index-and-heat-map. “National Cultural Districts Exchange Toolkit.” Americans for the Arts, 2015, www.americansforthearts.org/by-program/reports-and-data/toolkits/national-cultural-districts-exchange-toolkit. Sparks, Erin, and Mary Jo Waits. New Engines of Growth: Five Roles for Arts, Culture and Design. National Governors Association, May 2012, www.giarts.org/sites/default/files/New-Engines-of-Growth.pdf. “State Cultural Districts Policy Brief.” National Assembly of State Arts Agencies, 2015, nasaa-arts.org/nasaa_research/stateculturaldistrictspolicybrief/. “‘Creative Industries: Business & Employment in the Arts Key Points.” Americans for the Arts, 2017, www.americansforthearts.org/sites/default/files/pdf/2017/by_program/reports_and_data/creative/2017_Key_Talking_ Points.pdf. “‘National Findings: Economic Impact of the Nonprofit Arts & Culture Industry.” Americans for the Arts, 2015, www. americansforthearts.org/by-program/reports-and-data/research-studies-publications/arts-economic-prosperity-5/learn/national-findings.

FUNDING Works Cited Artspace, Artspace Projects Inc., 2018, www.artspace.org/consulting. The Cultural Planning Group, 2017, culturalplanning.com/. “Planning.” Metris Arts Consulting, metrisarts.com/planning_ta/. Smart Growth America, 2020, smartgrowthamerica.org/. 72

REGIONAL STATE-BASED STUDIES Works Cited “Creative Counties: Placemaking Challenge.” National Association of Counties. 2020. https://www.naco.org/creative-counties-placemaking-challenge “Frequently Asked Questions – Creative Industries.” Americans for the Arts. 2015. https://www.americansforthearts.org/ by-program/reports-and-data/research-studies-publications/creative-industries/faq#t961n27775 “Jazz District Today.” 18th and Vine Jazz District Renaissance and Redevelopment Corporation. 2012. http://www.kcjazzdistrict.org/about/jazz-district-today/ Kilpatrick, Mason. “Event #1: Artist Summit on 7.6.19.” KC Artist Summit. 2019. https://kcartistsummit.wordpress. com/2019/07/17/event-1-artist-summit-on-7-6-19/ “Strategy Sampler: State Cultural District Programs – Key Issues, Strategies and Management Practices.” National Assembly for State Arts Agencies. May 2018. https://nasaa-arts.org/wp-content/uploads/2018/05/CulturalDistrictsStrategySampler.pdf “The Creative Industries in Clay County, MO.” Americans for the Arts. 2017. https://secures21.brinkster.com/aftadc/Missouri/county/MO_Clay_County.pdf “The Creative Industries in Jackson County, MO.” Americans for the Arts. 2017. https://secures21.brinkster.com/aftadc/ Missouri/county/MO_Jackson_County.pdf “The Creative Industries in Kansas: U.S. Senator Jerry Moran.” Americans for the Arts. 2017. https://secures21.brinkster. com/aftadc/congress/senate/KS_Moran.pdf “The Creative Industries in Missouri: U.S. Senator Roy Blunt.” Americans for the Arts. 2017. https://secures21.brinkster. com/aftadc/congress/senate/MO_Blunt.pdf “The Creative Industries in Platte County, MO.” Americans for the Arts. 2017. https://secures21.brinkster.com/aftadc/Missouri/county/MO_Platte_County.pdf “What We Did at the Artist Voices Summit 2019.” The Kansas City Artists’ Summit. 2019. https://kcartistsummit.files.wordpress.com/2019/10/artist-summit-zine.pdf “What We Did at the Artist Voices Summit 2019.” The Kansas City Artists’ Summit. 2019. https://kcartistsummit.files.wordpress.com/2019/10/artist-summit-zine.pdf “Creating Sustainable Places: A Centers-and-Corridors Strategy for Regional Sustainability.” Mid-America Regional Council. 2013. https://www.marc.org/Regional-Planning/Creating-Sustainable-Places/assets/SustainableCommunitiesAbstract.aspx “Creative Economy State Profiles.” National Assembly of State Arts Agencies. 2020. https://www.naco.org/resources/ creative-economy-state-profiles “The Creative Industries in Johnson County, KS.” Americans for the Arts, 2017, secures21.brinkster.com/aftadc/Kansas/ county/KS_Johnson_County.pdf. “Kansas City, MO: Arts Market Study Report of Findings.” ArtSpace. June 2017. https://www.kcmo.gov/home/showdocument?id=98 “KC Arts Summit Summary.” KC Artist Summit. July 6, 2019. https://kcartistsummit.files.wordpress.com/2019/10/ kc-arts-summit-summary.pdf Kilpatrick, Mason. “Event #2: Artist Spaces on 10.30.19.” KC Artist Summit. Oct. 30, 2019. https://kcartistsummit.wordpress.com/2019/11/01/event-2-artist-spaces-on-10-30-19/ “Regional Vision.” Mid-America Regional Council. 2020. https://www.marc.org/Regional-Planning/Regional-Vision

Resources cont’d PROJECT EVALUATION Works Cited “Arts Index.” Americans for the Arts, 2016, www.americansforthearts.org/by-program/reports-and-data/research-studies-publications/arts-index. Community Check Box Evaluation System, University of Kansas Center for Community Health and Development, 2020, checkbox.ctb.ku.edu/. DataArts. Southern Methodist University, 2014, dataarts.smu.edu/artsresearch/. “Evaluations.” Metris Arts Consulting, metrisarts.com/evaluations/. “Measuring Project Results.” Arts.gov, National Endowment for the Arts, www.arts.gov/exploring-our-town/project-process/ measuring-project-results. “Resources on Program Evaluation and Performance Measurement.” Arts.gov, National Endowment for the Arts, www.arts. gov/artistic-fields/research-analysis/program-evaluation-resources-and-performance-measurement. Sheppard, Zack. “Case Studies.” Center for Creative Community Development, www.c-3-d.org/.

PROJECT PROFILES Works Cited Borrup, Thomas. “Artists and Creativity in Urban Placemaking: Reflections on a Downtown Minneapolis Cultural District.” Creative Community Builders. 2012. https://creativecommunitybuilders.com/wp-content/uploads/Artists-Creativity-JUCR-Borrup.pdf “Case Study: Natick Center Creative Placemaking Project.” American Planning Association , American Planning Association and Americans for the Arts, 2018, planning-org-uploaded-media.s3.amazonaws.com/document/Natick-Center-Creative-Placemaking-Project.pdf. Discover Greeley Creative District, www.discovergreeleycreativedistrict.com/. Engh, Rachel, Susan Fitter Harris, Anne Gadwa Nicodemus, Danielle Lewinski and Chelsea A. Allinger. “Creative Placemaking on Vacant Properties: Lessons Learned from Four Cities.” Center for Community Progress. 2018. https://community-wealth.org/sites/clone.community-wealth.org/files/downloads/Creative Placemaking on Vacant Properties Lessons Learned from Four Cities.pdf “Mariposa County Creative Placemaking Master Plan.” Mariposa County, 2019, www.mariposacounty.org/2312/Mariposa-County-Creative-Placemaking-Mas. “National Endowment for the Arts.” Arts.gov, National Endowment for the Arts, www.arts.gov/exploring-our-town/showcase. “Profiles of Cultural Districts.” Americans for the Arts, 2015, www.americansforthearts.org/by-program/reports-and-data/toolkits/national-cultural-districts-exchange/profiles-of-cultural-districts-0.

RESEARCH Works Cited “Arts & Economic Prosperity Study V.” Americans for the Arts, 2015, www.americansforthearts.org/by-program/reports-and-data/research-studies-publications/arts-economic-prosperity-5. “ArtSpace Projects Preliminary Feasibility Study.” Https://Www.kcmo.gov/Home/Showdocument?Id=98, 2015. Borrup, Tom, and Robert McNaulty. The Creative Community Builder’s Handbook: How to Transform Communities Using Local Assets, Art, and Culture. Fieldstone Alliance, 2013. County, Arts Council of Johnson. “Johnson County, KS Suburban Arts Business Plan: 2005-2015.” Americans for the Arts, 2015, www.americansforthearts.org/by-program/reports-and-data/legislation-policy/naappd/johnson-county-ks-suburban-arts-business-plan-2005-2015. Courage, Cara and Anita McKeown, eds. “Creative Placemaking: Research, Theory and Practice.” Routledge. 2019. https://www.researchgate.net/publication/328110829_Creative_Placemaking_Research_Theory_and_ Practice “Creative Industries: Business & Employment in the Arts Report.” Https://Www.americansforthearts.org/by-Program/ Reports-and-Data/Research-Studies-Publications/Creative-Industries, 2015. “Creative Placemaking and Community Safety.” Urban Institute, 24 Sept. 2018, www.urban.org/creative-placemaking-and-community-safety. “Creative Placemaking Research and Resources.” National Assembly of State Arts Agencies, 2020, nasaa-arts.org/ nasaa_research/creative-place-making-research-resources. Frisch, Michael, and Darren Bohrer. KC, MO Status of the Arts. Department of Architecture, Urban Planning and Design University of Missouri Kansas City, 2008. Kansas City Arts in the 21st Century KC 2015 (Frisch, et al, Unpublished) KC Artist Summit, Charlotte Street Foundation, 2019, kcartistsummit.wordpress.com/. “KCMO Convergence Plan.” Https://Www.downtownkc.org/Wp-Content/Uploads/2013/11/KCMO-ARTS-CONVERGENCE-Summary.pdf, 2013. Levine Daniel, Jamie and Mirae Kim. “Creative Placemaking: Building Partnerships to Create Change.” Journal of Public and Nonprofit Affairs. Feb. 2019. https://scholarworks.iupui.edu/bitstream/handle/1805/18536/ Levine-Daniel-2019-Creative.pdf?sequence=1 “Mayor’s Task Force for the Arts.” City of Kansas City, Missouri Mayor’s Office, 2013, kcmayor.org/mayors-agenda-items/mayors-task-force-for-the-arts. “Mid-America Regional Council’s Regional Vision 2018 .” MARC, 2018, www.marc.org/Regional-Planning/Regional-Vision. “National/Local Arts Index Study.” Americans for the Arts, 2016, www.americansforthearts.org/by-program/reports-and-data/research-studies-publications/national-arts-index-reports-download-center. “Regional Cultural Plan .” OneArtsKC , 2015, artskc.org/repository/2012/06/Final_Cultural-Plan_4_20_15_Small. pdf). “Regional Prosperity/KC Rising.” MARC, 2015, www.marc.org/Data-Economy/Regional-Prosperity. Zicter, Andrew. “Making Up Creative Placemaking.” The Journal of Planning Education and Research. May 2018. https://www.researchgate.net/publication/324988433_Making_Up_Creative_Placemaking