I'm sorry.

Here.

Thank you.

Thank you.

Thank you.

Thank you.

Thank you.

Thank you.

Thank you.

Chair, staff is ready when you are.

All right.

Thank you, Heather.

Good afternoon, everyone.

Welcome to the August 12th, 2024, Sacramento Arts Culture and Creative Commission.

The meeting is now called to order.

Will the clerk please call the roll to establish a quorum?

Thank you, Chair.

Commissioners, please unmute for roll call.

Commissioner Anderson?

Is absent.

Commissioner Blair?

Here.

Commissioner Lemali?

Here.

Commissioner Martino?

Here.

Commissioner Nronho?

Here.

Commissioner O'Habew?

Here.

Commissioner Smith?

Here.

Commissioner Tokalino?

Here.

Commissioner Wilson-Rami?

Absent?

Commissioner Winlock?

Here.

And Chair Enriquez?

Here.

Thank you.

We have quorum.

Thank you.

I'd like to remind members of the public and chambers that if you would like to speak on an agenda item,

please turn into speaker slip when the item begins and they're right up here on that table.

You will have two minutes to speak.

Once you are called on after the first speaker, we will no longer accept speaker slips.

We will now proceed with today's agenda.

Robert, could you please lead us in the land acknowledgement?

Please rise.

To the original people of this land, the Misanan people, the southern Maidu Valley, and plains Miwak.

Patwin, Winton, peoples, and the people of the Wilton, Ranturia, Sacramento's only federally recognized tribe.

May we acknowledge and honor the native people who came before us and still walk beside us.

We have a collective practice of acknowledgement and appreciation for sacrament of indigenous peoples history, contributions and lives.

The agents to the flag of the United States of America and to the Republic for which it stands, one nation, under God, indivisible, with liberty and justice for all.

Thanks everyone.

I would like to welcome our newest commissioner from D3, Niki Ruka O'Hegbu.

Welcome.

Thank you.

Thank you.

Can you just share 30 seconds, a little bit about who you are?

Hi, my name is Dr. and Kyrika Kyrgyz.

Kyrgyz, Katherine O'Hegbu, very honored to be on this commission.

I've worked in government affairs for a number of years and in the private industry and very loved the arts and excited to be here.

Thank you.

Welcome.

Thank you.

You're excited.

Okay, our first business today is approval of the consent calendar.

Clerk, are there any members of the public who wish to speak on the consent calendar?

Thank you, Chair.

There are no speakers for this item.

Okay, are there any commissioners who wish to speak on this item?

I don't see any.

All right, can I get a motion and second, please?

Motion to approve the minute.

Thank you.

Hi, second.

You, Steve.

All right.

Please call the vote.

Thank you, Chair.

And to confirm that was removed by Commissioner Nronho with a second by Commissioner Winnlock.

Yes.

Thank you.

Commissioners, please unmute for vote.

Commissioner Anderson is absent.

Commissioner Blair.

Aye.

Commissioner Lemmele.

Yes.

Commissioner Martino.

Yes.

Commissioner Nronho.

Yes.

Commissioner Hable.

Oh, Hable.

Yes.

Commissioner Smith.

Yes.

Commissioner Tokalino.

Yes.

Commissioner Wilson-Rami is absent.

Commissioner Winnlock.

Yes.

Ann Charen-Rikas.

Yes.

Thank you, motion passes.

All right.

You skipped me at the initial sentence and I also would say yes.

For the minutes.

Did I get you for roll?

Okay.

For the record, Commissioner Luvulo is here for roll and has voted yes for the consent calendar.

Thank you.

I apologize for that.

We also have Commissioner Anderson arriving at 105.

Thank you.

Thank you.

Okay.

We will move on to the discussion calendar.

We have item two, Creative Core Artisan Sacramento City Government presentation.

And I welcome Melissa Serone.

I think that is you.

Yes.

That is you, right?

The slides.

What do I have to do?

Oh, there it is.

Okay.

Good afternoon to members of the commission, visitors in our audience and those watching remotely today.

We are happy to introduce you today to the five resident artists in government who are part of our

Capital Region Creative Core program.

So to remind you, Capital Region Creative Core is part of a statewide campaign funded by the California Arts

Council as an outreach communications and engagement program designed to increase awareness around public health, civic engagement, social justice, community engagement, climate mitigation,

and emergency preparedness.

The Office of Arts and Culture received $4.75 million as the administering organization for the Capital Region.

And in this role, we funded 26 projects in five counties that will end up employing more than 400 close to 500 artists in critical projects.

So the work is extraordinary and diverse.

And I encourage you all to go to our creative core website and check them all out.

All the projects are there, illustrated.

But this afternoon, we are here to feature one unique factor of our program.

And that's the five artists hired to work in positions in city departments and offices.

Those departments are climate action and sustainability.

And that's the innovation and economic development, long range planning, transportation planning, and youth parks and community enrichment, otherwise known as YPC.

Today I was supposed to turn it over to Richard Falcone, my wonderful collaborative partner on this.

He's delayed a little bit, but I'm sure you'll hear from him at the end.

But first I want to thank the California Arts Council for providing this vital opportunity.

And I really want to thank the five city departments that took a leap of faith and said yes to bringing an artist onto their staff.

I think you're going to see today the fruits of their collaborations and their presentations.

So now I'm going to hand it over to our first artist who is Angie.

Thank you so much for inviting us artists to present our projects.

I'm going to go to the first slide.

So my name is Angie and I worked in long range planning with the neighborhood development action team.

I'm a wonderful group of people with a great leadership Matt Hurtle who is now the assistant director of community development department.

So at the beginning of my tenure with the city, I was working on workshop tools toward education campaigns on affordable housing, infill development, the ADU toolkit, and missing middle.

So if you see in the top left of the slide is what I call the great wall of acronyms.

So I was attending the planning academy with 40 participants and noticing that a lot of the planning presenters spoke with a lot of acronyms.

So as an educator and professor at NYU, I'm always thinking of learning devices.

And I thought well what we need are table menus with acronym definitions to help understanding.

So that was the great wall of acronyms. On the right you'll see a photo of a tree with tags on it.

It's called a Woop tree. This Woop tree is a spin off of a wish tree or prayer tree.

But here it's advocating for more goal setting.

So we're asking the community participants to not just think of the problem but also think of the plan.

So it's wish outcome obstacle plan.

And then on the bottom you'll see Equalopoly, which was a spin off of the game monopoly.

So I was working with associate planner Greta Seuss on different engagement activities for a planning 101 boot camp.

So we were thinking of we would have presentations and also these engagement activities.

So for the first four or five months we were doing these workshop tools.

And I thought to myself if I want to have more impact and leave behind more inspiration on how art can be a tool for social change.

And in this case civic engagement, I really needed to demonstrate to the staff how art can be impactful.

So I was working more adjacent to the job tasks of the staff and showing them by experience rather than doing these smaller projects.

So the first project that we did that was in the community was with the community ambassadors and community engagement ambassadors.

And we were talking with associate planner Nguyen Nguyen and when we were thinking about affordable housing, the ADU toolkit.

And I thought when we address affordable housing for our age population, we might be thinking of intergenerational living.

So I thought what do we do to promote intergenerational living and also lead the community to the resources that we've provided to the community on their website.

So that's what the campaign called yes to granny.

And yes to granny was basically instead of a political campaign for a candidate, it would be for our aging population.

So yes to granny was going to be a political demonstration but it wasn't a political demonstration.

So it was an art performance that we did at the midtown farmers market just last Saturday with the community engagement ambassadors where we would be the spotlight and start engaging with the community, starting a dialogue and passing out merch like stickers.

We were wearing the t-shirts and passing out pamphlets on infill development.

So this was a project that I implemented to demonstrate how art can engage the community by experience was a contemplative walk called at this spot.

So the planning academy were doing historical tours and I thought in order for us to unveil our blind spots, we really need to experience a space viscerally and behaviorally.

So we're inspired by the French situation of the past hundred years who were thinking about human design of a space and not just designing space through commerce.

Although that is important, it's also important that we think about how a city can be human centered design.

So at this spot was a game where I asked the planning academy alumni to come and experience a space that was part of the 2040 general plan such as Del Paso, Stockton Boulevard and soon we're going to be doing the River District.

And as you see there's a deck of cards and the participants were asked at different spots to pick a card and follow the prompt.

So a prompt would be for example close your eyes and listen to the sounds or notice if the sidewalks are ADA compliant or count the number of trees on a street and so forth.

So the goal is not to become a planner with the city of Sacramento. The goal is to become a planner.

The planner mindset is when you bridge the left side analytical side with the right side, the creative mindset.

And when you marry those two, then you can see how we can address social development.

So that's the planner mindset. So what I wanted to leave behind with the city of Sacramento is not how an artist should be placed in government but how creative creativity is necessary in our teams and just showing them different ideas instead of a workshop with grants, what about a pop up grant van?

Instead of showing the architectural designs of an empty lot, what about the community being able to use augmented reality and upload their designs for an empty lot or instead of us interviewing the public, what about a POV campaign that the community leads in a cable television?

So these are ideas that just planning sees and I think that that's where we can have impact and to just send the message out that art makes progress.

It doesn't always make money. In my experience it takes a lot of money. It's an investment. But if we can also consider that art makes progress, that's what we want to put out there.

Thank you very much. And I have one last exercise. I know my five minutes is up, but we just did a yes to granny campaign. Here's our signs. And I'm going to do a short exercise with the commissioners because we're talking about engagement.

So we're going to do a quick callback. So when I say yes, all of you are going to say to granny. Can we do that exercise really quickly? All right. When I say yes, you say to granny. Yes.

Thank you very much. And I'm going to have a hand.

Let me go forward here. Hello, hello. My name is Amber DeBor. And during my year with the city, I have had the pleasure of working with the community engagement team in the Office of Innovation and Economic Development.

Upon arriving at the city as an artist who had never worked directly in government, there was a lot of upload. And as the first few months passed, I came to realize my role as an arts communicator.

Looking out at my community and all the information that residents needed, I created the monthly common sense scene. I'll pass them out to you after this is done.

In order to call about the overflow of information and lack of credibility residents are been bothered with on the internet and eight page mini booklet with a full size poster on the back aimed at empowering residents to be engaged socially, civically, or to seek opportunities for their own ideas in our community.

This project is sustainable because it's printed on 100% free free banana paper to set an example of all the ways we at the city can imagine growing our efforts to benefit the environment.

It's collaborative in essence. My goal was to collaborate with all four of my cohort members to diversify the information residents received from other departments.

We also created a city tools page on the community engagement website that now host the scene and other valuable resources for residents to use online.

Last month we placed the free Zed dispenser you can see in the middle out in the community and at city hall and next month it will be out at local businesses to help residents access relevant information and important information.

My next project letters and lunches is about building trust with the community one on one. I often think we can underestimate the power of simply meeting face to face or offering people the privacy and personal touch that comes with giving them our sole focus.

I invited residents who would otherwise have no obligation or reason to show up to city hall like artists or creators or small businesses owners and ask them to have lunch with me and then walk to a counselor commission meeting.

The community engagement team is also incredibly creative. I had the opportunity to provide creative direction on our monthly city connect mixers where the staff goes out to meet the community at different venues and provide information and resources.

The community engagement vlog started as the idea for a podcast and through creative direction testing and teamwork it became the sack vibes vlog.

I'm sure the team is already planning the next season of interviews with staff and residents coming up later this year.

And something that the community engagement team does often is tabling events and I wanted to offer an alternative to the rinse and repeat tabling methods that are so common at events and provide activities and interactive solutions for the team to get people engaged and keep them at the table.

One of those was what is your third space which was really a four question survey turned into a craft about where people spend their time and leisure in Sacramento.

Third spaces are places other than work or home that are unproductive and recreational.

Another project was sustainability is blank. That was an activation at Artifio Guerrero Park in tandem with the Office of Climate Action and Sustainability and to New Year's work and the Earth Dabutification Projects.

I took chalk and stencils to the park to create an interactive learning experience for park goers encouraging kids and parents to explore animal footprints and questions about sustainability.

Blank slots were left for people to respond and tell us what sustainability means to them while being asked to consider their own footprint and the impact it has adding a layer of magic and learning to an everyday place.

Last but not least I had the privilege of working with Megan and vice mayor maple on engaging residents on our current city flag introducing people to the flag which many people have never seen the flag and then asking them what would the Sacramento flag look like if it represented you utilizing approachable questions and empowering activities to emboldened residents to be proud of our city.

The job description described an externally facing creative messaging opportunity for artists which I would argue we all achieved but reflecting upon the real work and experiences the changes that were made and the impact of this residency I would argue our role was more about improving and challenging the city structure itself and the relationship it holds with residents.

I will pass to my co-worker to you.

Good afternoon commission my name is tonneir pusher my mental thank you for the opportunity to share today I had the privilege of working with the office of climate action and sustainability in the department of public works.

And should play. Do we have a way to play the video.

During the first week of this residency I was provided a draft of the city's climate action and adaptation plan.

Thank you.

It's an extensive document as you can see heavy with text data and policy recommendations the document inspired me to think about how to make this valuable information more accessible and actionable for the public.

Early in the residency I was also approached by Matt Irman director of public works to collaborate on a presentation for city council as part of their department budget audits.

Instead of conventional graphs and charts we transformed impressive statistics about frontline staff into dynamic visuals highlighting their heroic work and making it more memorable for city council's budget decisions.

Not everything we developed made it into the presentation but I think this exercise went a long way in demonstrating the value of storytelling in even some of the most data driven parts of this work.

I was also involved in the final stages of developing and launching the city's urban forest plan.

My photo journalism background helped me capture the stark differences between areas of the city with plenty of tree canopy and those without it.

I decided the need for more urban greenery to enhance the city's well-being.

As I got further into this residency I realized that visualizing data and opportunities was great but doesn't do much if we lose sight about what this is all about.

Our people. I was intentional about engaging with a wide array of people and uncovering diverse perspectives.

I documented many of my conversations showing that while we may have different definitions and ideas about climate change and sustainability there was plenty that unified us in addressing the impacts we all feel.

A common sentiment I got for many people was what difference can I make is just one person.

I got to meet Pamela and Oak Park residents who recently had several energy efficient upgrades in her home to make things more comfortable for her and her mom who she takes care of.

To her sustainability wasn't about saving the environment or reaching carbon neutrality. It was much simpler than that. It was about family.

I think she put it best when she said sustainability is obligation rightly met not at anybody else's expense.

Her insights reinforced the idea that our outreach should be grounded in individual experiences and needs.

I think the conversations like the one I had with Pamela and eventually inspired a bit of a slogan sustainability starts with us.

I use this message to make I use this message to make the most of billboard space our department had access to around town.

I developed multiple billboard designs to reflect the city's three pillars of focus but with people at the forefront.

I use existing photos that I found on the department storage drive from past community events often taken with simple camera phones.

I wanted to also demonstrate that impactful visuals can be created sustainably too without the need of large budgets and high end equipment but rather just a bit of creativity.

The sustainability starts with us campaign emerging grew organically from there unifying various community engagement touch points and assets for our office under one cohesive brand and message.

And then if we can play the video here too.

The Make Your Mark project was a center piece of my residency. It invited community members to contribute to a large scale abstract expression style painting.

I use cool colored upcycled latex paints from the Sacramento Recycling and Reuse Center to symbolize heat mitigating and emission reducing tactics.

I wanted to visualize the increase the increasing frequency of extreme heat days in Sacramento while also empowering people to help address the issue through small collective actions that will grow into significant impact over time.

The painting was created over the course of three different events the Ecoserthe event downtown the Hagenwood Spring family social in Northsack and the back to the Boulevard festival in Southsack.

Over a hundred participants contributed to the painting while many others visited our birth our booth to learn more and talk to the team.

The final painting will be displayed at Hagenwood Community Center where a portion of it was created. I'm hopeful it will inspire others to explore their creative potential and embrace sustainability.

In closing while I'm proud of the work I was able to complete I'm equally as proud of the foundations we've all said to hopefully continue integrating artists into this important civic work.

I'm confident the impact of our work can be measured but more importantly I know it's been felt.

By the end of this residency I was really integrated with my team helping establish processes and ideas to involve creativity and robust community engagement plans early on in grant applications and elsewhere.

I'm confident this experience has shown us that artists can do more than just paint beautiful pictures on walls but they can build those walls as well.

Bring people in and elevate their voices to help reimagine something bigger and better for all of us. Thank you again.

Thank you.

You know, pass it to Jessica.

Hi, good afternoon. My name is Jessica Wimbley and I work with youth parks and community enrichment and let me tell you when I first came to the department of course all of us are familiar with parks.

I'm a fan that we have beautiful green spaces in our city to enjoy but being an artist working with government one of the things I started to learn was about the ecosystem of the government all the different components the size of the department the amount of work that everyone does and how well the oil machine it has to be to work efficiently.

I'm in awe and have been really inspired by working with Yipsey in the department.

So in addition to thinking about the parks which is how I got access to initially just as a resident to Yipsey I also took time and started to learn about all the different community centers that are here in Sacramento and are part of Yipsey.

I'm thinking about where are spaces in which creativity is happening. How is the community engaging in important creative work and I was really moved by the work that was happening at heart senior center.

We really are able to focus on different social determinants of health looking at how people integrate with community how their mental health and well being as well as physical health.

And I was really moved by the life history writing and poetry program.

Now one of the things I'm looking at in terms of thinking about creative place making again is where is creativity happening.

And you have this program that has a 30 year history that's documenting the diversity of Sacramento residences residents in their experiences here in Sacramento.

So thinking about this amazing work that was being produced by members of our community that aren't often heard.

We thought about the ways that could best highlight and spotlight and better integrate these stories into Sacramento's history.

And so attending the classes working with the writers from both the life history and poetry classes and collaborators from the Sacramento library in particular the Sacramento room, Sac State's Gerontology program.

Of course the heart senior center we worked on archiving stories of seniors from the writing and life history programs in the Sacramento room.

We really were thinking about how this work was important to social justice in terms of the perspectives and the stories that you're hearing.

You're hearing stories about what people are experiencing in terminate camps.

What Sacramento looked like during different points during redlining.

You're looking at people's families history during war but also migrating here and making their way here through Sacramento.

So diverse, diverse group of stories are so important about our history.

And another thing that's really important about the work that's being done through these stories is that this is really important for mental health.

It's really important to share the stories to have witnesses to be able to communicate and be in community.

So this isn't just I don't want you to think of it as just as a class.

This is a community of creative folks who are an important part to Sacramento's legacy.

So in working with archiving in the Sacramento room you had a lot of magical things that was happening there.

You had families coming together to help tell their family stories.

You had people who were performing their own original songs and music.

You had over 24 writers who were participating in the program who were archived in the Sacramento room either through video or audio recording, which is huge.

And part of that work, the Sacramento room is actually the archiving is just not the process of the recording.

It's about actually being a part of the library archives, which means that the public will have access to this, which means that generations of folks will be able to access this information and hear history about folks who've lived here in Sacramento and who are telling their stories.

So what we're hoping to do, and this was something that was important in my role, and the creative core was thinking about being able to do something that can continue beyond my tenure, because we do have a short amount of time.

And so our hope is that we'll be able to continue this program with the partners that we've worked with so that it can be an ongoing feature in part of the heart center and a collaboration between the library and sex state.

In addition to thinking about that archiving, I'm also currently working on portraits while I was archiving, and this is just to give you an example of the type of portraits that I work on.

I do self portraits, but I also do family portraits. So this was something that really connected in a really strong way with me and thinking about how different folks are represented in how they're telling their stories.

Another project that I'm working on is with Colonial Park, and it's on a transformation project that is in collaboration with Clean California, Sacramento State again, and Colonial Heights Neighborhood Association.

Colonial Park, I have had a really good time learning more about the community going to the Neighborhood Association's events. I like to say if the apocalypse was to calm, this is a community that I would want to be around because they have the skill sets to make it during the zombie apocalypse.

But one of the things that we worked with the community was thinking about what are the different ways you want to be reflected and represent the neighborhood in the community.

And you have a lot of people engaged in planting and farming and gardening, who are part of the community, have a garden tour that happens.

And so I, one of the ways to reflect the community, not only thinking of the plant life, but also the people, was looking at the actual gardens that they have and the flowers from their actual gardens and creating a design that reflects the nature that's in the environment that they're creating and contributing to.

So I've been working on different mock ups of designs for murals within that space as well as recently engaged this Tuesday on some community engagement, including doing a paint by number mural that featured some of the works in the aesthetics that you see some of these designs here.

So I want to thank you all so much for the time. I am super long and I know I went over so thank you. I'm going to hand you over to Melissa.

And thank you for your time.

Greetings, everybody. How are you, everybody? You still hanging in there with our presentation?

Yeah. All right. My name is Melissa Muganzo and my pronouns are she they insist and I got the opportunity to work in transportation planning with my favorite person in the world JDW, also known as Jennifer Dolan Wyatt.

So a part of my work in transportation was just learning what transportation was and all the ways that the city of Sacramento even has transportation options.

When we first met, we saw that to ambitionally create a series of visual product projects to help share out all of the countless hours that the transportation planning department puts in to make sure that we get to mobilize all the different options the city has.

However, instead I actually ended up learning about all the ways that I did not know what was available out there. And this is actually a picture of us supporting our colleague who was a civic fellow who worked again to mobilize a lot of a lot of transportation efforts that the city put together for people that were working in bike workshops and utilize light rail and buses.

And this is us just hanging out, but we got together and really understood all the ways that there were still needed to make transportation become more equitable for communities that were harmed by the city of Sacramento and to make sure that people even knew what options were out there.

And the numbers, the numerous engagement events that I got to capture, I got to see all of the stakeholders and all of the people that are doing extremely good work in the community.

And I got to be able to put together scripts for the various videos that I was putting together on putting together scripts as someone that is a show runner and an actor and a producer is getting to storytell and storytelling is so important because you get the opportunity to put together history and real time for people that are no longer with us and people that are desperately trying to make a difference.

And people who feel like their voices aren't heard. I also got to learn about some new language like walking, biking and rolling to make transportation more equitable.

And it made me realize that not only do I get the honor to put visuals on that for people, but I also get to leave a legacy of hope and show the countless hours of work that my team is putting together and writing grants and making sure that people feel seen and heard.

On top of that, I also got to participate in a number of professional development opportunities with my team where we would have things like mini TED Talks and Toastmaster presentations talk about how art is life.

And this is from one of those slides where I said that everything around us in real time is a representation of storytelling and imagination including this room right here.

Someone thought that designing this room just like this would be the perfect way for you all to make a difference in the city of Sacramento.

And this is a video that I got to put in for the tip of the month and a part of sack vibes where I got to collaborate with my colleague Ember to let people know transportation tips that they should use.

And so little videos like this where I get to encourage people to drink more water on three, you know, triple visit days in Sacramento or sign up for our newsletter that's in our transportation department.

Or did they even know about different biking, biking trails that are available instead of maybe getting congested in your vehicle on a freeway.

Or did you know that the light rail can take you places in less than 25 minutes versus being stuck an hour long traffic, especially on the 80 during that 7 30 to 8 30 AM hour.

These are also other visuals I was able to capture capture out in the community from Guatemala, which is a great running group.

And also some visuals of the videos I was able to put together as we wrap up my final time in the department.

And just so you know, all these people are out there on those triple digit days, by the way, being able to run.

This was us outside for happy May is bike month celebrating the beautiful journey from city hall to Oak Park, Brulee.

And this is the beginning visuals for our current effort as streets for people.

Where it shows people all of the ways that we are making the streets more equitable and correcting some of the things that we don't get to see because we're a small team and the city of Sacramento is very large.

So we are very excited about that final thing. And I'll actually after this meeting be leaving to go do some voice over work to put some voice over over those visuals.

So last but not least, I'd like to leave you with the phrase that I like to use all the time, which is do it afraid.

And as my mentor says first and then with confidence. And the reason I say that because making change in the world can be very scary, especially if you feel like you're a team of one and nobody hears you.

But the more you do it, the more confident you get and the more you establish legacy.

And there are people that are so excited that your voice is being heard on this panel much like us as artists.

And there are also people that are actively waiting for you to speak up on behalf of them because they don't have the courage to do so.

So we want to thank you all so much for supporting us. And at the end of the day, you are born to enjoy life fully and artist activism.

And all of us, although we are artists, are also service cultural activists and cultural barriers to help tell stories of people that are not able to.

So thank you all so much for your time and I'll pass it over to Richard Falco.

Forgive my tardiness, but I'm so glad to be here and share with you these wonderful, sacramental artists.

Give it up for yourself as commissioners.

And I want to touch on what Melissa ended with and that phrase of do it first afraid and then with confidence because if not for the confidence of Megan, if not for the confidence of Melissa, if not for the confidence of Jason, this particular project would not have been considered as part of something that sacramental is taking the lead in and that is putting artists in government.

And so there are many, many press articles that you could take a look at to learn more about what we have been doing.

I think Melissa touched a little bit briefly on the California, the capital region creative core learn more about that.

That is our website that you can go take a look at to find out about the 26 awardees that also participated in projects throughout Salado, Yolo, Sacramento, Eldorado and El Pined County.

We have spent a considerable amount of labor and finance into producing wonderful things that if only we could keep it going and that's where you all come in.

As we're talking about budget cuts, we're talking about budgeting priorities as I tell everybody that I work with no matter what sector you are working in, don't forget your artists.

So with that, thank you very much. And if you have any questions for anybody, let us know.

Thank you so much to all the artists just really inspired and really creative ways to incorporate the arts and city government really innovative.

Thank you.

I'm sure we might have questions. Are there any questions from the public?

Thank you, Chair. There are no speakers for this item.

And from the commission, I have Commissioner Martino.

First of all, thank you so much for sharing your awesome projects and for doing all of that work. I'm feeling so inspired for even for the projects I'm working on.

So thank you so much. I'm just wondering if the city has any plans to try to fund this project in the future of having the artist in different offices.

I mean, this is a program near and dear to my heart. I get emotional every time I think about all of these artists and the work that they've done.

Obviously, it is a program that I think we've demonstrated that it has a positive effect. I could see the far reaching possibilities in this program.

We don't have the funding to continue it now, but I do know that all of the creative core communities have been so emboldened by the creative core project in general that they are coming together to try to figure out are there ways that creative core can continue.

And this is throughout the state. So there is great hope. No answers right now, but yeah, we see the value of it.

Commissioner, when lock. Wow. I am just so excited about this program that's a part of it, but I have a question for the artist.

When you all were working with the department part of the issue is that you're going to be gone.

What do you think are some of the things that you instilled into that department to say, you know, we're going to do this whether the artists is there or not, but it's a part of it.

Was there anyone kind of address that issue?

Please.

I knew it all this.

Yeah, that's a great question. And something I was considering, especially in the latter part of the residency where you're trying to wrap things up and keep momentum on the things you're doing.

I think with my team, they were just so gracious and so accommodating. They loop me into every meeting and just made me feel like a part of the team.

And that was a really important part of this. So having collaborative, having collaborative people within the city is a huge first step.

But I think one thing that I was able to demonstrate is, especially in grand applications, I touched on this a little bit in my remarks.

But for grand applications, the sustainability office, they rely heavily on grants as well to fund the things they're trying to do.

And so they need to be very competitive when they're applying for grants.

And one way to kind of be more competitive is in those community engagement parts of the grand application that seem pretty prevalent and seem to have quite a bit of weight to them.

And so if you can demonstrate in your grand application that you're going to do more than just go to city events and table and handout flyers, but you can actually integrate with people and find really interesting and creative ways to build infrastructure, to build creativity into those communities and not just show up and give your talking points and leave.

Then I think that really sets you up to win more grants. And I hope that that's something that continues, whether it's me or other artists.

I hope that my team can feel empowered now to seek more creative perspective in their grand applications.

Thank you, Commissioner Lemelli.

So I want to answer your question about the sustainability of the program once we're gone.

And that's what I was thinking about at month five.

And so when I did the art walk, I said to the planning staff, okay, which staff are going to be involved because I'm going to train you so that you can continue it.

And so the planning Academy of Love Night were involved because these are leaders in the community.

And I said to them at the end, please replicate it, borrow from it, combine it with your historic walk. Please use it.

So this was the point of the art walk is not attached to me. It's actually a tradition. It's like a hundred-year-old tradition as well.

And same with the Yestergranny Nguyen Nguyen, the associate planner, called me the night before when we did the art performance on Saturday.

And I said, okay, so what we're going to do is have the staff sandwich us.

And they're going to be the ones that are going to be passing out the flyers and answering the questions as everybody's doing the call back.

And he said to me, oh, I get it. The flyers and dialoguing with the community, that's the engagement.

I say, yes, the actual art stunt, the performance is a grabbing the attention.

And the interaction is when you start answering questions and talking to the people and then giving them information.

So that they realize that when they're tabling events and they have all their literature and charts and they're just sitting there waiting for the people to come to the table,

you need to go to them and do something outside and do something that's a spectacle so that it grabs attention and then it engages them.

So how confident are you that you believe that when you're gone, that they're going to be putting these practices into their work? How confident are you?

Elizabeth?

Well, I think that something like the art walk, handing them the directions we call them scores in art performance.

Here's the score. Here's the set of directions. They're already doing historical tours. They never thought like, oh, yeah, close your eyes and listen to the sounds.

Close your eyes and smell around you. Or maybe just a set of cards in the historical tour can get people to interact.

So I'm hoping that it inspires them and it really is up to the supervisors to say, hey, let's do something.

Let's up the Annie and borrow from the artist. Yeah, thanks.

One of the ways that I think the department will be able to sustain what we've learned together is just simple language coming in as an artist to government.

Wow. The acronyms, we've got to do something about that because it was a lot to take in. I feel like we were speaking different languages for the first six months.

Like if I say things, oh, let's get B roll. I'm going to do VO and it's like, what are you talking about?

Or they're talking about all the different commission acronyms. Shout out to all of you, but there are a lot of commissions, a lot of councils, a lot of acronyms.

And some of them even sound the same. And so, and also knowing what you can do with the budget. Yes, we have a budget, but what can you do?

What is expendable, especially for all of us when the budget came into play, it had to be spent before we left.

So even the sustainability of any of our influence, it was hard to determine what that could look like because we are all leaving at the same time.

So I feel like one of the ways that we'll be able to sustain in the department is realize it takes about a year to build familiarity and comfort around putting artists in artistry and creativity in a system that is very structured.

And sometimes leaves no room to think outside of this very black and white textured box. And also finding new ways to communicate with the community you are trying to help because if me as an artist who is excited about coming into government and is willing to learn these acronyms is still having a hard time, I can only imagine the people that were here trying to help trying to understand the language, even listening to this meetings of what are they saying we just know something got approved, something got passed, but what is that? And how does that directly impact me?

And I think that will help me to be able to provide the same information that we are doing as someone that cares. So I think that will live on.

That was a great explanation. I just wanted to add on a short commentary about the scene which you all just got passed to. The scene was my version of how does the city continue what I came to do.

And we don't know about things ahead of time we can't support them and take so much energy to do something once we're so lucky if it happens twice.

So the scene was an effort to take better advantage of the quality of our existing culture in Sacramento and to create something that hopefully the community engagement team feels bold enough to do themselves.

Hi everyone to answer your question.

I was thinking about that very issue in terms of thinking about what can we do in a year because a year is a good time to learn.

And if you can squeeze in time you're able to try something and test it.

So in my thinking it usually takes three years of learning, testing it out, fixing and making it, you know, making it better and tweaking to really get something kind of indact related or integrated into the habit, the culture.

And I think that's a great thing to have the opportunity to work with the community and to work with the community and to support within department.

So I think in terms of being a part of the creative core and the time that myself and my cohort had we had a short amount of time to accomplish a lot.

Sacramento room part of what I was looking at is how you can leverage relationships and resources that the city has to help build scaffolding that helps to build a program or event that can be sustained because it's totally not contingent on me.

It's contingent on the senior stories. It's contingent on the Sacramento room, documenting and archiving them and holding them.

So it's not so much contingent on me solely and I don't want it to be. It's about bringing something to the department and to the community that can help celebrate the work that they do and build enough investment so that it can continue on without us.

And I think in making the art and the things that we're doing, that's kind of all the goals that we have is to be able to be like, look, this is what can be done.

This is what people are responding to. We're kind of in the middle of community engagement in our department and seeing how we can test and understand what the community needs are, what they're responding to and what the departments can do.

So I do think it is something quarterly, all of us were thinking about in our positions and I think that was a really excellent question.

So thank you for the opportunity to, what else to answer that.

Thank you so much. Commissioner Lemmele.

Thank you. Is it okay if I make a comment? Yeah. Well, I wanted to thank you guys all for sharing with us.

I think we actually feel like I can give a bit of a testimony to how it actually worked because I was part of the city planning academy.

So I got like firsthand experience of how like you integrated like that art and I thought it was like for me, it was like a lot of fun, like doing the whole program and being able to kind of visualize.

I remember like they would say the acronyms and like you're, you know, the little stand was there in the middle with that and it definitely helped. I think it helped.

I connected with other people that were on the table, so it helped to build relationships and the part about where we saw like the monopoly, that was really visually like helpful in like learning.

And I think that those, those things like really made an impact on me and I'm sure that it helped everyone in the academy.

So I think that definitely art is super important to bring in, you know, like that question I think is super important.

And like I think that having artists in government makes the biggest difference just because it's so like, it's so closed off, it's so monotone, it's like not not accessible, it's not open to everyone and art always brings people together.

I think no matter like, you know, the different mediums or how we kind of do it, it's really, you know, the social justice, the mental health, the storytelling.

Like it always brings people together, even like within cultures. So I think it's really important and I think, yeah, thank you so much for all the work that you guys did.

It's really inspiring as well. Thank you.

Thank you. Commissioner Hagueboot.

Did you want to know commissioner Hagueboot? Did you?

Oh, Cruz, it was you. Sorry. Okay.

Okay. Thank you. Is this on? Thank you.

I just wanted to make a compliment to you all. One, thank you for all your efforts. I think that this is all consistent with our mission of diversity, equity, inclusion.

So thank you for meeting that greater end. But I was also especially, and I'm biased. I was especially impressed with Jessica Wimbley because I grew up in that neighborhood.

I grew up down the street from what it's called the senior center. We had a different name for it back then, but okay.

Anyway, and what I really liked is the history that you're teaching, social justice history.

It's what others might dismiss as critical race theory.

And be, but it's still part of that greater mission of inclusion. So I just wanted to thank you for that. And that you know, that didn't go on notice. So thank you again.

Thank you, Cruz. Commissioner LeVulo.

I just wanted to say I was very impressed with your guys' presentations today.

I always have to look at everything from a mother standpoint because I only think I'm sitting here just because I'm a mom in this community.

And so everything that you guys did, I could see my kids in your guys' plans. And especially you spoke out to me the most was sustainability.

Right. The sustainability starts with us. That means that I'm included in that. In that us part and everything that you guys did was very, was very family level for me.

Like even this, I'm like, oh, I'm about to do the Zeein too with my kids. So that's cute. That's really cute.

I just want to say I appreciate your guys' work on the level from the people from the ground, right? Because I often think that the city comes from the top.

And it takes ground level people to actually touch who we're really trying to get a hold of. And which is for me, it's always my family.

So I can see my kids and all of these plans that you guys are doing. So you guys are doing awesome job.

I just like to add a comment to. And first of all, I hope everyone opens the Zeein and sees this amazing poster.

It's a city council, the street address, and how to even enter the building. It should be plastered all over around the building.

And I hope you have an opportunity to present city council. I think the city council should hear this because this really is an innovative way to influence and change and make much more efficient and inclusive as Cruz was saying city government.

We all know ways that it needs to do better and what better way than having artists come in and help you help the city. So thank you.

And on sustainability, one thought I had, this is more directed to Richard and to Melissa.

You know, it maybe might be great to get testimony from city staff just on how it's improved. I don't know processes and engagement outcomes and impact.

So again, thank you so much. And I hope there's ways to continue this program. My gosh, it's wonderful.

Okay, I think we still have a few more agenda items. Moving on to item three. Yes, I'm sorry. Jason, please.

Now, I just wanted to add to the accolades the months of hard work and just the resulting contributions that the five of you have given to our community is a gift.

It shows the power of arts and creativity and when you trust in the vision of artists and you give them the tools and resources to make their visions a reality.

And it's possible. I want to just commend you all on that. And to also acknowledge one last time.

Your ringleader project coordinator for this Richard Falcone on staff who has done a tremendous job.

Of course, under Melissa's direction and in partnership with the rest of our staff and departments throughout the city.

Can't thank you enough. Again, for those who might have missed it, it was on the screen just a brief moment.

It is a capital creatives with an s dot org. And that's the which you can go to that side.

Book market, find learn more about the program in our city and all of the creative core organizations that we've supported with the help of the California Arts Council. So thank you all.

Thanks Jason. Okay, moving on to item three temporary public art policy and we're looking for emotion. So Donald, please walk us through this.

Thank you.

We up.

Thank you commissioners.

I will say that in the future, I will pay better attention to which presentations are going to be honest certain day because oh my god.

I did not want to follow these guys. So again, thank you for being I just want to just give one more round of applause.

It has been our deep pleasure as a staff to have you all here in the city. And I mean, I think it's evidenced by the presentations you made and the hard work and dedication you did.

So thank you. And I just hope that we can continue that effort and creativity and the work that we as staff continue to do each day. So thanks again.

And with that, I'm going to be introducing some policy. So hopefully it's not like 10 years of a sheet that just kept running and running running. But you know, the truth is, we do have to have policy in the city.

And so that there are processes that the public is able to follow and whether they follow them through really unique and innovative.

What I like to term active engagement through making like these artists have shared with you today. Or whether they do it in their own way.

And ultimately, we as a city want to create a framework for that to happen. So my name is Donald Gensler. I'm an art and public places manager. And along with my team member, Amy, talk about Chapman, we run the art and public places program here in the office of arts and culture.

And I'm really surprised to be surprising to me that 40 plus years in the making that that our office doesn't have more policy documents. So buckle in because we're adding them.

Because we want we want to find a way for for you all and for the public to better understand the systems and procedures that they can work through and really open up some of the mystery in what's possible when working with city government.

So we hope that this policy is then followed by a mural policy in our city and a whole other series of policies that then ultimately you can go on our brand new website, art.cityofsacramento.org. And you'll be able to go to a policies page and actually pull that stuff up.

So just want to give you that overview because I think it's important that you all understand that that's what's happening. You're a big part of that.

So I came here about just about a year ago and presented an early draft of this temporary public art policy. Some of you weren't here. So for some of you, this is the first time you're seeing it. And that's fine.

The policy documents build over time through that year. I took a lot of those public those comments that came from you all comments that also came from other artists that I spoke with and also comments that came largely from the whole series of other departments within the city as we're trying to reflect on what is our temporary public art policy for the city of Sacramento.

So I have that. What I thought would be fun. Hopefully it's fun for you all. I'm going to try to stay on time here is that along the way I'm going to actually share with you. There's an image of different temporary public art projects and a little bit of a story behind each one of them.

So as I go through the slides, you'll notice I'm like a real big proponent on always having captions. Right. As an artist myself, it's always frustrating when I just see lots of images and people don't recognize the artists that created that work.

So you're going to see captions for each and every piece that's up here and a little bit of a story. So this, as you can see, is a piece of a sculpture by Jorge Marin, so Mexican artist. And this was temporary public art that came to our city called Wings of the City.

And some of you may have been familiar with that when it happened in 2019.

So as a brief overview of our policy, I want to share with you today the overall background and goals, the scope of this temporary art policy because there is a certain scope to it.

And then two different types of policies that are within that, the city initiated public art and then community initiated public art. And there are some different procedures that go in for both of those because we're talking about art on city government property.

So we have to take all of these things into consideration. And then lastly, what is the application process? And there's a little bit of subcategories to that loosely.

Of course, the document that you have is much more thorough. And I hope you've had a chance to look at it. If you haven't, I hope you have a chance to read it. Some point. And then we hope to have it up on the website as well.

And we can recognize that there was a series of benches that really could be in live and so this was a city initiated project called California Bloom. And if you go on the promenade, you can see these wonderful painted benches. Again, temporary public art has a lifetime and then we'll reevaluate it.

Temporary public art can be funded by the city or it can be funded by private individuals organizations. So it's funded by the city. It's going to be city initiated. If it's funded by private individuals organizations, that would be community initiated.

City initiated public art might have some additional private funding. That's fine. But we do we are separating these two things out.

So, one thing that is really tough and I wish we didn't have to put this on here, but we don't have funding for this. So every time we actually get a request for temporary public art, that's a community initiated.

So it is right now our program, our division doesn't have funding. So the staff time that's spent on that, we are cost recovery, our salaries are handled by the work that we do.

So that there's really no funding mechanism right now for this kind of work. And so I just want to make sure that that's clear to you all, to people who might be watching or listening or or or or here with us today.

So that's why we love the idea of and the empowerment of community initiating public art. Right now we don't have dedicated funding for that. And that we we we operate that program at a loss for us at a financial loss because all the staff time that goes into it, there is no funding stream.

So that's really clear. Now one of the things that sometimes happens with temporary public art and I think is really important.

Like this piece with Joshua Sulfair river crossing I want to communicate with you was initially supposed to be a temporary public art project.

And over time, the artist decided to design it with really durable materials. So one of the benefits of temporary public art is that you can do things that don't last forever. They're up for a while and then they're taken down.

And but he decided to do this with durable materials. We had a lot of different discussions with city departments. Ultimately, we decided to assess this into our permanent collection. So sometimes temporary public art can turn into permanent public.

So these goals, I think are really important. I'm just going to read them because I think they they need to be right to encourage the temporary placement of thought provoking innovative works of higher artistic merit that connect people to place to contribute a Sacramento sense of identity and pride to build on Sacramento's identity as a diverse community and global center for innovation.

So I think that's really important to engage artists and projects to stimulate and encourage community interaction to create pilot projects similar to what we were talking about with Joshua Sulfair and some other projects I'll tell you about to in potential locations for permanent public artworks and to provide opportunities for emerging and established artists.

I think it's a real value in temporary public art and I'd like to see us actually do more city initiated and if opportunities come up for community initiated work, we're here to support that.

But I do think that that is a really valuable direction for our city and I don't have any hesitation in letting you all know that.

I'm not going to ask lastly or not lastly, but this particular project I thought was interesting to include this colors of project project was done by trade board and and Phil America to artists based in LA and and actually they they brought it around to a whole series headache cities.

It's because it's not on city property. But when when when we were at first approached the assumption was that it was on city property or that they needed some authorization from the city and then so we just help them through the process of how to work with the state partners and we helped kind of mediate some of that again without any funding.

But we do try to help when we can and and we were able to successfully help them and of course they did the work very much on their own and we're able to then work with our state partners to place this temporary work right in front of the capital.

The scope so so if there's property owned by the city that is the kind of scope of the project here and oftentimes some of you may know and some artists may know and I talk to them and they want to do a project on city property and I say, have you looked at some private locations.

You know like because you're in for some time and some procedure how important is it to you that this has to be on city property and sometimes they say no that's like a big part of what I'm doing here then I all right let's talk and so we have that initial consult consultation we have a discussion about it but I do warn folks ahead of time this takes some time because this process there's procedures in place.

I put down in terms of the definition of temporary public art for us is really visual arts right where I'm not including performances here although you could have performance art that might happen in a moment that's not really something that's going to require a license agreement from us and you might need to just work through another permit process with the city in case you need to do a special event or something like that so there's other procedures in place for performances in public space.

I want to be clear about that I'm always happy to talk with folks folks call me often and try to ask me if things what's required I'm happy to kind of work through that every project's a little different but this and we really are talking about visual art here in on city property.

And if it's going to be permanent we really need to commission it or be kind of running it and ultimately something that is community initiated we want to just be there to support what those community efforts are.

And lastly temporary public art is about two years there are many projects that have lasted longer than that and so we are open to the conversation that they might last longer sometimes that depends on budget.

Sometimes that depends on just the community wrapping their arms around and saying no we want this to stay so all of those factors going it's not a super super simple rubric to just make a decision it's a lot of different factors project by project based to determine how long a project may be there and oftentimes that what we do is we say it's going to be a certain amount of years then we will review and determine kind of what the next steps will maybe then see if it should stay longer and then we can just renew for a minute.

More periods of time very quickly how they leave this urban oasis this was done actually not so long ago at Southside Park Community Garden this was initiated through Yipsy through the parks department in collaboration with UC Davis and they had received a grant and a final portion of this grant was this mural project they were very connected with the

William Maynard who has since retired and really wanted to work with them on this project actually talk to me about painting these garden sheds a number of times so we were able to work with them to allow them to have a license agreement to paint this shed but then that way it's documented it's a city initiated temporary public art.

I'm sorry.

In partnership with the UC Davis environmental action group.

So city initiated temporary public art.

Like I said I actually am a huge fan of temporary public art I think we can take more risks we can use more different materials we can have artists that maybe haven't had so much experience in public art and get out there box wraps are a really kind of

one of the main areas that we've tended to work with artists in that way but also murals and for example this community mural Sacramento program this is a mural from that program ultimately those were seen as temporary projects now I'd say in large part because the community engagement was so strong in all of those projects really a community is wrapped their arms around it and so we'll just keep reviewing and determining if those projects will stay

over time but if we initiate the project like we did with community murals Sacramento will determine the sites in this case actually those were on some of them were on private property as well as city property and we may even convene a panel there's usually an RFQ process we usually have a request for qualifications a call to artist process by which people need to follow to be able to be selected for those opportunities so that's the process general

for city initiated public art and we do still use the the temporary public art application which you have a copy of connected to the policy just as a way to kind of aggregate all the information but it's a little different it's a little more streamlined and then this wonderful mural actually from ten's neighborhood on del Paso Boulevard by artist live hunger

so community initiated projects a little bit different that an individual or community group or arts organization comes and and initiates a project or an artist directly initiates a project with us again they bring their own funding to the table so a budget is a big part of that and oftentimes that sometimes where the conversation ends somebody will come and say we want to do this and we have these projects and this and this and then we take a look at their budget and they have a budget

and they have maybe $500 and and so we have a real kind of serious like conversation to say well okay for everything that you're proposing that's probably not sufficient funding so staff is happy Robert with them and then sometimes they'll come back or sometimes those projects morph into others and if they're scalable maybe they'll become a smaller project but funding is an important part of that and I do hope that at some point in our future we may have a great job that we're going to do that and that's where we're going to do that.

that at some point in our future,

we may have a grant or something

that may fund community initiated public art

and we'll look into that, but right now we don't.

So I think that's important for folks to realize.

We do have an informal initial staff review

and I always encourage people to do that

so though I can just talk with you or my team can talk with you

and we can kind of work through what some of the thoughts are.

This particular project Spirit Wings by Garry Galday

was done in collaboration with the Metro Chamber

and was a community initiated temporary public art project

and I would say it took a good three to four years

before they were able to complete it.

If not even longer because there may have been

earlier planning time that I wasn't even aware of.

But it was quite an interesting project

with a series of these small sculptures

that placed at different locations down K Street.

So again, and this one is one on city property.

Not all of them are on city property

but this particular piece of the Spirit Wings

was on city property.

So again, really interesting stuff that makes our,

that I think makes our city, makes our communities,

makes our neighborhoods more vibrant

and so we should be in support

but we do have to kind of follow through our city processes.

Rounding out here, there's a temporary public art application

which you have, that application requires support materials

including a resume, images, applicants, pass work

and then what it really requires also is community engagement

and that you show letters and from people

that are going to see this work every day

they're in support of this work.

We have a couple of private projects going on right now

and they're getting council letters,

letters from community members and other folks

make sure that when we present that work to you

that you will see as a commission, okay,

they've got all this support in the project

that they're wanting to do on city property.

Also the budget form like I mentioned and a maintenance plan.

The maintenance plan is filled out and detailed

with really all the information about that work

and it couldn't be more valuable to us

and we file it in our share drive here in the city.

So and also just to highlight this project by Dan Tran

actually Dan and a colleague of his

were a recipients of a grant from us

but the grant did not include him making public art necessary.

I mean that wasn't a component of it

so we weren't involved as a art and public places program

so he came and it was really a community initiated project

that Dan initiated in Southside Park

which was for a kind of butterfly garden

and it still exists today.

Actually and we monitor it temporary occasionally

every year or so I'm occasionally in contact with Dan

and we just kind of take a look at where those sculptures are

and right now they're still propagating

the plants that help the butterflies grow.

Two-phase review.

So the first phase and this really came out

of looking at a lot of other cities

and how did they do this process

and what I really appreciated was this idea that

as an artist, as an organization you don't want to get too far

along in you know spending lots of money and time

and designs and all this if the city ultimately can't allow it

on that particular property.

So the very first stage of review is really artist and location.

Who is the artist or the group of artists that you're working with

and what's their experience level

and you know it could be their experience

or not experience that's okay we just need to know

and then also what's the location.

So after we determine what the location is

I and my staff will start to have this like larger conversation

with a whole series of city departments around that location

and find out what's necessary to do a project.

Are you city department even okay with a project in this location

if you are what are the types of things we have to worry about.

Are you going to require a memorandum of understanding

between you and the office of arts and culture.

You know there's a lot of different steps to that.

We work through that and then we make a presentation to you all.

Some of you actually have been here

when we've made these presentations

and we're largely informing you about it at that point

allowing you a chance to discuss.

If then we move to stage two, then the applicant submits a design

and we as staff put together a license agreement

and that license agreement we're working with our city attorney

and we put together a license agreement

that then will ultimately be recorded

and go on record in our city recording system

so that 10, 20 years from now, somebody wonders,

there's this artwork on a bathroom facility in a park

but we need to take down the bathroom facility like what do we do?

And so I can't tell you how many times that has happened

and we have no record of the art that was done there in the 1980s.

So let's say for example.

So that's what prompted a lot of this to just concerns

from our other city departments.

So we're really having a process here

by which everything is recorded.

The design also then needs to go through a community outreach period

where they share their design,

they share what they're gonna do with the community

is gonna be especially most affected

and then we presented to you all.

So for example, Fint and McGee did this mural

on the side of Memorial Garage.

I just did a detail here

that was quite an interesting project

and it was really around this idea of peace,

this person is holding Olive Branch

and so Portrait of Woman holding on Olive Branch.

I know the artist was thinking about just peace

and things that were happening around the world

and that was kind of really important.

It was a part of the wide open walls

that particular year as well

and they are the ones that actually funded it.

So just to give you a sense, phase one, phase two

and that's the process.

I'll say it again at the end,

but that whole process, we've been finally

takes about a year.

So somebody comes and says,

I wanna do this next month,

we really can't operate that quickly

because it's city property,

we need to be able to take the time to review properly,

make sure that we have all the right documentation

for a project on city property.

And I'm rounding out here,

promise just getting there.

So we and we ask you all to look at things

like artistic merit, appropriateness to the site,

community engagement, feasibility and durability

and then compliance with city codes, right?

Those are the kinds of loose things.

We're not getting into as much

a kind of rubric like we do in our,

you know, in our permanent public art commissions

because we are assuming through this community initiated work

and through all the documentation

that this work is something that the community,

that that area of the city wants.

So that's part of the process

because we haven't created the project,

we really don't know much about it.

We just wanna be there to support the community,

but we wanna make sure we have that documentation.

So this is kind of the loose criteria

that I think again,

it kind of needs to be a little bit project by project,

so many different mediums and ways that people work,

but these are some of the main things

that we start to look at.

Quick example, not necessarily for community initiated,

this was one done with us through Cata,

but this is an example of an artist,

he's a photographer, Max Barrett,

and he did a vinyl box rap.

So like I said, box raps have become a really important way

for artists to be working within the public realm

and do some really interesting work.

And then lastly, you know,

there's a formal review process,

we're really gonna take up a process

where we're gonna look at these things quarterly,

so as we'll set some dates,

and those will be on our website,

so as people submit,

then we have a time that we wanna be able to get back to them

and start that review process,

because up till now what's happening

is we're just reacting all the time.

And it's difficult for staff

because we have a lot of other projects that are ongoing,

and we can't just react every time a new project comes in.

So we're gonna create a little bit more of a process for that,

and then also, we'll do that presentation with you all,

but that's also dependent on, you know,

what's available if you are available at that time.

When it's ready, staff will make that presentation

and consultation with the artist.

And then like I said, we really do

our estiming about a year.

Sometimes it happens faster,

but I really wanna tell people,

sometimes it takes much longer,

like the Spirit Wings,

was at least three years if not longer.

Last image, or not totally last image,

but one image I wanna highlight here by Janine Mapparunga,

really wonderful project.

This was a city initiated public art project

that started as just box wraps,

was initiated by the council office,

started as box wraps along Bruceville Road,

and then through the process

and through this artist being creative,

we added these 15 banners.

And I thought they were just really wonderful.

They were images of Janine's work and portraits

that she had taken of these community members.

And then it was really wonderful.

About last month, we had an opening,

after the pandemic,

and Janine has a lot of these photos up,

if you're ever at the Penel MetaView Center.

I encourage you to go check that out.

It's a really wonderful show

of a lot of this work on Bruceville Road.

So that's really the end of my presentation.

I'm ending here with a piece from Beth Rubel,

wonderful mural on Northgate Boulevard,

was part of our community mural Sacramento program.

Again, really a city initiated temporary public art,

but something that we're wrapped our arms around

and really planned to keep for some time,

as long as the community is on board,

and wants to continue to have this work in their spaces.

So with that, I'd love to open this up for discussion.

It's a lot of stuff,

and you have the policy yourself.

So if there are any questions,

I'd love to hear those from you.

Thanks, Donald.

We have no speaker slips.

My understanding, thank you Heather.

Okay, so Steve.

Done, this is great.

Really, I really, very thorough and very involvement.

My question is around the issue when we say it's temporary.

Yeah.

Is that negotiated up front with the artist about how long

it will be up,

or is that something that's a determination made

by your department about how long temporary is?

Help me understand that back.

Absolutely.

It's a great question,

and it's something where we really had a,

we went round and round in this,

and we did not want to have a hard and fast rule

because sometimes, I mean, this is a good example.

The initially, when we started out

for community mural Sacramento,

all the murals were gonna go up for a maximum of five years.

I know that some communities like this Northgate community,

for example, I mean,

we really have wrapped their arms around this whole process.

We intend to continue to maintain this through our program.

And definitely, and so, I mean, we haven't set a date,

but we have a maintenance plan in place for that program,

and we will continue to review

and have that work maintained over time.

So that's a kind of city initiated project.

When their community initiated,

like the Dan Tran project I showed you,

his was also, his was actually a three year timeline,

because he actually needed time for the plants to grow.

So that was an important part.

But after that first three years, we looked at it.

There's been a couple little things here and there,

we've worked with the Parks Department.

It hasn't presented any problems,

so the license allows us to then extend

for an additional three years.

And so we could extend it that time.

So every license, commission and win lock,

I will say details, what our process is gonna be

for either repair,

or possibly removal.

And if it is community initiated,

really removal is generally at the applicant's expense.

So it's different for each piece.

It really is different for each piece.

We do also look at what was the budget for that?

If somebody invested, let's say,

$100,000 on a project,

and it's in very good condition,

and they've been maintaining it,

we would be more apt to extend their timeline.

Didn't see many reason that we need to take it down.

Versus maybe a $3,000 project,

which is doing well, but is starting to degrade

and is just ready to go.

So that's the level of flexibility.

I think we're still looking at ways

that we could have exact determinations.

But for right now, I think we've determined that we need

to have some flexibility in how long things can stay up.

Thank you.

Thank you.

All right, technicalities.

Got no problem.

Is it Aaron who or Hague Booth?

Okay.

Okay.

Well, first of all, thanks for the presentation.

I appreciate that.

I think these artworks, it's essential,

especially in this post-COVID period

to help the city heal and recover.

And that's especially true with the one displayed,

because not only did that stir more community engagement,

but that also initiated what will become taco plaza now.

Right.

So you see, so from that,

greater things come forth anyway.

So, could you and your office on that?

Now, I know we were here before, but in its define,

two years is that the minimum for a temporary art?

I wouldn't say it's the minimum,

but if somebody doesn't define the timeline,

we'll start with two years.

Because some projects, I mean, let's say somebody was doing

a sculpture out of branches or something like that

and wanted to do something temporarily in a park,

maybe it would even just be up for a week.

We would still need a license agreement

to allow them to come in and take it out.

But we'll start, we start with two years,

Commissioner Narono, and then we'll kind of reevaluate

and determine, can it stay longer?

Sometimes we start with a little bit longer

initial display just based on the scope,

the size, the budget of the particular project.

Okay, here's my next tricky question.

Yeah, go for it.

Okay, in your presentation,

because I did pull over this.

You stated that this would be in order to ensure

a consistent approach to placing art in the public realm.

Would these seem, this policy also

utilize in other determinations like white open walls?

Yeah, well, white open walls is not a city.

I mean, whenever white open walls as an organization

wishes to go on city property,

and they have, by the way, we shared with this commission,

there was a project that was through phase one,

and there's a phase two for their project.

So whenever they want to do something on city property,

they have to absolutely go through this process,

as would anybody.

But I will say, I think this process does keep

community initiated projects a little bit more in line

with how I think we as an office try to work, right?

So whenever we're doing things,

we're trying to take diversity, equity,

inclusion, those types of things.

We're trying to think about the community that's involved.

We're trying to make sure that the budget is considered

and sufficient for the project we want to do.

We want to make sure that there's sufficient support

for the design, so that design is shared

with the people that are going to see that work every day.

So what I think this community initiative

temporary public art does is bring that process

a little bit more in line with really the process

that art in public places is doing

for every permanent project that we do.

Right, well, I would hope that this would be,

in the same mission,

used as a basis for ensuring good faith and equity

in the dealings when it comes to the wide open walls,

because they will approach this eventually.

And I think that's what we need.

Right, whenever wide open walls,

as an organization or any other organization

wanted to approach to do something on city property,

they would absolutely have to go through this.

If they're gonna do something on private property,

we don't really have any say over what an organization

does on private property.

However, as I mentioned at the beginning,

we are working on as soon as this policy is completed,

the next policy is a citywide mural policy,

which would include both private and public property,

so that we have a policy that outlines best practices

and what we would expect from a city,

whether it's on our property or not.

Well, that was the greater end I was hoping for.

One last question.

What is proposed to us now?

Would this also, maybe not,

because I think you've already answered this.

Would this also apply to what is the proposed mural

at South Side Park?

Yeah, absolutely.

Richard Arcolas project is one of the two pilot projects

so that we're shared with this body.

And so yes, absolutely.

And he, as well as the White Open Walls project

on the UC Davis Water Reservoir,

went through the phase one of the project.

And so he, Richard Arcolas,

actually has an event in October

and just beginning to publicize that

about the work that's happening in South Side Park.

But again, that's the same kind of thing.

And you know, what's interesting,

Commissioner Neuonho is as much as there is,

certainly a lot of support for that.

I think you know and I certainly know

that there's also been even some conversation around that

about who gets to make that decision and hold on.

And we like what Richard is doing,

but hold on, what about this?

And so that's what this application process is opening up.

Right?

So we have to talk to the Neighborhood Association

and all those different groups to open it up.

And I think that's kind of part of what Richard's event

in October is going to be about to

to make sure that we're open.

Whenever we do these kinds of projects,

hey, this is something that's going to be on city property.

So come on out and maybe Lendure's financial support,

but definitely give us your opinion

on what you think of the project.

Okay, well, thank you for answering my questions.

And again, thank you for all your efforts.

Absolutely, thanks, Commissioner.

Just a business point, I was just informed

that we need to get a motion in before three o'clock.

And as, and the rest of the agenda items,

otherwise I'd have to ask for a motion

to go beyond the two hour timeline.

I didn't know this, so I'm just learning this now.

So just letting the commissioners know.

And we have, sorry, we have Commissioner Martino,

and I do have a few questions.

So if you can be quick, please.

I just have one question.

One question.

From the lens of an artist, if I were an artist

to have an idea for public art project on city property,

would I come to you before I have funding secured?

Because I imagine if I'm applying for grant for this,

I'd want to know that like I had city support

to right into the grant.

So that'd be acceptable or?

Yeah, absolutely.

Our office is always open for consultations.

We may need to schedule something,

but we're always willing to schedule a dialogue.

I think that that dialogue is really important.

That initial consultation, which is in the policy,

and we could even highlight a little bit more,

we encourage you to talk to staff.

But on the budget form, I'm not asking for evidence

that those funds are named in a particular place,

but you could kind of tell me what you anticipate your budget

to be, and you could indicate that that is,

if you were to receive the grant.

So yeah, absolutely, I would encourage artists

to have an initial consultation,

because I think that would just help strengthen your project,

and we can work through some different.

And that happens quite frequently, Commissioner Martino.

We have talked with a number of people,

and sometimes it helps streamline their project,

and sometimes it helps them go, ah, maybe the city

is not the right property, and they go someplace else.

So I'm always up for that dialogue,

and we can set that up.

Okay, thank you, that's helpful.

I just wanted to make sure that the artist didn't have to

have the full amount of the money needed

before it comes to you.

No, not at all.

And that's also why we do these two phase process and stuff,

because we don't want people to invest lots of money,

because it might not even be an issue.

I might think the project is great,

and I might look at it and say it's totally feasible,

and based on what you've said.

But then we go to another department,

and they say, oh, you absolutely can't paint on that

because of A, B, and C.

Or you can't do a sculpture here because of A, B, and C.

So yeah, we definitely want to have that,

and we have wrapped our arms around that.

I mean, we have just said, you know, like I said,

we don't have funding for this, however,

we have wrapped our arms around the fact

that temporary public art that's community initiated

is totally vital and totally important.

And so we're willing to have those initial conversations.

Thanks, Donald.

I just have a couple comments.

You don't need to respond.

I just want your consideration

that in your selection criteria for review,

you say that generally you'll consider these criteria.

I would really recommend that you land

on something consistent.

That's applied to everyone that applies.

You had mentioned something about, you know,

there might be a case-by-case basis,

just in terms of equity.

I think it's really important.

And especially on community engagement,

since that has been a stickler in this community,

not by the city's fault, by any search destination,

but I think that's critical.

The second thing is on the application.

I'd really like for you to think about

a question related to the city's

cultural race equity statement in the arts.

Okay.

Just in something about, you know,

how does this project meet the ethos of this statement?

I think that's critically important to you,

just for consistency.

And also knowing that this commission

is really cared about that issue,

I think that'd be really, actually really cool to see.

So those are all my questions.

Well, I know you weren't asking for a response,

but I would say that, I would say that both of those things,

and we'll look at the review standards,

just because there's so many different materials and ways,

but we can find something that we make sure

that these standards are going to be met, need to be met,

and we absolutely can add the equity statement.

So I could say that for right now,

because we are looking for a motion to recommend approval

so that we can continue and continue

with further policies as well.

So thank you.

And you set me up nicely.

So can I please request a motion to pass,

to recommend approval of the temporary public art policy?

I propose a motion.

See?

That we accept the policy.

All right.

Thank you, Cruz.

And Heather, if you could call the vote.

Thank you, Chair.

And that was a motion by Commissioner Winlock,

with a second by Commissioner N'Ronhell.

Commissioners, please unmute for votes.

Commissioner Anderson?

Aye.

Commissioner Blair?

Aye.

Commissioner LeVulo?

Aye.

Commissioner Lamelli?

Yes.

Commissioner Maritino?

Yes.

Commissioner N'Ronhell?

Aye.

Commissioner O'Haboo?

Aye.

Commissioner Smith?

Aye.

Commissioner Tokolino?

Yes.

Commissioner Wilson-Ramey?

Absent?

Commissioner Winlock?

Yes.

And Chair and Regist.

Yes.

Thank you.

Motion passes.

All right.

Thank you, Commissioner.

I appreciate your time.

OK.

I'm looking at the clock.

We have our next agenda.

And for the record, there was no speakers for that item.

Yes.

Thank you, Heather.

We have California Prop 28.

So I have to make it quick, please.

I'm sorry.

I'm not here.

Thank you.

All right.

Thank you.

Thank you.

This is very exciting.

One, to kind of present and educate you all about Prop 28

and the involvement that it has within our city.

You know, first of all, I just want

to say that the Prop 28 is one of the things that's actually

moving our creative agenda in the sense.

You know, on the plan that was put in in June 2018,

the Creative Arts Plan, the number one goal

was education, provide education to all students

and Sacramento children in youth.

So Prop 28, which was voted on by the California citizens,

allowed us to actually have a permanent structure

into school districts for arts and education.

And I underscored the issue about annually.

This will be annual dollars that come into a school

district every year.

First of all, for instance, this year, it's over $1 billion

that will be used in the state of California up within the,

oh, thank you, up within and down the state.

That billion dollars will be coming in annual every year.

So it really makes a difference about how art education

will be implemented in a school district.

The billion dollars that goes into the school district,

it has to be spent on art education.

So a school district can't make a determination

that you're going to use those dollars in another area.

It has to be looked at through legislation

and all those kinds of things that have been kind of outlined

that.

But just to give you some ideas about what kind

of monies that we're talking about, for instance,

the Sac City School District will receive approximately $6 million

every year to support their art education.

San Juan School District, approximately $5.7 million

that will be coming into their area.

Center Joy, which is one of our smaller districts,

is going to receive right now about approximately $700,000 annually.

And all of the allocations based on ADA, on attendance

and the number of students that you have in a school district,

and also the poverty level that you have within a school district.

So in some cases, some of our districts

that have higher poverty level, in certain years,

actually get a baseline funding.

And then they receive extra dollars on top of that

because of their student population.

Twin Rivers, approximately $4 million.

That's going to be coming to them annually.

Elk Grove School District, I just brought tears to my eyes.

$9 million that will be coming in annually to assist them.

Fulsome Cardova Unified School District, 3 million.

You can actually find out our charter schools are also

receiving in this region.

I mean, in the state of California,

are a part of receiving this.

You can actually go to CDE, the California Department

of Education, and look up the appropriations

that's given to each of the school districts

and each of the schools throughout the state of California.

So you can look at, they have it all.

Every year, this allocation will be posted as a part.

They've just posted 24, 25 school year allocation

that are happening through that.

In this, the districts have the determination

of how they will be spending the money.

So it's up to them and looking at their budget,

just like they do with any of their educational budget.

That, as I mentioned here, the statute also states

that 80% of these funds have to be spent on personnel,

on staffing, on people.

And so that's a part that's really important.

I'll talk to you a little bit later

about why that's so important.

That means it has to be funded and to support

credential teachers, teacher,

vapid instructional assistance, and a variety of those.

19% of the allocation can be used for the materials

for arts education program.

It also can be used to actually bring in partners,

community aspects, for instance,

we're in the any given child program

that's a part that's happening with the city.

They can actually use that 19%

to actually be a part of the any given child program.

They could be a part of any of our organizations,

for instance, Crocker.

Crocker has a huge educational program.

And in many cases, they work with school districts

to bring that, there are education into there.

Though that 19% can be used to pay for our credential,

excuse me, for our school districts

and use those dollars to pay Crocker

to be a part of their educational art educational program.

And again, the 1% is for administrative cost

that districts can use to actually govern this area.

On the final, again, the highlights annual funding.

That is critical.

That is going to change what happens for art education

for our kids in this state.

It is huge when you can plan on that every year

you can fund the salaries of those teachers

and those that you have hired, the teaching artists

that you brought into the,

and to know that that's something that's not just an event

or an assembly that you have to pay for,

it's going to be an ongoing thing that's set up.

Districts will establish, as I said,

and will sustain those positions throughout.

We're already estimating in the state of California

the number of art teachers are going to be needed

that are going to be a part of it,

is over 15,000 art teachers are going to be needed

throughout the state of California

in order to make sure that we're presenting art education.

So I'll be looking for any of you

that might want to be joined the force and be a part of that,

because that's a part and I'll tell you how that's going to happen.

First of all, another highlight is a community

and based programs can be a part of what's needed

to do art education.

And again, these are determined by the school district,

it's not determined by the art education entities.

So they can't go in and say we'd like to present this

and we want you to pay for it.

And it doesn't work that way.

If the school district wants you to have a,

be a part as a community organization,

they will be working and seeking you out to be a part.

It doesn't mean that our community art organizations

don't need to start presenting themselves.

For instance, we have what's going on

and we have an arts co-op that's happening in this region

that I run through our Sacramento County Office of Education.

And what that co-op does is we have our school district

and we have over 20 art community partners

that work within this co-op,

displaying what they do with the kinds of things with that,

the districts look at which ones of those community organizations

will help further their goals that they've set up

for kids and bring them in.

So we have that going on right now.

So that's why I'm so excited about this happening.

Finally, the teacher artists will have a number,

teaching artists, for instance, as a group

that I've been really looking at.

How do we make sure that there's been so important

in what's been happening in our school districts?

Well, part of what's going to be happening at Prop 28,

many of those teaching artists can become staff members

within our school districts.

And the way that we're going to look at doing,

for instance, we're offering the issue about,

you can become a teacher as a teaching artist.

You can go the route, my school of education

in Sacramento County, can actually,

if you already have a BA, you can be an intern.

You can work as an intern, which means you're a contracted

teacher in the Bapa area on salary already

in the school district.

We also have the other area of the CTE credentials.

So that's the career tech education credentials that can happen.

If someone has had a period of being,

and this doesn't require that you have,

it does require that you, let me think.

It doesn't require that you have a BA.

But what it does require is that you have been in the field,

whatever art that you're involved in,

for a number of hours in order to apply,

and you have to certify those hours.

And the hours are right now about 3,000 hours

that you have to prove that you have been involved

in that area.

Once you've proven that, you get a preliminary credential

as a CTE teacher, then you have two years

to go through a program that allows you.

But during the time that you're going through that

to your program, you can be hired in a school district,

just like a credential teacher intern.

So it allows for teaching artists that have been involved

in their art for over a period of time.

You would be able to be hired by a school district.

So finally, this is really the community working together.

The implementation of this, even though it is,

it's structured to make sure that the districts are making sure

this is a part of their curriculum,

and a part of their organization.

It is requiring all of us working together

within the community, within the school districts,

to bring our education forward for our kids.

And so I'm very excited about this.

This is my 48th year in education.

And I have always been that art has been one of the things

that I believe that needs to be so important to the,

as we kind of say, educating the whole child.

You can't, unless you have art education

as a part of that whole child.

But we've always not been able to make it

a substantial, sustainable strand that needs to be

in the education of kids.

Prop 28 is going to do that.

So I'm like over the moon, over the moon,

because this is the time that's going to happen.

This is going to take some time to get implemented

and involvement.

You know, here districts are looking at how they're doing

and what's the part of it.

But in the end, whenever that may be,

because education never ends, it will be at a point

that our kids will be able to see in the state of California

that we have art.

We have art education.

And it's not just an assembly that they saw.

It's not going to just a movie.

No, they have art education that's going to be sustainable.

So do you have any questions?

Yes.

Thank you.

Steve, we're going to need to get a vote to go pass three o'clock.

So let's do that.

Thank you, Chair.

Per council rules of procedure, chapter eight, section D6,

city established legislative bodies

that shall automatically adjourn after two hours,

unless extended by two thirds vote of the members present.

But in no case, shall an advisory body meeting exceed three

hours.

We will need to take a vote to extend the meeting,

pass three o'clock, for an additional hour.

There is, is there a motion to extend the meeting?

So moved.

And do I have a second?

I have a second.

I'll second.

Thank you.

Thank you, commissioners.

Please unmute for vote.

Commissioner Anderson.

Aye.

Commissioner Blair.

Aye.

Commissioner LeVulo.

Aye.

Commissioner Lemmele.

Yes.

Commissioner Martino.

We're hospices if I say no.

As long as we have a two thirds vote.

Two thirds, yeah.

OK.

Commissioner Naron Hill.

Yes.

Commissioner O'Hable.

Yes.

Commissioner Smith.

Yes.

Commissioner Tolcalino.

Yes.

Commissioner Wilson-Remy is absent.

Commissioner Winlock.

Yes.

And Chair Nriquez.

Yes.

Thank you.

Motion passes.

The meeting will continue until 401 at which point it will adjourn.

Thank you.

Hopefully we'll get done before that.

We just have three speaker slips.

And each speaker is allowed two minutes.

So there's no way we would have done, been done by three.

And I know we've got some commissioners who have questions.

So can we have the first speaker please?

Thank you, Chair.

These speakers are actually for not on the agenda.

Oh, not on the agenda.

Oh, I'm sorry.

Oh, no.

Thank you.

So for this item, there are no speakers.

OK.

Questions?

Yes.

So Commissioner Anderson.

I think these are old.

Did you want to know?

That's why I thought, yeah.

All right.

So I just have two questions on like PROC 28.

So for like the community organization,

how do they reach out to like the school district to like know

more about the funding or like how to get involved with the funding?

Many of our districts have what we call a BAPA leads or directors

that are within that.

I would make contact directly with that district,

with their district lead, in charter school situations,

same thing, the charter itself.

There always is someone that is involved in spearheading

that and being a part.

So I'd go directly to the district or to their school.

OK.

And also, I'm looking at the list right now

of like different charter schools that are like part of PROC 28.

That is on the CDE website.

And how do like the community or like individual like

encourage those charter schools to like look into the program

and like be part of the program coming in the near future?

You mean to be a part of what's happening

within that charter school?

Yes, or like if they don't know what like PROC 28 is doing

or anything like that, how to like give them more information

or like to help them get on the like track of being part of it?

One of the ways is either go to one of our advocacy groups.

I noticed you mentioned up their friends of Sacramento Arts

who are very much involved in helping with that.

So that might be one way.

The other part is again going to their local school

or charter school or in that area

and have a conversation with them

about being involved in PROC 28.

Thank you.

Sure.

Commissioner LeVuello.

So that's what I did.

I went to my kids' elementary.

They're combined K through eight and just talk to the vice principal.

And then was like looking for a follow-up.

I went twice and he didn't follow back up.

But then I got with the principal.

And she said she's working with VAPA to try and get that in there.

But she also said that it wasn't enough funds

to keep somebody on full time.

Let me explain that.

The issue of the 80% is for the total amount

that's being given to a school site.

So 80% of that district's funding has to be spent.

Some of our districts, they have to have in order

for the 80% to actually come in.

The school has to have over 500 students.

If they're under 500, they will only receive program.

Their dollars can be used for program.

And not for staffing.

There's not a requirement.

So the district has the requirement of the 80% for the staffing

for this total allocation, if that makes sense.

That makes sense.

But it also makes sense that they should be able to because they're K through eight.

They're more than 500.

That's possible.

But see, they have to look at this whole plan as a district.

It's not individual school sites.

So many times school districts will be looking at maybe a staffing

will be shared at school sites.

Different ones, they'll be the leader,

those kinds of things that are involved.

So it's a combination.

It's not as clear to say that if they have 600 kids,

they have to make sure they have a staffing person.

I'm all about my kids, like I said,

making sure that they're going to have that teacher that they need.

But what's the website that you go to to see how much each site is allotted?

It's on CDE, California Department of Education,

love those acronyms, don't you love that?

And with that, you will Google Prop 28 allocation.

And it'll come up into, it's a really huge spreadsheet

because it lists every entity that is entitled to receive Prop 28.

And our charter schools, it's really those that are receiving state dollars.

It's not the private ones that don't receive state dollars.

So they're not on that list if that makes sense.

I have a question, Steve.

So by example, he said 6 million is sackingified.

80% of that 4.8 million has to go for personnel.

And if they can't hire, what happens to that money?

There is a waiver that can be looked at each year.

Is there kind of working toward that to allow them to use those dollars in other areas?

But they, you know, it's like granted for one year and they still have to work toward that goal with each allocation.

It's a very complicated kind of focus.

Because as they're doing the waiver on the one year allocation,

they receive new funding that's following here.

And that does not have a waiver.

So then they're back to doing trying to look at it.

So it is going to take some years.

I want to say, is it a use it or lose it type of thing?

No, it's not a lose it kind of set up.

They don't set it up in that way.

But there is a waiver for allowing them to use in another areas for that one year.

And many of our districts are doing that because in their first year,

they're trying to set things up and not ready.

There isn't enough staffing that's out there.

So they're using it maybe more in the materials area,

which is one of the things that the waivers, you know, more instruments,

more things that are apart.

So they're starting to do it in that way.

That makes sense.

So if you were going to advocate for a school site,

you don't necessarily go to the school site.

You go to the Board of Education or whoever,

to make sure that they are as a parent going to get it.

It's both.

It's both.

It's a lot of, because ultimately the Board

approves all of the budgets that are happening in school districts.

And so, and then they have to work together with their leadership

to make sure it's happening.

So it's a combination of all.

But I'm like you.

I think that music and art is important in schools,

especially like in elementary.

When I moved here, my kids don't have art.

It was either P-E-R-R. You couldn't have both.

And I thought it was weird, because as a kid growing up in Minnesota,

I'm always like, Minnesota was so great.

We were so around it.

We had, we had a music teacher.

We had both.

Yeah.

We had a music teacher.

And it wasn't every day.

It was like on these days, it was music, and on these days.

And I don't know why that can't be true here.

It is going to be.

It is going to be.

It's just going to take some time in the implementation

now that we have annual funding.

But it's going to be there.

Commissioner, Lamelli.

Thank you.

I guess kind of going off of that.

So the district will decide how much each school gets.

They get the funding in general, and then they decide,

based off their schools, how much each school gets.

The determination of how much each school

is based on their ADA, on the student attendance.

So the number of that.

And it also, if a school is in, say, Title 1, or free lunch,

all those kinds of things, there's an added action.

So the district doesn't make the determination.

It's based on the ADA and where the students are at.

OK.

That makes sense.

And then the school can decide what happens with them.

And you're, it still runs back to the district.

It's a combination.

Any money that's given to a school site,

the district is definitely involved in how it's being spent.

Thank you so much.

So many questions.

Lots of opportunities here.

Thank you.

Oh, yes, go ahead.

So go out off of that.

Do the school district have to, like,

have to, like, pretty much put out, like, a report saying

that they're giving this amount to a school district?

Or, like, how do the public find out

the information on how much he's school is getting?

CDE is working on the issue about how schools are going

to be reporting.

It isn't really quite clear.

But there will be a reporting method that will say this.

Yearly, this is how much money was spent on this.

And this is a part of this and those kinds of things

so that they can keep track.

There is, basically, that's the responsibility

of all of the board of education, each board,

to really make sure that they're spending in the right way.

So the reports they're talking about may be done

at a school district, that it will be given

to the board of education of their district.

Even I'm sure you're available.

Any time.

Any time.

Thank you.

Yes.

And beyond me dancing out there, because this is happening,

just so that you know.

So the first time that she came to present about Prop 28,

she mentioned $50,000 per school site.

So that is not the case.

Not for Prop 28.

Yeah.

You guys remember we did have somebody come and talk to us.

Yeah, that was Proposition 28.

And I wrote it down because I was like, oh, OK,

that's money that my school can get.

My kids need art in their school.

That's what prompted me to go and talk.

I don't think this was the dollars in Prop 28

that she was talking about.

It must be another source in the sense about the $50,000.

Or it might have been the discussion about those dollars

before they had determined how they were actually

going to be allocated.

But I'm not clear on that.

She says.

We could follow up on that.

We have the recording.

So we'll be back.

I was just about to get her.

But based upon what Steve said, I really

think if you have more questions or you want,

accountability is to work with your local school board member.

And hopefully, he sure they can follow up and report back to you.

So OK, thank you.

Thank you.

Director's report.

Great.

Thank you, Chair Enriquez.

I'll be trying to be brief.

I'll preface this with saying that any updates

to the board members.

Thanks.

Toad.org.

So real quickly, some highlights.

We heard from Donald Gensler and among the many projects,

there's the policy work.

But he's also overseeing and working with Amy Tokohama.

On a number of projects, the Del Rio Trail artwork, I think

about 60% or so, more than half of the artworks along the trail

are installed.

And we're looking forward to a couple of really fun community

events that folks are invited to.

September the 27th, from 530 to 830,

there will be an artist, talk, and event

at the Latino Center of Art and Culture.

It's 2,700 Front Street.

Then the following morning, or afternoon,

from 10 to 12, will be an opportunity

for the community to join with some of the artists

to view artwork along the trail.

So however you would like to come,

roll, run, jog, by any means along the trail,

it will be a really fun and unique experience

to get up close to the artworks and to hear directly

from the artists.

And then for this particular project,

there is a website dedicated to the Del Rio Trail art.

And that is del Rio Trail art.org.

And then of course, as I mentioned,

you'll learn about updates to this program and other programs

through our newsletter.

And you can subscribe on our website.

A really exciting program has just launched.

You may have heard of about this program

through our city express blog post.

It is a partnership with Culture and Creative Startups.

So this is an opportunity for Sacramento City entrepreneurs

and businesses to apply to participate in the eight month

long, everyday creative program.

It's designed to help creative entrepreneurs grow their businesses.

And this builds on the success of the 2023 pilot program.

But it extends that and it offers a wealth of mentorship

and training, networking opportunities, customized support,

and access to a storefront residency, the culture storefront

residency midtown.

And it also offers program participants

who go through the eight month program an opportunity

to apply to either grants or loans and support of their endeavors.

So deadline applications are open until September 8th at 11 p.m.

You can find out more about this on their application page,

but also our city express post and we'll be continuing to share this

in our monthly newsletters.

The 2025 Emerging Curators Fellowship Program is also currently accepting

applications.

The deadline to submit is September the 5th.

This is the second program.

It is managed by Susanna too on our staff.

It is a year long program where one fellow will produce and mount

two exhibitions right outside these doors in the Robert T.

Metsui Gallery with the support of a curatorial mentor.

So this fellow receives a stipend and funding for both of the exhibitions

and program support staff time will be afforded to them as well.

So additional information is at arts.cityofsacramento.org

and also on that note, the when I can exhibit is currently up now through

September the 9th.

And this is you may recall we announced this a couple months back.

It is the first project under the Emerging Curators Fellowship Initiative

and it's led by the inaugural fellow Bridget Rex.

So again, this is up right outside the doors.

It's wheelchair accessible up through September the 9th.

Last thing I want to note is that for folks who are interested, there are a number

of commission seats that are available or becoming available and you can find

out more about the district that you live in, that you resign and if you're not

aware, you can find out that information on our website and as well as the city's website.

So if you're interested in supporting the arts on this body, then I encourage folks

out there to submit your applications.

Thank you, Jason.

Any commission or comments, ideas and questions?

Moving along on the agenda?

Oh, okay.

Commissioner Nauronho.

Oh, is this the point we get to share?

Yes.

We're on that item.

There are several announcements and one on the 16th, the Sacramento Film Festival.

It's going to be celebrated against 29th Gala, the Paparazzi Party.

That is going to be again on Friday, August 16th.

See also on the 17th, the celebrate O Park is going to take place at my Clatchy Park.

That again, that's Saturday on the 17th.

See also this forthcoming weekend is the 13th annual Banana Festival in Sacramento.

That's hosted by Shana McDaniels of the Shudona Truth Museum.

So there's that.

Also on the August 18th, there's going to be the Wahaka Festival taking place at the

Maple Center.

That would be the La Familia Counseling Center.

So no reason to stay home.

See, and also as what was mentioned earlier, this is going to be in October, but I want

to go on record now so you can mark your calendars.

This would be the South Side Park mural project.

This is the Indigenous Latino Heritage mural.

This is the one being undertaken by Return Alcala and there's going to be a lot of noted

contributing artists to this.

Which includes John Werta, to say lots of celepettes and the like.

And already there's a contribution from John Werta, which is a depiction of El Soldado.

That's the statue that is at the Capitol currently, but it's already going to be included

in a depiction that's already available on the website.

What I like about this is that this is part of what has been a concern, which is to

preserve as much as we can at that particular stage.

And for too long, the backside has been blank, whereas the front side has been vivid.

So now it's going to be enhanced on both sides of that.

And I asked this question before and I think I already have my answer.

Would that be considered temporary art that which is going up by, right?

So I would hope that would be extended beyond two years, so hopefully we can revisit that.

And lastly, and this is in the distant future.

But again, I want to go on record so you can mark your calendars now.

This would be September 28th.

This is the topic is going to be mural activism.

Esteban B is emergence of the Chicano social struggle.

And by cultural society, this is going to take place at the Washington neighborhood center.

What is significant about that is there is currently a mural that has got to be more

than 50 years old that Esteban be contributed.

And of course, rest of peace he has left us, but his legacy continues.

And with that, that would be the whole purpose of revisiting his contributions and what

his life was dedicated to.

And lastly, my own observations, I had this epiphany.

Downtown right out here, I see these banners for wide open walls.

And I'm thinking that would misslead someone in thinking that's a city sponsored endeavor.

It's not.

I'm saying, and I don't know why they're there.

I don't know if they're sponsored by a wide open walls.

That's why they get to be on display.

I don't know, but we're going to be singing praises.

We should be singing our own praises.

I would like to see banners out there that advertise their opposite of art and culture so that

people can, so that citizens know that we do that.

This office contributes that.

We're dedicated to art.

So I would, I would ask for reconsideration on that or at least contribution to have those

kind of banners displayed.

And this last Saturday, no, it's second Saturday, I went to the I Street Bart studios and I

came across an entrepreneur named Elijah Pitts and he has informed me that currently there's

a renovation of what used to be the bar fly downtown and it's going to become an art

venue.

So I think that's good because it shows that the creative economy is growing.

And we need to make sure that we encourage that and keep that an ongoing effort.

Thank you, Cruz.

Commissioner Martina.

Yeah, I just wanted to mention that I have been as a fairly new commissioner just trying

to find out like how Jessica mentioned earlier where the creativity is happening in my district.

And I'm in district six.

I think one of the main places that's happening is Sacramento State and I have some professor

colleagues and administrative colleagues there.

So that's where I'm starting this journey.

And I learned about professor Eliza Gregory, she's in the photography department.

She and many other professors at Sac State are doing community engaged projects with their

students and they actually just did this hiring block to hire social practice artists.

So there are a lot more social practice artists at Sac State and their students will be doing

projects with the city, which I think is really great.

So I just wanted to highlight this one project that Eliza Gregory is doing with her students.

So she's leading a class of 30 photography students from the BFA program in a semester

long site specific art project in collaboration with California State Parks.

The students will produce a range of photographic artworks that respond to the state Indian

Museum in Sotters Fort, which are two parks that share the same site.

And Sacramento and throughout the term, the students will make repeated visits to these

parks as well as their off site archives to conduct research as a basis for their art

making.

This class, which is the senior capstone course in photography at Sac State will be the

latest iteration in Eliza Gregory's placeholder project, which is a multifaceted artwork about

holding and being held by place.

And the goal of this project is to investigate our contemporary relationships to land individually

and collectively.

So I look forward to seeing that project progress and learning more about the other projects

that Sac State students are doing in our city.

And I also just want to spotlight something that's not in my district.

It's actually in district four, a new gallery in art bookstore called demo spot.

They're doing some really cool events and they have really great art books there.

So I encourage everyone to go support because we really need our art venues.

And it's at 20 to 11 16th Street.

Commissioner Blair.

Hi, I just wanted to give an update on district two.

There's a lot going on down there.

We have a new event space that's going to be pushing really hard the garden district.

Also have multiple new businesses that were put to rest for a little bit that are now

reopening.

We have sammies that just reopened.

It's a really cool diner on the boulevard.

We had a really good community effort and a lot of different organizations that came out

and supported that.

There's also a lot of really cool things going on at different places like the tap wine

lounge.

We have stuff going on at light and water.

The gallery 916.

And also, never bored has a newly expanded as exhibit space and has a photographer and

it called Stewart Gow.

It's a sorry, I mean, by Stewart Gow called I wish you would love me again.

Exerts of North of the American River.

They we've been putting together this for a couple of months and there's also a community

project that is being held on the back of thrift town.

It's a mural that says I wish you would love me again.

An effort to raise funds with the community and hold transparency in space for what we

would like to see up there but also to bring together all of us in the neighborhood and

move together as one.

So yeah, there's a lot of cool stuff.

Please come down to Del Paso Boulevard.

Thank you.

All right, and it looks like we have some public comments.

Thank you, Chair.

We have three speakers.

Four matters not on the agenda.

Our first speaker will be Cynthia.

Cynthia please come down.

Thank you, Ten, for the for the shout out.

Hello commissioners.

I'm here.

You know, this is the first of meeting that I've been able to attend.

A lot of good information.

And so as I understand that you all's role is to like bring this info back to us in

the neighborhood, right?

So am I correct?

Yes.

Yes, that's part of it.

Yes.

Partly.

So I'm here because I think I'm in the dark a lot in regard to the business owner, love

art, believe that the Boulevard started second Saturday and would like to see a lot more

of that happening.

And so I just want to encourage those that are ten for you to get with us so that we

can really start stirring it up and appreciate all this going in over in all the districts.

I live in district three.

So I think you're in my district.

And so as a citizen who wants to engage more, I was able to be a part of the art walk that

Angie did, which was really enlightening to walk the boulevard red and it's drive.

But I'm just encouraging you all and especially ten and to let us know because we can't always

be here to be engaged with all the information.

And there are spaces on the boulevard where we need to have these dialogues.

So I am asking for that type of go forward in that so that we can be involved and help

push initiatives where we can push and move the needle because we are out there and want

to get, want to be engaged and support arts here in Sacramento.

Thank you.

Thank you so much.

Next speaker.

Thank you, Chair.

Our next speaker will be James.

Thank you.

My name is James Anderson.

I'm the artistic director of the short center repatory and also the outreach community

outreach director for developmental disability service organization which sponsors short center

rep.

And I'm here to invite you all to the Allian Theatre Festival.

Sacramento's first Allian Theatre Festival featuring accessible theater by three companies

representing communities, what used to be called disability.

I think now we're getting refined with other names.

The three areas I'm talking about are blind low vision.

We have a company, Intervision, that represents that works in the blind low vision community

and is created with community participants a play on climate change that will be presented

as part of the Allian Festival which you're all getting the information and you'll see

the various opportunities.

Every one of these companies is going to perform three times.

So it's truly a festival where those who come can see all three of the festivals, festival

performances.

The second is a deaf heart of hearing company called A58, no, V58, excuse me, V58 which

in sign language means very interesting.

And it is the first that they have established themselves as a 501C3 to become the first

deaf heart of hearing theater company for the deaf heart of hearing community in Northern

California.

So they are two partners, Intervision and V58 and the third partner is the short center

of the repertoire.

Who for 35 years has been working with developmentally disabled or challenged and neurodivergent individuals

in the community, adults in the community.

And we'll be performing a third performance, a third performance which is called Clowns

to the Rescue.

It's called Clowns to the Rescue because we use a technique called theatrical clown technique

which is particularly appropriate for working with neurodivergent individuals who form

most of this year's company.

So there is opens on a Friday night with two performances, Saturday, all three performances

happen throughout the day.

Sunday again is every performance is every group performance once and we end the festival.

Our next speaker will be Regina Brink.

Thank you for, oh, I think.

Okay, is that better?

Thank you for this opportunity and as an accommodation can you give me a 30 second warning?

Yes, I can't see the time.

Thank you.

Okay, so I am the director of Intervision Theater and this theater is, we create our plays

by blind people, people with low vision.

Our stage crew is blind people and people with low vision with the exception of the people

that do the lighting since they have to see.

We also perform our own performances as actors who are blinded low vision and through this

improvisational process we've produced Eye of the Storm which will be featured in the

All In festival and I just want to urge you to attend.

I think I speak for other people who have disabilities in that we operate in two worlds, our

world that we have created where we don't need accommodations.

Our houses are set up that way and maybe some centers or some are workplaces or whatever

are workstations.

Many of us work outside.

We don't just sit at home and so those things are adapted but we have to operate in the

main world where everybody else is and there's lots of visuals.

Jim was explaining quite a few things to me, almost everything you had in this meeting,

you had to see it in order to understand it.

These two worlds need to be joined, they need to understand to have true community.

We see theatre as a way to invite people into our world and reach out of that world to

you so that you have understanding of us and we have some dialogue with you so that

these strengthens community.

That's what our theatre projects are about.

This one concentrates on climate change.

We present solutions but we have a part in our play where audience participation, people

in the community come up with the solutions in consultation with us after seeing the

play and seeing a little glimpse of our world.

This is something that has been close to my heart.

The message is about people who are blind and low vision.

When we see them on TV or we go to a play, they're not what we experience and they're

not the messages we want all of you to hear about us and to see about us.

We thought the only way to solve that is for us to create our own theatre, our own art,

our own expression so that you can understand us better and we can understand you as well

and work together as a community for something better.

I think art is the best way to do that.

It's a great way to reach out because it's non-threatening and it's something we all can enjoy

and through humor, through dialogue and through, you know, acting.

Thank you for your comments.

We can do that.

So thank you.

Thank you.

Thank you for your comments, Chair.

We have no other speakers for this item.

Okay.

Thank you all.

Thank you for our speakers for staying as long as you did and enduring the previous dialogue.

We appreciate you for being here today.

I think meeting is adjourned.

So thank you.

And it was stacked because we missed July.

We didn't have July meeting.

So anyway.

All right.

Thank you all.