HomeMy WebLinkAboutCreative Community Builders & Cristine ZHarris
1
ARTS
and
CULTURE
MASTER
PLAN
A
Collective
Vision
of
Culture
and
Community
Proposal
presented
to:
City
of
Sunny
Isles
Beach
Sunny
Isles
Beach
Foundation
October
1,
2015
Proposal
presented
by:
Tom
Borrup,
Ph.D.
Creative
Community
Builders
Christine
Harris
Christine
Harris
Connections
2
TABLE
of
CONTENTS
INTRODUCTION
........................................................................................................................................................
3
Purpose
Statement
for
Master
Arts
and
Culture
Plan
..........................................................................
4
Philosophy
of
Cultural
Planning
....................................................................................................................
5
WORKPLAN
.................................................................................................................................................................
7
Project
Oversight
.................................................................................................................................................
7
Summary
of
Proposed
Steering
Committee
Meetings/Conference
Calls
....................................
7
Task
One
–
Project
Initiation
and
Discovery
............................................................................................
7
Task
Two
–
Community
Asset
Assessment
...........................................................................................
10
Task
Three
–
Community
Engagement
and
Strategic
Direction
..................................................
11
Task
Four
–
Creative
Economy
Profile
(Optional
–
See
Budget)
.................................................
12
Task
Five
–
Resource
Assessment
and
Best
Practices
Review
......................................................
13
Task
Six
–
Setting
Strategic
Direction
......................................................................................................
14
Task
Seven
–
Crafting
the
Arts
and
Culture
Master
Plan
.................................................................
14
Task
Eight–
Implementation
Plan
and
Budget
.....................................................................................
16
Task
Nine
–
City
Arts
and
Culture
Master
Plan
Review
...................................................................
16
Task
Ten
–
The
City
of
Sunny
Isles
Beach
Arts
and
Culture
Master
Plan
.................................
17
WORKING
RELATIONSHIPS
..............................................................................................................................
17
PERSONNEL
EXPERIENCE
.................................................................................................................................
19
REFERENCES
...........................................................................................................................................................
22
BUDGET
AND
TIMELINE
....................................................................................................................................
25
RESUMES
...................................................................................................................................................................
28
3
INTRODUCTION
The
City
of
Sunny
Isles
Beach
is
committed
to
a
common
vision
for
the
future
role
that
arts
and
culture
could
play
in
guiding
policy
and
programming
to
enhance
the
quality
of
life
for
residents,
businesses
and
visitors.
The
City,
along
with
its
partner
the
Sunny
Isles
Beach
Foundation,
wants
to
create
a
5
to
10
year
strategic
plan
to
leverage
arts
and
culture
in
order
to
a)
increase
civic
engagement
to
create
a
better
sense
of
community,
b)
create
economic
development
and
cultural
tourism
opportunities,
and
c)
improve
the
overall
quality
of
life
for
all
sectors
of
the
city.
The
City
of
Sunny
Isles
Beach
has
a
population
of
about
22,000
and
is
located
on
a
barrier
island
in
Northeast
Miami-‐Dade
County.
It
is
a
nationally
recognized
urban
destination
that
provides
access
to
exquisite
South
Florida
beaches
(Florida’s
Riviera!)
along
with
luxury
living
and
dining,
and
eleven
state-‐of-‐the-‐art
park
facilities
that
provide
recreational
and
cultural
programming.
There
is
strong
testament
of
this
community’s
commitment
to
its
quality
of
life
as
evidenced
by
the
recently
formed
non-‐profit
community
foundation,
the
Sunny
Isles
Beach
Foundation,
which
is
dedicated
to
“promote
quality
of
life
through
multi-‐disciplinary
cultural
arts
and
government
initiatives
designed
to
incite
and
inspire
engagement
of
the
City’s
diverse
population,
to
focus
on
creative
public
space
and
place
making,
and
transform
the
culture
of
Sunny
Isles
Beach.”
With
the
City
being
the
new
home
of
immigrants
from
all
over
the
world
as
well
as
boasting
a
summer
and
winter
tourist
season,
the
opportunities
for
interesting,
engaging,
diverse,
and
educational
cultural
activities
is
unbounded.
The
City’s
Cultural
and
Community
Services
Department
sponsors
numerous
events
and
was
created
to
“enhance
the
community
of
Sunny
Isles
Beach
by
providing
quality
and
diverse
programs,
attractive
and
functional
parks,
and
customer
service
responsive
to
the
needs
of
the
community
in
an
effort
to
increase
social
interaction
and
community
pride.”
The
inclusion
of
cultural
priorities
has
been
reflected
in
the
City’s
comprehensive
planning
process.
The
Comprehensive
Plan
of
2000
is
currently
being
updated
to
the
Plan
of
2035.
The
current
plan
articulates
a
strategy
to
adopt
an
“Art
in
Public
Places”
program
because,
as
stated
in
the
plan,
“public
art
is
a
powerful
signal
of
a
community’s
commitment
to
a
shared
quality
of
life.”
While
4
the
current
comprehensive
planning
online
survey
does
not
include
a
question
regarding
cultural
life,
this
planning
process
will
help
facilitate
input
of
an
arts
and
culture
master
plan
into
the
overall
updated
comprehensive
plan.
Purpose
Statement
for
Master
Arts
and
Culture
Plan
With
a
commitment
to
set
forth
a
collective
vision
for
cultural
enrichment
and
development,
the
City
has
partnered
with
the
Sunny
Isles
Beach
Foundation
to
undertake
the
development
of
an
arts
and
culture
master
plan.
This
partnership
has
determined
that
in
order
to
provide
the
best
possible
arts
and
cultural
life
for
Sunny
Isle
Beach
it
is
critical
to
have
a
long-‐
term
strategy
for
this
sector
integrated
across
civic
life.
The
purpose
of
this
planning
process
is
to
help
strengthen
and
integrate
the
community
by
supporting
and
raising
the
profile
of
cultural
activities
through
long
range,
systemic
planning.
In
particular,
the
City
sees
its
arts
and
culture
sector
providing
a
vehicle
for:
a)
preserving,
celebrating,
challenging
and
inventing
community
identity
b)
engaging
participation
in
civic
life
c)
informing,
educating,
and
learning
from
diverse
audiences
d)
communicating
across
demographic
and
socioeconomic
lines.
Integrating
the
resources
of
the
City
and
the
Sunny
Isle
Beach
Foundation
with
this
planning
process
will
lay
the
groundwork
for
a
vibrant,
exciting
and
engaging
cultural
life
long
into
the
future.
5
Philosophy
of
Cultural
Planning
We
believe
it
is
important
to
outline
our
approach
to
planning
upfront
so
that
you
understand
our
philosophy,
our
values
and
our
client-‐partnership
commitment.
Our
consultants
use
an
asset-‐based
approach
in
an
inter-‐disciplinary
context.
We
take
careful
stock
of
existing
resources
of
all
kinds
and
integrates
community
assessment,
cultural
planning,
economic
development,
identity
development,
bridge-‐building,
and
capacity
development.
We
believe
each
community
has
a
unique
history
and
character,
as
well
as
distinct
culture
and
economic
underpinnings,
all
of
which
must
be
understood
and
creatively
built
upon
as
it
moves
ahead.
These
include
natural
environment,
infrastructure,
demographics,
geographic
position,
identity,
economic
drivers,
cultural
activities,
and
other
things
that
make
the
city
work.
Community
assets
include
the
history,
vision,
good
work,
and
investments
made
to
date,
as
well
as
the
identity,
creativity,
and
talents
of
the
entire
community.
Goodwill
and
civic
capacity
are
key
assets
and
as
tangible
and
important
as
real
estate,
cash,
and
hard-‐working
volunteers.
While
grounded
in
a
community’s
history,
people,
and
resources,
asset-‐based
planning
brings
about
a
fresh
and
shared
vision,
and
engages
many
people
to
move
together
towards
that
vision.
We
believe
that
building
on,
leveraging,
and
creatively
making
the
most
of
what
one
has,
is
more
productive
and
uplifting
than
identifying
and
laboring
over
what
one
doesn’t
have,
and
results
in
a
more
satisfying
and
sustainable
community.
Ultimately
the
most
important
assets
in
any
community
are
the
people,
leadership,
and
capacity
to
work
together.
Throughout
the
process
we
identity
and
engage
leaders,
assess
the
community’s
strengths
and
challenges,
and
model
good
collaboration
through
the
planning
process
itself.
We
work
in
an
inclusive
way
respectful
of
community
values
and
culture.
In
meetings
with
leaders,
interviews,
and
public
meetings
we
listen
for
what
people
value,
what
cultural
and
historic
attributes
invoke
pride,
and
for
issues
of
concern.
We
engage
stakeholders
in
facilitated
discussions
to
generate
strategies
that
resonate
widely.
Our
process
represents
a
community
organizing
approach
to
planning
so
a
to
build
understanding
of
shared
intentions
and
find
practical
strategies
to
achieve
them.
6
With
a
focus
on
capacity
building,
we
plan
with
our
client
partners
rather
than
for
them.
High
levels
of
client
and
community
participation
result
in
plans
that
are
solidly
grounded
and
belong
to
the
stakeholders
on
every
level.
We
hope
the
discipline
of
asset-‐based
thinking,
self-‐
assessment,
as
well
as
rigorous
programmatic
and
business
planning,
become
part
of
the
client’s
ongoing
practice.
As
consultants
working
nationally,
we
learn
from
each
project
and
bring
new
perspectives
and
best
practices
to
our
clients.
In
the
process
of
community
planning
we
favor
working
with
a
stakeholder
steering
committee
of
between
12
and
25
members
who
represent
the
City
and
institutional
interests,
balanced
with
artists,
educators,
business
owners,
and
other
key
community
leaders.
We
employ
research,
community
organizing
and
capacity-‐building
strategies
that
bring
people
and
organizations
together
around
common
purpose,
to
shape
plans
and
build
ownership,
shared
identity,
and
leadership.
As
central
to
our
approach
we:
• Look
quantitatively
and
qualitatively
at
the
local
ecology
of
cultural
and
economic
resources
that
comprise
the
city’s
creative
economy.
• Examine
and
understand
the
community’s
“civic
culture”
–
the
ways
things
get
done.
• Examine
opportunities
that
the
physical
environment
-‐-‐
past,
present,
and
future
-‐-‐
offer
by
reviewing
community
development
and
master
plans,
design
guidelines
and
other
historic
and
planned
land-‐use
documentation.
• Analyze
the
current
economy
of
the
area
examining
existing
market
studies,
needs
assessments,
other
economic
data
from
a
variety
of
sources.
• Look
at
marketing
and
promotional
materials
(including
web
sites
and
electronic
marketing
materials)
and
how
they
portray
the
community
to
local
audiences
and
visitors.
• Carefully
examine
the
community’s
resources,
public
policies,
and
shared
intentions
and
identify
the
organizational
capacity
to
successfully
implement
and
sustain
the
plan.
7
WORKPLAN
This
workplan
is
designed
to
identify
and
articulate
the
function
of
each
task
necessary
to
comprise
a
clear
working
plan
accompanied
by
an
implementation
matrix.
Project
Oversight
This
project
will
be
guided
by
the
City
of
Sunny
Isles
Beach
in
conjunction
with
the
Sunny
Isles
Beach
Foundation,
with
Lynn
M.
Dannheisser,
Executive
Director
of
the
Foundation,
acting
as
the
City’s
consultant
and
liaison
for
the
City
and
Foundation
partnership.
An
important
part
of
our
process
is
the
strategic
representation
of
a
Steering
Committee.
Our
Steering
Committee
process
is
outlined
below
and
referenced
in
the
specific
project
tasks
that
follow.
A
small
leadership
team
including
Ms.
Dannheisser,
perhaps
other
appropriate
representatives
of
the
City
and
Foundation,
and
the
Steering
Committee
Chair(s)
will
convene
with
consultants
by
conference
call
monthly
or
as
needed
to
manage
the
planning
process.
Christine
Harris
will
serve
as
project
manager
on
behalf
of
the
consulting
team.
Summary
of
Proposed
Steering
Committee
Meetings/Conference
Calls
1. Kick-‐off
meeting,
in-‐depth
introductions,
review/discuss
planning
goals
and
process,
discussion
of
Sunny
Isles
Beach
experiences,
brainstorm
values
(MEETING
#1)
2. Review
early
findings,
affirm
values,
review
draft
spirit
and
character
report,
discuss
vision
(MEETING
#2)
3. Affirm
vision
and
brainstorm
strategic
themes/goals
(MEETING
#3))
4. Affirm
strategic
goals,
work
groups
generate
action
steps
(RETREAT
–
MEETING
#4)
5. Review
plan
draft,
recommend
revisions
(CONFERENCE
CALL
–
MEETING
#5)
6. Review
final
plan
and
host
public
review
session
(MEETING
#6)
The
Committee
will
receive
materials
between
meetings
to
comment
upon
or
to
revise
or
to
provide
additional
information.
Task
One
–
Project
Initiation
and
Discovery
This
crucially
important
time
of
connecting,
convening,
and
discovery
will
set
the
stage
for
all
of
our
work
together
to
follow.
Our
first
priority
will
be
a
conference
call
that
includes
8
our
consultant
team,
Lynn
Dannheisser,
and
other
representatives
of
the
City
of
Sunny
Isles
Beach
(City)
and
the
Sunny
Isles
Beach
Foundation
(Foundation).
The
purpose
of
this
call
will
be
to
review
the
scope
of
work,
the
timeline,
discuss
the
Steering
Committee,
determine
a
process
to
facilitate
the
consultant
team
review
of
all
pertinent
documentation,
and
establish
a
communication
process
for
Christine
Harris
(consultant
team
project
manager)
and
Lynn
Dannheisser
(Sunny
Isles
Beach
project
manager).
Prior
to
our
first
visit
we
will
review
all
of
the
relevant
research
and
planning
documentation,
to
include
but
not
limited
to:
the
Comprehensive
Plan
2000,
all
materials
related
to
the
current
Comprehensive
Plan
2035
including
public
survey
results,
the
programming
of
the
City’s
Cultural
and
Community
Services
Department,
the
programming
of
nonprofit
arts
and
cultural
organizations,
the
programming
activities
within
the
parks,
the
plans
and
programs
of
the
Aventura-‐Sunny
Isles
Beach
Chamber
of
Commerce
and
the
Sunny
Isles
Beach
Tourism
and
Marketing
Council,
City
film
permit
activity,
and
any
other
relevant
material.
We
will
develop
an
understanding
of
Sunny
Isles
Beach’s
“civic
culture”
to
fine
tune
the
planning
process
in
ways
sensitive
to
how
things
work
(or
sometimes
don’t)
to
set
forth
the
most
productive
process.
This
will
begin
the
detailed
development
of
a
robust
community
engagement
strategy
(See
Task
Three).
We
will
work
with
City
and
Foundation
leadership
to
develop
the
criteria
and
steps
for
recruiting
the
Steering
Committee
along
with
defining
the
roles
and
responsibilities
for
the
Committee.
Prior
to
our
first
visit,
we
will
finalize
the
composition
and
engagement
of
the
Steering
Committee
so
that
a
Chair
or
Co-‐Chairs
can
be
confirmed,
invitations
can
be
distributed,
and
we
can
set
a
date
for
the
first
Steering
Committee
meeting.
The
kick-‐off
meeting
will
include
in-‐depth
introductions,
review/discuss
planning
goals
and
measures
of
success,
discussion
of
Sunny
Isles
Beach
experiences,
and
commence
a
discussion
on
collective
community
and
cultural
values.
During
this
initial
site
visit,
in
addition
to
the
kick-‐off
meeting
of
the
Steering
Committee,
we
will
conduct
interviews/small
group
meetings
with
key
stakeholders
in
this
project
additional
to
those
listed
above.
These
stakeholders
would
include,
but
not
be
limited
to,
arts
and
culture
organizations,
established
individual
artists,
the
Library
Director,
head
of
9
the
City’s
Senior
Services,
Chamber
and
Tourism
leadership,
hotel
and
condo
associations,
City
planning
manager,
and
others.
We
will
walk/drive
around
the
City
and
meet
with
key
business
owners/residential
leaders.
This
‘city
tour’
will
be
part
of
our
comprehensive
review
with
you
of
all
current
development
plans.
We
will
want
to
fully
review
the
Art
in
Public
Places
Program,
including
the
Mayor’s
interest
in
a
potential
art
park.
We
will
meet
with
arts
and
business
leaders
in
the
local
cultural
community
including
historians
or
local
historical
societies
to
understand
the
pre-‐history
of
the
area,
formation
and
evolution
of
the
city,
and
important
characters,
events,
and
places
in
Sunny
Isles
Beach.
We
will
begin
to
craft
a
description
of
the
creative
sector
of
Sunny
Isles
Beach
–
nonprofit
organizations,
individual
creatives,
for
profit
creative
businesses.
We
will
also
connect
with
neighborhood,
home
owner
associations,
and
any
other
organizational
leaders
who
represent
the
diverse
population
and
interest
groups
of
Sunny
Isles
Beach
–
connecting
with
leaders
in
the
Russian,
South
American,
and
other
established
communities
in
order
to
understand
their
connection
and
contribution
to
the
cultural
and
creative
life
of
Sunny
Isles
Beach.
During
this
visit
we
will
discuss
the
criteria
for
a
successful
marketing
and
outreach
plan
for
the
project,
including
a
transparent
project
website.
Following
the
initial
site
visit
we
will
craft
a
marketing
and
outreach
plan
for
the
project
for
your
review.
Together
we
will
develop
a
master
contact
list
and
the
outline
for
a
project
website.
It
will
be
important
in
the
development
of
the
outreach
plan
to
understand
relationships
between
the
City,
Foundation,
the
creative
sector,
key
community
stakeholders,
and
the
public.
Positioning
this
plan
for
the
best
possible
chance
of
success
will
be
critical
to
the
overall
process.
This
plan
will
include
devising
appropriate
web
platforms
and
content
to
supplement
public
input
to
ensure
an
iterative
and
transparent
process.
Deliverables:
Final
Detailed
Scope
of
Work
and
Schedule
Site
Visit
#1
–
three
days;
Steering
Committee
Meeting
#1
Community
Outreach
and
Public
Engagement
Plan
10
Task
Two
–
Community
Asset
Assessment
Consultants
will
consolidate
a
number
of
sources
to
generate
a
quantitative
inventory
and
qualitative
assessment
of
current
physical
and
organizational
assets
in
the
City.
We
will
build
on
data
already
in
the
possession
of
the
City
and
Foundation,
using
a
compatible
format
so
the
ongoing
inventory
would
be
more
complete
and
useful.
Standard
data
sources
will
be
tapped
as
well
as
first-‐hand
observational
data.
We
will
include
nonprofit
cultural
programs,
individual
artists,
and
for-‐profit
creative
sector
businesses.
Consultants
will
survey
these
enterprises
in
detail
regarding
their
business
prospects
and
growth
potential.
More
detailed
assessment
will
be
made
of
existing
cultural
facility
capacity
and
needs
within
the
City.
We
will
look
at
current
and
planned
programming
and
long-‐term
facility
requirements
and
facility
management
capacities.
Projects
already
in
process,
such
as
the
arts
wall,
March
Music
Month,
and
the
Jazz
Fest
will
be
reviewed
and
included.
As
part
of
the
planning,
consultants
will
review
planned
city
developments.
We
will
also
conduct
a
survey
of
nonprofit
and
for-‐profit
creative
entities
in
a
wider
area
(to
be
determined)
to
assess
how
city
developments
might
provide
a
good
fit
for
their
needs
(see
Task
Three).
This
asset
inventory
will
be
both
listed
in
an
inventory
format
as
well
as
geographically
mapped.
As
an
important
part
of
the
asset-‐based
approach,
in
the
assessment
phase,
we
also
compile
our
research
(See
Task
One)
and
ask
questions
of
a
wide
range
of
stakeholders
around
the
qualities
of
place
that
are
most
valued
by
people
in
the
community.
These
range
from
social
dynamics
and
physical
design
to
cultural
events
and
meaningful
places.
From
this
we
draft
a
spirit
and
character
report
on
the
City
of
Sunny
Isles
Beach.
In
describing
the
“essence”
of
place
–
and
gaining
general
approval
–
we
then
have
guidance
for
planning
and
for
development
of
the
vision,
strategies,
and
outcomes
(See
Task
Four).
The
Spirit
and
Character
Report
will
help
us
understand
how
the
make-‐up
of
the
community
influences
its
spirit,
character
and
creative
DNA.
Deliverables:
Site
Visit
#2
–
two
days
Asset
Inventory
and
Map
Spirit
and
Character
Report
11
Task
Three
–
Community
Engagement
and
Strategic
Direction
The
consultant
team
will
activate
the
outreach
and
marketing
plan
to
initiate
public
connection
to
the
project,
communicate
updates
on
this
project
and
provide
information
on
public
engagement
and
public
information
opportunities.
It
will
be
critical
to
work
with
the
Steering
Committee
to
reach
members
of
the
community
that
reflect
the
population
and
business
make-‐up
of
the
city;
and
to
ensure
the
same
reach
when
soliciting
general
public
engagement.
This
plan
will
include
full
design
of
a
hosted
webpage
at
the
City
or
Foundation
to
disseminate
information
in
English,
Spanish
and
Russian,
message
composition,
and
contact
information.
The
local
project
manager
will
be
responsible
for
non-‐English
language
translations
and
the
Steering
Committee
will
review
and
approve
this
plan.
Public
engagement
will
include
two
Public
Forums
(to
be
organized
by
local
project
manager
and
facilitated
by
consultants)
and
a
public
online
survey
(developed
by
the
consultant
team
and
designed
and
distributed
by
the
local
project
manager).
The
online
survey
will
precede
the
forums
to
obtain
a
broad
look
at
the
public’s
interest
in,
engagement
with
and
priorities
for
arts
and
culture
development
and
be
hosted
on
an
interactive
project
website.
The
forums
and
project
website
will
dig
deeper
into
the
issues
and
opportunities
revealed
by
the
survey.
Forums
will
be
located
around
the
city
at
varying
times
to
explore
stakeholder
and
community
values,
interests
and
priorities
for
district
development.
Connecting
with
all
populations
and
neighborhood
associations
will
be
an
important
part
of
this
public
engagement.
The
process
will
be
highly
participatory,
fun
and
creative.
Consultants
will
collect
data
and
formulate
a
draft
vision
statement
and
strategic
theme
options
for
review
and
discussion
by
the
Steering
Committee.
There
will
be
one
youth
engagement
project
designed
to
understand
current
interests
of
young
people
and
what
would
facilitate
greater
engagement
in
cultural
activities.
We
will
work
with
local
school
leadership,
Pelican
Park
and
Community
Center
and
others
to
determine
an
invitation
list
and
provide
a
fun,
creative,
and
participatory
process.
Task
Three
will
include
the
second
meeting
of
the
Steering
Committee
where
consultants
will
share
findings
to
date,
public
input,
and
engage
the
group
in
an
intensive
12
reflection
process.
In
preparation
we
will
undertake
a
SWOT
analysis.
This
meeting
will
include
creative
techniques
using
story
circles
and
acts
of
performance
led
by
our
community
engagement
facilitator.
Steering
Committee
members
will
review
the
draft
spirit
and
character
report
(See
Task
2),
craft
a
vision
statement,
and
focus
on
prospective
thematic
strategies
for
the
future
of
the
District.
Deliverables:
Site
Visit
#3
–
three
days;
Steering
Committee
Meeting
#2
Public
Forum
Summary,
including
Youth
Project
Online
Survey
Results
SWOT
Analysis
Draft
Vision
Statement
and
Strategic
Themes
Review
of
Marketing
and
Outreach
Activities
Task
Four
–
Creative
Economy
Profile
(Optional
–
See
Budget)
Our
consultant
team
has
national
and
cutting
edge
expertise
in
identifying
and
measuring
the
economic
value
of
creative
enterprises
and
creative
workers
across
all
businesses
–
within
a
locale
and
in
comparison
to
other
communities
across
the
nation.
Given
the
interest
in
integrating
the
creative
life
of
Sunny
Isles
Beach
across
all
aspects
of
civic
life
to
include
the
engagement
of
all
residents,
we
propose
taking
a
wider
look
at
the
creative
sector
of
Sunny
Isles
Beach.
To
that
end
and
in
consultation
with
the
City
personnel,
we
will
prepare
a
profile
of
the
nonprofit,
independent
and
for
profit
enterprises
and
workers
in
Sunny
Isles
Beach.
Our
activities
to
produce
this
creative
economic
profile
will
be:
• Review
Americans
for
the
Arts’
economic
impact
database
to
see
what
can
be
learned
from
Miami-‐Dade
County
reports
and
those
communities
similar
to
Sunny
Isles
Beach.
• Develop
a
profile
of
creative
businesses
and
workers
in
the
City.
We
will
need
to
work
closely
with
the
Steering
Committee
to
identify
creative
contacts.
o Develop
and
conduct
a
targeted
online
survey
to
understand
the
assets,
interests
and
opportunities
of
the
creative
businesses
and
workers
in
Sunny
Isles
Beach
and
in
the
neighboring
area
13
o Conduct
a
Creative
Sector
meeting
to
undertake
a
SWOT,
develop
a
vision
framework,
and
discuss
strategic
priorities
for
growing
a
sustainable,
vibrant
creative
economy
in
the
City
(Site
Visit
#3).
While
we
believe
this
will
add
significant
value
to
a
generating
a
successful
community
strategy
for
the
arts,
culture
and
creative
sector,
this
can
be
considered
an
optional
activity.
Deliverable:
Creative
Economy
Profile
Task
Five
–
Resource
Assessment
and
Best
Practices
Review
The
purpose
of
this
task
is
to
identify
how
the
cultural
sector
is
currently
being
supported
throughout
the
City,
what
additional
supports
would
be
useful
and
what
can
be
learned
from
other
communities.
The
consultant
team
will
work
with
the
local
project
manager
and
the
Steering
Committee
to
identify
all
of
the
financial,
educational
and
government
support
services
and
programs
serving
the
creative/cultural
sector.
This
will
include,
but
will
not
be
limited
to,
reviewing
the
financial
and
human
resources
from
cultural
grants,
public
art
programs,
historic/heritage
programs,
arts
education
programs
and
the
interface
with
current
cultural
development
projects.
We
will
review
the
partnership
of
the
City
and
the
Foundation
to
understand
the
current
working
relationship
and
explore
opportunities
for
further
strategic
development
in
implementing
the
new
arts
and
culture
master
plan.
This
will
include
examining
the
Art
in
Public
Places
program.
In
addition,
we
will
review
with
the
City
and
Foundation
additional
partnerships,
alliances
and
potentially
new
support
structures
for
sustaining
the
growth
of
the
cultural
and
creative
sector
of
Sunny
Isles
Beach.
As
part
of
this
task,
we
will
undertake
a
review
of
best
practices
-‐
other
issues,
trends
and/or
models
that
could
be
relevant
to
the
process
of
Sunny
Isles
Beach.
We
will
summarize
useful
information
for
this
process
and
implementation
of
the
master
plan.
Deliverables:
Resource
Assessment
Report
Review
of
Best
Practices
14
Task
Six
–
Setting
Strategic
Direction
With
an
anticipated
sequence
of
six
Steering
Committee
meetings
during
the
planning
process,
the
Committee
will
be
called
upon
at
this
mid-‐point
meeting
for
an
extended
meeting
or
retreat
to
build
on
the
vision,
formulate
a
set
of
strategic
focus
areas,
and
begin
to
populate
each
area
with
some
key
action
steps.
Consultants
will
present
a
summary
of
resources
and
findings
to
date
and
bring
options
to
the
session.
We
will
facilitate
a
process
to
formalize
a
set
of
no
more
than
five
focus
areas.
Work
teams
at
the
retreat
will
begin
to
devise
meaningful
and
realistic
action
steps
that
engage
actual
partners.
Local
knowledge
applied
to
strategies
and
action
steps
will
assume
they
are
meaningful
and
achievable.
To
provide
a
practical
skeleton,
Steering
Committee
work
groups
will
generate
ideas
in
brainstorm
format
that
will
require
further
work
by
consultants
and
staff
to
flesh
out.
We
will
discuss
success
metrics
for
the
goal
areas
–
identifying
outcome
measurements
to
ensure
meeting
the
desired
community
impact
of
the
plan.
Fine-‐tuned
actions
will
be
reviewed
at
a
subsequent
Steering
Committee
meeting.
Following
the
retreat,
the
consultant
team
manager
and
project
manager
flesh
out
the
details
of
the
retreat
discussion
into
a
draft
document.
This
draft
strategic
directions
document
will
be
sent
to
the
Steering
Committee
for
input
and
feedback.
Deliverables:
Site
Visit
#
4
–
one
and
a
half
days;
Steering
Committee
Meeting
#3
(Retreat)
Draft
Strategic
Directions
and
Action
Outline
Task
Seven
–
Crafting
the
Arts
and
Culture
Master
Plan
At
this
point,
the
consultant
team
combines
the
draft
strategic
directions
and
action
outline,
the
creative
economy
profile,
the
resource
assessment
report,
review
of
best
practices
and
all
other
relevant
materials
into
a
draft
arts
and
culture
master
plan
–
including
vision,
goals,
strategies,
action
items,
recommendations
and
success
metrics.
The
Steering
Committee
reviews
this
draft
and
discusses
with
the
consultant
team
in
a
conference
call.
This
draft
plan
15
report
will
integrate
all
of
the
deliverables
from
the
tasks
above,
prioritize
initiatives
and
recommendations,
provide
a
clear
description
of
the
roles
and
responsibilities
between
the
City
and
the
Foundation,
and
present
an
implementation
matrix
(to
include
timing,
who
is
responsible,
who
is
involved
and
resource
implications).
While
every
community
has
different
assets
and
aspirations,
recommendations
typically
include
such
things
as:
• Artist
attraction,
professional
development,
housing,
and
other
support
• Arts
and
culture
education
programs
• Creative
economic
development
strategies
• District
or
neighborhood
development,
design,
and
placemaking
strategies
• Festivals,
community
celebrations,
and
award
events
• Identity,
branding,
marketing,
and
tourism
strategies
or
initiatives
• Municipal
arts
and
cultural
management
and
policies
• Outcome
indicators
and
measurements
• Physical
infrastructure
for
art
making,
presenting,
and
teaching
• Public
art
policies,
infrastructure,
or
initiatives
• Public
and
private
sector
partnerships
• Public
sector
and
nonprofit
organizational
networks
and
support
Deliverable:
Arts
and
Culture
Master
Plan
Draft
Report
Conference
Call:
Steering
Committee
Meeting
#5
16
Task
Eight–
Implementation
Plan
and
Budget
Strategic
focus
areas
and
actions
will
be
finalized
and
converted
to
a
matrix
form
as
the
plan
takes
shape.
The
matrix
will
include
all
the
steps
to
help
visualize
and
find
synergies,
overlaps,
and
relative
timing.
As
the
implementation
plan
is
fine-‐tuned
an
estimated
budget
for
all
activities
and
a
funding
plan
for
all
recommended
developments
is
established.
Consultant
expertise
will
be
complemented
with
local
knowledge
and
local
cost
calculators.
Lead
responsible
entities
and
partnerships
will
be
identified
and
formalized
to
the
degree
possible
within
the
planning
period.
Funding
sources
for
this
plan
will
be
integrated
from
Task
Five,
along
with
any
additional
information
evolving
from
the
ongoing
project
partnership
discussions.
Timing
will
include
identifying
short,
mid
and
long-‐term
priority
initiatives.
Deliverable:
Implementation
Matrix
and
Estimated
Budget
Task
Nine
–
City
Arts
and
Culture
Master
Plan
Review
In
the
spirit
of
transparent
process
and
commitment
to
an
engaged
public,
there
will
be
a
public
presentation
of
the
draft
arts
and
culture
plan.
The
consultant
team
will
invite
the
public
to
engage
in
a
facilitated
session
to
see
a
presentation
of
a
plan
summary
and
engage
in
small
group
discussions
to
prioritize
recommendations.
In
addition
to
a
public
session,
the
draft
plan
will
be
available
for
two
weeks
on
the
aforementioned
webpage
for
comment.
The
consulting
team
will
construct
a
final
draft
Arts
and
Culture
Master
Plan
report,
which
will
be
accompanied
by
an
implementation
matrix
showing
who
is
responsible,
partnerships
involved,
a
timeline,
resource
implications,
and
budget
for
each
strategy.
The
Steering
Committee
will
review,
make
final
revisions,
and
put
its
stamp
of
approval
on
this
draft
final
plan.
The
Steering
Committee
will
host
a
presentation
to
key
community
stakeholders
in
an
invitation
only
preview
meeting.
Comments
will
be
reviewed
after
the
presentation
for
incorporation
into
the
final
plan
report.
Deliverables:
Site
Visit
#5:
one
and
a
half
days,
Steering
Committee
#6
Final
Arts
and
Culture
Master
Plan
Draft
17
Task
Ten
–
The
City
of
Sunny
Isles
Beach
Arts
and
Culture
Master
Plan
The
consulting
team
will
construct
the
final
Arts
and
Culture
Master
Plan
report
which
will
be
accompanied
by
an
implementation
matrix
as
described
above.
The
consultant
team
will
formally
present
the
final
plan
at
a
community
setting
of
the
client’s
choice.
Following
this
presentation,
the
consultant
team
will
generate
a
designed
report.
A
plan
for
the
dissemination
of
the
plan
and
communication
materials
will
be
developed
between
the
consultant
team,
the
project
manager,
and
the
Steering
Committee.
The
final
full
Arts
and
Culture
Master
plan
will
include
an
executive
summary,
the
entire
draft
report
as
approved;
presentation
vehicles
such
as
maps/diagrams/powerpoint
presentation,
and
electronic
copies;
recommended
presentation
materials;
and
a
presentation
powerpoint.
This
report
will
be
presented
to
the
City
Commission
and
the
Sunny
Isles
Beach
Foundation
at
a
mutually
agreed
time
and
date.
Deliverable:
Site
Visit
#6
–
one
day
Formal
presentation
of
Arts
and
Culture
Master
Plan
WORKING
RELATIONSHIPS
A
creative
and
clearly
articulated
working
partnership
between
the
client
and
the
consultant
team
is
critical
to
the
successful
outcome
of
such
an
extensive,
multi-‐faceted
project.
To
that
end,
we
thought
it
would
be
useful
to
outline
some
guidelines
that
we
have
found
helpful
to
review
at
the
beginning
of
these
projects.
What
the
local
project
team/client
can
expect
from
the
consulting
team:
• High
quality
work
delivered
on
time
and
on
budget
• Success
measurements
as
developed
with
the
Steering
Committee
• Commitment
to
understanding
and
respecting
the
‘DNA’
of
Sunny
Isles
Beach
• A
consulting
team
manager
to
be
the
liaison
between
client
and
consultants
• Love
of
this
work
and
enjoyment
from
learning
from
the
community
during
the
process
18
What
the
consulting
team
expects
of
the
local
project
team/client:
• Dedication
of
a
client
project
manager
to
liaise
with
consulting
team
in
order
to
help
guide
the
process
• Assistance
in
locating
information,
people,
and
places
necessary
to
deliver
the
workscope
• Note
taking
and
write-‐up
for
Steering
Committee
and
other
meetings
as
mutually
agreed
• Coordination
for
all
technical
site
information,
mapping,
and
facility
access
• Access
to
local
government
economic
data
for
creative
sector
analysis
What
the
project
needs
from
the
Steering
Committee:
• Strategic
oversight
of
the
process
• Access
to
community
resources
• Represent
the
public
face
of
the
project
• Review
of
strategic
documents
• Development
of
success
measurement
The
consulting
team
would
look
forward
to
crafting
a
working
relationship
with
the
Steering
Committee,
project
manager,
and
Foundation
as
well
as
other
key
stakeholders
that
best
serves
the
interests
of
improving
the
cultural
and
civic
vitality
of
Sunny
Isles
Beach.
This
scope
of
work
could
be
modified
based
on
further
discussion
of
Sunny
Isles
Beach
needs
and
resources.
We
are
open
to
reviewing
any
aspect
of
this
proposal.
19
PERSONNEL
EXPERIENCE
Tom
Borrup,
Ph.D.
(Project
Design,
Lead
Strategist)
A
leader
and
innovator
in
the
arts
and
community
building
for
over
30
years,
Tom
works
with
cities,
foundations,
nonprofits,
and
public
agencies
to
tap
the
potential
of
their
creative
assets.
His
consulting
practice
specializes
in
cultural
planning,
cultural
district
development,
nonprofit
strategic
planning,
and
partnership
building.
His
2006
book,
the
Creative
Community
Builder’s
Handbook:
How
to
Transform
Communities
Using
Local
Assets,
Art,
and
Culture
provides
a
step-‐by-‐step
planning
guide
for
community
leaders.
Tom
is
a
national
authority
on
cultural
district
planning
and
ongoing
management.
His
recent
Ph.D.
research
explored
grassroots
leadership
in
cultural
districts,
how
it
brings
them
about,
and
how
it
can
keep
them
vital.
Based
in
Minneapolis,
he
led
the
nationally
acclaimed
community
arts
center
Intermedia
Arts
from
1980
to
2002,
where
he
pioneered
cultural
asset
mapping
and
leveraging
cultural
resources
for
economic
development
and
civic
participation.
A
prolific
writer,
Tom
speaks
and
leads
workshops
internationally.
He
currently
teaches
creative
placemaking
for
Ohio
State
University,
arts
and
cultural
leadership
for
the
University
of
Minnesota,
and
cultural
planning
for
Drexel
University.
www.creativecommunitybuilders.com
Current
and
recent
projects
and
clients
include:
• Foundation for Louisana, New Orleans, LA (Neighborhood leadership training)
• Artistry, Bloomington, MN (2-year creative placemaking project)
• City of Marquette, MI, with Christine Harris (comprehensive 10-year cultural plan)
• City of Providence RI, w/ Dreeszen Associates (cultural identity, 5 transit corridors)
• Hennepin Theatre Trust, Minneapolis MN (downtown cultural district)
• National Alliance of Media Arts & Culture, San Francisco CA – (field data analysis)
• Cultural Development Corporation, Oklahoma City OK – (artist support research & plan)
• St. Croix Valley Foundation, Hudson WI – (National Heritage Area plan development)
• Franconia Sculpture Park, Center City MN – (strategic development and expansion plan)
• Hope Community, Minneapolis MN – (interactive database of nonprofit organizations)
• Arts & Community Change, Brooklyn NY – (cultural district policy recommendations)
• Lowertown Master Plan Task Force, St. Paul MN – (arts district master plan)
• City of St. Croix Falls WI – (historic theater restoration, local economic development)
• Arts Alliance Illinois, Chicago IL – (creative placemaking training)
• St. Anthony Park Community Council, St. Paul MN (creative enterprise zone planning)
• Surdna Foundation, New York NY – (funding policy development, cultural districts)
20
Christine
Harris
(Project
Manager,
Creative
and
Cultural
Planning)
A
national
leader
in
creative
economic
community
development,
Christine
works
with
communities
and
organizations
of
all
sizes
that
are
dedicated
to
building
more
creative
and
innovative
communities
for
the
purpose
of
higher
value
living.
Her
involvement
in
cultural
and
creative
community
planning
and
development
has
spanned
the
country.
Christine
has
been
working
with
creative
enterprises
and
community
development
for
over
30
years.
After
founding
and
running
the
Creative
Alliance
Milwaukee,
Christine
became
a
leader
in
the
national
creative
economy
field,
having
done
the
first
national
research
on
defining
the
creative
economy
and
designing
the
national
creative
economy
summit.
She
teaches
creative
economy
for
University
of
Wisconsin
-‐
Milwaukee,
the
Bolz
Center
for
Arts
Administration
at
University
of
Wisconsin
-‐
Madision
and
the
University
of
Massachusetts
–
Amherst.
Her
background
includes
over
25
years
of
executive
nonprofit
administration
and
corporate
marketing
experience.
Christine
has
been
an
advisor
and
presenter
for
both
the
Americans
for
the
Arts
and
the
National
Endowment
for
the
Arts.
www.charrisconnect.com
Current
and
recent
projects
and
clients
include:
*National
Endowment
for
the
Arts,
D.C.
(presenter
on
creative
economy
and
designer
of
research
America’s
Creative
Economy:
A
Study
of
Recent
Conceptions,
Definitions
and
Approaches
to
Measurement
Across
the
USA)
*City
of
Lawrence,
KS
(city-‐wide
cultural
plan)
*City
of
Kansas
City,
MO
(creative
economy
profile)
*City
of
Austin,
TX
(creative
sector
needs
assessment)
*Arts
United,
Fort
Wayne,
IN
(strategic
assessment
and
development
of
cultural
and
strategic
plans)
*City
of
Marquette,
MI
(master
ten
year
arts
and
culture
plan)
*Mount
Mary
University,
WI
(creative
community
engagement
assessment
and
corporate
creativity
leadership
program
development)
*Creative
Alliance
Milwaukee
(Creative
Milwaukee
Experience
tour
program;
executive
consultant)
*Arts
Alliance
of
Portage
County,
WI
(creative
economy
research
and
community
planning)
*United
Performing
Arts
Fund,
WI
(arts
education
grant
design
and
allocation
process
development)
*Arts
Alliance
Illinois,
IL
(creative
economy
research
Board
presentation)
*Lindsey
Bovinet,
ISI,
Inc.,
WI
(project
manager,
development
of
downtown
‘creative
hub’)
21
Peter
Musty
(Urban
Design,
Communications
Design)
Peter,
an
urban
designer
based
in
Minneapolis,
has
been
an
important
partner
in
the
success
of
several
recent
CCB
projects.
He
works
in
the
roles
of
designer,
project
manager
and
charrette
coordinator.
Recent
CCB
projects
include
Creative
Placemaking
in
the
South
Loop
(Bloomington
MN),
Plan-‐It
Hennepin
(Minneapolis,
MN),
and
St
Croix
Valley
Heritage
Initiative
(MN/WI).
Peter
is
a
specialist
in
the
physical
planning
and
design
of
walkable
neighborhoods.
With
a
degree
from
University
of
Notre
Dame
School
of
Architecture,
he
has
20
years
of
experience
in
the
physical
planning
and
design
of
new
towns,
neighborhoods,
suburban
infill
&
downtown
redevelopment
projects
in
Minnesota
and
nationally.
His
projects
include
traditional,
contextual
and
historically
sensitive
site
master
plans,
urban
design,
development
guidelines
and
building
project
design.
Recent
Small
Area
Plans
led
by
PETER
MUSTY
LLC
include
the
Wooddale
Valley
View
Small
Area
Plan,
adopted
as
comprehensive
plan
amendment
in
Spring
2015,
and
the
Loring
Park
Neighborhood
Master
Plan
(Minneapolis
MN),
a
small
area
plan
for
a
complex
urban
district
in
2013.
The
Loring
plan
was
anchored
by
Tom
Borrup’s
work
on
creative
sector
development
and
cultural
assets
mapping.
The
plan
earned
first
ever
award
for
Planning
in
Context
from
the
Minnesota
Chapter
of
the
American
Planning
Association.
Peter
has
participated
in
over
40
formal
design
charrettes
for
private
developers
and
municipal
clients.
His
charrette
master
plan
for
the
Mixson
Neighborhood,
a
40
acre
mixed-‐use
redevelopment
in
North
Charleston,
SC,
won
a
national
award
for
Neighborhood
Design
from
the
Congress
for
the
New
Urbanism
in
2008.
He
also
has
experience
writing
sustainability
guidelines
for
two
major
urban
redevelopment
districts
in
the
Twin
Cities.
Harry
Waters
Jr.
(Community
Engagement
Facilitation)
Harry
applies
30
years
of
acting
and
directing
experience
to
community
dialogue
facilitation
–
getting
stakeholders
on
their
feet,
exercising
their
voices,
and
moving
joyously
together.
Harry
has
worked
with
numerous
CCB
clients
in
multicultural
and
cross-‐generational
settings.
He
is
an
Associate
Professor
in
the
Theater
and
Dance
Department
of
Macalester
College
in
St.
Paul,
and
has
made
many
appearances
in
regional
theater,
film,
and
TV.
22
REFERENCES
A.
City
of
Lawrence,
Kansas
-‐
Building
on
Lawrence’s
Creative
Capital:
A
City-‐Wide
Cultural
Plan
This
was
the
City
of
Lawrence’s
first
ever
city-‐wide
cultural
plan
and
they
defined
their
goals
as
a)
documenting
Lawrence’s
cultural
assets,
b)
defining
cultural
priorities,
c)
recommending
strategies
and
tools
which
the
City
could
provide
to
support
efforts
of
the
community
to
accomplish
those
priorities
and
enhance
the
climate
for
the
creative
sector
to
thrive,
and
d)
provide
recommendations
for
integrating
public
infrastructure
and
other
civic
projects
within
the
goals
of
the
plan.
We
worked
with
a
fifteen
member
Steering
Committee
and
the
City
Director
of
Arts
and
Culture,
and
spent
time
in
the
community
over
four
visits.
Team:
Christine
Harris
(project
manager),
Tom
Borrup
(planner),
Peter
Musty
(designer)
Contract:
February
–
August
2015
Services:
Inventory
analysis
and
assessment
of
community
needs
including
preparation
of
an
online-‐ready
creative
community
asset
inventory;
development
of
vision,
values,
goals
and
action
plan
which
included
a
comprehensive
implementation
matrix;
transparent
community
engagement
with
facilitated
public
meetings
and
an
online
public
survey;
and
City
of
Lawrence
commission
approval.
Agency
of
Record:
City
of
Lawrence
Porter
Arneill,
City
Director
of
Arts
and
Culture
City
Manager’s
Office
P.O.
Box
708
Lawrence,
KS
66044
parneill@lawrenceks.org
785-‐832-‐3402
B.
Hennepin
Theatre
Trust,
Minneapolis,
MN:
Plan-‐It
Hennepin
–
A
Cultural
District
for
Downtown
Minneapolis
Funded
by
an
Our
Town
grant
from
the
National
Endowment
for
the
Arts,
the
City
of
Minneapolis,
and
private
donors,
this
16-‐month
planning
and
street-‐level
animation
project
included
conversations
with
urban
visionaries
and
public
workshops
to
develop
and
define
a
vision
for
a
Hennepin
Cultural
District.
The
District
includes
parallel
and
intersecting
streets
surrounding
Hennepin
Avenue’s
two-‐mile
stretch
from
the
Mississippi
River
to
the
Walker
Art
Center/Minneapolis
Sculpture
Garden.
With
the
goal
for
Downtown
residential
population
to
23
reach
70,000
by
2025,
refinement
of
this
already
culturally
and
academically
rich
but
physically
challenged
urban
district
was
critical
to
the
growth
and
progress
of
Downtown
and
to
the
city’s
vitality
as
a
whole.
We
worked
with
a
variety
of
city
agencies,
institutional
leadership
teams,
and
stakeholder
advisory
groups,
convening
four
public
programs
with
international
urban
and
cultural
visionaries
and
four
participatory
public
planning
and
design
workshops
Team:
Tom
Borrup
(project
manager),
Peter
Musty
(urban
design),
Harry
Waters
Jr.
(public
process),
Lucas
Erickson
(event
coordination)
Active
Planning
Partners:
Hennepin
Theatre
Trust,
City
of
Minneapolis,
Walker
Art
Center,
ArtSpace,
Inc.
Contract:
September
2011
–
January
2013
Services:
Coordination
of
multiple
stakeholder
and
focus
groups,
public
events,
and
plan
formulation;
detailed
analysis
of
current
land
use
and
zoning,
research
on
under-‐utilized
real
estate
parcels,
assessment
of
development
opportunities
and
obstacles,
and
policy
recommendations
for
strategic
in-‐fill
development;
devise
a
program
of
vacant
storefront
and
property
animation;
adoption
of
plan
by
Minneapolis
City
Council.
Agency
of
Record:
Hennepin
Theatre
Trust
Tom
Hoch,
President
and
CEO
710
Hennepin
Avenue
Minneapolis,
MN
55402
tom.hoch@hennepintheatretrust.org
612-‐455-‐9510
C.
Artistry
and
the
City
of
Bloomington,
MN:
Creative
Placemaking
in
the
South
Loop
Creative
Community
Builders
produced
an
actionable
Creative
Placemaking
Plan
and
conducted
a
series
of
temporary
and
permanent
high-‐visibility
demonstration
projects
in
Bloomington’s
South
Loop
District
“To
establish
the
South
Loop
as
a
distinctive
destination
known
for
how
it
welcomes
creative
people
and
uses
the
arts
to
transform
the
neighborhood.”
Adopted
in
mid-‐
2015,
by
the
Bloomington
City
Council,
the
plan
established
a
formal
Creative
Placemaking
Commission
and
a
Director
of
Placemaking
for
the
City
–
the
first
such
move
by
a
City
in
the
U.S.
Project
goals
are
to:
Enhance
the
aesthetic
quality
of
the
South
Loop’s
built
environment;
Activate
the
South
Loop’s
physical,
social
and
cultural
environment;
Build
capacity
to
sustain
placemaking
leaders
and
champions;
Engage
the
South
Loop
community
and
stakeholders;
Elevate
South
Loop’s
identity;
Foster
the
creative
sector.
The
project
was
funded
by
an
“Our
24
Town”
Grant
from
the
National
Endowment
for
the
Arts
(NEA),
with
matching
support
from
the
City
of
Bloomington
and
others.
We
worked
intensively
over
18-‐months
with
a
team
representing
key
city
departments
and
Artistry
leadership,
along
with
a
broader
stakeholder
advisory
committee
that
met
quarterly.
Team:
Peter
Musty
(project
manager),
Tom
Borrup
(lead
planner),
Carrie
Christensen
(demonstration
projects),
Harry
Waters
Jr.
(public
process),
Lucas
Erickson
(event
coordination)
Active
Planning
Partners:
Artistry,
the
City
of
Bloomington,
McGough
Development,
Bloomington
Convention
and
Visitors
Bureau,
Mall
of
America,
the
Minnesota
River
Valley
National
Wildlife
Refuge
(U.S.
Fish
and
Wildlife
Service)
Contract:
January
2014
–
August
2015
Services:
Coordination
of
multiple
stakeholder
and
focus
groups,
public
events,
and
plan
formulation;
produced
an
8-‐day
public
Discovery
Charrette,
a
variety
of
stakeholder
engagement
events,
and
commissioned
and
implemented
four
artist-‐placemaker
projects
demonstrating
how
the
arts
can
transform
the
physical,
social,
and
economic
character
of
place;
adoption
of
plan
by
Bloomington
City
Council.
Agency
of
Record:
Artistry
–
at
Bloomington
Center
for
the
Arts
Andrea
Specht,
Executive
Director
1800
W
Old
Shakopee
Rd.
Bloomington,
MN
55431
aspecht@artistrymn.org
952-‐563-‐8745
D.
Arts
United,
LLC,
Fort
Wayne,
IN:
Creative
Sector
Connects
2020
This
is
a
four
phased,
comprehensive
project
to
review
all
of
the
creative
and
cultural
activities
for
greater
Fort
Wayne
and
the
Northeast
Indiana
Region.
The
project
includes
both
an
internal
and
external
assessment
of
Arts
United,
a
creative
economic
impact
analysis,
a
Northeast
Indiana
regional
ten
year
Cultural
Platform,
and
a
strategic
plan
for
Arts
United,
LLC.
Team:
Christine
Harris
(lead
strategist,
cultural
planning,
creative
enterprises),
Jeanie
Duncan
(project
manager,
strategic
planning,
assessment)
Contract:
February
2015
–
November
2015
25
Agency
of
Record:
Arts
United,
Inc.
Susan
Mendendall,
CEO
300
East
Main
St.
Fort
Wayne,
Indiana
46802
(260)
424-‐0646
Arts
United
develops,
coordinates
and
supports
arts
and
cultural
efforts
in
Northeast
Indiana.
Their
programs
include
a
united
fund
campaign,
advocacy,
business
services,
facilities
ownership
and
management,
regional
special
events.
BUDGET
AND
TIMELINE
Please
see
the
budget
and
timeline
below.
We
have
outlined
consultant
costs,
estimated
travel
costs
and
the
project
timeline.
26
SUNNY%ISLES%BEACH%
Budget%and%Timeline
TASK ACTIVITY
Consultant%
Hours TIMING
Estimated)
Travel%
Costs*
ONE Discovery%and%Project%Initiation OCT/NOV
Workscope)conference)call late)Oct
Steering)Committee)process
Community)Outreach/Engagement)Plan
Review)of)Sunny)Isles)Beach)material
Initial)Site)Visit)(3)days),)including)Steering)
Committee)KickOff)meeting mid)Nov
Borrup,'Harris,'Musty,Waters
ESTIMATED)COSTS $11,000 $2,850
TWO Community%Asset%Assessment DEC/JAN
Develop)asset)inventory
Generate)asset)map
Meeting)with)creative)spaces
Site)Visit)#2)T)2)days:)review)assets)and)
community)developments mid)Jan
Leadership)Team)committee)call
Write)Spirit)and)Character)Report
Borrup,'Harris,'Musty,'Waters
ESTIMATED)COSTS $10,500 $1,600
THREE Community%Engagement%NOVKFEB
Activate)outreach)and)marketing)plan Nov
)
Site)Visit)#3)T)2)days:)Steering)Committee)
meeting)#2,)conduct)public)forums,)youth)
engagement,)etc.)end)Feb
Public)online)survey
Write)reports
Borrup,'Harris,'Duncan,'Musty,'Waters
ESTIMATED)COSTS $10,500 $2,850
FOUR Creative%Economy%Profile%(OPTIONAL)JANUARY
Develop)and)conduct)survey
Conduct)creative)sector)meeting)(Site)Visit)#3)
Write)creative)economy)profile)report
Borrup,'Harris
ESTIMATED)COSTS $3,000 none
FIVE Resource%Assessment/Best%Practices FEBRUARY%
Identify)support)structures
Review)City/Foundation)partnership
Best)practices)review
Borrup,'Harris
ESTIMATED)COSTS $3,500 none
27
SUNNY%ISLES%BEACH%
Budget%and%Timeline
SIX Setting%Strategic%Direction FEB/MARCH
Site)Visit)#4)(1.5)days):)Steering)Committee)#3;)
confirm)vision,)strategic)focus)areas,)draft)
action)steps,)success)metrics mid)March
Borrup,'Harris
ESTIMATED)COSTS $3,000 $1,000
SEVEN Crafting%the%Master%Plan MAR/APR
Combine)all)research)to)date
Write/design)draft)master)plan
Borrup,'Harris,'Musty
ESTIMATED)COSTS $3,500 none
EIGHT
Implementation,%Metrics,%Timeline%and%
Budget APRIL
Dvelop)implementation)matrix)with)timeline,)
responsibilities,)resource)implications)and)
estimated)costs
Borrup,'Harris,'Musty
ESTIMATED)COSTS $3,500 none)
NINE City%Arts%and%Culture%Plan%Review MAY
Site)Visit)#5)(1.5)days):)Public)presentation,)
Steering)Cte)meeting)#6
Review)of)public)online)comments
Prepare)final)draft)plan)report
Borrup,'Harris,'Waters
ESTIMATED)COSTS $8,500 $2,100
TEN
City%of%Sunny%Isles%Beach%Arts%and%Culture%
Master%Plan JUNE
Site)Visit)#6)T))1)day:)Present)the)final)draft)
plan
Final)report)design)and)presentation)materials
Borrup,'Harris,'Musty
TOTAL)HOURS
ESTIMATED)COSTS $5,000 $1,400
PROJECT%MANAGEMENT%
Harris,'Borrup
ESTIMATED)COSTS $7,500
PROJECT
FEE TOTAL%CONSULTING%COSTS $69,500
Estimated%Travel%Costs $11,800.00
*to)be)billed)actual)expenses)occurred
Borrup%will%be%in%Miami%for%at%least%2%of%the%site%visits
28
RESUMES
Principals:
Tom
Borrup
and
Christine
Harris
THOMAS
C.
BORRUP
2929
Chicago
Ave.,
Ste.
911,
Minneapolis,
MN
55407
/
612-‐871-‐1180
tom@communityandculture.com
Tom
possesses
extensive
knowledge
and
experience
with
a
wide
range
of
cultural
work,
community
building,
and
nonprofit
management.
He
served
as
executive
director
of
Intermedia
Arts,
a
leading
community-‐based
pioneer
in
the
field
of
arts-‐based
community
development
1980
-‐
2002.
He
serves
as
a
consultant
to
cities,
foundations
and
nonprofits
across
the
U.S.
Tom
teaches
as
an
adjunct
for
several
university
programs
in
urban
planning
and
in
arts
and
cultural
management.
He
authored
the
Creative
Community
Builder’s
Handbook,
2006,
a
book
that
remains
the
leading
text
and
guide
to
transforming
communities
through
arts
and
culture.
He
is
presently
pursuing
his
doctorate
through
the
Antioch
University
Ph.D.
Program
in
Leadership
and
Change.
His
research
and
dissertation
address
the
role
of
organizational
and
social
networks
in
the
planning
and
ongoing
management
of
cultural
districts.
EDUCATION
•
Ph.D.
Leadership
and
Change,
Antioch
University,
Yellow
Springs,
OH,
2015
•
Master
of
Arts,
Communications
&
Public
Policy,
Goddard
College,
Plainfield,
VT,
1983
•
Knight
Fellow
in
Community
Building,
Univ.
of
Miami
School
of
Architecture,
Miami,
FL,
2002
•
Bachelor
of
Arts,
Liberal
Arts,
Goddard
College,
1978
•
Strategic
Leadership
in
a
Changing
Environment,
National
Arts
Stabilization,
1998
•
Certificate,
Cultural
Leadership/Managing
the
Arts
Enterprise,
New
York
University
Graduate
School
of
Public
Administration,
New
York,
NY,
1987
•
Professional
development
workshops
in
Personnel
Supervision,
Board
Development,
Fundraising,
Financial
Management,
Conflict
Resolution,
Management
Effectiveness,
1982-‐2001
LEADERSHIP
&
ORGANIZATIONAL
DEVELOPMENT
EXPERIENCE
Principal
and
Consultant,
Creative
Community
Builders,
Minneapolis,
MN
(2002-‐Present)
Help
clients
identify
and
leverage
cultural
and
creative
assets
for
community
revitalization
and
change.
Develop
strategic
positioning,
measurable
outcomes,
and
plans
to
integrate
cultural,
social,
economic
and
design
strategies.
Executive
Director,
Intermedia
Arts,
Minneapolis,
MN
(1980-‐2002)
29
Led
nationally
recognized
community-‐based
center,
a
national
model
in
advancing
arts
based
community
development,
interdisciplinary
and
cross-‐cultural
collaborations.
•
Completed
capital
campaign,
designed
and
built
state-‐of-‐the-‐art
community
cultural
center.
•
Created
partnerships
with
over
200
activist,
arts,
educational
and
business
organizations
to
develop
and
implement
programs
serving
a
multi-‐ethnic
community.
•
Raised
over
$1
million
annually
from
local,
regional
and
national
sources.
•
Developed
Institute
for
Community
Cultural
Development,
a
unique
6-‐month
program
for
arts
administrators,
artists
and
community
development
professionals
to
explore,
practice
and
evaluate
arts-‐based
community
development
projects.
Director,
Image
Coop,
Inc.,
Montpelier,
VT
(1979-‐1980)
Directed
visual
and
media
arts
gallery,
artist
working
space
and
media
arts
education
through
Community
College
of
Vermont.
Director,
National
Conference
on
Public
Access
Cable
Television,
Community
Video
Center,
San
Diego,
CA
(1978).
Designed
and
led
ground-‐breaking
cross-‐sector
national
conference.
TEACHING
AND
LECTURING
•
Instructor,
Knowlton
School
of
Architecture,
Ohio
State
University,
Certificate
in
Creative
Placemaking
(2013-‐present)
•
Instructor,
Rutgers
University,
Bloustein
School
of
Planning,
Creative
Placemaking
Master
Practitioner
Certificate
Program
(2012-‐2013)
•
Adjunct
Professor,
Drexel
University,
Philadelphia,
Graduate
Program
in
Arts
and
Cultural
Management
(Cultural
Planning,
2009-‐Present)
•
Instructor,
Saint
Mary’s
University
of
Minnesota,
Graduate
Program
in
Arts
and
Cultural
Management,
Minneapolis,
MN
(Cultural
Studies,
Arts
&
Community
Development,
2004-‐
Present)
•
Faculty,
University
of
Massachusetts,
Continuing
Education/Arts
Extension
Service,
Amherst,
MA
(Creative
Economy,
2003-‐Present)
•
Recent
Guest
Lectures:
Allegheny
College,
Meadville,
PA;
Brown
University,
Providence,
RI;
University
of
Minnesota/Humphrey
Institute,
Cultural
Leadership,
Minneapolis,
MN;
University
Of
Massachusetts,
Landscape
Architecture
and
Regional
Planning,
Amherst,
MA;
University
of
Miami
School
of
Architecture,
Miami,
FL;
University
of
Minnesota,
Department
of
Art,
Minneapolis,
MN;
Macalester
College,
St.
Paul,
MN
ORGANIZATIONAL
FUNDING
REVIEW
•
Kresge
Foundation,
Community
Arts
Initiative,
Tucson,
AZ,
2010
•
Ford
Foundation,
Community
Development
and
the
Arts
Initiative,
2003-‐2009
•
Creative
Capital
Foundation,
State
Partnership
Program,
2005
•
Rockefeller
Foundation,
Partnerships
Affirming
Community
Transformation,
2002-‐2003
30
•
Jerome
Foundation,
Ongoing
funding
and
policy
review,
1994-‐2003
•
Walter
and
Elise
Haas
Foundation,
Creative
Work
Fund,
San
Francisco,
2000
•
Andy
Warhol
Foundation
for
the
Visual
Arts,
10-‐year
Foundation
policy
review,
1998
•
Lila
Wallace
Readers'
Digest
Fund,
Exemplary
Community
Arts
Centers,
1998
•
Ohio
Arts
Council,
site
evaluations,
policy
and
grant
reviews,
Columbus,
OH,
1986-‐1989
•
Minnesota
State
Arts
Board,
St.
Paul,
MN,
1987-‐1989
•
McKnight
Foundation/Minneapolis
Arts
Commission,
1982-‐1985
•
Metropolitan
Regional
Arts
Council,
St.
Paul,
MN
1983-‐1987
and
1992-‐1993
and
2006
National
Endowment
for
the
Arts,
Review
Panelist:
•
Design
Arts/Mayor’s
Institute
on
City
Design,
2010
•
Visual
Arts,
2009
•
Multidisciplinary
National
Services,
2003
•
Museums
and
Visual
Arts
Policy
and
Planning,
1995
•
Visual
Artists
Organizations,
1993
•
Advancement,
1993
•
Presenting
and
Commissioning,
1990-‐1994
•
Film
and
Video
Screening,
1989
•
Media
Arts
Centers,
1988
•
Design
Arts
Program,
1983
•
Regional
Film/Video
Fellowships,
1983
PUBLICATIONS/ARTICLES
Up
From
the
Roots:
Economic
and
Cultural
Equity
in
Naturally
Occurring
Cultural
Districts
Findings
from
a
Series
of
Roundtable
Discussions
2009–2011,
with
Caron
Atlas,
2011
Shaping
a
Creative
Milieu:
Creativity,
Process,
Pedagogy,
Leadership,
and
Place,
an
interdisciplinary
survey
of
research
in
relation
to
conditions
and
processes
important
in
fostering
creativity,
Journal
of
Urban
Culture
Research,
2010.
Something
Different
Is
Stirring:
DIY
Culture
in
Silicon
Valley,
an
in-‐depth
inventory
and
analysis
of
the
formal
cultural
infrastructure
of
Silicon
Valley
revealed
rapid
changes
in
the
Industrial
Age
models
of
cultural
organization,
Community
Arts
Network,
May
2010.
Creative
City
Fever:
The
2010
City,
Culture
and
Society
Conference,
Munich,
a
report
from
a
2010
creative
city
conference
where
academics
from
Singapore,
Tokyo,
Auckland,
Toronto,
Rotterdam
and
other
world-‐class
cities
explored
vexing
questions
about
creative-‐economy
development,
Community
Arts
Network,
April
2010.
31
Compare/Contrast:
Cities,
regions,
even
entire
nations,
are
pursuing
the
Creative
Economy.
What
can
we
learn
from
Singapore,
Glasgow,
and
Ogulin?,
Architecture
Boston,
Vol.
12
No.
3,
August
19,
2009.
The
Creative
Community
Builder’s
Handbook:
How
to
Transform
Communities
Using
Local
Assets,
Arts
and
Culture,
book
assesses
20
arts-‐centered
community
development
projects
and
provides
step-‐by-‐step
guide
to
building
economic,
social,
civic
and
physical
infrastructure
of
communities
through
the
arts.
Commissioned
by
the
McKnight
Foundation.
Includes
case
studies
from
urban,
rural,
and
suburban
communities
and
best
practices
related
to
ten
successful
strategies.
Fieldstone
Alliance
(formerly
A.H.
Wilder
Foundation
Publishing
Center),
St.
Paul,
MN
and
Partners
for
Livable
Communities,
Washington,
DC,
2006.
There’s
No
Place
Like
Silicon
Valley:
An
Emerging
Cultural
Ecosystem
for
the
21st
Century,
a
Report
on
the
Cultural
Infrastructure
of
California’s
Silicon
Valley
By
Creative
Community
Builders
for
1st
Act
Silicon
Valley,
July
2009.
The
Creative
Economy:
Views
from
Abroad,
thoughts
on
place,
culture,
creativity
and
economic
livelihood
from
the
2008
Creative
Clusters
Conference
in
Glasgow,
Scotland,
Community
Arts
Network,
January
2009.
Higher
Ground:
Informal
Arts,
Cultural
Policy
and
the
Evolving
Role
of
Nonprofits.
With
the
rise
of
the
creative
class,
prosumers,
Pro-‐ams
and
Net-‐Geners,
are
nonprofit
cultural
institutions
outdated?
Community
Arts
Network,
July
2007.
Fuel
for
the
Creative
Engine:
Arts
and
the
Economy,
University
of
Massachusetts,
Arts
Extension
Service,
Fundamentals
of
Arts
Management,
text
book
chapter,
2007.
New
Creative
Community,
a
review
of
a
new
book
by
cultural
critic
Arlene
Goldbard,
Community
Arts
Network,
November
2006.
Up
from
the
Roots:
Re-‐examining
the
Flow
of
Economic
and
Creative
Capital,
thoughts
on
connections
between
informal
arts
practices
and
grassroots
economic
development,
Grantmakers
in
the
Arts
READER,
Summer,
2006.
Culture
as
Community
Connector,
a
survey
of
arts
organizations
leading
community
transformation,
and
of
research
evaluating
the
effectiveness
of
these
practices,
Progressive
Planning,
Fall
2005.
What’s
Radical
About
Valuing
Assets
as
a
Strategy
in
Cultural
Work,
a
description
of
how
asset-‐
based
practices
used
by
artists
and
cultural
organizations
relate
to
other
community
development
practitioners,
Community
Arts
Network,
2005.
Thinking
Outside
the
Cubicle?
Does
the
501(c)(3)
Box
Stifle
Creativity
in
the
Dot-‐com
Era?
Examining
Maribel
Alvarez’
book,
There’s
Nothing
Informal
About
It:
Participatory
Arts
Within
32
the
Cultural
Ecology
of
Silicon
Valley,
this
article
explores
similarities
between
informal
arts
and
high-‐tech
cultural,
and
how
conventional
arts
institutions
are
letting
down
audiences,
Community
Arts
Network,
2006.
Creative
Organizations:
Putting
Culture
to
Work
in
Community
Development,
a
report
commissioned
by
the
Ford
Foundation’s
Active
Public
Space
Initiative
of
the
Asset
Building
and
Community
Development
Program,
Community
Arts
Network,
January,
2004.
The
State
of
Film:
Massachusetts
Media
Arts
Organizations
Grow
a
Community
of
Practice
and
the
Practice
of
Community,
review
of
a
foundation
and
nonprofit
partnership
to
elevate
the
role
of
independent
media
arts
as
a
force
in
the
creative
economy,
commissioned
by
the
LEF
Foundation.
National
Alliance
for
Media
Arts
and
Culture,
San
Francisco,
CA,
Spring
2005.
Urban
Alchemy:
In
Search
a
Formula
for
the
City
of
Tomorrow,
a
report
on
the
Bruner/Loeb
Symposium
on
Transforming
Communities
through
the
Arts,
Chicago
Cultural
Center,
November,
2003,
Community
Arts
Network,
January
2004.
Taking
it
to
the
Bank:
Unlocking
Community
Cultural
Assets,
a
review
of
The
Mystery
of
Capital:
Why
Capitalism
Triumphs
in
the
West
and
Fails
Everywhere
Else,
by
Hernando
DeSoto,
Grantmakers
in
the
Arts
READER,
Winter
2004.
Putting
the
Arts
to
Work
in
Neighborhoods:
Creating
Active
Public
Spaces,
a
survey
of
cultural
organizations
working
to
revitalize
communities,
and
current
research
confirming
their
multiple
impacts,
Ford
Foundation
Reports,
Spring
2004.
Aesthetics
Are
Crucial
to
a
Walkable
City,
Op-‐Ed
Commentary,
Minneapolis
Star
Tribune,
June
2003.
Administration
of
Cultural
Democracy:
Three
Experiments,
assessment
of
innovative
community-‐based
arts
centers
in
Portland,
ME,
Minneapolis,
MN
and
Seattle,
WA.
Community
Arts
Network,
September
2003.
The
Dialectic
of
Community
Arts
Practice
and
Globalization,
or
Is
This
Parade
Going
the
Wrong
Way?
reflections
on
community-‐based
arts
practices
in
communities
with
changing
demographics,
Community
Arts
Network,
June
2003.
Toward
Asset-‐Based
Community
Cultural
Development:
A
Journey
Through
the
Disparate
Worlds
of
Community
Building,
reflections
on
cross-‐over
activities
between
professions
and
practices,
Community
Arts
Network,
April
2003.
Intermedia
Arts:
A
Multicultural
Home
Away
from
Home,
Lessons
Learned:
Case
Studies
from
the
Field,
National
Endowment
for
the
Arts
Web
site,
1999.
33
RECENT
PROFESSIONAL/COMMUNITY
SERVICE
Board
of
Directors,
Appalshop,
Inc.,
Whitesburg,
KY;
strategic
planning
and
operational
policy
for
this
major,
regional,
multi-‐disciplinary
Appalachian
cultural
production
center.
(2004-‐present)
Board
of
Directors
and
Treasurer,
Phillips
Community
TV,
Minneapolis,
MN;
assist
with
program
and
management
development
with
inner
city
youth
leadership
development
organization.
(2004-‐2010)
Elliot
Park
Neighborhood,
Inc.,
Minneapolis,
MN,
(eastern
edge
of
downtown),
Board
of
Directors,
Building
Land
Use
and
Housing
Committee;
task
forces
to
review
developer
proposals
for
residential
and
mixed-‐use
high-‐rise
projects.
(2004-‐2007)
Board
of
Directors
and
Chair,
Jerome
Foundation,
St.
Paul,
MN;
set
policy
and
guided
over
$5
million
in
annual
grantmaking;
investment
committee,
provided
oversight
of
more
than
$100
million
in
assets.
Two
terms
as
Board
Chair.
(1994-‐2003)
Community
Advisory
Board,
Twin
Cities
Public
Television.
(2001-‐2005)
Board
of
Directors,
VOICE
in
Phillips,
a
multi-‐ethnic
organizing
and
funding
group
(Minneapolis,
Ford
and
Mott
Foundations)
to
employ
asset-‐based
community
development
practices
and
seed
ABCD
projects
within
the
city’s
poorest
and
most
diverse
neighborhood.
(1999-‐2003)
AWARDS
•
Leadership
Initiatives
in
Neighborhoods,
St.
Paul
Companies
and
the
Amherst
H.
Wilder
Foundation,
2002;
including
a
sabbatical
grant
to
travel
and
study
innovative
community
development
programs
•
Knight
Fellowship
in
Community
Building,
University
of
Miami
School
of
Architecture,
Miami,
FL,
2002
•
U.S.
Bank/Sally
Ordway
Irvine
Award
for
Artistic
Initiative,
St.
Paul,
MN,
1996
•
Jerome
Foundation
Travel
and
Study
Grant,
St.
Paul,
MN,
1987,
to
spend
six
weeks
researching
contemporary
arts
centers
in
Western
Europe
•
George
Stoney
Award,
National
Federation
of
Local
Cable
Programmers
(now
Alliance
for
Community
Media),
Washington,
D.C.,
1982,
annual
award
to
an
individual
for
contribution
to
the
field
of
community
television
34
CHRISTINE
HARRIS
2460
N.
85th
St
Wauwatosa,
WI
53226-‐1912
(414)
379-‐1011
christine@charrisconnect.com
EXPERIENCE
July
2011-‐
CEO,
Christine
Harris
Connections
Present
Founder
of
consultancy
practice
dedicated
to
building
creative
community.
Includes
being
Executive
Advisor
to
Creative
Alliance
Milwaukee.
More
details
can
be
found
at
www.charrisconnect.com
Mar
2011
–
President
and
Executive
Director,
Creative
Alliance
Milwaukee
July
2011
Chief
executive
officer
responsible
for
transition
the
Cultural
Alliance
into
Creative
Alliance
Milwaukee
following
the
publication
of
Creativity
Works!
Milwaukee
Regional
Creative
Industries
Project.
Mission
of
Alliance
–
drive
economic
prosperity
as
a
catalytic
hub
championing
creativity
through
education,
commerce
and
culture;
advancing
our
creative
industries.
Jan
2008
–
President
and
Executive
Director,
Cultural
Alliance
of
Greater
Milwaukee
Mar
2011
Chief
executive
officer
responsible
for
developing
and
delivering
the
mission
of
strengthen,
advance,
and
represent
the
creative
sectors
as
a
vital
asset
for
growing
a
vibrant,
dynamic
region.
Spearheading
efforts
in
advocacy,
convening,
and
promoting
our
creative
industries.
Designed
and
produced
research
reports:
A
Cultural
Asset
Inventory
of
Milwaukee
7;
Strategic
Audience
Development.
Dec
2002
–
President,
United
Performing
Arts
Fund,
Milwaukee,
WI.
Chief
executive
officer
Oct.
2007
responsible
for
implementing
the
strategic
direction
of
the
nation’s
number
one
Fund
dedicated
to
raising
and
allocating
operating
funds
to
the
performing
arts
$10+
million
annually.
Re-‐engineered
mission
expands
the
focus
to
include
additional
support
activities
for
members
to
ensure
the
excellence
and
sustainability
of
the
performing
arts
sector
as
a
contribution
to
a
vibrant
and
dynamic
region.
Aug.
1997
-‐
Executive
Director,
Milwaukee
Ballet
Company,
Milw,
WI.
Overseeing
all
Dec.
2002
administrative
and
fiscal
functions
of
a
$5
million
professional
performing
arts
company
with
over
100
employees
and
two
unions.
In
turnaround
situation,
35
eliminated
$1
million
of
debt
in
first
10
months.
Balanced
budgets
all
five
years;
raised
visibility
and
credibility.
July
1995
-‐
Executive
Director,
Institute
for
Music,
Health
and
Education,
Minneapolis,
April
1997
MN.
Responsible
for
directing
and
re-‐visioning
non-‐profit
designed
to
provide
product
and
services
to
those
interested
in
sound
and
music
for
wellness.
International
organization
with
sales
of
$400,000+
and
1,000
active
students.
Sept.
1990
-‐
Consultant,
Christine
Harris
Connections,
Milwaukee,
WI.
Recognized
July
1995
authority
on
strategic
arts
planning,
audience
development
and
arts
education.
Founded
and
directed
the
Milwaukee
Symphony’s
innovative
ACE
program,
developing
collaborations
with
City
Ballet,
Ko-‐Thi,
Dancecircus,
Present
Music,
Skylight,
etc.
Successfully
assessed
and
improved
marketing
and
strategic
planning
projects
for
individual
organizations
and
at
a
community
level.
Clients
included
Alverno
College,
Milwaukee
Foundation,
Next
Act,
and
UPAF,
among
others.
Feb.
1988
-‐
Executive
Director,
Great
Woods
Institute
for
the
Arts,
Newton,
MA.
Sept.
1988
Responsible
for
overseeing
and
directing
the
classical
music
festival
and
summer
education
program
for
the
off-‐season
residency
of
the
Pittsburgh
Symphony.
June
1984
-‐
Director
of
Audience
Development,
Milwaukee
Symphony,
Milwaukee,
WI.
Sept.
1990
Management
of
over
$4
million
in
revenues
for
one
of
the
top
15
orchestras.
Directed
all
marketing,
sales,
promotional
and
educational
activities.
Achieved
record
sales
and
initiated
community
collaboration.
Regularly
led
seminars
and
workshops
for
the
American
Symphony
Orchestra
League,
as
well
as
writing
articles
for
national
arts
publications.
July
1979
-‐
Business
Development
Executive,
B.A.T.
Stores,
London,
England
Dec.
1983
Sept.
1975
-‐
Buyer,
Marks
and
Spencer,
PLC,
London,
England
June
1979
Aug.
1974
-‐
Case
Writer/Research
Assistant,
Harvard
Business
School,
Cambridge,
MA.
Sept.
1975
36
COMMUNITY
SERVICE
Board
service:
VISIT
Milwaukee
(Exec
Committee);
Americans
for
the
Arts’
National
United
Arts
Fund
Council;
Helen
Bader
Institute
for
NonProfit
Management
Leadership
Council
(Exec
Committee);
Professional
Dimensions;
PEARLS
for
Teen
Girls;
Early
Music
Now.
Awards:
Milwaukee
Business
Journal’s
“Woman
of
Influence”
in
2005;
US
Postal
Service’s
“Women
Putting
Their
Stamp
on
Milwaukee”
in
2006;
the
Sharon
Lynne
Wilson
Center’s
2006
EDDY
Award
for
regional
arts
collaboration;
Civic
Music
Association
‘Distinguished
Citizen’
Award
in
2007;
Milwaukee
Public
Theatre
“Champion
of
the
Arts”
Award
in
2010
NATIONAL
SERVICE
Co-‐Founder
of
Creative
Economy
Coalition,
a
working
committee
of
the
National
Creativity
Network,
www.nationalcreativitynetwork.org
EDUCATION
July
2005
Harvard
Business
School
Executive
Education
Program,
“Strategic
Perspectives
in
Non-‐Profit
Management”
July
2002
Certificate
of
Completion.
Three
year
Future
Thinking
Leadership
Development.
Center
for
Authentic
Leadership,
Atlanta,
GA.
Dec.
1974
M.Sc.
–
Marketing
and
Consumer
Sciences;
University
of
Wisconsin,
Madison,
WI.
June
1972
B.Sc.
–
Retailing;
University
of
Wisconsin,
Madison,
WI.
CURRENT
and
RECENT
CLIENTS
*National
Endowment
for
the
Arts,
D.C.
(presenter
on
creative
economy
and
designer
of
research
America’s
Creative
Economy:
A
Study
of
Recent
Conceptions,
Definitions
and
Approaches
to
Measurement
Across
the
USA)
2013
*National
Creativity
Network
(lead
author
and
researcher
for
“America’s
Creative
Economy:
A
Study
of
Recent
Conceptions,
Definitions
and
Approaches
to
Measurement
Across
the
USA”
2013
*City
of
Austin
Cultural
Arts
Division
(Creative
Sector
Support
Structure
Needs
Assessment)
2014
*Mount
Mary
University,
WI
(creative
community
engagement
assessment
and
corporate
creativity
leadership
program
development)
2012
-‐
present
*Creative
Alliance
Milwaukee
(executive
consultant)
2008-‐2014
*Arts
Alliance
of
Portage
County,
WI
(creative
economy
research,
community
planning)
2012-‐
2013
*United
Performing
Arts
Fund,
WI
(arts
education
grant
design
and
allocation
process
development)
2012,
2013
*Arts
Alliance
Illinois,
IL
(creative
economy
research
Board
presentation)
2011,
2013
*Lindsey
Bovinet,
ISI,
Inc.,
WI
(project
manager,
development
of
downtown
‘creative
hub’)
2012
37
*Greater
Milwaukee
Committee,
WI
(research
and
inventory
creative
collaborative
work
spaces)
*Cuyahoga
Arts
Council,
OH
(national
grant
reviewer)
2012,
2014
*Americans
for
the
Arts
(presenter)
various
since
2003
*Alverno
Colllege
(keynote
presentation
on
creativity)
2012
TEACHING
and
WORKSHOPS
-‐Adjunct
Faculty:
Creative
Enterprise
Seminar;
University
of
Wisconsin-‐Milwaukee,
2015
-‐Guest
Lecturer:
Arts
Administration
Seminar;
University
of
Wisconsin-‐Madison
Bolz
Center
for
Arts
Administration,
2014
-‐Faculty:
Creative
Enterprise
in
Today’s
Economy;
University
of
Wisconsin-‐Whitewater,
2013
-‐Moderator:
Creative
Milwaukee
@
Work
Conference,
Creative
Alliance
Milwaukee,
2013
-‐Presenter:
From
Cultural
Amenities
to
Creative
Industries:
Repositioning
the
Value
and
Identity
of
the
Community’s
Creative
Assets,
National
Endowment
for
the
Arts
National
Council,
2011
-‐Presenter:
The
Creative
Economy,
Urban
Arts
Federation
–
Americans
for
the
Arts
2011;
Arts
Alliance
Portage
County
2013;
National
Endowment
for
the
Arts
2012
-‐Panelist:
From
Cultural
Affairs
to
Creative
Affairs,
Americans
for
the
Arts
Conference
2011
-‐Teaching
Assistant:
Retailing
course;
University
of
Wisconsin-‐Madison
Business
School
1974
GRANT
REVIEW
PANELIST
Cuyahoga
Arts
Council,
Cleveland,
Ohio
2012,
2014
National
Endowment
for
the
Arts,
Washington,
D.C.
circa
2000
Wisconsin
Arts
Board
–
various
between
2003-‐2008
Milwaukee
Arts
Board
–
various
between
2004-‐2010
PUBLICATIONS
*America’s
Creative
Economy:
A
Study
of
Recent
Conceptions,
Definitions
and
Approaches
to
Measurement
Across
the
USA,
National
Creativity
Network
Press,
2013
*The
Role
of
Creative
Education
in
Preparing
Tomorrow’s
Talent,
2012
*Creativity
Works!Milwaukee
Regional
Creative
Industries
Report,
2010
*Greater
Milwaukee’s
Regional
Cultural
Assets:
An
Inventory
of
Pride
2008
*Selling
the
Experience,
American
Symphony
Orchestra
League
Magazine,
circa
1987